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.
A heartfelt thank you to all my listeners who came to my "Music and Imagery" lecture last night at Limerick Early Music! I'm really grateful that my ideas resonated with so many people. Here's a little takeaway from my talk for a dreary Monday.
"No less must good execution be varied. Light and shadow must be constantly maintained."
- J.J. Quantz "On Playing the Flute" 1752
This is one of the featured images in my film of the "Corrente" from J.S. Bach's Partita in A minor. Premiering on Nov. 13th 2022 at my lecture "Music and Imagery" for HIPSTER Ireland.
Can you recall the opening of the last movement of Beethoven's piano sonata "Waldstein"? For me that always reminds me of distant church bells echoing in the Alps. A touching expression of space, simplicity, and timelessness.
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