Klarinet Archive - Posting 000520.txt from 2006/03

From: Joseph Wakeling <joseph.wakeling@-----.net>
Subj: Re: [kl] Transposed Parts
Date: Sat, 25 Mar 2006 22:22:11 -0500

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Adam Michlin wrote:
> if we insist that C Clarinet parts absolutely must be played on C
> clarinets

I don't think that Dan is *insisting* on anything, although I'm willing
to be corrected. What I interpret his words as meaning is that if a
substitution is made, it should not be done casually.

This is perhaps better illustrated with respect to percussion.=20
Composers very often specify mallet types, but performers will sometimes
alter these. One of the reasons they do so is that, in different halls,
a different mallet may be required to produce the same effect. That's a
*good* reason for substitution---and though it may sound like an "It
just sounds better like that" excuse, it's not. It's the same reason
that might cause one to modify Mozart or Beethoven's dynamic markings
because they were written for a period instrument rather than a modern
one---and understanding what the period instrument does, a slightly
different approach may be required with the modern instrument to produce
the same result.

The point is that one should understand what a composer is getting at
with their choice of instrument (and other things) before presuming to
make any changes for technical reasons. For example, in a piece I'll be
playing in a couple of weeks' time, there's a brief solo in 6 sharps.=20
It would be technically easier to just take out the A clarinet and
ignore the sharp signs---but I'm not going to, because the character of
the Bb clarinet, and the colour gained by using all those sharp
fingerings, is perfect for the piece.

In another piece one might come across a passage which is clearly---from
the textual and musical context---intended to be played very smoothly
and easily, but find that this is almost impossible to achieve on the
clarinet written for. In this case a substitution might be justified
because it would achieve what the text shows to be the musically most
important aim---the smooth phrase. But it would be wise to try to
achieve compensation for any possible character change---and most
importantly, one should be absolutely sure that the written clash
between instrument and passage style is not something that was *wanted*.

A similar reason for substitution is security---it can be a way of
ensuring a lack of technical errors. But I think we'd all agree that
this is an imperfect solution that we adopt in circumstances where we
can't avoid it. The same goes for substitution because we lack the
correct instrument---which might go as far as a wind ensemble playing
the Gran Partitta with a contrabassoon simply because their ensemble is
as it is and they do not wish to bring in a double bass player "from
outside" simply for one piece. It's a practical solution to a practical
problem, but not something to aim for *deliberately*.

As for arguing that pre-20th century clarinet choice was simply dictated
by the key, that's nonsense. Composers of that period were keenly aware
of the character difference between different clarinets (and other
woodwinds), probably more so than now. In many cases the choice of key
may have stemmed precisely from the desired instrumental character.

Instrumental substitution is always going to be a necessary part of a
clarinettist's toolbox, but it should be done with sensitivity to the
musical text, not casually or arrogantly.

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