The Clarinet

Volume 38, Number 4 AbOuT ThE COVER…

Die Musiklehrlinge (The Music Apprentices), a hand-painted wood engraving from a painting by O. Bilz, ca. 1880

INDEX OF ADVERTISERS AMB Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Ann Arbor Clarinet Connection . . . . . . . . . . . . . . . . . 51 Backun Musical Services . . . . . . . . . . . . . . . . . . . . . IBC Behn Mouthpieces International . . . . . . . . . . . . . . . . . 9 Brannen Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . . 34 Bresnahan Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . 58 Buffet Crampon USA, Inc . . . . . . . . . . . . . . . . . . . . IFC California State University, Northridge . . . . . . . . . . . 57 Classical Collection Inc . . . . . . . . . . . . . . . . . . . . . . . 10 Crystal Records . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 George Mason University – School of Music . . . . . . . 8 H . Karlsson Woodwinds . . . . . . . . . . . . . . . . . . . . . . . 10 Illinois State University – School of Music . . . . . . . . 65 Jeanné, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Lisa’s Clarinet Shop . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Lomax Classic Mouthpieces . . . . . . . . . . . . . . . . . . . 29 Luyben Music Co . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 David McClune Mouthpiece Service . . . . . . . . . . . . . 14 Muncy Winds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 MusAid . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Musikverlag Aegler . . . . . . . . . . . . . . . . . . . . . . . . . . 79 Naylor’s Custom Wind Repair . . . . . . . . . . . . . . . . . 102 New York University Steinhardt . . . . . . . . . . . . . . . . 89 Olivieri Reeds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Ongaku Records, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 OR-TAV Music Publications . . . . . . . . . . . . . . . . . . . 13 Sean Osborn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Patricola Brothers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87 Pomarico S .N .C . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 Pyne Clarion Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Quodlibet, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Luis Rossi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Rovner Products . . . . . . . . . . . . . . . . . . . . . . . . . . 15, 20 Rutgers University – Mason Gross School of the Arts . . . . . . . . . . . . . . 69 San Francisco Conservatory of Music . . . . . . . . . . . . 99 Sayre Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Tap Music Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 Taplin-Weir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 University of Memphis . . . . . . . . . . . . . . . . . . . . . . . 76 University of Missouri – School of Music . . . . . . . . . . . . . . . . . . . . . . . . . . 40 University of North Carolina – School of the Arts . . . . . . . . . . . . . . . . . . . . . . . . . 37 Van Cott Information Services . . . . . . . . . . . . . . . . . . 79 Vanderbilt University – Blair School of Music . . . . . . . . . . . . . . . . . . . . . 101 Vandoren SAS . . . . . . . . . . . . . . . . . . . . . . . . . . . 2, 103 Weill Music Institute at Carnegie Hall . . . . . . . . . . . . 17 Wichita Band Instrument Co . . . . . . . . . . . . . . . . . . . . 25 Ralph Williams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 The Woodwind & Brasswind . . . . . . . . . . . . . . . . . . . 53 Woodwindiana, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . 81 Yamaha Corporation of America . . . . . . . . . . . . . . OBC



FEATuRES

September 2011

CLARINETFEST® 2012 by Diane Barger . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

ThE RISE AND FALL OF ThE bASS CLARINET IN A by Keith Bowen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44 pLAYING IN TuNE ON ThE CLARINET by Raphael Sanders . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 SAbRE SYmpOSIum a report by Sarah Watts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

CONCERT REVIEW: REEDpLAY a review by Paul Harvey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 The LiTTLe harLequin by Santiago Martínez Abad . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

IN mEmORY OF GEORGE CROSSmAN – mAKER OF ThE REEDuAL 1931–2011 by Kathryne Pirtle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 STANLEY hASTY (1920–2011) by Elizabeth Gunlogson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66 STANLEY hASTY – hIS LIFE AND TEAChING . . . . . . . . . . . . . . . . . . . . . . . . . . 66

TRIbuTE TO DIETER KLöCKER (1936–2011) by Luigi Magistrelli . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 pRACTICE TEChNIquES: uSING ThE CONTEXTuAL INTERFERENCE EFFECT FOR bETTER pERFORmANCE by Andrew DeBoer . . . . . . . . . . . . . . . . 74

AN ORChESTRAL STAGE: A CuLTuRAL SKETCh FROm ThE LIFE OF ORChESTRAL muSICIANS – pART VII by Simeon Bellison . . . . . . . . 80 ThE 2011 I.C.A. COmpOSITION COmpETITION by Eric P. Mandat with Michael Norsworthy and Gregory Oakes . . . . . . . . . . . . . . . . . 82

DEpARTmENTS

TEAChING CLARINET by Michael Webster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 CLARINOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 AuDIO NOTES by William Nichols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 CONFERENCES & WORKShOpS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 hISTORICALLY SpEAKING… by Deborah Check Reeves . . . . . . . . . . . . . . . . . . . 26 LETTER FROm ThE u.K. by Paul Harris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 ThE pEDAGOGY CORNER by Larry Guy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 CLARINET CAChE by Kellie Lignitz and Rachel Yoder . . . . . . . . . . . . . . . . . . . . . . 36 CLARINET ChOIR by Margaret Thornhill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 COmpETITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 NEWS FROm SOuTh AmERICA by Ricardo Dourado Freire . . . . . . . . . . . . . . . . . 86 NEWS FROm FRANCE by Jean-Marie Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 REVIEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 RECITALS AND CONCERTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 ThE pRESIDENT’S mESSAGE by Keith Koons . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 September 2011

1

International Clarinet Association President: Keith Koons, Department of Music, University of Central Florida, Orlando, FL 32816-1354, 407/823-5116 (office), E-mail: [email protected] Past President: Gary Whitman, School of Music, Texas Christian University, P.O. Box 297500, Ed Landreth Hall, Fort Worth, TX 76129, 817/257-6622 (office), 817/257-7640 (fax), E-mail: [email protected] President Elect: John Cipolla, Western Kentucky University, Department of Music, 1906 College Heights Blvd. #41026, Bowling Green, KY, 42101-1026, 270-745-7093 (office), 270-745-6855 (fax), E-mail: [email protected] Secretary: Maxine Ramey, School of Music, The University of Montana, 32 Campus Drive, Missoula, Montana 59812 USA, 406-243-6880 (office), E-mail: [email protected] Treasurer: Kathy Pope, University of Utah School of Music, 1375 Presidents Circle, Room 204, Salt Lake City, Utah 84112-0030, 801-587-9417 (office), E-mail: [email protected] Executive Director: So Rhee, 500 West Main Street, #513, Oklahoma City, OK 73102, 405/651-6064 (phone), 212/457-6124 (fax), E-mail: [email protected] Editor/Publisher: James Gillespie, 405 Santiago Place, Denton, Texas 76205; tel. 940/382-4393; fax: 940/565-2002; E-mail: [email protected] Editorial Associates: Himie Voxman, 1 Oaknoll Court, Iowa City, IA 52246 Contributing Editor: Joan Porter, 400 West 43rd, Apt. 41L, New York, NY 10036 Editorial Staff: Gregory Barrett (Editor of Reviews), School of Music, Northern Illinois University, DeKalb, IL 60115, 815/753-8004, E-mail: [email protected]; Bruce Creditor, 11 Fisher Road, Sharon, MA 02067, E-mail: [email protected]; Larry Guy, 36 Hudson Avenue, Stony Point, NY 10980, E-mail: [email protected]; Paul Harris, 15 Mallard Drive, Buckingham, Bucks. MK18 1GJ, U.K., E-mail: [email protected]; Thomas W. Jacobsen, 3970 Laurel Street, New Orleans, LA 70115, E-mail: [email protected]; William Nichols (Audio Review Editor), 1033 Fawn Hollow, Bossier City, LA 71111, 318/741-3373, E-mail: [email protected]; Jean-Marie Paul, Vandoren, 56 rue Lepic, F-75018 Paris, France, (33) 1 53 41 83 08 (phone), (33) 1 53 41 83 02 (fax), E-mail: [email protected]; Deborah Check Reeves, Curator of Education, National Music Museum, University of South Dakota, 414 E. Clark St., Vermillion, SD 57069, phone: 605/ 677-5306, fax: 605/677-6995, Museum website: www.usd.edu/smm, Personal website: www.usd.edu/~dreeves; Margaret Thornhill, 806 Superba Avenue, Venice, CA 90291, phone: 310/464-7653, E-mail [email protected], personal website: http://margaretthornhill.com; Michael Webster, Shepherd School of Music, Rice University, P.O. Box 1892, Houston, TX 77251-1892, 713/838-0420 (home), 713/838-0078 (fax), E-mail: [email protected]; Heston L. Wilson, M.D., 1155 Akron Street, San Diego, CA 92106, E-mail: [email protected]; Cynthia Wolverton, 2355 Laconia Court, Crofton, MD 21114, E-mail: [email protected]; Kellie Lignitz and Rachel Yoder, E-mail: [email protected] I.C.A. Research Center: SCPA, Performing Arts Library, University of Maryland, 2511 Clarice Smith Performing Arts Center, College Park, MD 20742-1630 Research Coordinator and Library Liaison: Jane Ellsworth, Eastern Washington University, Department of Music, Cheney, WA 99004, 509/359-7076, E-mail: [email protected] Webmaster: Brian Covington, Covington Design, 661‑263‑1233 (phone), 661‑952‑1900 (fax), www.covingtondesign.com Historian: Alan Stanek, 1352 East Lewis Street, Pocatello, ID 83201-4865, 208/232-1338 (phone), 208/282-4884 (fax), E-mail:[email protected] National Chairpersons: National Chair Coordinator: Eddy Vanoosthuyse, Elzenlaan 29, B-8500 Kortrijk, Belgium, Tel. (mobile) +32477256366; E-mail: [email protected] Argentina: Mariano Frogioni, Bauness 2760 4to. B, CP: 1431, Capital Federal, Argentina Armenia: Alexandr G. Manukyan, Aigestan str. 6 h. 34,Yerevan 375070, Armenia, E-mail: [email protected] Australia: Floyd Williams, Queensland Conservatorium, P. O. Box 3428, Brisbane 4001, Australia; 61/7 3875 6235 (office); 61/7 3374 2392 (home); 61/733740347 (fax); E-mail: [email protected] Austria: Alfred Prinz, 3712 Tamarron Dr., Bloomington, Indiana 47408, U.S.A. 812/334-2226 Belgium: Guido Six, Artanstraat 3, B-8670 Oostduinkerke, Belgium, 32/58 52 33 94 (home), 32 59 70 70 08 (office), Fax 32 58 51 02 94 (home), 32 59 51 82 19 (office), E-mail: [email protected] Brazil: Ricardo Dourado Freire, SQS 402 Bl. H apt. 304, 70.236-080 Brasilia-DF BRAZIL, (5561) 3321 7626 (home), (5561) 8429-0528 (mobile), E-mail: [email protected] Canada, National Chair: Pat Daniels, 348 Oakwood Ave., Winnipeg, MB, Canada R3L 1G1, E-mail: [email protected] Canada, St. Lawrence Region: Lorne Buick, 545 Brookside Rd., Brookside, NS, Canada B3T 1T4, E-mail: [email protected] Canada, Great Lakes Region: Barbara Hankins, 35 Locust St., Kitchener, ON, Canada N2H 1W6, E-mail: [email protected] Canada, Central Region: Margaret Wilson, Box 25A, RR5, Saskatoon, SK, Canada S7K 3J8, E-mail: [email protected] Canada, Pacific Region: Patricia Kostek, 3020 Foul Bay Rd., Victoria, BC, Canada V8R 5E3, E-mail: [email protected] Chile: Luis Rossi, Coquimbo 1033 #1, Santiago centro, Chile, (phone/fax) 562/222-0162, E-mail: [email protected] Columbia: Javier Asdrúbal Vinasco, Departmento de Música – Universidad EAFIT, Carrera 49 Nº 7 Sur – 50, Medellín – Colombia, (phone) (57-4) 261 95 00 ext. 9432, E-mail: [email protected] Costa Rica: Laura Jiménez Tassara, P.O. Box 1056-2070 San José, Costa Rica, (506) 8316-0587, E-mail: [email protected], PROCLARI [email protected] Czech Republic: Stepán Koutník, K haji 375/15 165 00 Praha 6, Czech Republic, E-mail: [email protected] Denmark: Jørn Nielsen, Kirkevaenget 10, DK-2500 Valby, Denmark, 45-36 16 69 61 (phone), E-mail: [email protected] Finland: Juhani Valtasalmi, Kotiportinkatu 1 B 4, 13500 Hämeenlinna, Finland, E-mail: [email protected] France: Guy Deplus, 37 Square St. Charles, Paris, France 75012, 33 (0) 143406540 (phone), E-mail: [email protected] Germany: Prof. Johannes M. Gmeinder, Hochschule für Musik Saar, Fichardstr. 38a, D-60322 Frankfurt/Main, Germany; Tel: +49 69 15055911; E-mail: [email protected] Great Britain: David Campbell, 83, Woodwarde Road, London SE22 8UL, England, 44 (0)20 8693 5696 (phone/fax), E-mail: [email protected] Greece: Paula Smith Diamandis, S. Petroula 5, Thermi 57001, Thessaloniki, Greece, E-mail: [email protected] Hong Kong: Maria Wong, Bonham Ville, 5 Bonham Road, mid Level, Hong Kong, 852-9365-2928 (phone), E-mail: [email protected] Hungary: József Balogh, Hold utca 23, Fszt. 6, 1054 Budapest, Hungary, 361 388 6689 (phone), E-mail: [email protected], [email protected] Iceland: Kjartan ‘Oskarsson, Tungata 47, IS-101, Reykjavik, Iceland, 354 552 9612 (phone), E-mail: [email protected] India: Dr. Pandit Narasimhalu Vadavati, Dr. Pandit Narasimhalu Vadavati Music Academy, # 4, IInd Cross, 7th main, Srirampura, Bangalore – 560 021, Mobile: +91 9448023891, E-mail: [email protected] Ireland: Paul Roe, 227, Grace Park Heights, Drumcondra, Dublin 9. Ireland, 00 353 87 2393173 (phone), E-mail: [email protected]; www.paulroe.org Israel: Eva Wasserman-Margolis, Weizman 6, Apt. 3, Givatayim, Israel 53236, E-mail: [email protected] Italy: Luigi Magistrelli, Via Buonarroti 6, 20010 S. Stefano Ticino (Mi), Italy, 39/(0) 2 97 27 01 45 (phone/fax), E-mail: [email protected] Japan: Masaharu Yamamoto, 3F Yak Bldg 4-6-13 Yayoicho Nakanoku, Tokyo, 164-0013, Japan, 81 3 6382 7871 (phone), 81 3 6382 7872 (fax) website: http://eng.jp-clarinet.org/, E-mail: [email protected] and [email protected] Korea: Im Soo Lee, Hanshin 2nd Apt., 108-302, Chamwondong Suhchoku, Seoul, Korea. (02) 533-6952 (phone), E-mail: [email protected] Luxembourg: Marcel Lallemang, 11 Rue Michelshof, L-6251 Scheidgen, Luxembourg, E-mail: [email protected] Mexico: Luis Humberto Ramos, Calz. Guadalupe I. Ramire No. 505-401 Col. San Bernadino, Xochimilco, Mexico D.F., 16030. 6768709 (fax), E-mail: [email protected] Netherlands: Nancy Wierdsma-Braithwaite, Arie van de Heuvelstraat 10, 3981 CV, Bunnik, Netherlands, E-mail: [email protected] New Zealand: Andrew Uren, 26 Appleyard Crescent, Meadowbank, Auckland 5, New Zealand, 64 9 521 2663 (phone and fax). Norway: Håkon Stødle, Fogd Dreyersgt. 21, 9008 Tromsø, Norway 47/77 68 63 76 (home phone), 47/77 66 05 51 (phone, Tromsø College), 47/77 61 88 99 (fax, Tromsø College), E-mail: [email protected]



People’s Republic of China: Yi He, China Conservatory of Music, Chao yang District, Anxiang Road, Jia #1, Eastern gate, Apt.403 Beijing, People’s Republic of China 100101, 86-10-8813-9893 (home), 86-13021158839 (cell), E-mail: [email protected] Peru: Marco Antonio Mazzini, Calle Santa Fé 219, Lima 33, Peru, E-mail: [email protected]; 51 199 159 9904 (phone) Poland: Krzysztof Klima, os. Wysokie 10/28, 31-819 Krakow, Poland. 48 12 648 08 82 (phone), 48 12 648 08 82 (fax), E-mail: [email protected] Portugal: António Saiote, Rua 66, N. 125, 2 Dto., 4500 Espinho, Portugal, 351-2-731 0389 (phone), E-mail: [email protected] Puerto Rico/Carribean: Kathleen Jones, Torrimar, Calle Toledo 14-1, Guaynabo, PR 00966-3105, Phone 787/782-4963, E-mail: [email protected] Serbia: Andrija Blagojević, University of Pristina-Kosovska Mitrovica, Faculty of Arts, Kralja Petra Prvog 117, 38227 Zvečan, Serbia, www.fakultetumetnosti-zvecan.edu.rs, 028/425-286 (office), 028/425-287 (fax), 063/8565-688 (cell), E-mail: [email protected] Slovenia: Joze Kotar, Tesarska 10, 1000 Ljublana, Slovenia, +386 41 675 438 (phone), E-mail: [email protected] South Africa: Edouard L. Miasnikov, P.O. Box 249, Auckland Park, 2006, Johannesburg, South Africa, (011) 476-6652 (phone/fax) Spain: Carlos Jesús Casadó Tarín, Calle Bausá, 8-10, Ptal.1-2°G Madrid 28033, Spain, (00 34) 690694557 (phone), E-mail: [email protected] Sweden: Stefan Harg, Tyska Brinken 19, 111 27 Stockholm Sweden, 0046(0)8 733 25 53 (phone), 0046(0)708 654 235 (cell), E-mail: [email protected] Switzerland: Matthias Müller, Zurich University of the Arts, Schulhausstrasse 9, CH-8127 Forch/Zürich, Switzerland, +41 44 980 48 05 (phone), E-mail: [email protected] Taiwan: Chien-Ming, 3F, 33, Lane 120, Hsin-Min Street, Tamsui, Taipei, Taiwan 25103 Thailand: Peter Goldberg, 105/7 Soi Suparat, Paholyotin 14, Phyathai, Bangkok 10400 Thailand, 662/616-8332 (phone) or 662/271-4256 (fax), E-mail: [email protected] Uruguay: Horst G. Prentki, José Martí 3292 / 701, Montevideo, Uruguay 11300, 00598-2-709 32 01 (phone) Venezuela: Victor Salamanques, Calle Bonpland, Res. Los Arboles, Torrec Apt. C-14D, Colinas de Bello Yonte Caracas 1050, Venezuela, E-mail: [email protected]

Honorary Members

Betty Brockett (1936–2003) Clark Brody, Evanston, Illinois Jack Brymer (1915–2003) Larry Combs, Evanston, Illinois Buddy DeFranco, Panama City Beach, Florida Guy Deplus, Paris, France Stanley Drucker, New York, New York F. Gerard Errante, Las Vegas, Nevada David Etheridge (1942–2010) Lee Gibson, Denton, Texas James Gillespie, Denton, Texas Paul Harvey, Twickenham, Middlesex, U.K. Stanley Hasty, Rochester, New York Ramon Kireilis, Denver, Colorado Béla Kovács, Budapest, Hungary Jacques Lancelot (1920–2009) Karl Leister, Berlin, Germany

Mitchell Lurie (1922–2008) John McCaw, London, England John Mohler, Chelsea, Michigan Fred Ormand, Lawrence, Kansas Bernard Portnoy (1915–2006) Alfred Prinz, Bloomington, Indiana Harry Rubin, York, Pennsylvania James Sauers (1921–1988) James H. Schoepflin, Spokane, Washington William O. Smith, Seattle, Washington Ralph Strouf (1926–2002) Elsa Ludewig-Verdehr, East Lansing, Michigan Himie Voxman, Iowa City, Iowa George Waln (1904–1999) David Weber (1914–2006) Pamela Weston (1921–2009)

Commercial Advertising / General Advertising Rates

Rates & Specifications

The Clarinet is published four times a year and contains at least 48 pages printed offset on 70 lb. gloss stock. Trim size is approximately 8 1/2” x 11”. All pages are printed with black ink, with 4,000 to 4,500 copies printed per issue.

Deadlines for Articles, Announcements, Recital Programs, Advertisements, etc.

Sept. 1 for Dec. issue • Dec. 1 for Mar. issue • Mar. 1 for June issue • June 1 for Sept. issue

—Advertising Rates —

Size Picas Inches Single Issue (B/W) Color** Outside Cover* 46x60 7-5/8x10 N/A $1,100 with bleed 53x68 8-3/4x11-1/4 Inside Front Cover* 46x60 7-5/8x10 N/A $ 950 with bleed 53x68 8-3/4x11-1/4 Inside Back Cover* 46x60 7-5/8x10 N/A $ 900 with bleed 53x68 8-3/4x11-1/4 Full Page 46x60 7-5/8x10 $460 $ 760 with bleed 53x68 8-3/4x11-1/4 2/3 Vertical 30x60 5x10 $350 $ 605 46x29 7-5/8x4-3/4 $265 $ 520 1/2 Horizontal 1/3 Vertical 14x60 2-3/8x10 $220 $ 365 1/3 Square 30x29 5x4-3/4 $220 $ 365 1/6 Horizontal 30x13-1/2 5x2-3/8 $130 $ 255 1/6 Vertical 14x29 2-3/8x4-3/4 $130 $ 255   *First request honored. **A high-quality color proof, which demonstrates approved color, must accompany all color submissions. If not provided, a color proof will be created at additional cost to advertiser. NOTE: Line screen values for the magazine are 150 for black & white ads and 175 for color. If the poor quality of any ad submitted requires that it be re-typeset, additional charges may be incurred. All new ads must be submitted in an electronic format. For more information concerning this procedure, contact Executive Director So Rhee.

The International Clarinet Association Membership Fees

Student: $25 (U.S. dollars)/one year; $45 (U.S. dollars)/two years Regular: $50 (U.S. dollars)/one year; $95 (U.S. dollars)/two years Institutional: $50 (U.S. dollars)/one year; $95 (U.S. dollars)/two years Payment must be made by check, money order, Visa, MasterCard, American Express, or Discover. Make checks payable to the International Clarinet Association in U.S. dollars. Please use International Money Order or check drawn on U.S. bank only. Join online or send payment to: The International Clarinet Association, c/o Memberships, P.O. Box 237, Longmont, CO 80502 USA, 212-457-6124 (fax). © Copyright 2011, INTERNATIONAL CLARINET Association ISSN 0361-5553 All Rights Reserved Published quarterly by the INTERNATIONAL CLARINET association Designed by Karry Thomas Graphic Design

Views expressed by the writers and reviewers in The Clarinet are not necessarily those of the staff of the journal or of the International Clarinet Association

September 2011

3

Factory Selected Buffet Clarinets / Taplin-Weir Barrels & Bells

Analyze -Verify - Understand The new Taplin-Weir Bore Gauge allows easy and accurate bore measurement of clarinet mouthpiece, barrel, and body dimensions. Made in Toronto Canada, this gauge gives players and teachers access to knowledge they can rely on throughout their careers. The set includes an additional caliper to check barrel lengths and tenon diameters. Available direct from Taplin-Weir Inc. 1434A 2nd Floor, Danforth Ave. Toronto, Ontario, Canada M4J 1N4 (647) 351-9191 or (647) 351-8181 [email protected]

www.taplinweir.com

The NEW

o ution o the

rinet

om ete y ter roo irm st b e i ht tou h • tim te ir•ti ht se nh n e ton o or •rin out the best in your instrument ith•

• smith o om entino s om • -€‚ - ƒ„

h s e to the

entino

sters eries

I.C.A. Honorary Membership Nomination Procedure In accordance with the International Clarinet Association By-Laws (Article V, Section 6), a special category of Honorary Membership has been created for persons of “unusual distinction.” The International Clarinet Association Board of Directors invites the general membership to nominate individuals for Honorary Memberships from the areas of professional service, teaching, performance, and/or lifetime achievements. Nominators should include a brief biographical sketch of the candidate along with further information as specified below. There is a limit of one nomination per person. Nominations must be postmarked no later than December 15, 2011, and sent to: Dr. Maxine Ramey, Secretary, International Clarinet Association Professor of Music School of Music The University of Montana 32 Campus Drive Missoula, Montana 59812 USA E-mail: [email protected] Nominations for Honorary Memberships should include the following information: nominee’s name, address, phone and e-mail address biographical sketch of nominee supportive documentation of the nominee’s qualifications nominator’s name, address, phone and e-mail address

Jonathan Cohler

“an absolute master of the clarinet” —The Clarinet Ongaku 024-119 Ilya Kaler, violin • Andrew Mark, cello • Janice Weber, piano

messiaen Quartet for the End of Time • Theme and Variations (violin & piano)

“absolutely incredible” —Rebecca Rischin Author of “For the End of Time”

JONATHAN COHLER

The Clarinet Alone

the Clarinet alone Ongaku 024-105

martinO A Set for Clarinet • messiaen Abîme des oiseaux; OsBOrne Rhapsody • Paganini Moto Perpetuo • Persichetti Parable for Solo Clarinet • smith 5 Pieces for Clarinet Alone • kOch Monolog 3 • Wellesz Suite for Clarinet Solo

Jonathan Cohler & ClareMont trio

Ongaku 024-122 James Sommerville, horn • Mai Motobuchi, viola Brahms Trio, Op. 114 • Beeth eethOven Trio, Op. 11 • dOhnányi hnányi Sextet

“...among the loveliest clarinet sounds I’ve ever heard...a transcendent technique...This is required listening for anyone interested in the clarinet!” —Fanfare Moonflowers, BaBy!

Ongaku 024-101 Judith Gordon, piano

crystal recOrds cd cd733 733 Judith Gordon, piano

Brahms Sonata in F Minor • WeBer Grand Duo Concertant • Bärmann Adagio • sargOn Deep Ellum Nights

hindemith Sonata • hOnegger Sonatina • Francaix Theme and Variations • vaughan Williams Six Studies in English Folksong • milhaud Duo Concertant • Caprice • BOzza Pulcinella • kuPFerman Moonflowers, Baby!

rhapsodie française Ongaku 024-121 Rasa Vitkauskaite, piano

saint-saëns Sonata • messager Solo de Concours • WidOr Introduction et Rondo • chaussOn Andante et Allegro • raBaud Solo de Concours • deBussy Première Rhapsodie • BOzza Bucolique • cahuzac Cantilène

COHLER COH CO LER no

BRAHMS Sonata in Eb Major •

POULENC



September 2011

Sonata •

SCHUMANN Fantasy Pieces •

MILHAUD Sonatina •

STRAVINSKY Three Pieces

CLAR CLARINET

Cohler on Clarinet

“I know of no finer recording of the Beethoven, and this one stands with the best classic versions of the Brahms.” —Fanfare

or e

Quartet for the end of tiMe

www.ongaku-records.com New Releases

m

• • • •

More Cohler on Clarinet Ongaku 024-102 Randall Hodgkinson, piano

Brahms Sonata in E-flat Major • POulenc Sonata • schumann Fantasy Pieces • milhaud Sonatine • stravinsky Three Pieces

5

Gee, Whiz! Fifty-fourth in a series of articles using excerpts from a teaching method in progress by the Professor of Music at Rice University’s Shepherd School of Music

G

ee, whiz, time flies! The last time we discussed extending the range of an intermediate clarinetist was in September 2004! Since then, we’ve taken some fascinating and article-consuming journeys into scales and arpeggios, tuning, breathing, and miscellaneous skills such as trills, practicing methods, yoga, articulation, swing and early music . But the journey up the range of the instrument stopped at E3 (third ledger line above the staff) . After seven years, it’s about time we went higher! E3 is a very good first goal when approaching the high (altissimo) register . From C-sharp3 to E3 are notes that speak fairly easily and offer minimal difficulty with intonation . It bears repeating that learning the correct fingerings from the very beginning is important, namely Csharp without the added right pinky E-flat key, then D, D-sharp (E-flat), and E with the pinky E-flat . (All fingering mentioned include the thumb hole covered and the register key open .) Use the forked fingering for D-sharp immediately, because the middle finger D-sharp is so flat . The contrary motion of C-sharp without the pinky E-flat key, D, forked D-sharp and E with the pinky E-flat key is awkward, but with plenty of slow practice those fingerings will “lock in .” Never say never, unless referring to playing C-sharp with the pinky E-flat key down! The result is almost a quarter step sharp . Occasionally, speed will not allow the contrary motion deEx 1:

&c &c &c 6

#œ œ œ œ œ œ œ œ œ #œ #œ œ

.. .. ..

#w w w

by Michael Webster

Michael Webster scribed above . If so, it is better not to use the E-flat key at all, rather than to leave it down for C-sharp .

Example 1

c c c

œ #œ œ œ œ œ bœ œ œ bœ bœ œ

..

.. ..

w w w

The Clarinet

3 4 3 4 3 4

It is wise to spend at least a couple of months with E as the top note so that the embouchure can strengthen and become accustomed to the increased resistance of the high register . Example 1 shows a few note combinations with E as the highest note . These should be mastered before going higher . In all of the examples, the right pinky is up for C-sharp down for D and above . It is important that the reed offer enough resistance in this range . Playing on a reed that is too weak is actually more difficult, and I’d recommend that under most circumstances the student use a 3½ strength at least . Extending the range up to F, F-sharp and G offers significant new challenges in embouchure and voicing . Remember that for all of the notes between C-sharp and F-sharp the open hole of the left index finger is acting as a second register key . The standard register key, manipulated by the left thumb, produces the third partial, a 12th above the fundamental (first partial) tone of the low (chalumeau) register . This is unlike all other wind instruments, which overblow to the second partial, an octave higher than the fundamental tone . In previous articles, we have discussed how the ideal placement and size of a register key should actually be different for each note–lower and larger for lower notes with a long column of air in the instrument, higher and smaller for higher notes with a short air column . The index hole is actually too large to be a perfect register key for any of these notes, but this deficiency gets worse and worse as we M.move Webster chromatically up from C-sharp to F-sharp . Not only is it too large for F and F-sharp, it is also too low on the instrument . This is why these two notes are so unstable .

œ #œ œ œ œ #œ #œ œ #œ œ bœ œ œ #œ #œ

œ #œ #œ

.. .. ..

˙. #˙. ˙.

M. Webster

Ex 2:

&c 3 &4 &c &c &c

œ œ œ œ

Example 2

w

..

œ #œ œ œ œ bœ bœ œ œ œ

..

œ œ #œ œ

..

#œ #œ œ œ

c

˙.

..

c

bw

c

..

&c 3 &4

œ #œ œ œ œ œ #œ

..

w

œ #œ œ œ

#w

3 4

..

..

#œ œ œ œ œ œ

3 4

#œ œ #œ œ œ œ bœ œ w

..

w

c

..

˙.

c

c

œ #œ œ œ

#œ œ œ #œ

September 2011 2011

œœœœ œ bœ œ œ œ #œ œ œ

#œ œ œ

#œ œ œ

Example 3

#w c

clarinetist is to play F and F-sharp softly without grunting or squeaking . D, D-sharp and E can all be stabilized by adding half hole with the left index finger . But F and especially F-sharp are, by nature, flat in pitch, and adding half hole just makes them all the flatter . There are alternate fingerings to address this issue, but for now, have the student finger F and F-sharp normally, lifting the left ring finger and pinky to achieve F-sharp . This note will be flat, but the pitch discrepancy can be minimized with good solid embouchure and a high tongue . Example 2 shows some finger exercises for F and F-sharp . C-sharp/ F-sharp is particularly difficult because the C-sharp is sharp, the F-sharp is flat, and the right pinky must go down and up . I recommend that the student stay in the fifth partial for the first attempt at G,

œ #œ œ œ nw .. c

œ #œ œ

w

..

œ œ bœ œ

w

If E has been mastered, then playing F by opening the left pinky C-sharp/G-sharp key is usually not problematic . The pitch is a little bit flatter than the E, but that can be mostly compensated for with a high tongue and firm embouchure . If the student produces significant grunt (first partial attempting to assert itself because the register hole is too big), check to be sure that the reed is strong enough and instruct him/her to play a bit louder . It may also be necessary to move the lower lip a tiny bit lower on the reed . Emphasize that the embouchure must be firm, supplying muscular pressure from every direction . By playing at least mezzo forte, the student eliminates grunt and gains confidence to play gradually more softly over a period of weeks and months . One of the biggest challenges for any Ex 3:

œ œ œ œ

..

.. ..

..

#˙.

.. ..

w w w

#˙.

fingering it with the LH index finger and RH pinky E-flat key . This fingering blends well in pitch and quality with middle finger F-sharp, and is “pre-voiced” by staying in the fifth partial . After the student becomes somewhat fluent with those fingerings and is able to play them nearly in tune, the RH fork key can be added to F-sharp and G in order to raise the pitch . The reason it is better not to introduce these fingerings right away is that some passages require the simple fingerings and it is necessary to be able to play them in tune . Adding the fork is also somewhat awkward . One must adopt a special position to use the forked fingering in this context beM.When Webster cause the right hand rings are up . using the forked fingering for third partial F-sharp in a chromatic passage, the rings are down and the fork key can be touched

w

#œ#œ œ œ #w .. c

œ #œ œ œ

..

#w

7

M. Webster

#œ #œ œ œ #w .. &c

Ex 4:

directly in the center . For F-sharp and G, however, the fork key must be fingered near the rod so that the rings can stay up . Mistakenly hitting the ring will prevent it from lifting all the way, thus lowering the pitch and defeating the purpose . But adding the fork is not “cheating!” F-sharp with the added RH fork is the fingering most professionals use most often because it has good tone quality and can be played in tune with far less effort than the fingering without the fork . The exercises of Example 3 should be played first without the right-hand fork, and later adding the fork on F-sharp and G to improve the intonation . Then the fork can be added on all of the F-sharps and G-flats in Example 2 . Finally, Example 4 shows two special cases . When approaching F-sharp from Dsharp, finger the forked D-sharp near the rod to prepare for the F-sharp . When trill-

Example 4

#œ#œ#œ œ #w .. c

c

#œ œ#œ œ

ing from F-sharp to G, add the fork and wiggle the first side key . The resulting G is a tad flatter than first finger G, but quite acceptable . When finishing the trill with grace notes, land on first finger G rather than the side key . When played loudly, such as at the end of the first movement of Weber’s Concerto No. 1 in F Minor, this fingering is brilliant, in tune, and worthy of the comment, “Gee whiz!” In the next issue, we’ll investigate alternate fingerings for F, F-sharp, and G .

Webster’s Web Your feedback and input to these articles are valuable to our readership . Please send comments and questions to Webster’s Web at mwebster@rice .edu or Michael Webster, Shepherd School of Music, MS532, P .O . Box 1892, Houston TX 77251-

Make Your Musical Mark @ Mason Learn from renowned woodwind faculty Sharon J. Bonneau | formerly of U.S. Air Force Concert Band Lora R. Ferguson | Kennedy Center Opera House Orchestra Dr. Rochelle Oedemann | formerly of U.S. Air Force Concert Band

Outstanding performance opportunities Comprehensive graduate & undergraduate programs Scholarships available Dynamic location near our nation’s capital

GeOrGe MaSOn UniverSity | SChOOL Of MUSiC 4400 University Drive, Fairfax, VA 22030

703-993-1380 | music.gmu.edu 8

The Clarinet

..

w

c

Ÿ~~ #w œ œ w

1892; fax 713-348-5317; website www . ruf .rice .edu/~mwebster . In response to “No Visible Means of Support,” I received a clarification of the workings of the diaphragm from Dr . Thomas Ashby . He is referring to these statements: 1) Michel Debost: The diaphragm is a reflex muscle . It does not respond to will power, try as we may… . Since there is no sensory perception of the movements of the diaphragm at any time, there is no way that we can control them . Only when studying medicine…did I understand that the playing concept of diaphragmatic technique was scientifically incorrect… .Involuntary, the movements of the diaphragm are conditioned, freed, or hindered by all the muscles, lower or upper, surrounding it . 2) Shirlee Emmons: The descent and ascent of the diaphragm are not directly controllable. The diaphragm is passive during singing . 3) myself: The diaphragm separates the thoracic cavity from the abdominal cavity . Like the heart, it is an involuntary muscle, working 24/7 without a thought . Dr . Ashby’s letter: I just received the June edition of The Clarinet, and as is my custom, the first article I turned to was your teaching method . I am a retired physician, a very active amateur musician, with clarinet being my primary instrument in recent years . I was especially interested in the topic of this article – the very complex subject of breathing . In the third column of the first page, you made the comment that the diaphragm was entirely an involuntary muscle, with no external control . I’m afraid to say that this is incorrect . The thoracic diaphragm is entirely skeletal muscle, the innervation of each hemi-diaphragm being the left or right phrenic nerve, which originates from the third to fifth levels of the cervical spinal cord .

Behn Mouthpieces International Pioneers in rubber acoustics, and mouthpiece design.

Built from the ground-up, every angle, and every detail has a purpose. We started with Behn Proprietary Rod Rubber; material well known for its superior resonance characteristics. But we didn’t just settle there. We explored each and every possible detail, from the shape of the baffle, to the voicing of the bore to find the perfect blend of resonance, response, and exquisite tonal beauty. • Internal surface texture made to augment airflow • Wider cork for longer lasting wiggle-free fit • Long lay for added sonority and comfort • Body contour for better ligature fit • Thin rails for quick response • Long bore for deep sound • Rollover upper baffle for a sweet sound, quick response, and better tonal “grip” that helps create a “bite-free” playing experience that requires less embouchure pressure • Deeper tenon slot utilizes thicker cork, reducing cellular damage, allowing for a longer useful life • Table concavity for better reed performance, depth of sound, and clarity of sound • Narrow throat for tonal concentration, and density of sound • S-curve baffle shape for sonority that mixes depth, warmth, and effervescence • Efficient facing curve for responsive, reliable, and comfortable playing experience • Multifaceted Henri Chedeville bore design for body, and sonority • Narrower exit bore and less conically shaped bore for better tuning ratios • Beak angle made to fit with comfort and invite proper amount of mouthpiece insertion • Facing angle geometry designed to make clarinet more comfortable in relation to player’s body

Imagination, science, and artistry unite for a better playing experience. BMI • 500 West Main St., #513, Oklahoma City, OK 73102 • 405-651-6063 • www.clarinetmouthpiece.com

AW-Reeds GbR Made in Germany

North American Distributor:

http://www.hkarlssonwoodwinds.com

Also available:

The seemingly spontaneous breathing that occurs when we are asleep or at rest is actually being controlled by the respiratory centers in the brain stem, which are sensing oxygen and CO2 levels in the blood and sending down signals to the phrenic nerve cells in the cervical spinal cord . Otherwise, we are in full control of diaphragmatic function, from being able to stop our breathing entirely for a short period to taking a massive breath before a prolonged clarinet passage . Well-known diseases that illustrate how this can go wrong would include poliomyelitis, in which the phrenic nerve cells in the spinal cord are damaged or destroyed, or the post-viral Guillian-Barre syndrome, in which nerve damage can be bad enough to require ventilatory assistance but fortunately may improve or return to normal in time . One other all too common disease is emphysema (chronic obstructive pulmonary disease) in which the lungs become over-expanded because of expiratory obstruction that prevents air from leaving the lung fully (smoking being, by far, the most common reason for this) . The dilated lungs literally push the diaphragm down and prevent the passive return of the dome shape that occurs with quiet expiration . Such a patient must increasingly rely on the accessory muscles, the sternocleidomastoids, intercostals and abdominal muscles, just to stay alive . The wonderful creation that is our brain runs all of this without our having to think about the details every moment, but we do have to de-

velop the proper habits over a long time in order to play our beloved instrument well . Sorry that this letter is so much longer than I intended it to be, but it is a very complicated subject . – Thomas M . Ashby, M .D . I also heard from Larry Guy, whose column I enjoy reading in each issue of The Clarinet. He writes: The detail with which you describe a natural but very complex interaction of muscles is just the sort of information we all need, a sort of overview, so that when playing we can distill it into a few key muscle directives . I think it has to stay pretty simple, but that comes from knowing the details of what happens when all is working well . I also agree that we must go to the singers for inspiration and instruction, since they’ve had such a history of studying the use of the air . If you haven’t already read Renee Fleming’s book, The Inner Voice, you might enjoy it . She goes into quite a lot of detail about support, and covers much of the ground you do, but uses some different descriptions and terms . I’ll be recommending her book in an upcoming article for The Clarinet, and perhaps quoting it here and there . She made a study of the old Bell Telephone Hour appearances of great singers, and learned a lot by watching them sing – their posture, expansion, “softness in the neck”, etc . The comments from both Dr . Ashby and Larry underscore the complexity of the subject of breathing . It is worthy of continued study and investigation .

C LA R I N E T SO LOS

with FULL ORCHESTRAL ACCOMPANIMENT change the tempo, record yourself with the accompaniment Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini for more information, please visit our web site

Classic alColle ction In c .Co m 10

The Clarinet

The finalists (l–r): Jyunichi Shirafuji (suit with tie), Satoshi Minami, Katsuhiro Oguri, Sue Hyun Pak and Hiroshi Arakawa

Japan Clarinet Association hosts Composition Competition A Report by Akari Yamamoto

T

he Japan Clarinet Association marked its 30th anniversary by hosting a competition at the Parthenon Tama Hall . Sponsored by the Japan Clarinet Association and the Tama City Cultural Foundation, the association called upon composers hoping to discover new works that could further enrich the repertoire of future clarinetists . The competition was held in two rounds and the pieces were judged both by the quality of the composition and the quality of the performance of the work . Twenty-four works were sub-

mitted and performed which included solo pieces, sonatas, larger chamber works, and concertos . Five compositions (two solo pieces and three sonatas) were selected to be advanced after the preliminary round . The final round was held on April 3, 2011 and was open to the public . Each of the five compositions offered new possibilities for the clarinet and showcased the beauty of the instrument as well as the composition for all who came to watch . After the performances, the jury, consisting of Shinichiro Ikebe , Kitazume Michio, Ichiro Nodaira, Shuhei Isobe, Katsumi Nakamura, Hidemi Mikai and Seiji Yokokawa, had an open discussion on the final award selection . After a heated one-hour long debate, the results were as follows:

The judges (l–r): Shinichiro Ikebe (folding his arm), Kitazume Michio, Ichiro Nodaira, Shuhei Isobe, Katsumi Nakamura, Hidemi Mikai and Seiji Yokokawa 12

The Clarinet

1st place: Satoshi Minami; 350,000Yen; Eleven Faces for Clarinet in B-flat and Piano; Clarinet: Timothy Carter 1st place: Jyunichi Shirafuji; 350,000Yen; Love of Fool for Clarinet and Piano; Clarinet: Chikako Kondo 3rd place: Hiroshi Arakawa; 100,000Yen; Sonate ”La colline de Montmartre“ for clarinette and piano; Clarinet: Kenji Matsumoto 3rd place: Sue Hyun Pak; 100,000Yen; Y’s portrait (Clarinet Solo); Clarinet: Ayako Harada 3rd place: Katsuhiro Oguri; 100,000Yen; Improvisation (Clarinet Solo); Clarinet: Naoko Kotaniguchi The two first-place winners, Mr. Satoshi Minami and Mr. Jyunichi Shirafuji, will be commissioned to write a solo clarinet piece for the 2012 JCA clarinet competition.

John philip Sousa Foundation Announces Young Artist Competition Winner

T

he John Philip Sousa Foundation has announced that Ryan Pereira, a junior clarinetist from Pocono Mountain East High School in Swiftwater, PA, has been selected as the winner of the John Philip Sousa Foundation Young Artist Clarinet Competition . In addition to a $500 prize, Ryan will also be featured as a guest soloist with the George Mason University Symphony Orchestra in Fairfax, Virginia in October 2011 . Pereira performed the second movement of the Weber Concerto No. 2. Pereira, who is a student of Sanford Kravette and is a full-time member of his high school band, has been selected to Pennsylvania Music Educators Association District, Regional and All-State Bands, performs with the Young People’s Philharmonic and the Lehigh Valley Performing Arts High School Orchestra and was a finalist in the Voorhees Concerto Competition . His repertoire includes a long list of standard solos and etudes, including the Mozart and Weber concertos, both Brahms sonatas, the Hindemith and

Poulenc sonatas, the Messager Solo de concours and many other standards . The Young Artist Competition was in its first year and attracted high school clarinetists from Florida, Georgia, Virginia, New York, Pennsylvania, Connecticut, New Mexico, Alabama and Minnesota . Students were required to select repertoire from a required list of compositions and to submit a videotape of their performance which was adjudicated by a panel which included Doug Graham (University of South Carolina), Joseph Hermann (Tennessee Tech University), Edward Lisk (Oswego, NY), Bruce Dinkins (Daniel Boone HS in Austin, TX) and John Casagrande (George Mason University) . Casagrande served as the chairman of the committee . Further information about this year’s Clarinet Competition, as well as other instruments, can be found at Sousa Foundation .org . For further Information contact John E . Casagrande at jcasagra@gmu .edu or 703743-2023 .

