Hot News September 2005
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25 September 2005
HEWAR Syrian Group – Concert at Millenium Theatre at the Kennedy Center for the Performing Arts
Washington, DC USA
Kinan Azmeh, a unique Clarinet talent and graduate of the Juilliard School in New York, and a composer of music
for this venue, brought this He War ensemble on tour in the USA with Washington as one of the performance stops
on an extensive mapping of several places; information on Newsletter Page. The Band comprises all Syrian musicians
including Azmeh on clarinet, Issam Rafea, an Oud soloist, Dima Orsho, lyric soprano, Badi Rafea, percussionist, Simone
Mreysh, drummer, Khaled Omran, Double Bass, all of whom are alumni of the Syrian National Orchestra in Demascus.
The members do not now live in Syria, which broadens the cultural musical base.
The idea behind He War is to transcend cultural barriers, disparities, and misconceptions, and establish a civilized
communication which builds on what brings people together. All this is achieved by musical exchanges between
differing personalities (using each instrument as the only means of this communication) reflecting an approach that
is musically based as well as politically based. The venue includes elements of Arabic, jazz, classic, opera, making it
a unique style combination.
The performance here was almost instinctive in their communication. There was no music on the stands and it was
like an improvised floating of music of their styles. All performers were top class and inner communication was as
if in one voice. Kinan Azmeh composed many of the pieces performed here tonight.
Woody Allen & David Byrne
Originally uploaded by
Zigmont.
The
Associated Press
Updated: 12:38 p.m. ET Sept. 25, 2005
NEW YORK - It's not often that a Nobel laureate, Pulitzer Prize winners, Grammy
winners, Academy Award winners
and just
about every other kind of winner share a single stage.
But a benefit for
Hurricane Katrina relief efforts, sponsored by The New Yorker as part of its
annual New Yorker
Festival, brought an eclectic and star-studded cast of performers to Manhattan on Saturday night. The lineup included
Toni
Morrison, Lou Reed, Elvis Costello, Kevin Kline, Richard Ford, Willem Dafoe and
lots of zydeco music.
Most of the evening's
entertainment celebrated New Orleans culture.
Actress Patricia Clarkson
read Tennessee Williams' letters from the French Quarter, New Yorker writer
Calvin
Trillin read an essay about the city's anything-goes attitude, and actor Terrence Howard read a Mark Twain essay
about New
Orleans architecture.
Woody Allen played the clarinet
with Eddy Davis and his New Orleans Jazz Band, and Kevin Kline played Randy
Newman's "Louisiana 1927," a song from the mid-1970's that sounds as if it could have been written about Hurricane
Katrina.
Other performers included
musician David Byrne, Buckwheat Zydeco, Queen Ida and Her Zydeco Band,
Audra McDonald, Mary-Louise Parker, Walter Wolfman Washington and the Roadmasters and more. New Yorker
editor David
Remnick said many of the performers were still searching for relatives missing
since the hurricane.
Tickets for the event ranged from $50
to $250, with all proceeds going to the American Red Cross. Conde Nast
Publications,
publisher of The New Yorker, will matched the donation. Over $250,000 was raised
to support the efforts.
Allen Touissant, a legendary New Orleans
pianist, summed up the night: "If you'd like to know how to get from
the Big Apple
to the Big Easy, take Highway Love, and you'll get there."
posted by Woody Allen Band at
5:42 PM
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24 September 2005
Homecoming Weekend and Kenneth Grant Clarinet Master Class
State University of New York at Fredonia, New York USA
A special packed weekend was held at this unique quality campus during this annual weekend,
different this time in which Alumni were invited to perform a major composite ensemble concert at the
Harry S King Concert Hall at the Rockefeller Performing Arts Center, adjacent to the Mason Hall,
home of the School of Music. Of interest to many unfamiliar with this College, the Music School is
one of 3 major institutions within the State University of New York system, the other 2 at Potsdam,
and Purchase. Facilities here exceed qualitatively that of schools 3 times the price for a quality music
education with a matching faculty. Being in a strategic location between Buffalo and Cleveland,
opportunities to connect with the Orchestras of both cities is possible. Being in a small town makes
the education less city stressed and possible to concentrate on getting developed as a performer and
have a quality education from undergraduate to Masters level.
