Thank you very much for this wonderful performance of the Divertissement, Charles. It is excellent and I am proud to add it to my site. A big super-thank you also to all who played in it and worked so hard to perform it so beautifully! Geraldine Green.
Thank you very much for you kind words. I was delighted with Kieth Northover’s performance. It was exactly how the piece should be. Wonderful! I will visit your site, thank you. And I’m sorry for my late reply. I need to check my webiste more often, and from now on I will. Thanks again.
Geraldine Green
Please accept my apologies for my terribly late reply. Due to huge family commitments this past year I have, sadly, been a bit neglectful of my website, but from now on I will be much more attentive. Thank you for your interest in the Bass clarinet concerto. I must confess that it is one of those pieces which I have never thought to arrange for any other medium. Doing it for piano and bass clarinet was hard because it has always been for strings in my mind. Due to a terrible shortage of time these days it is unlikely I will get around to doing anything more with it just now, but you are not the first to ask for an alternative arrangement so I will bear this in mind for the future. I am sorry I have nothing better to offer you just now, for I hate saying No to interested people, but I have to honest. Perhaps one day I will get around to arranging it for wind band or clarinet choir, but I’m afraid it won’t be in the near future. I am sorry, but thank you again for asking and I really appreciate you getting in touch. Thank you.
Our libary (The University of Akron, Ohio, USA) We just purchased Clare Southworth’s anthology “Vocalise.” It has a nocturne in it by Geraldine Green. Is this your composition? I didn’t see it in the lists of works on http://www.geraldinegreen.co.uk, so I wasn’t sure. In our library catalog, we try to distinguish between different people with the same name, so I just wanted to be sure. Also, are you the composer of the orchestral work “Ballade for an entablature”? I didn’t see that in your list of works, either.
Dear David, Thank you for your message. I’m sorry for my late reply, but now I can answer your questions. Yes, I wrote both the Nocturne from Clare Southworth’s book Vocalise, and the Ballade for an Enbtablature. What intrigues me, though, is how on earth you know about the Ballade, because it is not listed on my site because I have not yet entered it into the computer, therefore it is not in a condition where it can be played. Yes, I have a full set of score and parts, all hand written, but that’s as far as it’s got so far. I do intend to get it into the computer and all set out properly in print, but when that will happen I don’t yet know. It is a short, 4 or 5 minute long, overture-like piece for full orchestra, not really a Ballade at all, but I was only 19 when I wrote it and somehow I just knew it’s name was always Ballade, so I didn’t care whether it was appropriate or not back then.
I hope this answers your questions OK, and I really appreciate you contacting me. Please don’t hesitate to contact me again if you need any more information on any of my works.
Thank you very much.
Geraldine Green
Hi David.
Thank you for your reply. This is intriguing. How the British Library got a copy of my Ballade For An Entablature I simply cannot imagine as I never sent them one and know of no one who did! But clearly someone somewhere did! I cannot see a copy of it on their site to actually view but their description of it certainly is accurate. It does indeed have 19 pages! Bizarre in the extreme! Having said all that, it’s got me urged on now to actually try and find the time to get the score entered into my computer so I can revise it and get it into a playing condition.
Thank you for taking the time to tell me this. I really appreciate that, and hopefully one day I can have the little piece intact and ready to go. Thanks again and best wishes.
Geraldine.
Believe it or not, your message showing interest in my Ballade For An Entablature has had an affect!! I know that much time has passed since your first contact, but my life is often not my own these days. However, I have just recently, finally, entered this “Ballade” into my computer, which now means it is technically available to be played by any orchestra that wishes to take it on. I still have to make up its page on this website, which I intend to do in the next week or so, with all its details along with a digital recording, as that’s all I have at present. While nowhere near as wonderful as a real orchestra, it will still be hopefully reasonable enough to give a rough idea of what the piece should sound like. I hope that somehow you see this message, because it is you that spurred me into getting this done. Life passes so fast and this little piece means a great deal to me, despite its tiny size, and sometimes a nudge from outside is what one needs to focus on something that should not be forgotten. Thank you, David Prochazka. Much appreciated.
