 The Clarinet BBoard
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Author: Escsrc
Date: 2006-11-22 01:52
Hey everyone.
For a small chamber group, one of the pieces I've been preparing is the Milhaud Suite (clarinet, violin, piano; starts in Bb major). I was wondering if anyone has any experience with the piece (especially movement 3, Jeux) and if they have any suggestions or comments on it? Thanks very much in advance!
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Author: vin
Date: 2006-11-22 04:19
Is your group getting coaching? What does the coach say? He or she would probably be able to tell you more, having heard you play.
There is that one tricky part in the 3rd movement- you know the one I mean- just practice it dead slow and try to move your wrist as little as possible. Make sure when you get the speed up that you keep your fingers close. It's like an Opperman exercise!
This piece is full of opportunity to portray different moods and use different colors on the clarinet, Make sure the sassy parts are real sassy and the beautiful parts especially lyrical, etc. This piece can be boring if the characters are not brought out, but it really comes to life with the right energy and attention to timbre.
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Author: Tobin
Date: 2006-11-22 04:19
What a great piece. I'm sure that many here will have good advice to contribute.
My thought is to take quite a bit of rehearsal time with your violinist to explore the piece. Each movement has some sensitive interplay between the two of you (not to diminish the piano contribution.)
Throughout the first mvt the octaves with violin can be quite pitchy. As was explained to me, many violinist's major second (do-re) is a smaller interval than what we are used to playing. (My violinist adjusted for me!)
The dialogue exchanges in the beginning of the second mvt. also take some time and sensitivity.
A lot of the writing Milhaud did for Violin in this piece reminds me a great deal of fiddle playing. Take the time to play through slowly until you both understand how the parts are interrelated.
The last two measures (of Jeu) with it's hemiola-esque finish just takes some playing through till you are both comfortable.
There are several places in each movement where it might be to your advantage to write the violin's rhthym in in your part (III, ninth measure after "Moins anime"). It will help you be prepared for the fitting of the two parts.
Decide ahead of time who will cue the "au Mouv't" fifteen measures after the "moins anime". We found it was easiest for the violin.
Good luck and have fun!
James
Gnothi Seauton
Post Edited (2006-11-22 04:21)
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Author: sherman
Date: 2006-11-22 20:04
The Overture -Suite is a very interesting work, mostly because it has to sound facile, light and relaxed, but the work can be treacherous , mostly because of the key, the speed and the agility required. I recorded it on Sne Records ASIN: B000005KH1 , listed on Amazon , part of "Music from Concordia". I have also included a performance analyses of the piece in the Clarinet Corner(Repertoire) http://clarinet.cc .
The work goes very well with the other great works for the combination of Violin, Clariet and Piano, like Bartok "Contrasts" and "L'Histoire du Soldat"
the trio version by Stravinsky, and in that context works as a piece of relaxation. Add the Khatchaturian, and you have a very fine program.
The interesting thing about my recording is that I played the work on Clarinet in A, which makes,"Jeu" for Violin and Clarinet a very simple movement, (in an easy key) unlike the original. Think of it as Cafe Music, and it goes very well.
Sherman Friedland
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Author: Bflatpenguin
Date: 2012-10-08 03:33
Not sure if you'll see this as the original post is quite old, but you mention Milhaud's music being banned by the Nazis and French regime, can you direct me to any sort of resources that discuss that? I'm currently researching the evolution of the Suite from Le voyageur sans bagage into Suite 157b for cl/vl/pno, and to know more about the circumstances of the music's banning would be extremely helpful.
Thank you!
Alyssa Eichen
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