Mozart : Symphony No, 35 (“Haffner”) First movement — beginning to m. 66 Practice Sheet Prepared by Melissa Matson ‘The Essentials ‘Sound: Clear, open sound Rhythm: Steady pulse through long notes, rests Dynamic contrasts Dotted rhythms, not triplets Energy! Intonation: Octaves, Scales Articulation: Clean, crisp beginnings (especially up-bows) Brush stroke (8" notes) balanced, lyrical Appropriate releases (before 16” notes, between quarters) Separate 16ths (connected to next note) This frequently-requested excerpt displays elegance with energy, requiring a command of bow placement and articulations within a well-tured phrase. Aim for a tempo of 74 to 80 to the halt-note, teeling two beats to the bar. As the “Allegro con spirito” marking suggests, use a solid yet fast initial bow speed articulation for every note. The quarter notes should be played with release, practically ‘sounding like a dotted 8" followed by a 16” note rest. Since a successful performance of this excerpt will use great articulation to sculpt the various rhythmic gestures (or, to put it another way, will use the various rhythmic gestures to clarify the articulations), it is helpful to study each of the gestures separately. Long-note Octaves (mm 1-2; 13-14; 41-42; 48-49). Consider this gesture as the melody — the two notes practically soar with exuberance! Start with depth and energy (use a full bow on the first note), developing a sense of direction to the second note. Plan your bow distribution so that this second note ends where the quarter- note octaves will sound well (middle or lower middle) — this will be your “octave spot for the whole excerpt. Practice without the sixteenth-note for placement: Whole ow tolower middle “octave spot” Quarter-note Octaves (mm 3, 5, 15, 17, ete.) The natural gesture of strong-weak applies here, with the second / upper note being less than the first / lower note. Bath notes, however, need to begin clearly and with energy. Be around the middle or lower middle of the bow for clarity (identify your “octave spot” in the bow), and feel the weight into the string before sending the note. Remember that these notes are practically dotted 8"s with 16" rests. : ‘octave spot”Mozart 35 — first movement — page 2 Trill and Surrounding Gesture (mm. 4, 16, 18, etc.) The trill should be clear, and not too fast. Start the 16"- note turn precisely on time, and lead into the next bar, Practice without the trill for placement. During the trill (which starts ON the note), make sure that the left hand is balanced well towards the trilling finger — focus on lifting the trill finger. UND 2 yt “octave spot a comes | SSS] Sixteenth-note in Dotted Rhythm (mm. 2, 3, 4, etc.) ‘These sixteenth-notes are preceded by a release in the bow, and are practically connected to the note which follows. In other words, the bow is not lifted afier them, but remains in the string. Other separate Sixteenthi-noles (Imm. 34, 59 — 64): For practical purposes, think of these sixteenth-notes as being IN the string — the pairs of ‘16ths are connected to each other and into the following eighth-note. In these passages, the eighth-notes are released out of the string. Practice this gesture until it is natural y v ey vis oe a apie pe Bieepee eee Brush Stroke for Eighth-Notes (mm. 20, 22, 26, 59 - 65) Lower half, “elastic” stroke — not harsh — ringing. Give direction to the phrase. Dynamics: Perform all dynamic changes precisesly. Sfp can be treated as a fast diminuendo (not a sharp harsh accent) Piano in m. 48 retains energy and clarity — just soft!