BRAHMS, Johannes
Sonata for cello and piano no. 1 in E minor, op. 38
I. Allegro non troppo
Pablo Ferrández, Guest Professor
Maria Salvatori, Student
Ofelia Montalván, accompanying pianist
Following the full performance of the movement, Pablo Ferrández congratulates the student but suggests closer attention to bow-string contact for improved sound quality. Additionally, the vibrato generally seemed a bit small; Brahms requires a vibrato with more body and warmth. Returning to play from the beginning, they work on creating the sound of that first note. Among other musical aspects, they review the sound and color of each note, phrasing, expressiveness, and energy according to the musical development. He also reviews the direction of the music (avoiding overly static passages), the interplay of character with the piano, especially in long notes, bow distribution in a specific passage, etc.
Ferrández emphasizes that she must listen to the piano more attentively to react more in tune with its harmonies. They then discuss the subtle nuances within a forte dynamic intensity: other tools must be used to create differentiation, such as varying vibrato speed, string contact, bow weight, finger articulation, etc.
Even if a phrase is repeated, it should not be played identically because the character is very different, and expression must be varied more, exaggerating slightly to reach the furthest audience member in the hall.
Language: Spanish
