Scheherazade -- Interpretation

In this post, I'll offer some guidelines for interpretation and display an edited version of the bassoon solo from the beginning of the second movement.

Guidelines:

Maybe that's not quite the right word to use for developing an interpretation for this solo, because the musical indications instruct the performer to use some freedom when playing it.

Capriccioso, quasi recitando, dolce espressivo -- all terms dealing with expression are the indications for this solo.

Add to that the simple accompaniment and there's a good amount of room for personal expression in this solo.

In fact, I'm actually a bit hesitant to offer an interpretation for this solo because I've heard many that differ from mine that I really like!

This solo is one of the few heard at auditions in which I can listen a bit more for the individual voice of the performer. I want to know what's in that person's heart when playing this solo.

Nonetheless, I'll venture to offer some suggestions.

1. Don't use excerpt books! They are full of mistakes and edits by people other than the composer. The Scheherazade solo and cadenzas are notoriously badly represented in excerpt books. Except for reference to music which is still not in the public domain there is no reason to use them. IMSLP has made them obsolete. There is now no excuse for bassoonists not to know the score (also available on IMSLP) and have a copy of the complete bassoon part.

2. Given that this solo consists of only seven pitches, other areas besides range must be exploited for expressive riches. Look at vibrato, rubato, added dynamics and implied meters for resources.

3. Be sure to examine intonation. There is no reason that this solo can't be played beautifully in tune! It's easy enough that you can focus on achieving pristine intonation. Matching pitch and tone quality between C# and D is important. Also, be sure that E is supported enough to relate well to F#. Be careful that G and A don't rise in pitch at full volume. Be careful to adjust according to which direction you approach a problem note. If coming to a note with a flat tendency from above it, you will need to keep the support up and not let it go because you are descending, for instance.

OK, here's my interpretation in red below.

 In the opening, notice the 2/8 meter implied by the slurred groups. Generally, slurred notes are grouped in such a way as to provide emphasis on the beginning part of the slur, so it's helpful to stress the first 16th in each group. This emphasis (as opposed to stressing the 8th notes) will also help bring out the accents in the next section as the stress gets relocated to the end of the groupings on the 8th notes.

I follow the general rule of phrasing -- "Up is Up and Down is Down" at the outset by allowing each 2/8 group to relax in intensity as the phrase relaxes in pitch to the note B. In general, the places for crescendo are marked, except at the end. What the phrasing needs is a few more places for diminuendo to set the level low again. Otherwise, there are three crescendos in a row (one per line).

In the second line, measure 4 there is a small detail. Many editions have accents over the second E and the F#, but the score shows tenuti, just like those two bars later. I think the tenuti work better here, unifying and simplifying the interpretation.


Many bassoonists play an echo phrase in the second line to add more contrast to the solo. I prefer the echo to start on the second beat of the next to last bar of line 2. This way the echo coincides and reinforces the embellishment of the previous phrase (which starts on the fourth bar of line 2). Compare the last two notes of the 4th bar with the last four notes of the 8th bar of the line and you'll understand my reasoning. Also, then the first phrase and echo are complete phrases and not fragments.

Rubato should play a role in any interpretation of this solo. It's really boring to hear this played steadily at ♪ = 112! Push and pull of tempo can come in line 2 with the tenuto 8ths holding back and the 16ths moving forward slightly. The accented section before it can have a slightly faster tempo if desired as well. All deviations from a steady tempo should be subtle and only be used to reinforce harmonic changes and other expressive ideas.

As I said before, there are many other wonderful interpretations of this solo to be heard in recordings. The Reiner recording with Leonard Sharrow is a great place to start, but also listen to the New York Philharmonic with Yuri Temirkanov (Judy LeClair) and the recordings with Ormandy and the Philadelphia Orchestra (Schoenbach, Garfield) for inspiration.

Scheherazade, Context Comment

Here is a comment submitted via email from a reader of this blog regarding the importance of knowledge of context when playing excerpts:

"As a former jury member of several auditions in the Vienna State Opera I can assure prospective candidates for a position with a major orchestra that the members of the jury instinctively recognize if the candidate has played the excerpt in performance, or, if not, if they are familiar with the orchestral context. Any indication that the candidate is playing a perfunctory exercise will disqualify them."

Scheherazade, Context Part. 2

CONTEXT, PART 2


Towards the middle of the second movement of Scheherazade come three short cadenzas for the bassoon. First the clarinet performs these three cadenzas earlier in the movement.

Compare the introduction of the first clarinet cadenza with the first one for bassoon:

The insertion of a woodwind fanfare at L makes it necessary for the bassoonist to wait a bit longer than the clarinetist to enter. Like each successive cadenza, the fanfares become more elaborate with each iteration.

Knowledge of context in these passages is most important at the end of each cadenza.

