 The Clarinet BBoard
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Author: ted
Date: 1999-03-17 17:26
I understand that the early clarinets had rather distinctive sounds when comparing the A, Bb, and C clarinets. One source describes the tone of the A as mellow, Bb as brilliant, and C as hard. Various composers seemed to have preferences: Mozart and Brahms preferred the A, and Weber and Spohr the Bb.
My question is have the tonal difference disappeared in the modern clarinet. I notice that my A and Bb are slightly different, but the differnce isn't any greater than when I compare my Bb to another Bb. Also at least one major clarinet manufacturer claims that their C clarinets match their Bb in tone.
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Author: Al
Date: 1999-03-17 23:14
Interesting question. In his operas "Salome" and "Elektra", Richard Strauss writes for both A and the Bb clarinets SIMULTANEOUSLY; and for no apparent good reason. It's neither a color thing nor does it have anything to do with the extra low semitone. I've asked a couple of former clarinetists at the Metropolitan Opera and they have no idea either. (Elektra is also scored for Eb cl., two basset horns and bass cl. Often, there's a lot of doubling of passages going on.) Anybody got a clue?
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Author: Connie K
Date: 1999-04-09 00:56
Given the underwhelming response to your question, apparently no one knows why--maybe Herr Strauss was trying to provide employment for poor clarinetists?
I recently bought a Leblanc Noblet C clarinet just for "fun", tried three and had my daughter's teacher look at them. His comment was, "No wonder nobody plays them." Actually, it's not that bad, but it is not as mellow as the Bb, and I don't think it's just because it's a Noblet. I think it would be perfect for klezmer, however....
By the way, the score to Beethoven's Ninth lists (various times) A, Bb, and C clarinets. I assume today's clarinetists transpose the C part. Anyone else have any insight?
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