 The Clarinet BBoard
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Author: Blake Arrington
Date: 2010-08-20 00:06
to my knowledge, Olli has already played. Patrick Messina has already played. I don't know if or when Carbonare will play.
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Author: clarinetguy ★2017
Date: 2010-08-20 20:02
Perhaps this has been discussed before--I honestly don't remember--but perhaps someone who is familiar with orchestra auditions can answer a question for me.
I notice that the two (or three) finalists are Europeans. That's all right with me if they are really the best. There are Americans performing in orchestras all over the world, so it's not right to complain--fair is fair. Still, it makes me wonder. There are hundreds of clarinet performance majors, many with doctorates, who have come out of the major US conservatories and universities. These are people who have devoted their lives (and their money)to the clarinet. They have studied with some of the very best clarinet teachers in the world. Many of them auditioned for this job, but none of them made it. Is there something wrong with the way clarinet performance majors are taught in this country?
Post Edited (2010-08-20 20:30)
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Author: William
Date: 2010-08-20 20:08
Probably not so much the way they are taught, but rather the way they play.
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Author: Sylvain
Date: 2010-08-20 20:33
clarinetguy:
If it makes you feel any better, I believe Ricardo Morales was offered the job and turned it down. He's clearly US trained.
Among the 3 finalist, Patrick Messina studied with Franklin Cohen at CIM and Olli Leppäniemi with Yehuda Gilhad at USC. They are no strangers to the US system.
Alessandro Carbonare is really the odd man out here, as he has spent almost his entire career in Europe, but if you've heard him play you won't be questioning his presence in the final 3. As far as I am concerned he is what Chicago needs. A top notch orchestra player with a storied solo and chamber music career. A player with impeccable technique and incredible artistry and musicianship.
--
Sylvain Bouix <sbouix@gmail.com>
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Author: JamesOrlandoGarcia
Date: 2010-08-21 02:38
American trained but not American. There seems to be this fantasy about European players being of a higher plane of existence when it comes to classical music. There are many American players that can pull this job off with all the glory that Larry Combs did. I think the thing is that the CSO wants to have a Lady Gaga of Classical music in those principal chairs. Look at who is playing principal flute and principal oboe. It's only a matter of time when the principal bassoon position opens up and we have the same game.
I wasn't a music major in college but it has to be pretty demoralizing to all those great American players who have given their everything for art of music to have some European swoop on in. It isn't going to boost ticket sales. It makes me more eager to seek out the performances of the Chicago Philharmonic, Symphonetta, and university orchestras even more.
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Author: Bradley
Date: 2010-08-21 05:44
@the infamous James Garcia
Are you kidding? Someone's nationality is more important to you than their artistry?
As someone who has grown up there (if I am no mistaken) you should place value on the fact that some of the finest players in the world are vying for the CSO. That is a great thing about the US- its desire to capitalize on resources available to always deliver a competitive product.
I disagree whole-heartedly about the ticket sales statement. If one of the most proficient clarinetists in the world is playing Principal... that can only help ticket sales. If your conspiracy theory is included in the argument, then yes, the public might be weary of... an IMMIGRANT...
However, I'd like to think that (especially in a city like Chicago) the public deserves more credit than that.
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Author: JamesOrlandoGarcia
Date: 2010-08-21 11:22
Ethnicity isn't important to me. My issue is with the romantic notion that some have that an American really could not do it as well as a European. As for the general public in Chicago, they really couldn't care less. Of all the places and things in Chicago to be controversial, the hiring of new musicians doesn't make the radar.
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Author: Jack Kissinger
Date: 2010-08-21 16:06
"There seems to be this fantasy about European players being of a higher plane of existence when it comes to classical music."
"My issue is with the romantic notion that some have that an American really could not do it as well as a European."
