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Re: [viola] Re: Mozart in the Jungle NVC

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  • Alastair Scott
    ... By quite a long way - if musicians still swim naked at pool parties people certainly do not in many other professions. I apologise for reading like some
    Message 1 of 20 , Jul 1, 2005
      On 30/6/05 16:29, "Claire C. Goodman" <goodman156@...> wrote:

      > What's big news about people having sex and doing drugs in the 70s? And 80s?
      > And even now? People still swim naked at pool parties with collegues, at
      > least I hope they still do. How does that separate musicians from the rest of
      > the population? As for sleeping with collegues or supervisors or people in
      > hiring situations - I guess it's all about supply and demand - and as
      > violists we happen to be in bigger demand than oboists, hence her view of
      > things is different from ours.

      By quite a long way - if musicians "still swim naked at pool parties" people
      certainly do not in many other professions. I apologise for reading like
      some pursed-lipped moralist but, concerning mine (IT), the profession is so
      competitive, there are such tight controls against corruption, and the risks
      of being caught are so great, that even inviting clients to the most
      innocuous events is often not done.

      And there are societal constraints; in the past 15 years there have been
      many people from, in particular, Moslem and Hindu backgrounds joining the
      profession here which have greatly enhanced it and smoothed out the rough
      edges. I suspect that is not the case in music.

      (Personally, I greatly prefer this situation; just do the job, rather than
      the endless hum of "A slept with B" rumours!)

      Alastair
    • Bill Conrad
      Hm. I dunno, but I always got my musical tittilation (sp?) from the MUSIC, and musicians with their clothes on. Somehow, Ravel s (I think it was Ravel) trio
      Message 2 of 20 , Jul 1, 2005
        Hm. I dunno, but I always got my musical tittilation (sp?) from the MUSIC, and musicians with their clothes on. Somehow, Ravel's (I think it was Ravel) trio for viola, flute, and harp always got me more excited than a 60-something conductor flopping around in a swimming pool with a 20-something oboist.

        I didn't read the book, but I wonder about another topic that has probably only been hinted at: in the arts, there are a lot of lesbians and gay people. I always found this to be refreshing, that there could be at least some measure of equality, and people were valued for what they could contribute, rather than who they "swam naked in the pool" with. Is that topic addressed in the book? If so, what does she say?

        Bill

        Cigarnose@... wrote:

        In a message dated 6/30/2005 10:21:33 AM Eastern Standard Time,
        paganini.viola@... writes:

        I wonder what her objective was when she
        decided to write this book?



        Narcissism? Cynicism (knowing such a book can make her a lot of money by its
        very nature)? It certainly was not written with the enlightenment of the
        public in mind (in spite of what Mr. Lebrecht thinks).

        Nardo


        [Non-text portions of this message have been removed]



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      • Antonio Stewart
        ... It s mentioned in the book...but only in as much as with so many gay men around (and with the rumor going around MSM that she was a lesbian) it was harder
        Message 3 of 20 , Jul 1, 2005
          On 7/1/05, Bill Conrad <bckm_music@...> wrote:
          >
          > I wonder about another topic that has probably only been hinted at: in the
          > arts, there are a lot of lesbians and gay people. I always found this to be
          > refreshing, that there could be at least some measure of equality, and
          > people were valued for what they could contribute, rather than who they
          > "swam naked in the pool" with. Is that topic addressed in the book? If so,
          > what does she say?
          >
          > Bill
          >

          It's mentioned in the book...but only in as much as with so many gay men
          around (and with the rumor going around MSM that she was a lesbian) it was
          harder for her to...er...uh...*cough* shall we say find suitable opportunity
          for employment.
          But it's not so much a book about the ills in the arts, or the arts at all.
          It's like the memoirs of Wilt Chamberlin or Heidi Fleiss...with an oboe
          thrown in for good measure.

