Concerto No. 2 in D major, Op. 101, version 1
Concerto No. 2 in D major, Op. 101, version 1
Produced by the Saline royale Academy in November, 2021 at Arc-et-Senans.
"The master makes a comparison with meditation: “You have to be hermetic to everything around you. You are to think about nothing else but the piece you are working on. Think about how you have to work on it, where you want to go with it, what you have to achieve, and think about nothing else. Chase away all other thoughts”.
In the rest of the class, the master and the student work together on technical things like vibrato, the left-hand expression, the importance of not blocking the left arm, and phrasing bow strokes. They also discuss tempo, accents, rubato, etc.
-Importance of being concentrated, to be hermetic to everything that around you, to focus only on the piece
-Playing the cello is a kind of meditation
-Vibrato is done with the whole hand and the whole arm, not just the finger
-Importance of working on the details to make the lines and phrases more pleasant
-The goal of arriving must be always taken into account.
"Joseph Haydn's D major cello concerto is dated 1783, approximately twenty years after his C major cello concerto. It is thought to have been written for Anton Kraft, a virtuoso cellist in Joseph Haydn's orchestra at Esterházy, and to have been carefully tailored to show off that performer's technical skills. At the time, Joseph Haydn was mainly preoccupied with composing and conducting operas at Esterházy, and was only sporadically composing symphonies, so the commission for a cello concerto may have felt like something of a distraction. Nevertheless, the resulting work is one of his best-known concertos today. It has been a popular virtuoso vehicle for cellists ever since the late nineteenth century, when its orchestration was expanded to suit Romantic tastes. The first movement sets the character of the work, which is leisurely and amiable. It's in the usual sonata form, with the exposition played first by the orchestra, then elaborated on by the soloist. The material is then developed and recapitulated. The slow movement is marked Adagio, and is in the dominant key A major, with the central section moving to the unusual key of C major. The final movement is in rondo form, with a dance-like main theme in compound time, and two episodes, the second being in the minor mode. "
when I am with my cello, I am doing a kind of meditation.
Aim for excellence! You can improve your skills with expert advice. Download the annotated sheet music of this cello masterclass. Please note that this piece has been annotated in accordance to Anne Gastinel’s feedback and comments.
Anne Gastinel won numerous prizes in major international competitions (Scheveningen, Prague, Rostropovitch) and began to appear all over Europe, making a lasting impact on the general public in the 1990 Eurovision Competition.
Unanimously recognized as an ambassador of the French cello school, she was selected to play for the term of one year: the legendary Matteo Gofriller cello that once belonged to Pablo Casals. In 2006, Anne Gastinel was awarded the Victoire de la Musique in the category of ‘Soloist of the Year’ and ‘Best Recording’.
Her career now takes her to perform in the leading venues all over Europe, as well as Japan, China, South Africa, Brazil, Indonesia, Canada, and the United States. She has appeared with great masters such as Yehudi Menuhin, Mstislav Rostropovich, and Kurt Sanderling. As a soloist, she regularly performs with the Orchestre National de France, Orchestre National de Lyon, Hr-Sinfonieorchester (Frankfurt), Orchestre Philharmonique Royal de Liège, Orchestre National Bordeaux Aquitaine, Orchestre Symphonique de Bretagne, among others.
Furthermore, as a chamber musician, she plays with Claire Désert, with whom she has recorded many albums (Poulenc, Franck, Schubert, Schumann…), with the Quatuor Hermès, Nicholas Angelich, Andreas Ottensamer, David Grimal and Philippe Cassard; Xavier Philipps and many other French cellists. For nearly 15 years, her recordings have received the highest distinctions. Her recording (Naïve) dedicated to Beethoven’s Triple Concerto with Nicholas Angelich, Gil Shaham, Paavo Jarvi and the Hr-Sinfonieorchester received the ‘Choc’ of Classica magazine. Since then, she has continued to explore the extensive cello repertoire with her accomplices.
She has been teaching at the CNSMD of Lyon since 2003.
Born in Austria in 1732, Joseph Haydn is widely regarded, along with Mozart and Beethoven, as a bonafide representative of Viennese classicism. He was raised in a musical family with a family of music lovers. At eight-years-old, he was recruited to serve as a choirboy at the Stephansdom in Vienna, Austria. Here, the young musician rehearsed and sang in performances of the most prominent classical music of the time. The experience would fundamentally shape his musical intellect and future.
Joseph Haydn eventually landed a job as a Kapellmeister (Music Director) where he composed his first symphonies and divertimentos. In 1761, his career would continue to flourish after gaining new employment with Prince Paul Anton of Esterházy, and later his brother Prince Nikolaus of Esterházy. Fortunately for the composer, he had the privilege to work with one of the best European orchestras of the time, for which he wrote most of his works. By the 1780s, Haydn’s works were gaining even more popularity and recognition. At times, he was occasionally compared to Mozart.
Prince Nikolaus died in 1790, and his successor, Anton, decided to dissolve the court orchestra led by Haydn. After this, he took up residence in Vienna, and then took the opportunity to make several trips to London, where his music was celebrated by the public.
The composer spent the last years of his life back in Vienna, where he continued to enjoy international recognition until the day of his passing at the age of 77, on May 31, 1809. In spite of his death, Joseph Haydn continued to be regarded as one of the most prolific and important composers of the Classical era. A common characteristic of his music is the evolution of larger structures out of simple and short musical motifs. His works are key to the development of the sonata form, as well as towards the establishment of symphonies. Overall, Joseph Haydn produced an astonishing volume of music including 108 symphonies, 68 string quartets, 32 divertimenti, 126 trios for Barton, viola, and cello; 29 trios for piano, violin, and cello; 21 trios for two violins and cello; 47 piano sonatas; 14 masses, 20 operas; 2 cello concerti; and 6 oratorios.