Klarinet Archive - Posting 000379.txt from 1998/04

From: Shouryu Nohe <jnohe@-----.edu>
Subj: Re: Concertino
Date: Wed, 8 Apr 1998 13:52:47 -0400

On Wed, 8 Apr 1998, Craig E. Countryman wrote:
> Incidentally, the version we are using is arranged by Alfred Reed and edited
> by Don McCathren. Does anyone know of Mr. McCathren? He provides some real
> in-depth comments concerning the piece and also puts a little historical
> information in as well. While I disagree with some of his edits within the
> score, I think that all and all it has been very beneficial and given me some
> new thoughts on the piece. Just thought I'd put a little plug in for him
> because he has done some excellent work with this edition.

McCathren was editor of the bass clarinet arrangement that I have,
published by Kalmus. I'm pretty sure Kalmus did the the McCathren/Reed
band arrangement as well.

>From what I can tell, McCathren, in both is clarinet and bass clarinet
editions, has provided the most accurate transcription of the Concertino
available today. I have seen either two or three other transcriptions
which seem watered down (the Pamela Weston comes to mind immediately) far
more commonly. I see them at Solo/Ens. competitions, and I've seen them
in clinics as well. Whenever I hear ANY of the clinicians/judges comments
on how to play/interpret the piece, it's always something not in those
editions, but in mine, whether it's already marked in the music or
in the included master lesson (Kalmus bass cl. had one, I'm pretty sure
the Bb editions has a master lesson as well).

So not only has he done some excellent work, from what I can tell (with my
rather limited exposure, that is), McCatheren has done the most accurate
work available with the Concertino.

Since you're looking to save time, I won't bother with the cadenzas added
by H. Baermann to the piece...while they ARE good cadenzas, after
analyzing where they are typically added (in the fermata rest dividing the
Lento/Con Moto and the Allegro sections, the cadenza doesn't really
belong.

And to correct my previous post, what I had originally labelled as the
Con Moto was not the Con Moto, but the _Con Passione_ (about the only
passage with very distinct grace notes, which I had hoped ensured that
everyone know what I was talking about), which preceeds the Con Fuoco, or
the articulated arpeggios.

Shouryu Nohe
Professor of SCSM102, New Mexico State Univ.
http://web.nmsu.edu/~jnohe; ICQ 6771552
Coffee Drinker, Musician, Otaku, Jesus Freak, Admirer of Women
(Not necessarily in that order)
--------------------------------------------------------------
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