 The Clarinet BBoard
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Author: LeWhite
Date: 2005-01-01 06:37
Well this coming year is my final year of my course, Bachelor of Music Performance! I'm thining about my final recital, which is 50 minutes long. What repertoire is kinda mandatory in this case? A few ideas are:
-Muczynski, Time Pieces
-Weber Clarinet Concerto in Eb
-Copland Clarinet Concerto
-Ross Edwards, Binyang for clarinet and percussion
I'm not so sure about the Copland, being with piano and all.
Suggestions greatly appreciated!
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Author: Bradley
Date: 2005-01-01 08:29
I think the Muczynski is an excellent recital piece. I would've figured Brahms would be on your list though.... Anyway that looks like a great list- do you have any more choices?
Bradley
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Author: Aussie Nick
Date: 2005-01-01 09:08
I would put the Mozart concerto before either of the Weber's. It is by far the most commonly performed and requested in auditions. Either of the Brahms sonatas and the Rossini intro. theme and variations are also good to know. I've seen the Rossini on the list for auditions at various music schools for post graduate entrance.
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Author: EEBaum
Date: 2005-01-01 09:27
I'm not familiar with the Edwards, which is a good thing. I'll have to check it out.
The Weber should satisfy any "you must play standards" professors. The Muczynski suddenly seems to be popping up all over the place.
Copland is nice, assuming that you know and live the piece, and become a part of it, and delight in playing it. There are some pieces, to me, that are excellent when played by someone who has been absorbed into every facet of it, and lousy as an "another piece on the concert" addition. The Copland, Poulenc, and Malcolm Arnold (Sonatina) are on this list, among others. (fudging goes badly, as opposed to Finzi Bagatelles or Schuman Fantasy Pieces, where fudging doesn't kill the piece)
If you know any student composers that have written a short piece for clarinet, seek them out (better yet, if there's time you might collaborate or do a sort of commission-deal). There's no place like a senior recital to premiere something! The composers, and instrumental professors, are often surprisingly (or not so surprisingly) receptive to this. I played a piece written by a friend for my jury this semester. Granted, it should be of good quality.
-Alex
www.mostlydifferent.com
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Author: LeWhite
Date: 2005-01-01 09:58
Aussie Nick, you KNOW the Rossini's way too hard for me!
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Author: clarnibass
Date: 2005-01-01 11:16
About what Aussie Nick said, definitely DON'T play the Mozart concerto! It is the most played clarinet piece and unless you can out perform players like Sabine Meyer, Sharon Kam, etc, or make it something special, there is no reason to play it.
Sounds to me like this is your chance to be original, so don't play the standard pieces (nothing is mandatory unless they tell you to play something or you don't graduate). Pieces most people don't know are a good idea, because they can't compare.
EEBaum has a great idea. If you can find a new short piece by someone it's nice, as long as it's good of course.
Good luck.
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Author: Bradley
Date: 2005-01-01 12:24
I agree about not performing the Mozart for a recital. Possibly for a jury in college, and people at my HS have done it for juries, but it doesn't sit well with me as a clarinet/piano piece. How about doing a Mozart Quintet or Trio or chamber music from other standard composers?
Bradley
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Author: LeWhite
Date: 2005-01-01 13:14
I was also thinking of replacing the Weber Concerto with the Quintet, however if the ensemble I do it with isn't great, then I can be marked down. Surely this isn't entirely fair, but that's the way it is and I can't change that. I'm not sure if I want to take that risk.
The Ross Edwards piece is a good idea because it's modern and relatively unknown (Ross Edwards is a very prominent Australian composer). My teacher also has a knack when it comes to getting out pieces no-one's ever heard of, but are not only challenging but very nice pieces as well. For example, anyone ever heard Fantaisie Italienne by Marc Delmas? I did that in my 2nd year recital recently and it was probably the nicest piece in there.
Brahms is a good idea too, thanks, I don't know how I skipped that!
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Author: hartt
Date: 2005-01-01 13:57
LeWhite
The selection of pcs to play or not to play (and why) could go on and on.
Mozart is so over played, Brahms is kinda 'heavy' and heavy on the piano part.
As an offering that truly shows one's musical expression and control, with technique in the cadenzas, you may want to consider Rhapsody for solo clarinet by Wilson Osborne.
In fact, this pc was reviewed in the ICA CLARINET mag, Vol 30, #1.
Additinal considerations, to name but 3, could be Rhapsody by Debussy, Dances by Libby Larsen and 3 Pcs by Stravinsky, all also reviewed.
Any of the above and manyyy more could be suitable for your recital needs.
However, I don't know how well they would come across being played on a LeBlanc ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
Happy New Year
regards
dennis
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Author: RAMman
Date: 2005-01-01 18:55
Speaking as someone else who is currently putting together the recital to finish their degree...
Don't play any concerto...full stop, unless (as many courses do...but mine doesn't) you have a requirement to play one. You're doing a recital, with piano I would imagine. There is something to be said for performing pieces in their 'correct' manner, rather than with orchestral reductions.
