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Volume 30 Number 4 September 2003
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Features About the Cover... Ronald Phillips — see the feature THE CLARINET TEACHING OF KEITH STEIN — Part Four by David Pino 38 article beginning on page 58. (photo by Larey McDaniel) FEELINGS by Heston L. Wilson, M.D 42
REMEMBERING THE LEGACY OF VICTOR POLATSCHEK by Jesse Krebs 44 INDEX OF ADVERTISERS Altieri Instrument Bags 6 ORCHESTRAL COMPARISONS, A STUDY OF ORCHESTRAL EXCERPTS, Ben Armato 7 Charles Bay 9 PART V by Edward Palanker. 48 Buffet Crampon Inside Front Cover Robert Borbeck 18 IN THE SHADOW OF SHOSTAKOVICH: A CLARINET SONATA BY Brannen Woodwinds 30 BRS Music, Inc 27 MOISEY VAINBERG by Igor Poklad 50 California Institute of the Arts School of Music 13 Carmine Campione 33 RONALD PHILLIPS — LIVING LEGEND by Mary Louise Kantor 58 CASS 6 Clarinet Classics 46 Cleveland Institute of Music 31 THE INTERNATIONAL CLARINET COMPETITION OF THE Conn-Selmer, Inc Back Cover ARD-MUNICH: A BRIEF HISTORY AND RETROSPECTIVE by James Gillespie 62 Crystal Records 2 The Davie Cane Company 43 DEG Music Products, Inc 49 HIMIE VOXMAN'S 90TH BIRTHDAY CELEBRATION by Charles West 72 Equilibrium Records 55 Ignatius Gennusa 22 A.M. Gigliotti, Inc 17, 53 JEAN TASTENOE, 1912-2002 — AN INTERVIEW FROM 1998 by Howard Klug 76 Walter Grabner's ClarinetXpress 70 G. Henle USA, Inc 18 Ithaca College 2 METRONOME STUDIES FOR DEVELOPING MUSICIANSHIP by Paul Garner. 80 International Musical Suppliers, Inc 12, 23, 74 Jeanne, Inc 37 J upiter Clarinets 19 IGNAZ JOSEPH PLEYEL (1757-1831): AN EXAMINATION OF HIS Last Resort Music 10 "ORIGINAL" WORKS FOR CLARINET by Michael Thrasher and Barbara Wallace 86 G. Leblanc Inside Back Cover Lomax Classic Mouthpieces 47 Last Resort Music 10 Luyben Music 71 Vincent Marinelli 5 Departments Muncy Winds 54 Naylor's Custom Wind Repair 105 LETTERS 4 Oliva Clarinet Resource 35 Olivieri Reeds 54 MASTER CLASS — Ongaku Records, Inc 5 Pastorale Variee for Clarinet, Harp and String Orchestra by Paul Ben-Haim by Eli Eban 8 Oxford University Press 81 Patricola Musical Instruments 32 Pomarico 87 TEACHING CLARINET by Michael Webster 14 Bernard Portnoy 79 Quodlibet, Inc 83 CLARINOTES 20 Fred Rast Mouthpieces 55 Reeds Australia 105 Rice University - Shepherd School of Music 23 AUDIO NOTES by William Nichols 24 L. Rossi 75 Rovner Products, Inc 108 CONFERENCES & WORKSHOPS 26 Rutgers University 19 Sayre Woodwinds 2 HISTORICALLY SPEAKING... by Deborah Check Reeves 32 Tap Music Sales 108 United States Army Band 55 United States Army 56 QUINTESSENCE — The Wind Quintet Informant, No. 25 by Bruce Creditor 34 Valentino, Inc 55 Van Cott Information Services 23 LETTER FROM THE U.K. by Paul Harris 36 Dirk Vandamme 108 West Coast Clarinet Congress 30 Wichita Band Instrument Co 102 REVIEWS 94 Wind Instrument Center 93 The Woodwind & The Brasswind 40 RECITALS AND CONCERTS 104 Woodwindiana 82 Yamaha 107 THE PRESIDENT'S MESSAGE by Robert Walzel. 106
September 2003 Page 1 Clarinet Study at Ithaca SAYRE WOODWINDS
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• 56 full-time residential faculty Accessories To schedule an audition or interview • graduate teaching or for more information, contact assistantships Clarinet Repair Director of Music Admission Ithaca College 22 W. St. Charles Road • focus on performance 3322 Whalen Center Lombard, IL 60148 Ithaca, NY 14850-7240 • world-class facility 607-274-3366, 607-274-1727 (fax) E-mail: [email protected] 630-916-1525 Web site: www.ithaca.edu/music
