Klarinet Archive - Posting 000177.txt from 1999/05

From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: RE: [kl] C Clarinets
Date: Fri, 7 May 1999 14:57:46 -0400

Roger Garrett noted:

<<<A message was posted that not being able to transpose is the reason
people purchase C Clarinets. . . .There is no question that owning a C
clarinet helps avoid problems in transposition. However, some orchestras
use C clarinets when the part calls for it, just as some use D clarinets
when the part calls for it.>>>

For years, I agreed with the first thought, and quite happily transposed
everything to Bb (primarily because it saved me money). Having never played
a C, I had no idea that the tone color was so different (and wonderful,
IMNSHO).

The first time I borrowed a C was for a Strauss waltz gala last year. I was
lazy and didn't want to transpose, quite frankly--wine was served to both
the (dancing) audience and the orchestra, and I didn't trust the three brain
cells I have left to get the job done. I was immediately struck by the vast
difference in tone color, and realized that my earlier thinking was very
much in error.

Then . . . the call came to play Strauss' "Happy Workshop"--a FANTASTIC
piece. It's a symphony, with the strings, brass & percussion carefully
discarded. There are FIVE clarinet parts--1 in C, 2 in Bb, a basset horn
and a bass.

Two things immediately jumped at me in reviewing the part--first, Strauss
very, very clearly wanted the different tone color. Second, I could not
possibly play the part on Bb; my last name is neither Drucker nor Neidich.
So my choice was made for me.

I have a friend with a very, very old (1914) Buffet C that I have used in
the past--I needed better for this gig, so I called all the discount houses
to see what was available. The only instrument anyone had in stock was a
Noblet 45--the Woodwind was selling them on special for $1299. The special
may still be on for those interested.

It's a pretty OK horn. Intonation above the register break is fine; below
the break it has some problems. The throat tones are flat, the lower
chalemeau quite sharp. This is likely a result of it's relatively large
bore and lack of undercutting, which of course is what helps make the horn
so inexpensive. Fortunately, very little in the Strauss was below the
break--so the horn did me just fine. I'm told that I can get a Chadash
barrel that will help, too--as soon as my credit card gets over the shock,
I'll likely get one.

kjf

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