MOZART, Wolfgang Amadeus
Concerto for Violin and Orchestra No. 3 in G major K 216 (reduction for violin and piano)
I. Allegro
Miriam Fried, guest professor
Kamran Omarli, student
Vadim Gladkov, accompanying pianist
After commenting on Oistrakh’s cadence, the professor begins to work on a very important aspect: the mood in the music. She develops this point by talking about Mozart’s character and its influence on his music, and how the same mood has to control both the way of studying and the way of interpreting the piece, the importance of clarifying the emotions that the music causes in us, and the need not to forget why we make music. The class continues by explaining Mozart’s harmonic resources and how they establish the character of the work. Fried occasionally mentions the operatic character of some passages and the balance that needs to be achieved with the orchestra.
We must always maintain motivation while playing. It is what makes an interpretation special. The key is not to pursue perfection because that is not really what matters – she gives some examples of musicians who seek something more than a mechanical interpretation, such as masters Stern, Menuhin, Oistrakh, Milstein. Another requirement for achieving a deep understanding of the work is to integrate the small units -rhythmic or melodic motifs- into large formal units and to think in large dimensions.
To conclude, Fried recommends that the student pursue proportion in all aspects, such as gestures, dynamics, phrasing, articulation… because it is what gives meaning to an interpretation.
Language: English
