 The Clarinet BBoard
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Author: seabreeze
Date: 2015-07-03 18:17
Yes, and some very fine clarinet playing from Romie de Guise-Langlois throughout.
The lesson on vibrato is especially good, with the same passage played 4 different ways--no vibrato, very subtle vibrato, rather pronounced vibrato, and shaking like a leaf vibrato.
I do disagree with the lecturer's statement that Guise-Langlois sounds like Artie Shaw when, at his suggestion, she turns the vibrato knob all the way up. In that mode, she sounds more like Reginald Kell. When Shaw played the Mozart Quintet, he really used a different kind of vibrato.
I would vote all the way for Guise-Langlois' subtle version of vibrato--perfect for the music,
The same group and the same composer-lecturer also present the Bartok Contrasts on YouTube.
Post Edited (2015-07-04 00:44)
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Author: brycon
Date: 2015-07-04 00:23
Very interesting video and beautiful playing. Thanks for posting, Sylvain.
I've only had the chance to watch the first 20 min or so, but in that time, there were a few things the lecturer discussed that were incorrect.
With regard to the opening theme, classical era themes didn't have to cadence on the dominant; they just as often cadence in the tonic. Nor did they have to have "feminine" and "masculine" phrases within the theme. The lecturer is thinking of the classical era period, but there are other types of themes. (William Caplin wrote a very influential book on classical era theme types after a systematic survey of Hadyn's, Mozart's, and Beethoven's music--if anyone's interested.)
Brahms's theme also doesn't end on the subdominant--the piano has a tonic pedal, and the C# hints at A major. But even if the opening theme did end on the subdominant, it wouldn't contribute to the "autumnal" quality of Brahms's music. Moves to the subdominant key area release tension; they don't darken the music. I think the darkness we hear in Brahms's music is much more a result of things like orchestration (for example, giving the melody to the alto and tenor voices), chord doublings (especially doubling the third on tonic chords), and spacings.
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Author: clarii2
Date: 2015-07-05 01:37
i believe i've played 3 b. cl. in A(bass clef)orchestral parts. Prokofiev, Rachmaninoff, and Ravel.
out of curiosity could some of you add more from your experience. thanks
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The Clarinet Pages
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