 The Clarinet BBoard
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Author: Tim2
Date: 1999-11-30 02:49
Well, by golly, the music came. I couldn't wait to tackle this piece.
Unfortunately, it has a lot of notes in that range above the G & G#. (Now I agree with Dee) While the A's come ok, the Bb's are hard responding. The 32nds could eventually come. But the high notes????? The advice said on an earlier post will be heeded about doing the high notes. This piece is a test of endurance.
Mark, now I know why your son was described as a "monster" player. A live performance of this piece done well and with the mustard your kid has would surely be remembered. I really applaud him. His picture shows the intensity.
Anyone else tackle this piece? Stories about it? Stories about playing it?
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Author: col
Date: 1999-11-30 10:22
hi there,
i have started work on this piece a couple of weeks ago, and i want to play it for a recital next year. i have started with the second movement and a little bit of the 3rd. i really love the 3rd its so cool but i agree about the high notes, i need alot of work on them and just getting it really really smooth if that is possible,
will let you know more as i progress, but when i first opened it i thought it would be a real challange and that opinion has only strengthend over the past few weeks,
so goodluck with it
col
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Author: Ken Shaw
Date: 1999-11-30 21:44
The Martino Set for Clarinet is described by Martino (I think in an introductory note printed in the music) as an effort to test the limits of what is possible. The original recording, and I think the premiere, was by Philip Rehfeldt, who is a contemporary music specialist. I have a copy of the LP, recorded in the late 50s or early 60s, and although Rehfeldt is a fine player, it's obvious that he's under considerable strain. It's a sign of the times, and of what modern expectations have become, that an admittedly very good high school player like Mark's son can now almost toss it off.
It's like the original recording of Stravinsky's Rite of Spring, where the bassoonist nearly kills himself getting out the opening solo, and the orchestra (N.Y. Philharmonic, I think) hangs on for dear life at the end. Very quickly, bassoonists made special "Rite" reeds and built themselves up to be able to play the solo confidently -- so much so that Stravinsky commented that he should rewrite the solo even higher, to get the strained quality he wanted. Similarly, college and community orchestras can now take the changing rhythms and odd accents pretty much in stride.
The Martino remains **very** difficult, but current notions of what's possible have gone pretty far beyond it.
Best regards.
Ken Shaw
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Author: Mark Charette
Date: 1999-11-30 23:20
Ken Shaw wrote:
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It's a sign of the times, and of what modern expectations have become, that an admittedly very good high school player like Mark's son can now almost toss it off.
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Well, I wouldn't say "toss it off" - he wouldn't play it in a public venue - but there is the expectation that a good high school student can get through it reasonably well nowadays if they expect to play for a living someday.
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Author: Don Berger
Date: 1999-12-01 20:00
There is a fine-appearing, lengthy discussion of a Sonantina by Martinu [with a small o above the U] in the newest ICA publication. I mention it not knowing if it is what is being discussed here. Hope it helps, Don
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Author: Mark Charette
Date: 1999-12-01 22:00
Don Berger wrote:
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There is a fine-appearing, lengthy discussion of a Sonantina by Martinu [with a small o above the U] in the newest ICA publication. I mention it not knowing if it is what is being discussed here.
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Don, different piece.
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Author: Tim2
Date: 1999-12-03 00:01
Col - I too am working on the second movement. I am toying with the third, working on the tough parts. (it's all tough)
You know, I got this music because Jonathan Cohler makes it sound so great. Like every musician should realize, it takes work to get there.
By all means, I'd like to know how you progress with it. I wish you well.
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