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Klarinet Archive - Posting 000021.txt from 1995/06

From: James Sclater <sclater@-----.EDU>
Subj: Re: Weird keys, emotional keys, colored keys
Date: Fri, 2 Jun 1995 10:07:10 -0400

Mitch's comments about the Stoltzman concert are very intriguing. His
statement about being able to tell the difference in A and Bb clarinet in
live performance reminded me of the story I heard many years ago about the
conductor who tried to do that. It seems that this orchestra was in
rehearsal and the conductor stopped and asked the 1st clarinetist if he
was playing on the Bb clarinet. Upon learning that the clarinetist was
indeed playing on the Bb inst., the conductor said that the score called
for A clarinet and "...would you please change to the A." Well, you
guessed it. The clarinetist put down the Bb, picked it up again, and
played the same passage. Whereupon the conductor stated, "See it sounds
so much better on the A clarinet."
Whether or not the story is true or not seems beside the point.
The fact is that the whole question of using only the instrument specified
by the composer for a particular work seems to re-appear at this point.
Certain keys favor certain instruments...flat keys favor Bb clarinet; sharp
keys favor use of the A clarinet.
In the hands of a really good player one might not be able
to tell which instrument it is. Does the argument for only using the
instrument specified by the composer concern timbre or facility in a key?
Is there really an answer for this question? I'd really like to get some
feedback on this.

James Sclater inet: sclater@-----.edu
Mississippi College (601)925-3445
Clinton, MS 39058