Klarinet Archive - Posting 000164.txt from 1999/03
From: "Ken Hatch" <khatch@-----.edu>
Subj: [kl] RE: klarinet Digest 2 Mar 1999 20:19:08 -0000 Issue 1118
Date: Wed, 3 Mar 1999 13:14:54 -0500
Keith,
I'm glad you're pleased. Keep me posted.
kh
-----Original Message-----
From: klarinet-digest-help@-----.org
[mailto:klarinet-digest-help@-----.org]
Subject: klarinet Digest 2 Mar 1999 20:19:08 -0000 Issue 1118
klarinet Digest 2 Mar 1999 20:19:08 -0000 Issue 1118
Topics (messages 13080 through 13094):
Flammes by Komives
13080 by: GrabnerWG@-----.com
Molter D clarinet concertos
13081 by: charette@-----.org
13084 by: Jack Kissinger <kissingerjn@-----.EDU>
13085 by: FranÚois Villon <feodor@-----.com>
13093 by: "Don Yungkurth" <clarinet@-----.net>
13094 by: "I.E.Pearson" <MUP95IEP@-----.uk>
FROM LEAKY PIPES TO CLARINET REEDS
13082 by: Richard Bush <rbushidioglot@-----.net>
13089 by: "Kevin Fay (LCA)" <kevinfay@-----.com>
Clarinet Quintets
13083 by: "Martin Marks" <RxReed@-----.com>
About authenticity
13086 by: "Steven J Goldman, MD" <sjgoldman@-----.com>
Molter D clarinet concerti
13087 by: Simon_Aldrich@-----.ca (Simon Aldrich)
Reed Books (was: FROM LEAKY PIPES TO CLARINET REEDS)
13088 by: "David B. Niethamer" <dnietham@-----.edu>
Proposed Internet dialup charges - not
13090 by: David Blumberg <reedman@-----.com>
Some remarks on composer Mark Gustavson's interesting comments
13091 by: "Steven J Goldman, MD" <sjgoldman@-----.com>
check this article out
13092 by: David Blumberg <reedman@-----.com>
Administrivia:
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Date: Tue, 2 Mar 1999 11:22:38 EST
From: GrabnerWG@-----.com
Subject: Re: [kl]Flammes by Komives
Message-ID: <29eefaef.36dc104e@-----.com>
In a message dated 3/2/99 8:52:39 AM Central Standard Time,
charette@-----.org writes:
<< From: charette@-----.org (Mark Charette)
Reply-to: klarinet@-----.org
To: klarinet@-----.org
From: James Sclater <Sclater@-----.edu>
>Does anyone know of a commercially-available CD recording of this work?
-----
Author Mohler, John, Performer. >>
* PERK *
GrabnerWG owes a great personal debt to John Mohler. A great teacher,
mentor,
wonderful person....and GOD....what technique!!!!!!
Thank you John Mohler!!!!!
------------------------------
Date: 2 Mar 1999 16:33:31 -0000
From: charette@-----.org
Subject: Re: [kl] Molter D clarinet concertos
Message-ID: <19990302163331.4425.qmail@-----.org>
Here's a reference along with MWV number:
Title Concertos, clarinet, string orchestra, D major
Konzert D-dur : fr Klarinette in D und Streichorchester mit Cembalo : [MWV
VI/36] / Joh. Melchior Molter ; hrsg. von Klaus Hofmann
Published [Stuttgart] : Carus-Verlag, [c1974]
Description score (23 p.) ; 30 cm
Note "Carus-Verlag 40.502."
Duration: about 12 min
Pref. in German and English
Pub no 40.502 Carus-Verlag
Here's a piano reduction:
Author Molter, Johann Melchior, 1696-1765.
Title Concertos, clarinet, string orchestra, no. 2, D major ; arr.
Konzert fur Klarinette, Streicher und Basso continuo Nr. 2 D-dur / Johann
Melchior Molter ; herausgegeben von Heinz Becker ; Ausgabe fur Klarinette
und Klavier von Michael Obst.
Imprint Wiesbaden : Breitkopf & Hartel, c1986.
Descript 1 score (16 p.) + 2 parts ; 31 cm.
