Klarinet Archive - Posting 001326.txt from 1999/05

From: Roger Garrett <rgarrett@-----.edu>
Subj: Re: [kl] Crusell-Tony Pay
Date: Fri, 28 May 1999 23:35:24 -0400

On Fri, 28 May 1999, William J. Maynard wrote:
> A recent message complimented Tony Pay's recording of a Crusell concerto. I
> assume the writer was referring to the Virgin Classics recording where Mr.
> Pay plays all three of the Crusell concertos with the Age of Enlightenment
> orchestra. It is a wonderful recording and should be a part of all
> clarinetists record library. What was not mentioned was that he played the
> works on a nine keyed boxwood replica of a ca. 1810 clarinet made by
> Grenser. Daniel Bangham made the copy according to the record notes.

I'm assuming it is the same clarinet he played the Weber works on for the
CD I own. Amazing to hear someone get all those notes out so evenly on
only nine keys. I have two original 5 key clarinets and one 14 key A
clarinet.....and I can't imagine!

> Listening many
> times I could not believe how he played chromatic passages, etc., not to
> mention trills, which I thought were impossible in some places. Simply
> wonderful playing ! Although I have never met Tony Pay, I consider him one
> of my teachers. Now if you want to really be dazzled listen to his recording
> of the 2 Weber concertos and the concertino, also played on a 9-keyed
> instrument.

I told this story once before, but, because it has been awhile, I should
probably share it again. The newer people on the list may appreciate it.

When I played the Weber Concerto 2 on tour with our university ensemble in
1992, I realized when it was all done that I didn't have a recording of
the piece. I went to our local store and there were several recordings to
choose from - one of which was Tony Pay's. Since I had heard a fantastic
recording of the Mozart Concerto with Pay playing, I decided it was not
risky to buy that recording (I didn't get Stoltzman). I brought the CD
home and listened to it very carefully. About the time the recording
reached the Polacca, my wife came thorugh the front door. I exclaimed,
"Sara, come on up - you need to listen!" I was hearing very slight
unevenness in the sextuplet passages in the end - most noticeable in the
chromatic passages (if you used headphones and really cranked the volume
that is). "I think I play this without this unevenness......." Being
completely proud of my technical prowess, I eagerly opened the program
notes and read the information. My wife came up and mentioned that there
might be some unevenness, but she wasn't sure.....but that I played it
just as well (well, what are significant others for if not to make you
feel good about yourself?). All puffed up and happy - not to mention
having had a few nice glasses of Cabrenet, I suddenly noticed the picture
of Mr. Pay playing the boxwood nine-key clarinet - a modern version of the
earlier clarinet.

I was mortified - and worse - I know I can't play a chromatic scale on the
damn thing.

So much for being puffed up. I still tell my students that story when
they are learning the Polacca - and I still use that recording as a
reference. His version on a modern clarinet would probably make me want
to pursue an engineering degree.
Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University

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