Klarinet Archive - Posting 000211.txt from 2005/03
From: "Kevin Fay" <kevinfay@-----.com>
Subj: RE: [kl] German/French
Date: Sat, 5 Mar 2005 12:39:38 -0500
Tony Pay felt the love:
<<<I love some of the things that the German clarinet/mouthpiece/reed makes
it easy for me to do, that the French clarinet/mouthpiece/reed makes it
difficult and sometimes impossible for me to do --
..and,
I love some of the things that the French clarinet/mouthpiece/reed makes it
easy for me to do, that the German clarinet/mouthpiece/reed makes it
difficult and sometimes impossible for me to do --
..and I don't care what anyone else thinks about the matter.>>>
I've read through this string this morning with some amusement - many folks
talking right past each other. Perhaps this points out the limitations of
language, or internet list format, for transmitting ideas.
There are two linguistic issues here. One is complex - the role that
different language has on musical interpretation. I think there may be some
validity to that, but would have to study a great deal more to come to a
valid understanding, or even an opinion, of the issue. For the reasons
stated below, however, I'd aver that examining clarinetists or their
clarinets would not be the best avenue for this study. Likely the best
would be violinists; I'm not aware that the violins played in Germany are
different than the ones played in France. Worst would be singers, as
Germans tend to sing German more accurately than [most] Texans. (Anyone
"hear" Beyonce attempt to sing in French the other night? Golly.)
The other linguistic issue is the use of the word "German." Folks are using
different definitions - or rather using different meanings of the same word.
Does a German person playing a French clarinet sound different from a
Brazilian person using the same instrument? Of course - all clarinetists
sound different. Is the difference due to the German person being from
Germany, due to linguistic/cultural characteristics that may or may not
descend into stereotypes? I share Dan Leeson's skepticism on this point.
"German" refers not only to people, however, but can also mean a different
construction of the instrument itself. Many German people play German
clarinets - not only made in Germany, but with a German bore and key system.
Does an English clarinetist (say, Tony Pay) or an American (say, Greg Smith)
sound different when they switch from an Oehlert-system Wulritzer (a
"German" clarinet) to say, a Buffet R-13 when playing the same piece?
Empirical evidence suggests yes. Tony's noted it. The clarinetists in the
CSO exploit it.
To the extent that "German" clarinets tend to sound a certain way, one can
form a stereotype as to a national "school" of playing. It's likely not the
player, but the instrument that makes the difference. When listening to the
third movement of Beethoven's 9th, for example, the clarinet solo dwells on
a high C for several beats; this is going to sound different on an Oehlert
clarinet (with the left hand second finger depressed) than on a Boehm (open
horn but for left thumb). Now it's certainly possible to try and make a
"French" clarinet sound like a German one, through mouthpiece tweaks, oral
cavity machinations and the like. Nevertheless, I think it's easier to
sound like an Oehlert clarinet if playing one.
I'm interested in how much a reform-Boehm splits the difference. I've
played a couple, but didn't like them much. Others may have a different
experience that I'd like to hear about.
A similar issue. I had a friend in college who, when listening to
recordings of jazz saxophonists, had an uncanny ability to discern the
*brand* of mouthpiece played just by listening. His success rate for tenor
saxophonists playing Otto Links was right about 100%. Equipment matters.
kjf
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