 The Clarinet BBoard
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Author: Sylvain
Date: 2006-01-17 18:18
Since this is probably the only place where somebody might be interested in listening to my playing I put up my latest performances online for your enjoyment (or torture ):
http://lmi.bwh.harvard.edu/~sylvain/Music/
Comments:
I play for fun, but try to do as well as I can.
Equipment:
Bb: RC Prestige Greenline, buffet barrel.
A: RC, Chadash barrel.
moutpiece/reed:
CH faced by Hill (104tip/36lenght) on the last concert with a Rico GC Evo #3.5
VD M15 with a V12 #4 on the previous concerts.
Please let me know what I am doing wrong and please post your own recordings, I'd love to hear what everybody sounds like.
--
Sylvain Bouix <sbouix@gmail.com>
Post Edited (2008-07-03 20:03)
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Author: Brenda Siewert
Date: 2006-01-17 18:52
Nice job, Sylvain. I also liked the cello very much. Nice expression on the 3 pieces I enjoyed.
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Author: Paul Aviles
Date: 2006-01-18 01:11
Congratulations on some truly inspired performances!! It is a blessing to get a chance to perform so much good chamber music and record too. Kudos as well for the gumption to post on them on the board!!
...............Paul Aviles
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Author: archer1960
Date: 2006-01-18 12:56
Very nice! It's amazing how much good music there is for free out there from individuals like you.
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Author: DavidBlumberg
Date: 2006-01-18 13:14
My recording of the Brahms and David Trio is at
http://download.com/davidblumberg
The David was recorded with Assc. Concertmaster Phila. Orch Nancy Bean a while back.
Free to hear, download, etc. Nothing's for sale there.
I'll check out your page Sylvain
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Author: clarnibass
Date: 2006-01-18 16:06
That's a cool site David, I made an account there now, and I uploaded one file so I'll post the link when it is approved and working.
Sylvain, overall I liked your playing and your sound. Are you interested in hearing criticism?
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Author: Sylvain
Date: 2006-01-18 16:19
clarnibass wrote:
> Sylvain, overall I liked your playing and your sound. Are you
> interested in hearing criticism?
Always! I don't mind it being public, but you can also send it to me directly as I am not sure everybody is interested...
David, oh boy that last mvt of the David trio goes up to the stratosphere, it almost sounds like you need an eflat horn! Impressive...
--
Sylvain Bouix <sbouix@gmail.com>
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Author: DavidBlumberg
Date: 2006-01-18 17:52
I prefer soundclick.com actually for traffic and page design, but yup, it's a cool site.
The David Trio was from my Sr. Recital and my tone back then was briiiight. After my undergrad I had a lot more lessons (and w/other teachers) and got much better instruments so it darkened up a lot as is the Brahms which was recorded much more recently.
Yeah, it is quite high. The work was written for Elsa V. and it doesn't get much harder than that.
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Author: Sylvain
Date: 2006-01-18 17:55
I like bright and it works well with the piece you played.
-S
--
Sylvain Bouix <sbouix@gmail.com>
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Author: DavidBlumberg
Date: 2006-01-18 20:00
David Trio was 1986 and Brahms was 1996.
Who knows what the heck I'll record in 2006 ....... 
This is the 30th year I've played, so it seems I'm on the "6" plan
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Author: clarnibass
Date: 2006-01-19 06:29
Ok Sylvain I'll take the plunge and give you some criticism. Which pieces did you play Bb clarient and which are on A clarinet? Sorry but I don't know the pieces.
I think the most important thing for you to improve is the rhythm. The clearest example is Muczynski 1st movement in the beginning. I personally think rhythm is the most important thing in any music.
Also sometimes your altisimo notes are a little out of tune, but not always.
How did you record this? It sounds like the input level was too high since there is distortion in the recording, and I have my volume lower than usual to hear it at the same level.
Good luck.
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Author: Sylvain
Date: 2006-01-19 14:13
Thanks clarnibass, I always struggle with intonation and have been very aware of it. On the other hand I always thought rythm was my forte. Listening to these performances, I agree with you, there is definitely room for improvement. The Muczynski is clearly not very steady.
I guess I have to get the metronome out of the drawer :(
Thanks for the feedback, very much appreciated!
All of the pieces recorded on the web page are on Bb except for the Brahms Trio.
