Klarinet Archive - Posting 000508.txt from 2001/10

From: Virginia Anderson <assembly1@-----.com>
Subj: [kl] Yes Virginia, there is a "softer, gentler" side to the Eb
Date: Tue, 16 Oct 2001 09:09:41 -0400

Hi guys (including Patricia),

Yes, Patricia, the terrible tug between having to do reeds vs. having to
practice, have a life, etc. is daunting. Since there isn't a constant
demand for an Eb soloist (and why not?) I've always got away with letting
the reeds go and get THWAT-ty while I play day-to-day work. Then, in the
months leading up to the Big Gig (about once a year) I fuss with reeds and
such. I'm making a rod for my own back - softer (and older) reeds require
more constantly even physical air support to make a solid sound than harder
ones (which, at best, seem to play themselves).

Walter, thanks for the nice notice! It was the music which led to the
sound. You ask composers for stuff and hope that they give you back
something which matches your sound - and if it doesn't you have to find a
sound which will work. There were all the fun squeaky solos in band and
orchestra when I was in university but I also used Eb as an all-purpose
instrument for new music in which instrumentation was unspecified and for
improvisation (lighter than a bass to carry to gigs!). Having spent so much
time with the Eb and using it as an all-purpose instrument I may have
overstated its abilities, and having had lovely, passionate and ethereal
music written for it I had to try to come through with the goods. How
successful I was is defined by my limitations as a clarinettist, but the
softer reed idea is one which I would recommend to better players (who may
not spend a lot of time with the Eb) trying. And there are, of course,
pieces in which the traditional set-up is demanded: Avril Anderson's
_Deadwood_ is a good recent-ish example and parts of Barney Childs' _Instant
Winners_ (but since other parts are silvery, one must compromise).

And Tom, being well-upholstered myself, I know whereof you speak. I prefer
to think of it as an evocation of Lilliput, much like the time I served
chicken wing drummettes at a new music ensemble party. Our biggest
trombonist eating one looked like Henry VIII in Toyland.

Cheers,

Virginia
--
Virginia Anderson
Leicester, UK
<vanderson@-----.uk>
Experimental Music Catalogue: <http://www.experimentalmusic.co.uk>
...experimental music since 1969....

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