 The Clarinet BBoard
|
Author: Bob Phillips
Date: 2010-05-10 02:34
Look at this!
http://www.koelnerakademie.com/uploads/media/klarinettenkonzert_satz2_01.wmv
Bob Phillips
|
|
Reply To Message
|
|
Author: cigleris
Date: 2010-05-10 10:08
That's Eric playing on a copy of Stadler's own instrument that was on the Riga programme. Eric also plays a few low Bs in the first and last movts. I think there have been discussions on here in the past about that.
Peter Cigleris
|
|
Reply To Message
|
|
Author: Liquorice
Date: 2010-05-10 15:11
Peter- I think the term "speculative reconstruction" would be more accurate than "copy".
Eric Hoeprich is great, and has made such a wonderful contribution to the clarinet world, playing on historical instruments
|
|
Reply To Message
|
|
Author: cigleris
Date: 2010-05-10 16:24
I do apologise Liquorice. For what it's worth it is quite accurate to the drawing in terms of the design. The curved barrel and the bulbous bell. The speculation comes because we don't know the exact key layout or which way the bell is suppose to face though Eric's theory is extremely plausible due to the inclusion of the basset Bs in the concerto. He suggested outwards because of the vent hole on the actual joint.
What do you think Liquorice?
Peter Cigleris
|
|
Reply To Message
|
|
Author: Alphie
Date: 2010-05-10 20:13
Liqourice, Eric has in his posession an original clarinetto d'amore by another maker than Lotz of a similar design as the Riga instrument. I have seen it with my own eyes. I can't remember the range downwards though. So it's not so speculative as one might think. The design was obviously used by other makers as well.
Alphie
|
|
Reply To Message
|
|
Author: Liquorice
Date: 2010-05-11 18:50
Alphie, I think Eric's instrument is a basset clarinet in C by Eisenbrandt? I think this is an early 19th century instrument?
Anyway, I'll rephrase it to "highly educated, well-researched speculative reconstruction" :-)
Peter- I'm not sure about this business of playing a low B. Although it's been done successfully by Hoeprich and other players, I'm not sure about the evidence to suggest that a low B was required. Hoeprich once gave a talk on it that I attended, in which he gave the quote from the time about the "extra four notes" that the instrument could produce. To me it seems clear that these notes were Eb, D, C-sharp and C. Or am I missing something here? In any case, I can't see a real reason in the musical text to incorporate a low B.
One interesting point, which was brought to my attention by Andreas Schöni, is the question of the number of keys on the instrument. If you study the engraving from the Riga programme, it is quite clear that there is some kind of key mechanism on the right hand joint, which looks either like and chalumeau B correction key, or a B-flat key. This could arguably be an addition by the engraver. But given the infamously tricky passage at bars 118 and 122 in the first movement of the Mozart concerto, as well as Stadler's preoccupation for the chalumeau register, I think it's quite possible that he had that kind of key on his instrument. It certainly would have made his life a lot easier!
Regarding whether the bulbous bell should face outwards or inwards, we still don't know. Even though it faces inwards in the Riga picture, it seems logical that it should point outwards. But Lorenzo Coppola, playing on his Gueroult reconstruction, told me that when he lets his face outwards the basset notes jump out dynamically a lot more than the other low register notes. He let it face out in any case, but his playing experience left him doubting if this was correct.
I wonder if we'll ever know what Stadler's instrument was really like?
Post Edited (2010-05-11 18:52)
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
