Klarinet Archive - Posting 000890.txt from 2001/09

From: AnneLenoir@-----.net (Anne Lenoir)
Subj: [kl] Fwd: FW: Read This
Date: Fri, 28 Sep 2001 22:46:50 -0400

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Dear clarinetists, I just got this letter that had been forwarded to a
fellow clarinetist friend in NYC, Neal Haiduck. I just loved it. ANNIE

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From: Nhaiduck@-----.com
Subject: Fwd: FW: Read This
boundary="----_Part_3bb4df3d-0209-37e1-010203040506"
Message-ID: <27.1bc07440.28e6393d@-----.com>

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Thought you'd like this.

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Thu, 27 Sep 2001 11:52:14 -0700
Thu, 27 Sep 2001 18:52:13 GMT
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From: "sheryl g haiduck" <sherylgerber@-----.com>
Subject: Fwd: FW: Read This
Date: Thu, 27 Sep 2001 14:52:13 -0400
Message-ID: <LAW2-F1346iZkxUWZoI000039d1@-----.com>
X-OriginalArrivalTime: 27 Sep 2001 18:52:14.0011 (UTC) FILETIME=[858FF0B0:01C14785]

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anita gravine (i htink - pastamusic?) sent this to me

----Original Message Follows----
From: Sheryl Haiduck <shaiduck@-----.edu>
Subject: FW: Read This
Date: Thu, 27 Sep 2001 14:38:26 -0400

-----Original Message-----
From: Pastamusic@-----.com]
annmcenery@-----.com; Sheryl Haiduck;
jimtoniferguson@-----.com;
annmcenery@-----.it;
lucifede@-----.net
Subject: Fwd: Read This

Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp

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Message-ID: <l03130302b7d8c7f06f2c@-----.215]>
From: Bill Kirchner <kirch@-----.com>
newartens@-----.com
Subject: Read This
Date: Thu, 27 Sep 2001 08:17:23 -0400
charset="iso-8859-1"

>From: D7PLUS9@-----.com

>Send this on to as many school of music students you can... and whomever
>
>else you feel should read this:
>
>
>
>
>William Harvey, a freshman studying violin performance at Juilliard,sent
out
>this e-mail last week.
>
>
>
>
>
>
>
>
>
> Yesterday I had probably the most incredible and moving experience
>
>of my
>
>life. Juilliard organized a quartet to go play at the Armory. The Armory is
a
>
>
>
>huge military building where families of people missing from Tuesday's
>
>disaster go to wait for news of their loved ones. Entering the building
>
>was
>
>very difficult emotionally, because the entire building (the size of a
>
>city
>
>block) was covered with missing posters. Thousands of posters, spread
>
>out up
>
>to eight feet above the ground, each featuring a different, smiling,
>
>face. I
>
>made my way into the huge central room and found my Juilliard buddies.
>
>For
>
>two hours we sightread quartets (with only three people!), and I don't
>
>think
>
>I will soon forget the grief counselor from the Connecticut State Police
>
>who
>
>listened the entire time, or the woman who listened only to "Memory"
>
>from
>
>Cats, crying the whole time.
>
>At 7, the other two players had to leave; they had been playing at
>
>the
>
>Armory since 1 and simply couldn't play any more. I volunteered to stay
>
>and
>
>play solo, since I had just got there. I soon realized that the evening
>
>had
>
>just begun for me: a man in fatigues who introduced himself as Sergeant
>
>Major
>
>asked me if I'd mind playing for his soldiers as they came back from
>
>digging
>
>through the rubble at Ground Zero. Masseuses had volunteered to give
>
>his men
>
>massages, he said, and he didn't think anything would be more soothing
>
>than
>
>getting a massage and listening to violin music at the same time.
>
> So at 9:00 p.m., I headed up to the second floor as the first men
>
>were
>
>arriving. From then until 11:30, I played everything I could do for
>
>memory:
>
>Bach B Minor Partita, Tchaik. Concerto,Dvorak Concerto, Paganini
>
>Caprices 1
>
>and 17, Vivaldi Winter and Spring, Theme from Schindler's List, Tchaik.
>
>Melodie, Meditation from Thais, Amazing Grace, My Country 'Tis of Thee,
>
>Turkey in the Straw, Bile Them Cabbages Down. Never have I played for a
>
>more
>
>grateful audience. Somehow it didn't matter that by the end, my
>
>intonation
>
>was shot and I had no bow control. I would have lost any competition I
>
>was
>
>playing in, but it didn't matter. The men would come up the stairs in
>
>full
>
>gear, remove their helmets, look at me, and smile.
>
>At 11:20, I was introduced to Col. Slack, head of the division.
>
>After
>
>thanking me, he said to his friends, "Boy, today was the toughest day
>
>yet. I
>
>made the mistake of going back into the pit, and I'll never do that
>
>again."
>
>Eager to hear a first-hand account, I asked, "What did you see?" He
>
>stopped,
>
>swallowed hard, and said, "What you'd expect to see."
>The Colonel stood there as I played a lengthy rendition of Amazing
>
>Grace
>
>which he claimed was the best he'd ever heard. By this time it was
>
>11:30, and
>
>I didn't think I could play anymore. I asked Sergeant Major if it would
>
>be
>
>appropriate if I played the National Anthem. He shouted above the chaos
>
>of
>
>the milling soldiers to call them to attention, and I played the
>
>National
>
>Anthem as the 300 men of the 69th Division saluted an invisible flag.
>
>After
>
>shaking a few hands and packing up, I was prepared to leave when one of
>
>the
>
>privates accosted me and told me the Colonel wanted to see me again. He
>
>took
>
>me down to the War Room, but we couldn't find the Colonel, so he gave me
>
>a
>
>tour of the War Room. It turns out that the division I played for is
>
>the
>
>Famous Fighting Sixty-Ninth, the most decorated division in the U.S.
>
>Arm
>
>He pointed out a letter from Abraham Lincoln offering his condolences
>
>after
>
>the Battle of Antietam...the 69th suffered the most casualties of any
>
>division at that historic battle. Finally, we located the Colonel. After
>
>thanking me again, he presented me with the coin of the regiment. "We
>
>only
>
>give these to someone who's done something special for the 69th," he
>
>informed me. He called over the division's historian to tell me the
>
> significance of all the symbols on the coin.
>
> As I rode the taxi back to Juilliard...free, of course, since taxi
>
>service is free in New York right now...I was numb. Not only was this
>
>evening
>
>the proudest I've ever felt to be an American, it was my most meaningful
>
>as a
>
>musician and a person as well. At Juilliard, kids are hypercritical of
>
>each
>
>other and very competitive. The teachers expect, and in most cases get,
>
>technical perfection. But this wasn't about that.The soldiers didn't
>
>care
>
>that I had so many memory slips I lost count. They didn't care that when
>
>I
>
>forgot how the second movement of the Tchaik. went, I had to come up
>
>with my
>
>own insipid improvisation until I somehow (and I still don't know how)
>
>I got
>
>to a cadence. I've never seen a more appreciative audience, and I've
>
>never
>
>understood so fully what it means to communicate music to other people.
>
>And
>
>how did it change me as a person? Let's just say that, next time I want
>
>to
>
>get into a petty argument about whether Richter or Horowitz was better,
>
>I'll
>
>remember that when I asked the Colonel to describe the pit formed by the
>
>tumbling of the Towers, he couldn't. Words only go so far, and even
>
>music can
>
>only go a little further from there.
>
>Your friend,
>
>William Harvey
>

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