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            <marc:subfield code="a">Prof. Kocsis have not understood some aspects from the student's performance, such as certain excessive subito changes of dynamics. Besides, in professor's opinion those should be on time. Regarding the beginning of the piece, Kocsis advises him not to relax the energy but to maintain it. Then he makes other indications about phrasing and articulation, and he recommends the typical fingering in &lt;i&gt;Mozart&lt;/i&gt;.

The student must also be clear about what is more or less interesting. In this way, he could know what stand out by playing: harmonic progression is less interesting than melody, but afterwards the contrary happens.

Moreover, &lt;i&gt;Zoltan Kocsis&lt;/i&gt; gives other recommendations related to the use of the pedal, contrast between both hands, and how to improve certain dynamical issues using fingers properly. Finally, he makes some comments on the required character for a certain passage and the way to express it ?EUR" not fighting too much. For the last two arpeggios he also suggests maintaining less the sound and, in general, taking care of the sound cleanliness and clarity.</marc:subfield>
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            <marc:subfield code="a">According to &lt;i&gt;Zoltan Kocsis&lt;/i&gt;, the performance of this movement should be simpler. Then, Kocsis explains the student that Polonaise must be played characterizing more its tempo. Here, the "keyword" is accent: if the student performs accents correctly, he will achieve the suitable character. To show this, the professor plays several fragments.

In certain moments it is also recommended not to hold back the tempo so much. Besides, Kocsis corrects articulation in a certain passage and later he highlights the recommendation to the student about not doing so much ritenuto and diminuendi, because this breaks the general character. Moreover, the sound should be more risoluto.

After some indications related to pedal, dynamics and staccato, Kocsis points out the importance to imagine the different voices as if they were instruments of the orchestra. In professor's opinion, there is no place for agogics in dances: those must be performed with metrical rigor.

Lastly, Prof. Kocsis thinks that it is not necessary to underline so much the second theme, because it is not a "real theme": &lt;i&gt;Mozart's&lt;/i&gt; compositions are plenty of similar cases, for example in the 2nd movement of his &lt;i&gt;Prague Symphony&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">For this movement, in a general way, it is important to keep the relationship between the items. Regarding the theme, it must be much simpler at the discretion of &lt;i&gt;Kocsis&lt;/i&gt;. To achieve that he suggests not using the pedal in certain parts. Articulation should not last that much at the beginning, however it should maintain the lightness and the dancing approach. Also, in the variations, character must be more dancing and for some of them, the professor recommends playing with a more staccato articulation.

In general, Kocsis can imagine that &lt;i&gt;Mozart&lt;/i&gt; would prefer short accentuated notes, and he mentions a comment by &lt;i&gt;Beethoven&lt;/i&gt; on this subject. On the other hand, the student has made beautiful things, and prof. Kocsis shows some examples of that. Anyway, he insists on the idea that this music must be simpler without need of explanation. Afterwards, he suggests doing more dynamical contrast in a certain passage. Finally, in order to play the figurations in tempo, Zoltan Kocsis recommends the student to practice with a metronome.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Zoltan Kocsis&lt;/i&gt; starts his lecture explaining that, in a formal sense, this work is bigger than the student has shown with his performance.  Regarding the first chords from this movement in detail, in the professor's opinion they should be played more "seco" and staccatissimo. Then Kocsis makes some comments on the use of the pedal, articulation, brahmsian sound and accents.

Afterwards, they dial with dynamics, effects and character of the legato melody, or tempo and metrics aspects. Kocsis insists on character, agogical and dynamical issues for the second theme. In a certain passage, the marcato is very important and then the student must play more agitato so the audience does not get bored.

Regarding the following part, Prof. Kocsis suggests playing the rests without pedal and playing a little slowly but on time. They also talk about the pesante character in Brahms (here is not necessary for this early composition in comparison with others) and Kocsis highlights the importance of leading the audience to the next part. The student must be like an actor.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, they consider the student's performance must convince the audience that the piece is a masterpiece. It is on the limit; the professor would separate much more the materials in two: in orchestration and in dynamics (espressivo-non espressivo materials).

