 The Clarinet BBoard
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Author: Mike Getzin
Date: 2005-09-06 01:03
After all the shocking dialogs about Drucker 'stepping aside' from the NY Philharmonic, one should read his credentials on the NY Phil website www.newyorkphilharmonic.org and take hard note of the stupendious accomplishments of this man. Any disrespect is an insult to him and an incredible understatement of a great musician and artist. He is the most often called upon in house soloist, and has performed under pressure that the majority of players could never handle without cracking down. I remember in '77 Drucker premiering the Corigliano Clarinet Concerto with Bernstein and it was enough to put you in shock by his firm control and phenominal technical capability. The work was written specifically for Stanley, Bernstein, and the NY Philharmonic. No one since has played the piece as well, and he had the music only a month in advance.
Meastro Drucker is also an avid advocate of the instrument, having been directly involved in the organization of Klar/Fest 81 in Washington DC, taking an interest that most would not want to be involved. I remember planning the formats and programs and artists with him in Philadelphia at Hans Moennig while his clarinets were being worked on. This committment to contributing to the clarinet is nothing less than unbelievable. He has been an advocate to this day.
Having known him for 33 years personally and working with him in recordings outside the Phil, only a few players measure up to his stature. If he played in the NY Phil for another 20 years, it would a gift for everyone who hears him.
Mike Getzin
World Clarinet Alliance CEO
World Clarinet Alliance - WKA
304 255 0232
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Author: sfalexi
Date: 2005-09-06 02:01
Out of curiousity, what dialogues are you referring to? Ones that you've heard through word of mouth or is there printed word out there that talks about this?
Just wondering. I myself wonder when he's going to move on, but not because I don't think he can handle it or because I disrespect his playing at all. Only because I can only judge situations on how I myself would handle them with my own mentality and Lord knows I don't intend to have a full time job at 77!!! If he loves it, then God Bless. Let him do what he pleases.
But I am curious as to what you've heard and where you've heard it.
Alexi
US Army Japan Band
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Author: CPW
Date: 2005-09-06 02:25
sflaxi:
He is refering to the thread about the NYPO oboe position.
Somehow it got onto the subject of Stanley Drucker
and stuck there like a needle in an old 78 rpm recording.
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Author: sfalexi
Date: 2005-09-06 02:29
Oh. Didn't read that thread. Well, for what it's worth, I've expressed my opinion about him staying there above. (Or I think I did . . . hopefully my point got across)
Alexi
US Army Japan Band
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Author: crnichols
Date: 2005-09-06 08:37
After over 50 years, we all wonder how they can do it. Don't they get bored? Well, no they don't, they love what they do, and they don't care to let go of it. Many musicians just die after they retire, but some remain active and make different contributions to our field, whether through education, of solo appearances. Doriot Anthony Dwyer, legendary and revered former principal flutist of the Boston Symphony is a fine example. Upon retiring after some 38 years in that seat, she released solo discs, and continued to tour and perform, as well as maintaining a studio, and her class at Tanglewood Music Center. She is now 83 I think, and has more energy than I do. They don't loose their fascination or love of music. I think they feel it's such a special part of them that they can do it forever. Anthony Gigliotti, may he rest in peace, was another fine example. He said that after all the years, he still looked forward to going to rehearsals with the orchestra.
Christopher Nichols
1st Infantry Division Band
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Author: bkmorton
Date: 2005-09-08 00:04
I think that it is important for people to express their opinion whether you agree with it or not. Stanley Drucker is a fine musician that has the credentials that out way most professionals. He has a world of knowledge about the instrument. This does not mean I have to like his sound or maybe some of his interpretations. That is not disrespect, it is my humble opinion.
Personally, I do not feel he is playing is the same as some of the recordings I have heard. I still consider him a legend for things that he HAS accomplished.
Do you think he would win the job if he auditioned today? I would respect any answer that anyone would have.
