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PRIORITY CLARINET AND MUSIC EVENTS

 

 

November 2017 Hot News

 

1 - 20 November 2017

 

Senior VIP Stanley Drucker on French Tour with Buffet Crampon and Vandoren

 

Paris, France

 

New York Philharmonic 'Listening through Time' Podcast featuring Stanley Drucker  

 

       http://archives.nyphil.org/index.php/podcast

 

 

18 November 2017

 

Wright State University Reeds Day - VIP   John  Kurokawa, Director

 

Dayton, Ohio USA

 

 

 

 

 

17 November 2017

 

Master class by Michael Rusinek at the Peabody Conservatory - special guests in the audience, the superb clarinet section of the Baltimore Symphony Orchestra (including Alex Bedenko) with Alexander Bedenko and Yao Guang Zhai

 

Baltimore, Maryland USA

 

 

 

 

14 November 2017

 

Buffet Crampon 50th Year Celebration in Japan with World-Class Artists

 

Tokyo, Japan

 

 

10 November 2017

 

VIP Charles Neidich Chamber Concert 'Emotion and Intellect' at Tenri Cultural Institute

 

New York City USA

 

Tenri Cultural Institute presents Wa Concert Series- Emotion & Intellect: Robert Schumann and Max Reger in Review

Charles Neidich, clarinet and artistic director
Mariko Furukawa, piano

 

 

Tenri Cultural Institute, New York, NY

 

                        Charles Neidich displayed several facets of his immense talent on Friday night during one of his well-curated “Wa” concerts. “Wa” is a word that means “circle” or “harmony, completeness,” and these values were abundantly in evidence, from the intelligent programming of works by Robert Schumann and Max Reger, to the divine performance, the genial verbal introductions and context-setting, and the pre- and post-concert feast and wine by his wife Ayako Oshima (also a fine clarinetist). The intimate setting of the Tenri Institute was perfect for this event.

 

                       Interestingly, all the Schumann pieces were transcriptions, since he didn’t really create for clarinet and piano duo. Mr. Neidich and his superb collaborator Mariko Fukuwara opened with Fünf Stücke im Volkston, Op. 102 (Five Pieces in Folk-style), originally for cello. They imbued the set with all the verve it requires and were seamlessly coordinated in every nuance.

 

                     Then followed the huge clarinet and piano sonata by Max Reger, Op. 49, No. 1. When one hears Mr. Neidich, one really doesn’t think about the instrument, only the music, so unified is he with the clarinet that it is never an issue. I can’t imagine a better performance than this one of this complicated piece, every whisper and yearning was conveyed with utter sensitivity, from both players. Again, Ms. Fukuwara handled the difficult piano part with complete transparency, no easy feat in this repertoire.

 

                    After intermission, they lightened the tone a bit by sampling two of Reger’s shorter works, the delightful Tarantella (WoO II/12) and Albumblatt (WoO II/13). This is a distinctly German interpretation of the tarantella from Reger, indeed, no one is going to dance out their spider venom with this one, but it is lovely nevertheless.

 

                   Then after some pointed introduction, Mr. Neidich and Ms. Furukawa performed a virtually unknown Schumann sonata (Op. posth. WoO 2) that was originally composed for violin, re-using the two movements Schumann had contributed to the joint F.A.E.- Frei aber einsam (“free but lonely”) sonata, adding two prior movements of his own, very late in his life. As Mr. Neidich poignantly reminded us, Clara Schumann was such a zealous guarder of her husband’s legacy and reputation that she burned the work, thinking it beneath Schumann, though she did perform it a few times with Joseph Joachim. A sketchy manuscript copy of those first two movements was located recently in a library, hence it does survive. It has all the Schumann characteristics, the way he “behaves” in A Minor, one of his favorite tonalities. The fourth movement is a veritable hell-hole of difficulty, stemming from its violinistic figurations—this inspired Mr. Neidich’s most overtly virtuosic playing of the evening, and earned him well-deserved uproarious applause.

 

                For an encore, the pair reached into another obscure Schumann corner: the Abendlied, Op. 85 No. 12, originally for piano four-hands. It was a lovely way to end a rare and valuable evening.

 

 

9 November 2017

 

During the Berliner Philharmoniker Tour at Hong Kong, Master Class with Orchestra Principals and Players held at the Hong Kong Academy of Performing Arts with VIP Andreas Ottensamer - Andrew Simon, Host

 

 

7 November 2017

 

Stoltzman Sounds Concert featuring Mika and Richard Stoltzman at Zankel Hall at Carnegie Hall

 

New York City USA

 

 

 

 

 

7 November 2017

 

Review: Celebrating 40 Years of Championing American Composers with Clarinet Soloist Derek Bermel and the American Composers Orchestra at the Rose Concert Hall at Lincoln Center

 

By ANTHONY TOMMASININOV

 

                   In a 1977 talk, Aaron Copland complained that concerts by America’s orchestras were still frustratingly dominated by the “great works of the past.” No American composer was suggesting that these great old works should not be played, Copland explained. “All we want to do is get in on it!” he said.

