Christoph Poppen: Brahms – Violin and cello concerto op 102 – I. Allegro

BRAHMS, Johannes

Concerto for violin, cello, and orchestra in A minor, op. 102 (reduction for violin, cello, and piano)

I. Allegro

Christoph Poppen, guest professor

Patricia Cordero Beltrán, violin

Alejandro Gómez Pareja, cello

Miguel Ángel Ortega Chavaldas, accompanying pianist

Poppen comments to them after playing the complete movement that, being a concerto, they need to project the sound more so that it reaches the end of a large hall. Regarding the character, one must always sing, so it should always be played on the string, with a lot of contact. He also talks about the rubati typical of all Brahms’ music, which should be played more strictly as written, without adding more than necessary.
They resume from the violin cadenza to work on certain passages in more detail, addressing aspects related to the bow (position of contact with the strings, direction, and speed), the dialogue between the two solo instruments, the metric rigor, character, phrasing, dynamics, etc.
The professor also makes comments regarding the sound balance between the two instruments, more crescendo at a certain point, and legato articulation. He insists on not using extra time in the rubati and suggests some fingering to the violin to obtain a more expressive sound. In addition, on the cello, the “dolce” and “espressivo” indications in the score must be expressed with different colors. Then, when the violin is leading, it should sound a little more, and the cello a little less.
Poppen reiterates the idea of making the tempo as strict as written by the composer: without unnecessary fermatas, ritardandi, or accelerandi. In Brahms, to have space to make the long diminuendi, it is advisable to start a little stronger because otherwise, in the end, the più piano will not be distinguished. The violin triplets should be very even without rushing. They then resolve a doubt about the trills in a certain passage. The forte-piano of the cello should be highlighted more, as well as the tonal changes that occur in the ascending melody that follows.
In conclusion, he recommends again keeping the work very “classical” in tempo because the rubati are written in the music, without needing to do extra.

Language: English