 The Clarinet BBoard
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Author: musica
Date: 2022-10-12 16:25
Wondering why the only difference in solo in clarinet from the flute is the third measure where the clarinet has a triplet pattern?
Always sounds strange when the flute comes in with exact same solo with that one change…
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Author: Paul Aviles
Date: 2022-10-12 17:56
um..........
The clarinet solo is in a minor tonality and the flute solo is in a major tonality. My feeling (not having studied the score.....but having playe it) is that the minor tonality calls for the more nebulous sound of the three against four feel. Oddly, in college the trumpet player assumed in the moment at the concert that I was dragging a straight eighth note pattern and came in early.........weird, never happened in rehearsal.
[ok faulty memory. now that I go back and listen, I'm not hearing a rhythmic difference in the recordings that I am listening to. the major key, however does sound more spritely]
..............Paul Aviles
Post Edited (2022-10-12 18:15)
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Author: musica
Date: 2022-10-12 19:00
I was referring to the rhythmic figure in measure 3 of each solo, clarinet has two sets of a triplet pattern whereas flute has two sets of sixteenth notes, rhythmically everything else in the two solos is the same?
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Author: Paul Aviles
Date: 2022-10-12 20:12
Well, at six o'clock in the morning, they sounded identical! I correct my correction on the "exact rhythm" statement, however, the original assessment remains the same. The minor mode rendition just needed a little more "dragginess" to sell it.
Sounds like something we need to take up with Rimsky-Korsakov.
.............Paul Aviles
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Author: kdk
Date: 2022-10-12 23:49
musica wrote:
> Wondering why the only difference in solo in clarinet from the
> flute is the third measure where the clarinet has a triplet
> pattern?
I never really thought about the difference very much - maybe it was meant to introduce a little variety. But the mode shift from G minor to G major may have had an influence. The flute version seems just a little more bravura, more in keeping with the sunnier mood of the major key. I always think of the sun breaking through the clouds when the flute enters (but maybe I've seen Fantasia too many times).
I checked the scores on IMSLP and found that the two scores identified as "Original version 1867" don't even include this sort-of-coda tag at the end. Only the later Rimsky-Korsakov (1886) versions have it. One of the "original" scores is labeled as "Urtext" and "scholarly edition." Which makes me wonder if Rimsky added it himself. It doesn't seem to have any thematic connection with anything else in the piece.
Karl
Karl
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Author: Hurstfarm
Date: 2022-10-13 00:07
Yes, the ending is Rimsky Korsakov’s. His version was published after Mussorgsky’s death.
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