Thank you, thank you. This is a wonderful video. As a former student of both Robert Marcellus and Richard Waller this is such a terrific compilation that is so thoughtfully articulated. The history of American clarinet playing is fascinating, and the continuing evolution is so fun and interesting. My hat is off to you sir.
Your words, sentiments, and the time you took to write them means more to me than you know! I may make another one and catch some of the many that I had to leave out due to time restraints. I never got to meet Marcellus. I feel blessed to know and hear the players of today and enjoy thinking of how the history of the American clarinet brought them there:)
I bet a number of people have sent you the proper spelling of Stanley Hasty--this is a great video!!!! I was a student of Hasty at Eastman from 1965-1969. He was an inspiration for me to this day.
I think a lot of my viewers have just resigned themselves to my bad spelling, bad typing, and bad proofreading lol All of those weaknesses are exacerbated by the many aspects of putting the videos together and the divided attention that comes with it. Thank you for being kind about it:) this was a fun video to put together. I mean to make more, but time…..
Thx so much. I love all your videos. You have helped my tone, articulation, and just all round appreciation of the instrument. This comparison of some of the greats is just amazing. I am happy that you added Sabine Meyers. She is a Master. Julian Bliss and Fuchs and Harold Wright and Charles Neidich and David Shiffrin are also brilliant clarinetists and are great musicians and performers . The list I'm sure you know can go on and on. It's so great that there are recordings to hear all the younger musicians as well as the older ones. So good. Thx again.
Thanks Thomas! I think I should make more videos like this because there are so many great clarinet players around the world! I got to hear Wenzel Fuchs and Julian Bliss at the convention earlier this summer. I had the pleasure of playing at a masterclass with Fuchs back in 1997. I got to know Julian a little bit at the convention. Both of their performances were amazing. Fuchs played the Mozart concerto for the final concert. Julian played the Poulenc and Brahms F minor (both from memory....wow) and some other stuff at a recital. Being around players of that magnitude is inspirational. Thanks for watching my videos! I am glad that they have been useful to you. I am hard at work making more stuff! :)
Clark Brody playing the Rachmaninoff solo blew me away. I've been listening to many recordings of the same solo and I've yet to find any that soar the way his performance does, what an absolutely beautiful sound. Love this video, thank you!
For me the one who sounds like the perfect combination of French and German schools is Gigliotti. He has the most penetrating and focused sound to my ears. But at the same time it’s a solid sound with great depth. But your‘re right, all these players are fantastic. Thank you for this great video!
Thanks for doing this. They are all recordings. You can have favourites but you just have a favourite recorded sound you like. It’s good to have this is in your head.
Love Ricardo’s playing! Nice job but I feel a few were left out, George Silfies who studied with McClane, and others . BTW, I believe Harold Wright studied with McClane who studied with Gaston Hamelin, pretty sure! We have so many fine examples of superb clarinet playing/artistry!
So many right? I wish that a video of 6 hours would be clicked on! It sounds like you already know the many wonderful players....I wanted this to be part celebration and part launching pad for people just getting into it. Also, a fun thing for people that already know hearing these players back to back. It was fun and challenging to put together - many people that should be celebrated, more than I could fit in my self imposed time frame :) Thanks for watching and commenting!
Jay, I love your channel. I impulse purchased a quality clarinet a month ago and am having a blast learning about it. As a lifelong academic who approaches music in the same way, your channel has been a great resource. This was a wonderful introduction to the trends and preferences in tone over the years. I personally love a mellower, rounder, softer tone of the clarinet and I believe I have found it with my particular horn/mouthpiece. I start lessons soon with a community music organization and I'm eager to see if I get some commentary about it from experienced/opinionated players. Coming from a life in the guitar world I am always entertained by the endless quest for "better tone", so I'm excited to see how opinionated the local clarinet community gets -- and how my own opinion may soon shift with more experience! Love your videos and thank you for producing and sharing them, they have helped to expand my perspective and fuel further curiosity for the instrument.
Thanks for those words! They mean a lot to me. The clarinet equipment we use today allows for the sound you are hearing. The most important part is hearing it before you play the note or passage. If you hear it first and have equipment that allows for it, you are a long way down the road of getting the sound you want
Would you tell me what types of content you think would serve you best? I would love to keep things focused on what people would find useful in addition to the things I already know I want to say :)
@@clarinetninja I'm not sure I'm the average viewer necessarily, but I love nerdy deep dives. For example there are quite a few reed comparison videos on TH-cam, but your visual analysis of the harmonic overtones added a lot to it that most do not. Curiosity-wise, I enjoy longer form discussion or consideration of history or pieces/players, such as in this video about the changing tone and some of the key players. I can't play clarinet at every hour, but I can always watch videos to learn more. I suppose I have a problem answering your question directly because quite frankly, being so new to the instrument, I'm not sure what would serve me best! I'm an ultra-curious newbie, it's all quite interesting! Also you have a great voice and pacing. You deserve more views!
@@clarinetninja Actually you know what, I just thought of one. I would love a video that talks about mouthpiece design. Not necessarily a comparison of this vs that, or open vs closed, or French vs German -- there are plenty of comparisons. I'd love a more fundamental/general overview of the mouthpiece, the tradeoffs of various design decisions including the facing, tip opening, beak angle, material, etc. Everyone focuses on products; I've struggled to find a comprehensive mouthpiece video that talks about the design choices and the contexts/consequences of those choices.
@@QGDeclined I am going to try and learn if I am qualified to do that! lol I don't have any german mouthpieces - nor have I ever. I can talk about some differences. Maybe I can find an expert to collaborate with. Thanks for the great idea
Thank you. Robert is amazing. Thank you posting so many. It shows that there are some people with major positions and careers that make a person want to vomit.
I only have theories about that. Even in the list you made, Leblanc is missing. That is a pretty significant one. In my estimation, Ricardo needs outside factors to push himself into new challenges on the clarinet. I don't think he would say that....but that's what I saw. I can only imagine the challenges of being able to play that well.
THANK YOU SO MUCH JAY! All my students here in Florida will be listening to this over the next few days :) Keep up the great work and make more and LONGER vids :) WOOT! #saveclarinetsound
LULZ of course you like the OLDER players better! :) IMHO there's a very obvious difference....unfortunately :( Time to bring back REAL equipment :) thanks again for Posting/creating Jay! :)
Wonderful video! Thanks for doing this! I just don't hear anybody these days with the resonance and focus of tone like Marcellus, Wright, McLane had. Plus, in the past I believe that they served the music better, and didn't "interpret" for the sake of just "doing" something.
