Klarinet Archive - Posting 000202.txt from 1996/05

From: Bob Chesebro <Chesebro_Bob/furman@-----.EDU>
Subj: Re: Enter the Ginastera "Variaziones" finger rip contest!!
Date: Thu, 9 May 1996 11:22:32 -0400

> Brad,
> Yes, the Ginastera clarinet variation is for C clarinet. I'm
not
> sure what the rest of the piece is for since I only copied that
movement
> from the score. This piece was on the San Antonio audition (who won
that,
> buy the way?) and the West Virginia audition. W. Virginia sent a bad
copy
> of a manuscript part for Bb clarinet. I'm doing this on A clarinet,
which
> is easier than the Bb part. There is a great CD of the Israel Chamber
> Orchestra with Eli Heifetz doing the solo on Koch (3-7149-2H1).
>
> Dan
>
>
************************************************************************
******
>
> Daniel A. Paprocki
> dap@-----.us
>
>
************************************************************************
******
>
Dan,

I believe the part was written for the Bb clarinet. However, I played
it two years ago and am not absolutely sure of that. If you copied it
from the score, it could be possible that the score was in concert
pitch. Maybe some of you out there could clarify this? Earlier, I
suggested transposing the 2nd half of that variation on the D clarinet.
The parts were rental and it was obvious someone from a previous
performance had done it that way. If a D is not available--how many
players have one lying around?--then it lies quite well on the A
clarinet. However, that puts the range up a half-step higher to a D
natural. I played it that way. I found a few fingerings in Allen
Sigel's "The 20th Century Clarinetist" and also Elsa Ludwig-Verdehr's
article in the NACWPI Bulletin of several years ago. I believe I also
played another movement (near the end of the piece) on the A clarinet.
This transposition improved the fluency. Just an aside note. I played
the Mahler 8th last weekend. I noted from the rental part that a
previous clarinetist had transposed the beginning of the 2nd movement,
et al, on the A. The range is quite high, pianissimo, very exposed and
doubled in unison with flutes, oboes. I gave it a try and it seemed to
work better on the A! Here's a case where pitch, control, and response
became the criteria for transposition. I thought that might also be of
interest. Good luck on the Ginastera; it's a great piece!

Bob Chesebro
Furman Univ.
Greenville, SC