Posted by Gary Press on April 04, 2003 at 08:14:05:
In Reply to: Fountains posted by T. J. Ricer on April 04, 2003 at 01:25:38:
I've always believed the rules of battle to be different in performance than in an audition.
In an audition, it is crucial to present every single detail on the page within a soloist's context. In other words, for all intents and purposes an audition must be treated as a recital of orchestral literature and our dynamics and articulations must allow the the most pure and controlled tone we can produce while still keeping plenty of dynamic contrast.
In an orchestral performance setting the rules change a bit. Dynamically, we have to make some adjustments based on the scoring and context of the passage. There is also a lot of sound coming from the rest of the group and we have to make decisions that allow the tuba to make its proper contribution.
All this having been said, in an audition play every note of Fountains with a pure tone, perfect rhythm and at a dynamic that allows maximum control, rarely at the volume you would play in the orchestra.
When performing the work, our job is to represent the SPIRIT of what the composer wrote. Sometimes this means we can make small changes to the part to accommodate the whole picture. I would begin very strong since the first entrance is the beginning of a theme that continues up to the upper brass.
The next passage with the E's and B's provides harmonic stability to the whole and and does not need to be sustained at a FF level, rather I would make sure there is plenty of ping to the beginning of the note. The texture is thick here and without some front to the note that passage can turn to mush. I would also give more volume on the low E's than the rest of the passage since the projection qualitites in the extreme low register are more challenging.
Once the theme resumes in the tuba and trombones, it is important to play full but realize that the trombones take care of a lot of the sheer projection qualities. The music is very exciting at this point and its easy to get so carried away with volume that we get in our own way. Our job is to be right on top of the rhythm, be in tune and play with a good centered sound.
Regarding the 16th notes you mentioned, in a performance I see no problem with eliminating (especially in a good resonant hall) them in favor of landing a good solid low E which begins the next phrase and is of important harmonic importance. There is a lot going on at that point...trumpets sustaining in the upper register, timpani roll, etc and the volume we would have to play to make those notes project would likely compromise the low E that follows.
Hope this all helps and have a blast!
Gary "sitting back now to see if anyone will flame me for not being a purist and playing every single note on the page in a performance in favor of capturing the true spirit of what Respighi was trying to represent in sound" Press