Klarinet Archive - Posting 000327.txt from 1998/02

From: "Mr. Sheim" <fsheim@-----.com>
Subj: Re: Cadenza books....
Date: Fri, 6 Feb 1998 21:39:49 -0500

I have a book entitled "60 Cadenzas and Studies for the Clarinet" by
Ferling-Collis, published by Bourne. It is dated 1967. The foreword is as
follows:

"The music of Ferling is well-known to clarinetists, although few of them
are aware of the fact, for it is little-known that the much-used 32 Studies
by Rose were not composed by Rose for the clarinet but by Ferling for the
oboe. Rose arranged them for the clarinet, and most clarinet teachers
consider them requisite to the development of good articulation and phrasing.
The 60 Cadenzas and Studies concentrate on the same problems but at a more
advanced level. Expression and dynamic marks have been omitted from the
cadenzas so that the player can develop his own answers to the phrasing
problems. In both the cadenzas and the studies, difficult articulations
are mingled with large skips and rhythmical problems. Like the 32 Studies,
they take the player through all keys.
When one has mastered the 60 Cadenzas and Studies, one has taken a big
forward step toward a professional level of playing."

Fred (fsheim@-----.com)

At 07:19 PM 2/5/98 -0600, you wrote:
>Elizabeth wrote about "Cadenza books". After I had deleted her message,
>I remembered finding a book recently with clarinet cadenzas. (I only
>found it because I am cleaning out closets to I can sell my house &
>build another one). I doubt that she can find a copy. It it titled
>FAMOUS CLARINET CADENZAS, selected by Walter C. Schad, from the world's
>most famous MASTERPIECES. It was published by Belwin, Inc. in 1928.
>
>No, I didn't buy it in 1928. I'm in my 40's & probably ran across this
>book in the sixties or seventies when I was playing lots. It cost a
>whopping $1.25!
>
>The PREFACE page has some interesting tips:
>
>1) Don't be in a Hurry.
>
>2) Don't get the first and last Note only. There is something in
>between.
>
>3) Start all Trills slowly and increase the volume and speed gradually.
>
>4) Start a Cadenza with a good, solid and decisive attack. This is very
>essential. It will clearly indicate to the public and conductor that you
>have a great deal of confidence in your ability to perfectly perform as
>a Soloist.
>
>5) Don't look for the Notes in the same fashion as trying to find
>something in a dark room.
>
>There are several cadenzas included by composers I've never heard of.
>
>You might also check the "Cadenza Study" on page 44 of the Langenus book
>number three.
>
>
>