Klarinet Archive - Posting 000009.txt from 1995/12

From: Don Gross <DGross1226@-----.COM>
Subj: Re: Neil Leupold and Mahler's 4th
Date: Fri, 1 Dec 1995 12:16:51 -0500

Yet another theory. Perhaps Mahler wanted to ensure that the lonely bass
clarinet would be totally warmed up and in tune after a lengthy rest.
Unfortunately, there's a down side to that reasoning. Some years ago,
Connie Josias and I were doing Prokofiev's Lt. Kije in a cold church with a
terrazo floor. I was playing the second part. Knowing that my A clarinet was
getting very cold sitting alone on its peg, and having nothing better to do
while Connie was having a wonderful time playing all those exposed parts, I
carefully cuddled my A clarinet, blew warm soothing air thru it, and felt
absolutely wonderful sure in the knowledge that when we started the next
movement with the two clarinets in unison, my horn would thank me. The horn
did, Connie didn't. I must have been at least a full quarter tone sharp to
him. It was a disaster with both of us trying to adjust that ungodly
intonation. I think the phenonemon is called "Mahler's Revenge."