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| Name | Clarinet |
|---|---|
| Image capt | B♭ Clarinet (Boehm system) |
| Background | woodwind |
| Hornbostel sachs | 422.211.2-71 |
| Hornbostel sachs desc | Single-reeded aerophone with keys |
| Range | Written range (though it is possible to play higher): |
| Midi | 071/072 |
Clarinets comprise a family of instruments of differing sizes and pitches. The clarinet family is the largest such woodwind family, with more than a dozen types, ranging from the BB♭ contrabass to the A♭ soprano. Of these, many are rare or obsolete, and music written for them is usually played on the common types. The unmodified word clarinet usually refers to the B soprano clarinet, by far the most commonly played clarinet.
A person who plays the clarinet is called a clarinetist or clarinettist. Johann Christoph Denner invented the clarinet in Germany around the turn of the 18th century by adding a register key to the earlier chalumeau. Over time, additional keywork and airtight pads were added to improve tone and playability. Today, the clarinet is used in jazz and classical ensembles, in chamber groups, and as a solo instrument.
Nearly all soprano and piccolo clarinets have keywork enabling them to play the E below middle C (E3 in scientific pitch notation) as their lowest written note, though some B clarinets go down to E3 to enable them to match the range of the A clarinet. On the B soprano clarinet, the concert pitch of the lowest note is D3, a whole tone lower than the written pitch. Most alto and bass clarinets have an extra key to allow a (written) E3. Modern professional-quality bass clarinets generally have additional keywork to written C3. Among the less commonly encountered members of the clarinet family, contra-alto and contrabass clarinets may have keywork to written E3, D3, or C3; the basset clarinet and basset horn generally go to low C3. The C above that (C7 i.e. resting on the fifth ledger line above the treble staff) is attainable by advanced players and is shown on many fingering charts. and spans just over an octave (from written B above middle C (B4) to the C two octaves above middle C (C6)); The vast majority of clarinets used by professional musicians are made from African hardwood, mpingo (African Blackwood) or grenadilla, rarely (because of diminishing supplies) Honduran rosewood and sometimes even cocobolo. Historically other woods, notably boxwood, were used. metal construction is still used for the bodies of some contra-alto and contrabass clarinets, and for the necks and bells of nearly all alto and larger clarinets. Such instruments are less affected by humidity and temperature changes than wooden instruments but are heavier. Hard rubber, such as ebonite, has been used for clarinets since the 1860s, although few modern clarinets are made of it. Clarinet designers Alastair Hanson and Tom Ridenour are strong advocates of hard rubber. Hanson Clarinets of England manufactures clarinets using a grenadilla compound reinforced with ebonite, known as 'BTR' (bithermal reinforced) grenadilla. This material is also not affected by humidity, and the weight is the same as that of a wood clarinet.
Mouthpieces are generally made of hard rubber, although some inexpensive mouthpieces may be made of plastic.
Basic reed measurements are as follows: tip, wide; lay, long (distance from the place where the reed touches the mouthpiece to the tip); gap, (distance between the underside of the reed tip and the mouthpiece). Adjustment to these measurements is one method of affecting tone color.
Most clarinetists buy manufactured reeds, although many make adjustments to these reeds and some make their own reeds from cane "blanks". Reeds come in varying degrees of hardness, generally indicated on a scale from one (soft) through five (hard). This numbering system is not standardized — reeds with the same hardness number often vary in hardness across manufacturers and models. Adjustments in the strength and shape of the embouchure change the tone and intonation (tuning). It is not uncommon for clarinetists to employ methods to relieve the pressure on the upper teeth and inner lower lip by attaching pads to the top of the mouthpiece or putting (temporary) padding on the front lower teeth, commonly from folded paper.
The body of a modern soprano clarinet is equipped with numerous tone holes of which seven (six front, one back) are covered with the fingertips, and the rest are opened or closed using a set of keys. These tone holes allow every note of the chromatic scale to be produced. On alto and larger clarinets and a few soprano clarinets, some or all finger holes are replaced by key-covered holes. The most common system of keys was named the Boehm System by its designer Hyacinthe Klosé in honour of flute designer Theobald Boehm, but it is not the same as the Boehm System used on flutes. The other main system of keys is called the Oehler system and is used mostly in Germany and Austria (see History). Basset horns and larger clarinets are supported with a neck strap or a floor peg.
