DUTILLEUX, Henri

Sonata for oboe and piano

II. Scherzo

Ramón Ortega Quero, professor

Alba Lázaro Villarrubia, student

Alina Artemyeva, accompanying pianist

After the complete performance of the Scherzo, Prof. Ortega congratulates the student and comments that he misses more resonance in the sound — the endings of the notes, even the short ones, are too flat. He plays a few passages to demonstrate.
For the opening, he suggests making the mordent quicker but in piano, so it sounds more sudden. To prevent the following fast notes from sounding too flat, the student should work more with the embouchure and make the airflow more dynamic.
They go over a difficult passage slowly: each note should be played with support and an active embouchure to create resonance and avoid a dull sound.
The professor also points out the new element in that section — the high notes that build in a crescendo — and asks the student to emphasize them. Later, he advises against playing too metrically, encouraging her to create more horizontally flowing lines instead of vertical ones.
They continue working through the movement, focusing on articulation and phrasing, the execution of syncopated mordents on the strong beats, dynamics, sharper accents to build more energy, vibrato, and other expressive details.
Near the end of the movement, they review a difficult legato passage. To improve it, the professor recommends using more air — the "cement" of the sound structure — and making it more fluid. He also notes that these passages are excellent for practicing legato at home and can be very useful as exercises for other works.

Language: Spanish