 The Clarinet BBoard
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Author: claclaws
Date: 2005-01-23 11:55
Mr. Stoltzman did a wonderful job to give an explanatory remark before performing this minimalistic piece. Though I had the CD recording of this music, I never understood nor appreciated it.
The 'counterpunctual tapistry' he mentioned, though, just boosted the whole imagination in me while listening to his playing the first clarinet part along with the tape recording of other 10 parts.
As is my approach to any form of art created after 19th century, I just let my imagination guide me through the performance. Never been to NYC, but as the title contains NY, the first part probably describes the busy streets and klaxon sounds? People passing by, sometimes talking loudly, sometimes softly. Fancy stores, small shops..(mostly what I saw in the movies).. Is it okay to listen to the (contemporary/minimalistic) music like this? What is YOUR way of appreciating those musics?
For those who have seen/played the score of NY counterpoint: Is it in C major? Does it change keys? How hard is it? Have 11 clarinetists played this piece, or is it always with a recording tape?
Thanks for reading my 2 posts, and TIA for the answers.
Lucy Lee Jang
Post Edited (2005-01-23 11:57)
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Author: RAMman
Date: 2005-01-23 12:54
I've heard it played live by 11...it doesn't really work as no emsemble that I know of can get it exact enough.
I've recorded all 11 parts, and performed the live part live with 10 parts backing.
The score is a puzzle in itself, while it's done using accidentals rather than key signatures (I'm pretty sure from memory there's no key signture...) Mr Reich often maintains the same material, while enharmonically changing the score. So, things that look different are often excatly the same, but often not!
As for how hard it is...it needs major work. The opening presents it's own unique problems with repeated notes (plenty of recordings, including my own use, use electronic trickery to create the effect).
The middle movement is the 'easiest' but this like the rest of the piece is a nightmare to count and remember which repeat you're on! If you're recording it in complete tracks, you need a page turner and I had to have a repeat counter!
The last movement, is scary. All the parts look the same, but none are. Some contain extra notes, some miss notes out in the middle of a phrase.
The last movement does however, if you get it in the right place, contain one of the most satisfying key changes you'll ever hear.
If you like the piece, I recommend Roger Heaton's recording. This also has Gavin Bryers 3 Elegies on the disc...my current project for clarinet and tape, and an even better piece in my opinion.
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Author: studioline
Date: 2005-01-23 18:20
I hasten to disagree Ramman with your comment of it not working as an ensemble. As you say it does need to be done well to pull it off, but if it is, in my opinion it offers greater excitement and beauty, both soundwise and visually.
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Author: clarinetist04
Date: 2005-01-23 20:45
Is this a piece by Steve Reich? The same guy who wrote "Variations for winds, strings and keyboards"? (I'm studying that piece) I can't decide whether I like his music or not...it is DEFINITELY minimalistic and you're right, he uses the same material, but inserts notes or phrases and deletes some to the point where it becomes VERY difficult to perform well.
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Author: Katfish
Date: 2005-01-24 13:41
I really like Steve Reich's music. I would love to play New York Counterpoint if I could talk 10 other clarinetists into it. His music must be listened to carefully or it drives you crazy. It is not the aural equivalent of watching paint dry. If you relay listen to Violin Phase, it is a fascinating piece, but if you play it as background music at a party, the crowd leaves in five minutes.
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