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Author: sfalexi
Date: 2005-09-08 02:34
Quote:
Do you think he would win the job if he auditioned today? I would respect any answer that anyone would have. Good question. I do remember someone mentioning a 'tenure' of sorts with principle playing jobs and playing in big orchestras. That question gets me thinking that that'd be one hell of a reality show. Taking people that have been 'top dog' for years (and un-challenged either due to tenure or a sense of 'respect' from their colleagues) and seeing if they could still rise to the top given new, fresh competition.
Alexi
US Army Japan Band
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Author: Steve B.
Date: 2005-09-08 11:52
bkmorton wrote:
"Do you think he would win the job if he auditioned
today? I would respect any answer that anyone would
have"
Yes
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Author: SueSmith
Date: 2005-09-08 15:52
Quote:
bkmorton wrote:
"Do you think he would win the job if he auditioned
today? I would respect any answer that anyone would
have"
Ok, lets say Drucker is a college student. I bet with his technical abilities he could win or place well in a few comps...but in this day, one thing would kick him straight out of a high level orchestral comp.
HE CAN'T PLAY IN TUNE! Sorry, but that's the damn truth. Remember, if he were to audition for the NY Phil position today...not only would he be up against Nuccio (who, IMO is just a superior orchestral player...which I will expand upon later) but also Richardo Morales, probably Scott Andrews...and a few other hidden talents out there who really do have it all. Not to say Drucker can't get around the clarinet...he certainly can. But, his talents aren't as unique as they were 50+ years ago. The pool of depth is greater than ever...the sharks are circling!
My issues with Drucker aren't just intonation, but the fact that his sound doesn't blend, or attempt to blend, with the rest of the wind section. He sticks out like a sore thumb. When Nuccio sits principle, the entire wind section gels; Nuccio and Pascual MF are a "to die for" section, similar to Scott Andrews/Tom Martin in BSO. Next time you hear NY Phil, and both Drucker and Nuccio are playing a work sitting principle...really listen to not only the clarinets, but the response of the entire wind section. When Nuccio sits principle, the winds sound warm, united, solidified. With Drucker, it sounds like he's competing against Pascual and trying to outplay every member of the wind section. There is no unity IMO. Hey, he may be a great guy, but this is just what I hear in his playing.
I don't think anyone is disputing that he has legendary status, and can actual play the clarinet at pretty damn proficient level (he's better at 70+ than I'll ever be period). But, if you pay to attend NY Phil, you have a right to opine on the product.
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Author: the only sane person in the room
Date: 2005-09-09 15:05
>>>>Sue, you're the bravest person I know....<<<<
How brave is it for someone who no one has ever heard of and never will hear of to criticize someone who plays 200 concerts a year on the biggest stage in the world?
It is like the flea who bites the elephant. . .very satisfying for the flea. . .the elephant goes on without noticing and so do the other elephants.
>>>But, if you pay to attend NY Phil, you have a right to opine on the product.<<<<<
But you doing so tells us nothing about the NYPO or its 'product.' It only tells us about you. . .and what it tells about you isn't flattering to anyone who knows anything about actually playing the clarinet.
Unless you have been there and done it, none of you can have the faintest notion of what it means to play principal in the NYPO or even a small professional orchestra full time. It is not easy and it doesn't get easier.
Stanley Drucker has done it forever, longer than most people here have been alive. He has nothing to prove to any of you. If you actually heard him in rehearsals and on the job you would know that he still does lots of things (the kinds of things idiots who don't really know what orchestral playing is) as well as you can do them.
If he is less of a supervirtuoso at age 76 than some 20 year olds are, WELL DUH.
99% of the posters here would make total idiots out of themselves if they sat in Stanley's chair for 10 minutes. There might have been a time when the percentage was different, but most of those posters signed off permanently when it became obvious that the would be no respect shown for those who actually play for a living.
