Websites met bladmuziek

Tekening door Fiep Westendorp
Tekening door Fiep Westendorp

Er is de laatste jaren veel bladmuziek verkrijgbaar op het internet. Via deze bladmuzieksites kun je makkelijk bladmuziek downloaden. Hier zijn enige sites die heel handig zijn:

Werner Icking Music Archive

Kreutzer bladmuziek



Classical Sheet Music Downloads: Fur Elise, Moonlight Sonata, etc.  

Classical Sheet Music Downloads® 

High Quality and Exclusive sheet music to download and print instantly


Ga je een auditie doen?

Ga je een auditie doen?

Here are some important tips for any violin audition:

  1. Be ready one month in advance. This means that not only have you definitely decided to take the audition (surprisingly, many people waffle until a few days before!) and made your travel arrangements (ditto), but you have all required music including solos together in a binder. Your fingerings and bowings are marked, although you reserve the right to change your mind later. But simply by doing the above, you won’t believe how focused your practicing becomes. You’ll also save tons of time and heartache by never having to search through a stack of music for a particular excerpt. Imagine your heart racing while you search on stage at the audition…
  2. Make your concerto first priority. In 90% of auditions, you’ll be playing at least a couple minutes of solo before any excerpts. The first thing you play is the most important. It’s the committee’s first impression of your sound and everything else about your playing. And if the audition list asks for the first movement, practice the entire first movement, including any cadenzas. I’m often asked by students, "do I need to know the whole movement?" I always ask how they’ll feel if they do get to the finals and have to play an unprepared section. It happened to me once, so I know!
  3. Have a plan for the start of each selection. When you practice, have an opening routine for every piece or excerpt. This routine should take you from turning the page to the excerpt in question, through putting the instrument up and the bow to the string, to playing the first note. All of your opening routines will have a common base, but they’ll be different depending on the tempo/dynamic/character of the piece. Rehearse these routines hundreds of times before you’re called upon to use them at the audition.
  4. Think of the audition as a winning situation. Some people treat it like a test in school: you start with a perfect score and every mistake you make is "points off". That’s really not how committees listen, so instead, think of starting at 0 and gaining "points" as you go. The more you show a committee, the more quality sound and intelligent phrasing you give them, the better you do. With this mindset, a “mistake” doesn’t set you back because you have an opportunity with the very next bow stroke to continue scoring. Many players give up partway through an audition, not realizing that the committee has already forgotten the "huge" mistake.
  5. Ask for feedback as soon as you can. Many people can’t wait to escape the scene of the crime after not advancing at an audition, especially if they feel they played badly. They’re convinced they "know" what happened and why they didn’t advance. In fact, they may be surprised to find out that they were close to advancing. Or they may be shocked to know that their audition came across as slow and boring, rather than rushed and tumultuous as they had assumed. The fact is that it’s impossible for you to know what a committee hears out in the hall. Add to that the fact that a committee is made up of a whole lot of different individuals, each with his own set of ears. You may not be able to get feedback, or you may only get it from one or two committee members. So you don’t have to take every piece of feedback to heart, but if you get the same feedback from several committee members, or the same from audition to audition, then it’s time to make some changes.

Best of luck at your next audition!

Antonio Vivaldi
Antonio Vivaldi

Violin concerto found in Dresden.

Challenging piece could be the work of Antonio Vivaldi

An 18th-century violin concerto, possibly by Antonio Vivaldi, has been discovered in the archives of the Dresden State Library. The technically demanding 17-minute work has been attributed to the Italian composer by Baroque expert Michael Talbot, and may receive its modern premiere this September.

The work in A major was discovered in mid-June by Icelandic scholar Jóhannes Ágústsson, who noted markings on the orchestral parts such as 'Allegro non molto' and 'Qui si ferma a piacimento' as being peculiar to Vivaldi. Talbot has suggested that the phrase structure and stylistic flourishes indicate a composition date of between 1729 and 1733.

Adrian Chandler, director of Baroque ensemble La Serenissima, is convinced the concerto is by Vivaldi. "There are too many compositional techniques that you only find in Vivaldi," he said. "Having said that, I’ve never seen Vivaldi this hard (difficult to play); there are several top C sharps and I’m not talking third position, and technically speaking it’s leagues ahead of anything else he has written."

