Klarinet Archive - Posting 000215.txt from 2010/05

From: Martin Baxter <martinbaxter1@-----.com>
Subj: Re: [kl] Clarinet in C
Date: Sat, 22 May 2010 13:31:58 -0400

On this topic Dan how do you feel about D clarinet parts being played, as they almost always are, on the Eflat clarinet.
Martin
On 21 May 2010, at 23:48, Dan Leeson wrote:

> And some 15 years ago, when I first began banging on the C clarinet drum on
> this web site, suggesting that clarinetists had no business deciding which
> to use when playing but should respect the composer's request, there was a
> great deal of rejection of my philosophy. I may have been a prophet ahead
> of my time. Every symphonic clarinetist should have an A, B-flat, and C
> clarinet at all gigs. It should be a condition of employment.
>
> Dan Leeson
>
> ----- Original Message -----
> From: "Keith Bowen" <keith.bowen@-----.com>
> To: "'The Klarinet Mailing List'" <klarinet@-----.com>
> Sent: Friday, May 21, 2010 3:30 PM
> Subject: Re: [kl] Clarinet in C
>
>
>> I have had an Amati C for several years, and also bought two in Prague for
>> US friends. They do play nicely and are incredible value. I did some work
>> on
>> the intonation (following Clark Fobes valuable advice on his website); the
>> oldest one needed a lot of work, but the more recent ones very little.
>> They
>> have had strong development in the last few years. They really are fine
>> for
>> the use you describe, and the conductor of my pro-am orchestra commented
>> favourably when I and the professional first used them in Beethoven 5. He
>> felt the different sound quality was striking and important. I have played
>> them against the cheaper Noblets and Buffets and prefer the Amatis.
>>
>> I have recently indulged myself in a Wurlitzer C to match my Reform Boehm
>> A
>> and Bb, but that is because I am playing more Harmoniemusik, in which C is
>> very common and exposed. And it was an indulgence.
>>
>> There are hundreds of works that call for the C. Clarinet manuals
>> throughout
>> the nineteenth century remark on the different tone: more penetrating and
>> brighter, and how composers must allow for this. It is, in my view, a
>> mistake to try to make a C sound like a Bb, or to play the parts on a Bb.
>>
>> Keith Bowen
>>
>
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