 The Clarinet BBoard
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Author: Synonymous Botch
Date: 2006-02-26 18:27
I had the great pleasure of hearing Antony's reading of k622 with Christopher Hogwoods band.
I have a recent (live) comparison rattling around in my head, and this version on the radio bears mentioning.
The command shown of this chart is remarkable, and the pleasure in hearing the concerto drawn together from all performing.
The last movement practically bounced out of my stereo!
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Author: cigleris
Date: 2006-02-26 19:34
I have to agree, it was the first recording I bought on period instruments and must say that it has been a inspiration to me when preparing the work as a student. Must also say that Tony has also been an inspiration to my way of clarinet playing and thinking.
Peter Cigleris
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Author: Lelia Loban ★2017
Date: 2006-02-26 19:58
>>Must also say that Tony has also been an inspiration to my way of clarinet playing and thinking.>>
That's true for me as well. I love that recording (Decca / L'Oiseau-Lyre CD 414 339-2, recorded in 1986), including the Mozart oboe concerto, with oboist Michel Piguet. Hearing the clarinet concerto on basset clarinet is a revelation. I'm still a big fan of several recordings with clarinet in A (Jack Brymer's, for instance), but they sound like transcriptions to me now. For me, one of the pleasures of music is listening to a variety of different people, and I resist ranking them (partly because, as an amateur, I have no business ranking them!)--but I listen to basset clarinet versions far more than the ones for clarinet in A now, and the Pay / Hogwood performance has become the one I listen to the most. I'm also grateful for Tony Pay's participation here and on the Klarinet e-mail list--I've learned a lot.
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: LarryBocaner ★2017
Date: 2006-02-26 21:02
I have a warm spot in my heart for Tony Pay's recording of the Mozart Concerto: I kept the cassette of it on my car for years, and played it on my way to and from the hospital many times when I was "rehabilitating" after heart surgery. Also I've had the pleasure of playing Mozart's music under Chris Hogwood's direction a number of times (including "Clemenza"and Gran Partita), and I like and respect him very much!
For a different take on K622, have a listen to David Shifrin's basset clarinet recording w/Gerard Schwarz and the Mostly Mozart Orchestra (Delos 3020)--it's my current favorite. Shifrin is a fabulous clarinetist and an impeccable technician, but I'm not always enthralled by his musical judgements. I feel that sometimes he articulates passages (just because he can!) that I feel are better played slurred, but no such problem here--his interpretation and playing are simply elegant!
Post Edited (2006-02-26 21:28)
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Author: cigleris
Date: 2006-02-26 21:43
It's funny this post came up as I performed the concerto today on basset. Still coming down from the high.
The piece makes so much more sense with the basset notes. Wether there should be a low B is anyones guess, but Eric's recording with the Orchestra of the 18thC presents a good argument for the use of the B. My basset has a hole below the C for venting but if you cover it you get a B. Couldn't use it in concert though as it's impractical.
Intrested in others thoughts.
Peter Cigleris
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Author: Ken Shaw ★2017
Date: 2006-02-26 22:47
Peter -
Eric Hoeprich has recorded the concerto at least three times on basset clarinets he has made -- once on a speculative instrument with a basset box and a brass bell, like a shrunken basset horn, and studio and concert performances on a copy of the Riga program instrument. I haven't listened to thee for a while, but I don't remember hearing a low B.
Where did Eric use a low B? Are your proposals for using it the same as on Steve Fox's site? http://www.sfoxclarinets.com/Stadler.html
Of course, if you put a pad over the hole on the bell, operated by a thumb key, or perhaps one for the knee or ankle, you'd have to put still another vent hole lower down, which would give the opportunity for a Bb, and so on, ad infinitum. ![[rotate]](http://test.woodwind.org/clarinet/BBoard/smileys/smiley25.gif) ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
Ken Shaw
Post Edited (2006-02-26 22:49)
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Author: cigleris
Date: 2006-02-26 23:06
Ken, i don't have my cds infront of me as i'm in the hotel after the concert but if my memory serves me right it's a live recording from 2002(or is it 01?), i believe it's the Glossa label. There is most certainly two Bs in the concerto, bar 295 1st movt, the arpeggio goes down to B, and the usual place in the last movt, bar 145 onwards.
I not worried about not being able to play a low B but the children enjoy covering the hole when I do instrument demos.
Peter Cigleris
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Author: Chris Hill
Date: 2006-02-27 15:37
I just had the opportunity to perform K622, and I used Tony Pay's recording to study. It is first-rate!
Chris
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