Klarinet Archive - Posting 000108.txt from 2008/03

From: "Karl Krelove" <karlkrelove@-----.net>
Subj: RE: [kl] Key signatures for clarinets
Date: Thu, 13 Mar 2008 18:10:56 -0400

No guilt aimed at you, Dan. It's those later composers who should have =
taken the lesson to heart and either given us time to make the changes =
they wanted or made do with picking the better choice of two instruments =
and avoiding the change. Brahms's 3rd Symphony is 33 years out of the =
era you're talking about, but he surely must have studied the =
orchestrations of Mozart and Beethoven. I can't think of a place in =
Beethoven, Mozart or, for that matter even Mendelssohn or Schubert in =
which undo-able changes occur. They all, it seems to me, keep one =
clarinet for at least an entire movement. I know you can't answer for =
Brahms, Mahler et al, but it's always been a bit of a mystery to me what =
those later Germans and French were thinking when they wrote changes =
with beats rather than even measures in which to make them.=20

Do we know, was the general performance practice during that 1750-1850 =
period to use the same mouthpiece or to equip each instrument with a =
different mouthpiece and reed?

Karl

-----Original Message-----
From: Daniel Leeson [mailto:dnleeson@-----.net]=20
Sent: Thursday, March 13, 2008 4:39 PM
To: klarinet@-----.org
Subject: RE: [kl] Key signatures for clarinets

Well, Karl, I said that I was talking about the era from ca. 1750 to ca. =
1850. So no guilt, please. I'm merely stating what were the likely =
reasons underlying multiple pitched clarinets and the consequences of =
having to put up with them.

Dan Leeson
dnleeson@-----.net=20
SKYPE: dnleeson

-----Original Message-----
From: Karl Krelove [mailto:karlkrelove@-----.net]
Sent: Thursday, March 13, 2008 1:28 PM
To: klarinet@-----.org
Subject: RE: [kl] Key signatures for clarinets

-----Original Message-----
From: Daniel Leeson [mailto:dnleeson@-----.net]=20
Sent: Thursday, March 13, 2008 3:37 PM
To: klarinet@-----.org
Subject: RE: [kl] Key signatures for clarinets
<large snip>The problem is caused, of course, by the fact that there is =
insufficient time to change clarinets in the works involved

Hrmmph!!! Certainly didn't stop Brahms, Mahler and a lot of others - =
right up to the Broadway arrangers who want instrument changes that are =
almost instantaneous.

Karl

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