          --
          Antonio Stewart


          [Non-text portions of this message have been removed]
        • Juan Krakenberger
          That trio is by Debussy, and it is wonderful. ... From: Bill Conrad To: Sent: Friday, July 01, 2005 3:20 PM
          Message 4 of 20 , Jul 1, 2005
            That trio is by Debussy, and it is wonderful.
            ----- Original Message -----
            From: "Bill Conrad" <bckm_music@...>
            To: <viola@yahoogroups.com>
            Sent: Friday, July 01, 2005 3:20 PM
            Subject: Re: [viola] Re: Mozart in the Jungle NVC


            > Hm. I dunno, but I always got my musical tittilation (sp?) from the
            MUSIC, and musicians with their clothes on. Somehow, Ravel's (I think it
            was Ravel) trio for viola, flute, and harp always got me more excited than a
            60-something conductor flopping around in a swimming pool with a
            20-something oboist.
            >
            > I didn't read the book, but I wonder about another topic that has probably
            only been hinted at: in the arts, there are a lot of lesbians and gay
            people. I always found this to be refreshing, that there could be at least
            some measure of equality, and people were valued for what they could
            contribute, rather than who they "swam naked in the pool" with. Is that
            topic addressed in the book? If so, what does she say?
            >
            > Bill
            >
            > Cigarnose@... wrote:
            >
            > In a message dated 6/30/2005 10:21:33 AM Eastern Standard Time,
            > paganini.viola@... writes:
            >
            > I wonder what her objective was when she
            > decided to write this book?
            >
            >
            >
            > Narcissism? Cynicism (knowing such a book can make her a lot of money by
            its
            > very nature)? It certainly was not written with the enlightenment of the
            > public in mind (in spite of what Mr. Lebrecht thinks).
            >
            > Nardo
            >
            >
            > [Non-text portions of this message have been removed]
            >
            >
            >
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          • Cigarnose@aol.com
            In a message dated 7/1/2005 11:47:04 AM Eastern Standard Time, kraviol@teleline.es writes: That trio is by Debussy, and it is wonderful. Actually, Bill Conrad
            Message 5 of 20 , Jul 1, 2005
              In a message dated 7/1/2005 11:47:04 AM Eastern Standard Time,
              kraviol@... writes:

              That trio is by Debussy, and it is wonderful.




              Actually, Bill Conrad may have been referring to the trio transcription of
              the Sonatine for piano of Ravel for this very same combination. Was it Zabaleta
              who did it? I can't remember. The Sonata for Flute, Viola and Harp is indeed
              by Debussy.

              Nardo


              [Non-text portions of this message have been removed]
            • Thomas Heimberg
              Thank you Nora, for going to the source. Blair Tindall lived in the Bay Area for a few years. She had come out here to earn a Master s Degree in Journalism
              Message 6 of 20 , Jul 4, 2005
                Thank you Nora, for going to the source.

                Blair Tindall lived in the Bay Area for a few years.
                She had come out here to earn a Master's Degree in
                Journalism from Stanford. When she accomplished that,
                she was invited to stay and teach at
                Stanford--clearly, an able woman with an interesting
                career change.

                She also played some freelance jobs (good oboist),
                which is where I first met her. We had a long talk on
                the bus ride home from a Symphony New Year's Eve
                concert three years ago--mostly about her work, and
                her successes selling a run of articles to the Sierra
                Club magazine.

                We did not talk about her sex life (honest!). Nor did
                she mention plans to write a book. Later I was
                surprised to hear that she had gone back to New York,
                but when her articles began appearing in the New York
                Times I thought she was using her knowledge and
                location to good advantage.

                And now this book. I haven't read "Mozart in the
                Jungle" yet--I'm going to, just to know what's there.
                But from all I've heard it does sound like an attempt
                to make a splash.

                That might work for awhile, but I don't think it will
                lead to wealth and fame. Our musical subculture is
                not the focus of the world's attention. And from all
                I've heard, writers don't make big bucks unless they
                can produce one best seller after another. (The great
                Wallace Stegner said he could never do that, which is
                part of the reason he taught for 50 years along with
                his writing. The other part of the reason was that he
                loved teaching.)

                Your description of the great level of dependability
                that's required of classical musicians is absolutely
                right. We have to show up day after day, at the right
                time, at the right place, wearing the right clothes,
                and using the right instruments to play the right
                notes-- thousands of them. That kind of steadiness
                can't be achieved on drugs and drunkenness.

                Of course, musicians are people and people sometimes
                get into trouble. But that's just it: such behavior
                is trouble. It's not an accepted part of our
                profession. I know of one musician who rehabilitated
                wonderfully well--after his employer and an arbitrator
                told him his job would be lost if he didn't.

