2021 All-Region Comments and Suggested Listening
Clarinet
Etude #1: This technical etude is adapted for clarinet from the 24 Caprices for Violin, No. 11 by Pierre Rode It is helpful to listen to violin performances of this etude since violinists tend to perform this etude slower than do most clarinetists, despite the fact that technique is much more facile on the violin. This is due to the fact that the violin is trying to achieve a particular type of lightness to the technique and because a primary focus of this etude is the execution of the double stops on violin. Clarinet players should be careful not to play this too quickly (mm=104 to 108) and should play with lightness rather than shortness to the articulation. Here is a good performance by Axel Strauss, a famous violin soloist based in Montreal. For contrast, here is a terrific performance of this etude by Steve Ahearn of the Dallas Symphony
Etude #2. In searching for recordings of this etude, it is helpful to know that this music was originally published as No. 15 in the 32 Etudes for Clarinet by C. Rose. This lyrical etude is best performed with the player counting in eighth notes rather than in quarter notes. The marked tempo for this etude is a bit fast; I suggest 96 to 104 to the eighth note. Understand that you should be counting six beats per measure. Pay attention to the smoothness of the legato, make sure that there is a difference between the double dotted eight notes in m. 2 and the dotted eighth note in m. 4. In the opening motive, make sure that the first note B is not louder than the following F# and D. Finally, make sure in playing the cadenza that you make full use of the silence. Most players tend to play the cadenza too fast and tend to make the silences too short and abrupt. Here is a good performance by Alexey Gorokholinsky, a NY based clarinetist who studied at Julliard.
Etude #3. This technical etude is primarily focused on developing light, clean articulation between the lower and upper registers of the clarinet. Practice slowly in one measure plus a note, or two measures plus a note segments. The secret to playing this etude well is the focused use of your AIR. As one of my colleagues likes to say, "it's AIR-ticulation, not TONGUE-ticulation." It is also helpful to focus on the precise, light, and minimal motion of the tongue to the reed. Make sure that the back of your tongue is high in the back of the mouth so that the middle of the tongue is above the level of the reed. The tip of the tongue should always be "hovering" at the tip of the reed rather than having to scoop up and back to strike the reed. A good recording of this is available on iTunes, performed by Kazuo Fuji, a noted soloist and teacher in Japan. Here is a an other good performance of this etude from the Dallas Symphony.
Bass Clarinet
Etude #1: This technical etude etude should be light and playful. The written out turn in m. 1 should lead to bouncy but not short eighth notes that crescendo to the lowest not than lighten and diminuendo as the line ascends. Here is a fine performance of this etude by Andrew Sandwick of the Dallas Symphony.
Etude #2
Here is a fine performance of this etude by Andrew Sandwick of the Dallas Symphony.
Etude #3
Here is a fine performance of this etude by Andrew Sandwick of the Dallas Symphony.