Word: clarineting
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...alumnus, Adams did not always make it his goal to come here. “Neither of my parents graduated from college,” Adams recalls. “[College] came up as just sort of a wish.”In his youth, Adams took up the clarinet. Upon graduating from high school in 1965, he had already mastered the instrument. “It’s a well-kept secret, but the clarinet is a rather easy instrument to master,” Adams adds humbly. Feeling that there was little for him to learn...
...sound familiar, that's just how maverick clarinetist Tony Scott wanted it. Among the loudest horn blowers in jazz and a venerated sideman for greats like Billie Holiday and Duke Ellington, he was one of the rare masters of bebop--a jaunty sound previously deemed incompatible with the clarinet's soft tones. The arranger and composer also branched out to embrace sounds from countries like Japan and Senegal, helping launch the genre now known as world music. In doing so, he skirted classification--and high-voltage celebrity. "Without experimenters," he said, "jazz would die a lingering death...
...Romeo at Juliet’s Grave.” The orchestra’s string players were particularly remarkable for their clear pizzicato and skilled glissandos.“Romeo and Juliet” is notable for its many solos, played by everything from snare drum to bass clarinet, and the HRO smoothly transitioned from one solo to another. Consequently, the solos served to enhance the orchestra’s ability to move its listeners with Prokofiev’s music.The evening’s performance had a dazzling finish with Tchaikovsky’s Symphony...
...best prepared. It is hard to go wrong with Mendelssohn’s winsome opening melody, and the orchestra passed it from one section to another with skill. The ornamented scherzo section of the first movement was bright and charming, and grew into an exciting frenzy. A difficult clarinet solo which opens the second movement was rendered with seeming ease by Andrew P. Lowy ’09, a great asset to the orchestra’s wind section. The slow third movement was highlighted by the healthy sound created by the first violins, in partnership with the principal flute...
...their instruments and the “jam sessions” promised by the event fliers began. One of the first to play was Anna I. Polonyi ’10, who provided a blues beat on the drums for Lee H. Dietterich ’10 on the clarinet and Momin M. Malik ’08 on the sitar. The trio began slowly, with each musician playing solo for a few minutes in order to give the others a feel for their style. Once comfortable with each other’s sound, the three began to play...