Klarinet Archive - Posting 000026.txt from 2012/02

From: "David B. Niethamer" <dniethamer@-----.net>
Subj: Re: [kl] Auf Wiederseh'n
Date: Wed, 01 Feb 2012 20:55:24 -0500


On Feb 1, 2012, at 2:11 PM, Keith Bowen wrote:

> And when in one rehearsal of Beethoven 5 we came in in the first entry for
> the C clarinets, the conductor stopped the orchestra and said: "Listen to
> the new tone colour in the clarinets!".
>
I bought Dan's C clarinet with the idea that, for some works, it would make a significant difference in the sound character of various solos. For example, the solo at the end of Berlioz's "March to the Scaffold" is much more idiomatic, both sound-wise and technique-wise, on the C clarinet.

But the complete surprise was to play for the first time the last movement of Beethoven 5 and discover how much different the wind character was with oboes, C trumpets and **C CLARINETS**. WOW!!

Also, in Verdi, the character of the C clarinet is incredibly important, even when singers are hogging all the attention! ;-)

David

David B. Niethamer
dniethamer@-----.net

Clarinets, like lawyers, have cases, mouthpieces, and they need a constant supply of hot air in order to function. (Victor Borge)
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