 The Clarinet BBoard
|
Author: eddyline
Date: 2006-04-16 17:46
I have a musicological question: are most parts that are publiushed as C clarinet parts done so because the composer found it convenient, or did the composer really want the quite different sound of the C clarinet?
This question really pertains to individual works. For example there is a very fine quintet by Martinu for 2 clarinets, violin, viola, cello. As published, it calls for 2 clarinets in C. Similarly, he wrote a wind quartet that has a C clarinet part. I realize there may be many opinions, but is there evidence of what was intended?
How about the theme and variations movement of the Schubert Octet?
And the various symphony parts by Beethoven and Schubert?
Is there some accepted wisdom on all this?
|
|
Reply To Message
|
|
Author: tictactux ★2017
Date: 2006-04-16 18:40
quite different sound of the C clarinet
Hmm. Everyone keeps telling it were quite different. So a Bb played on a C clarinet sounds quite different from a C played on a Bb clarinet? If yes, in what way different? I mean, it's just one whole note and maybe an inch or two of wood...
--
Ben
|
|
Reply To Message
|
|
Author: eddyline
Date: 2006-04-16 19:37
The tone quality is different. Not hard to recognize if you hear the two instruments together. More difference, in my opinion, than between B-flat anbd A clarinets.
For a long time, I disdained C clarinets because to the squawky sound I heard from those who had them. And I prided myself on my ability to transpose and sight-read while transposing.
Now that I have one that sounds good, I look forward to playing some music in C more easily, and have more fun. Aristotle - happiness is the goal of human life.
|
|
Reply To Message
|
|
Author: Chris P
Date: 2006-04-16 19:53
I liked the tone quality of the Noblet C clarinets I've tried - not as weighty as a Bb or A can be, but not as bright as an Eb, but still a good round 'fruity' sound if you know what I mean.
|
|
Reply To Message
|
|
Author: GBK
Date: 2006-04-16 20:02
eddyline wrote:
> I have a musicological question: are most parts that
> are publiushed as C clarinet parts done so because the
> composer found it convenient, or did the composer really
> want the quite different sound of the C clarinet?
Not having the composers of the past here to ask, we can only use history and common sense to try and find the complex answer.
The main technical and historical reason why C clarinets (and B-flat and A clarinets) were used in the late Baroque and early Classical period was so that no clarinetist was required to play in any key signature of more than 1 sharp or more than 1 flat. It was not as much for tonal characteristics, but to assure that no clarinet played outside of the range of proscribed key signatures.
In later periods of music (Romantic, etc...) with the advancement of the clarinet fingering systems, key signatures of multiple flats or sharps were not an obstacle, therefore tonal considerations for the use of the C clarinet seemed to be more the concern.
Thus, to respect the composer's original wishes, the argument is whether to try and stay as true to the original music as possible.
This is obviously a very hotly debated subject, but as one who uses a C clarinet in orchestra when called for, I am convinced of its relevance and have yet to find a conductor who has discouraged their use ...GBK
|
|
Reply To Message
|
|
Author: LarryBocaner ★2017
Date: 2006-04-17 13:38
And, of course, there are the works by Mahler and Strauss that have separate parts for C and Bb/A clarinets. In Strauss's Alpensymphonie the C clarinet part is a de facto solo clarinet part, with solos and ensemble passages expecially tailored for the unique sound of the C clarinet. I think that transposing those part to the Bb clarinet is an abomination.
On the other hand, the lovely clarinet solos in the slow movement of the Beethoven Violin Concerto, written for the C clarinet, are rather awkward on that instrument. I've played that on all three instuments in different reheasals and performances, finally settling on the A clarinet. Why? because the rest of the work is all on A clarinet; picking up a cold instrument to play an exposed solo, much of which is in the throat register, doesn't make sense to me. Besides, the solo lays well on the A clarinet, using some of the juiciest notes on that instrument.
The clarinet duet, with flutes, at the beginning of the Moldau is another case where I would have liked to have used my C clarinet (R13 -- 60's vintage) except that I invariably played second clarinet on that number, to colleagues who stubbornly refused to buy themselves a C clarinet!
The current C clarinet renaissance in the US owes a lot to Wolfgang Sawalisch, who insisted that the Philadelphia Orchestra clarinetists use them during his directorship there.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
