Klarinet Archive - Posting 000499.txt from 2001/08

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] For Ken Shaw
Date: Wed, 29 Aug 2001 12:09:36 -0400

Claaronet622@-----.com wrote:
>
> Why is it then, Mr. Leeson, that you so object to using a clarinet in a different key than specified by the composer, when it seems that
differently-pitched clarinets arose from a need to play in keys that
would otherwise be difficult or impossible?
>
> Regards,
> Aaron

I thought you would never ask, Aaron. If you do not agree that
different clarinets have different sound characteristics, then you will
may have difficulty seeing my argument. But presuming that you do agree
that a C clarinet, for example, sounds differently than an A clarinet,
then perhaps you will follow the logic.

If a composer of the 18th century (Mozart or Beethoven, for example)
selected a clarinet in C for whatever reason (and I have alluded to one
in my previous note), then that selection resulted in a particular sonic
palette from the orchestra. If that composer had selected an accordion
or a tenor sax or whatever, that action would have resulted in a
different sonic palette from the orchestra. Now you may think in terms
of a clarinet sound, but I'm trying to think in terms of an orchestra
sound.

To answer your question, I suggest that neither you nor I have any
authority to change that orchestral sonic palette by the selection of an
instrument that is different from that requested (an A clarinet, for
example, when a C clarinet is requested). Now you may consider the
substitution of one clarinet for another as a blip in the overall scheme
of things. I do not. But if you do, then you are of the opinion, that
only the pitch of the note needs to be accurate, not the sound
character.

The Beethoven 1st piano concerto, has a different sonic palette (a
measureably different one) when something other than a C clarinet is
employed. Either you believe that or you don't.

So now I reverse the question and ask one of you. Why are you so
opposed to using the particular clarinet requested by the composer? To
be even more blunt, who are you (or me) to ignore clear, unambiguous
directions from the person who created the sonic palette in the first
place? Do you think your ear is better than Beethoven's, than Mozart's,
than Mendelssohns?

What do you think your duty is as a clarinet player; to do as you wish,
to chose any clarinet you prefer, and to hell with your responsibilities
as a contributor to the overall sound character of the orchestra?

>
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--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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