Klarinet Archive - Posting 000182.txt from 2001/05

From: "Karl Krelove" <kkrelove@-----.com>
Subj: RE: [kl] Doubling Orchestral Clarinet Parts
Date: Sun, 6 May 2001 12:19:35 -0400

Until the mid 1980's, it was standard practice in the Philadelphia Orchestra
to double the wind parts in all tutti passages and even occasionally more
exposed places where the conductor wanted a denser tone quality. There was
no doubling of solos, soft (less than mezzo-forte as a rule) passages, or
most places where individual timbres were an obvious part of the texture. As
a result, we did it that way in the Temple University Orchestra when I
played there (late 1960's). The extra 2 players were called "assistants" and
were used even in Beethoven and Mozart when Ormandy conducted in
Philadelphia (and I think back at least through Stokowsky, though I wasn't
around then). The section sat from the center toward the outside
<1st>-<2nd>-<ass't 1st>-<ass't 2nd>. One benefit was that it gave the
principal player more chance to rest if he needed it - he could lay out for
the loud tuttis and save a little for the exposed places. I'm not at all
certain it wasn't an accepted practice in the other major orchestras as
well. It seems to me the practice stopped over the period of Muti's tenure,
and I think by now it's disappeared at the professional level just about
everywhere. If your conductor wants to give as many players as possible an
opportunity to play, this practice might accommodate his wish while still
allowing for better ensemble when the wind parts are exposed and matching
timbre/intonation between 1st and 2nd parts is a more critical issue.

Karl Krelove

> -----Original Message-----
> From: DGross1226@-----.com]
> Sent: Sunday, May 06, 2001 11:19 AM
> To: klarinet@-----.org
> Subject: [kl] Doubling Orchestral Clarinet Parts
>
>
> I understand that it's a fairly common practice at colleges and
> universities
> to double or even triple orchestral clarinet parts in rehearsals
> to provide
> students a broad exposure to the literature. However, it is also my
> understanding that when it comes to concert time, parts are assigned
> according to the score requirements of the work being performed.
> Of course,
> not everyone gets to play an entire concert. I have recently been in a
> situation where at the last rehearsal before the dress rehearsal the
> director, being careful not to offend anyone, was going to have
> the Clarinet
> II parts doubled on one of the works.
>
> Being primarily a Clarinet II player, it's my job to support the
> Clarinet I
> player harmonically, match his or her style and timbre, and most
> importantly
> adjust instantly to his or her pitch. That's is challenge
> enough. But with
> another Clarinet II player, it becomes almost impossible when you
> hear your
> part in one ear and the Clarinet I part in the other. Has anyone
> else been
> in this situation? And how was it handled?
>
> Don Gross
> La Canada, California
>
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