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> Atcl Program, Varied enough?
IrisH - LoonY
post Apr 25 2006, 08:11 PM
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Since recorders only really have 2 eras of music written for them largely, Baroque and Modern, would a line up of the following be suitable for a diploma program?

2 Baroque Sonatas (Vivaldi in G minor and Telemann in C)
Classical unaccompanied theme and variations (Krahmer)
Modern rec/pno duet (Rubbra Meditazioni Sopra couers desoles or however its spelt)

Somewhat concerned that maybe it's more towards the baroque end of the spectrum..... (IMG:style_emoticons/default/blink.gif)
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andante_in_c
post Apr 25 2006, 08:57 PM
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I don't know the Krahmer (it's on my 'might buy' list), but I do know the Rubbra very well. I would say the programme is slightly unbalanced because you are only including a single modern piece, even though it has lots of internal variety of keys and pulse, whereas everything else is multi-movement. I would include a second modern item for balance.
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IrisH - LoonY
post Apr 25 2006, 09:18 PM
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QUOTE(andante_in_c @ Apr 25 2006, 09:57 PM) *

I don't know the Krahmer (it's on my 'might buy' list), but I do know the Rubbra very well. I would say the programme is slightly unbalanced because you are only including a single modern piece, even though it has lots of internal variety of keys and pulse, whereas everything else is multi-movement. I would include a second modern item for balance.

I thought it was!! If I recall, the Rubbra has a few top F#s in it correct?

Hmmm...the Bush Sonatina could be a good piece? Maybe even a Linde piece if it isn't like Music for a Bird! Or even the Schneider Theme and Variations!

What do you reccomend a_i_c?
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andante_in_c
post Apr 25 2006, 09:22 PM
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Unfortunately I haven't played many of the pieces on the list. The Berkeley is wonderful but very tricky, and the Mosquito Dance is good fun if you play the sopranino. Remember you can always choose pieces not on the list, provided that they aren't set for other Trinity exams (I assume you're doing Recital rather than Performance).
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IrisH - LoonY
post Apr 25 2006, 09:31 PM
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QUOTE(andante_in_c @ Apr 25 2006, 10:22 PM) *

Unfortunately I haven't played many of the pieces on the list. The Berkeley is wonderful but very tricky, and the Mosquito Dance is good fun if you play the sopranino. Remember you can always choose pieces not on the list, provided that they aren't set for other Trinity exams (I assume you're doing Recital rather than Performance).

Oooh the Mosquito dance is a modern piece? I do like the sound of that actually. Is it an accompanied piece? Love playing sopranino (IMG:style_emoticons/default/biggrin.gif)
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anacrusis
post Apr 25 2006, 10:04 PM
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I've decided to go with what feel comfortable for me to try to learn. Yes, it might be unbalanced compared with the sort of programme a violinist could put together, but each of the pieces has a different aspect of recorder technique to display:
Cima Sonata Secunda, 1610 ish - tenor recorder, from that curious era at the beginning of the Baroque - rather canonic in style, very free, and sharp contrasts between long, off-the-beat minims and runs of quick semiquavers.
Jakob van Eyck "Phyllis Schoone Herderinne" 1625 ish- descant recorder, theme and divisions, with the most beastly alternated forked fingerings, and the last movement with the theme peeking out over florid decoration
Linde "Fantasien & Scherzi" - treble, flutter tonguing, glissandi,rapid tongued ornaments, awkward rhythms, phased vibrato......eeeeeuuurgh
then Corelli, opus V no 3, violin sonata, the major work from the list, 5 movements, lots of very Baroque ornamentation and nowhere at all to breathe in the fourth movement. Still a relief to the ear after the Linde.
Not balanced over eras, but I really really haven't enjoyed learning all the avant-garde stuff - lots of work to make a raucous noise - and the more cheerful modern music doesn't do it for me that much either. I'm going to have to sell the programme based on the technique thing!
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IrisH - LoonY
post Apr 25 2006, 10:52 PM
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QUOTE(anacrusis @ Apr 25 2006, 11:04 PM) *

