Professional Documents
Culture Documents
DEpARTmENTS
Pyne Clarion Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71
Quodlibet, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Luis Rossi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
Rovner Products . . . . . . . . . . . . . . . . . . . . . . . . . . 15, 20 TEAChING CLARINET by Michael Webster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
Rutgers University – CLARINOTES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Mason Gross School of the Arts . . . . . . . . . . . . . . 69
San Francisco Conservatory of Music . . . . . . . . . . . . 99 AuDIO NOTES by William Nichols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Sayre Woodwinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 CONFERENCES & WORKShOpS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Tap Music Sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Taplin-Weir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 hISTORICALLY SpEAKING… by Deborah Check Reeves . . . . . . . . . . . . . . . . . . . 26
University of Memphis . . . . . . . . . . . . . . . . . . . . . . . 76 LETTER FROm ThE u.K. by Paul Harris . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
University of Missouri –
School of Music . . . . . . . . . . . . . . . . . . . . . . . . . . 40 ThE pEDAGOGY CORNER by Larry Guy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
University of North Carolina – CLARINET CAChE by Kellie Lignitz and Rachel Yoder . . . . . . . . . . . . . . . . . . . . . . 36
School of the Arts . . . . . . . . . . . . . . . . . . . . . . . . . 37
Van Cott Information Services . . . . . . . . . . . . . . . . . . 79 CLARINET ChOIR by Margaret Thornhill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Vanderbilt University –
Blair School of Music . . . . . . . . . . . . . . . . . . . . . 101
COmpETITIONS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Vandoren SAS . . . . . . . . . . . . . . . . . . . . . . . . . . . 2, 103 NEWS FROm SOuTh AmERICA by Ricardo Dourado Freire . . . . . . . . . . . . . . . . . 86
Weill Music Institute at Carnegie Hall . . . . . . . . . . . . 17
Wichita Band Instrument Co . . . . . . . . . . . . . . . . . . . . 25
NEWS FROm FRANCE by Jean-Marie Paul . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88
Ralph Williams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 REVIEWS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
The Woodwind & Brasswind . . . . . . . . . . . . . . . . . . . 53
Woodwindiana, Inc . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
RECITALS AND CONCERTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Yamaha Corporation of America . . . . . . . . . . . . . . OBC ThE pRESIDENT’S mESSAGE by Keith Koons . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
September 2011 1
International Clarinet Association
President: Keith Koons, Department of Music, University of Central Florida, Orlando, FL 32816-1354, 407/823-5116 (office), People’s Republic of China: Yi He, China Conservatory of Music, Chao yang District, Anxiang Road, Jia #1, Eastern gate,
E-mail: kkoons@mail.ucf.edu Apt.403 Beijing, People’s Republic of China 100101, 86-10-8813-9893 (home), 86-13021158839 (cell),
Past President: Gary Whitman, School of Music, Texas Christian University, P.O. Box 297500, Ed Landreth Hall, Fort Worth, TX E-mail: yihe.clarinet@yahoo.com
76129, 817/257-6622 (office), 817/257-7640 (fax), E-mail: G.Whitman@tcu.edu Peru: Marco Antonio Mazzini, Calle Santa Fé 219, Lima 33, Peru, E-mail: marcomazzini@clariperu.org; 51 199 159 9904 (phone)
President Elect: John Cipolla, Western Kentucky University, Department of Music, 1906 College Heights Blvd. #41026, Poland: Krzysztof Klima, os. Wysokie 10/28, 31-819 Krakow, Poland. 48 12 648 08 82 (phone), 48 12 648 08 82 (fax),
Bowling Green, KY, 42101-1026, 270-745-7093 (office), 270-745-6855 (fax), E-mail: john.cipollaICA@gmail.com E-mail: kklima@kompit.com.pl
Secretary: Maxine Ramey, School of Music, The University of Montana, 32 Campus Drive, Missoula, Montana 59812 USA, Portugal: António Saiote, Rua 66, N. 125, 2 Dto., 4500 Espinho, Portugal, 351-2-731 0389 (phone),
406-243-6880 (office), E-mail: clarmax1@gmail.com E-mail: antoniosaiote@hotmail.com
Treasurer: Kathy Pope, University of Utah School of Music, 1375 Presidents Circle, Room 204, Salt Lake City, Utah 84112-0030, Puerto Rico/Carribean: Kathleen Jones, Torrimar, Calle Toledo 14-1, Guaynabo, PR 00966-3105, Phone 787/782-4963,
801-587-9417 (office), E-mail: kathy.pope@music.utah.edu E-mail: kklarinet@hotmail.com
Executive Director: So Rhee, 500 West Main Street, #513, Oklahoma City, OK 73102, 405/651-6064 (phone), 212/457-6124 (fax), Serbia: Andrija Blagojević, University of Pristina-Kosovska Mitrovica, Faculty of Arts, Kralja Petra Prvog 117, 38227 Zvečan,
E-mail: execdirector@clarinet.org Serbia, www.fakultetumetnosti-zvecan.edu.rs, 028/425-286 (office), 028/425-287 (fax), 063/8565-688 (cell),
Editor/Publisher: James Gillespie, 405 Santiago Place, Denton, Texas 76205; tel. 940/382-4393; fax: 940/565-2002; E-mail: andrijab_music@yahoo.com
E-mail: James.Gillespie@unt.edu Slovenia: Joze Kotar, Tesarska 10, 1000 Ljublana, Slovenia, +386 41 675 438 (phone), E-mail: joze.kotar@siol.net
Editorial Associates: Himie Voxman, 1 Oaknoll Court, Iowa City, IA 52246 South Africa: Edouard L. Miasnikov, P.O. Box 249, Auckland Park, 2006, Johannesburg, South Africa, (011) 476-6652 (phone/fax)
Contributing Editor: Joan Porter, 400 West 43rd, Apt. 41L, New York, NY 10036 Spain: Carlos Jesús Casadó Tarín, Calle Bausá, 8-10, Ptal.1-2°G Madrid 28033, Spain, (00 34) 690694557 (phone),
Editorial Staff: Gregory Barrett (Editor of Reviews), School of Music, Northern Illinois University, DeKalb, IL 60115, E-mail: cjcastar@hotmail.com
815/753-8004, E-mail: gregbarrett@niu.edu; Bruce Creditor, 11 Fisher Road, Sharon, MA 02067, E-mail: bcreditor@bso.org; Sweden: Stefan Harg, Tyska Brinken 19, 111 27 Stockholm Sweden, 0046(0)8 733 25 53 (phone), 0046(0)708 654 235 (cell),
Larry Guy, 36 Hudson Avenue, Stony Point, NY 10980, E-mail: lguy551856@aol.com; Paul Harris, 15 Mallard Drive, E-mail: stefanharg@tele2.se
Buckingham, Bucks. MK18 1GJ, U.K., E-mail: paulharris@dsl.pipex.com; Thomas W. Jacobsen, 3970 Laurel Street, Switzerland: Matthias Müller, Zurich University of the Arts, Schulhausstrasse 9, CH-8127 Forch/Zürich, Switzerland,
New Orleans, LA 70115, E-mail: twj@tulane.edu; William Nichols (Audio Review Editor), 1033 Fawn Hollow, Bossier City, +41 44 980 48 05 (phone), E-mail: info@matthias-mueller.ch
LA 71111, 318/741-3373, E-mail: wrnichols@bellsouth.net; Jean-Marie Paul, Vandoren, 56 rue Lepic, F-75018 Paris, France, Taiwan: Chien-Ming, 3F, 33, Lane 120, Hsin-Min Street, Tamsui, Taipei, Taiwan 25103
(33) 1 53 41 83 08 (phone), (33) 1 53 41 83 02 (fax), E-mail: jmpaul@vandoren.fr; Deborah Check Reeves, Curator of Thailand: Peter Goldberg, 105/7 Soi Suparat, Paholyotin 14, Phyathai, Bangkok 10400 Thailand, 662/616-8332 (phone) or
Education, National Music Museum, University of South Dakota, 414 E. Clark St., Vermillion, SD 57069, phone: 605/ 677-5306, 662/271-4256 (fax), E-mail: pginter@loxinfo.co.th
fax: 605/677-6995, Museum website: www.usd.edu/smm, Personal website: www.usd.edu/~dreeves; Margaret Thornhill, Uruguay: Horst G. Prentki, José Martí 3292 / 701, Montevideo, Uruguay 11300, 00598-2-709 32 01 (phone)
806 Superba Avenue, Venice, CA 90291, phone: 310/464-7653, E-mail clarinetstudio@ca.rr.com, personal website: Venezuela: Victor Salamanques, Calle Bonpland, Res. Los Arboles, Torrec Apt. C-14D, Colinas de Bello Yonte Caracas 1050,
http://margaretthornhill.com; Michael Webster, Shepherd School of Music, Rice University, P.O. Box 1892, Houston, TX Venezuela, E-mail: salamanques1@cantv.net
77251-1892, 713/838-0420 (home), 713/838-0078 (fax), E-mail: mwebster@rice.edu; Heston L. Wilson, M.D., 1155 Akron
Street, San Diego, CA 92106, E-mail: hestonwilson@sbcglobal.net; Cynthia Wolverton, 2355 Laconia Court, Crofton, MD Honorary Members
21114, E-mail: cynthia.wolverton@navy.mil; Kellie Lignitz and Rachel Yoder, E-mail: clarinetcache@gmail.com Betty Brockett (1936–2003) Mitchell Lurie (1922–2008)
I.C.A. Research Center: SCPA, Performing Arts Library, University of Maryland, 2511 Clarice Smith Performing Arts Center, Clark Brody, Evanston, Illinois John McCaw, London, England
College Park, MD 20742-1630 Jack Brymer (1915–2003) John Mohler, Chelsea, Michigan
Research Coordinator and Library Liaison: Jane Ellsworth, Eastern Washington University, Department of Music, Cheney, WA Larry Combs, Evanston, Illinois Fred Ormand, Lawrence, Kansas
Buddy DeFranco, Panama City Beach, Florida Bernard Portnoy (1915–2006)
99004, 509/359-7076, E-mail: jellsworth@mail.ewu.edu Guy Deplus, Paris, France
Webmaster: Brian Covington, Covington Design, 661‑263‑1233 (phone), 661‑952‑1900 (fax), www.covingtondesign.com Alfred Prinz, Bloomington, Indiana
Stanley Drucker, New York, New York Harry Rubin, York, Pennsylvania
Historian: Alan Stanek, 1352 East Lewis Street, Pocatello, ID 83201-4865, 208/232-1338 (phone), 208/282-4884 (fax), F. Gerard Errante, Las Vegas, Nevada
E-mail:stanalan@isu.edu James Sauers (1921–1988)
David Etheridge (1942–2010)
National Chairpersons: Lee Gibson, Denton, Texas James H. Schoepflin, Spokane, Washington
National Chair Coordinator: Eddy Vanoosthuyse, Elzenlaan 29, B-8500 Kortrijk, Belgium, Tel. (mobile) +32477256366; James Gillespie, Denton, Texas William O. Smith, Seattle, Washington
E-mail: eddy.vanoosthuyse@skynet.be Paul Harvey, Twickenham, Middlesex, U.K. Ralph Strouf (1926–2002)
Argentina: Mariano Frogioni, Bauness 2760 4to. B, CP: 1431, Capital Federal, Argentina Stanley Hasty, Rochester, New York Elsa Ludewig-Verdehr, East Lansing, Michigan
Armenia: Alexandr G. Manukyan, Aigestan str. 6 h. 34,Yerevan 375070, Armenia, E-mail: Al_Manoukian@yahoo.com Ramon Kireilis, Denver, Colorado Himie Voxman, Iowa City, Iowa
Australia: Floyd Williams, Queensland Conservatorium, P. O. Box 3428, Brisbane 4001, Australia; 61/7 3875 6235 (office); Béla Kovács, Budapest, Hungary George Waln (1904–1999)
61/7 3374 2392 (home); 61/733740347 (fax); E-mail: f.williams@mailbox.gu.edu.au Jacques Lancelot (1920–2009) David Weber (1914–2006)
Austria: Alfred Prinz, 3712 Tamarron Dr., Bloomington, Indiana 47408, U.S.A. 812/334-2226 Karl Leister, Berlin, Germany Pamela Weston (1921–2009)
Belgium: Guido Six, Artanstraat 3, B-8670 Oostduinkerke, Belgium, 32/58 52 33 94 (home), 32 59 70 70 08 (office),
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The Clarinet is published four times a year and contains at least 48 pages printed offset on 70
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Israel: Eva Wasserman-Margolis, Weizman 6, Apt. 3, Givatayim, Israel 53236, E-mail: margoli@netvision.net.il contact Executive Director So Rhee.
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E-mail: lumagist@tiscalinet.it
Japan: Masaharu Yamamoto, 3F Yak Bldg 4-6-13 Yayoicho Nakanoku, Tokyo, 164-0013, Japan, 81 3 6382 7871 (phone),
The International Clarinet Association
81 3 6382 7872 (fax) website: http://eng.jp-clarinet.org/, E-mail: jca@jp-clarinet.org and tshimo-thy@umin.ac.jp Membership Fees
Korea: Im Soo Lee, Hanshin 2nd Apt., 108-302, Chamwondong Suhchoku, Seoul, Korea. (02) 533-6952 (phone), Student: $25 (U.S. dollars)/one year; $45 (U.S. dollars)/two years
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Luxembourg: Marcel Lallemang, 11 Rue Michelshof, L-6251 Scheidgen, Luxembourg, E-mail: mlallema@pt.lu Institutional: $50 (U.S. dollars)/one year; $95 (U.S. dollars)/two years
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tional Clarinet Association in U.S. dollars. Please use International Money Order or check drawn on U.S. bank only. Join online or send
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Netherlands: Nancy Wierdsma-Braithwaite, Arie van de Heuvelstraat 10, 3981 CV, Bunnik, Netherlands,
© Copyright 2011, INTERNATIONAL CLARINET Association
E-mail: oane.nancy@casema.nl ISSN 0361-5553 All Rights Reserved
New Zealand: Andrew Uren, 26 Appleyard Crescent, Meadowbank, Auckland 5, New Zealand, 64 9 521 2663 (phone and fax). Published quarterly by the INTERNATIONAL CLARINET association
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47/77 66 05 51 (phone, Tromsø College), 47/77 61 88 99 (fax, Tromsø College), E-mail: hakon.stodle@uit.no Views expressed by the writers and reviewers in The Clarinet are not necessarily those of the staff of the journal or of the International Clarinet Association
September 2011 3
Factory Selected Buffet Clarinets / Taplin-Weir Barrels & Bells
The NEW
• smith o om
entino s om
• -€‚ - ƒ„
I.C.A. Honorary
Membership Nomination Procedure
In accordance with the International Clarinet Association By-Laws (Article V, Section 6), a special category of Honorary Mem-
bership has been created for persons of “unusual distinction.” The International Clarinet Association Board of Directors invites
the general membership to nominate individuals for Honorary Memberships from the areas of professional service, teaching,
performance, and/or lifetime achievements. Nominators should include a brief biographical sketch of the candidate along with
further information as specified below. There is a limit of one nomination per person. Nominations must be postmarked no later
than December 15, 2011, and sent to:
Dr. Maxine Ramey, Secretary,
International Clarinet Association
Professor of Music
School of Music
The University of Montana
32 Campus Drive
Missoula, Montana 59812 USA
E-mail: ICAsecretary@clarinet.org
Nominations for Honorary Memberships should include the following information:
• nominee’s name, address, phone and e-mail address
• biographical sketch of nominee
• supportive documentation of the nominee’s qualifications
• nominator’s name, address, phone and e-mail address
Jonathan Cohler
“an absolute master of the clarinet” —The Clarinet
www.ongaku-records.com
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September 2011 5
Gee, Whiz! It is wise to spend at least a couple of
months with E as the top note so that the
Fifty-fourth in a series of articles us- embouchure can strengthen and become
ing excerpts from a teaching method in accustomed to the increased resistance of
progress by the Professor of Music at Rice the high register . Example 1 shows a few
University’s Shepherd School of Music note combinations with E as the highest
G
note . These should be mastered before go-
ee, whiz, time flies! The last time
ing higher . In all of the examples, the right
we discussed extending the range
pinky is up for C-sharp down for D and
of an intermediate clarinetist was
above . It is important that the reed offer
in September 2004! Since then, we’ve
enough resistance in this range . Playing
taken some fascinating and article-con-
on a reed that is too weak is actually more
suming journeys into scales and arpeg-
gios, tuning, breathing, and miscellaneous difficult, and I’d recommend that under
skills such as trills, practicing methods, most circumstances the student use a 3½
yoga, articulation, swing and early music . strength at least .
But the journey up the range of the instru- by Michael Webster Extending the range up to F, F-sharp
ment stopped at E3 (third ledger line above and G offers significant new challenges
the staff) . After seven years, it’s about in embouchure and voicing . Remember
time we went higher! that for all of the notes between C-sharp
E3 is a very good first goal when ap- and F-sharp the open hole of the left index
proaching the high (altissimo) register . finger is acting as a second register key .
From C-sharp3 to E3 are notes that speak The standard register key, manipulated by
fairly easily and offer minimal difficulty the left thumb, produces the third partial,
with intonation . It bears repeating that a 12th above the fundamental (first partial)
learning the correct fingerings from the tone of the low (chalumeau) register . This
very beginning is important, namely C- is unlike all other wind instruments, which
sharp without the added right pinky E-flat overblow to the second partial, an octave
key, then D, D-sharp (E-flat), and E with higher than the fundamental tone .
the pinky E-flat . (All fingering mentioned In previous articles, we have discussed
include the thumb hole covered and the how the ideal placement and size of a reg-
register key open .) Use the forked finger- ister key should actually be different for
ing for D-sharp immediately, because the each note–lower and larger for lower notes
middle finger D-sharp is so flat . The con- with a long column of air in the instru-
trary motion of C-sharp without the pinky ment, higher and smaller for higher notes
E-flat key, D, forked D-sharp and E with with a short air column . The index hole is
the pinky E-flat key is awkward, but with actually too large to be a perfect register
plenty of slow practice those fingerings key for any of these notes, but this defi-
will “lock in .” Never say never, unless re- Michael Webster ciency gets worse and worse as we M.move
Webster
ferring to playing C-sharp with the pinky chromatically up from C-sharp to F-sharp .
E-flat key down! The result is almost a scribed above . If so, it is better not to use Not only is it too large for F and F-sharp,
quarter step sharp . Occasionally, speed the E-flat key at all, rather than to leave it it is also too low on the instrument . This is
will not allow the contrary motion de- down for C-sharp . why these two notes are so unstable .
Example 1
#œ œ œ œ #w œ #œ œ œ œ #œ œ œ œ #œ
Ex 1:
w ˙.
.. .. 3 ..
&c c 4
œ œ œ œ w œ œ bœ œ w #œ œ #œ œ bœ œ #˙.
.. .. 3 ..
&c c 4
œ #œ #œ œ w œ bœ bœ œ w œ #œ #œ œ #œ #œ ˙.
.. .. 3 ..
&c c 4
6 The Clarinet
M. Webster
Example 2
Ex 2:
œ œ œ œ w œ œ œ œ w #œ œ œ œ œ œ #˙.
.. .. 3 ..
&c c 4
œ #œ œ œ œ bœ ˙. #œ œ #œ œ œ œ bœ œ #w œœœœ w
3 .. c .. ..
&4
bœ œ œ œ bw œ #œ œ œ w œ bœ œ œ w
&c .. c .. c ..
œ œ #œ œ w œ œ bœ œ w œ #œ œ œ w
&c .. .. c ..
#œ #œ œ œ #w #œ œ œ #œ œ œ #˙.
.. 3 ..
&c 4
If E has been mastered, then playing F clarinetist is to play F and F-sharp softly fingering it with the LH index finger and
by opening the left pinky C-sharp/G-sharp without grunting or squeaking . D, D-sharp RH pinky E-flat key . This fingering blends
key is usually not problematic . The pitch and E can all be stabilized by adding half well in pitch and quality with middle finger
is a little bit flatter than the E, but that can hole with the left index finger . But F and F-sharp, and is “pre-voiced” by staying in
be mostly compensated for with a high especially F-sharp are, by nature, flat in the fifth partial . After the student becomes
tongue and firm embouchure . If the stu- pitch, and adding half hole just makes somewhat fluent with those fingerings and
dent produces significant grunt (first par- them all the flatter . There are alternate fin- is able to play them nearly in tune, the RH
tial attempting to assert itself because the gerings to address this issue, but for now, fork key can be added to F-sharp and G
register hole is too big), check to be sure have the student finger F and F-sharp nor- in order to raise the pitch . The reason it
that the reed is strong enough and instruct mally, lifting the left ring finger and pinky is better not to introduce these fingerings
him/her to play a bit louder . It may also to achieve F-sharp . This note will be flat, right away is that some passages require
be necessary to move the lower lip a tiny but the pitch discrepancy can be mini- the simple fingerings and it is necessary to
bit lower on the reed . Emphasize that the mized with good solid embouchure and a be able to play them in tune . Adding the
embouchure must be firm, supplying mus- high tongue . Example 2 shows some fin- fork is also somewhat awkward .
cular pressure from every direction . By ger exercises for F and F-sharp . C-sharp/ One must adopt a special position to
playing at least mezzo forte, the student F-sharp is particularly difficult because use the forked fingering in this context be-
eliminates grunt and gains confidence to the C-sharp is sharp, the F-sharp is flat, cause the right hand rings are up . M.When
Webster
play gradually more softly over a period and the right pinky must go down and up . using the forked fingering for third partial
of weeks and months . I recommend that the student stay in F-sharp in a chromatic passage, the rings
One of the biggest challenges for any the fifth partial for the first attempt at G, are down and the fork key can be touched
Example 3
œ #œ œ œ w œ #œ œ œ nw œ #œ œ œ #œ#œ œ œ #w
Ex 3:
w
&c .. c .. c .. c ..
œ œ #œ œ #œ œ ˙. #œ œ œ #œ œ #œ œ œ #w
3 .. c ..
&4
September 2011
2011 7
M. Webster
Example 4
Ÿ~~
#œ #œ œ œ #w #œ#œ#œ œ #w #œ #w œ œ w
Ex 4:
œ#œ œ w
&c .. c .. c .. c
directly in the center . For F-sharp and G, ing from F-sharp to G, add the fork and 1892; fax 713-348-5317; website www .
however, the fork key must be fingered wiggle the first side key . The resulting G ruf .rice .edu/~mwebster .
near the rod so that the rings can stay up . is a tad flatter than first finger G, but quite In response to “No Visible Means of
Mistakenly hitting the ring will prevent it acceptable . When finishing the trill with Support,” I received a clarification of
from lifting all the way, thus lowering the grace notes, land on first finger G rather the workings of the diaphragm from Dr .
pitch and defeating the purpose . than the side key . When played loudly, Thomas Ashby . He is referring to these
But adding the fork is not “cheating!” such as at the end of the first movement of statements:
F-sharp with the added RH fork is the fin- Weber’s Concerto No. 1 in F Minor, this 1) Michel Debost: The diaphragm is a re-
gering most professionals use most often fingering is brilliant, in tune, and worthy flex muscle . It does not respond to will
because it has good tone quality and can be power, try as we may… . Since there is
of the comment, “Gee whiz!”
played in tune with far less effort than the no sensory perception of the movements
In the next issue, we’ll investigate al-
fingering without the fork . The exercises of of the diaphragm at any time, there is
ternate fingerings for F, F-sharp, and G .
Example 3 should be played first without no way that we can control them . Only
the right-hand fork, and later adding the when studying medicine…did I under-
fork on F-sharp and G to improve the in- Webster’s Web stand that the playing concept of dia-
tonation . Then the fork can be added on all Your feedback and input to these articles phragmatic technique was scientifically
of the F-sharps and G-flats in Example 2 . are valuable to our readership . Please send incorrect… .Involuntary, the movements
Finally, Example 4 shows two special comments and questions to Webster’s of the diaphragm are conditioned, freed,
cases . When approaching F-sharp from D- Web at mwebster@rice .edu or Michael or hindered by all the muscles, lower or
sharp, finger the forked D-sharp near the Webster, Shepherd School of Music, MS- upper, surrounding it .
rod to prepare for the F-sharp . When trill- 532, P .O . Box 1892, Houston TX 77251- 2) Shirlee Emmons: The descent and as-
cent of the diaphragm are not directly
controllable. The diaphragm is passive
during singing .
Make Your Musical Mark @ Mason 3) myself: The diaphragm separates the
thoracic cavity from the abdominal cav-
ity . Like the heart, it is an involuntary
Learn from renowned woodwind faculty muscle, working 24/7 without a thought .
Sharon J. Bonneau | formerly of U.S. Air Force Concert Band Dr . Ashby’s letter:
Lora R. Ferguson | Kennedy Center Opera House Orchestra I just received the June edition of
The Clarinet, and as is my custom,
Dr. Rochelle Oedemann | formerly of U.S. Air Force Concert Band the first article I turned to was your
teaching method .
Outstanding performance opportunities I am a retired physician, a very
active amateur musician, with clari-
Comprehensive graduate & net being my primary instrument in
recent years .
undergraduate programs I was especially interested in
the topic of this article – the very
Scholarships available complex subject of breathing . In
the third column of the first page,
Dynamic location you made the comment that the dia-
phragm was entirely an involuntary
near our nation’s capital muscle, with no external control .
I’m afraid to say that this is incor-
rect . The thoracic diaphragm is en-
tirely skeletal muscle, the innerva-
GeOrGe MaSOn UniverSity | SChOOL Of MUSiC tion of each hemi-diaphragm being
4400 University Drive, Fairfax, VA 22030 the left or right phrenic nerve, which
703-993-1380 | music.gmu.edu originates from the third to fifth lev-
els of the cervical spinal cord .
8 The Clarinet
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10 The Clarinet
1st place: Satoshi Minami; 350,000Yen;
Eleven Faces for Clarinet in B-flat and
Piano; Clarinet: Timothy Carter
1st place: Jyunichi Shirafuji; 350,000Yen;
Love of Fool for Clarinet and Piano;
Clarinet: Chikako Kondo
3rd place: Hiroshi Arakawa; 100,000Yen;
Sonate ”La colline de Montmartre“ for
clarinette and piano; Clarinet: Kenji
Matsumoto
3rd place: Sue Hyun Pak; 100,000Yen;
Y’s portrait (Clarinet Solo); Clarinet:
Ayako Harada
3rd place: Katsuhiro Oguri; 100,000Yen;
Improvisation (Clarinet Solo); Clari-
The finalists (l–r): Jyunichi Shirafuji (suit with tie), Satoshi Minami, Katsuhiro Oguri, Sue net: Naoko Kotaniguchi
Hyun Pak and Hiroshi Arakawa The two first-place winners, Mr. Sa-
toshi Minami and Mr. Jyunichi Shirafuji,
Japan Clarinet mitted and performed which included solo will be commissioned to write a solo clari-
pieces, sonatas, larger chamber works, and net piece for the 2012 JCA clarinet com-
Association hosts
concertos . Five compositions (two solo petition.
Composition Competition pieces and three sonatas) were selected to
A Report by Akari Yamamoto be advanced after the preliminary round . John philip Sousa
T
he Japan Clarinet Association
The final round was held on April 3, 2011 Foundation Announces
and was open to the public . Each of the five Young Artist
marked its 30th anniversary by host-
compositions offered new possibilities for
ing a competition at the Parthenon Competition Winner
T
the clarinet and showcased the beauty of
Tama Hall . Sponsored by the Japan Clari- he John Philip Sousa Foundation
the instrument as well as the composition
net Association and the Tama City Cultur- has announced that Ryan Pereira,
al Foundation, the association called upon for all who came to watch . After the per-
formances, the jury, consisting of Shinich- a junior clarinetist from Pocono
composers hoping to discover new works Mountain East High School in Swiftwa-
that could further enrich the repertoire of iro Ikebe , Kitazume Michio, Ichiro No-
ter, PA, has been selected as the winner of
future clarinetists . The competition was daira, Shuhei Isobe, Katsumi Nakamura,
the John Philip Sousa Foundation Young
held in two rounds and the pieces were Hidemi Mikai and Seiji Yokokawa, had an
Artist Clarinet Competition . In addition to
judged both by the quality of the compo- open discussion on the final award selec-
a $500 prize, Ryan will also be featured
sition and the quality of the performance tion . After a heated one-hour long debate,
as a guest soloist with the George Mason
of the work . Twenty-four works were sub- the results were as follows: University Symphony Orchestra in Fair-
fax, Virginia in October 2011 . Pereira
performed the second movement of the
Weber Concerto No. 2.
Pereira, who is a student of Sanford
Kravette and is a full-time member of
his high school band, has been selected
to Pennsylvania Music Educators Asso-
ciation District, Regional and All-State
Bands, performs with the Young People’s
Philharmonic and the Lehigh Valley Per-
forming Arts High School Orchestra and
was a finalist in the Voorhees Concerto
Competition . His repertoire includes a
long list of standard solos and etudes, in-
The judges (l–r): Shinichiro Ikebe (folding his arm), Kitazume Michio, Ichiro Nodaira, Shuhei cluding the Mozart and Weber concertos,
Isobe, Katsumi Nakamura, Hidemi Mikai and Seiji Yokokawa both Brahms sonatas, the Hindemith and
12 The Clarinet
Poulenc sonatas, the Messager Solo de Dr . Michael Stewart (UT Bands) both ers played for us, most impressively sev-
concours and many other standards . worked many hours with the former’s ad- eral students from Chengdu No . 7 High
The Young Artist Competition was in vance planning, logistics and artistic guid- School, who played excerpts from the
its first year and attracted high school clar- ance, and the latter with his fine rehearsals Spohr Concerti 1 & 2 and the Françaix
inetists from Florida, Georgia, Virginia, and conducting . Recognition is due also to Concerto, a cappella and from memory .
New York, Pennsylvania, Connecticut, Angelique Postic, graduate assistant at UT, Audiences were very receptive and ap-
New Mexico, Alabama and Minnesota . for her stylistic solos in various pieces . preciative, as was everybody we met in
Students were required to select repertoire The venues included schools, fairs, ba- China . The tour was wonderful culturally
from a required list of compositions and zaars, and on live television in Chengdu . and musically and a once-in-a-lifetime op-
to submit a videotape of their performance Several first-rate ensembles and perform- portunity .
which was adjudicated by a panel which in-
cluded Doug Graham (University of South
Carolina), Joseph Hermann (Tennessee
Tech University), Edward Lisk (Oswego,
NY), Bruce Dinkins (Daniel Boone HS in
Austin, TX) and John Casagrande (George
Mason University) . Casagrande served as
the chairman of the committee .
Further information about this year’s
Clarinet Competition, as well as other
instruments, can be found at Sousa
Foundation .org .
For further Information contact John E .
Casagrande at jcasagra@gmu .edu or 703-
743-2023 .
university of Tennessee
Clarinet Choir in China
A Report by John Snyder
T
he University of Tennessee Clari-
net Choir toured March 11–20 in
and around Beijing, Xi’an and
Chengdu . The repertory included Mozart,
Rondo, K . 361; Stalpers, Clownery; Fina-
le from the Tchaikovsky Violin Concerto
(Gary Sperl, soloist); Overture to William
Tell; Porgy & Bess; Chinese folk songs;
New York/New York; and Stars & Stripes.
Gary Sperl (professor of clarinet) and
September 2011 13
by William Nichols Percussionist Tobias Guttmann was There is some captivating writing here
born in Austria and studied in Salzburg and use of abrupt dynamic changes. Vil-
C
ontinuing a steady stream of in- and Amsterdam. He is an active performer hjámsson’s pianissimo playing throughout
teresting bass clarinet solo and of new music and has also played with tra- all registers of the instrument beautifully
chamber music recordings, I have ditional symphonic ensembles such as the realizes this music.
received a CD from clarinetist Ingólfur Netherlands Philharmonic Orchestra and Another notable work which bears
Vilhjálmsson entitled Dualism. the Orchestra of the Eighteenth Century. mention is by Áki Ásgeirsson. Program
Duo Dualism consists of Vilhjálmsson, Guttmann and Vilhjálmsson met in Am- notes state that “ 337º is a piece from
bass clarinet, and marimbist/percussion- sterdam in 2004 and have established an another planet.” – the global media has
ist Tobias Guttmann. The disc presents impressive and virtuosic ensemble. The inexplicably overlooked the story of the
five works by Icelandic composers and recording at hand is (I believe) their first. millennium! The notes also offer an ex-
one Finnish piece (Karkija). With the Given interesting music and highly planation of the title: “The title is actually
exception of a 1991 work by Ingólfsson, competent performers, which are ingredi- an opus number, which was arbitrarily set
these 21st-century pieces were written for ents we have here, the unusual pairing of as a task by the composer for himself on
Duo Dualism. The bass clarinet/marimba bass clarinet and marimba is quite an ef- his 30th birthday; by composing one piece
works are: Bois Chantant by Áskelli Más- fective medium. The music programmed every month he will reach the opus 0 and
son; Brainstorm in a Glass of Water by on this release could be generally regarded retire at the age of 60.” Computer sounds,
Gunnar A. Kristinsson; Karkija by Antti by many listeners as avant-garde. Each of generated by bass clarinet and percussion
Auvinen; and Opna by Atli Ingólfsson. the works has some engaging concepts to sound, provide an interesting dimension
Additionally there is Áki Ásgeirsson’s offer the tuned-in listener, and presents in- to this listening experience. It is appropri-
337º for bass clarinet, percussion and in- terpretive and technical challenges for the ate that 337º is indeed the “spaciest” piece
teractive computer-generated sounds, and performers. Extended techniques such as on this program.
