 The Clarinet BBoard
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Author: Ken Shaw ★2017
Date: 2007-03-02 14:57
It's all in B Major. As Jack Brymer says, hadn't he heard of the A clarinet? Brymer says, of this and the Milhaud Concerto, that they're for a new generation, which may perhaps have technical abilities unknown to today's players. He certainly wasn't ready to try.
Ken Shaw
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Author: donald
Date: 2007-03-02 16:11
i heard this played by a young German fellow some years ago and could swear that he was using the A Clarinet
donald
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Author: cigleris
Date: 2007-03-02 21:52
I have a recording of Askenazy(sp) playing it. He either plays it on a full bohem instrument or an A because the low Eb is present in the cadenza. Tried learning and thought it wasn't worth the hassel. It's not the most interesting piece on the planet. The Milhaud is better but not a masterpiece. I find it more playable than the Francaix.
Peter Cigleris
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Author: clarnibass
Date: 2007-03-03 05:28
I never heard this before but thought this piece is great. Is there a recording of this available?
Maybe some of the hard excercise-like phrases where many out of scale notes (all the sequences) are even harder if transposed to A clarinet?
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Author: willr13
Date: 2007-03-04 10:40
Oh my word!!!! he is great!! does anyone know anything about him?? where he studies who with etc?? he is great , great sound, amazing technique and musical!!! Oh my word!!!!!!
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Author: Iceland clarinet
Date: 2007-03-05 02:00
cigleris please can you tell me where is a low Eb in the cadenza I don't see it. I only see low E#
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Author: GBK
Date: 2007-03-05 03:36
willr13 wrote:
> Oh my word!!!! he is great!! does anyone know anything
> about him?? where he studies who with etc??
> he is great , great sound, amazing technique and
> musical!!! Oh my word!!!!!!
http://unm.dk/?page_id=126 ...GBK
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Author: donald
Date: 2007-03-05 06:13
"is it acceptable"????... anything is acceptable if you can get away with it! (well, just about anything) The only people who would really care would be other clarinet players.
hey, wasn't there an Italian player who used the B flat clarinet for the Mozart Concerto?
keep playing the good tunes
donald
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Author: donald
Date: 2007-03-05 07:25
look, you don't need to take everything so seriously, you can instead take it for granted that my comment was intended to encompass the boundaries of good taste and fine musianship, alright?
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Author: Iceland clarinet
Date: 2007-03-05 07:56
Donald sorry if you thought I was roud to you I didn't mean to. Here's a little story. There was a player playing solo in the orchestra on the Bb clarinet. Then the conductor stoped and said "are you playing this solo on Bb clarinet?" "ehe yes" said the player "you should play it on A clarinet" said the conductor. The player took his clarinet down pulled out the barell and put again on his Bb clarinet and began to play again. Then the conductor said "ah much better". So this might be right. Glen Could got away with playing Beethoven's appasionato sonata half time slower but is it professional? Reginald Kell played all the three pieces by Stravinsky on Bb clarinet and also played the second piece more than half time slower. Is it professioanl? At least my teacher won't let me do it that way.
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Author: clarnibass
Date: 2007-03-05 07:57
I (and I think Donald too) meant simply that you don't have to do only acceptable things in music. We never said that EVERYTHING that isn't acceptable is good, but from your comment it seems you misinterpereted.
"So playing the Nielsen concerto half time slower like Benny Goodman did is very professional ?"
Which has nothing to do anything said before. Anyway that depends if your goal is to do something that is professional, or have a logical reason to do this.
"Is it professioanl? At least my teacher won't let me do it that way."
It is a different siutation if you "have" to do what your teacher says, and they have a clear idea of what you should and shouldn't do. This doesn't mean other ideas aren't good and have logical reasons behind them. This last sentence you wrote is getting into a lot more personal and philosophical choices.
Post Edited (2007-03-05 08:07)
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Author: TonkaToy
Date: 2007-03-05 13:38
I guess I have to chime in her concerning what is acceptable and what isn't. There is a lot a latitude regarding, "what is acceptable". Three quick anecdotes to illustrate my point.
I studied in graduate school with a principal clarinetist in a major American symphony. He was a fantastic player and had, at the time, 45+ years experiece playing in the finest orchestras and with the most prominent conductors in the world.
I was hired by a pick up orchestra to play the Tchaikovsky 6th symphony. I'd never played it before. I only knew the big solos from the piece. When I had the complete part I asked my teacher about a series of figures in the first movement. It was about 1/2 of a page doubling the 1st violins. Very fast with some sliding around between right and left hand little fingers, if I remember correctly. So, I asked my teacher, "how do you play this". He leaned back in his chair, took off his mouthpiece and barrel, and swabbed out his horn while humming the part. He said, "why worry about this, they'll never hear you. You have lot's of things to worry about in this piece,but this isn't one of them".
Second item; I heard my teacher play the Rachmaniov Symphony #2. The slow movement solo was stunning and the high "d" was beautiful. No break, no hesitation, no nothing. I asked him about it later. I was especially curious about the high "d". He told me that he used a "fake fingering" for the "d" because, "we're playing this on tour a number of times and recording it when we get back home and I'll be damned if I'm going to make myself sick worrying about it". The note was in tune, had a nice quality about it and the conductor didn't question it, so....
Finally, I was playing a summer festival with my teacher and the Berlioz Symphonie Fantastique was on a program. I was allowed to play principal on the piece and was worrying about the last movement solo that comes (after?) the e-flat solo. I was concerned about getting the tills/mordents correct. My teacher said, "let me show you how we play it in the orchestra". He never played the trills. The second player plays them. The orchestra had recorded the piece. I went back and listened to the recording several times and could never tell the difference.
My point here is this; my teacher was a monster player. Could he have played these three examples "correctly". Absolutely, without a doubt. The bigger question is why should he. If the notes were in tune, the character of the piece wasn't compromised and if the audience or conductor didn't notice why give yourself an ulcer?
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Author: D Dow
Date: 2007-03-05 17:23
I don't really mind something played really slow provided the performance is interesting and musically engaging...playing something too fast and badly is just as great an evil.
As to playing everything the same way one's teacher does ...well I am afraid once one works in the professional world of music you will have to be able to everything in a million different ways.
As to the playing I really like this Blago M's playing although at times I find his sound in certain runs not so great he has great fingers and a firm tonal concept of how he wants to sound. Quite interesting.
David Dow
Post Edited (2007-03-05 17:29)
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Author: Ken Shaw ★2017
Date: 2007-03-06 00:46
There have been at least four recordings of the Francaix Concerto, all very fine, by Jacques Lancelot, Maurice Gabai, Dimitri Ashkenazy and Philippe Cuper. Unfortunately, all are out of print. The Gabai recording is my favorite -- he tosses it off seemingly without effort and can accelerate at will to rip through the fancy parts.
Several years ago (at the ClarinetFest at Ohio State), I heard Sean Osborn do a dynamite performance with piano. I imagine he has a tape. Sean, are you out there?
Ken Shaw
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