Steve Hartman - Versionsgeschichte

Fawinike am 6. April 2021 um 13:37 Uhr

2021-04-06T13:37:53Z

← Nächstältere Version		Version vom 6. April 2021, 15:37 Uhr
Zeile 1:		Zeile 1:
	~~[[Category:Interviews in English]]~~
	{{SORTIERUNG:Hartman, Steve}}		{{SORTIERUNG:Hartman, Steve}}
	The interview with [https://nycbo.org/musicians/hartmans/ Steve Hartman], Principal Clarinet of the New York City Ballet Orchestra, the Opera Orchestra of New York, Acting Principal Clarinet of the New York City Opera and Principal Clarinet of the New York Scandia Symphony, orchestral soloist and chamber musician was held the 8th of June 2019 in New York and has been edited by Heinrich Mätzener.		The interview with [https://nycbo.org/musicians/hartmans/ Steve Hartman], Principal Clarinet of the New York City Ballet Orchestra, the Opera Orchestra of New York, Acting Principal Clarinet of the New York City Opera and Principal Clarinet of the New York Scandia Symphony, orchestral soloist and chamber musician was held the 8th of June 2019 in New York and has been edited by Heinrich Mätzener.
Zeile 286:		Zeile 285:

	[[Kategorie:Interviews\|Hartman, Steve]]		[[Kategorie:Interviews\|Hartman, Steve]]
			[[Kategorie:Interviews in English\|Hartman, Steve]]
	[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]		[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]

Fawinike am 6. April 2021 um 13:37 Uhr

2021-04-06T13:37:43Z

← Nächstältere Version		Version vom 6. April 2021, 15:37 Uhr
Zeile 1:		Zeile 1:
	[[Category:Interviews]]		[[Category:Interviews in English]]
	~~[[Category:~~English]]
	{{SORTIERUNG:Hartman, Steve}}		{{SORTIERUNG:Hartman, Steve}}
	The interview with [https://nycbo.org/musicians/hartmans/ Steve Hartman], Principal Clarinet of the New York City Ballet Orchestra, the Opera Orchestra of New York, Acting Principal Clarinet of the New York City Opera and Principal Clarinet of the New York Scandia Symphony, orchestral soloist and chamber musician was held the 8th of June 2019 in New York and has been edited by Heinrich Mätzener.		The interview with [https://nycbo.org/musicians/hartmans/ Steve Hartman], Principal Clarinet of the New York City Ballet Orchestra, the Opera Orchestra of New York, Acting Principal Clarinet of the New York City Opera and Principal Clarinet of the New York Scandia Symphony, orchestral soloist and chamber musician was held the 8th of June 2019 in New York and has been edited by Heinrich Mätzener.
Zeile 44:		Zeile 43:
	SH: I honestly don’t know. I think it’s a concept of sound and, I can’t speak for other people.		SH: I honestly don’t know. I think it’s a concept of sound and, I can’t speak for other people.

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	==Steve Hartman’s teachers==		==Steve Hartman’s teachers==
Zeile 193:		Zeile 192:
	SH: With the two lips, he focused the air so clearly he had such a centered sound. But it was not bright, also, he had a very warm sound. I played two chamber music concerts with him. Once, when he was 78, the rest of us around 40, we had to tell him how great he sounded. He said: “you should have heard me when I was 77!”		SH: With the two lips, he focused the air so clearly he had such a centered sound. But it was not bright, also, he had a very warm sound. I played two chamber music concerts with him. Once, when he was 78, the rest of us around 40, we had to tell him how great he sounded. He said: “you should have heard me when I was 77!”

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	===…and whistling===		===…and whistling===
Zeile 229:		Zeile 228:
	in Bern wrote a study on these parameters.''		in Bern wrote a study on these parameters.''

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	==Breathing==		==Breathing==
Zeile 286:		Zeile 285:
	=References=		=References=

	~~[[Kategorie:English\|Hartman, Steve]]~~
	[[Kategorie:Interviews\|Hartman, Steve]]		[[Kategorie:Interviews\|Hartman, Steve]]
	[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]		[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]

Heinrich: /* Comparison with playing the flute... */

2020-12-19T22:26:06Z

Comparison with playing the flute...

