SHOSTAKOVICH, Dmitry

Sonata for viola and piano in C major op. 147

II. Allegretto

Gérard Caussé, guest professor

João Victor Fransozo, student

Antonia Valente, accompanying pianist

Professor Caussé points out to the student that this movement has a very different character from the first: much more jovial. A little later, he indicates a section where the student carries the theme and makes the proposal, but in the following phrase, he should be less of a protagonist, as the main melody is in the piano. They then review the fingering and articulation of the first notes of the Allegretto. The professor also tells him not to be so serious—it should feel like being at a circus.
They continue reviewing musical aspects related to bow strokes and position changes, possible fingerings, dynamics, and dialogue with the piano. In the solo section, Caussé recommends making every note expressive, not just some of them.
For Caussé, the student plays too fast, given the amount of musical information; otherwise, it's hard to understand clearly. They also review the expressiveness of the ending, and the professor asks him to play it again to consolidate all the suggestions made. Then, for one section, he recommends imagining a drunk person—or someone desperate—to give the melody more expressive intensity, even with a "rougher" sound, rather than an idealized or pretty one. For Shostakovich, life was not beautiful because of the hardships he endured, and this was the last piece he composed before his death—his musical testament—so the student must reflect all the emotional weight embedded in it.

Language: English