 The Clarinet BBoard
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Author: Name
Date: 2001-12-13 13:23
Check this out
http://www.towerrecords.com/product.asp?pfid=1180907
GREAT PHRASING AND SOUND....!
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Author: Brenda Siewert
Date: 2001-12-13 14:54
Long been a fan of Morales! Excellent CD. Thanks for calling my attention to it. Gotta get one of those! The website says they're low on stock, so if you want one you'd better order quick!
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Author: Name
Date: 2001-12-14 00:30
His phrasing reminds me of Harold Wright, expressive vibrato
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Author: Jim S.
Date: 2001-12-14 18:07
His sound (great resonance and flexibility) reminds me of Stoltzman in this up close venue. Was he studying with Opperman at that time? I wonder if he could get that sound and flexibility with your normal Buffet instrument. Could his barrel-mouthpiece-clarinet combination have been Oppermanized?
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Author: GBK
Date: 2001-12-14 21:55
For those who have never heard Ricardo Morales perform live, whether at Clarinetfest or in a master class setting...
If you happen to be in the NYC (Long Island) area on May 17, 2002, he will be performing the Mozart Concerto with James Levine and the Met Orchestra at Tilles Center (C.W. Post campus - Long Island University)
Needless to say, one of the truly fine young artists performing today. Definitely worth the trip to hear him play...GBK
http://www.tillescenter.org/series2001-2002/eventinfo.cfm?Event=163
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Author: Name
Date: 2001-12-15 03:31
WHAT THE HELL. STOLZMAN? DONT INSULT ME YOU IGNORANT CLARINET WANNABE. GO GET AN EAR
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Author: Brenda Siewert
Date: 2001-12-15 13:23
I don't know what Morales was playing when he made the CD, but he has played Leblanc Opus, Symphonie VII and Selmer Signature, Buffet Festival and probably a lot more.
By the way, the above post is uncalled for. We try to keep a civil pen on this board. If you don't want to leave your name, don't leave your attack.
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Author: Jack Kissinger
Date: 2001-12-15 20:40
Very aptly put, Brenda.
Some clues to what he was playing:
(1) the recording was made in April, 1995,
(2) there is a picture of Morales in the CD booklet, the same picture, BTW, that appears (in reverse transfer) on p.7 of the Dec. 2001 issue of "The Clarinet" except that it is not cropped as much on the bottom and labels are visible on both the barrel and upper joint of his clarinet. Unfortunately, the picture is so small that it's impossible to make out the label. It does not look like a Buffet label, however. The rings on the barrel of the clarinet he is holding are smooth.
However, the picture is probably a promotional one and may not be of the clarinet he used in the recording.
Best regards,
jnk
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Author: Name
Date: 2001-12-16 00:33
Who cares what he used......He sounds good.. Do you think if you use his setup, that you will sound like him? HIS SETUP IS EXTREMELY HARD, so don't make such quick judgements....LOL
Here's a story: All the Chicago Clarinet players *combs, bruce-yeh, etc etc* were telling a certain individual what kind of mouthpiece they use. When they got to John Bruce Yeh, he looked at his mouthpiece and said "oh...whatever came with the clarinet...."
To all of you clarinetist out there.....Equipment doesn't make music,,,you do...Every setup works differently for everyone.....Why is that so hard to understand?!?!?!!?!
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Author: GBK
Date: 2001-12-16 01:49
Usually I don't respond to bad manners on a bulletin board, but in this case I feel that I cannot resist.
Firstly, I am a big fan of Ricardo Morales. I have heard him perform live at least 6 times that I can recall, including his first Clarinetfest appearance in 1992 in Cincinnati when he performed the Nielsen.This summer in New Orleans I was fortunate enough to corner him and spend about 15 minutes with him and was able to discuss many aspects, including his equipment. His set up is NOT HARD.
As of this summer, he was using a Pyne mouthpiece with Grand Concert Evolution thick blank reeds #31/2. We talked about reed prep, ligatures, mouthpieces and all aspects of clarinets. Granted, there is no magic to what he uses - just his prodigious talent and work ethic.
As for Richard Stoltzman: He is another very fine talent, and fortunately for all of us he has brought the clarinet back into the public eye for the first time since the jazz era. If you do not care for his style or his choice of repertoire - LAY OFF THE CRITICISM -and respect what he does. Just be thankful that he is doing for our instrument what Marsalis / Joshua Redmond / Kenny G et al. are doing for theirs.
There are certain clarinetists that are not to my personal liking (Thea King for example) but, I have the maturity to respect their talent and ability.
Lastly, Mr.name.(and this is most important): ease up on the caffeine...GBK
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Author: NAME
Date: 2001-12-16 04:45
Do you guys even have jobs? ahahaha, btw GBK, morales has a 1/4 inch think pad on the top of his mouthpiece, and a huge callous on his lip.....yea, easy setup huh? You obviously know what your talking about
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Author: GBK
Date: 2001-12-16 16:23
To NAME (aka Lol) - your spelling and grammar tell us enough about you.
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Author: donald nicholls
Date: 2001-12-16 19:07
Mr GBK has responded like a gentleman and "Name" should possibly go to the "Limp Bizzzkut" web page- i know that sometimes it's late at night etc when you're writing on this thing and it can get easy to be a bit grumpy etc, but you need to "take it easy man".