-S
--
Sylvain Bouix <sbouix@gmail.com>
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Author: clarnibass
Date: 2006-01-19 15:29
Sylvain, I listened again, and I'd like to make my criticism clearer. When I say rhythm I don't just mean count correctly. By rhythm I mean playing each note exactly where you want to play it. Your rhythm problem is not as bad as maybe I made it seem in my first post. It sounds like you count at the right rhythm, so I'm pretty sure your problem is just technical.
For exmple, if you sing your part can you sing every note in the right rhythm? From listening to your recordings I am guessing you can. The problem is sometimes you have a hard transition in the fingerings, so 8th or 16th notes will be too slow (like in the 1st movement of the Muczynski in the last 3 notes of the group of 7 notes after the first first 2 notes), or too fast (one phrase after that in the same movement). I hope I explain this clearly.
Also even before I knew which clarinet you used for each piece, and before I noticed you changed mouthpiece and reed in the latest concert, I thought your sound and intonation in the Brahms is much better than in the Muczynski. I don't know if it is the different mouthpiece, different clarinet, or just a better day for you, but it works better.
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Author: Sylvain
Date: 2006-01-19 17:18
Clarnibass, I understood what you meant, the runs are not very even. I was nervous in the Muczynski and it shows. Some of the odd meter (5/8 and 7/8) is also not very precise.
As far as sound and intonation:
I bought my A when I knew what I was doing and carefully checked for good 12th and overall good intonation The Bb was bought much earlier and it does have some intonation issues that I didn't notice at the time.
The biggest difference in the sound is probably much more due to the acoustics of the hall and recording settings than the mouthpiece/reed combo. The concert at the Zeitgeist had mikes very close to me and a bad preamp that saturated the sound. The room is also very dead. The MIT concert was done in a larger hall with much more reverb and mikes that were better placed.
This sort of brings me to the issue of recording. I have recordings of Wright in different settings and I find his sound varies significantly across recordings. The mozart concerto on deutsche grammophon or the solos on the Boston Symphone recordings are nicer to me than many of his Boston Records CDs.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: Liquorice
Date: 2006-01-19 22:05
Clarnisbass wrote "I personally think rhythm is the most important thing in any music".
Can you qualify that statement? Why do you think rhythm is more important than, say intonation, timbre, dynamics, for example (in any music)?
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Author: DavidBlumberg
Date: 2006-01-19 22:25
I put intonation above rhythm as being the more critical.
Bad rhythm is bad, bad intonation is obscene
Also evenness of notes - that's a big one too. Uneven technique sticks out like a sore thumb.
Post Edited (2006-01-19 23:48)
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Author: Sylvain
Date: 2006-01-20 02:12
David,
Are you complimenting my playing?
When I listen to a pro I want the whole package: flawless technique (finger accuracy, intonation, ...) and intelligent musical interpretation.
When I listen to a beginner or an amateur, I care less about the technique and more about the musicianship. If I can hear that there are some interesting ideas in the interpretation even if it is out of tune or uneven, I am usually glad to hear it.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: clarnibass
Date: 2006-01-20 05:43
Liquorice, I'm not going to start a long detailed post about it, but I will say that you notice I wrote "I personally think..." which means it is simply my opinion.
I didn't say I think everything else is not important. I think everything is important but bad rhythm really kills the music like nothing else. Uneven notes I count as part of rhythm.
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Author: DavidBlumberg
Date: 2006-01-20 09:55
Sylvain - I still have to hear your page. I went to it, and there were so many works there that I though "man, I need some time to check this out!"
I've had an insane week, so no chance yet.
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Author: Sylvain
Date: 2006-12-15 20:43
Reviving this page as I just added some recent home recordings.
Baermann's Adagio is the one I am most proud of
http://lmi.bwh.harvard.edu/~sylvain/Music/Audacity/BaermannAdagio.mp3
For the equipment nuts:
*Buffet RC prestige Greenline, with upper joint seriously altered by Guy Chadash
*Standard Buffet 66mm RC barrel
*Chadash Hill mouthpiece
*VD blackmaster #3
*recorded Sony ECM MS907, directly plugged in laptop, post edits with Audacity.
All my recordings are still at
http://lmi.bwh.harvard.edu/~sylvain/Music/
Feedback positive and negative is always welcome.
-S
--
Sylvain Bouix <sbouix@gmail.com>
Post Edited (2008-07-03 20:03)
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Author: FDF
Date: 2006-12-15 21:07
Sylvain, I enjoyed listening to you play.I found your playing admirable and very relaxing. You played with great concentation, fine tonality, and close attention to expression. Thank you.
