The last 50 postings to Klarinet:
Table of Contents
Subject: [kl] Still looking...
Subject: Re: [kl] Still looking...
Subject: RE: [kl] After Drucker
Subject: Re: [kl] Still looking...
Subject: [kl] And I thought clarinetists were the only ones ...
Subject: Re: [kl] Johann Strauss Waltzes & Rite of Spring
Subject: Re: [kl] C vs Eb Bass Clarinet
Subject: Re: [kl] C vs Eb Bass Clarinet
Subject: Re: [kl] Clear Clarinet
Subject: Re: [kl] C vs Eb Bass Clarinet
Subject: [kl] CLARINETUDES
Subject: [kl] Husnu Senlendirici
Subject: [kl] C vs Eb - Low C in Sousa Marches
Subject: Re: [kl] Johann Strauss Waltzes & Rite of Spring
Subject: [kl] World Music Days Concert this Sunday - NYC (Brooklyn)
Subject: [kl] AOL whitelist
Subject: [kl] Inquirey about a wind octet version of K. 361
Subject: RE: [kl] Inquirey about a wind octet version of K. 361
Subject: [kl] re: Inquirey about a wind octet version of K. 361
Subject: Re: [kl] re: Inquirey about a wind octet version of K. 361
Subject: [kl] RE: about a wind octet version of K. 361
Subject: Re: [kl] RE: about a wind octet version of K. 361
Subject: Re: [kl] RE: about a wind octet version of K. 361
Subject: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: [kl] Christmas music for quintet?
Subject: RE: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: Re: [kl] Mitchell Lurie
Subject: Re: [kl] Christmas music for quintet?
Subject: Re: [kl] Inquirey about a wind octet version of K. 361
Subject: [kl] A bit off topic in NY
Subject: Re: [kl] Mitchell Lurie
Subject: [kl] Re: A bit off topic in NY
Subject: RE: [kl] Mitchell Lurie
Subject: Re: [kl] Christmas music for quintet?
Subject: [kl] Learning to love classical music.
Subject: Re: [kl] Learning to love classical music.
Subject: Re: [kl] Learning to love classical music.
Subject: RE: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: Re: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: Re: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: RE: [kl] Mitchell Lurie
Subject: Re: [kl] Mitchell Lurie
[Table of Contents ] [ Next ]
Subject: [kl] Still looking...
From: "Patricia A. Bandy-Smith" <patricia.ssmith@-----.com>
Date: Wed, 19 Nov 2008 17:51:36 -0500
...for a step-up Bb clarinet for my son. I had one in mind, but didn't
act quickly enough on it. Has anyone had experience with the Ridenour
horns? Anyone out there have a step-up they want to sell?
Patricia A. Bandy-Smith
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Subject: Re: [kl] Still looking...
From: "Mike Vaccaro" <mike@-----.com>
Date: Wed, 19 Nov 2008 18:06:16 -0500
I have a Buffet E11 I could sell you. I could upgrade it with one of my
barrels and one of my mouthpieces I make too for as close to a professional
set up as you can find for a reasonable price. It is barely used. I bought
as a 4th spare to play outside with and then have decided no more outdoor
playing for me, even in beautiful Southern California.
Or you could buy the E11 just as is.
Feel free to contact me off list.
Mike Vaccaro
www.MikeVaccaro.Com
mike@-----.com
562.424.4958 Phone
562.424.2512 Fax
800.449.8975 Toll Free
----- Original Message -----
From: "Patricia A. Bandy-Smith" <patricia.ssmith@-----.com>
To: <klarinet@-----.org>
Sent: Wednesday, November 19, 2008 2:51 PM
Subject: [kl] Still looking...
> ...for a step-up Bb clarinet for my son. I had one in mind, but didn't
> act quickly enough on it. Has anyone had experience with the Ridenour
> horns? Anyone out there have a step-up they want to sell?
>
> Patricia A. Bandy-Smith
>
> ------------------------------------------------------------------
>
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Subject: RE: [kl] After Drucker
From: "Keith" <bowenk@-----.com>
Date: Wed, 19 Nov 2008 18:19:05 -0500
Tony
<snip>
> But it's true that I HATE the self-promoting stance, which arises very
naturally in much American culture, as I explained. ("How to SELL slow
movements" from Howard Klug, for example.)
Now I didn't see the context in which Howard Klug made this remark, and
maybe he was urging self-promotion, which I would deplore as much as you do.
But I think one should be careful not to confuse a (very real) difference of
linguistic practice with a difference of substance. A (good) salesman is not
selling or promoting himself, but the product. This is not so very different
from 'being transparent to the music', which is something I can imagine you
saying!
Keith Bowen
__________ Information from ESET Smart Security, version of virus signature
database 3569 (20081030) __________
The message was checked by ESET Smart Security.
http://www.eset.com
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Subject: Re: [kl] Still looking...
From: Michael Rasmussen <michael@-----.us>
Date: Wed, 19 Nov 2008 20:31:42 -0500
On Wednesday 19 November 2008 14:51:36 Patricia A. Bandy-Smith wrote:
> Has anyone had experience with the Ridenour horns?
I've found mine to be extremely nice. My teacher once said "you've got a nice wooden horn with great tone." I accepted the compliment and then reminded her that it was hard rubber.
--
Michael Rasmussen, Portland Oregon
Be appropriate && Follow your curiosity
http://www.jamhome.us/
The fortune cookie says:
In Marseilles they make half the toilet soap we consume in America, but
the Marseillaise only have a vague theoretical idea of its use, which they
have obtained from books of travel.
-- Mark Twain
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Subject: [kl] And I thought clarinetists were the only ones ...
From: Mark Charette <charette@-----.org>
Date: Wed, 19 Nov 2008 21:00:26 -0500
Somehow I though this might be apropos for Klarinet ... I don't know
why ;^)
From http://www.roadraceengineering.com/hoseandclamps.htm IRT silicone
vacuum hose:
"*Tuning Tip*: Red is a good color for all around performance, however
with a big turbo blue gets upwards of 10 hp, unless you have stock cams,
then only 5 hp. Purple is best for bottom end power, mix with red for
excellent mid-range. For NT cars, shift all recommendations one hue
towards a warmer color. Yellow hose should only be used on high
compression NTs or turbo cars with welded differentials. Proper Sticker
Tuning can be a successful work around for any of these concerns. ;-P"
Mark C., getting ready to replace all the vacuum hoses in his car ...
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Subject: Re: [kl] Johann Strauss Waltzes & Rite of Spring
From: Joseph Wakeling <joseph.wakeling@-----.net>
Date: Thu, 20 Nov 2008 08:46:25 -0500
Alexander Brash wrote:
> This is why the Blue Danube (or John Adams, to take a modern example) is
> brilliant, and Milton Babbit is complete garbage.
I wonder how much Milton Babbitt you actually listened to before coming
to that opinion. Or did you already hold it before?
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Subject: Re: [kl] C vs Eb Bass Clarinet
From: Matt Hanson <matthanson920@-----.com>
Date: Thu, 20 Nov 2008 11:44:02 -0500
=0A=A0=0AThe arguement toward a low C bass is undeniable as these notes are=
being used more and more in new=A0literature and in transcriptions of old,=
often even in a community band setting. =0A=0AJacob is, however, correct.=
=A0 I know several who prefer the timbre of bass clarinet to low Eb.=A0Pers=
onally, I=A0like not having to worry about the sharp long B and other chara=
cteristics associated with a low C bass,=A0as I=A0find the low end on most =
nice low Eb=A0basses to be more colorful than their=A0low=A0C counterparts=
=A0which can seem somewhat thin and lacking=A0by comparison.=A0 Don't get m=
e wrong -- I own both Eb and C French basses, but not everyone is able.=A0 =
My low C bass is great, but my low Eb bass sounds better and is simply more=
fun to play.=A0 Since I'm not getting paid to play it these days, unless I=
need those notes, the choice (for me) is=A0clear. =A0If someone is=A0debat=
ing the purchase, it=A0is ultimately up to=A0them to decide=A0whether or no=
t the additional three notes can be=A0justified for their situation, whethe=
r it be=A0financial, playing environment, or whatever.=A0 Again,=A0a low C =
bass is becoming more and more=A0necessary.=0A=0AJust a curiosity, though..=
.=A0Having thought I'd played them all, I am=A0eager to learn=A0which Sousa=
=A0March has a low C for bass clarinet and if it is an arrangement (possibl=
y orchestral?) by someone after Sousa's time, as he died in 1932. The only =
low C instruments I am aware of existing at that time were German or Austri=
an horns which are still to this day rather uncommon in the USA (again, one=
of the too many that I own).=A0 If it was=A0indeed a=A0transcription, then=
that probably helps support=A0the statement in my first sentence.=A0 And y=
es, I am aware that Sousa was part German. :-)=A0 =0A=0AMatthew Hanson=0A=
=0A=0A> =0A> There are five reasons why:=0A> =0A> 1. The literature calls f=
or it.=A0 I found low C's in=0A> Sousa Marches.=0A> =0A=0A=0A=0A
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Subject: Re: [kl] C vs Eb Bass Clarinet
From: "Dan Leeson" <dnleeson@-----.net>
Date: Thu, 20 Nov 2008 12:51:27 -0500
As for the bass clarinet low C in a Sousa march, I was the bass clarinetist
for the New Sousa Band under Keith Brion for some time. During that time I
saw and played a march with the low C, but the title has gone from my head.
In going over the repertoire of what Brion did with the band, there were a
few long suites written or arranged by Sousa. There were examples of both
types. Perhaps it was in one of the suites that the low C came along. It was
some time ago.
Try contacting Keith Brion. I believe he has a website. I have no idea if he
is a responder to questions of this nature.
Dan Leeson
----- Original Message -----
From: "Matt Hanson" <matthanson920@-----.com>
To: <klarinet@-----.org>
Sent: Thursday, November 20, 2008 8:44 AM
Subject: Re: [kl] C vs Eb Bass Clarinet
The arguement toward a low C bass is undeniable as these notes are being
used more and more in new literature and in transcriptions of old, often
even in a community band setting.