Clarinet Recordings THE VERDEHRTRIO. (Elsa Ludewig-Verdehr, Clarinet). The Dream Tracks; David, Triple Concerto (w/Orchestra). CD746: Diamond, Trio & Violin Sonata; Making of a Medium Series (Violin, Clarinet, Piano). CD741: Sculthorpe, Night Song; Corigliano, Violin Sonata. CD747: Music by James Niblock. Hovhaness, Lake Samish; Bartok, Contrasts; Pasatieri, Theatrepieces; CD748:Triple Concertos by Ott & Wallace. CD749: Trio/Orchestra; Skrowaczewski & David. Mozart, Trio; Frescobaldi. CD742: Rorem, End of Summer; Musgrave, CD940: Beethoven Trio; Larsen, Slang; Druckman, Glint; Bolcom, Trio; Bruch, Trio (2 mvts.); Pierrot; David, Schubertiade; Vanhal; Liszt. CD743: Schuller, A Trio Tchaikovsky, Meditation. CD941: Menotti, Trio; Bruch, Trio (no. 4 & 8); Constantinides, Oracle Setting; Averitt; Currier. CD744: Dickinson, Hymns, Rags and Blues; at Delphi; Deak, Lad, a Dog. CD942: music by Chihara, Diamond, Satterwhite, Kramer, Biggs, Husa, Sonata a tre; Freund; Niblock. CD745: Arutiunian, Suite; Schickele, Serenade; Sculthorpe, & Erb. CD943: music by Currier, Tower, Gershwin/Brohn, Welcher, Biggs, & Hoag. MICHAEL EDWARDS, Clarinet: MITCHELL LURIE, CLARINET: TRIO INDIANA: James CD735. Clarinet Sonatas by Saint-Saens, CD737. Halsey Stevens, Concerto for Campbell, Eli Eban, Howard Klug, Ladmirault, & Bjelinski. Martinu Sonatina; Rabaud Clarinet & String Orchestra; Frederick Clarinets (clarinet faculty Indiana Solo de Concours . Edwards formerly Montreal Lesemann, Sonata for Clarinet & Per¬ University). CD734: Defaye, Pieces Symphony & soloist at Orford & Stratford Festivals. cussion; Robert Muczynski, Time D'Audition; Schickele, Dances; Pieces for Clarinet & Piano. With Karen Kulesha, Political Implications (with "Clarinet fanciers will find a treat here." Fanfare Ervin, percussion, & Muczynski, piano. David Shea, clarinet, assisting art¬ JONATHAN COHLER, CLARINET: Lurie is one of the world's best-known ist); Kibbe, Ebony Suite; Fox, Time Weaving. CD736: (with clarinetists. Formerly principal in Chi¬ Alfred Prinz, Mitchell Lurie, & Min-Ho Yeh, guests). Prinz, CD733. Hindemith, Sonata; Honegger, cago & Pittsburgh Symphonies, he Bloomington Quartet & Trio; Heiden, Clarinet Trio; Uhl, Sonatina; Francaix, Theme & Variations; taught for over 40 years at U.S.C. Divertimento; Weill, Pieces from The Threepenny Opera. Vaughan Williams, 6 Studies English Folksong; Milhaud, Duo Concertant & Caprice; Bozza, LARRY COMBS: (C731 cassette only) Rochberg, Trio for WESTWOOD WIND QUINTET (David Atkins, clarinet): Pulcinella; Kupferman, Moonflowers, Baby! Clarinet, Horn, & Piano; Schuller, Romantic Sonata for Clari¬ "Magnificent American group...superlative playing" Gramophone net, Horn, & Piano; Rosza, Sonatina for Clarinet Solo. Gail CD750: Barber, Summer Music; Ligeti, Six Bagatelles; TOUR DE FRANCE: CD356. Williams, hom; Mary Ann Covert, piano. Mathias, Quintet; Carlson, Nightwings. CD751: Dahl, Alle¬ Michael Webster, Clarinet; Leone JAMES CAMPBELL: (C732 cass. only) Reicha & Francaix gro & Arioso; Moyse, Quintet; Husa, Serenade for Piano & Buyse, Flute; Katherine Collier, Quintets, Clarinet & String Quartet, w/ Allegri String Quartet. Wind Quintet; Sapieyevski, Arioso forTrumpet & Wind Quin¬ Piano. Debussy: Afternoon of a C331 (cass. only): Poulenc, Jeanjean, Schumann, Berg, etc. tet. CD752: Bergsma, Concerto for Wind Quintet; Rochberg, Faune, Petite Piece, Premiere LAWRENCE SOBOL, CLARINET: CD808. Hovhaness, Sat¬ To the Dark Wood; Carter, Woodwind Quintet; Biggs, Rhapsody, & Syrinx; Saint-Saens: urn, for Clarinet, Soprano, & Piano. Also Hovhaness Scherzo; Plog, Animal Ditties; Schuller, Suite; Schuman, Tarantella; Bizet, Jeux d'enfants; Faure, Dolly Suite. "De¬ Magnificat for Soloists, Chorus, & Orch. "Saturn is a beguiling Dances for Quintet & Percussion. CD250: Klughardt, Quin¬ lightful; exquisitely played." Fanfare hymnal.Jreshness and vitality." Classic CD Magazine tet; Berio, Opus No. Zoo; Linn, Quintet; Pillin, Scherzo, etc. CDs $16.95; C (cassette) $10.98; recordings available only in formats FREE CD or cassette with each purchase of three: shown. Add $2.00 per order US shipping; $6. foreign (mention this ad). for each four ordered, omit payment for lowest-priced one. CRYSTAL® RECORDS, 28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, fax (24 hrs) 360-834-9680 email: [email protected] • web site: http://www.crystalrecords.com • Many more woodwind recordings; send for free catalog.
