Vol. 43 No. 2 March 2016 - Home | International Clarinet ... · PDF fileVol. 43 No. 2 March 2016 Also in this issue... Theodore Johnson: Remembrances and Recommendations The Clarinet

Vol. 43 • No. 2March 2016

Also in this issue...Theodore Johnson: Remembrances and Recommendations

The Clarinet in NYC: 1842-1900

daddario.com

2 | THE CLARINET MARCH 2016

EDITOR Rachel Yoder

[email protected]

MUSIC REVIEWS EDITOR Greg Barrett

[email protected]

AUDIO REVIEWS EDITOR Chris Nichols

[email protected]

GRAPHIC DESIGN Karry Thomas Graphic Design

[email protected]

ADVERTISING COORDINATOR Elizabeth Crawford

[email protected]

INDEX MANAGER Emily Kerski

ABOUT THE COVER:

Vol. 43 • No. 2March 2016

Also in this issue...Theodore Johnson: Remembrances and Recommendations

The Clarinet in NYC: 1842-1900

Campus of the University of Kansas in Lawrence, Kansas

The Clarinet (ISSN 0361-5553) is published 4 times a year by the International Clarinet Association

International Clarinet Association 118 N Conistor Ln, Suite B, Box 296

Liberty, MO 64068 office: 443-286-1396

www.clarinet.org ICAclarinet facebook.com/icaclarinet

© Copyright 2016, International Clarinet Association. 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.

he ICA is pleased to welcome Kathleen D. Chau as Executive Assistant. In addition to supporting our day-to-day operations and fiscal management, she will supervise publication of The Clarinet and continue to update our business procedures.

Kathleen Chau is a retired military clarinetist, having served in the U.S. Navy’s premier musical ensemble, the U.S. Navy Band in Washington, D.C. As a member of this White House support unit, she performed with the Concert and Ceremonial Bands, traveled extensively throughout the United States, supported high-level military and international events, and entertained thousands of concert patrons annually. Chau also held several key organizational roles. She initially managed the band’s administrative services and subsequently supervised fiscal and supply operations. Following her military retirement, she has been actively involved in operating a small business devoted to early childhood development, and was recently appointed Music Program Coordinator at the National Gallery of Art, Washington, D.C. A graduate of Central Michigan University with a Bachelor of Arts and a Master of Administration, Chau continues to perform in a variety of ensembles in the Washington, D.C. area, and especially enjoys the fun and camaraderie of the small community bands of Northern Michigan.

Introducing Kathleen D. Chau, ICA Executive Assistant

Kathleen D. [email protected]

MARCH 2016 THE CLARINET | 3

International Clarinet AssociationPresident: Caroline Hartig – [email protected] President: John Cipolla – [email protected]: Denise Gainey – [email protected]: Tod Kerstetter – [email protected] Representative: Stephan Vermeersch – [email protected] Director: Lynn Fryer – [email protected] Assistant: Kathleen Chau – [email protected]

E-Newsletter Editor: Phillip O. Paglialonga – [email protected]: Alan Stanek – [email protected] Research Center: University of Maryland – www.lib.umd.edu/scpa/scoresResearch Coordinator and Library Liaison: Malena McLaren – [email protected] Media Editor: Timothy Phillips – [email protected]: Kevin and Sonya Morgan – www.morgansites.com

Contact information for national chairpersons is available in the member directory at clarinet.org.

Argentina: Carlos CéspedesArmenia: Alexandr G. ManukyanAustralia: Floyd WilliamsAustria: MSDir. Mag.

Dr. Friedrich PfatschbacherBelgium: Hedwig SwimbergheBrazil: Ricardo Dourado FreireBulgaria: Bobo YotzovCanada, National Chair: Pat DanielsCanada, St. Lawrence Region:

Lorne BuickCanada, Great Lakes Region:

Barbara HankinsCanada, Central Region:

Margaret WilsonCanada, Pacific Region: Patricia KostekChile: Luis RossiColumbia: Javier Asdrúbal VinascoCosta Rica: Lenin Izaguirre CedeñoCzech Republic: Stepán KoutníkDenmark: Anna KlettFinland: Juhani ValtasalmiFrance: Jean-Marie PaulGermany: Prof. Johannes M. GmeinderGreat Britain: Dr. Sarah WattsGreece: Paula Smith DiamandisHong Kong: Maria WongHungary: Bence Szepesi

Iceland: Kjartan ÓskarssonIndia: Dr. Pandit Narasimhalu VadavatiIreland: Paul RoeIsrael: Eva Wasserman-MargolisItaly: Luigi MagistrelliJapan: Masaharu YamamotoLuxembourg: Sébastien DuguetMexico: Luis Humberto RamosNetherlands: Céleste ZewaldNew Zealand: Andrew UrenNorway: Christian StenePeople’s Republic of China: Yi HePeru: Marco Antonio MazziniPoland: Jan Jakub BokunPortugal: António SaiotePuerto Rico/Carribean: Kathleen JonesSerbia: Andrija BlagojevićSlovakia: Július KleinSlovenia: Joze KotarSouth Africa: Edouard L. MiasnikovSouth Korea: Im Soo LeeSpain: Carlos Jesús Casadó TarínSweden: Stefan HargSwitzerland: Matthias MüllerTaiwan: Chien-MingThailand: Cassandra Fox-PercivalUruguay: Martín CastillosVenezuela: Victor Salamanques

NATIONAL CHAIRPERSONS

For advertising rates and specifications or to join the International Clarinet Association, visit www.clarinet.org .

AD RATES & ICA MEMBERSHIP FEES

Ben Armato (1928–2015)Walter Boeykens (1938–2013)Betty Brockett (1936–2003)Clark Brody (1914–2012)Jack Brymer (1915–2003)Larry Combs, Evanston, IllinoisBuddy DeFranco (1923–2014)Hans Deinzer, Frankfurt,

Germany & Bobbio, ItalyGuy Deplus, Paris, FranceStanley Drucker, New York, New YorkF. Gerard Errante, Las Vegas, NevadaDavid Etheridge (1942–2010) Lee Gibson (1915–2013)James Gillespie (Editor Emeritus), Denton, TexasPaul Harvey, Twickenham, Middlesex, U.K.Stanley Hasty (1920–2011)Ramon Kireilis, Denver, ColoradoBéla Kovács, Budapest, HungaryFrank Kowalsky, Tallahassee, FloridaJacques Lancelot (1920–2009)Karl Leister, Berlin, GermanyMitchell Lurie (1922–2008)John McCaw (1919-2015)John Mohler, Chelsea, MichiganFred Ormand, Lawrence, KansasBernard Portnoy (1915–2006)Alfred Prinz (1930–2014)Harry Rubin, York, PennsylvaniaAntónio Saiote, Porto, PortugalJames Sauers (1921–1988)James Schoepflin, Spokane, Washington Selim Sesler (1957–2014) David Shifrin, Norwalk, Connecticut William O. Smith, Seattle, WashingtonHarry Sparnaay, Lloret de Mar, Spain Hans-Rudolf Stalder, SwitzerlandMilenko Stefanović, Belgrade, SerbiaRalph Strouf (1926–2002)Elsa Ludewig-Verdehr, East Lansing, MichiganHimie Voxman (1912–2011)George Waln (1904–1999)David Weber (1914–2006)Pamela Weston (1921–2009)Michele Zukovsky, Los Angeles, California

HONORARY MEMBERS


24 Guido Six (1955–2015) by Eddy Vanoosthuyse and Robert Spring

26 The Chicago Mouthpiece Legacy – Part IIB by David Tuttle

32 Theodore Johnson: Remembrances and Recommendations by Dennis Nygren

40 A Short History of the Clarinet in New York City in the 18th and 19th Centuries – Part 2 by Jane Ellsworth

46 Masterworks for Bass Clarinet – A Personal Experience by Rocco Parisi

48 Report from Norway by Gregory Barrett

56 Don’t Give Me Daphnis: An Injury Recovery Guide for Clarinetists – Part 3 by Mary Alice Druhan, with Kristin Keesey and Debbie Gillespie

60 ClarinetFest® 2016 by Stephanie Zelnick

24Features

2 Introducing Kathleen D. Chau, ICA Executive Assistant

6 Clarinotes

9 News from Latin America by Ricardo Dourado Freire

12 News from France by Jean-Marie Paul

14 Letter from the UK by Paul Harris

16 Teaching Clarinet by Michael Webster

20 Historically Speaking by Deborah Check Reeves

22 Hysterically Speaking by Eric Hoeprich

62 Reviews

73 Audio Notes by Chris Nichols

76 ICA Officer Election Candidates

79 BuzzReed – Connecting the Clarinet Community by Spencer Prewitt, Jesse Krebs, Kristy Nichols and Eric Salazar

80 Message from the Board

Departments

AMB Clarinet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66Ann Arbor Clarinet Connection. . . . . . . . . . . . .75Aria International Summer Academy . . . . . . .80Aurora Winds. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50Belgian Clarinet Academy . . . . . . . . . . . . . . . . . .54Brannen Woodwinds . . . . . . . . . . . . . . . . . . . . . . .57Buffet Group USA . . . . . . . . . . . . . . . . . . . . . . . . . IFCCalifornia Clarinet Clinic . . . . . . . . . . . . . . . . . . . .73Chopsaver . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19Claremont Clarinet Festival . . . . . . . . . . . . . . . . .69Clarinetopia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13Classical Collection Inc. . . . . . . . . . . . . . . . . . . . . .10Crystal Records. . . . . . . . . . . . . . . . . . . . . . . . . . . . .21D’Addario Winds . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1Freewing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8H. Karlsson Woodwinds . . . . . . . . . . . . . . . . . . . .67Indiana University

Jacobs School of Music . . . . . . . . . . . . . . . . . .19J.L. Smith & Co. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38Lift Academy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Lisa’s Clarinet Shop . . . . . . . . . . . . . . . . . . . . . . . . .29Lomax Classic Mouthpieces . . . . . . . . . . . . . . . .37Luyben Music Co. . . . . . . . . . . . . . . . . . . . . . . . . . .23Midwest Musical Imports. . . . . . . . . . . . . . . . . . . . 5Muncy Winds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79Patricola Brothers . . . . . . . . . . . . . . . . . . . . . . . . . .10Peabody Conservatory of

The Johns Hopkins University . . . . . . . . . . . .35ReedGeek, Inc. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .43RJ Music Group . . . . . . . . . . . . . . . . . . . . . . . . . . . .20Rodriguez Musical Services. . . . . . . . . . . . . . . . .45Rovner Products . . . . . . . . . . . . . . . . . . . . . . . . . . .71Taplin-Weir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39, 74The Ohio State University

School of Music. . . . . . . . . . . . . . . . . . . . . . . . . .78Universität Mozarteum Salzburg. . . . . . . . . . . .75Van Cott Information Services . . . . . . . . . . . . . .43Vandoren . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IBCWichita Band Instrument Co. . . . . . . . . . . . . . . . . 8Woodwindiana, Inc. . . . . . . . . . . . . . . . . . . . . . . . .54Yamaha Corporation of America. . . . . . . . . . . .84

Advertiser Index32

www.mmimports.com 1-800-926-5587

Excellence in Service and

Selection Since 1983

Whether you’re a beginner or seasoned professional, discover a standard

of excellence only truly knowledgeable service can bring.

Experience our wide variety of hand-selected Buffet clarinets, set upby expert technicians, and presented

by exceptional clarinet specialists.

Quality instruments, accessories & repairs

Hand selected Buffet-Crampon clarinets

Professional instrument set-up

Try up to four instruments, no deposit!

1-year maintenance/2-year crack warranty

New, used, consignment and rentals

Musicians Serving Musicians

TOSCA BASS

CLARINETS

IN STOCK


by Kate Young

The 2015 Montana/Idaho Clarinet Festival took place at the University of Montana School of Music in Missoula on September 11–12. Christopher Kirkpatrick, assistant professor of clarinet at the University of Montana, hosted the event. Maxine Ramey, director of the School of Music at the University of Montana, was also there to welcome participants to the festival. Students from various universities and guest artists from across the country joined together for a two-day event of learning and playing.

Jonathan Holden (Florida State University) and Oskar Espina-Ruiz (University of North Carolina) served as featured guest artists who each gave a master class and solo recital. Espina-Ruiz presented an opening recital titled “Clarinet Without Boundaries,” focusing on complex technical works for solo clarinet by Spanish, Latino and American composers.

The next day, a recital featured guest artists Kate Young, John Coppa, Joshua Mietz, Greg Young, Leslie Moreau, Chris Mothersole, and the comical Greater Missoula Area Single Reed on a Wooden Horn Society. Later in the day, a duet recital was given by the Tosca Duo (clarinetists Shawn Copeland and Lynn Musco) and Duo Nyans (clarinetist Christopher Kirkpatrick and saxophonist Johan

Eriksson). This duo concert exposed the audience to music outside of the traditional repertoire for clarinet duet and saxophone/bass clarinet, and was an excellent addition to the festival. In the afternoon, Shawn Copeland presented a well-attended Alexander Technique workshop.

The festival attendees participated in the Festival Clarinet Choir, directed by Joshua Mietz. They performed Matt Johnston’s arrangements of works

including The Liberty Bell March and Holst’s First Suite in E-flat Major. The choir also played Mietz’s own well-conceived arrangements of “Clocks” by Coldplay and the University of Montana fight song. To conclude the 2015 Montana/Idaho Clarinet Festival, Jonathan Holden gave a recital of music by U.K. and U.S. composers, including works by Gershwin, Copland, Stanford, Roxburgh and Hurlstone.

2015 MONTANA/IDAHO CLARINET FESTIVAL

2015 Montana/Idaho Clarinet Festival faculty


by Marita Rodríguez

The fourth annual Fiesta de los Clarinetes will take place March 28-April 2, 2016, in Havana, Cuba. The event is a project of the Duo D’accord (clarinetist Vicente Monterrey and pianist Marita Rodríguez), bringing together chamber music professionals from across the country and guests from other regions to celebrate a “musical fiesta.” Marita Rodríguez will

provide the artistic and general direction of the event, which is sponsored by the National Concert Music Center and the Mozart Lyceum of Havana.

The week-long Fiesta de los Clarinetes will feature concerts held in San Felipe Neri – one of the country’s most prestigious music halls – and master classes and chamber music workshops in the classrooms of Havana’s Mozart Lyceum.

In addition to host Vicente Monterrey, clarinet professor at the University of Arts and principal clarinet of the Opera and Ballet Orchestra of Cuba, featured artists will include:

• Cuban clarinetists: Javier Zalba, Dianelys Castillo, Arístides Porto, Héctor Herrera, Aylet Roque, Antonio Dorta, Alden Ortuño, Michael Elvermann, Rafael Inciarte, Maryibis García, Niniam Rodríguez, Kimani Simón and Joel Lafont

• Special guests: Trio Tre Colori from Germany (Carelys Carreras, clarinet; Elisabeth Wieland, oboe and Arlette Probst, bassoon) and Mauricio Murcia, clarinetist from Colombia

• Ébanos de La Habana Clarinet Quartet: Laura Calderín, Dunia A. Benitez, Yanexy Machado and Mario Rodríguez

• Trio Cañas Móviles from Cuba: Maray Villeya, clarinet; Claudia Toledo, oboe and Osmany Hernandez, bassoon

For more information, please contact Marita Rodríguez at [email protected].

LA FIESTA DE LOS CLARINETES 2016 IN HAVANA, CUBA

by Shawn Copeland and Stephan Vermeersch

The second edition of the California Clarinet Clinic took place June 21-27 at the Aldersgate Retreat Center in Los Angeles, CA. The clinic is directed by Julia Heinen, professor of clarinet at California State University – Northridge, and Peter Wright, principal clarinetist of the Jacksonville Symphony. In addition to Heinen and Wright, the faculty included Shawn Copeland, Gary Gray, Burt Hara, William Powell, Alcides Rodriguez, Heather Rodriguez, Stephan Vermeersch and Michele Zukovsky.

The California Clarinet Clinic addressed most aspects of educating the 21st-century clarinetist. Seventeen participants experienced private lessons, group master classes, a clarinet repair clinic with Levi Tracy of RDG Woodwinds, a mouthpiece presentation by James Kanter, a reed lecture, and presentations on stage fright, Alexander

Technique, yoga, breathing technique, extended techniques, chamber music and solo performance.

Most days started at 7:30 a.m. with yoga or tai chi, followed by breakfast, private lessons, presentations/lectures,

2015 CALIFORNIA CLARINET CLINIC

Clarinet choir performance at La Fiesta de los Clarinetes 2015

2015 California Clarinet Clinic faculty and participants


W illiam Carl Dominik passed away at the age of 90 on November 6, 2015. Dominik grew up

in Lansing, Michigan, and was drafted into the U.S. Army Air Forces during World War II, initially as a clarinetist and later taking on other duties. When the war ended, he resumed his music studies, earning a bachelor’s degree at Michigan State College and a master’s degree at the University of Southern California, where he later completed his doctorate. His clarinet and music training included study with Clark Brody, Robert Marcellus, Kalman Bloch, Joseph Siniscalchi and Keith Stein.

Dominik joined the Conservatory of Music faculty at the University of the Pacific in 1967 as a clarinet and chamber music professor, and upon his retirement, he received the university’s Order of the Pacific and the award of Professor Emeritus. His previous teaching appointments included Bethany College (Kansas), Oberlin Conservatory, University of Wisconsin – Madison, Texas A&M University – Kingsville and California State College at Los Angeles. Dominik was a member of many professional organizations including

the International Clarinet Association, for which he served as the California State Chair for many years. He played in various orchestras, including at Berkshire Music Center at Tanglewood in Massachusetts, and appeared frequently as a soloist, clinician and adjudicator.

WILLIAM CARL DOMINIK (1925-2015)

William Carl Dominik

lunch, presentations/lectures, master classes or chamber music, dinner, and then group master classes or concerts. One morning featured a trip to the D’Addario factory – an honored sponsor of this summer program – where participants

experienced a guided tour on the process of reed and mouthpiece production.

The 2016 California Clarinet Clinic will take place June 19-23;

more information is available at http://californiaclarinetclinic.com.

2017 Composition Competition – Clarinet Choir

ICA ANNOUNCEMENT

The ICA Composition Competition seeks original works, previously unperformed, for clarinet choir, 10-15 minutes in length. The deadline is December 31, 2016; the winner will receive a $1000 prize and a performance of the work at ClarinetFest® 2017.

For details, please visit www.clarinet.org or contact Antonio Fraioli, coordinator

([email protected])


Clarinet players in Latin America are organizing many events to promote the clarinet and clarinet performance

around the continent. This column discusses important ways people are working to bring clarinet players together: in Paraguay, a first-ever gathering of clarinetists; in South Argentina, a visionary teacher and a clarinet choir organizing an international event; and in Brazil, a small clarinet company holding local auditions

for 48 young players to take part in a national clarinet competition. These are small steps that are making the clarinet community stronger in Latin America.

PRIMER ENCUENTRO DE CLARINETES DE PARAGUAY – FIRST CLARINET MEETING OF PARAGUAY Paraguay was waiting for a clarinet event for a few years and it took a very talented young player with determination and inspiration to do it. José Cabrera was born in 1992, and today he is a member of the Orquesta Sinfónica Nacional de Paraguay in Asunción. He studied with Ruben Jara in Paraguay and at the Academia Latinoamericana de Clarinete in Caracas, Venezuela, under the guidance of Valdemar Rodrigues, Jorge Montilla and Carmen Borregales.

Cabrera returned to Paraguay to develop a career as a classical player and to promote the clarinet for the younger generation. His efforts resulted in the Primer Encuentro, a clarinet event bringing together clarinet players from all around the country of 7 million people in the center of South America. The event was held at the Main Hall of the Sinfónica Nacional, October 22-25, 2015.

The guest of honor was clarinetist and conductor Antonio Saiote, professor at the Escola Superior de Música, Artes e

Espectáculo in Porto, Portugal. The event included master classes, individual clarinet lessons, clarinet ensemble rehearsals and two featured recitals given by Cabrera and Saiote. The final concert featured the participants and a clarinet ensemble conducted by Saiote.

The Primer Encuentro was an excellent opportunity to create a community of clarinet players in Paraguay. Cabrera promoted an important goal of the ICA – “fostering communication and fellowship of clarinetists” – by including Paraguay on the roster of clarinet events in Latin America.

News from

by Ricardo Dourado Freire

Antonio Saiote and José Cabrera


IV ENCUENTRO INTERNACIONAL DE CLARINETES DE BAHÍA BLANCA (ARGENTINA) – FOURTH INTERNATIONAL CLARINET MEETING OF BAHÍA BLANCAGustavo Kamerbeek lives in Bahía Blanca, situated 400 miles south of Buenos Aires, Argentina. He is a true clarinet enthusiast who devotes himself to clarinet teaching, professional playing and conducting the Coro de Clarinetes Carmelo Azzolina, a clarinet choir of students and amateurs. The fourth annual Encuentro Internacional de Clarinetes de Bahía Blanca took place July 9-12, 2015, with four days of master classes, recitals, concerts, lectures and presentations. The event was supported by the Asociación Filarmónica de Bahía Blanca and the Secretaría de Extensión Universitaria de la Universidad Nacional del Sur.

Guest artists included Cristiano Alves (Universidade Federal do Rio de Janeiro) and Alexandre Ribeiro (choro soloist) from Brazil; and Osvaldo Lichtenzvieg (Escuela de Música de Neuquén) and Guillermo Astudillo (Orquesta Estable

del Teatro Colón) from Argentina. The participating ensembles included the Coro de Clarinetes Carmelo Azzolina (clarinet choir), Banda Sinfónica de Bahía Blanca (wind symphony), Sudestada Big Band and Quinteto de Vientos Lakmé (wind quintet). There were many local players including Diego Casoni, Raúl Soto, Ricardo de Armas, Gabriel Dominguez, Uriel Kaufman, Juan Pablo Vazquez, Denise Boudout, Pamela Gallardo and Roberto Gutiérrez.

The IV Encuentro showed how important it is for a community to value the joy of playing the clarinet. The event was promoted by a group that developed passion for the instrument, and by Gustavo Kamerbeek, who works tirelessly to inspire younger students and also to motivate amateurs to keep playing and enjoying life as a clarinetist.

Virtuoso Future generation

Grenadilla&Rosewood

EbBbAC

www.patricola.com

Made in Italy

Handmade

CLARINET SOLOSwith

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 ClassicalCollectionInc.Com

Gustavo Kamerbeek leading the clarinet choir


II “RAFAEL GALHARDO CARO” CLARINET COMPETITIONThe Brazilian clarinet company Devon and Burgani organized the second edition of “Rafael Galhardo Caro” Clarinet Competition in 2015. The contest was named after a renowned clarinet teacher who worked in the São Paulo Opera Orchestra and taught clarinet for almost 50 years. Initially, there were 48 competitors from all over Brazil, organized into six regional contests. Twelve players were selected for the semifinals in São

Paulo, October 10-12, 2015, and required to play Béla Kovács’ Hommage à Strauss and Claudio Santoro’s Etude No. 2 (1942). Six finalists were then selected to perform Debussy’s Première Rhapsodie in the final round.

José Botelho from Rio de Janeiro served as chair of the jury, which included Nuno Silva (Portugal), Márcio Pereira (Portugal), Lara Diáz (Spain) and Piero Vicenti (Italy). First place was awarded to Ariane Rovesse

from São Paulo, second place to Lucas Ferreira from Rio de Janeiro, and third place to Paulo Mantovani from São Paulo. The first two places received Devon and Burgani clarinets and clarinet apparel from sponsors. The “Rafael Galhardo Caro” Clarinet Competition recognized young talent and brought to the big city of São Paulo players from such states as Minas Gerais, Espírito Santo, Paraíba, Piauí, Amazonas, Goiás, Pernambuco, and Rio de Janeiro. v

ABOUT THE WRITERRicardo Dourado Freire is professor of clarinet at Universidade de Brasília (UnB) in Brazil. He studied at UnB with Luiz Gonzaga Carneiro, and at Michigan State

University with Elsa Ludewig-Verdehr. Freire is an enthusiast of Latin American music, both classical and popular, and participated in clarinet events in Brazil, Colombia, Italy, Peru, Portugal, USA and Venezuela.

Lift Clarinet Academy Take your playing to the next level

Located in beautiful Fort Collins, Colorado - On the foothills of the Rocky Mountains

www.LiftClarinetAcademy.com

At the Lift Clarinet Academy we want you to arrive with a goal and leave with a sense of achievement. Through planning and communication prior to the academy, we create a program that ensures students receive the musical boost they are looking for!

DePaul UniversityJulie DeRocheWesley Ferreira

Colorado State UniversityJana Starling

Western University

Summer 2016June 13 - 17

(Left to right) Paulo Mantovani (3rd place), Lucas Ferreira (2nd place), Ariane Rovesse (1st place), Marcio Pereira, Nuno Silva, Piero Vicenti, Lara Diaz, José Botelho, Sérgio Burgani and Odivan de Santana


Phot

o Cr

edit:

Yoa

nn L’

host

ellie

r

Newsby Jean-Marie Paul

from

On November 23, Buffet-Crampon organized a huge concert (3 ½ hours) at the new concert hall

of Radio France in celebration of its 190th anniversary. The clarinet part of the program included: Mozart’s Gran Partita (Michel Arrignon and Paul Meyer, clarinets; Nicolas Baldeyrou and Alexandre Chabod, basset horns); Milhaud’s La Création du monde (Paul Meyer, conductor; Romain Guyot and Kenji Matsumoto, clarinets); Saint-Saëns’ Symphony No. 3, final movement (arr. N. Baldeyrou) with an international choir of 48 clarinets conducted by Antonio Saiote; and klezmer music by the Giora Feidman Trio. There was also a commission for orchestra, Rhapsody for Talents, conducted by the composer Giancarlo Castro d’Addona, and U.S. clarinetist Felix Peikli played a jazz duet with saxophonist Luigi Grasso.

NATIONAL SUPERIOR CONSERVATORIES (CNSM)CNSM Paris, June 12-13. License level (3 years) – Mention très bien: Madoka Tsuruyama (unanimously), Maïté Atasay, Paul Dujoncquoy, Benjamin Fontaine. Mention bien: Joséphine Besançon and Iñaki Vermeersch Amor (unanimously). Master level (called

“Prix” in the past) – Mention très bien: Elodie Roudet and Bogdan Sydorenko (both at the unanimity of the jury with congratulations; Roudet will perform at the 2016 ClarinetFest®). Mention bien: Jaehyuk Jang and Amaury Viduvier (at the unanimity of the jury). Jury (clarinetists):

Jean-Marc Volta (Paris), Richard Rimbert (Bordeaux), Philippe Moinet (Nancy), Alain Toiron (Mulhouse-Colmar). No candidate was eligible to compete on bass clarinet (Alain Billard class); the next competition will be in 2016.

CNSM Lyon. Master level – Mention très bien: Marion Allain, Anaïs Audigé and Cécilia Lemaître-Sgard. License level (a notation is given, not a prize) – Elsa Loubaton and Christine Cochenet. Jury: Franck Amet, Philippe Berrod, Jérôme Comte.

NEW CHAIRSGarde Républicaine: Maité Atassay, solo bass clarinet; Franck Scalisi, co-principal; Damien Fouilloux, E-flat clarinet co-principal.

Orchestre National des Pays de Loire: Competition was held on November 10 for the bass clarinet position; no one was chosen. New competition: April 4, 2016.

Opera de Toulon: Franck Russo. Russo is a founding member of the Absinthe clarinet quartet and a laureate of several international competitions, including: Prague, Debussy (Paris), Nielsen (Denmark) and Lancelot (Rouen and Tokyo).

Orchestre de Picardie: Romy Bischoff, soloist of the Paris Police Band (Musique des Gardiens de la Paix)

PREMIERESThere have been many premieres, most notably: 5 Moments retrouvés by Nicolas Bacri (with piano), played by Philippe Cuper on June 9, commissioned for Philippe by the Versailles Conservatory and Vandoren and played for the Cahuzac International Competition; and Petite Suite Klezmer by Serge Kaufmann, November 8, Paris, Théâtre Adyar, with the composer at the piano. Armand Angster also performed several premieres; for a complete list, visit www.accrochenote.com.

Elodie Roudet


OBITUARIESNovember 29, 2014: Pierre Boulanger (b. 1938) studied with his brother Edmond (first prize at the Geneva Competition) and received his first prize in 1956 at the Paris Conservatory after only nine months. He was principal in the Air Force Band and member of the Garde Republicaine Band. Boulanger also performed with the Orchestre de Paris from its founding in 1967, and taught in Paris in conservatoires d’arrondissement.

December 17, 2014: Jacques Niopel (b. 1935) was awarded a first prize at the Paris Conservatory in 1957 and taught during his life at the Amiens Conservatory. Scores which were dedicated to him include Romance et Sicilienne of Charles Jay and a clarinet quartet of Semler-Collery.

August 11, 2015: Emile Pannetier (b. 1919) studied at the Lyon Conservatory during WWII, then joined the Police Band under Semler-Collery’s baton; he received third place at the Geneva Competition. In 1947 he began playing with the Opera de Lyon whose conductor was the famous André Cluytens. He later switched to the Orchestre National de Lyon and remained there until his retirement in 1984 (my thanks to François Sauzeau, the current clarinet soloist of the Orchestre National de Lyon, for this information).

December 28, 2015: Jean Aubain (b. 1928) was the director of the Versailles Conservatory from 1963 to 1996. He composed Pastorale et Scherzo for clarinet and piano (1979); Concerto for clarinet and orchestra (1985; also available in a piano reduction); and Piece pour 7 clarinettes, which was dedicated to Philippe Cuper and premiered with the Choeur de Clarinettes de Versailles. v

June 1-5, 2016

■ FacultyCharles Neidich: New York Woodwind Quintet; Aaron Copland School, Juilliard, Mannes, ManhattanAyako Oshima: Juilliard, SUNY Purchase, HarttElsa Ludewig-Verdehr: Verdehr Trio; Michigan State University Guy Yehuda: Trio di Colore; Michigan State UniversityTasha Warren-Yehuda: Michigan State UniversityMichael Webster: Rice University; formerly Rochester Philharmonic and San Francisco SymphonyLeone Buyse: Rice University; formerly Boston Symphony and Boston Pops

Ramon Wodkowski: mouthpiece expert

■ Scheduled EventsMaster Classes: collaborative pianists providedPresentations: Yoga and the Clarinet; Audition Preparation; Charlie’s Choice; Owning the Stage Faculty Recitals: Charles Neidich and Ayako Oshima; Guy Yehuda and Tasha Warren-Yehuda; Michael Webster and Leone Buyse

Student Recitals: All Master Class Performers

NEW!! Clarinet Day, June 4, Tasha Warren-Yehuda, director. A busy afternoon devoted to pre-college clarinetists and

adult amateurs. Details at clarinetopia.com

■ ApplicationsA maximum of twenty master class performers will be selected from submitted recordings. Other participants will be able to attend all events

as residents or with daily passes.

