RHEINBERGER, Joseph
Sonata for horn and piano in E-flat major, Op. 178
II. Quasi adagio
José Vicente Castelló, guest professor
Antonio Lasheras Torres, student
Jesús Gómez Madrigal, accompanying pianist
The class begins with comments on the appropriate tempo for this movement and the meaning of ‘quasi adagio’. It is more fluid due to the accompaniment and has an acephalous component that gives it more mobility. The most difficult thing in music is maintaining interest in a slow tempo. The development of the introduction has to be more fluid, and then you can return to a slightly slower tempo; you have to play with those fluctuations a bit.
To work on a difficult note, they play subdivided and ‘slow difficult’, fitting in with the piano. In addition, the professor suggests that the student look for different colors depending on the character of the music. The central section has to be more lively.
In an interpretation, the aim is to convince, so we make sure that what we do makes sense to us and to everyone else. When we want to increase intensity, the volume is increased on the horn, but we have to try more things so that it is not all based on lung power: if we support each note a little more, we help to achieve a sensation of volume with less effort.
Later, they perform a passage in an anacrusis form to work on it better. Castelló also recommends making the mordent wait a little longer, but not with the ictus either.
Language: Spanish
