Klarinet Archive - Posting 000050.txt from 2007/03

From: Margaret Thornhill <clarinetstudio@-----.com>
Subj: [kl] gender and the clarinet
Date: Sun, 04 Mar 2007 12:25:04 -0500

Danyel,

I think you need to travel and become more aware of the gender politics
of non-German speaking countries. You are singing an old song, one that
is no longer of much interest among working musicians, certainly in
America, probably in England as well.

There are plenty of women clarinetists here with what Americans would
consider a beautiful sound. Shall we name names? I'll start with Michele
Zukofsky, solo clarinetist of the Los Angeles Philharmonic, who
consistently plays with a gorgeous tone, on German system. Laura de
Luca, who plays chamber music in Seattle. Emily Bernstein, the late Los
Angeles studio player whose work is on many film sound tracks. In
Europe, Sharon Kam (Israeli and American trained) has a delightful
sound. Are we avoiding Sabine Meyer, or did I come into the discussion
too late? I've had women clarinetists in my own studio who probably lurk
on this list who had wonderful sounds, at least one of them playing
professionally in the San Francisco area who sounded like a dream even
at the age of 15. If we move away from the morass of "tone", we can talk
about the accomplishments of many other women clarinetists--Elsa
Verdehr, who has commissioned an entire range of literature for the
instrument. New music pioneers like Jean Kopperud and Laura Flax. And
three generations of English women clarinetists now living with
distinguished discographies and teaching careers.And lots of wonderful
young players trying to move up the difficult career ladder.

Time to get over it, Danyel. Your bias is a nail in the coffin of your
female students' hopes.

Leopold Wlach, pace his distinguished career is, not at all my ideal
sound. Well, it's all a question of taste, isn't it?

More about tone in the next strand, I'm sure.

Margaret Thornhill

http://www.margaretthornhill.com

With all due respect to Mr. Wlach's artistry,

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