Jacob is, however, correct. I know several who prefer the timbre of bass
clarinet to low Eb. Personally, I like not having to worry about the sharp
long B and other characteristics associated with a low C bass, as I find the
low end on most nice low Eb basses to be more colorful than their low C
counterparts which can seem somewhat thin and lacking by comparison. Don't
get me wrong -- I own both Eb and C French basses, but not everyone is able.
My low C bass is great, but my low Eb bass sounds better and is simply more
fun to play. Since I'm not getting paid to play it these days, unless I need
those notes, the choice (for me) is clear. If someone is debating the
purchase, it is ultimately up to them to decide whether or not the
additional three notes can be justified for their situation, whether it be
financial, playing environment, or whatever. Again, a low C bass is becoming
more and more necessary.
Just a curiosity, though... Having thought I'd played them all, I am eager
to learn which Sousa March has a low C for bass clarinet and if it is an
arrangement (possibly orchestral?) by someone after Sousa's time, as he died
in 1932. The only low C instruments I am aware of existing at that time were
German or Austrian horns which are still to this day rather uncommon in the
USA (again, one of the too many that I own). If it was indeed a
transcription, then that probably helps support the statement in my first
sentence. And yes, I am aware that Sousa was part German. :-)
Matthew Hanson
>
> There are five reasons why:
>
> 1. The literature calls for it. I found low C's in
> Sousa Marches.
>
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Subject: Re: [kl] Clear Clarinet
From: George Kidder <gkidder@-----.org>
Date: Thu, 20 Nov 2008 12:55:52 -0500
The "Graslitz" identifier would imply that the horn was made before the end
of WW2, during the German period, since the town name was changed (or
rather transliterated) at that time.
George
At 04:31 AM 11/19/2008, you wrote:
>Kohlert is a Czech company. Schreiber, I believe, was also a Czech
>company. Perhaps they fled to Bad Nauheim (?) with the ethnic cleansing of
>Germans from Czechoslovakia after WWII. My family came here in 1909, but
>my cousins told me they were lined up and marched out to Germany. Most of
>them went as far west as possible in Germany. Gerhard Meinl told me of his
>father packing up his grandfather's tools on his back and hiking 5 miles
>west into Germany. Many Czech Germans did this. (The irony is that many of
>them, like my family are likely more Czech than German!)
>
>Anyway, if Buffet is making a clear one now, perhaps it is related to the
>other Czech one? Assuming Buffets are still made in the Schreiber company.
>
>I will try to reach a clarinet player, Chemistry Professor friend and ask
>him about the early plastics. I think Bakelite was invented in the 1880's.
>IBM's Senior Plastics engineer in the '70's had been Merle Johnson's
>apprentice and discussed early plastics with me many times, but it is just
>too long ago.
>
>In many plastics, such as mouthpieces, the coloring, I have been told is
>merely dye. Remember the red Santy Runyon mthpcs? Others appear black, but
>looking through them at a strong light, they are often just a very deep red.
>
>-----Original Message-----
> >From: Fred <fred.sheim@-----.net>
> >Sent: Nov 18, 2008 4:38 PM
> >To: klarinet@-----.org
> >Subject: [kl] Clear Clarinet
> >
> >My friend just showed me a clarinet made from some sort of CLEAR
> >material, like thick plexiglass(?). It was sort of like the colored
> >clear LeBlancs of a few years ago. She said it belonged to her
> >father and was 100 years old, but I doubt that because it was a
> >standard 17-6 Boehm system instrument. The logo on it is:
> >
> >V. Kohlert's
> >Sons
> >Graslitz
> >270577
> >
> >Does anyone have any info on this horn?
> >
> >Fred
> >
> >
> >------------------------------------------------------------------
> >
>
>
>------------------------------------------------------------------
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Subject: Re: [kl] C vs Eb Bass Clarinet
From: "Michael" <michael@-----.us>
Date: Thu, 20 Nov 2008 13:11:32 -0500
Dan Leeson wrote:
> Try contacting Keith Brion. I believe he has a website. I have no idea if he
> is a responder to questions of this nature.
He does have a (very informative) website. I've sent him an email asking if
he knows of the piece(s) and if he doesn't if he would forward the information
request to the New Sousa Band's bass clarinet player.
The website: http://www.newsousaband.com/
Be sure to check the facts and myths page for some surprises.
--
Michael Rasmussen
http://www.jamhome.us/
Be Appropriate && Follow Your Curiosity
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Subject: [kl] CLARINETUDES
From: aitkenlh@-----.net
Date: Thu, 20 Nov 2008 13:49:08 -0500
To those of you who may not have caught the original announcement: This collection has been published by Calabrese Bros. (www.CalabreseBrothersMusic.com)
There are shortish pieces for 1 to 4 solo clarinets and for 1 or 2 clarinets with easy piano accpts.
The pieces are moderately difficult, not for beginners. A total of 47 pages.
Hugh Aitken
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Subject: [kl] Husnu Senlendirici
From: X-UH-MailScanner-r.n.taylor@-----.uk
Date: Fri, 21 Nov 2008 13:02:15 -0500
This is for UK subscsibers - if you have a passing interest in Turkish clar=
inet, you may like to know that the amazing Husnu Senlendirici is playing =
tomorrow night at the London Queen Elizabeth Hall. I'm not promoting it for=
any reason other than if I hadn't known it was on myself I would have been=
dissapointed to miss it. If you don't go, I think the concert is coming up=
on Radio 3's Late Junction show on November 27th.
Noel
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Subject: [kl] C vs Eb - Low C in Sousa Marches
From: "Michael" <michael@-----.us>
Date: Fri, 21 Nov 2008 13:55:35 -0500
Dan suggested "Try contacting Keith Brion."
I did and Mr. Brion did not know the answer but kindly forwarded the query on
to the current bass clarinet player of the New Sousa Band who in turn provided
a very detailed response to the question about low C in Sousa marches.
A great thanks to all for their generosity of time in sharing knowledge.
FWIW: http://www.newsousaband.com/
The full exchange of emails follows in reverse order. Scroll to the bottom
and work your way up if you wish to keep the sequence.
------------------------------ Original Message ------------------------------
Subject: Re: [Fwd: Re: [kl] C vs Eb Bass Clarinet]
From: "Les Thimmig"
To: "Keith Brion"
Cc: "Michael"
------------------------------------------------------------------------------
Hi. We are pretty safe in assuming that any Sousa bass clarinet part
that goes to low C was fashioned by someone else at a later date. At
the time of Sousa's death (1932), the range of the instrument was down
to low E. It was right at this time that the new innovation, a model
that went down to E-flat, was first introduced. In several of the
marches (Sousa's original version), I've noticed that he obviously
would have had a line go to the E-flat, if only the instrument had one.
I can't recall which these were, but I always utilized the note when I
played them. Any 1930's instrument with a low C was added after the
fact. There are several examples of the great Philadelphia craftsman
Hans Moennig building such models for players in the major orchestras.
My friend Bill Helmers (Milwaukee Symphony) has a 1934 Buffet that was
used for many years in the Philadelphia Orchestra. It was built to
E-flat, and has a rather ingenious low C extension (detachable) crafted
by Moennig. At the time that I selected my LeBlanc Double-L model in
1962, low C was still considered a new-fangled idea, and most of the
established players thought I was nuts for getting one. It's been
established over the years that I am indeed nuts, but not because of
the instrument, which I'm still proudly playing.
Does that help?
On Nov 20, 2008, at 12:18 PM, Keith Brion wrote:
> Dear Michael,
>
> Very interesting question.
>
> Sadly I can't think of which march it might be but I'm sure Dan Leeson
> is correct...he usually is!
>
> Our current bass clarinetist is Les Thimmig from University of
> Wisconsin faculty. I'll ship this one on to Les to see if he
> remembers which march(s) might apply.
>
> Sousa sometimes used a pair of bass clarinet players..so perhaps at
> least one of them had the extra keys. From time to time Sousa would
> write something special for various players so the thought is
> definitely credible.
>
> With kind regards, Keith Brion
>
>
> On Nov 20, 2008, at 1:08 PM, Michael wrote:
>
>> Dear Mr. Brion,
>>
>> I asked a question of the Klarinet list about potential regrets if
>> one were to
>> purchase a bass clarinet that went down to Eb instead of C.
>>
>> This sparked a discussion (see below) about the prevalence of pieces
>> that
>> required the lower register available on the C instrument. Dan
>> Leeson recalls
>> Sousa marches going that low, but not the details.
>>
>> Would you happen to know if this is the case? If not, would you be
>> so kind as
>> to forward this information request to the New Sousa Band's bass
>> clarinet
>> player?
>>
>> Michael Rasmussen
>> Amateur in Portland, Oregon
>>
>>
>> ------------------------------ Original Message
>> ------------------------------
>> Subject: Re: [kl] C vs Eb Bass Clarinet
>> From: "Dan Leeson"
>> Date: Thu, November 20, 2008 09:51
>> To: klarinet woodwind.org
>> ----------------------------------------------------------------------
>> --------
>>
>> As for the bass clarinet low C in a Sousa march, I was the bass
>> clarinetist
>> for the New Sousa Band under Keith Brion for some time. During that
>> time I
>> saw and played a march with the low C, but the title has gone from my
>> head.
>> In going over the repertoire of what Brion did with the band, there
>> were a
>> few long suites written or arranged by Sousa. There were examples of
>> both
>> types. Perhaps it was in one of the suites that the low C came along.
>> It was
>> some time ago.
>>
>> Try contacting Keith Brion. I believe he has a website. I have no
>> idea if he
>> is a responder to questions of this nature.
>>
>> Dan Leeson
>>
>>
>> ----- Original Message -----
>> From: "Matt Hanson"
>> To: klarinet woodwind.org
>> Sent: Thursday, November 20, 2008 8:44 AM
>> Subject: Re: [kl] C vs Eb Bass Clarinet
>>
>>
>>
>>
>> The arguement toward a low C bass is undeniable as these notes are
>> being
>> used more and more in new literature and in transcriptions of old,
>> often
>> even in a community band setting.
