 The Clarinet BBoard
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Author: LeWhite
Date: 2004-05-16 11:59
Who is Janet Hilton?
I have a CD with the Poulenc sonata on it, and I feel that her playing is... Uhh... Questionable, at least to my tastes.
I find her sound a little spread and legato lacking in some of the bigger intervals. Her accents can be too overwhelming, sharp, and it sounds like they're produced with her tongue as opposed to being produced by the airstream, and I feel it's all a little crass and not nice to listen to.
On the other hand, the 2nd movement of the sonata is quite nice, if a little strained in the altissimo.
Anyone share my opinion or have anything to say?
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Author: CPW
Date: 2004-05-16 12:55
Is she Paris' sister???
Hot dang!!
Seriously, you have openned the Brit vs Franco-Amuurikin sound pandora's clarinet box
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Author: RAMman
Date: 2004-05-16 13:35
She's head of clarinet studies at the Royal College of Music (errr, may actually be head of wind now I think...) in London.
I'm not a huge fan of her playing, which is why I turned down a place to the RCM, and went to the Royal Academy instead.
As for the 'British' sound debate, her sound is very much in the minority over here, most of us prefer some focus!
I have one recording of her which I like, and that's her Mozart 5tet, very sensitive playing.
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Author: John J. Moses
Date: 2004-05-16 14:29
From Sanctuary Classics:
Janet Hilton, clarinet
"Janet Hilton was born in Liverpool and studied at the Royal Manchester College of Music and at the Vienna Konservatorium. She made her BBC debut at the age of 20 playing the Mozart Concerto with the BBC Northern Symphony Orchestra, and has since gone on to build an international reputation as one of the finest of today's clarinettists.
In Britain she has appeared at the Edinburgh, Bath, Cheltenham and Aldeburgh Festivals and at the BBC Promenade Concerts and she plays annually in the USA where she is a member of the Michigan-based chamber ensemble Fontana.
Composers as diverse as John McCabe, Iain Hamilton, Alun Hoddinott and Dame Elizabeth Maconchy have written works for her. She has recorded the Weber Concertos with Neeme Järvi and City of Birmingham Symphony Orchestra, Stanford's Concerto with the Ulster Orchestra and Vernon Handley and concertos by Nielsen and Copland with the Royal Scottish National Orchestra and Mathias Bamert. A long-standing partner of The Lindsays, she has recorded Brahms' chamber music with them and pianist Peter Frankl.
Janet Hilton has an equally distinguished record in orchestral playing and teaching alongside her solo career. She has been principal clarinet with the Scottish Chamber Orchestra and with Welsh National Opera and is Principal Clarinet in the Manchester Camerata. Janet Hilton has recently become Head of Woodwind at the Royal College of Music, having formerly held a similar position at the Birmingham Conservatoire."
JJM
Légère Artist
Clark W. Fobes Artist
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Author: theclarinetist
Date: 2004-05-16 22:00
I've only heard a CD of her playing the Weber Concertos. I wouldn't say that I thought she was bad, but I didn't like her sound at all. As mentioned above, there is a lot of controversy about her playing.
Also, be sure to avoid generalizing about a player's country of origin. From my listening experience I think you can no more discuss british players all that the same "english sound" than you could Marcellus and Stoltzman having the same "american sound". It's better to analyze players as a individuals, I think.
DH
theclarinetist@yahoo.com
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Author: beejay
Date: 2004-05-17 13:18
Jack Brymer said in his book The Clarinet that there are accents in music as there are in speech, and that it was possible to tell the difference between a clarinetist from Dover and another from 20 miles across the water in Calais. It also is true that many British clarinetists play wider bore instruments than are generally used in France. But I agree that players should be analyzed as individuals rather than by the country they come from.
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Author: Ken Shaw ★2017
Date: 2004-05-17 15:37
There have been many English clarinet tones. Charles Draper's was large, focused and resonant, as was Thurston's.
However, the "floating" B&H 1010 tone, with substantial vibrato, is what we think of as characteristically "English." At its best (as in the early recordings of de Peyer, Brymer and Kell), it has a unique beauty. The English setup is difficult to control, though, and de Peyer and Brymer made some records that are not easy to listen to. As Anna Russell said about lieder singers, they're judged the way you would a Camembert cheese -- the older and rottener it becomes, the better it is.
