DEBUSSY, Claude
Sonata for cello and piano CD 144
I. Prologue
David Geringas, visiting professor
Mariusz Wysocki, student
Ofelia Montalván, accompanying pianist
David Geringas begins the class by commenting that there is a problem with dynamics; since there are so many piano nuances that go down to ppp, they must be considered in relation to each other. He must play with the intensity of the piano. At the beginning, he must also enter louder than the piano… everything the student does must have a meaning. Afterwards, they reflect on the meaning of the indication diminuendo, and later the professor recommends that he read the brief story of Pierrot Lunaire on which this sonata is based. They also reflect on more indications written in the score: agogic terms such as animando and rubato, of quality and character of the sound, etc.
For Professor Geringas it is important to find words that help him to be in consonance with the musical expression. In a certain part, the pianissimo must be with sound and articulation, and later Geringas makes more corrections on articulation and phrasing, on the sound role of each instrument in certain passages, on sound balance and dynamics, etc.
Geringas also works with the student on the movement of the bow and the arm that holds it, and the most appropriate hand weight to obtain a better sound quality. He encourages him to dedicate daily time to working on it, using the energy of the body and without using pressure in the arm. On the score, they review the composer’s dynamic indications. Later, the professor advises making more contrast at the beginning of the melody, differentiating it more from the previous atmosphere (rhythmically as well).
Finally, they reflect on the indication “Lento” and “Poco vibrato” almost at the end of this movement and what Debussy wanted to indicate with it.
Language: English
