Amongst the world wide clarinet community, a current topic of conversation has been “Playing in an orchestra” and the abilities needed in order to fill the hall with the sound,and how to attract the listener to that sound, even how to create that sound.
It is not some secret formula, but has directly to do with the playing foundation of the performer, his basic degree of musicality, yes, his ability to emulate an essential singing quality to his performance, and perhaps a special understanding of sound, and the way sound creates beauty. It also has a good deal to do with excellent colleagues who share the same sensibilities and abilities and yes, understanding the concert hall, the venue that you reach by gift and endless practice. First and foremost is the music.
While I have performed the mozart many times, with all qualities of many orchestra, I have never ever really loved the Concerto, or I have never conceived the Mozart in this way of delicacy, wide and exact interpretation of nuance, which comes from both the music and the artist and the orchestra. I have performed the Mozart with the Denver Symphony, with Brian Preistman, The Utah Symphony, with Maurice Abravanel, The Milwaukee , with Harry John Brown, Thw Westchester orchestra , Jens Nygaard, and the Concordia Orchestra , with John Corley.
It was always somewhat of a contest, a bar to get over, or an attempt at perfection, and never did I succeed, always a disappointment, never such a complete triumph as this performance by the late Harold Wright, with the Boston Symphony Orchestra, Ozawa conducting.
Here is Harold Wright playng the first movement of the Mozart.https://www.youtube.com/watch?v=iIgQrs6WfZ4