Manual Conversation avec B.A.C.H. Op.117 No. 3 - Oboe

Free download. Book file PDF easily for everyone and every device. You can download and read online Conversation avec B.A.C.H. Op.117 No. 3 - Oboe file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Conversation avec B.A.C.H. Op.117 No. 3 - Oboe book. Happy reading Conversation avec B.A.C.H. Op.117 No. 3 - Oboe Bookeveryone. Download file Free Book PDF Conversation avec B.A.C.H. Op.117 No. 3 - Oboe at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Conversation avec B.A.C.H. Op.117 No. 3 - Oboe Pocket Guide.

He may have intended this title page for the first concerto in the collection only which was indeed an arrangement of a Vivaldi concerto , but an unknown hand later added the number "XII" before the title, thus causing the misunderstanding that all 12 were Vivaldi arrangements. Bach as the arranger.

  • Sutcliffes Commentary on the Old & New Testaments - Book of Song of Solomon?
  • History for Kids: An Illustrated Biography of Jackie and John F. Kennedy for Children.
  • Gedichte (German Edition).
  • Stay Tuned!.
  • Sviatoslav Richter - Listen on Deezer | Music Streaming.
  • Gothic Grimoire.
  • Canal Escuela | Escuela Superior de Música Reina Sofía!

That copy, specifying harpsichord as the intended instrument for the arrangement, originated after Johann Bernhard's, but may have been copied from an earlier stage of Bach's arrangement. The ornamentation as indicated in Bach's keyboard version of the concerto works well on harpsichord, but is less suitable for performance on an early 18th-century oboe.

Works on This Recording

Nonetheless Bach's ornamentation has been used for 20th-century publications of the oboe concerto — the ornamentation causes fewer problems when performed on a modern oboe. This manuscript writes the composer's name as "Marcello" without specifying a first name: as Alessandro's brother Benedetto was far better known as a composer by the name Marcello, later generations would interpret the title of the manuscript as referring to the better known of the "Marcello" composers. The concerto survives in different printed and manuscript versions, one of these in C minor.

Flickan kom ifran sin alsklings mote The girl returned from meeting her lover.

In this class, Hartmut Holl gives to the pianist and the soprano some indications about accents, phrasing preparation and construction, tempo, color, and articulation, among others. Professor Holl makes comments on the piano part related to bass register, different colours, character, dynamics, hand movements, and accents.

He also makes corrections to the singer to improve aspects like emission, pronunciation, expression, body movement, vowels, rhythm, and dynamics. The professor thinks that it is desirable to open the voice in a specific passage and gives the student some ways to study this piece. In this masterclass, Professor Holl explains aspects related to the coloratura and how to prepare it.

The understanding of the piece is very important to give the suitable expression. Phrasing, articulation, pronunciation in German, colour and dynamics are also topics to be work on. In general, the student's performance was too much restrained, and Holl considers that it should be more 'pathetic' and express more feelings depending on the lyrics.

After some indications about dynamics and pronunciation, Professor Holl works with the pianist. He also recommends the student to change her corporal position and voice color according to each song. Afterwards, Prof. Holl works on rhythm and tempo issues and he gives some final indications about the articulation following the words pronunciation. Die Nach. Professor Holl advises the student to relax herself at the end of a song and to take some time before she starts the next one, so that she gets to the required mental and physical state.

Afterwards they work on expressive aspects of the lyrics. Holl also mentions some exercises of the Stanislavski Method and then he makes some comments on air emission, dynamics, accents and phrasing, energy and breathing, etc.

250 greatest recordings of all time: chosen by 35 of the world's leading musicians

The key is to create vital situations. Finally, Hartmut Holl insists on what a lied is: a moment in life that must be created in a personal and natural way. Holl begins with general comments on the difference between German lied and French melodie. Regarding the specific song Je ne t'aime pas , Holl mainly makes corrections about articulation and phrasing. Holl points out that the piano should act more as a backing, without showing too much emotion.