@clarinetnerd you have a coveted youtube name. Consider me green with envy. I am sort of paraphrasing you when I say this, but I think there was a general musical conventional thinking that was great in the mid century. At the same time, the three players at the end of this Video (being Anthony, Anton, and Ricardo) represent, to me, a few of the greatest musicians and clarinetists that I have ever heard on recording or live. I have played concerts with, taken coaching from, or watched masterclasses with all of them and I can't imagine more thoughtful and intentional players ever existed than those players. That being said, I have heard and maybe done (hopefully not) playing that is too focused on achieving some idea of a dark sound "just because". And even more....we only get to hear recordings of the top 1 percent of clarinetists from that era. It may be that the only thing we remember through recording the elite players of the time. Everything is recorded now so we get to hear a lot more of the "field". Most of all, it's hard to listen to the standard bearers of the tradition and not be in awe. It's all exciting to me:)
The masterclasses of Marcellus are also available and i can’t imagine anything better than that. Ninja, thanks very much for this video. I loved it. Being dutch, i am more familiar with the beautiful tones of european players like Alessandro Carbonare, Romain Guyot, Andreas Ottensammer and Annelien van Wauwe. (And the virtuosity of Nicolas Baldeyrou and Martin Fröst.)
Ps Frederick Thurston who died I think early 50 s was said by many to have been the most magnificent clarinetist of the BBC symphony orchestra. The British players usually played the bulls and hawks imperial 1010. Sydney Phil who took over from joke suggestions professorial role at the Royal college of music in London Buffet came on the scene about 1970 when boozing Hawks stopped it’s Clarinet production. No Buffet rules the clarinet world on the whole here in Britain. Thank you for reminding us of history and of sunflowers some of us I’ve never heard of or even heard. Victoria Samek - Siamese has produced Clarinet classics - one can hear on the CD or streamed what some of the old great players sounded like. There will be many people who are interested in what you are doing. And panel Weston’s various clarinet books of virtuosi players of the past or a great starting point. In one of her books she suggested that Clarinet tune may come from the shape inside the players mouse which is affected by their national sound when speaker. A very interesting point of view - thank you so much once again and God bless you and yours- Bill - UK
I didn't check every reply to see if this was already answered (corrected), but Wright studied with Ralph McLane, as did Kal Opperman. And I studied with Opperman at the same time as Richard Stoltzman.
Thanks for the addition! I never got to meet Opperman. Tracing the lineage of who studied with who is pretty fun. Seeing how it used to be so regional is so different than it is now. Love it!
Great video! Speaking as someone whose ideal sound is Cahuzac many modern sounds are more “murky” to me than dark, but everyone sounds great here. Franklin Cohen doesn’t get enough props, I’ve been really impressed by lots of his orchestral work. McGill sounds killing here too
Thanks Eddie! Cohen is an interesting player. From what I heard he takes a lot of chances in live performances. I think that is amazing. I heard Anthony play the other day. I simultaneously felt as inspired and debilitated at the same time!
Well, Jon Manasse and Ricardo Morales were both influenced by David Weber. I would have loved if you did a bit about Mr. Weber. I studied with him for several years. I wish I'd met him when I was an undergrad student. Great video, sir!!!
The room certainly impacts the sound. My pandemic education learning to record in a less than perfect environment has shown me that. The performances all recorded in good, but different halls, have variability there. There is also mic placement and technology and a host of other things. When not in a concert hall, the biggest variables to me are what’s on the floor and how low is the ceiling? That can impact sound and also what a reed feels like
Thank you so much for this wonderful video the two English players you mentioned de Pyer and Brymer both used wide bore Band H 1010 clarinets - very expressive In his later years Gevasr changed to a Peter Eaton Elite clarinet. Peter is the last maker of English clarinets I think Jack Brymer was influenced bye Reginald Carole and one of the great influences was Frederick Thurston - perhaps the Daniel Bernard of the UK but there are not many recordings - once again thank you so much God bless you and yours keep up the good work - Bill - UK
Thank you for enlightening me on some specifics about clarinet in the UK. I will be the first to acknowledge that I know almost nothing about it. The most I got into it was in my preparation to play the Finzi concerto for a couple different performances. When I did that it was still pre internet and information was hard to come by. Wow! The good ol days. Thanks Bill!
@@clarinetninja I myself am a pupil of Sidney Fell (principal, London Symphony Orchestra in the 1950s) who was a pupil of Frederick Thurston. My line goes back through these players to Henry Lazarus who was the first professor at the Royal College of Music. In addition, we all won scholarships to study there and, in 1977 I won the Frederick Thurston prize for clarinet. I mention this just to clarify my background. The English clarinet school split between those who preferred a 'straight' sound, without vibrato. This was best represented by Charles Draper and his pupil Frederick Thurston. Thurston was the first ever principal clarinet of the BBC Symphony Orchestra when it was formed by Adrian Boult back in 1930. The other clarinet tone philosophy came through Reginald Kell who espoused vibrato because he heard it in singers and wanted to match their approach. He was ostracised by his colleagues and eventually moved to Aspen. The public cared less and he became a household name through his playing of 'light' music. Since his time Brymer, de Peyer, and others have used vibrato and a warmer sound than Thurston but not to the extent deployed by Kell who also applied a rubato as demonstrated in your excerpt. Very strange to our ears today! From this side of the pond I grew up hearing all these players and in my early days I found many French and American sound choices quite incompatible with certain repertoire like Brahms chamber music and symphonic solos. I think recording quality may have had a lot to answer for! Over the years I have heard a lot of American players in the flesh such as Stanley Drucker, Larry Combs, Tony Gigliotti, Burt Hara. I went to Minneapolis in 2009 and heard the Minnesota orchestra. I was fascinated to hear Burt Hara play with the classic sound I would describe as American and then his co-principal Greg Williams performing with a much more European timbre - a sound I could strongly relate to! It's all fascinating stuff. Over time all the styles that were once so markedly different have come together. Gone are the days when I went to Paris to audition for Orchestre de Paris to find that only French or French-Canadian players would be admitted to the second round!
What about Lorin Levee? TH-cam has his recording of the Nielsen Clarinet Concerto he performed at Interlochen when he was 13 years old. Worth checking out!
