 The Clarinet BBoard
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Author: Bellflare
Date: 2006-08-13 14:14
It would be cool if they taped or had some sort of feed from recitals. Youtube?
Is it mayhem? Anyone want to report?
I never went to one of those Clarinetfest meetings. I think it ends today. Good luck getting on the planes. Guess there is restrictriction on carrying instruments.
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Author: Mark Charette
Date: 2006-08-13 14:21
Bellflare wrote:
>
> It would be cool if they taped or had some sort of feed from
> recitals. Youtube?
There are copyright restrictions, unfortunately, on broadcasting much of the contemporary music that is played at Clarinetfest or performance restrictions for the performers under contract to various agencies. There are sometimes recordings made available to the attendees, but they can't be sold to the general public.
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Author: Bellflare
Date: 2006-08-13 14:26
Yeah. I groc that.
Some conventions DO provide tapes for a fee as a means of making up some of the costs of poducing the activities
.
Obviously they contract with the discussants (recitalists?) that the proceedings are property of the the agency that puts on the convention. Many of these are providers of continuing education credits for lab techs, nurses, whatever.
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Author: Mark Charette
Date: 2006-08-13 14:30
Bellflare wrote:
> Obviously they contract with the discussants (recitalists?)
> that the proceedings are property of the the agency that puts
> on the convention. s, nurses, whatever.
That's at the performer level. There are the performance and recording copyright of the composers, too, for contemporary work.
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Author: Alseg
Date: 2006-08-14 13:37
I take it that video taping or recording is not permitted.
Since there are (I presume) a lot of costly instruments on the exhibit floor, is security tight?
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: L. Omar Henderson
Date: 2006-08-14 13:45
Unfortunately there were several expensive items pilfered from the exibit floor - security was enforced for those entering but not leaving! There was no prohibition about taking pictures or videotaping posted.
L. Omar Henderson
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Author: EuGeneSee
Date: 2006-08-14 13:57
WoW! It's amazing that security is tight upon entering to keep terrorists from blowing up the convention, but nobody thought that someone might leave the building with a stolen clarinet! At least they might have found it difficult to take home if they were flying out.
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Author: Clarinetgirl06
Date: 2006-08-14 19:35
Omar-
I wonder if the same people who stole from the OU Symposium were now stealing from Clarinetfest.... (I'm not blaming anyone, just trying to find a possible link) or do you think it was just random people in the hotel? Were people required to have their badges on to get into the exhibits? I just think it's very odd that so much stealing has been reported this year at clarinet events. It's not a cool thing.
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Author: L. Omar Henderson
Date: 2006-08-14 20:04
Too much emphasis has been placed on the bad. Yes, badges were required to enter.
The good certainly outweighs the bad because of the awesome performances, master classes, chatting with old friends, making new friendships, and sampling the newest and best products for the clarinetist! Also, a good chance to interview college professors, and learn about various schools and programs.
L. Omar Henderson
Post Edited (2006-08-14 20:09)
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Author: Sylvain
Date: 2006-08-14 20:42
I really wished I was there, if only to hear Carbonare, he is IMHO one of the top musicians in the world not only in the clarinet community.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: mnorswor
Date: 2006-08-14 22:19
I don't know what a lot of the performances were like but the exhibits were certainly ROCKIN! LOTS of people trying out all sorts of new things. I was working at Brad Behn's mouthpiece table and Brad, myself and Richard MacDowell had, at many times, more people than we could handle. It was terrific to see Brad's and everyone else's products do so well!
I had heard through the exhibitor grapevine that one table had three clarinets stolen in a single day. I was "carded" every time that I entered the exhibition room by the students from the universities that were working as monitors. The exhibition room was also locked after everyone left and a security guard was posted there overnight. Seems to me that things were very tight but perhaps thieves can also be very creative in how they lift goods. It's a shame because everyone at the exhibits work so hard to bring their products to the clarinet community. I only hope that it doesn't deter anyone from exhibiting in the future.
Were there other items "lifted" that I don't know about?
Successful and enjoyable convention all around. Looking forward to Vancouver in 2007!
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Author: Alseg
Date: 2006-08-15 12:31
The Orsi Weir horn got a bit of play recently at another symposium. Was this an item featured in Atlanta?
Were there any sound-isolated rooms or cubicles to check out new stuff?
Disclaimer...I had some merchandise on display/trial in Atlanta, but I know how they fared from personal communication. I am interested in the other stuff.
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: L. Omar Henderson
Date: 2006-08-15 12:53
John Weir had a booth at ClarinetFest close to the Forte', Doctor's Products booths and they had quite a bit of traffic and test drivers. They had a wide selection of their clarinets, bells and barrels in traditional and exotic woods. Selmer Paris and Buffet rented try out rooms which were small conference rooms across from the main exhibit area. I did not visit these rooms to assess the acoustics or the number of people at any given time trying out horns but this had to be better than the exhibit hall which had terrible acoustics and was very loud with a multitude of clarinets playing all day. (What is the term for a large number of clarinets playing - herd?, gaggle?, swarm? cacophony ????? >not Choir because this implies some planned interaction of multiple clarinets<)
L. Omar Henderson
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Author: connie
Date: 2006-08-15 14:46
I like the term "clatter of clarinetists" better than anything Wikipedia suggested.
Omar, the program book did have a small item on pg 7 that prohibited the use of any video or audio recording devices. I was tempted to try to use my MP3 player, to help my aging memory, but I was raised as a good Catholic girl, so I didn't. They have offered recordings for sale to participants in the past, but not since 2003, I think.
