Friday, January 30, 2009
Act I Finale
The overall preparations for this difficult finale were very pleasing. For a first read-through of this material there were many good things happening. I realize this was quite intimidating for some people, but there was great value in being present to at least hear this music and gain a sense for how this work flows.
As always, keep legato when the music allows. The orchestra is the machinery of articulation and your best bet for projection is to keep your sound spinning at all times.
Allegro assai:
Zerlina simply needs to look for the second beat from the conductor then proceed in the new tempo. Momentary eye-contact is all that is necessary.
Andante maestoso:
“L’empio crede con tal frode”: Think of filling out the first syllable with a warm accent (lots of air through the ‘L’) that will be supported by the “fp” in the strings.
“Tutto, tutto gia si sa”: Short, energized sixteenths with requisite separation on “tutto”, but be sure to fill out the vowel with legate on “gia si sa”.
Allegro:
Molto “P” on “Trema” so that his crescendo has maximum dramatic effect.
Quartet No. 9
This ensemble requires a good deal of work. We will revisit it soon. The operative word should be “effortless”, especially fort he sixteenth-note passages that are, of course, very difficult. Despite the technical complications, these passages should not be oversung, riding on the vibrato as much as possible and sounding as effortless as possible.
Continue working text.
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