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Author: Sylvain
Date: 2008-07-03 19:56
Dear all:
I just added some recent recordings from a June concert to my music page:
http://lmi.bwh.harvard.edu/~sylvain/Music/
I wish I could take another crack at some of the things I messed up, but it is what it is.
Feedback is always greatly appreciated!
--
Sylvain Bouix <sbouix@gmail.com>
Post Edited (2008-07-03 20:09)
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Author: Sylvain
Date: 2008-07-03 22:02
I am still kicking myself for messing up the last bars of Shepherd. I practice this thing so hard and thought I had it under control.
The Bach is originally a piano piece, transcribed for flute, piano, cello; played with a C clarinet instead of the flute. If you can overlook the uneven technique on my part, I thought the tone color combination sounded quite nice. For ~$800, the Forte is a true bargain.
I also want to tip my hat to Chris Hill. I have been playing the CH mouthpiece since October 2005. It took a little bit of getting to know each other before I felt comfortable, but it has delivered for me in both small and big halls, chamber, orchestral and opera. I could not be happier with it.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: Snowy
Date: 2008-07-04 04:09
I enjoyed the Bach muchly and that is all I have listened to as yet.
[ Snipped - GBK ]
Snowy
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Author: S. Friedland
Date: 2008-07-04 15:19
Sylvain:
It is very kind of you to share your playing, and you should be commended on playing that is very good, however I have only one suggestion that may be a help to your musicianship. I listened only to the Bruch and I heard immediately that you tend to slightly swell on most notes, certainly on the slower notes which is considered a distraction to the listener and to the music. You have a nice sound, but also do not dwell on it alone as it is not necessary to make the sound itself more important than the music, which should be number one in your preference. Lastly, remember that the clarinet as well as most single-line instrument emulate the voice. It is the ability to play in a vocal manner that attracts the listener. You are a voice, without words.
Sherman Friedland
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Author: DavidBlumberg
Date: 2008-07-04 16:15
Sherman is right. It is a completely natural thing to do (swelling), but not desirable. I tell my students to not sound like a race car driving by.
Michele Zukovsky was the player who told me not to do it back in 1993, and I took it to heart.
http://www.SkypeClarinetLessons.com
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Author: Sylvain
Date: 2008-07-04 17:03
Thank you for your comments Sherman. I really appreciate you lending your expert ear for some critical listening.
Do you mind clarifying your comments? Do you hear me do too many intentional swells (1), or do you think I have a tendency to systematically swell every note (2) or all of the above?
I am more concerned if I am guilty of (2), as it will require some serious retraining to get it out of my system.
--
Sylvain Bouix <sbouix@gmail.com>
Post Edited (2008-07-05 15:44)
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Author: S. Friedland
Date: 2008-07-04 22:15
No, it was only in the Bruch. I went back and listened to the Schubert which was quite good, many special places and no swelling. I do not think it serious after listening to other of your generous and well played offerings. The pushing of the sound is more serious for me as I think there should be more vocal-like shading. In any event, thank you again for sharing.
SF
Post Edited (2008-07-05 02:24)
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Author: Sylvain
Date: 2008-07-05 15:43
Thank you Sherman, I have to think about this idea of "pushing the sound" vs. "vocal shading" and see how I can translate this into actual techniques.
I have tried to vibrate in the past but with moderate success to my ear, and still have to figure out not only when, but how to effectively achieve different tone colors.
Sounds like I need a few lessons
--
Sylvain Bouix <sbouix@gmail.com>
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Author: tetiana
Date: 2008-07-12 14:38
Bonjour Sylvain
I took some time today to listen to your performance of the Gade (I'm learning it myself). I found your interpretation very beautiful - gorgeous subtleties in expression, great tempi, very musical playing. Such a wonderful piece. I didn't have time to listen to the other pieces, but I've bookmarked your site and will revisit it soon.
Bravo Sylvain et félicitations!
tetiana
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Author: Philcoman
Date: 2008-07-14 15:46
Bravo! A pleasure to listen to -- thank you so much for sharing. And may we all "play for fun, but try to do as well as we can," whatever our status as musicians!
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Author: Danny Boy
Date: 2008-07-14 16:02
Nicely done Sylvain - I enjoyed Shepherd on the Rock and chuckled at the Rossini - it sounds like a C clarinet.
My offerings are on the link below.
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The Clarinet Pages
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