On February 12 and 14, Joshua Roman takes the stage with the Pittsburgh Symphony Orchestra for the first time, performing Dvořák’s beloved Cello Concerto under the direction of Slovakian conductor Juraj Valčuha. During a recent performance of this work, Joshua used “poise and tenderness as his angle of attack, painting Dvorák’s brooding melodies with golden retrospection and mellowness of tone,” according to The Scotsman.
The program also includes Tchaikovsky’s Romeo and Juliet Overture, Wagner’s “Prelude und Liebestod” from Tristan und Isolde, and excerpts from Bizet’s Carmen. Find tickets and more information here.
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Friday, February 5th, 2016
This is very rare for me. I was brought up to not use music – in fact, it was not allowed in lessons at all. Memorization was not another step, it was simply part of “learning the piece”, and if you had learned the piece, you wouldn’t be using the music. It seemed simple enough, so that’s what I did for the first ten years of my musical life – never having the sheet music in front of me at a lesson, unless my teacher wanted to show me a rhythm or note I’d misread.
I do believe that as an approach, when coupled with the right techniques for internalizing music, this is the most effective method. It makes memorization a natural part of the process instead of something to be feared. Also, many of my friends growing up would save memorization for last, and in my experience, the thing saved for last is always the one that carries the most anxiety. This is as much to do with the placement in the order of things as it is to do with the actual task itself.