 The Clarinet BBoard
|
Author: clarinet713
Date: 2005-02-19 16:47
Hi,
I am working on the Copland Sonata and am wondering what you think about this...
This piece was transcribed by Copland for the clarinet from the original which was for violin. Should I approach this by trying to make the clarinet sound like a string instrument? Does that make sense? Like is it best to think of it and interpret as a violinist would or would it be best to throw any thought of the violin out the window and interpret as a clarinetist? I hope this makes sense, I'm a little tired today...
Specifically I'm thinking about the last movement and articulations.
Any thoughts on your interpretations would be appreciated.
Thanks!
|
|
Reply To Message
|
|
Author: William
Date: 2005-02-19 20:50
Find a copy of Larry Comb's CD, "The American Clarinetist" and listen to how he plays it.
|
|
Reply To Message
|
|
Author: theclarinetist
Date: 2005-02-20 22:24
I've listened to Paul Meyer's version on "Clarinet Concordia". I've never looked at the music, although I've heard it many times. In general, I would say that you should interpret the piece as a clarinetist, because that's what you are (sounds obvious enough). Usually a piece is transcribed because of what the new instrument (in this case, clarinet) can offer. If you attempt to play the piece like a violin would, you will end up with a performance that is not as good as a violinist would play it and not as good as a clarinet would play it (if playing like a clarinetist). I would look at the piece and ask "what can the clarinet bring to this piece that is unique?" and not worry about trying to sound like a violin. After all, if Copland wanted it to be played like a violin, he probably wouldn't have ever transcribed it in the first place.
I'm working on the Prokofiev Sonata right now (originally for flute, transcribed for violin by the composer, and transcribed for clarinet by another composer). I have recordings for all three instruments, and I think the best thing about the different versions is that each instrument has capabilities that are unique and bring something new to the piece. I'm sure this will be the same with the Copland Sonata.
DH
|
|
Reply To Message
|
|
Author: DavidBlumberg
Date: 2005-02-21 19:22
Think of the music and play it like a great musician would play it. Remember this though (directly from Copland) - "his music is written to be played as written".
The complexity is based on the simplicity.
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2005-02-22 21:21
Clarinet and violin have different ways of speaking. In particular, the violin can play softly on high notes more easily than the clarinet. Also, of course, it can produce sounds that are not natural to the clarinet, such as pizzicato. Thus, I think it will be helpful to listen to at least one version on violin.
It's important to hear what Copland originally had in mind, if only to expand your ideas of what's possible on clarinet. Of course you will play the sonata as a clarinetist, but listening to the violin version will give you lots of ideas that you might not otherwise think of.
Ken Shaw
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
