Anonymous wrote:

Anonymous wrote:Chris Sanchez from Capitol Strings. Excellent teacher.

I know this thread is old, but just adding in case this makes a difference to anyone reading. Chris Sanchez is a Trump supporter

Anonymous wrote:The "Russian style" is absolutely a thing. Arguably even two things -- the Imperial Russian style and the Soviet style -- although both of those have similar roots.

There have historically been three major traditions of violin-playing -- the German style, the Franco-Belgian style, and the Russian style. The German style is largely dead (you generally only see it in older Suzuki teachers who follow Suzuki's original teachings, which were physically modeled on the German tradition that Shinichi Suzuki himself was trained in). The Franco-Belgian and Russian styles are fused into the Galamian style, which is effectively the American style and largely globalized now.

Each style represents a physical approach to the violin, and a certain pedagogical tradition (influencing repertoire and etude choices, for instance). Many modern players mix and match, but a lot of professional players still have a primary stylistic influence.

Many players with prestigious teacher lineages are relatively pure exhibits of a particular style and tradition. Locally, despite Russian-trained teachers being quite rare, their students dominate much of the competition scene.

(Lya Stern comes from the Russian tradition, tracing a teacher lineage back directly to Leopold Auer. I believe Olga Khroulevitch does also. If I recall correctly, Emil Chudnovsky traces his lineage back to Stolyarsky -- he's more of a Soviet-influenced player, especially an Oistrakh influence through his mother.)

In terms of famous modern players, Maxim Vengerov represents the Soviet Russian style. Many of the pupils of Roland and Almita Vamos, including Rachel Barton Pine, display the Imperial Russian style. Hilary Hahn is the most prominent modern player displaying the Franco-Belgian style.

You'll find plenty of teachers who were taught in style X and disdain the other styles. Given the prevalence of the Galamian style in the United States, you'll find plenty of pros, like the previous poster, who disdain the Russian style.

But I'm just gonna say, those students in this area who are learning from Russian-tradition teachers are pretty dominant in competitions, chair auditions, etc.

Anonymous wrote:OP here. By pushing too hard, I mean expecting daily practice and giving him a hard time if he doesn't practice daily.

Anonymous wrote:Chris Sanchez from Capitol Strings. Excellent teacher.

Anonymous wrote:The "Russian style" is absolutely a thing. Arguably even two things -- the Imperial Russian style and the Soviet style -- although both of those have similar roots.

There have historically been three major traditions of violin-playing -- the German style, the Franco-Belgian style, and the Russian style. The German style is largely dead (you generally only see it in older Suzuki teachers who follow Suzuki's original teachings, which were physically modeled on the German tradition that Shinichi Suzuki himself was trained in). The Franco-Belgian and Russian styles are fused into the Galamian style, which is effectively the American style and largely globalized now.

Each style represents a physical approach to the violin, and a certain pedagogical tradition (influencing repertoire and etude choices, for instance). Many modern players mix and match, but a lot of professional players still have a primary stylistic influence.

Many players with prestigious teacher lineages are relatively pure exhibits of a particular style and tradition. Locally, despite Russian-trained teachers being quite rare, their students dominate much of the competition scene.

(Lya Stern comes from the Russian tradition, tracing a teacher lineage back directly to Leopold Auer. I believe Olga Khroulevitch does also. If I recall correctly, Emil Chudnovsky traces his lineage back to Stolyarsky -- he's more of a Soviet-influenced player, especially an Oistrakh influence through his mother.)

In terms of famous modern players, Maxim Vengerov represents the Soviet Russian style. Many of the pupils of Roland and Almita Vamos, including Rachel Barton Pine, display the Imperial Russian style. Hilary Hahn is the most prominent modern player displaying the Franco-Belgian style.

You'll find plenty of teachers who were taught in style X and disdain the other styles. Given the prevalence of the Galamian style in the United States, you'll find plenty of pros, like the previous poster, who disdain the Russian style.

But I'm just gonna say, those students in this area who are learning from Russian-tradition teachers are pretty dominant in competitions, chair auditions, etc.

Anonymous wrote:The "Russian style" is absolutely a thing. Arguably even two things -- the Imperial Russian style and the Soviet style -- although both of those have similar roots.

There have historically been three major traditions of violin-playing -- the German style, the Franco-Belgian style, and the Russian style. The German style is largely dead (you generally only see it in older Suzuki teachers who follow Suzuki's original teachings, which were physically modeled on the German tradition that Shinichi Suzuki himself was trained in). The Franco-Belgian and Russian styles are fused into the Galamian style, which is effectively the American style and largely globalized now.

Each style represents a physical approach to the violin, and a certain pedagogical tradition (influencing repertoire and etude choices, for instance). Many modern players mix and match, but a lot of professional players still have a primary stylistic influence.

Many players with prestigious teacher lineages are relatively pure exhibits of a particular style and tradition. Locally, despite Russian-trained teachers being quite rare, their students dominate much of the competition scene.

(Lya Stern comes from the Russian tradition, tracing a teacher lineage back directly to Leopold Auer. I believe Olga Khroulevitch does also. If I recall correctly, Emil Chudnovsky traces his lineage back to Stolyarsky -- he's more of a Soviet-influenced player, especially an Oistrakh influence through his mother.)

In terms of famous modern players, Maxim Vengerov represents the Soviet Russian style. Many of the pupils of Roland and Almita Vamos, including Rachel Barton Pine, display the Imperial Russian style. Hilary Hahn is the most prominent modern player displaying the Franco-Belgian style.

You'll find plenty of teachers who were taught in style X and disdain the other styles. Given the prevalence of the Galamian style in the United States, you'll find plenty of pros, like the previous poster, who disdain the Russian style.

But I'm just gonna say, those students in this area who are learning from Russian-tradition teachers are pretty dominant in competitions, chair auditions, etc.

Anonymous wrote:OP : call and ask the teachers what their expectations are and how they run their recitals. There should be one recital a year. It helps motivate the students.

Anonymous wrote:Retired Violin teacher with 30 years here: All of my colleagues were professional players as well as teachers. We all understand that not everyone can practice daily. None of us were impressed with "Russian style" teaching which btw isn't really a thing. We did frequently discuss parents and their unrealistic ambitions for their kids which often kacked in authentic appreciation for the very music the purported to value.

OP : call and ask the teachers what their expectations are and how they run their recitals. There should be one recital a year. It helps motivate the students.

You can also find a graduate performance major. We were all teaching while in school. I taught my first student when I was 16 and had entered college on scholarship. Positive exposure on the first engagement is always good.