Klarinet Archive - Posting 000801.txt from 1996/03

From: Josias Associates <josassoc@-----.COM>
Subj: Re: Top 10 clarinet parts (not too well known)
Date: Thu, 28 Mar 1996 18:08:26 -0500

On Fri, 22 Mar 1996, Donald Yungkurth wrote:

> Daniel A. Paprocki asks,
>
> >Let's have everyone's top 10 orchestra pieces that aren't >so well known
> with good clarinet solos in them. Don't list >the standards.

Dan,

I must have missed your original posting on this subject, but
since it's a topic of some interest to me, here's a partial listing
(together with some background information) of some of my non-standard
favorites, not necessarily ranked in the order presented:

1. "Suite Ancienne" by Johan Halvorsen - A marvelous
composition, which is rarely played nowadays, this suite contains, among
other things, a theme and variations, one of which is devoted to an early
classical style clarinet solo. I have a vinyl LP from ca. 1960 of the Suite
performed by the Oslo Philharmonic Orchestra under the direction of Oivin
Fjelstad. The very appealing tonal quality produced by the clarinet soloist
was on the 1950s-1960s French side, somewhat like the sound produced during
that period by the solo player from the Suisse Romande Orchestra.
(I had less problems characterizing sounds in those years, whereas many
of the former subtle national differences seem to me to have disappeared
today.) However, I'm certain that the clarinet passage will shine for
any competent player, regardless of playing or tonal style;

2. "Acadian Songs and Dances" by Virgil Thompson - This
composition was one of two concert suites derived by the composer from
his 1948 incidental music to Robert Flaherty's Pulitzer-Prize-winning
documentary movie, "The Louisiana Story" (1951). The music had its roots
in recorded "Cajun" tunes by Allan Lomax and in Irene Therese Whitfield's
book, "Louisiana French Songs." Of several exposed clarinet passages
-- all lovely in their own right -- one extended and dramatic solo passage
stands out as being like nothing in the classical repertoire. It features
the clarinet playing a very complicated and unpredictable melodic rhythm,
uniquely Cajun, backed up only by pizzicato strings. My recording of
the Suite (Ca. 1952) was by the New-York-based Little Orchestra Society
conducted by Thomas Scherman;

3. "Commedia for (almost) 18th-Century Orchestra" by
William Bolcom - Composed in 1971, this slightly tongue-in-cheek
composition (beginning with its title) shamelessly quotes from many famous
composers such as Beethoven. In my opinion, the centerpiece of this
entertaining composition, which has now been played in many concert halls
in the U.S. and Europe, is an extended solo -- possibly the ultimate
solo -- for Eb clarinet in the form of a tarantella. My recording of the
work is by the St. Paul Chamber Orchestra (1976) conducted by
Dennis Russell Davies.

In 1984 Bolcom wrote a piece for me for Eb clarinet and piano. It
was his idea to write for the little clarinet, which he uses a lot in his
orchestral music. He said he likes the Eb clarinet because of its
"raunchy" sound;

4. "Apple Waltzes" by Morton Gould - A long-time friend of Benny
Goodman's, Gould's concept of what the clarinet could do was undoubtedly
influenced by Goodman's performance virtuosity, and it shows in this 1984
ballet suite about the Johnny Appleseed legend, which was commissioned
by George Balanchine. The soprano clarinet has a number of lyrical,
balladlike solos, reminiscent of melodies by Irving Berlin and Leonard
Bernstein, plus some very athletic (David Niethamer's adjective)
passages of pure Gould. The bass clarinet underpinnings are also
noteworthy;

5. "Latin American Symphonette" by Morton Gould - Although I hear
this early Gould work often on the radio -- usually in the morning (maybe
it's a good wake-up piece) -- I can't remember seeing it ever listed on
local concert programs. My favorite movements are the "Tango" and
"Guaracha," and it is the Guaracha that is worthy of special mention
because of its contagiously rhythmic bass-clarinet obbligato;

6. "Village Dance" by Bela Bartok - One of a two-dance suite,
"Village Dance" is vintage Bartok, with several angular and
unpredictable exposed passages for the clarinet;

7. "The Flower Clock" by Jean Francaix - Actually an oboe
concerto, this composition has an extended solo for clarinet (Francaix
does such things) and that solo is what initially attracted me
to this gorgeous work for oboe. When I first heard a recording of the
piece, I had tuned in on the radio near the beginning of the most prominent
clarinet solo and had mistakenly assumed that I was listening to an unfamiliar
concerto for jazz clarinet. And what a beginning it was, with the opening
note on the clarinet a short (an eighth note at most) double A above the
treble staff.

The work was written by Francaix for John DeLancie, who can be
heard in a performance by the London Symphony under Andre Previn.
However, there was a little cheating on the "A" entrance by the
clarinetist, who played it an octave lower. For you purists, I would
recommend the performance by oboist Joseph Ortuzo and the
Tasmanian (!) Symphony Orchestra.

A few years ago, I introduced the concerto to the adventuresome
conductor of one of the orchestras I play with, and he subsequently
programmed it. At a minimum, the oboe soloist, the conductor, and
yours truly had a lot of fun playing the work;

8. "Rustic Wedding Symphony" by Karl Goldmark - Not exactly an
uncommon work, this Symphony was heard much more frequently 40 years ago
than it is today. The clarinet music in this composition is singular not
because of any virtuoso passages -- I don't think there are any in this
work, although there are some lovely exposed sections -- but because of the
color unique to the clarinet that is skillfully blended into the music
by the composer;

9. "Suite Pastorale" by Emanuel Chabrier -- This is another work
that is played often on the radio, but rarely, if ever, seems to get
programmed in U.S. concert halls. There are two rather famous clarinet solos,
the first in an inner movement, which is for two clarinets in unison,
and the second, in the last movement, which is for solo clarinet (later
repeated by the flute).

Well, Dan, that's nine of the ten you asked for. While I haven't
yet decided on the tenth, it might be something like Dohnanyi's "Suite
in F Sharp Minor," the Barber "Souvenir" ballet suite, or maybe the
Berio/Brahms Sonata transcription for orchestra. I'm thinking about it,
and if I ever make up my mind, I'll let you know. On the other hand, if
you were to revise the inquiry to naming the top 12 tunes, you would
already have my input.

Connie

Conrad Josias
La Canada, California

   
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