Klarinet Archive - Posting 000171.txt from 2002/08

From: Bear Woodson <bearwoodson@-----.net>
Subj: [kl] Haydn Symphony Clarinet Scoring?
Date: Sun, 18 Aug 2002 02:00:46 -0400

> Over on the Clarinet Board, the question has arisen
> about Haydn's use of clarinets in his late symphonies.
> GBK noted that in #103, there are 2 clarinets (in Bb)
> in the 1st and 4th movements, and Symphony #100
> uses 2 clarinets (in C) in only the 2nd movement

I don't understand. Since the Union Laws of the
Mid-20th Century, it is MUCH cheaper for a com-
poser to use ONE Scoring for ALL the movements
in a large, Multi-Movement work.

In many Musicals that can only afford to pay a
Small Ensemble, many composers will use a Small
Group of Doubling Players, who each play a Com-
bination of Instruments during the concert. But at
least that Group of Doubling Players remains the
same, throughout the Multi-Movement Work. (I'm
sure some of you guys have doubled on a few in-
struments for such performances.)

I find it Amazing that Papa Haydn could have
conflicting scorings in different movements of a
Symphony! (Obviously the Royalty could afford
it, but it is still distracting to exchange players in
the orchestra, in between movements.) I'm a big
fan of the 12 "London" Symphonies of Haydn,
and was not aware that he did that.

I believe that the Clarinet began to show up in
orchestras as early as Vivaldi Concerti, if not earlier,
but it took time for it to become a Required Instru-
ment of the Modern Orchestra. Can anyone tell me
more about this One Movement At a Time Scoring
Scheme to sneak the Clarinet permanently into the
orchestra?

By the way, in the last 6 weeks I finished com-
posing the last 2 of the 5 works to be played on
our 9-11 Tribute Concert in Phoenix Arizona USA
on September 6, 2002. I finally finished the Con-
ductors' Score Books, and all the Part Books for
the String Players, so they will begin rehearsals
in the coming week. (I haven't had a lot of sleep
in the last few weeks, but at least it's ready for
the players.)

This concert contains Two Double Fugue
Tributes to the Victims of the 9-11 Attack, (which
are my 3rd and 4th works to have double fugues
in it). It is very likely a First in the History of
Counterpoint for TWO Double Fugues to be
written to commemorate any historic event, even
a tragedy. The one work is sad, slow and reverent
while the other is a March To Victory, on behalf
of the Fallen Heroes.

I have therefore already gotten back to work
on my new Sonata No. 1 for (Bb) Clarinet and
Piano", for Professor Joze Kotar of the Music
Academy in Ljubljana Slovenia. He has already
scheduled it for performance in October, even
though he knows I've only written into the 2nd
Movement. He also knows that I have already
sketched a Triple Fugue (my 2nd work to have
a triple fugue in it), for the Fourth Movement.

Once I get done with that, it's on to the "Quin-
tet for Bb Clarinet, Violin, Viola, Cello and String
Bass", and then idea for a Sextet for Clarinets.
I've got my work cut out for me.

However I really would like to know more
about these Different Scorings Per Movement
trends, and how it helped the Clarinet become
a Required Instrument in the Modern Orchestra.

Bear Woodson
Composer in Tucson, Arizona, USA
"Bear Woodson" <bearwoodson@-----.net>

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