Thank you for this Jay. Really good over view of the many clarinet characteristics over the ages. Long ago I used to be able to "needle-drop" and identify an orchestra strictly by listening to the clarinet principal and their ability to be heard with the rest of the group. But times have changed and I think (due to in large part the abundance of recording media) that clarinet players are "combining or mixing" their sound either consciously or unconsciously to erase their regional/influences to a more homogeneous sound. Any thoughts? I found the same thing "needle-dropping" with flute soloists where I could identify Julius Baker from Rampal and James Galway. Not so much now.
I totally agree. Much like regional accents, differences that used to be interesting are fading away. The ability not only to listen to people from all over the world as well as study with them has really taken away the differences we used to hear between the principals of major orchestras (for one example). It has raised the overall level of playing a lot as well. Thanks for watching and commenting! I love conversations that come up here
Great list! That recording of Wright does not do justice to how wild his sound was in my opinion. We don't have many good recordings from him (good in the sense of audio production)... but this performance of Rossini is what sold me on the hype and made me seriously think about switching to double lip. th-cam.com/video/OrouMhcxfEU/w-d-xo.html
I totally agree that is not the greatest recording of Harold Wright. I was happy to find him playing the Mozart as that was what I was trying to use for others if possible. I have strong feelings about learning to play double lip. In short - the feelings are that everyone should learn how to do it even if they never play that way in public.
@@clarinetninja agree 100% on Double lip thoughts. The things players can learn from experimenting with DL are SO important to a successful single lip player....let's start with NOT biting as much :)
Definitely the sound quality of the recording is about the worst I’ve ever heard from Harold Wright. He made many great recordings with good recording engineers. His Mozart concerto is as good or better than any of the others in the compilation. One of my favorites by Wright is his Shepherd on the Rock with Benita Valente. It will knock you out!
Great presentation! Congratulations. It would have been hepful to include McLane and Desantis in the 50s as precursors to the darker ages of clarinet tonal concepts. Interestingly, Bob Marcellus' favorite sound was that brief recorded solo of Desantis, that we all know about and was featued in Bob's yealry master class scheduled as "Toward a Tonal Concept". The comments made by a previous listener is obvious but important to bear in mind: These are recorded sounds. Judging from having heard a good number these great artists, (some up close and personal and in differerent concert settings), I am struck by the differences in sound quaities from live performances. One might observe that the constant factor for all of these considerations in making comparisons is that they ARE ALL recorded sounds, but even there the differences in how and where they were recorded are significant variables. But I sympathize with the motivation as a fellow clarinerd, (if I may include you in my favorite club), in examining the morphing effect of different times, equipment, players, trends etc.etc. Great fun. Great job. Thank you
Ron! Thank you for watching and contributing very valuable insight. I agree with all of your assessments. While I have your attention, I want to tell you how much I enjoyed hearing you the other day at Bella Notte. My neighbor (your sister in law) told me that I missed out on hearing it again. Is that a regular gig now? If so, I would love to record you and also get your time to make a video about all of this as well as your personal journey as a clarinetist, musician, and periodontist! You have a unique insight into many things that I think my viewership would love to hear about. What do you think? Thanks for including me as a fellow clarinerd…it’s an honor:)
Dear Sir, you really "turned me on",(excuse 70s y/o speak), to Sinatra jazz and helped regain an appreciation for this style. My wife of 47 years really likes my own take off of your recording "Fly me to the moon" . My own accompaniment chomp but I still relay your heart in this piece. Thanks Loads!
I would have watched the six hour video. So fascinating. What I think gets overlooked is the context you are playing. Can you be heard through the orchestra or is the sound too much for a recital? This has to be considered.
That is an important perspective. This was most decidedly on orchestral conception, but for sure those of us without full time orchestral positions need a different kind of flexibility and endurance (at times). Clarinet playing has a lot of fun angles to consider:)
I agree txsphere, this is 99.9% what I think about. I think it's the Mt. Everest of this instrument, not because "orchestra is the best," but because it's SO MUCH HARDER to project on clarinet in an orchestra than other instruments (even Eb clarinet! Eb and bass are so much easier to play in an orchestra!!! SO much easier!)
Also, Clarinet Ninja, a FULL SIX PLAYERS on yours list play(ed) Double Lip! Including Ricardo! Not just Harold Wright, student of Ralph M(a)cL(e)an(e), who was a student of Gaston Hamelin (who was one of the main teachers of Allard!!! And, suddenly, Allard's techniques make more sense)
@@DaleFedele I admitted to not being a scholar:) at the same time, I can say with confidence that Ricardo will, at times, play double lipped (at least to my knowledge), but by and large does not do it as a primary form of playing. As a person who has also spent a lot of time studying with people who studied with Allard (as he passed away by the time it would have been appropriate for me to do it myself), I fully agree that if one is playing according to Allards teaching it is a seamless change to a double lip embouchure. I practice double lip frequently, but I would not characterize myself as a double lip player
@@clarinetninja I agree absolutely of course and I love your video!; I think ironically it was the Double Lip school that was radical and dogmatic and preached "only DL all the time" that caused this rift that lead to the technique being so uncommon and misunderstood today. It reminds me of the Rascher school and his students like Meighan...hahaha, but at any rate, yes like you say in many ways it is a tool and, at the very least, a "mindfulness exercise" hahaha. Another two that I think are fascinating examples are Benny Goodman (who got DL FROM Kell, and it completely changed his sound [in my opinion for the worse]), and Donald Montanaro, who had a very similar sound to Harold Wright and played Double Lip early in his career, but then switched to single lip "for stability" when he was in New Orleans and dealing with humidity creating sealing issues with his top lip. But his cognizance of the mechanics of double lip carried through his whole career, in a way that is to my feel not too terribly dissimilar from Allard's techniques. Anyway, a lot more we can say! But I guess I'm just saying the binary "double vs single" argument is a little misleading today (EVEN Marcellus, the "paragon of single lip" whom everyone uses as example, had to employ double lip in the early 70's when he had dentures, although he never used this in his pedagogy...as did his teacher, Bonade who played double as well later in his career)
I felt sad that I was not able to find more examples of his playing. Perhaps I didn’t try hard enough. That excerpt was quite different than all the others due to nature of the piece and that it was orchestral rather than solo playing. He seems to be the principal player of that generation that gets the least historical emphasis. If that assessment is correct, I don’t know why that is the case
@@425gabe is there a way to use the magic of dropbox? I am open to using a technology new to me (I have dropbox...but a different platform that I don't already use would be ok with me. Maybe google drive? (I use that one too)
Yes the last group is just wonderfull! Combs makes you freeze - in a positive way. A singing sound - he puts the sound in the front like a singer. F Cohen great but a bit to dark now and then - wonder what kind of equipment he used or use ..
