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Re: The right tone for French music

Author: ruben
Date: 2020-07-24 19:37

Paul and David: I heard Lancelot often live, in chamber music. The other top French player of Lancelot's generation was Henri Druart; principal with the newly-founded Orchestre de Paris. He had a much bigger sound than Lancelot; maybe a bit less reedy, but also bright. When Karajan took over the Orchestre de Paris, he hated Druart's sound and "nudged" him into buying a pair of Wurlitzer Böhm-reformed. He wanted Druart to sound like Leister. Druart couldn't get used to them and went back to his Leblanc L200s. Karajan also forced the bassoons to switch from French to German bassoons. The generation after Lancelot and Druart: Dangain and Deplus, got away from the old, traditional French sound and now it's gone for good. Paul: I've been told by recording engineers that it is very hard to record the clarinet because it is so rich in harmonics.
PS: Bonade was French and had many students in the US. What did he sound like? I shouldn't think he had as much influence as Tabuteau had on American oboists. Leon Russianoff thought highly enough of Lancelot to send him many American students-basically to study the French repertoire.

rubengreenbergparisfrance@gmail.com

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The right tone for French music new

ruben

2020-07-21 13:05