Klarinet Archive - Posting 000287.txt from 2006/04
From: Adam Michlin <amichlin@-----.com>
Subj: RE: [kl] New pieces for basset-horn
Date: Sun, 23 Apr 2006 08:30:27 -0400
Besides, being a second rate composer doesn't preclude the
possibility of composing at least a few first rate pieces or even
masterworks. Weber tends to be a historical footnote for his operatic
influence on Wagner amongst non-clarinetists. I distinctly remember
my bitterness in music history class upon noticing that the textbook
failed to mention Weber's clarinet works! Ah to be young and naive.
Unfortunately, the young part is so much easier to correct than the
naive part... but I digress. Saxophonists still think of Glazounov as
a major composer, much as all instrumentalists think the composer of
their most important concerto is a major composer (ask a double
bassist about von Dittersdorf, if you doubt me!).
I do think the Weber concertos/concertino and Glazounov Saxophone
Concerto are masterworks. von Dittersdorf... well... But I'd be hard
pressed to put Weber in league with Beethoven or Glazounov with
Tchaikovsky, Prokokiev, and Shostakovich.
Transcriptions of lesser known works by lesser known composers, to my
ear and mind at least, tend to be more successful since they are not
so readily compared with their originals. My first thought upon
hearing a Brahms cello part on basset horn will always be "Hmm.. I'd
rather hear cello". As to quality, there really are some gems out
there by second rate composers, you just have to slog through a lot
of second rate music to find them. Anton Reicha, J.C. Bach, and
Joseph Martin Kraus being some of my current favorites; I recently
heard a transcription for Clarinet Quartet (3 Bbs and Bass) of an
unknown (to me) J.C. Bach piece which I found quite enjoyable.
And, just in case anyone thinks that my use of the term second rate
is pejorative, being second rate isn't so bad when you consider
various people in the first rate category such as J.S. Bach,
Beethoven, Haydn, Mozart, and Brahms (by no means an all inclusive
list!). Personally, I'd be honored to be called a third rate composer
compared to my picks for second rate composers.
-Adam
At 07:17 AM 4/23/2006, Keith wrote:
>"I know I am not a first-rate composer. But at least I am a first-rate
>second-rate composer" - Richard Strauss. This was the sense in which I used
>the term. I didn't and wouldn't call them mediocre. We don't put the effort
>into editing/arranging works that we don't enjoy playing and hearing. But I
>agree, not Great.
>
>Actually we do have a transcription of the cello part from the Brahms just
>completed, though not yet test-played. It looks as if it will sound very
>good. I think we are hesitant about publishing such as these, since they are
>so well known in their original instrumentation. What do people think?
>
>The other reason is essentially that little-known works is Rosewood's market
>niche. For the works above, one would only sensibly be able to publish the
>basset horn part without reinventing the wheel. There are perfectly good
>Urtext editions of the Great Works. But maybe a basset-horn compendium of
>parts for these would be worth while.
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