 The Clarinet BBoard
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Author: BlouHond
Date: 2007-05-21 07:29
Hi, I'm doing a gig at the end of the year (William Kentridge's Magic Flute) and I have heard that the conductor wants the clarinets to use basset horns where appropriate.
The production is in September/October 2007 in Johannesburg (South Africa), and they are bringing up the 2 basset horns from Cape Town where the opera has its first run.
Now, I have played in this opera before, but never on a basset horn. Could I please get some advice from anyone who has.
- How much of the opera is for basset horn? (and which bits?)
- Is it possible to play it on Eb alto?
- What is needed i.t.o reeds, mouthpiece, strap etc? (I don't know what I'm getting)
I would really appreciate your comments / advice.
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Author: Liquorice
Date: 2007-05-21 08:27
Basset horns are used in the finale to Act 1, as well as in the first two numbers of Act 2 (no.s 9 and 10).
It would be possible to play on Eb alto, but unfortunately the colour isn't really right. One could also argue that the colour isn't right on a modern basset horn, which also sounds very different from a classical historical instrument. But if playing on modern instruments, I would absolutely make every effort to play it on a basset horn in F.
The reeds and mouthpiece for basset horn in F depend on the instrument that you are getting. Most basset horns have a basset horn mouthpiece which could be played with Eb alto reeds. I use Eb alto reeds on my Vandoren B40 basset horn mouthpiece, together with a Buffet basset horn. There are some basset horns (I'm not sure- maybe Selmer?) which are made to be played with a clarinet mouthpiece. A neckstrap isn't usually necessary because most basset horns also have a peg like a bass clarinet.
Try to get the instruments as early as possible so you can try them out. If you can't get them in advance then book a cheap flight with Kulula and check out what the guys in Cape Town are doing.
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Author: Liquorice
Date: 2007-05-21 08:34
By the way- your conductor isn't a fool for wanting to use basset horns. Mozart must have had very specific reasons for using the basset horns. In number 10 for example, the orchestration is for 2 basset horns, 2 bassoons, 3 trombones, violas and cellos. (No violins, no basses!) This gives the accompaniment to Sarastro's aria a very noble and "other-worldly" colour. It would be a REAL shame to play this using B-flat clarinets!
There are other sections in the opera where C clarinets are called for. The most common practice is to transpose these parts onto B-flat clarinet. There are even some editions where these parts are printed already transposed. Having played the these parts on C clarinets, I am completely convinced that this is much better than transposing. Again, it is a question of colour in the orchestration- the lightness of articulation matches the flute and oboe much better.
Post Edited (2007-05-21 08:39)
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Author: larryb
Date: 2007-05-21 11:31
I saw Kentridge's Magic Flute in Brooklyn last month. The Belgian orchestra had a set of basset horns (as any professional opera orchestra would).
It was an odd production - set in colonial Belgian Congo, with Kentridge's projected drawings and archival video. The singers were quite good; tempi were very brisk.
Liquorice's advise is complete. Whichever kind of basset horn you get (alto or soprano clarinet mouthpiece), you should spend some time with it and experiment with different reeds. I find softer reeds work better with my Leblanc basset horn/bill street alto clarinet mouthpiece. I use Vandoren 3s.
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Author: cigleris
Date: 2007-05-21 12:30
It has to be done on Basset Horn no question. The opera is full of masionic implications and the basset horn is the most masonic of instruments.
Peter Cigleris
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Author: Alseg
Date: 2007-05-21 15:01
Pittsburgh Opera did Magic Flute, and both clarinetists used the basset horns. Very effective.
Peering over the pit, I think I read the inscription correctly as the Comus edition
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: Liquorice
Date: 2007-05-21 16:53
Actually I think bagpipes are more Masonic these days. But I do agree that the classical basset horns have that ominous Masonic 120 degree angle...
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Author: Terry Stibal
Date: 2007-05-22 02:07
The older Selmer bassett horns that I have used were from the "pre-peg" days, and this necessitated using a neck strap. They also were set up for a standard soprano clarinet mouthpiece, although I found myself going down a half strength class on the reeds.
Personally, I did not like my experience with the beast. True, it's a unique tone color, but I don't think that it was being used that way by the Boy Wonder, but rather for range issues.
Mozart probably was responsible for selling more of a specific instrument (bassett horns) than any other one individual. The only near competitors that I could think off are Wagner (with his oddities) and Kenny G (for the soprano sax)...
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: Liquorice
Date: 2007-05-22 19:00
If he only used it for "range issues" then he could have used the bassoon, or any other instrument for that matter.
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Author: Alphie
Date: 2007-05-22 20:19
Terry, what a load of crap. Get some insight and come back later.
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Author: larryb
Date: 2007-05-23 04:07
Terry, I tend to agree with Alphie.
Mozart makes no use of the basset horn's extended range in either the Magic Flute or the Requiem. No even close. The only reason for having them is timbre, tone color, masonary.
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Author: Terry Stibal
Date: 2007-05-24 05:31
I got the feeling that he was avoiding some potential key signature problems. But, it was very long ago when I played it, and as our Swedish friend so eloquently phrased it, my comments are assuredly "full of crap".
Per Alphie's instructions, I'll be moving on from this service. Have a good time...
leader of Houston's Sounds Of The South Dance Orchestra
info@sotsdo.com
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Author: Alphie
Date: 2007-05-24 12:06
Terry, I only expressed myself so ”eloquently” in order to forcefully stop this kind of misleading information since this is the www after all. People are reading this by the thousends and if it´s spread on this well-known BB that it´s basically ”ok” to neglect the timbre qualities of Mozart´s music it´s a very bad development.
As far as my ”instructions” are concerned I only meant that you should study the subject a bit more and join the discussion again. I sure hope to see you here again soon.
Alphie
Post Edited (2007-05-24 12:12)
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Author: D Dow
Date: 2007-05-24 17:06
The basset horn is also specified for the Mozart Requiem..they are truly wonderful instruments and a preferred over the regular Bb or A clarinet.
I must add if the composer asks for it then one should try to get one and play on it.
I also think the F basset is one of the most remarkable tonal qualities about...however it has a wide variance in different designs so a player should be quite aware of the various pitfalls on playing one...
David Dow
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