 The Clarinet BBoard
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Author: Keil
Date: 2000-03-19 15:09
I read his bio on the NYphil's website and it is my understanding that he was a principle clarinetist at the age of 16...WOW!! didn't he also play Eb with the NYphil before he was principle? My question is this, how in the world is all of that possible?
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Author: Mark Charette
Date: 2000-03-19 19:49
From their Website:
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<br>"He has made approximately 150 solo appearances with the Philharmonic since joining it at age 19."
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<br>From another part:
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<br>"Mr. Drucker began clarinet studies at age ten with Leon Russianoff, his principal teacher, and later attended the High School of Music and Art and the Curtis Institute of Music. He was appointed Principal Clarinetist of the Indianapolis Symphony Orchestra at age 16, the Adolf Busch Chamber Players at age 17, and the Buffalo Philharmonic at age 18."
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<br>He joined the NY Phil in 1948, and became principal in 1960 - so he was around 31 when he became principal.
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<br>Impressive.
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<br>However - Bud Herseth, recently retired principle trumpet of the Chicago Symphony, was hired at age 19 - as principal trumpet of the CSO.
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Author: Gregory Smith
Date: 2000-03-19 23:26
Mark Charette wrote:
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From their Website:
"He has made approximately 150 solo appearances with the Philharmonic since joining it at age 19."
From another part:
"Mr. Drucker began clarinet studies at age ten with Leon Russianoff, his principal teacher, and later attended the High School of Music and Art and the Curtis Institute of Music. He was appointed Principal Clarinetist of the Indianapolis Symphony Orchestra at age 16, the Adolf Busch Chamber Players at age 17, and the Buffalo Philharmonic at age 18."
He joined the NY Phil in 1948, and became principal in 1960 - so he was around 31 when he became principal.
Impressive.
However - Bud Herseth, recently retired principle trumpet of the Chicago Symphony, was hired at age 19 - as principal trumpet of the CSO.
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Not retired yet Mark! And still playing every Mahler 5th like all of the earlier ones in his 50+ years as principal.
Almost 80 years old now and is hardly slowing up. Probably the most famous orchestral musician world wide of all time.
Gregory Smith
Evanston, Illinois
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Author: Mark Charette
Date: 2000-03-20 01:11
Gregory - I though I read that the CSO had the retirement concert for Bud. I must have read that they were <i>planning</i> the concert.
What an inspiration!
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Author: Gregory Smith
Date: 2000-03-20 02:47
Mark Charette wrote:
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Gregory - I though I read that the CSO had the retirement concert for Bud. I must have read that they were <i>planning</i> the concert.
What an inspiration!
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I was there too...it was a magnificent celebration of his 50th year in the orchestra and everybody that is somebody in the brass world was there to play in a huge brass ensemble - playing ensemble music first without conductor, then with Barenboim, then finally Bud got up and conducted the finale.
There were tears of joy flowing that night! Inspiration indeed. It's something that one never forgets....
And to think that I get to work with this guy every day. I still don't believe it after 16 years in the orchestra!
Gregory Smith
Evanston , Illinois
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Author: Dave Spiegelthal
Date: 2000-03-20 15:10
I hate to be a party-pooper while we're celebrating the accomplishments of such fantastic players, but think about the ramifications of musicians such as Drucker, Herseth, and others who hold their orchestra posts for many years: There are no openings for anyone else! I'm sure most people are aware of the unbelievable difficulty of obtaining a symphony orchestra position nowadays, and when a principal clarinet (or trumpet, or whatever) post stays filled for 30 years or more, how does this hurt the odds of a younger player finding a gig? And should the music education industry continue to raise the hopes of young musicians and perpetuate the myth that, if they work hard and play well, they'll find work? I know this sounds bitter, and while I have all the respect in the world for people like Stanley Drucker, Gregory Smith, et al, perhaps the music industry (and especially the music education industry) should be more candid in what we tell young musicians about the real world of professional music-making. It's sort of like telling all the inner-city kids that if they keep shooting those hoops, they'll be in the NBA some day. It just ain't so.........