Page 2 The Clarinet INTERNATIONAL CLARINET ASSOCIATION President: Robert Wal:e\, School of Music. University of Utah. 204 David P. Gardner Hall. 1375 East Presidents Circle. Italy: Luigi Magistrelli, Via Buonarroti 6.20010 S. Stefano Ticino (Mi), Italy. 39/(0) 2 97 27 01 45 (phone/fax). Salt Lake City. UT 84112-0030.801/273-0805 (home). 801/581-6765 (office). 801/581-5683 (fax). E-mail: E-mail:
Page 4 The Clarinet chamber and orchestra playing using a Bl> Bari* reed. For the sopranino, a cut- down (stock side) B'' reed with this modifi¬ ^Oinccnt ^arincfti cation is an unbeatable combination. I'm (Expert Woochvincf gcrvicc— surprised Bari* hasn't marketed an E^ reed to date. " for experts and amateurs afike " For orchestra and band playing, I found using a Bari* B^ reed, cementing a 1/16th urveyor oj J^ine ^ujjet C^inets, gTutes, inch square or round strip of silver in the and ^Kcifwertft Saxophones center of a Rovner ligature in addition to the silver strips described, works best. Some mouthpieces have sunken beds (tables) — the "flat" portion of the reed afes and (Repairs ^Domestic and cimported Cases bed. The theory for this is that it will take s up the slight swelling of the reed as it I iscountecf prices, defected" (l\cw Qarinets swells due to the added moisture accumu¬ ^Prc - owned Qarinets wften ^vaifaBfc lated during playing and to allow a better 3tucfent through ^Projessionaf instruments, cfarinet 6arrefs, sprigging (vibrating) response. The center strip improves the performance of Bari* D moutfipieces, ^Oancforen reeds reeds on sunken-lay mouthpieces more noticeably than on flat-lay mouthpieces. 3612 gifvcrsicfc Recently I found a modification of the (Wifmington, ^efawwc 19810 v , Light Rovner bass clarinet that works best \\ v\nv.cxpcrt\voocf\vin((scnice.com for me on all my different bass clarinet mouthpiece — Selmer C*, Mitchell Lurie ^or appointments - 302.479.0373 Crystal, E.S. Schrieber and an old Van- "JPhone Or^rs - 800.396.1585 doren #3. For that modification I use the ^\oncfay through ^ricfay, 9 to 5 bezel strips and an inverted 1/8 inch wide gaturcfa^, 10 to 2 half round metal strip. The strip's length is
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Brahms Order Your CDs Today! Sonata No. 1 Call 1'800-647-9509 Weber Grand Duo Concertant Fax 781-863-6105 BArmann Adagio or mail a check or money order for $15.99/CD Sargon J plus $3.00 shipping (5% sales tax in MA only) Deep Ellum Nights New Release! Make checks payable to: Donald Martino A Set for Clarinet Onya&tc ^econd^, Inc. 6 Royal Circle • Lexington, MA 02420 OLIVIER Messiaen Abime des oiseaux http://www.ongaku-records.com/ Willson Osborne Rhapsody Be sure to include your name, address and phone number with order. Brahms Sonata No. 2 Nicolo Paganini Moto Perpetuo Distributed in North America by: Poulenc Allegro Corporation Sonata Vincent Persichetti Parable for Solo Clarinet Schumann 14134 N.E. Airport Way • Portland, OR 97230-3443 Fantasy Pieces WILLIAM O. Smith 5 Pieces for Clarinet Alone 1-800-288-2007 • FAX 503-257-9061 Milhaud http://www.allegro-music.com Sonatme Erland von Koch Monolog 3 Stravinsky Also available at fine record stores. Three Pieces EGON Wellesz Suite for Clarinet Solo
September 2003 Page 5 the width of the fabric. The flat side of the 225-1066,
The Clarinet and Saxophone Society of Great Britain. MEMBERSHIP FEES President: JACK BRYMER, O.B.E. All fees to be paid in sterling Subscriptions UK & Eire Europe All others Individual Membership £23.00 £25.00 £30.00 WHO IS CASS FOR? magazine catalogues and other resources CASS is for everyone with an interest in the There is also an instrument insurance Senior Citizens £17.00 £20.00 £25.00 clarinet or saxophone whether players or scheme available to CASS members giving non-players, young or old, beginners or a 10% discount on policies from British Students £17.00 £20.00 £25.00 professionals. Reserve. Family £30.00 £35.00 £40.00 WHAT DOES CASS DO? THE CONFERENCE CASS has as its aim the promotion of the A high point of CASS activities is the Commercial, professional clarinet and saxophone and their music. annual summer conference held at a amateur & educational £35.00 £40.00 £45.00 To this end it publishes a quarterly different venue around the country each magazine, organises regular congresses year, when members have an opportunity Life Membership £275.00 £300.00 £325.00 and workshops, and runs an extensive to meet, play together and participate in music library. masterclasses and discussions. Regular NB. Payments by standing order carry features of the event are concerts and £2.00 discount THE MAGAZINE clinics given by top