 The Clarinet BBoard
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Author: Ed Lowry
Date: 2010-08-05 03:02
I'm working up the Shepherd on the Rock for an informal concert, and would like to play it as well as I can. The most difficult part for me is playing the last 15 measures up to tempo, which, on my Harold Wright recording, appears to be about 126-132. Any suggestions from the experts? And if I must sacrifice something, should it be speed, or tonguing -- meaning, if I can only play it at tempo by slurring the notes, should I do that, or should I slow down?
Any advice on how to approach this is appreciated.
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Author: Sylvain
Date: 2010-08-05 03:13
One vote for slurring, don't slow down.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: Chris Horril
Date: 2010-08-05 11:24
Slur2 tongue 2 is perfectly acceptable too. Watch out for the broken arpeggios about 7 and 8 bars from the end (just before the scale up to top C ) thats the hardest part - I have heard many top players fluff or squeak there. Practice those bars at different speeds, vary the rhythm and articulation too until its secure.
Dont overlook the difficulty of the opening of the piece. Concentrate on getting a really smooth legato, get the breathing right so that the line flows and make a really beautiful sound - then the rest of the piece will fall into place.
Good luck in the performance; remember that its a love song so make it look like you are enjoying playing it (even though you are terrified about the end).
Chris
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Author: Dileep Gangolli
Date: 2010-08-05 13:47
Never cared for those who chose to use the coda as a way to show off their tonguing....that's what Weber and Rossini are for.
Do what ever you can do to make it sound smooth and musical. Doing something other than 2/2 may keep things a bit more interesting.
I am sure that Schubert would not have cared about the details of the articulation or he would have put them in himself.
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Author: srattle
Date: 2010-08-05 16:21
Obviously he had hoped for them to all be articulated, as he wrote everything else in the piece with clear slurring, and precise markings.
Here is what I normally do, starting from the first arpeggio up.
I articulate this whole arpeggio, and then do 2 slurred and and 6 slurred for the next descending scale.
The four measures of 2+2 slurred and tongued
next measure I play 5 slurred and 3 tongued
for the next measure (with the broken arpeggio) I slur each set of 2
then I articulate the whole next ascending scale
and finally, I slur the octave leap, and the tongue the rest.
This is just an idea of what gets me through this section, and I don't have a particularly fast tongue.
Also, remember that this ending is NOT an etude! It is still wonderful music, and should be played as such. If certain things need a little time to be spoken properly, then let it. The really important thing for these last 15 bar is to phrase them properly, and not to get stuck just playing the notes as you might a cavallini or Uhl etude.
Great piece, make sure you get a GOOD and mature singer for it, most singers try to sing this way too early, and it is a nightmare for them
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Author: Sylvain
Date: 2010-08-05 17:49
I guess I want to develop a little further.
I actually don't know how specific Schubert is with is marking and how much liberty he left to the player with regards to articulation.
This is the last section of the piece and if anything it gets animated. If you look at the text (after all it is a song with words!), this last section is about spring coming, joy of leaving that rock and its loneliness. Slowing down would, in my opinion, seriously hinder the sense of anticipation and impatience and sheer joy that you need to convey here.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: Ed Lowry
Date: 2010-08-06 16:36
Thanks everyone for the excellent suggestions and commentary. It's a terrific piece of music for which I hope to do some justice. Fortunately, we have an accomplished pianist and vocalist to aid the process.
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