 The Clarinet BBoard
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Author: Morrigan
Date: 2007-08-07 22:33
I've been playing and studying Stravinsky's Three Pieces for over a year now and I love to work, there's always something more to be discovered! I've played it lots of different ways as per different teacher's & musician's requests and suggestions. I recently played the Three Pieces in a workshop class and was basically torn to shreds about it. This is what I did (THIS time around, at least):
In the first movement, the breath marks were used in varying lengths, depending on what was on either side. For example, I would slow down a little and let the phrase sort of get 'lost', take a break a little longer than 'normal' before starting the next phrase. I wouldn't do this as some points because musically it just isn't called for.
In the final movement, I chose not to correct the 'wrong' note because the 'correct' B natural sounds so wrong to me. That's really the only reason. And I often like to take this movement a fair bit faster than what's recommended (usually to try and impress an audition panel), and I am nearly always criticized for it. But I know that this movement is also quite effective when taken at Stravinsky's tempo and effectively articulated.
That said, I have also played this work quite conservatively and 'strictly adhered to' Stravinsky's markings, as is requested. However, what does 'strictly adhered to' mean to us to, as opposed to what it meant to musicians around the time this piece was composed?
I'd love to get some insight into how you all play this work, what works, what doesn't, and what people have said to you about your/their interpretations. I ultimately want to present the most coherent and enjoyable performance of Stravinsky's awesome music.
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Author: Tobin
Date: 2007-08-07 23:59
I have a third-hand story about this piece from Chuck West.
One of his teachers, Himie Voxman, had a student who had several questions about the piece and the direction to "strictly adhere" to all details as they are presented.
Voxman suggested to the student that they write a letter to Stravinsky, still alive, and ask his questions.
So the student sent the letter, typed in form with spaces for Stravinsky to reply.
To every question there was but one simple reply: "No."
Does anyone else have knowledge of this anecdote?
I will add one thing about my performance in response to your statements: I would not take breaths of varying lengths in first movement of the work. There is an atmosphere of sadness/loss created by delivering the notes in steady time (in character with the horrible plodding of the Volga Boatmen)... and it is a somber movement. The only lengthening in time I would take would be the four notes before the recapitulation.
My two cents,
James
Gnothi Seauton
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Author: William
Date: 2007-08-08 22:22
I remember reading on this BB that Stravinsky was asked about the "wrong" note(s) and what one should do to correct them. To which he replied [somewhat] "I don't remember. It's not important--play them the way you like them".
Personally, I always liked the recording I heard first (Kells's) and try to play it like he did--sans the extreme vibrato. At the Mid-West a few years ago, John Bruce-Yeh gave a musically superb performance similar to Kell's, but with quite a few added sqweeks here & there. It was 8 AM and he played to a packed room of music educators with no warmup. His reeds--Rico Grandes.
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Author: 2E
Date: 2007-08-09 12:45
Heyyy Tim :p
I was at your workshop on tuesday lol, I mentioned watching the triplet and duplet semiquavers in the second movement (remember me now ha.)
There was something else I was going to mention but didnt get time. Brian keeps telling me to remember the two different voices of the first and second movement. You've got the lower, softer voice quickly followed by the higher, louder voice (in both first and second mvts) which acts as a bit of a contrast. It sounded a bit too monotone at times, like each phrase was comming from the same voice. The third movement sounded very impressive and I didnt know about the misprint in the Chester version before Guy mentioned it ...
Keep it up mate,
2E
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Author: David Niethamer
Date: 2007-08-10 03:10
Check the KLARINET archive. This subject has been discussed many times. If you search the archive for "stravinsky niethamer" (without the quotes, of course) you will find two posts from 1996 where Mazzeo's article about the Stravinsky three Pieces from "The Clarinet" is posted. Lots of interesting info about Mazzeo playing the pieces for Stravinsky.
David
niethamer@aol.com
http://members.aol.com/dbnclar1/index.html
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