Comments for Nexus http://www.nexuspercussion.com Premiere Percussion Ensemble Wed, 10 Mar 2010 12:43:00 +0000 http://wordpress.org/?v=2.6.5 Comment on In Memoriam: JOHN WYRE May 17, 1941 - October 31, 2006 by Phil Gregory http://www.nexuspercussion.com/2006/12/in-memoriam-john-wyre-may-17-1941-october-31-2006/#comment-90 Phil Gregory Sat, 09 Jan 2010 15:15:05 +0000 http://nexuspercussion.com/wordpress/?p=350#comment-90 I had the distinct honour of spending a week or so at a music camp with Mr. Wyre in the summer of 1994. Being able to discuss music (although I mostly listened) with this man was a delight and something I will never forget. My deepest condolences to all of Mr Wyre's family and friends. Play on, John, and thank you for all you did! I had the distinct honour of spending a week or so at a music camp with Mr. Wyre in the summer of 1994. Being able to discuss music (although I mostly listened) with this man was a delight and something I will never forget. My deepest condolences to all of Mr Wyre’s family and friends.
Play on, John, and thank you for all you did!

]]> Comment on NEXUS in an International and Educational Context by Martin Frink http://www.nexuspercussion.com/2006/11/nexus-in-an-international-and-educational-context/#comment-89 Martin Frink Mon, 04 Jan 2010 21:30:19 +0000 http://nexuspercussion.com/wordpress/?p=130#comment-89 dear nexus, i'm one of the guys who were at your masterclass in schleswig-holstein ein 2005 with the quartett aghonia. unfortunately the quartett not exist anymore, but i'm still doing lots of chambermusic with my duo "KrausFrink Percussion". my question is: are you again somewhere in europe for some masterclass?? i would like to take part if there is one! please let me know! martin frink dear nexus,

i’m one of the guys who were at your masterclass in schleswig-holstein ein 2005 with the quartett aghonia. unfortunately the quartett not exist anymore, but i’m still doing lots of chambermusic with my duo “KrausFrink Percussion”. my question is: are you again somewhere in europe for some masterclass?? i would like to take part if there is one! please let me know!

martin frink

]]> Comment on Vince Battista on The National Mall in Washington, D.C. by John Battista http://www.nexuspercussion.com/2009/07/vince-battista-on-the-national-mall-in-washington-dc/#comment-87 John Battista Mon, 21 Dec 2009 17:05:21 +0000 http://www.nexuspercussion.com/?p=5775#comment-87 Vincent Battista was my 'Uncle Jim'. One of my earliest memories of him was in 1947, flying from NY to DC to attend the ceremony at the Tomb of The Unknown Soldier on what was then Armistice Day, November 11, also my birthday. He was able to get us tickets to the ceremony and I saw President Truman give the memorial address. In my teen age years, I took up the drum as my instrument of choice, but never even came close to the talent of Uncle Jim. I have seen the display in the Smithsonian and was awed by the fact that a member of my extended family took part in a historical event and was so honored for his participation. It is truly deserved! Vincent Battista was my ‘Uncle Jim’. One of my earliest memories of him was in 1947, flying from NY to DC to attend the ceremony at the Tomb of The Unknown Soldier on what was then Armistice Day, November 11, also my birthday. He was able to get us tickets to the ceremony and I saw President Truman give the memorial address. In my teen age years, I took up the drum as my instrument of choice, but never even came close to the talent of Uncle Jim. I have seen the display in the Smithsonian and was awed by the fact that a member of my extended family took part in a historical event and was so honored for his participation. It is truly deserved!

