Ensemble Audition Music (Clarinet)

Spring 2021

Selections from:

Stamitz – Concerto No. 7 in Eb, "Darmstädter" (mvt. 1, Allegro molto)

Brahms – Symphony No. 3 in F, op. 90 (mvt. 1, Allegro con brio) Milhaud – Suite for Violin, Clarinet & Piano, op. 157b (mvt. 3, Jeu) Tower – Wings Bernstein – Sonata for Clarinet & Piano (mvt. 2, vivace e leggiero)

Holst – First Suite in Eb (mvt. 2, Intermezzo)

Bass Clarinet (optional)

Schuman – Symphony No. 3 (Toccata) Bach – Suite in Eb, BWV 1010 (Gigue)

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! I've discontinued providing specific suggestions for recordings, but if you need any help in tracking something down, let me know and I'll help.

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 for those who are interested in demonstrating their abilities 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. (Zoom Recommendation: The quality of your audition may be improved by the use of an external microphone, adjusting the settings of your software/hardware, a good internet connection, and a friendly (quiet) environment.)

Stamitz – Concerto No. 7 in Eb, "Darmstädter" (mvt. 1, Allegro molto)

Stamitz's indication is "Allegro molto" which is less than specific. I suggest something in the range of -quarter=120, but you may go faster or slower, depending on your abilities and musical sensibilities.

Strive for a synthesis of expressive, musical playing and exciting, brilliant technique! Resolve to NOT let any of the ornamentation or embellishments interrupt your sense of rhythm or technique.

(For the purposes of this audition, a two measure rest in the middle of the excerpt has been removed.)

Brahms – Symphony No. 3 in F, op. 90 (mvt. 1, Allegro con brio) Target tempo should be in the neighborhood of dotted-half = 50. Despite the "strange" time signature, it's a straight-

forward compound subdivision. Some things to remember: This is for A clarinet (not Bb – so it'll be crunchy if you play along), and staccato doesn't

mean short. The "mezza voce" and piano indication may seem at odds. When in doubt, let "mezza voce" win. Pianissimo should sound different than piano.

This excerpt comes from early in the movement, starting the exposition after an introduction of sorts.

Milhaud – Suite for Violin, Clarinet & Piano, op. 157b (mvt. 3, Jeu) Tempo is as marked, approximately quarter = 120, though you'll find recordings that play slower and faster. As some of you have seen in other repertoire, the "wedge" articulation is indicative of a short, stopped staccato. This excerpt starts the movement.

Tower – Wings Tempo here is unmarked, but should be in the range of 100-108 bpm. Some rhythmic clarifications: the 3-note groupings can be thought of as compound (triplet) beats. The quintuplet

will happen over 2 beats (so is actually just a little slower than the preceding triplets. In the 3rd system, the 8ths are simple subdivisions, followed by triplets (the "quarter note" beat stays constant). The 16th notes will be a "normal" division of a beat into four parts (so a little faster than the triplets). In the 5th system, there's a grouping of 16ths that should be felt like a measure of 3/8. The septuplets should happen within a single beat (just a little slower than 32nd notes).

With those things in mind, there should be a general acceleration of rhythm (but NOT of tempo), accompanied by a gradual increase in volume.

In the published score, there's some discrepancies about when accidentals repeat. For our purposes, assume that accidentals carry through the line unless cancelled. There are an abundance of "courtesy" accidentals as well.

This excerpt happens approximately 4 minutes into the piece.

Bernstein – Sonata for Clarinet & Piano (mvt. 2, vivace e leggiero)

In teaching this piece, the vivace indication often seems like an invitation for stress. If you feel similarly, I encourage you to work past it. I suggest a tempo of about 60 bars per minute, maybe even a tad slower? Work to feel this in one, rather than an asymmetrical (and non-regularly divided) mixed meter.

Take the fortissimo with a grain of salt? It should be cumulative and very present, but don't hurt us (or yourself!). Instead, work with your ability to create both perceptible growth/intensification and contrasts.

This excerpt comes from the recapitulation of the 2nd movement.

Holst – First Suite in Eb (mvt. 2, Intermezzo) Target tempo (at least the one I like) is around quarter note = 120-126. Or better: feel in two (half note = 60-63). As with most of these excerpts, don't be too literal with your interpretation of the indicated dynamics. Make sure

you can phrase through each bar and effectively from measure to measure. (A previous teacher told me "This is a GREAT melody – you can really phrase the snot out of it!")

The running eighth notes at rehearsal D are accompanimental to a brass choir playing the previous melody. You are in a position to use the line to embellish the phrasing.

Bass Clarinet Excerpts

Schuman – Symphony No. 3 (Toccata) Target tempo is as marked. Take care to choose a tempo that allows for technical facility AND demonstration of

the different rhythms and subdivisions in the excerpt. While the initial dynamic is piano, it is a solo introduction of melodic material in a VERY large orchestra. Play

presently enough to maintain a characteristic bass clarinet sound through the entirety of the excerpt.

Bach – Suite in Eb, BWV 1010 (Gigue)

Target tempo is typically in the vicinity of dotted quarter note = 92 The articulation is Bach's, but indicative more of bowing than of quality of attack. (Still, I'd stick with this unless

you feel strongly…) The lack of dynamics is also Bach's, but NOT an invitation to play without phrasing!