 The Clarinet BBoard
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Author: Hank Lehrer
Date: 2003-04-16 12:20
Hi Everyone,
Last night, I attended a recital at a local university by a saxophone player that I had just worked a show with the previous weekend. During the weekend gig, he invited me to attend which I was anxious to do.
The first half of the recital was accompanied by a piano player and the second half was done with sax, bass, and drums (his regular experimental group which included two faculty members from an Eastern university).
During the first part of the concert, the more "classical" all but one composer was from the last 30 years(Schuman - an oboe transcription). Names like Noda, Tull, Nelson, and Solomon were the composers and all of their compositions did not exist when I was an undergraduate in the late 1950s. One work was with computer-generated tracks which often were at randon. Here is my question.
On this BB, the general discussions about interpreting the literature seems to focus mostly on Weber, Mozart, Copland, Debussey, etc. Most of these composers wrote compositions many, many years ago. Has there been little contemporary literature for clarinet that included multiphonics, slapping sounds, or unusual technical fireworks? Or was this performer more avante guard than the normal collegiate saxophone professor?
While I was amazed at the technicality of the works, I wondered if I have been left behind in what's appropriate recital literature. It was hard to imagine someone like Marcel Mule or Rascher playing these compositions.
HRL
Post Edited (2003-04-16 13:22)
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Author: Ken Shaw ★2017
Date: 2003-04-16 14:29
Hank -
Sigurd Rascher and Marcel Mule played almost entirely contemporary music. It was written for them, since there was almost no "classical" music written for the saxophone because it was invented so late. (I feel the same as a clarinetist when I see all the baroque and early classical music for flute and oboe. Ah, if only Vivaldi had written 20 clarinet concertos.)
Clarinet Magazine has a program listing for recitals. Most of the faculty and professional listings have one classical piece, and the rest is contemporary. On the other hand, most of the concerts are university faculty recitals, where they have a semi-captive audience and don't have to worry about the "take" at the box office.
Most of the programs at the ClarinetFest are contemporary, but that's for an audience of enthusiasts, and, once again, ticket sales are not a priority, since it's part of the overall fee.
It's the student recitals that have one contemporary and the rest "standard repertoire." The same applies to "stand-alone" professional recitals. Stanley Drucker's recital last Sunday was all-Weber.
Most of the posters here are students. I, too, am a bit disappointed that the pros don't talk about contemporary music, and, unfortunately, most of the stuff on the Klarinet list recently is about equipment and personal venting. I think everyone would like at least some discussion of new music.
Best regards.
Ken Shaw
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Author: Don Berger
Date: 2003-04-16 17:52
Well answered, Ken, to a well asked question, Hank. We [BB] dont talk much about [if any] "modern musical composition", and I confess to being more in the "inst group" than into what we play. My exposure to the contemporary music is via our community band, some of which music is quite good. In orchestral work, only from about 1875 + , it seems that music was composed-for [used] saxes, Bizet, Mussorsgusky[cant spell] , lesser-known French, ?avante-garde?, played some of them and "Lions" by H------?. I have recently heard on NPR some sax [mainly alto] pieces, very pleasing! We had Tim Reis' sax quartet play with our local symp orch, a year or so ago, V G!! On the Yahoo Bass Cl site, contemp. music is frequently discussed, I should think that the several sax sites would do likewise. Just thots in passing. Don
Thanx, Mark, Don
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Author: Hank Lehrer
Date: 2003-04-16 22:24
Hi Ken and Don,
Both messages are right on track. Ken, the notion of ticket sales is a good one and the idea of the captive audience is all to probably correct. I also believe that your analysis of the actual population of BB posters may be correct as well.
Let's see if there are any other responders to our little discussion.
Don, Reis might have been this person's teacher since the performer is a UNT (aka NTS in my days) graduate.
HRL
Post Edited (2003-04-21 03:43)
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Author: Don Berger
Date: 2003-04-17 14:44
Hank, the name I couldn't recall is Alan Hovhaness, 1911- believe he recently died. A number of his works are described in "A Guide to Orchestral Music" by Ethan Mordden, 1980. His "Lions" , for orch, had an alto sax solo, much like would be heard in a cocktail lounge, rising to high F when [my guess] meeting the lion!! Enjoyed it! His Symp. 2, "Mysterious Mountain" [Mt St Helens!!] had many different sounds, and was played later locally, no saxes as I recall.. Worthwhile investigating, IMHO. Don
Thanx, Mark, Don
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Author: Hank Lehrer
Date: 2003-04-17 16:13
Hi Don and Ken,
It looks like we are only ones on this discussion. Let me see.
Hello, hello! Is there anyone else out there reading this thread? Anyone else interested in this subject?
HRL
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Author: monique
Date: 2003-04-20 04:09
Yes...
but I am one of THOSE students...
nevertheless I found the thread very interesting, just because I cannot play it does not mean I cannot be informed,
good observation on captive audience versus paying audience.
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Author: Hank Lehrer
Date: 2003-04-20 04:17
Hi Monique,
So they have captive students in CA as well :-).
Where I am confused though by the comtempory clarinet literature (at least the avante guard) though is that there is seldom any mention of it on the BB. Almost like it does not exist. Ken said that there is a lot at Clarinetfest though so....
HRL
Post Edited (2003-04-20 05:18)
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Author: TomJ
Date: 2003-04-21 01:28
I agree that some discussion of the contemporary rep on this site would be extremely valuable. Is there somewhere that people can suggest new pieces and where to buy/hear them?
There's some great pieces that seem to have no roots of purchase!
Tom
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