]]> Comment on Vince Battista on The National Mall in Washington, D.C. by Barbara Battista http://www.nexuspercussion.com/2009/07/vince-battista-on-the-national-mall-in-washington-dc/#comment-86 Barbara Battista Sun, 20 Dec 2009 18:20:19 +0000 http://www.nexuspercussion.com/?p=5775#comment-86 "Vince" is my uncle (my deceased father's brother). Among my fondest childhood memories are those of our family reunions in the DC area, visiting with "Uncle Jim" (which I have always called him) and his beloved wife, my Aunt Phyllis, and their son, my cousin Barry. Uncle Jim has always been quiet and unassuming, never sharing with any of us his accomplishments. Thank you for sharing his history with the public. I have a reservation to attend the Cherry Blossom Festival in DC next April, and I can't wait to visit the exhibit in the Smithsonian which honors a man who so deserves to be honored. We are all so proud of you, Uncle Jim. “Vince” is my uncle (my deceased father’s brother). Among my fondest childhood memories are those of our family reunions in the DC area, visiting with “Uncle Jim” (which I have always called him) and his beloved wife, my Aunt Phyllis, and their son, my cousin Barry. Uncle Jim has always been quiet and unassuming, never sharing with any of us his accomplishments. Thank you for sharing his history with the public. I have a reservation to attend the Cherry Blossom Festival in DC next April, and I can’t wait to visit the exhibit in the Smithsonian which honors a man who so deserves to be honored. We are all so proud of you, Uncle Jim.

]]> Comment on Press Release - Robin Engelman steps down from NEXUS by Dan Moore http://www.nexuspercussion.com/2009/12/press-release-robin-engelman-resigns-from-nexus/#comment-85 Dan Moore Tue, 15 Dec 2009 20:00:13 +0000 http://www.nexuspercussion.com/?p=7334#comment-85 Congratulations to Robin upon his retirement from NEXUS. This will be the end of a great era for the group and I wish them continued success. I know Robin will continue to be a mentor and leader for the percussion community for many years to come, and I for one will miss seeing him on the stage with NEXUS. With mixed emotions, Dan Moore The University of Iowa Congratulations to Robin upon his retirement from NEXUS. This will be the end of a great era for the group and I wish them continued success. I know Robin will continue to be a mentor and leader for the percussion community for many years to come, and I for one will miss seeing him on the stage with NEXUS.

With mixed emotions,

Dan Moore
The University of Iowa

]]> Comment on Sounds We Were Never Taught to Play by Bill Cahn http://www.nexuspercussion.com/2009/11/sounds-we-were-never-taught-to-play/#comment-84 Bill Cahn Wed, 09 Dec 2009 05:26:59 +0000 http://www.nexuspercussion.com/?p=7158#comment-84 Bob, Your point is well taken, and the reasons that percussionists are routinely responsible for unusual instrumental sounds are varied, though I realize they may not fully satisfy your concerns. For example: COMPOSERS - Many of the unusual sound requirements are placed by the composer in the score on the percussion staves. This is the case with Satie's "Parade." The percussion parts contain the unusual sounds along with the standard percussion instruments, and it can therefore rationally be assumed by composers, librarians, conductors, etc. - that the percussion section will deliver the goods. In the case of the roulette wheel - also in "Parade" - the assignment is sometimes even given to non-musicians (patrons, board members, community personalities) instead of the percussion section, because the required technique is minimal, though they may need to be given very obvious entrance cues. ORCHESTRAS - Of course, all orchestras are not the same. Organizational cultures vary, sometimes widely, from orchestra to orchestra. The big budget orchestras are more likely to hire specialists. The musicians in these orchestras have historically had considerable bargaining clout over work rules, and they may be more inclined to draw lines in the sand about what instruments they will and will not play. By contrast, orchestras with lesser means simply have to be more flexible and creative. For many of these orchestras flexibility is a necessity for survival, while still trying to serve a community with varied repertoire presented within available means. It's a balancing act. Even so, if the percussion section is unable or unwilling to cover the unusual sound requirements, alternatives can usually be found by using substitute instruments (eg. using a prepared piano in place of a cimbalom in Kodaly's "Hary Janos;" I have heard this done several times). A reasonable argument can be made that using a digital keyboard with good cimbalom samples is more true to the music than using a prepared piano. PERCUSSIONISTS - Many percussionists, myself included, can view unusual sound requirements as a challenge - a problem to be solved - with the attendant satisfaction to be gained in finding a solution. That being said, each and every percussion section generally has the ability to set its own standards for what musical responsibilities are acceptable. It comes down to the individual player. No master contract that I know of can force a player to play an instrument that he/she doesn't know how to play. It is not the point of my article to suggest in any way that the percussion section SHOULD be given such a responsibility. However, I also don't know of any contract that prevents any player from making music on any instrument, as long as it is acceptable to the conductor. Bob,
Your point is well taken, and the reasons that percussionists are routinely responsible for unusual instrumental sounds are varied, though I realize they may not fully satisfy your concerns. For example:
COMPOSERS - Many of the unusual sound requirements are placed by the composer in the score on the percussion staves. This is the case with Satie’s “Parade.” The percussion parts contain the unusual sounds along with the standard percussion instruments, and it can therefore rationally be assumed by composers, librarians, conductors, etc. - that the percussion section will deliver the goods. In the case of the roulette wheel - also in “Parade” - the assignment is sometimes even given to non-musicians (patrons, board members, community personalities) instead of the percussion section, because the required technique is minimal, though they may need to be given very obvious entrance cues.
ORCHESTRAS - Of course, all orchestras are not the same. Organizational cultures vary, sometimes widely, from orchestra to orchestra. The big budget orchestras are more likely to hire specialists. The musicians in these orchestras have historically had considerable bargaining clout over work rules, and they may be more inclined to draw lines in the sand about what instruments they will and will not play. By contrast, orchestras with lesser means simply have to be more flexible and creative. For many of these orchestras flexibility is a necessity for survival, while still trying to serve a community with varied repertoire presented within available means. It’s a balancing act. Even so, if the percussion section is unable or unwilling to cover the unusual sound requirements, alternatives can usually be found by using substitute instruments (eg. using a prepared piano in place of a cimbalom in Kodaly’s “Hary Janos;” I have heard this done several times). A reasonable argument can be made that using a digital keyboard with good cimbalom samples is more true to the music than using a prepared piano.
PERCUSSIONISTS - Many percussionists, myself included, can view unusual sound requirements as a challenge - a problem to be solved - with the attendant satisfaction to be gained in finding a solution. That being said, each and every percussion section generally has the ability to set its own standards for what musical responsibilities are acceptable. It comes down to the individual player. No master contract that I know of can force a player to play an instrument that he/she doesn’t know how to play. It is not the point of my article to suggest in any way that the percussion section SHOULD be given such a responsibility. However, I also don’t know of any contract that prevents any player from making music on any instrument, as long as it is acceptable to the conductor.

