T H E T O L E D O C L A R I N E T S

Georg Klaas, clarinet - Jocelyn Langworthy, clarinetShannon Ford, clarinet (bass clarinet in [21])

Kevin Schempf, bass clarinet (alto clarinet in [1] - [3], B-flat clarinet in [7] - [10]) SONATINA FOR CLARINET CHOIR (11:38) Jerome Moross (1913-1983) [1] Allegro (5:11) [2] Andante (2:50) [3] Vivace (3:37) with Chelsea Tipton II, clarinet and Elliott Ross, bass clarinet

LYRIC QUARTETTE (15:18) William Grant Still (1895-1978) [4] The Sentimental One (6:19) [5] The Quiet One (5:34) [6] The Jovial One (3:25)

QUARTET FOR FOUR B-FLAT CLARINETS (10:28) Sean Osborn (b. 1966) [7] Moderate (2:19) [8] Scherzo (2:21) [9] Freely (2:59) [10] Dorian Dance (2:49)

CHRISTMAS IN THE WESTERN WORLD (LAS PASCUAS) (18:51) William Grant Still [11] A Maiden Was Adoring God, The Lord (Argentina) (1:43) [12] Ven, Niño Divino (Nicaragua) (2:39) [13] Aguinaldo (Venezuela) (1:41) [14] Jesous Ahatonhia (Canadian Indian) (1:56) [15] Tell Me, Shepherdess (French Canadian) (2:30) [16] De Virgin Mary Had A Baby Boy (Trinidad) (2:32) [17] Los Reyes Magos (Puerto Rico) (1:19) [18] La Piñata (Mexico) (:55) [19] Glad Christmas Bells (Brazil) (1:51) [20] Sing! Shout! Tell The Story! (William Grant Still original) (1:54) with Greg Kostraba, piano

[21] DE PROFUNDIS (10:43) Christopher Dietz (b. 1977)

CD-1190

© 2009 Cambria Master Recordings

Box 374, Lomita, CA 90717 - USA

www.cambriamus.com

TOTAL TIME 66:52

T o l e d o C l a r i n e t s

works by Moross, Still,

Osborn, and Dietz

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A NOTE FROM THE PRODUCER

In the late 1990s when I was producing the radio program The KostrabaConundrum, KOCH International Classics released two compact discs ofJerome Moross’ orchestral music. I was immediately captivated by what I heardand set out to explore more of the composer’s music. I discovered an LP fromthe early 1970s that contained the Sonatinas for Diverse Instruments, and foundthe Sonatina for Clarinet Choir particularly appealing. Fast forward to 2005when I asked six of Northwest Ohio’s finest clarinetists to appear on the radioprogram “Live From FM 91” at WGTE-FM in Toledo to perform that work. To fillout the program, the group read through a number of other pieces for clarinetchoir, including the Quartet for Clarinets by Kevin Schempf’s friend SeanOsborn, which they also performed. The Toledo Symphony’s Jocelyn Langworthythen applied for and received a grant from the Mellon Foundation to make thisrecording, which includes the Moross and Osborn pieces, plus arrangementsof two works by William Grant Still, the Lyric Quartet and Christmas in theWestern World, and De Profundis by Christopher Dietz, commissionedspecifically for this recording. Special thanks to the Mellon Foundation for theirgenerous support, Mark Bunce at Parallax Studios in Toledo for an exceptionaljob of recording the musicians, and the members of the Toledo Clarinets for allthat they do in the realms of teaching and performance in the Lake Erie Westregion and beyond. Glory to God for all things!

Greg Kostraba

Greg Kostraba

Shannon Ford Kevin Schempf

Jocelyn Langworthyand Georg Klaas

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A NOTE FROM THE PRODUCER

In the late 1990s when I was producing the radio program The KostrabaConundrum, KOCH International Classics released two compact discs ofJerome Moross’ orchestral music. I was immediately captivated by what I heardand set out to explore more of the composer’s music. I discovered an LP fromthe early 1970s that contained the Sonatinas for Diverse Instruments, and foundthe Sonatina for Clarinet Choir particularly appealing. Fast forward to 2005when I asked six of Northwest Ohio’s finest clarinetists to appear on the radioprogram “Live From FM 91” at WGTE-FM in Toledo to perform that work. To fillout the program, the group read through a number of other pieces for clarinetchoir, including the Quartet for Clarinets by Kevin Schempf’s friend SeanOsborn, which they also performed. The Toledo Symphony’s Jocelyn Langworthythen applied for and received a grant from the Mellon Foundation to make thisrecording, which includes the Moross and Osborn pieces, plus arrangementsof two works by William Grant Still, the Lyric Quartet and Christmas in theWestern World, and De Profundis by Christopher Dietz, commissionedspecifically for this recording. Special thanks to the Mellon Foundation for theirgenerous support, Mark Bunce at Parallax Studios in Toledo for an exceptionaljob of recording the musicians, and the members of the Toledo Clarinets for allthat they do in the realms of teaching and performance in the Lake Erie Westregion and beyond. Glory to God for all things!

