Author: JTJC
Date: 2020-04-24 20:27
I have the 2002 B&H publication Contrasts prepared by the composer’s son, Peter Bartok, called the ‘Corrected Edition’. In the Preface there is a reference to the use of both A and Bb clarinets :
“ . . . The first two movements and the middle section of the third are played on the A clarinet. In the first edition an alternative part transposed for Bb clarinet was provided. This is not included in the Corrected Edition as it was not part of the original concept prepared by the composer and, moreover, the A clarinet is called upon to play its lowest note.”
So, no way out by transposing clarinet parts.
Arguably, even without the firmata, performers might take a natural pause at 131 to make the divide between the two sections and tempos. It may be the firmata is there to give more time to swop clarinets (in addition to the 4 bars rest). Hard the believe that in rehearsals with Zigeti and Goodman, Bartok didn’t notice the difficult swop, or that Goodman didn’t point it out or even ask about it.
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The Clarinet BBoard
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