Author: Kalashnikirby
Date: 2019-12-10 21:03
brycon wrote:
"I like slower performances of the Weber pieces, and I also like faster ones. For me the character of the pieces can come across in a variety of tempos. But at the same time, I can't imagine a diva soprano with a virtuoso coloratura aria asking the orchestra to slow things down and approach things "more poetically." The drama in virtuoso opera and concerto performances comes from pushing the envelop (with tempos, cadenzas, improvised ornaments, etc.): "Is he/she going to make it? Or are they going to crash and burn?"
I'd very much agree with that statement. That being said, I see little need to go overly fast with Weber's pieces, as their drama and virtuosity might go lost. In general, our powerful and resonant modern instrument make his pieces so much fun to play that I really need to get my hands on a recording played with a Iwan Müller style (or similiar) clarinet. My teacher is pushing me to an even broader dynamic range, which on the other hand is fun, too. All roads lead to rome, I guess.
Here in Germany, Weber's 1st is probably the 2nd most played clarinet concerto, along with Mozart of course.
There'd be so much to say about this composer. Is he underappreciated? Not here in Germany at least. Can we overestimate his influence? Probably not, given that he more or less established the (romantic) German opera and reformed the orchestra's seating, besides intruducing the conductor's baton. But musicologists will have more relevant things to say than I can.
My personal preference, if not favor, goes to Weber for being romantic, but not quite (ie early), being dramatic, but maybe even ironically so and writing "difficult sounding" pieces. A friend who's talented singer and bassoonist presumed the op. 26 "super hard to play" - I think it's manageable. And then he inspired Wagner and Mahler, the latter having finished the opera "Die drei Pintos". Both Weber and Mahler have a certain "anti-romantic" appeal to me: Weber never being as "overboard" as latter composers, Mahler using an insane palette of emotions mixed with deep despair and hope at the same time, more or less thwarting typical romantic ideas.
Anyways, that op. 26 has to be manageable, cause I'm going to play it with my orchestra this winter Really looking forward to it, I should consider myself lucky, though that's currently a lot of work for both sides - we'll see how it works out.
Barney P: I'll think of what you wrote about this and truly appreciate your heartfelt account. Music connects us all, and this is a gift no one will ever be able to take away from you.
Best regards
Christian
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