 The Clarinet BBoard
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Author: clarinetwife
Date: 2004-07-23 15:42
Here is a question for those of you who play string instruments and the composers out there. Is it easier for a non-wind player to compose good clarinet music than it is for a non-string player to compose violin music? If so, why? It seems that many of the composers of the essential clarinet repertoire started with a background in strings and/or keyboard, but I can't think of composers who were known as wind players who wrote a lot of string music. I'm sure part of it is that composers in general did get their start in keyboard and strings, since those can be started at a younger age. It also seems, IMHO, that it would be more difficult to know how a piece will fall on the fingerboard if one doesn't play than it is to compose for a wind instrument one doesn't play. Any thoughts, anyone?
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Author: theclarinetist
Date: 2004-07-23 19:35
I think you are exactly right. Wind instruments can pretty easily go from any note to any other note in a passage (barring the occasional awkward fingerings or huge intervals). When writing for a wind instrument, even if it is one that I don't play (like bassoon), I don't feel particularly worried about writing things they can't play. You might write a passage with nasty fingerings, but for the most part, these are usually doable.
With a string instrument, on the other hand, it seems that in order to write effectively, you almost have to know how the instrument is played. Especially with double stops, and more advanced techniques, I imagine it would be very difficult to write a really effective string piece that is playable, but still takes full advantage of the instruments capabilities (I think this is a delicate balance when writing for anything, but strings seem more difficult if you don't play one). I'm learning violin right now to hopefully gain some insight into string instruments (plus it's fun). If you take another instrument like harp or something, I wouldn't even know where to start as a composer.
Anyway, I would definitely think it is easier for a non-wind player to write for winds than for a non-string player to write for strings. Of course, many composers wrote/write with a certain performer in mind, and that performer often acts extensively in the editing process. I read somewhere that while writing his violin concerto, Stravinsky continually consulted the violinist (not getting a name...) to see if what he had written was possible... In light of this, it's often amazing how well a composer can write for an instrument he or she doesn't play...
DH
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