BACKGROUND

"Phrasing is how a performer shapes musical sentences"[1]. Phrasing is the performer's musical language and is strongly linked to how well one masters one's instrument and communicates musical ideas and interpretations. Mastering an instrument is something that requires years of in-depth study, and according to Anders Ericsson's research, 10,000 hours of intentional practice over a decade is necessary to reach a professional level[2]. Instrumentalists also benefit from technical developments and innovations through hundreds of years, leading to the instruments we use today. The development has generally been in the direction of more evenness through the registers, larger volume, and projection[3]. This results in part from a continuous competition within an orchestra or other ensemble where all instrumental groups contend to be heard and reflects the necessity for each group to have a clear function in a modern orchestra set-up[4]. The methodology of teaching has also come a long way in leveling out differences between the instruments' registers so that every single note sounds as similar as possible and has the same shape throughout the instrument's register[5]. These are goals that are important for today's performers, who must master a multitude of styles and be flexible and innovative at the same time. Historically informed performances and performances on period instruments are also an important part of modern music education and the musical scene in general. As Simon Channing writes: "orchestral players now need to understand the fundamentals of period performance and to be conversant in the recondite requirements of contemporary instrumental techniques"[6].

Most modern instruments have evolved little since the mid-20th century. The establishment of institutional orchestras around the world and the use of large ensembles in late romantic/early modernism[7] corresponds to the construction of several dedicated concert halls for the performance of classical music[8]. The need to fill larger halls and project through an ever-expanding orchestra has led to the development of the modern instrument to emphasize evenness through the registers, larger volume, and projection [9]. "Never before had people heard music so loud, so grand and so forceful"[10] write John Spitzer and Neal Zaslaw in their book "The Birth of the Orchestra".

From the mid-20th century, the focus on historically informed performances and performances on period instruments was established as a relevant topic[11]. What we have learned from playing works on the instruments they were written for in their time, has to a certain extent influenced modern institutional orchestras and orchestral musicians. But as Neal Peres da Costa points out: "A big part of this is that we do not, indeed we cannot, hear music now as audiences in previous eras did"[12]. The experience of the same music played by a modern orchestra and an orchestra playing on period instruments shows that we are far from a common understanding of how music from different eras should be performed[13]. Bruce Haynes writes about the development of woodwind instruments "By making one thing easier, another thing gets harder. Keys on woodwinds, for instance, made it easier to play in extreme tonalities by eliminating cross-fingering and making every chromatic note similar in timbre; but this gain was offset by the greater difficulty of scales with few accidentals, thirds, and leading tones that were less well in tune, and the loss in individual character between tonalities"[14].

With a background from early clarinet studies at the Schola Cantorum in Basel and a debut concert in 2007 on both baroque and modern clarinets, my interest has always been devoted to understanding the history of playing styles that have led to the methodology required to perform in a modern orchestra. In 2020, the largest manufacturer of clarinets, Buffet Crampon, announced that they would produce a limited edition of their top model in boxwood[15], which was the wood most frequently used for woodwind instruments in the 17th-19th centuries. One of the most prominent soloists on the clarinet, Martin Fröst, performed and recorded Vivaldi's music on this instrument, re-arranged as concertos for clarinet and orchestra[16]. Here, Vivaldi's music is recomposed for this modern boxwood instrument, accompanied by an ensemble consisting of period instruments. As a Buffet Crampon artist for over ten years, I have an opportunity to have them as partners, and research whether a modern instrument made of the same type of wood as its historical predecessors facilitates phrasing closer to how one would play on a period instrument. Can such an innovation be a bridge between playing a work on a period instrument and a typical modern instrument? A big inspiration for looking back towards the beginning of my instrument is Christian Leitherer, who was the first clarinetist to do a complete degree at the Schola Cantorum on period clarinets. He is one of the leading period clarinet performers focusing on early clarinets and his advice, performances and recordings were significant in the planning of this project.

There is a lot of research and literature in the field of historically informed performances on period instruments, but concrete examples are lacking on how this is translated to get similar or the same results on a modern instrument. From researchers trying to define phrasing from a theoretical point of view, such as "The Art of Musical Phrasing in the Eighteenth Century"[17] and "The Classical Style: Haydn, Mozart, Beethoven"[18], to the theses "The Melody Phrasing Curve: A Visual Tool for Illustrating Perceived Musical Dynamics"[19], "What contributes to the perception of musical phrases in western classical music?" [20] and "From Phrase to Phrasing - A Classical Perspective"[21], where methods and analysis for how phrasing is experienced and performed, there are many examples of the theoretical approaches to phrasing. Other research compares performances of early music performers against "mainstream" performers, such as "Between Theory and Practice: Comparative Study of Early Music Performances"[22]. However, there is a lack of dedicated research showing how phrasing can be performed on a modern instrument by looking at the affordances of period instruments.