Can you document these assertions? I doubt it. I think, in this case, you are creating a straw man and:
"Some" = "One" = "You"
What a load of horse hockey.
jnk
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Author: Ed Palanker
Date: 2010-08-21 16:40
It's become a very small world in the past few decades and that applies to the clarinet world three fold. Remember the days when there was actually a 'French, a German, a Russian, a English etc. school of playing. Now so many clarinetists travel all over the world, play equipment from other countries other than their own and yes, study with different teachers from different countries. Many students come the America to study with American teachers and many American students go abroad to study with "foreign" teachers. The result has become a very small clarinet world. And yes, as David pointed out, it was an American that won that audition in the first place but decided to stay in Philadelphia, not to shabby an orchestra either. I must admit though that I am surprised that they, as well as the NY Phil, have not been able to hire new principles way before this. There are so many great players auditioning for those jobs. Are they looking for a super player instead of just a simple fantastic player? I always thought that being just fantastic was enough to win a great job, now you have to be something more. I remember the days when you just had to be in the right place at the right time and simply play your best, which of course had to be really, really good, perhaps even "fantastic" for some jobs. Now you have to have one reed and leg in heaven to win a big job. I wonder if some of the great players that have retired would have had a chance of winning their job these days. ESP http://eddiesclarinet.com
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Author: clarinetguy ★2017
Date: 2010-08-21 19:18
Ed, you said it very well.
It's interesting to note that Larry Combs didn't start out as the principal in the CSO. He joined the orchestra in 1974 and moved up to the top job four years later. Stanley Drucker joined the New York Philharmonic in 1948, but didn't become principal clarinetist until 1960. Lorin Levee, one of the principals in LA, started out as bass clarinetist and moved into the top job five years later. His co-principal, Michele Zukovsky, was always a principal (to the best of my knowledge), but originally shared the position with her father, Kalman Bloch. In all of these cases, things certainly worked out very well!
Because Chicago and New York are having so much trouble selecting someone, why not just promote John Bruce Yeh and Mark Nuccio? Both are outstanding, and both have served very well as acting principal players. They have plenty of experience in their orchestras, and that should count for something. Yes, I know, that just isn't how things are done anymore.
Ed said, "Now you have to have one reed and leg in heaven to win a big job. I wonder if some of the great players that have retired would have had a chance of winning their job these days." I know a clarinet player (not a principal) in a major orchestra who has had the job for many years. Whenever I hear this person perform, I'm impressed. This person once confided to me, "If I had to audition for an orchestra these days, I really don't know if I would make it."
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Author: William
Date: 2010-08-21 20:42
Yes, John Bruce Yeh for Chicago's principal. The CSO could do no better--and even if they could, no one of the audience would most likely notice (or care). They will sell just as many tickets no matter who replaces LC. However, John has been loyal to that group for many years, he is a great clarinetist in every way and is a good person. He's paid his dues and certainly deserves to be permanently promoted.
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Author: DavidBlumberg
Date: 2010-08-21 21:25
At this point the NYPO can ask whomever they wish to become their Principal Clarinetist.
Could be me, probably won't..... (well, certainly won't..) but they can ask whomever the board feels like appointing at this point in time without any further audition.
I hope it's Nuccio, but ya never know.
http://www.SkypeClarinetLessons.com
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Author: salzo
Date: 2010-08-21 21:53
Ed wrote:
"Remember the days when there was actually a 'French, a German, a Russian, a English etc. school of playing."
Remember that? You could actually tell where the clarinetist studied. THere were actually, well, "schools" of clarinet playing.
Maybe in the olden days, when American Orchestras had a sound different than European orchestras, it would have made sense to hire an american clarinetist. But these days, EVERYONE sounds the same-there are no longer "schools" of playing-people learn to play the clarinet by listening to the gazillion Cds that are out there (remember the old days, when clarinetist couldnt rely on Cds to "show" then how to play something? THey actually had to study the music).
Just flip a coin and put someone in the chair.
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Author: Iceland clarinet
Date: 2010-08-21 22:21
Salzo I've been now 4 times(5th time after 3 weeks) to Bad Orb in Germany for marching band festival with around 1200-1500 participances every other year since 2002. In 2002 almost all the German/Austrian clarinetist were playing on Ohler clarinets but last time in 2008 almost 50% of German/Austrian clarinetist were using Boehm and they said to me the reason is that Boehm instruments are so much cheaper so more and more young players over there are starting to learn on Bohem system clarinets.
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Author: Dileep Gangolli
Date: 2010-08-22 01:51
You guys are idiots.
The best player should be hired for the principal positions in the world class orchestras.
The audition may be the traditional US style (behind the screen) or the European style (make the candidates play in the orchestra and audition for the other principal winds).
