Klarinet Archive - Posting 000409.txt from 1997/08

From: Jrykorten@-----.com
Subj: RE: Back from Europe....
Date: Tue, 12 Aug 1997 01:32:25 -0400

In a message dated 97-08-09 16:18:44 EDT, Dan writes:

<< What happened when I was gone? Did someone say "dark sound" or
"bright sound" or "the only clarinet worth owning and playing is
a Buffet" or "the German sound is very distinctive"? How many
young minds have had the course of their learning impeded by the
acceptance of grandmother's stories? Just send me their names.
It may be easier to kill them than to correct vocabulary
deficiencies.
>>
Actually, there is a German clarinetist whose sound fascinates me (as I never
get to hear such a unique sound here in the States), plays a hauntingly
beautiful rendition of Hindemith's Sonata. Ralph Manno w/Ensemble Incanto.
CPO 999 302-2. His sound is so far away from DARK for me, rather BRIGHT in
fact and RICH. You should hear it.

Say by the way Dan, if you recall, before you left, I sent you a private
reply to your criticism of my post on Ornamentation, Improvisation and
Cadenzas. I was rather perturbed by your autonomic response, challenged you
on a few points to see if I could get a little more (better) out of you on
the topic. You mistakenly publicly apologized (more indication your mind was
on Europe), said more later and then left.

Sooo... If I may jog your newly refreshed mind.

Back then...
-Different listeners who heard early classical performances with great
patience and interest perhaps above what most of us can muster.
-Late stage audience - hyped up performances to catch their ear and keep them
interested.
-Different environment back then as performers were composers, or vice versa.

Nowadays....
-10,000 Clarinetists all threatening to bring a dubious practice to the fore
which may pollute our appreciation of composers true works.
-Few of us qualify as full time musicians, much less composers - what would
we be doing?

So Sir, what would you recommend to a jury of a music school who is reviewing
degree recitals, entrance exams, concerto competitions regarding
improvisation? How can we keep from trashing our heritage if we encourage
this practice? What do you think of the audience back then? How do you think
different class of performers back then would affect their qualifications for
improvising? Are you suggesting that we do this for fun, out of the concert
venue?

Jerry Korten
NYC