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Moving (for three Bb Clarinets)


Luis Hernández
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A piece for two Bb clarinets and one Bb Bass clarinet. Transposed notation.

 

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I love the concept of a clarinet trio -one instrument with the possibilities of many different timbral qualities. Good choice.

Some notes:

First, I think the pointillistic beginning is well done -my only thought is perhaps have the first clarinet move up to the upper range of the instrument. This would showcase the different timbral possibilities inherent within the range of the instrument itself. Also, you use trill -but had you thought about using flutter toungue? I also know that some clarinetists can do double stop technique -not sure if you thought of that?

Second, I'm not sure having all three parts come together in parallel motion a bar after mark III works. I think if you had the 2nd Clarinet move contrary to the first and bass that this passage might be a bit more interesting -or you could have the 2nd clarinet maintain the pointillistic material as a way to connect the two sections together more cohesively. Just a thought.

Third, the seemingly scalar pattern that emergence around mark IV could use some articulation to further enhance it. I love this passage -but... it doesn't seem to have much in the way of character (if that makes sense?) I do enjoy how you offset it around mark VI -that was a nice touch. 

Again, between this area you have the same parallel motion -which again doesn't quite strengthen this material. It's rather drab.

The material at mark VII is some of the best I've seen from you. Your use of imitative counterpoint here is quite good -and provides good interest and intensity. 

Mark XIV! This! This is good! This is the perfect way to handle the parallel motion. I love this section -though I wish there was more variety in articulation.

The bar right before mark XIX works -but I think you should use fermata to intensify the importance of each note here. I'll let you figure out why this instance of parallel motion works -when the others don't. 

The return to the pointillistic material was well welcome -though I think you could have carried it a few more bars to draw the work to a fuller close. 

All in all, I think this is a huge expansion of your use of this kind of language -and one that I hope you take some good points from. I love writing chamber works as it provides a small way to hone ones craft in a very meaningful way. Keep up the great work! This is very impressive!

 

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