Finally, the flared end is known as the bell. Contrary to popular belief, the bell does not amplify the sound; rather, it improves the uniformity of the instrument's tone for the lowest notes in each register. For the other notes the sound is produced almost entirely at the tone holes and the bell is irrelevant.
# The air in the bore of the instrument is at normal atmospheric pressure and moves towards the bell (or the first open hole). The minuscule space between the mouthpiece and the reed allows only a small amount of air to enter the instrument. This creates a low-pressure area in the mouthpiece. The difference in pressure between the two sides of the reed increases, causing the reed to press against the mouthpiece. # The wave of low-pressure air moves down the bore and arrives at the first open hole # The outside air, at normal atmospheric pressure, is sucked in by the low pressure inside. The air which was previously leaving the clarinet through the hole changes direction quickly and enters the bore. # The incoming air normalizes the pressure within the bore, starting at the open hole and moving back towards the mouthpiece # Once all the air in the bore is at atmospheric pressure (moving towards the mouthpiece), the difference in pressure between the two sides of the reed decreases and the reed returns to its original position. # The moving column of air is stopped by the sudden collision with the pressurized air coming from the player's mouth. A wave of high-pressure air moves towards the first open hole. # When the high-pressure air arrives at the open hole, the air coming into the bore abruptly changes direction and goes out through the hole. # The high pressure normalizes and the cycle restarts
The cycle repeats at a constant frequency and emits a note related to that frequency. For example, A4 (440 Hz) is produced when the cycle repeats 440 times per second.
The bore of the soprano clarinet is cylindrical for most of the tube with an inner bore diameter between , but there is a subtle hourglass shape, with the thinnest part below the junction between the upper and lower joint. The reduction is depending on the maker. This hourglass shape, although not visible to the naked eye, helps to correct the pitch/scale discrepancy between the chalumeau and clarino registers (perfect 12th).
The fixed reed and fairly uniform diameter of the clarinet give the instrument an acoustical behavior approximating that of a cylindrical stopped pipe. Vibrato is rare in classical or concert band literature; however, certain clarinetists, such as Richard Stoltzman, do use vibrato in classical music. Special fingerings may be used to play quarter tones and other microtonal intervals. Fritz Schüller of Markneukirchen, Germany built a quarter tone clarinet, with two parallel bores of slightly different lengths whose tone holes are operated using the same keywork and a valve to switch from one bore to the other. It had eight finger holes, like a recorder, and two keys for its two highest notes. This instrument played well in the middle register with a loud, shrill sound, so it was given the name clarinetto meaning "little trumpet" (from clarino + -etto). Early clarinets did not play well in the lower register, so chalumeaux continued to be made to play the low notes. and by the time of Beethoven (c. 1800–1820), the clarinet was a standard fixture in the orchestra.
This problem was overcome by using three clarinets — in A, B and C — so that early 19th century music, which rarely strayed into the remote keys (five or six sharps or flats), could be played as follows: music in 5 to 2 sharps (B major to D major concert pitch) on A clarinet (D major to F major for the player), music in 1 sharp to 1 flat (G to F) on C clarinet, and music in 2 flats to 4 flats (B to A) on the B clarinet (C to B for the player). Difficult key signatures and numerous accidentals were thus largely avoided.
With the invention of the airtight pad, and as key technology improved and more keys were added to woodwinds, the need for clarinets in multiple musical keys was reduced. Clarinet sections grew larger during the last few decades of the 19th century, often employing a third clarinetist, an E or a bass clarinet. In the 20th century, composers such as Igor Stravinsky, Richard Strauss, Gustav Mahler and Olivier Messiaen enlarged the clarinet section on occasion to up to nine players, employing many different clarinets including the E or D soprano clarinets, basset horn, alto clarinet, bass clarinet and/or contrabass clarinet.
This practice of using a variety of clarinets to achieve coloristic variety was common in 20th century music and continues today. However, many clarinetists and conductors prefer to play parts originally written for obscure instruments on B or E clarinets, which are often of better quality and more prevalent and accessible. Clarinet, piano and another instrument (for example, string instrument or voice) three B clarinets and bass clarinet, two B clarinets, alto clarinet and bass, and other possibilities such as the use of a basset horn, especially in European classical works. Clarinet quintet, generally made up of a clarinet plus a string quartet. Wind quintet, consists of flute, oboe, clarinet, bassoon, and horn. Trio d'anches, or trio of reeds consists of oboe, clarinet, and bassoon. Wind octet, consists of pairs of oboes, clarinets, bassoons, and horns. Alto, contra-alto, and contrabass clarinets are sometimes used as well, and, rarely, a piccolo A clarinet. With the decline of the big bands' popularity in the late 1940s, the clarinet faded from its prominent position in jazz, though a few players (John Carter, Buddy DeFranco, Eric Dolphy, Jimmy Giuffre, Perry Robinson, Theo Jorgensmann and others) used clarinet in bebop and free jazz. The clarinet's place in the jazz ensemble was usurped by the saxophone, which projects a more powerful sound and uses a less complicated fingering system.
