 The Clarinet BBoard
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Author: Matt74
Date: 2016-08-13 23:59
Do any of you work on short, performable pieces with your students?
It would be something suitable for an encore, like Kreisler's Shon Rosmarin/Liebeslied/Liebesfreud, wind sonatas, or even Pirene's Canzonetta. I realized that, for me, I've simply been wasting my time for years on Rose/Ferling stuff. It's ok, but it's not great music, most of it you can't really play for an audience, and it's hard enough that I'm never happy with it. (I do like Rose 40 Studies numbers 13 and 20 - but you can't listen to them played by a great musician - at least that I know of). If I'm going to be mediocre technically, at least I can develop my musicality with great music.
Basically, I feel like I've really missed out on repertory. I read about these pianists and violinists, who get to work on truly great works from a young age, and feel like a lot was missing in my training when I was younger.
(FWIW, Right now I'm working on Brahms' Sonata 1, 3rd movement. I've worked on Weber Grand Duo, and Brahms' 2, 1st movement. I would work on Mozart, but I don't have an A.)
Thank you.
- Matthew Simington
Post Edited (2016-08-14 00:03)
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Author: sfalexi
Date: 2016-08-14 02:30
You hit the nail on the head.
I have a book called "classical studies" which is violin partitas and sonatas transcribed for clarinet. It's great to work on and sounds great.
If we're the "violins" of the wind ensemble, play violin stuff. Don't get stuck in thinking that cause you play clarinet, you can only work on or perform things made for a clarinet.
Play trumpet stuff, violin stuff, flute stuff, anything you want.
Alexi
US Army Japan Band
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Author: kdk
Date: 2016-08-14 04:00
sfalexi wrote:
> I have a book called "classical studies" which is violin
> partitas and sonatas transcribed for clarinet. It's great to
> work on and sounds great.
>
Are they in the original concert keys or have they been transposed to different keys to make them more clarinet-friendly?
> If we're the "violins" of the wind ensemble, play violin stuff.
Of course, violinists and violin students spend a great deal of time with technical studies that are much drier and "exercis-y" than almost anything clarinetists use (possibly excepting the interval studies in methods like Klose and Baermann). Treating clarinets like the "violins of the wind ensemble" is one of the great weaknesses of a lot of band and wind ensemble music.
Also, keep in mind that most of Rose's etudes *are* violin studies - in fact, I think possibly everything except the 32 studies, which are adapted from Ferling oboe studies (which may or may not have been originally by Ferling for oboe). The 40 Studies come from violin collections by such as Mazas, Kreutzer, Schubert, Pleyel, etc... The 20 Grand Studies are based, I think fairly faithfully, on standard violin etudes by Rode.
There are a couple of compilations of concert pieces for clarinet and piano - one edited by Bonade (16 Grands Solos de Concert) and another edited by William Stubbins (Recital Literature for the Clarinet). Both are original pieces for clarinet and piano and meant for performance. I also dug up in my file cabinet an edition by Langenus of the Chaconne from the Bach D minor Partita and a collection called Bach for the Clarinet "transcribed by Eric Simon." I haven't played these last in a very long time and don't remember what editing was done, but I recognize the few I've looked at as coming from either the Cello Suites, the Violin Partitas or the Inventions, though I couldn't swear they're in their original keys or completely intact.
Karl
Post Edited (2016-08-14 04:01)
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