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Isabel Charisius, Joachim, Hebrew Melodies

Sequence published on 2/16/21
Composer : Joseph Joachim
Year of composition : 1854
Artistic period : 19th century
Academy : Academy Feb. 14 - Feb. 21, 2021
Master(s) : Isabel Charisius
Student : Lior Kamanga
Date of recording : 10/22/21
Instrument(s) played :

""Be careful about what to do in the pause”, “It's a bit more like dancing even if it's very slow and sad. You can also dance very slowly and sadly." Isabel Charisius

About the Alto class of Isabel Charisius on the Hebrew Melodies

Master class Alto, Isabelle Charisius | Joachim, Hebrew mel.

This master class aims to improve the sound quality of cantilevered music. The use of vibrato with
different types of endings makes the melody more embossed and expressive. The vibrato techniques
variety options are considered. To improve concentration, deep breathing is recommended before
starting the performance. To achieve the required timbre and character of the sound, it is necessary to
pay attention to the possible correction of the acoustic features of the instrument with the articulation
techniques. The master highlights the importance of the balance between soloist and accompanist for
expressive performance. The pauses are a continuation of the melody. They also have a semantic
load. 

What we learn in this Alto Master class

- To focus the attention on the ends of vibratos
- To train the continuous vibrato with two fingers
- To relax and breathe before the start
- To compensate for the features of the instrument by changing the sound-producing
- To hear the partner and make complementary performance
- To keep energy and focus in the pauses

About Joseph Joachim's work

Joseph Joachim (Hungarian: Joachim József, 28 June 1831 – 15 August 1907) was a Hungarian violinist, conductor, composer, and teacher who made an international career, based in Hanover and Berlin. A close collaborator of Johannes Brahms, he is widely regarded as one of the most significant violinists of the 19th century.
Joseph Joachim's Hebrew Melodies, Op. 9 were composed some time in 1854 or 1855, a good 40 years after the publication of the poems that inspired them. They were subtitled ""From Impressions of Byron's Poems"". The poet Lord Byron, in collaboration with Isaac Nathan, an English composer of Jewish heritage, published in 1815 a set of 29 songs, also entitled Hebrew Melodies, which are today better known simply as poems; the music is largely unheard and difficult to come by. Probably the most famous of all the poems in the collection is ""She Walks in Beauty,"" which has proven itself to be among Byron's most immortal works. Joachim, like Nathan, was Jewish, and drew from similar liturgical sources when composing this setting, though Joachim limited himself to three movements in this piece. The work is mostly dark in color and beautifully exploits the viola's ability to express sadness and lamentation. The first two movements, Sostenuto and Grave, are in the minor and filled with melancholy and pathos. The third movement, Andante cantabile, is mostly pastoral in character although the middle section is quicker and more dramatic.
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