LALO, Edouard
Concerto for cello and orchestra in D minor (reduction for cello and piano)
I. Prelude. Lento – Allegro maestoso
Frans Helmerson, guest professor
Leonardo Chiodo, student
Ofelia Montalván, accompanying pianist
After performing the complete movement, Helmerson suggests that the student look more at their right hand (not focusing on the left) to aid in the interpretation by being more aware of the movement, impulse, and form, as well as looking towards the audience and imagining how a listener at the back of the auditorium captures the music.
Returning to the beginning, the professor makes indications regarding the vibrato, playing more recitative (not so rhythmic, with metric freedom but within the pulse, without taking too much time or delaying), about the character, contrasts, etc. For a certain note to sound deeper, it needs more impulse, and later the instruments of the orchestra play very softly, so it does not need to project too much, playing very expressively but more intimately.
The professor reflects on the vibrato and emphasizes the movements of the right arm to help achieve the expression with the bow that Lalo requires. Later, he makes some rhythmic corrections, and then the character changes to something lighter.
They also discuss issues such as phrasing, bow strokes and contact with the string, expressiveness, sound quality, and vibrato, mainly.
Language: English
