Maxim Vengerov Masterclass in Brisbane, Australia

By Gregory Lee: Earlier this month, audiences in northeastern Australia had the rare opportunity to see international violin soloist Maxim Vengerov perform in recital and also give a master class. His full recital with pianist Polina Osetinskaya took place on August 6 at the Queensland Performing Arts Centre Concert Hall. The following day, Vengerov gave masterclass at the Queensland Conservatorium Theatre, where four very talented young students performed, accompanied by pianist Misuza Wang, in front of an audience of around 300 people. All four students played at an impressively high level, taking Vengerov’s suggestions to heart and showing improvement after his suggestions. Vengerov frequently discussed the background of the pieces and was very descriptive in portraying the music’s character. Vibrato was a common theme, whether exploring non-vibrato or varying vibrato. He also emphasized body language, the effect of accompaniment on the solo line, and stage appearance. Here is a summary of the masterclass, with a description of the students and how Vengerov worked with each one. The first student was Theonie Wang, currently studying at the Australian National Academy of Music, who performed the first movement of Mozart's Violin Concerto No. 5 in A Major. Vengerov, seated on stage, followed each performance with his general thoughts. He praised her technical skill and intonation, noting they were "perfect or close to perfect." He then discussed the connection between Mozart and opera, suggesting that "The solo violin is like a person in an opera. You mustn’t just play; you must sing." He encouraged Theonie to explore non-vibrato on the first two notes, advising her to "play very purely and breathe, inviting the orchestra to come in. Leave space for improvisation." He demonstrated the opening with a pure, ringing tone and generous bow speed, adding that it "must be played with angelic beauty. Don’t push into the string, just glide, like you are paragliding." Throughout the masterclass, Vengerov emphasized the importance of body language, stating, "Body language says it all, like you are having a conversation," particularly during a passage where Theonie imitated the orchestra. He concluded with an anecdote, recalling a moment from when he was 20 years old, rehearsing with the Berlin Philharmonic and shaking with nerves. He had asked Muti for advice, who replied, "You shouldn’t play anything you can’t sing." Next, Hanuelle Lovell, a third-year Bachelor of Music student at the Queensland Conservatorium, performed the third movement of the Franck Sonata in A Major. Given that Vengerov had performed the Franck Sonata in his recital the previous night, it was intriguing to see him teach the work. Vengerov focused on the very opening of the violin entrance, where the upbeat trill leads into a four-note E-flat major chord. He advised, "You must see this as a longer phrase. Changes must be seamless. What is missing is the connection between notes." He also discussed using non-vibrato as a means of expression, suggesting that the opening two phrases, resembling recitatives, should be played "with a philosophical sense. So much emotion like the ocean. Must not be played but must be spoken." Vengerov frequently demonstrated, showcasing a much larger range of dynamics and emotion. He emphasized that the second recitative should "be much more like climbing a mountain. You must use twice as much bow." He encouraged her to improvise and vary repeated sequences, demonstrating the movement's high point. At one point, he used Hanuelle’s violin, showing how to achieve a focused and connected sound in the calm theme after the climax of the piece. The next student, Ein Na, a 15-year-old high school student at Somerville House, performed the first movement of Tchaikovsky's Violin Concerto Op. 35. Vengerov stopped her after the Exposition, praising her technique as "wonderful, beautiful." He described the work coming from Tchaikovsky’s ballets, symphonies, and opera (Eugene Onegin). He advised, "Strategically, be humble in the beginning," suggesting that the opening cadenza should continue the tutti introduction. He demonstrated different ways of using body language before the first note, eliciting some chuckles from the audience. As with his previous comments, vibrato was a key topic. He noted that the intensity of vibrato at the opening was "not appropriate, should be simpler," and described the main theme as "like ballet, very elegant." He described the first theme as "a lovely duet with the first violins," advising her to "think about them" and encouraging variation in sequences." The audience laughed again when Vengerov demonstrated different body language while playing. In the second theme, Vengerov explained how the accompaniment changes upon repetition and how the vibrato should adjust accordingly: "The first time is more calming; the second is more emotional. Must be narrower and faster." The final student was Yuro Lee, a third-year Bachelor of Music student at the Queensland Conservatorium, who performed the first movement of the Sibelius Violin Concerto in D minor. Vengerov stopped her after the end of the cadenza, just before the Recapitulation, and said, "You need to work on the sound production to create the colours you want. You have all the right ingredients in your right and left hand, but sometimes you are leaning into the string too hard." He then discussed right hand flexibility, advising, "You have to feel every joint. Not just play with the bigger muscles. The end of the hand must be very flexible." He likened the opening of the Sibelius to "a flying bird seeing the forest," suggesting that she should avoid starting from the string otherwise the sound "doesn’t breathe." Yuro repeated the first note several times, trying to achieve the right sound. "Little tight in shoulders and chest. Shoulders down. Grounded but not stuck." He encouraged her to "breathe out on the down bow and breathe in on the up bow." He concluded with the first cadenza before the second theme, advising, "Play more horizontally. Don’t push the sound. Make a connection, then use the speed of the bow." Vengerov again used the student’s violin to demonstrate, playing with more bow further from the bridge to create an open, ringing sound. Throughout the master class, Vengerov's demeanour was pleasant and calm, and he frequently demonstrated both what to do and what not to do. It was a rare treat to see Vengerov perform and teach in Australia. I thoroughly enjoyed watching him and hope he visits again soon. * * *

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