Vivaldi C major concerto
Second movement
The second movement is presented in a “Siciliana” style, similar to central tempo of “Il Cardellino”. This movement evidences a certain intimacy however one must not play it with a romantic vision in mind, because it could be out of style. At times, one can hear very slow performances of this movement. Ideally it should be played in a dance like flow, which is suggested in the initial rhythm, i.e. dotted quaver – semi quaver – quaver. Consequently the articulation must be in line within this interpretation, thus it is important not to play this in a uniform legato. The attack of the 1 st note, presents a real problem of intonation in most piccolos. The embouchure whole can be too big and the support can be insufficient. Example 1 can be of help to find the right embouchure. The theme is laid in an E minor arpeggio. As already mentioned, the dominant note at the beginning can be detrimental for intonation, therefore take care must be made to the air velocity, whilst intensifying the support and decreasing the embouchure whole. All these must be made, without tightening the throat. It could be of help the sing and play technique (example 2). Try to expressively play the melodic skeleton, in order to have direction in the phrase.
The 1 st part is presented in 5 bars and these are divided into 2 semi phrases of two and a half bars each. With good breathing and an economical air emission, it wouldn't be difficult to sustain the breath for 2 semi phrases. At the beginning of bar 3, one can find a leap of an augmented IV, with an A sharp which is sensitive to B minor. This note tends to be flat, a reason being of not thinking of its harmonic value. The 10 consecutive notes which follow have a melodic character (example 3). Great care must be made on the C sharp, which tends to be flat, i.e. one can use alternative fingerings, found in Larry Krantz site. Sustain the B note, giving its full 6/8 value, and finish with a diminuendo.
The 2 nd part of this movement is more regular in nature. It consists of 8 bars, which are divided into two measures each. This division determines the breathing markings. The 1 st phrase, unlike in the initial 6/8, goes in an ascending way that precipitates directly on the B minor V, without touching the IV. In the two bars which follow the E minor tonality is reaffirmed. In bar 10 it is preferable to change colour, by trying to produce an expressive intimate sound, which is not that open. The penultimate bar has the same skeleton, like the initial 6/8. Hence it is advisable to perform the groups in 3/8 with a diminuendo. Repetition is presented in these bars, which can be played at the discretion of the performer, by utilizing dynamic changes and articulation changes. Great take must be made to the breathing. It is necessary to have sufficient air in order to close the movement in a convincing manner and by doing a good diminuendo on the last note. Usually when played for the second time, one embellishes the passages by doing ornaments and use nuances, however in an audition this movement is asked to be played without repetitions.
