Klarinet Archive - Posting 000121.txt from 1995/06

From: Neil Leupold <Neil_Leupold@-----.COM>
Subj: Re>Bb vs. A
Date: Fri, 9 Jun 1995 17:36:39 -0400

ntouch Memo 06/09/95
Subject:Re>Bb vs. A 12:51 PM
I disagree with the notion that timbral differences between the A & Bb
clarinets are a strong motivator when a composer contemplates orchestrating a
score. The predominant attitude I've experienced among composers is that the
two instruments are nearly indistinguishable to them, and that the actual key
of the instrument is the primary factor. I guess Stravinsky is an exception
here with his Three Pieces, but then again, I don't yet accept that the
difference in sound between the two instruments was the only reason he wrote
the first two movements for the A clarinet. Perhaps the answer is already known
as to the question of his choice of instrumentation, but if not, then it leaves
open again the likelihood that the final movement was written in Bb in order to
provide a tonal (in terms of the key of the instrument) - rather than timbral -
contrast between the first two movements and the last. The piece being
unaccompanied, it would be left to the audience's memory of the first two
movements in order to notice (consciously or otherwise) the change of
key-quality in the last.

Because the A clarinet does tend to have a broader and, yes, even "darker"
sound to it, I've always striven to emulate that quality in my Bb playing,
while not sacrificing the focus of the tone itself. Conversely, I've also
striven to imbue my A clarinet sound with the focus and definition which is
already well-established on the Bb in comparison. The result of these efforts
would be to develop homogeneity.

I think it would be interesting to survey today's composer's themselves and
find out what drives them to choose between the two soprano instruments when
orchestrating their scores. I don't see many modern compositions being written
for the A at all. What's going on in the composer's heads? Does consideration
actually occur for how technically difficult a piece will be if played on one
instrument instead of its counterpart? Or do today's composers just concede,
"Bb clarinet is the standard instrument nowadays, so I'm just going to write it
that way"?

This is a great topic.