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Doublereed Archive - Posting 000095.txt from 2007/10
From: "David Crispin / Crispin's Creations" <crispinscreations@-----.net>
Subj: Re: [DR-L] Play loud ...and louder! Bruno Labate?
Date: Fri, 05 Oct 2007 00:49:00 -0400
>"I gave you the A that I am paid for; do you want to
> buy another?"
I can't wait to use that line!!!!!!!!!!
LOL.
Thanks!!!
David Crispin
----- Original Message -----
From: "herb fawcett" <herbgosia@-----.net>
To: <doublereed@-----.org>
Sent: Thursday, October 04, 2007 9:19 PM
Subject: Re: [DR-L] Play loud ...and louder! Bruno Labate?
> An apocryphal tale of the guest conductor asking Labate for another A. His
> response supposedly - "I gave you the A that I am paid for; do you want
> to
> buy another?"
> I don't know...
> Herb
>
>
> On 10/4/07 10:52 AM, "Dan Duncan" <danjduncan@-----.com> wrote:
>
>> I must have missed something. I couldn't find ANYTHING in the
>> attached posts about Bruno.
>>
>> Dan
>>
>> On Oct 4, 2007, at 1:34 PM, herb fawcett wrote:
>>
>>> Wonderful story about Bruno Labate and the NY Phil A.
>>> Herb
>>>
>>>
>>> On 10/4/07 10:10 AM, "Miriam Williams" <mwquacker@-----.net> wrote:
>>>
>>>> Why not just use an electronic sound generator of some kind at
>>>> rehearsals?
>>>> This could easily be turned up loudly enough so everyone could
>>>> hear it.
>>>>
>>>> Also, don't violinists use electronic tuners as a matter of
>>>> course. It seems
>>>> to me to be a sort of outdated practice to rely on the oboe,
>>>> although to
>>>> keep the tradition of making sure everyone is tuned properly just
>>>> prior to
>>>> the downbeat would be reasonable.
>>>>
>>>> I agree, it can be tiring to hold out 3 A's - how long *should* it
>>>> be held?
>>>> A gripe I have is that others (especially choristers) who are not
>>>> silent
>>>> when the A is called for. Apologies if this has been addressed
>>>> already. I
>>>> have not read the previous posts & decided to just jump in here.
>>>>
>>>> My $0.02,
>>>> Miriam
>>>>
>>>> ----- Original Message -----
>>>> From: "Philip McKenzie" <philclimb1@-----.com>
>>>> To: <doublereed@-----.org>
>>>> Sent: Thursday, October 04, 2007 11:56 AM
>>>> Subject: Re: [DR-L] Play loud ...and louder!
>>>>
>>>>
>>>> When we start the concert, the concertmaster asks for 3 A's; winds,
>>>> violas/cello/bass, violins. After intermission, 2 A's: winds,
>>>> strings. If
>>>> we tune in the middle of a longer piece, it's one A. Rehearsals and
>>>> concerts are done the same way.
>>>>
>>>> I'm playing those three As for a very long time each time. Too
>>>> long. And
>>>> the tuning needs to be fairly loud. It's a self-perpetuating
>>>> issue. If one
>>>> person plays loud to hear himself, the next person has to play
>>>> louder also.
>>>> And on and on.
>>>>
>>>> In the land of amaters in which I happily reside, what would be
>>>> ideal? 2
>>>> A's briefly played?
>>>>
>>>> And how to ratchet it back? Do I e-mail the conductor and
>>>> concertmaster to
>>>> get their takes on whether it's actually a problem and what to do
>>>> about it?
>>>> If there is an agreed upon problem, do we say something at the next
>>>> rehearsal. Should I do the whining? Should the concertmaster
>>>> suggest?
>>>> Should the conductor require?
>>>>
>>>> Recently it's been mentioned on this list that an A called the
>>>> Philadelphia
>>>> Orchestra back after breaks back in the day. Would a backstage A
>>>> be a
>>>> reasonable addition to our protocol? Or a strikable A bar so any
>>>> individual
>>>> could tune in advance of coming on the stage so the orchestra
>>>> tuning is a
>>>> confirmation rather than an adjustment exercise?
>>>>
>>>> Phil
>>>>
>>>>
>>>> ----- Original Message ----
>>>> From: herb fawcett <herbgosia@-----.net>
>>>> To: "doublereed@-----.org>
>>>> Sent: Thursday, October 4, 2007 11:26:10 AM
>>>> Subject: Re: [DR-L] Play loud ...and louder!
