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Klarinet Archive - Posting 000695.txt from 1999/04

From: Roger Shilcock <roger.shilcock@-----.uk>
Subj: Re: [kl] RE: foreign exchange [was: Bartok Roumanian Dances]
Date: Thu, 15 Apr 1999 04:09:32 -0400

Belgian francs are the same as Luxembourg francs. These days, thhey
would have to accept euros, too. Would that help anybody?
Roger Shilcock

On Wed, 14 Apr 1999, Michael Cogswell wrote:

> Date: Wed, 14 Apr 1999 11:19:22 -0400
> From: Michael Cogswell <Michael_Cogswell@-----.com>
> Reply-To: klarinet@-----.org
> To: "'klarinet@-----.org>
> Subject: [kl] RE: foreign exchange [was: Bartok Roumanian Dances]
>
> Easy payment in foreign currency via the post office is far from simple, at
> least in the US.
> Last summer my daughter was injured while travelling in Europe, generating
> three minor bills I had to pay to organizations in Luxembourg. The post
> office was useless. They do indeed sell money orders in some foreign
> currencies (not Luxembourg francs), but not in a user-friendly way. If you
> give them a check in US$, it gets sent to their foreign exchange center (in
> St. Louis, I believe) where a money order in the desired currency is created
> at the rate current on the day of the conversion. So, there is no way to
> buy a money order for a fixed amount in a foreign currency since the
> exchange rate isn't known at the time you write the check. This is a great
> system to send a fixed amount of US$ to your relatives overseas, but is
> useless for any commercial transaction where you need to send a fixed amount
> of the other currency. My bank would issue money orders in foreign
> currencies on the spot, but their fee was way too high. I finally used a
> commercial service I found on the web (www.ruesch.com) that charges a flat
> $3 to create a draft.
>
> MikeC
>
> -----Original Message-----
>
> Date: Wed, 14 Apr 1999 08:01:06 -0400
> To: <klarinet@-----.org>
> From: "Mark Charette" <charette@-----.org>
> Subject: Re: [kl] Re.[k] Bartok Roumanian Dances
> Message-ID: <003901be866e$7afa4860$5fe11fce=mtfuji>
>
> From: jean <jean.conti@-----.ch>
> > Ordering from his website
> http://www.sneezy.org/avrahm_galper/index.html) is impossible
> > because there is no transport charges defined, no bank account or
> postal address where to
> > send the money (10 $+charges).
>
> <snip>
>
> For low cost and safe funds transfer, try your local postal office. Many
> sell international money orders.
>
> <snip>
> ----
> Mark Charette@-----.org/clarinet
> "Cards by Aimee", http://www.sneezy.org/Aimee
> "The phenomenon is too variable for proper study" often
> translates from "I don't know how to get musicians to do
> anything twice the same" - A. H. Benade
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 07:54:44 -0400
> To: <klarinet@-----.org>
> From: "Mark Charette" <charette@-----.org>
> Subject: Re: [kl] Clarinet Summit
> Message-ID: <002501be866d$973f0700$5fe11fce=mtfuji>
>
> From: <KlarBoy@-----.com>
> Summit
>
> > I just got a flyer for The New England Conservatory's Clarinet Summit.
> It
> > will be a 6 day clinic with Stoltzman and Kalmen Oppermann. The fee
> for the
> > seminar is $1,000. Is it just me or this really high?
>
> That included room & board, so it's around $167/day in Boston. Not
> exceptionally cheap, but not as bad as it may have initially looked.
> ----
> Mark Charette@-----.org/clarinet
> "Cards by Aimee", http://www.sneezy.org/Aimee
> "The phenomenon is too variable for proper study" often
> translates from "I don't know how to get musicians to do
> anything twice the same" - A. H. Benade
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 08:58:40 -0500 (CDT)
> To: klarinet@-----.org
> From: Neil Leupold <nleupold@-----.edu>
> Subject: Re: [kl] Clarinet Summit
> Message-ID: <Pine.3.89.9904140844.A29902-0100000@-----.edu>
>
> On Wed, 14 Apr 1999 KlarBoy@-----.com wrote:
>
> > I just got a flyer for The New England Conservatory's Clarinet Summit. It
>
> > will be a 6 day clinic with Stoltzman and Kalmen Oppermann. The fee for
> the
> > seminar is $1,000. Is it just me or this really high? For that kind of
> > money you could have ten or more lessons with anyone in the country.
