 The Clarinet BBoard
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Author: metalheadsimon
Date: 2011-05-08 16:21
Hi guys,
Within the next few days, i am giving my 2nd year performance recital, and im performing the Saint-Saens clarinet sonata (whole thing) and Rabaud's Solo de Concours (if unfamiliar research on youtube fantastic piece, both fun and technical)
However once i have done this recital i have very little to do bar orchestral and ensemble work until early september time, and i dont really want to waste this free time when i can be learning new repertoire.
I am particularly interested in anything pre mid 20th century, and enjoy both stylistic and technical works (hence my previous recital choices)
Also within the next year the university will be holding concerto auditions of which i would like to put myself up for, and am having difficulties choosing a work to look at. I have particularly enjoyed looking at Krommer and Weber in the past, and am avoiding the mozart (despite my love for it) due to it been performed recently by a student.
Any help would be greatly appreciated with this matter
Thanks
Simon Cowton
Post Edited (2011-05-08 16:21)
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Author: DAVE
Date: 2011-05-09 01:18
Francaix concerto or Finzi concerto. Both very different but nice works. Hindemith concerto is also nice.
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Author: Ken Shaw ★2017
Date: 2011-05-09 01:38
Whatever you choose, if it's not for clarinet solo, it's of surpassing importance that you study the score, so that you know not just the clarinet part, but everything else that's going on.
At the ClarinetFest several years ago, the competition piece was the Spohr Concerto # 1, the first third of the opening movement. The assigned portion didn't stop at the end of a solo section, but continued for several measures in which the orchestra/piano played the principle theme and the clarinet had light decoration around it. EVERY ONE of the contestants played the decoration as if it was a solo. That's what comes of learning a concerto solely in the practice room.
The 4th movement of the Mozart Clarinet Quintet is a theme with 5 variations. In the first variation, the strings play the melody and the clarinet has a complex countermelody that goes all over the place. In 99% of performances and recordings I've heard, the clarinetist treats it as almost a clarinet concerto, paying no attention to the melody that's going on underneath.
When I play it, I ask the strings to play forte and I play pianissimo, trying to lay an almost invisible veil over the melody. The strings have the solo. I'm just accompaniment. Hauptstimme and Nebenstimme.
Ken Shaw
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Author: davyd
Date: 2011-05-10 04:11
I may well be showing ignorance here (which would not surprise me), but:
In deciding which concerto to prepare for a concerto audition, is it worthwhile to research the availability and cost of the orchestra material first? One wouldn't want to spend several months mastering a concerto, only to find out that the orchestra material isn't available, or costs an unreasonable amount.
I say this based on my experience as an orchestra librarian. We've not had difficulty obtaining material for concertos from the 18th and 19th centuries. But material for 20th century pieces has often been quite costly, and not always available for as long as we'd like to have it. In some cases, we have had to construct, or reconstruct, an orchestration that wasn't available, something which might not be allowable in some environments.
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Author: clarinetguy ★2017
Date: 2011-05-11 18:29
Thinking of clarinet music--not concertos--written between 1900 and 1950:
1. Copland Sonata (the composer's authorized transcription of the violin sonata)
2. Mario Castelnuovo-Tedesco Sonata
3. Leonard Bernstein's Sonata I like the second movement so much better than the first. Does anyone else feel this way?
4. Malcolm Arnold's Sonatina We're close here--written in 1951.
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