 The Clarinet BBoard
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Author: ClarinetRobt
Date: 2017-01-20 01:11
I was asked by my local High School (my alma mater) to perform a solo with their symphonic band. I'm beyond flattered. After a brief discussion, we decided to perform John William's "Viktor's Tale". His only request was to stretch out the cadenza. He feels the audience will get a kick out of some 'fast noodling'.
As you know, the printed cadenza isn't that long and I'm not one for improvising. I was thinking about 'borrowing' some licks of Weber I (Baermann) and Messager's Solo de Concours. Maybe from Copland. I want to keep it light and fun.
What are y'alls favorite cadenzas? I guess I want to create some quasi semi-coherent cool, super cadenza.
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
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Author: Matt74
Date: 2017-01-20 02:47
I like the cadenzas on Gwydion Brook recording of the Mozart Basoon concerto with Beecham, on the album with Brymer. They are "unusual" and fun.
Here at 5:30...
https://youtu.be/eSzvCTNY_ng
And at 2:50....
https://youtu.be/z9HPyQn2VN0
- Matthew Simington
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Author: brycon
Date: 2017-01-20 05:21
Even if cadenzas modulate, which, I believe, first occurred in Beethoven's piano concertos, they still need to adhere to some sort of harmonic syntax. If you're simply copying/pasting other pieces of music together, there's a high possibility it'll produce musical nonsense.
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Author: johng ★2017
Date: 2017-01-20 06:13
In the times before composers dictated what the cadenzas should be, performers would frequently compose their own using material from the piece they were playing. Rather than trying to cobble outside cadenzas together with the original, perhaps with comic results, why not write in a section yourself? In Victor's Tale there are plenty of wonderful melodic parts you could easily use - maybe just after the 1st section of the written cadenza before the two runs. Combine your imagination with John Williams. It will be worth it!
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Philip Caron
Date: 2017-01-20 07:00
There's a recording on YouTube of Richard Stoltzman playing the Rossini Intro, Theme & Vars, with the Boston Pops conducted by John Williams. Before the end Stoltzman played a cadenza, and in it quoted the theme from Star Wars. Though perhaps it didn't fit in all that well, it still got a nice reaction from the audience.
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Author: ClarinetRobt
Date: 2017-01-20 08:47
I appreciate the thoughts. I too have worried the need for some sort of cohesiveness...even if it's just for my benefit. Since, at this point, I haven't even looked at the score, I'm already thinking about using the melody and perhaps plays some arpeggios, with the underlying chord progression as inspiration.
It might be simplistic, but should make sense. (Perhaps more so than the original, LoL). Within that framework borrowing some flashy parts from other cadenzas can easily be incorporated.
Keep the ideas coming. Thanks!
~Robt L Schwebel
Mthpc: Behn Vintage
Lig: Ishimori, Behn Delrin
Reed: Legere French Cut 3.75/4, Behn Brio 4
Horns: Uebel Superior (Bb,A), Ridenour Lyrique, Buffet R13 (Eb)
Post Edited (2017-01-20 08:54)
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Author: tacet
Date: 2017-01-21 00:43
Some random thoughts ...
-- you may wish to go back in time to 1752 and check out section XV of Quantz "Versuch einer Anleitung ...". Quantz provides some general guidance for cadenza playing/improvising which, IHMO, is still valuable. Advice includes "the basic idea is to once more surprise the listeners towards the end of the piece", "build the cadenza from the core material of the piece", "modulate, but not too far away", "don't repeat patterns to often" ... and a lot more.
-- this is one of the rare occasions where it is traditional (one could even say, professional) to show off. So play to your strength!
-- the idea is to impress and entertain the entire audience. See what Stolzman did ... IMO this was much more effective than blast through some additional extra-weird licks.
-- shape the cadenza through tension and relaxation. E.g. you may wish to allow for a moment of rest (quiet) to maximize the effect of the build-up to your grand exit gesture (which is usually, but does not have to be, noisy).
-- work with the conductor on the handover back to the band. Many a cadenza has had its effect spoiled by lack of coordination between soloist and conductor. And maybe you can even build in another final-final surprise before the "official" score takes over?
... as you see, so many options that the biggest challenge may turn out to keep the thing concise. People should better regret that you already stop than start shifting uncomfortably in their seats.
Enjoy!
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Author: davyd
Date: 2017-01-21 06:08
Perhaps play the Williams piece "as is", and do an encore, perhaps unaccompanied, that has 'fast noodling' (as opposed to 'slow noodling'?).
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