Klarinet Archive - Posting 000379.txt from 1997/05

From: "Michael D. Moors" <mdmoors@-----.us>
Subj: RE: 20th century clarinet
Date: Sun, 11 May 1997 23:40:40 -0400

At 07:20 PM 5/11/97 -0700, you wrote:
>Mike,
>
>I realize that the Copland was written for Goodman,
>but this doesn't necessarily make his performance
>a good one.

Without Goodman to inspire Copland there would be no Concerto. I learned
to find something good in everyone's playing. For instance: I never liked
Richard Stoltzman's concept of sound for years, if you really listen he
puts everything he has into playing expressively. It might not always be
orthodox but it is musical. I brought him up because he also has a great
recording of the Copland you should listen to.

Goodman wasn't a very nice man, hard to work for and get along with. He
treated his wife like dirt. He had the rare talent to play in the
classical realm as well as his dance bands. He was heavily influnence by
Reignald Kell, that's where he got his classical vibrato. In later years
he switched to a French Embouchure. Some people would say that he should
have stopped short on the Nielson recording.

>If you don't believe me, try listening to Goodman's
>recording, and then immediately afterward listen to Shifrin's.
>I think you'll be amazed at the difference in quality, both of
>technique and, more importantly, of interpretation.
>
Goodman recorded the Mozart Clarinet Concerto (which I own). My favorite
recording is Robert Marcellus with the Cleveland Orchestra. I also have
several other recordings of the piece that are all great. There is a
differnece in quality, technique and interpretation in all recordings but I
can learn from them all. Your playing evolves from listening to several
people, listening to their ideas and finally formulating your own ideas
based on objective listening.

Mike Moors

>Rob Teitelbaum
>Claremont McKenna College
>
>
>