 The Clarinet BBoard
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Author: richard
Date: 2001-05-03 17:55
Does anyone know which recordings of Malcolm Arnold's claarinet sonatina are best ? I've only ever seen 1 in the shops. Also, for anyone who's played it when the 1st movement goes into 6/8 is it best to keep the quaver beat the same or not? Thanks,
Richard
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Author: Justin Wildridge
Date: 2001-05-03 21:22
Good question and one which I have been asking for a while ! For me the best recording I've most recently heard is by Mike Collins. This is part of a disk of Arnold's Chamber Music - all of which is superb.
The record label is HELIOS ( a Hyperion Recording) CDH 55072.
As for the 6/8 quavers, yes keep them the same but relax and sprinkle lightly with some jazz !
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Author: Ken
Date: 2001-05-03 21:31
There's a coincidence, I just toured with this piece last week. Jack Brymer and James Campbell are the only two recordings I’m aware of, I believe they did them in the mid-70's...both are well done.
I haven't a clue what a "quaver note" is but if you mean does the underlying 8th note pulse and original tempo remain constant through the meter changes the answer is YES. My Legnick copy is clearly marked 8th note=8th note at the first 6/8. My take on that section of the piece was from the pick-up to 3 after rehearsal E through letter G I tried to create a sharp contrast from the more serious mood at the head (A minor) to a wild party atmosphere in the middle (C Major). I was very lyrical, playful and comic on the 6/8s but staying rhythmic. I leaned into the 6/8s, "swinging" them but careful to still give full value to the 8th note on the & of 4 in the proceeding 4/4. I waited until the last possible second "ripping" the grace notes INTO the downbeat of the 4/4s. As for dynamics and shaping, I started the 4/4s at mf then quickly crescendo on the 8th note on the & of 4 of the 4/4s pushing through the grace notes to a full forte, then down and back up again with each repeated figure. The challenging part in this section was not playing the notes correctly but making sure not to cheat the grace notes and turn them into a "smear". My interpretation being, this portion of the movement pictures an old Irish Sea chant/drinking song. Drunken sailors are festivizing at the local pub. They're bellying-up to the bar toasting their friendships, slapping each other on the backs and re-living old times. The 6/8 measures then depict loud/uncontrollable gut laughter. Singing the melody in the first 4/4 bar, pick-up to 3 after E into the 6/8 might go like this, "I'm telling-you my funny stor-Y HA< HA< HA< HA< HA <HA " (1 & a two & a)...etc. Likewise, at the end of the movement at letter K where the pattern re-occurs (re-cap back to A minor) it's 3 am and the bar is now closing-up, it's a more somber mood, the Sailors having to leave for the night.
Hope this helps you out Richard. <:-))))
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Author: Ken
Date: 2001-05-03 21:35
...Likewise, at the end of the movement at letter K where the pattern re-occurs (re-cap back to A minor) the bar is now closing-up, it's a more somber mood and the Sailors have to leave for the night. Overall, have fun with it, be light and jazzy.
Hope this helps Richard. <:-))))
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Author: Gary
Date: 2001-05-04 01:43
I did this piece for a recital a few years ago and found a new recording of Paul Meyer doing this piece. It was quite well-done. Here's the specs on the CD:
Release Date: 9/1/1997
Catalog#: CO 18016
Label: Denon Records
It's a fun piece. Good luck with it.
Gary
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