“Molto moderato quasi lento” from Ysaÿe’s Solo Sonata no. 3 - one more piece added to the puzzle. One of the biggest benefits of practicing in reverse order, especially in a piece like this where climax is stacked upon climax, is that the limits are tested first. Reserve in its literal sense is activated when needed, and most certainly, the biggest amount of reserve is called for at the very end of the sonata.
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In this particular section, meanderings in harmony require meanderings in the body’s responses - constant fluctuation between harmonic suspension and quasi resolution is manifested in bodily effort and release.
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Coming together... save the introduction, which will soon be tackled!
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Ysaÿe’s Solo Sonata no. 3 - sewing the patches together, slowly but surely. Yesterday, I attempted to run through the section where the main theme / material is presented, and it just didn’t work out. Bouts of physical tension was rampant, probably due to the body trying to cope with combining rhythmic integrity with harmonic intensity. Today, after warming up with with some bow change exercises from both Carl Flesch’s Urstudien and Dounis’ Artist’s Technique, the physical sensations and literal embodiment of phrasing became much more effortless. Probably because I dreamt of the work the evening before 😅
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There’s something to be said for mulling over a tricky passage - the mind and soul are at work without the instrument and bow, imagining the specific pathways drawn by the fingers, arms, shoulders, back, and ultimately, the body as a whole. Helps so much.
I also experimented with shifting more weight towards the right side of the body, as I noticed that I tend to favor the left disproportionately - almost excessively. The violin as such is naturally elevated, and the right hand has gravity in its favor. Less effort, more friction...!
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...work in progress, but coming together.
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Another session filled with segmented run-thrus for another particularly difficult section of the Ysaÿe’s Solo Sonata no. 3.
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Spatial choreography and acute awareness of each joint in my arm is helping me work in a focused way... No longer only thinking about the fingers but rather how my body as a whole interacts with the space around me. No excessive movement - rather finding a stable buoyancy coming from the feet, which are spaced hip width apart. Personally feel more grounded...
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Work in progress - not playing with very full conviction just yet.
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