Klarinet Archive - Posting 000089.txt from 2009/07

From: "MICHAEL MARMER LINDA MARMER" <mlmarmer@-----.net>
Subj: Re: [kl] doublers - help!
Date: Sun, 19 Jul 2009 22:40:14 -0400

Maybe the performing group could perform the pre show 1920's music?

Mike
----- Original Message -----
From: "Walter Grabner" <grabnerwg@-----.com>
To: <klarinet@-----.org>
Sent: Sunday, July 19, 2009 9:52 PM
Subject: Re: [kl] doublers - help!

I have played many shows where it was difficult getting into the pit,
past the other instrumentalists, and avoiding tripping all over the
wires for the stand lights.

Trying to walk in all at once, carrying say, a clarinet, a flute, a
tenoro sax, and a bass clarinet, is a prescription for disaster.

I have usually arrived early, set up the instruments in place, stored
all the cases backstage, then warmed up quietly, and be ready fifteen
minutes before curtain.

I do agree that extended practicing, playing cadenzas, etc. are out of
place in front of the audience.

Anyway, that's my objection to warming up backstage.

Walter Grabner
www.clarinetxpress.com

On Sun, Jul 19, 2009 at 6:05 PM, Karl Krelove<karlkrelove@-----.net>
wrote:
> What the director isn't getting is the extra complication of multiple
> instruments. The singers undoubtedly *do* warm up - backstage - while the
> twenties music is being piped in out front. No doubt in a community show
> the
> director may not be especially aware of any problem he's causing. The
> brass
> players, assuming they aren't doubling, probably don't feel the problem as
> acutely, either.
>
> You say in your original post, "Our conductor has received more than his
> share of grief from the director and says that he has to 'choose his
> battles' and that in the long run he'd lose this one anyway." Does this
> mean
> that the issue hasn't even been brought up to the director? Before anyone
> considers quitting over this, the director needs at least to be aware that
> it's a problem.
>
> In the end, if the issue has at least been brought to the director's
> attention without getting a workable accommodation, you have two choices -
> find a way to live with it or don't play. If the director refuses to work
> with you, he (she?) won't be the first community theater director who has
> overplayed his authority and damaged a community organization's
> cohesiveness
> (from the sound of it, he/she has already made the pit conductor feel
> disrespected) in the interest of showing his/her more elevated sense of
> art.
> Maybe next year's director will be more sensitive to the world that exists
> beyond a foot away from his nose.
>
> Karl
>
>> -----Original Message-----
>> From: josh stein [mailto:jstein53@-----.net]
>> Sent: Sunday, July 19, 2009 3:49 PM
>> To: klarinet@-----.org
>> Subject: Re: [kl] doublers - help!
>>
>> of course musicians need to warmup like the singers in the show. if
>> the
>> director does not understand that one needs to warmup before they start
>> playing the real thing, than the director is a moron.
>>
>>
>> ----- Original Message -----
>> From: "Rich Gordley" <rgordley@-----.net>
>> Subject: [kl] doublers - help!
>> >
>> >>OK gang, I need some opinions on a ridiculous situation.
>> >>
>> >>I'm currently playing a run of "Hello Dolly!" with a community
>> >>theater. This is a volunteer gig which means the musicians get
>> >>treated worse than usual. Last night we were told that we can no
>> >>longer warm up in the pit because the director wants to play 1920s
>> >>(?!) music over the speakers in the auditorium while the patrons are
>> >>arriving.
>
>
> ------------------------------------------------------------------
>
>

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