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Anne aMaudPowellFan
Stephen Redfield worked with me on this piece, the Variations in A, attributed to Paganini, at the England workshop. Stephen re-invented the piece (on the spot!), bringing out the flair and grandeur of a bel canto opera, including improvisatory elements. Watching the masterclass and then the new video, I appreciate even more what a treat it was to perform the piece live for "Team Benslow" and to get such amazing input. It has been a beautiful experience. Thank you all for listening!

Anne aMaudPowellFan
8 Responses
Posted: May 22, 2017
Last Comment: June 18, 2017

Beth Blackerby
Posted: June 18, 2017
It's wonderful to see the extra spice in your playing Anne. I will share your video with Stephen. He'll be very proud!

Sylvia Gregg
Posted: June 18, 2017
I really enjoyed listening to you and watching the different techniques you performed in this piece. Well done!

Anne aMaudPowellFan
Posted: June 16, 2017
Distinct colors for variation 2
Here are two distinct colors for the low voice and the high voice in Variation 2, as per Lily's and Deidre's suggestion. It is not well integrated into the piece yet. I'd be interested, though, in your opinions. Does this go into the right direction or is the strident color too much?

Posted: May 27, 2017
Wow, Anne, I loved that! And I can totally see and hear how you've been incorporating Stephen's suggestions - especially with freer, more fluid rubato, which gives more of  a "gypsy" feel. I agree with Lily that a brighter tone color before the pizzicato might heighten the drama even more, but, like her, I'm not sure how you'd achieve that. You're so far beyond me, I think you're amazing!

I can't wait to hear what Beth says about your progress!

Mary Freeman
Posted: May 26, 2017
Beautifully done  
The finger pizz at the end is awesome
thank you for posting this

Anne aMaudPowellFan
Posted: May 26, 2017
@Barbara, that is so sweet. Much appreciated. Thank you!

@Lily, wonderful comment. In fact, all feedback on the left-hand pizzes has been so positive that I never felt comfortable about asking how to blend them in better with the rest of the section. I am thinking of toning down the ones in the first part and then, in the second half, having a dialog between the serious, grounded lower voice and the excited high-voiced pizz injections, with the pizzes winning in the end. Then, tada, all hell brakes loose for the last variation. Thank you for the inspiration. I'll experiment and keep you posted. I am also happy that you notice the change along Steven's ideas.

Lily Mo
Posted: May 25, 2017
Big improvements following Stephen's suggestions. Really liking the playfulness of the opening. There is possibly more scope for varying the string colour and dynamics to distinguish each variation. I was thinking in particular about the melody that leads into the section of left hand pizz. Your left hand pizz is so admiringly crisp and bright. Is there a way of playing the melody with a brighter colour to reflect its silvery quality (different position, closer to bridge?!  I have no idea). You style is usually so mellow and rich it would be nice to hear so bright showy pizzazz for such a virtuoso piece. This takes nothing away from your talent to even make as good a job you have so far. 

Barbara Habel
Posted: May 23, 2017
Dear Anne

how beautifully played.

I loved the upbow spicatto, the seemingly effortless shifting, especially downwards for just one note.
The perfect intonation, the romantic shift as well as the soundless shifts.
And I admire your left hand pizzicato you played so fluently.
Then the fast and nimble fingers running down the scales.
All in all very well performed.

All the best for your future playing and stay in touch with us.