Klarinet Archive - Posting 000152.txt from 1994/07

From: Joshua Proschan <0004839378@-----.COM>
Subj: Re: Which instrument?
Date: Fri, 22 Jul 1994 01:23:00 -0400

Recently Larry Liberson (Hard Reed@-----.com), discussing the question of
using a different clarinet than was specified by the composer, wrote:

> . . . What I DO know is that I try my best--as do most--
>to always sound like the same player, regardless of whether I'm
>playing A OR B-flat. We try to match the sounds of our instruments
>when playing, when selecting them...We don't try to pick out an A or
>a B-flat for their CONTRAST to each other (well, at least, I don't!).

Why?

Why should all clarinets sound alike? Where do we draw the line; just
the soprano clarinets (C, Bb, A)? Should we include sopranino (D, Eb)
and bassett horn?

Why stop at clarinets; shouldn't then all woodwind players achieve a
homogeneous tone, regardless of instrument?

Or should we strive to bring out any tone quality within the nature of
the instrument, blending or constrasting according to the music?

There is, if memory serves, a Poulenc Sonata for Bb & A; doesn't the
difference matter? Should the solos in "Peter and the Wolf" and
"Scheherzade" all have the same tone quality? For that matter, is it
cast in phosphor bronze that the Mozart Concerto should be played with a
uniform tone in both registers, rather than emphasizing the difference?

Joshua Proschan jproschan@-----.com