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In Reply to: RE: As a non-clarinetist, I sure liked Leister's tone better [nt] posted by Chris from Lafayette on August 03, 2016 at 16:38:31
The solo flutist is likely the late Karlheinz Zöller, another legendary BPO wind player who was succeeded by James Galway, but returned a few years later after Galway clashed with Karajan and left in a huff, and finally retired in 1993.
The contrast between Zöller and Galway couldn't be greater, the one a pure orchestral player, the other born to be a soloist.
Follow Ups:
rub me the wrong way.
I've heard some of his Solo stuff on the radio, HATED it.
He goes sharp with every crescendo, has way too much vibrato,
and sounds like he is playing a tin whistle.
I'll bet he makes faces and moves around a lot , not unlike Richard Stolzman, to "Sell it"
to the Public.
End of rant.
including the sharp playing, especially "octave stretching" (i.e., getting sharper as you play higher) and "vibrato above the fundamental", which he uses in a way similar to Maria Callas. I'm not about to get into a debate his style of playing, especially since I suspect I'd end up agreeing with you for the most part, except to say that the old saw, "You can't argue with success" would seem to apply.
The greatest harm Galway has done is spawn imitators who try to adopt his style without his immense technical control and strength, with disastrous results. Also, I have heard his work in the BPO, and believe it or not, he is capable of toning things down considerably, playing in tune, blending with the orchestra, etc. He just stopped doing all that when he began his solo career.
likened it a ship with lots of people on the oars, it was OK if you like that sort of thing I recall him saying.
Interesting comments from you!
I certainly don't disagree.
I have to say that most Classical singers have no vibrato control at all.
Of course there are exceptions.
nt
Nobody is questioning his chops.
I just don't like the sound.
I guess you do?
"If people don't want to come, nothing will stop them" - Sol Hurok
/
Rodrigo - Concierto Pastoral, Fantasia Para Gentilhombre w/Mata/Philharmonia
Sonatas for Flute and Piano: Dvorak/Feld/Martinu w/Phillip Moll on piano
Sonatas for Flute and Piano:Prokofiev/Franck w/Martha Agerich
Concertos: Ibert/Poulenc/Chaminade/Faure w/Dutoit/Royal Phil.
Bach: Two Flute Concertos/Suite In B Minor w/I Soloisti Di Zagreb
Corigliano: Pied Piper Fantasy w/Eastman PhilharmoniaThat's what I have of his. Helluva tin whistle.
Edits: 08/04/16
Of course, the Rodrigo and Corigliano were written specifically for Galway and beautifully showcase what he can do. But either ya like that kind of flashy thing, or ya don't.
Funny about his Bach B minor suite -- in his memior, Nathan Milstein takes the trouble to criticize Galway's super-fast tempo, while acknowledging with grudging admiration that his concerts are always sold out.
It is actually a huge compliment that Milstein chooses to mention Galway at all in his cranky narrative, which is mostly about Stravinsky, Prokofiev, Rachmaninoff, Kreisler, Toscanini, Horowitz, Heifetz, Piatigorsky etc., all of whom he knew well, and all of whom he admired but doesn't hesitate to slam when he thinks they deserve it.
As a doubler who doesn't even qualify to carry Galway's flute case for him, I find his playing damn near perfect for the Rodrigo and Corigliano. So far, "flashy" or not, I haven't heard a piece by Rodrigo or Corigliano I don't enjoy. For ex: Corigliano's oboe concerto could certainly be called "flashy", but I enjoy it nevertheless, and am amazed anybody can play it.
Can't imagine listening to Galway play the sonatas I listed and hating his sound/pitch. I'm not expert enough to criticize tempos, nor expert enough regarding other mind blowing flutists to rank Galway. But if I could play like him I'd die happy.
I know he's performed/recorded a wide variety of music including some, ahh, "fluff". Don't know if the motivation is all about sales/money or he genuinely enjoys playing more "commercially viable" music. I don't hold it against him when I listen to him play pieces like the Prokofiev sonata.
I'm also a big fan of both the Rodrigo and the Corigliano pieces and Galway's great performances of them. Let's face it, even those who argue his style is too over the top for, say, certain baroque music have to concede that his technique is so spectacular he can pull it off. You should get the album that made him a star, Man With The Golden Flute. These are encore pieces, many written for the violin, and he is spectacular in all of them.
The Prokofiev/Franck record with Martha Argerich is earlier than that and is also a true classic.
nt
wonderful piece. Monster Oboe Part. All Parts had their challenges.
Nice Horn Overtone writing and nice Clarinet Duet in slow mvmnt.
Amazed? No, but Solid, yes.
I've played in Small Groups and Big bands most of my life, and Arrange and Compose too.
Not unlike someone here named Rick, tho I don't have several CDs of Original Music available...
One major highlight for me was touring with the SFS on Alto sax and Clarinet, playing the Berg Violin Concerto.
David Breeden was the Principal Clarinet.
His dad. Leon, started the Jazz Program at North Texas State.
I can write/play jazz, but never came close to developing enough chops to play orchestral music. I got a glimpse of what its like to shed enough to get those chops for only one 6 months period in my life.I shed 6 hours a day during that period (while I was at Berklee in the '60's), splitting the time up between alto/bari/soprano/flute/clar./bass clar. Gotta say, I felt my improvement was kinda jaw-dropping, especially on clarinet. But I couldn't keep it up, and that was the zenith of my clarinet playing.
Its been down hill since then, and if I attempted to play in the orchestras you play in I'd rightfully be shot - possibly by you.
BTW - a bunch of guys I know went to N. Texas and loved Breeden.
Edits: 08/05/16
judging from your fine CDs, you are first tier.
However, it's a full-time job to play orchestral or chamber music on the very highest level. I've heard some recitals by very good players who have made their careers mostly in music academia or administration. Hey, they're still classical music pros, and still do some performance gigs, but they are usually a very clear notch below the top full time orchestral or small ensemble players, and not for lack of talent or training.
Edit: There is little doubt you could play classical at the highest level if you decided to. I played with a jazz flute player in college named Andy Strasmich (know him?) -- like you a top jazzer, who wanted some classical orchestra experience, and could have been tops at classical too if he wanted.
Edits: 08/05/16 08/05/16
I'm a Hybrid Musician. I believe listening to and playing Jazz, both phrasing and Improv helped me be a better Classical Player, because I learned to really lay it in there.
But never been the best at either, but I'm happy to say I've played With many of the Best, in whatever Idiom.
But you are a Real Jazz Musician, and a fine Jazz Player is the equal of any fine Classical Player, Musically.
Then there are the actual Geniuses, whom we look at with Awe, and start looking for a shovel, because we realize it's all we are really qualified for.
I may have said too much.
Definitely.
Too Much.
Too.
Much.
Those f#*^ing geniuses ruined it.
What heard on the radio was light, like some Irish Tune, Pops oriented, but I've heard several things on the radio that were along those lines that I didn't care for.
If you heard them your ears might start tingling!
I see that you've heard him at his best, I trust your ears.
Galway sounds like he's playing a pan pipe, that watery kind of sound.
I heard Stolzman once trying to play the Copland. While he was selling his performance he got crossed up and missed a few notes. It was revealing and embarrassing at the same time.
I don't own any of those two's recordings.
"If people don't want to come, nothing will stop them" - Sol Hurok
Ok, maybe you're Not my Baby...
At 76, probably not.
"If people don't want to come, nothing will stop them" - Sol Hurok
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