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            <marc:subfield code="a">A new opera, with libretto by Roger Morris based on the Orpheus legend, a main character alluding to Jean Cocteau, by British composer &lt;i&gt;Ed Hughes&lt;/i&gt;.

A stunning work in one Act, it is presented here in a concert performance recording with a short film by Sheryl Jenkins &lt;i&gt;The Symptoms of his Madness were as Follows&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 Loren Maazel) (López Ibarra, Artemyeva) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Violin Sonata in E-Flat Major, Op. 18, TrV 151: I. Allegro ma non troppo (NTSC) ( 16 min., 38 sec. ) / Strauss</marc:subfield>
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            <marc:subfield code="a">Artemyeva, Alina, Artist -- Hiber, Mohamed, Artist -- Strauss, Richard, Composer</marc:subfield>
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            <marc:subfield code="a">Pitch duration in a certain passage: do not play too quick for nor losing the break sensation. 

Finger placing: flat position on the string, more necessary in fast passages to get a better quality of sound. In a specific passage, more metric accuracy to obtain a kinder character. Also indications about phrasing, tuning and absolute hearing. For a better vibrato more use of the arm.</marc:subfield>
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Corrections in bow weight distribution: more quantity, more air. About tuning: necessary to listen to the orchestra part as a reference. 

Also indications about pizzicato: finger vibration to achieve a great quality sound. Mute: in high registers, place the mute on the opposite side of the bridge to get a good sound; on d string, change the place to the other side.</marc:subfield>
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            <marc:subfield code="a">The professor talks about fingerings in 1st and 4th positions and open string in specific passages, which give the best musical solution to the music. 

At the end of the clip, general advices about study methods: importance of studying correctly, using our head and good habits; it is not necessary to play 8th day if we practice consciously.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Miriam Fried&lt;/i&gt; works with the student some issues about tuning (the first finger is too high), the character of the movement, energy, phrasing, and fingerings. The pressure on the thumb should be released. The professor also focuses on the distribution, direction and quantity of the bow depending on the phrasing. The preparation of the sound is important, as well as the differentiation of the notes -whether they are active or passive- in a certain passage. If the student does not know how to explain what is going on in the music, he is not going to be able to do what he wants. 

The professor also talks about harmonic, pressure, and articulation issues in certain musical phrases: scale 'in legato', attention to the harmonic progressions, contrasts, and others.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Piano Trio, Op. 50: I. Pezzo elegiaco (Part I) (Masterclass with Menahem Pressler) (Trío Cervantes) (PAL)</marc:subfield>
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Pressler explains how to perform and transmit feelings through this work. He also gives some advice on other aspects, such as articulation and phrasing, tempo, vibrato, rhythm, and the clarity of sound in the solos; as well as on the differentiation in certain passages between the soloist and the orchestral tutti.</marc:subfield>
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            <marc:subfield code="a">Continuation of the class about the first movement of &lt;i&gt;Tchaikovsky's Piano Trio, Op. 50&lt;/i&gt;, where Menahem Pressler gives some indication to the Trio members regarding the dynamical contrasts, sound clarity, arpeggios, articulation, fingerings, rhythmical and dancing character, accents, entries, etc.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Piano Trio No. 1: I. Allegro con brio (Masterclass with Menahem Pressler) (Trío Amadeo) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Trio No. 1 in B Major, Op. 8: I. Allegro con brio (PAL) ( 01 hrs., 12 min., 28 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">The professor congratulates the students and talks about the quality of the piece. On the other hand, it is necessary to improve some aspects, such as the correct tempo, the piano melody, syncopations, accuracy of the entrances, bow technique in strings, character in certain moments, trills, articulation, interpenetration among the instruments, and solo moments.</marc:subfield>
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        <marc:controlfield tag="001">RSS10332_2</marc:controlfield>
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            <marc:subfield code="a">BRAHMS, J.: Piano Trio No. 1: II. Scherzo (Masterclass with Menahem Pressler) (Trío Amadeo) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Trio No. 1 in B Major, Op. 8: II. Scherzo (PAL) ( 17 min., 56 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">Trío Amadeo, Ensemble -- Brahms, Johannes, Composer</marc:subfield>
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            <marc:subfield code="a">The corrections are about bow strokes, dynamics and phrasing. It is also advisable not to lengthen the last note of each phrase and to clarify the articulation, which is softer. The piano should not stand out there should be a balance among the three parts and they must pay attention to the voice imitations. 

There are other comments on harmony, rhythm, and tempo, and some details explained about the piano part. The group has to be aware of the moment when the cello needs extra time on the high note of the solo, so that they all can rapport together.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Violin Concerto, Op. 35: III. Finale (Masterclass with Ivry Gitlis) (Florea Sitja, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto in D Major, Op. 35: III. Finale (PAL) ( 26 min., 13 sec. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Florea Sitja, María, Artist -- Tchaikovsky, Pyotr Il'yich, Composer</marc:subfield>
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            <marc:subfield code="a">Gitlis explains that the parts that are repeated should not be played all the same, and rather be said differently, imagining some kind of echo. He later does some corrections on the phrasing and the distribution and quantity of bow. 

Gitlis also advises that the sound should be more prepared and that the performance must be given with love -he mentions Shakespeare and Cervantes, more freely and feeling it: the student needs to free and relax her arm, using her body's own movement and natural weight. He finally adds a brief anecdote about Carl Flesch and adds that the character should be not so gentle or smooth.</marc:subfield>
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            <marc:subfield code="a">General indications are mentioned in this class: phrasing, dynamics, tempo, rhythm.

Ivry Gitlis explains how, when the piano part makes a diminuendo, the violin starts in piano. He also does some corrections about the bow: the professor allows the student to use his bow and talks about the characteristics of the student's. He does not need to use such a quantity of bow (not the whole bow), and rather should start the bowings in the middle part. 

It is interesting to distinguish the different levels and to move through them. It is also important to control the body to avoid wasting energy. The work has a certain relation with one piece by Debussy. The professor and the student work on the character of a specific passage, animato, and on the highpoint of the movement that is followed by the anticlimax.</marc:subfield>
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Kocsis mentions &lt;i&gt;Prokofiev's&lt;/i&gt; orchestration with some examples and ponders aloud about the character, parts with new material, phrasing, tonality, sound and expression. He also talks about how there must be a balance between freedom and rigor. 

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            <marc:subfield code="a">Violin Sonata No. 1 in A Major, Op. 13: I. Allegro molto (PAL) ( 50 min., 45 sec. ) / Fauré</marc:subfield>
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            <marc:subfield code="a">Gifford, Duncan, Artist -- Jiménez Montes, Ma del Carmen, Artist -- Fauré, Gabriel, Composer</marc:subfield>
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            <marc:subfield code="a">The phrasing in this music is very fluent; it is compared with &lt;i&gt;Apres un reve, Op. 7&lt;/i&gt;. The character of &lt;i&gt;Faure's&lt;/i&gt; music is like a dream. 

Use of the bow: different bowings in specific passages; the start should not be done always at the frog, but also from the middle or from the upper part. Identification of passages where it not advisable to use too much bow. Bowings are similar to air; they should float without pulling too much. Attention to spiccato.

Use of the vibrato: the vibrato should not always have the same level, and neither is it necessary all the time. The professor explains the natural moments where is more advisable to breath, as singing.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=RSS10401_1</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/RSS10401_1</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">BEETHOVEN, L.: Piano Sonata No. 22: I. In Tempo d'un Minuetto (Masterclass with Zoltán Kocsis) (Anzaldúa El Samkary) (PAL)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 22 in F Major, Op. 54: I. In tempo d'un menuetto (PAL) ( 23 min., 25 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">Anzaldúa El Samkary, Ahmed Fernando, Artist -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">Regarding the first movement of &lt;i&gt;Beethoven's Sonata No. 22&lt;/i&gt;, Kocsis explains that the tempo must be slower and that the performer should play as if it was a Minuet. 

The student is also given some dynamic advice, about the importance of identifying and highlighting the main melody and other harmonic issues. The professor also talks about the expression of the material and the character, and about how to rely on the pedal to achieve the proper length and articulation of the notes.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=RSS10414_1</marc:subfield>
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        </marc:datafield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/RSS10414_1</marc:subfield>
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    <marc:record>
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        <marc:controlfield tag="001">RSS10414_2</marc:controlfield>
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            <marc:subfield code="a">BEETHOVEN, L.: Piano Sonata No. 22, Op. 54: II. Allegretto (Masterclass with Zoltán Kocsis) (Anzaldúa El Samkary) (PAL)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 22 in F Major, Op. 54: II. Allegretto (PAL) ( 29 min., 20 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">Anzaldúa El Samkary, Ahmed Fernando, Artist -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">Overall, the professor explains that, musically speaking, the performance is correct, but as per the technique, the student should work on the position of the hands, keeping the distances without changing the position. There is a dichotomy: the melody must be emphasized but, at the same time, the notes must remain all equal. 

The professor also talks about fingering, left hand, dynamics, sound balance, and attention to the main melody: a 'Perpetuum mobile' feeling. The student must also think about the harmony, avoid using the pedal too much, and, regarding the articulation, emphasize the dominant with a metric accent. To conclude, the professor advises the student to 'experiment' with his fingers and hands.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">CHOPIN, F.: Piano Sonata No. 2, "Funeral March": I. Grave - Doppio movimento (Masterclass with Zoltán Kocsis) (Kadouch) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 2 in B-Flat Minor, Op. 35, "Funeral March": I. Grave - Doppio movimento (PAL) ( 38 min., 53 sec. ) / Chopin</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">It is advisable 'not to think' during the performance. The class continues with general indications: agogics, tonality versus tonic, articulation of non legato, pedal changes, chords (resolutions and transitions), phrasing (the connection between notes), dynamics, attacks. The expression should be drier and the character drammatico. The student has to be careful with the last note of the triplets.</marc:subfield>
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            <marc:subfield code="a">CHOPIN, F.: Piano Sonata No. 2, "Funeral March": II. Scherzo (Masterclass With Zoltán Kocsis) (Kadouch) (PAL)</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 2 in B-Flat Minor, Op. 35, "Funeral March": II. Scherzo (PAL) ( 23 min., 42 sec. ) / Chopin</marc:subfield>
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            <marc:subfield code="a">Kadouch, David, Artist -- Chopin, Fryderyk, Composer</marc:subfield>
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            <marc:subfield code="a">The class is focused on general indications about dynamics (crescendo and marcato), articulation in legato, tempo, agogics as the use of the ritardando, modulations and the difference between accompaniment and melody. The character must be more espressivo through the pressure and the tension of the fingers.</marc:subfield>
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        <marc:datafield tag="538" ind1=" " ind2=" ">
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            <marc:subfield code="a">SAINT-SAËNS, C.: Introduction et rondo capriccioso, Op. 28 (Masterclass with Ivry Gitlis) (Skuratov, Artemyeva) (PAL)</marc:subfield>
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            <marc:subfield code="a">Introduction et rondo capriccioso in A Minor, Op. 28 (PAL) ( 56 min., 29 sec. ) / Saint-Saëns</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Artemyeva, Alina, Artist -- Skuratov, Albert, Artist -- Saint-Saëns, Camille, Composer</marc:subfield>
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            <marc:subfield code="a">Although the student plays well, he could do better. Ivry Gitlis mentions several well-known violinists as an example. 

Regarding the Introduction of the work, Gitlis advises to play the first note as pizzicato, since this piece should sound as if someone was walking. It must also be performed in tempo, but not metronomic: it can be done rubato. He later on gives some suggestions on bowings and bow distribution, sound, or metrics, inserting some musical anecdotes.</marc:subfield>
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            <marc:subfield code="a">Schumann, Robert</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: Carnaval, Op. 9 (Masterclass with Zoltán Kocsis) (Kozhukhin) (PAL)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Carnaval, Op. 9 (PAL) ( 45 min., 10 sec. ) / Schumann</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">Kozhukhin, Denis, Artist -- Schumann, Robert, Composer</marc:subfield>
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            <marc:subfield code="a">Professor Kocsis advises the student on the use of another score edition. He makes some general indications about the technique of both pedals in &lt;i&gt;Schumann&lt;/i&gt; (it is not sure whether the left pedal should be used when playing his compositions), sound, chords, rhythm, balance (outstanding voices) and dynamics.

The professor also focuses on some specific corrections of almost every piece in the &lt;i&gt;Carnaval&lt;/i&gt; piece:

III. Arlequin: character, clarity, use of pedal.
IV. Valse noble: long phrasing, appassionato, differences in dynamics.
V. Eusebius: no pedal, character in sotto voce, tender.
VI. Florestan: more serious and ritenuto, annotations on the score without playing. 'Papillon motif'.
VIII. Replique - Sphinxes: rhythm and character at the beginning and then more contrast. The link between the two parts is like in Rachmaninov's music.
IX. Papillons: rhythm, articulation, and fingerings.
X. A.S.C.H. - S.C.H.A. (Lettres dansantes): recommendation about repetitions.
XI. Chiarina: rhythm, octaves, passionate character, articulation.
XII. Chopin: attention to the melody.
XIV. Reconnaissance: tempo, editions, and authorship (Robert or Clara).
XV. Pantalon et Colombine: articulation, melody, harmony.
XVI. Valse allemande: pedal and staccato.
XIX. Promenade: too intellectual, articulation, attention to left hand. The presence of Robert and not Clara's is clear in this piece.
XXI. Marche des Davidsbundler contre les Philistins: use of pedal, agogics.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Ballet &amp; Dance</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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            <marc:subfield code="a">Schumann, Robert</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
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        </marc:datafield>
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            <marc:subfield code="a">BEETHOVEN, L.: Piano Sonata No. 18, "La Chasse": I. Allegro (Masterclass with Zoltán Kocsis) (Ji Liu) (PAL)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Piano Sonata No. 18 in E-Flat Major, Op. 31, No. 3, "La Chasse": I. Allegro (PAL) ( 28 min., 28 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Liu, Ji, Artist -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">The professor corrects the pianist's articulation of some passages, melodic line, and motifs' identification. Afterwards, Kocsis explains some aspects regarding the tempo: meaning of Allegro, speed. He also works on issues such as the harmonic progression, dynamics and contrasts, sforzati, expressiveness, hemiola, and the maintenance of the metric pulse. Lastly, there are also some comments on the use of the pedal, trills, sound quality and phrasing.</marc:subfield>
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            <marc:subfield code="a">Kocsis states that the rhythm should not be changed from one passage to the other. He also mentions some aspects related to the articulation, dynamics and sound, among others. The crescendo must be performed in accordance with the phrasing: following a question-answer pattern. 

Kocsis also points out the attack on staccato, the accents, and on the use of the pedal in a particular passage, looking for a similarity of sound with a bassoon.</marc:subfield>
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            <marc:subfield code="a">In the third movement of &lt;i&gt;Beethoven's Sonata No. 18&lt;/i&gt;, the &lt;i&gt;Minuet&lt;/i&gt; must be expressive and the articulation legato, as if dancing, with a more elegant character. 

Additionally, the professor gives some advice on the dynamics, the use of the pedal and the importance of harmony.</marc:subfield>
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            <marc:subfield code="a">In this video, Zoltan Kocsis comments on the last movement of &lt;i&gt;Beethoven's Sonata No. 18&lt;/i&gt; the projection of the sound in sforzato and forte, the importance of certain notes depending on if they belong to the melody or if they are pedal notes, a more marcato or 'alla italiana' articulation, etc. 

Afterwards, they work on issue related to the dynamics, accents, and the metrical freedom or rigor. The professor also explains that he should not use the pedal in some 'non legato' parts and points at the climax of the melody.</marc:subfield>
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            <marc:subfield code="a">The student has to think in a horizontal bow movement to ensure a continuity in the sound. The phrasing may be freer and not so rigorous in a specific passage. The relaxation of the arm is necessary when the bow is out of the string. The bowings must sound as a great line, not as an independent movement. The sixteenth notes have to be played different every time they are repeated in a passage.

Other considerations during the class are sound preparation, string rapport with the piano, sound balance and quality, different attacks, lyrical character, triplets, and contact point close to the bridge in certain passages.

The feeling of the arm in the air, when the bow is out of the string, is similar to that of a tennis player. Body movements and sound preparation: do not be passive, but active and relaxed and ready to react. When you want to play forte -with more intensity- a previous relaxation is necessary, and when you play, the attack must have more contact in the string and should be closer to the bridge. Finger, arm and hand position should be at the same level as the strings, not opposite. Relaxation (instead of crashing) is very important. Sound balance and rapport between cello and piano. In the central passage, the student must calm down and does not need to lead. Phrasing is shown through articulation and tempo. It is advisable to save energy in passages with no special intensity. Attention to the accuracy of note duration, without cutting them. Two steps in bow technique: contact point with the string and relaxation in the air. The rhythm does not have to be so strict, but more flexible. Rhythm in duplets has to be more marcato. Relation between quality of sound and bow length, both related to expressiveness.</marc:subfield>
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            <marc:subfield code="a">Karl-heinz Steffen corrects the student some issues about the piece agogics and tempo. 

Karl-Heinz Steffens also makes some comments about the character and expressiveness, the articulation on some passages, the length of the pauses and the notes; as well as about the tempo indications on the score.</marc:subfield>
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            <marc:subfield code="a">The work on this piece is focused on the rhythm and tempo. Karl-Heinz Steffens compares this piece with the cubism in Picasso's paintings, and highlights the importance of achieving well-formed music. He mentions the author and talks about just doing what is written in the score, with no personal additions or rhythmic fluctuations. The professor also does some corrections on the length of the notes and the appoggiaturas, the termination of sound, tuning, dynamics, articulations, expressiveness, etc. 

The character must be as that of his work &lt;i&gt;The Rite of Spring&lt;/i&gt;. The student must play with rigor and rhythmic clarity, keeping the air under control. The professor suggests some 'legato exercises' to train the air release during the final high notes and the jump from a bass to a high note: use more air and less pressure on the embouchure, and lay on the high notes without fear. 

Finally, Karl-Heinz Steffens advises the student to try to relax, the more difficult and quick the music is, the more the performer should be calm thinking slowly and with control. It is important to anticipate and think calmly during the difficult passages.</marc:subfield>
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            <marc:subfield code="a">With this piece, Karl-Heinz Steffens and student work on aspects such as the length and accuracy of certain notes specifically, of appoggiaturas and ornaments. 