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Kenneth Grant, Professor at the Eastman School of Music, gave a comprehensive Master Class
for students here, covering several areas including emphasis on basic fundamentals of clarinet playing,
musical areas in communicating through the horn, and using basic literature in covering it, such as the
Schumann Fantasy Pieces, Brahms 1st Sonata, Sutermeister Cappricio for solo Clarinet, and other works.
Marcy Bacon, Adjunct Instructor on faculty here, performed with Grant the Poulenc Sonata for 2 Clarinets,
and Grant performed a solo Bach Fantasie arranged by Stanley Hasty, Professor Emeritus from the Eastman
School. As with so many classes held in many places, emphasis by students and teachers should fully cover
the issues of proper tone production, getting out of the shell and use the clarinet as a musical means toward
that musical end. Many of the students came well prepared and demonstrated high potential while studying
with Ms Bacon and Faculty member Jay East.
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Alumni from all over the country came for a first time concert including a chorus, College Symphony
Orchestra (performing Weber’s Euranthe Overture), the Wind Ensemble performing 2 contemporary works,
and the Alumni Wind Ensemble performing Holst’s 1st Suite and Sousa’s Stars and Stripes. All the graduates
were music majors and active in both teaching school programs and performing. Ensemble quality was fully
professional. This will surely be an annual Homecoming event; logistics and performance is credited to the
Fredonia Music Faculty, including Dr Paula Holcomb, Director of Bands at the School of Music.
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18 September 2005
Clarinet Day at Mannes College of Music
New York City USA
This Clarinet Day event, showcasing the incredible Clarinet faculty in intensive Master Classes with
professionally bound advanced students from all over the city, and an evening recital featuring each of them – Mark Nuccio,
Associate Principal/ Eb Clarinetist in the New York Philharmonic, David Krakauer, acclaimed Klezmer Clarinetist
and director of his ensemble ‘Klezmer Madness’, and Charles Neidich, International soloist, member of the New York
Woodwind Quintet, Orpheus Chamber Orchestra, and faculty at Mannes, Juilliard, and Manhattan Schools.
Of obvious note is that the performance level of many of these students who played had high potential for strong
careers as soloists and Orchestral players. Literature covered in the sessions were critically covered whether
excerpts or solo literature.
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Mark Nuccio worked with 3 students who performed the familiar parts such as the Kodaly Dances
of Galanta, Beethoven 8th Symphony, Berlioz Symphonie Fantastique with an Eb student, and the Rachmaninov
2nd Symphony solo. Each student had different issues, from breaking down the solo part as in the Berlioz, then
adding the grace notes to solidify the playing. Musical input was emphasized. The Galanta Dances were covered
with musically creative options (technical issues were totally under control) so varying ways to approach the solo
parts, especially for auditions were pointed out. Issues of the hall acoustics in approaching how to play were
mentioned. A student from Krakau Poland played the Rachmaninov with playing reflective of the style in Europe,
which may not work in the US given the differences of orchestral playing approaches. Flexiblity in playing to match
conditions inside a section were worked, especially dealing with vibrato and how to apply. Some schools of playing
promote it, others do not,- adjustment is important. The Beethoven 8th was performed almost flawlessly by another
student and the importance of aspects as pitch, fingering consistencies and options discussed especially the last high
G, a very dangerous note. All the students had excellent preparation for this class.
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David Krakauer covered tone, opening up on the horn and being able to communicate with an audience.
Brahms 1st Sonata was covered in detail with pianist, especially pitch which needed attention in the throat register.
Phrasing and identifying bad notes, called Bernies, based on a movie about college kids who got caught up with a
murdered person and trying to hide it. Analogy was off cuff, but it did point out importance of clean passage playing
and avoiding those bad sounding notes throughout the horn. On an Elliot Carter solo piece, imagination and its
perceptions were explored and tried to increase communication between the performer and the audience.
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Charles Neidich intensively coached a student with the Stravinsky 3 Pieces, and gave an extensive
historical analysis of the piece, especially since it was republished with glaring mistakes that had to be identified
and almost re-written. Questions arose about original manuscripts, the publisher, unaccounted for mistakes and
just what is the right correction. A work for 2 Bassoons in manuscript had motifs of the clarinet pieces which seemed
to solve the discrepancies. Question was brought about whether the key of the clarinet was correct- 1st and 2nd
movement for A Clarinet, and the 3rd movement for Bb. The student, from Montreal played a very dynamic
performance and was critically coached about all 3 pieces.
