Brahms cello sonata in E minor, 3rd movement

Boris Nedialkov (14) cello
Beatrice Rana (14 y.o. Italian) piano
Brahms cello sonata in E minor, 3rd movement,
Alberobello - Italy,
Carl Orf Music Festival
September 4, 2007

Category:

Music

Tags:

• Boris
• Nedialkov
• Beatrice
• Rana
• Brahms
• cello
• sonata

[gitprofnikat]

Too fast and out of control.

Pianist: in the loud passages, play loud with your right hand and p with your left. You must be keenly aware where the cello is relatively weak, and has important thematic material, to really scale down. Be careful that you preserve the two against three, for example in the coda section, your left hand is not playing duplets against the triplets in your right hand.

More dynamic and color range contrast needed. More lyrical passages need more expressivity.

[inaned]

Thank you for commenting. Valuable advice, but this is now a historical recording - it was made 2 years ago :))Things sound a lot different now, although tempo's still fast. People are used to hearing this movement played slower, but in my opinion, this is the right tempo.

[juleczka7]

It's not the pianist too loud, but the cello too weak.

[inaned]

Could well be the case....

[Valdir1981]

As my teacher said: sometimes this is a wonderful piece, but sometimes it´s a war, the piano against the cello.

[bine2100]

Parabéns garoto. Você é um vencedor!!!

[Chemicalpneumonia]

@Chemicalpneumonia now that i've heard the whole piece i would say that i can do it better

[Chemicalpneumonia]

lol i couldn't perform this piece this well untill i was 17..

[TheJstaten1]

This was filmed in a place with stone walls and floors, of course the piano's louder. Dimwits.

[GreenChristine1219]

How old is this kid, like 12?

[MrBrain4]

Excellent. I did not find the performance too fast at all. I liked the tempo very much. Well done.

[Shlosh10p]

brilliant

[gitprofnikat]

The opening tempo was OK, but it soon accelerated, and in the development section beginning where the piano starts with triplets based on F# major, there was overt rushing. If the basic tempo is too fast, it leaves little for the piu allegro at the end without the latter sounding ridiculously hysterical, if the indicated change in tempo is honored. The melodic sections, such as early on in G major can benefit from slight contrasting relaxation in tempo, and certainly character.