DUTILLEUX, Henri
Sonata for oboe and piano
II. Scherzo
Ramón Ortega Quero, professor
Alba Lázaro Villarrubia, student
Alina Artemyeva, accompanying pianist
After performing the complete Scherzo, Professor Ortega congratulates the student and comments that he misses more resonance in the sound—the note endings remain too flat, even the short ones—and he plays some passages to demonstrate. For the beginning, he suggests making the mordent faster but in piano, so it sounds more sudden. To prevent the following fast notes from sounding so flat, she must work more with the embouchure and ensure the air is more dynamic.
They slowly review a complicated passage: each note must be played with support and an active embouchure to create resonance and avoid sounding flat.
The professor also asks her to emphasize what is new there, which are the high notes that also go “in crescendo.” Later, he asks her not to measure so much, to play in a way that creates lines flowing horizontally rather than vertically.
They continue reviewing the movement, stopping at details of articulation and phrasing, execution of syncopated mordents on the strong beat, dynamics, speed of accents to create more energy, vibrato, etc.
Approaching the end of the movement, they review a complicated legato that, for better execution, the professor suggests using more air (which is like the cement of the sound structure) and more fluid. Furthermore, these passages are useful for her to practice legato at home—they are very useful as exercises to apply to other works.
Language: Spanish
