Klarinet Archive - Posting 001247.txt from 1998/03

From: avrahm galper <agalper@-----.com>
Subj: THE IMPORTANCE OF BEING SECOND
Date: Sat, 28 Mar 1998 17:39:21 -0500

Ed Lacy is correct in saying that the importance of being second applies
to the other sections of the orchestra as well.
There were certain works that had low 2nd oboe parts, especially in
certain chords, that were eventually played by the second clarinet.
Karl Ancerl recognized the difficulty and most likely did this through
tradition in the Czech Philharmonic. I'm not sure what the piece was but
it may have been something in the slow movement of the Seventh Symphony
by Dvorak.

There is such a critical place in a chord situation in The Moldau.
There I think the solution was to give the low 2nd oboe note to the
English horn.

Regarding intonation with bassoons.: We once played (and rehearsed)
the Romeo and Juliet Overture by Tschaikovsky.
The opening is for two clarinets and two bassoons.
The way Ancerl tuned was by starting with the second bassoon, then
first, then second clarinet, then first clarinet.
It took a half an hour but it got in tune.
There were other occasions where the strings had to play some gorgeous
melody.
It wasn't coming off too well. Instead of giving the strings the "heart"
business, he turned to the horns and tuned them. After that the strings
did indeed sound gorgeous.
So basically everyone in the orchestra is important. And thats the way
it is.

Avrahm Galper

http://www.sneezy.org/avrahm_galper/index.html