Dr . Michael Stewart (UT Bands) both worked many hours with the former’s advance planning, logistics and artistic guidance, and the latter with his fine rehearsals and conducting . Recognition is due also to Angelique Postic, graduate assistant at UT, for her stylistic solos in various pieces . The venues included schools, fairs, bazaars, and on live television in Chengdu . Several first-rate ensembles and perform-

ers played for us, most impressively several students from Chengdu No . 7 High School, who played excerpts from the Spohr Concerti 1 & 2 and the Françaix Concerto, a cappella and from memory . Audiences were very receptive and appreciative, as was everybody we met in China . The tour was wonderful culturally and musically and a once-in-a-lifetime opportunity .

university of Tennessee Clarinet Choir in China A Report by John Snyder

T

he University of Tennessee Clarinet Choir toured March 11–20 in and around Beijing, Xi’an and Chengdu . The repertory included Mozart, Rondo, K . 361; Stalpers, Clownery; Finale from the Tchaikovsky Violin Concerto (Gary Sperl, soloist); Overture to William Tell; Porgy & Bess; Chinese folk songs; New York/New York; and Stars & Stripes. Gary Sperl (professor of clarinet) and

September 2011

13

by William Nichols

C

ontinuing a steady stream of interesting bass clarinet solo and chamber music recordings, I have received a CD from clarinetist Ingólfur Vilhjálmsson entitled Dualism. Duo Dualism consists of Vilhjálmsson, bass clarinet, and marimbist/percussionist Tobias Guttmann. The disc presents five works by Icelandic composers and one Finnish piece (Karkija). With the exception of a 1991 work by Ingólfsson, these 21st-century pieces were written for Duo Dualism. The bass clarinet/marimba works are: Bois Chantant by Áskelli Másson; Brainstorm in a Glass of Water by Gunnar A. Kristinsson; Karkija by Antti Auvinen; and Opna by Atli Ingólfsson. Additionally there is Áki Ásgeirsson’s 337º for bass clarinet, percussion and interactive computer-generated sounds, and Kolbeinn Einarsson’s The Indigenous Spirit for bass clarinet and percussion. Vilhjálmsson is an Icelandic-born clarinetist who resides in Berlin, and who received training in Amsterdam. Bass clarinet teachers include Harry Sparnaay and Eric van Deuren. He is a member of Adapter Ensemble (of Berlin), and in addition to Duo Dualism, he has established another ensemble, Duo Plus, with accordionist Andrea Kiefer.

Percussionist Tobias Guttmann was born in Austria and studied in Salzburg and Amsterdam. He is an active performer of new music and has also played with traditional symphonic ensembles such as the Netherlands Philharmonic Orchestra and the Orchestra of the Eighteenth Century. Guttmann and Vilhjálmsson met in Amsterdam in 2004 and have established an impressive and virtuosic ensemble. The recording at hand is (I believe) their first. Given interesting music and highly competent performers, which are ingredients we have here, the unusual pairing of bass clarinet and marimba is quite an effective medium. The music programmed on this release could be generally regarded by many listeners as avant-garde. Each of the works has some engaging concepts to offer the tuned-in listener, and presents interpretive and technical challenges for the performers. Extended techniques such as multiphonics, slap tonguing, key clicks, growls, etc. are demanded of the clarinetist in several of these compositions, and are convincingly executed by Vilhjálmsson. Repeated hearings yield greater rewards with each of the pieces, although Másson’s dramatic Bois Chantant, with its exciting rhythmic content, striking unison passages, and tight ensemble playing has immediate appeal. Also very effective from initial contact is Ingólfson’s Opna.

There is some captivating writing here and use of abrupt dynamic changes. Vilhjámsson’s pianissimo playing throughout all registers of the instrument beautifully realizes this music. Another notable work which bears mention is by Áki Ásgeirsson. Program notes state that “ 337º is a piece from another planet.” – the global media has inexplicably overlooked the story of the millennium! The notes also offer an explanation of the title: “The title is actually an opus number, which was arbitrarily set as a task by the composer for himself on his 30th birthday; by composing one piece every month he will reach the opus 0 and retire at the age of 60.” Computer sounds, generated by bass clarinet and percussion sound, provide an interesting dimension to this listening experience. It is appropriate that 337º is indeed the “spaciest” piece on this program. Throughout this recording the playing by Vilhjálmsson and Guttmann is dynamic, precise, and committed. Both individuals exhibit a highly developed sense of balance and pacing in this sometimes difficult music. Performances are thoughtful and well prepared, and display spontaneity and abandon where appropriate. Duo Dualism’s artistry is also well captured on this excellent sounding disc (recorded in Austria). Program notes are in Icelandic, and fortunately also in English and German. Recommended to adventuresome listeners and to bass clarinetists and percussionists seeking serious recital material. Dualism was produced under the auspices of the Iceland Music Information Center, ITM 907, and is available from several sources including www.amazon.com and www.ArkivMusic.com . * * * * * Yet another CD release which in great part features the bass clarinet comes from clarinetist/composer Jorge Variego. Entitled Necessity, this CD on the Albany la-

14

The Clarinet

bel presents seven works by Variego, and four pieces by others: Sergio Fidemraizer: Viento Sur for bass clarinet and tape; Mike Solomon: Una passeggiata per la Piazza San Marco for fixed clarinet ensemble; James Paul Sain: Kornighet for clarinet and tape; and Billie Holiday’s (with Arthur Herzog) God Bless the Child, in what Variego states “is a personal version based on Eric Dolphy’s rendition…” Jorge Variego’s works are: Statement, Deceptive Palindrome, and Final Statement, all for clarinet quartet (treated here as separate pieces placed at the beginning, middle and end of the disc, but which are collectively the movements of the composer’s Clarinet Quartet No. 1); Song for clarinet and bass clarinet; Giant Shapes for prepared clarinet in B-flat/A and computer; Mimic for clarinet and joystick; and Now That You are Here for bass clarinet and computer. Jorge Variego was born in Argentina and received his early training including a bachelor’s degree there. He holds a master’s degree from Carnegie Mellon University and is a 2011 candidate to receive a doctorate in composition from the University of Florida. He has been the recipient of several prizes and fellowships including the first prize in the Carlos Guastavino composition competition. He has performed as a soloist with orchestras in Argentina, and for the past five years has been a resident artist at the Pittsburgh Center for the Arts. Although some of the repertoire presented on this release requires multiple clarinetists, Variego is the only player heard. He plays clarinet and bass clarinet, and through multitrack recording technique, performs all the parts of the ensemble pieces. It is apparent from this disc and a number of YouTube performances (of new music and more traditional playing) that Jorge Variego is an accomplished player with a beautifully focused and colored clarinet tone and the skills (including extended techniques) to realize the demands of this contemporary program. He plays the bass clarinet with enthusiasm and panache, if not always with the round darkness exhibited in his soprano playing. The majority of the works programmed are new, dating from 2007–2009, with the exception of James Paul Sain’s Kornighet of 1995, and of course the Billie Holiday God Bless the Child (1941). Some of the

notable pieces by Variego include his two clarinet ensemble works. The three clarinet quartet movements exhibit interesting and effective use of dissonant harmonic texture, contrapuntal writing (especially the palindrome movement), and an imaginative use of tone clusters, which in the final movement the composer refers to as “moving cluster.” These quartet pieces are a strong programming possibility for a college or professional clarinet ensemble looking for an edgy contemporary (yet playable) work. In part the same can be said of the brief Song for clarinet and bass clarinet. This slow, melancholy duet is elegiac, and “Both voices are very lyrical and fuse clarity with drama.” As might be expected in a recording such as this release, there is some inconsistency among different works in sonic perspectives offered by the recording process. In this instance (Song), the edgy sound seems to belie much of the warm clarinet timbres heard at other times in the recording, and needed here. The pieces for solo clarinet or bass clarinet, and electronic sounds are to varying degrees successful regarding clarinet writing and almost always fascinating in their electronic content. The wind-like effect and seemingly free interplay of live and recorded sound in Fidemraizer’s Viento Sur is notable, as well as the wide ranging use of extended playing techniques. The calm second half of the piece and the solo bass clarinet section which closes the last minute is a highlight of this otherwise frantic piece. Even though it’s the “Golden Oldie” electronic piece of this program (1995), Sain’s Kornighet (“granulated”) is a breath of fresh air regarding balance and conception. With this piece, in which “All

September 2011

timbres originate from clarinet or ‘clarinet like’ sounds,” the tape sounds do not wash over or obliterate the live instrument as is often the case. The imaginative electronic material stays transparent in texture, providing an intricate accompaniment. Variego’s meaty full clarinet sound and richness of the altissimo register is heard here to good effect, and notes are always clearly delineated. For listeners of new music for clarinet/ electronics, and potential programming by interested performers, Necessity may well prove to be an engaging experience and a valuable resource. The CD booklet indicates that all works presented here are available from the composers. The release is from ALBANY RECORDS, TROY 1189, www.albanyrecords.com. * * * * * Recordings of clarinet pedagogical literature have been appearing with increasing frequency in recent years. We can now find releases by professional players of the Baermann Method, Opp. 63 and 64, the Rose 32 Études, the Cavallini Caprices, the Jeanjean 18 Études and perhaps others. Also in what is generally regarded as pedagogical territory, we have the Bach material from Himie Voxman’s Classical Studies and also his Concert and Contest Collection of solos. In 2010 Hal Leonard Publications released a two-disc recording of Voxman’s Selected Studies played by clarinetist Kathleen Jones. This is I believe the first recording of a diverse collection of studies (there are few in existence), and this is a logical choice. Selected Studies for Clarinet is an iconic publication which has no doubt been in the hands of more students in the U.S. than any other, and which will in 2012 achieve its 70th year in print! (Not its

15

50th as indicated on the CD jacket and disc, regarding the Rubank copyright date .) For those (few) who may not know this book, or have forgotten its structure: The studies which comprise the bulk of the publication are collected from some 14 composers, and all, except for one Bach cello-suite movement, are firmly planted in 19th-century style . Many of the composers represented here were clarinetists, such as Müller, Klosé, Kellner, Heinze, Beer, Rose and Gambaro . There are studies from violinists Kreutzer and Mazas, flutist Wiedemann, and three others not known to this writer . The 52 studies which comprise the bulk of the book present the player with one lyrical and one technical challenge in each major and minor key . While 48 studies would seem to complete the group, and it was for Bach in his WTC (who liked the first 48 so much he wrote another 48), Mr . Voxman includes four additional studies which are written as Fsharp major and D-sharp minor, the enharmonic equivalent of the preceding G-flat major and E-flat minor . Kathleen Jones is the principal clarinetist of the Puerto Rico Symphony (since 1975) and recently retired as the clarinet professor at the Conservatory of Music of Puerto Rico, where she was also a member of the conservatory’s resident ensemble Camerata Caribe. She has made several appearances at ClarinetFest®, and her CD Caribe Clarinete received favorable review in this journal and elsewhere . Her principal teachers include Mitchell Lurie and Robert Marcellus . In addition to the musical challenges presented here, the size of the project and its hour and 45 minutes of totally exposed solo playing is quite daunting . Kathy Jones believes in the value of this collection of studies (as many of us do) and clearly shows it through these discs . She produces a rich, full-bodied tone which

has an even quality throughout the instrument, at its best – very beautiful, and she exhibits an evenly controlled technique . Her cover notes tell us that these studies were recorded without any internal editing and were done in 13 sessions – whew! Ms . Jones plays these studies at workable tempi that allow for effective expressive content . The fast studies are played cleanly with control, and not approached at breakneck speed – a practical and desirable example for young players . Understandable interpretive differences aside, the performances are not without a few warts . There is an occasional sense of shortage of air to finish a broad phrase effectively, and, while Ms . Jones does some quite effective contrasts (and dynamics are relatively interpretive), the dynamic markings could be more strictly observed . One inexplicable anomaly occurs in the slow G-minor Rose study with something of a rhythmic breakdown in the latter part of the middle section . The recorded sound is very good and mostly consistent, although there are a few areas in which the clarinet tone thins (seems like a recording issue), and there are also areas where sound level output dips somewhat . Even with careful control, through 13 sessions and an academic year, the vagaries of recording and electronics will yield some varying results, not to mention the player’s ups and downs, and of course – reeds . Clarinet students and educators are indeed indebted to Kathleen Jones for this successful project . While never as important as having a good teacher, many students can benefit from this recording . As we take note of this release in the clarinet community (to borrow an old church expression), we may be “preaching to the choir .” Etudes from the Voxman Selected Studies are used in many states as audition material for regional and all-state bands . In

ELECTRONIC PHOTO SUBMISSIONS FOR THE CLARINET When scanning photos or setting your digital camera to create electronic images for use in the magazine, resolution is a very important consideration. For high-resolution printing, each photo must include at least 300 pixels per inch (ppi) at the approximate dimensions anticipated for use. To clarify, photos intended for reproduction at the one-column width should be at least 2.25” wide and include at least 300 ppi, while photos intended for reproduction at the twocolumn width should be at least 5” wide and include at least 300 ppi. Photos with inappropriate resolution settings may have to be rejected because they will reproduce too poorly to use, or they may have to be used at a size smaller than anticipated in order to maintain their quality. 16

The Clarinet

far too many cases a high school clarinetist with no teacher and a band director with little time, inclination, or clarinet savvy, has to audition on this material – often clueless . Hopefully Hal Leonard is marketing this production to school band directors . This release comes in an attractive gate-fold cover in the familiar red-andgreen color scheme which replicates the design of Rubank’s original publication . Available from www .kklarinet .com . Related note: As I write this column (May 2011), Himie Voxman resides in Iowa City, Iowa . His 99th birthday is September 12, perhaps about the time you read this note . In 2010 a Doctor of Musical Arts Essay entitled “The Life and Career of Himie Voxman” was completed by Michele Ann Bowen Hustedt at The University of Iowa . It is available online at: http://ir .uiowa .edu/etd/465 . * * * * *

Recent Arrivals

in search of … Ken Peplowski, clarinet and tenor saxophone; Shelly Berg, piano; Tom Kennedy, bass; Jeff Hamilton, drums (trks . 1–9); with Greg Cohen, bass (trks . 10 & 11); Joe Ascione, percussion (trk . 11) and drums (trk . 12); and Chuck Redd, vibraphone (trk . 11) . Twelve tracks of tunes by Freddie Redd, Tom Kennedy, Shelly Berg, Rodgers/Hart, Rodgers/Hammerstein, Cy Coleman/David Zippel, George Harrison, and others . CAPRI RECORDS 74108-2 . Total time 68:53 . www .caprirecords .com Child’s play. Kelly Johnson, clarinet; Gail Novak, piano; Drew Irvin, violin; Allison Stanford, narrator . Philip Parker: Merry Music; Grooves; Story Hour; James M . David: Distrocto; Rodney Rogers: Dance Duo; Dejan Despić: Nine Dances, Op . 62; Eric Mandat: The Moon in My Window. POTENZA MUSIC PM1014 . Total time 64:56 . www . potenza music .com Fantasia di Concerto – music for Clarinet in 19th Century brazil. Fernando José Silveira, clarinet; Lúcia Barrenechea, piano . Ernesto Cavallini: Souvenir de Linda; A . Carlos Gomes: Air; José Lino Fleming: Concertino and Notturno; Sigismund Neukomm: Fantasie; Pompeo Cavallini: Divertimento Sopra un Tema del Maestro Bellini; Johann W . Kalliwoda: Introdução e Variações, Op . 128 . PÓLO INDUSTRIAL

DE MANAUS OBA 004. Total time 58:41. www.fernandosilveira.com.br Prism. Mark Simpson, clarinet and basset clarinet; Ian Buckle, piano. Gary Carpenter: Marking Time; Kenneth Hesketh: Point Forms (after Kandinsky); Gavin Higgins: Three Broken Love Songs; Emily Howard: Masquerade; David Horne: Chime; Patrick Nunn: Prism; Stephen Pratt: Short Score; Mark Simpson: Lov(escape); Mark-Anthony Turnage: Cradle Song. NMC D139. Total time 74:51. www.nmcrec.co.uk Weber to Tango. Margaret Wilson, clarinet; Gillian Lyons, piano. C. M. von Weber: Grand Duo Concertant; C. Saint-Saëns: Sonata; Murray Adaskin: Vocalise No. 1 for solo clarinet; Joseph Horovitz: Sonatina; Christa Steenhuyse-Vandevelde: Romance; Dirk Brossé: Tango Tout Court. Produced by the artist / MW0110. Total time 64:11. www.cdbaby.com/cd/margaretwilson Moments and Days. Alison Wells, mezzo soprano; Ian Mitchell, clarinets. Andrew Keeling: Pirate Things and Seule; Luciano Berio: Sequenza III for female voice; W. O. Smith: Five Fragments for Double Clarinet; Colin Ri-

ley: Passing Places; Geoffrey Poole: Commodo Dragonfly; Piers Hellawell: Four Delays; Gaspar Hunt: The Heart’s Lament; James Stephenson: Remembrance Songs. UH RECORDINGS LTD. 020011018. Total time 74:29. www.uhrecordings.co.uk Partenope. Luca Luciano, clarinet; compositions by Luca Luciano: Rondo’ Contemporaneo; Sequenza #1; Fragment #4; Sequenza #2 in A Minor; Fragment #5; Jazz Impromptu (Homage to Charles “Bird” Parker). LUCO1 CD. Total time 29:22. www.lucaluciano.com Danzi & Taffanel. Soni Ventorum Wind Quintet: Felix Skowronek, flute; Laila Storch, oboe; William McColl, clarinet; Arthur Grossman, bassoon; Christopher Leuba, horn. Franz Danzi: Quintet in F Major, Op. 68, No. 2 and Quintet in D Minor, Op. 68, No. 3; Paul Taffanel: Wind Quintet in G Minor. CRYSTAL RECORDS CD251. Total time 65:00. www.crystalrecords.com Xavier Lefèvre – A Revolutionary Tutor. Colin Lawson, clarinet; Sebastian Comberti, cello. X. Lefèvre: Clarinet Sonatas (Nos. 2 in D Minor; 4 in F Major, 6 in C Major; 8 in F Major; 10 in Bflat Major; and 12 in F Major). CLAR-

INET CLASSICS CC0058. Total time 74:36. www.clarinetclassics.com Derivations. Stephanie Zelnick, clarinet; University of Kansas Wind Ensemble, Scott Weiss, conductor. Music of Morton Gould: Fanfare for Freedom; Saint Lawrence Suite; Jericho Rhapsody; Derivations for Solo Clarinet and Band; Symphony No. 4 “West Point.” NAXOS 8.572629. Total time 62:00. www.naxos.com Clarinet Concertos. David Singer, clarinet; A Far Cry Orchestra; The Shanghai Quartet (Weigang Li and Yi-Wen Jiang, violins, Honngang Li, viola, and Nicholas Tzavaras, cello. Robert Livingston Aldridge: Clarinet Concerto: Aaron Copland: Clarinet Concerto; R. L. Aldridge: Samba. NAXOS 8.559667. Total time 49:44. www.naxos.com Mauro’s Latin. Mauricio Murcia Bedoya, clarinet; with guests Diego Rodríguez, percussion; Diego Rodolfo Guacaneme, tiple and cuatro; Omar Fandiño ‘choco,’ maracas. Thirteen jazz and Latin duets. Produced by Mauricio Murcia Bedoya. Total time 38:08. www.woodwindiana.com Good Listening!

Weill Music Institute

Master Classes with the Berlin Philharmonic Woodwind and Brass Players: Train with members of the woodwind and brass sections of the Berlin Philharmonic, including Wenzel Fuchs, principal clarinetist.* February 23–24, 2012 Application Deadline: November 1, 2011 *US applicants only Professional Training Workshops are made possible, in part, by Mr. and Mrs. Nicola Bulgari and The Gladys Krieble Delmas Foundation.

Wenzel Fuchs

Visit carnegiehall.org/workshops or call 212-903-9733 to apply or for more information. Artists, programs, dates, and ticket prices subject to change. © 2011 CHC.



September 2011

17

Clarimania 2011, Karol Lipinski Academy of Music in Wrocław, Poland A Report by Timothy Phillips

O

n April 13–16 2011, Clarimania 2011 was held at the Karol Lipinski Academy of Music in Wrocław (pronounced vRawts-lahf), Poland . Clarinetist and conductor Jan Jakub Bokun directed the festival, which was funded largely by the city of Wrocław and Henri Selmer Paris . About 130 high school and college students from Poland, Spain, Belarus and the Czech Republic were in attendance . The artist faculty for the festival included Philippe Berrod (principal clarinetist of the Orchestre de Paris and newly appointed professor of clarinet at the Conservatoire National Superieur de Musique de Paris), Irvin Venyš (Czech clarinet soloist), Justo Sanz (professor of clarinet at the Real Conservatorio Superior de Música de Madrid in Spain), and the Lisbon Clarinet Quartet . Clarimania is a biannual event that focuses on clarinet performance and pedagogy . This year the festival broadened somewhat, both philosophically and physically . From a philosophical perspective, the festival included soloists on other woodwind instruments besides the clarinet at some of the evening concerts . From a physical perspective, evening concerts for the festival were held at various locations throughout the city of Wrocław . This gave festival attendees, most of whom were visitors to the city, a chance to see more of this beautiful and historically rich location on their way to evening performances . Clarimania 2011 began with a Wednesday evening performance of the Academy’s chamber orchestra, conducted by Jan Jakub Bokun . This concert was titled Trampolina Mlodych [Trampoline of Youth] and featured student soloists, as well as young guest artists . The concert began with student soloists Sławomir Zawadzki and Marek Zjawin presenting sparkling renditions of Felix Mendelsson’s

18

(l to r): Irvin Venyš and Jan Jakub Bokun two Concert Pieces . This was followed by a virtuosic performance of the first movement of Erland von Koch’s Concerto for Saxophone and Strings by Jonathan Bergeron, the saxophone professor from Northern Arizona University . Closing the first half of the concert was Polish saxophonist Paweł Gusnar presenting a light, spirited version of Astor Piazzolla’s Tango Ballet for Soprano Saxophone and Strings . The second half of the concert opened with Gusnar and Bergeron performing Carl Anton Wirth’s appealing Jephtah for 2 Saxophones and Chamber Orchestra . The concert came to a close with Czech clarinetist Irvin Venyš delivering a solid memorized performance of Carl Maria von Weber’s Second Clarinet Concerto . He received such appreciation from the audience that he came back to the stage to perform a paraphrase of the opening of Gershwin’s Rhapsody and Blue as an encore . Thursday morning consisted of a master class by Irvin Venyš where students of various levels performed works by Messager, Debussy, Mozart, Kurpinski, and others . Venyš had a calm, engaging character in the master class and audible improvements were made when students responded to his ideas, particularly with regard to phrasing . The Thursday afternoon session of Clarimania consisted of a The Clarinet

lecture recital given by this author, Timothy Phillips, and his colleague T . Adam Blackstock entitled “North American Works for Clarinet and Percussion Duo .” This recital featured works by Traci Mendel, Carl Vollrath, Stephen Chatman and Nathan Daughtrey . The Thursday evening concert was called “Iberomania!” and it featured performances by Justo Sanz and the Lisbon Clarinet Quartet . The concert began with clarinetist Justo Sanz and pianist Marek Werpulewski presenting works by Romero, Menéndez, Sarasate/Baldeyrou, and Iturralde . Throughout the recital, Sanz performed with clean technique, a multicolored sound, and a refreshing stylistic approach . The second half of the recital began with the concert hall in complete darkness . Slowly, the lights were turned on as the Lisbon Clarinet Quartet and their percussionist made their way to the stage while playing . The quartet’s portion of the concert bursted with energy as the group played many spirited, rhythmic works with the assistance of conga drums, simplified drum set, and various other percussion instruments . The bass clarinetist of the group, Lino Guerreiro, had done many fine arrangements for the quartet and it was clear that after 22 years of performing together, these players still relish each mo-

Philippe Berrod and Justo Sanz

The Friday evening performance was called “Carte Blanche à Philippe Berrod” and was definitely a highlight of the fourday event . Clarinetist Philippe Berrod, along with masterful collaborative pianist Anna Otwinowska-Płaza, opened this performance with a memorable rendering of Debussy’s Première Rhapsodie . Berrod’s playing in this piece was light, colorful, and sometimes playful . This work was followed by Bruno Mantovani’s fascinating short solo work, Bug . Next, Berrod performed Gabriel Pierné’s Canzonetta, Op . 19, followed by Berrod’s tasteful arrangement of Fritz Kreisler’s violin piece, Schön Rosmarin . Next, Berrod talked (Photos: Wiktor Rzezuchowski)

ment of their music making . The evening concluded with jazz department students Przemysław Walczak and Paweł Lemanski performing jazz standards with a rhythm section at the nearby Teatralna Restaurant . Friday opened with an in-depth master class with artist Justo Sanz where students performed works by Widor, Weiner, Sarasate/Baldeyrou, various Polish composers, and others . Students from intermediate to advanced levels appreciated Sanz’s various suggestions for performing and practicing . Also, of great use in this class was his willingness to demonstrate passages and to play his clarinet with the students . Friday afternoon featured the first ever “Estrada Studencka” [Student’s Forum] in the history of Clarimania . This was an opportunity for many of the extremely talented students in attendance to perform as soloists or with chamber ensembles . This event featured soloists performing works such as Eric Dolphy’s version of “God Bless the Child” for Bass Clarinet Solo (arr . Roget Jannotta), Jorg Widmann’s Fantasie for Clarinet Solo and Claude Debussy’s Première Rhapsodie . Various large chamber ensembles concluded the Student’s Forum with works such as Richard Strauss’s Serenade, Op . 7 and Aleš Pavlorek’s Ulet . Immediately following the Student’s Forum was a lecture on Polish clarinet concertos by talented clarinetist Roman Widaszek . This fascinating lecture highlighted concertos by composers such as Kurpinski, Szeligowski, Sikorski, Tansman, Penderecki and others .

Sławomir Zawadzki and Marek Zjawin

September 2011

to the audience about the importance of feeling free with the instrument and he explained some small stories from his own imagination that lead him to his next work, his own 3 Improvisations for Solo Clarinet . He next performed a seemingly effortless, yet elegant version of Francis Poulenc’s Sonata for Clarinet and Piano . And he closed the recital with a virtuosic, singing rendition of Gioachino Rossini’s Introduction, Theme, and Variations . Near the end of this work, he performed his own cadenza, which was a climax of the recital . After much applause from the audience, Berrod invited a small ensemble of selected students from each country in attendance to the stage to accompany him on the third movement of Alexis Ciesla’s smooth, catchy Clarinet Concerto . Due to audience request, this encore was performed twice and it was a stylish conclusion to a superb recital . Saturday’s activities began with a master class given by Philippe Berrod . Students played works by Arnold, Poulenc, Mantovani, Debussy, and others in the class as Berrod guided them with his relaxed, conversational teaching style . Of special interest in this class was Berrod’s discussion of mistakes in various published editions of Francis Poulenc’s Sonata for Clarinet and Piano . Berrod specifically mentioned discussions he had with his teacher Guy Deplus about probable errors in the clarinet part . This master class was well attended and Berrod did a nice job communicating in English, a lan19

guage he admits he is still learning . Saturday afternoon featured a lecture by Justo Sanz on performing Mozart’s Clarinet Concerto on an historical clarinet . Justo demonstrated many passages on a period clarinet and commented on the genesis of this work and how this piece has evolved in recent years . Clarimania 2011 concluded with an orchestra concert featuring the work of Czech composer Ondřej Kukal . Specifically, this concert featured his works Flautiana, Oboina, Fagotissimo, and Clarinettino performed by guest soloists with the Wratislavia Chamber Orchestra conducted by Stanislav Vavřínek . With the inclusion of these works featuring woodwind instruments other than the clarinet as soloist, one could not help but notice the widening perspective of this festival and the increasing encouragement of attendees to appreciate repertoire not only associated with clarinet . The festival came to an end with Irvin Venyš’s dynamic, fiery performance of Clarinettino with the orchestra . Congratulations to Jan Jakub Bokun on his vision for this festival and his wonderful direction of Clarimania 2011!

20

About the Writer… Timothy phillips is assistant professor of clarinet at the John M . Long School of Music at Troy University, president of the Higher Education Division of the Alabama Music Educators Association, principal clarinetist of the Northwest Florida Symphony Orchestra, host of “Clarinet Corner” on Troy University Public Radio, and a Buffet Crampon USA performing artist .

Iowa Clarinet Day, Simpson College, Indianola, IA, April 2, 2011 A Report by Cynthia Doggett, Central College

T

he fourth annual Iowa Clarinet Day, hosted this year by Kariann Voigts at Simpson College, gathered clarinetists from around the state of Iowa and the greater Midwest for a day of master classes, clinics and performances . Throughout the day’s events guest artist Michele Gingras affirmed her reputation as an inspiring pedagogue and an engaging performer . She is known by many as a performer of Klezmer music so we were thrilled that, in addition to a master class and recital, she offered a hands-on Klezmer workshop for our attendees . Iowa Clarinet Day officially began at 9 a .m . with a group warm-up session led by Kariann Voigts (Simpson) and Dr . Gregory Oakes (Iowa State) . Immediately following the warm-up session the high school solo and ensemble clinic began . In this clinic high school students from around Iowa performed contest pieces for the faculty in attendance at Iowa Clarinet Day . Dr . Jesse Krebs (Truman State University) ran this session, giving tips to the performers and inviting comments from faculty such as Dr . Daniel Sheridan (Winona State, MN), Dr . Gregory Oakes, Dr . Cynthia Doggett (Central College), Clarence Padilla (Drake University) and Dr . Daniel Friberg (freelance musician, Minneapolis, MN) and Joyce Wheeler (Drake University) . Due to the large number of professional clarinetists joining Iowa Clarinet Day 2011, the potpourri concert, which traditionally consists of solo repertoire, included only music for clarinet quartet The Clarinet

and quintet . In addition to groups formed by previously mentioned faculty, members of the Chicago Clarinet Ensemble (Rose Sperazza, David Tuttle, Christie Miller and Miguel Hernandez) performed a quartet entitled Four for Four, by Jorge Montilla . Dr . Maurita Mead (University of Iowa) finished the recital with her University of Iowa quartet, performing rousing selections of Brazilian Choro music . During the late morning and afternoon hours Iowa Clarinet Day registrants sampled the products of our sponsors, Buffet, Rico, Vandoren and Yuan Gao’s Royal Musical Collection . A new addition to ICD 2011 was a display of historical clarinets loaned to the event by The Schubert Club of Minneapolis, MN . Also during this time a contemporary techniques clinic, run by Jeremy Wohletz (DMA candidate, University of Kansas) and Dr . Gregory Oakes, offered students a chance to learn multiphonics, flutter tonguing, and even how to play their clarinet like a Japanese Shakuhachi! A clarinet choir reading session, conducted by Jesse Krebs, finished off the afternoon clinics .

Michele Gingras, guest artist recital

Troy University Clarinet Day A Report by Useon Choi

T

Greg Oakes, Michele Gingras, Cynthia Doggett on Michele’s guest artist recital Michele Gingras’ recital, Klezmer workshop, and traditional master class filled the late afternoon . It was obvious that audience members from novice to professional, both musician and nonmusician, thoroughly enjoyed her performance . Her recital program, entitled “The Joys of Jewish Music,” brought the listener through a variety of music composed by Jewish musicians and performed in the Jewish folk style . She has unquestionably mastered the stylistic challenges posed by alternating between the controlled and sensitive playing necessary in traditional clarinet repertoire, and the pure abandon and joy of Klezmer . Her program ended with Béla Kovác’s Sholem-alekhem, rov Feidman!, a Klezmer-inspired work for clarinet and piano which led us eagerly into instruction in the Klezmer style via Hava Nagila . Although hearing dozens of clarinetists practice their glissandi simul-

taneously was not an aural experience I’d want to repeat soon, the process was fun, informative, and engaging! Upon finishing her recital she worked with three collegiate-level musicians on standard clarinet repertoire . Michele Gingras’ pedagogical style centers on concepts, equipping students with the tools applicable to any piece of music . Concepts such as physical relaxation, tone color, use of airstream to affect phrasing, and tools for improved intonation were all skillfully addressed . Plans are already underway for the fifth annual Iowa Clarinet Day in April 2012 . We are very appreciative of the generous colleagues who contributed to the event, and are proud to have such outstanding student clarinetists in the state of Iowa . Iowa Clarinet Day would like to thank Kariann Voigts for her superb work in hosting the event .

Jesse Krebs conducting the clarinet choir



September 2011 2011

he Fourth Annual Clarinet Day of 2011 held at Troy University in Alabama progressed into an international clarinet festival this year . Coordinator and host of the event Dr . Timothy Phillips, clarinet professor at Troy University, showed true professionalism in accommodating guests from different parts of the world . The guest artists this year were J . David Harris (clarinet professor at the University of Illinois at Urbana–Champaign), Yasmin Flores (clarinet professor at the University of North Alabama), Alcides Rodgriguez (bass clarinetist of the Atlanta Symphony Orchestra), Gabor Varga (principal clarinetist of the Hungarian Radio Orchestra), Wolfgang Lohff (clarinet technician from Denmark) and the Busan Clarinet Quartet (Taehoon Kim, Namyong Hwang, Useon Choi, and Sungkwan Lee) from South Korea . The event was sponsored by Buffet Crampon, Rico Reeds, Vandoren, Troy Arts Council, Troy University, and Troy University’s chapters of Sigma Alpha Iota and Phi Mu Alpha . Much like last year, “Clarinet Day” began with a guest artist master class for the Troy University Clarinet Studio on Friday morning . This year, Gabor Varga led an insightful class where students performed works by Weber, Hoffmeister, and Stravinsky . Friday concluded with a faculty/guest artist recital in the beautiful Claudia Crosby Theater, the largest hall on campus . On Saturday, both high school and college students rehearsed in a massed clarinet choir and attended clinics . The event concluded with a concert presented for the participants’ parents at the end of the day . The Friday evening recital started off with a great opening piece, La Traviata by Donato Lovreglio, performed by Yasmin Flores and her pianist Yee Sik Wong . Next, Timothy Phillips and his colleague T . Adam Blackstock, percussion professor at Troy University, gave the premiere performance of Traci Mendel’s Meditation on the Nature of Kali for clarinet and percussion duo . This work opens with some unusual sounds created by strumming the strings of a piano, and then a free sounding clarinet line sings over a steady pat21

(l–r) Yee Sik Wong (pianist), Gabor Varga, Katrina Phillips, Alcides Rodriguez, Yasmin Flores, Timothy Phillips, J. David Harris, Taehoon Kim, Namyong Hwang, Useon Choi, Sungkwan Lee, T. Adam Blackstock (percussionist) tern in the vibraphone and piano . This is an exceptional new work that left the audience somewhat hypnotized . Concluding the first half of the concert was the Busan Clarinet Quartet performing Tema de Maria, Viktor’s Tale (featuring Gabor Varga’s sinewy solo clarinet playing) and Clownery for Clarinets. The second half of the program started with an amazing presentation of Béla Kovács’ Hommages to Manuel de Falla, Richard Strauss and Béla Bartók by Gabor Varga . Varga’s playing was clean, sound, and eminated with virtuosity and interest . Alcides Rodriguez performed the Andante et Allegro by Ernest Chausson, which was also a stylish, first-class performance of a very technically difficult piece . The finale of the concert was in the hands of J . David Harris . His performance of the Sonata for Clarinet and Piano by Leonard Bernstein, with pianist Hui-Ting Yang, gave everyone

a textbook example of fine clarinet playing . Saturday began with a clarinet choir reading session followed by a master class by Professor Harris where students played works by Mozart, Baermann and Arnold . After lunch, Useon Choi lead a clarinet choir rehearsal with the high school students in one room while Timothy Phillips conducted a rehearsal with the Troy University Clarinet Choir and soloists in another . After the intensive rehearsals, both groups gathered once again for a class on clarinet maintenance and facts by Wolfgang Lohff . Lohff’s class covered the necessity for having one’s clarinet regularly maintained and the vast differences between a student line and a professional clarinet . The students loved his talk . The day concluded with a final rehearsal of the massed clarinet choir and a master class from Alcides Rodriguez . Alcides had lost his voice throughout the course of the

day and he was only able to speak very quietly while teaching his class; yet, the students were so enthralled with his teaching, you could almost hear a pin drop during his class . This is a great testament to his ability to capture a room of students and to his fine teaching . In his class, he listened to one student play the first movement of the Mozart Concerto on a soprano clarinet and another play Rabaud’s Solo de concours on the bass clarinet . The final concert of Clarinet Day was held in the band rehearsal room, which was uniquely set with a seating area for the audience and a performance area for the groups . This venue proved to be the perfect space for this concert, where the guest artists had a chance to interact with both the students and their guests . The concert began with a performance by the Troy University Clarinet Choir . They performed Charles Yassky’s arrangement of

Fourth Annual Troy University Clarinet Day Final Concert 22

The Clarinet

Mozart’s Overture to the Magic Flute and an arrangement of Mendelssohn’s Concert Piece No. 2 featuring the great duo of J . David Harris and Katrina Phillips . Next, the Busan Clarinet Quartet performed the lighthearted Morning of Carnaval by Luiz Bonfa and Frank Meacham’s American Patrol, which the audience seemed to really enjoy . This was followed by Alcides Rodriguez’s masterful performance of Béla Kovács’s Hommage à Manuel de Falla on the bass clarinet and Gabor Varga’s colorful rendition of the solo clarinet Sonata by Tiberiu Olah . What a treat to watch the audience take in the playing of these world-class performers! The concert ended with a performance of the massed clarinet choir, with the help of all the guest artists, lead by Timothy Phillips and Useon Choi . As has become tradition, the concert concluded with a band favorite . This year it was quite fittingly the Hands Across the Sea march by John Philip Sousa, arranged by Ken Abeling . The Troy University Clarinet Day is growing in the world of clarinet conferences, exposing high school clarinetists to a rich experience and allowing them to interact with a wide variety of guest artists from around the world . This event could not have been so successful without the enormous efforts and the generous personality of Timothy Phillips and the Troy University Clarinet Studio . I am enthralled

Participants and guest artists to find what Troy University Clarinet Day will present next year!

“Legends Of The Clarinet” Series Continues at Wright State University, Dayton, Ohio

T

he annual “Legends of the Clarinet” Symposium hosted by Dr . Randall S . Paul and John Kurokawa at Wright State University (WSU) continued this year with visiting artists-in-residence, Larry Combs and Julie DeRoche of Chicago, Illinois . The symposium was held at Wright State University in Dayton, Ohio, on April 20 and 21, 2011 .

Larry Combs and Julie DeRoche with the orchesra

September 2011

The Symposium began with a “Welcome and Meet the Artists” session where Combs and DeRoche shared their experiences and answered participants’ questions . This open forum is one of the favorite aspects of the symposium and raised questions ranging from clarinet equipment to the secrets of performing professionally . Combs and DeRoche then coached solo master classes . Master class participants included Jessica Blaza performing Mazellier’s Fantasie–Ballet and Matthew Snyder performing Brahms’ Sonata in E-Flat. Mozart Concerto excerpts were performed by Sarah Beatrez and Matthew Snyder . All participants were assisted by the excellent pianist, Steven Aldridge . After a lunch break, chamber music master classes were held where Combs and DeRoche coached several ensembles, including a student woodwind trio and the WSU Chamber Winds . A master class and lecture regarding “Practice Tips and /or the Mechanics of Mistakes” was presented by Dr . Daniel Paprocki . Paprocki shared and demonstrated numerous practice techniques, which were also detailed in a handout . The culmination of the symposium was a formal concert by Larry Combs and Julie DeRoche . Pre-concert music was provided by the Bellbrook High School Clarinet Choir, under the direction of Barbara Siler . Their delightful performance entertained the crowd to hearty applause prior to entering the concert hall . The concert began with Mozart’s Divertimento from Don Giovanni, arranged by Rainer Schottstadt for two clarinets in A and basset clarinet . The trio performance included Julie DeRoche and Randall Paul on clarinet in A, with Larry Combs on basset clarinet . The first half of the concert ended with Andrzej Anweiler’s Di23

versions for Two Clarinets, performed by Larry Combs and Julie DeRoche . The grand finale of the concert was the performance of Franz Krommer’s Concerto in E-Flat Major, Op . 91 for two clarinets and orchestra . Larry Combs and Julie DeRoche were joined by the Wright Chamber Orchestra, conducted by Dr . Jackson Leung, for the performance . The performance, which ended a spectacular concert, was met with a standing ovation . This symposium at Wright State University has provided participants throughout the Midwest with an opportunity to personally experience the talent and wisdom of legendary clarinetists like Larry Combs and Julie DeRoche (2011), Stanley and Naomi Drucker (2010) . This series is made possible by the generous funding and support of Val P . Hattemer, Mike Getzin and the WKA, and the numerous other Clarinet Studio Donors .

Clarinetopia 2011 A Report by Michael Webster

C

larinetists from as far away as Utah and as near as Long Island assembled for the third annual Clarinetopia at Stony Brook University between June 22 and 26, 2011 . Faculty members Caroline Hartig, Alan Kay, Charles Neidich, Michael Webster and flutist Leone Buyse heard all of the student performers in master classes and recitals and offered talks on topics of interest, such as contemporary techniques, effective practicing, the musculature of breathing and audition preparation . There was also a mock audition with a short list of standard excerpts . Students ranging in age from 15 to– let’s say gray-haired–arrived on Wednesday and congregated at The Reed Table, where Michael Webster demonstrated techniques of making and adjusting reeds . The opening faculty recital featured Caroline Hartig, Alan Kay, Michael Webster and Leone Buyse in music of Mozart, Kovács, Larsen, Weber, Rossini and Brahms, with the expert collaboration of pianists Teddy Robie and Anna Vinnitsky, who also accompanied the student master classes and the two student recitals . A catered welcome dinner allowed all of the participants to meet and greet each other . Each day began with communal yoga sessions and warm-ups and ended with a special event . On Thursday, The Ander24

Clarinetopia faculty and participants (photo: Mike Getzin)

son Twins Sextet played an evening of big band jazz, featuring arrangements by both Will and Peter of tunes made famous by Benny Goodman, Artie Shaw and others . Will wailed on the Artie Shaw Concerto, with Pete joining in to compete on who would reach the high C at the end . Four of New York’s finest freelancers filled out the sextet on piano, drums, bass, and trumpet for an evening of non-stop excitement . You can check out the twins at www .anderson twinsjazz .com . Clarinetopia also had some welcome visitors on Thursday . Chris Coppinger and Fred Weiner brought a display of Buffet clarinets from Fred’s store, and Wojtek Komsta, one of the area’s finest repair technicians, set up shop in Alan’s studio . He was besieged all day with students needing repairs and adjustments, all of them leaving happy with his work . The Friday evening special event was a free evening! Participants chose from having a special dinner off campus, practicing, playing in spontaneous clarinet ensembles, etc . On Saturday, Charles Neidich began his day in Quebec City, flew to NYC, took the Long Island railroad and arrived around 6:45 p .m . at the campus where he The Clarinet

used to teach students–including Caroline Hartig . The reason his day was so compressed was that he filled in on short notice for founding Clarinetopia faculty member Stephen Williamson, who had gracefully bowed out due to winning the principal clarinet position in the Chicago Symphony and suddenly having to move his family . Charlie gulped down a sandwich, changed his clothes, and started the 7:00 recital and master class about 20 minutes late . His program was as varied as could be: Poulenc Sonata, a remarkable sonata by Mieczyslav Weinberg (op . 28, 1945), a Polish/Soviet composer unjustly neglected, his own Threnos (2005) for clarinet solo, and St . Saëns’ Introduction and Rondo Capriccioso, played in the original key and register of the violin . Amazing! The ensemble playing was magnificent and no one would have guessed that he and Anna Vinnitsky had had only one rehearsal two weeks previously! For the master class, he asked me to be timekeeper, but invariably had so much information to impart that the event lasted until just past 11:00 p .m .! After a long day of travel, his supply of energy seemed endless . The following morning he joined Leone and me for the traditional student/faculty

round table, an open discussion about any topics in which the students are interested . In 2010, nearly the entire round table focused on preparing for the job market, but this year, technical issues came to the fore . Charlie explained and demonstrated how he adjusts his embouchure to find nodes on the reed . This technique allows him to locate partials above the standard 9th partial in order to play a work such as the St . Saëns in the super altissimo register without a lot of embouchure pressure . Afterwards, we rushed him back to the LIRR to head back to NYC and then enjoyed the final event–the second of the two student recitals, followed by a small farewell reception . As always, we thank Alan Kay and Michael Hershkowitz for making the Stony Brook facilities available for Clarinetopia .

