Hello Carl, at first the tempo: why did you set the tempo at 64/beats/min. ? This would be in the Larghetto range instead of the Andante (76-108), but it is even "Andante con moto", which is translated "walking with movement" not "dragging one´s feet". I wood recommend metronome: 86/beats per minute, so the movement creates some kind of swing. The tempo is not firm all the piece long, as it increases or drags forward from upbeat to m.13, but not too much, just a bit, to return to the initial tempo with upbeat to m.17. The "risoluto" in m.32 is related to the character, not to the tempo. A new tempo shift forward (again just minimal) occurs from upbeat to m.37, returning to regular speed m.41. Upbeat m.64 tends forward, upbeat to m.67 holds back, more than before , to leave room enough for the mordent & the two sixteenth in m.67.
The mordent be executed as: f1 quarter note shortened to 1/8th, mordent as 32th notes plus two regular sixteenth, the tone upon the g1 sixteenth. Upbeat to m.69 regular initial tempo. Shorten the attached eight c1 in m.70 to get enough time for the uphill run. Drag forward from m.72, more this tim, but calculate, that the whole episode until m.80 does not get out of control. Calm down step by step from m. 82. Upbeat to m.86 is like initial tempo, while upbeat to m.88 - carefully separated anyway - is really slower, so to fade out at the end of the piece. The dynamics: Very song-like, folksong-like. Everything should sound very light, even the forte. Just the "risoluto" might be set as a firm statement. If one combines F-horn (played most for this piece) with the Bb-horn (for the higher parts & for the big leaps, special for the f2 with thumb & first valve = better intonation), the F-side will provide an undisturbed velvet sound, undisturbed by the bb-horn-typical "air noise". Do not exaggerate the "pp" in m.41, as this phrase is in the lower middle range & does not sound that well. So a bit more air supports quite well, that the sound comes forward. The beautiful slurs are very important for the character of this piece. Example: m.11: the first three eights suggest the "doo-oo-oooah" while the jump up to the f1 (thumb plus 1st valve) result in "eeee", so to create the fine "dooo-ooo-oooah-eeee", typical for Franz Strauss. Try to use as many lip slurs as possible or as you can be responsible for. And at the end of the piece, to make it sound convincing: Use some kind of "flautando" (playing as a flute), very, very light, move the horn a bit sidewards from m.82 (for the upbeat to m.83), keep it that way until the end, and let the light sound carry the listeners. Your idea of playing it for the family & friends as a test audience is perfect. It will give you some confidence & the success will bring satisfaction for you. Good luck ! Greetings Hans ........................................................................ -----Ursprüngliche Nachricht----- Von: [EMAIL PROTECTED] [mailto:[EMAIL PROTECTED] Im Auftrag von Carl Vidos Gesendet: Donnerstag, 13. März 2003 05:47 An: Hornlist Memphis Betreff: [Hornlist] Strauss - "Seaside Impressions" Op. 12 Hello fellow hornists: I perform with a large community band (90+ members) as well as a local horn ensemble, but once in a great while I like to work on piece of music as if I were going to perform it as a soloist. Chances are that I never will, but friends and family make a great "test audience." Once such work that captured my interest recently is Strauss' "Seaside Impressions." The musical lines are somewhat similar to Strauss' horn concertos, with beautiful legatos and fluid phrases, but I would like to request input and performance tips from any of you who have played this work in the past. Hans Pizka advocates asking questions less related to horn "tricks" and more about beauty of tone and musicality, so I'll be the first to ask. I am particularly interested in phrasing, the use of the tongue in the slurred staccato runs, and dynamics. Measures 73-77 are particularly perplexing, and I am having some difficulty interpreting this small section musically. In short, I would like to make this rather simple piece sound beautiful. I am currently playing the music at aroun 64 beats per minute (in 3), and the difficulty level is not so high that I cannot manage it. I have been experimenting with this music for just over a week now, and coupled with a LOT of headphone listening to Strauss horn concertos, -Carl _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/hans.pizka%40t-online.de _______________________________________________ post: [EMAIL PROTECTED] set your options at http://music.memphis.edu/mailman/options/horn/archive%40jab.org