During the 1950s and 1960s, Britain underwent a surge in the popularity of traditional jazz. During this period, a British clarinetist named Acker Bilk became popular, founding his own ensemble in 1956. Bilk had a string of successful records, including the popular "Stranger on the Shore".
In the U.S., the instrument has seen something of a resurgence since the 1980s, with Eddie Daniels, Don Byron, and Marty Ehrlich and others playing the clarinet in more contemporary contexts. Bob Wilber, active since the 1950s, is a more eclectic jazz clarinetist, playing in several classic jazz styles. Filmmaker Woody Allen is a notable jazz clarinet enthusiast, and performs New Orleans-style jazz regularly with his quartet in New York. - Jean-Christian Michel, French composer and clarinetist has initiated a jazz-classical cross-over on the clarinet with the drummer Kenny Clarke
Clarinets also feature prominently in klezmer music, which entails a distinctive style of playing. The use of quarter-tones requires a different embouchure.
The popular Brazilian music styles of choro and samba use the clarinet. Prominent contemporary players include Paulo Moura, Naylor 'Proveta' Azevedo, Paulo Sérgio dos Santos and Paquito D'Rivera.
The clarinet is prominent in Bulgarian wedding music, an offshoot of Roma/Romani traditional music. Ivo Papazov is a well-known clarinetist in this genre. In Moravian dulcimer bands, the clarinet is usually the only wind instrument among string instruments.
In the Former Yugoslav Republic of Macedonia, old-town folk music -called chalgija ("чалгија"), the clarinet has the most important role in wedding music; clarinet solos mark the high point of dancing euphoria. One of the most renowned Macedonian clarinet players is Tale Ognenovski, who gained worldwide fame for his virtuosity.
In Greece the clarinet (usually referred to as "κλαρίνο" - "clarino") is prominent in traditional music, especially in central, northwest and northern Greece (Thessaly, Epirus and Macedonia). The double-reed zurna was the dominant woodwind instrument before the clarinet arrived in the country, although many Greeks regard the clarinet as a native instrument. Clarinet quartet, usually three B sopranos and one B bass, or two B, an E Alto Clarinet, and a B Bass Clarinet, or sometimes four B sopranos.
Clarinet choirs and quartets often play arrangements of both classical and popular music, in addition to a body of literature specially written for a combination of clarinets by composers such as Arnold Cooke, Alfred Uhl, Daniel Theaker, Lucien Caillet and Václav Nelhýbel.
{| class="wikitable" |- style="text-align:center;" " ! Name !! Key !! Commentary !! Range (concert) |- | Piccolo clarinet | A | Now rare, used for Italian military music and some contemporary pieces for its sonority; | |- | Sopranino clarinet | E | Characteristic timbre, used in concert band repertoire because its tonality is considered "compatible" with other instruments, especially those in B. | |- | Soprano clarinet | B | The most common type: used in most styles of music. Mozart's Clarinet Concerto was written for this instrument, though it is frequently played in a version for the ordinary A clarinet. Basset clarinets in Bb also exist; this instrument is required to play the obbligato to the aria "Parto, parto" in Mozart's La Clemenza di Tito. | |- | Basset-horn | F | Similar in appearance to the alto, but differs in that it is pitched in F, has an extended range to low C, and has a narrower bore on most models. Mozart's Clarinet Concerto was originally sketched out as a concerto for basset horn in G. Rarely used today. | |- | Alto clarinet | E | Used in chamber music and wind ensembles. There have also been soprano clarinets in C, A, and B with curved barrels and bells marketed under the names Saxonette, Claribel, and Clariphon.
Category:Clarinets Category:French loanwords Category:Clarinetists Category:B-flat instruments Category:Reed aerophones
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Woody Allen |
|---|---|
| Caption | Allen at the 2009 premiere of Whatever Works |
| Nationality | |
| Birth name | Allen Stewart Konigsberg |
| Birth date | December 01, 1935 |
| Birth place | Brooklyn, New York, U.S. |
| Occupation | ActorDirectorScreenwriterComedianMusicianPlaywright |
| Years active | 1950–present |
| Spouse | Harlene Rosen (1954–1959) Louise Lasser (1966–1969) Soon-Yi Previn (1997–present) |
Woody Allen (born Allen Stewart Konigsberg; December 1, 1935) is an American screenwriter, director, actor, comedian, jazz musician, author, and playwright.
