William Hudgins-Principal Clarinet

[@avarmadillo]

Great interview and lovely playing. Regarding the commonality between Wright and Marcellus: core in the sound. You can hear it in all the great French players...Cahuzac was a remarkable exponent of the French sound---very, very concentrated and no modulation in respect to vibrato. The sound must have a spinning center---diphthong shape that is consistent throughout the complete dynamic range. You don't hear that in the English because, like their language and how they pronounce it, there is little to no diphthong sounds. Beyond that spinning, concentrated core there was, IMO, little Wright and Marcellus had in common as musical personalities.

[@DenmarkStBigBand]

What a Gorgeous sound x Lovely

[@evawasserman1412]

Wonderful interview and his sound concept is amazing in a room that is not a recording studio. His sound makes me hear all the score when he plays. It’s full of harmonics!

[@scottsater]

Ed & William ~ Thank-you so much for an insightful, impassioned, and terrific conversation! I'm watching this a full 4.5 years after it happened. But I have recently "discovered" Brad Behn and his artisanship and musical artistry online. And this led to the viewing of this video. Both Brad's inspiring help to me across the miles, and now this interview have me very exuberant about the blend of professional play, the education for each of us no matter where we are at in our playing, and the celebration of gear fused with fine art and talent. Thank-you so much!

[@Joffewoodwinds]

Scott-You're welcome and I'm so glad that you find Brad's equipment and Bill's artistry to be inspiring. It has for me for many years. -Ed

[@txsphere]

I don't know how many times I have come back to this video to listen that sound in the last six minutes.

[@billducker7404]

Marvellous interview m a very humble and modest man. It sounds a good idea to go to Boston here from the UK and listen to the orchestra I heard them once in London playing Mahler’s six symphony it was fabulous - God bless you both and yours I should’ve to hear more interviews like this- Bill - UK

[@efanshel]

I just want to say I found this podcast 3 days ago and it is absolutely wonderful. I am sixty eight and have been around people like this since I was a baby. Everyone of these interviews is surprisingly interesting and informative. Thank you

[@Joffewoodwinds]

Thanks Much, Ethan. Hopefully, more to come.

[@Coleoni]

Great interview! Please have Jon Manasse and Anthony McGill on the show.

[@johnfrazier5548]

Would LOVE to get a hold of those Lazarus operatic studies

[@Joffewoodwinds]

So would I. I have not found them since we did that interview.

[@MisterBigDave]

So excellent!!! Masters talking! Lazarus Part III revised by Simeon Bellison. One of my teachers had me get it back in the 70s was $4.25. Has all those little duets and opera melodies, but not the one he plays at 1:16... as I can tell it's from a different volume, maybe Part I.

[@vicente1049]

Maravilloso sonido, dulce centrado y preciso

[@SamHackenson]

"Spray and pray" that's my new reed motto.

[@MrPhilip381]

Interesting to mention the two influences of Marcellus and Wright. But this conversation lacked a discussion of double-lip vs. single-lip embouchure. This would have been a great topic of discussion. Hudgins studied with Wright. Does he play double-lip? Marcellus once said in an interview: "Oh yes, another misconception is that double lip gives a fuller sound. Quite the contrary. It gives a smaller sound." I suspect Hudgins plays single lip, but no way of knowing for sure.

[@Mauriziobarenboim]

Philip Pallette yes he does play double lipped. In college he played single, however that was because he didn't have time to learn double. Once he graduated that was when he started to learn double.

[@MrPhilip381]

Interesting.

[@MrPhilip381]

It's a shame there was no discussion about this.

[@zainanderson2583]

Marcellus could have meant that the single lip is larger in sound, but typically double lip allows more focus to be placed in the sound. Single lip=more volume and Double lip=more energy (better overtone series etc.) This is completely dependent on equipment and the physiology of the player though

[@fernie51296]

Mauriziobarenboim where did you hear Hudgins plays double lip?

[@improvisationskultur]

cool, I want a room like this, that reverbs only when I play

[@joeenglert]

after listening to wright in the Schubert fairy tales..that triplet section between the clar. and viola, as well as other pieces, I a convinced he double tongued...anyone know that for a fact? I mentioned that to his widow a while back,but she just said he had a fast single tongue...cant believe that....too fast

[@CSRookie]

... my teacher studied with Mr. Wright. He was a single tongue player

[@ninocarriglio9054]

però non suona col doppio labbro... come Harold...peccato!