 The Clarinet BBoard
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Author: clarinetwoman
Date: 2012-08-07 19:16
Any reports for those of us who couldn't attend. ? Anything would be appreciated..........
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Author: weberfan
Date: 2012-08-07 22:13
It was my first, and I enjoyed it. Diane Barger at the University of Nebraska did a splendid job organizing it all. No time to take advantage of all the events.
Quick highlights: Master classes with Fred Ormand, Jessica Phillips Rieske and a double treat: Ricardo Morales and a wonderful Italian player, Corrado Guiffredi, combined to coach five college players. The students were all fine technically; Ricardo and Corrado focused on musical expression. Wonderful to see how good playing turned into artful singing.
Final night's concert featured Gregory Smith playing Premiere Rhapsody with the Lincoln Symphony Orchestra; Jessica Rieske played the Mozart concerto. Both were splendid.
The theme, Heritage to Horizon, offered lectures on the artistry of Daniel Bonade and Robert Marcellus, as well as Kalmen Opperman.
And the ballroom was given over entirely to great clarinet toys: Buffet, LeBlanc, Yamaha, Patricola, Bakun, Rossi, etc.
Helpless in the face of all that, I bought a mouthpiece and a gizmo for adjusting reeds.
Post Edited (2012-08-08 15:22)
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Author: Ken Shaw ★2017
Date: 2012-08-07 22:41
Chuck -
Did you see an order form for recordings? I'd love to hear the Heritage to Horizon lectures. Who gave them?
Ken Shaw
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Author: weberfan
Date: 2012-08-07 23:15
Ken,
The lectures were by Larry Guy, on Bonade; A panel on Marcellus master classes that included Kathy Jones, Bob Walzel, Gary Whitman, Ron Odrich, Gregory Smith and Dennis Nygren, among others; a 60-minute film on Marcellus, compiled by Gregory Smith, and a lecture by Ron Odrich on lessons with Bonade and Marcellus. As I recall, Ron's topic was their "long-term effects on a jazz clarinetist." Denise Gainey, of U. Alabama/Birmingham, lectured on Opperman, with whom she studied for several years.
Apologies, though. I didnt see an order form.
Chuck
Post Edited (2012-08-07 23:20)
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Author: johng ★2017
Date: 2012-08-08 00:18
I thought this was the best of the 4 or 5 I have been to. The Lincoln Neb. venues were very good and a short walk from the hotel. That was good since it was hot for the 1st few days. The exhibits were interesting and useful since I was looking for a mouthpiece to solve a particular performance issue. As always, there were plenty of screaming high notes played in the exhibit hall. I was trying different Eb's so I contributed, but kept it soft....one does not have to play an Eb loud, I think.
I also appreciated the number of lecture sessions since I get a bit tired of tons of clarinet recitals. My favorite lectures were Deborah Reeves about the clarinets in the National Music Museum, the two techie sessions from Adam Ballif and Yoder/Lignitz. Lisa Canning also presented a thoughtful session about the arts in the 21st century. There was plenty of chances to hear about Robert Marcellus.
The most fun concert was Karel Dohnal's performance of Stockhausen's Harlekin. I had never seen this done and Dohnal performed with style and humor. Jessica Phillips Rieske played a silky smooth Mozart Concerto and Eddy Vanoosthuyse played as amazing as I have come to expect.
Overall I appreciated the variety of performances and lectures. Diane Barger and her crew of helpers did a great job.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: sfalexi
Date: 2012-08-08 02:46
I got the chance to go and i had a great time. This one was fairly bass clarinet heavy. And low and behold, bass clarinet CAN sound nice!!! And i didn't know the range of the bass clarinet could be higher than i can play on Bb!!!
I tried out and played around with tons of toys and mouthpieces. If i ever get some time this week i intend to post a thread with what i thought of some of the new products that i tried out.
It was great. I know i'll never make the italy one, but i have high hopes to make it to louisiana in 2014.
The concerts were very good, a very good mix of traditional music and contemporary music. And i got some exposure to clarinetists i hadn't heard or even heard of before that sounded great and i now i have to learn more about them and find music by them.
