Klarinet Archive - Posting 000492.txt from 1995/03
From: Laura R Bornhoeft <lbornhoe@-----.EDU>
Subj: Configurations: Schubert
Date: Fri, 17 Mar 1995 20:05:41 -0500
This might be a novel topic of discussion: Think about the performances
of Schubert's Shepherd on the Rock that you have witnessed or
participated in. How was the group set up; specifically, where was the
I played this piece for two graduate recitals last fall. The first was a
recital given by the soprano. Her teacher had us set up so that the
soprano was, as usual, standing in the curve of the piano. I was
standing at the far end of the piano, on her left.
The second recital, two weeks later, in the same hall, was an
accompanying recital for the pianist (i.e., her major was in
accompanying). Her teacher set us up very differently, and was very
insistent that he was right; "everyone" does it like that. (He is a
professional pianist in this city, and has played with [accompanied, but
that might be too humble a term for him] some very well-known artists.)
The soprano was in the usual location, but he had me standing on the
right-hand side - behind the pianist! How was the pianist to know what
the clarinetist was about to do? The pianist should be able to sense it
- maybe with a little glance out of the corner of the eye. This setup
visually puts the pianist at the center of the ensemble.
Would anyone like to comment on their experiences? If so, include a
mention of who was the "host(ess)" [star] of the recital, and whether the
clarinetist was standing or seated.
I also have sensed that sometimes this piece is thought of as a solo with
two accompanists and sometimes as a duet with one accompanist.
And they wonder why so many of us are insecure...