 The Clarinet BBoard
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Author: Yusuf Zaid
Date: 2000-12-19 21:04
This is one of my favourite concertos. The final movement is something that makes me sweat just to listen to it.
I was wondering if any one out there has played it. If so, I'm curious to know how long the clarinet was played before such a piece could be played and how did it feel after it was played the first time?
I heard a 5th year student play it once. It stuttered a bit but was very good otherwise. I should imagine it must be extremely satisfying to be able to play it.
Yusuf
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Author: Keil
Date: 2000-12-20 01:23
You're talking about the Polacca... i can't answer any of your questions but i just wanted to say that i love that piece and that was the 1st grade 6 clarinet solo i played for a competition... i got 2nd with it... now i go back and play it and it's "like butter"... hehe... i love the Polacca!!
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Author: William
Date: 2000-12-20 14:40
"how did it feel after" IMHO, the Polacca is the kind of piece that you always feel you might have been able to do better on. Even the "pyro-technist" Charles Neidich has some minor problems toward the end of his recording and clarinetists don't get much better than he is. Just play it, do the best that you can and enjoy. Also, don't ignor the beautiful (and more musically challenging) Recitative. By the way, this is one of those wonderful concertos that has a concert band accompaniment for all three movements that you don't have to rent. Good Polaccing.
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Author: Ken Shaw
Date: 2000-12-20 18:27
Yusuf -
Polacca is the Italian word for Polka. It's a dance and has to feel like one. The tempo shouldn't be any faster than 100. You can't be light and bouncy going any faster.
Listen to polka music and watch expert polka dancers. They look like they're always 4 inches off the floor, perfectly relaxed and light as a feather (even though it takes a lot of energy).
A 100 tempo is plenty fast for the sextuplets at the end, though you will probably drive the tempo somewhat faster during all the excitement. The main thing to keep in mind is staying light and "airborne" until you get to the big descending scale, which you can drive through and crescendo all the way to the bottom. Then you have to get back airborne for the next figures, until you get to the madness at the end.
For the trill on C, I like to use the next to top side key, which I think is cleaner and better in tune than using the throat Ab key. For the final trill on high F, it's easier and faster to use the top trill key rather than the little finger key, though you have to get off it quickly to put on the necessary little ornament (going down to D) at the end.
This is just about the best, most spectacular fun you can have. The audience should feel that, too.
Ken Shaw
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Author: Keil
Date: 2000-12-20 21:00
The Recitative IS gorgeous!! I love it.... i find myself drawn to the 2nd movements of many concertos because i love to show musicality, IMHO musicality is getting overlooked by those prodigy youths who want to do all the technique and kill the musicality
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