The professor comments on the tempo, the color, the kind of sound, and the sound contrast. Additionally, he points out some dynamic, rhythmic, articulation and accent corrections on different notes. Generally, the performance must have more metric rigor, without rushing, and the character must be more &lt;i&gt;giocoso&lt;/i&gt;.</marc:subfield>
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            <marc:subfield code="a">Frans Helmerson gives some indications about articulation accuracy and conscious listening to what is being played. Moreover, he talks about contrasting passages: some require more dancing character, while others need to be performed as a variation.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: 5 Pieces in Folk Style, Op. 102: No. 2. Langsam (Masterclass with Frans Helmerson) (Veis, Montalbán) (PAL)</marc:subfield>
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            <marc:subfield code="a">5 Stücke im Volkston (5 Pieces in Folk Style), Op. 102: No. 2. Langsam (version for cello and piano) (PAL) ( 22 min., 07 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">Frans Helmerson talks about the work as a whole - it is necessary to identify folk elements from every movement (rhythms, articulations, accents, etc.): sophistication without losing its popular character.

The vibrato is too intense for the sound of this piece (the required character is more tender). Indications about agogics: keep the same pulse and do not take breaks that do not exist. Bow technique: both hands must change their character at the same time, with a deeper bow (more contact) and projection in last notes. Specific corrections on fingerings.

In a movement such as this, an expressive person like the student must distance himself to avoid being too carried along (expressiveness is there by itself).

Digression about the work in general: it is like a Brothers Grimm's tale (it experiences mood swings, going from the nicest fairy tale to the cruelest nightmare).</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: 5 Pieces in Folk Style, Op. 102: No. 3. Nicht schnell (Masterclass with Frans Helmerson) (Veis, Montalbán) (PAL)</marc:subfield>
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            <marc:subfield code="a">5 Stücke im Volkston (5 Pieces in Folk Style), Op. 102: No. 3. Nicht schnell, mit viel Ton zu spielen (version for cello and piano) (PAL) ( 16 min., 54 sec. ) / Schumann</marc:subfield>
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            <marc:subfield code="a">In this masterclass, most of the indications and corrections are focused on the character and its technical implications, such as the character of the piece regarding the bowings.

There are other comments: explanations about expressiveness (do not relax the tension in the expressive passages) and syncopation -in ancient music it is anticipated (folk music comes from ancient traditions); general corrections on accents, contrasts of character and phrasing (responding to the excitement of the passage); double pitches, which require a breach from the previous music (two different worlds). 

It is very advisable to enjoy the interchange between rotation harmonic and no harmonics pitches, as well as to remove the habit of lengthening the end of a line; vibrato must be kept until the next note.</marc:subfield>
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            <marc:subfield code="a">YSAŸE, E.A.: Violin Sonata, Op. 27, No. 4: I. Allemanda (Masterclass with Kolja Blacher) (Yoshiko Ueda) (PAL)</marc:subfield>
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            <marc:subfield code="a">Sonata for Solo Violin in E Minor, Op. 27, No. 4: I. Allemanda (PAL) ( 17 min., 46 sec. ) / Ysaÿe</marc:subfield>
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            <marc:subfield code="a">Ueda, Yoshiko, Artist -- Ysaÿe, Eugène, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Kolja Blacher&lt;/i&gt; works with the student the first movement of &lt;i&gt;Ysaye's Violin Sonata No. 4&lt;/i&gt;, giving instructions about the speed of the vibrato depending on the nature of the passage, the bow's strokes, speed and changes taking into account the dynamics and character (more or less energetic), tension and double cords. 

In the end, the professor gives the student some advice on how to train the vibrato: think about in which register may vibrate more or less, and which bowings need more or less energy, as well as the importance of training it slowly.</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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            <marc:subfield code="a">Trío Metamorfosis, Ensemble -- Ravel, Maurice, Composer</marc:subfield>
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            <marc:subfield code="a">The professor begins giving some advice to the violinist on the position and the harmonics. Additionally, he makes general corrections on the last movement of &lt;i&gt;Ravel's Piano Trio&lt;/i&gt; related to several rhythmic, dynamic, phrasing, sound and character aspects, among others. 

Pressler also talks about the accents and the harmony of certain passages, triplets, agogics and tempo, vibrato, compensations and sound balance.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Cello Sonata No. 2, Op. 99: I. Allegro vivace (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: I. Allegro vivace (PAL) ( 01 hrs., 05 min., 53 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">There are two main ideas in this class: the pulse maintenance during the whole movement and the differences among the themes of &lt;i&gt;Brahm's Cello Sonata&lt;/i&gt; movement. Most of the explanations are focused on these issues. 

Additionally, there are general corrections in different aspects, such as rhythm, articulation, phrasing, double tremolo in cello part, always in relation to musical and formal domain.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Cello Sonata No. 2, Op. 99: II. Adagio affettuoso (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: II. Adagio affettuoso (PAL) ( 31 min., 18 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">To establish the tempo of the &lt;i&gt;Brahm's Cello Sonata No. 2&lt;/i&gt;, performers must first look for it in the intermediate passages of each movement, and then bring that same tempo to the beginning. 

One must pay attention to musical changes on the score (e.g., one passage turns to espressivo). Clarity of bass pitches is advisable, to explore sound possibilities of the cello as a horn, bassoon, or drums.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Cello Sonata No. 2, Op. 99: III. Allegro passionato (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: III. Allegro passionato (PAL) ( 22 min., 52 sec. ) / Brahms</marc:subfield>
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            <marc:subfield code="a">Some important comments in this masterclass are: the significance of the first cue at the beginning of the piece -where a brilliant character is required; the connection of the rhythm in the cello part with Latin rhythms (like Tango); and the accuracy of the score. 

David Geringas also talks about tempo in the whole sonata, explaining that there is always a connection among movements. Music is always 'crescendo' in the sense of growth, of development.</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
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        </marc:datafield>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Der Vogelhandler (Seefestspiele Morbisch, 2017) (NTSC) ( 02 hrs., 29 min., 41 sec. ) / Zeller -- Disc 2 ( 21 min., 10 sec. ) / Zeller</marc:subfield>
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            <marc:subfield code="a">Schellenberger, Dagmar, Artist -- Berchtold, Bernhard, Artist -- Mörbisch Festival Orchestra, Orchestra -- Mörbisch Festival Choir, Choir -- Ernst, Gerhard, Artist -- Bergmann, Rupert, Artist -- Priessnitz, Gerrit, Conductor -- Fender, Martina, Artist -- Puszta, Elena, Artist -- Mayer, Maximilian, Artist -- Dosch, Wolfgang, Artist -- Stangl, Raimund, Artist -- Zeller, Carl, Composer -- West, Moritz, Lyricist -- Held, Ludwig, Lyricist</marc:subfield>
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            <marc:subfield code="a">Great excitement reigns in the royal hunting grounds. The prince has proclaimed his hunt and wants to bag wild pig, and receive a ceremonial maiden. The poaching community, so full of the love of life, are unable to provide both. 

The royal master of the hunt, Baron Weps, is willing to present the prince with a tame pig and a widow for a high bribe. But the hunt is cancelled. The baron, who did not wish to return the money, presents his nephew as the prince.

The princess then arrives to catch her husband, in flagranti. At the same time, Adam the bird seller comes to visit his fiancee Christel. Christel wishes to ask the prince to give Adam a job.

A jolly play of mistaken identities, jealousy and love commences.</marc:subfield>
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        </marc:datafield>
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            <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/VLMD023.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=VLMD023</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/VLMD023</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">BAC129</marc:controlfield>
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            <marc:subfield code="a">Bel Air Classiques Media</marc:subfield>
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            <marc:subfield code="a">Berg, Alban</marc:subfield>
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            <marc:subfield code="a">BERG, A.: Lulu [Opera] (Bavarian State Opera, 2015) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
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            <marc:subfield code="a">Lulu (completed by F. Cerha) (Bavarian State Opera, 2015) (NTSC) ( 03 hrs., 02 min. ) / Berg -- Disc 2 ( 00 sec. ) / Berg</marc:subfield>
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            <marc:subfield code="a">Skovhus, Bo, Artist -- Klink, Matthias, Artist -- Trost, Rainer, Artist -- Petersen, Marlis, Artist -- Sindram, Daniela, Artist -- Hunka, Pavlo, Artist -- Bavarian State Orchestra, Orchestra -- Wulkopf, Cornelia, Artist -- Winkler, Martin, Artist -- Petrenko, Kirill, Conductor -- Stephinger, Christoph, Artist -- Grotzinger, Heike, Artist -- Ablinger-Sperrhacke, Wolfgang, Artist -- Carpenter, John, Artist -- Rieger, Christian, Artist -- Wilson, Rachael, Artist -- Bernad, Leonard, Artist -- Benoit, Elsa, Artist -- Reinke, Nicholas, Artist -- Cerha, Friedrich, Arranger -- Berg, Alban, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Lulu&lt;/i&gt; is a femme fatale, a maneater. She marries men and then kills them, one after another, or pushes them to commit suicide. This opera, which mixes forbidden love stories, crimes and decadence of the heroine, is one of the greatest operas of the 20th century. &lt;i&gt;Alban Berg&lt;/i&gt; died before he had a chance to bring his third act to an end, and the opera was premiered at the Zurich Opera House in 1937, two years after the composer's death. The piece shocked the audience and was far from being acclaimed by the critics. In 1979, Friedrich Cerha achieved the orchestration of the third act.

Alban Berg used the themes from two of Frank Wedekind's plays, Pandora's Box and Earth Spirit, which both were forbidden in Germany. Lulu's philosophical and sociological significance seems to denounce the nonsense of a society in search for modernity, trying to deal with the confusion of the values and the search for the power.

The staging of this new production is by one of the greatest Russian stage directors of the moment, Dmitri Tcherniakov, who staged a beautiful Wozzeck at the Bolchoi a few years ago. The conductor, Kirill Petrenko, is the Bayerische Staatsoper's musical director, and Opera Magazine described him as "one of the most passionate [conductors] of his generation". The cast stars coloratura soprano Marlis Petersen, singing Lulu - one of the most important roles of her career - a role that she performed in the greatest opera theatres worldwide.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/BAC129.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=BAC129</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/BAC129</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">GLW07279551</marc:controlfield>
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            <marc:subfield code="a">Not Applicable, na</marc:subfield>
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        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">CHOPIN WITH ANDRÁS SCHIFF (Classical Documentary, 2005) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Hong Kong :</marc:subfield>
            <marc:subfield code="b">Naxos Digital Services US Inc.</marc:subfield>
            <marc:subfield code="c">2005</marc:subfield>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Chopin with András Schiff (Classical Documentary, 2005) (NTSC) ( 51 min., 23 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Access restricted to subscribers.</marc:subfield>
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            <marc:subfield code="a">Schiff, András, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">The celebrated Hungarian pianist, &lt;i&gt;Andras Schiff&lt;/i&gt;, plays the &lt;i&gt;Chopin Preludes&lt;/i&gt; on an 1860 Pleyel Grand Piano, recorded in the beautiful, meticulously-restored concert hall of the Ancient Conservatoire in Paris, where Chopin himself frequently gave concerts.

The &lt;i&gt;24 Preludes&lt;/i&gt; were partly written in Majorca in the monastery of Valldemosa in the winter of 1838 and 1839, where Chopin went with writer George Sand and her children in an attempt to mend his deteriorating health. Chopin's moods during his stay in Majorca fluctuated wildly from great happiness to profound depression and these moods are reflected in the condensed poetic miniatures of the Preludes which constantly change colour, chameleon-like, from the simple and joyful to the bleak, tormented and desperate.</marc:subfield>
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            <marc:subfield code="a">Not Applicable, na</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/GLW07279551.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=GLW07279551</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/GLW07279551</marc:subfield>
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        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">NORTHERN STAR (A) - Annie Sofie von Otter (Classical Documentary, 2001) (NTSC)</marc:subfield>
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        <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>
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            <marc:subfield code="a">A Northern Star: Annie Sofie von Otter (Classical Documentary, 2001) (NTSC) ( 59 min., 04 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Otter, Anne Sofie von, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Anne Sofie von Otter&lt;/i&gt; is widely considered to be the greatest and most versatile mezzo-soprano of her generation. Filmed in Sweden, London, Paris, and Salzburg, this profile combines interviews with performance extracts and archive material, and accompanies Anne Sofie to her idyllic country home for a weekend off. 

A framework is provided by one of her career highlights, her performance as Octavian in &lt;i&gt;Richard Strauss's Der Rosenkavalier&lt;/i&gt; for Carlos Kleiber. There is footage of her on the operatic stage, in rehearsal, working with her voice coach, and rehearsing lieder.</marc:subfield>
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            <marc:subfield code="a">DEBUSSY, C.: Cello Sonata / BEETHOVEN, L. van: Cello Sonata No. 4 (Masterclass with Ralph Kirshbaum) (Gunnarsson, Trygstad) (NTSC)</marc:subfield>
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Working with advanced classical music students and young professionals before audiences in major London venues, the London Master Classes provide a rare opportunity for young artists to meet and benefit from working with the great performers of our time.

This master class featuring &lt;i&gt;Ralph Kirshbaum&lt;/i&gt; shows the world-renowned cellist at work, passing on his expertise to the next generation.</marc:subfield>
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            <marc:subfield code="a">STRAUSS, R.: Symphonia domestica / RAUTAVAARA, E.: Symphony No. 8, "The Journey" (Philadelphia Orchestra, Sawallisch) (NTSC)</marc:subfield>
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This concert was recorded live from Cologne during the Music Triennale and features the great Wolfgang Sawallisch conducting a program which opens with the European premiere of &lt;i&gt;Einojuhani Rautavaara's Symphony No. 8, "The Journey"&lt;/i&gt; and is followed by &lt;i&gt;Richard Strauss' Symphonia domestica, Op. 53&lt;/i&gt;.</marc:subfield>
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A master class following one of Britain's leading pianists. &lt;i&gt;Norma Fisher&lt;/i&gt; has international success on the concert and chamber music platform, and now shares her experiences and talent with her students.</marc:subfield>
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            <marc:subfield code="a">Several luminaries can claim to have invented the gramophone. Only one man made mass duplication of discs possible - &lt;i&gt;Emil Berliner&lt;/i&gt;. As a result, a major new industry came into being. 

In this video tracing the evolution of sound recording, his grandson, Oliver, tells the story of his life and his achievement. Caruso and other great performers are heard in early recordings, and contributors, including John Eliot Gardiner, Pierre Boulez, and Anne-Sophie Mutter, comment on the pros and cons of today's advanced technology.</marc:subfield>
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The showman of modern dance, &lt;i&gt;Maurice Bejart's&lt;/i&gt; work has been provocative, influential and popular in equal measure. His choreography has always been physically thrilling, setting up an immediate emotional combustion between audience and performer, and he attracted huge new audiences for dance with the Ballet of the Twentieth Century productions he mounted in sports, stadia, public squares and circus tents.</marc:subfield>
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            <marc:subfield code="a">VOICES OF OUR TIME - Angelika Kirchschlager: SCHUBERT, F. / SCHUMANN, R. (NTSC)</marc:subfield>
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            <marc:subfield code="a">Thirty years after the original broadcast, &lt;i&gt;Owen Wingrave&lt;/i&gt; returned to the small screen in a new version by the highly-regarded music and arts director Margaret Williams, who reveals through a vivid film vocabulary the intensity of the drama and its passionate realization in &lt;i&gt;Benjamin Britten's&lt;/i&gt; music. 

Shot entirely on location, the story is updated from Edwardian times to the 1950s, establishing a connection with World War II. Gerald Finley portrays Owen Wingrave, scion of a soldier family whose reluctance to join the family trade reflects Britten's own pacifist principles. Taunted and rejected by a hostile family, Owen confronts the ghosts of the past to rebut the charges of cowardice. With Peter Savidge, Hilton Marlton, Ann Dawson. Libretto by Myfanwy Piper.Deutsches Symphonie-Orchester Berlin and the Westminster Cathedral Choir Choristers. Bonus Feature: The Hidden Heart (58 minutes) profiles Britten, the leading twentieth century British composer, telling the story of his life, reflecting on his music and his lifelong relationship with his partner and muse, tenor Peter Pears.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/MID13244890.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=MID13244890</marc:subfield>
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        <marc:controlfield tag="001">MID13245157</marc:controlfield>
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            <marc:subfield code="a">GLUCK, C.W.: Orphée et Eurydice [Opera] (Chatelet, 2004) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Hong Kong :</marc:subfield>
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            <marc:subfield code="a">Orphée et Eurydice (Chatelet, 2004) (NTSC) ( 01 hrs., 39 min., 36 sec. ) / Gluck</marc:subfield>
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            <marc:subfield code="a">Kožená, Magdalena, Artist -- Bender, Madeline, Artist -- Petibon, Patricia, Artist -- Monteverdi Choir, Choir -- Gardiner, John Eliot, Conductor -- Orchestre Révolutionnaire et Romantique, Orchestra -- Gluck, Christoph Willibald, Composer -- Moline, Pierre Louis, Lyricist</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Gluck's 1762 opera Orphee et Eurydice&lt;/i&gt; was groundbreaking in its day and, as this 1999 performance from the Theatre Musical de Paris shows, it still lends itself to radical treatment. The composer's rejection of traditional, flamboyant, operatic bells and whistles led to a fresh form in which the lyrics hold court. The music provides the setting and emotional color in a way that is almost physical in its intensity. Gluck's readiness to incorporate the influences of other art forms - poetry, ballet, and drama - has always made this story of love rescued from the jaws of tragedy universally appealing.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/MID13245157.jpg</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=MID13245157</marc:subfield>
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            <marc:subfield code="a">ADAMS, J.: Nino (El) [Opera] (Chatelet, 2000) (NTSC)</marc:subfield>
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            <marc:subfield code="a">1 online resource</marc:subfield>
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            <marc:subfield code="a">El Nino (Chatelet, 2000) (NTSC) ( 01 hrs., 59 min., 05 sec. ) / Adams</marc:subfield>
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            <marc:subfield code="a">Upshaw, Dawn, Artist -- Hunt Lieberson, Lorraine, Artist -- White, Willard, Artist -- Theatre of Voices, Choir -- London Voices, Choir -- Paris Maitrise Children's Choir, Choir -- Nagano, Kent, Conductor -- Deutsches Symphonie-Orchester Berlin, Orchestra -- Anonymous, Lyricist -- Adams, John, Composer -- Hildegard of Bingen,, Lyricist -- Juana Inés de la Cruz, , Lyricist -- Castellanos, Rosario, Lyricist -- Mistral, Gabriela, Lyricist -- Bible - New Testament, Lyricist -- Huidobro, Vicente, Lyricist -- Darío, Rubén, Lyricist -- Haggai, , Lyricist</marc:subfield>
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            <marc:subfield code="a">The most recent composition by American minimalist composer &lt;i&gt;John Adams&lt;/i&gt; is his take on the "Christmas Oratorio": a large-scale music theatre work entitled &lt;i&gt;El Nino&lt;/i&gt;. 

