Ensemble Audition Music (Clarinet) Spring 2018

Transcription

1 Selections from: Ensemble Audition Music (Clarinet) Spring 2018 Mozart Concerto in A, K. 622 (Mvt. I Allegro, end of recapitulation) Nielsen Quintet, op. 43 (Mvt. III, var. IV) Shostakovich Symphony No. 9, op. 70 (Mvt. II Moderato) Bernstein Profanation from Jeremiah (Symphony No. 1) Rimsky-Korsakov Capriccio Español (Mvt. I Alborada: vivo e strepitoso) Tchaikovsky Symphony No. 4 (Mvt. IV Allegro con fuoco) Bass Clarinet Excerpts (optional) Grofé Grand Canyon Suite (Movement III On the Trail ) Weber Andante e Rondo Ongarese, op. 35 (arr. Cohn, Andante only) Suggestions: Target tempi are provided for each excerpt, but they are only targets. Do not attempt to play these excerpts at a speed that your fingers/tongue/brain are not prepared to play at! Some of these excerpts are not explicit about phrasing and dynamics. The lack of expression markings does not mean that you should play without expression. Remember the three most important things about ensemble auditions: 1) Rhythm 2) Rhythm 3) Rhythm But don t forget to consider additional aspects of your playing: things like tone, technique, articulation, phrasing, etc. The bass clarinet excerpts are provided only for those who are interested in demonstrating their abilities on bass clarinet for consideration in ensemble placement. Playing the excerpts does not guarantee a bass clarinet placement. Likewise, not playing the excerpts does not mean that you won t play bass clarinet.

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3 Mozart Concerto in A, K. 622 (Mvt. I Allegro, end of recapitulation) My preferred tempo is around quarter note = , but you should play this at a tempo that is comfortable for you. Although written for A clarinet, play this on Bb clarinet for the audition. This is the end of the recapitulation the very end of the movement. Prepare from the beginning of the excerpt through to the downbeat of the bar marked Tutti. Some of you may have learned this with different articulations feel free to do what you are familiar with. There are tons of recordings, but if you re looking for recommendations, it s hard to beat Sabine Meyer s recording of this one

4 Nielsen Quintet, op. 43 (movement III, variation IV) Target tempo is quarter note = Prepare the excerpt on Bb clarinet. Note that the original is for clarinet in A beware if practicing alongside a recording. It s a little clipped off, but there s an ffz in the last measure. Think articulation, think phrasing, think momentum. Recordings via Naxos, search: NI5728 (Track 14, at about 4:45). There are others, but this is a pretty standard presentation.

5 Shostakovich: Symphony No. 9, op. 70 (Mvt. II Moderato) Target tempo is quarter note = (looks fast, but it ll feel slow) This is a bit of a lopsided waltz. It should be beautiful, it should dance, and it should be just a little off-kilter. You ll have an easier time with this if you are familiar with the double-bass part that accompanies the solo. Ignore the in A. Prepare this on Bb clarinet. (Be prepared for some ugliness if you play along with a recording!) If you re wondering whether I m listening for response and intonation in your altissimo register, the answer is yes. J Choose fingerings that facilitate your success. Recordings via Naxos, search: (Track 6). ODE846-2 (Track 2) is faster (a bit too much for my taste), and (Track 6) is slower. (Of course, Rostropovich might know something about Shostakovich.)

6 Bernstein Profanation from Jeremiah (Symphony No. 1) Target tempo is in the neighborhood of eighth note = 336. (I ll do the math for you: quarter = 168 or dotted quarter = 112.) Rhythm and pulse are super-important here. The combination of irregular meter, articulation and accent creates a fantastic sense of dance. Use that to your advantage. Contrasts are everywhere low vs. high, soft vs. loud, smooth vs. detached. Engage them all. For the audition, you don t need to count the rests between rehearsal 4 and rehearsal 5, but do count through the C between rehearsal 6 and rehearsal 7 Recording via Naxos, search: 7264-MCD (band version - Track 8, about 0:16), (orchestra, Bernstein conducting)

7 Rimsky-Korsakov Capriccio Español (Mvt. I Alborada: vivo e strepitoso) Target tempo is quarter note = , but in recordings you might hear it a little faster or a little slower In the 1 st excerpt, plan to play from A through the 1 st bar of B. In the 2 nd excerpt, plan to play from C through the 3 measures marked piano. (Ignore the last bar it s a figment of our collective imagination.) The dynamic isn t explicitly marked as forte in the part, but the solos must carry over the orchestra. The trills can be a sticking point. Some people play a single iteration, some double, and some aspire to more than that. Be smart in your choice regarding both rhythm and musical effect. Be aware of the articulation. Staccato isn t necessarily short, but tongued is tongued and slurred is slurred. Recording via Naxos, search: CHAN (Track 9, right after the beginning of the track)

8 Tchaikovsky Symphony No. 4 in f minor, op. 36 (Mvt. IV Allegro con fuoco) Target tempo is half note = 76 (quarter =152), but don t play faster than you can! There are two separate excerpts here; prepare what is between the brackets. If you re asked to play both excerpts, just take a moment after the first selection and continue to the second. While both of these excerpts are marked forte or fortissimo, keep in mind that these are the overall dynamics of the orchestra as it performs in this moment. Please do NOT feel obligated to overplay in your audition. A good strong dynamic is great, but remember to play with good tone quality and intonation Recording via Naxos, search: DSOLive003 (Track 4) Allegro)con)fuoco,))!))=)76 Allegro)con)fuoco,))!))=)76

9 Bass Clarinet Excerpts Grofé Grand Canyon Suite (Mvt. III On the Trail ) Target tempo for this selection is in the neighborhood of dotted quarter = 120 to begin with. What happens at the end will be informed by your study and preparation. Your solo starts in the 3 rd measure (don t play the oboe part!) This is really about style and character: Articulation, phrasing, gesture, etc. I shouldn t have to type this, but just to be safe: Look at the key signature! Recording via Naxos, search: (Track 7, right at 2:00)

10 Weber Andante e Rondo Ongarese, op. 35 Target tempo for these two selections is as marked: in the neighborhood of dotted quarter = or eighth = Prepare both excerpts from this work. The first is relatively straight-forward, but consider it an aria of sorts. Play molto cantabile, and be very expressive In the 2nd excerpt, the tempo is not faster, though the feeling is certainly more active. You must still be expressive and don t rush simply because you re playing lots of black notes. Recording via Naxos, search: C10496 (Track 4). First excerpt is at the beginning of the track, the 32 nd note variation is at about 3:20. The notes/articulation are a bit different there, but you get the flavor