Klarinet Archive - Posting 000511.txt from 2001/08

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] For Ken Shaw
Date: Thu, 30 Aug 2001 04:51:50 -0400

Jim, I always know when you are angry with me. When you are not, you
always say, "Dan ...," but like my mother when you are angry you say,
"Mr. Leeson ..." So now, I think I'm in your dog house.

I'm not a horn player. I can't comment on the character of the natural
horn and whether is sounded differently when a different crook was put
in. I'd like to know the answer to that, but I am not qualified to
comment on it. Besides, a metal instrument and a wooden instrument
might not react the same with to being lengthened or shortened.

Can you comment on natural horn characters including the applicability
of horn crooks?

Dan

James Sclater wrote:
>
> I'm wondering if Mr. Leeson considers this matter equally serious in the case of horn players who do not use horns pitched in G or A, or E, or D, etc., but transpose everything on the F/Bb instrument.
>
> Jim Sclater
>
> James Sclater
> Professor of Music
> Mississippi College
>
> >>> leeson0@-----.net 08/29/01 01:31PM >>>
> Neil -- Re your note (below)
>
> In the absence of any evidence that this point was unimportant to them,
> and in the presence of considerable evidence that the orchestral palette
> was one of their most personal and distinguishing musical
> characteristics, it does not matter if these men shared my particular
> conception. That each man scored the way he did is prima facie evidence
> that they worked very hard to achieve a particular and very distinctive
> orchestral palette of sound. I fail to see why this point is even being
> raised at this stage of music history.
>
> You ask if I consider this an important point. Surely you must be
> joking after all the discussions you and I have had on this matter.
>
> But just in case I never said it strongly enough in the past, I suggest
> that the failure to realize the importance of the instrument's character
> and contribution towards the overall palette is the single most
> disguishing failure of contemporary clarinettists in today's orchestras.
> The willingness to ignore that character is demonstrated by selecting
> whichever instrument is the player's preference, frequently in
> contradiction to what is requested, and particularly so in the case of
> the clarinet in C. This, I suggest, is an indication of the
> unimportance that most players assign to the question.
>
> Dan
>
>
>
> > This assumes that the composers you mentioned -- or any composer at
> > all -- shares your conception of an "orchestral palette". Am I cor-
> > rect in considering this an important point?
> >
> > Neil
> >
>
> --
> ***************************
> ** Dan Leeson **
> ** leeson0@-----.net **
> ***************************
>
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--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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