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British Clarinet Teachers and Methods

Author: Smac_clarinet
Date: 2005-06-26 00:34

Hello;

I'm a long time lurker, but a first time poster. As I've read through the posts, I find them very interesting and helpful.

I've give you a little back ground about me before I ask my question. I've played Clarinet for 8 years now, and have a BMus from Acadia University in Wolfville, NS where my main interests were Classical, Romantic and early Twentieth Century (mostly British composers) era's of music, and of course Jazz and Klezmer.

Now the question (which I've been meaning to ask for a while). (I've read through the Klarinet list archives and Bulletin Board archives and have not found anything on the topic for which I am posting. If I have missed previous postings, my apologies).

I've always admired British Clarinettists, for their individual sounds (personal preference), musicality and style. So my question is: for those of you who have studied under the great players; de Peyer, King, Kell, Brymer, Walton, Trier, Bradbury, McCaw, Thurston (I've probably missed more people, or those I don't know about), I was wondering what their teaching style was? What did they emphasize in their lessons? Did they talk about or stress finger technique and how did they recommend increasing speed? What aspects of playing did they focus on? What were lessons with these Musicians like?

I've read and heard anecdotes about American teachers and American methods, and what they stressed. I just have always wondered what the players I admire and whose playing enthralled me the most, had taught and were like as teachers.

Any info would be very much appreciated.

Cheers,
SAM

(P.S. I am hoping that I didn't start a "national schools[i.e.sounds]" thread)

Post Edited (2005-06-26 05:12)

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Re: British Clarinet Teachers and Methods

Author: chedmanus
Date: 2005-06-26 07:51

Hello Sam, like you, I am a huge fan of the British sound and came to the UK to study.

I have to say that I was surprised at how little structure there is here. There are certain ways people "use" their sound, both in the traditional English manner and in the more modern school- but I was surprised at how little people talk about technical things here.

In America people talk to death about finger position, tongue position, clarity, ring, ping, fast air, oodle, etc. Well most folks over dont waste their time with that. Teachers that I have played for concentrate on musicianship and sound, but say very little about technical things unless it is an issue. Consequently, there is a wider variety of sounds and personalities here than in the factory over the Atlantic.

Americans are very controlled over how they sound and play in some ways, especially in the orchestral world- over here its much different, you dont have to adhere to a certain style or worry about your sound being too different. It seems more natural this way.

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Re: British Clarinet Teachers and Methods

Author: chedmanus
Date: 2005-06-26 08:04

I would like to ad that there doesnt seem to be a "national British School" at the moment. There are folks who sound old English like Brymer, but some much different like Marriner, Pay, Collins, Hosford, Pike, Payne, and Plane.

There is such a variety here its incredible. The one thing that seems to link them is the way they focus on music. They are all very musical in different ways and have very different peronalities, which is a wonderful thing to me.

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