The concertmaster position has evolved into one of the most essential positions in an orchestra. The demands associated with the position make it a rigorous chair to occupy. The concertmaster is responsible for a number of duties that are critical for an orchestra’s success. These duties include serving as a liaison between the orchestral musicians and the conductor, being in excellent form as a violinist, and being prepared to lead any score and play any solos in the pieces being performed. A vast knowledge of string instruments and an understanding of an orchestra’s capability is also important. These are key factors for teaching specific techniques and clearly interpreting the composer’s and conductor’s interpretive wishes. Interpretive ideas are unified throughout a string section using specified bowing techniques. Bowings solidify musical ideas for the entire string section. Concertmasters decide bowings primarily based on the first violin part. Subsequently, the bowing decisions are distributed to the other principals. Through the specification of bowing, concertmasters define articulations and other important elements of bowing to shape musical phrases. Concertmasters are relied upon for careful consideration of bowings that will obtain appropriate results, based on knowledge of a bow’s physical qualities and its relationship to various musical styles. Bowing challenges for a concertmaster involve coordinating orchestra members’ inherently different styles of string playing and musical interpretations. Concertmasters, like orchestras, are unique and must adapt to diverse situations. In addition to determining bowing, the concertmaster leads the string section from the front desk through his/her sound and through gestures, which communicate musical intent. This essay presents various approaches for bowing different styles of music. One chapter provides an overview of the concertmaster position. The second chapter concentrates on the various bow strokes required in a score, each accompanied by brief descriptions. Finally, the third chapter explores different ways to play a variety of musical examples ranging from the classical era to modern day compositions. Each example demonstrates multiple approaches for deciding on reasonable bowings. The Appendix consists of bowings of major compositions that were used in performances. A glossary of terms every concertmaster should know is also included.

Koncertmeisterio sąvoka mums visiems gerai žinoma, tačiau siekiant įsigilinti į jo darbo specifiką ir interpretacijos ypatumus, susiduriama su problema. Pastebima, jog ši veiklos sritis nėra pakankamai išanalizuota, pasigendama literatūros skirtos akompanavimo menui. Bakalauro darbe ir meniniame projekte siekiama apžvelgti ir apibendrinti interpretacijos sampratą įvairiais aspektais. Siekiama išanalizuoti koncertmeisterio darbo specifiką, išskirti svarbiausius bruožus, kuriais turi pasižymėti koncertmeisteris. Taip pat apibendrinami ir išskiriami svarbiausi vokalinių kūrinių interpretacijos ypatumai koncertmeisterio darbe. Baigiamojo darbo tikslas – atskleisti vokalinių kūrinių interpretacijos ypatumus koncertmeisterio požiūriu. Darbui pasiekti iškeliami šie uždaviniai: pateikti interpretacijos sampratą filosofiniu, edukologiniu ir muzikiniu aspektu; atskleisti meno (dailės, literatūros) kūrinių interpretacijos sampratą; išanalizuoti koncertmeisterio darbo specifiką; atskleisti vokalinių kūrinių interpretacijos ypatumus koncertmeisterio darbe; pateikti meninio projekto vokalinių kūrinių interpretacinę analizę. Šio darbo objektas – vokalinių kūrinių interpretacija koncertmeisterio darbe. Metodai, kurie šiame darbe buvo naudojami – informacijos apibendrinimas – sisteminimas, mokslinių šaltinių analizavimas, meninio projekto vokalinių kūrinių interpretacinė analizė, meninis projektas – koncertas. Išanalizavus mokslinę, metodinę, literatūrą gautos šios išvados: pagrindinė... [toliau žr. visą tekstą] / The conception of concertmaster is well known to us, however, we encounter a problem when we try to fathom out the work peculiarities thereof and singularities of interpretation. It is noticed that the above sphere of activities has not been analysed well enough, we lack literature intended for the art of accompaniment. It is sought to review and to generalize the conception of interpretation from different aspects in the present Bachelor Thesis and the Artistic Project. It is sought to analyse the work peculiarities of a concertmaster, to distinguish major features which should be characteristic to a concertmaster. Major peculiarities of interpretation of vocal pieces within the work of a concertmaster are generalized and distinguished as well. Aim of the Final Paper – to reveal the peculiarities of interpretation of vocal pieces from the point of view a concertmaster. In order to achieve the above work, the following tasks have been set: to provide the conception of interpretation from the philosophical, educational and musical aspect; to reveal the conception of interpretation of pieces of art (fine arts, literature); to analyse the work peculiarities of a concertmaster; to reveal the peculiarities of interpretation of vocal pieces within the work of a concertmaster; to provide an interpretational analysis of vocal pieces of the Artistic Project. Subject of the present Paper – interpretation of vocal pieces within the work of a concertmaster. Methods used in the present... [to full text]

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.

The role of the first violinist in a professional symphony orchestra is rarely only to perform. The position of concertmaster, at the professional level, generally constitutes a wide range of responsibilities and activities, not necessarily restricted to the realm of music-making. The present research utilized interviews with five concertmasters of professional Brazilian symphony orchestras in order to respond to the following questions: What is the role of the professional concertmaster? What musical and educational experiences defined the paths of current professional concertmasters in Brazil? What is the scope of their responsibilities as concertmaster? Lastly, what are the expectations of these concertmasters for the future of their own careers, of their Orchestras and of professional Brazilian symphony orchestras in general? After a systematic categorization, twenty-eight professional Brazilian symphony orchestras were identified. The concertmasters of fifteen of these twenty-eight orchestras were contacted with an invitation to participate in a recorded interview. Ultimately, the invitation was accepted by two current and three former professional concertmasters. Analysis of the information gathered through the interviews was further expanded by an investigation into the careers of 16 additional professional concertmasters from various countries who were cited in the present research but not personally interviewed. Several trends were revealed within the life paths and professional perspectives of the concertmasters. Of the five concertmasters interviewed in Brazil, four received musical training outside of South America during their formative years. All five serve or served as music educators in addition to their orchestral work: three at the university level and two with younger students. Only one of the five interviewees passed through a strictly traditional audition process in order to assume the position of concertmaster. Of the 21 professional concertmasters about whom data was collected (including the five interviewees), at least sixteen held the position of concertmaster several times before assuming the role in a prominent orchestra. Five of the 21 concertmasters (including two of the five interviewees) eventually branched into the realm of symphonic conducting, while at least twelve of the 21 did not. Seventeen are or were employed as music professors at the university level. All 21 of the violinists cited within the present research performed solo and/or chamber music regularly throughout their orchestral careers. Ultimately, the interviewees emphasized the following four characteristics as the basic requirements of effective concertmastership at the professional level: (1) technical ability, (2) two-way respect of colleagues, (3) natural leadership/firmness, and (4) a supportive relationship with the conductor.