Chicago Clarinet Ensemble: “Careers and Premieres” at Northeastern Illinois University

T

he Chicago Clarinet Ensemble presented a concert and master class that featured clarinet legends Stanley and Naomi Drucker on May 27 and 28 at Northeastern Illinois University . The two-day event was attended by more than 250 people and was sponsored by Northeastern Illinois University, Buffet Crampon and Vandoren, Inc . The concert, entitled Careers and Premiere, was conducted by John Bruce Yeh and included a dazzling performance of Mendelssohn’s Concert Pieces, Opp .113 and 114 arranged for clarinet ensemble and soloists . The Drucker’s delivered a stunning and virtuosic performance . The

Chicago Clarinet Ensemble with Stanley and Naomi Drucker as soloists on Mendelssohn’s Concert Pieces . John Bruce Yeh is conducting.

program also featured a premiere of Eric Mandat’s Pursuits of Happiness which was commissioned by Rose Sperrazza, associate professor of clarinet at Northeastern Illinois University . The new work is a three-movement sextet for one E-flat, three B-flat sopranos, one basset horn, and one bass clarinet . It was premiered by John Yeh, Stanley and Naomi Drucker, Teresa Reilly, Rose Sperrazza and David Tuttle . Other premieres included Edward Yadzinski’s Hasty Fragments for clarinet and narrator premiered by Eric Mandat, Steve Cohen, Stanley Drucker, KT Somero, David Tuttle, Rose Sperrazza, David Gould, John Bruce Yeh and Naomi Drucker . The final premiere of the evening was an interesting work by Jeff Kowalkowski for clarinet ensemble and synthesizer entitled ruth, rubric-rational; realisms-relationals . The master class on May 28 focused on “The Orchestral Clarinetist .” Performers were Miguel Hernandez of Northeastern Illinois University; Amanda Eich of University of Illinois at Urbana Champaign;

and Andrew Hudson and Rebecca Graham of Northwestern University . The Chicago Clarinet Ensemble was founded in 2007 by Rose Sperrazza and is currently in residence at Northeastern Illinois University in Chicago, Illinois . Visit www .chicagoclarinetensemble .org to learn about upcoming concerts and events . Both events can be accessed in the archives at www .banddirector .com .

(l–r) John Bruce Yeh, Teresa Reilly, David Tuttle, Rose Sperrazza, Naomi Drucker, Stanley Drucker (photos: Laura Hamm)

September 2011

25

(All Photos by Deborah Check Reeves)

by Deborah Check Reeves Photo 2 NMM 99002 Patent C-sharp Key

Photo 4 NMM 1899 Signature

“Historically Speaking” is a feature of The Clarinet offered in response to numerous inquiries received by the editorial staff about clarinets. Most of the information will be based on sources available at the National Music Museum, located on The University of South Dakota campus in Vermillion (orgs.usd.edu/nmm). Please send your e-mail inquiries to Deborah Check Reeves at [email protected].

I

Photo 1 NMM 99002 P.X. Laube Albert System Clarinet 26

Photo 3 NMM 1899 P.X. Laube Boehm System Clarinet

n an ad from January of 1929, the Cundy-Bettoney Company stated that “there is a Bettoney-made clarinet in a finish for every taste and at a price for every purse .” With this proclamation, three different models of silver clarinets were listed: the Silva-Bet, the Boston Wonder, and the P .X . Laube . A pricelist from November 1, 1928, noted the P .X . Laube was the “best low-priced American all-metal clarinet” and that it was the “favorite metal clarinet of young clarinetists .” Of the three models offered in early 1929, the P .X . Laube was the lowest priced . It was offered in two fingering systems: Albert and Boehm . The line appears to have been short-lived, with a cessation of advertising of the model by February 1933 . Five P .X . Laube clarinets are among the collections of clarinets at the National Music Museum . Two are model number S398X with Albert System fingering . Both of these clarinets, NMM 5025 and 99002, are one-piece models finished in a satin silver plate . (Photo 1: NMM 99002 P.X. Laube Albert System Clarinet.) Both have 13 keys with four rings . Both have patent The Clarinet

Photo 5 NMM 1899 Patent Indication

c-sharp keys . (Photo 2: NMM 99002 Patent C-sharp Key.) NMM 1899, 1932 and 6015 are Boehm-System clarinets, model S318X . Like their Albert System counterparts, all three Boehm system clarinets are in onepiece with silver plated finish . All three instruments have the standard Boehm 17 keys and six rings . (Photo 3: NMM 1899 P.X. Laube Boehm System Clarinet.) All five clarinets are engraved with the following signature: REG. U.S. / P.X. LAUBE / PAT. OFF. (Photo 4: NMM 1899 Signature.) All five clarinets are also engraved with PAT. PENDING. (Photo 5: NMM 1899 Patent Indication.) The patent pending indication is for US patent number 1,705,634 that was issued in 1929 . This mark helps date the manufacture of the clarinet to 1928 or 1929 . The three Boehm System clarinets also have Bettoney’s patented forked E-flat/Bflat device that made for easy A-flat to B-flat trills . This device was patented in 1916 (US patent number 1,200,578 .) (See The Clarinet “Historically Speaking” Vol . 37 Number 2, page 23 .) There appears to be some misunderstanding about the name “P .X . Laube .” The New Langwill Index: A Dictionary of Musical Wind-Instrument Makers and Inventors states that “P .X . Laube” was a trade name employed by a New York musical instrument importer and dealer, the Progressive Musical Instrument Corporation . Although the other trade names associated with this firm may be correct, “P .X . Laube” was clearly a model made and offered by the Cundy-Bettoney Company .

A Manuscript Comes Home

I

t’s not often that an important clarinet manuscript comes up for sale—but one did a couple of weeks ago at Bonham’s, the famous auction house situated on London’s Bond Street . The manuscript in question was Malcolm Arnold’s Second Clarinet Concerto—a work that has very special resonances with me . I’ve played and taught it many times, perhaps most memorably, working on it with the eightyear-old Julian Bliss for a performance in Huddersfield to which Sir Malcolm himself came along in 1997 . Malcolm wrote the concerto (in 1974) whilst living in Ireland . It was a turbulent time in his life . His second wife had left him and he was suffering from acute mental health problems which ultimately culminated in a serious suicide attempt . During this extremely difficult period he was lucky enough to have a very dedicated doctor, Robin Benson, who looked after him with great devotion, often well beyond the call of duty . When Malcolm finally left Monkstown to return to England and spend, on and off, virtually the next three years in hospitals of one sort or another, he decided to give Dr . Benson a rather special gift . “Dear Robin, your kindness is so much appreciated . This is the original manuscript of a piece which has been so beautifully bound in Dublin . Please thank you for yourself and accept this useless present .” The useless present was, of course, Malcolm’s handwritten score of the Second Clarinet Concerto. Thirty-seven years later the family obviously decided to sell the manuscript and it appeared as Lot 93 at a sale of Books, Maps, Manuscripts and Historical Photographs on March 22 . I wasn’t able to go to the sale myself but there were clearly some very interested parties . At the event, and to my great delight, it was bought by Sir Malcolm’s daughter, Katherine . The manuscript had come home again . I was very excited when Katherine invited me round to have a look at it . I was keen to know if there were any of those famous penknife scratchings occasionally found in Malcolm’s manuscripts . Was there to be any evidence of changes of mind? Were any notes in the Pre-Goodman Rag the result of second thoughts? Malcolm virtually always wrote straight into full score and in ink . He composed inside his head, 28

by Paul Harris

me

The bound volu

The famous cadenza The Clarinet

The first page of the first

The first page

movement

of the “Pre-Goo

dman Rag”

he neither used the piano (or any other instrument) and rarely made sketches . If any changes were to be made (and there were very few throughout his entire life’s work) he would use a penknife to scratch out the wrong note and re-ink in the right one . I arrived at Katherine’s house in north London and was very quickly ushered into her study where on the desk sat the score . Malcolm’s allusion to it having been beautifully bound was quite accurate . The binding is in a lovely and luxurious reddybrown leather with gold lettering on the front . I opened the pages with great anticipation and a real thrill . The writing was, as ever, neat and very clear . I turned the pages one by one, hearing the music come alive in my mind — sometimes it was the Benny Goodman performance (which I know well through a recording of his premiere at St . John’s Smith Square) and sometimes it was Julian’s who has often played it with great enthusiasm . I was not too surprised to find very little in terms of alterations . I searched through the score three or four times looking very carefully for those tell-tale markings . There were one or two but nothing to give the impression that Malcolm had had any serious changes of mind . I found just two instances of penknife activity . In the first movement, 15 bars after letter F, a crescendo mark, followed in the next bar by a diminuendo had been disposed of, and in the third movement, from three bars after J the slur was originally extended until the end of the phrase . Otherwise the work is entirely as we know and love it . What of the other manuscripts of Malcolm’s clarinet works? The Clarinet Sonatina is held by the Royal College of Music in London and they occasionally have it out on display . But both the manuscript of the Fantasy and of the First Clarinet Concerto are presently lost . We can only hope that one day they will re-emerge .

The Clarinet

Publication Schedule The magazine is usually mailed during the last week of February, May, August and November. Delivery time within North America is normally 10–14 days, while airmail delivery time outside of North America is 7–10 days.

September 2011

29

Studying Articulation in Depth

O

ver the past year we have discussed teaching articulation from the earliest lessons, developing a good attack, starting phrases with precision, clearing up the articulated sound, and appreciating the value of the short staccato . To delve into the subject a little deeper, this column will emphasize perfecting the staccato, understanding the value of the clipped note, phrasing through short notes, and achieving a well-matched articulation through the registers .

Acquiring Short Staccato – Let’s Get Specific

Developing a short staccato is one of our most important endeavors, because it allows so much variety of articulated sound . That is, if one can play a short staccato on every note in the range at any dynamic, one can easily choose to play longer notes if the music demands it . This approach gives the player many lengths of articulation to choose from, which can only enhance musicality .

The Pedagogy Corner by Larry Guy But as we all know, a good short staccato takes some diligence to acquire . The player learns to clip the end of notes by returning the tongue to the reed while continuing to blow behind the tongue, all the while keeping the embouchure firmly in place . Start by saying “toot” a number of times at a slow tempo (about one per second), and keep air pressure at the front of the mouth, right behind the tongue, between repetitions . Now duplicate that feeling with the clarinet in the mouth: start with the tongue on the reed, build up some air pressure behind the tongue, release the tongue and play open G half-notes . Stop the notes by putting the tongue back on the reed, and continue to blow during the rests between notes . While the tongue is on the reed, the air pressure builds up behind it, the embouchure stays firm, and

the back of the mouth stays free and open . The result: notes that are “stopped” or “clipped”, as in Example #1, below . When half notes have been mastered, proceed to quarter notes and eighth notes . The late, great Kalmen Opperman devised a warm-up of short notes that I give to moderately advanced students to develop the coordination required for a good short staccato . Mr . Opperman called it “First Notes,” because he advocated playing it at the beginning of lessons and practice sessions, and it is the perfect way to acquire and maintain a good-sounding short staccato . The coordination required is complex, so playing it is a little like jumping into the deep end of the pool—no time for putting one toe into the water! I play it forte with students to learn the technique, and later, request that it be played softer, which is

Air~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Example #1. Open G half Notes, Quarter Notes, and Eighth Notes

Example #2. Kalmen Opperman’s First Notes 30

The Clarinet

Example #3. Phrasing Through Short Notes

Example #4. Stopping the Air between Short Notes more demanding. I’ve included three scales in Example #2, bottom of page 30; for the whole sequence, see The Daniel Bonade Workbook, published by Rivernote Press.

Phrasing Through Short Notes

There are two advantages in keeping steady air pressure as one plays short notes: first, speed becomes possible, and second, one is able to show a musical direction even through the silences between notes. Giving a directional quality to the notes allows us to make an effective phrase through a group of short notes. To help students un-

derstand this concept, I have them play five-note sequences like the ones in Example #3, top. The slurred exercise is easy, the articulated one less so, but should give a similar musical effect. The air pressure remains steady, including when the tongue is on the reed, and the crescendo must be quite audible into the sforzando. This concept is in direct opposition to the frequently encountered tendency stop the air between short notes (also known as “puffing”), which renders any sense of direction to the phrase nearly impossible, as in Example #4, above. In fact, I tell my students that when the air stops, the phrase stops! So in Ex-

ample #4, one has played five meaningless phrases, each consisting of one note! This understanding is crucial to the successful execution of the passage from Scheherazade in Example #5, just one of countless passages from the standard repertoire that benefits from this approach.

Other Uses for the Clipped Note

Once the student understands how to clip a note, all sorts of rhythmic figures, especially rhythms off the beat, can be played more accurately. For example, if one starts a passage off the beat, I ask students to begin by observing a four-part sequence discussed in earlier columns: 1) form the embouchure, 2) put the tip of the tongue on the reed, 3) feel the air behind the tongue, and finally, release the sound. This helps put the first note of a passage in exactly the right spot, and takes the guesswork out of executing the musical notation. The student immediately has “better rhythm!”

Example #5. Rimsky-Korsakov: Scheherazade

Example #6. 16th Starting Notes Off the Beat

September 2011

31

Example #7. Incorporating Clipped Notes in a Passage

Example #8. Exercise Adapted from Klosé I sometimes remind the student of this sequence by marking a “T” (as in “tongue on the reed”) over the rest before the notes begin. See Example #6, bottom of page 31. The next step is to incorporate this idea within a passage already running. For example, in the second bar of Example #7, top, the tongue should be on the reed before the first 16th note off the beat – it will have been placed there if the note before it has been clipped! During the silence, the embouchure stays firm and the air stays behind the tongue, ready for action. This exercise is similar to one found in the Rubank Advanced Method, Book #1.

Transitioning from Short Staccato to Longer Notes

Earlier I mentioned that if one can play short notes, one can easily transition to longer ones, but playing longer notes, after having learned short staccato, takes some mindfulness.

For example, in the “First Notes” exercise (see Example #2), I ask students to play it forte at first, to become familiar with the technique. However, in music, one rarely plays a succession of very short, loud notes, and I think it is important to remind students of this; otherwise, he or she might “push the envelope” a little too often. I also remind students that “staccato” means “detached” or “separated;” not necessarily “short” which brings to mind the variety of note-lengths one can achieve. As one transitions to longer notes, I emphasize an awareness of the beginning of the note; one can have a well-defined articulation without clipping the ends of notes. This longer type of staccato is of great value and should be employed often. Example #8, above, is an exercise (adapted from Klosé) that I give my students. I call it “marcato articulation,” because the beginnings of the notes are well-marked, whereas the ends are hardly thought of at all!

I recommend this kind of articulation for scale passages, found so frequently in the works of Weber, and when it moves more quickly, I call it “running articulation.” There should be no sense of clipping the ends of the notes, since that usually gives a “sticky” quality to the sound. Avoid the tendency to make a sound that mimics the shape of the little “staccato” dots under or over the notes! Everyone will recognize this passage from Weber’s Concertino, which should not employ clipped notes, but rather an awareness of the clarity of the beginning of the articulated notes in Example #9, below.

Evenness and Reliability Through the Registers

A well-matched articulation through the registers is highly desirable, and its acquisition is often overlooked. Too often I have heard ambitious students with goodsounding articulation in the chalumeau and clarion registers whose quality deteriorates as they ascend into the altissimo. I remember as a high school player many years ago asking my band director, Anton Peshek, how to improve my articulation. His advice was simple and helpful: “Practice articulating everything.” This approach certainly got my tongue moving, but I was still dissatisfied with my articulated sound and speed in the upper register, so purchased a book, now long out of print, called The Secret to Rapid Tongue and Finger Technique. The title was irresistible. As soon as I opened the

Example #9. Running Articulation: an Excerpt from Weber: Concertino 32

The Clarinet

book, I was disappointed that the author, Gerald Coward, did not divulge the secret in so many words, but instead wrote a very short explanation of how to play the many brief exercises in all registers for the development of this elusive goal. The “secret” was to practice the exercises over and over, to the point of [mild] fatigue! Although I’m sure the book helped improve my speed, its biggest contribution was to help improve my evenness and reliability through the registers, and so I give some of the exercises, altered a bit, to my students. Becoming aware of how the tongue touches the reed, and the exact spot on the reed it touches, is of great importance. One works for a consistency in returning to the same spot on the reed, and using the same spot of the tongue, no matter where the notes are located or how fast one plays. Start this awareness of the tongue’s position on the reed before the first note, and then be sure the tongue returns to this exact spot each time thereafter. This watchfulness is especially helpful as one ascends from the top of the clarion register into the altissimo, and as one begins to tire – be sure the tongue does not move differently, and does not change its “arrival spot” on the reed. Play each exercise over a number of times, until one begins to tire, then rest for a few seconds and go to the next exercise. Do not play to the point of exhaustion! For our purposes, we will omit the slurs and accents. See Example #10, below.

The Tone of the Articulation: Troubleshooting

As the student learns to clip notes, sometimes the tone quality will not be as good

as when the notes are slurred. We have touched upon this in earlier articles, but it is worth reiterating that perhaps the three most common trouble areas are the tip of the tongue, the back of the mouth, and tension in the shoulders. We remember that the goals are a small amount of tongue touching the reed and a free, open back of the mouth, but some may ask how tension in the shoulders affects the quality of the articulation. Remember Robert Marcellus’ comment: “We talk on the reed.” With this in mind, read a sentence with the shoulders down and relaxed, and while continuing to read, raise and tense up the shoulders. Note the resulting difference in your speaking voice. This is similar to the effect of tight shoulders to articulated sound.

Lower Lip Relief

Some students complain about a sore lower lip due to insufficient lip firmness, sharp lower teeth, or the result of many hours of daily practice. (Bless them!). During the time students need to build up their lip muscles, I have a solution that offers the lower lip some protection from the onslaught of teeth pressure: florist’s tape. A roll of it costs about $3 and lasts for years. Made of thin paper covered with wax, it comes in white, red and green varieties. I use white but some of my students are particularly fond of green. Unwrap about ½ inch of it and fold over four times, making a five-ply piece. Cut with scissors to a size that will cover the front two lower teeth. Although cumbersome in the mouth at first, it adheres to itself and to the teeth, and will fit snugly in just a few minutes. Make three or four pieces and use each for only 5-10 minutes for the first few days; otherwise they can shred. After a week or

so, one piece can be used for hours daily and if properly broken in, will last for a few months. If the tape is small enough, it won’t get in the way of tongue action.

Alternative Terms Department

We have all heard teachers exhorting their students to “use more air!” and I daresay most of us have used that expression a few times, but is it always what we mean? Surely we are not always asking for more quantity of air – usually we want to hear a more intense, focused tone. But we find ourselves requesting “more air” because the student’s sound may be undernourished, the response foggy, the intervals pale, or the dynamics limited. Students, on the other hand, often have difficulty sensing exactly how much air they are using: after all, it is tasteless, invisible, and odorless! Not so easy to get a grip on! But the lower lip can sense the vibrancy of the reed with accuracy and can tell whether, in the course of a phrase, the vibrancy lets up or gets weak at some moments. Of course, vibrancy is caused by air, coupled with an embouchure that is firm enough to engage the reed. That “engagement spot” is specific: the lower lip’s touch-spot on the reed. Staying aware of the reed’s ongoing vibrancy at that spot, especially between notes, will ensure that the air keeps moving and the embouchure pressure is consistent. The result is usually a rich, healthy sound.

Correspondence from All Over

Melanie Wong, currently studying with Dr. Robert Spring at Arizona State University, tells us of a method of ensuring that one stays aware of the use of the ab-

Example #10. From The Secret to Rapid Tongue and Finger Technique

September 2011

33

dominal, side, and back muscles in the quest for perfect air support . A technique she learned at a master class hosted by Dan Gilbert involves tying a flexible cord or elastic band around the waist, feeling the expansion of the band while inhaling, and then, during the exhale, staying aware of the muscles’ firmness against it . This ensures that the player keeps the breathing low in the torso and continues to support the sound through the entire exhale . A laptop power cord would seem to be the perfect tool, and it is always at hand . paul Chang demonstrates, below .

Example #11. Another Use for the Power Cord Stephen poppel, a talented amateur player from New York, relates that the air should be so strong and steady behind the tongue, and the tongue pressure so light, that at the moment of attack, the air “blows the tongue off the reed .” The air pressure is built up behind the tongue until one can sense a “tipping point,” the

precise moment the tongue gives way to the pressure of the air . I find these to be helpful descriptions, and use them with my students .

Analogies unlimited

Among pupils past and present, my analogies seem to have acquired some notoriety – I have become accustomed to seeing students gaze heavenward while strange little smiles creep onto their faces as I start a sentence with, “It’s like a…“ Nevertheless, I persevere, certain that one of these references will eventually result in a flash of enlightenment . A current analogy concerns the relative jobs of the air stream, tongue, and embouchure as they work together to produce good articulation . I start with a demonstration of repeated articulations on one note, which gives us a situation to analyze: we will look into the use of the tongue, air, and embouchure in this example . I liken it to three friends who have embarked on a long trip by car . One person is driving, one person is sitting next to the driver with a map in hand, giving directions, and one friend is lolling in the back seat smoking . His only job is to see that the ashes of his cigarette land in the ash tray, which he does with a small flick of his finger . Who is the driver? Who is in the passenger seat holding the map? And who is that lazy person in the back seat with only one tiny job to do? The answer, of course, is the air stream (primary job), embouchure (directing the air), and tongue (tiny, repetitive job) . And although they are doing very different activities, they are all in the car together, driving to their destination (the arrival point of the phrase) . I caution students to keep this analogy in the back of the mind, not up front, while playing!

Recommended Reading

The Inner Voice, by Renee Fleming . Published by Viking Press . 222 pages . Sub-titled The Making of a Singer, this book by the great American soprano offers aspiring clarinetists valuable lessons in at least two areas . First, she describes the kind of work ethic and resourcefulness needed to achieve success in our highly competitive field, and second, she discusses technical issues essential to good wind playing: detailed descriptions of support, voicing, resonance, and tonal clarity, all of which shed light onto our own inquiries . Due to the success she has achieved, Ms . Fleming’s fans would indulge her if this book simply chronicled one triumph after another, leavened with a few amusing stories . Instead, she has given us something very different: a focus on the arduous task of overcoming obstacles, many of which seem daunting to young musicians . Educators will find Ms . Fleming’s description of her relationship to her main teacher, Beverley Johnson, as well as comments about the contributions made by other teachers, mentors, and colleagues to be of interest and value . Generouslydetailed, well-written, and down-to-earth, this book is of lasting value to all ambitious musicians . Highly recommended .

About the Writer… Larry Guy is professor of clarinet at New York University and Vassar College, and teaches at the MAP Program at the Juilliard School and the Precollege Division of the Manhattan School of Music in New York . He is the author of six textbooks for clarinetists, and has produced three educational CDs for Boston Records showcasing the artistry of Daniel Bonade, Ralph McLane and Mitchell Lurie . He welcomes your input on any pedagogic concept you may be willing to share . If your idea is chosen to be included in an upcoming “Pedagogy Corner” article, you will be given credit . E-mail him at Lguy551856@aol .com .

Visit the International Clarinet Association on the World Wide Web: www.clarinet.org 34

The Clarinet

2012 COMPOSITION COMPETITION Bass Clarinet and Piano Eligibility: The competition is open to composers, clarinetists, and musicians who desire to further the repertoire of the clarinet with an original composition. Application: Send materials postmarked no later than October 15, 2011 to: 2012 I.C.A. Composition Competition Eric Mandat, Coordinator School of Music, Mailcode 4302 Southern Illinois University Carbondale 1000 S. Normal Ave., Carbondale, Il 62901 Studio (618) 453-5828; Fax (618) 453-5808; E-mail: [email protected]

CoNtESt RUlES I.

Application fee: $50 US. Make amount payable to the I.C.A. in U.S. currency by bank check, money order, or credit card only. If paying by credit card, please use the credit card payment form, which can be downloaded from the Composition Competition page on www.clarinet.org. The application fee is non-refundable. II. The 2012 Composition Competition call is a piece for bass clarinet and piano, at least 10 minutes in length. The submitted work must have no prior performances. A score and clarinet part must be provided. A MIDI realization of the work is optional. III. A permanent address, telephone number and e-mail address should be provided.

JUDgINg A committee having no knowledge of the contestant will conduct the judging of scores and parts. Do not include any identification on the scores and parts or the optional MIDI realization. E-mail or a letter of notification by January 15, 2012 will announce the winner. The winning composition will receive a world premiere performance during ClarinetFest® 2012, August 1-5, 2012 in Lincoln, Nebraska. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest® 2012 will be provided. If the winner is a clarinetist, he/she must be a member of the I.C.A. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A. will provide the performers for the premiere performance. All scores and parts will become the property of the I.C.A. Research Center at the University of Maryland Performing Arts Library and will not be returned.

PRIzE $1,000 Prize The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

September 2011

35

by Kellie Lignitz and Rachel Yoder

Streaming Video

W

e have written extensively about YouTube in past Clarinet Cache columns, but we haven’t mentioned much about other places to view clarinet videos on the Web. YouTube is just one of many ways to share and search video online. YouTube is just one of many ways to share and search video on the Web; also, live video streaming is becoming increasingly popular as the technology improves. For this column, we’d like to explore some places clarinetists may want to visit to view streaming video on the Web.

InstantEncore

InstantEncore is a streaming video and audio sharing site designed with classical musicians in mind. Ideal for performing artists, ensembles, and composers as a way to share their music, InstantEncore also makes social networking easy for musicians who aren’t Web savvy by coordinating YouTube, Facebook, Twitter, and website updates in one place. Classical music fans can easily search the site for videos and audio by genre, composer, instrument, artist name, etc. As the site is focused on classical music, content is easier to sort through and generally higher-quality than that found on YouTube. Also, InstantEncore videos tend to have more complete information about artists and works than other video sharing sites, which often leave out crucial facts like movement numbers, conductors or performers. Chamber music seems to be the most well-represented genre on this site. Clarinetist José Franch-Ballester is featured in several videos with the Camerata Pacifica, performing movements from Beethoven’s Quintet for Piano and Winds Op. 16 and Harbison’s Wind Quintet. There is also quite a bit of new music, including works with multimedia and electronics. Clarinetists may also be interested in the videos of symphonic works performed by ensem36

bles such as the Chicago Symphony and the New York Philharmonic. The videos generally tend to be excerpts or single movements, but many complete works can be found in the audio section of the site. InstantEncore has a nice player for streaming audio that allows you to queue up a playlist of recordings – we recommend Charles Neidich’s recording of Stravinsky’s Three Pieces, Bil Jackson’s recording of Kevin Puts’s Clarinet Concerto with the Aspen Chamber Symphony, and David Shifrin’s performances of Bernstein’s Sonata and Bartók’s Contrasts. Universities have even begun to use the site to promote their music schools, with tracks such as the Cleveland Institute of Music’s “New Music Series Highlights Fall 2010.” InstantEncore also allows a local or national search for upcoming and past chamber concerts. There is some advertising on the site, but the sleek interface minimizes the obtrusiveness of the ads (and they presumably have to pay the Web developers somehow!). Hopefully this site will continue to grow as a destination for classical music listening and networking on the Internet.

Live Streaming

In an effort to reach larger audiences outside of the concert hall, universities across the U.S. are now live-streaming broadcasts of concerts and programs, often accessible directly through the school’s site. In addition to live-streamed concerts, the Yale School of Music website also holds a large supply of podcasts of various programs, interviews, and musical discussions. Several podcasts feature the clarinet, including David Shifrin’s performance of Yale faculty composer Ezra Laderman’s Concerto for Clarinet and Strings. Traveling westward to Indiana University’s Jacobs School of Music, the IU Music Live! website hosts several on-demand videos of past opera and ballet productions and more than 43 video and audio The Clarinet

podcasts. The live streaming project first started in November 2007 and all video production is student-run and managed by the Department of Recording Arts. The number of programs available for viewing has grown to include performances of groups such as the IU Philharmonic Orchestra and Jazz Ensemble. When browsing through the list of podcasts, be sure to check out the 2008 chamber music performance by the ensemble Trio Cayanne playing Jean Françaix’s Divertissement with Steve Cohen on clarinet. Heading further south to our neck of the woods in Denton, Texas, the College of Music at the University of North Texas regularly broadcasts classical programs, with more than 80 concerts streamed live during the 2010–2011 season. Unlike the sites mentioned above, UNT unfortunately restricts access to archived programs, making them available only to UNT students, staff, and faculty. However, what sets UNT’s live streaming video apart from the content on other websites is the ability for viewers to interact with each other during concerts. Through the live broadcast platform Ustream, viewers watching the UNT concerts can interact and chat in real time with others, including those sitting in the audience using an iPhone app or with family members around the world. Blair Liikala, Director of Recording Services for the College of Music, often monitors these chats to find ways to enhance the live-streaming experience; for example, if a parent mentions which player is their child, Liikala can relay this information to the camera crew, instructing them to get a close up of that student. It is this type of live interaction and instant feedback that allow remote viewers to experience the concert in ways that were previously not possible.

Ustream and Vimeo

Used not only by universities, Ustream is an interactive public website with a variety of live-streamed content. Although the listing for clarinet-related videos is lack-

ing in high-quality entries, a few videos stand out, such as bass clarinetist Martin Moore playing Isang Yun’s Monolog . Another site worth visiting is Vimeo . With a seemingly endless supply of clarinet entries, this is probably the only place where you will find a video of a man playing clarinet in the nude!! Such alternatives to YouTube are becoming increasingly popular, and as faster internet connections allow video quality to increase, we look forward to watching more and more clarinet videos on the Web . * * * * * Thanks to Chris Raddatz for giving us the heads-up about InstantEncore’s collection of clarinet video and audio! If you have suggestions for websites we should take a look at, please e-mail us at clarinet cache@gmail .com . Visit clarinetcache .com to view the electronic version of this article, and check out our new links page . We have been working all summer to compile a list of the best clarinet links on the Web, so come explore! * * * * *

InstantEncore – http://instantencore .com Yale School of Music – http://music .yale .edu/media/ Indiana University – http://music .indiana . edu/iumusiclive/streaming/ University of North Texas – http://recording .music .unt .edu/live Ustream – http://www .ustream .tv Vimeo – http://vimeo .com

About the Writers… Kellie Kellie Lignitz is lecturer of music (clarinet) at Texas A&M University–Kingsville and is finishing up her doctoral work in clarinet performance at the University of North Texas, where she also received her M M .M . M in 2003 2003 . As a native of Kansas, she holds a B .M . from Washburn University . Her primary teachers include James Gillespie and Kirt Saville . Kellie holds the principal clarinet position in the Laredo Philharmonic Orchestra and is also a member of the Corpus Christi Wind Symphony .

Rachel Yoder is adjunct professor of clarinet at Southeastern Oklahoma State University, and a private instructor and clarinetist in the Dallas-Fort Worth area area . She earned a D D .M .A . in clarinet performance at the University of North Texas, and holds degrees from Michigan State University and Ball State University . Her teachers include James Gillespie, Caroline Hartig, Elsa Ludewig-Verdehr, and Gary Whitman . Rachel performs regularly as clarinetist in the Madera Wind Quintet and bass clarinetist in the Chameleon Chamber Group, and enjoys collaborating with composers to perform new works for clarinet .

Visit the International Clarinet Association on the World Wide Web:

www.ClArInet.org

UNCSA announces the appointment of Oskar Espina-Ruiz as its artist-faculty of clarinet Oskar Espina Ruiz has performed as soloist at major concert halls and festivals around the globe to high critical acclaim. Born in Bilbao, Spain, he moved to New York in 1991 to further his studies in clarinet and won the top prizes at the Olga Koussevitzky and Artists International competitions. He holds a DMA from Stony Brook University and a MFA from Purchase College Conservatory of Music, where his major teachers were Charles Neidich and Ayako Oshima. In August, he joined the faculty of the University of North Carolina School of the Arts as a clarinet instructor. He maintains a busy concert schedule and continues to serve as artistic director for Treetops Chamber Music Society in Stamford, Conn. Wade Weast, dean

2012 on-campus auditions: Jan. 20, 2012* Feb. 24, 2012*

Feb.10, 2012* April 6, 2012

*Merit scholarship consideration

The University of North Carolina School of the Arts is an equal opportunity campus of the UNC system.



• Professional Artist Certificate • Master of Music • College Arts Diploma • Bachelor of Music • Residential High School

September 2011

Tadeu Coelho, flute Taimur Sullivan, saxophone Oskar Espina-Ruiz, clarinet Saxton Rose, bassoon

Dance

1533 S. Main Street

Design & Production

Winston-Salem, NC 27127-2188

Drama

336-770-3290

Filmmaking

[email protected]

Music

www.uncsa.edu

37

What’s Happening in Italy: Rome’s Coro di Clarinetti del Lazio at ClarinetFest® 2011

A

s this article was being written, a celebrated clarinet choir from the Lazio region of Italy (the region including Rome) was preparing for its August 7 appearance at the 2011ClarinetFest® in Northridge, California. The Coro di Clarinetti del Lazio was founded in 2000 by clarinetist Antonio Tomao, who helped form its core repertoire; Simone Saccoccio (E-flat clarinetist with the group) has been its contact person since 2008. Saccoccio and his group believe their ensemble to be the main professional clarinet choir in Italy; other Italian clarinet choirs known to them are student groups. The Coro di Clarinetti del Lazio has several distinctive features. The musicians are professional colleagues, active as both ensemble and solo players, playing together in military bands. With only 10 members, typically playing one on a part, the group identifies strongly with a chamber music sound. They usually perform without a conductor, deliberately modeling themselves on groups such as the Orpheus Chamber Orchestra, but when they require direction, they have been fortunate to have a collaboration with Maestro Nicola Samale, the renowned Italian composer and conductor. He has also contributed works to their repertoire. The Coro del Lazio seeks to build a repertoire of original compositions and transcriptions across many genres: chamber, modern, jazz and traditional. They rehearse regularly, every two weeks or more depending on their performance schedule. In Italy, they have participated in cultural events, TV presentations and recordings. At the 2007 Chamber Music Competition “M. Trotti” at Matera, they received a special commendation from clarinetist Gervase de Peyer, who headed the jury. That same year, they were also guests at the “Clarinet Day” sponsored by the Rome international competition “V. Bucchi International Prize,” giving the premiere performance of Nicola Samale’s original composition Kronos, which is also featured on the group’s 2008 CD. 2010 brought the premiere of another new work, Samale’s Astra. Both of these works will be performed at ClarinetFest® 2011 as 38

by Margaret Thornhill part of a program dedicated to contemporary Italian composers for clarinet choir. (A third work on their program, Antonio Fraioli’s jazz concerto, My Funny Paola, has already been reviewed in this column.) Samale is well known as a conductor, composer, and music researcher who has conducted all the principal Italian orchestras as well as orchestras in England, Germany, France, Romania, Poland, Slovakia, Israel, USA, South Africa, Belgium, Holland and South Korea. As a composer, he has written symphonic, choral, and chamber works (including three compositions for clarinet choir), and he is well known for his scholarly completions of several major unfinished orchestral works. His completion of the Symphony No. 9 of Anton Bruckner has been recorded three times, one of them under the baton of Eliahu Inbal, which won the “Gold Diapason” award in 1988. In 2008, he also completed the third movement of the unfinished Schubert’s Symphony No. 8, and in 2001 he finished the Gustav Mahler’s 10th Symphony which received its first performance by the Wiener Symphoniker under Martin Sieghart. Recently, I chatted via E-mail with Simone Sacciocco about the group and its performance in California: MT: I love the Italian repertoire on your CD. Your performance of the Rossini overture to Italiana in Algeri is a revelation of lightness in articulation! The phrasing is beautifully operatic. I particularly like the contemporary works by Samale on this disc, Elegie and Kronos. Can you tell me more about your ClarinetFest® program? SS: Astra is the latest Samale composition for our ensemble. Like the subtitle indicates, it is a “fantastic divigation in The Clarinet

Margaret Thornhill three parts” for clarinet choir and solo piccolo. The piccolo soloist (at ClarinetFest® is Claudio Tievoli, first flute of the Italian Navy Band. My Funny Paola is an amusing work of the clarinetist and composer Antonio Fraioli. It’s nicely dedicated to his wife Paola and to the Coro di Clarinetti del Lazio. It was first performed in Sutri, Italy, on June 2010, on the occasion of a meeting dedicated to the famous clarinetist Tony Scott. The soloist in Los Angeles will be Federico Fantozzi, the first clarinet of our group. All the program will be conducted by Samale. MT: How many musicians are in your group? I see 13 names on the CD. SS: The Choir had an evolution of its original score formation. So, initially it consisted of 13 elements: one E-flat, six B-flats, two altos, three basses, one contrabass. Now we prefer to play with a reduced formation of 10: one E-flat, four B-flats, two altos, two basses, one

one Saccoccio will play with the Stark Quartet at ClarinetFest® 2011! Mt: Do you know of other Italian clarinet choirs? SS: I know other Italian clarinet choirs, and they are mainly composed of clarinet students . For example, in 2010 I knew the clarinet choir of Milano’s Conservatory . I remember some years ago Maestro Piero Vincenti dedicated a great work to the clarinet choirs . I know that in Rome there was a clarinet choir in the Italian Police Band, but I don’t know if it’s in existence today .

Coro di Clarinetti del Lazio, 2011. Top row (l–r): Federico Fantozzi, Simone Saccoccio, Claudio Tievoli, Oriana Santini, Stefano Rizzotto, Manrico Salvatore, Claide Di Silvestro, Nicola Samale; Bottom row (left to right): Salvatore Lombardo, Salvatore Di Russo, Vincenzo Spitaleri, Antonio Pelizza contrabass . Depending on the scores, one of the bass clarinets plays the B-flat clarinet . But the members are nearly the same, including our very faithful contrabass clarinet, Claide Di Silvestro . Mt: What interests you about coming to Los Angeles? SS: Perhaps the fascination of a city like Los Angeles, that for the Italians is always seen in the magic word of Hollywood… We are very happy to come to the U .S .A ., because . . .there is a particular mental opening with the musical art . Besides, we think that is very important to compare us with American clarinet choirs so we can improve our conception listening to different ways and approaches to the formation . Mt: I would like to know more about the clarinetists. Where do each of your members usually play or teach? Tell me a little about their musical lives. SS: We all live in and around Rome . In particular, all the members play in the Italian Navy Band, with the exception of Oriana Santini, our first bass clarinet . All the players are professional . . . In Italy there is a great tradition of military bands . So, we have two categories of bands: professional central military bands and departmental military bands . In the first category are six, all in Rome

and all composed of 102 graduate marshals . Some of us have also other competencies: Claide is a graduate in musical didactics and in modern letters, Antonio (Pelizza) is also (an) orchestral conductor, and all of our members have their musical work divided between the Navy band and their own musical projects . For example, a certain Sim-

Mt: I see that Oriana is the only woman in the group. How does she like that? Who makes most of the decisions in the group? SS: She likes this very much: she is “blessed between the men!” Seriously, I have to say that Oriana is a very good bass clarinetist and that she adapts very well . . .All the members have an equal value in the decisions of the group . Naturally, when we do not have the same ideas on a certain thing, we adopt the method of democratic majority . Then, we have a little work group for the various engagements, composed of Salvatore Di Russo, Stefano Rizzotto and me . Mt: What are some future plans of the group? SS: In particular, a concert in Novi Ligure, Italy, on September 8 . On this occasion

HOT TIPS: NEw ITALIAN REPERTOIRE Elegie and Kronos, for clarinet choir; Astra (for clarinet choir and solo piccolo) by Nicola Samale. (Not published; available from the composer through Coro di Clarinetti del Lazio.) Listening to their CD (Coro di Clarinetti del lazio, Associazione Musicale Cultural “Orpheus,” 2008), which includes Elegie and Kronos, I found myself very attracted to Nicola Samale’s compositions which make wonderful use of the colors of the clarinet family. Kronos in particular should be a great discovery for small to medium size groups with interest in new repertoire. The work, which is just under eight minutes long, has a wonderful dramatic shape with much contrast, and is in a modern atonal idiom with lyrical and giocoso qualities very suitable to clarinets. Elegie is a shorter (five minutes), emotionally charged work shaped around a single chromatic idea, used in imitative counterpoint throughout the voices and as a basis for parallel harmonies. Also very suitable (in my opinion) for a larger ensemble with doubled parts, this darkly expressive compostion is somewhat similar in style to the American composer Elliot del Borgo’s Dodecaphonic Essay for clarinet choir. At the time of writing, I was not able to preview Astra. Highly recommended! Both the CD (which sells for five Euros plus postage) and scores are available on request through [email protected] September 2011

39

we propose a program totally dedicated to the celebration of the 150th anniversary of the union of Italy, with only Italian music (original and transcriptions). Our intention is also to record a CD in 2012 of only music by Maestro Samale, dedicated to our group. MT: Do your members know each other well as friends, or mostly as professional colleagues? SS: We are all colleagues in the Italian Navy Band (except Orianna), but in private life we are also good friends. I think in a musical group friendship is fundamental; and this especially if there are professionals in the group. In fact, everybody has to tell his own musical ideas and to receive ideas from the other members. Often there is not this exchange of ideas, and I think it isn’t positive for the musical result. Our friendship is an important condition, thanks to which, we can play … in concert without a conductor. MT: What is special to you about playing in the Coro del Lazio? SS: I think that the clarinet choir has no limits about playing transcriptions ...in

particular, Italian opera, symphonies and baroque music can really be played with excellent results with a clarinet choir: all the voices are replaced from the original score, and the effect in some occasions could be better than the original. (It also depends, naturally, on a good transcription!) We are also always searching for original works. From some years, Nicola Samale helps us to improve the original repertoire for the group, and for him it’s become a challenge to experiment new musical styles for clarinet choir. He’s a great musician, and over all a friend. * * * * * You can listen to the Coro di Clarinetti del Lazio on the Web: www.myspace.com/corodiclarinet tidellazio www.youtube.com/ watch?v=CHb_0kLSq-Q www.youtube.com/watch?v= o4yNka9RQuE&feature=related You can contact the Coro di Clarinetti del Lazio at E-mail: corodiclarinetti@ libero.it

About the Writer… Margaret Thornhill, DMA, is a performer and private teacher in Los Angeles who conducts the Los Angeles Clarinet Choir, is founder/director of the Claremont Clarinet Festival and adjunct professor of clarinet at Concordia University, Irvine. She is interested in gathering information about clarinet choirs around the world for future columns. Send clarinet choir news, comments, or information to her at [email protected]

Back Issues of The Clarinet

Back-issue order forms for The Clar­inet may now be downloaded from the I.C.A. website: www.clarinet.org. Copies may also be re­­quested by con­tacting: James Gillespie 405 Santiago Place Denton, Texas 76205 E-mail: [email protected]

New Music Ensemble Assistantships for Fall 2012 Entering Graduate Students Mizzou New Music Initiative seeks talented performers dedicated to promoting new music. The New Music Ensemble, under the direction of faculty composer and Alarm Will Sound member Stefan Freund, will collaborate with MU’s faculty and student composers, perform frequently on and off campus, and work with some of the world’s leading composers and interpreters of new music. MU’s New Music Ensemble Instrumentation: Flute, Clarinet,Violin, Cello, Piano, and Percussion. Anticipated openings for Fall 2012: Flute, Clarinet,Violin, Piano, and Percussion Graduate Assistantships include a full tuition waiver and an annual stipend of approximately $5,000. Visit music.missouri.edu and click on Mizzou New Music Initiative for more information. Deadline: All graduate applicants are expected to submit required application materials by January 15, 2012.

