In 1967 Evangeline Benedetti was invited by Leonard Bernstein himself to become a member of the New York Philharmonic, the first female cellist and the second tenured woman. She remained an active and integral member for more than 40 years, during which time she played nearly 8,000 concerts and participated in countless recordings and television productions including the renowned Young People's Concerts conducted by Bernstein. Mrs. Benedetti served for 20 years on the faculty of Manhattan School of Music and is a sought after master clinician and guest artist. She currently lives in New York, where she teaches, continues to perform and serves on the boards of The Bloomingdale School of Music and The ViolinCello Society of New York. In 2016 her book Cello, Bow and You: Putting It All Together, was published by the Oxford University Press.
The professor corrects the pianist's articulation of some passages, melodic line, and motifs' identification. Afterwards, Kocsis explains some aspects regarding the tempo: meaning of Allegro, speed. He also works on issues such as the harmonic progression, dynamics and contrasts, sforzati, expressiveness, hemiola, and the maintenance of the metric pulse. Lastly, there are also some comments on the use of the pedal, trills, sound quality and phrasing.
Professor Kocsis advises the student on the use of another score edition. He makes some general indications about the technique of both pedals in Schumann (it is not sure whether the left pedal should be used when playing his compositions), sound, chords, rhythm, balance (outstanding voices) and dynamics.
The professor also focuses on some specific corrections of almost every piece in the Carnaval piece:
III. Arlequin: character, clarity, use of pedal.
IV. Valse noble: long phrasing, appassionato, differences in dynamics.
V. Eusebius: no pedal, character in sotto voce, tender.
VI. Florestan: more serious and ritenuto, annotations on the score without playing. 'Papillon motif'.
VIII. Replique - Sphinxes: rhythm and character at the beginning and then more contrast. The link between the two parts is like in Rachmaninov's music.
IX. Papillons: rhythm, articulation, and fingerings.
X. A.S.C.H. - S.C.H.A. (Lettres dansantes): recommendation about repetitions.
XI. Chiarina: rhythm, octaves, passionate character, articulation.
XII. Chopin: attention to the melody.
XIV. Reconnaissance: tempo, editions, and authorship (Robert or Clara).
XV. Pantalon et Colombine: articulation, melody, harmony.
XVI. Valse allemande: pedal and staccato.
XIX. Promenade: too intellectual,...