 The Clarinet BBoard
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Author: Nick
Date: 2003-01-20 16:16
Okay, so maybe those words are a bit harsh, but I get the impression that a lot of the people on this board have some sort of negative attitude towards him. I think he is a great player, and is the first professional clarinetist whose name I learned.
Is it because of his playing style? Or is he overhyped?
Just curious.
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Author: Sylvain
Date: 2003-01-20 16:55
It's mostly about his unorthodox sound, very airy with a lot of vibrato and some of his interpretation choices.
I have a CD from him called "Romance" that I really have a hard time listening to. He also plays the Copland's concerto cadenza with a jazzy style that I don't find appropriate.Although, I have to say that his recording of the Brahms trio with Emmanuel Ax and Yoyo Ma is quite good.
In the end, he is a well respected musician who is havng a great solo career. He does not get a lot of support from the clarinet community but what he has achieved needs to be respected.
-S
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Author: David Sapadin
Date: 2003-01-20 16:59
I had the pleasure of taking a lesson with him about 7 years ago. My woodwind quintet was in residence at a summer festival where he was playing. He was nice enough to give me a free lesson but when I was at his place.....he sat on the phone talking to his manager for about 20 mins while I just sat there waiting. I decided to play the Mozart for him because I had just heard him play it with Detroit Symphony. Which by the way was aweful. He butchered it. He had beautiful musical moments but I started noticing that he only used vibrato whenever he was out of tune. Yuck. : ( And he had finger tongue coordination problems in the third mov. That is unacceptable for a soloist of his "caliber".
When I finally played, I played the entire first movement and his only comment to me was that I was a very good player, not terrific, just very good. : ( Nice huh? His recordings are a lot different than hearing him live. Plus the fact he is the king of swelling on a note makes me sea sick. Other than that. I think he is a good musician but a terrible clarinetist. Then again.....he is on stage and i am in the audience. Who am I to judge. Its just not what i enjoy listening to.
Dave Sapadin
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Author: ted
Date: 2003-01-20 17:07
I met him briefly after one of his concerts, and he is a very nice man. He was very attentive and personable. He did not know me (I'm a nobody in the clarinet world), but does know my teacher. By the way, he played Mozart's Clarinet Concerto, Weber's Concertino, and some jazzy pieces from memory and flawlessly.
I believe he's been a great ambassador for the clarinet. He has reached a wide audience and has transcribed pieces written for other instruments (like Mozart's bassoon concerto), and performed them on clarinet.
I don't think he's overhyped. Technically he is good enough to have recorded the Neilson Concerto very well, and I believe anly a handful of clarinetists have.
Some clarinetists don't like his tone (wide vibrato sometimes and "bending" of notes) or his phrasing. Those are the main complaints I've heard. I would be thrilled if one day I could play as well as he does, though I would do some things differently.
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Author: Mike_M
Date: 2003-01-20 17:57
First of all, I chuckled when I read Sylvain’s comments. No offense, but I liked his jazz interpretation of Copeland (not the way he pulled it off, but general idea of a jazz influence in the piece); after all, it was written for Benny Goodman! Also, I can’t bear to listen to Stoltzman playing Brahms – the vibrato, phrasing, everything about it seems wrong. To each his own, as they say.
I must say that I’ve heard some really great things about him. He’s known to donate his time to underprivileged children and other worthy causes. And he has obviously helped to bring the clarinet into “Soloist” prominence in major orchestral venues. But don’t get me wrong, I dislike Stoltzman’s style as much as the next clarinetist!
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Author: Wes
Date: 2003-01-20 17:57
Mr. Stoltzman plays with a double lip embouchure which may result in a sound that is different than one expects. At a seminar, I asked him to play the same slow phrase with single lip embouchure and also with double lip embouchure. To me, he sounded better with a single lip embouchure. There is much to his credit but some of his "jazz" efforts are not very significant.
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Author: James
Date: 2003-01-20 18:16
He was also the first professional clarinetist I had ever heard of back in 6th grade. I listened to his mozart recording for a long time.. It took me a long to erase bad habbits that i learned from that CD out of my playing.
