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Monográfico musical - Contenido educativo

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Subido el 20 de junio de 2024 por Tic ies alfredokraus madrid

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Revisión obra violinista Wieniawski

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Hi, I'm Eva and I'm going to do a performance practice of the Henry Wieniawski legend, Op. 17. 00:00:00
First and first, the chair performance practice is a research methodology that studies the history and the technical aspects of the piece 00:00:21
in order to give a complete and informative performance. 00:00:36
So, Henry Wieniawski was a Polish violin prodigy, a composer and also a mentor. 00:00:44
In first place, he was a violinist. 00:00:53
He studied in the Paris Conservatory and he entered at only eight years old 00:00:58
and he graduated at 11 years old. 00:01:04
This was very important because the Paris Conservatory was the top school of music. 00:01:07
And he was also a composer, a Romantic composer, 00:01:14
that composed the legend, Euclid XVII. 00:01:22
and other Romantic composers in this period were Brahms or Tchaikovsky. 00:01:28
He was also a mentor because due to his state of health he had to settle down 00:01:36
and he became a teacher in Brussels replacing the old scholars. 00:01:44
Henry Wienerski's opus 17 isn't just a beautiful piece. This was composed because Henry Wienerski was in love with Isabella Hampton, but her parents didn't approve his union, so he couldn't stand not being with her beloved. 00:01:53
So he had to win the approval of his parents and he composed this piece that led to change the parents' mind in 1870. 00:02:20
This amazing composition is a true legend. It is a narrative that reflects human events and human emotions. 00:02:33
It represents the perseverance and the love of the Viennese piece on life. 00:02:47
So, now I'm going to talk about the more formal aspect of the piece. 00:02:53
Okay, the first thing you have to know is that this piece is a concert piece. 00:03:02
What does it mean? It is divided in three main groups. 00:03:09
the exposition, the development and the reposition. A, B, A-G. 00:03:13
Okay, the part A is in G minor and is an andante, so it's a lower tempo. 00:03:19
Then the part B is in the relative that is in B major. 00:03:28
That is allegro moderato, which means that it's more faster. 00:03:35
And later it ends with A' and a coda. A' is a modification of the part A, in this case it makes it shorter. 00:03:41
And a coda is the finished added part that concludes. 00:03:53
Ok, this piece opens up with a solemn and mysterious introduction, a motif that is all over the piece and first is interpreted by the bassoons in the orchestra part, but now it's going to be interpreted by Zen. 00:04:00
And you can hear that this motif also appears in the end of the section A, the transition for the part B. 00:04:22
Furthermore, the main motif of this piece is the motif that starts with the violin and it represents longing. 00:04:47
an American, a Brazilian idea that is all over the piece and you can hear it all over the piece. 00:05:01
Furthermore, this part A finishes with the thing that demoted his pose and it starts the part B. 00:05:27
That is, this part is, like I said later, is more faster and it's in the relative of major, in B major. 00:05:39
And this also gives a more happier feeling and it could represent the hope. It is represented by hope because the double strings that are two notes played at the same time, this part is less chromatic than the other part. 00:05:51
And in this part we can see that the Viennese king once believed that he will marry Isabella. 00:06:11
And it starts like this. 00:06:20
This section finishes with a cadenza, that is a virtuoso solo passage that could represent 00:06:23
a great moment of tension of this piece and this is only with and you could hear it later 00:06:53
and lastly this A' lastly it becomes the A' that is the same as the A but more shorter 00:07:22
and then comes the coda. The coda is a concluding part, add to the end prime and deserves to close this piece with a satisfying way and a brilliant way. 00:07:32
This could represent an step forward hoping that the message was received and hoping that he will marry Isabella. 00:07:50
