Aaron Copland and Benny Goodman: Reinventing the Clarinet Repertoire by Graham Lord
/ November 19, 2007
Opportunities to perform concerti
with orchestra are understandably far less common for clarinetists than
for violinists, pianists, or cellists. The reasons for this are evident
enough: a much shorter history of the instrument, a lesser-developed
solo repertoire, and a smaller number of performers in the top-flight
talent pool. However, a great deal of the instrument’s development
over the 20th century came from someone who many would consider as an
unlikely source: Benny Goodman. It may astonish those who are unaware
of the King of Swing’s contributions to the classical mainstream to
see the list of composers and conductors with whom Goodman collaborated
and from whom he commissioned some of the instrument’s most cherished
masterworks: Stravinsky, Bartók, Bernstein, Arnold, and of course,
Aaron Copland. The concerto that Goodman commissioned from Copland (premiered
in 1950 with Goodman and the NBC Symphony Orchestra) immediately took
its rightful place as one of the standards in the repertoire, and its
legacy has unquestionably grown exponentially over these last 57 years:
today, it is an absolute must in the repertoire of any serious clarinetist.
Perhaps the main appeal for clarinetists
and audiences alike lies in Copland’s remarkable ability to blend
jazz and orchestral sensibilities in such an entertaining fashion. This
kind of fusion of styles brings Gershwin’s Rhapsody in Blue
and An American In Paris readily to mind (there is certainly
a striking resemblance between the infamous clarinet smear that starts
the Gershwin Rhapsody and the exhilarating glissando that finishes
Copland’s concerto). The section marked “with humor”, featuring
the bass section playing slap-style, has even succeeded in making audiences
chuckle audibly during concerts! The cadenza, which connects the two
movements, interpolates a number of popular and jazz elements, ranging
from Brazilian folk tunes to the Charleston.
In spite of these influences, along
with the fact that the concerto was written for one of the greatest
swing bandleaders in history, Copland shows no explicit evidence in
the score of any actual swing material (Goodman’s recording stays
true to this practice). However, this hasn’t stopped a great number
of clarinetists from tampering with rhythms in certain passages in order
to accommodate a swing feel; indeed, in a general sense, something about
straddling the line between classical and jazz has created a remarkably
wide scope of interpretational choices for this work over the last half-century.
Even far removed from the question of swing, there are still many elements
of jazz style to consider for soloists, who often have to ask of themselves:
to what extent should a classically trained performer with little jazz
experience attempt to “cross over”? Is this truly a mainstream concerto
with mere elements of jazz, or can we see Copland, like Gershwin, “dressing
up” a jazz chart by orchestrating it for a symphonic ensemble? Those
are some of the important aspects to consider when tackling this baffling,
if not dazzling, staple of the clarinet repertoire.
Graham Lord is one of two winners
of the 2007 CBC/McGill concerto competition and will perform the Copland
concerto with the McGill Symphony Orchestra in Pollack Hall on November
2 and 3 at 8:00 PM. n |
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