Klarinet Archive - Posting 000547.txt from 2002/09

From: "Anthony Wakefield" <tony-w@-----.uk>
Subj: Re: [kl] My attempt to formalize my unstructured ideas
Date: Wed, 25 Sep 2002 06:02:49 -0400

From: Ed Maurey
> Great to have you back, Dan. - - -SNIP - - -
> Regarding your homily on instrument choice: How can you expect us
> clarinetists to take the choice of clarinets seriously when composers are
> often too dumb to write for the proper one in the first place? They're
> usually just pianists who's ears have long since been wrecked from
> practising on beat-up, out of tune pianos. They couldn't tell the
> difference between an A and a C clarinet...let alone a Bb and and an A!
> They just want to have their stuff played well, and it's usually going to
> sound best when played in the easiest key. They'd probably be touched
that
> we went to the bother.

A little truth here, in some cases, but not much. A cynical perspective I
think.

From: Dan Leeson - - -SNIP - - -
> Thus substituting a clarinet in A in the Petrushka for the called for
> clarinet in B-flat because "it sounds better" is perceived as tolerable,
> not because it really does sound better (who is the authority on that?),
> but because it is harder to notice such a substitution. The nuance in
> sound character difference between the two instruments is more subtle
> than the proposed substitution of a soprano saxophone for a clarinet in
> the Verdi example.

Composers are a different kind of musician from performers. Composers are
designers, whereas performers are artisans. The composers supply the
"drawings", the performers "dig the holes, and erect the scaffolding". I
believe that music [and art - look at the renovation in the `70`s (?) of
the Sistine Chapel ceiling] is not quite so sacrosanct as to be left
"untouched", if it can be seen to be adjusted, to make it "work".
Notice I use the word "adjusted" as opposed to "altered". The player who
said that he plays Petruchka on the A, said that he plays
it <not> because "it sounds better", but because it lies better under the
fingers. There lies the all important difference.
No non-musican will hear any difference at all in the nuance of sound
character between the A and the Bb clarinet. If Stravinsky were to have
his music listened to exclusively by non-musicians, the piece could almost
be played by a pipe band, and he would be just as rich as what he was when
he passed on. No-one really knows what truthful intentions any composer has
in mind, so accordingly, as the designer is always altering <his> designs,
thru` the continuing process of striving for perfection, so must the artisan
be <always> on the look out for ways of bringing the "design" to life in as
simple and logical, and economical way possible. Simple and logical.
Composers do NOT know it <all>, which brings us full circle back to Ed
Maurey, above.

A good try tho` Dan - - - - - - welcome back.

Best,
Tony W.

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