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            <marc:subfield code="a">STRAUSS, R.: Horn Concerto No. 1: I. Allegro (horn and piano reduction) (Masterclass with Dale Clevenger) (García de Albéniz Fdez. de Córdoba) (PAL)</marc:subfield>
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            <marc:subfield code="a">Horn Concerto No. 1 in E-Flat Major, Op. 11, TrV 117: I. Allegro (horn and piano reduction) (PAL) ( 22 min., 52 sec. ) / Strauss</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Clevenger&lt;/i&gt; talks about the difference between the projection of the sound while playing either with orchestra or with accompanying piano. They work on articulation and the Professor comments that it is not necessary to stress the anacrusis for the phrasing. They insist on the tuning of chord intervals. Professor Clevenger gives an explanation about the square note and its effect in the score, and also talks about the character, the accents and the slurs of the piece.</marc:subfield>
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            <marc:subfield code="a">HINDEMITH, P.: Horn Concerto: I. Moderately fast (horn and piano reduction) (Masterclass with Dale Clevenger) (Fuertes Plata, Azizova) (PAL)</marc:subfield>
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            <marc:subfield code="a">Horn Concerto: I. Moderately fast (horn and piano reduction) (PAL) ( 23 min., 30 sec. ) / Hindemith</marc:subfield>
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            <marc:subfield code="a">Fuertes Plata, Mario, Artist -- Azizova, Karina, Artist -- Hindemith, Paul, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Dale Clevenger&lt;/i&gt; makes some general explanations regarding the tuning for this instrument: right hand must be used to manipulate and correct the horn tuning. In this sense, if the sound is too much low, the student should place his hand upper. The student practices this with a passage from the &lt;i&gt;Hindemith's&lt;/i&gt; work and Professor Clevenger also makes more theoretical explanations about the three methods to tune the horn.

About the performance of the student, Professor Clevenger makes some corrections on rhythm, dynamics, character, articulation and phrasing. They also deal with attitude issues: the musician should be telling a story all the time and using his fantasy to perform as in an opera.

To finish, the professor gives some indications to achieve the appropriate articulation in a certain passage.</marc:subfield>
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            <marc:subfield code="a">HINDEMITH, P.: Horn Concerto: II. Very fast (horn and piano reduction) (Masterclass with Dale Clevenger) (Fuertes Plata, Azizova) (PAL)</marc:subfield>
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            <marc:subfield code="a">Horn Concerto: II. Very fast (horn and piano reduction) (PAL) ( 11 min., 30 sec. ) / Hindemith</marc:subfield>
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            <marc:subfield code="a">Fuertes Plata, Mario, Artist -- Azizova, Karina, Artist -- Hindemith, Paul, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Dale Clevenger&lt;/i&gt; talks firstly about the jazzy character for this second movement of the Horn Concerto. He highlights the importance of knowing improvising and playing the syncopation rhythm in connection with the piano.

They also work on musical issues such as the pulse, legato and accents, rhythm, dynamics, and breathing before a certain passage, among others.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: Adagio and Allegro, Op. 70: I. Adagio (version for viola and piano) (Masterclass with Atar Arad) (Pop, Sanchez Fernandez) (PAL)</marc:subfield>
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            <marc:subfield code="a">Adagio and Allegro, Op. 70: I. Adagio (version for viola and piano) (PAL) ( 39 min., 21 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">Sanchez Fernandez, Hector, Artist -- Pop, Cristina Laura, Artist -- Schumann, Robert, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Arad&lt;/i&gt; gives a general explanation about the piece and the student's performance. Specially, it is interesting to keep in mind the idea to adapt themselves to any situation while playing, and not to do the same thing automatically because they have internalized the process.

Arad explains the period and the spirit of the Romanticism. They work on the tuning about the two instruments (viola and piano). The Professor treats the relation between tuning and sound and gives an explanation about why tuning the viola with A string (and not with the rest).

They also works on general aspects, such as phrasing, position (left hand), color of sound, character, bowing, dynamics (balance with the piano) and articulation.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Silverstein&lt;/i&gt; begins this masterclass with some explanations about playing on the beat and not before the beat, because in this way the chords would be divided. Joseph Silverstein shows it by playing and he points out that fingers should be placed sooner. He also plays the first measures from the Fugue (second movement). 

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            <marc:subfield code="a">Firstly, Professor &lt;i&gt;Silverstein&lt;/i&gt; makes some introductory comments about bow direction: it is not necessary to play chords always down-bow. For example, his students practice this by playing the &lt;i&gt;Etude Op. 35 No. 1 by Jakob Dont&lt;/i&gt;. 

Prof. Silverstein also mentions that it is interesting to play with a baroque violin and then he makes some suggestions regarding bow issues, such as bow strokes and direction.

Afterwards, they work on fingering, metrics, shifts or changes of position, chords, strings and character.

Finally, the professor makes some considerations on the way of performing baroque works: he speaks about the historicist musical performances and the baroque instruments. Nowadays, the dynamical rank is bigger. It is necessary also taking into account the invention of the chin rest and its importance for the vibrato. As an example, Joseph Silverstein plays a fragment from the &lt;i&gt;Courante of the Partita No. 2, BWV 1004 by J.S. Bach&lt;/i&gt;. To conclude, the professor recommends the student playing with a baroque bow to feel the difference.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Helmerson&lt;/i&gt; talks about the work in general and comments the different levels of emotion we find between movements of &lt;i&gt;Schumann's Phantasiestucke&lt;/i&gt;.
 
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            <marc:subfield code="a">Professor &lt;i&gt;Helmerson&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Helmerson&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">Montalván, Ofelia, Artist -- Otero Quintana, Lucía, Artist -- Grieg, Edvard, Composer</marc:subfield>
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            <marc:subfield code="a">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 &lt;i&gt;Helmerson&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Helmerson&lt;/i&gt; places the compositions by &lt;i&gt;Grieg&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Cello Sonata No. 1: I. Allegro non troppo (Masterclass with David Geringas) (Otero Quintana, Montalván) (PAL)</marc:subfield>
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            <marc:subfield code="a">At the beginning, Professor &lt;i&gt;Geringas&lt;/i&gt; explains general aspects such as tempo, agogics and character in relation to &lt;i&gt;Brahms Cello Sonata No. 1&lt;/i&gt;. The student has to choose the right tempo for the whole movement selecting it from a different place that the introduction. Later they works on articulation, dynamics, sound, structure and climax in relation to the expression, rhythm and phrasing.

Professor Geringas focuses on the sound balance with the piano, the rapport and dialogue among parts, both instruments playing as an exchange. He also comments some aspects related to the bow and how to get the highest intensity.</marc:subfield>
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            <marc:subfield code="a">The first part of this theoretical masterclass is about sound quality. Professor &lt;i&gt;Geringas&lt;/i&gt; suggests that the first step to avoid an "ugly" sound lies in admitting it, then it is necessary to take care of the bow speed, weight and movement so that the strings can always vibrate. They work on the cello position to achieve this and Professor Geringas proposes to the student an exercise to improve the quality of his sound.

The second part of the masterclass consists on explanations referred to dynamics: not to consider it as something absolute but relative because it depends on its context. As an example, David Geringas mentions the &lt;i&gt;Ligeti Concerto&lt;/i&gt;. He also talks about acoustic issues and the difference with the electric cello - Prof. Geringas plays the beginning of the &lt;i&gt;Adagio and Allegro, Op. 70&lt;/i&gt; by &lt;i&gt;Schumann&lt;/i&gt;. Geringas suggests thinking about how the sound spreads outside and not how is the sound inside the cello.

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            <marc:subfield code="a">DEBUSSY, C.: Cello Sonata in D Minor: III. Finale (Masterclass with David Geringas) (Wysocki, Montalván) (PAL)</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Geringas&lt;/i&gt; makes some comments on sound production and contact with the instrument. Professor and student work on dynamics, indications written (and "no written") in the score, phrasing, meaning of "morbido", sound balance to get diminuendo from pianissimo, accents, and so on.

Professor Geringas tells a story about a competition related to this Cello Sonata and he explains the importance to play all the written indications and the relativity of all the things, including the music. Finally, Professor insists on dynamical issues and he gives to the student an advice to play better the piano voce at the end of the piece.</marc:subfield>
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            <marc:subfield code="a">Montalván, Ofelia, Artist -- Wysocki, Mariusz, Artist -- Schumann, Robert, Composer</marc:subfield>
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            <marc:subfield code="a">In general, Professor &lt;i&gt;Geringas&lt;/i&gt; comments that it is important to think about the sound that the musician wants to provide, because there are a lot of possibilities. He then recommends vocalizing the sound with the cello in the same way that a singer does with his voice.

Afterwards, they work on legato, bow changes related to the tempo of the piece (Adagio), dynamics, and sound preparation with the breathing.

The student should move the body like an instrument producing a sound. After an issue about bow distribution, the professor suggests the student to answer his own questions regarding the music by himself.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Cello Sonata No. 2: IV. Allegro molto (Masterclass with David Geringas) (Ferrández-Castro, Montalván) (PAL)</marc:subfield>
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            <marc:subfield code="a">Cello Sonata No. 2 in F Major, Op. 99: IV. Allegro molto (PAL) ( 30 min., 26 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">Ferrández-Castro, Pablo, Artist -- Montalván, Ofelia, Artist -- Brahms, Johannes, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Geringas&lt;/i&gt; encourages the student to search a full range of expressiveness, based on elements such as dynamics, intensity, articulations and tempo. Geringas also explains the context of this movement in the whole sonata and in relation with the author's symphonies. They talks about the Bohemian character of the piece, as well as general aspects such as coordination - both rhythmical and expressive one - with the accompanying part, phrasing, pauses and resolutions.</marc:subfield>
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            <marc:subfield code="a">BACH, J.S.: Cello Suite No. 6, BWV 1012: I. Prelude (Masterclass with David Geringas) (Ferrández-Castro) (PAL)</marc:subfield>
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            <marc:subfield code="a">Cello Suite No. 6 in D Major, BWV 1012: I. Prelude (PAL) ( 19 min., 43 sec. ) / Bach</marc:subfield>
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            <marc:subfield code="a">Ferrández-Castro, Pablo, Artist -- Bach, Johann Sebastian, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Geringas&lt;/i&gt; comments the need to find more expressivity in the music, attending one of the characteristics of Bach's music, that is, the perfect combination between thinking and emotion.
 
He insists on dynamic aspects, for instance the contrast, and the way to apply this expressive parameter in sections such as repetitions and progressions.

It is also worked on distribution and power of the bow, as well as the study and attention to the melodic and harmonic axis of the piece.</marc:subfield>
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            <marc:subfield code="a">BEETHOVEN, L. van: Cello Sonata, Op. 5, No. 2: I. Adagio sostenuto - II. Allegro (Masterclass with David Geringas) (Szabo, Ortega Chavaldas) (PAL)</marc:subfield>
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            <marc:subfield code="a">Cello Sonata No. 2 in G Minor, Op. 5, No. 2:  I. Adagio sostenuto ed espressivo - II. Allegro molto, più tosto presto (PAL) ( 01 hrs., 26 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">First of all, Professor &lt;i&gt;Geringas&lt;/i&gt; corrects the tempo and he suggests the student to play sostenuto from the beginning of the piece.

Then they work on dynamic levels related to the corresponding character. Prof. David Geringas also makes some indications about harmony, rhythm, piano and cello rapport and articulation among other issues. Then they discuss about the different editions and their relevance. Afterwards they review the end of the Adagio and the measure to go into the Allegro molto part.

About this second part, David Geringas makes some comments on different execution aspects such as the rhythm and agogics, the character, the quality and clarity of the sound as well as about phrasing, dynamics, attitude in the performance, dialog with the piano, harmony and contrast, etc.

The masterclass ends with some indications about sforzato/forte piano, shoulder relaxation, bowings, and quality of sound in the fortissimo moments.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Blacher&lt;/i&gt; explains aspects about bow technique: the bow comes more 'from the string', with more weight. The student has to make a clear difference between when he plays staccato (less bow) and when he uses more bow. In any case, the staccato should not be so close to the frog. The student has to turn the bow to avoid sounding 'col legno'. If we want to get a 'flautato' colour, the bowing should be lighter, without weight and with the whole bow.

For the left hand, Professor Blacher gives some indications to the student: he explains how tuning works in &lt;i&gt;Milstein&lt;/i&gt; and &lt;i&gt;Perlman&lt;/i&gt;. The student must search for the feeling of relaxation in fast passages for the left hand. Professor Bacher also talks about harmonic glissando and he explains several corrections about the position of the violin - too closed because of the chinrest; opening the position means to get more sound).

Related to the bow, Professor Blacher proposes some technical questions: sound exercises in open strings holding the sound, the right elbow and the wrist. They use &lt;i&gt;Kreutzer's Etude No. 2 (Allegro moderato, from '42 Etudes')&lt;/i&gt; to work on bow and sound, taking into account different kind of sound if the bow places at the frog or at the tip. 

Blacher also mentions the method "The Dounis Violin Players' Daily Dozen to Keep the Violinist Technically Fit" by D.C. Dounis.</marc:subfield>
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            <marc:subfield code="a">BARTÓK, B.: Sonata for Solo Violin, BB 124: I. Tempo di ciaccona: I. Tempo di ciaccona (Masterlcass with Kolja Blacher) (Brielles) (PAL)</marc:subfield>
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            <marc:subfield code="a">Firstly, they comment about the concept of Ciaccona. &lt;i&gt;Ciaccona&lt;/i&gt; is a baroque term and therefore the difficulty for the student is playing in that pulse but maintaining Bartok's language.

In fact, the character should not be so light (as in the Baroque period) but more powerful and energic. Moreover, it should be as a "lament", "speaking" but without releasing tension.

Afterwards, they work on phrasing, notes duration, and accents issues according to the rhythmic pulse.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Violin Concerto, Op. 77: I. Allegro non troppo (Masterclass with Kolja Blacker) (Kulibaev, Gladkov) (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) ( 45 min., 29 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Kulibaev, Erzhan, Artist -- Brahms, Johannes, Composer</marc:subfield>
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            <marc:subfield code="a">At the beginning of this masterclass, Professor &lt;i&gt;Blacher&lt;/i&gt; works on the cadenza and the final section of the movement with the student, regarding issues such as fingerings, shifting, bow speed, phrasing, articulation, expression, contrast, and character. He explains the student how to use the bow and how to practice a specific passage. All the cues are important in a concerto and they must be foreseen and breathed. He mentions what the orchestra is playing in some moments. 

The student has to differentiate among dynamics and has to play the trills with accent. Later, they work on the development of the movement in some specific passages. Professor Blacher also talks about vibrato, score accuracy, and harmonic tension. Regarding the technical chapter with exercises, these are focused on standing and placement while playing. It is necessary to exercise them daily, e.g. by working on one position, moving the head and raising it. Afterwards, both the Professor and the student keep working on scales and body movements for comfort and extra control.</marc:subfield>
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            <marc:subfield code="a">PAGANINI, N.: Violin Concerto No. 1: I. Allegro maestoso (Masterclass with Kolja Blacher) (Ramallo, Zipitria) (PAL)</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Professor &lt;i&gt;Blacher&lt;/i&gt; comments about sound clarity, and then they work on shifts and bow distribution, spiccato, and the relocation of the right arm to get a better sound.

He recommends color changes about the piano dynamics and, after that, they review the tuning and sound quality in certain difficult passages.

It is important that the student knows the harmonies is playing in order to be tuned with the piano. They also work on issues related to double stops, right hand and bow movement, etc.

Regarding the cadence, Professor Blacher suggests some string changes and other aspects of the student's execution.</marc:subfield>
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            <marc:subfield code="a">VIOLIN TECHNIQUE EXERCISES: Masterclass with Kolja Blacher (Ramallo) (PAL)</marc:subfield>
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            <marc:subfield code="a">In this technical masterclass, Professor &lt;i&gt;Kolja Blacher&lt;/i&gt; suggests to the student an exercise to improve the vibrato, in order to reach a wider and more controlled vibrato. The student practices this with a passage from the &lt;i&gt;Violin Concerto No. 1&lt;/i&gt; by &lt;i&gt;Paganini&lt;/i&gt;.

Afterwards, Professor Blacher proposes some exercises to achieve better sound when the student plays with the tip of the bow. Besides, the student makes an exercise based on scales, so she could lift properly the fingers, and therefore to be able to improve the shifts and the string changes.

Finally, Professor Blacher recommends another additional exercise to improve the vibrato and they work on it.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Violin Concerto No. 4: I. Allegro (Masterclass with Kolja Blacher) (Ramallo, 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) ( 14 min., 14 sec. ) / Mozart</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Zipitria, Amaia, Artist -- Ramallo Lucini, Erica, Artist -- Mozart, Wolfgang Amadeus, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass they mainly work on articulation to get a better sound quality. 

Articulation should be clear and to achieve this clarity while playing the repeating notes, Professor &lt;i&gt;Blacher&lt;/i&gt; suggests making shorter the first one.

Regarding dynamics and fingerings, Professor Blacher advises the student to use the score: analyzing the orchestra part, so she could get her own conclusions.

To finish, Koljia Blacher makes some indications regarding harmony and accents.</marc:subfield>
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            <marc:subfield code="a">PURCELL, H.: Oedipus, King of Thebes, Z. 583: Music for a While [Opera] (Masterclass with Tom Krause) (Grzywacz, Cabrera) (PAL)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
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            <marc:subfield code="a">Oedipus, King of Thebes, Z. 583: Music for a While (PAL) ( 20 min., 37 sec. ) / Purcell</marc:subfield>
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            <marc:subfield code="a">Grzywacz, Agnieszka, Artist -- Cabrera, Ángel, Artist -- Purcell, Henry, Composer -- Dryden, John, Lyricist</marc:subfield>
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            <marc:subfield code="a">As an introduction, Professor &lt;i&gt;Tom Krause&lt;/i&gt; explains how the vocal chords work. The student has a cold, so in this case it is more convenient not to sing in a very technical way, but rather to sing as speaking and smiling.

Throughout this aria from &lt;i&gt;Purcell's Oedipus&lt;/i&gt;, they work on phonetic issues, vocalic and English pronunciation. For the high notes, it is recommended "using" the whole body.

Afterwards, Professor Krause makes some suggestions about how to sing in a better way the piano notes: she should not narrow the throat in the attack on these notes and support them more.

To finish, the professor also makes some indications about breathing, support and body connection.</marc:subfield>
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        </marc:datafield>
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    <marc:record>
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            <marc:subfield code="a">MONIUSZKO, S.: Haunted Manor (The), Act II: Biegnie sluchac w lasy [Opera] (Masterclass with Tom Krause) (Januszczyk, Lamazares) (PAL)</marc:subfield>
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Professor Krause always insists on the idea that imagination and pictures created in their minds can help to focus a character. In this case, the student can imagine she is a large person, with a big head and an enormous body. He also comments that Polish is a very interesting language from a musical point of view.</marc:subfield>
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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. 

Wagner conceived Siegfried as a heroic 'man of the future', and his fantastical tale is one in which the human dramas of treachery and violent struggles for power become magnified in a world of gods, dragons and magic.</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Professor &lt;i&gt;Thunemann&lt;/i&gt; makes some corrections on vibration and phrasing, breathing or dynamics related to the Recitativo (part A of the first movement) from this &lt;i&gt;Jolivet's Bassoon Concerto&lt;/i&gt;. They work also on trills, rhythm and contrasts.

About the Allegro gioviale (part B of this first movement), Professor Thunemann makes some indications on rhythm and dynamical contrast. Especially, Prof. Thunemann stresses the importance on articulation and duration for the notes of this part B. Besides, they work on phrasing and character. About the tempo, the metronome should be at 104 to be able to understand this piece. Finally, Klaus Thunemann focuses on the syncopation to get the required 'jazzy' character.</marc:subfield>
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            <marc:subfield code="a">At the beginning of the class, Professor &lt;i&gt;Helmerson&lt;/i&gt; thinks that the student is underestimating herself, and therefore he suggests her to be more confidence and not be afraid of exaggeration: she needs a greater liveliness for the strong and cheerful character of this movement. Then the professor makes a brief approach to the emotional state of the creative genius and includes a commentary on &lt;i&gt;J.S. Bach&lt;/i&gt;. Concerning this rondo in particular, they work on articulation and character - which is very &lt;i&gt;Rossini&lt;/i&gt;, as well as on bowings, control, distribution and bow speed.</marc:subfield>
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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">Cello Sonata in G Minor, Op. 65: IV. Finale: Allegro (PAL) ( 22 min., 14 sec. ) / Chopin</marc:subfield>
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            <marc:subfield code="a">Ortega Chavaldas, Miguel Angel, Artist -- Konopelski, Mikolaj, Artist -- Chopin, Fryderyk, Composer</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">Violin Sonata No. 32 in B-Flat Major, K. 454: I. Largo - Allegro (PAL) ( 38 min., 45 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Zipitria, Amaia, Artist -- Olite, Alma, Artist -- Mozart, Wolfgang Amadeus, Composer</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">Gifford, Duncan, Artist -- Valtcheva, Adelina, Artist -- Brahms, Johannes, Composer</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">Hong Kong :</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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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.

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            <marc:subfield code="a">After some brief questions about the student's horn studies, Professor &lt;i&gt;Clevenger&lt;/i&gt; talks about his own recordings, and about the difficult to find the correct place to breathe in this Horn Excerpt.

Then, Dale Clevenger points out the need to play with a good articulation (as "speaking" with logic and common sense) and - to achieve this - he advises the student to play piano but thinking in forte. They also work on the mouth position and pressure to get a better sound for a particular note.

Professor Clevenger also recommends other fingering for a certain passage, and he explains the meaning of several German indications in the score. Character should be mysterious.

Finally, Dale Clevenger makes some corrections on dynamics and he suggests to the student the best way to practice for getting a better sound.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Symphony No. 4:  I. Andante sostenuto (horn part) (Masterclass with Dale Clevenger) (Lago Soto) (PAL)</marc:subfield>
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            <marc:subfield code="a">Symphony No. 4 in F Minor, Op. 36: I. Andante sostenuto - Moderato con anima (horn part) (PAL) ( 09 min., 50 sec. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">At the beginning of this masterclass, Professor &lt;i&gt;Clevenger&lt;/i&gt; mentions the initial horn solo in this piece and the required attitude and personality that the student should show when playing it in an audition: with conviction and leader attitude. Besides, Clevenger corrects the student the right-hand position and the embouchure pressure.

Finally, the professor recommends taking a deep breath between two particular phrases so that he can get more air: it is necessary to "tank up" enough.</marc:subfield>
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            <marc:subfield code="a">BEETHOVEN, L. van: Piano Sonata No. 26, Op. 81a, "Les adieux": I. Das Lebewohl (Masterclass with Peter Frankl) (Ortiz) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 26 in E-Flat Major, Op. 81a, "Les adieux": I. Das Lebewohl (PAL) ( 34 min., 17 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Ortiz, Antonio, Artist -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass Professor &lt;i&gt;Frankl&lt;/i&gt; explains some general aspects of sound in relation to Beethoven: the importance of sound in this composer, even in dynamics marked as "piano". So it is very important to pay attention to the dynamic when it is written "cantabile" on the score. The professor finds also very useful to identify every sound with the color of each orchestral instrument. We have to be aware of the sound we want to achieve in every note and prepare it beforehand.

Professor Frankl also talks about the melody as a main parameter: melodic elements have to sing as an opera singer. In the phrasing, we must identify the most important pitch, the summit. The use of the pedal can help to get more intensity in a passage (more pedal=more intensity).

In relation to sforzati, it is necessary to measure the power and force of every sforzato and establish a hierarchy. The syncopations in left hand are very important because they dress up the melody.

In the development, the student has to know that this is the most difficult part because the material is fragmented and not organised in a line; there are two notes that remind the main theme. A different atmosphere is required here and the rhythm has to be more accurate.

Professor Frankl also talks about the use of pedal in passages with both crescendo and decrescendo and suggests to the student to pay more attention to dissonances.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Frankl&lt;/i&gt; gives some explanations about dynamics, articulation, pedal and sound balance: it is very frequent in Beethoven music to have a piano subito after a crescendo. The sforzati marks should be more separated, the articulation could be played as a detache. Referring to pedal, it is more difficult to use in articulated passages, so the student must identify those fragments. The most important thing is to understand and clarify the element to be highlighted in every moment.</marc:subfield>
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            <marc:subfield code="a">To begin with, Professor &lt;i&gt;Silverstein&lt;/i&gt; checks the starting sforzandi regarding its character and dynamics. Joseph Silverstein advises the student not to move the bow so quickly for saving it until the end of certain phrase.

