Author: hautbois
Date: 2010-08-09 19:16
OK, Mike, I'm game.
I always loved that concerto -- as a kid I would plunk out the piano reduction while humming the oboe line. I created dozens of ornamentation variations for the Sarabande. I enjoyed experimenting with tempi and dynamics. But I always resisted performing it, because my instruments in those years did not have a great second octave G -- a prerequisite for that work. After I changed to a Laubin (without the G issue) from the Loree, I jumped at the opportunity to perform it with a local group. And I loved doing it.
The work gives the performer both opportunity to be propelled by the force of the continuo line and supporting chord structure, and to float as if totally free and suspended in air in places like the first figure in the oboe line, and in the Sarabande. And there is great joy in the third movement, and a drive to it (though not, in my opinion, to be taken too fast!).
Rethink the work!
Elizabeth
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