 The Clarinet BBoard
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Author: studioline
Date: 2004-09-21 09:37
I'm looking for pieces with combination of
1) clarinet, cello and piano
2) clarinet, violin and piano
3) clarinet, viola and piano
can someone help me?
Thanks Stu
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Author: Aussie Nick
Date: 2004-09-21 11:46
http://www.ithaca.edu/faculty/rfaria/rep.html
should get you off to a good start
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Author: claclaws
Date: 2004-09-21 12:21
I checked the databases as Brian recommended. But I'm puzzled. It only gives the name of the composer and the title of the tune(not-heard-of, in many cases). So am I supposed to find the related tune in a library or bookstore, like amazon?
Lucy Lee Jang
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Author: Brian Peterson
Date: 2004-09-21 15:01
Lucy,
You've basically got it right.
I've found that some of the items in the database are available through university libraries and online music stores. In other cases, if you're really interested in a piece, you've got to do some digging for yourself, internet searches, e-mails to composers, etc. Sometimes, it's a wild goose chase, but sometimes not.
Of course, some of the biggies for these instrumentations are readily available, i.e Brahms, Beethoven (c,cl, p) , Stravinsky, Bartok (v, cl, p) and Bruch (vla, c, p). These five pieces would be enough to keep just about anyone busy for a good while.
Good luck.
Brian Peterson
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Author: Katrina
Date: 2004-09-21 15:10
Don't forget the Mozart trio (clarinet, viola, piano)...
Katrina
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Author: idahofats
Date: 2004-09-21 19:18
More to the point on using retail internet sources for information (Disclaimer: I am in no way associated with the retailers mentioned below, except that I find their catalogs a useful resource.) You can use Tower Records Classical List advanced search mode to get pretty specific on types of previously recorded music from the literature (and listen to samples,) and Tap Music is already very specific in categorizing available recordings for clarinet, bass cl, bassoon, oboe, etc.
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Author: Markus Wenninger
Date: 2004-09-22 07:58
...not again and again this Mozart-and-Brahms-thing, heavens...there´s a challenge: Lachenmann, Allegro (uncertain whether the title´s correct,but it is his only trio with cl , besides his mindstaggering "Dal Niente" for cl solo). An incredible piece!
Markus
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Author: claclaws
Date: 2004-09-22 11:19
Brian,
Thank you for the explanation. For a very good while, indeed. I now only have Beethoven, among those you mentioned above. And..yes, what a challenge.
Lucy Lee Jang
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Author: Robyn
Date: 2004-09-23 03:49
I recently put together a huge (at least, it felt huge when I was working on it at 4 AM :wink:) annotated bibliography of a bunch of clarinet, cello, piano trios for my performance lit class. Let me know if you want it, and I'll email it to you.
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Author: Liquorice
Date: 2004-09-23 05:54
Yesterday I heard a recording of a trio for electric violin, clarinet and piano by Poul Ruders. It was amazing, and something definitely worth learning.
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Author: Markus Wenninger
Date: 2004-09-23 09:41
Liquorice,
I was told "that´s just that kind of humor on the BBoards", so, my fault, I hope I will learn to take it from You like that, I hope. But there´s something beyond polemics for me in that: How come this conservatism here?! How come that I feel myself facing a solid majority of retro-heads I can´t possibly be "alone", can I?! I´ve really outgrown this lone-rebell-nonsense, but it irritates how every question of young players (if they´re not already stepping up clad in tonal armour!) concerning literature,modes of playing, recordings et al is answered by the 19th century. Yeah it´s me again, I think, missing some backup I thought the BBords must be swarming with. Why, there are even no baroque-renaissance-fireheads here as it seems, and jazz here seems to be spelled "Acker Bilk" or "B.Goodman". If there´s at all sense in going beyond just exchanging opinions and tastes, this makes me wonder,to say the least.
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Author: Liquorice
Date: 2004-09-23 12:41
"Why, there are even no baroque-renaissance-fireheads here as it seems"
Gee, well next time you find a Renaissance trio for one fo the above combinations, please let me know!
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Author: GBK
Date: 2004-09-23 13:20
Markus Wenninger said:
> concerning literature,modes of playing, recordings et al
> is answered by the 19th century.
Because, like it or hate it, that is what the casual concert goer feels most comfortable with.
> and jazz here seems to be spelled "Acker Bilk" or "B.Goodman".
Because, like it or hate it, that is what the casual music listener gravitates towards.
These days, with live (non pop) music barely surviving and record labels scaling back and dropping established serious artists, the chance of the general public hearing, embracing and buying modern, contemporary or experimental music is almost less than zero.
Sometimes you have to get your head out from the built-in captive audiences found in universities and see what is really going on in the world of music.
It's not a pretty picture.
