This is how it should be done,

I am writing these words from Krakow airport after an intense but very satisfying week. I am coming back from a festival in Zakopane after being invited by Janush Wawrowski, one of my dearest friends, a student of my father (and I am proud to say I have been on the teacher seat for him as well). He is a fantastic violinist and a complete artist and you should check him out, especially the amazing version of Paganini caprices for violin and cello (arranged and performed by the phenomenal Marcin Zdunik).

This was his (and his talented wife, Bogumita Dziel) first experiment with making a festival, called "music in the mountains" and it featured artists such as the Kronos Quartet, the pianist Ewa Problocka and another dear friend of mine: the violin virtuoso Vadim Gluzman.

The festival was planned to showcase Polish music, which is mostly unknown even in Poland, and it certainly was an education. The Polish people have warm hearts and romantic souls and this is reflected in their music. I recommend wholeheartedly listening to Noskowski piano quartet, especially the divine second movement which is Brahmsimian like in its expanse. Vadim played the wonderful Karlowicz serenade, which is an absolute must for any violinist. Check out the polish romantic composers, ladies and gentlemen, there are real gems out there.

What I loved about this festival was the seriousness of the musicians, some of them in their early twenties. Poland is slowly becoming an exporter of fine musicians and every single one of the people I listened to or played with was accomplished and ready. Rehearsals were serious but also fun; everyone knew their scores and could "hold it together". Most important, there were no "egos" at play, not even when arguing about musical ideas, you said your flash of inspiration and if people did not like it, well, then you just went along with whatever most people feel like doing. The result was mind blowing. The last concert featured Schubert Trout Quintet, Krogulski octet (fun and funny piece) and Brahms sextet no.1 which rocked the house.

We all stayed in good hotels, had fine meals, receptions after every concert some of us perfected our pool playing technique. We played hard, and then we partied pretty well too, and believe me, after 8 hours of intense rehearsal lowering one self into a warm, bubbly Jacuzzi is not a luxury, it is a necessity.

So I got to play wonderful music, with amazing musicians, made some friends, partied, oh, and got paid for it too... Every once in a while comes and experience which makes you happy being a musician and this was definitely one of them.

The Bubble

This was a phone conversation around eight months ago:

Vesa: eyal, do you happen to play the viola?

Me: What are you talking about, I thought we were friends, how dare you imply…

Vesa: because if you do, we can play the concertante together.

Me: Of Course I can play the viola…

So I learned to play the Viola and flew to New Zealand.

Every time I go to New Zealand I come back rejuvenated. The country is beautiful, the people are just the nicest in the world but the best part of the trip is meeting my friend, Vesa-Matti Leppanen, who is the concert master of the NZ symphony orchestra. Every time we meet I learn something new (and not just how to play a new instrument).

This time I learned about the Bubble (or "the circle"); a technique Vesa uses on stage when playing solo, especially with orchestra. I have tried it myself and I wished I knew this years before, it is very effective.

The idea is that going on stage to play a concerto, with an orchestra behind you and hundreds of people in front of you can be a tad overwhelming…

In the rehearsal you find the space around you that you define as "mine" and create in imaginary circle. Inside the circle you are safe; nothing can come in, only come out. You play within the circle like playing inside your room, with your eyes fixed to the edge of the circle to stop them moving around the place (which can lead to all sorts of trouble).

There are three of those circles which increase in size. The smallest one is saved for those difficult passages and moments, the largest one is for the moments you want to include the audience and you can switch between them at will.

Thank you Vesa…