 The Clarinet BBoard
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Author: bobmi74
Date: 2003-04-19 01:53
How does a person begin a solo career, besides being really good. I thikn the main musician I'm thinking about is Wynton Marsalis. He's got lots of CDs and tours and plays with top groups. How'd he get started? I don't know many clarinetists like that. I have an Emma Johnson CD, and she sounds really good. How does a person get a CD made and all that stuff? I would love to become a soloist and tour across the country and all that. Anybody know??
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Author: Nick Angiolillo
Date: 2003-04-19 01:58
I think personality has a lot to do with it. I've seen Wynton Marsalis perform several times, and he even did an all-day visit with my brother's band at the local high school too. My brother was invited to an after-show party that night with all the Marsalis boys including the father, and he says Wynton is the friendliest and funniest person he's ever met. If it weren't for the performer's off-stage personality, I don't think I could appreciate him nearly as much.
Ellis is still my favourite, though. :-)
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Author: GBK
Date: 2003-04-19 04:51
Slightly off this thread, but I have to mention the fact that through the efforts of Wynton Marsalis, Louis Armstrong is finally receiving the recognition he rightly deserved as the first great jazz solo artist.
Thanks Wynton...GBK (who cannot listen to "West End Blues" enough times)
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Author: Synonymous Botch
Date: 2003-04-19 13:22
As an instrumentalist, it will help to photograph well.
Where most Jazz releases sell in the thousands (or if you're lucky tens of),
Diana Krall's last release moved 94,000 copies - in the first week!
Being blond, leggy and wrapped in chiffon won't hurt.
******
Selling records has precious little to do with making music as a performer.
In fact, few performers see much in the way of payment for CD sales.
The money (and fun) is in performing at live venues. That's how you become a working, professional soloist...
You have something to say, that people will pay to hear.
You have some familiarity with your chosen instrument.
You study your craft for 25 years to become an overnight sensation.
I think there are less than 20 professional clarinet soloists performing as headliners... the rest slog it out in ensembles, orchestras and schools.
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Author: Shawn
Date: 2003-04-19 14:41
It would help to win a big competition. You could always win or place in this year's Munich competition. Other than winning one of the big concerto competitions, you might want to win a principal position of a Full-time orchestra.
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Author: GBK
Date: 2003-04-19 15:26
"...It would help to win a big competition. You could always win or place in this year's Munich competition..."
Winning would help...
But unfortunately, for those gifted pianists who came in 2nd (3rd or 4th) in the Tchaikovsky Piano Competition they are still at home teaching "Twinkle Twinkle" to a bunch of 9 year olds.
The world only embraces the "winners" ...GBK
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Author: Keil
Date: 2003-04-19 15:33
i think it has alot to do with who you know and being in the right place at the right time... besides leaving it up to chance, i think that one good way to start a highly successful solo career would be for you to just get out there and do it. Play whenever and wherever possible. Make a name for yourself, take auditions, get exposure, form groups whether they be chamber or what not, make demos... you've gotta want it that badly... If at all possible get to know soloist you'd like to emulate (sp?) and just do it.
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Author: sfalexi
Date: 2003-04-19 21:26
I say get more exposure. Play as often as you can, at smaller gigs where you are a soloist. This will put your name in people's heads. If they remember you, the mention to their friends that you are phenominal. Sooner or later, someone who actually has pull in the music industry will get wind of your performing, and will come "check you out" (much like a recruiter). Of course they won't tell you they're there, cause they want to get the real deal and not just you're best because you know you are being watched.
In the meantime, you get to have fun playing and tooting and making people happy.
This is how I would go about it. I would also join local community bands because if you're surrounded by musicians you can ask them if they know anyone and get advice or help from them.
Alexi
US Army Japan Band
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Author: bobmi74
Date: 2003-04-20 19:17
Cool...i now have lots of information....now i have another question...When do clarinetists get to play concertos? Like if they're a member of an orchestra, does the maestro just say "we're playing mozart next week" or something like that? or do people petition for a concerto featuring themselves or what? or do only soloists get to play that stuff?
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Author: Keil
Date: 2003-04-21 05:06
Alot of that from my understanding is determined within each players contract. Often times, however, soloist whether international or from other orchestras due the majority of concerto playing, very rarely do you see members within the orchestra playing concerti with the orchestra. I read a story where Anthony Gigliotti (sp?) was asked to play the Mozart when the scheduled soloist was unable to play. Anyone know the specifics of that story? Basically, what i'm saying... when you're good you're good and there's no telling when life will deal you a royal flush! Just be ready :-)
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Author: GBK
Date: 2003-04-21 05:13
Keil wrote: "...very rarely do you see members within the orchestra playing concerti with the orchestra..."