>>
>> Jacob is, however, correct. I know several who prefer the timbre of
>> bass
>> clarinet to low Eb. Personally, I like not having to worry about the
>> sharp
>> long B and other characteristics associated with a low C bass, as I
>> find the
>> low end on most nice low Eb basses to be more colorful than their low
>> C
>> counterparts which can seem somewhat thin and lacking by comparison.
>> Don't
>> get me wrong -- I own both Eb and C French basses, but not everyone
>> is able.
>> My low C bass is great, but my low Eb bass sounds better and is
>> simply more
>> fun to play. Since I'm not getting paid to play it these days, unless
>> I need
>> those notes, the choice (for me) is clear. If someone is debating the
>> purchase, it is ultimately up to them to decide whether or not the
>> additional three notes can be justified for their situation, whether
>> it be
>> financial, playing environment, or whatever. Again, a low C bass is
>> becoming
>> more and more necessary.
>>
>> Just a curiosity, though... Having thought I'd played them all, I am
>> eager
>> to learn which Sousa March has a low C for bass clarinet and if it is
>> an
>> arrangement (possibly orchestral?) by someone after Sousa's time, as
>> he died
>> in 1932. The only low C instruments I am aware of existing at that
>> time were
>> German or Austrian horns which are still to this day rather uncommon
>> in the
>> USA (again, one of the too many that I own). If it was indeed a
>> transcription, then that probably helps support the statement in my
>> first
>> sentence. And yes, I am aware that Sousa was part German. :-)
>>
>> Matthew Hanson
>>
>>
>>>
>>> There are five reasons why:
>>>
>>> 1. The literature calls for it. I found low C's in
>>> Sousa Marches.
--
Michael Rasmussen
http://www.jamhome.us/
Be Appropriate && Follow Your Curiosity
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Subject: Re: [kl] Johann Strauss Waltzes & Rite of Spring
From: "Michael Nichols" <mrn.clarinet@-----.com>
Date: Fri, 21 Nov 2008 14:30:53 -0500
> If the music can't be thoroughly understood on the
> first listening, it is a Failure by Popular Music Standards,
> but it *might* be leaning in a more intellectual direction,
> which is the Mail Goal of "classical" Music: to impress the
> Music Theory experts.
Don't get me wrong--I love learning about music theory, and I also
like to listen to 20th century music, especially that of the
"neo-classical" composers like Hindemith. But I don't think I'd go so
far as to say that the main goal of classical music is to "impress the
music theory experts." I'd say that the main goal of classical music
is to make good art.
In fact, I'm inclined to say that in the classical world you are much
more likely to hear music that defies established principles of music
theory than you are in jazz or popular music. John Coltrane's Giant
Steps was considered innovative in jazz because its chord changes
cycled in thirds (a subtle sort of innovation only a "theory-literate"
person can fully appreciate). In the "classical world," on the other
hand, Schoenberg developed a way of writing music that, if followed to
the letter, was so far removed the from existing music theory that one
needed to know virtually nothing about the music theory of the time to
write music with it.
In fact, music theory is precisely what makes it possible to write
music that "theory illliterate" people can understand and appreciate,
because it systematizes the manner in which *existing pieces* were
constructed. If you are not trying to write something that can be
understood in the aesthetic framework of existing musical forms then,
strictly speaking, you don't need it. You can just make up your own
musical language--that doesn't necessarily mean what you write will be
good, but, as they warn us in the textbooks, using existing techniques
derived from a study of music theory doesn't guarantee that your music
will be good, either.
A lot of the great musical compositions (including many of my
favorites) do happen to be interesting from a theoretical standpoint,
but I still think it's a bit of a stretch to say that the main goal of
classical music is to impress the theory experts--maybe that's true if
you're composing something as a class assignment and you want to
demonstrate your knowledge to the professor, but outside of an
academic environment, I fail to see how impressing the theory experts
can possibly be the *main goal* of classical music as whole. That
certainly wasn't Stravinsky's goal when he wrote his masterpieces.
When asked "What is theory in musical composition?" Stravinsky replied:
"Hindsight. It doesn't exist. There are compositions from which it
is deduced. Or, if this isn't quite true, it has a by-product
existence that is powerless to create or even to justify.
Nevertheless, composition involves a deep intuition of 'theory.'"
(from Robert Craft and Igor Stravinsky, "Conversations with Igor
Stravinsky" (1959) pp. 12-13)
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Subject: [kl] World Music Days Concert this Sunday - NYC (Brooklyn)
From: "Thomas Piercy" <tbpiercy@-----.com>
Date: Fri, 21 Nov 2008 16:18:19 -0500
Daniel Pearl World Music Days and Music from Good Shepherd present
"Milonga"
Thomas Piercy, clarinet
Masataka Odaka, double bass
Claudine Hickman, piano
Program:
Claude Bolling - Romance
Erik Satie - Gnossienne No. 1; Gymnop=E9die No. 1
Ned Rorem (celebrating his 85th birthday) - For Poulenc; Vermouth; Paris Th=
en
Yohei Kurihara - Fuyu no tomurai (World Premiere)
Astor Piazzolla - Milonga del Angel; Dos Canciones; Jacinto Chiclana;
Caf=E9 1930; Soledad; Invierno Porte=F1o
Sunday, November 23 at 6:00 PM
Good Shepherd Church
For information: 718-998-2800
Good Shepherd Church
1950 Batchelder St
Brooklyn, NY 11229
(718) 998-2800
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Subject: [kl] AOL whitelist
From: Mark Charette <charette@-----.org>
Date: Sat, 22 Nov 2008 10:41:26 -0500
Dear list members who use AOL,
I applied for and was accepted as a "white list" mail sender for email
going through the AOL mail system so that the Klarinet mailing list
wouldn't be listed as "spam" when going into your email box. This also
requires that I provide an email address and review every message that
is being marked as spam or as abuse by AOL members.
I am getting a copy of every Klarinet mail marked as "abuse" from AOL.
There's something wrong here - Klarinet is double-opt-in - so there's no
way to get it unless you really want it. Please check your email
preferences in your mailer and make sure that you've marked woodwind.org
as a "good guy" and don't report woodwind.org as an abusive email list.
It's a pain to go through every message every day when there's no real
abuse going on.
If you've tried to get off the email list and have had trouble, so that
now you just mark the email from woodwind.org as "abuse", please contact
klarinet-owner@-----.
Mark C.
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Subject: [kl] Inquirey about a wind octet version of K. 361
From: "Dan Leeson" <dnleeson@-----.net>
Date: Tue, 25 Nov 2008 13:07:00 -0500
Is anyone familiar with a PUBLISHED octet version of the music of K.361, the
gran Partitta? I know for a fact that Peters published an octet version of
three movement of K. 361, movements 5, 4, and 6, in that order, edited by
Einstein. It was printed in around 1970. But I do not know if anyone has
published on octet version of the other movements, namely, 1, 2, 3, and 7,
or even the entire work in one publication..
I have played such a version, but only in manuscript form. I had gotten the
manuscript of the performance parts from a library in Europe because I was
anxious to play the work in its wind octet form. I'm interested to know if
such an arrangement has been published.
Please don't interpret my inquiry as being one of putting the octet version
of K. 361 on a plane equal to that of the 13 instrument version, or that
Mozart was involved in any way with the octet version. It's just an
arrangement that I need to know something about, specifically the publisher
(if one exists).
Dan Leeson
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Subject: RE: [kl] Inquirey about a wind octet version of K. 361
From: "Keith" <bowenk@-----.com>
Date: Tue, 25 Nov 2008 13:36:08 -0500
Dan
I am pretty sure I have played one. I will make enquiries.
Keith Bowen
-----Original Message-----
From: klarinet-return-94674-bowenk=compuserve.com@-----.org
[mailto:klarinet-return-94674-bowenk=compuserve.com@-----.org] On Behalf
Of Dan Leeson
Sent: 25 November 2008 18:07
To: Klarinet
Subject: [kl] Inquirey about a wind octet version of K. 361
Is anyone familiar with a PUBLISHED octet version of the music of K.361, the
gran Partitta? I know for a fact that Peters published an octet version of
three movement of K. 361, movements 5, 4, and 6, in that order, edited by
Einstein. It was printed in around 1970. But I do not know if anyone has
published on octet version of the other movements, namely, 1, 2, 3, and 7,
or even the entire work in one publication..
I have played such a version, but only in manuscript form. I had gotten the
manuscript of the performance parts from a library in Europe because I was
anxious to play the work in its wind octet form. I'm interested to know if
such an arrangement has been published.
Please don't interpret my inquiry as being one of putting the octet version
of K. 361 on a plane equal to that of the 13 instrument version, or that
Mozart was involved in any way with the octet version. It's just an
arrangement that I need to know something about, specifically the publisher
(if one exists).
Dan Leeson
------------------------------------------------------------------
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Subject: [kl] re: Inquirey about a wind octet version of K. 361
From: "David Adlam" <david@-----.com>
Date: Tue, 25 Nov 2008 13:41:20 -0500
Hi Dan
There is an "Edition Compusic" edition (Amsterdam) of Movements 1, 2 3 and 7
available (I have a copy here and have used it). It works quite well.
Entitled Gran Partita ;)
David
Click this link to visit my web page
http://www.denner22.com
See photos, hear some recordings, read some of my musings - leave a comment
if you wish
------------------------------------------------------------------
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Subject: Re: [kl] re: Inquirey about a wind octet version of K. 361
From: "Dan Leeson" <dnleeson@-----.net>
Date: Tue, 25 Nov 2008 14:19:01 -0500
Thank you David. That is just what I needed to know. I have one further
question about that edition.
Does the first movement have the Adagio introduction of about 14 measures,
which precedes the Molto Allegro? Also, does the edition carry any notes
about the source of their publication?
Many thanks.
