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            <marc:subfield code="a">&lt;i&gt;Der Ring des Nibelungen (The Ring of the Nibelung)&lt;/i&gt; is one of the most remarkable achievements in all music, and &lt;i&gt;Siegfried&lt;/i&gt;, the third in the cycle, contains some of the greatest moments in &lt;i&gt;Richard Wagner's&lt;/i&gt; entire output. 

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            <marc:subfield code="a">To begin with, Professor &lt;i&gt;Helmerson&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">Although Professor &lt;i&gt;Helmerson&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">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 &lt;i&gt;Helmerson&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Violin Sonata No. 32: I. Largo - Allegro (Masterclass with Kolja Blacher) (Olite, Zipitria) (PAL)</marc:subfield>
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            <marc:subfield code="a">First of all, Professor &lt;i&gt;Blacher&lt;/i&gt; corrects the desynchronization between violin and piano in the transition from Largo to Allegro. Tempo in Largo part is too slow and it is more advisable to think the pulse "alla breve".
 
Kolja Blacher's general recommendation is that every note must be more articulated because in a large hall the articulation is hardly distinguished.

He gives other suggestions and indications to the student: sforzato must be played using half bow for the first note; about ornamentation, the grupetto is played in the first beat.

Finally, Blacher talks about &lt;i&gt;Mozart's&lt;/i&gt; expressiveness, very different to &lt;i&gt;Tchaikovsky's&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Violin Concerto, Op. 77: I. Allegro non troppo (Masterclass with Kolja Blacker) (Valtcheva, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto in D Major, Op. 77: I. Allegro non troppo (violin and piano reduction) (PAL) ( 38 min., 45 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Professor &lt;i&gt;Blacher&lt;/i&gt; advises the student to pay attention to the form and thematic material of the composition: first part looks like an improvisation, so it should be played with more freedom in metrics. There is a sequence: syncopation requires more tension, and triplets should be played accelerando to the climax.

Kolja Blacher also recommends paying more attention to the harmony, because dynamics and color depends on these aspects. Afterwards, Prof. Blacher corrects the student some issues about agogics and tempo, rhythm and hemiola, character and melodic line. It is very important to consider the orchestral part so that the performance has musical sense. Besides, the student should emphasize the main melody.

Blacher also explains the meaning of rubato, among other questions. To conclude, the professor advises the student to analyze the score - not just her violin part - to get a more exciting performance.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Violin Concerto No. 4: I. Allegro (Masterclass with Kolja Blacher) (Chiriac, Zipitria) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto No. 4 in D Major, K. 218: I. Allegro (violin and piano reduction) (PAL) ( 24 min., 10 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Blacher&lt;/i&gt; believes that the piece needs more contrast in general. The student must think in different orchestral colors, e.g. the beginning as trumpets. Moreover, Blacher comments the possibility to change the character using the articulation in a different way (contrast legato-spiccato).

Kolja Blacher explains the meaning of a cadenza: it is the moment where the artists shows their potential and must play as improvising, creating a surprise for the audience (it involves an attitude as a real musician) and breathing and giving more space to the music, more breaks. Tempo must be in relation to the interest of the musical ideas (e.g. going faster in simple passages). They talk about the original cadenza from &lt;i&gt;Beethoven's Violin Concerto&lt;/i&gt;. 

Finally, Kolja Blacher recommends to the student not to pay attention to the different editions but always considering the general score.
Other topics explained in this masterclass are phrasing, bowings, dynamics and sound levels, style, articulation.</marc:subfield>
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            <marc:subfield code="a">SIBELIUS, J.: Violin Concerto, Op. 47: II. Adagio di molto (Masterclass with Kolja Blacher) (Nahapetyan, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Firstly, Professor &lt;i&gt;Blacher&lt;/i&gt; recommends playing the piece a little faster and "in 4". Then they work on dynamical aspects, phrasing, color and sound, among other topics.

Profesoor Blacher also gives to the student some indications about weight and accents, character for the long notes, articulation, attention to the harmonies or rhythm, mainly.

Finally, Kolja Blacher explains her some musical issues related to the bow, tension and connection, as well as rapport with the piano/orchestra.</marc:subfield>
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            <marc:subfield code="a">Naxos Video Library</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/RSS8360_1.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=RSS8360_1</marc:subfield>
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