 The Clarinet BBoard
|
Author: Susan Eileen
Date: 2005-09-17 04:36
I have a copy of
"Sonata by Leonard Bernstein
concert Repertoire
of
B-flat Clarinet Solos w/ Piano Accompaniement"
dated: 41-42
Open up for comments -- anyone else familiar w/ this piece -- what do you think?
|
|
Reply To Message
|
|
Author: GBK
Date: 2005-09-17 04:48
If you want some background information on the Sonata, there are two biographies of Bernstein which will give a good historical overview:
Bernstein - a Biography - Joan Peyser (1987, Beech Tree Books)
Leonard Bernstein - Humphrey Burton (1994, Doubleday)
Both books are controversial, but make interesting reading, as they reveal all sides of this most fascinating individual.
Bernstein began writing the Sonata in 1941 when he was completing his studies at Curtis. The sonata was Bernstein's first published work.
An intersting bit of trivia is that Bernstein actually had purchased a second hand clarinet from a pawn shop two years earlier "with his last four dollars" (Leonard Bernstein - Humphrey Burton) to familiarize himself with the instrument.
I think it's fair to say that Bernstein's $4 clarinet probably wasn't a Buffet. ![[wink]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie3.gif)
The Sonata is dedicated to his long time friend, clarinetist and record producer, David Oppenheim. The first performance was in 1942 with David Glazer on clarinet and Bernstein at the piano. Oppenheim and Bernstein recorded the Sonata in 1943.
This early work by Bernstein (he was 23 when it was written) is now a fairly standard piece which all clarinetists eventually learn and keep in their repertoire ...GBK
|
|
Reply To Message
|
|
Author: crnichols
Date: 2005-09-17 11:45
Since the piece is from his early works, it is often described as "Copland-esque." It has attractive, open sounding harmonies. It's a very nice recital piece, appropriate for any program. The recording that I've heard the most is Druckers, but Stoltzman recorded a version of it with orchestra performing the piano part. It's on the same disc as his Copland. It's a particularly great piece to hear him play, it really displays his best qualities I think. Enough of that for now though, regarding performance, these are some of the traps I hear people fall into:
The first movement,
Tempo too slow. I would pay careful attention to the tempi Bernstein sets here. The material at the beginning is very beautiful, but it shouldn't go on forever, people like to wallow in their own tone too much here, it should move forward. Also, pay careful attention to the dynamic, articulation and emphasis markings. The thematic material is repeated often, and by ensuring that we play forte, piano, staccato, accented, and marcato when asked to, we can hold the listeners interest.
In the second movement, the same things apply as from the first movement, but make sure you know the piano part COLD. I have heard seasoned professionals make wrong entrances because of the changing meters. Also, with the mixed meters, for example in the 5/8 bars, it is important to pay attention to the groupings that he writes. Make sure that is sounds like 2+3 or 3+2, or in the case of 8/8, 3+2+3, or whatever he writes. Also, practice with a metronome clicking the eighth note pulse will help ensure your rhythms are correct (and if your paying a pianist to perform with you, it will save you money by reducing rehearsal time). Oh, and the other thing I like to think about with this piece...it has a great amount of lyrical material, but no "slow movement." It does have a very beautiful slow section that opens movement II, and I would suggest thinking of something very individual and special to do here, let the audience hear it as you do.
Also, if you ever perform a recital or a solo in Europe, I love to play American music over here, it isn't very common in their programming, and it's a shame that it isn't heard very much over here. Bernstein and Copland among others were truly brilliant composers, and their voices should be heard.
Best wishes
Christopher Nichols
1st Infantry Division Band
|
|
Reply To Message
|
|
Author: Ken Shaw ★2017
Date: 2005-09-19 14:06
Chris is exactly right. I would add only one thing. In the first movement, you need to be very precise on the rising quadruplet group of quarter notes played against the triple meter.
Divide the measure into 12 sub-beats. The normal quarter notes get 4 each, and the quadruplet quarter notes get 3 each.
Contest judges know about this spot and watch it closely. You can't afford to try to "feel" it. You'll get the notes in, all right, but only by stumbling through.
By getting this difficult spot exactly right, you'll impress the judges and have something "in the bank" if you make a mistake later.
Ken Shaw
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
