Klarinet Archive - Posting 000398.txt from 1996/03

From: niethamer@-----.BITNET
Subj: Re: C clarinet discussion
Date: Thu, 14 Mar 1996 23:49:45 -0500

Don Yungkurth wrote:

> I think there is an assumption in these discussions (and I believe, Dan L.
> has given this view in the past) that composers are on a higher plane of
> artistry than performers. I will certainly agree it is a *different*
> plane, but it is opinion that composers are superior. This view sells
> performers short

I found this post and James Sclater's quite interesting. Dan Leeson and I
have had this discussion, and have agreed to disagree about the results,
though we agree about the problem.

I feel, based on my experience with living composers, that some composers
(Strauss, Berlioz, Mahler come prominently to mind) know specifically
which clarinet they want, and will accept no substitutes. Others (Mr.
Sclater among them, if I read his post correctly) aren't so concerned
with the difference in color from clarinet to clarinet, and are looking
for a less instrument-specific musical result.

As Dan points out, it *is* dangerous to assume that one knows better than
the composer. It requires a lot of thought to decide to ignore the
composer's designation of this clarinet or that, and sometimes to ignore
the designation of the composer is just plain wrong. I'm assuming a
professional context here - someone who should, by virtue of his/her
position have the proper instruments to perform the music required by the
job.

As a practical matter, and from my point of view as a performer, I find
that 1.) composers sometimes don't care all that much or haven't thought
about the consequences of their clarinet choice, and 2.) composers
sometimes make mistakes (Debussy's "Afternoon on the Farm" was recently
mentioned here, and there are others). When I'm *convinced* that I'm not
violating the intentions of the composer, I'm happy to use a clarinet
that makes my job easier. Making my job easier isn't the first
consideration, though.

I can't buy an approach to this problem that is quite as dogmatic as Dan
Leeson's, though I understand the *theoretical* correctness of the
argument. Dan has refered to my willingness to be undogmatic as the
"slippery slope" argument - once you open the door, it's hard to figure
out exactly when and where to draw the line. I agree - but I think it's
worth the effort to come up with the best possible musical product.

David Niethamer