An additional complication is that some English players have great influence despite technique and intonation that can be charitably described as "suspect." For example, while she plays Brahms very well, Thea King simply can't cope with anything more difficult, and most of her recordings of English concertos are a mess, slowing down to half speed to get through the hard parts, with the seasick conductor and orchestra scrambling to stay with her.
Nevertheless, I find that Emma Johnson and Janet Hilton have something to say, even though you have to listen through some problems to get to it.
And you'll never hear better playing than de Peyer's Spohr #1 and Weber #2, or Kell's Brahms Quintet.
Best regards.
Ken Shaw
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Author: RAMman
Date: 2004-05-17 21:11
Firstly, I don't know a single British player in the current orchestral or solistic environment (except Emma Johnson and Janet Hilton, who lets face it...Erm, no I'll stop there!) who plays on a wide bore clarinet.
Thea King can't cope with anything more difficult than Brahms? What is more difficult that Brahms!? Also, she's one of the finest players and teachers in the country, even if I would never make a sound like hers.
I have a feeling that many US players think of us 'backwards Brits' as being stuck in the days of Brymer and Thurston. We use the best of all worlds, in case you haven't noticed, there are some OUTSTANDING British players of the more current generations.
To be honest, in case you can't tell, I find some of the posts on this subject insulting.
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Author: Chedmanus
Date: 2004-05-17 21:39
Now this is getting silly. I dont think the bore of the clarinet has anything to do with the sound. Janet Hilton, for future reference uses a standard Buffet.
There are plenty of wide bores being used in the Uk right now, BBC Symphony, Royal Opera, London Phil, Royal Philharmonic, to name a few, AND, those players sound damn good too.
I agree with RAMman that the young generation of British players are quite excellent. The British do not breed their musicians inside the restricted box that Americans are raised; they allow much more freedom and individuality. Most recenly the young players have begun to employ more of the technical standard that we do in the US, with some VERY impressive results.
Janet Hilton, bless her heart, is old news; look to what the young folks are doing now in the UK and there will be no more British bashing.
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Author: RAMman
Date: 2004-05-17 21:47
Chedamus,
Wasn't sure about Janet Hilton's bore size, so I stuck it in to stop it coming up again, whoops!!
I stand by my first comment, I don't know a single person on a wide bore. I was using it as statistical model to show the ratio of wide bores to 'small bores' in use in this country. I'm going to stop this geeky paragraph right now!!
I had an American teacher for 6 years prior to going to college, and I agree about the 'box'. I was taught pure fundamentals for 6 years, which I'm very grateful for, but learnt less to do with music, and I don't think that teaching method is a one off.
I agree, now no more Brit bashing!!
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Author: senza bs
Date: 2004-05-17 22:15
Oh, so American bashing and stereotyping is ok? Just checking. Go back to your fun.
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Author: RAMman
Date: 2004-05-17 23:32
My experience of American teachers is as above...I was relating to the views OF AN AMERICAN.
Enlighten me, it's a discussion board. I've certainly tried to change these tired ideas of all brits honking away.
American bashing? I think that's a little strong!!
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Author: theclarinetist
Date: 2004-05-18 01:28
WHAT is wrong with Emma Johnson?? I've never heard anything of hers that wasn't spectacular!
And as far as T. King, where are all these mystery recordings in which she butchers everything?? I have many of her recordings, and while many of the pieces are ones that I had never heard before, I would think that I would be able to hear her mistakes if they are as horrible as you make them sound!
Music seems to me to be one of the fields where talents actually counts. Most famous musicians I can think of aren't terribly attractive, so obviously looks aren't getting them popular (which is great because it means I might have a chance!!). From what I've read, most musicians get known by winning contests, by displaying their talent. How is it, then, that so many of them are apparently bad? Where are all "truly" gifted players while these hacks turn out CD after CD and perform concerts?
And what about Victoria Soames? I love her playing, but I'm sure many would have a harsh word for her! = )
DH
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Author: Tim2
Date: 2004-05-18 03:19
Emma Johnson won the Naumberg competition one of the years they did clarinet back in the mid 1980's.
