"You almost don't take a beat, and I hear almost directly this energy, I miss the director. Almost like if we're conducting it and you're honest to feel that." Marc Coppey
"Marc Coppey listens to the student play Sonata No. 2 by Johann Brahms for cello and piano, and says it's one of the most glorious works for the cello. Coppey notes that “the F major often relates to the nature of the horn and that kind of instrument, and I think that's also something we need to consider in the character of this music.""
Regarding the character of this sonata, the master says that ""the energy of this music is, or is almost, youthful. It's like a call, a happy call, full of life, full of energy,"" but also warns that when moving quickly from a major to a minor key, there is a certain ambiguity that must be expressed."
During the class, the master works in detail on the relationship between the cello and the piano, differentiating, several times, between what happens with the right hand and with the left hand. He also goes over different bowings, focusing on the relationship between harmony and the different functions performed by the cello, sometimes playing the melody, sometimes acting as a bass.
-There is ambiguity in this piece.
-The intervals have to be felt, and they are all different. Some are ascending, some are descending. Some are darker, some are more energetic.
-It sounds like a like a symphonic work.
-Importance of breathing.
-Importance of feeling the beat.
-If Johann Brahms repeats, there must be a reason.