 The Clarinet BBoard
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Author: Old Geezer
Date: 2007-02-21 16:35
She plays OK...but the emotional stage showboating is not edifying!
Clarinet Redux
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Author: CEC
Date: 2007-02-21 17:26
She is clearly very talented, but I agree about the showboating - it's definitely effecting her tone and intonation (which is a bit shaky to begin with).
I'd have been shot dead by any of my teachers if I moved around that much!
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Author: ken
Date: 2007-02-23 00:44
If you want to really experience full-contact clarinet, view the (previously posted) YouTube video of Sabine Meyer rehearsing the Mozart in Brussels: she's her very own ping-pong tournament.
Sabine Meyer (Brussels)
http://www.youtube.com/watch?v=-R2GQJgig8s&mode=related&search=
As for the young lady's version of the Mozart, and taking into consideration sound byte quality, I was impressed and found her rendering distinctively personal. I didn't detect any instability in tone; she supported and maintained a steady pitch center in all registers. In fact, I felt she had a very pleasant ring in her sound. I'd be interested in who are her major influences.
A few observations were lack of a strong, dynamic range. As well, her emoting didn't seem proportionate to its musical output; that is, she looked passionate but didn’t sound passionate. The "musicality in the music"---the feeling, ritmico energy, drama and tension, drive and desire---didn't reach beyond the footlights. Her delivery was genuine and convincing; nonetheless, her over-emoting risked conveying mixed messages to the listener.
But there's a much bigger issue at stake: learned / applied fundamentals and proper methodology. Some questions and areas for solution:
So what happened to a touch of vibrato to communicate expressiveness?
Can you not SING through the horn with a broader dynamic range and recreate the human voice by lyrically internalizing?
Or perhaps, emulate the Pizz of a bow using your tongue?
What about generating forward motion by shortening phrases and articulations.... still maintaining tempo?
Can we agree producing multiple and varying shades of tone colors can instill emotion into the music?
Could simply replacing a reed (or sliding it off-center, up or down) alter and affect tone, color and mood?
My labyrinth!
Used effectively, all of these "academic tools" create emotions, and with barely moving a muscle. A good example of effective interaction is the YouTube clip of David Shifrin's 3rd Mvt. of the Mozart. Offering a facial expression (the eyes are a huge communicator) and slight swaying inflection, Mr. Shifrin's bodily embellishments are seasoned, purposeful, and speak clearly to the music and listener on a conscious and subconscious level.
It's not just the entertainment factor, but presenting a whole person package. It's a matter of adapting your instrument to the music; not the music to your instrument: and this takes time and practice and experience and maturity. v/r Ken
David Shifrin (Mozart 3rd Mvt. snippet with Youth Orchestra)
http://www.youtube.com/watch?v=fSlJ7tfV8ME&mode=related&search=
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Author: Jack Kissinger
Date: 2007-02-24 15:40
The clarinetist's name is Carelys Carreras Camporredondo. A little Googling unearths the facts that she was born in Havana in 1976 and studied at the Wiener Musikuniversität with Peter Schmidl.
Her performance of the third movement of the Mozart is here:
http://www.youtube.com/watch?v=RrViboXXb1I&eurl=http%3A%2F%2Fclariperu%2Eblogspot%2Ecom%2F2006%5F07%5F01%5Farchive%2Ehtml>
I'm not sure "awesome" is entirely warranted. I don't think this performance rises to the level of top-rank professionals - in particular, I don't find her interpretation idiomatic in some of the small details. IMO, the eingang in the second movement is a bit overdone (if his recording is any indication, she didn't learn it from Peter Schmidl, BTW) and, for the most part she plays unprepared trills. Also, her articulation at the end of the third movement is inconsistent. Picky details perhaps but, for me anyway, they make the difference between "awesome" and "pretty good." I'll bet there are any number of current conservatory students who could do just as well, if not better.
Best regards,
jnk
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Author: CEC
Date: 2007-02-24 18:27
Sure, trot out Sabine Meyer, like that's fair
She's one of my favorite players, so long as I don't have to watch her
There are many examples of outstanding players who have visible poor habits that don't seem to impact their playing (poor posture, head nodding, wasteful finger motion, etc.). IMHO, she (Carelys Carreras Camporredondo) ain't one of them. Yet, at least. I caught a few spots where the her tone changes in the midst of a held note (not wobbling, but changing from one state to another). Perhaps it was just the doppler effect...
It would be interesting to hear what would happen if she put the energy she expends moving around, into her instrument.
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Author: claclaws
Date: 2007-02-25 12:42
Thank you for the youtube video. I really liked it. And the idea of women's orchestra is also fascinating and something that I personally attach to, because the orchestra I'm with is mainly composed of women.
Lucy Lee Jang
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Author: Elkwoman46
Date: 2007-02-26 19:38
Dear All,
I just love, love these videos; there are more from this orchestra on YouTube.
And you know what...the very strangest thing...I have never, ever seen anyone that looked so much like me as far as the profile that is shown on these clips, and it just amazes me (I have not mentioned it until now) but only from what I see in the profile looks like me, I am sure if I saw her frontal face I would say, oh, no not at all, but Izabella Shareyko's "profile" looks like me. I am so amazed. My hair is longer, and maybe I am a little thinner, but that looks like me and in a sense her mannerisms seem to be like me. I just can't believe it, really. In a sense, I feel like I am looking at myself when I see her. It is really weird. I have never seen a person that looked so much like me in my life.
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Author: Iceland clarinet
Date: 2007-02-26 21:53
CEC wrote:
"I'd have been shot dead by any of my teachers if I moved around that much!"
What!!!! Did she moved alot ? I can't see that and if she does move alot as you say then I can't here any intonation problems or shaky notes in her playing. Do you guys want people to be frozen in place and boring?
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Author: kev182
Date: 2007-02-27 00:03
I feel EXTREMELY awkward if the performer is very still. I really don't think she's moving too much at all. When people go got a live performance they want to see a show.
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Author: C2thew
Date: 2007-02-27 00:31
Are they taking that tempo as written?
Our inventions are wont to be pretty toys, which distract our attention from serious things. they are but improved means to an unimproved end, an end which was already but too easy to arrive as railroads lead to Boston to New York
-Walden; Henry Thoreau
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Author: FDF
Date: 2007-02-27 00:40
Geezer says, "She plays OK...but the emotional stage showboating is not edifying!"
If she sounds OK and is playing Mozart, then she's creating beautiful music. As a soloist her movement is expressive and entertaining, if she was sitting next to me in an ensemble I'd find the movement distracting. Since her movement bother's you, close your eyes. IMHO, you're simply looking for something unimportant to criticize.
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