BRAHMS, Johannes
Sonata for viola and piano in E-flat major, op. 120 no. 2
I. Allegro amabile
Gérard Caussé, visiting professor
Adriana Snape, student
Antonia Valente, accompanying pianist
The student plays the first movement of Brahms’ Viola Sonata No. 2. Caussé indicates that the movement is “amabile” but also “appassionato”. For the melodic interval leap, he suggests always using 1-3 fingering rather than 1-4. For another section, he proposes a calmer ending to create more contrast with the following, more intense section.
They resume from the beginning, and for the first phrase, he mentions the most recommended bowings and bow directions. Additionally, Caussé suggests that she be more in tune with the piano, as the melodies are in constant dialogue between the instruments. In the next phrase, vibrato is important to generate more support for building a good foundation for the subsequent notes. Regarding a certain glissando, Caussé is not in favor of it and proposes alternative fingerings to avoid it. He also makes suggestions about expressiveness, to better mark the entrance to the piano, phrasing (not letting the notes “cool down”), dynamics, the use of harmonics at a certain point to mark a change in color, fingerings, etc.
Language: English
