Pyrioni.
I'm actually trying to avoid teaching here but my take on your comments are:
The results of your approaches aren't really vastly different much. Your performance is faster by a bit but both have technical flaws that probably could have been corrected by careful attention to individual details of sound and technique.
Some quickie thoughts.
In your performance, you are exhibiting an intonation issue with trying to tune to a piano that is badly in need of tuning however your intonation when repeating unison notes isn't uniform. Tuning to a piano is difficult IF the piano is in tune. When the Piano is so out of tune the flutist may abandon any consideration in tuning. Not a good idea.
Technically, there can be an issue with the relationship of which fingers come up and which go down. For example at your time=104 I would recommend working more carefully for the precise crispness to your finger movement. Imagine the game running dominoes. When working slowly and individually, you are setting up the dominoes so that in performance they fall more successfully. Part of this set-up requires that you have well-toned finger muscles. We humans have good strong flexors for grabbing but our extensors are often weak. Consider too that one can look at each note as an individuall entity OR one can look at a piece as an interrelation of notes. So, Fingerings are always an issue of moving from one fingering to another. So, ask yourself between any two notes, "Which fingers need to move?" Also, I believe that most versions of this Rondo utilizes some staccato because it represents the happy & playful nature of an allegro. This Mozart=playful should be present in the tempo phrasing, and articulation. Do any of your 16ths have dots over them? Many of my versions of this have for example the first 4 AF#GD as slurred (A>F#) and tongued two (G & E).
The first note of a group of slurred notes AND/OR the first note of any down beat should be stressed (Not accented). The last not of a slur can be stopped more quickly. (perhaps sounded like this: Dee_iT )So for stress example: your downbeat G# at time = 1:32. (Letter-C rehearsal mark) Stress that G# a tad and the down beats after for the next 8 measures. This E7 6/4/3 V7/V arpeggio (EG#BD) is played for two measures and then an A (V) Arpeggio. So the underlying effect is G#G#/AA/G#G#/AA/F# of Dmaj 6/3. Your F# is of course the third of the chord and is an UN-final resolution in the flute to the tonic D maj.
Here. Some of the notes may seem different but this is a good style example.:
http://www.youtube.com/watch?v=yv0Yh1O1aAM
| I understand what you mean by all round education But East and West are completely different in music education. |
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OK. Perhaps our cultures are different in all aspects of education also but if one is going to rise about the average, they must find their own best path. I don't necessarily agree with either system and I DON"T disagree with your teachers one bit. But we are dealing with art here and not assembly-line public education. The quality of your art is dependent upon how much you are willing to hone it and craft it's quality....all aspects of it.
| Unlike piano, flute is mono tone instrument, most of the times its music requires fast playing. |
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Fast playing has the more overt difficulties on the surface and if they are flaunted by a great virtuoso, they are easily recognized as impressive. The real art lies in the details. The good listener knows them. I will still maintain that whoever told you the story about your Eastern culture works more on technique first and the West works more on musicality is simply passing on uninformed gossip or is trying to simplify all of the goals too much. Discard this nonsensical waste of thought and delve into your art with more attention to details....even when going at fast tempi-details. Any ideology such as that concept between cultures greatly depends upon the teacher and the specific issues that they are teaching to a specific student at the moment.
Here is a quote from someone that you need to admire:
"It is much easier to win applause by a brilliant execution than to reach the hearts of the hearers through a cantabile. For example, to play an adagio with all the possible colorature, the player must not only be a perfect master of his instrument, but he must also have the power to transform the tones as it were, into words by which he will be able to give his feelings a clear expression. The composer of vocal music endeavors to make the tones express the emotions described by the words, and the singer is most easily led to a correct musical interpretation through the words connected with the tones; likewise the flute player must learn to sing on his instrument." -Th Boehm.
So in this respect, anyone can learn to wiggle their fingers fast but can they make the ladies cry and swoon from their flute playing. This is what a good pop singer can do. So why not a classical flutist? What are we supposed to be, technicians or musicians?
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