> > Wouldn't that be a better use of the cash? This is not meant to discredit
>
> > either of these two great clarinetist, I just find something a little
> amiss
> > here.
>
> Does this $1000 fee include room and board? If so, this would
> have an adjustment effect on how much the actual activity would
> cost a participant.
>
> Neil
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 10:19:48 EDT
> To: klarinet@-----.org
> From: GTGallant@-----.com
> Subject: Re: [kl] Clarinet Summit
> Message-ID: <5c21df31.2445fe04@-----.com>
>
> In a message dated 99-04-14 09:58:46 EDT, you write:
>
> << The fee for the
> > seminar is $1,000. Is it just me or this really high? For that kind of
> > money you could have ten or more lessons with anyone in the country. >>
>
> Yes, it is a ripoff. If you like playing in clarinet choirs and watching
> Opperman make reeds all week, then go for it! They house you at a local
> college dormitory, so the room and board shouldn't be that expensive. I
> knew
> of several people who attended and they were dissapointed. All they did was
>
> accompany Stolzman w/clarinet choir!
> Just read the review in the Clarinet magazine, it speaks for itself.
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 05:06:45 -1300
> To: klarinet@-----.org
> From: "Dan Leeson: LEESON@-----.edu>
> Subject: RE: [kl] K. 375
> Message-ID: <009D69BD.0E5DF705.42@-----.edu>
>
> > From: MX%@-----.10
> > Subj: @-----. 375
>
> > The original sextet version of the Mozart Serenade For Winds, K.375 is re=
> ady
> > for your playing
> > pleasure. =20
> >=20
> > The world premier MIDI-Karaoke performance of this work took place Friday
> > afternoon at Vince@-----. The modest circumstances of some of my pre=
> vious
> > world premiers had gotten a little old, so I called my buddy Vince and a=
> sked
> > him if he@-----. Our audience included David who was ot=
> herwise
> > busy constructing a patio cover but passed through from time to time with
> > redwood slats, nails and other hardware of the trade. I=92ve included a
> > photo of
> > the august occasion. =20
> >=20
> > Mozart composed K. 375 for the sister-in-law of the court painter von Hic=
> kel,
> > but he wrote afterward that he especially wanted the court chamberlain vo=
> n
> > Strack hear something of his compositions, so he took some considerable c=
> are
> > with it. He observed that the six musicians lucky enough to have first
> > performed it @-----.=
> =94
> >=20
> > In any case, all of us poor beggars (it seems like that sometimes, doesn=
> =92t
> > it?)
> > can play it now. The original sextet version of the Serenade for Winds,=
> K.375
> > is available for downloading.
> >=20
> > I found two trios which Mozart evidently composed to go along with the se=
> cond
> > Menuetto,=20
> > so you can download both of them and take your pick.
>
> I am afraid you did not. What you found are two trios whose origin
> is speculative and whose inclusion is not justified.
>
> But I am glad that you are paying attention to this wonderful
> early work of Mozart. Just play it as it appears in the Barenreiter
> edition of the Neue Mozart Ausgabe and you will have it exactly
> as Mozart wrote it.
>
> >=20
> > My Web page address for you newcomers is
> > http://chemistry.csudh.edu/oliver/clarmusi.htm
> >=20
> > Happy playing all=21
> >=20
> > Oliver
> >=20
> >=20
> >=20
> > -------------------------------------------------------------------------
> > Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> > Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> > Unsubscribe from the Digest: klarinet-digest-unsubscribe@-----.o=
> rg
> > Additional commands: klarinet-help@-----.org
> > Other problems: klarinet-owner@-----.org
> >=20
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> Dan Leeson, Los Altos, California
> leeson@-----.edu
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 05:09:14 -1300
> To: klarinet@-----.org
> From: "Dan Leeson: LEESON@-----.edu>
> Subject: RE: [kl] Copland Concerto original version?
> Message-ID: <009D69BD.671F4916.4@-----.edu>
>
> > From: MX%"klarinet@-----.65
> > Subj: [kl] Copland Concerto original version?
>
> > It recently came to my attention that the version of the Copland concerto
> > currently published was simplified for Benny Goodman by the composer.
> > Apparently there were a few differences in tessatura in the coda which
> > included a final gliss which adds an extra otave to an altissimo D.
> > Apparently this is the version Charles Neidich plays. Does anyone else
> know
> > any other differences in the versions? Why wouldn't Boosey published the
> > original as an Ossia?
