"The music is not polite and diplomatic” “When we use the whole bow it's almost always with more than one speed." Frans Helmerson
Throughout this class, the master works on different matters concerning vibrato, sound, bow,
repetitions, and expressiveness. The particularity is that he starts from the premise that “there in
the audience, there is almost always somebody (…) who have never heard the piece before.
You should captivate them. They may also be two or three colleagues who have played the
Dvořák Concerto many times in concert. You should captivate them, too”. The accent is placed
on paying attention to details to captivate the entire audience.
The master highlights the poetic power of the concert –which is a masterpiece for the
instrument-, and the different levels of understanding and expression that some fragments
possess. Then, he stops at the details (for example, about the bow: “When you start a strong
note, don't start from the hair”), knowing the limits to avoid the “bad taste” (“sometimes we need
to look for where the limit because that's when we express everything. Otherwise, it's like we
are polite and diplomatic. The music is not polite and diplomatic…”), and insisting on
the complexity of the repetitions (“nothing should ever be repeated. Imagine a writer, writing a novel and repeating the same sentence. It cannot be repeated”).
- When the whole bow is used, it's almost always with more than one speed
- Nothing should ever be repeated
- The development of the vibrato must be considered
- It is absolutely cadenza, but cadenza has to have some kind of logic
- For obtaining a big sound it is better to bring the bow closer to the bridge than to use more
force from the arm
- It is important to have an idea in which there is a little more density and where the player
needs to get out of the density