This piece is played a lot, but quite often with some important details overlooked. I will also give some tips for practising some of the tricky passages. Legato Achieving a true legato is not just about having an even airstream. For example, a recurring phrase is the one that begins the piece.
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Bassoon II, bar delete the last two eighth notes. Clarinet II, bar delete the last eighth rest. Alto Clarinet, bar extended rest should be 3 bars not 4. Bass Clarinet: encircled should be one bar earlier than it is. Baritone Saxophone: extended rest after bar 85 should be 3 bars not 4. Encircled 90 should be one bar later than it is. Cornet I: encircled should be three bars earlier than it is. Baritone TC, bar the eighth note should be on the downbeat of 4, not the upbeat.
After , the extended rest should be 5 bars not 4 and encircled should be Baritone BC, bar triplet indicator is missing. Bar the eighth note should be on the downbeat of 4, not the upbeat. Tuba, bar 85 and the eighth notes should be on the downbeats of 4, not the upbeats. Encircled is missing. String Bass, bar the four quarter notes should be eighth notes.
Program Notes Concertino is a rhapsodic, romantic work that features two main themes, plus many melodic episodes. Possessing a memorable melodic theme, the piece tests the performer through the unending phrases, virtuosic flourishes and the resultant nimble fingerwork required. The structure is clearly identifiable through the themes that mark each of the sections: the lyrical melody that opens the work, the exciting piu animato that ends with a demanding cadenza, and the final recapitulation that is followed by a cheeky and vivacious codetta that brings the work to a dramatic close.
Flute Concertino (Chaminade)
Chaminade Concertino – Practice Tips
Concertino pour Flûte, Op.107 (Chaminade, Cécile)
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