"We should react more to what the pianist is doing." Frans Helmerson
Almost at the beginning of the class, the master states the following: “We should react more to
what the pianist is doing. (…) when one practices a piece of music and trying to find out what is
happening in the music, how the composer wrote it”. Without a doubt, he dedicates himself to
this class, to analyze in detail what happens in each fragment of the work.
At times, he encompasses general problems of musicians when performing repertoire: “It's
something instinctive that we have, musicians. When it says diminuendo then we also slow
down. But actually, it's the opposite in this case anyway”, and at other times he gets involved in
the details of the work, trying to understand the composer's intentions: “When he repeats the
same note it has always a meaning”.
He tells the student that “It's so important that I know what is going on in the piano (…) And we
have to react to it simply. That's the music”. The importance of the piano part is a characteristic
of this work by Brahms.
It also stands out that the bow it's going to make the difference: "it's what you do from the bow
that makes the line and makes the shaping of the line".
- The cellist must know the piano part
- The bow is decisive for the shaping of the line
- Finding the better place on the string makes one’s voice get heard
- There must be a good reaction in the vibrato.