The Clarinet BBoard
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Author: Hiroshi
Date: 2000-04-21 03:01
Reading Keil's post, I thought:"A clarinetist can acquire techniques of the highest level if he/she with considerable talent trys practice hard enough, maybe 8 hours a day. But his/her tonality would not change basically. An orchestra with special characteristics of tonality would not hire a clarinetist of totally different tonality."
For example, Anthony Gigliotty would be good for Philadelphia(quite European) but would not be in harmony with Pitzberg(quite German). Karl Leister was good for Berlin Philhamonic but he would be out of the place in Paris Concervatoir. Only three orchestras, to my feeling, Los Angels, New York, and Boston are international, to say it worse characterless. Sorry to say, as to Cleveland, I wonder what they are trying to do after the passaway of George Szell. But even ex-Berliner Phil people deplore the decrease of its original tonal characteristics by the name of internationlization. The worst cases are Japanese orchestras changing conductors again and again except German style Osaka Phil, whose long position keeping(may be 50 years)conductor is an old man called Asahina,an enthusiastic Brookner fan.(By Greg Smith I was informed many Osaka phil clarinetists use his mouthpieces. I understand this since French Vandorens cannot give such darker tones.)
So, is a clarinetist's tonality a big element of acquiring a clarinet position? If so, he/she should know what orcestra he/she thinks in harmony with and choose the appropriate teacher to reach this goal not by the grading the fames of music schools.
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Tonal harmony between cl and an orchestra |
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Hiroshi |
2000-04-21 03:01 |
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steve |
2000-04-21 15:58 |
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