Seven months in I am turning the page on the first movement of Vivaldi’s Concerto in A Minor. Not only do I feel ready enough, but my copy of Suzuki Book Four itself compelled me to move on when, during my practice session on Monday, as I flipped to the first movement’s third and final page the book’s binding staples gave way and the concerto came off in my hands. Of course, the important opinion on the subject of moving on is Teacher’s, and after I played it through for her she was impressed with my speed and dynamics. She made good on her hint from last week that that the time has come. And she rightly trusts that I will continue to practice the First Movement.
As I turn the page the Suzuki repertoire moves me from Vivaldi to Vivaldi – the next piece in Book Four is the third movement of the same concerto. Ultimately, Suzuki gives us all three movements of this canonical concerto – but it’s not until Book Five that we bring it home with the second movement. Teacher says she doesn’t think this third movement is as difficult to take on as the first. Based on what I’ve done so far, I’m not so sure! It starts out right away with a good deal of technical complexity – a new position shift, for example, that allows me to play an E an octave up from the open E string.
And it’s gorgeous – heavenly really. I’ve been looking forward to this movement for a very long time – about half way through it contains the most beautiful stretch of sixteenth notes I’ve considered playing to date. In the middle of the mystical, sharp dance of the piece’s overall tone, for one moment a subtle key shift strips the clouds away and there’s a rapturous release.
I’ve been writing much less recently here on Musical Me – when I’m playing the same piece for seven months, it seems I run short on things to talk about. We’ll see what this new movement unleashes.
Thanks for reading.