I am not totally certain, but I think he primarily used a Pine. The thing I like about Cohens playing is how free it is. He is such an interesting wildcard. I also heard that he refaced a lot of his mouthpieces into oblivion. Everything I say here ( except the wildcard comment as an opinions is total speculation on my part - although I did hear somebody say these things lol
I don’t know anything about Kieth Stein outside of being the author of The Art of Clarinet Playing. I am not particularly familiar with the book, although I am confident it is of high quality.
It strucks me that a lot of the American sound steams from the Viennese sound….dark broad deep It is not a french sound Wright is closest to the french and in a way Drucker to
I had never thought of it that way. I can’t speak with extreme confidence on the issue. I always thought the American style in this way (from a certain point in the history of it) - playing a French system clarinet with a sound that is tending darker. Does that align with your thoughts? Thank you for contributing in a way that gives me something brand new to think about:)
@@clarinetninja Yes absolutely- darker version of french without the nervous vibrato But if you listen to the Viennese sound - start in the 50ies - then move on with Prinz, Schmidl, Jettel and so on - they have an american touch in their sound - or the other way around pherhaps Broad dark focus Not german. Marcellus sounded a bit more german in that he had a smaller sound very compact - Viennese is darker
@@joachimakerlind4453 This is such an interesting path to go down. I appreciate your insight into this. As far as the conversations I have ever heard about clarinet playing, I have not heard this specific idea. I know those names, but I do not know the playing. I am very excited to dig into it and I appreciate your kindness in offering it to me :)
I completely agree with that. I hope I didn't inadvertently say that I thought differently. To piggyback on that, to my ears what makes the sound travel/project is more centrally related to the focus and not the color.
Well said..... here's something yall can nerd out to from Russ Harlow th-cam.com/video/8Zpnuokdmaw/w-d-xo.html Id also recommend using the harmonic analyzer on the Tonal Energy app :) #findthoseovertones
Yes! it’s right after the harp solo around [1:38]. Apologies for the previous comment 😂. Was not meaning to be rude. Interesting thing about that recording though (and it actually might be the recording of the Beethoven) is that if you look past the oboe player when in zooms in for his solo you can clearly see that Brody is using some sort of Period Boxwood bell with ivory rings . . . Very strange. I could be wrong though.
@@finleyjones1780 I am all about learning new things:) Digging into how we got to where we are on the clarinet is a fascinating thing to me. Clark Brody is one of the players that seems to get little attention in the general conversation about historical importance and influence.
If those older clarinetists would come back in today's living, with their period's equipment and go to today's orchestra auditions, they'd get last place, just because of their unacceptable to our era brighter, radiant sound. In my opinion, today's orchestras seeking for the warmest, easier to the ear sound is worse. Older sound standards I find more right. I had a similar experience, that's why I mentioned this example. Played in my first ever orchestra audition, they didn't like my sound because It wasn't to their warmth standards and I got last place.
That is an interesting thought experiment. Certainly the tone profile has changed, but it is equally as possible that they would not use the equipment of their era and would crush all with the use of the modern equipment we play today. Would Babe Ruth be a significant home run hitter in today's baseball? Not if he did exactly what he did in his career - but I would imagine he would make some adjustments and use a lighter bat so he could get around on a fast ball. But yes - I completely agree - the conventional sound of their era is totally unlike what we value now.
I would have apretiated if you compared the two gigants Brymer and Pieterson to here.. I mean they where solo players in two of the most important orchestras . LSO and Concertgebouw! The whole woodwind section in Concertgebouw was unike. Not so anymore sorry to say, back in the 50ies up to 2000 they where probably the best group in the world
I really appreciate your input on this. Undoubtedly, what you are saying is true. Unfortunately, those players don’t often end up in the conversation in the United States and the tradition of playing clarinet here. Given their relative huge position in the world that is the center of this music - it is absurd they are not mentioned. I will admit to not knowing their playing well. I will also take the benefit of having that exposed to me and will make sure I study it starting now:)
"Clarinet sounds" have come and gone and come back again several times in my 60+ years of playing. The Kell sound was "in," then it was "out," then it was back in again. Same with Peyer's sound, which he changed a couple times during his career. It's fashion, not quality. Nothing wrong with that for anyone not overly concerned with "best" and "ranking."
Thank you, thank you. This is a wonderful video. As a former student of both Robert Marcellus and Richard Waller this is such a terrific compilation that is so thoughtfully articulated. The history of American clarinet playing is fascinating, and the continuing evolution is so fun and interesting. My hat is off to you sir.
Your words, sentiments, and the time you took to write them means more to me than you know! I may make another one and catch some of the many that I had to leave out due to time restraints.
I never got to meet Marcellus. I feel blessed to know and hear the players of today and enjoy thinking of how the history of the American clarinet brought them there:)
Thank you. Very nice video. Of course many left out, as you said. Again, thank you.
Thanks Tom!
I bet a number of people have sent you the proper spelling of Stanley Hasty--this is a great video!!!! I was a student of Hasty at Eastman from 1965-1969. He was an inspiration for me to this day.
I think a lot of my viewers have just resigned themselves to my bad spelling, bad typing, and bad proofreading lol
All of those weaknesses are exacerbated by the many aspects of putting the videos together and the divided attention that comes with it. Thank you for being kind about it:) this was a fun video to put together. I mean to make more, but time…..
Thank you for doing this. It is a great opportunity to listen all historical clarinet players
Thx so much. I love all your videos. You have helped my tone, articulation, and just all round appreciation of the instrument. This comparison of some of the greats is just amazing. I am happy that you added Sabine Meyers. She is a Master. Julian Bliss and Fuchs and Harold Wright and Charles Neidich and David Shiffrin are also brilliant clarinetists and are great musicians and performers . The list I'm sure you know can go on and on. It's so great that there are recordings to hear all the younger musicians as well as the older ones. So good. Thx again.
Thanks Thomas! I think I should make more videos like this because there are so many great clarinet players around the world! I got to hear Wenzel Fuchs and Julian Bliss at the convention earlier this summer. I had the pleasure of playing at a masterclass with Fuchs back in 1997. I got to know Julian a little bit at the convention. Both of their performances were amazing. Fuchs played the Mozart concerto for the final concert. Julian played the Poulenc and Brahms F minor (both from memory....wow) and some other stuff at a recital. Being around players of that magnitude is inspirational.
