Klarinet Archive - Posting 000148.txt from 1995/06

From: Tom Izzo <tji@-----.EDU>
Subj: Re: Re>Tom Izzo's comments
Date: Sat, 10 Jun 1995 19:23:44 -0400

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On Sat, 10 Jun 1995, Neil Leupold wrote:

> ntouch Memo 06/10/95
> Subject:Re>Tom Izzo's comments 9:07 AM
> Tom wrote:
>
> "For many years I've been writing (both compositions & arrangements) [of]
large
> Clarinet choir music for several local choirs. As a composer I write for the
> instruments that I want to hear play the part. As a non-clarinetist, I DO NOT
> neccessarily write for a A or Bb or C Clarinet because it's easier to play,
but
> rather what sounds better tonally to me."
>
> While I can appreciate your input as a composer, I think your particular
> example is on the fringes of our discussion focus. Yes, you are a composer.
> And you are sensitive to the particular timbral differences between the
> various-keyed versions. It seems like a very unique, not necessarily
> representative, example of choosing one instrument over another - as an
> orchestrator -
> ..._because_your_resources_consist_entirely_of_nothing_but_clarinets_.
>
> It stands plainly to reason that, as a clarinet choir orchestrator, you would
> pay close attention to timbral differences between the different types of
> clarinet when assigning melody and harmony in your scores. What about
standard
> orchestral writing, however, where the composer/orchestrator is dealing with
> 100 instruments' worth of different strings, winds, and percussion? Are
> composers of conventional orchestral literature as sensitive to timbral
> variances between an A and Bb clarinet as an orchestrator of music written
> exclusively for a group of clarinets?
Thanks for the vote of confidence, but I do write for other media as
well. (using correct form of plural medium). I must admit that when I
write for chamber orchestra (2-2-2-2-2hn, strings) I write for the Bb,
unless I'm requested otherwise; and my large scorings tend to Eb, Bb, Bb,
Bb Bass, for orchestral writing, though I do require some doublings in my
longer works; and all of my Jazz selections require saxes doubling on Bb
Clars both Sop & Bass.
> It seems much like eskimos in Alaska, if I may make a comparison. Because
> their environment (analogous to "resources of an orchestrator") consists so
> predominantly of one thing - snow - their sensitivity to snow is particularly
> heightened. Don't they have something like 100 different distinct categories
> of snow in their vocabularies? Such a sophisticated understanding of snow, in
> all of its permutations of color and consistency, is not an accident and would
> not be a very accurate representation of how the general population perceives
> snow. The same argument would seem to be applicable to orchestrators of
> clarinet choir music if the various clarinets were seen as analogous to the
> various types of snow on the Alaskan tundra. I would venture to say that most
> people in the general population aren't as sensitive to snow's variations, and
> recognize maybe 3 variations: white, yellow, and brown (this is a
I like this analogy, but I think you underestimate the power of "Most"
when speaking of orchestrators. Now copyists that's a whole other league.
> simplification, but I think my point is apparent). And, if my logic isn't too
> warped, most orchestrators of standard orchestral music (using all of the
> resources at their disposal) are not as sensitive to the differences in tone
> quality of clarinets as somebody who writes a piece exclusively for clarinets.
>
> I'm posing questions and scenarios here - to Dan and Tom and everybody - as a
> means of stimulating discussion for the sake of learning. This is very much a
> dialogue of discovery for me since I am not a composer/orchestrator and desire
> to access a broader spectrum of our readership for input. Playing the devil's
> advocate is just one device for catalyzing such a discussion. I certainly
> don't claim to know any of the answers, as such.
>
> - Neil
>
Good letter. Keep questioning. That's the way we ALL learn.

Tom
tji@-----.edu