VIOLIN masterclass by Miriam Fried | Concerto No. 4 in D major by Wolfgang Amadeus Mozart

[@stanislavabozekova6559]

Esta maestra a mi entender es una de las profesoras que mejores clase magistrales imparte,otros genios violinisticos no logran emitir con tanta claridad tecnica el mensaje y a veces solo son descripcionesw de su propia subjetividad basada en su enorme talento y otras tocasn ellos los pasajes esperando que el alumno pueda copiarlo.Esta Maestra es realmente increible en su enseñanza

[@salineroyaleacademy]

Thank you for your comment, please feel free to discover Madame Fried's other masterclasses on our website: www.salineacademy.com/

[@patriciavillafana1798]

Marvelous!!! I´ve just begun to play violin and I learned a lot with Miss Fried. Thank you for posting. She is a wonderful teacher.

[@jaschenski]

I agree it could have had more character, but she is a fabulous violinist all the same.

[@musicresearch4383]

Best lesson in the world

[@jamesboone3678]

She was great. She does need to bring out more of Mozarts charm in the piece.

[@election-classical-15-seconds]

❤

[@r.i.p.volodya]

AGAIN with the misguided meme that Mozart is an "opera composer" and everything else he ever wrote should be seen only through that operatic lens! Rubbish! 22 operas, yes - but 23 string quartets, 27 piano concerti, 41 symphonies, etc., etc. His catalogue has 626 pieces in it, only 22 of which are operas - that's only 3.5%. Will someone PLEASE acknowledge that thinking about operatic characters and changes of scene, etc. are NOTHING BUT A METAPHORE for "vary your tone, articulation and attitude to make your playing more interesting". Mozart was an "opera composer" when and only when he was writing operas. When he was writing concerti, however, THEN he was an instrumental composer.

[@americanidiot5563]

This argument completely ignores the defining impact Mozart’s operas have on his entire musical voice. His so-called “instrumental” works pulse with a theatricality and emotional clarity that are quintessentially operatic. Dismissing this influence is akin to saying Shakespeare’s sonnets have nothing to do with his plays-an absurdly narrow view that undercuts how truly interconnected an artist’s body of work can be. Yes, Mozart wrote concertos, symphonies, and chamber music, but he did so through a distinctly operatic lens that shines through everything from his structural choices to his melodic dialogues and dramatic contrasts. To deny Mozart’s legacy as an “opera composer” across his entire repertoire is to miss the universality of his style: his music constantly tells stories, his phrases are characters, and every composition is an unfolding scene. Saying he was only “operatic” in his operas is an oversimplification that does an injustice to the complexity and cohesion of his genius. His catalog may be 3.5% opera in number, but it’s 100% opera in spirit.