64

I..Prélude(t)

HAUTBO1S

cOR ANGLAIS(2d Hautbois )

COR A. PP.

(

B7

mp

HAUTB.

V.S.(*) Les prtiles notes, dans tuxte cetle Suite, doivent ilre attaqueits sur le temps.

(fast page turn in real part!)

©1918 EditionsDurand (SACEM). All ights fortheworlid o/b/o Editions Durand (SACEM)administeredby BMG Music Pblshing France(SACEM). A ights for theUS. o/b/o BMGMusicPublishingFrance(SACEM)adminsteredby BMGSongs.Ine. (ASCAP)

41441189

27

2nd MOVEMENT (Giuoco delle Coppie) BALTOK23 (a)Allegrettoscherzando(d:r4) )

Coueeito tr OrckastvaFyr

Pen ?leagtlu shascotiSttalI

818

II

Tt

mf semgre stact.

<fmf nt 141/ 9( t Cresc.

crese.

(6) mpo)

lw mf

P) P

sempre staçe.,

Sempre staee,mf

( DA-

esc.A 5

-eceseho

32

Excerpt 4: Mvt. 3, bars 1-28; d.= 116The Scherzo also contains a deceptively simple solo. Although the entire string section is playing, the oboe linecarriestremendously, so that one must make sure to play the 8ths very cleanly. Again, in an audition, takeBeethoven'smetronome mark of ll6 seriously; it cansound quite brilliant at this moderate tempo, and one is lesstempted torushthe 8ths.

John de Lancie taught me the following repetition for practicing the third measure of the solo:

Also, it helps to fasten down the quarters in thatpassageby repeating this simplified version:

The quarters need to be buoyant and sparkling. It is useful to practice playing this articulation on the reed alone.Without being distracted by other factors, one can hear whether one is attacking and ending the note cleanly. Someoboists advocate being able to articulate such apassage without holding the reed, the reed remaining absolutely stil.

Remember that the phrase is all the way to the D in the 6th measure of the solo, not just to the Bb in the 3rdmeasure!

SCHERZOAllegro vivace (d.sl16)

Viui.

"Excerpt 5: Mvt. 3, pickup to bar 77 through 115; d.= 116

(The piano accompaniment begins with a pickup to bar 77, 4 bars before your entrance,)

A91

Cre8c.

104

41441189