Francesca Da Rimini,
what a passionate piece,
it's just one of my absolute favorites.
Has a lot of fire, a lot of passion,
very beautiful writing for
the, beautiful singing writing, and very
melodic also, and very virtuosic also.
So it just has everything
in a very short piece.
The clarinet solo that we get,
where we get to introduce that
middle juicy andante cantabile.
The thing that makes it a little
tricky is that we are coming from
this introduction that we
have to put a lot of energy,
and then we have to play with
a very beautiful legato.
I would suggest, yes, legato is important,
and we'll work like crazy to get
all the fingers and the air and
the singing style and the tongue position.
All the things are important, yes.
But the most important thing is to sing.
So it says, cantabile and
we introduce the theme and
even though we're by ourselves
accompanied by pizzicatos and
we get to play very smoothly, you still
have to have an inner singing style.
If not, then we play the solo and
we show, the clarinet can play softly and
smooth, isn't that nice?
Then the violin comes and they sing.
Then they leave us in the dust.
No, we're not going for that.
We're actually going to make sure
that we play with the most beautiful,
Therefore, the piano is in color.
Then we have two measures,
then we have piu forte, and then, so
you have to let it sing out.
Let me just start, the best way
to divide this is to practice it,
play the andante first, so then we get a
nice flow, and have to get the color, and
then how we connect this introduction,
So talking about the andante part,
let's make sure that
we can feel that we're doing
the squeeze and release, but
always keeping that fast
intense air underneath.
then piu forte.
Then, the tricky part is that we have
a piano, then we have a pianissimo.
So, don't play too soft in your piano so
that then you have room
to show your pianissimo.
that way we have
The introduction of this andante comes
in the way of a little Kleine Cadenza.
And we have four measures
before the andante.
We have a diminuendo,
a ritenuto ad libitum,
with a crescendo and
then a piano subito on the andante.
So I will suggest try to get a little bit
of movement before you do the ritenuto.
Because in reality, there's no
written tempo change from the allegro.
[SOUND] It's Tchaikovsky,
people play it slow, and
it slows down but
we have to have some kind of intensity and
movement in order for
the ritenuto to make sense.
Otherwise, everything gets slower and
slower and slower and
we don't get anywhere.
We have to have fluidity and direction.
So since we are already
playing a little slower,
then when it says let's just use the ad
libitum, which is your pleasure,
to give us a little bit
of room of movement so
that way we can slow down later and
get the andante.
Thus I would use it like this.
then we have
the piano subito.
Now one marking that I like that I
go from a very incredibly beautiful
clarinet player that some of you may
have heard, his name is Harold Wright.
I remember that seeing in
marking from the b or so
that he had where he took his breath
two notes before the andante cantabile,
because it's coming in the syncopation
in the middle of the crescendo.
Actually it works out very
well because it adds tension,
you're closer to the new tempo.
And if the note actually pops out, it
gives it a little of a dramatic flair so
that then interruption gives you
the heart a little extra palpitations.
So it would sound like this.
So this way you can use a dramatic point,
a technical point to get yourself
a lot of air before being able
to play the andante cantabile so
that way you will not be winded.
Good luck with it.
A clean warm tone, fantasy in the ad
libitum, and a very singing style
Don't forget that pianissimo subito.
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