Tedi Papavrami, Tchaïkovski, Violin Concerto

Sequence published on 12/2/21

Composer : Piotr Illich Tchaïkovski

Year of composition : 1878

Artistic period : 19th century

Musical category : Concerto

Academy : Academy Apr. 11 - Apr. 18, 2021

Master(s) : Tedi Papavrami

Student : Gandhi Saad

Date of recording : 10/22/21

Instrument(s) played :

Violin

"It's not just no ear or brain, but because in fact, if you play in your head, you feel the sensations" Tedi Papavrami

About Tedi Papavrami's Violin class on the Concerto pour Violon

Violin Master class, Tedi Papavrami | Tchaïkovski, Concerto

It is a very interesting and complete class, in addition to working on the most common aspects (intonation, formal and structural issues of movement, bowings, fingerings, etc.), the master highlights two topics to improve: memory, and physical posture.

"In the first place, in the face of some errors (forgetfulness) of the student, the master emphasizes that memory must be trained, and he proposes to play an A, and start playing the concert in his head, completely, from the beginning to the end. If he has any doubts, he can check in the score, and only then continue.
On the other hand, the master observes that there is a kind of permanent tension on the student's legs, a huge and constant body tension. Also, observing the feet, the master indicates that the student should put the heels on the floor, “often I see you tiptoeing, which has never helped so much with the sound. In fact, what can help is that in your head, you think you're going up, lying down; but not at all if you get on your feet, it doesn't help at all”.
It is a complete and complex class, about a challenging piece within the violin repertoire.
"

What we learn in this Violin Master class

- How to improve playing by memory
- Correct body posture

About Piotr Ilitch Tchaïkovski's work

"The Concerto was forward looking, ranking among those musical works whose demands initiated new technical abilities and expertise from the performer. Ultimately, as violinists improved, Tchaikovsky’s work has become one of the great showpieces in the violin repertoire. Its fanciful gypsy-like tunes, colorful Russian orchestration and pyrotechnics make it a timeless thriller. “I never compose in the abstract,” Tchaikovsky explained. “I invent the musical idea and its instrumentation simultaneously.” Concept and instrumentation were one."

The opening Allegro begins with the violins quietly stating a noble tune (not heard again) that soon ushers in the lilting appearance of the soloist. Both of the principal themes in the long movement are lyrical, the second one marked “con molto espressione.” Although the themes do not contrast, ample variety is provided by interludes, including a majestic one with a Polonaise rhythm, and concluding with a brilliant coda of virtuoso fireworks.