 The Clarinet BBoard
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Author: rbell96
Date: 2004-10-27 17:54
Hi guys,
I just want some advice on the Shepherd on the Rock if any of u have any pearls of wisdom. Playing it for a quite famous clarinetist in a few weeks time so any advice now wud be great!
Rob
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Author: Bellflare
Date: 2004-10-27 18:39
dont rush
ie dont play it too fast
dont play it too slow
just half-fast
Post Edited (2004-10-27 20:06)
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Author: Liquorice
Date: 2004-10-27 21:53
Just a few thoughts:
1. READ THE TEXT. If you don't understand German, then find a translation, or get someone to translate it for you. It's essential to understand the text for a proper interpretation of this piece.
2. Check that your dotted rhythms and straight quavers are accurate against the piano triplets in the first section. The first quaver of each group should always be played early- and long enough. You really have to "sing" the quavers.
3. Don't accent the first beat of every bar. If you do this the piece will sound square and you will lose the long lines that Schubert wants. Often the phrasing will have a more meaningful gesture if the high point of your phrase comes on a beat other than the first in the bar. Schubert often writes this into the music by putting accents on notes or writing in phrase marks which begin on an off beat or weak beat.
4. Try to rehearse with the pianist beforehand. You'll probably need to rehearse the "yodels" a bit to get them together.
5. Check out where the most significant changes of key are. (I don't have my score with me so I can't give bar numbers). The clarinet part often plays though these transitions, so you can make magic by changing the colour during the modulations.
6. The cadenza represents the change from Winter to Spring. Make sure this comes across in your interpretation.
7. Try to copy the timbre and style of the soprano as best you can, especially when you echo her.
8. Don't rush the running semiquavers in the final section, because the singer won't be able to keep up with you. Once you get to the very end you can go as fast as you like- it's like the shepherd running down the hill to meet his beloved!
These are just a few ideas. It's hard to put them into words, and there is a lot more that should be said. This is one of the great pieces in our repertoire. Enjoy!
Please let us know what the "quite famous clarinetist" had to say about the piece.
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Author: rbell96
Date: 2004-10-27 23:12
Cheers Mark.
I haven't been on here for such a long time!
Rob
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Author: LeWhite
Date: 2004-10-28 04:34
A class with Antony Pay? YOu lucky thing!
__________________
Don't hate me because I play Leblanc! ![[down]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley23.gif) Buffet
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Author: Liquorice
Date: 2004-10-28 06:05
Yes- "Phrasing in Contention" is a great essay, and talks exactly about the thing I was trying to describe in point 3 above. Antony Pay is one of the best clarinetists around!
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Author: rbell96
Date: 2004-10-28 12:19
Its great actually. Antony Pay is consultant at the Conservatoire I study at.
Rob
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Author: Alseg
Date: 2004-10-28 12:38
This should be very informative.
I Have read that one consideration (was it in the link MC added? I didnt have time to recheck) is the breathing/phrasing of the soprano soloist. Too slow and she has to add breaths. Too fast and it is rushed and loses meaning.
Listen to the Harold Wright recording, and the Galper one if you can get it.
The Wright is avail on Boston records (a sponsor here).
I envy you....this is one piece I would love to play.
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Author: DAVE
Date: 2004-10-29 02:33
Finger that high E, the one towards the end after the little cadenza that always wants to POP out too loud like a G on top of the staff minus the thumb. It's a great fingering for that spot. Pray that your pianist does not rush you at the end of the piece!
Enjoy!
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Author: jez
Date: 2004-10-29 16:26
Or, try that high E by rolling the LH 1st finger forward so you 'half-hole' instead of taking the finger right off.
jez
ps I have an old record of 'Shepherd' with Tony Pay playing and it's excellent so enjoy the class
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Author: mbyerly
Date: 2004-10-29 18:24
Or, for yet another high E, finger like G on top of the staff and add the throat G# key.
- Michael
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Author: vin
Date: 2004-10-29 18:29
The Wright recording from Sony Classical is even better than the one on the boston label, although both are certainly worth multiple listens.
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Author: D Dow
Date: 2004-10-29 19:54
YOu should really get the Kell?Schumann one...its simply unbelievable..
David Dow
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Author: mystery science dieter
Date: 2004-10-29 20:02
>>>YOu should really get the Kell?Schumann one...its simply unbelievable..
<<<
That's true. I can't believe anyone would play it that way.
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Author: Brenda
Date: 2004-10-30 03:50
Are we allowed comments on the soprano? Abe Galper did a lovely job, even heard through computer speakers. It was good to hear him play since I knew him only in the last couple of years before his death and never heard him play outside of his studio. But I like very much the soprano who sang for ChamberWORKS' version of this piece on their brand new CD, Janet Obermeyer. Her voice has an uncomplicated simplicity and a special sweetness to it that compliments the clarinet beautifully.
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Author: Ken Shaw ★2017
Date: 2004-11-01 17:52
Brenda -
I downloaded the Galper version, which sounded great even on the tiny speakers in my monitor. I recently got a set of Klipsch speakers for my home computer, so I'm anxious to hear it in its full glory.
I found the ChamberWORKS web page, http://www.chamberworksmusicensemble.com/pages/2/index.htm, but there's no mention of a CD, and no e-mail link. How could I get hold of it?
Thanks.
Ken Shaw
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