For the beginning, &lt;i&gt;Zoltan Kocsis&lt;/i&gt; recommends the student not to play softer but keeping the same volume. Then he makes some indications on pedal and they work again on dynamical issues and phrasing. The professor also stresses that the student must release the pedal properly. About the theme, Prof. Kocsis points out that there are two different roles or characters and he also comments that the melodic line is more important than harmony itself.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Piano Sonata No. 2: III. Scherzo (Masterclass with Zoltán Kocsis) (Ji Liu) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 2 in F-Sharp Minor, Op. 2: III. Scherzo (PAL) ( 12 min., 58 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">In the first bars of the third movement is not advisable to wait so much, and about the next chords, it is important not to play the third. As in prior movements of this &lt;i&gt;Sonata&lt;/i&gt;, Prof. &lt;i&gt;Kocsis&lt;/i&gt; insists on the importance to convince the audience. Besides, different materials must have a connection. Kocsis also makes comments on articulation, rhythm and agogics, or use of the pedal among other issues related to this Scherzo.</marc:subfield>
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            <marc:subfield code="a">The lecture by &lt;i&gt;Kocsis&lt;/i&gt; begins with a general valuation of the performance. The main task for the student consists on convincing the audience that it is a masterpiece. About this specific movement, the professor corrects a particular rhythm: it is not a triplet. This Finale should be more active and vivo. Then Kocsis clarifies some questions to the student and insists on the importance of convincing with the form, specially in the last chords.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Violin Sonata No. 3: I. Allegro (Masterclass with Miriam Fried) (Areal Martínez, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">There are three main aspects in which Professor &lt;i&gt;Fried&lt;/i&gt; wants to work on:
e. The clarity of the music in formal aspects. They talk about the development of the movement, where there are two important elements: the piano accompaniment of the left hand, in quarter-notes, that gives all the dramatism; the combination of two repeated elements to give more tension than the exposition.
f. Acoustics issues: the student tends to finishes each phrase withe an inaudible note. Playing piano does not mean not to hear the note.
g. Dialogue between the violin and the piano part. It is necessary to feel more communication, more conversation, and to know very well the role of every part.

All the corrections in phrasing, dynamics, character, fingerings, etc. tend to improve those three basic aspects. The music is a constant movement and the bow is the instrument we use to shape all these fluctuations.

Fried gives two interesting advises: the student should study from the general score to find all the interactions among the two instruments and should enjoy the details and the musical differences because in Brahms every detail is connected with the whole. Finally, Fried explains more aspects of the expression in this sonata and insists on the idea of developing the imagination creating a personal image of the piece.</marc:subfield>
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            <marc:subfield code="a">PROKOFIEV, S.: 5 Melodies: No. 1. Andante (Masterclass with Miriam Fried) (Arias Fernandez, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">At the beginning of this masterclass, &lt;i&gt;Fried&lt;/i&gt; makes some general comments on variety and expressivity: the performance should not be so plain and smooth. They talk about the character of the piece and the type of feelings that this Melodie should express. The harmonies used by Prokofiev in this first piece indicate color and tension - relaxation. Prof. Fried advises the student to use the bow for building this form. She also highlights the starting chromatism and the importance of using the bow direction to get the required sound.

The performer has the role of communicating and telling something by playing, so he must project more to be listened properly. After a correction about the ending of a certain phrase, the professor points out the responsibility of any musician for having his own opinion on the way to play. In this manner, he will transmit the performance better.

Fried also emphasizes the importance of making the sound inflections as if the performer was speaking with words (using more accents and less speed in the relevant ones). Then Miriam Fried reviews some issues about vibrato, phrasing, or ending of the sound, among others. To conclude, they talk about the correct way to finish the sound regarding where is located -medium or final part- and about the type of ending related to the bow distribution.</marc:subfield>
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            <marc:subfield code="a">PROKOFIEV, S.: 5 Melodies: No. 2. Lento ma non troppo (Masterclass with Miriam Fried) (Arias Fernandez, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">After a brief general comment about expressivity, &lt;i&gt;Miriam Fried&lt;/i&gt; sets out a question about the character for this second piece and she comments the importance of the piano accompaniment in its definition. She also mentions that, in general, there should be a sound for the accompaniment and another for a main idea with different characters.

Afterwards, they talk about the motion of the arm and bow to play pizzicato correctly. Fried also suggests playing with more different colors. This can be obtained with five elements related to the bow:  speed, weight, contact point, air quantity and vibrato. Finally, the professor comments some phrasing issues and she recommends the student to play with more velocity changes on the bow in order to get more contrast and expressivity.</marc:subfield>
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            <marc:subfield code="a">After commenting something about &lt;i&gt;Oistrakh's&lt;/i&gt; cadence, Professor &lt;i&gt;Fried&lt;/i&gt; starts to work a very important aspect: the mood in music. She develops this point talking about Mozart's mood and its influences in his works, how the same spirits has to control both, the way we study or the way we perform the piece, the importance to clarify the emotions that the music causes in us and the need to not ever forget why we do music.

