 The Clarinet BBoard
|
Author: AMJ
Date: 2005-06-13 05:15
Hello Everyone.
I was wondering why Richard Stoltzman is really involved with the Clarinet Community and doesn't perform at events such as Clarinetfest. I know alot of the "purists" in the clarinet community don't like Stoltzman's very intersting and unique aproach to playing the Clarinet.
Also, what is Mr. Stoltzman like as a teacher. I'm only in high school and would really like to study with Mr. Stoltzman during my college years if I choose to go to the New England Conservatory.
Thanks, Aaron M. Johnson
|
|
Reply To Message
|
|
Author: AMJ
Date: 2005-06-13 09:46
oops typo, i was wondering why richard stoltzman ISN'T very involved in the clarinet community
|
|
Reply To Message
|
|
Author: Kevin
Date: 2005-06-13 10:26
I adore Stoltzman as a figure in the musical world. But I also question about NEC. Just how available is he over there for his students? He is quite a solo artists, and unlike Thomas Martin who is Boston based, Stoltzman is constantly touring. I'd appreciate if anyone familiar with the NEC scene can fill us in.
|
|
Reply To Message
|
|
Author: ohsuzan
Date: 2005-06-13 15:20
<<he has played at ClarFest.
Columbus Ohio>>
Because . . .
he went to school in Columbus (OSU), and comes back periodically to his alma mater to offer seminars, master classes, etc.
Can't be all thing to all people, though.
Susan
|
|
Reply To Message
|
|
Author: mnorswor
Date: 2005-06-13 15:43
Mr. Stoltzman was my teacher for 3.5 years and to my knowledge, I was his last student. He hasn't been teaching at NEC for a few years but they keep his name on the roster. I'm not sure why this is. When he turned 60 he told me that he wasn't going to teach anymore because his playing time was short. He said that he wanted to play as much as possible and then teach again after he was unable to play full time.
He does tour a lot and for that reason he's not good for the undergrad. He's an EXCELLENT teacher, caring and giving to his students. For me he was perfect. I came to him as a graduate student and did not want lessons each and every week. This gave me time to prepare properly for him and also to work as I was doing quite a bit of playing during my grad years around town and in other cities. There were times where he was gone for 6 weeks at a time and others where he was here each and every week.
I still have lessons with him and play for him regularly as he's still a major mentoring figure for me. My shortest lesson with him has been 3 hours and my longest lasted 11.5 hours with lunch and dinner and afternoon tea all in between our playing, listening to recordings and talking about new things.
For those who think that studying with him will help you because of his name... this is FALSE! He believes that everyone should make their career on their own steam, just as he did. He will not pull strings for you, PERIOD.
About the ClarinetFests... he commented to me, as did Kal Opperman, about why should he play when everyone just makes fun of him afterwards and doesn't seem to appreciate his efforts. The last one that he did, so many people sneared, poked fun at him and gossipped that it just turned him off. Can't say as I blame him.
If any would like to email me privately, please feel free.
Best,
Michael
|
|
Reply To Message
|
|
Author: Sylvain
Date: 2005-06-13 16:06
I know I am disgressing but I have two short comments:
1- My former teacher knows Steve Cohen, the cleveland principal, and attended one of the ClariFest where Cohen had to play. He told me that Mr Cohen was terrified and this guy play in the Cleveland Symphony what does he have to prove? Yet everybody in the audience is going to dissect your performance and hear the slightest mistake you make. Why would you ever want to do that?
2- I just bought a Naxos recording of the Hartke Concerto played by Mr Stolzman. It was recorded quite recently I believe, and Mr Stolzman still has some crazy chops. Michael, if you get to talk to him, you can tell him he did a remarkable job!
--
Sylvain Bouix <sbouix@gmail.com>
|
|
Reply To Message
|
|
Author: mnorswor
Date: 2005-06-13 16:14
Sylvain,
I'll be sure to tell him when I see him next. The Hartke is very difficult. I remember when he was learning it. I learned it alongside of him and we had many lessons and discussions on it. It was a fun project for him and he likes the piece very much.
Thanks,
Michael
|
|
Reply To Message
|
|
Author: Mark Charette
Date: 2005-06-13 16:55
Sylvain wrote:
> I know I am disgressing but I have two short comments:
>
> 1- My former teacher knows Steve Cohen, the cleveland
> principal,
Frank Cohen is the Cleveland principal; Steve Cohen was principal of the Louisiana Philharmonic and is currently head of clarinet studies at Cincinnati College-Conservatory of Music.
