 The Clarinet BBoard
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Author: Morrigan
Date: 2002-10-30 09:31
What's the deal with everyone 'hating' Emma Johnson and her sound? I mean, I've heard substantiated reasons why she's not the greatest clarinetist, but hey, she sells more CDs and concert tickets than most of us ever will. So why do people dislike her so much?
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Author: Robert
Date: 2002-10-30 11:16
I haven't listened to Emma Johnson much. I only heard her CD of French music, and hated it becasue of her sound. I found her sound harsh and sometimes even vulgar, but I guess that's just a matter of taste. She did record that CD quite a while ago. Perhaps I should listen to some of her more recent CD's?
Isn't it weird how many of the most popular clarinetists are the ones that we clarinetists hate the most? I know a lot of clarinetists who hate Richard Stolzman's playing. I heard him once in Lausanne playing the Copland concerto. Although at times it had very little to do with what Copland actually wrote, I had to admire his spontaneity and his ability to communicate emotion through music. The audience absolutely loved him, and he played 3 encores!!
One player I don't enjoy is Sharon Kam. She sells a lot of CD's here, but I find her playing really boring. But then again, it's much easier to sit back and criticise than to actually do the thing yourself. Sharon Kam sells a heck of a lot more records than I do!
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Author: HAT
Date: 2002-10-30 13:45
I agree that it is silly and a waste of time to 'hate' anyone's clarinet playing. It is better to just politely listen and note to yourself what you do and don't like about their sound and articulation and technique. Some of it you might be able to use in your own playing, some of it you can remind yourself never to use.
Now how someone plays the music is another story. Assuming you know the repertoire someone plays quite well, in terms of what is on the page, etc. you might be in a position to question what's going on. Deviating specifically from the markings to be 'musical' should always be questioned. Sometimes your conclusions may find it justifiable.
Intonation is also another story. I can't abide out of tune clarinet playing from a contemporary player. I have more sympathy for recordings more than 40 years old in this respect because of both clarinet equipment and especially recording equipment. That refers only to the occasional out of tune note or passage. If someone fundementally tunes wrong for a whole piece (for some reason clarinetists who play out of tune usually do it on the sharp side, sometimes to extremes) I simply give the recording away, I can't stomach this kind of carelessness.
It is entirely possible for me to enjoy a musical performance by a clarinetist whose clarinet playing doesn't initially appeal to me. This was not the case for me always, I used to react too quickly to the 'sound.'
This changed when I noticed people who played other instruments were unable to enjoy players on their instruments who I thought were terrific because of the player's 'sound.' I thought that was silly. Then I realized I was guilty of the same thing. Duh.
None of this has anything to do specifically with EJ, on whom I will not comment here, only having heard maybe one of her recordings a long time ago. I am sure others will have opinions.
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Author: Jack
Date: 2002-10-30 18:33
First of all: "Good ole Emma" is somewhat of a slur, to coarse to use in order to initiate a discussion concerning this fine clarinetist. I have only had the opportunity of attending one her live concerts - in Pasadena, CA, at least 6 or 7 years ago. She is an exciting performer, playing both standard and new/experimental music. She merited several flashy encores. She is also a dedicated clinician. She is also very gracious. I emailed her at her website. Her response was timely, helpful and courteous. Now, on the issue of sound. My experience is that most clarinetists have a very similar sound. Of course it is the musical personality and the ability to progect that expression beautirully that counts. If you want to hear a genuinely unique and beautiful "sound" try to get a recording of the fine Brazilian clarinetist, Paulo Moura. There's a big resonant, deep and vibrant, alive sound. I strongly recommend two of his recordings: Pixinguinha and Dois Irmaos
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Author: rmk
Date: 2002-10-30 20:55
Jack writes:
>My experience is that most clarinetists have a very similar sound.
You mean Reginald Kell, Robert Marcellus, Jacques Lancelot, Richard Stoltzman, Woody Allen and Acker Bilk all sound alike?
Yikes...
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Author: JMcAulay
Date: 2002-10-30 22:39
rmk: No, Jack was writing about *Clarinetists*. (Somehow, I couldn't resist that....)
Popular playing styles do not necessarily coincide at all with elitist ideas of what's good and what isn't. If you like Emma Johnson, fine. If you don't, well, you might be missing something.
Mr. Acker Bilk has sold more recordings than any other Clarinetist of the last fifty years. And the other evening, I was exposed to the almost frightening claim that Kenny G is now the best-selling instrumental musician of all time. And it isn't that I *hate* Kenny G's playing, it's just that when I hear something of his on the background music system, I feel an urge to walk out of the store.
Help! I musi be missing *a lot*!
Regards,
John
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Author: Morrigan
Date: 2002-10-31 00:41
jack
Sorry if this means something else wherever you're from. I did not mean it to be coarse and I certainly DID wants to start a discussion on this fine clarinettist, why else would I have posted.
