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Recorder Thread!


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#3601 elemimele

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Posted 22 July 2019 - 13:10

The first half, up to the repeat, sort of made sense, but I wasn't sure what to make of the part after the repeat. I need to think about the bass to see how it fits, with that weird flat. At the moment I don't know how to make the second half attractive either (who knows, maybe even Handel had days when he wasn't feeling very inspired about the second half of a minuet). I can see it's a nice piece for practising jumps though, and getting the changed breath-pressure right, from low to high and back, isn't always all that easy with a recorder. Is it the 2nd half that was bothering you too?


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#3602 Zixi

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Posted 22 July 2019 - 14:34

Yes, it's a great practice tool! The first part has sort of grown on me except in my version there's a breath mark in bar 16 after the first crotchet - ie after the minim and before the repeated quavers -  it catches me every time. I want to phrase after the minim and start the next phrase with the crotchet. The second half is good for slurring! Technically, it's the not the hardest piece my teacher gave me for this week - by a long way - but it's probably challenged me the most to make sense of it. Perhaps it is one of those pieces that when it's fitted with the accompaniment it sounds 'right'! My version is from Easy Pieces from the 17th and 18th Centuries and it has a piano accompaniment. As an aside, I love that little collection. It has some real treasures!


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#3603 old_and_grumpy

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Posted 22 July 2019 - 16:22

Perhaps it is one of those pieces that when it's fitted with the accompaniment it sounds 'right'!

 

I don't know this minuet but I often find that pieces that are baroque or earlier, and slow, can be really tricky to navigate without an accompaniment - tricky both to keep the timing right, and for them to sound any good.  The "Italian Ground" from the Division Flute is like that - it's not especially difficult because it's quite slow but there are assorted gaps and it sounds better all round with accompaniment.

 

I'm working on some pieces from Dowani books at the moment.  They are quite expensive but they do have accompaniments (and demo versions) and I find that really useful, plus the pieces are hard enough that they keep me going for a good while (ie, I get my money's worth out of the book!).


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#3604 Zixi

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Posted Yesterday, 06:42

I agree. I'm tempted to say 110% but we've decided here not to encourage the misunderstanding of percentages even in jest. In any case, slow can be extremely hard on a recorder because it can challenge breath control and mess up phrasing. Our teacher often tells my husband that he's lucky - the piano can be practised slowly but that's much harder on a wind instrument.

 

You reminded me that I'd bought a Telemann Dowani ages ago but it was far(!!!) too difficult for me then. I really must take a look as maybe I can manage (some of) it now. I've just ordered Gudrun Heyen's Concerto  (with CD) which is described as suitable for the second year of study. It has some Playford which I know and ok that isn't particularly difficult but it also has Greensleeves to a Ground (some of) which I still can't play after 4 year's of playing! So I suspect Concerto might be a mixed bag for me. Some bits will make me feel smug and others will really tax me. I like books like that.


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#3605 old_and_grumpy

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Posted Yesterday, 09:13

Some bits will make me feel smug and others will really tax me. I like books like that.

 

Me too - especially the first bit :)


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#3606 elemimele

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Posted Yesterday, 09:36

Oooh, that's a coincidence. I've just rehabilitated Stefan Temmingh and put him back on my listen-to list, because of a very attractive version of Telemann's flute fantasie No. 10 (apparently played in the World's Biggest Lavatory), played with great elegance, and not over-stated. Previously he wasn't my favourite professional, partly because he's far too dashing and handsome, but also because his version of Greensleeves to a Ground, on YouTube, is, in my view, awful. So if you struggle with it, Zixi, you're in good company. I think it's very hard to play half-way well (I can't). Agreed on books: a good mix of confidence-boosts and new challenges.


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#3607 Zixi

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Posted Yesterday, 10:55

oag - Doesn't the novelty wear off though? tongue.png 

 

elemimele - I thought: How can anyone mess up Greensleeves to a Ground? It's soooo beautiful that even when I play it I can't destroy it!!! But you're right. Stefan needs to be stood on the naughty step for that one! I couldn't listen for long... I wish he wouldn't dip and sway so much either - I began to feel quite sea-sick! I wish I could play like that though!!!!!!!!!! rolleyes.gif 


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#3608 old_and_grumpy

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Posted Yesterday, 11:15

elemimele: thanks for the pointer to ST's GtoG, not one I was aware of.  I don't wish to be rude about it (it goes without saying that ST is a far better recorder player than I will ever be) but I agree it's pretty awful, and particularly disappointing in terms of how he deals with some of the trickier divisions.  4 is easy enough to play but hard to deal with the repetitions in a way that makes them interesting, but he just hides them behind some ensemble work - I had to listen twice to make sure he was playing them.  8 is difficult because it can sound screechy, and the big jumps E-A-A in the first and third bars are hard (I often miss the drop to the first A) and he deals with that by simply missing it out.  I find 9 the hardest I think - I can play the notes but it mostly sounds like an exercise I'm struggling with.  His solution is to give it to the viol(?).  Okay, he didn't do the performance it so I could learn from it, but still...

 

On the other hand, I'm impressed by how much exercise he gets out of it - I'm more like the viol or lute players.  I could do with getting more exercise though so perhaps I should try to emulate him in that regard.


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#3609 old_and_grumpy

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Posted Yesterday, 11:16

oag - Doesn't the novelty wear off though? tongue.png

 

No!


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#3610 elemimele

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Posted Yesterday, 15:37

I think maybe it's one of those situations where a top-level performer is desperately trying to do something new with an old, well-known piece; they're looking for a way to make their performance unique. The recording doesn't help; there are bits where I can't hear him at all, and he's just lost in his accompaniment. But I'm so, so glad I listened to his version of the Telemann Flute fantasie, because it's a completely different kettle of fish. It's very beautiful (and accompanied only by still pictures of him posing on a beach, so there's no leaping around, though the sea-and-spray Baywatch handsome looks still make me jealous). I love the 10th fantasie very much, it's just a gorgeous piece start to finish, and he certainly does it proud.


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