[TPIN] Re: What about Adlestein?

[David Adams]

Great to see a discussion on the need to be attentive to the  
different types of sound production for different musical genres. It  
is good to have a distinctive sound, but it is also helpful to be a  
bit schizophrenic, too, especially if you play  in lots of different  
settings.
On Aug 23, 2009, at 11:07 AM, Dr. Albert L. Lilly, III wrote:

>
> On Aug 22, 2009, at 12:19 AM, Glenn Bengry wrote:
>
>> Well Al,   what did he teach you about your sound.  how did he  
>> change your sound.  did you change equipment at all? blow  
>> differently. sing?  play bigger or play rounder .  I'm itching for  
>> a detail!!
>>  my concept of sound due to the work that I was doing, but that he  
>> wanted me to have control of what I sounded like all the time and  
>> make the sound that is right for the music in question, and not  
>> just a 'single' concept of tone, just as he  believed with the  
>> different repertoire demands of the orchestra.
>
> During his tenure, the Cleveland Orchestra was famous for the  
> recording of Mozart, and I have some fantastic recordings of him  
> playing Mahler and other high power brass works.  He always was  
> perfect for the ensemble of the orchestra, which was what the group  
> was famous for, that incredible orchestral sound.  It doesn't  
> happen by accident, and I think it was a part of the way that Mr.  
> Adelstein played to be a important part of the overall orchestral  
> scheme, and part of his work at Cleveland for so many years.
>
> Hope this answers a few questions,
>
> AL
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David B. Adams
Palo Alto Unified School District
Director, Foothill Symphonic Winds
www.windband.org/foothill