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.
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.
Thanks, I totally agree with Mr Zimmerman, the LP players seem to barely think about what they are saying, their "logic" is full of holes. Then again we are talking about an orchestra where the principal clarinet had to leave notes out of the Ginastera variations recording because she couldn't handle it... Do they actually have auditions for that orchestra?
Excellent points as always, James! Looking forward to your next "Excerpt Education" video - that series has been great so far!
Man... I love your professional attitude of discovering all the details in music! What a great lesson! Thank u.
Hey man! This is really neat I'm glad you visited our youth symph and told us about your new channel
Thank you so much for this video, I completely agree.
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.
I find playing that solo all on the left hand much more relaxing. The LP clarinet player looks pretty phrenetic.
Love it! Great video James, and thanks for the insight!
great!
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.
Your response is unbelievably gratuitous and unnecessary! Wow.
Thanks, I totally agree with Mr Zimmerman, the LP players seem to barely think about what they are saying, their "logic" is full of holes. Then again we are talking about an orchestra where the principal clarinet had to leave notes out of the Ginastera variations recording because she couldn't handle it... Do they actually have auditions for that orchestra?