Fear, Lennie, Trouble in Tahiti, and after

June 1, 2015

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Above 1960, Carol Plantamura, sf and pianist, George Crumb, rehearsing.

I have been quite ill for more than two years, am now unable to walk, and in a long term care home.
they do what I need, and i am comfortable and well cared for.
This site has been my second career in music, and i have, almost desperately, been trying to write something that would be true, of quality, which has eluded me until, perhaps today.. It started with a call from my doctor telling me to go to the hospital, as I had pulmonary edema.

I was given an echocardiogram, and told to go for angiogram, which found an aortic valva worn out, was told that i had about two weeks to live, unleass i had surgery, was too old, abd offered a less invasive surgery that would provide me with a replacement from a pig( ), faster healing less invasive, and possible.
It took abot a year, operation successful, except that my femoral artery ruptured and I lost almost all of my blood.
I survived and much of this will describe the last year and where I am today.

One of the many gifts we have, is the joy and recollection of musicswhich we havent remebered for years.  Truly unbelievable,

That is what I did before lunch: listen to, and watch, Trouble in Tahiti. (you can find it easily on youtube.) This work, like all of Bernstein, contains all of Bernstein; three notes followed by the leap of a sixth or seventh; before On The Waterfront, and of core West Side.

And I was at the  rehearsal in Waltham, at Brandeis Univesity, invited by my teacher, who was playing Bass clarinet . 

It is where I first heard Felix Viscuglia, who was playing eb clarinet, as beautifully as this difficult opening can be played. In retrospection, he is the finest player of my lifetime. Playing all on everything, and exemplary saxophone, as well.He had the intuition of Wright, without quite the imagination and pristine presentation. But phil could do all of the possible with ease. He became my best friend in the business, my most fondly remembered, may he rest in peace.

more soon.


Decisions, Decisions, and Ridenours response

April 21, 2015

 

“Thanks for the recommendation.

For the record I once owned a Selmer series 9. It is a large bore clarinet and both it and the center tone are quite sharp in the right hand low register to the rest of the horn. I would avoid it if for no other reason than the tuning is not adequate to modern standards.
Otherwise, being completely unbiased on this matter, there is, in my opinion, no better clarinet to do “gigging” with than the 576 Lyrique. and, it won’t crack.”  tom

Hi Mr. Friedland,

Thank you for your wonderful blog, which is seems truly an amazing work of love!

I’m a 58 year old musician/teacher in CT. Saxophone and flute are my major “gigging” instruments. I’ve only played clarinet a little over the years. I really want to get into playing it more seriously, and the focus would be on traditional jazz and some show playing.

I now really would like to get a pro instrument ( I currently have a Buffet E11, and a Yamaha student model I play with my students with B45 mouthpieces). As you can imagine, at my age, I’d prefer to only have to make this purchase one time, haha!

I have a chance to get a Selmer Series 9, my repairman has two used ones in his shop. I’m intrigued by the CenterTone, and some have said the R13 is the safest bet.

If you had just one chance to buy just one, and were going to do the type of playing I’m doing, what would you get ( or target)?

Any suggestions or guidance would be welcome!

Thanks so much,

CC

Dear CC:

Thank you.

First and foremost, there are no “safe bets” in any clarinet purchase.

And, there are really no “great buys”. You have only the commentaries of many people, the majority of whom simply don’t know either. They may have made a good purchase and like the instrument. Someone else may find it awful.

No offense, but any instrument being sold by a repairperson is subject to scrutiny because it , having been repaired, calls into question both the horn and the technician. These are not idle comments or those reflecting  anything save for 80  years  doing all of these things, repeatedly. I love the clarinet, love playing them, love , even more, trying them, and best of all,buying  them. It  has been a life crammed full with purchases of every horn available at a particular time.

Not only that, but any clarinet you may try, may feel terrific on one day and fairly gruesome the next.

Why? You may ask.

“the nature of the beast”We are a virtual hotbed of a can of  enormous worms, all wrapped up into complicated neurotic tendencies, changeable in nano seconds. The human condition is highly complex. Just ask me and I will reply, endlessly.

All of the above can be called variables.  In obtaining another clarinet, it is advisable to eliminate all possible variables. You mention several brands of instrument, some of which have good reputations, some, not so good .

You are going to be “giggimg” and doing shows on saxophone and clarinet and flute.

Clarinet are prone to variables, depending upon the  material of which they are made, they vary considerably when being warmed up, ready to play.

