Klarinet Archive - Posting 000153.txt from 2002/10

From: CBA <clarinet10001@-----.com>
Subj: Re: [kl] Brahms Clarinet Sonata No. 2
Date: Fri, 4 Oct 2002 04:51:39 -0400

I believe someone else mentioned the Wright/Serkin recording of
the Brahms, which are outstanding. I am a HUGE fan of Wright's
sound. Maybe when I grow up I'll sound more like him...LOL!

Unfortunately, unless things have changed since I checked a year
ago, this Harold Wright/Peter Serkin recording of the Brahms is
OUT OF PRINT in the US. :-(

I thought the David Shiffrin Brahms recording was dry. Made me
want a large glass of water <grin>. Brahms to me is all about
rubato, and when you play too much within the lines, it becomes
rather hypnotizing to me...and puts me to sleep. The movement
outside of the lines is why I like Brahms.

Another recording I have NOT seen mentioned here is the
wonderful recording of the Brahms Sonatas with Richard Stoltzman
and Richard Goode on Piano. Regardless of whether you like
vibrato or not, the stylings on this recording are QUITE good,
and it actually was awarded a Grammy that year.

I have always liked Stoltzman's stylings, although his vibrato
is a bit abrasive for me (I do like vibrato in moderation, but
there is a certain corseness in his vibrato I don't like, i.e.
his vibrato is more like lip vibrato from certain styles of
saxophone playing, instead of diaphragm vibrato, like oboists
use.) If you can listen past the vibrato, I think you would get
a lot from the stylings to help with the performance. You might
even think of including vibrato, although there is nothing that
insists you do so. The music period is closer to the present,
and vibrato was more likely to have been accepted AS AN OPTION
during that period. There is also nothing that says you CAN'T
use vibrato either. This recording is still available, and is on
RCA Victor from BMG.

Harold Wright used kind of a *shimmer* technique with a very
subtle vibrato that never seemed to overpower the listener. You
really have to listen closely to the recordings, and it is more
evident on the CD recordings than the tape ones. I suppose it
would be more evident on LPs, but I have no LPs of Wright's
recordings.

This is usually my choice of vibrato...VERY subtle to where you
have to ask whether it is there or not. It adds color and
interest without slapping you in the face with a warble like an
"old blue" in a church choir.

I am performing the first movement of the Second Sonata on
Sunday for a prelude for Mass at a church gig in Boston,
ironically enough. I had just gotten the Stoltzman recording
back out to analyze in preparation for the gig. I wish I had a
copy of the Wright. If you find it, PLEASE tell me where to get
it!

Kelly Abraham
Woodwinds - New York City
--- Tom.Henson@-----.com wrote:
> 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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