 The Clarinet BBoard
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Author: Robare - GFHS
Date: 2002-01-25 02:40
Hey all! My current project is Brahms Sonata number 2 in E flat, and after some talking into by my orchestra teacher I have agreed to perform it at our next concert.
I do however have a small concern. The orchestra part was written for the viola/Eb Clarinet, and I have been learning it on my Bb in a transposed key.
I have a couple of options, so I'm looking for opinions.
Should I transpose the orchestra part or will it be too difficult for the orchestra?
Should I change the key that I am playing it in on my Bb, or will it sound too different?
Should I just work on it with an Eb Clarinet (keeping in mind that I am not well rehearsed on Eb Clarinets)?
How different/difficult is it to transition to an Eb Clarinet?
What would be my best choice here?
Thanks!
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Author: diz
Date: 2002-01-25 03:16
Goodness, as far as I was aware, the Brahms sonata you're discussing is for Viola OR Clarinet in B flat and piano. Unless you're performing some kind of orchestrated version. Brahms wrote the work originally for clarinet then made his own transcription for the viola - I've played both (clarinet and viola), I love the work a lot. Good luck
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Author: Jack Kissinger
Date: 2002-01-25 03:32
Somehow I really don't think an eefer will fit the mood of a Brahms Sonata. Maybe if you did it on an alto..... There are recorded versions of both Brahms Sonatas with orchestra. IMHO, the most successful orchestration was by Berio but that was No. 1. In what key is the orchestration written? (Eb by any chance?) In what key is the first movement of your Bb clarinet part? I think we need more information before we can give you advice.
Best regards,
jnk
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Author: Brian Peterson
Date: 2002-01-25 03:50
I hate to sound like some kind of purist, but somehow the idea of an orchestrated Brahms 2nd sonata makes my skin crawl...like looking at the the Mona Lisa with a moustache or something.
BP
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Author: Robare - GFHS
Date: 2002-01-25 04:00
The orchestration is rather a moderate expansion of the piano accompaniment, and if I recall it is written in Bb. My part on Bb Clarinet is also written in Bb, but obviously the concert transposition in that case just doesn't work.
The orchestration really isn't a big issue, as a matter of fact it doesn't sound bad at all...just like a more...stringy version of the piano part with bits of the clarinet melody interspersed throughout.
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Author: diz
Date: 2002-01-25 04:05
Granted ... I actually think it's probably a lovely piece to orchestrate - but the thought of Berio doing this? Hmmm, not convinced ... kind of remindes of of Schoenberg's orchestration of the piano quintet ...
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Author: Ken Shaw
Date: 2002-01-25 17:35
Diz -
There's more than one way of orchestrating. There's a version of Pictures at an Exhibition by, I believe, Gretchaninoff, that is recorded once in a while and is closer in mood to the piano original than the well-known Ravel orchestration, which adds Ravel's own colors and sensibility.
I've read that Schoenberg's orchestrations were intended to transform the piece into something completely new, and certainly when I've heard them the original was all but unrecognizable.
I think Berio's orchestrations of the Brahms Sonatas are intended to keep the music sounding the same. He's certainly a very skillful orchestrator. I've heard a recording of the orchestrated Brahms Sonatas, and I thought they were well done, though not as effective as the originals.
Best regards.
Ken Shaw
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Author: Jack Kissinger
Date: 2002-01-26 00:41
diz,
I have two recordings of the orchestral version of the first sonata. One is performed by James Campbell. In fact, the coupling on this recording is the Schoenberg orchestration of the Piano Quartet.
I could be wrong but I believe that Berio only orchestrated Brahms' first sonata. My other recording is with Wolfgang Meyer. The coupling here is the second sonata in an orchestration by Rainer Schottstadt. I agree with Ken's assessment of Berio's orchestration (and find Schottstadt's similar in intent) and I also agree with Ken's assessment of the effectiveness of the orchestral versions relative to the originals. I also have a recording of the second sonata in an orchestral version arranged by Sleeper (with Margaret Donaghue performing). As I recall, I preferred the Schottstadt version to Sleeper's.
Robare,
For the life of me, I cannot imagine why the orchestrator chose to transpose the orchestral part to a key different from the original unless s/he was transcribing the piece primarily with the viola in mind and wanted to put it in a more comfortable key. In the first movement of the original version, the piano is in Eb and the clarinet is in F. If I were you, and had the choice (and time), I would transpose the orchestral parts back to the original key so that I could play the clarinet part in its original version. That way, the piece remains in Brahms' specified range and, if you want to play the piece in the future (or study it), you won't have to relearn it.
Best regards,
jnk
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