Music # Edition Breitkopf 8402
Breitkopf & Hartel Wb. 1857
Note Pref. in German and English.
For clarinet and string orchestra ; acc. arr. for piano.
Parts for A and D clarinet included.
---
Cheers,
Mark Charette@-----.org
------------------------------
Date: Tue, 02 Mar 1999 11:49:35 -0600
From: Jack Kissinger <kissingerjn@-----.EDU>
Subject: Re: [kl] Molter D clarinet concertos
Message-id: <36DC24AF.667F95BA@-----.edu>
Recordings listed as available according to the current Schwann are:
Laszlo Horvath (1-5), Hungaroton HCD 31370
Wolfgang Meyer (1-6?) Amati 9009
J. C. Veilhan (1-6), Pierre Verany PV 792011
Searching the Klarinet archives on Sneezy for "Molter" (without the quotes)
will give you this information and more.
Jack Kissinger
St. Louis
FranÚois Villon wrote:
> Hi,
>
> I wonder if anybody has information about recordings of Molter D
> clarinet concertos.
> Are they published?
>
> Thank you
>
> Feodor Tereshchenko
------------------------------
Date: Tue, 02 Mar 1999 13:09:44 -0500
From: @-----.com>
Subject: Re: [kl] Molter D clarinet concertos
Message-ID: <36DC2968.19DA54ED@-----.com>
Jack Kissinger wrote:
>
> Recordings listed as available according to the current Schwann are:
>
> Laszlo Horvath (1-5), Hungaroton HCD 31370
> Wolfgang Meyer (1-6?) Amati 9009
> J. C. Veilhan (1-6), Pierre Verany PV 792011
Thank you for info. Are they actually recorded on D clarinet?
Feodor
------------------------------
Date: Tue, 2 Mar 1999 14:55:15 -0500
From: "Don Yungkurth" <clarinet@-----.net>
Subject: Re: Molter D clarinet concertos
Feodor Tereshchenko asked:
>I wonder if anybody has information about recordings of Molter D
>clarinet concertos.
My two-year old Schwann catalog lists a recording of six concertos on
Pierre Verany PV 792011, with clarinetist J.-C Vielhan. Hard to say if it
is still available.
The Berkshire Record Outlet:
http://www.berkshirerecoutlet.com/
has the following listing, which I found in their search mode with the
descriptors Molter and clarinet:
Label: HUNGAROTON Media Type: CD Price: 7.99 Description: Molter, Clarinet
Concerti 1-5. (Laszlo Horvath w.Liszt Chamber Orch./Bedo) Stock Number HCD
31370 (D) [HUNGARY]
Don Yungkurth (clarinet@-----.net)
------------------------------
Date: Tue, 2 Mar 1999 20:15:51 +0000
From: "I.E.Pearson" <MUP95IEP@-----.uk>
Subject: Re: [kl] Re: Molter D clarinet concertos
Message-ID: <6AD55017D58@-----.uk>
Funny you should mention this! I've just waited five months to get
this CD from a record distributor over here. Its been deleted from most
UK catalogues but is probably more readily available on the
continent.
Ingrid
> My two-year old Schwann catalog lists a recording of six concertos on
> Pierre Verany PV 792011, with clarinetist J.-C Vielhan. Hard to say if it
> is still available.
>
> The Berkshire Record Outlet:
>
> http://www.berkshirerecoutlet.com/
>
> has the following listing, which I found in their search mode with the
> descriptors Molter and clarinet:
>
> Label: HUNGAROTON Media Type: CD Price: 7.99 Description: Molter, Clarinet
> Concerti 1-5. (Laszlo Horvath w.Liszt Chamber Orch./Bedo) Stock Number HCD
> 31370 (D) [HUNGARY]
>
> Don Yungkurth (clarinet@-----.net)
>
>
> -------------------------------------------------------------------------
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>
>
Ingrid E. Pearson
Music Department
University of Sheffield
SHEFFIELD S10 2TN
TEL +44-114-2662903
FAX +44-114-2668053
------------------------------
Date: Tue, 02 Mar 1999 10:04:48 -0700
From: Richard Bush <rbushidioglot@-----.net>
Subject: Re: [kl] FROM LEAKY PIPES TO CLARINET REEDS
Message-ID: <36DC1A26.7F74CDD4@-----.net>
GrabnerWG@-----.com wrote:
> In a message dated 3/2/99 6:25:26 AM Central Standard Time,
CEField@-----.com
> writes:
>
> << I kiss the ground that Eugene Van Doren walked on. (And I think I might
> feel
> that way soon about Guy Legere.) If I had to spend as much time learning
the
> craft of clarinet reed-making as my oboist friends spend making their
reeds,
> I
> would have taken up the triangle. I know you were writing in jest, but
please
> be careful about painting people with a broad brush. Life is BUSY and
> fascinating, with many things to explore. For some of us, reed-making
doesn't
> fit into the equation.