Thanks for watching my videos! I am glad that they have been useful to you. I am hard at work making more stuff! :)
Clark Brody playing the Rachmaninoff solo blew me away. I've been listening to many recordings of the same solo and I've yet to find any that soar the way his performance does, what an absolutely beautiful sound. Love this video, thank you!
Thank you! I wish that I could have found more examples of his playing! It is beautiful
Liked & Subscribed! Awesome Jay! ThX for putting this together!
There were vinyl recordings of Harold Wright playing the Brahms sonatas and the Schubert, The Shepherd on the Rock.
For me the one who sounds like the perfect combination of French and German schools is Gigliotti. He has the most penetrating and focused sound to my ears. But at the same time it’s a solid sound with great depth. But your‘re right, all these players are fantastic. Thank you for this great video!
Thanks for watching and commenting! Gigliotti was one of the greats for sure!
Great stuff...loved it !
What a wonderful video!!!! Thank you so much!
Thanks!:)
Thanks for doing this. They are all recordings. You can have favourites but you just have a favourite recorded sound you like. It’s good to have this is in your head.
Just, thank you for your input on Clarinet.
You are too kind! Please don’t stop :)
Really awesome video brother thanks!🙏🙏🙏
thank you! :)
Love Ricardo’s playing! Nice job but I feel a few were left out, George Silfies who studied with McClane, and others . BTW, I believe Harold Wright studied with McClane who studied with Gaston Hamelin, pretty sure!
We have so many fine examples of superb clarinet playing/artistry!
So many right? I wish that a video of 6 hours would be clicked on! It sounds like you already know the many wonderful players....I wanted this to be part celebration and part launching pad for people just getting into it. Also, a fun thing for people that already know hearing these players back to back. It was fun and challenging to put together - many people that should be celebrated, more than I could fit in my self imposed time frame :) Thanks for watching and commenting!
Jay, I love your channel. I impulse purchased a quality clarinet a month ago and am having a blast learning about it. As a lifelong academic who approaches music in the same way, your channel has been a great resource. This was a wonderful introduction to the trends and preferences in tone over the years. I personally love a mellower, rounder, softer tone of the clarinet and I believe I have found it with my particular horn/mouthpiece. I start lessons soon with a community music organization and I'm eager to see if I get some commentary about it from experienced/opinionated players. Coming from a life in the guitar world I am always entertained by the endless quest for "better tone", so I'm excited to see how opinionated the local clarinet community gets -- and how my own opinion may soon shift with more experience! Love your videos and thank you for producing and sharing them, they have helped to expand my perspective and fuel further curiosity for the instrument.
Thanks for those words! They mean a lot to me. The clarinet equipment we use today allows for the sound you are hearing. The most important part is hearing it before you play the note or passage. If you hear it first and have equipment that allows for it, you are a long way down the road of getting the sound you want
Would you tell me what types of content you think would serve you best? I would love to keep things focused on what people would find useful in addition to the things I already know I want to say :)
@@clarinetninja I'm not sure I'm the average viewer necessarily, but I love nerdy deep dives. For example there are quite a few reed comparison videos on TH-cam, but your visual analysis of the harmonic overtones added a lot to it that most do not. Curiosity-wise, I enjoy longer form discussion or consideration of history or pieces/players, such as in this video about the changing tone and some of the key players. I can't play clarinet at every hour, but I can always watch videos to learn more. I suppose I have a problem answering your question directly because quite frankly, being so new to the instrument, I'm not sure what would serve me best! I'm an ultra-curious newbie, it's all quite interesting!
Also you have a great voice and pacing. You deserve more views!
@@clarinetninja Actually you know what, I just thought of one. I would love a video that talks about mouthpiece design. Not necessarily a comparison of this vs that, or open vs closed, or French vs German -- there are plenty of comparisons. I'd love a more fundamental/general overview of the mouthpiece, the tradeoffs of various design decisions including the facing, tip opening, beak angle, material, etc. Everyone focuses on products; I've struggled to find a comprehensive mouthpiece video that talks about the design choices and the contexts/consequences of those choices.
@@QGDeclined I am going to try and learn if I am qualified to do that! lol I don't have any german mouthpieces - nor have I ever. I can talk about some differences. Maybe I can find an expert to collaborate with. Thanks for the great idea
Thank you. Robert is amazing. Thank you posting so many. It shows that there are some people with major positions and careers that make a person want to vomit.
Why does Ricardo Morales change his equipment so often? He played Buffet, Selmer, Backun, Uebel, etc?
I only have theories about that. Even in the list you made, Leblanc is missing. That is a pretty significant one. In my estimation, Ricardo needs outside factors to push himself into new challenges on the clarinet. I don't think he would say that....but that's what I saw. I can only imagine the challenges of being able to play that well.
THANK YOU SO MUCH JAY! All my students here in Florida will be listening to this over the next few days :) Keep up the great work and make more and LONGER vids :) WOOT! #saveclarinetsound
I am humbled and honored! Thank you so much:)
I would certainly add David Shifrin to this well thought out list. Interesting presentation and perspective here.
He should be on this list for sure. It was tough to manage the length of this video. There is too much clarinet to celebrate!
Yep watched it again. Not sure if it was the third or fourth time but still a fascinating video.
Thank you so much!
Awesome vid!! I like the older clarinetists sound more.
Thanks!
LULZ of course you like the OLDER players better! :) IMHO there's a very obvious difference....unfortunately :( Time to bring back REAL equipment :) thanks again for Posting/creating Jay! :)
Wonderful video! Thanks for doing this! I just don't hear anybody these days with the resonance and focus of tone like Marcellus, Wright, McLane had. Plus, in the past I believe that they served the music better, and didn't "interpret" for the sake of just "doing" something.
@clarinetnerd you have a coveted youtube name. Consider me green with envy. I am sort of paraphrasing you when I say this, but I think there was a general musical conventional thinking that was great in the mid century. At the same time, the three players at the end of this Video (being Anthony, Anton, and Ricardo) represent, to me, a few of the greatest musicians and clarinetists that I have ever heard on recording or live. I have played concerts with, taken coaching from, or watched masterclasses with all of them and I can't imagine more thoughtful and intentional players ever existed than those players.
That being said, I have heard and maybe done (hopefully not) playing that is too focused on achieving some idea of a dark sound "just because".
And even more....we only get to hear recordings of the top 1 percent of clarinetists from that era. It may be that the only thing we remember through recording the elite players of the time. Everything is recorded now so we get to hear a lot more of the "field".
