Michigansax said:
Anyways, I just added some more. Enjoy and give some feedback. Keep in mind that these are all live.
Well Joey, I've listened to your Dahl a few times now. I
could over-analyze it, pointing out every unique thing that I heard, but seeing as it's a somewhat old recording and a live one at that I'm pretty sure my thoroughness would just be annoying.
I found it interesting and a bit perplexing that you barely played the low D# quarter note at the end of the first full phrase of the second movement (conveniently, the beginning of the second track). At the dynamic you were playing, I'm not sure whether the sudden release was intentional or not. It kind of points forward to the feel two bars before rehearsal
I (the huge largamente altissimo passage), and it almost seems like something Dahl would do, juxtaposing that appassionato/espressivo feel over the dolcissimo. While it's certainly jarring, I couldn't really call it "wrong" or a mistake. Weird...
As for the altissimo at the top of the last page of the second movement... I feel your pain! I'm actually performing this piece
tomorrow , and that exact passage is the one I'm most nervous about. I only hope that if something happens, I can recover as quickly as you did and save the rest of the movement. Kudos on the quick recovery.
It's a shame that trumpet player fracked in the second to last bar of the second movement.
Musically, that's one of my favorite moments in our entire repertoire. Finally, all of that ugliness and unrest makes sense...
For the last movement... Man, you got my hopes up. Every time I listen to a new performance of the Dahl, I hope to hear someone other than Rascher pull off that very last
ossia section with the fifths. Since you played every other
ossia passage, I thought to myself "maybe this time, Rick..." Every time I'm disappointed.
Well, no matter. I can't play it at tempo either, and I like the sound of the lower line better anyway.
I kind of like how you took a breath during the third beat of the high E/C sextuplets just before the cadenza. Again, I'm not sure if it was an error or an intentional change, but it seemed like it fit and it's a good alternative should I not get enough air during that breath mark that Harvey Pittel notated.
Anyway, it was a fine performance and I've enjoyed listening. Thank you!