Wonkyung Chae (Artistic Director), Jaehee Choi (cl), NFA Chmaber Orchestra Seoul Date: September 29th, 2016 Location: Seoul Arts Center, Seoul, Korea blog.naver.com/nfamusic / nfamusic0105 nfamusic@hanmail.net
What a performance, bravo! Great to see the Korean people appreciate the 250-old music of Czech émigré composers such as Karel Stamic, son of Jan Stamic - composers who established the clarinet as a serious symphonic (as well as solo - 13 concertos by Karel) instrument at Mannheim. Mozart wrote admirably of the Stamic's Mannheim orchestra having a "glorious sound of clarinets ..." (which to me, as a serious Czech/Bohemian American clarinetist, is "music to my ears"!) As far as this performance, the soloist is a great artist and I appreciated her "spunk" & energy as well as musical creativity in ornamentation & embellishments, making this performance of the No. 3 quite unique in the last 50 years. At a few places in the piece, however, I would be a bit more conservative & observe carefully that, just because a "riff" is repeated, does not automatically imply embellishment, as repetition also accentuates the composer's intended emphasis effect. That said, the embellishments I heard here were quite amazing and fairly tastefully done in the spirit of the rococo style of the music. I look forward to hearing more recordings from Jaehee Choi, I am sure she is quite aware of more clarinet music by the Stamic's as well as other early Bohemian composers.
mvment 1: Part "1" for clarinet is at about 1:25 Part "2" for clarinet is at about 3:40 Part "3" for clarinet is at about 5:30 mvment 2: part "1" for clarinet is at about 7:52 mvment 3: part "1" for clarinet is at about 11:30 part "2" for clarinet is at about 11:50 part "3" for clarinet is at about 12:22 (oops, that was the cadenza. The cadenza ends at 12:40)
I believe that your clarinet performance is the best one in the world. thank you very much for giving us your great performance. With My Love from Japan!
전고전파 스타미츠의 숨겨진 걸작이군요. 모차르트의 클라리넷 협주곡 비슷합니다. 아마도 모차르트가 이곡을 들었거나 알고 있었을것 같다는 추측이 듭니다. 최재희 클라리넷 연주자분 테크닉은 신기에 가깝네요. 시원하고 쭉쭉 벗는 음색이 너무나 좋습니다. 최상의 연주, 숨겨진 걸작을 알게 되어 감사 합니다.
There are a number of embellishments or alternate phrases in this performance that I don't see written into my sheet music for the same piece. Can anyone explain why this might be? The edition I am working from is C. F. Peters # 4859. For example, in the first movement, the first two beats of both measure 139 and measure 145 are quite different from what is written in my edition.
Probably because of the editor? I heard that there were some mistakes or something with the tounging/articulation in some of the parts of the pieces. I think it just might be that it's a different editiong? IDK the song has a few trills that I don't have on my music.
I dont know if you are still wondering but this piece is mostly about improvisation and the soloist changing things to fit how they like to play while fitting into what is written. That is part of it, and the rest is because of editors interpreting the original version into something the musicians of today can play and each one does it a little bit differently.
I don't think the mouthpiece type affects the playing much unless you're using a specially created one vs. the one that comes with a clarinet. I may be wrong though.
@@bapofbread6751 Differents classical musicians use the BD5 or M30 by Vandoren, and this is interesting... Maybe make more easy play with these mouthpieces and the right reed. V12 3.5 for example.