MENDELSSOHN, Felix
Concerto for Violin and Orchestra in E minor, Op. 64 (reduction for violin and piano)
I. Allegro molto appassionato
José Luis García Asensio, professor
Adriana Coines, student
Duncan Gifford, accompanying pianist
In this class, they work on phrasing from the beginning of the movement, and Professor García Asensio explains that you have to have fun singing and telling it. In addition, he proposes other fingerings for certain passages, and you should always try to maintain the natural position of the hand. You have to avoid glissandi in certain leaps, which is often avoided with a change of fingering. In a certain passage, you have to give it a more dramatic character and pronounce everything more. Risky fingerings should be avoided; you should always investigate new fingerings to see if they give a better result, and if not, discard them. Some expression corrections are made on the cadence. In the trill passage, you have to give it more mystery and not accelerate. The end is better planned well in terms of tempi because there are passages that go to one.
Language: Spanish
