WALTON, Sir William
Concerto for Viola and Orchestra (1929) (reduction for viola and piano)
I. Andante comodo
Tabea Zimmermann, guest professor
Raquel De Benito Forriol, student
Antonia Valente, piano accompanist
Following the student’s performance, Professor Zimmermann recommends that she continuously provide more information to the hypothetical orchestra and clarify the intended character at all times. The intonation must respond more to the piano accompaniment and move with it (often, it is necessary to connect more closely in tuning with the piano’s bass). Regarding the beginning, it should not be so loud, as the orchestra plays pianissimo. At the ends of phrases, a little more time should be taken, especially when playing an orchestral accompaniment, to ensure a better connection between both. The same applies to tempi; one must always consider what the orchestra is playing to align with the same tempo. ‘Allargando ma ritmico’ should not be an accelerando, although many performers play it that way.
They then work on issues related to the bow and arm movement: for Zimmermann, bow changes provide more information than how the music actually moves. The elbow must function like a hinge. The professor also speaks about legato and the bow speed required to achieve it.
Regarding voices and sound balance, the second voice must be heard even if it does not predominate. They discuss the balance between the orchestra and the soloist: the speed of the bow is what will determine whether the soloist stands out or not.
Language: English