Personally, I thought the number of vendors was much smaller than in the past, with not nearly so many "cool gadgets" like the claripatch and that halo thing the obstetrician invented to improve low tones. ![[tongue]](http://test.woodwind.org/clarinet/BBoard/smileys/smilie6.gif)
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Author: Alseg
Date: 2006-08-15 14:52
Halo thing? From an ob/gyne??!!!
Hope it is not a pessary ![[hot]](http://test.woodwind.org/clarinet/BBoard/smileys/hot.gif)
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: Bigno16
Date: 2006-08-15 15:15
I am curious as to how Tom Martin played at Clarinetfest. I was told that he was going to be playing some Bach Fantasy transcription that was going to blow everyone away and would soon be on CD. Does anyone have any information on that? How it sounded and when it might be on CD?
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Author: mnorswor
Date: 2006-08-15 15:18
Tom played extraordinarily as he always does. He played Shumann's Romances Op.94 on the Hasty Tribute Concert. He brought printed copies of the Bach Chromatic Fantasy and Fugure with a CD of his playing the piece that were sold from various places, particularly Luyben Music. Ken Grant performed the piece during the concert.
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Author: Bigno16
Date: 2006-08-15 16:23
Well, that's good to hear. Does anyone know when that music and/or CD might be available to the general public and from where?
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Author: donald
Date: 2006-08-16 11:44
kia ora
i travelled to Clarinetfest to perform clarinet duos by NZ composers, and have to say that what i noticed most this year was that lots of people had reed problems. This is just a guess, but i'd say more people than usual ended up on stage thinking "man, this was a good reed 5 min ago!"
But that being said, there certainly were a lot of good performances, and i have to agree that Tom Martin was one of these.
I've never been a fan of Laura Ardern, but have to say that her performance on the last night was stunning (regardless of my opinion of that Brahms transcription, and i can imagine a long post about that!). I couldn't help thinking that she was pretty lucky to be playing in the best acoustic of the week. As a performer i had no problems with the acoustics at the Omni, but as an audience member i felt a little cheated. Where you sat made a HUGE difference to how it sounded.
i only spent about 2 hours total in the exhibits- this was barely enough time to look around and talk to a few old friends, certainly not enough time to try any instruments etc other than the barrel i bought from Mike Lomax (which i tested by sneaking out a back door into a lobby space- an easy route for a thief me thinks). There were plenty of people (including BB regulars) that i would have liked to chat with and only had the chance for a brief greeting. Many of the exhibitors were very very busy, and in some cases the chance to socialise took a back seat to making money- which i certainly ain't gonna to hold against anybody.
Alltogether a good way to spend the week (Clarinetfest, i mean), next week i fly back to NZ for another few months of gigs before Xmas, and i feel excited about playing the clarinet again (and, this will sound nerdy i know, i want to get busy doing more scales...). This morning, however, i am recovering from genuine Tenneseeeee moonshine, and might need to rest my little head.
keep playing the good tunes
donald
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Author: connie
Date: 2006-08-16 21:57
To Alseg re: "halo thing"
And maybe you thought the "real" surgeons were the only inventive ones - hah!
This thing must not have caught on, because I haven't heard any more about it, but I will try to describe in case you can do something with it. (If anyone can verify that I'm not hallucinating, HELP!)
The thing was made of two concentric black plastic rings, one of which fits around the bell, with the other, outer, ring perhaps 6 inches diameter which was supposed to focus the sound more. It was interesting, I'll say that, and I sure hope it wasn't a pessary, 'cause that would be darned uncomfortable.
That's the best I can recall, since it has been 2 or 3 years since I saw it demonstrated (I think it was Salt Lake City) and my visual memory is not too good. Which is why I became a pediatrician instead of a surgeon. Among other reasons.
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Author: Mark G. Simon
Date: 2006-08-18 14:25
Sylvain Bouix:
>I really wished I was there, if only to hear Carbonare, he is IMHO one of the >top musicians in the world not only in the clarinet community.
-----------
Carbonare was spectacular, alright. I thought his one of the more memorable performances. These are the notes I took down about his performance:
Alessandro Carbonare (principal clarinet of the Orchestra di Santa Cecilia in Rome) displayed really astounding virtuosity in his three selections, all of which were of consummate difficulty. "Gat" by G. Fitkin is a post-minimalist romp made up of patterned melodic figures which never have time to sit still and just repeat. Occasionally Carbonare was called upon to sing in unison with what he was playing. A very enjoyable piece. "FZ for Alex" is credited to F. Zappa/A. Chenna without specifying whether this is an arrangement for clarinet and piano of a pre-existing Zappa work, or a modern-day potpourri on popular themes. It had a little bit of Zappa's jazz predilection, his Varese knock-offs, and his rock music. The piece closed with a version of "Let's Make the Water Turn Black" which included all manner of fiendish finger-acrobatics. This brought the house down, and he had an encore in store, a humorous bit in which the scherzo of Saint-Saens' Clarinet Sonata is rendered barely recognizable in a jazz setting.
And I forgot to mention, he also played a fantasia on themes from Verdi's "Un Ballo in Maschera", one of those 19th century operatic potboilers where Verdi's hit tunes alternate with fits of furious arpeggiation. Here too he covered himself in glory.
Time flies like an arrow; fruit flies like a banana--Mediocrates (2nd cent. BC)
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Author: Sylvain
Date: 2006-08-18 18:20
Thanks Mark,
As I said as I am a big big fan. On the recordings, his technique is flawless, his mastery of tone and colour is IMHO unequaled and I also like that he doesn't just stick to the standard repertoire. I am glad to hear he lives up to his reputation in live performances.
I heard that Morales was also spectacular, but in a very different way. He seems to be playing the hardest things without even breaking a sweat...
--
Sylvain Bouix <sbouix@gmail.com>
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