Klarinet Archive - Posting 000143.txt from 2000/10

From: "Patricia Smith" <pattiesmith@-----.net>
Subj: Re: [kl] Molto Difficile
Date: Tue, 3 Oct 2000 14:01:48 -0400

Somehow, I tend to think the most difficult piece I have ever heard played
that was written OR transcribed for clarinet was the Sonata by Aaron
Copland, originally for violin, transcribed for clarinet....of course, it is
fresh in my mind due to my attendance at David Niethamer's recent recital.
Let's put it this way:
That piece would put most of us in the hospital. David was up and walkin'
and talkin' after it was all said and done. Seriously - the clarinetist
has to truly consider where s/he will breathe in the fast sections (actually
in all sections)- this cannot be taken for granted. Secondly, the
intonation in the third octave (needless to say everywhere, but, in this
piece there is never anywhere to hide, folks) has to be absolutely flawless
at all dynamic levels at all times, because the harmonic combinations with
the piano are so transparent, or the piece will simply not work. Another
feature of this piece are the huge chromatic leaps that are simply
incredible (David made them appear plausible in this universe) - we are
talking about leaps from the chalumeau to the third octave in sixteenths
that went on for several measures.
I think that all too often we think in terms of how many notes we can fit
into a particular metronome marking and how many sixteenth notes we can
tongue before we turn blue. But there is quite a bit more to flawless
playing than that.
A piece is difficult for me when it challenges me on several different
levels all at the same time: technique, articulation, dynamics, tone
coloring. This last item is something else which is very important in the
Copland Sonata, and something that, when we do touch upon it on this list,
always degenerates into a silly argument over bright and dark, words I don't
really care to use. I have been lurking quite a bit on a couple of flute
lists, and flutists talk a great deal about the different colorings and
shadings they can give their sounds. I think that they have something there
in that they are creating many different sounds and effects, learning how to
control them and using them to bring out what was intended by the composer
from the start.

Patty Smith

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