                In addition my viola playing, I have done a lot of
                orchestra management in my career: fifteen years with
                San Francisco Opera, two years with the Oakland
                Symphony, and consulting work with SF Ballet and the
                SF Symphony. I have also been a Union Steward. I
                have developed auditions, managed them, played them,
                judged them, and overseen them. I see no way that one
                individual can push a friend through the process (not
                even the conductor, in many circumstances). There are
                just too many checks, balances, and stages--along with
                the screen.

                On occasion I've had my own hopes for particular
                friends and colleagues, certainly, but the process
                has its own integrity. I think the kind of thing that
                Blair is "exposing" is not part of the Major League
                Orchestras.

                Years ago a woman colleague in the San Francisco
                Symphony told me that when she was starting out as a
                freelancerin LA, a contractor told her what he
                expected her to do in order to get on his musician
                list. She slammed her instrument case shut and left
                the room. She never got any work from him, but it
                didn't hurt her career.

                It does demonstrate the kind of sexual harrassment
                that exists, though. Nowadays I'd hope and expect
                that a suit would be filed.

                Tom








                --- nora <bratschegrl79@...> wrote:

                > Last night, a friend of mine and I went to a
                > bookstore and got this
                > book off the shelf. We sat and read about half of
                > it, and then put it
                > back. Both of us were not only disgusted, but
                > disapointed.
                >
                > Although I didn't finish it, I feel I can safely say
                > that it's just a
                > trashy expose. The world that she talks about is not
                > one that I, as a
                > classical musician, live in. In today's classical
                > music world,
                > sleeping with the conductor isn't going to get you a
                > job. You can't
                > show up to rehearsals and performances drunk, high
                > or in any other
                > way impaired.
                >
                > Besides dredging up things that supposedly happened
                > 30 and 40 some
                > odd years ago, the author drags others through the
                > mud, along with
                > her reputation. The choice to name names, I fear,
                > may cost her some
                > legal battles, as she does mention some high ups in
                > the music world.
                > The choices that she made then are only indicative
                > of a low self
                > esteem and desire for attention, and nothing more.
                > I'm sure that some
                > musicians then and now choose to do the things she
                > talks about in her
                > book. However, to claim that one person's
                > experiences are
                > characteristic of a whole group is wrong.
                >
                > Some of the things she writes about, and the names
                > she brings
                > up...why would you do that unless you want
                > attention? What does it
                > have to do with how, with who or what she does with
                > her oboe today?
                > Besides being disappointed with the content, I was
                > also disappointed
                > in her writing style. As a journalist, I would think
                > she could write
                > a little better than that.
                >
                > Overall, I was just disappointed and saddened that
                > someone who
                > supposedly had so much talent has gone and taken the
                > whole music
                > scene through the slime with her. My fear is that
                > some right wing
                > radical is going to get ahold of this book, claim it
                > as truth and use
                > it to try to lessen even more our already fledgling
                > arts support.
                >
                >
                >
                >
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              • Claire C. Goodman
                I m so glad you spoke up, Tom. I agree with you that this book might sell a few copies due to a couple of reviews, but it won t be a blockbuster expose -
                Message 7 of 20 , Jul 4, 2005
                  I'm so glad you spoke up, Tom. I agree with you that this book might sell a few copies due to a couple of reviews, but it won't be a blockbuster "expose" - who cares about what we classical musicians do anyway?

                  And thank you for speaking up about the process professional orchestras use for auditions (at least around here), which was developed specifically to assure fairness, and I believe has led to increasing quality in all the orchestras where it has been used.

                  As you pointed out, freelancing in NY or LA is a different story; with freelancing it's very much who you know, being in the right place at the right time, possibly who you give sexual favors to, but as you say, you still have to be a great player, sober, reliable and able to get along with people, to get the good gigs.

                  BTW, Tom, I heard a rehearsal of Cosi a few weeks ago. The viola sound in the SF Opera Orchestra ROCKS! Really, you guys sounded so good you really stood out. (Could it be I'm listening with a biased ear?)!

                  claire
                  Claire Callahan Goodman
                  claire@...


                  Tom Heimberg wrote:

                  ...In addition my viola playing, I have done a lot of
                  orchestra management in my career: fifteen years with
                  San Francisco Opera, two years with the Oakland
                  Symphony, and consulting work with SF Ballet and the
                  SF Symphony. I have also been a Union Steward. I
                  have developed auditions, managed them, played them,
                  judged them, and overseen them. I see no way that one
                  individual can push a friend through the process (not
                  even the conductor, in many circumstances). There are
                  just too many checks, balances, and stages--along with
                  the screen.

