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Violin Lessons: Mozart - Concerto 4 - 2nd Movement

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In the second movement of the D major
Mozart Concerto,
what you are after is absolutely unbroken
singing.
This is obviously a song and nothing is
worse when you
are listening to a beautiful silvery song,
than breaks in the sound.
So you be in control of the bow and where
you're putting breaks in the sound.
[MUSIC]
Here on
this first E,
long E, where
the orchestra
is playing.
[MUSIC]
You need to save sound for the end, so
that the end of the note just spills into
the 16ths.
[MUSIC]
All the notes in this
movement should be expressive,
even the quicker ones like 16ths or
trill endings, everything has to sing.
Now in the, second entrance.
[MUSIC]
That's a big interval and
it needs to sound vocal.
A vocalist would have to make some
connection between those notes.
It's such an interval of a 10th, so in
expressive gliss.
[MUSIC]
And that sound that you get there on
the A string is naturally gonna be
different
than the sound you get on the G string
coming up.
So really, maximize that difference.
He knew what he was doing writing in those
registers.
[MUSIC]
Make sure,
the vibrato's not too,
too ins, intense,
too, too buzzy.
It should be a nice, warm fatter sound
there, on the G string.
How about the character where it's here?
[MUSIC]
Here it helps to know what the orchestra's
doing underneath you.
So, they play.
[MUSIC]
So it wouldn't make a lot of sense to.
[MUSIC]
These dots are more.
[MUSIC]
So here, where the rests are written,
they should really feel like rests,
they're, they're catching breath.
[NOISE] You have something important to
say, but it can only come out in bursts.
So that's a way to make rests actually
effective,
other times where it's written to sustain,
then that's what you do.
Now how about when the main theme comes
back?
[MUSIC]
Here you
want a really
special sound on
the G string.
You have all the time in the world to do
it, so that gliss needs to be espressivo.
But leading up to the gliss, the sound
should start to change.
[MUSIC]
So I move my bow out
right before the gliss.
[MUSIC]
And with that light bow pressure a good
distance from the bridge on the G string,
that's a special sound.
Remember, sing all the 16ths in this
movement.
[MUSIC]
Fill up all
the time you have
with great sound.
Doesn't have to be a note by note vibrato,
in fact that would sound a little strange,
but you can vibrate through the line.
Now similar to the special sound had on
the G string before,
there's a special sound on the E string
coming up.
[MUSIC]
This you can do with
with a slower bow speed and
a very focused vibrato.
So there, there aren't big swoops and d,
and changes in the sound.
[MUSIC]
Instead I might call it more
of an angelic sound.
[MUSIC]
And that's good only for
so long, so,
[MUSIC]
so leading up to there where you jump
down two octaves that's where you
transform the sound into the fatter
one on the E string that prepares you for
the fatter one on the G string.
Now, the beginning of the cadenza in this
movement actually hints at
the third movement.
[MUSIC]
So it's
it's a little joke.
Because usually cadenzas rehash what's
happened already in the movement.
This one's actually looking ahead.
So, when it stops doing that, but
instead brings in the theme from the
second movement,
give people a little time to prepare for
it.
[MUSIC]
These double stops need to be vibrated so
that they, they sound in the spirit of the
movement.
[MUSIC]
As far as double stops go,
how about broken double
stops these tenths.
Remember in tenths, that you always reach
back with the first finger.
[MUSIC]
I want my four feeling pretty
comfortable and my first finger reaching
back.
[MUSIC]
There are a lot of thirds in this cadenza
so it's worth doing some good thirds
practice.
Remember to vibrate all double stops in
this cadenza.
They should all be expressive so
that they match the spirit of the rest of
the movement.
And near the end,
you'll find a place where the sound
gradually needs to get more romantic.
[MUSIC]
Then it
goes back
to classical.
So go ahead and make that difference, and
that's totally fine.
Joachim was more in the romantic era, the
more romantic tradition,
then it's common that cadenzas would sound
slightly different in style than
the piece to which they belong.
So, go ahead and make the most of that
when it's written that way.
You don't have to try and hide that.
Goes back to classical and brilliant right
then, and that's the way it ends.
It goes transitions right back into the
orchestral tudy, and the whole
movement ends with a restatement, slightly
different restatement.
[MUSIC]
Really a tagline, and
that should be a special sound,
but not as special as the next time it
comes.
[MUSIC]
You've done a gliss
like that earlier in the movement.
Here it has to be even more special for
the very end of this beautiful movement.
[MUSIC]