How does one actually celebrate Christ's birth in a land where palm trees and race conflicts flourish - in sunny California? Perhaps the way composer John Adams and director Peter Sellars portray it at the beginning of &lt;i&gt;El Nino (La Nativite)&lt;/i&gt;, which was first performed nine days before Christmas 2000 at the Parisian Theatre du Chatelet: with a tree and festoons of lights. This symbol projected on the stage as a hazily poetic yet realistically blurred video is telling in more ways than one. 

This fourth joint stage work by Adams and Sellars - which unlike the two operas &lt;i&gt;Nixon in China&lt;/i&gt; (1987) and &lt;i&gt;The Death of Klinghoffer&lt;/i&gt; (1991) turns to a Biblical rather than a contemporary theme - uses musical elements we are already familiar with from these two artists' three "worldly" pieces.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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            <marc:subfield code="a">Bible - New Testament</marc:subfield>
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            <marc:subfield code="a">Haggai, </marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/MID13245226.jpg</marc:subfield>
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            <marc:subfield code="a">MEHTA, Zubin: World Full of Music (A) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Zubin Mehta&lt;/i&gt; is undoubtedly one of the great conductors of our time, equally at home in opera houses and on the concert platform. This program records a relaxed interview he gave at his home in Los Angeles, looking back over his career and reflecting on what makes his "mystical profession" such a unique phenomenon. 

Mehta's great love of music and his charismatic personality inform this vibrant, music-filled program, which shows him in rehearsal and in performance.</marc:subfield>
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            <marc:subfield code="a">Since 1988 London Master Classes has been presenting some of the world's most distinguished performers as master teachers offering intensive classical music master classes for vocal, violin, cello, piano and conducting.

Working with advanced classical music students and young professionals before audiences in major London venues, the London Master Classes provide a rare opportunity for young artists to meet and benefit from working with the great performers of our time.

Conductor &lt;i&gt;Benjamin Zander&lt;/i&gt; shares his experience on the worldwide concert platform with students from St. Cyprian's Church.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/GLW07397241.jpg</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=GLW07397241</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/GLW07397241</marc:subfield>
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            <marc:subfield code="a">Not Applicable, na</marc:subfield>
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        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">COPLAND, Aaron: Fanfare for America (Film Documentary, 2001) (NTSC)</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
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        <marc:datafield tag="300" ind1=" " ind2=" ">
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            <marc:subfield code="a">Aaron Copland - Fanfare for America (NTSC) ( 58 min., 33 sec. ) / Not Applicable</marc:subfield>
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            <marc:subfield code="a">Copland, Aaron, Artist -- Frankfurt Radio Symphony Orchestra, Orchestra -- Wolff, Hugh, Conductor -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a">Impressed with how European music could have a "German sound," a "French sound," and so on, &lt;i&gt;Aaron Copland&lt;/i&gt; returned from his years in Paris to New York City, intent on capturing the essence of the "American sound." 

This documentary presents an artful blending of the life and music of one of America's great modern composers. The many milestones in Copland's long career are discussed by his biographer, Howard Pollock, while stirring images of Copland's native city are set to selections of his music as performed by the Frankfurt Radio Symphony Orchestra. FRSO conductor Hugh Wolff provides astute commentary. Many interviews with Copland are included, along with a historic recording of &lt;i&gt;Clarinet Concerto&lt;/i&gt; with Benny Goodman playing and Copland conducting.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=GLW07553096</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/GLW07553096</marc:subfield>
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            <marc:subfield code="a">Digital Classics Distribution</marc:subfield>
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            <marc:subfield code="a">Beethoven, Ludwig van</marc:subfield>
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            <marc:subfield code="a">Brahms, Johannes</marc:subfield>
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            <marc:subfield code="a">Bach, Johann Sebastian</marc:subfield>
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        <marc:datafield tag="100" ind1="1" ind2=" ">
            <marc:subfield code="a">Rachmaninov, Sergey</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
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            <marc:subfield code="a">video</marc:subfield>
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            <marc:subfield code="a">Online resource</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
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            <marc:subfield code="a">Violin Partita No. 2 in D Minor, BWV 1004: V. Chaconne (arr. F. Busoni for piano) (NTSC) ( 00 sec. ) / Bach -- Piano Sonata No. 31 in A-Flat Major, Op. 110 (NTSC) ( 00 sec. ) / Beethoven -- Piano Sonata No. 3 in F Minor, Op. 5 (NTSC) ( 00 sec. ) / Brahms -- Études-tableaux, Op. 33: No. 2 (2) in C Major: Allegro (NTSC) ( 00 sec. ) / Rachmaninov</marc:subfield>
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            <marc:subfield code="a">The Frankfurter Allgemeine Zeitung wrote of this recital pianist &lt;i&gt;Helene Grimaud&lt;/i&gt; at the Kammer Musiksaal of the Berlin Philarmonie, "She doesn't only play the piano - she feels it and she lives it. Every single note proves her devotion to perfection, her unconventional style captivates everyone in the audience."

Arguably one of the very top pianists of her generation, her concert career took off in 1987 when she was in her early twenties and she now performs with major orchestras around the world as well as being in demand for recital appearances. The spontaneity of her playing is breathtaking. Not to be afraid of taking risks and always to play as though it is the first time is Helene Grimaud's album.</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:subfield code="a">Concert</marc:subfield>
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            <marc:subfield code="a">World</marc:subfield>
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            <marc:subfield code="a">Beethoven, Ludwig van</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/GLW08711385.jpg</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=GLW08711385</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/GLW08711385</marc:subfield>
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        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">Digital Classics Distribution</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Zauberflöte (Die) [Opera] (Zurich Opera, 2000) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;La Belle Helene, Jacques Offenbach's&lt;/i&gt; 1864 three-act opera bouffe, unfolds just prior to the Trojan War. Offenbach opens with the goddess Venus promising to procure Helen's love for Paris, through Calchas, the High Priest of Jupiter. He subsequently weaves the tale of Paris' seduction of Helen and the virulent chagrin of her husband, Menelaus. 

The production of Offenbach's opera by The Theatre Musicale de Paris, Chatelet features a libretto co-written and adapted by Henri Meilhac and Ludovic Halevy. Dame Felicity Lott portrays Helen, Yann Beuron is Paris, Michel Senechal is Menelaus, and Francois Le Roux plays Calchas. Les Musiciens du Louvre and the Chorus of the Musiciens du Louvre provide musical accompaniment.</marc:subfield>
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            <marc:subfield code="a">Bartoli, Cecilia, Artist -- Nikiteanu, Liliana, Artist -- Saccà, Roberto, Artist -- Widmer, Oliver, Artist -- Polgár, László, Artist -- Gilfry, Rodney, Artist -- Salminen, Matti, Artist -- Rey, Isabel, Artist -- Zurich Opera House Chorus, Choir -- Harnoncourt, Nikolaus, Conductor -- Zurich Opera House Orchestra, Orchestra -- Mozart, Wolfgang Amadeus, Composer -- Da Ponte, Lorenzo, Lyricist</marc:subfield>
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            <marc:subfield code="a">The overwhelming success of the Prague performance of &lt;i&gt;Le nozze di Figaro (The Marriage of Figaro)&lt;/i&gt; in December 1786, led to the commissioning of a new opera. &lt;i&gt;Mozart&lt;/i&gt; and his librettist Lorenzo da Ponte turned to the Don Juan theme, making this promising material the basis for their new opera. In the spring of 1787 Mozart began to compose it in Vienna, and was able to complete it in Prague by the autumn of the same year. &lt;i&gt;Don Giovanni&lt;/i&gt; received its first performance, under the composer's personal direction, on 20 October 1787 at Prague's Count Nostitz National Theatre.

This production of Don Giovanni at the Zurich Opera House was staged by the highly creative team of conductor Nikolaus Harnoncourt, director Jurgen Flimm and set-designer Erich Wonder. Rodney Gilfry and Cecilia Bartoli lead a first-class group of singers.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Cosi fan tutte [Opera] (Zurich Opera House, 2000) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Disc 2 ( 01 hrs., 39 min., 26 sec. ) / Mozart -- Così fan tutte, K. 588 ( 01 hrs., 33 min., 02 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Bartoli, Cecilia, Artist -- Baltsa, Agnes, Artist -- Nikiteanu, Liliana, Artist -- Saccà, Roberto, Artist -- Widmer, Oliver, Artist -- Chausson, Carlos, Artist -- Zurich Opera House Chorus, Choir -- Harnoncourt, Nikolaus, Conductor -- Zurich Opera House Orchestra, Orchestra -- Mozart, Wolfgang Amadeus, Composer -- Da Ponte, Lorenzo, Lyricist</marc:subfield>
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            <marc:subfield code="a">n 18th century Naples, Don Alfonso wagers that the two girls, Fiordiligi and Dorabella, are no more trustworthy in matters of love than any other women. The girls sing of their love, before Don Alfonso tells them that their lovers are to be called away to the war. Despina, bribed by Don Alfonso, urges the girls to find other lovers, but they declare their constancy. Guglielmo and Ferrando return, disguised as Albanians, but the girls remain firm. They agree to Despina's suggestion of harmless flirtation, each unwittingly choosing the other's partner. The success of the two Albanians, in spite of Fiordiligi's more prolonged resistance, leads to a wedding. The men now appear as themselves and pretend shock and horror at what is afoot, before revealing their plot. All ends happily, as Don Alfonso urges the power of reason in these circumstances. 

This production by the Zurich Opera House had it premiere in Febuary 2000. The renowned soprano Cecilia Bartoli made her debut here as Fiordiligi, after having sung the two other Cosi roles, Despina and Dorabella, previously.</marc:subfield>
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&lt;i&gt;Strauss&lt;/i&gt; himself loved this work. It was the last of his stage works for which he conducted the premiere performance. He described it as "generally speaking a much more cheerful work than Der Zigeunerbaron."

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        <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">Karole Armitage - Wild Ballerina (Dance Documentary, 1998) (NTSC) ( 54 min., 30 sec. ) / 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">Armitage, Karole, Artist -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">Profile of dancer-choreographer &lt;i&gt;Karole Armitage&lt;/i&gt;, much of it in her own words. The program begins with a discussion of her evening-length work &lt;i&gt;The predators' ball: hucksters of the soul&lt;/i&gt;, which she presented in several versions between 1994 and 1996. 

Looking back upon her career, Armitage describes her beginnings as a ballet dancer, and her discovery of the work of Merce Cunningham, whose company she joined. She discusses her own choreography and its aims, her establishment of her own company in the 1980s, her move to France, and her appointment to the directorship of Maggio Danza in Florence, and compares audience and critical reactions to her innovations in the U.S. and Europe. Additional insights are offered by her friend Joan Juliet Buck; dance historian Sally Sommer; Armitage's husband, the painter David Salle; and fashion designer Christian Lacroix.</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">Documentary</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/MID13244711.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=MID13244711</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/MID13244711</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">MID13244777</marc:controlfield>
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            <marc:subfield code="a"></marc:subfield>
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        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Digital Classics Distribution</marc:subfield>
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            <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">JOHN ADAMS - American Classic (Classical Documentary, 2002) (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: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>
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            <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>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">John Adams - American Classic (Classical Documentary, 2002) (NTSC) ( 53 min., 11 sec. ) / 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">Dhiri, Amita, Artist -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">He is often hailed as the greatest composer alive, and &lt;i&gt;John Adams&lt;/i&gt; has his finger on the cultural and political pulse of America like few others: fearless in his confrontation of hot topics like imperialism and terrorism within his own works such as &lt;i&gt;Nixon in China&lt;/i&gt; and the still-controversial &lt;i&gt;Death of Klinghofer&lt;/i&gt; Alice Goodman and Peter Sellars. Through them and the operas themselves, in extensive performance extracts by Willard White. Dawn Upshaw and the late Lorraine Hunt Lieberson, we see a fresh someone who has revitalised both opera and American music for a new age.</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">Documentary</marc:subfield>
        </marc:datafield>
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            <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/MID13244777.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=MID13244777</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/MID13244777</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">MID13244802</marc:controlfield>
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        <marc:datafield tag="024" ind1="1" ind2="1">
            <marc:subfield code="a"></marc:subfield>
        </marc:datafield>
        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Digital Classics Distribution</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">SCHUMANN ENCOUNTER (THE) (Film Documentary, 2010) (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: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>
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        <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">The Schumann Encounter (Film Documentary, 2010) (NTSC) ( 52 min., 06 sec. ) / 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">Norrington, Roger, Conductor -- Callow, Simon, Artist -- Salzburg Camerata Academia, Ensemble -- Arp, Peter, Artist -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">Throughout his adult life, composer &lt;i&gt;Robert Schumann&lt;/i&gt; (1810-1856) struggled against a fear of mental disintegration. His &lt;i&gt;Symphony No. 2 in C Major, Op. 61&lt;/i&gt; was written in 1845 while he was recovering from a breakdown and contains an illustration of how his creative daemons, the heroic, high-spirited Florestan, and the brooding, poetic Eusebius, came into conflict in his music, with its combination of power and intimate lyricism. Focusing on the Second Symphony, this film uses a dynamic interaction between rehearsal footage and dramatized sequences to give a penetrating insight into the composer's complex and fractured genius.

The Schumann Encounter finds Sir Roger Norrington in Salzburg to rehearse and perform the Symphony No. 2 with the Camerata Academica, one of Europe's leading chamber orchestras. Snatching some rest before the evening's concert with the Camerata Academica, he is aware of an argument in progress in the adjoining hotel room. He falls asleep only to awake in another reality, transformed into Master Raro the mediator between Florestan and Eusebius, both played by Simon Callow (Amadeus, Shakespeare in Love) who are at odds over the composition of the Second Symphony.</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">Feature Film</marc:subfield>
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        <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/MID13244802.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=MID13244802</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/MID13244802</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">MID13244813</marc:controlfield>
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            <marc:subfield code="a"></marc:subfield>
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        <marc:datafield tag="024" ind1="1" ind2="1">
            <marc:subfield code="a"></marc:subfield>
        </marc:datafield>
        <marc:datafield tag="037" ind1=" " ind2=" ">
            <marc:subfield code="a">Digital Classics Distribution</marc:subfield>
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        <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">CELIBIDACHE'S HERITAGE (Rosamunde Quartet) (Classical Documentary, 1999) (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: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>
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            <marc:subfield code="a">video</marc:subfield>
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            <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">Celibidache's Heritage (NTSC) ( 53 min., 36 sec. ) / 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">Rosamunde Quartet, Ensemble -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">The Munich-based &lt;i&gt;Rosamunde Quartet&lt;/i&gt; made a sensational debut in 1992 and swiftly gained an international reputation as a chamber ensemble noted for its individual style and mastery of a broad repertoire. Unusually, the four musicans Andreas Reiner (first violin), Simon Fordham (second violin), Helmut Nicolai (viola) and Anja Lechner (cello) came together after they had individually established successful careers. 

Up until his death in 1996, maestro &lt;i&gt;Sergiu Celibidache&lt;/i&gt; was their mentor, friend and critic in this venture, and he continues to be their inspiration. The quartet emulate his single-minded perfectionism; approach music-making, as he did, from a well-founded understanding; and always remember his impatience if he thought they were just playing notes and not music.

This lively and intimate portrait accompanies the ensemble as they rehearse, travel, perform, and also catches each of the musicians off duty. They are seen playing works by both classical and modern composers in sequences which have a contemporary visual impact, and their collaboration with the Argentinean bandoneon master, &lt;i&gt;Dino Saluzzi&lt;/i&gt;, is also featured.</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="650" ind1=" " ind2="4">
            <marc:subfield code="a">Documentary</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>
        </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/MID13244813.jpg</marc:subfield>
            <marc:subfield code="z">Cover image</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=MID13244813</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/MID13244813</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Herbert von Karajan's&lt;/i&gt; story is the story of the record industry itself, which he was instrumental in creating and sustaining over half a century with hundreds of spectacular and award-winning recordings. 

His life and his music-making still provoke extreme reactions; in Gernot Friedel's film, made with the help of the Karajan-Centrum in Salzburg, we see the hypnotic effect he could have upon musicians and listeners alike, we hear him in the repertoire for which he was renowned, and we are taken through a life never less than eventful.</marc:subfield>
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            <marc:subfield code="a">Born in England, of German parents, &lt;i&gt;Frederick Delius&lt;/i&gt; (1862-1934) traveled throughout his life to America, Scandinavia, Germany, France and Italy. Although ranked as one of the leading English composers, he was inspired by the foreign landscapes he visited.

&lt;i&gt;Discovering Delius&lt;/i&gt; looks at the early life and work of the young cosmopolitan composer. Several champions of Delius' music - conductor Charles Mackerras, cellist Julian Lloyd Webber, violinist Tasmin Little, baritone Thomas Hampson and the Brindisi Quartet - are seen rehearsing, performing and discussing his work.

The music chosen focuses on the landmarks of Delius's creativity and reveals every aspect of his compositional style and includes extracts from the film of A Village Romeo and Juliet, featuring Thomas Hampson; &lt;i&gt;A Mass of Life&lt;/i&gt; from the 1992 Brighton Festival; Sir Charles Mackerras and the Welsh National Opera rehearsing and performing &lt;i&gt;The Song of the High Hills&lt;/i&gt; and movements from the Florida Suite.

