Klarinet Archive - Posting 000252.txt from 1995/11

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Benjamin Maas asks about clarinet/viola/piano music
Date: Tue, 14 Nov 1995 11:21:39 -0500

Benjamin, the reason why there is so little music for this combination
is due to the fact that both the viola and the clarinet occupy the same
function in a choir of instruments; i.e., both are alto instruments.
Of course, both can be called on to execute in registers other than the
alto register, but that does not change the fact that both are alto
instruments. When the clarinet plays in a wind choir, its most
musically functional use is as an alto voice in the choir; i.e., below
the flute and but below the bassoon. Sometimes the clarinet (and viola,
too) act as tenor instruments so versatile are they but that does not
change their nature, only shows how flexible they are.

Now the management of a small instrumental combination such as a
trio for viola, clarinet, and piano in which two of the instruments
are fundamentally alto voices is an extremely difficult task
for any composer. It is sort of like trying to have an opera in which
both the villain and the hero are both tenors or both baritones. Some
operas have failed for precisely that reason. Others have been crippled
by that reason: Idomeneo and Abduction from the Harem are good
examples because in the first one does have two tenors vyeing for
prominence and the other has two coloratura sopranos vyeing for prominence.
And some say that the major flaw in Beethoven's Fidelio is that two
important male roles are both for bass voices, Rocco and Pizzaro.

I gave up on finding many more pieces for the combination you want after
the Bruch, Mozart, and Schumann because of the fact that the combination
was so very rare as you have noticed. I just thought that I would tell
you why it is so rare.

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Dan Leeson, Los Altos, California
(leeson@-----.edu)
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