Klarinet Archive - Posting 000099.txt from 2008/07

From: kurtheisig@-----.net
Subj: Re: [kl] Once again, a C clarinet issue
Date: Thu, 10 Jul 2008 05:58:09 -0400

HERE, HERE !!!!!!

-----Original Message-----
>From: Daniel Leeson <dnleeson@-----.net>
>Sent: Jul 9, 2008 11:00 AM
>To: "klarinet@-----.org>
>Subject: [kl] Once again, a C clarinet issue
>
>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
>
>
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>

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