She follows the masterclass explaining &lt;i&gt;Mozart's&lt;/i&gt; harmonic resources and how they set up the mood of the piece. Sometimes Fried mentions the operatic character of some passages and the need to balance with the orchestra.

We have to keep all the time our motivation while playing music. It is what makes different and special a performance. The key is not to chase the perfection because it is not what matters - she gives some examples of musicians searching more than a mechanical performance, such as the maestros Stern, Menuhin, Oistrakh, Milstein.

Other requirement to reach a deep knowledge is to integrate all the little units -rhythmical and melodic motifs - in larger structures, thinking in big dimensions. Finally, Fried recommends the student to pursue the proportion in all the aspects, such as gestures, dynamics, phrasing, articulation, because it is what gives the sense to a performance.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Violin Concerto, Op. 35: I. Allegro moderato - Moderato assai (Masterclass with Miriam Fried) (Hoxha Ganiyev, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto in D Major, Op. 35: I. Allegro moderato - Moderato assai (violin and piano reduction) (NTSC) ( 01 hrs., 40 sec. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">At the beginning, &lt;i&gt;Miriam Fried&lt;/i&gt; congratulates de student for his performance and gives some ideas to think about them: &lt;i&gt;Tchaikovsky&lt;/i&gt; is the composer of ballet and splendid melodies and the influence of the dance can be found in this concerto. All ballets are based on different steps and the contact with the floor. In this case, the student is stuck to the ground.

Other aspect is the tempo: it is decided in relation to the expression and character of the music. If we have a harmonic rhythm, we need more time to assimilate all the changes; on the contrary, more activity requires a quicker tempo. All the fluctuations if the tempo should be justified musically. In the main theme, afterwards the initial cadenza, we should be climbing steps and enjoying while climbing them. 

Playing with the orchestra is also important: it is a big machine which requires to be heard. We have to study the moments in which we have more freedom, so the general score must be learnt.

Fried also talks about the relation between figuration and emotion and gives a wide explanation about the use of the bow, to be used in a more descriptive way. The process would be: decoding and understanding what the composer means, then making and building a personal idea and finally, choosing the tools which will help us to express our idea.  They work on the main theme and the transition to the second one and later, Fried encourages the student to play with more risk to transmit what we have in mind, looking for the real meaning of the music and the best way to express.</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Grist&lt;/i&gt; likes the student's voice a lot, but she has the tendency to pull back all the time and it is not correct. Grist also corrects her the pronunciation and mouth colocation for certain vowels and she proposes the student some vocalizations to improve it. Resuming the aria, Reri Grist makes again corrections on voice colocation related to certain vowels and after that, she makes some comments on phrasing and tuning, tempo and agogics issues. For the last phrase, Grist suggests the student to be more energetic in the word "amar" and then leaving it like flowing in the air. The word "felicita" is also more allargando, as if she were describing this word by singing.</marc:subfield>
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            <marc:subfield code="a">VERDI, G.: Ernani, Act I: Surta e la notte - Ernani! Ernani, Involami [Opera] (Masterclass with Reri Grist) (Gurina, Cabrera) (PAL)</marc:subfield>
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            <marc:subfield code="a">Ernani, Act I: Surta e la notte - Ernani! Ernani, Involami (PAL) ( 11 min., 03 sec. ) / Verdi</marc:subfield>
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            <marc:subfield code="a">About the performance of the recitative &lt;i&gt;Surta e la notte&lt;/i&gt;, &lt;i&gt;Grist&lt;/i&gt; firstly comments that the student has been sloppy with the rhythms. Moreover, the first syllable belongs to a specific word, so she must not sing it loud just like something independent. She also asks her for concentrating the sound and the meaning of the words.

Afterwards, the professor corrects the tuning in a certain phrase, as well as the duration and pronunciation to obtain the required sound for each word. The student must not lose the focus in order to avoid losing the sound.

Regarding the aria &lt;i&gt;Ernani! Ernani, Involami&lt;/i&gt;, Reri Grist mentions to the student that they are not going to work it deeply but in general she needs to sing it with much more line and much more focus.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, the student practices the way to learn this Constanza's aria (the student had not prepared it and she does not know it well). The professor is who suggests her to sing it because in her opinion, this aria is made for the student. They work the starting phrases: firstly, the melody without lyrics and then incorporating the text.

