BRAHMS, Johannes

Sonata for cello and piano no. 1 in E minor op. 38

I. Allegro non troppo

Torleif Thedéen, guest professor

Alejandro Gómez Pareja, student

Miguel Ángel Ortega Chavaldas, accompanying pianist

In general, the Professor comments the importance of the piano part in this sonata and the need to join with it. For example, in the transition to the recapitulation, the cello should imitate the piano, especially in the upbeats. All the dynamics in both parts have to sound at the same time.
In 'piano' dynamics, the dark passages in low register should be clearer.
Before the main cue of the theme, the most important note is the previous one, which creates the magic and the expectation.
Professor Thedéen insists on the idea of creating the sound we hear internally and to play organically to clarify the structure.
When we play soft bowings, the left hand should not be pale or weak, but expressive, so we have to find the independence of both hands in relation to the expression.
In phrasing, it is better to wait until the most suitable moment to liberate the sound, not to anticipate. We must find the most appropriate phrasing in every moment, so the bowings help to find the phrase shape. They work on the conclusive section and different possibilities of expression and phrasing. Every moment we have to be aware of how the music has been built and which elements make it up. This way we can follow all the movements of the phrase.

Language: English