Klarinet Archive - Posting 000632.txt from 2001/07

From: Cindy Christensen <cindy@-----.de>
Subj: [kl] Translation of German article
Date: Tue, 24 Jul 2001 04:16:41 -0400

My son asked that I send his translation to the German system article=20
since he spent a lot of time working on it. The signatures are included=20=

here so you can all see exactly who signed the petition. If anyone would=20=

like the original article in the German language, we typed it into our=20=

computer so it would be no problem sending it to anyone who might be=20
interested. Just write me privately and I'll send it.
Cindy in Germany

The clarinet section of the Berlin Philharmonic Orchestra:

Wenzel Fuchs
Peter Geisler
Walter Syfarth
Karl-Heinz Steffens
Manfred Preis

An das
Ministerium f=FCr Wissenschaft,
Forschung und Kunst
des Landes
Baden-W=FCrttemberg
K@-----. 46
70173 Stuttgart

Ladies and Gentlemen,
we, the clarinet section of the Berlin Philharmonic Orchestra, as well =
as
the musicians signing at the end of this letter, are highly distressed=20=

about
the survival of the German clarinet in favor of the French clarinet in=20=

our
country. In order to explain the problem more clearly to you, allow us =
to
give you a brief historic overview of the clarinet and the origin of its=20=

two
different systems:

Developed from the chalumeau by J. Chr. DENNER in 1700, the clarinet=20
became
the prevailing instrument of that time through its large range and =
unique
beauty of sound and inspired many significant composers such as STAMITZ=20=

and
MOZART, and subsequently WEBER, BRAHMS, REGER and Richard STRAUSS to the
creation some of their most extraordinary works. Based on the fingering=20=

and
bore of the instrument we speak of the German clarinet or the German=20
system,
respectively. In the midst of the 19th century the French clarinet -=20
which
differs from the German system tonally due to the different bore and in
fingering because of the so-called =93Ringklappensystem=94 - was =
developed by
the Frenchmen Th. BOEHM, H.D. KLOS@-----. =
Significant
compositions for this instrument were written especially in the French
region by RAVEL and DEBUSSY and in the 20th century MESSIAEN, FRAN=C7AIX=20=

and
STRAWINSKY.

The cause for our concern is the growing dissemination of the French=20
system
in German music schools, colleges of music and orchestras. If=20
information is
correct, the nomination of representatives of the BOEHM-clarinet for two
vacant C-4 professorships is being considered. We clarinetists find that=20=

the
survival of the German clarinet is utterly endangered by this =
development
and we do not want to continue watching things without acting on them.

We want to point out emphatically the many instrumental and unique=20
possibilities for tonal realization of the German clarinet. Our=20
instrument constitutes an important element of the much admired=20
orchestra tradition in Germany. A blend between our system and the=20
French system in the German orchestra scene would not be recommendable,=20=

even counterproductive, because as a result, a sound which has grown=20
throughout centuries would disappear forever. The same criteria also=20
apply to other instrumental sections such as horns, trumpets and=20
trombones. Furthermore, playing the German system in countries of the=20
French clarinet is also unwelcome and is not practiced. Germany and=20
Austria are the last two countries worldwide in which the tradition of=20=

playing the German clarinet has been kept up until this day.

It seems remarkable to us that in the Chicago Symphony orchestra, by=20
proposal of its chief conductor, Daniel BARENBOIM, they switch from=20
BOEHM- to German system in German symphonic literature, whereas here,=20
with us, the subdual of the German system by the French is being=20
practiced. BARENBOIM had been fascinated by the sound of the German=20
clarinet during many guest appearances with the Berlin Philharmonic=20
orchestra and as the leader of the Staatskapelle Berlin.

It would be a irretrievable loss and would be incomprehensible to future=20=

generations if precious sounds in music got lost out of neglect for a=20
tradition. This German system must be preserved as a cultural asset by=20=

all means and consequently this is an urgent task for all relevant=20
educational institutions.

In the South German area more and more highly talented youth are=20
developing through the grand @-----. After the basic=20=

instrumental instruction on German system they would find instructors of=20=

BOEHM-system in two important music colleges of Baden-W@-----. =
Both=20
clarinet systems differ from each other very much in material and=20
technical respects. Thus it is to be predicted that young German=20
clarinetists will wander off to other German music colleges. Students of=20=

the BOEHM-clarinet would turn to said institutions. As a result of the=20=

different systems, these would at present only be foreign students. Do=20=

we want German music colleges to educate without regard to the demands=20=

of the German market and the German orchestra scene? We thus appeal to=20=

you urgently as the ones responsible for culture and politics to=20
advocate solely artistically and pedagogically qualified representatives=20=

of the German system to be appointed for educating the new generation in=20=

our country.

