Shaping an Ostinato-like Section of Repeated Groups of Four Sixteenth Notes
September 14, 2019
S.E.’s lesson on 9/7/19: Rachmaninoff 3rd concerto. first movement: when the endless sixteenths begin after the first statement of the main theme.
There is a lot of “interlacing” of the hands. I don’t mean simultaneous interlacing, I mean within four consecutive sixteenths some may be with the left hand some may be with the right hand.
This requires laying down a foundation of groups of four clearly stated sixteenths, whose musical contour, crescendo and decrescendo, is always sculpted the same regardless of what the notes are and which hands are playing particular notes. I spoke the words “one two three four” monotonously, over and over, as S. played through the passage. This should be done prior to any attempt at phrasing. The one of the four should always sound like the first of a group of four. The two of the four should always sound the second of a group of four. Etc.. This establishes first an unyielding base, over which the more musical details can then flicker and modulate.
While doing this first phase it was noticeable to me exactly where his playing of a sixteenth note was not exactly together with my count. At today’s session, this took place mostly with the placement of the two following upon the one, of the four sixteenth note groups.
As a way of ‘shading’ from the first stage (mechanically and
metronomically) to stage two, where music ideas played over that surface of rigid evenness, I started counting, not mechanically or in an uninvolved or apathetic tone of voice, as if it were my job, or duty, simply to count evenly, but with shaping, phrasing and expressivity in my voice. I made this transition without abandoning the syllables “one”, “two”, “three”, “four”. I “rounded” each spoken four note group into a resonant, glittering shape. But rather than shape the phrase in response to inner meaning of each group of pitches, I was more at using a “one size fits all” (one shape fits all) method. My voice was full of emotional expression but it was as if each time I repeated the four syllables, it was less a repeat, but more at an attempt to perfect one, constant, musical shape.
Stage three is to let the two meanings blend, the more idealized emotional and structural content of each perfectly shaped group of four, and how each group different from the others in terms of musical meaning when one added the specific pitches Rachmaninoff chose. The most convenient analogy for what the result is, is seeing an early Italian Renaissance painting by a master, in which the body, for instance of the Virgin, is fully clothed, but the folds of the drapery of the clothes perfectly intimate the shape of the body beneath it.