 The Clarinet BBoard
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Author: asb
Date: 2013-03-11 15:30
I've noticed several differences between the score and the clarinet part in the Peters edition of the Schubert octet.
In the first movement bar 33 (5 before A) and the equivalent passage in the recapitulation is
e"-a" -g"# -a" -c'''-a" in the clarinet part and
e"-e'''-d'''#-e'''-c'''-a" in the score.
Is this just a transcription error?
In the last movement bar 122 (10th bar of D) and a similar passage in the recapitulation there are duplets in the clarinet part and triplets in the score. This is clearly a simplification, as the passage in triplets is much harder to play.
I'd like to play the versions in the score. In the first case, this is not a problem, but I have trouble playing the rapid triplet passage; I can play each beat (set of six notes) in tempo, but I have trouble putting it together.
The other passage I have trouble with is the 16th notes in bar 129-130 (7-8th bar of E, just before the end of the exposition section). I have trouble playing the rapid register shifts (g'-b-a-c'#) cleanly. ( I also have trouble in a similar passage in the first movement of the Mozart Concerto).
Any suggestions on practise techniques that might help with these passages?
Post Edited (2013-03-11 18:31)
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Author: elmo lewis
Date: 2013-03-11 18:05
The Eulenburg score has e-e-d-c-b-a in bar 33. The recap (bar 217) has e-e-d sharp-e-c-a.
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Author: Caroline Smale
Date: 2013-03-11 19:36
The Eulenburg score I have (edited by Max Hochkofler) is based on the original autograph and shows the original parts intended.
Many other scores/parts do publish the simplified version.
A recording I have by the Melos ensemble many years back with dePeyer also follows the simplified parts but more recent versions I have usually play the intended original parts.
For what it's worth there are much bigger simplifications in the violin part of many published versions and the clarinet part was simplified to keep in line with the violin.
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Author: Ed Palanker
Date: 2013-03-11 19:46
There is a difference in the Peters edition and the Barenreiter-Verlag, Kassel edition. I believe the last is the original it is closer to the score. I've played it from both editions and the last time I did it I played the first and last mov't from the Barenteiter edition and the inner mov't from the Peters edition. I dodn't think it makes a difference which part you play in the over all perfromance, it's just a personnal preference. It works both ways ensemble wise.
As far as how to practice it, that would be the usual. Good breath suppost, open throat in the big skips, close fingers and practice, practice practice. I don't think there's a short cut. Do it the way you can play it the most musicially.
ESP eddiesclarinet.com
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Author: Liquorice
Date: 2013-03-11 21:18
I have a facsimile copy of the autograph score from the Wiener-Stadtbibliothek. Schubert wrote what elmo lewis says is in his Eulenberg score in the 1st movement. In the last movement the triplets in your score are correct.
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Author: ruben
Date: 2013-03-11 22:15
A question for Ed: Do you think the movement for the C clarinet was really intended for the sound of a C clarinet or did Schubert just omit to transpose it? Does anybody actually play this movement on the C clarinet?
rubengreenbergparisfrance@gmail.com
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Author: Buster
Date: 2013-03-11 23:52
ruben wrote:
> A question for Ed: Do you think the movement for the C clarinet
> was really intended for the sound of a C clarinet or did
> Schubert just omit to transpose it? Does anybody actually play
> this movement on the C clarinet?
>
Yes.
Not Ed to be "truthful".
-Jason
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Author: Ed Palanker
Date: 2013-03-12 13:29
Ruben, I'm not really sure myself. I would asume he wrote it for the C clarinet to get a change of tone quality since the key signatures are not to involved. I assume there are some purests today that use a C clarinet but I can't say for sure. Like most players, I've always done it on the Bb since I don't own a C clarinet.
ESP eddiesclarinet.com
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Author: Ken Shaw ★2017
Date: 2013-03-12 16:39
I have a good C clarinet and always use it in the Octet. For me, the lighter, brighter sound works and balances better.
The sextuplet passages in the finale are always a problem. I heard Harold Wright in a live performance, and even he had to strain. Relaxation and "light fingers" get you as close as possible.
Ken Shaw
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Author: DougR
Date: 2013-03-14 02:51
There's a much older thread on this same topic somewhere in the archives, in which I mention I'd seen/heard Eric Hoeprich do the Octet live with a bunch of Aston Magna period-instrumentistas. He was using some sort of boxwood or maple-looking clarinet, and DID play the sextuple version of the last movement, while an older recording I have by the Berlin Phil chamber players is done using eighths. I prefer the sextuple version too, and find that it's made much easier playing the high D as an overblown open G. (It's still no walk in the park, and yeah, the alternate version of the D is a little flat, but it's all over so fast....who'd notice, other than most of the people reading this!!)
(when they got to the theme & variations movement, Hoeprich pulled a C clarinet center section out of his inside coat pocket and swapped the Bb section for it.)
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