"It's a kind of expressionist concerto for the cello, not just expressive, but expressionist." Marc Coppey
"This is an intense class in which the master is concerned, from the beginning, that the student doesn't understand what the character of the work is. They share opinions on the “strange” theme that
comes up all the time, in an omnipresent way, that it is constantly going away and returning.
One of the main characteristics of the concert is that, according to the master, it's an expressionist concert, not just an expressive one. Beyond ending in C Major, all this harmonic ambiguity and lyricism is fed by varied and expressive intervals; some strange, some more
"Vibrato stands out in its essentially expressive dimension, and the master gives some very clear indications in this regard: “If you vibrate towards the front, you make the note go up. Feel the vibrato towards the head of the instrument, not towards the bridge”, “the vibrato is, as the English say, an embellishment on the harmonization of the ornaments, it's an ornamentation, it's a way to embellish the sound. But that's no way to distort it”, “you can change both the amplitude and the speed of the vibrato”.
Then, the master highlights the importance of the right arm and the bow, and how he is able to decide the type of sound, taking into account the point of contact, speed, force, and so on. He also
insists on taking care of the rhythmic continuity and constantly takes into account the notion of direction in the music. "
- If one vibrates towards the front, he makes the note go up.
- The first and most important thing is that the piece starts with a non-vibrated sound.
- There's one simple thing about a change of string: it's easier to anticipate.
- What is specific in this type of music is a lot of lengths
- Pulling the bow doesn't have to be strong.
- By writing dashes on the notes, the composer gives the notes a length
- The end is difficult because it's a single bow.