The first and second cadenzas end with a restoration of the tempo (♩ = 72).
It's a small point, but it's good to play the end of the cadenzas strictly in tempo:

This includes playing the triplet in time and cutting off the D on the rest and not holding it longer. The F should always be accented and lightly articulated to help the accent and the second D should be articulated. A diminuendo towards the D will help bring out the accent and the new tempo's downbeat.

The third cadenza ends in much the same way as the solo at the beginning of the movement -- with a pickup played in the tempo of the next section:

 

Like the first solo, there's another held dotted 16th D. The C# that follows should be played in the new tempo.
 
To finish, I like to use a "long" C# fingering for emphasis. Using the "short" fingering may cause the note to back up at "ff".

Next, I'll examine how to build interpretations for the solo and the cadenzas of the second movement.

Scheherazade, Context, Part 1

CONTEXT


In the second movement, The Story of the Kalendar Prince, Rimsky-Korsakov wrote two extended  bassoon solos.

The first solo comes at the beginning of the movement, right after the violin cadenza with harp accompaniment.

In order to form an interpretation of this solo which capitalizes on its expressive possibilities in such a way that the listener can fully appreciate them, an understanding of the solo's orchestral context is essential.


The Beginning

There are two things to note from the score about the beginning of the bassoon solo:

• The bassoon solo starts right after the violinist finishes on a very high note.
• The harp rolls a full chord on the downbeat of the measure in which you enter.

These last notes from the other instruments can draw attention away from your first sounds. Especially in a live acoustic, it may take a second for the bassoon sound to emerge -- sometime after the first few notes of the solo. Indeed, often the bassoon's first notes are lost in live and recorded performances.

Therefore, it's helpful and expressively important to start with a full, resonant tone -- including the G grace note. I believe the phrase should relax in intensity to the B in bar three, so starting with a full sound also gives you a better chance for an expressive shape to the opening bars. In this solo, "Up is Up and Down is Down"* is a good maxim.


The Middle

After the beginning, projecting a solo sound is easy, given the light accompaniment of the four-part bass line. It is gratifying to play a solo like this which gives you opportunities to show the beauty of the bassoon's intimate nature along with its noble full-throated side.

By following the bass parts above, you can see that the harmonic motion is static for several bars. Notice where the chord changes occur (circled). By broadening at these points, you can enhance the new harmony underneath and allow the music to breathe. Breathe literally, too, as these chord changes happen near traditional breathing points for the bassoonist.

In order to bring out the seamless quality of this musical story telling, I strive to make my breathing as unobtrusive as possible. The phrases are like a chapters you weave together into a story in order to keep the constant attention of the listener.

Thus, when you do breathe, try to leave the last note before the breath with a rounded, resonant tone, breathe quickly and re-enter at the same intensity at which you left the sound. It helps to broaden a bit just before breathing. This buys you time for the breath without adding the perception that you've added beats to the measure.


The End

Knowledge of the context becomes most important when finishing this solo. There is a lot going on in the last few bars. By two bars before A I've reached the most expressive, fullest sound in the solo. In the next bar I begin the process of handing the solo off to the oboe.

The harmonic motion speeds up, adding tension to the end of the passage. Rimsky-Korsakov adds a ritard assai at the very end. Playing with a broad sense of time and an intense sound allows the final events to unfold gracefully.

The conductor re-enters the picture at this point to assist in the hand off. The ritard assai, along with serving an expressive function, gives the conductor and everyone who enters at A a chance to get ready to play. 

Therefore, the D dotted 16th note in the last bar of the solo (last circled beat above) becomes the pivot point from one section to the next. This may be the longest dotted 16th note in the literature!! 

You will see two beats from the conductor during this little note! One beat when you first play it to help the uppermost bass line move with you, and another to help you move from it to the C# and to give a pick up to those that enter at A.

Because the next section is in strict time and no longer flexible, the last two notes of the solo must be played in the NEW tempo: ♪=112. The need for the conductor and other musicians to start predictably

takes away any freedom you have here. In effect, the ritard assai only applies up to the famous D dotted 16th note.

Played as an Excerpt

In order to play this passage convincingly as an excerpt (in an audition, for instance), the performer must play with a sense that there is an imaginary conductor and orchestra in accompaniment. Younger, less experienced players who show their understanding of the context of this solo when performing it can ease the minds of those listening who may otherwise question their slim resumes and lack of experience. 

Coming Next

In my next post, I'll examine the context of the three bassoon cadenzas that follow later in the movement. 

* An expression used by oboist, John Mack to indicate phrasing in which a higher pitch is more intense than a lower one.

Scheherazade

Last week we opened the 2106 Blossom Festival with performances of Rimsky-Korsakov's Scheherazade.

I'll discuss my interpretation of the solos and how I dealt with other difficult passages in this piece in my next post.

For now, I'd like to recommend you listen to a superlative recording of the piece. Fritz Reiner leads the Chicago Symphony Orchestra in what has been described as one of the best orchestral recording made of ANY orchestral piece.