>
> Cindy
> >>
> Amen Cindy! I make my living in the computer industry, while maintaining a
> busy playing schedule in two orchestras. Finding time to practice is
> difficult. When would I make reeds? At 2:00 AM?
>
> BTW, this correspondent did make his own reeds for ten years. I made some
> glorious reeds. I also made quite a few stinkers. The thing out of my
direct
> control was the quality of the cane. When I had great cane, I made great
> reeds. When I had bad or indifferent cane......... * shrug *.
>
> I'm sure it's the same problem for the manufacturers, except they have to
make
> reeds constantly....good cane or bad. Does anyone know the expense of idle
> equipment and workers? Payroll, utilities, rent, etc continue constantly.
If
> the manufacturers only made reeds of the finest cane, one reed would cost
what
> a box does now, or more.
>
> To Cindy and GrabnerWG,
It seems I did not make myself perfectly clear. I apologize.
I was not proposing making reeds from blanks or from scratch. What I WAS
trying
to convey, and I was not speaking in jest, was that those who made reeds
learned
about reeds, such as where to work on the vamp of the reed to achieve
certain
desired playing characteristics.
I too am happy to have commercial reeds. This world can use just so many
triangle
players :-)
Let me further clarify.
When one learns break in procedures, how to balance and voice a reed, one
gains
greater control over their playing. Who doesn't want this?
The time spend learning to do these things pays big dividends. Less total
time is
spent fussing with reeds and going through box after box to find that
perfect
reed. Fewer reeds can be made to play better. All reeds properly prepared
will
last much longer and give more consistent performance through their useful
life.
Sounds like a win-win situation to me. If time is money and reeds cost
money,
doesn't it make good sense to sound consistently better on fewer reeds that
last
longer?
Since no machine can compensate for individual differences in each unique
piece
of cane, regardless of how consistently they are cut, we are kidding
ourselves if
we accept and consider commercial reeds a finished, ready to play product.
Changing weather is another reason to be prepared with reed adjusting
knowledge
and working skills. Being able to keep a reed playing well on a dry, hot day
or a
damp cool one is good for the player.
------------------------------
Date: Tue, 2 Mar 1999 11:22:04 -0800
From: "Kevin Fay (LCA)" <kevinfay@-----.com>
Subject: RE: [kl] FROM LEAKY PIPES TO CLARINET REEDS
Message-ID: <2DCBFADAFCBBD21189D400805F6FA1AB16BA0D=RED-MSG-12>
Richard Bush wrote:
<<<I too am happy to have commercial reeds. This world can use just so many
triangle players :-)
* * *
When one learns break in procedures, how to balance and voice a reed, one
gains greater control over their playing. Who doesn't want this?>>>
I second the emotion towards Eugene V.
I also play trumpet--I tell you there's quite a difference between the
clarinet experience (having to get a mouthpiece hand-faced by a clarinet
virtuoso only to sweat over little planks of wood) and the trumpet (get a
Bach 1-1/2C for thirty bucks and you're set for life). Sure, you can spend
more for a trumpet mouthpiece, but IMHO (and that of most players far more
accomplished than me) you don't need to spend more than fifty bucks, ever.
kjf
------------------------------
Date: Tue, 2 Mar 1999 11:58:43 -0500
From: "Martin Marks" <RxReed@-----.com>
Subject: Re: Re: [kl]Clarinet Quintets
Message-ID: <000c01be64ce$14027ae0$e26efea9=oemcomputer>
-----Original Message-----
From: Dr. Ronald P. Monsen <rpmons00@-----.edu>
Date: Tuesday, March 02, 1999 9:17 AM
Subject: Re: [kl]Clarinet Quintets
Perhaps the quintet for clarinet and strings of Reicha has been mentioned
earlier--also the Baermann quintet with the famous Wagner Adagio for the
second movement. If I missed these works being posted sorry to repeat.
