 The Clarinet BBoard
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Author: GBK
Date: 2003-01-06 20:23
Like many of you, I have played the cadenza to the Orpheus Overture (Offenbach) numerous times.
However, today when listening to the Bonade recordings <i>The Legacy of Daniel Bonade</i>, compiled by Larry Guy, I almost dropped my clarinet when I heard Bonade do a whole step trill (F5 to G5) on the second F trill.
I had always played the second trill as a half step trill (F5 to Gb5). Even the Bonade excerpt book, notes that this trill is a half step trill.
I have never had a conductor bat an eyelash at a half step trill for the second F.
Is this trill open to interpretation? What have the rest of you played in this cadenza?
Thanks...GBK
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Author: Burt
Date: 2003-01-06 22:50
I have an arrangement for sax quartet. The alto has the cadenza, and the trill is a half-step.
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Author: Gregory Smith
Date: 2003-01-07 00:28
Half step always in the many times I've played and heard it. Perhaps the conductor asked for a whole step for some reason? If it's Stoki that's highly probable as he was known to request very unusual things from practically everyone.
I don't have the printed part or score in front of me so I couldn't say. I think I did notice it on the Bonade CD but shrugged it off as just another curiosity - one that probably has a story behind it in that particular circumstance that we may never know. How many years ago was that recorded?
Once in Cleveland when Stoki came to guest conduct the orchestra, the Scheherazade was programed. When the clarinet cadenzas came in rehearsal, Marcellus played them as printed while Stoki looked incredulously at him for stoping the fast notes at the end of the first flourish as is printed in the part (and score!). Marcellus looked up at him inquisitively while the strings continued their 16th note ostinato and was flabberghasted to see Stoki motioning him to continue indefinitely on the fast notes intil STOKI gave him the cue to resolve and go to the next set of fast notes in the cadenza!
Needless to say, Marcellus told me that he had to take quite a large breath before each of the three parts of the cadenza as they were very long. But Stoki made it very clear when to come out of the extended cadenza which can be a hang-up sometimes.
Gregory Smith
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Author: d dow
Date: 2003-01-07 12:52
A freind of mine who worked under Stokowski found that he spent a good deal of dickering with and doing things totally against the norm for orchestral players. that doesn't mean he wasn't a genius.
I don't think anyone out there knows but his reorchestrations of the last Tchaicovsky symphonies are quite unsusal as to instrumentation and voicings. I have some recordings of these and they are weird. Especially 4.
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Author: Larry Liberson
Date: 2003-01-07 16:44
When we held auditions for principal clarinet in the late 80's, one candidate had a unique take on the arpeggiated cadenza in Capriccio Espagnole. After completing what we all know to be the written score, the candidate promptly launched into an added approximately 20 seconds of cadenza "improvisation" ala Rimsky-Korsakov: scales, arpeggios, etc. Apparently, while those of us on the committee looked at each other with mouths wide open in shock, the candidate behind the screen (after finishing) looked at the proctor and simply stated: "Stokowski used to like to encourage that kind of thing."
Truth is stranger than fiction.
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Author: eilidh
Date: 2003-01-07 22:23
Sorry just even mentioning this cadenza brings me nightmares, I made a total mess of it in the final rehearsal for a concert having played it OK every other rehearsal!! (Fortunately it was all right on the night lol) But even when I made a mess I played a half step trill together with a number of squeaks and unintentional improvisations
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Author: dennis
Date: 2003-01-07 22:24
Larry............
did the auditioner get the position ???????
and......
what were some of the comments made by committee members ??????
Interesting !!!!!!
regards
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