Klarinet Archive - Posting 000572.txt from 2001/08
From: "Lacy, Edwin" <el2@-----.edu>
Subj: RE: [kl] which clarinet
Date: Fri, 31 Aug 2001 11:42:20 -0400
I think there may be a problem of logic here:
<<<The sound of a natural horn varies enormously according to the crook.
[.....] Objectively one could argue that it is a far worse crime to use the
wrong horn, than the wrong clarinet, because the difference is so much
greater.>>>
Yes, the sound does vary enormously (I might quibble a bit about the choice
of adverb). The difficulty is that we don't know to what extent the
variation in tone quality between horns of different lengths results from
the difference in length itself, or to the variability in the bore and other
design features of the horn. To follow the logic above, if the length of
the instrument explains the difference in tone quality, then the modern horn
should have a different tone quality on every change of notes, because that
is precisely what the valves do. (They change the length of the tubing
through which the vibrating air column must pass.) Does the modern horn
exhibit that characteristic? Some might argue that it does, in that they
perceive that different notes have different tonal characteristics. But,
again, it would have to be questioned whether the perceived changes in
"color" of different notes is due to the length of the instrument, or to the
fact that on every instrument, different pitches have intrinsically
different tone quality. (This question can be raised even in the case of
the piano, in which case many people would claim that various pitches have
different tone quality, but then, each note is produced by strings of
different length.)
<<<They could not go for a G horn or an Eflat horn (already very different
tonally from the F) because they would not have the required notes. So if a
composer had a musical idea that would jibe best with the sound of horns in
G, the piece would have to be written in G...... [.....]>>>
I think this probably reverses the thought processes of the composer. Take
for example Mozart's Symphony in G Minor, No. 25 (the "little G Minor")
which calls for two pair of horns, one in G and one in E-flat. Obviously,
according to the logic expressed above, those two pair of horns would have
very different tonal characteristics. Yet, I think it seems clear to most
musicologists and theorists that his choice of horns in those two keys was
guided by a very different consideration: it allowed the horns to play all
the notes of the tonic triad.
It seems to me that Mozart and other composers chose the keys of the works
they were going to write based on the conception they had in mind of all
aspects of the work, including tone quality, tessitura, character, etc., and
then chose the horns in the keys that they had selected. For example, works
of Haydn and other composers, as well as most of those of Mozart, call for
horns in D if the work is in D, horns in C if the work is in C, etc. I
would find it extremely doubtful that the choice of keys for their works was
dictated by what horns were available.
Such composers as Haydn and Mozart were, among other things, very practical
people. It is true that they tended to write for the forces that were
available. For example, in Haydn's "London symphonies" (the last twelve
that he wrote) can be found the only instances of his inclusion of clarinets
in the instrumentation. That is obviously because the orchestra in London
included clarinets, while he didn't have them available at Esterhazy. For
example, No. 90, the "Clock," or No. 104, the "London" - both works in D
Major with an introduction in D Minor, clarinets in A, playing in the key of
F, horns and trumpets in D. Mozart's "Haffner" Symphony, No. 35, has
exactly the same arrangement. But, did Haydn and Mozart choose those keys
because they wanted precisely the tone quality of horns in those keys? I
would find that extremely dubious. It seems clear that the variation in
tone quality between different horn players in different locations would
have been far greater than the difference between the sound of the F horn
and the D horn in the hands of the same player. It was a standing joke in
the musical world about horn players carrying a horn and also about a dozen
crooks (actually, precisely 10 crooks) to change the instrument into the
required key for the given situation.
Ed Lacy
**************************************************************
Dr. Edwin Lacy, Professor of Music
University of Evansville
1800 Lincoln Avenue
Evansville, IN 47722
telephone (812)479-2252; e-mail: EL2@-----.edu
**************************************************************
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