Ron Monsen
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Hi Ron - I've been trying to get in touch with you,but my mail hasn't gotten
through. Maybe I was using the wrong E-mail address. Were you able to use
any of the mouthpieces I sent. Have you been having any problem receiving
e-mail? I tried several times, but my mail kept coming back.
Marty Marks
------------------------------
Date: Tue, 2 Mar 1999 12:29:17 -0600
From: "Steven J Goldman, MD" <sjgoldman@-----.com>
Subject: RE: [kl] About authenticity
Message-ID: <000001be64da$94f53aa0$929a2499=notebook-1>
But Roger, have you ever heard a serpent played by someone who really could
play it well. Rare as hen's teeth they are. And the senority actually blends
well with period instruments. Now even when the serpent was the instrument
of choice, some people didn't like it (Handel was supposed to have remarked
"Dat vas certainly not the serpent dat tempted Eve"). And think of the
remarks many of us have made about the saxophone! I guess my point is do not
cast off out of hand period instruments just because you have not heard them
played well, or are not attuned to their timbers. I would not want to hear a
tuba in the Music for the Royal fireworks (original version for wind band).
Steve
-----Original Message-----
From: Roger Garrett [mailto:rgarrett@-----.edu]
Subject: Re: [kl] About authenticity
Even more worrisome is the call for serpent. Composers used serpent
because it was the only available bass wind instrument. Tuba eventually
replaced it - and, when performing works which require serpent we must ask
if we want the ugly sound of the serpent or the much more sonorous sound
of the tuba.
___
Roger Garrett
Professor of Clarinet
Director - Concert Band, Symphonic Winds & Titan Band
Advisor - Recording Studio
Illinois Wesleyan University
------------------------------
Date: Tue, 02 Mar 1999 13:37:29 -0500
From: Simon_Aldrich@-----.ca (Simon Aldrich)
Cc: klarinet@-----.org
Subject: Molter D clarinet concerti
Message-id: <fc.003d0949002bc71c3b9aca0045d7b004.2bc721@-----.ca>
Feodor asked about the Molter D Clarinet Concerti.
Go to the early music magazine Continuo's website and go to February 1997
and see my article on Molter.
Failing that I am having an article on Molter published in an upcoming
issue of The Clarinet (probably summer).
Failing that give me your fax number and I will fax you the article.
Jack Kissinger added:
Laszlo Horvath (1-5), Hungaroton HCD 31370
Wolfgang Meyer (1-6?) Amati 9009
J. C. Veilhan (1-6), Pierre Verany PV 792011
The Veilhan recording is breathtaking. It is the only one on period
instruments.
----------------------------------------------------------
Simon Aldrich
Principal Clarinet - l'Orchestre de l'Opera de Montreal
Principal Clarinet - l'Orchestre Metropolitain de Montreal
Nouvel Ensemble Moderne
Quintet Pentaedre
Les Vents de Montreal
tel/fax: (514) 843-7550
simona@-----.org
------------------------------
Date: Tue, 2 Mar 1999 14:18:10 -0500
From: "David B. Niethamer" <dnietham@-----.edu>
Subject: Reed Books (was: FROM LEAKY PIPES TO CLARINET REEDS)
on 3/1/99 9:53 PM, James P Reed wrote:
>I've been able to find Teal's book and Stein's book but Opperman's,
>Bonade's and Kirck's don't seem easily obtainable. Maybe I'm just not
>searching properly but if anyone has suggestions on where I could locate
>these 3 booklets, I would greatly appreciate your posting them here.
Opperman is out of print
Bonade might still be available from Leblanc, the original publisher
Kirck is available directly from the author, or from Muncy Winds, among
other places.
Let me recommend two other books -
1.) The Reed Makers Book - Ronald Vazquez (I think this is right - I'm
working from memory, having just this morning loaned it to a student who
is about to start making reeds)
Great for making reeds, has lots of info about reeds and the process of
making them, and how they fit with various mpc styles. Available from
Muncy, or the author.
