Klarinet Archive - Posting 000495.txt from 1997/11

From: "L. BORCHERT" <lborcher@-----.Edu>
Subj: Re: St. Saens "Sonata" was Morales Recital
Date: Thu, 13 Nov 1997 01:19:25 -0500

Regarding the last two movements of the _Sonata_:
I used to feel similarly about the third movement, that is, until
just recently. I had one of those musical revelatory experiences. In
attempting to explain this movement to a student (sometimes teaching
something is the best way to learn), I explained that the contrast was
similar to contrasting characters in an opera . . . the opening (f) in the
low register could be a villain who was very ANGRY and the second half the
wistful, soprano. The student caught right on to this concept and was
able to make musical sense of the movement and so was I.
The made-up, programmatic content has no relation to what
Saint-Saens could have been thinking, but if it helps to use your
imagination to better understand or communicate a piece of music, then why
not do it.
Regarding the last movement, part of the success of understanding
the musical content is to *not* do big, romantic up and down crescendi
with the direction of the line. Rather, it is more like a restrained type
of energy that is trying to get out, but can't. It has to be held back
until the appassionato before 2 and then immediately following the (ff) at
2.
Please don't regard these comments as some kind of knowledgeable
information gleaned from study of Saint -Saen's and his life. They are,
rather, my attempt at gaining a musical understanding of the piece. If
you don't like my story, make up your own. It is kind of fun!!

Laroy

Dr. Laroy H. Borchert
Professor of Clarinet
New Mexico State University
Las Cruces, NM 88003

On Tue, 4 Nov 1997 HatNYC62@-----.com wrote:
> Now for the personal part, please ignore rather than flame please! I have
> never cared much for this piece. The first movement has a loveley tune and
> the 2nd is charming, but I find it very weak after that. Remember, this is
> only my opinion! For me the 3rd movement has always been simply boring and
> lifeless. I found Ricardo's tempo to help keep it moving. Same with his
> lightning tempo in the 4th (similar to Paul Meyer's excellent recording). The
> 4th movement is a virtuoso piece, just scales and arpeggios mostly, barely
> any development or original melodic material before the recap of the 1st
> movement. We all know that Ricardo has technique to burn, and therefore he
> can play this movement very fast without it sounding the least bit rushed or
> frantic. It almost sounded too easy! That's was artistry is, making those
> tempos you have chosen convincing, not just impressive.
>
> The preceeding has been only an opinion. I wouldn't have written it if not
> asked. Thanks for your patience.
>
>