University of Missouri School of Music • 140 Fine Arts Building • Columbia, MO 65211 (573) 882-4471 • E-mail: [email protected] • Website: music.missouri.edu

40

The Clarinet

CALL FOR PAPERS AND PRESENTATIONS INTERNATIONAL CLARINET ASSOCIATION CLARINETFEST® 2012 UNIVERSITY OF NEBRASKA–LINCOLN AUGUST 1–5, 2012 The International Clarinet Association will hold its ClarinetFest® 2012, a symposium and festival devoted to the clarinet, at the University of Nebraska, Lincoln. The artistic director is Diane Barger. The program for the conference will include a series of scholarly papers and presentations. The Association solicits proposals for presentations (such as papers or lecture-recitals) on any topic related to the clarinet. The use of live or recorded performance is acceptable; however, presentations whose sole aim is performance are discouraged. Presentations should be designed to be no more than 25 minutes in length. Those giving presentations must be I.C.A. members and must register for the conference. Presenters on the program in 2011 are ineligible for 2012. Each person is limited to one proposal. Prizes will be offered by the I.C.A. as follows: First place paper, US $1,000 and guaranteed publication in The Clarinet journal (subject to editing); and second place paper, US $500. To submit a proposal, send the following: 1. SIX copies of an abstract (1200-1500 words) fully describing the content of the proposed paper or lecture-recital. Include a complete list of sources. The name or identification of the author must not appear on the proposal. 2. ONE copy of an author identification sheet containing the author’s name, address, phone numbers, email address, and title of paper. Please list all equipment needs for the proposed presentation. This sheet should also contain a biographical sketch of the author (limited to 150 words), as you would like it printed in the conference program. The above materials must be received by January 15, 2012. Please send to: Dr. Douglas Monroe, I.C.A. Research Presentation Committee Chair North Dakota State University Department of Music 12th Avenue North & Bolley Drive Dept. 2334, P.O. Box 6050 Fargo, North Dakota 58108-6050 USA For more information, call Douglas Monroe at (701) 231-8498 or E-mail at [email protected]. The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

September 2011

41

ClarinetFest 2012 Lincoln, Nebraska ®

P

lans for ClarinetFest® 2012 began early in 2009 when I first submitted a proposal to serve as an Artistic Director for a future I .C .A . ClarinetFest® . At that time I was confident that Lincoln would be an exceptional venue for the I .C .A . conference, and I am most excited to invite each and every one of you to come to Lincoln, Nebraska from August 1–5, 2012 to participate in, what I hope will be, a memorable I .C .A . ClarinetFest® . Lincoln, Nebraska, the “Prairie Capital City,” is one of the Midwest’s most affordable, accessible, and agreeable cities located less than a day’s drive from Chicago, Minneapolis, Denver, St . Louis, Kansas City and Des Moines . Named after Abraham Lincoln, this state capital boasts several fine parks, museums, restaurants, specialty shops, art galleries and more . (www .lincoln .org/visiting/thingstodo) Downtown Lincoln houses more than 100 restaurants for your dining pleasure as well as the Historic Haymarket (www . lincolnhaymarket .org) . Here you will find exquisite restaurants, unique shopping, antique shops and entertaining nightspots, including the first microbrewery in Nebraska, all placed among restored turn-ofthe-century warehouses located in close proximity to all ClarinetFest® activities . On Saturday morning of ClarinetFest® (8:00 a .m . to noon) be sure to schedule some time to walk through the Haymarket Farmers’ Market where vendors display fresh produce, flowers and homemade food . (Kolaches anyone?) In addition to the wonderful array of artists featured at ClarinetFest® 2012 (stay tuned for the next issue of The Clarinet for a sneak preview), I believe the venues are an additional highlight of the conference . The Embassy Suites is our primary conference hotel—an upscale, all-suite hotel featuring many contemporary accommodations as well as a complimentary, madeto-order hot breakfast and evening Manager’s Reception every day . The Holiday Inn Downtown, just one block away, is our overflow hotel at the same conference price and allows for all guests to come over to 42

Westbrook Music Building

Lincoln, NE capitol building the Embassy Suites for the aforementioned breakfast and Manager’s Reception for the social atmosphere . Additionally, all exhibits for ClarinetFest® 2012 will be housed in the Embassy Suites’ 12,000-square-foot ballroom . Participants need only take a short walk across the street from the exhibits to the other conference activities that will take place in the University of Nebraska–Lincoln’s Westbrook Music Building, Kimball Recital Hall and the Lied Center for Performing Arts . Heritage to Horizon, the theme for ClarinetFest® 2012, takes a look back to the legacy of Daniel Bonade and Robert Marcellus and towards the future of clarinet performance and pedagogy . The Artistic Leadership Committee looks forward to reviewing proposals for recitals and lectures in the coming months . Please note that the committee is particularly interested in featuring pedagogy presentations or lectures relating to Daniel Bonade or Robert Marcellus as well as innovative and recent concepts and developments in clarinet pedagogy . The conference will also feature performances in a wide variety of performance styles and repertoire . The postmark due date for the Call-for-Proposals Application is September 30, 2011, so please submit your proposals as soon as possible! The Clarinet

In addition to having a “themed” ClarinetFest® in 2012, it was a goal to try to find a way in which to involve a greater population of our I .C .A . members in our conferences; thus the addition of the “Call for Clarinet Enthusiasts” proposal as seen on the I .C .A . website . (www .clarinet .org/ clarinetFest2012Enthusiasts .asp) These 20–30 minute performances will be showcased at the Manager’s Reception at the Embassy Suites between the hours of 5:30–7:00 p .m . on August 1–4 during the conference and are designated to showcase the musical talents of the non-professional clarinetist of the I .C .A . in mixed groups (trios and quartets are ideal) . This provides

an additional opportunity beyond the conference clarinet choirs for our members to share their talents and is a unique opportunity to spend valuable social time with one another each evening in between the regularly scheduled ClarinetFest® events . Mu-

sic in a relaxed atmosphere served up with free appetizers and drinks…who could ask for anything more? Come see for yourself what Lincoln has to offer you . I look forward to welcoming you to our capital city and the University

of Nebraska–Lincoln during ClarinetFest® 2012 – Heritage to Horizon . See you in Lincoln, – Dr. Diane Barger, Artistic Director Hixson-Lied Professor of Clarinet

CLARINETFEST® 2012 CLARINET ENTHUSIASTS Calling all clarinet enthusiasts! ClarinetFest® 2012 in Lincoln, Nebraska is looking for a few good men and women to showcase their musical talents during the Manager’s Reception at the Embassy Suites between the hours of 5:30–7:00 p.m. on August 1–4, 2012. These performances will take place in the open atrium of the hotel. Specifically, we are looking for several programs throughout each evening (maximum of 20–30 minutes in length for each group) of very light, toe-tapping, fun music for mixed groups of clarinets (trios and quartets are ideal). This is a performance opportunity for our friends in the clarinet community who would like to share their talents beyond the conference clarinet choir. You are an important part of the I.C.A. and we wish to feature you at ClarinetFest® 2012! If you are interested, please fill out the separate Call for Proposal form labeled “Clarinet Enthusiasts” on the I.C.A. website.

CALL FOR PROPOSALS ANNOUNCEMENT

ClarinetFest® 2012

Lincoln, Nebraska USA

•

August 1–5, 2012

Artistic Director Diane Barger, Professor of Clarinet at the University of Nebraska-Lincoln, and Artistic Leadership Team members Denise Gainey (University of Alabama-Birmingham) and John Masserini (Northern Arizona University) announce the theme for the 2012 ClarinetFest®: HERITAGE TO HORIZON Looking back to the legacy of Daniel Bonade and Robert Marcellus and towards the future of performance and pedagogy If you would like to submit a proposal to perform or present at ClarinetFest® 2012, please download and complete the Call for Proposals form located on the I.C.A website and send it in to the address below. Recordings and written requests will be accepted through September 30, 2011 and will be reviewed by the committee. The ClarinetFest® 2012 committee is particularly interested in featuring pedagogy presentations or lectures relating to Daniel Bonade or Robert Marcellus as well as innovative and recent concepts and developments in clarinet pedagogy. The conference will be featuring a wide variety of performance styles and repertoire – full consideration will be given to all complete proposals. Only proposals submitted by members of the International Clarinet Association will be considered. Please submit your completed proposal to: Dr. Diane Barger, Artistic Director ClarinetFest® 2012 University of Nebraska-Lincoln, School of Music 120 Westbrook Music Building Lincoln, Nebraska 68588-0100

September 2011

43

The Rise and Fall of the Bass Clarinet in a T by Keith Bowen

he bass clarinet in A was introduced by Wagner in Lohengrin in 1848 . Unlike the bass instruments in C and B-flat, it is not known to have a history in wind bands . Its appearance was not, so far as is known, accompanied by any negotiations with makers . Over the next century, it was called for by over 20 other composers in more than 60 works . The last works to use the bass in A are, I believe, Strauss’ Sonatine für Blaser, 1942, and Messiaen’s Turangalîla-Symphonie (1948, revised 1990) and Gunther Schuller’s Duo Sonata (1949) for clarinet and bass clarinet . The instrument has all but disappeared from orchestral use and there are very few left in the world . It is now often called obsolete, despite the historically-informed performance movement over the last half century which emphasizes, inter alia, performance on the instruments originally specified by the composer . And the instrument has been largely neglected by scholars . Leeson1 drew attention to the one-time popularity and current neglect of the instrument, in an article that inspired the current study, and Joppig2 has disussed the use of the various tonalities of clarinet, including the bass in A, by Gustav Mahler . He pointed out that the use of both A and B-flat clarinets in both soprano and bass registers was absolutely normal in Mahler’s time, citing Heinrich Schenker writing as Artur Niloff in 19083 . Otherwise it has been as neglected in the literature as it is in the orchestra . So why is the bass clarinet in A now so little used? Was it ever used by composers because of the unique perceived quality of its sound? Should “period” orchestras revive this instrument? We can seek the answers in clarinet organology, in documents written by composers, in the music that they wrote, and we can play and listen to the instrument . The development of the bass clarinet up to 1860 has been discussed compre44

hensively by Rice4 . Two early forms, the “plank” type and the visually striking “serpent” form by Papalini did not lead to established production of instruments and were evolutionary dead-ends . The bass clarinet proper began in 1793 with Heinrich Grenser of Dresden who invented an instrument5 in bassoon form, with wider bore and hence more powerful tone, descending to low C . The instrument survives and is now in Stockholm (S-Stockholm M2653), and it inspired a large number of instruments by many makers over at least 60 years . It evolved into the half-bassoon type (with a straight

Figure 1: A bass clarinet by Ludwig and Martinka of Prague. Czech Museum of Music, E.135. Originally labeled as a bass in A, acoustic calculations showed this instrument to be pitched in C (see text). With kind permission of the Czech Museum of Music. The Clarinet

upper joint, a butt joint and a bell coming directly off this) towards the end of its life, and also into a simple folded tube (the Glicibarifono), especially in Italy . An example by Ludwig and Martinka of Prague is shown in Figure 1 . Without exception these instruments descended at least as low as written C. This very compact bass instrument was undoubtedly used mainly in military bands,6 though it is known that the very first orchestral bass solo, in Saverio Mercadante’s Emma d’Antiocha [1834] for bass in C was played by Catterini on his own bassoon-form instrument and used the full bottom range to C . An excellent example of Catterini’s instrument survives in the Bate Collection in Oxford (No . 496) . It is not known why the bassoon form was eventually supplanted by the modern “straight” form, which was invented by Desfontenelles of Lisieux in 1807 . Criticism of the “nasal” sound of the bassoonform instrument was made by Mandel in 1859 .7 But very likely it was the innovations and superb craftsmanship of Buffet “Jeune” in 1833 and notably Adolphe Sax in 1838, plus a preference in the French Conservatoire that a clarinet should look like a clarinet and not like a bassoon . The French musicologist Fétis remarks:8 In order that the new instruments conserve as much as possible of the analogy that exists with the soprano clarinet, it is necessary not to alter the form at all; I think therefore that Messrs . Dacosta and Buffet have better achieved this end than Mr . Streitwolf in not curving the tube of their bass clarinette, and in facilitating the playing of the instrument by means of an inclined bocal to which the mouthpiece is adapted . The lack of notes below E was not perceived as a disadvantage for orchestral

playing. This range remained standard for the rest of the 19th century with only occasional provision and use of the written E-flat.

Assessment of the Pitch of an Instrument

Before cataloguing the bass clarinets in A that have been found, we must inquire how we know that they were so pitched. It is only certain that the instrument was built as a bass in A when there is a documentary record, when the instrument is so labeled by the maker and when a pair of instruments in B-flat and A is preserved. In other cases, this simple question does not have a simple answer, even if the instrument can be played, since absolute pitch has varied enormously in different localities even since 1850.9 In the mid 1860s, a B-flat clarinet in Paris or Dresden would have been a slightly flat A clarinet in Munich or Vienna. One must attempt to assess the pitch level in which the instrument was originally played. Further problems arise when, as is normal in museum collections, the instrument may not be played even if it is in good



enough condition. Critical examination is still necessary. An example is instrument E.135 in the Czech Museum of Music, a bassoon-type instrument which was labeled “Bass Clarinet in A by Ludwig and Martinka.” The museum staff (all new since 1990) had no information about the provenance of the label or the instrument except the donor’s name, and kindly allowed the author to make detailed measurements. In such cases, the only resort is measurement and mathematics.10 In its lower register, a clarinet approximates closely to a closed-end cylindrical pipe. The fundamental vibration frequency, f, of this pipe depends only on its length, L, and the speed of sound, v: f = v/4L v may be taken as 345 m/s. In principle we measure the length and apply the formula, but there are two complications. The mouthpiece needs special treatment since it varies in shape internally. The best way is to measure its internal volume, which generally cannot be done with museum specimens, but an estimate which will not greatly affect the result is to take half the actual length of the mouthpiece. The sec-

ond complication is that the bottom note is a poor one to choose for determining the pitch, because of the effect of the bell. There is no simple formula for estimating the acoustic length of a bell of arbitrary shape. Therefore, it is best to measure the length to the center of a low tone hole that is followed by an open tone hole (both within the cylindrical part of the bore) and apply a tone-hole correction c. The acoustic length is longer than the physical length to the last closed tone hole by the amount

where z is the distance to the next open tone hole, d is the diameter of that tone hole, D is the bore diameter at the open tone hole and t is its depth. h is a factor that may be taken as 0.75 for a completely open hole and 1.0 for an average padded hole. The acoustic treatment of the butt joint in a bassoon-form instrument has not yet been determined, but tube curvatures are known to have a flattening effect. This formula was tested by application to care-

Date

Form

Maker

City

Location reference

Lowest written note

1

Late 18th C

Plank

Unknown

Unknown

B-MIM M939 (Brussels)

E

2

1850s

Unknown

Johann Adam Heckel

Biebrich

Wagner letter of 1861

E?

3

Pre-1866

Unknown

Unknown

Unknown, probably Germany

Lachner survey of 1867. Old high pitch.

?

4

c. 1866

Unknown

Georg Ottensteiner

Tübingen

Lachner survey 1867. New low pitch. Converted from B¨ high pitch

?

5

1840-1860

Straight

Stengel

Bayreuth

Thomas Reil collection. Very probably a pair with the B flat in Edinburgh EUCHMI 4932

E

6

1880s

Straight

C. Kruspe

Erfurt

D-MMUL 4478 (Leipzig)

E

7

1890s

Straight

Karl Stecher

Vienna

A-KMW N.E. 345 (Vienna)

E?

8

c.1900

Straight

C.W. Moritz

Berlin

D-SIfM 4438 (Berlin)

E

9

c.1901

Straight

Carl Kruspe

Leipzig

D-München 90-43

E

10

1920

Straight

Buffet

Paris

EUCHMI 5122 Edinburgh

E

11

1919

Straight

Heckel, No. 3615

Biebrich

G. & I. Joppig collection

E-flat

12

1939 - 1959

Straight

Fritz Wurlitzer

Erlbach

D-SIfM (Berlin) 5298

E-flat

Table 1: Chronological list of extant or documented historic bass clarinets in A September 2011

45

fully-measured instruments such as the Heckel 1906 B-flat bass in Nürnberg.11 In the case of the Ludwig and Martinka “bass in A,” the acoustic length of the E note was measured at 1000.0 mm plus a tonehole correction of 32.31 mm. The resulting frequency is 83.6 Hz; the butt and mouthpiece approximations will result in an uncertainty of c. ±2 Hz. In equal temperament at the likely local pitch of a’=435 Hz (Diapason Normale – the Bohemian musician were strongly influenced by French practice), E is 81.5 and F is 86.3 Hz. E is the closest note (bear in mind the accuracy of about 2 Hz), so the instrument is very likely to be a bass in C. To be a bass in A, the pitch level would have to be about a’=530, which is much too far above even the very high Viennese pitch of the time.

Figure 3: The Kruspe A bass D-MMUL 4478 (Leipzig, left) compared with a slightly earlier B-flat bass by the same maker, also in Leipzig. With kind permission from the Museum für Musikinstrumenten der Universität Leipzig

The World Catalogue of Bass Clarinets in A

A comprehensive search for bass clarinets in A was undertaken through online museum catalogues, clarinet and bass clarinet Internet lists and correspondence. Three instruments with strong documentary evidence were identified as well as nine actual instruments in museums or collections worldwide. The oldest, a plank form, was probably not made specifically for the A tonality as it is dated a century before the earliest known music for this instrument, and we do not know the local pitch at the time. The resulting historical catalogue is shown in Table 1. This is probably reasonably accurate for museum collections of modern-type instruments given the sources used, though it may not include all private collections. Although no bassoon-

type instruments pitched in A have been discovered, most such instruments have not been studied for pitch. The instrument is without doubt extremely rare. Two of these instruments are illustrated in Figure 2 and Figure 3. In addition, six current professional players in the UK, USA and Canada with basses in A have been found, five using Selmers from a batch made in the 1980s plus one Buffet probably from the 1920 or 1930s. One German-system instrument has also been found, reportedly also dating from between the two world wars and made in the Voigtland region, which is in occasional use in the Dresden Opera. There is hearsay evidence for three or four

Figure 2: The Stengel bass (no. 5 in the above list), probably the earliest bass clarinet in A that is known. With kind permission from Thomas Reil. 46

The ClarineT

others. The world list of basses in A thus stands currently at about 20 instruments.

Documentary Evidence

Three of the instruments in the world catalogue are only known from documentary evidence. Liszt conducted the first performance of Lohengrin while Wagner was in political exile in Switzerland, and their 1850s letters discuss the procurement of a bass clarinet several times, from which we may deduce that Kruspe of Erfurt was the supplier for the Leipzig performance in 1853. The tonality is not mentioned in these letters, but Wagner does make a telling comment in a letter dated June 15 1861 to Heinrich Esser of Vienna, who was to conduct a performance of Tristan in 1861 or 1862:12 Now, I should like to remind you that a bass clarinet in A must be obtained. We spoke about this once: I know that in many places, particularly in Dresden, this instrument was used in Lohengrin in addition to the bass clarinet in B-flat, and what the player there could accomplish must be possible in Vienna too. They wrote to me at the time from Dresden that they had obtained this A clarinet from an instrumentmaker somewhere on the Rhine - I don’t know whether it was in Darmstadt or where. Have the goodness to find out about this!

This is the first direct evidence that an important composer considered either the tone quality of the A, or perhaps the smoothness of fingering in an easy key, essential, not merely the range. For there would be no point in his statement if he would allow the concert D-flat to be played on a B-flat instrument, which was certainly possible at the time. It is also the first evidence that a bass in A was actually used in a Tristan performance. According to Holde, the instrument maker referred to in the quotation was Johann Adam Heckel of Biebrich, founder of the famous company, who later met Wagner and inter alia constructed the wooden trumpet for Tristan. Court and orchestra records provide the other two instruments. While most players owned their own soprano clarinets, the bass instruments were often owned by the court or theatre, especially in the early days of their use. There was an inspection of the instruments of the Bavarian Court

by the General Music Director Franz Lachner on 30 August 1867,13 shortly after the 1865 edict of King Ludwig II lowering the pitch throughout Bavaria to Diapason normale by the end of the year; this was approximately a semitone lower than the previous pitch . Lachner wrote: Georg Ottensteiner made these instruments for his friend Baermann, “a B-flat- Clarinet [ . . .]” with it [as a set] “an A and a C clarinet [ . . .]” a “mouthpiece [ . . .]”, and an “A-bassclarinet”, in addition to that he converted the old A-bassclarinet into a B-flat-bassclarinet and delivered a “mouthpiece for the A- and B-Bassclarinet [ . . .] and a “bassethorn … .”14 (tr . Heike Fricke; descriptions of materials omitted from translation) Conversion of a bass in A to one in Bflat at the same pitch is not practical . The length to any tone hole is about 5% difference, i .e . 50 mm towards the bottom of the instrument . All the tone holes and post holes would need filling and redrilling, most of the keywork would need shortening or remounting, and a new neck would be needed . However, the passage makes sense if the “old” bass clarinet was made at the pre-1866 pitch, approximately a semitone higher .15 It would then be close to a B-flat clarinet in the new pitch, and require only minor tuning adjustments . This is strong evidence for the earliest bass clarinet in A being constructed before 1866, though we cannot assume that it was Ottensteiner . We do know directly of (Carl) Baermann’s virtuosity, from contemporary sources and from his famous tutor, which is still in print .16 Without doubt he could have played any of the Wagner parts on any bass clarinet having the range, yet he found it worthwhile to repeat his experience of playing a bass in A, as well as in B-flat, after the pitch change in Bavaria . We may speculate on further bass clarinets in A from the enormous patent literature on the clarinet, but this is unsupported by other evidence . Patents tell one what was invented, in the form of a concept and design, and hence what could have been made . They do not tell one what was actually available . For example, the 22 July 1853 Austrian patent of Anton Nechwalsky claiming the invention of a bass with an extension to C is proven by the surviving B-flat instrument in the Smithsonian Institute, No . 67269 . However, his ad

Figure 4: the numbers of manufacturers offering bass clarinets in A, since 1900. dendum of 3 October 1853 stating that he could supply these instruments standing in C, B-flat or A is unsupported, since the Smithsonian example is his only known extant instrument . The decline in the popularity and availability of the bass clarinet in A can best be traced through manufacturers’ documents and records . Some 40 catalogues or advertisements dating from the 1890s to the 1960s were examined, and a number of existing manufacturers responded to requests for information . This is summarized in Figure 2 . Bass clarinets in A were routinely offered by a dozen manufacturers, large and small, up to WWII . However, all these makers have either disappeared or no longer offer the instrument . There is currently a single custom maker (Stephen Fox) who offers the bass in A as routine . The situation was summarized by Jérome Selmer who wrote:17 We never had a bass clarinet in A in our catalogue . We just made a few a long time ago, around 20 years . We never decide to go [into] production in series because the investment is not valuable compared to the quantities required by our customers . … For your information we produce approximately 350 Bass clarinets per year . The bass clarinet has enjoyed greater popularity since the mid-20th-century than at any time, thanks largely to the rise of school and college music and its emphasis September 2011

on wind bands . This has driven the emphasis of manufacture towards mass production methods – of B-flat instruments only . There is thus a compelling argument that market, not musical forces have been decisive in the decline of the bass clarinet in A . Now let us see what we have been missing .

The bass Clarinet in A in music

We approach this from two directions: what were composers taught, and what did they write? Many orchestration manuals are available from the 19th and 20th centuries: Logier (1825), Berlioz (1843 & 1856), Gassner (1849), Porteous (1854), Lobe (1858), Gevaert (1863), Prout (1899), Rimsky-Korsakov (1891), Kling (1883 and 1905), Corder (1896), Widor (1904), Berlioz & Strauss (1904), Jadasson (1907), Forsyth (1914) and Evans (1926) . Virtually all of these emphasized two features of writing for clarinets . One is that it is difficult to play them fluently in “extreme” keys (more than two, or possibly three, sharps or flats) so that a composer should choose the clarinet largely according to the main key of the work (and sometimes the instrument in A was required mainly for its lowest note) . The other is that the C, A and B-flat clarinets have a very different sound character, and this must be taken into account in the composition . Thus, even though composers might not have originally chosen the clarinet for its tone quality, they had to bear in mind the tone implications of their choice . None of the orchestration manuals 47

Surname

Title of work

Opus # (etc)

Date of composition.

1

Bartók

Dance Suite No. 1

Opus 3

1905 rev. c. 1920

2

Bartók

Dance Suite No. 2

Opus 4

1907 rev. 1920, 1943

3

Bartók

Miraculous Mandarin

Op. 19

1924

4

Bax

Spring Fire

1913

5

Bax

Symphony No. 1

1922

6

Bax

Symphony No. 2

1926

7

Bax

Symphony No. 4

1931

8

Bax

Symphony No. 5

1932

9

Bax

Symphony No. 6

1934

10

Berg

Sieben Früher Lieder

1907 orch. 1928

11

Bülow, von

Nirwana

12

Copland

Dance symphony for large orchestra

1925

13

Delius

Paris: a Nocturne (The Song of a Great City)

1899

14

Dvořák

Scherzo Capriccioso

Op. 66

1883

15

Dvořák

The Water Sprite

Op. 107

1896

16

Dvořák

The Noon Witch

Op. 108

1896

17

Dvořák

The Wild (or Wood) Dove

Op. 110

1896

18

Elgar

Pomp & Circumstance March No. 2

Op. 39 no. 2

1901

19

Elgar

Pomp & Circumstance March No. 1

Op. 39 no. 1

1901

20

Ireland

Symphonic Rhapsody Mai-Dun

21

Liszt

Dante Symphony

22

Mahler

Symphony No. 4

1892, 1900 + revs. To 1910

23

Mahler

Symphony No. 5

1902 + revs.

24

Mahler

Symphony No. 6

1904, 1906+revs.

25

Mahler

Symphony No. 7

1905 + revs.

26

Mahler

Symphony No. 8

1907

27

Mahler

Das Lied von der Erde

1909

28

Messiaen

Turangalîla-Symphony

1948 rev. 1990

29

Puccini

Manon Lascaut

1893

30

Puccini

La Bohème

1896

31

Puccini

Tosca

1900

32

Rachmaninoff

Symphony No. 2

Opus 27

1907

33

Rachmaninoff

Symphony No. 3

Opus 44

1936 rev. 1938

34

Rachmaninoff

Symphonic Dances

1940

35

Ravel

La Valse

1920

36

Ravel

Concerto for the Left Hand

1930

37

Ravel

L’Enfant et les Sortilèges

1925

38

Ravel-Mussorgsky

Pictures at an Exhibition

1922

39

Respighi

Fountains of Rome

40

Rimsky-Korsakov

The Maid of Pskov

1872

41

Rimsky-Korsakov

Mlada

1872

42

Rimsky-Korsakov

The Legend of Tsar Saltan

1901

48

Op. 20

1933 Raabe 426

Op. 106

The Clarinet

1870

1855-6

1916

Surname

Title of work

Opus # (etc)

Date of composition.

43

Rimsky-Korsakov

The Legend of the Invisible City of Kitesh and the Maiden Fevroniya

1903

44

Rimsky-Korsakov

The Golden Cockerel

1907

45

Schoenberg

Pelleas und Melisande

Op. 5

1911

46

Schoenberg

Kammersymphonie

Op. 9

1912

47

Schoenberg

Gurre-Lieder

1901 orch 1911

48

Schuller

Duo Sonata

1949

49

Strauss

Sonatine No. 1 für Bläser (Aus dem Werkstatt des Invalide)

1943

50

Strauss

Rosenkavalier

1910

51

Sullivan

The Golden Legend

1886

52

Tchaikovsky

Nutcracker Ballet

53

Verdi

Otello

54

Vianna da Motta

A’ Patria

55

Wagner

Lohengrin

1848

56

Wagner

Die Walküre

1852 -1856

57

Wagner

Tristan und Isolde

1857-1859

58

Wagner

Das Rheingold

1853 - 1862

59

Wagner

Siegfried

1856-1869

60

Wagner

Gotterdämmerung

1869-1874

61

Wagner

Parsifal

1877 - 1881

Opus 71

1892 1887

Opus 13

1895

Table 2: List of works known using the bass clarinet in A. makes the same distinction when discussing bass clarinets, but nor is it contradicted. They say, in effect: “write as you do for the soprano clarinet but an octave lower, and bear in mind that the bass instrument is not so nimble.” It would be difficult for a student to read these manuals without coming to the conclusion that there is a similar difference between A and B-flat bass instruments as there is between the corresponding soprano clarinets. There are grounds for believing that composers would have been aware of the sound when composing. Berlioz remarks:

The scores were all examined with four questions in mind: 1. Is the usage standard (as taught by orchestration manuals: sopranos and bass clarinets in the same tonality, chosen to avoid extreme key signatures, with lowest notes written E)? 2. Is there evidence that the bass clarinet in A was employed for its lower bottom note? 3. Was the tonality of the bass clarinet ever chosen contrary to standard usage?

Most of the usage is indeed standard. Only one work (by Berg) has been found requiring a bass in A with a lower note than written E (E-flat). In the 19th and early 20th centuries, it was absolutely normal to select the bass in A when indicated by the tonality, and this practice was continued by many composers in the 20th-century. It was often used for its lowest note. Curiously, the use of the bass in A persisted longer in France (Ravel, Mes-

Generally, performers should only use the instruments indicated by the composer. Since each of these instruments has its own particular character, it may be assumed that the composer has preferred one or the other instrument for the sake of a definite timbre and not out of mere whim. Turning now to the works that they wrote, Table 2 shows a list of more 60 works found that use the bass clarinet in A.

September 2011

49

siaen), Russia (Rachmaninoff) and even England (Bax, Ireland) than in Germany, where it originated. There are a number of critical works that show that the composer was making a specific choice of the bass in A. In the solo in Tristan accompanying King Mark in Act II Scene 3, Wagner chose the bass in A in the key of A-flat rather than the B-flat instrument in the simpler G. The A instrument could here have been selected for its sound, but also for the “flat” key. Remarkably, he had not heard the bass in A in Lohengrin before composing Tristan and Walküre. Franz Liszt used the bass in A in Eine Symphonie zu Dante’s Divina Commedia (1859) is the next work after Lohengrin and Die Walküre to use bass clarinet in A. In Inferno, he uses two soprano clarinets in B-flat and a bass clarinet in A. There is a prominent solo recitative on the bass in A, descending to written E. But use of written E-flat in the line for the B-flat bass in Purgatorio shows that he did not select purely for the lowest note. Antonin Dvořák used the bass in A in three of his late orchestral tone poems. In The Water Sprite (1896), the instrument is tacet until very near the end. Then, the bass clarinet in A enters in a solo passage doubled by cor anglais, in a mournful coda, after the murder of the child by the evil sprite. The lowest note is only written A, so the B-flat bass could have been used. The passage is just 17 bars, with the instrument playing in F major; it is exactly the right choice for the key and for the sound required, and the required smoothness would have been very difficult to achieve on a B-flat instrument playing in the key of E. Gustav Mahler makes complex choices in his clarinet orchestration, as noted by Joppig.2 In Symphony No. 4 (1892), bass clarinets in both B-flat and A are called. At times, Mahler uses simultaneously clarinets in C, E-flat and B-flat, indicating that he chose the tone color of the clarinets carefully. Until the last movement, the usage is standard. However, the solo passage for the B-flat bass at the end of the work is a significant anomaly. The key signature for the A bass would have been G, much simpler than the actual F-sharp for the B-flat bass. There was plenty of time to change instruments. This choice survived Mahler’s many revisions and corrections, 50

and it must be concluded that he did not want the A bass for this particular solo. Most of the rest of his symphonies use just the bass in B-flat but in Symphony No. 9 he writes down to written E-flat for the bass in B-flat. However, in his last major work, Das Lied von der Erde (1909), there is a short passage for A bass at RN41 in the last movement, at which the soprano clarinets remain in B-flat. The bass is now in G-flat; the low written E is used for a solo group together with the bassoons and contrabassoon, but in light of his knowledge of the extended B-flat instrument, this may be a desire for the instrument to be playing in a flatter key. There are many cases where Mahler appears to have made the choice of tonalities either because of the sound quality that he wanted, or because of the key that he preferred for the instrument. For example in the sixth symphony he shows a preference for the bass instrument to be in a very “flat” key such as G-flat and in the fourth, for the sharp key of F-sharp (or their relative minors). I do not see another rationale for some of Mahler’s choices. Richard Strauss was fastidious in his choice of clarinets; e.g. in Rosenkavalier (1910), three clarinetists manage instruments in E-flat, D, C, B-flat, A, basset horn in F and bass clarinets in A and B-flat. On the “instrumentation” page he wrote that it is absolutely inadmissable to substitute the A or B-flat clarinet for the instrument in C.18 Towards the end of his life, Strauss wrote Sonatine für Bläser (From the Workshop of an Invalid) (1942). Both A and B-flat basses are used. In the second and third movements, the tonality of the bass follows that of the soprano clarinets, A and B-flat respectively. But in the first movement, which like the third is in the key of F, the sopranos are again in Bflat (playing in G) whereas the bass is in A (playing in A-flat). Strauss was notoriously unconcerned about the difficulty for players. It therefore appears that the use of different bass instruments for the two outer movements, both in F, with the same soprano clarinets, was deliberate. In the Suite, Opus 4 (1921) by Béla Bartók, the second clarinet doubles on bass in A for the very prominent unaccompanied Andante solo in the third movement. The solo is in C major, and is very difficult to play smoothly on the bass in B-flat. It is clear that given the key for this movement, the bass in A was a deliberate choice. The Clarinet

There is just one living composer who wrote for the bass clarinet in A, Gunther Schuller in his Duo Sonata (1949). He kindly agreed to a telephone interview in which he said that at the time of composition, he considered the bass in A to be a perfectly reasonable choice since he frequently heard it in the clarinet section of the Metropolitan Opera, in which he was playing horn at the time. He did think there was some difference in sound but in his work, the key relationship between movements was the critical idea. If a bass in A was not available it was perfectly acceptable to transpose it onto a B-flat instrument. He agreed that it was possible that composers such as Wagner and Mahler could have considered that the key in which the instrument was playing might be important for reasons other than technical ease.

The Forgotten Sound of the Bass Clarinet in A

It is important to attempt at least some evaluation of the sound quality of the bass in A, even though this will inevitably be subjective. The instrument in the Grove Collection (EUCHMI No. 5122) was kindly made available for a playing test by the Director, Prof. Arnold Myers. It is a Buffet Crampon dating from 1929, once used in the Los Angeles Philharmonic Orchestra. It is in good playing condition though pitched slightly high, at about a’ = 442, and has two manual register keys. My perception was indeed that there is a similar, but less marked, difference between the bass in A and that in B-flat as there is between the corresponding soprano instruments. Some of the small number of performers who regularly use the bass in A were interviewed: Dennis Smylie (New York), Peter Stoll (Toronto) and Alan Andrews (London). They agreed that it was much more satisfactory to perform works written for the bass in A on that instrument. And in July 2010 the Orchestra of the Age of Enlightenment, who endeavour to play on contemporary instruments, were able to use the EUCHMI instrument (the earliest bass in A that could be obtained for performance) in a performance of Tristan at a BBC Promenade Concert. The bass clarinetist Katherine Spencer commented to the author: ...there was certainly I thought an enormous difference in sound es-

pecially in the low register . Also a general graininess that particularly lent itself to emotion of this solo . When played on the correct instrument I felt that the music played itself, whereas on the B-flat I felt that I had to work hard on phrasing and the right kind of sound . Should, then, “period” – or even modern – orchestras revive this instrument when playing the great works by composers such as Wagner, Mahler, Liszt and Strauss? It is hard to make the case (apart from ease of playing) in instances where the A instrument was apparently chosen for its lowest note within a thickly-scored ensemble passage, but the case for solo passages is strong . The primary approach to historically-informed performance was well outlined by Lawson (1983), and there seems no reason to depart from it: In tackling the complex problem of clarinet sonorities, I believe we should follow the composer’s instructions as closely as possible, even where they appear conservative or eccentric; any attempt to interpret the motives for the choice of a particular clarinet must be undertaken with caution . A knowledge of subsequent developments in instrumental manufacture can pose a continuous threat to an authentic approach . The sound of the bass in A is moderately but significantly different from that in B-flat . It is closer to the sound that the composer imagined . It presents no obstacles to the player; in fact, parts written for a bass in A can usually be played more easily and more smoothly than on a bass in B-flat, because they are normally in a more natural key for the clarinet . I believe that they should .

About the Writer…

8

prof. Keith bowen, FRS, qualified in Metallurgy at Oxford University, UK, and spent 30 years as an engineering professor and researcher, followed by 10 years as technical director of a public scientific instrument company . Since (partially!) retiring in 2005 he studied for a Diploma in Music and MA in Music at the Open University (UK), both awarded with Distinction . He specialized in classical-period performance practice and in the history of the bass clarinet in A . He was awarded the first prize in the I .C .A . Research Competition at ClarinetFest® 2011, Austin, TX, for a presentation on the work on the bass clarinet in A . A lifelong amateur clarinetist, he performs with the pro-am Spires Philharmonic Orchestra, Coventry, UK, is President of Kammermusik Workshops (Santa Fe, NM USA), and is a woodwind coach at the Ischia Chamber Music Festival. He has studied clarinet with Lesley Schatzberger (UK), Lori Lovato (New Mexico Symphony Orchestra) and Forest Aten (Dallas Opera). He plays Wurlitzer Schmidt Reform A, B-flat and C clarinets, Stephen Fox basset horns and E-flat clarinet and a Buffet Prestige bass clarinet.

9 10

11 12 13 14

15 16 17 18

Endnotes 1 2 3

4 5

6

7

Fétis (1833, 122) Pur que ces nouveaux instrumens conservent autant d’analogie qu’il est possible avec la clarinette soprano, ilest nécessaire de ne point en altérer la forme; je pense donc que MM . Dacosta et Buffet ont mieux attaint le butque M . Streitwolf en ne courbant pas le tube de leur clarinette basse, et en facilitant le jeu de l’instrument par un bocal incline auquel s’adapte le bec . Haynes, 2002 The methodology was developed from the theory given by Benade (1990, 450) and from discussions with the clarinet maker and acoustician Stephen Fox . Frank Bär catalogue quoted in Holde, Mendel and Wagner, 1941 (Tremmel 1993, 214) Von Georg Ottensteiner stammten die Instrumente für seinen Freund Baermann, “eine B Clarinette (System Bärmann) von braungebeiztem Buchs), Klappen und Garnitur von Silber” (160 fl .), dazu je “eine A und C clarinette von braungebeiztem Buchs, Klappen und Garnitur von Neusilber” zu je 100 fl, ein “Mundstück zu den obigen drei Clarinetten mit Mechanik und Auflage von Silber” zu 22 fl, “eine A Baßklarinette, Klappen und Garnitur von Neusilber” des weiteren arbeitete er für 30 fl die alte A-Baßklarinette in eine B-Baßklarinette um und lieferte für 7 fl “eine Mundstück zu der A und B Baßklarinette mit Silberauflage” und “ein Bassethorn …” Tremmel, 1993, 214 (Weston 1971, 150) e-mail of 14 September 2009 Wo “C” clarinetten vorgeschrieben, ist es absolute unzüläßig dieselben durch A oder B Clarinetten zu ersetzen .

Visit the International Clarinet Association on the World Wide Web: www.ClArInet.org

D .N . Leeson in The Clarinet (1993) G . Joppig (2005) ‘Artur Niloff’ (Heinrich Schenker) 1908; cited in Joppig 2005 p . 154 note 22) A . Rice (2009) Advertised in K.K. Prager Oberpostamtszeitun (1793- cited in Rice 2009, 258) (Rice 2009, 268 for American and 378–384 for European bands) Mandel, Charles (1859) A Treatise on the Instrumentation of Military Bands. London: Boosey & Sons, p 18 .

* * * * * It is a pleasure to acknowledge the generous advice of Albert Rice, Daniel Leeson, Stephen Fox, the many performers whom I consulted and the staff of the Prague, Edinburgh, Munich, Leipzig, Nuremberg, Brussels and Smithsonian musical instrument museums who kindly allowed me to examine bass clarinets in their collections . This article has also appeared in German: Keith Bowen, “Aufsteig und Fall der Bassklarinette in A,” ‘rohrblatt 26 (2011) pp . 3–12 .

• Authorized Buffet Crampon dealer • Specializing in hand-selected instruments • Maintenance and repair of all clarinets a2clarinet.com

|

Ann Arbor C arinet Connection

[email protected]

a2c2 1-6 ad.indd 1 September

2011

Est. 2008

|

734.417.0438

|

Bill King, owner 10/8/10 3:14 PM 51

Playing In Tune on the

B

Clarinet

by Raphael Sanders

efore beginning to address the clarinet’s tuning requirements, remember that the clarinet must be played with solid fundamentals in order to properly understand and apply the following skills . Each one has a major effect on the ability to consistently play in tune and to effectively adjust to others . 1) Proper support and air speed: good tonal core, warm, dark, and centered tone 2) Correct embouchure and tongue placement 3) Relaxed and proper hand position Only after understanding and applying the above three fundamentals can you begin to effectively and consistently address your tuning needs . In order to play in tune, clarinetists must master three skills:

1) understanding the instrument and its intonation characteristics

After warming up for about 10 minutes, use a tuner and check the instrument . Start with open “G” to adjust the barrel . Next, check “C” below the staff and “G” on top of the staff to adjust the middle joint . If the reed is too stiff the instrument may register sharp or, if it is too soft, it may be flat . Also, pull the bell about 1/16” . This will allow the throat tones to have more tonal body . Make a chart of the instrument’s particular intonation characteristics from low E to high G . (On bass clarinet start from low C .) On this chart label four columns: 1st column (titled “Notes”) . List the notes chromatically up from low “E” (C on bass clarinet) to high “G .” 2nd column (titled “pp”) . List the intonation tendencies of each note played pianissimo with no help or adjusting whatsoever . Use: + = sharp, – = flat (i .e ., +40, -30 = 40 cents sharp, 30 cents flat) . 3rd column (titled “mF”) . List the intonation tendencies of each note played mf 52

with no help or adjusting whatsoever . Open “G”, low “C”, “G” on top of the staff should (hopefully) be right on (because these notes were tuned) . 4th column (titled “FF”) . List the intonation tendencies of each note played ff with no help or adjusting whatsoever . You will now see what your clarinet’s tendencies are . Remember you will be sharp when you play softly and flat when you play loudly . This is inherent in the acoustics of the clarinet . Other instruments are the reverse in this tendency which makes it very difficult to play in tune with other instruments . Additionally, each clarinet has its own personal problems, along with particular mouthpiece, reed, air/speed/support, tongue and embouchure issues/differences .

2) Recognizing and diagnosing intonation discrepancies correctly and quickly

With a tuner, sound an “F .” Then play an open “G .” Do you hear waves? If you do, you are out of tune with the sound on the tuner . “Out-of-tune” can be defined as the presence of clashing waves . The absence of waves is defined as in-tune . Try again with your tuner to match pitch . Are you flat or sharp? Can you tell? Work to achieve the confidence to recognize the difference . Intervals can also be played in-tune . Sound the same “F” on your tuner and play a middle-line “B” on your clarinet . Are there any waves? This is a major 3rd . A major 3rd must be compacted to be in-tune: about 14 cents! Try it . Minor intervals must expand and major intervals contract . Although you will not be in tune with the tuner, you will be in tune with the interval! This is the most important aspect of playing in tune: being able to immediately recognize the problem, or potential problem, and knowing what needs to be done to fix it . Your ear training skills must come The Clarinet

to bear to know what part of the chord you are playing as soon as you are about to play it . major Chord: 3rd – 14 cents flat; 5th – 2 cents sharp minor Chord: 3rd – 16 cents sharp; 5th – 2 cents sharp You may also use a clip-on microphone, plugged into a tuner, to check your efforts at pitch recognition . Simply try to match the sound source and glance at the tuner to see if you are successful . Also this technique may be varied to examine the tuning characteristics of an ensemble (what you must do to play in tune with the group) . Never use a microphone/tuner setup as a standard to follow and not listen and adjust to the group you are in .

3) having the flexibility to be able to adjust quickly to any (or most) tuning issue(s)

There are five important techniques to control or adjust pitch while playing the clarinet . 1) Embouchure pressure and throat expansion. With just the mouthpiece match a “B-flat” on the piano . Once accomplished, be able to play down to “E-flat” and up to “C-sharp .” This will take some time . Be patient . Always produce a good clear tone on the mouthpiece . Keep your lips firm to form the letter “O” around the mouthpiece and keep your chin pointed . Be mindful to also push down with the upper lip . A good test of control is to play “taps,” starting on “E-flat” or “E .” This will help you to develop the flexibility to adjust pitch with your embouchure and throat . 2) Tongue height/position. Experiment with moving your tongue while play an open “G .” Move your tongue up and down slowly . Notice the pitch change . 3) Air speed/support. While playing open G, notice the pitch change when you blow fast/slow air through the clarinet . Also the pitch changes with supported/unsupported air . This method is not preferred but may be used in certain situations . 4) Fingers and keys. While playing open “G” put your right hand down . Notice

the pitch drop . Conversely, open the RH side B-flat key while playing the same “G .” Notice the pitch rise . Pitch will rise on the clarinet when opening keys and lower when shading or closing keys . A firm grasp of this technique will help you in dynamic changes and evenness in general . 5) Combinations of the above. Using the above techniques independently or in combination will help you adjust and temper your tuning in all (or most) situations .

