"It's never such a good feeling to have to hurry with the left. So usually when we have to hurry, that means we didn't prepare early enough." Marc Coppey
After listening to the student play the first movement of the first Dimitri Shostakovich Concerto, Marc Coppey highlights two things: first, that it is much better than the previous time he heard it by the same student; on the other hand, he thinks it could be more consistent about the tempo: "in that movement, the feeling of tempo change is not good".
Regarding the sound, the master says that he should seek projection in the sound, more definition, and, before this, he warns that he sometimes hears in the student that there is a lot of attack but not so much sound behind, for which he suggests using more bow.
Later, Marc Coppey notices that the student is articulating little with his left hand, so he makes some suggestions with the position of the arm, since “You're a bit light and you need more solidity”. In addition, the master also asks him to work more on anticipation, since in this way “the sounds speaks more”.
“Sometimes it's not so clear, and that also makes you rush”, says Marc Coppey, and works together with the student on the coordination between left and right hand, in the thumb position: “you are a little bit late with your left hand. Yes, OK. And then that stresses you are because you have to hurry. It's never such a good feeling to have to hurry with the left. So usually when we have to hurry, that means we didn't prepare early enough”. It is a fantastic class, on a demanding and captivating work for the cello.
-The feeling of tempo change is not good
-A lot of the power, the energy and the strength of that music, is related to this rhythmical solidity
-Importance of projecting sound, articulation, and anticipation
- Usually, when there is a rush, that means there are problems in the preparation
-Importance of flexibility in the left hand
-One of the main characteristic of Sonata form is the opposition of character between the two themes
-Importance of feeling the relation between the bow speed, the pressure you put on the swing and the contact point
-As Casals said, “use bow because you need it, not because you have bow”