Ysaye, E.: Violin Sonata, Op. 27, No. 3 Masterclass With Christoph Poppen Arias Fernandez

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Summary

Professor Poppen thinks that, since the student has performed the piece with a very good technique, he should then raise the performance to the next artistic level, climb a step forward. It is also...

Professor Poppen thinks that, since the student has performed the piece with a very good technique, he should then raise the performance to the next artistic level, climb a step forward. It is also necessary to achieve other colors, as well as to work deeper in the search for different sounds. The professor explains how to start the vibrato. The right hand must be relaxed in the frog part. There are rhythm issues in relation with accelerando and ritardando. The piece requires more drama and Professor Poppen compares it with Brahms' music. He talks about contrast in the fermata and says that the bow speed is the responsible of the quality of sound. They also work on bow pressure in double stops and dynamics within phrasing. The student has to recreate an impressionist atmosphere and to control the speed and quantity of the bow and its way to enter into the string - with more or less pressure (the sound is formed from the bow). In the final fortissimo, the sense of development has to be present by pulling and not stroking the bow. We have to look for the contact point with more flexibility. In moments when the bariolage technique is used, it is necessary to go more into the string. The last chords must be played always in tempo.

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