Klarinet Archive - Posting 000154.txt from 2002/10

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: RE: [kl] Brahms Clarinet Sonata No. 2
Date: Fri, 4 Oct 2002 06:01:52 -0400

Re vibrato in Brahms -- there is an anecdote about Muehlfeld which claims
he used it, propagated by Jack Brymer. I don't know whether there is any other
"evidence" of this - this word has to be put in quotes, I think.
Roger S.

In message <NABBLLCDJPBAKFOIOHGDOEBIDJAA.gnibbelin@-----.org writes:
> Tom -
>
> I am not familiar with the recordings that you have, but I urge you to get
> the Harold Wright/Peter Serkin CD, Boston Records, BR1005CD. You also get
> Brahms' Sonata No. 1 and Schumann's Fantasiestucke. I studied both the
> Brahms' Sonata recordings in great detail, marking my score with every
> subtle nuance of Wright's interpretation.
>
> To me, these performances are awe inspiring. The style and musicianship
> that I learned from my study of these two Sonatas truly amazed me. The
> subtle rubato and crescendo/decrescendos that I studied repeatedly have
> given me a much greater understanding of these interpretive devices that I
> am now able to apply (appropriately, I hope) to all my playing. Of course,
> my teacher played a big part in my study of these Sonatas.
>
> And, my ears detected NO VIBRATO. To the musicologists on the List, is
> vibrato really appropriate for Brahms?
>
> Again, I urge you to purchase and closely study this recording. Doing so
> should practically guaranty you a very successful performance.
>
> Good Luck, Tom.
>
> Gene N.
>
>
> -----Original Message-----
> From: Tom.Henson@-----.com]
> Sent: Thursday, October 03, 2002 5:36 PM
> To: klarinet@-----.org
> Subject: [kl] Brahms Clarinet Sonata No. 2
>
> 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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--
...
When language came, it glittered like a river,
Silver, clever with fish...
--------- Carol Ann Duffy

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