Klarinet Archive - Posting 000327.txt from 2005/07

From: "dnleeson" <dnleeson@-----.net>
Subj: RE: [kl] Mahler's Symphonies
Date: Thu, 28 Jul 2005 08:16:32 -0400

I must admit that when I played the symphony, that part alwasy
puzzled me. It contradicted my belief that instruments were
selected on the bases of minimizing sharps and flats. And not
only is the key signature of that final solo bizarre, there is
ample time to change to A bass had the composer wished. And the
part on A bass appeared to me to be far less difficult.

I thank you Joe for reminding me of this peculiarity.

Dan Leeson
DNLeeson@-----.net

-----Original Message-----
From: Joseph Wakeling [mailto:joseph.wakeling@-----.net]
Sent: Thursday, July 28, 2005 5:03 AM
To: klarinet@-----.org
Subject: Re: [kl] Mahler's Symphonies

dnleeson wrote:

> The Mahler 4 is a case in point. It is not as you suggest for
A,
> B-flat, C, and bass, but rather for A, B-flat, and C soprano
> clarinets, and A and B-flat bass clarinet.

As I recall, isn't there a further interesting aspect to the bass
part
in this symphony, which is that it ends with an extended duet for
cor
anglais and bass clarinet in Bb---but with the latter part in the
written key of F# major?

Which, since an A bass was clearly available, has some
interesting
implications about Mahler's desire for the instrumental colour,
no?

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