 The Clarinet BBoard
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Author: Rachel
Date: 2004-02-29 02:47
Well, I finally got the Corigliano. It is very, very difficult, but it seems within the realm of possibility for me to play.
I would appreciate any advice on playing it, and I have one specific problem- the tremolo between upper clarion Bb and chalmeau A- how do I change registers that quickly?
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Author: Wonkak Kim
Date: 2004-03-02 01:35
you don't have to do it "tremolo fast"... Just do it as fast as you can... no alternate fingering that would make it much easier...
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Author: Rachel
Date: 2004-03-02 22:36
Wonkak Kim- I know you don't have to, but I want to play it tremolo fast :(
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Author: Ben
Date: 2004-03-05 04:21
You could play one of the notes and hum the other.... but I don't think that's what Corigliano had in mind.
It may help to get a recording or two...the only one's I know of are Drucker/NYP, and Stoltzman/LSO; both very good.
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Author: SomethingCopland
Date: 2004-03-05 12:51
How old are you, Rachel? Why did you choose to play Corigliano? It's a very tough piece and has some tough rhythm. I don't like Stoltzman's recording so much. He cheats on a lot of it. I'm not saying that he's not one amazing clarinetist, he just doesn't play it nearly as cleanly as does Drucker. It was written for Stanley after all.
Stanley, Sydney, Russ, Michelle, David, Deborah, Chuck, Jon, Ricardo, Marc, Sabine, Elsa, Laura, John, Larry, Robert, Paul---They all know Copland.
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Author: justwannaplay
Date: 2004-03-05 13:27
SomethingCopland wrote:
> How old are you, Rachel? Why did you choose to play
> Corigliano?
Oh lord, not again! ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif)
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Author: jo.clarinet
Date: 2004-03-05 14:13
justwannaplay wrote:
> SomethingCopland wrote:
>
> > How old are you, Rachel? Why did you choose to play
> > Corigliano?
>
> Oh lord, not again!
As I was reading that I thought exactly the same thing as you, Elizabeth! Can we beat the number of replies on that particular thread?! ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
Joanna Brown
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Author: Rachel
Date: 2004-03-06 07:04
SomethingCopland,
Just to stop us going around in circles again
1. I'm 20
2. I wanted to play it because
I like the piece
I wanted a challenge (Which, being the hardest piece I've ever played (I only managed to get to the end of it today), it certainly is)
To extend my technique, which it is doing very well. I find that if I want to learn a new technique I need to have a piece that uses it in addition to just doing repetitive drill exercises.
I had the Stoltzman recording recommended to me by a friend. I've heard part of it. Does anyone know where I can find an online sound clip of the Drucker recording?
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Author: justwannaplay
Date: 2004-03-06 13:46
Btw — I meant that in total good humour and jest!
I'd like to echo Rachel's request for a sound clip of this Concerto, given that we keep hearing how difficult it is.
Good luck with it Rachel. I've got to say that an upper clarion Bb to chalumeau A tremolo sounds gross to me, let alone having to play it [barf smiley].
Elizabeth
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Author: Mark Charette
Date: 2004-03-06 13:54
justwannaplay wrote:
> I'd like to echo Rachel's request for a sound clip of this
> Concerto, given that we keep hearing how difficult it is.
You need to ask the record company to provide one.
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Author: theclarinetist
Date: 2004-03-06 14:35
I will admit that on the Stoltzman recording he smears through some of the technical passages. I personally think his rendition is the best, and having heard many of his other recordings, I would assume that the smears and "sloppiness" (if you could call it that) on some of the runs is an artistic choice, not a lack of ability.
I read somewhere that Vladimir Horowitz played with a "demon-possessed" quality at times... While I've only heard a few of his recordings, I assume this demon-possessed, craziness is similar to the way Stoltzman plays the Corigliano. I heard a recording once (don't remember who played it) that was played so dry and straight-foward. It was completely boring. I know much of Corigliano's work well, and I think pieces like this (along with the Piano Concerto) require this crazy, ready to explode insanity and abandon when played.
Just my opinion,
Don Hite
theclarinetist@yahoo.com
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