                  ,,,




                  [Non-text portions of this message have been removed]
                • Scott Slapin
                  Having just read the book, I wanted to comment on this now quite old thread. Both the author (whom I don t know) and I went to the North Carolina School of the
                  Message 8 of 20 , Aug 1, 2005
                    Having just read the book, I wanted to comment on this now quite old
                    thread.

                    Both the author (whom I don't know) and I went to the North Carolina
                    School of the Arts for high school and later the Manhattan School of
                    Music for college. (Though, she 14 years before I did.) So, I knew a
                    lot of the people mentioned in the book, and more importantly, the
                    environments she described.

                    My one real criticism is that she really could have changed more of
                    the names involved. I now know a whole lot more than I ever wanted to
                    about some former teachers and colleagues, and there were several
                    points in the book where I just wanted to go take a shower (and
                    contemplate joining a different profession.)

                    That being said, though, while what she wrote is certainly not
                    representative of _entire_ environments (the schools or the freelance
                    scene), it really does represent a fairly large segment of them,
                    based on what I've seen. She may, here and there, try to shock the
                    reader a la Portnoy's Complaint, but it would be as unfair to dismiss
                    what she wrote as one person's fringe experience or to say that she
                    was exaggerating.

                    I hope the trashier (and at times overly disparaging) elements don't
                    however drive serious people away from reading what she wrote. She
                    has done quite a lot of good research about the music business, and I
                    think her points deserve consideration. I learned a lot, and enjoyed
                    (and at times cringed while) reminiscing about these old places and
                    people.

                    But she really should have changed more names. Oy, my poor chamber
                    music coach!!

                    Scott
                  • Carolyn Broe, DM
                    Hi Don, Thanks for the update on Blaire. I am sure she is a very nice person. It takes a lot of guts to go public with such sensitive material. I agree with
                    Message 9 of 20 , Feb 25, 2006
                      Hi Don,

                      Thanks for the update on Blaire. I am sure she is a very nice person. It
                      takes a lot of guts to go public with such sensitive material. I agree with
                      what she is saying about orchestra funding. The days of rich government
                      support are long gone. Orchestras need to rely less on charity and more on
                      earned income. The sad news is that the Symphony of the West Valley
                      (formerly known as the Sun City Symphony) just went belly up. This Arizona
                      orchestra was 25 + years old and used to be one of the most in-the-black
                      orchestras in greater Phoenix. Sun City is a retirement community. The
                      orchestra was 2/3 retired musicians and 1/3 ringers. The new management
                      started to move towards more ringers. This angered the retirement
                      community. 9-11 was very hard on people with fixed incomes, so the
                      donations slowed to a trickle. Then the developer who owned the Sun Dome
                      Auditorium (seats 7,000) said they were rennovating and disrupted a whole
                      season. Then they sold the auditorium to ASU for $1. The developer used to
                      give the Sun Dome rental space to Sun City Symphony gratis. ASU wanted
                      $10,000 per concert (that is probably the air conditioning cost for one week
                      at the Sun Dome). They let most of the regular ringers go in favor of
                      younger musicians and moved to a church losing most of their audience in the
                      process. Finally, they offered a season of mostly pops concerts that
                      finished the orchestra off. Not a pretty sight.

                      Yours,
                      Carolyn

                      http://www.fourseasonsorchestra.org
                      ----- Original Message -----
                      From: <viola@yahoogroups.com>
                      To: <viola@yahoogroups.com>
                      Sent: Tuesday, February 21, 2006 3:20 AM
                      Subject: [viola] Digest Number 2477


