 The Clarinet BBoard
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Author: beejay
Date: 2002-08-03 18:12
I struck gold in the record store today. I found the Marcellus version of the Mozart clarinet concerto that everyone talks about. Wow! The adagio is simply breathtaking. I also found the long out-of-print version by Jacques Lancelot which was always one of my favorites on vinyl.
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Author: Ed
Date: 2002-08-03 21:43
I'll always remember hearing the Marcellus for the first time many years ago. My teacher at the time had mentioned to me that I should get it. When I finally came across it I was amazed at the beauty of the playing and the phenomenal tone. I can honestly say that it changed me forever.
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Author: William
Date: 2002-08-04 16:49
Ed wrote "the beauty of the playing and the phenomenal tone"
Yes, I agree. But I have alwys thought that this "Marcellus" beauty and sound were more a direct result of his absolute perfect intonation than of the real substance of his tone quality. To quote a local university wind ensemble conductor, "an in-tune sound is a pretty sound." Too often in our attempts to improve our own tonal qualities, we purchase new instruments, mouthpieces, ligatures and reeds when we really should just be using the tuning meter more regularily in our practice sessions. Marcellus, in addition to flawless technique and phrasing, had the reputation of impeccable tuning in performance and this is what so many clarinetists think of lastly in their practicing. His basic sound was probably not any better than many of ours--just better controled and perfectly in tune at all times.
In-Tune is Basic!!!! Put new batteries in your meters and use them all the time.
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Author: Alphie
Date: 2002-08-04 18:20
The best way to use a tuning meter is to play intervals. Play perfect thirds, fifths, sevenths and octavs once to the meter's note in all keys and see if you're getting surprised more than once.
Alphie
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Author: HAT
Date: 2002-08-05 15:54
I dunno William. I heard Marcellus many times in lessons and it was just a beautiful sound, period. Beautiful and unique, on both bflat and a.
However, the fact that it was played in tune in the world's greatest woodwind section and one of the few truly great orchestras of the time certainly makes it more meaningful!
David Hattner, NYC
www.northbranchrecords.com
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Author: Jim S.
Date: 2002-08-05 18:16
Marcellus mentioned the space between the notes, I believe I read somewhere. I think so often what we find less than perfect in clarinetists' playing is that split-second bit at the beginning and end of notes which I imagine was what Marcellus was referring to when he mentioned the space between, (as well as attacks and releases and rhythm). The beginning and release needs to be just as in-tune as the middle. If it isn't we are unsatisfied but perhaps can't put our finger on exactly how to describe the dissatisfaction.
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Author: GBK
Date: 2002-08-05 18:48
All of the pros on this board (and most of the amateurs) can play "the notes" of the Mozart Concerto. Big deal...
However, can you play them in tune, effortlessly, and with absolute control 100% of the time?
The difference between Robert Marcellus and (practically) the rest of the clarinet world was that he began and ended <b>each</b> note with the utmost of musicianship.
Playing the notes is only 1/3 of the equation. You must also approach each note and exit each note gracefully.
Marcellus did just that. Very few others ever do...GBK
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Author: David Dow
Date: 2002-08-06 11:32
A a player in orchestra who has worked through some of the toughest repetoire for the clarinet I would not hesitate to add that Marcellus' gift is his ability to connect intervals so smoothly. If one listens close to the Szell Beethoven 9 Adagio we also hear some very smoothly well connected and correctly supported intervals. But as a result we have that glowing sound we adore. I realize that these are hard things to put into words , but, each phrase has a rightness and that makes it a memorable experience. I feel that Prinz and Leister are alot like this as well, not only is artistry rare today but it is intangible. The emphasis on mouthpieces is merely faddish. Sadly, no Weber concertos from Marcellus or even a smidgen of Brahms Trio on record. I have played the Mozart Concerto as Soloist a number of times and have also found the Marcellus record to be a benchmark.I use it as a study guide-as well as the Wright Ozawa one-it is also interesting to note Lancelot above as well, who is so stylistically so different....Mike Collins is no slouch either and his playing has tremendous integrity. Sincerely a Marcellus fan>>DD<<
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Author: Gregory Smith
Date: 2002-08-06 13:03
Marcellus was a great believer in what he described as "playing between the notes", to emulate the most beautiful and natural of all musical instruments, the human voice.
I can't recall how many times he referenced his teacher Daniel Bonade when demonstrating the use of his liquid gold legato during lessons and in masterclasses. He gave me an old clarinet magazine with an article in it that Bonade had written on the subject.
Most of this "playing between the notes" was accomplished by the use of proper support of the wind, voicing and most importantly, through the proper use of the fingers in legato.
I agree with HAT about the quality of the woodwind section and of the orchestra (an orchestral musician's dream) enhancing the qualities of his playing. I have heard some other performances of his with other orchestras that have made this fact quite evident.
The proof of his mastery of exquisite, singing qualities is evident in the fact that all it takes is two or three notes to immediately identify his playing - not as easily done on one sustained note, but apparent in the way he "plays between" two or three notes.
Gregory Smith
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Author: HAT
Date: 2002-08-06 14:03
Hey DD,
Not surprisingly, Marcellus was an admirer of both Prinz and Leister. Leister came to NU while I was there and it was unforgettable to see the two of them together. The name Leister was mentioned (particularly regarding light staccato) many, many times in the following weeks.
