Klarinet Archive - Posting 000610.txt from 2002/09

From: Bill Hausmann <bhausmann1@-----.net>
Subj: Re: [kl] My attempt to formalize my unstructured ideas
Date: Sat, 28 Sep 2002 15:24:49 -0400

At 08:40 AM 9/28/2002 -0700, Dan Leeson wrote:
>Paul Harris wrote:
>>A long article in which he outlines his position on why one should not
>>substitute one Clarinet or other instrument for the one the composer called
>>for. I have read with interest the positions and remarks made by a number
>>of other people on this list in regard to this matter and am reminded that
>>it has been performance practice through out many centuries to perform the
>>music with what ever band or instruments available at the time and to not be
>>too concerned about whether or not a composer really intended for this or
>>that instrument to be used.
>
> From where did this bit of incorrect information derive? There is not the
> slightest evidence that suggests (for example) that in the classic and
> early romantic periods, the performers used anything but the instruments
> specified. Now if you have formal information to the contrary, and are
> prepared to cite that source, I'd like to see it.
>In the absence of such reliable information, this argument you pose is
>worthless.

Actually, Paul's information can be backed up. According to Adam Carse, a
well-known musicologist and expert on orchestration, in the 16th century,
music was often written in parts to be played by whatever resources were
available. In his "The History of Orchestration" he cites, among other
examples, "...the dances by Teilman Susato...printed at Antwerp in
1551. They are arranged in four parts and are described on the title page
as being 'suitable for performance on all musical instruments.' Viols or
any group of wind instruments would no doubt easily negotiate these
complacently moving parts of small compass, distinguished from one another
simply as Discant, Contratenor, Tenor, and Bass." Later, he cites Halevy
as stating that "Lulli (1633-87) wrote only the vocal and bass parts of his
operas, leaving the orchestral parts to be filled in by his pupils,
Lalouette and Colasse." Apparently he was not too concerned about what
instruments would be used.

True, this does not address the classic and early romantic period, by which
time orchestras were far more set in their instrumentation. But Paul DID
say "through out (sic) many centuries." I would further suggest that
today's larger string sections throw off the tonal balance of the orchestra
FAR more than the infinitesimal A vs. Bb clarinet difference ever could.

Bill Hausmann bhausmann1@-----.net
451 Old Orchard Drive
Essexville, MI 48732 ICQ UIN 4862265

If you have to mic a saxophone, the rest of the band is TOO LOUD!

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