Andrew Stiller wrote:
In 1964, we did West Side Story with exactly one line change,
altering You came here w. your pants open! to You came here w.
your mouth open! ...
I don't remember that line at all, but do you happen to recall the
deliberate shock value in 1957 of Gee, Officer, Krupke
My HS buddy (from the School of Performing Arts - NYC class of '54),
Tony Mordente, a great dancer, later asst. to Jerome Robbins and now
Hollywood TV director, delivered that line in the show. He's also
the guy that comes leapfrogging at the screen during the title
sequence in the movie
On Jun 23, 2006, at 11:01 AM, John Howell wrote:
Andrew Stiller wrote:
In 1964, we did West Side Story with exactly one line change,
altering You came here w. your pants open! to You came here w.
your mouth open! ...
I don't remember that line at all, but do you happen to recall the
Andrew Stiller wrote:
In 1964, we did West Side Story with exactly one line change, altering
You came here w. your pants open! to You came here w. your mouth
open! ...
Since the Clinton years, I think the amended version might be worse.
RBH
___
Raymond Horton wrote:
Andrew Stiller wrote:
In 1964, we did West Side Story with exactly one line change, altering
You came here w. your pants open! to You came here w. your mouth
open! ...
Since the Clinton years, I think the amended version might be worse.
Since the Clinton years,
See the prophetic Onion story from Jan 17, 2001:
Bush: Our Long National Nightmare Of Peace And Prosperity Is Finally
Over
http://www.theonion.com/content/node/28784
- Darcy
-
[EMAIL PROTECTED]
http://secretsociety.typepad.com
Brooklyn, NY
On 22 Jun 2006, at 3:55 AM, dhbailey wrote:
In 1964, we did West Side Story with exactly one line change,
altering You came here w. your pants open! to You came here w.
your mouth open! ...
Since the Clinton years, I think the amended version might be worse.
Since the Clinton years, everything's been worse. :-(
Without a
In a message dated 6/21/06 1:01:29 PM, [EMAIL PROTECTED] writes:
From: David W. Fenton [EMAIL PROTECTED]
Subject: Re: Subject: Re: [Finale] Kiss Me, Kate books
On 20 Jun 2006 at 12:00, [EMAIL PROTECTED] wrote:
Yes, 95% of the orchestration changes taking place in recent years on
B'way
Andrew Stiller wrote:
On Jun 17, 2006, at 10:29 AM, Carl Dershem wrote:
Most shows have long stretches of I'd be reading the paper now, but
the conductor would get mad, middling stretches of just plain work,
and a few instances of let's hope I survive this bit tonight, but
they almost
In a message dated 6/19/06 1:01:39 PM, [EMAIL PROTECTED] writes:
From: Christopher Smith [EMAIL PROTECTED]
Subject: Re: [Finale] Kiss Me, Kate books
In addition, as I have already said elsewhere, I don't think four
strings and four brass really do the score of Kiss Me Kate justice
On 20 Jun 2006 at 12:00, [EMAIL PROTECTED] wrote:
Yes, 95% of the orchestration changes taking place in recent years on
B'way are for the budget.
But is it not quite obvious that the Kiss Me, Kate re-orchestration
was *not* done for that reason? It reduced the number of players by
ONE but
At 8:49 PM -0400 6/20/06, David W. Fenton wrote:
On 20 Jun 2006 at 12:00, [EMAIL PROTECTED] wrote:
Yes, 95% of the orchestration changes taking place in recent years on
B'way are for the budget.
But is it not quite obvious that the Kiss Me, Kate re-orchestration
was *not* done for that
Carl Dershem wrote:
[snip]
Recent strikes on New York and Philadelphia helped, but ... the general
public just doesn't care, so long as they get what they want. They
consider canned music or synthesized music to be good enough, and
because almost no one nowadays plays music, and they think
You know, it's all too easy to blame amplification itself for sonic
problems, as opposed to poor mixing.
I'm involved in a composers federation called Pulse. Our regular
performing ensemble is a string quartet, two reeds, horn, tuba, a
percussionist (usually vibraphone) and a keyboard
On Jun 18, 2006, at 4:55 PM, John Howell wrote:
I wonder how many authorized productions of any musical actually
use the full original orchestration with the number of players
mandated by local 802 when they had real power on Broadway, and how
many end up with synthesizers and a few single
On Jun 17, 2006, at 10:29 AM, Carl Dershem wrote:
Most shows have long stretches of I'd be reading the paper now, but
the conductor would get mad, middling stretches of just plain work,
and a few instances of let's hope I survive this bit tonight, but
they almost always have something
, [EMAIL PROTECTED] writes:
Subject: Re: [Finale] Kiss Me, Kate books
My old friend Johnny Tunick orchestrated that show. There's a D. A.
