Klarinet Archive - Posting 000227.txt from 1999/05

From: "Dan Leeson: LEESON@-----.edu>
Subj: Re: [kl] C Clarinets (was Orchestral Rep Question)
Date: Sat, 8 May 1999 15:45:30 -0400

> From: MX%"klarinet@-----.75
> Subj: Re: [kl] C Clarinets (was Orchestral Rep Question)

> Before we delve into the slight tonal differences between modern C and Bb
> clarinets, let us not forget the tonal differences between modern German and
> French clarinets, not to mention the difference between 1999 model clarinets
> and horns of Strauss' and Mahler's time.
>
> My principal teacher was Peter Hadcock, former asst. principal/Eb clarinetist
> with the Boston Symphony. I frequently heard him play in lessons on A/Bb and
> Eb clarinet. The tone he produced on Eb was amazingly similar to his tone on
> larger horns - a tribute to his incredible skill and talent. His view on
> transposition and the "correct" horn to play passages on was, simply,
> whatever sounds the best.
>
> John Parrette

An interesting point of view, John. But there is another, namely that
the "correct" horn on which to play passages was, simply, the one
specified by the composer. THe phrase "whatever sounds the best" is
an opinion, and in your case, from a particularly good source, but
the clarinet specified by the composer is, in most cases, an undisputed
fact. There are probably lots of cases where the composer chose a
particular clarinet type for no reason whatsoever, but there are also
lots of cases where the choice of clarinet type was done for specific
reasons and no clarinet player has the authority to suggest that his/her
opinions carry greater technical imperitive than the composer's explicit
request.

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

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