Dan Leeson
----- Original Message -----
From: "David Adlam" <david@-----.com>
To: "Klarinet" <klarinet@-----.org>
Sent: Tuesday, November 25, 2008 10:41 AM
Subject: [kl] re: Inquirey about a wind octet version of K. 361
> Hi Dan
> There is an "Edition Compusic" edition (Amsterdam) of Movements 1, 2 3 and
> 7
> available (I have a copy here and have used it). It works quite well.
> Entitled Gran Partita ;)
>
> David
>
> Click this link to visit my web page
> http://www.denner22.com
> See photos, hear some recordings, read some of my musings - leave a
> comment
> if you wish
>
>
>
> ------------------------------------------------------------------
>
------------------------------------------------------------------
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Subject: [kl] RE: about a wind octet version of K. 361
From: "David Adlam" <david.adlam@-----.nz>
Date: Tue, 25 Nov 2008 20:47:12 -0500
Hi Dan
We shall forgive the fact that you do in fact ask about two things... :) I
bought this edition when I thought I would not be able to find basset horns
for our performances of it here in NZ, however we did in the end buy a pair
simply for the first time we performed it :)
The first movement is complete - with the "adagio" called "largo" - go
figure... :)
From the Preface.....
"Remarkable is that Schink refers to a work in 4 movements. Even more
remarkable is that from the hand of a -regrettably - unknown arranger an
arrangement of the'Gran Partit(t)a' for 8 instead of 13 Winds : 2 oboes, 2
clarinets, 2 horns and 2 bassoons is known to exist and this work is split
up into two separate 'Divertimenti'. One 'Divertimento' (K App.182)
consisting of the movements 5, 4 and 6 was published in `971 by Edition
Peters in New York (no. 6306). The other 'Divertimento" (movements 1m 2m 3
and 7) is published for the first time in this modern edition.
Jan Joris Nieuwenhuis
Almelo, October 1989"
I hope this is helpful to you.
David Adlam
Date: Tue, 25 Nov 2008 11:19:01 -0800
To: <klarinet@-----.org>
From: "Dan Leeson" <dnleeson@-----.net>
Subject: Re: [kl] re: Inquirey about a wind octet version of K. 361
Message-ID: <231CA9EC2ADC42C5A83C5BF8E421AD3E@danielsys>
Thank you David. That is just what I needed to know. I have one further
question about that edition.
Does the first movement have the Adagio introduction of about 14 measures,
which precedes the Molto Allegro? Also, does the edition carry any notes
about the source of their publication?
Many thanks.
Dan Leeson
----- Original Message -----
From: "David Adlam" <david@-----.com>
To: "Klarinet" <klarinet@-----.org>
Sent: Tuesday, November 25, 2008 10:41 AM
Subject: [kl] re: Inquirey about a wind octet version of K. 361
> Hi Dan
> There is an "Edition Compusic" edition (Amsterdam) of Movements 1, 2 3 and
> 7
> available (I have a copy here and have used it). It works quite well.
> Entitled Gran Partita ;)
>
> David
>
> Click this link to visit my web page
> http://www.denner22.com
> See photos, hear some recordings, read some of my musings - leave a
> comment
> if you wish
>
>
>
> ------------------------------------------------------------------
>
------------------------------
End of klarinet Digest
***********************************
------------------------------------------------------------------
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Subject: Re: [kl] RE: about a wind octet version of K. 361
From: "Dan Leeson" <dnleeson@-----.net>
Date: Tue, 25 Nov 2008 20:57:17 -0500
Dave, that's very helpful, and I'm glad you mentioned the NZ performance of
361 with borrowed basset horns.
I have to tell you that in my book, I cite that concert for two reasons: (1)
it was the southernmost performance of the work ever given, and it is
unlikely a record ever to be broken (unless they do a performance at
Macmurdo Sound near the south pole; (2) I mention that the basset horns had
to be imported from Australia.
But I'd like the exact name of the orchestra that played the performance,
and the exact name of the orchestra that lent you the basset horns.
I heard the tape. It was a very respectable performance no matter where it
took place, but the romance of doing the work with the southernmost symphony
orchestra was too good for me to leave out. When the book comes out, you'll
be able to buy a copy (or lots of copies) to show around.
Regards,
Dan Leeson
----- Original Message -----
From: "David Adlam" <david.adlam@-----.nz>
To: "Klarinet" <klarinet@-----.org>
Sent: Tuesday, November 25, 2008 5:47 PM
Subject: [kl] RE: about a wind octet version of K. 361
> Hi Dan
> We shall forgive the fact that you do in fact ask about two things... :)
> I
> bought this edition when I thought I would not be able to find basset
> horns
> for our performances of it here in NZ, however we did in the end buy a
> pair
> simply for the first time we performed it :)
>
> The first movement is complete - with the "adagio" called "largo" - go
> figure... :)
>
> From the Preface.....
>
> "Remarkable is that Schink refers to a work in 4 movements. Even more
> remarkable is that from the hand of a -regrettably - unknown arranger an
> arrangement of the'Gran Partit(t)a' for 8 instead of 13 Winds : 2 oboes, 2
> clarinets, 2 horns and 2 bassoons is known to exist and this work is split
> up into two separate 'Divertimenti'. One 'Divertimento' (K App.182)
> consisting of the movements 5, 4 and 6 was published in `971 by Edition
> Peters in New York (no. 6306). The other 'Divertimento" (movements 1m 2m 3
> and 7) is published for the first time in this modern edition.
>
> Jan Joris Nieuwenhuis
>
> Almelo, October 1989"
>
> I hope this is helpful to you.
>
> David Adlam
>
> Date: Tue, 25 Nov 2008 11:19:01 -0800
> To: <klarinet@-----.org>
> From: "Dan Leeson" <dnleeson@-----.net>
> Subject: Re: [kl] re: Inquirey about a wind octet version of K. 361
> Message-ID: <231CA9EC2ADC42C5A83C5BF8E421AD3E@danielsys>
>
> Thank you David. That is just what I needed to know. I have one further
> question about that edition.
>
> Does the first movement have the Adagio introduction of about 14 measures,
> which precedes the Molto Allegro? Also, does the edition carry any notes
> about the source of their publication?
>
> Many thanks.
>
> Dan Leeson
>
> ----- Original Message -----
> From: "David Adlam" <david@-----.com>
> To: "Klarinet" <klarinet@-----.org>
> Sent: Tuesday, November 25, 2008 10:41 AM
> Subject: [kl] re: Inquirey about a wind octet version of K. 361
>
>> Hi Dan
>> There is an "Edition Compusic" edition (Amsterdam) of Movements 1, 2 3
>> and
>
>> 7
>> available (I have a copy here and have used it). It works quite well.
>> Entitled Gran Partita ;)
>>
>> David
>>
>> Click this link to visit my web page
>> http://www.denner22.com
>> See photos, hear some recordings, read some of my musings - leave a
>> comment
>> if you wish
>>
>>
>>
>> ------------------------------------------------------------------
>>
>
> ------------------------------
>
> End of klarinet Digest
> ***********************************
>
>
> ------------------------------------------------------------------
>
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Subject: Re: [kl] RE: about a wind octet version of K. 361
From: "Dan Leeson" <dnleeson@-----.net>
Date: Tue, 25 Nov 2008 20:59:57 -0500
I see in rereading you note that your orchestra bought a pair. And in that
case I have to change my text. Tell me the whole story about what you did
to obtain the basset horns. It will be a delicious addition to the
discussion.
Dan Leeson
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Subject: [kl] Mitchell Lurie
From: cealleach@-----.net
Date: Wed, 26 Nov 2008 10:41:36 -0500
Hi all,
I am a lurker but wanted to share the fact that I just heard the sad news that Mitchell Lurie passed away on yesterday, November 24th. A wonderful clarinetist he was...
- Kelly W.
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Subject: RE: [kl] Mitchell Lurie
From: "Benjamin Maas" <benmaas@-----.com>
Date: Wed, 26 Nov 2008 11:04:00 -0500
Oh man.. That's horrible. I was one of his last students while I was doing
my Master's Degree at USC. He is also the reason why I am working as a
sound engineer and not a clarinetist. He was my only teacher that sat me
down and spelled out how there was no shame in not performing.
He will certainly be missed.
--Ben
Benjamin Maas
Fifth Circle Audio
Long Beach, CA
http://www.fifthcircle.com
> -----Original Message-----
> Subject: [kl] Mitchell Lurie
>
> Hi all,
>
> I am a lurker but wanted to share the fact that I just heard
> the sad news that Mitchell Lurie passed away on yesterday,
> November 24th. A wonderful clarinetist he was...
>
> - Kelly W.
>
------------------------------------------------------------------
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Subject: [kl] Christmas music for quintet?
From: "Curtis Bennett" <curtis.bennett@-----.com>
Date: Wed, 26 Nov 2008 11:17:50 -0500
Anyone here know where I can find any free downloadable Christmas
music for woodwind quintet? I was certain I'd come across some at one
point, but now I'm coming up short.
--
Curtis Bennett
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Subject: RE: [kl] Mitchell Lurie
From: "Forest Aten" <forestaten@-----.com>
Date: Wed, 26 Nov 2008 11:36:41 -0500
I failed to mention....he was 78 years young when he made this recording....
> -----Original Message-----
> From: Forest Aten [mailto:forestaten@-----.com]
> Sent: Wednesday, November 26, 2008 10:31 AM
> To: klarinet@-----.org
> Subject: RE: [kl] Mitchell Lurie
>
> A great loss.....
>
> One of his last professional recordings was with the Muir Quartet...he
> performed the Mozart and Brahms quintets. An excellent recording!
>
> Beautiful playing all around.
>
> http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
>
> EcoClassics (label)
> P.O. Box 6834
> Holliston, Massachusetts 10746
>
> Forest
>
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Subject: RE: [kl] Mitchell Lurie
From: "Forest Aten" <forestaten@-----.com>
Date: Wed, 26 Nov 2008 11:31:21 -0500
A great loss.....
One of his last professional recordings was with the Muir Quartet...he
performed the Mozart and Brahms quintets. An excellent recording!