Greg Kostraba

Greg Kostraba

Shannon Ford Kevin Schempf

Jocelyn Langworthyand Georg Klaas

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Jerome Moross was born in New York City on August 1, 1913. He began takingpiano lessons at age 5 and composing by age 8, and was the youngest child everto graduate from a New York City public school as of 1924. He graduated from NewYork University’s School of Music at 18, and as a senior there concurrently held aJuilliard conducting fellowship. When Moross was 17, his childhood friendBernard Herrmann conducted Paeans, which was published by Henry Cowell soonafterwards. Seven years later, Moross became the youngest composer evercommissioned by the Columbia Composers Commission. In the 1940s he began to work in Hollywood, writing music for 16 filmsfrom 1948 to 1969. His best known film score is that for the 1958 movie The BigCountry, for which he received an Academy Award nomination. His other filmscores include The Adventures of Huckleberry Finn (1960), The Cardinal (1963),and Rachel, Rachel (1968). He also composed the main theme for the televisionseries Wagon Train, and was a conductor on many other films. The composer’s other works include five ballets, a symphony, severalshort orchestral compositions, and eight chamber music pieces, including theSonatinas for Diverse Instruments (one work each for Clarinet Choir, Brass Quintet,Wind Quintet, and Contrabass and Piano) from the late 1960s. His last work wasa one-act opera, Sorry, Wrong Number (1977) based on the screenplay by LucilleFletcher. He died of heart failure and a stroke on July 15, 1983. For a complete listof his works and discography see www.moross.com.

One of America’s foremost composers, William Grant Still (1895-1978)was born in Woodville, Mississippi. He attended Wilberforce College in Ohio,where he conducted the band, learned to play the various instruments involved,and began composing and orchestrating. After further studies at the Oberlin

Conservatory of Music, he worked as an arranger for W. C. Handy’s Band, playedoboe in the pit orchestra for Eubie Blake’s musical “Shuffle Along,” and arrangedand conducted the Deep River Hour over CBS and WOR Radio. In 1931, the Eastman Rochester Philharmonic led by Howard Hansonpremiered Still’s Afro-American Symphony, the first time an African-Americancomposer had a symphony performed by a major American orchestra. Still wouldcontinue to add to his list of firsts, being the first African-American to conduct a majorsymphony orchestra (Los Angeles Philharmonic, 1936), the first to have an operaperformed by a major opera company (Troubled Island, 1949), and the first to havean opera performed on national television (A Bayou Legend, 1981). The “Dean of African-American Composers” wrote over 150 compositionsincluding ten operas, five symphonies, ballets, chamber works, and arrangementsof folk themes, especially Negro spirituals, plus instrumental, choral and solo vocalworks. More information is at www.williamgrantstillmusic.com.

Praised as “...an excellent clarinetist” by The New York Times, SeanOsborn was the youngest clarinetist in the history of the Metropolitan OperaOrchestra when he was appointed in 1989. He has performed as Principal Clarinetwith the New York Philharmonic and the Pittsburgh, Seattle, and AmericanSymphony Orchestras, and collaborated with James Levine, Donald Weilerstein,Richard Stoltzman, the St. Lawrence String Quartet, and members of the Coloradoand Tokyo String Quartets. He has also performed live and in recital on many radiostations and nationally on NPR’s Performance Today, and participated in theMarlboro, Colorado, Aspen, and Keystone music festivals. He has recorded forSony Classics, London, Deutsche Grammophon, CRI, and others. His first solo CD“American Spirit” was released in 2003 on Albany Records.

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Jerome Moross was born in New York City on August 1, 1913. He began takingpiano lessons at age 5 and composing by age 8, and was the youngest child everto graduate from a New York City public school as of 1924. He graduated from NewYork University’s School of Music at 18, and as a senior there concurrently held aJuilliard conducting fellowship. When Moross was 17, his childhood friendBernard Herrmann conducted Paeans, which was published by Henry Cowell soonafterwards. Seven years later, Moross became the youngest composer evercommissioned by the Columbia Composers Commission. In the 1940s he began to work in Hollywood, writing music for 16 filmsfrom 1948 to 1969. His best known film score is that for the 1958 movie The BigCountry, for which he received an Academy Award nomination. His other filmscores include The Adventures of Huckleberry Finn (1960), The Cardinal (1963),and Rachel, Rachel (1968). He also composed the main theme for the televisionseries Wagon Train, and was a conductor on many other films. The composer’s other works include five ballets, a symphony, severalshort orchestral compositions, and eight chamber music pieces, including theSonatinas for Diverse Instruments (one work each for Clarinet Choir, Brass Quintet,Wind Quintet, and Contrabass and Piano) from the late 1960s. His last work wasa one-act opera, Sorry, Wrong Number (1977) based on the screenplay by LucilleFletcher. He died of heart failure and a stroke on July 15, 1983. For a complete listof his works and discography see www.moross.com.