Besides, Prof. Silverstein makes suggestions about the appropriate bow-stroke to imitate the piano articulation, and about the best fingering to get the required color.

Finally, the professor reflects on the coda and how it should be performed according to the composition style for this specific musical period: the student should transmit the contrast and expectation which the composer wanted to obtain.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Silverstein&lt;/i&gt; makes some initial corrections on bow-strokes, bow distribution, phrasing and relevance of specific notes regarding harmony, etc. He also recommends the student not to rush in a certain passage, having more conversation with the piano. The student must also show the 'happiest and humorous &lt;i&gt;Beethoven&lt;/i&gt;' in this &lt;i&gt;Sonata&lt;/i&gt;.
Afterwards, Silverstein suggests not to do too much ritenuto at the end of the movement, considering the cheerful character of this piece.

To conclude, Silverstein makes a general comment on sforzando piano in early Beethoven, and how it should be performed using an expressive accent. He also comments the difference between this sforzando piano and the fortepiano at the beginning of the movement.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Reri Grist&lt;/i&gt; explains the fundamentals of breathing and support of the voice to the student. They work together on phrasing in &lt;i&gt;Mascagni's&lt;/i&gt; opera, as well as on the articulation and vocal space in vowels and consonants. The teacher explains the sound production in high register (head register).</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Prof. &lt;i&gt;Reri Grist&lt;/i&gt; works mainly on the student's articulation for the vowels. To improve this, Professor Grist recommends searching for a better voice colocation and the use of the facial resonators. In this sense, Reri Grist indicates the student to open her voice upper but at the same time maintaining the jaw more relaxed.

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            <marc:subfield code="a">POULENC, F.: Oboe Sonata, FP 185: I. Élégie: Paisiblement (Masterclass with Hansjörg Schellenberger) (Diaz Blanco, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">Oboe Sonata, FP 185: I. Élégie: Paisiblement (PAL) ( 38 min., 56 sec. ) / Poulenc</marc:subfield>
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            <marc:subfield code="a">The piece is about the story of Romeo and Juliet, and Professor &lt;i&gt;Schellenberger&lt;/i&gt; makes a comparison between &lt;i&gt;Prokofiev's&lt;/i&gt; ballet and &lt;i&gt;Poulenc's&lt;/i&gt; 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. g. the first chord of the sonata. 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.</marc:subfield>
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            <marc:subfield code="a">POULENC, F.: Oboe Sonata, FP 185: II. Scherzo (Masterclass with Hansjorg Schellenberger) (Diaz Blanco, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">Oboe Sonata, FP 185: II. Scherzo: Très animé (PAL) ( 23 min., 54 sec. ) / Poulenc</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Diaz Blanco, German, Artist -- Poulenc, Francis, Composer</marc:subfield>
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            <marc:subfield code="a">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 &lt;i&gt;Schellenberger&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">STAMITZ, C.: Viola Concerto No. 1: I. Allegro (viola and piano reduction) (Masterclass with Atar Arad) (Argento, Sanchez Fernandez) (PAL)</marc:subfield>
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            <marc:subfield code="a">Viola Concerto in D Major, Op. 1: I. Allegro non troppo (viola and piano reduction) (PAL) ( 46 min., 43 sec. ) / Stamitz</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Sanchez Fernandez, Hector, Artist -- Argento, Emilio Vicente, Artist -- Stamitz, Carl, Composer</marc:subfield>
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            <marc:subfield code="a">Firstly, they talk about the cadence: Prof. &lt;i&gt;Arad&lt;/i&gt; suggests the student playing his own cadence because it would allow him to be more connected to the work. Professor Arad also mentions several cadences from other concert pieces and he tells a story about &lt;i&gt;Penderecki&lt;/i&gt;. It is normal and not bad to get excited when you are going to perform in a concert.

About this specific piece, the professor corrects the fingerboard zone where the first chord must be played. He also recommends the student to play as a practice exercise the &lt;i&gt;Caprice No. 24&lt;/i&gt; by &lt;i&gt;Paganini&lt;/i&gt;.

Afterwards, there are musical indications about weight, notes duration, tuning, character, sound quality and contrasts, dynamics or accents. Finally, Prof. Atar Arad insists on the issue of cadences composition.</marc:subfield>
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            <marc:subfield code="a">MAHLER, G.: Symphony No. 1: III. Feierlich und gemessen, ohne zu schleppen (Masterclass with Vladimir Ashkenazy) (Orchestra Sinfonica Freixenet) (PAL)</marc:subfield>
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            <marc:subfield code="a">Symphony No. 1 in D Major, "Titan": III. Feierlich und gemessen, ohne zu schleppen (PAL) ( 08 min., 13 sec. ) / Mahler</marc:subfield>
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            <marc:subfield code="a">In this masterclass the conductor &lt;i&gt;Vladimir Ashkenazy&lt;/i&gt; rehearses the third movement of Mahler's Titan, it is one of the last rehearsals before the concert. The corrections and indications revolves around general aspects such as tempo, dynamics, expression and listening/understanding among the different sections. It is also important for the orchestral musicians to pay attention to the conductor's gestures and facial expressions.</marc:subfield>
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Ashkenazy insists on the tempo and its relation to the character of the movement, that which is a march. The performance in general must be more active, however, but an energic character does not mean to lose the control or even to rush the tempo. He also corrects some passages of the trumpet parts.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Schellenberger&lt;/i&gt; 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.

Prof. 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.

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            <marc:subfield code="a">In general, Prof. &lt;i&gt;Schellenberger&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">Oboe Technique exercises (PAL) ( 19 min., 20 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Moré Coloma, Cristian, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass about oboe technique, &lt;i&gt;Schellenberger&lt;/i&gt; 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. The tuning should be stable, even though the articulation's change (legato/staccato). 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.</marc:subfield>
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        </marc:datafield>
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            <marc:subfield code="a">CHOPIN, F.: Polonaise No. 7, "Polonaise-fantaisie" (Masterclass with Eldgar Nebolsin) (Thompson) (PAL)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Polonaise No. 7 in A-Flat Major, Op. 61, "Polonaise-fantaisie" (PAL) ( 39 min., 34 sec. ) / Chopin</marc:subfield>
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            <marc:subfield code="a">Thompson, Robert, Artist -- Chopin, Fryderyk, Composer</marc:subfield>
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            <marc:subfield code="a">First of all, Professor explains a passage where the chords are very important at the beginning of the phrase and the relevance of the fermata at the end. Moreover, in this piece it is very advisable to highlight the parts in which the harmony has a psychological sensation of surprise.

&lt;i&gt;Eldar Nebolsin&lt;/i&gt; plays several passages to show to the student some aspects, making him suggestions on character and articulation, or different attacks to get a specific sound. They work on rhythm, harmony, dynamics, pedal, left hand technique, color and expression among other things during the class.</marc:subfield>
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            <marc:subfield code="a">CHOPIN, F.: Ballade No. 4, Op. 52 (Masterclass with Eldar Nebolsin) (Hae-Song Jang) (PAL)</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
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        <marc:datafield tag="336" ind1=" " ind2=" ">
            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
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            <marc:subfield code="a">Ballade No. 4 in F Minor, Op. 52 (PAL) ( 52 min., 11 sec. ) / Chopin</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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            <marc:subfield code="a">Jang, Hae-Song, Artist -- Chopin, Fryderyk, Composer</marc:subfield>
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            <marc:subfield code="a">Firstly, Professor &lt;i&gt;Nebolsin&lt;/i&gt; suggests the student to work this piece with metronome: tempo can be changed but not chaotic, and the musician should always have a good reason to modify it.

Afterwards, Eldar Nebolsin makes some corrections on rhythm, dynamics, phrasing, trills, pedal and color, among other musical aspects. They work also on issues related to the left hand, tempo and character, basically.</marc:subfield>
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        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/RSS6938_1</marc:subfield>
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            <marc:subfield code="a">GUBAIDULINA, S.: Duo Sonata for 2 Bassoons (Masterclass with Klaus Thunemann) (Catala, Raszca) (PAL)</marc:subfield>
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            <marc:subfield code="a">Raszca, Katarzyna, Artist -- Catala Climent, Alber, Artist -- Gubaidulina, Sofia, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Thunemann&lt;/i&gt; corrects issues related to breathing, dynamics and phrasing and he also comments that the first notes of the piece should be more staccato.
 
Thunemann plays during the class in many occasions to show the best fingerings to the student and the best way to solve certain passages and the most complicated sound effects. Moreover, he works on sound balance between the two bassoon parts. Referring to tempo, Professor Thunemann explains the passages with stricter tempo in contrast with freer passages and corrects the mouth position.

In this contemporary music the performer must constantly control with their ear how to play, because it is not all written as in a book.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Rizzi&lt;/i&gt; talks about the character of this movement and gives some indications to the student in order to clarify the rhythm, the counterpoint and the rubato.

When it comes to the character, it should be played with more continuity, enjoying, and more comfortable way, and not losing that intention throughout the movement.

When there is a change of rhythm, for example from dotted notes to others, the change should be done immediately, while the cue to the repetition is more delicate, trying the more adequate contact point of the bow. The student should be aware of the internal counterpoint of the melody because there are two voices. In the moment where rubato appears, it is necessary to keep the flow.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Rizzi&lt;/i&gt; talks about &lt;i&gt;Bach&lt;/i&gt; and Baroque music. It is very important to pay attention to all the hints that Bach gives in the score: slurs, articulations, etc. Although we have the idea that Baroque music is a very structured and logic style, we should avoid rigidity and severity within the form. The student has to distinguish between long and short lines with the phrasing.

The Professor asks the student if he knows other pieces or movements in which Bach uses the same melodic turns. The character is a little rude and the student plays too carefully. We have always to keep the flow while playing.

Talking about phrasing, there are different possibilities when we have 6 notes, e.g. 1-2-2-1. In other passages, the phrase should be organized in pairs.</marc:subfield>
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            <marc:subfield code="a">BOTTESINI, G.: Double Bass Concerto No. 2: I. Allegro moderato (Masterclass with Janne Saksala) (Gomez Madrigal, Martínez Olivo) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Double Bass Concerto No. 2 in B Minor: I. Allegro moderato (NTSC) ( 57 min., 52 sec. ) / Bottesini</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Saksala&lt;/i&gt; comments that it is important to take time differently within passages to get the specific phrasing, not always the same breathing and pause. He gives some indications to the pianist. Continuing with phrasing, the student should pay attention to the most important notes in the phrase and Saksala talks about color and expressive resources to be applied. Bowings (bow changes and use of the bow) are used in relation to the phrasing as well.  

Saksala mentions some kind of articulation between the slur and the separated sound. The Professor purposes alternative fingerings that the student should try and chose the best option for him. Saksala makes notes on the score and links with the phrasing and the bowings. In specific phrases, it is important to remark the lowest note and not to rush. On the D string, the student should play a wider bowing to be heard over the orchestra. To play a single note, it is better not to use the D string because that breaks the legato and the sound, so the key is to get the same sound with the fingering adapted to the phrase. 

About the character, it is not necessary to play louder if we want to achieve a mysterious atmosphere. Finally, Professor Saksala explains how to work the 'spiccato brillante'.</marc:subfield>
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            <marc:subfield code="a">The lecture begins with a brief correction on the attack with the bow (more percussive), the character should be more dramatic and there are other short corrections over the score.

Restarting the piece, &lt;i&gt;Janne Saksala&lt;/i&gt; makes indications on the entry, and then on dynamics and natural phrasing. Saksala also suggests some bow and fingering changes to the student so that he could "sing" more. The gesture with the arm should be larger, in line with the expression of the drama. Besides, it is important to make a dynamic and character development, taking into account the climax in piano to touch the soul of the listener. At the end of the slow part, they work on articulation, notes duration and bowings issues.

Referring to the fast part, Professor Saksala gives some pieces of advice regarding the arm movement and bow direction. She should practice it slowly and detache, not spiccato.

Then they focus on a technical issue to improve the movement of the right arm: it is like a double lever between joints (elbow and wrist).
Afterwards they work on musical aspects such as articulation, music direction, sound, dynamics, tempo and bow distribution.

Finally, they practice the end of the piece, which is difficult, slowly but in rhythm and pressing more on the string. Cadence must be brilliant.</marc:subfield>
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            <marc:subfield code="a">At the beginning, &lt;i&gt;Saksala&lt;/i&gt; suggests the double bass to wait to start until its first cue, so there is time enough for the accompanying piano to fade out. In some moments it is necessary to take more time to express more fantasy (this idea comes out in many moments of the class). The Professor works in depth on the phrasing, the most important notes to be highlighted, the moment to breath to express more and the use of vibrato in certain passages.</marc:subfield>
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            <marc:subfield code="a">In many times, Professor &lt;i&gt;Saksala&lt;/i&gt; starts playing to demonstrate in a practical way what he wants the student to do. In general, the Professor works in depth on the phrasing and related issues (important notes, breathing, vibrato in certain passages). Moreover, there is a repeated idea throughout the class: the need to take more time in certain notes, sometimes to give more fantasy or to improve expression.

The student has to project the sound outwards using more bow. In some notes of the phrase it is necessary to give much more emphasis. The student has to 'enter more into the string', more contact is required to get a richer sound. The Professor comments on the need to work on the spiccato: it must be prepared starting from the air, with enough height, as scratching the string. A concrete passage has almost the character of mazurka and another one is more cantabile, the contrast should be shown. At the end, a great accelerando is required.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Saksala&lt;/i&gt; suggests to the student to create different atmospheres and more contrasts. The character of the piece is like a lullaby. The best way to start a long sound is with more calm and progression, and with sound projection.

It is also important to work on articulations, vibrato and dynamics related to the phrasing. The bowings should be out of the fingerboard, in the middle of the bridge, to get more resonance. 

They talk about the student's instrument and the different tuning for specific notes. Every time we have the same phrase (the same notes or the same melodic design), the repetition should have some different element and not only be played exactly as the first time.

They also talk about the harmonic richness of the piece. Saksala explains the more appropriate place where the bow have to contact with the string and he shows this point to the student.

In general, the phrasing has to be freer. Professor and student work on the note distribution in the bow to give more fluidity to the music. Although the 'rallentando' is a question of personal taste, it is not necessary to be exagerated.

Coming back to the phrasing, in a specific repetition of a phrase, the second time is much more conclusive. They work on the last phrase in aspects such as phrasing, articulation and duration of the notes, this is like a stairway to the sky.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Saksala&lt;/i&gt; corrects on the fly some questions of articulation. At the end of the performance, he talks about the better tempo. He suggests to the student to use little bowings, that way the articulation will be clearer. Then they comment about an indication on the score that says "on the frog" and Saksala shows the student how to play it and indicates the most convenient bow stroke. Finally, he insists on the duration of some notes and articulation.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Saksala&lt;/i&gt; suggests not pushing and lengthening a note so much, there is a comma, a breathing. They discuss about phrasing and articulation for this orchestral passage and the Professor plays it to show the correct way. For a proper tuning, he advises the student to play from the D-A base, recording himself.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Saksala&lt;/i&gt; explains some bowings and fingerings for this orchestral passage. He also makes some comments about bow distribution and bow direction. In certain passages, the articulation is legato. The fragment is like a canon: it starts with the viola and the violin and goes on with the double bass.</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Professor &lt;i&gt;Saksala&lt;/i&gt; comments on several changes that the composer introduced after the publication of the score. He plays several passages of the &lt;i&gt;Divertimento&lt;/i&gt; to show the student some aspects, such as dynamics, attacks and bow strokes and articulation. Some passages have to sound more fluid. When there are several notes on the same bow, it is better to give them more weight. There are two types of string changes: fast and slow, the slow change comes from the shoulder and the fast one from the forearm (elbow rotation is needed). They work on both changes very slowly, so that the student assimilates each movement of his body. Saksala comments about &lt;i&gt;Nino Rota&lt;/i&gt;. The student should maintain a correct head position while playing. 

The Professor proposes changes of fingerings in several passages and different bowings. He talks about the appropriate moments to use martele and how to do it. Saksala writes annotations on the score about slurs, upbeats and articulations. The energy should be rationed from the start to the finish of the piece.</marc:subfield>
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            <marc:subfield code="a">STAMITZ, C.: Viola Concerto No. 1: I. Allegro (non troppo) (viola and piano reduction) (Masterclass with Nobuko Imai) (Marjanowic, Banados) (PAL)</marc:subfield>
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            <marc:subfield code="a">Viola Concerto in D Major, Op. 1: I. Allegro (non troppo) (viola and piano reduction) (PAL) ( 53 min., 15 sec. ) / Stamitz</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Nobuko Imai&lt;/i&gt; starts her explanation by talking about the composer, &lt;i&gt;Carl Stamitz&lt;/i&gt;, and the context of this work. She also comments that the student's viola is not a very loud instrument, so he will have to use more resources to compensate this lack of sound. Imai thinks that it would be good for him to play a bigger viola with a darker sound.

Focusing on the piece, the student must think the notes towards the low register, it is something like a "downbeat feeling". In the Classic style, the first beat of a bar is very important, so the student has to avoid any fear to play it with power. They work in detail on the articulation and the sound of the beginning. Professor Imai explains step by step the tension in the bow, the pressure on the strings and the speed to be applied every moment. She corrects the tuning and the contact point in double stops, so the student has to keep in mind how to sound. It is very important to show the new elements that appears in the music.

The Professor also talks about the character of this concerto and how to achieve it through a specific articulation. She explains that power in the bow is necessary, but we have to use just the required energy without losing control, without jumping. The recommendation in fast passages is not to emphasize every note, but playing each one lighter. The student should look for more differences within contrasting passages. Finally, in bariolage technique, the harmony has to be heard well, with a clearer and thicker sound.</marc:subfield>
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            <marc:subfield code="a">BARTOK, B.: Viola Concerto, BB 128: I. Allegro moderato (viola and piano reduction) (Masterclass with Nobuko Imai) (Duz, Banados) (PAL)</marc:subfield>
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            <marc:subfield code="a">Viola Concerto, BB 128: I. Allegro moderato (viola and piano reduction) (PAL) ( 40 min., 29 sec. ) / Bartók</marc:subfield>
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            <marc:subfield code="a">At the beginning of this masterclass, &lt;i&gt;Nobuko Imai&lt;/i&gt; recommends the student knowing better the music and what is happening in every moment to get a more suitable performance for her. For example, dynamic should be more 'piano' regarding the orchestral accompaniment in a specific moment. Then the professor makes several comments about the composition, sketches, manuscripts and editions of this &lt;i&gt;Viola Concerto&lt;/i&gt;. Imai plays the beginning of the piece and she points out the importance of the expressiveness.

Afterwards, Prof. Imai makes indications - among others - about phrasing and melodic direction, metrical rigor or freedom depending on the character and colors, type of sound (thicker and tenuto, like a trumpet in a certain point), rhythm and contrast in the climax.

On the next part, expressiveness is also important, and not to play too much slowly. It needs more flavour and an appropriate phrasing.
In general, she recommends the student being more active with the bow without losing quality of sound, and she proposes a better bow distribution to achieve this. It is also important that the student distinguishes what is (or not) the main melody in the piece.

As a conclusion she highlights the importance of knowing the whole structure of the piece: where the climax and relaxing parts are, so that the performance becomes richer and better.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Nozze di Figaro (Le), K. 492, Act IV: Giunse alfin il momento - Deh, vieni [Opera] (Masterclass with Reri Grist) (Gabrel, Cabrera) (PAL)</marc:subfield>
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            <marc:subfield code="a">Le nozze di Figaro, K. 492, Act IV: Giunse alfin il momento - Deh, vieni, non tardar (PAL) ( 21 min., 01 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">In this masterclass, which starts with the &lt;i&gt;Recitative: Giunse alfin il momento&lt;/i&gt;, Professor &lt;i&gt;Reri Grist&lt;/i&gt; corrects the student about the emission and the accuracy of the score in this &lt;i&gt;Mozart's&lt;/i&gt; recitative. The student should control the breathing and take more time in the syllables that have more importance in the text. She has to "talk" the text.

In the aria, Reri Grist insists on the correct pronunciation of the text and on the student's breathing, which sometimes blocks her and prevents her to sing properly. The student should pay attention to the phrasing, the accurate duration of the notes and the tongue position to pronounce certain notes.

They work on vocal placement and throat opening and, again, the pronunciation has to be corrected in several passages. Reri Grist tells the student not to breath inside a phrasing, she must concentrate and keep the pitch.

In some high pitches, Professor's recommendation is not to push them because they sound very unnatural. Everything comes easier if she does not close the throat, therefore the voice is projected easily.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Reri Grist&lt;/i&gt; locates the aria in the whole opera and talks about the correct tempo. The Professor also gives some recommendations to the student: she has not to press the throat in high pitches and to keep always the phrasing shape as a curve, round as an arch. Moreover, Grist explains the correct way to place low pitches.

Finally, Grist advises the student to have a class with Teresa Berganza and learn the text properly. It is very important that the student knows exactly what she wants to do in every moment.</marc:subfield>
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            <marc:subfield code="a">Cabrera, Ángel, Artist -- Corujo Perdomo, Francisco, Artist -- Pagliara, Rocco Emanuele, Lyricist -- Tosti, Paolo, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Reri Grist&lt;/i&gt; begins the masterclass congratulating the student about his voice, but she recommends him improving his posture and she mentions that the student has confused some words from the lyrics. Referring to this song, Grist makes suggestions mainly to get a more suitable phrasing. She corrects also aspects related to the voice placing in some specific moments.

About dynamics, it is important to make the small crescendo to obtain more variety. Moreover, he must avoid making excessive noises: there is no need to do so, and, besides, aesthetically, it doesn't turn out right. The performance is better when the singer is transmitting a message because it becomes more convincing.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Idomeneo, re di Creta, K. 366, Act III: Sventurata Sidon - Se colà ne' [Opera] (Masterclass with Reri Grist) (Corujo, Cabrera) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Idomeneo re di Creta, K. 366, Act III: Sventurata Sidon - Se colà ne' fati è scritto (PAL) ( 24 min., 20 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Cabrera, Ángel, Artist -- Corujo Perdomo, Francisco, Artist -- Mozart, Wolfgang Amadeus, Composer -- Varesco, Giovanni Battista, Lyricist</marc:subfield>
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            <marc:subfield code="a">Concerning the recitative, Prof. &lt;i&gt;Grist&lt;/i&gt; makes mainly indications on agogics and metrical rigor or freedom. Referring to the aria, the professor recommends not pushing a certain note, but letting it just go. On several occasions, she corrects the phrasing regarding the lyrics. She suggests also making almost a sforzando in a certain note. 

Afterwards, they work on pronunciation issues and how to place the voice with the vowels to get a good result for the higher notes. Reri Grist highlights again the importance of not pushing. Besides, she makes indications on breathing, notes duration, dynamics, tuning, tempo and trill execution.

Finally, she gives the student some general advices on his attitude to sing and what he should be worried about or not. She also recommends him listening recordings by Fritz Wunderlich (not to imitate him, just to notice his style) and including in his repertoire some &lt;i&gt;Mozart's&lt;/i&gt; concert arias.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: String Quartet No. 2: III. Scherzo: Presto (Part 1) (Masterclass with Gunter Pichler) (Cuarteto Brahms de El Mundo) (PAL)</marc:subfield>
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            <marc:subfield code="a">String Quartet No. 2 in F Major, Op. 41, No. 2: III. Scherzo: Presto (Part 1) (PAL) ( 40 min., 38 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">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 &lt;i&gt;Pichler&lt;/i&gt; 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 the idea that the body language is very important in our lives but also for the proper functioning of the string quartet.</marc:subfield>
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            <marc:subfield code="a">In this second part of the masterclass, Professor &lt;i&gt;Pichler&lt;/i&gt; 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.

