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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. 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 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 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"

What we learn in this Violoncelle Master class

-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

About Joseph Haydn work

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 Haydn's orchestra at Esterházy, and to have been carefully tailored to show off that performer's technical skills. At the time, 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. Nonetheless, 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 is in the usual sonata form with the exposition played first by the orchestra and then elabourated 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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