But the best player should be chosen regardless of training, teacher, experience, whatever.
The world is now flat. There should be mobility for the superstar players such as the names mentioned above.
I think that job protection is applicable for section jobs within these world class orchestras where qualified candidates abound within the country.
However, when it comes to soloistic players who are equal to the conductors who are the music directors of these orchestras, it should be the best player available with consensus of the principal players involved.
Case closed.
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Author: clarinete09
Date: 2010-08-22 02:46
Maybe you should respect the others in this forum and dont call them Idiots!
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Author: Tobin
Date: 2010-08-22 03:14
If the suggestion is that Chicago should take the best American player over the best player period, that is idiotic. Perhaps Dileep might have started out a little kinder, but fundamentally he's right.
James
Gnothi Seauton
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Author: Ed Palanker
Date: 2010-08-22 16:44
I don't think it's a matter of finding the best player or not when you get to the caliber of the players mentioned or in the finals. I also don't think it's a matter of being an American or not, at least that's not what I'm suggesting. I think they should choose the best player but does Dileep really think that anyone can actually say who of these great players is the BEST. At some point they are all so good that no one is any better than the others, it comes down to opinions. The problem is that when committees have the right to vote, as they should, I'm not suggesting otherwise, it becomes almost impossible for everyone to agree when the talent is so high. I've seen it myself, maybe not at that level but certainly at a professional level in my orchestra, how difficult it is for a committee to agree on which player is the "best. And once they do can the conductor agree, well not always. So it's not always, or even often, that the BEST player finally wins the job because by that time there are several players that are so good it is impossible to choose the best of the lot. It becomes a matter of style, tone, personality and God forbid, maybe even a tiny little bit of politics. Dileep has no idea what can go on at some of these committee meetings and votes, not the slightest. Dileep can call them idiots but he should know what he's talking about first. Just how do you pick the BEST player when so many are great players? ESP
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Author: Ed Palanker
Date: 2010-08-22 16:58
Part two.
In my orchestra, the Baltimore Symphony, we had an opening in one of our sections that we had three or four national auditions for. The first three times the same candidate reached the finals and every time the conductor vetoed that player despite the committee being unanimous. Finally on the last try the committee went along with the conductors choice. Was that players the best players, not as far as the committee thought, they just got tired of doing national auditions and not getting the person that they felt "won" the audition every time behind a screen of course until the finals.
The other case was in a section that needed an assistant principal and also after many national auditions choose a very fine player but the conductor vetoed that person because they felt the player was not enough of a "soloist". We still haven't filled that opening and now we're on a hiring freeze so we can't even have auditions for that positions after well over five years. At some point it just gets ridiculous. Every orchestra has a trail period of one or two years probation. That's why when a player moves from one orchestra to another they take a leave of absence just in case it doesn't work for them. I say, in most cases, choose the best player you can find and see if they work out, It shouldn't have to take 2,3,or 4 national auditions when the auditioning pool for a great orchestra is so high. That's just my opinion of course. ESP
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Author: William
Date: 2010-08-22 18:24
Maybe, instead of audition committees and non-compliant (stupid) conductors, orchestras should just leave it up to the audiences. Bring out the old applause meter and the candidate who gets the highest number wins the chair. Just a thought......"Idiot" William.
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Author: Tobin
Date: 2010-08-22 19:08
Thank you for the extensive insight Ed!
James
Gnothi Seauton
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Author: MarlboroughMan
Date: 2010-08-22 20:52
Considering the present difficulties symphony orchestras across the US are facing, I wonder if it wouldn't behoove orchestra managment, and even some musicians themselves, to consider how some of these audition soap operas are effecting public perception.
I can say that, locally, the trial between the Plain Dealer and music critic Donald Rosenberg, along with a threatened orchestra musician's strike earlier this year did not lend themselves to kind interpretation by the general populace.
Maybe this doesn't effect the concert-going demographic, but then again, what exactly is the emerging demographic? Now that the "cutural elite" has been dissolved a bit (our local PBS stations more frequently broadcast Doo-wop reunion concerts than Cleveland Orchestra concerts), what will audiences be comprised of? Perhaps the musically trained--former orchestral players who couldn't make a career of it. If so, the audition gamesmanship that is becoming the rule will be a major turn-off to many. I know it is to me.
