 The Clarinet BBoard
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Author: Linda
Date: 2002-12-22 19:44
After reading this enlightening board for several months, I feel compelled to ask for pointers and feedback on the clarinet variation. The tempo is marked dotted quarter =132, which seems a bit unrealistic. Should this perhaps be quarter =132, even though the movement is in 6/8? What have any of you found to be playable tempos? Also, how common is it for the second measure of 'the run' to be played down one octave. The recording I have is played this way. I have to perform the work in 5 weeks, and have arrived at the point of practice to set a tempo and polish the movement.
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Author: Brenda
Date: 2002-12-22 21:18
Actually the dotted quarter note at 132 is slower than the quarter note at 132. In 6/8 time, a dotted quarter note represents 3 of the 8th notes, or half the measure. So two of those beats at 132 would complete the measure. Just think of "1,2,3" then "4,5,6" with each of those beeps of the metronome. Yes, it's fast, but maybe the music is supposed to be that fast. You may need to slow it down a bit while practicing so that it's playable for you. The more you play it, the speed will come along all by itself.
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Author: John J. Moses
Date: 2002-12-23 01:31
Having performed the Variaciones Concertantes many times, I suggest you transpose and play the clarinet variation on the "C" clarinet.
It sounds better and is much easier. Just an idea for you to consider?
Good luck,
JJM
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Author: Mitch K.
Date: 2002-12-23 18:10
It is rumored that in the past the end of the run (that goes up to C#) is actually finished by the E-flat clarinet player. However, in recent times principal clarinetists are actually playing the entire run themselves, and NOT dropping down a octave. The only live performance of this that I've heard was Bil Jackson of the Colorado Symphony Orchestra. He performed the entire run, flawlessly. I suppose that the bar has officially been raised for the rest of us.
This is one of those pieces when I feel it would be perfectly within our right as clarinetist to sue the composer for writing something so unattainable. Also on that list would be Barber and his @%^$#% Violin Concerto. If you want to see a wind section cry in unison, go to a performance of the Barber Violin Concerto. I played it two years ago and I still have the shakes, and the principal oboist is still in recovery!
;-)
Mitch King
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Author: Larry Liberson
Date: 2002-12-23 19:00
Although I never tried it on C clarinet, I have played it on A clarinet (yes, all the to the top D natural) and it works pretty well (certainly more so than on Bb!). Also, I have known it to be played on the A, with a D clarinet playing the long run (no reason to put that run down an octave -- nor should it even be thought of!)
And Mitch -- c'mon now, the Barber isn't that daunting, is it? It just looks nasty. Anyway, the last movement just makes you pay a little for having those luscious tunes in the first movement, right?
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Author: Mitch K.
Date: 2002-12-24 00:17
Larry, I read your words then went to my filing cabinet to get my copy of the violin concerto. After further examination and close inspection of the entire 1st clarinet part, I've come to the conclusion that, no it is not fair trade (1st movement for the 3rd movement). Working on this piece has taught me two things: when your carpal tunnel is flaring up, don't play.... at least don't play a piece like this that requires extensive wrist work over the break; and secondly, never be too proud to transpose from B-flat to A clarinet. For those of you that will most likely play this piece, the bulk of the 3rd movement lays much better on A clarinet. Unfortunatly I didn't learn that until AFTER I performed it.
Re: Ginastera
I've heard of others playing that variation on A clarinet. Why is it less difficult? Is extreme altissimo D easier to get than C#? I suppose that I should work on it on A clarinet and perhaps answer my own question.
hasta,
Mitch King
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Author: Linda
Date: 2002-12-24 02:08
Despite the advice I am receiving, I plan to play the variation on the Bb. I do not have a C clarinet. I looked at the A part when I first started practicing and for some unknown reason I like the Bb version better. So far no one has addressed my tempo issue, which is my main concern. Also, I do not remember the Barber Violin Concerto being as difficult as the Ginastera.
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Author: Mitch K.
Date: 2002-12-24 04:04
The tempo marking on the part is dotted quarter equals 132. However, on recording and in live performance I've heard it taken about dotted quarter equals 126. And for me, the Barber is more difficult than the Ginastera.
It's a great piece.
Good luck,
Mitch King
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Author: John J. Moses
Date: 2002-12-24 04:09
"The tempo is marked dotted quarter =132"
Simple answer:
Play it at dotted quarter=132, just as written by the composer.
That's what most conductors want also.
Good luck,
JJM
PS Borrow a "C" from someone and try the clarinet variation, just for fun!
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Author: HAT
Date: 2002-12-24 12:41
The only issue with the 'c' clarinet idea is that there is one low eflat that way. Other than that it is an excellent solution (not sure how this would work at an audition, however). I know of at least one major symphony principal who plays it on the 'd' clarinet and has the 2nd player cover the low notes. And I know of another who plays it on the b-flat clarinet as originally written, but he has amazing technique!
I always played it on the A clarinet because it has a wonderful sonority. You have to practice your scales up to the high notes every day, that way when something like this comes up you'll have a decent shot at it.
Playing the last upward scale in the middle of the piece on the eflat or d clarinet was very common for a while (and probably still is) you can hear this on recordings, including one by the Boston Symphony (on which the eflat actually takes over for a considerable portion of the solo) which is not in print currently.
There is a broadcast recording of my teacher, Robert Marcellus, playing this solo (which I somehow don't have a copy of). He took that scale down an octave, which is not so exciting I guess. But he sounds absolutely dazzling on the rest of it. Terrific sound, technique, rhythm and especially articulation.
David Hattner, NYC
www.northbranchrecords.com
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Author: Michael Norsworthy
Date: 2002-12-24 13:17
When I did it last year, it was suggested to me by Tom Martin of the Boston Symphony to have the FLUTE play the last septuplet of the run along with me just in case I missed it. The flute sound actually worked better than the Eb because the sound of the Eb is so radically different. I ended up getting the run anyway, thank god, but it was a bit of a comfort knowing that it would sound in any case.
I played it on A clarinet, as many players do. I just found it to be more comfortable. Harold Wright used to play the first half of it on Bb and then switch to A during the first longer rest.
For what it's worth and Happy Holidays,
Michael Norsworthy
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Author: Forest Aten
Date: 2002-12-24 14:06
Brenda,
I'm not sure I understand...
A beat at 132 is a beat at 132. It doesn't matter how many notes you divide the beat into....it's still 132.
And...
Placing 3 eight notes into the 132 beat will require playing more notes in the same time period, (the beat) than if you place 2 eight notes into the 132 beat. (= faster tech. work)
Forest Aten
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Author: Linda
Date: 2002-12-24 20:37
Thanks for the advice guys. I sat down today with the A part and worked on it awhile, I think that I was really intimidated by the high D. I found the A part easier to play, except for the run, and that because I have to learn new fingerings. The rental part came with a handwritten transcription complete with fingerings. Bless the person who did that. I found the D pops out easier on the A than the C# on the Bb. I don't think
I will ever reach a speed of 132, though. I will just do the best I can.
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