People think that because someone has a big job that they don't have bad days at home, sick children or parents or spouses. . .or other things that make playing a great concert more difficult than it already is. Sometimes people are on medication for months that has a real effect on what they do. You hear someone play and you don't like it so you assume it is them slipping and not taking care of business. What do you really know?
Do you have to like anyone's playing just because they are famous and play on recordings or tv? Of course not. But if you think it makes you look smart to go on the internet and talk smack about them. . .you are fooling yourself.
Go forth and listen to Drucker's recordings of:
Bartok Contrasts (1950s)
Nielsen Concerto (1960s)
Corigliano Concerto (particularly the live world premiere recording) (1970s)
Meyer Kupferman Five Flicks (1980s)
Remember when listening that these recordings represent the way the guy really plays. . .they are not created by splicing.
Now think how many hours, months, etc. you would have to practice to get anywhere close to that. . .
Perhaps you will think about that before you post next time?
Nah.
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Author: larryb
Date: 2005-09-09 16:01
I thought Sue presented a thoughtful critique - sure, not everyone will agree, but I'll try listening to the NYPO winds differently now.
"Sane Person's" response is way too hysterical - calm down. After all, there's even an article on this website that is critical of Drucker's performance of the Nielsen (http://www.woodwind.org/clarinet/Study/Nielsen.html); the author dismisses the Drucker recording as "to be avoided" because, though technically impressive, it is emotionally cold. What are you going to say about that?
As for me, I enjoy listening to Stanley, but I think his vibrato is out of control. Not sure how I would react as an audition judge.
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Author: the only sane person in the room
Date: 2005-09-09 16:14
>>>I thought Sue presented a thoughtful critique<<<
But who is Sue? Does she have the faintest idea of what it means to sit there? I seriously doubt it. Sure, she 'plays' the clarinet, but she and Stanley Drucker don't do the same thing. It isn't comparable.
>>>>>After all, there's even an article on this website that is critical of Drucker's performance of the Nielsen (http://www.woodwind.org/clarinet/Study/Nielsen.html); the author dismisses the Drucker recording as "to be avoided" because, though technically impressive, it is emotionally cold. What are you going to say about that?<<<<<
Never heard of the author. He is another one of the 'great ****ing unheard.' In other words, another flea biting the elephant. Any idiot can publish an article. Have you read Clarinet magazine lately? All a bunch of meaningless bs.
>>>>Not sure how I would react as an audition judge.<<<<
Fortunately, it doesn't matter, since you will never be one.
Look, whatever professions you guys are in, imagine some amateur know-little decides to go on the internet and talk about how you don't do it well. I doubt you'll ever get it, frankly.
If you want real clarinet players who know anything to participate here in any serious numbers, show some respect and/or intelligence. Being the internet, this is highly unlikely, obviously.
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Author: clarguy
Date: 2005-09-09 17:35
I agree with sane person. It is like those morons who sit out in the stands at a pro baseball game and yell at the players, telling them they are worthless bums and don't know how to play ball. Their opinions only mean something to themselves.
If you look at Stanley's accomplishments, you will realize that you don't keep that job or solo with the orchestra the number of times he has by being an inferior player, period. The man is a brilliant player. Ask those who play with him.
I am sure Stanley is staying awake nights worrying about what Sue thinks about his playing.
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Author: Mark G. Simon
Date: 2005-09-09 17:50
It goes without saying that only a handful of people are going to be qualified contenders for Stanley Drucker's seat when he decides to relinquish it. But I think it is the right of everybody who plays the instrument to have an opinion about the great players, what they like about them and what they don't like. It would be difficult to advance on one's instrument without thnking of such things. As this is a discussion forum, and this thread is devoted to discussing Stanley Drucker, I think it is reasonable to allow people to discuss his playing without fear of censure.
bkmorton, who posed the question "Do you think he would win the job if he auditioned today?" added the promise that "I would respect any answer that anyone would have." I think we should do exactly that.