Both have played at ClarinetFest
> He told me that Mr Cohen was terrified and this guy play
> in the Cleveland Symphony what does he have to prove?
If it indeed was Frank then your teacher was greatly exaggerating. I talked to Frank both before and after his performance at ClarinetFest; in neither case would I say he was "terrified". Apprehensive would be the right term before the performance; relieved it was over would be what I'd say afterwords.
|
|
Reply To Message
|
|
Author: allencole
Date: 2005-06-13 16:59
I can sympathize with Stoltzman's feelings about ClarFest. I attended a clinic that he gave at Virginia Commonwealth University and felt a lot of the same vibe there. I had to laugh at some of the blank stares when he mentioned Lester Young.
I certainly number myself among those who don't particularly like his playing style, but I think that those who sneer at and pick apart his performances are missing out on the broader view of music that he tries to instill.
It's interesting to hear about your experience with him as a teacher, Michael. There have been a lot of Stoltzman threads on this BB but I don't recall one that related as much in the way of personal experiences with him.
Allen Cole
|
|
Reply To Message
|
|
Author: Sylvain
Date: 2005-06-13 17:51
I stand corrected. It was Frank and "terrified" might not be what he exactly felt. I still feel performing at ClarinetFest can be quite a bit more stressful than other types of performances even for the principal of the Cleveland Symphony.
Although I am quite confident I would never be invited to perform there, I know I would be terrified to perform...
-S
--
Sylvain Bouix <sbouix@gmail.com>
|
|
Reply To Message
|
|
Author: FrankM
Date: 2005-06-13 18:22
I would imagine playing to a crowd who plays your instrument would definitely be stressful....yet I don't think ( in my humble and worthless opinion ) that jazz musicians are as judgemental, or picky....at least that has been my experience. I saw Sonny Rollins the other night and every sax played in town was there....many who undoubtably play styles other than Rollins, yet everyone I talked to loved the concert. Maybe jazz musicians are more open to different styles while classical musicians want to hear things "their" way.
|
|
Reply To Message
|
|
Author: szyJYM
Date: 2005-06-13 19:16
"Maybe jazz musicians are more open to different styles while classical musicians want to hear things 'their' way."
It's a running joke in my high school's music dept. that our jazz majors are only there because they couldn't stay in tune in band. And a lot of them really can't read music at all. But they're so good at what they do, and I think that's what jazz is like- doing what you're best at.
--Mike
Wide-eyed music student entering college this fall
|
|
Reply To Message
|
|
Author: SueSmith
Date: 2005-06-13 23:55
I personally like some of Mr. Stoltzman's earlier recordings. I heard him live during a rehearsal and concert with Boston Civic a few years ago performing Mozart Concerto. The strings were AWFUL, and Mr. Stoltzman, during the rehearsal, would walk over while playing and sit in the viola section to get the players to "WAKE UP".
He seems like a very nice man, who due to reputation, could act like a diva if he choose to.
It makes me feel very bad that he feels other players "make fun of him/his playing". It makes me want to see him perform and give him a standing ovation.
The fact that his notoriaty has exposed the Mozart and Copland concerto's (among other works) to a wide audience of people who have no idea that the clarinet can be a solo instrument...we should all be greatful.
|
|
Reply To Message
|
|
Author: LarryBocaner ★2017
Date: 2005-06-14 00:24
Mr. Stoltzman has been soloist with the National Symphony numerous times during my tenure, both here in Washington and on tour in Japan. Unlike other wind soloists (Galway, Rampal, Andre, Hardenberg, d'Rivera etc etc) who were all very collegial with the players of their instrument in the orchestra, I found Mr. Stolzman to be very stand-offish and unwilling to engage in friendly conversation with fellow clarinetists. I've enjoyed his performance of the Corigliano and Copland concertos with us, and would have welcomed a chance to have a couple of beers and get to know him, but there never seemed to be a glint of recognition that we even played the same instrument!
|
|
Reply To Message
|
|
Author: frank
Date: 2005-06-14 04:25
I can understand the Clarinetfest snobbery Stolzman must get. I have been to two... the one in New Orleans and the Maryland one last year. I will not go again. The one in New Orleans was great, but then again I think I was tipsy the whole time. I am not kidding. The one in Maryland was boring to say the least. I was sickend by the behavior and elitism that I witnessed there. Very many college teachers thought they were bigshots. The Clarinet Fest is basically just a forum for these professors to get together and tell each other how great they are anyway. To their pleasure, their students would literally follow them around like lost little duckings. It made me agitated and nauseous. Other than seeing the top few players that get invited each year (i.e.- Morales, Combs, etc), the fest is a complete waste of time and money. Stolzman takes a hit all the time in the clarinet world. At the Fest, I can only imagine the magnitude it amplifies to. I am sure that has a negative effect on his views of other clarinetists in general. Whether you like his playing or not, you have to respect the career he has made for himself. Great business saavy.
