 The Clarinet BBoard
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Author: Aussie Nick
Date: 2001-04-07 10:29
I've just been offered the chance to perform a concerto of my own choice with the youth orchestra that I am a member of. I have to take into consideration my own ability, which peice would get the best reception and acceptance, and also the difficulty for the string section mainly. I have basically narrowed my decision down to two works. The Finzi Concerto and the Weber Concerto in F minor. I did the Weber last year for quite a few concerts with piano, so Im quite sick of it, but audiences seem to love it. Also, the Weber is a fairly common concerto work for orchestras, so getting the orchestral parts wouldnt be a problem. With Finzi, the parts may be a problem, and I'm not sure how the strings would cope with the music. Whatever I decide, depending on time limits, I'll either be playing the work in full, or possibly just the 1st movement. I was also thinking of just doing the 2nd movement of the Finzi. I can't just do the 3rd because the introduction doesn't really sound like the beggining of a piece. What do you guys think I should do? I would love to do the Finzi because it would be something different for me. But then again, I know the Weber is a safe bet.
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Author: Ken
Date: 2001-04-07 16:10
What a splendid opportunity performing quality 20th century literature with a good orchestra! The fact that you’re considering doing the Finzi speaks volumes of the group's talent and capabilities. At face value, I surmise with effort they should all be able to do it justice afforded the proper rehearsal and shed time. If it was me and had that available resource and support from the conductor I'd push them, rent it, (assuming it's a rented piece and it should be) pass it out and have the conductor say, "we WILL be performing this concerto, get cracking on the parts". Being a volunteer/elective youth orchestra they're in it for the love of the music anyway and should welcome the challenge. Your in a great position as soloist of having the joy of leading your peers through this "musical journey" together, it is a unique and rewarding experience and you'll be better musicians for it in the end. Breaking through new barriers in music is sometimes painful but worth the labor. One suggestion, be absolutely sure they CAN play it before committing out-of-pocket/organizational funds. Phone the publisher and request a no-charge "perusal score" be mailed, then pick a rehearsal day and preview a recording of it with the whole group getting feedback from the conductor/orchestra. Both the Weber and Finzi are superb choices and very audience-friendly. Toss a coin!
For me, audiences always come FIRST no matter how many reruns, of course that wayward philosophy was drilled into my head by my teachers when I was still using my swab for a hanky. It's frequently a catch 22 selecting the right piece for the right occasion and audience. From our end of the stage we need to keep pressing forward musically taking chances as performers...that's really what it's all about. From the audience stand point, especially paying audiences, they expect to be entertained/educated and deserve every last drop of sweat we can muster as well as value for their dollar. I practice a personal 10-year rotation policy on solos and being on the low end of the professional ladder I get away with it. I will perform/tour with a solo once then shelve it, I feel it's important not to become stagnant, over-perform one concerto and getting an industry reputation of making a career of it. When selecting any solo with orchestra, concert band or jazz band I resist cherry picking mvts, especially major works unless that particular mvt/setting is "relevant and enhances" the theme of THAT program or as an encore. The absolute best in your final presentation. Have you considered the Piston?
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Author: Aussie Nick
Date: 2001-04-08 01:48
Thanks for your input. I have had a look at the Piston in the past, and I'm not a huge fan. I think the audience might like something slightly more conventional anyway. Every time we perform a relatively new 20th century work, most of the audience say they hated it. But when we do Dvorak or Tchaikovsky etc etc they love it.
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Author: Ken
Date: 2001-04-08 15:05
Re-visiting the Mozart on "Basset Clarinet" could prove a smash with the audience if they're traditionalists.
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Author: Becky
Date: 2001-04-09 04:55
My suggestion? Go with the Finzi. IT's a marvelous peice and unique, but not too modern-sounding. It's very romantic. You lucky person, you!!
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Author: susannah
Date: 2001-04-09 05:26
Wow!! what a coinsidence!!
I also play the clarinet in a youth orchestra, and we are just about to start work on the Weber clarinet concerto..(no. 2),, (me being soloist). So I would say go with that.. its cool. By the way, what youth orchestra do you play with
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Author: Aussie Andy
Date: 2001-04-09 07:21
Hey Nick,
Haven't heard from you in a while. The normal question, virtuosic or great music (not that Weber isnt!!). For me, stick with the Finzi from the point of view that you will most likely get many other chances to play Weber, but a chance to perform the Finzi with orchestra should never be turned down. How many times do we go to hear pro orchestras playing Mozart or Weber? For me that answer is too many, but anyway seriously, do the Finzi, great work and not often performed in this country with orchestra
See you soon,
Andy
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Author: Aussie Nick
Date: 2001-04-09 07:25
Well I'm convinced. I want to do the Finzi, the question in can the strings handle it? Susannah: queensland youth orchestra. you?
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Author: susannah
Date: 2001-04-09 23:44
Hey, by the way...
have you been to National Music Camp???
Or Australian Youth Orchestra??
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