Klarinet Archive - Posting 000261.txt from 1993/12
From: Cary Karp <nrm-karp@-----.SE>
Subj: Re: D-clarinet
Date: Sat, 25 Dec 1993 04:05:43 -0500
From Dan Leeson's latest remarks on the subject:
> How about something really practical such as the use of the bass
> clarinet in Bach's orchestral music, or "performing Mozart on the
> tenor sax," or "great works for voice, clarinet, and accordion"?
> Moving to more serious issues: . . .
I'm not sure the subject of D clarinets possesses quite this degree of
triviality. The Molter concerti, which mark the start of the solo
clarinet literature, were written for the D clarinet. Anyone interested
in the Baroque literature for the instrument will note that it is
primarily (exclusively?) for the D and C instruments and might at least
wonder about the reasons for composers chosing the one instead of the other.
Dan, perhaps more than any one else on this list, has argued intensely in
support of the contention that composers have good reasons for selecting
the size clarinet that they intend, and that authenticity in performance
requires us to follow these intentions.
Mozart could have written K622 for the Bb, but chose the A. Molter could
have written for the C but chose the D. Why is ignoring the significance
of the former sacrilegious, but contemplating the implications of the
latter a waste of time?