Klarinet Archive - Posting 000445.txt from 1999/11

From: Tony@-----.uk (Tony Pay)
Subj: Re: [kl] De Peyer Style
Date: Fri, 12 Nov 1999 04:04:57 -0500

On Thu, 11 Nov 1999 18:04:47 -0500, dnietham@-----.edu said:

> No one has yet mentioned all those wonderful Melos Ensemble recordings
> from the '60's. When I first heard them, I was astounded that a
> clarinet could be played so fluidly and flexibly - it was a
> revelation. His tone, while "not admired universally" has a quality
> that allows it (on those Melos recordings) to blend with colleagues,
> both string and wind. The sense of foreground and background in these
> recordings was also a revelation, and that blend of sounds made the
> distinction more apparent to my young ears.

For me too, Gervase was a great inspiration. As a youngster, I wanted
to play exactly like him -- and indeed, when I was first given a grant
to take lessons, it was to him that I went first.

Those Melos recordings also do owe a great debt to some of the other
players, of course.

> I also like the Mozart Concerto with LSO and Peter Maag (the last
> movement has a dance quality to it that I've never heard anywhere
> else) and the Weber Concerto No. 2/Spohr Concerto No. 1 with LSO and
> Colin Davis - fine playing, and a less objectionable sound than the
> later recordings.

These Weber and Spohr recordings first represented to me the notion of
the clarinettist as 'hero'. They still have great qualities that other
recordings don't. And when we recorded the Schoenberg Suite with the
London Sinfonietta, we chose Gervase to play clarinet, and I moved up to
Eb.

Although I have different ideas of some of this music now, Gervase was,
and continues to be, a very significant player for me.

He's a star.

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd Tony@-----.uk
| |ay Oxford OX2 6RE GMN family artist: www.gmn.com
tel/fax 01865 553339

... Hmmmmmm... I'm hearing those happy gurgly noises again! :-)

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