I admire anyone who makes a living soley on playing their instrument. That to me is success. There are always a lot of great unknowns at the festival. Yeah, it is cool to win some competition here and there or be an exibit hall virtuoso. But... it's much cooler making a good living playing ONLY the clarinet. Just think of how many top orchestral players DO NOT EVER play at the Clarifest. Always consider the source when someone passes judgement on you. 
|
|
Reply To Message
|
|
Author: allencole
Date: 2005-06-14 05:41
I would be curious for Michael to elaborate on Stoltzman's feelings towards ClarFest. I personally doubt that he would be nervous or terrified of playing for other clarinet players. What I read into Michael's statement is that Stoltzman is put off by what he sees as closed minds and stylistic dogma on the part of most clarinetists. I would tend to agree with him there.
I wonder if this might also explain Larry Bocaner's experience. It seems to me that Stoltzman ticks off clarinetists in the same way that Kenny G. ticks off jazz musicians. In both cases we can think of better players who don't enjoy anywhere near the level of financial and artistic success, and this can cause us to misunderstand and resent their popularity. Perhaps Stoltzman keeps his distance to get a day off from being the guy clarinetists love to hate.
Larry, the only other name in your post that might be analgous would be Rampal. I seem to recall a lot of my college classmates talking about how technical but unmusical they considered him to be. (perhaps they were jealous of Suite for Flute & Jazz Piano, I dunno...)
Allen Cole
|
|
Reply To Message
|
|
Author: crnichols
Date: 2005-06-14 10:10
Hmm, I played bass clarinet in the modern piece that he premiered for McKinley at that concert... I remember that rehearsal. He really did work with them a great deal on the Mozart. While, his playing doesn't reflect my personal goals, I admire his creativity and exploration of new ideas. He never gives a cookiecutter performance, he always approaches things in a way I've never heard them. I really think he leads by example in this way. In my years in Boston, I had some contact with him, and he always seemed to be a very kind approachable person. Actually, he performed with the symphony in my hometown, and my dad went to the luncheon/discussion they have prior to concerts. The conductor and soloist attend and answer questions about the music. My dad approached him and had a great conversation with him. His wife Lucy is also a very pleasant approachable lady, and an outstanding violinist.
Christopher Nichols
1st Infantry Division Band
|
|
Reply To Message
|
|
Author: mnorswor
Date: 2005-06-14 15:44
Allen,
You're correct with your statement "Stoltzman is put off by what he sees as closed minds and stylistic dogma on the part of most clarinetists." This is how I interpret what he said to me.
Michael
|
|
Reply To Message
|
|
Author: allencole
Date: 2005-06-14 17:13
Very interesting, Bradley. So far as I know the "don't listen to Rampal" thing probably originated with the flute instructor at our college. As with most college instrumental instructors, anything they say will be generally parroted by the students in their studio.
To me, it seems like a similar mentality to something we've discussed in the Neurotic Clarinetist thread. Musicians get pretty snippy when there is an imbalance in the pecking order. We want to see the world's top players recognized, but this is too much to ask of the general public in most cases. So when someone who is anything less the the best of the best manages to connect with the public, we have a tendency to resent it--often saying that the player has sold out or cheated somehow.
What we really need to do is to study what makes them successful and apply those lessons to our own pursuits. In the cases of Stoltzman, Kenny G. and possibly Rampal, something is being done that the public likes, but that musicians don't like. A lot of it also seems to do with the semantics of how a player is categorized. I think that we often try to punish guys like these three for the same characteristics that we would applaud in a singer-songwriter.
Allen Cole
|
|
Reply To Message
|
|
Author: Steve Epstein
Date: 2005-06-14 20:37
allencole wrote:
I think that we often try to punish guys
> like these three for the same characteristics that we would
> applaud in a singer-songwriter.
>
In many fields, it's not the guy with the best academic record who has the most succesful career; it's the guy who was somewhere in the middle of his class who has great people skills, common sense, etc. This sometimes breeds resentment and accusations of incompetence, but as they say, that's life.
