SAINT-SAËNS, Camille
Sonata for oboe and piano in D major, op. 166
II. Allegretto
Ramón Ortega Quero, Professor
Lucía Talavera Haya, student
Alina Artemyeva, accompanying pianist
For the second movement, when there are slurs, focus more on those musical lines and that form to better connect the notes.
Returning to the beginning, Ortega asks her to take her time with the “ad libitum” entrance, to breathe deeply and exhale carefully and consciously, but with freedom and as relaxed as possible. The last rhythmic cell of a quarter note and four 32nd notes can be calmer. He also suggests creating a more dreamlike atmosphere.
Then, even if it is piano, he asks the student to be more generous with her breath and emphasizes improving the phrase endings. It is important to continue playing even after the sound has been produced, waiting a little longer for the rest.
He insists that breathing should not be so fast: the air should pass more slowly and naturally. Ortega continues with instructions primarily related to phrasing. It is more important to highlight the direction and the musical line than the notes themselves. He also makes some corrections regarding entrances and rhythm in certain passages. For the ending, he offers some color suggestions to enhance expressiveness and character.
Language: Spanish
