Klarinet Archive - Posting 000001.txt from 2000/09
From: Ann H Satterfield <klarann@-----.com>
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"
> 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
> since this is a change in arrival from the previous two
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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