Klarinet Archive - Posting 000439.txt from 2005/02

From: Tony Pay <tony.p@-----.org>
Subj: Re: [kl] CBDNA National Conference 2005
Date: Mon, 28 Feb 2005 20:59:38 -0500

On 28 Feb, Adam Michlin <amichlin@-----.com> wrote:

> 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

So far, so good.

> 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.

Here I'm flummoxed, to use a technical term. The notion that you can
characterise a piece as 'the Copland Concerto', and then twiddle a 'date of
composition' knob, and then an 'excitement' knob is well beyond my
comprehension.

From what Adam Michlin writes, I have absolutely no idea of what Daugherty's
piece, which may well be a masterpiece, did. Perhaps, if he wants to write
reviews, he needs to develop some more relevant 'knobs' to characterise what
he's writing about.

> Michael Wayne's playing was extraordinarily musical and virtuostic and
> simultaneously flawless.

Musical in what sense? Flawless in what sense, relative to what?

Again, I have no idea of what he did.

> 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.

Oh, poo. You don't need to indicate what edition you're using. I can get
that they were wonderful -- just that I don't know what that means when *you*
say it.

> 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.

Something I understand at last.

> 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).

More of what I understand. Bravo. Still not adequately characterised,
though.

> 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).

Huh?

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

Fine.

BTW, I noticed that you were staying at the same hotel as we were. In fact,
I met David McLune, who was playing the clarinet on my corridor as I walked
past to our performance.

(We (OAE) played Shakespeare's A Midsummer Night's Dream with Mendelssohn's
music at Avery Fisher Hall on 24 February.)

Tony
--
_________ Tony Pay
|ony:-) 79 Southmoor Rd tony.p@-----.org
| |ay Oxford OX2 6RE http://classicalplus.gmn.com/artists
tel/fax 01865 553339

... Always be sincere, whether you mean it or not.

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