SHOSTAKOVICH, Dmitry
Sonata for viola and piano in C major Op. 147
II. Allegretto
Gérard Caussé, visiting professor
João Victor Fransozo, student
Antonia Valente, accompanist 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 leads the theme, makes the proposal, and then in the following section, he should be less prominent because the main melody is carried by the piano. Afterwards, they review the fingering and articulation of the first notes of the Allegretto. The professor also tells him not to be so serious; it’s like being in a circus. Later, he asks him to broaden his right-hand movements to achieve greater expressiveness with the bow.
They continue to review musical aspects related to bowing and position changes, possible fingerings, dynamics, dialogue with the piano, etc. In the solo section, he recommends making every note expressive, not just some.
For Caussé, the student plays too fast because there is a lot of information, and otherwise, it is not well understood. They also review the expressiveness of the end of the movement, and the professor asks him to play it again to consolidate all the instructions given. Then, for one section, he recommends thinking of the image of a drunkard, or a desperate person… to give the melody more expressiveness in that sense and to play it with a more “ugly” sound, not so ideal and beautiful. For Shostakovich, life was not beautiful due to the hardships he endured, and this is the last work he composed before dying, serving as a testament, which the student must convey in his performance.
Language: English
