Fantasy for Bass Clarinet

Why not dedicate a little post to an interesting from my point of view music instrument – bass clarinet. You know that old joke (well, and many others, similar ones): “How do you stop an oboe from being stolen? – Put it in a clarinet case.” So yeah, by the way, I WOULD steal the clarinet case because I do like this instrument, I do!

It’s like a man with a low beautiful voice, powerful and charming – an octave lower than its relative ‘soprano clarinet’. Today it’s a common music member to see in various orchestras and ensembles but it was apparently underestimated in the 19th century before its construction was improved by, ironically, Adolphe Sax, the sax inventor. The interest grew and the clarinetists soon were turning into bass clarinetists as well, being lured by the new instruments sounding. Composers, too, grew a liking for it – Ravel, Liszt, Strauss, Berlioz, Meyerbeer and a long row of other wrote for it. The number of solos was very small of course at the beginning, but with time musicians both arranged the classics and later started widening the solo repertoire for bass clarinet.

David Ocker playing Bass Clarinet

Today it’s a loved instrument of great composers like Brian Ferneyhough, David Lang, musicians like Henri Bok, Dennis Smylie, Luciano Berio and many others. Bass clarinet is a ‘reinforcing’ instrument so it’s a common thing in marching bands, orchestras and choirs. Gorillaz, Muse loved and used it a lot, you may hear it in The Beatles songs too. Some clarinet lovers love to dedicate whole works for it – here’s an example of a Fantasy for Bass Clarinet (Natalie Schindler).

So, yeah, bass clarinet doesn’t lack charm.

“Try”: Pink Makes Another Hit

That’s right, the Blog is supposed to be dedicated to the rare and overlooked classical masterpieces or curious arrangements but today I feel like diving into some old good rock and feed the ear with a nice quality rock ballad. Here’s why the post will dwell on the unexpected recent hit by American rock/pop singer, the eccentric and athletic Ms. Pink.

From my own experience and thus point of view, the vastly-grown popularity of the song can be attributed first of all to the very subject of the song as many of us at least once had to overcome a difficult time in a relationship. And those who had to live through a tough beak-up would especially live the lyrics of the song. No matter how hard it may seem, despite frustrations, drama and hardships, one should never give up but rise to one’s feet and try to move on, whether trying to assemble and fix the broken pieces of the relationship or to get over it and continue to live a full life. Moreover, the music really is catchy and the video adds its great impact on the visual perception of the whole image.

So the single “Try” from Pink’s sixth album “The Truth About Love” becomes both a commercial success and audience’s pick. Warmly praised by the music critics, it steadily climbed up the numerous Billboards being compared to a “breakup salve”. The video deserves a special attention. According to Pink, this has been her favorite video from all the works she had ever recorded before that. So many efforts have been put in it by Pink herself and her dancing partner Colt Prattes. The fierce metaphorical dance was staged by best stunt choreographers Floria Sigismondi and Sebastien Stella and was inspired by the Apache dance, a street dance from Paris, quite aggressive and savage. Originally it used to depict a fight between a prostitute and her pimp actually.

Pink’s artistry and athletic shape left many fans speechless, including her mom, so sincere and powerful the dance is. The live performance proved to be no less emotional either.

Pavane ‘Et bons Jours’!

It’s such a l-l-l-lovely sunny day outside today! I’m more than sure that Gabriel Fauré composed his majestic Pavane on a no less lovely day back in 1887. There are two possible explanations for this name: it’s either the Italian for ‘dance’ or the Spanish for ‘peacock’. I’d prefer to stick to the Spanish version because it’s known that exactly the rhythms of the traditional processional ‘pavan’ dance in the court of Spain inspired the French composer for his little six-minute masterpiece.

The composer himself first considered the piece quite dull, or better say ‘pallid’, but as soon as he decided to dedicate it to his patron, comtesse Elizabeth, adding some more grandeur seemed a must. That’s when Fauré wrote an additional invisible chorus as an accompaniment to the orchestral version. The lyrics were not devoid of romantic touch and the tragic helplessness of a man in love. And there it was, the secret, now the whole piece was a completed integral music work.

The F-sharp minor Pavane, although meant for piano, was mostly used for orchestra during its historic usage. Anna Cooper had interpreted it in her own manner too, scoring the piece for flute, oboe and bassoon. A graceful arrangement was born as a result of her work.