| Content | B. Martinů returns to the changes he made in the solo part [CONCERTO FOR VIOLONCELLO AND ORCHESTRA No. 1] to explain them. He found that technically difficult matters had been piled up and were hammering against each other ; for example, the use of sextets or chords in (large) quantities destroys the effect that should be achieved and quickly becomes mechanical, or betrays the effect of surprise; likewise as regards sextets and double-stops - they sound fine, but slow down the whole passage, which would sound much better and more sonorous in a simple line. BM notes that this does not apply to P. Fournier, but to other performers. When he hears other cellists play it, he always gets the feeling, once he recognizes the problem spot for the cellist, that he wrote it wrong... etc.
Since he is not a cellist himself, he asks BM Fournier to correct the cello part where he finds it necessary to make the cello part technically perfect ;
Since BM has let the cell part stand out, he will no longer have to "fight" with the orchestra, so the bowings can be longer and wider, which will add more calm to some passages and remove the nervousness; PF should mark them. In short, BM would like the cello to sing.
- There is a minor problem in the 2nd movement - (examples in the letter : short notation).
BM asks PF to check the cello part before the new edition. |