■ AccommodationsOn-campus housing and meals are available at a very reasonable cost.

■ Contact UsVisit www.clarinetopia.com for up-to-date information, application forms, costs and all inquiries.email: [email protected], phone: 979-246-4144

Any changes of faculty or scheduled events will be reflected at the website.

Pierre Boulanger


TIMOTHY BOWERS’ CLARINET SONATA: BOLDLY TAKING THE SONATA INTO TERRITORIES NEW

When a composer decides to write a complete cycle of wind sonatas, should they take into account the

lessons of history? Saint-Saëns, Poulenc and others made this decision and fate decreed that their cycles, sadly, would forever remain unfinished. Not only this,

but as we know, late works for clarinet have often been a composer’s swan song (Mozart, Schubert, Brahms, Reger, Saint-Saëns, Nielsen, Poulenc...)

But the British composer Timothy Bowers has challenged fate and decided to do just this – he began as Nielsen did, with a terrific Wind Quintet, and has since completed sonatas for bassoon and oboe. He has now taken the plunge and completed his Clarinet Sonata. For clarinet players, a new sonata is always an exciting and important event, and Tim’s new work will certainly not disappoint. Let’s have a look at this significant British composer; Timothy Bowers may be a name unknown to some readers.

Tim was a pupil of the great Alan Bush (who regrettably never wrote for the clarinet as a solo instrument) at the Royal Academy of Music where Tim now teaches. He has gone on to become a notable composer of instrumental and vocal music. He has written solo works for almost every instrument, including sonatas for all the orchestral brass instruments, strings, piano, guitar and classical accordion. Many of these works have been commissioned by leading players; Tim’s commitment to writing works for solo performers reflects many years of teaching and working with exceptional artists at the Royal Academy.

Tim acknowledges the precedent of Hindemith and some lesser known

composers (from Scandinavia, for example) but does not, in any way, cite Hindemith as an influence – either stylistically or structurally. Common to all Tim’s sonatas is an intention to build an entire work from a small harmonic or melodic cell. A second strand running through the series is the notion that traditional forms are not simply a template that can be used lightly, but a platform through which the composer can satisfy or deny expectations on the part of the listener.

Before I asked Tim about the work itself, I raised the question of how he felt in taking on such a historically emotive task. He responded:

When I started writing the series, I convinced myself that I was not a superstitious man; however, I’ve now reached the point that I have one left to write (for flute) and I can’t pretend that I’m not a little uneasy at this moment. But I’m happy to report that the Clarinet Sonata flowed quickly. And I remain in good health and have many ideas for the final Flute Sonata!

The sonata is Tim’s third work for solo clarinet – the others are Concerto Festivo for clarinet and symphonic winds and Incantation & Dance for unaccompanied clarinet. It will be of interest for readers to know that neither work has received a premiere in the United States yet. The Clarinet Sonata was not written for a particular player, but having already explored the instrument in two very different ways, Tim had a particular sound in mind for this piece. Tempting though it was for the composer to favor his beloved flat keys and long, quiet melodic lines, the mainspring of the work is a dark, sometimes cold energy that leads eventually to a warmer mode of expression.

The piece interestingly, and unusually, explores the central tonality of B minor, a key not often favored by composers in

Letter by Paul Harris

from the

Timothy Bowers

writing for the clarinet (except, of course, Brahms), but one that reveals vitally important colors. It is a three-movement work lasting 13 minutes, with a concise and urgent opening movement in sonata form, an intimately expressive slow movement and a boldly defiant finale that grows from an unexpected gentle opening; then, through a series of variations, it transforms back into the material that opens the work. The coda concludes the musical argument in a fiery manner rather like the shaking of a fist!

Fascinatingly (and possibly uniquely), Tim sees this work as part of a grand cycle. The sonatas can be performed singly, but, much more excitingly, they can be performed together, rather like Wagner’s Ring cycle. The cycle begins with the Wind Quintet, whose ideas influence themes and motifs in all the sonatas that follow. Immediately after the opening quintet comes the more lightweight and quirky Bassoon Sonata – a “first scherzo” which includes two dance movements. The gentle C major Oboe Sonata acts as a slow movement. Then, in this highly imaginative context, the Clarinet Sonata plays the role of a dramatic scherzo. The Flute Sonata will constitute the finale of this grand five-work scheme, acting as a point of complete resolution. The first U.K. premiere of the Clarinet Sonata is imminent, after which all five works will receive a joint performance as a cycle – maybe the first time ever for such a musically intriguing and imaginative project. v

ABOUT THE WRITERPaul Harris is one of the U.K.’s most influential music educators. He studied the clarinet at the Royal Academy of Music, where he won the August Manns Prize for outstanding

performance and where he now teaches. He is in great demand as a teacher, composer and writer (he has written over 600 music books and compositions), and his master classes and workshops continue to inspire thousands of young musicians and teachers all over the world in both the principles and practice of musical performance and education.

MARCH 2016

Site Search for Clarinetfest® 2019 and Clarinetfest® 2020The ICA board of directors is soliciting the assistance of the general membership in identifying potential United States sites for ClarinetFest® 2019 and ClarinetFest® 2020. In order for the proposal to be considered, all documents must be submitted by the proposed Program Director(s) and include:

• Cover letter by proposed Program Director(s) stating intent • Detailed biography and contact information for proposed

Program Director(s) • Three letters of recommendation for proposed Program Director(s) • Names of proposed artistic team members • Proposed dates, which are typically Wednesday through Sunday, the

third or fourth week of July• Written proof of financial support from various agencies • Complete addresses and detailed maps of all hotels/dorms and

performance/exhibitor venues, including an outline of their proximity to each other

• Proposal addressing all site requirements as listed below

Being sought are locations with the following attributes:

• Performance Spaces – Superior acoustical space with multimedia capabilities conducive for the presentation of concerts, recitals, lectures and master classes. Having two or more performance venues in the same location is considered optimal. Minimum capacity of the large hall should be 1100-1300 seats.

• Exhibition Space – Approximately 15,000 sq. ft. exhibition/ballroom space located in or near the same facility where program presentations will take place. Four additional nearby smaller rooms to be used as instrument manufacturer tryout spaces. All exhibition spaces must have the ability to be secured during non-business hours.

• Housing – Convenient housing (hotel/dorm) with a variety of price options able to accommodate budgets ranging from students to corporate executives. Capability to house a minimum of 800 individuals.

• Travel – Access to major transportation centers (e.g., airports, train stations).

• Excursions – Interesting tourist activities in, or within the vicinity of, the city/area of venue.

• Other – Incorporation of area musical resources (e.g., professional symphony orchestras, jazz ensembles, chamber musicians, military ensembles) adds greatly to the local experience for those attending ClarinetFest®.

Please send proposals electronically with the above listed requirements by July 15, 2016 to:

Caroline Hartig, ICA [email protected]

ICA ANNOUNCEMENT


Seventy-second in a series of articles using excerpts from a teaching method in progress by the Professor of Music at Rice University

BRACKETOLOGY

In 1985, the NCAA expanded its annual Division I Men’s Basketball Tournament to include 64 teams, and “bracketology” was born. Competitors in the tournament are chosen via a complicated system of seeding, whereby

four regions each have 16 seeded teams with No. 1 playing the first round against No. 16, No. 2 against No. 15, etc. Four more teams were added in 2011, so now the odds for predicting every single game correctly among the 68 teams have snowballed to one in 147.57 quintillion. Bracketology (predicting the outcome of every game) is everywhere during “March Madness,” as the tournament is colorfully called, and has even invaded the White House, with “Bracketeer-in-Chief” Obama posting his predictions annually.

For musicians, there is another kind of bracketology: the use of brackets to indicate the direction of a phrase. To this day, in my oldest music, I find brackets written by Stanley Hasty (1920-2011) from my days of study in the 1960s. In the vast majority of brackets, the first enclosed note is an offbeat. Thus the bracketed series of notes has the feeling of anacrusis, or upbeat.

Hasty’s brackets are similar to the system of numbers developed by Marcel Tabuteau (1887-1966), the iconic principal oboist of the Philadelphia Orchestra. A long-time colleague of Daniel Bonade (1896-1976), Tabuteau was to the oboe what Bonade was to the clarinet – the founder of an “American school” of woodwind playing through his immense influence as a teacher.

The Philadelphia Orchestra legacy is apparent in Donald Montanaro’s use

of the trio from the Scherzo of Sibelius’s Symphony No. 2 to demonstrate Tabuteau’s system of numbering (Example 1). The numbers can indicate dynamics, or a slightly more nebulous concept: intensity. With nine repeated notes in a row, the phrase cries out for some shaping.

Tabuteau’s numbering system goes from 1 to 10, so each adjacent number is a small increment. Within the large crescendo written by Sibelius, Tabuteau groups the first three notes with a small crescendo, then two more groups of three, each an increment louder than the previous. As a result, we gain the feeling of the first two quarter notes being a pickup to the third, happening three times until reaching the climax of the phrase. Equally important is continuing the same feeling of pickup in the second measure by starting the second note with a 1, just like the first measure. There is no printed dynamic in the second measure, thus the phrasing will be more subtle than in the first measure, but present nonetheless. Another way of describing the phrasing is the use of brackets each time a note is softer than the previous

Teachingby Michael Webster

& bbbbbb 412Oboe Œ œ- œ- œ- œ- œ- œ- œ- œ- œ œ œPtenuto œ- œ- œØ œ œ œ œ œ< -̇ Œ ” Œ3

Symphony No. 2 in D Major, Op. 43

Jean SibeliusLento e suaveMvt. 3 Excerpt

1 2 3 2 3 4 3 4 5 3 2 1 1 2 3 2 3 4

Example 1


one. So there would be a bracket before the fourth and seventh quarters of the first measure and the second and fourth quarter notes of the second measure.

Rather than using pedagogical examples, let’s use three staples of the clarinet repertoire, all of which serve students as they evolve from the intermediate to the advanced level, usually in the mid-to-late teenage years: Weber’s Concertino, Schumann’s first Fantasy Piece, and the Saint-Saëns Sonata, first movement. The theme of the Weber, shown in Ex. 2A, has only one bracket, showing how the three enclosed eighth notes serve as a pickup to the next bar. Hasty’s brackets were usually open-ended, but Example 2B will show an example of shorter, closed brackets. The note previous to the bracket is soft, as is the first bracketed note, similar to the first two notes of the second bar of Ex. 1. In fact, there are actually two kinds of bracket: one in which the first note of the bracket is the softest, and another in which the note before the bracket is the softest. The difference is subtle, and in fact the whole use of brackets is subtle. They indicate small increments in the Tabuteau scale of 1 to 10, so small that they usually don’t warrant dynamic indications by the composer.

Ex. 2B shows the first variation of the theme with phrasing brackets. The most important aspect of this phrase is that the second note of mm. 1 and 2 is soft, to emphasize their relationship to the theme. This is not so easy to accomplish! Because the note is so much shorter than the first note, significant breath control is required. One way of practicing is to taper the second note and pause before playing the bracketed notes. Gradually decrease the length of the pause until the bracket is accomplished completely with dynamics.

Brackets most often are open-ended, but with a series of short ones, as in the case of the second and third measures, we close them before the next one begins. The effect is very similar to that of the Sibelius – groups of three notes, each with poco crescendo, each a little louder than the previous. The brackets are subtle, and also flexible. One performance could reach a high point on the B-flat in m. 3, followed by a diminuendo to the downbeat of m. 4, then hairpins up and down in m. 4. Or, one could make the low A at the beginning of m. 4 the high point and diminuendo all the way to m. 5, or diminuendo to the

half bar and crescendo to m. 5. Because the accompaniment is minimal, the performer doesn’t have to decide until the spur of the moment; any version will sound good so long as the triplets retain the bracketed feeling without accenting downbeats. The third note of the bracket is the loudest, but must be arrived at gradually. Practicing long tones with subtly fluctuating dynamics is a good way for the student to gain awareness

and control of the air stream. Schumann’s markings in the first of

his Fantasy Pieces (Ex. 3A) almost bracket themselves. The short diminuendo to G in m. 2 sets up a bracket on the next note (F). The downbeat of m. 5 is like the Weber: a long note followed by a short resolution. The printed hairpins take care of m. 5 and m. 7. The hairpin in m. 8 should actually extend to the downbeat of m. 9

& b C >̇Jœ ‰

œ.p con anima

>̇Jœ ‰ œ œ .œ> œ œ œ .œTJœ œ œ# . œ. œ. >̇

Jœ ‰ Œ

Concertino, Op. 26Carl Maria Von Weber

©

ExcerptsAndante |

___THEME

& b C >̇ œ œ. œ. œ. œ. œ.3 3p

>̇Jœœ œ œ œ œ3 3

œœœœœ œn œb œœ œ œ œ33

33

œ œ œ. œ. œ. œ. œn. œ. œ# . œ. œ# . œ.3

3

3 3

˙”Variation I

|__

|

|

Example 2A

Example 2B

& bbb c œŒ”p

œ œ œ œ œ œ œ œn Œ œ w œ œn œ œ œ œ ˙ Œ œ

& bbb7 œ œ œ œœœœ œ œ .œ Jœ œn œœ œb .œ Jœ ˙ Œ œπ œ œn .œ jœb œ ‰Jœ

œ œn œ œb œ ‰ Jœb œ ‰ Jœ

& bbb14 œ œn œ œ œ# œ .œ Jœn œ ‰ Jœ œ ‰ Jœ œ œ .œ Jœ

fœ œ œ œ œ œ œ œ .˙ œ œ ˙ œ

PHANTASIESTUCKE, Op.73

Robert SchumannClarinet in A No. 1 Excerpts

Zart und mit Ausdruck(Sweet and expressive)

"

| | |

| |

|| | | |

& bbb c œ œn œ œ œ œ œ œp cresc.

œ œ œ œ.œ Jœn

fœ# œ œ œ œn œ œ œ œn Œ ”

©

| | |

Example 3A

Example 3B


to achieve the proper bracketing. Mm. 14 and 15 supply a new breathing challenge: to breathe before the last eighth note of m. 13, keep the next two notes within the phrase, and add a bracket after the first note of m. 14. Although not printed, a diminuendo across the bar line accomplishes that. Similarly in m. 17, the moment the downbeat begins should be the softest point of the phrase with most or all of the crescendo reserved for the second quarter.

There are two brackets in m. 18, but doing both would be overkill. Choose one or the other without necessarily planning in advance. Sometimes, especially in romantic music, a bracket is served by poco tenuto on the previous note. Here, I think tenuto on either the first or fifth eighth note is effective, but emphasizing both could engender some vertigo. The

third measure of Ex. 3B exaggerates the point. Three brackets would be ridiculous, and even two could make the listeners feel lightheaded. I’d choose one of the three, give the previous note a bit of tenuto, then lead into m. 4 in tempo. The piano accompaniment stops on the downbeat, so a bit of improvised rubato is appropriate. For the advancing intermediate student, this first movement of the Fantasy Pieces works well on B-flat clarinet in B minor with two sharps, a version that can be found in some editions.

The Saint-Saëns Sonata (Ex. 4) is surely romantic, but Saint-Saëns was stingier with his printed dynamics than Schumann. With brackets, we can supply the missing dynamics with great nuance. The rests between the first three short phrases supply the brackets; our challenge

is to taper the last note of each so the phrase has continuity during the rests. When the phrase gets more continuous, brackets in mm. 5 and 6 keep the pickup feeling alive. Brackets give a phrase direction without adding speed. The rests in mm. 16 and 17 are like brackets for the five pickup notes that follow. Adding a bracket to m. 15 gives the same pickup feeling. Another way of describing the brackets in m. 18 is that they add lilt. One measure of musical maturity is being able to discard accenting every beat, in this case thinking of two big beats per bar rather than four.

The double brackets in mm. 25 to 27 are to be avoided for just that reason. Choose one, keeping the feel of two beats per bar. From mm. 28 to 31, the brackets are self-explanatory. Diminuendo on a downward arpeggio and crescendo on an upward arpeggio can be a cliché, but the phrasing of mm. 32 and 33 demands that the middle of each bar be the soft point, followed by a bracket with crescendo. Brackets are applicable to any music, for example the Rose 32 and 40 Studies, both slow and fast. Etudes serve the purpose of giving technical challenges that are more concentrated and continuous than recital music; using brackets in etudes will help instill the importance of phrasing in everything a student plays. We want our students to become bracketeers for sure, but joining in with a prediction for “March Madness” is optional.

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 [email protected] or Michael Webster, Shepherd School of Music, MS- 532, P.O. Box 1892, Houston, TX 77251-1892; fax 713-348-5317; www.michaelwebsterclarinet.com.

Jules Elias writes from Portland, Oregon: I seem to remember your advice in response to a letter regarding the use of the standard fingering for the altissimo high G, but have not been able to locate it. I would like to try the alternate fingerings, particularly as I am preparing both the Debussy Rhapsody and the Copland Concerto for a performance next spring. For an 81-year-old “born again” clarinetist who has returned to his first love, playing the clarinet, this time of my life has been

& b 812 ” . Œ . œ jœp.œ- .œ Œ . œ jœ .œ- .œ Œ . œ Jœ œ Jœ .œ Œ Jœ œ œ œ

& b5 œ Jœ œ Jœ œ Jœ œ Jœ œ Jœ œ œ œ .œ œ Jœ .œ Œ . Œ . œ jœ .œ- .œ Œ . œ jœ

& b9 .œ- .œ Œ . œ Jœcresc.

.œ œ Jœ# .œb .œ .˙ Œ Jœ œ JœF

.œ .œ Œ Jœ œ Jœ

& b13 .œ .œ Œ Jœ œ Jœ .œ .œ .œ .œ .œ> œ œ œ# œ œ œ œœ œ

dim.

.œ .œ ‰ œ œ œ œ œ

& b17 .œ .œ ‰œ œ œ œœ

pœ Jœ œ Jœ œ Jœ œ jœ .œ .œ Œ . œ jœ .œ .œ Œ . œ jœ œ jœ œ jœ œ jœ œ jœ

dim.

& b22

.œ Œ . .œ Œ . 2 .œ œ œ œ œ œœ œ œ œ#p.œ ‰œœœœœœœœœ œ#

3 .œ# ‰œœœœ œ# œ œ# œ

& b28 .œ ‰ œ# œ œ œn œ œ œ œ .œ œ œ# œ .œ> œ ‰ .œ œ œ# œ .œ> œ ‰ ‰ œ œ œ# œ œ œ œn œb œ œ œ

& b32

.œb ≈ œ œ œ œ œ œ œ œœ œ œ œ œ œ .œ# ≈ œ œ œ# œ œ œ œ œ

œ œ œ Jœ ‰ Jœ

SONATA, Op. 167

Camille Saint-SaensClarinet in B-flat Mvt. 1 Excerpts

Allegretto

| |

|

| |

|| | | |

|

| | | |

||

"

Example 4


greatly enhanced by the clarinet and the music that I never dreamed would be in my reach.

My answer (abbreviated): It’s very nice to hear from you. I can’t say that there is a standard fingering for high G because there are so many. I divide them into 5th partial and 7th partial. Both of these fingerings have LH thumb and register key engaged plus RH pinky E-flat.

5th Partial favorite:

LH index finger. It is an overblown B-natural and must be voiced with the throat. It is smooth if you are already in the 5th partial (C-sharp or higher), but won’t speak easily from the 3rd partial (C-natural or lower). Adding RH fork improves pitch and response, preferable if the speed allows it. Fingering the RH fork can be awkward; you must place your finger close to the rod. If you hit the ring, it defeats the purpose. You’ll be on the very tip of your finger, so keep the nail cut short.

7th Partial favorite:

LH index and third fingers, RH index and second fingers. It has good pitch and solid tone. It needs a tiny bit of voicing

– doesn’t speak quite as well as LH index finger only (without the third finger), but the pitch is better (lower). Also try substituting index and third finger RH. Magic! v

ABOUT THE WRITERMichael Webster is professor of music at Rice University’s Shepherd School and artistic director of the award-winning Houston Youth Symphony. Formerly principal clarinet

of the Rochester Philharmonic and acting principal of the San Francisco Symphony, he has served on the clarinet faculties of Eastman, Boston University, and the New England Conservatory. A winner of Young Concert Artists, he has soloed with the Philadelphia Orchestra and the Boston Pops and appeared with the Lincoln Center Chamber Music Society, the Tokyo, Cleveland, Muir, Ying and Dover Quartets, and at many summer festivals.

Clarinet Performance WorkshopMay 26-30, 2016, in Bloomington, Indiana

Work with three international performers/teachers in a hands-on approach to clarinet performance in today’s world through a combination of master classes, group lessons, and private lessons.

“Refresh your playing with new ways of thinkingabout old problems.”

FACULTY

Howard Klug, Professor of Clarinet, Indiana University Jacobs School of Music

Steve Cohen, Professor of Clarinet, Northwestern University

Eric Mandat, Professor of Clarinet, Southern Illinois University at Carbondale

music.indiana.edu

HO

WA

RD K

LUG INFORMATION

Tuition: $600Office of Pre-College and Summer ProgramsIU Jacobs School of Music1201 E. Third StreetBloomington, IN 47405Web: music.indiana.edu/precollegeE-mail: [email protected]


“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 is 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].

Established by three sons of the Graslitz woodwind instrument maker Vincenz Kohlert, the V. Kohlert’s Söhne workshop

started production around 1880. Graslitz is the German name for the town of Kraslice in present-day Czech Republic. It is only 11 miles from Markneukirchen in Germany, which has been a center

of musical instrument manufacturing dating back to the 17th century. It is also a short distance from Schöneck, home of Gottlob Hermann Hüller who was highlighted in the previous “Historically Speaking” column (The Clarinet, Vol. 43/1, December 2015).

V. Kohlert’s Söhne made a variety of woodwind instruments including saxophones, bassoons and flutes, as well as innovative instruments like the Saxo-Oboe and Jazz-Klarinette that used saxophone fingering. By 1929, the firm was considered one of the largest manufacturers of woodwinds. Clarinets, of course, were a large part of that production. A quick perusal through several wholesaler catalogs from the mid-

Historicallyby Deborah Check Reeves

Photo 1: NMM 5867 Kohlert B-flat clarinet

Photo 2: NMM 5867 Kohlert clarinet bell signature

Photo 3: NMM 5867 Kohlert lyre receptacle

Photo 4: NMM 5867 Kohlert little finger rollers and patent C-sharp key

Photo 5: NMM 5867 Kohlert clarinet C-sharp/G-sharp key extension

All photos by Dara Lohnes,

courtesy of National Music Museum,

University of South Dakota.

rjmusicgroup.com...catering to the discriminating professional and amateur musician.


to-late 1930s – including Bugeleisen and Jacobson, Fred. Gretsch Mfg. Co., Carl Fischer Musical Instrument Co., Inc. and the Chicago Musical Instrument Co. – shows a number of models of clarinets exported by Kohlert. Among the Boehm System clarinets available through Chicago Musical Instrument Co., for example, are models from regular through Full Boehm. One Albert System model was available as well.

Among the nearly 20 clarinets made by Kohlert in the National Music Museum collections is NMM 5867 (Photo 1). Unlike those pictured in the wholesaler catalogs, this clarinet appears not to have been made for export to the United States. The bell bears the maker’s signature: V. KOHLERTS. SÖHNE / GRASLITZ / Č.S.R. (Photo 2). In German with the abbreviation for Czecho-Slovak Republic, this clarinet was probably made in 1938-1939 when the area known as Bohemia was essentially under Nazi rule. The clarinet is made from metal and has a lyre receptacle just above the bell (Photo 3). Together,

these features suggest that the clarinet may have been made for military use.

This B-flat clarinet is made in two pieces – a top piece with a barrel and top joint, and a bottom piece with a bottom joint and bell. It has a single-wall bore that gives it the appearance of a skeleton. To make the tone holes at the proper playing level, there are raised tone hole chimneys. Also, its 13 keys use a “Simple System” of fingering, often known in the United States as Albert System. It is equipped with rollers between both sets of little finger keys and has a “patent C-sharp” key (Photo 4). A distinct feature on this clarinet gives it a German characteristic: the C-sharp/G-sharp key has an extra lever that extends downward (Photo 5). This makes an easy trill for the right hand index finger instead of, or in addition to, the left hand little finger. This extra lever is not found on Albert System clarinets made by Kohlert for export to the United States.

From 1939 to 1945, Kohlert, like most manufacturers, turned to wartime production. After the war, the firm was

expropriated and the name “V. Kohlert’s Söhne” discontinued. Later, sometime in 1949 in the former West Germany city of Winnenden, production began again under the name simply noted as “Kohlert.” v

ABOUT THE WRITER Dr. Deborah Check Reeves is the Curator of Education and Woodwinds at the National Music Museum (NMM) in Vermillion, SD, and associate professor at the University of South

Dakota. She received a doctorate in clarinet performance from the University of Iowa. She plays with the Sioux City Symphony Orchestra and directs Tatag, the NMM’s Javanese gamelan performance ensemble. She is a contributing editor to The Clarinet, and serves as the ICA South Dakota State Chair and the Secretary of the American Musical Instrument Society.

Crystal Records, 50th anniversary — Clarinet Compact Discs

CRYSTAL® RECORDS, 28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, fax 360-834-9680email: [email protected] • www.crystalrecords.com • Many more woodwind recordings; send for free catalog.

FREE CD with each purchase of three

VERDEHR TRIO. Elsa Ludewig-Verdehr, clarinet; Walter Verdehr, violin; Silvia Roederer, piano. Over 220 com-missioned works for Violin,

Clarinet, Piano; over 80 of them on 22 CDs (see web for complete list.). New Releases: CD971: Daugherty, Ladder to the Moon; plus Madsen, Cohen, & Chambers. CD972: Hutcheson, Nocturnes of the Inferno and Rondo Brillante; plus Madsen, Win-kler, & George Gershwin. “quality is astonishlngly high” STRAD A sample of other Verdehr Trio CDs: CD741: Bartok, Con-trasts; Hovhaness, Lake Samish; Pasatieri, Theatrepieces; plus Mozart & Frescobaldi. CD742: Rorem; Musgrave; David; Vanhal; Liszt. CD743: Schuller; Averitt; Currier. CD745: Arutiunian, David, Sculthorpe, Schickele. CD746: Diamond; Sculthorpe; Corigliano. CD748: Triple Concertos, Ott & Wallace. CD941: Menotti, Bruch; Constantinides; Deak. CD942: Chihara, Dia-mond, Satterwhite, Kramer, Biggs, Erb. CD943: Currier, Tower, Gershwin/Brohn, Welcher, Biggs, Hoag. CD946: Higdon, Sheng, Wolfgang, Chatman, Rihm. CD949: Lorenz, Puts, Read Thomas, Hoiby, Freund. CD970: Brouwer, Sierra, Wolfgang, Wallace.

MICHAEL EDWARDS: CD735. Clarinet Sonatas by Saint-Saëns, Ladmi-rault, & Bjelinski. Martinu Sonatina; Ra-baud Solo de Concours . “Clarinet fanciers will find a treat here.” Fanfare Magazine.

CDs $16.95. FREE US shipping; $7 Canada; $12 other foreign (mention this ad).

TRIO INDIANA: James Campbell, Eli Eban, Howard Klug, Clarinets (clarinet faculty, Indiana University). 2 CDs – CD734: Music by Defaye, Schickele, Kulesha (with David Shea, clarinet, guest), Kibbe, and Fox. CD736: (with Alfred Prinz, Mitchell Lurie, & Min-Ho Yeh, guests). Music by Prinz, Heiden, Uhl, and Weill. “A marvelous group. Skillful musicians...a lovely ensemble of ravishing sounds.” American Record Guide.

LARRY COMBS: CD731. Principal Clari-net 30 years, Chicago Symphony. Rosza, Sonatina & Sonata for Clarinet Solo (written for Larry Combs); Rochberg & Schuller Trios for Clarinet, Horn, & Piano. “a showcase for Larry Combs...impressive virtuosity” Fanfare. With Gail Williams, horn.

MELVIN WARNER: CD332. Weber, Fantasia & Rondo, Grand Duo Concertante; Stravinsky, 3 Songs from Shakespeare; Penderecki, 3 Miniature; Martino, Set for Clarinet; Spohr, Six Ger-man Songs; Wm. O. Smith, Five Pieces. “One of the finest clarinet recordings I have yet to hear.” Audio Magazine.

MITCHELL LURIE: CD301.Brahms Clarinet Sonatas 1 & 2; plus RICHARD LESSER: Kess-ner, Dances for Clarinet & Guitar. Lurie was principal, Chicago & Pittsburgh Symphonies; and teacher U.S.C. over

50 years; Lesser was principal Israel Philharmonic for 35 years.CD737: Mitchell Lurie plays Halsey Stevens, Concerto for Clarinet & String Orch; Lesemann, Sonata; and Muczynski, Time Pieces.”One of the world’s most famous clarinetists” Fanfare.

TASHA WARREN: CD739. The Naked Clarinet, Unaccompanied Clari-net: Rozsa, Sonatina; Tower, Wings; Ran, Music for an Actor; Dzubay, Solus II; Yehuda, Three Preludes; & Larsen, Dancing Solo. “Sheer virtu-osity” International Record Review.

LAWRENCE SOBOL: CD808. Hovhaness, Saturn, for Clarinet, Soprano, & Piano. Also Hovhaness Magnificat for Chorus, & Orch. “Saturn is a beguiling hymnal...freshness and vitality.” Classic CD Magazine.

ENSEMBLE ISOLA: principals Gran Canaria Philharmonic (Spain)– Radovan Cavallin, clarinet; Jose Zarzo, horn; Victor Parra, violin. CD771: Trios: Brahms, Reinecke, Duvernoy. CD772: Czerny; Jenner; Duvernoy. “Delightful release...virtuosic.” Gramophone.

WEBSTER TRIO: Leone Buyse, flute; Michael Webster, clarinet; Rob-ert Moeling, piano. 3 CDs – CD717: Music by Libby Larsen, Sirota, Brandt, Toensing, & Schonfeld. CD356: Fauré Dolly Suite; Saint-Saëns, Tarantella; Debussy, Petite Piece, Syrinx; Bizet,

Jeux d’enfants. CD357: Dvorak, Slavonic Dances; Debussy, Pe-tite Suite; Brahms, Hungarian Dances; Gottschalk, Four Pieces.

