 The Clarinet BBoard
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Author: Vicky
Date: 2005-01-01 06:19
Hey everyone!
To those of you that have played the Copland Clarinet Concerto... what did you think of it?
I'm playing it in April when Kenneth Grant comes to do a master class at my school.
It's so lovely! I think I'm in love! hehe. It seems as though counting the rests will eventually end up being my weakness. Have any of you felt that way?
What are your favorite recordings of it? I really enjoy the Benny Goodman recording. It's very straight-forward, and he playes what is actually written. I LOVE Richard Stoltzman's recording though. He brings it to life!
At the end of the cadenza, do you guys bend the high E to the F#? My professor told me that it would be a good idea, and personally, I really like the way it sounds.
In the "with humor, relaxed" section (meas. 297) did you swing it, or played it straight forward? In, this section I've heard many different interpretations. In meas. 320, did you slur this passage? Or bend it?
Did you find it difficult to be in tune with the orchestra/piano in the beginning of the piece? My biggest problems are the altissimo F#'s. Yikes!
All in all, this piece is amazing. I know that I will have a blast playing it. I can't wait!
Vicky
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Author: Robert Moody
Date: 2005-01-01 08:08
Congrats to you Vicky, for starting on the Copland. It really is an awesome piece—both to listen to and to play. Personally, I did smear the part described "With humor...". From my understanding though, most of it should not be "swung" as much as the jazzy use of emphasis on notes. Copland actually writes out a noted swing feel in two spots.
Stoltzman is a consummate musician.
Good luck with your work on the Copland. It is a tough piece...particularly at first. And for the altissimo F#, consider using the right-hand sliver key to help with intonation. Also try the long F# or other alternate fingerings like an overblown clarion Bb.
Take Care,
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: Vicky
Date: 2005-01-01 19:08
Robert Moody,
I do agree with you about the "swung" thing. I didn't know exactly how to put it, but smear seems to be the right word!
Vicky
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Author: HedgeWitch
Date: 2005-01-01 21:08
The Copland is probably my favourite work for clarinet with the Finzi concerto coming second some way behind. Sarah Williamson did a fine rendition of the Copland in the finals of BBC Young Musician 2002.
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Author: theclarinetist
Date: 2005-01-01 23:22
The Copland Concerto is really cool. One thing that helped me with the counting was downloading a midi file of the piece. If you have a music notation program, you can open the file and turn off the clarinet part and have just the orchestra to practice with. This helped me perfect the rhythm on a few of the spots where the counting feels awkward with the accompaniment. It's also just fun to do!
Good Luck,
Don Hite
theclarinetist@yahoo.com
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Author: Clarinetlover18
Date: 2005-01-02 23:07
OH Y GOD I JUST STARTED THE COPLAND CONCERTO AND I LOVE IT!!! I don't know exactally about the thought of bending the high E to the F#...though I think I may have to try it to get the full effect. My favorite recording is definately Paul Meyer's version! His sound is absoultely gorgeous, and he really brings it to life. Don't get me wrong, I love Stoltzman's version too! I personally think the eighth notes in the one section should be swing eighth notes; it just gives it that authentic, jazz style. But in general, I love this piece!
Love, Carla
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Author: Ken Shaw ★2017
Date: 2005-01-03 20:03
There have been quite a few discussions of the Copand Concerto, both here and on the Klarinet board. The Search function will find them. In particular, there's great disagreement about whether there should be any jazz swing, particularly in the cadenza and the finale. I think there should be, and Goodman certainly creates a jazz flavor throughout his own recordings. See http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=154482&t=154437
The part almost no one gets right is the final glissando. It almost always gets out of synch with the orchestra, so you don't end together.
It's one of the great pieces. Take plenty of ntoes at the master class and let us know what Ken Grant has to say.
Ken Shaw
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Author: D Dow
Date: 2005-04-11 16:28
Richard Hosford in the UK has done an excellent version of this work. I recently heard this on BBC and simply floored by how wonderful he plays!