> > Mario
>
> The manuscript of Copland's original version is in the Library of
> Congress. They will sell you a xerographic copy for a few
> dollars if you write and ask for it. What you need to do is to
> buy such a copy and discover for yourself what he wrote originally.
>
> >
> > -------------------------------------------------------------------------
> > Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> > Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> > Additional commands: klarinet-help@-----.org
> > Other problems: klarinet-owner@-----.org
> >
> =======================================
> Dan Leeson, Los Altos, California
> leeson@-----.edu
> =======================================
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 08:30:27 EDT
> To: klarinet@-----.org
> From: Clarguy3@-----.com
> Subject: Re: [kl] Re: More on Reed Knives
> Message-ID: <b0c9bf1b.2445e463@-----.com>
>
> In a message dated 4/13/99 1:35:12 PM Eastern Daylight Time,
> gtruesdail@-----.us writes:
>
> >
> > One summer while playing musicals in Sacramento my co-worker, also a
> > woodwind doubler, spotted a chunk of 2x4 douglas fir the theater
> > carpenters has left in the orchestra pit. My friend had just purchased
> > the latest and greatest Swiss army knife and decided to try to split the
> > lumber. It worked, so he said lets try to make reeds out of this
> > stuff. Making a reed out of a piece of 2X4 became a challenge and. The
> > rules were you could not start on the reed before the overture and the
> > reed must be used to play the exit music or you had to buy a round for
> > the woodwind section after the show. After a few shows we both usually
> > had a working and usable reed. We were both using Hammerschmidts at the
> > time. You might be surprised at what can be done with douglas fir.
> >
> > Has anyone tried other woods?
> >
> Yes, and while one can get many things to vibrate (though none as well as
> Arundo Donax), the major drawback for me is the taste. Pine is particularly
>
> bitter, for example.
> Chuck
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 10:41:59 -0500
> To: klarinet@-----.org
> From: Mark Gustavson <mgustav@-----.com>
> Subject: Re: [kl] Re: More on Reed Knives
> Message-ID: <3714B744.B1C70864@-----.com>
>
> I've gotten a "big" sound from ponderosa pine. ;-)
>
> MG
>
> Clarguy3@-----.com wrote:
>
> > In a message dated 4/13/99 1:35:12 PM Eastern Daylight Time,
> > gtruesdail@-----.us writes:
> >
> > >
> > > One summer while playing musicals in Sacramento my co-worker, also a
> > > woodwind doubler, spotted a chunk of 2x4 douglas fir the theater
> > > carpenters has left in the orchestra pit. My friend had just purchased
> > > the latest and greatest Swiss army knife and decided to try to split
> the
> > > lumber. It worked, so he said lets try to make reeds out of this
> > > stuff. Making a reed out of a piece of 2X4 became a challenge and.
> The
> > > rules were you could not start on the reed before the overture and the
> > > reed must be used to play the exit music or you had to buy a round for
> > > the woodwind section after the show. After a few shows we both usually
> > > had a working and usable reed. We were both using Hammerschmidts at the
> > > time. You might be surprised at what can be done with douglas fir.
> > >
> > > Has anyone tried other woods?
> > >
> > Yes, and while one can get many things to vibrate (though none as well as
> > Arundo Donax), the major drawback for me is the taste. Pine is
> particularly
> > bitter, for example.
> > Chuck
> >
> > -------------------------------------------------------------------------
> > Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> > Subscribe to the Digest: klarinet-digest-subscribe@-----.org
> > Additional commands: klarinet-help@-----.org
> > Other problems: klarinet-owner@-----.org
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 08:47:48 EDT
> To: klarinet@-----.org
> From: Clarguy3@-----.com
> Subject: Re: [kl] two totally unrelated questions: Full clarinet gliss
> Message-ID: <6d75f26.2445e874@-----.com>
>
> In a message dated 4/12/99 12:17:22 AM Eastern Daylight Time,
> ebray@-----.edu writes:
>
> > @-----.org> =====
> > >On Sun, 11 Apr 1999, Erin Margarette Bray wrote:
> > >
> > >> I don't think that you can gliss over that second
> > >> break! I don't think that Whittacre was a clarinetist!
> > >
> > >Actually, it's entirely possible, and pretty easy when
> > >you develop facility with loosening the embouchure and
> > >opening the throat. I have no problem glissing - sans
> > >any discernible breaks or glitches - from clarion D to
> > >altissimo Ab.