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Author: donald
Date: 2004-05-18 05:28
hey, news for "senza bs"
Jack McCaw is a New Zealander!
donald
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Author: LeWhite
Date: 2004-05-18 06:22
Quick question for RAMman; Do you know where Tony Pay teaches? Does he teach at an institution over there? Thanks.
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Author: graham
Date: 2004-05-18 07:57
Two questions (potentially rhetorical):-
1. Where does the Canadian James Campbell fit into this analysis?
2. Name the three top female US clarinet players and please recommend their CDs for me to buy.
Thanks
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Author: OpusII
Date: 2004-05-18 08:28
Isn’t it easy to condemn someone’s playing? I didn’t hear anyone of you play it better then all the names that came by on this topic, maybe you can send me some cd’s of your recordings?
Do you see now how easy it is to condemn someone’s playing……
So stop this nonsense, there plenty of good players all over the world. And many people have many different taste…. So why not many different sorts of players?
Please people let us just concentrate on making music and if you think that they’re doing something wrong, then just prove it by playing it better!
Eddy
Music is the wine that fills the cup of silence. (Robert Fripp)
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Author: cigleris
Date: 2004-05-18 11:49
What are all you lot like! I know Janet personally and studied with her and other teachers at the Royal College of Music, I have to say that it is quite insulting some of the comments that were made about British clarinet playing. Janets style is dated but she has amazing ideas about music which at the end of the day is what we're trying to do, play music. Other players that in know that play on 'wide-bore' instruments are Richard Hosford (principle BBC Symphony, Chamber Orchestra of Europe), Bob Hill (principle London Philharmonic), Tony Lamb (co-principle English National Opera), Colin Parr (retiered principle City of Birmingham Symphony Orchestra) to name but a few. These players are great and I have learn't alot from both Richard and Bob when i studied with them at the RCM. As for the comment that English players have no technique is nonsense plyers at the conservatoires in England are given difficult technical exercises both are also encoraged to develope their own style, the Nielsen concerto is standard rep for the top players at the colleges, I did the piece myself when I was at the Birmingham Conservatoire and the RCM. When i was in the States having been invited to audition for the principle job with the Louisville Symphony i got the impression from the people I met that is that all the Americans do is learn technique and don't do any thing else, and alot the people that I spoke to while there had't dared touch the Nielsen. So I think that the Americans commenting on this site that there are alot of very good players across the pond. I haven't done to badly freelancing on my wide-bore Eatons in London. Whether your an amature or professional you should have respect for whoever you listen to. There said my bit.
P.S. (for Lewhite) Tony Pay doesn't teach at any particular Conservatoire as he's quite busy being principle of the Orchestra of the Age of Enlightenment.
Peter Cigleris
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Author: David
Date: 2004-05-18 11:51
In a bit to re-establish detente, my (English) sound would ideally be like that of David Glazer or George Pieterson.
Hasn't worked yet, of course, but I can dream...
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Author: Mark Charette
Date: 2004-05-18 13:50
cigleris wrote:
> When i was in the
> States having been invited to audition for the principle job
> with the Louisville Symphony i got the impression from the
> people I met that is that all the Americans do is learn
> technique and don't do any thing else, and alot the people that
> I spoke to while there had't dared touch the Nielsen.
That summary judgement is just as bad as the judgements made on this side of the pond about English players. It's a (in rhetorical terms) hasty generalization.
There are plently of preferences to be had in playing styles.
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Author: D Dow
Date: 2004-05-18 14:09
In a matter of a few words I can say the American school of thought produces among the most boring and homogenous playing ever. The unfortunate thing is that many american players sometimes miss the point that they as clarinetist's also have to be able to adapt their sound and do techniques like playing brighter for a passage and or even vibrato!!