Alexi
US Army Japan Band
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Author: Grabnerwg
Date: 2012-08-08 04:57
Also, Buffet had their new "Divine" (pronounced DA-Veen) model available for looking, touching, and playing. I got to play on it and listen to others. (Full disclosure - I am a Buffet Dealer). I thought that the Divine was quite an impressive clarinet. I like the fact that it has no rings - the rings are replaced by carbon fibre wire. It makes the clarinet feel much lighter.
For those who were fortunate to attend the Buffet reception, there was a special treat. Mark Nuccio played a short recital on the Divine. He, of course, sounded wonderful as usual.
Walter Grabner
www.clarinetxpress.com
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Author: clarnibass
Date: 2012-08-08 05:26
>> I like the fact that it has no rings - the rings are replaced by carbon fibre wire. It makes the clarinet feel much lighter. <<
Much lighter? Maybe there were other reasons too? The four metal socket rings weigh about 20g total. How much do the carbon fiber replacements weigh? 2g each maybe? Less? More? Much ligher than what, a Tosca? I imagine regardless of the rings, the extra keys compared with R13 would make the Divine heavier, unless there was something else making it lighter.
Post Edited (2012-08-08 07:03)
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Author: babrinka77
Date: 2012-08-08 06:52
>>Helpless in the face of all that, I bought a mouthpiece and a gizmo for adjusting reeds.<<
Hi Weberfan;
New gizmo for adjusting reeds?? Could you tell me a bit more, i'm always an open minded when it comes to toys for adjusting reeds, i'm a disater with the knife...hahaha...ATG helped a lot though.
Anything new about synthetic reeds??
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Author: weberfan
Date: 2012-08-08 13:28
Babrinka77---
I bought an item called the Reed Geek. It's a small rectangular steel bar with finely honed edges that allows you to scrape, smooth and adjust a reed in your hand. I've seen ads for it but had never held one. It's easy to use and, for my purposes, is great for traveling (it's not a security problem at airports).
Basically, it is a combination of reed rush, ATG and a reed knife--I'm not that steady with the knife either. I'll still need some practice with my newest toy, though.
Obviously I have no professional or personal relationship to the company. A friend at ClarinetFest bought one and suggested I take a look. It was on sale there at $2 off the $40 retail price.
I wasn't focused on synthetic reeds, though I recall seeing a display carrousel with various versions of Legere reeds.
chuck
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Author: babrinka77
Date: 2012-08-08 13:40
Thanks for the information Chuk!, i already have the Reed Geek...hahahah!! I use it to flatten the bottom of the reed and i'm quite glad, it works good for me in combination with the ATG. I have the Reed Wizard in my mind though, to complete my staff of reed finishing toys!.
I'm Spanish, so the Clarinet Fest is a bit far away for me, what a pity!! I hope i'll go someday!
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Author: johng ★2017
Date: 2012-08-08 13:44
I second the good review about the Reed Geek. I bought one at the ClarFest, too. I like a well machined tool and as Chuck said, it is very handy. Although it works quite well in place of a reed knife, it excels in flattening the back of the reed. This is something I have never had good luck with. When I have done this on a flat glass with sandpaper, it has tended to just ruin the reed. The Reed Geek is made with perfect straightness and if you use it lightly it will find the warped areas and take care of the problem. It also has special areas for the reed sides, the bark, and localized material removal with lots of control. In a way it is like using a pencil eraser. I also do not have a commercial interest in this product, I just like gadgets that work.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: babrinka77
Date: 2012-08-08 14:07
Hey John!
I agree with you about the Reed Geek, any experience with the Reed Wizard??, it's more expensive than the Reed Geek and the ATG, so have to make myself sure..
Any new brand, tool, etc.. in the Fest??
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Author: Ed
Date: 2012-08-08 14:19
I bought a Reed Geek a few months back. While it seemed well made, I found that most all of what it can do I can more easily do with my reed knife. I will also often use a file to flatten a reed. In the time that I was using it, I often found myself grabbing my knife to do the job a little better and more quickly. I ended up selling the Geek.
I have use a reed knife for many years and am pretty comfortable with it. I can see that the Reed Geek can perhaps be good for those who fly often or those who are less than comfortable with a knife, which often takes some getting used to.
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Author: johng ★2017
Date: 2012-08-08 15:56
babinka77 - I have had a Reed Wizard, but thought it was not flexible enough in where it took the material it took off the reed. I thought the advantage of the Reed Wizard was how well it balanced the reed from side to side. It was pretty automatic. The problem is that it isn't always the physical measurement that matters in balancing, but the reed density from one side to another as well.