In the expectation of your appreciated opinion, we remain with many=20
thanks and friendly greetings

Peter Geisler

The following have joined this appeal through their signature:

ADAMKES, Thomas - G=FCrzenich-Orchester K=F6ln
ANGERER, J@-----. KARAJAN-Akademie
AREND, Katharina - Nieders@-----. Hannover
BACH, Georg - DSO Berlin
BADER, Alexander - Dt. Kammerphilharmonie Bremen
BALOGH, Attila - Gewandhausorchester Leipzig
BALAER, Angelika - Orchester Saarl. Staatstheater Saarbr=FCcken
BAYER, Berthold - NDR Sinfonieorchester Hamburg
BRANDHOFER, Alois Prof. - Mozarteum Salzburg
B=DCSING, Ulrich - RSO Frankfurt
CORBET, Christopher - G=FCrzenich-Orchester K=F6ln
DANNOWSKI, Dirk - Konzertorch. Brandenburg
FELDMANN, Ekkehard - G=FCrzenich-Orchester K=F6ln
FICHTEL, J=FCrgen - Musikschule Pankow
FORSTER, Ralf - BSO Berlin
FRIEDRICH, Albert - ehem. Hochschullehrer
GILLHAUS, Christine Prof. - Mozarteum Salzburg
GLANDER, Matthias - Staatskapelle Berlin
GMEIMDER, Johannes - Oper Frankfurt
GOTTWALD, W. - Wiener Symphoniker
HEMKEN, Volker - Gewandhausorchester Leipzig
HEPP, Heinz - ehem. RSO Frankfurt, Dt. Klarinettengesellschaft
HEUBECK, Peter - DSO Berlin
KAISER, Norbert - Prof. Musikhochschule Stuttgart
KERN, Mivchael - Rundfunk Sinfonie-Orch. Berlin
KERN, Nicole - Bayer. Staatsorch. M=FCnchen
KLAUS, Hans Prof. - Hochschule f=FCr Musik Detmold
KLOEDE, Antje - Staatskapelle Berlin
KREHER, Matthias - Gewandhausorchester Leipzig
K=DCBLB=D6CK, Siegfried - Wiener Symphoniker
KUIP, van der Sven - RSO Frankfurt
K=DCSTER, Eva - Musikschule Pankow
LEHNERT, Andreas - Gewandhausorchester Leipzig
MEHLHARDT, Ulrich - RSO Frankfurt, Dt. Klarinetten-Gesellschaft
MEYER, Sabine Prof. - Musikhochschule L=FCbeck
M=D6LLER, Norbert - BSO Berlin
MUTEN, Ulf - Rundfunk Sinfonie Orch. Berlin
NEUBAUER, A. - Wiener Symphoniker
NUSSER, Bernhard - DSO Berlin
OBERMAYER, Richard - BSO Berlin
OSTERHAMMER, Albert - M@-----., HfM M=FCnchen
OTTEMANN, Walter - NDR Sinfonieorchester Hamburg
PACHINGER, Gerald - Wiener Symphoniker
PAUL, Dieter - Musikschule Pankow
RENNER, Til - Radiophilharmonie Hannover
REYLS, Bernhard - NDR Sinfonieorchester Hamburg
RUSCHE-STAUDINGER, Renate - NDR Sinfornieorchester Hamburg
SCHINDLER, Heiner - Staatskapelle Berlin
SCHM=DCCKLE-WAGNER, Sylvia - Staatskapelle Berlin
SCHURROCK, Peter - Gewandhausorchester Leipzig
SCHWARZ, Oliver - G=FCrzenichorchester K=F6ln
STARKE, Gerhard Prof. - ehem. Hochschule f.M. M=FCnchen
STEINER, Ferdinand - Mozarteum Orchester Salzburg
STEPHAN, Wolfgang - G=FCrzenich-Orchester K=F6ln
STRAUBE, Tillmann - Staatskapelle Berlin
TSCHABRUN, Jochen - RSO Frankfurt
VIOTTO, Heinz - Herstellung Mundst=FCckbahnen Lage
WELZ, Joachim - DSO Berlin
Ziegler, Armin - RSO Frankfurt
ZIESTL, Thomas - Gewandhausorchester Leipzig

BARENBOIM, Daniel - Chefdirigent Staatskapelle Berlin, Chicago Symphony
Orchestra

Statement of the German clarinet-society
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D

If the information is correct that the C-4 professorship for clarinet at=20=

the college of music in Trossingen shall be taken by a musician who=20
advocates the French fingering system, the German clarinet-society,=20
represented by its chair, would like to express their concern and urge=20=

the nomination commission to rethink such a decision.

If the college of music stayed with this decision, it wouldn't be=20
attractive anymore for students playing the German fingering system.=20
Furthermore, there exists the danger that students possibly would become=20=

influenced to switch to the French system and thus would deprive=20
themselves of their chances to be accepted into a German orchestra. I=20
refer you to the extensive report that the clarinet section of the=20
Berlin Philharmonic has written and has been signed by many noted=20
clarinets. I would like to emphasize once again that we value the French=20=

system and its excellent representatives just as much as those of the=20
German system.

Heinz HEPP
First Chair of the German clarinet society

---------------------------------------------------------------------
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