"We think soft means fingerboard, loud means the bridge. But no, we can have a lot of sound with a lot of speed, for instance, on the fingerboard, and we can have a very soft sound near the bridge." Marc Coppey
"The student plays the second movement of Joseph Haydn's second Concerto for cello and orchestra in D major, a paradigmatic work within the repertoire of the instrument. Marc Coppey congratulates him, noting that his performance is very good. Regarding the work itself, the master highlights its operatic character, much like the music of Joseph Haydn and Wolfgang Amadeus Mozart. In this particular case, that character is particularly dominant.
Later, they work on the sound in the highest register of the cello, and on the point of contact of the bow. The master also touches on the need to breathe, as this helps prepare the sound and prevent blockages. Then, Coppey explains how the dynamics work based on harmony. In this sense, he warns about a stereotype of string players: “We think soft means fingerboard, loud means the bridge. No, we can have a lot of sound with a lot of speed, for instance, on the fingerboard, and we can have a very soft sound near the bridge.""
During the rest of the class, the master and the student cover a great part of the aspects of this movement, working on the different characters, problems in the dynamics, changes of position, and the relationship with the orchestra. They dedicate a large part of the class to working on intonation. Coppey explains, "The note is not in tone or out of tone, it is either right or wrong, but only in relation to one or two even better references."
-The Sturm und Drang and a certain romanticism is already present in Haydn music
-The cellist must choice a voice
-The interpreter must not repeat himself
-The harmonic structure is the same, but it doesn't repeat
-When the orchestra stops, that means the cellist has a bit more freedom