 The Clarinet BBoard
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Author: LeWhite
Date: 2004-11-25 09:15
I ask this question sometimes and I usually get a lot out of it.
I'm just looking for some general advice on some excerpts for an upcoming audition, ANYTHING you might want to share that will help myself or anyone else doing these same excerpts, now or in future.
The list for this audition is:
-Capriccio Espagnol, Rimsky-Korsakov
-Firebird Suite (Variation of the Firebird), Stravinsky
-Symphony No.4 (Andante Moderato), Brahms
-A Midsummer Night's Dream (Scherzo), Mendelssohn
-Romeo & Juliet, Suite No.2, Allegro pesante, vivace, vivo, Prokofieff
Thanks heaps in advance!
__________________
Don't hate me because I play Leblanc! ![[down]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley23.gif) Buffet
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Author: Brenda
Date: 2004-11-25 11:21
Peter Hadcock's book "The Working Clarinetist - Master Classes" contains commentaries on all the mentioned excerpts except Prokofiev's Romeo and Juliet. I've used his suggestions for "Capriccio Espagnol", Borodin's "Prince Igor", Prokofiev's "Peter and the Wolf" and Kodaly's "Dances of Galanta" and found them to be a major help, along with listening to the recordings of course. Having been a symphony clarinetist for so many years he'll alert you to potentially difficult areas and how to play them, also pitfalls that many newer musicians would fall into. Some suggestions are made of fingerings and tempos. He also mentions rare errors in printing or the more common errors in other excerpt books. He presents his comments as being his own preferences realizing that the conductor may ask you to play it differently, but it's great to have an insider's point of view.
It's not a bad idea to sit down with a cup of coffee and study the music first. It'll save a lot of frustration.
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Author: ken
Date: 2004-11-25 17:48
I'm on my way out the door for turkey but I will speak to one excerpt. In the Capriccio, I'd play all solo passages flamboyantly and with heightened character; remain connected with precise articulation but most importantly, maintaining a focused and "tightly channeled" air support. On the A clarinet, in the 1st passage, think 8th notes under the accompaniment (motor rhythm), or subdivide to more accurately attack-articulate the trills, (i.e., DAA--DOT--DOT--DAA--DOT--DOT--DAA). This structurally sets up the 2nd passage of trills slurred into the 1st of the 2 16ths. I [personally] interpret this grouping as double trills (5-note trills) connecting the slurs more evenly. When swapping to B-flat, make certain the 32nd notes are tongued crisply and on the 2nd half of the beat. Be animated; be playful. By taking a fresh and audibly distinctive approach to a standard excerpt, you set yourself apart from the crowd.
Another common sense issue is obtaining as many recordings of the auditioning ensemble as possible ... attending live concerts is of course, the best method. Then, closely study and if necessary, modify tone to better blend with overall group sound. That is not to suggest, radically change set-up and/or equipment, but make subtle adjustments.
A vital element to skillful interpretation and rendering is, "know your subject and audience". Saturate yourself with the topic. Self-study and historical reference of instrument, composer and composition is foundational to great soloing.
I teach my students what I call, "lyrical association", or instrumental role-playing. The clarinet is as a living, breathing entity and fictional characters are assigned a supporting role based on a pieces' theme, lyrics and/or title. Using the Capriccio as the example, Spanish music was popular with Russian composers at the end of the nineteenth century. Korsakov's music was highly influenced by it as with esteemed colleagues of the day, Borodin and Mussorgsky. In practice, assign the excerpt a mini-character and become that character during the solo passage; how about a lively Spanish tap-dancer clicking their heels, clapping hands above the head with a rose in their teeth? Hey, if a clarinet can be a cat in Peter and the Wolf it can also be Speedy Gonzalez!
The point: an advanced instrumentalist plays virtually "mechanics free". That is, fundamentals are engrained. Once this skill is mastered artistic creativity better develops and flourishes.