David Dow
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Author: bob49t
Date: 2005-04-11 16:39
Another vote for Sarah Williamson - a wonderfully seductive version of this fabulous concerto, where she toyed with the conductor, orchestra and audience, but Hedgewitch, Vicky asked for recordings.
I don't think she recorded it- all I have is a video from the BBC YMOTY.
RT
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Author: DavidBlumberg
Date: 2005-04-11 16:57
Got to be swung - but not too much.
Tastefully done though, it isn't "in the mood".
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Author: Camanda
Date: 2005-04-11 23:27
I did it for my college auditions, only up to the cadenza (they stopped me right there for both schools, which is good, because my rendition is not exactly amazing). I absolutely adore that piece. I can't offer any how-to advice 'cause a) I've only played it for a couple of months and b) I change it every time I play it. As for intonation, oh, it's the altissimo E for me. The F# sounds much better.
Amanda Cournoyer
URI Clarinet Ensemble, Bass Clarinet
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Author: gsurosey
Date: 2005-04-12 00:05
Is Kenneth Grant from Rochester, NY by chance? If so, I've heard him play and he is an amazing player. I've been doing some work on Copland the past 2 semesters and I do love the piece. I just gotta get it up to tempo in spots.
Good luck w/ your master class
Rachel
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Author: GoatTnder
Date: 2005-04-12 03:12
I worked this piece up last semester. So, here's the stuff I think about it (IMHO throughout this entire post):
Find a recording you like. I've got Martin Fröst, and his is pretty good. There are a few things I don't like, but such is life. Essentially, you'll want to memorize the orchestra parts and how they relate to you, so counting will not be an issue. Rather, you will simply hear when you come in. As for swinging it, I don't think it should be done except for in the two places it's notated as swung. And in those two places, swing it! Don't follow the actual notated rhythm. If you're talking about the very last F# in the cadenza, I don't think it's a good idea to smear up to it. The rest of the cadenza is jazzy-ish, but it's still very structured, and that smear jumps out of the structure. I do tongue the notes at measure 320, but it's extremely legato, barely pausing the sound. For that high F#, try the overblown Bb fingering. It's sharper, and you may even need to pull it down some. At the end of the cadenza, when it goes from E to F# to E to F#, I'll use the standard fingering for the first F# (because it's really fast and short) and the overblown Bb fingering for the second (because it's longer and needs to be very in tune).
Unsolicited advice: Work out exactly where you need to breathe in the first movement before the cadenza. Mark those spaces, and make full use of them. The opening of the song is absolutely exhausting, but if you know where your next breath is coming, you'll get through it OK. Also, I know some like to put vibrato in this piece, but I personally think it's out of character. But that's up to you.
HedgeWitch said it is her (his?) personal favorite, with the Finzi following. I'm more a fan of the Finzi, but really love the Copland. It should be a blast. Good luck.
Andres Cabrera
South Bay Wind Ensemble
www.SouthBayWinds.com
sbwe@sbmusic.org
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Author: William
Date: 2005-04-12 15:57
As for personal "artistic license", I read that Copland was very open to different interpretations of his work. However, I believe that you should basically stick to what he wrote and not create your own "edition". Personally, I like the cadenza kept "straight" and the "with humor, relaxed" segment to be one of style, not a matter of "swing". Benny worked very closely with Aaron when he did his recording and I think his interpretation is about as good as it gets. However, I've never heard anyone play the opening as supurbly as Richard Stoltzman. Go for the best of both worlds here. Good luck and enjoy!!
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Author: claril
Date: 2005-04-13 16:23
Hi there,
Yes the Copland Clarinet Concerto is currently, and has been for a while now, my favourite clarinet work. I just simply love it..
I have heard a few nice versions, but the recording I have is the one by Laura Ardan - I really love her playing.
I recommend listening to different versions of this piece if you haven't heard it, or if you think you need to hear different versions to understand it.
Thank you for bringing up the topic
Post Edited (2005-04-13 16:32)
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