Like it or hate it...GBK
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Author: Markus Wenninger
Date: 2004-09-24 07:23
GBK,
"What´s really going on in the world of music": Nobody indeed has to tell me how frustrating and nerve-wracking it is to drum up an audience for New Music or anything that is not dumbest mainstream or can be cherished and comprehended by cows. But Mozart´s and Brahms´ music, to be sure, on one hand aren´t at all what mainstream takes them for, those compositions, and the formation of listening capabilities, all hermeneutics, were drilled by selfish, risk-fearing, static authorities - just how of the audience attending concerts "outside universities" can argue intersubjectively and objectively about the greatness of Debussy?! They can´t, flat out, they just like what they´re told to like. It´s a ghastly picture, indeed. But on the other hand, what about us, the performers, composers, afficionados - what if we took the paedagogical mission of nowadays music seriously, if we just don´t go with the flow (what here in Germany it is called "the healthy middle", a term that makes me puke) and try to show how beautiful and rich New Music is? No one grasped all the atonal stuff easier than the youngsters I had the chance to teach, MTVed otherwise to the brim. I admit it´s all the while as well New Music´s plateau itself to blame, rendering the escape from the 19th century as highlfying academism, something that isn´t for the masses and verrry, verrry difficult to understand. Just a few of those concertant in-teachings by the Berlin Symphony Orchestra, just to drop a single action´s name, showed, how easily young people grasp all that which was considered by their hemmed-in parents "so dissonant" and whatnot. "The real world of music"?: No idea what You mean by this, to be honest. It´s an extremely chopped up and instabile ruckus of plateaus, - my point is that it´s up to us performers and composers, teachers and advisors to spread it, after we acommodated ourselves with it of course, it´s us who have to arrive here, on the post-tonal, deconstructivist, complex plateau, and make it audible that "there´s indefontely more between a and g than just one halftone", as Coltrane had it. New Music isn´t about kicking tradition´s ass, it´s about "listen what else´s there". This so-called reality of music ouside the so-called insider-scenes at universities won´t change as long as we here answer questions about classical literature with Mozart, and about jazz with "A. Bilk" (who, by the way, at a concert I heard him, said, "Incredible. incredible,...you youngsters should play something different, you know, like I did when I was younger!"). #don´t get me wrong, it´s not about shutting Mozart off, it´s all about letting Ch. Ogiermann speak up.
Markus
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Author: Liquorice
Date: 2004-09-24 13:36
Hey Markus- I'm sure there must be a bulletin board out there where you can discuss this with people that are actually interested in it?
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Author: Mark Charette
Date: 2004-09-24 16:06
Liquorice wrote:
> Hey Markus- I'm sure there must be a bulletin board out there
> where you can discuss this with people that are actually
> interested in it?
That was highly uncalled for as a comment. If you don't want to read Markus's comments, that's fine, but there are a number of us who do have some concerns as to new music.
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Author: Noel
Date: 2004-09-24 16:20
I think Markus makes some good points, albeit in his rather polemical style. I quite agree, for instance, that children can be incredibly receptive to atonal sound. It might have been better, however, if he provided some alternative repertoir suggestions. I believe there is a Xenakis composition for clarinet and cello, for instance...
Although I myself like to improvise (and not in the style of A.Bilk) , I can also really enjoy trying to play Mozart or other standard works. I don't feel that I'm betraying 'new music', so much as trying to improve my all round control of the instrument (a long way to go, sadly). I think he is right, however, that teachers could be far more adventurous in how they approach music .... although it's easy for me to say that when I'm not earning a living doing it.
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Author: brez
Date: 2004-09-24 16:40
Try the Milhaud or Brahms...those two are nice and meaty
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Author: Liquorice
Date: 2004-09-24 21:36
"That was highly uncalled for as a comment. If you don't want to read Markus's comments, that's fine, but there are a number of us who do have some concerns as to new music"
Sorry Mark. I also enjoy new music (I even mentioned a contemporary trio on this thread). But why does Markus feel that he has to put down other composers and performers, just because they don't fit into his very limited taste in music?
I also find his "rather polemical style" rather tedious. But you're right- that's my problem, and I don't have to read his comments. Sorry for being so rude!
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Author: Markus Wenninger
Date: 2004-09-25 15:31
I don´t get why my posts/comments are fashioned as "polemic" or "limited", in all honesty?! If anything, it is me who´s opting for an quantitatively as well as qualitatively w i d e n e d horizon, especially in regard to us performers/composers/teachers. As far as I see it, it is a limitation to play tonal, to ban screeches and multiphonics et al from the techniques-departement...so what makes this opinion a limiting one? If the alternative should be "play as you like it, as long as people dig it", I agree to be polemic. And that is not even to mention the fact that every single evolutionary step in musical history was first regarded as a pain to listen to, to say the least, think of the jazz history, or the one of classical music. I read an interview with Levin today, in which he said that one has to play New Music to understand the techniques of the Old Music (speaking about performance techniques, especially of strings). I played a concert where I sat next to a dulcian-player, and as we fretted over a section where weird multiphonics were to be played, she told me that all this stuff really is old hats for early renaissance, and then let loose a string of exceptionally multiphonics, leaving me flabbergasted. I somehow more often than not get the notion to have to defend my position against a vast majority of conservativism (M. Charette nonwhithstanding), which I fail to understand (the conservativisms...). Where are all those who fuse the cl into punk, those Lachenmann-crazy who splice a sound into a myriad of breathings, the freejazzers who find all notation suspect, where are those electronic-whiz guys plugging the cl with a dozen of midi-processors (including the performer), et cetera? It´d be idiotic to assume there aren´t any, wouldn´t it?
Markus
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