Klarinet Archive - Posting 000021.txt from 1997/11

From: Fred <fsheim@-----.com>
Subj: Re: Ricardo Morales Recital
Date: Sun, 2 Nov 1997 19:18:54 -0500

I have just returned from the Ricardo Morales recital at Weill Recital Hall
at Carnegie Hall. The program was as follows:

Sonatina-Arnold
Sonata Op.167-Saint Saens
Trio in a Op. 114- Brahms
INTERMISSION
Introduction et rondo-Widor
Grand Duo Concertant-Weber
Fantasia on the Opera "La Traviata", Op. 45-Lovreglio

Encore: The Girl with the Flaxen Hair- Debussy

Assisting were Michael Chertock, piano and Rafael Figueroa, cello. Mr.
Figueroa is the principal cello with the Metropolitan Opera. Both were
WONDERFUL.

Mr. Morales' technique was exquisite. I did, however, disagree with some
of his tempi (too fast). The first movement of the Saint Saens (the theme
that comes back at the end), in particular, if performed slower than an
initial instinct would dictate, gives an entirely different and almost
(crying from the heart) prayerlike feeling to the rising triplet pattern in
measures 15-17. I first became aware of this difference the tempo makes
here when I listened to an old Kell recording of the work, and I believe
Stoltzman's recording also tends towards milking this phrase. The fourth
movement was played up tempo and with much fire and passion, especially the
part before number 2, which I believe is just about as passionate as music
can get- it was wonderful. I repeat that Mr. Morales technique is
wonderful. (His technique also shone in the Widor, a work that is pretty
tricky to scoot through!)

Perhaps someone could help me with this one. I use a Gigliotti P
mouthpiece (close) with Olivieri #4 reeds (hardish). I have been playing
for 37 years (without a break!) and get a fine sound. I noticed, and this
is just my reaction to it, that Mr. Morales SEEMED (my opinion) to be using
a more open mouthpiece, since his sound was sort of 'big and velvety.'
BUT, and correct me if I am wrong on this, there was something wrong (to
me) with this sound- it almost seemed that his reed was too hard. There
was sort of a hissing behind the sound like when your reed is slightly too
hard and its an effort to blow into it. Also, this characteristic caused
him to miss at least two quiet entries on high notes- they just didn't come
out. Can any one comment?

Another thing that I can comment on is that Mr. Morales frequently blew out
moisture from some tone holes on the horn. No big problem, but he did it
audibly (fwoosh) and I did take notice that perhaps this should not happen?

The last comment is about his clarinet. From where I sat (row K) it looked
unstained- a nice brown woody instrument, EXCEPT THE BARREL, which was
black. Is this a Rossi Clarinet? Perhaps he added a Moenig barrel?

All in all it was a wonderful two hour (with intermission) recital. I wish
to thank whomever mentioned it on this list (I trashed the letter).

Fred (fsheim@-----.com)