Klarinet Archive - Posting 000554.txt from 1998/11

From: "Dan Leeson: LEESON@-----.edu>
Subj: RE: Re[2]: [kl] Oh frabjous day!!
Date: Mon, 16 Nov 1998 12:53:19 -0500

> From: MX%"klarinet@-----.88
> Subj: Re[2]: [kl] Oh frabjous day!!

>
>
>
> Subject: Re: [kl] Oh frabjous day!!
> Author: <klarinet@-----.org> at smtpgwy
> Date: 13/11/98 2:26 PM
>
>
> > From: MX%"klarinet@-----.65
> > Subj: Re: [kl] Oh frabjous day!!
>
> >
> > In a message dated 11/10/98 10:50:31 PM, leeson@-----.edu writes:
> >
> > <<Accompanying Levin, who will be playing on an 18th century piano is
> > an orchestra of original instruments >>
> >
> > I understand perhaps playing a concert on original instruments gives a feeling
> > of authenticity to a work, but why else would musicians play on period
> > insturments? I am not asking this question as a put down to period
> > instruments, but out of total curiosity.
>
> There are those who believe that music of the 18th century cannot
> be heard as it was intended to be heard unless it is played on
> instruments of the period. I am certainly of that opinion with
> respect to Mozart era piano. There are technical and acoustical
> reasons why it sounds differently, and those differences make it
> better for me.
>
>
> >
> Could some one please tell me where these insruments come from??
>
> How does one bring enough period instruments together to make a whole
> orchestra?
>
> I've never met any one who owns a period instrument. Do museums lend
> instruments for performances??
>
> Del Sizemore
>
> sizemod@-----.au

Del, period instruments are generally very accurate copies of instruments
in museums or else they are restored originals. There are a number
of instrument makers who will create an 18th century clarinet for you
including a mouthpiece. The pitch is not the same as a contemporary
instrument.

It is very difficult to bring enough period instruments together to make
a whole orchestra. The Philharmonia Baroque, which I heard last week
accompanying Levin, brings in players from all over America and at
great expense to create such an ensemble.

Even if you could find a museum that would be willing to lend a
period instrument, I doubt if it is condition to play. They are
generally too dried out and feeble to produce a quality sound and
they can crack in a minute.

Finally this: the player must learn how to finger a period instrument
with the same facility as s/he does on his or her regular instrument.
And intonation is always a problem.

>
>
> -------------------------------------------------------------------------
>
=======================================
Dan Leeson, Los Altos, California
leeson@-----.edu
=======================================

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

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