New York Philharmonic mourns its defining clarinet
RIPThe phenomenal Stanley Drucker, a player in the NY Phil for 60 years and principal clarinet for 48, has died at 93.
Son of a Brooklyn tailor, he played his way into the Indianapolis Symphony at 16 and joined the New York Philharmonic as assistant principal at 19. Leonard Bernstein promoted him to principal.
The world knew him best as soloist on record in the Copland concerto. in concert, he stood out at the heart of the orchestra, a natural leader – confident, flamboyant, enjoying himself.
Superb musician from an era when the Big 5 in the US each had a virtuoso Principal clarinet with a unique sound profile. RIP!
Absolutely right, Amos, about Stanley Drucker being a superb musician. He was memorable, and he was outstanding even among all the other great NY Phil soloists of his time.
Might you be willing to list the clarinet players you’re referring to and perhaps give us a bit of insight on their playing styles and backgrounds? Drucker’s as well?
(I’m someone who doesn’t know much about the technical aspects of woodwind playing.)
Thanks in advance!
– regards, Greg
Marcellus, Gigliotti, Cioffi/Wright, Brody/Combs. Listen to the recordings.
Robert marcellus, Cleveland, was amazing
I’d add Zukovski to the list.
I might be able to help with a very quick overview.
In the past, due to equipment and other factors, the standard clarinet tone quality was commonly described as “bright.” Today, the goal is to achieve a “dark” tone.
Many of the greats of the past (including Drucker, Gigliotti, etc.) had sounds that were on the “bright” side. When Robert Marcellus came along he produced a very different sound that can be described as “dark.” Part of it was his mouthpiece and choice of reeds, but everyone suddenly wanted to sound like him. Today the general goal is to get rid of the “brightness” in favor of a darker Marcellus-like sound.
Things have changed a great deal in recent years, but traditionally the German clarinet sound (played on a different type of clarinet than those used in the UK, France, the USA, etc.) was considered to be dark. The French sound was said to be much more bright. There is also the English school of playing–which I enjoy–but I’ll leave it for others to describe.
Here are some sound samples that illustrate these different sounds, all performing the Mozart Clarinet Concerto.
Anthony Gigliotti: https://www.youtube.com/watch?v=sUE_t8cobPQ
Stanley Drucker: https://www.youtube.com/watch?v=XTL55fV38qo
Robert Marcellus: https://www.youtube.com/watch?v=WCmEh5IN_0Y
Ricardo Morales (using a basset clarinet): https://www.youtube.com/watch?v=67upUuEwqSg
Karl Leister (using a German system clarinet):
https://www.youtube.com/watch?v=I2gLz0lL_nM
Reginald Kell: https://www.youtube.com/watch?v=ZW8Z2q1bD2w
I’ve always enjoyed Kell’s playing, but many or most American players dislike his use of vibrato.
Jacques Lancelot: https://www.youtube.com/watch?v=-f122atjV3k
Thank you SO MUCH, D**, for that very useful information and linkage. It’s exactly what I was looking for!
– Best regards and happy holidays, Greg
Thank you for posting an excellent compendium for comparison of different outstanding players. To my taste, Robert marcellus is the best among these
Stanley was not that happy unless he was playing a solo. That said, he was the best clarinetist one ever heard. He was so happy to be a musician. He was open and all new musicians in the orchestra.
As Bernstein’s funeral procession passed, Stanley stood at 67th and Columbus Ave in honor of Bernstein.
Stanley’s passing was a shock-we all who played with him to go on to 100yrs. Love to Naomi.
Respectfully, while I enjoy listening to Mr. Drucker, especially with Harold Gomberg, I’ve never enjoyed anyone as much as Robert Marcellus. Listening to the Principals of TCO, Marcellus, Lifschey, Sharp & Goslee, engage in chamber music within the context of orchestral music is for me second to none. Magnificent articulation, clarity, the richness of tone, vitality, and split-second timing.
Totally agree re marcellus
I did like Stanley Drucker, as I note elsewhere, but most clarinetists would probably rank Robert Marcellus and Harold Wright as the greats of that era. Neither neither as colorful as Stanley, but Marcellus was probably the most influential teacher for several generations of players. Harold Wright mentioned often as a “clarinetist’s clarinetist.”
Have never been a particular fan of his squeaky kazoo-like timbre but a fine musician nonetheless. RIP….
You really are some piece of work. Way to go, making the passing of a giant all about you.
As a young clarinetist in the 1980s I idolized Stanley Drucker, esp. for his recording of the Nielsen Concerto, which legend has it was done in one take. Not such a feat these days, when even good high-schoolers can do it, but in the 1960s the piece was a major challenge even for a lot of professionals. Also he premiered John Corigliano’s concerto, which the Philharmonic commissioned for him. He’s one of the all-time greats of both the clarinet and orchestral worlds.
I remember circa 1974 after an orchestra I played in performed the Nielsen Flute Concerto chatting with our (very good) principal clarinet about the music and how interesting it was. He said the piece I really had to hear is Nielsen’s Clarinet Concerto and that the only recording worth paying any attention to was Stanley Drucker’s. I suspect he was also trying to warn me away from the Benny Goodman recording. If that had been the only concerto Drucker had recorded it would be monument enough.