As far as the Brahms trio, there is a video tape of Marcellus playing it with Casals and Istomin, but you have to go to San Juan to see it. I have yet to do so.
Greg Smith mentions that the true greatness of Marcellus's 'sound' is intervallic. Marcellus had that quality to his legato that makes you go 'wow.' But even in wicked passages like the Ginastera, that superfast f to high f slur is so impressive. He didn't sacrifice flexibility for those creamy intervals. Nielsen 5 another example of tremendous velocity. . .also Capriccio Espanol in the 3rd movement.
I must add also the articulation, nearly unmatched in its variety and beauty. I have an aged sounding cassette tape of him playing a staccato c major scale as short as possible. He 'rings' every note like there's a special echo chamber built just for him, including the throat tones and the long b and c.
And also his dynamics. There are plenty of clarinet players who can get a beautiful sound between mp and mf. And to get it they stay there all of the time. If you play principal in an orchestra, of course, you cannot do this. While Marcellus was not as avid a practitioner of the barely audible as, say, Clark Brody or Harold Wright (his concert hall and music director didn't require it as often) he was able to play extremely softly when others needed to be heard over him.
Anyone can now hear Daniel Bonade play, thanks to Larry Guy's tremendous cd (on Boston Records). And all who admire the greatness of Marcellus, Clark Brody, Gigliotti, etc. will appreciate Bonade's virtuosity. As I have said, Bonade is the only clarinetist born in the 1800s who could still sit in a principal chair today (at least among the recorded clarinetist I have heard). That's being way ahead of one's time.
Hattner
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Author: beejay
Date: 2002-08-06 14:43
I wonder if anyone has thoughts about Lancelot, to whom I have also been listening the past few days. He is an absolute contrast to Marcellus -- a lighter, less rounded tone that I nonetheless find very beautiful. Lancelot is well known in France as the principal developer, along with Robert Carre, of the RC clarinet, but I don't see him mentioned very often on this BB. Is that because he is not so well known outside of France? If you want to find out for yourself, his version of the Mozart clarinet concerto with the Paillard chamber orchestra has been re-released on Erato.
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Author: Mark Charette
Date: 2002-08-06 16:37
Larry just recently sent me his Bonade compilation CD (to go along with his presentation at ClarinetFest 2002 - there will be a couple of excertps from it on the ICA pages when I get a few spare moments to update the site with Larry's presentation). Bonade was absolutely amazing for his time ...
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Author: David Dow
Date: 2002-08-06 16:59
As a player who studied in Paris in the late 80s(with Fontaine and Dangain) peple and players there that Lancelot was most admired for the fluidity of his technique and was also admired as a gifted teacher). The tone he produces is a little out of fashion these days, however, here there is much to learn in terms of fliexibility and the way he handles some passages in the 1st movement of the Mozart has tremendous virtuousity. A player current day who I heard ALOT OF is Pascal Moragues. I was totally amazed by the flawlessness of his technique and the way he could float high notes! On record he sounds
fantastic--- but in person the tone he produces is fabbergasting.It is a beautiful ringing focused sound! Leister is still one of my all time favoirtes, and I saw Berli Phil play Mahler 9 under Karajan in 83 and I will say, What a CLARINET SECTION! Outstanding in that concert was Leister and the Bass clarinet player was a star too! The solo Eb clarinet at the coda of movement one was truly a dream and was totally inside the music. Sincerely <<DD>>
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Author: Gregory Smith
Date: 2002-08-06 19:15
If one listens to the Bonade CD they will understand that Marcellus was the one clarinetist that extended Bonade's art to it's complete and logical conclusion with such fidelity - both tonally and musically.
Gregory Smith
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Author: beejay
Date: 2002-08-06 22:03
To David Dow,
I totally agree with you about Moragues. I wonder if you could explain what you mean by "a little out of date" in describing Lancelot's tone. I'm curious, because as an amateur clarinetist, I have been striving for that kind of sound myself, although one that expresses my own personality. My teacher, who studied with Lancelot, is happy with my tone, whereas other clarinetists with whom I play tell me I need to get a more open mouthpiece and produce more volume. I have been listening to as many clarinetists as possible to try to form a reasoned opinion, and Marcellus was a terrific surprise.
I concur with you about Leister. He made a gorgeous recording of Crusell with the Tapiolo Symphony Orchestra on BIS that you might like to hear.
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Author: David Dow
Date: 2002-08-07 02:51
BEEjay: I don't always agree with the theory a more open mouthpiece will produce a bigger sound. As for Lancelot he uses a fairly pronounced vibrato with a brighter edge to the sound, which I quite like, but alot of players these days go for a darker more focused sound. I believe Lancelot played on something like a 5RV Lyre which is a fine facing. If you are happy with your sound, do not change it! Best wishes <<DD>> PS> O have taught for over 15 years so if you are happy with your sound and so is your teacher then you are on to something. Good luck!
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Author: beejay
Date: 2002-08-07 13:38
To David Dow,
My teacher believes that Lancelot played on a Buffet Crampon RC and a Vandoren 5RV with Vandoren 2 1/2 reeds.
Thanks for the encouragement!
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