Author: kdk ★2017
Date: 2017-08-16 06:51
Philip Caron wrote:
> How does the sound of modern instruments, equipment, and
> players correspond to what Rossini expected to hear?
I suppose this is one argument in favor of performing on period instruments. If there was a difference - and it's hard to imagine there wasn't - among the native sounds of A, Bb and C clarinets in Rossini's time, then it seems irrelevant whether or not the difference among modern instruments is the same.
> I don't see orchestration as the inscrutable work of mysterious
> gods. If you can make the part sound good and communicate
> effectively, that trumps having to follow the last tittle and
> jot of ink on the page whether it sounds better or not.
The OP asked what players here would do and why. An argument can be made (and has been in this thread) that it's important to honor what the composer wrote, or that it isn't important, and that debate has been going here and on the Klarinet list forever. There are players who on both sides of the debate, and it seems to me that's what chamberguy was asking about. I don't think many players even in major orchestras used C clarinets during the first two-thirds or so of the 20th century. They transposed for convenience or to stay with a single warm instrument (rather than picking up a cold one) or because the key is better on something other than the composer specified or because they hated the sound and intonation of the available C clarinets. I don't think it was even an issue back then for most players. If you think the composer's instructions ought to be followed whenever possible, that is, I think, a fairly contemporary attitude and one about which many players can be quite dogmatic.
One thing is fairly certain - Rossini is not in a position to complain, whatever a player decides.
Karl
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
