 The Clarinet BBoard
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Author: chito
Date: 2005-05-07 13:46
Hello to every one finally i heard mr. stolzman played in live concert and his master class is very successful but a little bit short . I like his pianismo and his control is very good . He is very musicality and his technique is powerful. One thing i dont like for my own opinion is too much vibrato . Because i have collection of stolzman cd but i didn't heard him played too much vibrato and im surprise but its ok i like his style and he is very kind person . Thank you ....
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Author: ken
Date: 2005-05-07 14:49
Mr. Stoltzman's concept and use of vibrato is what I call, "name it and claim it" musical theology. It's a hook, a handle, a self-incriminating trait that sets himself apart from the classical aristocracy --- enjoying a soloist career --- he's at liberty to interpret and effect vibrato as he likes. But, be certain, if Mr. Stoltzman was performing in a section/ensemble setting where he'd have to blend with others his warbled vibrato would disappear faster then you can say Acker Bilk. v/r Ken
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Author: chito
Date: 2005-05-07 15:35
I would like to know what kind of mouth piece and ligature he used?
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Author: William
Date: 2005-05-07 16:32
I think he uses a mouthpiece worked on by Kal Opperman, his teacher/mentor.
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Author: mnorswor
Date: 2005-05-07 18:54
William,
You are correct. He uses an Opperman mouthpiece and ligature.
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Author: theclarinetist
Date: 2005-05-07 19:41
While Stoltzman's vibrato would certainly not blend well in a traditional clarinet section, do you think it actually helps when playing with other instruments, particularly string? In recordings were stoltzman plays with string players (either soloists like YoYo Ma or Lucy Stoltzman, or as a soloist accompanied by a string quartet),he seems, in my opinion, to blend better than most other clarinetists do when playing the same pieces. Of course, it's also possible that the string soloists he works with are just incredibly good and have sounds that blend easily (I noticed that YoYo Ma is very much like this, especially after hearing other cellists whose sounds can get harsh and don't blend at all!). Just something I'm curious about.
He also plays with much more expressiveness than most clarinetists (of which the vibrato is a large part), which I think might help him blend better. It always strikes me as odd on other recordings (like the Brahms Trio for example), when you have the string player playing incredibly expressively with vibrato and then have a clarinetist who is playing completely straight like a robot... I think Stoltzman's vibrato and general "over-the-top" playing actually helps him meld with the musical ideas of others in many cases...
DH
theclarinetist@yahoo.com
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Author: DavidBlumberg
Date: 2005-05-07 20:56
Online on my site, there's a brahms trio which is straight, and nothing is missing from it.
Any Clarinetist playing the Brahms trio like a "robot" shouldn't be playing it in the first place!!
http://download.com/davidblumberg
Ya don't need Vibrato to be extremely expressive. But I'd much rather play it with Stoltzman's Cellist, that's for sure 
Post Edited (2005-05-08 20:27)
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Author: SueSmith
Date: 2005-05-07 21:18
Of course, I'd put neither up against Harold Wrights 2nd Mvt...even though Jules Eskin is HORRID throughout the entire recording.
HW's opening note brilliantly connects the end of the 1st movement to the opening of the 2nd. No other clarinetist has come close to capturing this idea better than him - as if the note does not end, but is just one long decrescendo - crescendo.
Also, this is one orchestral player who knew how to use vibrato.
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Author: chito
Date: 2005-05-08 03:10
Im just wondering how they play the pianismo so easy and very smooth specially in octave notes .I know many of us are practising how to play good pianismo and how to play very smooth notes in octave and low register . And i know its difficult for us but how we can perfect this thing in clarinet?
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Author: Robert Moody
Date: 2005-05-09 16:30
David said, "Support, voice the tone, and listen." in response to Felicito positing, "Im just wondering how they play the pianismo so easy and very smooth specially in octave notes."
Amen brother,...Amen.
Just a side note: While I certainly join the ranks of everyone else who thinks Harold Wright's playing (along with Stoltzman) was/is exquisite, I shy away from classifying them towards the one-of-a-kind. There are so many players out there doing absolutely wonderful things that are just not heard. I also believe that you and I, with the needed time and effort, can accomplish some of the things we appear to adore about their playing.
You've have to work, but first you must believe.
Robert Moody
http://www.musix4me.com
Free Clarinet Lessons and Digital Library!
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Author: D Dow
Date: 2005-05-09 18:11
A few random thoughts...although I am not a tremendous admirer of Stotzman's vibrato I do admire his individuality and his desire to be true to his own concepts of the idea of sound. He is also a very down to earth man and is respectful of every one's ideas and concepts which sets him apart from alot of teachers who set out to produce clones.
As to Stoltman's sound AND approach to playing it is definitely very personal and pronoucedly different from my own playing as an orchestral player..he certainly gets alot of variety of shadings and his tuning is always superb. I own an Opperman mouthpiece and find vibrato on it not that easy to achieve! So, there you have it ...Stoltzman is not so a clarinetist per se but really an ARTIST...an awful lot of people don't like DiVinci either but man can he paint!
Among the more interesting recordings he has made I have always liked the recording with the ECO with MOzart Bassoon and Clarinet concertos..to good measure he always matches the sound to fit the concept of the music and ideally he plays with a blended sound with all string groups...in that way he reminds me much of a stellar British player David Campell.
As to the Oppperman mouthpieces I have a strong feeling they are very flexible and allow movability of pitch. In this regard I feel Stoltzman at his strongest...my very favorite recording of Mr. Stoltzman will allways be the Taschi record of Quartet for the End of Time...I recommend to all players of all instruments...the rythmic variety and perfection is superb!
David Dow
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Author: GBK
Date: 2005-05-09 18:42
The very expressively controlled 1982 recording of the Brahms Sonatas by a (younger) Stoltzman and Richard Goode is one of my favorite performances...GBK
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Author: John Scorgie
Date: 2005-05-10 00:45
GBK -- How in the world did Stoltzman bring off that recording of the Brahms Sonatas?
He sounds like a Viennese master rather than a young American.
While he had no doubt studied the Wlach recording of these works, IMHO his interpretation surpassed the old Viennese master.
If I could keep only one recording of the Brahms Sonatas, it would be that 1982 Stoltzman / Goode.
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Author: chito
Date: 2005-05-10 02:17
Im also interested to know what clarinet in A and barell he use now. When i saw his instrumet its like buffet with gold keys but im not sure. Im wondering if this is special order in buffet crampon or mr.stolzman made him for his self.
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Author: mnorswor
Date: 2005-05-10 04:11
His keys were gold plated by George Opperman after he had worn through a few sets of silver keys. The barrel is made by Kal Opperman. Gold keys are only on his A clarinet.
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Author: chito
Date: 2005-05-10 11:32
Thank you for the responced and great topic about stolzman playing.
Does anyone here know where can buy stolzman ensemble collection ? Because its very cool and the piece is very popular specially his classic and jazz arrangenment . I had a solo with piano accompanied but when i played the piece i think the arrangement of the piece is different from the recording and im wondering if this ensemble collection is already have in some music store id like to buy thank you.
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