Klarinet Archive - Posting 000137.txt from 2002/10

From: Tom.Henson@-----.com
Subj: [kl] Brahms Clarinet Sonata No. 2
Date: Thu, 3 Oct 2002 17:36:07 -0400

I am preparing the Brahms Sonata No. 2 in Eb for a recital in December.

In doing so, I have purchased several CD's with this work on it so that I
could get an idea of what they should sound like since I have never
performed this piece.

Second, I wanted to see if there were any distinct variations in style that
I would tend to prefer one over the other.

One is performed by Paul Meyer. Nicely done on a Buffet RC I believe. Slight
Vibrato in places. Uses some legato articulation on slurred passages.

Another by George Pierterson. Beautifully done. Sounds like a French
clarinet instead of German, not sure. Very prominent vibrato on almost all
long notes.

Finally, Karl Leister on German clarinet. No deliberate vibrato that I can
tell.

Surprisingly, there were only minor differences in the way the three
performances sounded. The use of vibrato or not was one of the main
differences. There were a few cases of legato articulation being used where
the passages were marked with slurs, and slight differences in tempo. The
biggest differences I could see were not in the clarinet part, but the
piano. Some tended to play with a choppier or heavier style, while others
played very smooth and light.

My question to the list is for those that have played this piece. Do they
prefer vibrato or not? Any suggestions or comments also would be
appreciated.

I also wanted to say that this piece does not seem to be performed as often
as other clarinet/piano duo pieces. I suspect because it may not be
considered a virtuosic piece. Maybe the piece is harder to understand than
others, I don't know.

On the surface, the clarinet part appears fairly straight forward and
simple, not having a lot of difficult runs and passages. I believe the range
is limited to three octaves (e to e) also. I would have to check, but this
again makes this piece appear fairly simple by modern standards.

However, I feel that both of the Brahms's sonatas are not about playing
notes, but of creating moods. I didn't want to play this piece at first,
wanting to play something with more "show." I've changed my mind though.
There is a delicacy in the way the melody and variations play out with the
piano. If played poorly, this subtlety will be lost. I also feel that this
piece in not about how fast you can play, or how loud, it goes to the very
heart of melody and variation with romantic and tender appeal.

The biggest challenge I have faced in my practice sessions are the large
interval jumps and making them smooth and part of a musical phrase. The fact
that so many are over the break from the chalumeau to the clarion only make
this more difficult. Especially in the throat tones.

I have also come to the conclusion that this is a "tone" piece. Meaning that
the tone (sound) you produce is as important as the notes themselves as a
good tone lends itself to the reflective mood of the piece. I know that you
should always play this way, but it is possible to get by with a less than
perfect tone if the piece is very technical and fast.

Tom Henson

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