Klarinet Archive - Posting 000173.txt from 1994/07

From: JLYTTHANS@-----.COM
Subj: Re: Quality vs. color
Date: Mon, 25 Jul 1994 01:33:18 -0400

On July 24, Hard Reed (Larry Lieberson) brought up the issue of what
instrument to use (Bb vs A, or whatever). Here are a few comments:

I do agree with Larry on the Prokofiev example. The composer generally wrote
his scores in C (no individual transpositions), so I don't think he really
had a specific color for clarinet in mind. "Peter and the Wolf" is best
played on the A clarinet until the cadenza, at which point the Bb is just
easier, technically. Poor Sergei, he had to die on the same day as Josef
Stalin! Talk about back-page obit! And his centennial was with Wolfgang's
(Amadeus) Big Bi. Anyway, the symphonies present many of the same problems.

Recently, I have tried to play most of the C clarinet parts on a C
clarinet....using one of the Noblet C clarinets....a good horn at under
$1200. Much better than the Leblanc top-of-the-lines. I have preformed the
several Beethoven symphonies in C (1 and 5). the Bizet Symphony in C, and
some opera excerpts, on the C, with good results. The Noblet is a nice
value, with fine intonation. The tone quality seems to blend better with the
flutes and oboes. At the recent ICA conference, I found that the Chicago SO
players also use C clarinets when possible.

I, too, have performed Strauss operas. His "Love of Danae" calls for Bb, A,
C, D and Basset Horn, plus bass. The A parts often descent down to low C
concert. What to do?! Maybe Wurlitzer can make us new horns, ja? Thanks,
Larry, for excluding Struass from this discussion.

In conclusion, I have often substituted A for Bb in concert, with no raised
eyebrows form conductors (most seem to be oblivious, anyway). I even have
used an Eb in place of a Bb (Strauss waltzes).
I can tell the difference between Bb and A at a concert, but I doubt if the
audience (and, often, the conductor) can tell the difference. Chamber music,
yes, but not symphonic music.

One final comment: I have performed on Buffet's for over 35 years. Recently
(at the ICA conference in Chicago), I had the opportunity to play other
brands for several days. Leblancs (Opus and Concerto) are fine (my wife
plays on an Opus), the Selmer 10S (and G) are pretty good, the new Howarth
(from England), and the Patricolas (from Italy) are worthy contenders. One of
the best new instrument made is by my dear friend Luis Rossi, especiall his
English bore model (I adore Reginald Kell!). But then I played the Yamahas.
Ended up buying a pair of Yamaha YC-72CS's!! They play better than my R-13s!
I played a concert two days after the conference, and my colleagues loved my
sound.! What can I tell you? Just like the cars and electronics. the folks
at Hamamatsu are working wonders. And at $1135 each! Cavaet emptor,
folks.......