The piece is divided into three movements, and although the piece is not large, it is not very easy to play. Because this concerto requires a lot of performance ability, it is a challenge in terms of pitch, rhythm and color conversion. Then, the author analyzes this piece from the perspective of score score information and actual performance.
Under the author's research, the composer has very few marks in this concerto. There are only intricate and superfluous markings other than speed marks and some emoji marks. For example, Moderato (midboard), cantabile (as in song), dolce (sweet and soft).
Composers do this with two advantages
It reflects the composer's simple and concise musical ideas, so that music can show the most pure beauty more naturally. For example, the first movement of the first movement, in these 38 bars. The melody is narratively lyrical in minor second scales. There are no cumbersome and messy melodies, and they directly express melancholic and poignant emotions.
Let the player have more room to play, and can have more design between different more natural and reasonable phrases. For example, the version I heard from the three oboe masters was very different.
First of all, Heinz Holliger performance is characterized by more lyricism of the music, complete performance of long phrase lines. There is a very delicate musical processing between the phrases, so that the connection between the phrases is smoother and longer.
Secondly, Thomaslndemmhle's performance is slightly faster and more compact throughout the movement, as if expressing an outburst of pent-up emotions. He emphasizes the first and main notes of the phrase. There are also many changes in the performance method, and the interpretation of the works is hearty.
Finally, Ivan Sequardt plays at a pace marked by the composer, which is relatively steady and mournful, but more dramatic in performance.
The middle of the second movement
The composer marked Recitativo in the second movement in bar 47 as meaning recitativo, which is called recital tune in opera. It is relatively free in rhythm and can better present the narrative of music. Therefore, in order to fully express a strong mood of oppression, tension and anxiety in the composer's heart in this movement, the player needs to think more about how to truly interpret such a strong state of mind in this section. Specific research will be analyzed in the interpretation of the music.
The composer's mark for the performer
Because there was some flaw in the score that the premiere player had given him when he got the Matinou, the publisher later published an adapted version after communicating with Tanzbudek, which was also used in the author's concert by Morris? Bourg and Guy? Porat edition, released in 2008 by Parisian merchant Durand. Unfortunately, many of the details could not be determined after Matinus' death. In this version, sorted out tags provide options for future players. It can be summarized into four situations;
The performers communicate with the matinu to get the details of the permissible changes.
For example, in bars 55 to 58 of the third movement, the difference between the connection and the voicing can be seen through the two examples, and the score 2-2 is changed from the score 2-1. When playing, you need to pay attention to the clear contrast of the playing method, the short spitting, and the more obvious legato.
For example, the 32 bars of the second movement, as can be seen in the score of Score 24, there is a dashed legato in B-L G-C. The player can choose the position of the dashed legato to play different phrases. Scores 2-3 are the positions of the lines on the beatmap, and this is also the phrase treatment chosen by the author. Because the rhythm of this section can change with the rise and fall of pitch, the advantage of this treatment is that the tone pauses slightly in the middle C tone, preparing for the high-pitched mood later, so the author chose this kind of wired play.
The theme phrase and the reproduction phrase should be unified.
For example, bars 78 to 79 of the third movement are reproductions of the phrases of bars 179 to 180, and the composer marks that the player can cancel the connection of the second set of two triplets and play them as spitting. The author chose examples 2-5, because if you remove this connection and replace it with spitting, the acoustics will have a strong grainy feeling, which will destroy the integrity of the phrase. Another reason is that if you change to spitting, you need the player to have deep playing skills, and if you blindly choose to play spitting, it is counterproductive.
The first is the composer's original marking, such as the second movement of bar 54, where (Tempo) after the 47 to 53 bars of the tune, after the player freely presents the emotions of panic, uneasiness and even pins and needles, it is necessary to return to the speed of (andante) according to the composer's regulations, so that the music returns to a quiet and kind atmosphere. When playing, the timbre of the oboe needs to be softened to give the listener a sense of relaxation, which contrasts strongly with the narrative tune.
This is followed by the markings of the publishing house, such as the 117 bars of the first movement. The (Tempo) manuscript here is not available, it is added later. Because of the excessive section of 110 to 116 bars, there are many temporary rise and fall numbers, the beat rhythm starts with a weak beat, the rhythm is unstable, and the speed can be slowed down or tightened when playing. Then at 117 in a bar to return to the original speed to play.
Composition style analysis
Martinou began in the 20s of the 20th century. Gradually developed his own writing style, in addition to absorbing a wide range of modern musical techniques, but also skillfully combined with Czech national music elements. In this concerto, the author analyzes mainly from two aspects.
The composer does not directly quote Czech folk music in his melody, but he says that its typical melodic form is applied to concertos.
The first is the surround melody: it refers to the arrangement of one note as the center tone and the other notes in a surround style. The composer used it in all three pieces. In the first movement, it can be clearly analyzed that each phrase is composed of a wrap-around type. Some phrases are expanded or reduced, and interspersed with upper chromatic scales as ascending and phrases dominated by second and third intervals to form a single movement.
For example, bars 43 to 64 in the first movement. The phrases rise and fall steadily, and the melody is beautiful and lyrical. The composer first uses continuous interval jumps for melodic narration, and at 56 bars, uses ascending chromatic scales to perfectly transition the musical colors to the pleasant dance music sections behind. When playing a wrap-around melody, the player should pay attention to analyzing which note the center note is. In playing, the center note is properly emphasized with stress. For example, two low zone C in bars 43 to 46 need to be emphasized with accents.
In the second movement, the composer expands this melody type, which is actually dominated by surround melodies. Under the relatively free performance, the oboe plays a musical effect that seems to be haunted, real and unreal, helpless and longing. In playing this movement, the performance needs to pay attention to the control of speed. The tone of the music is real and natural, and if you can't play too freely, the music will appear heavy and dragging, and it will make the listener sound uncomfortable.
Through analysis, these characteristics in the second movement are enough to show that the composer inherited the melodic characteristics of Czech folk songs, and expressed the author's nostalgia for the motherland with a simple and concise melody.
The third movement is the most jazzy movement in this concerto. The composer used many typical jazz elements as motivation for the phrases. For example, in bars 36 to 48, the composer uses blues tritones on the melody. It is done by lowering the three tones in the scale by half a note.
The phrase begins with the main interval in G major, with B as the third note of the G major scale. Lowering B by half a note creates a blues tritone. At the end of the movement, the composer ends the movement in bar 206 by using the genus seventh chord in D major to push the piece to a brilliant and enthusiastic musical atmosphere.