BARTÓK, Béla
Concerto for viola and orchestra Sz 120 BB 128 (reduction for viola and piano)
I. Allegro moderato
Nobuko Imai, professor
Katarzyna Duz, student
Aníbal Bañados, accompanying pianist
At the beginning of the review of the first movement of Bartók’s Concerto for viola, Nobuko Imai recommends that the student become more familiar with the music and what is happening at each moment in order to achieve the most appropriate interpretation possible. For example, at a certain point the dynamics should be more piano, taking into account the orchestral accompaniment at that moment. Then, the professor makes comments on the composition, sketches, manuscripts and editions of this Concerto for viola. Imai plays the beginning of the work and highlights the importance of expressiveness.
Later, Nobuko Imai makes indications mainly relating to phrasing and melodic direction, metric rigor or freedom depending on the character and colors of the music, type of sound (thinner and tenuto, like a trumpet at a certain moment), rhythm and contrast in the climax.
For the next part, expressiveness is also important, and not playing too slowly. It needs more “flavor” and appropriate phrasing.
In general, the professor recommends that the student be more active with the bow without losing sound quality, proposing a better distribution of the bow for this. It is also important that the student knows how to distinguish when playing the piece, whether it corresponds (or not) to the main melody.
In conclusion, Imai highlights the importance of knowing the complete structure of the work, especially the climax or relaxation parts, so that the interpretation is better and richer.
Language: English
