BRAHMS, Johannes
Sonata for Violin and Piano No. 3 in D minor, Op. 108
I. Allegro
Robert Levin, guest professor
Ravel Duo
Jacobo Christensen Fabuel, violin
David Khrikuli, piano
Levin begins by making some comments on the Brahms editions (Breitkopf and Henle). After the students play the entire first movement, the professor shares his doubts regarding the tempo, as it is an Allegro “alla breve” and they are playing it in 4 rather than in 2. It is not so much about changing the tempo, but rather the way of feeling it internally in 2. The “tranquilo” passage should also be played in a more relaxed manner; it is more a matter of character than of tempo.
The balance between the piano and the violin in this sonata is complicated, also due to the way pianos are built today: therefore, the pianist must seek a more transparent sound.
In Brahms, the opposing hairpins indicate that it should be played rubato, with more flexibility.
Returning to the beginning, they review the expressiveness. The entire piece produces a feeling of agitation, like waves, which the violin must express more. There are worries and confused thoughts in this music.
Skipping to the development, he makes some comments regarding the articulation, harmony, character, and the phrasing required to express it more appropriately, as well as the sound quality for certain moments.
Language: English