>>>>
>>>>
>>>> One very important aspect of tuning is to play only the A. The varied
>>>> harmonics of other notes interfere with hearing any beat, which
>>>> after all
>>>> the ultimate criterion of being "in tune" with the reference pitch.
>>>> The moving intonation as notes change function in the harmony etc.
>>>> is best
>>>> attended to by the attitude among players of "be here NOW" so the
>>>> needed
>>>> small adjustments are always in their awareness. Democracy is
>>>> important even
>>>> in orchestral pitch. Leave the dictator on the podium where he
>>>> cannot mess
>>>> up the pitch too much.
>>>> Herb
>>>>
>>>>
>>>> On 10/4/07 8:52 AM, "David Lurie" <klingsor@-----.com> wrote:
>>>>
>>>>> At 11:02 AM 10/4/2007, you wrote:
>>>>>> Read about the loudest tuning note in oboe history on my blog:
>>>>>> http://oneflute1oboe.livejournal.com/
>>>>>>
>>>>>> ~Angela
>>>>>
>>>>> I read what you wrote there, which I will quote as follows:
>>>>>
>>>>>
>>>>> For the Orange County Symphony, I refuse to give A while people are
>>>>> practicing/warming up/talking/wandering around/etc. The
>>>>> concertmaster
>>>>> stands up, things settle down, and *then* I play.
>>>>>
>>>>> At tonight's random gig, however, I was expected to give A while
>>>>> people were practicing. I waited... and waited... and the
>>>>> concertmaster grew impatient. With ME. So I proceeded to give the
>>>>> loudest freaking A that you have ever heard.
>>>>>
>>>>> That seems to me to be silly as well as amateurish in the extreme.
>>>>> This concertmaster obviously does not know how to perform the tuning
>>>>> job. In a professional orchestra, the concertmaster stands up if
>>>>> everyone does not quiet down immediately, taps his bow on the stand
>>>>> until everyone stops playing. then you play the tuning A. Also you
>>>>> should play the A softly, not loud, so that everyone will have to
>>>>> exert themselves just a little to hear it, and then not play too
>>>>> loud.
>>>>>
>>>>> Yes, I realize that tuning is pointless. Everyone is just going to
>>>>> play sharp no matter what. But if we're going to pretend to do it,
>>>>> then we should pretend to have a go at doing it right, with everyone
>>>>> pretending to listen to the reference pitch.
>>>>>
>>>>> I can perhaps be called a snob, like you, but tuning is not
>>>>> pointless
>>>>> if the group is serious. Obviously, the group you play in is NOT
>>>>> serious about it, so I can understand your attitude. But a serious
>>>>> group, will take tuning seriously. That the pitch rises is
>>>>> inevitable, no matter what group it is. But then there is no problem
>>>>> as long as it is held under control and the orchestra re-tunes often
>>>>> enough. That is a job for the conductor and/or the concertmaster. If
>>>>> they goof folks don't; know enough about how to do it, then perhaps
>>>>> you should start to educate them by initiating discussions
>>>>> concerning
>>>>> these matters.
>>>>>
>>>>> David
>>>>> /oboe snob
>>>>> <http://oneflute1oboe.livejournal.com/187465.html>Link
>>>>>
>>>>>
>>>>>
>>>>> --------------------------------------------------------------------
>>>>> -
>>>>> For personal help: email doublereed-owner@-----.org
>>>>> Doublereed is a service of Woodwind.Org, Inc. http://
>>>>> www.woodwind.org
>>>>>
>>>>
>>>>
>>>>
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>>>> For personal help: email doublereed-owner@-----.org
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>>>> ---------------------------------------------------------------------
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>>>>
>>>>
>>>> ---------------------------------------------------------------------
>>>> For personal help: email doublereed-owner@-----.org
>>>> Doublereed is a service of Woodwind.Org, Inc. http://www.woodwind.org
>>>>
>>>
>>>
>>>
>>> ---------------------------------------------------------------------
>>> For personal help: email doublereed-owner@-----.org
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>>
>> Dan Duncan
>> 9012 S Normandy Ln
>> Dayton, OH 45458
>> 937-350-7133
>> 937-672-3662, cell
>> danjduncan@-----.com
>>
>>
>>
>>
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>> For personal help: email doublereed-owner@-----.org
>> Doublereed is a service of Woodwind.Org, Inc. http://www.woodwind.org
>>
>
>
>
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> For personal help: email doublereed-owner@-----.org
> Doublereed is a service of Woodwind.Org, Inc. http://www.woodwind.org
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