 The Clarinet BBoard
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Author: Clariphant in Bb
Date: 2007-01-16 05:13
I've noticed that lots of colleges ask for pieces of contrasting style (technical vs lyrical) and, oftentimes, contrasting period. I'm thinking about what materials to audition with, and one piece in particular, the Hindemith Sonate, is giving me trouble in regards to this categorization. Obviously, it starkly contrasts something like Mozart or Weber for the period part of the requirement, but I'm not too sure whether the various parts are technical, lyrical, or an assortment of the two. For instance, the third movement is slow, but I wouldn't call it "lyrical," yet it doesn't seem to showcase enough technical ability to be used as the technical half of the audition. It certainly showcases "emotion" in ones playing, however, so perhaps in that respect it fulfils the requirement? Any advice if I chose to use part of this piece for such an audition?
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Author: Gretchen
Date: 2007-01-16 14:16
Because the Hindemith is not technical (meaning fast fingers?), I'd use it as the more "expressive" piece. Can you find a more flashy piece (i.e., Weber Concertino/ Concerto 1 or 2 (third mvmts of both) to contrast it? Weber always goes over well in auditions. Also, you could use a Rose Etude, the cadenza from Nielsen or the 3rd mvmt of the Mozart. Those pieces are from a different time period, and have a different amount of technical ability needed to contrast the Hindemith.
Hope this suggestion helps.
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Author: Ken Shaw ★2017
Date: 2007-01-16 15:32
It's absolutely possible to play the slow movement of the Hindemith Sonata lyrically. In fact, I think it's essential.
The harmony is quite traditional, but the phrase lengths are unequal. Find the beginning and end of each phrase by analyzing the harmony. It also helps to listen to a recording while reading or even singing the piano bass line. Arch each phrase over its length and do the standard tonal phrasing gestures -- pulling back on anticipations, squeezing suspensions and so on.
As I recall, the slow movement is marked forte, but it needs to be a gentle forte, not a martial one. Bring out the sweetness. Where the tempo picks up, keep it flowing. It's in 3 and rocks gently, like a cradle.
Ken Shaw
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Author: jane84
Date: 2007-01-16 16:27
My friend here played : Weber concertino (required), Gade ballad (that or Schumann nr.1 required ) and Hindemith. Nice combination I think.
-jane
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Author: Clariphant in Bb
Date: 2007-01-16 19:11
Thanks for the advice. I suppose I'm a little to accustomed to associating "lyrical" with "untechnical." Thinking about it again, it probably would be a good idea to choose a piece such as this, where the lyrical selection is slow, but not necessarily easy.
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Author: mnorswor
Date: 2007-01-16 20:03
Something that satisfies both requirements is the second movement of the Spohr Concerto #2. One of the best movements we have in my opinion. Doesn't have to be non-technical to be lyrical.
Just a suggestion.
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