Ophélie Gaillard, Francesco Goffriller d'Udine, 1747



Ingredients :
-a large admixture of third and sixth games in the pastoral and melodious tonality of F major.
-a binding, (a sort of Isigny sour cream ), for a greasy legato '( which you can easily test through playing the whole score simultaneously with your left hand on one string while you handle your box on the next open string.
-in the double string passages, be careful to keep the following proportions : 2/3 of bass and 1/3 of soprano.
-a large handful of shades and an armful of various vibratos to set notes on contrast.

On the right side, practise your legato until you reach an oily and homogeneous texture, keeping your bow hair flat on te strings.
On the left side, use use your finger pads ; your hand must be at once steady and lithe. Sing the melody of each phrase, imagine the polyphony of an Alpine horn choir or of one of Schubert's lieder, add a touch of rubato : here you are, it's ready.


-A compass, so as not to get lost in the forest of flats
-A palette of different shades.
-When changing positions, don't slide, but articulate so as to maintain the elegance of the style in spite of the dark B flat major tonality.
-Generally speaking, a warm but not too speedy vibrato
-When there are accents, which should be achieved essentially by the left hand, a very fast vibrato .
-a very careful legato of the bow, and a recorder to spot sound holes.

Cooking and serving
Imagine a little dramatic background behind the Study, add a pinch of rubato inside the double strings without infering in the « tactus », and fill up this wonderful score with warm feelings.