Goldenburg and Schmuyle

Discussion in 'Orchestra / Solo / Chamber Music' started by eisprl, Dec 9, 2004.

  1. eisprl

    eisprl Mezzo Piano User

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    Sep 26, 2004
    Halifax, NS CANADA
    Hey all you orchestral players out there,

    I was just wondering how you each articulate the Pictures movement: Goldenburg and Schmuyle. I have heard different things about the grace notes - about how the first one grace should be played on or before the beat and the two grace notes on the beat.

    I was just wondering what you guys do.

    Cheers
    Eric S.
     
  2. wiseone2

    wiseone2 Artitst in Residence Staff Member

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    Nov 19, 2003
    Brooklyn,NY
    I like to play it before the beat......but it is subject to whim of the conductor.

    I learned the lick on a D trumpet and still prefer to use that horn.

    Wilmer
     
  3. Manny Laureano

    Manny Laureano Utimate User

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    Sep 29, 2004
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    I'm with Wilmer (what else is new?).

    I'll go further and say that there isn't, to my knowledge, a justification for doing it any other way than before the beat. To play it on the beat would make it sound like four 32nd notes. That would be more of a classical period tradition rather than a late romantic one.

    Even characteristically speaking, if Mussorgsky was portraying a poor, Jewish Pole pleading his case to the more financially secure Goldenberg, you would have to have the grace note "kvetch" be before the beat... like WORD "kvetch". It's pronounced k-VETCH not K-vetch.

    Opinionated? Maybe..but what can I say? I've got a lot of chutzpah.


    Oh, yeah and as far as the articulation is concerned, Vacchiano taught us to play "tu-gu-tu-tu-tu" and to place a strong accent on the "GU".

    ML
     
  4. stukvalve

    stukvalve New Friend

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    Oct 29, 2004
    Ok, now the second measure after 60, how would everyone play that F? F#? Or F double #? :shock:

    Manny, thank you for your insight. You're the man. -Max-
     
  5. Manny Laureano

    Manny Laureano Utimate User

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    Stuk,

    In a rehearsal play what's on the page. If it's been changed, play the change. If the conductor wants it different he'll tell you.

    For an audition, practice both and then when you get there, see what's written. Play that.

    ML
     

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