and this is held by the arpeggios that are all over this movement. 00:07:59
So, now that you know all these parts, I'm going to play a performance practice of the whole legend 00:08:30
and you could hear the parts I mentioned related to the bass. 00:08:38
You have one question, could you explain exactly what elements of this piece and the life of 00:08:44
Yudnjowsky you researched to inform yourself? 00:16:44
What were the various elements that were included? 00:16:48
So you've investigated them in the methodology of performance practice, and so which elements 00:16:51
were included? 00:16:57
Of the performance practice? 00:16:58
Yeah, which elements of the method of investigation were you able to discover in your investigation? 00:17:00
So first I have to find out who was being escaped, because I already knew it, but now 00:17:08
I know it better. 00:17:15
Secondly, I have to inform the previous he was, he was a romantic composer, so I have to, also I have to compare it with other composers, like Chopin, that was a virtuosistic pianist and composer, that he was also romantic. 00:17:17
And also from Poland. 00:17:35
Yes. 00:17:36
And he was also a folklorist as Vianeschi. 00:17:37
And then I had to, for understanding better, 00:17:43
I had to listen to all his other performances, 00:17:49
like Vengaro or Isaac Feldman, 00:17:55
that gave me different alternatives to perform this. 00:17:59
I did other things like studying his expression, other pieces he composed and more things. 00:18:03
And do you think that from when you started the piece to when you finished it, it's easier 00:18:17
for you to give a full performance because you have a purpose? 00:18:21
Yes, because when I started I didn't visualize what I wanted to say and how I wanted to say 00:18:24
but now I like I understand the story why he wrote it and so I like know how 00:18:33
to do it so I could tell what Wienerski was really want to say. 00:18:41
Samira. 00:18:46
Okay, so first I want to start by saying that you read it so well and what was your inspiration like why did you choose this Henry Wienerski legend? 00:18:47
First, well, being completely true, my professor of the conservatory put it to me. 00:18:59
But then I realized that it is a lovely piece and I love it because Henry Vianeschi also made a lot of violin compositions that I really like. 00:19:09
Okay, thank you. 00:19:21
Amir. 00:19:22
You did very well Samira, and I wanted to ask you what image do you get when you hear this piece of music? 00:19:23
Where do you get transported when you hear it? 00:19:33
Mostly I like to visualize Eurydice and Isabella Hampton getting married because he is what he wants to express and her love. 00:19:37
Well, I agree that you did a good job. What is your favorite part of this piece? 00:19:50
My favorite part is going to be the A section. Do you like me to play it? 00:19:57
Yeah, of course. 00:20:06
The other semantics. 00:20:08
Okay, do you want to ask a question? 00:21:21
Yes, of course. 00:21:23
The romantic piece Legend is the famous piece of Henry Wieniawski. 00:21:24
The most famous? 00:21:28
Yes. 00:21:29
Is it the most famous? 00:21:30
Henry Wieniawski is not as famous as other composers, 00:21:32
but this piece, I think, is one of the most characterised of all his career, 00:21:36
because many violinists have played like Pengaro, Giselle Clemente. 00:21:43
What motivated you to play the violin? 00:21:48
What's your motivation to play the violin? 00:21:57
I have played the violin since I was two years old so my motive I didn't remember so well. 00:22:00
Do you know what else he wants to express with his composition? 00:22:11
She said it already, but she can tell you again. 00:22:17
What he wants to express was the endearment of his love, the testament that he offered. 00:22:20
He wants to express all... 00:22:27
Her, the woman that he wanted to marry. 00:22:29
He wanted to communicate to his future father-in-law, suegro, 00:22:32
that he was good enough and he wanted to marry the daughter. 00:22:36
What would you communicate to your future sueguro? That. How much you love her and his daughter, yeah? 00:22:40
Yes. 00:22:45
Yes? 00:22:46
Yes. 00:22:47
You said he was also a mentor, and I wanted to ask you, who did he mentor? 00:22:48
