"[as in Brahms], in Elgar´s music (…) there is something open and dramatic." Frans Helmerson
At the beginning of the class, the master shares some appreciation about the character not only
of this concerted movement but of Elgar's language as a composer. He tries to find similarities
between Elgar and other composers. (like Brahms, for example).
From there on, they work a lot on the right arm and the bow; at times, the master suggests
some adjustments on the elbow and the grip with the fingers, trying to gain control, beyond the
fact that the student finds it “strange”.
The student's interpretation satisfies the master in general, so most of the indications point to
greater development since the interpreter can assume decision-making, always following the
structure of the concert and taking into account the instrumentation, etc.: “I'm not telling you
what vibrato you should make, but it should be more personal and with the whole atmosphere
here, of course”; “Experiment now. What your choices are later, it's your choice”.
- Different vibratos
- Elgar´s music is imperialistic
- It should not sound like baroque music
- The ricochet in upbow