 The Clarinet BBoard
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Author: ALOMARvelous12
Date: 2003-01-18 02:26
Well, a couple of weeks ago I told all of you my first Mozart Concerto story. The thread actually started a nice long discussion about the concerto. Well, here's an update on my progress.
I'm doing okay and getting all my notes. The second movement is now very smooth and polished. In the first movement, I have a simple question about those first triplets in the piece. Should that run be played slurred, tongued legato, or staccato? Also, I sometimes find myself short of breath in that section. Guess I'll have to find some oppurtunities to take a split second breath / rest. I kind of find the section starting with those runs with bottom-top-middle-top notes of chords. Mozart then uses several arpeggios and then scales, and more arpeggios. Finally, the killer. Before chromatic scale from clarion D to altissimo D and then the A thrill to end the section, there is sixteenth note thrill going from D (3 spaces above the staff) to the C# a half step lower. Need help right here.
The rest of the Allegro does not really have any problem areas, especially since all of the melodies and ideas have already been played at this point, so its really like repeated passages.
Now to the Adagio, are there any suggested cadenzas from anybody here, or is the traditional one the best to use? Or should I just play the fermata B-flat and leave out the cadenza all together? Not really any problem areas in the Adagio. Like I said, it's pretty polished.
So right along to the Rondo. This may be techinically the toughest one. I haven't taken long looks at it yet but have learned the opening sections. I have played it in front of people (including school orchestra director) and have gained some very nice remarks, reactions, and comments. Have a feeling this is gonna be big. It's a fun piece and I'm looking forward to studying it.
Near the end, there's the very well know run of A-C-G-C-F-C-E-C-C-C and then repeated twice. Of course, this is much easier played an octave lower using the basset clarinet, but since i only have a soprano, it must be played an octave higher, which makes it pretty much impossible at the right tempo because its going between registers back and forth. Right now, I'm just played the melody line and not playing the C's. (and I plan on playing it like that unless someone here has miraculous advice on playing it like written in my book)
Well, that's it for now. Thanks.
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Author: Jack Kissinger
Date: 2003-01-18 04:07
Here's my $.02 and the way I've learned it.
I think the triplets at measure 82 should be tongued normally. Give the notes their full value. Definitely not staccato or slurred, IMO. Work at being able to play from the pickups to 81 to the rest in 85 in one breath. I don't think there are any reasonable places to steal a breath without interrupting the line.
With regard to the D to C# sixteenths, your clarinet may help you. On (at least Buffet R13) Bb instruments, standard fingering is to play C# without the right-hand Eb key and to add the Eb key from D up. On an R13 A, however, the tuning is a little different and, often, the D is also better in tune without the Eb key. In any case try playing the passage both with and without the Eb key and use whichever option sounds better to you. (The D is the more important note.)
As has been noted before on this board many times now, the "cadenza" you refer to is actually an "eingang." This has been discussed often on this board so if you search on "eingang" without the quotes, you will find a great deal to read. IMHO, a better approach is to follow the link on the woodwind.org home page to the Klarinet Archives and search there for "leeson eingang" without the quotes. In an earlier thread, Mark Charette quoted a rather humerous section from one of Dan's posts. The link to that thread is:
http://www.woodwind.org/clarinet/BBoard/read.html?f=1&i=12640&t=12511
I don't know which edition you have so I don't know what your "traditional cadenza" is. There are quite a few different ones in the different publishers' editions. I think, in fact, that Southern Music includes several for the player to choose from. A very common approach is to use a two measure quote from the slow movement of the Clarinet Quintet (the two measures beginning 37 measures from the end (or, in the edition I'm looking at [Cundy-Bettoney], the two measures before rehearsal no. 12). Marcellus used this on his recording and I have heard it on others.
A couple of possible solutions with regard to the run at the end that allow you to play in its spirit better (and easier), IMO, than playing it up an octave are to substitute an F for the low C (the only note actually out of your range), which is what I do or to substitute a G for the C which is what the Trio di Clarone suggest in their edition for Breitkopf. Either of these substitutions allows you to play the entire run in the chalumeau range where it belongs. There are other solutions as well. See:
http://www.clarinet.org/Research/1998/Koons.htm
for some excellent comments about different versions and (written out at the bottom of his article) alternatives for this passage to be found in various editions.
Well, unless someone else has posted while I've been writing this. This should start things off. Now the folks who know more than I do can correct me and we'll both learn something.
Best regards,
j
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Author: ALOMARvelous12
Date: 2003-01-18 14:57
Thanks, Jack.
My edition is the G. Schirmer edition. The suggested cadenza written is the same one as the one found in the quintet.
I'm looking at the comparisions of the different editions and I see what you mean about the run in the Rondo with the BREITKOPF AND HARTEL edition. The J. B. CRAMER also has a very interesting solution. But to me, I think the CARL FISCHER makes the most sense.
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Author: GBK
Date: 2003-01-18 15:51
ALOMARvelous12...If you want a completely different approach, locate back issues Volume 8 Number 4, Volume 9 Number 1, and Volume 9 Number 2 of <i>The Clarinet</i> and look at the cadenzas which were written by Busoni, Ibert, and Kritcka.
All are very improvisatory in style and a glimpse of performance practice from another era...GBK
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Author: d dow
Date: 2003-01-18 20:15
Another one which I haVE used in performance is the Stockhausen candenzas which are really quite different from what one would expect to hear in the spots Mozart allocates...they are kind of wild! If this is a bit much try something more in traditional thinking!
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