I guess he's just the James Galaway of the clarinet community. Flutist cannot stand James Galaway whatsoever. He doesn't follow their idealisms as what it is to be a flutist. Kind of the same thing goes to Richard Stoltzman. Personally I don't think he is any where near the caliber of people like larry combs, jon manasse and others but he is smart in the respect that he changed his playing so it would "entertain the masses". Becuase of that he is now VERY rich, VERY famous, and VERY happy (not that the others are not, he just achieved his a different way).
Good for him in that respect. Still.. I would choose to play like Mr. Combs over richard any day.
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Author: Dr. Michael Kissinger
Date: 2003-01-20 18:41
Stoltzman is a terrific musician and a great clarinetist. Period. I find that most people who are critical of someone else are usually..and quite simply...jealous at the success of that other person. They can't understand why HE (or SHE) is successful and THEY aren't. Maybe if these people spent more time practicing their craft and promoting themselves, they wouldn't have the time to be critical about someone else. Furthermore, when I read statements like "...He also plays the Copland's concerto cadenza with a jazzy style that I don't find appropriate..." I just shake my head in disbelief at the obvious utter lack of musical education. It's a concerto commissioned by a Benny Goodman: a classically-trained jazz clarinetist schooled with a traditionl Western European conservatory-style musical underpining (scales, etudes, Weber, Spohr, Mozart, blah, blah, blah...) Where did this person who made these comments study music? I'd like to know so that I can tell potential students to avoid THAT college at all costs. Come on!
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Author: Sylvain
Date: 2003-01-20 19:11
Well,
This person is not a music student and has no credential to back his comment. However, I happen to have Mr. Goodman recording and he plays the cadenza straight. I also happen to be around players that do have credentials. Major symphony orchestra players, graduate students of highly regarded music schools.
My statement was probably wrong when I said the jazzy style was not appropriate. I meant that I don't understand why some clarinet players (and even some that I TRULY admire) need to swing this cadenza so much that it sounds like a badly interpreted Gerschwin song. Playing it straight with the accent played appropriately gives in my humble opinion just as much jazzy feel to it without having to be mushy-mushy, and altough I am not a music historian I haven't heard of Copland asking people to swing his music.
Mr Stolzman has a very successful career and I respect him for that. If he made it to this level it must be for more than just his PR skills. He has done a lot for the clarinet world, commissioned new pieces, put the clarinet on the front stage as a solo instrument.
I don't know him personally but I am sure he is a very nice person too. I also believe that his sound and approach to the clarinet is only bugging clarinet players
However, I reserve the right not to like his sound, not like some of hid interpretation choices. And as far as jealousy goes, why don't we hear bad comments about other famous players? Why do we hear only praise for Mr Marcellus musicianship? There must something about Mr Stolzman that makes him special in that respect.
I don't like his sound, I don't like his Copland concerto and most of his recording. Too bad for him, but I'm sure he'll survive :-)
-Sylvain
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Author: GBK
Date: 2003-01-20 19:13
Based on popularity with the general public, record sales and number of performances per year, Richard Stoltzman is the greatest living solo clarinetist (with Sabine Meyer a very close second) in the world.
Richard Stoltzman has made it by performing and recording in a world which is saturated with electric guitars, saxophones, violin prodigies and mediocre pop vocalists for more than <b>40 years</b>.
Stop someone on the street and ask them to name a famous clarinetist: After Benny Goodman, Stoltzman is probably the second name mentioned.
You don't have to love him or hate him, but as clarinetists, we need to thank him for his tireless promotion of the clarinet.
I am a fan - he gets my utmost respect...GBK
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Author: classifan
Date: 2003-01-20 19:22
Richard Stolzman has charisma. That's his selling point.
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Author: Bob
Date: 2003-01-20 19:47
Right On, GBK
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Author: Ben
Date: 2003-01-20 19:53
Everybody doesn't hate him (or his playing)! I love his playing and EVERY non clarinettist I have met feels the same way. All of the PROFESSIONAL clarinettists I have met respect his playing and what he has done for the instrument very much.
Obviously many people like his playing very much otherwise he would not have been succsessfull, or stayed that way for so long.
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Author: Jim
Date: 2003-01-20 20:14
Hey,
I like to listen to him.
