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October 2017 Hot News


30 October 2017

Senior VIP Stanley Drucker informal performance and CD Party at the Buffet New York Showroom 

New York City USA



29 October 2017

200th Anniversary Celebration Concert of the West Point Band, the Oldest Band in the US Army founded in 1817, at Geffen Hall at Lincoln Center

New York City USA

                 Under the direction of Lt. Col. Tod Addison, the West Point Band celebrated its Bicentennial with a performance at David Geffen Hall at Lincoln Center on October 29th, 2017. In attendance were leaders from the United States Military Academy at West Point, West Point Band alumni, composers who have written works for the band, and members of the public. On the program were works of historical significance to the band as well as several world premieres. The West Point Cadet Glee club joined with the band under the baton of Ms. Constance Chase to sing the Alma Mater, The Corps, and other West Point songs. Below is a flikker display of the evening event.

26 October 2017

VIP and Solo Klarinettist in the Berliner Philharmoniker Andreas Ottensamer Soloist performing Stamitz Clarinet Concerto with the Iceland Symphony, Karina Canellakis, Conductor 



25 October 2017

Wesley Ferriera Masterclasses at the Moscow Conservatory

Moscow, Russia


October 2017

Chicago Symphony Principal Clarinet and VIP Stephen Williamson - performance of Mozart’s Clarinet Concerto with Riccardo Muti and the CSO on Tour

 San Diego, California USA



14 October 20

'Theater of Life' Chamber concert at the Fort Worth Contemporary Museum of Art with Senior VIP Franklin Cohen and colleagues

Fort Worth, Texas USA

                I canot recall attending any concert with a greater contrast than the Oct. 14 performance hosted by the Chamber Music Society of Fort Worth at the Modern Art Museum of Fort Worth. The first half of the program was Olivier Messiaen’s Quatuor pour la fin du temps (“Quartet for the End of Time”), while the second half was Stravinsky’s L’histoire du soldat (“The Soldier’s Tale”), complete with marionettes.

               The pairing, though perhaps unlikely, worked beautifully, and the result was one of the most delightful concerts of the season so far.

               The famous story of the composition and premiere of Messiaen’s quartet for violin, clarinet, cello, and piano has in many quarters overshadowed the music itself. And as origin stories go, it’s a doozy. Clarinetist Rebecca Rischin’s excellent book For the End of Time: The Story of the Messiaen Quartet best chronicles the tale, but here’s a much-abbreviated version. Messiaen, a French army nurse, was confined to a Nazi prisoner of war camp during World War II. While there, he befriended three other musicians, and in 1941 wrote and premiered an eight-movement piece for the four musicians and their available instruments. This piece evoked both Messiaen’s deep Catholic faith, with movement titles such as “Praise to the Eternity of Jesus,” and his abiding love for ornithology, with its bird calls. It also uses experimental (for the time) metrical techniques—there are no time signatures in some movements, and in others, the time signatures often do not govern the actual rhythms. All of these features make the piece both infinitely complex and also quite difficult to play well. The musicians featured on Saturday presented a polished and occasionally astonishing performance despite this difficulty.

              The Society’s Artistic Director, Gary Levinson, was the violinist, while the clarinetist was Franklin Cohen, who retired last year as principal after a 40-year career with the Cleveland Orchestra. The cellist was SMU professor Andrés Díaz, and the pianist was Jihye Chang of Florida State University.

              While some movements feature all four instruments, others feature just one or two—“Abyss of the Birds” is a clarinet solo, “Praise to the Eternity of Jesus” features a cello solo with piano, and the final movement, “Praise to the Immortality of Jesus,” highlights violin, again with piano. Cohen was especially spectacular in his solo movement, with remarkable control and beautifully shaped phrases. His pianissimos came out of nowhere, and his crescendos were precisely even: truly astonishing. Díaz has a lovely, resonant sound, and created intensity out of Messiaen’s interminable lines. Chang supported this sense of line with almost hypnotic chords. Levinson, in the critical final movement, entranced with lush sound, while Chang was again a rhythmic rock.