One of America’s foremost composers, William Grant Still (1895-1978)was born in Woodville, Mississippi. He attended Wilberforce College in Ohio,where he conducted the band, learned to play the various instruments involved,and began composing and orchestrating. After further studies at the Oberlin

Conservatory of Music, he worked as an arranger for W. C. Handy’s Band, playedoboe in the pit orchestra for Eubie Blake’s musical “Shuffle Along,” and arrangedand conducted the Deep River Hour over CBS and WOR Radio. In 1931, the Eastman Rochester Philharmonic led by Howard Hansonpremiered Still’s Afro-American Symphony, the first time an African-Americancomposer had a symphony performed by a major American orchestra. Still wouldcontinue to add to his list of firsts, being the first African-American to conduct a majorsymphony orchestra (Los Angeles Philharmonic, 1936), the first to have an operaperformed by a major opera company (Troubled Island, 1949), and the first to havean opera performed on national television (A Bayou Legend, 1981). The “Dean of African-American Composers” wrote over 150 compositionsincluding ten operas, five symphonies, ballets, chamber works, and arrangementsof folk themes, especially Negro spirituals, plus instrumental, choral and solo vocalworks. More information is at www.williamgrantstillmusic.com.

Praised as “...an excellent clarinetist” by The New York Times, SeanOsborn was the youngest clarinetist in the history of the Metropolitan OperaOrchestra when he was appointed in 1989. He has performed as Principal Clarinetwith the New York Philharmonic and the Pittsburgh, Seattle, and AmericanSymphony Orchestras, and collaborated with James Levine, Donald Weilerstein,Richard Stoltzman, the St. Lawrence String Quartet, and members of the Coloradoand Tokyo String Quartets. He has also performed live and in recital on many radiostations and nationally on NPR’s Performance Today, and participated in theMarlboro, Colorado, Aspen, and Keystone music festivals. He has recorded forSony Classics, London, Deutsche Grammophon, CRI, and others. His first solo CD“American Spirit” was released in 2003 on Albany Records.

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Sean Osborn has written two Symphonies, an Oboe Concerto, TromboneConcerto, Wind Serenade, Sonata for E-flat Clarinet (or Violin) and Piano, and Duetfor Bassoon and Clarinet. His music has been performed by members of theMarlboro Music Festival, the New York Philharmonic, Metropolitan Opera, LosAngeles Philharmonic, the American Saxophone Quartet, and the faculty of theJuilliard School. An ASCAP award recipient, his Symphony No. 1 “September 11th”received an Accomplished Musician award from the Ibla Foundation, and hisQuartet for Four B-flat Clarinets, called “delectable” by The Clarinet, is publishedby Presser Music. More information is at www.osbornmusic.com.

The music of Milwaukee native Christopher Dietz has been recognizedby honors and awards from Copland House, Canada’s Banff Centre, ASCAP’sMorton Gould Young Composer Awards, the Minnesota Orchestra ReadingSessions and Composer Institute, the League of Composers/ISCM OrchestralCompetition, the Riverside Symphony Composer Reading Project (NYC), North/South Consonance (NYC), the Chicago Ensemble’s Discover America competition,the Utah Arts Festival’s Orchestral Commission Prize, New Music Festival at BowlingGreen State University, the Music08 festival at the University of Cincinnati College-Conservatory of Music, the NewMusic@ECU festival, the Society of ComposersInc., as well as numerous academic scholarships and fellowships. Commissions include works for the Mellon Foundation, the ToledoSymphony, the Utah Arts Festival Orchestra, TACTUS (NYC), the Actors CompanyTheater (NYC), the ACM Ensemble (Chicago), the Aeolus New Music Festival, theToledo Clarinets, members of the Detroit Symphony, the Eero Trio, Atalanta (punkband), the Milwaukee Young Artists Festival, the Wisconsin State Honors Project,the Wisconsin Arts Board, and the Madison Children’s Choir, among others.

Christopher holds a Ph.D. in Composition and Theory from the Universityof Michigan where he studied with William Bolcom, Bright Sheng, MichaelDaugherty, Betsy Jolas, and Andrew Mead. In addition, he holds degrees from theManhattan School of Music and the University of Wisconsin. He has taughtcomposition at Hillsdale College in Michigan and is currently a visiting assistantprofessor at the Oberlin Conservatory. Further information as well as excerpts ofhis work can be found at www.christopherdietz.org.

[1] - [3] Jerome Moross, Sonatina for Clarinet ChoirThe composer writes: “In 1966 I was asked by my then-publisher, Chappell & Co.,to write a piece for clarinet choir. I had never heard of the clarinet choir before, butI was assured that clarinet choirs were springing up all over the country and that therewas a dearth of literature. I was charmed with the idea of writing for a sextet ofclarinets; the tonal possibilities were exciting, ideas began to flow, and very quicklyI found myself embarked on the Sonatina for Clarinet Choir.

