Klarinet Archive - Posting 000377.txt from 1994/12

From: Bruce Hudson <HUDSONB@-----.COM>
Subj: sound
Date: Mon, 26 Dec 1994 17:53:58 -0500

Mike ((reminding people I'm the 51 year old beginner) you can
always tell the new guys, nothing better to do the day after
Christmas than think about the instrument-- but on to the issue:)

As a major serious music groupie in my graduate school days at
Texas (in Austin 75-80), I saw Tashi and of course they performed
the Quartet for the End of Time, and that was my main inspiration
for my sense of the instrument. But very quickly after starting I
mentioned how much I liked Stoltzman to a principal clarinet in an
orchestra which will remain unnamed, and I was given something of
a scornful look and a lecture about tone control. When you're
beginning and impressionable sometimes one hears what's not really
there. However, my it does seem to me that there's a substantial
sound and control difference listening to Shifrin, Harold Wright,
and actually my #1 favorite now for pure musicality, Sabine Meyer
as compared to STolzman.

Now Mike I know you brought up the Stoltzman CD in terms of the
pieces, but I'm springing off of it in an attempt to stimulate some
comments in a completely different direction: sound and people's
ideas of the control of the sound, and finally if somebody has
observations on Meyer's just pure musicality I'll be interested.
I've just been listening to her recording of Weber, Baerman and
Mendlessohn, and I'm utterly convinced by every single phrase she
makes-- no throw aways and it feels like there's not one
inattentive moment, and no little indulgences excess that don't fit
the pieces.

Enough noise from the newbees,

Bruce Hudson HUDSONB@-----.