Patrick Nilsson wrote:

>The other day I attended a concert in Gothenburg, with the Swedish National
>Orchestra and it brought to my mind some questions that ever since have
>puzzled me.  If any member of this esteemed list would find it worth while,
>I would appreciate an answer.
>
>First it was the clarinet players.  Every time they had a forte they lifted
>up their bells over the notestand and Im just curious if this is common
>practice.  I know that the clarinet is an instrument that sometimes has
>problems making itself heard in an orchestral forte, but acting like Mr.
>Goodman in a Concert Hall?

I would have guessed Mahler if you hadn't told us in the next paragraph.
The directions for lifting the clarinet that way are in the score.  It was
done for a tone color effect.

>The second question has tragic implications and it concerns the conductor
>who lately have had a stroke.  After several weeks of convalescence he
>has now returned as a shadow of himself and the uncertainty within the
>orchestra is obvious.  The mistakes in the brass section were legio and
>the children choir had problems knowing when to sing (Mahlers third
>symphony).  At what point should a man, with a wonderful career, step down?

If he can communicate in other ways with the orchestra, and if the
orchestra has good rapport within itself, then the conductor can go on
for many years, just as Otto Klemperer did.  But it takes a tremendous
willingness and cooperation from the musicians.

Mimi Ezust