 The Clarinet BBoard
|
Author: Clarinetero
Date: 2012-05-20 05:27
My friend is preparing to take some graduate auditions. She is preparing Mozart Concerto and Copland Concerto. We recorded this video of the first movement of the Mozart Concerto.
Any comments on her playing, related to the concerto, or anything she could do to improve is welcome . Please be nice and honest!!!!!
Thanks for listening!!!!!
http://www.youtube.com/watch?v=MOJlvQlgiIU&feature=youtu.be
|
|
Reply To Message
|
|
Author: Clarimeister
Date: 2012-05-20 08:51
I think the musicality is fine, but the one thing that can make it more musical is that the tempo is, in my opinion, a tad too slow. Make another metronome mark higher would help the flow better. Also I think the tempo is to linear. It's too metric. There should, again in my opinion, be some fluctuation with the phrasing in regards to tempo. I think her dynamic range is good, except that her softs tend to be too soft, at least for the recording. Her tone is not bad, but as my teacher highly emphasizes - MORE AIR!!! Hope this helps some. Others will also be of help too, I'm sure.
|
|
Reply To Message
|
|
Author: Paul Aviles
Date: 2012-05-20 09:15
A good performance: good pace; nice sound.
The only things that jump out for improvement would be the ends of phrases (particularly where a breath is needed) and the highest notes. The notes at the end of phrases are too chopped off. Hold those notes full value (it is the LENGTH of the space in time that we occupy with sound that truly defines rhythm !!!). As for the high note groups, these sound a bit weak. This is where more air (more energy) will come in handy.
My recommendation (if these are the two pieces really being worked on) would be to avoid the Mozart unless this is a required piece. Everyone has heard it to death and it lays your musicianship bare as bones. So, of the two, use the Copland.
Overall though.......good work!
...............Paul Aviles
|
|
Reply To Message
|
|
Author: Bob Bernardo
Date: 2012-05-20 10:06
Whats her major going to be? What was her BA or BS in?
What part of Copland is she playing. Based on the high notes of the Mozart she needs to spend more time with the high notes of the Copland and work on pitch. She was a tad flat. The last pageof the Copland probably has most of the high notes for her to tackle but the slow movement can actually be harder trying to hit the notes and trying to play them in tune.
For Master auditions try to make sure the Mozart is performed on an A clarinet. Rent borrow, steal, just get one!
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
Post Edited (2012-05-20 10:10)
|
|
Reply To Message
|
|
Author: Clarinetero
Date: 2012-05-20 15:21
Hi Bob,
She is playing the Mozart Concerto on A clarinet. Speaking a little about the high notes, her A clarinet tends to play those notes a little flat. On the Bb clarinet is different, but you're right the slow movement of the Copland is a place where those notes needs to be in tune. I will tell her as soon as a I see her.
Actually she is graduating from a BM in Music Education. She will be applying for Master in Clarinet Performance.
Thanks for listening and anything else you want to comment is welcome.
Thanks to everybody else as well!!!!
Post Edited (2012-05-20 22:36)
|
|
Reply To Message
|
|
Author: Katrina
Date: 2012-05-20 23:28
Even if her A clarinet "tends" to play those notes flat, that doesn't excuse them being flat. She'll have to work on the pitch up there, possibly trying to find better fingerings for those notes.
In general, it's a fine performance, but the tempo is a bit lacking in energy and the flat altissimo will need to be fixed.
|
|
Reply To Message
|
|
Author: bethmhil
Date: 2012-05-21 05:58
BMH
Illinois State University, BME and BM Performance
Post Edited (2012-05-21 16:20)
|
|
Reply To Message
|
|
Author: Buster
Date: 2012-05-21 15:10
clarinetero,
There would be those who suggest that more tempo fluctuations be haphazardly inserted, in part destroying the metric, hierarchical divisions of the bar. Also, some would suggest that purposely done 'over-phrasing' be applied as an emotive device simply because it "feels good."
I would strongly caution against such practices.
This opposes what could be considered "The Classic Style" and ultimately destroys the interplay between the clarinet and orchestra. (or piano in this case.)
....a bit of an egotistical manner of approaching the work.
Some background reading may be illuminating...
http://dl.dropbox.com/u/17101571/Phrasing.pdf
the "Winterthur Fragment"
http://dme.mozarteum.at/DME/nma/nmapub_srch.php?l=2 -Search Kv. 621b
Of course, it bears mentioning that your friend's success depends, in part, on what the audition committee is expecting to hear. Perhaps they MAY wish to hear a more "romantically emotive" version of the work (whatever that means.) In that case, I am not sure what advice I could give.
At any rate, it all depends on the skill of your friend to demonstrate whatever interpretation she chooses.
I would be curious to read what she thinks of her posted video.
-Jason
Post Edited (2012-05-21 21:44)
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