This variance is due to the ambient temperature outside of the hall, in your, car, taken out of the car and being subject to the heat of your air column, which should be high enough for you to breathe, hopefully. Cold wood hates hot breath.

And you will not be able to get the low notes of the horn high enough , until after the first intermission, while the leader glares at you, mercilessly.

Think about an instrument that is more stable than any other clarinet. better than Buffet, Selmer, Rossy, anything.

After warming up, you would prefer an instrument that tunes well, note to note, and can achieve any interval far simpler than any other. That instrument is rare among all clarinets, save for only one.

Think about the most elusive quality of all, the sound of the instrument. We think of colors like dark, light, crystal, perhaps even charteuse or fuschia. Preference amongst us , is usually called dark. a hopelessly indefinable, not connected to any color at all.Ask ten players to define dark. I know.

Eyes will roll around in the head , people will look at their watches or for any out of this important question. There is one.

Do you play out of doors? Parades? perhaps, a circus, outdoor shows? Will your clarinet stand up to the pressures of being played upon loudly, unremittingly, and endlessly? Will it stay in adjustment? Or, will the barrel become frozen to the first joint? There is really only one new instrument that can deliver these kinds of statistics, one, and only one. That instrument is made from natural hard rubber, and can be purchased for a fraction of the price of any other.

They are designed by arguably, the finest designer of clarinets ,  William Thomas Ridenour.

Tom is in Dallas, call him, speak with him, and find out my true real clarinet.

You may not have to practice as much.( or, you may lose weight, or not)

stay well, sherman


“Gladiator” was life affirming Nathan Friedland

February 24, 2015

When I told my ten year old daughter I’d bought a ticket to see “Gladiator Live” at Place des Arts, she responded, “Daddy, why would you pay 120$ to see a movie that’s like 15 years old when you can see it on youtube for free?”
Part of the Montreal en Lumiere festival, “Gladiator Live” featured the film shown on a huge screen with all its music played live by an orchestra of 82 players with a choir and a female soloist conducted by Justin Freer. The challenge: how do you keep a massive orchestra in time with a film that has so many action scenes and so many cuts that the music must be accurate to a split second with what’s transpiring on the screen? Not to mention that this must be done in front of a massive crowd of roughly 3000 people in a jammed Salle Wilfred Pelletier theater filled with fans who paid as much as 150$ to see the show go on without a hitch? This was a massive endeavor.
As the show began, and I watched a film I had seen 15 years ago at the movies, I remembered that back then I was not married and did not yet have a child. My father, a musician, teacher, and conductor, was well back then and when this film came out, he considered an attempt to play it live with his former orchestra from Concordia University. As a child, I remembered him conducting concerts at Concordia, but never really understood what the audience got out of watching a bunch of people play a bunch of seemingly unrelated notes. He used to say “You’ll understand when you’re older.”
As the film unfolded and its themes about family, home and honor took shape, with a magnificent soloist echoing a haunting theme while a massive orchestra backed her up, I looked up at the conductor and realized what my father meant. I was there to see him. It reminded me of my youth when he seemed like a king on stage. I was there to see where I had ended up. I began to cry as I had realized that perhaps through music, I had become what I am now: a father, a nurse, a husband, and then, just after the intermission, it happened.
Up until that moment, Justin Freer kept the orchestra in time with a small computer in front of him. It played the film but with small captions and a white dot that flashed periodically to be sure he could keep the music dead on with what was happening on the audience’s gigantic screen. All of a sudden, the computer went black. He did not panic but began shaking his head pointing at the screen attempting to signal someone to try and fix it and 3000 people now knew that because technology had failed him, he was flying blind. The action continued and he kept his orchestra in time by looking up at the massive screen and remembering what notes they had to play, exactly when they needed to. A technician crawled up onto the stage like he was a sniper in a jungle. Flat on his belly, he was at the conductor’s feet, fiddling with wires as Russell Crowe battled for his freedom. The technician failed and the screen stayed black. For ten minutes, Mr. Freer and his orchestra wowed the crowd with their impeccable timing that seemed accurate to a split second and I thought to myself :”My Dad could have done that”. Magically, the computer lit up, there was a brief pause in the score for the time being, Freer wiped his brow and the orchestra had not even missed a beat.
The film’s ending features a heroic death of the main character and a soaring moment of music that is life affirming. I watched it until the very end then 3000 of us stood and gave a 5 minute standing ovation.
I realized that my Dad is a hero, and that maybe I am too.


