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Cello Concerto in D Minor

Composer: Lalo, Edouard

Helmerson, Frans

Ortega Chavaldas, Miguel Angel

Lee Hsu, Mon-Puo

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Catalogue Number: RSS7686_1

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Professor Helmerson starts the explanation by asking the student about his daily methods of study and how he usually works the scales and the technical issues. Helmerson thinks that the student's sound is not completely round because of the bow speed. To correct this aspect, they work on scales in detail, controlling the speed during the whole bowing. The Professor encourages the student to be more demanding on himself and not to compromise with a poor execution. Moreover, the student must pay attention to every movement of his arm and be aware of how much bow he must use in each new articulation.

Professor Helmerson also talks about the character and color of the piece. The musician should avoid playing "nice" every time, it depends on the expression of the music (for example, Picasso used to say: "I don't know what beauty is, but expression I do").

They work on the passage to change to the Allegro vivace. The right hand has to hold the bow in a simple way. Helmerson comments that the tempo chosen by the student is good to play every detail with enough attention, and without having to change the idea of the work by playing slower or faster.

Helmerson also explains some general ideas: for example, in the sound the energy comes from the point of the bow where we are playing; in fast passages, we have to save the bow (bow distribution is very important); the student has not to stress with the bow, he has to avoid pushing it by the end of every bowing. Finally, shifting is thought as a natural movement, sliding the hand, more than an abrupt movement. The left-hand role is to anticipate every gesture, the fingers should move as an octopus.