It seems (and I wouldn't know personally, just what I read on this board) that orchestra jobs are indeed given to the best players, at least as judged by how well they can perform at auditions, but everything else may be up for grabs. Resentment against these three represents the resentment of the "straight-A nerds" against the those who can look at the big picture and understand it.
Steve Epstein
|
|
Reply To Message
|
|
Author: allencole
Date: 2005-06-15 05:28
Very well put, Steve.
The "straight-A nerd" argument hits straight to what I think are key factors in the hatred of these three.
In the case of Kenny G., it's the fact that it's classified as jazz. Serious jazz musicians hate 'smooth jazz', which might more aptly be referred to as 'instrumental pop.' Were the latter term used, they would still belittle it, but probably not feel the personal rage that many of them do. (I can still remember Percy Heath blowing his stack over the success of fellow Philadelphian Grover Washington, Jr.)
With Rampal, I don't know how widespread opinion might've been on him 'not being musical.' Perhaps the folks who told me this thought that he wasn't edgy or pensive enough, or that the Suite for Flute & Jazz Piano was a cheap gimmick. He impressed me as keeping things on the lighter side, and I tend anyway to ignore a lot of fruity stuff that goes on in the flute world. To me, anyone calling Rampal a lightweight while at the same time playing a bunch of Chaminade is the pot calling the kettle black.
As for Stoltzman, I hate his vibrato as much as anyone, but does does that make him worthless in the face of all the other things he does well? Players who resent his success might be well advised to try and compete with him. Might be a good way to walk a mile in his mocassins.
Allen Cole
|
|
Reply To Message
|
|
Author: BassetHorn
Date: 2005-06-15 05:46
Stolzman's Copland Concerto recording is phenomenal. To reach the pinnacle of such fine playing deserves a lot of credit and respect.
Just my personal opinion.
|
|
Reply To Message
|
|
Author: AMJ
Date: 2005-06-15 08:25
Hey All,
ON a related not many of you might want to check out the npr website for several informative Stoltzman interviews.
Cheers, Aaron
|
|
Reply To Message
|
|
Author: Tony Pay ★2017
Date: 2005-06-15 11:48
Going back to the original question of why Stolzman might not particularly want to play at ClarinetFest: it seems to me that such a gathering, by its very nature, compared to that of a standard audience, tends to contain a significantly higher percentage of people whose relationship with music is distorted by a disproportionate concentration on, and interest in the clarinet and its technicalities, coupled with an exaggerated tendency to opinions about and criticisms of performers over such matters.
That's not true of everyone there, of course -- I'm only talking percentages. Still, for a performer interested primarily in the music, and who happens to be sensitive to audience response, that bias might be sufficient to tilt the balance towards not being particularly disposed to playing there. (Such sensitivity, it's worth adding, is not necessarily anything to do with a performer's ability -- apparently they almost had to *throw* Horowitz onto the stage.)
Barry Tuckwell once spoke about missing a high C, or something, at some HornFest. "Afterwards, I realised that the people who thought I was a fantastic player were happy, because it turned out that I wasn't quite as good as they'd thought I was. And the people who'd always thought I wasn't any good really were happy too, because it turned out that they were *right*.
"So my conclusion was," he said with a laugh, "that the only person there who *wasn't* happy, was ME!
"So why bother?"
Tony
|
|
Reply To Message
|
|
Author: Anon
Date: 2005-06-15 15:09
Tony, thanks for the anecodote about Tuckwell! That's hysterical and so true!
Why is it that we focus on single things instead of overall artistry? That is the one thing as a professional that I wish I had back from my early learning days - the sheer amazement and joy of hearing live music.
I once heard an incredible performance of Brahms at a well-known "mountain" state music festival. The humidity (or lack of it) played havoc with the performer's (a respected faculty member) reeds and there were a few pretty good squeeks until the person resolved it. All I heard from the rest of the students afterward were "OMG he squeeked, I can't believe it, how awful, yada yada" and I couldn't believe that they had missed EVERYTHING else in between! It had been a wonderful performance and they missed it.
I can't speak for Mr. Stoltzman's personality - I've never had a conversation with him. I don't always love his vibrato or his interpretations. But it's never boring, it's never cold, and you never know what you're gonna get!!!
|
|
Reply To Message
|
|
Author: Joel K.