New Orleans, La. Mardi Gras 1955

February 18, 2015

This is not Canada, nor Monreal, nor New York or Boston, or Paris or Fonainebleau near Paris.

Come back with me 60 years to the time of my bandsmanship, to one of the most briefly exciting moments of any year, Mardi Gras, 1955, in New Orleans, Louisiana.

Some think of it as simply Mardi Gras, or in French Fat Tuesday, but it happens to be the very day before the start of the Lenten Season, the forty days during which many resolve to further resolve, be it diet or alcohol, kindness, love, and any or everything of this mark in the year.

Lent is very serious, contemplating the very birth of Christianity. But one day before, you, we, may do as we please, and celebration is one of the great things we do. It is the joyous day to celebrate the coming of the Lenten season, the coming of Christ.
The U.S. 4th Army Band

Ft. Sam Houston
San Antonio, Texas
The U.S. 4th Army Band (FAB) was one of the finest service bands during the Korean and Vietnamese Conflicts. The Commanding General at Fort Sam Houston in the early 1950s was Lt. General I.D. White who endorsed appropriate music for all occasions, a tradition which was followed for more than two decades. Warrant Officers Dawson McElwee, Emil Krochmal, John Parrott, Homer Tampke, Alexander Difronzo and others were able to obtain qualified musicians to provide fine military, concert, jazz and string orchestra music for the many requests. Of paramount importance was a weekly radio program, The 4th Army Show (Concert In Khaki beginning in 1953) a 30-minute show that included military features and the finest concert literature, broadcast throughout five states of the Southwest. On Sundays the band was found in the Quadrangle on the Post in a formal Guard Mount and concert setting. The FAB traveled to Houston in 1952 to honor the 1st Armored Division from Ft. Hood as they left the Houston Harbor for assignment in Europe. In 1954 all the bandsmen were fitted with smart “dress blues.” The FAB participated in the annual River, Fiesta Flambeau and Battle of Flowers Parades in San Antonio. The “Turkey Trot” celebration in Taylor, Texas was a frequent gig. While playing for a Boy Scout Jamboree on a ranch near San Antonio in 1952 a raging bull took offense and charged through the band. Fortunately everyone survived. Armed Forces Day always found the FAB in a Texas community for a special event. Governors called upon the FAB to march in the Inaugural Parade every four years. Falcon Dam was a Texas/Mexico flood control project on the Rio Grande River dedicated in 1953 by President Eisenhower and President Cortines of Mexico. The FAB represented the U.S. contingent. President Eisenhower was very complimentary regarding the band’s participation. The FAB was sent to New Orleans three times in the mid-50s. They led the Rex Parade at the Mardi Gras in 1955 and 1956, and were flown to New Orleans in 1955 to perform on the pier to welcome home a division from Korean service. The band performed at two movie World Premiers in San Antonio, and as a concert band performed as the official reading band annually for the Texas Bandmasters Association. The FAB String Orchestra performed for visiting dignitaries, including the Secretary of the Army and Mexican generals.

In 1955, I was a member of the 4th Army Band, designated as an eb clarinetist. That designation kept me from playing in the 7th Army Symphony, the passing of which earned an entire page in black in the national magazine on music,  Musical America. It had been a good orchestra, comprised of many  trained players, who at the time, toured Europe creating nothing but good will and good music for the hundreds who saw and heard the concerts. The cost per year for the 7th Army Symphony was the same as one medium tank. To have to cut the services and good will generated by such a group seemed completely without logic. When an actual opening did come through,the first sargeant was quick to tell me that the only other place I would go would be to Fort Hood, Texas, a very different place for a musician to be located during those years,(and these remembering the massacre of several years past by the jihadist psychiatrist). That was scary then and even now.

We were a Headquarters Band, serving the 4th Army Area, Texas, Louisiana, Oklahoma and New Mexico, located in San Antonio, Texas, a lovely city, a wonderful climate, and, of all things ,dozens of used car lots, the place to exist for a bandsman, who was virtually free to roam the city. We used to regularly attend the Pearl Brewery, which made several presentatons a day, complete with refreshments of an alcoholic nature. Ditto for the Lone Star Brewery

Our duties were to play and record one radio broadcast per week. (Vic Damone was stationed with our band), play an occasional parade and not too much more., an ideal place to be.
That Tuesday morning, we were mustered to Lackland Air Force Base, loaded on a large transport by 5:am to be flown to New Orleans in order to lead the Mardi Gras Parade. It was a relatively short trip and we arrived early enough to start and lead the long parade. It was esitmated to be 13 miles long, literally dozens of ensembles of all numbers of musicians from every service branch. We lead the parade , a pivotal and importsant spot, for we were directly behind several horses, determining the exact course. Jose Mendez, a tall trombonist held that corner of the marchers. He carefully changeddirections avoiding the continuing obstacles caused by the animals.

