Klarinet Archive - Posting 000219.txt from 1999/05

From: arehow <arehow@-----.net>
Subj: [kl] Re: klarinet in C--to buy, or to transpose?
Date: Sat, 8 May 1999 03:35:39 -0400

Once again, I jump into an extended thread after it is fairly well
played out. Forgive me if I rehash old arguments that I may have missed
elsewhere.

I have studied C clarient part writing in Mozart, Haydn, Beethoven,
Tchaikowsky, Mahler, Johann Strauss the younger and Richard Strauss.

Haydn usually uses the c clarient in the keys of C and G. I
believe--and I am on commonly agreed ground here--that this is a
pragmatic decision and that the player may reasonably substitute a Bb or
A clarinet in its place. Earlier clarients, in my limited experience,
had less heterogeneity of tone between instruments pitched in A, Bb and
C, than do modern clarients. In other words, the 18th century C
clarient sounded less like a C clarinet.

Briefly put, Mahler, Tchaikowsky and both Strausses unequivocally use
the C clarinet as a distinct color. I believe that their choice must be
honored as closely as any other compositional decision--especially in
the Mozartiana suite of Tchaikowsky, which uses A Bb and C clarinets,
but specifies a C for the cadenza (which, by the way, goes easier on an
A than on a Bb). One might as well play Mahler's C clarinet parts on an
oboe as on a Bb clarinet, as he uses the C quite specifically, and
R.Strauss even more so.

In the case of Mozart and Beethoven, the decision is harder. Mozart
does use C clarients in the key of C and G, but he also uses Bb and A
clarients in these keys. The C clarinet is probably found only in his
operas (I say "probably" because my library is limited, and I have not
checked all of his works) and then only in the keys of C, F and G. But
the use of c clarinets in the Janissary-like overture to "Abduction from
the Seraglio" (which is in C) seems to be a case where pragmatic key
writing and tonal characteristics lead to the same choice of
instruments. Which is it? I dunno. But I would play it on the
indicated instrument, just in case

Most of Beethoven's C clarinet writing is in G and C, and is
traditionally tossed off on the Bb or A without a second thought. But
this should not always be so, and perhaps the exception proves that the
rule is wrong. THe exception is in Beethoven's only opera. In Fidelio,
Nr 2 is an aria in C, Nr 3 a Quartett in G, Nr4 is an aria in Bb, Nr 5 a
Terzett in F, Nr6 a Marsch in Bb. Beethoven's choices of clarients are
C for Nr 2 and 3, Bb for Nr 4, C for Nr 5, and --surprisingly--C for Nr
6. THus, the decision to use the C in Nr6 rather than the logical use
of the Bb, implies a strictly muscial choice, seeking a particular tone,
and this is a choice we should honor. Beethoven was a professional
composer (like Mahler etc) and he knew more about his intentions than we
ever shall. If we see that logically we should honor his choice of a C
clarinet here, should we not do so elsewhere in Beethoven?

On the basis of my studies, I feel very strongly that all orchestral
clarinet players should add a C clarient to their kits, and use it
whenever it is called for by the composer. The fact that 99.9% of
famous players do otherwise, merely shows that these famous players have
learned the same half-truths as their teachers and colleagues, and that
few conductors care as much about the composers' intentions as they
claim, or have the ear to tell the difference.

As a final argument, my main instrument is oboe. Some of the most
famous oboe d'amore* and English horn solos lie within the range of the
standard oboe in C, and could easily be transposed to avoid having to
bring the larger instrument. THis would be especially convenient for a
doubled solo**, in which the second oboist plays English horn just for a
few solo bars. But no oboe player would ever do so, and no conductor
would ever allow it anyway. Why? Because the sound is wrong. Thus
should it be, with the c clarinet. IF the instrument is imperfect,
beseige the makers until they make good specimens; certainly Goulding,
Whitely, Cramer, and other 18 and 19 century makers made competent C
clarinets, so why can not Buffet and Selmer and LeBlanc?

Let the bricks and arrows fly, I sit safely in my fortress of logic.

Robert Howe

* Bach, B Minor Mass, "Qui Sedes", Christmas Oratorio Overture to
Cantata 2, and innumerable other solos; Debussy, "Gigues"; Ravel,
"Bolero".
** Dvorak "New World Symphony", Berlioz "Roman Carnival Overture".

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