Klarinet Archive - Posting 000479.txt from 1997/09

From: avrahm galper <agalper@-----.com>
Subj: Green Postings
Date: Tue, 9 Sep 1997 21:17:35 -0400

Green Postings@-----.

There have been many postings about the desirability of a wooden
clarinet versus plastic or some other material. I don't want to add to
it. But I can say this- if any player found out that her or his
clarinet is the only one she or he would have and nothing else, they
would work harder to make sure they sound good on what they do have.

I maintain that everyone has some sort of a "computer" in his mind (and
mouth) and depending on what she or he is playing, they would adjust the
blowing, the reeds or whatever, to get the sound and effect they wish to
get.
A great violinist, for instance, can make a poor violin play well. But
a poor player can not make a Stradivarius sound good.

In connection with different materials I have an anecdote related to me
by Rosario Mazzeo.

This goes back to the early days of the Boston Symphony when Serge
Kussevitsky was the conductor.
Guess who played in the orchestra one year- no other then Henri Selmer,
one of the founders of the Selmer clarinet factory.
Henri Selmer was a great player, having studied with his father, who
himself studied with Klose and then with other famous teachers at the
Paris Conservatory.

Anyway the story goes like this":
Selmer played a fantastic solo that was acknowledged by Kussevitsky in
front of the orchestra.
Imagine when Henri Selmer stood up, holding aloft his METAL CLARINET.
"What!" said, Kussevitsky ," In my orchestra a metal clarinet!".
And he got fired from the job. This is the story the Mazzeo told me on a
visit to his place.

So don't look, just listen.

Avrahm Galper