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Fried Miriam, Beethoven, Sonata No.7

Sequence published on 12/2/21
Composer : Ludwig van Beethoven
Year of composition : 1801
Artistic period : 19th century
Musical category : Sonata
Academy : Academy October 24 to 31, 2021
Master(s) : Miriam Fried
Student : Aijia Li
Instrument(s) played :

"what you want to communicate is the essence of this music, which is, as I said, very, very dramatic, very active, but very much exploring a breadth of human emotions." Miriam Fried

About the Violon class of Ludwig van Beethoven's work on the Sonata_No.7 op.30 No.2

Master class de Violon, Ludwig van Beethoven | Sonate_No.7

"Miriam Fried says that this movement, Ludvig van Beethoven's Sonata No. 7 for violin and piano, is very serious, but also mysterious and dramatic. The master is interested in highlighting the contrast between these different characters. To this, Fried adds the importance of feeling a certain discomfort. “If the character is dramatic and somewhat mysterious and maybe stormy,"" says the master, ""I would say that comfort is not part of that, you can't describe a storm with comfort.""
Together with the student, Miriam Fried works closely to achieve an interpretation that understands how the dialogue between the violin and the piano should be (differentiating, at times, with both hands as separate parts). For this, she carefully observes the indications of dynamics, accents, phrasing, and etc. On the bows, Miriam Fried indicates that ""Ludvig van Beethoven did not write bowings for violin, he wrote phrase marks.""
"

“Ok, so what is the character here? It's more fun. You don't look like you're having fun at all. That doesn't sound like fun. Just think you're playing for an audience, right? There's a group of people there, you don't know them, but you want them to love this piece and you're telling them that it's really fun. You must make them believe it." Miriam Fried works with the student to achieve a change of character, so that he can give an account of what the music is saying: “what you want to communicate is the essence of this music, which is, as I said, very, very dramatic, very active, but very much exploring a breadth of human emotions."

What we learn in this Violon Master class

-This movement has a serious character
- Beethoven uses dynamics for structural instructions
-Sometims, the violin must embellishment the piano part
-Importance of thinking what is the optimal amount of bow to use
-Ludvig van Beethoven did not write bowings for violin, he wrote phrase marks
-Syncopation is always very dramatic

About Ludwig van Beethoven work

"Ludvig van Beethoven wrote his first violin sonatas, a set of three (Op. 12) between 1797-98. Six more appeared by early 1803, making a fairly compressed time span for a medium in which Ludvig van Beethoven only wrote one more, which appeared in 1812. All but the last one were written before the composer was 32 years of age. Yet all of them, to varying degrees, show Beethoven straining at the reins that tied him to the genteel world of eighteenth-century classicism in his early years. The first movement of this Sonata opens with a darkly mysterious, almost menacing subject divided into several epigrammatic components, a subject eminently suitable for development later on. The strongly contrasting second subject in E-flat major, march like yet playful, is introduced by the violin. The slow movement is one of heavenly beauty. The scherzo movement truly lives up to its title, “Joke,"" since it's witty, playful, full of rhythmic quirks and rough humour. The finale returns to C minor and, unusually for a large-scale work that opens in the minor tonality, finishes in the minor. Relentless dramatic tension and emotional strife mark this uncompromising movement."
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