JONATHAN COHLER: CD733.Hindemith, Sonata; Honegger, Sonatina; Francaix, Theme & Variations; Vaughan Williams, Six Studies in English Folksong; Milhaud, Duo Concertant & Ca-price; Bozza, Pulcinella; Kupferman, Moonflowers Baby. “playing of real distinction” BBC Magazine.


Following retirement from a variety of posts in Paris (pharmacist, publisher, government official), including

directorship of the Paris Opera from 1831 to 1835, we see the corpulent Louis-Désiré Véron festooned in the Greco-Roman dress of an ancient philosopher (his habitual scarf covers a scrofulous neck), communing with nature while playing the clarinet. Judging from the reaction of the dog and various onlookers, it may not have sounded very good.

Honoré Daumier’s caricature, which appeared in the satirical journal Le Charivari (published in Paris, 1832-1937), marks the occasion of Véron’s withdrawal from civic life in 1852. During his tenure at the Opéra, Véron had promoted works by up-and-coming composers such as Aubert, Halévy and Meyerbeer, each a commercial success. Meyerbeer’s Robert le diable – forerunner to Les Huguenots (1836), with its famous bass clarinet solo – enjoyed a successful run in 1831.

The rural idyll has long held a special attraction for the French – bucolic settings such as this, with simple melodies emanating from a clarinet, perhaps together with a pair of hunting horns. Despite the satirical tone in the caption with regard to the clarinet, an instrument Véron is not actually known to have played (note his reversed hand position), Le Docteur nonetheless appears to have realized a long-awaited period of tranquility. v

Hystericallyby Eric Hoeprich

Doctor Véron, having renounced politics, with its pomp and its labors, has withdrawn to the country at Auteuil, surrendering to the enjoyments favored by the ancient Arcadian shepherds: the true sage finds consolation in philosophy and a clarinet.


On Friday, October 30, 2015, clarinetist, educator and director Guido Six was killed in a tragic accident. He was on the highway helping his son Jef, who was having car

problems. Both were struck by a truck and died immediately.

Guido Six began his clarinet study with Roland Lemaire, clarinetist with the Royal Band of the Belgian Guides, and continued his musical studies at the Royal Music Conservatory of Ghent with Jean Tastenoe, principal clarinet and concertmaster of the Royal Band of the Belgian Guides. Guido received his “Superior Diploma” in the studio of Freddy Arteel, who succeeded Tastenoe at the Royal Conservatory of Ghent and who was the principal clarinet of the Antwerp Philharmonic Orchestra. He received his master’s degree in the studio of Eddy Vanoosthuyse, who succeeded Arteel at the Royal Conservatory of Ghent (now the University College Ghent School of Arts).

Guido was only 18 when his career began as clarinetist and soloist with the Band of the Belgian Gendarmerie. He went on to teach at various academies, including the Ostende Conservatory and the pedagogical department of the Royal Conservatory in Ghent. He succeeded his former bandmaster Roland Cardon as director of the Municipal Music Conservatory in Ostend. Under Guido’s leadership the number of pupils doubled. He gave the school an international reputation by sending various ensembles to perform abroad and by inviting numerous foreign top-level musicians for master classes and concerts. Ensembles from

the conservatory performed at the Midwest Clinic International Band and Orchestra Conference, the Texas Music Educators Association Convention and several ClarinetFest® conferences. In 2012, Guido was honored with the Midwest Award, a major international award at the Midwest Clinic in Chicago given to very deserving people working in music education.

Since 1996 Guido hosted the Belgian Clarinet Academy each summer. This international academy featured regular faculty members Robert Spring (Arizona State University) and Eddy Vanoosthuyse (Royal Conservatories Ghent and Liège; principal clarinet of the Brussels Philharmonic). Guest

Guido SixOctober 19, 1955 – October 30, 2015

by Eddy Vanoosthuyse and Robert Spring

Guido Six


professors were Howard Klug (Indiana University), Luis Rossi (formerly of the Catholic University Santiago), Robert Walzel (University of Kansas), Julia Heinen (University of California), Piero Vincenti (Conservatory “B. Maderna” of Cesena) and Deborah Bish (Florida State University).

In those 20 years, hundreds of students from all over the world attended the Belgian Clarinet Academy, traveling from the United States, Canada, Venezuela, Colombia, Chile, Argentina, South Africa, Australia, China, Korea, Japan, Israel and almost all countries of Europe. Many of them are now soloists with orchestras or working on an international solo career. In addition, Guido guided the Conservatory at Sea as one of the very first Belgian schools in the digital age.

Guido was a superb organizer. In 1993 along with Freddy Arteel he organized the ClarinetFest® in Ghent, a project he repeated in 1999 in Ostend. He was in the initial stages of planning another ClarinetFest® in Ostend for 2018, a project which will be taken on by Eddy Vanoosthuyse with help from the Six family.

Guido Six also helped promote music in the amateur world. He was a member of the Royal Music Association of Belgium and served as its president. Later, he became the president of the amateur musicians’ organization Vlamo West Flanders. He conducted a number of groups including the Royal Band “Onder Ons” in his hometown of Wervik, Belgium.

One of the projects close to his heart was his Claribel Clarinet Choir which

he took on several concert tours in the United States. He made beautiful clarinet choir arrangements that he published through the music publishing house Six Brothers, led by his three sons Bert, Jef and Tim. He also worked as an arranger for numerous musicians, including Robert Spring, Eddie Daniels, Larry Combs, Eddy Vanoosthuyse, Dirk Brossé, James Cohn, the International Clarinets, Claribel Clarinet Choir, Ciurlionis String Quartet and the Brussels Philharmonic.

Guido’s arrangements for clarinet choir include:

• Toccata and Fugue – J.S. Bach• Concerto Grosso – Antonio Vivaldi• Concertino – Carl Maria von Weber• Concerto – Aaron Copland• Concerto – Johann Melchior Molter• Double Concerto (both concertos) –

Franz Krommer• Double Concerto (2 violins) – J.S. Bach• Till Eulenspiegels lustige Streiche –

Richard Strauss• Perpetuum Mobile – Niccolo Paganini• Springtime – dedicated to Robert

Spring• Ave Maria – Giulio Caccini

All arrangements are edited by Six Brothers Media (www.sixbrothersmedia.com).

Guido Six was a real family man who lived for his wife Chantal, children and grandchildren. Chantal loses not only her husband but also her son. Jef Six, born in Kortrijk, Belgium, on May 9, 1980, was as a child connected with Claribel. When he was very young he did his first concert tours with the group and later performed

in multiple ClarinetFest® conferences. Later he became a professional musician, a teacher at the Conservatory at Sea, and a freelancer, especially in the jazz world. He played trumpet, flugelhorn and double bass and was conductor of the Six O’Clock Jazz Band. He was married to Nina Cobbaert and had two children, Louis and Jazz, the youngest only 1 year old.

The commitment and dedication of Guido Six will be missed, not only by the Conservatory at Sea, but also in the numerous projects and organizations with which he worked. Guido’s contributions to music and to his family in the clarinet world will be remembered for generations to come. v

Guido Six, center, with his Claribel Clarinet Choir

Guido’s contributions to music and to his family in the clarinet world will be remembered for generations to come.


FRANK L. KASPAR IN ANN ARBOR, 1950-1978

At the end of Part IIA, the year was 1950, a turning point for the Kaspars. For 30 years, cousins Frank & Frank L. Kaspar had worked side by side, first as employees of Arthur Goldbeck and then as

partners. Although both Kaspars worked in Chicago for over 30 years, they are both known primarily by the city/town to which they relocated: Frank to Cicero, Illinois, and Frank L. to Ann Arbor, Michigan. Frank L. may have joked that this was his retirement, but at age 62 the move to Ann Arbor kept him very busy for the next 26 years.

One of the joys in researching a project of this kind is communicating with members of the worldwide clarinet community. For this article I am grateful to the following:

Donald Montanaro (Philadelphia Orchestra, 1957-2005), Stanley Drucker (New York Philharmonic, 1949-2009), John Mohler (professor of clarinet at the University of Michigan, 1962-1994), Fred Ormand (professor of clarinet at the University of Michigan, 1984-2007), Dr. John Wesley (who worked for Frank L. while in high school, first mowing his lawn, then making clarinet pads!), and Charles Colbert, clarinet student at the University of Michigan in the 1950s and ’60s, who later taught and played professionally.

The move to Ann Arbor was no coincidence; two very important people at the University of Michigan figured into the decision. The pictures in Figure 1 are signed photographs of William H. Stubbins (professor of music and clarinet instructor) and William D. Revelli (professor of music and director of bands). In conversations with the above sources,

The Chicago Mouthpiece Legacy – Part IIb –by David Tuttle

I learned that Revelli first met Frank L. when Revelli was band director at Hobart High School in Hobart, Indiana (1926-1935). Although Frank L. Kaspar did not normally repair instruments for public schools, Revelli persuaded him to work on the Hobart High School instruments by promising that the same repair would never need to be done a second time! Anyone having met William Revelli would not be surprised that the promise was kept. Apparently Revelli also made use of Kaspar clarinet and saxophone mouthpieces. Although Revelli left Hobart for Michigan in 1935, he never forgot Frank L. Kaspar. Fifteen years later, with encouragement from both Stubbins and Revelli, Frank L. Kaspar settled in Ann Arbor and his 1915 Morton address became a haven for clarinetists. For everyone from students to professionals, he repaired instruments and made hundreds of mouthpieces. Perhaps we should begin with Frank L. Kaspar the repairman.

In Part I of this series, we learned that for both Kaspars, mouthpieces became “the tail that wagged the dog.” The shops of Oscar Bauer, Arthur Goldbeck and the Kaspars were primarily in the business of making, selling and repairing woodwind instruments. These skills were learned “from scratch.” Repairmen had to be toolmakers, welders, carpenters and craftsmen of the highest nature. One example of this old-world craftsmanship can be found in the instrument pads made and used by the Kaspars. Figure 2 demonstrates the care and attention the Kaspars gave to their work. The materials shown are from the 1930s. To the right is a miniature catalog of leather samples used in the production of organ pipes. Several were suitable for saxophone pads and leather pads for other woodwind instruments. The last sample on the bottom right is marked “Zephir


Skins.” These skins, harvested from the underside of sheepskins, were used for clarinet pads. On the left are samples

from two felt manufacturers. Felt such as this formed the heart of clarinet pads that were handmade by Bauer, Goldbeck,

the Kaspars, and today by Brannen Woodwinds of Evanston, Illinois, and Sayre Woodwinds of Lombard, Illinois. I have seen clarinets with original Kaspar pads that still hold a perfect seal after more than 50 years. In recent years, I have also seen several more “convenient” methods of clarinet padding. These items and other valuable information are courtesy of Dr. John Wesley.

Wesley was a student of William Stubbins while attending Ann Arbor High School, and sat second chair in the concert band next to first chair Peter Hadcock, also a Stubbins student. From 1957 to 1963, Wesley made pads (and was paid ten cents apiece!) for Frank L. Kaspar’s clarinet overhauls. Wesley related that the felt and zephyr skins were the middle and top of the pads. For the base, only the sturdy water resistant cardboard from U.S. Post Office parcel post address tags would do! Peter Hadcock went on to the Eastman School of Music and 25 years with the Boston Symphony. John Wesley did not follow Peter Hadcock in his choice of career, and, with Frank L. Kaspar’s

Figure 1: William H. Stubbins and William D. Revelli

Figure 2: 1930s catalog of materials used to make clarinet and saxophone pads


encouragement, went to Harvard Medical School and became a pediatric surgeon.

On to the mouthpieces!Figure 3 shows four Kaspar Ann

Arbor B-flat clarinet mouthpieces, each with the star and “SUPERB” marking from the days of Arthur Goldbeck. The

mouthpieces all have tip openings of less than 1.1 mm. It is known that Frank L. Kaspar also made mouthpieces for bass and E-flat clarinet, but I have not been able to locate any.

Although these articles are meant to be historical, not technical, some basic terms are useful when comparing the Ann Arbor to the Chicago (after 1950)/Cicero mouthpieces. The first question most people ask when comparing mouthpieces is “what is the tip opening?” This refers to the distance between the tip of the reed and the tip of the mouthpiece. Although only one small part of a mouthpiece’s specifications, it is a good place to start. In general, the wider the tip opening, the softer the reed.

When both Kaspars worked in Chicago, their mouthpieces usually had tip openings of 1.1 mm or more. When Frank L. Kaspar moved to Ann Arbor, his mouthpiece tip openings were closer to 1 mm. The question is why? Strangely enough, one answer may be geographical. Figures 4 and 5 are representative of the players who visited Frank L. Kaspar in Ann Arbor. The following are the original facings in his handwriting. In each case, the top number is the tip opening. For example:

Anthony Gigliotti – three measurements all close to 1 mm

The entire Philadelphia Orchestra clarinet section made regular visits to the Kaspar home during the orchestra’s May Festival concerts in Ann Arbor to have their clarinets and mouthpieces adjusted.

Figure 3: Four Kaspar Ann Arbor B-flat clarinet mouthpieces

Figure 4: Mouthpiece facing measurements for Anthony Gigliotti, Donald Montanaro, Harold Wright and Peter Hadcock


Donald Montanaro – 1 mm Peter Hadcock – 1.07 mm Harold Wright – 1.03 mm Keith Stein – 1.07 mm Stanley Drucker – 1.13 As usual,

Stanley is the exception that proves the rule!!

Both Fred Ormand and Donald Montanaro emphasize the influence of Anthony Gigliotti (the Philadelphia Orchestra’s principal clarinetist from 1949 to 1996) on Frank L. Kaspar’s mouthpieces. In fact, the entire Philadelphia Orchestra clarinet section made regular visits to the Kaspar home during the orchestra’s May Festival concerts in Ann Arbor to have their clarinets and mouthpieces adjusted. In Chicago and Cleveland, Clark Brody and Robert Marcellus went to the “other” Kaspar. Rick Sayre, the only mouthpiece apprentice of cousin Frank Kaspar (Cicero), referred to this as the “the Midwest vs. the East Coast.”

It would be very convenient to group clarinetists and the mouthpieces they played on into one neat package, but the truth is that styles, players, clarinets and mouthpieces change with the times. Several of the players listed above visited both Kaspars as well as other makers.

What separates the Kaspars from many other makers is not only the pride and dedication they brought to their work,

but the decades of experience that went into each mouthpiece. The Kaspars’ mouthpieces were not formulaic. It is

true that many of their mouthpieces were made from blanks ordered from some of the major mouthpiece makers (Riffault, Sumner, Babbit, etc.), but an equal number were made from those named Selmer, Buffet, Vito… but I am getting ahead of myself. More on this in Part III!

Figure 6 shows two parts of a series of original handwritten diagrams and instructions that apparently are the beginnings of a manual on mouthpiece refacing. These documents are informative, instructional and, in a way, very poignant. What a treasure it would be to have a complete manual on the art and science of mouthpiece facing and adjusting by Frank L. Kaspar. According to Rick Sayre, “The main idea in all these papers (over 15 drawings with instructions) was to make a systematic procedure to get a consistently flat table.” Panel 2 reads as follows: “With short strokes up and down move mouthpiece up with tip until the star comes even line B then one long stroke down with cork end.” Panel 3 reads as follows: “Start from A the first ligature line with short strokes

Figure 5: Mouthpiece facing measurements for Keith Stein and Stanley Drucker; Frank L. Kaspar’s handwritten “business card”


go forward with tip until the star (B) comes in line with top edge of paper. Then

with long strokes and added preasure [sic] forward with cork end and repeat.” Once

again, my thanks go out to John Wesley for supplying these original documents; hopefully, some time in the near future they can all be published.

From 1950 to 1978, Frank L. Kaspar worked for hundreds of clarinetists: students, amateurs and professionals. Figure 7 is a wonderful picture of Frank L. Kaspar in his Ann Arbor workshop. In 1978, after the death of his wife Mary, he moved to the Chicago suburb of Riverside, Illinois. He lived there for about one year with his grandson Joe Kubic and his family. On August 8, 1979, Frank L. Kaspar, pictured in Figure 8 next to his prayer card, passed away.

Perhaps there is no more fitting tribute to this craftsman than his own words from a 1962 interview in the Ann Arbor News:

People come to me once in a while and say “Frank, why do you do things this way, so strenuous and time-consuming?” I tell them I learned this way and I won’t change. When I make something and see that it works, it’s worth it.

On to Part III; Frank Kaspar of Cicero. v

Figure 8: Frank L. Kaspar and his prayer card

Figure 7: Frank L. Kaspar in his Ann Arbor workshop

Figure 6: Mouthpiece diagrams and instructions by Frank L. Kaspar

Eligibility: Competition participants must be 18 years old or younger as of June 30, 2016.

Application: Deadline for the submission of application and other application materials is: Friday, April 1, 2016. Please submit the online application at www.clarinet.org

High School Solo Competition Coordinator: John Warren – [email protected]

2016 High School Solo Competition

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.

CONTEST RULES1. Application Fee: $65 USD. All applicants must be

members of the ICA and submit the Competition Application. Non-members wishing to apply may join the ICA by going to www.clarinet.org and becoming a member. The application fee is non-refundable.

2. Recording Instructions: Please provide a high quality recording 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 listed as a single track, and should not contain your name. 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.

a. Béla Kovács, Hommage à J. S. Bach and Hommage à M. de Falla (play both on B-flat clarinet)

b. Henri Rabaud, Solo de concours, Op. 10

3. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age.

4. 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.

5. A summer address, telephone number and e-mail address should be provided. E-mail is the preferred means of communication. Please check your email regularly as this is how you will be contacted.

JUDGINGJudging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on your audio files. 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 6, 2016. The final round will be held at ClarinetFest® 2016 in Lawrence, Kansas, August 3-7, 2016. Repertoire will consist of the works listed in item 2. 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 ICA will provide a pianist for all finalists. All finalists will receive free registration at ClarinetFest® 2016. Travel and other expenses will be the responsibility of the contestant. All recordings will become the property of the ICA and will not be returned.

PRIZESFirst Prize – $1,000 U.S.

Second Prize – $750 U.S.

Third Prize – $500 U.S.

ICA ANNOUNCEMENT


Theodore “Ted” Johnson is best known for serving 36 years as principal second clarinet and E-flat clarinet with the Cleveland Orchestra. He also performed with the Cleveland Pops

Orchestra, the Kansas City Philharmonic, Kansas City Lyric Opera, Santa Fe Opera, and the Casals Festival, and early in his career with the Chicago Symphony and the orchestras of Grant Park (Chicago) and the Ravinia Festival. Chamber music performances included those with the faculty at the Cleveland Institute of Music, the Cleveland Orchestra Woodwind Quintet, the Venner Ensemble, Santa Fe Chamber Music Festival, and ten years with the Cleveland Octet, to name a few. A highly regarded teacher, Ted held positions at the Cleveland Institute of Music (1960-1996) and Cleveland State University (1982-2012), as well as the Kansas City Conservatory of Music, the University of Akron, Case Western Reserve University, Baldwin Wallace College, the Kent/Blossom School and the Cleveland Music School Settlement.

Born in Chicago on January 24, 1930, Ted was raised on the Near West Side of the “Windy City.” Although neither of his parents was particularly musical, they encouraged young Ted, and he began playing the clarinet at age 9. His first teacher, Lew Honig, was a number-one sideman in Chicago, and his teaching stressed the basics, particularly hand position. Shortly after the Depression and with jobs hard to come by, especially for young people, Ted practiced clarinet quite hard, sometimes for several hours a day. He eventually attended Harrison Technical High School, the school from which Benny Goodman had graduated in 1922. He also performed in both the Chicago Catholic Youth Organization Band and the Chicago Youth Orchestra.

After high school, Ted enrolled at DePaul University to study clarinet with Jerome Stowell. Stowell was the assistant first and E-flat clarinetist of the Chicago Symphony, and was known for his facile technique and excellent E-flat clarinet playing. From him, Ted learned a great deal concerning orchestral performance – emphasizing symphonic excerpts – and the importance of accurate rhythm, intonation and good mouthpieces.

Theodore Johnson: REMEMBRANCES AND RECOMMENDATIONSby Dennis Nygren

Phot

o Co

urte

sy o

f The

odor

e Jo

hnso

n

Theodore “Ted” Johnson


During this time, Ted played principal clarinet and some E-flat with the Chicago Civic Orchestra, which was considered a “feeder” orchestra for the Chicago Symphony. This experience prepared him for playing with the Chicago Symphony and paved the way for opportunities with the Grant Park Orchestra and the Ravinia Festival Orchestra.

From 1951 to 1958, Theodore Johnson held the position of second and E-flat clarinet with the Kansas City Philharmonic. He gained much experience in Kansas City and truly refined his “chops” on E-flat clarinet. During this time, he also served as director of woodwind teaching in the Kansas City school system. In the latter part of his Kansas City tenure, he was hired to play principal clarinet in the Kansas City Lyric Opera and the Santa Fe Opera, and also performed at the Santa Fe Chamber Music Festival.

A great opportunity arose when the position of second/E-flat clarinet became open in the world-renowned Cleveland Orchestra. Ted won the audition and held the position for 36 years, from 1959 to 1995. He experienced the final 11 years of the George Szell era, often referred to as the “Golden Age” of the Cleveland Orchestra. Before his retirement, Ted would work under the batons of Musical Directors Lorin Maazel and Christoph von Dohnanyi, Music Advisor Pierre Boulez, and an impressive list of some of the greatest guest conductors in the world.

One would be hard-pressed to find better sounding orchestral clarinet duets than those by Robert Marcellus and Theodore Johnson in, for example, Beethoven’s Symphony No. 9, Dvorak’s Symphony No. 8, “The Hebrides” Overture by Mendelssohn, Perpetuum Mobile by Johann Strauss, Jr., several of the Strauss waltzes, and Piano Concerto No. 3 by Prokofiev – all conducted by George Szell – or Rhapsodie espagnole conducted by Pierre Boulez. Theodore Johnson was also regarded as one of the premier E-flat clarinetists of his generation. Superb examples of his performance may be heard in Szell’s recording of the Prokofiev Symphony No. 5, Szell’s and Lorin Maazel’s recordings of Ravel’s Daphnis et Chloe, Maazel’s complete Romeo and Juliet ballet by Prokofiev, Ravel’s Bolero conducted by Christoph von Dohnanyi, and the Boulez

recordings of Ravel’s Piano Concerto in G and Stravinsky’s Le sacre du printemps (1969 and 1991 versions).

I had the opportunity to interview Ted Johnson about his career and his recommendations for aspiring orchestral clarinetists.

DENNIS NYGREN: Ted, how, at the age of 9, did you end up choosing the clarinet as an instrument?

THEODORE JOHNSON: Well, it truly wasn’t very scientific. My mother took me to a department store – the Boston Store – where they had a small section of instruments. I honestly didn’t have any idea of which instrument to choose at first, but as I thought about it, I remembered that Benny Goodman was from the very area in Chicago where I was raised; he was very famous at that time and I admired him, and so I thought, “why not the clarinet?”

DN: Could you tell me about your first teacher, Lew Honig?

TJ: When you purchased an instrument from the Boston Store, you would receive 10 free lessons. Lew was the teacher, and he had an excellent reputation performing with swing bands in the Chicago area. I remember he was a chain cigarette smoker – this wasn’t uncommon in those days – so much so that his fingers were yellow. Anyhow, he taught me some basic techniques, but as our lessons progressed, I guess I improved to a point where he told me he couldn’t teach me anymore, and to find a different teacher.

DN: Do you have any specific remembrances as to your practice as a youth?

TJ: I had a special relationship with my Czech grandfather on my mother’s side. During the summer, we would get up and have some breakfast, and then about 9 a.m., I would begin practicing clarinet, sitting next to him while he read his Czechoslovakian newspaper. We’d take a break around noon for lunch, and I would resume practicing in the afternoon, while he filled his long cherry-wood, silver-bowled pipe with tobacco and enjoyed a leisurely smoke. Sometimes I’d practice the remainder of the afternoon.

DN: Wow, that’s a great deal of practice for a young boy!

TJ: Yes, but this was shortly after the Depression, so I couldn’t find a summer job. Practicing was something I enjoyed and it gave me a sense of accomplishment.

DN: Do you recall what solos you performed with your high school band, or anything special concerning your membership in the Chicago Youth Orchestra?

TJ: With my high school band, I remember playing Bassi’s Concert Fantasy on Motives from Verdi’s “Rigoletto” and the Erwinn Fantasia by Meister. As for the Chicago Youth Orchestra, this was my first orchestral experience, and the orchestra was quite good, having personnel drawn from Chicago and Chicago suburbs. I recall doing a summer retreat with the group in Champaign-Urbana.

DN: What do you remember about Jerome Stowell and your music study at DePaul University?

TJ: Jerry Stowell was an energetic, intelligent (he held degrees in philosophy and accounting) and uplifting individual, in addition to being a wonderful clarinetist. His

Jerome Stowell in 1954

Phot

o Co

urte

sy o

f the

Ros

enth

al A

rchi

ves,

Chi

cago

Sym

phon

y O

rche

stra

Phot

o Cr

edit:

Kau

fman

n &

Fabr

y


enthusiasm for music and life in general kind of rubbed off on me, and I wanted to be just like him. Inspired by him, I practiced harder – that is, more seriously and in greater detail.

I do recall one funny story from our teacher-student relationship. He always taught me as his last student for the day, I think so he could give me more time, if necessary. One particular time our lesson was in the evening, perhaps 8 or 9 p.m. He had had a long day, and he asked me if I’d mind if he laid down on the couch in his studio while listening to me. I had my back to him, and after playing something rather lengthy and having not heard any response from him, I turned around to find him fast asleep. I didn’t want to wake him, so I placed the $3 for the lesson on his chest and left (can you imagine paying $3

for a lesson?). Well, he called me the next day, very mad; it so happened he didn’t wake up until 4 a.m.! I’ll always remember Jerry fondly, and regret that he passed on from cancer before he could enjoy his retirement.

DN: What about the years in Kansas City?TJ: This was a very good orchestra,

conducted by Hans Schwieger. Many fine players performed in Kansas City before getting major orchestra jobs. Two that come to mind are Dale Clevenger and Donald Peck of Chicago Symphony fame. I performed in the Kansas City Philharmonic Woodwind Quintet with Donald, longtime CSO principal flute.

Unfortunately, back in the 1950s when I performed in Kansas City, the season was fairly short – perhaps 20 to

25 weeks. To make a living, I had to seek other employment. I worked for a while in a flower farm and then, because I had done a fair amount of dance band work in Chicago, I performed in the biggest show band in town, playing saxophone, flute and clarinet. We played for big names – Jack Benny, Louis Armstrong, Liberace, Henny Youngman, Hoagy Carmichael, etc.

DN: Would you please describe your audition for the Cleveland Orchestra?

TJ: I remember arriving at Severance Hall quite early, around 9 a.m. on, I believe, a Wednesday. It seemed like I waited forever for my turn. Eventually I was brought up to the middle of the stage at Severance Hall, and the librarian placed a stack of music in front of me. George Szell came up on stage and sat down next to me. He was apparently looking for a “team player,” someone who he could trust to be loyal to him and the orchestra, so he asked me some questions. He asked me what book I was currently reading. I answered with The Brothers Karamazov by Dostoyevsky. He seemed pleased by that, so then he looked at my clarinets and noticed that they were Leblanc clarinets, not Buffets. He asked me why I played them, so I told him that I felt they were often better than Buffets, and that they had helped me hold my job in Kansas City.

George Szell returned to the hall, sitting with the audition committee, with the exception of assistant conductors Louis Lane, Michael Charry and Robert Shaw, who were seated in different parts of the balcony. This was so they could report back to Szell as to how an applicant sounded from various distances.

Like most auditions today, the first part of the process was to perform a concerto of the player’s choice, and I had chosen the Mozart Concerto in A. After having performed parts of the Mozart, George Szell asked me to perform an excerpt, so I played the solo from Night on Bald Mountain.

Having gotten that far, Robert Marcellus joined me on stage to perform several orchestral duets to see how I would blend, balance and tune with him. I remember he would sometimes slightly change his pitch, his

George Szell ran up on stage, shook my hand and said, “Don’t go away. I’ll get the manager down here right away for you to sign a contract.” The rest of the auditions were canceled.

Ted Johnson and Robert Marcellus

Phot

o Co

urte

sy o

f The

odor

e Jo

hnso

n

peabody.jhu.edu667-208-6600

@george_peabodyLike us on Facebook

Peabody boasts a preeminent faculty, a collaborative learning environment, and the academic resources of one of the nation’s leading universities, Johns Hopkins.

Boris Allakhverdyan is principal clarinet in the Metropolitan Opera Orchestra and Peabody’s newest faculty artist. He is a founding member of the Prima Trio, winner of the 2007 Fischoff National Chamber Music Competition.

Anthony McGill is principal clarinet of the New York Philharmonic. He previously served as principal clarinet of the Metropolitan Opera Orchestra and associate principal clarinet of the Cincinnati Symphony Orchestra.

Eugene Mondie is currently the assistant principal and E-flat clarinetist with the National Symphony Orchestra in Washington, D.C. He has also served as principal of the Spokane Symphony and Orchestra Ensemble Kanazawa.

FACULTY ARTISTS AT PEABODY


timbre, or his style, just to see how I would react.

Finally, I was asked to perform on the E-flat clarinet. The first selection was Daphnis et Chloe. Then I was asked to perform perhaps the most famous of E-flat clarinet orchestral parts, that of Richard Strauss’s Till Eulenspiegel’s Merry Pranks. I played it to the best of my ability, and was surprised when George Szell ran up on stage. He shook my hand and said, “Don’t go away. I’ll get the manager down here right away for you to sign a contract.” The rest of the auditions were canceled. I guess he felt he had found his man.

DN: What was it like playing in the Cleveland Orchestra for 36 years?

TJ: It was definitely a life-altering experience. First of all, we often traveled four to six weeks a year. In my time with Cleveland, I performed in every state, in all of Europe including Russia, in Japan and Korea, in Australia and New Zealand, even in South America. We’d be welcomed by dignitaries of various countries, we’d be invited to various embassies, and we were treated like very important people.

George Szell was an excellent conductor and musician. He could have been a concert pianist. But, he was very demanding. You may have heard the statement that “the Cleveland Orchestra plays seven concerts a week, but only two of them for the general public.” This was so true; when it came to the Monday morning rehearsal, you had to be totally prepared.

