Analyse des ersten Satzes mit Yuri Bashmet
Lesson time: (49min 28sec)
Course preview
This lesson is part of the course Shostakovich - Sonate für Viola und Klavier, op. 147
Watch a preview of the full course below.
Lesson transcript:
is what happens:
- When you stay rigid, your weight stops in the wrong place.
- If you lean slightly, then you feel all your weight shift to where it needs to be.
Now, do like that and you'll understand the difference. If you do it without leaning, nothing will happen, it'll sound flat.
Example: If you stay like that and move your hand, what happens? Nothing! It becomes unnatural.
Remember, we're all different; some have more weight in their hands, but that weight still has to be felt across your entire body for effective sound.
Fortissimo and Dynamics
Now we see. Yes, exactly.
That weight creates fortissimo, but it should not push. Instead of forcing sound, use good technique to deliver your sound naturally.
- If you exert too much pressure, it will sound stifled.
- You should hear a different quality.
That's why I stop you now, it was a good line but unnecessary.
Main Beats and Articulation
Remember the main beats?
We don't need portato now.
Now, let's do fortissimo. Play alone, without piano.
Look:
That is an image of accomplishment. It's like a cigarette (for an example).
Where is the strongest tension? It's before the result. So, if you think of it that way, each next note should build more and more tension like a magnetic pull.
Try it alone.
- It was better, but it was shorter.
- It has to be longer and stronger.
Musicianship and Interpretation
Now think about your phrasing.
Your phrase depends on how you bow.
When you change the bow, you can cut the phrase, if it happens once or twice, that's okay, but if it happens repeatedly, it doesn't feel right.
You shouldn't feel nervous, but you need to maintain focus.
When you play, remember: play what is written.
- Don't think of just the notes; think about the musicality.
- It has to be more than just mechanics, engage with the music.
Committing to Growth
You're very good!
You can have a solid career with a family, but if you want to be better, your ideas should be stronger and more complex than your current abilities.
- You must understand why you practice.
- Know what you want to achieve, even if it seems difficult.
This will help your technological abilities grow, and musically you'll become stronger because you'll always consider what you're doing.
Can I borrow the piano for a moment?
You need to respect the tension in orchestras and how they create texture, as if they are completely different beasts.
Finding Your Voice
Now, let's continue with the exercise.
- Be patient and push through.
- The idea is to find your specific sound.
Work on these gradual adjustments, and you'll find your musical expression becoming richer.
Ending with Friction
As you play, maintain careful attention to articulation.
Don't rush; if you play too quickly, the results will not yield your best expression.
Listen closely, music is not just noise.
Conclusion
Yes, it is difficult, but remember, it's all about patience and progression.
Practice developing beautiful sound. Aim for clarity and intent. Good luck, and remember to keep striving to excel!
About the instructor

Durch seine Virtuosität, die Kraft seiner Persönlichkeit und seine hohe Intelligenz hat Yuri Bashmet der Bratsche eine neue Bedeutung im Musikleben verliehen. Als herausragender Bratschist der Moderne hat er die führenden Komponisten unserer Zeit dazu bewegt, das Repertoire mit bedeutender neuer Musik zu erweitern. Er ist künstlerischer Leiter des Festivals December Evenings in Moskau, Chefdirigent der Symphony Orchestra of New Russia sowie Gründer und Leiter der Moscow Soloists. Zudem tritt er weltweit in der Doppelrolle als Dirigent und Solist auf. 1953 in Rostow am Don in Russland geboren, verbrachte er seine Kindheit in Lwiw in der Ukraine, bevor er am Moskauer Konservatorium bei Vadim Borisovsky (vom Beethoven-Quartett) und Feodor Druzhinin studierte. Seine internationale Karriere begann 1976, als er den International Viola Competition in München gewann. Seither ist er mit allen großen Orchestern der Welt aufgetreten, darunter die Berliner und Wiener Philharmoniker, das Royal Concertgebouw Orchestra, die Symphonieorchester von Boston, Chicago und Montreal, das New York Philharmonic, das London Philharmonic und das London Symphony Orchestra, das ein eigenes Yuri Bashmet Festival veranstaltete. Er hat viele Komponisten dazu inspiriert, für ihn zu schreiben, und pflegte insbesondere zu Alfred Schnittke und Sofia Gubaidulina enge persönliche und berufliche Beziehungen. Abseits des Konzertsaals bringt er einen forschenden und scharfsinnigen Geist in das Leben jenseits der klassischen Musik ein: Er ist ein Enthusiast der Beatles und von Jimi Hendrix und hat im russischen Fernsehen seine eigene politische Diskussionssendung moderiert. Er spielt eine Testore-Bratsche von 1758 (ein ähnliches Modell wie das, das Mozart spielte), die er 1971 erwarb. Schostakowitschs Sonate für Bratsche und Klavier bei Bashmet zu studieren bedeutet, dieses überragende Werk von dem Interpreten zu lernen, der mehr als jeder andere dazu beigetragen hat, die Bratsche in den Mittelpunkt der Bühne zu rücken. Seine Einsichten in Phrasierung, Ton und die tiefere Absicht der Musik sind etwas, das keine Partitur allein vermitteln kann. read more




