![]() The clarinetists Lucien Cailliet, Donald McCathren, and Harvey Hermann also made great strides to write or commission works featuring a unique and challenging alto clarinet part. Early 20 th century band pieces featured the Alto Clarinet in Eb to great effect, including Hindemith, Schoenberg, Holst, Grainger, and Dahl, which even features the alto clarinet in a cadenza in the 2 nd movement of the Sinfonietta. The Alto Clarinet in F, is featured by Stravinsky in his Wind Symphony and Elegy for JFK. Later on the Basset Horn is continued to be featured by Alessandro Rolla in his Concerto, Mendelssohn in the Concert Pieces and Harmoniemusik, and Strauss in his Operas Der Rosenkavalier and Daphne and his own Harmoniemusik (the Happy Workshop and Invalid’s Workshop). In Mozart’s time, the Basset Horn was featured in the Requiem, the Gran Partita, and many smaller chamber music works including the 25 Divertimenti and Noturni with voices. Historic legend of the Clarinet Choir, Harvey Hermann said it best, just like the String Quartet has the Viola, the clarinet choir needs the Alto Clarinet/Basset Horn to fulfill the balance in registration, harmony, and timbre.Īlthough there are some duds in the repertoire, there are some iconic and inspirational composers out there that have featured the tenor instruments to true iconicity. It is this register, that I can play similar to the bass clarinet, and without it the ensemble sound is hollow. Thus in these parts, the alto clarinet rarely utilizes one of its best ranges, the lower chalumeau register. Meaning that even though these composers or arrangers have utilized the alto clarinet, they scored only with the 3 rd Bb Clarinet’s range in mind. I also dislike the notion that the 3 rd voice is only subservient to the melody and bass lines.Īlthough I understand the need for optimization in publications with flexibility in instrumentation or a quest for bigger sales marketing, the most egregious flaw is seeing parts that are scored only with the 3 rd Bb clarinet part in mind. Equally distasteful are long stretches of only off-beats patterns. I really dislike seeing long passages of long-valued notes (tied whole notes, half notes, etc.) that only support the harmonies. Most of these originate from the preconceptions and stereotypes that one may have about the Alto Clarinet or Basset Horn. Lastly, just as everyone does, I enjoy being featured in playing the primary melody.Ĭontrary to the great positive elements, I have some very strong dislikes with the writing out there. I can also support the melody by being in octaves or in 3rds/6ths to the primary motion. ![]() I can be in 4ths or 5ths with the Bass Clarinet creating a really cool physical and extrasensory exemplification of the old or antique. One of the roles I love playing in ensembles is bridging the gap between the soprano and bass. With over 10 years of experience as a soloist and in an ensemble, I have grown quite familiar with the advantages and limitations of the tenor clarinet. To date, I have since purchased 3 alto clarinets, one being a Buffet Prestige, a Noblet, and an old Moennig Brothers, and 3 basset horns, 2 Buffet Prestiges and a Selmer narrow bore. Since that initial fondness, my love for these quirky instruments has only blossomed. When I started attending the University of Florida in 2007, I made my acquaintance with the larger bore Buffet Basset Horn that was more akin to its cousin the Buffet Alto Clarinet. I’ve been playing the Alto Clarinet since my junior year in High School (2002) and first played a narrow bore Basset Horn at the Maryland Clarinet Connection in 2005 for a performance of Mendelssohn's Concert Piece No. ![]() This may or may not be a secret when arranging for the Novacane Quartet, but I write with myself in mind.
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