Ed's points are well made. From my own perspective, I would only add that when many highly qualified, even great, players are turned away and positions left vacant, there is a credibility gap left for those of us who know the calibre of player that was rejected. Likewise there is a sympathy gap when certain players use auditions for means other than legitimately trying to get a job. And when you're not only competing with other artforms and entertainment forms, but also the great ensembles of the past (through recordings) can these folks really imagine there won't be a price to pay with the audience?
As a side note, I've never heard of someone saying anything particularly insightful after starting off with "You guys are idiots." It's generally not worth even bothering to read those sorts of posts.
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Paul Aviles
Date: 2010-08-23 16:01
Boy, you guys really are idiots !!!!
The world is ROUND, not flat !!! :-)
I only wished to add a story.
A colleague of mine told of a young US trombonist who recently took and won the audition for the Vienna Philharmonic. He actually bothered to come back to the states to compete and win a competition that he had entered prior to the Vienna opportunity. His fellow US trombonists where a bit put off by him coming back to seemingly rub their noses in his talent.
As long as slots are open and winnable anywhere, lets just keep it that way.
and.....
Whatever the motives or tastes of the local decision makers are, that is what we are gonna get whether we like it or not.
.................Paul Aviles
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Author: William
Date: 2010-08-23 16:07
"As a side note, I've never heard of someone saying anything particularly insightful after starting off with "You guys are idiots." It's generally not worth even bothering to read those sorts of posts."
Except here, Dileep--in spite of his somewhat antisocial editorial skills--is eminately correct regarding the right for any orchestra to hire the best person regardless of his nationallity or whatever. However, proclaiming that the world is once again "flat"--after Columbus and a lot of scientists have proved otherwise--is definately a step backwards :>)
BOTTOM LINE: CSO & NYP--it's obvious. Promote who you already have in second chair. There really is no "best" or "better". Simple as that--done & over. Now concentrate on ticket sales--that is the real problem that orchestras world wide need to be concerned about.
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Author: Jack Kissinger
Date: 2010-08-23 19:20
But if Chicago promotes John Bruce Yeh to principal, it still has to hire another clarinetist. Also Yeh is Chicago's Eb player, no? Therefore, if Chicago promotes him to principal, not only do they still have to hire a top-notch clarinetist to fill his vacated slot, that person must be a top-notch Eb player as well, potentially changing the pool of candidates dramatically.
How many players of the calibre of the top candidates who applied for the principal position at Chicago (or New York for that matter) would have applied for an associate/assistant principal position? Is an orchestra at the top of the food chain therefore more likely to have a stronger section if it hires a new No. 1 or if it promotes its No. 2 and hires a new No. 2? Think about it. (And this has nothing to do with Yeh's capabilities.)
Best regards,
jnk
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Author: grifffinity
Date: 2010-08-23 21:06
Quote:
Therefore, if Chicago promotes him to principal, not only do they still have to hire a top-notch clarinetist to fill his vacated slot, that person must be a top-notch Eb player as well, potentially changing the pool of candidates dramatically
Indeed. IMO this is one of the reasons why Nuccio wont be considered for NYPhil Principle.
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Author: William
Date: 2010-08-23 21:20
Jack, Greg Smith, CSO regular second clarinetist, is an excellant Eb player so they are covered there. It would just be a matter of hiring someone good enough to fill out the section, not necessarily a "star" to share soloist duties. I'm also certain that Laurie Bloom could also play soprano clarinet parts in repretoire not calling for bass clarinet. With a section already in place like John Bruce-Yeh, Gregory Smith and Laurie Bloom, who needs a fourth player anyhow? Just kidding, of course--I know that having the fourth player is the best instrumentation, but my point is that they are making too big a deal out of this. Orchestra's have bigger concerns to worry over these days--and I'm guessing that Chicago is not entirely exempt.
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Author: J. J.
Date: 2010-08-24 05:58
Right. Making too big a deal out of hiring a principal player who could be there for 30 years.
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Author: MarlboroughMan
Date: 2010-08-24 10:36
"Right. Making too big a deal out of hiring a principal player who could be there for 30 years."
It's a big decision, no doubt.
But remember, the audition doesn't determine whether someone gets tenure. Winning the audition is just the first step--a big step, but not the final decision.