Concerning the quality of the orchestra, there can be no doubt that it was one of the great orchestras in the world. My colleagues were superb. Szell’s concept was that of 100 musicians performing chamber music. Blend, balance, tone quality, intonation, musicianship… it was all there. If you had an incidental solo in the music, you never had to force your tone to be heard. If a string player moved on to another top-notch orchestra, it was often to be a principal player.

DN: What about the many recordings you made under Szell, Boulez, Maazel, von Dohnanyi and others?

TJ: During my years in the Cleveland Orchestra, record companies were

still recording a great deal of classical music. I was so fortunate; times are so different today. We recorded for Epic and Columbia under Szell. Many of these recordings are now available on Sony. For Maazel we often recorded on the London label, and for von Dohnanyi on Telarc. Pierre Boulez recorded for Deutsche Grammophon.

I was involved in Beethoven cycles for Szell and von Dohnanyi, and Brahms cycles for Szell and Maazel. Szell recorded a great deal of Haydn, Mozart, Beethoven and Schubert, and von Dohnanyi and Szell recorded much Dvorak. Under Boulez, we recorded much Debussy, Ravel and Stravinsky. It was all rather overwhelming.

DN: When you perform with a world-class orchestra, world-class conductors want to conduct your ensemble. Do you recall some of them?

TJ: Yes, there were legendary older conductors, such as Leopold Stokowski, Pierre Monteux, Eugene Ormandy and William Steinberg, composers such as Igor Stravinsky and Aaron Copland; others included Leonard Bernstein, Karel Ancerl, Istvan Kertesz, Russian conductors Kirill Kondraskin and Gennady Rozhdestvensky, and movie, television and popular composer Henry Mancini. Also, we did a significant amount of work with Pierre Boulez. The list of guest conductors was so long and impressive.

Cleveland Octet: Eric Eichhorn, violin; Boris Chusid, violin; Edward Ormand, viola; Gary Stucka, cello; Ted Johnson, clarinet; George Goslee, bassoon; David Glazer, horn; Scott Haigh, double bass

Phot

o Co

urte

sy o

f The

odor

e Jo

hnso

n


DN: I know you love performing chamber music involving the clarinet. Please elaborate.

TJ: During my career I performed a great

deal of chamber music with many high-quality players, which made the experiences especially rewarding. I played chamber music early on in

Kansas City and Santa Fe, but it was during my Cleveland years that these experiences were truly special. For example, I performed many concerts with the faculty of the Cleveland Institute of Music, and ten years with both the Cleveland Orchestra Woodwind Quintet and the Cleveland Octet. With the Octet, we would perform major works; for example we performed and recorded the Schubert Octet. In addition to the larger chamber ensemble music, I performed all the clarinet quintet repertoire. Later in my career, I founded and managed the Venner Ensemble, which performed much trio literature, and I toured Ohio with the Martinů String Quartet of Prague in 2001.

DN: What kind of clarinets and accessories did you play during your career?

TJ: Jerome Stowell had a preference for Leblanc clarinets when I studied with him. I honestly felt at that time in the late 1940s and early 1950s that Leblancs were better than most Buffets. I had a good set of Leblanc clarinets on which I performed in Kansas City and my early days in Cleveland. I eventually switched to Buffet clarinets on B-flat and A, in part because that was Robert Marcellus’s choice of horns. On E-flat, I played the same Selmer E-flat clarinet throughout my career.

As for mouthpieces, I played a Kaspar mouthpiece on B-flat and A, and a Stowell-Wells-Schneider on E-flat clarinet. Much later, when Franklin Cohen held the job of principal and played Pyne mouthpieces, I switched to a Pyne, including on the E-flat. This was all part of the job of being a good second clarinetist.

DN: You dedicated a good deal of your career to teaching. Please comment on these experiences.

TJ: I’ve enjoyed many years of teaching and I feel this is something that keeps you feeling young; when working with young students desiring to learn and develop, you actually develop yourself, trying to help them with their problems. I taught, early on, at the Kansas City Conservatory, many years at both the Cleveland Institute of Music and Cleveland State University,

Venner Ensemble: Arthur Klima, viola; Eric Ziolek, piano; Diane Mather, cello; Eric Eichhorn, violin; Ted Johnson, clarinet

Phot

o Co

urte

sy o

f The

odor

e Jo

hnso

n

Evolution of the clarinet pad has led to theValentino Masters Series.

• Completely waterproof• Firm, stable light touch• Ultimate air-tight seal• Enhanced tonal color

Bring out the best in your instrument with…

The NEW

www.jlsmithco.comwww.valentinopads.com

800.659.6073


at the University of Akron and Baldwin Wallace College, and the Cleveland Music Settlement.

DN: Would you tell us something about your clarinet accessories business?

TJ: At least ten years ago I was encouraged by one of my former students and currently a music store owner – James Stahl – to consider such a business. I did a lot of experimenting with mouthpieces, finally finding a facing that suited me well, as well as one that I felt would satisfy students and professionals. We make plastic student mouthpieces, reasonably priced, which I feel are the best student mouthpieces on the market, and more expensive hard rubber mouthpieces for the serious student or professional.

Our ligatures, based after the old Kaspar model, come in both nickel and silver – the silver producing a slightly darker tone. Our neck strap was designed to relieve the right thumb pressure from holding a clarinet, and to be as comfortable as possible around the neck.

DN: Would you please comment on the “art” of playing second clarinet?

TJ: Well, to win a position in a great orchestra you must be willing to practice your tail off! As a member of a professional orchestra, you must be very precise concerning rhythm, intonation, and technique. As for second clarinet, your job is to make the first clarinet sound good. You cannot overblow and you must quickly learn the principal clarinetist’s body language, as well as knowing the tendencies of the first player regarding intonation, trying to match his or her sound, and so on. Some second clarinet parts can be more difficult than the first parts, for example the “Scherzo” from A Midsummer Night’s Dream or parts of Daphnis and Chloe. So you must know the second clarinet repertoire.

DN: What particular skills must one develop to excel on the E-flat clarinet?

TJ: First, look for a teacher who has been “through the fire,” someone who is experienced with the repertoire and can relate it to you. Study the instrument’s intonation and know your instrument

intimately. You must know the basic repertoire – Till; Daphnis; Prokofiev, Mahler and Shostakovich symphonies; Stravinsky, Ravel piano concertos; etc. You should have various fingerings for each pitch in the altissimo register. You never know when a situation will call for a sharper or flatter fingering. I’ve always thought of the E-flat clarinet as an extension of the B-flat, so you should strive for a darker sound. It doesn’t have to be thin and excessively bright. A good mouthpiece is very important in one’s level of success on the E-flat clarinet, and a mouthpiece with wider rails will give you a darker tone. I also recommend practicing scales, such as those found in Baermann, just like you would on the B-flat or A clarinets. I recommend, for example, that you play a C major scale on the B-flat clarinet, then do the same thing on the A, and finally on the E-flat. This will help you develop the flexibility to change from one instrument to another, which is often

required when performing concert programs.

DN: Thank you so much, Ted. Representing The Clarinet journal, I want to wish you and your wife Sheila the very best health and happiness. v

ABOUT THE WRITERDennis Nygren has contributed eight articles for The Clarinet. Dr. Nygren is the former professor of clarinet at Kent State University, having also taught at Northern Michigan,

Baldwin Wallace, Cleveland State and Oakland universities. He remains active as a professional clarinetist and teacher in Northeast Ohio and lives in Silver Lake, Ohio, with his wife Nadine and their four dogs. Also an arranger, he may be heard on his CD A Clarinet Collective (Albany Records, Troy 1330).

(647) 351-8181 • [email protected] • 1434A Danforth Avenue, Toronto, ON . M4J 1N4

PERSONALIZED PAD CHOICES • COMPLETE MECHANICAL REBUILDING • CUSTOM KEYWORKFINEST CRACK & TONE HOLE REPAIR SOLUTIONS • VOICING & TUNING

Trust Your Clarinet to Experienced Hands

“I have been repairing clarinets now for over 35 years and working professionals have trusted me with their instruments since the early 1980s. I take great pride in my work and have developed and maintained the skills of an advanced craftsman along with the desire to continually learn and improve. As a clarinet and bass clarinet specialist I have rebuilt literally thousands of instruments and worked directly with many world class musicians. Insights gained from extensive manufacturing experience have provided me with a unique range of skills and techniques in the maintenance of your personal instrument. Our workshop utilizes precision tooling, select

equipment, and original parts, all related to woodwind manufacture and repair and accumulated over my years in this field. My interest is in improving all aspects of a clarinet; mechanics, padding, tuning, cosmetics,

and feel, to provide an instrument the musician can play with complete confidence”. John Weir

ARTISTGRADE

REPAIRS


PART 2: THE NEW YORK PHILHARMONIC AND BEYONDPart 1 of this article, which appeared in the June 2015 issue of The Clarinet, examined the history of the clarinet in New York City from 1758 to the early 1840s. Part 2 continues the story through the end of the 19th century.

1842-1860: THE PHILHARMONIC AND VISITING ORCHESTRAS

In 1842 the Philharmonic Society of New York (today’s New York Philharmonic Orchestra) was founded, the first permanent, professional orchestra in the United States. In

its earliest days it was a cooperative venture, with annual profits that were divided equally among the musicians, and it presented just three or four concerts a year.

The orchestra roster of the Philharmonic’s inaugural season does not survive, but in the annual report of the second season the clarinetists are listed as Göller and Grönefeldt.1 (A table of the clarinetists of the New York Philharmonic is given as Figure 1.) For the first three seasons Goeller played second clarinet, and from 1845 to 1849 he played principal. A musician named George Goeller is listed in New York City directories in the years 1844-48, 1850, and 1852-54, but nothing further is known about him.

A great deal more information is available about “Grönefeldt.” Theodore W. Groenevelt (the spelling of his surname varies widely in early newspapers and other documents) was not only a clarinetist but also a cellist, and played in both sections of the New York Philharmonic during the first two decades of its existence. As principal clarinet from

1842-45 and again in 1853-54, he performed not only in the orchestra but also as a soloist on a number of occasions. Perhaps the most lauded of these solo performances was on January 11, 1845, when he played Weber’s Concertino. Several glowing reviews appeared in newspapers the following week, including this one:

We never heard this artist to so great advantage as on the occasion here alluded to; the evenness and purity of his tones, his distinct and perfect articulation, the care and taste with which he gave due elasticity to his passages, his frequently rapid but distinct passages, and the pathos of his slow movements marked him an artist of the highest standing in his department… This performance was a perfect musical gem, and richly deserved the enthusiastic applauses [sic] which were poured upon it.2

Of the same performance, a writer for the Broadway Journal praised Groenevelt’s tone and style, and stated, “his expression is that of a man who feels the power of music in his heart.”3

Groenevelt also performed on concerts besides those of the New York Philharmonic, including performances with the New-York Sacred Music Society, the German Society of New York and the German Jefferson Band, and as a guest artist

A Short History of the Clarinet in New York City in the 18th and 19th Centuriesby Jane Ellsworth


on concerts given by other individual musicians. He may also have been in the orchestra at Palmo’s Opera House. Despite these activities Groenevelt must have been looking for greener pastures, because for the next several years (1846-48) he worked in Boston as both a clarinetist and a cellist. No information exists for the years 1849-53, but by 1853 he was back in New York City, once again as principal clarinet in the Philharmonic. After 1854 he seems to have played mostly in the cello section.

Another important clarinetist in the early history of the New York Philharmonic was Frederick Starck. Starck played regularly as the Philharmonic’s second clarinetist from 1846 to 1860. He also played as a soloist with the orchestra in 1846, 1848 and 1850, despite the fact that he was not principal. Like Groenevelt, Starck played on concerts outside the Philharmonic, but not always to unequivocally good reviews. On a concert given by the pianist H.C. Timm in February 1847, Starck played a solo work by Ivan Müller, about which a reviewer had the following to say:

Mr. Stark is a very good performer on the clarionet, both in point of execution and tone, and his playing gave great satisfaction; but he has not a perfect command of his instrument, and now and then, both to his mortification and to that of the audience, his clarionet gave a squeak which is peculiar to it and unpleasant to the ear.”4

An individual named George Schneider played principal in the Philharmonic between 1850 and 1853, but nothing further is known of him. From 1854 to 1858 the principal clarinetist was Xavier Kiefer (1821-c.1858). Kiefer had already been playing in New York since 1851 as a soloist with bands and orchestras, and as a chamber musician. He even played a basset horn solo of his own composition on a concert by the Dodworth Band in 1852.5 On his first solo appearance with the Philharmonic, Kiefer played a Concertino composed by the orchestra’s conductor, Theodore Eisfeld.6 He seems to have made something of a specialty of this work, since he performed it again in 1855 and several times in 1858. He also played other concerts in New York, and in the fall of 1858 toured with an orchestra managed by the impresario Bernard Ullman.

Upon Kiefer’s death in 1858 the New York Philharmonic finally hired its first

long-term principal clarinetist: Edward Boehm (1825-1885). Boehm occupied the post until 1885, for a total of 27 seasons – longer than any other clarinetist until Stanley Drucker. He was one of New York City’s most prominent musicians during that time, performing as a soloist as well as an orchestral player, and he holds a position of great importance in the history of the clarinet in America.

Nothing is known for certain of Boehm’s life before he came to the U.S., except that he came from Germany.7 He appeared in New York beginning in 1853, playing a solo at a concert given by the Dodworth Band at Metropolitan Hall on January 22 of that year.8 Data is spotty regarding his activities in 1854-58, but he certainly performed as a soloist and chamber musician on concerts in 1856, and continued to do so after his appointment to the Philharmonic. He performed on the Mason-Thomas

chamber music soirées, in the orchestra for the 50th anniversary of the Handel & Haydn Society in Boston, and as a soloist with various orchestras including the New Haven Philharmonic, Theodore Thomas’s orchestra, the Ninth Regiment Band, and the Liederkranz Society, as well as on miscellaneous concerts given by other musicians. One of the highlights was undoubtedly his performance of the Beethoven Septet with Wieniawski as the violinist, on May 30, 1873.9

In 1871 Boehm took up the bass clarinet. He played a solo on that instrument on concerts by both the Brooklyn Philharmonic (January 28) and the New York Philharmonic (February 4). The latter concert spurred a number of reviews, almost none of them favorable. The work he played was called Recitativ and Romanze, composed by Carl Bergmann, who also conducted the performances (see Figure 2). Many of

DATES PRINCIPAL CLARINET

SECOND CLARINET

NOTES

1842–45 Groenveldt Goeller Presumed for 1842-43; roster for that year not extant.

1845–49 Goeller Starck

1849–53 Schneider Starck

1853–54 Groenveldt Starck

1854–58 Kiefer Starck

1858–60 Boehm Starck

1860–64 Boehm Bahls H.A. Goepel and Schmeltz on 2 concerts in 1863–64.

1864–65 Boehm Drewes

1865–68 Boehm Bahls Goepel replaces Bahls on 2 concerts; Wendelschaefer replaces Bahls once and Boehm once.

1868–85 Boehm Drewes When Boehm plays bass, Drewes plays principal and Goepel plays 2nd. Sometimes Wendelschaefer or Bahls plays second.

1885–91 Schreurs Drewes Kohl plays bass and sometimes extra; other extras are Freund, Penzel, Giese.

1891–94 Reinecke Drewes Kohl plays bass; Foerster plays extra.

1894–96 Stockigt Drewes; Foerster at end of 95–96

Toward the end of each season Scheck plays principal.

1896–97 Scheck Freund

1897–1900 Scheck Streit Kohl and Freund continue to play bass.

Fig. 1: Table of New York Philharmonic Clarinetists, 1842–1900. Some details omitted. (Compiled from materials at the New York Philharmonic Archive)


the reviewers commented on the effectiveness of the piece itself, which had the unusual accompaniment of two clarinets and two bassoons; but most were of the opinion that Mr. Boehm, though a fine musician, was not comfortable with the bass clarinet. The following excerpt, from the periodical Orpheus (March 1, 1871), is representative of critical reaction.

The composer’s principal object was apparently to display the peculiar powers and capabilities of the bass-clarionet, an instrument which stands an octave lower than the ordinary clarionet in B flat, and is scarcely known in America where it has rarely been heard except in the “Huguenots” and “L’Africaine” of Meyerbeer. Its lower tones are somewhat sepulchral, and the upper ones decidedly ineffective in cantabile passages. For certain effects, especially of a weird, solemn, or mystic character, the lower tones of this instrument cannot be matched; but a little of the bass-clarionet goes a great way, and we much doubt the possibility of it being rendered interesting through a long solo. Moreover, in consequence of its being so seldom required, it nearly always

falls into the hands of some professor of the ordinary clarionet, who has not practiced it sufficiently to acquire complete mastery over its special difficulties. We have noticed this many times in European orchestras, and the performance on the present occasion offered a similar cause for regret. Mr. Boehm, as everyone knows, is an excellent artist, but he was obviously not “at home” with his unwieldy instrument. His phrasing and expression were full of musical purpose, but, unfortunately, his intonation was never as good as his intention, and no amount of style or feeling can compensate for constantly playing out of tune.

In spite of this, Boehm went on to play bass clarinet solos on several other occasions, and played the instrument in the orchestra when it was called for.

In addition to performing in the orchestra, Boehm served administratively on the Philharmonic board, as a director from 1865-69, and vice president from 1870-74 and 1876-80.10 He also seems to have taught clarinet, first at the Mason and Thomas Conservatory of Music (1867) and then later at the New-York College of Music (1878).11 News of Boehm’s death in late October of 1885 reached newspapers as far away as Salt Lake City; The Deseret News of November 4, 1885 recounted it thus:

Edward Boehm, the widely-known clarionet player, died last week in New York from lung disease. He was 60 years of age, and had been for fifteen years the first clarionet player of Thomas’ orchestra. He was first a member and lately vice-president of the Philharmonic Society. Mr. Boehm was a remarkable musician and an exquisite clarionet player, in fact one of the best in this country.

In addition to the Philharmonic, many other opportunities also existed for clarinetists in New York City in the 1840s and ’50s. The usual “season” of concerts and opera performances had expanded greatly by the middle of the century. Clarinetists working outside the Philharmonic included Giulio Macchi, J.E. Drescher and Esuperanzio Belletti.

Macchi appeared for the first time in 1847, playing for the Italian opera company of Sanquirico and Patti at the newly-built Astor Place Opera House; by the next year he was touring with a concert troupe formed of members of that same company. Macchi and Drescher played together on at least one occasion in New York City, but Drescher seems to have had a rather more active career.

Drescher was known not only as a clarinetist, but also as a basset horn player; his performance on that instrument at a concert for the American Musical Fund Society in 1850 was lauded by a reviewer.12 He played solos with the New York Philharmonic on two occasions, in 1851 and 1852, and also traveled with an orchestra that accompanied the “Swedish Nightingale,” Jenny Lind, for some of her U.S. touring, during which he performed the Weber Concertino on concerts in Baltimore and New Orleans.13 Belletti was also associated with Lind, playing solos on her concerts in 1851 in New York and elsewhere. He was still performing in New York in 1853, but after that went south to Charleston, New Orleans and Havana.14

In the 1840s several European orchestral ensembles toured the main cities of the East Coast. Most pertinent to this study were the so-called “Steyermarkische Company,” under Frances Riha (arrived 1846); the Germania Musical Society under Carl Lenschow (arrived late September 1848); and Joseph Gungl and his orchestra (arrived early November 1848). The Steyermarkische Company, appearing in New York in 1847, traveled with at

Figure 2: Program of the New York Philharmonic Concert, February 4, 1871, documenting the first appearance of the bass clarinet with the Philharmonic. (Courtesy of the New York Philharmonic Leon Levy Digital Archives)


least one clarinetist, K. Ingerstein, who sometimes played as a soloist.15 The clarinetists of the Germania orchestra during their six-year stay in the U.S. were I. Shultz (principal), A. Haenel and H. Albrecht; Shultz received a positive review when he played a clarinet solo by Baer on a New York concert in 1848.16 Gungl’s clarinetists were named Bohme and Herwig; no evidence has yet surfaced identifying these individuals with either Edward Boehm, mentioned earlier, or with William Herwig, mentioned in part 1 of this article.17

The last clarinetist to begin his career before the close of the 1850s was August Henry Goepel. His first appearance was in 1859 on a concert in the series chamber music soirées organized by William Mason and Theodore Thomas, when he was the clarinetist in a performance of the Schubert Octet.18 Goepel played principal clarinet in the New York Philharmonic on two concerts in the 1863-64 season when Boehm was absent, and deputized for absent second clarinetists on numerous occasions between 1866 and 1877. Goepel’s other concert appearances included a performance of Mozart’s Quintet for Piano and Winds on a Mason-Thomas soirée in 1862, and a performance as a soloist with Grafulla’s band in 1871.

FROM THE CIVIL WAR TO THE END OF THE CENTURYThe advent of the American Civil War brought military bands back into action. Scholars of American music often speak of the bands of this era as consisting entirely of brass instruments, and certainly many did, but there were also bands of mixed winds and brass that included clarinets. Advertisements recruiting clarinetists for military regiments appeared in newspapers in New York and elsewhere throughout this period. Wind bands in general were experiencing a golden era in American towns and cities in the 19th century, and New York was no exception. Clarinetists performed as soloists with the Dodworth band, and as members of bands conducted by Lothian, Noll, Grafulla and other well-known bandmasters.

Band concerts provided both “high-class” and “popular” entertainment for the general public. Audiences also flocked to minstrel shows. Writers on American minstrelsy usually discuss the typical

minstrel band (banjo, fiddle, tambourine, and bones), but no mention has been made of the use of the clarinet in these and other types of popular entertainment. Newspaper advertisements found in New York and elsewhere make it clear, however, that clarinetists sometimes performed and traveled with minstrel shows. William Christy, for example, advertised in the New York Herald of August 11, 1860, that he wanted “gentlemen to form a first class quartette, first and second violinist, violincello [sic], flute or clarionet player,

and a first class tambourine end man.” Other groups of this type using clarinets in the early 1860s included Cowley’s Minstrels, Buckley’s Serenaders, and the San Francisco Minstrels, who played in New York frequently.

Another popular attraction was Van Oeckelen’s clarinet-playing automaton, which was on display in 1865 and was described thus:

The automaton itself is a very remarkable affair. The figure, somewhat larger than life, is dressed in the old

reedgeek.com

The Art of Better Reeds


court costume of three centuries ago. In response to the applause which greets its appearance, it bows to the audience, turning its head slowly in doing so. At the proper moment it places the instrument, to all appearances an ordinary clarionet, to its lips, and plays a few musical phrases, lowers the instrument to allow an interlude on the piano-forte, surveys the audience, nods, and soon resumes its playing. The inventor asserts that the music is really made by the clarionet, and in view of this, the manipulation of the fingers of the automaton is truly astonishing, for scales and rapid chromatic passages are played with unerring facility and correctness.19

By the mid-1860s, orchestral music was flourishing in New York City. The New York Philharmonic was well established, and other orchestral ensembles began to emerge as well. The most important of these was the orchestra formed by Theodore Thomas (1835-1905), widely recognized as one of the most important figures in the history of the orchestra in America. The Thomas Orchestra was the resident orchestra of the Brooklyn Philharmonic Society, and played in many other locations within and outside of New York as well, including for a series of “Popular Concerts” in Central Park. The clarinetist most closely associated with Thomas was Edward Boehm, who played for him frequently as a soloist at the Central Park concerts and on the Mason-Thomas chamber music soirées mentioned earlier. Boehm may have traveled with Thomas’s orchestra on its many tours beginning in 1869; he certainly played with the group at the Cincinnati Music Festival in 1880.

After Boehm’s death in 1885, a new group of clarinetists came to prominence in New York City, including John Drewes, Joseph Schreurs, Carl Reinecke (not the well-known composer, but possibly a relation), Louis Stockigt, Emil Scheck and others. John Drewes served a long period as second clarinetist of the New

York Philharmonic, first in the 1864-65 season and then continuously from 1868 to 1896. He also played principal when the regular principal was absent, or, under Boehm, when Boehm moved to the bass clarinet chair.20 Drewes performed on numerous occasions as a soloist with the 7th Regiment Band of New York and other groups as well.

Schreurs (1863-1921) succeeded Boehm as principal clarinetist in both the Philharmonic (through 1891) and the Thomas Orchestra, playing often as a soloist. He was also associated with Liberati’s band, and was a founder and member of The New-York Reed Club, a group devoted to chamber music for winds.21 In 1891 he moved to Chicago to play principal in Thomas’s newly founded Chicago Symphony. Carl Reinecke performed as principal clarinet of the Philharmonic from 1891 to 1894. In addition, he was a member of The Mozart Club (a woodwind quintet) in 1892, and in 1895 he performed the Brahms Quintet with the Maud Powell string quartet (not the first New York performance of the work – see below).22

Stockigt (his surname appears in various spellings) was playing as a soloist with a resort orchestra at Long Beach, New York, in the summer of 1880. He performed as an extra clarinetist with the New York Philharmonic off and on between 1881 and 1894, and played principal for good portions of the 1894-96 seasons. Stockigt was also a member of the Gilmore band, with which he performed as solo clarinetist from 1882 until at least until 1894, and of the Seidl Society orchestra. Emil Scheck took over as principal of the Philharmonic in 1895, having substituted for Stockigt on a couple of concerts in the previous season; he remained principal through 1908. Scheck also played with the Seidl Society orchestra and, along with four other principal wind players from that group, formed the Seidl Quintet.23

In 1877 a new orchestra called the New York Symphony was started by Leopold Damrosch. The original principal clarinetist of this orchestra was Henry Kayser, who also sometimes appeared as a soloist with Theodore Thomas’s orchestra in New York and on tour. Kayser performed with the New York Symphony until 1898 (after 1886 playing bass clarinet). Stockigt played principal from 1888-90, before joining the Philharmonic, and other clarinetists associated with the Philharmonic (Henry Giese and Gustav Penzel, for example) also performed with Damrosch’s orchestra. The New York Symphony merged with the Philharmonic in 1928.

Other important clarinetists active in New York from 1870 to the end of the century were Luigi Schneider, who appeared as a soloist in 1872-73 before being named director of the Marine Band; Carl Kegel and the E-flat clarinetist Matus, who were both important soloists with the Gilmore Band (Kegel also sometimes played bass clarinet with the Philharmonic); and Otto Fritzsche, who played as a soloist as well as serving as principal with the New York Symphony from 1897 to 1902.

A concert worth mentioning took place on November 1, 1892, on which both the Trio, Op. 114 and Quintet, Op. 115 of Brahms received their earliest American performances; the performer is unfortunately not named in the advertisement.24 A few months later the Quintet was performed by the famous Kneisel Quartet with a clarinetist named Goldschmidt (probably G. Goldschmidt, who was principal clarinet of the Boston Symphony from 1889 to 1894). A reviewer for the New York Times admired the work, but panned Goldschmidt’s playing.25 Brahms’ Sonata in F minor was played in New York in 1896 by Léon Pourtau, who had taken over from Goldschmidt as principal clarinetist of the Boston Symphony.26

By the early 20th century, the names of clarinetists in New York begin to sound more familiar to modern clarinetists: Alexandre Selmer, Gustave Langenus, Simeon Bellison. The activities of these players have been well documented. It is to be hoped that this article has succeeded in bringing to light their many predecessors, and in demonstrating how

“A little of the bass clarionet goes a great way, and we much doubt the possibility of it being rendered interesting through a long solo.”


important these earlier performers were in establishing a tradition of serious clarinet playing in New York City. v

ENDNOTES1 Howard Shanet, Philharmonic: A History of

New York’s Orchestra (New York: Doubleday, 1975), 73; also Henry Edward Krehbiel, The Philharmonic Society of New York (New York and London: Novello, Ewer & Co., 1892), 41. Some annual reports containing roster information are held by the New-York Historical Society, while a fuller set is held at the New York Philharmonic Archive. The New York Philharmonic Archive also holds a complete set of programs and other sources, which have been consulted by the author.

2 The Anglo American, January 18, 1845, p. 309.3 Broadway Journal, Vol. 1, No. 3 (January 18,

1845), p. 46.4 The Anglo American, February 1, 1847, pp. 405-

406.5 A handbill for this concert is reprinted in John

H. Mueller, The American Symphony Orchestra: A Social History of Musical Taste (Bloomington: Indiana University Press, 1951), plate facing page 102.

6 Adrienne Fried Block, “New York’s Orchestras and the ‘American’ Composer: A Nineteenth-Century View.” In European Music and Musicians in New York City, 1840-1900, ed. John Graziano (University of Rochester Press, 2006), 130. The performance and the work were positively reviewed in the Musical World, December 9, 1854, 178.

7 The 1855 New York State Census (accessed through Ancestry.com) lists Edward Boehm, musician, aged 30, living in the 8th ward of New York City with his wife Harriet, aged 28. His birthplace is listed as Germany. His length of residence in New York is listed as six years, so he must have arrived in 1849, although no evidence for his musical activities has been found before 1853.

8 New York Daily Times, January 21, 1853.9 New York Herald, May 27, 1873.10 Krehbiel, 167-70.11 An ad for Mason and Thomas’s Conservatory

appeared in the Evening Post, August 21, 1867; the New-York College of Music was advertised in the New York Times, September 17, 1878.

12 The Message Bird, February , 1850, p. 218.13 The concerts with the New York Philharmonic

are documented in Krehbiel, 106-7; the Lind concerts are mentioned in The Sun, Baltimore, December 12, 1850, and The Daily Picayune, New Orleans, February 22, 1851.

14 References to Belleti’s performances appear in numerous New York newspapers and periodicals in 1851. Secondary sources that mention him are Adriano Amore, Il Clarinetto in Italia nell’Ottocento (Academia Italiana del Clarinetto, 2009), 37, 108, 138-41, 142, 147, 174 (n. 637); Pamela Weston, More Clarinet Virtuosi of the Past (London: The author, 1977), 45; idem, Yesterday’s Clarinettists: A Sequel (Ampleforth, Yorkshire: Emerson Editions, 2002), 33.

15 The name of this clarinetist is found in a concert

advertisement in Boston’s Daily Atlas, December 18, 1847.

16 The review appeared in The Literary World, Vol. 3, No. 90 (October 21, 1848), 753.

17 See Roger L. Beck and Richard K. Hansen, “Josef Gungl and his Celebrated American Tour: November 1848 to May 1849,” Studia Musicologica Academiae Scientarium Hungaricae 36, vol. 1-2 (1995): 53-72.