Tasmin Little discusses, rehearses and performs the &lt;i&gt;Concerto for Violin and Piano&lt;/i&gt;; the &lt;i&gt;Sonata for Cello and Piano&lt;/i&gt; is performed by Julian Lloyd Webber; and the Brindisi Quartet rehearses and performs Late Swallows from the String Quartet.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=MID13245394</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/MID13245394</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">EVENING WITH MONTSERRAT CABALLÉ (AN) (NTSC)</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">An Evening with Montserrat Caballé (NTSC) ( 01 hrs., 24 min., 44 sec. ) / Not Applicable</marc:subfield>
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        <marc:datafield tag="506" ind1="1" ind2=" ">
            <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">Caballé, Montserrat, Artist -- Burgueras, Manuel, Artist -- Marin, Oscar, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <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=MID13245430</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/MID13245430</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
        </marc:datafield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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            <marc:subfield code="a">Streaming video.</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="505" ind1="0" ind2=" ">
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        <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">Norrington, Roger, Conductor -- Camerata Salzburg, Orchestra -- Haydn, Franz Joseph, Composer</marc:subfield>
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            <marc:subfield code="a"></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">Concert</marc:subfield>
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        <marc:datafield tag="700" ind1="1" ind2=" ">
            <marc:subfield code="a">Haydn, Franz Joseph</marc:subfield>
            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="710" ind1="2" ind2=" ">
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        <marc:datafield tag="856" ind1="4" ind2="0">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/MID13245474.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=MID13245474</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/MID13245474</marc:subfield>
            <marc:subfield code="z">Digital File Links</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <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">
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            <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">Streaming video.</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Meditation in Movement (Classical Documentary, 1999) (NTSC) ( 57 min., 54 sec. ) / 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">Cloud Gate Dance Theatre of Taiwan, Ensemble -- Not Applicable, na, Composer</marc:subfield>
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        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a"></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>
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        <marc:datafield tag="710" ind1="2" ind2=" ">
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            <marc:subfield code="a">&lt;i&gt;William Shakespeare's&lt;/i&gt; timeless tale of romance &lt;i&gt;Romeo and Juliet&lt;/i&gt; came alive in a new way when &lt;i&gt;Charles Gounod&lt;/i&gt; adapted it for the stage as an opera. 

This unforgettable stage production features Roberto Alagna in the role of Romeo and Angela Gheorghiu in the role of his young love, Juliette, with conductor Anton Guadagno leading the Czech Philharmonic Chamber Orchestra. If you missed it on the stage, don't pass up this opportunity to take one of the most memorable stage adaptations of Shakespeare home with this release that's sure to touch the romantic in everyone.</marc:subfield>
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            <marc:subfield code="a">Vocal Duo Recital: Lott, Felicity / Allen, Thomas - MENDELSSOHN, Felix / BRAHMS, J. / SCHUMANN, R. / SAINT-SAËNS, C. / BIZET, G. (NTSC)</marc:subfield>
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            <marc:subfield code="a">Two of opera greatest British stars, &lt;i&gt;Dame Felicity Lott and Sir Thomas Allen&lt;/i&gt;, sing songs and duets by &lt;i&gt;Schumann, Brahms, Mendelssohn, Bizet, Duparc, Saint-Saens and Faure&lt;/i&gt; from the Wigmore Hall, London.

Dame Felicity Lott has always had a special love for the song repertoire. As well as expertise in the songs of Strauss, Schubert, Schumann and Brahms she is also a master of French Melodies.

This concert, therefore, is especially suited to her talents. Sir Thomas Allen is, perhaps, best known as a singer of great Mozart roles. He is a star of all the great Opera houses: La Scala, Vienna and the Metropolitan to name but a few. He brings his unique dramatic talent and flair to these songs.

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Working with advanced classical music students and young professionals before audiences in major London venues, the London Master Classes provide a rare opportunity for young artists to meet and benefit from working with the great performers of our time.

The great American Baritone, &lt;i&gt;Sherrill Milnes&lt;/i&gt; shares his knowledge of singing in opera houses and music centers of the world encompassing all areas of vocal repertoires.</marc:subfield>
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            <marc:subfield code="a">Repeating a motif four times has a reason, such as arriving with more determination to a point, thus increasing the drama. That is why the student has to identify the structure and decide how far she goes, how to prepare, which notes should be emphasized, and what is the harmonic sense of what is being played. It is not enough to play bar to bar. It is necessary to study the piece in detail. It is also interesting to project the sound to the audience to get their attention.</marc:subfield>
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            <marc:subfield code="a">This piece by &lt;i&gt;Tchaikovsky&lt;/i&gt; should be performed with a dancing (vals) and funny (scherzo) character, but the student makes it rather heavy and serious. That is why Professor &lt;i&gt;Miriam Fried&lt;/i&gt; focuses on a lighter and more beautiful performance by the student. Down-bow is vertical and the rubato should be flow freer. Besides, the professor makes some corrections about phrasing, harmonic structure and chords. It is important to know the harmony of the piano in order to make decisions and show different colors. As a conclusion, Miriam Fried explains that the way to create emotion is by changing the bow speed.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Fried&lt;/i&gt; asks what the movement is about and explains the use of the bow and its connection with the phrasing. Harmony is important in this work, as well as its colors and how to achieve them with the bow with vibrato. In some phrases, it is better to join notes in groups and to control de sound that rises and falls. It is very important to define the structure of the movement.

The professor advises the student to do the 'choreography' of the right arm without either bow or violin, just with the arm. The student has to think about what she wants to do with the sound and the differences and contrast between the parts, as well as to try out all the possibilities.</marc:subfield>
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            <marc:subfield code="a">The indications about phrasing are to play in one line and to pay attention to the 4-bars phrase. It is necessary to connect all the notes of a group and to avoid losing them in a phrase. It is necessary to clarify the high point.

The tempo is not too slow. There are other comments about harmonic progressions, vibrato, bow speed, articulation, intervals, coda, and rhythm clarity - if needed.

About sound quality: the bow has to be more concentrated and to project and change the color in some passages. The imagination is very important to picture the musical idea and to be able to communicate it.</marc:subfield>
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            <marc:subfield code="a">PROKOFIEV, S.: Violin Concerto, No. 1, Op. 19: III. Moderato (Masterclass with Miriam Fried) (Eri Masaoka, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto No. 1 in D Major, Op. 19: III. Moderato (violin and piano reduction) (PAL) ( 00 sec. ) / Prokofiev</marc:subfield>
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            <marc:subfield code="a">This movement is inspired in the "pas de deux" (ballet), so it should have a less "angular" and more "rounded" articulation and a metric in two bars. The peculiar dotted rhythm of this piece establishes its character. In addition, the professor talks about legato issues, bow speed, weight and bow placing. To finish, &lt;i&gt;Miriam Fried&lt;/i&gt; advices the student to pay attention to her own attitude and emotion so that she does not look so mechanical and she gets the required musical mood.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/RSS10172_1</marc:subfield>
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            <marc:subfield code="a">Violin Sonata No. 1 in G Minor, BWV 1001: I. Adagio (PAL) ( 00 sec. ) / Bach</marc:subfield>
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            <marc:subfield code="a">The movement is &lt;i&gt;Adagio in 4&lt;/i&gt;, not in sixteenth notes, which would make it too slow and heavy. Professor and student talk about the function of the movement in the whole sonata and the purpose of the ornamentation, as well as about phrasing, character, articulation in legato, use of right arm, vibrato - not in every note -, tension - relaxation of the harmony, pulse, articulation in left hand, and dynamics. In some specific passages, it is also possible to changes bowings.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
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        <marc:datafield tag="856" ind1="4" ind2="2">
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    <marc:record>
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            <marc:subfield code="a">SIBELIUS, J.: Violin Concerto, Op. 47: II. Adagio di molto (Masterclass with Mirian Fried) (Ganev, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto in D Minor, Op. 47: II. Adagio di molto (violin and piano reduction) (PAL) ( 00 sec. ) / Sibelius</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">Gifford, Duncan, Artist -- Ganev, Preslav, Artist -- Sibelius, Jean, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Miriam Fried&lt;/i&gt; works on some issues about the sound and intensity. She also advises the student about the movement of his right arm, his vibrato (more sound is related to the bow, not to more vibrato), the quantity and flexibility of bow that he needs, articulation, tempo without changes, bow control, and other relevant subjects. It is important not to cut the melody and to take into account the character, dynamics and sound required in each moment.</marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=RSS10174_1</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">RSS10176_1</marc:controlfield>
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            <marc:subfield code="a">Brahms, Johannes</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Violin Concerto, Op. 77: I. Allegro non troppo (Part 2) (Masterclass with Miriam Fried) (Stankowsky, Gifford) (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">Violin Concerto in D Major, Op. 77: I. Allegro non troppo (violin and piano reduction) (PAL) ( 00 sec. ) / Brahms</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">Gifford, Duncan, Artist -- Stankowsky, Eszter, Artist -- Brahms, Johannes, Composer</marc:subfield>
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            <marc:subfield code="a">This masterclass is focused on the development of the movement and on bowings, pulse, use of vibrato, and articulation. The professor advises the student to work on some of Sevcik's exercises to improve the shifting positions. The important thing is the position of the arm, as well as the distance from the bow and the speed.
 
Other important aspects are melody skips, harmony of the trills, volume of the sound, tension between intervals, and right arm position.</marc:subfield>
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            <marc:subfield code="a">The student has delivered a good sound, but this movement is like the opera and it should be more declaimed, with a more operatic and exaggerated character. Professor &lt;i&gt;Miriam Fried&lt;/i&gt; gives some instructions about articulation and phrasing, and she gives the student some advice on feeling the evolution of the form in the pulse and making contrasts and different colors. Then she focuses on bow positioning and postural corrections. It is necessary to be "connected" and to feel the legato in the fingers. Moreover, Fried highlights the importance of the proportion in the musical decisions (i.e. the vibrato should not be excessive), and she makes other considerations about harmony and resonance. To conclude, Miriam Fried insists on the way to play this Adagio - with generosity and theatricality.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Klaus Thunemann&lt;/i&gt; begins making some comments about the rapport in the initial entry and the tempo, as well as the tuning and sound clarity. Besides, he gives some indications to the quintet members regarding the articulation, dynamic contrasts, agogics, voices interpretation and conversation. Instead of accelerating the tempo, it should become more flexible. 

Professor Thuneman also makes some comments about appoggiaturas, dynamics, and phrasing; and he insists on the voices entries - be careful with it and practice each voice separately. Finally, he makes a brief comment on the general character of this music.</marc:subfield>
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It is necessary to "speak" and "sing", using more emotion and avoiding staccati in certain passages.</marc:subfield>
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            <marc:subfield code="a">Wind Quintet in G Minor: I. Allegro con moto (NTSC) ( 27 min., 10 sec. ) / Taffanel</marc:subfield>
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            <marc:subfield code="a">Professor Thunemann works on articulation, tempo, and accuracy at the beginning of the piece. He also gives indications about dynamics and works on specific voices, such as the flute (which must take more time).

Other corrections are related to triplets, waltz rhythm, ways of facing the reprise, contrasts, character 'sforzando misterioso', pizzicato and tempo. The students should play with more flexibility, rather than being strict. They should also pay attention to the tuning and the rapport among the parts at the end.</marc:subfield>
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            <marc:subfield code="a">Trio Concordiae, Ensemble -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">First, Pressler tells an anecdote with violinist Henri Temianka (Paganini Quartet) about tuning. Then he focuses on the sound quality, giving some indications about sound balance and level (less piano and more violin), sound clarity, dynamics, alternated with other corrections on the tempo and the violin's vibrato.</marc:subfield>
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            <marc:subfield code="a">Piano Trio No. 3 in C Minor, Op. 1, No. 3:  I. Allegro con brio (Part 2) (PAL) ( 43 min., 06 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Sonata for 2 Pianos, K 448: I. Allegro con spirito (Masterclass with Menahem Pressler) (Duo del Valle) (PAL)</marc:subfield>
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            <marc:subfield code="a">Sonata for 2 Pianos in D Major, K. 448: I. Allegro con spirito (PAL) ( 30 min., 50 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Duo del Valle, Ensemble -- Mozart, Wolfgang Amadeus, Composer</marc:subfield>
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            <marc:subfield code="a">The professor starts by indicating that some dynamical and sound issues are not &lt;i&gt;Mozart&lt;/i&gt;. He also makes some corrections about the phrasing, dynamics, harmonic aspects, character, articulation, and breathing of certain passages. 

Then, Pressler indicates other works composed by Mozart and makes more suggestions about the pedal, the tension in the accords and the attacks, among others. Finally, he advises the students to change the dynamics and general attitude regarding the style of the composer.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Sonata for 2 Pianos, K 448: II. Andante (Masterclass with Menahem Pressler) (Duo del Valle) (PAL)</marc:subfield>
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            <marc:subfield code="a">Sonata for 2 Pianos in D Major, K. 448: II. Andante (PAL) ( 19 min., 41 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Duo del Valle, Ensemble -- Mozart, Wolfgang Amadeus, Composer</marc:subfield>
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            <marc:subfield code="a">The &lt;i&gt;Tempo&lt;/i&gt; for this movement is good, but they should improve some articulation, color sound and phrasing aspects. Dynamics depend on harmony: D Minor should be played less forte than D Major. 

The professor also works with the piano duet some questions about contrast and expressivity (painful and then smiling again), lighter ornamentation, voices, etc.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Sonata for 2 Pianos, K. 448: III. Allegro molto (Masterclass with Menahem Pressler) (Duo del Valle) (PAL)</marc:subfield>
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            <marc:subfield code="a">Sonata for 2 Pianos in D Major, K. 448: III. Allegro molto (PAL) ( 18 min., 33 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Duo del Valle, Ensemble -- Mozart, Wolfgang Amadeus, Composer</marc:subfield>
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            <marc:subfield code="a">Comments about &lt;i&gt;Mozart's&lt;/i&gt; sound with practical examples and explanations about the tactile sensation. Lightness and beauty of sound in Mozart.

Other considerations: the professor talks about tempo without rushing, comparison between speech and musical accents (always emphasizing the right syllable); breathings, phrasing direction and analysis to distinguish between relevant notes and ornaments; accents and dynamic corrections; care of the scales and consideration about style; how to use the metronome and a studio recording as a support for daily study.</marc:subfield>
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        <marc:datafield tag="538" ind1=" " ind2=" ">
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">Vaňhal, Johann Baptist</marc:subfield>
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            <marc:subfield code="a">VAŇHAL, J.B.: Double Bass Concerto in D Major: I. Allegro moderato (Masterclass with Wies de Boevé) (Ferrer Thuillier, Gomez Madrigal) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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            <marc:subfield code="a">Double Bass Concerto in D Major: I. Allegro moderato (double bass and piano reduction) (NTSC) ( 00 sec. ) / Vaňhal</marc:subfield>
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            <marc:subfield code="a">Gomez Madrigal, Jesus, Artist -- Ferrer Thuillier, Belen, Artist -- Vaňhal, Johann Baptist, Composer</marc:subfield>
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            <marc:subfield code="a">The masterclass turns around articulation, phrasing, vibrato, and character.

The professor talks about the relevance of the articulation in the Classical period. It is very advisable to study the manuscript to pay attention to the articulation slurs.

The character of the beginning is prouder and it should be answering the orchestral introduction. The eighth notes in the repeated passages are shorter -it is necessary to change the articulation. 
In a specific sequence, it is usual to play Forte-Piano and then go back to Forte.

The professor advises the student not to forget to enjoy the music -in the cases where it is possible to take more time in the phrasing-, and to pay attention to the orchestral base and the tension it creates, at the same time that to the tension of the dissonances.</marc:subfield>
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            <marc:subfield code="a">VAŇHAL, J.B.: Double Bass Concerto in D Major: I. Allegro moderato (Masterclass with Wies de Boevé) (Bianchi Maestre, Gomez Madrigal) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Double Bass Concerto in D Major: I. Allegro moderato (double bass and piano reduction) (NTSC) ( 00 sec. ) / Vaňhal</marc:subfield>
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            <marc:subfield code="a">Gomez Madrigal, Jesus, Artist -- Bianchi Maestre, Sofia, Artist -- Vaňhal, Johann Baptist, Composer</marc:subfield>
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            <marc:subfield code="a">The masterclass is focused on the quality of sound and the professor insists on the suitability to look up the manuscript and see the annotations on octaves in a certain passage, among others. There are a lot of corrections on the score referred to different articulations - &lt;i&gt;Wies de Bouve&lt;/i&gt; compares a passage with another similar by &lt;i&gt;Dittersdorff&lt;/i&gt;, use of original bowing, melodic leaps and expressivity.

The resonance of the strings and the chords is essential in this music, and the key to achieve this resonance is to create a "resounding" character. The professor makes a comparison between how a violinist plays and how the character is in certain moments. He also works on the movements and bow speed as well as the contact point in concrete passages.</marc:subfield>
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            <marc:subfield code="a">BOTTESINI, G.: Double Bass Concerto No. 2: I. Allegro moderato (Masterclass with Wies de Boevé) (Ivars Morales, Gomez Madrigal) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Double Bass Concerto No. 2 in B Minor: I. Allegro moderato (NTSC) ( 00 sec. ) / Bottesini</marc:subfield>
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            <marc:subfield code="a">Gomez Madrigal, Jesus, Artist -- Ivars Morales, Abel, Artist -- Bottesini, Giovanni, Composer</marc:subfield>
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            <marc:subfield code="a">The professor starts the explanation at the end of the movement: when the player is at the climax, it is advisable to imagine a soprano singing (Maria Callas). The professor gives indications on trill fingerings, the dramatic meaning of a repetition - and the need to highlight - and the way to play the spiccato, like jumping.

After those corrections, they work on the movement from the beginning: bowings with a prouder character, articulation to clarify all the notes - involving a change of character, and more attention to the harmonic changes, the bowings and the way to get more drama.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a">HINDEMITH, P.: Double Bass Sonata: III. Molto adagio - Lied (Masterclass with Wies de Boevé) (Rodríguez Martínez) (NTSC)</marc:subfield>
            <marc:subfield code="h">[electronic resource]</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Double Bass Sonata: III. Molto adagio - Lied: Allegretto grazioso (NTSC) ( 00 sec. ) / Hindemith</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">Rodríguez Martínez, María del Mar, Artist -- Hindemith, Paul, Composer</marc:subfield>
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        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">This is a romantic movement and the performance is 'too correct', the sound has to be more relaxed and natural in some points. The bow has to push more out of the string and relax more at the end of the bowing.

They talk about how to perform the beginning of the movement and they work on the speed and clarity of the string changes and on the contrast within a sequence. 

&lt;i&gt;Wies de Bouve&lt;/i&gt; gives an explanation about shifting and suggests keeping the contact point in a slow and expressive passage. It is necessary more bow in the arpeggios and vibrato to distinguish some notes and give more character. The slurs are organized in 4 and sometimes the piano imitates the double bass line (e.g. in the trill). 

