Klarinet Archive - Posting 000085.txt from 2000/12

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] Mahler 4
Date: Sat, 2 Dec 2000 03:48:24 -0500

On awful changeovers -- Sibelius does it too. The transition passage
preceding the last movement
of Sibelius 2 has (in both clarinet parts, I think) a changeover
*hidden over the page*. On the first time of playing, this
means you have ca. 1.1 seconds to change to your A.
Roger S.

In message <01c05c33$bf1cd840$LocalHost@-----.org writes:
> Thank you everyone for your generous post on
> transposition and "messy" parts. I have not yet
> had time to read all of them
>
> I absolutely take on board Walter's thoroughly
> professional standpoint. But I cannot quite fathom
> why the parts are like that in the first place, (not for the
> sound of the instruments or to simplify the part)
> but by some misunderstanding by the composer
> and/or the copyist? Brahms, Dvorak and Bartok did it.
> Kodaly provides the clarinet with some really wonderful solos
> on the wrong instrument or the right instrument with an impossible
> change over.
>
> Simplifying the part: Reicha does it in his wind quintets
> 25 Quintets, therefore 100 movements: in the first editions
> 50 movements are for the C clarinet
> 25 are for the A and 25 for the B flat.
> Beethoven requires the C clarinet in the finale of the
> 5th Symphony and the slow movement of the 1st Piano
> Concerto (actually his second chronologically).
> Smetana (and Rossini) write for the C clarinet
> in nearly every work. The list is endless. Richard Strauss
> simply asks for more clarinets to drown out the flutes and oboes
> (their point of view). Der Rosenkavelier uses the C clarinet quite
> extensively in the first and second parts in addition to Eb/D and
> basset horn quite extensively and transposing all the chromatics
> is no picnic.
>
> I have been playing the clarinet for 40 years on and off,
> but almost exclusively chamber music. as I used to work in the
> evenings and weekends quite a lot, so I have had very
> little orchestral experience. On the other hand I have accumulated
> more chamber music than I can reasonably handle now. Just recently
> we have been chomping through Septets by Beethoven, Kreutzer,
> Berwald, Blanc, Lichtenthal and next Bruch (viola replaced by violin 2)
> and the Irish Victorian Charles Wood, then much less recreationally,
> Septets by the Dutch composer Jan Koetsier and the Norwegian Tor Brevik.
>
> Having come to attend orchestra more regularly rather late, the conditions
> seem quite adverse to good results. The music is covered with graffiti or
> beginning to disintegrate, the lighting in dreadful and the conductor
> is virtually inaudible from the back desks, "Let's begin again from letter
> mumble", followed instantly by a down beat. Clearly, I need to stay in
> after
> school for a spot of extra homework, preferably supervised by some of you,
> to get acclimatised.
>
> I have never seen or played an A bass, but was once shown an old C bass that
> had been found in France, possibly made for military use. It had lost it's
> mouthpiece and crook and required some experimentation (by Ted Planas
> in his garden shed, - - a brilliant man, who, I think, kept his American
> passport to the end)
> after it was discovered that it played out of tune with itself with a
> standard crook.
> No one guessed it was a C bass before that.
>
> MB
> _____
> Michael Bryant, Michael@-----.uk
> Tel (messages 24hrs) & Fax by request
> +44 (0) 20 8390 3236
> http://www.bryant14.demon.co.uk
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> and http://www.rosewoodpublications.co.uk
>
>
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Real men DO eat quiche - with raw HTML

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