Kolbeinn Einarsson’s The Indigenous multiphonics, slap tonguing, key clicks, Throughout this recording the play-
Spirit for bass clarinet and percussion. growls, etc. are demanded of the clarinet- ing by Vilhjálmsson and Guttmann is dy-
Vilhjálmsson is an Icelandic-born ist in several of these compositions, and namic, precise, and committed. Both indi-
clarinetist who resides in Berlin, and who are convincingly executed by Vilhjálms- viduals exhibit a highly developed sense of
received training in Amsterdam. Bass son. Repeated hearings yield greater re- balance and pacing in this sometimes dif-
clarinet teachers include Harry Sparnaay wards with each of the pieces, although ficult music. Performances are thoughtful
and Eric van Deuren. He is a member of Másson’s dramatic Bois Chantant, with and well prepared, and display spontaneity
Adapter Ensemble (of Berlin), and in ad- its exciting rhythmic content, striking uni- and abandon where appropriate. Duo Dual-
dition to Duo Dualism, he has established son passages, and tight ensemble playing ism’s artistry is also well captured on this
another ensemble, Duo Plus, with accordi- has immediate appeal. Also very effective excellent sounding disc (recorded in Aus-
onist Andrea Kiefer. from initial contact is Ingólfson’s Opna. tria). Program notes are in Icelandic, and
fortunately also in English and German.
Recommended to adventuresome lis-
teners and to bass clarinetists and percus-
sionists seeking serious recital material.
Dualism was produced under the auspices
of the Iceland Music Information Center,
ITM 907, and is available from several
sources including www.amazon.com and
www.ArkivMusic.com .
* * * * *
Yet another CD release which in great
part features the bass clarinet comes from
clarinetist/composer Jorge Variego. En-
titled Necessity, this CD on the Albany la-
14 The Clarinet
bel presents seven works by Variego, and notable pieces by Variego include his two timbres originate from clarinet or ‘clarinet
four pieces by others: Sergio Fidemraizer: clarinet ensemble works. The three clari- like’ sounds,” the tape sounds do not wash
Viento Sur for bass clarinet and tape; Mike net quartet movements exhibit interesting over or obliterate the live instrument as is
Solomon: Una passeggiata per la Piazza and effective use of dissonant harmonic often the case. The imaginative electronic
San Marco for fixed clarinet ensemble; texture, contrapuntal writing (especially material stays transparent in texture,
James Paul Sain: Kornighet for clarinet the palindrome movement), and an imagi- providing an intricate accompaniment.
and tape; and Billie Holiday’s (with Arthur native use of tone clusters, which in the Variego’s meaty full clarinet sound and
Herzog) God Bless the Child, in what Var- final movement the composer refers to as richness of the altissimo register is heard
iego states “is a personal version based on “moving cluster.” These quartet pieces are here to good effect, and notes are always
Eric Dolphy’s rendition…” a strong programming possibility for a clearly delineated.
Jorge Variego’s works are: Statement, college or professional clarinet ensemble For listeners of new music for clarinet/
Deceptive Palindrome, and Final State- looking for an edgy contemporary (yet electronics, and potential programming
ment, all for clarinet quartet (treated here playable) work. In part the same can be by interested performers, Necessity may
as separate pieces placed at the beginning, said of the brief Song for clarinet and bass well prove to be an engaging experience
middle and end of the disc, but which are clarinet. This slow, melancholy duet is and a valuable resource. The CD booklet
elegiac, and “Both voices are very lyrical indicates that all works presented here are
collectively the movements of the com-
and fuse clarity with drama.” As might be available from the composers. The release
poser’s Clarinet Quartet No. 1); Song for
expected in a recording such as this re- is from ALBANY RECORDS, TROY
clarinet and bass clarinet; Giant Shapes
lease, there is some inconsistency among 1189, www.albanyrecords.com.
for prepared clarinet in B-flat/A and com-
puter; Mimic for clarinet and joystick; and different works in sonic perspectives of-
* * * * *
Now That You are Here for bass clarinet fered by the recording process. In this
instance (Song), the edgy sound seems to Recordings of clarinet pedagogical lit-
and computer.
belie much of the warm clarinet timbres erature have been appearing with increas-
Jorge Variego was born in Argentina
heard at other times in the recording, and ing frequency in recent years. We can now
and received his early training includ-
needed here. find releases by professional players of the
ing a bachelor’s degree there. He holds
The pieces for solo clarinet or bass clar- Baermann Method, Opp. 63 and 64, the
a master’s degree from Carnegie Mellon
inet, and electronic sounds are to varying Rose 32 Études, the Cavallini Caprices,
University and is a 2011 candidate to re- the Jeanjean 18 Études and perhaps oth-
ceive a doctorate in composition from degrees successful regarding clarinet writ-
ers. Also in what is generally regarded as
the University of Florida. He has been ing and almost always fascinating in their
pedagogical territory, we have the Bach
the recipient of several prizes and fellow- electronic content. The wind-like effect
material from Himie Voxman’s Classical
ships including the first prize in the Carlos and seemingly free interplay of live and
Studies and also his Concert and Contest
Guastavino composition competition. He recorded sound in Fidemraizer’s Viento
Collection of solos.
has performed as a soloist with orchestras Sur is notable, as well as the wide rang- In 2010 Hal Leonard Publications re-
in Argentina, and for the past five years ing use of extended playing techniques. leased a two-disc recording of Voxman’s
has been a resident artist at the Pittsburgh The calm second half of the piece and the Selected Studies played by clarinetist
Center for the Arts. solo bass clarinet section which closes the Kathleen Jones. This is I believe the first
Although some of the repertoire pre- last minute is a highlight of this otherwise recording of a diverse collection of studies
sented on this release requires multiple frantic piece. (there are few in existence), and this is a
clarinetists, Variego is the only player Even though it’s the “Golden Oldie” logical choice. Selected Studies for Clari-
heard. He plays clarinet and bass clarinet, electronic piece of this program (1995), net is an iconic publication which has no
and through multitrack recording tech- Sain’s Kornighet (“granulated”) is a doubt been in the hands of more students in
nique, performs all the parts of the en- breath of fresh air regarding balance and the U.S. than any other, and which will in
semble pieces. It is apparent from this disc conception. With this piece, in which “All 2012 achieve its 70th year in print! (Not its
and a number of YouTube performances
(of new music and more traditional play-
ing) that Jorge Variego is an accomplished
player with a beautifully focused and col-
ored clarinet tone and the skills (includ-
ing extended techniques) to realize the
demands of this contemporary program.
He plays the bass clarinet with enthusiasm
and panache, if not always with the round
darkness exhibited in his soprano playing.
The majority of the works programmed
are new, dating from 2007–2009, with the
exception of James Paul Sain’s Kornighet
of 1995, and of course the Billie Holiday
God Bless the Child (1941). Some of the
September 2011 15
50th as indicated on the CD jacket and disc, has an even quality throughout the instru- far too many cases a high school clarinetist
regarding the Rubank copyright date .) ment, at its best – very beautiful, and she with no teacher and a band director with lit-
For those (few) who may not know this exhibits an evenly controlled technique . tle time, inclination, or clarinet savvy, has
book, or have forgotten its structure: The Her cover notes tell us that these studies to audition on this material – often clueless .
studies which comprise the bulk of the were recorded without any internal editing Hopefully Hal Leonard is marketing this
publication are collected from some 14 and were done in 13 sessions – whew! production to school band directors .
composers, and all, except for one Bach Ms . Jones plays these studies at work- This release comes in an attractive
cello-suite movement, are firmly planted able tempi that allow for effective expres- gate-fold cover in the familiar red-and-
in 19th-century style . Many of the com- sive content . The fast studies are played green color scheme which replicates the
posers represented here were clarinetists, cleanly with control, and not approached design of Rubank’s original publication .
such as Müller, Klosé, Kellner, Heinze, at breakneck speed – a practical and de- Available from www .kklarinet .com .
Beer, Rose and Gambaro . There are stud- sirable example for young players . Under- Related note: As I write this column
ies from violinists Kreutzer and Mazas, standable interpretive differences aside, (May 2011), Himie Voxman resides in
flutist Wiedemann, and three others not the performances are not without a few Iowa City, Iowa . His 99th birthday is Sep-
known to this writer . The 52 studies which warts . There is an occasional sense of tember 12, perhaps about the time you
comprise the bulk of the book present the shortage of air to finish a broad phrase ef- read this note . In 2010 a Doctor of Musi-
player with one lyrical and one technical fectively, and, while Ms . Jones does some cal Arts Essay entitled “The Life and Ca-
challenge in each major and minor key . quite effective contrasts (and dynamics reer of Himie Voxman” was completed by
While 48 studies would seem to complete are relatively interpretive), the dynamic Michele Ann Bowen Hustedt at The Uni-
the group, and it was for Bach in his WTC markings could be more strictly observed . versity of Iowa . It is available online at:
(who liked the first 48 so much he wrote One inexplicable anomaly occurs in the http://ir .uiowa .edu/etd/465 .
another 48), Mr . Voxman includes four slow G-minor Rose study with something
additional studies which are written as F- of a rhythmic breakdown in the latter part * * * * *
sharp major and D-sharp minor, the enhar- of the middle section .
monic equivalent of the preceding G-flat The recorded sound is very good and Recent Arrivals
major and E-flat minor . mostly consistent, although there are a in search of … Ken Peplowski, clarinet
Kathleen Jones is the principal clari- few areas in which the clarinet tone thins and tenor saxophone; Shelly Berg,
netist of the Puerto Rico Symphony (since (seems like a recording issue), and there piano; Tom Kennedy, bass; Jeff Ham-
1975) and recently retired as the clarinet are also areas where sound level output ilton, drums (trks . 1–9); with Greg
professor at the Conservatory of Music of dips somewhat . Even with careful control, Cohen, bass (trks . 10 & 11); Joe As-
Puerto Rico, where she was also a mem- through 13 sessions and an academic year, cione, percussion (trk . 11) and drums
ber of the conservatory’s resident ensem- the vagaries of recording and electron- (trk . 12); and Chuck Redd, vibraphone
ble Camerata Caribe. She has made sev- ics will yield some varying results, not to (trk . 11) . Twelve tracks of tunes by
eral appearances at ClarinetFest®, and her mention the player’s ups and downs, and Freddie Redd, Tom Kennedy, Shelly
CD Caribe Clarinete received favorable of course – reeds . Berg, Rodgers/Hart, Rodgers/Ham-
review in this journal and elsewhere . Her Clarinet students and educators are in- merstein, Cy Coleman/David Zippel,
principal teachers include Mitchell Lurie deed indebted to Kathleen Jones for this George Harrison, and others . CAPRI
and Robert Marcellus . successful project . While never as impor- RECORDS 74108-2 . Total time 68:53 .
In addition to the musical challenges tant as having a good teacher, many stu- www .caprirecords .com
presented here, the size of the project and dents can benefit from this recording . As Child’s play. Kelly Johnson, clarinet;
its hour and 45 minutes of totally exposed we take note of this release in the clarinet Gail Novak, piano; Drew Irvin, violin;
solo playing is quite daunting . Kathy community (to borrow an old church ex- Allison Stanford, narrator . Philip Park-
Jones believes in the value of this col- pression), we may be “preaching to the er: Merry Music; Grooves; Story Hour;
lection of studies (as many of us do) and choir .” Etudes from the Voxman Selected James M . David: Distrocto; Rodney
clearly shows it through these discs . She Studies are used in many states as audition Rogers: Dance Duo; Dejan Despić:
produces a rich, full-bodied tone which material for regional and all-state bands . In Nine Dances, Op . 62; Eric Mandat: The
Moon in My Window. POTENZA MU-
SIC PM1014 . Total time 64:56 . www .
ELECTRONIC PHOTO SUBMISSIONS FOR THE CLARINET potenza music .com
When scanning photos or setting your digital camera to create electronic im- Fantasia di Concerto – music for Clari-
ages for use in the magazine, resolution is a very important consideration. For net in 19th Century brazil. Fernando
high-resolution printing, each photo must include at least 300 pixels per inch José Silveira, clarinet; Lúcia Barrene-
(ppi) at the approximate dimensions anticipated for use. To clarify, photos in- chea, piano . Ernesto Cavallini: Souve-
tended for reproduction at the one-column width should be at least 2.25” wide nir de Linda; A . Carlos Gomes: Air;
and include at least 300 ppi, while photos intended for reproduction at the two- José Lino Fleming: Concertino and
column width should be at least 5” wide and include at least 300 ppi. Photos Notturno; Sigismund Neukomm: Fan-
with inappropriate resolution settings may have to be rejected because they tasie; Pompeo Cavallini: Divertimento
will reproduce too poorly to use, or they may have to be used at a size smaller Sopra un Tema del Maestro Bellini; Jo-
than anticipated in order to maintain their quality. hann W . Kalliwoda: Introdução e Vari-
ações, Op . 128 . PÓLO INDUSTRIAL
16 The Clarinet
DE MANAUS OBA 004. Total time ley: Passing Places; Geoffrey Poole: INET CLASSICS CC0058. Total time
58:41. www.fernandosilveira.com.br Commodo Dragonfly; Piers Hellawell: 74:36. www.clarinetclassics.com
Prism. Mark Simpson, clarinet and bas- Four Delays; Gaspar Hunt: The Heart’s Derivations. Stephanie Zelnick, clarinet;
set clarinet; Ian Buckle, piano. Gary Lament; James Stephenson: Remem- University of Kansas Wind Ensemble,
Carpenter: Marking Time; Kenneth brance Songs. UH RECORDINGS Scott Weiss, conductor. Music of Mor-
Hesketh: Point Forms (after Kandin- LTD. 020011018. Total time 74:29. ton Gould: Fanfare for Freedom; Saint
sky); Gavin Higgins: Three Broken Love www.uhrecordings.co.uk Lawrence Suite; Jericho Rhapsody;
Songs; Emily Howard: Masquerade; Partenope. Luca Luciano, clarinet; com- Derivations for Solo Clarinet and
David Horne: Chime; Patrick Nunn: positions by Luca Luciano: Rondo’ Band; Symphony No. 4 “West Point.”
Prism; Stephen Pratt: Short Score; Mark Contemporaneo; Sequenza #1; Frag- NAXOS 8.572629. Total time 62:00.
Simpson: Lov(escape); Mark-Anthony ment #4; Sequenza #2 in A Minor; Frag- www.naxos.com
ment #5; Jazz Impromptu (Homage to Clarinet Concertos. David Singer, clari-
Turnage: Cradle Song. NMC D139. To-
Charles “Bird” Parker). LUCO1 CD. net; A Far Cry Orchestra; The Shanghai
tal time 74:51. www.nmcrec.co.uk
Total time 29:22. www.lucaluciano.com Quartet (Weigang Li and Yi-Wen Jiang,
Weber to Tango. Margaret Wilson, clari-
Danzi & Taffanel. Soni Ventorum Wind violins, Honngang Li, viola, and Nich-
net; Gillian Lyons, piano. C. M. von
Quintet: Felix Skowronek, flute; Laila olas Tzavaras, cello. Robert Livingston
Weber: Grand Duo Concertant; C. Storch, oboe; William McColl, clarinet; Aldridge: Clarinet Concerto: Aaron
Saint-Saëns: Sonata; Murray Adaskin: Arthur Grossman, bassoon; Christo- Copland: Clarinet Concerto; R. L. Al-
Vocalise No. 1 for solo clarinet; Joseph pher Leuba, horn. Franz Danzi: Quintet dridge: Samba. NAXOS 8.559667. To-
Horovitz: Sonatina; Christa Steen- in F Major, Op. 68, No. 2 and Quintet tal time 49:44. www.naxos.com
huyse-Vandevelde: Romance; Dirk in D Minor, Op. 68, No. 3; Paul Taffa- Mauro’s Latin. Mauricio Murcia Bedoya,
Brossé: Tango Tout Court. Produced by nel: Wind Quintet in G Minor. CRYS- clarinet; with guests Diego Rodríguez,
the artist / MW0110. Total time 64:11. TAL RECORDS CD251. Total time percussion; Diego Rodolfo Guaca-
www.cdbaby.com/cd/margaretwilson 65:00. www.crystalrecords.com neme, tiple and cuatro; Omar Fandiño
Moments and Days. Alison Wells, mez- Xavier Lefèvre – A Revolutionary Tu- ‘choco,’ maracas. Thirteen jazz and
zo soprano; Ian Mitchell, clarinets. tor. Colin Lawson, clarinet; Sebastian Latin duets. Produced by Mauricio
Andrew Keeling: Pirate Things and Comberti, cello. X. Lefèvre: Clarinet Murcia Bedoya. Total time 38:08.
Seule; Luciano Berio: Sequenza III for Sonatas (Nos. 2 in D Minor; 4 in F Ma- www.woodwindiana.com
female voice; W. O. Smith: Five Frag- jor, 6 in C Major; 8 in F Major; 10 in B-
ments for Double Clarinet; Colin Ri- flat Major; and 12 in F Major). CLAR- Good Listening!
September 2011 17
Clarimania 2011,
Karol Lipinski Academy
of Music in Wrocław,
Poland
A Report by Timothy Phillips
O
n April 13–16 2011, Clarima-
nia 2011 was held at the Karol
Lipinski Academy of Music in
Wrocław (pronounced vRawts-lahf), Po-
land . Clarinetist and conductor Jan Jakub
Bokun directed the festival, which was
funded largely by the city of Wrocław
and Henri Selmer Paris . About 130 high
school and college students from Poland,
Spain, Belarus and the Czech Republic
were in attendance . The artist faculty for
the festival included Philippe Berrod (prin- (l to r): Irvin Venyš and Jan Jakub Bokun
cipal clarinetist of the Orchestre de Paris
and newly appointed professor of clarinet two Concert Pieces . This was followed by lecture recital given by this author, Timo-
at the Conservatoire National Superieur a virtuosic performance of the first move- thy Phillips, and his colleague T . Adam
de Musique de Paris), Irvin Venyš (Czech ment of Erland von Koch’s Concerto Blackstock entitled “North American
clarinet soloist), Justo Sanz (professor of for Saxophone and Strings by Jonathan Works for Clarinet and Percussion Duo .”
clarinet at the Real Conservatorio Supe- Bergeron, the saxophone professor from This recital featured works by Traci Men-
rior de Música de Madrid in Spain), and Northern Arizona University . Closing the del, Carl Vollrath, Stephen Chatman and
the Lisbon Clarinet Quartet . first half of the concert was Polish saxo- Nathan Daughtrey .
Clarimania is a biannual event that phonist Paweł Gusnar presenting a light, The Thursday evening concert was
focuses on clarinet performance and spirited version of Astor Piazzolla’s Tango called “Iberomania!” and it featured per-
pedagogy . This year the festival broad- Ballet for Soprano Saxophone and Strings . formances by Justo Sanz and the Lis-
ened somewhat, both philosophically and The second half of the concert opened with bon Clarinet Quartet . The concert began
physically . From a philosophical perspec- Gusnar and Bergeron performing Carl An- with clarinetist Justo Sanz and pianist
tive, the festival included soloists on other ton Wirth’s appealing Jephtah for 2 Saxo- Marek Werpulewski presenting works by
woodwind instruments besides the clarinet phones and Chamber Orchestra . The con- Romero, Menéndez, Sarasate/Baldeyrou,
at some of the evening concerts . From a cert came to a close with Czech clarinetist and Iturralde . Throughout the recital, Sanz
physical perspective, evening concerts for Irvin Venyš delivering a solid memorized performed with clean technique, a multi-
the festival were held at various locations performance of Carl Maria von Weber’s colored sound, and a refreshing stylistic
throughout the city of Wrocław . This gave Second Clarinet Concerto . He received approach . The second half of the recital
festival attendees, most of whom were such appreciation from the audience that began with the concert hall in complete
visitors to the city, a chance to see more of he came back to the stage to perform a darkness . Slowly, the lights were turned
this beautiful and historically rich location paraphrase of the opening of Gershwin’s on as the Lisbon Clarinet Quartet and their
on their way to evening performances . Rhapsody and Blue as an encore . percussionist made their way to the stage
Clarimania 2011 began with a Wednes- Thursday morning consisted of a mas- while playing . The quartet’s portion of the
day evening performance of the Acad- ter class by Irvin Venyš where students concert bursted with energy as the group
emy’s chamber orchestra, conducted by of various levels performed works by played many spirited, rhythmic works
Jan Jakub Bokun . This concert was titled Messager, Debussy, Mozart, Kurpinski, with the assistance of conga drums, sim-
Trampolina Mlodych [Trampoline of and others . Venyš had a calm, engaging plified drum set, and various other percus-
Youth] and featured student soloists, as character in the master class and audible sion instruments . The bass clarinetist of
well as young guest artists . The concert improvements were made when students the group, Lino Guerreiro, had done many
began with student soloists Sławomir responded to his ideas, particularly with fine arrangements for the quartet and it
Zawadzki and Marek Zjawin presenting regard to phrasing . The Thursday after- was clear that after 22 years of performing
sparkling renditions of Felix Mendelsson’s noon session of Clarimania consisted of a together, these players still relish each mo-
18 The Clarinet
ment of their music making . The evening
concluded with jazz department students Philippe Berrod and Justo Sanz
Przemysław Walczak and Paweł Lemanski
performing jazz standards with a rhythm
section at the nearby Teatralna Restaurant .
Friday opened with an in-depth master
class with artist Justo Sanz where students
performed works by Widor, Weiner, Sara-
sate/Baldeyrou, various Polish composers,
and others . Students from intermediate to
advanced levels appreciated Sanz’s vari-
ous suggestions for performing and prac-
ticing . Also, of great use in this class was
his willingness to demonstrate passages
and to play his clarinet with the students .
Friday afternoon featured the first ever
“Estrada Studencka” [Student’s Forum]
in the history of Clarimania . This was an
opportunity for many of the extremely tal-
ented students in attendance to perform as
soloists or with chamber ensembles . This
event featured soloists performing works The Friday evening performance was to the audience about the importance of
such as Eric Dolphy’s version of “God called “Carte Blanche à Philippe Berrod” feeling free with the instrument and he
Bless the Child” for Bass Clarinet Solo and was definitely a highlight of the four- explained some small stories from his
(arr . Roget Jannotta), Jorg Widmann’s day event . Clarinetist Philippe Berrod, own imagination that lead him to his next
Fantasie for Clarinet Solo and Claude along with masterful collaborative pianist work, his own 3 Improvisations for Solo
Debussy’s Première Rhapsodie . Various Anna Otwinowska-Płaza, opened this per- Clarinet . He next performed a seemingly
large chamber ensembles concluded the formance with a memorable rendering of effortless, yet elegant version of Francis
Student’s Forum with works such as Rich- Debussy’s Première Rhapsodie . Berrod’s Poulenc’s Sonata for Clarinet and Piano .
ard Strauss’s Serenade, Op . 7 and Aleš playing in this piece was light, colorful, And he closed the recital with a virtuosic,
Pavlorek’s Ulet . Immediately following and sometimes playful . This work was singing rendition of Gioachino Rossini’s
the Student’s Forum was a lecture on Pol- followed by Bruno Mantovani’s fascinat- Introduction, Theme, and Variations . Near
ish clarinet concertos by talented clarinet- ing short solo work, Bug . Next, Berrod the end of this work, he performed his
ist Roman Widaszek . This fascinating lec- performed Gabriel Pierné’s Canzonetta, own cadenza, which was a climax of the
ture highlighted concertos by composers Op . 19, followed by Berrod’s tasteful ar- recital . After much applause from the au-
such as Kurpinski, Szeligowski, Sikorski, rangement of Fritz Kreisler’s violin piece, dience, Berrod invited a small ensemble
Tansman, Penderecki and others . Schön Rosmarin . Next, Berrod talked of selected students from each country in
attendance to the stage to accompany him
(Photos: Wiktor Rzezuchowski)
T
encouragement of attendees to appreciate
he fourth annual Iowa Clarinet Oakes, offered students a chance to learn
repertoire not only associated with clari- multiphonics, flutter tonguing, and even
Day, hosted this year by Kariann
net . The festival came to an end with Ir- how to play their clarinet like a Japanese
Voigts at Simpson College, gath-
vin Venyš’s dynamic, fiery performance of Shakuhachi! A clarinet choir reading ses-
ered clarinetists from around the state of
Clarinettino with the orchestra . sion, conducted by Jesse Krebs, finished
Iowa and the greater Midwest for a day of
Congratulations to Jan Jakub Bokun on off the afternoon clinics .
master classes, clinics and performances .
his vision for this festival and his wonder-
Throughout the day’s events guest artist
ful direction of Clarimania 2011! Michele Gingras affirmed her reputation
as an inspiring pedagogue and an engag-
ing performer . She is known by many
as a performer of Klezmer music so we
were thrilled that, in addition to a master
class and recital, she offered a hands-on
Klezmer workshop for our attendees .
Iowa Clarinet Day officially began at 9
a .m . with a group warm-up session led by
Kariann Voigts (Simpson) and Dr . Gregory
Oakes (Iowa State) . Immediately following
the warm-up session the high school solo
and ensemble clinic began . In this clinic
high school students from around Iowa
performed contest pieces for the faculty in
attendance at Iowa Clarinet Day . Dr . Jesse
Krebs (Truman State University) ran this
session, giving tips to the performers and
inviting comments from faculty such as Dr .
Daniel Sheridan (Winona State, MN), Dr .
Gregory Oakes, Dr . Cynthia Doggett (Cen-
tral College), Clarence Padilla (Drake Uni-
versity) and Dr . Daniel Friberg (freelance
musician, Minneapolis, MN) and Joyce
Wheeler (Drake University) .
Due to the large number of profes-
sional clarinetists joining Iowa Clarinet
Day 2011, the potpourri concert, which
traditionally consists of solo repertoire,
included only music for clarinet quartet Michele Gingras, guest artist recital
20 The Clarinet
Troy University
Clarinet Day
A Report by Useon Choi
T
he Fourth Annual Clarinet Day of
2011 held at Troy University in
Alabama progressed into an inter-
national clarinet festival this year . Coor-
dinator and host of the event Dr . Timothy
Phillips, clarinet professor at Troy Univer-
sity, showed true professionalism in ac-
commodating guests from different parts
of the world . The guest artists this year
were J . David Harris (clarinet professor at
the University of Illinois at Urbana–Cham-
paign), Yasmin Flores (clarinet profes-
sor at the University of North Alabama),
Alcides Rodgriguez (bass clarinetist of
Greg Oakes, Michele Gingras, Cynthia Doggett on Michele’s guest artist recital the Atlanta Symphony Orchestra), Gabor
Varga (principal clarinetist of the Hun-
Michele Gingras’ recital, Klezmer taneously was not an aural experience I’d garian Radio Orchestra), Wolfgang Lohff
workshop, and traditional master class want to repeat soon, the process was fun, (clarinet technician from Denmark) and
filled the late afternoon . It was obvious informative, and engaging! the Busan Clarinet Quartet (Taehoon Kim,
that audience members from novice to Upon finishing her recital she worked Namyong Hwang, Useon Choi, and Sung-
professional, both musician and non- with three collegiate-level musicians on kwan Lee) from South Korea . The event
musician, thoroughly enjoyed her perfor- standard clarinet repertoire . Michele Gin- was sponsored by Buffet Crampon, Rico
mance . Her recital program, entitled “The gras’ pedagogical style centers on con- Reeds, Vandoren, Troy Arts Council, Troy
Joys of Jewish Music,” brought the lis- cepts, equipping students with the tools University, and Troy University’s chapters
tener through a variety of music composed applicable to any piece of music . Concepts of Sigma Alpha Iota and Phi Mu Alpha .
by Jewish musicians and performed in the such as physical relaxation, tone color, use Much like last year, “Clarinet Day”
Jewish folk style . She has unquestionably of airstream to affect phrasing, and tools began with a guest artist master class for
mastered the stylistic challenges posed for improved intonation were all skillfully the Troy University Clarinet Studio on
by alternating between the controlled and addressed . Friday morning . This year, Gabor Varga
sensitive playing necessary in traditional Plans are already underway for the fifth led an insightful class where students
clarinet repertoire, and the pure abandon annual Iowa Clarinet Day in April 2012 . performed works by Weber, Hoffmeister,
and joy of Klezmer . Her program ended We are very appreciative of the generous and Stravinsky . Friday concluded with a
with Béla Kovác’s Sholem-alekhem, rov colleagues who contributed to the event, faculty/guest artist recital in the beauti-
Feidman!, a Klezmer-inspired work for and are proud to have such outstanding ful Claudia Crosby Theater, the largest
clarinet and piano which led us eagerly student clarinetists in the state of Iowa . hall on campus . On Saturday, both high
into instruction in the Klezmer style via Iowa Clarinet Day would like to thank school and college students rehearsed in a
Hava Nagila . Although hearing dozens of Kariann Voigts for her superb work in massed clarinet choir and attended clinics .
clarinetists practice their glissandi simul- hosting the event . The event concluded with a concert pre-
sented for the participants’ parents at the
end of the day .
Jesse Krebs conducting the clarinet choir The Friday evening recital started off
with a great opening piece, La Traviata
by Donato Lovreglio, performed by Yas-
min Flores and her pianist Yee Sik Wong .
Next, Timothy Phillips and his colleague
T . Adam Blackstock, percussion professor
at Troy University, gave the premiere per-
formance of Traci Mendel’s Meditation
on the Nature of Kali for clarinet and per-
cussion duo . This work opens with some
unusual sounds created by strumming the
strings of a piano, and then a free sound-
ing clarinet line sings over a steady pat-
September 2011
2011 21
(l–r) Yee Sik Wong (pianist), Gabor Varga, Katrina Phillips, Alcides Rodriguez, Yasmin Flores, Timothy Phillips, J. David Harris, Taehoon
Kim, Namyong Hwang, Useon Choi, Sungkwan Lee, T. Adam Blackstock (percussionist)
tern in the vibraphone and piano . This is a textbook example of fine clarinet playing . day and he was only able to speak very qui-
an exceptional new work that left the au- Saturday began with a clarinet choir etly while teaching his class; yet, the stu-
dience somewhat hypnotized . Concluding reading session followed by a master class dents were so enthralled with his teaching,
the first half of the concert was the Busan by Professor Harris where students played you could almost hear a pin drop during
Clarinet Quartet performing Tema de Ma- works by Mozart, Baermann and Arnold . his class . This is a great testament to his
ria, Viktor’s Tale (featuring Gabor Varga’s After lunch, Useon Choi lead a clarinet ability to capture a room of students and to
sinewy solo clarinet playing) and Clown- choir rehearsal with the high school stu- his fine teaching . In his class, he listened to
ery for Clarinets. dents in one room while Timothy Phil- one student play the first movement of the
The second half of the program started lips conducted a rehearsal with the Troy Mozart Concerto on a soprano clarinet and
with an amazing presentation of Béla University Clarinet Choir and soloists another play Rabaud’s Solo de concours on
Kovács’ Hommages to Manuel de Falla, in another . After the intensive rehears- the bass clarinet .
Richard Strauss and Béla Bartók by Gabor als, both groups gathered once again for The final concert of Clarinet Day was
Varga . Varga’s playing was clean, sound, a class on clarinet maintenance and facts held in the band rehearsal room, which
and eminated with virtuosity and interest . by Wolfgang Lohff . Lohff’s class covered was uniquely set with a seating area for
Alcides Rodriguez performed the Andante the necessity for having one’s clarinet reg- the audience and a performance area for
et Allegro by Ernest Chausson, which was ularly maintained and the vast differences the groups . This venue proved to be the
also a stylish, first-class performance of a between a student line and a professional perfect space for this concert, where the
very technically difficult piece . The finale clarinet . The students loved his talk . guest artists had a chance to interact with
of the concert was in the hands of J . David The day concluded with a final rehearsal both the students and their guests . The
Harris . His performance of the Sonata for of the massed clarinet choir and a master concert began with a performance by the
Clarinet and Piano by Leonard Bernstein, class from Alcides Rodriguez . Alcides had Troy University Clarinet Choir . They per-
with pianist Hui-Ting Yang, gave everyone lost his voice throughout the course of the formed Charles Yassky’s arrangement of
22 The Clarinet
Mozart’s Overture to the Magic Flute and
an arrangement of Mendelssohn’s Concert
Piece No. 2 featuring the great duo of J .
David Harris and Katrina Phillips . Next,
the Busan Clarinet Quartet performed the
lighthearted Morning of Carnaval by Luiz
Bonfa and Frank Meacham’s American
Patrol, which the audience seemed to re-
ally enjoy . This was followed by Alcides
Rodriguez’s masterful performance of
Béla Kovács’s Hommage à Manuel de
Falla on the bass clarinet and Gabor Var-
ga’s colorful rendition of the solo clarinet Participants and guest artists
Sonata by Tiberiu Olah . What a treat to
watch the audience take in the playing of
to find what Troy University Clarinet Day The Symposium began with a “Wel-
these world-class performers!
will present next year! come and Meet the Artists” session where
The concert ended with a performance
Combs and DeRoche shared their experi-
of the massed clarinet choir, with the help
of all the guest artists, lead by Timothy “Legends Of The ences and answered participants’ ques-
tions . This open forum is one of the favor-
Phillips and Useon Choi . As has become
tradition, the concert concluded with a band
Clarinet” Series ite aspects of the symposium and raised
favorite . This year it was quite fittingly the Continues at Wright questions ranging from clarinet equipment
to the secrets of performing profession-
Hands Across the Sea march by John Philip
Sousa, arranged by Ken Abeling .
