RACHMANINOFF, Sergey
Sonata for cello and piano in G minor, op. 19
III. Andante
Torleif Thedéen, visiting professor
Mar Bonet Silvestre, student
Miguel Ángel Ortega Chavaldas, accompanying pianist
Thedéen’s first comment in this class refers to the cellist’s podium, since in the professor’s opinion, playing with the piano at a different level is not the best way to establish communication. Especially in this piece, the piano and cello must feel united.
Throughout the class, Thedéen makes suggestions -to achieve an expressive result- on dynamics, point of contact, concentration on the quality of the sound, sound projection through free movements, etc. The dynamics at the beginning are “piano espressivo”, so this indication needs to be musically translated into a certain sonic brilliance, and where the use of the bow should go in this direction.
The professor later explains the character of the main entrance and the phrasing, which is sometimes between sung and spoken. When the tension begins, it is necessary to feel it and anticipate the climax. Finally, the professor indicates that some changes of character should be more unexpected or surprising, and recommends the use of glissando with vibrato to achieve a huge sound.
Language: English
