Klarinet Archive - Posting 000538.txt from 1996/03

From: Everett J Austin <BrendaA624@-----.COM>
Subj:
Date: Thu, 21 Mar 1996 01:58:57 -0500

f curiosity- how would you classify Ulysse DeLacluze's sound. I
have a record of him playing the Widor and his tone is very nasal and thin
(to me). Is that correct? and is that what we mean by the "French" sound."

Jack Brymer's book The Clarinet and David Pino's book The Clarinet and
Clarinet Playing and Guy Dangain's book La Clarinette all have discussions of
"national" clarinet sounds and basically make similar points. When you get
down to individual players further differences become apparent. Dangain
makes the point that the widespread availability of radio broadcasts has
tended to break down differences between national schools: "une synthese
s'opere".
Pino felt that Delecluze introduced a stridency into the typically clear,
fluid and brilliant French clarinet sound which was greatly to its detriment.
Cahuzac typified a large round colorful sound that is clear brilliant and
expressive, certainly not thin or nasal to most ears. (On the other hand
Dangain describes the German sound as "sourd" which is literally means "dull"
(or 'deaf') in French, a rather uncomplementary way of saying "dark") I
think when M. Deplus took over from Delecluze a fuller sound again was
encouraged and the "thin nasal" or "strident" sound went its way. Further
changes in "French" sounds are taking place, making it harder to say what a
"French" sound is, unless you specify era or person.

Everett Austin
Fairfax, California