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Klarinet Archive - Posting 001253.txt from 1998/03

From: Bill Hausmann <>
Date: Sat, 28 Mar 1998 17:39:27 -0500

At 10:42 PM 3/26/98 -0500, you wrote:
>Ed Lacy is correct in saying that the importance of being second applies
>to the other sections of the orchestra as well.
>There were certain works that had low 2nd oboe parts, especially in
>certain chords, that were eventually played by the second clarinet.
>Karl Ancerl recognized the difficulty and most likely did this through
>tradition in the Czech Philharmonic. I'm not sure what the piece was but
>it may have been something in the slow movement of the Seventh Symphony
>by Dvorak.
>There is such a critical place in a chord situation in The Moldau.
>There I think the solution was to give the low 2nd oboe note to the
>English horn.
All of this with callous disregard of the composer's intentions! Dvorak
and Smetana no doubt INTENDED the squawky nasty sound of the low second
oboe notes as being critical to the overall sound of the piece.
Transposing for an instrument in a different key indeed! I'm shocked!!! :-)

Bill Hausmann
451 Old Orchard Drive
Essexville, MI 48732
ICQ UIN 4862265

If you have to mic a saxophone, the rest of the band is too loud.

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