Stanley Drucker has soloed with the New York Philharmonic approximately 150 times...GBK
Post Edited (2003-04-21 06:33)
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Author: Mark Charette
Date: 2003-04-21 05:31
GBK wrote:
> "...very rarely do you see members within the orchestra playing
> concerti with the orchestra..."
>
> Stanley Drucker has soloed with the New York Philharmonic
> approximately 150 times...GBK
Frank Cohen solos frequently with the Cleveland Orchestra ....
And, on many recordings, you'll find the principal of the orchestra doing the solo.
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Author: HAT
Date: 2003-04-21 12:28
You have hit on one of the bullseyes in why there are almost no clarinet players making a living purely as soloists (most have teaching positions, etc).
For the instrumental soloists who tour, orchestra dates are among the best paid dates they get.
But every orchestra in this country has its own principal clarinetist. The audition process and the amount of competition for those jobs insures that the winner of the audition is going to be some kind of virtuoso anyway.
Only a few clarinet 'soloists' have something to offer that goes so far beyond what a sitting orchestral principal can do that it is worth paying the visiting soloists fees and expenses.
Larry Combs, for instance, not only played a brilliant Corigliano, he even toured with it. Very few 'soloists' could have done it as well.
Of course, that work was written for Stanley Drucker, his style, his temperment and of course his technique. I wish I could have heard him play it live. The live and commerical recordings of him playing it are truly awesome.
Many major principal players (not just clarinet) have in their individually negotiated contracts how often they will play concertos with their orchestras. Some even require a commissioned concerto every so often!
Smaller orchestras are now cutting back on soloists to save money. Wind soloists will be the first to go, you can bet on that.
Solo career is a great dream but (even in relative success) a truly tough reality. It's a lonley life as well. Lots of time on the road, in hotels, etc. Imagine trying to sound your absolute best in a different climate, altitude, etc. destroying your reeds every week. . .
David Hattner, NYC
<www.northbranchrecords.com>
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Author: allencole
Date: 2003-04-22 04:29
If you are every lucky enough to play in the pit for "Gypsy" listen carefully to "You Gotta Get a Gimmick." This song contains many of the answers to the question.
If you look at some of the better known soloists out there today, you'll find that they either have some sort of 'star quality' (Marsalis & Yo-Yo), or they bring something extra to the table in terms of creativity. Look at Stoltzman's additions to the repertoire, or Eddie Daniels' adaptions across stylistic lines. Look at scholarly and educational acheivements like the "Marsalis on Music" series.
To really stand out as a soloist, you really have to be able to project a lot of energy on stage, and you have to engage the audience. Given the ability levels of most orchestral woodwind players, this is the only thing that I can see setting someone apart as a professional soloist.
I also agree strongly with the comments about Wynton vx. Diana Krall. In the course of some genealogical research, I have had the chance to read accounts and discriptions of several 18th and 19th century preachers. Often the praise heaped on some of them seemed to have little to do with their craft. In one case, special notice was given to a minister's 'handsome face and fine physique.' In a number of cases, there were references to the resonance of a voice, or a soft and kindly countenance. Back then, preachers were entertainers to a degree, and their survivial depended upon the offering plate. Piety and scholarship were MINIMUM standards. Star quality often made the difference.
How about ability without personality? When the blugrass band The Dillards appeared (multiple times!) on the Andy Griffith Show as the infamous 'Darlin Boys', it did little to make their group a household name. Despite their profound musicianship, I can't remember one of their faces. All that comes to mind is Denver Pyle blowing into a jug, and Don Knotts swaying his head with a silly grin. Years later, when Arthur Smith sued Eric Weisberg over the authorship of Dueling Banjos, I never once heard public mention that the song had been performed (years before it was supposedly written) by the Dillards on the Andy Griffith Show, and seen in thousands of reruns by millions of Americans. This is how much attention gets paid to performers without considerable charisma.
All this is meant to illustrate that even in classical music a soloist isn't just a musician. He or she is also an ENTERTAINER, even if the standards are high brow. In the clarinet world that's quite a tightrope to walk.
Allen Cole
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Author: Keil
Date: 2003-04-22 12:21
Let's not forget how long Stanley has been with the NYPhil . I believe short of black pepper and sand Stanley Drucker's tenure is by far the longest. Even though, I'm sure those concerti played were contractual. Besides, how often does one see a wind soloist in front of an orchestra honestly? I think it would serve the orchestra's better to showcase "in house talent" I can imagine it is much cheaper than hiring outside talent as well as create a sense of ownership with respect to their local orchestra for both the performer's and the patrons.
Clarinetistry with a Smile :-)
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