BRAHMS, Johannes
Sonata for Viola and Piano in F minor, Op. 120 No. 1
II. Andante, un poco Adagio
Gérard Caussé, Guest Professor
Martina Bonaldo, Student
Antonia Valente, Accompanist
For the professor, the interpretation of the second movement was better than that of the third. They then focus on working the contact with the string to achieve the most suitable sound projection for the concert hall, based on the piano dynamics required by this movement. The sound must be clearer and more defined, and to achieve this, the correct attack is very important. Without that sound, it would not capture the audience’s interest; it would be like background music. Furthermore, to project towards the center of the hall, the bow must be in that direction. They resume from the beginning, taking these indications into account to adapt to the hall’s acoustics, and also regarding the tempo. They continue to work on sound projection in passages, considering the bow movement, ensuring the sound is good to the audience’s ears rather than just the instrumentalist’s during emission, exploring bowing and fingering options, dynamics, and articulations, etc.
Language: Spanish
