Klarinet Archive - Posting 000000.txt from 2009/12
From: "itzik dekel" <dekely@-----.il>
Subj: [kl] RE: klarinet Digest 30 Nov 2009 22:01:02 -0000 Issue 8614
Date: Tue, 01 Dec 2009 01:58:21 -0500
Nothing has changed in Israel. We still give respect to holocaust
victims and survivors, some 35,000 among us, and second and third
generations will probably do the same.
Itzik Dekel
-----Original Message-----
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[mailto:klarinet-digest-help@-----.org]
Sent: Tuesday, December 01, 2009 12:01 AM
To: klarinet@-----.org
Subject: klarinet Digest 30 Nov 2009 22:01:02 -0000 Issue 8614
klarinet Digest 30 Nov 2009 22:01:02 -0000 Issue 8614
Topics (messages 97410 through 97414):
Wagner in Israel
97410 by: Dan Leeson
97414 by: Joseph Wakeling
Re: Musicians Protest use of canned music...by Texas Ballet Theatre...in
the new multi-million dollar Winspear Hall
97411 by: Peter Gentry
Re: Ravel Mother Goose Suite for woodwind quintet - how difficult?
97412 by: Curtis Bennett
Kiss Me Kate
97413 by: Andrew Seigel
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Date: Mon, 30 Nov 2009 07:23:45 -0800
To: "Klarinet" <klarinet@-----.org>
From: "Dan Leeson" <dnleeson@-----.net>
Subject: Wagner in Israel
Message-ID: <C319508639144A328BDECBC592E60C8C@danielsys>
I was asked to update an article I wrote on Wagner and realize that I
stopped paying attention to the Israel/Wagner controversy in 1999. At
that
time, the IPO did not play Wagner (though Mehta tried in 1981). On the
other
hand, the New Israel Opera company's music director, Asher Fisch, wanted
to
mount some Wagner operas.
Can one of our Israeli members of klarinet tell me if the situation has
changed radically since the turn of the century?
Thanks,
Dan Leeson
------------------------------
Date: Mon, 30 Nov 2009 22:58:06 +0100
To: klarinet@-----.org
From: Joseph Wakeling <joseph.wakeling@-----.net>
Subject: Re: [kl] Wagner in Israel
Message-ID: <4B143FEE.1040300@-----.net>
Dan Leeson wrote:
> I was asked to update an article I wrote on Wagner and realize that I
> stopped paying attention to the Israel/Wagner controversy in 1999. At
> that time, the IPO did not play Wagner (though Mehta tried in 1981).
On
> the other hand, the New Israel Opera company's music director, Asher
> Fisch, wanted to mount some Wagner operas.
>
> Can one of our Israeli members of klarinet tell me if the situation
has
> changed radically since the turn of the century?
Well, notably, Daniel Barenboim performed Wagner (an excerpt from
Tristan und Isolde) at the Israel Festival in 2001.
------------------------------
Date: Mon, 30 Nov 2009 15:30:50 -0000
To: <klarinet@-----.org>
From: "Peter Gentry" <peter.gentry@-----.uk>
Subject: RE: [kl] Musicians Protest use of canned music...by Texas
Ballet Theatre...in the new multi-million dollar Winspear Hall
Message-ID: <05B8901B91814B87A618CBF148DA6FE6@VistaDesktop>
Hmm sadly in my experience Engineers and Scientists are required to sign
over all rights as part of their contract of employment not allowed to
file
patents except under the company name with additional restrictions on
having
"ideas" in your own time.
> -----Original Message-----
> From: Michael Nichols [mailto:mrn.clarinet@-----.com]
> Sent: 30 November 2009 02:02
> To: klarinet@-----.org
> Subject: Re: [kl] Musicians Protest use of canned music...by Texas
Ballet
> Theatre...in the new multi-million dollar Winspear Hall
>
> On Sun, Nov 29, 2009 at 4:58 PM, Forest Aten <forestaten@-----.com>
wrote:
> > Fred....
> >
> > The point is....the work the musicians do....has value.
>
> That's right. It's intellectual property--a capital asset.
>
>
> For instance, engineers who work as salaried employees of companies
> and who develop patentable inventions for the company are (at least at
> most big companies) typically paid a bonus for the intellectual
> property rights they create and hand over to the company. A lot of
> those ideas that turn into patents start out as solutions to design
> problems the engineers were already tasked with solving as part of
> their normal duties. But a patent is more valuable than a mere
> design, because it means you can collect royalties from competitors
> (or sue them and get damages--a major source of revenue for some
> patent owners).
>
------------------------------
Date: Mon, 30 Nov 2009 09:05:17 -0700
To: klarinet@-----.org
From: Curtis Bennett <curtis.bennett@-----.com>
Subject: Re: [kl] Ravel Mother Goose Suite for woodwind quintet - how
difficult?
Message-ID: <17319630911300805v27c7760fk1e413974e6c9d85b@-----.com>
I can't speak to the difficulty, but the horn player in my last
quintet had played it, and commented that it wasn't a very
interesting piece. She didn't care for it.
On Sun, Nov 29, 2009 at 3:10 PM, John Ranck <drjayjr@-----.com> wrote:
>
> Anyone familiar with the above as reworked for ww5tet by Linckelmann
and
> published by Baerenreiter? Is it 4 straight quintet or is there picc,
> Eng. horn, etc., involved? Many thanks for any feedback. John Ranck
>
> --
> John Ranck, DMA
> drjayjr@-----.com
> Please visit my website at: http://johnranck.net
>
> ------------------------------------------------------------------
>
--
Curtis Bennett
------------------------------
Date: Mon, 30 Nov 2009 12:52:38 -0500
To: klarinet@-----.org
From: Andrew Seigel <andrew.seigel@-----.com>
Subject: Kiss Me Kate
Message-ID:
<f4306d290911300952u540861e3hfdf0b8b199069d9e@-----.com>
Does anyone have any recent experience with the revised orchestration
of Kiss Me Kate? I'm trying to gather some information about how
substantial the clarinet playing is in each of the four books. Are
they primarily clarinet, or primarily other instruments? I'd also be
interested in any info about how difficult the doubles are in the
more-clarinet-heavy books.
Thanks in advance -
-Andrew Seigel
andrew.seigel@-----.com
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End of klarinet Digest
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