Klarinet Archive - Posting 000553.txt from 1995/12

From: "Dan Leeson: LEESON@-----.EDU>
Subj: Jean-Marc Bonard's question about Schubert Octet
Date: Wed, 20 Dec 1995 15:35:57 -0500

Jean Marc correctly notes the use of the C clarinet for one movement
of the Schubert octet and inquires why would Schubert have made such
a request.

It is a difficult question, Jean Marc, one whose exact answer escapes
detection. But here is a reasoned response based on some study of
this matter.

It appears that every composer of the Classic period and most of those
of the Early Romantic Period (which covers up to Schubert, certainly),
followed a performance practice whose origin in unclear and mostly
unknown. Exceptions to the practice occur when people not skilled
in composing wrote for clarinets and basset horns, such as the
Sanctus of the Mozart Requiem, as done by Sussmayr.

That performance practice required that they never write for a clarinet
type instrument in more than 1 sharp, though such a restriction was not
in place for flat key signatures. Therefore, when such a requirement
arose (such as a movement in the concert key of C major which would
require a B-flat clarinet to play in 2 sharps), they were forced to
change instrument to avoid the conflict. They had 4 choices, and
they invariably chose the instrument that would not violate the 1
sharp key signature restriction. So the key of concert C, F, and G
used a clarinet in C. The key of concert B-flat and E-flat used
a clarinet in B-flat. The key of concert A or D used an A clarinet.
There was also the clarinet in B-natural and Mozart used it on two
occasion precisely to avoid having to write in more than 1 sharp.
And in EVERY case (but three), the change of clarinets was to avoid
the restriction of having to write in more than 1 sharp for the
clarinet that was playing up to the point in question. The three
exceptions are where Mozart did not provide enough time for the
change and had to write the clarinet parts in the WRONG key signature
to avoid the problem I mentioned above.

However, AND IT IS A BIG HOWEVER, once the clarinet type was selected,
the issue remains as to what extent the composer exploited its unique
sound characteristic. Did Schubert, in the case of the octet and
having chosen the C clarinet, then expect that kind of sound from the
instrument, and if he did, do you as the player have any business in
not providing that sound?

In my opinion, he asked for a C and, for whatever reason he did, that
is what you are obliged to give him.

In the opinion of others, the matter is not so hard and fast. I think
them to be wrong. They think me to be wrong. Where is truth?

I make two recommendations: (1) I wrote an article for the Clarinet
Magazine entitled "Mozart and the Clarinet in B-natural" that
addresses exactly this issue and offers hard evidence that when Mozart,
at least, asked for a particular clarinet, he meant exactly what he
said; (2) there was a lengthy and fascinating discussion on this
subject on this list over a year ago that I am about to summarize for
Stan Geidel's clarinet web. Look up the old discussion and read them.
Then make up your own mind. But if it does not agree with mine, you
are in serious trouble!!!

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