Your Band and Orchestra Author ity Largest Selection | Best Prices | Expert Advice

Buffet Crampon Tosca B♭ Clarinet

1978 since

OFFERING THE WORLD’S MOST POPULAR BRANDS, INCLUDING: Buffet Crampon | Leblanc Patricola | Selmer Paris | Yamaha

Use the “Tuning CD” to experiment with adjusting tuning . Practice each note carefully and decide on what works for you . Have a system that you use to adjust to various intervals and dynamics . Use the tuning CD when playing long tones, scales, etudes and any other exercises or solos you may see fit . Hopefully your ears/control will develop to such a degree to play in tune with anyone, anytime . Remember—in order to play in tune you must acquire three important skills:

Patricola CL.2 Virtuoso B♭ Clarinet

Your Clarinet

SPECIALIST “With so many models available, are you really sure you’re choosing the right instruments for your students—or yourself? When it comes to clarinets, our expert advice makes your choice much easier. And with

1) Knowing your instrument’s tendencies 2) Recognizing and diagnosing a tuning problem quickly and correctly 3) having the flexibility to adjust quickly and correctly

our 110% low-price guarantee you’ll have complete confidence in your purchase.”

Sue Shockey 800.348.5003 ext. 2224 | [email protected]

About the Writer… Dr . Raphael P . Sanders, Jr is currently associate professor of clarinet at the Crane School of Music, SUNY Potsdam . Dr . Sanders holds degrees from the University of Hawaii, the SF Conservatory of Music and UNT . Raphael’s clarinet mentors include Robert Marcellus, David Breeden, Henry Miyamura and James Gillespie . Originally from Hawaii, Raphael has performed with orchestras in San Francisco, Houston and New York, the USAF Band, and has taught at the college level in Texas and Nevada . He is a member of the acclaimed group Texas Clarinet Consort . Raphael performed his New York City debut recital in June 2005 . He also co-directs the renowned Crane Clarinet Choir . Dr . Sanders is a performing artist with Buffet Crampon, and Rico International . He is currently the I .C .A . NY State Chair . In 1997 Raphael established the I .C .A . Orchestral Audition Competition . He currently performs exclusively on Buffet Clarinets and Rico Reserve Classic Reeds .

Leblanc by Backun Legacy B♭ Clarinet

The

FREE SHIPPING on most orders over $49 NO SALES TAX COLLECTED except in CA, UT, MO, IN & WA Fast shipping WORLDWIDE to more than 90 countries on many popular models

Woodwind & Brasswind 800.348.5003 WWBW.com

Visit Our Flagship Superstore! 4004 Technology Drive | South Bend, Indiana 46628 September 2011

53

SABRe

Symposium A Report by Sarah Watts

T

he first SABRe symposium was held in Zurich, Switzerland on February 3 & 4, 2011 . SABRe (Sensor Augmented Bass Clarinet research) is a project that aims to build an electroacoustic bass clarinet that hopefully in the future will be manufactured and available to all bass clarinetists around the world . Hosted by the Swiss bass clarinetist Matthias Müller, the symposium consisted of lecture recitals and discussions on the development and future of SABRe by selected and invited bass clarinetists from around the world and composers and technical experts in the field of electroacoustic music and specialist instrument makers and repairers . This was an exciting gathering of many of the world’s top bass clarinet specialists . It offered a rare opportunity to catch up with friends, meet other players to discuss what’s happening in the solo bass clarinet world, as well as to offer opinions on the SABRe project . The symposium started with a presentation of a prototype of the new sensored bass clarinet, brief demonstrations as to

how it will work and the technology involved in creating it . The concept of the project is to extend the possibilities of an acoustic bass clarinet by adding various types of sensors to the instrument, thus allowing the performer to control external electronic devices . One could make a loose comparison to an EWI (Electronic Wind Instrument) which has been around for some years and now widely available around the world . In the case of SABRe, existing knowledge of augmenting instruments has been used in the development of the project and we saw how magnetic key sensors, switches and movement sensors have been attached to the instrument . AirMEMS technology is also being developed and will be built into the mouthpiece as an additional sensor meaning the mouthpiece can be used as an acoustic mouthpiece or as a wind controller by the performer controlling air pressure levels . This is a truly exciting venture and caused much excitement and future visions to all that witnessed this introduction . There was a program of lecture recitals throughout the two days in which a varied Discussion hosted by Matthias Müller

Henri Bok trying out SABRe 54

The Clarinet

Close-up of SABRe selection of music covering a range of musical genres was given . There were many highlights and fantastic performances as expected, starting with a very interesting talk from Netherlands-based Laura Carmichael on how dance influences have helped her to form a career using music, electroacoustics and movement as an integral part of her performances . Other highlights for me were the Austrian bass clarinet duo of Petra Stump and Heinz-Peter Linshalm, Henri Bok (Netherlands) who performed an exquisite set of short pieces, and a performance of music using audio visuals and sampled effects by Stephan Vermeersch (Belgium) . Alain Billard (France), Rocco Parisi (Italy) and Ernesto

at ICST are doing a fantastic job creating the software to enable SABRe to develop and work, and there was a lot of support for all the performing musicians during event . One question that arose for me the event over the past two days is how can we as performing musicians using computers Mike Lowenstern with his full set-up playing at Club Voltaire End-of-symposium bass clarinet choir Molinari (Switzerland) presented works that used an array of pedals, computers, processing and samples—some pieces more successful and easy to listen to than others, but all demonstrating and giving ideas about how SABRe could influence composers in the future . Volker Hemken (Germany), Eric Mandat (USA) and Alex Sramek (USA) gave much needed lighter relief to the schedule . I will never forget Eric’s unqiue X files introduction to his first piece and Alex’s research into how loud he can amplify a bass clarinet in or-



der to play in a heavy metal band was true entertainment and very loud! The first evening ended with improvisation in Club Voltaire by Ogyz Büyükberber (Turkey) followed by a fantastic set by Michael Lowenstern (USA) who always raises the roof with his own compositions . The interesting aspect of the symposium for me was the electroacoustic and technology side of things . The team of engineers

September 2011

55

in performance be encouraged to become more independent with regards to using and setting up computers/mics/sound systems etc . Funding issues and logistics often make it hard for performers to travel with their own sound engineer, and while performers are proficient with their instruments not all are equally as confident with the technology needed to perform certain compositions . A Alex Sramek – the world’s loudest bass clarinetist

The instrument and ideas

Contacts for The Clarinet

Send all articles, recital programs, orders for back issues, announcements and any other non-commercial items intended for publication in The Clarinet to: James Gillespie, Editor/Publisher 405 Santiago Place, Denton, Texas 76205 E-mail: [email protected]

few presentations had minor technical hitches at the Symposium, but we are all sympathetic to the odd gremlin and it in no way affected the success of the event . I do think that with SABRe being so reliant on computing and technology the whole topic of how musicians deal with and learn how to operate and understand computers is very important and should be considered during the development of not only this project, but electroacoustic performances in general . I am personally very excited about the future of SABRe and am interested to see the next stages of development and attending the second SABRe symposium . One question asked was could it become a Frankenstein of an instrument with the huge amount of possibilities it has to play with? I think the answer is potentially yes —but I am also very confident with Matthias Müller influencing and heading the project that every area and potential issue will be very carefully considered and resolved, resulting in a very satisfying end product at some point in the future . 56

Send all printed materials (music, books, etc.) intended for review in The Clarinet to: Gregory Barrett, Editor of Reviews School of Music, Northern Illinois University DeKalb, IL 60115, 815/753-8004 E-mail: [email protected] Send all recordings intended for review in The Clarinet to: William Nichols, Audio Review Editor 1033 Fawn Hollow, Bossier City, Louisiana 71111 E-mail: [email protected] Send all inquiries about advertising to: So Rhee, Executive Director International Clarinet Association 500 West Main Street, #513, Oklahoma City, OK 73102 E-mail: [email protected] Send all inquires about I.C.A. membership, missing issues, notices of change of address, etc., to: International Clarinet Association c/o Memberships P.O. Box 237, Longmont, CO 80502 E-mail: [email protected]

The Clarinet

ClarinetA

Clarinet Study at California State University, Northridge Department of Music

Reach Your Full Clarinet Potential The Mike Curb College of Arts, Media, and Communication is part of a vibrant, diverse university community sited on a 356-acre campus in the heart of Los Angeles’ San Fernando Valley and the entertainment industry. Check us out and you will find ample evidence of Cal State Northridge’s commitment to the educational and professional goals of our students.

CSUN MUSiC PrograM offerS: Programs of Study for Clarinet Bachelor of Music in Performance Bachelor of Arts in Music Education Bachelor of Arts in Music Therapy Bachelor of Arts in Music Industry Bachelor of Arts in Breadth Studies Master of Music in Performance Julia Heinen, Professor of Clarinet

find out more at: www.csun.edu/music

ClarinetAd-rev.indd 1

12/1/10 10:12 AM

ConCert review

REEDPLAY Southbank Centre • Monday June 6, 2011

VICTORIA SOAMES SAMEK (clarinet, bass clarinet, alto saxophone) SARAH MARKHAM (soprano and alto saxophones) MICHAEL BELL (piano) Guest artist PAUL TURNER (piano)

I

A Review by Paul Harvey

have often said and written that had the saxophone existed in the 18th century, the soprano would have been one of Handel’s favorite instruments . His Trio Sonata Op. 1, no. 10, which opened the concert, was ample proof of this, as Sarah’s rich and authentically baroque soprano sound was beautifully complimented by Victoria’s understated yet strongly supportive bass clarinet . James Rae’s Sonata in E-flat for alto saxophone and piano was written especially for Sarah Markham and Paul Turner, perhaps in gratitude for their superb CD of his four Sonatinas for the four sizes of saxophone . It is a supreme example of the composer’s melodic fluency, harmonic ingenuity and complete mastery of the instrument’s possibilities . The last movement, subtitled Eurostar, is not quite as overtly locomotive-driven as the train-obsessed composer’s Southern Sketches, but it certainly whisks us across the Channel with no fear of becoming stuck in the tunnel! Tim Watts, in his Sonata, explores many different facets of clarinet and piano effects . There are declamatory wide

leaps between the extremes of the clarinet registers and some very effective unison sforzandi between the two instruments . This is by no means a piano accompaniment, rather an equal duo of two different voices, which is what a contemporary work of this nature should be . In Richard Rodney Bennett’s Ballad in Memory of Shirley Horn for clarinet and piano, we can hear why this most successful of film composers could be classified as “the serious face of jazz .” The first half ended with a Divertimento for two alto saxophones and piano by Alain Crepin, the former Director of Music of the Belgian Air Force Band . (I remember I was having dinner with him in Munich on September 11, 2001, after hearing the dreadful news from New York, and he was anxiously phoning Brussels on his mobile to find out if he should report back for duty .) I was particularly interested in this item, as I’d never heard Victoria play the saxophone before, and she now has my old job at The Royal Military School of Music, Kneller Hall, which involves teaching saxophone as

Expert Clarinet Repairs and Retail • Authorized Buffet-Crampon Dealer • Maintenance and Repair of all clarinets

• Hand-Selected instruments • Music, reeds, and accessories

www.woodwindproshop.com 3612 Silverside Rd., Wilmington, DE 19810 • ph: 302.479.5000 • email: [email protected]

58

The Clarinet

well as clarinet . I was most impressed, as she has obviously taken the saxophone very seriously, producing a lovely sound which blended faultlessly with Sarah . Indeed, she even upstaged Sarah by having a BIGGER alto saxophone, i .e . one of those low A jobbies! (Perhaps we should call it a basset saxophone!) After the interval Victoria returned to the platform to make complete nonsense of the anti-doubling factions (which, amazingly, still exist in certain French and American circles) by playing what I consider the most difficult piece to bring off well of the entire clarinet repertoire; the Debussy Première Rapsodie. I have rarely heard it played with such fluent clarity of articulation and finely controlled pianissimo . Sarah then lightened the mood with Richard Rodney Bennett’s Three Piece Suite. Not the most original of titles, but a really well written, entertaining work . Chris Jolly’s TRIp (sic) was commissioned by Reedplay for this concert . I often play bass clarinet with my saxophone pupils, and we become quite addicted to the sound of this combination . Chris has devised more possibilities with the piano’s percussive contributions, and many contemporary techniques are used with ingenuity and effectiveness . The girls announced that there would be no encores after the last item, as Ibert’s Two Interludes is in the nature of an encore, as the second, in Franco-Flamenco style, most certainly is . The original was for piano or harp, with flute and violin, which two parts have been very well transcribed for soprano saxophone and clarinet . All through the amazingly varied program the impressive virtuosity and musicality of the two pianists was greatly appreciated by the audience . Michael Bell is the regular pianist with Reedplay, and Paul Turner is Sarah Markham’s individual accompanist . This concert was a perfect celebration of clarinet and saxophone co-operation, brilliantly performed by all the participants, and, above all, a wonderful evening’s entertainment .

Visit the International Clarinet Association on the world wide web: www.ClARINEt.oRg

INTERNATIONAL CLARINET ASSOCIATION 2012 HIGH SCHOOL SOLO COMPETITION Eligibility: Competition participants must be 18 years old or younger as of June 30, 2012. Application: Please submit an online application at www.clarinet.org and mail a print-out of the confirmation page along with your other application materials. It is recommended that if you are mailing outside of the United States to send your application via express mail to ensure that your entry arrives in time for judging. Send materials postmarked no later than Thursday, April 5, 2012 to: Elizabeth Crawford, D.M., Coordinator 2012 I.C.A. High School Solo Competition Ball State University, School of Music MI 134 Muncie, Indiana 47306 Phone: (765) 285-5427 • E-mail: [email protected]

Contest Rules Application fee: $50 US. All applicants must be members of the I.C.A. and submit the online competition application form on www.clarinet.org. Please mail the print-out of the confirmation page as this will serve as proof of I.C.A. membership and payment of application fee. Non-members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest application fee. If you choose the option to pay by check or money order in the online application process, please be sure to include appropriate payment with your application materials. The application fee is non-refundable. II. Recording Instructions: Please provide a high quality recording on compact disk (CD-R) containing the following repertoire in the exact order listed. Repertoire must be with accompaniment when appropriate. Each selection/movement should be ID coded as tracks. Audiocassettes will not be accepted. Please be aware that the quality of the recording will influence the judges. Recordings should not be edited and only continuous performances of entire works or movements are allowed I.

1. Bohuslav Martinů, Sonatina 2. Béla Kovács, Hommage à C. Debussy III. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age. IV. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is the playing of the contestant and has not been edited. V. A summer address, telephone number and e-mail address (all if possible) should be provided. E-mail is the preferred means of communication. Please check your e-mail regularly as this is how you will be contacted.

Judging Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R or box. There should be no speaking on the recording, such as announcing of compositions. Preliminary judging will be by taped audition. Finalists will be chosen by committee. Notification will be sent by Friday May 11, 2012. Final round will be held at the ClarinetFest® 2012 in Lincoln, Nebraska, August 1-5, 2012. Repertoire will consist of the works listed above. Memorization for the final round of competition is not required. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A . will provide a pianist for all finalists. All finalists will receive free registration at ClarinetFest® 2012. Travel and other expenses will be the responsibility of the contestant. All recordings will become the property of the I.C.A. and will not be returned.

PrizeS First prize - $1,000 U.S. • Second prize - $750 U.S. • Third prize - $500 U.S. The International Clarinet Association assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

September 2011

59

The Little Harlequin by Santiago Martínez Abad

General Comments

T

he Dance of the Harlequin, originally the eighth and last movement of the composition entitled Harlequin, became a piece in its own that was called The Little Harlequin. The première was on the 3rd of August 1977 at the Centre Sirius in Aix-en-Provence, interpreted and danced by Suzanne Stephens, to whom this piece was dedicated. As an extension of Harlequin, The Little Harlequin has some rhythms that are danced and others that are interpreted by the clarinet, which are merged to form an equally important unit to which the audience must listen with the same attention; as such, the dynamics that appear in the score affect both the former and the latter. The role of the interpreter of this piece is that of a roguish and exuberant musiciandancer who could inspire a more versatile type of interpreter for the future. In the score’s foreword the composer points out that even though the performance and lighting instructions are the same as for Harlequin, the costumes are different. The lighting is very important at certain moments of the piece, and requires the technician to work in coordination with the performer so as to help the latter transmit certain sensations to the public, especially at times like the Cadenza or the long trill. To study this work I recommend focusing on small fragments at slow tempos until all details of articulations, air column, dynamics, notes tuning, changes of tempo, etc. are rendered perfectly. When the performer is fully satisfied with a fragment, he/she can start increasing speed until the one indicated in the score is reached, and then to slow down in order to start again from the same tempo, but this time by memory. This will no longer seem to be insurmountable, since the score has become very familiar as a result of all the previous hard work. I would like to suggest other forms of study that can be used to prepare this piece. One of them is to work without the clarinet, initially to learn the danced 60

rhythm and the body posture in each phase of the piece. Another approach is to divide some fragment which is difficult to perform in intermediate phases. A basic aspect to bear in mind in performing this piece, and in general with all of Stockhausen’s music, is the clarinetist’s facial expression and the visual communication he/she must establish with the audience. As a general work premise, these aspects must always be considered as important as the composition’s technical difficulties, regardless of how great the latter may be. With respect to the stage area, it is important to remember that the composer’s notations are always made in reference to the spectators’ point of view; in other words, when he indicates that at the beginning the musician comes on stage from the right and leaves the same way at the end, the right side of the stage is always construed from the spectators’ viewpoint. K. Stockhausen is a composer who expresses his intentions with great precision in his scores, and these must be followed as closely as possible during the performance, together with the dynamics, rhythms and tempos as well. This of course does not prevent the clarinetist from creating his/her own version of the piece, which will mainly depend on aspects such as the choreography, the choice and implementation of movements, even though most are already indicated by the composer, and facial expressions to communicate with the audience. Furthermore, some aspects such as choreography, for example, will have to be adapted on occasions, depending on stage conditions. I would like to briefly describe the general movements used in the rhythmic counterpoint and the ones performed by the feet. Usually the feet are simply stamped flat on the floor, but at other times the heels do the stamping, with the toes pointing upwards. A movement that is often associated to the previous two is to draw a circle with the leg that is free after stamping the floor, either at floor level or in the air, as the clarinetist prefers. On The Clarinet

occasions the left leg has to be raised as an upbeat of the next stamp; on others the performer has to tip-toe or jump elevating his/her knees. An element of tempo frequently used in the score is the Breit, which means “wide,” the author says; much slower, note by note, and the same for the gestures. As an element of reference, the tempo can be reduced by one half. When dynamics such as mP, P or PP appear, the clarinetist must bear in mind that they include melodic fragments in both the high and low registers, so that in the high ones special attention must be paid to ensure that the dynamics are not in fact higher.

Formal Structure of the Composition

The Little Harlequin begins with an Introduction consisting of the first two staffs of the first page. The First Section goes from the third staff of the first page to the second staff on the fourth. The Cadenza goes from the third staff of the fourth page to the sixth staff on page five. The Second Section goes from the seventh staff of page five to the end of page seven. Finally, there is the Final Section or Coda on page eight, the last part of the composition. The Introduction of the score begins with a long trill and a series of arpeggios which constitute, without a doubt, the most difficult part from a technical point of view. In the First Section the melody of the clarinet appears polyphonically united to the rhythm marked by the feet. The Cadenza comprises 10 staffs, each with its own personality. The unity of “clarinet melody-rhythmic counterpoint” continues in the Second Section, and new melodicrhythmic material from Harlequin appears in the Final Section or Coda, the character of which differs from the rest of the piece.

Specific Comments Regarding the Composition

The Introduction begins with a long color trill, for which the composer recommends

Example 1: Introduction of THE LITTLE HARLEQUIN

Example 2: First section of THE LITTLE HARLEQUIN. Fragment

September 2011

61

using circular breathing . The clarinetist enters the stage from the right, turning around in circles and making circular movements until he/she faces the audience . Then there are three bars in which the melody of the clarinet appears together with the rhythmic counterpoint . The counterpoint consists of short and long sounds; with the latter the free leg makes a circular movement following the stamping of the other foot . These bars have to be played with the torso bent forward, moving the instrument up and down depending on the notes and the intervals between them . Next, there are two series of arpeggios, which is one of the most difficult parts of the piece . In the first series there are two arpeggios, one rising and the other descending, with four repetitions, in the middle of which there has to be a pause before the highest C, the highest note . The left foot has to stamp the floor at the same time the first note of each repetition is played; in each rise the clarinet is lifted to a horizontal position, and with the descent it is lowered again . Each arpeggio has a diminuendo and a crescendo . In addition, with each pause there has to be a movement . I personally prefer using the left hand, as if every time I shortened the clarinet one fourth of its length, more or less . The second series of repetitions (this time there are nine) is played without interruptions if circular breathing is possible and if not, a breath can be taken between the fifth and the sixth repetition, for example . In the rising arpeggios the clarinet has to be raised until it is more or less horizontal, and then lowered in the descending ones . This movement is accompanied by raising and lowering the body, with the knees bent . Every time the highest C is played in the repetitions, the right knee is bent and the left leg is swung backwards and to the side . Like in the first series, in each arpeggio there is a diminuendo and a crescendo; in addition, the general dynamics are kept at FF during the first three repetitions, reduced from the fourth to the sixth and increased again from the seventh to the ninth . During the general diminuendo, the clarinetist closes his/her eyes little by little, and then opens them again during the next general crescendo . This second series of arpeggios is very difficult, because the notes are very high and because of the large number of body movements that have to be coordinated 62

Santiago Martínez Abad with the melody . For this reason it should be studied in different phases, perfecting a specific aspect in each one before going on to the next . You can start working with the notes of the melody, and then add the dynamics . I think it is easier to start with a crescendo in the rising arpeggio and a diminuendo in the descending one . When you fully control doing it this way, then you can start working on the dynamics indicated on the score . Then I recommend adding the movement to raise the instrument, perhaps up to 60º at the beginning, and then until you reach the horizontal position . At that point the most difficult part is over, and you can add the movement of lowering and raising the body with the knees bent, and finally the one swinging the left leg backwards and to the side . This fragment of the composition is a real challenge for the clarinetist, and the air column, embouchure, coordination of the body movements, their grace and naturalness, in addition to the facial expressions, which irrespective of the technical difficulties, must reflect happiness, excitement and enthusiasm at all times—we cannot forget that we are interpreting a harlequin . The Introduction finishes with a highest C and a fermata, during which there are a few accents accompanied by the left leg kicking into the air, as if it were not the musician’s and he/she was surprised by what it was doing . During the First Section the polyphonic fusion of the clarinet’s melody is combined at all times with the danced rhythm of the feet . Once again there are The Clarinet

short and long sounds accompanied by a choreography that uses all the stage area, the clarinetist at times facing the audience, at others facing one side, then another, and then with the back to the audience . At times he/she tip toes across the stage, or jumps up and down raising his/ her knees . There is a vibrato effect on a few long notes, with variations of speed . We must recall that Stockhausen wrote the score with great precision, which is why it is important to distinguish well the different articulations of the notes, indicated with points, tenuto, accents, or without anything specified – all of them have to have their own personality, duration and features . Furthermore, the precision of the dynamics must always be taken into account . On occasions an mP, P or FF is maintained for long passages, and this must be done regardless of the register of the notes used . Finally, in this First Section there are several changes of tempo, in addition to the Breits mentioned earlier . The Cadenza comprises 10 staffs that have their own personality, each of which ends with a fermata and a pause that varies in length each time . Here the composer wants the clarinetist to address the audience with passion and to play them as if they were the words of a speaker, looking in different directions or at different persons in the audience during his/her speech . Each phrase must also have a different dynamics, as well as a contrasting character or mood . During these phrases the clarinet can move with spiral-like movements in the air; the beginnings and endings have to

be very emphatic, and the first note, usually C (third space in the staff), of each phrase comprising 10 groups with different numbers of notes, has to be highlighted. The character and melodic-rhythmic material of the Second Section are similar to the First, with the exception that this time the performer makes a large spiral movement on the whole stage, which is only interrupted by a long trill. At the beginning of this Second Section there is a humorous part, the “Fortsetzung MARSCHTANZ,” which is played leaning forward and walking fast in a spiral motion, as mentioned. Once again we find all of the dynamics and articulations of the First Section. In the “a tempo” of the third staff on page six, the FFF becomes a P, the forward inclination of the body is replaced by shrugging shoulders and sunken chest and stomach, changing the character of the phrase but maintaining the spiral dance movement. At the end of this part there is a long trill, for which circular breathing is recommended, and which begins with the performer turning in circular spiral movements, changing directions. At that point the choreography depends on the clarinetist and the stage area: he/she can hide from the audience, only showing parts of his/her body or of the instrument, coming out on stage if possible, but always joking with the audience, with great empathy. Here the collaboration of the lighting technician is essential. With the clarinetist, they will have agreed on a series of movements in which the spotlights will follow and look for the musician-mime, when he/she is out of sight, all over the stage, the walls, ceiling and other areas of the hall. During all this time the trill has been maintained, and at this point the speed can vary, together with the height of the bell of the clarinet, with small rotations to achieve different spatial effects. The Second Section then continues with a phrase in P and PPP, and another “MARSCHTANZ,” this one faster and more difficult to play because it is interspersed with two melodies, one with a high pitch register and the other with a low pitch. When the high pitch is played, the clarinet must turn to the left and when the low pitch is played, it must turn to the right, similar to the changes of direction found in IN FREUNDSCHAFT, while the player continues to advance along the edge of the stage. Finally, the Coda begins in the middle of the stage with melodic-rhythmic mate

rial that differs from the rest of the piece borrowed from Harlequin, and that has a very different character. This part is an ardent dance, facing the audience, with mostly short dance rhythms, with no legs circling, very similar to tap dancing or flamenco steps; perhaps more the latter, in my opinion, because of the descending movement of the stamping. This frenetic dance, with the clarinet’s melody and danced rhythm, culminates in a finale which is only rhythm, with the performer using as much of the stage as possible to prepare his/her exit on the right side, after turning to face the audience, and partially visible, playing the last note and saying goodbye.

Too

Eclectic

Conclusion

This piece by Karlheinz Stockhausen, which lasts about 10 minutes, is considered to be one of the major compositions of the solo clarinet repertoire because of the beauty of its music, the use of other interpretative aspects, such as rhythmic counterpoint, choreography, mime, the importance of expressive communication by the clarinetist-mime with the audience through facial movements, and as evidenced with the previous analysis and in the author’s own words, because it “could inspire a new type of music, more versatile, for the future.” If you want to watch a performance of the piece you can find it in my blog: “CLARINET DE FUSTA” in http://santiagomartinezabad.blogspot.com

About the Writer… Santiago Martínez Abad, clarinetist, studied at the Superior Conservatory of Music of Valencia, Spain; at the Royal Flemish Conservatory of Antwerp (Belgium) with W. Boeykens and bass clarinet with J. Guns; and at the School of Music of Bobbio (Italy) with Hans Deinzer. He has taken courses with A. Damiens, H. Sparnaay and E. Hoeprich. He has been a clarinet teacher in different conservatories in Valencia and in Andalusia, and is presently teaching at the Professional Conservatory “Gonzalo Martín Tenllado” in Málaga. He has performed with the Spanish National Orchestra, the O.R.T.V. of Belgium and the Orchestra of Cordoba. He is a member of several chamber groups specialized in 20th and 21st century music. He is currently studying K. Stockhausen’s music for clarinet with Suzanne Stephens. September 2011

The new CD from

Ralph Williams Clarinet & Bass Clarinet Featuring a new arrangement of

Béla Bartók’s

Roumanian Folk Dances for Clarinet and String Orchestra ✤

Gerald Finzi’s

Five Bagatelles for Clarinet and Piano ✤ The premier of

Patrice Williams’ Concerto for Bass Clarinet and Orchestra ...

h more

uc and m

Available Now: SEE VIDEOS ON

“Volga Nights” and “Nielsen Clarinet Concerto”

63

In Memory of

George Crossman Maker of the Reedual 1931-2011 by Kathryne Pirtle

C

larinetists all over the world have been able to make wonderful, long-lasting hand-made reeds for more than 40 years by virtue of the Reedual machine, which was produced by a great ally to our craft—George Crossman. George was absolutely dedicated to beautiful clarinet sound. George was born in Connecticut in 1931. After playing clarinet in high school, he moved to California where he attended San Jose State and met his first wife, Shon. Following graduation he worked at IBM and for Lockheed Aerospace. He divorced in the early 1960s and moved to Florida to work for a company that built computers for the space program. A few years later, George met Sol Rabinowitz who had worked in a hardware store and who was a clarinetist and big band musician who had filled in with Benny Goodman’s band. Sol had become motivated to invent a reed machine after seeing that Benny had reeds all over the place and still couldn’t find a reed! In 1963 he patented the Reedual modeled after a key duplicating machine that could accurately copy a reed. In 1986, after the inventor died, George purchased the patent and rights to be able to continue making the dual. Since that time, clarinetists have had a marvelous reed machine made by a dedicated craftsman. George taught calculus, electronics and math at Broward Community college. He loved golf, sports, art and music. Besides the clarinet, he played many different types of instruments including accordion, guitar and ukulele and had a wonderful voice. I have been making my reeds with the dual for more than 20 years. As with all reeds, I keep about only 20% of the ones 64

I make. However, these reeds last a very long time. I often can practice on the same reed for more than three months, and the prize reeds that I set aside often play demanding chamber music concerts for well over a year. In fact, I cannot imagine not being able to make my reeds without this machine! The most remarkable testimony I can give about the value of using the dual was experienced during my first month of making reeds in 1990. At the time, I was preparing to play Beethoven 6 in the orchestra and knew that I needed to have many reed choices. As I had just began making reeds, I felt that I needed a little commercial reed “insurance” just in case I didn’t make enough good reeds of my own. I decided to purchase 20 boxes of reeds. To my surprise, I was unable to find even one reed that I could dedicate to these performances! I played all the rehearsals and concerts on reeds I had just learned to make! The question of whether to make reeds was now closed forever! Over the years I had many phone conversations with George. He was always happy to help and loved to talk. My machine has only needed one repair in all of the time I have been using it. I received a call from George last summer. He said that Reedual sales had all been by word-of-mouth and he felt he wanted to find the best way to reach more young clarinetists. We came up with some great options. A few weeks later he told me he had just gotten a big order from a university, which was exciting news. Little did I know that this would be the last time that I would talk to him. In the first week of June I started receiving some prank e-mails from George. The Clarinet

I was alerted of this because it appeared that George’s e-mail list was stolen by someone. I decided to call him and tell him what was happening. I only got his answering machine. To my astonishment, on June 10, I got a call from his son Marty, saying that George had just died yesterday! I was amazed by these communication events. It was as if George wanted to find a way to tell us that he had passed. I felt grateful to have had the honor of receiving his message and decided to make sure that his work continued. Here are anecdotes sent from some of the clarinetists who have used the dual:

Michael Webster, Professor of Clarinet, Rice University I learned reed making from Stanley Hasty, the whittler, who discouraged machines of any kind. It took me a few years to break down and try a Reedual, but once I did, I was hooked. What had taken perhaps 30 or 40 minutes of tedious work now took a couple of minutes, and the Reedual was able to reproduce my model with perfect accuracy, far better than my fallible self. George was always forthcoming with assistance as needed, which for me meant cheerful and inexpensive replacement of accessories and one overhaul of the older machine. That means that I had 40 years of total satisfaction! So, thank you, George for your many years of service, and for an attitude of helping customers without regard to personal profit. We’ll miss you.

Christopher R. Nichold, DMA, SSG, 312th Army Band, Concordia University, Clarinet and Saxophone Instructor I’ve used the Reedual off and on over the last eight years. I’m saddened to hear of George’s passing. He was such a professional and very dedicated to his Reedual customers! Every time I sent a machine to him, he calibrated it to perfect working order at a reasonable cost and returned it promptly. In fact, I had just received a beautifully calibrated Reedual back from him towards the end of this May. He will be missed, and I’m pleased to hear of his fam-

ily’s commitment to continuing his legacy. The machine is a godsend to single-reed players when manufactured reeds aren’t cutting it!

Larry Combs, Former Principal Clarinetist, Chicago Symphony Although I never met him, I did use his Reedual device for at least 20 years with great success, only giving it up when my playing and teaching schedule became too dense to devote the necessary time to it. I will say that the hand-made reeds were more consistent and lasted longer than commercial reeds.

Randall S. Paul, Author: “An Investigation of Four Prominent Clarinet Reed Making Methods,” UMI Dissertation 2001 and Clarinet Reed Making Strategies, Including a Step-by-Step Process, VDM Publishers, 2010. I have been using the Reedual for the majority of my professional



life and owe George a great debt to thanks. We had many pleasant phone conversations in the late 90’s when he helped me with my doctoral dissertation. I was researching reed making and of course the Reedual was a big part of it. Whenever I had a problem, I would call George and he would have some valuable insight about the problem. Soon, with a little practice I was making some terrific reeds and eventually this machine became a favorite. I still use it almost every day and it is the backbone of my research today. He will be missed. * * * * * In closing, I am happy to let all clarinetists know that one of our top craftsman and repairman, Rick Sayre of Sayre Woodwinds in Lombard, Illinois, is overseeing a transition of the Reedual to continue its availability. We will keep you informed of this development. You can enjoy a fantastic interview about George Crossman and his Reedual at http://vimeo.com/7113687.

September 2011

About the Writer…

Kathryne Pirtle, clarinetist, is executive director of the Orion Ensemble. Ms. Pirtle has served as principal clarinetist of the Lake Forest Symphony since 1990. Her other orchestral affiliations include the Lyric Opera Orchestra, Ravinia Festival Orchestra, Chicago Philharmonic, Chicago Symphony Orchestra and the Grant Park Symphony. In 2004 Hal Leonard Corporation released her solo album of selected Bach unaccompanied cello and violin suites and sonatas transcribed for the clarinet by Himie Voxman, the first recording of these transcriptions. Ms. Pirtle has also co-authored a book on healing and building health with nutrient-dense foods called Performance without Pain (2006), published by New Trends. Kathryne has taught privately for more than 30 years. She gives master classes on clarinet and chamber music literature, pedagogy and artist development. She has served on the faculties of Wheaton College Conservatory of Music, as well as Northern Illinois University, Bradley University, Indiana University and New Trier High School. Ms. Pirtle studied extensively with Larry Combs, former principal clarinetist of the Chicago Symphony Orchestra.

65

Stanle asty y H (192 11) 0-20

by Eli zabeth Gunlogson

S

tanley Hasty, considered one of the most respected and successful clarinetists and pedagogues of the 20thcentury, died on June 22, 2011 in Rochester, New York. He was 91 years old. Originally from Nebraska, Hasty studied at the Eastman School of Music and the Juilliard School before embarking on a long and successful musical career. From 1943–68 Hasty held the position of principal clarinet in six major orchestras: the National Symphony Orchestra, the Indianapolis Symphony Orchestra, the Cleveland Orchestra, the Baltimore Symphony Orchestra, the Pittsburgh Symphony Orchestra and the Rochester Philharmonic Orchestra. In these ensembles he worked with many of the most influential conductors and musicians of the second half of the twentieth century. His legacy as

a principal clarinetist is preserved for future generations through two major recording projects: the first with Capitol Records and the Pittsburgh Symphony Orchestra and the second with Mercury Records and the Eastman Rochester Orchestra. Hasty also taught at several of the nation’s premiere musical institutions: the Eastman School of Music, the Cleveland Institute of Music, the New England Conservatory, the Juilliard School, and the Peabody Institute. His legacy, however, will most likely be remembered through his work as Professor of Clarinet at the Eastman School of Music from 1955–85. His success as a pedagogue is substantiated by his students, many of whom occupy significant musical positions throughout the United States. As one examines Hasty through the

Stanley Hasty Part I

The Early Years

D

onald Stanley Hasty was born on 21 February 1920 in the small town of McCook, Nebraska. His father, Jesse Walter Hasty, of Scottish origin, was employed as a railroad engineer and carried the distinction of driving the first diesel electric locomotive into McCook. His mother, Nettie Barbara Utterbach, of German descent, a homemaker, was extensively involved in community organizations and activities. She served

66

His Life And Teaching

as state president of many of these pursuits and was included in Who’s Who of Nebraska as a clubwoman. Always referred to by his middle name, Stanley was the youngest of three boys and two girls. However, since the other Hasty children were much older, he recalls growing up feeling like an only child.a Music was important in the Hasty family. All of the children played instruments and even formed their own ensemble, fondly referred to as the “Hasty Orchestra.”b Though she was not musically trained herself, Stanley’s mother enThe Clarinet

words of his students, a picture begins to emerge of a man whose influence has profoundly affected them both musically and personally. His students agree that he was a man of high moral and ethical standards. As a teacher he was extremely demanding and expected a tremendous work ethic. He instilled in students a sense of confidence and a desire to become better musicians. His ability to articulate and demonstrate concepts in detail brought out the best in each student and gave them tools to teach themselves. His success, however, ultimately came down to something very simple: “He just got it,” says Frank Kowalsky. “He understood the clarinet, understood pedagogy, understood the psychology of the students and understood the music just better than anybody. He was just a natural and was able to articulate it.” In May 2010, many of Hasty’s former students, colleagues, friends and family gathered in Rochester, New York at the Eastman School of Music to celebrate his 90th birthday. Respect and admiration for Hasty permeated the atmosphere. Though his legacy will continue for future generations of clarinetists, he will be greatly missed by us all. The following article is the first in a series celebrating the life of Stanley Hasty. The information presented is the result of the author’s multi-year collaboration with Hasty, and gathered through numerous interviews with him, his wife June and a number of his former students.

couraged the pursuit of music with all of her children.c She had hoped that her first child, Corinne, would study abroad and become a concert pianist.d However, Stanley was the only one to become a professional musician. Motivated by her youngest child’s intense interest in music, Mrs. Hasty took Stanley by train to Omaha, Nebraska to see the opera Rigoletto. “I still remember that. It was the first time I had ever heard anything except band music, and this was a revelation to me.”e Stanley’s choice of instruments, the clarinet, was dictated by coincidence more than by any other factor.

Stanley Hasty, after winning first place in a solo competition, June 1934. (Courtesy of Stanley Hasty).

The reason I started playing clarinet was because my brother had played clarinet and had a wonderful set of Belgian clarinets . The way he got them is kind of interesting . In our little town of McCook, Nebraska, there was a business called the HP Sutton Jewelry Store . The owner of the store, HP Sutton, liked to conduct, so he would hire musicians to come to McCook to play in his professional band . He couldn’t pay them very much so he would get them jobs around town . I think the solo clarinet player of that band, this was way before my time, got a job in a shoe store . Sutton was the one that picked out the set of Belgian clarinets for my brother . I have no idea how he knew about those Belgian clarinets .f He began playing the clarinet in the ninth grade . “I loved them right away – it was love at first sight .”g This unique connection is, “one reason none of my siblings are professional musicians, no one ever had to ask me to practice, or ask me to quit, it was what I liked to do .”h He continued to hone his skills in “a very good high school band that had a live-wire conductor who also taught clarinet .”i Within a year of starting the clarinet, Stanley was making the weekly day-long commute by train to Denver, Colorado to study with the clarinetist, Val P . Henrich . Since his father was a railroad engineer, the family was able to travel for free on

Stanley Hasty, ca. 1937. (Courtesy of Stanley Hasty)

the railroad . Young Stanley would board the train bound for Denver early Saturday morning, arrive, take his lesson and then take the train back that same afternoon . I’d be all night on the train . A couple of times I would go to sleep and the conductor would forget to wake me up . At two o’clock in the morning, I wound up in the first little town east of McCook where my grandmother lived . So at two or three in the morning, I would be knocking on her door . I would then take the train back the next morning . That happened just two times or so .j He had learned about Henrich through his sisters . “My two sisters lived in Denver with their families . My niece played the saxophone, and she studied in a studio that also included a clarinet teacher, Val P . Henrich .”k Henrich, known as “Tiny” Henrich – “we called him ‘Tiny’ because he was September 2011

very short”l – hailed from Italy and played principal clarinet in the Denver Symphony . This was before Saul Caston came there as a conductor in 1945 . Caston utilized “a different Eastern sound and Henrich wasn’t like that at all .”m Tiny loved Italian opera and its arias and possessed “a very nice, woody, pingy sound which was really lovely .”n It was a beautiful little sound .”o Unfortunately, “Saul Caston didn’t like a nice little sound so Henrich didn’t last long after he came .”p Henrich taught a lot of students, and his method of teaching was to play along with them during the lessons .q This technique was beneficial to Stanley for a time . “Later on it’s not good at all because you don’t want to learn that way, but at that time it was wonderful because I could hear, “Oh this is what a clarinet sounds like!” Fortunately it was a good example .”r After studying with Henrich for a while, Stanley entered a local solo contest with Bassi’s Rigoletto Fantasy and won . Stanley continued to study with Henrich for three years until he left for college and acknowledges that “he was a big influence on my life .”s Henrich was inspiring because he was such a lover of melodic music . My idea of the clarinet is that it is a very lyric instrument . Unfortunately, it also has great technique and can do fantastic things . Composers tend to see that a little more than I would like them to . They miss the lyric qualities of the instrument . As far as playing a legato, melodic melody, the clarinet can do it better than any other woodwind . There is no doubt in the world about that and that stayed with me . That’s what I listen to .t In the summer of 1936, Stanley traveled with his mother to audition at the Eastman School of Music in Rochester, New York . The experience remained vivid throughout his life . I had prepared the first movement of the Weber Grand Duo Concertante . Howard Hanson was there, probably also Rufus Mont Arey, and other faculty I didn’t know at all . I played, and it was pretty good . Ruth North Tibbs, the theory teacher, was a very good pianist and she accompanied me . All 67

“Geez, that sounds right, that sounds good . I like to listen to that .” However, I didn’t know why . But he was teaching that in the studio – this note belongs here, and this note belongs there . Arey was also teaching what I call dynamic phrasing – he started me on that . I have elaborated quite a bit on that since then, where you phrase with the rise in dynamics and why . There are a lot of different whys . Also he was very interested in the ends of notes, how you end a note before you start the next one . That kind of thing came from him . If he would have sounded really good, then he would have been my idol .y Rufus Mont Arey, clarinetist, Eastman School of Music faculty 1927-54. (Courtesy of Sibley Music Library, Eastman School of Music, University of Rochester) through the years I was there (as a student) she accompanied me, and it was really great . Anyway, I played the first movement and someone said, “Let’s go on, I’d like to hear the last movement .” Being young and everything I didn’t say, “Well I didn’t prepare the last movement .” I said, “Okay [laughs] .” So I played the last movement, but you know now I would probably faint if somebody said that, but not then .u As a result of that audition, Stanley was awarded a full scholarship of approximately 500 dollars . In 1937 Stanley graduated from McCook Junior/Senior High School, and that fall entered the Eastman School of Music . Here he began studying clarinet with Rufus Mont Arey .v Originally from Maine, Arey had served as principal clarinet of the Detroit Symphony and the Philadelphia Orchestra before joining the Rochester Philharmonic Orchestra and the Eastman School of Music in 1927 .w “He was a good teacher,” Stanley said of Arey, “a better teacher than Tiny Henrich, but he didn’t sound as good on the clarinet . In fact as far as teachers go, he was a better teacher than Ralph McLane .”x Stanley recalls . What Arey had that I liked, and I think this is probably a carry over from high school, was that when I heard him play a melody I thought, 68

In addition to his studies, Stanley worked as a technician in the recording department . This allowed him and his friends the opportunity to listen to and critique prominent clarinetists of the time . The recording department was located in the projection booth of Kilburn Hall, a small recital hall . The recording department had a direct line from WHAM, which is the NBC radio station here in [Rochester] before FM and we would get all the Philadelphia, Boston, New York broadcasts live from over AM WHAM . We had a direct line to WHAM and of course these huge speakers in the hall . So that was a regular thing with us, we would sit in the dark in Kilburn Hall and listen . We liked Bellison, who was the principal in the New York Philharmonic, for sound, and we liked Polatschek in Boston for more all-around playing . But for the sound, Bellison and his big German clarinet were great . That is one reason I am so particular now about how you use your fingers in slow playing…because he didn’t and I hated to hear that clunk, clunk, clunk of his German style .z Stanley spent his summers away from Rochester, mainly in Denver where both his sisters lived with their families . I would stay there because I played in the park band . The first orchestra job I got was the Central City Opera . I got that out of the union in Denver . That was great . We did Yeomen of the Guard . I think that was the only grand opera that Gilbert and Sullivan ever wrote . The Clarinet

The Central City Opera did mostly Gilbert and Sullivan . We did the Bartered Bride one summer . I did that a couple summers . I played second clarinet and was really obnoxious then because I would keep saying how the piece should be played . Finally the first clarinetist said, “Look why don’t you just play first clarinet?”, and I said, “Oh I did not mean that [laughs] .” I would say, “Oh, I could do so and so,” and when you are young you do a lot of stuff . He was a very good guy for me to work with because he didn’t mind . He was not worried that I was a challenge to him . The park band was okay . I played assistant principal in that . The second year I was offered principal and would get five dollars a week more, but I did not want that because then you had to play all the solos and everything and had to practice [laughs] .aa In 1941, Hasty graduated from Eastman with a Bachelor of Music in clarinet performance and was awarded a performer’s certificate in recognition of his outstanding musicianship .ab This honor allowed him to perform on two special concerts . The first was a solo performance with the Rochester Civic Orchestra under the direction of Howard Hanson . For this event Arey and Hasty decided on Claire du Lune by Jeanjean, which Hasty played by memory at the insistence of the conductor Howard Hanson .ac The second concert was a chamber music recital in which Hasty performed the Brahms Trio, a divertimento with oboe by Frank Hruby and the Mozart Quintet .ad Following graduation, Hasty moved to New York City to start his professional music career . While I was there I studied saxophone with Himie Schutzer [sic] . He was the lead alto in the Benny Goodman Band . He could play louder and faster than any saxophone player that you’ve ever heard in your life . He liked to have me come around for lessons because I had a lot of technique . Coming from the clarinet to the saxophone, the technique is there . He would want to play these Grand Duos, which had a lot of technique for two clarinets . We played them for two saxophones . He loved those things .ae

Unfortunately his New York experience “was not so great. It is a hard town.”af Times were frustrating and the only job Hasty was able to secure was with an Italian opera company performing, The Barber of Seville. I had played a summer job in New Orleans, and the flute and piccolo player was the contractor. In New York you go to a big open hall and everybody is wandering around and getting jobs. So he said, “Do you know The Barber of Seville?” and I said, “Yes,” though I had never played it before. So he said, “Okay, I can get you a job playing, meet the group at – probably was the corner of Fifth Avenue and something, I don’t remember where – and we’ll get on the bus and go from there.” I said [to myself], “Well good, we will get on the bus, we will go to someplace and have a rehearsal and then play the opera. I can do that.” We stayed on that bus, and we stayed on that bus, and finally around dinner time or a little later we arrived in New Amsterdam, New York, which is about fifty miles west of Albany.

