Klarinet Archive - Posting 000595.txt from 1995/05

From: Neil Leupold <Neil_Leupold@-----.COM>
Subj: RE>Re- Neidich
Date: Sat, 20 May 1995 03:38:21 -0400

ntouch Memo 05/20/95
Subject:RE>Re: Neidich 12:10 AM
John Baetens wrote:

"But I think Neil was being a little too quick to judge when he returned his
copy the very next day. Some of my favorite recordings were recordings I hated
the first time I heard them. This is especially true when I am listening to a
style of playing that I have not heard before."

I agree, there have been times for me as well when I disliked a recorded
performance, only to find myself deriving enjoyment from it at a later time,
for one reason or another. In Neidich's case, however, my opinion is a little
more stronly established. My first experiences with Neidich's playing were
live recitals from his days as the principal teacher at the Eastman School of
Music. I didn't enjoy his playing back then, and that was in 1988, just before
he left Eastman (to teach more regularly at NEC, if I remember correctly).
Seven years later, I'm equally unenamored of his playing. I know I'm not alone
in this, for a friend of mine who got his degree from Eastman a couple of years
ago expressed the same lack of impression with Neidich's Weber/Rossini album (I
only state that he is an Eastman graduate to indicate that he would know good
clarinet playing if he heard it; of course there's always somebody who'll say
that just because one has a degree from a high level conservatory, it doesn't
mean they have good taste).

John Baetens also wrote:

"My next task is to try to find the Mozart Concerto that Neibach [sic] recorded
that Neil did like."

That's why I said it was ironic, for his Mozart recording came as quite a
surprise to me. I never expected such a marvelous interpretation from him.
Just because I've not been impressed with his style doesn't mean I don't
appreciate what he can do. It takes all kinds. And hey, I wouldn't mind being
able to triple-tongue and circular breathe (maybe I'll work on it if that kind
of technique becomes important in clarinet performance, which I don't
anticipate). While John didn't see Neidich's technique as dominant over his
musicality, I did. It's a matter of philosophy as well. Maybe there are those
who feel that technique is the end, and musicality only a means to that end.
It sounds absurdly backward, though.

As for the recording, I'm fairly sure it's out of print. Your best bet is to
scope out record store outlets, like Wherehouse or Tower, which carry catalogue
cutouts. Tower Records, which is nationwide, has entire outlets dedicated
exclusively to cutout inventory at cut-rate prices. Wherehouse (an exclusively
West coast record chain) sells used CD's, so you might get lucky in that
respect. The search is well worth the effort. If I stumble upon it, I'll
relay the UPC to the list for those who wish to join in the search for their
own copies. I know with certainty that it is on Deutsche Grammophone with the
Orpheus Chamber Orchestra (no conductor, of course).

- Neil