As far as comparing set-ups etc is concerned... well- Gigliotti told a masterclass that he needed to have a reasonably light set up as he played for long hours..... someone who tried to play his clarinet found it impossible to play because it was too light.... then my former teacher Mr deKant told me that G played with a very heavy set-up and was knick-named "the cannonball"..... no one was lying.
nzdonald
(i wouldn't usually compare Stoltzman with Morales sound wise, but they both care a lot for the ring/brightness in their sound, and seem to be able to get "bright=sweetness" as oposed to "bright=hardness")
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Author: NAME
Date: 2001-12-16 19:28
Stolzman???? BRIGHTNESS???? cmon....you want bright RINGINESS , Try Harold Wright or Morales. Ringyness comes fromt he spin of the air (speed=spin). Prove me wrong
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Author: Jim S.
Date: 2001-12-16 23:29
Don: I've relistened to the Morales clip and I think the thing that makes me think of Stoltzman (other than the obvious: the tasteful vibrato) is the shaping of the notes through the use of changes in resonance, what you have called "brightness" or "ring". This is especially noticeable in the Trio Adagio. He begins a note gently and then swells it not so much with dynamics but with increased intensity of resonance and then eases back at the end, all the while maintaining impeccable intonation. This is extremely difficult to do with this intensity, even with your good Buffet. Maybe he can do it. But I have to wonder whether he has a larger bore clarinet for this sort of close-up chamber music recording. Granted, Wright could do this, though I think with somewhat less intensity as I recall ( I haven't been able to play my LP's for a long time). But he was playing a heavily Moennig-tweaked clarinet. Moennig has not been around for Morales. Who has? . Which brings up a story:
A few years ago Richard Stoltzman came to my town to give a very early performance of the Corigliano Concerto. I was able to approach him afterwards. As I came close, I immediately noticed the lighter-colored barrel of his clarinet and commented on it. He said it was an Opperman barrel. Then he added that in fact the clarinet was an Opperman clarinet. I was taken aback, and as I was digesting this bit of information a flying wedge of acqaintances swept him away and I never got a chance to ask any follow-up questions. Was he just referring to the fact that Opperman had done a bit of adjustment? I don't know, but since then I have listened carefully to his recordings and felt that he is demonstrating a flexibility that is beyond what is possible with your typical Buffet. Even Jack Brymer dreamed of a super clarinet of the future. Could something of the sort be evolving gradually and quietly right now. After the treatment afforded Moennig by the big manufacturers why would any craftsman now want to volunteer his discoveries to them? Could it be that this instrument would be shielded from the clamoring world of clarinetists at the insistance of a very private and retiring instrument maker? Jack Kissinger's note regarding the barrel was intriguing in this regard. I love a mystery. A clarinet mystery is even better.
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Author: Brenda Siewert
Date: 2001-12-17 14:09
I bought the recommended CD and am excitedly waiting for its arrival. Thanks for letting us know about it.
I also own many Stoltzman CDs and am aware that lots of people don't like him--but lots of people DO like him and apparently RCA thinks a lot of him.
Name, which label will we search for your CDs?
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Author: donald nicholls
Date: 2001-12-18 09:56
the weird thing about Mr no-name is that he is so wired up, it's quite creepy. Words are quite inadequate for describing sound, i really feel that we have to accept that when we are writing and reading postings, and we have to make allowances for this. The word "Bright" has been used to describe a zillion different things/sounds where the Clarinet is concerned- some of my friends (who have jobs by the way) want more of what they describe as "Brightness". Others (actually these ones usually don't have jobs to be honest) desparately want to sound "Dark" and critisize others for sounding "Bright".
Generally it's easier to just say "Bright" and "Dark" instead of writing 200 words describing (inadequately anyway) what you mean. I was recently turned down after a trial for a 2nd clarinet job because my sound was not "mellow" enough. I resisted writing to the orchestra management challenging them to find a CD recording of a Symphony orchestra where the Clarinet sounded "Mellow". What they meant was that i was more soloistic sounding than the first clarinet (who thinks that "Bright", "Ring" and "Sweet" are very bad things for a Clarinet to have in the sound and wants desparately to sound "DARK") and who thinks the best 2nd clarinet is the least audible one. I wasn't that keen on the job anyway and happily played an opera season as 2nd clarinet a few months later with no complaints that i didn't sound MELLOW. Still, when they said Mellow at least i knew what they meant (lacking in definition and centre, or "Ring" or whatever)
Yes- "Ring" is a good descriptive word, and high air speed is largely considered the best way to get it (before trying ligatures and barrels etc, which will of course help you continue in whichever direction you're heading).
.... but more on the topic at hand- at least 3 people i know of claim to have worked on Mr Morales Clarinet. I believe that Kal Opperman MAY have done some work for him, but i have no recollection of why i think this.... I think that Jimmy Yan made some barrels for him but i don't know when or for which clarinet.
I'm really not a fan of Stoltzmans sound, and i don't really like the vibrato thing no matter who does it. But i do honestly have a huge respect for him and enjoyed the one lesson i had with him (which really did help me make MUSIC). Wright and Morales i have only praise for.
i've got to sleep
Mr No name, i think you might need some too!
nzdonald
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