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Wow! I never realized how much goes into presenting a musical piece!

You're a very lucky dude with your conductor....very open and he listens!! I wished in my career I had more music directors like yours!!

Marcellus does 108bpm, you did great job!

I’m not a musician, but stories like this make going to the symphony so much more inspiring! Hope you keep making videos when you can.

Oooh you played it on an A clarinet! I'm telling.. lol! Nice playing!

I have played at this level at my young age. There is a secret for you to get it to another level. Go to bad early, get up at 4:30 and play the hard parts at diverse slow speeds for one hour. DON'T PLAY IT AT TEMPO, NOT EVEN ONCE AND ABSOLUTELY DO NOT PLAY ANYTHING ELSE IN THIS PRACTICE SESSION. Go back to sleep or have breakfast Do whatever you usually do, Do the same next day etc etc. Subconsciously most people aims for a physical virtuosity but don't know how to imprint it litteraly in the subconscious

Thanks for the master class. You are an amazing teacher!! 🎉🎉🎉

I've always played the slur. I can't recall seeing the isolated semiquaver but perhaps I'm just lucky to have grown up being used to that.

GInastera is an italian name meaning the correct pronounciation is the same fricative sound as is Gino Cioffi

i thought these videos were deleted glad to see them reuploaded

Great analysis

I just discovered these, and they are some of the best, most informative videos about playing in an enemble. I'm sad that there's so few of them. I want more!

👍👍👍

Just think it was a little interesting that you said your audition for Nashville was fair, but then went on immediately to say that you playing in Minnesota and studying with a certain teacher made the music director see you in very high esteem before you even played for him, with no screen. That sounds about as biased an audition process as I can think of. I mean, it worked out well for you, and I’m sure you played stellar, but just saying, idk if you’d be so quick to call that a fair process if it was someone else being given favor due to nepotism, especially since you thought it was unfair that the panel saw you in the Boston audition since you thought they’d see you as a student

Thanks for all the help and info! So interesting how our intonation changes based on mic position. I’ve noticed when practicing with the tone generator, it can sound a little bit flatter in certain parts of the room if I move myself around and listen from a different spot.

Why don't you just say the recording was sped up? You imply it by mentioning the chipmunks. Why are you acting so coy?

Picky, picky.

I preferred it when the Eb played the top of the run. More oomf, more exciting.

I would rather hear the clarinetist in question actually play, rather than the joke music. But really good info on who is doing what.

G r e a t ❗😎❗🤣❗😇❗🛑

Thank you so much for your video! It is really useful and helps me a lot to put myself in your shoes with this piece. Im going to conduct this work soon. Thanks again!

Delightful, James! I haven't picked up the instrument in 30 years, but I became a better clarinetist and musician just for watching your video. Your thoughts on collaboration with the conductor and the other players are so very important. All through high school and college I had it drilled into me that not only am I responsible for my own competence but also am to make the players around me sound as good as possible. That philosophy shines through in your work. Bravo!

God I love this solo.

Great analysis, information and wonderful playing. So much fun for you to share some honest diagnostic acumen with. Thank you. The Variciones is on my stand and I am encouraged to learn that it is every bit as difficult as it seems to me and that's @ quarter note = 110 and slowly progressing. So much fun. Thank you.Now on to 111.

You’re killing me with that intro. 😃

The importance of Mental Health !

Brilliant video - terrific! I gave two questions: 1. what fingering do you use for the D in the final 4 bars of sextuplets? Is that an open D or a sidekey D? Secondly, I assume you use a harder reed for this piece, is that correct?

Bravo James! Thank you for your suggested fingerings, etc..

I really appreciate how candid and respectful your comments are - especially acknowledging that there are moments when it's best just not to look at the conductor. Sometimes it's more helpful to place our attention elsewhere. And I love your collaborative approach as well. So honest and practical.

20:24 Watching this from the eyes of an admirer, being nothing close to true clarinet caliber, YES, I see the difference! And feel it. The conductor is a different person in the Second Runthrough. // new topic // You must work very hard on editing these videos, especially searching for that cute stuff that you include. THANKS 🔎👍🏽🦆

I love this channel. I played clarinet from age 9 through 12 then went to alto sax and high school dance band. Now at 70+, I want to play well and a real live R13 is a few weeks from delivery from RMS in the Atlanta area. A professional clarinetist is one job that I think I could have succeeded at and be happy all my life. A path not chosen. I became a free lance lawyer and boat captain living in the Caribbean instead but this could have been a choice. Your channel reminds me of the challenges I would have had. The hard side of clarinet life is fascinating. To all clarinetists reading this, keep up the good work. Love the channel and love hearing from the players and teachers. Something useful for a whole lifetime. 😃🥂לְחַיִים!

I admire you, thank you really much!

Great, thank you!

Glad to see you back, James!

Any chance of an update for the years since 2018?

Thank you for sharing this valuable material. Bravo!

Thank you James for neither ruling in or out any racist intents by Mr. Lebrecht, as he comments about Anthony McGill, who I love. The world needs to call out racists but it should not immediately assume racism if question exists, and rather seek further dialog. Now that said, do I think Mr. Lebrecht could have done a better job here: you bet. And cudos to Mr. McGill for responding with inspiring content: which is welcome in the face of racism, acceptance, and everything in between.

Totally amazing. Wonderful orchestra. This should be required viewing for any serious aspiring orchestral musician.

Wonderful- informative and entertaining. Thanks!

Impressive work 👏

2:50 Wait, how do you know that? That's a pretentious and unfounded statement. Don't presume to know how & how much I appreciate something compared to someone else.

Just a suggestion, try switching to the A in the previous movement so it’s warmed up😊

Very interesting. A similar problem is presented to 1st horn in Dvorak's Cello Concerto. Should the horn player find out how the cellist is playing something and try to match it before the cellist plays that bit, or should the horn just be the horn.

Allthough i probably will never play this piece, your video is fun and interesting. Thanks. Especially for the fingerings. 👍😘

Pls, another video!!

"Conducting is no mystery at all, you just hire great musicians and let them play." [Sir Thomas Beecham]. This video is quite nerdy, but very cool!

I recall Jean Sibelius saying that he didn't worry too much about differing interpretations as long as the interpreters were committed to their ideas about the music. Mahler continually tweaked his orchestrations and apparently was fine if other conductors "retouched" his scores.

I think the reasons to play the clarinet solo faster based on the nature of the instrument is not the whole story. You have to really look at what context the solos are in. The clarinet solo is in between two march-like sections, with the same pizzicato accompaniment that the bassoon gets. However, the bassoon solo I would argue is in a far more agitated and agile context. First, you have the addition of high winds screaming away (with strings echoing) every time the bassoon phrase finishes. Second, the solo is immediately followed by triplet runs going through the wind section, and triplets in the string textures right after. The harmonic It would be quite awkward to play the bassoon solo any slower than the clarinet solo given the chronology and the general agility of the instruments that plays after the bassoon. I think Rimsky-Korsakov put the clarinet solo first because the clarinet has a much fuller tone to hold a solo by itself without other supporting instruments, and the screaming winds probably wouldn't have worked as well given that the clarinet's range is an octave closer to them (not to mention the timbre is closer too). You are right that sometimes it's good to just play your part, but I would say this is not that time, because this is not capriccio espagnol.

What ever happened to this channel? Content was so good.

This is awesome