BEETHOVEN, Ludwig van

Sonata for violin and piano in C minor op. 30 no. 2

I. Allegro con brio

Miriam Fried, guest professor

Jacobo Christensen Fabuel, student

Alina Artemyeva, accompanying pianist

Prof. Fried starts the masterclass asking about the primary character for this movement: it is dramatic, so the sound quality should describe this character. To achieve that, the student must use the sound and the direction of the movement. Drama has to be created by the performer because the notes do not have it.
Miriam Fried also comments that dynamics in Beethoven have an important structural function: the student can use them to accumulate tension. Besides, the professor highlights the importance of the harmonies those need to be reflected in the sound. This sound not always should be equal neither always pleasant.
About chords, Fried recommends the student not to play so loud the chords out of the pulse, and they work how to attack them. Fried also recommends playing them differently depending on harmonies. She also advises playing closer the bridge with a faster vibrato to get more brilliant chords.
Afterwards, Fried mentions that rhythm is more important and intense and therefore the accent must be played in proportion to that: this music is full of joy and not so serious.
After some comments on articulation, she points out that it is necessary to enjoy with the form, like a game of arpeggios and scales, playing in rapport with the piano and with dynamical contrasts.
Besides, they talk about the concept of sound production and Miriam Fried gives more recommendations about bowing and fingering. They also comment the relationship between tonalities and colors, and the connection between emotion and motion: the motion of the arm must translate the emotion of the music.
Finally, they consider the importance of knowing how to explain what the performer wants to transmit.

Language: English