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Ken Shaw ★2017
Date: 2010-08-24 13:00
grifffinity -
>IMO [the fact that he's the NY Phil. Eb player] is one of the reasons why Nuccio wont be considered for NYPhil Principle.<
I disagree. Any player at that level can handle the Eb. In fact, I've read that Stanley Drucker joined the NYPhil as the Eb player, and Gino Cioffi said that when he came over from Italy, his calling card was his amazing Eb playing.
Ken Shaw
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Author: J. J.
Date: 2010-08-24 14:15
"Any player at that level can handle the Eb. In fact, I've read that Stanley Drucker joined the NYPhil as the Eb player"
So, so wrong. They might be passable, but not necessarily to the level needed.
Regarding the fact that the audition does not determine tenure, that is true but also misses the mark. If an orchestra hires someone on the level of one of these players, we would all bash them for firing them a year later on subjective grounds. You have to at least try to take care of those style and subjective measures in the audition, rather than uproot everyone's life for a year.
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Author: MarlboroughMan
Date: 2010-08-24 14:29
"Regarding the fact that the audition does not determine tenure, that is true but also misses the mark. If an orchestra hires someone on the level of one of these players, we would all bash them for firing them a year later on subjective grounds."
There have been, in the not so distant past, examples of players who won principal auditions yet who were not offered tenure after a season or two. It didn't create a huge scandal: it's part of the process.
(And no, I'm not going to name names. Those who dig into orchestra histories can find them).
******************************
The Jazz Clarinet
http://thejazzclarinet.blogspot.com/
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Author: Ed Palanker
Date: 2010-08-24 15:50
That has happened in our orchestra on a few occasions and I know it's happened in many other orchestra's as well. You can't tell how a player will fit into an orchestra's section musically or personally until a player has played for a while. Sometimes the winner of an audition loses the job after having a "trial" week but sometimes it takes a lot longer to discover the real problems of blending, getting along with the section or "following the directions of the conductor". It does not create a public perception problem. Our former principal cellist, a fantastic player, we had a trio together, won his job with us after serving as principal for one year on a trail basis in another major orchestra and didn't get tenure. He came to Baltimore, was very well respected and after a number of years here has now moved on to be principal in another major orchestra, one that pays quite a bit more then we do. The point is, it happens to the best of them. ESP
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Author: Ed Palanker
Date: 2010-08-24 15:59
"Any player at that level can handle Eb clarinet". That statement is probably true of most really fine clarinet players. If a really good clarinet player sets their mind to it and practices the Eb clarinet I think the mass majority will be able to do a very fine job at it. It's not like the bass clarinet that takes a different approach to voicing and perception. I've never had a student that could not learn to play the Eb clarinet reasonable well but I've had some, few of course, that just could not get their grip of playing the bass well. I learned how to play all of them while in school. I felt I had to take lessons on the bass clarinet, besides clarinet of course, to really master it but had little problems with the Eb other then my sore lip and learning the difficult repertoire, especially Daphnis and Chloe. ESP
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Author: Sylvain
Date: 2010-08-24 17:52
Now, to get back to the original post.
Accroding to Carbonare website, he will play the opening program with Muti (Berlioz Symphonie Fantastique and Lelio) Sept 23, 24, 25 and 28.
--
Sylvain Bouix <sbouix@gmail.com>
Post Edited (2010-08-24 18:00)
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Author: Ed Palanker
Date: 2010-08-25 15:12
David, of course this has nothing to do with the topic but I thought I'd respond to your statement from above about playing the bass clarinet.
The bass clarinet is a different animal from the clarinet and certainly the sax. I agree that most players, if they set their mind to it, can learn to play the bass clarinet, the big question is at what level they can reach. There's playing it and sounding really good at it, at a symphony players level. I've had a lot of experience helping woodwind doublers learn how to play the bass clarinet. Most of them that have come for help use a soft reed and sound more like a sax than a decent bass clarinet. The usual problems are playing above the staff, G to C and skipping down to the lower register from the break or above. The main reason I've experienced when players have trouble with the bass clarinet the way they voice. They either try to voice the bass like a clarinet or like a sax but it needs to be voiced like a bass clarinet. Sure, any talented player can probably learn to play just about any instrument. My point was that in my experience most talented students find it easier to learn to play the Eb at the same level of their Bb clarinet playing than it is to learn to play the bass clarinet at that level, it's a lot harder. ESP
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Author: grenadilla428
Date: 2010-08-25 15:18
I'm back!
