Mazas Étude Op.36 n.1 : Largo

Use a flowing Tempo : This study is marked Largo, but at the beginning it would be wise to chose a tempo of crotchet = 70 for practical purposes. My IMC edition is marked with numerous indications of nuance for the first two notes, but to be honest, a more modern approach would call for an even tone, perhaps with a subtle and extremely gradual crescendo which always shows the way forward to the culmination of the phrase in bar 5. 

Shape this phrase with simplicity and taste : Distribute your bow carefully, using the whole bow for the first note. Make sure that on the count of 3 ( 3rd beat of bar 1 ) you are at the middle of the bow. It is imperative that you judge your bow speed accurately for the tempo you intend to keep. In bar 4, considering the crescendo, one can use more than half the bow, perhaps 3/4, but not too much, remembering that the most sonorous bar should be the 5th one in which we can use the whole bow, but no more than a whole bow ! In other words, do not overbuild the crescendo only to find it turns out to be an anti-climax. In fact, the phrase should point  to the d in the 6th (last) bar pictured above. 

Tonal shading or control is very important, and you should aim to taper off the volume of sound, quite skillfully, as you end the phrase. The phrase must be shaped tonally with great care and taste, and even a certain purity, and while many violinists may need to work on adding more colour and variety to their tone, do not fall into the trap of 'over' phrasing each phrase with the same, obvious treatment. The sustain and evenness of the tone is vital for the binding of notes, and continuity of the phrasing. 

Variety in Vibrato : Vibrato should match the intensity of the tone. However, a small, fast vibrato with plenty of nerve can enhance and bring a piano note ( such as the first 2 ) to life. Technically, one should aim for elasticity and skill in the contact of both hands on the violin and bow. Adherence and leaning of the hands and bow is necessary for both the right and left hand. The firmness and security of touch and vibrato in the left can seriously (!) help the flow of the right hand. To have freedom and intensity in one's vibrato, it is important that the finger (and the finger only) grip the string and fingerboard with a fair amount of firmness, thereby firmly anchoring the fleshy part of its tip to the fingerboard, allowing great "play" and breadth in the vibrato. However make sure you do not overdo the amplitude and use good taste at all times. Also the right hand contact point of the bow on the string is to be cared for throughout the piece. It must also be remembered that the right hand produces the tone, not the left hand.

The above should be played with a soft tone, to aid smooth string crossing. At bar 57 ( below ) I have fingered the part. In bar 60 a 1st finger may be used on the d sharp, and in bar 63, a 2nd finger can be used on the d sharp, as long as you remember to then lower it a semitone ( lower it without it leaving the string ) so that it is ready for the d natural in bar 65.

 

Send mail to leonid@globalnet.co.uk with questions or comments about this web site.
Copyright © 2000 Westbury Park Strings
Last modified: January 31, 2001