Klarinet Archive - Posting 000217.txt from 1995/01
From: "William A. Helmers" <reedman@-----.EDU>
Subj: Re: Mahler and the Clarinet
Date: Thu, 12 Jan 1995 23:45:09 -0500
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>Date: Thu, 12 Jan 1995 14:21:34 -0800
>Reply-To: "Klarinet - Clarinettist's Network"
>Sender: "Klarinet - Clarinettist's Network"
>From: Josias Associates <josassoc@-----.COM>
>Subject: Re: Mahler and the Clarinet
>Comments: To: Klarinet - Clarinettist's Network
>Comments: cc: Multiple recipients of list KLARINET
>To: Multiple recipients of list KLARINET
> Here's a piece of trivia for anyone investigating the clarinet in
>Mahler's orchestral works. I first noticed this in Peter Hadcock's
>orchestral excerpts book for the Eb clarinet (Roncorp, Inc.).
> In Mahler's first symphony, unlike the parts for Clarinets 1, 2, and 3,
>which I recall used several different pitched clarinets (including the Eb),
>the 4th Clarinet part is almost exclusively for Eb clarinet and is often
>played by either a specialist or an experienced Eb player.
> Hadcock pointed out that, in the third movement, the 3rd clarinet
>is also in Eb and has the top notes, with the 4th part containing the
>bottom notes. He suggested that, for that movement (or at least a portion
>of it) the 3rd and 4th players swap parts.
> I don't know whether this is a tradition, but a few years ago,
>when I was brought in to play the 4th part with a college orchestra, the
>conductor did just that: he had the 3rd and 4th parts swapped for a
>portion of the third movement.
>La Canada, California
The 4th part is, in fact, entirely Eb clarinet. In the third movement, the
third player (who also doubles on bass) has a few brief duets on Eb with the
4th player. The third part is on top. Since the 4th part usually goes to
the Eb specialist, and since the 3rd player is doubling so many instruments,
often the 4th player will trade with the third at this point so that the
third player won't be so exposed on a cold instrument.