Melon Notes

. . . to reflect Peter’s & my working with the piece these past three performances . . .

1. At the Lo stesso tempo (m. 21ff.) Peter ‘conducts’ the beats . . . with the switch from unison to the ‘freely’ different rhythms between the two parts that starts at m.21, having the beat marked helps keep things in order.
2. m.50ff. takes a lot of ironing; the combination of 1. the flute being rhythmically all over the place, 2. the clarinet providing nearly a moto perpetuo backdrop, and 3. the rapid tempo, has meant that we worked that section out many times, in hopes of ensuring that we reach the unison at the double-bar at m.63 together.
3. After so much unison writing, the close canon beginning with the final eighth-note of m.81 requires a little extra ‘awareness’.
4. For the most part, the section beginning at m.86 falls readily into place; the 11/8 of m.88 is a little tricky.
5. Same note as note (3.), viz. m.124ff.
6. Material from note (2.) returns at m.194
7. The last bar should last the equivalent of about five measures ‘in time’ . . . Peter & I have been holding the forte steady for three bars’ worth, and then decrescendo-ing (which must be a duplicate present participle) for two bars’ worth.