SHOSTAKOVICH, Dmitry
Concerto for Cello and Orchestra No. 1 in E-flat Major Op. 107 (reduction for cello and piano)
II. Moderato
Pablo Ferrández, guest professor
Eva Arderíus, student
Miguel Ángel Ortega Chavaldas, accompanying pianist
For Ferrández, the performance of the movement lacked sufficient tension between the notes to better align with the composer’s language. They review from the beginning the relationship between the notes of each phrase, and the importance of playing with more tension, especially the semitones. The opening should be articulated but much more legato, particularly in the left hand. Thinking about performing it with orchestra, more sound must be drawn out and there must be greater response to the violas’ melody. Throughout this section it is important to exert maximum effort in the fingers when playing to achieve a sound more in keeping with Shostakovich’s language, to the point of being emotionally exhausting. Each note has its character, and even if it is the same note it should not sound the same, and to achieve this he recommends changing the vibrato. He continues giving indications to improve expressiveness, especially at certain special moments, while maintaining the quality of each note.
In the second part, by contrast, that previous tension must be released, making it clear that it has been freed and “making it easy.” He asks her not to disconnect during the long notes, and they continue reviewing the expressiveness to achieve the richest possible interpretation.
Language: Spanish
