@ troglodyte: Thank you for your kind words!
@ François: I am certain that your teacher would have commented on some of my execution or interpretation, but what you have said is very touching to me -- I'm sure many of us have beloved
masters in our past (I certainly do). I am truely thrilled that you enjoyed this given your deep involvment and accomplishments in the French Baroque. I'm afraid I may have not made my case sufficiently strong regarding the changes with variations. Try to listen for the following:
Gavotte: A section, re-voiced to bring out "alto" line with the repetition.
Var 1: A section 1st time, 16th notes are staccato, 2nd time legato. B section, has every other phrase staccato during the repetition (in question/answer fashion).
Var 2: chords legato 1st time, but detached the 2nd time.
Var 3: No significant changes.
Maybe I can work on some contrasting dynamics and try(?) the 16ths with legato (?).
Var 4:The alternating thirds are played for only 3 measures twice and the part on the beat is the LH, but I will explore alternating voicing of the 3rds. Since most of this variation is monophonic and there is little opportunity for changes in articulation, I suppose the best opportunities are found in alternating dynamics. I believe I made an un
convincing attempt at this.
Var 5: The level of activity in the RH (I believe) only allows for dynamic changes. I must explore the lowest limits of executable dynamics to contrast with strong ones.
Var 6: A section RH legato first and detached 2nd time. B section 1st half is transposed up one octave the 2nd time around (No one has commented on this
) and the last ornament is only executed the 2nd time.
Anyway, you've given me much to think about and my performance will only become better for it. Thanks. Oh boy, it will be interesting to see how similar or dissimilar our Debussy's will be. Bon chance