 The Clarinet BBoard
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Author: ClarinetRepublican
Date: 2005-11-02 18:16
I'm playing principal on beethoven 2 and in the second movement, in the solo there is a E-F trill, in the marcellus recording he starts on F and then theres a D/E grace into the G eight. This doesn't sound musically correct, but is there reason for putting it in there if it is not specifically notated?
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Author: crnichols
Date: 2005-11-02 18:43
Yes, there is no evidence indicating that a trill should start on the note until 1826, Beethoven's Second Symphony was written circa 1802. Also, if you look at the tutors (method books) of this time period, you will also notice that they instruct that the trill is to be irregular, i.e. start slow and gradually get faster and then end with grace notes leading to the next note. If you want to hear some recordings besides that one that display this, check out the Academy of Ancient Music under Hogwood, and the Tonhalle Orchestra Zurich under Zinman, the Hanover Band under Roy Goodman, or the Orchestre Revolutionnaire et Romantique under Gardiner. These ensembles are mostly period instrument orchestras (with the exception of Zinman's orchestra) and they specialize in period correct performances. Of course, correct or not, you'll always end up doing whatever the conductor wants...
Christopher Nichols
1st Infantry Division Band
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Author: ClarinetRepublican
Date: 2005-11-02 19:46
haha, so far the conductor hasn't said anything, infact i did it different ways through out the piece to see if he would comment. I listen to the first violins play it, they seem to just beltch it out with out the same consideration as say a soloist would.
Thanks for the info btw
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Author: Tony Pay ★2017
Date: 2005-11-02 21:24
A wrinkle is that there's no good trill from E to F on the 5-key clarinet. It turns out that it's best to establish the pitch of the F by beginning with the (good) fork fingering, and then trilling E to a (sharp) F by opening and closing RH2. You can finesse the situation with clever timbre change, and by moving RH2 hardly at all away from the body of the instrument.
So that argument might persuade you to begin the trill on the upper note, if you wanted to recreate what they might have heard in those days.
That goal doesn't interest me 'in itself' -- though related questions do interest me, as y'all might have noticed. (On a modern instrument I can go either way.)
But personally, I never play the nachschlag in that solo. (Nachschlags work best when they precede a consonant note. A nachschlag here would precede an appoggiatura -- a dissonant note.)
Tony
Post Edited (2005-11-02 21:29)
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Author: Tony Pay ★2017
Date: 2005-11-02 21:59
I wrote: >> Nachschlags work best when they precede a consonant note. A nachschlag here would precede an appoggiatura -- a dissonant note.>>
This was too hasty. I immediately thought of all sorts of counterexamples. (Not to mention the fact that it doesn't precede an appoggiatura here:-()
I think the real reason for me is that here a nachschlag is too busy -- too attention-drawing -- to go well with the simple semitone bass movement.
Tony
Post Edited (2005-11-03 07:45)
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