JAVS Spring 2013

Richard Wagner, Tristan und Isolde : Act III, “Liebestod,” Seven Measures before Number 89

the end, a noble element enters with the triplets, so be careful not to rush them.

not to express the variety of characters by using dynamics that are not written. The animato direc tion definitely implies rubato , so please listen to this excerpt to understand the freedom and constraints that are contained therein. Again, from the second measure, you can start this on an up bow and do the remaining passage in the completely opposite direc tion. Experiment with bowings and fingerings. Verdi: Falstaff This excerpt is all about how to control your spiccato and to play with sudden dynamic bursts. Keep the bow close to the string and turn the bow toward you for a flatter hair stroke. It is also important to realize that you can achieve a subito f without using more bow. In a passage like this, you will not have the lux ury of using more bow. The f will be achieved by having more core to the sound, and by playing clos

Wagner: Tristan und Isolde Wagner is one of the most significant and important composers you are likely to play in an opera. In this excerpt you will jump from being a subsidiary voice to the main voice. you are the “one man show,” as it were! In the first measure, find the intervals of importance to bring out; the sixteenths are not all equal. Again, do the research to find out what is happening in the opera here. The dynamics are all pp and p with some hairpins, but the emotional highs are such that you have to restrain yourself from using volume to express the turbulence going on. Find a variety of sounds. There are so many dif ferent characters being expressed in this short excerpt—that is why it is often chosen—be careful

J OuRNAL OF THE AMERICAN VIOLA SOCIETy 48