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Re: Embouchure question

Author: kdk ★2017
Date: 2016-05-29 04:21

To an extent, perhaps a large one, the techniques of sound production can depend on the player's needs in his playing context.

My impression from a couple of live performances I heard in Philadelphia (recordings being potentially misleading) and from comments made by people who heard the Cleveland Orchestra of the time more regularly at home, the orchestral approach under Szell was one of control and precision, never bombast and volume for its own sake.

Philadelphia, by contrast, at least under Ormandy, played for a "big" sound with most of the players I knew at the time complaining that they never really played softly - Gigliotti's term for it, if I remember the spelling correctly, was btsooi - blow the s---t out of it. I think he needed, or at least felt he needed, to produce a lot more sheer sound volume than Marcellus did. This may have dictated his opting for ways to provide more air at the reed. Anyone who saw Gigliotti play certainly remembers the way his neck actually bulged as he played at louder dynamics.

Different environments, perhaps different needs.

Karl

Post Edited (2016-05-29 06:22)

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2016-05-26 08:56