 The Clarinet BBoard
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Author: E
Date: 2003-01-04 05:38
Is there a particular edition of the Mozart Concerto that is most commonly used for major orchestral auditions?
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Author: dennis
Date: 2003-01-04 13:32
E.........
I would imagine that any particular edition would be the preference of the Orchestra's conductor.
More important than which edition, is how you demonstrate your musicianship when playing an excerpt of it at an audition.
Peter Hadcock specifically addressed this on pg. 196 in his book THE WORKING CLARINETIST. Also, in his section on Tonguing, he mentions the aspect of tonguing vs slurring within the Mozart Concerto.
Don't know if this will come through as a copy/paste, but here's the web site for THE ORCHESTRAL CLARINETIST. Within the site, there are listings for required repertoire for soprano and Eb clarinet. (go into clarinet resources and do further exploration)
http://orchestralclarinetist.com
regards
d
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Author: Ken Shaw
Date: 2003-01-04 14:13
E -
There's no definitive answer. The new Mozart Edition version, published separately by Baerenreiter, is based on the best early editions and scholarship, but the original score has never been found, so even that is an educated guess.
The problem is that this edition leaves a trememdous amount up to the player. There are very few slurs, for example, and tonguing all the moving passages doesn't work, at least on the modern instrument. Also, it's expensive -- araound $30, the last time I looked.
There was an excellent article in The Clarinet a few years ago, comparing currently available editions, which I think is available on the ICA web page. GBK will certainly have the link.
Avoid the Pamela Weston edition, which has the solo part filled with really bad ornamentation.
The cheapest edition containing the articulation used by most players is probably the one published by International (edited by Kell).
It's a fair amount of work, but if I were working up the concerto, I'd get the Baerenreiter and then listen to a dozen recordings (starting with Marcellus) and mark it up.
Best regards.
Ken Shaw
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Author: D DOW
Date: 2003-01-04 14:19
Dear BB Freind:
The Mozart is certainly one the pieces that stands up to any number of interpretative ideals...I would be sure to make all your staccatto choices as uniform as possible. Marcellus certainly does alot more legato than some, so it is up to your disgression which style you look for. Either you can see it as a virtuoso showpiece for pyrotechnics(quite valid) or as an autumnal piece diesigned to show expression and delicate nuance. Either or sort of deal it soon becomes evident you really have a difficult work of art, so make sure you don't bogged down in overdoing the simple nature of phrasing.
The finale or rondo is really the most difficult artostocally in some ways, and a slow tempi is sometimes the hardest to maintain musically here. give a great deal of thought to echoes. Not everything at one everything is at one volume. By the way it is really easy to do a boring version of this, so spend some time working with the piano player on working on dovetailing of phrases. Sometimne the melody is in the accompanament.
Good Luck
D Dow
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Author: E
Date: 2003-01-04 19:55
Thank you for your responses! I understand that musicianship is of utmost importance, but was recently told that the Pamela Weston and Alan Hacker editions were not suitable for American orchestral auditions. Since the Hacker is the only edition I have ever played, I wanted to get some advise before making a blind purchase.
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Author: d dow
Date: 2003-01-05 18:35
I would say whatever edition you use is acceptable provide the audition panel of course with the version you are using and things should be fine. My feelings are a little variety is the spice of life.
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