Klarinet Archive - Posting 000923.txt from 2000/01
From: Neil Leupold <leupold_1@-----.com>
Subj: Re: [kl] bass clar. Sym.Met..
Date: Fri, 28 Jan 2000 00:31:27 -0500
--- klar-ANN-ette H Satterfield <klarann@-----.com> wrote:
> The person who was to play bass clarinet on Hindemith SYMPHONIC
> METAMORPHASIS on next Tuesday concert has not been present at rehearsal.
> The question is; how does that part compare to Nutcracker in difficulty?
> I see that it is a *clarinet* part and has many unison and 8va lines.
> i am asking this *just in case* the personnel manager asks my opinion on
> who to get for the remaining 2 rehearsals.
What a fun question. I say this because both works are such mainstays of
the bass clarinet repertoire. In terms of thinking on your feet, Nutcracker
is a greater challenge, if only due to certain movements being in A, gener-
ating some unpleasant key signatures. Hindemith is a cakewalk in this re-
gard, the entire piece being in the key signature of concert Bb (or G minor).
Naturally, the Hindemith is a shorter piece, minimizing the fatigue factor
that can plague a bass player doing three Nutcracker runs over the course
of a single day. And since your question addresses a situation where the
player will likely need to be good on his feet, the Hindemith is a far
easier piece in this regard. Hindemith can still present some appreciable
challenges, depending on the tempi chosen by the conductor. There are cer-
tain staccato runs that might be difficult for somebody who isn't comfort-
able with rapid articulation on bass clarinet. The easy solution, of course,
is to play them tongue-two, slur-two, which is permissible on short notice
since those extended staccato passages occur in tutti sections of the movement.
This is not to say that such a shortcut is okay if adequate preparation is al-
lowed. Examples can be found at letters C in the first movement, and possibly
at letter E in the last. Unless your player is an accomplished sight-reader
(and, again depending on the chosen tempo), they might find themselves sitting
out a significant section of the first movement, from rehearsal J all the way
to rehearsal N, which would be a shame. The entire section is slurred, but the
rapid triplet movement of a highly chromatic pattern can be a challenge even for
somebody who is well-acquainted with the runs. It's a shame not to do them be-
cause the bass part makes a wonderful contribution to the sonority of this clar-
inet section soli. That's probably the most technically challenging part of
the piece. If you have somebody who can sight-read that section, it also helps
to have a good set of lungs.
The short answer to your question? Hindemith's fun/difficulty ratio is weighted
heavily on the numerator portion of the function (i.e.; it's more fun to play than
it is challenging). Nutcracker, on the other hand, more closely approaches a ratio
of 1-to-1. If you're like me, having grown up seeing Nutcraker every Christmas at
the San Francisco Ballet for ten years in a row, Nutcracker's fun factor can actually
rise above the difficulties inherent in the piece. And in the case of both pieces,
their enjoyability factor makes each of them more inspiring to practice and perform.
If I were strapped for time and forced to choose which piece to play based on the
likelihood of pulling off a good performance, I'd choose the Hindemith. Does that
help?
<The above views do not represent the opinions of this station, and the presenter
assumes all responsibility and liability for the content contained therein.>
-- Neil
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