Klarinet Archive - Posting 000797.txt from 1998/01

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: Till on bass cl.
Date: Mon, 19 Jan 1998 10:25:06 -0500

On Mon, 19 Jan 1998, Neil Leupold wrote:

> I have a Kalmus edition of Till for bass clarinet, which makes
> me question some of the notation. Maybe this is a case where
> I'm simply unaware of the common performance practice in a par-
> ticular situation. Here's what I see: 7 bars after rehearsal
> 16, there begins a series of grace note figures. The first grace
> note, a G#, precedes what looks like a G, but the "goal" G has no
> accidental. Does this imply that the player is to drop down a
> half step for the resolution as if the goal tone were a G-natural?
> The next three grace notes occur on notes G, A, and B -- all of them
> natural. The odd part: The grace notes and their resolution notes
> are identical. There are no accidentals to indicate that the grace
> note is a different note from the one which follows it.

I have always played it as written...that is, you repeat the G#, A, and
B.....just rearticulate them.....treat the grace note as a 32nd note
pickup with an accent. You are correct in assuming that a recording would
help solve this question.....it is a unison passage played several times
throughout the work.

> Unbelievably, I don't have a recording of Till in my 300+ classical
> CD collection, so I can't listen for the passage to see how it is
> played. I'll buy one this week, which brings up another question:
> what are your favorite recordings of Till?

Now THAT is unbelievable!! ;)

The Reiner recordings with Chicago are absolutely ledgendary........in
fact, the CSO is considered the Strauss Tone Poem orchestra. However, I
have heard a good recording with Szell and Cleveland.

Roger Garrett
IWU