Just wanted to drop a quick note to:
1,) Thank you for writing such a great concerto for bass clarinet that is so extremely audience friendly, and
2.) Let you know that I was recently chosen as a winner of the concerto competition at Kansas State University, and that I will be performing the third movement of the concerto in February with the Kansas State Orchestra! This is a huge honor for me, but wouldn’t be possible at all without having such a great piece to perform! I’ll be sure to find a way to send you a recording of the final performance!
What a lovely message from you! And even nicer of you to take the time and trouble to contact me to tell me! This so brightens my day. It’s always lovely to hear when people enjoy your music, after all that’s what it’s all about!
Congratulations on winning such a fantastic competition, Josh, you must be a very fine player indeed, so my piece is lucky to be having you playing it!
Believe it or not, I will also be playing the piece on November 28th. My local orchestra discovered it and asked me to perform it with them. I was very surprised and honoured, too. I do quite a lot of playing with my local orchestras but this is the first solo, concerto performance I’ve done in 20 years! And, as you well know, it’s a far cry from sitting cosily in the midst of an orchestra, so this has jolted me well out of my comfort zone and make me work hard!
Well, Josh, I wish you all best luck in the world for your performance in February, and also for the rest of your career, in whatever course you take. If you do record it then I’d be delighted to hear it. Wonderful!
Thank you very much and all the very best.
Liebe Frau Green! Ich bin begeistert von Ihrer Musik: Oakmount , Streicher. Dank Gary bin ich immer mehr gespannt, was Sie noch Hervorragendes leisten werden. Ich wünsche Ihnen und Ihrer Familie Alles Gute und weitere frohe Schaffenskraft. Mit herzlichen Grüßen Ihr Ulrich Pörsel
Please ask Gary for translation
Thank you very much for your lovely, kind words. Gary has told me about you and I would like to tell you how important and greatly valued your support is to me. I am very grateful and happy that you took the trouble to message me to tell me your thoughts about my work. This means a huge amount to me and is so encouraging and lovely to hear.
Thank you very much indeed.
Hello, Ms. Green! I have a student working on your bass clarinet concerto, and we were wondering how much of a difference there should be between the dotted eighth-sixteenth rhythm, and the triplet quarter-triplet-eighth rhythm.
Dear Brian, Thank you for contacting me and this is a good question. To be honest with you, there is virtually no difference in the finished sound when the piece is played as a whole. The opening tune of the first movement is by character very clipped and sparky and humorous, so the eigth-sixteenth rhythm can be as clipped as you like, but it will still match up with the triplet under it in the orchestra. I guess if I were to write the piece all over again I would make that rhythm more consistent so it would all look the same and then there would be no doubt, but there has always has been a kind of uneven “rocking” to that rhythm in my mind where things are not quite meant to fully match up all of the time, hence why I wrote it down like that – it was how I heard it playing in my head. So, I guess what I’m saying is that not to worry too much about it and just play it and hopefully enjoy it and it will just gel together in the final show.
As the years have rolled on and I’ve looked back on things like this and learned how to write music down more consistently in my scores, I have thought about this very issue in this piece and considered changing this. But, it’s that slightly off-kilter rocking in its character that has prevented me from doing so. I like my performers to have freedom to bring their own element into the music. I hope that this answer helps, Brian, and I appreciate you contacting me and taking the time and energy to ask me. And thank you and your student for choosing my piece.
Please don’t hesitate to contact me again if you would like to ask anything else. I will always do my best to help and be honest.
All the best
Geraldine
South Tyrol Clarinet Ensemble recording of Divertissement conducted by Charles Hine – Swinburne Hall Colchester Institute 1 March 2014
Thank you very much for this wonderful performance of the Divertissement, Charles. It is excellent and I am proud to add it to my site. A big super-thank you also to all who played in it and worked so hard to perform it so beautifully! Geraldine Green.
Hi, I listened to Keith Northover- Geraldine Green Bass Clarinet Concerto. I love this work. I just wanted to say congratulations!
I also compose music, if you want you can visit my website. I’d appreciate that!
Regards!
Dear Ignacio,
Thank you very much for you kind words. I was delighted with Kieth Northover’s performance. It was exactly how the piece should be. Wonderful! I will visit your site, thank you. And I’m sorry for my late reply. I need to check my webiste more often, and from now on I will. Thanks again.
