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 Tabuteau's influence
Author: Bill 
Date:   2020-03-07 05:57

I got the Storch biography of Marcel Tabuteau and am looking forward to reading about his influence on wind players of that era. Was there a connection between him and Ralph McLane?

Bill Fogle
Ellsworth, Maine
(formerly Washington, DC)


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 Re: Tabuteau's influence
Author: Hank Lehrer 2017
Date:   2020-03-07 06:49

Bill,

You need to read the doctoral dissertation by Shannon Thompson "A History and Analysis of the Philadelphia School of Clarinet Playing." Daniel Bonade was in the orchestra with Tabuteau during a good bit of the time. This dissertation is a marvelous recounting of the effect of both men on developing the American style on their respective instruments. As section mates, there is some interesting interactions.

This is a great read. The interview that Shannon conducted are pretty amazing particularly the ones with Bernard Portnoy. There are some excellent comments on this treatise by the late Glenn Kantor at the link below.

http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=145708&t=145681

HRL

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 Re: Tabuteau's influence
Author: Bill 
Date:   2020-03-07 07:02

Thanks very much, Hank!

Bill Fogle
Ellsworth, Maine
(formerly Washington, DC)


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 Re: Tabuteau's influence
Author: seabreeze 
Date:   2020-03-07 07:40

Shannon produced a video, The Signature Sound of Daniel Bonade, that you can see on YouTube:
https://www.youtube.com/results?search_query=the+signature+sound+of+Daniel+Bonade. But her study focuses on Bonade and his main students rather than Tabuteau or McLane. McLane knew Bonade but was a formal student first of the Italian-born Augusto Vannini (who was with the Boston Symphony from 1903 ro 1926) and most famously of Gaston Hamelin. McLane even followed Hamelin back to France to take lessons.

This question about whether Tabuteau had a direct stylisic influence on McLane could be addressed to the Facebook public group, "Harold Wright and Ralph McLane Appreciation Page." Students of Wright regularly contribute and if there are any students of McLane still around they might be found there.

According to "Clarinet Central," McLane once told a student that he could teach everything Bonade taught in just "two days," and there is little evidence that McLane tried in any way to emulate Bonade, so studying accounts of Bonade's style in the orchestra might be a step in the wrong direction. It is well known, in fact, that Stanley Hasty said he didn't care for the "sounds that were coming from Philadephia" when Bonade was playing and teaching there and elected instead to study with McLane, whose style and sound he preferred. Of course, McLane could have been influenced by Tabuteau without much influence from Bonade.



Post Edited (2020-03-07 17:26)

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 Re: Tabuteau's influence
Author: Hank Lehrer 2017
Date:   2020-03-07 16:49

Seabreeze,

My suggestion of the Thompson dissertation was more to assist Bill in developing a broader focus on Tabuteau via related literature. Taking a "compare and contrast" perspective is often a part of the research plan.

HRL

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 Re: Tabuteau's influence
Author: Paul Aviles 
Date:   2020-03-07 19:38

I believe it was Tabuteau from whom Iggy Gennusa got the "Number System" for dynamics. The short of is that you take the softest you can play a note and call that "one." Then the loudest note would be "eight," and you have the increments in between. Iggy would place numbers above notes of a phrase and insist his students follow that assiduously.


Iggy introduced that concept at a KlarFest I attended in the early '80s. He played a group of notes and then asked the audience what numbers they thought they were. There was some confusion because someone offered up what those notes were numerically within the scale.


Somewhere along the way I saw a dissertation on the Tabuteau numbering system that may be worth Googling.



..............Paul Aviles



Post Edited (2020-03-07 21:40)

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 Re: Tabuteau's influence
Author: kdk 2017
Date:   2020-03-07 20:37

Tabuteau coached the woodwind quintets at Curtis, so his influence at least in terms of ensemble practices extended to all the woodwind students during his time there.

Karl

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