Allen’s distinctive films, which run the gamut from dramas to screwball sex comedies, have made him a notable American director. He is also distinguished by his rapid rate of production and his very large body of work. Allen writes and directs his movies and has also acted in the majority of them. For inspiration, Allen draws heavily on literature, sexuality, philosophy, psychology, Jewish identity, and the history of cinema, among a wealth of other fields of interest.
Allen developed a passion for music early on and is a celebrated jazz clarinetist. What began as a teenage avocation has led to regular public performances at various small venues in his hometown of Manhattan, with occasional appearances at various jazz festivals. Allen joined the Preservation Hall Jazz Band and the New Orleans Funeral Ragtime Orchestra in performances that provided the film score for his 1973 comedy Sleeper, and performed in a rare European tour in 1996, which became the subject of the documentary Wild Man Blues.
To raise money he began writing gags for the agent David O. Alber, who sold them to newspaper columnists. According to Allen, his first published joke read: “Woody Allen says he ate at a restaurant that had O.P.S. prices – over people’s salaries.”
He began to call himself Woody Allen. He was an extremely talented young comedian and would later joke that when he was young he was often sent to inter-faith summer camps, where he “was savagely beaten by children of all races and creeds.”
After high school, he attended New York University (NYU), where he studied communication and film. He was never a committed student: he failed a film course and was eventually expelled. He later briefly attended City College of New York and eventually taught at The New School. He also studied with writing teacher Lajos Egri.
In 1961, he started a new career as a stand-up comedian, debuting in a Greenwich Village club called the Duplex.
Allen wrote for the popular Candid Camera television show, and appeared in some episodes. Together with his managers, Allen developed a neurotic, nervous, and intellectual persona for his stand-up routine, a successful move which secured regular gigs for him in nightclubs and on television.
Allen started writing short stories and cartoon captions for magazines such as The New Yorker; he was particularly inspired by the tradition of four prominent New Yorker’s humorists, S. J. Perelman, George S. Kaufman, Robert Benchley and Max Shulman, whose material he modernized. Allen is also an accomplished author having published four collections of his short pieces and plays. These are Getting Even, Without Feathers, Side Effects and Mere Anarchy. His early comic fiction was heavily influenced by the zany, pun-ridden humour of S.J. Perelman. Allen brought significant innovation to the comedy monologue genre and his stand-up comedy is considered highly influential.
He has written several one-act plays, including 'Riverside Drive' and 'Old Saybrook' which both explore well-known Allen themes. They have been produced in England for the first time by The Nuffield Theatre, a south-coast art house theatre, Southampton (September 2010) and directed by Patrick Sandord.
Allen directed Take the Money and Run in 1969. That same year he starred in his own TV special, The Woody Allen Special. On the show he performed standup comedy routines before a live audience and acted in a sketch with Candace Bergen in which they appeared nude but their bodies were kept hidden from view by the camera. The special also had guest appearances by the pop vocal group The 5th Dimension singing their hit singles “Workin’ On A Groovy Thing” and “Wedding Bell Blues”. The show’s sponsor, Libby's, broadcast comical commercials starring Tony Randall as a detective.
From 1971 to 1975 Allen directed Bananas, Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask), Sleeper, and Love and Death. Take the Money and Run and Bananas were co-written by his childhood friend, Mickey Rose.
Stardust Memories features Sandy Bates, a successful filmmaker played by Allen, who expresses resentment and scorn for his fans. Overcome by the recent death of a friend from illness, the character states, “I don’t want to make funny movies any more” and a running gag has various people (including a group of visiting space aliens) telling Bates that they appreciate his films, “especially the early, funny ones.” Allen believes this to be one of his best films.
By the mid-1980s, Allen had begun to combine tragic and comic elements with the release of such films as Hannah and Her Sisters and Crimes and Misdemeanors, in which he tells two stories that connect at the end. He also produced a vividly idiosyncratic tragi-comical parody of documentary, titled Zelig.