Pennebaker video of the recording session for that show in which you
can see who is playing in the band. I recognize Joel Kaye in one of
the reed chairs
Oboist Claire Tindall, in her kiss-and-tell memoir _Mozart in the
Jungle_, describes how she memorized her part for _Les Misérables_, and
thereafter read books hidden behind her part during performances.
Andrew Stiller
That's Blair Tindall.
Lee Actor
Composer-in-Residence and Assistant
, [EMAIL PROTECTED] writes:
Subject: Re: [Finale] Kiss Me, Kate books
My old friend Johnny Tunick orchestrated that show. There's a D. A.
Pennebaker video of the recording session for that show in which you
can see who is playing in the band. I recognize Joel Kaye in one of
the reed chairs, Brooks
On Jun 17, 2006, at 4:31 PM, John Howell wrote:
Part of my orientation is that we've been pretty conservative and done
mostly shows that are older, sure-fire, and will draw good audiences.
Annie may be the latest we've done, and that's approaching 30 years
old. And even though Kate falls
Andrew Stiller wrote:
I've been biting my tongue about this ever since this thread started,
but I can't stand it any more. Why in the world would anyone do a
reorchestrated version of *any* broadway musical if they possessed the
forces and money to put on the original version? More to the
On Jun 18, 2006, at 2:23 PM, Andrew Stiller wrote:
If you want to do Cole Porter's _Kiss Me Kate_, do Cole Porter's
_Kiss Me Kate_--not somebody else's travesty of it.
I don't quite buy this argument in Cole Porter's case. His original
arrangements (for piano) were not detailed enough to
On Jun 18, 2006, at 2:33 PM, Carl Dershem wrote:
1) Very few possess the forces and money to front a complete pit
orchestra any more. Shows that I played in the 70's with a full pit
orchestra I now play with often 1/2 to 2/3 the musicians, all working
harder - but still cheaper for the
At 2:23 PM -0400 6/18/06, Andrew Stiller wrote:
On Jun 17, 2006, at 4:31 PM, John Howell wrote:
Part of my orientation is that we've been pretty conservative and
done mostly shows that are older, sure-fire, and will draw good
audiences. Annie may be the latest we've done, and that's
Christopher Smith wrote:
On Jun 18, 2006, at 2:33 PM, Carl Dershem wrote:
1) Very few possess the forces and money to front a complete pit
orchestra any more. Shows that I played in the 70's with a full pit
orchestra I now play with often 1/2 to 2/3 the musicians, all working
harder -
At 4:42 PM -0400 6/18/06, Christopher Smith wrote:
In addition, as I have already said elsewhere, I don't think four
strings and four brass really do the score of Kiss Me Kate justice,
but that was a budgetary decision, not an artistic one.
Since I have the orchestrations to hand, let me
On Jun 16, 2006, at 5:12 PM, Christopher Smith wrote:
I see it quite a bit in the shows I have done or checked out. Kiss
of the Spider Woman, the Producers, Dirty Rotten Scoundrels, all
use violin/viola doublers. I think they really try to squeeze as
many different colours out of the
On Jun 17, 2006, at 11:44 AM, Chuck Israels wrote:
On Jun 16, 2006, at 5:12 PM, Christopher Smith wrote:
I see it quite a bit in the shows I have done or checked out. Kiss of
the Spider Woman, the Producers, Dirty Rotten Scoundrels, all use
violin/viola doublers. I think they really try
Christopher Smith wrote:
On Jun 17, 2006, at 11:44 AM, Chuck Israels wrote:
On Jun 16, 2006, at 5:12 PM, Christopher Smith wrote:
I see it quite a bit in the shows I have done or checked out. Kiss of
the Spider Woman, the Producers, Dirty Rotten Scoundrels, all use
violin/viola doublers. I
Like I said, we are getting a bit smart-ass for the original poster, who
has a community orchestra that goes down to middle-schoolers. Some
shows are published with school editions, but obviously this one isn't,
or hasn't been yet. But John is used to making adjustments, and will
have to
On Jun 17, 2006, at 10:07 AM, Christopher Smith wrote:
On Jun 17, 2006, at 11:44 AM, Chuck Israels wrote:
On Jun 16, 2006, at 5:12 PM, Christopher Smith wrote:
I see it quite a bit in the shows I have done or checked out.