Hey, it’s Christmas Eve. There’s no reason to criticize the Benny Goodman recording. Every musician has their strengths and weaknesses. Goodman was also a kind soul and great band leader. The Stanley Drucker Band, not so good so he focused on clarinet and the NYPO and the world was better for it. But maybe if Drucker instead of Goodman had Peggy Lee as his singer . . .
Benny Goodman’s, made around the same time, is wretched. He was an extraordinary jazz clarinetist, and I appreciate his contributions to the classical canon – esp. the Copland concerto the Bartok Contrasts – but he really didn’t have the sound or technique for it.
The legend is true! The only retakes were orchestral bits. One might argue that players in his level of job should be able to do this in their stride BUT anyone who has sat in a hot seat themselves will confirm that real life is not like that! RIP a great artist!
Fantastic player with integrity. No many left. They all sound the same/robotic/artificial. Not Mr. Drucker. He will surely be missed. Thank you Sir for creating memories and playing with soul that came from an ontologic place.
Sara, that’s an excellent point. The “Drucker sound” doesn’t seem to be in vogue anymore (at least not in the United States). I’m not sure a Druker-like player would be able to get into a major orchestra these days, and that’s a shame. You’re so right–he really was a fantastic player with integrity, and he never sounded robotic or artificial. He had his own sound, and that’s perfectly fine.
JBarcelo below also mentioned Anthony Gigliotti and Jack Brymer. I agree completely, and I think I’d add Harold Wright to this list.
Thank you Sir, Madame.
Attilio Poto-2nd clarinet BSO decades back, another clarinetist with integrity.
I knew Atilio Poto VERY WELL!! He plays the bass clarinet in Monteux/BSO “Rite of Spring” 52 recording! I also introduced him to Carlo Maria Giulini who later premiered a work of mine with the Chicago Symphony Orchestra and Chorus in 1971. What a lovely man!! On Drucker: Sublime!!
He certainly epitomized the NY Philharmonic sound.
Not quite sure if that was meant to be a compliment……
You really are dumb!
Sad. Now all three of my clarinet heroes from my youth are gone: Stanley Drucker, Anthony Gigliotti (Philadelphia), and Jack Brymer (RPO, LSO). RIP.
I met Gigliotti once after a concert in Chicago. I told him that I had been a fan of his for a long time and he replied that he had been around a long time.
A life well lived. Thank you for the music.
Wiki has this line…
“Drucker entered the Curtis Institute of Music at age 15, but left Curtis after one year, recruited to the Indianapolis Symphony Orchestra.”
That reminds me of the joke, “If you’re good enough to go to Curtis, you don’t need to go to Curtis.”
He was literally a giant living legend! Not just as clarinettist but also as musician with the extremely long career + with his legacy. The only same level fellow musician in my mind was horn player Vince DeRosa.
Rest in peace Mr. Drucker and Thanks you for your legacy and over 60 year work with classical music!
Yes, great pt. Axl. Mr. DeRosa -fantastic hornist, and musician, –in good company with Mr. Drucker.
In 1967, the NYPO was touring Canada during its centennial year. As a young clarinet student, I went to the concert with the intent of hearing my clarinet hero Stanley Drucker and maybe even meeting him. Indeed that happened – I not only met him but had a generous lesson at his hotel room the following day. I was looking to go to a big US school and he recommended his own teacher Leon Russianoff. That happened, and I had an invaluable three years at the Manhattan School of Music.
Stanley was, as everyone knows, an incomparable artist. But also a real gentleman, a mensch and a genuine role model.
Rest in peace Stanley. Your memory will always be a blessing.
Lovely memory, James.
Rest in peace Tonemeister!
I just played a concert October 23rd at Carnegie Hall with Stanley and the Senior Concert Orchestra. He was sharp, funny and his wonderful musicianship in evidence. His legacy lives on through his many recordings with NYPO.
Many years ago I managed an orchestra with Naomi Drucker, Stanley’s wife, as principal clarinet. She was a wonderful musician.
Was he still playing so recently? The end of an era. Rest in peace and thank you, Mr. Drucker, for so many musical joys and all your contributions to the clarinet and music community.
Long live Mr.Drucker! A life well lived immersed in his passion for music.
Didn’t that guy spend a night in jail after groping a student? Gonna miss that razzy sax sound! RIP
Instead of being an a** and making an unsubstantiated comment, you should reflect on how Drucker groped and played the clarinet. A fellow clarinetist, let alone a Canadian, should have a higher standard, especially on Christmas Eve.
I played the Bartok Contrasts with Drucker and Menuhin in 1980.
Such an honour to work with such a lovely, unassuming and brilliant musician.
From 1965-1970, I studied clarinet at the college level in Pittsburgh. At that time, I was fortunate to hear my teachers in live and recorded Pittsburgh symphony, chamber music ensemble and solo performances. As students, we were also encouraged to listen to performances/recordings by other clarinetists in the US and Europe. While my fellow Clarinet majors and I had the upmost respect and admiration for our Clarinet teachers, as performers, in Pittsburgh, we had wonderful discussions about other principal clarinet players from symphonies outside of Pittsburgh. The New York Phil. with Stanley Drucker as principal clar. was the highlight of our discussions. We truly admired his sound, technical ability, machine gun like tonguing and overall musicianship. Unlike some in this discussion, I’m not going to debate any comparisons of the Drucker sound/style of clarinet playing with other great orchestral clarinetists of which there are many. The fact is we lost a giant in the world of orchestral clarinet performance. MHRIP