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Arrangements and Transcriptions Marcia funebre No. Pieces ; For piano ; Scores featuring the piano ; For 1 player ; For orchestra arr ; For orchestra ; Scores featuring the orchestra. Contents 1 Performances 2 Sheet Music 2. Any ideas or tips? Many thanks!

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Notify me of new comments via email. Notify me of new posts via email. The feeling of the arm in the air, when the bow is out of the string, is similar to that of a tennis player. Body movements and sound preparation: do not be passive, but active and relaxed and ready to react. When you want to play forte -with more intensity- a previous relaxation is necessary, and when you play, the attack must have more contact in the string and should be closer to the bridge. Finger, arm and hand position should be at the same level as the strings, not opposite.

Relaxation instead of crashing is very important. Sound balance and rapport between cello and piano. In the central passage, the student must calm down and does not need to lead There is a specific musical intention at the beginning with the first crescendo. Other considerations about tempo: it must be maintained not rallentando. Corrections on glissando. Regarding bowings, the professor works on the right point to place and slide the bow and on the clarity in a specific passage. There are also explanations about Britten's character, quality of sound, color, fingerings, vibrato, and harmonics; as well as about his interpretation and the length of the last notes in the phrases.

General indications about tempo and exercises on different types of pizzicato - with both hands and with the left hand -, and on the way to reduce the vibrato. Frans Helmerson gives specific explanations about character, agogics, position shifts, bow pressure, phrasing, vibrato and color in particular passages. In the fouth movement, Frans Helmerson works on aspects as quality of sound, vibrato, dynamics, articulation, and character. He also gives different indications about how to study all those aspects.

Moto Perpetuo. General indications about bowings, articulation, body gestures, focused on the last movement of Britten's sonata. Preludio - Fantasia.

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This masterclass begins with a brief tempo correction. Then Prof. Helmerson encourages the student to go ahead: she needs to 'provoke' her technique instead of following her technique. About tuning, Frans Helmerson suggests how to place the fingers so that the D flat sounds not so high. Besides, the student should find the more suitable vibrato for a certain passage. Other passage requires a sound with more rhythm. For playing the end of the movement, Helmerson proposes a fingering change.

Coming back to the beginning of the Prelude, the professor corrects the movement of the right arm and the position of the elbow in the first chord. Besides, it should be played not as singing, but as talking. In general, the student presses too much the wrist down when she is playing powerful passages. Rather than this, Prof. Helmerson recommends her to maintain the wrist more stable otherwise she will lose strength in the fingers and feeling of contact. In the professor's opinion, it is related to the arm and fingers' position and not to the shoulders' position - as the student mentions.

Sardana - Danza. Firstly, Frans Helmerson mentions the difficulty of this movement. Rhythm is the most important aspect. Helmerson recommends also to use the thumb in certain moments. About the passage with big intervals, Helmerson suggests to be more "dry" in the technique, keeping the hand closer to the fingerboard not jumping too much. Besides, the professor makes some indications about sound quality and maintenance. Regarding the end of the movement, Helmerson recommends to play using more contact with the bow folk music and not too quickly, keeping the last chords as long as possible.

The student must show confidence. To conclude, they return to the beginning of the Sardana: here tempo is not yet clearly defined, it is freer. He makes also an indication about bowings. To begin with, Professor Helmerson suggests the student more suitable shifts and fingerings more suitable for a certain passage. Besides this, Frans Helmerson makes some comments on accents, sound quality or bow changes, among other issues.

In general terms, the basic character for this Scherzo should be more 'giocoso' and not so dramatic.


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Although Professor Helmerson considers that the student has played well and correctly, he misses more expressiveness: character could be intimate, but without losing in expression or sound. Additionally, the professor comments some musical issues about the cantabile character, rhythm and energy, or dynamics. He also suggests the student to play last note to the frog, so that he gets a better ending of the sound. Finally, Helmerson advises him to play this Largo avoiding thinking in numbers of bars, but trying to convey feelings. In this masterclass, they address the corporal position and the importance of keeping to keep a good posture to get a good expression and to avoid bad habits.

Afterwards, Professor Helmerson makes some indications about contrast, rhythm, modulations, phrasing, among other issues. Helmerson advises the student to show properly how he feels the musical changes. Then, they work on other musical issues related to the bow, character and sound. Finally, they look over the ending: this should be very virtuoso, without stopping until finishing. In last four bars, the student should give the feeling that he is almost standing up. Andante molto tranquillo.

