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 beginning of the Allegro vivace, the professor gives the student some comments regarding tempo. Within the metronome marking, they can play more freely with the structure and forward movement, so that the interpretation is not just black or white, but includes shades of grey—more fluidity. They also review positioning in relation to the piano: it’s important to stay connected, try different positions, and find where they fit best together.
For Gabetta, the Andante lacked presence. She suggests exploring more "micro-dynamics", as otherwise it can go unnoticed and make it seem as though the sonata only really starts with the Allegro.
As for bow direction at the beginning, the professor points out that it's not the most crucial aspect—this will often need to adapt to the acoustics of the space. Still, the student should remain as faithful as possible to their musical intention and practice in a way that always aims toward the desired sound. What is important is projecting more in piano dynamics. They try playing the opening by adding three notes, to experience the difference in phrasing and feel a more natural weight within the musical line. At Gabetta’s suggestion, the student also isolates three repetitive elements from their phrases, in order to analyze differences in harmony and register. Deconstructing the sonata like this can help avoid playing these elements the same way each time.
The professor also gives technical advice: with the left hand, to think ahead about the finger pressure they want to apply to the string; with the right hand, not to interrupt the weight right before placing the bow. The same goes for vibrato—visualize the ideal sound first, so the finger movement produces that ideal tone. The student should listen more carefully to themselves in order to let the body work naturally and experiment freely.
In the Allegro vivace, they focus mainly on phrasing, dynamics and sound projection, articulation, and character. It’s important to work with both hands when creating the sound, using them in different combinations. In Beethoven, everything moves very fast, so changes must be prepared mentally ahead of time to allow space for them. For high notes, the student should do the opposite: get physically closer to the instrument to generate more confidence and control.

Language: Spanish