TELEMANN, Georg Philipp
Concerto for trumpet, 2 violins and basso continuo in D major, TWV 51: D7 (reduction for trumpet and piano)
II. Allegro
IV. Allegro
Mark David, guest professor
Alba García García, student
Marharyta Kozlovska, accompanist pianist
After listening to the student’s performance of the 2nd movement, he asks whether she has ever played the Baroque trumpet, and what inspires her or what she thinks about when trying to give a good performance. The professor finds her approach somewhat ambiguous; he prefers a slightly more historically informed interpretation, with phrasing more in keeping with Baroque trumpet performance practice. He mentions some recordings she can listen to online and asks her to play again in a more convincing way, exaggerating it a little more. He also asks her to exaggerate the echo more, creating greater dynamic contrast. Mark David also recommends telling the story (in this case, the music) as she would tell it to a small child to capture their attention, giving it more emotion and communicating it with greater nuance; they also discuss the character of this movement.
They then move on to the 4th movement, which David considers very similar to the 2nd in terms of character and phrasing. He asks the student to play it and to position herself more towards the seats in order to communicate better with the audience. She has good technique on the piccolo trumpet; what she lacks is a more firmly established sense of the story she wants to tell in her mind, so that she can convey it with greater confidence and communicate it more intensely. To conclude, he gives her a few brief indications regarding the dynamics at a certain point, and suggests varying the phrasing of the repeated notes.
Language: English
