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the_hizands
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« on: November 23, 2003, 02:56 AM » |
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Just a query out to the excerpt and orchestraphiles out there. Anyone here played Dukas's Sorcerer's Apprentice?
The glockenspiel part is ridiculous and difficult, thus making it the next-most popular audition excerpt for mallets next to Porgy and Bess.
If you have played it, perhaps you could lend me some insight on your stickings, whether it was with 2 or 4 mallets, etc.
Many thanks folks!
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nycowboy
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« Reply #1 on: November 23, 2003, 03:42 AM » |
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I've always played it 2-mallets using phenolic mallets(not brass...I never liked the sound of metal-on-metal on orchestra bells). I've also found that, at least for me, I try to find some convenient places in the piece to use "double strokes" just to give my hands a "rest" and to release any tension that might have built up in the muscles. 'Cause not only is the bells part fast, it should be played pretty quietly, too (next to impossible, but that's the way part is marked).
Good luck, and let me know how it turns out.
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the_hizands
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« Reply #2 on: November 23, 2003, 05:55 AM » |
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Oh nay nay nay, the 1+2+3 (3/8meter) runs are Fortissimo.....
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nycowboy
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« Reply #3 on: November 23, 2003, 08:09 AM » |
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Oh nay nay nay, the 1+2+3 (3/8meter) runs are Fortissimo..... Not when you play it with conductors who think the percussion section is a "necessary evil"  . However, the topic of dynamics is always subjective/relative, anyway. This is especially true with "metallic" instruments like the bells. If they are played too loudly, they get kind of "clangy"(IMHO). |
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Bart Elliott
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« Reply #4 on: November 23, 2003, 08:39 AM » |
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Use whatever you need to do to perform the part; 2-mallets or 4-mallets.
One thing to keep in mind, this glockenspiel part was actually written (originally) for keyboard bells or celeste. Debussy's La Mer and Mozart's The Magic Flute are the same way.
Through my classical studies, it's always been suggested to use two-mallets when possible ... as well as single strokes. In fact, percussionist Michael Udow (University of Michigan) plays Porgy and Bess using only single strokes; he never doubles.
It's going to take some work on your part ... obviously ... but find the method that works best for you. The sound and phrasing are what's important here ... not the technique you employee. Most auditions are conducted with the judges behind a screen ... so your method doesn't matter ... as long as we can't hear that you are using 4-mallets (ie. weak strokes, etc.). Performance wise, the audience just needs to hear the part; they don't care if you use 6-mallets or one mallet to play the part!
My approach has been and always will be to practice an excerpt in as many ways possible. For example, use 2-mallets ... only using single strokes, then work on it again incorporating double strokes where needed. Then do this all again, but reverse the sticking so that you lead with the other hand. Then go back and do ALL of this again, but with 4-mallets. Get the idea? You want to be as versatile as possible, because you never know when someone may call on you to do it a different way. If you've practice every way possible, you'll be stress free in any audition or musical situation.
Be sure to record yourself ... listening back to every note, every phrase, etc. Most of all, be musical. Listen to how other professionals have interpreted and performed these works ... and if need be, come up with your own version.
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My doctor says it's bad for my blood pressure if my mind is blown for more than five minutes at a time.
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the_hizands
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« Reply #5 on: November 24, 2003, 02:14 AM » |
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Thanks for your input guys. Luckily this isn't for an audition, tis for a performance so I obviously will be subject to conductor interpretation. Side note, I was told a story about Leigh Howard Stevens, in jest of learning Porgy and Bess, worked it up w/4 mallets to a ridiculous tempo and presented it to his juries. Nice rebellion  I'm looking forward to playing this. We're also performing R-K's Le Coq D'or and Tchaik's Cto for Violin. Later guys! |
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Olfert
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« Reply #6 on: August 20, 2005, 11:27 PM » |
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Hi there, I would very much like to practice this Dukas glockenspiel (celesta) part, does anyone have a scan / digital photo of it? Thanks a lot!
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Human2112
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« Reply #7 on: August 26, 2005, 08:22 AM » |
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well, this glocken part is really fun to play, very challenging. however, i think it´s preety much more logical to have it played on the original instrument to each duka´s has written it, even because I imagine that he had actually the celesta timbre and rage in mind, since the glocken always sounds one octave higher than the actual written part (althogh tradition brings glocken for it, mostly).
In the orchestra I play, I gave up playing this part for these reasons I mentioned, and had it played for our pianist (after talking and explaining my reasons to our conductor), though I´m able to play it by heart.
anyways, if you have to play it, I would strongly suggest the stickings printed on alan abel´s compilation (XX century orchestra studies...). they are clear, simple and thus, very logic.
my personal tip would be (2 mallets): double the 2nd major or minor intervals and do the logic for the rest!
one before rehearsal 19, double for the 16th (llrrll) and play the levare 8th with the right stick.
four mallet sounds very odd for me, once, for that flashy arpeggios on rehearsal 22, you would helpleslly need to double at least one sticking for each measure!
hope its of some help!
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