]]> Comment on Sounds We Were Never Taught to Play by Bob Becker http://www.nexuspercussion.com/2009/11/sounds-we-were-never-taught-to-play/#comment-83 Bob Becker Tue, 08 Dec 2009 03:15:11 +0000 http://www.nexuspercussion.com/?p=7158#comment-83 I have many thoughts about this, but I’ll just state one question: Why are parts for non-standard instruments always given to the percussion section without a second thought? Musical (i.e., non-sound effect) slide whistle parts should be given to the trombone section, musical saw parts should be given to the cello section, bowed pitched flexatone parts should be given to the violin section. Those instruments relate much more naturally to those players than to percussionists. Nothing in orchestra percussionists’ contracts forces them to agree to play a non-percussion instrument. Try asking the concertmaster to play a sarangi part. As I’ve indicated in other articles, it would be like telling the orchestra pianist, “OK, next week you play harp in the Debussy.” I have many thoughts about this, but I’ll just state one question: Why are parts for non-standard instruments always given to the percussion section without a second thought? Musical (i.e., non-sound effect) slide whistle parts should be given to the trombone section, musical saw parts should be given to the cello section, bowed pitched flexatone parts should be given to the violin section. Those instruments relate much more naturally to those players than to percussionists. Nothing in orchestra percussionists’ contracts forces them to agree to play a non-percussion instrument. Try asking the concertmaster to play a sarangi part. As I’ve indicated in other articles, it would be like telling the orchestra pianist, “OK, next week you play harp in the Debussy.”

]]> Comment on Western Military Drums in Japan by stu http://www.nexuspercussion.com/2009/09/western-military-drums-in-japan/#comment-81 stu Sat, 21 Nov 2009 22:08:06 +0000 http://www.nexuspercussion.com/?p=6629#comment-81 Russia has 2 s's. Good to see you. stu Russia has 2 s’s.