John Gibson, Founder of JB Linear Music, www.music4woodwinds.com
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Author: Tom Puwalski
Date: 2012-08-08 20:33
One place the reed geek is better than a knife is getting the little window off the back of the reed. And not getting my students expelled from school for carrying concealed reed "shiv"
Tom Puwalski www.clarinetgourmet.com
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Author: Ken Shaw ★2017
Date: 2012-08-08 20:48
A sheet of 320 or 400 grit black sandpaper costs a few cents. I've used it over a sheet of plate glass to flatten reed bottoms for years.
I also have a gigantic flat file, 23" long and 1-5/8" wide, which I got for $2 from a hardware store that was going out of business. It also works great, though you need a wire file cleaning brush to get the dust out.
Ken Shaw
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Author: Buster
Date: 2012-08-08 21:29
It is almost impossible to completely flatten the back of a warped/non-flat reed with sand paper. (A file works slightly better.)
The reed wobbles slightly at the high spot and can at times make matters worse. Carpenters don't sand surfaces completely flat if so desired, they use a plane. The ReedGeek looks like it operates on the same principle, as does a very precisely and properly sharpened reed knife; though, using a reed knife to work down that high spot takes some practice and a steady hand.
(The same issues of flattening a mouthpiece table on sand paper arise: the mouthpiece "wobbles" at the high spot if not held precisely and pulled just so. Also, the "leading" edge of the high spot tends to dig into the paper only making that high spot more pronounced.)
And the "wire file cleaning brush" is called a file card if you're looking for one at the local hardware store. Be carefully how you use it though; it is uni-directional and becomes useless if pulled in the wrong direction.
-1066
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Author: Lelia Loban ★2017
Date: 2012-08-09 14:56
>> It is almost impossible to completely flatten the back of a warped/non-flat reed with sand paper. >>
I do it by glueing the sandpaper to a plastic block, holding the block in my bench vise and then rubbing the reed on the sandpaper. I use Elmer's white glue. When the sandpaper wears down too much to be useful, I lay the block in some water until the glue softens, peel the sandpaper off and replace it.
Lelia
http://www.scoreexchange.com/profiles/Lelia_Loban
To hear the audio, click on the "Scorch Plug-In" box above the score.
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Author: Ken Shaw ★2017
Date: 2012-08-09 15:23
I lay a whole sheet of 400 paper over a thick sheet of plate glass and have never had trouble getting the bottom completely flat by pressing hard down the middle of the bark.
Bass and, even more, contra players know that as the reed breaks in, the wood swells. Since the bark keeps it from expanding up, it expands down, creating a high area down the center. I simply keep putting it back on the sandpaper and glass until everything stabilizes. I think the same thing would happen no matter what tool you use.
I bought boxes of Vandoren #5 bass sax (Eb contra) and contrabass (BBb contra) reeds. By the time I got them stable, they were down to #2 or #2.5, which is just right for me. Fortunately, they last practically forever. My best BBb reed is one I set up in 1968 and keep for performances.
Ken Shaw
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Author: sfalexi
Date: 2012-08-09 23:13
Ken Shaw wrote:
> My best BBb reed is one I set up in 1968 and keep for performances.
>
> Ken Shaw
Wow! And i thought those people who kept the same reed for 6 months plus were out there! But hey, to each their own, right? I dont subscribe to the blown out clarinet theory, and you don't subscribe to the blown out reed theory.
Alexi
US Army Japan Band
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Author: weberfan
Date: 2012-08-10 14:38
Earlier in this thread, Ken Shaw asked about the availability of recordings of the various Heritage to Horizon lectures at ClarinetFest.
Diane Barger, who organized the event at the U. of Nebraska, tells me that there are no recordings or videos but that you can get in touch with individual lecturers to see whether they can provide transcripts.
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Author: DavidBlumberg
Date: 2012-08-10 14:52
Ken, there haven't been any audio order forms for festival recordings in over 10, maybe even 12 years.
Everybody got uptight from the various permissions, licensing, etc, etc, etc that became standard place.
So it's not done anymore. Was great when they did it, doubt ever will again.
Last festival that I know of that had audio recordings for purchase of festival performances was Ostend Belgium 99' ClarFest.
http://www.SkypeClarinetLessons.com
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