Klarinet Archive - Posting 000276.txt from 1994/10

From: "David B. Niethamer" <NIETHAMER@-----.BITNET>
Subj: Re: Dan Leeson's rejoinder on the right clarinet fro the job
Date: Sat, 22 Oct 1994 23:50:38 -0400

I think the issue of the right clarinet for the job is important, BUT, I wonder
whether the composer *always* thinks of those implications. One immediate
example comes to mind. We played Nielsen Sym #4 last week, and at the start of
the second movement is a wonderful woodwind chorale with clarinet solo on top.
At the start of the movement it is in "A" (with plenty of time to switch to
Bb), at the end it is in Bb, *exactly* the same concert pitches, slurs, tempo,
etc. except the dynamics (ppp at first, pp at the end). I can't see the need
to use both, and the Bb is easier to produce that "Nordic serenity".

The there's Dvorak "New World", where the slow mvt has 3 lines of Bb in an
otherwise "A" part. No reason for the key to be easier to play on Bb, so why?
Why use a cold Bb for 3 lines (while one's A grows chilly on the peg!)? Of
course these are purely utilitarian arguments for the solution of convenience,
but I don't think transposing these parts distorts the composer's intent.

The infamous clarinet variation of Ginatera "Variaciones Concertante" is often
played on "A" (the part from Boosey is in Bb), and the wicked run to nosebleed
b (concert) is often played on Eb clarinet (as I understand from one player
who played for Ginastera, with his blessing).

More examples and opinions please!

David Niethamer
Richmond Symphony