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Encounter of Santander
Poème for solo violin and orchestra op. 25 (violin and piano reduction)
I. Allegro non troppo
Miriam Fried, guest professor
Mon-Fu Lee Hsu, student
Anna Mirakyan, accompanying pianist
First, Professor Fried recommends the student to be always aware of the sound, its functions and development. She talks about vibrato in relation to the phrasing.
Fried explains the limitations of the violin as an instrument, so it is advisable to move within these borders. She corrects some concrete aspects to the student: the arrival to the high pitch, the head position and the way to use the weight of the arm.
Fried explains issues related to counterpoint, accompaniment and relaxation.
It is necessary to plan a passage in 'agitato' character, taking into account the moments in which we let go of the energy.
They work on trills, character, accents, dynamics and expression.
In passages where we give more and more bow, the music slows down so because the bow brakes because of the friction. It is a physical question. So, the more sound we want to get, the less bow we have to use.
Finally, Professor Fried talks about the interaction with the orchestra. The question is not to play loud, as it is not a musical concept, but to set up a conversation between both instruments (or between the orchestra when there is an orchestra instead of a piano). The character of the last passage should be played with more fantasy, listening and enjoying the harmony, and feeling the magic of the music.