State University, ally . Combs and DeRoche then coached
The Troy University Clarinet Day is Dayton, Ohio solo master classes . Master class partici-
T
pants included Jessica Blaza performing
growing in the world of clarinet confer- he annual “Legends of the Clari- Mazellier’s Fantasie–Ballet and Matthew
ences, exposing high school clarinetists net” Symposium hosted by Dr . Snyder performing Brahms’ Sonata in
to a rich experience and allowing them to Randall S . Paul and John Kuroka- E-Flat. Mozart Concerto excerpts were
interact with a wide variety of guest artists wa at Wright State University (WSU) con- performed by Sarah Beatrez and Matthew
from around the world . This event could tinued this year with visiting artists-in-res- Snyder . All participants were assisted by
not have been so successful without the idence, Larry Combs and Julie DeRoche the excellent pianist, Steven Aldridge .
enormous efforts and the generous per- of Chicago, Illinois . The symposium was After a lunch break, chamber music
sonality of Timothy Phillips and the Troy held at Wright State University in Dayton, master classes were held where Combs
University Clarinet Studio . I am enthralled Ohio, on April 20 and 21, 2011 . and DeRoche coached several ensembles,
including a student woodwind trio and the
WSU Chamber Winds .
A master class and lecture regarding
“Practice Tips and /or the Mechanics of
Mistakes” was presented by Dr . Daniel
Paprocki . Paprocki shared and demon-
strated numerous practice techniques,
which were also detailed in a handout .
The culmination of the symposium was
a formal concert by Larry Combs and Ju-
lie DeRoche . Pre-concert music was pro-
vided by the Bellbrook High School Clari-
net Choir, under the direction of Barbara
Siler . Their delightful performance enter-
tained the crowd to hearty applause prior
to entering the concert hall .
The concert began with Mozart’s Di-
vertimento from Don Giovanni, arranged
by Rainer Schottstadt for two clarinets in
A and basset clarinet . The trio performance
included Julie DeRoche and Randall Paul
on clarinet in A, with Larry Combs on
basset clarinet . The first half of the con-
Larry Combs and Julie DeRoche with the orchesra cert ended with Andrzej Anweiler’s Di-
September 2011 23
versions for Two Clarinets, performed by
Larry Combs and Julie DeRoche .
The grand finale of the concert was
the performance of Franz Krommer’s
Concerto in E-Flat Major, Op . 91 for two
clarinets and orchestra . Larry Combs and
Julie DeRoche were joined by the Wright
Chamber Orchestra, conducted by Dr .
Jackson Leung, for the performance . The
performance, which ended a spectacular
concert, was met with a standing ovation .
This symposium at Wright State Uni-
versity has provided participants through-
out the Midwest with an opportunity to
personally experience the talent and wis-
dom of legendary clarinetists like Larry
Combs and Julie DeRoche (2011), Stanley
and Naomi Drucker (2010) . This series
is made possible by the generous fund-
ing and support of Val P . Hattemer, Mike
Getzin and the WKA, and the numerous
other Clarinet Studio Donors .
Clarinetopia 2011
A Report by Michael Webster Clarinetopia faculty and participants
C
(photo: Mike Getzin)
larinetists from as far away as Utah
and as near as Long Island assem-
bled for the third annual Clarinet- son Twins Sextet played an evening of big used to teach students–including Caroline
opia at Stony Brook University between band jazz, featuring arrangements by both Hartig . The reason his day was so com-
June 22 and 26, 2011 . Faculty members Will and Peter of tunes made famous by pressed was that he filled in on short notice
Caroline Hartig, Alan Kay, Charles Nei- Benny Goodman, Artie Shaw and others . for founding Clarinetopia faculty member
dich, Michael Webster and flutist Leone Will wailed on the Artie Shaw Concerto, Stephen Williamson, who had gracefully
Buyse heard all of the student performers with Pete joining in to compete on who bowed out due to winning the principal
in master classes and recitals and offered would reach the high C at the end . Four of clarinet position in the Chicago Symphony
talks on topics of interest, such as contem- New York’s finest freelancers filled out the and suddenly having to move his family .
porary techniques, effective practicing, sextet on piano, drums, bass, and trumpet Charlie gulped down a sandwich, changed
the musculature of breathing and audition for an evening of non-stop excitement . You his clothes, and started the 7:00 recital and
preparation . There was also a mock audi- can check out the twins at www .anderson master class about 20 minutes late .
tion with a short list of standard excerpts . twinsjazz .com . His program was as varied as could be:
Students ranging in age from 15 to– Clarinetopia also had some welcome Poulenc Sonata, a remarkable sonata by
let’s say gray-haired–arrived on Wednes- visitors on Thursday . Chris Coppinger and Mieczyslav Weinberg (op . 28, 1945), a Pol-
day and congregated at The Reed Table, Fred Weiner brought a display of Buffet ish/Soviet composer unjustly neglected,
where Michael Webster demonstrated clarinets from Fred’s store, and Wojtek his own Threnos (2005) for clarinet solo,
techniques of making and adjusting reeds . Komsta, one of the area’s finest repair and St . Saëns’ Introduction and Rondo
The opening faculty recital featured Caro- technicians, set up shop in Alan’s studio . Capriccioso, played in the original key
line Hartig, Alan Kay, Michael Webster He was besieged all day with students and register of the violin . Amazing! The
and Leone Buyse in music of Mozart, needing repairs and adjustments, all of ensemble playing was magnificent and no
Kovács, Larsen, Weber, Rossini and them leaving happy with his work . one would have guessed that he and Anna
Brahms, with the expert collaboration of The Friday evening special event was Vinnitsky had had only one rehearsal two
pianists Teddy Robie and Anna Vinnitsky, a free evening! Participants chose from weeks previously! For the master class, he
who also accompanied the student master having a special dinner off campus, prac- asked me to be timekeeper, but invariably
classes and the two student recitals . A ca- ticing, playing in spontaneous clarinet en- had so much information to impart that
tered welcome dinner allowed all of the sembles, etc . the event lasted until just past 11:00 p .m .!
participants to meet and greet each other . On Saturday, Charles Neidich began After a long day of travel, his supply of
Each day began with communal yoga his day in Quebec City, flew to NYC, energy seemed endless .
sessions and warm-ups and ended with a took the Long Island railroad and arrived The following morning he joined Leone
special event . On Thursday, The Ander- around 6:45 p .m . at the campus where he and me for the traditional student/faculty
24 The Clarinet
round table, an open discussion about any
topics in which the students are interested . Chicago Clarinet Ensemble with Stanley and Naomi Drucker
In 2010, nearly the entire round table fo- as soloists on Mendelssohn’s Concert Pieces .
cused on preparing for the job market, but John Bruce Yeh is conducting.
this year, technical issues came to the fore .
Charlie explained and demonstrated how
he adjusts his embouchure to find nodes
on the reed . This technique allows him
to locate partials above the standard 9th
partial in order to play a work such as the
St . Saëns in the super altissimo register
without a lot of embouchure pressure . Af-
terwards, we rushed him back to the LIRR
to head back to NYC and then enjoyed the
final event–the second of the two student
recitals, followed by a small farewell re-
ception . As always, we thank Alan Kay and
Michael Hershkowitz for making the Stony
Brook facilities available for Clarinetopia .
program also featured a premiere of Eric and Andrew Hudson and Rebecca Graham
Mandat’s Pursuits of Happiness which of Northwestern University .
Chicago Clarinet was commissioned by Rose Sperrazza, as- The Chicago Clarinet Ensemble was
Ensemble: “Careers sociate professor of clarinet at Northeast-
ern Illinois University . The new work is a
founded in 2007 by Rose Sperrazza and
T
events . Both events can be accessed in the
he Chicago Clarinet Ensemble pre- Reilly, Rose Sperrazza and David Tuttle .
Other premieres included Edward Yadz- archives at www .banddirector .com .
sented a concert and master class
that featured clarinet legends Stan- inski’s Hasty Fragments for clarinet and
ley and Naomi Drucker on May 27 and 28 narrator premiered by Eric Mandat, Steve
at Northeastern Illinois University . The Cohen, Stanley Drucker, KT Somero, Da-
two-day event was attended by more than vid Tuttle, Rose Sperrazza, David Gould,
250 people and was sponsored by North- John Bruce Yeh and Naomi Drucker . The
eastern Illinois University, Buffet Cram- final premiere of the evening was an inter-
pon and Vandoren, Inc . esting work by Jeff Kowalkowski for clari-
The concert, entitled Careers and Pre- net ensemble and synthesizer entitled ruth,
miere, was conducted by John Bruce Yeh rubric-rational; realisms-relationals .
and included a dazzling performance of The master class on May 28 focused on
Mendelssohn’s Concert Pieces, Opp .113 “The Orchestral Clarinetist .” Performers
and 114 arranged for clarinet ensemble were Miguel Hernandez of Northeastern
and soloists . The Drucker’s delivered a Illinois University; Amanda Eich of Uni-
stunning and virtuosic performance . The versity of Illinois at Urbana Champaign;
(l–r) John Bruce Yeh, Teresa Reilly, David Tuttle, Rose Sperrazza, Naomi Drucker,
Stanley Drucker (photos: Laura Hamm)
September 2011 25
(All Photos by Deborah Check Reeves)
by
Deborah
Check Reeves
I
n an ad from January of 1929, the the following signature: REG. U.S. / P.X.
Cundy-Bettoney Company stated that LAUBE / PAT. OFF. (Photo 4: NMM 1899
“there is a Bettoney-made clarinet in a Signature.) All five clarinets are also en-
finish for every taste and at a price for ev- graved with PAT. PENDING. (Photo 5:
ery purse .” With this proclamation, three NMM 1899 Patent Indication.) The patent
different models of silver clarinets were pending indication is for US patent num-
listed: the Silva-Bet, the Boston Wonder, ber 1,705,634 that was issued in 1929 .
and the P .X . Laube . A pricelist from No- This mark helps date the manufacture of
vember 1, 1928, noted the P .X . Laube was the clarinet to 1928 or 1929 .
the “best low-priced American all-metal The three Boehm System clarinets also
have Bettoney’s patented forked E-flat/B-
clarinet” and that it was the “favorite
flat device that made for easy A-flat to
metal clarinet of young clarinetists .” Of
B-flat trills . This device was patented in
the three models offered in early 1929, the
1916 (US patent number 1,200,578 .) (See
P .X . Laube was the lowest priced . It was
The Clarinet “Historically Speaking” Vol .
offered in two fingering systems: Albert 37 Number 2, page 23 .)
and Boehm . The line appears to have been There appears to be some misunder-
short-lived, with a cessation of advertising standing about the name “P .X . Laube .”
of the model by February 1933 . The New Langwill Index: A Dictionary
Five P .X . Laube clarinets are among of Musical Wind-Instrument Makers and
the collections of clarinets at the National Inventors states that “P .X . Laube” was a
Music Museum . Two are model number trade name employed by a New York mu-
S398X with Albert System fingering . Both sical instrument importer and dealer, the
Photo 1 Photo 3 of these clarinets, NMM 5025 and 99002, Progressive Musical Instrument Corpora-
are one-piece models finished in a satin tion . Although the other trade names asso-
NMM 99002 P.X. NMM 1899 P.X. silver plate . (Photo 1: NMM 99002 P.X. ciated with this firm may be correct, “P .X .
Laube Albert Laube Boehm Laube Albert System Clarinet.) Both have Laube” was clearly a model made and of-
System Clarinet System Clarinet 13 keys with four rings . Both have patent fered by the Cundy-Bettoney Company .
26 The Clarinet
A Manuscript
Comes Home
I
t’s not often that an important clarinet
manuscript comes up for sale—but
one did a couple of weeks ago at Bon-
ham’s, the famous auction house situated
on London’s Bond Street . The manuscript
in question was Malcolm Arnold’s Second
Clarinet Concerto—a work that has very
special resonances with me . I’ve played
and taught it many times, perhaps most
memorably, working on it with the eight- by Paul Harris
year-old Julian Bliss for a performance in
Huddersfield to which Sir Malcolm him-
self came along in 1997 .
Malcolm wrote the concerto (in 1974)
whilst living in Ireland . It was a turbu-
lent time in his life . His second wife had
left him and he was suffering from acute
mental health problems which ultimately
culminated in a serious suicide attempt .
During this extremely difficult period he
was lucky enough to have a very dedi-
cated doctor, Robin Benson, who looked
after him with great devotion, often well
beyond the call of duty . When Malcolm
finally left Monkstown to return to Eng-
land and spend, on and off, virtually the
next three years in hospitals of one sort
or another, he decided to give Dr . Benson
a rather special gift . “Dear Robin, your
kindness is so much appreciated . This is
the original manuscript of a piece which
me
has been so beautifully bound in Dublin . The bound volu The first page of the first
Please thank you for yourself and accept movement
this useless present .” The useless present
was, of course, Malcolm’s handwritten
score of the Second Clarinet Concerto.
Thirty-seven years later the family ob-
viously decided to sell the manuscript and
it appeared as Lot 93 at a sale of Books,
Maps, Manuscripts and Historical Photo-
graphs on March 22 . I wasn’t able to go
to the sale myself but there were clearly
some very interested parties . At the event,
and to my great delight, it was bought by
Sir Malcolm’s daughter, Katherine . The
manuscript had come home again .
I was very excited when Katherine in-
vited me round to have a look at it . I was
keen to know if there were any of those
famous penknife scratchings occasionally
found in Malcolm’s manuscripts . Was there
to be any evidence of changes of mind?
Were any notes in the Pre-Goodman Rag
the result of second thoughts? Malcolm vir-
tually always wrote straight into full score The famous cadenza The first page
of the “Pre-Goo
and in ink . He composed inside his head, dman Rag”
28 The Clarinet
he neither used the piano (or any other in-
strument) and rarely made sketches . If any
changes were to be made (and there were
very few throughout his entire life’s work)
he would use a penknife to scratch out the
wrong note and re-ink in the right one .
I arrived at Katherine’s house in north
London and was very quickly ushered into
her study where on the desk sat the score .
Malcolm’s allusion to it having been
beautifully bound was quite accurate . The
binding is in a lovely and luxurious reddy-
brown leather with gold lettering on the
front . I opened the pages with great antici-
pation and a real thrill . The writing was,
as ever, neat and very clear . I turned the
pages one by one, hearing the music come
alive in my mind — sometimes it was the
Benny Goodman performance (which
I know well through a recording of his
premiere at St . John’s Smith Square) and
sometimes it was Julian’s who has often
played it with great enthusiasm .
I was not too surprised to find very little
in terms of alterations . I searched through
the score three or four times looking very
carefully for those tell-tale markings .
There were one or two but nothing to give
the impression that Malcolm had had any
serious changes of mind . I found just two
instances of penknife activity . In the first
movement, 15 bars after letter F, a cre-
scendo mark, followed in the next bar by a
diminuendo had been disposed of, and in
the third movement, from three bars after
J the slur was originally extended until the
end of the phrase . Otherwise the work is
entirely as we know and love it .
What of the other manuscripts of Mal-
colm’s clarinet works? The Clarinet Sona-
tina is held by the Royal College of Music
in London and they occasionally have it
out on display . But both the manuscript of
the Fantasy and of the First Clarinet Con-
certo are presently lost . We can only hope
that one day they will re-emerge .
The Clarinet
Publication Schedule
The magazine is usually mailed
during the last week of February,
May, August and November. De-
livery time within North America
is normally 10–14 days, while
airmail delivery time outside of
North America is 7–10 days.
September 2011 29
Studying Articulation
in Depth The Pedagogy
O
ver the past year we have dis-
cussed teaching articulation from
the earliest lessons, developing
Corner
a good attack, starting phrases with pre- by Larry Guy
cision, clearing up the articulated sound,
and appreciating the value of the short But as we all know, a good short stac- the back of the mouth stays free and open .
staccato . To delve into the subject a little cato takes some diligence to acquire . The The result: notes that are “stopped” or
deeper, this column will emphasize per- player learns to clip the end of notes by “clipped”, as in Example #1, below . When
fecting the staccato, understanding the returning the tongue to the reed while half notes have been mastered, proceed to
value of the clipped note, phrasing through continuing to blow behind the tongue, all quarter notes and eighth notes .
short notes, and achieving a well-matched the while keeping the embouchure firmly The late, great Kalmen Opperman de-
articulation through the registers . in place . Start by saying “toot” a number vised a warm-up of short notes that I give
of times at a slow tempo (about one per to moderately advanced students to develop
Acquiring Short Staccato – second), and keep air pressure at the front the coordination required for a good short
Let’s Get Specific of the mouth, right behind the tongue, staccato . Mr . Opperman called it “First
Developing a short staccato is one of our between repetitions . Now duplicate that Notes,” because he advocated playing it at
most important endeavors, because it al- feeling with the clarinet in the mouth: start the beginning of lessons and practice ses-
lows so much variety of articulated sound . with the tongue on the reed, build up some sions, and it is the perfect way to acquire
That is, if one can play a short staccato on air pressure behind the tongue, release the and maintain a good-sounding short stac-
every note in the range at any dynamic, tongue and play open G half-notes . Stop cato . The coordination required is complex,
one can easily choose to play longer notes the notes by putting the tongue back on so playing it is a little like jumping into the
if the music demands it . This approach the reed, and continue to blow during the deep end of the pool—no time for putting
gives the player many lengths of articula- rests between notes . While the tongue is one toe into the water! I play it forte with
tion to choose from, which can only en- on the reed, the air pressure builds up be- students to learn the technique, and later,
hance musicality . hind it, the embouchure stays firm, and request that it be played softer, which is
Air~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Example #1. Open G half Notes, Quarter Notes, and Eighth Notes
more demanding. I’ve included three scales derstand this concept, I have them play Other Uses for the
in Example #2, bottom of page 30; for the five-note sequences like the ones in Exam- Clipped Note
whole sequence, see The Daniel Bonade ple #3, top. The slurred exercise is easy, Once the student understands how to clip
Workbook, published by Rivernote Press. the articulated one less so, but should give a note, all sorts of rhythmic figures, espe-
a similar musical effect. The air pressure cially rhythms off the beat, can be played
Phrasing Through remains steady, including when the tongue more accurately. For example, if one starts
is on the reed, and the crescendo must be
Short Notes a passage off the beat, I ask students to be-
quite audible into the sforzando. gin by observing a four-part sequence dis-
There are two advantages in keeping steady This concept is in direct opposition to cussed in earlier columns: 1) form the em-
air pressure as one plays short notes: first, the frequently encountered tendency stop bouchure, 2) put the tip of the tongue on
speed becomes possible, and second, one the air between short notes (also known as the reed, 3) feel the air behind the tongue,
is able to show a musical direction even “puffing”), which renders any sense of di- and finally, release the sound. This helps
through the silences between notes. Giv- rection to the phrase nearly impossible, as put the first note of a passage in exactly
ing a directional quality to the notes allows in Example #4, above. the right spot, and takes the guesswork
us to make an effective phrase through a In fact, I tell my students that when out of executing the musical notation. The
group of short notes. To help students un- the air stops, the phrase stops! So in Ex- student immediately has “better rhythm!”
Example #10. From The Secret to Rapid Tongue and Finger Technique
September 2011 33
dominal, side, and back muscles in the precise moment the tongue gives way to Recommended Reading
quest for perfect air support . A technique the pressure of the air . I find these to be
The Inner Voice, by Renee Fleming . Pub-
she learned at a master class hosted by helpful descriptions, and use them with lished by Viking Press . 222 pages . Sub-ti-
Dan Gilbert involves tying a flexible cord my students . tled The Making of a Singer, this book by
or elastic band around the waist, feeling
the great American soprano offers aspir-
the expansion of the band while inhaling, Analogies unlimited ing clarinetists valuable lessons in at least
and then, during the exhale, staying aware Among pupils past and present, my analo- two areas . First, she describes the kind of
of the muscles’ firmness against it . This gies seem to have acquired some notoriety work ethic and resourcefulness needed to
ensures that the player keeps the breath- – I have become accustomed to seeing stu- achieve success in our highly competitive
ing low in the torso and continues to sup- dents gaze heavenward while strange little field, and second, she discusses techni-
port the sound through the entire exhale . smiles creep onto their faces as I start a cal issues essential to good wind playing:
A laptop power cord would seem to be the sentence with, “It’s like a…“ Neverthe- detailed descriptions of support, voicing,
perfect tool, and it is always at hand . paul less, I persevere, certain that one of these resonance, and tonal clarity, all of which
Chang demonstrates, below . references will eventually result in a flash shed light onto our own inquiries .
of enlightenment . A current analogy con- Due to the success she has achieved,
cerns the relative jobs of the air stream, Ms . Fleming’s fans would indulge her if
tongue, and embouchure as they work this book simply chronicled one triumph
together to produce good articulation . I after another, leavened with a few amus-
start with a demonstration of repeated ing stories . Instead, she has given us
articulations on one note, which gives us something very different: a focus on the
a situation to analyze: we will look into arduous task of overcoming obstacles,
the use of the tongue, air, and embouchure many of which seem daunting to young
in this example . I liken it to three friends musicians . Educators will find Ms . Flem-
who have embarked on a long trip by car . ing’s description of her relationship to her
One person is driving, one person is sit- main teacher, Beverley Johnson, as well as
ting next to the driver with a map in hand, comments about the contributions made
giving directions, and one friend is lolling by other teachers, mentors, and colleagues
in the back seat smoking . His only job is to be of interest and value . Generously-
to see that the ashes of his cigarette land detailed, well-written, and down-to-earth,
in the ash tray, which he does with a small this book is of lasting value to all ambitious
flick of his finger . Who is the driver? Who musicians . Highly recommended .
is in the passenger seat holding the map?
Example #11.
Another Use for the Power Cord
And who is that lazy person in the back
seat with only one tiny job to do? The an-
About the Writer…
swer, of course, is the air stream (primary Larry Guy is professor of clarinet at New
job), embouchure (directing the air), and York University and Vassar College, and
Stephen poppel, a talented amateur
tongue (tiny, repetitive job) . And although teaches at the MAP Program at the Juilliard
player from New York, relates that the
they are doing very different activities, School and the Precollege Division of the
air should be so strong and steady be-
they are all in the car together, driving to Manhattan School of Music in New York .
hind the tongue, and the tongue pressure
He is the author of six textbooks for clari-
so light, that at the moment of attack, the their destination (the arrival point of the
netists, and has produced three educational
air “blows the tongue off the reed .” The phrase) . I caution students to keep this
CDs for Boston Records showcasing the
air pressure is built up behind the tongue analogy in the back of the mind, not up
artistry of Daniel Bonade, Ralph McLane
until one can sense a “tipping point,” the front, while playing!
and Mitchell Lurie . He welcomes your
input on any pedagogic concept you may
be willing to share . If your idea is chosen
to be included in an upcoming “Pedagogy
Corner” article, you will be given credit .
E-mail him at Lguy551856@aol .com .
CoNtESt RUlES
I. Application fee: $50 US. Make amount payable to the I.C.A. in U.S. currency by bank check, money
order, or credit card only. If paying by credit card, please use the credit card payment form, which can
be downloaded from the Composition Competition page on www.clarinet.org. The application fee is
non-refundable.
II. The 2012 Composition Competition call is a piece for bass clarinet and piano, at least 10 minutes
in length. The submitted work must have no prior performances. A score and clarinet part must be
provided. A MIDI realization of the work is optional.
III. A permanent address, telephone number and e-mail address should be provided.
JUDgINg
A committee having no knowledge of the contestant will conduct the judging of scores and parts. Do
not include any identification on the scores and parts or the optional MIDI realization. E-mail or a letter of
notification by January 15, 2012 will announce the winner. The winning composition will receive a world
premiere performance during ClarinetFest® 2012, August 1-5, 2012 in Lincoln, Nebraska. Travel expenses
will be the responsibility of the winner. Free registration at ClarinetFest® 2012 will be provided. If the
winner is a clarinetist, he/she must be a member of the I.C.A.
Past first-prize winners are not eligible to compete. All contestants will accept the decision of the
judges as final. The I.C.A. will provide the performers for the premiere performance.
All scores and parts will become the property of the I.C.A. Research Center at the University of
Maryland Performing Arts Library and will not be returned.
PRIzE
$1,000 Prize
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money.
Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite
government agencies.
September 2011 35
by Kellie Lignitz and Rachel Yoder
Streaming Video bles such as the Chicago Symphony and podcasts. The live streaming project first
W
the New York Philharmonic. started in November 2007 and all video
e have written extensively The videos generally tend to be excerpts production is student-run and managed
about YouTube in past Clari- or single movements, but many complete by the Department of Recording Arts. The
net Cache columns, but we works can be found in the audio section number of programs available for view-
haven’t mentioned much about other of the site. InstantEncore has a nice player ing has grown to include performances of
places to view clarinet videos on the Web. for streaming audio that allows you to groups such as the IU Philharmonic Or-
YouTube is just one of many ways to share queue up a playlist of recordings – we rec- chestra and Jazz Ensemble. When brows-
and search video online. YouTube is just ommend Charles Neidich’s recording of ing through the list of podcasts, be sure to
one of many ways to share and search Stravinsky’s Three Pieces, Bil Jackson’s check out the 2008 chamber music per-
video on the Web; also, live video stream- recording of Kevin Puts’s Clarinet Con- formance by the ensemble Trio Cayanne
ing is becoming increasingly popular as certo with the Aspen Chamber Symphony, playing Jean Françaix’s Divertissement
the technology improves. For this column, and David Shifrin’s performances of Ber- with Steve Cohen on clarinet.
we’d like to explore some places clarinet- nstein’s Sonata and Bartók’s Contrasts. Heading further south to our neck of
ists may want to visit to view streaming Universities have even begun to use the the woods in Denton, Texas, the College of
video on the Web. site to promote their music schools, with Music at the University of North Texas reg-
tracks such as the Cleveland Institute of ularly broadcasts classical programs, with
InstantEncore Music’s “New Music Series Highlights more than 80 concerts streamed live dur-
InstantEncore is a streaming video and Fall 2010.” ing the 2010–2011 season. Unlike the sites
audio sharing site designed with classical InstantEncore also allows a local or na- mentioned above, UNT unfortunately re-
musicians in mind. Ideal for performing tional search for upcoming and past cham- stricts access to archived programs, making
artists, ensembles, and composers as a way ber concerts. There is some advertising on them available only to UNT students, staff,
to share their music, InstantEncore also the site, but the sleek interface minimizes and faculty. However, what sets UNT’s live
makes social networking easy for musi- the obtrusiveness of the ads (and they pre- streaming video apart from the content on
cians who aren’t Web savvy by coordinat- sumably have to pay the Web developers other websites is the ability for viewers to
ing YouTube, Facebook, Twitter, and web- somehow!). Hopefully this site will con- interact with each other during concerts.
site updates in one place. Classical music tinue to grow as a destination for classi- Through the live broadcast platform Us-
fans can easily search the site for videos cal music listening and networking on tream, viewers watching the UNT concerts
and audio by genre, composer, instrument, the Internet. can interact and chat in real time with oth-
artist name, etc. As the site is focused on ers, including those sitting in the audience
classical music, content is easier to sort Live Streaming using an iPhone app or with family mem-
through and generally higher-quality than In an effort to reach larger audiences out- bers around the world. Blair Liikala, Direc-
that found on YouTube. Also, InstantEn- side of the concert hall, universities across tor of Recording Services for the College
core videos tend to have more complete the U.S. are now live-streaming broadcasts of Music, often monitors these chats to find
information about artists and works than of concerts and programs, often accessible ways to enhance the live-streaming expe-
other video sharing sites, which often directly through the school’s site. In ad- rience; for example, if a parent mentions
leave out crucial facts like movement dition to live-streamed concerts, the Yale which player is their child, Liikala can
numbers, conductors or performers. School of Music website also holds a large relay this information to the camera crew,
Chamber music seems to be the most supply of podcasts of various programs, instructing them to get a close up of that
well-represented genre on this site. Clari- interviews, and musical discussions. Sev- student. It is this type of live interaction and
netist José Franch-Ballester is featured in eral podcasts feature the clarinet, includ- instant feedback that allow remote viewers
several videos with the Camerata Pacifica, ing David Shifrin’s performance of Yale to experience the concert in ways that were
performing movements from Beethoven’s faculty composer Ezra Laderman’s Con- previously not possible.
Quintet for Piano and Winds Op. 16 and certo for Clarinet and Strings.
Harbison’s Wind Quintet. There is also Traveling westward to Indiana Univer- Ustream and Vimeo
quite a bit of new music, including works sity’s Jacobs School of Music, the IU Mu- Used not only by universities, Ustream is
with multimedia and electronics. Clarinet- sic Live! website hosts several on-demand an interactive public website with a vari-
ists may also be interested in the videos videos of past opera and ballet produc- ety of live-streamed content. Although the
of symphonic works performed by ensem- tions and more than 43 video and audio listing for clarinet-related videos is lack-
36 The Clarinet
ing in high-quality entries, a few videos InstantEncore – http://instantencore .com Rachel Yoder is
stand out, such as bass clarinetist Martin Yale School of Music – adjunct professor of
Moore playing Isang Yun’s Monolog . An- http://music .yale .edu/media/ clarinet at Southeast-
other site worth visiting is Vimeo . With a Indiana University – http://music .indiana . ern Oklahoma State
seemingly endless supply of clarinet en- edu/iumusiclive/streaming/ University, and a pri-
tries, this is probably the only place where University of North Texas – vate instructor and
you will find a video of a man playing http://recording .music .unt .edu/live clarinetist in the Dal-
clarinet in the nude!! Such alternatives Ustream – http://www .ustream .tv las-Fort Worth areaarea .
to YouTube are becoming increasingly Vimeo – http://vimeo .com She earned a D D .M .A .
popular, and as faster internet connections in clarinet perfor-
allow video quality to increase, we look About the Writers… mance at the University of North Texas,
and holds degrees from Michigan State
forward to watching more and more clari- Kellie
Kellie Lignitz is lec-
net videos on the Web . University and Ball State University . Her
turer of music (clari-
teachers include James Gillespie, Caroline
net) at Texas A&M
* * * * * Hartig, Elsa Ludewig-Verdehr, and Gary
University–Kings-
Thanks to Chris Raddatz for giving us ville and is finishing Whitman . Rachel performs regularly as
the heads-up about InstantEncore’s col- up her doctoral work clarinetist in the Madera Wind Quintet and
lection of clarinet video and audio! If you in clarinet perfor- bass clarinetist in the Chameleon Chamber
have suggestions for websites we should mance at the Univer- Group, and enjoys collaborating with com-
take a look at, please e-mail us at clarinet sity of North Texas, posers to perform new works for clarinet .
cache@gmail .com . where she also re-
Visit clarinetcache .com to view the ceived her M M .M .
M in 2003
2003 . As a native of
electronic version of this article, and Kansas, she holds a B .M . from Washburn Visit the
check out our new links page . We have University . Her primary teachers include International Clarinet
been working all summer to compile a list James Gillespie and Kirt Saville . Kel- Association on the
of the best clarinet links on the Web, so lie holds the principal clarinet position in
World Wide Web:
come explore! the Laredo Philharmonic Orchestra and
is also a member of the Corpus Christi www.ClArInet.org
* * * * * Wind Symphony .
September 2011 37
What’s Happening in
Italy: Rome’s Coro di
Clarinetti del Lazio at
ClarinetFest® 2011
A
s this article was being written,
a celebrated clarinet choir from
the Lazio region of Italy (the re-
gion including Rome) was preparing for
its August 7 appearance at the 2011Clari-
netFest® in Northridge, California. The
Coro di Clarinetti del Lazio was founded
in 2000 by clarinetist Antonio Tomao,
by Margaret Thornhill
who helped form its core repertoire; Sim-
one Saccoccio (E-flat clarinetist with the part of a program dedicated to contempo-
group) has been its contact person since rary Italian composers for clarinet choir.
2008. Saccoccio and his group believe (A third work on their program, Antonio
their ensemble to be the main professional Fraioli’s jazz concerto, My Funny Paola,
clarinet choir in Italy; other Italian clarinet has already been reviewed in this column.)
choirs known to them are student groups. Samale is well known as a conductor,
The Coro di Clarinetti del Lazio has composer, and music researcher who has
several distinctive features. The musicians conducted all the principal Italian orches-
are professional colleagues, active as tras as well as orchestras in England, Ger-
both ensemble and solo players, playing many, France, Romania, Poland, Slova-
together in military bands. With only 10 kia, Israel, USA, South Africa, Belgium,
members, typically playing one on a part, Holland and South Korea. As a composer,
the group identifies strongly with a cham- he has written symphonic, choral, and
ber music sound. They usually perform chamber works (including three compo-
without a conductor, deliberately model- sitions for clarinet choir), and he is well
ing themselves on groups such as the Or- known for his scholarly completions of
pheus Chamber Orchestra, but when they several major unfinished orchestral works.
require direction, they have been fortu- His completion of the Symphony No. 9 of Margaret Thornhill
nate to have a collaboration with Maestro Anton Bruckner has been recorded three
Nicola Samale, the renowned Italian com- times, one of them under the baton of three parts” for clarinet choir and solo
poser and conductor. He has also contrib- Eliahu Inbal, which won the “Gold Dia- piccolo. The piccolo soloist (at Clari-
uted works to their repertoire. pason” award in 1988. In 2008, he also netFest® is Claudio Tievoli, first flute
The Coro del Lazio seeks to build a completed the third movement of the un- of the Italian Navy Band. My Funny
repertoire of original compositions and finished Schubert’s Symphony No. 8, and Paola is an amusing work of the clari-
transcriptions across many genres: cham- in 2001 he finished the Gustav Mahler’s netist and composer Antonio Fraioli.
ber, modern, jazz and traditional. They 10th Symphony which received its first It’s nicely dedicated to his wife Paola
rehearse regularly, every two weeks or performance by the Wiener Symphoniker and to the Coro di Clarinetti del Lazio.
more depending on their performance under Martin Sieghart. It was first performed in Sutri, Italy, on
schedule. In Italy, they have participated Recently, I chatted via E-mail with June 2010, on the occasion of a meet-
in cultural events, TV presentations and Simone Sacciocco about the group and its ing dedicated to the famous clarinetist
recordings. At the 2007 Chamber Music performance in California: Tony Scott. The soloist in Los Angeles
Competition “M. Trotti” at Matera, they will be Federico Fantozzi, the first clar-
received a special commendation from MT: I love the Italian repertoire on your
CD. Your performance of the Rossini inet of our group. All the program will
clarinetist Gervase de Peyer, who headed
overture to Italiana in Algeri is a reve- be conducted by Samale.
the jury. That same year, they were also
guests at the “Clarinet Day” sponsored by lation of lightness in articulation! The MT: How many musicians are in your
the Rome international competition “V. phrasing is beautifully operatic. I par- group? I see 13 names on the CD.
