Klarinet Archive - Posting 000230.txt from 1997/06

From: "Dan Leeson: LEESON@-----.edu>
Subj: RE: Improvisation & A Clarinet Sound, Related Topics?
Date: Mon, 16 Jun 1997 15:23:45 -0400

> From: MX%"klarinet@-----.51
> Subj: RE: Improvisation & A Clarinet Sound, Related Topics?

> On Mon, 16 Jun 1997, Dan Leeson: LEESON@-----.edu wrote:
>
> > > If the same person says it is necessary to use the same Clarinet that
> > the composer specified - period, and that the notes written are not
> > cast in stone as it was typical to improvise during performance. Where
> > is the justification to adhere to anything. < <
>
> > For the life of me, I can't see the relationship between the two events. One
> > has to do with sonic palette and the other has to do with performance
> > practice. The two have hardly any overlap. Using the clarinet that is
> > called for is one issue. What you do to the melodic line when playing
> > is quite another. What's the conflict?
>
> Actually, Dan, I think that at least in broad general terms I would agree
> with you on these issues. However, I feel that the original question was
> well taken, and was incisive enough to require us to justify our positions
> on the matter. For example, it seems to me that the choice of "sonic
> palette" is very much within the province of concerns of performance
> practice.
>
> With regard to a related matter, I assume that we accept that when Mozart
> specified A or Bb or C clarinet, he would not concern himself with what
> fingerings the performer would use. But, certainly on the clarinet of the
> classical era, a note could be produced with two or more different
> fingerings, and the results would vary far more widely as to "sonic
> palette" than would a change from one instrument to another. Further, it
> is certainly well within the realm of possibility that for technical
> reasons, the player might have to use a fingering which produced something
> far less than the optimum tone quality.
>
> I would also like to ask you to help me understand why it is that the
> matter of choice of instrument is so important, especially in view of your
> often-stated position that there is no such thing as "bright tone" or
> "dark tone." On this one, I am completely lost.

Ed, with respect to the issue of bright and dark done, I find the
terms offensive in that they attempt to capture lightning in
a bottle; i.e., the notion of sound character being reduced to
such simplistic terms for which there is no accepted definition
is simply unworthy of professionals speaking about an important
element of their art form.

But, even in the face of this, I have never taken the position
that a particular clarinet does not have a particular character.
The C clarinet has a character that distinguishes itself from
the B-flat, and the B-flat from the A, etc. I simply won't
characterize those differences in terminology that is so vague,
unclear, imprecise, and often completely misunderstood.

Whatever the sound character of the C clarinet is, it blends
with the other instruments to produce a specific sonic palette.
I don't know if the composer had that sonic palette in his or
her head, but I don't know that the composer did not. In the
absence of that knowledge, I am compelled to assume that he
did and that, therefore, deviations from that palette result
in the performance of the work that does not have the characteristics
established by the composer, which it is my duty as a performing
musician to achieve. Elsewise, why not use any instrument at all?
If sonic palette is unimportant, then instrumentation is
unimportant. It is simply a question of degree.

And I will not get on the slippery slope that says, "Under these
conditions, I will feel free to chose a clarinet of my choice."
This is because there is no place to stop. If I can substitute
a clarinet in B-flat for one in C, for whatever reason, then I
can substitute a tenor sax for a french horn and say, "If the
composer were alive, he would agree with me."

That is nothing more or less than signing the composer's name
to my speculations.

Now it is my turn to ask a question of you: give me a number of
reasons why you feel the substitution of a clarinet of one pitch
for a clarinet of another is sound musical practice.

>
> Ed Lacy
> *****************************************************************
> Dr. Edwin Lacy University of Evansville
> Professor of Music 1800 Lincoln Avenue
> Evansville, IN 47722
> el2@-----.edu (812)479-2754
> *****************************************************************
>
>
=======================================
Dan Leeson, Los Altos, California
Rosanne Leeson, Los Altos, California
leeson@-----.edu
=======================================

   
     Copyright © Woodwind.Org, Inc. All Rights Reserved    Privacy Policy    Contact charette@woodwind.org