Taught by renowned cellistÂ
Jonah Kim
In this course, virtuoso cellist Jonah Kim takes us through one of the most important pieces in the cello repertoire: the monumental Arpeggione Sonata of Franz Schubert. From its famous melodies to its daunting passagework, the piece is a musical and cellistic tour de force. Kim shows us his secrets to practicing vibrato, bowing styles, shifting, and much more. One of the biggest challenges in this movement is finding a long legato line despite the massive technical challenges, and Kim explains most of all we need not be afraid of the piece-- we must embrace it.
<p>I. Allegro moderato</p>
<p>In this lesson, we explore the first movement-- the longest-- of the piece. Jonah Kim shows us in detail how he shifts, practices shifts, and how he creates a long line. We also learn about playing up very high on the fingerboard, and methods to get comfortable doing this. We also study how to practice intonation, which is a particular challenge in this movement.</p>
<p>I. Allegro moderato (Performance)</p>
<p>In this lesson, we explore the first movement-- the longest-- of the piece. Jonah Kim shows us in detail how he shifts, practices shifts, and how he creates a long line. We also learn about playing up very high on the fingerboard, and methods to get comfortable doing this. We also study how to practice intonation, which is a particular challenge in this movement.</p>
<p>II. Adagio</p>
<p>In this lesson, Kim shows us many ways in which we can explore the sound world of Schubert. This movement, which at its heart is a classic Schubert song, needs deep care and a sense of simplicity. As Kim explains, the undulating movements of the piano part help show us the tempo, and remind us to not be exaggeratedly slow.</p>
<p>III. Allegretto</p>
<p>In this lesson, we explore the final movement of the work, which alternates between sing-songy, brooding, dramatic, and serene. Finding the many moods of this movement is a challenge because the piece demands so much of us technically. But Kim reminds us that keeping the music in mind first can show us that often we have more time than we think-- and we can fill the time and space in ways that let the music breathe and let us navigate around the fingerboard.</p>
<p>II. Adagio & III. Allegretto (Performance)</p>
<p>In this lesson, we explore the final movement of the work, which alternates between sing-songy, brooding, dramatic, and serene. Finding the many moods of this movement is a challenge because the piece demands so much of us technically. But Kim reminds us that keeping the music in mind first can show us that often we have more time than we think-- and we can fill the time and space in ways that let the music breathe and let us navigate around the fingerboard.</p>
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