Time flies like an arrow; fruit flies like a banana--Mediocrates (2nd cent. BC)
Post Edited (2005-09-09 18:38)
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Author: vin
Date: 2005-09-09 18:41
Actually, some of us do have an idea what it is like to play in a professional orchestra. Virtually all of us have enormous respect for Drucker and acknowledge that we will never get near him in many aspects of playing. HOWEVER, when did it become a crime to say "I don't prefer that." Everyone has a right to an opinion. Perhaps, "sane person," you would prefer if we prayed facing New York five times a day and never expressed our own opinions on anybody's playing who is better than us. This clarinet fundamentalism is stupid. The exchange of all opinions (backed up by thought, of course) is what makes this board great. I second Bkmorton's philosophy of "respect any answer," so long as it is obviously thought out. There isn't one right way of doing things and there isn't any human clarinet player who is perfect.
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Author: Mark Charette
Date: 2005-09-09 19:17
I thought Sue gave a very rational explanation of her thoughts, and though some might disagree, such an ad-hominem attack is unwarranted, and indeed, avoids the very question of whether or not Mr. Drucker would be able to contend for his very seat in today's audition environment. Past performances would have to be put aside during the audition, since they are "real time" be definition.
If someone wants to discuss this rationally, be my guest. If someone wants to start making attacks on persons, please bite your tongue.
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Author: David Spiegelthal ★2017
Date: 2005-09-09 19:19
"....there isn't any human clarinet player who is perfect" --- absolutely right! And which perfect are we talking about? Is the Karl Leister form of 'perfection' any more or less perfect than the Stanley Drucker version or the Jack Brymer or the Paul Meyer or the......?........you get the point.
There are a number of incredible clarinet players on this planet who routinely, day in and day out, play on a level far above anything I or most readers of this BB could even dream of ---- yet, we too are musicians and human beings, and have our likes and dislikes. Nobody in this thread who has ventured an opinion of Drucker's playing has, as I read it, expressed anything BUT admiration for the man and his accomplishments, whether or not we're in love with his particular sound or style.
A long thread along very similar lines came about on the Sax On The Web forum, I believe it was last year, regarding the playing of Michael Brecker, whose position in the jazz saxophone world is rather analogous to Drucker's in the clarinet world. Just as here, everyone who wrote in admired the man, his technique and his accomplishments, though many didn't care for (or even actively disliked) his sound or his repertoire.
It would be a real dull world if we all thought exactly the same, wouldn't it?
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Author: 53engine
Date: 2008-03-28 18:38
When I get bored at work, I read old forum stuff and I came across this one.
Given that everyone has a right to their own opinion and all, I still think that it's kind of silly that people ask questions about whether Drucker could win the chair again. What difference does it make. Is there someone better than him, or Combs or whomever, sure, maybe, maybe not, never-any one of those but the way I look at it is this. I'm sure that there are a couple of guys sitting around saying-Michael Jordan wasn't so good, never could even get a job playing baseball. There's a guy on my Tuesday night team that could out play him, but he never got the chance to be famous.
About 25 years ago, there was a ClariFest at Towson State University in Maaryland, I think it may have been the second conventioin and the first night there were two performances. Loren Kitt played a Brahms sonata and the Druckers played one of their 2 clarinet and piano trios. Well, I lived and took lessons in New Jersey and my teacher, a really fine player, had a "New York sound" and I thought it was wonderful. When I heard Loren Kitt play, I thought Ugh, too bright, not dense enough, then as I listened, I realized how musical and lyrical his playing was and by the time he finished I thought he was great. My travel partner and sometimes other teacher was a recent Drucker PhD and she was like, can you believe that, how can he play like that, it's just awful, blah, blah blah. Then Drucker started playing, The group behind us were Kitt students, so we heard" how can he play so out of tune and his low register/high register is this or that, it just awful, Ugh. And I thought to myself how lucky I was not to have to be prejudiced and to be able to enjoy it all.