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.</marc:subfield>
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            <marc:subfield code="a">CASSADÓ, G.: Suite for Cello Solo: I. Preludio - Fantasia (Masterclass with Frans Helmerson) (Szabo) (PAL)</marc:subfield>
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            <marc:subfield code="a">This masterclass begins with a brief tempo correction. Then Prof. &lt;i&gt;Helmerson&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">CASSADÓ, G.: Suite for Cello Solo: II. Sardana - Danza  (Masterclass with Frans Helmerson) (Szabo) (PAL)</marc:subfield>
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            <marc:subfield code="a">Firstly, &lt;i&gt;Frans Helmerson&lt;/i&gt; mentions the difficulty of this movement. Rhythm is the most important aspect. Prof. 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.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Helmerson&lt;/i&gt; 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 playing; in fast passages, we have to save the bow (bow distribution is very important); the student has not to stress with the bow, he has to avoid pushing it by the end of every bowing. Finally, shifting is thought as a natural movement, sliding the hand, more than an abrupt movement. The left-hand role is to anticipate every gesture, the fingers should move as an octopus.</marc:subfield>
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            <marc:subfield code="a">VILLA-LOBOS, H.: Bachiana brasileira No. 6: I. Aria: Choro (Masterclass with Klaus Thunemann) (Cebrian Garea, Juhasz) (PAL)</marc:subfield>
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            <marc:subfield code="a">Bachianas brasileiras No. 6: I. Aria: Choro (PAL) ( 20 min., 07 sec. ) / Villa-Lobos</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, &lt;i&gt;Klaus Thunemann&lt;/i&gt; corrects the tempo (the students have played it too fast) as well as the flute articulation. Afterwards, the professor makes some indications about the convenience to breathe in a certain moment and about the accents in on the bassoon. The duet must show the dancing and Latin character of this piece, and to achieve that Thunemann suggests a more suitable rhythm and articulation.

Besides, he makes other recommendations on expressiveness, dynamics, articulation and accents. He also corrects the fingering on the bassoon for the end of the piece.

Finally, Prof. Thunemann proposes to play again the Aria taking into account that it is music "on the street". They must wait in the first A and play with a full sound. If it is possible, flutist should play the first phrase in one breath, and then Thunemann makes some specific indications on tempo for both instruments.</marc:subfield>
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            <marc:subfield code="a">VILLA-LOBOS, H.: Bachianas brasileiras No. 6: II. Fantasia (Masterclass with Klaus Thunemann) (Cebrian Garea, Juhasz) (PAL)</marc:subfield>
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            <marc:subfield code="a">Bachianas brasileiras No. 6: II. Fantasia (PAL) ( 22 min., 26 sec. ) / Villa-Lobos</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Klaus Thunemann&lt;/i&gt; begins making a comment about the difficulty of turning the page between movements. The character is dancing and light (related to articulation). Then Thunemann makes comments about tuning.
Regarding the phrasing, &lt;i&gt;Fantasia&lt;/i&gt; implies an introduction, like a cadence. Afterwards they work on accents and breathing issues.

Regarding the rhythm and the tempi, Professor Thunemann makes also some suggestions and then he focuses on the rapport: it is important to breathe together. Furthermore, they work on musical aspects related to articulations and dynamics and they look over the end of the movement.</marc:subfield>
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            <marc:subfield code="a">At the beginning of the piece, Professor &lt;i&gt;Thunemann&lt;/i&gt; advises to mark clearly the difference among sforzato-piano y forte-piano and it is necessary not to rush the scales.

The clarinet must play lighter and the oboe and the rest of the octet have to play every sound more articulated.

In different moments of the piece, the octet tends to rush the tempo, and Thunemann insists on the importance of keeping the same pulse. There are some important notes to remark the harmonic changes: for example the D note in bassoon part (bar 95). The Professor also explains how to breathe after the fermata, playing a short and clear attack.

As a group, the students have to find the balance in every sound and every instrumental part and play the tutti quicker, going ahead. Sometimes, the oboe has to lead as a conductor to play the cues all together, they have to get breathing together.

At the end of the masterclass, they work on the short notes in the horn part and on the final passage, which is "quasi senza ritenuto".</marc:subfield>
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            <marc:subfield code="a">In this second movement of the Serenade, Professor &lt;i&gt;Thunemann&lt;/i&gt; gives some indications about tempo, dynamics, articulation and character: the pulse must be interiorised in one beat; the dynamics are growing step by step, without abrupt changes. The fortepiano is almost a sostenuto; in the horn part, the notes must be played more articulated, more separated.

Talking about phrasing, Thunemann says that, before a new theme appears, it is recommended pausing, the idea is to emphasize the new material.

In general, the phrasing of the movement needs more direction and the students have to play with more energy.

At the end of the masterclass, Thunemann comments that the beginning of the Menuetto in the Da Capo part is played in a different way, in relation to the first time. So it is necessary to unify both of them. The character is more animato, with more energy, and as the third beat comes too late it sounds a little tired). The phrasing in the second part of the Menuetto has more direction for continuing in the following bar. Because of that, it is better if the students play it play it with more intention.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Serenade No. 11, K. 375: III. Adagio (Masterclass with Klaus Thunemann) (Octeto de vientos de la ESMRS) (PAL)</marc:subfield>
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            <marc:subfield code="a">The class begins working on the instrumental part of the accompaniment: the pulse must be "alla breve", the trill is very short and played from the upper note (D).

This third movement is &lt;i&gt;Adagio&lt;/i&gt;, so the tempo is calmer. In a certain passage, the notes should not be so short and the sforzato must be clearer.

The first clarinet has a role of soloist and has to stand out more in the dynamic aspect. On the contrary, the oboe and the rest of the octet must play softer, in piano, but with clearer articulation. As a conclusion, the students should play "aufspielen" (with more intention) during the whole movement.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Violin Concerto, Op. 77: II. Adagio (violin and piano reduction) (Masterclass with Zakhar Bron) (Zheng-Yu Wu, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Zakhar Bron&lt;/i&gt; starts the masterclass with a comment about the expressiveness: the student should show deeper feelings. Then, he makes some corrections about fingering related to the violin positions, and also about tempo and phrasing in certain passages.

About the sound, the professor recommends more clarity (legato, but not with much vibrato or glissando). Besides, Bron makes some indications on bow distribution regarding the required dynamics. After some suggestions to improve the character of the work, Bron recommends a freer phrasing. He proposes different fingerings and he highlights character and expressiveness issues. There is a dialog with the horn that the student should take into account and play it with less vibrato.

Moreover, Zakhar Bron makes some corrections about phrasing, tuning, articulation, or dynamics among others.  Finally, the professor plays certain passages to show the student how to express properly some character and harmonic changes.</marc:subfield>
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            <marc:subfield code="a">Frontali, Roberto, Artist -- Ferro, Gabriele, Conductor -- Palermo Teatro Massimo Chorus, Choir -- Pierattelli, Manuel, Artist -- Barbagallo, Antonio, Artist -- Ceriani, Nicolo, Artist -- Palermo Teatro Massimo Ballet, Ensemble -- Palermo Teatro Massimo Orchestra, Orchestra -- Pirozzi, Anna, Artist -- Mimica, Marko, Artist -- Alfano, Federica, Artist -- Costanzo, Vincenzo, Artist -- Ciminna, Emanuela, Artist -- Quattrocchi, Federica, Artist -- Romeo, Riccardo, Artist -- Cusumano, Francesco, Artist -- Lo Presti, Nunziatina, Artist -- Emma Dante Company Actors, Ensemble -- Piave, Francesco Maria, Lyricist -- Verdi, Giuseppe, Composer -- Maffei, Andrea, Lyricist</marc:subfield>
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            <marc:subfield code="a">Commissioned in 1846, &lt;i&gt;Macbeth&lt;/i&gt; offered &lt;i&gt;Verdi&lt;/i&gt; the opportunity to make a qualitative leap in his career and its premiere was triumphantly received by audiences. Yet the libretto had proved problematic and many Italian critics did not share the composer's reverence for &lt;i&gt;Shakespeare&lt;/i&gt;. Verdi surmounted all concerns with an opera that valued brevity but also preserved the play's most important elements. The formidable final concertato stands as one of his greatest achievements thus far, his pacing and detailing of the opera as a whole far surpassing his previous works. This production preserves the preferred 1865 revision of the work, sung in Italian and retaining the original 1847 finale.</marc:subfield>
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            <marc:subfield code="a">Mstislav Rostropovich - L'archet indomptable (The Indomitable Bow) (NTSC) ( 01 hrs., 18 min., 34 sec. ) / Not Applicable -- Variations on a Rococo Theme in A Major, Op. 33 (NTSC) ( 05 min., 01 sec. ) / Tchaikovsky -- Piano Trio No. 7 in B-Flat Major, Op. 97, "Archduke" (NTSC) ( 37 min., 10 sec. ) / Beethoven -- Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande (NTSC) ( 05 min., 42 sec. ) / Bach -- Pesni i plyaski smerti (Songs and Dances of Death): No. 1. Lullaby (NTSC) ( 00 sec. ) / Mussorgsky -- Cello Sonata No. 3 in A Major, Op. 69: III. Allegro vivace (NTSC) ( 00 sec. ) / Beethoven -- Symphony-Concerto in E Minor, Op. 125: Finale: III. Andante con moto (NTSC) ( 00 sec. ) / Prokofiev -- Mstislav Rostropovich - Soljenitsyne et Rostropovitch (Solzhenitsyn and Rostropovich) (NTSC) ( 40 min., 16 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Rostropovich, Mstislav, Artist -- Ozawa, Seiji, Conductor -- Boston Symphony Orchestra, Orchestra -- Menuhin, Yehudi, Artist -- Kempff, Wilhelm, Artist -- Vishnevskaya, Galina, Artist -- Richter, Sviatoslav, Artist -- Kamu, Okko, Conductor -- Monte-Carlo National Opera Orchestra, Orchestra -- Bach, Johann Sebastian, Composer -- Tchaikovsky, Pyotr Il'yich, Composer -- Mussorgsky, Modest Petrovich, Composer -- Golenishchev-Kutuzov, Arseny, Lyricist -- Beethoven, Ludwig van, Composer -- Not Applicable, na, Composer -- Prokofiev, Sergey, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;The Indomitable Bow&lt;/i&gt; is a unique portrait of &lt;i&gt;Mstislav Rostropovich&lt;/i&gt;, a formidable personality as well as a complex, deeply political musician constantly engaged in a whirlwind of activities. Including unreleased documents, archive films, interviews and concert performances from this key figure of the 20th century. The Indomitable Bow is a remarkable testimony of the life and work of the legendary &lt;i&gt;Slava&lt;/i&gt;</marc:subfield>
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            <marc:subfield code="a">KORNGOLD, E.W.: Wunder der Heliane (Das) [Opera] (Deutsche Oper Berlin, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Disc 2 ( 00 sec. ) / Korngold -- Das Wunder der Heliane, Op. 20 (Deutsche Oper Berlin, 2018) (NTSC) ( 02 hrs., 47 min. ) / Korngold</marc:subfield>
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            <marc:subfield code="a">Berlin Deutsche Opera Orchestra, Orchestra -- Jakubiak, Sara, Artist -- Albrecht, Marc, Conductor -- Wagner, Josef, Artist -- Ulrich, Burkhard, Artist -- Berlin Deutsche Opera Chorus, Choir -- Damerau, Okka von der, Artist -- Welton, Derek, Artist -- Jagde, Brian, Artist -- Korngold, Erich Wolfgang, Composer -- Müller-Einigen, Hans, Lyricist</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Erich Wolfgang Korngold&lt;/i&gt; spoke of this work as his 'masterpiece'. The Miracle of Heliane bears all the hallmarks of Korngold's musical theatre - and goes one step further in scale, with a huge score and orchestra, intoxicating pathos and exquisitely expressive harmonies that play with polytonality - resulting in a gripping and sensuous drama. The world premiere in Hamburg in 1927 was a triumph, with more than a dozen houses booking the latest work by Korngold, at the time the second most performed composer of opera after &lt;i&gt;Richard Strauss&lt;/i&gt;. With the Jewish Korngold prevented by the Nazis from presenting his works to the public, The Miracle of Heliane vanished from the repertoire, never to return.

This is a timeless fairy tale portraying a cold ruler incapable of loving anyone, his wife Heliane, devoted to a Dionysian stranger, and a people waiting for a redemptory miracle to occur.

An outstanding cast in all roles, staging of Christof Loy and the orchestra of the Deutsche Oper conducted by Mark Albrecht awaken Korngold's grand and opulent music from decades of slumber and made this production a real triumph, acclaimed by audience and international critics alike.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Weber&lt;/i&gt; was the forefront of the rise of German Romantic opera and sought to dethrone &lt;i&gt;Rossini&lt;/i&gt; from his position as the leading operating composer in Europe. In his breakthrough and most popular opera &lt;i&gt;Der Freischutz (The Marksman)&lt;/i&gt; composed in 1821, he succeeded in his aim of establishing a truly German form. Turning to the folklore and folk songs of his native land he took a story of a marksman who makes a pact with the Devil, vesting it with powerful intensity - not least in the famous Wolf's Glen scene - and an astonishing control of orchestral colour and atmosphere.</marc:subfield>
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            <marc:subfield code="a">BELLINI, V.: Puritani (I) [Opera] (Staatsoper Stuttgart, 2018) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Disc 2 ( 00 sec. ) / Bellini -- I puritani (The Puritans) (Staatsoper Stuttgart, 2018) (NTSC) ( 03 hrs., 11 min. ) / Bellini</marc:subfield>
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            <marc:subfield code="a">Bracht, Roland, Artist -- Gohrig, Heinz, Artist -- Stuttgart State Opera Chorus, Choir -- Stuttgart State Opera Orchestra, Orchestra -- Benzi, Manlio, Conductor -- Durlovski, Ana, Artist -- Haller, Diana, Artist -- Myshketa, Gezim, Artist -- Barbera, René, Artist -- Palka, Adam, Artist -- Pepoli, Carlo, Lyricist -- Bellini, Vincenzo, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;I puritani's&lt;/i&gt; is one of &lt;i&gt;Bellini's&lt;/i&gt; most creative and influential masterpieces, a bel canto opera stamped with vocal and orchestral writing of intoxicating beauty and dramatic intensity. Set in England in the Civil War shortly before Oliver Cromwell's triumph, it involves romantic and political intrigues that drew from Bellini music of melodic raptness and melancholic depth. It also inspired him to composes some of his most breathtakingly virtuosic passages, notably Elvira's Mad Scene, that call for the utmost in theatrical power. This production includes for the first tome all the music performed a the work's Paris premiere.</marc:subfield>
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            <marc:subfield code="a">HERMAN, Woody: Live in '64 (NTSC)</marc:subfield>
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            <marc:subfield code="a">Woody Herman: Live in '64 (NTSC) ( 01 hrs. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Jazz Icons: Wood Herman&lt;/i&gt; features a blistering one-hour concert from 1924 showcasing one of the very hottest line-ups of the "Swinging Herd," including trumpeter Bill Chase, trombonist Phil Wilson and the amazing saxophonist Sal Nistico on the front line, as well as drummer Jake Hanna, bassist Chuck Andrus and pianist-arranger Nat Pierce in the rhythm section.

Woody and his band roar throughout the entire show which includes standards such as &lt;i&gt;Lonesome Old Town&lt;/i&gt; and &lt;i&gt;After You've Gone&lt;/i&gt; as well as new originals including &lt;i&gt;Charles Mingus' Better Git It in Your Soul&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">Byard, Jaki, Artist -- Hubbard, Freddie, Artist -- Blakey, Art, Artist -- Workman, Reggie, Artist -- Davis, Nathan, Artist -- Not Applicable, na, Composer</marc:subfield>
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        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">&lt;i&gt;Jazz Icons: Art Blakey&lt;/i&gt; boasts an exceptional one-hour concert by Art Blakey from Paris in 1965. This performance showcases one of the few undocumented Blakey bands, the New Jazzmen, featuring the incomparable Freddie Hubbard on trumpet, as well as Jaki Byard on piano, Reggie Workman on bass, Nathan Davis on sax and, of course, Art Blakey on drums truly a powerhouse quintet!

Freddie Hubbard's incendiary playing on &lt;i&gt;Blue Moon&lt;/i&gt; and the blistering 24-minute version of his own &lt;i&gt;Crisis&lt;/i&gt;, serves as a cogent reminder that was one of the most innovative trumpeters in jazz history.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Jazz</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="655" ind1=" " ind2=" ">
            <marc:subfield code="a">World</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="710" ind1="2" ind2=" ">
            <marc:subfield code="a">Naxos Digital Services US</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/2.119017.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=2.119017</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/2.119017</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
    </marc:record>
    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">2.119019</marc:controlfield>
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        <marc:datafield tag="024" ind1="1" ind2="1">
            <marc:subfield code="a">747313901951</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos DVD</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="040" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">FARMER, Art: Live in '64 (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
            <marc:subfield code="c">2009</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="336" ind1=" " ind2=" ">
            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
            <marc:subfield code="b">tdi</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="337" ind1=" " ind2=" ">
            <marc:subfield code="a">video</marc:subfield>
            <marc:subfield code="b">v</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="338" ind1=" " ind2=" ">
            <marc:subfield code="a">Online resource</marc:subfield>
            <marc:subfield code="b">cr</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="490" ind1="1" ind2=" ">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Art Farmer: Live in '64 (NTSC) ( 01 hrs. ) / Not Applicable</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Swallow, Steve, Artist -- Farmer, Art, Artist -- Hall, Jim, Artist -- La Roca, Pete, Artist -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">Jazz Icons: &lt;i&gt;Art Farmer&lt;/i&gt; highlights an amazing one hour Art Farmer concert from 1964 featuring the great flugelhornist in his prime. Farmer's top-notch band includes legendary guitarist Jim Hall (fresh from Sonny Rollins' band), drummer Pete LaRoca and Steve Swallow on bass. This legendary ensemble plays both standards and originals with ease and finesse and highlights why Farmer was considered one of the most innovative horn players in all of jazz.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Jazz</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="655" ind1=" " ind2=" ">
            <marc:subfield code="a">World</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="710" ind1="2" ind2=" ">
            <marc:subfield code="a">Naxos Digital Services US</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/2.119019.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=2.119019</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/2.119019</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
    </marc:record>
    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">2.119020</marc:controlfield>
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        <marc:controlfield tag="006">m||||||||h||||||||</marc:controlfield>
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        <marc:datafield tag="020" ind1=" " ind2=" ">
            <marc:subfield code="a">747313902057</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="024" ind1="1" ind2="1">
            <marc:subfield code="a">747313902057</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos DVD</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="040" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">HAWKINS, Coleman: Live in '62 and '64 (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
            <marc:subfield code="c">2009</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="336" ind1=" " ind2=" ">
            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
            <marc:subfield code="b">tdi</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="337" ind1=" " ind2=" ">
            <marc:subfield code="a">video</marc:subfield>
            <marc:subfield code="b">v</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="338" ind1=" " ind2=" ">
            <marc:subfield code="a">Online resource</marc:subfield>
            <marc:subfield code="b">cr</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="490" ind1="1" ind2=" ">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Coleman Hawkins: Live in '62 and '64 (NTSC) ( 02 hrs., 20 min. ) / Not Applicable</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Hawkins, Coleman, Artist -- Jones, Jo, Artist -- Edison, Harry Sweets, Artist -- Woode, Jimmy, Artist -- Thompson, Charles, Artist -- Arvanitas, Georges, Artist -- Fields, Kansas, Artist -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">&lt;i&gt;Jazz Icons: Coleman Hawkins&lt;/i&gt; from 1962 and 1964 featuring 140 minutes of music. Both concerts featured stellar European and American side-musicians including Harry "Sweets" Edison on trumpet and drummer Papa Joe Jones - both jazz legends in their own right. 

The 1962 show is a newly-discovered one-hour concert from the Adolphe Sax Festival in Belgium, which has never been seen. Coleman Hawkins, "The Father of Jazz Saxophone" demonstrates in these two concerts why he is still considered one of the most important innovators in the history of jazz</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Jazz</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="655" ind1=" " ind2=" ">
            <marc:subfield code="a">World</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="710" ind1="2" ind2=" ">
            <marc:subfield code="a">Naxos Digital Services US</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/2.119020.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=2.119020</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/2.119020</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
    </marc:record>
    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">2.119021</marc:controlfield>
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        <marc:controlfield tag="006">m||||||||h||||||||</marc:controlfield>
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        <marc:datafield tag="020" ind1=" " ind2=" ">
            <marc:subfield code="a">747313902156</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="024" ind1="1" ind2="1">
            <marc:subfield code="a">747313902156</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos DVD</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="040" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">GARNER, Erroll: Live in '63 and '64 (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
            <marc:subfield code="c">2009</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="336" ind1=" " ind2=" ">
            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
            <marc:subfield code="b">tdi</marc:subfield>
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        <marc:datafield tag="337" ind1=" " ind2=" ">
            <marc:subfield code="a">video</marc:subfield>
            <marc:subfield code="b">v</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="338" ind1=" " ind2=" ">
            <marc:subfield code="a">Online resource</marc:subfield>
            <marc:subfield code="b">cr</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="490" ind1="1" ind2=" ">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Erroll Garner: Live in '63 and '64 (NTSC) ( 01 hrs. ) / Not Applicable</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="506" ind1="1" ind2=" ">
            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Garner, Erroll, Artist -- Calhoun, Eddie, Artist -- Martin, Kelly, Artist -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">&lt;i&gt;Jazz Icons: Erroll Garner&lt;/i&gt; presents two beautifully filmed concerts from 1963 and 1964 featuring his classic trio of bassist Eddie Calhoun and drummer Kelly Martin.

Erroll Garner was one of jazz's true original players and this DVD showcases his improvisational brilliance on a parade of his most classic numbers. The trio delivers throughout both shows including favorites &lt;i&gt;Fly Me To The Moon&lt;/i&gt; and &lt;i&gt;I Get A Kick Out Of You&lt;/i&gt; as well as originals &lt;i&gt;Erroll's Theme&lt;/i&gt;, &lt;i&gt;Mambo Erroll&lt;/i&gt; and his best-known composition, &lt;i&gt;Misty&lt;/i&gt;.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="538" ind1=" " ind2=" ">
            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">Jazz</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="710" ind1="2" ind2=" ">
            <marc:subfield code="a">Naxos Digital Services US</marc:subfield>
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        <marc:datafield tag="830" ind1=" " ind2="0">
            <marc:subfield code="a">Naxos Video Library</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/2.119021.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=2.119021</marc:subfield>
            <marc:subfield code="z">Excerpt Links</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/2.119021</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
    </marc:record>
    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">AA19001</marc:controlfield>
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        <marc:controlfield tag="006">m||||||||h||||||||</marc:controlfield>
        <marc:controlfield tag="008">230831s2019||||cc syz|fsaefh       eng|d</marc:controlfield>
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            <marc:subfield code="a">9788895450490</marc:subfield>
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        <marc:datafield tag="024" ind1="1" ind2="1">
            <marc:subfield code="a">9788895450490</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Amadeus Arte</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="040" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Gardel, Carlos</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Morricone, Ennio</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Galliano, Richard</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Herrera, Roberto</marc:subfield>
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            <marc:subfield code="a">Violin and Harp Recital: Hedlund, Linda / Sacchi, Floraleda - PIAZZOLLA, A. / GALLIANO, R. / GARDEL, C. / HERRERA, R. / MORRICONE, E. (Tango Intimo)</marc:subfield>
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            <marc:subfield code="a">Recorded live in the wonderful Teatro Accademico Bibiena in Mantua, which was praised by &lt;i&gt;Mozart&lt;/i&gt; as one of the best acoustics he experienced, &lt;i&gt;TANGO INTIMO&lt;/i&gt; is performed by Finnish Violinist Linda Hedlund and Italian Harpist Floraleda Sacchi. Their emotionally intense playing and bravura is underlined by the enthusiastic answer of the Italian audience and by two special guest dancers: Roberto Herrera and Laura Legazcue. Music by &lt;i&gt;Astor Piazzolla, Carlos Gardel, Richard Galliano&lt;/i&gt;, and &lt;i&gt;Ennio Morricone&lt;/i&gt; arranged by Floraleda alternates lyrical and rhythmical passages. Roberto Herrera's solo with the Argentinian Boleadoras brings back the most lively folkloristic aspects of Tango. 

Floraleda won a Latin Grammy in 2018 for her project with Claudia Montero Magica y Misteriosa dedicated also to Argentinian music. Linda Hedlund is one of the most renowned Finnish Violinists of her generation.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Thedeen&lt;/i&gt; congratulates the student for his performance and his sound quality. The student has to visualise the beginning, the main cue, before starting. When we have identical phrases, they should not be repeated in the same way, by the contrary, it is very desirable to create a long period of phrasing. 