PURPOSE

This project will explore phrasing from a performance perspective, challenge the way we phrase with modern instruments, and find methods of interpretation that can open up to more nuances. The project aims to enrich the expressive possibilities of modern instrumentalists by promoting phrasing and our understanding of how this is portrayed through a modern instrument. I plan to develop new methods that can contribute to knowledge about phrasing and promote innovations both in my own practice and in teaching. These methods can work across instrument groups and could raise the level of awareness around phrasing.

AFFILIATION TO THE PROFESSIONAL ENVIRONMENT

The research will be strongly rooted in the academic environment at the Grieg Academy. The research will also have an international focus with connections to partner institutions in the Nordic capitals, North America, and Asia. Nordic partner institutions are the Norwegian Academy of Music (NMH) in Oslo, the Royal College of Music (KMH) in Stockholm, The Royal Danish Academy of Music (DKDM) in Copenhagen, and the Iceland University of the Arts (IUA) in Reykjavík. For North America, the University of Southern California (USC) and the Colburn School in Los Angeles are partnered, with the Yong Siew Toh (YST) Conservatory of Music and Nanyang Academy of Fine Arts (NAFA) in Singapore, and the University College Sedaka International (UCSI) in Kuala Lumpur broadening the scope of the project to Asia.

A reference group of peers will be associated with the project, which throughout the process can contribute to a dialogue regarding materials, methods, and artistic results. This reference group includes Björn Nyman (professor at NMH), Andreas Sundén (professor at KMH), John Kruse (associate professor at DKDM), Christian Leitherer (period clarinet specialist), and Eric Baret (acoustic advisor at Buffet Crampon).

WORKING METHODS

This project will use period boxwood instruments, modern boxwood instruments, and modern grenadilla instruments (which are the norm today) as tools for research on phrasing. By switching tools between a period instrument and two different modern instruments (in both boxwood and grenadilla), I will have to identify and relate to different techniques to play the same way. The method is to experiment with changing tools and techniques and use the results from this to expand the understanding of phrasing on modern instruments.

The scope of the project will be limited to the beginning of the history of the clarinet in the late baroque period. It is outside the scope of the project to factor in the different fingering systems and keywork progressions throughout the history of the instrument that has led to the modern German (Oehler) and French (Boehm) system clarinets. The project will use historically informed practice as a working method that complements the other methods for research on phrasing. The main working method will be to focus on the affordances of the period instruments to relate this to modern instrumental playing.  

RESEARCH QUESTIONS

1. What is the relationship between phrasing on a period instrument and a modern instrument?

2. How can phrasing from a period instrument be transferred to a modern instrument?

3. What is the future of phrasing on a modern instrument?

1. What is the relationship between phrasing on a period instrument and a modern instrument?

Part one of the research project will focus on performances where fragments of the same piece are first played on a period instrument (C baroque clarinet in boxwood A=415 Hz), and then on a modern instrument (Bb clarinet in both grenadilla and boxwood transposed ½ tone up from A=440 Hz to remove the experience of tonality) to depict differences in phrasing. Example pieces are Michel Corrette (1709-1795) Suite I in C major (1740) from Pièces pour la Musette, Op. 5[23]; Giovanni Bonaventura Viviani (1638-1693) Sonata Prima e Seconda per Trombetta Sola: I-V (1678) from Capricci Armonici, da Chiesa, e da Camera, Op. 4[24]; Tomaso Giovanni Albinoni (1671-1751) Sonata in C major (1720) Mi 4; Georg Philipp Telemann (1681-1767) 1. Fantasie transcribed to C major (1732) TWV 40:2; and Johann Valentin Rathgeber (1682-1750) Concerto 19 and 20 in C major (1728) from Chelys sonora, Op. 6.

2. How can phrasing from a period instrument be transferred to a modern instrument?

Following the experiences and reflections from part one, I will in the second part of the project attempt to recreate the phrasing from a period instrument on a modern boxwood and grenadilla instrument. Here, I will identify and establish what techniques and methods are needed and if it is dependent on the type of wood, to reproduce the period instrument's phrasings on a modern instrument. A basis for a method will seek experience from other research projects. As an example, Håkon Skogstad and Sigurd Slåttebrekk have used methods in their research projects, where extreme imitation of performances by Ricardo Viñes and Edvard Grieg respectively has led to new knowledge[25][26]. By gaining influence from their form of presentation, where performances are transformed by visual cross-cutting from Viñes/Grieg to Skogstad/Slåttebrekk, my period instrument performances will be transferred to/from the modern instrument.