international soloists Subscription payments can be made by credit card. The quarterly magazine "Clarinet and and ensembles from all fields of music. We accept: Saxophone" is free to all members. It Smaller workshops are mounted VISA, Eurocard, and MasterCard. covers all aspects of both instruments with throughout the year as well as courses Membership applications and enquiries to: news and reviews of concerts, recordings, designed specifically for teachers. music and instruments, plus profiles of The Membership Secretary leading players, historical and technical THE LIBRARY Susan Moss, articles, and features on all styles of music. CASS members may borrow from a library 8 Garden Close It also provides a forum for the exchange which contains a large number of works for Hampton of members' ideas and questions. clarinet and saxophone, including some Middlesex TW12 3EG In addition to the magazine CASS very rare material, as well as a great range UK produces a handbook of useful information of ensemble music for almost any such as members' addresses, library and combination of single reed instruments.
Page 6 The Clarinet New and Improved I.CJL THE REED WIZARD HONORARY ...one step closer to perfection Now only 69 cents a day for one year and then it's...FREE MEMBERSHIP THE REED WIZARD, a sophisticated high¬ tech device which quickly redesigns NOMINATION commercially manufactured reeds. New technology provides a new cutting tool that PROCEDURE lowers the price and improves the product. Price $250.00 In accordance with the International add $6.95 for shipping & handling Clarinet Association By-laws (Article V, THE REED WIZARD is fantastic!" Section 6), a special category of - Ricardo Morales, Prin. Met. Opera Honorary Membership has been created for persons of "unusual distinction." PerfectaReed, an ingenious device that takes the guesswork out of reed adjustments. Designed to The International Clarinet Association measure the entire area of single reeds. Eliminates Board of Directors invites the general "human feel" and the user can reproduce reeds to membership to nominate individuals exact measurements or to new specifications. for Honorary Memberships from the Price $175.00 areas of professional service, teaching, add $5.95 for shipping & handling performance, and/or lifetime achieve¬ "PerfectaReed is great!" ments. Nominators should include a brief - Andrew Simon, Prin. Hong Kong Phil. biographical sketch of the candidate along with further information as PERFECT A REED...and BEYOND PERFECT- A REED "...(Ben Armato's) frank presentation of vital knowledge, specified below. There is a limit of one ...and BEYOND coupled with the clear and excellent illustrations, makes nomination per person. Nominations this book a must..." — Clarinet Magazine must be postmarked no later than A Comp/ebteftsive Price $20.00 June 1,2004, and sent to: Method for ; add $1.50 for shipping & handling Reed Adjusting and Michele Gingras, Professor of Music the Department of Music, Miami University Opera Oxford, OH 45056 U.S.A. Clarinetist E-mail:
September 2003 Page 7 EXAMPLE 1 Thema-Sostenuto e dolce J = 56
Pastorale Variee for Clarinet, Harp, and String Orchestra by Paul Ben-Haim
by Eli Eban
PPP quasi un eco
between the traditional forms and disci¬ West has involved musicians around the plines of Western European music, and the globe. I live in a country that bridges East Hebraic and Arabic melodies of the region. and West, and should I be able to con¬ He wrote, "I belong to the West, where I tribute to finding such a synthesis, I will was bom and educated, but my origins are be happy." in the East and it is there that I live. I see Paul Ben-Haim died in Tel Aviv in this as a blessing and am grateful for it. The 1984, having achieved international recog¬ Eli Eban problem of a synthesis between East and nition for his work. (© 2001 Steve Sheldon Photography) EXAMPLE 2 (clarinet part at concert pitch) Eminent Israeli composer Paul Ben- Var. I - L? istesso tempo Haim was bom in Munich in 1897. 24 He was educated at the Munich Academy and became assistant conductor of the Munich Opera and director of the Augsburg Opera. In 1933, with the rise of Nazism in Germany, his contract in Augs¬ burg was terminated and he fled to Pales¬ tine, which was then under British rule. Originally named Frankenburger, he as¬ sumed the Hebrew name of Ben-Haim and quickly developed a strong affinity for the culture of the Middle East. He was an avid student of its folk music, and became the leader of the first generation of Israeli composers, many of whom left Europe as refugees between 1931 and 1938. Ben- Haim's goal was to create a "Mediterran¬ ean School" of Israeli music — a synthesis
