The Clarinet BBoard
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Author: mrn
Date: 2008-09-15 23:11
Liquorice wrote:
<<mrn- Summer music is written for clarinet in B-flat and horn in F. These parts have been written at concert pitch in the score. For some reason the horn part is presented without a key signature, so all accidentals are written in front of the actual notes.>>
OK. That makes more sense (although it's still strange). With scoring the piece for Bb clarinet, it almost seems as if Barber was striving for some kind of strange fairness in key signatures/accidentals--the concert pitch instruments get 5 sharps, the clarinet gets 5 flats, and the poor horn (who's stuck in key of F#, if I'm calculating this correctly) gets a whole slew of accidentals--so nobody is unfairly privileged with an easy key signature.
Obviously, I can't speak for Sherman, but my impression as a listener is that Cahuzac had a richer and warmer tone than some of the other French-school clarinetists of his day, and that his tone is still an archetype for many players today (especially in America). We (especially in the US) like to give Marcellus and his contemporaries credit for Germanicizing the French sound to create an "American sound" in the mid 20th century (and this is not without justification), but what this recording reveals (to my ears, anyway--folks with more training and experience may very well disagree with me) is that Cahuzac was producing similarly rich sounds in the 1930s.
And even though we may have very different "clarinet genealogies" (Marcellus, Pay, and Leister being representative of very different "playing heritages"), many of us can still relate in some way to the Cahuzac sound. I mentioned that my teacher recommended that I listen to recordings of Cahuzac. Her teacher (my "grand-teacher") studied with Rudolf Jettel in Vienna (and with Kalman Bloch before that--Bloch studied with Bellison and Bellison was Russian). Bottom line: wherever we came from (and whether we realize it or not), there's a little bit of the Cahuzac ideal ingrained in all of us.
I don't know if that was the point Sherman was trying to make, but that's what I came away with.
Post Edited (2008-09-15 23:27)
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S. Friedland |
2008-09-14 15:00 |
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DavidBlumberg |
2008-09-14 19:16 |
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mrn |
2008-09-14 23:10 |
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Sylvain |
2008-09-15 15:59 |
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S. Friedland |
2008-09-15 17:49 |
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mrn |
2008-09-15 20:24 |
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Liquorice |
2008-09-15 21:10 |
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S. Friedland |
2008-09-16 01:47 |
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Re: The Clarinet Sound; has it evolved? |
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mrn |
2008-09-15 23:11 |
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