Good to see you.

stu

]]> Comment on Sounds We Were Never Taught to Play by Bill Cahn http://www.nexuspercussion.com/2009/11/sounds-we-were-never-taught-to-play/#comment-80 Bill Cahn Fri, 20 Nov 2009 13:31:11 +0000 http://www.nexuspercussion.com/?p=7158#comment-80 Dear Michelle, Your comments and questions about the blog posting "Sounds We Were Never Taught to Play" have been received and they deserve responses. [Why not simply hire a glass armonica or musical saw player, etc., in stead of having the percussionist try to learn to play such instruments in a hurry?] There is no doubt that the best scenario would be to have live acoustic instruments. The problem for most orchestras, however, is both practical and financial. Most orchestras, except for a few of the major orchestras (and today, even many of these) are perpetually strained by finances. Tough decisions involving cost control are the only responsible way for orchestras to insure their survival and to continue to serve their communities by delivering music for a wide range of tastes. It’s understandable that a conductor might prefer to hire more violins for an entire concert rather than a specialist on the musical saw for a small part in one piece. Orchestras frequently play jazz and popular pieces without hiring extra jazz musicians. Also, especially with mid-sized and small orchestras, not all concerts are presented in major halls for large audiences. There are school concerts and various types of community concerts in small venues for which the cost of even one extra musician, especially one from out-of-town (with travel, hotel, meal expenses, not to mention taxes, union dues, etc.) is simply not a practical consideration. [There is no way a percussionist could learn to play such instruments PROFESSIONALLY in a short time, even if the percussionist did have access to the instrument.] Actually, percussionists are routinely expected to play specific parts on unfamiliar instruments (steel drums, musical saw, glass harmonica, Hungarian cimbalom, other ethnic instruments, and more). Learning a specific part or a passage within a piece is a challenge, but it’s not at the same level of difficulty as learning to play a large body of music, as a specialist would be able to do. Learning a specific part is routinely done by percussionists, and it not only suffices, it works well. [Why replace a live musician with a sampled sound, in stead of giving work to a fellow musician?] As was indicated in the blog posting, no musician was replaced. There is no limit to the work that could theoretically be opened up to more musicians - more violins, more of everything. In reality, while it might be possible to augment musicians for specific concerts, there may simply not be enough financial resources to accomplish this for every concert. [Plus, sampled instruments never sound as good as live ones.] As was mentioned in the Satie example in the blog posting, sampled sounds can often be BETTER than acoustic ones in certain instances. In those cases where acoustic instruments would be preferred (such as the glass harmonica, as you indicated), nevertheless, where cost restraints make the preferred option unworkable, sampled sounds can be a practical and acceptable substitute. [Especially a musical saw - how do you control the sliding from note to note, when you play a sampled sound on a keyboard? There are enough specialty instrumentalists out there who would love to play with an orchestra. Off the top of my head, there is Cecilia Brauer who plays glass armonica and Natalia Paruz who plays the musical saw with many orchestras.] Electronic keyboards have the ability to make sliding sounds. In the case of some of the musical saw parts mentioned in the blog posting, an acoustic musical saw would need to be amplified anyway, so that the audience would actually be hearing only the sound of the loudspeaker in exactly the same way they would hear sampled sounds. In conclusion, I fully understand and appreciate your concern. When possible, specialists on acoustic instruments would be preferred. When such is not possible because of budgetary or venue limitations, the options mentioned in the blog posting can be good, reasonable, and workable alternatives. Best wishes, Bill Cahn Dear Michelle,
Your comments and questions about the blog posting “Sounds We Were Never Taught to Play” have been received and they deserve responses.

[Why not simply hire a glass armonica or musical saw player, etc., in stead of having the percussionist try to learn to play such instruments in a hurry?]

There is no doubt that the best scenario would be to have live acoustic instruments. The problem for most orchestras, however, is both practical and financial. Most orchestras, except for a few of the major orchestras (and today, even many of these) are perpetually strained by finances. Tough decisions involving cost control are the only responsible way for orchestras to insure their survival and to continue to serve their communities by delivering music for a wide range of tastes. It’s understandable that a conductor might prefer to hire more violins for an entire concert rather than a specialist on the musical saw for a small part in one piece.
Orchestras frequently play jazz and popular pieces without hiring extra jazz musicians. Also, especially with mid-sized and small orchestras, not all concerts are presented in major halls for large audiences. There are school concerts and various types of community concerts in small venues for which the cost of even one extra musician, especially one from out-of-town (with travel, hotel, meal expenses, not to mention taxes, union dues, etc.) is simply not a practical consideration.