Then, the next day we had a master's class by Leon Russianoff who came in in rumpled painters overalls, needing a shave, hair all over, no clarinet and he started talking. There were about 150 people in the room, absolutely quiet holding on every word and the funny this was that he was talking about marking your top joint and barrel with a little whiteout so that you put the horn together exactly the same way each time, not exactly genius stuff. Then the demonstrators began. Three students playing the Concertino. A little time went by with the usual Masters class comments corrections, replaying and all and one of the young women was playing and he stopped her and said "she wants to be a clarinetist and she applied to Julliard but we didn't have any more places so this year we had to reject her. But, for my money, she already is a fine clarinetist and Julliard is the poorer for not having her. I hope she applies next year. What do you think happened, she burst into sobs and the whole room applauded.
So why did I tell this story.
Were there better teachers than Russianoff, there were certainly many better players and there must have been better teachers. Could he have attained his reputation if he had come along 30 years later and had to compete with the current players most of whom were his students, by the way. who knows. But to me the real question is this.
How many people could have held 150 professional players in rapt attention talking about putting whiteout on a joints and then given a class and had the humility to say what he said to that girl. The next day, I happened to be behind him in line and we talked, my teacher in New Jersey was one of his students. Then, a couple of years later I bought a clarinet from him, that he pickeed out for me, and he was very kind and giving of his time.
Drucker, Combs, Wright, Gigliotti-I could go on-are the stuff from which, as clarinetists-we derive our concept of music and the instrument. What difference does it make if there are better people and some could get their positions. How silly are we and how much much does it diminish us that we don't appreciate them and feel the need to criticize them.
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Author: John J. Moses
Date: 2008-03-28 20:51
Hi Friends:
Just my two cents...
Having had the privilege and pleasure of sitting next to Stanley Drucker at the New York Philharmonic for the past 30 years, all I can say is "thank God Stanley has been with us for 50 years of great playing."
He's a great player, great colleague, and great friend. Stanley has had a terrific career with the Phil, and will have full life away from the "job" (his description). I, and many of us, will miss his unique style and personality.
I do believe he is irreplaceable, in a sense, there is no one left who plays like Stanley, perhaps there never was. His chair will be filled by a fine younger player, as Bonade's and Wright's were, but they were all so special at a time when we needed idols to look up to who were real and honest. I hope the Phil can find those qualities in their new principal clarinetist.
It's interesting that Stanley is the last to leave the Phil. from the "original four", Stanley Drucker, Julius Baker, Harold Gomberg, and Manny Ziegler.
I'm sure I will continue to see Stanley...I wonder if he will be available to sub for me at WICKED on Broadway...just a thought?
JJM
Légère Artist
Clark W. Fobes Artist
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Author: Sylvain
Date: 2008-03-28 21:16
Old thread, but a very familiar topic. As much as I dislike hearing unfounded criticisms, no criticism in the name of appreciation of one's achievement is no fun ether.
While it may be impossible to question Stanley Drucker's achievements and legacy, one can certainly comment on/criticize his artistry. Even though most of us will never even comprehend what it is to have the skills he has, we do have ears.
And as far as I am concerned he does play for us the listeners, *any* listener, not just for his fellow professionals who know oh so much more about music than we little people ever will.
Sue made, almost 3 years ago, a very well argued assessment of what her ears tell her. One may disagree with her, but discrediting her point of view simply because the player being criticized is a "Legendary" musician is not a very good argument, is it?
Now would the Drucker of today win the upcoming NYPO audition? It is unlikely, the field is crowded, concepts about sound have changed, the who's who of the clarinet world has changed.
Would a young Drucker be winning top auditions today. I bet he would, he started the clarinet at age, 10 was appointed principal of a professional orchestra at age 16, clearly the man has talent.
By the way the full North Korea concert is online with a couple views of Drucker!
--
Sylvain Bouix <sbouix@gmail.com>
Post Edited (2008-03-28 21:18)
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Author: DavidBlumberg
Date: 2008-03-28 22:01
53 engine, I played in that Masterclass you mentioned. It was 1986 as I got married a week later.