In this masterclass, they first work on the better way to grab the bow, the elbow movement, and the pressure and contact with the string taking into account the physical conditions of the student. Then, Professor Helmerson makes some corrections about musical aspects such as the harmony, dynamics, fingering, rhythm, vibrato, bowings, articulation and character. About the end, Helmerson recommends not to play so slowly the last two arpeggios because the next movement is played attaca and she should keep in mind how to finish this second movement.

Allegro - Allegro molto e marcato. Professor Helmerson places the compositions by Grieg in the Norwegian landscape and the bucolic character. He also explains that this sonata should be played thinking on the pastoral songs based on folklore and old popular tradition in the Norwegian mountains.

Finally, Helmerson makes some corrections about bowings and rhythm. Andante - Allegro vivace cello and piano reduction. Professor Helmerson starts the explanation by asking the student about his daily methods of study and how he usually works the scales and the technical issues.

Helmerson thinks that the student's sound is not completely round because of the bow speed. To correct this aspect, they work on scales in detail, controlling the speed during the whole bowing. The Professor encourages the student to be more demanding on himself and not to compromise with a poor execution. Moreover, the student must pay attention to every movement of his arm and be aware of how much bow he must use in each new articulation.

Professor Helmerson also talks about the character and color of the piece. The musician should avoid playing "nice" every time, it depends on the expression of the music for example, Picasso used to say: "I don't know what beauty is, but expression I do". They work on the passage to change to the Allegro vivace. The right hand has to hold the bow in a simple way.

Helmerson comments that the tempo chosen by the student is good to play every detail with enough attention, and without having to change the idea of the work by playing slower or faster. Helmerson also explains some general ideas: for example, in the sound the energy comes from the point of the bow where we are Mit Humor. Frans Helmerson gives some indications about articulation accuracy and conscious listening to what is being played. Moreover, he talks about contrasting passages: some require more dancing character, while others need to be performed as a variation.

Frans Helmerson talks about the work as a whole - it is necessary to identify folk elements from every movement rhythms, articulations, accents, etc.


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The vibrato is too intense for the sound of this piece the required character is more tender. Indications about agogics: keep the same pulse and do not take breaks that do not exist. Bow technique: both hands must change their character at the same time, with a deeper bow more contact and projection in last notes. Specific corrections on fingerings. In a movement such as this, an expressive person like the student must distance himself to avoid being too carried along expressiveness is there by itself.

Digression about the work in general: it is like a Brothers Grimm's tale it experiences mood swings, going from the nicest fairy tale to the cruelest nightmare. Nicht schnell. In this masterclass, most of the indications and corrections are focused on the character and its technical implications, such as the character of the piece regarding the bowings. There are other comments: explanations about expressiveness do not relax the tension in the expressive passages and syncopation -in ancient music it is anticipated folk music comes from ancient traditions ; general corrections on accents, contrasts of character and phrasing responding to the excitement of the passage ; double pitches, which require a breach from the previous music two different worlds.

It is very advisable to enjoy the interchange between rotation harmonic and no harmonics pitches, as well as to remove the habit of lengthening the end of a line; vibrato must be kept until the next note. Zart und mit Ausdruck. In this masterclass, Professor Helmerson talks about the work in general and comments the different levels of emotion we find between movements of Schumann's Phantasiestucke. This specific movement has to be played very free, with flexibility in tempo and rhythm, avoiding an exaggerating movement of the body in passages of special intensity. Lebhaft, leicht.

Professor Helmerson proposes different fingerings to get more color contrast. The student has to avoid useless body movements, at the same time, that to think the music, as he is a singer, imagining the way in which a singer would do it. Moreover, he talks about the flexibility in the rhythm, the vibrato in some specific passages and the need to avoid glissandi by making extensions of the fingers, a very important point in the cello technique.

Rasch und mit Feuer. Professor Helmerson explains the tempo of the sixteenth notes, which establish the tempo of the whole movement. The projection of the sound has to be 'exuberant', maintaining a melodic line between the rhythm and the sound. Helmerson insists on keeping the tempo and remaining the same melodic line in the link to the Trio. He also advises the student to avoid rushed shifting and remarks the accuracy of the tempo in dotted eighteenth notes and sixteenth ones. Gulsin Onay's subsequent, truly international, career has spanned 68 countries across all continents, from Venezuela to Japan.