← Nächstältere Version		Version vom 20. Dezember 2020, 00:26 Uhr
Zeile 191:		Zeile 191:
	''HM: With his lips?''		''HM: With his lips?''
	<br><br>		<br><br>
	SH: With the two lips, he focused the air so clearly ~~(1.30.14)~~ he had such a centered sound. But it was not bright, also, he had a very warm sound. I played two chamber music concerts with him. Once, when he was 78, the rest of us around 40, we had to tell him how great he sounded. He said: “you should have heard me when I was 77!”		SH: With the two lips, he focused the air so clearly he had such a centered sound. But it was not bright, also, he had a very warm sound. I played two chamber music concerts with him. Once, when he was 78, the rest of us around 40, we had to tell him how great he sounded. He said: “you should have heard me when I was 77!”

	[[Kategorie:English\|Hartman, Steve]]		[[Kategorie:English\|Hartman, Steve]]

Heinrich: /* Comparison with playing the flute... */

2020-12-19T22:25:47Z

Comparison with playing the flute...

← Nächstältere Version		Version vom 20. Dezember 2020, 00:25 Uhr
Zeile 189:		Zeile 189:
	SH: You know who Julius Baker was? A famous flutist. Flute players play with double lip embouchure, they just don’t have a reed. Julius Baker had the most focused sound, when you heard him, you could just tell how his embouchure, you know the hole of the lips that he had developed such a precise focus there.		SH: You know who Julius Baker was? A famous flutist. Flute players play with double lip embouchure, they just don’t have a reed. Julius Baker had the most focused sound, when you heard him, you could just tell how his embouchure, you know the hole of the lips that he had developed such a precise focus there.
	<br/><br/>		<br/><br/>
	''HM: With his lips?''SH: With the two lips, he focused the air so clearly (1.30.14) he had such a centered sound. But it was not bright, also, he had a very warm sound. I played two chamber music concerts with him. Once, when he was 78, the rest of us around 40, we had to tell him how great he sounded. He said: “you should have heard me when I was 77!”		''HM: With his lips?''
			<br><br>
			SH: With the two lips, he focused the air so clearly (1.30.14) he had such a centered sound. But it was not bright, also, he had a very warm sound. I played two chamber music concerts with him. Once, when he was 78, the rest of us around 40, we had to tell him how great he sounded. He said: “you should have heard me when I was 77!”

			[[Kategorie:English\|Hartman, Steve]]
			[[Kategorie:Interviews\|Hartman, Steve]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]

