Apparently, the slur between the A and G is not in the original, but the editor put it in as there are many inconsistencies regarding the articulation grouping of two's. It IS a good suggestion, but one could also tongue lightly and play the G in diminuendo from the A. The "in diminuendo" concept is more important than whether it should be slurred or tongued. This will then set off the B nicely, let it "pop" a little, like just a touch of light on the edges of some clouds. In fact, the entire movement is doing just that - the motifs are like wispy layers which keep rising, descending, floating.
With just 3 notes, we can already create an acoustical layering or texture, making our sound 3-dimensional.
We might think of this kind of phrasing as having more priority in lyrical movements, but this is just as important in fast movements! By doing so, the fast will sound even livelier, without us actually playing faster. Watch out when articulation becomes "stodgy", when the air sounds inflexible.
Always lifting, always shaping. It's a bit of a paradox of course, that we have to work to sound not over-worked. But it's no different than what singers have to do.
ABOUT THE BLOG:
I got inspired to document my own observations in flute-playing and music-making. Also, I thought it's important to pass on the teachings of the great Wilbert Hazelzet, as well as many other mentors who have influenced my artistic visions one way or the other. Enjoy this potpourri of tips, inspirations, and musings.
I'm specialized in coaching historical and modern flutists. CONTACT ME directly to set up a session, in person or online.