 The Clarinet BBoard
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Author: tylerleecutts
Date: 2014-05-14 06:04
The Henle Urtext edition of the piece has the cadenza, with two parts- one with the conventional editions you would find elsewhere, and one with some of Heinrich Baermann's personal notes and articulations that Henle arranged into a separate part.
Both parts are excellent, and the cadenza works well with the piece.
Best of luck with the Concertino! It's one of the brightest gems of the repertoire.
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Author: William
Date: 2014-05-14 18:45
Or, you could exercise some real creativity and improvise your own cadenza...just a thought.
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Author: Clarinet4hire
Date: 2014-05-14 22:42
True.
But what I am doing is not about that at this point. I have a personal goal to navigate though Daniel Bonade's syllabus and to get through it as close to his renderings as I possibly can.
I count myself lucky to have had a teacher that actually studied with Bonade and will draw from his experience and stories.
The cadenza might actually be, or not be, a deviation from the strict Bonade approach, but I feel that since Bonade was a 3rd generation Heinrich Baermann student himself, he may or may not approve.
I know this, he did tell my teacher to use the Mozart Quintet cadenza in the Mozart Concerto since Mozart actually wrote it himself. On this note, since the piece was actually premiered by Baermann and with his cadenza written in... Weber indeed approved.
For this I feel I am on safe ground.
I wish my teacher was still with us. I'd like to think this'd make him very happy.
Brian
Post Edited (2014-05-14 22:45)
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Author: tylerleecutts
Date: 2014-05-16 00:50
Mozart may have written the Quintet cadenza, but that doesn't mean its appropriate to use it out of context.
Following pre-written cadenzas is fine- but exercising creativity is what separates the artists from method actors. You are a musician, not playing a pre-scripted part. Many actors will even tell you some of the best moments in several films were unscripted. It's okay to know the character of what you're doing, but be sure to put some of yourself into it.
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Author: Katrina
Date: 2014-05-16 01:44
Brian who did you study with? (From a fellow Twin Cities' clarinetist...)
Katrina
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Author: Jack Kissinger
Date: 2014-05-16 01:44
Just to be clear, there is no cadenza in either the Mozart concerto or the quintet. What is often mislabeled as a "cadenza" in the second movement of the concerto, is actually an eingang, an invitation for the performer to insert a brief improvised transitional run (with emphasis on brief). If you use the search function, you should find that a great deal has been written explaining this on this Board.
While Mozart's original intent was for the performer to improvise the run, over the years, a sort of tradition has arisen among many clarinetists, perhaps as an homage to Mozart, perhaps in recognition that the selected bars fit perfectly, perhaps as an inside joke. Whatever the reason, the tradition is to use bars 49 and 50 of the Larghetto movement of the quintet in this spot. Not only do those bars fit perfectly, they are entirely consistent with period practices.
In the case of Mozart (IMNSHO) it's not just "okay to know the character of what you're doing," it's absolutely essential. Then, when you "put some of yourself into it" (which, BTW, Mozart expected), you'll be more likely to use good taste.
Best regards,
jnk
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Author: Clarinet4hire
Date: 2014-05-16 02:40
Very good input. Thank you.
Katrina- I studied with Donald Ambler when I lived in Denver.
Most of his studies were with Anthony Gigliotti in Philadelphia. He was lucky enough to spend a year with Daniel Bonade when Mr. Gigliotti was occupied with something else (I don't recall what it was).
Don was the gentleman that got Leon Lester's Bass Clarinet used on the Fantasia recordings. There is a great story on how he was able to get it. Leon auditioned 3 people for the instrument. Mr. Ambler was the one to win.
Here is an interesting article on the gentleman that has it now- Andy Stevens...
http://www.cpr.org/news/story/colorado-symphony-recreates-fantasia-stradivarius-bass-clarinets
Brian
Post Edited (2014-05-16 02:58)
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Author: Clarinet4hire
Date: 2014-05-16 02:50
Double post. My apologies.
Mr. Ambler never stopped teaching. What an amazing person. I truly miss him.
I am happy you know him!
Brian
Post Edited (2014-05-16 02:52)
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Author: tylerleecutts
Date: 2014-05-16 03:26
Thank you JNK for your great imput! I've heard of eingangs before, but only in passing. . Sounds like a good research topic!
I totally agree- it is absolutely essential to know where the composer is coming from so you can try to determine what he/she is trying to say in the piece.
What I was trying to elude to in the previous post is that they see one person doing a fantastic interpretation of a piece, and then choose to try to make a carbon copy of that particular performance, instead of using it as an example to follow in their own artistic decisions.
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