	===…and whistling===		===…and whistling===

Heinrich: /* Sound quality and the essence of Music */

2020-08-29T16:20:41Z

Sound quality and the essence of Music

← Nächstältere Version		Version vom 29. August 2020, 18:20 Uhr
Zeile 8:		Zeile 8:
	SH: The essence of this, you know, it’s all about the musicality, the ears, rhythm, that’s what is really important. Ultimately, you know, a good sound all by itself, it’s completely boring!<br />		SH: The essence of this, you know, it’s all about the musicality, the ears, rhythm, that’s what is really important. Ultimately, you know, a good sound all by itself, it’s completely boring!<br />
	''HM: I agree.''<br /><br />		''HM: I agree.''<br /><br />
	SH: No direction, no shape in the phrasing, this is just - so what? When it’s in tune, that’s great! Nice, that’s great to play and blend with other instruments, but you ~~when~~ have a solo, do something!<br /><br />		SH: No direction, no shape in the phrasing, this is just - so what? When it’s in tune, that’s great! Nice, that’s great to play and blend with other instruments, but when you have a solo, do something!<br /><br />
	I mean vibrato is illegal on the clarinet, right? This is internationally forbidden; Interpol comes and arrests you if you play with vibrato. However, do you know anything about baseball?<br /><br />		I mean vibrato is illegal on the clarinet, right? This is internationally forbidden; Interpol comes and arrests you if you play with vibrato. However, do you know anything about baseball?<br /><br />
	''HM: A littel...''		''HM: A littel...''
Zeile 19:		Zeile 19:
	Obviously, if there’s meter that’s a pretty good clue to start with. And the idea of saying: if you have the Stravinsky Three Pieces or something like that, he wants you to play a 2/4 bar like a 2/4 bar. a 3/8 like a 3/8. There’s a reason for it, and so the meter dictates the shape, the phrasing. Every time he writes that, he means something, because otherwise, why would he bother?<br /><br />		Obviously, if there’s meter that’s a pretty good clue to start with. And the idea of saying: if you have the Stravinsky Three Pieces or something like that, he wants you to play a 2/4 bar like a 2/4 bar. a 3/8 like a 3/8. There’s a reason for it, and so the meter dictates the shape, the phrasing. Every time he writes that, he means something, because otherwise, why would he bother?<br /><br />
	===In the tradition of Robert Marcellus?===		===In the tradition of Robert Marcellus?===
	''HM: I took some lessons with [https://en.wikipedia.org/wiki/Robert_Marcellus Robert Marcellus].''<ref>Northwestern, Libraries \| Repository Audio + Video [https://media.northwestern.edu/?f%5Bcollection_ssim%5D%5B%5D=Robert+Marcellus+Master+Class+Audio+Archives] </ref> <ref>Richard Stoltzman, about a lesson with Robert Marcellus [http://www.richardstoltzman.com/blog/tag/Robert+Marcellus]</ref><br /><br />		''HM: I took some lessons with [https://en.wikipedia.org/wiki/Robert_Marcellus Robert Marcellus].''<ref>Northwestern, Libraries \| Repository Audio + Video [https://media.northwestern.edu/?f%5Bcollection_ssim%5D%5B%5D=Robert+Marcellus+Master+Class+Audio+Archives] </ref> <ref>Richard Stoltzman, about a lesson with Robert Marcellus [http://www.richardstoltzman.com/blog/tag/Robert+Marcellus]</ref>
	SH: No kidding, I never met him!<br><br>		<br><br>
			SH: No kidding, I never met him!
			<br><br>
	''HM. It was very impressive. Unfortunately, Robert Marcellus has gone blind. He could tell me without seeing: “I think you should change the position of your tongue, to get a more focused sound, to get a clear staccato.” He could make the connection between the sound he heard and the specific way a student produced that sound. He trained me before I made the audition in the Zurich Opera and really helped me to be successful there. Later, Ramon Wodkowski told me, that young students today were mainly looking for a big, dark sound. There is a fear of being too bright.''<br>		''HM. It was very impressive. Unfortunately, Robert Marcellus has gone blind. He could tell me without seeing: “I think you should change the position of your tongue, to get a more focused sound, to get a clear staccato.” He could make the connection between the sound he heard and the specific way a student produced that sound. He trained me before I made the audition in the Zurich Opera and really helped me to be successful there. Later, Ramon Wodkowski told me, that young students today were mainly looking for a big, dark sound. There is a fear of being too bright.''<br>
	''Would you say that today, there does exist is a typical American clarinet sound?''<br /><br />		''Would you say that today, there does exist is a typical American clarinet sound?''<br /><br />
	SH: You know, I don’t hear that many players, to be honest with you.		SH: You know, I don’t hear that many players, to be honest with you.
	We had an audition at the ballet recently, for second clarinet and bass clarinet. I don’t know what to say. There was a period of time where there were really rough sounds out there. A lot of them ironically were sort of Marcellus students, or at least thinking they were of Marcellus’ school. But they misunderstood his playing. His sound had a tremendous ring but he could also blend. What they picked up is the ability to blend. They picked up the dark, without the ring and without the center. So, a lot of players play admiring the great dark sound. The thing about the Cleveland orchestra that was groundbreaking is how well in tune they played and how well they blended. But Marcellus also had a great sound, and he was a great clarinetist and musician. I never thought of him as an expressive player or as singer on the instrument, but certainly, he had a very good sound. It’s easy to understand why he was a model for so many players.~~<br /><br />~~		We had an audition at the ballet recently, for second clarinet and bass clarinet. I don’t know what to say. There was a period of time where there were really rough sounds out there. A lot of them ironically were sort of Marcellus students, or at least thinking they were of Marcellus’ school. But they misunderstood his playing. His sound had a tremendous ring but he could also blend. What they picked up is the ability to blend. They picked up the dark, without the ring and without the center. So, a lot of players play admiring the great dark sound. The thing about the Cleveland orchestra that was groundbreaking is how well in tune they played and how well they blended. But Marcellus also had a great sound, and he was a great clarinetist and musician. I never thought of him as an expressive player or as singer on the instrument, but certainly, he had a very good sound. It’s easy to understand why he was a model for so many players.