We get out of the bus, we go down into the pit – nobody spoke English they were all Italians except for me – and the next thing I knew BANG! – There was the downbeat and we were playing The Barber of Seville. I sweated blood. A lot of that opera is for C clarinet, which complicates things a little bit. However I still wasn’t old enough to realize, you can’t do this [laughs]. So I got through it all right. But that’s about the only job I remember getting there. I played one jazz job, which I hated and I was not good at, and I got disgusted with the whole scene.ag Frustrated with the lack of work in New York City, Stanley decided to change occupations. He promptly moved to Los Angeles and enrolled at the Curtis Wright Aeronautical Institution where he began studies to become an aeronautical engineer. After about six weeks of excessive amounts of calculus, physics, etc. he had had all that he could handle and proclaimed to himself, “This isn’t for you. You’ve got to do music, that’s what you love.”ah Hasty returned to New York City to resume his pursuit of musical employment.

While there he received a graduate scholarship to attend the Juilliard School of Music. At this time the school had a full wind department, but unfortunately graduate credits were only awarded to voice, string and piano students. Therefore, Hasty was unable to work toward a graduate degree. At Juilliard he studied with Arthur Christman, principal clarinet of the West Point Army Band. However, Hasty and Christman did not get off on the right foot.ai I was an older guy, so I had to play an audition to get the scholarship. When I walked in for my first lesson with this man I was just meeting, he looked up from his desk and said, “Oh, did they give it to you?” [laughs] Then he said, “Well did you work on something?” and I said, “Sure!” and preceded to play a movement from a Bach cello suite and a Jeanjean etude from the Twenty-Five Grand Etudes. I look at them as free rhythm interpretation – you just play them very freely. I think they are wonderful. I played my heart out and Christman didn’t say anything. While I was playing he’d been sitting at his desk, he then

arch e rese

L TIONA I D A R T N UCTIO INSTR TING CREA E G-EDG CUTTIN NTURY E 21ST C RTISTS A



rsity

Unive

a larg within g n i n i tra s atory emble onserv c c i ce ens City s n a DMA m n Mu r , PHD, York perfo L 5 w P e 1 D N r A e , o n Ov M, MA -ride t y train , BA, M s M a B E : d n offere enter grees n De coln C in L f o y Y: Societ ACULT INET F amber Music tra R A L C Ch ED hes chair, GUISH ra Orc DISTIN Hurd - Area politan Ope tro en Maure hillips - Me P a U ic s Jes ERS.ED .RUTG S S O R ASONG WWW.M

September 2011

69

got up and walked over to the piano where a metronome was sitting. He started the metronome and said, “Now try that again.” Instead of doing it I said, “Well you can’t, that’s not what these studies are about. It doesn’t make any sense.aj Their relationship as teacher and student remained strained. Hasty was going to school during the day and playing gigs around town at night. In addition to his lessons with Christman, he found some time to take a few lessons with Daniel Bonade. Hasty said the experience was not very fruitful. “At that point he was really not too interested and I wasn’t either. It was just because I was there and he was there. So we were kind of offhand about it.”ak Hasty decided not to return to Juilliard after his initial year since getting a degree was not his primary interest. He had attended Juilliard because he had the opportunity. That summer Hasty was invited to play principal clarinet in the New Orleans summer orchestra. The venue was an outdoor stage with tables on a lawn for the audience. For Hasty, it was a fun summer, one in which the last concert of the season was the most memorable. I remember the last concert was the Haydn “Farewell” Symphony which we played with stand lights instead of candles. The oboe is one of the first players off the stage. He stumbled over some stand light wires and all the stand lights went out. The rest of the concert was played in the darkness!!al (To be continued in Part II – “The Orchestral Years”)

Endnotes a D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. b Ibid. c Michael Webster, “Hasty at 80,” The Clarinet, 27:2 (March 2000): 39. d D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. e Michael Webster, “Hasty at 80,” The Clarinet, 27:2 (March 2000): 39. f D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. g Ibid. h Ibid. i Ibid. j Ibid. k Ibid. l Michael Webster, “Hasty at 80,” The Clarinet, 27:2 (March 2000): 39. m Ibid.

70

The Clarinet

n Ibid. o D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. p Ibid. q Michael Webster, “Hasty at 80,” The Clarinet, 27:2 (March 2000): 39. r D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. s Michael Webster, “Hasty at 80,” The Clarinet, 27:2 (March 2000): 39. t D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording u Ibid. v The 1937-38 Eastman School of Music Yearbook (Rochester, New York: Eastman School of Music, University of Rochester, 1938). w George Jones, “The Artistry of Mont Arey (Part I),” The Clarinet 5:2 (Winter 1978): 16-17. x D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. y Ibid. z Ibid. aa Ibid. ab The 1940-41 Eastman School of Music Yearbook (Rochester, New York: Eastman School of Music, University of Rochester, 1941). ac D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. ad The 1940–41 Eastman School of Music Yearbook (Rochester, New York: Eastman School of Music, University of Rochester, 1941). ae D. Stanley Hasty, interview by author, 26 April 2002, Rochester, New York, mini disc recording. af Ibid. ag Ibid. ah Ibid. ai D. Stanley Hasty, interview by author, 8-9 July 2002, Rochester, New York, mini disc recording. aj Ibid. ak Ibid al Stanley Hasty, “New Orleans,” private e-mail message to Elizabeth Gunlogson, 23 August 2005.

About the Writer… Elizabeth Gunlogson serves as assistant professor of clarinet at the University of New Hampshire. Originally from Alaska, she attended Luther College (B.A.), Indiana University (M.M.) and Florida State University (D.M.). While at Florida State University, she received a Dissertation Research Grant to assist in her research of clarinetist Stanley Hasty. Gunlogson had the privilege of spending several years collaborating with Stanley Hasty on her doctoral treatise, “Stanley Hasty: His Life and Teaching.” This document is an extensive biographical and pedagogical study of his life. She has presented her research on Hasty at the 2010 International Clarinet Association conference, the 2010 Eastman School of Music Hasty 90th Birthday Celebration, the 2008 Ohio State University-Johnstone Woodwind Master Series and the 2007 College Music Society National Conference.

N O C

A R G

L U T

I T A

O

! S N

STEPHEN WILLIAMSON METROPOLITAN OPERA VIRTUOSO NAMED PRINCIPAL CLARINETIST OF THE

CHICAGO SYMPHONY ORCHESTRA The “brilliant blend of virtuosity and warmth” produced by Mr. Williamson proved to be a winning combination! We at Pyne/Clarion are delighted that his mouthpiece, personally hand-crafted by James Pyne, was supportive in this remarkably competitive environment.

Stephen has played Pyne mouthpieces exclusively for many years. 1-800-579-6344

Pyne/Clarion, Inc.

www.pyne-clarion.com.

Tribute Dieter Klöcker to

(1936–2011) by Luigi Magistrelli

Dieter Klöcker

P

robably the most prolific recording artist in clarinet history died last May 21 from a serious illness . I am particularly sad but I am also honored and full of emotion in writing this report to commemorate one of the most well-known clarinetists of our times . This is especially true for me considering the special relationship I had with him, first as a student of his and then as a colleague, friend and partner in two CD recordings (Mendelssohn Concertpieces) . He was also my mentor and inspiring model since I was a teenager . Klöcker was a clarinetist with such strong personal musical peculiarities . His spirited interpretations and highly inspired musical performances made him quite a unique and “one of a kind” clarinetist who was mainly devoted to the classical and romantic repertoire . Born in Wuppertal in 1936 with a father who played trumpet, he studied at the Detmold Music Academy with Jost Michaels, clarinetist, pedagogue and pianist, but earlier he had important studies with Karl Kroll, former clarinetist of the Saint Petersburg court of the Czar Ivanov and father of Oskar Kroll, author of the book Die Klarinette . Kroll owned a pair of clarinets donated to him by the Czar himself and then handed them over to his pupil Klöcker who used them practically during all his artistic activity . I have the incredible good fortune now to possess these extraordinary clarinets (L . Warschewsky in B-flat and O . 72

Oehler in A) made in the ’20s of the last century but still in amazingly good condition! I must say that every time I play them (some recordings on them are scheduled), I really feel the soul of Klöcker’s tone in them! Karl Kroll also gave to Klöcker all of his musical archive and transmitted to him the passion for searching for the neglected manuscripts in the most important European libraries . After getting some orchestral playing experience for a few years, Dieter Klöcker found his way into the chamber music and solo clarinet repertoire and founded in 1965 his own group which was quite unique in its own way and in its flexible instrumental combinations . It was called the Consortium Classicum, with whom he made for more than 50 years an active schedule of tours around the world and hundreds of recordings (LPs and CDs) of the great literature and of less interesting masters rediscovered from the classical and early romantic periods . The number of recordings intended as radio productions, LPs, tapes and CDs (some hundreds !) made by Klöcker as a solo player and as a leader of Consortium Classicum is so huge that it is not comparable to any other living clarinetist! The musical and technical quality of these recordings has always been of the highest level with such details in the accuracy of style, brilliance and musical personal choices masterminded by the art of Dieter Klöcker . The labels which include Klöcker and his Consortium Classicum in their catalogs are: Camera Magna, Emi, Basf, Mdg, Novalis, Koch, Divox, Teldec, Arts, Cpo, Bayer Records, Orfeo and Thorofon . His very first recording was in 1960, Die blaeser der Norwestdeutschen musickakademie Detmold. He recorded two Mozart Divertimentos for two clarinets and bassoon, K 439b . Among the most important and significant The Clarinet

recordings he did, just to cite a few, we can mention the Cartellieri, Baermann, Pleyel, Rosetti, Mercadante, Hoffmeister, Weber, Knezek, Solere, Schacht and Danzi clarinet concertos, all the chamber music and wind literature of Beethoven, Mozart, Schubert, Krommer, Haydn and many others . At the present there are still a few CDs of his to be published . He recorded in 1977 for EMI and Academy of St . Martin in the Fields 10 Concertante Symphonies from the classical and early romantic periods for two clarinets and orchestra and other various instrumental combinations with his friend and colleague W . Wandel . His recordings gained international appreciation and important prizes . Klöcker was professor of clarinet and wind chamber music from 1976 until 2001 at the Hochschule of Freiburg . He wrote many articles on his discoveries and some doctoral dissertations: • Handbuch der Musikpädagogik, Bd .3 Bärenreiter 1994 Die Klarinette • Medizinische Probleme bei Instrumentalisten, Laaber Verlag 1995 Ursache und Wirkung • Kongreßbericht 1997 des Forschungsinstituts für Instrumental- und Gesangspädagogik, Schott 1998 Fehlgeleitete Musikerpotentiale. He also edited some little known clarinet pieces (Bochsa, Stadler, Reissiger, Hoffmeister and others) for various publishing houses . I will remember his incredible passion and enthusiasm for music in general, and forgotten clarinet literature in particular, and his interest in making recordings with young players, former students of his, such as myself, Sandra Arnold, Giuseppe Porgo and Oliver Link . His many recordings will be the precious testament he left us as a legacy of his incomparable musical art . Aufwiedersehen Maestro!

INTERNATIONAL CLARINET ASSOCIATION 2012 ORCHESTRAL AUDITION COMPETITION This Year - the Bass Clarinet!

Eligibility: The competition is open to clarinetists of all ages who are not employed full time as salaried members of a professional symphony orchestra. Application: Please submit an online application at www.clarinet.org and mail a print-out of the confirmation page along with your other application materials. Send materials postmarked no later than Monday, April 16, 2012 to: 2012 I.C.A. Orchestral Audition Competition Dr. Jeremy W. Reynolds, Coordinator Professor of Clarinet, University of Denver Lamont School of Music 2344 East Iliff Avenue, Denver, CO 80208 Phone: 303-871-6365 • E-mail: [email protected]

Contest Rules Application fee: $50.00 U.S. All applicants must be members of the I.C.A. and submit the online competition application form on www.clarinet.org. Please mail the print-out of the confirmation page as this will serve as proof of I.C.A. membership and payment of application fee. Non-members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest application fee. If you choose the option to pay by check or money order in the online application process, please be sure to include appropriate payment with your application materials. The application fee is non-refundable. II. Recording Instructions: Please provide a good quality recording (CD-R format required) containing the following excerpts, in this exact order with appropriate track ID numbers. Please do not write anything on your audition CD. No speaking on the recording. The soprano excerpts are first clarinet parts: Soprano Clarinet 1. Mozart: Concerto, Movement I, exposition only 2. Beethoven: Symphony #8 – 3rd mvt. Tempo di Menuetto, no repeat 3. Mendelssohn: Scherzo from Midsummer Night’s Dream – mm. 1–48 4. Rimsky-Korsakov: Capriccio espanol – 1st mvt. solos at A & C; 3rd mvt. solo 11 mm. after K to fermata at end I.

1. 2. 3. 4. 5.

Bass Clarinet Grofe: Grand Canyon Suite – On the Trail, #2 to one measure after #3 Khatchaturian: Piano Concerto – 1st mvt., mm. 391–400; 2nd mvt., mm. 2–8, and mm. 220–234 W. Schuman: Symphony #3 – Toccata, mm. 157 thru 170; Fugue, mm. 328 thru 351 Shostakovich: Violin Concerto #1 – 2nd mvt.,. #23 to four mm. before #25 Stravinsky: Rite of Spring - #5 thru four mm. after #6; #11 to #12; #48 to #49; one m. before #141 to #142

III. A separate written and signed statement, attesting the recording is the playing of the contestant and has not been edited IV. A permanent address, telephone number and E-mail address should be provided.

Judging Judging of recordings will be conducted with no knowledge of the contestants. Do not include any identification (your name) on the CD-R or box. There should be no speaking on the recording, such as announcing of compositions. Preliminary judging will be held by recorded audition. Semifinalists will be chosen by committee. E-mail or letters of notification will be sent by Monday, May 14, 2012. Semifinal and final rounds will be at ClarinetFest® in July 2012. Repertoire will consist of the excerpts listed above. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. All semifinalists will receive free registration at ClarinetFest® 2012. Travel expenses will be the responsibility of the contestant. All recordings will become the property of the I.C.A. and will not be returned.

PrizeS First Prize: $1000.00; The ReedWizard donated by Leslie and Ben Redwine and any Gregory Smith model clarinet mouthpiece Second Prize: $500.00 and any Gregory Smith model clarinet mouthpiece The Orchestral Audition Competition is generously sponsored in part by Gregory Smith and Leslie and Ben Redwine. The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

September 2011

73

Practice techniques: Using the Contextual Interference Effect for Better Performance

M

usicians are always trying new ways to improve their abilities for the music they play . Most of us have a daily routine including sound and technique honing as well as practice of literature . Much of this practice is simply a matter of repetition of patterns that are eventually recorded and remembered by the brain for later recall . During practice, one often focuses on technical passages, repeating separate patterns over and over so that when the performance occurs, one can achieve as fluid and flawless of a performance as possible; however, there is now evidence suggesting a more efficient way of practicing . Many studies have been done involving athletes in learning precise movements . Referred to as “contextual interference” (CI), learning patterns of movement involving a high degree of variation, rather than unvaried repetition, seems to improve learning and recall of the movements later . Since clarinetists learn very specific finger patterns, it is worthwhile to investigate this brain/ pattern-learning research .

by Andrew DeBoer The Cerebellum (figure 2) Another area of the brain involved in co-

The motor System. The Cerebrum (figure 1) The human motor system uses complex connections of the muscular, skeletal, and nervous systems to produce a wide variety of body movement . The intention of movement begins in the brain, specifically the frontal lobe, which is located at the front of the cerebrum . This intention of movement ultimately makes its way as a voluntary movement to the spinal chord and is carried to the specific muscles required for the movement . Such messages are sent out in the form of electrical pulses through an intricate system of nerves . When the pulse gets to the muscle, it produces a chemical action which causes the muscle to contract or relax, carrying out the desired movement started in the braina . 74

The Clarinet

ordinating movements as part of the motor system is the cerebellum . The cerebellum

is located at the back of the head and sits on the brain stem. It performs many functions, but its most important function is to act as a storage space for learned programs of movement. The cerebellum stores templates of movement, such as walking or writing, so that these activities can be performed automatically without being the center of attentionb. The cerebellum not only stores programs of movement so the rest of the brain can focus on other tasks, but also stores movements that are too quick for the motor strip to perform accurately (the motor strip can “only” compute around 20 pieces of information a second). These movements are referred to as ballistic movementsc. These are the types of movements often used in performance. Once the limb is set in motion, there is no time for the conscious brain to correct mistakes; it must be planned in advance, a plan stored in the cerebellum. This type of motion is often used in musical performances when the musician must maneuver through a musical passage with speed and smoothness. In conjunction with the rest of the brain, movements are learned through repetition and handed over to the

cerebellum for storaged. Of importance is the fact that, although the cerebellum is good at storing and then recalling movements smoothly and rapidly, it is non-judgmental regarding correct and incorrect movements. The cerebellum reproduces exactly what it stores. When practicing sequences of movement, the musician must use care in programming the correct movements into the cerebellum.

The Generalized Motor Program

When one practices technical passages of music, s/he uses repetition to learn it. Learning begins by performing movements slowly and accurately and becomes fast and smooth with enough time and repetition. The terms used to describe the theories behind this learning are called closed- and open-loop systems. Essentially, the closed-loop system monitors repeated movement and corrects errorse. The open-loop system is the system where the movement has become polished and smooth; for the musician, these are the movements of performancef. Both everyday situations and performance situations

Clarinet Compact Discs

MITCHELL LURIE • RICHARD LESSER: TRIO INDIANA: James Campbell, CD301: Brahms Clarinet Sonatas with Eli Eban, Howard Klug, Clarinets Mitchell & Leona Lurie, plus Daniel Kessner, (clarinet faculty Indiana University). Dances for Clarinet & Guitar with Rchard CD734: Music by Defaye, Schickele, Lesser & Jordan Charnofsky. Lurie, formerKulesha (with David Shea, clarinet, ly princ. Chicago & Pittsburgh Symphonies; guest), Kibbe, and Fox. CD736: (with teacher U.S.C. over 50 years; Lesser was Alfred Prinz, Mitchell Lurie, & Min-Ho principal Israel Philharmonic for 35 years. Yeh, guests). Music by Prinz, Heiden, Uhl, and Weill. “A marvelous group. Skillful musicians...a lovely ensemble of ravishing sounds.” CD737: Mitchell Lurie plays Halsey Stevens, Concerto for Clarinet & String Orch; Lesemann, Sonata; and Muczynski, Time Pieces.”One Tasha Warren, Unaccompanied American Record Guide. “Expert and highly musical...enjoyable & Clarinet: CD739. Rozsa, Tower, satisfying hour.” Fanfare Magazine. of the world’s most famous clarinetists” Fanfare Magazine Ran, Dzubay, Yehuda, & Larsen. THE VERDEHR TRIO. (Elsa LARRY COMBS: CD731. Principal THE WEBSTER TRIO Michael Ludewig-Verdehr, Clarinet). The Clarinet 30 years, Chicago Symphony. Webster, clarinet, Leone Buyse, Flute; Making of a Medium (Violin, Clarinet, Rosza, Sonata & Sonatina for Clarinet Robert Moeling, Piano. CD357: World Piano). 18 CDs of mostly newly-comSolo; Rochberg & Schuller Trios for ClarWide Webster. Delightful transcriptions missioned works. A small sample: inet, Horn, & Piano. “a showcase for Larry of the Slavonic & Hungarian Dances by CD741: Bartok; Hovhaness; Pasatieri; Combs...impressive virtuosity” Fanfare. Dvorak & Brahms; plus Debussy & Mozart; etc. CD742: Rorem; Musgrave; David; VanJONATHAN COHLER: CD733. Hindemith, Sonata; Gottschalk. CD356. Tour de France: hal; Liszt. CD743: Schuller; Averitt; Currier. CD745: Honegger, Sonatina; Francaix, Th. & Var.; Vaughan Wil- Music by Debussy, Saint-Saëns, Bizet, and Faure. Arutiunian, David, Sculthorpe, Schickele. CD746: Dialiams, 6 Studies English Folksong; Milhaud, Duo Concer- “Delightful; exquisitely played.” Fanfare Magazine. mond; Sculthorpe; Corigliano. CD941: Menotti, Bruch; tant & Caprice; Bozza, Pulcinella; Kupferman, Moonflow- MELVIN WARNER: CD332. Weber, Fantasia & Constantinides; Deak. CD942: Chihara, Diamond, ers, Baby! “playing of real distinction” BBC Music Rondo, Grand Duo Concertante; Stravinsky, 3 Songs Satterwhite, Kramer, Biggs, Erb. CD943: Currier, MICHAEL EDWARDS: CD735. Clarinet Sonatas from Shakespeare; Penderecki, 3 Miniature; Martino, Tower, Gershwin/Brohn, Welcher, Biggs, Hoag. CD945: by Saint-Saëns, Ladmirault, & Bjelinski. Martinu Sona- Set for Clarinet; Spohr, Six German Songs; Wm. O. Constantinides, Niblock, Wallace. CD946: Higdon, tina; Rabaud Solo de Concours . “Clarinet fanciers will Smith, Five Pieces. “One of the finest clarinet record- Sheng, Wolfgang, Chatman, Rihm. CD948: Sculthorpe, Conyngham, Knehans, Mills, Marshall. find a treat here.” Fanfare Magazine. ings I have yet to hear.” Audio Magazine. CDs $16.95. Add $2.00 per order US shipping; $5 Canada; $10 other foreign (mention this ad). Visa, Master Card, Discover, US check. Order by phone, fax, mail, email, or on website.

FREE CD with each purchase of three: omit payment for lowest-priced one.

for each four ordered,

28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, fax (24 hrs) 360-834-9680 email: [email protected] • web site: www.crystalrecords.com • Many more woodwind recordings; send for free catalog.

CRYSTAL® RECORDS,

September 2011

75

often require people to switch back and forth between open- and closed-systems of movement . Although they are good in describing how the motor system operates, closed- and open-loop systems do not allow room for the variations of real-life situations where slightly different conditions are present each time a movement is performedg . To account for these problems, the schema theory and generalized motor program, developed by Richard A . Schmidt (1975), are helpful . Rather than store and recall a countless number of variations of motor programs, the brain stores an abstract representation of a movement and its parametersh . In other words, the brain stores a general program that can adapt to many different kinds of similar movement, rather than many programs for every specific movement made . Musicians constantly utilize generalized motor programs by learning scales and exercises, establishing common patterns often used in music . Although passages in music may not be exactly like exercises, they are adaptable since they are similar to these established patterns . According to schema theory, the brain

learns a movement and develops the ability to adapt to a variety of situations (such as cold, sweaty hands in a performance) . In order to help the brain adapt to variations in a future performance environment, varied practice is recommended since it will help define a clearer overall “picture” of the movementi .

The Contextual Interference Effect: varied repetition and random orders of passages in practice can augment retention and later performance When practicing and learning patterns of movement (technical passages), one practices with certain kinds of repetition in certain orders . A focus on repetition will be explained first followed by an explanation of order . Performers can use either constant or varied repetition . During constant practice, learners repeatedly rehearse a single sequence of motion . For musicians such an example might include repeating a technical passage in the specified rhythm with no changes to accents,

The Clarinet Publication Schedule

The magazine is usually mailed during the last week of February, May, August and November. Delivery time within North America is normally 10–14 days, while airmail delivery time outside of North America is 7–10 days. 76

The Clarinet

tempo, rhythm, or dynamics. This type of practice often produces favorable immediate results during training; however, future abilities of the skill in performance or further development of a skill is not as effective as the use of varied repetition in practice. When using varied practice, the individual produces several versions of the movement. During training, the various versions develop and enhance the “boundaries” of the movement giving the brain a better picture of the movement. Although the results of varied repetition are not always as immediate as those of unvaried (constant) repetition, transfer of the skill for further development and ultimately performance is more successfulj. Many people already use variation as a practice technique because of its effectiveness, even if they do not know exactly why; however, the order in which passages are practiced is often overlooked. Practicing several different passages in random order can augment retention and later performance of those passages. When practicing and establishing several motor programs (movements), learners can practice in either blocked or random order. When practicing in blocked



order, the performer would practice many separate skills, focusing on one before going on to the next. For musicians an example of such practice might include practicing three different passages, completing one before going on to the next. Block practicing allows individuals to become proficient during practice but often does not transfer as well for further development and performance. Random practice involves learning separate passages (or skills) in no particular order, avoiding too many consecutive repetitions of any sin-

September 2011

gle passage/skill. Using the skills aforementioned, random practice could include practicing passage “A,” then passage “B,” then passage “C,” then “A,” then “C,” and so on without repeating any skill more than twice. This type of practice, where several skills/passages must be learned and practiced together, along with varied practice, is known as contextual interference. Contextual interference (CI) often prevents skills from being successful immediately during practice; however, it is effective in future retention and further

77

development of the skillk. Once the brain has time to sort out the various movements practiced away from the instrument (which happens most effectively during sleep), future practice and performance is more productive because movements are better learned.

Several studies have been done, many of them supporting the contextual interference hypothesisl; however, some studies have not supported the CI effect. Inconsistencies are often attributed to factors such as age, level of expertise, amount of practice, and testing conditionsm. More stud-

Contacts for The Clarinet Send all articles, recital programs, orders for back issues, announcements and any other non-commercial items intended for publication in The Clarinet to: James Gillespie, Editor/Publisher 405 Santiago Place Denton, Texas 76205 E-mail: [email protected] Send all printed materials (music, books, etc.) intended for review in The Clarinet to: Gregory Barrett, Editor of Reviews School of Music, Northern Illinois University DeKalb, IL 60115, 815/753-8004 E-mail: [email protected] Send all recordings intended for re­view in The Clarinet to: William Nichols, Audio Review Editor 1033 Fawn Hollow Bossier City, Louisiana  71111 E-mail: [email protected] Send all inquiries about advertising to: So Rhee, Executive Director International Clarinet Association 500 West Main Street, #513 Oklahoma City, OK 73102 E-mail: [email protected] Send all inquires about I.C.A. membership, missing issues, notices of change of address, etc., to: International Clarinet Association, c/o Memberships P.O. Box 237 Longmont, CO 80502 E-mail: [email protected] 78

The Clarinet

ies are needed to explain the influence of these factors on the CI effect.

The Benefit of the CI Effect for Musicians

Because research sustains varied and random practice techniques, especially in skills with a high degree of complexity, musicians would benefit by using varied and random techniques in their practice. If a musician was to incorporate these techniques, such examples might include practicing scales, arpeggios, thirds, and a variety of other exercises in random and varied ways. One can add variety by beginning at the top of each scale and descending in lieu of continually using tra-

ELECTRONIC PHOTO SUBMISSIONS FOR THE CLARINET When scanning photos or setting your digital camera to create electronic images for use in the magazine, resolution is a very important consideration. For highresolution printing, each photo must include at least 300 pixels per inch (ppi) at the approximate dimensions an­ticipated for use. To clarify, photos intended for reproduction at the one-column width should be at least 2.25” wide and include at least 300 ppi, while photos intended for reproduction at the two-column width should be at least 5” wide and include at least 300 ppi. Photos with inappropriate resolution settings may have to be re­jected because they will reproduce too poorly to use, or they may have to be used at a size smaller than an­ticipated in order to maintain their quality.

ditional bottom-to-top patterns. Likewise, in musical passages, sequences of motion can be learned not only forward, but backward. Different tempi can be used in random order for each passage. The rhythms of each passage can be altered innumerably, adding variety to the learning of skills. Such practice uses the technique of varied repetition. Separate passages in a piece of music can also be practiced in random order, making sure that each passage is not repeated for an extensive amount of time before moving on to the next passage. This is the technique often overlooked, especially for those of us who get obsessed with getting a certain passage perfect before moving on. The ability to use random and varied practice techniques abundantly exist. This not only enhances skill acquisition, but also keeps practice from becoming monotonous. Although their immediate results during practice may be less successful by using varied and random practice techniques, in time musicians will see the benefit of such practice through the better retention and accuracy of motor skills in the everchanging performance environments.

Endnotes

Godinho, “The Contextual Interference Effect in Applied Settings,” European Physical Education Review 13, no. 2 (2007), 197, 199. http://epe. sagepub.com (accessed 4 November 2007). m Stewart Ollis, Chris Button, and Malcolm Fairweather. “The Influence of Professional Expertise and Task Complexity upon the Potency of the Contextual Interference Effect.” Acta Psychologica 118, no. 3 (March 2005): under “Introduction.” http://www.sciencedirect.com at EbscoHost (accessed 11 November 2007).

About the Writer… Andrew DeBoer is a musician and teacher in the Phoenix, AZ metro area. He has performed with the Phoenix Symphony Orchestra, Arizona Opera, Paradise Winds, and the Symphony of the Southwest in Mesa, AZ and has also been a soloist with the Hastings Symphony Orchestra, Northwest Wind Symphony, and the 43rd Army Band in Lincoln, NE, a band with which he played while he was a part of the National Guard. Andy completed the Bachelor of Music degree at Hastings College in Hastings, NE where he studied with Debra McKim and the Master of Music degree at Arizona State University with Robert Spring where he is currently completing the Doctor of Musical Arts degree.

Music for Clarinet Clarinet quartet: Peter Benary: Little chamber music Jean Daetwyler: Symphonietta Jean Daetwyler: Three sketches W. Schröder: A little laugh music Clarinet and organ: Hans-Peter Graf: Suite Fr. Wermann: Andante religioso Fr. Wermann: Des Hirten Wiegenlied Voice, clarinet and organ: Peter Escher: Psalm, op. 136,3 Peter Escher: Lullaby, op. 136, 1 E. Strässer: Geistlicher Gesang Clarinet, violin and piano: A. Ponchielli: Paolo e Virginia Iwan Müller: Duo concertant Two clarinets and bassoon: Dr. F. Zebinger: European melodies Wind quintet: P. Graf: Divertissement on popular swiss melodies See also our selling off of music under: www.thoeni-edition.ch > Notenausverk. Musikverlag Gottfried Aegler, CH-3762 Erlenbach i.S. Switzerland

Frank R. Wilson, Mind, Muscle and Music: Physiological Clues to Better Teaching (Elkhart, IN: Selmer, 1981), 7. b Ammar Al-Chalabi, Martin R. Turner, and R. Shane Delamont, The Brain: A Beginner’s Guide (Oxford, UK: Oneworld, 2006), 65. c Wilson, 10. d Al-Chalabi, Turner, and Delamont, 65. e Richard A. Schmidt and Craig A. Wrisberg, Motor Learning and Performance: A ProblemBased Learning Approach, 2nd ed. (Champaign, IL: Human Kinetics, 2000), 93. f Schmidt and Wrisberg, 124. g Joshua G. Sanders, “Improving Student Practicing through Application of Motor-Learning Research,” Update – Applications of Research in Music Education 23, no. 1 (Fall-Winter 2004): 15. h John Edward Owen, “Improving Instrumental Practice Techniques through Use of a Motor Schema Theory of Learning,” (PhD diss., Ohio State University, 1988), 2. In ProQuest Dissertations and Theses, http://proquest.umi.com (accessed 14 October 2007). i Nicole Marie Damarjian, “The Short-Term Training Effects of Practice Variability on Posttraining Performance of Three Golf Skills with Experienced Golfers,” (PhD diss., University of North Carolina at Greensboro, 1997), 10. In ProQuest Dissertations and Theses, http://proquest. umi.com (accessed 7 October 2007). j Damarjian, 20. k Damarjian, 21. l João Barreiros, Teresa Figueiredo, and Mário a



September 2011

79

An Orchestral Stage: A Cultural Sketch from the Life of Orchestral Musicians by Simeon Bellison

Part VII [Simeon Bellison needs no introduction to clarinetists, and so we are indeed priviliged to be able to publish in a serialized form over the next several issues (approximately one or two short chapters per issue) this unique work by the famous Russianborn clarinetist/author/teacher. Thanks to David Randall, Professor Emeritis of Clarinet at Brigham Young University and a former Secretary/Treasurer of the I. C. S. (1975–78), this rare piece of literature can now be made available. Ed.]

Chapter 8

O

n that very same Sunday Jivoglot had had his own troubles. His orchestra was scheduled to play at a wedding in the village of Bogorodsk, on the outskirts of Sokolniki. In the morning at Chilikin’s he had informed his men of the engagement and had reminded them to be at the appointed place at six o’clock sharp and to wear white ties. Connections to Bogorodsk were poor. In the winter, the horse car ran only part of the way. Being a punctual man and particularly conscientious in his business appointments, Jivoglot began his preparations very early, at one o’clock in the afternoon. He dressed as befitted the occasion, then wrapped his drum in its canvas cover, selected the necessary music, rolled it in a handkerchief, and tied two music stands together with a strap. He drank a glass of tea, inspected his bundles again and started in the direction of Suhareva Tower. There he boarded the horse car, which took him as far as the Sokolniki Gate. From there to Bogorodsk was still a distance. Being heavily burdened, Jivoglot decided to hire a sleigh. The coachman demanded a ruble and a quarter for the ride, so Jivoglot swore at him in the best Chilikin manner, threw the drum over his shoulder, tucked the music and stands under his arm and proceeded on foot.

80

At five o’clock, he reached his destination. He rested a little while, then untied the stands and set one up for Vinogradov and one for himself. For the rest of the orchestra, he procured a small table from another room. He tied his drum to a chair, tightened the skin, and set the wedding-march music on the stand. When everything was ready, he wiped his spectacles and inquired about the bride and groom. The wedding ceremony was being performed in the village, and the young couple was due to return at half-past six for the party. Jivoglot had plenty of time to visit the kitchen. The cook proved to be an old friend with whom he had worked at many weddings. On the strength of this acquaintance Jivoglot was treated to several glasses of tea. When the clock struck six, he returned to the parlor to see if his orchestra had assembled. To his horror, the only one present was Vinogradov, who sat calmly smoking a cigarette. Jivoglot bombarded him with questions: “Did they all have the correct address? Did they know what time to be there? Why had they not come?” It was an old habit of Jivoglot’s to instruct his men to arrive an hour or more earlier than he really needed them. They, knowing of this trick, always arrived an hour later than he instructed, but actually in time for the performance of their duties. But this evening, thinking that the wedding celebration would begin at eight o’clock, he had told them to be there at six; and as usual they were in no hurry. It was destined to be an unhappy evening for Jivoglot. From beginning to end, he was pursued by one misfortune after the other. He fumed, fretted and swore. When, at half past seven, the voice from the entrance hall announced the imminent arrival of the newlyweds, he was on the verge of tears. He cursed his fate and his musicians, but the wedding march had to be played. He seated himself at the drum, Vinogradov placed his violin under his chin, and both waited for the signal to beThe Clarinet

gin. The guests gathered in the parlor, and the young couple entered. Jivoglot waved his drumstick and Vinogradov struck the opening measures of the wedding march. In order not to betray the reduced size of his orchestra, Jivoglot took it upon himself to supply the missing voices. While his right hand was beating the drum, in the tempo of the bass viol, his left hand manipulated the cymbals in the rhythm of the second violin. At first, it seemed as though everything would come out smoothly after all, when suddenly a new misfortune befell Jivoglot. In the middle of the wedding march, two of the strings on Vinogradov’s violin broke. Jivoglot was nearly overcome. However, he pulled himself together and gave all his might to the beating of the drum, trying to produce the combined sounds of an entire orchestra. Vinogradov, meanwhile, was unable to pull the new strings through the pegs. Jivoglot continued beating his drum louder and louder, shouting, “Hurry there, hurry, you demon!” But Vinogradov still fumbled. After a few more minutes of smiting his drum, Jivoglot lost all hope of getting help from Vinogradov, and, completely exhausted, he dropped the drumstick and slumped motionless in his chair. It was the first time the people of Bogorodsk had an orchestra in their village. When the wedding march began, they thought that this was music, as it should be played. However, when Jivoglot nearly deafened them with the drum, the guests grew puzzled and looked questioningly at the orchestra. As the music abruptly ceased, one of them stepped boldly forward and exclaimed, “You call this music? The hell it is!” That brought Jivoglot to his senses. He sprang up nervously and offered his apologies. He explained that the entire orchestra had not assembled and assured them that when they came the guests would be thrilled with the music. He mentioned several prominent people for whom he

had furnished music in the past and whose recommendation he had received . After the wedding march, everybody congratulated the newlyweds, and refreshments were served . Jivoglot had time to calm down a little, merely continuing to curse the absent musicians . He swore to discharge them all on the spot, and as further punishment, declared he would buy no more cigarettes from Morkovkin . At last, all the musicians except Morokovkin arrived . Jivoglot ignored them . No matter how earnestly they tried to explain their tardiness, he waved them aside, spat disdainfully in their direction, and walked away . Shortly after, when the dance leader introduced himself to Jivoglot and requested a waltz, Morkovkin appeared at the door . He approached his colleagues and, without removing his hat or coat, began his story . Near the Nikoaievsky Station, the horse car had jumped the tracks; and he, Gdal Morkovkin, had labored for more than half an hour helping to set it back . Jivoglot could no longer control himself . He raised his drumstick; and, drawing himself up to his full height, he shouted, “Undress, you swine, and get to work!” Morkovkin had not expected this; but, when he saw Jivoglot’s fury, he took off his overcoat without a word . He threw it over the back of a chair, took his flute out of its case, and the music and dancing started . At about 10 o’clock Jivoglot approached the host and requested food and drink for the musicians . The host sent him to the cook . From the kitchen, Jivoglot returned with a large platter piled with vinaigrette, a salad of meats, vegetables and mayonnaise . The sight of it made Kurochkin’s eyes pop with joy . With the enthusiasm of a child, he cleared the table of instruments and music, and made room for the food . Jivoglot set down the dish and warned his men to wait until he returned with knives, forks and vodka . The musicians took advantage of the intermission to go into the garden for a breath of fresh air, but Kurochkin stayed at the table and stared gluttonously at the plate of food . At the thought of the vodka he was going to drink and the salad that would follow it, his mouth watered . He could hardly wait for Jivoglot to return . Suddenly, a great fear struck him: would there be enough food in the dish for six people? He decided that his share would be too small to appease his hunger .

At first, he thought of buying someone else’s share; but success was doubtful because they were all very hungry . Then he was inspired with a plan . He found a newspaper, reached into the dish, and grabbed as much of the salad as his hand could hold . He was about to wrap it up when Jivoglot and the rest of the orchestra appeared in the doorway . Kurochkin nearly died of panic . “What if they catch me? They won’t spare me!” He shuddered . “What shall I do? If I throw it under the table, someone might find it; and that will make matters worse .” There was no time for further thought . He put the newspaper filled with salad on his chair and sat down on it . Jivoglot gave each musician half a glass of vodka, and bade them eat . Kurochkin ate ravenously, but he lagged behind the others because his right hand was smeared with the dressing of the stolen portion, and, in order to conceal it, he had to use only his left hand . “Have you suddenly became left-handed?” demanded Jivoglot . Kurochkin wiped his hand on his trousers under the table, and explained that his right hand was tired from carrying the bass viol all the way from Sokolniki . In the meantime, the mayonnaise on which he was sitting, began to assert itself . His trousers became soggy, the chair grew slippery, and he kept his seat with difficulty . His dream of eating the extra supply of salad gave way to the problem of disposing of it without discovery . Another inspiration came to him . He left the table and shuffled backwards towards the door with his left hand gripping the newspaper stuck to his trousers . He had nearly passed the threshold and was at the end of his troubles when a terrible thing happened . An enormous dog that was dozing on the other side of the door caught a whiff of the food and jumped to its feet . When Kurochkin turned around and saw the massive beast, he waved his hands wildly to ward it off . The dog snarled, leaped at him and barked so savagely that guests, servants and musicians all rushed to the spot . With the dog chasing him around the room, Kurochkin had no time to think of the salad . The newspaper with the food, shaken loose from his trousers, fell to the floor . The dog leaped at the salad, pulled out the pieces of meat in it, and devoured them . September 2011

Everything was now exposed . Kurochkin trembled with shame and fear, and his trousers dripped bits of salad . The head of the house called Jivoglot aside and reprimanded him severely for the conduct of his musicians . There was nothing left for Kurochkin but to confess everything to his leader and benefactor . Jivoglot was preparing for immediate punishment of the sinner when the dance leader was heard calling for a polka . With a promise to Kurochkin that he would get his reward later, Jivoglot called his flock together and resumed the musical program . (to be continued)

Visit the I.C.A. on the world wide web:

www. clarinet.org Woodwindiana A resource for great clarinet music and CDs Home of The Clarinet Doctor book and a place to purchase unique clarinet duets, trios & quartets from around the world. Visit our website for full catalog and ordering information: www.woodwindiana.com For interesting and informative articles on a variety of pedagogical topics, visit the Forum section at: www.howardklug.com Woodwindiana, Inc. P.O. Box 344 Bloomington, IN 47402-0344 (812) 824-6161 81

The 2011 I.C.A. Composition Competition

T

by Eric P. Mandat with Michael Norsworthy and Gregory Oakes

his year’s I.C.A. Composition Competition for clarinet duet attracted 18 entrants from five different countries. This article will profile the winning composition, Time Portraits II: Double-Talk No. 37 for two clarinets in B-flat by Satoshi Ohmae from Japan. In addition, we’ll give you a “teaser” of several other works that the members of the committee (Michael Norsworthy, Gregory Oakes and I) found particularly noteworthy. We have included contact information for the composers of these works with the hope that many of you will be interested in these composers and their works and in further disseminating this high quality new clarinet music. All of the works submitted are now at the I.C.A. Research Library.

