Joe Xie

Orchestra G/T

Second Quarter- Performance Practice and Interpretational Analysis

Shlomo Mintz plays the Wieniawski Concerto No. 2 in D Minor in the appropriate way,
which is, a passionate involvement into the music. Accompanied by a full orchestra, Mintz plays
the piece standing up. In order to maximize the contrast between each part of the 1st movement,
full bows are utilized as much as possible. Coupled with long bows, careful, staccato articulation
is used, with every note being brought out and heard to the best of Mintzs ability. Maximum use
of vibrato is also necessary to achieve this end. The change of character within the piece is
further exemplified by the usage of dynamics, where the sound gradually goes from a piano up to
a forte within about ten to fifteen measures. By using dynamics, the audience can see that the
pressure is building up, that the piece is going towards a climax. During this section and even
before, Mintz appears to be highly involved in the piece, completely absorbed the instrument
and the music.
Itzhak Perlman plays the Bach Partita 2: Allemanda in a very straightforward manner.
Generally speaking, Bach primarily uses lower positions for the violin and any instrument
(usually up to third position), as the higher positions had yet to be developed during his time.
Perlman, recognizing that this is true, uses minimal vibrato in a simple yet beautiful style. There
appears to be minimal phrasing and dynamic changes, which can vary somewhat depending on
the violinist. The Partita requires no accompanist, as it is only for solo violin. Perlman primarily
uses the upper half of the bow, except for the phrases that use four or more notes in a pattern.
Careful attention is made to the last note of the group, using appropriate articulation when
necessary. The violinist is not standing but rather sitting in a chair on the stage. Perlman appears
not be greatly involved in the piece, acting quite carefree for the most part.