Thedeen talks about vibrato: different fragments may require different types of vibrato and not always the same. About tempo, it is possible to stretch just a little in some moment, although we keep a solid and steady pulse. We should show that something is coming, creating an expectation. The melancholic character loses somehow the essence if it becomes too slow because it is not an excessively dense and deep material, so it is necessary to have more the sensation of flow and always think about long lines of phrasing. When shifting, it is required enough time to do the vibrato.

They talk about fingerings and the most suitable finger in each moment, more when choosing between 2nd and 3rd one. Thedeen emphasizes the importance of the legato in several phrasings, even it is possible to do a little and quick glissando - it does not sound. More, the synchronization with the bow is crucial to get a good legato. The character changes should stand out with the help of the bow. It is important to find some feeling or sensation that help us to build a construction and express the structure of the piece.

The student should investigate how the piece would sound if playing it with 'worse taste', in the sense of giving it another different and original vision - he names the cellist Shafran. There has to be a lot more variety of colors because it all sounds too similar.</marc:subfield>
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            <marc:subfield code="a">MARTINU, B.: Variations on a Slovak Folksong (Masterclass with Torleif Thedeen) (Aracama Alonso, Montalvan) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Regarding the beginning of the piece, &lt;i&gt;Thedeen&lt;/i&gt; suggests the student to avoid putting the best of him from the beginning as the climax is about to arrive. Moreover, it is interesting to feel in advance what it is going to come. He also recommends having the finger more active to control better the bow. 

Prof. Thedeen also talks about how to calibrate dynamics and to go on phrasing after the thematical development. It is possible to maintain long sounds with vibrato.

He comments also that when we have to move the left hand to jump to another note, it is necessary to make sure that the contact point is near the bridge. Besides, the repeated notes should be played with more variety using the bow. The professor also suggests not to do a glissado so exaggerated. Finally, he comments that a passage can be rhythmical without giving up the expression.</marc:subfield>
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            <marc:subfield code="a">Cello Sonata No. 1 in E Minor, Op. 38: I. Allegro non troppo (NTSC) ( 40 min., 45 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">At the beginning of the class, Professor &lt;i&gt;Thedeen&lt;/i&gt; asks the student about his impression of his performance and the way it would sound from the audience. The teacher comments that it is more important to think about the things we did correctly than the mistakes. As performers, it is very important to show some special moments in each performance, although it is a very difficult thing. Sometimes simplicity works better than other formulas.

Professor Thedeen gives some guidelines to the student for expressing the beginning of the piece and they comment how to do the arrival to the climax in the repeated note 'E'. When the piano takes the main theme, the cello could play a more interesting accompaniment, making a different kind of rhythm. 

Fingerings should not disturb the rhythmical notation, it should be played in an easier way. The eighth-notes have to 'speak' more. The student should not forget giving more space to the most important notes of the phrasing. Professor Thedeen also comments that the 'B' note on 'E' string is one of the most difficult notes that a cellist could play. In some moments, it is required more understanding with the piano part. Finally, the Professor explains how to ration the dynamics in certain intense passages.</marc:subfield>
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            <marc:subfield code="a">VIVALDI, A.: Oboe Sonata, RV 53: I. Adagio (Masterclass with Hansjorg Schellenberger) (Daalen, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Daalen, André Evert van, Artist -- Vivaldi, Antonio, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Shellenberger&lt;/i&gt; explains the meaning of &lt;i&gt;Adagio&lt;/i&gt; in the Baroque period at the beginning of the piece, as well as talks about &lt;i&gt;Bach's&lt;/i&gt; 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.</marc:subfield>
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            <marc:subfield code="a">SCHUBERT, F.: Introduction and variations (on Trockne Blumen from Die schone Mullerin) (Part 1) (Masterclass with William Bennett) (Borges Maia) (PAL)</marc:subfield>
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            <marc:subfield code="a">Introduction and variations (on Trockne Blumen from Die schöne Müllerin), Op. 160, D. 802 (Part 1) (PAL) ( 44 min., 57 sec. ) / Schubert</marc:subfield>
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            <marc:subfield code="a">Borges Maia, Rui, Artist -- Roberts, Cameron, Artist -- Schubert, Franz, Composer</marc:subfield>
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            <marc:subfield code="a">In general, they work on aspects such as phrasing, articulation and character of each variation. Professor &lt;i&gt;Bennett&lt;/i&gt; explains that a change in tempo implies a change of character. The articulation should be clearer, as we are singing the words. All the 'diminuendos' have to be played in a natural way. Some high and expressive pitches should be played as a vibrato on the strings. One recommendation is to finish completely a phrase before starting the new one. 

Professor Bennett compares a specific passage of the piece with &lt;i&gt;Schumann's Frohlicher Landmann, Op. 68&lt;/i&gt;. The use of the accents in Schubert is to warn that the music has arrive somewhere - he mentions a Schubert's manuscript in which there are accents in the fourth part of the quartet. We should not be afraid of rushing the tempo when the score requires it. They work on scales in the way of &lt;i&gt;Taffanel&lt;/i&gt;, going to the high note with more intention.</marc:subfield>
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            <marc:subfield code="a">In general, they work in detail aspects such as phrasing, articulation and character of each variation. The phrasing is explained in relation to the harmony. Professor &lt;i&gt;Bennett&lt;/i&gt; comments that sometimes it is necessary to adapt the lips to the embouchure to play some notes (e. g. D#). They also talk about different versions of the melody in some editions and study the breathing points in several passages, e. g. he advises the student not to breathe between phrases.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Bennett&lt;/i&gt; starts the masterclass explaining the poem &lt;i&gt;Trockne Blumen&lt;/i&gt; and the musical resources that describes the character of the theme and variations. He makes the harmonic analysis of the beginning of the piece. He mentions the importance of the dotted notes and its extra musical meaning. He explains a useful exercise to improve the tuning. The double dotted notes should be played melodically and not rhythmically. 

Bennett compares the way to play close to the bridge and pressing too much in a string instrument with the kind of air emission in the flute. He mentions the &lt;i&gt;Flute Concerto&lt;/i&gt; by &lt;i&gt;Nielsen&lt;/i&gt;. When a composer says one thing twice, the second time is more intense. Bennett shows to the student how to work the legato.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;William Bennett&lt;/i&gt; starts the masterclass indicating the student not to breathe in a certain moment so he could avoid cutting the phrase. Besides some rhythmical corrections, Prof. Bennett mentions how important is to consider what the orchestra is playing so that the tempo is accurate, and he checks the phrasing for several passages.

Then, Bennett tells a story about Marcel Moyse in one of the rehearsals of this opera. He continues with phrasing (singing each phrase) and dynamical issues, and he corrects some questions about ornamentation.

Additionally, the professor recommends not to do so many unnecessary movements while playing. For a passage with repeated notes, he suggests playing it upbeat but in tempo and clearly. Finally, he proposes a phrasing with more metrical freedom in the cadence.</marc:subfield>
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            <marc:subfield code="a">The student should take care of the tuning for the first note so that it doesn't go flat. Then, &lt;i&gt;Bennett&lt;/i&gt; comments that the difficulty of playing this passage is maintaining the sound until the end of the phrase by using a correct breathing. Other difficulty added to the previous one consists on playing forte at the beginning and getting the suitable sound balance with the orchestra - about this, while joking, he gives an advice by his professor Geoffrey Gilbert.

William Bennett stresses that the student must look for a well-tuned phrasing with a good quality of sound. Afterwards, the professor makes other indications on articulation, phrasing, alternative fingerings to get a better tuning, pulse or accents, among others. At the end of the masterclass, he comments also a brief anecdote about &lt;i&gt;Jean Pierre Rampal&lt;/i&gt; referred to a certain part of this orchestral excerpt.</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Bennett&lt;/i&gt; begins the lecture making some corrections on phrasing and appoggiaturas with trills for this orchestral excerpt: it should imitate loads of little birds fluttering. To obtain this character, William Bennett corrects also the articulation and he suggests that the sound at the end of a certain phrase should not stop so sharply but should end with more reverberation. Finally, he mentions other improvable aspects related to the repeating notes and the phrasing.</marc:subfield>
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            <marc:subfield code="a">The first orchestral excerpt played by the student is well-controlled, just it's not advisable to put too much stress in some notes. After a brief comment on a performance of this composition by the London Symphony Orchestra, &lt;i&gt;Bennett&lt;/i&gt; notes that in a passage of &lt;i&gt;The Charlatan's Booth&lt;/i&gt;, she needs more energy on the up, and he makes some indications about vibrato so she could improve this. Regarding the waltz &lt;i&gt;The Ballerina and the Moor&lt;/i&gt;, the professor makes some comments on the character, phrasing and articulation, mainly.</marc:subfield>
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            <marc:subfield code="a">About the orchestral excerpts from the &lt;i&gt;Suite Daphnis et Chloe&lt;/i&gt; performed by the student, &lt;i&gt;William Bennett&lt;/i&gt; makes some comments on tempo, appoggiaturas, harmony and harmonic process, etc.

The professor indicates also some phrasing issues (he shows them by singing) and he refers to this phrasing performed by &lt;i&gt;Marcel Moyse&lt;/i&gt;. Afterwards, he makes other comments on sound quality and color, vibrato, fingerings and articulation.

To conclude, he talks about this solo performed by &lt;i&gt;Oliver Bannister&lt;/i&gt;, the best one in his opinion. Besides, he adds some short corrections on phrasing, dynamics, or rhythm among other musical issues.</marc:subfield>
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            <marc:subfield code="a">TAFFANEL, P.: Fantaisie on themes from Der Freischütz by C.M. von Weber (Part 1) (Masterclass with William Bennett) (Ibraeva, Roberts) (PAL)</marc:subfield>
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            <marc:subfield code="a">At the beginning, Professor &lt;i&gt;Bennett&lt;/i&gt; talks about &lt;i&gt;Der Freischutz&lt;/i&gt; plot. &lt;i&gt;Taffanel&lt;/i&gt; took into account the Agatha's aria to compose this piece. It is very important the rhythm in piano part because it is the devil who comes. They work on phrasing and the relation with the breathing. The articulation and the dynamics are very important to get a good phrasing.

Bennett tells the student an anecdote of his biography. In virtuosic passages, the notes are not as in Debussy's music, but clearer and articulated. He also explains the use of the vibrato and clarifies the most important notes in some phrases. After a long note, it is not necessary to remark the following sound. One passage in the piece leads to practice a specific exercise to improve the vibrato and the sound balance: Bennett recommends to practice the book &lt;i&gt;De la Sonorite&lt;/i&gt; by &lt;i&gt;Marcel Moyse&lt;/i&gt;. Professor Bennett insists on keeping the tempo, without speeding up.</marc:subfield>
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            <marc:subfield code="a">In this second part of the class, &lt;i&gt;Bennett&lt;/i&gt; talks about the story of this opera, so the character of the piece should respond to the feelings contained at this moment of the drama. In a calm passage, the character has to avoid any stress, the sound should be very basic, not stop dreaming. It is also important the complete accuracy of the notes in the score. Bennett and the student work on phrasing and breathing, articulation and accents, rhythm and dynamics, use of the tongue and tuning. He also gives some indications to piano part.

Bennett explains to the student the problems she has in the embouchure to go from loud to soft, or from soft to softer, maybe it is a problem of the chin position.

At the end, Professor Bennett makes reference to the &lt;i&gt;Melodic Studies&lt;/i&gt; by &lt;i&gt;Marcel Moyse&lt;/i&gt;, in relation to sound balance. As examples, he plays some fragments from &lt;i&gt;Fantaisie sur Der Freischutz&lt;/i&gt; by &lt;i&gt;Weber, Faure's Fantasy, Manha de Carnaval&lt;/i&gt; by &lt;i&gt;Bonfa&lt;/i&gt; and &lt;i&gt;Voi che sapete&lt;/i&gt; by &lt;i&gt;Mozart&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">FELD, J.: Flute Sonata: III. Allegro vivace (Masterclass with William Bennet) (Puig Valls, Roberts) (PAL)</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Bennett&lt;/i&gt; starts the masterclass with tempo indications at the beginning of the movement. Basically, the fast rhythms at the first part and the rapport with the piano are the issues that need more hard work due to their difficulty. Besides, William Bennett corrects the posture of the student and he makes also a comment on the character for the slow section: it reminds a saxophone melody, like a blues with Hungarian character and therefore it should be played by showing these harmonies, rhythms, colors and agogics which are typical of Hungarian music.

The professor makes also reference to popular music from Wallachia, region of Romania, and finally he proposes a certain fingering to get a timbre and sound more similar to the saxophone.</marc:subfield>
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            <marc:subfield code="a">IBERT, J.: Piece (Masterclass with William Bennett) (Puig Valls) (PAL)</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Prof. &lt;i&gt;Bennett&lt;/i&gt; mentions that &lt;i&gt;Jacques Ibert&lt;/i&gt; wrote this piece to Marcel Moyse, and he tells a story about how they met in a party and how the process of the creation of the composition happened. He mentions also the difficulty of the scale's passages and a recording he listened to with a special type of flute, and he talks about the differences on extension, holes, tuning, way to play it. Then, William Bennett makes a brief harmonic analysis and a reflection on certain scales for the piece.

Regarding the student's performance, the professor specially corrects the phrasing, among other musical aspects such as vibrato, character, tempo or accents. He gives her some indications on the attack to get a more appropriate performance.

Afterwards, they focus on the sonority and the way to obtain better colors and tuning. He advises keeping the mouth and lips position without moving so she could tune some notes better. Bennett makes also suggestions on fingerings, articulation, character (flamenco style), etc.  To conclude, they work on the final part and the professor talks about the recorded version from Moyse, which doesn't include the low note at the very end.</marc:subfield>
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            <marc:subfield code="a">In this rehearsal, Maestro &lt;i&gt;Kocsis&lt;/i&gt; emphasizes the importance of harmony changes at the beginning. He focuses on the main cue of horns and then the Professor and the orchestra work on it. Later, there are some corrections on horn and oboe parts related to the phrasing. The 'marcato' on the score has a specific function in the phrasing, so it has to sound different to the echo, with much more contrast.

Referring to dynamics, in passages with 'crescendo' it is necessary to achieve more intensity. He explains the connection between 'risoluto' and dynamics. He comments that &lt;i&gt;Bach&lt;/i&gt; preferred playing with the viola instead of with the violin in an orchestra. The string section should pay attention to the 'sforzando', so they have to exaggerate a little to get a clear effect, and always 'sforzandi' in the second beat. In same moments, Kocsis holds the orchestra to avoid rushing.</marc:subfield>
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            <marc:subfield code="a">TECHNIQUE FOR BASSOON EXERCISES: Masterclass with Klaus Thunemann (Molina Pardo) (PAL)</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Prof. &lt;i&gt;Thunemann&lt;/i&gt; proposes the student different exercises based on scales and arpeggios. First, they practice the C Minor scale regarding the air control and its proportion. 

Thunemann mentions trumpetist &lt;i&gt;Dizzy Gillespie&lt;/i&gt; in relation to the amount of air in the mouth, and then they work on the support and breathing while playing this scale. The student practices it several times faster and legato.

Afterwards, Thunemann suggests the student to play different arpeggios, correcting its tuning. Finally, the professor mentions some issues referred to registers and embouchure.</marc:subfield>
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            <marc:subfield code="a">MILDE, L.: 50 Concert Studies: No. 17. Adagio (Masterclass with Klaus Thunemann) (Molina Pardo) (PAL)</marc:subfield>
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            <marc:subfield code="a">50 Concert Studies, Op. 26: No. 17. Adagio (PAL) ( 31 min., 41 sec. ) / Milde</marc:subfield>
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            <marc:subfield code="a">Molina Pardo, Lucia, Artist -- Milde, Ludwig, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Klaus Thunemann&lt;/i&gt; begins the lecture with a correction related to the ornamentation (grupetto). He corrects also the mouth position with the embrouchure so that this one doesn't go down and neither closes the reed. The most important thing is the air, so she must control it properly.

The professor makes also comments on other musical issues such as the tempo, phrasing, dynamics, pulse maintenance, sound quality or expression in the trill. Moreover, Thunemann insists on matters related to the reed. Then they work on breathing, articulation and rhythm, and on the character (don't play too much wellness). In a certain section with scales, the notes must be played more equally and taking care of the tuning.

Finally, regarding a student's question on her sound, Thunemann advises her not to press so much the reed but play freer. He tests her bassoon and they comments on its tuning and how to avoid "ugly sounds".</marc:subfield>
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            <marc:subfield code="a">BEETHOVEN, L. van: Symphony No. 8: I. Allegro vivace e con brio (bassoon part) (Masterclass with Klaus Thunemann) (Molina Pardo) (PAL)</marc:subfield>
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            <marc:subfield code="a">Symphony No. 8 in F Major, Op. 93: I. Allegro vivace e con brio (bassoon part) (PAL) ( 12 min., 31 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Thunemann&lt;/i&gt; begins his masterclass correcting the bassoon's rhythm for this orchestral excerpt. The rhythmical accuracy is important, and the student must provide the correct duration for each note. Besides, articulation should be different, and he compares it with certain passage from &lt;i&gt;Beethoven's 4th Symphony&lt;/i&gt;. 

After that, the student should play rallentando, and then Thunemann corrects other rhythmical issues, dynamical or about articulation.
To finish with, Prof. Thunemann advises her to practice the octaves part and to study always by heart the most important parts from these types of orchestral excerpts.</marc:subfield>
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            <marc:subfield code="a">PROKOFIEV, S.: Peter and the Wolf, Op. 67: Grandfather (bassoon part) (Masterclass with Klaus Thunemann) (Molina Pardo) (PAL)</marc:subfield>
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            <marc:subfield code="a">Peter and the Wolf, Op. 67: Grandfather (bassoon part) (PAL) ( 06 min., 37 sec. ) / Prokofiev</marc:subfield>
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            <marc:subfield code="a">The style for this orchestral excerpt should be more elegant and serious, because it represents an old man, the grandfather. It must not be so jazzy and rhythm must be precise and energic, with "pesante" character.
 
To pass an audition successfully, &lt;i&gt;Klaus Thunemann&lt;/i&gt; advises the student to perform it with much seriousness referred to the expression, and to study also the rhythm and tuning with much more precision. Finally, as an example about the rhythm required in a certain moment, the professor plays a fragment from the &lt;i&gt;Ravel's Bolero&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">TECHNIQUE FOR BASSOON EXERCISES: Masterclass with Klaus Thunemann (Catala Climent) (PAL)</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Thunemann&lt;/i&gt; recommends the student to start every day with some exercises in the same key that the piece he is going to work on. Thunemann shows the student some examples and they practice them.</marc:subfield>
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            <marc:subfield code="a">MILDE, L.: 25 Studies in Scales and Chords: Nos. 13 and 14 (Masterclass with Klaus Thunemann) (Catala Climent) (PAL)</marc:subfield>
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            <marc:subfield code="a">25 Studies in Scales and Chords, Op. 24: No. 13 - No. 14 (PAL) ( 09 min., 35 sec. ) / Milde</marc:subfield>
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            <marc:subfield code="a">Catala Climent, Alber, Artist -- Milde, Ludwig, Composer</marc:subfield>
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            <marc:subfield code="a">They work on &lt;i&gt;Milde's Studies Nos. 13 and 14&lt;/i&gt;, the first one taking into account dynamics, finger position and articulation and No. 14 in relation to accents and articulation mainly.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Thunemann&lt;/i&gt; works in detail on the rhythm of this &lt;i&gt;Sarabande&lt;/i&gt;, as well as on aspects such as tuning and agogics. He comments that accents in phrasing should be in twos and the 'arpeggios' can be played calmer. It is very important to pay attention not only to the notes but to the intention.

About articulation, sometimes it is not necessary to separate the notes, but to connect them. Finally, within a phrasing, it is better to go to the pitch directly, with decision, and not searching it.</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Thunemann&lt;/i&gt; begins the masterclass noting that, regarding the tempo, the students must play thinking in the biggest unit, not in the smallest one. Even though the tempo is Largo, it is in 4 (not in 8 or 16), otherwise the music becomes very boring. The bass line provides the tempo.

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            <marc:subfield code="a">The professor begins this masterclass pointing out that the tempo is "alla breve", and he shows it by playing how the figuration for the bass line should be, the typical for this period and more elegant and independent. Moreover, &lt;i&gt;Thunemann&lt;/i&gt; corrects some notes from the edition in relation to the original manuscript. Finally, Klaus Thunemann advises them to make more contrast between the different characters in order to obtain more variety and interest, and he corrects the articulation in a certain passage so they could get more clarity.</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Meyer&lt;/i&gt; begins his lecture explaining that he felt the performance has not been adequate regarding the date of the composition of the piece. All the musical aspects are correct, but he misses more expression, and tuning can be also improved. 

Resuming the beginning of this first piece, Meyer indicates that the sound should be "fuller" and legato, singing like a tenor. The professor points out some tuning issues, among others such as phrasing, timbre and sound quality, or dynamics. Paul Meyer also recommends the student to feel more positive while he performs the piece.

About the sound, in professor's opinion it should be like coming from mountains, very even and more atmospheric. He also talks about interpretative styles which don't fit with his idea of high-quality sound. For the professor, it must not be so open, and he mentions and plays examples from other pieces with a similar sound. Besides, he advises the student to be more relaxed and focused on sound, without moving and doing anymore but at the same time controlling internally the air and breathing.

