Klarinet Archive - Posting 000119.txt from 2000/12
From: "Dee D. Hays" <deehays@-----.net> Subj: Re: [kl] Mahler 4 Date: Sat, 2 Dec 2000 16:46:46 -0500
----- Original Message -----
From: <Knaphet@-----.com>
Subject: Re: [kl] Mahler 4
>
> In a message dated 12/2/00 10:33:44 AM, leeson0@-----.net writes:
>
> << The road to hell is always paved with the best of intentions. "Here I
> will use an A clarinet instead of a C because ..." and then some really
> good reasons are given for that action. >>
>
> I agree with you as well. My view is that either extreme has its
> difficulties. I had an experience playing "Barber of Seville" with a
> borrowed C clarinet, and found that the C clarinet blends SO wonderfully
with
> soprano voice. There is a lot of C clarinet writing in operas, and after
the
> "Barber" experience, I believe that composers choose that instrument for
good
> reason. If I ever win an opera orchestra gig, it will be with great
pleasure
> that I go shopping for a C clarinet. But in the case of Beethoven works,
I
> would purchase a set of Wurlitzers before a C clarinet because I think
> Beethoven had a German clarinet sound in mind. Ever played the solo from
> Beethoven 8th on a German clarinet? The fingerings are easier, more
natural.
> It seems obvious to me that Beethoven meant it to be played on a German
> clarinet.
>
Keep in mind that Beethovan died in 1827. Neither the Albert system (i.e.
German) nor the Boehm system (i.e. French) were developed until the 1840s.
Clarinettists of Beethovan's time probably would have been playing the
Mueller system clarinets or even older, simpler style clarinets where ever
they were.
Dee Hays
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