Klarinet Archive - Posting 001238.txt from 1998/07

From: "Steven J Goldman, MD" <gpsc@-----.com>
Subj: RE: [kl] Mozart's choice of instruments
Date: Tue, 28 Jul 1998 23:00:22 -0400

You are correct although Mozart began to write the work in G, for basset
horn (not really the same animal as today's basset horn). And remember,
Mozart wrote his concerto for ONE specific instrument/player. Stadler
actually worked with a clarinet maker, Lotz, on the design of his clarinet.
There was no other ever like it as far as we know. And while all the
commentary on the list has been fascinating and educational, it all amounts
to flights of fancy on gossamer wings when applied to the Clarinet Concerto
and which instrument is best. We have absolutely no idea what Stadler's
instrument really sounded like. Again, it was a one of a kind instrument
which we only recently have found an engraving of (from a program book I
think). Prior to that modern copies of 18th century basset clarinets were
made from pictures of other now non-existent basset clarinets. These all are
artist's renditions, and while the this tells us what the things looked
like, acoustically its ALL conjecture. Bore size, mouthpiece, specifics
about the weird bell, tone hole size, etc. are all unknown. And look at all
the "ink" we spill on the best reed. It has tremendous effect on the sound
and we know absolutely nothing about Stadler's reeds. Modern basset
clarinets have little to do with Stadler's instrument except they are both
in the clarinet family and have the same range. And any instrumentalist who
plays a conjectural model of Stadler's instrument and thinks they have an
insight into the original instrument are fooling themselves.

It would make more sense debating which piano is correct to use in a Mozart
piano concerto, a Steinway or a Baldwin. The answer, of course is neither,
but at least we know what pianos Mozart liked and there are enough in
existence from those makers to have a good idea about their sound qualities.
Yes, Mozart had something very specific in mind as to the sound of K. 622,
but this is one instance where we shall never know what that was - unless of
course Stadler's instrument shows up on EBay ....

***Old funny looking clarinet, name A Stetler (?) scratched on body,
otherwise in pretty good shape for its age. No Case. Buyer pays shipping.
Low reserve. ***LOOK***

Steve
sjgoldman@-----.com

-----Original Message-----
From: Ed Maurey [mailto:edsshop@-----.ca]
Subject: [kl] Mozart's choice of instruments

I have never heard that Stadler possessed a basset clarinet in Bb. The
quintet, the obligato in "Tito", and the concerto were all for basset
clarinet in A. I contend Mozart had little choice but to write his
concerto for basset clarinet in A. It was the only game in town!

Also, I have read that Stadler loved the sounds of the lower clarinets
and was a bit of a chalumeau register expert. [ He usually played second
to his brother for that reason.] His involvement in the then new basset
clarinet seems natural. He would have lobbied strongly for the use of
his new, improved clarinet. I'm sure he wowed Mozart with some teriffic
demos!

Mozart was the first composer to fully utilise the lower register. I
think it was Stadler's mastery and preferance for that previously
neglected range that inspired Mozart to break new ground.

Ed Maurey

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