Dale Clevenger - Audition Preparation (1983)
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- Опубликовано: 5 окт 2024
- As a tribute to my teacher and mentor, I am pleased to present this rare video featuring Dale Clevenger discussing audition preparation and demonstrating the do's and don'ts of several standard horn excerpts. Also Includes a performance of the first movement of the Horn Concerto No.1 by Richard Strauss. From a VHS Master Class series produced in 1983 by U.S. Video Corp. Special thanks to Glen Joffe for his permission to upload and share this wonderful example of Dale Clevenger's insights and teaching.
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“Mr. Clevenger, what’s your normal warm up routine?”
“Warm up? Hell, boy, I never cool down!”
Especially with his female students.
@@yishihara55527 pfhaha xD
0:52 Strauss 1
5:28 Introduction
13:36 Warming Up
15:56 Trying out the Hall
20:16 Brahms 3
26:03 Beethoven 6
29:40 Tchaikovsky 5
34:34 Till Eulenspiegel
36:45 Review
38:09 Das Rheingold
39:08 Tchaikovsky 4
40:04 Shostakovich 5
41:19 Siegfried
44:29 Ravel Pavane
45:38 Mozart 40
46:14 Brahms 1
Thanks for doing this, Mark!
Even 40 years later, the same piece still being used in auditions. I know this and I'm even a trombone player.
Oh my gosh so lovely to see this! He was my teacher -- it brings back so much that he taught me.
Just excellent. And an example of what Philip Farkas said on a recording regarding what he felt was the real legacy a musician can leave. Their teaching. (Farkas was also principal horn of the Chicago Symphony, but in a period prior to Clevinger.) About legacy, (I paraphrase) Farkas said he first thought it was those wonderful concerts and he would be walking on air after they played a Mahler symphony. But he said the audience forgets in a couple of weeks, the musicians forget in six months. Then he said he figured it was the recordings. He referred to a conductor who said at recording sessions, "Remember, we are making history." But years later the records are at the bottom of a bargain bin for twenty five cents each. Then he said it is the teaching. He learned from his mentors and added some of his own. And passes that along to his students and they add some of their own. And it gets passed on further. THAT is the legacy. The teaching.
As a long time fan of the CSO I enjoyed Dale Clevenger's artistry for many years. Few horn players could match him in his prime, as he was here. As others have noted, that devilishly challenging solo from Till Eulenspiegel remains a standard audition piece. From wherever in the cosmic continuum he might be, I'm sure Strauss cracks a wicked smile whenever a horn player louses it up.
I miss your amazing brilliant sound!!!!! R.I P.
I am a flutiist. But one must appreciate the awesome phrasing, superb shaping of an upward leap and just overall pinnacle of the artistry of a devilishly difficult instrument a horn requires, that is being demonstrated here.
Such a lightweight...funny! If u love this kind of player & thinker, I'm happy for u. Mezzo forte is his perpetual dynamic & offers no challenge to Brain or Tuckwell, even less to Bloom or Cerminaro. In Chicago, I liked Farkas for dynamics & darker sound.
…..and, NEVER let them forget for one Yankee moment, that you are Tennessee.
Just found this on RUclips recommendations. Thank you so much for sharing! Dale was surely one of the best to ever do it.
This is gold! not just for those starting to audition to get into an orchestra; but also for those already in one. A great reminder of the kind of care and commitment one must keep even if having sat in a orchestra chair for years.
Thank you for your post. The importance of a teacher’s demonstration is key to being a great teacher. My study with John Barrows as his first “kid” student (age 12, 1958) and his demonstrations are still with me. I had the pleasure of meeting and playing for Mr. Clevenger at Giardinell’s just before he was chosen for Chicago. I remember his smile when I played the Brahms 3rd solo. BTW, I’m a physician and still perform (Alex 107x, Barrows Dell’Osa). But, I never found the Schmidt I saught back then.
I recently discovered that my old Schmidt horn is identical to his.
This was my warm up piece everytime
Wow! I remember watching this in music school in the 80's. Some of the best advice I ever received on taking auditions. And it worked! Thanks Dale!
Love the judicious use of the Bb horn on the Strauss...also the Bb 3 combo for various written D's and A's for tuning and timbre. Such thorough knowledge of how the horn can work! Great video!!