“When I brought it in there was a moment of consternation. What had beenexpected was a 3 or 4 minute work of elementary technique for school groups andI had written a 10 minute piece, quite demanding technically, and meant for concertperformance. But they gallantly published the work, anyway.” [4] - [6] William Grant Still, Lyric Quartette (1960)Dedicated to his friend Joachim Chassman, this string quartet shows the intimateside of the composer. Because of the work’s inward quality, I thought it would bea perfect vehicle for the mellow timbres of the Toledo Clarinets. The piece is subtitled“Musical Portraits of Three Friends,” and is comprised of “The Sentimental One,” ”The

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Sean Osborn has written two Symphonies, an Oboe Concerto, TromboneConcerto, Wind Serenade, Sonata for E-flat Clarinet (or Violin) and Piano, and Duetfor Bassoon and Clarinet. His music has been performed by members of theMarlboro Music Festival, the New York Philharmonic, Metropolitan Opera, LosAngeles Philharmonic, the American Saxophone Quartet, and the faculty of theJuilliard School. An ASCAP award recipient, his Symphony No. 1 “September 11th”received an Accomplished Musician award from the Ibla Foundation, and hisQuartet for Four B-flat Clarinets, called “delectable” by The Clarinet, is publishedby Presser Music. More information is at www.osbornmusic.com.

The music of Milwaukee native Christopher Dietz has been recognizedby honors and awards from Copland House, Canada’s Banff Centre, ASCAP’sMorton Gould Young Composer Awards, the Minnesota Orchestra ReadingSessions and Composer Institute, the League of Composers/ISCM OrchestralCompetition, the Riverside Symphony Composer Reading Project (NYC), North/South Consonance (NYC), the Chicago Ensemble’s Discover America competition,the Utah Arts Festival’s Orchestral Commission Prize, New Music Festival at BowlingGreen State University, the Music08 festival at the University of Cincinnati College-Conservatory of Music, the NewMusic@ECU festival, the Society of ComposersInc., as well as numerous academic scholarships and fellowships. Commissions include works for the Mellon Foundation, the ToledoSymphony, the Utah Arts Festival Orchestra, TACTUS (NYC), the Actors CompanyTheater (NYC), the ACM Ensemble (Chicago), the Aeolus New Music Festival, theToledo Clarinets, members of the Detroit Symphony, the Eero Trio, Atalanta (punkband), the Milwaukee Young Artists Festival, the Wisconsin State Honors Project,the Wisconsin Arts Board, and the Madison Children’s Choir, among others.

Christopher holds a Ph.D. in Composition and Theory from the Universityof Michigan where he studied with William Bolcom, Bright Sheng, MichaelDaugherty, Betsy Jolas, and Andrew Mead. In addition, he holds degrees from theManhattan School of Music and the University of Wisconsin. He has taughtcomposition at Hillsdale College in Michigan and is currently a visiting assistantprofessor at the Oberlin Conservatory. Further information as well as excerpts ofhis work can be found at www.christopherdietz.org.

[1] - [3] Jerome Moross, Sonatina for Clarinet ChoirThe composer writes: “In 1966 I was asked by my then-publisher, Chappell & Co.,to write a piece for clarinet choir. I had never heard of the clarinet choir before, butI was assured that clarinet choirs were springing up all over the country and that therewas a dearth of literature. I was charmed with the idea of writing for a sextet ofclarinets; the tonal possibilities were exciting, ideas began to flow, and very quicklyI found myself embarked on the Sonatina for Clarinet Choir.

“When I brought it in there was a moment of consternation. What had beenexpected was a 3 or 4 minute work of elementary technique for school groups andI had written a 10 minute piece, quite demanding technically, and meant for concertperformance. But they gallantly published the work, anyway.” [4] - [6] William Grant Still, Lyric Quartette (1960)Dedicated to his friend Joachim Chassman, this string quartet shows the intimateside of the composer. Because of the work’s inward quality, I thought it would bea perfect vehicle for the mellow timbres of the Toledo Clarinets. The piece is subtitled“Musical Portraits of Three Friends,” and is comprised of “The Sentimental One,” ”The

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Quiet One” (based on an Inca melody), and “The Jovial One.” Violinist FritzGearhart, who has recorded the work with the Oregon String Quartet, says that“history should find this work to be significant and worthy of attention.”

[7] - [10] Sean Osborn, Quartet for Four B-flat Clarinets (1995)The composer writes: “The Clarinet Quartet was my first full-scale composition,preceded only by short piano pieces that were more like sketches. I designed it withstudents in mind, so that college or very good high school students would be ableto play it, but that more advanced players might find it musically interesting enoughto perform as well. Being an early work, it is heavily influenced by other music - mostnotably Peter Schickele and English folk-songs.”

[11] - [20] William Grant Still, Christmas in the Western World (Las Pascuas)Composed in 1967, this set can be performed in a variety of combinations,including voices, string orchestra (or string quartet) and piano, voices and piano,and now clarinet quartet and piano. Nine of the songs in this compilation areadapted from authentic Christmas folk tunes from various countries in the WesternHemisphere, including “Jesous Ahatonhia,” the first Christmas carol composed inthe Western Hemisphere. The climactic tenth song in the set, “Sing! Shout! Tell theStory!” is an original William Grant Still song with text by Verna Arvey.