Considering you claimed it "too course" to start a discussion, you sure continued it.
What's wrong with saying Good old Emma J? I was actually referring to her in a warm, fond way, as I myself am definitely a fan.
But still, why analyse words on here and get defensive when we could be talking about the Clarinet?
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Author: Mark Charette
Date: 2002-10-31 00:51
JMcAulay wrote:
>
>
> Popular playing styles do not necessarily coincide at all with
> elitist ideas of what's good and what isn't.
Geez, does that mean if I like Marcellus I must be elitist? Or if I don't like Acker Bilk I'm elitist?
What kind of bull is this you're spouting off? What I like or don't like is not linked to any kind of elitism. Persoanl taste, yes.
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Author: jack
Date: 2002-10-31 05:19
Responding to rmk: I mean imo at least,that most professional level, classically oriented clarinetists (JMcAulay: How do you spell clarinetists? My Webster indicates that one t is as good as two before the i.) sound very similar, especially as to their tone qualilty. On the other hand, I do hear rather discernable differences in their style and spirit of playing - sometimes. At the extremes only imo, do I here appreciable differences in overal accomplishment. Specifically as to you question, "do they all sound alike"? Well, I was referring to pro level classically oriented..... But I do think, specifically, that W. Allen sounds too pathetic. But, so what, he has fun with the clarinet and does as much as about anyone to keep up some interest in an early New Orleans sound.
Morrigan: Glad to hear you are a fan of E. J. I couldn't tell for sure from your post.
Imo, even most of the jazz players of our day have a similar tone. Some examples of jazz players that imo had unique and wonderfully personal tone qualities over time were Bechet, Dodds, early B.G., Edmond Hall, George Lewis, Roland Kirk and Art Pepper. (Of course, Roland Kirk and Art Pepper were not primarily known for their clarinet playing).
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Author: Bob
Date: 2002-10-31 14:07
I like Emma's playing....and Acker Bilk's....So what?
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Author: Robert
Date: 2002-10-31 14:23
OK- I dug up my recording of Emma Johnson playing French music. I haven't listened to it in about 10 years, so I decided to give it another go.
The first movement was OK, but I really didn't like her sound. Bearing in mind what David said, I tried to overlook that, and just listen to the music making. Her staccato in the second movement is very heavy, and sometimes even "quacky". To me this seems totally inappropriate to the lightness of character of this Allegro animato. In the 3rd movement the beautiful melody in the chalumeau register sounded like a fog horn, rather than the rich and stately tone which I would have enjoyed. All of her 16th note runs in the 4th movement sound like an etude, and don't flow at all.
Like I said, it's easy to sit back and criticise. But there are so many clarinetists out there who play much better than Emma J. So why do people like her so much? What am I missing?
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Author: Robert
Date: 2002-10-31 14:24
Oops.. forgot to mention that I listened to the Saint-Saens Sonata, which appears first on the CD. I couldn't listen to any more after that!
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Author: Mark Charette
Date: 2002-10-31 17:02
Robert wrote:
>
>
> Like I said, it's easy to sit back and criticise. But there are
> so many clarinetists out there who play much better than Emma
> J. So why do people like her so much? What am I missing?
Re-read what you said "I", "my", "me". The people who like her playing aren't "you"!
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Author: Robert
Date: 2002-10-31 21:00
Mark wrote:
>Re-read what you said "I", "my", "me". The people who like her >playing aren't "you"!
Duh! Obviously the people who like her playing aren't me! I can only speak for myself and give my opinion. Morrigan asked why people dislike her so much. I explained what I dislike about her playing. After listening to her, I was wondering what other people actually LIKE about her playing?
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Author: JMcAulay
Date: 2002-11-01 01:02
Jack: I ususally spell Clarinetist with one t, but sometimes with two. Unless I goof it up. Why do you ask?
Mark: I don't think you understood my point. Perhaps I expressed myself inadequately.
1. Playing styles are not connected to elitism. Nobody has any right to dictate what anyone at all should and should not enjoy. To do that would be thought control. Hey, I enjoy Opera (Carmina Burana is one of my favorites), but I also find Run DMC interesting to hear. I greatly enjoy listening to symphonic music (although I don't play Clarinet in that environment), yet I think Eddie Daniels is the best Clarinetist alive today. Now how's *that* for starting an argument. My wife, on the other hand, enjoys Opera, Oratorios, and Country Music. And we're still hanging out together.
2. There's nothing intrinsically wrong with being a part of an elite group, unless of course one's politics are so egalitarian that membership among any group or collection of people who are "the best" of anything feels too galling.
3. I'm still wondering about Zippy and the Eastern Shore.
No bull.