Kiss of the Spider Woman, the Producers, Dirty Rotten
On Jun 17, 2006, at 10:29 AM, Carl Dershem wrote:
Most shows have long stretches of I'd be reading the paper now,
but the conductor would get mad, middling stretches of just plain
work, and a few instances of let's hope I survive this bit
tonight, but they almost always have something
On Jun 16, 2006, at 10:39 PM, Raymond Horton wrote:
Perhaps you could rent your oboist an English Horn and a few
lessons? He/she would be most appreciative, I'm sure.
You don't need no steenkin' lessons! Anyone who can play the oboe can
play EH acceptably on 1/2 hour's practice, max.
Chuck Israels wrote:
Most shows have long stretches of I'd be reading the paper now, but
the conductor would get mad, middling stretches of just plain work,
and a few instances of let's hope I survive this bit tonight, but
they almost always have something associated that's good for
No no, you need 5 hours of practice on English horn. And that is just to
get the reed working right ;-)
Andrew Stiller wrote:
You don't need no steenkin' lessons! Anyone who can play the oboe can
play EH acceptably on 1/2 hour's practice, max. Same goes for the
various different sizes of
On Jun 17, 2006, at 1:37 PM, Chuck Israels wrote:
On Jun 17, 2006, at 10:07 AM, Christopher Smith wrote:
The worst of these I saw (in my book) was in Company.
My old friend Johnny Tunick orchestrated that show.
Ooh, he is spectacularly great! What a fantastic musician he is! I have
Eric Dannewitz wrote:
No no, you need 5 hours of practice on English horn. And that is just to
get the reed working right ;-)
It's possible for an English Horn reed to work right?
cd
--
http://www.livejournal.com/users/dershem/#
___
Finale mailing
Christopher Smith wrote:
If you think that little trombone passage is a challenge, how about
that I'm not Gonna Get Married Today song for the actress that
preformed that! (Pamela Meyers, I think. She was sensational.)
Fastest pronunciation in the Western hemisphere!
My wife does an
On Jun 17, 2006, at 2:18 PM, Carl Dershem wrote:
Christopher Smith wrote:
If you think that little trombone passage is a challenge, how about
that I'm not Gonna Get Married Today song for the actress that
preformed that! (Pamela Meyers, I think. She was sensational.)
Fastest pronunciation
On Jun 17, 2006, at 2:17 PM, Carl Dershem wrote:
It's possible for an English Horn reed to work right?
In theory. It's kind of like those elements at the end of the periodic
table that nobody has ever seen.
C.
___
Finale mailing list
I've heard the oboists who play EH after a half hour, max, and I've
heard the ones who spend real time on it and take lessons. I'll take
the latter, thank you.
RBH
Andrew Stiller wrote:
On Jun 16, 2006, at 10:39 PM, Raymond Horton wrote:
Perhaps you could rent your oboist an English
Raymond Horton wrote:
On Jun 16, 2006, at 10:39 PM, Raymond Horton wrote:
Perhaps you could rent your oboist an English Horn and a few
lessons? He/she would be most appreciative, I'm sure.
You don't need no steenkin' lessons! Anyone who can play the oboe can
play EH acceptably on 1/2
At 1:38 PM -0400 6/17/06, Raymond Horton wrote:
Like I said, we are getting a bit smart-ass for
the original poster, who has a community
orchestra that goes down to middle-schoolers.
Some shows are published with school editions,
but obviously this one isn't, or hasn't been
yet. But John
On 16 Jun 2006, at 6:29 PM, John Howell wrote:
Somebody also finally realized that paper is cheap and rehearsal
time is expensive, and that you break pages early for a good page
turn!!
Standard B'way practice for years. No reputable B'way music service
would turn out books with crappy
On Jun 16, 2006, at 6:29 PM, John Howell wrote:
Had our first rehearsal last evening with the orchestra for the
revival version of Kiss Me, Kate,
And thank you for a very complete overview (for those of us who love
these details, that is!)
First, I prayed that the music would be
John Howell wrote:
But in every case an instruction like [to 115] is given, even though
the next bar in the music is actually bar 115. That strikes me as a
temporary expedient that I would have removed when the intervening
measures had been removed. Is there a reason for leaving them in?
Raymond Horton wrote:
John Howell wrote:
(1) I was surprised to find that the bass clarinet parts (the
primary instrument out of 4 in the Reed 4 book) is clearly written for
a low C bass clarinet, and the bottom three notes are used a LOT!
Our bass clarinet player discovered last night
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