Beautiful playing all around.
http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
EcoClassics (label)
P.O. Box 6834
Holliston, Massachusetts 10746
Forest
> -----Original Message-----
> From: Benjamin Maas [mailto:benmaas@-----.com]
> Sent: Wednesday, November 26, 2008 10:04 AM
> To: klarinet@-----.org
> Subject: RE: [kl] Mitchell Lurie
>
> Oh man.. That's horrible. I was one of his last students while I was
> doing
> my Master's Degree at USC. He is also the reason why I am working as a
> sound engineer and not a clarinetist. He was my only teacher that sat me
> down and spelled out how there was no shame in not performing.
>
> He will certainly be missed.
>
> --Ben
>
> Benjamin Maas
> Fifth Circle Audio
> Long Beach, CA
> http://www.fifthcircle.com
>
>
> > -----Original Message-----
> > Subject: [kl] Mitchell Lurie
> >
> > Hi all,
> >
> > I am a lurker but wanted to share the fact that I just heard
> > the sad news that Mitchell Lurie passed away on yesterday,
> > November 24th. A wonderful clarinetist he was...
> >
> > - Kelly W.
> >
>
>
>
>
> ------------------------------------------------------------------
------------------------------------------------------------------
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Subject: RE: [kl] Mitchell Lurie
From: "Benjamin Maas" <benmaas@-----.com>
Date: Wed, 26 Nov 2008 11:48:30 -0500
IMO, this is one of the great recordings of the Brahms Quintet.
About a year ago, I was talking with the woman who recorded and produced the
album (Judy Sherman- one of the great classical producers out there). Out
of the hundreds of albums she has worked on, this was one that stuck out.
She told me that there was easily another 2-3 albums worth of beautiful
takes that were "left on the cutting room floor" when it came to the
editing. Basically, there wasn't anything on the session that wasn't of the
highest quality. What stuck out to her was not the just the good stuff that
made the album, but the good playing that *didn't* make the album.
--Ben
Benjamin Maas
Fifth Circle Audio
Long Beach, CA
http://www.fifthcircle.com
> -----Original Message-----
> From: Forest Aten
> Subject: RE: [kl] Mitchell Lurie
>
> A great loss.....
>
> One of his last professional recordings was with the Muir
> Quartet...he performed the Mozart and Brahms quintets. An
> excellent recording!
>
> Beautiful playing all around.
>
> http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
>
> EcoClassics (label)
> P.O. Box 6834
> Holliston, Massachusetts 10746
>
> Forest
>
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Subject: RE: [kl] Mitchell Lurie
From: "Forest Aten" <forestaten@-----.com>
Date: Wed, 26 Nov 2008 11:57:16 -0500
Ben
More about that recording....
The Reynolds family had a long standing relationship with Mitchell. Michael
Reynolds is the cellist with Muir....Kathleen Reynolds is principle
bassoonist in the Dallas opera orchestra and is the Professor of bassoon at
UNT and Terry Reynolds plays 4th horn in the opera orchestra and is an
adjunct professor at UNT. Terry and I were roommates at North Texas many
years ago. The Reynolds family talked Mitchell into doing this recording and
it's good for us they did....
Michael Reynolds founded and owns EcoClassics. All proceeds from EcoClassic
recordings go to the benefit of "nature"....a 501 (c)(3) nonprofit.
Forest
> -----Original Message-----
> From: Benjamin Maas [mailto:benmaas@-----.com]
> Sent: Wednesday, November 26, 2008 10:49 AM
> To: klarinet@-----.org
> Subject: RE: [kl] Mitchell Lurie
>
> IMO, this is one of the great recordings of the Brahms Quintet.
>
> About a year ago, I was talking with the woman who recorded and produced
> the
> album (Judy Sherman- one of the great classical producers out there). Out
> of the hundreds of albums she has worked on, this was one that stuck out.
> She told me that there was easily another 2-3 albums worth of beautiful
> takes that were "left on the cutting room floor" when it came to the
> editing. Basically, there wasn't anything on the session that wasn't of
> the
> highest quality. What stuck out to her was not the just the good stuff
> that
> made the album, but the good playing that *didn't* make the album.
>
> --Ben
>
> Benjamin Maas
> Fifth Circle Audio
> Long Beach, CA
> http://www.fifthcircle.com
>
>
> > -----Original Message-----
> > From: Forest Aten
> > Subject: RE: [kl] Mitchell Lurie
> >
> > A great loss.....
> >
> > One of his last professional recordings was with the Muir
> > Quartet...he performed the Mozart and Brahms quintets. An
> > excellent recording!
> >
> > Beautiful playing all around.
> >
> > http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
> >
> > EcoClassics (label)
> > P.O. Box 6834
> > Holliston, Massachusetts 10746
> >
> > Forest
> >
>
>
>
>
> ------------------------------------------------------------------
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Subject: Re: [kl] Mitchell Lurie
From: Ed Wojtowicz <ewoj@-----.com>
Date: Wed, 26 Nov 2008 11:59:40 -0500
He also recorded the Reger Quintet and Hindemith Quartet with the
Muir Quartet.
http://www.rdgwoodwinds.com/product_info.php?
cPath=235_238&products_id=1257&osCsid=19413c5a5be90cddb6e00bd58b741013
Ed
On Nov 26, 2008, at 11:31 AM, Forest Aten wrote:
> A great loss.....
>
> One of his last professional recordings was with the Muir Quartet...he
> performed the Mozart and Brahms quintets. An excellent recording!
>
> Beautiful playing all around.
>
> http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
>
> EcoClassics (label)
> P.O. Box 6834
> Holliston, Massachusetts 10746
>
> Forest
>
>>
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Subject: Re: [kl] Christmas music for quintet?
From: Oliver Seely <oseely@-----.edu>
Date: Wed, 26 Nov 2008 12:52:13 -0500
My best luck has always been with Christmas MIDI files of which there
must, by now, be thousands on the Web. Download and play them with
software which lets you look at the number of tracks. When there are
5, that's hopeful, unless one is a piano. In my experience you will
find one useable one out of every 10 you download and one really
great one out of about every 30. I'm blowing smoke here, but it ends
up being in that vicinity. Once you have your collection of hopeful
possibilities, import the midi files into some music notation
program, do the appropriate transpositions and you're off and running!
Good luck,
Oliver
At 08:17 AM 11/26/2008, Curtis Bennett wrote:
>Anyone here know where I can find any free downloadable Christmas
>music for woodwind quintet? I was certain I'd come across some at one
>point, but now I'm coming up short.
>
>
>--
>Curtis Bennett
>
>------------------------------------------------------------------
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Subject: Re: [kl] Inquirey about a wind octet version of K. 361
From: Nancy Buckman <eefer@-----.com>
Date: Wed, 26 Nov 2008 14:51:02 -0500
Doesn't Oliver Seely have a wind version on his site? I know it isn't publ=
ished, =0D
but I thought I saw one there.=0D
=0D
Nancy=0D
=0D
Nancy Buckman=0D
Orchestra AACC=0D
Opera AACC=0D
Baltimore Flute Choir=0D
Early Music Society of Northern MD=0D
eefer@-----.com=0D
=0D
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Subject: [kl] A bit off topic in NY
From: Jim Alguire <jim@-----.com>
Date: Wed, 26 Nov 2008 15:52:39 -0500
I heard in passing last night on a TV show that "Broadway" was going
to "close down" after the first of the year. There was no other
reference if this referred to the legitimate theatre or the musical
theatre, but it seems both a little strange and severe.
Perhaps some of our friends who work in the NY theatre business could
shed some light on this comment.
Thanks,
Jim A.
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Subject: Re: [kl] Mitchell Lurie
From: "Patricia A. Bandy-Smith" <patricia.ssmith@-----.com>
Date: Wed, 26 Nov 2008 16:19:48 -0500
cealleach@-----.net wrote:
> Hi all,
>
> I am a lurker but wanted to share the fact that I just heard the sad news that Mitchell Lurie passed away on yesterday, November 24th. A wonderful clarinetist he was...
>
> - Kelly W.
>
>
He was also a fantastic teacher. I studied with him when I lived in San
Diego, back in, I believe, 1992. He helped me prepare for an audition
(I didn't get the job, but I learned so much preparing!) and the process
we went through to choose a mouthpiece for me was amazing. I still have
that mouthpiece somewhere.
Patricia Bandy-Smith
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Subject: [kl] Re: A bit off topic in NY
From: "Steve Hartman" <sdh902@-----.net>
Date: Wed, 26 Nov 2008 17:26:51 -0500
Jim:
A number of Broadway plays and musicals are planning to close after the
holiday season but, rest assured, 'Broadway' is not closing. This is a
difficult time for new shows to find financing but there are new plays,
musicals and revivals scheduled to open after the first of the year and many
successful productions which have no intention of closing. Bring on the
Alaskan petrodollars!
-Steve Hartman
NYC
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Subject: RE: [kl] Mitchell Lurie
From: "Floyd Williams" <f.williams@-----.au>
Date: Wed, 26 Nov 2008 18:56:46 -0500
Mitchell Lurie was one of the best musicians and nicest gentleman I've ever
had any dealings with. I had a few lessons with him in 1983 as part of a
sabbatical and he was kind enough to allow me to observe him teach for about
a week including some chamber music coaching.
Later, I referred some of my students from Australia to him, and he was so
generous with his time that he would meet them at LAX and in one case, find
them a billet while they were in LA.
He'll be greatly missed.
Floyd Williams
Queensland Conservatorium Griffith University
Brisbane, Australia
-----Original Message-----
From: cealleach@-----.net]
Sent: Thursday, 27 November 2008 1:42 AM
To: klarinet@-----.org
Subject: [kl] Mitchell Lurie
Hi all,
I am a lurker but wanted to share the fact that I just heard the sad news
that Mitchell Lurie passed away on yesterday, November 24th. A wonderful
clarinetist he was...
- Kelly W.
------------------------------------------------------------------
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Subject: Re: [kl] Christmas music for quintet?