Gulsin Onay has given concerts in the major musical centres of the world. Allegro con brio. In this masterclass, Professor Gunter Pichler works in depth on different passages and fragments of the movement with the Art Quartet. They focus on tuning, tempo, rhythm, articulation, character, dynamics, glissandi, shifts, quality of sound, and accents; as well as on the balance among all the instruments. Allegretto ma non troppo. Professor Gunter Pichler works on the cello introduction in detail: less bow, attention to the rhythm, tempo and more concentrated sound.

Later on, in the rest of the movement, they work on rhythm and sound it is advisable to play with 'more air' , character, harmony, balance, articulation, vibrato and fingerings. Pichler explains that 'sotto voce' and 'mezza voce' come from singing, but it is not necessarily pianissimo. The chords have to be played with more weight and extension of the bow, constantly being aware of the harmony. Allegro moderato. Professor Gunter Pichler thinks that the students have to play with more contrasting dynamics and to study all the possibilities of expression. The character of the piece is like a dance and it should be sang as a human voice.

Other topics that professor Pichler comments are: articulation and quality of sound. Regarding the dynamics, he talks about the connection between forte and piano, the clarity of diminuendo and crescendo, different ways to play a pianissimo depending on the ensemble orchestra, quartet, soloist, etc. About bow and expression, professor Pichler talks about vibrato, bowings, how to play a forte - without stopping the bow -, bow preparation in cello part and bow quantity required in several moments.

Finally, other topics are phrasing, tempo, tuning, articulation, tempo, and the student's attitude while playing. Scherzo - Presto Part 1. In general terms, this masterclass combines the specific study of the piece with pieces of advice for an artistic career. During the class, they work on fingerings, accents, the ability to listen to oneself, methods of study, rhythmical accuracy, tempo, bow, body language, coming up with a proper system to study and the solutions to different problems.

He also gives pieces of advice related to how to study, automatization of the movements while playing, mental and body control, selection of the repertoire for an audition or concert, etc. Professor Pichler comments at the beginning of the class that a good fingering helps in a difficult passage although it is not very well worked. But it helps to improve quickly. The student should pay attention to the crescendos because they do not mean to play louder.

Musicians study many hours so it is necessary to think before playing in order to avoid wasting time. This is a problem of focussing. Later during the class, Professor Pichler and the students use the metronome to find the correct tempo in this movement. Pichler explains that there are three possibilities to play a note: with no vibrato, with vibrato and an intermediate stage in which the vibrato is very soft and supports the quality of sound.

The Professor insists on Scherzo - Presto Part 2. In this second part of the masterclass, Professor Pichler focuses on the first violin part because of its difficulty. The Professor talks about the mutual influence between both hands: if we have difficulties or tensions in the left-hand this will be noticed on the right one and vice versa.

Pichler gives his opinion about crucial issues related to the difference between a good performer and a mediocre one: what makes the difference between them is that the good performer thinks much more, he or she is much more reflective. Therefore, the students should think more to avoid lose control over the piece they are playing.

Gunter Pichler also comments how convenient is to ask when we are not able to solve a technical problem on our own. They also work on how to support one another in the group to balance the difficulties of each instrument.

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During the whole class, Pichler talks about different methods of study, recommendations about readings, strategies to prepare themselves for a concert and how to study for doing an efficient work and a fruitful rehearsal. Recognized as one of the leading violinist of his generation Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy. He retired from the podium, after over more than 5 decades, playing his farewell concert in Budapest with the Budapest Festival Orchestra under Ivan Fischer in Gyorgy Pauk is now professor at the Royal Academy of Music in London, where he conducts a "Performers Class" with selected young talents from all over the world.

Rondo: Allegro. Allegro molto appassionato. Recognized as one of the leading violinist of his generation, Gyorgy Pauk was born in Budapest, Hungary, and received his musical education at the renowned Franz Liszt Academy.

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Andante appassionato. Allegro molto vivace. Dutch violinist Rudolf Koelman is one of Jascha Heifetz's last pupils and was the first leader of the Royal Concertgebouw Orchestra for many years. He teaches at the Zurich University of the Arts ZHdK and is frequently invited as a juror and guest professor at international violin competitions and master courses. Besides his teaching career he regularly performs worldwide as a soloist and has made numerous TV, radio and CD recordings - among them, a live recording of all 24 Paganini Caprices.

They were released on Challenge Records and won the prestigious Edison Award. Andante cantabile. Allegro moderato - II. Canzonetta: Andante. Student of the late renowned Professor Ilona Feher, he is the co-founder and a board member of the Ilona Feher Foundation for promoting young Israeli violinists. Shaham highly motivates his students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire. Shaham highly motivateshis students to reach out for the best possible performance and possesses a lot of background knowledge of the repertoire.