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Meyer continues with other indications about the better quality and type of sound for this piece. Regarding the breathing, the professor comments that the student takes too much air and Meyer recommends him not to breath in certain moments. They work on this, and also on getting a more suitable sound and on a proper use of the air in the body.</marc:subfield>
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Referring to the dynamics, Meyer corrects some 'crescendo' and 'diminuendo' in specific passages; he also thinks it is required more presence of the piano part. In relation to timbre or color, this piece needs a very special atmosphere. Finally, the character of the piece should be lighter, peaceful, sometimes energetic and going to the final with more 'accellerando'.</marc:subfield>
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&lt;i&gt;Meyer&lt;/i&gt; works also on rhythmical accuracy: in relation to the pulse, a specific rhythm with the same 'impulse', the silence as a part of the internal rhythm and the trill as a rhythmical ornament. In relation to the general technique, they comment aspects such as sound projection and emission and the ways to open the sound. Finally, Professor Meyer explains the relation and the correct rapport with the orchestra.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, C.: 3 Romanzen, Op. 22: No. 1. Andante molto (Masterclass with Hansjorg Schellenberger) (García-Cano, Artemyeva) (PAL)</marc:subfield>
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            <marc:subfield code="a">3 Romanzen, Op. 22: No. 1. Andante molto (arr. for oboe and piano) (PAL) ( 22 min., 40 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">First of all, &lt;i&gt;Hansjorg Schellenberger&lt;/i&gt; 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 &lt;i&gt;Romanza&lt;/i&gt; is the most sensitive.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, C.: 3 Romanzen, Op. 22: No. 2. Allegretto (Masterclass with Hansjorg Schellenberger) (García-Cano, Artemyeva) (PAL)</marc:subfield>
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            <marc:subfield code="a">3 Romanzen, Op. 22: No. 2. Allegretto (arr. for oboe and piano) (PAL) ( 12 min., 08 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">In this masterclass &lt;i&gt;Schellenberger&lt;/i&gt; points out the Norwegian character of this &lt;i&gt;Romanza&lt;/i&gt;. It remembers him &lt;i&gt;Grieg's&lt;/i&gt; 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. 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.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, C.: 3 Romanzen, Op. 22: No. 3. Leidenschaftlich schnell (Masterclass with Hansjorg Schellenberger) (García-Cano, Artemyeva) (PAL)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Schellenberger&lt;/i&gt; 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 &lt;i&gt;Romanza&lt;/i&gt; character referred to a German instruction written in the Alpensinfonie by &lt;i&gt;Richard Strauss&lt;/i&gt;: 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.</marc:subfield>
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            <marc:subfield code="a">I. Allegretto ( 03 min., 39 sec. ) / Haydn -- II. Andante ( 08 min., 27 sec. ) / Haydn -- III. Menuet - Trio ( 01 min., 14 sec. ) / Haydn -- Capriccio in G Major, Hob.XVII:1, "Acht Sauschneider mussen sein" ( 08 min., 43 sec. ) / Haydn -- I. — ( 06 min., 30 sec. ) / Haydn -- II. Menuet - Trio ( 03 min., 29 sec. ) / Haydn -- I. Moderato ( 08 min., 25 sec. ) / Haydn -- II. Largo ( 04 min., 45 sec. ) / Haydn -- III. Menuet - Trio ( 04 min., 45 sec. ) / Haydn -- I. Andante ( 05 min., 44 sec. ) / Haydn -- II. Menuet - Trio ( 04 min., 05 sec. ) / Haydn -- III. Finale ( 02 min., 10 sec. ) / Haydn -- I. Allegro moderato ( 08 min., 21 sec. ) / Haydn -- II. Adagio (version with repeat) ( 09 min., 38 sec. ) / Haydn -- III. Finale: Presto ( 04 min., 47 sec. ) / Haydn -- Keyboard Sonata No. 31 in A-Flat Major, Hob.XVI:46: II. Adagio (version without repeat) ( 05 min., 42 sec. ) / Haydn -- I. Allegro ( 03 min., 04 sec. ) / Haydn -- II. Adagio ( 03 min., 47 sec. ) / Haydn -- III. Menuet - Trio ( 03 min., 08 sec. ) / Haydn -- I. Allegro ( 06 min., 03 sec. ) / Haydn -- II. Menuet - Trio ( 04 min., 25 sec. ) / Haydn -- III. Adagio ( 03 min., 57 sec. ) / Haydn -- IV. Finale: Allegro molto ( 02 min., 50 sec. ) / Haydn -- I. Tema with Variations ( 04 min., 12 sec. ) / Haydn -- II. Menuet ( 54 sec. ) / Haydn -- III. Finale: Allegro ( 02 min., 03 sec. ) / Haydn -- I. Moderato ( 05 min., 03 sec. ) / Haydn -- II. Menuet - Trio ( 03 min., 53 sec. ) / Haydn -- III. Finale: Presto ( 03 min., 08 sec. ) / Haydn -- I. Allegro moderato ( 08 min., 39 sec. ) / Haydn -- II. Moderato ( 10 min., 02 sec. ) / Haydn -- I. Moderato ( 09 min., 34 sec. ) / Haydn -- II. Allegretto ( 05 min., 08 sec. ) / Haydn -- I. Allegro moderato ( 01 min., 32 sec. ) / Haydn -- II. Menuet - Trio ( 03 min., 03 sec. ) / Haydn -- III. Finale: Allegro ( 01 min., 41 sec. ) / Haydn -- I. Allegro moderato ( 07 min., 33 sec. ) / Haydn -- II. Menuet - Trio ( 04 min., 40 sec. ) / Haydn -- III. [Finale]: Presto ( 03 min., 44 sec. ) / Haydn -- 20 Variations in A Major, Hob.XVII:2 ( 16 min., 30 sec. ) / Haydn -- I. Allegro ( 04 min., 32 sec. ) / Haydn -- II. Menuetto - Trio ( 02 min., 58 sec. ) / Haydn -- III. Finale: Presto ( 02 min., 17 sec. ) / Haydn -- I. Adagio ( 04 min., 26 sec. ) / Haydn -- II. Allegro ( 05 min., 43 sec. ) / Haydn -- III. Finale: Tempo di menuet ( 03 min., 55 sec. ) / Haydn -- I. Moderato ( 11 min., 49 sec. ) / Haydn -- II. Andante ( 06 min., 23 sec. ) / Haydn -- III. Finale: Allegro di molto ( 04 min., 34 sec. ) / Haydn -- I. Moderato ( 03 min., 39 sec. ) / Haydn -- II. Menuet - Trio ( 03 min., 29 sec. ) / Haydn -- III. Finale: Presto ( 03 min., 05 sec. ) / Haydn -- I. Moderato ( 08 min., 51 sec. ) / Haydn -- II. Andante ( 06 min., 43 sec. ) / Haydn -- III. Finale: Allegro assai ( 03 min., 46 sec. ) / Haydn -- 12 Variations in E-Flat Major, Hob. XVII:3 ( 13 min., 52 sec. ) / Haydn -- I. Allegro ( 02 min., 34 sec. ) / Haydn -- II. Menuet - Trio ( 03 min., 11 sec. ) / Haydn -- III. Scherzo: Allegro ( 52 sec. ) / Haydn -- I. Allegro ( 02 min., 38 sec. ) / Haydn -- II. Menuet ( 52 sec. ) / Haydn -- III. Andante ( 01 min., 15 sec. ) / Haydn -- IV. Allegro ( 42 sec. ) / Haydn -- I. Moderato ( 12 min., 03 sec. ) / Haydn -- II. Andante con moto ( 07 min., 35 sec. ) / Haydn -- III. Finale: Allegro ( 04 min., 43 sec. ) / Haydn -- I. Allegro ( 07 min., 13 sec. ) / Haydn -- II. Adagio ( 04 min., 53 sec. ) / Haydn -- III. Tempo di menuet ( 04 min., 04 sec. ) / Haydn -- I. Allegro moderato ( 10 min., 18 sec. ) / Haydn -- II. Adagio ( 06 min., 29 sec. ) / Haydn -- III. Finale: Presto ( 03 min., 17 sec. ) / Haydn -- I. Allegro moderato ( 08 min., 35 sec. ) / Haydn -- II. Andante ( 07 min., 14 sec. ) / Haydn -- III. Finale: Tempo di menuetto ( 03 min., 57 sec. ) / Haydn -- I. — ( 05 min., 33 sec. ) / Haydn -- II. Adagio (version with repeat) ( 08 min., 30 sec. ) / Haydn -- III. Finale: Presto ( 04 min., 21 sec. ) / Haydn -- I. Allegro ( 07 min., 19 sec. ) / Haydn -- II. Adagio ( 03 min., 11 sec. ) / Haydn -- III. Finale: Presto ( 02 min., 40 sec. ) / Haydn -- Keyboard Sonata No. 38 in F Major, Hob.XVI:23 II. Adagio (version without repeat) ( 04 min., 24 sec. ) / Haydn -- I. Moderato ( 07 min., 25 sec. ) / Haydn -- II. Tempo di menuet ( 02 min., 44 sec. ) / Haydn -- I. Allegro moderato ( 11 min., 03 sec. ) / Haydn -- II. Menuet al rovescio - Trio al rovescio (version with repeat) ( 02 min., 50 sec. ) / Haydn -- III. Finale: Presto ( 56 sec. ) / Haydn -- II. Menuet al rovescio - Trio al rovescio (version with no repeat) ( 01 min., 57 sec. ) / Haydn -- II. Menuet al rovescio - Trio al rovescio (version with electronic transformation) ( 01 min., 28 sec. ) / Haydn -- I. Allegro con brio ( 06 min., 20 sec. ) / Haydn -- II. Menuet - Trio ( 04 min., 49 sec. ) / Haydn -- III. Finale: Presto ( 03 min., 22 sec. ) / Haydn -- I. Allegro moderato ( 07 min., 40 sec. ) / Haydn -- II. Minuet - Trio ( 05 min., 03 sec. ) / Haydn -- III. Finale: Presto ( 03 min., 57 sec. ) / Haydn -- I. Moderato ( 09 min., 32 sec. ) / Haydn -- II. Adagio ( 05 min., 16 sec. ) / Haydn -- III. Tempo di menuet ( 04 min., 24 sec. ) / Haydn -- I. Allegro ( 06 min., 01 sec. ) / Haydn -- II. Adagio ( 01 min., 28 sec. ) / Haydn -- III. Tempo di menuet: Cantabile - Variations ( 07 min., 36 sec. ) / Haydn -- I. Moderato ( 05 min., 15 sec. ) / Haydn -- II. Allegretto ( 03 min., 13 sec. ) / Haydn -- III. Finale: Presto ( 02 min., 36 sec. ) / Haydn -- I. Allegro moderato ( 07 min., 21 sec. ) / Haydn -- II. Menuet - Trio ( 04 min., 22 sec. ) / Haydn -- III. Finale: Presto ( 03 min., 45 sec. ) / Haydn -- I. Allegro con brio ( 06 min., 21 sec. ) / Haydn -- II. Adagio ( 05 min., 40 sec. ) / Haydn -- III. Finale: Allegro ( 03 min., 08 sec. ) / Haydn -- I. Moderato ( 08 min., 33 sec. ) / Haydn -- II. Scherzando: Allegro con brio ( 03 min., 45 sec. ) / Haydn -- III. Menuet: Moderato ( 05 min., 15 sec. ) / Haydn -- I. Allegro con brio ( 04 min., 28 sec. ) / Haydn -- II. Largo e sostenuto ( 02 min., 53 sec. ) / Haydn -- III. Finale: Presto ma non troppo ( 03 min., 27 sec. ) / Haydn -- I. Allegro moderato ( 08 min., 22 sec. ) / Haydn -- II. Adagio ( 04 min., 16 sec. ) / Haydn -- III. Finale: Allegro ( 03 min., 45 sec. ) / Haydn -- I. Allegro con brio ( 05 min., 07 sec. ) / Haydn -- II. Adagio ( 08 min., 07 sec. ) / Haydn -- III. Finale: Presto ( 03 min., 23 sec. ) / Haydn -- I. Moderato ( 12 min., 29 sec. ) / Haydn -- II. Andante con moto ( 04 min., 08 sec. ) / Haydn -- III. Finale: Allegro ( 04 min., 47 sec. ) / Haydn -- 6 Variations in C Major, Hob.XVII:5 ( 07 min. ) / Haydn -- I. Presto ( 05 min., 41 sec. ) / Haydn -- II. Adagio ( 05 min., 23 sec. ) / Haydn -- III. Vivace molto (innocentemente) ( 03 min., 22 sec. ) / Haydn -- I. Allegretto innocente (version with performer's embellishment) ( 08 min., 11 sec. ) / Haydn -- II. Presto ( 03 min., 25 sec. ) / Haydn -- I. Allegro ( 06 min., 39 sec. ) / Haydn -- II. Allegro di molto ( 02 min., 39 sec. ) / Haydn -- I. Andante con espressione ( 09 min., 44 sec. ) / Haydn -- II. Vivace assai ( 03 min., 08 sec. ) / Haydn -- Keyboard Sonata No. 54 in G Major, Hob.XVI:40: I. Allegretto innocente (version with no performer's embellishment) ( 08 min., 19 sec. ) / Haydn -- I. Andante con espressione ( 08 min., 48 sec. ) / Haydn -- II. Rondo: Presto ( 04 min., 18 sec. ) / Haydn -- Fantasia (Capriccio) in C Major, Hob XVII:4 ( 07 min., 08 sec. ) / Haydn -- I. Allegro ( 10 min., 20 sec. ) / Haydn -- II. Adagio e cantabile ( 08 min., 39 sec. ) / Haydn -- III. Finale: Tempo di minuet ( 04 min., 15 sec. ) / Haydn -- Keyboard Sonata in F Minor, Hob. XVII:6, "Un piccolo divertimento: Variations" ( 15 min., 28 sec. ) / Haydn -- I. Allegro ( 09 min., 22 sec. ) / Haydn -- II. Adagio ( 07 min., 19 sec. ) / Haydn -- III. Finale: Presto ( 06 min., 40 sec. ) / Haydn -- Prelude in C Major ( 21 sec. ) / Haydn -- I. Allegro ( 08 min., 35 sec. ) / Haydn -- II. Adagio ( 05 min., 52 sec. ) / Haydn -- III. Allegro molto ( 02 min., 42 sec. ) / Haydn -- I. Andante ( 04 min., 07 sec. ) / Haydn -- II. Finale: Presto ( 01 min., 56 sec. ) / Haydn -- I. Allegro ( 09 min., 30 sec. ) / Haydn -- II. Adagio ( 07 min. ) / Haydn -- III. Finale: Presto ( 06 min., 42 sec. ) / Haydn -- Adagio in G Major, Hob.XV:22 (first version of Piano Trio No. 22, Hob.XV:22: II. Adagio) ( 05 min., 25 sec. ) / Haydn -- Variations in G Major on Gott erhalte Franz den Kaiser (after Hob.III:77) ( 06 min., 36 sec. ) / Haydn</marc:subfield>
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            <marc:subfield code="a">From McGill University's Centre for Interdisciplinary Research in Music Media and Technology (Montreal, Canada) comes a path-breaking project. Performer and musicologist &lt;i&gt;Tom Beghin&lt;/i&gt;, Tonmeister and producer &lt;i&gt;Martha de Francisco&lt;/i&gt;, and recording engineer &lt;i&gt;Wieslaw Woszczyk&lt;/i&gt; apply the VIRTUAL ACOUSTICS for the first time to a recording of this magnitude. In the "Immersive Presence" Laboratory, surrounded by a semi-sphere of 24 loudspeakers, Tom Beghin plays "as if" in the historical room. His sounds are captured, mixed with reverberation responses identical to those of the actual location, and retransmitted almost instantaneously through the sphere, allowingt him to engage "the room" then and there.</marc:subfield>
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            <marc:subfield code="a">CORNELIUS, P.: Barber of Bagdad (The): Overture [Opera] (Royal Scottish National Orchestra, Friedel) (from Naxos 8.573418) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Der Barbier von Bagdad (The Barber of Bagdad): Overture (arr. F. Mottl) (NTSC) ( 08 min., 42 sec. ) / Cornelius</marc:subfield>
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            <marc:subfield code="a">Friedel, Lance, Conductor -- Royal Scottish National Orchestra, Orchestra -- Cornelius, Peter, Composer -- Mottl, Felix, Arranger</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Peter Cornelius&lt;/i&gt; was born in Mainz into a theatrical family. He wrote many songs and three operas, the last of which, &lt;i&gt;Gunold&lt;/i&gt;, was completed after his death. &lt;i&gt;Der Barbier von Bagdad&lt;/i&gt; was written in 1858 to a libretto by the composer himself which he based on a story from The Arabian Nights. The sparkling two-act German comic opera received its premiere in Weimar in December 1858 under the baton of &lt;i&gt;Franz Liszt&lt;/i&gt;, the theatre's music director. Following the first performance, Liszt suggested to Cornelius that he write a fresh overture to replace the short prelude but the composer died before he was able to make an orchestration. 

Several arrangements of Cornelius's overture exist, including one by Liszt himself - the D major version heard here is by the conductor Felix Mottl. Packed with incident, the overture uses several themes heard later in the opera.</marc:subfield>
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            <marc:subfield code="a">Czerny, Carl</marc:subfield>
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            <marc:subfield code="a">CZERNY, C.: Grand Piano Concerto: I. Allegro moderato (Tuck, English Chamber Orchestra, Bonynge) (from Naxos 8.573417) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Grand Piano Concerto in A Minor, Op. 214: I. Allegro moderato (NTSC) ( 10 min., 23 sec. ) / Czerny</marc:subfield>
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            <marc:subfield code="a">Tuck, Rosemary, Artist -- Bonynge, Richard, Conductor -- English Chamber Orchestra, Orchestra -- Czerny, Carl, Composer</marc:subfield>
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            <marc:subfield code="a">First published in 1830, &lt;i&gt;Czerny's&lt;/i&gt; impressive work can be considered one of the first romantic concertos ever written. Czerny employs thematic transformation throughout, as the opening thematic idea in hushed strings builds and takes on various guises as the work progresses. Following the extended orchestral opening, the initial piano entry states the theme mezzo-forte. The contrasting dolce second subject leads to some gladiatorial writing for piano, and a grandiose statement in the orchestra before a beautifully tranquil texture with clarinet leads into the development. Here the piano states the thematic idea boldly, with diminished seventh harmonies adding to the tension, answered by a pensive oboe. After a strong orchestral return the piano solo transforms the theme again, now in the major key, the added seventh lending a yearning quality.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Handel's&lt;/i&gt; 1711 crusader opera &lt;i&gt;Rinaldo&lt;/i&gt;, which pits the Christian Rinaldo against Argante, the Muslim King of Jerusalem, was the first Italian-language opera composed for the London stage. Handel composed the opera in just two weeks, aided by the recycling of much existing material - so much that it has been described as an "anthology" of his Italian period. 

The &lt;i&gt;Sibilar gli angui&lt;/i&gt;, an aria for solo trombone, was lifted completely from a dramatic cantata, and has a "ludicrously inappropriate" text for the bellicose Argante's grand Act I entrance; also from an earlier cantata.</marc:subfield>
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            <marc:subfield code="a">BLOW, J.: Venus and Adonis, Act III: Mourn for thy servant (arr. M. Knight) (from Naxos 8.573386) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Blow's&lt;/i&gt; 1683 &lt;i&gt;Venus and Adonis&lt;/i&gt; - a masque for the entertainment of the King, Charles II, who had enjoyed French opera in Paris during the years of the Interregnum - is widely regarded as the first English opera. A truly groundbreaking work, it is largely through-composed, rather than resorting to separate setpieces, distinct arias and spoken dialogue, and this greatly heightens its dramatic impact.
 
The final &lt;i&gt;G Minor chorus (Mourn for thy servant)&lt;/i&gt; takes the form of a funeral march and offers scant consolation for the fallen goddess, "the wretched Queen of Love in this forsaken grove".</marc:subfield>
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            <marc:subfield code="a">PONCE, M.M.: Sonatina meridional (Córdova) (from Naxos 8.573972) (NTSC)</marc:subfield>
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            <marc:subfield code="a">In August 1930, Segovia wrote to &lt;i&gt;Ponce&lt;/i&gt; requesting the composer to write a sonatina 'of a purely Spanish character'. Segovia performed the second and third movements in Madrid on 19 February 1932, and played the entire work for the first time at the Palau de la Musica Catalana, Barcelona ten days later. In 1939 the guitarist had the work published with Schott under the title of &lt;i&gt;Sonatina meridional&lt;/i&gt;(Southern Sonatina), and provided a subtitle for each movement. He recorded the piece in June 1949 for HMV.

The Sonatina meridional evokes the lyrical warmth of Iberia. The first movement (named Campo by Segovia), suggests the atmosphere of the countryside, while the last movement, Fiesta, has the rhythmic excitement and vitality that its name implies. The slow movement, Copla, is a superb example of the composer's lyrical gifts and his subtle mastery of harmony.</marc:subfield>
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            <marc:subfield code="a">SIBELIUS, J.: Violin Concerto, Op. 47: I. Allegro moderato (Masterclass with Miriam Fried) (Ginkute, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Fried&lt;/i&gt; comments the powerful performance of the student but the convenience of focusing on all the specific possibilities of the violin: color and expression. They analyze the beginning of the piece and how the sound has to respond to every dynamic and harmonic details because those first notes create the character. What it is very important is to create a personal image of the piece.

She also talks about bow speed, what conforms the flow in music, and the way to hold the violin. All the expressive aspects should be organic and proportional to the previous and posterior passages. 
The solo part has to follow the orchestra to get the correct character. So it is very important to know and work on the general score.

Fried comments some aspects of &lt;i&gt;Sibelius'&lt;/i&gt; life and compositional procedures. They work on vibrato, quick passages, pressure and weight, phrasing and expressivity. Finally, Fried insists on the idea of having a general vision of the work and the importance of developing the tools that will take us to reach our idea.</marc:subfield>
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            <marc:subfield code="a">CHAUSSON, E.: Poème, Op. 25 (Masterclass with Miriam Fried) (Issel Burzynska, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Poème, Op. 25 (violin and piano reduction) (NTSC) ( 59 min., 22 sec. ) / Chausson</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Fried&lt;/i&gt; starts talking about the special aspects of this piece, the circumstances of its composition and the poem related to it. Within the musical aspects, it is important the wide range of emotions and colors. Thus, they will work throughout the class both: the emotions and colors and which tools are going to help her achieving that. Although they focus on the beginning of the piece, in general, the details have to be organised consciously in larger structures.

The vibrato gives a special color to the sound. The right hand is the responsible of the expression in the violin, but the left one gives the color, as well the pitch.

In a two-voice passage, the two melodies have to be heard because the audience has to distinguish the dialogue, so we have to give special attention to the different sound planes and intervals. Fried explains the importance of finding the sound and the bow speed which allow the music to sound easy and comfortable. 

The pulse in three beats can be very different depending on the character of the piece: waltz, minuetto, sarabande. Finally, Fried talks about vibrato in relation to the sound. The bow has to change at the same time we change the vibrato. The goal is to reach a specific color, which is easier to find if we play with flexibility.</marc:subfield>
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            <marc:subfield code="a">SAINT-SAENS, C.: Havanaise (Masterclass with Miriam Fried) (Caló e Cambournac, Mirakyan) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Havanaise in E Major, Op. 83 (violin and piano reduction) (NTSC) ( 01 hrs., 03 min., 18 sec. ) / Saint-Saëns</marc:subfield>
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            <marc:subfield code="a">Fried explains that this work has two different parts - dance and virtuosity - and a dual purpose: for the virtuosity, the student has to adopt an attitude of impressing the audience, learning to communicate the message instead of showing the technical difficulties.

She also talks about bow and relaxation and how to connect a sound with the following. &lt;i&gt;Fried&lt;/i&gt; says that the music is always in movement, we are telling a story, so we have to know how to do it. The professor talks about harmony, consonance and dissonance and the importance to take musical decisions following a planning. The most remarkable thing is the emotional vision of the work and how we transmit it to the audience.

In the virtuosic part, the student has to think in groups of notes, analysing the phrase in order to simplify it. The bow helps us to express the music. Fried explains the use of the bow in different moments of the piece and how to connect a sound with the following sound. To control the performance, it is necessary to know the piece very well, which avoids being scared. One useful advice might be not to forget the reason why we do music.

At the end of the class, Professor Fried explains the vibrato in relation with harmonics and the use of the right arm together with the bow, as well as the connection between the parts of the arm and the sound.</marc:subfield>
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            <marc:subfield code="a">SZYMANOWSKI, K.: Nocturne and Tarantella (Masterclass with Miriam Fried) (Aguilar Mas, Mirakyan) (NTSC)</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Professor &lt;i&gt;Fried&lt;/i&gt; talks about the general character of the piece and comments that the &lt;i&gt;Nocturne&lt;/i&gt; is based on color. In the &lt;i&gt;Tarantella&lt;/i&gt;, she remarks the importance of the accents to show the suitable character: powerful and Spanish (like 'zapateado').

It is advisable to pay attention to the composer's clues but the performer has to create the atmosphere, their task is to explain the meaning of the music, not only with the notes but also with the body language.

She explains the phrasing, the expressivity, bow speed, dynamics and so on, and makes a reflection about the purpose of every note: those whose function is decoration and others with more structural role. It is important to have in mind and to use all the musical aspects which conform the character of the music.</marc:subfield>
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            <marc:subfield code="a">First, Professor &lt;i&gt;Fried&lt;/i&gt; recommends the student to be always aware of the sound, its functions and development. She talks about vibrato in relation to the phrasing. Fried explains the limitations of the violin as an instrument, so it is advisable to move within these borders. She corrects some concrete aspects to the student: the arrival to the high pitch, the head position and the way to use the weight of the arm.

Fried explains issues related to counterpoint, accompaniment and relaxation. It is necessary to plan a passage in 'agitato' character, taking into account the moments in which we let go of the energy. They work on trills, character, accents, dynamics and expression. In passages where we give more and more bow, the music slows down so because the bow brakes because of the friction. It is a physical question. So, the more sound we want to get, the less bow we have to use.

Finally, Professor Fried talks about the interaction with the orchestra. The question is not to play loud, as it is not a musical concept, but to set up a conversation between both instruments (or between the orchestra when there is an orchestra instead of a piano). The character of the last passage should be played with more fantasy, listening and enjoying the harmony, and feeling the magic of the music.</marc:subfield>
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            <marc:subfield code="a">SAINT-SAENS, C.: Violin Concerto No. 3: I. Allegro non troppo (Masterclass with Miriam Fried) (Marinho Carvalho Matos, Mirakyan) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto No. 3 in B Minor, Op. 61: I. Allegro non troppo (violin and piano reduction) (NTSC) ( 01 hrs., 24 sec. ) / Saint-Saëns</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Fried&lt;/i&gt; works on the sound with the student and all her indications and corrections are focused on the tools to improve the quality of sound. Each string of the violin has its own character and sound, so we have to use the bow in different ways to show the special acoustic feature of every string.

The student has to think about the sound he wants every moment. He has to focus on the beginning and the further develop. All the sounds have their order and shape. A very useful advice is to think the sound in the same way as we talk ('speak the phrase'), so we adopt the same breathing and phrasing.

