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I remember a famous tuba player saying that you should practice something, that you will eventually perform for an audience, slower AND faster than you will perform it. That way you KNOW you can nail it. Play it at whatever tempo you feel is safe to perform in front of an audience (your recital) that is within reason.

For a competition,however, I would perform it at no less than the marked tempo. If you want it bad enough you'll find a way to play it at that tempo...I bet you those players who will eventually become the semi-finalist aren't asking around to see if they can get by with a slower than marked tempo...

James,
I've had the same issue and i brought it Mr. Daniels attention in a lesson. I played it at the tempo i was comfortable (86 bpm, 10 beats less) and he said it sounded fine and agreed that 96 marking was too fast. 86 seems to be a good tempo and allows the player to really stress the contrasting dynamics in that movement. keep doing what you're doing and you'll be fine.

-casey

just keep working at it with the eventual goal of as fast as possible (stop if you get up to 100)

dont let it get in your head that its unplayable. that mental block is hard to overcome. this piece is playable at the given tempo (by mortals even!)

if it helps to get drive from competition, keep in mind that others are playing it faster. I'm not overly competitive, but knowing that there will be cds submitted with that piece at the written tempo would be enough to keep me in the practice room at least an additional half hour a day on that piece just to get it done. To each his own, but healthy competition is helpful for many.

I'm not saying it's unplayable at 96 but that it's easier to show all of the contrast the piece has to offer at a slightly slower tempo. I spend the time in the practice room PERFECTING the piece at 86. this is my choice. James, take the tempo your most confortable with (within reason. if you're going 60 bpm then there's a problem.
yes it's a contest, but the judges (99.99999999999999999% sure) will not be sitting there with a metronome to see if your spot on. the judges will be looking at style and musicality. it's one thing to go fast, it's another to do it with style.

-casey

Casey Tucker wrote:I'm not saying it's unplayable at 96 but that it's easier to show all of the contrast the piece has to offer at a slightly slower tempo. I spend the time in the practice room PERFECTING the piece at 86. this is my choice. James, take the tempo your most confortable with (within reason. if you're going 60 bpm then there's a problem.
yes it's a contest, but the judges (99.99999999999999999% sure) will not be sitting there with a metronome to see if your spot on. the judges will be looking at style and musicality. it's one thing to go fast, it's another to do it with style.

-casey

Sure, but why not do both. I don't think the judges will bring a met. either, but trust me, they know the difference between 90 and 96 (especially after hearing it a million times over). I'll I'm saying is that they picked this music for a reason. they know it's hard, and they know that there will be people who will play it @:

90 with musicality
96 no musicality
96 with musicality
and all in between

Not that you can't win taking it at 90, but these judges are good, and they will pick those who are great at both (this is the fastest piece on the list). They've been through it just like we have and they know it's hard, but that's not an excuse. Fountains is hard at 168, but there is no way I would go into an orchestra audition and not BE ABLE to play it at that tempo or faster. If I chose to play it at 160, fine. If I somehow got the job, Great. But if a conductor wants to take it 170, or a judge wants me to take it faster, I'm screwed.

In the end, anyone would rather take it at the tempo they sound best on then make a bad recording trying to go faster than they can. But there is something to be said about what's marked. Bottom line, If I wanted to make it, I would practice this night and day until it COULDN'T play it slower than 96 WITH great musicality.