Analysis, explanation, demonstration with Maxim Vengerov
Lesson time: (42min 1sec)
Maxim Vengerov coaches Eloisa-Fleur Thom through the Sibelius concerto, working on harmony, tempo, interpretation and the dramatic Finnish character behind the music.
Course preview
This lesson is part of the course Sibelius - Violin Concerto in D Minor Op 47
Watch a preview of the full course below.
Lesson transcript:
Music Lesson
Instructor: Well, Lisa, molto brava. Very good. I really loved also, you know, this. Your feeling for the music is right, and you know what's right. You have a really great feel for this music.
Points for Refinement
Instructor: However, let's talk about a few points that will make your performance even more beautiful and more refined. When we talk about the Sibelius concerto, I think we should not forget this is not a romantic concerto.
Key Insight:
- We have to get to know Sibelius and try to understand his intentions. My feeling is that every time I play a composition, whether it's Beethoven, Tchaikovsky, or Mozart, I try to forget myself and my current state of being.
Artistic Approach
Instructor:
- I was in Brussels yesterday, had a flight, and might be tired. I didn't sleep much, but then the music could be joyful. So I have to be joyful.
- We have to be artists in this way. If we feel happy and jolly, then we play something tragic, like a Shostakovich concerto, we have to become sad, very tragic, even melodramatic at times.
Each composer has a unique character that sometimes does not correspond with our own. We must try to forget ourselves, our feelings, and interpretations as much as possible. The music itself provides the answers through its harmonies and articulations.
Sibelius's Music
Instructor: This is dramatic music.
- If we consider Finland, we see a bold countryside filled with forests, an eternity of natural beauty. If we imagine ourselves as eagles flying and observing everything around us, that spirit embodies the beginning of this music.
Concept:
- When you're an eagle, there's no question of tempo; the world is yours. You play as you feel what you see and embrace the world. That's what this music represents, very generous music.
Execution and Emotion
Instructor:
- You must be generous in your gestures. If you're making a crescendo, take the time to grow into it.
- When you perform a sforzando, do it with the right amount of passion. It's passionate music filled with sorrow, bitterness, and tenderness, not in the Latin sense, but in the bold Finnish way.
Tenderness in this context signifies melancholy, meditation, and a sense of being unlike anyone else in the rest of the world. Sibelius wished to be recognized as a European composer, a German composer, yet he never fully succeeded.
Understanding the Score
Instructor:
- Let's discover what "Dolce" and "espressivo" mean in Sibelius's work.
- It's wonderful how you play; the color is good. Sometimes, you take your time, and this is great. Your instincts are guiding you.
If you feel like taking a slower tempo, why not? You have the world under your wings.
The Role of Performance
Instructor:
- Your performance should be unique compared to your colleagues. If you want to take the slower tempo, please do.
- Let's analyze specific notes, starting with one note.
Notation and Techniques
Instructor:
- This note should be evident. Imagine seeing something unexpected emerge from a cloud, like a folk song.
- It should not be predictable. This is hypnotizing eternity and embodies the essence of "Dolce."
Remember, Sibelius was not Italian, so "Dolce" should reflect that uniqueness.
Dynamic Contrast
Instructor:
- Play with contrasting dynamics; it should not be in tune with the orchestra but rather provide contrast.
- It's like the sun breaking through the clouds, unexpected yet radiant.
Consider playing on the E string for a different color. You can achieve the same color on the A string but ensure it is not overpowering.
Embracing Different Elements
Instructor:
- When you hear an echo, it's time for a color change. This should feel shocking, as if transforming into a different instrument.
- Rather than focusing solely on beauty, it's essential to strategically hold back certain elements, showing your artistry without just showcasing technical skill.
Playing with Intention
Instructor:
- Regarding crescendos in the next few bars, we must follow what the composer intended. It's logical.
- Sing without vibrato to capture the essence more deeply, as how it is written is crucial in interpretation.
Final Touches
Instructor:
- Stay grounded and allow your hand to breathe.
- Play with ease and connection. This should reflect freedom.
You do not have to push; the weight will naturally create the sound.
Conclusion
Instructor:
- Trust your instincts and allow for an organic flow.
- It's essential to maintain focus on the theme and prioritize clarity in your playing.
Remember, the soul of the music lies in these nuances. Play gently, yet passionately, and allow yourself the freedom to explore the emotions within the piece.
About the instructor

Maxim Vengerov is recognised as one of the world's most exciting violinists. He gave his first recital at the age of five and, after studying with Galina Tourchaninova and Professor Zakhar Bron, went on to win First Prize in the Junior Wieniawski Competition at the age of ten. In 1990, aged fifteen, he won the Carl Flesch International Violin Competition, confirming his reputation as a musician of the very highest order. In May 2000, following a ten-year recording contract with Teldec Classics, Maxim Vengerov signed an exclusive contract with EMI Classics. His awards and prizes have included Gramophone Young Artist of the Year and Ritmo (Spain) Artist of the Year in 1994; Gramophone Record of the Year and Grammy Award nominations for Classical Album of the Year and Best Instrumental Soloist with Orchestra in 1996; the Edison Award for Best Concerto Recording in 1997; Gramophone Artist of the Year in 2002; and both an Edison Award and a Grammy Award in 2004 for Best Instrumental Soloist Performance (with Orchestra) for his recording of the Britten Violin Concerto and the Walton Viola Concerto. In 1997 Vengerov was the first classical musician to be appointed Envoy for Music by UNICEF. In this role he has met and performed for disadvantaged children in Uganda, Harlem, Thailand, and on both sides of the Kosovan ethnic divide - work that has allowed him both to inspire children worldwide and to inspire others to raise funds for UNICEF-assisted programmes. Another passion of Vengerov's life is his involvement with young people through giving masterclasses. One such event was recorded by Channel Four Television as part of a documentary on Vengerov called 'Playing by Heart', shown at the Cannes Television Festival in 1999. Since June 2005 he has been Professor of Violin at the Royal Academy of Music, London. That same teaching passion runs through his MusicGurus masterclasses, where Vengerov takes you inside the great violin repertoire - from Ravel's Tzigane and Sarasate's Carmen Fantasy to the concertos of Sibelius, Mendelssohn, Britten and Shostakovich - sharing the technique and musicianship behind every phrase. read more




