 The Clarinet BBoard
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Author: Phurster
Date: 2009-08-28 07:02
Recently four of my students had a chance to play in a master class situation for International soloist Julian Bliss.
Here is an account I sent to the local Clarinet and Saxophone magazine:
Child prodigies are fairly common on violin or piano. With wind instruments this phenomenon is a little more unusual. Julian Bliss is an example of a particularly rare occurrence, a child prodigy on the clarinet. He has been playing clarinet since he was four years old. In 2002 he played at the “Prom at the Palace” celebration a week before his thirteenth birthday. He played Messenger’s Solo de Concours before a live audience of 56,000 and a TV audience of millions. I remember watching that performance. It was a stunning performance that left most professional musicians astonished.
Julian Bliss is now twenty years old. He has appeared as a soloist with a number of orchestras including the London Philharmonic, BBC Symphony, Royal Philharmonic our own Melbourne Symphony, as well as a host of others. He is recognised as one of the world’s finest clarinet players.
Julian is currently in the middle of a whirlwind international tour promoting his new range of clarinets. These instruments were designed in conjunction with Morrie Backun and Leblanc. Julian was at Blackburn High School to promote his instruments and to take a master class involving four of my students (three from BHS and one from The Mac.Robertsons’ Girls High School) as well as two students of prominent Clarinet teacher Ian Morgan.
Julian had chosen to give all his performances on his new “entry level” clarinet.
The evening began with a virtuosic performance of Messager’s Solo de Concours. Julian then moved on to a piece by Tiberiu Olah, a Romanian composer. This was the Sonate pour clarinette seule a very brief piece which Julian told us would show off the possibilities of the instrument. This piece involved short, aggressive motifs punctuated with rapid fire staccato sections. He finished his mini recital with the well known Czardas by Monti. Julian played all pieces with absolute command, confidence and authority. It was an absolute privilege to sit three feet away and hear some of the best playing I have heard.
Julian then discussed the “Bliss “clarinet and invited the audience to ask questions;
On how to play the difficult passages in the Messager he suggested slow practice with dotted rhythms (and reverse dotted) he suggested making sure you can play a passage perfectly four times in a row before moving on to a faster tempo. In his pieces Julian had demonstrated some of his rapid articulation skills. When asked about this he said he doesn’t double tongue; “Last time I tried that I nearly swallowed the mouthpiece”.
He felt that practicing scales in up to eight note sequences could give good results, as long as the player listen carefully for accuracy and clarity.
He was asked a number of questions about his new clarinet. At the end of the master class there were a number of his instruments for people to try. The instrument is in the same price range as a Buffet B12 or a Yamaha student clarinet. I have to say, in my opinion; it is a much superior instrument to both of these models. The body and keys are much stronger. The key work is extremely well adjusted. The instrument comes with a wooden barrel which improves the sound enormously. The intonation is not wildly different to a professional model instrument. With black pads and no rings the instrument has a high tech appearance.
Next the students performed. Here is a small sample of Julian’s many ideas;
Liam Murphy (Blackburn High School) gave a beautiful performance of the Poulenc sonata. Julian discussed how to bring out the varied moods in this piece. Liam had played the opening motifs quite strongly. Julian demonstrated playing even louder as well as slightly faster. Considering that Liam started at about quarter note at 138, this was indeed rapid playing. Julian suggested playing the staccato notes at the end of first subject a shade faster than the rest of the section to prevent the impression of slowing down. The second subject of the Sonata actually sounds like a subject. The first subject is a sequence of short motifs, five semiquavers, which are repeated. Julian’s advice was to build on the sequences of the second subject, playing each one slightly stronger than the previous one. Julian stressed the idea of having a “centred posture”. He talked about watching early videos of himself playing whilst he just about danced. After talking with James Galway he now works on having both feet anchored to the ground as he feels this gives a feeling of stability and Julian feels it may assist breathe support.
Marika Nutall,BHS, then gave a rapid, technically accomplished, performance of “It Ain’t Necessarily So” from Paul Harvey’s Three Etudes on Themes of Gershwin. Julian stressed the idea of playing confidently. In the difficult sequence, rising in semitones, at the start of this piece Julian felt it was important to aim for clarity rather than speed.
Danny Kim (BHS) was next up with a strong performance of the first movement of Weber’s Concerto no2. Julian described how he had spent an hour and a half, in a lesson with Sabine Meyer, on just the first phrase. Danny played the articulated passage at the start slowly then with rapid acceleration. Julian played the phrase just as quickly, and then he demonstrated playing the phrase with a steady sense of rhythm. Julian used strong air support, with a crescendo to the lower notes of the phrase. He then maintained the volume to the high “f” and this did seem to have more impact. Julian then talked about how it was important to have some direction with the articulated passages.
Sanja Domazet (MGHS) was the next performer. Sanja gave a solid performance of the Malcom Arnold Sonatina. Julian told how he had met Malcom Arnold. He described him affectionately as a “nutcase”. Julian had asked Malcom how to play one of the middle themes. Malcom said he “wanted it to not sound like Bartok”. “I’ve no idea what that means” Julian said. Julian’s general advice with this piece was; “Play forcefully”, “As you go high on the clarinet think low”. Julian also stressed the importance of practicing scales.
Two students of prominent teacher Ian Morgan were the next to perform.
Tim Yang (Trinity Grammar) gave a controlled performance of the Bax Sonata. Julian said this was a typical English piece “they go on and on....”. He (Julian) talked about how important it is to communicate with the last row of the audience. Julian suggested putting the stand down lower to prevent it acting as a barrier between the audience and the performer.
The final performance of the evening was given by a primary school student. Amy Luo (Mont Albert P.S) is a young star in the making. Amy gave a convincing performance of the Martinu Sonatina. She barely glanced at the music on stage. Julian commended her for playing from memory. He felt that playing from memory keeps the audience more engaged. When the same theme returns Julian suggested trying to play it slightly differently.
It had been a very special evening. The audience were impressed with the performances of the students and also by the playing and musical intellect of Julian Bliss. Not only is he a remarkable player he is also a great teacher. His delivery, when talking, is not like some oxford academic but instead like a friendly mate at a London East End pub. There was absolutely no sense of ego with this young man, despite his obvious ability. I was interested to see how much the advice that Julian (an international soloist) gave would differ or vary to what I had said. Most teachers have nagging doubts such as are we saying and doing the correct thing.
Julian asked me at the end “did I say what you wanted me to...” You sure did Mr Bliss.
Chris Ondaatje.
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Author: Maruja
Date: 2009-08-28 08:49
Thank you for posting this account which I found very interesting, not only because it gave the names of some clarinet pieces that I had not heard of, but also because you recount some 'tips' which even semi beginners like me can take on board.....
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Author: Old Geezer
Date: 2009-08-28 15:49
Thanks for a great post. Julian has aged just about to perfection! If only he didn't have to peddle those common clarinets....
Clarinet Redux
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Author: Nessie1
Date: 2009-08-28 16:01
Sounds as though Julian made a lot of good points in the masterclass.
I have not heard him in the flesh but have a ticket to a recital he's doing soon so I'm hoping for great things.
Vanessa.
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Author: Phurster
Date: 2009-08-29 01:18
Thanks Maruja, Old Geezer and Nessie,
Old Geezer, I don't think he has to flog the Clarinets. The impression I got was that he was proud of the instrument. I tried one and it really is a solid well made instrument (I don't get any money from Leblanc...or Selmer or Buffet, unfortunately. I am open to bribes!).
Nessiel, I think you will enjoy the recital. He is not only a fabulous player but he has a communicative ability that is very special.
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