Author: mrn
Date: 2009-05-01 22:11
donald wrote:
> The version i mentioned above was the Royal Philharmonic, and
> in addition to the run being altered there are bars of
> semiquavers (16ths) that have miraculously turned into bars of
> quavers. Hmmmmm
That's the one. The other thing I noticed they (or the recording engineer) did is cover over some of the more awkward trills near the end with the harp. It also sounds to me like they used the eefer player to complete the run (which they manage to pull off quite well by applying strong metric accents to each tuplet, so they sound *intentionally* disconnected).
The London Symphony took "the run" down an octave and slowed the piece down.
Simon's suggestion of using D clarinet would solve *a lot* of problems in this piece, not the least of which are the tricky spots that come after the run, which are arguably a bigger deal than the run itself (since at least there are a few simple things you can do to make the run more manageable, like using an eefer or taking it down an octave).
For instance, the last little repeated 16th-note sextuplet pattern before the end seems really awkward on either a Bb or an A clarinet, with no really good fingering solution--at least, none that I could think of the few times I've tried playing that little passage off the 1st part for my own amusement (using "open D" on the A is the best I could think of). On a D clarinet, though, the whole thing would stay neatly in the clarion register without accidentals.
In fact, I think there's only one passage in the middle of the movement that you can't play on a D clarinet, which just happens to be the one little section that plays the best on a Bb. I believe there are sufficient rests to do a D-Bb-D double-swap to play that section, so I think that's a great solution (as long as you have access to a D clarinet, of course).
Of course, I'm playing 2nd on this, so I don't have to contend with these issues. Although the 2nd part is perfectly playable on Bb, I'm still playing this movement on the A clarinet because it makes the one little finger rip the 2nd clarinet does right before the soloist's big run sound much smoother (not to mention the added bonus of the whole thing's being much easier to play). 2nd clarinet doesn't do too much in this piece until the final movement (which I am also playing on the A for the same reasons I play mvt. IV on the A).
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The Clarinet BBoard
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