Any conductor who mentions vibrato on this side of the ocean gets looks that will turn a flower into a weed. Never, in all the years I have been playing seen clarinetistry reach such a low as now. In fact, the problem today is everyone sounds the same. A more universal type tone seems to be in vogue...the traditional french sound is gone as well. In England there a few fine examples of the older 1010 sound but that is fast dissapearing. In the Czech republic the older open almost folky sound is fast dissapearing. However, I think the Czech players are the among the very finest...no one can play the slavic repetoire like them and recently I heard a super reading of the Copland Appalachian spring which really needs some vibrato in the opening clarinet bit.
The key with being an artist is being open minded...once you start closing down shop by saying I will never try a different technique you may have just lost chances of getting a job somewhere./
David Dow
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Author: John J. Moses
Date: 2004-05-18 14:17
Hi graham:
"Name the three top female US clarinet players and please recommend their CDs for me to buy."
Here are the names of 3 top US players, just to name a few, you can easily find their CDs anywhere.
Michele Zukovsky - Los Angeles Philharmonic
Clarinet, Principal
Principal Clarinetist MICHELE ZUKOVSKY has appeared frequently as soloist with the Los Angeles Philharmonic at the Hollywood Bowl and at the Music Center, and has been a guest soloist with orchestras worldwide. Zukovsky performs regularly at the Philharmonic's Chamber Music Society concerts and has participated in a number of premieres as soloist with the Philharmonic New Music Group. In 1991, she gave the world premiere of John Williams' Clarinet Concerto with the Boston Pops.
Michele Zukovsky collaborates regularly with chamber ensembles worldwide, most notably the Angeles and St. Petersburg String Quartets. She has appeared in New York with Concerts at the Y, Ravinia, Lincoln Center, and "Mostly Mozart" ensembles and has toured extensively as a chamber musician and soloist. Zukovsky is active as a teacher of master classes throughout the world, and she is currently on the faculty at the University of Southern California. She studied clarinet with her father, Kalman Bloch, a former principal with the Philharmonic.
Zukovsky has recorded chamber music and solo repertory for the London/Decca, Avant, Nonesuch, Philips, and Summit labels. Her most recent recordings feature the music of Martinu, part of a projected series of recordings to encompass the composer's complete music featuring the clarinet.
Laura Ardan - Principal - Atlanta Symphony Orchestra
The Robert Shaw Chair
Principal clarinet for the Atlanta Symphony Orchestra, Ardan has an extensive national background as both soloist and chamber musician. Prior to coming to Atlanta, she was resident clarinetist and teaching artist for the Lincoln Center Institute, played in the Metropolitan Opera Orchestra, and appeared at Tanglewood, Marlboro and Mostly Mozart. Currently, she is on the faculty of Emory University and is a member of the Emory Chamber Music Society of Atlanta.
Laura Flax, NY City Opera
clarinet, principal
JJM
Légère Artist
Clark W. Fobes Artist
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Author: Ken Shaw ★2017
Date: 2004-05-18 14:58
RAMman -
As I wrote in my posting, I think Thea King is a good musician with a fine sound, and her recordings of the Brahms Quintet, the Trio and the Sonatas are excellent. However, while Brahms's clarinet works require technical precision, they are not finger twisters.
Whatever her strengths, when Thea King plays more difficult works (such as the British concertos she has recorded for Hyperion), I hear an audible strugge whenever the notes get fast. As an objective matter, I hear her slow down by as much as 20% to get through them. For me, this constant insecurity spoils her recordings.
I was raised on Kell's recordings, and I love at least that particular British style of playing (not to mention Kell's technical perfection). The players Peter Cigleris mentions are wonderful, and I particularly like Michael Collins.
Graham -
James Campbell is as good as anybody. His recordings (mostly on the Crystal label), are very special.
To the list of female American players, add Elsa Ludewig-Verdeher, who, IMHO, may be the best pure player in the world.
Best regards.
Ken Shaw
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Author: msloss
Date: 2004-05-18 15:07
How is it possible that the most boring and homogenous players in the world have inspired some of the most exciting and dynamic compositions in the last 100 years? Let me throw two out there: Ebony Concerto, and Copland Concerto.
How about what Leonard Bernstein said about Eddie Daniels (regarding his classical work): "Eddie Daniels combines elegance and virtuosity in a way that makes me remember Artur Rubenstein. He is a thoroughly well-bred demon." How about Stanley Drucker romping all over El Salon Mexico? Maybe Clark Brody (Zoltan to his colleagues and students) playing Dances of Galanta with CSO/Reiner? Have you heard John Yeh play the Eefer solos in Symphonie Fantastique?
