Klarinet Archive - Posting 000571.txt from 2002/06

From: "Laurence Young" <klarinette@-----.net>
Subj: [kl] Everybody back to bed.
Date: Tue, 18 Jun 2002 03:11:04 -0400

Okay I didn't mean to send that out to the whole list, but there you have
it. Sorry to pollute the list with my rantings. (by the way I have nothing
against Libby Larson, Michael Torke, Chris Rouse, Joan Tower, and company,
my only point was he didn't really cover much atonal music and the like,
Stockhousen, Babbit, Messian, Boulez, and so on.) Maybe I'll go practice
now.

Zzzzzz,
Larrzzzzzzzzz

P.Z. Zzzzzzzzzzzz

----- Original Message -----
From: "Laurence Young" <klarinette@-----.net>
Subject: Re: [kl] New clarinet for the new year.

> Mr. Leupold,
>
> D'oh. I was just reading through some of my old filed away e-mails and I
> came across yours. I'm sorry it's taken me so long to get back to you.
> Anyway, the contemporary music situation at Peabody is this. In theory
you
> spend one semester on contemporary theory (from circa 1900-1950). The
> emphasis is on regular theory with the added Babbit square, Hanson, etc.
> forms of analysis. They don't emphasize the techniques too much just give
> you an introduction to what's been done in the first half of the last
> century. They basically ignore everything written since 1950. The last
> class of the year (that is not the final exam) my teacher gave us a list
of
> current composers whom he thought were good, Libby Larson, Michael Torke,
> Chris Rouse, Joan Tower, and so on. Obviously his bias was against
anything
> serial, post serial, and that route. We basically spent the whole
semester
> working on Debussy, Ravel, Bartok, and Barber. I found the class boring
and
> pedantic as if trying to apply outdated analysis techniques to situations
> which were inappropriate.
>
> As far as playing goes, there is an outstanding group which meets on
> Saturday morning called the Peabody Camerata conducted by Gene Young (no
> relation). This group, of which I'm lucky to be counted as a member,
plays
> only contemporary music, including Frank Zappa (!), John Zorn (!), Gregory
> Ligetti (we did the Chamber Concerto which is hard as ...!!!!), and
several
> student and (for me anyway) unknown composers. As far as the orchestra it
> seems to favor standard rep. with a tip each year to Shostakovich and
> Mahler. There is also a student composer added each year but I can't say
> there's anything worth playing again... much less listening to again.
>
> There is a very good contemporary 'history' class which gives the student
a
> broad range of what's been composed in the last century and the teacher
> doesn't seem to have the theory department's fear of atonal music. They
> cram it all in the history dept. but they do cover, Jazz, Rock,
non-western
> influences, plus classical music (that is symphony and opera stuff) from
> non-western countries.
>
> Overall I think the situation is okay at Peabody as far as contemporary
> music. There is some exposure and some playing opportunities. There is
> plenty of room for improvement but there are places to go at Peabody for
the
> inclined performer or acedemian. Again I'm sorry it took so long for me
to
> reply to you.
>
> Larry
>
> ----- Original Message -----
> From: "Neil Leupold" <leupold_1@-----.com>
> To: <klarinet@-----.org>
> Sent: Sunday, January 06, 2002 1:53 PM
> Subject: Re: [kl] New clarinet for the new year.
>
>
> > Hello Laurence, welcome aboard. Question for you: I have a friend who
got
> > her master's on flute at Peabody -- quite a refined player, in fact --
and
> > she recently bemoaned to me the absence of contemporary music in
Peabody's
> > formal curriculum, both in orchestral and chamber settings. Only now,
in
> > her life as an active freelancer in New York and Long Island, has she
> begun
> > to revel in the exploration of modern repertoire and the creative
> opportun-
> > ities therein. This was stunning to me, given the otherwise
comprehensive
> > level of her knowledge and musicality. Is that still the case? Are
stu-
> > dents earning degrees there without at least rudimentary exposure to
music
> > by living composers in a lab, if not performance, context?
> >
> > Thanks,
> > Neil
> >
> > --- Laurence Young <klarinette@-----.net> wrote:
> > > Hello there, everyone. My name is Laurence Young. I live in Maryland
> and
> > > I'm a music performance major (clarinet of course) at the Peabody
> Institute,
> > > in Baltimore, where my teacher is Mr. Edward Palanker. I've got a
year
> and
> > > a half left on my Bachelor's Degree there and then it's off to
something
> > > else. I'm not really sure what that something else is yet but it does
> > > appear I will have to make some choices here very soon. I am a dues
> paying
> > > member of the International Clarinet Association and I have been to
> several
> > > of their conferences including last year's in New Orleans. I'm not
sure
> > > what else to tell you all. I look forward to hearing what everyone
else
> > > here on the list talks about regarding the clarinet. I'm sure I will
> learn
> > > a lot from what you all have to say. I wish you all the best of reeds
> for
> > > the new year.
> > >
> > > Sincerely,
> > > Laurence E. Young
> > >
> > >
> > > ---------------------------------------------------------------------
> > >
> >
> >
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