Because of the length of the parade, there was a continuous spasmodic accordion motion, This was of course greatly enriched by the overwhelming presence of alcohol, frequently given or shared by everyone. I’m saying everyone!
After a few moments of marching, the groups began to slowly diminish in size./ After an hour, the parade began to diminish in size. As more time passed, the formations became spread apart as they diniinished in size. By the end of the parade, there were few bands fewer marchers and a final. rather shaky diminution.

Stay well, do not give up practicing for Lent.

sherman


Clarinet Connect/ Debussy Rhapsody , Petite Piece, Garde Republicain Band

December 17, 2014

But, wait a minute! In order to set the story correctly,let me tell you about my early years as a young student who fell in love with the clarinet. I had a really great teacher who knew the value of playing and not just practicing. On day, he told me about the New England Conservatory band. I thought, well, a band is a band is a band. After all there was the high school band , but this band was no high school band, It was a band shaped along the style of the famous Garde Republicain of Paris. Total different instrumentation than that of our high school band.Actually, it was more like an orchestra, with large sections of first clarinets and seconds, roughly that of an orchestra, with clarinets instead of strings. Now, the conductor of this conservatory band, meeting on Saturday mornings was Georges Moleux. He was at that time principal bass volin of the Boston Symphony.Actually, he had been a first prize winner at the Paris Conservatory in both double bass and clarinet. For me, that meant everything, as I thought nothing further could be achieved. This was my beginning of learning of the great growth of the clarinet in FRance, due to the grandeur of the Napoleonic WARS, THE TRIUMPHANT BANDS THAT WERE A PART OF THE NAPOLEONIC TRADITION . It is one thing to mention the Dixieland tradition, but quite another to realize the immense growth of he clarinet in France as a direct result of the napoleaonic war tradition.

Debussy: Première Rhapsodie, Petite Pièce

The breakthrough as a composer came for Claude Debussy (1862-1918) around 1909. The premiere of his opera “Pelléas and Mélisande”(Score of which is at the New England Conservatory)in 1902 received a rather cool response from the public and press, but the performance in London’s Covent Garden on 21st May 1909, was received triumphantly. The performances of “La mer” and “Prélude à L’après-midi d’une faune”, the previous year had been a great success.

Now his music began to find recognition in Paris and as a result Gabriel Fauré who had been director of the Paris Conservatory since 1905, nominated Debussy into the “Conseil Supérieur” (Board of Directors) of the institution.

One of his first tasks was to compose two mandatory pieces for the conservatory’s clarinet competition. In December 1909, Debussy began writing a rhapsody for clarinet and piano which he finished a month later. On 14th July 1910 the jury, which included Debussy, judged the performance of eleven candidates and the following day he wrote to his editor, Jacques Durand:

“The clarinet competition went extremely well and, to judge by the expressions on the faces of my collegues, the rhapsody was a success. […] One of the candidates, Vandercruyssen, played it by heart and very musically. The rest were straightforward and nondescript.”

The official premiere of the Rhapsodie was on 16th January 1911 in the Salle Gaveau in Paris with Prosper Mimart as solo clarinetist and it was to him that the piece had been dedicated. Debussy was so enthralled by his interpretation and commented quite spontaneously that this was one of the most pleasing pieces he had ever written. This enthusiasm would have encouraged him to adapt the work for clarinet and orchestra in the same year and it is this piece which is well known today.

It was published as “Première Rhapsodie”, but a second rhapsody for saxophone and orchestra was never finished.(But, it was finished and has been recorded with my dear departed friend, Felix Viscuglia, Erich Leinsdorf and the Boson Symphony)

The second mandatory piece was “Petite Pièce”, a work of only 36 bars and lasting just under two minutes. For the Rhapsodie the candidates had several months preparation time, but this piece was to be played “prima vista”, that is, by sight. The technical difficulties, therefore, are not so great, but the jury would surely have expected correctness in the execution of the punctuated rhythms which run throughout the entire piece. As a composition that was intended “only” for an exam, the “Petite Pièce” is a wonderful and charming little work, not to be taken too lightly.

