The Korsakov Scheherazade is one of those
that's very demanding because it's
not technically that difficult.
Because it doesn't have that difficulty
when we tend to play too fast, and
that is something that we actually
have to practice at home not doing.
So we actually have to practice
everything in slow motion and
never play it too fast at home.
Because I can guarantee you that
the adrenaline that you will have from
when it comes to playing the solo
will take you to speeds beyond
what you will even find plausible.
I'm telling you this.
You know I played this once.
The first few times that I
actually played this piece,
I was doing it just as practicing
what I think is sort of sounds.
But when I actually listened back to
the radio broadcast, it was unbelievable.
Here I thought I was playing
something like this.
I'll show you.
well I guess I didn't notice it.
But in the playback,
it just sounded like this.
[LAUGH] Which is
actually much faster
than I wish I can do it.
And therefore, ever since then,
I always try to make sure that I do
more of the characteristic
markings rather than the speed.
And believe me, you'll still get fast.
I mean and anyway it's a moment
where the orchestra is just waiting
[COUGH] excuse me.
Now is my chance, my chance to shine.
And you're going to enjoy it.
I'm going to start about now.
Let me get ready.
That's how you have to think.
Otherwise, it just goes too fast.
[SOUND] And then we freak out.
And then the solo is over.
And you know, why?
We get a chance to milk our sound and
not have to work so hard technically.
So there are three things to think about.
The beginning is
Wait until you hear the soft diminuendo,
the continuous eighth
notes ad libitum, that the strings have
And then the triplets
they have to make sure that it has
the fluidity toward the B flat.
We tend to play
So we need to have the drive.
So basically, we start making sure that
each note gets a little bit faster,
I mean, a little bit more intense,
with the B flat being the arrival note.
Let me try.
And then, it's just lento.
And because we're going
to do it three times,
I wanna try to do is make
each time more dramatic.
So the first one,
I actually get there a little bit faster.
And then the second one, I do a little bit
more, and then the third time, the most.
And the same thing with
the hold on the B flat.
So the diminuendo is long the first time,
longer, and then the third one, longest.
That way we have much more drama.
So I'm just going to show you the three
differences of the triplet and
the hold, so it will be like this.
then the second one.
And then the last
one even more.
Now by themselves,
it seems very pedantic to be talking
about something like that.
But it's something that we have to always
be thinking because when the moment comes,
we something to anchor ourselves with.
Okay, so let me try to play this solo and
then try to notice that each
time I try to make a bigger,
more dramatic entrance, and each time
trying to play the diminuendo longer.
And that gives me a little bit more time
to make sure that we get the scherzando,