That is a clarinet sound which has stood the test of time and will forever. Clarity of rhythm and articulation is not to be better. I learned much from his students at auditions.
Very early recording of this piece, maybe the first in this country. And on the A clarinet instead of the original Bb part for easier fingerings. Great playing, but he does take the long run at 1:18 which should be up to D7 down an octave.
It is very fine...Not many orchestras have solo players that can do this one! I know Bennie Gregurick played this with the Flint Symphony Orchestra under William Byrd in the late 60's or early 70's. Also worth a search for.
I don't know who you are,,@@PRL2204 , but I played this piece during my time at NU and worked on it directly with him for several weeks. He is playing it on the A clarinet. It is completely obvious from listening to it that it is an A clarinet. The timbre of it alone would make that clear.
I would have liked the opportunity to tell my audition committees that I have decided to take that little run down an octave. So transpires virtuosity. The "unplayable' Tchaikowsky Piano Concerto becomes standard fare for conservatory concerto competitions.
Thanks. I read that Marcellus played single lip, but later in live had dental problems and used some double lip excersises. Does anyone know more about that?
RM was a single lip player, with very little exception. Two things are true: he did have severe dental problems relating to his diabetes. He did experiment with double lip. These two things are not related, as far as I know. If my memory is correct, he told me that he played double lip on the stereo recording of Schubert Unfinished (now on Sony). I believe that was recorded around 1960, before his dental problems were severe. By the late 1960s, he had all his top teeth removed and had to play on dentures which were not completely secure. From that point forward, he played seated for everything and rested the clarinet bell on his legs. Whether he experimented in his practicing with double lip at this time, I don't know. Having studied with him for four years, what I can tell you is that his concept of the exterior embouchure was an attempt to harness the advantages of double lip into the single lip embouchure. If you look at that photo which accompanies this video, you can see that the top lip is 'clamping down' on the top of the mouthpiece. Utilizing the top lip's muscles in this way allows the jaws to stay open and relaxed, allowing the reed to vibrate freely (and keeping you from chewing holes in your lower lip).
@@David_Hattner Thank you so much for this extensive information. And of course i will practice the ‘clamping down’ and hope it will improve my sound. ❤ What a beautifull sound Marcellus has. Thanks again.
My teacher (who used to play in the Pittsburgh SO) insisted I switch to double lip embouchure, and it improved my sound tremendously. Before long, My sound was way better than my technique, which is an interesting problem to have.
Thank you for posting this. He is my maternal uncle and I never heard this recording before.
The only clarinetist that I have heard yet who completely mastered using the real fingerings at the very end. Superb!
So Happy to hear this. Bob in top form....WOW. The most beautiful clarinet sound, crisp strong, precise articulation. Masterful! Thanks Davis
Great to see/hear from you, Ron!
@Ron Odrich. Are you the same Ron Odrich who is a jazz bass clarinetist that performed at Mr Marcellus’s masterclasses back in the day?
That is a clarinet sound which has stood the test of time and will forever. Clarity of rhythm and articulation is not to be better. I learned much from his students at auditions.
I hadn't a clue this recording existed. Thank you!
Thankx for posting this: I have another version. We are so lucky to have studied with him!
A true master of clarinet.
Very early recording of this piece, maybe the first in this country. And on the A clarinet instead of the original Bb part for easier fingerings. Great playing, but he does take the long run at 1:18 which should be up to D7 down an octave.
It is very fine...Not many orchestras have solo players that can do this one! I know Bennie Gregurick played this with the Flint Symphony Orchestra under William Byrd in the late 60's or early 70's. Also worth a search for.
It is definitely the A clarinet. However, he does use all 'real' fingerings at the end, something nearly impossible on the b-flat clarinet.
I don't know who you are,,@@PRL2204 , but I played this piece during my time at NU and worked on it directly with him for several weeks. He is playing it on the A clarinet. It is completely obvious from listening to it that it is an A clarinet. The timbre of it alone would make that clear.
I would have liked the opportunity to tell my audition committees that I have decided to take that little run down an octave. So transpires virtuosity. The "unplayable' Tchaikowsky Piano Concerto becomes standard fare for conservatory concerto competitions.
Such an amazing sound! Thanks for posting this David ❤️
The last run was taken an octave down, but no biggie. Terrific playing especially for the time.
This is why Marcellus is a f**king legend
💯
Thanks. I read that Marcellus played single lip, but later in live had dental problems and used some double lip excersises. Does anyone know more about that?
RM was a single lip player, with very little exception.
Two things are true: he did have severe dental problems relating to his diabetes. He did experiment with double lip. These two things are not related, as far as I know.
If my memory is correct, he told me that he played double lip on the stereo recording of Schubert Unfinished (now on Sony). I believe that was recorded around 1960, before his dental problems were severe.
By the late 1960s, he had all his top teeth removed and had to play on dentures which were not completely secure. From that point forward, he played seated for everything and rested the clarinet bell on his legs. Whether he experimented in his practicing with double lip at this time, I don't know.
Having studied with him for four years, what I can tell you is that his concept of the exterior embouchure was an attempt to harness the advantages of double lip into the single lip embouchure. If you look at that photo which accompanies this video, you can see that the top lip is 'clamping down' on the top of the mouthpiece. Utilizing the top lip's muscles in this way allows the jaws to stay open and relaxed, allowing the reed to vibrate freely (and keeping you from chewing holes in your lower lip).
@@David_Hattner Thank you so much for this extensive information. And of course i will practice the ‘clamping down’ and hope it will improve my sound. ❤ What a beautifull sound Marcellus has. Thanks again.
Playing double lip takes practice but in my experience it improves your sound exponentially. More Americans should try it.
My teacher (who used to play in the Pittsburgh SO) insisted I switch to double lip embouchure, and it improved my sound tremendously. Before long, My sound was way better than my technique, which is an interesting problem to have.
Would it be possible for you to post the complete piece? Could you identify the conductor and year of this performance?
@@David_Hattner Thank you, if this was recorded in the glory days with Cleveland would love to hear Lifschey on the oboe solo
@@williamwielgus8725 John Mack played on this one.
I have the whole thing. I’ll see if I can upload it sometime this week to my channel.
Here is the whole thing: ruclips.net/video/5E3dagegeTA/видео.html
ruclips.net/video/5E3dagegeTA/видео.html
He actually sounded pretty bad here. A lot of mistakes
That was impressive.♨️
Hey, Who is the conductor?...What orchestra is it?...Cleveland? Stop being stupid about these solo passages.
If anyone wants to hear the whole thing: ruclips.net/video/5E3dagegeTA/видео.html