According to Chandler, the piece may have been written specifically for Johann Georg Pisendel, then concertmaster of the Dresden court orchestra, who had studied violin and composition with Vivaldi. ‘Vivaldi had a very intimate knowledge of what Pisendel was capable of and I think it may have been written as a kind of perverse concerto, just for him.’

The concerto has not been approved by the Vivaldi Institute in Venice, as the members of its editorial committee remain divided as to its authenticity. "Because of the rules we operate, where each individual members has in effect a veto, no RV number will be assigned in the immediate future," explained Talbot. "I foresee that in time the situation will be resolved more clearly, and my own belief is that the concerto will come to be recognized as one of Vivaldi's, with the slight proviso that some of the solo material could have been reworked or replaced by the Dresden musicians – something that happened a lot in the Dresden repertoire."


Alexandertechniek is een trainingstechniek waarmee men leert hoe men verkeerde houdingen kan herkennen en aanpassen met als doel het lichaam te verlossen van verstijfde spieren die stress en vermoeidheid veroorzaken. Dit doel wordt bereikt door gebruikelijke houdingsproblemen aan te pakken die het gevolg zijn van slechte gewoonten, zoals: zitten met een kromme rug, telefoneren met het hoofd in een verkeerde houding en het dragen van zware voorwerpen langs één kant van het lichaam.

De techniek gaat uit van het feit dat het lichaam ongehinderd en natuurlijk moet kunnen bewegen wanneer het hoofd, de nek en de romp zich in de juiste positie ten opzichte van elkaar bevinden. Hierdoor besef je de verkeerde spierbewegingen en de correctie ervan.



Toen de Australische acteur Frederic Matthias Alexander (1869-1955) merkte dat hij zijn stem begon te verliezen, ging hij zijn eigen lichaamsbewegingen bestuderen. Als hij merkte dat hij verkeerde bewegingen maakte, verbeterde hij deze. Toen deze methode een succes bleek ging hij anderen zijn methode aanleren. In de decennia die hierop volgden kreeg Alexander veel beroemde aanhangers, onder andere: John Dewey, George Bernard Shaw, Aldous Huxley [bron?] en ook een aantal artsen en wetenschappers.



Het aantal opleidingen tot leraar in de Alexandertechniek is de laatste jaren gestegen. Wanneer je leraar in de techniek bent mag je individuele lessen geven, maar je mag ook werken in een groep of met workshops. Vele fysiotherapeuten passen de methode toe en soms verwijzen ziekenhuizen, revalidatiecentra of andere instellingen patiënten door naar leraar die gespecialiseerd is in de Alexandertechniek. De Alexandertechniek wordt nu ook gebruikt op conservatoria en toneelscholen, maar ook door atleten, dansers en sprekers in het openbaar.

Je kan lessen volgen individueel of in groep, de lessen nemen tussen de 30 en 60 minuten in beslag. Hoeveel lessen je moet volgen hangt af van de ernst van het probleem en hoe snel iemand leert om het probleem te verbeteren, maar gemiddeld zijn 10 tot 15 lessen wel voldoende om de meeste en dringendste problemen op te lossen. Tijdens de eerste lessen moet je op de tafel gaan liggen terwijl de leraar vertelt hoe de verschillende lichaamsdelen met elkaar samenhangen. Het doel hiervan is om de persoon een natuurlijke rusthouding aan te leren zodat de persoon deze houding ook thuis kan toepassen. Vervolgens wordt het lichaam van de persoon bestudeerd hoe hij de dagelijkse dingen doet, tijdens deze oefeningen legt de leraar zijn handen op de nek en schouders van de leerling om de spierspanning te voelen, terwijl hij zegt wat de leerling fout doet. Dit doen ze voor een spiegel zodat de leerling de goede en slechte gewoonten kan zien.

Meer over Alexandertherapeute kunt u lezen in het bovenmenu bij de verschillende docenten die les geven bij Vioolschool Sillem

Externe links