Happy Thanksgiving everyone! v/r Ken
I recommend LC's CD of excerpts for more detailed info:
Orchestral Excerpts for Clarinet by Larry Combs
http://www.amazon.com/exec/obidos/ASIN/B0000038JY/qid=1101391035/sr=2-1/ref=sr_2_1/104-6427954-6831967
Gratuitous standard clarinet excerpt listing
http://www.markmillermusic.com/Clarinet/clarexcerpts.html
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Author: D Dow
Date: 2004-11-25 18:21
In the Rimsky be sure to play very expressively as well...also make sure the articulated notes ring, but don't play them so short or choppy as to lose the musical line...play the trills very short!
the Stravinsky has to be dead on in terms of tempos...don't change tempi ever unless it is marked!
David Dow
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Author: pewd
Date: 2004-11-25 19:21
as ken mentioned, there is a cd, 'Orchestral Excerpts for Clarinet, by Larry Combs (chicagosymphony)'. It has excerpts of the Brahams , Rimsky-Korsakov, and Mendelssohn works you mentioned. Summit Records (DCD161).
I'd start there, along with full recordings of each of the works you need to audition on.
- Paul Dods
Dallas, Texas
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Author: diz
Date: 2004-11-25 22:55
Capriccio Espagnole ... a competition between the principal clarinet and concermaster - play with flamboyance and passion, trills very quick and very short.
Without music, the world would be grey, very grey.
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Author: DavidBlumberg
Date: 2004-11-26 01:28
Rhythmic accuracy - do not (ever!) play around with the rhythms in an Orchestra Audition because you are feeling "musical". Too much rubato (much at all) is suicide in an Audition.
They want it dead on accurate.
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Author: diz
Date: 2004-11-26 02:23
David Blumberg wrote:
Rhythmic accuracy - do not (ever!) play around with the rhythms in an Orchestra Audition because you are feeling "musical". Too much rubato (much at all) is suicide in an Audition
I'm disagree ... as someone who's been on the judging end of audition panels. I'd rather hear something that's had some thought put into it rather than a robotic performance that is total machine-gun accurate.
Without music, the world would be grey, very grey.
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Author: DavidBlumberg
Date: 2004-11-26 02:57
There's nothing Robotic about it Diz.
Nobody ever won an audition playing robotically, but they did win it playing dead accurately in regards to rhythm and lost it the same conversely.
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Author: EEBaum
Date: 2004-11-26 03:53
There's a big difference between "playing something musically" and "playing something with lots of moving around and exaggerated dynamics and fooling with the tempo in order to sound musical"
After achieving excellent rhythmic accuracy, there is still an infinite amount of stuff that can be done with an excerpt.
-Alex
www.mostlydifferent.com
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Author: Contra
Date: 2004-11-26 06:19
You could always ask beforehand if they're open to a bit of a change.
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Author: LeWhite
Date: 2004-11-27 11:18
Thanks for the list John!
Thanks everyone, keep em coming, you've been really helpful so far!
__________________
Don't hate me because I play Leblanc! Buffet
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Author: D Dow
Date: 2004-11-30 12:31
There is an excellent rendering of Capriccio Espangnole on EMI with Markevitch and the Orchestre de Paris..to me this is the finest ever done.
Dangain is flawless here and plays with incredible technique..to me it surpasses Marcellus in that it is alot more "giocoso".
In Brahms 4th you should listen to Schmidl with Vienna Philharmonic under Kleiber in 76 on DG...it is very nicely played.
As to an Alternate Brahms 4 I am very fond of Kalmen Bloch under Walter which is absolutely first rate solo clarinet work here...
The Midsummer Nights Dream with Davis and Boston is first rate on Philips and another I whole heartedly reccommend is Karajan's reading with Berlin which is very polished and has some nice stuff from Leister...
The Firebird Suite under Maazel in Berlin from the early 60s is very electric with some incredible woodwinds...I also like Chailly in Amsterdam with the Concertgebouw on Decca...very cultivated woodwind work from the Principal winds here.
Another really find reading of the Prokofiev is the Ashkenazy Cleveland version or try Rostropovich in Berlin(may be out of print...)
David Dow
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Author: LeWhite
Date: 2005-02-06 11:40
Just an update guys!
I got the principal position in this orchestra!
Thanks for all the help, it obviously worked!
__________________
Don't hate me because I play Leblanc! Buffet
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