Good question. 00:22:53
He mentored one of the stars of the violin, Eusine Yassin, and other people, but they're 00:22:54
not so famous as him. 00:23:03
I'll put it in Spanish, I'll break the ice. 00:23:06
In your work you have highlighted and done an exhaustive review of both the work of the composer and of the most contemporary interpretations of the work. 00:23:11
What differences do you find in the techniques of the interpretation of the author at that time and the contemporary interpretations, or even yours? 00:23:21
I have analyzed a lot of people, for example, Ben Garo sees everything as an idea, part one sees it as two ideas, he keeps pushing, 00:23:36
and for example, I see that Isaac Perlman wants to emphasize every eight bars, for example, or four bars, he wants to emphasize them by closing and starting a new phrase. 00:23:51
I have wanted to look more like Vengaro because I like how he does it, how he conveys it to me more, but... I don't know. 00:24:03
And you said he wasn't in a good health, and if he had any illnesses or things that makes him less healthy. 00:24:17
Why was he unhealthy? What was his bad health? 00:24:27
Diabetes, and he has to settle down because he couldn't be untraveled all the time. 00:24:32
Duca, do you have a question? 00:24:40
Can I say it in Spanish? 00:24:42
Yes. 00:24:49
What advice would you give to other people who have studied this work? 00:24:50
Well, that they were informed. 00:24:55
That they were informed of... 00:24:58
But this work? 00:25:00
Yes, that they were informed of why she wrote it, because it is very beautiful. 00:25:01
And also that they listened to a lot of... 00:25:04
And that they read your thesis. 00:25:07
That they can read your thesis. 00:25:09
She has behind that 30 pages written of the information. 00:25:11
And I'm going to answer. 00:25:16
I hope her work serves those who benefit from it, because no one had studied this work before Eva in the Performance Practice methodology, 00:25:19
which is to attend to all the possible nuances of the interpretation, not the analysis, including the analysis. 00:25:31
Ella ha leído otros análisis de otras obras para saber de su estilo, pero ella tendría impresa, lo colocamos por el internet, y alguien que busca Legend Wieniawski Performance Analysis va a encontrar eso para ayudar que toman sus decisiones de cómo quieren interpretar. 00:25:40
Ojalá es lo que sirve esta metodología de investigación para los que vienen detrás. 00:26:03
Great question, Luca. 00:26:08
At the end of all of the monographicals, deben de proponer cómo se puede salir desde este punto. 00:26:09
Puedes usar mi investigación o ve una carencia de investigación. 00:26:18
Proponer para los que vienen detrás qué pueden hacer. 00:26:23
Muy bien, Luca. 00:26:27
In the future, would you like to compose this type of music? 00:26:29
I would prefer to play, not to compose it. 00:26:34
So, Wieniawski was a rare breed. 00:26:38
He's a player who composed. 00:26:40
Yes. 00:26:42
That's why violinists like to play his music, because he was a violinist who composed 00:26:43
really well for violin. 00:26:47
Who are some of the other great violinists who composed? 00:26:49
Like a Spanish one? 00:26:53
Salasate, he composed also, and he was also a violinist. 00:26:54
I like both because they both show what the violin can do and replace. 00:26:58
Virtual. 00:27:05
And whose job did he replace? 00:27:06
So he replaced an old, in his conservatory, the man that he replaced is also at the same status. 00:27:09
Most violinists know that composer, but not general people who listen to classical music. 00:27:17
They know Tchaikovsky, which you guys listen to, I think. 00:27:23
They know Chopin, but they don't know Vignacchi and Vuitton. 00:27:26
But all violinists play their work. 00:27:34
and we have one of the greatest 00:27:36
in Spain, Sarasate 00:27:39
thank you for coming 00:27:40
everybody 00:27:43
congratulations 00:27:44
Idioma/s:
es
Autor/es:
Eva Martínez
Subido por:
Tic ies alfredokraus madrid
Licencia:
Dominio público
Visualizaciones:
48
Fecha:
20 de junio de 2024 - 9:37
Visibilidad:
Público
Centro:
IES ALFREDO KRAUS
Duración:
27′ 55″
Relación de aspecto:
1.78:1
Resolución:
1920x1080 píxeles
Tamaño:
815.94 MBytes

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