Bucchi International Prize,” giving the ticularly like the contemporary works SS: The Choir had an evolution of its
premiere performance of Nicola Sama- by Samale on this disc, Elegie and Kro- original score formation. So, initially
le’s original composition Kronos, which nos. Can you tell me more about your it consisted of 13 elements: one E-flat,
is also featured on the group’s 2008 CD. ClarinetFest® program? six B-flats, two altos, three basses, one
2010 brought the premiere of another new SS: Astra is the latest Samale composition contrabass. Now we prefer to play with
work, Samale’s Astra. Both of these works for our ensemble. Like the subtitle in- a reduced formation of 10: one E-flat,
will be performed at ClarinetFest® 2011 as dicates, it is a “fantastic divigation in four B-flats, two altos, two basses, one
38 The Clarinet
one Saccoccio will play with the Stark
Quartet at ClarinetFest® 2011!
Mt: Do you know of other Italian clarinet
choirs?
SS: I know other Italian clarinet choirs,
and they are mainly composed of clari-
net students . For example, in 2010 I
knew the clarinet choir of Milano’s
Conservatory . I remember some years
ago Maestro Piero Vincenti dedicated
a great work to the clarinet choirs . I
know that in Rome there was a clarinet
choir in the Italian Police Band, but I
don’t know if it’s in existence today .
Mt: I see that Oriana is the only woman
in the group. How does she like that?
Who makes most of the decisions in
the group?
SS: She likes this very much: she is
“blessed between the men!” Seriously,
Coro di Clarinetti del Lazio, 2011. Top row (l–r): Federico Fantozzi, Simone Saccoccio, I have to say that Oriana is a very good
Claudio Tievoli, Oriana Santini, Stefano Rizzotto, Manrico Salvatore, Claide Di Silvestro,
bass clarinetist and that she adapts very
Nicola Samale; Bottom row (left to right): Salvatore Lombardo, Salvatore Di Russo, Vin-
well . . .All the members have an equal
cenzo Spitaleri, Antonio Pelizza
value in the decisions of the group . Nat-
urally, when we do not have the same
contrabass . Depending on the scores, and all composed of 102 graduate mar-
ideas on a certain thing, we adopt the
one of the bass clarinets plays the B-flat shals . Some of us have also other com- method of democratic majority . Then,
clarinet . But the members are nearly petencies: Claide is a graduate in mu- we have a little work group for the vari-
the same, including our very faithful sical didactics and in modern letters, ous engagements, composed of Salva-
contrabass clarinet, Claide Di Silvestro .
Antonio (Pelizza) is also (an) orchestral tore Di Russo, Stefano Rizzotto and me .
Mt: What interests you about coming to conductor, and all of our members have Mt: What are some future plans of the
Los Angeles? their musical work divided between group?
SS: Perhaps the fascination of a city like the Navy band and their own musical SS: In particular, a concert in Novi Ligure,
Los Angeles, that for the Italians is al-
projects . For example, a certain Sim- Italy, on September 8 . On this occasion
ways seen in the magic word of Holly-
wood… We are very happy to come to
the U .S .A ., because . . .there is a partic-
ular mental opening with the musical HOT TIPS: NEw ITALIAN REPERTOIRE
art . Besides, we think that is very im-
portant to compare us with American Elegie and Kronos, for clarinet choir; Astra (for clarinet choir and solo piccolo) by
clarinet choirs so we can improve our Nicola Samale. (Not published; available from the composer through Coro di Clari-
conception listening to different ways netti del Lazio.)
and approaches to the formation . Listening to their CD (Coro di Clarinetti del lazio, Associazione Musicale Cul-
tural “Orpheus,” 2008), which includes Elegie and Kronos, I found myself very at-
Mt: I would like to know more about the tracted to Nicola Samale’s compositions which make wonderful use of the colors
clarinetists. Where do each of your of the clarinet family. Kronos in particular should be a great discovery for small to
members usually play or teach? Tell medium size groups with interest in new repertoire. The work, which is just under
me a little about their musical lives. eight minutes long, has a wonderful dramatic shape with much contrast, and is in
SS: We all live in and around Rome . In a modern atonal idiom with lyrical and giocoso qualities very suitable to clarinets.
particular, all the members play in the Elegie is a shorter (five minutes), emotionally charged work shaped around a single
Italian Navy Band, with the exception chromatic idea, used in imitative counterpoint throughout the voices and as a ba-
of Oriana Santini, our first bass clari- sis for parallel harmonies. Also very suitable (in my opinion) for a larger ensemble
net . All the players are professional . . . with doubled parts, this darkly expressive compostion is somewhat similar in style
In Italy there is a great tradition of mili- to the American composer Elliot del Borgo’s Dodecaphonic Essay for clarinet choir.
tary bands . So, we have two categories At the time of writing, I was not able to preview Astra. Highly recommended!
of bands: professional central military Both the CD (which sells for five Euros plus postage) and scores are available on
bands and departmental military bands . request through corodiclarinetti@libero.it
In the first category are six, all in Rome
September 2011 39
we propose a program totally dedicated
to the celebration of the 150th anniver-
particular, Italian opera, symphonies
and baroque music can really be played
About the Writer…
sary of the union of Italy, with only with excellent results with a clarinet Margaret Thornhill, DMA, is a per-
Italian music (original and transcrip- choir: all the voices are replaced from former and private teacher in Los Angeles
tions). Our intention is also to record a the original score, and the effect in who conducts the Los Angeles Clarinet
Choir, is founder/director of the Clare-
CD in 2012 of only music by Maestro some occasions could be better than
mont Clarinet Festival and adjunct pro-
Samale, dedicated to our group. the original. (It also depends, naturally,
fessor of clarinet at Concordia University,
MT: Do your members know each other on a good transcription!) We are also
Irvine. She is interested in gathering in-
well as friends, or mostly as profes- always searching for original works.
formation about clarinet choirs around the
From some years, Nicola Samale helps
sional colleagues? world for future columns. Send clarinet
SS: We are all colleagues in the Italian us to improve the original repertoire
choir news, comments, or information to
Navy Band (except Orianna), but in for the group, and for him it’s become her at clarinetstudio@ca.rr.com
private life we are also good friends. a challenge to experiment new musical
styles for clarinet choir. He’s a great
I think in a musical group friendship
is fundamental; and this especially if
there are professionals in the group.
musician, and over all a friend.
Back Issues
of The Clarinet
* * * * *
In fact, everybody has to tell his own
musical ideas and to receive ideas from You can listen to the Coro di Clarinetti
the other members. Often there is not del Lazio on the Web: Back-issue order forms for
this exchange of ideas, and I think it www.myspace.com/corodiclarinet The Clarinet may now be down-
isn’t positive for the musical result. tidellazio loaded from the I.C.A. website:
Our friendship is an important condi- www.youtube.com/ www.clarinet.org. Copies may also
tion, thanks to which, we can play … watch?v=CHb_0kLSq-Q be requested by contacting:
in concert without a conductor. www.youtube.com/watch?v=
James Gillespie
MT: What is special to you about playing o4yNka9RQuE&feature=related
405 Santiago Place
in the Coro del Lazio? You can contact the Coro di Clarinetti Denton, Texas 76205
SS: I think that the clarinet choir has no del Lazio at E-mail: corodiclarinetti@
limits about playing transcriptions ...in libero.it E-mail: james.gillespie@unt.edu
Graduate Assistantships include a full tuition waiver and an annual stipend of approximately $5,000.
Visit music.missouri.edu and click on Mizzou New Music Initiative for more information.
Deadline: All graduate applicants are expected to submit required application materials by January 15, 2012.
University of Missouri School of Music • 140 Fine Arts Building • Columbia, MO 65211
(573) 882-4471 • E-mail: music@missouri.edu • Website: music.missouri.edu
40 The Clarinet
CALL FOR PAPERS
AND PRESENTATIONS
INTERNATIONAL CLARINET ASSOCIATION
CLARINETFEST® 2012
UNIVERSITY OF NEBRASKA–LINCOLN
AUGUST 1–5, 2012
The International Clarinet Association will hold its ClarinetFest® 2012, a symposium and festival devoted
to the clarinet, at the University of Nebraska, Lincoln. The artistic director is Diane Barger. The program
for the conference will include a series of scholarly papers and presentations. The Association solicits
proposals for presentations (such as papers or lecture-recitals) on any topic related to the clarinet. The
use of live or recorded performance is acceptable; however, presentations whose sole aim is perfor-
mance are discouraged. Presentations should be designed to be no more than 25 minutes in length.
Those giving presentations must be I.C.A. members and must register for the conference.
Presenters on the program in 2011 are ineligible for 2012. Each person is limited to one proposal.
Prizes will be offered by the I.C.A. as follows: First place paper, US $1,000 and guaranteed publica-
tion in The Clarinet journal (subject to editing); and second place paper, US $500.
To submit a proposal, send the following:
1. SIX copies of an abstract (1200-1500 words) fully describing the content of the proposed paper or
lecture-recital. Include a complete list of sources. The name or identification of the author must not
appear on the proposal.
2. ONE copy of an author identification sheet containing the author’s name, address, phone numbers,
email address, and title of paper. Please list all equipment needs for the proposed presentation. This
sheet should also contain a biographical sketch of the author (limited to 150 words), as you would
like it printed in the conference program.
The above materials must be received by January 15, 2012.
Please send to:
Dr. Douglas Monroe, I.C.A. Research Presentation Committee Chair
North Dakota State University Department of Music
12th Avenue North & Bolley Drive
Dept. 2334, P.O. Box 6050
Fargo, North Dakota 58108-6050 USA
For more information, call Douglas Monroe at (701) 231-8498 or E-mail at Douglas.Monroe@ndsu.edu.
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize
money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings
to requisite government agencies.
September 2011 41
ClarinetFest
Lincoln, Nebraska
2012 ®
P
lans for ClarinetFest® 2012 began
early in 2009 when I first submit- Westbrook Music Building
ted a proposal to serve as an Artistic
Director for a future I .C .A . ClarinetFest® .
At that time I was confident that Lincoln
would be an exceptional venue for the
I .C .A . conference, and I am most excited
to invite each and every one of you to
come to Lincoln, Nebraska from August
1–5, 2012 to participate in, what I hope
will be, a memorable I .C .A . ClarinetFest® .
Lincoln, Nebraska, the “Prairie Capi-
tal City,” is one of the Midwest’s most
affordable, accessible, and agreeable cit-
ies located less than a day’s drive from
Chicago, Minneapolis, Denver, St . Louis,
Kansas City and Des Moines . Named after
Abraham Lincoln, this state capital boasts Lincoln, NE
several fine parks, museums, restaurants, capitol building
specialty shops, art galleries and more .
the Embassy Suites for the aforementioned
(www .lincoln .org/visiting/thingstodo)
breakfast and Manager’s Reception for the
Downtown Lincoln houses more than
social atmosphere . Additionally, all exhib-
100 restaurants for your dining pleasure
its for ClarinetFest® 2012 will be housed
as well as the Historic Haymarket (www .
in the Embassy Suites’ 12,000-square-foot
lincolnhaymarket .org) . Here you will find
ballroom . Participants need only take a
exquisite restaurants, unique shopping,
short walk across the street from the ex-
antique shops and entertaining nightspots,
hibits to the other conference activities
including the first microbrewery in Ne-
that will take place in the University of
braska, all placed among restored turn-of-
Nebraska–Lincoln’s Westbrook Music
the-century warehouses located in close
proximity to all ClarinetFest® activities . Building, Kimball Recital Hall and the
On Saturday morning of ClarinetFest® Lied Center for Performing Arts .
(8:00 a .m . to noon) be sure to schedule Heritage to Horizon, the theme for
some time to walk through the Haymarket ClarinetFest® 2012, takes a look back to
Farmers’ Market where vendors display the legacy of Daniel Bonade and Robert
fresh produce, flowers and homemade Marcellus and towards the future of clari- In addition to having a “themed” Clar-
food . (Kolaches anyone?) net performance and pedagogy . The Artis- inetFest® in 2012, it was a goal to try to
In addition to the wonderful array of tic Leadership Committee looks forward find a way in which to involve a greater
artists featured at ClarinetFest® 2012 (stay to reviewing proposals for recitals and population of our I .C .A . members in our
tuned for the next issue of The Clarinet for lectures in the coming months . Please note conferences; thus the addition of the “Call
a sneak preview), I believe the venues are that the committee is particularly interested for Clarinet Enthusiasts” proposal as seen
an additional highlight of the conference . in featuring pedagogy presentations or lec- on the I .C .A . website . (www .clarinet .org/
The Embassy Suites is our primary con- tures relating to Daniel Bonade or Robert clarinetFest2012Enthusiasts .asp) These
ference hotel—an upscale, all-suite hotel Marcellus as well as innovative and recent 20–30 minute performances will be show-
featuring many contemporary accommo- concepts and developments in clarinet ped- cased at the Manager’s Reception at the
dations as well as a complimentary, made- agogy . The conference will also feature Embassy Suites between the hours of
to-order hot breakfast and evening Man- performances in a wide variety of perfor- 5:30–7:00 p .m . on August 1–4 during the
ager’s Reception every day . The Holiday mance styles and repertoire . The postmark conference and are designated to showcase
Inn Downtown, just one block away, is our due date for the Call-for-Proposals Appli- the musical talents of the non-professional
overflow hotel at the same conference price cation is September 30, 2011, so please clarinetist of the I .C .A . in mixed groups
and allows for all guests to come over to submit your proposals as soon as possible! (trios and quartets are ideal) . This provides
42 The Clarinet
an additional opportunity beyond the con- sic in a relaxed atmosphere served up with of Nebraska–Lincoln during ClarinetFest®
ference clarinet choirs for our members to free appetizers and drinks…who could ask 2012 – Heritage to Horizon .
share their talents and is a unique opportu- for anything more? See you in Lincoln,
nity to spend valuable social time with one Come see for yourself what Lincoln has
another each evening in between the regu- to offer you . I look forward to welcoming – Dr. Diane Barger, Artistic Director
larly scheduled ClarinetFest® events . Mu- you to our capital city and the University Hixson-Lied Professor of Clarinet
CLARINETFEST® 2012
CLARINET ENTHUSIASTS
Calling all clarinet enthusiasts! ClarinetFest® 2012 in Lincoln, Nebraska is looking for a few good men and
women to showcase their musical talents during the Manager’s Reception at the Embassy Suites between
the hours of 5:30–7:00 p.m. on August 1–4, 2012. These performances will take place in the open atrium of
the hotel.
Specifically, we are looking for several programs throughout each evening (maximum of 20–30 minutes
in length for each group) of very light, toe-tapping, fun music for mixed groups of clarinets (trios and quar-
tets are ideal). This is a performance opportunity for our friends in the clarinet community who would like
to share their talents beyond the conference clarinet choir. You are an important part of the I.C.A. and we
wish to feature you at ClarinetFest® 2012!
If you are interested, please fill out the separate Call for Proposal form labeled “Clarinet Enthusiasts” on
the I.C.A. website.
September 2011 43
The Rise and Fall
of the
Bass Clarinet in a by Keith Bowen
T
he bass clarinet in A was introduced hensively by Rice4 . Two early forms, the upper joint, a butt joint and a bell com-
by Wagner in Lohengrin in 1848 . “plank” type and the visually striking ing directly off this) towards the end of its
Unlike the bass instruments in C “serpent” form by Papalini did not lead life, and also into a simple folded tube (the
and B-flat, it is not known to have a history to established production of instruments Glicibarifono), especially in Italy . An ex-
in wind bands . Its appearance was not, so and were evolutionary dead-ends . The ample by Ludwig and Martinka of Prague
far as is known, accompanied by any nego- bass clarinet proper began in 1793 with is shown in Figure 1 . Without exception
tiations with makers . Over the next century, Heinrich Grenser of Dresden who in- these instruments descended at least as
it was called for by over 20 other compos- vented an instrument5 in bassoon form, low as written C.
ers in more than 60 works . The last works with wider bore and hence more power- This very compact bass instrument
to use the bass in A are, I believe, Strauss’ ful tone, descending to low C . The instru- was undoubtedly used mainly in military
Sonatine für Blaser, 1942, and Messiaen’s ment survives and is now in Stockholm bands,6 though it is known that the very
Turangalîla-Symphonie (1948, revised (S-Stockholm M2653), and it inspired first orchestral bass solo, in Saverio Mer-
1990) and Gunther Schuller’s Duo Sonata a large number of instruments by many cadante’s Emma d’Antiocha [1834] for
(1949) for clarinet and bass clarinet . The makers over at least 60 years . It evolved bass in C was played by Catterini on his
instrument has all but disappeared from or- into the half-bassoon type (with a straight own bassoon-form instrument and used
chestral use and there are very few left in the full bottom range to C . An excellent
the world . It is now often called obsolete, example of Catterini’s instrument survives
despite the historically-informed perfor- in the Bate Collection in Oxford (No . 496) .
mance movement over the last half century It is not known why the bassoon form
which emphasizes, inter alia, performance was eventually supplanted by the modern
on the instruments originally specified by “straight” form, which was invented by
the composer . And the instrument has been Desfontenelles of Lisieux in 1807 . Criti-
largely neglected by scholars . Leeson1 cism of the “nasal” sound of the bassoon-
drew attention to the one-time popularity form instrument was made by Mandel in
and current neglect of the instrument, in an 1859 .7 But very likely it was the innova-
article that inspired the current study, and tions and superb craftsmanship of Buffet
Joppig2 has disussed the use of the various “Jeune” in 1833 and notably Adolphe Sax
tonalities of clarinet, including the bass in in 1838, plus a preference in the French
A, by Gustav Mahler . He pointed out that Conservatoire that a clarinet should look
the use of both A and B-flat clarinets in both like a clarinet and not like a bassoon . The
soprano and bass registers was absolutely French musicologist Fétis remarks:8
normal in Mahler’s time, citing Heinrich
In order that the new instruments
Schenker writing as Artur Niloff in 19083 .
conserve as much as possible of the
Otherwise it has been as neglected in the
analogy that exists with the soprano
literature as it is in the orchestra .
clarinet, it is necessary not to alter
So why is the bass clarinet in A now so
the form at all; I think therefore that
little used? Was it ever used by composers
Messrs . Dacosta and Buffet have
because of the unique perceived quality
better achieved this end than Mr . St-
of its sound? Should “period” orchestras
revive this instrument? We can seek the reitwolf in not curving the tube of
Figure 1: A bass clarinet by Ludwig and
answers in clarinet organology, in docu- their bass clarinette, and in facilitat-
Martinka of Prague. Czech Museum of
ments written by composers, in the music ing the playing of the instrument by
Music, E.135. Originally labeled as a bass
that they wrote, and we can play and listen means of an inclined bocal to which
in A, acoustic calculations showed this in-
to the instrument . the mouthpiece is adapted .
strument to be pitched in C (see text). With
The development of the bass clarinet kind permission of the Czech Museum The lack of notes below E was not per-
up to 1860 has been discussed compre- of Music. ceived as a disadvantage for orchestral
44 The Clarinet
playing. This range remained standard for enough condition. Critical examination is ond complication is that the bottom note
the rest of the 19th century with only oc- still necessary. An example is instrument is a poor one to choose for determining
casional provision and use of the written E.135 in the Czech Museum of Music, a the pitch, because of the effect of the bell.
E-flat. bassoon-type instrument which was labeled There is no simple formula for estimating
“Bass Clarinet in A by Ludwig and Mar- the acoustic length of a bell of arbitrary
Assessment of the Pitch of tinka.” The museum staff (all new since shape.
an Instrument 1990) had no information about the prov- Therefore, it is best to measure the
enance of the label or the instrument except length to the center of a low tone hole that
Before cataloguing the bass clarinets in
the donor’s name, and kindly allowed the is followed by an open tone hole (both
A that have been found, we must inquire
author to make detailed measurements. within the cylindrical part of the bore)
how we know that they were so pitched.
In such cases, the only resort is mea- and apply a tone-hole correction c. The
It is only certain that the instrument was
surement and mathematics.10 In its lower acoustic length is longer than the physical
built as a bass in A when there is a docu-
register, a clarinet approximates closely length to the last closed tone hole by the
mentary record, when the instrument is so
to a closed-end cylindrical pipe. The fun- amount
labeled by the maker and when a pair of
damental vibration frequency, f, of this
instruments in B-flat and A is preserved.
pipe depends only on its length, L, and the
In other cases, this simple question does
speed of sound, v:
not have a simple answer, even if the in-
strument can be played, since absolute f = v/4L
where z is the distance to the next open
pitch has varied enormously in different v may be taken as 345 m/s. In principle tone hole, d is the diameter of that tone
localities even since 1850.9 In the mid we measure the length and apply the for- hole, D is the bore diameter at the open
1860s, a B-flat clarinet in Paris or Dresden mula, but there are two complications. The tone hole and t is its depth. h is a factor
would have been a slightly flat A clarinet mouthpiece needs special treatment since that may be taken as 0.75 for a completely
in Munich or Vienna. One must attempt to it varies in shape internally. The best way open hole and 1.0 for an average padded
assess the pitch level in which the instru- is to measure its internal volume, which hole. The acoustic treatment of the butt
ment was originally played. generally cannot be done with museum joint in a bassoon-form instrument has not
Further problems arise when, as is nor- specimens, but an estimate which will not yet been determined, but tube curvatures
mal in museum collections, the instrument greatly affect the result is to take half the are known to have a flattening effect. This
may not be played even if it is in good actual length of the mouthpiece. The sec- formula was tested by application to care-
48 The Clarinet
Surname Title of work Opus # (etc) Date of composition.
43 Rimsky-Korsakov The Legend of the Invisible City of Kitesh 1903
and the Maiden Fevroniya
44 Rimsky-Korsakov The Golden Cockerel 1907
45 Schoenberg Pelleas und Melisande Op. 5 1911
46 Schoenberg Kammersymphonie Op. 9 1912
47 Schoenberg Gurre-Lieder 1901 orch 1911
48 Schuller Duo Sonata 1949
49 Strauss Sonatine No. 1 für Bläser 1943
(Aus dem Werkstatt des Invalide)
50 Strauss Rosenkavalier 1910
51 Sullivan The Golden Legend 1886
52 Tchaikovsky Nutcracker Ballet Opus 71 1892
53 Verdi Otello 1887
54 Vianna da Motta A’ Patria Opus 13 1895
55 Wagner Lohengrin 1848
56 Wagner Die Walküre 1852 -1856
57 Wagner Tristan und Isolde 1857-1859
58 Wagner Das Rheingold 1853 - 1862
59 Wagner Siegfried 1856-1869
60 Wagner Gotterdämmerung 1869-1874
61 Wagner Parsifal 1877 - 1881
Table 2: List of works known using the bass clarinet in A.
makes the same distinction when discuss- The scores were all examined with four Most of the usage is indeed standard.
ing bass clarinets, but nor is it contradicted. questions in mind: Only one work (by Berg) has been found
They say, in effect: “write as you do for the 1. Is the usage standard (as taught by or- requiring a bass in A with a lower note
soprano clarinet but an octave lower, and chestration manuals: sopranos and bass than written E (E-flat). In the 19th and
bear in mind that the bass instrument is not clarinets in the same tonality, chosen early 20th centuries, it was absolutely
so nimble.” It would be difficult for a stu- to avoid extreme key signatures, with normal to select the bass in A when in-
dent to read these manuals without coming lowest notes written E)?
dicated by the tonality, and this practice
to the conclusion that there is a similar dif- 2. Is there evidence that the bass clarinet
in A was employed for its lower bottom was continued by many composers in the
ference between A and B-flat bass instru-
note? 20th-century. It was often used for its low-
ments as there is between the correspond-
ing soprano clarinets. There are grounds 3. Was the tonality of the bass clarinet ever est note. Curiously, the use of the bass in
for believing that composers would have chosen contrary to standard usage? A persisted longer in France (Ravel, Mes-
been aware of the sound when composing.
Berlioz remarks:
Generally, performers should
only use the instruments indicated
by the composer. Since each of
these instruments has its own par-
ticular character, it may be assumed
that the composer has preferred one
or the other instrument for the sake
of a definite timbre and not out of
mere whim.
Turning now to the works that they
wrote, Table 2 shows a list of more 60
works found that use the bass clarinet in A.
September 2011 49
siaen), Russia (Rachmaninoff) and even and it must be concluded that he did not There is just one living composer who
England (Bax, Ireland) than in Germany, want the A bass for this particular solo. wrote for the bass clarinet in A, Gunther
where it originated. Most of the rest of his symphonies use just Schuller in his Duo Sonata (1949). He
There are a number of critical works the bass in B-flat but in Symphony No. 9 he kindly agreed to a telephone interview in
that show that the composer was making writes down to written E-flat for the bass which he said that at the time of compo-
a specific choice of the bass in A. in B-flat. However, in his last major work, sition, he considered the bass in A to be
In the solo in Tristan accompanying Das Lied von der Erde (1909), there is a a perfectly reasonable choice since he
King Mark in Act II Scene 3, Wagner short passage for A bass at RN41 in the last frequently heard it in the clarinet sec-
chose the bass in A in the key of A-flat movement, at which the soprano clarinets tion of the Metropolitan Opera, in which
rather than the B-flat instrument in the remain in B-flat. The bass is now in G-flat; he was playing horn at the time. He did
simpler G. The A instrument could here the low written E is used for a solo group think there was some difference in sound
have been selected for its sound, but also together with the bassoons and contrabas- but in his work, the key relationship be-
for the “flat” key. Remarkably, he had not soon, but in light of his knowledge of the tween movements was the critical idea. If
heard the bass in A in Lohengrin before extended B-flat instrument, this may be a a bass in A was not available it was per-
composing Tristan and Walküre. desire for the instrument to be playing in fectly acceptable to transpose it onto a
Franz Liszt used the bass in A in Eine a flatter key. There are many cases where B-flat instrument. He agreed that it was
Symphonie zu Dante’s Divina Commedia Mahler appears to have made the choice of possible that composers such as Wagner
(1859) is the next work after Lohengrin tonalities either because of the sound qual- and Mahler could have considered that the
and Die Walküre to use bass clarinet in A. ity that he wanted, or because of the key key in which the instrument was playing
In Inferno, he uses two soprano clarinets that he preferred for the instrument. For might be important for reasons other than
in B-flat and a bass clarinet in A. There example in the sixth symphony he shows technical ease.
is a prominent solo recitative on the bass a preference for the bass instrument to be
in A, descending to written E. But use of in a very “flat” key such as G-flat and in The Forgotten Sound of the
written E-flat in the line for the B-flat bass the fourth, for the sharp key of F-sharp (or Bass Clarinet in A
in Purgatorio shows that he did not select their relative minors). I do not see another It is important to attempt at least some eval-
purely for the lowest note. rationale for some of Mahler’s choices. uation of the sound quality of the bass in
Antonin Dvořák used the bass in A in Richard Strauss was fastidious in his A, even though this will inevitably be sub-
three of his late orchestral tone poems. In choice of clarinets; e.g. in Rosenkavalier jective. The instrument in the Grove Col-
The Water Sprite (1896), the instrument (1910), three clarinetists manage instru- lection (EUCHMI No. 5122) was kindly
is tacet until very near the end. Then, the ments in E-flat, D, C, B-flat, A, basset horn made available for a playing test by the
bass clarinet in A enters in a solo passage in F and bass clarinets in A and B-flat. On Director, Prof. Arnold Myers. It is a Buf-
doubled by cor anglais, in a mournful the “instrumentation” page he wrote that fet Crampon dating from 1929, once used
coda, after the murder of the child by the it is absolutely inadmissable to substi- in the Los Angeles Philharmonic Orches-
evil sprite. The lowest note is only writ- tute the A or B-flat clarinet for the instru- tra. It is in good playing condition though
ten A, so the B-flat bass could have been ment in C.18 Towards the end of his life, pitched slightly high, at about a’ = 442, and
used. The passage is just 17 bars, with the Strauss wrote Sonatine für Bläser (From has two manual register keys. My percep-
instrument playing in F major; it is exactly the Workshop of an Invalid) (1942). Both tion was indeed that there is a similar, but
the right choice for the key and for the A and B-flat basses are used. In the sec- less marked, difference between the bass in
sound required, and the required smooth- ond and third movements, the tonality of A and that in B-flat as there is between the
ness would have been very difficult to the bass follows that of the soprano clari- corresponding soprano instruments.
achieve on a B-flat instrument playing in nets, A and B-flat respectively. But in the Some of the small number of perform-
the key of E. first movement, which like the third is in ers who regularly use the bass in A were
Gustav Mahler makes complex choices the key of F, the sopranos are again in B- interviewed: Dennis Smylie (New York),
in his clarinet orchestration, as noted by flat (playing in G) whereas the bass is in Peter Stoll (Toronto) and Alan Andrews
Joppig.2 In Symphony No. 4 (1892), bass A (playing in A-flat). Strauss was notori- (London). They agreed that it was much
clarinets in both B-flat and A are called. ously unconcerned about the difficulty for more satisfactory to perform works writ-
At times, Mahler uses simultaneously players. It therefore appears that the use ten for the bass in A on that instrument.
clarinets in C, E-flat and B-flat, indicating of different bass instruments for the two And in July 2010 the Orchestra of the Age
that he chose the tone color of the clarinets outer movements, both in F, with the same of Enlightenment, who endeavour to play
carefully. Until the last movement, the us- soprano clarinets, was deliberate. on contemporary instruments, were able
age is standard. However, the solo passage In the Suite, Opus 4 (1921) by Béla to use the EUCHMI instrument (the ear-
for the B-flat bass at the end of the work Bartók, the second clarinet doubles on bass liest bass in A that could be obtained for
is a significant anomaly. The key signature in A for the very prominent unaccompa- performance) in a performance of Tristan
for the A bass would have been G, much nied Andante solo in the third movement. at a BBC Promenade Concert. The bass
simpler than the actual F-sharp for the The solo is in C major, and is very difficult clarinetist Katherine Spencer commented
B-flat bass. There was plenty of time to to play smoothly on the bass in B-flat. It is to the author:
change instruments. This choice survived clear that given the key for this movement, ...there was certainly I thought
Mahler’s many revisions and corrections, the bass in A was a deliberate choice. an enormous difference in sound es-
50 The Clarinet
pecially in the low register . Also a
About the Writer… Fétis (1833, 122) Pur que ces nouveaux instru-
8
general graininess that particularly mens conservent autant d’analogie qu’il est pos-
prof. Keith bowen, FRS, qualified in sible avec la clarinette soprano, ilest nécessaire
lent itself to emotion of this solo . de ne point en altérer la forme; je pense donc
When played on the correct instru- Metallurgy at Oxford University, UK, and
que MM . Dacosta et Buffet ont mieux attaint le
ment I felt that the music played it- spent 30 years as an engineering profes- butque M . Streitwolf en ne courbant pas le tube
self, whereas on the B-flat I felt that sor and researcher, followed by 10 years de leur clarinette basse, et en facilitant le jeu de
I had to work hard on phrasing and as technical director of a public scientific l’instrument par un bocal incline auquel s’adapte
instrument company . Since (partially!) le bec .
the right kind of sound . 9
Haynes, 2002
retiring in 2005 he studied for a Diploma 10
The methodology was developed from the theory
Should, then, “period” – or even mod- in Music and MA in Music at the Open given by Benade (1990, 450) and from discus-
ern – orchestras revive this instrument University (UK), both awarded with Dis- sions with the clarinet maker and acoustician
when playing the great works by com- tinction . He specialized in classical-period Stephen Fox .
posers such as Wagner, Mahler, Liszt and performance practice and in the history of
11
Frank Bär catalogue
Strauss? It is hard to make the case (apart
12
quoted in Holde, Mendel and Wagner, 1941
the bass clarinet in A . He was awarded the 13
(Tremmel 1993, 214)
from ease of playing) in instances where first prize in the I .C .A . Research Compe- 14
Von Georg Ottensteiner stammten die Instru-
the A instrument was apparently chosen tition at ClarinetFest® 2011, Austin, TX, mente für seinen Freund Baermann, “eine B
for its lowest note within a thickly-scored for a presentation on the work on the bass Clarinette (System Bärmann) von braungebeiz-
ensemble passage, but the case for solo clarinet in A .
tem Buchs), Klappen und Garnitur von Silber”
passages is strong . The primary approach (160 fl .), dazu je “eine A und C clarinette von
A lifelong amateur clarinetist, he braungebeiztem Buchs, Klappen und Garnitur
to historically-informed performance was performs with the pro-am Spires Phil- von Neusilber” zu je 100 fl, ein “Mundstück zu
well outlined by Lawson (1983), and there harmonic Orchestra, Coventry, UK, is den obigen drei Clarinetten mit Mechanik und
seems no reason to depart from it: President of Kammermusik Workshops Auflage von Silber” zu 22 fl, “eine A Baßklari-
nette, Klappen und Garnitur von Neusilber” des
In tackling the complex prob- (Santa Fe, NM USA), and is a woodwind weiteren arbeitete er für 30 fl die alte A-Baßklar-
lem of clarinet sonorities, I believe coach at the Ischia Chamber Music Fes- inette in eine B-Baßklarinette um und lieferte für
we should follow the composer’s tival. He has studied clarinet with Lesley 7 fl “eine Mundstück zu der A und B Baßklari-
instructions as closely as possible, Schatzberger (UK), Lori Lovato (New nette mit Silberauflage” und “ein Bassethorn …”
15
Tremmel, 1993, 214
even where they appear conservative Mexico Symphony Orchestra) and Forest 16
(Weston 1971, 150)
or eccentric; any attempt to interpret Aten (Dallas Opera). He plays Wurlitzer 17
e-mail of 14 September 2009
the motives for the choice of a par- Schmidt Reform A, B-flat and C clarinets, 18
Wo “C” clarinetten vorgeschrieben, ist es abso-
ticular clarinet must be undertaken Stephen Fox basset horns and E-flat clari- lute unzüläßig dieselben durch A oder B Clari-
net and a Buffet Prestige bass clarinet. netten zu ersetzen .
with caution . A knowledge of subse-
quent developments in instrumental
manufacture can pose a continuous Endnotes Visit the
threat to an authentic approach . 1
D .N . Leeson in The Clarinet (1993)
G . Joppig (2005)
International
2
The sound of the bass in A is moder- 3
‘Artur Niloff’ (Heinrich Schenker) 1908; cited in
ately but significantly different from that Joppig 2005 p . 154 note 22) Clarinet
in B-flat . It is closer to the sound that the A . Rice (2009)
Association
4
* * * * *
It is a pleasure to acknowledge the gen-
erous advice of Albert Rice, Daniel Leeson,
Stephen Fox, the many performers whom
I consulted and the staff of the Prague,
Edinburgh, Munich, Leipzig, Nuremberg, Ann
Arbor
Brussels and Smithsonian musical instru-
ment museums who kindly allowed me to
examine bass clarinets in their collections .
