Klarinet Archive - Posting 000347.txt from 2005/06

From: Adam Michlin <amichlin@-----.com>
Subj: Re: [kl] Basset clarinets are regular orchestral instruments
Date: Mon, 20 Jun 2005 08:59:46 -0400

At 12:09 AM 6/20/2005, Joseph Wakeling wrote:
>Which really big name composers were these? Were they big in commercial=20
>composition (i.e. film music etc.) or were they the big "serious"=20
>composers? (I don't like the term, but it'll convey what I mean well=20
>enough for now.)

Composers of orchestral (and wind band) music specifically for the concert=
=20
hall.

>The point is that many of the big "serious" composers will willingly write=
=20
>for, and demand, unusual instruments safe in the knowledge that their=20
>works are important enough that people will want to perform them and will=
=20
>*make damn sure* that they have the right instruments for them. If Carter=
=20
>or Ligeti or Boulez were to write for basset clarinet you can be sure=20
>those works would be widely performed. Stockhausen has written=20
>extensively for basset horn---just as problematic in terms of availability=
=20
>as the basset clarinet---with no qualms whatsoever.
>Birtwistle's Linoi is regularly performed.

You bring up an interesting counter point (no pun intended!), but I don't=20
think it invalidates my original statement. There is not enough, by=20
definition, basset music in this world. The quick solution is to write a=20
check and commission music. The slow solution is to entice, beg, and cajole=
=20
composers into writing music of their own volition. Actually, another,=20
possibly faster, solution is to write your own music. I think it would be=20
wonderful to have more performing composers (or is that composing=
performers?).

>>Like it or not, the basset clarinet exists only to play Mozart and it=20
>>seems there is not enough Mozart being performed in this world for most=20
>>players to justify the purchase of a basset clarinet (a sad state of=20
>>affairs which goes way beyond the subject of basset clarinets).
>
>No, it doesn't. Alan Hacker in particular put a great deal of effort into=
=20
>persuading composers to write new repertoire for the instrument (notably=20
>Birtwistle and Peter Maxwell Davies). It's an essential instrument for=20
>anyone really interested in the modern clarinet literature, not least=20
>because it also makes a sensible alternative to the "full Boehm"=20
>instrument called for by some composers (including, most significantly,=20
>Berio) in works which require multiphonics not achievable on the regular=20
>instrument.

OK, the basset clarinet exists only to play Mozart and some modern clarinet=
=20
literature. I suspect the professional players who do own basset=20
instruments make more money on Mozart (and, like it or not, money is a huge=
=20
factor for a professional player when investing in an additional=20
instrument). I further suspect the places where such modern music is being=
=20
played the most (conservatories and colleges) probably already own a basset=
=20
clarinet and a set of basset horns usable by students (who probably don't=20
have the money to buy such instruments).

For mass market appeal, we need music for wind band and chamber music using=
=20
the basset instruments. I can't imagine such music being written unless=20
commissioned by someone willing to write a check. To be clear, I'm not=20
trying to place a value judgement on either the basset instruments or=20
modern music. If anything, I'm trying to point out this has almost nothing=
=20
to do with the qualitative value of the instruments and everything to do=20
with the economics of composing and performing.

>>The bass clarinet to low c argument is comparing apples to oranges, since=
=20
>>the extension to low c of the bass clarinet adds new range to the=20
>>clarinet family (Eb Soprano, Soprano, Bass->Eb) of the orchestra. The=20
>>basset clarinet does not offer composers any new notes which were=20
>>previously unavailable to the existing (common) orchestral clarinet=
family.
>
>Naa. The existence of contrabass clarinets shoots that one down. It's=20
>not pitch that's important, it's the combination of pitch and tone=20
>colour. The basset clarinet is a unique voice (just as the basset horn=
is).

I have to pay an extra player to add a contrabass to cover the notes of a=20
low C bass clarinet. I do not have to pay an extra player to cover the=20
basset notes which I can score for my already hired bass clarinet player. I=
=20
suspect this is the biggest reason why the contrabass clarinet has never=20
become a standard member of the orchestra (and why the bass clarinet was=20
extended to low C). Well, that and contrabasses just look funny. Ahem.

Sometimes tone color just isn't worth the money. Yes, some composers are so=
=20
famous and well funded that they can write anything and have it played=20
(witness Corigliano's recent symphony for winds which included the=20
figurative kitchen sink *and* an 8 piece marching band marching through=20
Carnegie Hall). Of course, he was paid $150,000 to write the piece. Most=20
are not so lucky.

>They'll likely always be minority instruments but in my opinion they have=
=20
>a healthy future. You'll always get genius composers like Birtwistle or=20
>Ad=E8s who find out about it, get fascinated by it, and want to write for=
=20
>it. All we really have to do is make propaganda to make more composers=20
>aware of its existence.

Dan's call to action seems to tell me that their future, at least as a mass=
=20
produced instrument, is at least a concern. Perhaps this is not the case.=20
Propaganda can do wonders, but tends to not be as universally effective as=
=20
writing a check.

-Adam

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