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Klarinet Archive - Posting 000124.txt from 2001/04

From: Daniel Leeson <leeson0@-----.net>
Subj: [kl] And furthermore...
Date: Fri, 6 Apr 2001 11:44:00 -0400

Roger writes:

"I have no disagreemnet with you regarding what one of Mühlfeld's
relatives might have written. My statement above however does not
generalize - it just says that what Dan Leeson posted regarding comments
made in a treatise regarding vocal vibrato does not support the use of
vibrato for clarinet in the 18th or 19th centuries as a common (or
uncommon) performance practice for that time period."

Unfortunately, history is not with you Roger. To suggest that, ca.
1800, performance practices of one class of musicians did not affect all
classes is not the case. What singers did, instrumentalists did, and
occasionally vice versa.

The world of performers in the pre-classic, classic, and immediate
post-classic eras did not live in isolation, each chosing a set of
practices unique to their particular instrument or voice character. It
was one big barrel, and often for vary practical reasons. A
clarinetist, for example, often played both flute and oboe as well as
clarinet, and he/she did not turn off a set of practices when going from
instrument to instrument.

There are even cases of women singers who also played the clarinet and
who might accompany themselves in doing shepher's songs. You can find
several spoken of the three books of clarinet player's history (by the
English clarinetist whose name escapes me -- a senior moment).

Only the contemporary performer is as specialized as your note infers.
Thus is it not uncommon for a clarinetist to chose not to improvise
while an oboist choses to do exactly the opposite.
--
***************************
** Dan Leeson **
** leeson0@-----.net **
***************************

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