This article has also appeared in Ger-
man: Keith Bowen, “Aufsteig und Fall der
• Authorized Buffet Crampon dealer
• Specializing in hand-selected instruments
• Maintenance and repair of all clarinets
C arinet Connection
Est. 2008
Bassklarinette in A,” ‘rohrblatt 26 (2011)
a2clarinet.com | bking@a2clarinet.com | 734.417.0438 | Bill King, owner
pp . 3–12 .
September
a2c2 1-6 ad.indd 1 2011 51
10/8/10 3:14 PM
Playing In Tune
to bear to know what part of the chord you
are playing as soon as you are about to
play it .
Clarinet
major Chord: 3rd – 14 cents flat; 5th – 2
on the
cents sharp
minor Chord: 3rd – 16 cents sharp; 5th – 2
cents sharp
You may also use a clip-on micro-
by Raphael Sanders phone, plugged into a tuner, to check your
B
efforts at pitch recognition . Simply try to
efore beginning to address the with no help or adjusting whatsoever . match the sound source and glance at the
clarinet’s tuning requirements, re- Open “G”, low “C”, “G” on top of the tuner to see if you are successful . Also
member that the clarinet must be staff should (hopefully) be right on (be- this technique may be varied to examine
played with solid fundamentals in order to cause these notes were tuned) . the tuning characteristics of an ensemble
properly understand and apply the follow- 4th column (titled “FF”) . List the intona- (what you must do to play in tune with the
ing skills . Each one has a major effect on tion tendencies of each note played ff
group) . Never use a microphone/tuner set-
the ability to consistently play in tune and with no help or adjusting whatsoever .
to effectively adjust to others . up as a standard to follow and not listen
You will now see what your clarinet’s and adjust to the group you are in .
1) Proper support and air speed: good ton- tendencies are . Remember you will be
al core, warm, dark, and centered tone sharp when you play softly and flat when 3) having the flexibility
2) Correct embouchure and tongue place-
ment
you play loudly . This is inherent in the to be able to adjust quickly
acoustics of the clarinet . Other instru-
3) Relaxed and proper hand position ments are the reverse in this tendency
to any (or most) tuning
Only after understanding and applying which makes it very difficult to play in issue(s)
the above three fundamentals can you be- tune with other instruments . Additionally, There are five important techniques to
gin to effectively and consistently address each clarinet has its own personal prob- control or adjust pitch while playing the
your tuning needs . lems, along with particular mouthpiece, clarinet .
In order to play in tune, clarinetists reed, air/speed/support, tongue and em- 1) Embouchure pressure and throat
must master three skills: bouchure issues/differences . expansion. With just the mouthpiece
match a “B-flat” on the piano . Once
1) understanding the 2) Recognizing and accomplished, be able to play down
instrument and its diagnosing intonation to “E-flat” and up to “C-sharp .” This
intonation characteristics discrepancies correctly will take some time . Be patient . Al-
After warming up for about 10 minutes, and quickly ways produce a good clear tone on the
use a tuner and check the instrument . Start With a tuner, sound an “F .” Then play an mouthpiece . Keep your lips firm to
with open “G” to adjust the barrel . Next, open “G .” Do you hear waves? If you do, form the letter “O” around the mouth-
check “C” below the staff and “G” on top you are out of tune with the sound on the piece and keep your chin pointed . Be
of the staff to adjust the middle joint . If the tuner . “Out-of-tune” can be defined as the mindful to also push down with the up-
reed is too stiff the instrument may register presence of clashing waves . The absence per lip . A good test of control is to play
sharp or, if it is too soft, it may be flat . Also, of waves is defined as in-tune . Try again “taps,” starting on “E-flat” or “E .” This
pull the bell about 1/16” . This will allow with your tuner to match pitch . Are you flat will help you to develop the flexibility
the throat tones to have more tonal body . or sharp? Can you tell? Work to achieve to adjust pitch with your embouchure
Make a chart of the instrument’s par- the confidence to recognize the difference . and throat .
ticular intonation characteristics from low Intervals can also be played in-tune . 2) Tongue height/position. Experiment
E to high G . (On bass clarinet start from Sound the same “F” on your tuner and with moving your tongue while play
low C .) On this chart label four columns: play a middle-line “B” on your clarinet . an open “G .” Move your tongue up and
1st column (titled “Notes”) . List the notes Are there any waves? This is a major 3rd . A down slowly . Notice the pitch change .
chromatically up from low “E” (C on major 3rd must be compacted to be in-tune:
3) Air speed/support. While playing
bass clarinet) to high “G .” about 14 cents! Try it . Minor intervals
open G, notice the pitch change when
2nd column (titled “pp”) . List the into- must expand and major intervals contract .
you blow fast/slow air through the clar-
nation tendencies of each note played Although you will not be in tune with the
inet . Also the pitch changes with sup-
pianissimo with no help or adjusting tuner, you will be in tune with the interval!
ported/unsupported air . This method is
whatsoever . Use: + = sharp, – = flat This is the most important aspect of
(i .e ., +40, -30 = 40 cents sharp, 30 playing in tune: being able to immediately not preferred but may be used in cer-
cents flat) . recognize the problem, or potential prob- tain situations .
3rd column (titled “mF”) . List the intona- lem, and knowing what needs to be done 4) Fingers and keys. While playing open
tion tendencies of each note played mf to fix it . Your ear training skills must come “G” put your right hand down . Notice
52 The Clarinet
the pitch drop . Conversely, open the
RH side B-flat key while playing the
same “G .” Notice the pitch rise . Pitch Your Band and Orchestra Author ity
will rise on the clarinet when opening
1978
since
keys and lower when shading or clos- Largest Selection | Best Prices | Expert Advice
ing keys . A firm grasp of this technique
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evenness in general . Tosca B♭
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ations .
Use the “Tuning CD” to experiment
with adjusting tuning . Practice each note Patricola CL.2
carefully and decide on what works for Virtuoso B♭ Clarinet
you . Have a system that you use to adjust
to various intervals and dynamics . Use
the tuning CD when playing long tones, Your Clarinet
scales, etudes and any other exercises or
solos you may see fit . Hopefully your SPECIALIST
ears/control will develop to such a degree “With so many models available, are
to play in tune with anyone, anytime . you really sure you’re choosing the right
Remember—in order to play in tune instruments for your students—or yourself?
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but recital in June 2005 . He also co-directs
T
he first SABRe symposium was how it will work and the technology in-
held in Zurich, Switzerland on volved in creating it . The concept of the
February 3 & 4, 2011 . project is to extend the possibilities of an
SABRe (Sensor Augmented Bass acoustic bass clarinet by adding various
Clarinet research) is a project that aims to types of sensors to the instrument, thus al-
build an electroacoustic bass clarinet that lowing the performer to control external
hopefully in the future will be manufac- electronic devices .
tured and available to all bass clarinetists One could make a loose comparison
around the world . to an EWI (Electronic Wind Instrument) Close-up of SABRe
Hosted by the Swiss bass clarinetist which has been around for some years and
Matthias Müller, the symposium con- now widely available around the world . In selection of music covering a range of mu-
sisted of lecture recitals and discussions the case of SABRe, existing knowledge of sical genres was given . There were many
on the development and future of SABRe augmenting instruments has been used in highlights and fantastic performances as
by selected and invited bass clarinetists the development of the project and we saw expected, starting with a very interesting
from around the world and composers and how magnetic key sensors, switches and talk from Netherlands-based Laura Car-
technical experts in the field of electro- movement sensors have been attached to michael on how dance influences have
acoustic music and specialist instrument the instrument . AirMEMS technology is helped her to form a career using music,
makers and repairers . This was an excit- also being developed and will be built into electroacoustics and movement as an inte-
ing gathering of many of the world’s top the mouthpiece as an additional sensor gral part of her performances . Other high-
bass clarinet specialists . It offered a rare meaning the mouthpiece can be used as an lights for me were the Austrian bass clari-
opportunity to catch up with friends, meet acoustic mouthpiece or as a wind control- net duo of Petra Stump and Heinz-Peter
other players to discuss what’s happening ler by the performer controlling air pres- Linshalm, Henri Bok (Netherlands) who
in the solo bass clarinet world, as well as sure levels . This is a truly exciting venture performed an exquisite set of short pieces,
to offer opinions on the SABRe project . and caused much excitement and future vi- and a performance of music using audio
The symposium started with a presen- sions to all that witnessed this introduction . visuals and sampled effects by Stephan
tation of a prototype of the new sensored There was a program of lecture recitals Vermeersch (Belgium) . Alain Billard
bass clarinet, brief demonstrations as to throughout the two days in which a varied (France), Rocco Parisi (Italy) and Ernesto
September 2011 55
in performance be encouraged to become
more independent with regards to using and
setting up computers/mics/sound systems
etc . Funding issues and logistics often make
it hard for performers to travel with their
own sound engineer, and while performers
are proficient with their instruments not all
are equally as confident with the technology
needed to perform certain compositions . A
Contacts for
The Clarinet
Send all articles, recital programs, orders for back issues,
announcements and any other non-commercial items
intended for publication in The Clarinet to:
James Gillespie, Editor/Publisher
405 Santiago Place, Denton, Texas 76205
E-mail: James.Gillespie@unt.edu
ClarinetA
Clarinet Study at California
State University, Northridge
Department of Music
I
heard it played with such fluent clarity of ar-
have often said and written that had leaps between the extremes of the clarinet
ticulation and finely controlled pianissimo .
the saxophone existed in the 18th cen- registers and some very effective unison
Sarah then lightened the mood with
tury, the soprano would have been one sforzandi between the two instruments .
Richard Rodney Bennett’s Three Piece
of Handel’s favorite instruments . His Trio This is by no means a piano accompani-
Suite. Not the most original of titles, but a
Sonata Op. 1, no. 10, which opened the ment, rather an equal duo of two differ-
really well written, entertaining work .
concert, was ample proof of this, as Sar- ent voices, which is what a contemporary
Chris Jolly’s TRIp (sic) was commis-
ah’s rich and authentically baroque sopra- work of this nature should be . sioned by Reedplay for this concert . I of-
no sound was beautifully complimented In Richard Rodney Bennett’s Ballad in ten play bass clarinet with my saxophone
by Victoria’s understated yet strongly sup- Memory of Shirley Horn for clarinet and pupils, and we become quite addicted to
portive bass clarinet . piano, we can hear why this most success- the sound of this combination . Chris has
James Rae’s Sonata in E-flat for alto ful of film composers could be classified devised more possibilities with the piano’s
saxophone and piano was written espe- as “the serious face of jazz .” percussive contributions, and many con-
cially for Sarah Markham and Paul Turner, The first half ended with a Diverti- temporary techniques are used with inge-
perhaps in gratitude for their superb CD mento for two alto saxophones and piano nuity and effectiveness .
of his four Sonatinas for the four sizes of by Alain Crepin, the former Director of The girls announced that there would
saxophone . It is a supreme example of the Music of the Belgian Air Force Band . (I be no encores after the last item, as Ibert’s
composer’s melodic fluency, harmonic in- remember I was having dinner with him Two Interludes is in the nature of an en-
genuity and complete mastery of the instru- in Munich on September 11, 2001, af- core, as the second, in Franco-Flamenco
ment’s possibilities . The last movement, ter hearing the dreadful news from New style, most certainly is . The original was
subtitled Eurostar, is not quite as overtly York, and he was anxiously phoning Brus- for piano or harp, with flute and violin,
locomotive-driven as the train-obsessed sels on his mobile to find out if he should which two parts have been very well tran-
composer’s Southern Sketches, but it cer- report back for duty .) I was particularly scribed for soprano saxophone and clarinet .
tainly whisks us across the Channel with interested in this item, as I’d never heard All through the amazingly varied pro-
no fear of becoming stuck in the tunnel! Victoria play the saxophone before, and gram the impressive virtuosity and musi-
Tim Watts, in his Sonata, explores she now has my old job at The Royal cality of the two pianists was greatly ap-
many different facets of clarinet and pi- Military School of Music, Kneller Hall, preciated by the audience . Michael Bell
ano effects . There are declamatory wide which involves teaching saxophone as is the regular pianist with Reedplay, and
Paul Turner is Sarah Markham’s individ-
ual accompanist .
This concert was a perfect celebration
of clarinet and saxophone co-operation,
brilliantly performed by all the partici-
pants, and, above all, a wonderful eve-
ning’s entertainment .
Visit the
Expert Clarinet Repairs and Retail International Clarinet
• Authorized Buffet-Crampon Dealer • Hand-Selected instruments
• Maintenance and Repair of all clarinets • Music, reeds, and accessories
Association on
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the world wide web:
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58 The Clarinet
INTERNATIONAL CLARINET ASSOCIATION
2012 HIGH SCHOOL SOLO COMPETITION
Eligibility: Competition participants must be 18 years old or younger as of June 30, 2012.
Application: Please submit an online application at www.clarinet.org and mail a print-out of the confirmation page along with
your other application materials. It is recommended that if you are mailing outside of the United States to send your
application via express mail to ensure that your entry arrives in time for judging. Send materials postmarked no later
than Thursday, April 5, 2012 to:
Elizabeth Crawford, D.M., Coordinator
2012 I.C.A. High School Solo Competition
Ball State University, School of Music MI 134
Muncie, Indiana 47306
Phone: (765) 285-5427 • E-mail: ecrawford@bsu.edu
Contest Rules
I. Application fee: $50 US. All applicants must be members of the I.C.A. and submit the online competition
application form on www.clarinet.org. Please mail the print-out of the confirmation page as this will serve as
proof of I.C.A. membership and payment of application fee. Non-members wishing to apply may join the I.C.A.
by including the appropriate membership fee with their contest application fee. If you choose the option to pay
by check or money order in the online application process, please be sure to include appropriate payment with your
application materials. The application fee is non-refundable.
II. Recording Instructions: Please provide a high quality recording on compact disk (CD-R) containing the following
repertoire in the exact order listed. Repertoire must be with accompaniment when appropriate. Each selection/movement
should be ID coded as tracks. Audiocassettes will not be accepted. Please be aware that the quality of the recording will
influence the judges. Recordings should not be edited and only continuous performances of entire works or movements
are allowed
1. Bohuslav Martinů, Sonatina
2. Béla Kovács, Hommage à C. Debussy
III. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age.
IV. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording
is the playing of the contestant and has not been edited.
V. A summer address, telephone number and e-mail address (all if possible) should be provided. E-mail is the preferred
means of communication. Please check your e-mail regularly as this is how you will be contacted.
Judging
Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the
CD-R or box. There should be no speaking on the recording, such as announcing of compositions.
Preliminary judging will be by taped audition. Finalists will be chosen by committee. Notification will be sent by Friday May
11, 2012. Final round will be held at the ClarinetFest® 2012 in Lincoln, Nebraska, August 1-5, 2012. Repertoire will consist
of the works listed above. Memorization for the final round of competition is not required.
Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A .
will provide a pianist for all finalists. All finalists will receive free registration at ClarinetFest® 2012. Travel and other expenses
will be the responsibility of the contestant.
All recordings will become the property of the I.C.A. and will not be returned.
PrizeS
First prize - $1,000 U.S. • Second prize - $750 U.S. • Third prize - $500 U.S.
The International Clarinet Association assumes no tax liability that competition winners may incur through receiving prize money.
Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.
September 2011 59
The Little Harlequin by Santiago Martínez Abad
General Comments rhythm and the body posture in each phase occasions the left leg has to be raised as
T
of the piece. Another approach is to divide an upbeat of the next stamp; on others the
he Dance of the Harlequin, origi-
some fragment which is difficult to per- performer has to tip-toe or jump elevating
nally the eighth and last movement
of the composition entitled Harle- form in intermediate phases. his/her knees.
quin, became a piece in its own that was A basic aspect to bear in mind in per- An element of tempo frequently used
called The Little Harlequin. The première forming this piece, and in general with all in the score is the Breit, which means
was on the 3rd of August 1977 at the Cen- of Stockhausen’s music, is the clarinetist’s “wide,” the author says; much slower, note
tre Sirius in Aix-en-Provence, interpreted facial expression and the visual communi- by note, and the same for the gestures. As
and danced by Suzanne Stephens, to cation he/she must establish with the au- an element of reference, the tempo can be
whom this piece was dedicated. dience. As a general work premise, these reduced by one half.
As an extension of Harlequin, The Lit- aspects must always be considered as im- When dynamics such as mP, P or PP
tle Harlequin has some rhythms that are portant as the composition’s technical dif- appear, the clarinetist must bear in mind
danced and others that are interpreted by ficulties, regardless of how great the latter that they include melodic fragments in
the clarinet, which are merged to form an may be. both the high and low registers, so that
equally important unit to which the audi- With respect to the stage area, it is im- in the high ones special attention must be
ence must listen with the same attention; portant to remember that the composer’s paid to ensure that the dynamics are not in
as such, the dynamics that appear in the notations are always made in reference fact higher.
score affect both the former and the latter. to the spectators’ point of view; in other
The role of the interpreter of this piece is words, when he indicates that at the be- Formal Structure of the
that of a roguish and exuberant musician- ginning the musician comes on stage from Composition
dancer who could inspire a more versatile the right and leaves the same way at the
The Little Harlequin begins with an Intro-
type of interpreter for the future. end, the right side of the stage is always
duction consisting of the first two staffs of
In the score’s foreword the composer construed from the spectators’ viewpoint.
the first page. The First Section goes from
points out that even though the perfor- K. Stockhausen is a composer who ex-
the third staff of the first page to the sec-
mance and lighting instructions are the presses his intentions with great precision
ond staff on the fourth. The Cadenza goes
same as for Harlequin, the costumes are in his scores, and these must be followed
from the third staff of the fourth page to
different. The lighting is very important at as closely as possible during the perform-
the sixth staff on page five. The Second
certain moments of the piece, and requires ance, together with the dynamics, rhythms
Section goes from the seventh staff of
the technician to work in coordination and tempos as well. This of course does
page five to the end of page seven. Finally,
with the performer so as to help the latter not prevent the clarinetist from creating
there is the Final Section or Coda on page
transmit certain sensations to the public, his/her own version of the piece, which
eight, the last part of the composition.
especially at times like the Cadenza or the will mainly depend on aspects such as the
The Introduction of the score begins
long trill. choreography, the choice and implementa-
with a long trill and a series of arpeggios
To study this work I recommend focus- tion of movements, even though most are
which constitute, without a doubt, the
ing on small fragments at slow tempos un- already indicated by the composer, and fa-
most difficult part from a technical point
til all details of articulations, air column, cial expressions to communicate with the
of view. In the First Section the melody of
dynamics, notes tuning, changes of tempo, audience. Furthermore, some aspects such
the clarinet appears polyphonically united
etc. are rendered perfectly. When the per- as choreography, for example, will have
to the rhythm marked by the feet. The Ca-
former is fully satisfied with a fragment, to be adapted on occasions, depending on
stage conditions. denza comprises 10 staffs, each with its
he/she can start increasing speed until the
I would like to briefly describe the own personality. The unity of “clarinet
one indicated in the score is reached, and
general movements used in the rhyth- melody-rhythmic counterpoint” continues
then to slow down in order to start again
from the same tempo, but this time by mic counterpoint and the ones performed in the Second Section, and new melodic-
memory. This will no longer seem to be by the feet. Usually the feet are simply rhythmic material from Harlequin appears
insurmountable, since the score has be- stamped flat on the floor, but at other in the Final Section or Coda, the character
come very familiar as a result of all the times the heels do the stamping, with the of which differs from the rest of the piece.
previous hard work. toes pointing upwards. A movement that
I would like to suggest other forms is often associated to the previous two is
Specific Comments
of study that can be used to prepare this to draw a circle with the leg that is free af- Regarding the Composition
piece. One of them is to work without ter stamping the floor, either at floor level The Introduction begins with a long color
the clarinet, initially to learn the danced or in the air, as the clarinetist prefers. On trill, for which the composer recommends
60 The Clarinet
Example 1: Introduction of THE LITTLE HARLEQUIN
George Crossman
him what was happening. I only got his
answering machine. To my astonishment,
on June 10, I got a call from his son Marty,
saying that George had just died yester-
day! I was amazed by these communica-
tion events. It was as if George wanted to
1931-2011
ceiving his message and decided to make
sure that his work continued.
Here are anecdotes sent from some of
by Kathryne Pirtle the clarinetists who have used the dual:
September 2011 65
Stanle asty
words of his students, a picture begins to
emerge of a man whose influence has pro-
foundly affected them both musically and
personally. His students agree that he was
y H
a man of high moral and ethical standards.
As a teacher he was extremely demanding
and expected a tremendous work ethic. He
instilled in students a sense of confidence
S
pedagogy, understood the psychology of
tanley Hasty, considered one of the a principal clarinetist is preserved for fu-
the students and understood the music just
most respected and successful clar- ture generations through two major record-
better than anybody. He was just a natural
inetists and pedagogues of the 20th- ing projects: the first with Capitol Records
and was able to articulate it.”
century, died on June 22, 2011 in Roch- and the Pittsburgh Symphony Orchestra
ester, New York. He was 91 years old. and the second with Mercury Records and In May 2010, many of Hasty’s former
Originally from Nebraska, Hasty studied the Eastman Rochester Orchestra. students, colleagues, friends and family
at the Eastman School of Music and the Hasty also taught at several of the na- gathered in Rochester, New York at the
Juilliard School before embarking on a tion’s premiere musical institutions: the Eastman School of Music to celebrate his
long and successful musical career. Eastman School of Music, the Cleveland 90th birthday. Respect and admiration for
From 1943–68 Hasty held the position Institute of Music, the New England Con- Hasty permeated the atmosphere.
of principal clarinet in six major orches- servatory, the Juilliard School, and the Though his legacy will continue for fu-
tras: the National Symphony Orchestra, Peabody Institute. His legacy, however, ture generations of clarinetists, he will be
the Indianapolis Symphony Orchestra, will most likely be remembered through greatly missed by us all.
the Cleveland Orchestra, the Baltimore his work as Professor of Clarinet at the The following article is the first in a se-
Symphony Orchestra, the Pittsburgh Sym- Eastman School of Music from 1955–85. ries celebrating the life of Stanley Hasty.
phony Orchestra and the Rochester Phil- His success as a pedagogue is substan- The information presented is the result of
harmonic Orchestra. In these ensembles he tiated by his students, many of whom the author’s multi-year collaboration with
worked with many of the most influential occupy significant musical positions Hasty, and gathered through numerous
conductors and musicians of the second throughout the United States. interviews with him, his wife June and a
half of the twentieth century. His legacy as As one examines Hasty through the number of his former students.
Stanley Hasty
Part I
His Life And Teaching
as state president of many of these pur-
suits and was included in Who’s Who of
couraged the pursuit of music with all of
her children.c She had hoped that her first
Nebraska as a clubwoman. Always re- child, Corinne, would study abroad and
The Early Years
D
ferred to by his middle name, Stanley was become a concert pianist.d However, Stan-
onald Stanley Hasty was born on ley was the only one to become a profes-
the youngest of three boys and two girls.
21 February 1920 in the small sional musician. Motivated by her young-
However, since the other Hasty children
town of McCook, Nebraska. His est child’s intense interest in music, Mrs.
were much older, he recalls growing up
father, Jesse Walter Hasty, of Scottish ori- Hasty took Stanley by train to Omaha, Ne-
gin, was employed as a railroad engineer feeling like an only child.a
braska to see the opera Rigoletto. “I still
and carried the distinction of driving the Music was important in the Hasty remember that. It was the first time I had
first diesel electric locomotive into Mc- family. All of the children played instru- ever heard anything except band music,
Cook. His mother, Nettie Barbara Utter- ments and even formed their own en- and this was a revelation to me.”e
bach, of German descent, a homemaker, semble, fondly referred to as the “Hasty Stanley’s choice of instruments, the
was extensively involved in community Orchestra.”b Though she was not musi- clarinet, was dictated by coincidence more
organizations and activities. She served cally trained herself, Stanley’s mother en- than by any other factor.
66 The Clarinet
very short”l – hailed from Italy and played
principal clarinet in the Denver Sym-
phony . This was before Saul Caston came
there as a conductor in 1945 . Caston uti-
lized “a different Eastern sound and Hen-
rich wasn’t like that at all .”m Tiny loved
Italian opera and its arias and possessed
“a very nice, woody, pingy sound which
was really lovely .”n It was a beautiful lit-
Stanley Hasty, after winning first place in a solo tle sound .”o Unfortunately, “Saul Caston
competition, June 1934. (Courtesy of Stanley Hasty). didn’t like a nice little sound so Henrich
didn’t last long after he came .”p
Henrich taught a lot of students, and his
method of teaching was to play along with
them during the lessons .q This technique
was beneficial to Stanley for a time . “Later
on it’s not good at all because you don’t
want to learn that way, but at that time it
was wonderful because I could hear, “Oh
this is what a clarinet sounds like!” For-
tunately it was a good example .”r After
The reason I started playing studying with Henrich for a while, Stanley
clarinet was because my brother had entered a local solo contest with Bassi’s
played clarinet and had a wonderful Rigoletto Fantasy and won .
set of Belgian clarinets . The way Stanley continued to study with Hen-
he got them is kind of interesting . rich for three years until he left for col-
In our little town of McCook, Ne- lege and acknowledges that “he was a big
braska, there was a business called influence on my life .”s
the HP Sutton Jewelry Store . The
Henrich was inspiring because
owner of the store, HP Sutton, liked
he was such a lover of melodic mu-
to conduct, so he would hire musi-
sic . My idea of the clarinet is that
cians to come to McCook to play in Stanley Hasty, ca. 1937. it is a very lyric instrument . Unfor-
his professional band . He couldn’t (Courtesy of Stanley Hasty)
tunately, it also has great technique
pay them very much so he would
and can do fantastic things . Com-
get them jobs around town . I think the railroad . Young Stanley would board posers tend to see that a little more
the solo clarinet player of that band, the train bound for Denver early Saturday than I would like them to . They miss
this was way before my time, got a morning, arrive, take his lesson and then the lyric qualities of the instrument .
job in a shoe store . Sutton was the take the train back that same afternoon . As far as playing a legato, melodic
one that picked out the set of Bel-
I’d be all night on the train . A melody, the clarinet can do it better
gian clarinets for my brother . I have
couple of times I would go to sleep than any other woodwind . There is
no idea how he knew about those
and the conductor would forget to no doubt in the world about that and
Belgian clarinets .f
wake me up . At two o’clock in the that stayed with me . That’s what I
He began playing the clarinet in the morning, I wound up in the first listen to .t
ninth grade . “I loved them right away – it little town east of McCook where
was love at first sight .”g This unique con- In the summer of 1936, Stanley trav-
my grandmother lived . So at two eled with his mother to audition at the
nection is, “one reason none of my sib-
or three in the morning, I would be Eastman School of Music in Rochester,
lings are professional musicians, no one
knocking on her door . I would then New York . The experience remained vivid
ever had to ask me to practice, or ask me
take the train back the next morning . throughout his life .
to quit, it was what I liked to do .”h He con-
That happened just two times or so .j
tinued to hone his skills in “a very good I had prepared the first move-
high school band that had a live-wire con- He had learned about Henrich through ment of the Weber Grand Duo
ductor who also taught clarinet .”i his sisters . “My two sisters lived in Den- Concertante . Howard Hanson was
Within a year of starting the clarinet, ver with their families . My niece played there, probably also Rufus Mont
Stanley was making the weekly day-long the saxophone, and she studied in a studio Arey, and other faculty I didn’t
commute by train to Denver, Colorado to that also included a clarinet teacher, Val P . know at all . I played, and it was
study with the clarinetist, Val P . Henrich . Henrich .”k pretty good . Ruth North Tibbs, the
Since his father was a railroad engineer, Henrich, known as “Tiny” Henrich theory teacher, was a very good pia-
the family was able to travel for free on – “we called him ‘Tiny’ because he was nist and she accompanied me . All
September 2011 67
“Geez, that sounds right, that The Central City Opera did mostly
sounds good . I like to listen to that .” Gilbert and Sullivan . We did the
However, I didn’t know why . But he Bartered Bride one summer . I did
was teaching that in the studio – this that a couple summers . I played
note belongs here, and this note be- second clarinet and was really ob-
longs there . Arey was also teaching noxious then because I would keep
what I call dynamic phrasing – he saying how the piece should be
started me on that . I have elaborated played . Finally the first clarinetist
quite a bit on that since then, where said, “Look why don’t you just play
you phrase with the rise in dynamics first clarinet?”, and I said, “Oh I did
and why . There are a lot of different not mean that [laughs] .” I would
whys . Also he was very interested say, “Oh, I could do so and so,” and
in the ends of notes, how you end when you are young you do a lot of
a note before you start the next one . stuff . He was a very good guy for
That kind of thing came from him . If me to work with because he didn’t
he would have sounded really good, mind . He was not worried that I was
then he would have been my idol .y a challenge to him . The park band
was okay . I played assistant princi-
In addition to his studies, Stanley
Rufus Mont Arey, clarinetist, Eastman pal in that . The second year I was
worked as a technician in the recording
School of Music faculty 1927-54. (Cour- offered principal and would get five
department . This allowed him and his dollars a week more, but I did not
tesy of Sibley Music Library, Eastman friends the opportunity to listen to and
School of Music, University of Rochester) want that because then you had to
critique prominent clarinetists of the time . play all the solos and everything and
The recording department was had to practice [laughs] .aa
through the years I was there (as a
located in the projection booth of In 1941, Hasty graduated from East-
student) she accompanied me, and it
Kilburn Hall, a small recital hall . man with a Bachelor of Music in clari-
was really great . Anyway, I played
The recording department had a di- net performance and was awarded a per-
the first movement and someone
rect line from WHAM, which is the former’s certificate in recognition of his
said, “Let’s go on, I’d like to hear
NBC radio station here in [Roch- outstanding musicianship .ab This honor
the last movement .” Being young
ester] before FM and we would get allowed him to perform on two special
and everything I didn’t say, “Well I all the Philadelphia, Boston, New
didn’t prepare the last movement .” concerts . The first was a solo performance
York broadcasts live from over AM with the Rochester Civic Orchestra under
I said, “Okay [laughs] .” So I played WHAM . We had a direct line to
the last movement, but you know the direction of Howard Hanson . For this
WHAM and of course these huge event Arey and Hasty decided on Claire
now I would probably faint if some- speakers in the hall . So that was a du Lune by Jeanjean, which Hasty played
body said that, but not then .u regular thing with us, we would sit by memory at the insistence of the con-
As a result of that audition, Stanley in the dark in Kilburn Hall and listen . ductor Howard Hanson .ac The second con-
was awarded a full scholarship of approxi- We liked Bellison, who was the prin- cert was a chamber music recital in which
mately 500 dollars . cipal in the New York Philharmonic, Hasty performed the Brahms Trio, a diver-
In 1937 Stanley graduated from Mc- for sound, and we liked Polatschek timento with oboe by Frank Hruby and the
Cook Junior/Senior High School, and that in Boston for more all-around play- Mozart Quintet .ad
fall entered the Eastman School of Music . ing . But for the sound, Bellison and
Following graduation, Hasty moved
Here he began studying clarinet with Ru- his big German clarinet were great .
to New York City to start his professional
fus Mont Arey .v Originally from Maine, That is one reason I am so particular
music career .