I've decided to go with what feel comfortable for me to try to learn. Yes, it might be unbalanced compared with the sort of programme a violinist could put together, but each of the pieces has a different aspect of recorder technique to display:
Cima Sonata Secunda, 1610 ish - tenor recorder, from that curious era at the beginning of the Baroque - rather canonic in style, very free, and sharp contrasts between long, off-the-beat minims and runs of quick semiquavers.
Jakob van Eyck "Phyllis Schoone Herderinne" 1625 ish- descant recorder, theme and divisions, with the most beastly alternated forked fingerings, and the last movement with the theme peeking out over florid decoration
Linde "Fantasien & Scherzi" - treble, flutter tonguing, glissandi,rapid tongued ornaments, awkward rhythms, phased vibrato......eeeeeuuurgh
then Corelli, opus V no 3, violin sonata, the major work from the list, 5 movements, lots of very Baroque ornamentation and nowhere at all to breathe in the fourth movement. Still a relief to the ear after the Linde.
Not balanced over eras, but I really really haven't enjoyed learning all the avant-garde stuff - lots of work to make a raucous noise - and the more cheerful modern music doesn't do it for me that much either. I'm going to have to sell the programme based on the technique thing!

I would do some Linde, just not anything like Music for a Bird!
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Trebor
post Apr 26 2006, 04:07 PM
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Well, if noone else is gonna say it: isn't it a bit early to be thinking about a diploma? Have you taken Grade 7 yet?
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YetAnotherPianist
post Apr 26 2006, 04:32 PM
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QUOTE(Trebor @ Apr 26 2006, 05:07 PM) *

Well, if noone else is gonna say it: isn't it a bit early to be thinking about a diploma? Have you taken Grade 7 yet?

Light the touch paper and run away (IMG:style_emoticons/default/wink.gif).

Good question though (IMG:style_emoticons/default/smile.gif).
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bohemian
post Apr 26 2006, 04:40 PM
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Taking an exam doesn't mean you're just at that level. IL could be a lot better than G7. Anyway, what's the harm in looking ahead? It's good to start finding recordings of lesser known pieces which you might play in advance, and also start looking at the technical difficulties in pieces well in advance.

Telemann sucks IL, how many times do I have to tell you? (IMG:style_emoticons/default/tongue.gif)
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elidatrading
post Apr 26 2006, 04:41 PM
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QUOTE(Trebor @ Apr 26 2006, 05:07 PM) *

Well, if noone else is gonna say it: isn't it a bit early to be thinking about a diploma? Have you taken Grade 7 yet?


Quite.

Liz
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anacrusis
post Apr 26 2006, 04:49 PM
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QUOTE(bohemian @ Apr 26 2006, 05:40 PM) *



Telemann sucks IL, how many times do I have to tell you? (IMG:style_emoticons/default/tongue.gif)


even taking into account the smiley - I beg to differ. (IMG:style_emoticons/default/huh.gif)
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mrbouffant
post Apr 26 2006, 05:53 PM
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If he's having to suck to play the Telemann, perhaps his technique is not where it should be for the ATCL in any case?! (IMG:style_emoticons/default/wink.gif) (IMG:style_emoticons/default/tongue.gif)
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benjaminja
post Apr 26 2006, 07:27 PM
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How long is the Rubbra piece, Lord Chris?
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anacrusis
post Apr 26 2006, 09:10 PM
Post #15


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QUOTE(mrbouffant @ Apr 26 2006, 06:53 PM) *

If he's having to suck to play the Telemann, perhaps his technique is not where it should be for the ATCL in any case?! (IMG:style_emoticons/default/wink.gif) (IMG:style_emoticons/default/tongue.gif)


Oh, but recorder players are always having to suck hard to get rid of water in the windway... (IMG:style_emoticons/default/biggrin.gif) (just not Telemann)
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