It was James Griesheimer, an oboe student at Ohio State, who put me onto the famous “cloboe” sonority of Marc Lifschey and Robert Marcellus, principal winds of George Szell's Cleveland Orchestra. He shared his recording of a Schumann Symphony slow movement. The oboe and clarinet exchange melodic lines in loving caresses of intervals. This breathtaking sensitivity to tonal color between Lifschey and Marcellus was so inspiring that I vowed to force myself on the mercy of this great clarinetist and beg him for some lessons. In the summer of '63 Marcellus found time for me and I was his starstruck, trembling student for six lessons. It was a very special glimpse into the realm of clarinet playing, a rarefied stratosphere where only the deities of the wind world dwelt. Here were divulged some of the mysterious secrets of producing sound and creating a melodic line. The revelations were heavenly, the realizations were devilishly difficult. Searching to discover this new sound, Marcellus would have me make a tone and sustain it, then drop my jaw. This feeling was akin to standing on what seemed to be a firm platform, then suddenly feeling the floor drop away to reveal a cavernous trap door. If a noose had been wrapped around my neck, I wouldn't have felt any more hopeless and despairing. And this was just the beginning! While suspended in this terrible lowered depressed tone, Marcellus then entreated me to leave the trap door open but fill the hole up with a huge blast of accelerating air from my diaphragm muscles in order to levitate the tone and induce a brand-new series of supporting overtones. Turning purple and shaking with the effort to squeeze more air out of my distressed lungs, I finally shattered and broke.

What I had thought as a simple, beautiful melodic line was clinically dissected and microscopically examined for inner architectural secrets. A crescendo from soft to loud grew by a precisely graded system of numbers. To begin a sound one first had to expel all the stale air in the body, then breathe deeply, let the fresh air settle, set the embouchure, touch the first millimeter of the reed tip with the first millimeter of the tip of the tongue to prevent the reed from vibrating as the air pressure builds behind, and slowly release the bamboo, while the air induces the reed to vibrate.

Excerpted from Another Name for God copyrighted 2015, Richard Stoltzman