[photogallery/photo00001170/real.htm]Fred Weiner, a major instrument seller came with a display of Clarinets, accessories such as reeds, tools,
mouthpieces, etc, along with others such as the Wind Instrument Center and Dan Johnston, a major Clarinet
Mouthpiece maker and craftsman. Ample time was provided for the many participating to visit and deal.
The evening recital featured each faculty member in a diverse quality program covering recital literature-
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Mark Nuccio - Donizetti - Studio Primo
Verdi - Andante from La Forza del Destino arranged by Ben Armato
Artie Shaw - Clarinet Concerto
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David Krakauer - Louis Cahuzac - Cantilene
Traditional Klezmer Suite, with Trio
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Charles Neidich - Saint Saens – Sonata
Chausson - Andante and Allegro
Of interest, a work composed by Mr Neidich in memory of the victims of the Tseunomi disaster was
performed for solo clarinet named Threnos for solo Clarinet.
This entire day was meaningful and exciting the entire time held. Events like this, no matter where held,
is of extreme importance for the growth of all players. Diversity of approach by all 3 teachers made an impression
that there is more than one way to attack the problems and concepts at hand. Hopefully this is an annual event.
Credit is due to the Director of Admissions Georgia Schmitt for the extensive preparation of this program and
working with all involved. One major objective is to showcase the Mannes College and the quality education
assets present here in connection with itself as a Music College and associated with the New School, a major
institution in New York
photo by Denny Lester |
14 September 2005
Buddy DeFranco, Jazz great, is named by the National Endowment for the Arts
2006 Jazz Masters Fellowship Recipient
Washington, DC USA
Buddy
DeFranco Whitefish, Montana Solo Instrumentalist (Clarinet) |
photo by Denny Lester
"When I think of all the excellent musicians there are in this world, to be chosen as a recipient of this great award is indeed an honor." – Buddy DeFranco
A brilliant improviser and prodigious technician who has bridged the swing and bebop eras, Buddy DeFranco was born in Camden, New Jersey, in 1923, was raised in South Philadelphia, and began playing the clarinet at age nine. At 14, he won a national Tommy Dorsey Swing Contest and appeared on the Saturday Night Swing Club with Gene Krupa. Johnny "Scat" Davis soon tapped him for his big band, inaugurating DeFranco's road career in 1939. DeFranco subsequently played in the bands of Gene Krupa (1941) and Charlie Barnet (1942-43) and in 1944 became a featured soloist with Tommy Dorsey. Meanwhile, the modern jazz revolution was in progress, led by Charlie Parker and Dizzy Gillespie (JM). Excited by the improvisatory freedom of their music, DeFranco became the first jazz clarinetist to make his mark in the new idiom of bebop.
In 1950, DeFranco joined the famous Count Basie (JM) Septet. He toured Europe with Billie Holiday in 1954, led a quartet for three years with Art Blakey (JM), Kenny Drew and Eugene Wright, and then joined with Tommy Gumina in a quartet that explored polytonal music, further solidifying his reputation as a "musician's musician." In 1958, he premiered Nelson Riddle's Cross Country Suite at the Hollywood Bowl and later recorded the composition for Dot Records. His other notable concert and recording appearances have included dates with Art Tatum, Nat King Cole, Charlie Parker, Dizzy Gillespie, Stan Getz, Lenny Tristano, Billy Eckstine, Barney Kessel, Herb Ellis, Ray Brown (JM), Mel Torme, Louie Bellson (JM), Oscar Peterson, and the John Pizzarelli Trio, as well as several Metronome All Star sessions. He was a featured artist in numerous Jazz at the Philharmonic tours of Europe, Australia, and East Asia. In 1966, he became the leader of the Glenn Miller Orchestra, a post he maintained until 1974.
Since the mid-1970s, DeFranco has combined a busy teaching career with extensive touring and recording. His numerous television performances have included appearances on The Tonight Show with both Steve Allen and Johnny Carson. He was a featured soloist on Stars of Jazz; had his own program on public television, The DeFranco Jazz Forum; and with his long-time musical colleague, vibraphonist Terry Gibbs, shared the spotlight on a segment of the PBS series Club Date. DeFranco has played at concerts and festivals throughout the United States, Europe, Australia, New Zealand, South Africa, Brazil, and Argentina. To date, he has recorded more than 160 albums, has won the Downbeat All Stars award 20 times, and the Metronome poll 12 times. The University of Montana, Missoula, now hosts The Buddy DeFranco Jazz Festival each April.