"(…) what you did now with different types of energies actually helps your technical side as well." Mihaela Martin
The master works meticulously in many details of the piece, such as rhythm, color, the
relationship between the violin and the piano (sometimes a dialogue, at others times more
similar to a fight), fingerings, vibrato, bows (“Sometimes they're very long boings in this sonata, I
know. There is no real universal solution. If you feel you're too short of the bow, divide a little bit.
But it depends on where would you divide”), etc.
The Master appreciates the long notes and the energy: “(…) especially in the First Movement,
whenever you have a long note, you still have to feel that there is passion, there is a burning
wish to be romantic. Do not play long notes empty”. The master works substantially on this
topic, highlighting different resources to give life and energy to long notes.
More physical issues are also addressed: “whenever you start an up bow (…) Don't come with
the violin into the bow. Come with the bow into the violin”. This is a subject on which a lot of
work is done in the class, differentiating the position of the violinist who is moving his
instrument, as opposed to the pianist, whose instrument is always still.
- There are no long notes that are dead
- The more one feels the different sides of the piece, the easier it becomes to play
- When moving between positions, it’s recommended to be a little steadier between notes
- Giving a legato feeling and connection from the bow is important
- Swinging with the body influences negatively the sound
- The bow always needs stability to go on something
- An important note needs vibrato from the beginning
- The notes must serve a musical purpose