He made three films about show business; Broadway Danny Rose, in which he plays a New York show business agent, The Purple Rose of Cairo, a movie that shows the importance of the cinema during the Depression through the character of the naive Cecilia, and Radio Days, which is a film about his childhood in Brooklyn and the importance of the radio. Purple Rose was named by Time Magazine as one of the 100 best films of all time and Allen has described it as one of his three best films, along with Stardust Memories and Match Point. (Allen defines them as “best” not in terms of quality but because they came out the closest to his original vision.)
Before the end of the ‘80s, he made other movies that were inspired by Ingmar Bergman’s films. September resembles Autumn Sonata and Allen uses many elements from Wild Strawberries in Another Woman. Similarly, the Federico Fellini classic Amarcord strongly inspired Radio Days. In 1989, Allen teamed up with directors Francis Ford Coppola and Martin Scorsese to make New York Stories, an anthology film about New Yorkers. Allen's short "Oedipus Wrecks" was about a neurotic lawyer and his critical mother. His short pleased critics, but New York Stories had bombed at the box office.
He returned to lighter movies like Bullets Over Broadway (1994), which earned him an Academy Award nomination for Best Director, followed by a musical, Everyone Says I Love You (1996). The singing and dancing scenes in Everyone Says I Love You are similar to many musicals starring Fred Astaire and Ginger Rogers. The comedy Mighty Aphrodite (1995), in which Greek drama plays a large role, won an Academy Award for Mira Sorvino. Allen’s 1999 jazz-based comedy-drama Sweet and Lowdown was also nominated for two Academy Awards for Sean Penn (Best Actor) and Samantha Morton (Best Supporting Actress). In contrast to these lighter movies, Allen veered into darker satire towards the end of the decade with Deconstructing Harry (1997) and Celebrity (1998). Allen made his only sitcom “appearance” to date (2009) via telephone on the show Just Shoot Me! in a 1997 episode, “My Dinner with Woody” which paid tribute to several of his films. Allen also provided the lead voice in the 1998 animated film Antz, which featured many actors he had worked with and had Allen play a character that was similar to his earlier neurotic roles.
Allen returned to London to film Scoop, which also starred Johansson, Hugh Jackman, Ian McShane, Kevin McNally and Allen himself (which remains to be the last film Allen has acted in). The film was released on July 28, 2006 and received mixed reviews. He has also filmed Cassandra's Dream in London. Cassandra’s Dream was released in November 2007 and stars Colin Farrell, Ewan McGregor and Tom Wilkinson.
After finishing his third London film, Allen headed to Spain. He reached an agreement to film Vicky Cristina Barcelona in Avilés, Barcelona and Oviedo, where shooting started on July 9, 2007. The movie stars Scarlett Johansson, Javier Bardem, Rebecca Hall and Penélope Cruz. Speaking of his experience there, Allen said: “I’m delighted at being able to work with Mediapro and make a film in Spain, a country which has become so special to me.” Vicky Cristina Barcelona was well received, winning “Best Musical or Comedy” at the Golden Globe awards. Penélope Cruz received the Academy Award for Best Supporting Actress for her role in the film.
Allen has said that he “survives” on the European market. Audiences there have tended to be more receptive to Allen’s films, particularly in Spain, France and Italy; countries where he has a large audience (something joked about in Hollywood Ending). “In the United States things have changed a lot, and it’s hard to make good small films now”, Allen said in a 2004 interview. “The avaricious studios couldn’t care less about good films – if they get a good film they’re twice as happy but money-making films are their goal. They only want these $100 million pictures that make $500 million.”
In April 2008, he began filming for a movie focused more towards older audiences starring Larry David, Patricia Clarkson and Evan Rachel Wood. He revealed in July 2008 the title of this film, to be released in 2009: Whatever Works, described as a dark comedy, follows the story of a botched suicide attempt turned messy love triangle. Whatever Works was written by Allen in the 1970s and the character now played by Larry David was originally written for Zero Mostel, who died the year Annie Hall came out.
Annie Hall won four Academy Awards (Best Picture, Best Screenplay, Best Director and Best Actress). The film received a fifth nomination, for Allen as Best Actor. Hannah and Her Sisters won three, for Best Screenplay, Best Supporting Actor and Best Supporting Actress categories; it was nominated in four other categories, including Best Picture and Best Director.
Despite friendly recognition from the Academy, Allen has consistently refused to attend the ceremony or acknowledge his Oscar wins. He broke this pattern only once. At the Academy Awards ceremony in 2002, Allen made an unannounced appearance, making a plea for producers to continue filming their movies in New York City after the 9-11 attacks, where he stated, “I didn’t have to present anything. I didn’t have to accept anything. I just had to talk about New York City.” He was given a standing ovation before introducing a montage of movie clips featuring New York.
