Ask Augustin 25 - Score Analysis (Reading the Score II)

I always say that it's important to study the score of any concerto you play very carefully - but what are the kinds of things you can be on the lookout for, that will help you make good decisions for how you are going to play the violin part?
As an example I open my score of the Mendelssohn violin concerto. Good places to start are: looking at big and small structures in the piece; looking at the harmonies, specifically identifying places where the harmonies take an unusual turn; and at the orchestration (which tells you lots about the dynamics in the violin part). You cannot get this information from a piano reduction.

Don't snooze during theory class! You will be able to use everything you learn there. The more you know about harmonic analysis, figured bass, formal analysis and all of those subjects, the more you will be able to reconstruct the thought-process of a composer and find more and more useful (not to mention incredibly interesting) details. Studying a score can feel tedious, but is not only theoretical: it can help immensely to make your performances more convincing. Any conductor you play with will take notice as well - they'll know immediately if you've looked at the score or only at the violin part.
Musicians often say that there is more than one right way to play a piece - and that's totally true! There are many possible interpretations that can all be convincing and communicate the essence of a piece. But there are also "wrong" ways to play a piece, if the interpretation of the violin line goes directly against the phrase structure that the composer wrote, or is at odds with the harmonic developments. We should play in a way that it isn't at odds with the intentions of the composer, but actually reinforces them!

Видео Ask Augustin 25 - Score Analysis (Reading the Score II) канала Augustin Hadelich