Klarinet Archive - Posting 000033.txt from 1994/06

From: Josias Associates <josassoc@-----.COM>
Subj: Re: The "Ideal" Sound
Date: Wed, 8 Jun 1994 20:54:22 -0400

> The ideal sound that I have in my head at all times and that I try to
> emulate with my mouthpiece is that of Harold Wright. I don't like a "DARK"
> sound. I prefer a rich sound with a good balance of fundamental and
> overtones.
>
> If you listen carefully to the many recording of the Boston Symphony or
> any of the wonderful recordings of Mr. Wright in chamber music settings,
> it is at once apparent that he never forced the sound. His sound , to my
> ears, had the ability to project without blasting. I have always believed
> that projection is a function of quality not quantity. I had the
> opportunity to hear Mr. Wright live only once. It was a performance of
> Beethoven's 6th at Boston's Symphony Hall ca. 1978. I will never forget
> his performance.
>
> Clark W Fobes

Clark,

Your naming of Harold Wright as your sound model was, in my
opinion, right on the money. My model was Ralph McClane, Wright's
teacher. When I first heard Wright, it was in his recording of Schubert's
Shepherd on the Rock. According to my information at that time, he played
with double lip like MacLane, and, of all MacLane's students, Wright
probably was the one who sounded most like his teacher -- just like
MacLane was the one who sounded most like his teacher, Gaston Hamelin.

In later years, I thought Wright's sound moved away from the
MacLane model, but was still one of the best symphony sounds to be
heard in U.S. orchestras. Other favorites of mine during the 1950s and
1960s were the players (names unknown to me) in the Suisse Romande and
Oslo Philharmonic orchestras, who had MacLane-type sounds.

In addition to some of the fine sounds coming from players in
U.S. orchestras today are some marvelous European sounds. I particularly
like Paul Meyer's focussed sound and Maurice Gabay's playing, which
reminds me stylistically of recent chamber-music recordings of Wright.
Gabay's recording of the Francaix Clarinet Concerto is positively
electrifying.

Although the mouthpiece I play on today is one of the best I've ever
had, I continue to look for possible improvements. If you're aiming your
mouthpiece design to produce Harold-Wright-type sounds, I hope that,
on one of my trips to San Francisco, I'll have a chance to try some out.

Regards,

Conrad (Connie) Josias