[There is no way a percussionist could learn to play such instruments PROFESSIONALLY in a short time, even if the percussionist did have access to the instrument.]

Actually, percussionists are routinely expected to play specific parts on unfamiliar instruments (steel drums, musical saw, glass harmonica, Hungarian cimbalom, other ethnic instruments, and more). Learning a specific part or a passage within a piece is a challenge, but it’s not at the same level of difficulty as learning to play a large body of music, as a specialist would be able to do. Learning a specific part is routinely done by percussionists, and it not only suffices, it works well.

[Why replace a live musician with a sampled sound, in stead of giving work to a fellow musician?]

As was indicated in the blog posting, no musician was replaced. There is no limit to the work that could theoretically be opened up to more musicians - more violins, more of everything. In reality, while it might be possible to augment musicians for specific concerts, there may simply not be enough financial resources to accomplish this for every concert.

[Plus, sampled instruments never sound as good as live ones.]

As was mentioned in the Satie example in the blog posting, sampled sounds can often be BETTER than acoustic ones in certain instances. In those cases where acoustic instruments would be preferred (such as the glass harmonica, as you indicated), nevertheless, where cost restraints make the preferred option unworkable, sampled sounds can be a practical and acceptable substitute.

[Especially a musical saw - how do you control the sliding from note to note, when you play a sampled sound on a keyboard? There are enough specialty instrumentalists out there who would love to play with an orchestra. Off the top of my head, there is Cecilia Brauer who plays glass armonica and Natalia Paruz who plays the
musical saw with many orchestras.]

Electronic keyboards have the ability to make sliding sounds. In the case of some of the musical saw parts mentioned in the blog posting, an acoustic musical saw would need to be amplified anyway, so that the audience would actually be hearing only the sound of the loudspeaker in exactly the same way they would hear sampled sounds.
In conclusion, I fully understand and appreciate your concern. When possible, specialists on acoustic instruments would be preferred. When such is not possible because of budgetary or venue limitations, the options mentioned in the blog posting can be good, reasonable, and workable alternatives.
Best wishes,
Bill Cahn

]]> Comment on Sounds We Were Never Taught to Play by Michelle http://www.nexuspercussion.com/2009/11/sounds-we-were-never-taught-to-play/#comment-79 Michelle Thu, 19 Nov 2009 18:45:53 +0000 http://www.nexuspercussion.com/?p=7158#comment-79 Why not simply hire a glass armonica or musical saw player, etc., in stead of having the percussionist try to learn to play such instruments in a hurry? There is no way a percussionist could learn to play such instruments PROFESSIONALLY in a short time, even if the percussionist did have access to the instrument. Why replace a live musician with a sampled sound, in stead of giving work to a fellow musician? Plus, sampled instruments never sound as good as live ones. Especially a musical saw - how do you control the sliding from note to note, when you play a sampled sound on a keyboard? There are enough specialty instrumetalists out there who would love to play with an orchestra. Of the top of my head, there is Cecilia Brauer http://www.gigmasters.com/armonica/index.asp who plays glass armonica and Natalia Paruz http://www.sawlady.com who plays the musical saw with many orchestras. Why not simply hire a glass armonica or musical saw player, etc., in stead of having the percussionist try to learn to play such instruments in a hurry? There is no way a percussionist could learn to play such instruments PROFESSIONALLY in a short time, even if the percussionist did have access to the instrument. Why replace a live musician with a sampled sound, in stead of giving work to a fellow musician? Plus, sampled instruments never sound as good as live ones. Especially a musical saw - how do you control the sliding from note to note, when you play a sampled sound on a keyboard? There are enough specialty instrumetalists out there who would love to play with an orchestra. Of the top of my head, there is Cecilia Brauer http://www.gigmasters.com/armonica/index.asp who plays glass armonica and Natalia Paruz http://www.sawlady.com who plays the musical saw with many orchestras.

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