Klarinet Archive - Posting 000698.txt from 1998/02

From: Mark Hollingsworth <mholling@-----.edu>
Subj: Working with singers -Reply
Date: Thu, 19 Feb 1998 03:42:21 -0500

I have performed a lot of literature with singers over the years and the end
result is usually satisfying. However, their approach to music is different
from ours. Keep in mind that most vocalists are trained in an entirely different
manner than instrumentalists.

Clarinetists, for the most part, are trained to be orchestral players (whether
or not this becomes a players main gig); my clarinet lessons from BM to DMA
included the typical routine of scale/technical exercises, etudes, solo Lit. and
orchestral excerpts. End result of clarinet study is that we hone our technique
and sight reading skills to the point that hopefully we can read anything within
the boundaries of individual technique and perform it in a musical manner.

Vocalists, however, are trained to be opera singers and learn a lot by rote.
Anyone who has sung in a choir knows this (director often asks accompanist to
play the vocal parts, singers then imitate). I do not think this is wrong, I
wish that my teachers had encouraged more "playing by ear" and several vocalists
that I have worked with have mentioned that they wished their teachers had
encouraged more "reading." Logically, a happy medium could exist between the
vocal and instrumental world, but does not.

Clarinetists, therefore, tend to regard music notation as an "exact science";
also, we tend to perform pieces of music in a traditional manner. Example: I
have probably performed the Shepard on the Rock a dozen times in the last 25
years. I feel that I have performed the opening and ending pretty much the
same in a manner that most clarinetists would deem traditional. But, each new
vocalist I work with performs this piece differently with their own
characteristic "signature". This used to aggravate me, but does not anymore.
In fact, the extensive use of rubato by some vocalists in some pieces can
sometimes be refreshing. I have performed movements of Argento's "To Be Sung
Upon the Water" twice - same vocalist, but performances one year apart - you
probably guessed it, very different interpretation the second time around with
the same singer!

I have found that vocalists tend to phrase according to the text, something we
never worry about unless we play operas or musicals. I have found that
rehearsing from the full score of a vocal/clarinet chamber piece (at least once)
lends some helpful insight into a singers style of performance. Also, I have
never worked with a "good" vocalist who was not willing to discuss and make
compomises on interpretation and phrasing. Don't be afriad to extend your own
musical "signature" into a performance and try to be flexible toward the
vocalist interpretation.

Good luck! There is a wealth of wonderful music for clarinet and voice that all
clarinetists should experience.