Page 8 The Clarinet EXAMPLE 3 inet and string lines are more supple and flowing if the tempo is picked up a bit — to around J = 60 (Example 2). In the Ara¬ bic flourish in bar 38, hold back the first three notes and move the next six forward in a free, improvisatory fashion. Starting in bar 45, phrase the 16th notes in groups of three beats under the long slur, and give the low note initiating each group a subtle inflection, as shown in Example 3. Variation 2: Continue the same three- I brem ^ pOCO pjjj mosso (j = 72 beat grouping here, ignoring the bar lines. This is a virtuosic variation — create a light, liquid, supple flow with no beat- heaviness. Avoid lagging behind the ac¬ companiment by moving the grace note in bar 55 into the last group of 16ths of the previous measure, thereby creating a quin¬ tuplet. Etch out a melodic peak by slightly stretching the last beat of bar 73 and the first beat of 74 (Example 4). A short ca¬ denza at the end of this variation heralds the pastoral tranquillity of Variation 3. Play with a very even, sustained tone, and lots of rubato, as suggested in bar 85 and The Pastorale Varieefor Clarinet, Harp, The principal theme is a sweet, simple parallel passages. Keep things gently mov¬ and String Orchestra was written in 1945. shepherd's tune, "reminiscent of the Near ing, and avoid stagnation by making sure It is, in fact, the composer's expansion and Eastern pastoral song, but not a quote of an the quarter notes in your accompaniment arrangement of the closing movement of existing folkloristic melody." An effective (in bar 86, etc.) move forward in a flowing fashion (Example 5, next page). his earlier quintet for clarinet and strings. performance tradition for this style is the The pastoral-lyrical character which is such tenuto on the first eighth note in bars 5, 10 an important element of Ben Haim's works and parallel spots throughout the theme. CONSISTENTLY is wonderfully expressed in this piece. Stretch the first note of this motif, and then Colorful variations on a tranquil, melodic allow the next three notes to fall forward DEPENDABLE theme reflect Ben Haim's desire to create gently towards the next beat (Example 7). ACCESSORIES "a new Israeli style which at the present Variation 1 is marked Vistesso tempo, time exists only in the imagination." but in my experience the intertwined clar¬ OT}£n ||aur Artistry EXAMPLE 4 (JE) J- 71- MOUTHPIECES LIGATURES • REEDS CLARINETS ADJUSTABLE THUMB RESTS MPCE. & TEETH CUSHIONS IMPROVED-ANGLE BASS CLARINET NECKS SPECIAL KEYS Brochure on Request
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September 2003 Page 9 EXAMPLE 5 then elaborating on a melody carried by the celli. The texture is very open and © S3 Var. Hl-Calmo J = 52 quasi improwisando transparent. Use a slight ritard at the end Sh. of 125 to highlight the colorful harmonic modulation in the next bar. Create a deli¬ cate filigree around the cello line by play¬ ing the large leaps at 130-134 very light¬ ly, opening up the dynamic considerably for the passionate flourishes starting in 134. Don't attempt to play these with a mathematical evenness. Just play rubato within each half-note beat, stressing top and bottom notes ever so slightly (Exam¬ ple 6). j J y J J i.J Variation 5 is derived from a Druze or Arabic folk dance, the Debka. The rhyth¬ mic groupings are uneven and cross the bar lines as bracketed. I have suggested some accents and nuances to help create dance-like "lifts" (Example 7). Variation 4 is marked ancora piu cal- EXAMPLE 6 mo. I would suggest treating this as a change of texture and mood rather than Bl> Clarinet slowing down the tempo. (In fact, no tempo change is indicated!) This varia¬ tion is arguably the most characteristic of Ben Haim's new Mediterranean style. It has a yearning, "languid summer eve¬ ning" feel, with the clarinet repeating and
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Page 10 The Clarinet EXAMPLE 7 (clarinet part at concert pitch) accelerando, and return the "stolen" time ivr with graceful, suspended ritardandi (Ex¬ ample 8). Following a virtuosic display of leaps and runs (230-243), the orchestra pauses while the clarinet plays a brief ca¬ denza before the piece comes to a tranquil conclusion (Example 9, next page). I have not been asked to program the Pastorale for many years, but I had the immense pleasure of renewing my ac¬ quaintance with it on a tour with the Is¬ rael Camerata Orchestra last April. I feel ^ A f it has retained its unique freshness and originality, and I hope you will enjoy studying and performing it!