But what do I know? I have only been playing for 6 months.
Jim
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Author: Katfish
Date: 2003-01-20 20:36
I guess what sums it up for alot of us is a statement I read somewhere. "If I could play like Stoltzman I wouldn't choose to play like Stoltzman".
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Author: Bob Arney
Date: 2003-01-20 20:48
Boy, after all that I wonder what you think of my "idol"--Reg Kell?
Bob A
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Author: Keil
Date: 2003-01-20 20:49
as an aside to what James said Galway is a respected Flutist just one who instead of playing in an orchestra plays solo contemporary pieces. I have a recording of him playing Mozart's flute concerti and the Liebermann flute concerto and piccolo concerto and they are all quite exquisite. After all, he was principal flutist in the Berlin Philharmonic once upon a time, quite different from our beloved Stoltzman, who btw i'd prefer not listening to but respect as a successful musician. Sometimes, it's good to branch out and create new venues to perform in and ways of performing it's just a matter of being open to the changes after all during Wagner's time he was considered to be quite risque and look at him now. Oh and Mozart's Don Giovanni didn't go over to well in France either but who's keeping count!?
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Author: nzdonald
Date: 2003-01-20 21:11
i'm glad someone else agrees with me (and my flute playing friends) about Galway... i've heard fluties of the highest caliber comment favourably (and sincerely) on his playing, then say they don't like to play like him. With Stoltzman people usually look a bit worried for a second, look around to see who is listening, and then say they don't like his PLAYING but respect him for his success and contribution.... these two reactions can appear to be similar, but somehow the "vibe" is always quite different.
meanwhile, what do i think of Stoltzmans playing? well, i don't really like it that much- despite hearing moments that i think are certainly inspiring.... he is a great live performer (my ex wife enjoyed the Corigliano Clarinet concerto, which is a true testimony to his skill as she doesn't like modern music very much).
He is concerned with music as "art", instead of the quasi robotic performances of some players, lacking in any sort of imagination but instead safely hiding inside the boundaries of "acceptable taste" (these players admitedly don't usually get major recording contracts). I'd like to see Stoltzman pay just a little bit more attention to these boundaries (and those other players more attention to ART please), but (as has already been said by others) he is much more successful than me and (thank goodness) he's certainly NOT boring!
donal
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Author: Ginny
Date: 2003-01-20 21:15
I like his playing, it seems so personal, so him. I enjoy hearing that. The academics can argue about the properness, vibrato and tone, but he expresses (his own I assume) emotions.
If I could play like Sabine I wouldn't, nor would I play like Richard. I'd play my own ideas, feelings and thoughts.
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Author: Ginny
Date: 2003-01-20 21:16
Oh yeah, my son and I used to play a fun game when we played duets.
It was called you be Richard, I'll be Sabine. Then we'd switch. We had fun with that!
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Author: Brenda Siewert
Date: 2003-01-20 21:41
I happen to respect and enjoy Mr. Stoltzman. If everyone sounded exactly the same and fit into a certain mold, what would be good about that?
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Author: bob gardner
Date: 2003-01-20 22:08
I though that everyone except me hated Aker Bilk.
i purchased Stoltzman book and it was way, way above my playing skills; so I gave it to my girl friend.o
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Author: dennis
Date: 2003-01-20 22:52
Yes, the word hatred is harsh and so is anything akin to it.
There is far too much hatred in this world already and preferrably we don't need to bring it into theis site.
Perhaps many people don't know Richard's trials and tribulations of his early years. When he began his solo career, there were many obstalces for him to overcome ; mostly and for some odd reason, here in the US. Rather than succumb, he chose doing live performances and to begin recording on off beat labels like Nonesuch, etc.......in Europe. This he did for many years. The recordings were then distributed throughout the US and he began to 'get a name' for himself. Ultimately, he became a founding member of many clarinet/instrumental workshops and Music Camps.
I prefer many aspects Marcellus's clarineting over McCaw's and likewise of their Mozart Concerto recordings. I don't hate one, I simply have a preference of one over the other.
And yes, GBK is correct, Stoltzman deserves respect.