[21] Christopher Dietz, De Profundis (2007)The composer writes: “De Profundis is more choral in style than instrumental. It isnot a virtuosic display of brilliantly facile clarinet playing but rather a smooth,controlled, and relatively contained work characterized by the soft, pure sound ofthe clarinet lines interacting with one another in a free contrapuntal texture. The title

refers to the opening line of Psalm 130,”Out of the Depths...” and the compositionis a reflection, though not a representation, of the entirety of the Psalm.”

Latin text:De profundis clamavi ad te, Domine:

Domine, exaudi vocem meam.Fiant aures tuae intendentes:

in vocem deprecationis meae.Si iniquitates observaveris, Domine: qui sustinebit?

Quia apud te propitiatio est:et propter legem tuam sustinuite, Domine.

Sustinuit anima mea in verbo ejus,speravit anima mea in Domino,

a custodia matutina usque ad noctem.Speret Israel in Domino.

Quia apud Dominum misericordiaet copiosa apud eum redemptio.

Et ipse redimet Israel ex omnibus iniquitatibus ejus.

English translation:Out of the depths I have cried to thee, O Lord:

Lord, hear my voice. Let thine ears be attentive to the voice of my supplication.If thou, O Lord, wilt mark iniquities: Lord, who shall stand it.

For with thee there is merciful forgiveness:and by reason of thy law, I have waited for thee, O Lord.

My soul hath relied on his word:

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Quiet One” (based on an Inca melody), and “The Jovial One.” Violinist FritzGearhart, who has recorded the work with the Oregon String Quartet, says that“history should find this work to be significant and worthy of attention.”

[7] - [10] Sean Osborn, Quartet for Four B-flat Clarinets (1995)

The composer writes: “The Clarinet Quartet was my first full-scale composition,preceded only by short piano pieces that were more like sketches. I designed it withstudents in mind, so that college or very good high school students would be ableto play it, but that more advanced players might find it musically interesting enoughto perform as well. Being an early work, it is heavily influenced by other music - mostnotably Peter Schickele and English folk-songs.”

[11] - [20] William Grant Still, Christmas in the Western World (Las Pascuas)Composed in 1967, this set can be performed in a variety of combinations,including voices, string orchestra (or string quartet) and piano, voices and piano,and now clarinet quartet and piano. Nine of the songs in this compilation areadapted from authentic Christmas folk tunes from various countries in the WesternHemisphere, including “Jesous Ahatonhia,” the first Christmas carol composed inthe Western Hemisphere. The climactic tenth song in the set, “Sing! Shout! Tell theStory!” is an original William Grant Still song with text by Verna Arvey.

[21] Christopher Dietz, De Profundis (2007)The composer writes: “De Profundis is more choral in style than instrumental. It isnot a virtuosic display of brilliantly facile clarinet playing but rather a smooth,controlled, and relatively contained work characterized by the soft, pure sound ofthe clarinet lines interacting with one another in a free contrapuntal texture. The title

refers to the opening line of Psalm 130,”Out of the Depths...” and the compositionis a reflection, though not a representation, of the entirety of the Psalm.”

Latin text:De profundis clamavi ad te, Domine:

Domine, exaudi vocem meam.Fiant aures tuae intendentes:

in vocem deprecationis meae.Si iniquitates observaveris, Domine: qui sustinebit?

Quia apud te propitiatio est:et propter legem tuam sustinuite, Domine.

Sustinuit anima mea in verbo ejus,speravit anima mea in Domino,

a custodia matutina usque ad noctem.Speret Israel in Domino.

Quia apud Dominum misericordiaet copiosa apud eum redemptio.

Et ipse redimet Israel ex omnibus iniquitatibus ejus.

English translation:Out of the depths I have cried to thee, O Lord:

Lord, hear my voice. Let thine ears be attentive to the voice of my supplication.If thou, O Lord, wilt mark iniquities: Lord, who shall stand it.

For with thee there is merciful forgiveness:and by reason of thy law, I have waited for thee, O Lord.

My soul hath relied on his word:

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my soul hath hoped in the Lord.From the morning watch even until night,

let Israel hope in the Lord.Because with the Lord there is mercy:and with him plentiful redemption.

And he shall redeem Israel from all his iniquities.(Psalm 130 (Vulgate 129), Douay-Rheims Bible translation)

T H E T O L E D O C L A R I N E T SGeorg Klaas has served as the principal clarinetist of Toledo Symphony

since 2001. He received his formal training on the clarinet at Indiana University andthe University of Southern California, where he earned the distinguished MitchellLurie Award in 2001. His principal teachers were Eli Eban and Yehuda Gilad. Hehas also performed with the Detroit Symphony Orchestra, the Cleveland Orchestra,Michigan Opera Theatre Orchestra, Orchestra Nashville and the ChautauquaFestival Orchestra. He currently serves on the faculty of Ohio Northern University.