Geraldine Green
Are you at all interested in arranging the bass clarinet concerto for wind ensemble? Thank you
Eric Thomas
Director of Bands
Colby College
Dear Eric,
Please accept my apologies for my terribly late reply. Due to huge family commitments this past year I have, sadly, been a bit neglectful of my website, but from now on I will be much more attentive. Thank you for your interest in the Bass clarinet concerto. I must confess that it is one of those pieces which I have never thought to arrange for any other medium. Doing it for piano and bass clarinet was hard because it has always been for strings in my mind. Due to a terrible shortage of time these days it is unlikely I will get around to doing anything more with it just now, but you are not the first to ask for an alternative arrangement so I will bear this in mind for the future. I am sorry I have nothing better to offer you just now, for I hate saying No to interested people, but I have to honest. Perhaps one day I will get around to arranging it for wind band or clarinet choir, but I’m afraid it won’t be in the near future. I am sorry, but thank you again for asking and I really appreciate you getting in touch. Thank you.
All the best, Geraldine.
Greetings–
Our libary (The University of Akron, Ohio, USA) We just purchased Clare Southworth’s anthology “Vocalise.” It has a nocturne in it by Geraldine Green. Is this your composition? I didn’t see it in the lists of works on http://www.geraldinegreen.co.uk, so I wasn’t sure. In our library catalog, we try to distinguish between different people with the same name, so I just wanted to be sure. Also, are you the composer of the orchestral work “Ballade for an entablature”? I didn’t see that in your list of works, either.
Thanks so much for your assistance.
Dear David, Thank you for your message. I’m sorry for my late reply, but now I can answer your questions. Yes, I wrote both the Nocturne from Clare Southworth’s book Vocalise, and the Ballade for an Enbtablature. What intrigues me, though, is how on earth you know about the Ballade, because it is not listed on my site because I have not yet entered it into the computer, therefore it is not in a condition where it can be played. Yes, I have a full set of score and parts, all hand written, but that’s as far as it’s got so far. I do intend to get it into the computer and all set out properly in print, but when that will happen I don’t yet know. It is a short, 4 or 5 minute long, overture-like piece for full orchestra, not really a Ballade at all, but I was only 19 when I wrote it and somehow I just knew it’s name was always Ballade, so I didn’t care whether it was appropriate or not back then.
I hope this answers your questions OK, and I really appreciate you contacting me. Please don’t hesitate to contact me again if you need any more information on any of my works.
Thank you very much.
Geraldine Green
Thanks so much for the information Ms. Green. I heard about your Ballade for an Entablature because the British Library has a copy. See http://explore.bl.uk/primo_library/libweb/action/display.do?tabs=moreTab&ct=display&fn=search&doc=BLL01016523172&indx=1&recIds=BLL01016523172&recIdxs=0&elementId=0&renderMode=poppedOut&displayMode=full&frbrVersion=&dscnt=1&scp.scps=scope%3A%28BLCONTENT%29&frbg=&tab=local_tab&dstmp=1437488303936&srt=rank&mode=Basic&vl%28488279563UI0%29=any&dum=true&tb=t&vl%28freeText0%29=Ballade%20for%20an%20entablature&vid=BLVU1. (Sorry for the long URL).
Thanks again,
David–
Hi David.
Thank you for your reply. This is intriguing. How the British Library got a copy of my Ballade For An Entablature I simply cannot imagine as I never sent them one and know of no one who did! But clearly someone somewhere did! I cannot see a copy of it on their site to actually view but their description of it certainly is accurate. It does indeed have 19 pages! Bizarre in the extreme! Having said all that, it’s got me urged on now to actually try and find the time to get the score entered into my computer so I can revise it and get it into a playing condition.
Thank you for taking the time to tell me this. I really appreciate that, and hopefully one day I can have the little piece intact and ready to go. Thanks again and best wishes.
Geraldine.