Most of all, it's hard to listen to the standard bearers of the tradition and not be in awe. It's all exciting to me:)
The masterclasses of Marcellus are also available and i can’t imagine anything better than that. Ninja, thanks very much for this video. I loved it. Being dutch, i am more familiar with the beautiful tones of european players like Alessandro Carbonare, Romain Guyot, Andreas Ottensammer and Annelien van Wauwe. (And the virtuosity of Nicolas Baldeyrou and Martin Fröst.)
Thanks 👏👏👏😊
Ps Frederick Thurston who died I think early 50 s was said by many to have been the most magnificent clarinetist of the BBC symphony orchestra. The British players usually played the bulls and hawks imperial 1010. Sydney Phil who took over from joke suggestions professorial role at the Royal college of music in London Buffet came on the scene about 1970 when boozing Hawks stopped it’s Clarinet production. No Buffet rules the clarinet world on the whole here in Britain. Thank you for reminding us of history and of sunflowers some of us I’ve never heard of or even heard. Victoria Samek - Siamese has produced Clarinet classics - one can hear on the CD or streamed what some of the old great players sounded like. There will be many people who are interested in what you are doing. And panel Weston’s various clarinet books of virtuosi players of the past or a great starting point. In one of her books she suggested that Clarinet tune may come from the shape inside the players mouse which is affected by their national sound when speaker.
A very interesting point of view - thank you so much once again and God bless you and yours-
Bill - UK
I didn't check every reply to see if this was already answered (corrected), but Wright studied with Ralph McLane, as did Kal Opperman. And I studied with Opperman at the same time as Richard Stoltzman.
Thanks for the addition! I never got to meet Opperman. Tracing the lineage of who studied with who is pretty fun. Seeing how it used to be so regional is so different than it is now. Love it!
Great video!
Speaking as someone whose ideal sound is Cahuzac many modern sounds are more “murky” to me than dark, but everyone sounds great here.
Franklin Cohen doesn’t get enough props, I’ve been really impressed by lots of his orchestral work.
McGill sounds killing here too
Thanks Eddie! Cohen is an interesting player. From what I heard he takes a lot of chances in live performances. I think that is amazing. I heard Anthony play the other day. I simultaneously felt as inspired and debilitated at the same time!
@@jayhassler316
I’ve heard he was known to reface his mouthpieces on the job if reeds were problematic
@@edwardsalkin9478 I heard that same thing! It's one of the reasons he is a hero to me. That's totally nuts and I love it
Well, Jon Manasse and Ricardo Morales were both influenced by David Weber. I would have loved if you did a bit about Mr. Weber. I studied with him for several years. I wish I'd met him when I was an undergrad student. Great video, sir!!!
To what extent do you think the room makes the sound? The room as providing resonance?
The room certainly impacts the sound. My pandemic education learning to record in a less than perfect environment has shown me that. The performances all recorded in good, but different halls, have variability there. There is also mic placement and technology and a host of other things.
When not in a concert hall, the biggest variables to me are what’s on the floor and how low is the ceiling? That can impact sound and also what a reed feels like
Thank you so much for this wonderful video the two English players you mentioned de Pyer and Brymer both used wide bore Band H 1010 clarinets - very expressive In his later years Gevasr changed to a Peter Eaton Elite clarinet. Peter is the last maker of English clarinets
I think Jack Brymer was influenced bye Reginald Carole and one of the great influences was Frederick Thurston - perhaps the Daniel Bernard of the UK but there are not many recordings - once again thank you so much God bless you and yours keep up the good work - Bill - UK
Thank you for enlightening me on some specifics about clarinet in the UK. I will be the first to acknowledge that I know almost nothing about it. The most I got into it was in my preparation to play the Finzi concerto for a couple different performances. When I did that it was still pre internet and information was hard to come by. Wow! The good ol days. Thanks Bill!
@@clarinetninja I myself am a pupil of Sidney Fell (principal, London Symphony Orchestra in the 1950s) who was a pupil of Frederick Thurston. My line goes back through these players to Henry Lazarus who was the first professor at the Royal College of Music. In addition, we all won scholarships to study there and, in 1977 I won the Frederick Thurston prize for clarinet. I mention this just to clarify my background. The English clarinet school split between those who preferred a 'straight' sound, without vibrato. This was best represented by Charles Draper and his pupil Frederick Thurston. Thurston was the first ever principal clarinet of the BBC Symphony Orchestra when it was formed by Adrian Boult back in 1930.
The other clarinet tone philosophy came through Reginald Kell who espoused vibrato because he heard it in singers and wanted to match their approach. He was ostracised by his colleagues and eventually moved to Aspen. The public cared less and he became a household name through his playing of 'light' music. Since his time Brymer, de Peyer, and others have used vibrato and a warmer sound than Thurston but not to the extent deployed by Kell who also applied a rubato as demonstrated in your excerpt. Very strange to our ears today!
From this side of the pond I grew up hearing all these players and in my early days I found many French and American sound choices quite incompatible with certain repertoire like Brahms chamber music and symphonic solos. I think recording quality may have had a lot to answer for! Over the years I have heard a lot of American players in the flesh such as Stanley Drucker, Larry Combs, Tony Gigliotti, Burt Hara. I went to Minneapolis in 2009 and heard the Minnesota orchestra. I was fascinated to hear Burt Hara play with the classic sound I would describe as American and then his co-principal Greg Williams performing with a much more European timbre - a sound I could strongly relate to!
It's all fascinating stuff. Over time all the styles that were once so markedly different have come together. Gone are the days when I went to Paris to audition for Orchestre de Paris to find that only French or French-Canadian players would be admitted to the second round!
What about Lorin Levee? TH-cam has his recording of the Nielsen Clarinet Concerto he performed at Interlochen when he was 13 years old. Worth checking out!
Totally agree! This needed to be be a six part series
@@clarinetninja here is the TH-cam link: th-cam.com/video/hb4NNXj2RnA/w-d-xo.html
I would add Jon Manasse to the list as one of the examples among nowadays clarinetists
I agree. Jon is great. No doubt about that!
Thank you for this Jay. Really good over view of the many clarinet characteristics over the ages. Long ago I used to be able to "needle-drop" and identify an orchestra strictly by listening to the clarinet principal and their ability to be heard with the rest of the group. But times have changed and I think (due to in large part the abundance of recording media) that clarinet players are "combining or mixing" their sound either consciously or unconsciously to erase their regional/influences to a more homogeneous sound. Any thoughts? I found the same thing "needle-dropping" with flute soloists where I could identify Julius Baker from Rampal and James Galway. Not so much now.
