"You're offering me too many things. I don't know who you are. I can't follow your character (…) Decide who you are." Sharon Kam
One of the main aspects of this piece, according to the master, is thinking that Mozart is
somehow coming from opera, so the interpreter needs to be more specific about the characters
and also their development: “they can change their feelings or their emotions within a part. So
it's not always the same person staying the same as they are. So it's a more intelligent story
than that, basically. And I find sometimes you sort of fall from one to the other too quickly
instead of making each character alone and then developing them.
In this sense, a large part of the indications made by the master aim to achieve not only a
differentiation of each character (and for this a work is carried out on the sound, color, phrasing,
etc.) but also of its development, that is the extension in time of each character and, in turn, the
contrast between each of them.
“What is the difference of storytelling between what is coming and what happened before?”: the
class seeks to answer this question.
- There's so much drama going on harmonically
- In a long-phrase, the interpreter must not be so earthy but more lyrical. Also, in these long
phrases, simplice is needed
- The musician must understand the phrase
- A note alone does not have to be left alone
- Fingers and tongue must be coordinated
- The beginning of the staccato is important.
- It's always having the tension, just a little bit more and a little bit less.