In the ‘70s, Allen wrote a number of one-act plays, most notably God and Death, which were published in his 1975 collection Without Feathers.
In 1981, Allen’s play The Floating Light Bulb opened on Broadway. The play was a critical success but a commercial flop. Despite two Tony Award nominations, a Tony win for the acting of Brian Backer (who also won the 1981 Theatre World Award and a Drama Desk Award for his work), the play only ran for 62 performances. As of January 2008, it is the last Allen work that ran on Broadway.
After a long hiatus from the stage, Allen returned to the theater in 1995 with the one-act Central Park West, an installment in an evening of theater known as Death Defying Acts that was also made up of new work by David Mamet and Elaine May.
For the next couple of years, Allen had no direct involvement with the stage, yet notable productions of his work were being staged. A production of God was staged at The Bank of Brazil Cultural Center in Rio de Janeiro, and theatrical adaptations of Allen’s films Bullets over Broadway and September were produced in Italy and France, respectively, without Allen’s involvement. In 1997, rumors of Allen returning to the theater to write a starring role for his wife Soon-Yi Previn turned out to be false.
In 2003, Allen finally returned to the stage with Writer’s Block, an evening of two one-acts – Old Saybrook and Riverside Drive – that played off-Broadway. The production marked the stage-directing debut for Allen. The production sold out its entire run.
Also that year, reports of Allen writing the book for a musical based on Bullets over Broadway surfaced, but no show ever formulated. In 2004, Allen’s first full-length play since 1981, A Second Hand Memory, was directed by Allen and enjoyed an extended run off-Broadway. – which debuted at the Dorothy Chandler Pavilion on September 6, 2008. Commenting on his direction of the opera, Allen said, “I have no idea what I’m doing.” His production of the opera opened the Festival of Two Worlds in Spoleto, Italy, in June 2009.
After Allen and Farrow separated, a long public legal battle for the custody of their three children began. During the proceedings, Farrow alleged that Allen had sexually molested their adopted daughter Dylan, who was then seven years old. The judge eventually concluded that the sex abuse charges were inconclusive but called Allen’s conduct with Soon-Yi “grossly inappropriate”. She called the report of the team that investigated the issue “sanitized and therefore, less credible” and added that she had “reservations about the reliability of the report”. Farrow won custody of their children. Allen was denied visitation rights with Malone and could see Ronan only under supervision. Moses, who was then 14, chose not to see Allen.
In a 2005 Vanity Fair interview, Allen estimated that, despite the scandal’s damage to his reputation, Farrow’s discovery of Allen’s attraction to Soon-Yi Previn by finding nude photographs of her was “just one of the fortuitous events, one of the great pieces of luck in my life. [...] It was a turning point for the better.” Of his relationship with Farrow, he said, “I’m sure there are things that I might have done differently. [...] Probably in retrospect I should have bowed out of that relationship much earlier than I did.”
Allen and Previn married on December 24, 1997, in the Palazzo Cavalli in Venice. The couple has adopted two daughters, naming them Bechet and Manzie after jazz musicians Sidney Bechet and Manzie Johnson.
Allen and Farrow’s biological son, Ronan Seamus Farrow, said of Allen: "He's my father married to my sister. That makes me his son and his brother-in-law. That is such a moral transgression. I cannot see him. I cannot have a relationship with my father and be morally consistent... I lived with all these adopted children, so they are my family. To say Soon-Yi was not my sister is an insult to all adopted children."
and Simon Wettenhall performing at Vienne Jazz Festival, Vienne, France, September 20, 2003]]
Woody Allen and his New Orleans Jazz Band play every Monday evening at Manhattan’s Carlyle Hotel, specializing in classic New Orleans jazz from the early twentieth century. The documentary film Wild Man Blues (directed by Barbara Kopple) documents a 1996 European tour by Allen and his band, as well as his relationship with Previn. The band has released two CDs: The Bunk Project (1993) and the soundtrack of Wild Man Blues (1997).
Allen and his band played the Montreal Jazz Festival on two consecutive nights in June 2008.
