Glinka Variations on a Theme of Mozart

[unknown-user]

Would it not be

[patricia-jaeger]

To Unknown, above: That is what violinists do, when a harmonic quite high on a string and quite weak, can be easier and sound more strong, when found on a different string, lower on the fingerboard.

[Loonatik]

Since I’m working on this now… It seems all the bass are played with harmonics, so I couldn’t really follow the thread properly.

Though I always wonder why Glinka chose to write identical phrases contain such minor differences. Eg. Bars 8, 16 of var II, bars 5, 7, 13, 15 of var IV etc. Wondering also if the b in bar 8 of Var III was meant to be played as harmonics. If so a harmonic notation is missing…

[Saul Davis Zlatkovski]

I have played it both ways. I see the logic of assuming Glinka was writing the sounding pitches and adding the characterization of sons harmoniques, rather than using a harpist’s notation of sons harmoniques. Another solution is to play the earlier version of the piece which does not have that variation at all.

[Loonatik]

Oh, there is actually a version without this variation ?!

[Saul Davis Zlatkovski]

You can change hand position when the harmonics get high and play them with the left hand the same way you would with the right hand. However, with enough practice, I can make them without doing that, but I have nylon strings, which makes them much easier and clearer.

[Author]

Posts