 The Clarinet BBoard
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Author: eduardo94
Date: 2015-01-20 04:56
In your opinion, what are the most difficulty clarinet classes to join?
I think Françoix Benda and Yehuda Gilad are on the top of this "list".
Just to remember, I'm talking about classes, not about schools like Juilliard, Manhattan school, etc. Because i know clarinetist who were admited on Juilliard and USC, and preferred to join a "less know, school" just to study with Mr. Gilad.
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Author: tylerleecutts
Date: 2015-01-20 05:11
Remember it's not about how good you are when you begin your schooling, but after. Whomever can get you on your way to the best "after" is your ideal teacher.
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Author: Sylvain
Date: 2015-01-20 07:13
It depends on what you want to do with your career, but for orchestral and solo playing, it's hard to beat Curtis Institute of Music and Gilad's studio although it might be harder to get into Curtis.
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Sylvain Bouix <sbouix@gmail.com>
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Author: WhitePlainsDave
Date: 2015-01-20 18:55
Eduardo..I don't know. But I can tell you what might be as good a metric as any in determining who and where to best to study [with] in my opinion. And that would be the number of performance major players a teacher/school at the college level got placement into a major orchestra with.
With that metric said, I think Richie Hawley is pretty high up there.
If you prefer, the metric could be the number of students that [can] make their living playing [clarinet] as their sole profession. Of course said students can also teach clarinet for income, but not...to be clear, have to also work as, say, an accountant (not that there's anything wrong with accounting, it's just outside the realm of music, and say, "classically performing and teaching on the side") to make ends meet.
And are other performance genres of music, or music education inferior? Of course not. Considered one of the finest teachers ever, Kalmen Opperman, use to play Broadway shows. I use orchestral play as my example because the competition is crazy fierce.
I'm sure there are other many fine attributes to consider other than the pure employment numbers. The fit of a teacher, their ability to relate to players of all kinds, with all types of personalities, and 1000 other things come to mind that I don't mean to discount. Nor do I mean to discount teachers who have become highly skilled at handling entry level players, particularly young ones, or gifted pre-college ones. I'd sooner want these teachers for a pre-professional/pre-college teacher than some vituosic player/teachers who would sooner focus on a student's artistic expression, than clarinet fundamentals.
Still more, I think there's a bit of luck, along with enormous skill that finds a teacher making a name for themselves. Sometimes otherwise really good teachers can make superstar status by being lucky enough to also have as students, at least initially, extremely gifted and motivated pupils who end up making performance names for themselves. Thereafter, it's not uncommon for really serious students to study with said teacher, where producing a fair number of truly talented players becomes a product of not only excellent teaching, but excellent raw material (motivated talented students) from which to work with, not to mention considerable "sweat equity" on the part of the student.
I don't mean to disparage teachers. Not at all! I don't mean to be cold, examining the brute hard numbers of employment statistics when so many other attributes, even if less tangible, exist in the teaching/learning experience.
Post Edited (2015-01-20 18:57)
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Author: eduardo94
Date: 2015-01-25 04:46
I know it depends what u wanna do in ur career and out there are several good teachers. But everybody knows some classes are really difficult to join. For exemple, there are few brazilians who could study with Françoix Benda, and those few dont come back to Brazil, the only one who came back is principal clarinet in two of the biggests Orchestras in Brazil. When u see a internacional competition in Europe, 2/3 of finalists are Benda students. You can see Hans Deinzer, who taught Sabine and Wolfgang Meyer, Andrew Marriner, Martin Frost (who said once that Deinzer were his principal teacher to become a soloist)
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