 The Clarinet BBoard
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Author: musica
Date: 2019-10-16 17:11
In 2nd movement ,solo in measure 67 (moderato con anima), how much freedom does one have in the group of 9 notes ? And is it better to think of this
as a measured trill with triplet figure at the end? Thanks for any interpretation ideas.
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Author: kdk
Date: 2019-10-16 21:25
musica wrote:
> In 2nd movement ,solo in measure 67 (moderato con anima), how
> much freedom does one have in the group of 9 notes ? And is it
> better to think of this
> as a measured trill with triplet figure at the end? Thanks for
> any interpretation ideas.
FWIW, I play it, as it's notated, as a 9-tuplet - 3 triplets. It's easier to play if you just consider it an unmeasured trill, but trill notation was certainly available and known to Tchaikovsky (and would have been easier to use than writing it out as he did).
As to freedom, I would say take what you want as long as you don't delay the third beat, and see if the conductor reacts one way or the other. I think you have to keep the figure within the pulse (not stretching the 2nd beat), because of the cello syncops under the clarinet and because when the bassoon imitates it 4 bars later it's against a more rhythmically active accompaniment that has less metric flexibility.
Karl
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Author: Bob Bernardo
Date: 2019-10-17 02:29
No freedom as far as I know. Watch the conductor or better yet talk to your conductor. This is kind of a hard symphony with rhythms and speeds. Now that I think about it all of his symphonies are, because of key changes and the need to transpose sometimes. It's hard on the conductor too, so I'd ask during a break or after a rehearsal.
Just read Karl's post. This is why you don't want to mess with rhythms. Totally agree with him.
Designer of - Vintage 1940 Cicero Mouthpieces and the La Vecchia mouthpieces
Yamaha Artist 2015
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Author: Ed Palanker
Date: 2019-10-20 17:28
I agree, no rubato here, just fit the nine notes in the beat. If you feel the need you can hold the first note or two very slightly longer and catch up but make sure you get all nine notes into one beat. It's personal.
ESP eddiesclarinet.com
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Author: Liquorice
Date: 2019-10-20 22:27
When I was a student we played this in the conservatory orchestra with a fairly well-known French conductor. He wanted me to play a huge tenuto on the high D, and then also to hold longer on the first of the nine notes. I didn't like either of these ideas, but obviously had to follow the conductor's directions.
After the concert, my teacher came to me and raved about this exact spot. I told him that I hadn't really liked playing it this way, but he insisted that for him it was the highlight of the concert. This shattered my illusion that we need to be personally convinced of our interpretation for the audience to be moved by it.
If I was playing it today (22 years later!) I would still not do these rubati. I think that, the fact that Tchaikovsky made the effort to actually write out the 9 notes shows that he didn't want a random, free kind of trill.
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Author: Jarmo Hyvakko
Date: 2019-11-01 14:47
Play a relatively fast trill and believe firmly that you played nine notes.
Rubato isn't possible in that bar.
If you are a perfectionist, try to tap a quintuplet with your index finger during that beat
Jarmo Hyvakko, Principal Clarinet, Tampere Philharmonic, Finland
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