Klarinet Archive - Posting 000083.txt from 2008/07

From: "Daniel Leeson" <dnleeson@-----.net>
Subj: [kl] Once again, a C clarinet issue
Date: Wed, 09 Jul 2008 14:00:37 -0400

I wanted to comment on Sean's note in which he gives interesting and
important information about the three quartets for clarinet and string trio,
a work published in two editions, one under the editorship of Dieter
Klocker, the other under the editorship of Heime Voxman.

As part of his discussion, Sean indicated that he had recorded the three
works on B-flat clarinet instead of the requested C clarinet. (I don't
remember if Sean said that all three called for C clarinet, but that is
unimportant to the point I want to make.)

Knowing Sean remarkable performance capabilities and his skill to transpose
from C clarinet with his eyes closed, I still want to dwell on that matter.

Even with Sean's outstanding abilities, there is one thing that he is unable
to carry over in his performance on B-flat clarinet. Specifically I am
referring to the unique sonic character of the C clarinet. On the B-flat
instrument it will be melifluous and sweet to be sure, but it will not sound
like a C clarinet, an instrument with a very unique voice.

I don't believe for one minute (no matter what Klocker says) that Mozart had
anything to do with these arrangements. My library is full of things that
were arranged by performers and composers over the years 1791-1850, almost
all of which are said to be arrangement BY Mozart (and found in dusty stacks
somewhere). Some of the arrangements are very lovely, but I think none are
from Mozart's hand.

But this is the point I want to make: just because the three quarters are
probably not by Mozart does not mean that we don't need to respect the call
for a particular pitched instrument. It is true that the request for a C
clarinet was based almost entirely on the key of the composition, not on an
arranger's preference for C clarinet's sound, but that still flies in the
face of what the arranger requested.

There are many reasons for not using a C clarinet, but whatever the reasons,
the player who choses not to use one even when it is explicitly requested is
changing the sonic character of the piece to a considerable degree. To some
that may not be an egregious error. To others, it is a very serious
usurpation of the composer or arranger's authority.

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

------------------------------------------------------------------