Klarinet Archive - Posting 000022.txt from 1998/08

From: Ed Maurey <edsshop@-----.ca>
Subj: Re: [kl] Mozart's choice of instruments
Date: Sat, 1 Aug 1998 20:38:04 -0400

Stadler must have been a masochist! I presume none of his three basset clarinets
had thumb rests. He therefore must have held them high like a trumpet. They were
so long that it must been difficult to get close enough to see the music by candle
light. Madness.

Ed Maurey

Dan Leeson: LEESON@-----.edu wrote:

> > From: MX%"klarinet@-----.89
> > Subj: Re: [kl] Mozart's choice of instruments
>
> > Dan,
> > I was dead wrong about Statdler owning only an A basset clarinet. I listened
> > to my recording of "Tito" and "Parto! Parto!" is definitely in Bb. I had long
> > forgotten the existance of that unfinished Rondo in Bb. Thanks for wisin' me
> > up. I hope my wife doesn't find ot about this...she thinks I'm perfect!
>
> What astonished me with respect to the extent of Stadler's interest
> in basset clarinets was that he had one in C! I didn't believe it, but
> after checking I found out that it was true. And another thing about
> him: it is my opinion that he used basset clarinets as his regular
> orchestral instruments! Think about it. He goes to Prague to play
> the 1st clarinet part in Titus so he has to bring at least his
> B-flat basset clarinet and his basset horn for the big solos that
> were written for him. Further, the opera itself calls for clarinets
> in C and A in addition to the big aria. So why bring a basset clarinet
> in B-flat but regular clarinets in C and A? It makes no sense. I
> think that they were just his regular horns.
>
> Your wife owes me a good meal. I'll take beef stew and potatoes.
> For dessert a peach cobbler will do fine. And why does your
> wife owe me a good meal? For not telling her that you are not
> perfect as am I.
>
> >
> > Ed Maurey
> >
> > Dan Leeson: LEESON@-----.edu wrote:
> >
> > > > From: MX%"klarinet@-----.84
> > > > Subj: [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!
> > >
> > > Not so on two counts. The Titus aria is basset clarinet in B-flat,
> > > and Stadler had 3 basset clarinets, one in C, one in B-flat, one in
> > > A. The quintet for clarinet and strings, K. 516c is also for
> > > basset clarinet in B-flat.
> > >
> > > >
> > > > 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
> > > >
> > > >
> > > > -------------------------------------------------------------------------
> > > >
> > > =======================================
> > > Dan Leeson, Los Altos, California
> > > Rosanne Leeson, Los Altos, California
> > > leeson@-----.edu
> > > =======================================
> > >
> > > -------------------------------------------------------------------------
> >
> >
> >
> >
> > -------------------------------------------------------------------------
> >
> =======================================
> Dan Leeson, Los Altos, California
> Rosanne Leeson, Los Altos, California
> leeson@-----.edu
> =======================================
>
> -------------------------------------------------------------------------

-------------------------------------------------------------------------