             This was an outstanding performance of a piece more talked about than listened to.

             After intermission, an abrupt change in mood: Stravinsky’s theatrical work for septet, narrator, and, originally, dancers used Dan Butterworth’s marionettes in the place of those dancers to excellent effect. A screen enlarged the knee-high puppets for easier viewing. Butterworth’s ability to show surprisingly subtle changes in mood or action, as well as the puppets themselves—the soldier, with and without his fiddle, the devil, the soldier’s princess—brought childlike glee to the mostly older crowd. John Kuether, as the narrator, was superb, using an astonishingly wide range of voices to bring the story to life.

            The musicians, too, brought their best to Stravinsky’s delightful piece. It is usually performed with a conductor, due in part to Stravinsky’s constantly changing time signatures. Richard Lee of the East Texas Symphony did Saturday’s honors. The rest of the musicians, with the exception of clarinetist Cohen, were Dallas Symphony members: Levinson on violin, Nicolas Tsolainos on bass, Theodore Soluri playing bassoon, Russell Campbell on cornet, Chris Oliver playing trombone, and Doug Howard adding percussion.

           This ensemble brought drama and levity alike to Stravinsky’s music. Levinson excelled at the Russian folk tune-inflected music representing the fiddle-playing soldier, though when the narrator intoned that the soldier’s fiddle’s “tone’s not rich and the pegs slip,” it was hard not to giggle at the irony of DSO Senior Principal Associate Concertmaster Levinson accompanying that narration on his Stradivarius. DSO Associate Principal Trumpet Campbell provided rich tone without overbalancing the violin, as did DSO Associate Principal Trombone Oliver. This was my first opportunity to hear these two brass players perform chamber music, and I was well impressed. Cohen again showed himself to be an elegant and subtle player, while Principal Bass Tsolainos and Principal Bassoon Soluri grounded the ensemble.

          DSO Principal Percussionist Howard, too, could easily have overwhelmed the others, but he never overplayed, even as his part became increasingly significant—the piece, indeed, ends with violin and percussion in a sort of duel, but finally the violin drops out, leaving only the percussionist—the devil—to hammer out his triumph.

          This was a delightful afternoon, beginning with Messiaen’s mysticism and concluding with Stravinsky’s theatrical cautionary tale, reminding us that selling one’s fiddle for the promise of infinite wealth is a bargain doomed to go poorly. Or something like that… 

October 7 - 8 2017

Clarinettissimo - Seattle Pacific University  - Washington - Sean Orborn, Director

Seattle, Washington USA


Colorado State University Clarinet Day with VIP Mark Nuccio (Solo Clarinetist with Houston Symphony) - Dr  Wesley Ferreira, Host 

7 October 2017

Ft Collins, Colorado USA





6 October 2017

David Shifrin Master Class - University of Oregon - VIP Wonkak Kim, Host



      ricardo_morales  3

1 October 2017

Benefit Concert for the Puerto Rico Relief with VIP Ricardo Morales and the Dali Quartet

North Wales, Pennsylvania USA

              Dali Quartet and Puerto Rican clarinetist Ricardo Morales from The Philadelphia Orchestra were scheduled to play a concert on Sunday October 1st at the Sala Sinfonica Pablo Casals in Puerto Rico.  Due to the devastation of the hurricanes Irma and Maria, the concert was postponed.  Dali Quartet and Ricardo Morales decided to host the concert in North Wales PA, and raise funds to help Puerto Rico.

             Program included a work by Pacquita Rivera and the Weber Clarinet Quintet Op 34

            We would like everyone to join us to show our Puerto Rican friends and families our support.

           All proceeds will be contributed to United for Puerto Rico. If you were not able to attend the concert, you may donate by clicking here

           Thank you to everyone who came to our benefit concert and supported relief efforts in Puerto Rico! Together, we raised nearly $3,000 to help the victims of hurricane Maria. THANK YOU!!!


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Revised: November 04, 2017