Richard Stoltzman
 

Richard Stoltzman

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Richard Stoltzman    14:57 on Sunday, February 09, 2003 Vote for this post Vote against this post 0 votes
(ALOMARvelous12)
WQXR radio played the recording of Stoltzman doing the Mozart Concerto with the English Chamber Orchestra. Can you believe this guy? What in the world is he trying to do?!!??! He made Mr. Mozart look very very very bad. How could anyone kill music like that?!??!!

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Re: Richard Stoltzman    19:54 on Friday, February 20, 2004 Vote for this post Vote against this post 0 votes
(Emily Clarinet Freak)
Finally, someone else that agrees with me!!!

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Re: Richard Stoltzman    23:09 on Friday, February 20, 2004 Vote for this post Vote against this post 0 votes
(Dmitri)
This is the second time in about as many days as I question the posters on their reasoning for making comments regarding Stoltzman. Instead of merely saying why you do not like him, back it up with something. Do you not like his sound? Do you not like his rhythm? What is it? Sound is one of the last things that will win you a job. He did not get to where he was without being able to play in time. He may not be your traditional player(ie. Marcellus, etc...), but he is hardly the slouch player you make him out to be. He performs music that 99% of clarinetists could not pull off well. Having said that, now what were your reasons again?

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Re: Richard Stoltzman    00:40 on Saturday, February 21, 2004 Vote for this post Vote against this post 0 votes
(Orlando)
Vibrato

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Re: Richard Stoltzman    00:50 on Saturday, February 21, 2004 Vote for this post Vote against this post 0 votes
(Dmitri)
Orlando, and you mean to tell me that you played the Copland without it?!? For shame!

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Re: Richard Stoltzman    01:01 on Saturday, February 21, 2004 Vote for this post Vote against this post 0 votes
(Orlando)
hahaha
I will never accept it, even if people think it needs it. (I am very stubborn, go the old ways!)

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Re: Richard Stoltzman    13:26 on Saturday, February 21, 2004 Vote for this post Vote against this post 0 votes
(bryan)
I dislike Stoltzman because of the vulgarity in his playing. Stolzman over exaggerates every nuance in his playing to the inth degree. I understand that musicians must overexaggerate musical ideas in order for the audience to percieve them. However, I think Stoltzman goes overboard. I find it repulsive when a performer tries to shove his musical ideas down the throats of listeners, especially when I am the one listening.

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Re: Richard Stoltzman    15:11 on Saturday, February 21, 2004 Vote for this post Vote against this post 0 votes
(Dmitri)
Bryan, do I remember you saying you studied with Niedich? And to say that he does not do exactly what you are talking about!

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Re: Richard Stoltzman    20:28 on Saturday, February 21, 2004 Vote for this post Vote against this post 0 votes
(Rachel)
I agree with Bryan, he does exaggarate stuff too much. I don`t think he`s a bad player, but there is a difference between expression and affectation.

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Re: Richard Stoltzman    04:14 on Monday, February 23, 2004 Vote for this post Vote against this post 0 votes
(bryan)
Dmitri,

Keep in mind that Neidich is a soloist not an orchestral player, and to a certain extent all soloist play with less subtlety than orchestral musicians do. However, Charles Neidich`s musical ideas are far more competent and far less vulgar than Stoltzman`s. Listen to both of their recordings of the Copland and compare them if you would like.

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Re: Richard Stoltzman    13:01 on Monday, February 23, 2004 Vote for this post Vote against this post 0 votes
(Dmitri)
Bryan, when I think of Neidich`s playing, I almost cringe. I saw him live several years back doing the Copland, the actual Copland as written for Goodman. Neidich has amazing technique, and I will not criticize his technical abilities. However, when you are performing a piece and artistry is throw out, I cannot have any respect for the performer. The pieces I have heard Neidich perform fall into this category. Neidich totally disregards any sense of musicality and focuses primarily on the technical side of a piece. Having heard Stoltzman live too, I do not believe that he falls into that category. Neidich took the pieces I have heard him play and turned into a technical spectacle. Stoltzman did not.

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Re: Richard Stoltzman    01:48 on Wednesday, February 25, 2004 Vote for this post Vote against this post 0 votes
(Alyssa)
I agree with both of you, actually, although I don`t think the Copland is a good example to use as it is a jazz-influenced composition with mood and styles which neither clarinetist specialise in.
I do not particularly like the performing skills of either Richard Stoltzman or Charles Neidich and for very different reasons. Richard Stoltzman does, as you say Bryan, have a vulgar or what I would call `harsh` approach to phrasing, expression and tonal colour. Whilst I do admire his ability to create his own style, the rather crude and rough way he interprets pre-20th century works and moreso, works from the late romantic period is the main reason why I don`t like nor attempt to be influenced by his playing.

On the other hand, I find Charles Neidich`s approach to works like Weber, Mozart, Rossini etc rather cold and sterile. He focuses so much on technique particularly in very fast tempos which is very impressive but not solely important, that he lacks the musicality to keep my attention. I`m not sure about works like the Copland as I haven`t heard him play that but a couple of examples are:

1. The recording of Weber Concerto No 2 (particularly the 1st movement) is so focused on technical ability that he does things like cutting ends of phrases short and notes in half which kills the passion and expression of the phrase.
2. Rossini - Introduction Theme and Variations he took so fast, I actually found it funny. There are parts in the 2nd variation where he is clearly racing ahead of the beat of the orchestra and this proves that he is too focused on the technical wizardry he has obtained to concentrate on the music behind the notes.

On top of that, I don`t particularly like his extended cadenzas and ornamentation (mostly they are overdone and kill the mood, particularly in slow movements of classical concertos) and the way he exaggerates fluctuations in tempo (again, the introduction and theme in the Rossini was spoilt by his tempo gymnastics).

Is that a good enough explanation, Dmitri, even if you don`t agree with it?

Alyssa

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Re: Richard Stoltzman    21:13 on Wednesday, February 25, 2004 Vote for this post Vote against this post 0 votes
(Dmitri)
I only disagree with those that hate someone and then give no reason for saying so. People who back up what they say I can have no argument about. Thats the beauty of music. Two people sitting right next to each other may have opposite opinions, but thats the way the ball bounces.

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Re: Richard Stoltzman    00:02 on Saturday, July 24, 2004 Vote for this post Vote against this post 0 votes
(Wild)
You all are a bunch of losers. I even feel a bit more like a loser myself for even writing on this board. A) None of you have careers. B) None of you have careers. Comments about Charles Neidich in particular.... First of all, anyone who criticizes his tempos simply can`t play that fast themselves. Too bad for you. Since you are all clarinet nerds, you cannot focus on what kind of feeling playing the Rossini with brilliant virtuosity creates--you will unfortunately never know the rush an audience gets when they hear a SHOW PIECE played as brilliantly as that. In addition, most of you have no musical imaginations to begin with, so you couldn`t possibly hear anything in Charles Neidich`s playing except technique.

Point of music = to touch people, make them cry, laugh, jump ouf of their seats, etc. You`re an actor on the stage of sound. Tell a story with sound. Better make sure you`ve done your homework before you interpret, though. Do you do manuscript study? (Charles Neidich does) ... Have fun staying plugged into the Matrix kiddos...

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Re: Richard Stoltzman    12:11 on Saturday, July 24, 2004 Vote for this post Vote against this post 0 votes
(mike)
Have fun being a jackass, and making lame matrix metaphors.

   





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