Jimi Michiel

Hi Tom,

I've got an audition for a regional per service orchestra coming up and was hoping to get your thoughts on rhythm in Leonore No. 3. Specifically, should the half notes be in time. In most of the recordings I've listened to, the half note is held for what seems like an arbitrary or indeterminate amount of time. I want to communicate a good sense of pulse and rhythm, but if this is the performance practice...

Thanks,
Jimi

thomashooten

Hi,

Your thread title says Leonore 2 but you ask about leonore 3 in your post. I'll assume you mean the more commonly asked Leonore 3. There isn't one specific way to play that excerpt, however, I would suggest listening to Phil Smith's excerpt CD.

To answer your question, I would agree with your instincts about this. Make a musical statement while showing a good sense of pulse and rhythm. I think you will be able to do both without much trouble, especially on this fairly straight forward excerpt.

Thanks and good luck on your audition

rowuk

Jimi,
ask yourself why they are asking for this excerpt. What could this possibly tell them about your playing?
Tom has given you the key factors! I would only add very crisp articulation. It is a fanfare. Avoid any sense of la - la - la attacks.

cornetguy

also think about the context in the opera the call from three is in act two of the opera.

adohanian

On a related note, Tom, I'd like to ask about about Leonore 2. Specifically, what's your take on adding a slight pause after the first high G and before the second ascending arpeggio. Do you add one, or do play it in strict time? thanks

adam

Jimi Michiel

Thanks for the input, guys. I guess it this point one of my biggest challenges is just trying to convince myself to just play as I normally would instead of over-thinking and playing for the committee. And yes, I wrote the wrong number in the title of the post and couldn't change it after it had been posted.

-Jimi

thomashooten

Jimi,

I understand your frustration. Sometimes its difficult when preparing for an audition to know where to draw the line between "tradition" and good time. At some point, after listening to many recordings, you have to make the best musical decision you can. (recording yourself playing and singing the excerpts will help a lot)
As far as Leonore 3 adohanian, I don't really take any pause in that excerpt. If I do anything with the time it is in the beginning of the 4th bar on the first two low notes. (b flat and e flat) However, I make sure that I'm not slower than the beginning of bar 3.
Just check out some recordings and you will see what I mean.
Thanks
Tom

Vulgano Brother

It is real easy to let our heads get in the way. Rather than worry about what rhythm the committee, conductor, audience want, the default style is to ask the question "What would Beethoven want?" In this case the answer is: "a fanfare announcing the arrival of the Governor." We then can put our heads in the head of the guy whose job it was to play fanfares for the Governor. For him, it was probably no big deal, 'cause he did it several times a day, and here we are at a prison, ho hum. It then becomes just a normal fanfare, but carrying a huge message for some of the good people in the opera. This results in a "routine but exciting" interpretation. Approached this way, the rhythm takes care of itself.

Bugleboy21

On both No.2 and No.3, I was taught to separate the last 8th note of the first two bars from the preceding notes and the downbeat, as if playing a staccato upbow in prep for a big downbeat. Other than that, being ho-hum while performing a military fanfare is great for the first fanfare and always more "Hey! I SAID...." to perform the second fanfare, in both Overtures.

Now, I wonder where I can find job that allows me to play fanfares to announce the arrival of important people? I guess I'll keep searching. Ok...back to guard duty at the General's headquarters.

jpellett

I've played the Leonore calls at several weddings to announce the entrance of the bride.

Jason Pellett