And OBTW, in my estimation fundamentals are an essential part of becoming a great musician. If you aren't a master of your instrument, the best of musical intentions still leads straight to h-e-double-hockeysticks. Am I to understand that the Europeans skip the fundamentals and go right to Hindemith and Nielsen? I can't believe Karl Leister would lie to us at his master class like that. Gee, he sure misled us into believing that his great musicianship was a product of meticulous practice of individual key moves and note transitions, scales, articulation studies, etc.
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Author: RAMman
Date: 2004-05-18 17:26
I'm sorry I wrote this...
I had an American teacher for 6 years prior to going to college, and I agree about the 'box'.
It should have read, 'and can relate to the idea of the 'box'.
I have only had one American teacher, so a generalisation was wrong.
I have great respect for that teacher, and much to thank him for. I have admire many US players.
To the slightly snidey remark of:
'IF you ever leave conservatory as a working clarinet player, you'll have your fundamentals to thank for that.'
I'm already a working clarinet player, before I leave. Both orchestrally and giving recitals. I'm very pleased I have such good fundamentals, I've apologised for the remark that sparked this comment.
For the question about where Tony Pay teaches...
I'm not sure if he's 'resident' anywhere, but he works alot at Birmingham Conservatoire (that's in the middle of the country, roughly!) and we have him at the RAM for occasional classes. I assume all of the college see some of him, he's incredibly inspiring.
I really do try not to upset anyone here!!
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Author: D Dow
Date: 2004-05-18 17:38
MS.Loss:
Not a bunch of Bs when you consider just how many 2cd tier orchestras in the US and Canada have the most lacklustre dynamicless clarinet playing in the world...as to Stoltzman and Neidich they are soloists and pocess traits that most average orchestral players in US and Canada shun.
I am talking about the obcession with eveness of sound at the expense of dynamics and phrasing...this is a bad thing and is common in the European countries as well...not everyone is Marcellus! If everyone sounded the same then it would be an incredibly uninteresting world. I am specifically pointing to a current problem in that there are not alot of great performances coming out on disc and radio that are imaginative and as inspired as recording as Szell and Karajan!
David Dow
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Author: D Dow
Date: 2004-05-18 17:49
What I am talking about is the inability of the ear to differentiate between many orchestras in Canada and the US playing Ravel Bolero...
ie.
Calgary PHilharmonic Missisissipi Symphony
Los Angeles New York Symphony San Jose Quebec Symphony
San Diego Symphony Dallas Symphony etc. ...
HOw many groups can supercede Vienna in Beethoven? Very few..
Most of these orchestras all are excellent and fine...but
as I said before we have an awful lot of playing going on where it is even and lacking colour.
I cannot really get into Frank Cohen's sound in spite of his brilliant playing...
since Wright died Boston has sounded more even and correct but less brilliant.
Marcellus had a plastic sweetness to his tone which everyone tried to copy with no SUCCESS!!!
It is about indiduality and that is why I believe in democracy!
I love Jack Bryner in Scheherazade with Beecham...simply the most relaxed phrasing and beauty of expression...Brymer and Marcellus were close freinds and appreciated each other's differences./
David Dow
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Author: D Dow
Date: 2004-05-18 17:55
Ps. Let us not forget the swiss clarinetist who inspired the Stravinsky 3 Pieces or our good freind Muhlfeld who inspired Brahms...or Mr. Stadler who inspired our dear freind Mozart.
Let us not forget David Oppenheim who inspired Bernstein which evoked a wonderful sonata! Its about individuality music..not producing focus and core and all this academic stuff. I think Classical music is dying because of purists alone!
David Dow
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Author: Chedmanus
Date: 2004-05-18 20:19
Well said Mr. Dow. He hits the problem here in the US right on, although I would venture to say that the "machine syndrome" has infected the top tier orchestras as well as the bottom. In a way it could be the beginning of the end for classical music, this purist attitude towards the instrument, but I dont think so. Nature will take its course, and in time balance will come to the music world; the sad thing is it may not be in our lifetime. Musicianship will prevail, we may just be very old people when it happens.