After that, the student practices it with the score and then without it, phrase by phrase. &lt;i&gt;Reri Grist&lt;/i&gt; encourages her again to learn this aria because she thinks it matches with the student very well. The professor advises her to learn it like that, without seeing the notes but just repeating the melody by imitation to internalize the music without thinking about the high notes. In other way, psychologically she could shrink the throat.</marc:subfield>
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            <marc:subfield code="a">Firstly, Prof. &lt;i&gt;Grist&lt;/i&gt; corrects some notes duration and then she advises the student to listen carefully all the notes. About a specific high note, the student should be more connected with the tone. Mainly, the work on the voice colocation for the higher notes to get a suitable sound. Besides, the professor proposes the student to repeat the aria thinking how all her body (including her back muscles) should work on obtaining more voice.

Moreover, Reri Grist makes indications about pronunciation and phrasing, and she highlights the relevance of getting the tempo maintenance in a certain moment of the aria. After that, they revise again the Italian pronunciation and phrasing following the text because it is very important for the professor to say properly all the words with their required duration.

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For the next phrase, the professor suggests emphasizing more the contrast by using other color. Several times during the lecture, Grist stresses that the student must sing by showing more his voice. Afterwards, she gives him an advice about maintaining firm his body (with the feet stuck to the ground), opening and using more the chest.

Regarding the Andante affettuoso, Grist makes indications about some vowels pronunciation and she encourages him to repeat it several times so that he can perform this part with a suitable voice and a good sound support.</marc:subfield>
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            <marc:subfield code="a">Referring to the aria &lt;i&gt;Ah! Per sempre io ti perdei&lt;/i&gt; from &lt;i&gt;I Puritani&lt;/i&gt;, &lt;i&gt;Reri Grist&lt;/i&gt; recommends the student to repeat a phrase and she insists that the student should use more the body support by opening the lower part of the abdomen. Besides, she asks the student for singing by keeping his hands back so that he is able to realize that the strength and the support for the voice are in the frontal part of the body not in the hands. 

Afterwards, Grist insists that the student should imitate certain body and mouth gestures so that he can improve the way to sing this aria. She corrects also some subjects related to pronunciation for getting a higher sound quality. Other suggestion by Prof. Grist is that the student should put his back completely supported on the wall while breathing trying to open and support himself as much as possible and feeling his body front part. He must take his time and practice this at home.

Once they restart the aria, Grist recommends him to rest between phrases by breathing with calm and by relaxing the whole body to start again. She also insists that the student should not move so much his hands because it doesn't help. Finally, the student must keep the last note by projecting the sound as far as possible and the professor gives him a last recommendation about singing on the floor, becoming aware of his own breathing and body. He must learn to breath and maybe yoga can be useful for this purpose.</marc:subfield>
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            <marc:subfield code="a">BACH, J.S.: Partita, BWV 1013: I. Allemande (arr. for oboe) (Masterclass with Hansjorg Schellenberger) (Cabezas) (PAL)</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, &lt;i&gt;Schellenberger&lt;/i&gt; makes some comments on phrasing, breathing and dynamics regarding the harmonic structure of the movement. Then he makes other corrections on articulation, tempo, tuning, breathing places, always taking into account the harmonic analysis of the movement, which is quite complex. In &lt;i&gt;Bach's&lt;/i&gt; compositions, it is very important to know and show properly the inner structure of the piece.

Throughout his lecture, the professor insists on phrasing related to harmony (diminished sevenths), tempo, etc. The student must emphasize the development of the work. Schellenberger also focuses his corrections on breathing, suitable moments where to do it, and diaphragm involvement in this breathing.

They work again on aspects related to articulation, dynamics, formal analysis for several parts of the Allemande, and how to play with a correct leaps positioning. Finally, the student practices that in front of the mirror.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, &lt;i&gt;Schellenberger&lt;/i&gt; starts pointing out the characteristic tempo of this movement: it is faster. He mentions the metrical and tempo differences between Italian or French Courante. Afterwards, the professor underlines the breathing work and the importance of the voices. He also makes some corrections on phrasing, relaxation and better places to breath considering the harmonic structure. Besides, Hansjorg Schellenberger makes comments on mouth and jaw position, support, tuning or articulation, among other musical issues.</marc:subfield>
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            <marc:subfield code="a">BACH, J.S.: Partita, BWV 1013: IV. Bourrée anglaise (arr. for oboe) (Masterclass with Hansjorg Schellenberger) (Cabezas) (PAL)</marc:subfield>
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            <marc:subfield code="a">To begin with, &lt;i&gt;Hansjorg Schellenberger&lt;/i&gt; talks about the rhythm and the typical tempo of the Bourree anglaise: the accent is always in the first beat. Afterwards, the professor gives other instructions about accents, articulation, mouth position, etc. He asks the student to play it staccato/legato taking care of the tongue position to obtain the required sound. Summarizing, Schellenberger highlights specially the importance of getting and maintaining a good technique in line with the musicality.</marc:subfield>
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