> > >
> > >Neil
> >
> > Mu issue is with the fingers--going from a fairly open fingering
> > to a fairly closed one--a la clarion C to (is it altissimo?) c
> > sharp? My embouchure can a bend a pitch pretty far in either
> > direction and it is pretty controlled--just can't seem to make
> > a really good gliss say from the throat B flat to the (clarion?)
> > B natural? How would one make the fingers not make a bump?
> >
> > ebray@-----.edu
> > Erin Bray
> > Grad. Assistant
> > University of Tennessee, Knoxville
> >
> There's an article called "A Clarinetist's Slide guide" in an old NACWPI
> Journal (late 1970's) that addresses this problem directly, based on
> challenges presented in pieces like John Eaton's "Concert Music." The short
>
> answer is, you have to gliss in each of the registers individually and match
>
> the top pitch of one register to the bottom pitch of the next. Thus a slide
>
> from low G to high G involves three individual glissandi, blended together
> at
> the register breaks. So at the top of the chalumeau, one slowly opens the
> register and A keys with one trill key (rh index finger) and then pops
> across
> to clarion B. The high clarion C then is matched with an overblown 4th
> space
> E-flat fingering, and the process can go to G-sharp altissimo like that.
> When one goes the rest of the way to high C (as in the Eaton piece), one can
>
> go that distance on the rh trill keys, but it has to go fast, as these tones
>
> are really unstable. Obviously, one makes considerable oral adjustments,
> but
> I hesitate to call it "throat opening" after Anfinson's and others'
> cineflurographic thesis research.
> I will never forget Robert Marcellus' first response in one of his summer
> masterclasses upon hearing someone gliss from low F across the register to
> high D at the end of the Copland Concerto: "How the h*ll did you do that?"
>
> That indicates, I guess, that some pretty distinguished careers are
> sustained
> without needing to do this particularly often. But it's a good trick.
> Chuck West
> Virginia Commonweath University
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 09:01:08 -0400
> To: klarinet@-----.org
> From: ebray <ebray@-----.edu>
> Subject: RE: [kl] two totally unrelated questions
> Message-Id: <199904141306.JAA15689@-----.edu>
>
> I know someone
> >who went to the hospital with heart failure after taking bootleg Inderal
> for
> >stage fright. Since I'm not a doctor, I won't discuss the medical reason,
> >because I'm afraid someone desperate to cure "knee vibrato" might start
> >rationalizing, "Oh, I don't fit into that category." Please let your
> doctor
> >decide that, and please don't take medical advice from clarinetists.
> >
> >Lelia
>
> I really wasn't giving out medical advice, it was simply a suggestion
> for nerves. Certainly, I would never advise taking any medication
> without a physical and a prescription. The information that has
> been coming out through this venue is very informative, though.
>
> EB
>
> ebray@-----.edu
> Erin Bray
> Grad. Assistant
> University of Tennessee, Knoxville
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 09:14:14 EDT
> To: klarinet@-----.org
> From: LeliaLoban@-----.com
> Subject: the price of lessons (was Clarinet Summit)
> Message-ID: <3856be82.2445eea6@-----.com>
>
> KlarBoy wrote,
> >I just got a flyer for The New England Conservatory's Clarinet Summit. It
> will be a 6 day clinic with Stoltzman and Kalmen Oppermann. The fee for
> the
> seminar is $1,000. Is it just me or this really high? For that kind of
> money you could have ten or more lessons with anyone in the country.
> Wouldn't that be a better use of the cash? This is not meant to discredit
> either of these two great clarinetist, I just find something a little amiss
> here. >
>
> Between the pages of a used music book, I found an old certificate (left as
> a
> bookmark, apparently), dated June 9, 1930, for music lessons from Sears,
> Roebuck and Co. in Lansing, Illinois. Apparently the store gave these
> certificates to people who bought instruments there. On one side is a list
> of prices of lessons for various instruments. The prices are "Regular
> Tuition Rate for Five Lessons," but I'm not sure whether that's the price
> per
> lesson or for an entire set of five lessons. Bear in mind that the dollar
> has inflated a great deal since 1930, but still....
>
> For accordion, banjo, clarinet, cornet, guitar, sax, trombone or ukelele:
> $12.50. For piano: $7.50. For violin: $10.00. Why violin and piano came
>
> cheaper I don't know, unless it was because more teachers were available for
>
> those instruments and therefore the teachers had to compete harder for
> students.