Fried also corrects the position of the bow and the movement of the arm while playing, as well as the trunk gestures to avoid losing the balance. She talks about triplets, shiftings, double stops, phrasing and bow, with the common idea of being completely aware of the feelings about what we play every moment. Fried gives some explanations in relation to the performer and the musical idea.</marc:subfield>
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            <marc:subfield code="a">BEETHOVEN, L. van: Violin Sonata No. 7: I. Allegro con brio (Masterclass with Miriam Fried) (Christensen Fabuel, Artemyeva) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Violin Sonata No. 7 in C Minor, Op. 30, No. 2: I. Allegro con brio (NTSC) ( 58 min., 01 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Professor Fried starts the masterclass asking about the primary character for this movement: it is dramatic, so the sound quality should describe this character. To achieve that, the student must use the sound and the direction of the movement. Drama has to be created by the performer because the notes do not have it.

&lt;i&gt;Miriam Fried&lt;/i&gt; also comments that dynamics in Beethoven have an important structural function: the student can use them to accumulate tension. Besides, the professor highlights the importance of the harmonies those need to be reflected in the sound. This sound not always should be equal neither always pleasant.

About chords, Fried recommends the student not to play so loud the chords out of the pulse, and they work how to attack them. Fried also recommends playing them differently depending on harmonies. She also advises playing closer the bridge with a faster vibrato to get more brilliant chords.

Afterwards, Fried mentions that rhythm is more important and intense and therefore the accent must be played in proportion to that: this music is full of joy and not so serious. After some comments on articulation, she points out that it is necessary to enjoy with the form, like a game of arpeggios and scales, playing in rapport with the piano and with dynamical contrasts.

Besides, they talk about the concept of sound production and Miriam Fried gives more recommendations about bowing and fingering. They also comment the relationship between tonalities and colors, and the connection between emotion and motion: the motion of the arm must translate the emotion of the music. Finally, they consider the importance of knowing how to explain what the performer wants to transmit.</marc:subfield>
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            <marc:subfield code="a">POULENC, F.: Violin Sonata, FP 119: I. Allegro con fuoco (Masterclass with Miriam Fried) (Rabchevska, Artemyeva) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Violin Sonata, FP 119: I. Allegro con fuoco (NTSC) ( 59 min., 15 sec. ) / Poulenc</marc:subfield>
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            <marc:subfield code="a">Artemyeva, Alina, Artist -- Rabchevska, Eva, Artist -- Poulenc, Francis, Composer</marc:subfield>
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            <marc:subfield code="a">This is a very original piece in which different moods are changing all the time. The student should enjoy more the music, which does not imply more character, instead of rushing up. In the main theme, the cromatism F-F sharp is very important and the student should use every gesture to show the musical phrasing. If we take more time as necessary is to prepare the movement. All bow movements have to follow the outline of the phrase.

Professor &lt;i&gt;Fried&lt;/i&gt; continues with some explanation about structure: it is very important the general shape of the piece - every passage has its function within the whole and should be related to the previous and  posterior fragment. The work of a musician is to show what is happening in the music, so the contrast is very important to show this flow to the audience. So, the recommendation for this kind of works in which the dramatic events happen very quickly is to study every passage separately to reach the real character of everyone. 

After that, they are played together to feel the connection. To sum up, the main difficulty in this piece is to link all those passages. They work on pizzicato and Fried insists on the importance to be worked as other technical problem. Professor Fried thinks the way we play should translate our emotions into actions. Instinctive reactions sometimes limit the possibilities of playing, so we have to think about how to move to get our sound, the rest are unuseful movements. Fried also talks about rhythmical patrons, articulation, connection with the piano, mood, motifs, character of this music, finger position, color and phrasing.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=RSS16051_1</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/RSS16051_1</marc:subfield>
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            <marc:subfield code="a">RACHMANINOV, S: Cello Sonata, Op. 19: III. Andante (Masterclass with Torleif Thedeen) (Bonet Silvestre, Ortega Chavaldas) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Cello Sonata in G Minor, Op. 19: III. Andante (NTSC) ( 44 min., 42 sec. ) / Rachmaninov</marc:subfield>
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            <marc:subfield code="a">Ortega Chavaldas, Miguel Angel, Artist -- Bonet Silvestre, Mar, Artist -- Rachmaninov, Sergey, Composer</marc:subfield>
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            <marc:subfield code="a">At the beginning, Professor &lt;i&gt;Thedeen&lt;/i&gt; talks about the podium when playing with the piano, it is not the best way to communicate because the instruments are in different levels. Specially in this piece, they have to feel together, piano and cello.

During the whole class, Thedeen talks about dynamics, the contact point, the concentration on the sound quality and the projection through free movements, etc. all this to achieve an expressive result.

Dynamics at the beginning are 'piano espressivo', so we should translate this indication in a musical thing, looking for the brightness of the sound -the use of the bow has to go in this direction. He explains the character of the main cue and the phrasing, sometimes between singing and talking. When the tension is coming, we have to feel it and to anticipate this climax. Finally, he comments that some changes of character should be more unexpected and gives the recommendation of using the glissando with vibrato to get a huge sound.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Variations on a Rococo Theme (Masterclass with Torleif Thedeen) (Ramishvili, Ortega Chavaldas) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Variations on a Rococo Theme in A Major, Op. 33 (version for cello and piano) (NTSC) ( 44 min., 20 sec. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">Ortega Chavaldas, Miguel Angel, Artist -- Ramishvili, Lizi, Artist -- Tchaikovsky, Pyotr Il'yich, Composer</marc:subfield>
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            <marc:subfield code="a">At the beginning, &lt;i&gt;Thedeen&lt;/i&gt; congratulates the student for her performance. He advises her to play as natural as possible, keeping the expression but without forcing a muscle. Sometimes the impulses break the music breathing, so it is necessary to control it. Professor Thedeen also comments aspects about the articulation of specific notes in the phrase.

This is a music plenty of balance, that is what she should look for in every note, as well as the sound quality. Although the general musical idea is well set up, it is advisable to take care of every detail.

Thedeen talks about the upbeat of the Variation I and the technical passages and explains the way to improve them. He remarks the connection between notes within the phrasing and the relaxation as a very important aspect of sound production: it is compatible with the expression.</marc:subfield>
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            <marc:subfield code="a">FRANCK, C.: Violin Sonata, M. 8: II. Allegro (arr. for cello and piano) (Masterclass with Torleif Thedeen) (Sosnowska, Ortega Chavaldas) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Violin Sonata in A Major, M. 8: II. Allegro (arr. for cello and piano) (NTSC) ( 43 min., 50 sec. ) / Franck</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Thedeen&lt;/i&gt; comments the passion and the energy of the student's performance but, at the same time, the need to find a mood that remains for long time, to avoid mood changes. He also recommends the student to play every note with intention, but distinguishing which sounds are more intense than others, finding a balance within the phrase.

Professor Thedeen mentions other aspects of the piece, such us the rhythmical beginning, the tension of the bow (but not on the body), the connection between notes, the 'flautato' effect (played not 'sul tasto'), the clarity in every moment, the upbeats (more impressive), the bow changes adapted to the character. 

The student needs to experience other forms of expression to reorganize her head. In many quiet passages, she should show this serenity. In conclusion, the student has to channel her energy to the sound and the musical structure.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Variations on a Rococo Theme (version for cello and piano) (Masterclass with Torleif Thedee) (Stepanov, Ortega Chavaldas) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Variations on a Rococo Theme in A Major, Op. 33 (version for cello and piano) (NTSC) ( 41 min., 56 sec. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">At the beginning of the lecture, Professor &lt;i&gt;Thedeen&lt;/i&gt; talks about the tempo of the last variation. He recommends not to play 'all tasto' because with the orchestra the sound will not be clear. 

In &lt;i&gt;Variation IV&lt;/i&gt;, Thedeen corrects some aspects, such as phrasing, rhythm and scales. The student should be careful when the music goes from quick passages to cantabile notes because these pitches are affected by the speed of the previous passage. So, it is convenient to sing the notes specially.

Professor Thedeen also corrects the articulation and the dynamics of the trills and comments that it is important to have a very good contact point to explote the sound possibilities of the cello. Breathing is crucial in dramatic passages. He explains how to play the 'spiccato' and talks about fingerings and chords -each one has a different resonance depending on the vibration of each string. Finally, Thedeen explains that the us of 'portamento' is possible in some expressive passages.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Cello Sonata No. 1: I. Allegro non troppo (Masterclass with Torleif Thedeen) (Gómez Pareja, Ortega Chavaldas) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Cello Sonata No. 1 in E Minor, Op. 38: I. Allegro non troppo (NTSC) ( 43 min., 21 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">In general, the Professor &lt;i&gt;Torleif Thedeen&lt;/i&gt; comments the importance of the piano part in this sonata and the need to join with it. For example, in the transition to the recapitulation, the cello should imitate the piano, especially in the upbeats. All the dynamics in both parts have to sound at the same time.

In 'piano' dynamics, the dark passages in low register should be clearer. Before the main cue of the theme, the most important note is the previous one, which creates the magic and the expectation. Professor Thedeen insists on the idea of creating the sound we hear internally and to play organically to clarify the structure.

When we play soft bowings, the left hand should not be pale or weak, but expressive, so we have to find the independence of both hands in relation to the expression. 

In phrasing, it is better to wait until the most suitable moment to liberate the sound, not to anticipate. We must find the most appropriate phrasing in every moment, so the bowings help to find the phrase shape. They work on the conclusive section and different possibilities of expression and phrasing. Every moment we have to be aware of how the music has been built and which elements make it up. This way we can follow all the movements of the phrase.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=LSCS04</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
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The uplifting documentary is testament to the way that the drive for creativity cannot be stifled, even under the most challenging conditions. Risking their lives, the teenage residents of Home, a children's concentration camp, created a magazine called Vedem that chronicled their daily lives through essays, poems and pictures. The last boy to remain at Terezin buried all 800 pages, retrieving the manuscript after liberation. In 2010, Music of Remembrance commissioned &lt;i&gt;Vedem&lt;/i&gt;, an oratorio based on the boys' experiences, to be performed by the Seattle Boychoir.</marc:subfield>
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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.

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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">BRAHMS, J.: Piano Sonata No. 2: I. Allegro non troppo, ma energico (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: I. Allegro non troppo, ma energico (PAL) ( 43 min., 09 sec. ) / Brahms</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">BRAHMS, J.: Piano Sonata No. 2: II. Andante con espressione (Masterclass with Zoltán Kocsis) (Ji Liu) (PAL)</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">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">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">5 Melodies, Op. 35bis: No. 2. Lento ma non troppo (NTSC) ( 17 min., 42 sec. ) / Prokofiev</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">MOZART, W.A.: Violin Concerto No. 3: I. Allegro (Masterclass with Miriam Fried) (Omarli, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto No. 3 in G Major, K. 216: I. Allegro (violin and piano reduction) (NTSC) ( 58 min., 45 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Omarli, Kamran, Artist -- Mozart, Wolfgang Amadeus, Composer</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">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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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">Così fan tutte, K. 588, Act II: Una donna a quindici anni (PAL) ( 13 min., 03 sec. ) / Mozart</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.

Finally, Professor Grist proposes some vocalisation exercises to the student: singing staccato, opening the jaw, pushing the sound up to the head and using also the diaphragm in order to reach the higher notes with a good quality for the voice.</marc:subfield>
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            <marc:subfield code="a">BELLINI, V.: Puritani (I), Act I: Or dove fuggo io mai? [Opera] (Masterclass with Reri Grist) (Heath, Cabrera) (PAL)</marc:subfield>
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            <marc:subfield code="a">I puritani, Act I: Or dove fuggo io mai? (PAL) ( 10 min., 13 sec. ) / Bellini</marc:subfield>
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            <marc:subfield code="a">At the beginning of the Recitative &lt;i&gt;Or dove fuggo io mai?&lt;/i&gt;, Prof. &lt;i&lt;Reri Grist&lt;/i&gt; asks the student for getting more into the role of Riccardo. Then, she corrects the tuning and duration for a low note at the beginning: the student should amuse himself more by singing that note.

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">BELLINI, V.: Puritani (I), Act I: Ah! Per sempre io ti perdei [Opera] (Masterclass with Reri Grist) (Heath, Cabrera) (NTSC)</marc:subfield>
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            <marc:subfield code="a">I puritani, Act I: Ah! Per sempre io ti perdei (NTSC) ( 22 min., 05 sec. ) / Bellini</marc:subfield>
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            <marc:subfield code="a">Cabrera, Ángel, Artist -- Heath, Alexis, Artist -- Pepoli, Carlo, Lyricist -- Bellini, Vincenzo, Composer</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">Partita in A Minor, BWV 1013: I. Allemande (arr. for oboe) (PAL) ( 35 min., 55 sec. ) / Bach</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">The first comment by Prof. &lt;i&gt;Schellenberger&lt;/i&gt; about this masterclass is referred to have a good support before playing. He also recommends the student not to press so much the leaps and not to bite the embouchure. After that, Schellenberger makes some indications about phrasing and support involvement in diaphragm related to the attacks. Besides, he comments some musical issues on trills and characteristic tempo for Sarabande, tuning, expressiveness and required character in this piece.</marc:subfield>
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            <marc:subfield code="a">The famous traditional Chinese tale &lt;i&gt;La Fresque&lt;/i&gt; (The Painting on the Wall) tells of two travellers who take shelter at a small temple, one of whom becomes so enraptured by the image of a beautiful girl in a fresco that he is transported into another dimension.

Angelin Preljocaj, one of France's leading contemporary choreographers, explores this mysterious relationship between representation and reality with a spectacular and unforgettable ballet filled with dynamic action, emotive lyricism and powerful responses to the music of &lt;i&gt;Nicolas Godin&lt;/i&gt;, one half of the celebrated music duo Air. La Fresque has been admired for its 'breath-taking scenes' (La Terresse) and its 'dark and splendid' (L'Humanite).</marc:subfield>
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            <marc:subfield code="a">2 Légendes, S175/R17: No. 1. St. François d'Assise - La prédication aux oiseaux ( 10 min., 32 sec. ) / Liszt -- No. 4. Sonetto 47 del Petrarca (Sonnet 47 of Petrarch) ( 06 min. ) / Liszt -- No. 5. Sonetto 104 del Petrarca (Sonnet 104 of Petrarch) ( 06 min., 17 sec. ) / Liszt -- No. 6. Sonetto 123 del Petrarca (Sonnet 123 of Petrarch) ( 07 min., 16 sec. ) / Liszt -- No. 7. Après une lecture du Dante, fantasia quasi una sonata (After Reading Dante) ( 16 min., 55 sec. ) / Liszt -- No. 3. Canzonetta del Salvator Rosa (Canzonetta of Salvador Rosa) ( 03 min., 04 sec. ) / Liszt -- No. 2. Il penseroso (The Thinker) ( 04 min., 54 sec. ) / Liszt -- No. 1. Sposalizio (Marriage of the Virgin) ( 07 min., 21 sec. ) / Liszt</marc:subfield>
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            <marc:subfield code="a">Composer-Producer &lt;i&gt;William Perry&lt;/i&gt; has played a major role in the revival of interest in silent films, both through his more than one hundred silent film scores and through his Emmy Award-winning television series, &lt;i&gt;The Silent Years&lt;/i&gt;, hosted by Orson Welles and Lillian Gish. 

A rich array of Perry's film music was presented in the critically-acclaimed Naxos recording, Music for Great Films of the Silent Era (8.572567). Now this companion volume offers a further view of Perry's colorful and exuberant writing, including his new Silent Film Heroines song-suite for mezzo-soprano and orchestra, celebrating eight of the legendary actresses of the silent cinema. Perry's supremely melodic sense of period and style captures perfectly the romance, grandeur and humor of those entertaining days when "Movies were movies!"</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Carl Czerny&lt;/i&gt; penned an astonishing amount of music, including the numerous potpourris, fantasies, teaching pieces and studies for which he became known. This recording features &lt;i&gt;Andante grazioso&lt;/i&gt; from &lt;i&gt;Andante and Rondo, Op. 213&lt;/i&gt; composed in 1829.</marc:subfield>
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Building bridges between cultures and traditions, he here sheds new light on original compositions by &lt;i&gt;Vivaldi&lt;/i&gt; and &lt;i&gt;Respighi&lt;/i&gt;, written during his period as composer-inresidence for Danish National Baroque Orchestra Concerto Copenhagen.</marc:subfield>
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            <marc:subfield code="a">Libro de música de vihuela de mano intitulado El maestro (NTSC) ( 00 sec. ) / Milán -- Los Seys libros del Delphin, Vol. 1 (NTSC) ( 00 sec. ) / Narváez -- 6 Lute Pieces of the Renaissance (NTSC) ( 00 sec. ) / Chilesotti</marc:subfield>
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            <marc:subfield code="a">A production of a series dedicated to the classical guitar. Each volume will be dedicated to a period starting with the Renaissance. Every chapter will be filmed in a special venue, in this case it's the beautiful Romanesque church of Santa Eufemia de Cozollos in Palencia, Spain. 

The programme features music by &lt;i&gt;Milan, Narvaez, Sanz&lt;/i&gt;, and &lt;i&gt;Chilesotti&lt;/i&gt; arrangements of Italian lute composers. This top quality production is performed by Agustin Maruri on the guitar. Hailing from Madrid, Agustin Maruri has performed concerts in five continents in the world's finest concert halls, has received numerous prestigious awards, and has been a visiting professor at several universities across the globe. Several composers have dedicated new works to him, and he has made countless premieres of contemporary guitar music.</marc:subfield>
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This production was recorded at the basilica of San Francisco el Grande in Madrid, and is performed by Michael Kevin Jones. British cellist Michael Kevin Jones has found a unique place for himself among today's performers. While a student at the Royal College of Music in London he was chosen to play for the Royal family and awarded a German government scholarship for further study in Koln where he quickly became solo cellist and toured the world with top musical groups. He has developed a non conventional career incorporating multi-musical activities and he is also an avid teacher and coach.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=E-135DVD</marc:subfield>
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            <marc:subfield code="a">Concerning the student's performance for the first movement of this &lt;i&gt;Haydn's Sonata&lt;/i&gt;, the professor firstly comments that some notes of the left-hand are not relevant. About the character from 2nd theme, this is legato and no staccato, and if the student is considering a contrast, she must really do it.

Besides, &lt;i&gt;Zoltan Kocsis&lt;/i&gt; considers that the use of the pedal by the student is not typical from Haydn: it is legato but without pedal. Character is almost in the opera style, so the student must act more. Then Kocsis makes corrections on notes duration and articulation, fermatas, double slurs signs in the manuscript, harmonic progressions and dynamics. Finally, they talk about some issues related to polyphony and voices identification.</marc:subfield>
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            <marc:subfield code="a">HAYDN, J.: Piano Sonata No. 53: II. Adagio (Masterclass with Zoltán Kocsis) (Hoyo Pérez de Rada) (PAL)</marc:subfield>
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            <marc:subfield code="a">To begin with,Pprof. &lt;i&gt;Kocsis&lt;/i&gt; has the feeling that the student doesn't enjoy this &lt;i&gt;Sonata&lt;/i&gt; because her reading has not been so interesting as it should be, specially in this movement. He also comments the difference between editions: he prefers using the Henle one because a certain part is in G clef, such as in the manuscript.

About specific details, Kocsis talks about the staccatissimo performance. Legato parts also should be more cantabile and the rest, more "jocoso" and even ridiculous. After several short instructions, the professor advises her not to think so much: it is simpler than the student considers, although it is expressive and acting in some moments.

In a certain passage, the harmonic progression must be emphasized and then the student must realize that the two hands belong to one voice: connection between both hands is the most important thing here. After that, a cadence is necessary and finally there is a short comment related to metrics.</marc:subfield>
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            <marc:subfield code="a">TOMASI, H.: Trumpet Concerto: I. Allegro - Cadenza (Masterclass with Reinhold Friedrich) (Miho Kaneko, Eriko Takezawa) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Trumpet Concerto: I. Allegro - Cadenza (trumpet and piano reduction) (NTSC) ( 38 min., 42 sec. ) / Tomasi</marc:subfield>
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            <marc:subfield code="a">For the initial cue, it is necessary to blow quickly without thinking on the high note because the required attack is very fast. The professor mentions how the performer must help herself by using the lips to reach the high tessitura.

French tradition usually imposes to play fast passages alternated with slower ones, but in this case the air is always "vif". Then they work on dynamics, metrical freedom, vibrato or phrasing for the fast descending passages, among other musical issues.

Prof. &lt;i&gt;Friedrich&lt;/i&gt; also recommends not doing very big diminuendi in order to avoid losing the sound in the concert hall. Scherzando must not be exaggerated but progressing little by little. Besides, they speak about the sound ending, fermata and notes duration to get more expressivity and energy control. Finally, the professor explains how to perform the cadence. As per the performance, the professor congratulates the student.</marc:subfield>
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            <marc:subfield code="a">HINDEMITH, P.: Concerto for Trumpet and Bassoon: I. Allegro spiritoso (Masterclass with Reinhold Friedrich) (Bernal Sandoval, Gómez Alemany) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The masterclass by &lt;i&gt;Friedrich&lt;/i&gt; starts with a brief correction regarding the attacks, sometimes they are too sharp and also it is necessary giving more importance to the singing. Afterwards, the professor comments the necessary balance between the two soloist instruments, and he makes some corrections to the pianist. Many times, Hindemith writes different rhythms and beats for each instrument. Besides, trumpet can play little steps in relation to the phrasing and dynamics.

Moreover, there are some indications regarding the sound quality, tuning and cues. The student asks for the appropriate type of sound in a certain solo part, and then the explanation leads to some comments on &lt;i&gt;Bruckner's 5th Symphony&lt;/i&gt;, Andris Nelsons and the last concert conducted by Claudio Abbado.</marc:subfield>
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            <marc:subfield code="a">HINDEMITH, P.: Concerto for Trumpet and Bassoon: II. Molto adagio (Masterclass with Reinhold Friedrich)  (Bernal Sandoval, Gómez Alemany) ((NTSC)</marc:subfield>
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            <marc:subfield code="a">Concerto for Trumpet and Bassoon: II. Molto adagio - Allegro pesante (trumpet, bassoon and piano reduction) (NTSC) ( 15 min., 23 sec. ) / Hindemith</marc:subfield>
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            <marc:subfield code="a">For this movement, &lt;i&gt;Reinhold Friedrich&lt;/i&gt; suggests the student how to set his sheet music in a more suitable way. They speak about the required dynamics to play in line with the piano and the professor also comments the great importance of feeling always excited with the music, like a child who makes everything with a strong emotion or like Claudio Abbado who is always searching the small details which makes everything special.</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 4 in A Minor, Op. 164, D. 537: I. Allegro ma non troppo (PAL) ( 25 min., 25 sec. ) / Schubert</marc:subfield>
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            <marc:subfield code="a">Firstly, Prof. Schiff corrects the upbeat of the beginning, because it is very important to start the work correctly. It is also important to have more sensibility with the harmonies, and the accents should be more expressive, they imply that the note must be longer and more melodic.

Afterwards, &lt;i&gt;Andras Schiff&lt;/i&gt; makes some comments to the student on tempo issues (not ritardando, rhythmical like the heartbeat), dynamics and color variety, darker and more dramatic character, phrasing and other issues regarding harmony.

Besides, the professor suggests her not to play "so correctly" to do so she could think about a storm and playing it with more pedal to increase the sonority - he refers to the &lt;i&gt;Studies&lt;/i&gt; by &lt;i&gt;C. Cerny&lt;/i&gt;, and the &lt;i&gt;Winterrreise&lt;/i&gt; cycle by &lt;i&gt;F. Schubert&lt;/i&gt;.

Schiff continues with indications related to character and voices issues, and finally he advises avoiding abrupt gestures by playing the chords: it is more suitable to maintain hands in the air to keep the tension in the audience.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Andras Schiff&lt;/i&gt; begins his lecture on 2nd movement with comments on staccato and on the left-hand articulation. Then he makes indications about pedals, right-hand articulation and character regarding tonality. This is Neapolitan tonality, so the accompaniment should be like water, using more pedal to avoid a dry pizzicato.

