Klarinet Archive - Posting 000009.txt from 2010/08

From: "Dan Leeson" <dnleeson@-----.net>
Subj: [kl] Bass in A
Date: Mon, 09 Aug 2010 13:10:04 -0400

Because of Keith Bowen's research work on the A bass clarinet, and also because I owned and played an A bass in both the Rach 2 and anything else I could lay my hands on (included Nutcracker ballet), I mention that the use of the C clarinet has an argument that is analogous to the use of the bass in A.

While I am unable to state the reasons why many composers wrote for A bass (with Mahler being a special case, because he did so when there was no an obvious reasons for him to have done so; i.e., the Mahler 4th symphony), the fact is that an A bass has a markedly and distinctly different timbre than the B-flat bass. If the character of the two instruments were indistinguishable, there would be no reason for my suggestion, and transposition at sight would be the normal method of operation. But I am beginning to think more and more that any serious orchestral bass clarinetist should have both an A bass and a B-flat bass, just as many serious orchestral clarinetists have both an A and a B-flat C clarinet (plus a C every now and then).

After all, for the serious professional player, there is no need for an A or a C clarinet. They would have only one instrument, the one in B-flat on which all parts would be played. Alternatively, an A clarinet might even be a better choice to have as the only instrument needed for performance. Many Italian players own only an A, due to the fact that, as you students, they could not afford two instruments. So they bought only one, and it had to have the extended range (specifically for Peter and the Wolf, the original of which has the cat playing down to low written E-flat, the sixth note of the cat solo).

So why should the logic be different for the bass clarinet? And the answer to that question is cost, and the need to avoid shlepping two bass clarinets around.

If one were to seriously suggest that the Mozart concerto be played on a B-flat clarinet with the part transposed to the concert key of A major (or written B major for B-flat clarinet), there would probably be a variety of arguments against the practice, not the least of which is that the timbre of the B-flat clarinet is not suitable for a performance of K. 622 (or K. 581, or the Brahms quintet while we are at it).

And if that argument were acceptable, then it can also be put forward if one were to use a B-flat bass clarinet for the Rach 2.

Cost could also be put forward along with difficulty of execution as reasons for having multiple clarinets, But I'll stick with timbre for the moment.

In effect, it defies logic to suggest that only a B-flat bass clarinet will do for orchestral playing.

Dan Leeson
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