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Marc Coppey, Haydn , Concerto No.2 in D major

Sequence published on 12/2/21
Composer : Joseph Haydn
Year of composition : 1783
Artistic period : Classique
Musical category : Concerto
Academy : Academy Nov. 1 - Nov. 8, 2021
Master(s) : Marc Coppey
Student : Matteo Fabi
Instrument(s) played :

"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

About the Violoncelle class of Joseph Haydn's work on the Concerto_No.2_in_D_major op.101

Master class de Violoncelle, Joseph Haydn | Concerto_No.2_en_Ré_majeur

"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."

What we learn in this Violoncelle Master class

-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

About Joseph Haydn work

"Joseph Haydn's D major cello concerto is dated 1783, approximately twenty years after his C major cello concerto. It is thought to have been written for Anton Kraft, a virtuoso cellist in Joseph Haydn's orchestra at Esterházy, and to have been carefully tailored to show off that performer's technical skills. At the time, Joseph Haydn was mainly preoccupied with composing and conducting operas at Esterházy, and was only sporadically composing symphonies, so the commission for a cello concerto may have felt like something of a distraction. Nevertheless, the resulting work is one of his best-known concertos today. It has been a popular virtuoso vehicle for cellists ever since the late nineteenth century, when its orchestration was expanded to suit Romantic tastes. The first movement sets the character of the work, which is leisurely and amiable. It's in the usual sonata form, with the exposition played first by the orchestra, then elaborated on by the soloist. The material is then developed and recapitulated. The slow movement is marked Adagio, and is in the dominant key A major, with the central section moving to the unusual key of C major. The final movement is in rondo form, with a dance-like main theme in compound time, and two episodes, the second being in the minor mode."
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