Klarinet Archive - Posting 000304.txt from 2004/06

From: Andy Raibeck <klari_1@-----.com>
Subj: Re: [kl] Oklahoma Clarinet Symposium and Lomax C-11 mouthpieces
Date: Fri, 18 Jun 2004 17:48:43 -0400

Very nice write-up.

I was there as well (this was my first OU symposium), and enjoyed it very much,
even more so than ClarinetFest. All of the artists were most gracious. A couple
of particularly nice encounters:

- After Emily Wasson's performance of "Prelude: Undaunted" by Jason Bahr (a
very nice piece for unaccompanied clarinet), I asked her if she knew where I
might get a copy of the piece, and she replied, "Why don't you ask the
composer?" (who, unbeknownst to me, was the person standing next to her). Well,
Jason just pulled out a copy of the piece and gave it to me!

- I had asked Annette Luyben to bring a copy of Meyer Kupferman's "Moonflowers,
Baby!", along with some other music that I planned to purchase from her at the
symposium. As it turned out, this piece was on the program, to be performed by
John Cipolla. After John's performance, I met him backstage and asked if he
would be willing to provide some pointers on how to go about studying the
piece. Understanding that he was probably very busy, I didn't expect more than
the "25-words-or-less" version (which would have been fine!). Well, he did give
me some very practical advice that applies to practicing technically
challenging music in general; but then he pulled his copy of the piece out of
his case and walked me through it, page by page, pointing out how to do this or
articulate that, etc. He must have spent 10 or 15 minutes with me, certainly
far more than I expected!

- I had a chance to talk extensively with Tom Ridenour; a very educational
experience. I bought his ATG ("Against the Grain") reed finishing system, but
haven't had a chance to watch the accompanying DVD yet. He has a very
intersting approach to reed finishing that he swears by, as does a frind of
mine who also bought his system (I'm also interested in knowing how others make
out with the Reed Wizard). And -- small world! -- it turns out that he is good
friends with my first private clarinet teacher, Ken Legace, who used to teach
at the Hartt College of Music.

- And speaking of a small world: On my way home, I happened to be on the same
flight as the young lady who assists with the Luyben table at festivals. The
gentleman sitting in the same row with us oveerheard us talking clarinet, and
he mentioned that that he was a trombone player (I didn't catch his name). It
turns out that he played in the Salt Lake City Jazz Orchestra during the Eddie
Daniels/Phil Woods/Tad Calcara jazz performance at least year's ClarinetFest!

Regards,

Andy

--- Anne Lenoir <AnneLenoir@-----.net> wrote:
> I attended the Oklahoma Clarinet Symposium June 3-5 and heard a lot of
> wonderful clarinet playing while I was there. I was particularly
> mesmerized by the clarinet tone and playing of Thomas Martin, the
> Associate Principal Clarinetist from the Boston Symphony.
> I spent a lot of time trying out Lomax Mouthpieces, specifically
> their new C-11 model, and I bought 2. I am no longer playing my Vandoren
> M-30 because I have problems with response and articulation that I don't
> have with the Lomax Chicago 11. I heard Howard Klug trying out the C-11
> and he sounded better than ever. He was playing a very difficult riff
> from "Tocatta & Fugue" by Bach, and I was pretty annoyed that I couldn't
> play the riff. I practiced it continuously and now my right hand is
> functioning much better. Howard sounds better and better all the time,
> and he has a lot of great music from WINDIANNA. I bought 3 of his Bach
> Sonatas that he transcribed for 2 Clarinets and
> Bass Clarinet, or 2 Clarinets and Bassoon. We are playing Sonata #1
> tomorrow at a wedding with Gregg Brown, the principal bassoonist in the
> Colorado Springs Philharmonic, and Ms Darryll Stevens, Clarinet & Flute
> instructor at Colorado College. I wish Howard could "cure" me of my
> inability to play the "Pollacka" from the Weber Concerto. I just can't
> go that fast. He is a marvelous teacher of technical mastery, and I know
> I could "get it" if I could work with for a while and figure out what
> I'm doing wrong.
> I understand that Dr. Etheridge also bought a Lomax C-11 and he
> sounded terrific. Dr. Etheridge also sounds better and better every
> year, and I am so grateful to him for having the Oklahoma Clarinet
> Symposiums, which are so well organized and intimate. The Symposiums
> have become my home base for my clarinet family of friends.
> Pam Muncy and Annette Luyben were the 2 best dressed ladies at the
> Symposium, and they were both as helpful as ever in finding things that
> I had to buy, including my new, streamlined Pro-Tech reed case, that
> fits into my petite BAM case without bulging or busting the zipper.
> Annette sold me some beautiful pieces that Tom Martin had played on his
> recital.Francios Kloc looked wonderful in his pink shirt, and I tried to
> get him to dance the Samba with me while I played a Brazillian tune, but
> he was too busy fixing clarinets. Jon Cippola also looked wonderful in
> his pin striped suit, and he gave a program of contemporary clarinet
> music that was wonderful. I missed his presentation on Sidney Bechet due
> to delays in flights. I bought a Reed Machine from Ben Armatto, and I
> doubt that I will ever have reed problems again.
> Nancy Buckman, my new clarinet buddy, was my room-mate and we had so
> much fun checking out all the booths and the recitals. We had time to
> get a couple of beers at "The Library", a nice restaurant behind the
> music building. I believe that Nancy also bought a reed wizard and a
> Lomax mouthpiece.
> Ken Pewploski is a great jazz clarinetist who played Saturday night.
> He sounded just wonderful, but it depresssed me, because I was trying to
> follow the chord changes in my head, and he moved so fast that he left
> my brain in a cloud of dust. I would need to play most of his selections
> at tempo "Grave" or near death. That's all for now. ANNIE
>
>
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