>
> But wait! A bargain! On the back of this ad is a fancy certificate,
> entitling the bearer to a discount. The discount five lesson rate for piano
>
> is $3.75; for violin, $5 and for any of the other instruments, $6.25.
>
> I find myself thinking less about how little the students had to pay than
> about how little the teachers could earn in those dark days at the beginning
>
> of the Depression.
>
> Lelia
> ~~~~~~~~~~~~~~~~~~~~~~
> "All the disorders, all the wars which we see in the world, only occur
> because of the neglect to learn music.... Were all men to learn music, would
>
> not this be the means of agreeing together, and of seeing universal peace
> reign throughout the world?"
> --Moliere, _The Bourgeois Gentleman_, 1670
> Well ... no. But then he couldn't have forseen the Internet.
> ~~~~~~~~~~~~~~~~~~~~~~~
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 09:18:25 EDT
> To: klarinet@-----.org
> From: LeliaLoban@-----.com
> Subject: [kl] vintage reeds
> Message-ID: <efdb7988.2445efa1@-----.com>
>
> Jim Lande asked,
> <Does anybody collect vintage reeds? >
>
> I'm interested in old reeds, too. Haven't been looking for them at all, but
>
> I've been saving whatever I find in old cases, although so far I think all
> the ones I've found are no older than about the late 1950s (maybe not that
> old). I haven't been able to steel myself to put an obviously used reed in
> my mouth. Eeeeeew. In fact, some the apparently-unused ones gross me out,
> too, because they're porous material that would tend to hold onto whatever's
>
> in them and there have definitely been things living and breeding in some of
>
> those cases. I found some gooey green reeds in a half-rotted case that
> contained a sax with a fat, fleshy fungus growing inside. Yeccch. So those
>
> reeds, vintage or not, went straight in the garbage!
>
> I've soaked some clean-looking ones from less-disgusting cases in Sterisol
> (mouthpiece disinfectant, a cold sterilizing solution, sold by Ferree's
> Tools) for an hour, rinsed them, left them in sunlight to dry (sunlight is a
>
> good disinfectant, too) and then re-soaked them the usual way in water and
> tried them out. Haven't died yet.
>
> They've been uniformly dreadful reeds, alas, and began to split and chip
> right away. I think the many years of "ageing" under who knows what
> conditions probably left them brittle. Maybe the Sterisol made matters
> worse. I've decided that when I find a one-of-a-kind reed, I'll leave it
> alone and try to keep it in good condition. When I've got more than one,
> I'll try it out.
>
> Hey, maybe we could start a craze for these on eBay! Wonder what someone
> would give for, "Rare, antique clarinet reeds with unique patterns, possibly
>
> occult symbolism, created by scarce species of non-human life forms...."
> ;-)
>
> Lelia
> ~~~~~~~~~~~~~~~~~
> "The word is 'Pitch and Pay': Trust none."
> Shakespeare, Henry V, act ii, sec. 3, line 51.
> ~~~~~~~~~~~~~~~~~
>
> ------------------------------
>
> Date: 14 Apr 1999 14:04:00 -0000
> To: klarinet@-----.org
> From: charette@-----.org
> Subject: New sponsor of Sneezy
> Message-ID: <19990414140400.4676.qmail@-----.org>
>
> I'm happy to announce a new sponsor of Sneezy.Org:
> A/V Epiphany run by long time Bulletin Board member Harold Keys. If you're
> looking for a new stereo, DVD, entertainment center, or what have you, check
> out
> Harold's site and see how competitive he is!
>
> The site is at http://www.sneezy.org/av_epiphany .
>
> Mark Charette@-----.org
>
> ------------------------------
>
> Date: Wed, 14 Apr 1999 06:33:01 +0000
> To: klarinet@-----.org
> From: Gary Truesdail <gtruesdail@-----.us>
> Subject: Re:New Virus
> Message-ID: <3714369B.28DA@-----.us>
>
> Watch out for a new virus that is being sent to mail rings. It is
> called Happy99
>
> Dont download or double click on anything with Happy99.
>
> ------------------------------
>
> End of klarinet Digest
> ***********************************
>
> -------------------------------------------------------------------------
> Unsubscribe from Klarinet, e-mail: klarinet-unsubscribe@-----.org
> Subscribe to the Digest: klarinet-digest-subscribe@-----.org
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> Other problems: klarinet-owner@-----.org
>
>

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