Klarinet Archive - Posting 000723.txt from 1995/06

From: Fred Jacobowitz <fredj@-----.EDU>
Subj: Re: Tackling My First Major Work...Help!!
Date: Fri, 30 Jun 1995 11:59:01 -0400

John,
The first thing to keep in mind when dealing with the Brahms
sonatas is that they are MUSICAL challenges, not technical ones. Most
advanced players consider them rather easy, technically (even though some
might not) and dismiss them rather lightly because they are much more
work for the pianist than the clarinetist. Even if you muff technical
passages, they hold huge musical rewards as long as you don't dwell on
the technical problems.
That said, you should view these as the ultimate exponent of
chamber music. Every line the clarinet has is either playing off the
piano, imitating the piano (and vice versa, of course) or WILL do these
things. So, get the piano part and study it really well. You will
immediatiely see that it has many inner lines and rhythms which you do
too. Once you find where these are you can play with the whole idea of
imitation/contrast between the instruments. Remember, these were written
by Brahms for him to play with his best buddy and musical soul mate,
Muhlfeld. Don't you think he would make sure that there was lots of
musical chit-chat? I'll bet that, were they alive today, they would admit
to some private musical jokes thrown in there. Just as an example, at the
beginning, the piano has the main theme of the piece in the first 3 3/4
measures. If you don't believe it, see how many times that theme (the
first four notes) comes back throughout the movement, as compared to the
clarinet's first notes. So, if that is true, find that theme and see how
much use
you can get out of bringing it out throughout the piece. Notice here that
I am speaking of the work as a musical entity, not as a set of technical
spots to be dealt with. I believe this is the key to working on this piece,
not just learning the notes or dynamics. They are just prerequisites.
Oh, one other thing; if possible, get an
URTEXT (unedited) edition if possible. This will have less idorializing
such as different dynamics, articluations, (even) tempo markings, etc.
which might be perfect for the editor but counterproductive for you. The
one I believe is best is the Henle edition. More expensive but worth it.
Hope you have a great time with it. It is truly a masterpiece in every
sense of the word.

Fred Jacobowitz

On Thu, 29 Jun 1995, John Henninger wrote:

> After a lapse of a thousand years, give or take a few eons, I'm
> starting work on the first major, extended piece since my undergrad
> days; Brahms's Sonata in F minor (op. 120, no. 1). It sure isn't like
> the one page pieces that I normally play in church. Anybody have any
> hints on how one goes about "mastering" such a piece? Where and how
> should I start? Find the seemingly easy parts and work from there?
> Start at the beginning and muscle my way through it come hell or high
> water? For backround on me, I normally play sax at the advanced
> intermediate level and clarinet has been sort of a secondary
> instrument. This Brahms is the largest piece, by far, that I've tackled
> in 45 years of playing woodwinds. HELP. John
>