 The Clarinet BBoard
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Author: TessaMarie
Date: 2009-06-26 21:34
What can you tell me about your difficulties when trying to master this piece? What did you love? What did you loathe?
It's been one of my favourites for a very long time and I'd love to play it. I have other possible choices which are by far less demanding, in my opinion, but this one is my favourite among those. So, basically, I'd just love to hear some opinions on working with and on this piece. Any suggestions, advices are very much appreciated!
Tessa
Most people use music as a couch; they want to be pillowed on it, relaxed and consoled for the stress of daily living. But serious music was never meant to be soporific. ~ Aaron Copland
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Author: TessaMarie
Date: 2009-06-26 22:47
Thank you very, very much! I just skimmed through it for now but tomorrow I'll take some time to read it all. Sounds very imformative from the few parts I've already read.
Tessa
Most people use music as a couch; they want to be pillowed on it, relaxed and consoled for the stress of daily living. But serious music was never meant to be soporific. ~ Aaron Copland
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Author: mrn
Date: 2009-06-27 04:22
I just read Ken's post, and I agree with David that it's got some good tips in it.
Just one little terminology nitpick, though: The little flourish at the end of a trill is called a "nachschlag" (afterstroke), not an "eingang" (entrance). An "eingang" is a type of short cadenza.
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Author: TessaMarie
Date: 2009-06-27 10:06
Yes, I did ask. And I still love it, hopefully I'll still love it after working on it...
- Tessa
Most people use music as a couch; they want to be pillowed on it, relaxed and consoled for the stress of daily living. But serious music was never meant to be soporific. ~ Aaron Copland
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Author: DavidBlumberg
Date: 2009-06-27 14:04
I played the piece so much in 9th grade that I got completely sick of it.
1st time I ever heard it played (I was in 8th grade) was Benny Goodman with the Norfolk Symphony live - that was cool.
Played it yet again in College and found the love for it once more and now as a teacher hearing it numerous times for District Band and Competitions, each student brings a new life to it.
or death
http://www.SkypeClarinetLessons.com
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Author: Paul Aviles
Date: 2009-06-27 15:07
MUST add this. Those who knew Marcellus know that he loved his French music above most else, even above.......Germanic music.
That said, Marcellus LOVED the Concertino. He felt it was a perfect piece for clarinet.
.................Paul Aviles
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Author: TessaMarie
Date: 2009-06-27 17:17
Another question: I have the possibility to get a version from Kalmus editions that was published in 1985 from a friend. Anyone has experience with that particular print? Is it a good one or should I consider buying another one?
Most people use music as a couch; they want to be pillowed on it, relaxed and consoled for the stress of daily living. But serious music was never meant to be soporific. ~ Aaron Copland
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Author: mrn
Date: 2009-06-27 18:10
You can actually download a public doman copy of the Concertino for free from IMSLP. Since Kalmus generally sells reprints of old editions that are now in the public domain, there's a good chance that one of the PDF versions from IMSLP is the same as the Kalmus edition.
I never played the Concertino for contest (I played the two Weber concerti instead). I played the Concertino on my "farewell" concert with my high school band as a senior. My band director (himself a clarinet player) handed me the version he wanted me to play off of--I can't remember exactly which one it was, but I want to say it was the David Hite/Southern Music edition.
But before that happened, I had purchased my own copy, which was the Pamela Weston edition published by Fentone. The Weston edition is nice because she includes a transcription of Weber's original manuscript along with the piano part, so you can tell which articulations, dynamics, etc. were original to Weber and which ones were editorial revisions. She also tried to stick pretty close to the manuscript with her own revisions.
For example, the little 9-tuplet finger rip that frequently shows up between the final two trills on certain printed editions is not in the Weston edition because it was not part of the original Weber manuscript. (It WAS on the edition I used for the concert.)
I didn't work on this piece with my private teacher (or at least didn't work much with her on it--it was a long time ago, so my memory is foggy), but she came to the concert. I remember her teasing me about my "jazz ending" (referring to the 9-tuplet). Clearly she would have favored the more purist approach of the Weston edition! 
Post Edited (2009-06-27 18:15)
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