 The Clarinet BBoard
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Author: odhecaton
Date: 2009-06-02 23:01
I'm a composer in Miami (at the Univ. of Miami).
I recently completed a duo for Bb clarinet and Basset Horn, commissioned by Dinosaur Annex Ensemble in Boston for Katherine Matasy and Diane Heffner. Diane is a period instrument and low-clarinet specialist, so I could not resist writing for the gorgeous, unique timbre of the Basset Horn.
Unfortunately -- surprise! -- it turns out that there just aren't that many Basset players around. And the few that I've found basically only play Mozart and classical era repertoire.
A score and recording of the piece are online, for anyone who wants to give it a look/listen (after all, that's all a composer can ask for!):
http://www.lansingmcloskey.com/audio/blur.mp3
http://www.lansingmcloskey.com/scores/blur_score.pdf
If anyone is interested in the piece, please contact me. Or if anyone knows any Basset player(s) who may be interested, I would greatly appreciate it.
I'm just hitting a brick wall on my own, and would appreciate any suggestions anyone may have.
Thank you!
Lansing McLoskey
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Asst. Professor, Composition
Frost School of Music, University of Miami
www.lansingmcloskey.com
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Author: cigleris
Date: 2009-06-02 23:30
I'm a profesional basset horn player on both modern and period. I'll take a look.
Peter Cigleris
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Author: Ebclarinet1
Date: 2009-06-04 19:14
Lansing,
I printed out a copy and will give it a test drive this afternoon on my basset horn. In just looking over the score, it looks very interesting, especially the unusual "warm up parody" introduction. Nice way to disarm the audience!
Looked at your credentials on your web site (very impressive!!) and I think we basset hornists owe you some gratitude for writing for our horn. Not many composers do!
Eefer guy
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Author: larryb
Date: 2009-06-04 21:28
I'll give it a try.
I notice that you avoid the low range of the basset horn (below E).
Any particular reason why?
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Author: odhecaton
Date: 2009-06-04 21:32
Thanks!
Yes, I think it's a shame that the basset horn is ignored by composers today. It's such a warm, "mahogony" sound, and actually very nimble and able to play high, virtuosic passages (but I'm not telling you anything you don't know :-). Why composers (at least American composers) all but ignore it is beyond me...perhaps it has something to do with the rarity of the instrument, or that some basset hornists aren't all that willing to venture past Mozart & Mendelssohn.
But I must also confess to being an "altus" fan: Give me viola over violin, mezzo over high soprano, alto flute over C flute, and *definitely* dark chocolate (preferable 65% cocoa or higher) over milk chocolate any day!!
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Author: odhecaton
Date: 2009-06-04 21:47
Hi Larry,
Well, it's largely due to the concept of the piece, which is to "blur" the distinction between the two instruments. You'll see/hear that much of the time they are in the midrange (mid-to-low for Bb), with a lot of voice-crossing and occupying the same tessitura.
In a way, it's not so much a "duet" for Bb and basset horn, as it is a sort of two-player-solo for "Über-Klarinette." :-)
Only occasionally does the basset assert itself in it's unique low range, or the Bb pop out to the highest range (like at the end). In fact, you'll notice that even in the slow, lyrical two-part "chorale" section at the end, the two parts cross voices all the way through until the last phrase.
I must admit that I may have (should have?) exploited the lowest range more...but that's for the next piece, I suppose!
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