From: Sean Osborn <feanor33@-----.net>
Date: Thu, 27 Nov 2008 21:49:07 -0500
Sorry it's not free, but for very little dough, I have four charming
arrangements on my website
www.osbornmusic.com/workslist.html (scroll down to WW 5tet section)
Deck the Halls Carol and Fugue
Boar's Head Carol and Fugue
12 Days of Christmas variations
Come all ye shepherds/Carol of the Bells
Cheers,
Sean
>Anyone here know where I can find any free downloadable Christmas
>music for woodwind quintet? I was certain I'd come across some at one
>point, but now I'm coming up short.
>
>--
>Curtis Bennett
www.osbornmusic.com
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Subject: [kl] Learning to love classical music.
From: "Dan Leeson" <dnleeson@-----.net>
Date: Fri, 28 Nov 2008 17:11:55 -0500
Here is a fascinating lecture about liking classical music.
http://www.ted.com/index.php/talks/benjamin_zander_on_music_and_passion.html
Dan Leeson
dnleeson@-----.net
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Subject: Re: [kl] Learning to love classical music.
From: Alexander Brash <brash@-----.edu>
Date: Fri, 28 Nov 2008 17:48:44 -0500
What a wonderful lecture Dan! I've met Mr. Zander many times lurking
around YPO rehearsals at NEC, and heard him speak frequently, but
this was new and very well delivered!
It reminded me in many ways of the way Bob Levin lectures when he
teaches music "core classes" (erm basically huge lecture classes on
the arts that undergraduates are required to take). I'll try to dig
up a video because they're just as entertaining and moving.
On Nov 28, 2008, at 5:11 PM, Dan Leeson wrote:
> Here is a fascinating lecture about liking classical music.
>
> http://www.ted.com/index.php/talks/
> benjamin_zander_on_music_and_passion.html
>
> Dan Leeson
> dnleeson@-----.net
>
> ------------------------------------------------------------------
>
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Subject: Re: [kl] Learning to love classical music.
From: Jim Justice <saglio1@-----.com>
Date: Fri, 28 Nov 2008 18:33:48 -0500
Thank you Dan - it is marvelous!! -- Jim
>Here is a fascinating lecture about liking classical music.
>
>http://www.ted.com/index.php/talks/benjamin_zander_on_music_and_passion.html
>
>Dan Leeson
>dnleeson@-----.net
>
>------------------------------------------------------------------
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Subject: RE: [kl] Mitchell Lurie
From: "Cheryl Cifelli" <Cifelli-c@-----.EDU>
Date: Sat, 29 Nov 2008 00:33:26 -0500
This is very sad news. Floyd is correct. He was one of the nicest, most =
giving people I have ever met. He will definately be missed.
=20
Dr. Cheryl Cifelli
Assistant Professor of Music
Director of Woodwind Studies
>>> "Floyd Williams" <f.williams@-----.au> 11/26/08 5:56 PM >>>
Mitchell Lurie was one of the best musicians and nicest gentleman I've =
ever
had any dealings with. I had a few lessons with him in 1983 as part of a
sabbatical and he was kind enough to allow me to observe him teach for =
about
a week including some chamber music coaching.
Later, I referred some of my students from Australia to him, and he was so
generous with his time that he would meet them at LAX and in one case, =
find
them a billet while they were in LA.
He'll be greatly missed.
Floyd Williams
Queensland Conservatorium Griffith University
Brisbane, Australia
-----Original Message-----
From: cealleach@-----.net]=20
Sent: Thursday, 27 November 2008 1:42 AM
To: klarinet@-----.org
Subject: [kl] Mitchell Lurie
Hi all,
I am a lurker but wanted to share the fact that I just heard the sad news
that Mitchell Lurie passed away on yesterday, November 24th. A wonderful
clarinetist he was...
- Kelly W.
------------------------------------------------------------------
------------------------------------------------------------------
------------------------------------------------------------------
[Table of Contents ] [ Prev ] [ Next ]
Subject: RE: [kl] Mitchell Lurie
From: "Cheryl Cifelli" <Cifelli-c@-----.EDU>
Date: Sat, 29 Nov 2008 00:42:41 -0500
This is very true. My bassoon teacher was Kathleen Reynolds and she came =
back after that recording and raved about how effortless he made it all =
sound. She also had her son, who was maybe 6 at the time, show me the =
present that "Mitchell gave you." I was a first year masters student and =
I still remember thinking that her little boy got to spend that kind of =
time with Mitchell Lurie! I was completely jealous!!=20
>>> "Forest Aten" <forestaten@-----.com> 11/26/08 10:57 AM >>>
Ben
More about that recording....
The Reynolds family had a long standing relationship with Mitchell. =
Michael
Reynolds is the cellist with Muir....Kathleen Reynolds is principle
bassoonist in the Dallas opera orchestra and is the Professor of bassoon =
at
UNT and Terry Reynolds plays 4th horn in the opera orchestra and is an
adjunct professor at UNT. Terry and I were roommates at North Texas many
years ago. The Reynolds family talked Mitchell into doing this recording =
and
it's good for us they did....
Michael Reynolds founded and owns EcoClassics. All proceeds from EcoClassic=
recordings go to the benefit of "nature"....a 501 (c)(3) nonprofit.
Forest
> -----Original Message-----
> From: Benjamin Maas [mailto:benmaas@-----.com]
> Sent: Wednesday, November 26, 2008 10:49 AM
> To: klarinet@-----.org
> Subject: RE: [kl] Mitchell Lurie
>=20
> IMO, this is one of the great recordings of the Brahms Quintet.
>=20
> About a year ago, I was talking with the woman who recorded and produced
> the
> album (Judy Sherman- one of the great classical producers out there). =
Out
> of the hundreds of albums she has worked on, this was one that stuck =
out.
> She told me that there was easily another 2-3 albums worth of beautiful
> takes that were "left on the cutting room floor" when it came to the
> editing. Basically, there wasn't anything on the session that wasn't of
> the
> highest quality. What stuck out to her was not the just the good stuff
> that
> made the album, but the good playing that *didn't* make the album.
>=20
> --Ben
>=20
> Benjamin Maas
> Fifth Circle Audio
> Long Beach, CA
> http://www.fifthcircle.com
>=20
>=20
> > -----Original Message-----
> > From: Forest Aten
> > Subject: RE: [kl] Mitchell Lurie
> >
> > A great loss.....
> >
> > One of his last professional recordings was with the Muir
> > Quartet...he performed the Mozart and Brahms quintets. An
> > excellent recording!
> >
> > Beautiful playing all around.
> >
> > http://www.amazon.com/gp/product/B001C2TWOU?ie=3DUTF8&parent=3DB001C37Y=
9E
> >
> > EcoClassics (label)
> > P.O. Box 6834
> > Holliston, Massachusetts 10746
> >
> > Forest
> >
>=20
>=20
>=20
>=20
> ------------------------------------------------------------------
------------------------------------------------------------------
------------------------------------------------------------------
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Subject: RE: [kl] Mitchell Lurie
From: "Forest Aten" <forestaten@-----.com>
Date: Sat, 29 Nov 2008 11:28:11 -0500
Cheryl
Good to see you post. We just finished a run of Mozart's Figaro at the
opera. What a bassoon part. I've never heard Kathleen perform better! She
was (and is always) incredible.
Forest
> -----Original Message-----
> From: Cheryl Cifelli [mailto:Cifelli-c@-----.EDU]
> Sent: Friday, November 28, 2008 11:43 PM
> To: klarinet@-----.org
> Subject: RE: [kl] Mitchell Lurie
>
> This is very true. My bassoon teacher was Kathleen Reynolds and she came
> back after that recording and raved about how effortless he made it all
> sound. She also had her son, who was maybe 6 at the time, show me the
> present that "Mitchell gave you." I was a first year masters student and
> I still remember thinking that her little boy got to spend that kind of
> time with Mitchell Lurie! I was completely jealous!!
>
> >>> "Forest Aten" <forestaten@-----.com> 11/26/08 10:57 AM >>>
> Ben
>
> More about that recording....
>
> The Reynolds family had a long standing relationship with Mitchell.
> Michael
> Reynolds is the cellist with Muir....Kathleen Reynolds is principle
> bassoonist in the Dallas opera orchestra and is the Professor of bassoon
> at
> UNT and Terry Reynolds plays 4th horn in the opera orchestra and is an
> adjunct professor at UNT. Terry and I were roommates at North Texas many
> years ago. The Reynolds family talked Mitchell into doing this recording
> and
> it's good for us they did....
>
> Michael Reynolds founded and owns EcoClassics. All proceeds from
> EcoClassic
> recordings go to the benefit of "nature"....a 501 (c)(3) nonprofit.
>
> Forest
>
>
>
> > -----Original Message-----
> > From: Benjamin Maas [mailto:benmaas@-----.com]
> > Sent: Wednesday, November 26, 2008 10:49 AM
> > To: klarinet@-----.org
> > Subject: RE: [kl] Mitchell Lurie
> >
> > IMO, this is one of the great recordings of the Brahms Quintet.
> >
> > About a year ago, I was talking with the woman who recorded and produced
> > the
> > album (Judy Sherman- one of the great classical producers out there).
> Out
> > of the hundreds of albums she has worked on, this was one that stuck
> out.
> > She told me that there was easily another 2-3 albums worth of beautiful
> > takes that were "left on the cutting room floor" when it came to the
> > editing. Basically, there wasn't anything on the session that wasn't of
> > the
> > highest quality. What stuck out to her was not the just the good stuff
> > that
> > made the album, but the good playing that *didn't* make the album.
> >
> > --Ben
> >
> > Benjamin Maas
> > Fifth Circle Audio
> > Long Beach, CA
> > http://www.fifthcircle.com
> >
> >
> > > -----Original Message-----
> > > From: Forest Aten
> > > Subject: RE: [kl] Mitchell Lurie
> > >
> > > A great loss.....
> > >
> > > One of his last professional recordings was with the Muir
> > > Quartet...he performed the Mozart and Brahms quintets. An
> > > excellent recording!
> > >
> > > Beautiful playing all around.
