Klarinet Archive - Posting 000430.txt from 1998/01

From: "David S. Naden" <dnaden@-----.net>
Subj: Re: leister recording
Date: Fri, 9 Jan 1998 01:26:35 -0500

GT:

If you are only a student, then perhaps your writing style could reflect a tone
that is not so aggressive, abrasive and tactless as to offend members on this
list, and a tone that shows respect for all of the "professionals" on it that have
years of the cumulative experience that you obviously lack. There are many
professionals on this list--including myself--that DO take offense at your broad,
and often sweeping generalizations. While the generalizations themselves are not
a serious problem, you lack of any logical reasoning, or a comparison that
supports your position is.

You stated that you were going to provide a list of plyers, and reasons why you
admire them, but then state it would be a waste of space (and I presume time as
well). It is that list of players and resons that is needed to better understand
your position. That list would be the positive comparison that I have referred to
in previous posts over the last few days.

You hope that people use their ears and minds, and claim that you do. How dare
you be so arrogant to imply that no one else uses their ears and minds. Your
posts continually leave list members believing that you do not use your ears, or
have a closed mind, because you fail to provide any positive comparison that would
allow us to understand and believe otherwise.

You made reference to a masterclass with Jonathan Cohler in which you listened to
excerpts and solo pieces, including the Beethoven 6th Symphony. Amonngst you
generalized comments was a statement that the dynamics were not played.

If you knew as much about music as you say you do, you would know that there are
numerous published editions of Beethoven's 6th Symphony, and not just a single
publisher. You would know that some editions, such as Kalmus, do contain printing
errors. You would know that dynamic markings may have been edited into the
published editions by various publishers and editors over time, due to corrections
of previously identified errors, or what became standard performance practice.
You would know that the dynamic markings are relative within the context of the
entire orchestral texture/sound, and that dynamic levels are not based on a single
part. AND you would know that the ultimate dynamic level of a given passage is
either as directed by the conductor, or worked-out between conductor and
clarinetist.

In short, while we all have much to learn, it seems you have that much more.
Before you worry about music and the clarinet, perhaps you should worry about your
people skills, tact, and respect for those who are older and/or have more
knowledge and experience.

David S. Naden, Graduate Student
Cal State University Los Angeles and
former clarinetist, 661st Air Force Band of Flight

GTGallant wrote:

> In response and defense to all the negative comments regarding my post, I have
> compiled some data and ideas to share with you. First, let me start by saying
> I don't think I know it all. I'm only a student of the clarinet at this
> point. I do have opinions, and sometimes make huge generalizations, but that
> is the way I write (with grandiose sarcasm). Does one need to make recordings
> to know what sounds good or bad? I think not. I like a certain type of
> player and sound production, just as many of you do. However, I hae trouble
> believing one could protect professional level "music" that was obviously
> inferior (technique, tone, unexpressive) and pass it off as stylistic. I'm
> not a music historian, but I think I know what the periods of music
> expected/required - Classical, Romantic, etc.
>
> I had the displeasure of listening to Leister's Spohr recording last night,
> which I found at the local university library. Just as expected, boring! A
> little while ago, I was in a masterclass with the great player Jonathan
> Cohler. We did some orchestral exerpts and solo pieces. One of the exerpts
> was Beethoven 6, and Mr. Cohler happened to have a recording. The clarinet
> was totally off and not with the orchestra. Also, none of the marked dynamics
> were played. After we listened, he made us try and guess who the clarinetist
> was, mentioning that the individual was very famous and considered great.
> Karl Leister! Just because someone plays in an orchestra and clarinet for 30
> or so years, does that make them great? I know plenty of people who have been
> playing clarinet for over 15 or more years and still don't get it. I am a
> natual skeptic and challenge what others tell me is the truth or "the right
> way". I search for answers on my own and let the ears do the deciding for me.
> Do not get emotional, these are only my opinions and mean nothing.
>
> I was going to provide a list of players I admire along with reasons, but I
> feel it would be a waste of space. Everybody has their own opinions of what
> is good, and that's ok. I hope people use their ears and open minds (like
> myself) to judge and not on what somebody else told them.