Time Portraits II: Double-Talk No. 37, Satoshi Ohmae [email protected]

Japanese composer Satoshi Ohmae is professor of composition at Soai University in Osaka and has composed many works in all genres during his long career. His Time Portraits II is one of many “DoubleTalk” duets he has composed for different combinations of instruments, including several which include clarinet. Time Portraits II is written in one continuous movement with several contrasting sections. The work begins with a very slow and free introduction. Several halfstep portamenti give the music an even more flexible feel. A couple of quickly rising gestures at the end of the minute-long introduction prepare the ear for the next section, which features fleeting upward or downward gestures alternating with more expressively dynamic declamatory gestures. Near the end of this section, approximately a minute and a half in length, several hocket-like gestures are introduced, which become an important rhythmic motive later in the work. The third section features expressive rubato solos by each of the clarinetists. Initially the second clarinetist plays alone, but when the first clarinetist enters, play82

ing a similar expressive line, the second clarinetist continues playing a countermelody. Motivically the music is closely related to the declamatory segments in the second section of the piece. The first clarinetist finishes this two-minute long section with an unaccompanied solo. The central section of the work follows, and is marked “ritmato e leggiero.” In contrast to the wide variety of rhythmic values and juxtaposition of fast and slow gestures of the previous sections, this section is a strict succession of staccato 16th notes in each part, broken up by occasional short rests. The irregularity of the note-rest patterns creates a hocket-like effect in many places, building in intensity, and then dying away. A short declamatory interlude leads directly to a shorter and dynamically more subdued version of the staccato section. This entire center section closes after about two minutes with another short declamatory gesture, which again leads directly into a revisiting of the solo gestures from the third section. Finally, after a very short restatement of the staccato gestures, a short coda drawing material from the fleeting gesture/expressively dynamic section closes this arch-form work. The harmonic language of this piece is not traditionally tonal; indeed the work is more about counterpoint and the interweaving of the two lines and juxtaposing different types of gestures than it is about portraying harmonic progressions. The balance, dramatic expressiveness, and the rhythmic freedom given to the performers by Professor Ohmae make this a wonderful work to explore, as deeper study unveils more layers of possibilities for the performers to shape the various sections in unique ways. The premiere performance of this work was given by Robert Spring and Jana Starling of Arizona State University at the ClarinetFest® in Los Angeles. Together Bob and Jana have presented many new works for clarinet duo, and their outgoing adventurous playing styles always make a premiere performance a special event. Below, in alphabetical order by the composer’s last name, are several other pieces which we found particularly enjoyable. The Clarinet

Mechanisms, Jaren Hinckley [email protected]

Jaren Hinckley’s Mechanisms is another three-movement piece, with each movement representing a different piece of heavy machinery. The repetitive nature of these machines (Sheet-Fed Offset Printing Press, Automatic-Feed Collating Machine, and Rube Goldberg Contraption) lends itself to a minimalist approach, which Hinckley employs expertly throughout the piece. The three-note motive for Sheet-Fed Offset Printing Press keeps the pulse lively and active as melodic lines pass between the two B-flat clarinet parts. Key clicks in increasing note lengths create a feeling of the machine slowing to a stop, only to start back up again. In Automatic-Feed Collating Machine, the initial six-note repeating motive gradually evolves into ever-shorter motives, which also makes the sense of pulse increase until a two-note alternation slows to a stop. After a loud foot stomp, the sixnote motive returns in a descending direction, and the motives reduce once again, leading to an exciting crescendo that takes the two clarinets to opposite ends of the range of the instrument. The Rube Goldberg Contraption features a motive that moves through continually changing harmonies and switches between triple and duple subdivisions. The result is a machine in constant flux with familiar elements returning amidst new developments to create a feeling of familiarity along with forward motion. Slow microtonal alternations add an extra dimension to the sense of development, but the familiar beginning returns to finish off the work.

Van Gogh Vignettes, Greg Steinke [email protected]

Greg Steinke’s Van Gogh Vignettes is a four-movement, programmatic piece designed to be a “hearing” of four paintings by the painter Vincent Van Gogh. Written for two B-flat clarinets, the first player doubles E-flat clarinet and the second doubles bass clarinet. The duration of the

piece is approximately 10 minutes, though some variation in length will occur from performance to performance due to the amount of guided improvisatory material. Written with advanced players in mind, some substantial rehearsal will be necessary to coordinate these improvised sections and to invent the various scenarios suggested by the composer. The tempi of the movements is slow, fast, slow, fast. The written ranges for each player is standard and does not exceed an altissimo written G. Some extended techniques are used to produce effects such as “jet like sounds” but these are not prohibitive and should be easily tackled by most players. This would be a terrific piece for any college-level recital and would be an interesting way to promote collaboration amongst players in a studio. Highly recommended!

D’Inverno (In the Wintertime), Federico Zattera [email protected]

Italian composer Federico Zattera’s D’Inverno, for clarinet and bass clarinet, is organized in two movements. The first, “Via Vittor Pisani sotto la neve” (“Via



Vittor Pisani under the snow”), is a very slow and quiet unfolding of small-interval gestures, chromatic grace notes, short portamenti, trills or slower moving semitonal undulations. Gradually some widerinterval gestures emerge and contribute to the texture, but the trills, and sustained sounds predominate. The second movement, “Clouds,” is a study in undulations. The two instruments play measured tremolos, sometimes together, sometimes alone, with dovetailed entrances and exits. Despite the actively moving notes throughout this movement, the mood is calm and floating, so the “tranquillo” section near the end, with its very long-note dovetailing, does not sound significantly different than the previous tremolos. This is an effective mood piece for college-level clarinetists.

Nori for two B-flat clarinets, Sung Hyun Yun [email protected]

Sung Hyun Yun’s three-movement work is exciting, in that each movement provides noticeably new material and fertile ground for exploration. The movements are relatively short, and Sung Hyun has kept the compositional forces to a man-

September 2011

ageable minimum in each in order to best delve into their possibilities. The first movement begins with an alternation between the two B-flat clarinet parts. The subdivisions are all quintuplets, and the rhythmic spacing of the alternation is constantly changing. Combined with the small range of pitches, the effect is a murmuring chatter that establishes a base from which the sudden intrusions of held dyads contrast distinctly. The wide interval of these dyads further distinguishes them from the overlapping pitches of the base material. These elements commingle and create an exciting push to a dynamic peak. The gradual energetic decline rounds out the form in a pleasing way. Movement two begins with pentatonic musings in the first clarinet underscored by a persistent second clarinet drone. The two parts join together to outline a lyrical melody together, and the movement ends with the melody that began. A medium-fast 16th-note drive pushes through much of the third movement, with punchy, accented exclamations punctuating the regularly moving texture. Some playful glissandi lighten the character, and the piece ends with a gradual diminuendo down to a demure pp.

83

CompetItIons The Seventh breno International Clarinet Competition “G. mensi”

T

he seventh edition of the Breno International Clarinet Competition “G . Mensi” took place on May 1214, 2011 . Breno is a little town in northern Italy where Giacomo Mensi was born . He was a talented clarinetist who studied at the local conservatory in Darfo Boario Terme, and then earned a diploma at the Hochschule of Freiburg (Germany) studying with the well-known player Dieter Klöcker . Soon after his graduation he died in a tragic car accident, and this competition has been organized in order to keep alive the memory of this young player . In the competition the clarinetists could compete in three different categories: Young Promises A (maximum age 13), Young Promises B (ages 14-17) and the third category, Excellence, included participants with no age limit . The president of the jury was Wenzel Fuchs . The other members of the jury were Luigi Magistrelli, Nicola Miorada, Primo Borali and Silvio Maggioni, who was also the organizer and Artistic Director of the competition . A large number of participants arrived from Italy and other European countries: Austria, Croatia, Slovenia, Czech Republic and Switzerland . In the principal category the participants had to play for the first round the Ernesto Cavallini Concerto No. 2 (recently published by Eufonia) and the Stravinsky Three Pieces . In the second round the compulsory pieces were the Mozart Clarinet Concerto (1st movement) and Rossini’s Variations in C Major . In the third round they had to repeat the Cavallini Concerto No. 2. The winner, Ivav Lervent, performed this Concerto (the premiere performance in modern times) with the Valle Camonica Orchestra, conducted by Silvio Maggioni, on May 15 . The winners: Young Promises A: 1 . Niccolò Dainelli, Italy, 200 Euros; 2 . Mateo Paskavan, Czech Republic, and Alberto Culmone, Italy, ex aequo, 75 Euros each; 3 . Ma84

(l–r): Luigi Magistrelli, Fabio Maini (second prize), Lorenzo Laurino (honorable mention), Gianluigi Caldirola (second prize), Wenzel Fuchs, Nicola Miorada, Primo Borali, Ivov Lervent (first prize) and Silvio Maggioni tous Kopacek, Czech Republic, 100 Euros Honorable mention: Greta Petenz, Italy; Vittore Branca, Italy; Carolina Kos, Croatia Young Promises B: 1 . Anna Paulova, Czech Republic, 300 Euros; 2 . Libor Suchy, Czech Republic, 200 Euros; 3 . Stefano Borghi and Aldo Botta, ex aequo, Italy, 75 Euros each Excellence: 1 . Ivov Lervent, Austria, 2,000 Euros; 2 . Fabio Maini, Italy, 700 Euros; 3 . Gianluigi Caldirola, Italy, 400 Euros Honorable mention: Lorenzo Laurino, Italy

The 2012 International Clarinet Competition Jeunesses Musicales belgrade

T

he 2012 International Clarinet Competition Jeunesses Musicales Belgrade will be held March 22– April 1, 2012 in Belgrade, Serbia . It is open to all clarinetists of any nationality under the age of 30 as of March 20, 2012 . The Clarinet

For complete competition information, consult the following website: www .music-competition .co .rs/ 2012/index .html All required documents should be sent by December 31, 2011 to the following address: International Jeunesses Musicales Competition 11000 Belgrade Terazije 26 Serbia

The Clarinet

Publication Schedule The magazine is usually mailed during the last week of February, May, August and November. Delivery time within North America is normally 10–14 days, while airmail delivery time outside of North America is 7–10 days.

INTERNATIONAL CLARINET ASSOCIATION 2012 YOUNG ARTIST COMPETITION Eligibility: The competition is open to all clarinetists who shall not have reached the age of 27 by January 1, 2013 (i.e., born on or after January 1, 1986) and are not currently under major artist management. Application: Please submit the online competition application form on www.clarinet.org and mail a printout of the confirmation page along with your other application materials. Send materials postmarked no later than Friday, April 6, 2012 to: John Cipolla, I.C.A. President-Elect Department of Music, Western Kentucky University Ivan Wilson Fine Arts Center #351 1906 College Heights Blvd. #41029; Bowling Green, KY 42101-1029 E-mail: [email protected] • phone: 270-745-7093

Contest Rules Application fee: $50 US. All applicants must be members of the I.C.A. and submit the online competition application form on www.clarinet.org. Please mail the print-out of the confirmation page as this will serve as proof of I.C.A. membership and payment of application fee. Non-members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest application fee. If you choose the option to pay by check or money order in the online application process, please be sure to include appropriate payment with your application materials. The application fee is non-refundable. II. Recording Instructions: Please provide a high quality recording on compact disk (CD-R) containing the following repertoire in the exact order listed. Repertoire must be recorded with accompaniment when appropriate. Any published edition is acceptable. Each selection/movement should be ID coded as tracks. Audiocassettes will not be accepted. Please be aware that the quality of the recording will influence the judges. Recordings should not be edited and only continuous performances of entire works or movements are allowed. I.

1. Leslie Bassett, Soliloquies for Solo B-flat Clarinet 2. Louis Spohr, Concerto No. 1, Opus 26, mvt. I 3. Sir Arnold Bax, Sonata for Clarinet and Piano in D major, mvt. I III. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age. IV. Both the private teacher, if any, and the contestant attest in a separate written and signed statement that the recording is the playing of the contestant and has not been edited. V. A summer mailing address, telephone number and e-mail address should be provided. E-mail is the preferred means of communication. Please check your e-mail regularly as this is how you will be contacted.

Judging Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R or box. There should be no speaking on the recording such as announcing of compositions. Preliminary judging will be by recorded audition. Semi-finalists will be chosen by committee. Notification will be sent by Monday, May 7, 2012. Semi-final and final rounds will be held at the ClarinetFest® 2012, to be held in Lincoln, Nebraska USA, August 1–5, 2012. Semi-finalists will receive a waiver of registration fees for ClarinetFest® 2012. Travel and other expenses will be the responsibility of the contestant. Visa and travel arrangements are solely the responsibility of the contestant. Repertoire for the semi-final and final rounds of competition will consist of selections from the works listed above. A pianist will be provided for competitors in the semi-final and final rounds. Memorization is not required. All contestants will accept the decision of the judges as final. Past first-prize winners are not eligible to compete. All recordings will become the property of the I.C.A. and will not be returned.

Prize First prize – $4,000 U.S. and a professional clarinet • Second prize – $2000 U.S. • Third prize – $1,000 U.S. The Young Artist Competition is generously sponsored in part by Buffet Crampon, Gao’s Royal Musical Collection, Leblanc (ConnSelmer), Rico, L. Rossi Clarinets, Henri Selmer Paris, and Yamaha. The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

September 2011

85

News From

South America by Ricardo Dourado Freire

T

he cultural scene in Latin America has changed a lot in the past years, and clarinet players have been organizing events that would promote the clarinet in Latin America . During this first semester of 2011, there were clarinet meetings in Argentina, Bolivia, Colombia and Costa Rica . In September there will be the First Latin American Clarinet Congress in Peru . Research about the clarinet is also a strong subject now, and Fernando Silveira just released a CD with premieres of clarinet music played in Brazil during the 19th century . This column also includes a tribute to the memory of Paulo Moura, a landmark in Brazilian popular music, who died in 2010 . The First Latin American Clarinet Congress will be held in Lima, Peru, organized by Clariperu under the leadership of Marco Antonio Mazzini and take place on September 12–16, 2011 . The event aims to unite clarinet players from all over Latin America with guests from Argentina, Colombia, Guatemala, Mexico, Portugal, Spain and the U .S .A . During the same period will also be the Concurso Latinoamericano para Clarinetistas, a clarinet competition for clarinetists under 27 years old . The Congress will be held at the Centro Cultural Peruano Japonés and can be visited at www .wix .com/clariper2/congreso#! The next “News from South America” will include a full report from the congress . Argentina held two clarinet conferences during April and May . In the northwest part of the country, province of Tucumán, there was the 1o Encuentro de Clarinetes de Tucumán, on April 21–24 . organized by Juan Pablo Vazquez and with the presence of Amalia del Giudice and Marcelo 86

González . Just south of Buenos Aires, in Bahia Blanca, there was the II Encontro de Clarinetes, from May 26 to June 5 . Clinicians and guests were Nestor Tomassini, Diego Casoni, Osvaldo Lichtenzveig and Gustavo Kamerbeek from Argentina, Gervasio Tarragona, from Uruguay, and Marco Antonio Mazzini from Peru . Santa Cruz de la Sierra, Bolivia, organized the III Encuentro Internacional de Saxofonistas y Clarinetistas, on June 28–July 2. At the time there were many clarinet and saxophone recitals and master classes and a contest for composers . The main guests were Jean-Francois Bescond, from France; Amalia del Giudice, from Argentina and Ensamble de Clarinetes “La Paz,” from Bolivia . Fernando Silveira received first prize at the ClarinetFest® 2009 I .C .A . Research Competition in Porto, Portugal . His work about the presence of Ernesto and Pompeu Cavallini in Brazil was published in the March 2010 edition of The Clarinet . In March 2011, Silveira and pianist Lucia Barranechea released the CD Fantasia de Concerto with music for clarinet in 19th-

The Clarinet

century Brazil . The recording is a result of his findings about the repertoire that was played by local and international clarinet players while living or visiting Rio de Janeiro . The repertoire includes Souvenir de Linda by Ernesto Cavallini, which was part of a program played by Antonio Luis de Moura at the Teatro Lyrico Fluminense, in 1859 . Air by Brazilian opera composer Antonio Carlos Gomes is considered the first solo piece for clarinet by a Brazilian composer, written in 1859 and premiered by French clarinetist Luis Henrique Levy in Campinas, São Paulo . José Lino Fleming, a composer from the state of Minas Gerais, was well regarded by the Brazilian Emperor, and received a scholarship to study composition in Italy where he composed and published Noturno para clarineta e piano, a Lied for clarinet and piano . Viennese composer Sigismund Neukomm, who was a student of Haydn and lived in Rio de Janeiro between 1816 and 1821, composed Fantasie para clarineta e piano in 1813, and brought it with him to Brazil . Pompeo Cavallini visited Rio de Janeiro and played at the Teatro Ginásio Dramático in July of 1859, and his Divertimento for clarinet and piano is his only piece, and probably was part of his repertoire . The last piece on the CD is Introduction and Variations by the Czech composer Johann Wenzeslaus Kalliwoda, and it was part of a written program performed at “Clube Mozart” in 1879 . This recording provides a view of clarinet music that was composed and played at the musical events in the capital of Brazil during the second part of the 19th century . Most performances occurred during opera intermissions or at chamber music societies . The compositions were strongly influenced by the bel canto style and required clarinet players to think like opera singers to perform this repertoire . More information about this recording can be accessed at www .fernandosilveira .com .br . Paulo Moura was a force in Brazilian music and died on July 12 in Rio de Janeiro at the age of 77 . I mentioned briefly his loss in the first issue of this column, but the clarinet community should know more about this player who was a reference for Brazilian music . He was a master of both the clarinet and the saxophone, and a composer, arranger and orchestrator who defined the presence of the clarinet in Brazilian popular music . His first commercial recording was released in 1956, a Columbia single with

Photo: 2007 © Alex Almeida

Paulo Moura Moto Perpetuo by Paganini and RimskyKorsakov´s Flight of the Bumble Bee . In order to make the recording, Moura learned by himself how to do circular breathing in a few weeks . And this was just the beginning . Moura was one of 10 siblings born in 1933 in São José do Rio Preto – São Paulo State . His father, Pedro Moura, was a band conductor who taught all his sons to play wind instruments, and Paulo followed his father’s instruments, the clarinet and saxophone . He moved to Rio de Janeiro, as a teenager to enroll in the National School of Music to study clarinet with Jayoleno Santos . In 1958, Moura was the first black to be selected to be principal player at the Orquestra Sinfonica do Teatro Municipal do Rio de Janeiro . He joined the orchestra and played at the opera house until 1977 . During the late 1950s, Rio had a very exciting musical scene and bossa nova was just being born in the streets of Copacabana and Ipanema . Paulo Moura lived away in Tijuca, but managed to be part of the elite group and regarded as a great improviser in the new jazz-samba style . He appeared at Bossa Nova night at Carnegie Hall in 1962 with Sérgio Mendes . After his debut in the U .S ., he was invited to take part on Cannonball Adderley’s 1962 album, Cannonball’s bossa Nova. Popular music and classical music were two sides of the same coin for him . Paulo Moura would rehearse by day at the Municipal Theater and play live at night on TV, radio or dance clubs . He could record Paganini or Gershwin, Villa-Lobos or Pixinguinha, and during his life he would contribute to both styles as a very

personal player who was in search of a unique musical voice . I once did an interview with him, and he told me that he wanted to improve his performance on samba . Then, he bought a house in front of a traditional samba school named Imperatriz Leopoldinense . He lived there for 15 years in order to listen every week to old samba singers and get the right groove for his playing . Choro music was considered old fashioned in the early ’80s, but then Paulo Moura released two recordings that would fire up a new way to play Choro: mistura e manda (1984) and Gafieira etc. e Tal (1986) . He combined improvisation, virtuosity, and expression to bring back the gafieira style, which renewed the interest about Choro that started to increase again in Brazil . The site paulomoura .com offers full access to videos, interviews and to all his 41 recordings that can be listened to online . There are many excellent performances and it is not possible to miss: moto perpetuo (Columbia, 1956), mistura e manda. (Kuarup, 1984), Dois Irmãos: paulo moura e Raphael Rabello (Milestone Records, 1992), paulo moura e Os batutas (Rob Digital, 1997), winner of the 2000 Latin Grammy, K-Ximblues (Rob Digital, 2002), Estação Leopoldina (MecBR, 2003) and El Negro del blanco (Biscoito Fino, 2004) . Paulo Moura contributed a major role to the clarinet in Brazilian music . He also played the saxophone, but when he was in the hospital and some friends arrived to play with him, he picked up the clarinet to make his last recording before leaving this world . September 2011

87

News from France by Jean-Marie Paul

National Conservatories

Lyon CNSM, May 23: Master’s degree, Bruno Bonansea, mention “Very Good” (the equivalent of the former 1st Prize); unanimous decision of the jury; Laurence Boureau and Seong-Yun Jung, mention “Good;” “Licence” degree (under Master’s): Maxime Jaouen, François Tissot and Hugo Clédat. All of them received a 16 on 20 notation. Paris CNSM, May 25: “Licence” degree: mention “Very Good” and Raphael Severe: mention “Very Good” with a unanimous decision of the jury.

Musique de l’Air (Air Force Band)

March 28, two chairs were awarded to: Coralie Ordulu (a teacher at the Conservatoire of the 12th arrondissement, Paris; former student of Christian Peignier in Besançon, J. Di Donato and N. Baldeyrou at the Lyon CNSM, Bruno

88

Martinez in Paris and J.N. Crocq, bass clarinet in Paris CNSM) Lilian Harismendy presently in his second year at the Lyon Conservatory. Former student of Richard Rimbert in Bordeaux, Olivier Derbesse in Paris. Meilleur Soliste Aquitain 2009 (Best SouthWest Clarinet Player 2009)

Meilleur Espoir Aquitain 2011 (Best SouthWest Clarinet Player, February 12, 2011): Théo Montagut unanimous choice of the jury.

Benjamin Christ – European Youth Orchestra (www.euyo.org.uk) N.B. The clarinet section is also composed of: Vladimir Brablec (Czech Republic), Vytautas Giedraitis (Lithuania) and Jessie Grimes (Ireland).

The Clarinet

2012 Centennial of Jean Françaix

If you plan to program pieces by Françaix, you can send an e-mail to: [email protected]. They plan to make a list of 2012 concerts.

6e Concours Tomasi – International Competition for Wind Quintets, February 20–25, 2011 – Marseille

1st Prize: Canorus Quintett (Germany, Christoph Schneider, clarinet) www. canorusquintett.de 2nd Prize: Quintette Artecombo (France, Annelise Clément, clarinet) www. artecombo.com 3rd Prize: Belfiato Quintet (Czech Republic, Jiri Javurek, clarinet) www. belfiato.com

Jacques Lancelot International Competition, March 3–10, 2012, Rouen

Registration deadline: September 20, 2011; www.concours-jacques-lancelot. org; E-mail: [email protected]

Premieres

March 31, Montigny les Metz (57); Daniel Hue, three sopranos, baritone and clarinet choir: http://souffle.ebene.free.fr (They made a tour in Quebec in July.) April 1, La Rochelle, Philippe de Deyne, clarinet; Beatrice Reuther, guitar. Three premieres: a duet by Michel Bosc and two pieces for clarinet alone by Juan Pablo Carreno (Columbian composer in La Rochelle). April 8, Auxerre. With the clarinet classes of Dijon (Eric Porche, professor) and Auxerre (Laurence Conversatory, professor), Vincent Carinola: three versions of “Neumes” (Ave Maris Stella , Ut queant laxis, Salve Regina) for clarinets and Gregorian Choir, commissioned by the Dijon Conservatory. April 18, Ensemble Claude Georgel (Yannick Herpin, clarinet). Olivier Dartevelle: Imaginaires for saxophone, clarinet, cello and piano. O. Dartevelle is solo clarinet of the Luxembourg Philharmonia Orchestra. April 24, Ivry-sur-Seine (near Paris), Le Concert impromptu ensemble (Jean

Maurice Faillenot (1920–2010), clarinetist and composer

I heard recently of Maurice Faillenot’s death on July 23, 2010. He was a student of Eugene Gay in Lyon, the professor of clarinet in Troyes and assistant director of the Conservatory. He composed more than 100 works, mainly pedagogical. I have listed on www.partitionsvandoren.fr his published works with clarinet.

Vandoren and High-tech Information

Vandoren has developed free applications for Iphone and Android smartphones – www.vandoren.fr/en/smartphone.html – as well the “Vandoren TV” where you can see videos of players (with translations in English, Japanese and Chinese) continuously being updated with players from various countries. There are also older interviews with Karl Leister by Jean-Marie Paul and Messiaen with Michel Arrignon. (www.vandorentv.com/)

photo: chiaNaN YeN

Christophe Murer, clarinet) Thierry Blondeau: Volée for wind quintet April 24, Tigny Noyelle, Pas de Calais (North of France). Thierry Escaich: Clarinet Quartet. Quatuor Vendome (F. Amet, N. Baldeyrou, A. and J. Chabod) www.quatuorvendome.com May 3, Arras (Pas de Calais), Patrick Dorobisz: Piece for E-flat clarinet and computer. The live clarinet moves with the virtual recorded clarinet. Jacques Merrer, E-flat clarinet (J. Merrer is E-flat clarinet in the Lilles Orchestra) May 22, Avion, Pas-de-Calais. Michel Nowak: Scherzo printanier for Eflat clarinet and Reed Orchestra (clarinet and saxophone ensemble). Jacques Merrer, E-flat clarinet June 17, Grenoble. Benoît Dantin Rapa Nui, Concerto Ligérien n° 1 for clarinet and orchestra B. Dantin is himself a clarinetist; his father, Jean-Marie, also taught in the area, but now teaches in the Tahiti Islands. La Petite Philharmonie, conducted by the clarinetist Bruno Delaigue; Pierre Dubier, guest solo clarinet (professor, Grenoble Conservatory) (www.lapetitephilharmonie.fr) June 21, Paris. Premiere of the reduction for E-flat clarinet and piano of Cercles dans le Ciel by Anthony Girard for E-flat clarinet and orchestra. The version for orchestra was premiered on August 6 at the ClarinetFest® in Los Angeles.

Woodwind Studies music and performing arts professions

Esther Lamneck, Director of Woodwind Studies

Instrumental Performance |

B.m., m.m., ph.D.

study with acclaimed artists in the performing arts capital of the world—New York city. Selected Woodwind Faculty clarinet chris Bush, stanley Drucker, pascual martinez fortezza, larry Guy, David krakauer, esther lamneck bass clarinet Dennis smylie woodwind ensembles in residence

New hudson saxophone quartet, quintet of the americas scholarships and fellowships available. visit www.steinhardt.nyu.edu/clarinet2012 or call 212 998 5424.

New York UNiversitY is aN affirmative actioN/eqUal opportUNitY iNstitUtioN.

September 2011 Job: 0910_A606 Publication: The Clarinet Size: 5 X 10

89

a space in French notation. The aspiring bass clarinetist will now be ready to tackle the fourth and fifth octaves of so much bass clarinet music of the past 40 years. Highly recommended.

Music Reviews

by Gregory Barrett Luigi Bassi. La Sonnambula, Grand duo concertant pour clarinette piccolo en mib et clarinette sib with piano accompaniment, 2010. International Music Diffusion IMD 468. Paris. www. arpeges.com Luigi Bassi (1833–1871) followed Ernesto Cavallini as clarinetist at the Théâtre de la Scala and like Cavallini he has enriched our repertoire based upon his performing experience. His arrangement of several themes from La Sonnambula, by Vincenzo Bellini (1801–1835), the composer-aristocrat of the era, for piccolo E-flat clarinet, B-flat clarinet and piano showcases the lyric refinement for which Bellini was known. Bellini’s plot, centered on the sleepwalking Amina, was also part of the advancement of opera from ancient classical sources to opera semiseria with Romantic scenery and sentiment. What clarinetists have as a result is a wildly fun-to-play showcase for E-flat and B-flat clarinet. Cascading arpeggios and rapid embellishments encircle Bellini’s melodies to dizzying effect. Kept in simple key signatures and with relatively conservative range, this extremely playable arrangement is made all the more useful by International Music Diffusion’s thoughtful production. Type is extremely clear, full piano score, individual clarinet parts as well as a third part with both clarinet parts are provided. International Music Diffusion’s clarinet catalog is to a large part organized in collections by renowned performer-pedagogues. The E-flat clarinet repertoire is under the direction of Jacques Merrer, long-serving piccolo clarinetist of the National Orchestra of Lille. 101 estudios para clarinete bajo (101 studies for bass clarinet, basset horn or contrabass clarinet), 30 progressive studies for German Notation System. Musica Didactica S. L., 2005, Madrid, Pedro Rubio, editor. musicadidactica@ terra.es This beautifully conceived and executed book guides the intermediate to advanced clarinetist to fluent use of the German (bass and treble clef) notation system. Editor Pedro Rubio, professor at the Joaquín Turina conservatory in Madrid 90

Emil Kroitor. 15 Klezmer Solos, Duos and Trios for three clarinets, or clarinet, soprano sax and trumpet, Israel Brass Woodwind Publications, ORTAV, 2009. $17.95 www.ortav.com

and president of the Spanish Bass Clarinet Association, is a familiar performer to ClarinetFest® attendees. Rubio’s introduction to the volume is given in Spanish and English and describes his rationale for the 83-page book, its structure, and features. The etudes were selected from works for instruments of the same character as the bass clarinet, such as bassoon and cello, by well-known composers such as Julius Weissenborn, David Popper and JeanPierre Duport. You may also recognize the names Compta, Dotzauer, Eslava, Milde, Ozi, Romero and Salviani among others. The first etude is printed in three versions, in adjoining staffs: French (treble clef), German (bass and treble with treble read one octave higher) and Stravinsky’s hybrid system. The second through 10th studies are printed first in the French style and then on the following pages in German notation. For bass clarinetists without a range to low C, ossia measures in slightly smaller point size are printed directly above those measures that would be unplayable. The etudes in this section progress from quarter, half, and whole notes to the inclusion of trills and 16th notes. Now that a firm foundation has been developed the remaining 20 etudes are presented solely in German notation. Ossias for lack of extended low range continue to be included and as a didactic feature easily read fingerings are provided next to the increasing number of altissimo notes. Different fingerings are given for the same pitch depending on context. The etudes continue to progress in difficulty and many would make lovely unaccompanied concert repertoire. By the time one has mastered the last etudes he or she is ready to take on all the standard orchestral literature and has performed in range up to printed A-flat one ledger line above the treble staff, or four ledger lines and The Clarinet

OR-TAV Music Publications has a growing catalog of klezmer and Israeli folk music for the clarinet. This volume by Moldavian-born composer and accordionist Emil Kroiter reflects his original milieu blending Jewish, Gypsy, Romanian, Turkish and Ukrainian styles. It is a delight to use in several ways. A single clarinetist can perform any of the pieces with the accompaniment of her choice thanks to the chord symbols printed (in C) in the first clarinet part. Noteworthy is the inclusion of a second solo part (B-flat instrument) for nine of the tunes. Three of the pieces include a third B-flat part resulting in a richness of timbre. Any of the parts could be played by clarinet and the lowest voice would be also suitable for trumpet. Soprano saxophone is suggested for the second voice. The familiar sound of augmented 2nds and melodies with repeated notes in scalar passages will make klezmorim feel at home. A few trills are suggested and the repeats invite performers to experiment with further embellishment. The pieces provide a variety of tempos. Rhythmically, one is progressive with its 7/16 meter. All of the music is straightforward and at an intermediate level. One unintended outcome of the collection is due to the wonderful play-along CD included. Accordionist Kroiter and his expert ensemble in various combinations of violin, clarinet, keyboard, bass guitar, and drums play a very musical accompaniment with which you can solo and consequently provide a model for fledgling performers of this style of music. They show you what to do rhythmically, melodically, and musically with the forms and chords provided. Klezmer Diptych. Mazl Tov Shver un Shviger and Kolyn arranged by Mike Curtis for B-flat clarinet and piano, Advance Music, 2010. www.advancemusic.com U.S. distribution by Kendor Music. This latest arrangement by Mike Curtis takes two well-known klezmer melo-

dies and makes them immediately sound stylistically authentic due to the succinct and appropriate ornamentation in the clarinet part. The piano accompaniment is likewise handy with its clear patterns and voicing. Even with a clarinet range to altissimo G, these two pieces are beginner level (though more experienced players will enjoy them too) because of the straightforward rhythms and choices of key signatures. Combined into a twopiece suite Mazl Tov Shver un Shviger (Congratulations to the In-Laws) and Kolyn (Coal) will bring joy as a recital-closer. Mike Curtis’s website details his myriad of woodwind publications in a variety of styles available through three houses.

by Osiris Molina Jean-Bernard Collès. Le Bonheur Des Oiseaux, Opus 2, for solo B-flat clarinet, 2002. Editions Combre C06320. www.editions-combre.com Editions Combre has entrusted Guy Deplus to oversee a selection of works by composers who are professors at French conservatories. The works are intended to introduce students to contemporary music under the guidance of composers experienced in teaching young students. JeanBernard Collès followed a path not uncommon to other French composers: He started his career in another discipline before a transformative experience brought him to composition. His six-minute unaccompanied clarinet work, Le Bonheur Des Oiseaux (Happiness Bird), is a challenging contemporary work evoking the spirit of Olivier Messiaen, and his magnum opus Quatuor pour la fin du temps. Le Bonheur is a florid interpretation of the bird escaping from its restraints and spreading its wings, as it were. In the preface to the score, Collès is adamant about allowing full reign for dynamic and rhythmic contrast, and to minimize the sense of persistent pulse. From a technical standpoint, Collès’ piece is solidly bound to Messiaen’s work. The falling C to F-sharp tritone is a core compositional reference, establishing a kinship with the Abyss of the Birds movement. Even the final statement of the new work incorporates the descending motive, confirming its roots with those of its predecessor. Le Bonheur Des Oiseaux contains mostly downward slurred runs within the standard range of the clarinet. There is one

noteworthy exception in terms of range – of which Collès is insistent – of a C-sharp in the upper altissimo near the conclusion. Otherwise, the work is within traditional contemporary parameters, avoiding multiphonics, multiple tonguing or circular breathing. Le Bonheur Des Oiseaux is a faithful homage to Messiaen, casting much of the fundamental characteristics of Abyss in a new light.

by Katrina R. Phillips Margot Wright. Improvisation for Solo Clarinet. Emerson Edition Ltd., 2005. £4.00. Margot Wright (1911–2000) was awarded a scholarship to the Royal Academy of Music to study piano and composition in 1928. Most agree she was influenced by the late-romantic composers, though her music also has an essence of her English heritage with its folk songs. She composed a cello sonata, a piano quintet, a work for viola and piano, as well as a set of songs for mezzo-soprano, clarinet obbligato and piano. Improvisation for solo clarinet was most likely written for her husband, who was a semi-professional clarinetist. Improvisation uses no extended techniques, and the range does not exceed an altissimo F. Meter and rhythms are simple but move from duple to triple groupings frequently. This 3½ minute solo would be good for a college freshman’s recital as sort of a “relief” piece between more challenging works. Even with an abundance of dynamics and tempo rubato indications, the piece could come across as lackluster unless the player emphasizes recurring motives, focal points of phrases, and gestures that are transposed or varied in one way or another. Given some heart, Improvisation by Margot Wright could truly blossom.

by Michele Gingras Jack Cooper. Sonata for Clarinet and Piano (with bongo in the first movement and percussion in the third movement). Approximately 16’23”. Available through the composer: jcooper1 @memphis.edu. Excerpts can be heard at: www.classicalarchives.com/ work/665826.html. This is a very interesting and unusual clarinet sonata in that it fuses legit and jazz/Latin styles. Both jazz players and September 2011

classical players can play it since improvised parts are optional. However, the complexity of Latin rhythms certainly make it more approachable by experienced jazz clarinetists and pianists. The composer plans to publish this work through Advance in Germany in the future. Jack Cooper is associate professor and jazz and Studio Music Area Coordinator at The University of Memphis, Tennessee. He earned his degrees in composition from California State University at Los Angeles and the University of Texas at Austin. As a saxophone/woodwind performer and staff arranger, Dr. Cooper performed, recorded, and toured with the U.S. Army “Jazz Knights” and he also performed with Manhattan Transfer, Smokey Robinson, Kenny Rogers, the Temptations, and many others. The sonata’s three movements are: I. Latin, II. Slow, à la Satie, III. Presto. The first movement, Latin, contains a pleasant mix of “serious” composed material mixed with Latin rhythms and optional improvised sections (one for clarinet, and one for piano near the end of the movement). The work would lose much of its flair and originality without the improvised sections, so I especially recommend it for jazz connoisseurs. Although technically quite approachable, the movement is quite a task to put together rhythmically, and the five-sharp key and added bongo part add to the challenge. The second movement, Slow, à la Satie, lives up to its title by reminiscing Éric Satie’s famously simple and wonderful piano Gymnopédies. It contains a cadenza that can be expanded with improvised material. The Presto combines a bebop feel with legit modern compositional style, and contains an optional percussion part. Again, there is an optional improvised section in the middle of the movement. The recording I heard cleverly had the percussionist start playing at the clarinet improvised part, making the clarinet sonata suddenly turn into a gig-like session. I wonder about the key choice though; five sharps for the piano and five flats for the clarinet. The timing of this piece could easily vary between 10 and 16 minutes, depending on whether or not the performers choose to play the improvised sections. Choosing to take out those sections is a sure way to eliminate the soul and purpose of this piece, so I would bypass that option. 91

Shmuel Sajevich. Kaleidoscope – Israeli Fusion and Ethnic Tunes for clarinet, 2010. 23 tunes for clarinet with chords in B-flat. Israel Brass Woodwind Publications, OR-TAV. $11.95 www.ortav. com This is a new collection of “Israeli fusion music” by pianist, songwriter and accordionist Shmuel (Mula) Sajevich. Inspired by the “King of Klezmer” Giora Fiedman during Feidman’s yearly seminar “Clarinet & Klezmer in the Galilee” in Safed, Sajevich spent two years composing instrumental tunes reflecting the Israel of the last 40 years, fusing the Jewish music from his homeland Lithuania with other idioms from the rich multi-cultural melting pot of Israeli society. The result is a kaleidoscope of new tunes presented in a sort of “fake book” style for giggers. Sajevich is a staff member at the seminar, where Feidman has performed and recorded his music. Because the book solely contains the clarinet melody line with chords in B-flat (to facilitate improvisation), it is probably best suited for musicians who already possess a good knowledge of Jewish music performance practices. Indeed, an introduction at the beginning of the book describes how Sajevich tried out his compositions with a clarinetist colleague before publication. I can only assume the composer sat at the piano and played all accurate rhythms, chords, and melodic passages flawlessly without a score. But what if you are a novice at this type of music? Added bonuses for Jewish music novices in this book would have been tempo markings, chords in C for the accompanying musician(s), accompaniment rhythmic suggestions that indicate what type of dance beat is best for each song, and perhaps even a few idiomatic ornaments or clarinet sound effects to help render the performance more authentic. Sajevich’s compositions are pleasant, soulful, and fun to play. The necessary creation of a piano score or instrumental band parts would help it become a welcome addition to this repertoire. Arthur Benjamin. Jamaican Rumba, arranged for wind quintet and piano by Irving Tallmadge, 2001. Emerson Edition 357. www.boosey.com. Score and parts, $17.93. Difficulty 6 or 7. 92

Arthur Benjamin wrote Two Jamaican Pieces as an orchestral suite in 1938, after spending some time in the West Indies and Latin America. The two pieces are entitled Jamaican Song and Jamaican Rumba. The Rumba became one of Benjamin’s most popular works, and is frequently heard in an arrangement by the composer for two pianos. The wonderful, short, two-minute version for clarinet and piano (edited by Reginald Kell) was made popular by Emma Johnson’s 1992 recording entitled Encore. Arthur Benjamin was born in Australia in 1893 and died in England in 1960. He studied composition with Charles Villiers Stanford, and harmony and counterpoint with Thomas Dunhill. He had a fruitful career as a composer, pianist, teacher, and conductor in Australia, England and Canada, and also as a director of the New South Wales State Conservatorium of Music. He taught piano at the Royal College of Music in London, where one of his students was the young Benjamin Britten. He spent a year teaching in Portland, Oregon from 1944 to 1945. This arrangement for wind quintet and piano is very well done by Irving Tallmadge. The famous main theme is shared mostly by the flute and oboe. The clarinet has one crack at it in unison with flute and oboe, but mostly takes on an accompanying role for the rest of the piece. As with the clarinet and piano version, the piano part in this arrangement is prominent rhythmically. This arrangement is perfect for an encore or to close a program.

currently serves as the resident composer for the McKeesport Symphony Orchestra (PA) and the Beaver Valley Philharmonic (PA) for which his Concerto for Bass Clarinet and Orchestra was premièred in 2008. He also serves as resident composer for the Lincoln Park Performing Arts Center in Midland, Pennsylvania. Goodman has written symphonic and operatic works, and won several awards for his works for piccolo as well as for saxophone. At first glance, Todd Goodman’s Concerto for Bass Clarinet seems to promise great things with enticing movement titles including I: Promenade Comique (March – Relaxed and Flowing – March), and II: A Berceuse et Rêve (Mysterious – Song – Samba – Song – Samba). Unfortunately the overall effect falls a bit short, both for performer and audience. There is good musical and compositional technique throughout, however each movement seems to flow right into each other with little distinct color change, mood, or content. After about 15 minutes of music, however, a Samba breaks the monotony, only to return to its previous calm and stoic flow. A very liquid and smooth approach to melody is of note, but as an entity, the work seems to lack out-of-the-ordinary musical ideas and clever melodies, which could make it slip into oblivion. On the other hand, it is technically manageable and pleasant to listen to, rendering it accessible to more performers. Time will tell which path it will take.

Todd Goodman. Concerto for Bass Clarinet and Orchestra. 20’. Full score, $35.00. Orchestra is scored for 1/1/1/1 1/1/1/1 solo bass cl, timpani, two percussion, piano, harp, and strings. Wrong Note Media, Inc. Post Office Box 122, Midland, PA 15059 Phone: 412-253-2020 [email protected] Todd Goodman: [email protected]. www. wrongnotemedia.com.

Arturo Márquez. Zarabandeo for clarinet and piano. 10’. Peermusic Classical, 250 W. 57th St., Suite 820, New York, NY 10107. peerclassical@peermusic. com. www.peermusicclassical.com.

American composer Todd Goodman was born in Pennsylvania in 1977 and received his degrees in composition from the University of Colorado at Boulder and Duquesne University in Pittsburgh, Pennsylvania. His principal composition teachers include George Tsontakis, David Stock, Claude Baker, Frank Wiley, Richard Toensing and Louis Jorge Gonzalez. He The Clarinet

Composed in 1995 and published in 2005, Zarabandeo for clarinet and piano was commissioned by the Director of Music of the Universidad Nacional Autonóma de México (UNAM). This very attractive work was first performed by clarinetist Luis Humberto Ramos and pianist Joseph Olechovsky, to whom the piece is dedicated. The Zarabanda (Sarabande) was a popular Spanish dance in the 16th and 17th centuries. Winner of the 2006 Medalla de Oro de Bellas Artes, Arturo Márquez is considered one of Latin America’s most popular composers. He was born in 1950 in

Alamos, Sonora, Mexico. He studied in México, Paris, and California with such composers as Joaquín Gutiérrez Heras, Hector Quintanar, Jacques Castérède, Morton Subotnick, Mel Powell and James Newton. He is especially known for his series of danzóns, which are works based on a Cuban dance that migrated to Veracruz, México.  About Zarabandeo, the composer explains that he incorporated a Tangueo (Tango) and a Danzoneo (Danzón), two of his favorite dances, “because of the relationship between people, music and dance, and because I hoped to write something for clarinet and piano that might inflame the passions.” Zarabandeo’s clarinet part contains eight solid pages of noodling technique and definitely keeps the player busy. At first, it may seem an easy read from beginning to end, however, some of the Latin rhythms throughout can be challenging to put together with piano and the notes take complex turns melodically, so it can be quite demanding, especially for novices of the style. Notwithstanding, Zarabandeo seems to have already gained an enviable rank on the recital stage, judging from the number of performances posted on YouTube. My favorite can be found at: www. youtube.com/watch?v=i58SGZ61keQ. A chop buster well worth the effort, if one’s goal is to wow an audience.

by Alice Meyer James Rae. Introducing Clarinet Duets: Easy Duets for Beginners. Universal Edition, 2005. £9.95. Introducing Clarinet Trios: Easy Trios for Beginners. Universal Edition, 2005. £12.95. Introducing Clarinet Quartets: Easy Quartets for Beginners. Universal Edition, 2005. £17.95.

net Quartets are three outstanding books for beginning students that are masterfully written with solid pedagogy. The books are composed with the progressing student in mind. Introducing Clarinet Duets contains 12 pieces arranged in three sections: Homophonic, Polyphonic and Concert Pieces. The last four duets categorized as Concert Pieces include both compositional elements. This book can be started at an early stage in a student’s study, and is sequential in development. The first duet contains only half notes, and a range of chalumeau register B-flat to open G. By the time the student has reached the Concert Pieces, they have played in different meters and musical styles, progressively harder rhythms, an expanding range, and more complex dynamics. The duets have names appropriate to the music: Ancient Legend is a sustained modal melody; The Old Dripping Tap has short staccato notes in major second harmony; and The Funky Frankfurter has a funk rock rhythm. There are “Top Tips” at the beginning of each duet given in three languages: English, German, and French that assist the student with a crucial aspect of the duet. The instructions contained throughout the book use British terms for note values, but that is easily translated, and it may be helpful for a student to learn the terms “crochet” and “minim.” The duets are housed in a colorful laminated cover. The paper is of excellent quality, and the printing is easy to read. Each duet is one page long; there are no page turns required. I have the utmost respect for the pedagogy of James Rae – he has done an excellent job with this book! Introducing Clarinet Trios and Introducing Clarinet Quartets are arranged in

similar fashion to Introducing Clarinet Duets. The books each contain 12 trios and quartets, with sections of Homophonic, Polyphonic, and Concert Pieces; however, the first pieces require the student to be more advanced than the duets. The range of the first trio is chalumeau register G to throat tone A, and the first quartet is chalumeau register E to throat tone A. Both contain rhythms of half and quarter notes. Clever names appropriate to the music are also used in the trios: Spinning Jenny has two of the parts trading off running eighth notes while the third part plays the melody; and in Deep Pan Boogie, one part plays a running bass line while the other two parts play together in syncopation. The quartets contain Ringtones, in which each player enters on a different beat of the measure until all are playing a full chord; and my personal favorite, Olympic Fanfare, which has all the pomp and circumstance associated with the title. Individual parts are printed in a paper booklet on excellent quality paper, and easy to read print. James Rae has composed some creative chamber music for beginning clarinet students. This is a must have for every teacher.

by Cindy Wolverton Enrique Granados. March for clarinet quartet, arranged by Russell Denwood. Kendor Music, 2001. $9.00 Granados was a 19th-century Spanish pianist and composer. This short transcription (two minutes) would be appropriate for an intermediate clarinet quartet. It is scored for four B-flat clarinets, but the fourth clarinet part could very easily be played on bass clarinet. Most of the melodic material is given to the first and sec-

James Rae studied clarinet, bass clarinet, piano and composition at the Guildhall School of Music and Drama. He is one of Europe’s most published composers, and his primary interest lies in the area of educational wind music. An active performer and teacher, he is the leader of the Phoenix Saxophone Quartet, and is saxophone professor for the National Youth Orchestra of Great Britain. Introducing Clarinet Duets, Introducing Clarinet Trios, and Introducing Clari

September 2011

93

ond clarinets, with the other two voices playing a supporting role. The range of the first clarinet part extends to altissimo D, but the other voices stay in the chalumeau and clarion registers. The rhythms are straightforward and there are only two tempo changes, making this a very accessible work for young clarinetists. Scott Joplin . Easy Winners for clarinet quartet, arranged by Frank J . Halferty . Kendor Music, 2001 . $10 .00 Scott Joplin, the self-proclaimed “king of ragtime music” wrote Easy Winners for solo piano in 1901 while living in St. Louis. This arrangement is for three B-flat clarinets and bass clarinet. Each of the parts is somewhat challenging technically and rhythmically. The melodic material is divided fairly evenly between the voices and there are many syncopated rhythms and chromatic passages. The difficulty level would be appropriate for advanced high school or college-level students. Lively and engaging for both performers and audiences, this four-minute piece would do well on a recital. Tom Turpin . The Harlem Rag for clarinet quartet, arranged by Charles D . Yates . Kendor Music, 2002 . $9 .00 The Harlem Rag dates from 1897 and is known as the first rag published by an African-American composer. Tom Turpin was a six-foot three, 350-pound pianist with a bad leg who jacked his piano up on stilts so he could play standing up in the St. Louis speakeasies, where he was also the bouncer. This transcription is scored for four B-flat clarinets, but the fourth clarinet part could very easily be played on bass clarinet. Almost all the melodic material is given to the first clarinet, but a secondary theme is given to the fourth clarinet. The range is limited to the chalumeau and clarion registers, but the syncopated rhythms characteristic of a rag would provide a nice challenge for an intermediate clarinet quartet. The duration of the work is four minutes. R. Russo . Festival Rag for clarinet quintet . Emerson Edition, 2001 . $14 .95 This piece was originally published by Mayflower Enterprises. The owner of that company donated all his copyrights to Emerson Edition before he died and gave 94

no information about this piece or its composer R. Russo. It appears to be an original ragtime two-step for four B-flat clarinets and bass clarinet. In each of the three sections, the melody appears in a different voice (first, second, and third clarinet parts) while the fourth clarinet and bass clarinet play a supporting role throughout. The bass clarinet part is written in bass clef. The range of the first clarinet part extends to altissimo E-flat and the upper three parts are fairly demanding technically and rhythmically. It would be appropriate for college-level students. This is a well-written piece that is fun to play. Given its short duration (three minutes), Festival Rag would make a nice encore.

