Klarinet Archive - Posting 000103.txt from 1994/10

From: "Dan Leeson: LEESON@-----.EDU>
Subj: On the use of the "right" clarinet
Date: Wed, 12 Oct 1994 05:14:23 -0400

Roger brings up the question once again about the practice of clarinet players
arbitrarily making instrumental substitutions in the face of composer-requested
specific clarinets. Thus he mentions a particular Mendelssohn overture that
demands a C clarinet for no apparent musical purpose and also adds the
dimension that, even if one had a C clarinet, it would be cold at that point in
any case and therefore, probably out of tune.

This topic has been discussed on several occasions in the past and at those
times I have not made any attempt to hide my personal views on this matter. In
several cases I even gave evidence in support of my position (which is that the
composer knows far better what he wants then I do and, as a result, we have no
business arbitrarily changing from one clarinet to another simply because it
suits us). The most impressive case had to do with Stravinsky criticizing
the clarinetist Arey for playing the unaccompanied pieces all on B-flat
clarinet. The composer is alleged to have said "I wrote those pieces,
for A and for B-flat, because that is the character of sound that I
wanted to hear."

I gave another dimension with respect to a composer as knowledgeable as Ravel
requesting bass clarinet in A at certain points of "Pictures" with no obvious
requirements (such as key, or low notes) to demand the bass in A.

I pointed out that the character of sound of a C clarinet is sufficiently
unique that it gives a markedly different timbre to, say, the Beethoven
first piano concerto.

I also added that, in some case, composers have written for C clarinets, not
because they wanted them, but because the whole score was in C, such as a
case that I posted on the board just a month ago after having played Lou
Harrison's Symphony on G. When I asked Harrison why the part was for b.c.
in C in the bass clef, he said, "Didn't the publisher transpose it?".

But in general, my position has not changed. If the composer said clarinet
in X, I presume that that is what he wants. And barring serious evidence
to the contrary, that is what I intend to give him or her.

The business of having the instrument out of tune because it is sitting
unused for some time is, in my view, highly overexaggerated.

Roger, what did I say that brought this matter up? I don't remember
writing anything in the last few weeks on this subject. I don't mind
rediscussing it but I threw down no gauntlet on it.

There are only three cases where I am unable to comply with the composer's
request: clarinet in D, basset horn in G, bass clarinet in C.

Now having said all of this, I mention that I was practicing the Ravel
Rhapsodie Espagnol just yesterday and noticed that the request to
change to the bass clarinet in A in two of the movements appears to
be for the sole reason of getting a low concert d-flat which may not
have existed for the average b.c. in Ravel's heyday. I can see no other
reasons for the requested changed of instrument. But I also point out
that it is not my business to sit in judgement of the reasons that
a composer has for using a clarinet of a specific type. The fact that
I can't see why Ravel did this is no reason to do something else.

====================================
Dan Leeson, Los Altos, California
(leeson@-----.edu)
(leeson@-----.edu)
(dnl2073@-----.edu)
Any of the above three addresses may be used. Take your pick.
====================================