Specific bowing question on Beethoven 8th sonata
maybe some genius in this forum will be able top help me on this one:
Sonata 8, last movement, bars 110 through 113: In 110, and 112, the first two sixteenth notes are slurred. But how do I compensate the bowing, afterwards?? I cannot really play 111 with the "wrong" bowing, at least it doesn't sound clear enough, as I have to change strings, so often. So, I decided to just play two upbows directly after each slur. But if I am honest, I am a bit too slow with these upbows. :-( Or, they aren't articulated, enough.
As the whole thing is happening very fast, I just conceal the problem by means of the overflowingly joyful expression of this section, but it keeps bothering me that I am concealing something.
Any idea? If you have played the piece, how did you do these bars?
Any inspriration is welcome!
I wouldn't dare to give advice to Emily but I honestly think this is to be taken as it goes, i.e., what Emily calls the "wrong" bowing. Is it really that bad?
Great question! This is actually quite complicated, and requires a technique that not many people talk about... It is for sure uncomfortable at first to play the bowings 'upside down' after the slur in bar 110. First we have to figure out why exactly it feels uncomfortable. You mentioned that you would have to change strings so often, but regardless of bowing, the amount of string changes should technically remain the same?
Wow, I accidentally responded twice, then wanted to delete the double post, and deleted all of it- too bad!
The topic is partly philosophical: Does our western music notation show how to play it (mechanics), or how the composer wants it to sound, or a mix of both? The Tabulature guitar notation is an example of a mechanical, specific directions approach. Most composers are pianists and are either unaware or unconcerned about the technical problems they creating. I am thinking of Schumann, Brahms, and Beethoven. The slur mark for the string player is specific; it shows when to change bow direction. The slur mark for the pianist indicates phrases. My favorite example of that distinction is the Intro to the Brahms 1st symphony, 1st movement; the whole thing is connected by slurs and ties.