BEETHOVEN, Ludwig van
Sonata for Cello and Piano in C Major, Op. 102 No. 1
I. Andante – Allegro Vivace
Sol Gabetta, guest professor
Luis Aracama Alonso, student
Ofelia Montalván, accompanying pianist
After finishing the Andante and playing the opening of the Allegro vivace, the professor gives him guidance regarding tempo. Within the metronome marking, he can play more with the structure and move forward so that it is not all black and white, but rather that there are shades of grey in the interpretation—more nuance, more flow. They also review positioning in relation to the piano: they must be in contact, try things out, and find the place where they fit best close to it.
For Gabetta, the Andante has lacked some presence; she recommends playing more with “micro-dynamics,” because otherwise it goes unnoticed and it seems as though the sonata does not begin until the Allegro.
Regarding bow direction at the beginning, the professor points out that it is not the important thing because, depending on the acoustics, he will have to change it and adapt; however, he should always try to respect his idea as much as possible and practise it in such a way that he knows what sound he wants to obtain. What she does recommend is projecting the sound more in piano dynamics. They try the opening by adding three notes so that he can notice the difference in phrasing and the feeling of already being within the phrase, with a more natural weight. Also, at Gabetta’s request, he tries playing three repetitive elements taken from his phrases so that the student can analyse the harmonic and register differences. Deconstructing the sonata can help him avoid playing those elements in the same way.
In addition, the professor makes technical comments regarding the left hand (thinking before playing what pressure he wants to apply with his fingers on the string) and the right hand (not stopping the weight just before placing the bow). As for vibrato, the same applies: he should visualise beforehand how he wants it to sound so that the finger moves to generate that ideal sound. He should listen to himself more first so that his physical technique helps him achieve it—experiment.
In the Allegro vivace, they review issues mainly related to phrasing, dynamics and sound projection, articulation, and character. It is important that he also works with both hands when creating the sound, combining them in different ways. In Beethoven everything happens very quickly, so he must prepare the changes in his mind beforehand so that he has time to make them. For the high register he should do the opposite: stay closer to the instrument to generate greater confidence and security.
Language: Spanish