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	===Play with the intensity of the different registers===		===Play with the intensity of the different registers===
	SH: Often, the high register doesn’t sound like a high register. It sounds so smooth and dark, but you’re a clarinet, not a piccolo. The high register is supposed to sound like a tenor going for high notes, not a soprano in the same octave. There is supposed to be an intensity to the register. Obviously, a high C on a tenor voice is not a high C on a soprano but it’s thrilling to hear, because of what’s happening inside to get there. If it sounds too easy in the high registers, you lose the whole effect.<br /><br />		SH: Often, the high register doesn’t sound like a high register. It sounds so smooth and dark, but you’re a clarinet, not a piccolo. The high register is supposed to sound like a tenor going for high notes, not a soprano in the same octave. There is supposed to be an intensity to the register. Obviously, a high C on a tenor voice is not a high C on a soprano but it’s thrilling to hear, because of what’s happening inside to get there. If it sounds too easy in the high registers, you lose the whole effect.
			<br><br>
	''HM: Today, the pressure to which young people are exposed to get a job, the pressure before and during the auditions is very high. Nobody wants to risk having only a little bit of sharpness or edge in his sound. Evenness of sound through all registers gets high priority.''<br /><br />		''HM: Today, the pressure to which young people are exposed to get a job, the pressure before and during the auditions is very high. Nobody wants to risk having only a little bit of sharpness or edge in his sound. Evenness of sound through all registers gets high priority.''<br /><br />
	===Musical education or training for tests?===		===Musical education or training for tests?===
Zeile 46:		Zeile 44:
	SH: I honestly don’t know. I think it’s a concept of sound and, I can’t speak for other people.		SH: I honestly don’t know. I think it’s a concept of sound and, I can’t speak for other people.

			[[Kategorie:English\|Hartman, Steve]]
			[[Kategorie:Interviews\|Hartman, Steve]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]

	==Steve Hartman’s teachers==		==Steve Hartman’s teachers==

Heinrich: /* Adapt the mouthpiece and barrel to the instrument */

2020-08-12T12:13:11Z

Adapt the mouthpiece and barrel to the instrument

← Nächstältere Version		Version vom 12. August 2020, 14:13 Uhr
Zeile 225:		Zeile 225:
	in Bern wrote a study on these parameters.''		in Bern wrote a study on these parameters.''

			[[Kategorie:English\|Hartman, Steve]]
			[[Kategorie:Interviews\|Hartman, Steve]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]

	==Breathing==		==Breathing==

Heinrich: /* In the tradition of Robert Marcellus? */

2020-07-30T14:07:32Z

In the tradition of Robert Marcellus?

