(HD video) Clansey wins The Livingstone with new recital-competition format

Published: October 31, 2012
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Hamilton, Ontario – October 6, 2012 – Colin Clansey of Ottawa emerged the winner of The Livingstone, the reformatted rendition of one of the longer-running competitions in North America. Clansey performed for approximately 30 minutes against five other contestants at a more exclusively intimate setting at the well-appointed Hamilton Club in downtown Hamilton, Ontario.

Also competing before judges Reay Mackay, Ed Neigh and Bob Worrall were Glenn Brown, Glasgow; Alex Gandy, Dartmouth, Nova Scotia; Michael Grey, Dundas, Ontario; Andrew Hayes, Ottawa; Ian K. MacDonald, Whitby, Ontario; and Sean McKeown, Toronto.

The revamped competition, which was underwritten by pipes|drums Magazine, was by invitation only and called for competitors to perform for 20-30 minutes, with a minimum of two tunes by composers who at one time held a Canadian passport. All contestants delivered a selection of light music, with MacDonald the only piper to include a piobaireachd in his performance.

Approximately 50 people paid the $31.50 ticket price, which included hors d’oeuvres and a cash bar. The event started at about 7 pm and lasted until around midnight when Clansey was announced the winner.

The competition, previously known as the William Livingstone Sr. Memorial Invitational Solo Piping Competition, has been held for more than 30 years and originally paid tribute to the elder Livingstone. This year the event was simplified, with only six invitees, each guaranteed a flat appearance fee of $300. Clansey gained a larger cash prize for winning. There was no additional prize for the winner.

The event was organized by the Niagara-Hamilton Branch of the Pipers & Pipe Band Society of Ontario.

As a nonprofit, pipes|drums contributes to other nonprofit piping and drumming causes.

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TIP OF THE DAY
Pipers should avoid memorizing their music until the tune can be played from start to finish, fluidly, without error and at full speed. Once you memorize your music, it will become your reference every time you play. If your memory of the music has flaws in it, through repetition, you will permanently cement these flaws in your playing. Memorization is similar to the wood stain that would be added when building a bookcase – it would be the final touch to a finished product.
John Cairns, London, Ontario