Klarinet Archive - Posting 001055.txt from 2000/08

From: "David B. Niethamer" <dnietham@-----.edu>
Subj: Re: [kl] Pines of Rome, 3rd mvt solo
Date: Thu, 31 Aug 2000 21:58:10 -0400

on 8/30/00 2:34 AM, Ann H Satterfield wrote:

> Went thru whole piece tonight. Went ok, fingers and connections fine.
>
>Not satisfied with the sequence, understanding of movement as a whole.
>
>Help... discussion. suggestions.

Despite the advice that I should analyze my way to new found heights of
understanding, I'll give you my "quick and dirty" on this movement, which
is one of the orchestral excerpts I actually find to be somewhat
intuitive and relatively simple to grasp.

The overview of this movement for me as a player has to do with the
dynamics and colors. I'm assuming that you can "connect the dots" because
you reported that you can.

There are four phrases that fit into this plan - the first three and the
last one. The first phrase is pretty straightforward - piano, marked
"espress e dolcissimo (come in sogno)". For me this is p (only - not too
soft) and espressivo. The next phrase is a sort of echo, marked pp and no
other indications. This makes the "D" at the peak of the phrase something
of an adventure! I like to start the third phrase where I left off with
the second, dynamically, and then let it grow into its own expressive
quality, which for me is more espressivo than the first. I also like to
make the phrase go to the D half note on the third beat of 8 before
rehearsal 14, since this is a change in arrival from the previous two
phrases. The last phrase of this movement also uses this same material,
and it needs a different color than any of the other three. Respighi
writes here "pp dolcissimo (come un eco)". The first time I played
"Pines", I played this phrase all in one breath. The first time I was
asked to take the breath I was somewhat offended, but I now run hot &
cold on the breath. Respighi did write it there, after all. I think it's
a nice way to delineate the last phrase from all the others, and give the
material a slightly new shape and sound.

Two practical matters. Have fun playing in unison with the flute and oboe
at rehearsal 16. In the 6th bar of 14, resist the urge to follow what you
hear from the strings. I find that it sounds best if you count and play,
which will seem rushed. But when I hear the broadcasts, waiting for what
I hear always makes it late and rhythmically messy.

Among my many recordings are three favorites. Laura Ardan, Atlanta
Symphony, Louis Lane is very beautiful. So is Oslo Philharmonic/Mariss
Jansons. Vincenzo Mariozzi, Orchestra dell' Accademia Nazionale di Santa
Cecilia/Daniele Gatti is very interesting, very expressive, but doesn't
follow the marking very well at all. Still, I enjoy the playing a great
deal. Go figure.

HTH. Enjoy!

David

David Niethamer
Principal Clarinet, Richmond Symphony
dnietham@-----.edu
http://members.aol.com/dbnclar1/

---------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org