CD Reviews by James Brookmyre backofen & mozart – Theme & Variations. Jane Booth, clarinets and basset horn; Eybler Quartet: Julia Wedman and Aisslinn Nosky, violins; Patrick G . Jordan, viola; Max Mandel, second viola (Op . 15); Margaret Gay, cello . J . G . H . Backofen: Quintet in F Major for basset horn and strings, Op . 9; and Quintet in B-flat Major for clarinet and strings, Op . 15; Quintet in A Major for basset clarinet and strings, K . 581 . ANALEKTA RECORDS AN 2 9949 . Total time 74:44 . www .ArkivMusic . com and www .cduniverse .com

Canadian string quartet, The Eybler Quartet (www .eyblerquartet .com) has released its second album on the Analekta label, here presenting music by Backofen and Mozart . The quartet has worked together since 2004 and its members regularly appear as soloists and orchestral

The Clarinet

musicians with groups such as Tafelmusik and I Furioso . Those familiar with their impressive debut album of quartets by Joseph Leopold Edler von Eybler will already be accustomed to the group’s intellectual and sensitive attention to detail and communication in which this album certainly provides no less . Joined by the English clarinetist Jane Booth (www .janebooth .net), the group is complimented by her virtuosity and musicality as she plays replicas of early clarinet, basset clarinet and basset horn . Jane Booth is currently Head of the Historical Performance program at the Guildhall School of Music & Drama in London . With an international career spanning more than 20 years, her work has led her to play as soloist, chamber musician and orchestral principal and player with such ensembles as the Orchestra of the Age of Enlightenment, Orchestre des ChampsElysées, Tafelmusik, Academy of Ancient Music, La Petite Bande, The Gabrieli Consort & Players, Amsterdam Baroque Orchestra and The Sixteen, amongst others . Booth is also an active performer of the chalumeau, and this versatility embraces a vast repertoire, with works ranging from Handel, Telemann and Vivaldi, through to Mozart, Wagner, Brahms, Mahler and Debussy – all on historically appropriate instruments . Apart from the very attractive album cover, to many the draw-in factor of this recording is Mozart’s famous and highly lyrical quintet which the group approaches with vehemence and intelligence . Booth performs here on a basset clarinet made by Peter van der Poel in 2007 . From the offset of the hypnotic first movement, to the furious speeds and eloquent embellishments by Booth encountered in the final movement (and imitated tastefully by first violinist Wedman), we are offered a performance that is both ingenious and inspiring . Johann Georg Heinrich Backofen (1768-–1839), contemporary of Mozart, was a performer, instrument builder, and educator . His quintets presented on this disc are delightful and expressive, demanding top finger work from the soloist, but also allowing for exploration of the more subtle and tender colors of the instrument, for which Booth’s delicious tone suits so perfectly in the slower and reflective variations . Backofen composes well for both instruments, and his knowledge as a builder and educator is evident in his idiosyncratic

writing, particularly for the basset horn . Marvelously, the composer wishes to show off the strings as well as the solo clarinet, often writing for the cellist in a continuo fashion, and calling for string interludes between the clarinet variations . The instruments used on these quintets are copies by the English maker Daniel Bangham (basset horn, 1989, after a copy of a Viennese instrument in F by Griesbacher, c . 1800; and a 10-keyed German instrument, 1991, after Grenser, c .1810) . This disc really is confirmation of the pride that record label Analekta takes in producing a clean and focused sound, enabling the listener to hear every instrument individually, as if it were a live performance or rehearsal . Perhaps not always favorable to have such an effect in one’s own home, though readily forgiven they are for the excellence of balance and for the true and unaffected quality of these beautiful instruments . Historically informed performance is always exciting, and this disc with its gut strings, boxwood clarinets, and refreshing unequal temperament, really does persuade listeners to attune their ears to these intrinsic sounds and appreciate that what we’re hearing is as close as possible to the sound-world for which Mozart and Backofen were writing .

by Michele Gingras Jewfro . Klezmer Juice: Gustavo Bulgach, (clarinet), Ken Rosser, Dan Weinstein, Nicole Falzone, and Antonio de Santanna . Collectively they play: clarinet, saxophone, piano, percussion, guitars, electric sitar, nylon string guitar, vocals, violin, viola, cornet, trombone, sousaphone and electric bass . 17 Jewish pieces for klezmer band . Total time 65:20 . www .klezmerjuice .com Klezmer Juice is comprised of five 30-something young and creative musicians (plus four guests for this recording) . They mix Yiddish soul with old and new music from around the world . Jewfro is their second album, recorded in 2008 . Gustavo Bulgach’s klezmer clarinet style is a bit unusual and maybe even “raw,” with a hefty Sydney Béchet-like saxophonish tone, mixed with a touch of Giora Feidman’s refined sensitivity, peppered with his own unique soulful, growling, and folk style .

RECORDS . Total time 46:01 . www . earspasm .com

Although klezmer is mostly recognized as the music of the Jewish people from Eastern Europe and the U .S ., there is a rich tradition and history of this music in Mexico, Argentina, Brazil, and many other Latin American countries . Klezmer Juice bandleader Gustavo Bulgach was born and raised in Argentina, and lives in Los Angeles . The song-mix resembles what one might hear during a modern Jewish party or celebration, or what a gigger might expect to see in the books, which is the good stuff . Fast and slow traditional Yiddish tunes, a few Latin American-influenced songs, lots of improv and fun, and some solid, energetic and straightforward music making . Examples reflecting the variety of their repertoire are: “Ose Shalom” (Israeli folk tune), “Beautiful As the Moon” (jazz standard), “Yoshke-yoshke” (Yiddish song), “Librescu Tango” (Latin), “Russian Sher No . 2” (Eastern European Jewish dance), “Erev Shel Shoshanim” (Israeli love song), “Happy Nigun” (modern Klezmer tune), “Miserlu” (Greek folk song), Hava Nagila, (Ukrainian Jewish tune), “Odessa Bulgarish” Klezmer dance tune), and “B’ashana Havaha” (popular Israeli folk song) . Not terribly original in a way, but then again, a party is a party and this music fits the bill . Spin Cycle. Michael Lowenstern, bass clarinet; Todd Reynolds, violin (on one track); and auxiliary instruments: Kaossilator, body percussion, harmonica, WiCoder, hand percussion, and EWI . Original music by Michael Lowenstern: Trip; Polegnala; Bam Pip; Through the Plexiglas; Boot (composed with Todd Reynolds); My Mouth; s.b.b.s.; Abbey; 8 ½; Sort of not so. EARSPASM September 2011

I reviewed several Lowenstern CDs in past issues of The Clarinet and this could be my favorite so far . It is a good find for enthusiasts of jazz and experimental improvisation . Most tunes feature improvised bass clarinet lines accompanied by all kinds of rhythmic loops, may they be overdubbed by the bass clarinet, or synthesizer, mouth sound effects, drums, or the like . The music builds up and takes various turns, either on an experimental journey or jazzy funky fun stuff . Michael Lowenstern is a leading bass clarinetist and has composed music for concert, film, dance and various other new media over the span of his 20-year career . He is currently on the faculty of the Manhattan School of Music . On this recording, Lowenstern works with a program called Logic, which could be described as a pro version of GarageBand (also made by Apple) . Beyond the bass clarinet, he plays three harmonicas, the Electronic Wind Synthesizer (EWI), and an ultra-compact synthesizer, called a Kaossilator . If you never heard of such a gizmo, you owe it to yourself to check it out on YouTube, it can create insanely fun sound loops and overdubs them to create great rhythmic effects . I won’t describe all the tunes but I will mention my four favorites . Trip is my top choice, with great slap-tongue effects, improvisations, fun tunes and rhythms . I can imagine any legit musician having a real “trip” while having a go at this one . Another favorite is Polegnala, with all kinds of funky and wonderful synthesizer looped licks, as well as 8 ½ , which is a delightful bass clarinet improv with lots of looped patterns overdubbed by the 95

bass clarinet and drums . Sort Of Not So includes many voice sound effects, along with slow ambiance synthesizer music underneath the bass clarinet improvisation . Two other tunes are My Mouth, written in honor of Lowenstern’s father who introduced him to his first instrument, the harmonica . It combines avant-garde-like flavors with funky fun, so I think I will label it “experimental .” Why not? Lowenstern lives in Brooklyn, New York, one of the landmarks where musical events of an experimental nature is the norm . Abbey is a piece describing how he started playing the clarinet . I interviewed him on Facebook and after learning his story, I begged him to allow me to print it here . He writes: “The story of Abbey (my first band director), was that when I started on clarinet in the 4th grade, I was awful . I was awful in part because I was playing on the same clarinet my mom played, and my sister played, and it was a wreck . Because everyone in my school had shiny, new plastic clarinets, and I had this old, dull, wooden one, I would grease it up before band with a load of cork grease in order to make it shiny . I think that might have added to the reason that I couldn’t play it . Anyway, in the 6th grade, I was last chair, and Abbey decided I was holding back the band, and moved me to where I would do less damage: to the bass clarinet . . . And the rest is history I guess .” The CD liner notes are minimalist, however a good deal of information about his music can be found on his websites: www . earspasm .com and www .slowboys .com . As in a number of his recordings, the music found here will undoubtedly be appreciated by the keen and well-exercised ear of the experienced metropolitan concertgoer .

by Thomas Jacobsen Remembering Song . Evan Christopher, clarinet; Bucky Pizzarelli, acoustic guitar; James Chirillo, electric guitar; Greg Cohen, bass . Evan Christopher: “The Remembering Song – Prelude;” “The Wrath of Grapes;” “The River by the Road;” “The Remembering Song – Interlude;” “You Gotta Treat It Gentle;” “Serenade;” “The Remembering Song;” “Waltz for All Souls;” Henry Creamer and Turner Layton: “Way Down Yonder in New Orleans;” “Dear Old Southland;” Tommy Ladnier: “Mojo Blues;” Jelly Roll Morton: My Home Is in a 96

Southern Town .” ARBORS RECORDS ARCD 19383 . Total time 60:20 . www . arborsrecords .com or mrd@gate .net

As I have suggested before in this journal, Evan Christopher is widely recognized as a rising star in jazz clarinetistry – despite performing in a style (pre-bop) and being based in a city (New Orleans) far from the media mainstream . His growing reputation is perhaps no more evident than in the naming of his 2010 album Finesse as the “Jazz Album of the Year” by the Sunday Times of London in December of last year . Unfortunately, that announcement was made just after my review of the album (in the March issue of this journal) went to press . The CD under consideration here was actually recorded some six months or so before the Finesse album . I have to admit that, upon first listening, it did not seem to measure up to the latter or some of Christopher’s other recent recordings . But I would hasten to add that, as is so often the case, first impressions are not always accurate . Indeed, I found this a most pleasant and listenable disc . Understated as it is, it is, in my judgment, New Orleans clarinet playing through and through – no doubt about it – though Evan is the only New Orleans resident in this fine group . Christopher is joined in this drumless/ pianoless quartet context by three of the top East Coast string-playing jazzmen (all of whom, of course, are well acquainted with New Orleans music): the veteran Bucky Pizzarelli on acoustic (not exclusively rhythm) guitar; Jame Chirillo, electric guitar (with many fine solos); and bassist Greg Cohen . All contribute mightily to the success of this recording . Evan Christopher has increasingly become recognized as a composer as well as The Clarinet

instrumentalist, and all but four of the album’s tunes are his original compositions . Moreover, the four exceptions are presented in an exceptional/original manner . While the two guitars and bass plus clarinet might suggest a bow to Django – and that would not be surprising in view of some of Christopher’s recent albums – I would say that only one track (Evans’s “Wrath of Grapes”) gave me that feeling . In fact, I would say that the shadow of New Orleanian Sidney Bechet loomed largest over this collection, not so much in Evan’s playing as in the inspiration behind the album’s concept . In Bechet’s semimythical autobiography Treat It Gentle, he talks about his music: “It’s the remembering song . There’s so much to remember . There’s so much wanting and there’s so much sorrow, and there’s so much waiting for the sorrow to end .” The Bechet influence is also present in several of the tunes . “The River by the Road” is another reference to a passage in Bechet’s autobiography; “Mojo Blues” is by New Orleans trumpeter Tommy Ladnier, a longtime collaborator of Bechet both musically and in the tailor shop they operated jointly during the Depression; “You Gotta Treat It Gentle” is clearly drawn from the title of Bechet’s autobiography; “Dear Old Southland” was, of course, a tune often played by Bechet (mostly on soprano sax); and so on . But there is more of New Orleans as well . Jelly Roll’s “My Home is in a Southern Town” (the original sheet music of which hangs on my study wall in front of me as I write these lines) is a complex and not often heard piece by the great piano master . Christopher’s “Waltz for All Souls” is a bow to another New Orleans clarinet tradition – Evan calls it “the New Orleans Revival” vocabulary – the woodwind champion of which was the famous George Lewis . In this piece Evan evokes the oft-imitated Lewis sound . Evan Christopher lived in Paris following the devastation associated with Hurricane Katrina . He says, “Essentially, Delta Bound with [pianist] Dick Hyman [recorded just a few months after Katrina and discussed by me in the September, 2008 issue of this journal] was about leaving New Orleans but staying tied to the city through the music even though I wasn’t sure I’d ever live here again . This record is about being back .”

And back he is, newly married, and – we hope – permanently settled in the city . Clarinet is King – Songs of Great Clarinetists. Dave Bennett, clarinet; Tad Weed, piano; Paul Keller, bass; Peter Siers, drums . Cole Porter: “Begin the Beguine;” Roby Mellin: “Stranger on the Shore;” L . Hampton/T . Wilson/B . Goodman: “Dizzy Spells;” Joe Primrose: “St . James Infirmary;” Jimmy Davis/Charles Mitchell: “You Are My Sunshine;” Traditional: “Nobody Knows the Trouble I’ve Seen;” Chu Berry/Anne Caldwell/Tom Delaney: “Wire Brush Stomp;” Lorenz Hart/ Richard Rodgers: “Where or When;” Dick Windfree/Phil Boutelje: “China Boy;” Barney Bigard/Duke Ellington: “Mood Indigo;” Ira and George Gershwin: “Oh, Lady Be Good;” Artie Shaw: “Nightmare .” ARBORS RECORDS ARCD 19409 . Total time 58:27 . www . arborsrecords .com or mrd@gate .net

This is my first exposure to the clarinet music (he also plays piano and guitar) of Dave Bennett, despite the fact that this is his third recording (and second on the Arbors label) . A Michigander by birth, Bennett, now 27, took up the clarinet at age 10 and played his first professional gig at 13 . By the age of 15 he was playing regularly with a Dixieland band and was soon gigging with a variety of groups around Detroit . He’s clearly a talented young man . At the age of 19 (2003), Bennett formed his “Tribute to Benny Goodman Sextet,” and his first two recordings were tributes to BG . His 2009 Arbors CD was a celebration of “100 Years of Benny .” It is pretty clear that Goodman had a profound influence on Bennett from early on . That influence continues to be evident

in this recording though he says he’s working to develop his own sound and style . “[I] am always interested in stretching myself,” he emphasizes . To this listener’s ears, however, that is only really obvious on the recording’s last track, his somewhat bizarre arrangement of Artie Shaw’s theme song, “Nightmare .” While I have to say that I prefer the original, one certainly must give Bennett credit for trying “a different approach .” Calling it his “favorite track on the CD,” he admits that it is also “the most far out .” I certainly cannot argue with that . I would call the CD’s remaining tracks rather straightforward mainstream swing, played very well by a clarinetist who knows his way around the horn . The subtitle of the recording is a slight misrepresentation in that Goodman and his music dominate, with clear references to Pete Fountain (himself heavily influenced by Goodman) as well as Artie Shaw . The one aberration is the puzzling inclusion of “Stranger on the Shore,” a tune that made a pop idol out of Brit trad clarinetist Acker Bilk in the early 1960s . I would be hard pressed to rate Bilk on the level of greatness achieved by the three players just mentioned . Bennett is heard here with his regular working quartet, a fine group led by pianist Tad Weed . The clarinetist deviates from the quartet context on two occasions: working only with drummer Siers on “Wire Brush Stomp” in a (hypothetical) bow to Goodman and Krupa . Likewise, he is heard with bassist Keller on Barney Bigard’s “Mood Indigo” (where he sounds more like Fountain than Bigard) . Dave Bennett is most certainly a talented young clarinetist who plays ballads with taste and sensitivity with the technical chops to handle up-tempo numbers with ease and confidence . “I want to make new music, a new style,” he says . A worthy aim to be sure, and I look forward to following him as he proceeds down that path .

by Wesley Ferreira Arirang. Robert DiLutis, clarinet; Laurel Larsen, piano; Henri Büsser: Cantegril; J . Vincent Russo: Arirang; Louis Cahuzac: Cantilene; Luciano Berio: Lied; Gabriel Pierné: Canzonetta; C . SaintSaëns: Sonata, Op . 167; C .M . von Weber: Concertino, Op . 26; H . Baermann (often attributed to R . Wagner): Adagio . THE REED MACHINE JJD003 . Total time 55:09 . www .cduniverse .com September 2011

Robert DiLutis is currently associate professor of clarinet at Louisiana State University School of Music and principal clarinetist with the Baton Rouge Symphony . He taught previously at the Eastman School of Music and served as assistant principal and E-flat clarinetist with the Rochester Philharmonic Orchestra . DiLutis also toured with the New York Philharmonic on its historic 2008 trip to North Korea . The trip has special significance to his latest recording, entitled Arirang . Arirang is likely the most popular and well-known North Korean folk song and is loosely translated to mean “beautiful dear .” Following his trip to North Korea, DiLutis commissioned composer John Russo to arrange the song in the form of a theme and variations for unaccompanied clarinet . The work is very well constructed . It begins and ends with the unadorned folk song and contains seven short variations in between . The variations are diverse and spectacularly performed by DiLutis . The piece captures the imagination, and I anticipate that it will become an often-performed work by professionals and students alike . Arirang appears second on this live concert recording and is complimented by a collection of wellknown works from the clarinet literature . Four pieces by French composers appear on this disc, including Cantegril, Op . 72 by Henri Büsser, which opens the CD . The listener is immediately presented with DiLutis’ beautiful tone . It is round and resonant with an appealing sweetness . He performs with clear and clean technique, and demonstrates consistency and evenness of timbre throughout the range of the instrument . The three other works are Cahuzac’s Cantilene, Pierné’s Canzonetta, and SaintSaëns’s Sonata . DiLutis manages to bring 97

out the charm in each of these works with pianist Laurel Larsen . In particular, the performance of Canzonetta is a stand out for its musical interpretation . Besides Arirang, Berio’s 1983 work Lied is the only other unaccompanied work on the disc . Dedicated to clarinetist Eduardo de Benedetti, the work is much lighter than Berio’s Sequenza IXa for clarinet . The musical language is neither tonal, atonal, nor serial; the work contains contrasting lyric and staccato motifs which repeat and evolve . DiLutis displays effortless articulation and musical imagination in his performance . Performing with richness and darkness of tone, the performance of this Lied gives a nod to the 19th-century tradition of German art song and the union between music and poetry . The final two works on this disc are by Germanic composers . Weber’s Concertino, perhaps one of the most widely recorded clarinet works, is presented as the penultimate track on this recording . No doubt, through the years listeners have experienced many different interpretations of this piece . It is always fascinating to hear it presented by various performers, and this is no exception . The final work on the disc is the Adagio for clarinet and strings, often attributed to Richard Wagner . A manuscript of the work was first discovered in 1922 and was thought to have been commissioned by clarinetist Christian Rummel from Wagner . The Adagio was published in 1926 by Breitkopf & Härtel . Almost immediately after publication many felt that the work did not fit with Wagner’s compositional style, and that it belonged to an earlier era . In her book, Clarinet Virtuosi of the Past, Pamela Weston gives the correct composer . Adagio is in fact the second movement of Heinrich Baermann’s third

98

Clarinet Quintet, Op . 23 . DiLutis’s depth of musicianship is eminently well suited to this repertoire, and his performance ends the truly satisfying listening experience that this CD offers . Recorded live in concert at Newberry College (South Carolina), this recording exhibits the natural and resonant sound of the hall . Most listeners who have become so used to listening to well-mastered studio recordings will find this disc quite refreshing . It allows for a feeling of intimacy with the performers, though the recording does not include audience applause . Arirang is a great addition to any clarinetist’s CD library . I heartily recommend it .

by Lori Ardovino Clarinet Rhapsody . Christine MacDonnell, clarinet; Ron Levy, piano . Leo Weiner: Peregi Verbunk, Op . 40; Debussy: Première Rhapsody; Schumann: Fantasy Pieces, Op . 73; Poulenc: Sonata; James Waterson: Morceau de Concert: Andante and Polonaise . Produced by Christine MacDonnell . Total time 51:08 . www .cdbaby .com and www . amazon .com

The Clarinet

Clarinetist Christine McDonnell has had a diverse career as an orchestral, chamber and solo artist . She has performed at the Kennedy Center in Washington D .C ., abroad as principal clarinetist with the Orquestra Sinfonica Brasileira and the Nova Philharmonia Porquguesa . She has served two presidents as clarinetist in the “President’s Own” Marine Band . Additionally she is a freelance musician in New York City and is a Broadway regular on shows such as The Lion King and Mary Poppins. Ron Levy, internationally acclaimed pianist, appears regularly as a soloist and as a collaborating pianist with some of the world’s leading singers and chamber players . He is pianist/harpsichordist with numerous orchestras and is a founding member of the Hudson Trio, Kaleidoscope, and the New World Trio to mention a few . This CD is a good sampling of the classic clarinet repertoire . McDonnell has a pleasing tone with a deep, rich sound . Her technique in Weiner’s Peregi Verbunk (Pereg recruiting dance) is exceptional, demonstrating a high degree of control . Her florid decoration of the gypsy dance is a perfect example of the accented verbunkos style . While her interpretation of Debussy’s Rhapsody is traditional, movement I, “Zart und mit Ausdruck” of Schumann’s Fantasy Pieces portrays a melancholy atmosphere, with a slightly more than leisurely tempo, almost to the point of being lethargic . However, the second and third movements are more emblematic . The Poulenc Sonata demonstrates her mastery of the clarinet and interpretation through dexterity and perception . My favorite movement performed is the second, the “Romanza,” which is expressive and tastefully done . Along with the Grand Trio Concertante for three clarinets and other works, James Waterson’s Andante and Polonaise is one of his most popular clarinet works . McDonnell’s conveyance of the Andante and flawless technique in the spirited Polonaise are well suited and complementary . Ron Levy is an excellent pianist and an empathetic collaborator with McDonnell . His technique is sound and execution sensitive to the nuance required by the works performed . This CD is an excellent collection of the standard clarinet repertoire . It would be welcome on my shelf and I’m sure on many others .

by Randy Salman First Flight . Simon Wyrsch, clarinet; Jürg Schneebeli, piano; Willi Frauenfelder, bass; Lukas Mantel, drums . Simon Wyrsch: “Cladrum,” “Now or Never,” “There will ever be another me,” “Soloflight,” “Nimbus,” “How can I say it?”; Charlie Parker: “Now’s the time;” Antonio Carlos Jobim: “Look to the sky;” Klemmer/Lewis/Wyrsch: “Just Friend;” Kenny Barron: “Voyage .” ALTRISUONI AS212 . Total time 68:50 . www .altrisuoni .com

Swedish clarinetist Simon Wyrsch studied at the Zurich University of Arts, where he received a Master in Music Education . Although Wyrsch is only in his 20s, he has already performed and participated in master classes with a wide variety of jazz artists, most notably, Eddie Daniels, David Liebman, Cedar Walton, Roy Hargrove and Lewis Nash . In the past, we had many great clarinetists (Benny Goodman, Artie Shaw, Buddy DeFranco) performing and leading groups . Jazz clarinetists have been sorely missing since the swing era . It is wonderful to see a young and gifted jazz musician like Simon Wyrsch added to the list of contemporary musicians who choose to focus on the clarinet . Wyrsch performs a wide variety of musical styles, including classical, jazz, free, musicals, etc . His eclectic tastes in music are apparent on his debut recording First Flight. This 2006 recording features a program of six original tunes by Wyrsch, as well as compositions by Charlie Parker, Antonio Carlos Jobim and Kenny Barron . Also included is the jazz standard “Just Friends .” There is a great amount to admire in this CD . The compositions offer a variety of styles, tempos and textures .

Although clarinet is featured extensively, there are solo opportunities for all the musicians . It is apparent that Wyrsch has put in a huge amount of time and effort perfecting his abilities . He displays virtuosic technique, a well-centered but very flexible tone, and mastery of many contemporary techniques (key trills, multiphonics, microtonal fingerings, flutter tongue, glissandi, etc .) which he uses in his improvisations . Especially noteworthy is his original composition entitled “Soloflight .” It is performed unaccompanied, and one can hear a variety of effects that are germane to his style . Other enjoyable originals include “How can I say it?” which showcases one of Simon’s strongest performances on the CD . This solo is beautifully shaped and understated from beginning to end . I also enjoy Wyrsch’s original contrafact “There will ever be another me,” an interesting reharmonization of the classic tune “There Will Never Be Another You .” Charlie Parker’s “Now’s the Time” allows the group an opportunity to stretch out on a traditional blues, complete with a quote from a different Parker tune, “Billie’s Bounce .” The very beautiful Jobim bossa-nova “Look to the sky” offers an-

CLARINET FACULTY Luis Baez Associate Principal and E-flat Clarinet San Francisco Symphony

Jeffrey Anderle Clarinet class

PROGRAMS OF STUDY FOR CLARINET Bachelor of Music and Music Diploma Master of Music Professional Studies Diploma in Instrumental Performance

OFFICE OF ADMISSION 800.899.SFCM [email protected] | sfcm.edu



September 2011

99

other restrained but lovely performance . In this setting, the quote from Jobim’s “Girl From Ipanema” seems appropriate, but somewhat predictable . “Just Friends” opens with a rubato introduction by clarinet and piano before settling into a nice groove with a few contemporary touches . The recording ends with a burning version of Kenny Barron’s “Voyage,” a tune often associated with the late Stan Getz . The recording isn’t perfect . Wyrsch tends to repeat a number of his favorite ideas a bit too often . He has a tendency to overplay, and some of the tunes seem to go on far too long . It feels as though he is trying to fit everything he knows into his solo . This is especially true on the opening original “Cladrum,” a duet for clarinet and drums . This piece features an effective extended solo by drummer Lucas Mantel . The clarinet improvisation is generally free and full of fourth patterns, diminished licks, and a variety of extended techniques . Unfortunately, at more than 16 minutes, this performance seems to be overindulgent . I felt this tune would be better positioned later in the CD . This is a solid debut from a young musician who we will be hearing more about in the future . His style is still strongly embedded in his influences by greats such as Eddie Daniels . I look forward to hearing Simon Wyrsch develop more of his own sound and style as he matures .

by Scott Locke Chicago Clarinet Trio . Larry Combs, Julie DeRoche, Wagner Campos, soprano clarinets and bass clarinet; assisted in last selection by Rick Ferguson, piano; Brad Opland, double bass; Fred Selvaggio, percussion . Andrzej Anweiler: Diversions for two clarinets; Max Rami: Challenging Etudes for Brilliant Clarinetists; John McCabe: Bagatelles for two clarinets; Larry Combs: Diversions for three clarinets; Eddie Mora Bermudez: Retrato VI. ALBANY RECORDS TROY1211 . Total time 53:18 . www .albanyrecords .com Chicago-based Larry Combs, Julie DeRoche and Wagner Campos are widelyknown players throughout the U .S . and beyond . In their ensemble’s newest offering the Chicago Clarinet Trio presents a program of wonderful 20th and 21st-century works . The compositions are beautifully crafted and although mostly disso100

nant, are accessible and would appeal to both performers and audiences . The CD opens with Andrzej Anweiler’s (1947-2009) Diversions performed on B-flat soprano clarinets by Combs and DeRoche . The opening “Allegro” features dissonant counterpoint so well written, one would think there were more than two clarinets playing . “Pimp the Cat” follows which includes jazzy swing moments as well as straight 16th be-bop licks . “Tama-no-ura” is slower, introspective and includes bent notes . The “Fughetto” movement is as expected, contrapuntal in the opening statements, but features a colorful use of trills and flutter tonguing later in the movement . The second work on the disc is Max Rami’s (b . 1956) Challenging Etudes for Brilliant Clarinetists which well lives up to its name, as do the evocative titles of individual movements . “Busy, Busy, Busy” is in perpetual motion for all three performers, while “Same Tune, Less Busy” weaves a delicate embroidery around a simple, chant-like melody in the first soprano part . “Mechanism” is a factory of unrelenting machine-like funk realized by each member of the trio playing bass clarinet . “Moon and Stars,” is reflective while “Klezmer Dysfunction” is virtuosic for all parts featuring trills, adventurous altissimo playing and snippets of harmonic minor scales . Another work for two clarinets is John McCabe’s (b . 1939) Bagatelles, again featuring Combs and DeRoche . In eight short movements, a number of stylistic influences are presented . The opening “Con fuoco, ma non troppo allegro” is brief with an intense furioso quality . The “Andante” features trills and dissonant lyrical phrases with micro-tonal inflections . The “Allegro giocoso” is a gigue in 6/8, while the “Fugatissimo” introduces a short theme quickly answered by the top clariThe Clarinet

net . The pensive “Adagio” features long phrases and a climax of dissonant trills . “Bossa Nova” is a dance of infectious syncopations . “Crescendo” creates virtuosic showers of arpeggios seamlessly passed off between Combs and DeRoche while “Fantasy” is a movement in free form with a slow opening evolving through a faster section of trills toward a dissonant climax . Combs offers one of his own compositions which demonstrates his considerable skill as a composer . In the witty Diversions for three clarinets, he intertwines rhapsodic atonal “Monologue” movements for solo clarinet, with cleverly conceived tonal movements borrowing from both North and South American popular genres . The first selection in the latter category is the tongue-in-cheek “Pop Song .” The introduction in the two soprano clarinets leads one to think the Carpenters are about to burst into “Close to You .” A romantically saccharine melody in the bass clarinet is introduced with the soprano clarinets adding an increasing number of frilly flourishes . The movement is replete with a witty vocal break and a pop fade out . The “Be-bop” movement has an opening unison before breaking into a tunefully swinging tribute to the 1940s . The trio adroitly captures the style of the genre . “Unisono,” again in a contemporary vein, has the trio perform this free movement in unison thereby making evident the group’s precise ensemble playing with perfect intonation and blend . The final, charming “Tango,” features virtuosic “fillins” in the bass clarinet and perhaps nods its hat to those of Piazzolla . Perhaps the most intriguing and mercurial work on the disc is Eddie Mora Bermudez’s (b . 1965) Retrato VI . The 11-minute, single-movement work features the trio on soprano and bass clarinets joined by piano, string bass and multiple percussion . The work fuses together a number of genres while fully exploiting the unique colors of this combination of instruments . The multi-sectional work features spiky, syncopated lines, moments of minimalistic harmonic stasis, a bluesy jazz clarinet solo and a pulsating, exciting codetta . The composers represented on this release import a variety of styles and genres as well as create moments of virtuosity and subtle wit . These challenges from such a complex synthesis of elements are fearlessly embraced and exquisitely executed by the Chicago Clarinet Trio to create a worthy addition to any chamber music library .

Vanderbilt University announces the appointment of Bil Jackson Associate Professor of Clarinet Former principal clarinet of the Colorado Symphony Orchestra Artist faculty at the Aspen Music Festival

to the Blair School of Music Striking a balance between intensive music training and liberal arts study

blair.vanderbilt.edu Blair School of Music at Vanderbilt University 2400 Blakemore Avenue Nashville, Tennessee 37212

Student… Adrianna Barron, clarinet, Junior Recital, Sam Houston State University, April 16, 2011 . Two Pieces, D’Rivera; La fille aux cheveux de lin, Debussy; Concertino, Op . 26, Weber; Hungarian Dance No. 6 (with Jackie Hamberg, clarinet), Brahms/Balogh Réshanda Billy, clarinet, M . M . Recital, University of North Texas, April 15, 2011 . Suite from the Victorian Kitchen Garden, Reade; Hillandale Waltzes, Babin; Three Miniatures, Penderecki; Trio in E-flat Major, K . 498, Mozart Lindsay Braun, clarinet, D .M .A . Recital, Fantasia Sobre Goyescas, Guinovart; Cinco Bocetos, Sierra; Sonata for Clarinet and Piano, Op . 23, Casadesus; Divertimento No. 1 for two clarinets and piano, Camilleri David Cook, clarinet and bass clarinet, Senior Recital, Central Michigan University, April 17, 2011 . Concerto Lyrique, Gotkovsky; Fantasiestüke, Op . 73, Schumann; Grab It!, Veldhuis; Eternal Garden–Four Songs for Clarinet and Piano, Maslanka Briana Gomez, clarinet, Junior Recital, Sam Houston State University, April 16, 2011 . Fantasy Pieces, Schumann; Caprice, Milhaud; The Generation of Hope, Wasserman-Margolis; Pocket-Size Sonata No. 2, Templeton Justin Grunes, clarinet, B .M . Recital, University of Delaware, April 17, 2011 . Solo de concours, Messager; Sonata in D Major, Bax; “Ein Traum” from Six Songs, Op . 48, Grieg; Canzonetta, Op . 19,

Pierné; Three Preludes, Gershwin; Elegies, Schickele; Scaramouche, Milhaud . Jackie Hamberg, clarinet, Junior Recital, Sam Houston State University, April 26, 2011 . Sonata, Op . 128, CastelnuovoTedesco; Double Concerto for Clarinet and Trumpet, Jacob . Rachel Hammon, clarinet, M .M . Recital, University of Nebraska–Lincoln, February 27, 2011 . Solo de Concours, Messager; Hommage a J.S. Bach, Kovács; Concertino, Op . 48, Busoni; Albumleaf, Reger; Time Pieces, Op . 43, Muczynski Matthew Kaye, clarinet, Senior Recital, Sam Houston State University, April 17, 2011 . Sonata in F minor, Op . 120, No . 1, Brahms; Capriccio, Sutermeister; Cantilène, Cahuzac; Trio Minaturen, Op . 18, No . 3, Juon Sheng-Hsin Lin, clarinet, D .M .A . Recital, University of North Texas, April 29, 2011 . Sonata for Clarinet and Piano, Guastavino; In Freundschaft für Klarinette, Stockhausen; Sonata de la soledad para Clarinete, Viola y Piano, Aguilar Joshua Mietz, clarinet, D .M .A . Lecture Recital, University of Nebraska–Lincoln, April 2, 2011 . Eternal Garden: Four Songs for Clarinet and Piano, Maslanka James Parkinson, clarinet, D .M .A . Recital, University of North Texas, April 16, 2011 . Concerto for Clarinet, Tomasi; Sonata for Clarinet and Piano, Alwyn; Bapu for Flute, Clarinet and Electronics, Srinivasan Christopher Raddatz, clarinet, D .M .A . Recital, University of North Texas, April 27, 2011 . Quartet in E-flat Major for

Piano, Clarinet, Violin and Cello, Op . 1, Rabl; Three Miniatures, Penderecki; Bug, Mantovani; E-Type Jag, David Gerald Ringe, clarinet, D .M .A . Recital, University of North Texas, April 22, 2011 . Duo Sonata No. 1 in A Major, Hoffmeister; Three Songs of Innocence, Cooke; Sonatina, Sancan; Sonata da Camera, Harris; Fantaisie in E-flat-Major, Rossini Yi-Wen Wang, clarinet, D .M .A . Recital, University of North Texas, April 15, 2011 . Sonatina, Martinu˚; Fantasie Italienne, Op . 110, Delmas; Capriccio for Unaccompanied Clarinet in A, Sutermeister; Clarinet Trio in A minor, Op . 114, Brahms

Faculty and Professional… David Campbell, clarinet, with The Solstice String Quartet, Little Venice Music Festival, St . Saviour’s Church, Warwick Ave, London W9, October 14, 2011 . Quintet in B-flat Major, Op . 34, von Weber; Quintet in B Minor, Op .115, Brahms F . Gerard Errante, clarinet, College of Southern Nevada, May 1, 2011 . Sonatina, Arnold; American and South American Songs I: La rosa y el sauce, Guastavino; i carry your heart, Duke; El Sampedrino, Milonga de dos hermanos, Guastavino; American and South American Songs II: Sure on this Shining Night, Barber; The Apple Orchard, Laitman; Triste, Ginastera; Send in the Clowns, Sondheim; La ultima noche en la casa del Flamenco, Bunch *****

To buy a new instrument or restore my old one? That is the question...... ! Find out more: www.naylors-woodwind-repair.com

Naylor's Custom Wind Repair Denver, Colorado 102

The Clarinet

Programs intended for publication in The Clarinet should be sent to James Gillespie, 405 Santiago Place, Denton, TX 76205, (E-mail: James .Gillespie@unt . edu) . To ensure accurate program information, please send a printed program and a summary of pertinent data (names of performers and composers, site, date and titles of works, etc .) in either an e-mail or hard copy version in the format above . For student recitals, only solo degree recital programs (junior, senior, master’s and doctoral) will be listed .

Crowning A

Achievement.

Introducing the M|O Ligature. Make your setup fit for a king by crowning it with the new Vandoren M|O ligature. Fusing lightweight construction and compression-free reed channel from the Vandoren Master’s ligature with symmetrical tightening from the Vandoren Optimum, the M|O’s quick response

Learn more about the M|O ligature advantage at www.vandoren.com/mo.

Demand performance. www.vandoren.com © 2010 Vandoren SAS. www.vandoren.com Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60642, 888.707.4455, www.dansr.com

DAN - 610-1= M/O Ligature-Crowning Achievemnt

expression upon your clarinet playing.

Prepared by Todd Allen Design, Inc.

and crisp articulation bestows enhanced

Connections through the clarinet – to our audiences

W

hy do we play? For our own enjoyment, of course, but we also play to bring enjoyment to others . From the player’s perspective, it can be quite rewarding to play alone . However, this experience cannot be called a performance . Practicing is worthwhile and enjoyable, certainly, but is there anyone who only wants to play alone? I think that most of us would agree that a complete musical experience needs to have one or more performers as well as one or more listeners . I remember reading some time ago that a complete performance also needed a music critic, but we will leave that idea aside for now! A performance can take many forms and be found in many places . It can be a formal or informal setting . It can be scheduled or impromptu . It can take place in a fancy concert hall, with the performers attired in white tie and tails, or it can take place on someone’s back porch in casual clothes . We should recognize that to achieve a true balance in the world, we need both performers and audience members . It may seem obvious, but performers need to play for an audience . If there are too many people seeking to make a living as performers with not enough audience support, there is an unsustainable imbalance . On the other hand, I would not want to live in a world where all the music is recorded and no performers make live music . I enjoy hearing live music in performance, when there is an element of spontaneity and the music sounds different each time . Since performers and audience members need each other, performers should try to cultivate and sustain listeners . I think the practice of performers ignoring the audience is outdated . Many recitalists and conductors are connecting to listeners and speaking to them as part of a performance, thereby enhancing the audience experience . Music schools around the world are giving new attention to the idea of communicating with and developing the audience, not just playing for them . Music is an expressive art . Part of the joy of performance is to offer that expression to other people . It is very rewarding to make the connection with audience members . Remember the last time you

104

John Cipolla, Buddy DeFranco, Keith Koons and Maxine Ramey

saw the face of a thrilled audience member? In fact, the connection goes both ways: the performer provides inspiration to the audience and the audience provides inspiration to the performer . As I write this, I am eagerly anticipating being part of the audience at the 2011 ClarinetFest® in Northridge, California . I am looking forward to hearing some of the world’s greatest clarinet players perform, either in a small recital setting or in the 19,000-seat Hollywood Bowl . As the fall concert season begins, I hope that you are able to enjoy connections between clarinet performers and listeners from both sides, and help to keep live music alive . In April, I .C .A . President-elect John Cipolla and I were guests at the University of Montana Jazz Festival, where we joined I .C .A . Secretary Maxine Ramey to present the I .C .A . Honorary Member award to renowned jazz clarinetist Buddy DeFranco . Thanks go to Maxine and the University of Montana School of Music for their generous hospitality . Unfortunately, Buddy was unable to come to the The Clarinet

2010 ClarinetFest® in Austin, TX to receive the award, so this was the next best thing . The enthusiastic audience showed their approval with a standing ovation . After the presentation, Buddy played a dazzling performance with combo – showing that he is still making a connection through the clarinet to audiences at the young age of 88!

The Clarinet Publication Schedule The magazine is usually mailed during the last week of February, May, August and November. Delivery time within North America is normally 10–14 days, while airmail delivery time outside of North America is 7–10 days.

BWInD1213 Bil Jackson ad revised_Layout 1 5/31/11 9:20 am page 1

YCL-CSGII

Bil Jackson Depends on Yamaha. “The ‘sublime ecstasy

of perfect recognition’

best describes my reaction

upon first playing the

new ‘G’ series clarinets. Bravo Yamaha!”

-Bil Jackson, Associate Professor of Clarinet Vanderbilt University Blair School of Music & Artist-Faculty Aspen Music Festival

QuaLITY

.

SupporT

.

profeSSIonaLISm

.

Va L u e