Dear David,
Believe it or not, your message showing interest in my Ballade For An Entablature has had an affect!! I know that much time has passed since your first contact, but my life is often not my own these days. However, I have just recently, finally, entered this “Ballade” into my computer, which now means it is technically available to be played by any orchestra that wishes to take it on. I still have to make up its page on this website, which I intend to do in the next week or so, with all its details along with a digital recording, as that’s all I have at present. While nowhere near as wonderful as a real orchestra, it will still be hopefully reasonable enough to give a rough idea of what the piece should sound like. I hope that somehow you see this message, because it is you that spurred me into getting this done. Life passes so fast and this little piece means a great deal to me, despite its tiny size, and sometimes a nudge from outside is what one needs to focus on something that should not be forgotten. Thank you, David Prochazka. Much appreciated.
Hi Geraldine,
Just wanted to drop a quick note to:
1,) Thank you for writing such a great concerto for bass clarinet that is so extremely audience friendly, and
2.) Let you know that I was recently chosen as a winner of the concerto competition at Kansas State University, and that I will be performing the third movement of the concerto in February with the Kansas State Orchestra! This is a huge honor for me, but wouldn’t be possible at all without having such a great piece to perform! I’ll be sure to find a way to send you a recording of the final performance!
Thanks again!
J. Peterson
Dear Josh,
What a lovely message from you! And even nicer of you to take the time and trouble to contact me to tell me! This so brightens my day. It’s always lovely to hear when people enjoy your music, after all that’s what it’s all about!
Congratulations on winning such a fantastic competition, Josh, you must be a very fine player indeed, so my piece is lucky to be having you playing it!
Believe it or not, I will also be playing the piece on November 28th. My local orchestra discovered it and asked me to perform it with them. I was very surprised and honoured, too. I do quite a lot of playing with my local orchestras but this is the first solo, concerto performance I’ve done in 20 years! And, as you well know, it’s a far cry from sitting cosily in the midst of an orchestra, so this has jolted me well out of my comfort zone and make me work hard!
Well, Josh, I wish you all best luck in the world for your performance in February, and also for the rest of your career, in whatever course you take. If you do record it then I’d be delighted to hear it. Wonderful!
Thank you very much and all the very best.
Geraldine.
Liebe Frau Green! Ich bin begeistert von Ihrer Musik: Oakmount , Streicher. Dank Gary bin ich immer mehr gespannt, was Sie noch Hervorragendes leisten werden. Ich wünsche Ihnen und Ihrer Familie Alles Gute und weitere frohe Schaffenskraft. Mit herzlichen Grüßen Ihr Ulrich Pörsel
Please ask Gary for translation
Dear Ulrich,
Thank you very much for your lovely, kind words. Gary has told me about you and I would like to tell you how important and greatly valued your support is to me. I am very grateful and happy that you took the trouble to message me to tell me your thoughts about my work. This means a huge amount to me and is so encouraging and lovely to hear.
Thank you very much indeed.
All the very best to you, Ulrich.
Geraldine.
Hello, Ms. Green! I have a student working on your bass clarinet concerto, and we were wondering how much of a difference there should be between the dotted eighth-sixteenth rhythm, and the triplet quarter-triplet-eighth rhythm.
Dear Brian, Thank you for contacting me and this is a good question. To be honest with you, there is virtually no difference in the finished sound when the piece is played as a whole. The opening tune of the first movement is by character very clipped and sparky and humorous, so the eigth-sixteenth rhythm can be as clipped as you like, but it will still match up with the triplet under it in the orchestra. I guess if I were to write the piece all over again I would make that rhythm more consistent so it would all look the same and then there would be no doubt, but there has always has been a kind of uneven “rocking” to that rhythm in my mind where things are not quite meant to fully match up all of the time, hence why I wrote it down like that – it was how I heard it playing in my head. So, I guess what I’m saying is that not to worry too much about it and just play it and hopefully enjoy it and it will just gel together in the final show.
As the years have rolled on and I’ve looked back on things like this and learned how to write music down more consistently in my scores, I have thought about this very issue in this piece and considered changing this. But, it’s that slightly off-kilter rocking in its character that has prevented me from doing so. I like my performers to have freedom to bring their own element into the music. I hope that this answer helps, Brian, and I appreciate you contacting me and taking the time and energy to ask me. And thank you and your student for choosing my piece.
Please don’t hesitate to contact me again if you would like to ask anything else. I will always do my best to help and be honest.
All the best
Geraldine