 The Clarinet BBoard
|
Author: claaaaaarinet!!!!
Date: 2009-09-03 23:55
Attachment: Liege List in English.doc (28k)
This list for the upcoming Eb clarinet auditions for the Orchestre Philharmonique de Liège is the most remarkable that I've seen. As one wit put it, whoever wins this audition won't need to practice again for the duration of their tenure...
Post Edited (2009-09-03 23:59)
|
|
Reply To Message
|
|
Author: William
Date: 2009-09-04 14:19
LOL--"whoever wins this audition " may not ever be determined if they have many players to audition. Listening to all of them may take decades.....
|
|
Reply To Message
|
|
Author: Ebclarinet1
Date: 2009-09-04 15:39
I don't know the two Margon pieces. I just tried Googling them and the only thing that showed up was the list for the Liege audition. Anybody know them or a source??
Have played most of the rest on the list and agreed this list is going to be a challenge, especially with Daphnis & Chloe in the first round.
Oh well good luck to those who try out!
Eefer guy
|
|
Reply To Message
|
|
Author: jcfasanar
Date: 2009-09-04 16:25
I was going to audition for it...
I have the Margoni studies.. Are very fun to play (very hard level) studies-hommages like the Bela Kovaks, but originally for Eb and much much more difficult pieces.
Finally a vacancy appeared in my country and i chosen to forget that audition. I prefer to concentrate in only one (and more practical for me) orchestra audition.
|
|
Reply To Message
|
|
Author: Alphie
Date: 2009-09-04 19:18
The list is very relevant. These pieces will all appear whithin three or four seasons in a busy orchestra. I'm playing five of them only this fall.
Alphie
Post Edited (2009-09-04 19:25)
|
|
Reply To Message
|
|
Author: Ed Lowry
Date: 2009-09-04 23:09
Peter Hadcock's book for E-flat clarinet has most of the excerpts, but not the Margon. Hadcock writes that he has a complete, suitable for performance of the Till Eulenspiegel's, transposed from from D to E-flat instrument.
Question for you pros: If one were to play the Molter concerti (written for D clarinet), but indicate that you're playing it on the E-flat instrument, would they want to hear it transposed, or are they simply seeing whether you can play it as written, and then, if it is to be performed, either they (or the player) will find a D clarinet?
|
|
Reply To Message
|
|
Author: jcfasanar
Date: 2009-09-05 03:49
Ed Lowry wrote:
> Question for you pros: If one were to play the Molter concerti
> (written for D clarinet), but indicate that you're playing it
> on the E-flat instrument, would they want to hear it
> transposed, or are they simply seeing whether you can play it
> as written, and then, if it is to be performed, either they (or
> the player) will find a D clarinet?
They want to hear it transposed, with the piano playing in the original tone.
I have never seen an audition requesting it as written.
|
|
Reply To Message
|
|
Author: Ed Lowry
Date: 2009-09-05 05:19
jcfasanar wrote, in response to my question: "They want to hear it transposed, with the piano playing in the original tone."
That makes sense. But why would they want you to tell them in the application whether you'll be playing it on Eb or D? (The "Liege List in English says: "* The solo part can be interpreted on a clarinet in D or Eb. Thank you specify your choice on your registration form.") Why would they care, since the pitch for the pianist would be the same in any event?
|
|
Reply To Message
|
|
Author: jcfasanar
Date: 2009-09-05 06:43
Ok, you are right, I had not read that. I "suppose" that you can play it with D clarinet if you have, but if you play with Eb you must transpose the part.
When the information is confuse or incomplete in the application, the best thing you can do is to ask them directly.
|
|
Reply To Message
|
|
Author: claaaaaarinet!!!!
Date: 2009-09-05 20:52
"The list is very relevant. These pieces will all appear whithin three or four seasons in a busy orchestra. I'm playing five of them only this fall."
Sure, it's relevant, but so what? Playing in an orchestra will obviously involve a lot of rep, but you don't have to incude ALL of it (plus multiple solo pieces) on an audition list. What does it accomplish besides reduce your pool of applicants and place an inordinate amount of stress on people? I'm guessing that reducing the number of people at the audition was their goal in making this list, but I personally find it annoying. You could make it half as long and still have plenty of material available to estabish a winner through multiple rounds.
|
|
Reply To Message
|
|
Author: Tony Pay ★2017
Date: 2009-09-05 22:15
claaaaaarinet!!!! wrote:
>> I'm guessing that reducing the number of people at the audition was their goal in making this list, but I personally find it annoying. You could make it half as long and still have plenty of material available to estabish a winner through multiple rounds.>>
You don't understand; and *I* for one find annoying your jumped-up presumption that you DO understand.
Isn't it obvious that an orchestra is doing their very best to TRY TO FIND someone who is ANY GOOD???
There seems to be a notion, here and elsewhere, that: (1) an audition pool should be as large as possible; (2) that there is a 'best' player in that pool of players; and (3) that that 'best' player should get the job.
What is more usually the case -- I've had personal experience -- is that you're listening to a whole lot of people who all sound as though they're really rather inadequate; and having with much heart-searching kicked some of them out, you try to give the rest of them every opportunity to show that they MIGHT be up to it -- that they might actually be ANY GOOD in the orchestra.
That's partly because auditions are notoriously blunt tools for judging players.
But, a bigger repertoire at least means a greater variety of opportunity for the better ones to shine.
'...PLENTY of material to ESTABLISH A WINNER'????
You live in another world; one in which there's this great pulsing mass of excellence --probably including yourself (you think) -- fighting for that coveted place.
The fact is, most people aren't all that good.
Tony
|
|
Reply To Message
|
|
Author: Alphie
Date: 2009-09-05 22:31
They are obviously looking for someone who is already a trained Eb-player since the pieces for Bb-cl aren’t that hard. They simply want someone who knows the repertoire already. It scares away those who have little or none experience on Eb and that’s exactly what they want. It means a lot less work for them. I would have done the same. If you already have played a lot of Eb-cl and master the instrument, these pieces aren’t that difficult to learn. But there aren’t that many good Eb-players around.
Alphie
|
|
Reply To Message
|
|
Author: claaaaaarinet!!!!
Date: 2009-09-08 21:36
"You live in another world; one in which there's this great pulsing mass of excellence --probably including yourself (you think) -- fighting for that coveted place. The fact is, most people aren't all that good."
I must say, I didn't expect such a vehement and personalized attack from a total stranger....
I hate to presume to be "ANY GOOD..." I was only observing that the list is remarkable, a fact I think is hard to dispute. I haven't seen a list like this for an Eb position, and I thought others on the BBoard would also find it interesting/astonishing. It is an extremely long, hard list by any standard. 46 pages of PDFs, excluding concertos, etude, and solo. Just saying....
Post Edited (2009-09-08 21:38)
|
|
Reply To Message
|
|
Author: elmo lewis
Date: 2009-09-09 00:33
I downloaded the list but am unable to open it. When I open it with Word it says the file is unavailable. When I open it with Firefox I get a blank page. ¿Can someone who is computer-savvy tell me what I'm doing wrong?
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
