 The Clarinet BBoard
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Author: Suzanne
Date: 2002-05-11 02:29
The article on the clarinet prodigy said that there are only "four" people making a living as clarinet soloists--who are these people?
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Author: GBK
Date: 2002-05-11 02:36
Richard Stoltzman, Sabine Meyer, and Emma Johnson are definitely 3 of them...GBK
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Author: jez
Date: 2002-05-11 10:05
Michael Collins, Gervase de Peyer and the aforementioned prodigy are another 3.
They only have to make a living as soloists because they can't get or keep an orchestral post.
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Author: Mark Charette
Date: 2002-05-11 17:33
jez wrote:
>
> Michael Collins, Gervase de Peyer and the aforementioned
> prodigy are another 3.
> They only have to make a living as soloists because they can't
> get or keep an orchestral post.
Wrongo!
There are a few people who don't <b>care</b> for an orchestral post.
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Author: ken
Date: 2002-05-11 22:13
I believe James Campbell, Sharon Kam and Marcus Eley are 3 others. There's unquestionably more than just 4 out there making a living as a soloist, that article whatever the source is skewed. The key word is making a "successful" and consistent living as a live performer, recording artist and clinician, and in my view that's much more demanding a playing career than an orchestra contract.
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Author: David Dow Symphony NB
Date: 2002-05-12 00:55
Paul Meyer seems to be making a record everyday or is featured with some orchestra somewhere...Richard stoltzman.....Mike collins and David Shifrin is one heckuva soloist!!!!
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Author: HAT
Date: 2002-05-12 13:06
It would be interesting to note which clarinet players do indeed 'make a living' playing only solo and chamber music concerts.
Most of those listed above either:
Teach at a conservatory or university
Have played in an orchestra at some point (DePeyer for instance)
Administrate for their ensemble
Publish books or editions of music (sometimes with 'interesting' claims about the origins of the music)
Take plenty of freelance gigs on which they are not featured
Have a rich family or patron
David Hattner, NYC
www.northbranchrecords.com
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Author: Nick Conner
Date: 2002-05-12 13:24
fyi, James Campbell isn't a freelance artist. He's a professor at Indiana University. I plan on studying with him next year at college.
Nick Conner
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Author: Larry Liberson
Date: 2002-05-12 17:34
Ken said (about making a living as a soloist) that "in my view that's much more demanding a playing career than an orchestra contract."
Gee, Ken...have you done either?
Bottom line is that no matter what you do in this business, it is a demanding undertaking to do it and to do it well.
I'm not so sure that one is any more demanding than another. It's simply that the demands differ in some -- but certainly not all -- ways.
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Author: HAT
Date: 2002-05-12 19:19
I had missed the reference used by Larry Liberson, but I believe his comments are perceptive. The full-time orchestra life is very very demanding. It's is hard to understand how much so from the outside.
The repertoire and variance of styles are tremendous and you have to sit there and concentrate for very long periods of time.
In any case, the paths of 'soloist' vs. major symphony musician are apples and oranges. Hardly comparable.
David Hattner, NYC
www.northbranchrecords.com
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Author: ken
Date: 2002-05-12 19:50
I stand corrected on James Campbell, I've got a couple old LPs of his from the late 70s and that's what one jacket blurb said. To answer Larry and without listing my resume, name-dropping and embarrassing myself...yes I do BOTH now. I'm a first call sub in a minor orchestra, freelance trad/Dixie player with 8 CDs to my credit and just now finishing up a 20-year active duty military band career. Right now, I'm in the middle of my 9th session (in a group setting) at Windmark Studios in Virginia Beach, Va.
My apologies to the board, my comments were not meant as a rap on any world class orchestra players, their dedication to their craft, success or playing ability. The demands on a solo career I believe are more stressful and demanding just on the fact the artist must contend with the business side of the house: i.e. self-promotion, arranging travel, sponsors, funding, music directors/conductors, legal issues (or pay an agent/manager). A contracted orchestra musician, as long as they stay on top of their playing and be a good politician when needed rarely lose their jobs or deal with these areas of the industry unless they choose to. They collect a steady paycheck, earn tenure, negotiate for raises, get more raises if they acquire the principal chair, sometimes pension plans and a host of other benefits. They are also in a position to build their career progression, reputations, student base, promotional items, and articles on the orchestra's name. A soloist on their own doesn't have that opportunity and must build their career one gig, contact, telephone ring and recording at a time. v/r
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Author: Kat
Date: 2002-05-12 23:29
Speaking of Sharon Kam....anyone have any idea what she sounds like? I've been too broke to buy any of her cds...
