COUPERIN, François
Concert Royal No. 1 for violin, flute, oboe, viola da gamba, and bassoon in G major (version for oboe and basso continuo)
I. Prélude. Gravement
Ramón Ortega Quero, professor
Manuela Candela Muñoz, oboe
Candela Pérez González, bassoon
Alina Artemyeva, harpsichord
After playing, the professor congratulates the student on the reading details and the sound control in the piano passages, and suggests being freer in the embouchure so that the sound flows with more air and does not sound so flat, especially in the long slurs so characteristic of the French Baroque. Ortega recommends more shape in the sound, for it to have more “o”, more volume, and provides several examples by playing them himself. He also proposes playing the leading tone, the F-sharp, slightly lower, so that the tuning does not sound so tempered but rather darker.
They resume from the beginning and for the first movement, Grave, he proposes playing the trills not so fast, less active as required by that tempo. Instead of the tendency to close off with the oboe, the professor proposes the opposite: creating more space so that the sound is freer, which requires more relaxation.
Furthermore, the oboe and bassoon must find a middle ground because the oboe’s interpretation is too “inégal” and the bassoon’s is too little. The ending requires a bit more tranquility, to give a greater sense of peace.
Language: Spanish