Date: 2005-06-15 16:22
I heard Stoltzman at the 1993 Oklahoma Symposium playing the Kegelstatt and Bruch Trios with his uncle, Wayne Crouse the U Oklahoma viola professor and a fine pianist on the U Oklahoma faculty (Edward Gates). It was some of the finest music making I've ever heard. Afterwards, Stoltzman could not have been warmer or friendlier to all who came by to say hello, including me.
Post Edited (2005-06-15 18:11)
|
|
Reply To Message
|
|
Author: SueSmith
Date: 2005-06-15 18:02
Over a year ago I heard the BSO chamber players in the Messiaen quartet, Scott Andrews on horn.
I have the HIGHEST respect for Scott...and have heard him solo in concerto's several times before, yet at this performance - mid Abyss he squeaked...which is obviously the worst place in the entire work to squeak if you must squeak at all. And what was more amazing...he squeaked on F#5. He squeaked because he was probably running out of air and was biting. He squeaked because he wasn't a "god" and was human...and that was enlightening.
So, I think instances like this make the average player feel not so removed from these highly accomplished players. It reminds us that Stoltzman or Andrews or Wright or Meyer are human...even though most of the time their playing is out of this world.
|
|
Reply To Message
|
|
Author: frank
Date: 2005-06-15 20:14
Sue, I think you missed the point a little about the squeak thing. By saying "It reminds us that Stoltzman or Andrews or Wright or Meyer are human...", you are one of those who buys into the fact that if a great player squeaks, it somehow lessens the performance. As Tony said, people who do that judge on technical means as opposed to artistic. Don't fall into that trap. Squeaking doesn't prove anything, good or bad. It simply means that you got an overtone for whatever reason. Everyone does it time to time. It sucks, but who cares? Your post sounded like you were pleased that Scott squeaked because it made him "human" and that made you feel better (enlightened). I just got a kick out of what you wrote because it is EXACTLY the kind of behavior Tuckwell was talking about when he made the mistake at the horn fest. Have a great day everyone!
|
|
Reply To Message
|
|
Author: SueSmith
Date: 2005-06-15 23:06
frank wrote:
> Sue, I think you missed the point a little about the squeak
> thing. By saying "It reminds us that Stoltzman or Andrews or
> Wright or Meyer are human...", you are one of those who buys
> into the fact that if a great player squeaks, it somehow
> lessens the performance. As Tony said, people who do that
> judge on technical means as opposed to artistic. Don't fall
> into that trap. Squeaking doesn't prove anything, good or bad.
> It simply means that you got an overtone for whatever reason.
> Everyone does it time to time. It sucks, but who cares?
> Your post sounded like you were pleased that Scott squeaked
> because it made him "human" and that made you feel better
> (enlightened). I just got a kick out of what you wrote because
> it is EXACTLY the kind of behavior Tuckwell was talking about
> when he made the mistake at the horn fest. Have a great day
> everyone!
Actually, I got Tony's point but you have completely misunderstood my point.
I never said that Scott's "squeak" turned his performance into a dud ...or took away from how he played the opening of Abyss. It didn't.
But my point is that it is enlightening to see that an accomplished professional - and someone who is a clarinet prodigy, which many can consider Scott to be, still has to WORK at playing and that he makes mistakes. It is enlightening - meaning to illuminate a new point of view, to see that as effortless a performance appears/sounds to be, it is still 120% effort on their part. That the hard work never ends and even the most rudimentary mistakes happen to professionals.
If you take the above point of view, and apply it to your own playing, you will find that the stress of perfection ceases to exist in your own world view of performance. That music, not perfection...is the point of the whole gig.
BTW - when did Enlightenment become a synonym for Happiness?
Putting a human face on Stoltzman, Andrews or any of the players mentioned above would required many clarinetists to get their head out of their A**es during gatherings such as ClarinetFest and student recitals...and stop being an elitist bunch of snobs on par with many string/piano players I know.
Post Edited (2005-06-15 23:07)
|
|
Reply To Message
|
|
Author: AMJ
Date: 2005-06-16 20:08
Michael, Can I hear more about Mr. Stoltzman as a person and teacher?
|
|
Reply To Message
|
|
Author: Bob Phillips
Date: 2005-06-16 21:20
Could it be that anyone, on earth, ever had the repetoir of John Pierre Rampal?
Bob Phillips
|
|
Reply To Message
|
|
Author: mnorswor
Date: 2005-06-17 03:07
What more can i say about him as a person and a teacher... he's fabulous. He's a dear friend and a caring teacher. Anything else to know?
Michael
P.S. If there is something else to know, please email me privately as I don't check here very often.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
