Klarinet Archive - Posting 000978.txt from 2000/07

From: Ed Wojtowicz <ewoj@-----.net>
Subj: Re: [kl] If the sound is lovely, this must be France
Date: Thu, 27 Jul 2000 21:23:18 -0400

Sorry if this is a bit lengthy.

Ah, I remember quite a few years back I believe I was the person who put the
burr under Dan's saddle on this one.(check the archives) I think Dan makes a
good point, but at the time I made the statement (that I recognized it as a
German player) Incidentally, I had not heard Sabine's playing at that time,
so could not have identified the playing in the manner he suggests. I have
thought about this a lot over the years and maybe can make myself clear.

I know from many years on the list that Dan regards it as poppycock that
anyone might hear any difference that could be considered nationalism. I do
not believe that it is ALWAYS the case that a player reflects his/her
region, as 1) the lines are much less defined, especially today (cross
pollination due to travel, recordings) than at one time 2) there are
individual differences in players from any country 3) I doubt the validity
of any ALWAYS/NEVER statements.

Over the years, I find that I do recognize a certain similarity in many
players from what are considered to be the major national schools of
playing. Tone as mentioned in the post is a strong factor. It is not always
the case due to many of the excellent points Dan makes. Some nations have
many influences from many different areas. Much as food from Alsace does not
taste distinctly, but a combination French and German.)

I believe that there are a number of factors (equipment, aural and oral)
which help to define one's sound. The differences in French and German
equipment (mouthpiece/reed/bore, etc) contain quite a number of differences
which will create a different sound basic to the instrument.

A player creates a particular sound based on physical characteristics as
well as the target sound in one's own ear. (Many had witnessed over the
years in the Marcellus master classes, that when he picked up someone else's
instrument he still sounded like himself.) Each player will find a set up
that makes it easiest to reach the target sound.

Through listening we learn to imitate. Whether it be the various spoken
accents in each region of a country or the instrumental sound of a model
teacher/player. The oral cavity, concept, articulation, phrasing are changed
in subtle ways to imitate what we hear. Much as an impressionist picks up on
certain key patterns or vocal sounds to replicate another person. Often you
will hear players likened to a teacher or major influence. One can hear the
influences of players on others. Often one can hear the differences in the
tone or "concept" of a player and hear that reflected in that players
students, especially is that teacher has developed a strong teaching and/or
playing style. (Often one can identify someone as a Julius Baker student,
John Mack student, etc.) In jazz playing style is very individual, but may
be similarly though of as are "national styles", compare Wallace Roney and
Miles Davis, Jon Faddis and Dizzy Gillespie, Wayne Shorter (early) and John
Coltrane. The similarities are obvious. Many times you can tell a players'
influence from one or two notes. There school of sax playing referred to as
coming from the style of the The Texas Tenors. No, not 'cause of eating
barbecue, but what had developed into a regional concept of playing.

What does this have to do with national styles? In a time when many players
were much more localized with less of what I referred to as cross
pollination, the players had certain similarities in the approach to the
instrument due to equipment, pedagogy, and the aural influence. I believe
that it still exists to some degree, though it is much less pronounced. This
I believe would be handed down, much as a spoken accent would be. (Someone
born in Maine or Texas does not obtain the accent characteristic to the
region merely from the water and cuisine.) Various regions in any country
have accents characteristic to the region for this reason. The "French
Clarinet sound" does not exist because those people come from that country
and eat garlic or frogs legs, but from some of the factors I have named.

There are two (at least) issues or problems here. We are defining this in
terms of region out of convenience. Much as the music industry likes to
pigeonhole musicians because they don't know how to market those that don't
fit into the predetermined slots. Saxophone playing from students influenced
by Sigurd Rascher is different from those of Fred Hemke. This is not because
of a region, but school of playing. When we think of orchestras, many have
developed a certain sound due to influential conductors, the halls,
individual players or sections (Chicago brass, the Tabuteau era Philly
winds, Ormandy strings.) It is not DUE to the region, but merely a label
used for lack of a better one.

In addition it is so hard to define these things in a clear concise manner
as the words to describe tone are interpretive. Everyone interprets them in
different ways. I often think we all hear things slightly differently. I
will do my best to indicate with words that make sense to me. I do hear a
difference in tone. To my ear (key words) the color of a German-style
clarinet has certain differences from the French. To me, in general, the
Germanic instrument has a more pale tone, not as abundant in overtones or
richness especially in the upper register. At the same time, the "French"
tone is a bit more pointed or less round. There are others, but this is
often the first thing that hits my ear. Yes it is difficult to generalize,
there are exceptions.

Dan stated:

>I will help you every now and then, but I want you to be the centerpiece
>of saying "Explain in what objective ways the following two things: (1)
>what are the precise characteristics of this nationalistic difference,
>and (2) from what is this difference derived.

I hope I have been somewhat clear. I attempted to indicate some of what I
hear in the words that make sense to me. I also attempted to explain how
differences continued to be developed and passed on in a certain region.

Ed

> From: Daniel Leeson <leeson0@-----.net>
> Reply-To: klarinet@-----.org
> Date: Thu, 27 Jul 2000 13:51:45 -0700
> To: "klarinet@-----.org>
> Subject: [kl] If the sound is lovely, this must be France
>
> 1. "There was a note from someone who suggested that he or she
> heard such differences and actually picked out players as
> German or French or English simply by the character of their
> sound. I think that what is happening here is reverse logic.
> One of the players was Sabine Meyer and the listener picked
> her out as being German, which is quite true. But Meyer's
> performances are so distinctive, so unique, so full of her
> personality, that she is recognizable through her playing, not
> her sound (which I find ravishing, incidentally). So I
> suggest that a collection of subconscious events created a
> monologue that went like this:
> 'Who is this person?
> Ah, that's Sabine Meyer.
> Her playing is so distinctive.
> Meyer is German.'
> And then out pops the conscious thought:
> 'That this is a German player is obvious from the
> character of the sound.'
> For what my opinion is worth, 'German' is not the correct
> phrase to describe Meyer's sound character. The correct
> phrase is 'superior by any standards.'"

---------------------------------------------------------------------
Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
Subscribe to the Digest: klarinet-digest-subscribe@-----.org
Additional commands: klarinet-help@-----.org
Other problems: klarinet-owner@-----.org