There is a culminating moment with contrast. During it is necessary to make more difference between the previous warm part and the next cold and martial part: the professor mentions again &lt;i&gt;Winterreise&lt;/i&gt; by &lt;i&gt;Schubert&lt;/i&gt; and the slow movement of a &lt;i&gt;Symphony&lt;/i&gt; by &lt;i&gt;G. Mahler&lt;/i&gt;. Later, the warm character returns: left-hand notes should be more melodic and the epilogue very beautiful, like a farewell.</marc:subfield>
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            <marc:subfield code="a">SCHUBERT, F.: Piano Sonata No. 4: III. Allegro vivace (Masterclass with Andras Schiff) (Mangova) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 4 in A Minor, Op. 164, D. 537: III. Allegro vivace (PAL) ( 13 min., 06 sec. ) / Schubert</marc:subfield>
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            <marc:subfield code="a">Last movement comes from dream to reality, almost like in the by &lt;i&gt;A. Schoenberg&lt;/i&gt;. There are many question marks, and &lt;i&gt;Schiff&lt;/i&gt; recommends playing more with the fermatas duration, playing with more freedom. Then the professor corrects the sound balance for the left-hand chords and the tempo.

About the long notes' duration, it is necessary not only to maintain them with the pedal but also keeping the hand on the key. In the coda, a bigger contrast is required but it shouldn't sound "beautiful" in this case, but rather "dangerous".

Finally, Schiff insists on maintaining the chords with the hand and not only with the pedal, and he highlights again the dangerous character of the end.</marc:subfield>
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            <marc:subfield code="a">Firstly, Prof. &lt;i&gt;Frankl&lt;/i&gt; praises the student for her reading of the &lt;i&gt;Piano Sonata&lt;/i&gt;. A musical aspect that she can improve is the climax in the middle section (too much hurried), and then the calm comes but not so soon. A certain passage with accents, the professor plays it differently and he uses another fingering to obtain more sound clarity. Forwards, the student should be more careful so that she doesn't reach the chords one beat late. Besides, Peter Frankl mentions some character changes and therefore the sound contrast which has to be conducted: the "Grandioso" must sound noble, and after that it should sound dramatic but not hysterical.

The professor insists on moments in which the student should play not so hurried or delayed, also taking into account the quality of the sound, phrasing and clarity of the execution. Regarding the part with octaves, they work on it by correcting their duration and the sound in the "fff" ones (it should be barnstorming).

Reaching the end, the professor highlights the performance of the syncopations by the student, and he points out that the crescendo should be played without accent. Finally, Frankl corrects the rhythm in the theme.</marc:subfield>
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            <marc:subfield code="a">BERNSTEIN, L.: Clarinet Sonata: I. Grazioso (Masterclass with Karl-Heinz Steffens) (Venyš, Montalván) (PAL)</marc:subfield>
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            <marc:subfield code="a">Clarinet Sonata: I. Grazioso (PAL) ( 20 min., 11 sec. ) / Bernstein</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Steffens&lt;/i&gt; begins his lecture pointing out the character for this movement and the suitable phrasing to get this "Grazioso" character, almost in one. After some more brief comments about phrasing, he suggests playing a passage with more vibrato to turn it into a more exciting one. Steffens associates a specific piano part to the &lt;i&gt;Aaron Copland&lt;/i&gt; style or even &lt;i&gt;Hindemith&lt;/i&gt;, and the period when &lt;i&gt;Bernstein&lt;/i&gt; composed this piece which is aligned with &lt;i&gt;West Side Story&lt;/i&gt;. Then Prof. Steffens makes some comments on rapport (like a duet), phrasing and articulation.

Afterwards, it is advisable to play a certain passage with another color in the low notes to get the required seriousness for this moment. They make more comments on Leonard Bernstein and his preference for harmonic transitions: the student should entertain himself and underline more these points (a small crescendo in the long note of the phrase could help to get this). Finally, the professor highlights the relevance of the rapport between piano and clarinet.</marc:subfield>
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            <marc:subfield code="a">Just at the beginning of the movement, Prof. &lt;i&gt;Steffens&lt;/i&gt; resembles the clarinet melody with a main theme from &lt;i&gt;West Side Story&lt;/i&gt;: "Someday, somewhere", it has to sound very sad. About the "mezzoforte espressivo", the professor makes some dynamical instructions to perform that correctly.  In a certain moment, the piano should imitate the clarinet articulation "molto legato" to establish better the main character.

Steffens also gives some agogic indications, and about the character at the end of the Andantino just before the Vivace part, which must have more "swing" - in &lt;i&gt;Bernstein's&lt;/i&gt; style, not &lt;i&gt;Stravinsky&lt;/i&gt; - although further on, articulation is shorter and measured.

They work on the changes to get the required different articulations: this music, like jazz, has a lot of different colors to show (maracas, percussions). Such as the first movement, this one is related again with Aaron Copland and West Side Story atmosphere. In the Lento part, they work basically on agogic and dynamic issues. They also talk about the rapport between both instruments (in tempo, dynamic and articulation aspects). Finally, there are some suggestions about the accents and articulation for the clarinet final notes, and other short general recommendations for the concert.</marc:subfield>
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            <marc:subfield code="a">This masterclass starts with some general comments on the story and style of the composition, and then the professor makes references to &lt;i&gt;Prokofiev&lt;/i&gt; and &lt;i&gt;The Rite of Spring&lt;/i&gt; by &lt;i&gt;Stravinsky&lt;/i&gt;. 

About this specific first movement, they mainly work on fingerings to get the required articulations, and cues to play them together. Character should be more elegant, and articulation more accurate. They also work on the rhythmical precision, rapport, rubato, tempo, clarity, agogics, accents and articulations.</marc:subfield>
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            <marc:subfield code="a">For this movement, tempo should not be so slow. Prof. &lt;i&gt;Brunner&lt;/i&gt; also comments that the sound should not have any nuance, but far away and monotone. At the end, any diminuendo is required, and the legate must be improved. Finally, Eduard Brunner compares the character for this movement with the &lt;i&gt;Piece No. 1&lt;/i&gt; for solo clarinet by &lt;i&gt;Stravinsky&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">Carvalho, Ana María, Artist -- Pastor Vidal, Carlos, Artist -- Poulenc, Francis, Composer</marc:subfield>
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            <marc:subfield code="a">For this final movement, there are comments on dynamics and character (it should be happier and "jocoso"). The student practices alone her initial part because she has to improve her rhythmical accuracy, and then the second clarinettist also corrects a fast-musical descending passage.

Prof. &lt;i&gt;Brunner&lt;/i&gt; focuses on tempo and rhythm. He also mentions that certain word in the score doesn't mean to play so forte. For a specific intervallic fragment, Brunner suggests other fingering and he works on it in detail with the second clarinet to obtain the proper rhythm and articulation. Reaching the end, they should not hurry up. Afterwards, they should avoid prolonging the notes in the pauses.</marc:subfield>
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            <marc:subfield code="a">Etudes symphoniques (Symphonic Etudes), Op. 13 (PAL) ( 47 min., 38 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Frankl&lt;/i&gt; likes the general reading of the composition by the pianist very much. Although the student has not played the posthumous studies to keep the unity of the work, he has lost a little this unity sense for stopping too much between variations and playing too much ritenuti. Then, Peter Frankl makes comments and instructions about each specific study:

&lt;i&gt;Thema: Andante and Etude 1 - Variation 1&lt;/i&gt;: the professor talks about the tempo for the theme and the first variation. The theme ends like a question, and the answer is in the first variation. The end of the theme has a fermata, but also attacca to the Variation 1.

&lt;i&gt;Etude 2 - Variation 2&lt;/i&gt;: Frankl doesn't agree with the character that the student has performed here. It must be more "Florestan", more passionate. They also talk about the use of the thumbs in this part, which is very suitable in the professor's opinion.

&lt;i&gt;Etude 3&lt;/i&gt;: for this study, Frankl recommends top lay lighter, use a different fingering, and not stop too much in the double bar. 

&lt;i&gt;Etude 4 - Variation 3&lt;/i&gt; and &lt;i&gt;Etude 5 - Variation 4&lt;/i&gt;: the professor indicates a mistake in the reading of the score for Variation 3 and he makes comments on chords and dynamics. The sforzato must continue until the first note of the Variation 4, and at the end of this variation the student again should not pause that much.
 
&lt;i&gt;Etude 6 - Variation 5, Etude 7 - Variation 6&lt;/i&gt; and &lt;i&gt;Etude 8 - Variation 8&lt;/i&gt;: the upbeat is very well done with the right hand. The contrast with the next variation is important because it is the first one in E Major.

&lt;i&gt;Etude 9&lt;/i&gt; and &lt;i&gt;Etude 10 - Variation 8&lt;/i&gt;: there are dynamical instructions to reach the fortissimo for a certain passage of the 9th study. At the end, it is advisable again to continue to the next variation without stopping.

&lt;i&gt;Etude 11 - Variation 9&lt;/i&gt;: the professor talks about an alternative fingering using the fifth finger. He also gives indications to play properly the rhythm for a passage, using left or right hand. The pulse is important for not losing the metric of the movement.

&lt;i&gt;Etude 12 - Finale: Allegro brillante&lt;/i&gt;: Frankl suggests doing the repetitions and more contrast when the G major part comes. He also corrects a wrong note. Regarding the expressiveness, the point where is the real surprise is right after the moment the student performs it. There is also an indication for the last chord.

Final conclusions: the student must achieve the unity in the whole work trying not to stop too much between variations. The professor also makes some considerations and advices about the study and performance of the five posthumous variations.</marc:subfield>
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            <marc:subfield code="a">LALO, E.: Cello Concerto in D Minor: I. Prelude (Masterclass with David Geringas) (Mon-Puo Lee Hsu, Ortega Chavaldas) (PAL)</marc:subfield>
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            <marc:subfield code="a">Cello Concerto in D Minor: I. Prelude: Lento - Allegro maestoso (violin and piano reduction) (PAL) ( 54 min., 36 sec. ) / Lalo</marc:subfield>
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            <marc:subfield code="a">First remark from &lt;i&gt;Geringas&lt;/i&gt; in this masterclass is concerning the Maestoso character: the student should think on it like a king's march, holding the tempo. He also reflects on music like a memory and musicality: the student must decide the musical development, what is important and how to build the phrases to give continuity to the music.

David Geringas makes mainly musical indications related to tempo, tension, rhythm, agogics, expression and attitude of the musician. Regarding the second theme, the character is completely different (cantabile, soft, dreamy) and it has to be prepared. The student must correct the intensity and the professor highlights the importance of vibrato to get the proper color for a certain "espressivissimo" moment. It is also important to feel how the air starts to move and vibrate, and how it is transmitted to the audience to "move" their ears or hearts. The student must find this suitable type of vibrato with bow pressure, control, movement and speed, with fingers contact, so that the resulting sound is magic.

Afterwards, they work on bow (not always sul tasto), metrics and agogics, rhythms and accents. Finally, Geringas suggest the student to be more convincing, to show clearly what he wants and taking into account the importance to keep the rhythm under control.</marc:subfield>
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            <marc:subfield code="a">DEBUSSY, C.: Cello Sonata in D Minor: I. Prologue (Masterclass with David Geringas) (Wysocki, Montalván) (PAL)</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Geringas&lt;/i&gt; starts his lecture with a comment about a dynamical matter: there is a difficulty with the dynamical balance because there are many piano shades (p - ppp) in this piece. So, the student must consider them related to each other and he must play with the intensity of the piano. At the beginning, the student also should play stronger than the piano, all the things the student does, should make sense.

Then, they speak about the meaning of the diminuendo and after that, the professor recommends him to read about the short story of &lt;i&gt;Pierrot Lunaire&lt;/i&gt; on which this piece is based. They also reflect on more instructions written in the score: agogics terms like animando and rubato, sound quality and character terms, etc.

For David Geringas it is important to find words whose help him to go with the musical expression. In a certain part, the pianissimo must have sound and articulation, and then Geringas makes other corrections related to articulation and phrasing, sound role for each instrument, sound balance and dynamics, among others.

Prof. Geringas also works with the student the bow and right arm motion, and the most suitable way to distribute the weight of the hand to obtain a better quality of the sound. Geringas encourages him to dedicate a daily time to work this, using the body energy and not the arm pressure.

They review the dynamical indications written by the composer in the score, and afterwards Geringas advises him to do more contrast with the previous atmosphere at the beginning of the melody to make more differences (rhythmically too) within it. Finally, they think about the "Lento" and "Poco vibrato" signs almost at the end of this movement and about &lt;i&gt;Debussy's&lt;/i&gt; intentions regarding them.</marc:subfield>
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            <marc:subfield code="a">At the beginning of the second movement, Prof. &lt;i&gt;Geringas&lt;/i&gt; corrects the tempo and checks it with a metronome. The professor points out the American jazz influence, and he mentions &lt;i&gt;The Entertainer&lt;/i&gt; by &lt;i&gt;Scott Joplin&lt;/i&gt;. Geringas also indicates how to practice the initial pizzicati to get more sound.  The student should not think that &lt;i&gt;Debussy's&lt;/i&gt; compositions need to be played very rubato, but think how to play them with more metrical accuracy and, from that point on, how to reach the appropriate metrical freedom. 

About expressiveness, Geringas mentions the character of Lindoro from &lt;i&gt;The barber of Seville&lt;/i&gt; and he links this moment of the Debussy's work with a scene about this character and Bartolo. Besides, the professor thinks about the word "ironic" in the score, and how to carry it out. Based on this, he tells an anecdote about the cellist Eleonore Schoenfeld who used the facial language, and he continues insisting on expressivity and how to get the different characters. He goes on his lecture giving some instructions about piano dynamic, pizzicato, contrasts or agogics. To conclude with, Prof. Geringas comments that this movement is like a theatre with a unique actor.</marc:subfield>
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            <marc:subfield code="a">In the professor's opinion, the student's performance is very good but in general, it is limited in character, colors, sound, because she doesn't use the whole bow. The performance must transmit the feeling of movement even in the calm moments. Bron advises her not to use the second string, which is more suitable for other composers like &lt;i&gt;Wieniawsky&lt;/i&gt;. 

Every time the theme is repeated, the student should rethink about how to play it. &lt;i&gt;Zakhar Bron&lt;/i&gt; is not satisfied with the relationship between vibrato, legato and bow division that the student shows. He also mentions that Canzonetta derives from Canzona (song), and therefore the character should be very natural, simple and liggerissimo.

After that, they go over the movement and play it together, and then Bron indicates the places to make rubato and where replace the vibrato regarding the harmonies. Besides, he corrects other specific musical aspects to get more expressiveness.</marc:subfield>
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            <marc:subfield code="a">Violin Concerto in D Major, Op. 35: III. Finale: Allegro vivacissimo (violin and piano reduction) (PAL) ( 17 min., 14 sec. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">About the third movement of the &lt;i&gt;Tchaikovsky's Violin Concerto&lt;/i&gt;, &lt;i&gt;Zakhar Bron&lt;/i&gt; indicates firstly that the student should make more differences between piano and forte. Besides, he makes other corrections for specific moments such as being on time, play to the top of the bow, fingering improvement, etc.

Bron recommends her to prepare better her fingers: she needs more precision and more contact with the string to get a good sound. Afterwards, they address different issues related to vibrato, dynamics, advisable points to save the bow or phrasing, among others.

Zakhar Bron also points out the proper places to play with all the sound and finally, he mentions a certain passage where the student should not raise the fingers in order to maintain a better contact.</marc:subfield>
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            <marc:subfield code="a">The first suggestion by Prof. &lt;i&gt;Schmidt&lt;/i&gt; is that the students should play a specific part (6 measures before Piu vivace) in one bow, without breaking. Then Schimdt comments that he found the tempo, in general, too slow. They focus on 10 measures before the end, where the professor indicates them the importance of taking into account the moments when there is harmonic tension and when that tension is released and how to translate it into the performance. Schmidt asks them to play these passages slowly and thinking about the more suitable articulations, dynamics and bows so that the produced sound become the best for each moment according to the harmony and character.

They work each passage by instruments, practicing the mixture between the different voices and the sound balance. The members of the quartet must always listen mutually and have a wide vision of the score to notice where the voices move in each time. Besides, Rainer Schmidt considers that sometimes play "beautifully" does not work.</marc:subfield>
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            <marc:subfield code="a">In this second part of the masterclass, the quartet carry on working the different passages by voices under &lt;i&gt;Schmidt's&lt;/i&gt; guidelines. The professor gives indications about the tempo and rhythm, articulation and upbeats, etc. Besides, Schmidt highlights the importance to analyze and feel the harmonies to get the sound and character most suitable for them.

Rainer Schmidt makes more comments about this work, always considering how to reflect the composer's intentions in the performance. They think about the phrasing and bowing for a certain passage, and the professor corrects the rhythm in a specific moment to improve the metrical precision of the "tranquillo" part before the end.</marc:subfield>
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They also work on other musical issues related to dynamics, bowings and bow direction, or accents and always regarding the rapport and organization between the members of the quartet. In a certain moment, the character should not be so heavy, and &lt;i&gt;Schmidt&lt;/i&gt; makes also comments on color regarding the required type of sound.

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            <marc:subfield code="a">In this second part of the masterclass, they carry on with the work on the fourth movement of the &lt;i&gt;String Quartet, Op. 51, No. 2&lt;/i&gt; by &lt;i&gt;Brahms&lt;/i&gt;. It must sound noble. They practice some passages playing by voices ?EUR" especially those with harmonic changes - to improve mainly musical aspects related to metrics, rhythm and phrasing. Afterwards Schmidt makes some indications on bow issues: bow direction, bowings, tension to get the appropriate musical accents. 

Moreover, they practice the "Poco tranquillo" part by voices (violin II and viola, etc.). As the professor pointed out at the beginning of this masterclass, it is polymetric and the students must practice it by themselves in detail to get the right rhythm.</marc:subfield>
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Afterwards, Krause corrects the duration for a specific note and the point where it is suitable to breath for a certain phrase.
Prof. Krause insists on the importance of keeping all the time a good support so that the sound quality of the emitted notes is appropriate. Finally, the professor advises the student to maintain the forte until the end.</marc:subfield>
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            <marc:subfield code="a">GOUNOD, C.: Faust, Act I: Avant de quitter ces lieux [Opera] (Masterclass with Tom Krause) (Villoria, Lamazares) (PAL)</marc:subfield>
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            <marc:subfield code="a">Villoria, Mario, Artist -- Lamazares, Madalit, Artist -- Carré, Michel, Lyricist -- Barbier, Jules, Lyricist -- Gounod, Charles-François, Composer</marc:subfield>
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            <marc:subfield code="a">This masterclass lies in a quick review of this Valentine's aria.
&lt;i&gt;Krause&lt;/i&gt; makes some corrections on pronunciation while the student is singing. Besides, the professor gives more instructions to get the highest final note properly. Then, there are more comments on French pronunciation for specific words, specially in the vowels. To conclude, they make a brief final comment about the Valentine's role.</marc:subfield>
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            <marc:subfield code="a">STRAUSS, R.: 8 Gedichte aus Letzte Blatter: No. 8. Allerseelen (Masterclass with Tom Krause) (Januszczyk, Lamazares) (PAL)</marc:subfield>
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            <marc:subfield code="a">Besides the revision of the German pronunciation for some words of the lyrics, Prof. &lt;i&gt;Krause&lt;/i&gt; focuses his comments on issues related to the voice colocation. Tom Krause suggests the student to sing as she was giving a hint of a smile, and he indicates with his hand where the resonances are located.

About the dramatization, the professor proposes her to sing as if her husband was there, with a deep feeling of love, pity and gratitude.
Moreover, Krause makes some short clarifications about breathing, phrasing and dynamics. He suggests the student to sing a certain passage with abandonment, but also as clear as possible. Finally, the professor comments that high notes should be plenty of resonance.</marc:subfield>
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            <marc:subfield code="a">SZYMANOWSKI, K.: 3 Songs, Op. 32: No. 3. Autumnal Sun (Masterclass with Tom Krause) (Januszczyk, Lamazares) (PAL)</marc:subfield>
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Afterwards, they focus on French pronunciation, specially the French "e" vowel. It is important to place the vowels up and to sing very legato.

In a certain moment, &lt;i&gt;Krause&lt;/i&gt; indicates the student not to prolong so much a note, and not to sing so slowly because the right tempo is faster.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, they talk about the plot of this opera briefly. Regarding the student's performance, Prof. &lt;i&gt;Krause&lt;/i&gt; points out that it is not convenient to form the "a" inside and he asks her for a deep breathing, singing free and easy, without tension in her face.

The professor also suggests her to place the voice up, and the vowel must be free. After that, there is a part more personal and intimate which has to be sung in piano.

About the high note, the professor gives some recommendations on how to prepare it better. They review together the pronunciation of several consonants and vowels in the text, particularly the "l". The voice needs to come from above, without pushing it down or touching the throat. To the correct pronunciation of the Russian "l", it is necessary a very loose and lazy tongue. Finally, Krause encourages the student with a comment about her improvement in the concentration of the sound and the power of her voice.</marc:subfield>
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            <marc:subfield code="a">BACH, J.S.: Cello Suite No. 1: V. Menuet I-II (arr. for viola) (Masterclass with Diemut Poppen) (Ercolino Lozada) (PAL)</marc:subfield>
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            <marc:subfield code="a">In this masterclass, the student dances the minuet and plays the viola at the same time in order to feel better the beat. Then &lt;i&gt;Diemut Poppen&lt;/i&gt; gives him some indications about bow direction and distribution. It is important not to play everything in the same point of the bow. The professor insists on the right setting of the strong beat without moving the viola.

The bass note of the chord must sound louder but without delaying the tempo. Finally, Poppen gives some instructions on the position and the way to hold the bow to improve it.</marc:subfield>
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            <marc:subfield code="a">Firstly, &lt;i&gt;Poppen&lt;/i&gt; gives a general indication to the student: he must not move the viola while playing. Besides, the tempo should be faster for this movement.
 
Then she makes other comments about the difference between playing in a major or minor tonality, bow direction and bow speed. She cannot listen properly the bass, so she suggests to play it louder. The student also should have fun with the small slurs.

For Poppen, the character for this Gigue is very joyful so she recommends the student to enjoy more. After some indication on phrasing, accents and shifts, Poppen gives the student some pieces of advice on the bow: he must be careful so he does not touch the string with the bow wood and the bow hair must be sufficiently tense. Then they practise it up bow and finally the student plays again the whole movement (without repetitions) and the professor makes him some recommendations on dynamic at the end of the piece and fingering to improve the tuning. She also suggests briefly some exercises to improve the strength in the fourth finger.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Serenade No. 11: I. Allegro maestoso (Masterclass with Hansjorg Schellenberger) (Octeto de vientos de la ESMRS) (PAL)</marc:subfield>
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            <marc:subfield code="a">Serenade No. 11 in E-Flat Major, K. 375: I. Allegro maestoso (PAL) ( 19 min., 22 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Before the end of the performance, Prof. &lt;i&gt;Schellenberger&lt;/i&gt; stops the group to make a correction related to the rapport between the different instruments for a certain passage of this first movement. 

When the complete performance is over, the professor corrects the tempo: the initial upbeat should be played with a clearer breath in order to get more precision in tempo and understanding for the octet. He also points out the difference between sforzato and fortepiano: in this case, they should play 'espressivo sf'.

Afterwards, the professor makes some indications related to the phrasing for the different instruments, and other brief comments on dynamics, agogics, articulation and notes duration and so on. Regarding the end of the first mov., Schellenberger also points out the phrasing, clarity of the execution, and not to do rallentando just at the end.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Serenade No. 11: II. Menuetto I (Masterclass with Hansjorg Schellenberger) (Octeto de vientos de la ESMRS) (PAL)</marc:subfield>
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            <marc:subfield code="a">Serenade No. 11 in E-Flat Major, K. 375: II. Menuetto I (PAL) ( 13 min., 26 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Regarding the performance of the &lt;i&gt;Minuet I&lt;/i&gt; from the &lt;i&gt;Mozart's Serenade K. 375&lt;/i&gt;, &lt;i&gt;Schellenberger&lt;/i&gt; firstly corrects the phrasing of the beginning, as well as the dynamics and character (more joyful, not so 'dolce'). Besides, the professor makes some comments on articulation and the best way to interpret the apoggiatures depending on the harmonies.

After some other indications on accents, music direction and cues, Schellenberger comments the different possibilities of repetitions in the Minuets, mentioning as an example some of &lt;i&gt;Beethoven's Symphonies&lt;/i&gt;. Finally, the professor advises not to play the repetition for this specific case.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Serenade No. 11: III. Adagio (Masterclass with Hansjorg Schellenberger) (Octeto de vientos de la ESMRS) (PAL)</marc:subfield>
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            <marc:subfield code="a">According to Professor, the performance was more and more slowly towards the end. Besides, it should be played 'alla breve': they should feel it in 2 and with direction.

