Klarinet Archive - Posting 000580.txt from 1999/05

From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subj: RE: [kl] Different pitched Clarinets timbral qualities
Date: Fri, 14 May 1999 00:58:38 -0400

Rufus Mont Arey was the principal clarinetist of the Philadelphia Orchestra
in 1923-24; he taught at Eastman for a long time. He is said to have boiled
clarinet playing down to two elements--tone and articulation. I can see his
point.

I think it more likely that Stravinsky objected to the pitch--the unintended
tonal modulation of playing the last movement a half step too high--than the
timbre. Either way, it is crystal clear that he wanted the particular
instrument.

Now, I am not going to object to students learning the Mozart concerto on
Bb. I know I did. Heck, if the kid is excited about it, I don't care if
they learn it on kazoo.

IMHO, there isn't much of a timbre difference between the Bb and A--not
enough, anyway, to keep me from transposing parts in the orchestra so that
they lie better. I am of an entirely different opinion about the C (now
that I won one)--unlike the Bb/A, there is a tremendous tone quality
difference. So much so that I am now of the opinion that own should strive
to use the intended instrument when called for, at least in the late
romantic Mahler/Strauss works when the difference in tone was clearly the
reason for the composer's preference. (Aside from that, it's easier--I'd
like to hear someone successfully play the Klarinet in Ut part to Strauss'
"Happy Workshop" on a Bb!)

kjf

-----Original Message-----
From: Dan Leeson: LEESON@-----.edu]
Subject: Re: [kl] Different pitched Clarinets timbral qualities

> From: MX%"klarinet@-----.32
> Subj: Re: [kl] Different pitched Clarinets timbral qualities

>
>
> JW schrieb:
>
> > Some composers do/did indeed write for specific clarinets. Stravinsky
> > is one in particular, ala his 'Three Pieces'. He was very specific
> > about wanting the 'A' stuff played on A clarinet, not just because of
> > pitch, but timbre...
>
> - snip -
>
> Mitchell Lurie told me during a lesson on the Stravinksy 3 pieces that
> Stravinsky himself once actually stopped a performance because the
> clarinettist had not changed instruments for the third mvt.

The anecdote was first reported on by Rufus Airey (spelling?) who
wrote it up around 1950 or so. Stravinsky was sitting in on a
rehearsal where Airey was trying out the hall. Airey played the
pieces and Stravinsky interrupted him (some ear!!) to say, "I wrote
that movement for A clarinet because that is what I wanted. Please
play it on A." Airey complied.

>
> David
> David Glenn
> notestaff@-----.de
>
>
>
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=======================================
Dan Leeson, Los Altos, California
leeson@-----.edu
=======================================

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