18 A review of the concert appeared in the New-York Musical Review and Gazette of April 30, 1859.

19 Evening Post, March 20, 1861.20 According to programs held at the New York

Philharmonic Archive.21 Numerous notices of Schreurs’s activities with

the Thomas Orchestra can be found in the New York Times in the second half of the 1880s, and his time as principal with the New York Philharmonic is documented in programs at the New York Philharmonic Archive. The first (and perhaps only) performance of the New-York Reed Club was reviewed in that same newspaper on March 2, 1889.

22 Reinicke’s time as principal of the New York Philharmonic is documented in programs at the New York Philharmonic Archive. A notice of the Mozart Club appeared in the New York Times, January 24, 1892; the Brahms performance was reviewed in the same newspaper on January 4, 1895.

23 The formation of the Seidl Quintet was announced in the New York Times, November 30, 1897.

24 New York Times, November 1, 1892.25 New York Times, February 12, 1893. 26 New York Times, January 7, 1896.

ABOUT THE WRITERJane Ellsworth is associate professor of music at Eastern Washington University, where she teaches music history and directs the graduate music program. She is both

a musicologist and a professional clarinetist. She earned her Ph.D. in musicology in 2004 from The Ohio State University, and also holds bachelor’s and master’s degrees in clarinet performance from the Cleveland Institute of Music and a D.M.A. from Ohio State. Dr. Ellsworth is bass clarinetist with the Spokane Symphony, and has performed on modern and historical clarinets in Europe, Asia, and South America. She is currently at work on a book tracing the history of the clarinet in 18th- and 19th-century America.

www.rodriguezmusical.com 470-545-9803Now offering clarinet overhauls. Contact us for more information.

Excellence in clarinet hand selection service


When the composer Saverio Mercadante first met Catterino Catterini who played the glicibarifono (the forefather of the modern bass

clarinet) in “La Fenice” Theater Orchestra in Venice, he immediately became fascinated by this instrument and recognized its great potential. Mercadante was so moved by Catterini’s virtuosity that he wrote a solo for him in the opera Emma di Antiochia, commissioned for the 1834 carnival season and played in March of the same year. This is the first solo ever written for bass clarinet.

Emma di Antiochia was considered a masterpiece. This solo impressed and interested critics of the day who referred to the bass clarinet sound as “voce del clarinetto e insieme del fagotto vale a dire che ha le note dell’uno e dell’altro” (like the sound of a clarinet and a bassoon at the same time). The solo is in the Italian aria style with a brief cadenza at the beginning, a main theme and a coloratura section.

A similar situation happened when Luciano Berio first listened to me playing my bass clarinet

version of Paganini’s Capriccio 24 for violin. I remember his gaze ranging between astonishment and surprise, as if he was listening and seeing something extraordinary. Some days later he phoned me, asking if I was available to work with him on a bass clarinet version of his Sequenza IXa for clarinet.

The main theme of every Berio Sequenza for solo instrument is the required virtuosity both in conceptual and technical aspects. These were the elements that really amazed Berio in my version of Paganini’s Capriccio 24. I worked with him for four days in his house in Florence in 1997. He was fascinated by the versatility of my bass clarinet playing and loved the low sounds and high sounds at the same time. These are the parameters that inspired the new version, Sequenza IXc for bass clarinet.

Compared with the previous version for clarinet, everything has been shifted down by a 10th and distributed across a great range of four-and-a-half octaves in the Sequenza IXc for bass clarinet.

The first long note is a low C, a sound particularly loved by Berio. The entire piece was developed taking into account the skill of the bass clarinet player to change from the low notes to the highest notes with great ease. For example, at letter M, the score reaches a high F – one of the highest notes of the instrument – and is immediately followed by a low C, thereby including the entire sound range in which Sequenza IXc is written.

An interesting situation occurred when I asked Berio about the multiphonics between letter J and L. I was concerned about whether I could play them, especially in a context of a piano sonority. I

MASTERWORKS FOR BASS CLARINET – A Personal Experienceby Rocco Parisi

Donatoni loved the bass clarinet sonority and compared it with velvet: soft on one side but rough and scratchy on the other!


remember that Berio looked me straight in the eyes and told me to find a solution that I could manage. A few days later, I found some easier and accessible fingerings based on natural harmonics: the Maestro had already guessed I would!

Berio told me that he preferred this new version to the clarinet version, because it was much more varied and interesting. This has become a masterpiece of our small literature!

Another bass clarinet masterpiece is Soft by Franco Donatoni. I contributed to this piece, commissioned and written for Harry Sparnaay, a great pioneer of the bass clarinet who collaborated with great musicians like Berio, Donatoni, Ferneyhough and Yun. (Learn more about the fantastic musician Harry Sparnaay in Sparnaay’s book The Bass Clarinet.)

Donatoni loved the bass clarinet sonority and compared it with velvet: soft on one side but rough and scratchy on the other! In fact, Soft is played two times, starting with a low-sound-based section

at a ppp dynamic, which slowly grows up to a long C-sharp in the high register, followed by a gradual decrease to the deep register accentuated by the use of a slap tongue, resulting in a complete extinction of the motif. On a different line is the second time: scratchy as velvet’s back, and aggressive, characterized by the use of fast staccato, flutter tongue and slap tongue. When Donatoni died, I was invited to play Soft during his funeral in Milan.

Another jewel of our musical literature is Come un’onda by Ennio Morricone. Morricone listened to me play and was immediately impressed by my bass clarinet and its sounds. He was so fascinated that he dedicated the bass clarinet version of Come un’onda, which was originally for cello, to me. It is a short but very intense piece! Morricone used every single instrumental peculiarity of my bass clarinet, writing for a four-octave range, using a variety of timbres and articulations, creating a remarkable work with great sound effects. Come un’onda

starts with a strong sonority – like a tsunami, Morricone said – characterized by forte tremolos in the low register, followed by a short series of slap tongues, a virtuoso section, and implied polyphony at the end. v

ABOUT THE WRITERBass clarinetist Rocco Parisi, born in San Pietro a Maida (CZ) Italy, is recognized as a talented interpreter of contemporary music and an innovator of new techniques for the bass clarinet. He gave

the world premiere of Sequenza IXc for bass clarinet and the Italian premiere of Chemins IIc for bass clarinet and orchestra, both by Luciano Berio, as well as the world premiere of Come un’onda by Ennio Morricone. He has performed at ClarinetFest® conferences in New Orleans, Stockholm, Salt Lake City, Austin, Assisi, Baton Rouge and Madrid.

Luciano Berio

Phot

o Cr

edit:

© U

nive

rsal

Edi

tion

/ Eric

Mar

inits

ch


In Norway, an oft-heard boast equates the distance from Oslo north to the tip of Norway with the distance from Oslo south to Rome. If the size of Norway fails to impress you, have

you sailed up a fjord lately or attended a production in the new Opera House that sleekly glides into Oslo Fjord? My clarinet journey in Norway began with a concert by the visiting Bergen Philharmonic Orchestra at the Snøhetta-designed Opera House.

Flying over the mountainous spine of Norway from the west coast to Oslo is something the Bergen Philharmonic does with regularity. It also tours internationally, including a 2007 concert at Carnegie Hall with its music director, Andrew Litton. Their concert I attended in Oslo featured two works, Unsuk Chin’s Scenes from Alice in Wonderland for soprano, mezzo-soprano and orchestra, and Gustav Mahler’s Symphony No. 4.

Report from NorwayMusic Reviews Editor Gregory Barrett reports on his recent trip to Norway to learn about its clarinetists and its music.

by Gregory Barrett

Oslo Opera House


Bergen Philharmonic Principal Clarinet and ICA National Chairperson for Norway Christian Stene beautifully played the lilting introduction for soprano Sally Matthews in the Mahler last movement, “Wir genießen die himmlischen Freuden.” Matthews mesmerized the audience with her sensitively inflected performance.

Another highlight of the evening was unexpectedly running into my friend from ClarinetFest® 2011 and 2013, Stig Eide. He is a full-time administrator and counselor at Lørenskog Upper Secondary School and teaches clarinet and piano in the evenings at Lørenskog Music and Culture School.

CLARINET WORKS IN THE NATIONAL LIBRARY OF NORWAYOne focus of my time in Norway was to investigate Norwegian clarinet music past and present. The best place in Norway to get an overview of all published and unpublished clarinet music is at the National Library in Oslo.

Law requires all published Norwegian works to be deposited in the library, and many composers belonging to the Norwegian Society of Composers have also done so with their unpublished

scores. To aid the researcher, an expert staff is on hand and highly detailed catalogs for woodwinds and mixed ensembles have been produced. All works in the catalogs are available either directly from a publisher, the National Library or its publishing service “NB noter” (www.nb.no), a digitized collection of thousands of Norwegian scores in PDF format for study or for purchase as sheet music. I am in the process of preparing an online annotated listing of repertoire most interesting to clarinetists; for example, works by Johan Kvandal, Trygve Madsen and Finn Mortensen.

NB noter is most thorough with works by Norwegian composers active from the mid-20th century to the present. That covers almost all clarinet solo and chamber works, but to check for any now-forgotten earlier works I also examined every volume of the Norsk Bogfortegnelse. Since 1885 all newly published Norwegian books or music scores have been cataloged in the Norsk Bogfortegnelse. The earliest mention of repertoire with clarinet (other than in works for symphony orchestra) is in works from the early 1930s for salon orchestra by composers including Sørensen, Johan Halvorsen, David Monrad Johansen and Arvid Kleven.

The first published chamber music with clarinet is Carl Gustav Sparre Olsen’s Suite for 3 treblåsere I fem små satser, Op. 10 (composed 1933, published 1946). The Norwegian Wind Quintet recorded the five short movements of Olsen’s work on a Philips LP in 1974. It is currently

available on CD from Simax. Like other music by Olsen, the Suite is influenced by Norwegian folk music. The Norwegian Wind Quintet was formed in 1955 from members of the Oslo Philharmonic, who were also teachers at the Norwegian Academy of Music. One result of the decades-long activity of this ensemble is the large number of woodwind quintets composed in Norway and now found cataloged in NB noter.

Currently, the foremost quintet in Norway is the Bergen Wind Quintet. They annually tour outside Norway and are comprised of four members of the Bergen Philharmonic Orchestra and clarinetist Fredrik Fors of the Oslo Philharmonic Orchestra. There is a lot of collaboration among musicians in Norway. The flight between the two largest cities, Oslo and Bergen, is just an hour. In this country of considerable distances and mountainous terrain, air routes are numerous and convenient. Works found on the Bergen Wind Quintet’s numerous recordings include the three quintets by David Maslanka, two dedicated quintets by Harald Sæverud and much of the standard repertoire.

I met up with Fredrik Fors of the Bergen Wind Quintet and Oslo Philharmonic at the Oslo Konserthus, from where we meandered to a harbor-side cafe serving bowl-size “cups” of coffee. From this sunny vantage point we perused the library catalogs to help me understand which composers and works are the most noteworthy.

Peer Gynt welcomes visitors to the National Library

Oslo Konserthus


FREDRIK FORS AND THE OSLO PHILHARMONICSwedish by birth (1973), Fredrik studied at the Royal College of Music in Stockholm and later with Yehuda Gilad, Karl Leister, Anthony Pay and Richard Stoltzman. He performed the Jean Françaix Clarinet Concerto in 1990 with the Austrian Radio Orchestra and joined the Oslo Philharmonic Orchestra in 1995 as associate principal clarinet. Next season he will premiere a clarinet concerto being written for him by Bjørn Kruse. In addition to quintet and orchestra responsibilities, Fredrik teaches at the Norwegian Academy of Music along with his colleague in the Philharmonic, Leif Arne Pedersen, and Björn Nyman of the Norwegian Radio Orchestra. Fredrik praises his native Norwegian students, citing the high level of Norwegian military bands contributing to the elevated level of wind playing.

Beyond his recordings with the Bergen Wind Quintet, Fredrik has recorded several clarinet recital repertoire CDs. His recent recording Black Bird mixes outstanding Norwegian works by Johann Kvandal, Kyrre Sassebo Haaland,

Trygve Madsen and Finn Mortenesen with standard works by Schumann, Stravinsky and Saint-Saëns. Prior to this he recorded well-known French works and the Busoni Suite for Clarinet and Piano on a Harmonia Mundi CD in the “Les Nouveaux Musiciens” series, a recording that resulted from his selection as a prize-winning Juventus Laureate.

That evening I had the pleasure of hearing Fredrik play in a concert by the Oslo Philharmonic featuring Anton Bruckner’s Symphony No. 7. The 87-year-old legend Herbert Blomstedt conducted, and the orchestra expressed in their playing their fondness for Blomstedt. The Wagner tubas augmenting the brass section created the special sound for which this work is known. When I asked Fredrik what might surprise someone about the Oslo Philharmonic, he said:

I think people would be surprised to know that, up until a few decades ago, it was stated in the musicians’ contracts that as a member of the Oslo Philharmonic you were not allowed to go skiing the same day you were playing a

concert! Older colleagues of mine have told me this and I think it’s a bit funny. Perhaps they were afraid the musicians would get lost in the woods! As you know, the surroundings of Oslo are a paradise for skiing and I often go cross-country skiing when I have the chance – even on concert days!

Personifying the back-and-forth between Oslo and Bergen was visiting Oslo Philharmonic section clarinetist Diego Lucchesi. Diego has been a permanent member of the Bergen Philharmonic Orchestra since 2003 and is originally from Piacenza, Italy. He performed with his Bergen Philharmonic clarinet section at the 2013 Assisi ClarinetFest®, playing Håvard Lund’s Clarinet Quartet and Trygve Madsen’s Clarinet Marmalade. Next season with the Bergen Philharmonic, Diego will premiere a bass clarinet concerto being written for him by Henrik Hellstenius.

THE BERGEN PHILHARMONIC AND THE GRIEG ACADEMYThe next day it was my turn to make the trip from Oslo to Bergen to reunite with Christian Stene, and to meet his colleagues in the Bergen Philharmonic Orchestra and their students at the Grieg Academy, University of Bergen. Bergen is a lovely rain-soaked city on the Atlantic coast surrounded by seven impressively

Up until a few decades ago it was stated in the musicians’ contracts that as a member of the Oslo Philharmonic you were not allowed to go skiing the same day you were playing a concert!

Diego Lucchesi and Fredrik Fors

Custom Clarinet Reed Blanks

www.aurora-winds.com


high mountains. Bergen will always be connected with Edvard Grieg, whose home, Troldhaugen, is not far south from the city center. Christian personified Norwegian hospitality and drove my spouse, Katy Whitelaw, and me to visit this site sacred to all Norwegians.

Grieg was artistic director of the Bergen Philharmonic Orchestra from 1880 to 1882 and the orchestra’s architecturally striking hall is named after him, as is the Grieg Academy of Music of the University of Bergen. Bergen was historically the center of the Norwegian kingdom, and its orchestra, founded in 1765 (!) is among the world’s oldest.

Through Christian I was invited to give a presentation at the Grieg Academy. Clarinet students and several professors, including department head Frode Thorsen, shared an hour with me as I described what I had learned so far investigating Norwegian clarinet music at the National Library. Like most university clarinet students around the world, my new acquaintances in the clarinet classes of Christian Stene and Håkon Nilsen were conversant in the core German, Austrian and French pieces in our repertoire, but were mostly unaware of works penned closer to home.

Christian played in the Norwegian National Opera before joining the Bergen

Philharmonic in 2010 as principal clarinet. A recent highlight for him was premiering in February 2015 Shadows and Shields, a concerto for clarinet by Therese Ulvo, his former classmate in the Skjold School Band. Christian said about the concerto:

Therese’s piece was a true challenge and she deliberately set out to push my limits. Some of the

multiphonics were notoriously hard with a fixed bass note and changing upper register partials. It was a very interesting process working together with Therese, as I really needed to rethink most of my basic playing technique to find the sounds and colors for which she was asking.

Shadows and Shields is being released on a live CD this fall alongside other works from the Bergen Philharmonic Orchestra’s 250th anniversary season.

Christian is a native of Bergen and began his studies with Lars Kristian Brynildsen, former principal clarinet of the Bergen Philharmonic. Students from Norway enjoy the benefit of government-funded education, whether at home or abroad. Making the most of this, Christian earned his bachelor’s degree with George Pieterson, the former principal of the Royal Concertgebouw Orchestra, and his master’s and soloist diploma with Lee Morgan of the Royal Danish Orchestra. Rounding out his study was work with François Benda in Basel and a graduate certificate with Yehuda Gilad in Los Angeles. Reflecting on his years of study Christian said:

Looking back, all my teachers had very different backgrounds and teaching methods. ... This meant that I wasn’t conformed to just one

Christian Stene and Katy Whitelaw at Edvard Grieg’s waterside composing hut at Troldhaugen

Grieg Hall


school or method of playing, but had to create my own. Two concepts of playing that I constantly strive for are Lee Morgan’s embodiment of “Beauty of Sound” and Yehuda Gilad’s “Musical Mission.”

Christian’s colleague at the Grieg Academy is Håkon Nilsen, who is a member of the contemporary music ensemble BIT20 and since 1994 has been the associate principal/E-flat clarinetist in the Bergen Philharmonic. Håkon exclaimed how his first concert with the orchestra was playing E-flat clarinet in Ravel’s Daphnis et Chloé. Quite a trial. He was born in Bodø, which lies just north of the Arctic Circle and is the northern terminus of the rail system in Norway. Håkon studied with Lars Kristian Brynildsen at the Grieg Academy and then with Hans Christian Bræin at the Norwegian Academy of Music in Oslo. (On a side note related to Hans Christian, clarinetists looking for engaging and accessible solo works with string orchestra will find four appealing pieces in his 2001 CD release Norwegian Concertinos for Clarinet and Strings.)

Bergen Philharmonic section clarinetist since 1987, Tone Hagerup is a native

of Trondheim in Sør-Trøndelag, one of Norway’s 19 administrative counties. Tone began her clarinet studies in Trondheim with Knut Lauritzen and continued in Oslo at the Academy of Music with Bendt Neuchs Sørensen and Richard Kjelstrup (the dedicatee of the concertinos on Hans Christian Bræin’s CD) before concluding her clarinet study with Guy Deplus in Paris.

With Diego Lucchesi currently playing in the Oslo Philharmonic, French clarinetist Alexis Baldos has been his substitute in the Bergen Philharmonic. Previously Alexis played in southern Norway in Stavanger. After an evening concert I socialized with all the clarinetists in the orchestra’s canteen. And yes it is true, like most everything in Norway, it is very expensive to have a drink – unless your new friends are buying. Takk!

My second day in Bergen was devoted to six hours of master classes with Christian and Håkon’s students. Staff pianist Anne Nitter Sandvik energetically accompanied their performances of Brahms, Lutosławski, Weber and Mozart. Well done all!

NORTH TO TRONDHEIM AND TROMSØ I was sad to leave behind my new friends in Bergen, but like so many before me, I was off to the north and Tone Hagerup’s hometown, Trondheim, to see its famous medieval cathedral, Nidaros – a pilgrimage goal for centuries on a bend

of the river Nid – and to visit the Ringve Musikkmuseum. Downstream from the cathedral, with its concert hall facing the river Nid, the Trondheim Symphony Orchestra plays 100 concerts a year. Their young music director Krzysztof Urbański occupies the same post in the U.S. with the Indianapolis Symphony Orchestra.

In addition to the cathedral, what is singular to Trondheim is its extensive Ringve Music Museum. Housed in several historic buildings in a park-like complex a few miles from the city center, it is home to over 2000 musical instruments, only about one-third of which are Western classical instruments. The first-rate exhibit of instruments is brought to life by recordings accessed over personal headphones.

At 63 degrees north latitude, Trondheim is considered in the mid-region of Norway. My next stop northbound, Tromsø, 200 miles north of the Arctic Circle, is the coastal gateway to the Arctic. Tromsø straddles the Tromsøya Strait with the mainland on one side and the island Tromsøya on the other.

I first met University of Tromsø clarinet professor Håkon Stødle in warm and sunny Los Angeles at our 2011 ClarinetFest®. He has been a fixture in the music department at the University of Tromsø since 1972, has been solo clarinet in the Tromsø Symphony Orchestra and the Finnmark Symphony Orchestra, and has performed with the Harmonien Orchestra and the Norwegian Radio Orchestra. His primary studies Christian Stene and Tone Hagerup

Grieg Academy clarinet students (on left) with professors Christian Stene, Håkon Nilsen and Gregory Barrett


were in Oslo with Olav Rimstad and Richard Kjelstrup but also beyond Norway with David Weber, Ib Eriksson, Gervase de Peyer, Walter Boeykens and Jacques Lancelot. Håkon’s spouse, pianist Tori Stødle, is also on the University of Tromsø faculty. Several works were written for them, which they included on their 1987 record Musikk Fra Nord. The recording features pieces by Ketil Vea, Folke Strømholm, Ivar Antonsen and Søren Hjorth. When asked about the recording, Håkon said:

The important idea behind making this record was to show that the music from the northern part of Norway was multi-stylistic and worth listening to. Yang og yin II by Søren Hjorth is a piece written in the style of the Danish composer Per Nørgård’s “infinity series,” which in this piece results in beautiful melodies. The Prelude and Fugue by Ivar Antonsen is in a more modern harmonic and melodic style with stylistic elements from Stravinsky and jazz. At the time I did not know any work written in the form of a Bach prelude and fugue for clarinet, so I asked Ivar to write one for me.

And then there is the Suite by Ketil Vea, and by Folke Strømholm the Karakeino farvel. The Suite, in the very personal style of the composer Ketil Vea, was inspired by the Sami people’s music, the joik,

without use of any specific Sami melody. The Karakeino farvel on the other hand uses specific Sami joik from the region where I was born and is written in Messiaen’s quartet instrumentation.

Dovetailing with Håkon exiting his duties in the music department of the University of Tromsø, Rolf Borch was appointed the new associate professor of clarinet in 2014. Rolf belongs to the leading edge of our clarinet community by performing groundbreaking works such as Brian Ferneyhough’s clarinet concerto La Chute d’Icare and Helmut Lachenmann’s Mozart Concerto-quoting Accanto, and by commissioning works from composers exploring new sounds and expressive possibilities. On Rolf ’s 2007 Aurora CD Step Inside he performs the classic Lachenmann solo clarinet work Dal Niente (Interieur III) and works written for him by Mark Adderly, Sven Lyder Kahrs and Magne Hegdal. The CD’s name refers to the “…new approach to the timbral subtleties of the clarinet – its ‘inside,’ so to speak.” Rolf explained how he became interested in the experimental side of the clarinet:

I think it was when my wonderful teacher through my six years of studying at the Norwegian Academy of Music, Hans Christian Bræin, encouraged me to play ‘something contemporary’ that I discovered both a freedom and a

talent. I played Clair by Donatoni and Berio’s Sequenza, and both pieces became kind of successful for me and I really enjoyed playing them. I guess I got a reputation as a contemporary music talent. I went on to play Lachenmann’s Dal Niente and studied this with the composer (who became a good friend – I later played his Accanto with the Oslo Philharmonic, and met him again recently when we played two of his pieces in the Oslo Sinfonietta) and I started commissioning new music, first solo pieces from Norwegian composers. And so on… It is really important for me that I never left the classical music behind, I have only expanded, I have never quit playing anything.

Like Step Inside, Rolf ’s second album Inside Out was nominated for a Spelleman Award (often called a “Norwegian Grammy”). It contains works ranging from solo clarinet to clarinet concerto with orchestra, all by Ørjan Matre.

Rolf ’s desire to expand the clarinet’s boundaries extends to his love and promotion of the contrabass clarinet. He was a research fellow at the Norwegian Academy of Music from 2011 to 2014, and one of the outcomes of his activities was the CD Rolf Borch plays Houvenaghel’s Organ. Charles Houvenaghel was a Belgian acoustician employed by LeBlanc (Paris) when he developed the Houvenaghel/Leblanc contrabass clarinet in the 1930s. A limited number of these sought-after instruments were manufactured, and Rolf has the last one! And to what does “Houvenaghel’s Organ” refer? Why, to a family of clarinets from high sopranino to the one-of-a-kind octocontrabass clarinet designed by Houvenaghel. Rolf plays a range of clarinets from soprano down to contrabass in his overdubbed arrangements of organ works by Bach, Reger, Frescobaldi and himself. What a sound!

Another product of Rolf ’s research is the book he published in 2015 through the Norwegian Academy of Music: Contrabass Clarinet Orchestral Excerpts and a Brief History. Following a brief history of the instrument, he edited chronologically-arranged orchestral excerpts from Vincent d’Indy’s Fervaal, Op. 40 to several

Håkon and Tori Stødle


contemporary Norwegian orchestral works for which he was the contrabass player at the premiere.

The conclusion of my Norwegian clarinet journey was soon at hand. There

was no better place to close my memories than in Tromsø. The scenery was magic: islands, snow-covered mountains and the sea. These elements of nature and the sense of peace that pervades Tromsø contribute to the success of a university in such a distant corner of the world. In Tromsø, between looking for reindeer and eating heart-shaped pancakes with lingonberry jam, I enjoyed a class with clarinet and saxophone students at the Department of Music. We played music by Debussy and others, and it was clear that the clarinet, in all its diversity, was alive and well in Norway. v

ABOUT THE WRITERDr. Gregory Barrett is professor of clarinet at Northern Illinois University, a Buffet Group Artist and music reviews editor for The Clarinet. Barrett takes special pride in the achievements of

his students who have performed in groups such as the Civic Orchestra of Chicago and the National Center for the Performing Arts Orchestra – Beijing, and who have gone on to advanced study at the Curtis Institute of Music and the universities of Iowa, Kansas, Missouri-Kansas City and Yale.

Gregory Barrett, Rolf Borch and clarinet/saxophone students at the University of Tromsø

WoodwindianaA resource for great

clarinet music and CDs

Home of The Clarinet Doctorbook and a place to purchaseunique clarinet duets, trios &

quartets from around the world.

Visit our website for full catalogand ordering information:www.woodwindiana.com

For interesting and informativearticles on a variety of

pedagogical topics, visitthe Forum section at:

www.howardklug.com

Woodwindiana, Inc.P.O. Box 344

Bloomington, IN 47402-0344(812) 824-6161

Eligibility: The competition is open to clarinetists of all ages who are not employed full-time as salaried members of a profes-sional symphony orchestra.

Application: Deadline for the submission of application and other application materials is Friday, April 1, 2016. Please submit the online application at www.clarinet.org.

Orchestral Audition Competition Coordinator: Robyn Jones – [email protected]

2016 Orchestral Audition Competition


CONTEST RULES1. Application Fee: $65 USD. All applicants must be members

of the ICA and submit the Competition Application. Non-members wishing to apply may join the ICA by going to www.clarinet.org and becoming a member. The application fee is non-refundable.

2. Recording Instructions: Please provide a high quality recording containing the following excerpts, in the exact order. Each selection/movement should be listed as a single track, and should not contain your name. 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. Use the 1st clarinet part for all orchestral excerpts required.

a. Mozart: Concerto, K. 622, Movement I, expositionb. Beethoven: Symphony No. 6 – 1st mvt., Measures 474-

492; 2nd mvt. Measures 68-78; 3rd mvt. Measures 122-133

c. Mendelssohn: Scherzo from Midsummer Night’s Dream – beginning to B

d. Respighi: Pines of Rome – 3rd mvt., 1 before #13 to #15 e. Kodály: Dances of Galanta – Measures 31-65; Measures

571-579 f. Brahms: Symphony No. 3 – 1st mvt., Measures 23-46;

2nd mvt., Measures 1-22g. Rimsky-Korsakov: Capriccio Espagnol – 1st mvt.,

Measures 14-27 and 41-61; 3rd mvt., Measures 51-72h. Ravel: Daphnis and Chloe Suite No. 2 – Measures 155-

158; 212 to the end

3. A separate written and signed statement, attesting the recording is the playing of the contestant and has not been edited.

4. A permanent address, telephone number and e-mail address should be provided.

JUDGINGJudging of recordings will be conducted with no knowledge of the contestants. Do not include any identification on your audio files. 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 and notified via email by Monday, May 16, 2016. Semifinal and final rounds will be at ClarinetFest® 2016, to be held in Lawrence, Kansas from August 3-7, 2016. Repertoire for the semifinal and final rounds will consist of the excerpts listed in item 2. 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® 2016. Travel expenses will be the responsibility of the contestant. All recordings will become the property of the ICA and will not be returned.

PRIZESFirst Prize: $1000 and Gregory Smith model clarinet mouthpiece

Second Prize: $500 and Gregory Smith model clarinet mouthpiece

The Orchestral Audition Competition is generously sponsored in part by Gregory Smith.

ICA ANNOUNCEMENT


Part one of this three-part series (Dec. 2014) examined evaluation of musculoskeletal injury, and part two (March 2015) covered treatment of the injury through medication, physical agent modalities and massage.

PART THREE – TREATMENT OF THE INJURY, CONTINUED

STRETCH

During rehabilitation, heat is applied prior to active or passive stretching and/or exercise. The benefits of stretching include relaxation of tightened,

restrictive muscles, improved flexibility of muscles, improved range of motion, relaxation of the mind and body, aid in the prevention and rehabilitation of muscular injuries, improved circulation, and promotion of the tissue “remolding” process following injury (Jameson, 203).

Therapeutic stretch is often used as a treatment for myofascial trigger points (MTrPs) and myofascial pain syndrome (MPS). A therapist will perform active stretching and mobilization to increase mobility where the nerves are most likely to be pinched or compressed (Damany, 111). Intermittent cold and heat-stretch is often used as a treatment for MTrPs and MPS as is postisometric contraction-relaxation exercise which can be coupled with respiratory facilitation techniques. Gentle contraction-and-relaxation exercises can be performed with deep ischemic compression and may be followed by local trigger point massage, myofascial release, therapeutic stretch and self-directed stretch (Gerwin, 135).

Stretching should be stopped if warning signs (increased pain, numbness, tingling, muscle weakness or sensations of cold in the extremities) are detected.

ELECTRICAL STIMULATION AND ACUPUNCTUREElectrical stimulation through the subcutaneous or intramuscular needle can inactivate trigger points (Gerwin, 135) and the use of an acupuncture or dry needle can yield similar results. The ancient theory behind acupuncture claims that the life-force energy called qi flows through pathways that connect all the tissues and organs of the body through twelve main meridians. It also claims that disease is caused by the disruption of this flow of energy. Acupuncture claims to normalize the electrical energy of the body. Recent study has confirmed many of the ancient principles upon which acupuncture is based (Jameson, 154).

