Klarinet Archive - Posting 000170.txt from 2007/03

From: clarni bass <clarnibass@-----.com>
Subj: RE: [kl] Bright and dark sounds
Date: Sun, 11 Mar 2007 12:33:13 -0400

It's intereting (to me at least) how it is very
different in different languages. In my first language
I've never heard anyone refer to sound with the
equivilent words of dark and bright.

--- Hinson's <bud@-----.net> wrote:

> Hello Dan,
>
> Just a little follow up on my daughters parroting of
> the term dark as a
> description of sound. I was surprised to find out it
> came from her
> conductor, who uses it with the meaning being to
> play
> sweeter/classically...and in fact sometimes uses
> classical and dark as
> synonyms. If it makes any difference...her conductor
> is a former Marine Band
> trumpet player with a love for jazz. He is hands
> down the best high school
> director in this area. I'm looking forward to Tony
> Pay clearing this use of
> terms up.
>
> Confused still...with regards to all
>
> -----Original Message-----
> From: dnleeson [mailto:dnleeson@-----.net]
> Sent: Thursday, March 08, 2007 8:00 PM
> To: klarinet@-----.org
> Subject: RE: [kl] Bright and dark sounds
>
> There is a famous story about the oboeist Bruno
> Labate, who
> played 1st in the NY Philharmonic probably before I
> was born. He
> was said to have been such a gifted player who had
> no idea how he
> did what he did. Once during the rehearsal of the
> Bizet C major
> symphony, he played the second movement solo so
> magnificently
> that at the end of the movement, the entire
> orchestra was staring
> at him in awe.
>
> He looked around surprised, and said, "Eh? You lik-a
> my new
> shoes?" He had no idea that everyone was amazed at
> his
> brilliance and thought that they were looking
> favorably at his
> new shoes..
>
> Now the story related to bright and dark.
>
> Klemperer was conducting in the 30s, and at a
> certain point he
> stopped the orchestra to tell Labate how he wanted
> something
> played.
>
> And he waxed poetic about the glory of the passage
> and how it was
> like a woman's silk yellow kerchief floating on the
> air as it
> came down with a sound that was ... blah, blah,
> blah. And he
> went on for some 45 seconds using words like beauty,
> character,
> brightness of sound, elegance, etc.
>
> Finally, Labate interrupred him and said, "Hey
> Klemp! You wanna
> me to play it loud or soft?"
>
> Once I was playing bass clarinet in the Elgar
> Falstaff and did a
> small solo passage. The conductor stopped, looked
> right at me
> and said, "Play that again please." I did, but this
> time alone.
>
> The conductor made a sour face and said, "Can't you
> make that
> sound darker?" I didn't know what the hell he
> wanted. So I tried
> it again.
>
> This time he said, "Can't you cover that sound
> more?"
>
> So I played it again, this time looking very serious
> by putting
> my eyebrows together and trying to get a look of
> fierce
> determination on my face, which is not easy to do
> when you have a
> bass clarinet stuck in your mouth.
>
> "Aha," he said smilingly. "Now you have it,
> perfectly."
>
> I thought to myself, "Loud or soft?"
>
> Dan Leeson
> DNLeeson@-----.net
>
>
>
>
>
>
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>
>
>
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