Contacts for
The Clarinet: Variation 6, Epilogue, recapitulates the 212) as another dance, this time reminis¬ principal theme, but this time it is present¬ cent of Russian-influenced Israeli pioneer¬ Send all articles, recital programs, orders for back ed with some modal changes and calmo e ing melodies. The tempo should be very issues, announcements and any other noiKommercial misterioso. In the subsequent Allegretto flexible here — use lots of rubato. I sug¬ items intended for publication in The Clarinet to: molto grazioso, the theme reappears (bar gest treating the a tempo bars as a tempo e James Gillespie, Editor/Publisher EXAMPLE 8 College of Music, University of North Texas Allegretto molto grazioso J = eo r"' P.O. Box 311367 r Denton, Texas 76203-1367 E-mail:
Send all printed materials (music, books, etc.) intended for review in Ike Clarinet to:
Joseph Messenger, Editor of Reviews Department of Music, Iowa State University Ames, Iowa 50011 E-mail:
Send all recordings intended for review in The Clarinet to:
William Nichols, Audio Review Editor School of Music, University of Louisiana at Monroe Monroe, Louisiana 71209-0250 E-mail:
Send all inquiries about advertising, notices of change of address, inquiries about I.C.A. membership, missing issues, etc., to:
Rose Sperrazza, Executive Director P.O. Box 5039 Wheaton, Illinois 60189-5039 E-mail:
September 2003 Page 11 About the Writer... EXAMPLE 9 Eli Eban began his professional career as principal clarinetist of the Israel Radio Orchestra under Lukas Foss. He subse¬ quently joined the Israel Philharmonic Or¬ chestra where he played 13 seasons under Zubin Mehta, Leonard Bernstein, Kurt Masur, Claudio Abbado, and other interna¬ tionally renowned conductors. In addition to numerous concerto appearances with the Israel Philharmonic, he has appeared as so¬ loist with the English Chamber Orchestra, the City of London Sinfonia, the Camerata Academica Orchestra of the Salzburg Mo- zarteum, the Concerto Soloists of Phila¬ delphia, and the Indianapolis Chamber Or¬ chestra. He was a participant of the famed Marlboro Music Festival and has toured worldwide as a chamber musician. Recent torale). He has recorded for the Meridian ing duties in Bloomington, playing prin¬ engagements include a world tour as act¬ and Crystal labels. cipal clarinet in the Indianapolis Chamber ing principal clarinetist of the Israel Phil¬ Eli Eban is a graduate of the Curtis In¬ Orchestra, and touring as soloist and cham¬ harmonic under Lorin Maazel, guest ap¬ stitute of Music where he studied with An¬ ber musician. His former students have pearances with the St. Petersburg and thony Gigliotti. He was visiting professor won positions with the Israel Philhar¬ Alexander quartets, a critically acclaimed of clarinet at the Eastman School of Music monic, the Indianapolis Symphony, the performance at London's Wigmore Hall, for two years and is currently on the facul¬ Louisville Orchestra, the Singapore Sym¬ and a tour with the Israel Camerata Or¬ ty of the Indiana University School of Mu¬ phony, the Toledo Symphony, and the pre¬ chestra, (performing the Ben-Haim Pas¬ sic. He divides his time between his teach¬ miere military bands in Washington, D.C.
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Page 12 The Clarinet William Powell William Powell is internationally recognized as a foremost exponent of music for the clarinet by American composers, and is in much demand as a soloist and chamber musician. He is a champion of new music and has premiered over 300 new works for the clarinet including works by Pulitzer Prize-winning composers Mel Powell and Bernard Rands. Composers Virko Baley, David Felder, and Robert Erickson have composed works especially for him. Mr. Powell has performed with some of America's premier ensembles, including the Los Angeles Philharmonic, Aspen Festival and Chamber Orchestras, SONOR, Sierra Wind Quintet, the Naumburg Award- winning Aulos Wind Quintet, the San Diego Chamber Orchestra, the Las Vegas Symphony and the Reno Philharmonic to name but a few. The recipient of a Senior Research Grant from the Fulbright Commission, he lived for a year in India where he presented concerts of American music, collaborated in cross-cultural performances, and recorded for All India Radio. His performances have been broadcast in the United States, Canada, Europe, and the Near East, and have been documented on recordings by the Cambria, CRI, Electra/Asylum, and Nonesuch labels.