Jocelyn Langworthy is the second clarinetist of the Toledo SymphonyOrchestra. Prior to joining the TSO in 2000, she was the principal clarinetist of theCedar Rapids Symphony. Jocelyn earned clarinet performance degrees from theUniversity of Minnesota and the University of Southern California and did additionalgraduate studies at Boston University. Her principal teachers were Burt Hara andYehuda Gilad. She has performed at many summer music festivals includingTanglewood, Aspen, the Pacific Music Festival in Sapporo, Japan and the Festivaldei due Mondi in Spoleto, Italy. She has been a featured soloist with both the Toledoand Cedar Rapids Symphonies and is featured on the CD “Suite – Music by AlecWilder” on Riverview Records.

Clarinetist and saxophonist Shannon Ford has been active as a musicalfreelancer and private teacher, both classical and jazz styles, in the Toledo area since1991. As a clarinetist she has performed for many years as principal clarinetist ofthe Lima (OH) Symphony Orchestra, has enjoyed engagements with the AdrianSymphony, Toledo Opera, and Michigan Opera Theatre, and performs often withthe Toledo Symphony. In addition to her work with The Toledo Clarinets, Shannonalso is part of a flute, clarinet, and piano trio known as Mirepoix. As a saxophonist,she has performed throughout the Midwest and recorded with the saxophonequartet Sax 4th Avenue (Delusions de Grandeur, AMP Rec 02), John Sampen(Shadows and Dawning, Troy 526), and recorded both of Alec Wilder’s Suites forTenor Saxophone and Strings with The Alec Wilder Project (eponymous title,Riverview Records RR001). Larger ensemble work on saxophone has included theToledo Jazz Orchestra, the Toledo Symphony, and the Scott Gwinnell JazzOrchestra. Shannon is a teacher of Clarinet and Saxophone at Adrian College,teacher of Saxophone at Oakland University, and has performance degrees fromBowling Green State University and Indiana State University. Her teachers includeRon Samuels and John Sampen.

Kevin Schempf is Associate Professor of Clarinet at Bowling Green StateUniversity and Solo Clarinetist with Brave New Works. After graduating from theInterlochen Arts Academy and the Eastman School of Music, he performed with theUnited States Coast Guard Band and toured with them throughout the United Statesand to St. Petersburg, Russia. A frequent soloist with the Band, he was featured onNPR broadcasts and on their 75th Anniversary CD Recording. He was on the facultyat Connecticut College and performed with the New London ContemporaryEnsemble. He has also taught at Wesleyan University where he played with the New

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my soul hath hoped in the Lord.From the morning watch even until night,

let Israel hope in the Lord.Because with the Lord there is mercy:and with him plentiful redemption.

And he shall redeem Israel from all his iniquities.(Psalm 130 (Vulgate 129), Douay-Rheims Bible translation)

T H E T O L E D O C L A R I N E T SGeorg Klaas has served as the principal clarinetist of Toledo Symphony

since 2001. He received his formal training on the clarinet at Indiana University andthe University of Southern California, where he earned the distinguished MitchellLurie Award in 2001. His principal teachers were Eli Eban and Yehuda Gilad. Hehas also performed with the Detroit Symphony Orchestra, the Cleveland Orchestra,Michigan Opera Theatre Orchestra, Orchestra Nashville and the ChautauquaFestival Orchestra. He currently serves on the faculty of Ohio Northern University.

Jocelyn Langworthy is the second clarinetist of the Toledo SymphonyOrchestra. Prior to joining the TSO in 2000, she was the principal clarinetist of theCedar Rapids Symphony. Jocelyn earned clarinet performance degrees from theUniversity of Minnesota and the University of Southern California and did additionalgraduate studies at Boston University. Her principal teachers were Burt Hara andYehuda Gilad. She has performed at many summer music festivals includingTanglewood, Aspen, the Pacific Music Festival in Sapporo, Japan and the Festivaldei due Mondi in Spoleto, Italy. She has been a featured soloist with both the Toledoand Cedar Rapids Symphonies and is featured on the CD “Suite – Music by AlecWilder” on Riverview Records.

Clarinetist and saxophonist Shannon Ford has been active as a musicalfreelancer and private teacher, both classical and jazz styles, in the Toledo area since1991. As a clarinetist she has performed for many years as principal clarinetist ofthe Lima (OH) Symphony Orchestra, has enjoyed engagements with the AdrianSymphony, Toledo Opera, and Michigan Opera Theatre, and performs often withthe Toledo Symphony. In addition to her work with The Toledo Clarinets, Shannonalso is part of a flute, clarinet, and piano trio known as Mirepoix. As a saxophonist,she has performed throughout the Midwest and recorded with the saxophonequartet Sax 4th Avenue (Delusions de Grandeur, AMP Rec 02), John Sampen(Shadows and Dawning, Troy 526), and recorded both of Alec Wilder’s Suites forTenor Saxophone and Strings with The Alec Wilder Project (eponymous title,Riverview Records RR001). Larger ensemble work on saxophone has included theToledo Jazz Orchestra, the Toledo Symphony, and the Scott Gwinnell JazzOrchestra. Shannon is a teacher of Clarinet and Saxophone at Adrian College,teacher of Saxophone at Oakland University, and has performance degrees fromBowling Green State University and Indiana State University. Her teachers includeRon Samuels and John Sampen.