Acupuncture works through nerve reflex action which is transmitted through the neural pathways to harness energy. It can be an effective treatment for pain management. In addition, the minor traumatic irritation of local tissue allows those nerves which are excessively stimulated to cease firing and rest while at the same time causing the release of an anti-inflammatory hormone (cortisol) into the bloodstream. Another desired effect of acupuncture

Don’t Give Me Daphnis: An Injury Recovery Guide for Clarinetistsby Mary Alice Druhan, with Kristin Keesey and Debbie Gillespie


is that it aids in cell respiration by causing capillaries to dilate around the injured tissues.

EXERCISE According to Lowe, “postural reeducation is initiated after the acute response to injury is controlled and begins with exercises to improve extension of the midthoracic spine to place the head and neck in a more balanced position over the trunk and with exercises to improve the patient’s ability to stabilize the scapula to decrease abduction” (Lowe, 87).

Range of motion (ROM) exercises are typically prescribed once inflammation subsides. In addition, low-resistance strengthening exercise can be added. In treatment of serious injury to a musician, a gradual “return to play” schedule is considered a strengthening activity and additional exercise may place too much stress on the recovering body.

If active ROM exercises elicit pain, the patient begins a program of isometric exercise which generally consists of a brief, repetitive, isometric, maximal exercise program (Liberson, 236). Postisometric contraction-relaxation exercise is often used as one of the treatments for MTrPs and MPS.

Glides are exercises performed for the prevention of nerve entrapment. In a glide, the patient moves from one position to another without any force or resistance (Damany & Bellis, 111). The glide should put a nerve or tendon through its maximum range of motion.

A sedentary lifestyle has many risks, but specifically for someone with a musculoskeletal disorder, it can lead to poor circulation and escalated pain. Poor circulation and stagnant lymphatic tissue can result in an increase of overuse symptoms. In defining treatment of repetitive strain injury, Jameson states, “maintaining good aerobic fitness before, during, and after a repetitive strain injury cannot be emphasized enough” (Jameson, 257).

Aerobic exercise (any activity that raises the heartbeat 60 to 80 percent for at least 20 minutes) increases cellular activity and induces a hormonal response which reduces insulin levels and increases glucagon levels. Gerwin adds, “use of aquatic programs, swimming, yoga, tai chi, and specific resistive strengthening programs help

to condition muscle, to restore normal reciprocal inhibition in the affected functional muscle unit, and to restore the patient’s confidence” (Gerwin, 136).

LOCAL INJECTION AND SURGERYIn addition to therapeutic techniques, injection of local anesthetic or dry needling techniques have proven successful in the treatment of the MTrP (Hong, 205-217; Chu, 106-121). A high velocity jet-stream injection technique (without needle) is also effective (Gerwin, 135). The Performing Arts Medicine Association (PAMA) generally relies on a conservative approach to the treatment of musician injury, but states that, “when conservative methods fail to produce satisfactory results, corticosteroid injection or surgery may be reasonable alternatives for certain musculoskeletal problems” (Sataloff, 215). Treatment plans may also include injection of muscle relaxers, anti-inflammatories or the patient’s own Platelet Rich Plasma (PRP).

DIET AND NUTRITIONEvery cell of the body relies upon proper nutrition to grow, divide and function, and whether or not these cells are optimally nourished depends upon the person’s diet (Jameson, 118). Cells inside the body constantly grow and die, replacing themselves completely over time. The state of health of the newly-replaced cells also depends upon a properly functioning nervous system and genetics.

Herbal supplements can have a potent and wide range of effects on the body and should be treated as a prescription medication. Patients should consult a natural health care provider who is familiar

with herbs and utilizes specialized or applied kinesiology to test the body’s needs.

ADDITIONAL TREATMENT OPTIONSOccupational therapists coach patients through safely performing critical daily tasks while recovering from and preventing injury. In general, this includes activities like dressing and writing, ergonomics, work environments and posture.

Many disease states of the body can be created by dysfunction in the nervous system. The chiropractic philosophy is based on maintaining a proper nerve balance through spinal and extremity joint adjustments. Chiropractic treatment for musculoskeletal injury may include spinal and extremity adjustment, physical agent modalities, rehabilitation techniques and nutritional advice.

Specialized kinesiology is a form of muscle testing which can quickly detect many emotional, structural, spiritual and nutritional imbalances, while applied kinesiology is used within the chiropractic profession and differs in the type of muscle testing used, the assessment, and the treatment.

Homeopathy is based on the “law of similars” which states that “like cures like.” Homeopaths believe that a substance in minute quantities will heal the body, whereas the same substance in large quantities will cause symptoms (Jameson, 176). Homeopathic remedies are made from substances found in nature and are considered by some to be entirely safe. As with the use of herbal supplements, patients should consult a health care provider who is familiar with homeopathy.

Meditation has been used for thousands of years to affect human physiology. Two


major forms are mindfulness meditation, which allows the patient to become aware of all of the senses, and concentrative meditation, during which the patient focuses on a mantra, an image, or their own breathing. The effects of meditation include lowered blood pressure, decreased heart rate, decreased breathing rate and decreased cortisol in the blood.

Clinical hypnosis is an altered state of awareness used by licensed therapists to treat both psychological and physical problems. Recent research supports that hypnotic communication and suggestion effectively change aspects of a person’s physiological and neurological function. Hypnosis has a reliable and significant impact on acute procedural pain and chronic pain conditions (Patterson, 521). More information can be found at www.asch.net.

Craniosacral therapy (CST) is a method of evaluating and boosting the function of the craniosacral system. It can be used individually or in conjunction with other therapies as a preventative health measure to effectively treat a number of medical problems associated with pain, dysfunction and trauma.

EMOTIONAL IMPACTEmotional repercussions of chronic injury include second-stage denial, anger, depression, suicidal thoughts, fear, anxiety, guilt, self-recrimination and grief. Musicians recovering from injury may develop a sense of hopelessness, nervousness or insecurity about the quality of their performance. They can be fearful of repercussions from their peers or conductors and may try to hide their injury or postpone getting the necessary help. This and the possibility of lost income during an injury can lead to high levels of stress. The effects of chronic stress include adrenal fatigue which affects every organ and system in the body. More information can be found at www.adrenalfatigue.org.

Professional psychiatrists, psychologists and social workers are trained to help patients struggling with emotional well-being. Approaches to emotional health include finding a safe way to express emotions, avoiding isolation, associating with positive people, practicing positive self-talk, refusing to be a victim, and taking charge of the recovery process (Quilter,

51-57). Emotional well-being in patients can be aided by exercise, pets, pampering, empathy and involvement in alternate musical activities. Other emotional healing treatments include “Golden Light Healing” or “Three-in-One Concepts.”

RETURN TO PLAY Following an injury, returning to practice is often considered an exercise regimen. Musicians must be mindful of additional exercises while they also increase practice time. The practice routine must be continually monitored and analyzed for each patient in order to prevent recurrence of injury, specifically if a significant time was spent away from the instrument. Regardless of the plan used, musicians must be cautious to not add time or intensity to their “workout” if they experience discomfort in their current routine. v

WORKS CITED Brummit, Jason. “The Role of Massage in Sports

Performance and Rehabilitation: Current Evidence and Future Direction,” North American Journal of Sports Physical Therapy 3.1 (2008): 8.

Chu, J. “Dry needling (intramuscular stimulation) in myofascial pain related to lumbosacral radiculopathy,” European Journal of Physical Medicine and Rehabilitation 5 (1995): 106-121.

Damany, Suparna and Jack Bellis. It’s Not Carpal Tunnel Syndrome! Philadelphia: Simax, 2000.

Gerwin, Robert D. “Myofascial Pain Syndromes in the Upper Extremity.” Journal of Hand Therapy 10.2 (1997): 130-136.

Hong, C. “Myofascial trigger point injection,” Critical Review Physical Rehabilitation Medicine 5 (1993): 205-217.

Jameson, Timothy J. Repetitive Strain Injuries: Alternative Treatment & Prevention. New Canaan, CT: Keats Publishing, Inc., 1998.

Liberson, WT. “Brief Isometric Exercises,” Therapeutic Exercise, 3rd ed. Baltimore: Williams & Wilkins, 1981.

Lowe, Colleen. “Treatment of Tendinitis, Tenosynovitis, and other Cumulative Trauma Disorders of Musicians’ Forearms, Wrists, and Hands... Restoring Function with Hand Therapy,” Journal of Hand Therapy. 5.2 (1992): 84-90.

Patterson DR, Jensen MP. “Hypnosis and Clinical Pain,” Psychology Bulletin. 129.4 (2003): 495-521.

Quilter, Deborah. The Repetitive Strain Injury Recovery Book. Bloomington: iUniverse, Inc., 1998.

Sataloff, Robert T., Alice G. Brandfonbrener, and Richard J. Lederman. Performing Arts Medicine. 3d ed. Narberth, PA: Science and Medicine, Inc., 2010. eBook.

* * * * *MEDICAL DISCLAIMERThis article is for informational and educational purposes only, and is not intended to be a substitute for

professional medical advice, diagnosis or treatment. The information provided in this article is not a substitute for medical or professional care, and you should not use the information in place of a visit, call consultation or the advice of your physician or other healthcare provider.

Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never rely on information contained in this article in place of seeking professional medical advice. Never disregard professional medical advice or delay in seeking it because of something you have read in this article. You should also ask your physician or other healthcare provider to assist you in interpreting any information in this article, or in applying the information to your individual case.

Medical information changes constantly. Therefore the information in this article should not be considered current, complete or exhaustive, nor should you rely on such information to recommend a course of treatment for you or any other individual. Reliance on any information provided in this article is solely at your own risk.

ABOUT THE WRITERMary Alice Druhan is associate professor of clarinet at Texas A&M University – Commerce and recipient of the James ‘Jim’ Vornberg Award for Teaching. She has performed with

orchestras and opera companies, chamber ensembles and premiere bands for more than twenty years in the U.S., Europe, and Asia. She is a Backun Musical Services Performing Artist. Dr. Druhan has suffered from and is in recovery for a serious playing-related injury which inspired her research, writing, lectures and advocacy for musician injury, prevention and recovery.

Kristin M. Keesey received her degree from Texas Woman’s University School of Occupational Therapy in 1995. She is a Certified Hand Therapist and a graduate of the Dr. Vodder School of Manual Lymphatic Drainage. For eight years she was an instructor of orthopedic continuing education to fellow therapists in the Dallas and Houston areas in Texas. At present she is working at Covenant Hand Therapy in Plano, Texas.

Debbie Gillespie graduated from Texas Massage Institute in 2004 and has worked as a full time massage therapist for 10 years. She has served as the exclusive massage therapist for Cirque Du Soleil “Kooza” show in Dallas and now owns Massage Rockwall. She is proficient in many modalities including sports massage, trigger point, deep tissue, hot stones, TMJ Release and Lymphatic Drainage.

Eligibility: The competition is open to all clarinetists who shall not have reached the age of 27 by January 1, 2017 (i.e., born on or after January 1, 1990) and are not currently under major artist management.

Application: Deadline for the submission of application materials is Friday, April 1, 2016. Please submit the online application at www.clarinet.org.

Young Artist Competition Coordinator: Caroline Hartig ([email protected])

2016 ICA Young Artist Competition


CONTEST RULES1. Application Fee: $65 USD. All applicants must be

members of the ICA and submit the Competition Application.

Non-members wishing to apply may join the ICA by going to www.clarinet.org and becoming a member. The application fee is non-refundable.

2. Recording Instructions: Please provide a high-quality recording 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 listed as a single track, and should not contain your name. 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.

a. Sonata for Clarinet and Piano, Leonard Bernstein, Boosey & Hawkes

b. Quattro Pezzi A Giovanni Punzi per clarinetto solo (2012), Antonio Fraioli, Potenza Music

c. Le Tombeau De Ravel, Arthur Benjamin, Boosey & Hawkes

3. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age.

4. 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.

5. A summer mailing address, telephone number and email address should be provided. Email is the preferred means of communication. Please check your email regularly as this is how you will be contacted.

JUDGINGJudging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on your audio files. 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 2, 2016. Semi-final and final rounds will be held at the ClarinetFest® 2016, in Lawrence, Kansas, August 3-7, 2016. Semi-finalists will receive a waiver of registration fees for ClarinetFest® 2016. 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 in item 2. 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 ICA.

PRIZESFirst 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 The Buffet Group, D’Addario Woodwinds, L. Rossi Clarinets, Henri Selmer Paris, and Yamaha.

ICA ANNOUNCEMENT


I am thrilled to invite you to the International Clarinet Association ClarinetFest® 2016 at the University of Kansas (KU) in beautiful Lawrence. Located in the picturesque rolling

hills 45 minutes west of Kansas City, Lawrence boasts one of the greatest main streets in the nation, bustling with shops, restaurants and galleries. The University of Kansas, an integral part of this diverse and educated community, is situated on Mount Oread, just minutes from downtown via a lovely walk through tree-lined historic neighborhoods. As one of the major research centers of the region, KU has a reputation for excellence in all academic areas. All ClarinetFest® activities will take place on the University of Kansas campus, including in the world-famous Lied Center, the Crafton-Preyer Theatre and the newly-renovated Swarthout Recital Hall.

Plentiful and comfortable accommodations are available, including the luxurious and award-winning Oread Hotel located directly on the KU campus. SpringHill Suites of Lawrence, a Marriott property, is a little over a mile from campus in the heart of downtown Lawrence, with easy access to a diverse selection of dining, shopping, galleries, and museums, all convenient to KU’s campus. Every suite has a view of the Kansas River. Campus residence hall accommodations, located directly on the KU campus, are also available for budget travelers. These reasonably priced rooms include a daily three-meal plan. Additional information concerning accommodations is available on the ICA website.

Come experience the latest instruments, mouthpieces, sheet music and accessories, as well as the newest recordings and much more from world-class exhibitors. Trying some of the newest products while visiting with our industry’s highest-level clarinet equipment specialists is always one of the highlights of the festival. These exhibits are open throughout the conference, so be sure to visit as often as you can! This is also a wonderful opportunity to connect with other clarinetists, manufacturers and leading innovators.

The theme for ClarinetFest® 2016 is INSPIRATIONS and the event is indeed going to be quite inspiring. With an impressive roster of performers, presenters and educators, some of the finest clarinetists from all over the world will be under one roof. The Merriam-Webster Dictionary defines one aspect of inspiration as “a person … that makes someone want to do or create something.” ClarinetFest® 2016 is partially centering around the five clarinetists that inspired so much of our significant repertoire throughout the ages: Anton

August 3-7, 2016


Stadler from the 18th century; Heinrich Baermann, Johann Hermstedt and Richard Mühlfeld from the 19th century; and Benny Goodman from the 20th century. In addition to performances of the music they inspired, there will be opportunities to learn more about their lives and circumstances. Also on the schedule will be an interesting series of daily concerts, Forgotten Gems, which will feature many masterworks that have been underplayed but are wonderful and significant additions to the canon of clarinet repertoire.

The roster for this summer’s ClarinetFest® is especially impressive. With an all-star line-up filled with performances, master classes and presentations, this event will be one to remember. Several of the epic artists this year include the principal clarinetists from some of the world’s leading orchestras, including the Metropolitan Opera, Philadelphia Orchestra, Paris National Opera, Cleveland Orchestra and the Teatro dell’Opera di Roma. David Shifrin will be joined by acclaimed pianist André Watts, the Miró Quartet and noted television actor Jack Gilpin in his program “An Unlikely Muse.” This dramatic musical tribute explores the relationship between Brahms and his clarinet muse, Mühlfeld. Eddie Daniels will give a sizzling jazz performance and many others will give memorable concerts of

everything from classics to contemporary works throughout the week.

Beyond experiencing one of the greatest performing lineups of clarinetists ever assembled, those attending the conference this summer can participate as a member of one of our ClarinetFest® clarinet choirs. The following groups will rehearse during the conference and perform on the last day:

• Festival Clarinet Choir: Open to all attending. For more information,

contact director Raphael Sanders (SUNY – Potsdam) at [email protected].

• Collegiate Clarinet Choir: Open to all college, university and conservatory students. For more information, contact director Tod Kerstetter (Kansas State) at [email protected].

• Professors Ensemble: Open to all collegiate professors and instructors. For more information, contact director Mitchell Estrin (University of Florida) at [email protected].

Plan air travel through the convenient Kansas City International Airport (MCI), a one-hour drive from Lawrence. Ground travel options from the airport include shuttle and rental car. Lawrence also has an Amtrak station with travel options from several major hubs. More information on travel will be available on the ICA website.

We are so excited to welcome you to KU this summer. Join us for a great week of music, innovation, ideas, trying the latest gear and meeting new friends. Pack your bags and your best reeds, and we’ll see you soon in Lawrence! v

Dr. Stephanie Zelnick Associate Professor of Clarinet

University of Kansas

For the latest information, please visit the ICA ClarinetFest® 2016

website at www.clarinet.org.

HEADLINING ARTISTSBoris Allakhverdyan – Metropolitan Opera, principalSauro Berti – Teatro dell’Opera di Roma, bass clarinetJ. Lawrie Bloom – Chicago Symphony, bass clarinetHenri Bok – Renowned bass clarinetistPhilippe Cuper – Paris National Opera, principalEddie Daniels – Preeminent jazz clarinetistPierre Génisson – First Prize, 2014 Tokyo International Clarinet CompetitionRichard Hawkins – Oberlin Conservatory, artist facultyBil Jackson – Vanderbilt University, artist facultyBenjamin Lulich – Cleveland Orchestra, principalJacques Merrer – Noted E-flat clarinet specialistEugene Mondie – National Symphony, assistant principalRicardo Morales – Philadelphia Orchestra, principalFred Ormand – University of Michigan (retired)David Shifrin – Renowned soloist and chamber musicianEddy Vanoosthuyse – Brussels Philharmonic, principalMichele Zukovsky – Los Angeles Philharmonic, principal (retired)


MUSICJean Françaix. Concerto pour

clarinette et orchestra. Éditions musicales transatlantiques, Paris ([email protected]; rights transferred to Première Music Group: [email protected]). No. ETR003001. Piano reduction by

Claude Françaix (composer’s daughter) and Tiziana de Carolis, 2013. $25.00

Jean Françaix’s exquisite and colorful clarinet concerto was first

published in 1968 and premiered that year by Jacques Lancelot in Nice, France. The original edition contained a significant number of errors, as listed in two articles written in 1998 by the highly respected French clarinetist Philippe Cuper, in the British Clarinet & Saxophone and the French Clarinette Magazine. Additionally, the original piano reduction was extremely difficult to perform, with some pages requiring the pianist to read complex chords on up to four lines simultaneously instead of two.

Yet again, with this 2013 edition, editorial collaborator Philippe Cuper notes a fair number of errors (see below). This new edition is good news for accompanists, though, because it has a simplified piano part, albeit still quite complex and challenging to perform. The clarinet part was reorganized to simplify

ERRATA FOR THE 2013 EDITION OF THE JEAN FRANÇAIX CONCERTO FOR CLARINET

by Philippe Cuper

MOVEMENT I M. 8 – The last note is fourth-space E (not D).M. 20 – The first three notes should be marked staccato.M. 41 – Should read “Ne pas ralentir” (not “Ne pas refentir”);

translation: Don’t play rallentando. M. 111 – The last note is E (not D).M. 171 (cadenza) – The second note of the third beat

should be A-natural (not A-sharp).

MOVEMENT IIM. 113 – The third note should be third-space C (not A).M. 160 – The third note should be fourth-line D-sharp.M. 170 – The third note should be C-natural (not C-flat).

MOVEMENT IIINo errors.

MOVEMENT IVM. 1 – The first note of the second beat should be D-natural.M. 82 – Add the number 3 under the three sixteenth notes

to indicate sixteenth-note triplets.M. 168 – Add e = eM. 198 – The first note should be a staccato C-sharp,

the following B-sharp and C-sharp should be slurred sixteenth notes, and the next B-sharp should be a staccato quarter-note.

M. 203 – There is a half rest on the second beat; delete the half rest before the third beat.

Mm. 213-215 – All the notes should be an octave higher with an indication of “octava bassa ad libitum.”

M. 216 – Add e = eM. 232 and m. 236 – The first and second beats should be

slurred.


page turns. Some notes were corrected from the original edition, and all tempos were reduced (the composer explained that his wind-up metronome was inaccurate).

When the work was first introduced, some players found it almost unplayable. The clarinet part is in B major, leading me to believe it was composed on the piano in A major, without immediate regard for difficulties posed to the soloist. Some clarinetists experiment to simplify fingerings by using and interchanging both B-flat and A clarinets, but I prefer this light and refreshing music to be played on the intended B-flat to match tone with its light character, even though the key is very challenging. In fact, Jean Françaix once wrote a tongue-in-cheek apology to clarinetists because of its difficulty. However, today’s advances in technique make it an increasingly popular work for performances and competitions all over the world.

Jean Françaix (1912-1997) is one of the most well-known and often-performed composers in France. He studied in Nadia Boulanger’s composition class along with Ravel, Milhaud, Stravinsky, Poulenc and Roussel. His works are played by the world’s greatest orchestras and his clarinet concerto is now considered a staple in our repertoire.

To listen to Jean Françaix perform one of his works on piano visit www.JeanFrancaix.org. On another video a few clicks away, the composer’s grandson describes him as a man who never followed new trends and who created some of the most beautiful music in France. In 1994, Jean Françaix was awarded the Arthur Honegger Prize by Honegger himself, who referred to Françaix’s music as simple, transparent, light, yet deep, youthful, humorous, fresh and distinguished.

Since I studied this work with Lancelot in Nice only 12 years after he premiered it there with the Nice Chamber Orchestra, Françaix’s concerto has always been close to my heart. It is a fantastically challenging, beautiful and meaningful work.

– Michele Gingras

Mike D’Ambrosio. Super Groove for clarinet and piano. Potenza Music, 2014. Duration: 7’30” $24.95

Potenza Music has championed new music by American composers since

2003. Bassoonist Mary Stuckemeyer and her spouse Pat own the record label and publishing company. They also co-founded Just for Winds, an online sheet music, instrument and musical accessory retailer for woodwinds.

One of their featured composers is Mike D’Ambrosio, associate professor of music theory and composition at Murray State University in Kentucky. Previously, he taught at Jacksonville State University (Alabama), Oklahoma State University and the University of Dayton. He received his doctoral and master’s degrees in music composition from the University of Cincinnati College-Conservatory of Music where he studied with Joel Hoffman and Ricardo Zohn-Muldoon. Originally from Long Island, New York, D’Ambrosio did his undergraduate work at Lehigh University where he double-majored in music and accounting.

D’Ambrosio has won many awards and his works have been performed by well-known brass groups, youth orchestras and college ensembles in the United States, and at the 2008 Cultural Prelude to the Olympics concert at the Forbidden City Concert Hall in Beijing.

Originally composed for oboe and piano, Super Groove was commissioned by oboist Celeste Johnson Frehner (Oklahoma State University) and premiered in 2012. The composer writes: “I was trying to bring together my worlds as composer and music theory professor by taking some of the fun theory topics I get to teach (sonata form, chromatic mediants, ostinato, polyrhythms and set theory) and squeezing them into a driving, energetic and highly rhythmic texture. The piece is extremely fun to play and has been very well received by audiences.”

D’Ambrosio arranged Super Groove for clarinet and piano in 2014 for his colleague Scott Locke. The clarinet version is almost identical to the original except for a few changes in registers. Whereas a few bits and pieces are indeed “groovy,” most of the musical material is quite “modern legit” in style. The writing is both lyrical and rhythmically energetic. It contains polyrhythms, such as three against two in the piano, has powerful moments and holds together well. In terms of audience friendliness, I would agree with the composer that the piece has appeal, most especially if the audience

consists of serious music lovers, new music explorers, and woodwind enthusiasts. Visit the composer at www.mikedambrosio.net.

– Michele Gingras

Joseph Küffner (adapted by Simeon Bellison). Fifty Progressive Duets from the Klosé Celebrated Method for Clarinet. Carl Fischer. $12.99

Best known for compositions for guitar, Joseph Küffner also wrote a set of duets for oboe and clarinet, Op. 80. Adapted by Simeon Bellison and included in the Klosé Celebrated Method, these became standards for generations of students. Here they are presented in an easy-to-read edition extracted from the larger pedagogical source. For teacher/student and student/student playing, these duets cover all the necessary skills required for the myriad combinations of articulation and slurs in performance, while allowing time for development of hand position, finger movement and tone development.

– Robert Riseling

Nathan Ivan Kaplan. Concert Etudes, 18 unaccompanied etudes for B-flat clarinet. Edited by Lawrence Sobol. Kendor Music. $14.50

These etudes resulted from the collaboration of two friends during their days at the Manhattan School of Music. Nathan Kaplan enjoyed success as a composer and Lawrence Sobol received recognition and numerous awards as a performer, educator and author. “Exploiting the clarinetist’s large and luscious-toned chalumeau register,” the etudes were written for Sobol who recorded them at Jimi Hendrix’s Electric Lady Studios under Kaplan’s supervision. They are available at www.KendorMusic.com. This new, revised edition is dedicated to Kaplan’s memory.

Each etude is preceded by a short commentary on the substance and nature of the piece with performance suggestions. As mentioned in the description above, emphasis is on the lower range of the clarinet and altissimo writing is limited. Successive etudes expand the demands on the performer in range, rhythm, articulation, dynamics, rhythmic organization and musical styles. Meant to be included on concert programs, each is a separate musical entity – or the performer


could choose a few and group them. The layout and printing are well-planned. There are practical suggestions for a few rhythmic and fingering problems. This is a good collection for students who have established a solid grasp of the instrument. It can be used over several years.

– Robert Riseling

Amir Zaheri. Two Girls and a Boy, for oboe, clarinet and bassoon. Potenza Music. Duration: 4’15” $21.95

Amir Zaheri is professor of theory and composition and director of the Contemporary Ensemble at the University of Alabama. A prolific composer for choral ensembles and solo voices, his more recent works include those for solo instruments, chamber music and electronics. This trio is dedicated to the Cavell Trio. Scott Hannah writes on the Potenza Music website:

Zaheri describes Two Girls and a Boy as a musical conversation, for which he first wrote a story, then created a musical setting. He likens the piece to the film work of Woody Allen, which frequently features overlapping conversations, with characters finishing one another’s sentences.

The musical material is based on two octatonic scales beginning on C, the first in the oboe, the second in the bassoon. The clarinet employs notes from both. As in conversation, eventually all three instruments trade notes from both scales in a give-and-take exchange. Conflict and agreement are expressed both rhythmically and in musical material. Independent lines suggest the players ignoring each other, but they are brought together with the same patterns, if not pitches from the same scale, and the reiteration of the initial C. Resultant harmonies fluctuate between thirds, sixths, triadic mixing and strong dissonances. Individual lines alternate between passages of lyricism and those of active rhythmic figures. Scott Hannah’s preface to the score describes the ending as follows: “As the piece closes, each instrument gravitates to the second scale, the rhythms unify, and ultimately each part has the satisfaction of its individual final say, all on the starting pitch of C.”

– Robert Riseling

Bach, Johann Sebastian. Air on the G String, for clarinet quartet (3 B-flats, bass). Arranged by Richard Johnston, edited by Alan Woy. Kendor Music, 2013. $8.95

Gounod, Charles Francois. Funeral March of a Marionette, for clarinet quartet (3 B-flats, bass). Arranged by Richard Johnston, edited by Alan Woy. Kendor Music, 2013. $12.50

Chopin, Frederic. Minute Waltz, for clarinet quartet (3 B-flats, bass). Arranged by Richard Johnston, edited by Alan Woy. Kendor Music, 2013. $12.50

Richard Johnston has had an impressive career as a performer, educator, instrument repairman and arranger. He transcribes music primarily for clarinet quartet. Bach’s Air on the G String, Gounod’s Funeral March of a Marionette and Chopin’s Minute Waltz are truly classics, and Johnston has done a superb job of arranging them for the clarinet.

Heard at many a wedding, Bach’s Air on the G String has a sustained adagio tempo. The beat note is the eighth note, and the melody is passed around to each part. The four parts function independently, and the rhythms can be tricky, so four strong players with a good sense of rhythm would be essential. The bass clarinet carries the foundational bass line, and would require a good player to master the part with finesse. Marked Grade 4, it is not an easy piece, and the players would need to be of a solid intermediate level. The duration is 2’20”, and it would be a good piece to program on a concert, church service, or an occasion where more somber music is required.

Brought to popularity by Alfred Hitchcock, the Funeral March of a Marionette is a classic, and this arrangement is delightful. The first clarinet has the melody throughout, while the second, third and bass parts contain the harmonic and rhythmic foundation. Each part becomes more independent and engaged in the theme as the piece draws to an end. Despite the nature of the parts, the piece is challenging for all – there are consistent staccato notes throughout different registers at all dynamics. This arrangement could be done with an

intermediate group of high quality, but would be better with an advanced group that could handle the nuance well – perhaps a high school or college group. Without question, this would be a welcome addition to any program, in a concert or as an encore. The tune is appealing, the arrangement lays well on the clarinet, and the timbre of the instrument complements the tune. This arrangement of this classic piece will have the audience and the players asking for more!

The Minute Waltz by Chopin has a duration under two minutes. The fast-moving melody begins in the first clarinet, then transfers to the second clarinet. The third clarinet has the sustained melody in the B section. The bass functions as the harmonic and rhythmic foundation. Because this is in the key of E-flat, fingerings might be awkward – the melodic line crosses the break repeatedly from B-flat to D in the first eight measures, which might prove challenging, but helpful to a clarinetist needing practice going over the break. Technically, this is the most difficult arrangement of the three and requires advanced intermediate players; however, the players would enjoy the piece so much that they might overlook the fingering challenges!

My hat is off to Johnston for these wonderful arrangements! They are suitable for a variety of venues due to the diverse styles and popularity of the pieces. Paper quality is excellent and printing easy to read. Each quartet includes a score in which the printing, although smaller than in the parts, is readable. All are housed in a laminated folder.

– Alice A. Meyer

Antonio Gervasoni. The Garden of the Shadows for wind octet. Cayambis Music Press, 2013. Score and parts $36.90 Duration: 8’30”

Focused on promoting Latin American chamber music, Cayambis Music Press offers several works by Peruvian composer Antonio Gervasoni. He is professor of music composition for film at the Universidad Peruana de Ciencias Aplicadas in Lima.

