John Moses: Unterschied zwischen den Versionen
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The Interview with [http://www.johnmosesclarinet.com John Moses], woodwind specialist, lecturer and educator took place on June 7th, 2019 at the Gershwin Theatre in New York and was edited by Heinrich Mätzener. | |||
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==John Moses’ teachers== | |||
''HM: The purpose of this project is to follow the traces of Daniel Bonade and Ralph McLane, who in turn were educated according to the old French school and were important personalities forming a lot of famous clarinetists in the USA in during the 20th | |||
century. I think that you have also partially completed your studies in this tradition.'' | |||
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JM: [I studied] in the Older French School, although they [my teachers] called themselves [representatives of] the American School, which was a combination of a kind of Bonade, and also Kal Opperman. [Also] the German School of playing was very, very popular here. There was also a kind of “Italian School”. That came from [http://collections.bso.org/digital/collection/images/id/422/ Gino Cioffi]. He was a kind of leading exponent of this school and I went to Boston to study with him and got a different idea. He played a crystal mouthpiece, and a Selmer clarinet and had a different sound from German or French. | |||
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''HM: So, you know really…'' | |||
JM: All the different influences, exactly. Because I was in New York with many of the German School teachers, a lot of them were here. | |||
[[Kategorie:English|Moses, John]] | [[Kategorie:English|Moses, John]] | ||
Version vom 15. Mai 2020, 13:40 Uhr
The Interview with John Moses, woodwind specialist, lecturer and educator took place on June 7th, 2019 at the Gershwin Theatre in New York and was edited by Heinrich Mätzener.
John Moses’ teachers
HM: The purpose of this project is to follow the traces of Daniel Bonade and Ralph McLane, who in turn were educated according to the old French school and were important personalities forming a lot of famous clarinetists in the USA in during the 20th
century. I think that you have also partially completed your studies in this tradition.
JM: [I studied] in the Older French School, although they [my teachers] called themselves [representatives of] the American School, which was a combination of a kind of Bonade, and also Kal Opperman. [Also] the German School of playing was very, very popular here. There was also a kind of “Italian School”. That came from Gino Cioffi. He was a kind of leading exponent of this school and I went to Boston to study with him and got a different idea. He played a crystal mouthpiece, and a Selmer clarinet and had a different sound from German or French.
HM: So, you know really…
JM: All the different influences, exactly. Because I was in New York with many of the German School teachers, a lot of them were here.