Kevin Schempf is Associate Professor of Clarinet at Bowling Green StateUniversity and Solo Clarinetist with Brave New Works. After graduating from theInterlochen Arts Academy and the Eastman School of Music, he performed with theUnited States Coast Guard Band and toured with them throughout the United Statesand to St. Petersburg, Russia. A frequent soloist with the Band, he was featured onNPR broadcasts and on their 75th Anniversary CD Recording. He was on the facultyat Connecticut College and performed with the New London ContemporaryEnsemble. He has also taught at Wesleyan University where he played with the New

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World Consort, which gave regular concerts throughout Connecticut and in NewYork City and the Kennedy Center in Washington, D.C. Mr. Schempf played second and E-flat clarinet with the Syracuse SymphonyOrchestra for nine years, appearing as a concerto soloist on several occasions. Hehas also performed with the Boston Symphony Orchestra, the Fort WaynePhilharmonic, the Lima Symphony, and the Toledo Symphony. Chamber musicengagements include performing with the Ying Quartet, concerts and a CDrecording with the Society for New Music in Syracuse, NY, appearances at theSkaneateles Festival, and with the Wall Street Chamber Players. He was also the soloclarinetist with the Pittsburgh New Music Ensemble for the past five years.

He has performed in Canada, Germany, Russia, Sweden, and theNetherlands. CD recordings include the premiere recording of Stephen Albert’sWind Canticle with the Bowling Green Philharmonia, Appalachian Spring with the

Nashville Chamber Orchestra and Drunken Moon/Night Music and against the

emptiness with the Pittsburgh New Music Ensemble.

Elliott Ross is the second clarinetist with the Ann Arbor Symphony. He hasplayed with the Toledo Symphony, the Grand Rapids Symphony, and the FortWayne Philharmonic. Elliott has studied with Deborah Chodacki at the Universityof Michigan and Yehuda Gilad at the University of Southern California.

American conductor Chelsea Tipton II has won over audience andcritics alike with his vibrant musicality, accessibility, versatility, and extraordinarycommitment to education outreach. As Resident Conductor of the ToledoSymphony Orchestra and a sought-after guest conductor, Tipton has appearedwith major orchestras in the United States, including the Chicago, Detroit,Atlanta, and Pittsburgh Symphonies and the Boston Pops.

As a clarinetist, Mr. Tipton has performed with several orchestras, includingthe Rochester Philharmonic, the Heidelberg Festival Opera Orchestra (Germany),and the Chicago Sinfonietta. He has appeared on the NBC Today Show with WyntonMarsalis and has performed as a section clarinet player with James Galway and theEastman Philharmonia, Wynton Marsalis and the Eastman Wind Ensemble and theRochester Philharmonic Orchestra on recordings with RCA Classical, CBSMasterworks and Pro Arte labels.

Founder of the Toledo Clarinets, pianist Greg Kostraba has successfullycombined a career as a radio professional and concert pianist. He has appearedthroughout the Midwest as a soloist with symphony orchestras and communitybands, and in recital as a solo pianist and chamber musician. He also foundedand served as President & Artistic Director for the Tippecanoe Chamber MusicSociety and Chamber Music Toledo. As Classical Music Director at WGTE-FM inToledo, he was the winner of the 2007 Ohio Public Broadcasting Award for “RadioProducer of the Year.” He now serves as Program Director at WBAA-AM and FMin West Lafayette, Indiana. Dr. Kostraba holds masters and doctoral degrees in piano performancefrom the University of Cincinnati College-Conservatory of Music. He has studiedpiano and chamber music with Dorothy Bolognini, Alan Mandel, Richard Morris,Sandra Rivers, and the late Richard Fields, and participated in master classes withEugene Istomin as well as members of the La Salle, Audubon, and Tokyo StringQuartets.

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World Consort, which gave regular concerts throughout Connecticut and in NewYork City and the Kennedy Center in Washington, D.C. Mr. Schempf played second and E-flat clarinet with the Syracuse SymphonyOrchestra for nine years, appearing as a concerto soloist on several occasions. Hehas also performed with the Boston Symphony Orchestra, the Fort WaynePhilharmonic, the Lima Symphony, and the Toledo Symphony. Chamber musicengagements include performing with the Ying Quartet, concerts and a CDrecording with the Society for New Music in Syracuse, NY, appearances at theSkaneateles Festival, and with the Wall Street Chamber Players. He was also the soloclarinetist with the Pittsburgh New Music Ensemble for the past five years.

He has performed in Canada, Germany, Russia, Sweden, and theNetherlands. CD recordings include the premiere recording of Stephen Albert’sWind Canticle with the Bowling Green Philharmonia, Appalachian Spring with the

Nashville Chamber Orchestra and Drunken Moon/Night Music and against the

emptiness with the Pittsburgh New Music Ensemble.

Elliott Ross is the second clarinetist with the Ann Arbor Symphony. He hasplayed with the Toledo Symphony, the Grand Rapids Symphony, and the FortWayne Philharmonic. Elliott has studied with Deborah Chodacki at the Universityof Michigan and Yehuda Gilad at the University of Southern California.

