"You have to play the score. It's a cliche, you know, but you're not playing only your part, but playing the score." Jens Peter Maintz
From the beginning of this class, the master praises the performer, saying that it is "very noble
playing, serious music-making". Some indications that he makes to the cellist have to do with
achieving a better legato, trying to better connect the notes, and, on some specific occasions,
seeking a greater physical commitment. A very important issue is the influence of Bach in the
writing of this work and also, at times, some difficulties in the interpretation as it is not idiomatic
writing for the cello.
It´s also very interesting the passage in which the master makes the observation that "you're
normally taught don't get faster when you get louder and don't get slower when you get softer is
interesting. But most probably that's exactly what they did”. One possible problem is to stay “too
reserved, too much on the back. It's not emotional enough” if one doesn´t do that.
One of the significant phrases of the class, which can be applied for other classes in which
repertoire for chamber music is taken, is when the master says that the cellist has to play the
score, not only the cello part, alluding to the importance of knowing very well what the other
- It is important to sing, articulate, speak with the instrument
- One has to play the score. The musician does not play only his part, but the score
- Sometimes one has to go crazy
- Different kinds of vibrato (and the importance of non-vibrato)
- Syncopations are alive
- Sometimes, the material is definitely non-cellist
-Contrasts: at the very beginning, it must be played more expressively and be more connected.
Then, in a new counterpoint, it's a completely different story
- The voices are like a unit, even though they are produced by different instruments