Klarinet Archive - Posting 000003.txt from 2006/03

From: "Shaw, Kenneth R." <krshaw@-----.com>
Subj: [kl] Schumann Fantasy Pieces -- Transposition of #1
Date: Wed, 01 Mar 2006 12:18:08 -0500

=46rom: "Lorraine" <redpepper@-----.uk> says:
I have to do a presentation on the compar[a]tive performance styles of
one of
the pieces of music I am going to be playing myself at my final recital
=66or
my BA Mus. The piece I am thinking about doing is the Schumann Fantasy
pieces. I have several different recordings already (we have to choose
3).
They are Reginald Kell - his 78 recordings and also his 1950's Decca
recordings, Jonathan Cohler(actually still waiting for this CD), David
Shifrin, Sharon Kam and Gervase De Peyer. I haven't narrowed it down yet
and need to choose as contrasting versions as possible, preferably over
a
large time span.

I have started to do some research and whilst searching the files came
across a post by Ken Shaw in 2002 that mentions Reginald Kell played the
entire set on his Bb. How do I *know* this information is correct as it
doesn't mention this on my Decca recordings=3F Is there somewhere I can
=66ind
this out for sure so I can quote the correct source - I'm not doubting
Ken
it is just that if I include this information I will have to include how
and
why I know.

Lorraine -

The clarinet's scale (the tone quality of each note compared to the ones
just above and below it) is inherently uneven. The throat Bb is
noticeably dull, because it is emitted through the register vent, which
is too small and too high to let the tone match the rest of the
instrument. The middle (third line) B is emitted through the bell
rather than a tone hole and tends to have a blaring quality. The best
players can make the notes match quite well, but no one can completely
conceal the differences in quality, particularly from another
clarinetist.

The final two notes of the first phrase of Schumann's Piece #1, played
on the A clarinet, are third space C and third line B. Transposed down
a half step on the Bb clarinet, these notes become Cb and Bb. When I
listen to a recording, I can clearly tell the difference, and I'm sure
you can do the same. I don't remember whether Kell used the Bb
instrument on his first, 78 rpm recording with Gerald Moore. However, I
recently listened to his 1950s Decca recording with Joel Rosen in the
recently issued boxed CD set
<http://www.amazon.com/gp/product/B0009ONYPA/qid=3D1141157725/sr=3D2-1/ref=
=3Dp
d_bbs_b_2_1/103-9036643-0429412=3Fs=3Dclassical&v=3Dglance&n=3D5174>, and =
I'm
sure beyond doubt that he played it on the Bb clarinet.

I collect clarinet recordings and have over a dozen versions of the
Schumann Fantasy Pieces. About half of the Boehm system players use the
Bb clarinet on #1. There have been several articles about the Fantasy
Pieces in The Clarinet magazine discussing the reasons for transposing
#1. See <http://www.clarinet.org/journal/masterindex.txt>.
Transposition avoids two technical difficulties. The first is in the
third long phrase, on the slur from clarion F to altissimo C# to clarion
high C. The involves consecutive switches between the clarion and
altissimo registers. The upward slur from F to C# is prone to
squeaking, and it's difficult to avoid a momentary "click" between the
notes. Moving from C# down to C is also difficult to do without a
click. Even one click breaks the line, and two consecutive clicks are
much worse. On the Bb clarinet, the notes are E-C-B, which are all in
the clarion register and quite easy to do smoothly. Also, on the Boehm
system clarinet, clarion high C is a poor note -- thin and often sharp,
particularly on the A clarinet. The C (or B on the Bb clarinet)
=66unctions as both a resolution of the first note and an appoggiatura for
the further resolution two notes later. As C on the A clarinet, there
is the risk that it will be dull, and will blare if you push it. As a B
on the Bb clarinet, the note is very secure, with a better color.

The second problem comes several bars later on the slur from clarion Eb
to altissimo Eb. As you know, the best fingering for altissimo Eb uses
the sliver key for the right ring finger. The fingering with the right
index finger up and the right middle finger down is badly out of tune.
A second alternate fingering, with the right ring finger down instead of
the middle finger, is possible but also problematic on intonation. It's
possible to learn to slide the right ring finger from the hole to the
sliver key when making the slur (I do it that way), but, again, it's
hazardous. On the Bb clarinet, the slur is from D to D, which uses the
standard fingering for the altissimo D.

These problems are reduced on the German clarinet. Many such
instruments have a good clarion high C#, fingered with just the thumb
and register key. They also seem to cross the clarion/altissimo break
more smoothly than Boehm clarinets. Finally, clarion high C is an
excellent note on German clarinets. Also, the altissimo Eb is fingered
just with the right index finger, so the slur and intonation are
excellent. (Remember that Schumann wrote for the ancestor of the German
instrument.)

The downside of using the Bb clarinet on #1 is that the lines sound
different and are harder to play smoothly. This is a particular problem
at the beginning of #1. The register change and dull quality of the
throat Bb are impossible for even Kell to conceal. These difficulties
run through to the end. The final descending arpeggio is much easier to
play smoothly and with consistent color in C major on the A clarinet
than it is in B major on the Bb clarinet.

The choice of instruments is a tossup. On the whole, I prefer to play
and hear #1 on the A clarinet. There's no fumbling to change
instruments between #1 and #2, I like the slightly darker tone of the A
clarinet better in #1, and using the same instrument throughout makes
all three pieces sound in a single voice.

I listened to the Kell Decca recording last night. On CD rather than my
old LP, it was clear that he played #1 on the Bb and #3 on the A. I
think that he also played #2 on the A clarinet. I'm sorry if my earlier
posting caused confusion.

Good luck on your recital.

Ken Shaw

---------------------------------------------------------------------------=
---

This message and its attachments are sent from a law firm and may contain =
information that is confidential and protected by privilege from disclosure=
.=
If you are not the intended recipient, you are prohibited from printing, =
copying, forwarding or saving them. Please delete the message and =
attachments without printing, copying, forwarding or saving them, and notif=
y=
the sender immediately.

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D

-------------------------------------------------------------------
Klarinet is a service of Woodwind.Org, Inc. http://www.woodwind.org