If I recall it was still the Clarinetwork that hosted it before they merged with the ICS.
I played after the girls played, when he asked if anyone else wanted to play.
Drucker is a very rare talent and could probably do it all over again even if he were starting all over again today. His legacy will stand the test of time and already has.
http://www.SkypeClarinetLessons.com
Post Edited (2008-03-28 23:33)
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Author: Philip Caron
Date: 2008-03-28 22:21
"How silly are we and how much much does it diminish us that we don't appreciate them and feel the need to criticize them."
Appreciating is not the same as not criticizing. In fact, I doubt you can have true appreciation of anything without an awareness of what it really is, good and bad.
For years I gave an appreciative carte blanch to this great musician or that - Horowitz, Michelangeli, Heifetz, Oistrakh. Mozart. Etc. Now all my heros are human beings. What I feel for them is less like adulation, more like love. When they err - and they all did or do - I note it (if I hear it), but it doesn't diminish my opinion of them. Rather, it strengthens a bond I feel.
By the way, I'm a good definition of "nobody". But I can hear pretty well, and so can just about every other music lover. You can be a great expert at hearing and appreciating music without being able to play a single note.
As far as discussing our likes and dislikes in regards to the playing of others, it doesn't bother me. I've spent a lot of words doing that for years in other forums. Nowadays, I'm increasingly wondering, why?
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Author: John O'Janpa
Date: 2008-03-28 23:56
It would be a pretty small audience if only people who " knew what it was like to play in a major symphony " were allowed to have thoughts on the playing by members of those symphonies.
If members of the audience didn't think about the playing, why would they bother to pay money to attend performances. Same is true for baseball.
Not every self proclaimed critic will be in agreement with the majority, but they should still have a right to express their opinion.
I will never play at ANYWHERE NEAR the level of ANY symphony clarinetist, but I still have opinions about the playing of many of them.
I even liked (gasp) Acker Bilk when I was eleven. I also liked (and still do) Pete Fountain. I had never heard of Robert Marcellus who was playing 25 miles from my home, when I was in high school. But I learned who he was 40 years later and liked what I heard on his recordings. Everyone has opinions, and as long as they are making civilised comments, should have a right to express them.
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Author: Iceland clarinet
Date: 2008-03-29 00:09
I haven't listen much to Druckner so I'm not going to talk about his playing. I just want to say that saying that if someone doesn't like this or that player is disrespecting that player and insulting him is ridiculous. Sorry Mike Getzin but it doesn't work like that. If everybody liked the same players and thought that the same players have done some stupendious accomplishments then live would be boring. To say this and talk to "people" in general like that is insult at least to me. I will choose what players I like and what players I think have done "stupendious accomplishments"(Would never use such strong words)not someone else.
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Author: BobD
Date: 2008-03-29 11:47
Geez, Iceland, Getzin posted this 3 years ago, give it a rest.
Bob Draznik
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Author: Ed
Date: 2008-03-30 12:19
I just heard Drucker yesterday down at Avery Fischer. He sounded wonderful. Great playing in all respects. Tone, control, intonation, technique, etc, etc, was second to none. I thought to myself "It doesn't get better than this".
Anybody who has any opportunity should make the effort to go hear him within the next year. It is well worth it.
Bravo!
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Author: Ed Palanker
Date: 2008-03-31 03:43
No matter what anyone thinks of Drucker's style or tone he's still one of the greatest clarinetist of the 20 and now 21 century. Don't forget, you're hearing a player that's now been playing professionally in the hot seat for over 50 years, an almost unheard of feat in the orchestra field. I heard him when he was only playing a few years as principal of one of the world’s greatest orchestra’s. He's still a great player. ESP
www.peabody.jhu.edu/457
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Author: Ryder
Date: 2008-03-31 04:37
He's amazing. In the NYPO at age 19! not ot mention his other principal chairs at even earlier ages like 16!
