Klarinet Archive - Posting 000116.txt from 2000/12

From: Daniel Leeson <leeson0@-----.net>
Subj: [kl] Brahms 3 (was Mahler 4)
Date: Sat, 2 Dec 2000 13:48:16 -0500

Karl Krelove has done us all a great service by his articulate
description of the Brahms 3 issue in the first movement. Among the
avenues of solution that he has tried (and he seems to have tried almost
every one) is the double mouthpiece solution; i.e., to have two separate
mouthpieces in two separate instruments thereby facilitating the switch
to the point where it is no problem at all.

I used to play a lot of Nutcrackers with an orchestra that was very
reduced. My part was 2nd clarinet/bass clarinet. There is no such
part, of course, because the requirement is for 3 clarinets. But I made
up my own part carefully interleaving the most important sections of
each. But there were times when I had to leave off playing 2nd clar. in
order to get the b.c. part (which was the more important at that
moment). I played the work with 4 instruments, a pair of soprano
clarinets and a pair of bass clarinets, every one of which had its own
mouthpiece and reed. Now that I think about it, I do not remember any
occasion where I did not use two mouthpieces on my two bass clarinets,
because it is a nightmare to extract the m.p. from one bass and plug it
into the other.

Now Karl says that this solution did not fully work for him because,
using two mouthpieces placed him in a position of an uncomfortable first
two notes on the A clarinet before his mouth got accustomed to the
instrument. So he suggests that this is not a solution that he is
anxious to try again.

Let me suggest a mid course. Since Karl intends to transpose for this
kind of situation, why not change a crime into a virtue. Select the
clarinet that is called for even before it is called for so that, by the
time the critical solo appears, the mouth will have become accustomed to
the other mouthpiece. It is true that the previous material will have
been played on the wrong clarinet, but as long as it is not exposed, the
sin may be tolerated.

I for one do not feel uncomfortable on multiple mouthpieces but perhaps
Karl's position is such that he just does not want to risk it. I can
understand that. Different strokes for different folks.

Thanks for sharing that with us Karl. It was very helpful and I
appreciate your going over that for us.

However, in the future, 2 men built like cigarette machines will be in
the audience at every performance. They will monitor your use of
clarinets. At the first instance of your use of the wrong clarinet,
they will shoot out your kneecaps. This message will self-destruct
even before you can think about it.
--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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