Klarinet Archive - Posting 000050.txt from 1994/03

From: "Dr. Ronald P. Monsen" <RPMONS00@-----.EDU>
Subj: Re: Ron's Communication question
Date: Thu, 3 Mar 1994 23:04:47 -0500

Thank you for the tip. I was recently doing some research for program notes
on sonatas and quartets (cl and st trio) of JXLefevre which I am performing.
In reading the 14 articles on clarinet playing which Lefevre wrote in his
Methode (1805) for the class at the Paris Conservatoire--I have noticed that
he tells the contemporary player that a total of seven clarinets is needed for
standard orchestral work. However, he does say that if you have a fine C
which can be converted to a B and a fine Bb which you can convert to a A
you should be able to survive. Remember--Lefevre was M. Sixth Key--and he
was at the foot of the Mueller-Paris Conser-rejection of his 13 key instruments
.

But what interested me was the fact that the clarinet in B was consiered a
need at the time (1800) for orchestral life in Paris--granted most of the
players all had military posts--in fact I think the early Paris Con had a
total of 19 clarinet profs in the early years- I have felt that the C and
Bb probably were the standard orchestral pair--the fact that so many
clarinets in C exist in collections would seem to indicate that they were
very numerous. Lefevre also was convinced that each instrument had its own
character of sound--so that Mueller's with 13 keys would take that away from
composers and players. I mention this for discussion--not proof of anything
but that orchestral players at least in Paris must have played some of the

music assigned on an instrument in B--even if the composer did not specify
the B soprano (Si) instrument up front. The concept of the 'piece'd rechange'
to change an Bb to an A etc. is well documented. Just thought I would share
that--I would imagine the player may have decided which clarinet fits the
music in some cases--

Ron