Klarinet Archive - Posting 000535.txt from 2001/08

From: HatNYC62@-----.com
Subj: [kl] Re: Come on Aaron, think about what you said!
Date: Thu, 30 Aug 2001 09:54:39 -0400

In a message dated 8/30/01 4:13:32 AM, klarinet-digest-help@-----.org
writes:

<< If you don't think that a composer can hear a character difference
between the B-flat and A clarinets, why then did Stravinksy call for
B-flat clarinet in one movement and A in the others (or maybe the other
way round, I forget). And when Rufus Aerey (spelling??) played them all
on one clarinet, Stravinsky bit his ass off saying, "I wrote those
movements for A clarinet because that is what I wanted." >>

Well, in this case you are talking about disturbing the key relationship of a
composition. One could surmise that this was far more important than the
timbre of the individual instruments. But I wasnt there what Aurey and
Stravinsky got together, and I assume you weren't either, so we don't really
know.

In any case, we have ALREADY transposed all pre 1850 music way up from its
original key. Thus the clarinet timbres those composers supposedly asked for
are already disturbed. Not to mention that the modern clarinet sounds rather
different from the various instruments used in that music.

For Brahms, Strauss, Mahler and later composers, I see your point. However,
as a professional, I have to understand (as I have written here recently)
that non-clarinetists are far less sensitive to these tonal characteristics
than we are.

Let me explain what I mean. If I were to play the same passage twice on
b-flat and a clarinets, the difference tonally would be obvious to all
musicians PROVIDED I DID NOT TRANSPOSE. However, a technically uncomplicated
passage played on either clarinet in the same key? Played well enough, it
would likely fool many.

Now c clarinet is another story, as it defiately has a timbre distinct from
the others. However, if the part has no exposed passages of any kind (Someone
mentioned the Brahms 4th, a good example) is the c clarinet still an absolute
must? In addition, that particular part has a couple of low eflats in it. To
me, it is FAR more important to be able to play all the notes on the page
than to get the 'correct' timbre. But that's my attitude about being a
professional.

George Szell once said: "Musicians must not be robots, blindly following the
composer's markings. . . We must be creative in the direction of the
composer's way of thinking." In this case, I interpret that in this way: Yes,
some composers knew plenty about the clarinet, but I know more. Composers
generally expect performers to be intellignet about playing their music.
Composers I have worked with are usually open to suggestions about their
music. They are glad someone is thinking about what they have written and
care enough to try to make it work.

David Hattner, NYC
www.northbranchrecords.com

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