                      > There are 6 messages in this issue.
                      >
                      > Topics in this digest:
                      >
                      > 1. Bach Sonatas and Partitas
                      > From: "Peter Crossley" <mail@...>
                      > 2. Re: Bach Sonatas and Partitas
                      > From: "Juan Krakenberger" <kraviol@...>
                      > 3. Re: Viola Teachers
                      > From: "Tom" <tomdugan@...>
                      > 4. Re: Mozart in the Jungle - NVC
                      > From: Don Ehrlich <violadon@...>
                      > 5. Re: Viola Teachers
                      > From: Don Ehrlich <violadon@...>
                      > 6. RE: Bach Sonatas and Partitas
                      > From: "Peter Crossley" <mail@...>
                      >
                      >
                      > ________________________________________________________________________
                      > ________________________________________________________________________
                      >
                      > Message: 1
                      > Date: Mon, 20 Feb 2006 11:50:19 -0000
                      > From: "Peter Crossley" <mail@...>
                      > Subject: Bach Sonatas and Partitas
                      >
                      > Cody,
                      >
                      > I agree. The partitas are ideally suited to the violin and I feel the
                      > greatest interpretations are to be found in violin performances,
                      > particularly Milstein.
                      >
                      > While it is marvellous to be able to play them and is very enjoyable I
                      > think
                      > the viola does not have the quick response and tone colours needed to do
                      > much of this music justice.
                      >
                      > Peter
                      >
                      >
                      >
                      >
                      > Celia,
                      >
                      > I have to say that, as cool as it is to hear a recording on viola, you
                      > really should listen to some of the definitive violin recordings like
                      > Szeryng and Grumiaux if you're beginning to study these pieces. I've
                      > only worked on partita no.2, but I learned a lot from the Grumiaux
                      > recording towards having the phrasing in the Ciaccona be more clear. I
                      > also listened to recordings of Szeryng, Milstein, Perlman, Scott Slapin,
                      > and I think Tertis.
                      >
                      > / Cody
                      >
                      > On Sat, 2006-02-18 at 17:37 -0500, Charles Small wrote:
                      >>
                      >> Celia DeMartini <celiadm@...> wrote:
                      >> >
                      >> > I am starting to learn the Bach Sonatas and Partitas...
                      >> > Was wondering if anyone knew of a good recording
                      >> > of them performed by a violist.
                      >> >
                      >>
                      >
                      > --
                      >
                      >
                      >
                      >
                      > ________________________________________________________________________
                      > ________________________________________________________________________
                      >
                      > Message: 2
                      > Date: Mon, 20 Feb 2006 18:08:26 +0100
                      > From: "Juan Krakenberger" <kraviol@...>
                      > Subject: Re: Bach Sonatas and Partitas
                      >
                      > Although those old masters of the violin did a good job at their time,
                      > things have changed tremendously with the historicist influence of the
                      > last
                      > 20-30 years. I find Veronika Mullova's Bach very good; then there are new
                      > recordings by Gidon Kremer which I haven't yet heard, and the recordings
                      > by
                      > Christian Tetzlaff are also stunningly good. Things change, alas....
                      > How this music will sound within another fifty years is anybody's guess.
                      > ----- Original Message -----
                      > From: "Peter Crossley" <mail@...>
                      > To: <viola@yahoogroups.com>
                      > Sent: Monday, February 20, 2006 12:50 PM
                      > Subject: [viola] Bach Sonatas and Partitas
                      >
                      >
                      >> Cody,
                      >>
                      >> I agree. The partitas are ideally suited to the violin and I feel the
                      >> greatest interpretations are to be found in violin performances,
                      >> particularly Milstein.
                      >>
                      >> While it is marvellous to be able to play them and is very enjoyable I
                      > think
                      >> the viola does not have the quick response and tone colours needed to do
                      >> much of this music justice.
                      >>
                      >> Peter
                      >>
                      >>
                      >>
                      >>
                      >> Celia,
                      >>
                      >> I have to say that, as cool as it is to hear a recording on viola, you
                      >> really should listen to some of the definitive violin recordings like
                      >> Szeryng and Grumiaux if you're beginning to study these pieces. I've
                      >> only worked on partita no.2, but I learned a lot from the Grumiaux
                      >> recording towards having the phrasing in the Ciaccona be more clear. I
                      >> also listened to recordings of Szeryng, Milstein, Perlman, Scott Slapin,
                      >> and I think Tertis.
                      >>
                      >> / Cody
                      >>
                      >> On Sat, 2006-02-18 at 17:37 -0500, Charles Small wrote:
                      >> >
                      >> > Celia DeMartini <celiadm@...> wrote:
                      >> > >
                      >> > > I am starting to learn the Bach Sonatas and Partitas...
                      >> > > Was wondering if anyone knew of a good recording
                      >> > > of them performed by a violist.
                      >> > >
                      >> >
                      >>
                      >> --
                      >>
                      >>
                      >>
                      >>
                      >> *****************************
                      >> Web site: www.viola.com
                      >> Viola List FAQ: http://www.viola.com/menu-lists.html
                      >> Viola List Chat Room: http://launch.groups.yahoo.com/group/viola/chat
                      >> *****************************
                      >>
                      >> Yahoo! Groups Links
                      >>
                      >>
                      >>
                      >>
                      >>
                      >>
                      >>
                      >
                      >
                      >
                      >
                      > ________________________________________________________________________
                      > ________________________________________________________________________
