"Perfection is a must. It's what you do. First, it has to be perfect, you can't be making mistakes all over the place." Sharon Kam
From the beginning of this class, the master emphasizes the importance of knowing the editions
of this concert (“There's a lot of difference between this edition dynamically, accents, notes,
everything. It's very, very, very different than the original Weber manuscript, which we can follow
During much of the class, the master will give the student directions to help him perform an
interpretation that must be perfect (“the only reason to play it is if you can really master it. And
part of really mastering it is never breathing. So if you can't do the fingers and you can't do
without the breath, don't do it”). For this, first, he has to make it work, starting from the simplest
and then reaching the most complex: “Don't do the extra-curriculum if you can't get a good note
on the non-extra-curriculum. I really recommend you not to play it before you really master the
They work together on intonation, breathing being the central issue, on the character, dynamics,
tempo changes, etc. To perform a perfect performance, one has to master all: “the first thing
that you do by playing a concerto is really owning every note, every breath, every ornament of
every ... The intonation… Everything”, “The whole idea of playing a concerto is being beyond
human, being a superman. The superbness doesn't happen if about your breathing”.
- [about the cadenza] One can't do it halfway.
- The importance of intonation
- The importance of connecting the notes; sometimes, even without breathing
- How to make the notes of the high register sound more round.
- Sometimes it just changes the color, not the intonation
- When deciding where to breathe, one should listen to his body
- Playing a concerto is about being taken by the abilities of the person standing there.
- One should never leave a note alone
- The fingers and the tongue need to be synced.