My current programme that is far from final as I'm unsure of timings is...
Lovreglio/Verdi - Concert Fantasy on La Traviata
Paul Patterson - Conversations
Weber - Grand Duo
Good luck...to anyone in our slightly terrifying situation!
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Author: LeWhite
Date: 2005-01-01 22:28
hartt, I did the Osborne in first year, it's a GREAT piece, definitely one of my favorites.
RAMman, I see your point about concertos. My teacher would really like me to do a movement of the Weber because I'm doing it in a competition early this year. He thinks the last movement may be appropriate... I think it might kill me, putting it at the end of a 50-minute recital, but hey, we'll see.
The Verdi sounds great, that's a good idea. Oh and I did the Grand Duo in 2nd year so that one's out (It doesn't go down well to do a piece you've already done I would imagine).
I can't remember the composer, but does anyone know Three Pieces in Birdform (or something like that?) by a Japanese composer? I'd love to include something very different but still accessable by my audience, which will consist of family who aren't 'in the know' and may not appreciate it if I did something extremely 'out there'.
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Author: sfalexi
Date: 2005-01-02 00:26
I've only heard and therefore know the Copland. But you sound like you know what you're talking about and doing so I trust that it's a pretty good list. I know for myself, that at some point I'd like to do Debussy's Priemier Rhapsody at some point for a performance. Some point in the FUTURE I might add.
Alexi
US Army Japan Band
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Author: Aussie Nick
Date: 2005-01-02 00:58
"It is the most played clarinet piece and unless you can out perform players like Sabine Meyer, Sharon Kam, etc, or make it something special, there is no reason to play it. "
Yes but no one is expecting an undergraduate student to perform to the standard of these big time soloists. RAMman makes a fair comment about not performing concertos in a clarinet piano recital, however I have to do 2 recitals in my final year (this year) and one of those recitals must include a concerto. Although it is overplayed etc etc I still think the Mozart is the obvious choice as it is essential to know it well for auditions I plan to take in the future, and auditions I have already taken and played it like crap. Also, I should have mentioned the Debussy - don't know how I forgot.
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Author: Aussie Nick
Date: 2005-01-02 01:01
Oh, and the Rossini is no harder than the other stuff we have mentioned here. Robert (your teacher) would be great at giving you ideas about phrasing etc and the technical side of it is really not that big an issue once you know it well enough. I would be more concerned about trying to get all those frigging notes in the last movement of Weber!
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Author: Tom A
Date: 2005-01-02 01:46
Takashi Yoshimatsu- Four Pieces in Bird Shape. Do a Google exact search of that title.
I'm not a serious performer, but my teacher before I went to Sydney Con years ago was a certain inspiring New Zealander now known for his teaching work in this country. I don't mention his name because it may be libellous if people think my "ability" is a result of his teaching!
Anyway, his advice to me (perhaps because I was heading for school and instrumental teaching) was not to overlook ENTERTAINING your audience. I don't mean thinking too far outside the box, but maybe balance the serious stuff with a short intermezzo (might help you to smile and relax in the middle also) and an encore. Ever seen Clarinetto con Moto by Reg Kell, or Immer Kleiner by Schreiner?
I find it fun when playing for a student audience or compering a small school concert to give them a chuckle with the music or a couple of interesting facts about it. Like I said, don't go off the wall, but if part of your brief is to justify your program then it seems perfectly valid to me to say who your likely target audience will be, and your recitals later in life might not be attended by lots of people with letters after their names but by people like me and my kids and their parents.
That's my US$0.01563 worth. Cheers and good luck.
------------------------------------------------
Confucius say: "Why you always quote me in silly Chinese accent?"
Post Edited (2005-01-02 01:55)
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Author: EEBaum
Date: 2005-01-02 04:15
Well said, William, concerning entertaining the audience. I've attended many recitals, especially college senior recitals, where the performer gets caught up in making their clarinet work like they want it to. I find myself on the edge of my seat, hoping that all goes well so that the performer doesn't explode, knowing that the first couple missed notes will likely throw them off completely.
I often get this feeling early into a recital, or worse yet, before it begins. Whether you are nervous or not is irrelevant. Know this: The audience is there because they want to hear good music and, especially at a college recital, because they like you personally. If you are on edge, worried about the notes, it shows, and they become on edge as well.
A recital can go much more smoothly if you as the performer realize and take to heart that everyone in the audience WANTS to hear it played well, but more importantly, wants to relax. If you are willing to forgive yourself of stupid mistakes, the audience will likely be willing as well. An energetic, musical performance with a few flubs is far preferable to a performance focused on technicalities (which will as a consequence actually usually end up with MORE technical woes).
William's advice comes into play here... if you've given a bit of information between pieces, the audience will have something to listen for, which makes said passages more effective to play, and provides you with a roadmap, as if you're telling a story. With a story in place, part of the focus is shifted away from the clarinet itself, which may help you feel less pressured.