                      >
                      > Message: 3
                      > Date: Mon, 20 Feb 2006 23:50:54 -0000
                      > From: "Tom" <tomdugan@...>
                      > Subject: Re: Viola Teachers
                      >
                      > Thank you to all who replied to my post. We got some very valuable
                      > information. The college quest is a little overwhelming!
                      >
                      > --- In viola@yahoogroups.com, "Tom" <tomdugan@...> wrote:
                      >>
                      >> My daughter is a junior in high school and we are trying to figure
                      >> out where to apply. I stumbled across the list pasted below of
                      > viola
                      >> teachers at top schools. I don't know who put this list together,
                      > but
                      >> it seems pretty current. Can anyone add anything? Is there a
                      > school
                      >> that you would urge others to consider that we may not have
                      > thought
                      >> of?
                      >>
                      >> Thanks for any info you might be able to share!
                      >>
                      >> Tom
                      >> (everything that follows is a cut and paste from this address:
                      >> http://www.geocities.com/fiddlerpig/Viola_Teachers.html)
                      >>
                      >> College Viola Teachers:
                      >>
                      >> Listings By School
                      >>
                      >> University of Southern California
                      >> Pamela Goldsmith
                      >> Donald McInnes
                      >>
                      >> The Peabody Institute
                      >> Victoria Chiang
                      >> Joseph de Pasquale
                      >> Richard L. Field
                      >>
                      >> Oberlin Conservatory of Music
                      >> Lynne Ramsey
                      >> Peter Slowik
                      >> Roland Vamos
                      >>
                      >> Eastman School of Music
                      >> John Graham
                      >> Melissa Micciche
                      >> George Taylor
                      >>
                      >> The Juilliard School
                      >> Misha Amory
                      >> Toby Appel
                      >>
                      >> New England Conservatory of Music
                      >> James Dunham
                      >> Kim Kashkashian
                      >> Marcus Thompson
                      >> Edward Cazoaleaz
                      >>
                      >> Manhattan School of Music
                      >> Daniel Avshalomov
                      >> Leonard Davis
                      >> Karen Dreyfus
                      >> Patinka Kopec
                      >> Cynthia Phelps
                      >> Karen Ritscher
                      >> Michael Tree
                      >>
                      >> Indiana University - Bloomington
                      >> Atar Arad
                      >> Alan de Veritch
                      >> Mimi Zweig
                      >>
                      >> The Curtis Institute of Music
                      >> Joseph de Pasquale
                      >> Michael Tree
                      >> Karen Tuttle
                      >>
                      >> University of Michigan - Ann Arbor
                      >> Yizhak Schotten
                      >>
                      >> University of Cincinnati
                      >> Masao Kawasaki
                      >> Catharine L. Carrol
                      >>
                      >> Northwestern University
                      >> Li-Kuo Chang
                      >> Donald McInnes
                      >> Max Raimi
                      >>
                      >> Yale University
                      >> Jesse Levine
                      >>
                      >> Cleveland Institute of Music
                      >> Robert Vernon
                      >> Lisa Boyko
                      >> Kirsten Docter
                      >> Jeffrey Irvine
                      >> Mark Jackobs
                      >> Lucien Joel
                      >> Stanley Konopka
                      >> Chauncey Patterson
                      >>
                      >> Florida State University
                      >> Pamela Ryan
                      >>
                      >> University of North Texas
                      >> Susan Dubois
                      >> George Papich
                      >>
                      >> Rice University
                      >> Wayne Brooks
                      >> Martha Strongin Katz
                      >> Karen Ritscher
                      >>
                      >> University of Illinois - Urbana-Champaign
                      >> Rudolf Haken
                      >>
                      >
                      >
                      >
                      >
                      >
                      >
                      > ________________________________________________________________________
                      > ________________________________________________________________________
                      >
                      > Message: 4
                      > Date: Mon, 20 Feb 2006 19:49:24 -0800
                      > From: Don Ehrlich <violadon@...>
                      > Subject: Re: Mozart in the Jungle - NVC
                      >
                      >
                      > On Feb 18, 2006, at 2:44 AM, viola@yahoogroups.com wrote:
                      >
                      >> I am wondering if anyone met Blaire or has comments about the book.
                      >
                      > I met Blaire and worked with her when she subbed with the SF Symphony,
                      > which she mentions late in her book. She is actually quite lovely as a
                      > person, and she plays quite well. I also heard her, when she was on a
                      > book-signing tour, say that the title was chosen in order to boost
                      > sales.
                      >
                      > Don
                      >
                      >
                      >
                      > ________________________________________________________________________
                      > ________________________________________________________________________
                      >
                      > Message: 5
                      > Date: Mon, 20 Feb 2006 19:51:02 -0800
                      > From: Don Ehrlich <violadon@...>
                      > Subject: Re: Viola Teachers
                      >
                      > Not to mention the San Francisco Conservatory, with Jodi Levitz, Leonid
                      > Gesin, Paul Hersh and myself on the faculty.
                      >
                      > Why are we not on that list?
                      >
                      > Don
                      >
                      > On Feb 18, 2006, at 2:44 AM, viola@yahoogroups.com wrote:
                      >
                      >> Date: Fri, 17 Feb 2006 17:34:03 -0000
                      >> From: "Tom" <tomdugan@...>
                      >> Subject: Viola Teachers
                      >>
                      >> My daughter is a junior in high school and we are trying to figure
                      >> out where to apply. I stumbled across the list pasted below of viola
                      >> teachers at top schools. I don't know who put this list together, but