Ironic, here we little people sit, many a wannabe or a not even was alomostbe, yet we find the need to thoroughly stomp on a internationally reknown and respected performer. I'm sure that if Richard was to critique another's clarineting, he wouldn't be half as harsh as some of the comments leveled at him through various postings on this BB.
It works for him !
regards
dennis
ps...beyond both being clarinetists, the only 'thing' I have in common with Richard is that eons ago, we had the same teacher.
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Author: Hank
Date: 2003-01-20 23:31
Ginny and Brenda,
I think you have captured the essence of what clarinet playing should be with the "Richard and Sabine" game and the "If everyone sounded exactly the same and fit into a certain mold, what would be good about that?" Ginny, that's terrific to be able to play duets with your son; I have to settle for the golf course since the sons played trombone, tuba, and percussion.
I want to sound like is Hank when I play. A little of this, a little of that; a focused sound that is rich and full with a playing style that is probably not like anyone else. I do have my own concept of what is best for jazz, concert band work, and chamber playing; all are a bit different (and with the same set-up but let's not get into that).
Hank
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Author: Mark Charette
Date: 2003-01-21 00:07
dennis wrote:
> Ironic, here we little people sit, many a wannabe or a not
> even was alomostbe, yet we find the need to thoroughly stomp on
> a internationally reknown and respected performer.
LOL! No one, not even one little person, on this Bboard has ever "stomped" on Stoltzman. Some people dislike his performances, some like them, but "stomp"? I've never heard anything but utmost respect for his technical ability.
I've heard him live a few times, and enjoy about half of what he does; the other half I'd rather have someone else enjoy. But so what? He does what he does, and makes a living at it. Cries all the way to the bank, I'll wager.
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Author: Alseg
Date: 2003-01-21 01:20
An interesting aside......Mr. Stoltzman appeared in Pittsburgh as a soloist with the Pittsburgh Symphony. He did the Mozart Conc. and then some other stuff, including bantering to the audience.
Oddly enough....The following year, the Pittsburgh Symphony devoted an ENTIRE program to "the classical clarinet" and had their principal clarinetist (Michael Rusinek)do the Copland Concerto and a Brahms chamber piece both in the same concert. If they were trying to prove a point, it came across to me loud and clear. No offense to Mr Stoltzman, showman that he is, but If I had my 'drothers, I would want to play like Mr. Rusinek anyday.
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Author: david dow
Date: 2003-01-21 01:22
i have long held Stoltzman in esteem. He is a gifted promoter and an excllent performer with a tremendous style. I liked his copland recording of the Concerto very much and can say I appreciate and enjoy his playing greatly
Sincerely
David Dow
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Author: classifan
Date: 2003-01-21 01:25
To me, his Brahms sonatas with Richard Goode on the RCA Victor was pretty good, although he could have toned down the phrasing a little bit. That might have been so that he gets the point across to the "masses" and not intended for the hardcore clarinet players, who know what's going on. His Copland Concerto was extremely well down and deserves much praise. His technical ability and articulations are very excellent. Does anybody know what's up with the light colored barrel he uses? Seems to be made of maple of something. And it doesn't look like he uses a Buffet. Is this true?
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Author: Wayne Thompson
Date: 2003-01-21 01:42
Well, I'll be silly and answer this question even though I haven't yet read the 27 answers that have gone before.
I don't hate him at all. I think he is great. I know some have issues about his tone or vibrato, or even his success, but he is a facile and interesting clarinet player, I have enjoyed seeing him in concert a number of times in the last 20 years, and I enjoyed very much a vcr tape I've seen of him and Dudley Moore discussing the Copland concerto. I've heard it said that he would probably not be appropriate as an orchestral player because of his style, but he isn't and orchestral player. And finally, I'm not sure I'd sound exactly like him if I had a clear choice to, but I've come to enjoy his interpretations. Lately I've been listening to his Weber 1st Concerto, and I like it a lot.
Wayne Thompson
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Author: Kat
Date: 2003-01-21 03:16
My dad got me his autograph on a CD last year when he played (I think) in Youngstown OH.
