Klarinet Archive - Posting 000099.txt from 2000/12

From: Daniel Leeson <leeson0@-----.net>
Subj: [kl] Mahler 4
Date: Sat, 2 Dec 2000 10:26:29 -0500

Michael Bryant wrote (in part):

"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."

I would disagree. I think Walter's standpoint is quite typical but as
for its degree of professionalism, that is an arguable issue.

I also perceive from this paragraph that you may not be on top of the
reasons behind the use of multiply-pitched clarinets, and I suggest this
because your quoted paragraph gives the impression that it is all some
sort of a misunderstanding based on composer ignorance. I offer the
suggesiton that it is exactly the opposite.

There is quite a distinction between what you as a performer may think
of as the "right" instrument and what the composer may think. So I
suggest that the typical clarinettist's strenghts of technical fluidity,
beautiful sound, etc., are not the characteristics one needs to explore
this problem's depths. One needs a much stronger knowledge of the
history of the instrument coupled with the acoustical peculiarities
caused by its bore and mouthpiece characteristics.
--
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** Dan Leeson **
** leeson0@-----.net **
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