                      >> it seems pretty current. Can anyone add anything? Is there a school
                      >> that you would urge others to consider that we may not have thought
                      >> of?
                      >>
                      >> Thanks for any info you might be able to share!
                      >>
                      >> Tom
                      >> (everything that follows is a cut and paste from this address:
                      >> http://www.geocities.com/fiddlerpig/Viola_Teachers.html)
                      >>
                      >> College Viola Teachers:
                      >>
                      >> Listings By School
                      >>
                      >> University of Southern California
                      >> Pamela Goldsmith
                      >> Donald McInnes
                      >>
                      >> The Peabody Institute
                      >> Victoria Chiang
                      >> Joseph de Pasquale
                      >> Richard L. Field
                      >>
                      >> Oberlin Conservatory of Music
                      >> Lynne Ramsey
                      >> Peter Slowik
                      >> Roland Vamos
                      >>
                      >> Eastman School of Music
                      >> John Graham
                      >> Melissa Micciche
                      >> George Taylor
                      >>
                      >> The Juilliard School
                      >> Misha Amory
                      >> Toby Appel
                      >>
                      >> New England Conservatory of Music
                      >> James Dunham
                      >> Kim Kashkashian
                      >> Marcus Thompson
                      >> Edward Cazoaleaz
                      >>
                      >> Manhattan School of Music
                      >> Daniel Avshalomov
                      >> Leonard Davis
                      >> Karen Dreyfus
                      >> Patinka Kopec
                      >> Cynthia Phelps
                      >> Karen Ritscher
                      >> Michael Tree
                      >>
                      >> Indiana University - Bloomington
                      >> Atar Arad
                      >> Alan de Veritch
                      >> Mimi Zweig
                      >>
                      >> The Curtis Institute of Music
                      >> Joseph de Pasquale
                      >> Michael Tree
                      >> Karen Tuttle
                      >>
                      >> University of Michigan - Ann Arbor
                      >> Yizhak Schotten
                      >>
                      >> University of Cincinnati
                      >> Masao Kawasaki
                      >> Catharine L. Carrol
                      >>
                      >> Northwestern University
                      >> Li-Kuo Chang
                      >> Donald McInnes
                      >> Max Raimi
                      >>
                      >> Yale University
                      >> Jesse Levine
                      >>
                      >> Cleveland Institute of Music
                      >> Robert Vernon
                      >> Lisa Boyko
                      >> Kirsten Docter
                      >> Jeffrey Irvine
                      >> Mark Jackobs
                      >> Lucien Joel
                      >> Stanley Konopka
                      >> Chauncey Patterson
                      >>
                      >> Florida State University
                      >> Pamela Ryan
                      >>
                      >> University of North Texas
                      >> Susan Dubois
                      >> George Papich
                      >>
                      >> Rice University
                      >> Wayne Brooks
                      >> Martha Strongin Katz
                      >> Karen Ritscher
                      >>
                      >> University of Illinois - Urbana-Champaign
                      >> Rudolf Haken
                      >>
                      >>
                      >>
                      >>
                      >>
                      >>
                      >
                      >
                      >
                      > ________________________________________________________________________
                      > ________________________________________________________________________
                      >
                      > Message: 6
                      > Date: Tue, 21 Feb 2006 09:38:16 -0000
                      > From: "Peter Crossley" <mail@...>
                      > Subject: RE: Bach Sonatas and Partitas
                      >
                      > Juan,
                      >
                      > I will try out some hip.
                      >
                      > regards
                      >
                      > Peter
                      >
                      > -----Original Message-----
                      > From: viola@yahoogroups.com [mailto:viola@yahoogroups.com]On Behalf Of
                      > Juan Krakenberger
                      > Sent: 20 February 2006 17:08
                      > To: viola@yahoogroups.com; Peter Crossley
                      > Subject: Re: [viola] Bach Sonatas and Partitas
                      >
                      >
                      > Although those old masters of the violin did a good job at their time,
                      > things have changed tremendously with the historicist influence of the
                      > last
                      > 20-30 years. I find Veronika Mullova's Bach very good; then there are new
                      > recordings by Gidon Kremer which I haven't yet heard, and the recordings
                      > by
                      > Christian Tetzlaff are also stunningly good. Things change, alas....
                      > How this music will sound within another fifty years is anybody's guess.
                      > ----- Original Message -----
                      > From: "Peter Crossley" <mail@...>
                      > To: <viola@yahoogroups.com>
                      > Sent: Monday, February 20, 2006 12:50 PM
                      > Subject: [viola] Bach Sonatas and Partitas
                      >
                      >
                      >
                      >
                      >
                      >
                      > ________________________________________________________________________
                      > ________________________________________________________________________
                      >
                      >
                      > *****************************
                      > Web site: www.viola.com
                      > Viola List FAQ: http://www.viola.com/menu-lists.html
                      > Viola List Chat Room: http://launch.groups.yahoo.com/group/viola/chat
                      > *****************************
                      >
                      > ------------------------------------------------------------------------
                      > Yahoo! Groups Links
                      >
                      >
                      >
                      >
                      > ------------------------------------------------------------------------
                      >
                      >
                      >
                      >
                    • Carolyn Broe, DM
                      Hi Elaine, Thank you for letting me know that there is a happy ending to Blaire s story! She deserves a better life than the one she described in her book. I
                      Message 10 of 20 , Feb 25, 2006
                        Hi Elaine,

