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Klarinet Archive - Posting 000001.txt from 2000/09

From: Ann H Satterfield <>
Subj: Re: [kl] Pines of Rome, 3rd mvt solo
Date: Fri, 1 Sep 2000 00:24:04 -0400

David, this is exactly the kind of information i hoped for.

On Thu, 31 Aug 2000 21:58:10 -0400 "David B. Niethamer"
<> writes:
> on 8/30/00 2:34 AM, Ann H Satterfield wrote:
> > Went thru whole piece tonight. Went ok, fingers and connections
> >
> >Not satisfied with the sequence, understanding of movement as a
> >
> >Help... discussion. suggestions.
> Despite the advice that I should analyze my way to new found heights
> understanding, I'll give you my "quick and dirty" on this movement,
> is one of the orchestral excerpts I actually find to be somewhat
> intuitive and relatively simple to grasp.

That is one of the reasons i asked for help, perhaps i was making it too
complicated, that this music is similar to Mozart Cto. 2nd movement in
that the whole is the beauty, not any one or few measures.

> 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"
> you reported that you can.
> There are four phrases that fit into this plan - the first three and
> last one. The first phrase is pretty straightforward - piano, marked
> "espress e dolcissimo (come in sogno)". For me this is p (only - not
> soft) and espressivo. The next phrase is a sort of echo, marked pp and
> other indications. This makes the "D" at the peak of the phrase
> of an adventure!
This makes sense and what i aimed for. The high D i tried the fingering
pencilled in the part from previous whoever, with no Rh pinky. Which
sounded fine at home, but was dull and a bit flat with strings. So
changed while sustaining, and got verifying feedback from bassoons. May
use the Open thumb fingering RO 123/1 3Eb or RO 123/1 B, or just the
regular D fingering.

> 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
> 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.

This is my instinct, and looking at the score verifies that the harmony
is more active, and the exchange of the eight quarter eight half figure
overlaps and builds.

> 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
> a nice way to delineate the last phrase from all the others, and give
> material a slightly new shape and sound.

Since i cannot play the entire phrase in one breathe, i avoid the dilemna
of having to choose. I just have to make sense of it.
When i go thru this practicing, on the final A on count 3, i want to
crescendo slightly for 2 to 3 beats, but looking at the score i see that
a violin trill begins of beat 4 of that measure, so maybe that is
unessesary with the orchestration. I can argue myself either way.
I tried out adding the e/b key for resonance on the "magical A" which
was then very stable AND quiet so that i could sustain until the resolve
chord in violins.

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

This also feels right to me.
A memory from the first time we played the piece, 10-15 years ago, on
concert i remember feeling like "here is a place that i can coast a bit"
but the flute and oboe played with the appropriate intensity and
excitement incited me to join in fully. Which made the whole movement
one of the most satisfying experiences ever.

> 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
> Cecilia/Daniele Gatti is very interesting, very expressive, but
> follow the marking very well at all. Still, I enjoy the playing a
> deal. Go figure.
> HTH. Enjoy!
Absolutely this helps. Thanks!
You are a gentleman as well as a clarinet scholar.
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