Klarinet Archive - Posting 000565.txt from 1995/09

From: niethamer@-----.BITNET
Subj: Re: Second Clarinet
Date: Wed, 27 Sep 1995 15:15:20 -0400

On Sun, 24 Sep 1995, Christopher G Zello wrote:

> I am curious about what other players perceive the role of a second
> clarinet player in orchestra to be. Aside from the usual demands of
> covering the part, what else do principal players expect from their
> second clarinetist? (Measure counting, pitch adjustment, constructively
> "correcting" them when they just are out-to-lunch, adjusting balance, etc).

Covering the part is a given. Pitch adjustment is the second player's
responsibility, as presumably the principal player is negotiating those
items with other principals to make the section work properly and sound
good. Adjusting the balance is the same. In the clarinet row, often the
second player has the unenviable task of being the alto voice, with the
tuning built up from the 2nd bassoon. This requires great control in and
around the throat area to play octaves with the first clar, or sometimes
with 2nd oboe or 2nd flute. Balancing is different if you're playing in
octaves or harmony than it is if you're in unison, so all of this
requires a great deal of sensitivity, and a different sort of talent from
the one required to play concertos.

The Principal is *never* out to lunch! Occaisionally he/she takes the day
off, but out to lunch - never!! It is the principal's responsibility to
get the section together in matters of pitch and rhythm. A second player
might politely ask for a cue if something is not together and the
entrance isn't clear. But even in the instance of a principal player
wanting some improvement, a little politeness goes a long way. "Can we
try that spot" works a lot better than "you're out to lunch!" Some polite
suggestions might be "you seem a little sharp compared to me", or "I seem
to be playing a little ahed of you in that place - can you anticipate a bit?"

> And as a second player, what do you do if your leader isn't leading very
> well? Do you watch the conductor and leave your principal hanging, or do
> you complement them in such a way that you know and the conductor knows
> what is really going on? Or is it some such inbetween area?

Unless one is looking for real trouble, one never leaves the principal
hanging. If the section as a whole sounds bad, no one looks good. If it's
ood, everyone looks good. It's a big presumtion that any conductor
"really knows what's going on".

> I would also like to know if your responses come from actually playing
> second clarinet, or whatever position you are in, and where this
> experience was?

Currently I'm playing principal in the Richmond Symphony. I have some
experience playing second in my past, and I know it isn't easy. I
currently have a good section partner, and over the twelve years we've
worked together, we've developed a good musical and personal rapport. I
think the key is to respect your colleagues, and they'll respect you
(always assuming you're doing your job). Every orchestra has a tale or
two of the ugliness that comes from personal antagonism interfering with
the ability to produce a good musical product. Even if respect isn't
possible, professional politeness is a requirement.

I hope this answers your questions. Apologies for the lengthy sermon.

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David Niethamer
niethamer@-----.edu
dbnclar1@-----.com
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