A pupil was working with me on Clementi Sonatina in D op 36 No 6, 1st movement.
I wanted her to play longer phrases and I noticed that she was more or less following the phrase marks in her edition. I then looked at my different edition and found the phrases even more chopped up into smaller units.
How then to get across my feeling that her playing was too broken up when she probably felt she was following the text?
Her edition also had a sforzando at the high point of a lyrical phrase – again a need to explain or demonstrate that sfz’s in forte and piano passages differ. I suppose it was put there to help an inexperienced player give the phrase some shape.
Finally fingering – one edition had a slightly cramped change of position to maintain use of the stronger pair of fingers 2 and 4, the other avoid this but used the weaker pair of 3 and 5. You pays your money and makes your choice.
Sophisticated as it is notation cannot convey everything we may want to do with the shaping, timing and articulation.
Next, I want this player to shape her semiquaver runs and quieten the LH for the second subject and improve to her phrase endings.
I will play her Diane Hidy’s version on youtube