The student has to show the classical elegance contained in &lt;i&gt;Hindemith's&lt;/i&gt; music. When finishing a phrase, we have to coddle it until the end.</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
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            <marc:subfield code="a">SCHUBERT, F.: Arpeggione Sonata, D. 821: I. Allegro moderato (Masterclass with Wies de Boevé) (Serrano Santaella, Gomez Madrigal) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Arpeggione Sonata in A Minor, D. 821: I. Allegro moderato (arr. for double bass and piano) (NTSC) ( 00 sec. ) / Schubert</marc:subfield>
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            <marc:subfield code="a">The general idea after the student's performance is to play more fluent - the flow always goes ahead- and the professor advises him to always follow the original manuscript. The professor gives indications about phrasing and articulation, about string crossing and shifting, and corrects the bow inclination - with a more circular movement of the arm.

Other corrections are dynamics, pitch duration, character, agogics, ornamentation, contact point with the string, and softer pizziccati - round position of the fingers. Moreover, the professor proposes the student to work on the bass register and points out the harmony that contributes to create a character of 'dramatic surprise' in a certain passage.</marc:subfield>
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            <marc:subfield code="a">KOUSSEVITZKY, S.: Double Bass Concerto, Op. 3: I. Allegro (Masterclass with Wies de Boevé) (Tinoco Cacho, Gomez Madrigal) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Double Bass Concerto, Op. 3: I. Allegro (double bass and piano reduction) (NTSC) ( 00 sec. ) / Koussevitzky</marc:subfield>
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            <marc:subfield code="a">The professor mentions the recordings of &lt;i&gt;Koussevitzky&lt;/i&gt; playing his own works and he specifically recommends the students to listen to the recording of this &lt;i&gt;Double bass Concerto&lt;/i&gt;.

He also gives some indications about character, vibrato, harmony accuracy, and the character of syncopations as if he was describing the sunrise - with a lot of intensity and keeping the tension.

In addition, the professor explains while he is playing how to get a better sound in a certain passage with chromaticism. In the passage alla breve, the student has to think in 2, not in 4 parts, find a different colour - an easier and more relaxing sound - and pay attention to the anacrusis. The professor also advises the student not to look at the fingers to find the position on the string, as he does not need it. He proposes some fingerings, articulations, bow strokes and directions.</marc:subfield>
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            <marc:subfield code="a">MENDELSSOHN, Felix: Lied ohne Worte, Op. 109 (Masterclass with Wies de Boevé) (Toledo Rodríguez, Gomez Madrigal) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Lied ohne Worte (Song without Words), Op. 109, MWV Q34 (arr. for double bass and piano) (NTSC) ( 00 sec. ) / Mendelssohn</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Gomez Madrigal, Jesus, Artist -- Toledo Rodríguez, Jorge, Artist -- Anonymous, Arranger -- Mendelssohn, Felix, Composer</marc:subfield>
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            <marc:subfield code="a">The professor mentions some aspects related to phrasing, dynamics, articulation in legato, etc.

Bow changes should be prepared before in a relaxed way and without strong breathing stops to avoid sound interruptions. The character has to be appassionato and, in a certain passage, it is advisable the use of a different string to get better sound. He also makes some comments about fingerings, tuning and bow direction, distribution, speed, and quantity.

Finally, the professor works on shifts in detail, giving some advices and indications for a better practice.</marc:subfield>
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            <marc:subfield code="a">ROTA, N.: Divertimento concertante: III. Aria (Masterclass with Wies de Boevé) (Martínez Olivo, Gomez Madrigal) (NTSC)</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, the professor gives general indications about dynamics and colour of the harmonics in a specific passage close to the end of the piece. There is also a brief introduction about the work and the circumstances of its composition - it was commissioned for the film Dr. Zhivago. The professor describes the atmosphere and the character of the scene: first mysterious, then the light comes little by little, and finally it turns painful.

About sound balance, the soloist has to be heard in the moments in which the orchestra plays louder. In a certain passage, it is advisable not to play it as a scale exercise, but more appassionato and with more vibrato (the professor plays the passage to show the student how to do it). The professor also gives some additional comments and corrections about pizzicato, phrasing, harmonics changes and articulation.</marc:subfield>
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            <marc:subfield code="a">HAUTA-AHO, T.: Kadenza (Masterclass with Wies de Boevé) (Martínez Olivo) (NTSC)</marc:subfield>
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            <marc:subfield code="a">First, the professor insists on the need to play more sostenuto at the beginning of the piece. Later, they work on phrasing, agogics, score accuracy, tuning, dynamics, and maintenance of the tension.</marc:subfield>
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            <marc:subfield code="a">García Ros, Alvaro, Artist -- Hindemith, Paul, Composer</marc:subfield>
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            <marc:subfield code="a">The student has to "speak" the piece very clearly. Therefore, he has to articulate more from the bow. The professor shows and clarifies the note groups of the phrasing. In this piece, dynamics move at the same time as the tempo.
 
There are also corrections on portato, sound control - when changing the string -, meaning of "ruhig" (calm) and technical work on double stops. The string change has to be anticipated by the fingers and each interval has its own character and expression. The expression is what sets us in motion and not the metronome.

The professor explains the rhythmical relation between 6 and 4 (sixteenth notes). He wants the student to clarify the changes from major to minor and, in general, to have a deeper connection within the phrase between the climax and either tessitura or character changes. 
Finally, some comments on &lt;i&gt;Hindemith's&lt;/i&gt; music and his value as a composer.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: Märchenbilder, Op. 113: I. Nicht schnell (Masterclass with Hariolf Schlichtig) (Gil García, Barahona) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Märchenbilder, Op. 113: I. Nicht schnell (version for viola and piano) (NTSC) ( 00 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">The character of the first movement is similar to a fairy tale, and the professor compares it with &lt;i&gt;Schumann's Dichterliebe&lt;/i&gt; cycle. All the musical aspects have to correspond with that character, and that is why a concrete atmosphere is required. On Schumann's original score, it is indicated just one bow for two bars.

The corrections also focus on the right arm movements and the way to play at the beginning - like in backstage (behind the scenes), as the piece comes from nowhere (playing in sotto voce) and grows little by little. 

The player has to handle the bow without articulating, like a continuum, and to pay attention to the sound at the end of the upbows - keeping the quality of sound and finishing the whole bow.

The last pizzicato has to be prepared. The professor develops the idea of axis-movement: every movement - both in general and during the performance- turns around an axis. Following this concept, the viola has to stay still in the middle, in a balance.</marc:subfield>
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            <marc:subfield code="a">SCHUMANN, R.: Märchenbilder, Op. 113: II. Lebhaft (Masterclass with Hariolf Schlichtig) (Gil García, Barahona) (NTSC)</marc:subfield>
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            <marc:subfield code="a">The professor explains how to play a specific passage and proposes technical exercises - on finger extensions - to get it. The bow has to be close to the string, without jumping. 

About phrasing, it is necessary to build the line. They also work on the vibrato in high pitches and on how to avoid accents where there are none - by changing arm gestures to prevent them. 

The student has to study the dotted rhythms, as if they where triplets. The articulation and the rhythm in the left hand are also important. About finger position, it is advisable to remove the tension from the fingers after each note, instead of pushing them backwards.</marc:subfield>
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            <marc:subfield code="a">First, the professor corrects the student's position, the right arm movement and the position of the elbow in relation to the contact point of the bow. He also refers to the position of the fingertips: it is very important that they feel the contact with the bow and use it correctly (which leads to them feeling more contact with the sound).
 
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            <marc:subfield code="a">General comments of the professor: the student lacks strength, projection and clarity of sound, particularly in the second part (Allegro).

Once in the Allegro, the professor recommends to pay attention to the harmony of the piano part, to play the triplets clearer and to think in a singing way rather than "forcing" the sound ("making more pressure does not lead to more sound"). Harmonic changes mean expression changes.

The professor works on articulation, phrasing, tuning, bowings, bow direction, distribution, and dynamics. He also recommends the student to play in a more relaxed way, thus making it easier and enjoying it more. In a certain passage, the colour has to be different, picturing the horn sound. Moreover, the professor proposes different fingerings to give a greater sense of cadenza. Finally, he corrects the tuning of the penultimate chord of the piece to achieve more resonance ("to ring more").</marc:subfield>
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            <marc:subfield code="a">Ringborg, Tobias, Conductor -- Arvidson, Lars, Artist -- Malmö Opera Orchestra, Orchestra -- Malmö Opera Chorus, Choir -- Lavoipierre, Eric, Artist -- Pini, Daniela, Artist -- Bakan, Igor, Artist -- Miklosa, Erika, Artist -- Roos, Eric, Artist -- Ferrando, Leonardo, Artist -- Baghy, Irina de, Artist -- Milačić, Danka, Artist -- Samuelsson, Jonas, Artist -- Wistrand, Jacob, Artist -- Hildebrandt, Thomas, Artist -- Lundberg, Katarina, Artist -- Meijling, Ellika Ström, Artist -- Forsell, Edwin, Artist -- Scribe, Augustin-Eugène, Lyricist -- Rossini, Gioachino, Composer -- Delestre-Poirson, Charles-Gaspard, Lyricist</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Gioachino Rossini&lt;/i&gt; was summoned to Paris in 1824 to breathe new life into its opera culture, and one of his most exciting innovations in this period was the creation of an entirely new genre of opera comedy. The risque tale of &lt;i&gt;Le Comte Ory&lt;/i&gt; had its origins in vaudeville theatre and is based on the story of a villainous count who attempts the seduction of Countess Adele as she awaits the return of her husband from the Crusades. Le Comte Ory is the last of Rossini's comic operas, making full use of the libretto's farcical disguises and humour in one of his most colourfully orchestrated scores.</marc:subfield>
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            <marc:subfield code="a">BLAKE, H.: Snowman (The) (based on Raymond Briggs Illustrated Children's Book) (Birmingham Repertory Theatre, 1993) (NTSC)</marc:subfield>
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            <marc:subfield code="a">A stage show based upon the book by Raymond Briggs has transported a generation of children and their families into the wintery world of a boy and his magical snowman.

With music and lyrics by &lt;i&gt;Howard Blake&lt;/i&gt;, including &lt;i&gt;Walking in the Air&lt;/i&gt; performed by a live band, design by Ruari Murchison and lighting by Tim Mitchell, &lt;i&gt;The Snowman&lt;/i&gt; is a tale of friendship and adventure including a visit to the North Pole meet Father Christmas and a thrilling escape from Jack Frost.

Virtuoso choreography by Robert North and direction Bill Alexander make this show a much-loved festive tradition of storytelling, spectacle and magic.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Thomas Hampson&lt;/i&gt; is regarded in some circles as a successor to Dietrich Fischer-Dieskau for his mastery of a wide repertory to which he is drawn by an intellectual curiosity of astonishing breadth. Equally at home on the opera stage and the recital platform, Hampson is known for his passion for song and for the research he undertakes on account of this.

In this recital, accompanied by pianist Wolfram Rieger, he sings ongs by &lt;i&gt;Gustav Mahler&lt;/i&gt;, most of them settings from the immensely popular collection of folk texts titled &lt;i&gt;Des Knaben Wunderhorn (The Boy's Magic Horn)&lt;/i&gt;. His choice is impressively wide, from the mournful &lt;i&gt;Das irdische Leben (Earthly Life)&lt;/i&gt; to the witty &lt;i&gt;Lob des hohen Verstandes (In Praise of Higher Understanding)&lt;/i&gt;.

Hampson's performance, recorded live from te Theatre du Chatelet in Paris, is inter-cut with informal back-stage interviews in which he introduces the works by Mahler. He gives a fascinating insight into the music and is a compelling and cogent advocate of the power of song.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=MID13244937</marc:subfield>
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            <marc:subfield code="a">Schubert, Franz</marc:subfield>
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            <marc:subfield code="a">Wolf, Hugo</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">VOICES OF OUR TIME - Ian Bostridge: SCHUBERT, F. / WOLF, H. (NTSC)</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
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            <marc:subfield code="c">2004</marc:subfield>
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            <marc:subfield code="a">1 online resource</marc:subfield>
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            <marc:subfield code="a">Wehmut, Op. 22, No. 2, D. 772 (NTSC) ( 00 sec. ) / Schubert -- Der Zwerg, Op. 22, No. 1, D. 771 (NTSC) ( 00 sec. ) / Schubert -- Nacht und Traume, Op. 43, No. 2, D. 827 (NTSC) ( 00 sec. ) / Schubert -- Der Musensohn, Op. 92, No. 1, D. 764 (NTSC) ( 00 sec. ) / Schubert -- An die Entfernte, D. 765 (NTSC) ( 00 sec. ) / Schubert -- Am Flusse (NTSC) ( 00 sec. ) / Schubert -- Willkommen und Abschied, D. 767 (NTSC) ( 00 sec. ) / Schubert -- Wandrers Nachtlied II, Op. 96, No. 3, D. 768 (NTSC) ( 00 sec. ) / Schubert -- An die Leier, Op. 56, No. 2, D. 737 (NTSC) ( 00 sec. ) / Schubert -- Am See, D. 124b (NTSC) ( 00 sec. ) / Schubert -- Im Haine, Op. 56, No. 3, D. 738 (NTSC) ( 00 sec. ) / Schubert -- Erlkönig, Op. 1, D. 328 (NTSC) ( 00 sec. ) / Schubert -- Gedichte von Eduard Mörike (NTSC) ( 00 sec. ) / Wolf -- Erster Verlust, Op. 5, No. 4, D. 226 (NTSC) ( 00 sec. ) / Schubert</marc:subfield>
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            <marc:subfield code="a">Bostridge, Ian, Artist -- Vignoles, Roger, Artist -- Schubert, Franz, Composer -- Collin, Matthäus Kasimir von, Lyricist -- Goethe, Johann Wolfgang von, Lyricist -- Bruchmann, Franz Seraph Ritter von, Lyricist -- Mayrhofer, Johann Baptist, Lyricist -- Wolf, Hugo, Composer -- Mörike, Eduard, Lyricist</marc:subfield>
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            <marc:subfield code="a">The remarkable British tenor, &lt;i&gt;Ian Bostridge&lt;/i&gt;, is one of the world's most sought-after Lieder singers. Pianist &lt;i&gt;Roger Vignoles&lt;/i&gt; is his accompanist for this recital of Lieder by &lt;i&gt;Franz Schubert and Hugo Wolf&lt;/i&gt;. The strength of feeling and individuality of voice and presence that Bostridge brings to composers settings of poetry by von Collin, Goethe, von Bruchmann and Morike, demonstrates why, in Germany, he is hailed as a true German singer. His command of the nuances of the texts is masterful.

This live performance from the Theatre du Chatelet in Paris is intercut with informal backstage interviews in which Bostridge and Vignoles introduce their choice of music. Their lively and informative comments are a real bonus, fostering an appreciation and understanding of the repertoire and giving an insight into the art of the recitalist.</marc:subfield>
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            <marc:subfield code="a">KURTÁG IN JERUSALEM (Classical Concert, 1996) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Hommage a Mihaly Andras, "12 Microludes for String Quartet", Op. 13 (NTSC) ( 00 sec. ) / Kurtág -- Pilinszky János: Gérard de Nerval, Op. 5b (NTSC) ( 00 sec. ) / Kurtág -- Három régi felirat (3 Old Inscriptions), Op. 25 (NTSC) ( 00 sec. ) / Kurtág -- Wind Quintet, Op. 2 (NTSC) ( 00 sec. ) / Kurtág -- Gottes Zeit ist die allerbeste Zeit, BWV 106 (arr. G. Kurtag for piano 4 hands) ( 00 sec. ) / Bach</marc:subfield>
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        <marc:datafield tag="511" ind1="0" ind2=" ">
            <marc:subfield code="a">Young Jerusalem Quartet, Ensemble -- Zori, Hillel, Artist -- Ben-Ari, Ohad, Artist -- Rostof-Zamiir, Sharon, Artist -- New Israel Wind Quintet, Ensemble -- Kurtág, György, Artist -- Kurtág, Márta, Artist -- Bach, Johann Sebastian, Composer -- Traditional, Lyricist</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
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            <marc:subfield code="a">Royal Ballet of Cambodia, Ensemble -- Traditional, Composer</marc:subfield>
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            <marc:subfield code="a">This program showcases the breathtaking beauty and exquisite skill of the dancers of the &lt;i&gt;Royal Ballet of Cambodia&lt;/i&gt;, performing live in France. They dance &lt;i&gt;Reamker&lt;/i&gt;, Cambodia's version of India's Ramayana, which tells how Prince Rama's beautiful wife Sita is abducted by Ravana, the demon-king of Sri Lanka; the Moni Mekhala, describing the union between the goddess Keo Moni and the giant Ream Eyso; and the snake dance, Makara. The stories told on stage are explained in captions punctuating the scenes.</marc:subfield>
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            <marc:subfield code="a">Ballet &amp; Dance</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/images/video_cover/MID13245281.jpg</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="1">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=MID13245281</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/MID13245281</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
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            <marc:subfield code="a">Royal Ballet of Cambodia, Ensemble -- Baume, Laurence de la, Artist -- Not Applicable, na, Composer</marc:subfield>
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            <marc:subfield code="a"></marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="650" ind1=" " ind2="4">
            <marc:subfield code="a">Documentary</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>
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        <marc:datafield tag="710" ind1="2" ind2=" ">
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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/MID1324534x.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=MID1324534x</marc:subfield>
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        </marc:datafield>
        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/MID1324534x</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
        <marc:controlfield tag="001">MID13245372</marc:controlfield>
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            <marc:subfield code="a">Not Applicable, na</marc:subfield>
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        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">MORRISON, James: Wizard from OZ (The) (Jazz Documentary, 1989) (NTSC)</marc:subfield>
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        <marc:datafield tag="260" ind1=" " ind2=" ">
            <marc:subfield code="a">Hong Kong :</marc:subfield>
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        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">video</marc:subfield>
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            <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>
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        <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">The Wizard From Oz (Jazz Documentary, 1989) (NTSC) ( 54 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">Morrison, James Lloyd, Artist -- Not Applicable, na, Composer</marc:subfield>
        </marc:datafield>
        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a">&lt;i&gt;James Morrison&lt;/i&gt; is the hottest jazz musician from Australia to emerge onto the international scene. A superbly talented multi-instrumentalist, he has no peers on jazz trumpet, trombone or euphonium and his U.S. debut, at the Village Vanguard in New York, prompted veteran jazz writer Leonard Feather to rate him as 'a sure bet for jazz superstardom'.

