 The Clarinet BBoard
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Author: col anderson
Date: 1999-03-16 22:05
I have recently begun work on the 2nd Weber Clarinet Concerto and i was wondering if anyone out there could provide some helpful tips as to capturing the engery and excitment of the piece. I would also appreciate any thoughts which could assist me in preparing this piece for a concert practice. I am also interested in the rating you would give the 2nd weber concerto both technically and musically.
Thanks
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Author: ted
Date: 1999-03-17 02:44
This concerto is one of my favorites. It's a very "showy" piece. Make a bold atatement from the beginning; the first eight bars are double forte and firm. The first movement exposes bad intonation in the throat register, so make sure you have good support when in that register. Make sure that when you're in the sections with repeated sixteenth notes, that it doesn't sound like an exercise (accenting the beat), but rather as several longer phrases. there are several places where you tongue from low E to high F. These should be super clean. since the ochestra is playing there, you can even slow the runs down if you have to. The second mevement os very operatic. Treat it as if you are an opera singer. I've heard the third movement played at many speeds by different performers all of whom played t very well. As long as it's light and bouncy, it can still be very musical at the slower tempo.
It's difficult and very rewarding, both for the performer and the audience. Of pieces I've played it's probably an 8.5 technically. I found it more difficult than the Mozart, about as difficult as Debussy's Premiere Rhapsody (but in a diffferent way), and not as difficut as Rossini's Intro Theme and Variations. I have the music to concertos that seem much more difficult than these, but haven't gotten the courage to tackle them yet. Walter Boyekens and Sharon Kam have excellant recordings of the Weber Concerti.
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Author: Ken Shaw
Date: 1999-03-18 17:29
col anderson wrote:
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I have recently begun work on the 2nd Weber Clarinet Concerto and i was wondering if anyone out there could provide some helpful tips as to capturing the energy and excitement of the piece.
Col -
I think you have described the Weber #2 very well. Energy and excitement are two of the primary components. These must be balanced with fine, long-lined cantabile playing and tonal beauty. To my mind, the best recording, by far, is the old one by Gervase De Peyer (originally on an LP with the Spohr #1). I'm sure it's been reissued on CD. If not, it's pretty common in the used record stores. De Peyer gets the perfect mix of virtuosity and elegance.
If there's a key word, it's "operatic." It will help to listen to at least highlights from Weber's operas, to understand the large musical gestures, the drama and the projection of personality that are central to them and to the concerto.
Of course you have to work out the notes, but it's important to get with at least a pianist as soon as possible and to get as much rehearsal time as you can with the orchestra. There are constant dialogues between the soloist and the accompaniment, which you have to be able to receive and then hand off. You simply cannot learn this by practicing alone. Also, the piano/orchestra often has the melody while you have a noodling accompaniment pattern. You have to recognize that you're the accompaniment, and not dominate the melody.
Resist the temptation to use the "long" F fingering (thumb, register key, 3 fingers on each hand and the C#/G# key) on your first entrance. It's a little more secure than the regular fingering, but the sound isn't as nice. The high F of course has to be loud, but not forced. Also, the phrase goes on to include the low F and low E. These have to be just as loud as the high F, which means you will probably have to play the high F a bit softer than full out.
You absolutely must play the high A and Bb in the ascending arpeggios near the end of the first movement. I find the last one easiest with the "long" F and then add the throat Ab key (and perhaps the F/C key with the right little finger) for the Bb. In that spot, the F is on a weak beat and in a fast passage, so the inferior sound of the long fingering is not noticeable.
After the rush of the first movement, the second has to be a complete contrast. You must always imagine you are singing, with long lines and beautiful tone. You must also bring out the drama. Think about the opera you have listened to. This is not just note-spinning. This is strong, highly emotional stuff.
Don't take the third movement too fast. It works best at about 100. It's labelled "Polacca," which is a dance. Of course you could play faster. Instead, drop back and use the extra energy to set up an infectious beat -- one that makes the audience want to dance in the aisles.
The chromatic modulations, with the melody repeating 1/2 step up, should make the audience feel creepy. Bring out the strangeness. The return of the melody in standard harmony will then be like the sun coming out.
Pull back a little when you start the sextuplets on the last page. It should ripple, not rumble. You have plenty of time to work up to a furious finish at the end.
The Weber #2 is one of the great clarinet concertos. Everything works well on the instrument, and you can make a tremendous impression.
Good luck.
Ken Shaw
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