Paganini’s Warmup

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Stanislav Pronin began his violin studies in Israel with his grandfather, Veniamin Pronin, a student of Pyotr Stoliarskiy and former Professor at the Odessa Conservatoire. He continued his studies at Indiana University with Nelli Shkolnikova and Jaime Laredo, and later at the Hochschule für Musik Köln, Germany, with Professor Zakhar Bron.
Stanislav’s professional career began following his solo debut in Israel at the age of 10. He has performed as soloist and chamber musician at many festivals including Verbier Festival and Interlaken Classics in Switzerland, Banff Festival and Stratford Festival in Canada, Kronberg Festival in Germany, Skanderborg Festival in Denmark, etc. He performs regularly in USA, Canada, Europe, Scandinavia and Asia in such venues as Berliner Philharmonie, Carnegie Hall, National Arts Centre Ottawa, Perlman Theatre in Philadelphia, Palais des Beaux-Arts in Brussels, Guangzhou Grand Theater, Teatro Colon in Buenos Aires, Wuxi Grand Theater (China), KKL Luzern, Salzburg Festspiele, Paris Philharmonie, Royal Festival Hall and Royal Albert Hall in London, Shanghai Oriental Arts Center, Semperoper in Dresden, and so on. He has collaborated with numerous conductors including Daniel Barenboim, Teodor Currentzis, Leonard Slatkin, Tobias Ringborg, Antonio Mendez, Sigiswald Kuijken, Michael Schonwandt, Lior Shambadal, Leif Segerstram, Marc Soustrot and Joshua Weilerstein. As chamber musician, he has collaborated with Jan Lisiecki, Jaime Laredo, James Campbell, Mark Kaplan, Pavel Vernikov, Jeanne Marie Conquer, Barry Shiffman, Bion Tsang, Orion String Quartet, Victor Danchenko, Julian Milkis, Alexander Zemtsov, Jan-Erik Gustafsson, Anton Nel, Emille Naoumoff and Lera Auerbach.
In addition to solo and chamber music, Stanislav is an experienced orchestra musician. He has been invited to perform as Concertmaster with Aarhus Symphony Orchestra and Odense Symphony Orchestra in Denmark, Austin Lyric Opera in the USA, Berliner Symphoniker, Beethoven Bonn Orchestra, Oldenburgisches Staatsorchester and Freiburg Philharmonic in Germany, Musikkolegium Winterthur in Sweitzerland, Estonian National Symphony Orchestra in Estonia, City of Birmingham Symphony Orchestra in the UK and Singapore Symphony Orchestra. Additionally, he often tours with the West Eastern Divan Orchestra at the personal invitation of Daniel Barenboim, and most recently with Utopia Orchestra at the invitation of Teodor Currentzis.
An avid music educator, Stanislav regularly teaches violin and chamber music masterclasses worldwide. He has been Guest Professor at the Estonian Academy of Music and Theater since 2014. Additionally, he had held an Artist in Residence position at the University of Texas at Austin, and had given masterclasses at regular visiting Professor at the Royal College of Music in London, Royal Welsh College of Music and Drama in Cardiff, Sibelius Academy in Helsinki, WWU Munster, Stoliyarski School of Music in Odessa,
Lübecker Musikschule, Jerusalem Academy of Music and Dance in Israel, assisted Professor Zakhar Bron at the Kronberg Academy, and had been guest faculty at such festivals as Summit Music Festival (NYC), Alion Baltic (Tallinn), and Summer Talent Music Festival (Brescia) along with fellow faculty members s.a. Aaron Rosand, Steven Isserlis, Ida Haendel, Albert Markov, Dmitry Bashkirov, etc. Stanislav is also a member of Play With A Pro online teaching community.
Stanislav is a recipient of multiple awards from such organization as the American String Teachers Association, America-Israel Cultural Foundation, Canada Council for the Arts and Classical Artists Development Foundation. He plays a violin by Antonio Stradivari on generous loan by an anonymous patron, with the kind assistance of Florian Leonhard Fine Violins Fellowship.

[@binahdelille724]

Thank you for your tips for warm up. I think they are more suitable for advanced players. But can you propose for beginner and intermediate players?

[@spviolinist5555]

Whether you’re a beginner, intermediate or advanced, violin playing is essentially an adjustment process. Even in the early stages of your development, you should strive to listen to your body and how it responds to the various routines you confront it with. I would suggest Dont caprices op. 35 as an alternative or precursor to the Paganini. After you’d tackled Dont’s #1,7,8,11,12,15 etc. you will have much less of a problem with Paganini’s Capricci 👍