 The Clarinet BBoard
|
Author: robertgh
Date: 2006-11-04 18:55
Hi, folks!
Had the extreme pleasure of hearing Julian Bliss perform the Mozart with the Baltimore Symphony last evening. (There's a final performance tonight also if anyone is in the region and can still wangle a ticket.) It's a real double treat since he is also performing on what looks to be a seriously Backun-ized basset clarinet. Put together his dazzling, effortless technique with the rich, focused sound of the basset's lower regions and you get a K.622 that's truly heroic in scope.
The mood shifts in his first movement are rich and subtle; the phrasing and shaping of passages is fresh but not indulgently idiosyncratic: it's pure Mozart at his quicksilver best. The adagio glowed with warmth and grace, the pianissimo return of the main theme following the cadenza bringing a kind of hold-your-breath intimacy, one of those moments of sublime repose that is paradoxical: even as you're in the moment you know it is fleeting, can not last, but what a moment! The rondo was a little like listening to a gifted jazz artist with lots to say taking you on an extended ride. There was that improvisational coolness that says "yeah, we all know what's coming but wait'll you hear it THIS time!"
All in all, it was a wonderful realization of one of the crown jewels of the repertoire. At the same time I'm hoping that he records this version, I'm also looking forward to hearing him live with some of our other world-class groups, particularly in some of the 20th century repertoire that deserves to get programmed more often.
Julian Bliss is the real deal: substance and style. The future looks very cool indeed!
|
|
Reply To Message
|
|
Author: Phurster
Date: 2006-11-05 11:07
I have to agree. Heard him perform Weber Concerto No2 in Melbourne last year. It's not just the excellent technique...he plays so incredibly musically.
I have his debut CD. Brilliant recordings of the French repertoire. I think when he recorded this he was playing on a wide-bored Peter Eaton. To be honest the tone (if listened to in isolation ignoring the suberb technique and phrasing) is not quite what I would aim for. The overall effect however is fantastic. The Messenger and Poulenc especially so.
Chris
|
|
Reply To Message
|
|
Author: cigleris
Date: 2006-11-05 13:00
Guys there are far more interesting clarinet players out there who haven't had the breaks that Julian has had. I wouldn't say he's the future of clarinet playing.
Peter Cigleris
|
|
Reply To Message
|
|
Author: David Peacham
Date: 2006-11-05 16:01
"far more interesting clarinet players"
Do you mean players who are simply more technically and musically accomplished? Or do you mean players who are doing more creative/original things than Julian is?
-----------
If there are so many people on this board unwilling or unable to have a civil and balanced discussion about important issues, then I shan't bother to post here any more.
To the great relief of many of you, no doubt.
|
|
Reply To Message
|
|
Author: Mark Charette
Date: 2006-11-05 17:29
cigleris wrote:
> Guys there are far more interesting clarinet players out there
> who haven't had the breaks that Julian has had.
Julian must have had something other than just good "breaks" to get where he is, as he comes from a non-musical family with no "ins" in the music or high-end cultural societies where one gets to meet mentors that can further a career. His "breaks", so to speak, were recognition by a few professional clarinetists and teachers of his potential, and their invaluable guidance.
I always considered "breaks" as coming from a well-recognized musical family or insider knowledge of the industry. Julian started with neither. Perhaps your definition is different.
The Bliss family are friends of mine and I do know something of Julian's history.
|
|
Reply To Message
|
|
Author: Danny Boy
Date: 2006-11-05 18:56
Sorry Peter, but that comes across as a case of sour grapes. I agree with what Mark has said, he's had the breaks for a reason.
I've known Julian off and on since he/we was/were very young, and his rise in the world of clarinet playing is totally deserved in my opinion.
He's good for the profession we work in, and how many other players of his age do you know that are as good? By definition he must be the future of said profession...he inspires countless young performers (including me) and this can never be a bad thing
I haven't always enjoyed everything he has done, but do have an immense respect for him.
|
|
Reply To Message
|
|
Author: Iceland clarinet
Date: 2006-11-05 21:53
For me Julians tone is really boring to listen to. I like more flexible and more tonecolors and for example Sabine Meyer has that although I'm not that much fan of her tone and just overall the German school. For me there haven't been many good players that have come around since about 1960. In fact I would have liked to go and study in England but all the good teacher there are eather ded or have retired(John McCaw,Bernard Walton,Reginald Kell and Gervase de Peyer). I don't know if he teach anymore but I would also like to study with George Pieterson in Amsterdam.