2.) Selection, Adjustment, and Care of Single Reeds, by Larry Guy. This
book has been my constant companion for the last few weeks. It is geared
to breaking in commercial reeds, although the processes will obviously
work on hand made reeds as well. It is very thorough, readable, logically
laid out - a pleasure to work from. I highly recommend this book. You can
get it directly from Larry Guy. Send a check for $15 (includes postage) to
Rivernote Press
36 Hudson Avenue
Stony Point, NY 10980
Larry also has another excellent book, Intonation Training for
Clarinetists. Mark C mentioned it on the list a while back, and I got
them both. Also highly recommended - lots of practical information and
exercises for improving intonation.
David
David Niethamer
Principal Clarinet, Richmond Symphony
dnietham@-----.edu
http://members.aol.com/dbnclar1/
------------------------------
Date: Tue, 02 Mar 1999 14:33:32 -0500
From: David Blumberg <reedman@-----.com>
Subject: Proposed Internet dialup charges - not
I am posting this as there have been rumors about dialup charges to internet
providers being charged for.
D.B.
------------------------------
-@-----.net
[ ] News
[x] PR
[ ] Op/Ed
Source: http://www.fcc.gov/Bureaus/Common_Carrier/Factsheets/faq_recp.html
ANSWERS FROM FCC CHAIRMAN WILLIAM E. KENNARD
TO QUESTIONS CONCERNING THE ACTION TAKEN BY THE FCC
ON FEBRUARY 25, 1999, CONCERNING RECIPROCAL COMPENSATION
FOR DIAL-UP INTERNET TRAFFIC
Q: Has the FCC opened the door to Internet charges?
A: Absolutely not. The FCC has reconfirmed the Internet's exemption.
Consumers will see no new charges on their Internet
or phone bills.
Q: Are we going to see new long distance charges to connect to the Internet?
A: Rumors have been spread by some people, but these rumors are false. The
FCC will not impose long distance charges for
dialing up the Internet.
Q: Is there any way that local phone companies will be able to start
imposing usage-sensitive access charges to Internet service
providers?
A: No. The exemption from long distance access charges is solid as a rock
and has been upheld in court.
Q: The FCC will not allow long distance charges for local calls to the
internet. But has the FCC made it easier for states to impose
long distance charges for local calls to the Internet?
A: No.States have no power to impose long distance charges. Only the FCC
can do that, and we declared our jurisdiction
over this traffic.
Q: What changes can consumers expect to see as the result of this decision
-- in the short run, and in the long run?
A: Consumers should see no changes in their Internet or phone bills, either
in the short run or long run, as a result of this
Order. The big picture in the long run is very positive -- our continued
"hands off" policy towards the Internet will allow it
to continue growing rapidly, unfettered by regulations.
Q: How will Internet providers react to this Order? Will this be good for
business or bad for business?
A: It's good for business and consumers. We have clarified how companies
pay each other for this traffic and we have done
so in a way that prohibits the assessment of long distance charges. This
can only help consumers.
Q: Why were so many negative rumors spread around?
A: The Internet has become extremely important to a lot of people in the
last few years. We get letters every week from people for whom access to
the Internet has opened up whole new possibilities for business, social
service, and life. The very idea of paying long-distance-type charges for
hours web surfing naturally produces great anxiety. Therefore these rumors
tend to spring up anytime the FCC does anything related to long distance
service.
----------------
David Blumberg - My Tempo Accompaniments for Woodwind Players (150+ pieces,
Playable Demos)
reedman@-----.com
http://www.mytempo.com (new address)
---------------------------------------------------
------------------------------
Date: Tue, 2 Mar 1999 13:36:11 -0600
From: "Steven J Goldman, MD" <sjgoldman@-----.com>
Subject: RE: [kl] Some remarks on composer Mark Gustavson's interesting
comments
Message-ID: <000101be64e3$ee944200$929a2499=notebook-1>
How depressing. I really thought your point of view became extinct years
ago. It certainly should have. It was all too common when I was a
undergraduate music major. But thanks to the brave work of Harnoncourt,
Leonhardt, Bruggen, the Kuijken's, Monrow, Hogwood, and so many others (I
leave out the somewhat odd but irreplaceable charters of the early 20th
century who pioneered the movement), it is a view who's time has passed. The
best, well balanced commentary I know is an article by Stanley Sadie, "The
Idea of Authenticity" which can be found in the "Companion to Baroque Music"
edited by Julie Anne Sadie, U of California Press. I implore the readers on
the list with an interest to read and consider this article if they want a
true understanding of what the HIPsters are trying to do, including the
limits to authenticity.
