YSAYE, Eugène-Auguste
Sonata for Solo Violin in D minor, Op. 27 No. 3
Christoph Poppen, visiting professor
Joaquín Arias Fernández, student
Professor Poppen believes that, since the student has performed the work with good technique, he should then elevate the interpretation to the next artistic level, taking it one step further. It is also necessary to achieve other colors, as well as work more in depth on the search for different sounds.
The professor explains how to begin the vibrato. The right hand should be relaxed in the heel area. There are also rhythmic issues to work on in relation to the accelerando and ritardando.
The work requires more drama, and Poppen compares it to the music of Brahms. He talks about contrast in the fermata and mentions that the bow speed is responsible for the sound quality. They also work on the bow pressure in the double strings and the dynamics within the phrases. The student should recreate an impressionistic atmosphere and control the speed and amount of bow, as well as the way of entering the string (with more or less pressure) since the sound is formed from the bow.
In the final fortissimo, the sense of development must be present by pulling the bow and not hitting it. It is necessary to look for the point of contact with more flexibility, and in moments where the bariolage technique is used, it is necessary to enter more into the string. To finish, the last chords must always be played in tempo.
Language: English