> > >
> > > http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
> > >
> > > EcoClassics (label)
> > > P.O. Box 6834
> > > Holliston, Massachusetts 10746
> > >
> > > Forest
> > >
> >
> >
> >
> >
> > ------------------------------------------------------------------
>
>
> ------------------------------------------------------------------
>
>
>
> ------------------------------------------------------------------
------------------------------------------------------------------
[Table of Contents ] [ Prev ] [ Next ]
Subject: Re: [kl] Mitchell Lurie
From: "Dan Leeson" <dnleeson@-----.net>
Date: Sat, 29 Nov 2008 12:15:50 -0500
Good to see your post, Forest. Figaro is a heartbreaking thing for clarinet
players because there is so little to play, though when one does play, it's
the choicest of music. I think the first clarinet part is some 6-8 pages,
while the other winds have books of 20-25 pages.
According to Dexter Edge, whose dissertation was on Mozart's Vienna
copyists, when a second production was of Figaro was made in 1787, Mozart
revised portions of the opera, even adding an aria with two spectacular
basset horn parts. It's rarely heard but it's magnificent. The title is
"Al desio" and it is sung by Suzanna.
Here is a performance from Youtube (voice only):
http://www.youtube.com/watch?v=k7Hshwi9wVY
And here is another live from a performance at the Met in NY (voice and
pictures):
http://www.youtube.com/watch?v=HJ1RFT531Sw&feature=related
But Edge also told me that in the 1787 second mounting of the opera, the
aria where Cherubino i is sent off to the wars was rearranged (by Mozart?)
in which the clarinet parts were replaced by basset horns.
See! Your note about Figaro got me wandering.
----- Original Message -----
From: "Forest Aten" <forestaten@-----.com>
To: <klarinet@-----.org>
Sent: Saturday, November 29, 2008 8:28 AM
Subject: RE: [kl] Mitchell Lurie
> Cheryl
>
> Good to see you post. We just finished a run of Mozart's Figaro at the
> opera. What a bassoon part. I've never heard Kathleen perform better! She
> was (and is always) incredible.
>
> Forest
>
>> -----Original Message-----
>> From: Cheryl Cifelli [mailto:Cifelli-c@-----.EDU]
>> Sent: Friday, November 28, 2008 11:43 PM
>> To: klarinet@-----.org
>> Subject: RE: [kl] Mitchell Lurie
>>
>> This is very true. My bassoon teacher was Kathleen Reynolds and she came
>> back after that recording and raved about how effortless he made it all
>> sound. She also had her son, who was maybe 6 at the time, show me the
>> present that "Mitchell gave you." I was a first year masters student and
>> I still remember thinking that her little boy got to spend that kind of
>> time with Mitchell Lurie! I was completely jealous!!
>>
>> >>> "Forest Aten" <forestaten@-----.com> 11/26/08 10:57 AM >>>
>> Ben
>>
>> More about that recording....
>>
>> The Reynolds family had a long standing relationship with Mitchell.
>> Michael
>> Reynolds is the cellist with Muir....Kathleen Reynolds is principle
>> bassoonist in the Dallas opera orchestra and is the Professor of bassoon
>> at
>> UNT and Terry Reynolds plays 4th horn in the opera orchestra and is an
>> adjunct professor at UNT. Terry and I were roommates at North Texas many
>> years ago. The Reynolds family talked Mitchell into doing this recording
>> and
>> it's good for us they did....
>>
>> Michael Reynolds founded and owns EcoClassics. All proceeds from
>> EcoClassic
>> recordings go to the benefit of "nature"....a 501 (c)(3) nonprofit.
>>
>> Forest
>>
>>
>>
>> > -----Original Message-----
>> > From: Benjamin Maas [mailto:benmaas@-----.com]
>> > Sent: Wednesday, November 26, 2008 10:49 AM
>> > To: klarinet@-----.org
>> > Subject: RE: [kl] Mitchell Lurie
>> >
>> > IMO, this is one of the great recordings of the Brahms Quintet.
>> >
>> > About a year ago, I was talking with the woman who recorded and
>> > produced
>> > the
>> > album (Judy Sherman- one of the great classical producers out there).
>> Out
>> > of the hundreds of albums she has worked on, this was one that stuck
>> out.
>> > She told me that there was easily another 2-3 albums worth of beautiful
>> > takes that were "left on the cutting room floor" when it came to the
>> > editing. Basically, there wasn't anything on the session that wasn't
>> > of
>> > the
>> > highest quality. What stuck out to her was not the just the good stuff
>> > that
>> > made the album, but the good playing that *didn't* make the album.
>> >
>> > --Ben
>> >
>> > Benjamin Maas
>> > Fifth Circle Audio
>> > Long Beach, CA
>> > http://www.fifthcircle.com
>> >
>> >
>> > > -----Original Message-----
>> > > From: Forest Aten
>> > > Subject: RE: [kl] Mitchell Lurie
>> > >
>> > > A great loss.....
>> > >
>> > > One of his last professional recordings was with the Muir
>> > > Quartet...he performed the Mozart and Brahms quintets. An
>> > > excellent recording!
>> > >
>> > > Beautiful playing all around.
>> > >
>> > > http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
>> > >
>> > > EcoClassics (label)
>> > > P.O. Box 6834
>> > > Holliston, Massachusetts 10746
>> > >
>> > > Forest
>> > >
>> >
>> >
>> >
>> >
>> > ------------------------------------------------------------------
>>
>>
>> ------------------------------------------------------------------
>>
>>
>>
>> ------------------------------------------------------------------
>
>
> ------------------------------------------------------------------
>
------------------------------------------------------------------
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Subject: RE: [kl] Mitchell Lurie
From: "Keith" <bowenk@-----.com>
Date: Sat, 29 Nov 2008 12:28:14 -0500
Dan,
>But Edge also told me that in the 1787 second mounting of the opera, the
aria where Cherubino i is sent off to the wars was rearranged (by Mozart?)
in which the clarinet parts were replaced by basset horns. [Dan Leeson]
Isn't that the bit that Mozart quotes of himself in the stage Harmonimusik
band in Giovanni? So shouldn't we also play that on basset horns? Please?
Keith
__________ Information from ESET Smart Security, version of virus signature
database 3569 (20081030) __________
The message was checked by ESET Smart Security.
http://www.eset.com
------------------------------------------------------------------
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Subject: Re: [kl] Mitchell Lurie
From: "Dan Leeson" <dnleeson@-----.net>
Date: Sat, 29 Nov 2008 13:34:32 -0500
Yes Keith. That is the aria that Mozart quotes in the supper scene of Don
Giovanni. It is "Non piu andrai." and when it appears as the third of the
three wind octet selections, Leporello turns to the audience and says, "I've
heard that one too often."
But there is no evidence that the stage wind octet was ever done with basset
horns. That would be contrary to the practice of the nobility having their
own wind octet, which would play opera arrangements for them. I have no
knowledge of any of the several private wind octets that used basset horns.
But that does not mean that you are forbidden to rig up that octet with
bassets playing the clarinet parts.
Dan Leeson
----- Original Message -----
From: "Keith" <bowenk@-----.com>
To: <klarinet@-----.org>
Sent: Saturday, November 29, 2008 9:28 AM
Subject: RE: [kl] Mitchell Lurie
> Dan,
>
>>But Edge also told me that in the 1787 second mounting of the opera, the
> aria where Cherubino i is sent off to the wars was rearranged (by Mozart?)
> in which the clarinet parts were replaced by basset horns. [Dan Leeson]
>
>
> Isn't that the bit that Mozart quotes of himself in the stage Harmonimusik
> band in Giovanni? So shouldn't we also play that on basset horns? Please?
>
> Keith
>
>
>
> __________ Information from ESET Smart Security, version of virus
> signature
> database 3569 (20081030) __________
>
> The message was checked by ESET Smart Security.
>
> http://www.eset.com
>
>
>
> ------------------------------------------------------------------
>
------------------------------------------------------------------
[Table of Contents ] [ Prev ] [ Next ]
Subject: RE: [kl] Mitchell Lurie
From: "Forest Aten" <forestaten@-----.com>
Date: Sat, 29 Nov 2008 14:46:38 -0500
A Figaro review by Scott Cantrell.....
PS...we can not wait to get into our new opera hall next year!
------------------------------------
Opera Review: 'Figaro' at Music Hall one of best Dallas Opera productions in
memory
05:12 PM CST on Saturday, November 15, 2008
By SCOTT CANTRELL / The Dallas Morning News scantrell@-----.com
The decors and dress are 18th-century, but the Marriage of Figaro that
opened Friday at Fair Park Music Hall is as lively, as au courant, as a
first-class TV sitcom.
Between a young cast that looks and acts as well as it sings and deft
direction by veteran man-of-the-theater John Copley - and with music
director Graeme Jenkins drawing effervescent, eloquently nuanced playing
from the orchestra - this is one of the best Dallas Opera productions in
memory.
Performance details: The Marriage of Figaro
Mozart's, and librettist Lorenzo Da Ponte's, characters are so vividly
drawn, so in the moment, that they keep the audience guffawing, chuckling
and gasping.
Lyubov Petrova is an adorable dynamo of a Susanna, as sweet as she is feisty
and playful, turning on one dramatic dime after another. Her soprano can
blaze, but also lap teasingly and glow warmly.
She and her Figaro, Daniel Okulitch, light the sexual fires right away, as
she relishes pawing on the Canadian bass-baritone's well-toned bare torso.
Mr. Okulitch has a voice to match, as focused and finished as it is richly
textured, and he's an endearing operator.
My one reservation is with Michael Todd Simpson's too insistently hostile,
though well-sung, Count Almaviva. Yes, he's an unprincipled philanderer, but
isn't he driven more by immaturity and insecurity than by anger?
The Countess' wounded dignity is admirably realized by Susanna Phillips,
whose warm, ample tone fills even the Music Hall's vast reaches. Her
achingly gorgeous "Dove sono" would melt the hardest heart.
Jennifer Holloway's creamy-toned Cherubino really does look like an
adolescent boy clumsily exploring this new thing called a libido.