One point of irony is that the composers whose works we try to recreate may
not have understood what we are trying to do (I think old JS just may have).
They had very little historic perspective. The original Academy of Ancient
Music was assembled to play works about 20 or so years old!!! The way people
thought about "art" music then was really very similar to the way people
view popular music today, audiences expecting something new all the time,
yesterday's music like yesterday's news. There are several reasons for our
changing views. On the positive side, it is a sign of a more mature outlook
in Western musical thought. Prior to the modern era, we were sometimes like
adolescents, living only in the here and now, completely egotistical and
desperately insecure, trying to stay "with it"(there were exceptions such a
Mendelssohn). The HIP movement is a sign that we just may be moving past
that stage, to a realization that the asthetics of past generations have
something to say to us today.
A much less positive reason is the failure of modern composers to capture
the interest of a large percentage of the musically educated population. As
one can only hear the 19th and fewer 20th century "classics" so many times
before ennui sets in, and as, for whatever reason, 18th century and earlier
aesthetics seem to speak more strongly to many people they, both on the
performing and listening end, have filled the vacume with old music (please,
let's not get into a long discussion of modern music, the archive speaks
volumes). You may not like this, but it's a fact.
Whatever the reasons for its increased popularity, however, I feel that
striving for authenticity is admirable, useful, and to a surprising degree
achievable.
Amen.
End of sermon and overly long sentences.
Steve Goldman,
Glenview, IL
sjgoldman@-----.com
-----Original Message-----
From: Mark Gustavson [mailto:mgustav@-----.com]
Subject: Re: [kl] Some remarks on composer Mark Gustavson's interesting
comments
Doing historical research and using that knowledge to update scores of their
inaccuracies is one thing. But to think that one can perform an authentic
performance or to do as they would have--even though you are totally out of
the flow of the performance practice of late 18th c. Vienna--a performance
practice which never ended or died it evolved organically and mutated into
another performance practice and into yet another performance practice etc.
to where we are now. Our current practice includes that practice as part of
its history. But there are no direct common bonds between now and then only
a continuous flow of change. Yet for some reason there are those who want
to go against nature and find the authentic way as if the old way is
better. Just as I am sometimes unhappy about some aspects of the current
performance practice of my music I am sure Mozart wasn't always crazy about
the performance practice of his time.
Mr. Leeson if you want to inquire about my musical education, teachers and
my approach to composing, just ask , DON'T GUESS which you seem to want to
do in performance. My attack on this thread is based on the impossibility
and absurdity of wanting authenticism and an attack on those who believe it
should change the current practice. As far as my homework assignment, I have
done some reading on this subject and I lived in Amsterdam for a year on a
Fulbright where plenty more of this goes on than here and I went to Columbia
University and knew scholars who did research in this area. But it is all
historical and one cannot simply think we are doing music wrong because one
discovers how it was done then or buy an old clarinet and perform on it and
even think for a moment that this is more correct.
I agree with you that there are different ways of performing a piece or
period but I think your attitude suggests that your way should change what
is happen now when in fact it had its time.
Mark Gustavson
------------------------------
Date: Tue, 02 Mar 1999 14:38:06 -0500
From: David Blumberg <reedman@-----.com>
Subject: re: check this article out
http://206.114.88.130/news/ncovtue.htm
You have to see that one (or at least Ed Lacy must). The title of the
article is "Soloist to get stolen Bassoon back, 43 years after it was
stolen".
It is in Tuesdays paper, so I hope that article is still around when this
note is read.
David Blumberg - My Tempo Accompaniments for Woodwind Players (150+ pieces,
Playable Demos)
reedman@-----.com
http://www.mytempo.com (new address)
---------------------------------------------------
------------------------------
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