Klarinet Archive - Posting 000098.txt from 2000/12

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] Mahler 4
Date: Sat, 2 Dec 2000 10:13:07 -0500

Walter, I don't understand this answer. You show up (or should show up,
perhaps) with every instrument that you need. It's your job to have the
right tools for the work. That is what you are being paid for.

I suggest that there is a distinct and noticeable difference between the
sound character of an A and a B-flat bass clarinet. And the clarinetist
should NOT be making the decision about what the composer meant, or what
s/he knew, or what s/he really wanted. One does not make that decision
about the notes, the dynamics, the articulation. On the contrary, the
clarinetist plays what is written, but for economic reasons decides on
what instrument s/he should play it. That is simply an untenable
position to defend rationally, which is what you are trying to do. It
is better to simply state, "I can't do it because I can't afford it"
rather than go into the paroxyms of irrational reasons such as "You
can't show up at EVERY rehearsal with your Bb, A, Eb, D, C, Bb Bass and
A bass." Of course you can, and to suggest otherwise is simply not
rational.

To do as you suggest is to assume that the only important element of the
music is pitch. As long as you achieve the right pitch, no matter on
what clarinet you achieve it, you have satisfied the composer's request.
Now clearly, that is not what you do. You would not substitute a D
clarinet for a bass part. So at the extremes, you recognize your
obligation to the composer (to say nothing of the conductor who would
kill you if you did) and you play on an instrument that is close, in
character and size to the one requested.

I'm suggesting that this is an arrogant attitude on the part of every
clarinet player who does it. Despite the fact that some composers make
mistakes or chose their instrument key badly, it is not our duty to
correct this. We play (or should play) on the instrument called for and
we bring (or should bring) every instrument that we are requested to
play.

And yes, I owned and played an A bass. The current bass clarinet player
of the Toronto symphony bought it from me when I retired.

This entire thread began when you spoke of the tricks of the trade, and
the importance of transposing. I suggest the most important trick of
the trade is to own the right instruments.

GrabnerWG@-----.com wrote:
>
> In a message dated 12/1/00 8:15:58 PM Central Standard Time,
> dnietham@-----.edu writes:
>
> << Of course, if you don't own one, then you need to be able to transpose.
> That, too, seems to me to be part of the arsenal of the professional
> player. After I bought Dan's C clarinet, we played Tchaikovsky
> "Mozartiana". The variation movement is for clarinet in C, and the
> cadenza is much easier on that instrument. For a "talk & squawk" concert
> we were doing excerpts of the Tchaikovsky, and the variation movement was
> cut. When I showed up at the concert, it had been reinstated. Thank
> goodness for years of practicing that transposition! >>
>
> My original point was the necessity of knowing all the transpositions.
>
> You can't show up at EVERY rehearsal with your Bb, A, Eb, D, C, Bb Bass and A
> bass.
>
> Walter
>
> ---------------------------------------------------------------------
> Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> Additional commands: klarinet-help@-----.org
> Other problems: klarinet-owner@-----.org

--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

---------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org