 The Clarinet BBoard
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Author: Sarah
Date: 2001-05-31 16:41
Hello all,
This is the first thread ive done. Scarey!
Ive started learning the Weber Concerto #1 and find it a fab piece. I was just wondering if any of you could give me any tips on how too make it extra special at a concert.
Sarah :-)
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Author: jerry
Date: 2001-05-31 17:16
Is that von Weber? I heard a clarinet piece by him on the clasical station here in Dallas a couple of weeks ago and thought it was wonderful. I didn't get the artist's name, etc. I have been looking for it on CD and will probably latch on to a copy (when I find the right price).
Good luck with it.
~ jerry
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Author: Keil
Date: 2001-05-31 17:57
Jon Manasse has made an EXCELLENT recording of ALL of the Von Weber concerto's as well as his concertino. Definetly you should look into that one! the only i can say to you sarah as far as making it "extra special" is to play with as much emotion and beauty of tone as you can! Become enraptured in the piece!
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Author: dylan
Date: 2001-05-31 20:02
there are many famous recordings of the first weber concerto, probvably because it is one of the most famous and prolific pieces ever written fro clarinet and orchestra. My favorite is the Charlie Neidich, because he takes everything too fast since his technique is so good. However, for a good interpretation of the phrasing, etc., the David Glazer recording is probably the best. He doesn't show off as much with his slower tempi, and his articulation and phrasing are impecable. His recording is coupled with the weber bassoon concerto as well asa the quintet and concertino of weber (also great pieces). The Benny Goodman is also a good recording, since his phrasing and tone are so wonderful, but I feel that (although I love him and his music greatly) his technique might be a little flawed in spots, which prevents him from giving an extraorinary performance. That is, he can get out all the notes, but it is somewhat of a struggle for him, and one can hear this one the recording. -Dylan
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Author: Ken Shaw
Date: 2001-06-01 17:56
In my opinion, the Manasse recordings of Weber are the best available. He does everything right.
I think there are also recordings on one of the bargain labels by Bela Kovacs, which are excellent and worth seeking out. They go in and out of print.
Sabine Meyer's Weber is also great.
Beware the Leister recordings made in Japan. They're technically perfect but put you to sleep.
Benny Goodman's recordings were made on one of his off days. For me, the constant technical fluffs get in the way of any enjoyment.
David Glazer's recordings have been reissued. They're OK, but not my favorites, and the sound is not as good as on the more modern recordings.
Aloyis Heine recorded the Weber Concertos with the Mozarteum Orchestra in the 1950s. He caught the humor of the Concerto # 1 finale better than anybody else.
Gervase de Peyer's recording of Concerto # 2 is one of the great clarinet performances. His Concerto # 1 is excellent, too.
Best regards.
Ken Shaw
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Author: Micaela
Date: 2001-06-01 23:37
I've found that looking at mood always helps in playing Weber. Remember that Weber wrote a lot of opera and his melodies are often like arias, you have to sing them and they all have their own mood. In the opening of the Concertino (don't worry, I'll get to the Concerto eventually) the mood shifts quite rapidly and it's much more interesting if you bring that out. I told some of my friends who were playing the Concertino that I thought the opening was the hardest part because of the moods and they told me I was crazy. But they both did badly on their NYSSMA solos (I didn't play the Concertino for NYSSMA but it got me into youth orchestra).
I played the Concerto No. 1 for NYSSMA last year in 9th grade and got a 98. It's similar to the Concertino. The atmosphere starts with the orchestra tense but quiet and grows to be dramatic and large. The clarinet part starts with a sad, lyrical melody that becomes more passionate (with the sixteenth notes- you know where I mean). Go through the whole piece and look and see what kind of feeling is in the music. Then work hard to express it. Just playing it is ok but dull, getting all the emotions in makes it great. Listening to a good recording would also help- I like Sabine Meyer's but the others recommended here are probably also good. This can be a very powerful piece.
Good luck! Have fun!
Micaela
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Author: Allen Cole
Date: 2001-06-02 07:35
I LOVE that piece--especially the first movement. Don't make it too sombre. Treat it like the rollercoaster ride that it is.
For years, I've dreamt of making or editing some sort of silent movie with the first movement as the score. A real Dudley Doright kind of thing with girls being tied to railroad tracks and villains in stovepipe hats swishing their capes about.
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Author: Sarah
Date: 2001-06-02 21:38
You are all fab! im going to give it all a try because i want to really show how emotional and technically well i can play.
Thank you
Sarah
p.s. when you produce that silent movie ill be there to watch it!
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Author: dylan
Date: 2001-06-05 20:12
bela kovacs! Have you guys ever heard his clarinet quintet? I've got of CD of him and four other clarinets (one bass clarinet) with his sone, bela kovacs jr, playing percussion. They play encores and it's great stuff. (flight of the bumblebee by five clarinets!) Sabine Meyer I'm not too fond. If she hadn't slept with von karijan she would have never been in the berlin phil and probably would have a carreer right now. Leister's brahms is great, but I agree, his weber is boring (i'm not mincing any wordas, am I?, I appologize to all I've insulted) I'll have to try out the Aloyis Heine never heard of him. de Peyer, I have to say, is not one of my favorite clairnetists either. I'll quote my teacher on this one "well, he;s in the business because he's a nice guy". -dylan
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