 The Clarinet BBoard
|
Author: larry
Date: 2001-12-21 18:08
I attended a performance last night of the New York City Ballet's Nutcracker and had a good opportunity to observe the behavior of the orchestra. Sitting in the front row, I noticed that the clarinet section was the most animated, jocular, fidgety and talkative bunch of fellows. Most all the other orchestra members played their parts and remained motionless during rests. The clarinetists, on the other hand, chatted and joked with each other and other nearby musicians (most notably the adjacent horn player). Is this normal?
I was particularly struck by the odd (?) behavior of the bass clarinetist: it seemed that after every passage, no matter how short, he removed, adjusted or replaced his reed. Can't the man find a good reed?
I'm not really complaining, especially since the activity in the clarinet section was more interesting to me than that on the stage, and my three year old daughter certainly enjoyed the ballet, but could somebody (maybe even Steve Hartman if he's checking out the bulletin board today) please explain what was going on down there last night?
|
|
Reply To Message
|
|
Author: Gordon (NZ)
Date: 2001-12-21 21:07
Maybe it was a borrowed bass clarinet 17 serious leaks. Some players think they can fiddle with a reed to overcome what are really leak problems.
Perhaps it was a clarinetist's first time on bass clarit and he thought he could overcome what were really embouchure problems by reed fiddling.
|
|
Reply To Message
|
|
Author: IHL
Date: 2001-12-21 21:25
Posted by Larry:
Is this normal?
Damn straight it is!
|
|
Reply To Message
|
|
Author: Steve Hartman
Date: 2001-12-21 21:52
Dear Larry:
Your timing is absolutely impeccable! It happened to be the first night of a radical change in the seating plan for the NYC Ballet Orchestra. The horns have always been on the other side of the pit, nearer the rest of the brass. Our new music director is experimenting with different setups. The purpose of Friday night's setup was to enable the first stands of the string sections to see and hear one another better. She moved the second violins opposite the first violins and put the horns over where the back of the cello section used to be. The horns and violas were very unhappy and tonight (Friday) we're going back to the old setup. I loved having the horns near us and also hearing the piece in different balance than I'm accustomed to - it makes you listen differently. After hundreds of performances in one seating any change is welcome.
As to our bass clarinetist, Bryan Hysong: He is a terrific bass clarinetist but last night his best reed, which had been serving him so well, died, leaving him scrambling for a replacement. He spent the entire intermission working on reeds so that he'd have something for the big solos in the second act. He managed to play his solos beautifully in spite of whatever reed trouble he was having. Because of the proximity of the horns, there was a lot more conversation than usual during that performance but I'd be lying to you if I told you that we never converse during shows. Hey-at least we're all talking to one another!
I'll be happy to try and answer any other questions you may have.
Best to all -and thanks to David Hattner for bringing this to my attention.
Steve Hartman
|
|
Reply To Message
|
|
Author: beejay
Date: 2001-12-22 07:29
I once went to a student performance of The Magic Flute in Paris where there was more going on between the first and second clarinets than there was between Papageno and Pagageno.
|
|
Reply To Message
|
|
Author: William
Date: 2001-12-22 15:49
Steve and the rest of the NYC Ballet:
You're reference of "after hundred's of performances" reveals what great professionals you must all be. To be able to play the same music, night after night, and make it sound like the first performance for each new audience that hears you every night is a credit to your musicianship as well as your stamina. I get bored after a series of three symphony concerts of the same music, and even begin hate the longer running musicals, no matter how good the actors delivery their lines, choreography and song. Even the jokes lose their "punch" as the number of performances climbs and we begin performing our "books" from memory. With the longer running shows, we all look forward to the (inevitable and often humorus) mistakes and the necessary improvs they create--at least, something different, or fresh, happening on stage. But, despite the relentless repetition of concert series and set shows, even out here "in the sticks" we all try to make EVERY PERFORMANCE "alive and fresh" for our patron audiences and be as professional as we can in practicing our musical art. As a musician who has "been there, done that" for numerous local concerts and musical runs, I can truely appreciate the high level of professionalism that must exist among the members of the NYC Ballet Orchestra at doing the same after "hundreds" of performances. You are the real pros that many of us aspire to be--Good Clarineting (and reed searching) to you all--Happy Holidays as Well!!!!!!
|
|
Reply To Message
|
|
Author: Jim
Date: 2001-12-23 11:29
Boredom is so often replaced by Pride!
Jim(M)
|
|
Reply To Message
|
|
Author: Joseph O'Kelly
Date: 2001-12-23 22:53
I'm sorry but your additude towards conversing with one another during a performance really sickens me. You guys are professionals and should be setting an example. Last year members of the music pit at my high school got in trouble and yelled at for the same behavior you people are reported to display. You are payed to play and although you have a load of tallent, your additude towards your behavior on the job is appauling. When I become a pro I can assure you I will leave the talking untill after the performance.
|
|
Reply To Message
|
|
Author: Lee
Date: 2001-12-24 03:18
Listen, you're right these guys are pros, But they have payed their dues and they could do pretty much what ever the heck they want. I mean know offense, but sometimes members of a clarinet section in an orchestra don't get along because everybody wants to be princible or there is always some kind of tension.
I understand teachers yelling at students because when I'm at school some kids
never know when to shut up when its time to rehearse.
Hey just take it easy.
|
|
Reply To Message
|
|
Author: Keil
Date: 2001-12-24 07:21
I think there is a difference between "acting up"and "having a good time" though it is a fine line, there is difference. I personally find i refreshing to see a section enjoy themselves on the job considering not only the countless performances they've gone through but also the myraid rehearsals. I don't believe the attitude of the section is appauling at all but rather demonstrates the love of music and comraderie. Besides, there are so many people in this world who go to work everyday and hate their jobs, never once cracking a smile or a joke with a co-worker. One thing you mus realize Joseph is that the difference between high school students and professionals is just that. One group is a group of high school students who're probably goofing off in spite of the fact that they can't play their parts whereas the other group is filled with professionals who could stand on their hand and play flawlessly.
|
|
Reply To Message
|
|
Author: larry
Date: 2001-12-24 13:53
Interesting posts - especially thanks to Steve Hartman. It's not often that we get such firsthand insight into the workaday mechanics of an orchestra and clarinet section.
I forgot to add in my original that music was great.
Happy Holidays.
PS - to all you pro orchestra members: you never know who might be watching you from the first row - could be a Sneezy bulletin board poster!
|
|
Reply To Message
|
|
Author: Steve Hartman
Date: 2001-12-24 23:47
Thanks, Larry.
I'm glad you enjoyed the music Thursday night. I am afraid that at most performances you would be quite bored watching the clarinet section. I never change reeds. The other guys occasionally take their reeds off and wipe them but we don't usually put on much of a show. Yes, there are comments passed between us, but we always manage to make our entrances and play our parts. No conductor has ever complained to us about our conduct. Playing in a pit, however, does allow people to talk to one another discreetly whereas, on stage, it would be inaproppriate. I hope our high-school friends understand the distinction - I certainly didn't mean to give the impression that we are guilty of unprofessional conduct or that we take our responsibilities to the music lightly.
Happy Holidays to everyone.
Steve Hartman
NY, NY
|
|
Reply To Message
|
|
The Clarinet Pages
|
 |
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
.jpg){kind=small}