This films into Morrison's dynamic energy and boundless creativity and features him in concert in Australia, with his mentor Don Burrows; at the Montreux Jazz Festival; in a creative improvisation session with the Australian artist Ken Done. Done develops a canvas in response to Morrison's performance and Morrison, in turn, responds to the painter at work.

The highlight of the program is footage of Morrison rehearsing and performing with the World Superband, in New York.</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="650" ind1=" " ind2="4">
            <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>
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        <marc:datafield tag="710" ind1="2" ind2=" ">
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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/MID13245372.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=MID13245372</marc:subfield>
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        <marc:datafield tag="856" ind1="4" ind2="2">
            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/title/MID13245372</marc:subfield>
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    <marc:record>
        <marc:leader>     njm a22     2i 4500</marc:leader>
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            <marc:subfield code="a"></marc:subfield>
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        <marc:datafield tag="024" ind1="1" ind2="1">
            <marc:subfield code="a"></marc:subfield>
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            <marc:subfield code="e">Composer</marc:subfield>
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        <marc:datafield tag="245" ind1="0" ind2="0">
            <marc:subfield code="a">GIARDINO ARMONICO (IL): Italian Baroque (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>
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        </marc:datafield>
        <marc:datafield tag="300" ind1=" " ind2=" ">
            <marc:subfield code="a">1 online resource</marc:subfield>
        </marc:datafield>
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            <marc:subfield code="a">two-dimensional moving image</marc:subfield>
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            <marc:subfield code="a">video</marc:subfield>
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            <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>
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        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Naxos Digital Services electronic collection.</marc:subfield>
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        <marc:datafield tag="500" ind1=" " ind2=" ">
            <marc:subfield code="a">Streaming video.</marc:subfield>
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        <marc:datafield tag="505" ind1="0" ind2=" ">
            <marc:subfield code="a">Il Giardino Armonico: Italian Baroque (NTSC) ( 58 min., 27 sec. ) / Not Applicable</marc:subfield>
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        <marc:datafield tag="506" ind1="1" ind2=" ">
            <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">Giardino Armonico, Il, Ensemble -- Not Applicable, na, Composer</marc:subfield>
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        <marc:datafield tag="520" ind1=" " ind2=" ">
            <marc:subfield code="a"></marc:subfield>
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            <marc:subfield code="a">Mode of access: Available online.</marc:subfield>
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Regarding the bow, the masterclass deals with different strokes, quantity and relaxation of the bow, pressure and weight, and attacks of the first note within a phrase. The Professor also explains the concept of spiccato.

Referring to melodic and expressive issues, the cantabile has to be worked in mezzopiano and the dynamics are more varied in general. The students have to pay attention to the articulation, tuning and sound quality.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Rainer Schmidt&lt;/i&gt; ponders on the tempo of this movement: maybe it is so fast because &lt;i&gt;Mendelssohn&lt;/i&gt; was looking for a powerful and brilliant character, with large quantities of sound. Regarding the beginning, Schmidt highlights a change of articulation and he asks the students for playing with different vibrato quantity and speed to achieve the best effect.

Rainer Schmidt also talks about the type of articulation and phrasing, the tempo and the dynamics. Then, they focus on the sforzati in a certain passage and they work on it with detail.

After training in order to improve the rapport and bow issues, Professor Schmidt comments the difficulty of Mendelssohn's string quartets and he encourages the students to think about the way of achieving a better performance.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Schmidt&lt;/i&gt; advises the students on metrics in order to get a more appropriate character. Then he considers, together with the quartet members, the different accents, entrances, dynamics; the finger position to obtain a better control on the bow pressure, sound balance and color, harmony, and articulations, among other issues.
 
Additionally, &lt;i&gt;Rainer Schmidt&lt;/i&gt; proposes them to find the relationship between the time and the sound, as well as other suggestions related to the bow technique.</marc:subfield>
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            <marc:subfield code="a">The student must communicate with all his body, including his face.
As the piece is a baroque sonata edited by &lt;i&gt;Kreisler&lt;/i&gt;, the student has to decide how to perform the character and the baroque color, while maintaining Kreisler's elegance. It is a question of style and how to find the balance without ambiguity.

They make some comments about the most important aspects of the movement, melody - with correct articulation and rhythm, dynamics, vibrato (as singing, as a different color); phrasing - which should be as a text sentence: it needs breaks and different movements of breathing, appoggiatura; the connection of the notes, harmony, and the character of the movement (as a Sicilian dance).

The projection of the sound has to be similar to what singers do, but through the bow.</marc:subfield>
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            <marc:subfield code="a">TARTINI, G.: Violin Sonata, "The Devil's Trill": II. Allegro energico (Masterclass with Miriam Fried) (Kulibaev, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">The student has to show the character of the movement: it is not the same 'energetic' as 'angry'. In similar sequencies, the student has to decide how to play each of them.

The professor talks about the structure of the movement in relation to phrasing. The proportion has to be kept.

Other considerations are flexibility in music, group of notes in several passages and dynamics.</marc:subfield>
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            <marc:subfield code="a">TARTINI, G.: Violin Sonata, "The Devil's Trill": III. Grave - Allegro assai (Masterclass with Miriam Fried) (Kulibaev, Gladkov) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Sonata in G Minor, "The Devil's Trill": III. Grave - Allegro assai (PAL) ( 46 min., 54 sec. ) / Tartini</marc:subfield>
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            <marc:subfield code="a">At the beginning of the lecture, Professor &lt;i&gt;Fried&lt;/i&gt; gives general recommendations about the meaning of playing with someone else and about what it implies, in terms of gestures, communication and the rapport among parts. It is important, as musicians, to show the particular characteristic of each music (she makes a comparison between &lt;i&gt;Tartini's Sonata and Tchaikovsky's Concerto&lt;/i&gt;).

Regarding the harmonic aspects, each sound has to be adapted to the harmony and listened to in a more conscious way. Harmonic rhythm is also very important. In the cadenza (completely composed by Kreisler) the harmony in dominant-tonic has to be played with more sound. The professor explains some aspects of the trills: it is necessary to be in time before the trill's passage, so that they are not late. They must be played as if going up the steps.

There is a final recommendation about listening as much as possible, attending master classes with other teachers, and as much information as possible, in order to become an open-minded person.</marc:subfield>
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            <marc:subfield code="a">SIBELIUS, J.: Violin Concerto, Op. 47: I. Allegro moderato (violin and piano reduction) (Masterclass with Miriam Fried) (Ganev, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, &lt;i&gt;Miriam Fried&lt;/i&gt; focuses on vibrato explanations: speed, bow weight, intensity, connection between the notes. 

The type of vibrato depends on what we want to express. Regarding the first movement of the violin concerto, Fried highlights the distant character of the start and other expressiveness issues. She also makes some corrections about dynamics, harmonic analysis, thematic contrast, sound quality and articulations, among others. To conclude, Professor Fried proposes a violin technique exercise to improve the bow technique and therefore the sound quality.</marc:subfield>
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After that, &lt;i&gt;Prof. Fried&lt;/i&gt; deals with issues such as phrasing, vibrato, dynamics, and articulations. She also makes a brief reflection about the writing by &lt;i&gt;Shostakovich&lt;/i&gt; and other contemporary composers.

Professor Fried points out that bow speed and distribution are tools to express emotion. It is important to know the orchestral instruments that take part in certain passages because this has an effect on the required sound balance. She also suggests the student to consider that the musical character is provided by both the "discourse" speed and the agogics.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Violin Concerto No. 3: I. Allegro (Masterclass with Miriam Fried) (Galikhanov, Gladkov)  (PAL)</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., 11 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">This movement has a playful and cheerful character, which has to be expressed in the performance. &lt;i&gt;Professor Miriam Fried&lt;/i&gt; also works on articulation, harmonic and ornamental elements, bow direction, movement of the arm, etc.

Finally, she highlights and lists the elements that produce and change the color of the sound. A performer should think and experiment with all these elements, to combine them in order to get the required sound changes.</marc:subfield>
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            <marc:subfield code="a">The professor advises the student to establish a quicker tempo from the beginning.

She insists on the importance of color changes: it is not just a question of dynamics; they are necessary both to point out the tonal modulations and for the phrasing when the violin has a long note and the piano has a change in harmony. The student has to plan this color changes to save enough bow and to put more interest in emphasizing the dissonances.

About the tempo, when the student is late during the movement, it is like a machine running out of fuel and it is not comfortable for the pianist.

About phrasing, it is very advisable not to play in such a horizontal way. The phrase has to get somewhere and it must have direction. Without that vertical point, this horizontal approach has no meaning. For example, in a specific phrase, the climax is on the high G, so the student has to think how to get there.</marc:subfield>
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            <marc:subfield code="a">PAGANINI, N.: 24 Caprices, Op. 1: No. 20 in D Major (Masterclass with Miriam Fried) (Zelaia Zia) (PAL)</marc:subfield>
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            <marc:subfield code="a">First, they consider different options for bowing. Prof. Fried also advises not to play a part faster than the other: a change in the tonality does not mean a change in the tempo.

Additionally, &lt;i&gt;Prof. Miriam Fried&lt;/i&gt; makes some comments about bow position and pulse problems, direction and phrasing; and they also work on bow issues and on the movement of the right arm.</marc:subfield>
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            <marc:subfield code="a">The masterclass begins with an explanation about the convenience of playing the reprise, as the Minuet-Trio-Minuet in the classical period, so that the piece finishes in tonic.

The student focuses too much on the first note, neglecting the following ones. Afterward, &lt;i&gt;Miriam Fried&lt;/i&gt; corrects some issues about vibrato, phrasing depending on harmony, bow pressure, sound, intervals, and performance attitude.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, there are technical corrections on bow technique and articulation and phrasing.

Regarding the bow technique, the bow has to move as if it was dancing and the student must play with more contact between fingers and bow. It is necessary to modify the quantity of bow depending on the different character of the passages.

As per the articulation and phrasing, the sensuality of this piece lies on the triplets, and the secret is to lengthen the second note of each triplet. The articulation must be clearer, thinking in consonants. In the phrasing, join the notes in groups. In case a finger is not being used, it should be off the string.

Corrections on glissando. There are also some comments about general issues, such as attitude and study methods: as musicians, we have the responsibility to correct what we do not like and does not make us happy, we have to experiment with all the possibilities. If something goes well during the study at home, we have to be able to repeat it in front of the audience; to that end, we must carry out a very reflective study, being aware of each movement.</marc:subfield>
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            <marc:subfield code="a">SIBELIUS, J.: Violin Concerto, Op. 47: I. Allegro moderato (Masterclass with Miriam Fried) (López Ibarra, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto in D Minor, Op. 47: I. Allegro moderato (violin and piano reduction) (PAL) ( 36 min., 56 sec. ) / Sibelius</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Miriam Fried&lt;/i&gt; talks about the virtuoso character of the coda. It is not necessary to phrase each note, the violin part has not thematic interest. However, the important thing is to give form and direction to the groups of notes without interfering with the orchestral theme, and to show contrast in the registers.

The Professor then works issues such as rhythmic precision, sound balance, clarity in the arpeggios, articulation and accents, fingering and shifts, quantity and weight of the bow, among others. Finally, Prof. Fried advises the student on tuning: in certain passages, the student plays higher than the piano because she presses too hard the fingers on the fingerboard.</marc:subfield>
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            <marc:subfield code="a">CHAUSSON, E.: Poème, Op. 25 (Masterclass with Natalia Prishepenko) (Mendoza, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Mendoza, Rubén, Artist -- Chausson, Ernest, Composer</marc:subfield>
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            <marc:subfield code="a">The mysterious character requires more relaxation at the beginning of the piece.

The performance has to be easier. Referring to formal issues, the bridge has to be an ally when playing because it is where we control the 'string-bow' contact point.

Professor &lt;i&gt;Natalia Prishepenko&lt;/i&gt; also gives indications about dynamics, phrasing, bow speed and expression.</marc:subfield>
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            <marc:subfield code="a">WIENIAWSKI, H.: Fantaisie brillante on themes from Gounod's Faust (Masterclass with Natalia Prishepenko) (Areal Martínez, Gladkov) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Natalia Prishepenko&lt;/i&gt; remarks the importance of the piano part, which is necessary to be kept in mind. Although the musicians play by heart, it is important that they have the score with them to feel how 'chamber music' is "made" and to be aware of the other parts.

Some indications on the violin's particella and the general score. 
The professor explains the weight that must be given to the first notes at the beginning and the right position in relation to the piano for chamber music performance. The student has to focus on phrasing, emphazising the drama, the bridge as the place to project the sound, and the bowings at the end of the movement.</marc:subfield>
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            <marc:subfield code="a">After giving the students some general indications at the end of the performance, &lt;i&gt;Natalia Prishepenko&lt;/i&gt; advises them on the maintenance of the intensity from the beginning: bowing and articulation must go with the character of this piece. Afterwards, she makes some comments about phrasing and articulation applied to specific passages.</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Natalia Prishepenko&lt;/i&gt; makes some comments about the fourth movement of &lt;i&gt;Schumann's Piano Trio No. 3, Op. 110&lt;/i&gt;, such as the "leggiero" character of certain passages, the freedom in the violin and the rapport with the piano, the continuation of the crescendi until the end, and stronger sforzati.
 
Finally, she adds some general comments about the Viennese chamber music.</marc:subfield>
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            <marc:subfield code="a">Prof. &lt;i&gt;Holl&lt;/i&gt; begins with general comments on the difference between German lied and French melodie. 

Regarding the specific song &lt;i&gt;Je ne t'aime pas&lt;/i&gt;, Holl mainly makes corrections about articulation and phrasing.</marc:subfield>
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            <marc:subfield code="a">GRIEG, E.: Melodies of the Heart: No. 3. Jeg elsker dig (I Love but Thee) (Masterclass with Hartmut Höll) (Falcon, Cabrera) (PAL)</marc:subfield>
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            <marc:subfield code="a">First, Prof. &lt;i&gt;Holl&lt;/i&gt; advises the student to sing the theme twice. Then, he makes some corrections about the initial rhythm: both the pianist and the singer should show more freedom and expressiveness.  Additionally, &lt;i&gt;Hartmut Holl&lt;/i&gt; makes some comments about dynamics and character, among others.</marc:subfield>
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            <marc:subfield code="a">STRAUSS, R.: 8 Gedichte aus Letzte Blätter: No. 1. Zueignung (Masterclass with Hartmut Höll) (Falcon, Cabrera) (PAL)</marc:subfield>
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            <marc:subfield code="a">8 Gedichte aus Letzte Blätter, Op. 10, TrV 141: No. 1. Zueignung (PAL) ( 18 min., 44 sec. ) / Strauss</marc:subfield>
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            <marc:subfield code="a">In general, the student's performance was too much restrained, and Holl considers that it should be more 'pathetic' and express more feelings depending on the lyrics. After some indications about dynamics and pronunciation, Professor &lt;i&gt;Holl&lt;/i&gt; works with the pianist. He also recommends the student to change her corporal position and voice color according to each song.

Afterwards, Prof. Holl works on rhythm and tempo issues and he gives some final indications about the articulation following the words pronunciation.</marc:subfield>
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            <marc:subfield code="a">DVOŘÁK, A.: Cello Concerto, Op. 104: I. Allegro (Part I) (Masterclass with Amit Peled) (Camats, Sittig) (NTSC)</marc:subfield>
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            <marc:subfield code="a">One of the most sought after cello pedagogues, Israeli cellist &lt;i&gt;Amit Peled&lt;/i&gt; is a Professor at the Peabody Conservatory of Music of the Johns Hopkins University. From the United States to Europe to the Middle East and Asia, Peled is acclaimed as one of the most exciting instrumentalists on the concert stage today and described as a musician of profound artistry and charismatic stage presence. 

Peled often surprises audiences with the ways he breaks down barriers between performers and the public, making classical music more accessible to wider audiences. Tim Smith of the Baltimore Sun reflected on a recent performance: "Peled did a lot of joking in remarks to the audience. His amiable and inviting personality is exactly the type everyone says we'll need more of if classical music is to survive." Peled was chosen among "Musical America's 30 Professionals of the Year 2015 and performs on Pablo Casals's own cello, a 1733 Matteo Gofriller loaned to him by the great cellist's widow, Marta.</marc:subfield>
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            <marc:subfield code="u">https://univportal.naxosvideolibrary.com/search?filter=catalogue%26search=iClassical086</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Rainer Schmidt&lt;/i&gt; insists on the phrasing, vibrato and dynamics of the second part of the Minuetto. Moreover, the sound has to be more focused and more concentrated, and to create more tension in some moments. Regarding the tempo, it should not be so fast, and he compares it with Corelli's concerto concerto.

Professor Schmidt also explains the transition from the first movement to the second and works on colour changes and different possibilities. 
Other comments about legato and articulation, tuning, tempo in some passages and violin fingering. The group has to breathe together and look for character contrasts to move away the monotony.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Holl&lt;/i&gt; starts the masterclass explaining the character of the piece and giving some corrections on phrasing and articulation. Rubato, tempo, colour and dynamics are also topics to be studied in the class.

He insists on German pronunciation - specifically the vowels - and comments aspects such as phrasing and flexibility in the voice line. He explains the construction of the phrase and the previous preparation required to build it.

Finally, Professor Holl focuses on the expression and the sound through the vowels and the consonants.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Holl&lt;/i&gt; explains aspects related to the coloratura and how to prepare it. The understanding of the piece is very important to give the suitable expression.
 
Phrasing, articulation, pronunciation in German, colour and dynamics are also topics to be work on.</marc:subfield>
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            <marc:subfield code="a">WEILL, K.: Marie Galante: Tango, "Youkali" (Masterclass with Hartmut Holl) (Falcon, Cabrera) (PAL)</marc:subfield>
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            <marc:subfield code="a">First, Prof. &lt;i&gt;Holl&lt;/i&gt; points out that the piano should act more as a backing, without showing too much emotion. Then he talks about the freedom of the performance regarding her personality for the 'chanson' character and he makes a recommendation to the student about this kind of repertoire.</marc:subfield>
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Then he focuses on the historical context of the songs cycle &lt;i&gt;Sieben fruhe Lieder&lt;/i&gt; by &lt;i&gt;Alban Berg&lt;/i&gt;, pointing out the contrast between the different versions (with piano or orchestra). 

