I am a 20 year old bachelor of music student at the University of Alberta. Majoring in Clarinet Performance!
I live in the practice room and love rambling and cuddling.
Send me a message :) I love having a good conversation!
Clarinettists! Do you guys play the Prokofiev excerpt on B flat or A! I can’t decide which to do and my teacher told me I can choose whichever. Help!
My Grandpa just asked me in 100% seriousness, “Josh…have you heard of.. the ‘Mozart Clarinet Concerto?!’”
Practice sessions where I work on intonation literally always end in a rage or in tears. Or both.
You guys, I just don’t think I’m up to par on my knowledge of symphonic repertoire!
What do you think are some really important symphonies that I should listen to!!??
Like I just kind of listened to the symphonies on my iTunes for a long time and have finally started to branch out, but some direction would be good.
I’ve got a decent start and have covered all the Brahms, most of Beethoven (excluding 1, 2 and 8), Shosty 5+9, Mahler 1, 3, 5 and 9, Schumann 2, Rachmaninov 2, Dvorak 9, Tchaik 5, Saint-Saens 3.
(I’ve obviously listened to other symphonies before, but not enough or attentively enough to be familiar with them if someone were to talk about them!)
And that’s realistically a tiny amount of symphonies :P, but only being in orchestra a year and a half, I’ve only actually ever played two symphonies! (Schumann 2 and Brahms 1!)
SO. Fire away those suggestions pwease.
So in my 2 or so odd years of actually listening to clarinet recordings (horrible horrible high school Josh didn’t listen to clarinet music. WHY MAN WHY) I have chosen 5 clarinetists that I would say I am currently inspired by in my quest for tone development. Some of which I’ve only recently gotten into their playing.
Jon Manasse - Absolutely gorgeous sound. So smooth and rich and just utterly flawless. Like a bead of water. Sometimes his playing leaves me wanting more passion-wise, like in his Brahms Sonata recordings, but his lighter stuff is so charming and his Mozart is heavenly. Honestly the perfect sound.
Ricardo Morales - The sweetest sound! One thing I strive for in my sound is this sort of sweetness and lightness and he definitely has it. I adore his Brahms Quintet and the Philadelphia recording of Bartok’s Concerto for Orchestra, the clarinet solos just draw you in with their sweetness and depth of sound. I like the fluttering and gentleness that he can achieve.
Alessandro Carbonare - Such a power house! He has a slightly brighter, more intense sound but his technique is totally flawless and accurate. He makes me want to listen to Weber, and I really really agree with a lot of his musical decisions, and his musicality seems so natural. He has an incredible amount of musical energy his sound just seems so focussed and full.
Burt Hara - I haven’t heard a lot of his stuff, but for some reason his playing just makes me believe that he is a total sweetheart with a loveable personality. His playing is so intimate and really draws you in because he has something to say. He has a rich sound that has a sort of woodiness that makes it seem so earthy and natural.
Mark Nuccio - Really intense sound and musical intention! I don’t try and aim exactly for his sound, but I appreciate his intensity and enjoy his musical ideas a lot! He’s the only one I’ve met and I loved him as a teacher and the things he had to say about music. Even though his sound gets on the bright/intense side sometimes for me I still enjoy it.
I obviously love the playing of many other big name clarinetists, notably Sabine Meyer and Martin Frost, but Sabine has a gorgeous and in your face sound that I don’t think suits my playing much, and Frost’s musical decisions are sometimes questionable, unlike his flawless technique and sound. Any other must-listen to clarinetists that you guys really enjoy??
Finally got around to listening to Ricardo Morales play! His playing in his recording of Brahms quintet is divine. Such a sweet sound.
Does anyone know if he is actually ever at Juilliard with his students, or does he only come in once in a while???
I was thinking the other day about how musicians are so resilient and perseverant, but then I remembered that one time it rained and my practicing was a wreck for a week.
Practicing E flat clarinet is the reason for the quote “No Pain, No Gain”
UGH CLARINET WHY
After doing 43 hours of long tones in the last two weeks my brain finally understands what I’m trying to accomplish and I’m actually seeing good results. HALLELUJAH. :’)
After 7 days straight of almost entirely long tones and articulation exercises I have finally figured out where my tongue needs to be in my mouth. Thank Jesus.
Now I just need to figure out how to keep it in that position when I articulate and play fast.
All you pianists and string players out there should be so thankful that you don’t have to analyze whatever the hell is going on inside your mouth, it’s ridiculous.
like I really want to play associate principal and e flat clarinet in a big symphony though.
I know e flat is a little bitch, but so am I.
This whole, “let’s do 3 hours of just long tones, intonation and slow articulation every day plus 1 hour of technique” is going to be the death of me.
But I’m going to sound “super fly” by the time September comes.
Plus I secretly like long tones and articulation the best anyway, but it’s so tiring on my face after 5 weeks of inconsistent sporadic festival-practicing schedules. Need some endurance back, boiiiii.
Okay, so. This is what I’ve planned so far.
Messager - Solo de Concours
Sancan - Sonatine
Arvo Part - Spiegel im Spiegel
Martinu - Sonatina
Carter - GRA
Francaix - Tema con Variazioni
And this program is probably just over 45 minutes which is exactly how much I want. And I have 3.5 months to learn it (though I’ve already learned the Martinu and Francaix, and started looking at Messager and Sancan.)