Klarinet Archive - Posting 000176.txt from 1999/05

From: GrabnerWG@-----.com
Subj: Re: [kl] C Clarinets (was Orchestral Rep Question)
Date: Fri, 7 May 1999 14:57:45 -0400

In a message dated 5/6/99 3:47:10 PM Central Daylight Time,
kevinfay@-----.com writes:

<< eply-to: klarinet@-----.org
To: klarinet@-----.org')

David B. Niethamer wrote re my question on C clarinets:

<<<The color really is different (even in Beethoven - the biggest surprise
to me) and really matters. Enjoy it!>>>

Yes, indeed. I was one of those who discounted the assertion that composers
could hear the difference between differently keyed clarinets--and still
often play passages from the A to the Bb and vice versa if they lie better.
I had the opportunity to play the "Klarinet in Ut" part in Strauss' Happy
Workshop. No way could this unit play it on a Bb, so I bit the bullet and
finally acquired a C.

The tone is VASTLY different from a Bb--it's more like an Eb! I suppose
that it's possible that Beethoven and others of his age put parts in C as a
random exercise--but it's very clear to me that Strauss, writing this in
1944-45, definitely wanted the brighter sound. Probably ditto with Mahler
and the other late Romantic works using the smaller instrument.
>>
I'll second this! Both Strauss and Mahler were VERY attuned to the various
colors which could be gained from various clarinets solo or in combination.

Strauss, especially, understood and USED the special color of the C clarinet,
and the A versus the Bb. I don't have the score in front of me, but in Der
Rosencavelier, there is an extended solo passage played by the third clarinet
part on the A clarinet, which I believe he contrasts with the paired Bb first
and second.

When these guys specified Bb, A, Eb, C........they meant it!

P.S. Does anybody out there have a Bass Clarinet in A to sell?

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