Klarinet Archive - Posting 000742.txt from 1996/02

From: niethamer@-----.BITNET
Subj: Re: Pitch vs Temperature
Date: Sat, 24 Feb 1996 22:48:58 -0500

Tom L wrote:

> I know a fine clarinetist who frequently "rides" the upper edge of the
> pitch center around him on purpose. When confronted, he says he would
> rather play sharp than flat, and playing just slightly above will add a
> brightness to his tone. Why choose between sharp and flat? What's the
> problem with playing in tune!? (sarcasm)

One of my pet peeves, which relates to the above quote, to Ed Lacy's
intelligent post on the subject, and at least a bit to Clark Fobes' post
on mpcs, is the issue of "being heard", or "cutting through", or to
look at it from another angle, the failure of even some very fine players
to know the difference between foreground and background in the musical
texture, and to blend in and get out of the way when their part is
background.

I think one aspect of playing in tune involves a willingness to blend
one's sound with other sounds to produce a composite texture which
supports the main material. In many American ensembles (of all sizes) I
hear more concern with "being heard" than with blend. Even in George
Szell's version of the Cleveland Orchestra, which played very well in
tune, one hears many individual colors, and supposedly Szell was
interested in "100 soloists".

Relating to the several discussions of European players who are found
wanting in terms of sound by some of the Americans on this list, I'd like
to propose that part of the reason they sound the way they do is because
their sound blends better in an orchestral setting than the
hyper-focused,(dare I say it) "dark" sound many US players favor. I'm
speaking here as an orchestral player and chamber musician, and not
refering to solo efforts. Some of the players I've admired for this
ability to blend are Gervase DePeyer (Melos ensemble recordings of the
60's), George Pieterson (Concertgebouw), Berlin and Vienna Phil woodwinds
(almost any orchestral recording), and Barenboin recordings with the
Chicago Symphony. (Just a few off the top of my head - nothing implied by
errors of omission) I've never to my knowledge heard Herr Brunner in a
Munich Phil recording, so I don't know how he might fit into my thesis.

If I remember correctly, Clark Fobes wrote about resonance, and how it
enables a player to blend his/her sound, and how important that is. That
struck a chord with me as a player who strives for that sort of playing on
a daily basis.

I believe we as players need to do a better job of tuning and blending *in
service to the music*, and worry less about our ego-centric "clarinet
jock" side - big sound, fast fingers, etc. One of my favorite moments at
a Clarinet Fest happened in Denver, where DePeyer, fed up with people
measuring his mouthpiece, embouchure, etc, said something to the effect
"All this talk about the clarinet is fine, but when will we get to the
music?"

'nuff said (probably too much!)

David Niethamer

   
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