The Republican Guard is the heir of the various bodies that preceded it in the course of French history whose task was to honor and protect the high authorities of the State and City of Paris : Gardes Françaises of the Kings, Consular and Imperial guard of Napoleon, etc.. Its name derives from the Municipal Guard of Paris, established on 12 Vendémiaire XI (October 4, 1802) by Napoleon Bonaparte. It distinguished itself in battles of historical significance, including Danzig and Friedland in 1807, Alcolea in 1808 and Burgos in 1812. (yes, there was a battle Friedland, and there is a street with that name running from L’arch du Triumph ((I was a bit too young))
In 1813 it was dissolved following the attempted coup of General Malet and replaced by the Imperial Gendarmerie of Paris and then, under the Restoration, the Royal Guard of Paris and the Royal Mounted Police of Paris. In 1830, it was recreated, and again removed after the Revolution of 1848 in favor of the Civic Guard (which proved to be a transient institution).
June 1848 saw the creation of the Republican Guard of Paris, including an infantry regiment and a regiment of cavalry. It received its insignia July 14, 1880. It took part in the First World War and saw its flag and banner decorated with the Knight’s Cross of the Legion of Honour. During the Second World War, it reported to the police headquarters and took the name of Guard of Paris. Part of its staff rallied to General de Gaulle and the Guard was involved in the fighting alongside the FFI at the liberation of Paris.
In 1952, the guard was renamed the Legion of the Republican Guard of Paris and took part in the Indochina War, which earned it the Croix de Guerre.

At one period during its growth, there were no less than 126 clarinetists studying in Paris at the conservatory. Many of our predecessors were among them. including Georges Moleux, Alexander and Henri Selmer and many more. During my years in Paris I was taken to lunch several times by the Selmers, riding out to Mantes in their big Peugeot with the air suspension.

happy Holidays  keep practicing

sherman


More: on testing new instruments

November 26, 2014

How many clarinets have you tested? And, have you always used some kind of digital tuner? And, has it caused you endless joy? At the first test? But, less on the second, and sequentially, cause more frustration? Leading to drink? Or some other kind of break? Testing yet another clarinet? Against which one?Did you forget?
And, which reed did you use? Mouthpiece? Do you remember?
What is your teachers phone number? Will they charge for the call?

D O N T

The whys and wherefores follow: Using a digital tuner, or any kind of tuner to test notes on a clarinet, determining which of any two notes are better in tune with one another, is a losing battle. Believe it or not, most, if not many clarinets are built mostly in tune, save for a few very well known problems:
The lowest e and f on most clarinets are or tend to be flat, considerably so; the throat Bb, not being the true Bb is usually stuffy and sharp. The so-called open g is also slightly sharp as is the G#, all throat notes.

When you use a tuner to determine where these notes are, the initial digital or other response is usually higher by as much as ten cents than the actuall note being tried. Then , the pitch settles to where it actually is. Of course, this is all determined by your familiarity with the instrument and the equipment you are using, the mouthpiece, and reed. More importantly, your clarinet development is crucial.

Have you been playing long enough to have developed an actual correct embouchure, well developed in all ways, and do you have a perceptive ear. This of course, assumes that you are a serious clarinetist, or an advanced student. Having been through these kinds of tests as a young man, I can attest to this searching quality, but even more so, to the extent of which mouthpiece sounded better, going all the way into the whole clarinet. After many years of testing,i am well aware that there are numerous aspects of what can be called musical sanity on display.

But, I have had an long and successful career as an offering in my favor.

Anthony Gigliotti, Principal clarinetist of the Philadelphia orchestra, was a life long player of Buffet clarinets, until of course, he allowed the Selmer company to practically duplicate one of his clarinets, which became known as the Selmer 10G clarinet, and was quite good, though not, a Buffet clarinet. Mr Gigliotti also had Buffet send him 55 clarinets each year. He went through them all, and picked two , which he then gave to Moennig, the famous clarinet technician in Philadelphia, for tweaking, and then he would allow two of his best students to play these clarinets.