Then he talks about the freedom of the performance regarding her personality for the 'chanson' character and he makes a recommendation to the student about this kind of repertoire. There are some initial corrections on balance, phrasing, and articulation in the piano accompanying part. Hartmut Holl also works with the musicians on issues such as the emotional relationship with the text, color, tempo, German pronunciation, character for the song and dynamics.

Brahms Intermezzo Op. 117 No. 2

Professor Holl makes some comments about Kurt Weill song Lonely House related to articulation and phrasing issues, mainly in the piano part. The phrasing in this music is very fluent; it is compared with Apres un reve, Op. The character of Faure's music is like a dream. Use of the bow: different bowings in specific passages; the start should not be done always at the frog, but also from the middle or from the upper part. Identification of passages where it not advisable to use too much bow.

Bowings are similar to air; they should float without pulling too much. Attention to spiccato. Use of the vibrato: the vibrato should not always have the same level, and neither is it necessary all the time. The professor explains the natural moments where is more advisable to breath, as singing.

Allegretto ben moderato. Ivry Gitlis congratulates the student for her performance. He also talks about general issues, such as the tempo, phrasing, different voices and their importance; how to work and control the rubato, breathing, and harmony changes and how to practice them.

Conversation avec B.A.C.H. Op No. 3 scored for Oboe

General indications are mentioned in this class: phrasing, dynamics, tempo, rhythm. Ivry Gitlis explains how, when the piano part makes a diminuendo, the violin starts in piano. He also does some corrections about the bow: the professor allows the student to use his bow and talks about the characteristics of the student's. He does not need to use such a quantity of bow not the whole bow , and rather should start the bowings in the middle part.

It is interesting to distinguish the different levels and to move through them. It is also important to control the body to avoid wasting energy. The work has a certain relation with one piece by Debussy. The professor and the student work on the character of a specific passage, animato, and on the highpoint of the movement that is followed by the anticlimax.

Although the student plays well, he could do better.

Top Tracks

Ivry Gitlis mentions several well-known violinists as an example. Regarding the Introduction of the work, Gitlis advises to play the first note as pizzicato, since this piece should sound as if someone was walking.

Oboe Concerto (Marcello)

It must also be performed in tempo, but not metronomic: it can be done rubato. He later on gives some suggestions on bowings and bow distribution, sound, or metrics, inserting some musical anecdotes. Gitlis advises the student to use the mute in this movement and makes some reflections about the beginning: to think and mentally prepare the notes before playing. In this matter, he tells an anecdote about his recording of Sibelius' Violin Concerto.

Both at the beginning and, in general, in all the entries, the student must take more time. Perhaps it may help imagining Tchaikovsky entering the room. Violinists are lucky, since they can completely express their feelings with their instrument. She should play freely and without fear, and it must be intimate and melancholic, without being sad.

After mentioning Beethoven's Concerto , the professor advises to listen to the harmony and the change of color, and not use too much bow. The student must feel it, and then do it. Gitlis explains that the parts that are repeated should not be played all the same, and rather be said differently, imagining some kind of echo.

He later does some corrections on the phrasing and the distribution and quantity of bow. Gitlis also advises that the sound should be more prepared and that the performance must be given with love -he mentions Shakespeare and Cervantes, more freely and feeling it: the student needs to free and relax her arm, using her body's own movement and natural weight. He finally adds a brief anecdote about Carl Flesch and adds that the character should be not so gentle or smooth.

Four Old Tunes. Rubato: First, Jaime Martin gives some indications about phrasing and articulation more like "speaking" , syncopation, direction and character. Then they work on the rapport in the ornamental parts, tempo, dynamics, vibrato, and tension. Andante: The Professor suggests that the student should look for a different color in the 'Poco sostenuto' after the 'Andante' introduction: like a violin in the G-string, not too much open, painful.