Sonata No. 3 in C Major, Op. 12, 1st movement
Sonata No. 3 in C Major, Op. 12, 1st movement
Ludwig van Beethoven
Produced by the Saline royale Academy in October 2020 at Arc-et-Senans.
In this session, Professor Boris Garlitsky and student Pauline Van der Rest embark on a Beethoven journey with the Sonata No. 3 in C Major, Op. 12, 1st movement for violin and piano.
Professor Garlitsky explains that the piece is full of colors, is very tonic and that great cooperation is expected between the piano and violin. It is paramount that Pauline, his student, pays attention to the many nuances of the sonata, especially the piano parts.
When the violin is alone, the violinist is freer. Sometimes, the piano is the star, and the violin is the bass, the backbone of the piece. Pauline Van der Rest is told to be careful when the tempo is fast because it is easy to be late. She also must extend the cord in the air in many passages and pull on her bow to give the piece its character. In the meantime, like many student violinists, Professor Garlitsky tells her to not play at the heel of the bow too much. Beethoven’s piece also calls for vulnerability, something that can be achieved by ‘vibrating without vibratos’, as he explains it.
Finally, the student is told that it is especially important to take pleasure in playing the difficult parts.
Pay attention to the many nuances of the piece.
Take pleasure in playing the more complex parts of the piece.
Extend your cords in the air for smoother playing.
Keep up with the tonic tempo.
Cooperation and listening to the piano are key in this piece.
This is style. This is the heart. You can always give a bit more!
Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this violin masterclass. Please note that this piece has been annotated in accordance to Boris Garlitsky’s feedback and comments.
In 1982 he was the winner of the Premio Paganini in Italy.
"Boris Garlitsky is an extremely lively musician of high intelligence and flexibility, with a wonderfully round tone and solid reliable technique... Concert Master of the London Philharmonic Orchestra, Mr. Garlitsky measures up to every Concert Master of the world’s top orchestras, such as New York, Vienna, Berlin etc., and can play an outstanding role in all leading international orchestras.” These are the words of Kurt Masur, one of the greatest conductors of the 20th century, with whom Boris Garlitsky worked together throughout many years. And still, Mr. Masur’s words grasp but a part of Boris Garlitsky’s musical richness.
In 1982, Boris Garlitsky won the Italian Paganini Competition and began his career as a soloist. Since then, he has played, among others, with the London Philharmonic Orchestra, the Vienna Radio Orchestra, the Chamber Orchestra of Philadelphia as well as the Milan based Giuseppe Verdi Orchestra and the British Orchestra of the Age of Enlightenment. His interpretations of Shostakovich’s violin concerto with the Orchestra National de Lyon were praised in the press. “The intensity and irresistible force of persuasion brought to it by all the skill of Boris Garlitsky was worthy of the work’s first interpreter, David Oistrakh”, the Lyon Figaro commented. Mr. Garlitsky is an active participator in several international music festivals. He regularly takes part in the Pablo Casals Festival in France, Mostly Mozart in New York, the London Proms, the Schleswig-Holstein Music Festival and Gidon Kremer’s Chamber Music Festival at Lockenhaus in Austria. Also, Mr Garlitsky performs for the BBC, Radio France as well as a number of radio stations in Italy, Russia and the United States. He has recorded for RCA, Naxos, Chandos and Polymnie. “Boris Garlitsky was a worthy partner of Anne-Sophie Mutter in Bach’s double concerto, performed together with the London Philharmonic… Let us concentrate on the gigantic chaconne from the partita in d minor for violin solo: Mr. Garlitsky’s interpretation as such made this a concert of outstanding class. Highly differentiated and uniquely colourful in play, Mr. Garlitsky’s brilliant intellectual understanding of the piece and expressive characterisation of the individual variations reflected the authenticity and individual depth of the artist’s Bach interpretation” (Dr. Karl Georg Berg).
Garlitsky is an outstanding chamber musician and member of the Hermitage String Trio, praised right and left in critical reviews: “… undoubtedly one of finest of its type, with discipline and musicianship second to none”(www.classicalsource.com); “true brilliance! This ensemble will do much to put more string trio repertoire on the musical map” (Strad); “with virtuosic elegance and, above all, affection” (Hexham and District Music Society); “that gentle exaltation of chamber music which passes by the dramatic gestures of symphonic music but rather expresses intimate and the profound, which goes straight to the heart and transports you to a dream” (Nice Matin). Mr. Garlitsky’s repertoire is amazingly rich. Among his partners are Pinchas Zuckerman, Gidon Kremer, Marta Argerich, Anne-Sophie Mutter, Vadim Repin, Truls Mork, Maria-Joao Pires. Last but not least, Mr. Garlitsky is so popular among his colleagues due to his amiable character. “Garlitsky’s charisma is glaringly obvious. And how! A first violin of such imposing presence is a blessing for any ensemble” (La Montagne).
Born in Russia, Mr. Garlitsky received his first music lessons from his father, the author of the standard textbook for young violinists, “Step by Step”. He studied with Professor Yankelevich at the Moscow Conservatory, and afterwards worked as the Concertmaster for the Moscow Virtuosi and the London Symphony Orchestra, the Covent Garden Opera, the Vienna ORF Orchestra, the Hamburg Philharmonic and many more.
Today, Mr. Garlitsky devotes a large amount of his time to education. He holds a chair at the Folkwang Universität der Künste, Essen (Germany). In addition, Mr. Garlitsky offers master classes on a yearly basis at the most renowned music institutions including the Curtis Institute in Philadelphia, the Peabody Conservatoty in Baltimore, Hanns Eisler Musikhochschule in Berlin and Kronberg Academy. “He is also very successful as a teacher and his instruction would be an enrichment for any musical institution, be it orchestra or music academy. His knowledge, his energy, his honesty and his ability to connect with people and create harmony are in my opinion the quintessence of why he can serve as a role model and ‘leading light’ for the young generation.” (Kurt Masur)
The famous sonata for violin and piano by Ludwig Van Beethoven is a genuine tribute to Mozart. It moves away from what people call “pure Beethoven” and is a more introspective piece where the violin and piano are trying to achieve a great cooperation. It was composed in 1798, was officially dedicated to Antonio Salieri, and has three movements, played in about 18 minutes.
Born in Bonn, Germany in 1770, Ludwig van Beethoven is one of the most mainstream references of Classicism — a pianist, composer, and an unequivocal genius. Descending from a long line of musicians, Beethoven studied music from an early age, beginning with the piano, clarinet, and the organ. At the ripe age of 11-years-old, Beethoven received his first job as a court organist, replacing his own teacher for a period of time. A veritable young prodigy, Beethoven was publicly compared to Wolfgang Amadeus Mozart, and a few years later, the young musician traveled to Vienna to briefly study under the tutelage of Mozart himself. In his late 20s, Beethoven noticed difficulties with his hearing and by his mid 40s, he was completely deaf and unable to vocally communicate. Despite this misfortune, he remarkably continued to compose music. Beethoven’s Symphony No. 9 was written after he had entirely lost his hearing. While his early musical career heavily reflected the Viennese Classical tradition inherited by the likes of Mozart and Haydn, Beethoven achieved a unique revolutionary identity by the end of his career. Deceased in 1827, his wake was a public event that gathered around 10,000 people. Despite his passing, Beethoven’s legacy lives on. His works anticipated many of the features that would characterize music in the romantic era and even that of the 20th century.