"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." 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 for the instrument. Marc Coppey congratulates him, noting that his performance is very good. Regarding the work itself, the master highlights its operatic character, like much of the music of Joseph Haydn and Wolfgang Amadeus Mozart. In this particular case, this feature is particularly dominant.
Later they work on the sound in the highest register of the cello, on the point of contact of the bow, the need to breathe, as this helps prepare the sound and prevents blockages. At the same time, 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, the relationship with the orchestra; and they dedicate a large part of the class to working on intonation: "The note is not in tune or out of tune, it is in tune or in order to out of tune in relation to one or two even better references"
-It has an aperatic character
-Importance of breathing
-Changes of the contact points to generate different sounds
-A very soft sound can be achieved near the bridge
-A note is in tune in relation to one or two references