 

                  Copland addressed those comments that year to an audience at Alice Tully Hall before the inaugural concert of the American Composers Orchestra. On Tuesday night at Jazz at Lincoln Center’s Frederick P. Rose Hall, a recording of Copland’s remarks was played before the American Composer Orchestra’s 40th Birthday Concert. The gist of his argument, alas, still applies today. The programs of American orchestras have remained overwhelmingly tilted toward works of the past, mostly the distant past.

 

                Yes, much has changed for the better. In a program note, the directors of the American Composers Orchestra (A.C.O.) take pride that this essential ensemble has helped define “what it means to be American in 2017,” embracing gender, ethnic, national and stylistic diversity. Tuesday’s varied program offered exhilarating evidence.

 

              Next year’s 100th birthday of Leonard Bernstein, who died in 1990, was acknowledged with a performance of his Clarinet Sonata (1941-42), the composer’s first published work, which he wrote in his early 20s. It was performed in a 1994 orchestration by Sid Ramin, scored for clarinet, strings and percussion. The excellent clarinetist Derek Bermel brought warm colorings and moody reflectiveness to the solo part, while subtly drawing out all the jazzy touches.

 

 

 

 

5 November 2017

 

Barcelona Clarinet Players World Premiere Kelanit for Clarinet Quartet and Band 

 

Bilbao, Spain

 

 

 

  

3 - 4 November 2017

 

Navy Band Clarinet Day - VIP Laura Grantier, Director, with VIP Richie Hawley and Eugene Mondie

 

Washington DC USA

 

 

 

 

 

3 November 2017

 

VIP Anthony McGill Soloist with the New York Philharmonic performing Bernstein's Prelude, Fugue and Riffs on a 100th Birth Anniversary of Bernstein's birth, Alan Gilbert, Conductor

 

New York City USA

 

 

                     The Philharmonic Bernstein festival continues with Prelude, Fugue, and Riffs, a flashy score that features our Principal Clarinet Anthony McGill. Jazz pianist Makoto Ozone (“Thrilling, virtuosic” — The New York Times) is the soloist in Gershwin’s all-American favorite Rhapsody in Blue — infectiously melodic, bluesy, romantic at heart — and the composer’s voice in Bernstein’s The Age of Anxiety.

About the Clarinet Soloist:

                    Anthony McGill joined the New York Philharmonic as Principal Clarinet, The Edna and W. Van Alan Clark Chair, in September 2014. Previously principal clarinet of The Metropolitan Opera Orchestra beginning in 2004, he is recognized as one of the classical music world’s finest solo, chamber, and orchestral musicians. He has appeared as soloist at Carnegie Hall with many orchestras, including the MET Orchestra, American Symphony Orchestra, and New York String Orchestra. He has also recently performed with the Baltimore, New Jersey, San Diego, and Memphis symphony orchestras and Orchestra 2001. As a chamber musician Mr. McGill has appeared throughout the United States, Europe, and Asia with quartets including the Guarneri, Tokyo, Brentano, Pacifica, Shanghai, Miró, and Daedalus. He has also appeared with Musicians from Marlboro and at The Chamber Music Society of Lincoln Center, Philadelphia Chamber Music Society, and University of Chicago Presents. His festival appearances have included Tanglewood, Marlboro, Mainly Mozart, Music@Menlo, and Santa Fe Chamber Music. He has collaborated with pianists Emanuel Ax, Yefim Bronfman, Mitsuko Uchida, and Lang Lang, as well as violinists Gil Shaham and Midori. On January 20, 2009, he performed with Itzhak Perlman, Yo-Yo Ma, and Gabriela Montero at the inauguration of President Barack Obama. He has appeared on Performance Today, MPR’s Saint Paul Sunday, and Mister Rogers’ Neighborhood. In 2013 with his brother Demarre, he appeared on NBC Nightly News, the Steve Harvey Show, and on MSNBC with Melissa Harris-Perry. In demand as a teacher, Anthony McGill serves on the faculties of The Juilliard School, Peabody Institute of The Johns Hopkins University, Bard College Conservatory of Music, and Manhattan School of Music, and has given master classes throughout the United States, Europe, and South Africa. In 2016 he was one of five leaders honored with a John Jay Justice Award for being a “true champion of justice.”

 

       

  

3 November 2017

 

David Howard (Bass Clarinetist in the Los Angeles Philharmonic) Master Class at the Buffet New York Showroom

 

New York City USA

 

 

       

3 November 2017 

 

Master Class with Ron Selka, Solo Clarinetist in the Israeli Philharmonic at the Peabody Conservatory - Alexander Fitelstein, Host

 

Baltimore, Maryland USA

 

 

 

 

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Revised: November 19, 2017