                        Thank you for letting me know that there is a happy ending to Blaire's
                        story! She deserves a better life than the one she described in her book.
                        I am glad that she found a partner with a better paying job than most
                        musicians.

                        Yours,
                        Carolyn
                      • Cigarnose@aol.com
                        In a message dated 2/25/2006 7:40:22 PM Eastern Standard Time, maestra1@cox.net writes: Thank you for letting me know that there is a happy ending to Blaire s
                        Message 11 of 20 , Mar 5, 2006
                          In a message dated 2/25/2006 7:40:22 PM Eastern Standard Time,
                          maestra1@... writes:

                          Thank you for letting me know that there is a happy ending to Blaire's
                          story! She deserves a better life than the one she described in her book.
                          I am glad that she found a partner with a better paying job than most
                          musicians.




                          What can I say? I knew Blair and toured with her a great deal during the
                          times she describes in her book. All I can say is that she is the one who needs
                          to take responsibility for her own actions. If she deserved a better life than
                          she described in her book, then it was up to her to find it and live it and
                          not to give the impression that to get anywhere in this business as a woman
                          one had to sleep one's way to the top, particularly in the decades she was
                          describing. Anyone who thinks the music world at large is as she describes it
                          should be looking for a famous New York bridge to buy. There's plenty more I
                          can say, but it's best if I stop right here.

                          Nardo


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