Adagio di molto. Allegro ma non tanto. Allegro arr. In this masterclass, Professor Schellenberger explains some questions related to lightness, color changes, fluency and accents in phrases. Then, Schellenberger recommends a new fingering for the trills. It is also important keeping in mind playing in a proper timing.

Schellenberger recommends not to move the mouth, but to keep it opened for controlling and getting a good embouchure. They work also on the phrasing, dynamics, energy and relaxation, breathing, articulation or apoggiaturas among other musical aspects referred to this Sonata. Finally, Schellenberger gives the student some advises to improve his tuning and to get a clearer and more natural sound, considering that this Sonata is easier to be played for flute -the original instrument -, than for oboe. In general, Prof. Schellenberger indicates the student that he should improve the sound clarity, articulation, and he should also avoid stressing the final note in the trills.

Schellenberger suggests him to play more relaxed. Afterward, they discuss about the reeds and their differences: the professor recommends the student a reed with which he could "speak" more. Schellenberger also suggests a quicker movement of the tongue so that the attack for each note can be clearer and faster, but always keeping the jaw unmoving. When oboist moves the jaw or mouth, the pressure changes and the sound will not be steady. The way to play this piece should be more "elastic", and the student should pay attention and listen himself to be aware about his sound quality and be able to correct it when it is not so good.

As a conclusion, Hansjorg Schellenberger mentions the specific part of the reed where the pressure must be applied. Elegie: Paisiblement. The piece is about the story of Romeo and Juliet, and Professor Schellenberger makes a comparison between Prokofiev's ballet and Poulenc's sonata. It is a piece which talks about Love and Dead. Schellenberger gives some examples which prove the relationship between Poulenc's piece with Prokofiev's work, e.

He also talks about that character and tempo, as well as the harmonic analysis of the movement. Schellenberger gives a deep explanation about the composer Francis Poulenc and his work. Other topics covered in the class are phrasing, fingering, dynamics, projection of the sound, contrasts, rhythm accuracy and tempo. The character of this scherzo is energetic, even "aggressive", in attacks and movements. The piece needs absolute precision in tempo and agogics and more support with the diaphragm.

More aspects in which Professor Schellenberger focuses on are fingerings, dynamics, and staccato. This scherzo is a constant conflict between the oboe and the piano but there are also several moments of reconciliation and encounter, as in the Trio. First, Professor Schellenberger makes a recommendation about dynamics and sound balance. In this kind of works, it is important to respect all the dynamic indications to understand the performance.

The rhythm also must be very clear, and the entries very precise. Schellenberger also suggests that the beat should be constant and then he insists on 'motif' issues: location, appearance, which instrument has to play them, etc. Finally, there are also particular corrections on accents and articulation. Anmutig und heiter Part 1. Professor Hansjorg Schellenberger gives general considerations about the way to play this piece: the beginning is piano; yet, at the same time, the theme has stand out, playing with more freedom during the crescendo.

The performance must be lighter in general, with 'swing'. Professor Schellenberger explains the dynamics of the whole piece, as well as the phrasing and the meaning of each section, and how to feel them. The score accuracy is necessary to read and understand the composer's indications. The professor compares the work with the architecture and painting of the 'Belle Epoque': the asymmetric elements, the curves, Mahler's music, etc. Regarding the tempo, in this case it has to be understood as a dance.

It is also important to maintain the balance among parts, and the way to achieve it is by listening to the rest of the instruments and distinguishing the most remarkable parts at any time. There is also a study of pulses in a very complex and rhythmical passage.

In spite of the complexity of the rhythm, the professor insists on the importance of keeping the original tempo. Anmutig und heiter Part 2. Professor Schellenberger comments that the students have to feel the pulse in 3 and explains how to play the staccato shorter depending on the rhythmical elements of the other instruments. The shoulders have to be relaxed while playing. The professor also explains the dynamics of every part in several moments and the waltz rhythm in a specific passage. At the end of the masterclass, professor Schellenberger explains the most important aspects of the movement: thematic elements, individual dynamics for each instrument - they have to be as exactly as possible for the whole to be clear.

There are connections and correspondences among instruments, which is important to take into account - pay attention to canonical moments. Every sound has to be played with projection, with light. Etwas langsam Part 1. This first part of the masterclass is focused on rapport and sound balance issues. Regarding technique, Professor Schellenberger gives some instructions about sound emission and support, embouchure and mouth position bringing the air to the low part of the abdomen, etc.

