The details are a bit fuzzy, but my first interaction with Cliff Colnot was as a student at the Percussion Scholarship Program. He would often write arrangements for us to perform, so his name was familiar to us all. But one day, Mr. Waddell told us that he would be visiting one day to hear our rehearsal. The seriousness and importance that Mr. Waddell put on this rehearsal was beyond anything he had previously. “No one say anything unless he asks you a question. No side conversations, be very attentive.” The amount of rehearsals leading up to his visit were probably more than usual as well. Of course, I’m thinking he’s like, Darth Vader or something, but I took it pretty seriously.
The day finally came, and I think we set everything up almost an hour before his arrival, just so we could run it one more time. Then we just waited. No one said anything, probably for a good 5 minutes before his face was seen outside the door. “Here we go,” said Mr. Waddell. The door opened and this tall man steppe through with a messenger bag and slowly made his way to the chair and stand that was prepared for him. “Hello,” he said. he looked to Mr. Waddell, greeted him and asked if he was ready to begin. Mr. Waddell said, “Yes sir. Ok everyone. Focus.” We proceeded to play probably the cleanest run we had ever done. Once the last note was hit, and the resonance dissipated, Cliff said, “Excellent” (or one of the other one word compliments he’s known for, but I think it was excellent). His comments were very minuscule, mallet choice, increasing volume in certain parts, things like that. When he was finished giving his notes, he said, “Thank you.” We all kept quiet as he packed his things, arose from his seat and slowly made his way out of the room. Needless to say, I grew to have the same respect towards Cliff as I got older and anytime he would come to visit, we all knew what was expected.
Years later, I was writing a percussion ensemble piece for fun (I was an interesting teenager ok). I showed Mr. Waddell what I had done so far, and he said, “So when are we playing it?” I hadn’t even thought about that being a possibility, but I said I would try to finish it up for him. He then suggested that I send it to Cliff for him to look at once I had finished. “Send it to who?” “To Cliff.” I’m like 17 at the time, and I had never written for an ensemble to PLAY my music. And now I’m sending my score to CLIFF COLNOT?!!? You can imagine I spent a lot of extra time working on the score before ever sending to him. I wish I still had those emails, but I remember him giving me copious notes and even suggesting that I write a new slower section to have more contrast, which of course I did. I was then and am still extremely grateful for him taking time out of his schedule to help me on this random project.
When I went to DePaul and started working with him more regularly, I learned so much and grew to have a lot of respect and investment in the rehearsal process. Learning about listening across the orchestra, sound concepts, placement, and so much more, I couldn’t have been more prepared to graduate and start my fellowship with the Detroit Symphony. His response to my emailing telling him the news was, “Excellent, congratulations.” I really would not be the musician I am today without his influence and I just wanted to write this to document a few of those moments here in his honor. Thank you so much Dr. Colnot. I will certainly miss you.