Waiting for Woody Allen is a 2004 short film, starring Modi Rosenfeld, parodying Samuel Beckett’s Waiting for Godot. From 1976 to 1984, Stuart Hample wrote and drew Inside Woody Allen, a comic strip based on Allen’s film persona. Central Park West Stories (Baldini Castoldi Dalai publisher, 2005) by Glauco Della Sciucca (Italian contributor to Columbia Journalism Review, The New Yorker, and The Jewish Week, since September 2003) are inspired by Allen. “Death of an Interior Decorator” is a song on Death Cab for Cutie’s album Transatlanticism that was inspired by Woody Allen’s Interiors. Andy Hull, singer and songwriter for Manchester Orchestra, cites Allen as his top musical inspiration, and has written several songs in observance including: “Alice and Interiors”, “Play it Again Sam! You Don’t Have Any Feathers”, “Golden Ticket”, and “Sleeper 1972”. In Love Creeps, a novel by Amanda Filipacchi, a group of birders in Central Park spot Woody Allen and Soon-Yi stepping out onto their balcony and get very excited, which torments a nearby group of recovering stalkers from Stalkaholics Anonymous, causing one of them to suddenly lose his sobriety by grabbing the binoculars from around the neck of a birder to stare at Woody Allen and Soon-Yi.
In 1998, the Spanish novel Yo-Yo Boing! by Giannina Braschi features a party scene in which Woody Allen fidgets and stammers while explaining literary classics and the films of Federico Fellini. In 1967, Woody Allen was a featured character (playing himself, of course) in Showcase Comics #71, which featured the one-shot mythical pop group, The Maniaks. The comic book was published and distributed via DC Comics (National Periodical Publications). In 2003, Keith Black wrote, directed and starred in the award-winning film Get the Script to Woody Allen. The feature was about a neurotic young man who is obsessed with getting his script to Woody.
In 2010 the independent British romantic comedy Mancattan was released. The plot features directors Phil Drinkwater and Colin Warhurst playing fictional versions of themselves having travelled to New York from their native Manchester in order to make a documentary about Woody Allen and how his cinema has influenced them from the other side of the world.
While not making a case for direct influence or affinity while reviewing American Splendor inspired by/about graphic artist Harvey Pekar, columnist Jaime Wolf drew attention to formal parallels between the film and subject, on one hand, and Allen, Annie Hall, and other Allen films, on the other.
Moment Magazine says, “It drove his self-absorbed work.” John Baxter, author of Woody Allen – A Biography, wrote, “Allen obviously found analysis stimulating, even exciting.”
Allen says he ended his psychoanalysis visits around the time he began his relationship with Previn. He says he still is claustrophobic and agoraphobic. |- | style="text-align:center;"| 1975 | God | Writer | style="text-align:center;"|— |- | style="text-align:center;"| 1975 | Death | Writer | style="text-align:center;"|— |- | style="text-align:center;"| 1981 | The Floating Light Bulb | Writer | style="text-align:center;"|Vivian Beaumont Theatre |- | style="text-align:center;"| 1995 | Central Park West | Writer | style="text-align:center;"|Variety Arts Theatre |- | style="text-align:center;"| 2003 | Old Saybrook | Writer, Director | style="text-align:center;"|Atlantic Theatre Company |- | style="text-align:center;"| 2003 | Riverside Drive | Writer, Director | style="text-align:center;"|Atlantic Theatre Company |- | style="text-align:center;"| 2004 | A Second Hand Memory | Writer, Director | style="text-align:center;"|Atlantic Theater Company |}
Category:Film theorists Category:Independent Spirit Award winners Category:Jewish actors Category:Jewish American musicians Category:Jewish American writers Category:Jewish comedians Category:Jewish comedy and humor Category:Jewish dramatists and playwrights Category:Living people Category:O. Henry Award winners Category:People from Brooklyn Category:Writers Guild of America Award winners
This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| Name | Artie Shaw |
|---|---|
| Background | non_vocal_instrumentalist |
| Birth name | Arthur Jacob Arshawsky |
| Born | May 23, 1910New York City, New York, U.S. |
| Died | December 30, 2004Thousand Oaks, California, U.S. |
| Instrument | Clarinet |
| Genre | Swing, big band |
| Occupation | Bandleader, composer |
| Years active | 1925–2004 |
Shaw first gained critical acclaim with his "Interlude in B-flat" at a swing concert at the Imperial Theater in New York in 1935. During the swing era, his big band was popular with hits like "Begin the Beguine" (1938), "Stardust" (with a trumpet solo by Billy Butterfield), "Back Bay Shuffle", "Moonglow", "Rosalie" and "Frenesi". He was an innovator in the big band idiom, using unusual instrumentation; "Interlude in B-flat", where he was backed with only a rhythm section and a string quartet, was one of the earliest examples of what would be later dubbed third stream.