I recall watching this many years ago and learned to use T23 for the lower F in the opening theme. I also appreciate that he did not emote excessively. I''ve often been criticized for being "stiff" but i find excessive emoting distracting and unnecessary. Thanks for finding and sharing this vid.
Excellent video! Thanks for posting.
Thank you very much for share, amazing!!
Thank you so much for sharing this! He was a great teacher, with the clearest idea of what to do to achieve professionalism
Super interesting! Thank you for sharing - his level was/is terrific
Thanks for posting this
Thank you. A deliciously understated interpretation. Fascinating the 2-3 valve combination for the first note after the opening fanfare.
Did he ever find a 'compatible' brass section? I'm in suspense!
Amazing video from one of greatest horn legends! A lot of interesting and precise tips
THANK YOU SO MUCH FOR SHARING!
What a awesome brain/advices! 👏🏽💪🏽 let’s work more efficiently now !
Amazing video! Thanks for sharing
excelente
This video came out a year after my graduation; this is my first time viewing it. It’s filled with great information. During my school years, we had to check into the crowded listening library to hear reel-to-reel tapes and records, which was nearly impossible. I envy the students of today, who can listen to any orchestra across the world, over multiple decades, playing just about anything. There is also greater access to the excerpts. After the games of the Pandolfi brothers in the Alabama Symphony Orchestra (1986), where I was announced as a “close runner up, but the principal horn’s brother won the position,” for third horn, I went into military bands. I’ve been to auditions where people actually peeked around the screen to see who was playing. It’s a crooked business. I left the self-centered world of music in 1993 to become a healthcare provider.
My opinion: I would never recommend that anyone get a primary degree in music. Take lessons and minor in music-if necessary. Music is a wonderful part of our world, but I consider it a selfish profession with too much cut-throat competition. Too many players currently sound more mechanical than musical-just like our auto-tuned pop singers. Get a life skill that will support you and give back to your community. Play music on the side. 📯
it's good information for all musicians. i'm reminded though that the hardest horn pieces are like beginner pieces for the strings. except for viola
If I continue on with horn I will definitely will use this to learn.
Something you would not expect normally.
7:32 artistic preparation... (his sound is more like European, romantic definitely not one of my favorite, and i for many years avoided his LP and CDs just to discover nowadays how great musician Mr. Clevenger is, and now that he is no longer with us i feel that i missed a big part of his work and his musicianship, fortunately there are still some CDs around and I just got "candy" Mozart concertos, what to say other than PHENOMENAL!!!)
Help, My English is so Bad, and i play horn french too
I wanna have teacher
Me gustaría entender todo lo que dice pero mi inglés no es muy bueno, yo también soy cornista pero tengo 4 años in profesor y siento que mi técnica y sonido son amlos alguna recomendación:c?
What horn is he using?
C.F.Schmidt double horn
@@jonathanring2716 I can't resist repeating a comment I just posted: I have the same horn.
French
@@mouthpiece200 Well, technically, it is German. It is a German French Horn.
A very fine pianist. Not credited! Who is she?
Andrea Swan
@@hornerinf Thanks! Vesa
master need the good micing, too.
With the exception of Nobuyuki Tsujii and a few select others, ALL of them able ear players, anyone who can't hack it in ad lib music, those who can't play by ear "become" sheet music robots & are called classical musicians hiding behind sheet music without which they wouldn't last 10 minutes.
C'mon, REVIVE that art of playing by ear, bring back Glenn Miller, The Dorsey Brothers, Artie Shaw, Ian Anderson of Jethro Tull, Mike Oldfield, Elton John... Liberace, Carmen Cavallaro, ...
All of those big bands played from their "charts" with the exception of improvised solos. The Glenn Miller Orchestra still plays their concerts from about 700 original arrangements (charts) they still own. Of course, for the pieces they play every time they really don't have to read the music anymore - but a new member will. And they read the chart for something they rarely play. Some of the best musicians in the world are studio musicians (the ones you hear in movie soundtracks and such) and they must be excellent sight readers because they show up and have to play something they have never seen nor heard on the spot.
It's a shame he treats his students like shit.
Just great ❤