Violin Sonata No. 8, Op. 30
Professor Tedi Papavrami and student Emilie Callesen work on Sonata No. 8 in G major by Ludwig van Beethoven.
Callesen is instructed to pay attention to her breathing in the long Beethovenian phrases, play quietly, and avoid playing slowly or in a febrile manner. To achieve this, Professor Papavrami advises her to work on the inclination of her bow by letting it “roll”. The movement must be variable and flexible. In addition, the professor underlines the importance of respecting the accents and nuances of the piece without vibrating or moving one’s body too much. They address expression, and the importance of evoking the right nuance and colours in this masterclass for the violin.
Evoking the nuance and colors.
Appropriately playing the long notes.
Posture, particularly in the tilting of the bow.
The violin Sonata No. 8 in G Major is part of Ludwig van Beethoven’s Op. 30 set and was composed 1801 and 1802 for Alexander I of Russia. It is structured in three movements: the Allegro, the Tempo di minuetto and the Allegro vivace. The sonata is representative of the composer’s early period and is easily recognized due to its solid sonata structure. The piece takes about 18 minutes to play, is often performed and recorded with famous interpretations such as one by Fritz Kreisler with Sergei Rachmaninoff on the piano.
Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this violin masterclass. Please note that this piece has been annotated in accordance to Tedi Papavrami’s feedback and comments.
In 1985 he won the "Rodolfo Lipitzer" competition in Gorizia.
Born in Albania Tedi Papavrami was introduced to the violin at age five by his father, a brilliant teacher with many years of pedagogical experience. Tedi progressed rapidly, and within three years he was performing at Sarasate’s Airs Bohémiens with the Tirana Philharmonic Orchestra. At the age of eleven-years-old, he tackled Paganini’s Concerto No. 1 with the Emile Sauret’s fearsome and challenging cadenza.
In 1982, French flautist Alain Marion, who had come to give a concert in Tirana, heard the child prodigy play – and promptly arranged for him to come to Paris with a bursary from the French government. Tedi went on to study with Pierre Amoyal at the Conservatoire National Supérieur de Musique. Moreover, he appeared on popular television programs and gave many concerts at that time. Eventually reaching the end of his studies, Tedi went on perfecting his instrumental and musical independently. He and his family eventually fled Communist-led Albania permanently and moved near Bordeaux.
Tedi Papavrami has won numerous international prizes in the 1990s and embarked on a brilliant solo and chamber music career. He has also collaborated as concerto soloist with conductors of the likes of Kurt Sanderling, Armin Jordan, Emmanuel Krivine, and more. He has performed in recitals and on disc with chamber music partners such as Philippe Bianconi, Nelson Goerner, Martha Argerich, among others. He has been recording since 1990. In 2014, he released a CD featuring 6 solo violin sonatas by Eugène Ysaÿe and the same composer’s sonata for two violins alongside his colleague Svetlin Roussev, was simultaneously awarded two of the most outstanding French distinctions: the Diapason d’Or and the Choc de l’Année (Classica magazine).
Tedi Papavrami now lives in Geneva, Switzerland, where he is violin professor at the Haute École de Musique.
Born in Bonn, Germany in 1770, Ludwig van Beethoven is one of the most mainstream references of Classicism — a pianist, composer, and an unequivocal genius. Descending from a long line of musicians, Beethoven studied music from an early age, beginning with the piano, clarinet, and the organ. At the ripe age of 11-years-old, Beethoven received his first job as a court organist, replacing his own teacher for a period of time. A veritable young prodigy, Beethoven was publicly compared to Wolfgang Amadeus Mozart, and a few years later, the young musician traveled to Vienna to briefly study under the tutelage of Mozart himself. In his late 20s, Beethoven noticed difficulties with his hearing and by his mid 40s, he was completely deaf and unable to vocally communicate. Despite this misfortune, he remarkably continued to compose music. Beethoven’s Symphony No. 9 was written after he had entirely lost his hearing. While his early musical career heavily reflected the Viennese Classical tradition inherited by the likes of Mozart and Haydn, Beethoven achieved a unique revolutionary identity by the end of his career. Deceased in 1827, his wake was a public event that gathered around 10,000 people. Despite his passing, Beethoven’s legacy lives on. His works anticipated many of the features that would characterize music in the romantic era and even that of the 20th century.