Um, wow. I had no idea I was opening this big a can of worms. Lots of interesting stuff to read, though! :-)
BTW, thanks Blake and Sylvain.
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Author: asabene
Date: 2010-08-27 03:12
Yes, as it stands, Carbonare will be playing the opening series with Muti. I actually spoke to him about the trial period with the CSO and he said at the time he was set to play the first concert series with a chance of playing maybe the following series too, but that that had not been set yet. For comparison, Olli Leppaniemi played (if i remember correctly) two concert series, one including Mother Goose Suite and the other with Rach 2. He sounded wonderful in both (I went to one concert in each series). I did not get to hear Patrick Messina, but he did get raving reviews from those I know heard him. I am not, however, sure if he is a finalist, or just a guest principal. I will have to check into that. For example, a few weeks earlier, Ricardo Morales had played guest principal. Originally, I heard only Olli Leppaniemi and Alessandro Carbonare were the two finalists. And, lastly, in the defense of the CSO, I can assure everyone that they want to find a principal as much as anybody else out there. From my understanding, after the first audition, it was more an issue of deadlock than the committee rejecting every candidate. On theories of people moving around in the clarinet section, I have a hard time seeing that happen. The idea of moving everyone around into new positions I think is unprecedented.
Post Edited (2010-08-27 03:14)
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Author: DavidBlumberg
Date: 2010-08-27 03:40
Andrew, I also spoke with him about the trial.
I'd like very much to see him get it.
Ed, what I meant was that a Clarinetist who was also a Sax player doesn't voice only like a Clarinetist, and would not approach the Bass as a strictly Soprano Clarinetist would. Possibly would be a bit more flexible with that.
http://www.SkypeClarinetLessons.com
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Author: Dileep Gangolli
Date: 2010-08-28 13:52
Here's the deal. The true final round if you will.
Carbonare has to survive a Chicago winter so they should really make him play in the dead of JAN. Then they will know what he is made of. (Remember, Lurie ran away for the glamor and sun of Hollywood and the rest is history).
Olli has to go out for a post-concert supper at an Olive Garden with Muti and show that he is comfortable eating Italian food even if it is bad.
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Author: William
Date: 2010-08-28 14:31
Yes, Dileep, the "Chicago Winter" is almost as important a deciding factor as raw talent. Mitchelle Laurie said that very thing at a clarinet clinic here in Madison a few summers ago. Something to the effect that had it not been for Chicago's cold weather, "Larry Combs may never had become Chicago's principal". Make Cartonare walk down Michigan Ave to Orchestra Hall for an audition in January and find out what he is really made of....LOL.
Really, I'll bet he could do it and play just fine, as Laurie would have, had he been "man enough".
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Author: DAVE
Date: 2010-08-28 15:00
Coldest I have ever been was in Chicago.... -74 windchill!! I was walking to see Mrs. Doubtfire... thought I would freeze to death. Had to take a taxi for ONE mile to get home. It was awful...
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Author: Ed Palanker
Date: 2010-08-28 15:30
I is an interesting scenario that a player that is used to living in a warm climate has to learn to live and play in a cold climate. Ricardo Morales was raised in Puerto Rico and ended up in NY and now Philly. Sure that's a far cry from Chicago but it's a big jump never the less. I suspect that most people can do it if it means enough to them but certainly there are those that will not be able to adapt. What a shame it would be if they hired someone and they quit after one or two seasons for that reason.
Asanebe said "On theories of people moving around in the clarinet section, I have a hard time seeing that happen. The idea of moving everyone around into new positions I think is unprecedented."
I have to remind him that Drucker and Coombs began as assistant 1st and both were offered the principal position when it opened. As a matter of fact Coombs went to the New Orleans Symphony earlier as the bass clarinetist and moved up to principal and John Bruce Yea joined the Chicago Symphony as the bass clarinetists and moved up to assistant 1st shortly after Coombs because principal. It does happen. I'm not suggesting it should in this case, I'm just saying it has in the past in both the Chicago and NY Phil. I'm sure it's happened else where to, I just can't think of where and when.
