Maxim Vengerov Masterclass On Mendelssohn Violin Concerto

Maxim Vengerov Masterclass On Mendelssohn Violin Concerto
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~Thank you~
~ 감사합니다 ~


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  1. 아 진지하게 보고잇다가 감사합니다. 보고 빵터짐ㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋㅋ

  2. Vengerov is an excellent teacher because he tries to explain and demonstrate the logic, meaning, and color behind the piece. Through these metaphorical – rather than literal – cues he allows the student a freedom of expression while also leading them somewhere better with the music. To play notes is easy, but to play music is very difficult. You must be on the same wavelength as the piece itself to properly perform it.

  3. Most people don’t understand what this is about. Vengerov is right. The whole theme of this piece is the joy of being in love, and the angst caused by the loss of love. The Mendelssohn violin concerto in E minor is arguably the most representative piece of the entire romantic era.

    And this is the problem: because this is such a virtuoso piece for the violin, and make such high technical demands on the violinist, they tend to focus on technique, trying to get every note perfect, all stops on time and making the vibratto as precise as possible. But this is not what Mendelssohn had in mind. He didn’t care about this. It was all about seeing a girl(or guy), falling in love with her(him), going through the excitment and anxiety of not knowing if your love will be corresponded by the loved one, and then going through the angst of loising the loved one for whatever reason. During the piece, the violin screams with joy at some points, and then weeps at others.

    The problem that I have hearing interpretations of this piece is that many of the violinists are not “feeling” the emotions Mendelssohn wanted to convey. A good example is Hilary Hahn’s rendiiton of this piece recently in Korea. Technically a solid performance(I have heard better, though), but the passion was not there. HH has obviously never been in love, because I didn’t get the idea of someone in passion from her interpretation. Vengerov’s, Julia Fischer”, Segej Krylov and Janine Jensen are better. The best I ever heard, though, was by David Garrett at Suntory Hall in Japan when he was 16 years old. That was amazing.

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