|
|
Reply To Message
|
|
Author: cigleris
Date: 2006-11-05 23:51
Can i say it's not sour grapes at all, i'm happy doing my solo recitals and concertos (including a world premier next year). There are far more players out there how are musically and technically accomplished and doing far more interesting things. Mark i must say regardless of your connections that we all get 'breaks' in the profession, Julian's has really come about due to having quite a pushy parent. I have infact met them both and were rather rude while I was having a conversation with one of my old teachers after a Prom concert. He does also come from a musical family, his brother is quite an accomplished horn player, who as i'm told was a bit of a rebel. I'm sorry if you all think this is negative but just because he has top management that are getting these gigs does't mean he is the bees knees, I know other players that are far more musical then he is. And i'm not the only one to think so.
I do feel that people should look outside the box once in a while.
Peter Cigleris
|
|
Reply To Message
|
|
Author: Mark Charette
Date: 2006-11-06 00:05
cigleris wrote:
> Can i say it's not sour grapes at all,
I'll have to respectfully disagree with your premise of "no sour grapes".
|
|
Reply To Message
|
|
Author: crnichols
Date: 2006-11-06 00:11
I thought Gervase de Peyer, based in Washington, D.C., was still alive, active and well.
Christopher Nichols, D.M.A.
Assistant Professor of Clarinet
University of Delaware
|
|
Reply To Message
|
|
Author: robertgh
Date: 2006-11-06 03:14
"I do feel that people should look outside the box once in a while."
Inside the box, outside the box, under the box—I'm always looking and listening for interesting performers of all styles and stripe as well as new repertoire that I've yet to hear. It really doesn't matter either whether it's klezmer, classical, period performance, jazz, traditional dixieland—if the performer's work has integrity and musical vision, then it's got my interest. That's been my approach for over fifty years and I hope I get at least another quarter-century to continue that enjoyment.
NPR carries a program, From the Top, that regularly features gifted young musicians from around the country (US). Many will certainly be pursuing professional careers and some will certainly emerge as the next generation of box office stars. I'm sure the same is true in the UK as well. In the best of all possible worlds we would have the opportunity to hear them all, they would have access to the audiences they deserve, and their artistry and body of work would receive the mutual respect it deserves.
What I was fortunate to hear in Baltimore was a performance filled with integrity, substance, and—as Chris noted above—sublime musicality. There may have been other performers on other stages doing magnificent work that night, but hearing what I was hearing, I wouldn't have traded places with their audiences for all the tea in China. Not even for a lifetime supply of reeds that always play! Yeah, it was THAT good! ![[grin]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie5.gif)
|
|
Reply To Message
|
|
Author: diz
Date: 2006-11-06 03:27
Robert - sounds like you had a thrilling experience. What else was on the programme?
Without music, the world would be grey, very grey.
|
|
Reply To Message
|
|
Author: robertgh
Date: 2006-11-06 06:09
Hello, Diz,
Program was all Mozart. Opened with Overture to La clemenza di Tito, followed by the concerto. Second half was the Requiem featuring the Baltimore Choral Arts Society and a nicely-matched set of soloists—great ensemble work in the "Recordare."
|
|
Reply To Message
|
|
Author: donald
Date: 2006-11-06 07:19
look, i happen to think that Julian Bliss is a pretty hot player, and unlike some musicians who got "lucky breaks" DOES deserve success on the basis of his talent and hard work.
that said
i think Peter Cigleris does raise a good point, even if i might want to quible with his wording. There are lots of players who have a worthy contribution to make to the discourse, and it's plain that the "business" doesn't make their desicion on which artists to support based entirely on this potential. Ok, they are in the money making business not the "artistic contribution" business, we have to accept that to some extent.
Despite the tone not being quite as good as i remembered from his live performances i was impressed by the French CD. But there's no shortage of players who could record interesting and tidy performances of these works, many of whom have a shrinking opportunity to perform in the 21st century (even if recording a CD has become much easier).
donald
|
|
Reply To Message
|
|
Author: Liquorice
Date: 2006-11-06 08:15
I agree that the "business" does tend to push the few, and that leaves many other interesting players outside of the main circuit. However, it's very uncommon that the "few" don't have the ability to pull their weight when it comes to living up to the expectations of the business. Julian clearly is living up to expectations and impressing audiences world wide. Good for him!
