Klarinet Archive - Posting 000219.txt from 1995/05

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Tom Ascher and the basset horn/basset clarinet
Date: Fri, 5 May 1995 16:01:06 -0400

I can offer a speculation, but not much more, in terms of the relationship
between basset horns and basset clarinets.

I am of the opinion that Stadler (who was the only person to have basset
clarinets) considered the entire family of 4 instruments to be members of
the same pack. He is known to have owned extended clarinets (the term
"basset clarinet" is, I believe, modern and not contemporaneous with
Stadler and Mozart) in C, B-flat, and A all of which went down to low C.
Therefore, he may have considered his basset horn nothing more or less
than a clarinet in F that went down to low C. I just don't know.

The basset clarinet (in contemporary terms) is simply a clarinet that
goes down to low C. If one avoids the basset notes, it is a regular
clarinet, though the extra wood may give it special character even when
the low notes are not used. I wanted to have a pair to use as my
regular orchestral clarinets but no one would make one for me in B-flat.
The Mozart concerto and quintet, K. 622, K. 581 are both written for
extended clarinet in A, the solo Parto, Parto from Titus is written for
an extended clarinet in B-flat. The regular orchestral clarinets in
the opera Cosi require the extended notes for clarinet 1 and maybe
clarinet 2. I don't remember.

The character of the basset clarinet and basset horn is different because
the basset horn, being in F, is about a foot longer. It is a more
pronounced difference than a B-flat to A clarinet.

I am not sure that I have touched on the points that were requested, but
if you will be more explicit, I will give better answers.

====================================
Dan Leeson, Los Altos, California
(leeson@-----.edu)
====================================

   
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