Análisis del primer movimiento con Yuri Bashmet
Lesson time: (49min 28sec)
Course preview
This lesson is part of the course Shostakovich - Sonata para viola y piano, 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

Gracias a su virtuosismo, la fuerza de su personalidad y su gran inteligencia, Yuri Bashmet ha dado a la viola una nueva prominencia en la vida musical. El violista por excelencia de la era moderna, ha motivado a los compositores más destacados de nuestro tiempo a ampliar el repertorio con nueva música significativa. Es director artístico del festival December Evenings de Moscú, director titular de la Symphony Orchestra of New Russia y fundador y director de los Moscow Soloists. También actúa por todo el mundo en el doble papel de director y solista. Nacido en 1953 en Rostov del Don, en Rusia, pasó su infancia en Lvov, en Ucrania, antes de estudiar en el Conservatorio de Moscú con Vadim Borisovsky (del Cuarteto Beethoven) y Feodor Druzhinin. Su carrera internacional se lanzó en 1976, cuando ganó el International Viola Competition de Múnich. Desde entonces ha actuado con todas las grandes orquestas del mundo, entre ellas las Filarmónicas de Berlín y Viena, la Royal Concertgebouw Orchestra, las Orquestas Sinfónicas de Boston, Chicago y Montreal, la New York Philharmonic, la London Philharmonic y la London Symphony Orchestra, que presentó su propio Yuri Bashmet Festival. Ha inspirado a muchos compositores a escribir para él, manteniendo estrechas relaciones personales y profesionales en particular con Alfred Schnittke y Sofia Gubaidulina. Fuera de la sala de conciertos aporta una mente inquisitiva y perspicaz a la vida más allá de la música clásica: es un entusiasta de los Beatles y de Jimi Hendrix y ha presentado su propio programa de debate político en la televisión rusa. Toca una viola Testore de 1758 (un modelo similar al que tocaba Mozart) que compró en 1971. Estudiar la Sonata para viola y piano de Shostakovich con Bashmet significa aprender esta obra monumental del intérprete que más que nadie ha hecho por situar la viola en el centro del escenario. Sus percepciones sobre el fraseo, el sonido y la intención más profunda de la música son algo que ninguna partitura por sí sola puede enseñar. read more




