Klarinet Archive - Posting 000578.txt from 2002/09

From: Daniel Leeson <leeson0@-----.net>
Subj: Re: [kl] Bb/A Conundrum
Date: Fri, 27 Sep 2002 10:54:34 -0400

I want to thank either M. Vinquist or Ken Shaw (I'm not sure who posted
the Duquest article "Use of the A and B Clarinets") for having done so.
It is wonderful to have the opportunity to read it again after so
very many years and I also remember Duques's wonderful playing. As a
kid growing up in the area, I would on occasion actually be seated in
NBC's hall 8H during the Saturday evening performances of the NBC. He
was, without doubt, a great player.

Now having said that, I still have some problems with the Duques
article. His story about putting down his B-flat clarinet and then
picking it up again with the conductor not knowing the difference is a
tale that has become an urban legend ascribed to several other clarinet
players.

It was told to me personally by Rudolf Stalder in Switzerland as having
happened to him. And the story has been ascribed to other players as
well. On the other hand, Herb Blayman personally told me that he had a
situation with the Utah Symphony under Abravanel with the same beginning
but a differnt ending: Herb was transposing. Abravenel asked on what
instrument he was playing, and then requested him to switch to the
asked-for clarinet. He did so and Abravenel said how nice it sounded
which impressed Herb.

Duques story about Stravinsky noting the use of the A instead of the
B-flat was also given as a first person experience by the professor of
clarinet at Eastman ca. 1945. His name escapes me.

The bottom line is that I have difficulty understanding and accepting
the validity of stories that appear as urban legends as having happened
to various and distinct players.

There is another items in Duques' note I want to highlight. He writes:
"Some parts written for C clarinet sound much better played on the A
than on the B clarinet. Typical examples are Smetana's Moldau and
Rossini's Barber of Seville Overture."

Now Duques was certainly allowed to have any opinion he likes, but when
asserted as a fact as is the case of the above paragraph, it is no more
than pontificating. Not that it much matters, but I don't think the two
examples he gave (as well as a thousand that he did not give) sound one
whit better on the A than on the C. This business about how one think
something sounds has little value as eternal truth.

So what we have here are the opinions of a brilliant clarinetist being
put foward as technical fact. Personally, I think that Duques' views on
this were his own but they cannot be put forward as if they represent
universal and inviolate truth.

I've heard other brilliant clarinetists make imbecilic statements with
respect to the historical aspects of their instrument. Being a
brilliant player does not, by itself, cause one to become infallible on
these issues.

Dan

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** Dan Leeson **
** leeson0@-----.net **
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