Klarinet Archive - Posting 000205.txt from 2009/03

From: Michael Nichols <mrn.clarinet@-----.com>
Subj: Re: [kl] Glissando vs. portamento (was: Rhapsody in Blue)
Date: Mon, 30 Mar 2009 16:38:41 -0400

I think what it comes down to is that Gershwin originally wrote it at
the piano for himself to play. (You can buy a recording of the piano
roll version with Gershwin playing and listen yourself.) So it's a
glissando. But the practice is to play it at least partly as a
continuous glissando (a.k.a portamento) on the clarinet.

Personally, I think the terms "rip" and "smear" are a lot clearer. :-)

The joke (I think) was to play the opening solo klezmer style (which
is why it sounds more like klezmer in the 1924 recording, with the
laughing effect in the clarinet). Of course, Gershwin himself makes
reference to klezmer in the piece itself by introducing a 3+3+2
(bulgar) rhythm, which might have been the clarinetist's inspiration
for the joke, for all I know.

I think the end of the Copland Concerto is also a reference to klezmer
(music both Benny Goodman and Aaron Copland probably grew up listening
to), albeit in reverse. A lot of klezmer tunes end with an upward
smear and two quick notes making an octave skip. Copland seems to end
prematurely with an octave skip and then throws in the smear, which
seems like another little musical in-joke to me. At least, I'd like
to think it is.

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