Klarinet Archive - Posting 000994.txt from 1997/03

From: Jerry Korten <Jrykorten@-----.COM>
Subj: Another Begelman Recital
Date: Mon, 31 Mar 1997 14:48:25 -0500

Just to let you folks who missed out know what happened. Igor played very
well again, accompanied by Tatiana Goncharova his accompianist. In spite of a
rather unprofessional setting. The recital was for the senior citizens and
given under the auspices of a Piatogorsky Foundation grant. The piano was an
awful spinet, and the venue in a large classroom, as the 14th st. Sol Goldman
Y was under construction.

The concert programme was Schumann Op 73, Poulenc Sonata, Saint-Saens Sonata,
Canzonetta by Pierne and Intermezzo by Tzfasman. Igor turned the rather
unconventional recital venue into an opportunity to interact with the
audience and gave biographical anecdotes for each piece. And explained the
difference between a Bb and A clarinet (stressing a difference in tonal
character, with the Bb being male and the A having female qualities).

Yours truly had to ask - gruffly - that the director of the concert program
at the Y stop walking around during the recital and actually conversing with
people during the Schumann! (No clue about classical performance, or of the
importance of these performers).

Igor's musicality is the stuff of the earth. Direct and natural. It is
interesting to compare the recent recital by the french Clarinettist Romaine
Guyot. A more urbane and polished performer perhaps, Romaine was flawless and
each element taken singly was beautifully shaped. The whole was a different
matter, just not as exciting as when Igor plays.

Igor manages to play everything - including encores - from memory. This
probably allows him to know the music intimately in a way that playing from
the score does not allow.

I'm still not convinced about circular breathing as it mostly scares me, and
seems inorganic. Great effect for the final Ab throat trill on the jazz piece
where he acted like he forgot the conclusion and walked over to the pianist
to have her show him - again and again - all while trilling continuously for
about a minute and a half. Goofy fun.

His finger technique must be a source of constant complaint by his teachers
as they fly high off the keys and the first knuckles go concave. But his
legato is beautiful and he cares deeply about how notes begin and end. That's
what counts.

The French piece - Canzonetta by Pierne - is a wonderful piece of Victorian
Schmalz. Much like Messager, Rabaud's contest pieces.

He has a wonderful way with more "Jazz" oriented pieces such as the Tzfasman.
I asked him if he ever put in time as a light entertainer and he admitted
that he "lost his virginity to Klezmer" over a year ago.

I did have the pleasure of meeting one other from the Klarinet subscribers
list and made fast friends with R. Tannenbaum.

Those of you who do not like to do your own research (didn't see you there
Ken! - Just yanking your chain Ken...) can hear him on WQXR tonight at
midnight (Monday March 31st).

He has recently been appointed 1st chair with the New Haven Symphony. I look
forward to future performances!

Equipment:
He plays what looks like a rather old R13 - A and a newer R13 Bb. He plays a
Johnston P3 (I'm not sure if this is correct some letter followed by 3).

Jerry Korten
NYC