David, I've had several sax players, doublers, come to me to learn how to play the bass clarinet because they were having problems "voicing" the bass.
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Author: grenadilla428
Date: 2010-11-30 02:11
Any news? I've heard a couple rumors, but haven't seen anything on the CSO's website, nor on Olli's or Alessandro's websites.
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Author: ned
Date: 2010-11-30 05:46
"There seems to be this fantasy about..........''
Jack how do you do the bold and italic type?
It's most useful on BBoards - particularly when we all speak varying dialects of English.
thanks in anticipation,
jk
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Author: kdk ★2017
Date: 2010-11-30 10:30
Check out the Help/Rules link for tags you can use (similar to html tags) for bold, italic and other effects. Also the Smileys/Notes link for tags to use for emoticons and music notes.
Karl
Post Edited (2010-11-30 10:33)
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Author: ned
Date: 2010-11-30 19:56
OK - Thanks
The other BB I communicate through offers a ''B I U'' bar. It's so much easier.
Having just previewed those last three words I see that all are in italics, although I set the brackets before and after just the ''so'' word and all is now bold.
I need practice in undoing the highlights!!
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Author: kdk ★2017
Date: 2010-11-30 22:27
You need two tags - a beginning one and an ending one. Start the highlight style with [style (italic, bold, underline, etc.)] and follow it with [/style].
There are several useful tag pairs shown in the Help list.
Karl
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Author: Alseg
Date: 2010-12-01 01:02
So now that we had a lesson on italics, anything new with the
CSO? Ya know, the original thread.
Neato.........the fonts worked!!
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: Sylvain
Date: 2010-12-02 15:00
Given that Muti was sick and won't be with the orchestra for a little while, I don't expect any decision to be made until he is back.
We may have to wait a little while longer for this one...
--
Sylvain Bouix <sbouix@gmail.com>
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Author: Greg5Dprian
Date: 2010-12-03 01:59
I just learned about this young player.. I sincerely think someone should contact him about playing in either NYPO or CSO- He could definitely handle i.. Just wow...
http://www.youtube.com/watch?v=-WfmVanUNq8
Greg Dorian
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Author: ned
Date: 2010-12-08 04:47
Thank you Karl for your tips.
''So now that we had a lesson on italics, anything new with the
CSO? Ya know, the original thread.''
And, thank you Allan for your patience. My question may not have been in context, but I ask them as I need them, I hope you don't REALLY mind.
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Author: Alseg
Date: 2010-12-08 13:50
Ned, nope. I didn't mind.
In fact, someday, when the original question to this post is answered, we can all congratulate the winner in our newly-learned italics font.
kudos
Former creator of CUSTOM CLARINET TUNING BARRELS by DR. ALLAN SEGAL
-Where the Sound Matters Most(tm)-
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Author: Jack Kissinger
Date: 2010-12-08 14:56
Italics??!!
"That's about as interesting as the type of string tied to your pull-through!
Or pull-throughs............
Or any other of the boring topics which seem to be posted here...............I can't believe any one would be remotely interested in this topic................I can't believe that I'm actually taking the time to write this either."
"It's not asking too much is it, if some folks could do an archives search, BEFORE asking a question which will undoubtedly have been asked ad nauseum over the years?"
"So, now you will be no doubt pleased to learn, this will be my last reply to inconsequential posts unless of course, the overwhelming urge to respond to trivia again overtakes me."
If any of you are wondering why I would post something so sarcastic and mean-spirited in response to ned's simple innocent question (though he did unnecessarily hijack a thread to ask it and everyone would have been better served had he chosen to start a new thread), scan down the following thread:
http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=339316&t=339259
to ned's posts.
BTW, ned, while your question has not been asked "ad nauseum" over the years, it has been asked (and answered) before and, had you taken your own advice and used the search function on "italics" without the quotes, one of the earliest items in the returned list would have shown you how to begin and end a phrase in italics.
Apologies to the moderators.
Rant over,
jnk
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Author: ned
Date: 2010-12-09 02:39
Jack,
Touche'.
Your point is well made, I guess I should have taken my own advice.
It's the pressure cooker environment of recent retirement to which I shall direct the blame.
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The Clarinet Pages
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