Author: kdk ★2017
Date: 2015-04-05 19:59
Is the printed dissertation available from some publicly accessible source? I've listened to only about a third of it because, unlike a video of a music performance, I can't listen to this and do something else at the same time. Also, I can't easily backtrack to specific places (unless I've set a bookmark first) to re-hear earlier information. I would prefer to be able to read this kind of material, even at the cost of not hearing the speakers' own voices.
There is a great deal of material about Stokowski and the early Philadelphia orchestra that may or may not be accurate, and it's hard to tell from the narrative what is researched fact and what is conjecture (especially when she discusses why specific people made their decisions). Certainly, it's useful to know what the major products of Bonade's influence had to say about their approaches to playing, and they must all be taken as exemplars of what *can* work, even if not of what *must* be done.
I was interested to hear (or I think I heard, but I'd have to go back again to find it to be sure) that Gigliotti's almost single-minded emphasis early in a student's course of study on support of the air column by very constant, strong, conscious engagement of the muscles of the lower abdomen did not come directly from Bonade (I think Ms. Thompson says Bonade actually made fun of it). I was surprised to hear (again, I'd need to go back to be sure I heard correctly) that Marcellus, who pioneered the use of Moree reeds (supposedly because of their greater resistance) and their later imitators in the U.S. played on softer reeds than most American players. I assume Ms. Thompson has a basis for having said these things other than others' anecdotal accounts, but they fly in the face of my prior understanding.
Karl
|
|
The Clarinet BBoard
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
