Shostakovich Symphony no. 9

Shostakovich's Ninth Symphony is often described as borrowing the Classical style and sensibility of Mozart, but still retaining Shostakovich's individualistic traits. One critic remarked "The Russian composer should not have expressed his feelings about the defeat of Nazism in such a childish manner." That quote is helpful for achieving the flippant style of the third movement excerpt, but let's talk about the second movement first.

SECOND MOVEMENT: Tempo is in the 100-112 range, for the quarter note. Should be able to feel the 3/4 measures "in one," even though pretty slow.

Phrasing: maybe each of the first three phrases have a ritard at the phrase ends, on the "wrong notes" like the A-flat-E-flat in the first phrase. Maybe there is no ritard. However you play it, it should sound like those first three phrases are "aborted" or otherwise "fail" to achieve momentum. Then when you play the long phrase, then it really sounds like you have achieved something. I suggest breathing in between beats one and two in m. 16, to avoid needing to breathe again until the quarter rest in m. 24. This fourth phrase is the longest and builds the most, and the fifth phrase gradually releases all the energy built up in the fourth.

high F-sharp - my favorite fingering here is T/R o 2 o (so basically regular high F-sharp) but the right hand reaches up and gently vents the third side key (the second from the top side key)

the ending: those last two notes are easy to play out of tune, I suggest checking the whole excerpt, and especially those two notes, with your tuner. Also keep in mind that the second clarinet enters in m. 31 to continue the phrase, and so a ritard in m. 30 and 31 is not appropriate.

THIRD MOVEMENT: making the clarinet sound like a flute

If you listen to a recording of the opening of this movement, you can hear that the clarinets are assisting the flute section. At the moment, I am away from Greensboro, no access to the score, but what I remember is two clarinets supporting two flutes and piccolo, maybe not for the whole excerpt, but at least the later, more fully scored phrases. Light articulation and dynamic peaks heading up to some high notes are the ways you can achieve that flute-like quality, and also the light, ebullient style that sounds like a combination of Mozart and Shostakovich. 

Articulation is hard for me on this excerpt, especially because it is for A clarinet. So I start with this by practicing repeated notes instead of the arpeggios. I work on F-F-F, G-G-G and get that before playing the printed parts, and you could also work out simplified version of the other broken eighth note measures. Don't let the scales rush here, my strongest piece of advice for this excerpt is NEVER practice it faster than you can play perfectly, and be patient with your tempo increase from day to day. Dotted quarter= 112, plus or minus is the tempo I work toward in this. Especially be sure that the first two sixteenth notes of each group do not rush.