Gervasoni’s four-movement octet for two flutes, two oboes (second oboe doubles on English horn), two clarinets and two bassoons was inspired by two


works from English literature, H. G. Wells’ The Time Machine and Robert Graves’ I, Claudius. Each brief movement in the octet effectively portrays a mood. The first movement, “The Garden,” is somber, legato and in slow tempo. Gervasoni uses each instrument in a comfortable register and sensitively blends their colors. “The Hunt” emphasizes staccato rhythmic pulse in fast tempo. Simple meter changes keep the thrill in the hunt. “The Adoration of the Black Moon” is languorous at its outset with a streamlined texture of just one flute, oboe, clarinet and bassoon. The English horn is added and then goes mute again. The concluding movement, “The Feast,” recalls the motoric orientation of “The Hunt” but is far richer in variety of meter – a conductor would be a great aid.

Gervasoni’s harmonic style is moderately dissonant and his score is nuanced with regard to dynamic markings and articulations. This is a moderately difficult work within reach of college-level chamber ensembles.

– Gregory Barrett

Phillip Brookes. Concerto for Clarinet and Strings, Op. 30 (1979). Version for clarinet with piano reduction. Musikproduktion Höflich, 2015. €28.00

Musikproduktion Höflich is a Munich-based consortium of musicians, musicologists and amateurs dedicated to expanding the available performance literature through expertly-produced first editions of masterworks that were not published upon completion. Every score has a scholarly preface (which can also be viewed online) to help bring to life the forgotten work.

In 1979, Phillip Brookes (b. 1952), composer, conductor and lawyer, was in love with clarinetist Anne Ferrige. In the spring, during what he describes as a “period of continuous sunshine,” he wrote the central “Romanze” movement. Being English, the Finzi Clarinet Concerto was a favorite of both Brookes and Ferrige, and Finzi’s lilting melodiousness and piquant harmonizations are echoed in Brookes’ work. The sustained lines in the clarinet and accompaniment are expressively heightened by several sweeping arpeggio passages in the clarinet traversing two to three octaves. The main theme in

the “Preludio” Andante con moto first movement is scalar in G melodic minor and came to Brookes while on a favorite walking route with Ferrige. The 6/8 “Scherzo-Rondo” Vivace third movement is built upon a six-note cipher of the dedicatee’s name. This rapid-paced motive propels the movement from beginning to end, though it is offset by several meno mosso passages of great beauty.

The piano reduction is satisfying and its moderate technical demands complement the medium difficulty level of the solo clarinet writing. Both part and score are beautifully typeset in a spacious style. Musikproduktion Höflich also publishes a full score and string parts for those wanting to perform the original version with orchestra.

– Gregory Barrett

World Music: Balkan. Clarinet with piano or play-along CD. Arrangements by Hidan Mamudov. Universal Edition, 2013. U.S. distribution by Carl Fischer/Theodore Presser. $23.95

Clarinetist Hidan Mamudov has made arrangements of seven traditional pieces from Croatia, Hungary, Macedonia, Bosnia-Herzegovina, Serbia, Turkey and Bulgaria and compiled them in a collection that ranges from easy to moderately difficult. Two feature additive rhythms and most include non-Western scales. From the included CD that contains at least two selections with Mamudov’s playing, it is evident that he is an expert in this genre. Each of the approximately one-minute pieces is presented twice on the accompanying CD. First is a full performance with an ensemble of bass guitar and varying melody instrument (clarinet, violin, flute), harmony instrument (accordion, guitar) and often percussion, then a second full performance with the recorded melody instrument still in the mix, but greatly attenuated. Alternately, the live clarinetist can play with the printed piano part that includes useful chord symbols if additional arrangements are desired. The score includes a page of brief notes encouraging the clarinetist to experiment with unwritten phrasing and ornamentation that is a feature of Balkan music. Examples are provided from three of the tunes.

– Gregory Barrett

Tango Clarinet Duets. Carlos Gardel, arranged by Diego Collatti. Universal Edition, 2014. U.S. distribution by Carl Fischer/Theodore Presser. $19.95

Argentinian Carlos Gardel (1890-1935), born Charles Romuald Gardés in Toulouse, France, is renowned for making tango music internationally popular and especially for successfully setting words to the music. His international fame ended with a tragic airplane crash in Columbia. All the features of Gardel’s style are found in the five medium-difficulty duet arrangements by Diego Collatti: sentimental melodies, syncopation, chromatic inflection and a back-and-forth ebb and flow to the line. Collatti makes both clarinet parts equally interesting to play. In Melodía de arrabal he several times joins a fleetly moving 16th-note line to the melody. Por una cabeza is distinctive for its slinky melody and contrasting minor-key middle section. El dia que me quieras (The Day You Love Me) is famed for the beauty of its melody. Collatti could not resist adding several bars of clarinet-idiomatic arpeggios leading to the climax. Mi Buenos Aires querido is less successfully arranged due to several measures of awkward, large-interval pianistic tremolos. Volver, the slower, Tempo rubato final selection, uses harmonically-gliding, flowing triplets in counterpoint to the melody. Articulations, dynamics and phrasing are carefully notated throughout. Highly recommended – the rhythmic/stylistic complexity is engaging.

– Gregory Barrett

Johannes Brahms. Danses hongroises no. 1 et no. 5, originally for piano four-hands, arranged for two clarinets by Joachim Forlani. Edited by Gérard Billaudot. Collection Jean-Marc Fessard, 2013. U.S. distribution Carl Fischer/Theodore Presser. $12.95

Both of these boisterous dances are notated in A minor. The melodies are shared between the performers and there are plenty of audience-pleasing broken arpeggios, colorful use of all registers (up to altissimo A) and large accompagnando leaps. Clarinetist and arranger Joachim Forlani was a prize winner at the ARD contest in Munich, and is a member of the Orchestre de Chambre du Valais and


the Sinfonietta de Lausanne, and regularly plays with the Orchestre National du Capitole de Toulouse. He has also been a soloist at the Opéra Comique of Paris.

– Gregory Barrett

ADDITIONAL NOTEWORTHY PUBLICATIONS:

Keiron Anderson. Marsden Moor for clarinet ensemble (E-flat, 4 B-flats, alto, alto or bass clarinet, 2 bass clarinets, optional contrabass). Forton Music, 2014

Appealingly independent parts in a pastoral, 144-bar, easy grade 2 or 3 composition.

Daniel Dorff. Three Little Waltzes for flute and B-flat clarinet. Tenuto Publications, distributed by Theodore Presser Company, 2015. Duration: 6’ $11.99

Little gems with a Peter Schickele-esque whimsical quality. These duos rise above the mundane with interesting harmonic twists. Medium-easy.

Armando Ghidoni. Yellow Green for 3 B-flat clarinets and bass clarinet. Alphonse Leduc, 2014.

Another winner from Ghidoni. Here, the blues meets Baroque fugue. Medium difficulty (or harder if the Vivace tempo really flies).

Jonathan Russell. Bass Clarinet Double Concerto for bass clarinet duo and wind ensemble. Potenza Music, 2014. Full score and CD containing printable parts: $99.95 Duration: 15’

This funky, rhythmic “Carl Maria von Weber meets heavy metal” concerto for two bass clarinets is available with several different accompanying forces. Who can resist the Russell touch?

Claudio De Siena. Martha Lullaby for clarinet and piano. Potenza Music, 2015. $14.95

A tender A-B-A lullaby in flowing 6/8.

Musikverlag Bruno Uetz. Halberstadt, Germany.

If you are not familiar with the quality arrangements and original compositions in the Uetz catalog, know that you will find a variety of light, entertaining, moderately priced works for a range of ensembles with clarinet: duos, works with piano or organ, as well as chamber music with other woodwinds. My current favorite is Chopinaise –Potpourri nach Melodien von Frederic Chopin for flute, clarinet, bassoon and piano arranged by Leslie Searle. Melodies from eleven Chopin works float by in rapid succession supported by syncopated beguine vamps.

Črt Sojar Voglar. Arabesque for clarinet sextet (E-flat, 2 B-flats, alto or basset horn, bass clarinet, contrabass or contralto). Alry Publications, 2013. $15.00 Duration: 6’40”

A little bit of everything in this many-sectioned, modally inflected work: prominent contrabass clarinet, mixed meter, hocketing interplay, chains of trills and varied moods. Medium advanced.

– Gregory Barrett

RECORDINGSMozart 1791. Charles Neidich, basset

clarinet and clarinet, conductor; Ayako Oshima, clarinet; Ensemble Clarimonia: Jochen Seggelke, Bernhard Kösling and Ekkehard Sauer, basset horns; Orchestra Solamente Naturali. W. A. Mozart: Concerto in A, K. 622; Adagio in B-flat, K. 411; Adagio in F, K. 580a; J. Družecký: Concerto in F for three basset horns and orchestra. Bremen Radiohall Records BRH CD1402. Total time 51:51. www.bremenradiohallrecords.de

This new CD released by Bremen Radiohall Records features works of Wolfgang Amadeus Mozart and a single work of the relatively unknown and pioneering Bohemian composer Jiří Družecký. First up on this recording is the Mozart Concerto in A featuring Charles Neidich performing on a Schwenk & Seggelke basset clarinet with Orchestra Solamente Naturali. This recording, performed entirely on historical instruments, is likely the most authentic 1790 instrumentation available to date. For the first time, the work is performed on a basset clarinet reproducing the likely specifications of Anton Stadler’s instrument. This design is based on a drawing of Stadler’s basset clarinet in a concert program from 1794.

This performance opens with a stunning orchestral introduction by the Orchestra Solamente Naturali. After hearing their incredible sound, I immediately went to their website and found this quote:

… Solamente Naturali uses period instruments, finds inspiration in historical documents and is united through passion, creativity,


and professionalism. But the special treat of the ensemble – as its artistic leader and concertmaster unveils – is spontaneity and naturalism, hence the name Solamente Naturali – Simply Natural, as their version of the musical past.

This performance clearly affirms their mission. Their playing is extremely artistic with flawless intonation, thoughtful phrasing and natural classical style. This group is clearly comprised of artists that have mastered these instruments and perform regularly together in this style. At times, I forgot that these were not modern instruments. Neidich’s performance of the work is extremely confident and genuine. However, this recording misses the target for me in a few areas. Inconsistent phrasing styles between the orchestra and soloist create a feeling at times of “soloist versus orchestra.” Although balance is excellent, an incredible feat in itself with a basset clarinet, I would have preferred a more cohesive interpretation. The basset clarinet intonation in this recording also wavers too much for my taste and I found myself often distracted from an immersion in Mozart’s emotional message.

Next is the Concerto in F for three basset horns by Jiří Družecký. This wonderful work is rarely performed. Artfully performed by Ensemble Clarimonia, this work is reminiscent of the Johann Melchior Molter (1696-1765) concertos. The group does a beautiful job transforming these simple melodies into a wonderful blended sound that only three basset horns can achieve. Unfortunately, the intonation is a hindrance and the challenges of the instruments detract from an otherwise good performance. The orchestral playing is again virtuosic and first rate, which is especially evident in the finale of the third movement.

Concluding the disc are two Mozart Adagios; the Adagio in B-flat for two clarinets and three basset horns and the Adagio in F for clarinet and three basset horns. These short, six-minute works exemplify the incredible compositional technique of Mozart. Effortless-sounding melodies are showcased in both of these Adagios, and the beautiful vocal quality of this writing is achieved by the period clarinet and basset horn. I found these pieces to be uplifting, yet tender. At times,

the group is a bit heavy-handed with dynamics that seem slightly affected, but the ensemble performs with clarity and thoughtfulness throughout.

This CD is highly recommended for the period clarinet completist.

– Robert DiLutis

Fine Tune. Calvin Falwell, bass clarinet; University of South Florida (USF) Faculty Chamber Ensemble, conducted by Todd Craven (Hallman); USF Percussion Ensemble, conducted by Robert McCormick (Thomas); USF Symphony Orchestra, conducted by William Wiedrich (Goodman). J. Hallman: Concerto for bass clarinet; D. Bennett Thomas: Fine Tune for bass clarinet and percussion ensemble; T. Goodman: Concerto for bass clarinet and orchestra. Potenza Music PM1041. Total time 50:00. www.potenzamusic.com

Calvin Falwell is currently third and bass clarinet of the Sarasota Orchestra and professor of clarinet and bass clarinet at the University of South Florida and The College of New Jersey. During the summer months, he performs with the Ash Lawn Opera Festival in Charlottesville, VA, and Green Mountain Opera in Barre, VT. His former teachers include Paul Demers (Philadelphia Orchestra), Ron Samuels (Pittsburgh Symphony Orchestra), Tim Zavadil (Minnesota Orchestra), Dallas Tidwell (Louisville Orchestra), Daniel Lochrie (Nashville Symphony) and Scott Locke (Murray State University). Falwell holds degrees from the University of Louisville and Duquesne University. He is devoted to furthering new music through the premiere and performance of new

ServingDallas/Ft. Worth

since 2007Repairs by appointmentServices include:

● professional overhauls● routine maintenance● crack repair● tone hole repair● tenon repair● acoustical work● mechanical silencing● equipment consultation● studio visits● repair/maintenance masterclasses

Contact Heather Karlsson:Phone: 469.546.7097Email: [email protected]

specializing in woodwind repair

Also available:

Want to see repair projects,unusual instruments, newly arrived products,

and cute-yet-cynical shop mascots? Become a fan!

http://www.facebook.com/hkarlssonwoodwinds


works. Here, he presents a recording of three recently-commissioned concertos for bass clarinet by Joseph Hallman, David Bennett Thomas and Todd Goodman.

Philadelphia composer Joseph Hallman has penned a concerto that wonderfully showcases the bass clarinet’s unique attributes. Hallman, recently named by National Public Radio as one of their “100 Composers Under 40,” has composed a series of chamber concertos “akin to Bach’s Brandenburg Concertos and Hindemith’s Kammermusik.” This noteworthy live recording from 2011 of Hallman’s Concerto for bass clarinet features assured playing by the USF Faculty Chamber Ensemble and well-coordinated direction by Todd Craven. Falwell plays boisterously where needed, with an enviable evenness and control of tone throughout all registers. Hallman’s writing requires remarkable flexibility, and Falwell meets the challenge.

David Bennett Thomas’ 2012 piece Fine Tune, the title work for this recording project, is scored for bass clarinet and percussion ensemble. Thomas teaches at the University of the Arts in Philadelphia and holds degrees from West Chester University and the Peabody Conservatory. His primary teacher is Lukas Foss, with additional study with Steven Mackey, Ron Thomas, Jacques Voois, Michael Connell and Donald Chittum. Thomas’ work shows that the bass clarinet timbre melds well with percussion instruments. Falwell adeptly handles the contemporary technical challenges presented here, such as pitch-bending, delay effects and altissimo. The USF Percussion Ensemble, led by Robert McCormick, maintains great balance with the soloist in this work of complex rhythm and harmony.

Todd Goodman’s Concerto won third place in the 2011 American Prize for Orchestral Composition. Another Pennsylvania composer, Goodman holds degrees from the University of Colorado at Boulder, Duquesne University and Kent State University. He currently serves as the resident composer for the Lincoln Park Performing Arts Center located outside Pittsburgh, Pennsylvania. From the liner notes, this piece is a “passionate journey of the relationship between a child and a parent.” Of the three works, this is my least favorite presentation; the recording seems less clear than the other two works, highlighting the challenge of recording

a work that equalizes three markedly different ensembles – chamber ensemble, percussion ensemble and symphony orchestra. In addition, the bass clarinet writing here seems the least inspired.

However, virtuosic bass clarinetists such as Calvin Falwell continue to expand the instrument’s capabilities and inspire composers to consider it as a solo voice. I highly recommend this recording for those interested in new bass clarinet repertoire and fine bass clarinet performance!

– Gail Lehto Zugger

Many Languages – One Soul: Balkan Clarinet Summit. 14 performances of music for instruments of the clarinet family from Athens, Belgrade, Novi Sad, Ankara, Istanbul, Izmir, Sofia, Salonika and Brașov, presented by S. Pazarentsis, S. Trkulja, S. Balutel, O. Büyükberber, O. Pamukov, T. Klein, C. Puntin and S. Schorn. Pirhanha Musik Berlin. Total time 72:57. www.piranhashop.de and www.Amazon.com

This first offering by the Balkan Clarinet Summit is a fantastic gaze into the depths of gypsy and Balkan clarinet music with artists from Greece, Serbia, Moldavia, the Netherlands, Bulgaria, Switzerland and Germany. The project’s recording label, Piranha Records, is an independent music label based in Berlin, and this is their first release of clarinet music.

Aside from the music itself, one of the most fascinating elements of the disc is the story of how the players of the Balkan Clarinet Summit came together to rehearse and record. The director of the Athens branch of the Goethe-Institut, Wolfgang Pöhlman, sought out local experts in clarinet performance from different

cultural heritages and enlisted Guenther Huesman, Claudio Puntin and Steffen Schorn to further refine the project. Stavros Pazarentsis, Slobodan Trkulja, Sergiu Balutel, Oguz Büyükberber, Tobias Klein and Orlin Pamukov joined Puntin and Schorn to form the clarinet choir utilized throughout the disc.

Each featured work is an outstanding arrangement of an original composition from one of the artists themselves. Since the players are from throughout Europe and the Balkan countries, no single idiom of clarinet playing is dominant and the listener is treated to a great deal of variety. I was particularly taken by the lyrical sweeping gestures of Nostalgic Dances, one of two compositions by Stavros Pazarentsis, and the outstanding virtuosity of Sergiu Balutel (as well as the rest of the group) in his high-energy contribution titled Breaza. Because each of these compositions is a new arrangement of traditional Balkan music, I was not previously familiar with any of the content found on this disc.

The recordings are taken from live performances, so listeners will occasionally encounter applause in unexpected places. However, the high quality of the players’ performances is unaffected, as they produce a live recording with studio polish.

As a whole, the Balkan Clarinet Summit’s work on this recording is remarkable and it should serve as a valuable resource for students, instructors and aficionados. Those unfamiliar with the clarinet’s rich history in the nations of Southeast Europe will find it particularly stimulating. It is my sincere hope that the compositions recorded on this disc are published so that clarinetists may explore the pieces for themselves!

– Joel Auringer

Clarinet at Maryland. Robert DiLutis, clarinet; Yin Zheng, piano. J. Horovitz: Sonatina; G. Donizetti: Etude; F. Poulenc: Sonata; J. Brahms: Sonata in F Minor, Op. 120, No. 1. Artist produced JD 005. Total time 52:26. www.reedmachine.net and gumroad.com/reedmach

Robert DiLutis is currently professor of clarinet at the University of Maryland at College Park and principal clarinet of the Baton Rouge Symphony Orchestra. Previously, he has served as professor of


clarinet at Louisiana State University and the Eastman School of Music, and as assistant principal clarinet of the Rochester Philharmonic. His teachers include William Blayney at the Peabody Conservatory and David Weber at the Juilliard School.

This is a new recording of four standard works from the clarinet’s traditional repertoire. In addition to this disc, one may download a video of DiLutis and Zheng performing these works on DiLutis’ website. According to the website, a third part of this project, which will include an instructional video about both collaboration and clarinet technique, should be available soon.

Throughout the recording, DiLutis’ sound is pleasing. It combines darkness with enough brightness to make the technical passages shine. The balance between the piano and the clarinet is quite good. However, at times, such as the third movement of the Horovitz Sonatina, I would have preferred the clarinet to be more prominent. Their interpretation of the Horovitz is energetic. In particular, the chosen tempos in the outside movements are very exciting. The first movement of the Horovitz begins faster than the composer’s marking. Although I prefer a calmer tempo for this movement, this performance presented a convincing rendition at this lively pace.

The Donizetti study, a technical challenge for most clarinetists, is performed with sensitivity throughout. DiLutis is true to the dynamic markings and the character of the lines, which is refreshing. One must approach works by composers steeped in Italian opera with lyricism, drama and flexibility. DiLutis succeeds with this recording.

In the Poulenc Sonata, once again the duo’s energy abounds. The first movement begins with the appropriate vigor and the last movement is as fast and clean as possible. The duo’s approach to the second movement particularly stands out. The colors both DiLutis and Zheng achieve are lovely, and it is a pleasure to hear DiLutis’ lyrical and emotional approach to shaping the melodic lines.

The duo’s interpretation of the Brahms Sonata in F Minor does not stray from the composer’s intent. A standard tempo and approach to expressive design are clear in the first movement. In the second movement, the duo’s rubato and shaping of the lyrical lines hold close to a traditional performance practice. The third movement flows beautifully between the clarinet and the piano. The tempo for this movement is tricky. If too slow or too fast, one loses the character of a Viennese waltz. The duo’s tempo was perfect. The fourth movement, once again, is held to its customary interpretation.

This recording provides the listener with traditional interpretations of staples of the clarinet repertoire. I would not hesitate to recommend it as an example of one convincing way to approach these works. In particular, the Donizetti is a distinctive contribution. DiLutis approaches this work in a charming and operatic manner, rather than as a mere technical exercise.

– Amanda McCandless

Viktor Kalabis. Thomas Martin, clarinet; Richard Sebring, horn; Kai-Yun Lu, clarinet; Vytas J. Baksys, piano. V. Kalabis: Variations for Horn and Piano, Op. 31; Invocation for Solo Horn, Op. 90; Suite for Clarinet and Piano, Op. 55; Sonata for Clarinet and Piano, Op. 30; Three Impressions for 2 Clarinets, Op. 87. Terezin Music Foundation TMF140227. Total time 56:09. www.terezinmusic.org and Amazon, iTunes, CD Baby

When Czech composer Viktor Kalabis visited Boston from Prague, he was enchanted by the orchestra and Symphony Hall. His wife, Zuzana Ružičková, remembers him wistfully sighing, “Would that a work of mine could be played here.” Clarinetist Thomas Martin and hornist Richard Sebring, associate principal and principal players in the Boston Symphony Orchestra and Boston Pops

Orchestra respectively, recorded this disc in Symphony Hall in 2013, thus fulfilling Kalabis’ wish.

One of the most distinguished 20th-century Czech composers, Viktor Kalabis’ music and artistic voice were suppressed for much of his life. Initially, this persecution was the result of the Nazi occupation of Prague during World War II. Later, his rejection of communism was the cause. Kalabis revered Bohuslav Martinů and served as president of the Martinů Foundation. Additionally, he was a great admirer of elder contemporaries such as Bartók, Kodály and Stravinsky. His style is distinctive with strident, colorful, contrasting harmonies and lyric chromaticism, showing the influence of Stravinsky and Bartók. However, Kalabis developed his own distinctive and appealing compositional voice.

The first work on this CD, Variations for Horn and Piano, begins and ends with the same plaintive, elegiac melody, framing a section of building tension and agitation. In the Variations as well as the Invocation for solo horn, Richard Sebring conveys Kalabis’ dramatic intent by building intensity and momentum, while demonstrating fine dexterity and a no-nonsense approach to execution.

The works for clarinet share dramatic similarities and the Suite for Clarinet and Piano shows the influence of Stravinsky. The first movement progresses rhythmically with plentiful color and contrast between the clarinet and piano. The second movement, in the character of an elegy, evokes a feeling of profound sadness. The third movement could have been extracted directly from Stravinsky’s L’Histoire du Soldat. The dryness of the melody creates the mood of the movement with sharp,


biting staccato, crisp rhythm and quick tempo. This light and energetic movement left me desiring additional movements.

In the Sonata for Clarinet and Piano, the individual lines of the clarinet and piano evoke emotion and depth in the first movement. The melody abounds with chromaticism and strong rhythmic drive. Frequent tone clusters and bitonality in the piano are strongly laced with chromatic melodic content. The second movement contrasts with a plaintive quality in the clarinet melody. The piano is subservient to the clarinet in this movement, acting mainly as a bed of subtle harmonic color. When compared to the other works on the disc, this sonata’s third movement shares a sense of strong inner emotion in its slow, melancholy middle section. This movement, which is twice as long as the prior movements, is a kaleidoscope of temperaments. The sudden changes provide the listener with an array of tonal color and unexpected direction.

Three Impressions for 2 Clarinets is a brilliant work that shows Kalabis’ inspirations with his use of bitonality, tonal palette and dissonant harmonic language. The agility of both Martin and Lu is impressive. After listening to this work, I found myself contemplating the obscurity of Kalabis’ music, as it is captivating, skillfully written and gratifying.

I found this CD quite enticing with good variety in the programming. Throughout, I found myself wanting to hear more. Thomas Martin is obviously a skilled and talented artist. His interpretation and proficiency surmount the technical obstacles in these works to make this recording memorable. The talents of Kai-Yun Lu, Vytas J. Baksys and Richard Sebring are impressive and earn high commendation. I highly recommend this CD and will consider works of Kalabis for my next recital program.

– Lori F. Ardovino

RECENT ARRIVALSÀ La Carte. Jan Jakub Bokun, clarinet;

Jakub Kościuszko, guitar. J.S. Bach: Arioso; F. Schubert: Arpeggione Sonata, D. 821; C. Debussy: Arabesque No. 1; P. Smutný: Dolor Amoris; Piotr Szewczyk:

Jay Jay Bee for Clarinet Solo; Yom: Moïse; Yom/trad.: Rêve de l’Enfant; D. Pajdzik: It Gets Worse. JB Records JBR 017-2; QBK Records QBK 011. Total time 51:40. www.jblrecords.com.pl and www.qbkrecords.com

Agents of Espionage. Brian Viliunas, clarinet; Jeffrey Flaniken, violin; Donald Sanders, piano; Kathryn Fouse, piano. M. Lackey: Paths of the Seas, Particles; R. Springler: Spectacular Time; Z. Bramble: To American Innovation, Sonata, Agents of Espionage. Potenza Music PM1045. Total time 52:00. www.potenzamusic.com

Spring Fantasy. Jeremy Reynolds, clarinet; Gal Faganel, cello; Caleb Harris, piano. N. Rota: Trio; P. Merkù: Astrazioni, Op. 23; R. Muczynski: Fantasy Trio; C. Früling: Trio in A Minor, Op. 40. Potenza Music PM1044. Total time 69:19. www.potenzamusic.com

Link at His Very Best. Larry Linkin, clarinet; Terry Harrington, saxophones; Murray Middleman, saxophones; Bobby Shew, trumpet; Roy Wiegand III, trumpet; Dan Fornero, trumpet; Tony Terran, trumpet; Roy Wiegand, Jr., trombone; Don Vincent, piano; Ross Tompkins, piano; Richard Simon, bass; Ernest McDaniel, bass; Doug MacDonald, guitar; Ron Anthony, guitar; Jack LeCompte, drums; Elvio Ditta, drums; Billy Hulting, percussion & vibraphone. Thirteen tracks consisting of Dixieland, jazz, and blues standards in big band arrangements by Don Vincent. Whoelsebut Records. Total time 47:05. www.whoelsebut.com

Follow the Stick. Sam Sadigursky, clarinet; Chris Dingman, vibes & marimba; Bobby Avey, piano; Jordan Perlson, drums, percussion; Jason Palmer, trumpet; Ljova, viola. J. Grey/E. de Lange: String of Pearls; S. Sadigursky: Fast Money, 3+2, Mule, Do the Dance, Austerity Measures, Looks Can Be Deceiving, Reach, Life’s Flowering, Deadly Sins, Touché, Heart, Math Music. Brooklyn Jazz Underground Records BJUR 056. Total time 75:11. www.bjurecords.com

Clarinet Music by J. & A. Semler-Collery. Hedwig Swimberghe, clarinet; Dana Protopopescu, piano. A. Semler-Collery: Cantabile et Allegro; J. Semler-Collery: Fantasie et danse en forme de gigue, Lied et final, Reverie et scherzo, 10

Rovner™ Products Are Covered By One Or More U.S. Patents. Additional Patents Applied For. See Website For Details.

www.rovnerproducts.com

BEHOLD THERECTANGLE

Now In Sizes 62-68For Optimum Tuning.Locks In Intonation &Promotes Ease Of PlayThrough All Registers.

Rotates To PersonalizeThe Playing Experience!

(Complete Geeky ExplanationFor Why It Is So Extraordinary

Available On Our Website.)


Etudes de concert. Artist produced. Total time 47:23.

Clari 10 – X Curso Julián Menéndez, Ávila 2005. Henri Bok, Radovan Cavallin, Silvye Hue, Philippe Leloup, Alberto Rodríguez, Pedro Rubio, Luis San Sebastián, Justo Sanz, Hedwig Swimberghe, Cuarteto Alhambra, Alumni of the 10th Julián Menéndez Clarinet Course, clarinets. R. Boutry: Aires Abulenses; D. Loeb: Fantasía sobre “Por qué lloras blanca niña”; P. Iturralde: Miniatura Impromptu; M. Castelló: Madre Teresa; M. Ravel: Pavana para una infant difunta; Rodrigo/C. Corea/R. van Bavel: Adagio/Spain; J. Van der Roost: Rikudim. Artist produced. Total time 50:05.

Why Not? Hedwig Swimberghe, clarinet; Inna Poroshina, piano. A. Lonque: Introduction et danse rustique; J. Bauer: Rondo kwartowe; J. Absil: Sicilienne; J. Feld: Scherzino; B. de Crepy: Repliques; J.M. Ruera: Meditacio; L. Cahuzac: Cantilene; W. Hildemann: Ritmi Dispari; M. Reger: Romanze in G Major; I. Bazel: Elegie and Scherzo; G. Bacewicz: Easy Pieces; M. Deroo:

Impromptu, Op. 72; V. Nossow: Walz “Junior”; N. Marchenkova-Frei: Augurio; G. Lyashenko: Con Amore; H. Swimberghe: My Tune 1, Le Printempos s’annonce, My Tune Too! Artist produced. Total time 61:36.

Pages of Life. Hedwig Swimberghe, Sabine Schmitz and Philip Sierens, clarinet; Isidro Santos, bass clarinet; Emilia Zenko, bassoon; Laure Campion, soprano; Inna Poroshina, piano. Nadiya Poklad: Pour Toi for solo clarinet; Danse Fantastique for solo clarinet; Variations for clarinet, bassoon and piano; Les Pensees for solo clarinet; Sonata for clarinet and piano; Une Tendresse for solo clarinet; Una Imagen Espanol for solo clarinet; La Lune et Les Etoiles for bass clarinet and piano; Derwish’s Prayers for solo clarinet; Agnus Dei for soprano, clarinet and piano; Les Versions for solo clarinet; Partite for clarinet quartet. Artist produced. Total time 58:08.

Brussels Clarinet Choir. Arrangements and original works for clarinet choir. Hedwig Swimberghe, clarinet and conductor; Evy Roelants, soprano. T. Albinoni: Sonata in G Minor; N.