"The clarinetist William Powell gave a glittering recital. He is a performer who catches a listener's attention with the first phrase and continues to hold it, in the way great singers once did, by precision of timing, variety of attacks, and masterly, imaginative molding both of single notes and of melodic strands...Again and again, Mr. Powell touched a nerve of pleasure with a clarinet specialty: a note stealing gently from silence. His timbres were protean...a remarkable visitor." —The New Yorker
"Clarinetist William Powell played with extraordinary control and musicality" —New York Times
"William Powell is a clarinetist nonpareil. Faultless intonation, sure-fire control and, above all, sensitive phrasing characterize his playing." —Los Angeles Times
CLARINET • World renowned faculty in all areas • Intense apprenticeship training performing beside faculty professionals ■ 5:1 student to faculty ratio • BFA and MFA degrees available • Extensive visiting artist roster • Freedom to customize your curriculum with courses from any of our programs • Generous scholarships available For more information: California Institute of the Arts Office of Admissions 24700 McBean Parkway Valencia, CA 91355 661.255.1050 www.calarts.edu music.calarts.edu [email protected] that the shape of the oral cavity may be ing students to shape or position the changed and can effect the register (par¬ main body of the tongue for various tial) which is produced. Any statement notes. They do, however, have value for more specific than that can easily lead helping students to learn how to use the to disagreement. front part of the tongue during articula¬ The prime determinant of shape is the tion at the reed. Incidentally, when the tongue, that marvelously malleable mus¬ tongue is in its aw position, the throat is cle, one of the major reasons for human very near closed. uniqueness in the animal kingdom. Ima¬ 3. It appears that muscles which shape the gine a dog saying "ruff, riff, raff or a cat main body of the tongue are not com¬ saying "mee-ow, lee-ow, dee-ow." A silly pletely under voluntary control. While thought, but it does dramatize what a instinctive motions of swallowing and miracle of flexibility the human tongue is sucking are present at birth, further in terms of speaking, eating, or playing a skills are learned very slowly through wind instrument. trial and error. by Michael Webster I know of five studies of the oral cavity, 4. The trill fingering for A^ to B^ consists two of which are ongoing. There must be of fingering A^ and trilling with the left- others, and I'd be happy to hear about hand first finger. This "fake" fingering them in "Webster's Web." for B^ is also the fingering for P, which The first was a 1965 doctoral disserta¬ is an overtone of Ak If a passage has A^ tion by Roland Anfinson entitled "A Cine- slurred to high F, the clarinetist must do fluorographic Investigation of Supralaryn- something to cause F to respond; other¬ geal Adjustments in Selected Clarinet wise B'' will sound. Advanced clari¬ Playing Techniques." I've always thought netists know that the tongue should that this is one of the great titles of all time! move to produce a precise response of The second and most widely dissemi¬ the F. (The tongue direction is down and nated was a report by Raymond Wheeler forward, although players may "sense" of cineradiographic research done in it to be upward!) 1971-72, comparing tongue and throat 5. There is only one position the tongue activity among the woodwind instruments. can assume while sustaining a given His findings were presented at the Inter¬ tone and that must not be changed, al¬ national Clarinet Clinic in Denver and sub¬ though some teacher-performers pro¬ sequently recounted in the NACWPI jour¬ fess that tone quality may be improved nals of 1973 and 1977, The Instrumentalist by adjusting the tongue's vowel or syl¬ of September 1977, and The Clarinet, lable shape for any tone. Perhaps the Michael Webster IV/4, p. 6. most startling fact gained from this re¬ These two studies essentially corrobo¬ search project is that the tongue shape rated each other, but the findings were star¬ or position has nothing to do with tonal Partial to Partials, tling and counterintuitive for many clar¬ quality; its only function is to select inetists. Significant quotes from Wheeler's Part II the pitch or register option inherent in report include: any fingering. Tone quality may be im¬ Twenty-second in a series of articles proved only by changing the equipment 1. During performance on the B'' soprano using excerpts from a teaching method in used (reeds, mouthpieces, etc.) and de¬ clarinet the throat opening near the progress by the associate professor of veloping a better embouchure coordina¬ uvula is quite narrow for the low regis¬ clarinet and ensembles at Rice Univer¬ ted precisely with the air supply. sity's Shepherd School of Music. ter tones. The upper rear portion of the tongue is in a high position. As the One would be hard-pressed to find a Let's open Pandora's Box right away scale ascends into the clarion and al- clarinetist who agrees with everything and get it over with before contin¬ tissimo registers the upper rear portion that Wheeler said, yet his study contained uing my June 2003 article, intro¬ of the tongue moves gradually down¬ visual evidence to support his statements. ducing the fifth partial to the intermediate ward and forward, producing a more Unfortunately, repeated cinefluorograph- student. open throat. ic exposure could subject one to undue Nothing in clarinet playing is so mys¬ 2. Film images of vocalized syllables or amounts of radiation and such studies terious and misunderstood as the role of vowels commonly used for reed instru¬ were discontinued. the oral cavity. Even the term "oral cav¬ ment instruction were analyzed. Sylla¬ Along came the fiberoptic laryngo¬ ity" conjures up images of unpleasant trips bles included taw, toe, tie, too, teh, and scope, a wonderful medical "toy" that can to the dentist. The oral cavity is, of course, tee. After studying the films, it was take video pictures of oral cavity activity the area inside the mouth. The only point concluded that these syllables have no in living color, with a sound track to boot. of general agreement among clarinetists is value whatsoever as a method for help¬ The third study was undertaken in 1989 in
