Klarinet Archive - Posting 000036.txt from 1995/03

From: Jonathan Cohler <cohler@-----.NET>
Subj: Re: Stravinsky Firebird
Date: Thu, 2 Mar 1995 08:36:40 -0500

>Fellow Clarinetists!
>
>I'm getting ready to play in a couple of weeks the Firebird Suite in
>the composer's 1919 re-orchestrated version. In the times I've played
>this before, I basicallly played what's in the part, save for a few
>obvious and clear misprints.
>
>But in looking through Kalman Bloch's "Orchestral Clarinet" book, he
>makes the strong point that in the "Firebird Variation," the tricky
>little passage in the bar before rehearsal 14 should really belong to
>the flute, not the clarinet.
>
>So I checked out scores to this. In the Kalmus score, the clarinet part
>is as we have all played this for many years, with the arpeggio and
>triplet figure in the clarinet part. But in the Chester score (earlier/
>more authentic?), the parts are as Bloch says they should be: the entire
>lick is given to the flute.
>
>The two scores are identical in their layout and pagination, leading
>me to suspect one is a reprint of the other.
>
>As we know, Stravinsky made a regular habit of revising his works,
>usually not for musical considerations. But here this is clearly not
>the case. Most orchestral players are familiar with the changes/errors
>Kalmas often makes in their reprint editions, and is this an example
>of an unwarranted change which has become standard?
>
>Clearly I have my suspicions, but I would welcome imput from anyone
>who has explored this in greater detail. E-mail messages can be sent
>directly to me or posted on the network.
>
>David Ross
>gj05%utep@-----.edu

This excerpt is a very interesting case and example why you should never
trust the orchestral excerpt books (except as a general guide). It is also
interesting, because despite the correct parts being known for quite some
time now, it continues to be played incorrectly by clarinetists everywhere
(and I'm not referring solo to the passage you reference). Given that it
is used so widely for SO many orchestral auditions, I'm amazed at the fact
that judges and students alike seem to be so unaware of how this passage
was written.

In fact, two of the basic patterns of this passage, which =are= notated
correctly in the excerpt book are consistently played incorrectly. I don't
even know of any recordings on which the clarinetist plays it correctly!

Before I get into the details below, I'll note that the Chester score you
mention is packed full of errors. The accurate score to this work is
published by Kalmus and edited by Clark McAlister. He fixed most all of
the errors. The first McAlister edition came out in 1985, and it still has
a few errors. I understand there is also a 1989 McAlister edition that
fixes more of the errors, but I have not seen that one yet. I own the 1985
version, so I will note below the few clarinet part errors that remain in
that edition.

The first of the two patterns that is notated =correctly= in the excerpt
books, but is played incorrectly by virtually everyone, occurs first in the
second measure (one after 9). On the second beat (when conducted in two),
there is a =duplet= sixteenth note rest followed by a =staccato= =duplet=
sixteenth, and then six slurred triplet sixteenths. Because the part shows
the slur including the first =staccato= sixteenth, most people slur this
note. It is meant to be tongued, as is clearly indicated on the multiple
recurrences of the exact same figure. Secondly, do =not= play this note as
a @-----.

The other misplayed pattern to which I refer occurs first on the second
beat of two measures before 10. It is a trilled quarter note followed by a
stacatto @-----. Most people simply trill and stop on
the sixteenth note. If you look at the clean score, you will see it is
clearly @-----.

Now, to fix two mistakes in the McAlister score. The last note of two
before 12 should be a D natural (written pitch) =not= a D# as shown in the
score.

At number 12, all of the A's in that measure should be A naturals. The
McAlister score shows the third and fourth occurences of the A's as A
sharps.

Now, to the point you mention. You are correct. The lick one before 14 is
played by the piccolo and flute and @-----. The clarinet
rests through that entire measure and enters on the downbeat of 14.

One last detail, on the second to last measure there should be a crescendo
on the second beat of the tremolo into the double forte last note.

Good luck, it's a tough excerpt!

----------------

Jonathan Cohler
cohler@-----.net