In addition to hiring Buddy Rich, he signed Billie Holiday as his band's vocalist in 1938, becoming the first white bandleader to hire a full-time black female singer to tour the segregated Southern US. In response to Goodman's nickname, the "King of Swing", Shaw's fans dubbed him the "King of the Clarinet." Shaw, however, felt the titles were reversed. "Benny Goodman played clarinet. I played music," he said.
Shaw prized innovation and exploration in music more highly than popular success and formulaic dance music, despite a string of hits which sold more than 100 million records.
Like Benny Goodman and other leaders of big bands, Shaw fashioned a small group from within the band. He named it the Gramercy Five after his home telephone exchange. He spent the rest of the 1950s living in Europe.
In 1981, he organized a new Artie Shaw Band with clarinetist Dick Johnson as bandleader and soloist. Shaw himself guest conducted from time to time, ending his self-imposed retirement.
After Canadian filmmaker Brigitte Berman interviewed Shaw, Hoagy Carmichael, Doc Cheatham and others for her documentary film Bix: Ain't None of Them Play Like Him Yet (1981) about Bix Beiderbecke, she went on to create an Academy Award-winning documentary, Artie Shaw: Time Is All You've Got (1985), featuring her interviews with Shaw, Buddy Rich, Mel Tormé, Helen Forrest and others. Later in 2003, along with members of his original bands and other music professionals, Shaw was extensively interviewed by Russell Davies for the BBC Television documentary, Artie Shaw — Quest for Perfection, which became his last major interview.
In 1991, Artie Shaw's band library and manuscript collection was donated to the University of Arizona. In 2004, he was presented with a Grammy Lifetime Achievement Award.
A self-proclaimed "very difficult man," Shaw was married eight times: Jane Cairns (1932–33); Margaret Allen (1934–37); actress Lana Turner (1940); Betty Kern (1942–43), the daughter of songwriter Jerome Kern; actress Ava Gardner (1945–46); Forever Amber author Kathleen Winsor (1946–48); actress Doris Dowling (1952–56); and actress Evelyn Keyes (1957–85). He had one son with Betty Kern, and another son, Jonathan Shaw (a well-known tattoo artist who founded Fun City Tattoo), with Doris Dowling. In 1953, Shaw was brought up before the House Un-American Activities Committee for his leftist activities. The committee was investigating a peace activist organization, the World Peace Congress, which it considered a communist front.
He was a precision marksman, ranking fourth in the United States in 1962, In 2005, Shaw's eighth wife, Evelyn Keyes, sued Shaw's estate, claiming that she was entitled to one-half of Shaw's estate pursuant to a contract to make a will between them. In July 2006, a Ventura, California jury unanimously held that Keyes was entitled to almost one-half of Shaw's estate, or $1,420,000.
Shaw's recording of "Nightmare" was used as the theme soundtrack for BBC Radio's adaptation of the Philip Marlowe novels by Raymond Chandler.
Many of his recordings have been used in motion pictures. His recording of "Stardust" was used in its entirety in the closing credits of the film "The Man Who Fell to Earth". Also, Martin Scorsese used the Shaw theme song, "Nightmare," in his Academy Award-winning Howard Hughes biopic, The Aviator.
He credited his time in the Navy as a period of renewed introspection. Shaw's short stories, including "Snow White in Harlem," were collected in The Best of Intentions and Other Stories (1989). He worked for years on his 1000-page autobiographical novel The Education of Albie Snow, but the three-volume work remains unpublished. Currently, through Curtis International Associates, the Artie Shaw Orchestra is still active.
Shaw is mentioned in the CBS television show "NCIS" by Ernie Yost, the fictional Medal of Honor recipient, in the episode "Call of Silence."
Category:Articles with inconsistent citation formats Category:1910 births Category:2004 deaths Category:Swing clarinetists Category:American jazz composers Category:American jazz clarinetists Category:American military personnel of World War II Category:Clarinetists Category:Deaths from diabetes Category:Disease-related deaths in California Category:Grammy Lifetime Achievement Award winners Category:Big band bandleaders Category:American jazz bandleaders Category:Jewish American musicians Category:Jewish American writers Category:People from New York City Category:People from Norwalk, Connecticut Category:Bell Records artists Category:RCA Victor artists Category:Vocalion Records artists Category:Gennett recording artists
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