Katrina
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Author: Larry Liberson
Date: 2002-05-13 01:07
Actually, Ken, I was only referring to the musical/playing demands, which, to me, shouldn't differ. It's hard, no matter what you do!
As for the other stuff...well...I guess it all depends on how good (competent?) one's management is -- those that have one, that is. I agree that doing it all by oneself is quite stressful. On the other hand, one can maintain control (or attempt to control) of all aspects of one's career that way.
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Author: ken
Date: 2002-05-13 04:07
I picked up a CD of Sharon Kam from 1996 that has the Shumann Phantasiestucke, Debussy, Poulenc and Francaix Tema con Variazioni on it. Her tone is a bit shrill for my taste...very french and spread a little at times but I think she's a real horse and like her very much. She plays with incredible musical maturity and depth for only 32 y/o and really ripped through that 7th variation prestissimo of the Francaix....stunning technique and stability. And she, what I felt breathed new life and fresh interpretations into the Debussy and Poulenc. I believe she studied with David Shifrin and Charles Neidich so her superb musicianship shouldn't be surprising.
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Author: Ken Shaw
Date: 2002-05-13 16:07
I think Walter Boeykens worked exclusively as a soloist for a while.
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Author: Kat
Date: 2002-05-14 02:09
Thanks for the info on Kam, ken, but wait a minute...."ONLY 32 years????" I resent that....being in my early-to-mid-30's....granted you haven't heard me play, but I feel pretty "mature" musically....
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Author: Mark Charette
Date: 2002-05-14 02:44
Kat wrote:
>
> Thanks for the info on Kam, ken, but wait a
> minute...."ONLY 32 years????" I resent that....being in my
> early-to-mid-30's....granted you haven't heard me play, but I
> feel pretty "mature" musically....
And when you're 42 you'll look back and say "wow, I'm much more musically mature than I was at 32"
and when you're 52 ...
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Author: Larry Liberson
Date: 2002-05-14 02:50
"and when you're 52 ..."
...you'll look back and say "gee....I'm a lot older than I used to be..."
;)
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Author: ken
Date: 2002-05-14 02:57
Not to worry Kat, I'm sure your a monster on your horn too, play with as much maturity but more importantly still look 21 and can stop traffic...hehe. At 44, playing/giging my guts out for 25 years I'm in awe (and a little green with envy) of the young, brilliant "new breed" of superstars in the industry that can blow me out of the room with one hand tied behind her back and a split reed. There's more than a handful right here on this board who are top professionals and worthy of the utmost respect and reverence.
v/r KEN
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Author: Kat
Date: 2002-05-14 20:24
My point is that the AGE is completely unimportant. The performances are what count. I'm also curious as to why you brought up her age in the first place, ken...
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Author: Kat
Date: 2002-05-15 02:23
I'd like to add that I play with musicians of all ages, and that I also do not play classical, jazz, or "commercial" music. Just for the record, I play folk music (largely Balkan), although I do have Bachelor's and Master's in (classical) clarinet performance. Also for the record, I'm 33 (until July 25....anyone wanna get me a Full-Boehmmer for my b-day?). And even prior to my involvement in the folk scene, I felt that age is not necessarily the most crucial determinant in a person's musicality. "Reverse ageism" seems to be pretty common in my "day job" as a cd salesperson, when customers seem to think because I look like I'm 24, I know nothing about classical or jazz or 1940's music. So perhaps I'm sensitive on the issue...but young does not necessarily indicate "less."
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Author: David Dow symphonynb
Date: 2002-05-15 10:42
I have a cd made back in 94 of canadian music which alot of people just wouldn't go for because its not hummable. hmmmmm........
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Author: David Dow Symphony NB
Date: 2002-05-19 16:20
Paul Meyer knows over 100 concertos!!!!
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