Klarinet Archive - Posting 000352.txt from 2006/02

From: "Lorraine" <redpepper@-----.uk>
Subj: RE: [kl] Re: Comparative performance styles of Schumann's Fantasiestucke
Date: Tue, 28 Feb 2006 14:21:54 -0500

Thank you Frank for your quick reply and help.

I am now listening to the recordings in a completely different way - to
check whether being played on A or Bb. This will be an interesting feature
to compare. I was originally thinking of using the recording taken from the
78's but actually think the Decca recording will make a more interesting
comparison with something more modern. I will try and see if I can get to
listen to any of the recordings you mention - will check out what is
available in the libraries around here.

Good luck with your recording and I hope it will be the former example ;-)

Lorraine

-----Original Message-----
From: fgarcia@-----.net]
Sent: 28 February 2006 15:16
To: klarinet@-----.org
Subject: Re: [kl] Re: Comparative performance styles of Schumann's
Fantasiestucke

Lorraine,
As far as other good and contrasting comparative recordings:
Guy Dangain and Jean Koener on Calliope Records (yes an LP) I just
happen to be listening to this recording as I type.
Antony Pay (Nash Ensemble) Mr. Pay... I forgot I owned this one because
my lps are buried in the basement. On CRD records.
Karl Leister has a recording on Camerata.

Being an American clarinetist firmly entrenched in the post-Bonade
school of playing, I find listening to these three clarinetists
particularly interesting in comparison as they all represent playing at
its finest, from different nationalistic influences. If, in my
formative years, I were from where they are from, I'd want to play like
each of them. To this day, I listen to each of them for inspiration.
Can I play as smoothly as Leister? Or, with the beauty of sound as
Dangain... or the musicianship as Pay. I am recording the Schumann
later this year. Perhaps mine will be a good example. Or.. it could be
a" don't let this happen to you" example too. We'll see...

As far as telling whether Kell is playing on an A or Bb... the answer
is fairly simple. Listen for timbre changes in specific notes that are
easy to distinguish from each other. For example, a B natural over the
break (on the A) sounds much different than a Bb (on the Bb) in the
throat of the clarinet. Also C# in the 3rd register compared to a C in
the 2nd. Listen for illogical technical difficulties on one instrument
compared to another. This becomes very easy with practice. Good luck.

Frank Garcia

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