Klarinet Archive - Posting 000478.txt from 1997/01

From: "J. Lawrie Bloom" <l-bloom@-----.EDU>
Subj: Re: Multiple clarinets, multiple mouthpieces
Date: Fri, 24 Jan 1997 12:29:45 -0500

d.leeson wrote>
>For precisely the reasons behind the current discussion of which
>clarinet to use under which circumstances, I always kept each
>clarinet with its own mouthpiece ready to go at all performances in
>which I participated. And let me tell you the extremes to which I
>went. I did this for Bass clarinet in B-flat and BAss clarinet in A.
>I had each instrument and had a special mouthpiece made for each
>instrument. Incidentally, this was done not because in several of
>the Mahler symphonies there is insufficient time to get a bass clarinet
>mouthpiece from one instrument to another. I don't know what Mahler
>was thinking but that is what he did.
>
>So when I played those Mahler symphonies that required 4 soprano
>clarinets and two bass clarinets, I had them all lined up, each
>with its own mouthpiece and I never had a problem switching from
>one instrument to another.
>
>Would someone tell me what the downside is for the use of multiple
>mouthpieces?
>
The downside in most modern halls, is that the dryness from heating systems
would cause you incredible reed problems, trying to keep so many reeds wet.
For purely practical reasons I wouldn't want to do it that way. Other than
that, I wouldn't think there would be a problem. Maybe you're lucky enough
to play in a hall with humidity control, unlike ours.

I agree that many of the switches Mahler calls for are very quick. I
theorize in frustrating moments that Mahler hated the bass clarinetist he
wrote for, or it was his brother-in-law, and he wrote as many doubles in as
possible so there would be extra doubling money. The forest of clarinets
around my feet on the 5th is pretty funny.

--
J. Lawrie Bloom
clarinet and bass clarinet Chicago Symphony Orchestra
Northwestern University l-bloom@-----.edu