|
|
5#
楼主 |
发表于 2011-11-13 16:30:44
|
只看该作者
An now, how to do it:
Listen to the clarinets climb and enter immideately after the last not, fresh and with a good "macho" forte. (Dear female colleagues, you too.)
But adjust your playing mode instantly, if there comes an echo from somewhere on the stage. Adjusting means, play more "marque" e.g., more articulated. Do not forget the marcato on the 2nd note (g2). The fermata g2 should not be very long.
Watch the actor, when he (Siegfried is masculine - a man, no matter how loud the feminists are crying !) is lifting the horn to his lips again. Then enter with a doubtful & somewhat softer solo ending with the g1, which should be played as a open note on the F-side.
After watching the actor again, continue with the third solo, again "piu forte" & ending in the e1. All these three solos are better on the Bb-side except the g1.
The rest until the next passage might be a bit longer than the preceeding rather shorter rests.
The next motif, starting with the e1, is quite lyrical & slow (not too slow) & sounds beautifully on the F-side, played in a piano- up to mezzoforte range. The ending f1 fermata, full of doubt, requires a crescendo & decrescendo & must be in tune absolutely.
Use Bb-horn & first valve. No problem. Siegfried listen again. No answer.
So he makes his horn sound again. The motif is the same as before, but faster, quite firm, somewhat disappointed angry sounding, pushing forward and best executed on the F-side again, except the ending e2 in forte dynamic on the Bb-side, with the following three echoes, the last one as very long stopped e2 on the F-side or a very softly played note, the bell turned in another direction (!), away from the stage portal.
Here is the longer rest, which can be used to empty the horn quickly (main slide first & if there is more time left or if you are fast enough, use the water key also). Breath short & quickly first & breath deep again (not too deep to avoid lung tension) & start with the main motif. Use a faster tempo right from the beginning. Start in mezzoforte to save power. Play the notes superbly articulated with a precise staccato, but do not play the notes too short. Avoid any running, the accelerando will come by itself as well as the crescendo also, if you feel you will run short of breath. There is the long ending g1, which must be held in full power. But you can breath before it. Do not forget to play the g1 on the F-side to remain in tune.
The pre-last phrase with the hopping up & down & up again is much easier on the F-side. To make the c1 speak loud enough, push the thumb valve lever to play this particular note on the Bb-side. All notes are open notes. The last top g2 could be on the Bb-side. Remain strict in tempo even in the long notes, as the conductor will have trouble to follow you with the Wagner-Tuba entrance. Who had the stress there ?
Then use all your courage & power for the last run up to the high c3.
Listen to nothing else than your playing. You are the most important person on stage that moment. All the success is yours. You have the grip to power, right. Understood ??!!
Do not start the last run too powerful, just a simple forte, but clean articulation. Use the tongue right now, the same way, as you played all the Kling etudes or the Gallay etudes. Use a little emphasis on every first not of a group of three. And hold the last high c3 about a measure long. The crescendo on the stairway-like-run-upwards can be enormous, waking up the dragon. Good luck for your first or next Siegfried Call.
BTW: the Short Call from the "Rhine Journey" should be quite faster than the Long Call.
The last run is quite tricky. Remember the same intonation hints |
|
IP卡
狗仔卡
发表于 2011-11-13 16:26:20
QQ好友和群
QQ空间
腾讯微博
腾讯朋友
收藏
分享
提升卡
置顶卡
沉默卡
喧嚣卡
变色卡
显身卡
感谢分享！