To quote Linnea Nereim- " The clarinet in the US is in the dark ages, who knows when it will change, but for now we must weather the machines and hold on to whatever musicianship and individual artistry we can."
The funny thing is that Europe is far from the "dark ages", who would have thought? Im not surprised.
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Author: David Spiegelthal ★2017
Date: 2004-05-18 21:25
Please permit me to butt in with my totally personal and unsupported OPINION --- I am in the camp that believe that orchestral sounds in general (not limited to just clarinet sounds) have homogenized tremendously worldwide in the last few decades. When I was younger I could instantly guess (usually correctly) the nationality of an orchestra, and frequently even the exact orchestra, just from the characteristic sounds of the clarinet and oboe players. American orchestras definitely sounded different than British groups which sounded different than Czech organizations which sounded different than French bands which......you get the picture. And, more specifically, the Berlin Phil sounded unique with Karl Leister on clarinet and Lothar Koch on oboe, the Philly sounded unique with Gigliotti and deLancie in their respective positions, etc. Certainly the British clarinet sound was unique to British orchestras back then, and nobody but the Czechs played clarinet the way they did then. Like it or not, there was a lot of variety --- but nowadays they all sound pretty much the same to me. Maybe my hearing's gotten worse, who knows? Or maybe the 'megatrend' of globalization really has sapped classical music of its variety of sounds?
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Author: Chedmanus
Date: 2004-05-18 21:51
Well frankly Mr. Senza, I do know what Im talking about, and so does Mr. Dow. Im sure there are others that will agree with me. What i say is not ignorant at all, it is very true, countless lackluster players are getting jobs; musicianship not required. Clarinet players are becoming so focused on technical and fundamental issues that musicianship suffers. Anybody can play the clarinet, few do something with it.
Im not going to reply to your insults, think what you want, your entitled to.
The men you stated are great players and musicians, but they, like Ms. Hilton, are old news. What young players do what they do? Or, shall I rephrase the question, what young players that play with the same indivual spirit they employ have won a job recently? I can only think of solid athletic players winning, clarinet jocks that care only for perfection. In my view there is more to that, talent and musicianship are worth much more than who can play perfectly. Sure, you may say that the perfect player will always do the job, but who wants to listen to that.
You also mention the NY players, well Im going to go there, since Im not priveledged enough to be one of those jaded giggers, but from what I have heard, I dont want to be one of them.
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Author: John J. Moses
Date: 2004-05-19 03:57
HI Chedmanus:
What do you mean by:
"You also mention the NY players, well Im going to go there, since Im not priveledged enough to be one of those jaded giggers, but from what I have heard, I dont want to be one of them."
I'd be interested in your educated opinion of the "NY jaded giggers," and the NY clarinet scene in general.
Please explain your feelings further, I am interested.
I can't seem to find senza bs' opinions on this topic?
JJM
Légère Artist
Clark W. Fobes Artist
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Author: D Dow
Date: 2004-05-19 16:25
I knoew of a number of incredible players here in Canada who are unreal yet because they are in Canada no one hears them...
As to arguements about tone, well that for me is for academics...I tend to realize that it is important in music to foster individuality yet maintain intonation standards etc.
I also know of a number of incredibly bad conductors who in turn make players sound bad as well...it may be that the lack of formal conducting training will deystroy what is left of the great classical repetoire.
David Dow
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Author: mw
Date: 2004-05-19 17:00
There isn't anybody on either side of the Atlantic (or anywhere else for that matter) who has a "lock" on the best Clarinet sound. Never will be, never was.
NOW, anybody who can even come close to playing with Janet Hilton, can so speak! Those who can are known. Is Janet Hilton the best - who cares? Janet Hilton certainly has something to offer & listen to. Someone opined that her Mozart Quintet k.581 was excellent, many feel the same way about her Mozart Concerto. If someone disagrees, let them play it better.
When any of you critics start making a living at it, you can tell us that too.
For many would-be critics as soon as their favorite Teacher or Clarinet Player says "Paul Meyer is wonderful", they begin supporting that thought. (ftr: Paul Meyer IS wonderful, imo).
