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Marc Coppey, Dvořák, Concerto

Sequence published on 12/2/21
Composer : Antonin Dvorak
Year of composition : 1894
Artistic period : 19th century
Musical category : Concerto
Academy : Academy Nov. 1 - Nov. 8, 2021
Master(s) : Marc Coppey
Student : Eliott Leridon
Instrument(s) played :

"that's maybe the most glorious cello concerto, and we spent probably more than half of the time accompanying the orchestra." Marc Coppey

About the Violoncelle class of Antonín Dvořák's work on the Concerto op.104

Master class de Violoncelle, Antonín Dvořák | Concerto

"After listening to the student play the second movement of Antonin Dvorak's Concerto in B minor, for cello and orchestra, Marc Coppey congratulates him, and says that it´s a very nice sound and a very sensitive interpretation. Then, he asks the student what he knows about the context in which this work was composed, and highlights the importance of knowing a little about when and where it was created. The master explains that Antonin Dvorak was in the United States at the time, but he missed Prague a lot and also suffered the death of his sister in law, who was his youthful love. “I think the context there can be a source of inspiration to a lot of these, a love story behind the piece,"" Coppey says. ""Not completely, but this is part of it, so there is a lot of melancholy...”
Taking that into account, the master suggests some indications following the nature of this movement, and goes on to make several suggestions that are related to this technique. Coppey highlights a sense of circularity in the three, one, two, three; and states that he feels not all beats are even. At times, Coppey suggests, even singing in a more dramatic way.
"

"This is so passionate and you play elegantly. It's nice, but it's not the character,” says Marc Coppey. He then works with the student on vibrato, legato, connection between notes, and how to achieve the sound needed for the right character.

What we learn in this Violoncelle Master class

-There is a lot of melancholy in this piece. That doesn't mean it's all sad, it's also a lot of Dolce and beautiful light expression in this movement
-Some parts are extremely passionate
-There is a sense of circularity in the three one to three...
-Feel that not all beats are even
-The piano must be used to play
-There is a lot of beautiful orchestration, rhythmical motives, and they could influence the interpretation more in the sense of quietness or agitation

About Antonín Dvořák work

"The first movement introduces two of Dvořák's most memorable themes. The one at the beginning—low clarinet, joined by bassoons, with a somber accompaniment of violas, cellos, and basses—lends itself to a remarkable series of oblique, multi-faceted harmonizations. The other, which is more lyrical, has one of the loveliest horn solos in musical literature. The Adagio begins in tranquility, but this mood is quickly broken by an orchestral outburst that introduces a quotation from one of Dvořák's own songs, which is now sung by the cello in its high register and with tearing intensity. The song, the first of a set composed between 1887-88, is “Kez duch muj san” (“Leave me alone”), and it was a special favorite of the composer's sister-in-law, Josefina Kaunitzová. "
The finale, built around a march-like melody, follows classic rondo form in its use of a recurring principal theme that alternates with contrasting episodes. Finally, Antonin Dvořák adds a coda section in which he recalls material from the previous movements. We hear a reprise of the concerto’s opening measures, as well as a variant of the song from the second movement.
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