Klarinet Archive - Posting 000473.txt from 2005/01

From: "colin.touchin@-----.com>
Subj: [kl] up or down?
Date: Fri, 28 Jan 2005 04:46:21 -0500

Hello all, my teacher was Graham Turner, bass clarinettist in the
Halle Orchestra, Manchester for over 25 years. I recall he told me in
the mid-60's that he'd seen some players in the 50's on the continent
still playing with reed on top - in particular in Italy; he also expressed
awe at those players (in Germany) using string ligatures working as
fast as those of us using metal.

When I was 20 I was playing on a four-day orchestral course - the
last day coincided with a trip to the dentist, who took out three of my
wisdom teeth in the morning. In the afternoon I played the rehearsal
and the evening concert with only some numb jaw and a tongue
fishing for those odd holes in the gums: never crossed my mind as a
callow youth that such consecutive activities weren't recommended!

And some questions for Dan about Mozart Serenade in C minor
K388: 1) in the first clarinet part of the first movement, bar 14, there's
a trill on middle A - I've heard it played as A to B natural and
elsewhere as A to Bb. The authoritative score and parts you have
produced lovingly for Baerenreiter (pity they didn't get it perfectly
right [I,151, Bn 1 must be C not Eb] - not your fault!) gives bracketed
natural alteration, as the key-signature would dictate Bb; yet
harmonically both have something going for them - what's the history
on this one, and is either acceptable?

2) III, 40, Clt 1, C or D? - another supposedly authentic edition
(Camden Music) disagrees with Baerenreiter: I have a slight
preference for Camden's D, but the logic of the paired clarinets
reaching their notes from the previous falling pattern might override
the harmonic selection - yet, the root Eb chord produced with the 1st
clarinet playing C is weaker than the 1st inversion C minor, which
seems better to prepare for the diminished 7th on the next beat. It is
a crucial change as the 1st clarinet alone plays this degree of the
scale, there being lots of Eb and G from the other 7 instruments.

3) IV, 147, Bn 1 4th 16th is different in the two editions - I prefer the
D in Camden, but the G in Baerenreiter is equally feasible. Might
this be left player discretion?! How dangerous could that be ... ? :-)

Best wishes, Colin Touchin.

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