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Posted by Arnold on June 24, 19101 at 15:42:18:
In Reply to: Re: Yahoo! Messenger posted by S. Christian Collins on June 20, 19101 at 23:26:35:
: Stephen,
: Check your E-mail regarding instant messaging.
: : Are you working on any for an upcoming performance?
: Not yet, but I'm beginning to look for some difficult ones for my recital at grad school. I have a very hard time deciding which sonatas to play. There's so many to choose from!
: The factors will be:
: (1) How many I'll be playing
: (2) How well they fit together
: (3) Difficulty (this *is* grad school)
: (4) How well I like the Sonata
: (5) How well I think others will like the Sonata
: (6) How well I think I interpret the Sonata
: (7) How well my interpretation matches that of my teacher
: (8) How appalled my teacher will be when he finds out I was using pedal... heehee.
: Maybe I'm overcomplicating things, but I want to bring Scarlatti across well. For my senior recital last year, I played K. 141, K. 481, and K. 53 (in that order). My professor and I disagreed heavily on the interpretation of K. 53, and I became very disappointed with my choice of that sonata, because I couldn't bring out certain things I heard in the sonata. Oh well, when in Rome...
: I hope to chat with you soon!
: -~=Chris
Wow! While I gather from your cantata post that
your grad recital is at least a year away, already
you are planning to play Scarlatti. I don't know
K481, but (regarding factor 3) if you played 141
and 53, then you can pick any sonata you like!
Parenthetical question: in K53 did you follow the
Parma MS. in the b for the first 3 mm? I have
heard this played as one continuous trill, as if
it had been notated as a single dotted whole note
through the first three mm. and the justification
was the way it is notated in Venice--that, and the
fact that there are no tied notes with trill indi-
cations in the sources. Or did you articulate
each m. or even just play short trills for each of
the first 3 mm (and elsewhere for this page)?
Anyway, I admire your spirit in wanting "to bring
Scarlatti across well." We've all heard artists
who are more interested in showing off than in the
composer whose earthly rep they are (yeah, do you
ever feel that way, that you actually ARE DS or
Beethoven or whoever you're playing?). Kind of
like letting the god enter into you in the ancient
Greek sense of ecstasy.
I would be fascinated to know how you handle
factor #2 in making your selection. Do you plan
to follow the pairings that appear in the sources?
Will you try to arrange them in something like a
suite (I guess that's what Longo did)? Go for big
contrasts?
Overcomplicating? Heck, it sounds like fun to me!
--Arnold
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