As for entertaining repertoire, consider what the other clarinetists have played recently at their recitals, and DON'T PLAY THAT. I've heard the Weber Concertino at 3 recitals in the past year and it's coming up on 2 more. In my college, I could go for some Mozart, but I especially appreciate a concert with something I haven't heard before (even better if it's a less familiar style). Most importantly, though, pick music that you personally enjoy.
-Alex
www.mostlydifferent.com
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Author: jo.clarinet
Date: 2005-01-02 05:47
How about including 'Lied' by Berio, for clarinet solo? I bought the music recently and think it's a brilliant piece - I'm going to use it in a couple of performance situations in the next few months.
Joanna Brown
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Author: Francesca
Date: 2005-01-02 06:57
The Hindemith clarinet sonata is a great piece. I performed it on bass, but it sounds lovely on the original instrument as well. As to other pieces, consider some chamber music. For my junior recital I did a short piece by Stravinksy and a piece with my woodwind quintet. For my senior recital a harpist friend and I are arranging a duet.
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Author: sfalexi
Date: 2005-01-02 07:14
I'm curious . . .
For a college recital, how would you pick the music? Is it stuff that would show off what technique you have right now? Is it stuff that you enjoy the most? Is it stuff that just hasn't been played that often? What's really the 'criteria'?
Alexi
US Army Japan Band
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Author: clarnibass
Date: 2005-01-02 07:52
Since it's his final recital, I think there are 3 things to cosider when choosing what to play.
Enjoy the pieces you play, have the audience enjoy your concert, and have the teachers understand how good clarinet player you are and get a good grade. Not necessarily in that order.
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Author: Alexis
Date: 2005-01-02 09:00
If you are preparing the Weber for the clarinet competition in March maybe doing it at the end of the year isn't such a great idea because you will have to keep it fresh for quite a while.
If you do a Brahms, do some research on Brahms' musical aesthetic and try and get into a similar mindset. Despite being very popular among clarinettists I don't think the sonatas (especially the F minor) are his most immediately accessible works. As a performer you have to open them up to the audience and that means getting inside the composers head and projecting it outwardly...
I really think you should try and pick a recital that isn't the same as every other 4th year clarinet recital. As far as Australian compositions go, Binyang is good but you could also look at the Sitsky pieces (Varturun and Zuqerq), 'Snap' by Paul Stanhope, maybe Twist by Gerard Brophy (this is over performed in Brisbane but I don't know about Melbourne), Stick Dance by Andrew Schulz and many others. Have a look at the Australian Music Centre website(http://www.amcoz.com.au/) and see what they have. Also if you have a spare $10 lying round have a look at the equivalent New Zealand site (http://www.sounz.org.nz/) and pick something that looks interesting.
I have also heard that the Castelnuovo Tedesco Sonata is a very good piece (though I think it is quite long). There is the Copland Violin Sonata which has been transcribed for clarinet (by the composer) which I think deserves more performances. There are some good transcriptions of some Gershwin Piano Preludes. Maybe if you have any small interest in doing so you could get an early clarinet and play an early sonata observing period performance practices (and trying the get it in tune..). Or maybe a baroque transcription (e.g. the transcribed Rameau Suite) and create your own ornamention and embellishment etc. There's also a very interesting solo piece called "La Naissance du Papillion" by Yvonne Desportes. Or Soliloquies by Leslie Bassett. Maybe find a piece that isn't that hard technically and play it really well.
All I'm saying is do something different. If you choose to play well-known pieces that means you have to find a different angle and cast them in a different light. Play them as if they have never been played before, because otherwise the audience will get bored and you will get bored. I strongly believe that you have to do something special to make a 50min clarinet recital interesting....
I would put my audience above my markers in this situation because as far as I can tell nobody really cares about what marks you get when you are in the real world...
Just my opinion
Alex
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Author: LeWhite
Date: 2005-01-02 10:24
Thanks for all the suggestions so far.
It's also important to note that I will most likely be using this repertoire as audition material for entry into post-graduate study or honors, or whatever else I choose to audition for (I'm undecided).
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Author: Ken Shaw ★2017
Date: 2005-01-03 19:27
The Castelnuovo-Tedesco Sonata is very good. The music was, I think, only in manuscript for a long time, so it was seldom performed. The Martinu Sonatina is even better, but you need to be able to toss off the fast arpeggiated figures. (Listen to Sabine Meyer's recording.)
I don't know the Edwards piece, but it's always good to have someone else (other than a pianist) in to add variety.
You need a piece with "advanced" techniques -- quarter-tones, multiphonics, etc. It's expected of a performance major.
You're also expected to do one of the "standards." I agree that a concerto with piano is not a great idea. The Weber Quintet would be good, but the string parts are so dull the violist may walk out on you. (That happened to me at a music party.) The Brahms Quintet, or even the Mozart Quintet, are too big for a 50 minute recital. If you can find a really good soprano, Shepherd on the Rock makes a smashing finale.
Good luck. Have fun.
Ken Shaw
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