 The Clarinet BBoard
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Author: Alphie
Date: 2009-12-18 20:48
I just came back from the 2nd concert this week of Shostakovich 5th symphony under the baton of French conductor Stéphane Denève, beautifully interpreted especially in the spherical pp sections. The irony and the false joy of Stalinism came across very well, a bit like a North Korean parade.
The Eb-clarinet part that I played tonight for maybe the 25th time is maybe the hardest part in the literature for Eb-clarinet. It’s not technically difficult by any means and played on a Bb-clarinet it would be a piece of cake. It’s just pure hard physical work to play on an Eb-clarinet. When playing it one realizes how important it is with proper special training on the Eb-clarinet for a long time, to become a specialist.
The difficulty is basically that you need to have ultimate control of sound, force, flow and intonation for extended time in the altissimo register in extremely loud dynamics without wearing out. I’m talking physical power. Without a careful training and very well worked out equipment beforehand you can easily hurt your embouchure for a long time. Especially at the end, the last half page contents of repeated altissimo fff F-sharps in quarter notes played tenuto, apparently symbolizing a scream for help through the monumental fanfare that the rest of the orchestra plays, finishing with a big crescendo.
So, people here who usually express neglect for Eb-clarinet and who believe that they can just pick it up just like that may have to change their minds if coming across this part.
Alphie
Post Edited (2009-12-20 08:27)
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Author: Chris P
Date: 2009-12-18 22:27
Several years back I turned down playing Eb in Shostakovich 2 as it was very tiring on the embouchure with all those sustained high Gs (although I did have a Vito Eb back then which was hard work - my old Buffet Eb is much easier to get on with) - I can only imagine the 5th is much harder work on the chops, and also the 6th that goes up to altissimo B.
Definitely something that shouldn't be taken lightly for anyone who hasn't had a proper go at playing Eb, and well worth putting the time and effort into if the opportunity is there to do it.
Former oboe finisher
Howarth of London
1998 - 2010
The opinions I express are my own.
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Author: Ed
Date: 2009-12-19 01:45
I played this a few years ago and agree that it is quite a challenge. Of course, one is up in the stratosphere and in unison with the piccolo in a number of cases. I always find that a big challenge on Eb is to have a reed that has the strength to play up there easily and in tune, yet has the flexibility needed all around the instrument.
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Author: Ed Palanker
Date: 2009-12-19 03:17
I totally agree with Alphie, the Eb clarinet is not for the faint of heart. You don't just pick it up and play it like so many think they can. They may be playing at it but they're not doing it, themselves or the ensemble any favor. It is a bear to play well. I heard a master class on Eb once that the teacher told the class that you play the Eb clarinet by ear, never have such a truth been said. ESP http://eddiesclarinet.com
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Author: johng ★2017
Date: 2009-12-19 03:26
I have heard of players using a C clarinet rather than an Eb. If my transposition is correct, those altimissimo F#'s at the end would be altissimo A's on the C. Not such a bad note, plus you get to use your regular Bb mouthpiece and reeds. The C often has a similar sound quality to the Eb. Any thoughts? I remember the pain inflicted on my embouchure from that last movement very well.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Ebclarinet1
Date: 2009-12-20 18:35
The worst part of this piece for me is the descending notes from high E and then repeated a half step higher in the first movement. The piccolo and you are in UNISON and the piccolo is blowing SHARP just as you're blowing flat. I've heard numerous recordings where this simple phrase is BUTCHERED. Practice with the piccolo and find fingerings that work for both of you. The Ab on the piccolo (your F) tends to be their worst note and the E on the Eefer (their G) is your worst. I found the overblown G# fingering is most in tune with the piccolo on the E, although everry horn (and piccoloist) is different.
I like the big solo in the allegretto in the second movement best. It so works on eefer.
Eefer guy
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Author: Ed Palanker
Date: 2009-12-21 03:45
I have heard of players using a C clarinet rather than an Eb. That's a first for me, never heard of anyone doing that. So few, relatively speaking, own a C clarinet in the first place. In some professional orchestras I've heard of players using a D clarinet on occasion for a few pieces, especially for Strauss Til, which is written for the D clarinet. I've heard, though never actually meet anyone that did it, that some players that have a D clarinet will play Daphnis and Chloe on the D instead of the Eb clarinet. I don't think many players own a D clarinet, not a house hold item for the average player. We're playing the Bartok Miraculous Mandarin in a few months, now there's a rediculous Eb part. ESP
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Author: DAVE
Date: 2009-12-21 04:14
I have played the beginning of Daphnis on a D clarinet. It really is handy on the noodles at the beginning... the rest of the piece is not too bad to be played on the Eb.
The Shostakovich isn't all that bad, but that last page is very tiring... Now Mahler 2 is a doozy!
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Author: graham
Date: 2009-12-21 12:15
Having played this part recently, but not often playing E flat, I certainly agree with the view that the tuning problems in the exposed woodwind passages of the first movement are the biggest challenge and often not given sufficient consideration. The last page is tiring but at least it is the last page, not the first, and in most programmes will be the last thing you play. I doubt most conductors would rehearse the last page all the way through bar perhaps once, and since it is so tiring it would be ligitimate to mime for parts in rehearsal, as long as you play it throughout in the concert. That's what I did and I had a sore lip but after moments it was ok again.
Shos 5 is no where near Shos 10 for difficulty. I had to turn that down recently on the basis that I just don't do enough E flat to make it viable.
Apart from regular clarinet I mainly play bass. I see the E flat as being a tricky and treacherous instrument, but taking it broadly I would say the bass is a great deal more physically demanding. Look at Shos 6 first movement. How easy is it to get to the end of that bass solo without gasping for air? What do you reckon Ed? Have you been able to make it to the end of that one? And if so, was there a "trick" to it?
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