Klarinet Archive - Posting 000050.txt from 1996/02

From: Bill Fogle <bfogle@-----.EDU>
Subj: Re: Improvisation and other things that clarinetists...
Date: Fri, 2 Feb 1996 21:45:09 -0500

Subject:
Re: Improvisation and other things that clarinetists don't do

Mr. Cohler/Klarineters---

It is unfortunate that the clarinet is an orchestral "workhorse". But,
what *isn't* a workhorse in the orchestral setting (warning:
non-performer speaking)? Emphasis on the word "setting". Doesn't it's
treatment change as we move into the chamber setting?

I couldn't agree more that the level of musicianship in Universe Clarinet
is low. This is a great irony, coupled with the fact that the clarinet
could be considered the most expressive instrument after the human voice.
Opera singers receive their highest praise when they produce
"clarinet/oboe" sounds (I don't much like critics either, but . . . .).
Seriously, isn't there a lot of literature about this? The human voice
and the clarinet? What an additional irony that it is the instrument
given the narrowest path in performance!

The six-point posting interweaving/juxtaposing the techniques of other
instruments with those of the clarinet (see below) is revealing. And it
has it's intended effect: I find the situation saddening. As the piano
became a more and more universal instrument, it's technical equipment
became more and more exclusive, it's dictionary more flowery (read
someone writing about Martha Argerich), its pedagogy more and more
specialized. The clarinet is just as familiar, and a poor cousin
musically.

By the way, I'm aware that I just made a statement to the effect that
it's difficult to play expressively in the setting of an orchestra. I've
never played in an orchestra! Anyone out there ready to tell me how this
is done? I guess I'm not thinking about the solo. How do play
"expressively" in union with so many other instruments? Before you answer
this: I am a non-professional who sits at home with Alfred Uhl etudes and
cats on the floor. Just wondering how the pros do it : )

********************************************
Bill Fogle
Washington, D.C.
bfogle@-----.edu
********************************************

Let's take a few examples. How many clarinetists do you know that:

1. Produce and use all kinds of vibrato well?
(Did you ever know a violinist, cellist, oboist or flutist that
was not taught vibrato?)
2. Circular breath?
(Do you know any professional violinists that cannot play
double stops or saltando bowing?)
3. Double tongue?
(Do you know any cellists that cannot play spiccato?)
4. Play difficult concertos from memory?
(Do you know any pianists that use music when performing
Rachmaninov's 2nd Concerto?)
5. Play expressively and with great color?
6. Improvise in appropriate contexts?
I think all of this points to the fact that the general musicianship level
of the clarinet playing profession is substantially lower than that of
other instruments.
--------------------
Jonathan Cohler
cohler@-----.net