Klarinet Archive - Posting 000288.txt from 1994/10

From: Ed Wojtowicz <EWOJ@-----.COM>
Subj: Re: National schools of clarinet playing
Date: Sun, 23 Oct 1994 18:03:45 -0400

Not that I enjoy a slugfest, but here goes anyway-
I think first off, that it is not required that anyone have to prove
themselves as to identifying clarinetists national origin. I hope that we can
all agree to some degree that a number of clarinetists of the same country
exhibit very similar approaches to the instrument- whether it be tone
quality, articulation, style etc. It may not be impossible to define, but
one of those feelings that is exteremely difficult to put into concrete
terms. Does that mean that it does not exist? I don't know, should we dismiss
anything that cannot be proven with concrete examples? Much of what we deal
with is subjective and difficult to define. Regarding what David Niethamer
stated about Harold Wright feeling that a ligature would get blown out- if
Harold Wright felt it to be true, who wants to argue it? Would we all hear it
or feel it true? Some may feel that it improves. It should be enough to
respect his opinion as we should respect each others opinions.
As to a national style, I know that I have often heard recordings on NPR that
I tuned into in the middle of a symphony and guessed the origin from the
recording. Some can do it from the oboe sound, or conductor, or string
section, why not the clarinet?
Do all clarinetists from the same country sound the same? No, but some
similar characteristics may exist from equipment, influence of teachers,
national players. Has anyone heard a player and noticed a similarity to the
person's principal teacher? Could a protege of Marcellus, for example, have
any qualities to be identified as such? Could that player sound different
than a student of Thea King?
Maybe Jaques Pepin or Julia Child, etc, can taste a wine or food, and
identify it as French. If I cannot identify it as such, should I doubt the
validity of their statements?
Often, I have felt that some problems exists due to our inexact terminologies
and varying opinions. Try to get a room full of players to agree on the
favorite player, or to all agree on what exactly is meant by a dark or bright
tone.
I am sorry to be long winded, but I hope we can all accept there may be some
validity in the assertions that some have made, or at least, allow opinions
that may differ from our own. I think that with modern transportation and
technology the clarinet world is probably much closer than 100 years ago, so
individual differences have become foggier. Some players would list as models
or teachers artists from many continents.
Does this mean that I am I willing to accept the challenge? No, I am hoping
to try to ask that people be more open minded and leave the mud slinging to
political parties.