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Author: Mark Charette
Date: 2000-03-20 15:58
Dave,
<br>Good college level music programs have courses specifically tailored to the aspiring musician that discuss possibilities and the <b>business</b> side of music..
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<br>Should there be forced retirement for <b>any</b> occupation based on age alone? A difficult question to say the least.
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Author: Dave Spiegelthal
Date: 2000-03-20 16:39
Mark,
I NEVER suggested (and would not ever suggest) forced retirement for musicians. My point was not that we should penalize these great musicians for their longevity, just that, while recognizing their accomplishments, we should remember that every silver lining has a cloud, and in this case, their (justified) tenures result in fewer opportunities for other players. That's all!
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Author: earl thomas
Date: 2000-03-20 18:15
Stanley Drucker is an extraordinary clarinetist. I had the astounding experience of playing a couple of band concerts with him during our school days in NYC. He was in his late teens I think and I was just back from WWII going to Juilliard. We shared the same stand and it was something that I'll always remember. He was helpful to one of my pupils when he helped my pupil enter Juilliard a few years ago: meeting my pupil before one of his concerts in the lobby of Lincoln Center. He's taught quite a few players and I'm sure they've benefitted from his teaching and playing.
You have a valid point Dave. The "brass ring" is very difficult to catch, but now and then, someone gets a great gig and life goes on. Nowadays, the doctorate is essential towards the security of a college job; so, we must adjust to that evolving career essential. However, the joy of practicing, tho' not always remunerative, has its own rewards. One never knows when opportunity will knock and being prepared is just part of life. The appeal of playing well will always stimulate growth. Because we've learned so much from the great players and teachers who preceeded us, trial and error is no longer our fate. Cordially, E.Thomas
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Author: Lelia
Date: 2000-03-21 14:44
Dave Spiegelthal wrote:
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<snip>
[S]hould the music education industry continue to raise the hopes of young musicians and perpetuate the myth that, if they work hard and play well, they'll find work? I know this sounds bitter, and while I have all the respect in the world for people like Stanley Drucker, Gregory Smith, et al, perhaps the music industry (and especially the music education industry) should be more candid in what we tell young musicians about the real world of professional music-making. It's sort of like telling all the inner-city kids that if they keep shooting those hoops, they'll be in the NBA some day. It just ain't so.........
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Good point. IMHO, music educators would do their students a favor by avoiding giving the impression that the most important measure of success as a musician --the proof of success -- is a professional gig. So many kids quit completely because they "fail" to achieve a professional career. Then they identify themselves as failures. IMHO, that's terribly unfortunate, for a lot of reasons -- one of which is that the loss of these "failures" thins out the ranks of people who could have been amateur musicians if they hadn't quit. Active amateur musicians form a large part of the potential audience for live professional music, seems to me, so by discouraging people from staying with music as amateurs (the implication is, "You're not good enough, so leave it to the professionals"), I think that the music business weeds out its own best audience!
Many of these students are not failures *as musicians* by any stretch of the imagination. Succeeding at making music and succeeding at making a *career* of music are two *separate* goals. One is much more of a long-shot than the other -- and a lot of the reason for that has to do with the shrinking of the marketplace and other factors beyond the student's control that have little to do with hard work, effective practice, love of music, talent and the other purely musical considerations.
There's no shame in "failing" to make a career of music, when the odds of succeeding are so exceptionally poor. IMHO, the more realistic goal of making music well should rank as the more valuable accomplishment, in terms of growing as a person and earning honest pride in a job well done. If the money and the public recognition come, too, then that's great, but I think we'd have a healthier climate for participating in music, instead of using it as a spectator sport, if society took more trouble to emphasize the value of the accomplishment for its own sake as the primary goal.
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