Finally, Holl adds some corrections about articulation and phrasing, tempo and agogics, character of the song, dramatic expression and color in the voice.</marc:subfield>
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            <marc:subfield code="a">Cabrera, Ángel, Artist -- Kato, Taro, Artist -- Schober, Franz von, Lyricist -- Schubert, Franz, Composer</marc:subfield>
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            <marc:subfield code="a">In this masterclass, they work on some corrections and topics, such as the character - which should be played with more simplicity -, the tempo, pronunciation and articulation, sound quality in piano part, vowels and consonants, emission, and flexibility. 

He also explains the concept of 'opus' and talks about the main theme, which has references to generosity and personal gratitude and needs to  be more cantabile and open.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Holl&lt;/i&gt; gives some indications to the piano part referring to posture, distribution of energy, character and hand movements.

Regarding the singer, Professor Holl focuses on emission, accents in some moments, breathing, meaning of the text, pronunciation, open sound, and flexibility. He also explains the use of different editions of the score and the body gestures while singing.</marc:subfield>
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He also makes corrections to the singer to improve aspects like emission, pronunciation, expression, body movement, vowels, rhythm, and dynamics. The professor thinks that it is desirable to open the voice in a specific passage and gives the student some ways to study this piece.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Holl&lt;/i&gt; gives general indications related to the main aspects of voice training: pronunciation and projection when performing a phrase. He also advises the student on the need to create her own personality as a singer. The singer has to avoid voice gaps or leaps and rather imagine and create a voice line. General musical aspects such as dynamics, articulation and expression are also present.

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            <marc:subfield code="a">Professor &lt;i&gt;Holl&lt;/i&gt; advises the student to relax herself at the end of a song and to take some time before she starts the next one, so that she gets to the required mental and physical state. Afterwards they work on expressive aspects of the lyrics.

Prof. Holl also mentions some exercises of the &lt;i&gt;Stanislavski Method&lt;/i&gt; and then he makes some comments on air emission, dynamics, accents and phrasing, energy and breathing, etc. The key is to create vital situations. Finally, &lt;i&gt;Hartmut Holl&lt;/i&gt; insists on what a lied is: a moment in life that must be created in a personal and natural way.</marc:subfield>
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            <marc:subfield code="a">The textural work &lt;i&gt;Body Textures&lt;/i&gt; is a beautiful sonic journey into the human body's different cells. Cross-sectional images of cell types such as fat, protein and connective tissue form the basis of the orchestral work, and have served as an inspirational source for the different texture areas and movements.

Compsoser &lt;i&gt;Signe Lykke&lt;/i&gt; has always been deeply absorbed by the human body - this marvelous piece of meat with a crazily advanced organic machine, which we at the same time know so incredibly much and so infinitely little about. In the same way as in the big jigsaw puzzle, the universe, we are looking for missing pieces that can help us understand and decode the great context. Body Textures is a tribute to all of that we do not understand, but that fascinates us every day and forms the foundation stones of our existence.

Body Textures is released both as an digital audio work and as an audio/visual work with video art by highly acclaimed video artist &lt;i&gt;Yoshi Sodeoka&lt;/i&gt;</marc:subfield>
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            <marc:subfield code="a">LISZT, F.: 12 Etudes d'execution transcendante: No. 10 in F Minor, "Appassionata" (Masterclass with Gülsin Onay) (Tokur) (NTSC)</marc:subfield>
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            <marc:subfield code="a">&lt;i&gt;Gulsin Onay&lt;/i&gt; graduated at the Paris Conservatoire, at the age of 16, winning the prestigious "Premier Prix du Piano". She won many prizes in top international competitions, including the Marguerite Long-Jacques Thibaud (in Paris) and the Ferruccio Busoni (in Bolzano). Gulsin Onay's subsequent, truly international, career has spanned 68 countries across all continents, from Venezuela to Japan. 

Gulsin Onay has given concerts in the major musical centres of the world. She holds the titles of State Artist in her native Turkey, and of soloist for the Presidential Symphony Orchestra in Ankara. She is "Artist in Residence" at Bilkent University in Ankara and holds an honorary doctorate degrees from Bosphorus University in Istanbul, and from Hacettepe University in Ankara. The Sevda-Cenap And Music Foundation awarded its prestigious 2007 Honorary Award Gold Medal to Gulsin Onay, and she was named "Pianist of the Year" in the 2011 Donizetti Classical Music Awards. In 2014 she was awarded the Honorary Medal of the 42nd Istanbul Music Festival.</marc:subfield>
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            <marc:subfield code="a">STRAUSS, R.: Violin Sonata, Op. 18: I. Allegro ma non troppo (Masterclass with Miriam Fried) (Yoshiko Ueda, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Fried&lt;/i&gt; remarks the theatrical character of the piece and compares it with &lt;i&gt;Richard Strauss' Der Rosenkavalier&lt;/i&gt;. In this work, it is necessary to have a wider range of energies. In the reprises and the repetitions of the material, it is more interesting to play in a different way.

The student has to be aware of the harmonic changes, as projecting the music. Everything is connected. The phrasing is more open and the colours more exaggerated.

The professor gives advice on bow use, sound, character, chords and vibrato. She also gives some keys about the piece's signification, articulation and rhythm. It needs to be played with more unease.</marc:subfield>
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            <marc:subfield code="a">This piece requires different colors, so Professor &lt;i&gt;Fried&lt;/i&gt; advises the student not to play with the same bow direction, distribution or speed. At the beginning, the sound should be low, and then it should gradually increase with vibrato. Regarding vibrato, it is recommended to place the flat finger on the string.

Finally, Miriam Fried gives an indication about character and tempo for the cadenza, and other aspects like glissandi and fingering according to the style of the period.</marc:subfield>
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            <marc:subfield code="a">PROKOFIEV, S.: Violin Concerto No. 1: I. Andantino (violin and piano reduction) (Masterclass with Miriam Fried) (Eri Masaoka, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto No. 1 in D Major, Op. 19: I. Andantino (violin and piano reduction) (PAL) ( 01 hrs., 02 sec. ) / Prokofiev</marc:subfield>
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            <marc:subfield code="a">The explanation begins at the end of the piece and deals with sound, dynamics, and bow use. Professor &lt;i&gt;Miriam Fried&lt;/i&gt; insists on this last issue and explains possible bow changes (in specific passages), the right arm movement -like a pendulum and freer- and bow speed. She talks about the position of the left hand in relation with the use of the vibrato.

The fingers are very important while playing because they convey musical information. The sound must be more concentrated, which means that the student must be more conscious of the contact point. It is important to be aware of the other instruments in the orchestra to have a correct balance. It is also interesting that the student makes a visual choreography of the performance and thinks more about the requirements of the piece.</marc:subfield>
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            <marc:subfield code="a">In this first part of the masterclass, Professor &lt;i&gt;Miriam Fried&lt;/i&gt; works on some issues about rhythmical accuracy, pulse and tempo. Then she advises the student on phrasing and accents - not to think note by note, but in bigger groups. Finally, Miriam Fried explains some technical issues related to left hand fingers and pressure.</marc:subfield>
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            <marc:subfield code="a">In general, this second part of the masterclass with &lt;i&gt;Miriam Fried&lt;/i&gt; is focused on sound quality and how to improve it. In this sense, Professor Fried gives some advice about bow pressure, movement and distribution, elbow position, coordination, shifts, double cords, weight, and bow speed.</marc:subfield>
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            <marc:subfield code="a">Sonata for Solo Violin in D Minor, Op. 27, No. 3, "Ballade" (NTSC) ( 01 hrs., 19 sec. ) / Ysaÿe</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Poppen&lt;/i&gt; thinks that, since the student has performed the piece with a very good technique, he should then raise the performance to the next artistic level, climb a step forward. It is also necessary to achieve other colors, as well as to work deeper in the search for different sounds. The professor explains how to start the vibrato.

The right hand must be relaxed in the frog part. There are rhythm issues in relation with accelerando and ritardando. 

The piece requires more drama and Professor Poppen compares it with Brahms' music. He talks about contrast in the fermata and says that the bow speed is the responsible of the quality of sound. 

They also work on bow pressure in double stops and dynamics within phrasing. The student has to recreate an impressionist atmosphere and to control the speed and quantity of the bow and its way to enter into the string - with more or less pressure (the sound is formed from the bow). 

In the final fortissimo, the sense of development has to be present by pulling and not stroking the bow. We have to look for the contact point with more flexibility. In moments when the bariolage technique is used, it is necessary to go more into the string. The last chords must be played always in tempo.</marc:subfield>
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            <marc:subfield code="a">There are some initial corrections on sound and color, and on rubato and tempo links between the parts of the &lt;i&gt;Poeme&lt;/i&gt;. Then &lt;i&gt;Poppen&lt;/i&gt; mentions some aspects about the edition circumstances of this composition. Additionally, the professor makes some corrections about shifts, articulations, sound quality, double cords, phrasing, soloist and orchestral parts, and right hand regarding the sound preparation and creation, bowings, etc.</marc:subfield>
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            <marc:subfield code="a">The masterclass starts with a reference to &lt;i&gt;Bizet's&lt;/i&gt; opera &lt;i&gt;Carmen&lt;/i&gt; and an explanation about the character that the performance of this work should have - not feisty, but more like singing in an elegant way.

Professor Poppen gives several indications on bow quantity, dynamics and phrasing in different moments of the piece. The ornamentation must be softer and, in certain passages, it is necessary to do a freer rubato, at the same time as tenuto, and keeping the tension, the speed and the bow distribution in order to get a better quality of sound. He insists on the student being more charming and showing more beauty instead of power or strength.

Professor Poppen also suggests him to play with more contact in the bow and sometimes to pay attention to the sound and the tuning, with a clear phrasing and spiccato.</marc:subfield>
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            <marc:subfield code="a">The character of this piece is like a prayer. In general, the student needs to play with more bow contact and speed. In a certain passage containing a great leap, Professor &lt;i&gt;Poppen&lt;/i&gt; revises the string change and the finger position to achieve better sound and more strength. Technically, the student has to use more pressure in the middle of the bow towards the fingerboard. In order to get better sound, the bow has to be parallel to the bridge. The professor adds some explanations about articulation in legato.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Poppen&lt;/i&gt; begins with a brief comment about tuning on the stage. After the performance, he gives the student some advice on the position of her left shoulder, the playing stance and the tension/relaxation in the left hand.

Afterwards, Christoph Poppen makes some indications about the 'capriccioso' character and the expressiveness of the piece; as well as about the vibrato, the sound and the dynamics, among others. He also makes some comments about bow direction, syncopation and accents, bow-strokes, pressure in the strings, pauses, articulations and fingers.</marc:subfield>
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            <marc:subfield code="a">Adopted from Thomas Mann's 1923 novella, &lt;i&gt;Death in Venice&lt;/i&gt; was &lt;i&gt;Benjamin Britten's&lt;/i&gt; last opera, the composer insisting on its competition while delaying badly needed heart surgery. The starkly simple narrative of a famous but failing novelist travelling to Venice to seek inspiration only to find unhealthy infatuation and deadly cholera, is given a chamber-like precision and clarity through Britten's score, becoming a haunting drama filled with musical symbols, disquieting mystery and richly evocative atmospheres of Venice and its strange characters.</marc:subfield>
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            <marc:subfield code="a">With this unique programme, &lt;i&gt;Hangzi Wang&lt;/i&gt; takes us into the 'fairy-tale world of the accordion' in works by Danish composers that explore both the darkness and luminosity of &lt;i&gt;Hans Christian Andersen's&lt;/i&gt; famous stories.

Performed by up and coming artist, Hangzi Wang, is the accordion's best perfect ambassador. Praised for her engaging stage presence and performances that are technically and musically brilliant, her career has already taken her around the globe with performances in Europe and Asia. As First Prize winner of the Young Concert Artists International
Auditions in New York, she is now introducing US audiences to the accordion with recitals throughout the country, including debuts in New York at Carnegie Hall's Zankel Hall and in Washington, DC at the Kennedy Center. Other distinctions include first prizes in several music competitions around the world.</marc:subfield>
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            <marc:subfield code="a">Introduction and Polonaise brillante in C Major, Op. 3 (arr. L. Rose for cello and piano) ( 35 min., 08 sec. ) / Chopin</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Tsuyoshi Tsutsumi&lt;/i&gt; comments the tempo of the work after the student's performance. Tsutsumi advices him not to waste the energy of the bow hand beforehand. The intention of the sound has to be shown at the right moment.

The student can sing the smaller notes and do it more fluent, enjoying it while playing.

The professor proposes some bowing changes, e. g., in the Polonesa theme, the second time it appears, the bowings have to be separated because it is a persistent music. They work on shifting the harmonics to get a more reliable position.

All the changes have to be anticipated with enough time. This way, the musical discourse is a continuous process.

Finally, fingerings, bow pressure, quality of sound in chords when the whole bow is working and the need to listen to himself are also aspects commented by Professor Tsutsumi during the class.</marc:subfield>
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            <marc:subfield code="a">BRAHMS, J.: Cello Sonata No. 2: I. Allegro vivace (Masterclass with Tsuyoshi Tsutsumi) (Várdai, Llorente) (PAL)</marc:subfield>
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            <marc:subfield code="a">First, Professor &lt;i&gt;Tsuyoshi Tsutsumi&lt;/i&gt; explains where the work was composed, so that the student knows the composition context and can reproduce this freedom, relaxation, and natural character. Afterwards, they work on dynamics, phrasing, pulse, tempo and other musical issues for this Cello Sonata.

Tsuyoshi Tsutsumi also advises the student to play the chromatic passages with more expressiveness and enjoyment.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, they first work on the pizzicato at the beginning in order to improve the sound, and then Professor &lt;i&gt;Tsuyoshi Tsutsumi&lt;/i&gt; makes some corrections on issues such as the left hand, expressiveness, phrasing, rapport with the piano, legato aspects, and vibrato.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Thunemann&lt;/i&gt; gives some advice related to the phrase structure at the beginning of the piece. He makes some corrections on several notes, dynamics, breathing and rhythm.

The professor transmits to the student the need to have a meticulous respect to the score accuracy. He comments the specific legato in a passage and gives some indications on vibrato to be followed by the students: French music has to be performed with more vibrato in high pitches.

Regarding the tempo, it is necessary to play more fluent, trying not to slow down.</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Professor &lt;i&gt;Thunemann&lt;/i&gt; says that the student's sound vibrates too much, so the emission has to be more solid. Regarding the indications on the score, the student has to pay attention to the value of the notes, rhythms, and tempo - not rushing, and leave more space between every note in the staccato. 

The professor also corrects the tuning in several notes and comments that it is necessary to change the reed for the high F.

The staccato is with more tongue, shorter and with more character. Regarding the dynamics, the crescendo is not so subito. Thunemann insists on not rushing the tempo and taking time in several moments, without rallentando in the final part.

When we have two similar rhythmical structures, the performance of the first structure must be slower than the performance of the second one.</marc:subfield>
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            <marc:subfield code="a">I. Rubato: First, &lt;i&gt;Jaime Martin&lt;/i&gt; gives some indications about phrasing and articulation (more like "speaking"), syncopation, direction and character. Then they work on the rapport in the ornamental parts, tempo, dynamics, vibrato, and tension.

II. Andante: The Professor suggests that the student should look for a different color in the 'Poco sostenuto' after the 'Andante' introduction: like a violin in the G-string, not too much open, painful. Then he advises the student where is it better to breathe to keep the tension and phrasing.

III. Poco rubato: Professor Martin recommends starting the third movement above the piano resonance of the previous movement, so that the tempo is more suitable, and he plays this beginning to show it to the student.

IV. Andante: Professor Martin shows how to play this piece and then he advises the student about expressiveness and attitude in the performance: it is better to exaggerate than to fall short. Afterwards they work on dynamics, rapport with the piano and character.</marc:subfield>
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            <marc:subfield code="a">This Scherzo is like a bridge between the sad songs and the happy ones. It has a lot of humor, and so Professor &lt;i&gt;Martin&lt;/i&gt; advises to be flexible with the tempo in this performance and play it in the Hungarian "Czardas" style. The first three measures are like an introduction and so that they should not be played "a tempo". Afterwards, there are some corrections about dynamics, rhythm, and phrasing at the end of the piece.</marc:subfield>
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            <marc:subfield code="a">15 Hungarian Peasant Songs, BB 79: Nos. 7-15 (arr. P. Arma for flute and piano) (PAL) ( 06 min., 21 sec. ) / Bartók</marc:subfield>
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            <marc:subfield code="a">VII. Allegro: These pieces are "old dances" and they must sound like folk music, not "pesante". Professor &lt;i&gt;Jaime Martin&lt;/i&gt; advises the student to listen to the &lt;i&gt;Tzigane&lt;/i&gt; violinist Roby Lakatos and play with a funny and popular character.

VIII. Allegretto: It is advisable to wait a little in the last note, giving a more "Hungarian style". Jaime Martin also suggests playing nonstop between movements. The sound should imitate the violin harmonics.

IX. Allegretto - X. L'istesso tempo: Professor Martin gives tempo indications and he plays both pieces to show it. Next movement also should be played directly "in attacca". Professor Martin also makes comments on character, sound, and how to play the last note to get into the following movement in the right way.

XI. Assai moderato: For this piece, Professor Martin gives some indications about tempo, phrasing and breathing between phrases, making it simpler.

XII. Allegro: The Professor indicates how to play this movement by playing it, and gives a brief comment on tempo.

XV. Allegro: Short remark about the fingering in a fast passage of this last piece.</marc:subfield>
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            <marc:subfield code="a">String Quartet No. 23 in F Major, K. 590, "Prussian No. 3": I. Allegro moderato (PAL) ( 51 min., 20 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Gunter Pichler&lt;/i&gt; thinks that the students have to play with more contrasting dynamics and to study all the possibilities of expression. The character of the piece is like a dance and it should be sang as a human voice.

Other topics that professor Pichler comments are: articulation and quality of sound. Regarding the dynamics, he talks about the connection between forte and piano, the clarity of diminuendo and crescendo, different ways to play a pianissimo depending on the ensemble (orchestra, quartet, soloist, etc.) and the recommendation to avoid pianissimo dynamics in the solos.

About bow and expression, professor Pichler talks about vibrato, bowings, how to play a forte - without stopping the bow -, bow preparation in cello part and bow quantity required in several moments.