After this, &lt;i&gt;Schellenberger&lt;/i&gt; makes some indications for specific moments on phrasing and dynamics, mainly for the horn melody. Resuming again the performance from the beginning, the professor gives them instructions while the group is playing: initial part dolcissimo, and other issues related to dynamics, phrasing and articulation, notably. Then, he marks a point where the group held up, and afterwards, in a certain passage they should play staccato and really forte. Finally, Hansjorg Schellenberger insists on the tempo correction.</marc:subfield>
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            <marc:subfield code="a">The professor corrects the articulation for a specific note of the initial theme and, in his opinion, the performance was a little bit fast.

Then, &lt;i&gt;Schellenberger&lt;/i&gt; gives some explanations about the variations on the duration for the grace notes and apoggiatures, and their application before or on the beat. As regards these questions, Schellenberger recommends them to read articles or essays from this period.

Regarding the character, it must be rustic and peasant. Besides, Schellenberger makes some brief comments while the group is playing again the Minuet from the beginning. At the end of the Trio, the professor suggests them to play a bit more rallentando.</marc:subfield>
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            <marc:subfield code="a">The lecture for this masterclass with &lt;i&gt;Schellenberger&lt;/i&gt; begins with the correction of a note just at the end, and the articulation for a certain trill. As regards the performance of the theme for this movement Finale, according to the professor's opinion, it is necessary to do more phrasing, mainly for the horns. Schellenberger also corrects the sound balance of the double voices and other issues mainly related to dynamics.

Afterwards, the professor explains how the oboe gesture should be in order to bring in correctly. The group must try to play very lively and virtuoso. Besides, Schellenberger thinks that the central section has started a little too late. He also corrects the articulation in a specific ascending scale, and regarding the theme, he suggests the bassoonists to play more legato, following the chromatic line to obtain a beautiful effect. Finally, Prof. Schellenberger makes some brief indication related to the rapport and the misterioso character for a certain moment.</marc:subfield>
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            <marc:subfield code="a">LISZT, F.: Harmonies poétiques et religieuses: VII. Funérailles (Masterclass with Eldar Nebolsin) (Krápicz) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Harmonies poétiques et religieuses, S173/R14: VII. Funérailles (NTSC) ( 52 min., 31 sec. ) / Liszt</marc:subfield>
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            <marc:subfield code="a">First, &lt;i&gt;Nebolsin&lt;/i&gt; asks the student about the funeral marches he knows. In general, the professor speaks about the tempo and character required for these types of marches. It is not necessary to show big lines (not 'alla breve' but in 4). In the &lt;i&gt;lacrimosa&lt;/i&gt; section, Nebolsin advises the student to take his time in a soothing character. Left and right hands are equally important, and Nebolsin gives some indications about sound balance between both hands and phrasing. 

They also address the use of the pedal in different passages. Regarding the chromatic lines, they symbolize the &lt;i&gt;passus duriusculus&lt;/i&gt;, the suffering before the last breath. &lt;i&gt;Liszt&lt;/i&gt; creates the repetition of the same structure up and down to give a nostalgic and resignation feeling. Besides, in the F# part, the color should be more painful than in the f part. 

Afterwards, they also work the staccato passage for the left hand. There is an harmonic explanation for melodic notes, and it is necessary to emphasize more the intervallic leap when it is after several chromatic intervals (by giving it more time). Regarding a certain passage, Nebolsin compares it with the &lt;i&gt;Dante Sonata&lt;/i&gt;: the notes need more vibrato and more time because it is like a recitative with a unique actor on the stage. Finally, they think about an arpeggio and Nebolsin makes some brief indications to the student about tempo and pedal.</marc:subfield>
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            <marc:subfield code="a">VIOLA TECHNIQUE EXERCISES AND THEORY EXPLANATIONS (Masterclass with Antoine Tamestit) (Gil Garcia) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Gil García, Guillermo, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">The masterclass starts with a question for the student: what does he want to improve of his playing (sound, vibrato)? Professor &lt;i&gt;Tamestit&lt;/i&gt; comments the rigidity of the student in shoulders and arms, and the need to release tension (Tamestit proposes some specific exercises to feel the contact point with the viola in the right position). This way pressure and weight will be correct. In relation to this, Tamestit tells an anecdote related to his teacher, Tabea Zimmermann, and &lt;i&gt;Schnittke's Viola Concerto&lt;/i&gt;.

The Professor gives a complete explanation about how to hold the viola and which are the muscles in the back involved in the vibration. Tamestit plays the beginning of &lt;i&gt;Schumann's Adagio, Op. 70&lt;/i&gt; as an example.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: Adagio and Allegro, Op. 70: I. Adagio (version for viola and piano) (Masterclass with Antoine Tamestit) (Gil García, Barahona) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Adagio and Allegro, Op. 70: I. Adagio (version for viola and piano) (NTSC) ( 11 min., 41 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">Barahona, Juan, Artist -- Gil García, Guillermo, Artist -- Schumann, Robert, Composer</marc:subfield>
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            <marc:subfield code="a">At the beginning, Professor &lt;i&gt;Tamestit&lt;/i&gt; comments aspects of sound and posture with the instrument. This is an original piece for horn, so the first phrase is in one breathing, that does not require frequent bow changes. The posture of the body should be as skiing, suspended, and keeping the viola up but relaxed, without getting blocked. Tamestit suggests the student to start up-bow and corrects some aspects related to the movement of the arm and the contact with the strings.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: Adagio and Allegro, Op. 70: II. Allegro (version for viola and piano) (Masterclass with Antoine Tamestit) (Gil García, Barahona) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Adagio and Allegro, Op. 70: II. Allegro (version for viola and piano) (NTSC) ( 14 min., 46 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Barahona, Juan, Artist -- Gil García, Guillermo, Artist -- Schumann, Robert, Composer</marc:subfield>
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            <marc:subfield code="a">Referring to the cue of the &lt;i&gt;Allegro&lt;/i&gt;, with the indication 'Feuerig', the student should play it with more 'fire'. The surprise effect is very important to create more expectation to the audience, without showing so much preparation. The first articulation is spiccato, but simulating a horn sound and attack. The tempo is more strict, and not slowing down.

In general, all the transition passages must be studied in detail.
Sumarizing, the piece requieres more character to show the contrasts and differences written by the composer. At the end, Professor &lt;i&gt;Tamestit&lt;/i&gt; gives advices related to relaxing shoulders and neck.</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">BEETHOVEN, L. van: Piano Sonata No.1: I. Allegro (Masterclass with Andras Schiff) (Blasco Royo) (PAL)</marc:subfield>
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            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 1 in F Minor, Op. 2, No. 1: I. Allegro (PAL) ( 22 min., 21 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Blasco Royo, Jorge, Artist -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Schiff&lt;/i&gt; talks about different aspects of &lt;i&gt;Beethoven's&lt;/i&gt; music with the reference of this &lt;i&gt; Piano Sonata&lt;/i&gt; and this first movement. The main theme is revolutionary and dramatic, and it must be understood starting with an upbeat; they are rhetoric questions, each of them more urgently (ref. to &lt;i&gt;Mozart&lt;/i&gt;). It is necessary to take more time to play the ornaments, they are present to do music more beautiful; the mentioned passage should be as a recitativo. The fragment has to be played with one hand, as if we were touching hot keys, and keeping the tempo because it is an Allegro agitato, not an Allegro commodo. 

We should use the indicated fingering playing the fourth note staccato, and later remarking the dissonance with the bass. We should play what Beethoven writes, subito piano, because it is very accurate, so the passage is very expressive and soft, and agitato in the left hand. In short notes, the arm should be lighter, with very little movement, so it is advisable to study very conscious. The sforzato is inside the piano, not very angular, and we must feel the keyboard while playing. In the mentioned passage, there is a crescendo and a subito piano, and it should also be more rhythmical (ref. to &lt;i&gt;Flamenco, L. van Beethoven&lt;/i&gt; and &lt;i&gt;F.J. Haydn&lt;/i&gt;). It is very useful to orchestrate some fragment, imagining flute, clarinet and oboe, and it is also better to play it without moving away from the key and without pedal. He also comments the transition to the last theme, the tension required in several moments and the way to play in forte in repeated notes, with the support of melody, bass and internal voices.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/RSS2325_1.jpg</marc:subfield>
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            <marc:subfield code="a">BEETHOVEN, L. van: Piano Sonata No.1: II. Adagio (Masterclass with Andras Schiff) (Blasco Royo) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 1 in F Minor, Op. 2, No. 1: II. Adagio (PAL) ( 21 min., 18 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Blasco Royo, Jorge, Artist -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Schiff&lt;/i&gt; talks about different aspects of &lt;i&gt;Beethoven's&lt;/i&gt; music with the reference of of this &lt;i&gt;Piano Sonata&lt;/i&gt; and its second movement. Regarding ornamentation: in this tempo, ornaments should be played not very fast and with the right direction. The correct way to play the ornament is: it comes from the main note and the hand should be lighter, but keeping the tempo because of the female cadences. 

The little notes have to be melodic &lt;i&gt;(C. Czerny)&lt;/i&gt;. It is not the same an ornament in tempo Adagio that in Presto. In general, ornaments should not create a heavy atmosphere; when practising them, the simpler version is the best one.

In relation to dynamics, sometimes the indication of 'p' means a remarkable line, and not pianissimo (ref. to &lt;i&gt;Beethoven, A. Bruckner, Bulgaria&lt;/i&gt;). In the final chords, the right hand is more important than the left one, so it has to be more present. Referring to tempo, this one is a classical Adagio, so it is not extremely slow. At the end of the movement, the tendency is to rush, so it has to avoid the accelerando.

As regards texture, it is very advisable to distinguish the different voices in the passage: oboe solo, bass and piano lamentoso, in the middle. In the recapitulation, there are two voices, the accompaniment and the melody, they should be more poetic &lt;i&gt;(J. S. Bach)&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">BASSOON TECHNIQUE EXERCISES (Masterclass with Klaus Thunemann) (Jarmoszewicz) (PAL)</marc:subfield>
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            <marc:subfield code="a">Bassoon Technique Exercises (PAL) ( 06 min., 58 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Prof. Thunemann proposes some technical bassoon exercises to the student in order to work the effective air emission and the quality of the produced sound, which must be round. In Thunemann's opinion, the top note needs more vibration. In a certain moment, the professor suggests playing by using another key because it changes the tuning a little bit - in this case, it is a little higher. Furthermore, Klaus Thunemann highlights that the student must play legato and all the notes very even.</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
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            <marc:subfield code="a">MILDE, L.: 50 Concert Studies: No. 17. Adagio (Masterclass with Klaus Thunemann) (Jarmoszewicz) (PAL)</marc:subfield>
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            <marc:subfield code="a">50 Concert Studies, Op. 26: No. 17. Adagio (PAL) ( 17 min., 35 sec. ) / Milde</marc:subfield>
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            <marc:subfield code="a">Jarmoszewicz, Emilia Ada, Artist -- Milde, Ludwig, Composer</marc:subfield>
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            <marc:subfield code="a">Before the student begins to play, the professor &lt;i&gt;Thunemann&lt;/i&gt; points out how the tempo must be performed. Then, Klaus Thunemann corrects the rhythm and some notes duration. Afterwards, the professor indicates that the articulation for a certain passage is not legato. He also makes some comments on breathing, mentioning the best point to breath and the point where the sound should also vibrate more.</marc:subfield>
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            <marc:subfield code="a">BACH, J.S.: Cello Suite No. 2: II. Allemande  (arr. for bassoon) (Masterclass with Klaus Thunemann) (Jarmoszewicz) (PAL)</marc:subfield>
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            <marc:subfield code="a">Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande (arr. for bassoon) (PAL) ( 16 min., 04 sec. ) / Bach</marc:subfield>
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            <marc:subfield code="a">Jarmoszewicz, Emilia Ada, Artist -- Anonymous, Arranger -- Bach, Johann Sebastian, Composer</marc:subfield>
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            <marc:subfield code="a">For this movement, &lt;i&gt;Thunemann&lt;/i&gt; thinks that it is important to emphasize the dancing character of the &lt;i&gt;Allemande&lt;/i&gt;. He shows it by playing how to do it, also using a little different articulation with regards to the student's one. Besides, the professor makes some corrections on tempo and several specific notes considering their harmony.

They also work on phrasing to improve the student's performance. The professor insists on playing more dancing, and then, he indicates the more suitable points to breath. Finally, Thunemann asks the student for more flexibility in the tempo, making some brief comments more while the bassoonist is playing.</marc:subfield>
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            <marc:subfield code="a">In general, there are many good things in the performance of the &lt;i&gt;Trio&lt;/i&gt;, but the tempo is not good and there is a lack of connection, especially in the second theme. There are also some general corrections on phrasing, articulation and dialog between voices.

Performing the work again, the professor &lt;i&gt;Pressler&lt;/i&gt; explains to the Trio how the indication forte written in the score should be performed. Menahem Pressler carries on giving indications related to the sound balance between the different instruments: the accompaniment sounds louder than the theme, the piano must play softer in the trio. They also work on articulation, rhythm, accents and phrasing in specific passages because the way they play would not be of &lt;i&gt;Brahms'&lt;/i&gt; taste. 

Besides, Pressler makes some detailed corrections to the strings - concerning a long part of preparation before the theme - about phrasing, metrics, sound quality and dynamical issues. There must be a continuation among instruments, and it is important to know what the rest of members of the group are playing in every moment. Menahem Pressler insists on the importance of performing the metrics properly (without unnecessary ritardandi) and the sound balance. He also adds comments on character: the piano must sound tenderer and without making accents in the attack of the chords. Then, the professor proposes other fingering for the violin to get more emotion and expressiveness.

Reaching the end, the quality of the sound must be improved: not so much vibrato but powerful, emotional. In order to obtain an appropriate ending, the last chords must be more conclusive.</marc:subfield>
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            <marc:subfield code="a">BRUCH, M.: Violin Concerto No. 1: I. Allegro moderato (violin and piano reduction) (Masterclass with Kolja Blacker) (Mendoza, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto No. 1 in G Minor, Op. 26: I. Prelude (violin and piano reduction) (PAL) ( 30 min., 21 sec. ) / Bruch</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Mendoza, Rubén, Artist -- Bruch, Max, Composer</marc:subfield>
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            <marc:subfield code="a">In this violin masterclass, Professor &lt;i&gt;Blacher&lt;/i&gt; recommends the student to save enough bow every time he wants to be more intense, in general the student would need more volume. They work on the vibrato at the beginning of the violin part and the contrast of bow attacks to create different effects. The right tempo creates the specific atmosphere in the introduction. Blacher corrects the body position to get better sound. In the fast part ('un poco marcato') it is necessary to play with more 'consonants' (more precise attacks). They work very intensively on double stops. 

In the lyrical part (theme B), Blacher corrects the vibrato (slower) and the sound quality. In high pitches it is better to use more bow speed. The attention on the score is so important in &lt;i&gt;Bruch&lt;/i&gt; as well as in &lt;i&gt;Mozart&lt;/i&gt;. The student must not forget to sing every time with the violin. In general, the student presses too much while playing forte in fast passages, so he must avoid it and then he will get more speed.</marc:subfield>
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            <marc:subfield code="a">SCHUBERT, F.: Rondo, Op. 70, D. 895, "Rondo brillant" (Masterclass with Kolja Blacher) (Murza, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Regarding the &lt;i&gt;Andante&lt;/i&gt;, Prof. &lt;i&gt;Blacher&lt;/i&gt; has missed more rapport and connection with the piano. At the beginning, the tempo is good but it is not suitable to hurry up with certain notes. Then, the professor gives the student some indications about fingers, dynamics and bow speed, rapport and so on. 

Afterwards, Kolja Blacher points out an harmonically surprising passage: the student must show it more. As regards the agogics, the student should be able to play rubato without 'disturbing' the piano (rubato a tempo): piano and violin must be connected. In order to practice this, the professor suggests playing it with the metronome. Besides, Blacher gives some indications to correct the sound balance and rapport with the piano in certain moments.

Concerning the &lt;i&gt;Allegro&lt;/i&gt; part, the professor considers that the phrasing should be improved, in general terms. In order to this, the student must be clear about phrasing and its duration according to the harmony of the piece in each moment, and also adjust the character according to that. Kolja Blacher also adds some brief comments concerning articulation, dynamics, phrasing and accents.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Helmerson&lt;/i&gt; talks about form: all the sections should be clear in the performance. In this piece, it is necessary to create an atmosphere in which the sound is in the air. Regarding bow use, he comments that the bow is sometimes like a brush, giving more air to the string. To make shiftings easier, it is better if we anticipate the left hand. In general, when the student faces a problem, he should take technical decisions, everything must be clear beforehand. Finally, Helmerson advices the student to work on shiftings and vibrato with 4th finger (without raising the rest of the fingers too much from the fingerboard) and focus on rhythm and control of the sound.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Helmerson&lt;/i&gt; comments some aspects related to arm and fingers. The arm position determines the more or less freedom we have in our fingers. That is why he advices the student to raise the left arm for relieving the fingers, and the same thing happens between right arm and right hand. They also work on pizzicati: in the low ones it is necessary to lower the hand in the fingerboard to do the pizzicati clearer and richer. Some of them are too fast, so it is necessary to control them. Moreover, they study different ways to do the pizzicati (with one or two fingers) in some passages.</marc:subfield>
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            <marc:subfield code="a">Cello Sonata in C Major, Op. 65: III. Elegia: Lento (PAL) ( 22 min. ) / Britten</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Helmerson&lt;/i&gt; focuses on interpretative and expressive aspects that are the most important in this piece. This &lt;i&gt;Elegy&lt;/i&gt; has to be performed like a storytelling. For that purpose, we have different ways to play following the phrase, by using more or less pressure in the bow. According to the style, it is like a meditation, very similar to the Amen in a church. In general, the notes are longer and with more air. In some moments we can avoid the vibrato (e.g. at the end of the first section). In shiftings, the left arm has to be prepared and the change of string should be full of energy to find the right intonation.</marc:subfield>
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            <marc:subfield code="a">In this &lt;i&gt;Marcia&lt;/i&gt;, Professor and student talk about sforzato and dynamics in forte. Referring to vibrato, it is necessary to measure out and not exaggerate. As regards the arm position, the left elbow should not be placed not very low, it is better if we keep it in the same position for all the strings. In the passage of double stops, it is advisable not to loose the wrist. &lt;i&gt;Helmerson&lt;/i&gt; explains one way to play the harmonics: the bow is faster and the sound of the last note does not stop.</marc:subfield>
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            <marc:subfield code="a">In this movement of the &lt;i&gt;Sonata&lt;/i&gt;, they work on the control of the bow without using the left hand. The student has to identify his technical problems and try to find the way to solve them. &lt;i&gt;Frans Helmerson&lt;/i&gt; shows the student the way to get the right tuning, how to use the bow or how to find the adequate color and sound.</marc:subfield>
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            <marc:subfield code="a">For this masterclass, they firstly make a review of the comments given by &lt;i&gt;Helmerson&lt;/i&gt; for this same work in a previous lecture: the student needs to make more changes and character contrasts considering how the development for the emotional language of the piece is. Technically, the student has no problems to play this Concerto, but he needs to carry out this emotional aspect like a soloist and express more so that the listener grabs these feelings.

Regarding the performance more in detail, Helmerson corrects - among others -  some phrasing issues, vibrato (wider), or finger and left - hand (more relaxed).  According to the professor, it is important to use the different bow speeds to get a better expressiveness.

After a correction on the rhythm for a certain passage, the professor makes some comments on bow distribution: it is not suitable to always use the whole bow because,  that way, the rhythm "suffers". The student must find the most appropriate place for the bow and be more practical using it. They also review the right hand position to hold the bow in a more suitable way: more relaxed and less active when he goes into the string.

Frans Helmerson insists that the student must improve his expressiveness so that the performance does not sound so flat, and in order to achieve that, the student must change the bow speed and distribution according to the vibrato, music he is playing, so that he obtains the great soloistic character required for this &lt;i&gt;Concerto&lt;/i&gt;.</marc:subfield>
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Regarding the bow, Prof. Helmerson suggests the student not to be afraid of the bow changes to avoid an ugly sound: it is more advisable to go into the strings with security so that the quality of the sound turns out better. The professor also advises the student to maintain his right hand and arm more relaxed, not so tense. Anyway, the student must play without focusing all his attention on the arm: technique must come from ears, not from muscles. The ear is what really makes everything.</marc:subfield>
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            <marc:subfield code="a">In the first part of the masterclass, which happens without the piano accompaniment, the Professor focuses on aspects of the bow that affects the character of the piece: bowings, shifting, contact point and so on. The student has to really move with the bow. In order to have more sound and a remarkable crescendo, the speed of the bow has to grow. &lt;i&gt;McTier&lt;/i&gt; insists very often in the amount of bow to be used in every passage in order to accomplish all the expressive elements of the score. They also work on dynamics, expresiveness, tempo, rhythm, fingerings and tuning.

In the second part, with accompanying piano, the dynamics and the tempo are two of the main aspects they work on. They study the dynamics of several passages to give more shape to the phrase. In certain moments, the student can take more freedom with the tempo in order to be more expressive and create different colors. In fast passages in which tempo does not change, there is a need for more weight to have more contact point with the bow and avoid losing the quality of sound. McTier also makes corrections on bowings, harmonics, shifting, coordination with the piano, fingerings, tuning and vibrato.</marc:subfield>
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            <marc:subfield code="a">DOUBLE BASS TECHNIQUE EXERCISES: Masterclass with Duncan McTier (Fajardo Ramos) (PAL)</marc:subfield>
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            <marc:subfield code="a">The professor asks about the sound that the student is producing while playing, and he requests him to focus on this sound to be tuned. They work the proper placing of the fingers for the first position. Then, &lt;i&gt;McTier&lt;/i&gt; asks him to practice in front of the mirror to control the collocation of the fingers and then, to adjust the tuning for each note.

Afterwards, Duncan McTier proposes the student to make exercises about major and minor 2nd because the student needs to improve his tuning for these intervals. They work on the hand and fingers position on the strings, by checking the required tuning in every moment.

Besides, the professor gives some advices to improve the tuning for some problematic intervals for the student. It is important to ask oneself for tuning all the time and to locate where it fails in order to correct it. Another suggestion is to play the intervals with the piano and sing them to practise their tuning.</marc:subfield>
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            <marc:subfield code="a">DITTERSDORF, C.: Double Bass Concerto No. 2: II. Adagio (double bass part) (Masterclass with Duncan McTier) (Fajardo Ramos) (PAL)</marc:subfield>
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            <marc:subfield code="a">Double Bass Concerto No. 2 in D Major, L. 172: II. Adagio (double bass part) (PAL) ( 29 min., 24 sec. ) / Dittersdorf</marc:subfield>
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            <marc:subfield code="a">The professor works with the student, mainly, the tuning, note by note, also related to dynamics. At the same time, they work other aspects such as searching positions and a good quality sound. Prof. &lt;i&gt;McTier&lt;/i&gt; also makes a comparison between some passages and some daily exercises from his own book of exercises.

The professor recommends tuning with the piano - passage by passage - and checking this tuning. Moreover, they review the mistakes that the student made in the last concert: they work on phrasing issues, and McTier proposes the student to think which daily exercise should be ideal for specific passages in order to help him  improve them. If there is something wrong, the student must stop to correct it.
Afterwards, prof. McTier explains how to play technically large intervals with big shifts, more accurate fingerings and how to practice them. He also recommends the student to make sure and be convinced of the good sound he produces and then, he will be able to convince the audience.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Duncan McTier&lt;/i&gt; makes the student some initial suggestions on the way to read and perform this work. Then, the professor gives some indications to the student related to the music direction and phrasing, tempo and metrics regarding the melody and so on. Regarding the tuning, the student must check it and, if it is not correct, it is necessary to stop and practice with a suitable exercise to improve this passage. Prof. McTier also recommends study methods.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Krause&lt;/i&gt; talks about the main aspects of voice technique. When breathing, we have to feel how the body expands and relaxes, like a cloud. In some vowels, the emission of the sound should be freer. They work specifically about vowels emission, without consonants. The resonances should be free, relaxed, so we cannot manipulate the emission. It is very important to feel the support of the diaphragm all the time and let the pitch comes from above.</marc:subfield>
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