Arey had served as principal clarinet of now about how you use your fingers
the Detroit Symphony and the Philadel- in slow playing…because he didn’t While I was there I studied saxo-
phia Orchestra before joining the Roches- and I hated to hear that clunk, clunk, phone with Himie Schutzer [sic] .
ter Philharmonic Orchestra and the East- clunk of his German style .z He was the lead alto in the Benny
Goodman Band . He could play
man School of Music in 1927 .w Stanley spent his summers away from
louder and faster than any saxo-
“He was a good teacher,” Stanley said Rochester, mainly in Denver where both
phone player that you’ve ever heard
of Arey, “a better teacher than Tiny Hen- his sisters lived with their families .
in your life . He liked to have me
rich, but he didn’t sound as good on the I would stay there because I come around for lessons because I
clarinet . In fact as far as teachers go, he played in the park band . The first had a lot of technique . Coming from
was a better teacher than Ralph McLane .”x orchestra job I got was the Central the clarinet to the saxophone, the
Stanley recalls . City Opera . I got that out of the technique is there . He would want
What Arey had that I liked, and union in Denver . That was great . to play these Grand Duos, which
I think this is probably a carry over We did Yeomen of the Guard . I think had a lot of technique for two clari-
from high school, was that when I that was the only grand opera that nets . We played them for two saxo-
heard him play a melody I thought, Gilbert and Sullivan ever wrote . phones . He loved those things .ae
68 The Clarinet
Unfortunately his New York experi- We get out of the bus, we go down While there he received a graduate schol-
ence “was not so great. It is a hard town.”af into the pit – nobody spoke Eng- arship to attend the Juilliard School of Mu-
Times were frustrating and the only job lish they were all Italians except sic. At this time the school had a full wind
Hasty was able to secure was with an Ital- for me – and the next thing I knew department, but unfortunately graduate
ian opera company performing, The Bar- BANG! – There was the downbeat credits were only awarded to voice, string
ber of Seville. and we were playing The Barber of and piano students. Therefore, Hasty was
I had played a summer job in Seville. I sweated blood. A lot of that unable to work toward a graduate degree.
New Orleans, and the flute and pic- opera is for C clarinet, which com- At Juilliard he studied with Arthur Christ-
colo player was the contractor. In plicates things a little bit. However man, principal clarinet of the West Point
New York you go to a big open hall I still wasn’t old enough to realize, Army Band. However, Hasty and Christ-
and everybody is wandering around you can’t do this [laughs]. So I got man did not get off on the right foot.ai
and getting jobs. So he said, “Do through it all right. But that’s about I was an older guy, so I had to
you know The Barber of Seville?” the only job I remember getting play an audition to get the schol-
and I said, “Yes,” though I had never there. I played one jazz job, which arship. When I walked in for my
played it before. So he said, “Okay, I hated and I was not good at, and I first lesson with this man I was just
I can get you a job playing, meet the got disgusted with the whole scene.ag meeting, he looked up from his
group at – probably was the corner Frustrated with the lack of work in New desk and said, “Oh, did they give
of Fifth Avenue and something, I York City, Stanley decided to change occu- it to you?” [laughs] Then he said,
don’t remember where – and we’ll pations. He promptly moved to Los Ange- “Well did you work on something?”
get on the bus and go from there.” I les and enrolled at the Curtis Wright Aero- and I said, “Sure!” and preceded to
said [to myself], “Well good, we will nautical Institution where he began studies play a movement from a Bach cello
get on the bus, we will go to some- to become an aeronautical engineer. After suite and a Jeanjean etude from the
place and have a rehearsal and then about six weeks of excessive amounts of Twenty-Five Grand Etudes. I look at
play the opera. I can do that.” We calculus, physics, etc. he had had all that them as free rhythm interpretation
stayed on that bus, and we stayed he could handle and proclaimed to him- – you just play them very freely. I
on that bus, and finally around din- self, “This isn’t for you. You’ve got to do think they are wonderful. I played
ner time or a little later we arrived in music, that’s what you love.”ah my heart out and Christman didn’t
New Amsterdam, New York, which Hasty returned to New York City to re- say anything. While I was playing
is about fifty miles west of Albany. sume his pursuit of musical employment. he’d been sitting at his desk, he then
rsity
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WWW.M
September 2011 69
got up and walked over to the piano n Ibid.
where a metronome was sitting. He o D. Stanley Hasty, interview by author, 26 April
2002, Rochester, New York, mini disc recording.
started the metronome and said, p Ibid.
“Now try that again.” Instead of do- q Michael Webster, “Hasty at 80,” The Clarinet,
ing it I said, “Well you can’t, that’s 27:2 (March 2000): 39.
not what these studies are about. It r D. Stanley Hasty, interview by author, 26 April
doesn’t make any sense.aj 2002, Rochester, New York, mini disc recording.
s Michael Webster, “Hasty at 80,” The Clarinet,
Their relationship as teacher and stu- 27:2 (March 2000): 39.
dent remained strained. Hasty was going t D. Stanley Hasty, interview by author, 26 April
to school during the day and playing gigs 2002, Rochester, New York, mini disc recording
u Ibid.
around town at night. In addition to his les- v The 1937-38 Eastman School of Music Yearbook
sons with Christman, he found some time (Rochester, New York: Eastman School of Mu-
to take a few lessons with Daniel Bonade. sic, University of Rochester, 1938).
Hasty said the experience was not very w George Jones, “The Artistry of Mont Arey (Part
fruitful. “At that point he was really not I),” The Clarinet 5:2 (Winter 1978): 16-17.
x D. Stanley Hasty, interview by author, 26 April
too interested and I wasn’t either. It was 2002, Rochester, New York, mini disc recording.
just because I was there and he was there. y Ibid.
So we were kind of offhand about it.”ak z Ibid.
Hasty decided not to return to Juilliard aa Ibid.
after his initial year since getting a degree ab The 1940-41 Eastman School of Music Yearbook
(Rochester, New York: Eastman School of Mu-
was not his primary interest. He had at- sic, University of Rochester, 1941).
tended Juilliard because he had the oppor- ac D. Stanley Hasty, interview by author, 26 April
tunity. That summer Hasty was invited to 2002, Rochester, New York, mini disc recording.
play principal clarinet in the New Orleans ad The 1940–41 Eastman School of Music Year-
summer orchestra. The venue was an out- book (Rochester, New York: Eastman School of
Music, University of Rochester, 1941).
door stage with tables on a lawn for the ae D. Stanley Hasty, interview by author, 26 April
audience. For Hasty, it was a fun summer, 2002, Rochester, New York, mini disc recording.
one in which the last concert of the season af Ibid.
was the most memorable. ag Ibid.
ah Ibid.
I remember the last concert was ai D. Stanley Hasty, interview by author, 8-9 July
the Haydn “Farewell” Symphony 2002, Rochester, New York, mini disc recording.
which we played with stand lights aj Ibid.
instead of candles. The oboe is one ak Ibid
al Stanley Hasty, “New Orleans,” private e-mail
of the first players off the stage. message to Elizabeth Gunlogson, 23 August 2005.
He stumbled over some stand light
wires and all the stand lights went
out. The rest of the concert was About the Writer…
played in the darkness!!al Elizabeth Gunlogson serves as assistant
professor of clarinet at the University of
(To be continued in Part II – New Hampshire. Originally from Alaska,
“The Orchestral Years”) she attended Luther College (B.A.), Indi-
ana University (M.M.) and Florida State
Endnotes University (D.M.). While at Florida State
a D. Stanley Hasty, interview by author, 26 April University, she received a Dissertation
2002, Rochester, New York, mini disc recording. Research Grant to assist in her research of
b Ibid. clarinetist Stanley Hasty.
c Michael Webster, “Hasty at 80,” The Clarinet,
27:2 (March 2000): 39.
Gunlogson had the privilege of spend-
d D. Stanley Hasty, interview by author, 26 April ing several years collaborating with Stan-
2002, Rochester, New York, mini disc recording. ley Hasty on her doctoral treatise, “Stan-
e Michael Webster, “Hasty at 80,” The Clarinet, ley Hasty: His Life and Teaching.” This
27:2 (March 2000): 39. document is an extensive biographical and
f D. Stanley Hasty, interview by author, 26 April
2002, Rochester, New York, mini disc recording.
pedagogical study of his life. She has pre-
g Ibid. sented her research on Hasty at the 2010
h Ibid. International Clarinet Association confer-
i Ibid. ence, the 2010 Eastman School of Music
j Ibid. Hasty 90th Birthday Celebration, the 2008
k Ibid.
l Michael Webster, “Hasty at 80,” The Clarinet,
Ohio State University-Johnstone Wood-
27:2 (March 2000): 39. wind Master Series and the 2007 College
m Ibid. Music Society National Conference.
70 The Clarinet
S !
O N
T I
L A
T U
R A
N G
C O
STEPHEN WILLIAMSON
METROPOLITAN OPERA VIRTUOSO NAMED PRINCIPAL CLARINETIST OF THE
(1936–2011)
by Luigi Magistrelli
Oehler in A) made in the ’20s of the last recordings he did, just to cite a few, we
century but still in amazingly good con- can mention the Cartellieri, Baermann,
dition! I must say that every time I play Pleyel, Rosetti, Mercadante, Hoffmeis-
them (some recordings on them are sched- ter, Weber, Knezek, Solere, Schacht and
uled), I really feel the soul of Klöcker’s Danzi clarinet concertos, all the chamber
tone in them! music and wind literature of Beethoven,
Dieter Klöcker Karl Kroll also gave to Klöcker all Mozart, Schubert, Krommer, Haydn and
of his musical archive and transmitted many others . At the present there are still
to him the passion for searching for the a few CDs of his to be published . He re-
P
robably the most prolific recording neglected manuscripts in the most im- corded in 1977 for EMI and Academy of
artist in clarinet history died last portant European libraries . After getting St . Martin in the Fields 10 Concertante
May 21 from a serious illness . some orchestral playing experience for a Symphonies from the classical and early
I am particularly sad but I am also hon- few years, Dieter Klöcker found his way romantic periods for two clarinets and
ored and full of emotion in writing this into the chamber music and solo clari- orchestra and other various instrumen-
report to commemorate one of the most net repertoire and founded in 1965 his tal combinations with his friend and col-
well-known clarinetists of our times . This own group which was quite unique in its league W . Wandel . His recordings gained
is especially true for me considering the own way and in its flexible instrumental international appreciation and important
special relationship I had with him, first combinations . It was called the Consor- prizes . Klöcker was professor of clarinet
as a student of his and then as a colleague, tium Classicum, with whom he made for and wind chamber music from 1976 until
friend and partner in two CD recordings more than 50 years an active schedule of 2001 at the Hochschule of Freiburg . He
(Mendelssohn Concertpieces) . He was tours around the world and hundreds of wrote many articles on his discoveries and
also my mentor and inspiring model since recordings (LPs and CDs) of the great some doctoral dissertations:
literature and of less interesting masters
I was a teenager . Klöcker was a clarinetist • Handbuch der Musikpädagogik, Bd .3
rediscovered from the classical and early
with such strong personal musical pecu- Bärenreiter 1994 Die Klarinette
romantic periods . The number of record-
liarities . His spirited interpretations and • Medizinische Probleme bei Instrumen-
ings intended as radio productions, LPs,
highly inspired musical performances talisten, Laaber Verlag 1995 Ursache
tapes and CDs (some hundreds !) made by
made him quite a unique and “one of a und Wirkung
Klöcker as a solo player and as a leader of
kind” clarinetist who was mainly devoted • Kongreßbericht 1997 des Forsc-
Consortium Classicum is so huge that it is
to the classical and romantic repertoire . hungsinstituts für Instrumental- und
not comparable to any other living clari-
Born in Wuppertal in 1936 with a fa- Gesangspädagogik, Schott 1998
netist! The musical and technical quality
ther who played trumpet, he studied at the Fehlgeleitete Musikerpotentiale.
of these recordings has always been of
Detmold Music Academy with Jost Mi- the highest level with such details in the He also edited some little known clari-
chaels, clarinetist, pedagogue and pianist, accuracy of style, brilliance and musical net pieces (Bochsa, Stadler, Reissiger,
but earlier he had important studies with personal choices masterminded by the art Hoffmeister and others) for various pub-
Karl Kroll, former clarinetist of the Saint of Dieter Klöcker . The labels which in- lishing houses .
Petersburg court of the Czar Ivanov and clude Klöcker and his Consortium Classi- I will remember his incredible passion
father of Oskar Kroll, author of the book cum in their catalogs are: Camera Magna, and enthusiasm for music in general, and
Die Klarinette . Emi, Basf, Mdg, Novalis, Koch, Divox, forgotten clarinet literature in particular,
Kroll owned a pair of clarinets do- Teldec, Arts, Cpo, Bayer Records, Orfeo and his interest in making recordings with
nated to him by the Czar himself and then and Thorofon . His very first recording young players, former students of his, such
handed them over to his pupil Klöcker was in 1960, Die blaeser der Norwest- as myself, Sandra Arnold, Giuseppe Porgo
who used them practically during all his deutschen musickakademie Detmold. and Oliver Link . His many recordings will
artistic activity . I have the incredible good He recorded two Mozart Divertimen- be the precious testament he left us as a
fortune now to possess these extraordinary tos for two clarinets and bassoon, K 439b . legacy of his incomparable musical art .
clarinets (L . Warschewsky in B-flat and O . Among the most important and significant Aufwiedersehen Maestro!
72 The Clarinet
INTERNATIONAL CLARINET ASSOCIATION
2012 ORCHESTRAL AUDITION COMPETITION
This Year - the Bass Clarinet!
Eligibility: The competition is open to clarinetists of all ages who are not employed full time as salaried members of a
professional symphony orchestra.
Application: Please submit an online application at www.clarinet.org and mail a print-out of the confirmation page along
with your other application materials. Send materials postmarked no later than Monday, April 16, 2012 to:
2012 I.C.A. Orchestral Audition Competition
Dr. Jeremy W. Reynolds, Coordinator
Professor of Clarinet, University of Denver Lamont School of Music
2344 East Iliff Avenue, Denver, CO 80208
Phone: 303-871-6365 • E-mail: Jeremy.W.Reynolds@du.edu
Contest Rules
I. Application fee: $50.00 U.S. All applicants must be members of the I.C.A. and submit the online competition
application form on www.clarinet.org. Please mail the print-out of the confirmation page as this will serve as
proof of I.C.A. membership and payment of application fee. Non-members wishing to apply may join the I.C.A.
by including the appropriate membership fee with their contest application fee. If you choose the option to pay
by check or money order in the online application process, please be sure to include appropriate payment with your
application materials. The application fee is non-refundable.
II. Recording Instructions: Please provide a good quality recording (CD-R format required) containing the following
excerpts, in this exact order with appropriate track ID numbers. Please do not write anything on your audition CD. No
speaking on the recording. The soprano excerpts are first clarinet parts:
Soprano Clarinet
1. Mozart: Concerto, Movement I, exposition only
2. Beethoven: Symphony #8 – 3rd mvt. Tempo di Menuetto, no repeat
3. Mendelssohn: Scherzo from Midsummer Night’s Dream – mm. 1–48
4. Rimsky-Korsakov: Capriccio espanol – 1st mvt. solos at A & C; 3rd mvt. solo 11 mm. after K to fermata at end
Bass Clarinet
1. Grofe: Grand Canyon Suite – On the Trail, #2 to one measure after #3
2. Khatchaturian: Piano Concerto – 1st mvt., mm. 391–400; 2nd mvt., mm. 2–8, and mm. 220–234
3. W. Schuman: Symphony #3 – Toccata, mm. 157 thru 170; Fugue, mm. 328 thru 351
4. Shostakovich: Violin Concerto #1 – 2nd mvt.,. #23 to four mm. before #25
5. Stravinsky: Rite of Spring - #5 thru four mm. after #6; #11 to #12; #48 to #49; one m. before #141 to #142
III. A separate written and signed statement, attesting the recording is the playing of the contestant and has not been edited
IV. A permanent address, telephone number and E-mail address should be provided.
Judging
Judging of recordings will be conducted with no knowledge of the contestants. Do not include any identification (your
name) on the CD-R or box. There should be no speaking on the recording, such as announcing of compositions. Preliminary
judging will be held by recorded audition. Semifinalists will be chosen by committee. E-mail or letters of notification will be sent
by Monday, May 14, 2012. Semifinal and final rounds will be at ClarinetFest® in July 2012. Repertoire will consist of the excerpts
listed above. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final.
All semifinalists will receive free registration at ClarinetFest® 2012. Travel expenses will be the responsibility of the contestant. All
recordings will become the property of the I.C.A. and will not be returned.
PrizeS
First Prize: $1000.00; The ReedWizard donated by Leslie and Ben Redwine and any Gregory Smith model clarinet mouthpiece
Second Prize: $500.00 and any Gregory Smith model clarinet mouthpiece
The Orchestral Audition Competition is generously sponsored in part by Gregory Smith and Leslie and Ben Redwine.
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are re-
sponsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.
September 2011 73
Practice techniques:
Using the Contextual Interference
Effect for Better Performance
by Andrew DeBoer
M
usicians are always trying new The Cerebellum (figure 2) ordinating movements as part of the motor
ways to improve their abilities Another area of the brain involved in co- system is the cerebellum . The cerebellum
for the music they play . Most
of us have a daily routine including sound
and technique honing as well as practice
of literature . Much of this practice is sim-
ply a matter of repetition of patterns that
are eventually recorded and remembered
by the brain for later recall .
During practice, one often focuses on
technical passages, repeating separate pat-
terns over and over so that when the per-
formance occurs, one can achieve as fluid
and flawless of a performance as possible;
however, there is now evidence suggesting
a more efficient way of practicing . Many
studies have been done involving athletes
in learning precise movements . Referred
to as “contextual interference” (CI), learn-
ing patterns of movement involving a high
degree of variation, rather than unvaried
repetition, seems to improve learning and
recall of the movements later . Since clari-
netists learn very specific finger patterns,
it is worthwhile to investigate this brain/
pattern-learning research .
September 2011 75
often require people to switch back and learns a movement and develops the abil-
forth between open- and closed-systems ity to adapt to a variety of situations (such
of movement . as cold, sweaty hands in a performance) .
Although they are good in describ- In order to help the brain adapt to varia-
ing how the motor system operates, tions in a future performance environ-
closed- and open-loop systems do not ment, varied practice is recommended
allow room for the variations of real-life since it will help define a clearer overall
situations where slightly different condi- “picture” of the movementi .
tions are present each time a movement
is performedg . To account for these prob- The Contextual Interference
lems, the schema theory and generalized
motor program, developed by Richard
Effect: varied repetition
A . Schmidt (1975), are helpful . Rather and random orders of
than store and recall a countless num- passages in practice can
ber of variations of motor programs, the augment retention and
brain stores an abstract representation of
a movement and its parametersh . In other
later performance
words, the brain stores a general program When practicing and learning patterns
that can adapt to many different kinds of of movement (technical passages), one
similar movement, rather than many pro- practices with certain kinds of repetition
grams for every specific movement made . in certain orders . A focus on repetition
Musicians constantly utilize generalized will be explained first followed by an
motor programs by learning scales and explanation of order . Performers can use
exercises, establishing common patterns either constant or varied repetition . Dur-
often used in music . Although passages in ing constant practice, learners repeatedly
music may not be exactly like exercises, rehearse a single sequence of motion . For
they are adaptable since they are similar musicians such an example might include
to these established patterns . repeating a technical passage in the speci-
According to schema theory, the brain fied rhythm with no changes to accents,
The
Clarinet
Publication
Schedule
The magazine is
usually mailed during
the last week of
February, May, August
and November.
Delivery time within
North America is
normally 10–14 days,
while airmail delivery
time outside of North
America is 7–10 days.
76 The Clarinet
tempo, rhythm, or dynamics. This type order, the performer would practice many gle passage/skill. Using the skills afore-
of practice often produces favorable im- separate skills, focusing on one before go- mentioned, random practice could include
mediate results during training; however, ing on to the next. For musicians an exam- practicing passage “A,” then passage “B,”
future abilities of the skill in performance ple of such practice might include practic- then passage “C,” then “A,” then “C,” and
or further development of a skill is not as ing three different passages, completing so on without repeating any skill more
effective as the use of varied repetition one before going on to the next. Block than twice. This type of practice, where
in practice. When using varied practice, practicing allows individuals to become several skills/passages must be learned
the individual produces several versions
proficient during practice but often does and practiced together, along with varied
of the movement. During training, the
not transfer as well for further develop- practice, is known as contextual interfer-
various versions develop and enhance the
ment and performance. Random practice ence. Contextual interference (CI) often
“boundaries” of the movement giving the
brain a better picture of the movement. involves learning separate passages (or prevents skills from being successful im-
Although the results of varied repetition skills) in no particular order, avoiding too mediately during practice; however, it is
are not always as immediate as those of many consecutive repetitions of any sin- effective in future retention and further
unvaried (constant) repetition, transfer of
the skill for further development and ul-
timately performance is more successfulj.
Many people already use variation as
a practice technique because of its effec-
tiveness, even if they do not know exactly
why; however, the order in which pas-
sages are practiced is often overlooked.
Practicing several different passages in
random order can augment retention and
later performance of those passages.
When practicing and establishing sev-
eral motor programs (movements), learn-
ers can practice in either blocked or ran-
dom order. When practicing in blocked
September 2011 77
development of the skillk. Once the brain Several studies have been done, many ies are needed to explain the influence of
has time to sort out the various move- of them supporting the contextual interfer- these factors on the CI effect.
ments practiced away from the instrument ence hypothesisl; however, some studies
(which happens most effectively during have not supported the CI effect. Inconsis- The Benefit of the CI Effect
sleep), future practice and performance is tencies are often attributed to factors such for Musicians
more productive because movements are as age, level of expertise, amount of prac- Because research sustains varied and ran-
better learned. tice, and testing conditionsm. More stud- dom practice techniques, especially in
skills with a high degree of complexity,
musicians would benefit by using varied
78 The Clarinet
ditional bottom-to-top patterns. Likewise, Godinho, “The Contextual Interference Effect
in musical passages, sequences of motion
can be learned not only forward, but back-
ward. Different tempi can be used in ran-
in Applied Settings,” European Physical Educa-
tion Review 13, no. 2 (2007), 197, 199. http://epe.
sagepub.com (accessed 4 November 2007).
Music for Clarinet
m
Stewart Ollis, Chris Button, and Malcolm Fair- Clarinet quartet:
dom order for each passage. The rhythms weather. “The Influence of Professional Exper- Peter Benary: Little chamber music
of each passage can be altered innumer- tise and Task Complexity upon the Potency of Jean Daetwyler: Symphonietta
ably, adding variety to the learning of the Contextual Interference Effect.” Acta Psy- Jean Daetwyler: Three sketches
chologica 118, no. 3 (March 2005): under “In- W. Schröder: A little laugh music
skills. Such practice uses the technique
troduction.” http://www.sciencedirect.com at
of varied repetition. Separate passages Clarinet and organ:
EbscoHost (accessed 11 November 2007).
in a piece of music can also be practiced Hans-Peter Graf: Suite
in random order, making sure that each Fr. Wermann: Andante religioso
passage is not repeated for an extensive About the Writer… Fr. Wermann: Des Hirten Wiegenlied
amount of time before moving on to the Andrew DeBoer is a musician and teacher Voice, clarinet and organ:
in the Phoenix, AZ metro area. He has per- Peter Escher: Psalm, op. 136,3
next passage. This is the technique often
Peter Escher: Lullaby, op. 136, 1
overlooked, especially for those of us who formed with the Phoenix Symphony Or- E. Strässer: Geistlicher Gesang
get obsessed with getting a certain pas- chestra, Arizona Opera, Paradise Winds,
Clarinet, violin and piano:
sage perfect before moving on. and the Symphony of the Southwest in A. Ponchielli: Paolo e Virginia
The ability to use random and varied Mesa, AZ and has also been a soloist with Iwan Müller: Duo concertant
practice techniques abundantly exist. This the Hastings Symphony Orchestra, North-
Two clarinets and bassoon:
not only enhances skill acquisition, but also west Wind Symphony, and the 43rd Army Dr. F. Zebinger: European melodies
keeps practice from becoming monoto- Band in Lincoln, NE, a band with which
Wind quintet:
nous. Although their immediate results dur- he played while he was a part of the Na- P. Graf: Divertissement on popular
ing practice may be less successful by us- tional Guard. Andy completed the Bache- swiss melodies
ing varied and random practice techniques, lor of Music degree at Hastings College in See also our selling off of music under:
in time musicians will see the benefit of Hastings, NE where he studied with Debra www.thoeni-edition.ch > Notenausverk.
such practice through the better retention McKim and the Master of Music degree
Musikverlag Gottfried Aegler,
and accuracy of motor skills in the ever- at Arizona State University with Robert CH-3762 Erlenbach i.S.
changing performance environments. Spring where he is currently completing Switzerland
the Doctor of Musical Arts degree.
Endnotes
a
Frank R. Wilson, Mind, Muscle and Music:
Physiological Clues to Better Teaching (Elkhart,
IN: Selmer, 1981), 7.
b
Ammar Al-Chalabi, Martin R. Turner, and R.
Shane Delamont, The Brain: A Beginner’s Guide
(Oxford, UK: Oneworld, 2006), 65.
c
Wilson, 10.
d
Al-Chalabi, Turner, and Delamont, 65.
e
Richard A. Schmidt and Craig A. Wrisberg,
Motor Learning and Performance: A Problem-
Based Learning Approach, 2nd ed. (Champaign,
IL: Human Kinetics, 2000), 93.
f
Schmidt and Wrisberg, 124.
g
Joshua G. Sanders, “Improving Student Practic-
ing through Application of Motor-Learning Re-
search,” Update – Applications of Research in
Music Education 23, no. 1 (Fall-Winter 2004):
15.
h
John Edward Owen, “Improving Instrumental
Practice Techniques through Use of a Motor
Schema Theory of Learning,” (PhD diss., Ohio
State University, 1988), 2. In ProQuest Disser-
tations and Theses, http://proquest.umi.com (ac-
cessed 14 October 2007).
i
Nicole Marie Damarjian, “The Short-Term
Training Effects of Practice Variability on Post-
training Performance of Three Golf Skills with
Experienced Golfers,” (PhD diss., University of
North Carolina at Greensboro, 1997), 10. In Pro-
Quest Dissertations and Theses, http://proquest.
umi.com (accessed 7 October 2007).
j
Damarjian, 20.
k
Damarjian, 21.
l
João Barreiros, Teresa Figueiredo, and Mário
September 2011 79
An Orchestral Stage:
A Cultural Sketch from the Life of Orchestral Musicians
by Simeon Bellison
O
friend with whom he had worked at many on Vinogradov’s violin broke. Jivoglot
n that very same Sunday Jivoglot weddings. On the strength of this acquain- was nearly overcome. However, he pulled
had had his own troubles. His or- tance Jivoglot was treated to several glasses himself together and gave all his might
chestra was scheduled to play at of tea. When the clock struck six, he re- to the beating of the drum, trying to pro-
a wedding in the village of Bogorodsk, on turned to the parlor to see if his orchestra duce the combined sounds of an entire
the outskirts of Sokolniki. In the morning had assembled. To his horror, the only one orchestra. Vinogradov, meanwhile, was
at Chilikin’s he had informed his men of present was Vinogradov, who sat calmly unable to pull the new strings through the
the engagement and had reminded them smoking a cigarette. Jivoglot bombarded pegs. Jivoglot continued beating his drum
to be at the appointed place at six o’clock him with questions: “Did they all have the louder and louder, shouting, “Hurry there,
sharp and to wear white ties. correct address? Did they know what time hurry, you demon!” But Vinogradov still
Connections to Bogorodsk were poor. to be there? Why had they not come?” fumbled. After a few more minutes of
In the winter, the horse car ran only part It was an old habit of Jivoglot’s to in- smiting his drum, Jivoglot lost all hope of
of the way. Being a punctual man and struct his men to arrive an hour or more getting help from Vinogradov, and, com-
particularly conscientious in his business earlier than he really needed them. They, pletely exhausted, he dropped the drum-
appointments, Jivoglot began his prepara- knowing of this trick, always arrived an stick and slumped motionless in his chair.
tions very early, at one o’clock in the af- hour later than he instructed, but actu- It was the first time the people of Bo-
ternoon. He dressed as befitted the occa- ally in time for the performance of their gorodsk had an orchestra in their village.
sion, then wrapped his drum in its canvas duties. But this evening, thinking that the When the wedding march began, they
cover, selected the necessary music, rolled wedding celebration would begin at eight thought that this was music, as it should
it in a handkerchief, and tied two music o’clock, he had told them to be there at be played. However, when Jivoglot nearly
stands together with a strap. He drank a six; and as usual they were in no hurry. deafened them with the drum, the guests
glass of tea, inspected his bundles again It was destined to be an unhappy eve- grew puzzled and looked questioningly
and started in the direction of Suhareva ning for Jivoglot. From beginning to end, at the orchestra. As the music abruptly
Tower. There he boarded the horse car, he was pursued by one misfortune after ceased, one of them stepped boldly for-
which took him as far as the Sokolniki the other. He fumed, fretted and swore. ward and exclaimed, “You call this music?
Gate. From there to Bogorodsk was still When, at half past seven, the voice from The hell it is!”
a distance. Being heavily burdened, Jivo- the entrance hall announced the imminent That brought Jivoglot to his senses. He
glot decided to hire a sleigh. The coach- arrival of the newlyweds, he was on the sprang up nervously and offered his apol-
man demanded a ruble and a quarter for verge of tears. He cursed his fate and his ogies. He explained that the entire orches-
the ride, so Jivoglot swore at him in the musicians, but the wedding march had to tra had not assembled and assured them
best Chilikin manner, threw the drum over be played. He seated himself at the drum, that when they came the guests would
his shoulder, tucked the music and stands Vinogradov placed his violin under his be thrilled with the music. He mentioned
under his arm and proceeded on foot. chin, and both waited for the signal to be- several prominent people for whom he
80 The Clarinet
had furnished music in the past and whose At first, he thought of buying someone Everything was now exposed . Kuroch-
recommendation he had received . else’s share; but success was doubtful kin trembled with shame and fear, and his
After the wedding march, everybody because they were all very hungry . Then trousers dripped bits of salad . The head of
congratulated the newlyweds, and refresh- he was inspired with a plan . He found a the house called Jivoglot aside and repri-
ments were served . Jivoglot had time to newspaper, reached into the dish, and manded him severely for the conduct of
calm down a little, merely continuing to grabbed as much of the salad as his hand his musicians . There was nothing left for
curse the absent musicians . He swore to could hold . He was about to wrap it up Kurochkin but to confess everything to his
discharge them all on the spot, and as fur- when Jivoglot and the rest of the orches- leader and benefactor . Jivoglot was pre-
ther punishment, declared he would buy tra appeared in the doorway . Kurochkin paring for immediate punishment of the
no more cigarettes from Morkovkin . nearly died of panic . “What if they catch sinner when the dance leader was heard
At last, all the musicians except Moro- me? They won’t spare me!” He shud- calling for a polka . With a promise to Ku-
kovkin arrived . Jivoglot ignored them . No dered . “What shall I do? If I throw it under rochkin that he would get his reward later,
matter how earnestly they tried to explain the table, someone might find it; and that Jivoglot called his flock together and re-
their tardiness, he waved them aside, spat will make matters worse .” There was no sumed the musical program .
disdainfully in their direction, and walked time for further thought . He put the news-
(to be continued)
away . Shortly after, when the dance leader paper filled with salad on his chair and sat
introduced himself to Jivoglot and re- down on it .
quested a waltz, Morkovkin appeared at Jivoglot gave each musician half a
the door . He approached his colleagues glass of vodka, and bade them eat . Ku- Visit the I.C.A.
and, without removing his hat or coat, be- rochkin ate ravenously, but he lagged be-
gan his story . Near the Nikoaievsky Sta- hind the others because his right hand was on the world
tion, the horse car had jumped the tracks;
and he, Gdal Morkovkin, had labored for
smeared with the dressing of the stolen
portion, and, in order to conceal it, he had
wide web:
more than half an hour helping to set it to use only his left hand . “Have you sud-
back . Jivoglot could no longer control him-
self . He raised his drumstick; and, drawing
denly became left-handed?” demanded
Jivoglot . Kurochkin wiped his hand on
www.
himself up to his full height, he shouted,
“Undress, you swine, and get to work!”
his trousers under the table, and explained
that his right hand was tired from carrying
clarinet.org
Morkovkin had not expected this; but, the bass viol all the way from Sokolniki .
when he saw Jivoglot’s fury, he took off his In the meantime, the mayonnaise on
overcoat without a word . He threw it over which he was sitting, began to assert itself .
the back of a chair, took his flute out of its
case, and the music and dancing started .
His trousers became soggy, the chair grew
slippery, and he kept his seat with diffi-
Woodwindiana
At about 10 o’clock Jivoglot ap- culty . His dream of eating the extra sup- A resource for great
proached the host and requested food and ply of salad gave way to the problem of clarinet music and CDs
drink for the musicians . The host sent him disposing of it without discovery . Another
to the cook . From the kitchen, Jivoglot re- inspiration came to him . He left the table Home of The Clarinet Doctor
turned with a large platter piled with vin- and shuffled backwards towards the door book and a place to purchase
aigrette, a salad of meats, vegetables and with his left hand gripping the newspaper unique clarinet duets, trios &
mayonnaise . The sight of it made Kuroch- stuck to his trousers . quartets from around the world.
kin’s eyes pop with joy . With the enthusi- He had nearly passed the threshold and
asm of a child, he cleared the table of in- was at the end of his troubles when a terri-
struments and music, and made room for ble thing happened . An enormous dog that
Visit our website for full catalog
the food . Jivoglot set down the dish and was dozing on the other side of the door and ordering information:
warned his men to wait until he returned caught a whiff of the food and jumped to www.woodwindiana.com
with knives, forks and vodka . its feet . When Kurochkin turned around
The musicians took advantage of the and saw the massive beast, he waved For interesting and informative
intermission to go into the garden for a his hands wildly to ward it off . The dog articles on a variety of
breath of fresh air, but Kurochkin stayed snarled, leaped at him and barked so sav- pedagogical topics, visit
at the table and stared gluttonously at the agely that guests, servants and musicians the Forum section at:
plate of food . At the thought of the vodka all rushed to the spot . www.howardklug.com
he was going to drink and the salad that With the dog chasing him around the
would follow it, his mouth watered . He room, Kurochkin had no time to think of
could hardly wait for Jivoglot to return . the salad . The newspaper with the food,
Woodwindiana, Inc.
