|
|
Post by Dulciana on Oct 2, 2006 10:42:20 GMT
This is quite boring, and there have been numerous threads about it on TOP - but thoughts would be appreciated now! Anyone who has played this - what do you make of that section in the middle where the time signature changes, before the first theme returns? I've played this piece in public twice now and am doing so again next week, but I have never really been happy with this bit. That LH A natural just doesn't want to be there, and I can't decide whether to emphasise it or skim over it - and I'm completely undecided about dynamics for this whole section. I've heard others play it quite loud, but I'm not sure I go with that...I've tried playing it like it's questions and answers, and could get into that idea, but have never heard anyone else do this! Link passages like this can make or break a performance, and I just don't feel at ease with this one!
|
|
|
|
Post by Steve Hopwood on Oct 2, 2006 11:25:05 GMT
For what it is worth, I would keep the middle section soft. There is a poignancy about the change to the major key that is best suited to gentle treatment. I would emphasise the A natural a little. There is a G# major feel to this passage, so the A is the most interesting note. I would slow down during the last two bars before the Adagio, then take a lot of time over the bar with the pause.  |
|
|
|
Post by Dulciana on Oct 2, 2006 11:35:07 GMT
Thanks Steve!  I wondered if the reason this bit is often played loudly is because it's awkward to play softly! As in, squeezing in between the black notes for the rising triplets! I suppose whatever I do I've got to make it sound intentional... |
|
|
|
Post by Steve Hopwood on Oct 2, 2006 11:39:32 GMT
Thanks Steve! I wondered if the reason this bit is often played loudly is because it's awkward to play softly! As in, squeezing in between the black notes for the rising triplets! I suppose whatever I do I've got to make it sound intentional... You need to be happy with your interpretation, too. Have you tried just reading the score without playing it? You can hear the piece without the clutter of having to hit the notes and can often get ideas for interpretation. |
|
|
|
Post by Dulciana on Oct 3, 2006 0:14:17 GMT
So it's thanks again, Steve! ;)Between your advice here and Trebor pointing out the old trills thread on TOP you've really served me very well today! I think I know what I want to do with this now; it's a question of practising it till I can actually do it! I agree with keeping it fairly soft, but still like my question and answer notion - if that makes sense - it does sort of make sense of the A. It's nice to build up the tension a little and then get suddenly pp after the second dissonant C# - releasing the tension and enjoying the harmony. Back to the treadmill! |
|
|
|
Post by Dulciana on Oct 9, 2006 23:21:59 GMT
Update - made it through two concerts with this - one better than the other (I'm always crap in a cold atmosphere - I just go cold myself). Tonight's was good - and I've never made a better job of the trills! So thanks to Steve and YAP for that discussion on TOP several moons ago! It really made me think about exactly what I was doing rather than just keep mindlessly practising. |
|
|
|
Post by YetAnotherKlavierist on Oct 10, 2006 9:54:58 GMT
Incidentally, if you want another piece to practise your trills in, the G Minor Prelude from the Well-Tempered Clavier is very useful. It has bar-long trills in a slow-paced piece, and to be able to sustain that one has to relax, no exceptions . |
|
|
|
Post by Dulciana on Oct 10, 2006 14:53:36 GMT
Thanks for that suggestion, and I'll certainly take a look. I suppose if I just go for something else now that doesn't have trills I'll find my trills back at the drawing board in a few months' time...  |
|
|
|
Post by meepmeep on Oct 10, 2006 18:32:28 GMT
Well done - glad to hear the concert went well |
|
|
|
Post by princessmoose on Oct 11, 2006 8:40:37 GMT
Incidentally, if you want another piece to practise your trills in, the G Minor Prelude from the Well-Tempered Clavier is very useful. It has bar-long trills in a slow-paced piece, and to be able to sustain that one has to relax, no exceptions . Stop recommending Bach   . |
|
|
|
Post by fauxbourdons on Oct 11, 2006 8:44:04 GMT
What's wrong with Bach?
|
|
|
|
Post by princessmoose on Oct 11, 2006 8:50:41 GMT
It's naff.
|
|
|
|
Post by fauxbourdons on Oct 11, 2006 8:53:21 GMT
I take it you won't be visiting the Bachhaus in Leipzig during your travels?
|
|
|
|
Post by princessmoose on Oct 11, 2006 8:53:55 GMT
I will not.
|
|
|
|
Post by fauxbourdons on Oct 11, 2006 8:58:32 GMT
Die ist eine Schande. Noch haben Sie eine große Zeit und kümmern Sie sich um.
|
|