Of well known clarinetists of the past, I know in gneral, of their procedures for trying these instruments. Mostly , they played extremely well known folk songs, or perhaps national anthems or very familiar melodies. Why? To determine how these melodies fit into their “ears of acceptance”. If they played a familiar orchestral excerpt like the clarinet in Egmont Overture, by Beethoven, did the interval to the high c, go perfectly smoothly and with the correct feeling in the upward slur. They did not try to determine if any single notes was either in tune or how much deviation occurred. That would have been quite obvious from a simple few notes played .

Of course , we are speaking of players of all levels of development. My specific point here is to well develop your study of the clarinet prior to engaging in testing activites which may be reached more successfully, later in your clarinet experience.

Stay well, and keep practicing to a musical goal.

Sherman


The most Exquisite Clarinet Ever Made

October 9, 2014

I have ben a clarinetist, professor of chmber music and a conductor and other varia, having to do wih a University,studyimg and playing in Europe and other places. During these years, I was known for knowing and/or having played, a great variety of chamber msic from all eras. Also I have 52 works composed for me by various composers. Nobody famous, but who knows, maybe some day.
All of my clarinetists life, I have searched for the most perfect clarinet, and, (by the way) mouthpiece , ligature and of course, reed, including reeds made of every conceivable material, and I made my own for a while. During these many years, I have always read of the clarinets of former virtuosi and also many “wanna-be” virtuosi. Like many of you, I have competed with everyone I could find in Conservatories and all other venues frequented by hungry clarinet players. Like many of you, students and graduates and those waiting to audition for a piteously diminished job market, thoughts of making a good living were always obscured by the desire to play in an orchestra . I auditioned for many and did get a principal position, which I first enjoyed, but then was terribly disappointed,the repertoire being thin ,the conductor, even thinner and without knowledge. The salary was nowhere near commensurate with the years of study I had invested. During this long period of study,
I remember my mother telling me that “Lipsky was making 300 a week.playing popular music.” I was terribly hurt;I moved out of the house and into a small basement apartment which were frequented by rats of all kinds, including a couple of other students. We practiced, fought, and stole each others food.

I did a lot of freelance work in Boston , managed a small music school, and existed, as many of you did. Many auditions followed. I won the audition for principal in an orchestra in a foreign country, but was asked if I would agree to share the position with a local person who had been there for many years. I refused. And, all these years, while striving for perfection, I also searched for the perfect clarinet and accessories. I cannot recall the exact count , but it was many many clarinets and even more mouthpieces and accessories.
As  ayoungter, I had hear that the late Beorge Bundy was doing researh on a reed made from sterling silver and became fascinated with that idea,which of course, went from reeds to clarinets themselves. I asked myself the question, “why do clarinets have to be made from wood? There were already instruments, though of a lower qality, made fom plastic and metal, for students, the quality of such being rather poor. So I wondered if it would be possible for one of these companies to make me a set of instruments of another material, a material not so terribly unstable as the wood,the standard clarinet material for a fine instrment since the time of it first appearance during the time of Mozart and before? I had played “Classical” clarinet, three,keyed models up to 8 keys, made of boxwood, and they were and are not in tune, not withstanding the early music movements towards playing music on early “out of tune” instruments. Always however, searching for the perfect clarinet.
Yes, I have listened to every clarinetist of my tme and as many as before my time. They are written about frequently, always with the name of the particular excellent player, never as only “the perfect clarinet”. That dear friends, is the point ofthis writing. I knew the playing of Marcellus, Bonade, Gennusa, Cioffim Drucher Combs and all of the others, both personally and from their recordings.Never the perfect clarinet without the players name Why? Because there is no such animal, nor clarinet. Unto itself the clarinet is totally mute, making no sound. All of fhem. So let us continue to talk of the wonderful players, but please no more talk of the qualities of beauty in a piece of wood. There is none.

Personally, without a doubt, the finest clarinetist was the late Harold Wright, who was principal in Boston for 23 years, making outstanding recordings of most of the solo repertoire and chamber works as well, with the Casals Festival the Marborough Festival and, on many recordings.

Richard Dyer, of the Boson Globe said of him “Although Harold Wright is a consummate virtuoso of the clarinet, you don’t so much listen to him as overhear him as he steals sound from silence; drawing us into a volatile private world of thought, feeling and dream.” Wright only possessed an understanding of making the sound of music better than any other of any time. Conception? Imagination? Ear? It remained  during his time.

Of Heifetz, it is said When his admirers remarked how beautiful was the timbre of his Strad, Heifetz opened the instrument’s case, listened, and said ” I don’t hear a thing “

Play well and cover up for winter.

best, sherman