Klarinet Archive - Posting 000512.txt from 2003/04

From: "Mario Estrada" <fwcsclarinet@-----.com>
Subj: [kl] C clarinets again...........
Date: Sat, 26 Apr 2003 00:37:28 -0400

When the C clarinet issue surfaces it always seems like the same arguments
and preferences show themselves. Usually the camps fall into two groups:
The purists, who believe that the sound of the C clarinet is not served by
transposing and contrary to the composer's intentions. The second group is
usually the ones that simply hates transposing and resents having to do it.
Transposing C clarinet parts is a skill that I personally believe we should
all master, especially if orchestral playing is part of your full time or
part time profession. I often wish that we would approach transposing in
the earlier stages of our clarinet training, it could be second nature by
the time a serious student goes to college. We could start teaching it
around the same time that bassoon students learn to read tenor clef.
Transposing clarinet parts is considerably easier than the transpositions
that our brass playing colleagues deal with daily. For the most part most
transpositions for C clarinet are in the key of C and don't involve
tremendous technical difficulties. Yes, the Blue Danube's constantly
changing keys has pissed me off every New Years, and there are many notable
c parts that are tremendously difficult. These are the parts that make the
strongest argument for the case made by C clarinet enthusiasts and the
composer's desire for the instrument's unique sound.

The operas of Richard Strauss and Mahler's Symphonies are clear indicators
of composers desire to hear a specific sound. I remember playing Stauss'
Die Frau Ohne Schatten and the 5 member clarinet section, if memory serves,
had each player scored on a different clarinet (B flat, A, C, E flat and
Bass). Personally, I don't know if Strauss could hear the difference
between the first part in B flat and the second part in A, or was simply
looking to have at least one soprano clarinet that could deliver a low D
flat/C sharp (concert pitch). But, I am fairly confident that he could hear
the C and E flat clarinet timbres. Berlioz's Symphhonie Fantastique's
Witches Sabbath is also remarkably different when the E flat and C clarinet
are paired together the sound is truly "wicked," and dramatically different
from the usual transposed alternative.

All that typing and I'm not sure I added anything new to the argument
(sigh), except to assert that I support both camps to a point. I'd also
love to get my hands on a decent C clarinet, a D clarinet, a great basset
horn, and an early boxwood clarinet. Well at least clarinets don't cost as
much as Heckel bassoons.
Mario Estrada
Florida West Coast Symphony
Ashlawn Opera

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