Finally, Schellenberger makes some corrections on phrasing and character, among others. Etwas langsam Part 2. In this second part of the masterclass, Hansjorg Schellenberger focuses on rhythm, metrics and tempo issues. He also points out the voices that have the relevant melodic line in different passages. After some character corrections, Schellenberger gives some indications about articulation, accents, and the length of the notes, among others.

Andante molto arr. First of all, Hansjorg Schellenberger suggests the student to modify some notes at the end of the piece for a better adaptation, regarding that the original work is for violin. Then, he makes some indications about dynamical rapport between both instruments, phrasing, tempo, when breathing suits better, ornaments, etc. In this type of music, it must exist a continuous dialog.

After a consideration about tuning, professor Schellenberger makes some recommendations about the behavior of the student on stage and his gestures towards the pianist. As a conclusion, Schellenberger mentions that this first Romanza is the most sensitive. Allegretto arr. In this masterclass Schellenberger points out the Norwegian character of this Romanza. It remembers him Grieg's music like trolls in a forest. About the student's performance, the professor indicates that he doesn't play the "pizzicato arpeggio" at the end. He also mentions that the character in certain moment must be more tender, without pressing so much, and he shows it by playing this part.

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The performance must be lighter in tempo but relaxed, scherzando and fluid. Afterwards, Schellenberger makes some comments on agogics and tempo changes, proper articulation regarding the right hand in the piano, preparation in the harmonic change, dynamics, and so on. Leidenschaftlich schnell arr. Schellenberger starts the masterclass making a brief indication about how to articulate taking into account the pizzicati chords passage at the original violin part.

Besides, he explains the meaning of this Romanza character referred to a German instruction written in the Alpensinfonie by Richard Strauss : sweet and tender but forceful at the same time. After the student's performance, the professor makes comments - among other musical issues - about fingerings for the trills, breathing, or preparation to the harmonic change. Schellenberger also suggests playing the trills resolution in the change of tonality. Then he makes some final corrections about dynamics, vibrato and character. Professor Shellenberger explains the meaning of Adagio in the Baroque period at the beginning of the piece, as well as talks about Bach's ornamentation.

Sometimes, the ornamentation refers to the bass line and it is the way to play more 'espressivo'. Schellenberger insists on the expression of every ornament and how they are written on the score, which determines the way of playing. Rhythm is also important to give the correct character of the improvising designs. The ornamentation before the cadenza should be lighter to give later more importance to the cadenza.

It is necessary to feel the vibration more than the note. One final recommendation to the student is to play without stress, but playfully as in the Baroque period. In this masterclass about oboe technique, Schellenberger proposes several exercises to improve the sound.

The student practices it looking to the mirror and changing the articulation. It is necessary to improve the contact with the embouchure and the creation of the sound. Another exercise suggested - to practice the attacks - consists on searching for a better position of the embouchure and the more suitable movement of the tongue to get a better sound. The body must remain still and focusing on the pressure. Besides, it is important to maintain always a good support. Then, the professor compares the role of the tongue playing the oboe with the role of the bow playing the violin.

To conclude, they work again on the attack regarding the speed of the tongue movement and trying to keep static both the mouth and the jaw. The student has to "speak" the piece very clearly. Therefore, he has to articulate more from the bow. The professor shows and clarifies the note groups of the phrasing. In this piece, dynamics move at the same time as the tempo. There are also corrections on portato, sound control - when changing the string -, meaning of "ruhig" calm and technical work on double stops.

The string change has to be anticipated by the fingers and each interval has its own character and expression. The expression is what sets us in motion and not the metronome. The professor explains the rhythmical relation between 6 and 4 sixteenth notes. He wants the student to clarify the changes from major to minor and, in general, to have a deeper connection within the phrase between the climax and either tessitura or character changes. Finally, some comments on Hindemith's music and his value as a composer. Adagio arr. First, the professor corrects the student's position, the right arm movement and the position of the elbow in relation to the contact point of the bow.

He also refers to the position of the fingertips: it is very important that they feel the contact with the bow and use it correctly which leads to them feeling more contact with the sound. Then there are some explanations and corrections on shifts, phrasing, relaxation, and sound maintenance without stopping the bow, bow changes and expression.

General comments of the professor: the student lacks strength, projection and clarity of sound, particularly in the second part Allegro. Once in the Allegro, the professor recommends to pay attention to the harmony of the piano part, to play the triplets clearer and to think in a singing way rather than "forcing" the sound "making more pressure does not lead to more sound".