← Nächstältere Version		Version vom 30. Juli 2020, 16:07 Uhr
Zeile 21:		Zeile 21:
	''HM: I took some lessons with [https://en.wikipedia.org/wiki/Robert_Marcellus Robert Marcellus].''<ref>Northwestern, Libraries \| Repository Audio + Video [https://media.northwestern.edu/?f%5Bcollection_ssim%5D%5B%5D=Robert+Marcellus+Master+Class+Audio+Archives] </ref> <ref>Richard Stoltzman, about a lesson with Robert Marcellus [http://www.richardstoltzman.com/blog/tag/Robert+Marcellus]</ref><br /><br />		''HM: I took some lessons with [https://en.wikipedia.org/wiki/Robert_Marcellus Robert Marcellus].''<ref>Northwestern, Libraries \| Repository Audio + Video [https://media.northwestern.edu/?f%5Bcollection_ssim%5D%5B%5D=Robert+Marcellus+Master+Class+Audio+Archives] </ref> <ref>Richard Stoltzman, about a lesson with Robert Marcellus [http://www.richardstoltzman.com/blog/tag/Robert+Marcellus]</ref><br /><br />
	SH: No kidding, I never met him!<br><br>		SH: No kidding, I never met him!<br><br>
	''HM. It was very impressive. Unfortunately, Robert Marcellus has gone blind. He could tell me without seeing: “I think you should change the position of your tongue, to get a more focused sound, to get a clear staccato.” He could make the connection between the sound he heard and the specific way a student produced that sound. He trained me before I made the audition in the Zurich Opera and really helped me to be successful there. Later, Ramon Wodkowski told me, that young students today were mainly looking for a big, dark sound. There is a fear of being too bright.<br>		''HM. It was very impressive. Unfortunately, Robert Marcellus has gone blind. He could tell me without seeing: “I think you should change the position of your tongue, to get a more focused sound, to get a clear staccato.” He could make the connection between the sound he heard and the specific way a student produced that sound. He trained me before I made the audition in the Zurich Opera and really helped me to be successful there. Later, Ramon Wodkowski told me, that young students today were mainly looking for a big, dark sound. There is a fear of being too bright.''<br>
	Would you say that today, there does exist is a typical American clarinet sound?''<br /><br />		''Would you say that today, there does exist is a typical American clarinet sound?''<br /><br />
	SH: You know, I don’t hear that many players, to be honest with you.		SH: You know, I don’t hear that many players, to be honest with you.
	We had an audition at the ballet recently, for second clarinet and bass clarinet. I don’t know what to say. There was a period of time where there were really rough sounds out there. A lot of them ironically were sort of Marcellus students, or at least thinking they were of Marcellus’ school. But they misunderstood his playing. His sound had a tremendous ring but he could also blend. What they picked up is the ability to blend. They picked up the dark, without the ring and without the center. So, a lot of players play admiring the great dark sound. The thing about the Cleveland orchestra that was groundbreaking is how well in tune they played and how well they blended. But Marcellus also had a great sound, and he was a great clarinetist and musician. I never thought of him as an expressive player or as singer on the instrument, but certainly, he had a very good sound. It’s easy to understand why he was a model for so many players.<br /><br />		We had an audition at the ballet recently, for second clarinet and bass clarinet. I don’t know what to say. There was a period of time where there were really rough sounds out there. A lot of them ironically were sort of Marcellus students, or at least thinking they were of Marcellus’ school. But they misunderstood his playing. His sound had a tremendous ring but he could also blend. What they picked up is the ability to blend. They picked up the dark, without the ring and without the center. So, a lot of players play admiring the great dark sound. The thing about the Cleveland orchestra that was groundbreaking is how well in tune they played and how well they blended. But Marcellus also had a great sound, and he was a great clarinetist and musician. I never thought of him as an expressive player or as singer on the instrument, but certainly, he had a very good sound. It’s easy to understand why he was a model for so many players.<br /><br />

Heinrich: /* In the tradition of Robert Marcellus? */

2020-07-30T14:07:04Z

In the tradition of Robert Marcellus?