I totally agree. Much like regional accents, differences that used to be interesting are fading away. The ability not only to listen to people from all over the world as well as study with them has really taken away the differences we used to hear between the principals of major orchestras (for one example). It has raised the overall level of playing a lot as well.
Thanks for watching and commenting! I love conversations that come up here
And then we have Jonathan Cohler ❤❤❤. Just listen to his recording of the mozart clarinet concerto. Perfection!
Jonathan Cohler is fantastic for sure!
Ps what about a part 2
There needs to be many parts! It’s hard to stop once I get going. It nearly killed me to leave so many people out of this video.
Great list! That recording of Wright does not do justice to how wild his sound was in my opinion. We don't have many good recordings from him (good in the sense of audio production)... but this performance of Rossini is what sold me on the hype and made me seriously think about switching to double lip. th-cam.com/video/OrouMhcxfEU/w-d-xo.html
I totally agree that is not the greatest recording of Harold Wright. I was happy to find him playing the Mozart as that was what I was trying to use for others if possible. I have strong feelings about learning to play double lip. In short - the feelings are that everyone should learn how to do it even if they never play that way in public.
@@clarinetninja agree 100% on Double lip thoughts. The things players can learn from experimenting with DL are SO important to a successful single lip player....let's start with NOT biting as much :)
Agreed. That Rossini is great but imo, the recording of the Strauss clarinet/bassoon duo available on TH-cam is simply incredible.
Definitely the sound quality of the recording is about the worst I’ve ever heard from Harold Wright. He made many great recordings with good recording engineers. His Mozart concerto is as good or better than any of the others in the compilation. One of my favorites by Wright is his Shepherd on the Rock with Benita Valente. It will knock you out!
Great presentation! Congratulations. It would have been hepful to include McLane and Desantis in the 50s as precursors to the darker ages of clarinet tonal concepts. Interestingly, Bob Marcellus' favorite sound was that brief recorded solo of Desantis, that we all know about and was featued in Bob's yealry master class scheduled as "Toward a Tonal Concept". The comments made by a previous listener is obvious but important to bear in mind: These are recorded sounds. Judging from having heard a good number these great artists, (some up close and personal and in differerent concert settings), I am struck by the differences
in sound quaities from live performances. One might observe that the constant factor for all of these considerations in making comparisons is that they ARE ALL recorded sounds, but even there the differences in how and where they were recorded are significant variables. But I sympathize with the motivation as a fellow clarinerd, (if I may include you in my favorite club), in examining the morphing effect of different times, equipment, players, trends etc.etc. Great fun. Great job. Thank you
Ron! Thank you for watching and contributing very valuable insight. I agree with all of your assessments. While I have your attention, I want to tell you how much I enjoyed hearing you the other day at Bella Notte. My neighbor (your sister in law) told me that I missed out on hearing it again. Is that a regular gig now?
If so, I would love to record you and also get your time to make a video about all of this as well as your personal journey as a clarinetist, musician, and periodontist! You have a unique insight into many things that I think my viewership would love to hear about. What do you think?
Thanks for including me as a fellow clarinerd…it’s an honor:)
Dear Sir, you really "turned me on",(excuse 70s y/o speak), to Sinatra jazz and helped regain an appreciation for this style. My wife of 47 years really likes my own take off of your recording "Fly me to the moon" . My own accompaniment chomp but I still relay your heart in this piece. Thanks Loads!
I would have watched the six hour video. So fascinating. What I think gets overlooked is the context you are playing. Can you be heard through the orchestra or is the sound too much for a recital? This has to be considered.
That is an important perspective. This was most decidedly on orchestral conception, but for sure those of us without full time orchestral positions need a different kind of flexibility and endurance (at times). Clarinet playing has a lot of fun angles to consider:)
I agree txsphere, this is 99.9% what I think about. I think it's the Mt. Everest of this instrument, not because "orchestra is the best," but because it's SO MUCH HARDER to project on clarinet in an orchestra than other instruments (even Eb clarinet! Eb and bass are so much easier to play in an orchestra!!! SO much easier!)
Also, Clarinet Ninja, a FULL SIX PLAYERS on yours list play(ed) Double Lip! Including Ricardo! Not just Harold Wright, student of Ralph M(a)cL(e)an(e), who was a student of Gaston Hamelin (who was one of the main teachers of Allard!!! And, suddenly, Allard's techniques make more sense)
@@DaleFedele I admitted to not being a scholar:) at the same time, I can say with confidence that Ricardo will, at times, play double lipped (at least to my knowledge), but by and large does not do it as a primary form of playing. As a person who has also spent a lot of time studying with people who studied with Allard (as he passed away by the time it would have been appropriate for me to do it myself), I fully agree that if one is playing according to Allards teaching it is a seamless change to a double lip embouchure. I practice double lip frequently, but I would not characterize myself as a double lip player
@@clarinetninja I agree absolutely of course and I love your video!; I think ironically it was the Double Lip school that was radical and dogmatic and preached "only DL all the time" that caused this rift that lead to the technique being so uncommon and misunderstood today. It reminds me of the Rascher school and his students like Meighan...hahaha, but at any rate, yes like you say in many ways it is a tool and, at the very least, a "mindfulness exercise" hahaha.
Another two that I think are fascinating examples are Benny Goodman (who got DL FROM Kell, and it completely changed his sound [in my opinion for the worse]), and Donald Montanaro, who had a very similar sound to Harold Wright and played Double Lip early in his career, but then switched to single lip "for stability" when he was in New Orleans and dealing with humidity creating sealing issues with his top lip. But his cognizance of the mechanics of double lip carried through his whole career, in a way that is to my feel not too terribly dissimilar from Allard's techniques.
Anyway, a lot more we can say! But I guess I'm just saying the binary "double vs single" argument is a little misleading today (EVEN Marcellus, the "paragon of single lip" whom everyone uses as example, had to employ double lip in the early 70's when he had dentures, although he never used this in his pedagogy...as did his teacher, Bonade who played double as well later in his career)
Is there any relation between Michelle Zukovsky and violinist Paul Zukovsky?
I don't know...I know her Father was a wonderful clarinetist but that is the extent of my knowledge of her family
Great Video !! Would of also added Alesandro Carbonare
Clark Brody’s sound is very similar to Marcellus’s by my ears but with a bit more flexibility and perhaps brightness.
I felt sad that I was not able to find more examples of his playing. Perhaps I didn’t try hard enough. That excerpt was quite different than all the others due to nature of the piece and that it was orchestral rather than solo playing.
