“Molto moderato quasi lento” from Ysaÿe’s Solo Sonata no. 3 - one more piece added to the puzzle. One of the biggest benefits of practicing in reverse order, especially in a piece like this where climax is stacked upon climax, is that the limits are tested first. Reserve in its literal sense is activated when needed, and most certainly, the biggest amount of reserve is called for at the very end of the sonata.
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In this particular section, meanderings in harmony require meanderings in the body’s responses - constant fluctuation between harmonic suspension and quasi resolution is manifested in bodily effort and release.
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Coming together... save the introduction, which will soon be tackled!
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