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Author: S. Friedland
Date: 2008-03-31 15:41
Perhaps the most outstanding virtue of this true virtuoso has not been mentioned. I once auditioned for Max Rudolph, the noted conductor. It was so long ago that I really do not remember the orchestra. Perhaps it was Cinncy(as they call it.Perhaps "they" can't spell it either). Needless to say, I didn't get the job, but I did have a lovely learning experience and I played a good audition.
What Mr. Rudolph talked about was Stanley Drucker. He mentioned him specifically as a musician with whom the conductor could improvise during a performance. Now, read that again and understand what was meant. Put yourself in the position of playing a difficult solo. With a great orchestra. Not only do you know it so well, are so confident that you look the conductor straight in the eye as you are playing and you see him move his baton in perhaps an unusual manner, not like the dress. You intuit what he meant and you immediately change.
Just think of that and you know a big reason for this mans preeminence among clarinetists and for that matter, conductors as well. That is one of the most important aspects of playing in an orchestra.just how quickly you think and react
And all this through your horn . That is why he is Stanley Drucker.
Sherman Friedland
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Author: Arnoldstang
Date: 2008-03-31 19:23
Everyone is entitled to an opinion. I had a pain in my chest the other day. After talking to my auto mechanic, my butcher and my doctor I had three opinions. I'm ignoring the doctor and am going with either the butcher or mechanic. I have also come up an idea about a new sports concept. It is called tenured sports. After two or three years all players cannot be cut. I think it will change the face of sports forever. All the best. ps Steve Fox is putting an automatic register key/Bb on my Prestige. I'm excited...which says alot.
Freelance woodwind performer
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Author: William
Date: 2008-03-31 21:57
Amen, Sherman F--IMHO, the final word from someone who knows...........
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Author: 53engine
Date: 2008-04-03 17:03
Regarding the comments on this thread. Drucker "can't play in tune" and "doesn't blend with the rest of the section", I imagine that people are making similar comments on all of the other instrument boards about their legendary players. So, by extending this idea, there are likely a few comments about most of the priciple players for one of the handful of best symphonies in the world. And probably if there is a conductor's BB, then people are saying, Berstein was pretty ggod, but his left shoulder was slightly low and it confused people when to come in or something like that.
Then I wonder if other players in the group begin to compensate for the "problems" that these players have. So, could it possibly be that the greatness of New York(or any other great team) is that the players are able to work together to make the whole better than the sum of it's parts.
Or maybe, if we compare the current NY symphony with the one 50 years age, then the current one wouldn't cut it; with so many flawed players and all, compared to the perfection of the players in the symphony 50 years ago.
To my way of thinking, the real question about Drucker is "could any of the players that are mentioned as being currently great, get the job that Drucker got 50 years ago and hold it for 50 years, with the limited choices of instruments and other equipment and so forth. The job today was formed and continually refined by Drucker. The position today is not necessarily the same job that he took 50 years ago.
Maybe, it's like this. Stanley Drucker has given the world of clarinetistry and the larger world of music a priceless gift by sharing himself with us for the last 50 years, and he has do this as a very high profile player, teacher and proponent of the instrument(and if anybody remembers a magazine ad of about 20 years ago, Anthony and Cleopatra cigars,- great ad) and he has accomplished this with poise, grace and kindness.
I guess in 50 years, when somebody is writing on the BB that the the current principle player is shrill in the upper registers or something like that, we will know.
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Author: D Dow
Date: 2008-04-03 20:31
Drucker is indeed a legend..his playing is always interesting and never boring..
I think Drucker is fantastic...check his recording of the Copland on DG and become inspired.
David Dow
Post Edited (2008-04-03 20:32)
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Author: Ed
Date: 2008-04-03 21:29
Great point David.
"check his recording of the Copland on DG and become inspired."
Better yet, go hear him play it next year to close out his career with the Phil!
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