My folks enjoyed the program, but since I live in MN, I wasn't able to partake! At any rate, my dad said he was a nice guy, and it's also not just his name scribbled on the CD, but something like "To Katrina: Good luck with those reeds!" I giggled...because I thought it was pretty remarkable for him to have taken the time to listen to my dad talk about me (weird though, my dad bragging on me or something!) but because he took the time to think about what to write and to write it.
Now, as to his playing...
I actually don't have a problem with the "crossover" discs. I frankly enjoy listening to some of them. As far as Mozart goes, however, I've never liked his USE of vibrato in the piece. I haven't listened to his Copland recording recently enough to be any use there, and I don't own his Brahms sonata recordings.
As I've said before, I don't believe it's the PRESENCE of vibrato in most clarinet playing that is the problem. It's WHERE and HOW the vibrato is used. We as clarinetists are not trained to use vibrato as an expressive device. I believe string players, flutists, and oboists are all trained when to use different amounts of vibrato depending on the expressive effect desired. Not saying I can play this way, but it'd be an interesting thing to work on when I've won the Powerball.
(stepping of the vibrato soapbox),
Katrina
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Author: Whitney
Date: 2003-01-21 03:33
I agree with the "I really respect him, but I wouldn't choose to play that way." I was lucky enough to get to see Mr. Stoltzman perform nearly 5 years ago, and as a young clarinetist, I was in awe. I can't remember what exactly was played, but the second part of the concert was an interesting contemporary piece that had the audience rolling on the floor... the intended effect, I assure you. ((By the by, in case anyone can dig up what was played... it was at the Bass Hall in Fort Worth, Texas back in 1998 or 1999.)) I thoroughly enjoyed the performance, though my parents weren't quite sure what to think. However... I didn't fall madly in love with his sound. It wasn't what I usually look for in a clarinet. Now, understand that I'm unfairly picky about sound. I'm weird, and haven't the experience to be so picky, but I am. :-) He sounded delightfully jazzy on that contemporary piece, though, and it really worked in that case. I'm not entirely sure if I could handle hearing a busload of Sonatas or Concertos or etc. played in exactly that manner by him, but I will admit that I'll likely never be THAT good at what I do, and I can only hope to enjoy my life's work as much as he seemed to enjoy performing at that concert.
As far as playing like him, I've never really tried to emulate his sound.... Until now... I'm working on Bernstein's Sonata for Clarinet and Piano, and I think jazziness is slightly appropriate. I probably won't be a little clari-clone, but I've heard a recording of him playing it. I was surely blown away. I believe my exact response to finding the recording consisted of excessive joyous squealing, followed by sending the link to everyone I know.
So, in short, love the man, love the music... But probably won't ever run right out and buy "Stoltzman Rocks the Classics"(Now on three CDs!) or anything. ;-) ((Unless it's on sale.. I'm cheap anyway!!!))
My two cents,
Whitney
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Author: Wayne Lee
Date: 2003-01-21 03:58
I do enjoy Mr. Stoltzman's bold interpretations and maverick style, perhaps aided by the fact that as a violinist, I am not as sensitive to his alleged technical shortcomings as clarinetists may be. I think that his recordings of the Brahms Sonatas and the Clarinet Quintet contain many incredible ideas that sometimes aren't well executed. He may not be as great a clarinetist as Mr. Neidich or Mr. Shifrin, but there's no doubt in my mind that he's a great musician.
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Author: JMcAulay
Date: 2003-01-21 05:36
Everyone does not hate Richard Stoltzman. Nor, for that matter, does everyone envy him or his playing style or ability. Hatred and jealousy are two emotions that have no positive sides.
Personally, I rather appreciate Stoltzman. No, I wouldn't want to play as he does, but then I don't want to play as anyone else does, either.
GBK wrote:
"Based on popularity with the general public, record sales and number of performances per year, Richard Stoltzman is the greatest living solo clarinetist (with Sabine Meyer a very close second) in the world."
When one includes the consideration of number of performances per year, this is likely now correct, as Mister Acker Bilk is no longer performing. He's living on the residuals from "Stranger on the Shore" and daubing paint onto canvases to enjoy himself in retirement. However, he was the top record-selling Clarinet soloist of the second half of the twentieth century. And I'll bet most who call themselves Clarinetists have never heard Bilk play jazz, which is his real forte.
