The following text was automatically extracted from the image on this page using optical character recognition software:
will lead to a more interesting performance if they are overdone. If these figures are played flat without the dynamic contrast, they will come across as simply a lot of fast notes. The lyrical section at rehearsal 8 is marked Poco meno mosso. It is critical that the tempo is slower than the opening tempo since these are definitely not fanfare figures. Particular attention should be paid to the breath markings since they show the correct phrasing of the lyrical line. Movement II The second movement is a folksong-like piece. The piece is not hurried and should be played in a singing fashion. Lovelock marked two different sections muted and this gives the performer a decision to make. A straight mute or a cup mute are the only two logical options when selecting a mute for this movement. The choice of a cup mute gives the piece a more mysterious and mellow quality than the straight mute. The cup mute will enhance the folksong quality of the movement more than the straight mute. To aid in playing the music softer put a few strips of cotton in the cup to help muffle the sound even further. Again the dynamic markings are extensive and if precisely followed will contribute to a satisfactory performance. At the very end of the movement, Lovelock puts breath marks after every measure. The performer should faithfully observe these breath marks and delay the start of the next measure. If time is not delayed, the performer will clip the final note of each measure and the piece will lose the lyrical quality that has been maintained throughout the movement. A slight lengthening of the note before the breath mark will help to avoid any chance of choppiness in this closing section.