Klarinet Archive - Posting 000739.txt from 1999/11
From: Audrey Travis <vsofan@-----.com>
Subj: Re: [kl] re: Rose Lineage
Date: Thu, 18 Nov 1999 17:28:07 -0500
Lelia
Obviously I can't speak for most clarinet players, but I can speak for myself
and a little bit for my teacher, Wes Foster, principal clarinet of the Vancouver
Symphony. I'm very awed by the fact that I'm lucky enough to study with Wes,
who carries on the traditions and teaching of Robert Marcellus, his teacher, who
himself studied with Daniel Bonade. I treasure that lineage, and I practice
where I can see, and be inspired by the picture of Marcellus that Wes gave me.
Wes certainly treasures the lineage, as he talks about Bob Marcellus a lot in
our lessons, and always with great respect bordering on awe.
A few months after I began clarinet with Wes, he gave me a copy of the tribute
letter he wrote about Bob Marcellus for the memorial issue of Clarinet magazine
(November/December 1996).
Wes had been invited (in 1976) to play principal clarinet in Halifax for (I
think) a festival, with his former teacher, Robert Marcellus conducting.
Naturally, he was nervous, and eager to do a fine job. After a long rehearsal,
and having flown in that day, the afternoon wound down with food, lots of jugs
of beer, and much talk with friends and musicians, including Bob Marcellus.
That night, Bob and Wes were to stay with Wes' friend Chris Wilcox, who'd
organized the event. But when they arrived at the cottage in Peggy's Cove, the
house was freezing because Chris had forgotten to call and get the furnace oil
tank refilled. The guests firmly armed with rum in front of a roaring fire,
Chris went to the kitchen to call the company, and said rather forcefully "I
have just arrived home to find the furnace tank is empty, the house is very
cold, the greatest clarinet player in the world is standing in my living room
and he's freezing!" Perhaps inspired by all the liquid refreshment and, Wes
writes, knowing full well to whom Chris was referring, he nevertheless had the
fleeting thought that HE was the star clarinetist and yelled out "And tell them
Robert Marcellus is here, too!". For a brief second the look on Bob's face was
one of complete shock - and Wes suddenly realized that he didn't really know
Marcellus' sense of humour and thought his career was over - when Bob broke into
hysterical laughter. Thereafter, whenever Wes called Bob at his studio at
Northwestern, Bob always greeted him by asking "Is this the greatest clarinet
player in the world?"
At the same time, I found out it that Wes' 50th birthday was coming up, and had
the following document madeup in calligraphy and framed:
The Title
"Greatest
Clarinet Player in the World"
is entrusted to
Wesley Foster
musical descendant,
guardian, teacher and friend
of the
Robert
Marcellus Legacy
While the first part is meant to reflect the humour of the story paraphrased
above, the second part is certainly true.
So, as far as clarinetists tracing back their musical lineage with pride, here's
the story of two who definitely do. One of my greatest regrets is that I never
got to meet this remarkable man, or hear him play live at Severance Hall.
Cheers
Audrey
LeliaLoban@-----.com wrote:
> Walter Grabner wrote,
> >Zetzer was a student of Bonade's in NYC. (He got the Cleveland job when
> George Szell called up Bonade and said, "Who's your best student who also
> plays Bass Clarinet; just like that). Now I find out, that Bonade studied
> with Lefebvre, who studied with Rose! Instead of being miffed, I should have
> rejoiced in the direct lineage!!!!>
>
> Do many clarinet players trace their musical genealogy? Violin teachers
> encourage serious students to do such research, because the feeling of
> connection with the tradition helps motivate kids to take pride in what
> they're doing and practice better. Any violin student who studies with one
> of the major teachers can trace the tribe quite easily, through various tomes
> about the history of violins and violinists. My husband traced his ancestors
> from one of his teachers (he studied with Avrahm Nasco, Naoum Blinder and
> Mischa Mischakoff) all the way back to Corelli. Pianists do the same,
> although I didn't realize that as a kid because my teacher, Arthur Eisler,
> never brought up the subject with me. Evidently I was not the kind of
> student he wanted to encourage to climb on the family tree. As a wind
> player, I'm a teacherless foundling, probably deposited here by goblins, but
> for those clarinet players who did have a teacher, what would be the best
> research sources?
>
> Lelia
>
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