Read the accompanying written article here: http://www.maximvengerov.com/part-5

In this new educational series "Vengerov's Views", I cover key topics which come up frequently in my masterclasses, chosen to mirror the journey of learning. It all starts and ends with the source, the music, and understanding and telling the story behind it. And then along the way, as performers we must overcome some technical challenges to be able to bring our musical ideas to life.

The examples in these videos are chosen to complement written articles, where I explain the concepts in greater depth. It has been an interesting challenge to write for the first time some thoughts about my approach to music and playing the violin - let me know in the comments what you think!

Part 5: Bowing basics
If we compare string playing to singing, then our bow is like a singer’s lungs. However, the bow is a manmade object, with certain characteristics we need to work around. To help build a musical phrase, careful consideration of how to use the bow, and why, is essential - just as a singer decides how to control their breath and where to breathe.

In Part 5 of this series I will share with you a few ideas on how to approach using the characteristics of the bow to help you play a musical phrase as naturally as a vocalist can sing it.

Chapters:
00:00 - Choice of bowings
01:02 - Sonata for Violin and Piano in A major (4th mvt), with Martha Argerich (Franck)
01:43 - Choice of bowings
02:46 - Introduction et Tarantelle (Sarasate)
04:32 - Bow distribution
08:16 - Concerto in E minor (Mendelssohn)
09:15 - Using bow distribution to help build a crescendo
09:49 - Sonata for Violin and Piano in A major (3rd mvt), with Martha Argerich (Franck)
11:47 - Bow changes
13:19 - Vocalise (Rachmaninov)
17:00 - Credits

Credits
This series was curated and co-written by Anna Gould   / annagould  ,
and released in partnership with The Violin Channel http://www.theviolinchannel.com
Cover photo: Christian Schneider https://christianschneider.at/

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