Klarinet Archive - Posting 000409.txt from 2009/02

From: Edward Escobar <elescobar@-----.com>
Subj: Re: [kl] Old school clarinet sound?
Date: Sat, 21 Feb 2009 08:40:19 -0500

I think it has more to do with the style the music is written, which
sounds a bit like a tap-dance number from a R&H musical.

My 2 cents...
We are supposed to adapt though, are we not? Different styles of
music from different era's require different means of production I
would think.

But, I guess if you would want to classify a change of playing
through the years, pick up recordings of Rhapsody In Blue from
different decades and listen to the opening glissando.
But again, the piece itself has gone from a ballroom jazz orchestra
number to a common symphonic number, so it wouldn't be surprising the
style it was played 60-80 years ago and today has changed. But has
the clarinetist done the same?

The guy does have good control though... nice playing.

On 2009/02/21, at 18:20, James Risdon wrote:

> -----Original Message-----
> From: Don [mailto:dhatfield310@-----.net]
> Sent: 21 February 2009 02:11
> To: klarinet@-----.org
> Subject: [kl] Old school clarinet sound?
>
> After watching the YouTube videos of Mate Bekavac I took a few
> minutes to
> look at other videos in the sidebar and came across several by Matic
> Titovsek , particularly this one -
> http://www.youtube.com/watch?v=5_ilhuw3LW0. Reading comments by
> previous
> viewers and was struck by one particular comment. I know there have
> been
> countless posts, remarks, veritable wars on this board over
> descriptions of
> clarinet sound and tone. Words like dark, light, bright, etc., etc.
> have
> been debated and such. But this one got the mental fluids going, and I
> thought I'd toss it out to see where I've missed a change in
> clarinet tonal
> color in the past several years if there has been one.
>
> The comment was "I like this guy, he has kind of an old school, in
> your
> face, big clean sound like those guys from the 50s and 60s."
>
> I've played since 1966 so I can't really claim to be a part of the
> tail end
> of that era even as a serious student. But I was and have been
> exposed to
> hundreds of clarinet recordings, and attended dozens of live
> performances by
>
> clarinetists who played and taught in that era, and before. Over
> time I
> studied with two different Stubbins students, and a professor who
> studied
> with Daniel Bonade, so I assume I was exposed to the "old school"
> sound and
> the techniques/methods/equipment that made it what it was. I have
> at least
> three questions to toss out to see what anyone else may think about
> this,
> and maybe a couple more if I think too hard about it - it has made
> me do
> more thinking on the subject than I really wanted today while
> building a
> website for a customer...
>
> 1. If the clarinetists in the 50s and 60s had a big clean sound in-
> your-face
>
> sound, what are today's "new" clarinetists producing in terms of
> sound?
> Small, dirty inhibited sound?
>
> 2. If this is a real phenomena, when did old school give way to new
> school,
> and who is responsible for it?
>
> 3. Has the concept of clarinet sound really changed, and does
> change in
> technology and equipment account for it in any way if it has?
>
> My thoughts and questions aren't meant to include the differences
> in sounds
> of "schools" of clarinet...American, French, German, etc. For a
> theoretical
> example, if I took my Buffet or Selmer with Kaspar mouthpiece into
> a studio
> decades ago for a lesson with Bonade or Weber or Robert McGinnis,
> what might
>
> any of them have taught me differently about sound and how/what to
> produce
> as opposed to what I would hear today from, say, Tony Pay or
> Ricardo Morales
>
> or any other current clarinetist?
>
>
>
>
>
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