Klarinet Archive - Posting 000183.txt from 1995/06

From: Jay Heiser <jay@-----.COM>
Subj: Re: RE>Dan Leeson's comments on
Date: Sun, 11 Jun 1995 15:24:13 -0400

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From: Neil Leupold
Sent: Friday, June 09, 1995 22:41
To: Multiple recipients of list KLARINET
Subject: RE>Dan Leeson's comments on

ntouch Memo 06/09/95
Subject:RE>Dan Leeson's comments on my comments 6:44 PM

Dan asked:

"If Richard Strauss will write for 4 clarinets simultaneously, 2 in B-flat and
2 in A, and all 4 are playing at the same time, what useful purpose is served
by this combination if timbre or sound-character is not being sought for? Same
question with respect to Percy Grainger who requested mixed clarinets in his
band composition, "Hill Song Number 2"?"

This is a very good point, and brings to bear the idea that perhaps both timbre
_and_ tonality are prominent factors of consideration when a composer endeavors
I would sure like to hear the Strauss piece as originally arranged and with 4
clarinets in the same key and see how big a difference there truly was.
to orchestrate his/her music. In orchestral music, I find myself asking if a
composer really does treat the clarinetists so considerately as to write the
part for the A clarinet - specifically because of the technical demands. If a
piece is in concert-E, it will be appreciably more difficult to perfom on a Bb
clarinet instead of an A. Could this be a bona fide reason for a composer to
score that part for the A clarinet instead?
Yes, its a bona fide reason to request an A clarinet. This is the same reason
that "Stars & Stripes Forever" was transposed for the orchestra (orchestra picc
players are less likely to have a Db picc)

Or is tone color the only
consideration? Do composers ALWAYS consider the timbre, or could an argument
be made that there are plenty of times where the A clarinet was scored instead
of the Bb because it would simply be easier to play? This is why I think it
would be neat to ask today's composers themselves. I had a roommate/composer
who could not detect any difference in timbre between the A & Bb clarinets.
His only consideration when orchestrating clarinet parts was key/tonality -
very much in keeping with Stravinsky's reaction to the incorrect performance of
his Three Pieces.
Bingo. Your roommate is not an exception. :-)

Dan goes on to say:

"...the rejection of a theory has to be in conjunction with the establishment
of one that explains the circumstances."

I missed this in the original post.
Is it out of context? I don't agree with this at all. I can reject a theory
without having to replace it with a better one.