Wies De Boevé Masterclass - Doublebass - Vanhal: Concerto in D major - Allegro moderato

Masterclass with Professor Wies de Boevé in which they work the first movement of Vanhal's Concerto for double bass and orchestra in D major. This masterclass took place at the Escuela Superior de Música Reina Sofía, Madrid 2018.
Student: Belén Ferrer Thuillier
Accompanying pianist: Jesús Gómez Madrigal
Venue: Escuela Superior de Música Reina Sofía, Sony Auditorium, Madrid (Spain) 19/02/2018
J. B. Vanhal: Concerto for double bass and orchestra in D major (double bass and piano reduction) - I. Allegro moderato
Abstract:
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.
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[@santicruz4012]

Great insight!

[@josephbarbarie692]

Lolz at accompanist checking his messages while the professor talks to the student. "OK, let's see. Got the Beethoven horn sonata at 2:30 pm. Brahms clarinet sonata at 4:00, then "Kreutzer" at 7:00. Never mind. Kreutzer dude cancelled."

[@a.s.vanhoose1545]

I think that students can become hen-pecked from this type of teaching. I think she just needs to listen more. A lot of this can’t be taught (let alone remembered)

[@Dany715gd]

Think what you like, but classical style mannerisms in articulation and phrasing can and should be taught, as when it comes to remembering them it’s up to the student to take good notes on the very sheet music in order to make study session meaningful improving a piece, I think this teacher is actually in explaining it in a more technical way instead of using metaphors e.g Vengerov or Ray Chen

[@SteveAbrahall]

I'd agree to disagree with you on this. Belén has the piece under control (she plays it well) but it just needs some shape, color and may be more nuanced consideration. It's about that last 10-20 Percentage that will make the work shine or get someone past an audition. How do you own a work and make it yours? Wies De Boevé has some interesting ideas hear. It's a process and like a jeweler who has to polish and polish - musicians are very similar.

[@Aio-Project]

water and phone on the piano? lol

[@douglasaraujo9763]

Amazing to have such material just lying there, on the internet, waiting to be seen...

[@ursthomann3463]

If you found this amazing, then I can only advise you to listen to Prof. Wies Boeve playing this piece at ARD competition 2016, which he won. I think that recording can also be found on KZbin.

[@viennesetuningchannel6101]

Nice :-)