Harmonic changes mean expression changes. The professor works on articulation, phrasing, tuning, bowings, bow direction, distribution, and dynamics. He also recommends the student to play in a more relaxed way, thus making it easier and enjoying it more. In a certain passage, the colour has to be different, picturing the horn sound.

Moreover, the professor proposes different fingerings to give a greater sense of cadenza. Finally, he corrects the tuning of the penultimate chord of the piece to achieve more resonance "to ring more". Nicht schnell version for viola and piano. The character of the first movement is similar to a fairy tale, and the professor compares it with Schumann's Dichterliebe cycle. All the musical aspects have to correspond with that character, and that is why a concrete atmosphere is required.

On Schumann's original score, it is indicated just one bow for two bars. The corrections also focus on the right arm movements and the way to play at the beginning - like in backstage behind the scenes , as the piece comes from nowhere playing in sotto voce and grows little by little.

The player has to handle the bow without articulating, like a continuum, and to pay attention to the sound at the end of the upbows - keeping the quality of sound and finishing the whole bow. The last pizzicato has to be prepared. The professor develops the idea of axis-movement: every movement - both in general and during the performance- turns around an axis.

Following this concept, the viola has to stay still in the middle, in a balance. Lebhaft version for viola and piano. The professor explains how to play a specific passage and proposes technical exercises - on finger extensions - to get it. The bow has to be close to the string, without jumping. About phrasing, it is necessary to build the line. They also work on the vibrato in high pitches and on how to avoid accents where there are none - by changing arm gestures to prevent them. The student has to study the dotted rhythms, as if they where triplets.

The articulation and the rhythm in the left hand are also important. About finger position, it is advisable to remove the tension from the fingers after each note, instead of pushing them backwards. Die Nachtigall. After some indications about phrasing in the accompaniment, Hartmut Holl makes some comments on dynamics and German pronunciation. Then he focuses on the historical context of the songs cycle Sieben fruhe Lieder by Alban Berg , pointing out the contrast between the different versions with piano or orchestra.

Finally, Holl adds some corrections about articulation and phrasing, tempo and agogics, character of the song, dramatic expression and color in the voice. Jeg elsker dig I Love but Thee. First, Prof. Holl advises the student to sing the theme twice. Then, he makes some corrections about the initial rhythm: both the pianist and the singer should show more freedom and expressiveness.

Additionally, Hartmut Holl makes some comments about dynamics and character, among others. Professor Holl starts the masterclass explaining the character of the piece and giving some corrections on phrasing and articulation. Rubato, tempo, colour and dynamics are also topics to be studied in the class.

He insists on German pronunciation - specifically the vowels - and comments aspects such as phrasing and flexibility in the voice line. He explains the construction of the phrase and the previous preparation required to build it. Finally, Professor Holl focuses on the expression and the sound through the vowels and the consonants. In this masterclass, they work on some corrections and topics, such as the character - which should be played with more simplicity -, the tempo, pronunciation and articulation, sound quality in piano part, vowels and consonants, emission, and flexibility.

Lose Blätter, op. 13: VI. Prèlude et Fugue

He also explains the concept of 'opus' and talks about the main theme, which has references to generosity and personal gratitude and needs to be more cantabile and open. Professor Holl gives some indications to the piano part referring to posture, distribution of energy, character and hand movements. Regarding the singer, Professor Holl focuses on emission, accents in some moments, breathing, meaning of the text, pronunciation, open sound, and flexibility.

He also explains the use of different editions of the score and the body gestures while singing. In this masterclass, Professor Holl gives general indications related to the main aspects of voice training: pronunciation and projection when performing a phrase. He also advises the student on the need to create her own personality as a singer. The singer has to avoid voice gaps or leaps and rather imagine and create a voice line.

General musical aspects such as dynamics, articulation and expression are also present. As a pianist, Holl gives corrections to the piano part in concepts like character, sound, articulation and dynamics, and makes a comparison with Schubert's music. Flickan kom ifran sin alsklings mote The girl returned from meeting her lover.

In this class, Hartmut Holl gives to the pianist and the soprano some indications about accents, phrasing preparation and construction, tempo, color, and articulation, among others. Professor Holl makes comments on the piano part related to bass register, different colours, character, dynamics, hand movements, and accents. He also makes corrections to the singer to improve aspects like emission, pronunciation, expression, body movement, vowels, rhythm, and dynamics.