He seems to be the principal player of that generation that gets the least historical emphasis. If that assessment is correct, I don’t know why that is the case
@@clarinetninjaWhat's the best way I can share a recording of him with you?
@@425gabe is there a way to use the magic of dropbox? I am open to using a technology new to me (I have dropbox...but a different platform that I don't already use would be ok with me. Maybe google drive? (I use that one too)
@@clarinetninja what’s your Dropbox?
@@clarinetninja there’s a recording of him playing the Ravel Introduction and Allegro.
Yes the last group is just wonderfull!
Combs makes you freeze - in a positive way. A singing sound - he puts the sound in the front like a singer.
F Cohen great but a bit to dark now and then - wonder what kind of equipment he used or use ..
I am not totally certain, but I think he primarily used a Pine. The thing I like about Cohens playing is how free it is. He is such an interesting wildcard. I also heard that he refaced a lot of his mouthpieces into oblivion. Everything I say here ( except the wildcard comment as an opinions is total speculation on my part - although I did hear somebody say these things lol
what about Gino Cioffi
Yeah.... love the story about him winning back his job after Liensdorf fired him.
Kieth Stein ? Who was he?
I don’t know anything about Kieth Stein outside of being the author of The Art of Clarinet Playing. I am not particularly familiar with the book, although I am confident it is of high quality.
@@clarinetninja
Hi
Yes I have the book
Listen to Javier Martinez from Madrid Orchestra
Harold Wright studied with Ralph Mclane . . . 😐
It strucks me that a lot of the American sound steams from the Viennese sound….dark broad deep
It is not a french sound
Wright is closest to the french and in a way Drucker to
I had never thought of it that way. I can’t speak with extreme confidence on the issue. I always thought the American style in this way (from a certain point in the history of it) - playing a French system clarinet with a sound that is tending darker. Does that align with your thoughts?
Thank you for contributing in a way that gives me something brand new to think about:)
@@clarinetninja
Yes absolutely- darker version of french without the nervous vibrato
But if you listen to the Viennese sound - start in the 50ies - then move on with Prinz, Schmidl, Jettel and so on - they have an american touch in their sound - or the other way around pherhaps
Broad dark focus
Not german.
Marcellus sounded a bit more german in that he had a smaller sound very compact -
Viennese is darker
@@joachimakerlind4453 This is such an interesting path to go down. I appreciate your insight into this. As far as the conversations I have ever heard about clarinet playing, I have not heard this specific idea. I know those names, but I do not know the playing. I am very excited to dig into it and I appreciate your kindness in offering it to me :)
Very interesting, but the Mozart with Marcellus was recorded in 1961, not 1956.
My attention to detail gone wrong!
Resonant sound does NOT equal bright! As the sound travels, it gets darker,
I completely agree with that. I hope I didn't inadvertently say that I thought differently. To piggyback on that, to my ears what makes the sound travel/project is more centrally related to the focus and not the color.
Dark from afar, bright up close. Correct.
Well said..... here's something yall can nerd out to from Russ Harlow th-cam.com/video/8Zpnuokdmaw/w-d-xo.html Id also recommend using the harmonic analyzer on the Tonal Energy app :) #findthoseovertones
Great recording of Clark Brody!! Very good quality! If people are curious, there is a video of him playing:
th-cam.com/video/mgaS9CZ7KsQ/w-d-xo.html
Can’t wait to see that! Thanks
Yes! it’s right after the harp solo around [1:38]. Apologies for the previous comment 😂. Was not meaning to be rude.
Interesting thing about that recording though (and it actually might be the recording of the Beethoven) is that if you look past the oboe player when in zooms in for his solo you can clearly see that Brody is using some sort of Period Boxwood bell with ivory rings . . . Very strange. I could be wrong though.
@@finleyjones1780 I am all about learning new things:) Digging into how we got to where we are on the clarinet is a fascinating thing to me. Clark Brody is one of the players that seems to get little attention in the general conversation about historical importance and influence.
I've always thought that Clark Brody was way underrated. Check out his recordings of "Pines" and "Dances of Galanta" with Chicago Sym under Reiner.
If those older clarinetists would come back in today's living, with their period's equipment and go to today's orchestra auditions, they'd get last place, just because of their unacceptable to our era brighter, radiant sound. In my opinion, today's orchestras seeking for the warmest, easier to the ear sound is worse. Older sound standards I find more right. I had a similar experience, that's why I mentioned this example. Played in my first ever orchestra audition, they didn't like my sound because It wasn't to their warmth standards and I got last place.
That is an interesting thought experiment. Certainly the tone profile has changed, but it is equally as possible that they would not use the equipment of their era and would crush all with the use of the modern equipment we play today.
Would Babe Ruth be a significant home run hitter in today's baseball? Not if he did exactly what he did in his career - but I would imagine he would make some adjustments and use a lighter bat so he could get around on a fast ball.
But yes - I completely agree - the conventional sound of their era is totally unlike what we value now.
Marcellus would still hold up
I completely ignore the process and players for the american sound. I am now thinking about those kinds of developments in other countries
I think Marcellus sound is closest to Bonade sound of all these players. And I still think Bob’s sound is the gold standard.
I would have apretiated if you compared the two gigants Brymer and Pieterson to here.. I mean they where solo players in two of the most important orchestras . LSO and Concertgebouw!
The whole woodwind section in Concertgebouw was unike. Not so anymore sorry to say, back in the 50ies up to 2000 they where probably the best group in the world
I really appreciate your input on this. Undoubtedly, what you are saying is true. Unfortunately, those players don’t often end up in the conversation in the United States and the tradition of playing clarinet here. Given their relative huge position in the world that is the center of this music - it is absurd they are not mentioned. I will admit to not knowing their playing well. I will also take the benefit of having that exposed to me and will make sure I study it starting now:)
Sorry but Morales tuning is not ok he is slightly high all the time. Why? Makes you worried- not my taste
"Clarinet sounds" have come and gone and come back again several times in my 60+ years of playing. The Kell sound was "in," then it was "out," then it was back in again. Same with Peyer's sound, which he changed a couple times during his career. It's fashion, not quality. Nothing wrong with that for anyone not overly concerned with "best" and "ranking."
😮
Shifrin with one f
My spelling and proofreading is garbage
@@clarinetninja no problem, mine too.
Great video.
De Peyer sings most - together with Brymer and Pieterson
Skip all the talk at beginning, play the dam thing!
I swear I put chapters in the timeline. Sorry to have upset you