Klarinet Archive - Posting 000087.txt from 2008/07
From: Sean Osborn <feanor33@-----.net>
Subj: [kl] Once again, a C clarinet issue
Date: Wed, 09 Jul 2008 17:54:35 -0400
Dan,
Interesting point you raise, and under nearly all circumstances, I
would agree with you 100%. I try to play my C clarinet whenever it
is requested, unless I have a good reason not to (the passage is too
short and switching makes little sense and/or causes intonation
problems, for example). Here in Seattle, the symphony members all
have C clarinets, and whenever it's called for, we like to whip them
out. Your contention about the sound being different is the chief
reason we do so.
Now, if I didn't have a C, I'm sure you wouldn't hold me as
accountable for recording the third quartet on Bb. But I do, so let
me tell you my (possibly lame) reasons:
1) I had been performing the piece for years on the Bb clarinet, not
knowing of Herr Kloker's edition that calls for a C clarinet.
2) I wasn't positive that Herr Kloker was correct in his assessment
that it really WAS for C clarinet, since there is no
autograph. (Though I'm inclined to believe it might have been - I
think this also gave me an out)
3) My C clarinet, like most, has SERIOUS intonation issues. It's a
Buffet RC, and I don't really like it, but at the time I bought it
(1991), it was the best thing I could find, and I don't play C
clarinet enough to justify a replacement purchase. I couldn't deal
with the intonation of my crappy C, and I wanted to sound good, so I
used my Selmer Signature Bb.
4) Though I still think it is important to respect the composer's
wishes with regards to instrumentation, composers from 1750-1850
(approx.) are more likely to have requested an instrument for the key
the music is in than for the sound of said instrument, I feel. I
therefore feel less pressure to play on the "correct" clarinet if I
have a good reason to play it on another clarinet. But, I would
NEVER play a Richard Strauss C clarinet part on anything but a C.
Those are my reasons, and every individual will have there own
opinion as to whether I did the right thing or not. Bottom line: I
did what I thought would make the recording the best I could make it.
Thanks,
Sean
>From: "Daniel Leeson" <dnleeson@-----.net>
>Subject: Once again, a C clarinet issue
>Message-ID: <FJEKIMDEOJFJPBKBMDOPMECEFPAA.dnleeson@-----.net>
>
>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
www.osbornmusic.com
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