Klarinet Archive - Posting 000508.txt from 1999/04

From: avrahm galper <agalper@-----.com>
Subj: [kl] Mahler's Schalltrichter
Date: Sat, 10 Apr 1999 07:36:49 -0400

Mahler's Schalltrichter

We played quite a bit of Mahler.
There was one conductor living in Toronto, who had studied with Bruno
Walter, who in turn had studied with Mahler himself. His name was
Dr.Heinz Unger.

Dr.Unger was also quite knowledgeable in the Romantic works, Brahms,
Schumann ( and, of course Beethoven)

Unger's Mahler scores had copious notes transmitted from Walter. It was
clear that when it came to Mahler, this was the real thing.
He always asked for the Schalltrichter up.

Why Mahler wanted it is not exactly clear. Mahler most likely wanted in
certain places a "direct" sound. Mahler was known to have been an
innovator.
For instance, in the last movement of Beethoven's Ninth symphony, there
is a section with the winds in the orchestra playing softly, and making
a crescendo to simulate a band getting closer. Mahler was supposed to
have had a little band coming in one stage door, playing in a regular
fashion, but as they got the centre of the stage they sounded like the
band in the orchestra making the crescendo.
It's easy for Viennese players to lift the bell, because they play at a
higher angle than most clarinetists.

I always hated the Schalltrichter stuff. All I could do was to lift the
clarinet and try to get a passable sound.

Dr.Unger insisted.
At one rehearsal I went over to him and explained why it was a little
difficult and demonstrated.
"Ah", he said, "I won't ask anymore."
He died that night from a heart attack. So I never did get
theSchalltricher up for him again.

--
Avrahm Galper
TONE TECHNIQUE AND STACCATO
THE UPBEAT MELODIC SCALES AND ARPEGGIOS
http://www.sneezy.org/avrahm_galper/index.html

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