Klarinet Archive - Posting 000429.txt from 2005/02

From: Adam Michlin <amichlin@-----.com>
Subj: [kl] CBDNA National Conference 2005
Date: Mon, 28 Feb 2005 07:24:38 -0500

The CBDNA (Collegiate Band Directors National Association) National
Conference took place in New York City from February 24-27 where the top
wind ensembles and symphonic bands from across the country descended on NYC
and played some amazing music amazingly well. The programs are available here:

http://homepage.mac.com/grantl/cbdnaprograms.htm

By far the most significant event for the clarinetophile was the world
premiere of Michael Daugherty's "Brooklyn Bridge" for Clarinet and Wind
Ensemble (a concerto) which received its world premiere by the University
of Michigan Symphonic Band with Michael Wayne as soloist. To use a
technical term: wow. Imagine the Copland Concerto (which Daugherty was
clearly influenced by, I think I detected more than one overt quote)
written in the 2004/2005 and then double up the excitement level. Michael
Wayne's playing was extraordinarily musical and virtuostic and
simultaneously flawless.

Member's of USC's wind ensemble did a wonderful job with Mozart's "Gran
Partita". The only fault I could find with their performance is that they
did not indicate which edition they were using. What looked like brand new
basset horns were played quite well and, of course, there were no
contrabassoons to be found. On a non-clarinetal note, the first oboist
stole the show with a performance worthy of the most experienced professional.

The entire event culminated in the New York premiere of John Corigliano's
new Symphony Number 3 for Wind Band entitled "Circus Maximus" performed by
the University of Texas Wind Ensemble. A circus it was, indeed. I don't
think I could describe the experience of having various ensembles and
instruments scattered around Carnegie Hall (there was even a small marching
band, 8 people, which marched around the hall playing while all sorts of
things were going on around them).

I thought, in the best tradition of Ives, the piece was phenomenal. Others
felt it was too over the top (probably true) and was demeaning of the wind
band world (I suspect these are the people who wish to think of Mozart as
the one and only father of the wind band and ignore any of those more, how
shall I say it, distasteful influences on the modern wind band).

I have to add that getting to hear the Mozart in Carnegie Hall was a
singularly unique and amazing experience.

-Adam

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