← Nächstältere Version		Version vom 30. Juli 2020, 16:07 Uhr
Zeile 20:		Zeile 20:
	===In the tradition of Robert Marcellus?===		===In the tradition of Robert Marcellus?===
	''HM: I took some lessons with [https://en.wikipedia.org/wiki/Robert_Marcellus Robert Marcellus].''<ref>Northwestern, Libraries \| Repository Audio + Video [https://media.northwestern.edu/?f%5Bcollection_ssim%5D%5B%5D=Robert+Marcellus+Master+Class+Audio+Archives] </ref> <ref>Richard Stoltzman, about a lesson with Robert Marcellus [http://www.richardstoltzman.com/blog/tag/Robert+Marcellus]</ref><br /><br />		''HM: I took some lessons with [https://en.wikipedia.org/wiki/Robert_Marcellus Robert Marcellus].''<ref>Northwestern, Libraries \| Repository Audio + Video [https://media.northwestern.edu/?f%5Bcollection_ssim%5D%5B%5D=Robert+Marcellus+Master+Class+Audio+Archives] </ref> <ref>Richard Stoltzman, about a lesson with Robert Marcellus [http://www.richardstoltzman.com/blog/tag/Robert+Marcellus]</ref><br /><br />
	SH: No kidding, I never met him!<br /><br />		SH: No kidding, I never met him!<br><br>
	''HM. It was very impressive. Unfortunately, Robert Marcellus has gone blind. He could tell me without seeing: “I think you should change the position of your tongue, to get a more focused sound, to get a clear staccato.” He could make the connection between the sound he heard and the specific way a student produced that sound. He trained me before I made the audition in the Zurich Opera and really helped me to be successful there. Later, Ramon Wodkowski told me, that young students today were mainly looking for a big, dark sound. There is a fear of being too bright.<br />		''HM. It was very impressive. Unfortunately, Robert Marcellus has gone blind. He could tell me without seeing: “I think you should change the position of your tongue, to get a more focused sound, to get a clear staccato.” He could make the connection between the sound he heard and the specific way a student produced that sound. He trained me before I made the audition in the Zurich Opera and really helped me to be successful there. Later, Ramon Wodkowski told me, that young students today were mainly looking for a big, dark sound. There is a fear of being too bright.<br>
	Would you say that today, there does exist is a typical American clarinet sound?''<br /><br />		Would you say that today, there does exist is a typical American clarinet sound?''<br /><br />
	SH: You know, I don’t hear that many players, to be honest with you.		SH: You know, I don’t hear that many players, to be honest with you.
	We had an audition at the ballet recently, for second clarinet and bass clarinet. I don’t know what to say. There was a period of time where there were really rough sounds out there. A lot of them ironically were sort of Marcellus students, or at least thinking they were of Marcellus’ school. But they misunderstood his playing. His sound had a tremendous ring but he could also blend. What they picked up is the ability to blend. They picked up the dark, without the ring and without the center. So, a lot of players play admiring the great dark sound. The thing about the Cleveland orchestra that was groundbreaking is how well in tune they played and how well they blended. But Marcellus also had a great sound, and he was a great clarinetist and musician. I never thought of him as an expressive player or as singer on the instrument, but certainly, he had a very good sound. It’s easy to understand why he was a model for so many players.<br /><br />		We had an audition at the ballet recently, for second clarinet and bass clarinet. I don’t know what to say. There was a period of time where there were really rough sounds out there. A lot of them ironically were sort of Marcellus students, or at least thinking they were of Marcellus’ school. But they misunderstood his playing. His sound had a tremendous ring but he could also blend. What they picked up is the ability to blend. They picked up the dark, without the ring and without the center. So, a lot of players play admiring the great dark sound. The thing about the Cleveland orchestra that was groundbreaking is how well in tune they played and how well they blended. But Marcellus also had a great sound, and he was a great clarinetist and musician. I never thought of him as an expressive player or as singer on the instrument, but certainly, he had a very good sound. It’s easy to understand why he was a model for so many players.<br /><br />

			[[Kategorie:English\|Hartman, Steve]]
			[[Kategorie:Interviews\|Hartman, Steve]]
			[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]

	===Play with the intensity of the different registers===		===Play with the intensity of the different registers===
	SH: Often, the high register doesn’t sound like a high register. It sounds so smooth and dark, but you’re a clarinet, not a piccolo. The high register is supposed to sound like a tenor going for high notes, not a soprano in the same octave. There is supposed to be an intensity to the register. Obviously, a high C on a tenor voice is not a high C on a soprano but it’s thrilling to hear, because of what’s happening inside to get there. If it sounds too easy in the high registers, you lose the whole effect.<br /><br />		SH: Often, the high register doesn’t sound like a high register. It sounds so smooth and dark, but you’re a clarinet, not a piccolo. The high register is supposed to sound like a tenor going for high notes, not a soprano in the same octave. There is supposed to be an intensity to the register. Obviously, a high C on a tenor voice is not a high C on a soprano but it’s thrilling to hear, because of what’s happening inside to get there. If it sounds too easy in the high registers, you lose the whole effect.<br /><br />

Heinrich am 18. Juni 2020 um 21:22 Uhr

2020-06-18T21:22:12Z

← Nächstältere Version		Version vom 18. Juni 2020, 23:22 Uhr
Zeile 220:		Zeile 220:
	in Bern wrote a study on these parameters.''		in Bern wrote a study on these parameters.''