American conductor Chelsea Tipton II has won over audience andcritics alike with his vibrant musicality, accessibility, versatility, and extraordinarycommitment to education outreach. As Resident Conductor of the ToledoSymphony Orchestra and a sought-after guest conductor, Tipton has appearedwith major orchestras in the United States, including the Chicago, Detroit,Atlanta, and Pittsburgh Symphonies and the Boston Pops.

As a clarinetist, Mr. Tipton has performed with several orchestras, includingthe Rochester Philharmonic, the Heidelberg Festival Opera Orchestra (Germany),and the Chicago Sinfonietta. He has appeared on the NBC Today Show with WyntonMarsalis and has performed as a section clarinet player with James Galway and theEastman Philharmonia, Wynton Marsalis and the Eastman Wind Ensemble and theRochester Philharmonic Orchestra on recordings with RCA Classical, CBSMasterworks and Pro Arte labels.

Founder of the Toledo Clarinets, pianist Greg Kostraba has successfullycombined a career as a radio professional and concert pianist. He has appearedthroughout the Midwest as a soloist with symphony orchestras and communitybands, and in recital as a solo pianist and chamber musician. He also foundedand served as President & Artistic Director for the Tippecanoe Chamber MusicSociety and Chamber Music Toledo. As Classical Music Director at WGTE-FM inToledo, he was the winner of the 2007 Ohio Public Broadcasting Award for “RadioProducer of the Year.” He now serves as Program Director at WBAA-AM and FMin West Lafayette, Indiana. Dr. Kostraba holds masters and doctoral degrees in piano performancefrom the University of Cincinnati College-Conservatory of Music. He has studiedpiano and chamber music with Dorothy Bolognini, Alan Mandel, Richard Morris,Sandra Rivers, and the late Richard Fields, and participated in master classes withEugene Istomin as well as members of the La Salle, Audubon, and Tokyo StringQuartets.

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CREDITSProduced by Greg Kostraba

Christmas in the Western World and Lyric Quartet by William Grant Stillwere arranged for the Toledo Clarinets by Greg Kostraba

Tracks 1-10, 21 recorded at Parallax Studios, Toledo, Ohio, 2007Tracks 11-20 recorded at Bryan Recital Hall at Bowling Green State

University, Bowling Green, Ohio, 2007Recording Engineer: Mark Bunce

Microphones: Schoeps CMC6 and Microtech Gefell UMT 70Cover Photo: Greg & Anne Kostraba with thanks to Jay Gephart, Ishbah

Cox, Matthew Harding, and Alan Meert from Purdue Bands

Tracks [1] - [3] - Sorom Editions, Subito Music (ASCAP)Tracks [4] - [6] - William Grant Still Music (ASCAP)

Tracks [7] - [10] - Theodore Presser Company (ASCAP)Tracks [11] - [20] - Peer Music (ASCAP)

Track [21] - Christopher Dietz Publishing (ASCAP)

T H E T O L E D O C L A R I N E T S

Georg Klaas, clarinet - Jocelyn Langworthy, clarinetShannon Ford, clarinet (bass clarinet in [21])

Kevin Schempf, bass clarinet (alto clarinet in [1] - [3], B-flat clarinet in [7] - [10]) SONATINA FOR CLARINET CHOIR (11:38) Jerome Moross (1913-1983) [1] Allegro (5:11) [2] Andante (2:50) [3] Vivace (3:37) with Chelsea Tipton II, clarinet and Elliott Ross, bass clarinet

LYRIC QUARTETTE (15:18) William Grant Still (1895-1978) [4] The Sentimental One (6:19) [5] The Quiet One (5:34) [6] The Jovial One (3:25)

QUARTET FOR FOUR B-FLAT CLARINETS (10:28) Sean Osborn (b. 1966) [7] Moderate (2:19) [8] Scherzo (2:21) [9] Freely (2:59) [10] Dorian Dance (2:49)

CHRISTMAS IN THE WESTERN WORLD (LAS PASCUAS) (18:51) William Grant Still [11] A Maiden Was Adoring God, The Lord (Argentina) (1:43) [12] Ven, Niño Divino (Nicaragua) (2:39) [13] Aguinaldo (Venezuela) (1:41) [14] Jesous Ahatonhia (Canadian Indian) (1:56) [15] Tell Me, Shepherdess (French Canadian) (2:30) [16] De Virgin Mary Had A Baby Boy (Trinidad) (2:32) [17] Los Reyes Magos (Puerto Rico) (1:19) [18] La Piñata (Mexico) (:55) [19] Glad Christmas Bells (Brazil) (1:51) [20] Sing! Shout! Tell The Story! (William Grant Still original) (1:54) with Greg Kostraba, piano

[21] DE PROFUNDIS (10:43) Christopher Dietz (b. 1977)

CD-1190

© 2009 Cambria Master Recordings

Box 374, Lomita, CA 90717 - USA

www.cambriamus.com

TOTAL TIME 66:52

T o l e d o C l a r i n e t s

works by Moross, Still,

Osborn, and Dietz