GBK also wrote:
"Stop someone on the street and ask them to name a famous clarinetist: After Benny Goodman, Stoltzman is probably the second name mentioned."
Frankly, GBK, I'd rather bet on Bilk. But perhaps you're right -- and surely you are, on the "Classical" scene. Anyway, does this tickle me? Hardly, because my personal belief is that Eddie Daniels is the greatest living Clarinet player on this planet. Now let's see what *that* stirs up.
And I must again thank GBK for having introduced me to the amazing skill of Daniels. Anyway, Stoltzman is quite okay in my book. And yes, Bob Gardner, so is Bilk. (Bob, you are no doubt not alone in having decided to study the Clarinet because of Bilk.)
Regards,
Joh
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Author: Terry Horlick
Date: 2003-01-21 06:01
This is an interesting thread. I think the phenomenon of dislike for a successful artist is a part of human nature. I know I have felt it and am sure that it is pure jelousy. I like the little I have heard of Stolzman on the one CD of his ("Aria") I have. I am mostly a sax player and see the same thing with sax players.
I don't know one sax player who will admidt to enjoying anything Kenny G has done, but will name plenty of less successful players they do admire. We all dislike the solos and the repetitivness and the commercialism, but not one of us can hope to entertain and give as much joy to listners as that man has managed to do.
I wish I could play clarinet as well as Stolzman, Goodman, Fountain, Bilk, or Meyer and sax as well as G, Desmond, Parker or my current favorite, Brent Jensen. It will never happen, so I will contine to purchase their work and enjoy it while professing disdain... gotta play the game!
I think it is just part of each of our deserved little personal inferiority complexes. Why do folks like to put others down? I abhor that, especially when I find myself doing it!
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Author: Liquorice
Date: 2003-01-21 07:37
I have to agree with Sylvain about "swinging" the cadenza in the Copland concerto. The notes are written "straight", a later Copland writes in dotted rhythm, so that implies that this section should be played straight. However, the real proof lies in the fact that Goodman plays it straight on his rcording with Copland conducting.
So, although the concerto was written for Goodman, some classical players tend to overdo what they consider to be the jazz elements of the piece. But this is a phenomenon typical of classical players dabbling in jazz- which is what I consider Stolzman to be in his jazz ventures.
But just looking at the classical side of his playing- I think the reason many clarinet players don't like his playing is purely because of his wide vibrato. The same is true of Emma Johnson. We all have our likes and dislikes, but only the players who play with such a wide vibrato summon up such venomous dislikes from clarinetists!
Having said that, I do admire his performance ability. I heard him once playing the Copland concerto live in Lausanne. He stood on stage, played from memory, and looked like he was spontaneously improvising the piece as he played it (which, I must admit, he sometimes was!). But the effect was breathtaking, and the audience called him back for 3 encores. So he's definitely doing something right.
GBK- in terms of famous clarinet players, Sabine Meyer is definitely more famous than Stolzman in Europe.
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Author: Allen Cole
Date: 2003-01-21 11:18
I don't think that most folks would deny that Stoltzman is a terrific player. I do think that many of us avoid his recordings as a matter of stylistic taste.
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Author: william ainsworth
Date: 2003-01-21 14:07
I really enjoyed this discussion. I love Richard Stoltzmans's playing. What I want to add regarding vibrato is something that Artie Shaw wrote in a preface to a study book that I own. He said that a clarinet without vibrato sounds like a miniature foghorn. He was refering to jazz though. I wonder though, that if classical singers can vibrate all over the place when performing, why can't clarinetists when playing classical music, when it seems appropriate.
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Author: Sylvain
Date: 2003-01-21 15:15
I went to a Masterclass by Guy Dangain a few years back and he made a statement that remeber even today.
"The clarinet sound is so pure and beautiful that it does not need vibrato"
It's a pretty funny statement and I am not sure I agree with it.
Stolzman was from a family of singers and vibrato was always part of his concept of sound.
