Klarinet Archive - Posting 000171.txt from 1995/02

From: David Gilman <dagilman@-----.EDU>
Subj: Re: Yeh recital in Chicago
Date: Wed, 8 Feb 1995 13:15:28 -0500

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>Date: Wed, 8 Feb 1995 12:06:51 -0500
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>From: Bruce Hudson <HUDSONB@-----.COM>
>Subject: Re: Yeh recital in Chicago
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>To: Multiple recipients of list KLARINET
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> "The 'Oehler' ... O. 'Oehler' was the first principal clarinetist of the
> Berlin Philharmonic when the orchestra was chartered in 1848.
>
> "Yours,
> Don "Oehler"
>
>Is this coincidence of unusual names an anecdote already widely
>known in Klarinet land?? (Also are there comments concerning the possible
>contribution of the "Oehler system" to what I hear (in recordings only) to be
>the amazing sound of Sabine Meyer-- a contributing factor, certainly not
>wanting to take anything away from the pure artistry of her playing.)
>
>Bruce Hudson, HUDSONB@-----.com
>
>Raleigh, NC
>
>
Bruce,

I would certainly agree that the Oehler system contributes to the character
of the German clarinet sound. The inner design of the German instruments
seems to produce a tone slightly richer in lower harmonics that the French
instruments we use here. But there is a catch: it can be more difficult to
project with a German setup. I say this because I have heard several great
players who use this system, and all of them sound rather soft to me. I
have a recording of Karl Leister doing the Brahms Clarinet Trio, and he
sounds buried to me; often I don't hear the clarinet line over the others.
Recently, I attended a recital of Michele Zukovsky doing the Martinu
_Sonata_ and the Poulenc _Sonata_. Good Lord! is she a wonderful player.
In terms of tone and musicality I place her far ahead of Stanley Drucker and
pretty much anybody else. Her pp's were whisper quiet, but her ff's could
have been louder. Perhaps the preponderance of lower partials in the
harmonic spectrum gives rise to a tone with less projection as well as
brilliance. Acoustically, this makes sense.

On another current track, I think I heard Mrs. Zukovsky playing with a bit
of vibrato. It was very subtle; so, I'm not completely sure it was there,
but what I picked up was a magnificent, elegant tone color unlike any other
I've encountered. Thus, Jonathan is right [no big surprise]. Vibrato
should be taught and used.

Any comments, flames, .... [I feel the burn already.]

David Gilman