Practical Notes on Five Sacred Trees: Dathi

As I mentioned, I memorized the piece to play for a recording with piano, but used the music in performance with the orchestra. I taped together the part such that there were no page turns during movements, but it still left a page turn in between Craeb Uisnig and Dathi, which are attaca. I wrote in the rest bars at the beginning of Dathi on the previous page, and waited to turn until mm 15, the 2/4 bar where the wind section is making the most noise.

Mm 41. Let me tell you a story. When I first heard Judith Leclair’s recording of this, I didn’t like that she played this bar legato. Nothing wrong with it, I just didn’t like it, and wanted to play it more emphatically. Except every time I tried, I cacked at least one note in it. When I tried it legato, presto, cacks gone. After several months of this, I gave up and played it legato. And they all lived happily ever after, the end.

Mm 45, move a little... compared to what? Unclear, but I chose to interpret this as move a little compared to the dramatico section immediately preceding it, and consequently my tempo for 45is a little bit slower than for 35: better to not sound rushed on the runs in what should be a fairly calm section, at least for the first few bars.

Mm 46 in the second edition of the bassoon part is, mystifyingly, marked 45a in the score and orchestra parts, and the numbering discrepancy remains for the rest of the movement. I’ll here continue referring to location by their marking in the bassoon part.

Mm 50: 80 to the EIGHTH. Not the quarter. Jesus Christ. (At least, this is closer to the tempo of both recordings, and... well, try it yourself and see.)

Mm 70 I played the easy version. Sue me.