Klarinet Archive - Posting 000259.txt from 1995/02

From: Andrew Grenci <AGrenci@-----.COM>
Subj: Bass Cl in Rhapsody in Blue
Date: Sun, 12 Feb 1995 22:14:42 -0500

Thanks to Dan Leeson for his posted comment/inquiry regarding performance
traditions of the bass clarinet part of Gershwin's Rhapsody in Blue. I, too,
have "always done it that way" and was inspired by Dan to do some research to
find out why. The following, somewhat incomplete, findings may be of interest
to Dan and others. In anyone else knows more, or has different information I
like to hear of it.

As most probably know, Grofe wrote more than one scoring of this work over a
couple of decades. It is interesting to trace the bass clarinet part through
these renditions. The original arrangement was for the Paul Whiteman
Orchestra's first performance of the Rhapsody in 1924. In 1987 Warner Bros.
Publications, Inc. issued a "Commemorative Facsimile Edition" of Grofe's
manuscript for this version. This orchestration used three reed players, all
playing various doubles. The bass clarinet solo, found at figure 5 in the
full orchestra version we use today, appears in the first reed part. The solo
is written in the octave which we traditionally play today. (In other words,
an octave lower than found in the modern printing.) It is also interesting to
note that this is the only time the bass clarinet is used in the entire
piece. Another consideration is that it is truly a solo, not doubled by any
other instrument.

In 1926 the piece was rescored by Grofe for a somewhat larger orchestra for
widespread distribution of the work. I have not seen this score, if it still
exists, nor any of the parts which may have been sold or rented for
performance. There were more woodwind parts than in the 1924 version, but not
a separate bass clarinet part. It must have been a double in one of the
clarinet or saxophone parts. (This information concerning instrumentation
comes from the preface to the above mentioned Facsimile Edition.)

The full orchestra version which we use today was released in 1942.
Apparently Grofe simply touched up the 1926 score by doubling parts as he
added instruments. This score was published by New World Music Corp., Harms,
Inc. and was available from Eulenburg as of 1988. The score shows separate
parts for bass clarinet and tenor saxophone, but the parts are identical with
the exception of the above mentioned solo at figure 5. This solo appears only
in the bass clarinet part, but printed an octave higher than in the first
manuscript. I will suggest two possible reasons for this octave change, but
would love to hear other's opinions.

1. This passage is played also by the cellos in the original lower octave.
Perhaps Grofe wanted the different color of an octave doubling, which was not
available to him in the earlier orchestra. This would suggest that we should
play the part as printed, rather than in the traditional lower octave. (In
any case I would love to at least try it this way if any conductor will allow
such an experiment to consume precious rehearsal time.)

2. It was printed an octave higher so that it would fall within the tenor sax
range, and could be covered by the sax if needed. In this case we are correct
to play it in the traditional manner.

My opinion concerning the rest of the part is that the bass clarinet is a
superfluous doubling of the tenor sax. Still, it should probably be played as
is, since many other parts in the orchestra would fall into this category,
and it doesn't make sense to leave out one part without rescoring the whole
orchestra.

Finally, I would love to see the 1926 score or, at least, wind parts. This
might provide some further information. Does anyone have any ideas about
where these may be found?

Andrew Grenci
Bass Clarinetist
U.S Coast Guard Band, New London, CT
New Haven Symphony Orchestra

agrenci@-----.com