I think clarinet players should learn how to produce different kinds of vibrato and use them appropriately. I see no place for vibrato in Poulenc sonata, but I can think of a few spot in Brahms where I would use it, if only I knew how too :(
-S
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Author: Ed
Date: 2003-01-21 16:19
I think that it is important to think about the longevity Stoltzman has had. I am sure he has off days, who doesn't? To have the career he has had is remarkable. I often think about these players who have life long careers and how they play in good and bad times, healthy or not. To think of the audiences he has reached, players he has inspired is astounding. He has recorded everything, from classical to modern. He has continued to commission works for the instrument and work to expand its audience and repertoire. One may not always like his approach or interpretation, but it is his, it is a personal statement. At least it is not dull, lacking style or thought, or a clone of someone else. I think that he deserves respect, whether you like what he does or not. I respect anyone who can do what he has done and make a path for himself in this crazy business.
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Author: Kat
Date: 2003-01-21 16:29
William a,
Singers will use more or less vibrato depending on where in the phrase they are. It's used as an expressive device as well as being part of their concept of their sound.
Personally, I don't think musicians should just use vibrato everywhere. It's part of an arsenal of techniques for playing the music itself.
Katrina
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Author: brenda siewert
Date: 2003-01-21 18:25
Maybe I'm just getting old, or perhaps it's that I'm facing gall bladder surgery in a month or so and can't handle stress--but whatever happened to focusing on the positive attributes in people? Unless you're an orchestra conductor or in some way are paid to critique someone's playing what is the purpose of being hyper critical of a professional who makes a good living at what he does and seems to enjoy himself in the process? I like some of Stoltzman's recordings and don't like others. So, here's how I fix the problem: If I don't like it, I put it away and don't listen to it. If I like it, I put it in the CD player and enjoy myself. Sometimes I can even pick up on things that make my own playing better--or worse.
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Author: classifan
Date: 2003-01-21 18:35
Does anybody here like the Fantasma/Cantos by Toru Takemitsu? I think this is an excellent piece, written for Richrad Stolzman I believe. Were there any discussion of this piece here before?
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Author: Clarence
Date: 2003-01-21 18:55
I find the title of this thread repulsive and I never have liked back seat drivers. I have never heard any of Mr. Stolzman's recordings, but sounds like I need to buy one of his CDs.
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Author: Robert Small
Date: 2003-01-21 19:44
I like Stoltzman pretty well. And probably mostly due to the fact that he isn't afraid to deviate from classical style orthodoxy. Seems to me that alot of players in the classical field think that all clarinetists should sound the same.
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Author: Mark Charette
Date: 2003-01-21 20:57
Personally I think the thread was a troll (or close to it) and most of us bit ... the same thread gets put up repeatedly, though not so often with such a drastic title.
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Author: Nick
Date: 2003-01-23 18:43
The thread was absolutely not a troll, it was truly a question of curiosity.
I've been listening to Richard Stoltzman for a long time, and I've *always* liked what I've heard. Rather that comes from inexperience or not.. I cannot say. I own a CD he released called "Aria" which has famous opera pieces transcribed for clarinet (and some for clarinet choir) which I thought was really interesting, well thought out, and well performed.
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Author: Rob W
Date: 2003-01-25 03:35
As described in "Aria", Stoltzman talks about how much of his playing is influenced by legendary opera singers such as Maria Callas. How many of you listen to Callas, or anyone other than clarinettists, to find your "perfect sound"?...
Yeah, he does things differently, but so what? To each their own.
Personally, I love his playing. I heard him live at the Kennedy Center play the Copland Concerto, and I loved every moment of it. Although, I would say the only thing I dislike about his playing are his air leaks...but hey, he's a recording artist!--the editing room does wonders! 
Rob
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Author: jim S.
Date: 2003-03-01 17:54
Tastes change. Brahms was inspired to write his sonatas for Richard Mulfeld who used a heavy vibrato according to a string player who heard him in his (the string player's) youth. If Brahms liked vibrato in the clarinet can there be a god-given iron rule that it is always wrong to use it in legit. music?
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Author: Webmaster
Date: 2003-03-01 18:45
A beautiful example of a "thread that will not die".
If you have something of real value to add, not just rehashing everything that has already been said, let me know, and I'll reopen the thread just for you.
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The Clarinet Pages
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