Menahem Pressler Masterclass - Schubert: Trio No. 1 in Bb, Op. 99 I. Allegro moderato / (05/09/04)

Описание: Schubert: Trio No. 1 in Bb Op 99
00:00 Allegro moderato
Hye Young Kim, piano
Daniel Park, violin
Chris Park, cello
(USC Chamber Music Program - Peter Marsh, Coach)
11:16 Now, you did many very nice things. It was very nice in tune, most of the time. That’s already quite something for strings. But, do you have Allegro moderato? You certainly didn’t play anything moderate at all. It was (a fast) 1 2 3 4 1 2 3 4. And the three of you so often so very loud. Let’s conduct an “Allegro moderato” (Sings). Can we try?
12:50 Now, what you do is (sings accent on first 16th m4)
Secondly, can you get a sound that comes out, not hard, loud, but a sound that is rich and has body? (Sings)
13:47 MPD pizz. And in Schubert, the 16th is not like a German 16th.
15:05 No. M6 C is a continuation, not a new beginning. Bb - to Cm
16:09 (10) The p must sound. It feels like all of a sudden you are in a straitjacket. (Sings slide) What fingerings are you using? (Sings 10 + 11) Gracious. That’s nice. 17:42 The Cm
18:03 (12) MPD That's no way of playing, it’s an accompaniment.
The violin plays to the cello, and he responds.
19:39 It sounds like an exercise by Sevcik. (Sings) What is in Schubert that makes Schubert so special? It is that he sings, that he dances. It is the most magnificent piece this side of heaven. So if you play (sings), then it’s absolutely contrary to what Schubert represents.
21:25 (24) Strings come in louder, so the chord can be resolved by the piano.
21:53 (20) MPD
22:50 MPD the difference between Bb & Cm. I don’t want you to depend on the left foot (soft pedal) but depend you the ear and the knowledge of how it should sound. If you use also the left foot, OK. But that’s not the main thing. Once more the chromatic scale.
23:27 (22) That’s too soon.
24:00 (30) Sings cello pizz. Slow it ever so slightly into C minor. Within the beat, you have that right, yes? Violin - Can you bounce the bow?
25:20 Cello too loud. (37) Violin - The accent is not Germanic! The accent is Austrian. It’s a little lighter. The piano accompanys.
26:44 (59 2nd Theme) Let me ask you, is that f or a mf? I want you to take her A and continue with your A. You make a little swell, and what I want from you in the end is . . . play for me 59. What does he say, forte? Oh, pp. Can you play pp? Yes. You know, it is most difficult to play slow and pp. We agree on that. A beautiful pp. That’s a nice sound - but in time. There are no crescendi. That sounds very nice.
29:05 (55) MPD he looks for that F in m59 and Em60
29:53 MPD (62) violin emerges
30:45 MPD (68) piano melody New pedal at (71)
32:13 MPD (68)
33:23 (77) To the cellist. I thought you heard once Fritz Kreisler play. Have you ever listened to a record of his? (Nods yes.) (Sings) To violin - if you have an upbow staccato you can do at m79. That lightness and spirit. Of course, if you don’t have it, you play separate (in the upper half of the bow)
34:28 (77) You won the Indy 500! Now, can we do Schubert! Yes. It’s twice as hard, but it’s four times more musical! So let’s try for the music.
35:30 (81) Yes! You can play the octave (98)
36:50 MPD (98)You can play the octaves (100) And can they be relaxed?
37:40 (100) No vibrato on pp. Can you feel that note, that Gb? To the Pianist, No crescendo. Do the accent (103) What I want is -
39:35 MPD (104) The piano plays the same as the cello.
41:30 (146) No ritardando. Give me once more Ab Major. (139) That’s so fast.
(146) Cello - go down.
44:18 (188) Sings violin melody
44:40 (191) cello (Sings & explains) I have to let you go. (202 - This is a “trecherous passage for every cellist!") Every cellist has to work on this passage so it comes out absolutely musically. That’s too fast. (Sings) And actually, the curve goes down.
47:00 (240)
(05/09/04)

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