3. What is the future of phrasing on a modern instrument?

Part three of the research project will use experiences and reflections from parts one and two towards informed performances on modern instruments in both boxwood and grenadilla. Can one reproduce similar phrasing on a modern as a period instrument, or are timbre, intonation, perceived dynamics, and overtones so different that the results will never be close enough? Is imitation a goal? Does the type of wood have an effect? This opens up new and interesting changes in the transition from period to modern instruments. The question then is not how to play the same on a modern as on a period instrument, but what happens when you imitate the properties of the period instrument on the modern one.

PRESENTATION OF RESULTS

Performances, workshops, and lectures will be at the center of this project and the results. These will be documented and made available on christianstene.com and researchcatalogue.net.

I will present results in seminars and conferences under the auspices of the Norwegian Artistic Research School and the Grieg Research School in Interdisciplinary Music Studies. In addition, results will be presented at the partner institutions in the Nordic capitals (NMH in Oslo, KMH in Stockholm, DKDM in Copenhagen, and IUA in Reykjavík), North America (USC/Colburn School in Los Angeles), and Asia (YST Conservatory/ NAFA in Singapore and UCSI University in Kuala Lumpur). Buffet Crampon will help make the project visible through their channels, and be an important partner to look toward the future of the development of my instrument.

The main presentation will be in the form of a series of recordings with an accompanying reflection part where the same piece (in addition to fragments) is presented in several versions, and in this way demonstrates how different approaches give different expressions. In addition, a traditional CD recording will document the project. The reflection part of the work will be presented as text that follows the recordings. There will be a separate reflection on the development that led to the recordings, including the process, artistic choices, and a description of my artistic position nationally and internationally.

The results will be published on researchcatalogue.net as documentation for the project. In addition, an adapted edition will be sought published in the international magazine "The Clarinet", together with a proposed review of the planned CD recording. This will correspond with a presentation, performance, and lecture at the annual conference of The International Clarinet Association - ClarinetFest 2026, which is the industry's largest and most prestigious professional meeting.

Christian Stene - revised 09/04/2023

[1] Herresthal H. «Musikkens Verden» p. 489 (2007)

[2] Ericsson A., Krampe, R. og Tesch-Römer, C. «The Role of Deliberate Practice in the Acquisition of Expert Performance» p. 394 (1993)

[3] Weinzierl S., Lepa S., Schultz F., Detzner E., Coler H., og Behler G. «Sound power and timbre as cues for the dynamic strength of orchestral instruments» The Journal of the Acoustical Society of America 144, p. 1352-1353 (2018)

[4] Meyer J. «Acoustics and the Performance of Music» p. 205-208 (2004)

[5] Colwell R., og Hewitt M. «The Teaching of Instrumental Music» (2011)

[6] Lawson C. og Barclay R. «The Cambridge Companion to the Orchestra» p. 181 (2003)

[7] Lawson C. og Barclay R. «The Cambridge Companion to the Orchestra» p. 36-41 (2003)

[8] Beranek L. «Concert Halls and Opera Houses» p. 13-15 (1996)

[9] Weinzierl S., Lepa S., Schultz F., Detzner E., Coler H., og Behler G. «Sound power and timbre as cues for the dynamic strength of orchestral instruments» The Journal of the Acoustical Society of America 144, p. 1352-1353 (2018)

[10] Spitzer J. og Zaslaw N. «The Birth of the Orchestra» p. 507 (2004)

[11] Haskell H. «The Early Music Revival – A History» (1996)

[12] Costa N. «Off the Record: Performing Practices in Romantic Piano Playing» p. 25 (2012)

[13] Wilson N. «The Art of Re-enchantment: Making Early Music in the Modern Age» p. 191-192 (2014)

[14] Haynes B. «The End of Early Music: A Period Performer’s History of Music for the Twenty-First Century» p. 152 (2007)

[15] https://www.buffet-crampon.com/en/instruments/clarinets/legende-boxwood/

[16] Fröst M. «Vivaldi» CD track 1-3, 7-9 and 13-17 (2020)

[17] Vial S. «The Art of Musical Phrasing in the Eighteenth Century» (2008)

[18] Rosen C. «The Classical Style: Haydn, Mozart, Beethoven» (1998)

[19] Fridell I. «The Melody Phrasing Curve: A Visual Tool for Illustrating Perceived Musical Dynamics» (2006)

[20] Spiro N. «What contributes to the perception of musical phrases in western classical music?» (2007)

[21] Nelleke J. W. «From Phrase to Phrasing – A Classical Perspective» (2017)

[22] Ornoy E. «Between Theory and Practice: Comparative Study of Early Music Performances» (2006)

[23] Leitherer C. «So dient das Clarinet auf angenehme weiss» CD track 23-31 (2002)

[24] Leitherer C. «So dient das Clarinet auf angenehme weiss» CD track 1 (2002)

[25] Skogstad H. «Playing in the Manner of Ricardo Viñes» (2022)

[26] Slåttebrekk S. «The notes must embrace the bars, not the bars the notes» (2012)