Regards,
John
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Author: Mark Charette
Date: 2002-11-01 01:56
JMcAulay wrote:
>
>
> Mark: I don't think you understood my point. Perhaps I
> expressed myself inadequately.
Elitist is commonly used as a synonym for snob, though of course it has other meanings - such as belonging to an elite (superior) group.
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Author: JMcAulay
Date: 2002-11-01 03:28
Mark: Yep. Right you are. I wasn't clear enough. I have an unfortunate habit of occasionally using words in connotations that are valid, but not (dare I say it) their most "popular."
Regards,
John
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Author: d dow
Date: 2002-11-01 11:12
To add to this rather long fray a few comments, Emma Johnson chooses to play the instrument her way. She has a tremendous follolwing. Instead of criticizing it might be easier to appreciate her for her individuality. Marcellus was mentioned once, but he is no alive to defend his position, but Robert Marcellus was an orchestral player, Johnson is a soloist recitalist. Apples and Oranges type stuff. I myself like both artits because of their differences. Eventually this thread leads to talk about vibrato and tone and these are personal matters...not universal imperatives!
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Author: Morrigan
Date: 2002-11-01 12:43
I love EJ coz she's DIFFERENT! She appeals to my rebelious un-conservative side. I say "GO GIRL!" when I hear any news about her or when someone I know laughs at the mere mention of her. I laugh back, and they never know why. Well, I like to think I am open-minded and don't mind a few things about everyone's playing - even the 3rd clarinets in band. There is no single clarinettist I consider perfect or even *my* idea of perfect. However, I, personally, strive for the sound I have in my head, which, inevitable, is different from yours, and you probably won't like it because you think your way is right. I must say, I really do *hate* some people's ways of thinking. Say hate is a strong word, but I mean it. I really have no respect for someone who can say, honestly, that one's playing is 'wrong'. I believe that sometimes, EJ is not being critisised, but rather, discriminated against. Just because she doesn't conform to our apparent 'values' (and I shouldn't have even used the word "our" there, because I won't be a part of it), some disregard her as not being a great clarinettist. I don't see any of you, who claim some things she does as 'wrong', having international solo careers. She must be doing something 'right' that you're doing 'wrong'.
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Author: Sylvain
Date: 2002-11-01 15:42
IF EJ can have a professional career as a soloist it means that:
- she was at the right place at the right time
- she met the right people
- she is a true professional with great work ethics
- she has the ability to perform and impress an audience.
It is not always the most talented who makes it. Just look at the world of pop music...
Now, this is not to say that EJ is not talented, but that there are numerous players just as good as her that did not make it because they could not or did not want to market themselves properly.
The fact that she has a distinctive sound gives her an even stronger personnality which can be useful for a solo career.
The fact that she has an unconventional sound or that some of her musical interpretation are questionable to a well trained clarinet ear does not mean that she cannot put on a good show.
If she was in town, I would definitely go and listen to her and I am confident I would enjoy it. But do I listen to her recordings when I prepare a piece? No.
-Sylvain
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Author: d dow
Date: 2002-11-01 16:25
I remember an instance in the mid 80s when I went to hear the Czech Philharmonic play Janacek in Boston under Janos Feresnik and was totally blown away with the winds and Brass...the sound they produced was so unlike anything in North America that it all the other orchestra students I went with had nasty things to say aboout the tone of the clarinets...however, I thought they could do things musically one never could imagine. Instead the North American attitude was to bash because they were DIFFERENT. Really I didn't care, and to this day I have yet to hear a concert like that one. Maybe I would have to go to Czechoslovakia to get a Janacek performance like this.
Yes the clarinetists used vibrato...so did the strings.
Yes the tuning was fantastic and
Yes so were the phrases.
Unconventional or no this concert was one of the most musical I had ever been to.....
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Author: David Spiegelthal
Date: 2002-11-01 17:35
David Dow,
I can relate to your example --- I used to LOVE listening to recordings of the old Czech Philharmonic BECAUSE their sound was so very different --- I think the current homognization of the musical world is a very sad thing --- no longer can I tell the country of origin of an orchestra just by its sound, much less the specific orchestra itself. Not to whine like a nostalgic old geezer, but back in the "old days" one could easily identify the Czech Philharmonic, the Berlin Philharmonic, the Philadelphia Orchestra, the NY Phil, and most English orchestras or French orchestras just by the unique sounds of their woodwind sections (for me the clarinet and oboe players were key identifiers). Nowadays, to my ear almost every orchestra sounds technically near-perfect and nearly identical to every other orchestra --- what a shame!
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Author: d dow
Date: 2002-11-04 11:27
David Spiegethal: Thanks for your thoughts on this matter. I too feel too much of a good thing is bad in the field of music, and by this the uniform sound we are hearing. However, I still love the American sound but also like to hear different styles for different music....
All the Best
D D
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