Suddenly, a great fear struck him: shaken loose from his trousers, fell to the P.O. Box 344
would there be enough food in the dish floor . The dog leaped at the salad, pulled Bloomington, IN 47402-0344
for six people? He decided that his share out the pieces of meat in it, and devoured (812) 824-6161
would be too small to appease his hunger . them .
September 2011 81
The 2011 I.C.A. Composition Competition
by Eric P. Mandat with Michael Norsworthy and Gregory Oakes
T Mechanisms,
his year’s I.C.A. Composition ing a similar expressive line, the second
Competition for clarinet duet at- clarinetist continues playing a counter-
tracted 18 entrants from five dif- melody. Motivically the music is closely
Jaren Hinckley
ferent countries. This article will profile related to the declamatory segments in the clarinet@byu.edu
the winning composition, Time Portraits second section of the piece. The first clari- Jaren Hinckley’s Mechanisms is another
II: Double-Talk No. 37 for two clarinets netist finishes this two-minute long sec- three-movement piece, with each move-
in B-flat by Satoshi Ohmae from Japan. In tion with an unaccompanied solo. ment representing a different piece of
addition, we’ll give you a “teaser” of sev- The central section of the work follows, heavy machinery. The repetitive nature
eral other works that the members of the and is marked “ritmato e leggiero.” In con- of these machines (Sheet-Fed Offset
committee (Michael Norsworthy, Gregory trast to the wide variety of rhythmic values Printing Press, Automatic-Feed Collat-
Oakes and I) found particularly notewor- and juxtaposition of fast and slow gestures ing Machine, and Rube Goldberg Con-
thy. We have included contact information of the previous sections, this section is a traption) lends itself to a minimalist ap-
for the composers of these works with the strict succession of staccato 16th notes in proach, which Hinckley employs expertly
hope that many of you will be interested each part, broken up by occasional short throughout the piece.
The three-note motive for Sheet-Fed
in these composers and their works and rests. The irregularity of the note-rest pat-
Offset Printing Press keeps the pulse
in further disseminating this high quality terns creates a hocket-like effect in many
lively and active as melodic lines pass
new clarinet music. places, building in intensity, and then dy-
between the two B-flat clarinet parts. Key
All of the works submitted are now at ing away. A short declamatory interlude
clicks in increasing note lengths create a
the I.C.A. Research Library. leads directly to a shorter and dynamically
feeling of the machine slowing to a stop,
more subdued version of the staccato sec- only to start back up again.
Time Portraits II: tion. This entire center section closes af- In Automatic-Feed Collating Machine,
Double-Talk No. 37, ter about two minutes with another short the initial six-note repeating motive grad-
declamatory gesture, which again leads
Satoshi Ohmae ually evolves into ever-shorter motives,
directly into a revisiting of the solo ges- which also makes the sense of pulse in-
s-ohmae@ba.wakwak.com
tures from the third section. Finally, after a crease until a two-note alternation slows
Japanese composer Satoshi Ohmae is pro- very short restatement of the staccato ges- to a stop. After a loud foot stomp, the six-
fessor of composition at Soai University tures, a short coda drawing material from note motive returns in a descending direc-
in Osaka and has composed many works the fleeting gesture/expressively dynamic tion, and the motives reduce once again,
in all genres during his long career. His section closes this arch-form work. leading to an exciting crescendo that takes
Time Portraits II is one of many “Double- The harmonic language of this piece the two clarinets to opposite ends of the
Talk” duets he has composed for different is not traditionally tonal; indeed the work range of the instrument.
combinations of instruments, including is more about counterpoint and the inter- The Rube Goldberg Contraption fea-
several which include clarinet. weaving of the two lines and juxtaposing tures a motive that moves through con-
Time Portraits II is written in one con- different types of gestures than it is about tinually changing harmonies and switches
tinuous movement with several contrast- portraying harmonic progressions. The between triple and duple subdivisions. The
ing sections. The work begins with a very balance, dramatic expressiveness, and the result is a machine in constant flux with
slow and free introduction. Several half- rhythmic freedom given to the performers familiar elements returning amidst new de-
step portamenti give the music an even by Professor Ohmae make this a wonder- velopments to create a feeling of familiarity
more flexible feel. A couple of quickly ris- ful work to explore, as deeper study un- along with forward motion. Slow micro-
ing gestures at the end of the minute-long veils more layers of possibilities for the tonal alternations add an extra dimension to
introduction prepare the ear for the next the sense of development, but the familiar
performers to shape the various sections
beginning returns to finish off the work.
section, which features fleeting upward or in unique ways.
downward gestures alternating with more The premiere performance of this work
expressively dynamic declamatory ges- was given by Robert Spring and Jana
Van Gogh Vignettes,
tures. Near the end of this section, approx- Starling of Arizona State University at the Greg Steinke
imately a minute and a half in length, sev- ClarinetFest® in Los Angeles. Together gsteinke9@gmail.com
eral hocket-like gestures are introduced, Bob and Jana have presented many new Greg Steinke’s Van Gogh Vignettes is a
which become an important rhythmic mo- works for clarinet duo, and their outgoing four-movement, programmatic piece de-
tive later in the work. adventurous playing styles always make a signed to be a “hearing” of four paintings
The third section features expressive premiere performance a special event. by the painter Vincent Van Gogh. Written
rubato solos by each of the clarinetists. Below, in alphabetical order by the com- for two B-flat clarinets, the first player
Initially the second clarinetist plays alone, poser’s last name, are several other pieces doubles E-flat clarinet and the second
but when the first clarinetist enters, play- which we found particularly enjoyable. doubles bass clarinet. The duration of the
82 The Clarinet
piece is approximately 10 minutes, though Vittor Pisani under the snow”), is a very ageable minimum in each in order to best
some variation in length will occur from slow and quiet unfolding of small-inter- delve into their possibilities.
performance to performance due to the val gestures, chromatic grace notes, short The first movement begins with an al-
amount of guided improvisatory material. portamenti, trills or slower moving semi- ternation between the two B-flat clarinet
Written with advanced players in mind, tonal undulations. Gradually some wider- parts. The subdivisions are all quintuplets,
some substantial rehearsal will be neces- interval gestures emerge and contribute and the rhythmic spacing of the alternation
sary to coordinate these improvised sec- to the texture, but the trills, and sustained is constantly changing. Combined with
tions and to invent the various scenarios sounds predominate. The second move- the small range of pitches, the effect is a
suggested by the composer. The tempi of ment, “Clouds,” is a study in undulations. murmuring chatter that establishes a base
the movements is slow, fast, slow, fast. The The two instruments play measured tremo- from which the sudden intrusions of held
written ranges for each player is standard los, sometimes together, sometimes alone, dyads contrast distinctly. The wide interval
and does not exceed an altissimo written with dovetailed entrances and exits. De- of these dyads further distinguishes them
G. Some extended techniques are used to spite the actively moving notes throughout from the overlapping pitches of the base
produce effects such as “jet like sounds” this movement, the mood is calm and float- material. These elements commingle and
but these are not prohibitive and should be ing, so the “tranquillo” section near the create an exciting push to a dynamic peak.
easily tackled by most players. This would end, with its very long-note dovetailing, The gradual energetic decline rounds out
be a terrific piece for any college-level re- does not sound significantly different than the form in a pleasing way.
cital and would be an interesting way to the previous tremolos. This is an effective Movement two begins with pentatonic
promote collaboration amongst players in mood piece for college-level clarinetists. musings in the first clarinet underscored
a studio. Highly recommended! by a persistent second clarinet drone. The
Nori for two B-flat clarinets, two parts join together to outline a lyrical
D’Inverno Sung Hyun Yun melody together, and the movement ends
(In the Wintertime), sunghyun@yonsei.ac.kr
with the melody that began.
Federico Zattera A medium-fast 16th-note drive pushes
Sung Hyun Yun’s three-movement work through much of the third movement, with
fedezat@inwind.it is exciting, in that each movement pro- punchy, accented exclamations punctuat-
Italian composer Federico Zattera’s vides noticeably new material and fertile ing the regularly moving texture. Some
D’Inverno, for clarinet and bass clarinet, ground for exploration. The movements playful glissandi lighten the character, and
is organized in two movements. The first, are relatively short, and Sung Hyun has the piece ends with a gradual diminuendo
“Via Vittor Pisani sotto la neve” (“Via kept the compositional forces to a man- down to a demure pp.
September 2011 83
CompetItIons
The Seventh breno
International Clarinet
Competition “G. mensi”
T
he seventh edition of the Breno
International Clarinet Competition
“G . Mensi” took place on May 12-
14, 2011 . Breno is a little town in north-
ern Italy where Giacomo Mensi was born .
He was a talented clarinetist who studied
at the local conservatory in Darfo Boario
Terme, and then earned a diploma at the
Hochschule of Freiburg (Germany) study-
ing with the well-known player Dieter
Klöcker . Soon after his graduation he died
in a tragic car accident, and this competi-
tion has been organized in order to keep
alive the memory of this young player .
In the competition the clarinetists
could compete in three different catego-
ries: Young Promises A (maximum age
13), Young Promises B (ages 14-17) and
the third category, Excellence, included (l–r): Luigi Magistrelli, Fabio Maini (second prize), Lorenzo Laurino (honorable mention),
participants with no age limit . Gianluigi Caldirola (second prize), Wenzel Fuchs, Nicola Miorada, Primo Borali, Ivov Ler-
The president of the jury was Wenzel vent (first prize) and Silvio Maggioni
Fuchs . The other members of the jury were
Luigi Magistrelli, Nicola Miorada, Primo tous Kopacek, Czech Republic, 100 For complete competition information,
Borali and Silvio Maggioni, who was also Euros consult the following website:
the organizer and Artistic Director of the Honorable mention: Greta Petenz, Italy; www .music-competition .co .rs/
competition . A large number of partici- Vittore Branca, Italy; Carolina Kos, 2012/index .html
pants arrived from Italy and other Euro- Croatia
Young Promises B: 1 . Anna Paulova, All required documents should be sent
pean countries: Austria, Croatia, Slovenia,
Czech Republic, 300 Euros; 2 . Libor by December 31, 2011 to the following
Czech Republic and Switzerland . In the
Suchy, Czech Republic, 200 Euros; 3 . address:
principal category the participants had to
play for the first round the Ernesto Caval- Stefano Borghi and Aldo Botta, ex ae- International Jeunesses
lini Concerto No. 2 (recently published by quo, Italy, 75 Euros each Musicales Competition
Eufonia) and the Stravinsky Three Pieces . Excellence: 1 . Ivov Lervent, Austria, 2,000 11000 Belgrade
In the second round the compulsory pieces Euros; 2 . Fabio Maini, Italy, 700 Euros; Terazije 26
were the Mozart Clarinet Concerto (1st 3 . Gianluigi Caldirola, Italy, 400 Euros Serbia
movement) and Rossini’s Variations in C Honorable mention: Lorenzo Laurino, Italy
The Clarinet
Major . In the third round they had to re-
peat the Cavallini Concerto No. 2. The The 2012 International
winner, Ivav Lervent, performed this Con- Clarinet Competition
certo (the premiere performance in modern Jeunesses Musicales Publication Schedule
times) with the Valle Camonica Orchestra, belgrade The magazine is usually mailed
T
conducted by Silvio Maggioni, on May 15 . during the last week of February,
he 2012 International Clarinet
The winners: May, August and November. De-
Competition Jeunesses Musicales
livery time within North America
Young Promises A: 1 . Niccolò Dainelli, Belgrade will be held March 22–
is normally 10–14 days, while
Italy, 200 Euros; 2 . Mateo Paskavan, April 1, 2012 in Belgrade, Serbia . It is
airmail delivery time outside of
Czech Republic, and Alberto Culmone, open to all clarinetists of any nationality
under the age of 30 as of March 20, 2012 .
North America is 7–10 days.
Italy, ex aequo, 75 Euros each; 3 . Ma-
84 The Clarinet
INTERNATIONAL CLARINET ASSOCIATION
2012 YOUNG ARTIST COMPETITION
Eligibility: The competition is open to all clarinetists who shall not have reached the age of 27 by January 1, 2013 (i.e., born on
or after January 1, 1986) and are not currently under major artist management.
Application: Please submit the online competition application form on www.clarinet.org and mail a printout of the confirmation
page along with your other application materials. Send materials postmarked no later than Friday, April 6, 2012 to:
John Cipolla, I.C.A. President-Elect
Department of Music, Western Kentucky University
Ivan Wilson Fine Arts Center #351
1906 College Heights Blvd. #41029; Bowling Green, KY 42101-1029
E-mail: john.cipollaica@gmail.com • phone: 270-745-7093
Contest Rules
I. Application fee: $50 US. All applicants must be members of the I.C.A. and submit the online competition applica-
tion form on www.clarinet.org. Please mail the print-out of the confirmation page as this will serve as proof of I.C.A.
membership and payment of application fee. Non-members wishing to apply may join the I.C.A. by including the
appropriate membership fee with their contest application fee. If you choose the option to pay by check or money
order in the online application process, please be sure to include appropriate payment with your application materials. The
application fee is non-refundable.
II. Recording Instructions: Please provide a high quality recording on compact disk (CD-R) containing the following repertoire
in the exact order listed. Repertoire must be recorded with accompaniment when appropriate. Any published edition is ac-
ceptable. Each selection/movement should be ID coded as tracks. Audiocassettes will not be accepted. Please be aware that
the quality of the recording will influence the judges. Recordings should not be edited and only continuous performances
of entire works or movements are allowed.
1. Leslie Bassett, Soliloquies for Solo B-flat Clarinet
2. Louis Spohr, Concerto No. 1, Opus 26, mvt. I
3. Sir Arnold Bax, Sonata for Clarinet and Piano in D major, mvt. I
III. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age.
IV. Both the private teacher, if any, and the contestant attest in a separate written and signed statement that the recording is
the playing of the contestant and has not been edited.
V. A summer mailing address, telephone number and e-mail address should be provided. E-mail is the preferred means
of communication. Please check your e-mail regularly as this is how you will be contacted.
Judging
Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R
or box. There should be no speaking on the recording such as announcing of compositions.
Preliminary judging will be by recorded audition. Semi-finalists will be chosen by committee. Notification will be sent by
Monday, May 7, 2012. Semi-final and final rounds will be held at the ClarinetFest® 2012, to be held in Lincoln, Nebraska
USA, August 1–5, 2012. Semi-finalists will receive a waiver of registration fees for ClarinetFest® 2012. Travel and other expenses
will be the responsibility of the contestant. Visa and travel arrangements are solely the responsibility of the contestant.
Repertoire for the semi-final and final rounds of competition will consist of selections from the works listed above. A pianist
will be provided for competitors in the semi-final and final rounds. Memorization is not required. All contestants will accept the
decision of the judges as final. Past first-prize winners are not eligible to compete.
All recordings will become the property of the I.C.A. and will not be returned.
Prize
First prize – $4,000 U.S. and a professional clarinet • Second prize – $2000 U.S. • Third prize – $1,000 U.S.
The Young Artist Competition is generously sponsored in part by Buffet Crampon, Gao’s Royal Musical Collection, Leblanc (Conn-
Selmer), Rico, L. Rossi Clarinets, Henri Selmer Paris, and Yamaha.
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible
for investigating applicable tax laws and reporting prize winnings to requisite government agencies.
September 2011 85
century Brazil . The recording is a result of
News From
his findings about the repertoire that was
played by local and international clarinet
players while living or visiting Rio de Ja-
South
neiro .
The repertoire includes Souvenir de
Linda by Ernesto Cavallini, which was part
of a program played by Antonio Luis de
Moura at the Teatro Lyrico Fluminense, in
America
1859 . Air by Brazilian opera composer An-
tonio Carlos Gomes is considered the first
solo piece for clarinet by a Brazilian com-
poser, written in 1859 and premiered by
French clarinetist Luis Henrique Levy in
Campinas, São Paulo . José Lino Fleming,
a composer from the state of Minas Gerais,
by Ricardo Dourado Freire was well regarded by the Brazilian Em-
peror, and received a scholarship to study
composition in Italy where he composed
T
he cultural scene in Latin America González . Just south of Buenos Aires, in and published Noturno para clarineta e
has changed a lot in the past years, Bahia Blanca, there was the II Encontro piano, a Lied for clarinet and piano . Vien-
and clarinet players have been or- de Clarinetes, from May 26 to June 5 . nese composer Sigismund Neukomm, who
ganizing events that would promote the Clinicians and guests were Nestor Tomas- was a student of Haydn and lived in Rio de
clarinet in Latin America . During this sini, Diego Casoni, Osvaldo Lichtenzveig Janeiro between 1816 and 1821, composed
first semester of 2011, there were clarinet and Gustavo Kamerbeek from Argentina, Fantasie para clarineta e piano in 1813,
meetings in Argentina, Bolivia, Colombia Gervasio Tarragona, from Uruguay, and and brought it with him to Brazil . Pompeo
and Costa Rica . In September there will Marco Antonio Mazzini from Peru . Cavallini visited Rio de Janeiro and played
be the First Latin American Clarinet Con- Santa Cruz de la Sierra, Bolivia, or- at the Teatro Ginásio Dramático in July of
gress in Peru . Research about the clarinet ganized the III Encuentro Internacional 1859, and his Divertimento for clarinet and
is also a strong subject now, and Fernando de Saxofonistas y Clarinetistas, on June piano is his only piece, and probably was
Silveira just released a CD with premieres 28–July 2. At the time there were many part of his repertoire . The last piece on the
of clarinet music played in Brazil during clarinet and saxophone recitals and master CD is Introduction and Variations by the
the 19th century . This column also includes classes and a contest for composers . The Czech composer Johann Wenzeslaus Kalli-
a tribute to the memory of Paulo Moura, a main guests were Jean-Francois Bescond, woda, and it was part of a written program
landmark in Brazilian popular music, who from France; Amalia del Giudice, from performed at “Clube Mozart” in 1879 .
died in 2010 . Argentina and Ensamble de Clarinetes This recording provides a view of clari-
The First Latin American Clarinet Con- “La Paz,” from Bolivia . net music that was composed and played
gress will be held in Lima, Peru, organized Fernando Silveira received first prize at the musical events in the capital of Bra-
by Clariperu under the leadership of Marco at the ClarinetFest® 2009 I .C .A . Research zil during the second part of the 19th cen-
Antonio Mazzini and take place on Sep- Competition in Porto, Portugal . His work tury . Most performances occurred during
tember 12–16, 2011 . The event aims to about the presence of Ernesto and Pom- opera intermissions or at chamber music
unite clarinet players from all over Latin peu Cavallini in Brazil was published in societies . The compositions were strongly
America with guests from Argentina, Co- the March 2010 edition of The Clarinet . influenced by the bel canto style and re-
lombia, Guatemala, Mexico, Portugal, In March 2011, Silveira and pianist Lucia quired clarinet players to think like opera
Spain and the U .S .A . During the same pe- Barranechea released the CD Fantasia de singers to perform this repertoire . More
riod will also be the Concurso Latinoamer- Concerto with music for clarinet in 19th- information about this recording can be
icano para Clarinetistas, a clarinet com- accessed at www .fernandosilveira .com .br .
petition for clarinetists under 27 years old . Paulo Moura was a force in Brazilian
The Congress will be held at the Centro music and died on July 12 in Rio de Ja-
Cultural Peruano Japonés and can be vis- neiro at the age of 77 . I mentioned briefly
ited at www .wix .com/clariper2/congreso#! his loss in the first issue of this column,
The next “News from South America” will but the clarinet community should know
include a full report from the congress . more about this player who was a refer-
Argentina held two clarinet conferences ence for Brazilian music . He was a master
during April and May . In the northwest of both the clarinet and the saxophone,
part of the country, province of Tucumán, and a composer, arranger and orchestrator
there was the 1o Encuentro de Clarinetes who defined the presence of the clarinet in
de Tucumán, on April 21–24 . organized Brazilian popular music .
by Juan Pablo Vazquez and with the pres- His first commercial recording was
ence of Amalia del Giudice and Marcelo released in 1956, a Columbia single with
86 The Clarinet
Photo: 2007 © Alex Almeida
Paulo Moura
Moto Perpetuo by Paganini and Rimsky- personal player who was in search of a
Korsakov´s Flight of the Bumble Bee . unique musical voice .
In order to make the recording, Moura I once did an interview with him, and
learned by himself how to do circular he told me that he wanted to improve his
breathing in a few weeks . And this was performance on samba . Then, he bought
just the beginning . a house in front of a traditional samba
Moura was one of 10 siblings born in school named Imperatriz Leopoldinense .
1933 in São José do Rio Preto – São Paulo He lived there for 15 years in order to lis-
State . His father, Pedro Moura, was a band ten every week to old samba singers and
conductor who taught all his sons to play get the right groove for his playing .
wind instruments, and Paulo followed his Choro music was considered old fash-
father’s instruments, the clarinet and saxo- ioned in the early ’80s, but then Paulo
phone . He moved to Rio de Janeiro, as a Moura released two recordings that would
teenager to enroll in the National School fire up a new way to play Choro: mistura
of Music to study clarinet with Jayoleno e manda (1984) and Gafieira etc. e Tal
Santos . In 1958, Moura was the first black (1986) . He combined improvisation, vir-
to be selected to be principal player at the tuosity, and expression to bring back the
gafieira style, which renewed the interest
Orquestra Sinfonica do Teatro Municipal
about Choro that started to increase again
do Rio de Janeiro . He joined the orchestra
in Brazil .
and played at the opera house until 1977 .
The site paulomoura .com offers full
During the late 1950s, Rio had a very
access to videos, interviews and to all
exciting musical scene and bossa nova
his 41 recordings that can be listened to
was just being born in the streets of Copa-
online . There are many excellent per-
cabana and Ipanema . Paulo Moura lived formances and it is not possible to miss:
away in Tijuca, but managed to be part of moto perpetuo (Columbia, 1956), mis-
the elite group and regarded as a great im- tura e manda. (Kuarup, 1984), Dois Ir-
proviser in the new jazz-samba style . He mãos: paulo moura e Raphael Rabello
appeared at Bossa Nova night at Carnegie (Milestone Records, 1992), paulo moura
Hall in 1962 with Sérgio Mendes . After e Os batutas (Rob Digital, 1997), winner
his debut in the U .S ., he was invited to of the 2000 Latin Grammy, K-Ximblues
take part on Cannonball Adderley’s 1962 (Rob Digital, 2002), Estação Leopoldina
album, Cannonball’s bossa Nova. (MecBR, 2003) and El Negro del blanco
Popular music and classical music (Biscoito Fino, 2004) .
were two sides of the same coin for him . Paulo Moura contributed a major role
Paulo Moura would rehearse by day at the to the clarinet in Brazilian music . He also
Municipal Theater and play live at night played the saxophone, but when he was in
on TV, radio or dance clubs . He could re- the hospital and some friends arrived to
cord Paganini or Gershwin, Villa-Lobos play with him, he picked up the clarinet
or Pixinguinha, and during his life he to make his last recording before leaving
would contribute to both styles as a very this world .
September 2011 87
2012 Centennial of
News
Jean Françaix
If you plan to program pieces by Françaix,
you can send an e-mail to: contact@jean-
francaix-centenaire2012.org. They plan to
make a list of 2012 concerts.
France
International Competition
for Wind Quintets,
February 20–25, 2011 –
Marseille
1st Prize: Canorus Quintett (Germany,
by Jean-Marie Paul Christoph Schneider, clarinet) www.
canorusquintett.de
2nd Prize: Quintette Artecombo (France,
Annelise Clément, clarinet) www.
National Conservatories Martinez in Paris and J.N. Crocq, bass artecombo.com
clarinet in Paris CNSM) 3rd Prize: Belfiato Quintet (Czech Re-
Lyon CNSM, May 23: Master’s degree, public, Jiri Javurek, clarinet) www.
Bruno Bonansea, mention “Very Good” Lilian Harismendy presently in his
belfiato.com
(the equivalent of the former 1st Prize); second year at the Lyon Conservatory.
Former student of Richard Rimbert in Bor-
unanimous decision of the jury; Laurence Jacques Lancelot
Boureau and Seong-Yun Jung, mention deaux, Olivier Derbesse in Paris. Meilleur
Soliste Aquitain 2009 (Best SouthWest
International Competition,
“Good;” “Licence” degree (under Mas-
ter’s): Maxime Jaouen, François Tissot Clarinet Player 2009)
March 3–10, 2012, Rouen
and Hugo Clédat. All of them received a Registration deadline: September 20,
16 on 20 notation. Meilleur Espoir 2011; www.concours-jacques-lancelot.
Paris CNSM, May 25: “Licence” de- org; E-mail: contact@concours-jacques-
Aquitain 2011 lancelot.org
gree: mention “Very Good” and Raphael
(Best SouthWest Clarinet Player, Febru-
Severe: mention “Very Good” with a
unanimous decision of the jury. ary 12, 2011): Théo Montagut unani- Premieres
mous choice of the jury. March 31, Montigny les Metz (57); Dan-
Musique de l’Air iel Hue, three sopranos, baritone and
(Air Force Band) Benjamin Christ – clarinet choir: http://souffle.ebene.free.fr
(They made a tour in Quebec in July.)
March 28, two chairs were awarded to: European Youth Orchestra April 1, La Rochelle, Philippe de
Coralie Ordulu (a teacher at the
(www.euyo.org.uk) Deyne, clarinet; Beatrice Reuther, gui-
Conservatoire of the 12th arrondisse- N.B. The clarinet section is also composed tar. Three premieres: a duet by Michel
ment, Paris; former student of Christian of: Vladimir Brablec (Czech Republic), Bosc and two pieces for clarinet alone by
Peignier in Besançon, J. Di Donato and Vytautas Giedraitis (Lithuania) and Jessie Juan Pablo Carreno (Columbian com-
poser in La Rochelle).
N. Baldeyrou at the Lyon CNSM, Bruno Grimes (Ireland).
April 8, Auxerre. With the clarinet
classes of Dijon (Eric Porche, professor)
and Auxerre (Laurence Conversatory,
professor), Vincent Carinola: three ver-
sions of “Neumes” (Ave Maris Stella , Ut
queant laxis, Salve Regina) for clarinets
and Gregorian Choir, commissioned by
the Dijon Conservatory.
April 18, Ensemble Claude Georgel
(Yannick Herpin, clarinet). Olivier Dart-
evelle: Imaginaires for saxophone, clari-
net, cello and piano. O. Dartevelle is solo
clarinet of the Luxembourg Philharmonia
Orchestra.
April 24, Ivry-sur-Seine (near Paris),
Le Concert impromptu ensemble (Jean
88 The Clarinet
Christophe Murer, clarinet) Thierry
Blondeau: Volée for wind quintet
April 24, Tigny Noyelle, Pas de Cal-
ais (North of France). Thierry Escaich:
Clarinet Quartet. Quatuor Vendome (F.
Amet, N. Baldeyrou, A. and J. Chabod)
www.quatuorvendome.com
May 3, Arras (Pas de Calais), Pat-
rick Dorobisz: Piece for E-flat clarinet
and computer. The live clarinet moves
with the virtual recorded clarinet. Jacques
Merrer, E-flat clarinet (J. Merrer is E-flat
clarinet in the Lilles Orchestra)
May 22, Avion, Pas-de-Calais. Mi-
chel Nowak: Scherzo printanier for E-
flat clarinet and Reed Orchestra (clarinet
and saxophone ensemble). Jacques Mer-
rer, E-flat clarinet
June 17, Grenoble. Benoît Dantin
Rapa Nui, Concerto Ligérien n° 1 for
Woodwind
clarinet and orchestra
B. Dantin is himself a clarinetist; his fa-
photo: chiaNaN YeN
Studies
Philharmonie, conducted by the clarinetist
Bruno Delaigue; Pierre Dubier, guest solo
clarinet (professor, Grenoble Conserva-
tory) (www.lapetitephilharmonie.fr)
June 21, Paris. Premiere of the reduc-
tion for E-flat clarinet and piano of Cer- music and performing arts professions
cles dans le Ciel by Anthony Girard for Esther Lamneck, Director of Woodwind Studies
E-flat clarinet and orchestra. The version
for orchestra was premiered on August 6
at the ClarinetFest® in Los Angeles.
Instrumental Performance | B.m., m.m., ph.D.
Maurice Faillenot
(1920–2010), study with acclaimed artists in the performing arts capital of
clarinetist and composer the world—New York city.
I heard recently of Maurice Faillenot’s
death on July 23, 2010. He was a student Selected Woodwind Faculty
of Eugene Gay in Lyon, the professor of
clarinet chris Bush, stanley Drucker, pascual martinez fortezza,
clarinet in Troyes and assistant director of
the Conservatory. He composed more than larry Guy, David krakauer, esther lamneck
100 works, mainly pedagogical. I have bass clarinet Dennis smylie
listed on www.partitionsvandoren.fr his woodwind ensembles in residence
published works with clarinet. New hudson saxophone quartet, quintet of the americas
September 2011 89
Job: 0910_A606
Publication: The Clarinet
Size: 5 X 10
a space in French notation. The aspiring
Music Reviews bass clarinetist will now be ready to tackle
by Gregory Barrett the fourth and fifth octaves of so much
bass clarinet music of the past 40 years.
Luigi Bassi. La Sonnambula, Grand duo Highly recommended.
concertant pour clarinette piccolo en
mib et clarinette sib with piano ac- Emil Kroitor. 15 Klezmer Solos, Duos
companiment, 2010. International Mu- and Trios for three clarinets, or clari-
sic Diffusion IMD 468. Paris. www. net, soprano sax and trumpet, Israel
arpeges.com Brass Woodwind Publications, OR-
TAV, 2009. $17.95 www.ortav.com
Luigi Bassi (1833–1871) followed
Ernesto Cavallini as clarinetist at the OR-TAV Music Publications has a
Théâtre de la Scala and like Cavallini he growing catalog of klezmer and Israeli
has enriched our repertoire based upon his folk music for the clarinet. This volume by
and president of the Spanish Bass Clari-
performing experience. His arrangement Moldavian-born composer and accordion-
net Association, is a familiar performer to
of several themes from La Sonnambula, ist Emil Kroiter reflects his original milieu
ClarinetFest® attendees. Rubio’s introduc- blending Jewish, Gypsy, Romanian, Turk-
by Vincenzo Bellini (1801–1835), the tion to the volume is given in Spanish and
composer-aristocrat of the era, for pic- ish and Ukrainian styles. It is a delight to
English and describes his rationale for the use in several ways. A single clarinetist can
colo E-flat clarinet, B-flat clarinet and 83-page book, its structure, and features.
piano showcases the lyric refinement for perform any of the pieces with the accom-
The etudes were selected from works for paniment of her choice thanks to the chord
which Bellini was known. Bellini’s plot, instruments of the same character as the
centered on the sleepwalking Amina, was symbols printed (in C) in the first clarinet
bass clarinet, such as bassoon and cello, part. Noteworthy is the inclusion of a sec-
also part of the advancement of opera by well-known composers such as Julius
from ancient classical sources to opera ond solo part (B-flat instrument) for nine
Weissenborn, David Popper and Jean- of the tunes. Three of the pieces include a
semiseria with Romantic scenery and sen- Pierre Duport. You may also recognize the third B-flat part resulting in a richness of
timent. What clarinetists have as a result names Compta, Dotzauer, Eslava, Milde, timbre. Any of the parts could be played
is a wildly fun-to-play showcase for E-flat Ozi, Romero and Salviani among others. by clarinet and the lowest voice would be
and B-flat clarinet. Cascading arpeggios The first etude is printed in three ver- also suitable for trumpet. Soprano saxo-
and rapid embellishments encircle Belli- sions, in adjoining staffs: French (treble phone is suggested for the second voice.
ni’s melodies to dizzying effect. Kept in
clef), German (bass and treble with treble The familiar sound of augmented 2nds
simple key signatures and with relatively
read one octave higher) and Stravinsky’s and melodies with repeated notes in sca-
conservative range, this extremely play-
hybrid system. The second through 10th lar passages will make klezmorim feel at
able arrangement is made all the more
studies are printed first in the French style home. A few trills are suggested and the
useful by International Music Diffusion’s
and then on the following pages in Ger- repeats invite performers to experiment
thoughtful production. Type is extremely with further embellishment. The pieces
man notation. For bass clarinetists with-
clear, full piano score, individual clarinet provide a variety of tempos. Rhythmi-
out a range to low C, ossia measures in
parts as well as a third part with both clari- cally, one is progressive with its 7/16 me-
slightly smaller point size are printed di-
net parts are provided. International Mu- ter. All of the music is straightforward and
rectly above those measures that would
sic Diffusion’s clarinet catalog is to a large at an intermediate level. One unintended
be unplayable. The etudes in this section
part organized in collections by renowned outcome of the collection is due to the
progress from quarter, half, and whole
performer-pedagogues. The E-flat clarinet wonderful play-along CD included. Ac-
notes to the inclusion of trills and 16th
repertoire is under the direction of Jacques cordionist Kroiter and his expert ensemble
notes. Now that a firm foundation has
Merrer, long-serving piccolo clarinetist of in various combinations of violin, clarinet,
been developed the remaining 20 etudes
the National Orchestra of Lille. keyboard, bass guitar, and drums play a
are presented solely in German notation.
