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Doublereed Archive - Posting 000097.txt from 2007/04
From: "HAROLD" <harold@-----.br>
Subj: [DR-L] Tschaik's 5th
Date: Sat, 14 Apr 2007 07:04:48 -0400
Dear List(s)
Some thoughts on performing the Tschaik 5th, a warhouse which I haven't
played in a while and am performing this weekend(one down ,one more to go)
despite a cold,the double reed players most dangerous enemy.
Memories of 1978, when our Maestro had the chutzpah--or courage--to debut a
Brazilian orchestra at Carnegie Hall with this great work,which so many
orchestras perform so well and have done so and continue to perform so well
at Carnegie. In retrospect the programming was the correct decision--because
the Brazilian orchestra never returned to Carnegie. But at the moment I had
thought a native Brazilian work would have been a better choice.
I speak from the perspective of the first oboe part.From the bassoon
perspective the third movement with its syncopative rythms is the most
worrisome.
As for the French horn, it most be awesome to have to confront the second
movement's famous theme,which everyone knows so well.
In any case, I find the more I play this work ,the more I worry because it
may come out poifect/perfect or nearly so today but the law of averages is
always one to be faced: it has to flaw somewhere or sometime.
The first movement
involves making sure the repeated A B C D E solo--so easy yet really
difficult--is heard above the orchestra and played exact. I usually prepare
myself by trying the passage forwards and backwards.
The balance between the flutes,bns, oboes and clarinets is another
important factor in this movement as are the small crescendos in the solo
oboe and bn. parts. How many of us make reeds to speak,tune,etc but rarely
check crescendos and diminuendos.
Then there is the famous second movement with the famous French horn solo
and then comes the oboe's big moment. I cannot emphasize how important it is
to test this passage and the obbligato with the strings so many times
because there is always,always a possibility of a note failing. I like the
use of the hamronic top A to end the passage in the oboe "ïmprovisation"vs.
the strings
The third movement--like a ballet--always worries me in the oboe part
due to the decrescending solo lines and the need for every note to come out
perfectly.
A lot of noise in the fourth movement but suddenly an oboe has to carry
over the herd in an e minor solo .Finding myself going back to the use of
the B key for mid F# and G --a familiar technique taught by our teachers who
played Loree.
Hope something above is of interest and feedback from oboists,bassoons and
even oboe d-amore players is always welcome.
A lovely weekend.
Rgds,
Harold Emert
Rio-Brazil
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