SCHUMANN, Robert
Adagio and Allegro for horn and piano in A-flat major, op. 70 (transcription for viola and piano)
II. Allegro
Hariolf Schlichtig, guest professor
Samuel David Palomino Kingjler, student
Juan Barahona, accompanying pianist
General comments from Professor Schlichtig: the student lacks strength, projection, and clarity of sound, especially in the second part (Allegro).
Regarding the Allegro, the professor recommends paying attention to the harmony of the piano to play the triplets more cleanly and to think about singing instead of forcing the sound: exerting more pressure does not imply more sound. In addition, the professor points out that harmonic changes are changes in the expression.
Later on, they work on aspects related to articulation, phrasing, tuning, bowing, direction and distribution of the bow, and dynamics. The professor also recommends that the student play in a more relaxed manner, so that it is easier and they can enjoy it more. In a certain passage, the color should be different, resembling the sound of the French horn. In addition, the professor proposes different fingerings to give a greater sense of cadence.
Finally, he corrects the tuning of the penultimate chord of the piece to achieve greater resonance.
Language: English
