BRAHMS, Johannes
Sonata for cello and piano no. 1 in E minor, op. 38
I. Allegro non troppo
Torleif Thedéen, visiting professor
Alejandro Gómez Pareja, student
Miguel Ángel Ortega Chavaldas, accompanying pianist
Regarding the work in general, the professor comments on the importance of the piano part in this sonata and the need to join in with it. For example, in the transition to the recapitulation, the cello should imitate the piano, especially in the off-beat parts. In addition, all the dynamics in both parts have to sound at the same time. In moments of “piano” dynamics, the dark passages in the low register should be clearer. Before the main entry of the theme, the most important note is the previous one, as it is the one that creates the magic and expectation.
Professor Thedéen insists on the idea of creating the sound that we hear internally and playing organically to clarify the structure.
Thedéen also comments that, when playing soft bows, the left hand should not be tenuous or weak but expressive so that the independence of both hands can be achieved in relation to the expression.
Language: English