Even the lesser roles are wonderfully cast. Stephen Morscheck and Suzanna
Guzman are a Bartolo-and-Marcellina pair that can really sing. Joelle Harvey
is a petite Barbarina with a big, blazing soprano. Tracy Wise's foppish Don
Basilio looks like an 18th-century Oscar Wilde, a witty touch.
The chorus, prepared by Alexander Rom, sounds hearty and well balanced, but
there was some opening-night rushing.
Sets and costumes, designed by Carl Toms, are from New York City Opera.
> -----Original Message-----
> From: Dan Leeson [mailto:dnleeson@-----.net]
> Sent: Saturday, November 29, 2008 11:16 AM
> To: klarinet@-----.org
> Subject: Re: [kl] Mitchell Lurie
>
> Good to see your post, Forest. Figaro is a heartbreaking thing for
> clarinet
> players because there is so little to play, though when one does play,
> it's
> the choicest of music. I think the first clarinet part is some 6-8 pages,
> while the other winds have books of 20-25 pages.
>
> According to Dexter Edge, whose dissertation was on Mozart's Vienna
> copyists, when a second production was of Figaro was made in 1787, Mozart
> revised portions of the opera, even adding an aria with two spectacular
> basset horn parts. It's rarely heard but it's magnificent. The title is
> "Al desio" and it is sung by Suzanna.
>
> Here is a performance from Youtube (voice only):
> http://www.youtube.com/watch?v=k7Hshwi9wVY
>
> And here is another live from a performance at the Met in NY (voice and
> pictures):
> http://www.youtube.com/watch?v=HJ1RFT531Sw&feature=related
>
> But Edge also told me that in the 1787 second mounting of the opera, the
> aria where Cherubino i is sent off to the wars was rearranged (by Mozart?)
> in which the clarinet parts were replaced by basset horns.
>
> See! Your note about Figaro got me wandering.
>
> ----- Original Message -----
> From: "Forest Aten" <forestaten@-----.com>
> To: <klarinet@-----.org>
> Sent: Saturday, November 29, 2008 8:28 AM
> Subject: RE: [kl] Mitchell Lurie
>
>
> > Cheryl
> >
> > Good to see you post. We just finished a run of Mozart's Figaro at the
> > opera. What a bassoon part. I've never heard Kathleen perform better!
> She
> > was (and is always) incredible.
> >
> > Forest
> >
> >> -----Original Message-----
> >> From: Cheryl Cifelli [mailto:Cifelli-c@-----.EDU]
> >> Sent: Friday, November 28, 2008 11:43 PM
> >> To: klarinet@-----.org
> >> Subject: RE: [kl] Mitchell Lurie
> >>
> >> This is very true. My bassoon teacher was Kathleen Reynolds and she
> came
> >> back after that recording and raved about how effortless he made it all
> >> sound. She also had her son, who was maybe 6 at the time, show me the
> >> present that "Mitchell gave you." I was a first year masters student
> and
> >> I still remember thinking that her little boy got to spend that kind of
> >> time with Mitchell Lurie! I was completely jealous!!
> >>
> >> >>> "Forest Aten" <forestaten@-----.com> 11/26/08 10:57 AM >>>
> >> Ben
> >>
> >> More about that recording....
> >>
> >> The Reynolds family had a long standing relationship with Mitchell.
> >> Michael
> >> Reynolds is the cellist with Muir....Kathleen Reynolds is principle
> >> bassoonist in the Dallas opera orchestra and is the Professor of
> bassoon
> >> at
> >> UNT and Terry Reynolds plays 4th horn in the opera orchestra and is an
> >> adjunct professor at UNT. Terry and I were roommates at North Texas
> many
> >> years ago. The Reynolds family talked Mitchell into doing this
> recording
> >> and
> >> it's good for us they did....
> >>
> >> Michael Reynolds founded and owns EcoClassics. All proceeds from
> >> EcoClassic
> >> recordings go to the benefit of "nature"....a 501 (c)(3) nonprofit.
> >>
> >> Forest
> >>
> >>
> >>
> >> > -----Original Message-----
> >> > From: Benjamin Maas [mailto:benmaas@-----.com]
> >> > Sent: Wednesday, November 26, 2008 10:49 AM
> >> > To: klarinet@-----.org
> >> > Subject: RE: [kl] Mitchell Lurie
> >> >
> >> > IMO, this is one of the great recordings of the Brahms Quintet.
> >> >
> >> > About a year ago, I was talking with the woman who recorded and
> >> > produced
> >> > the
> >> > album (Judy Sherman- one of the great classical producers out there).
> >> Out
> >> > of the hundreds of albums she has worked on, this was one that stuck
> >> out.
> >> > She told me that there was easily another 2-3 albums worth of
> beautiful
> >> > takes that were "left on the cutting room floor" when it came to the
> >> > editing. Basically, there wasn't anything on the session that wasn't
> >> > of
> >> > the
> >> > highest quality. What stuck out to her was not the just the good
> stuff
> >> > that
> >> > made the album, but the good playing that *didn't* make the album.
> >> >
> >> > --Ben
> >> >
> >> > Benjamin Maas
> >> > Fifth Circle Audio
> >> > Long Beach, CA
> >> > http://www.fifthcircle.com
> >> >
> >> >
> >> > > -----Original Message-----
> >> > > From: Forest Aten
> >> > > Subject: RE: [kl] Mitchell Lurie
> >> > >
> >> > > A great loss.....
> >> > >
> >> > > One of his last professional recordings was with the Muir
> >> > > Quartet...he performed the Mozart and Brahms quintets. An
> >> > > excellent recording!
> >> > >
> >> > > Beautiful playing all around.
> >> > >
> >> > >
> http://www.amazon.com/gp/product/B001C2TWOU?ie=UTF8&parent=B001C37Y9E
> >> > >
> >> > > EcoClassics (label)
> >> > > P.O. Box 6834
> >> > > Holliston, Massachusetts 10746
> >> > >
> >> > > Forest
> >> > >
> >> >
> >> >
> >> >
> >> >
> >> > ------------------------------------------------------------------
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Subject: RE: [kl] Mitchell Lurie
From: "Cheryl Cifelli" <Cifelli-c@-----.EDU>
Date: Sun, 30 Nov 2008 15:22:42 -0500
That is absolutely no joke there!! She is amazing!
>>> "Forest Aten" <forestaten@-----.com> 11/29/08 10:28 AM >>>
Cheryl
Good to see you post. We just finished a run of Mozart's Figaro at the
opera. What a bassoon part. I've never heard Kathleen perform better! She
was (and is always) incredible.=20
Forest
> -----Original Message-----
> From: Cheryl Cifelli [mailto:Cifelli-c@-----.EDU]
> Sent: Friday, November 28, 2008 11:43 PM
> To: klarinet@-----.org
> Subject: RE: [kl] Mitchell Lurie
>=20
> This is very true. My bassoon teacher was Kathleen Reynolds and she =
came
> back after that recording and raved about how effortless he made it all
> sound. She also had her son, who was maybe 6 at the time, show me the
> present that "Mitchell gave you." I was a first year masters student =
and
> I still remember thinking that her little boy got to spend that kind of
> time with Mitchell Lurie! I was completely jealous!!
>=20
> >>> "Forest Aten" <forestaten@-----.com> 11/26/08 10:57 AM >>>
> Ben
>=20
> More about that recording....
>=20
> The Reynolds family had a long standing relationship with Mitchell.
> Michael
> Reynolds is the cellist with Muir....Kathleen Reynolds is principle
> bassoonist in the Dallas opera orchestra and is the Professor of bassoon
> at
> UNT and Terry Reynolds plays 4th horn in the opera orchestra and is an
> adjunct professor at UNT. Terry and I were roommates at North Texas many
> years ago. The Reynolds family talked Mitchell into doing this recording
> and
> it's good for us they did....
>=20
> Michael Reynolds founded and owns EcoClassics. All proceeds from
> EcoClassic
> recordings go to the benefit of "nature"....a 501 (c)(3) nonprofit.
>=20
> Forest
>=20
>=20
>=20
> > -----Original Message-----
> > From: Benjamin Maas [mailto:benmaas@-----.com]
> > Sent: Wednesday, November 26, 2008 10:49 AM
> > To: klarinet@-----.org
> > Subject: RE: [kl] Mitchell Lurie
> >
> > IMO, this is one of the great recordings of the Brahms Quintet.
> >
> > About a year ago, I was talking with the woman who recorded and =
produced
> > the
> > album (Judy Sherman- one of the great classical producers out there).
> Out
> > of the hundreds of albums she has worked on, this was one that stuck
> out.
> > She told me that there was easily another 2-3 albums worth of =
beautiful
> > takes that were "left on the cutting room floor" when it came to the
> > editing. Basically, there wasn't anything on the session that wasn't =
of
> > the
> > highest quality. What stuck out to her was not the just the good =
stuff
> > that
> > made the album, but the good playing that *didn't* make the album.
> >
> > --Ben
> >
> > Benjamin Maas
> > Fifth Circle Audio
> > Long Beach, CA
> > http://www.fifthcircle.com
> >
> >
> > > -----Original Message-----
> > > From: Forest Aten
> > > Subject: RE: [kl] Mitchell Lurie
> > >
> > > A great loss.....
> > >
> > > One of his last professional recordings was with the Muir
> > > Quartet...he performed the Mozart and Brahms quintets. An
> > > excellent recording!
> > >
> > > Beautiful playing all around.
> > >
> > > http://www.amazon.com/gp/product/B001C2TWOU?ie=3DUTF8&parent=3DB001C3=
7Y9E
> > >
> > > EcoClassics (label)
> > > P.O. Box 6834
> > > Holliston, Massachusetts 10746
> > >
> > > Forest
> > >
> >
> >
> >
> >
> > ------------------------------------------------------------------
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Subject: Re: [kl] Mitchell Lurie
From: Glenn Kantor <klarinet@-----.net>
Date: Sun, 30 Nov 2008 15:30:39 -0500
The LA Times obituary:
http://www.latimes.com/news/obituaries/la-me-lurie30-2008nov30,0,263373.story
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