Ossias for lack of extended low range very musical accompaniment with which
101 estudios para clarinete bajo (101
continue to be included and as a didactic you can solo and consequently provide
studies for bass clarinet, basset horn
feature easily read fingerings are provided a model for fledgling performers of this
or contrabass clarinet), 30 progressive
next to the increasing number of altissimo style of music. They show you what to do
studies for German Notation System.
notes. Different fingerings are given for rhythmically, melodically, and musically
Musica Didactica S. L., 2005, Madrid, with the forms and chords provided.
Pedro Rubio, editor. musicadidactica@ the same pitch depending on context. The
terra.es etudes continue to progress in difficulty Klezmer Diptych. Mazl Tov Shver un Sh-
and many would make lovely unaccompa- viger and Kolyn arranged by Mike Cur-
This beautifully conceived and ex- nied concert repertoire. By the time one tis for B-flat clarinet and piano, Advance
ecuted book guides the intermediate to has mastered the last etudes he or she is Music, 2010. www.advancemusic.com
advanced clarinetist to fluent use of the ready to take on all the standard orches- U.S. distribution by Kendor Music.
German (bass and treble clef) notation tral literature and has performed in range
system. Editor Pedro Rubio, professor at up to printed A-flat one ledger line above This latest arrangement by Mike Cur-
the Joaquín Turina conservatory in Madrid the treble staff, or four ledger lines and tis takes two well-known klezmer melo-
90 The Clarinet
dies and makes them immediately sound noteworthy exception in terms of range – classical players can play it since impro-
stylistically authentic due to the succinct of which Collès is insistent – of a C-sharp vised parts are optional. However, the
and appropriate ornamentation in the in the upper altissimo near the conclusion. complexity of Latin rhythms certainly
clarinet part. The piano accompaniment Otherwise, the work is within traditional make it more approachable by experienced
is likewise handy with its clear patterns contemporary parameters, avoiding mul- jazz clarinetists and pianists. The com-
and voicing. Even with a clarinet range tiphonics, multiple tonguing or circular poser plans to publish this work through
to altissimo G, these two pieces are be- breathing. Le Bonheur Des Oiseaux is Advance in Germany in the future.
ginner level (though more experienced a faithful homage to Messiaen, casting Jack Cooper is associate professor and
players will enjoy them too) because of much of the fundamental characteristics jazz and Studio Music Area Coordinator
the straightforward rhythms and choices of Abyss in a new light. at The University of Memphis, Tennessee.
of key signatures. Combined into a two- He earned his degrees in composition from
piece suite Mazl Tov Shver un Shviger by Katrina R. Phillips California State University at Los Angeles
(Congratulations to the In-Laws) and Ko- and the University of Texas at Austin. As
lyn (Coal) will bring joy as a recital-closer. Margot Wright. Improvisation for Solo
a saxophone/woodwind performer and
Mike Curtis’s website details his myriad Clarinet. Emerson Edition Ltd., 2005.
staff arranger, Dr. Cooper performed, re-
of woodwind publications in a variety of £4.00.
corded, and toured with the U.S. Army
styles available through three houses.
Margot Wright (1911–2000) was “Jazz Knights” and he also performed
awarded a scholarship to the Royal Acad- with Manhattan Transfer, Smokey Robin-
by Osiris Molina son, Kenny Rogers, the Temptations, and
emy of Music to study piano and composi-
Jean-Bernard Collès. Le Bonheur Des tion in 1928. Most agree she was influenced many others.
Oiseaux, Opus 2, for solo B-flat clari- by the late-romantic composers, though her The sonata’s three movements are: I.
net, 2002. Editions Combre C06320. music also has an essence of her English Latin, II. Slow, à la Satie, III. Presto. The
www.editions-combre.com heritage with its folk songs. She composed first movement, Latin, contains a pleas-
a cello sonata, a piano quintet, a work for ant mix of “serious” composed material
Editions Combre has entrusted Guy viola and piano, as well as a set of songs mixed with Latin rhythms and optional
Deplus to oversee a selection of works by for mezzo-soprano, clarinet obbligato and improvised sections (one for clarinet, and
composers who are professors at French piano. Improvisation for solo clarinet was one for piano near the end of the move-
conservatories. The works are intended to most likely written for her husband, who ment). The work would lose much of its
introduce students to contemporary music was a semi-professional clarinetist. Impro- flair and originality without the impro-
under the guidance of composers experi- visation uses no extended techniques, and vised sections, so I especially recommend
enced in teaching young students. Jean- the range does not exceed an altissimo F. it for jazz connoisseurs. Although techni-
Bernard Collès followed a path not un- Meter and rhythms are simple but move cally quite approachable, the movement is
common to other French composers: He from duple to triple groupings frequently. quite a task to put together rhythmically,
started his career in another discipline be- This 3½ minute solo would be good for and the five-sharp key and added bongo
fore a transformative experience brought a college freshman’s recital as sort of a part add to the challenge.
him to composition. His six-minute unac- “relief” piece between more challenging The second movement, Slow, à la Satie,
companied clarinet work, Le Bonheur Des works. Even with an abundance of dynam- lives up to its title by reminiscing Éric Sa-
Oiseaux (Happiness Bird), is a challeng- ics and tempo rubato indications, the piece tie’s famously simple and wonderful piano
ing contemporary work evoking the spirit could come across as lackluster unless the Gymnopédies. It contains a cadenza that
of Olivier Messiaen, and his magnum player emphasizes recurring motives, fo- can be expanded with improvised material.
opus Quatuor pour la fin du temps. cal points of phrases, and gestures that are The Presto combines a bebop feel with
Le Bonheur is a florid interpretation of transposed or varied in one way or another. legit modern compositional style, and con-
the bird escaping from its restraints and Given some heart, Improvisation by Mar- tains an optional percussion part. Again,
spreading its wings, as it were. In the pref- got Wright could truly blossom.
ace to the score, Collès is adamant about there is an optional improvised section in
allowing full reign for dynamic and rhyth- the middle of the movement. The record-
by Michele Gingras ing I heard cleverly had the percussionist
mic contrast, and to minimize the sense of
persistent pulse. From a technical stand- start playing at the clarinet improvised
Jack Cooper. Sonata for Clarinet and
point, Collès’ piece is solidly bound to part, making the clarinet sonata suddenly
Piano (with bongo in the first move-
Messiaen’s work. The falling C to F-sharp ment and percussion in the third move- turn into a gig-like session. I wonder about
tritone is a core compositional reference, ment). Approximately 16’23”. Avail- the key choice though; five sharps for the
establishing a kinship with the Abyss of able through the composer: jcooper1 piano and five flats for the clarinet.
the Birds movement. Even the final state- @memphis.edu. Excerpts can be The timing of this piece could eas-
ment of the new work incorporates the de- heard at: www.classicalarchives.com/ ily vary between 10 and 16 minutes, de-
scending motive, confirming its roots with work/665826.html. pending on whether or not the performers
those of its predecessor. choose to play the improvised sections.
Le Bonheur Des Oiseaux contains This is a very interesting and unusual Choosing to take out those sections is a
mostly downward slurred runs within the clarinet sonata in that it fuses legit and sure way to eliminate the soul and purpose
standard range of the clarinet. There is one jazz/Latin styles. Both jazz players and of this piece, so I would bypass that option.
September 2011 91
Shmuel Sajevich. Kaleidoscope – Israeli Arthur Benjamin wrote Two Jamaican currently serves as the resident composer
Fusion and Ethnic Tunes for clarinet, Pieces as an orchestral suite in 1938, after for the McKeesport Symphony Orchestra
2010. 23 tunes for clarinet with chords spending some time in the West Indies and (PA) and the Beaver Valley Philharmonic
in B-flat. Israel Brass Woodwind Pub- Latin America. The two pieces are entitled (PA) for which his Concerto for Bass
lications, OR-TAV. $11.95 www.ortav. Jamaican Song and Jamaican Rumba. The Clarinet and Orchestra was premièred in
com Rumba became one of Benjamin’s most 2008. He also serves as resident composer
popular works, and is frequently heard in for the Lincoln Park Performing Arts Cen-
This is a new collection of “Israeli fu- an arrangement by the composer for two ter in Midland, Pennsylvania. Goodman
sion music” by pianist, songwriter and pianos. The wonderful, short, two-minute has written symphonic and operatic works,
accordionist Shmuel (Mula) Sajevich. version for clarinet and piano (edited by and won several awards for his works for
Inspired by the “King of Klezmer” Giora Reginald Kell) was made popular by Emma piccolo as well as for saxophone.
Fiedman during Feidman’s yearly seminar Johnson’s 1992 recording entitled Encore. At first glance, Todd Goodman’s Con-
“Clarinet & Klezmer in the Galilee” in Arthur Benjamin was born in Australia certo for Bass Clarinet seems to promise
Safed, Sajevich spent two years compos- in 1893 and died in England in 1960. He great things with enticing movement titles
ing instrumental tunes reflecting the Is- studied composition with Charles Villiers including I: Promenade Comique (March
rael of the last 40 years, fusing the Jewish Stanford, and harmony and counterpoint – Relaxed and Flowing – March), and II:
music from his homeland Lithuania with with Thomas Dunhill. He had a fruitful A Berceuse et Rêve (Mysterious – Song –
other idioms from the rich multi-cultural career as a composer, pianist, teacher, Samba – Song – Samba).
melting pot of Israeli society. The result and conductor in Australia, England and Unfortunately the overall effect falls
is a kaleidoscope of new tunes presented Canada, and also as a director of the New a bit short, both for performer and audi-
in a sort of “fake book” style for giggers. South Wales State Conservatorium of Mu- ence. There is good musical and compo-
Sajevich is a staff member at the seminar, sic. He taught piano at the Royal College sitional technique throughout, however
where Feidman has performed and re- of Music in London, where one of his stu- each movement seems to flow right into
corded his music. dents was the young Benjamin Britten. He each other with little distinct color change,
Because the book solely contains the spent a year teaching in Portland, Oregon mood, or content. After about 15 minutes
clarinet melody line with chords in B-flat from 1944 to 1945. of music, however, a Samba breaks the
(to facilitate improvisation), it is probably This arrangement for wind quintet and monotony, only to return to its previous
best suited for musicians who already pos- piano is very well done by Irving Tall- calm and stoic flow.
sess a good knowledge of Jewish music madge. The famous main theme is shared A very liquid and smooth approach
performance practices. Indeed, an intro- mostly by the flute and oboe. The clarinet to melody is of note, but as an entity, the
duction at the beginning of the book de- has one crack at it in unison with flute and work seems to lack out-of-the-ordinary
scribes how Sajevich tried out his compo- oboe, but mostly takes on an accompany- musical ideas and clever melodies, which
sitions with a clarinetist colleague before ing role for the rest of the piece. As with could make it slip into oblivion. On the
publication. I can only assume the com- the clarinet and piano version, the piano other hand, it is technically manageable
poser sat at the piano and played all ac- part in this arrangement is prominent and pleasant to listen to, rendering it ac-
curate rhythms, chords, and melodic pas- rhythmically. This arrangement is perfect cessible to more performers. Time will tell
sages flawlessly without a score. But what for an encore or to close a program. which path it will take.
if you are a novice at this type of music? Todd Goodman. Concerto for Bass Clar- Arturo Márquez. Zarabandeo for clari-
Added bonuses for Jewish music nov- inet and Orchestra. 20’. Full score, net and piano. 10’. Peermusic Classical,
ices in this book would have been tempo $35.00. Orchestra is scored for 1/1/1/1 250 W. 57th St., Suite 820, New York,
markings, chords in C for the accompany- 1/1/1/1 solo bass cl, timpani, two NY 10107. peerclassical@peermusic.
ing musician(s), accompaniment rhyth- percussion, piano, harp, and strings. com. www.peermusicclassical.com.
mic suggestions that indicate what type Wrong Note Media, Inc. Post Office
of dance beat is best for each song, and Box 122, Midland, PA 15059 Phone: Composed in 1995 and published in
perhaps even a few idiomatic ornaments 412-253-2020 info@WrongNoteMe- 2005, Zarabandeo for clarinet and piano
or clarinet sound effects to help render the dia.com Todd Goodman: ToddGood- was commissioned by the Director of
performance more authentic. man@WrongNoteMedia.com. www. Music of the Universidad Nacional Au-
Sajevich’s compositions are pleasant, wrongnotemedia.com. tonóma de México (UNAM). This very at-
soulful, and fun to play. The necessary tractive work was first performed by clari-
creation of a piano score or instrumental American composer Todd Goodman netist Luis Humberto Ramos and pianist
band parts would help it become a wel- was born in Pennsylvania in 1977 and re- Joseph Olechovsky, to whom the piece is
come addition to this repertoire. ceived his degrees in composition from dedicated. The Zarabanda (Sarabande)
the University of Colorado at Boulder was a popular Spanish dance in the 16th
Arthur Benjamin. Jamaican Rumba, ar- and Duquesne University in Pittsburgh, and 17th centuries.
ranged for wind quintet and piano by Pennsylvania. His principal composition Winner of the 2006 Medalla de Oro de
Irving Tallmadge, 2001. Emerson Edi- teachers include George Tsontakis, David Bellas Artes, Arturo Márquez is consid-
tion 357. www.boosey.com. Score and Stock, Claude Baker, Frank Wiley, Richard ered one of Latin America’s most popu-
parts, $17.93. Difficulty 6 or 7. Toensing and Louis Jorge Gonzalez. He lar composers. He was born in 1950 in
92 The Clarinet
Alamos, Sonora, Mexico. He studied in net Quartets are three outstanding books similar fashion to Introducing Clarinet
México, Paris, and California with such for beginning students that are masterfully Duets. The books each contain 12 trios
composers as Joaquín Gutiérrez Heras, written with solid pedagogy. The books and quartets, with sections of Homo-
Hector Quintanar, Jacques Castérède, are composed with the progressing stu- phonic, Polyphonic, and Concert Pieces;
Morton Subotnick, Mel Powell and James dent in mind. however, the first pieces require the stu-
Newton. He is especially known for his Introducing Clarinet Duets contains 12 dent to be more advanced than the duets.
series of danzóns, which are works based pieces arranged in three sections: Homo- The range of the first trio is chalumeau
on a Cuban dance that migrated to Vera- phonic, Polyphonic and Concert Pieces. register G to throat tone A, and the first
cruz, México. The last four duets categorized as Con- quartet is chalumeau register E to throat
About Zarabandeo, the composer ex- cert Pieces include both compositional tone A. Both contain rhythms of half and
plains that he incorporated a Tangueo elements. This book can be started at an quarter notes. Clever names appropriate to
(Tango) and a Danzoneo (Danzón), two early stage in a student’s study, and is se- the music are also used in the trios: Spin-
of his favorite dances, “because of the quential in development. The first duet ning Jenny has two of the parts trading
relationship between people, music and contains only half notes, and a range of off running eighth notes while the third
dance, and because I hoped to write some- chalumeau register B-flat to open G. By part plays the melody; and in Deep Pan
thing for clarinet and piano that might in- the time the student has reached the Con- Boogie, one part plays a running bass line
flame the passions.” cert Pieces, they have played in different while the other two parts play together in
Zarabandeo’s clarinet part contains meters and musical styles, progressively syncopation. The quartets contain Ring-
eight solid pages of noodling technique harder rhythms, an expanding range, and tones, in which each player enters on a
and definitely keeps the player busy. At more complex dynamics. The duets have different beat of the measure until all are
first, it may seem an easy read from begin- names appropriate to the music: Ancient playing a full chord; and my personal fa-
ning to end, however, some of the Latin Legend is a sustained modal melody; The vorite, Olympic Fanfare, which has all the
rhythms throughout can be challenging to Old Dripping Tap has short staccato notes pomp and circumstance associated with
put together with piano and the notes take in major second harmony; and The Funky the title. Individual parts are printed in a
complex turns melodically, so it can be Frankfurter has a funk rock rhythm. paper booklet on excellent quality paper,
quite demanding, especially for novices There are “Top Tips” at the beginning and easy to read print. James Rae has
of the style. Notwithstanding, Zarabandeo of each duet given in three languages: composed some creative chamber music
seems to have already gained an enviable English, German, and French that assist for beginning clarinet students. This is a
rank on the recital stage, judging from the the student with a crucial aspect of the must have for every teacher.
number of performances posted on You- duet. The instructions contained through-
Tube. My favorite can be found at: www. out the book use British terms for note by Cindy Wolverton
youtube.com/watch?v=i58SGZ61keQ. A values, but that is easily translated, and it Enrique Granados. March for clarinet
chop buster well worth the effort, if one’s may be helpful for a student to learn the quartet, arranged by Russell Denwood.
goal is to wow an audience. terms “crochet” and “minim.” The duets Kendor Music, 2001. $9.00
are housed in a colorful laminated cover.
by Alice Meyer The paper is of excellent quality, and the Granados was a 19th-century Spanish
printing is easy to read. Each duet is one pianist and composer. This short transcrip-
James Rae. Introducing Clarinet Duets:
page long; there are no page turns re- tion (two minutes) would be appropriate
Easy Duets for Beginners. Universal
quired. I have the utmost respect for the for an intermediate clarinet quartet. It is
Edition, 2005. £9.95.
pedagogy of James Rae – he has done an scored for four B-flat clarinets, but the
Introducing Clarinet Trios: Easy Trios for
excellent job with this book! fourth clarinet part could very easily be
Beginners. Universal Edition, 2005.
Introducing Clarinet Trios and Intro- played on bass clarinet. Most of the me-
£12.95.
ducing Clarinet Quartets are arranged in lodic material is given to the first and sec-
Introducing Clarinet Quartets: Easy
Quartets for Beginners. Universal Edi-
tion, 2005. £17.95.
CLARINET FACULTY
Luis Baez
Associate Principal and
E-flat Clarinet San Francisco Symphony
Jeffrey Anderle
Clarinet class
PROGRAMS OF STUDY
FOR CLARINET
Bachelor of Music and Music Diploma
Master of Music
Professional Studies Diploma
in Instrumental Performance
OFFICE OF ADMISSION
800.899.SFCM
admit@sfcm.edu | sfcm.edu
September 2011 99
other restrained but lovely performance . net . The pensive “Adagio” features long
In this setting, the quote from Jobim’s phrases and a climax of dissonant trills .
“Girl From Ipanema” seems appropriate, “Bossa Nova” is a dance of infectious syn-
but somewhat predictable . “Just Friends” copations . “Crescendo” creates virtuosic
opens with a rubato introduction by clari- showers of arpeggios seamlessly passed
net and piano before settling into a nice off between Combs and DeRoche while
groove with a few contemporary touches . “Fantasy” is a movement in free form with
The recording ends with a burning version a slow opening evolving through a faster
of Kenny Barron’s “Voyage,” a tune often section of trills toward a dissonant climax .
associated with the late Stan Getz . Combs offers one of his own composi-
The recording isn’t perfect . Wyrsch tions which demonstrates his considerable
tends to repeat a number of his favorite skill as a composer . In the witty Diversions
ideas a bit too often . He has a tendency to for three clarinets, he intertwines rhap-
overplay, and some of the tunes seem to sodic atonal “Monologue” movements for
go on far too long . It feels as though he is solo clarinet, with cleverly conceived tonal
trying to fit everything he knows into his movements borrowing from both North
nant, are accessible and would appeal to and South American popular genres .
solo . This is especially true on the open- both performers and audiences . The first selection in the latter category
ing original “Cladrum,” a duet for clari- The CD opens with Andrzej Anwei- is the tongue-in-cheek “Pop Song .” The
net and drums . This piece features an ef- ler’s (1947-2009) Diversions performed introduction in the two soprano clarinets
fective extended solo by drummer Lucas on B-flat soprano clarinets by Combs and leads one to think the Carpenters are about
Mantel . The clarinet improvisation is gen- DeRoche . The opening “Allegro” features to burst into “Close to You .” A romanti-
erally free and full of fourth patterns, di- dissonant counterpoint so well written, one cally saccharine melody in the bass clari-
minished licks, and a variety of extended would think there were more than two clari- net is introduced with the soprano clari-
techniques . Unfortunately, at more than nets playing . “Pimp the Cat” follows which nets adding an increasing number of frilly
16 minutes, this performance seems to be includes jazzy swing moments as well as flourishes . The movement is replete with a
overindulgent . I felt this tune would be straight 16th be-bop licks . “Tama-no-ura” witty vocal break and a pop fade out .
better positioned later in the CD . is slower, introspective and includes bent The “Be-bop” movement has an open-
This is a solid debut from a young mu- notes . The “Fughetto” movement is as ex- ing unison before breaking into a tunefully
sician who we will be hearing more about pected, contrapuntal in the opening state- swinging tribute to the 1940s . The trio
in the future . His style is still strongly em- ments, but features a colorful use of trills adroitly captures the style of the genre .
bedded in his influences by greats such as and flutter tonguing later in the movement . “Unisono,” again in a contemporary
Eddie Daniels . I look forward to hearing The second work on the disc is Max vein, has the trio perform this free move-
Simon Wyrsch develop more of his own Rami’s (b . 1956) Challenging Etudes for ment in unison thereby making evident
sound and style as he matures . Brilliant Clarinetists which well lives up the group’s precise ensemble playing with
to its name, as do the evocative titles of in- perfect intonation and blend . The final,
by Scott Locke dividual movements . “Busy, Busy, Busy” charming “Tango,” features virtuosic “fill-
is in perpetual motion for all three perform- ins” in the bass clarinet and perhaps nods
Chicago Clarinet Trio . Larry Combs, Ju- its hat to those of Piazzolla .
lie DeRoche, Wagner Campos, soprano ers, while “Same Tune, Less Busy” weaves
a delicate embroidery around a simple, Perhaps the most intriguing and mercu-
clarinets and bass clarinet; assisted in rial work on the disc is Eddie Mora Ber-
last selection by Rick Ferguson, piano; chant-like melody in the first soprano part .
mudez’s (b . 1965) Retrato VI . The 11-min-
Brad Opland, double bass; Fred Sel- “Mechanism” is a factory of unrelenting
ute, single-movement work features the
vaggio, percussion . Andrzej Anwei- machine-like funk realized by each mem-
trio on soprano and bass clarinets joined
ler: Diversions for two clarinets; Max ber of the trio playing bass clarinet . “Moon
by piano, string bass and multiple percus-
Rami: Challenging Etudes for Brilliant and Stars,” is reflective while “Klezmer
sion . The work fuses together a number of
Clarinetists; John McCabe: Bagatelles Dysfunction” is virtuosic for all parts fea- genres while fully exploiting the unique
for two clarinets; Larry Combs: Diver- turing trills, adventurous altissimo playing colors of this combination of instruments .
sions for three clarinets; Eddie Mora and snippets of harmonic minor scales . The multi-sectional work features spiky,
Bermudez: Retrato VI. ALBANY RE- Another work for two clarinets is John syncopated lines, moments of minimalis-
CORDS TROY1211 . Total time 53:18 . McCabe’s (b . 1939) Bagatelles, again fea- tic harmonic stasis, a bluesy jazz clarinet
www .albanyrecords .com turing Combs and DeRoche . In eight short solo and a pulsating, exciting codetta .
movements, a number of stylistic influ- The composers represented on this re-
Chicago-based Larry Combs, Julie ences are presented . The opening “Con lease import a variety of styles and genres
DeRoche and Wagner Campos are widely- fuoco, ma non troppo allegro” is brief as well as create moments of virtuosity
known players throughout the U .S . and with an intense furioso quality . The “An- and subtle wit . These challenges from
beyond . In their ensemble’s newest offer- dante” features trills and dissonant lyrical such a complex synthesis of elements
ing the Chicago Clarinet Trio presents a phrases with micro-tonal inflections . The are fearlessly embraced and exquisitely
program of wonderful 20th and 21st-cen- “Allegro giocoso” is a gigue in 6/8, while executed by the Chicago Clarinet Trio to
tury works . The compositions are beauti- the “Fugatissimo” introduces a short create a worthy addition to any chamber
fully crafted and although mostly disso- theme quickly answered by the top clari- music library .
100 The Clarinet
Vanderbilt University
announces the appointment of
Bil Jackson
Associate Professor of Clarinet
Former principal clarinet of the
Colorado Symphony Orchestra
Artist faculty at the Aspen Music Festival
blair.vanderbilt.edu
Blair School of Music at
Vanderbilt University
2400 Blakemore Avenue
Nashville, Tennessee 37212
Student… Pierné; Three Preludes, Gershwin; Ele-
gies, Schickele; Scaramouche, Milhaud .
Piano, Clarinet, Violin and Cello, Op . 1,
Rabl; Three Miniatures, Penderecki; Bug,
Adrianna Barron, clarinet, Junior Recital, Jackie Hamberg, clarinet, Junior Re- Mantovani; E-Type Jag, David
Sam Houston State University, April 16, cital, Sam Houston State University, April Gerald Ringe, clarinet, D .M .A . Recital,
2011 . Two Pieces, D’Rivera; La fille aux 26, 2011 . Sonata, Op . 128, Castelnuovo- University of North Texas, April 22, 2011 .
cheveux de lin, Debussy; Concertino, Op . Tedesco; Double Concerto for Clarinet Duo Sonata No. 1 in A Major, Hoffmeis-
26, Weber; Hungarian Dance No. 6 (with and Trumpet, Jacob . ter; Three Songs of Innocence, Cooke;
Jackie Hamberg, clarinet), Brahms/Balogh Rachel Hammon, clarinet, M .M . Re- Sonatina, Sancan; Sonata da Camera,
Réshanda Billy, clarinet, M . M . Recital, cital, University of Nebraska–Lincoln, Harris; Fantaisie in E-flat-Major, Rossini
University of North Texas, April 15, 2011 . February 27, 2011 . Solo de Concours, Yi-Wen Wang, clarinet, D .M .A . Re-
Suite from the Victorian Kitchen Garden, Messager; Hommage a J.S. Bach, Kovács; cital, University of North Texas, April
Reade; Hillandale Waltzes, Babin; Three Concertino, Op . 48, Busoni; Albumleaf, 15, 2011 . Sonatina, Martinů; Fantasie
Miniatures, Penderecki; Trio in E-flat Ma- Reger; Time Pieces, Op . 43, Muczynski Italienne, Op . 110, Delmas; Capriccio
jor, K . 498, Mozart Matthew Kaye, clarinet, Senior Re- for Unaccompanied Clarinet in A, Suter-
Lindsay Braun, clarinet, D .M .A . Re- cital, Sam Houston State University, April meister; Clarinet Trio in A minor, Op . 114,
cital, Fantasia Sobre Goyescas, Guin- 17, 2011 . Sonata in F minor, Op . 120, No . Brahms
ovart; Cinco Bocetos, Sierra; Sonata for 1, Brahms; Capriccio, Sutermeister; Can-
Clarinet and Piano, Op . 23, Casadesus;
Divertimento No. 1 for two clarinets and
tilène, Cahuzac; Trio Minaturen, Op . 18,
No . 3, Juon
Faculty and
piano, Camilleri Sheng-Hsin Lin, clarinet, D .M .A . Re- Professional…
David Cook, clarinet and bass clari- cital, University of North Texas, April David Campbell, clarinet, with The Sol-
net, Senior Recital, Central Michigan 29, 2011 . Sonata for Clarinet and Piano, stice String Quartet, Little Venice Music
University, April 17, 2011 . Concerto Guastavino; In Freundschaft für Klari- Festival, St . Saviour’s Church, Warwick
Lyrique, Gotkovsky; Fantasiestüke, Op . nette, Stockhausen; Sonata de la soledad Ave, London W9, October 14, 2011 .
73, Schumann; Grab It!, Veldhuis; Eter- para Clarinete, Viola y Piano, Aguilar Quintet in B-flat Major, Op . 34, von We-
nal Garden–Four Songs for Clarinet and Joshua Mietz, clarinet, D .M .A . Lec- ber; Quintet in B Minor, Op .115, Brahms
Piano, Maslanka ture Recital, University of Nebraska–Lin- F . Gerard Errante, clarinet, College of
Briana Gomez, clarinet, Junior Recital, coln, April 2, 2011 . Eternal Garden: Four Southern Nevada, May 1, 2011 . Sonatina,
Sam Houston State University, April 16, Songs for Clarinet and Piano, Maslanka Arnold; American and South American
2011 . Fantasy Pieces, Schumann; Ca- James Parkinson, clarinet, D .M .A . Songs I: La rosa y el sauce, Guastavino;
price, Milhaud; The Generation of Hope, Recital, University of North Texas, April i carry your heart, Duke; El Sampedrino,
Wasserman-Margolis; Pocket-Size Sonata 16, 2011 . Concerto for Clarinet, Tomasi; Milonga de dos hermanos, Guastavino;
No. 2, Templeton Sonata for Clarinet and Piano, Alwyn; American and South American Songs II:
Justin Grunes, clarinet, B .M . Recital, Bapu for Flute, Clarinet and Electronics, Sure on this Shining Night, Barber; The
University of Delaware, April 17, 2011 . Srinivasan Apple Orchard, Laitman; Triste, Ginas-
Solo de concours, Messager; Sonata in Christopher Raddatz, clarinet, D .M .A . tera; Send in the Clowns, Sondheim; La
D Major, Bax; “Ein Traum” from Six Recital, University of North Texas, April ultima noche en la casa del Flamenco,
Songs, Op . 48, Grieg; Canzonetta, Op . 19, 27, 2011 . Quartet in E-flat Major for Bunch
*****
Programs intended for publication in
To buy a new instrument or restore my old one? The Clarinet should be sent to James Gil-
lespie, 405 Santiago Place, Denton, TX
Achievement.
advantage at www.vandoren.com/mo.
Demand performance.
www.vandoren.com
© 2010 Vandoren SAS. www.vandoren.com Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60642, 888.707.4455, www.dansr.com
Connections
through the clarinet –
to our audiences
W
hy do we play? For our own
enjoyment, of course, but we
also play to bring enjoyment
to others . From the player’s perspective,
it can be quite rewarding to play alone . John Cipolla, Buddy DeFranco,
However, this experience cannot be called Keith Koons and Maxine Ramey
a performance . Practicing is worthwhile
and enjoyable, certainly, but is there any-
one who only wants to play alone?
I think that most of us would agree that
a complete musical experience needs to
have one or more performers as well as
one or more listeners . I remember read-
ing some time ago that a complete perfor-
mance also needed a music critic, but we
will leave that idea aside for now!
A performance can take many forms
and be found in many places . It can be
a formal or informal setting . It can be
scheduled or impromptu . It can take place
in a fancy concert hall, with the perform-
ers attired in white tie and tails, or it can
take place on someone’s back porch in ca-
sual clothes .
We should recognize that to achieve a
true balance in the world, we need both
performers and audience members . It may
seem obvious, but performers need to play saw the face of a thrilled audience mem- 2010 ClarinetFest® in Austin, TX to re-
for an audience . If there are too many peo- ber? In fact, the connection goes both ceive the award, so this was the next best
ple seeking to make a living as performers ways: the performer provides inspiration thing . The enthusiastic audience showed
with not enough audience support, there is to the audience and the audience provides their approval with a standing ovation . Af-
an unsustainable imbalance . On the other inspiration to the performer . ter the presentation, Buddy played a daz-
hand, I would not want to live in a world As I write this, I am eagerly anticipat- zling performance with combo – show-
where all the music is recorded and no ing being part of the audience at the 2011 ing that he is still making a connection
performers make live music . I enjoy hear- ClarinetFest® in Northridge, California . I through the clarinet to audiences at the
ing live music in performance, when there am looking forward to hearing some of the young age of 88!
is an element of spontaneity and the music world’s greatest clarinet players perform,
sounds different each time . either in a small recital setting or in the
Since performers and audience mem-
bers need each other, performers should
try to cultivate and sustain listeners . I
19,000-seat Hollywood Bowl .
As the fall concert season begins, I The Clarinet
hope that you are able to enjoy connec-
think the practice of performers ignoring tions between clarinet performers and lis- Publication
the audience is outdated . Many recitalists teners from both sides, and help to keep
and conductors are connecting to listeners live music alive .
Schedule
and speaking to them as part of a perfor- In April, I .C .A . President-elect John
mance, thereby enhancing the audience The magazine is usually
Cipolla and I were guests at the Univer-
experience . Music schools around the
sity of Montana Jazz Festival, where we mailed during the last week
world are giving new attention to the idea of February, May, August and
joined I .C .A . Secretary Maxine Ramey
of communicating with and developing
the audience, not just playing for them .
to present the I .C .A . Honorary Member November. Delivery time with-
award to renowned jazz clarinetist Buddy in North America is normally
Music is an expressive art . Part of the
DeFranco . Thanks go to Maxine and the
joy of performance is to offer that expres-
University of Montana School of Music
10–14 days, while airmail de-
sion to other people . It is very rewarding livery time outside of North
for their generous hospitality . Unfortu-
to make the connection with audience
members . Remember the last time you
nately, Buddy was unable to come to the America is 7–10 days.
104 The Clarinet
BWInD1213 Bil Jackson ad revised_Layout 1 5/31/11 9:20 am page 1
YCL-CSGII
Bil Jackson
Depends on
Yamaha.
“The ‘sublime ecstasy
of perfect recognition’
best describes my reaction
upon first playing the
new ‘G’ series clarinets.
Bravo Yamaha!”
-Bil Jackson,
Associate Professor of Clarinet
Vanderbilt University
Blair School of Music
& Artist-Faculty
Aspen Music Festival