Klarinet Archive - Posting 000053.txt from 1994/05

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Sound types
Date: Tue, 3 May 1994 10:00:52 -0400

Roger suggests that Mozart, Poulenc, and Hindemith (as examples) would
require different clarinet sounds.

I not clear on this, Roger. What do you mean by different "sounds"
and, under the assumption that I have an intuitive understanding of
this, what rule requires a sound type per music period? I simply
try to sound nice for all music and I don't think that I perceive
a special need for an identifiable Poulenc sound should I be doing
his sonata.

I brought up the piano business because it was the last instrument
in the world that I thought could be influenced by factors outside
of its physical structure and mechanical contents, and I was surprised
that, despite my belief on the matter, such seemed to be not at all
the case.

I might also add that the clarinet appears to me to be even less
of an instrument that has the character of its sound inherently
built into the material and manufacture, which is central to a
lot of the discussion about whether the sound comes from the player
or from the instrument.

====================================
Dan Leeson, Los Altos, California
(leeson@-----.edu)
====================================

   
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