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Marc Coppey, Beethoven, 7 Variations on 'Bei Männern welche Liebe fühlen'

Sequence published on 12/2/21
Composer : Ludwig van Beethoven
Year of composition : 1801
Artistic period : 19th century
Academy : Academy Nov. 1 - Nov. 8, 2021
Master(s) : Marc Coppey
Student : Alex Olmedo
Instrument(s) played :

"It's like telling a story. Meaning, we don't necessarily want to separate variations. They often connect differently. Sometimes we must go on, and sometimes we have time to breathe." Marc Coppey

About the Violoncelle class of Ludwig van Beethoven's work on the 7 Variations on 'Bei Männern welche Liebe fühlen' WoO 46

Master class de Violoncelle, Ludwig van Beethoven | 7 Variations on 'Bei Männern welche Liebe fühlen'

"After listening to the student's interpretation of Ludwig van Beethoven's variations on Wolfgang Amadeus Mozart themes, Marc Coppey highlights where the main melody comes from, and how the color and character of the original melody should not be lost: “The Aria character, the basic character, I don't hear enough of. I would even say this is a mini opera, in the way that it's happening through these variations. Of course, the major character is given by the theme.""
Then, the master highlights the difficulty of finding a correct balance between the elegance of Wolfgang Amadeus Mozart, and certain constitutive aspects of Ludwig van Beethoven's music: “I don't think there's anything particularly brutal or aggressive in this music, but it's more characterful, so you see more contrasted. Every variation has a certain distinctive voice, so within every variation, think about how can we bring more contrast and more life.""
"

"Later, the master and the student advance on different particularities of these variations, focusing on questions that particularly concern the cello, like vibrato, bowing strokes, sound, articulation, and so on.
How to go from one variation to another is a fundamental matter: “It is like telling a story. Meaning, we don't necessarily want to separate variations. They often connect differently. Sometimes we must go on, and sometimes we have time to breathe."""

What we learn in this Violoncelle Master class

-The major character is given by the theme
-The aria carachter must be presente
-The importance of the contrast between the variations
-Importance of breathing
-More singing
-The variations connect differently: sometimes it´s necessary to move on, sometimes it´s better to breathe.
-Projecting the sound doesn't have to do anything with playing much louder but giving a little bit more warmth and presence to the sound
-Always the same contact on every string
-Changes of strings don't mean breaking the legato
-All this first group of variations seem to rather be connected to the theme in terms of tempo
-This is an incredible piece for experiencing experimenting different sound

About Ludwig van Beethoven work

"Of Beethoven's three collections of variations for cello and piano, two were written on themes from Mozart's magic flute. All belonged to the early works of the composer and were destined for the salon. Their technical difficulty was adapted to the potential of amateur interpretation. The cycle of seven variations, a piece without opus number, on the theme ""Bei Männern, welche Liebe fühlen"" (""In men, who feel love"") was created in 1801 and published the following year. The exact circumstances of its origin are unknown; only the dedication shows that it was a gift to Count Johann von Brown-Camus, described by the author as ""the first patron of my muse."" "
"The theme of variation, taken from the duet of Pamina and Papageno in the first act of Mozart's opera, allowed the instruments to dialogue on equal terms. The structure of the cycle is simple and conventional: the middle variation stands out with its minor mode (E flat minor), the last three are all in different time. The melody of the theme (Andantino, E flat major), with its dance traits, almost fades into the virtuous figurations of both instruments and only returns in the final variation. The most sung and lyrical variation (Adagio) precedes a long and happy ending (Allegro). "
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