BEETHOVEN, Ludwig van
Sonata for Cello and Piano in C Major, Op. 102 No. 1
I. Andante – Allegro Vivace
Frans Helmerson, guest professor
Luis Aracama Alonso, student
Ofelia Montalván, accompanying pianist
After the student’s performance, Professor Helmerson congratulates him and suggests playing the Allegro faster. The characters of the Andante and the Allegro are very different, like different worlds (also in rhythm and articulation).
Resuming from the Allegro, the professor provides indications on rhythmic precision, articulation, expressiveness, sound projection, dynamics, and character. Helmerson then discusses the importance of creating contrasts and varying the music through articulation and the use of vibrato to create direction. Later, he suggests different bowings for a certain passage and they discuss the different editions. He continues to emphasize creating contrasts when there are changes in character based on the new harmonies that occur.
They then review the Andante, for which Helmerson recommends not measuring the pulse so strictly, making it more diffuse. To this end, he provides some indications regarding bow movement. He insists on showing the direction of the music and the changes in color. The professor also provides indications regarding coordination with the piano and tempo, fingerings, and expressiveness.
Language: English
