Klarinet Archive - Posting 000536.txt from 2006/03

From: Adam Michlin <amichlin@-----.com>
Subj: Re: [kl] Transposed Parts
Date: Sun, 26 Mar 2006 07:45:36 -0500

I'd be curious to see the original source of the=20
first statement regarding the Paris=20
Conservatoire. Even so, I do not believe it=20
speaks to the intention of composers throughout=20
the European Continent. I'm happy to be corrected.

Regarding the second statement, I'll give you=20
Strauss and even throw in Mahler (perhaps even=20
Berlioz, but that might be a stretch), just to be=20
safe. I'll keep the rest of the pre-20th century=20
composers and could argue that Strauss was as=20
much, if not more, a 20th century composer than a=20
19th century composer. And by keeping the rest of=20
the pre-20th century composers, I mean I will=20
maintain that we don't know to what degree they=20
wrote for individual tone colors of pitched=20
clarinets. This does not mean they didn't, just=20
that to suggest they did is speculation. We do=20
know, very clearly, the key related rules behind=20
choosing pitched clarinets in the 19th century. This is not speculation.

-Adam

At 06:57 AM 3/26/2006, you wrote:
>Adam Michlin wrote:
> > I would be curious to see the historical evidence backing up your claim.
>
>If you mean *my* claim, you might consider the reasons the Paris
>Conservatoire had for rejecting M=C3=BCller's "omnitonic" clarinet in the
>early 19th century---that by doing away with clarinets in varied keys,
>it would deprive composers and players of an important colour resource.
>
>Or you might examine the late 19th-century works (by e.g. Strauss,
>although I don't think he's the only one) that *mix* different
>clarinets, such as Bb and A, or the remarks of composers (Strauss and
>Berlioz are particularly vocal) on the importance of different clarinet
>colours.
>
>
>
>

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