Klarinet Archive - Posting 000100.txt from 2008/07

From: kurtheisig@-----.net
Subj: Re: [kl] Re: Once again, a C clarinet issue
Date: Thu, 10 Jul 2008 06:14:56 -0400

We play Vivaldi bassoon concerti on baritone sax, or the Fasch, or the Bach unaccompanied cello suites. We play blokflote duets on Eb clarinets, or oboes, or Albinoni on Soprano sax.

However many C clarinet parts sound so very nice on C...........

-----Original Message-----
>From: Tim Roberts <timr@-----.com>
>Sent: Jul 9, 2008 3:45 PM
>To: klarinet@-----.org
>Subject: [kl] Re: Once again, a C clarinet issue
>
>On Wed, 9 Jul 2008 11:00:37 -0700, "Daniel Leeson"
><dnleeson@-----.net> wrote:
>> As part of his discussion, Sean indicated that he had recorded the three
>> works on B-flat clarinet instead of the requested C clarinet.
>> ...
>> 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.
>> ...
>> 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.
>>
>
>I'm glad this subject came up again, because I've been meaning to ask
>what is actually a rather impertinent question.
>
>We have heard Dan in the past espouse the need for embellishment in
>Mozart-era compositions, saying in rough paraphrase that an 18th Century
>composer expected the performer to be almost as much a part of the
>music-making as the the composer.
>
>It strikes me that this statement is in direct contradiction to the
>position that the composer's choice of instrument is sacred above all.
>
>How do we reconcile this? Does the composer really have the last word?
>Should the performer be making fundamental decisions? Where do we draw
>the line?
>
>--
>Tim Roberts, timr@-----.com
>Providenza & Boekelheide, Inc.
>
>
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>

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