Marchenkova: Sommer Farbenspiel über dem Bodensee; G. Rossini: Introduction, Theme and Variations; P.I. Tchaikowsky: Andante cantabile; J. Tassyns: Vocalise; M. Ravel: Pavane pour une infant défunte; G. de Kerpel: Clarichor; R. Boutry: Aires Abulenses; F. Mendelssohn: Tarantella, Op. 102, No. 3. World Wind Music WWM 500.106. Total time 74:25. www.mirasound.nl/wwm

East Meets West. Jun Qian, clarinet; Kae Hosoda-Ayer, piano; Hu Jianbing, sheng; Scott Steele, percussion; Jing Zhou, guzheng. J. Zhou: The Four Gentlemen Among Flowers for clarinet and guzheng; K. He: Soliloquy – Wings for solo clarinet; A. Wang: The Feeble Breeze, The Sullen Spring for clarinet, percussion and guzheng; Z. Long: Taiping Drum for clarinet and piano; C. Yi: Three Bagatelles from China West for E-flat clarinet and sheng; J. Qian/J.B. Hu: New York Improvisatory Dialogue for clarinet and sheng; Q. Li: We Song Fights the Tiger for clarinet and electroacoustic music. Albany Records TROY1528. Total time 59:12. www.albanyrecords.com

CrossOver. Andrew DeBoer, clarinet; Qing Nadia Feeken, piano; with Katherine Palmer, clarinet; Melissa Vaughan, clarinet; Matthew Miracle, bass clarinet. Nikola Resanovic: Sonata for clarinet and piano; The Ox and the Lark for two clarinets; Four Miniatures for clarinet trio; Thunder-Blossom for solo clarinet; Analogues for clarinet and bass clarinet; alt.music.ballistix for clarinet and recording. Artist produced. Total time 55:57. www.potenzamusic.com

Violet Convergence – Viola Works on Clarinet. Andrew DeBoer, clarinet and arranger; Qing Nadia Feeken, piano; Gail Novak, piano. Y. Bowen: Sonata No. 1 in C Minor, Op. 18; Phantasy in F, Op. 54; Romance in D-flat; Sonata No. 2 in F Major, Op. 22. Artist produced. Total time 70:28. www.Amazon.com, iTunes, and www.cdbaby.com/cd/andrewdeboer3

Atonement. Kimberly Cole Luevano, clarinet; Midori Koga, piano; Lindsay Kesselman, soprano. J. Higdon: Clarinet Sonata; K. MacMillan: The Country Wife; K. Bunch: Cookbook; E. Chambers: Atonement. Fleur De Son Classics FDS58028. Total time 63:26. www.fleurdeson.com

Tornado Project. Esther Lamneck,

CC

CStephan Vermeersch Peter Wright Michele ZukovskyJulia Heinen André Moisan

California Clarinet ClinicExplore the connection between performance success and your mind & body

in beautiful Los Angeles!

Sunday, June 19 - � ursday, June 23, 2016Tuition - $950.00

Applications due by May 1, 2016californiaclarinetclinic.com

Special clinic on mouthpiece making & trial with James Kanter

Check out our website for more information!!!

Special clinic on instrument repair with Levi Tracy

Private Lessons & Masterclasses with a World Renowned Clarinet Faculty Visualization and Imagery for Performing and Audition Success

Conquering the Stage Fright Beast Mental Strategies for Optimal Performance

Creating Powerful Anchors to Trigger Great Performance Alexander Technique & Breathing & Yoga & Pilates for Clarinetists


clarinet; Elizabeth McNutt, flute. R. Climent: Russian Disco; R. Rowe: Primary Colors; P. Wilson: Beneath the Surface; A. May: Still Angry; E. Lyon: Trio for flute, clarinet and computer; R. Pinkston: e++. Ravello Records RR7908. Total time 58:47. Additional content including study scores, liner notes, biographies and credits is available at www.ravellorecords.com/tornadoproject

Payne/Lindal/Liebowitz. Bill Payne, clarinet; Eva Lindal, violin; Carol Liebowitz, piano. B. Payne/E. Lindal/C. Liebowitz: Ever Since, It Happened This Way, Unspoken, B/E, If Then, Glissade, Preludes, Holus Bolus, What We Are Saying, Blue Flame, ‘til Always. Line Art Records A1001CD. Total time 56:33. www.lineartrecords.com

The Snake Charmer. This project explores a very special moment in India’s history through words and music. Kim Maerkl,

clarinet; Calvin E. Burke, narrator; Christian Gruber, guitar; Tobias Ott, tabla. K. Maerkl: The Snake Charmer. Atlantic Crossing Records ACR 0007. Total time 36:25. CD, manuscript and sheet music are available at www.atlantic-crossing.com

Piotr Moss. Jean-Marc Fessard, clarinet; Jadwiga Rappé, alto; Polish National Radio Symphony Orchestra in Katowice; Michal Klauza, conductor (D’un silence); Jerzy Maksymiuk, conductor (Loneliness). P. Moss: D’un silence; Loneliness. Dux Recording Producers DUX 1118. Total time 68:03. www.dux.pl

Triple Dutch. Kurios Clarinet Quartet: Boujke Musch, E-flat and B-flat clarinet; Peter Koetsveld, clarinet; Corien Hoepman, clarinet and basset clarinet, Mark Snitselaar, bass clarinet. J. Andriessen: Clarinet Quartet; H. Tomp: Clarinet Quartet No. 2; F.

den Herder: Clarinet Quartet. Artist produced. Total time 51:40. www.kuriosklarinetkwartet.nl

The Lyric Clarinet. F. Gerard Errante, clarinet and arranger; Philip Fortenberry, piano; Voltaire Verzosa, piano; D. Gause, piano. C. Guastavino: La rosa y el sauce, El Sampedrino, Milonga de dos hermanos; J. Duke: I Carry Your Heart; C. Debussy: Beau soir, Mandoline, Clair de lune; F. Poulenc: Bleuet, Les Chemins de l’amour, Hôtel, Voyage à Paris; D. Gause: Lunar Lace; R. Schumann: Widmung, Er der Herrlichste von allen; J. Brahms: Wie Melodien zieht es mir, Vergebliches Ständchen, Botschaft; F. Schubert: Nacht und Träume; S. Barber: Sure on This Shining Night; L. Laitman: The Apple Orchard; A. Ginastera/S. Sondheim: Triste/Send in the Clowns. Ravello Records RR7886. Total time 60:28. www.ravellorecords.com

by Christopher Nichols

Since my appointment in September 2015 as Audio Reviews Editor for The Clarinet, I have had the privilege of examining and listening to numerous quality offerings from artists around the world, many previously unfamiliar to me. I am totally enamored with the depth and breadth of excellent clarinet performance in recorded music today!

I received three excellent recordings from Italian clarinetist Davide Bandieri: Il Clarinetto Piccolo all’Opera, Tentative Winds 2006-2011 and Ferruccio & Ferdinando Busoni: Complete Music for Clarinet. Each is a remarkable contribution in its own right to the scholarship and discography of the clarinet. Bandieri currently serves as principal solo clarinet of the Lausanne Chamber Orchestra in Switzerland. His pedigree is impressive, citing Fabrizio Meloni, Karl Heinz Steffens and Alessandro Carbonare as principal teachers. Prior to his position in the Lausanne Chamber Orchestra, Bandieri served as piccolo clarinet (as the E-flat clarinet is known in Italy) in the Madrid Symphony from 2004 to 2011. He has performed with a wide variety of

orchestras throughout Europe under conductors such as Claudio Abbado, Riccardo Muti and Kent Nagano. Since 2008, Bandieri has promoted the Collection Davide Bandieri project, which is a set of new works for E-flat clarinet published by Periferia Music. A more detailed biography is available at www.davidebandieri.com.

Il Clarinetto Piccolo all’Opera: 19th-Century Italian Music for Piccolo Clarinet and Piano will delight the E-flat clarinet enthusiast, particularly those in search of quality solo repertoire for this instrument. Nearly every selection was new to me, with the exception of Luigi

Bassi’s Gran Duetto Concertato Sopra Motivi dell’Opera “La Sonnambula” for E-flat clarinet, B-flat clarinet and piano. Along with Bassi and Ernesto Cavallini, familiar composers of Italian opera fantasies, Bandieri introduces works by two obscure composers, Giuseppe Cappelli and Giacomo Panizza. A summary of the disc’s contents is available in the Recent Arrivals section of June 2015’s “Audio Notes.”

Bandieri performs on the E-flat clarinet at a level many hope to achieve on the soprano clarinet. His performance throughout is exceptional. Virtuosic passages are executed with ease; intonation and ensemble with pianist Duncan Gifford are excellent. Bandieri intimately understands the meaning of the text in each fantasy, expressing the full gamut of human emotion embodied by the source material. The performance of Ernesto Cavallini’s treatment of the revered Il Carnevale di Venezia is a particular standout, as Bandieri flawlessly negotiates extreme register leaps between the chalumeau and altissimo registers. He transcends the instrument, with only fleeting moments of timbre and intonation issues one commonly associates with the E-flat clarinet.

My only criticism concerns the final track, Bassi’s Gran Duetto Concertato

AUDIO NOTES


Sopra Motivi dell’Opera “La Sonnambula,” when Bandieri and Gifford are joined by clarinetist Javier Balaguer Doménech. I would have liked to hear Doménech’s contribution to this performance more clearly; he sounds distant in comparison to Bandieri. However, this is a relatively minor complaint.

The next disc, Tentative Wings 2006-2011: 21st Century Music for Piccolo Clarinet, presents contemporary compositions for E-flat clarinet in a variety

of instrumentations. These contributions to our repertoire are the result of Davide Bandieri’s commissioning activities between 2006 and 2011 during his employment with the Madrid Symphony Orchestra.

This disc opens with Eduardo Morales-Caso’s (b. 1969) Hiranyagarbha for E-flat clarinet, violin and piano, composed in 2010. Here, Bandieri is joined by violinist Yoshiko Ueda and pianist Duncan Gifford. In the liner notes, Morales-Caso cites his inspiration for Hiranyagarbha in “the Hindu cosmological conception emerging from the ‘golden ratio.’” He describes the work as a fantasy which “delicately unveils a marvelous dream-landscape in which the ‘colour’ leads us, like a cyclic personage, through the subtle combinations of timbre revealed to us by the discourse.” The composer’s impetus is irrefutably realized in a technically and musically virtuosic performance by Bandieri, Ueda and Gifford.

Next, Ailem Carvajal’s (b. 1972) Eón (2009) for E-flat clarinet and electronic tape combines Bandieri’s E-flat clarinet

with sonorities from various types of transportation, the sounds of Havana, Cuba, and the infinite flow of water. To fully experience the overall effect created by this work’s use of binaural recording techniques, a fine stereophonic setup is essential!

Willy Merz (b. 1964) contributes the single work for unaccompanied E-flat clarinet on this disc, titled Points: Espace (2008). Merz exploits the full expressive range of the instrument, both in regard to traditional and extended techniques. Bandieri easily negotiates every challenge, demonstrating his mastery of flutter tonguing, portamento and facility in every extreme available on the instrument.

Marcello Bonanno (b. 1975) joins Bandieri for his work Spettri (2010) for E-flat clarinet and piano. He attributes Davide’s pure sound on the instrument as an inspiration for the composition. Poised at the midpoint of the disc, the work’s reliance on minimalist simplicity is a welcome respite from the complexity of the first three works. Of special note: the pitch performed at 3:10 for 15 seconds – a written sixth-ledger-line altissimo D – makes, perhaps, its world premiere in E-flat clarinet literature. Other moments in this extreme register appear throughout the work and Bandieri’s performance seems effortless.

In Tres Palabras (2009), Massimo Botter (b. 1965) joins the timbres of the E-flat clarinet and a flamenco percussion instrument, the cajón, which is struck by the clarinetist’s foot! Botter divides his composition into three distinct parts. The first part introduces a sustained and static pitch which alternates with moving pitches to represent “panting speech.” The arrival of the second part is marked by the introduction of the cajón. Its meditative nature contrasts with the outer parts. The work has an epilogue featuring diminution, which comes to a frenzied conclusion. Bandieri executes this work with the utmost conviction and ease. The punctuation from the cajón provides an effective addition to the principal texture of unaccompanied clarinet.

Luigi Abbate (b. 1958) constructed his Homage to W.O.L.S. (2011) for clarinet and electronics in collaboration with Marco Biscarini and Guido Ponzini. The electronics created with Biscarini and Ponzini exclusively use samples provided

Play SelectedBuffet Clarinets

Taplin-Weir Barrels & Bells1434A Danforth Ave.

Toronto, Ontario, Canada M4J 1N4(647) 351-8181 [email protected]

John Weir and Patti Goodwin

www.taplinweir.com

Hassle Free Shipping to and from the US!

SELECTIONSTUDIO – An extensive onhand selection of Buffet Clarinets

REPAIRS – Artist level repairs, custom work and voicing of all professional clarinets

LIGATURES – Gold plated Bonade and finely crafted Ishimori ligatures

GAUGE – The unique Taplin-Weir clarinet bore gauge


by Bandieri. The opening palette of sonorities often seems entirely abstract from clarinet tone, which creates a fascinating variation of texture. It is likely that Biscarini and Ponzini omitted the natural beginning and end of samples to create this effect. Later, the work becomes far more active and the characteristic sound of clarinet articulation abounds.

To close this disc, Bandieri is joined by Gianluca Cascioli to perform Cascioli’s Fantasia (2011) for E-flat clarinet and piano. Cascioli constructs Fantasia around a theme based on a hexachord, which is introduced with a clarinet cadenza followed by a “melody-carillon” for solo piano. The remainder of the work is a series of expansion and variation on this material, which the composer cites as a significant aspect of his compositional technique. Cascioli’s collaboration with Bandieri, who is the dedicatee of this work, is artistically convincing in all aspects of performance.

Ferruccio & Ferdinando Busoni: Complete Music for Clarinet, a two-disc set from Brilliant Classics 94978, is the first complete reference recording of clarinet works from the Busoni son and father (Ferruccio and Ferdinando, respectively). The complete content is listed in the September 2015 “Audio Notes” in the Recent Arrivals section. Particularly significant is the premiere recording of the recently published edition by A. Manuel de Col of Ferruccio Busoni’s Sonata in D Major, K. 138, of which only three movements are extant in manuscript. The liner notes by Michele Napolitano are well-written and informative.

Bandieri is joined by pianist Alessandra Gentile, the Quartetto di Roma and Camerata Strumentale Città di Prato

conducted by Jonathan Webb. Bandieri’s resonant sonority, phrasing and style are beautiful throughout. The collaboration with Alessandra Gentile and Quartetto di Roma is stunning in regard to unity of phrasing, intonation, balance and ensemble. However, the recording of Busoni’s Concertino, Op. 48 falls short of the superlative standard demonstrated throughout the remainder of the set. Intonation flaws from the Camerata Strumentale Città di Prato sometimes detract from the overall effect, but

Bandieri’s beautiful sound and musical approach to phrasing still make this track worthwhile listening. Clarinetists interested in lesser-known romantic recital literature will welcome the addition of this Busoni two-disc set to the clarinet discography.

Bandieri’s commitment to the expansion and visibility of the E-flat clarinet in solo and chamber music is evident in these recordings of 19th and 21st century literature. I will certainly seek opportunities to hear Davide Bandieri in live performance as the result of these wonderful recorded contributions! v

Wenzel Fuchsfirst solo clarinettist of the Berlin Philharmonic

has been appointed professor of clarinet at the Mozarteum University in Salzburg.

The entrance exam for the academic year 2016/17 will be held on 22 June 2016.

Closing date for registration: 30 April 2016

Registration and further details: www.uni-mozarteum.at


PRESIDENT-ELECT DIANE BARGER

Diane Barger is Hixson-Lied professor of clarinet at the University of Nebraska – Lincoln (UNL) where she received the 2013 Annis Chaikin Sorensen Award for Excellence in Teaching in the Humanities and the 2001 College Distinguished Teaching Award. She is an internationally-acclaimed soloist and chamber musician, master class clinician and adjudicator, member of

UNL’s Moran Quintet, principal clarinet of Lincoln’s Symphony Orchestra, and artist/clinician for Buffet Crampon and D’Addario Woodwinds. Barger is featured on her solo compact disc Bling Bling and as editor of 13 editions of Bellini operatic fantasies on the Potenza Music label; she can also be heard with the Moran Quintet on the Crystal Records label. Actively involved in the International Clarinet Association for 30 years, Barger is currently the Nebraska state chair and previously served as artistic director for the 2012 ClarinetFest®, ICA treasurer (2004-2010), and coordinator of the High School Solo Competition (2001-2005).

STATEMENTIn my third decade of membership in the International Clarinet Association, I am honored to be nominated as a candidate for your president-elect. I enjoyed several years of service in ICA leadership roles that fostered me with a unique and valuable insight into our global alliance. My organizational skills and creative vision – put to the test as artistic director of the 2012 ClarinetFest® – along with my enthusiasm and unwavering passion for our cause establish a firm foundation from which I would serve. I am eager to work alongside you, our board of directors, and our stalwart industry sponsors to ensure our continued growth by pursuing groundbreaking initiatives. Expanding our worldwide membership and discovering innovative ways to engage

every one of you through the online website and social media, journal content, and conference activities are critical components of my vision for our healthy and prosperous future. I would greatly appreciate your support.

PRESIDENT-ELECT MITCHELL ESTRIN

Mitchell Estrin is professor of clarinet at the University of Florida and artistic director of the Vandoren Clarinet Ensemble Festival. He was education and creative development manager for Buffet Crampon for eight years and founder of the Buffet Crampon USA Summer Clarinet Academy. He performed for 25 years with the New York Philharmonic in over 2,000

concerts as principal, second, and E-flat clarinetist, as well as in chamber music performances with the Chamber Music Society of Lincoln Center, Amadeus Ensemble, and New Arts Trio, and at the Newport Music Festival. Estrin has an extensive discography of solo and chamber music and recorded over 100 Hollywood motion-picture soundtracks. He served as director of ICA clarinet choirs seven times, and directed clarinet choirs for the Oklahoma Clarinet Symposium, United States Navy and Texas Clarinet Colloquium. His University of Florida Clarinet Ensemble has performed throughout the United States and Europe, including three recitals at ClarinetFest®. The ensemble has produced three Grammy Entry List appearance recordings for Mark Masters. Mitchell Estrin studied with Stanley Drucker at The Juilliard School and is a Buffet Crampon Clarinet Artist and Vandoren Performing Artist.

STATEMENTI am honored to receive the nomination for ICA president-elect. My 40 years of professional experience as a performer, educator and administrator have given me a strong and diverse background

ICA Officer Election CandidatesThe ICA election will be held online from March 15 to May 1, 2016. The election will be administered by Lynn Fryer, ICA

executive director. ICA members without an email address in the ICA database will be mailed a paper ballot. Please refer to www.clarinet.org and follow the link on the home page to vote online. Ballots submitted by regular mail must arrive in the office of Lynn Fryer by May 1, 2016, to be counted. Please review the candidate statements and biographies for the offices of

president-elect, secretary and treasurer. All ICA members in good standing are encouraged to participate in the election by casting a vote for the candidate of their choice in each of the open positions.

Diane Barger

Mitchell Estrin


in the music industry. As a member of the ICA since 1975 (then International Clarinet Society), my activities with this great organization include performances, presentations, adjudication, committee service (as member and chair), directing clarinet choirs and contributing articles for The Clarinet. My positive long-term relationships with members of every constituency of the ICA will allow me to understand the broad range of perspectives needed for continuing the effective leadership of the organization. I am not afraid of challenges and will consider all sides of an issue when working to identify and implement solutions for a particular situation. I am an experienced and flexible administrator with an established record of fiscal management and responsibility. My sole interest would be the continuing global success of the ICA. I would welcome the opportunity to serve the ICA membership and thank you for considering my candidacy.

SECRETARYDENISE GAINEY

Denise Gainey is associate professor of clarinet and instrumental music education, and coordinator of graduate studies in music at the University of Alabama at Birmingham. She is a Backun Artist/Clinician, a D’Addario Woodwinds Artist, and serves as the secretary of the board of directors for the International Clarinet Association. Gainey is an active clinician and performer throughout

the United States and abroad. She has compiled and edited a collection of clarinet solos, Solos for Clarinet, published by Carl Fischer in 2001, and is currently writing a book on master teacher Kalmen Opperman. She received a Bachelor of Music Education degree from Florida State University, a Master of Music degree in clarinet performance from the University of North Texas and a doctorate in clarinet from the University of Kentucky. Gainey’s major teachers include Kalmen Opperman, James Gillespie, Frank Kowalsky and Fred Ormand.

STATEMENTI am honored to be considered for re-election to secretary of the ICA. My strong organizational skills, ability to work with and motivate people in a positive, proactive manner, and an eagerness to serve the ICA will be of great benefit to our organization. I am currently ICA secretary and served as state chair coordinator, Alabama state chair, and as a member of the artistic team for ClarinetFest® 2012. During 23 years of university teaching, I have held leadership positions on numerous committees. I hosted one of three regional festivals sponsored by the ICA this past February, and have also organized and hosted a successful clarinet symposium for many years that continues to grow in attendance. As secretary, I have enjoyed working with my colleagues on the board as our organization makes several major positive changes to help take the ICA in new and exciting directions.

SECRETARYMAUREEN HURD HAUSE

Maureen Hurd Hause is coordinator of woodwinds and associate professor of clarinet at the Mason Gross School of the Arts, Rutgers University. She has appeared in concerts and master classes in New York City and Europe, Asia and North America. She has performed at New York’s Carnegie Hall, Alice Tully Hall, Jazz at Lincoln Center, and Merkin Hall, with the

American Symphony Orchestra, New York City Opera Orchestra, Metropolitan Opera Orchestra, and Chamber Music Society of Lincoln Center, and in the current production of The King and I at Lincoln Center. Hause performed at ClarinetFest® conferences in Italy, Japan, Canada, and the United States and at the Norfolk, Skaneateles, and Lancaster Festivals. She has recorded for Naxos, MSR Classics and Marquis Classics. She holds degrees from Iowa State University and the Yale School of Music, where she worked with the Benny Goodman Papers of the Irving S. Gilmore Music Library and received recognition for this research and related performances.

STATEMENTI am honored to be nominated for the position of secretary of the ICA. I have previously served the ICA as New Jersey state chair for several years and as a judge for the Young Artist Competition at the 2011 ClarinetFest®. I have enjoyed performing at several ClarinetFest® conferences, and I was a prizewinner in the 2001 Research Presentation Competition. I have been a member of the ICA for about 25 years and have found this organization to be a vital and innovative connector and facilitator for clarinetists around the world. The ICA promotes and encourages deeper understanding of our instrument(s) and our literature, and I would be glad to work with this outstanding group to help further performance and research. I believe my leadership and administrative experience as coordinator of woodwinds at the Mason Gross School of the Arts will serve me well on the ICA board. I enjoy working with people and helping bring ideas to fruition. I thank you for your consideration.

Denise Gainey

Maureen Hurd Hause


TREASURERTOD KERSTETTER

Tod Kerstetter serves as professor of clarinet and as a member of the resident Konza Wind Quintet at Kansas State University. Tod has been a frequent performer at ICA ClarinetFest®, including performances at recent conventions in 2011, 2012, 2013, 2014 and 2015. A graduate of Furman University, Indiana University and the University of Georgia, Tod has performed

with the clarinet sections of orchestras in Charleston, Evansville, Kansas City, Nashville and Savannah, as well as on two tours with the American Wind Symphony. He enjoys traveling, and has performed internationally in Australia, Austria, Finland, Germany, Hungary, Italy, Mexico, New Zealand, the Netherlands, Norway, Russia, Slovenia, Spain and Sweden. Tod has enjoyed being involved in recent commissioning projects for new music for clarinet by such composers as David Maslanka (Desert Roads, Eternal Garden), Mauricio Murcia (Colombian Suite, Trio Suite Colombiana), Kevin Walczyk (Concerto Scion) and Craig Weston (Still on the Antipodes, Stehekin Sonata).

STATEMENTAs current ICA treasurer, I feel doubly honored to have been elected twice by our membership to this important position. During my term, we have been confronted by several factors that have severely challenged our financial status. The ICA board has addressed these issues by making significant changes to our administration, in how The Clarinet is published, and in reducing board meeting expenses through teleconferencing. We now receive financial management from the C.P.A. firm of Rick Westbrook – a company with years of experience in working with nonprofit organizations. With Rick’s help, along with my experience in analyzing our budgetary trends, we have developed new budgetary and financial policies for the ICA that should return us to a very strong financial position by the end of our financial year in August. As treasurer, I will continue using my experience and dedication to do everything possible to keep the ICA financially viable for years to come. v

Tod Kerstetter

CLARINETACADEMYThe Ohio State Clarinet Academy is a five-day resident experience where high school musicians focus on enhancing musical and performance skills. Participants engage with Professor Caroline Hartig and Ohio State students in private lessons, master classes, chamber ensemble experiences and more!

Eligibility: For students who are entering grades 9-12 in the 2016-2017 school year, as well as 2016 high school graduates.

Program Fee: $450, includes room and board

Deadline to Register: May 20, 2016

Registration and details at music.osu.edu

JUNE 12-16 2016

Program Director: Professor Caroline Hartig


Have you ever wondered where to

find out things like: • How do you make or adjust your reeds? • What do clarinetists do in their free time? • What exercises can help you tongue faster? • How can you keep your clarinet from cracking in

the winter? • What can you do with all your old and worn-out

reeds? • What are some helpful tips for auditioning

successfully? • Where can you find ideas for your next contest

solo or recital program? • Are scales really that important? • Who invented the clarinet and how did auxiliary

clarinets develop?

BuzzReed will be an exciting new space for sharing information about the clarinet’s pedagogy, equipment, culture, literature and history in a format designed with younger clarinetists and non-professionals in mind. Through regular blog entries and a new column in The Clarinet, this initiative will foster lively discussions about all things clarinet and provide information that will be both fun and educational. It will feed your obsession for the clarinet and keep you coming back for more! Look for updates in the ICA e-newsletter and at www.clarinet.org. v

by Spencer Prewitt, Jesse Krebs, Kristy Nichols and Eric Salazar


Dear ICA Members,

The ICA Board is busily preparing for many upcoming events. We are excited to share all that is happening

and to express our appreciation for your continued support of our organization. We are planning several membership drives and initiatives, and growing our membership remains our greatest goal. Please encourage

your students, colleagues and clarinet enthusiasts of all ages to join the ICA. We are offering new incentives, including access to The Clarinet online and an updated website. Also, the ICA/James Gillespie Online Resource Library continues to be a favorite “go to” for clarinetists of all levels.

The ICA is pleased to welcome our new Executive Assistant Kathleen D. Chau. She is a retired member of the U.S.

Navy Band in Washington, D.C., where she served as a clarinetist and in several important organizational posts (see her bio and photo on p. 2).

ClarinetFest® 2016 is fast approaching and promises to be a wonderful gathering of clarinetists from all over the world. We are grateful to Bob Walzel, Stephanie Zelnick and Lynn Fryer for their leadership, as well as to the countless volunteers behind the scenes working together to make a great event.

Please encourage your students and colleagues to participate in the ICA ClarinetFest® 2016 competitions. These competitions provide a valuable opportunity for students and young professionals to compete on an international level, meet people from around the world, and develop lifelong friends and professional colleagues.

As you will note, we have secured wonderful sites for future ClarinetFest® conferences, with ClarinetFest® 2017 scheduled for Orlando, Florida and hosted by Keith Koons and his team. At the time of the tragic passing of beloved Guido Six last October, plans had been underway and funding secured by Guido to host ClarinetFest® 2018 in Ostend, Belgium. We have heard from our membership that some of the finest and most memorable ClarinetFests have been held outside of the United States. While it is fiscally advantageous for our organization to host ClarinetFests within the United States, the ICA is committed to working with our international members. We are pleased that Eddy Vanoosthuyse, along with the Six family, will continue to plan and carry through with hosting ClarinetFest® 2018 in Ostend. We are now searching for exciting and inviting U.S. locations for ClarinetFest® 2019 and 2020. Please see page 15 in this issue for proposal details and guidelines.

As always, we value your membership and enjoy hearing your comments and ideas as we all share a great passion for the clarinet and our clarinet community! We hope to see you in Lawrence for what will surely be an inspirational ClarinetFest® 2016. v

Messagefrom the

AAri

International Summer AcademyARIAMihai Tetel - Director

2016

2016 Boot Camp Session at Mount Holyoke College, MA, USA

Session: July 1-12

Intensive session on technique, intelligent practicing, musicianship, auditions, and career.

For more information please contact Prof. Mihai Tetel at [email protected] or visit our website at www.ariaacademy.com

Telephone 765.212.0327

FAculTy:

Deborah chodacki - Louisiana State University

Ken Grant - Eastman School

Jonathan Gunn - Principal, Cincinnati Symphony & faculty Cincinnati College-Conservatory

Ron Samuels - Pittsburgh Symphony & Duquesne University

Guy yehuda - Michigan State University

© 2015 Vandoren SAS. www.vandoren.com Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60642, 888.707.4455, www.dansr.com

Wha

t Col

or is

You

r Sou

ndfu

ll pa

ge w

ith b

leed

4/C

Prep

ared

by

Todd

Alle

n De

sign,

Inc.

574.

295.

8866

The

Cla

rinet

CLARINET REEDSWHAT COLOR IS YOUR SOUND?#myvandorencolor

The Yamaha Custom CSVR clarinets are the result ofyears of development dedicated to a clearly focusedconcept: crafting a Custom clarinet that has a beautifulsound, consistent quality, and an affordable price. Bothstudent and professional clarinetists require a rich soundand comfortable playability. These qualities were combined with the high level of consistency that onlyYamaha can provide, allowing clarinetists to demand ahigher standard than ever before.

• Redesigned keys offer comfortable, ergonomic handplacement. In addition, the new keys have thicker silver-plating for a dark and resonant sound quality.

• Durable leather pads ensure a precise seal betweenpad and tone hole for ease ofresponse throughout the entirerange of the clarinet.

• A new Custom barrel design provides the CSVR witha well-balanced response and rich, warm tonal colorsthat will elevate the progressing clarinetist’s playing.

Learn more now at www.4wrd.it/csvrcla4

©2016 Yamaha Corporation of America. All rights reserved.

Demand a Higher StandardIntroducing the NEW CSVR

WIND7904 CSVR Clarinet CLA4.qxp_Layout 1 12/1/15 12:05 PM Page 1

Documents

Vol. 43 No. 2 March 2016 - Home | International Clarinet ... · PDF fileVol. 43 No. 2 March 2016 Also in this issue... Theodore Johnson: Remembrances and Recommendations The Clarinet