It's sad that many people cannot SIMPLY listen (& ENJOY listening) to music ...
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Author: D Dow
Date: 2004-05-19 17:29
Ps. I play professionally as an orchestral clarinetist....I am not a critic...rather a performer.
David Dow
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Author: ken
Date: 2004-05-20 02:44
As a soloist, Janet Hilton has been somewhat influential in my playing over the years. I've heard from reliable sources she's been an inspiring teacher the past 30+ years turning out a host of pro-quality classical players. I've got a couple albums of hers from the mid-80s; one with standard French works i.e. Poulenc, Debussy, and Lutoslawski, the other has the Copland on one side, Nielsen on the other. The lady has bo coup chops, I'm sure no one would deny that, however, the impression of her recordings that stays with me and distinct pattern is she rips through everything. And being a clarinetist of her skill and experience she's surely aware faster tempos aren't a substitution for excitement ... i.e., 3rd mvt of the Poulenc, last page of the Debussy, the Copland from the cadenza to the end and entire Nielsen are consistently 3 to 5 clicks speedier than tempo markings. Controlled chaos is how I'd describe it. But, hey it's her solo and label budget, whatever floats your boat ... and she got the gig. v/r Ken
Post Edited (2004-05-20 02:47)
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Author: D Dow
Date: 2004-05-20 04:05
Let me make a few clarifications on some of the comments that I have made. I think the key word I used is sameness or eveness when it comes to orchestral players...I really think any soloist is able to get away in many ways with things I would be shot for as an orchestral performer. On the other hand I would also add that the american school produces great consistent students...however, being perfect or even is not what clarinet playing is about. In some respects a fine orchestral player has to be imaginative as well and also be able to comform to the sound an orchestra produces...'
On the other hand, it is important to note that alot of playing today is just good, clean even and lacklustre...this includes a good many groups the world over. However, as of late I have come to regard part of the problem is the nature of the mass culture and society that North Americans are living in...mp 3's and internet and also the incredible power of TV have made us a bland culture. Add to this the lack of being able to fine truly great recordings in classical music then we are certainly in trouble.
Universal NBC is now the single largest producer of Entertainment in the world...in fact Unveral now owns Decca, DG ...Polygram and I believe they own Phillips too....so we are now limited to who and where we buy alot of our classical cd's.
However, on the good note I will also add the american school truly produces excellent players as well...I just think that these things ride in waves from generation to generation.
For example...Stokowski in Philadelphia with Fantasia...the changes in temp and rubato today would be frowned on...also note the open vibrato on the clarinets in a few spots and even the use of portamento in the strings...today many frown on these indulgences and yet they work musically and as well visually.
Players like David Glazer and Marcellus were very different and yet in some ways quite alike in terms of personality...this in that they had very strong and definite ideas on music and how one should play it...the results are quite different maybe but in many regards different approaches to a piece or sound are much needed.
So where am I heading?
Well i think the key is that there is some lack of inspiration. A phrase that glows or lingers into nothing is something that leaves you with a feeling...simply put alot of players are simply choosing the same ole same ole and that is not enough.
As to Janet Hilton I find her musical personality engaging...tonally a bit coarse and rough but she is getting a point across.....much debate has gone on about Stoltzman from even me...but maybe it is good we begin to think about some of the aesthetic elements instead of immediately coming up with a notion we are always "right"///
A good performance will always perplex us as well....it certainly should challenge.
David Dow
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Author: John Scorgie
Date: 2004-05-20 05:15
David Dow --
Here is at least one American who both understands what you have been saying, and appreciates you saying it always intelligently, sometimes eloquently, and now and then poetically.
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Author: graham
Date: 2004-05-20 08:18
I feel DD's summing up of Janet Hilton gets it absolutely right.
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Author: Aussie Nick
Date: 2004-05-20 11:01
I agree with everything D_Dow has said. There is a lack of individuality in clarinet playing (and music in general) today and many people seem to think there is only 1 correct way of doing everything and 1 correct clarinet sound. I don't want to get too involved in this as I feel there's no point so I'll stop there.
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