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Esther Yoo imagines a ballroom of swirling summer dancers and secret trysts as she talks through the sparkling third movement of this magical work

Teaching & Playing

I have loved to listen to and play this concerto since my childhood: it is so enchanting, and technically there is so much to work on. It’s very good for the development of any violinist: in the third movement alone, you have to play clean and musical shifts, double-stops, chords, fast passages, and many different bow techniques. You must also really learn to listen, both to yourself and to the orchestra or piano reduction, because there’s a continuous conversation between the two from beginning to end, sometimes in unison, sometimes one after the other. That energy pulls you through the entire movement without letting up. There are so many different ways to explore new ideas within this beautiful structure, to be truly artistic and creative.

From Mendelssohn Violin Concerto in E minor op.64. Urtext edition, piano reduction, paperbound with marked and unmarked string parts. Editor Ullrich Scheideler; fingering Igor Ozim. Order no.HN 720, ISMN 979-0-2018-0720-1, €22.50. Printed with permission of G. Henle Verlag, Munich © 2003

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About The Strad

We talk to the members of the Belcea Quartet and ask why more young people are turning to period performance. Students of Kató Havas pay tribute to the late violin teacher, and there’s a look at asymmetric instruments. Plus a Mendelssohn Masterclass and Renaud Capuçon’s Life Lessons.