Finally, other topics are phrasing, tempo, tuning, articulation, tempo, and the student's attitude while playing.</marc:subfield>
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            <marc:subfield code="a">At the beginning of the masterclass, Professor &lt;i&gt;Canino&lt;/i&gt; mentions some acoustic issues and he tells an anecdote to the members of the Trio. Then they work on the tempo, the first entry, and the balance of the dynamic balance between the three instruments. Bruno Canino gives some indications to the piano about pedal, accents and sound and he also gives indications to the strings about character and tuning.

Afterwards, they compare some different works by &lt;i&gt;Beethoven&lt;/i&gt;, and they work on some musical issues such as tempo, trills, triplets, dynamics, articulation, repetitions, contrast, color, sound balance, and phrasing. Finally, Canino advises them to look for simplicity and ease.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, &lt;i&gt;Bruno Canino&lt;/i&gt; focuses on the rapport between the Trio members. Afterwards, they work on dynamic aspects. Regarding them, they reflect on the subito piano before the crescendo indication, and the drama in Beethoven. Besides some bowing and harmonics indications, Canino makes also corrections on articulation and pedal, suitable tempo for concert performance, rapport, and other considerations about the sound in the three instruments.</marc:subfield>
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He corrects many aspects of the piano technique, as articulation - staccato or legato -, expressiveness, and pedal. He insists on the chord balance.

Regarding the violin, the student has to pay attention to the dynamics, fingerings, and bowings.

The beginning of the piece in Allegro must be very energetic. 
Professor Canino follows the masterclass with some corrections to the piano part again: arpeggiato chords, balanced articulation, dynamics and character. He also explains how to make a good crescendo, different articulations and flexibility within a tempo, among other issues.</marc:subfield>
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            <marc:subfield code="a">First, Professor &lt;i&gt;Schellenberger&lt;/i&gt; makes a recommendation about dynamics and sound balance. In this kind of works, it is important to respect all the dynamic indications to understand the performance. The rhythm also must be very clear, and the entries very precise.

Schellenberger also suggests that the beat should be constant and then he insists on 'motif' issues: location, appearance, which instrument has to play them, etc. Finally, there are also particular corrections on accents and articulation.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Hansjorg Schellenberger&lt;/i&gt; gives general considerations about the way to play this piece: the beginning is piano; yet, at the same time, the theme has stand out, playing with more freedom during the crescendo. The performance must be lighter in general, with 'swing'.

Professor Schellenberger explains the dynamics of the whole piece, as well as the phrasing and the meaning of each section, and how to feel them. The score accuracy is necessary to read and understand the composer's indications.

The professor compares the work with the architecture and painting of the 'Belle Epoque': the asymmetric elements, the curves, Mahler's music, etc. everything that shaped the 'Art Nouveau'.

Regarding the tempo, in this case it has to be understood as a dance. It is also important to maintain the balance among parts, and the way to achieve it is by listening to the rest of the instruments and distinguishing the most remarkable parts at any time.

There is also a study of pulses in a very complex and rhythmical passage. In spite of the complexity of the rhythm, the professor insists on the importance of keeping the original tempo.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Schellenberger&lt;/i&gt; comments that the students have to feel the pulse in 3 and explains how to play the staccato (shorter) depending on the rhythmical elements of the other instruments. The shoulders have to be relaxed while playing. The professor also explains the dynamics of every part in several moments and the waltz rhythm in a specific passage.

At the end of the masterclass, professor Schellenberger explains the most important aspects of the movement: thematic elements, individual dynamics for each instrument - they have to be as exactly as possible for the whole to be clear. There are connections and correspondences among instruments, which is important to take into account - pay attention to canonical moments. Every sound has to be played with projection, with light.</marc:subfield>
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            <marc:subfield code="a">String Quartet No. 11 in F Minor, Op. 95, "Serioso": I. Allegro con brio (PAL) ( 26 min., 27 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Gunter Pichler&lt;/i&gt; works in depth on different passages and fragments of the movement with the Art Quartet. They focus on tuning, tempo, rhythm, articulation, character, dynamics, glissandi, shifts, quality of sound, and accents; as well as on the balance among all the instruments.</marc:subfield>
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            <marc:subfield code="a">BEETHOVEN, L. van: String Quartet No. 11, Op. 95: II. Allegretto ma non troppo (Masterclass with Gunter Pichler) (Art Quartet) (PAL)</marc:subfield>
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            <marc:subfield code="a">String Quartet No. 11 in F Minor, Op. 95, "Serioso": II. Allegretto ma non troppo (PAL) ( 22 min., 10 sec. ) / Beethoven</marc:subfield>
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            <marc:subfield code="a">Art Quartet, Ensemble -- Beethoven, Ludwig van, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Gunter Pichler&lt;/i&gt; works on the cello introduction in detail: less bow, attention to the rhythm, tempo and more concentrated sound. Later on, in the rest of the movement, they work on rhythm and sound (it is advisable to play with 'more air'), character, harmony, balance, articulation, vibrato and fingerings. Pichler explains that 'sotto voce' and 'mezza voce' come from singing, but it is not necessarily pianissimo. The chords have to be played with more weight and extension of the bow, constantly being aware of the harmony.</marc:subfield>
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            <marc:subfield code="a">SHOSTAKOVICH, D.: Cello Concerto No. 1, Op. 107: II. Moderato (Masterclass with David Geringas) (Pelaez, Montalván) (PAL)</marc:subfield>
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            <marc:subfield code="a">Cello Concerto No. 1 in E-Flat Major, Op. 107: II. Moderato (cello and piano reduction) (PAL) ( 50 min., 48 sec. ) / Shostakovich</marc:subfield>
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            <marc:subfield code="a">Montalván, Ofelia, Artist -- Pelaez, Pedro, Artist -- Shostakovich, Dmitry, Composer</marc:subfield>
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            <marc:subfield code="a">First, Professor &lt;i&gt;Geringas&lt;/i&gt; corrects the tempo of the student's performance of this movement. It is an emotional piece, so it is advisable not to use too much bow and to maintain the contact but with less weight. After that, they comment the orchestral instruments for this cello concerto and the characteristics and expressive differences between the theme and the recitative parts.

After an indication about harmonics, Professor Geringas insists on the character of the piece and the kind of feelings and emotions that the student should show when playing it.

Finally, Professor Geringas gives to the student a general advice about the relevance of knowing the reasons why the composer wrote each work. According to him, it is important to know the history, life and context of the composers, so that the students can get in touch with their inspiration, character and feelings.</marc:subfield>
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            <marc:subfield code="a">SHOSTAKOVICH, D.: Cello Concerto No. 1, Op. 107: I. Allegretto (Masterclass with David Geringas) (Pelaez, Montalván) (PAL)</marc:subfield>
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            <marc:subfield code="a">Cello Concerto No. 1 in E-Flat Major, Op. 107: I. Allegretto (cello and piano reduction) (PAL) ( 53 min., 44 sec. ) / Shostakovich</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;David Geringas&lt;/i&gt; remarks that some editions do not include a specific sforzato. Regarding the character, there is such a great energy in this piece that the performer feels motivated to go ahead, it is a constant drive. The student should not lose the higher lines even if there are very intense bowings. The student must pay attention to the character of every single motif. The syncopations help to reinforce the intention of the character. As the movement of the piece is steadily growing and developing, it is not possible to play every passage in the same way.

Professor Geringas insists on articulation and on the need of being faithful to the original. He makes a study of different articulations and the most appropriate setting for each of them. It is not advisable to play spiccato in the passages where lightness is not required and tempo has to be strictly kept.  Professor Geringas asks the student to distinguish between the different energies demanded by the composer and to create more contrast among them. He also talks about the syncopations as an expressive resource.

It is necessary to know the full score very well and the voice that is carrying out the theme every time. Finally, Professor Geringas gives two interesting ideas: when we want to achieve more sound, we have to give more weight and bow quantity and movement; and when we drive the energy to a specific point, we must hold the tempo.</marc:subfield>
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            <marc:subfield code="a">TCHAIKOVSKY, P.I.: Violin Concerto, Op. 35: I. Allegro moderato - Moderato assai (Masterclass with Pamela Frank) (Florea Sitja, Gladkov) (PAL)</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) (PAL) ( 39 min., 19 sec. ) / Tchaikovsky</marc:subfield>
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            <marc:subfield code="a">Gladkov, Vadim, Artist -- Florea Sitja, María, Artist -- Tchaikovsky, Pyotr Il'yich, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Pamela Frank&lt;/i&gt; starts with a brief consideration about the risk of being too much influenced by the recordings, in the case of such well-known pieces as this one. She then compares the works by this composer with those by Mozart (Tchaikovsky's favourite composer). The structure is comprised of long movements and Professor Frank also talks about the orchestration in this composition.
 
Later on, they work on several issues, such as sound spaces, vibrato, agogics, harmony, phrasing, syncopation and rhythm, character, and rapport with the piano.</marc:subfield>
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            <marc:subfield code="a">SIBELIUS, J.: Violin Concerto, Op. 47: II. Adagio di molto (Masterclass with Pamela Frank) (Poghosyan, Gifford) (PAL)</marc:subfield>
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            <marc:subfield code="a">Violin Concerto in D Minor, Op. 47: II. Adagio di molto (violin and piano reduction) (PAL) ( 47 min., 58 sec. ) / Sibelius</marc:subfield>
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            <marc:subfield code="a">Gifford, Duncan, Artist -- Poghosyan, Lilit, Artist -- Sibelius, Jean, Composer</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Pamela Frank&lt;/i&gt; asks the student to describe the idea of the piece and the intention of the composer. All the movement is filled with different expressions, which must be underlined. All of this has a strong connection with the melodic aspects and the length of the phrases. In relation to dynamics, all those expressions need more contrast. Professor Frank talks about the rapport with the piano (orchestra part) and insists on rhythm and resolutions (phrase ending).

They also works on bowings. It is necessary to 'sing' more with the bow and play with more passion, to rekindle the bow and even to exaggerate sometimes.

At the end of the movement, the character is 'morendo', so every aspect of the expression extinguish little by little, including the vibrato.</marc:subfield>
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            <marc:subfield code="a">VIEUXTEMPS, H.: Elégie, Op. 30 (version for viola) (Masterclass with Diemut Poppen) (Leka) (PAL)</marc:subfield>
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            <marc:subfield code="a">Élégie, Op. 30 (version for viola) (PAL) ( 46 min., 14 sec. ) / Vieuxtemps</marc:subfield>
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            <marc:subfield code="a">First, Professor &lt;i&gt;Poppen&lt;/i&gt; explains that the student should play with more elegance, and she indicates him how to raise and stop the bow to improve his performance.

Professor Poppen also recommends using more mane to get a darker sound and she gives other bow indications. Afterwards, they work on tuning and Professor Poppen suggests the student some bowing exercises. 
They also work on the weight of the right arm, the movement of the elbow and the relaxation posture. To improve these right arm issues, Professor Poppen suggests more exercises.

Finally, she offers the student further advice about bow, tuning, vibrato, pressure, etc.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Diemut Poppen&lt;/i&gt; explains that the tempo in the student's performance is too fast. Unlike the Courante, the Allemande is not a "jumping dance', but gentler and more melodic. It also needs more bow and energy in general. Regarding melodic issues, the bass voice is the most important in the piece and it needs more bow. The interval leaps must be shorter in contrast with the whole phrase, which should be longer. The voices have to be dynamically connected. All the voices have to be clear in the fast passages. When playing and practising the phrasing, it is necessary to be aware of the harmonic movements.

The index finger is the connection from the arm to the string, so if the student raises the finger all the time she loses a lot of sound. She has to practice every note with the index finger and play scales in that way and then with all the fingers. Professor Poppen comments that it is very useful to play some studies detache. The student has to take into account that, although during the Baroque period the way of playing is lighter and softer, it is very important not to lose the contact point with the string.</marc:subfield>
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            <marc:subfield code="a">In this masterclass, Professor &lt;i&gt;Diemut Poppen&lt;/i&gt; indicates the student that she has too much stress when playing, and that she should avoid unnecessary movements with the viola, as well as take care of her body posture, which tends to bend forward. The student also has to control the bad habit of breathing nervously. The trills must be shorter, as if she was playing a brief ornamentation. The student should think the pulse is in 3 in order to avoid jeopardizing the performance of the whole movement.

Professor Poppen also gives some advice about the most suitable bowings in certain passages; and she indicates that in less important moments, the student can play rubato to make the phrase more interesting, as well as to highlight the dynamics in the most relevant passages harmonically wise. Regarding phrasing, Professor Poppen considers that all the phrase ends should be softer. At the end of the class, Professor Poppen focuses on some technical exercises to monitor the movements of the fingers in the left hand. They practice scales in several positions and with one and two strings.</marc:subfield>
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            <marc:subfield code="a">BACH, J.S.: Viola da Gamba Sonata, BWV 1028: II. Allegro (Masterclass with Diemut Poppen) (Veisova Hilpo, Sanchez Fernandez) (PAL)</marc:subfield>
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            <marc:subfield code="a">This masterclass begins with short dynamical corrections. Afterwards, Professor &lt;i&gt;Diemut Poppen&lt;/i&gt; points out that the left hand - especially the thumb - has a bad position, and there are some notes out of tune because of a wrong fingering.

They also deal with bowing issues related to articulation and phrasing. Professor Poppen also advises the student to practice slowly in order to improve the attunement of the intervals and she recommends her to take care of the articulation.

Finally, they work on phrasing regarding the harmony of each passage.</marc:subfield>
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Professor Pressler explains a rhythmic motif in a certain passage of the piano part. He asks the ensemble to identify all the voices and explains some issues regarding the agogics (accelerandi, ritardandi), the pulse and the anacrusis.

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Finally, apart from the piece they are working on, Professor Pressler completes his explanations with general comments about musicians and members of different quartets.</marc:subfield>
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            <marc:subfield code="a">ROSSINI, G.: Sigismondo, Act I: Oggetto amabile [Opera] (Masterclass with Leigh Melrose) (Pino Herranz, Lamazares) (NTSC)</marc:subfield>
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            <marc:subfield code="a">For this Cavatina, they mainly work on breathing and phrasing issues. Professor &lt;i&gt;Melrose&lt;/i&gt; also makes some corrections on dynamics, pronunciation, expressiveness and staging regarding the libretto. It is necessary keep the energy and the breath as steady as possible to ensure that the music flows.
 
Afterwards, they work on the role portrayal and the Professor corrects the air emission at the beginning of the song. Additionally, they go over the climax of the Cavatina so that the student gathers all the energy needed in this part - according to the Professor, to achieve this the student should take more time to prepare the moment and should also take a deeper breath.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Entführung aus dem Serail (Die), Act III: Ich baue ganz [Opera] (Masterclass with Leigh Melrose) (Arrieta Salazar, Lamazares) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Die Entführung aus dem Serail (Abduction from the Seraglio), K. 384, Act III: Ich baue ganz auf deine Starke (NTSC) ( 30 min., 20 sec. ) / Mozart</marc:subfield>
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            <marc:subfield code="a">First, Professor &lt;i&gt;Melrose&lt;/i&gt; suggests the student to think about someone he loves a lot, and try to sing for him/her. The idea is to find the proper emotional state to perform this aria. They also work on phrasing and breathing in several passages. In one of them, after a great intake of breath, the student should hold back the air while delaying the moment to continue singing. In this same passage, it is especially important the connection and rapport with the piano.

The student must pay attention to the text and the articulation, according to the character and the emotion being described. He should not forget the expression in any passage. Professor Melrose explains that, when a high pitch is repeated, the support has to be kept, instead of rising and falling continuously. Tuning is also worked in certain moments. Finally, Professor Melrose suggests maintaining the attitude until the end of the aria to create a powerful conclusion.</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Melrose&lt;/i&gt; tells the student to allow the energy to enter his body. They work on the breathing of the first cue. The student needs more focus and more concentration of sound, as if the air were a laser.

Professor Melrose explains that the sound projection does not imply to push the voice and that the phrasing always depends on the text. 
They also work on body relaxation, maintaining the support without bending de body backwards.

Regarding the attitude, the student must trust himself. The relaxation and the rest of the muscles are very important to get a relaxed pitch and they help to make the vowels softer. There should be no rush in the word 'corona' and the student should maintain the exclamations in the final phrases until the end.</marc:subfield>
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            <marc:subfield code="a">First, Professor &lt;i&gt;Leigh Melrose&lt;/i&gt; points out that the student should hold the first phrase. They then talk about expressiveness and about how to better show the character's emotional moment in this aria. Afterwards, they work on phrasing and on the pronunciation of some words. In general, Professor Melrose advises the student to be more open. At the end of the masterclass, the student asks a technical question to improve the control of the tongue and Professor Melrose recommends him to maintain the mouth as relaxed as possible. It could be useful to practice in front of the mirror but without getting obsessed or feeling inhibited about this issue.</marc:subfield>
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            <marc:subfield code="a">MOZART, W.A.: Nozze di Figaro (Le), Act III: Vedro, menter'io sospiro [Opera] (Masterclass with Leigh Melrose) (Alonso Díaz, Lamazares) (NTSC)</marc:subfield>
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            <marc:subfield code="a">Professor &lt;i&gt;Melrose&lt;/i&gt; explains the interpretation and expression required for this aria. Special care should be taken in the solemn passage. Another fragment has to be articulated as a dance. Professor Melrose insists on the importance of paying attention to the text and its expressiveness, underlining the significance of certain words. He also explains to the student how to express changes in this character's thinking, as well as how to use the energy when the passage requires more vigour.</marc:subfield>
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            <marc:subfield code="a">PUCCINI, G.: Edgar, Act I: Questo amor, vergogna mia [Opera] (Masterclass with Leigh Melrose) (Alcantara, Lamazares) (NTSC)</marc:subfield>
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            <marc:subfield code="a">First, they talk about the story line for of this opera and its expressive implications. The simplest is always the best. Afterwards, Professor &lt;i&gt;Melrose&lt;/i&gt; makes some comments on phrasing regarding the lyrics, and he recommends the student to bear these thoughts in mind in order to activate the specific feeling.

He then highlights the importance of some moments according to the tension implied in the text: it is necessary to keep the tension with the public in order to maintain the interest.

Professor Melrose also thinks that the intensity mainly depends on the way we feel the words, rather than on the volume, which means that it is important to sing with a special color. Moreoer, Professor Melrose advises not to sing "like a singer" but like a "normal human being".</marc:subfield>
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