Peter- it really does come across as a case of sour grapes. Otherwise why would you have the need to make comments like that, and put down another player? If I were you I would delete my comments from this discussion and save myself the embarressment.
|
|
Reply To Message
|
|
Author: cigleris
Date: 2006-11-06 11:37
I was trying to make the point that there are other players out there, and as usual, with many posts on this site, things get taken out if all preportion. I was making the comment as a professional player. I'm not a great fan of his sound or musicality. That might change as he has more life experience etc. I don't get the wow effect at the moment. I didn't in any way say I had no respect, I respect a hell of a lot of players wether i like them or not. Our instrument is not a easy instrument to master. I have respect for any one that can pull off a great performance of the Mozart. It doesn't mean I have to like all the aspects.
This is just my professional opinion, and surprised certain people can't respect that. Isn't free speech in the Consitution?
Peter Cigleris
|
|
Reply To Message
|
|
Author: Liquorice
Date: 2006-11-06 12:20
Which constitution? :-)
Of course you can say anything you like (as long as Mark allows it). But ultimately what you write says more about you than it does about the Robert's original post.
|
|
Reply To Message
|
|
Author: cigleris
Date: 2006-11-06 13:44
Of course. Having read it back it did sound rather 'sour'. That was not my intention. Was just trying to make a point. I'm not jealous by any means, i'm happy with what i'm doing. I wish him all the success in the world.
Peter Cigleris
|
|
Reply To Message
|
|
Author: crnichols
Date: 2006-11-06 14:42
I've been corrected. Thomas Piercy, one of our board posters and a former student of Gervase de Peyer's, informed me that he moved back to London awhile ago. Regarding teaching, I think you'd have to get in touch with Mr. de Peyer directly.
Christopher Nichols, D.M.A.
Assistant Professor of Clarinet
University of Delaware
|
|
Reply To Message
|
|
Author: frank
Date: 2006-11-06 22:10
Tone is a very personal taste and opinions vary. What you can't deny is the kid's success. Maybe a handful of musicians a generation can have a career like he has and is going to. Wish the dude the best!
If Julian's success bothers you, just remember that in the end, he is still just a nerdy classical musician/clarinet player and not the Sex Pistols. Rock on! 
Post Edited (2006-11-06 22:11)
|
|
Reply To Message
|
|
Author: eefer ★2017
Date: 2006-11-06 23:43
I had the pleasure of spending a good part of last week with Julian and his mom while they were in Baltimore. They are delightful people....very unassuming.
I attended his Saturday night performance and I can tell you that no matter what your personal thoughts are, he was nothing short of miraculous in the eyes of the audience and the orchestra musicians. After he was finished, the audience stood for a full ten minutes and he was called back many times. When Maestro Langee asked the orchestra to stand behind Julian, they refused and stayed seated. The write-up in the Baltimore Sunpapers was equally as glowing.
Julian came up into the box after the intermission to hear the Requiem. We had a fairly obnoxious person sitting in front of us, who very obviously knew nothing about the clarinet from his comments. It would have been very simple to have put the fellow in his place, but neither Julian nor his mother made a peep. Nobody even knew that Julian was there or recognized him. He had changed into a t-shirt and a pair of jeans, like any other kid his age would wear. He has no desire to be singled out or pampered in any way.
Whether you like his playing or not, I think it is fair to say that there are no other 17-year-olds in Julian's position, whether or not they have had breaks. He studies with one of the finest clarinetists in the world today, at the age of 14 received a graduate performer's certificate from a major U.S. university, has traveled the world peddling his craft for the last 7-8 years, holds a recording contract with one of the finest labels in the industry and doesn't ask anything from anyone except to come hear him play, if one so desires. And he knows that not everyone will be his champion. He is a good kid with the right attitude for a very bright future.
Nancy Buckman
AACC Symphony Orchestra
Opera AACC
Early Music Society of Northern MD
(and a lot of other ensembles, too)
nebuckman@gmail.com
|
|
Reply To Message
|
|
Author: graham
Date: 2006-11-07 08:02
Viewed as a performer of indeterminate age these comments seem very fair (though I have no actual opinion on Bliss himself). But it gets irritating to hear references to age, and what his Mum is like, and so on. The cult of the Wonder Kid is the thing that is a turn off.
|
|
Reply To Message
|
|
Author: Adrian
Date: 2006-11-07 18:52
What we have here is a fellow clarinetist--a terrific player--being marketed as a musical star. The only woodwind that has had real "stars" has been the flute, with Rampal and Galway.
I think it's fabulous that our wonderful instrument may have a player who climbs into that world inhabited by the Perlmans, Mutters, Yo-Yo Ma, Lang Lang, and many other string and piano virtuosos.
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
