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In Reply to: RE: Classical clarinetists who consistently used vibrato posted by rbolaw on August 26, 2016 at 00:21:43
The further in time you go back, the more you hear it (although not to the same extent on all recordings). It's one of the things that made the sound of that orchestra very distinctive. Like the BPO, the CzPO has lost much of its distinctive color and now sounds more bland and "international".
Follow Ups:
Can't stand Vib on Clar, or the thin, penetrating sound that so many used to get.
Marcellus is my Model of Beauty for the Clarinet.
. . . seems to be the predominant mode of playing these days. But I still can't help but feel nostalgic for the greater variety we used to have in this aspect of playing technique.
Yes, that's one way to talk about the prevalent modern clarinet sound in classical music. I see Kam was a Charles Neidich student at Juilliard, and his students have become a leading contingent in the clarinet world, so that may have a lot to do with their common approach.
I do think it has a lot to do with conceiving the clarinet mainly as a blending orchestral or chamber music instrument, but not a solo instrument, despite its potential power.
It was too strong a blanket statement!
Actually, I think a lot of modern players play too dark and dull, without the ringing quality I like.
Kam uses a cloth-type ligature that takes a lot out of the sound to emphasize smoothness.
But I also don't care for thin and bright, edgy, glassy, raw, you name it, I hate it...
Actually, Goldilocks is about my Fav.
Just right.
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