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	==Breathing==		==Breathing==
Zeile 229:		Zeile 229:
	Most of the time it doesn’t make a difference, because you are surrounded by harmonies and so.		Most of the time it doesn’t make a difference, because you are surrounded by harmonies and so.

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	==Mouthpiece and reeds==		==Mouthpiece and reeds==
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	SH: The reason I stop using the string and switched to a ligature had nothing to do with anything, except practicality. I needed to go from the pit to the stage in only a 3-minute pause and wouldn’t have time to change or adjust my reed if I didn’t use a metal ligature.		SH: The reason I stop using the string and switched to a ligature had nothing to do with anything, except practicality. I needed to go from the pit to the stage in only a 3-minute pause and wouldn’t have time to change or adjust my reed if I didn’t use a metal ligature.

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	==Finger technique==		==Finger technique==
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	Apropos your question about thumb rest in your questionnaire, how does the thumb rest, affect the right-hand position. Of course if it’s too low, the distance to the side keys will be different. And if it’s too high, it might be hard, depending on the size of your fingers to reach the bottom keys.		Apropos your question about thumb rest in your questionnaire, how does the thumb rest, affect the right-hand position. Of course if it’s too low, the distance to the side keys will be different. And if it’s too high, it might be hard, depending on the size of your fingers to reach the bottom keys.

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	==Tonguing==		==Tonguing==
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	SH: Actually, I performed opus 5 recently, which I did not record. It was a pleasure meeting and talking with you, Heinrich!''		SH: Actually, I performed opus 5 recently, which I did not record. It was a pleasure meeting and talking with you, Heinrich!''

	~~[[Kategorie:English\|Hartman, Steve]]~~
	~~[[Kategorie:Interviews\|Hartman, Steve]]~~
	~~[[Kategorie:Seiten, die Referenzierungsfehler enthalten\|Hartman, Steve]]~~

	=References=		=References=

Heinrich: /* Tonguing */

2020-05-15T18:50:04Z

Tonguing

← Nächstältere Version		Version vom 15. Mai 2020, 20:50 Uhr
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	==Tonguing==		==Tonguing==
	SH: Where do I tongue? Generally, not quite at the very tip of the reed, and not at the very tip of the tongue. For certain things like the repeated fast B in first movement (vivace ma non troppo) of the Scottish Symphony by Mendelssohn you might have your tip of the tongue like at the tip [of the] reed, just so that you don’t get tired and slow down too fast.		SH: Where do I tongue? Generally, not quite at the very tip of the reed, and not with the very tip of the tongue. For certain things like the repeated fast B in first movement (vivace ma non troppo) of the Scottish Symphony by Mendelssohn you might have your tip of the tongue like at the tip [of the] reed, just so that you don’t get tired and slow down too fast.
	<br/><br/>		<br/><br/>
	''HM: Thank you very much for this interview and for your CD! (HM received a CD with the Concertos from Bernard Henrik Crusell op. 1, 3, an 11)<ref>Steve Hartman, clarinet. Crusell - Clarinet concerto[https://www.youtube.com/watch?v=TR-4AIfKATo&]</ref> That’s great! I listened to it online and appreciate a lot to have this CD!		''HM: Thank you very much for this interview and for your CD! (HM received a CD with the Concertos from Bernard Henrik Crusell op. 1, 3, an 11)<ref>Steve Hartman, clarinet. Crusell - Clarinet concerto[https://www.youtube.com/watch?v=TR-4AIfKATo&]</ref> That’s great! I listened to it online and appreciate a lot to have this CD!