Page 14 The Clarinet Denton, Texas by Dr. Philip Montalbo, Dr. There is enough evidence through the Of course the answer to the second S. J. Worrall, and Prof. Charles Veazey, results of this pilot study that there are dif¬ question is a qualified "yes." Successful oboist at the University of North Texas. As ferences between advanced and less ad¬ teachers have been able to help students in the Wheeler study, the clarinet is com¬ vanced performers. There is also sufficient solve this problem, but I'm sure we have pared with other woodwind instruments, evidence that the tongue does change posi¬ all had a student or two who didn't quite but the means is different: a fiberoptic tion as the pitches ascend or descend. Be¬ "get it." An example unique in my experi¬ laryngoscope inserted through a nostril cause of these findings, pedagogues will ence was a high school girl who studied gets a great view of the vocal chords, tra¬ have a better understanding of voicing and with me in Rochester sometime during the chea (windpipe), and epiglottis (windpipe articulation concepts when teaching stu¬ 1970s. She was a good player with above cover), but a poor view of the tongue. dents. It is the writer's intention to be able average musicianship, but whenever she The fourth study is just under way. Dr. to diagnose and fix problems through the went into the high register, she sounded as Richard Stasney, a prominent Houston aid of a fiberoptic laryngoscope." though she were just on the verge of com¬ otolaryngologist, has founded the Texas The great advantage of the side view is pleting a Rhapsody in Blue glissando. It Voice Center and the Methodist Hospital that it shows tongue activity well, all the didn't sound terrible, but it made her tone Performing Arts Program. He has allied way to the tip. The nostril approach shows sound unfocused and a tiny bit flat. I was himself with Rice University's Shepherd only the very back portion of the tongue. not able to help her in spite of my being a School of Music and the Houston Grand From the two videos I have seen using this good "glisser," being able to feel in my Opera, working primarily with singers, approach, it is not possible to assess com¬ own throat exactly what she was doing, both healthy and injured. Now he is plete tongue activity. It does show at least and being able to imitate her, which was branching out into the instrumental field. two important things, however: actually very difficult to do without exag¬ Having played for him recently, I am 1. There is much more throat activity in gerating. Glissando is a technique which now the star of a ten-minute video, taken clarinetists than in other woodwind comes easily for some and not for others. through the nostril. Dr. Stasney uses a players, (Could this relate to the clar¬ Perhaps the fiberoptic video will help us novocaine-like spray to numb the nasal inet functioning as a stopped pipe learn to describe it better. passage so that there is only mild dis¬ rather than an open pipe, like the other As to the first question — Are we all comfort, but no pain. woodwinds?) are doing pretty much the same thing? I'd Synchronicity inspired Del Hungerford 2. The epiglottis is very active. As I played like to compare my brief description of to e-mail me a couple of days ago. She is a octave slurs chromatically upward to grunt avoidance with Jim Gillespie's. In clarinetist who lives in Moscow, Idaho and altissimo C, each half step brought the the June 2003 issue, which I suggest you plans to finish her doctorate this year with epiglottis farther and farther over the review at this point, I offered the "garage- Bill McColl at the University of Washing¬ trachea until it was nearly closed for tah" approach. Jim's brief description of ton. Her dissertation, "The Use of a Flexi¬ high C. his approach is: "Practice upper register ble Fiberoptic Scope to view the Oral Cav¬ I suspect that one of the reasons for with a 'hee' vowel start. The aspirant 'h' ities of Experienced and Less Experienced confusion and disagreement in trying to ensures the throat will be open and the 'ee' Clarinetists," is the fifth study and will be describe tongue and throat activity is that shapes the tongue correctly for the upper by far the most comprehensive. the tongue and epiglottis work in con¬ register." The two descriptions sound very Del's pilot study, conducted in 1989, junction with each other and that high different, yet each has an element of get¬ inserted the scope through the comer of the notes are achieved with the tongue low ting the tongue higher and keeping the mouth to gain a side view, like the first two (which would seem to make the throat throat open. studies but with the advantage of videogra- wider) and the trachea nearly covered by Del Hungerford plans to study 10 pro¬ phy. She describes her findings briefly: the epiglottis (which would seem to make fessionals, 10 college students, and 10 "First and foremost, the tongue is a the throat narrower). I have suggested to younger students, completing her re¬ major factor in voicing, whether articulat¬ Del Hungerford that she consider trying to search early in 2004. That large sampling ing or slurring. The position of the tongue gain both side and top views in her study should give more definitive answers to changed for each of the registers. For the and I myself intend to approach Dr. Stas¬ these elusive questions and allow her low register, the front of the tongue re¬ ney with the same suggestion. Such a pro¬ findings to be published in the spring. I'll mained low and forward. This would indi¬ cedure might answer once and for all the keep you posted. cate that the portion of the tongue in the question of tongue/throat activity. In the meantime, don't open Pandora's throat region is raised so the front can re¬ It might also answer two other impor¬ box for your intermediate student! As al¬ main low and forward. (This was found to tant questions that Wheeler touched upon. ways, give students a chance to happen be true in Wheeler's research.) As the pit¬ Are all successful clarinetists doing essen¬ upon the correct solution naturally. For ches ascend, the portion of the tongue in tially the same thing or are there differen¬ example, I don't recall having had difficul¬ the oral cavity (tip and middle) begins to ces from player to player? Can the differ¬ ty with fifth partial when I was learning it. rise and is pulled further back. In the ex¬ ence between successful clarinetists (pro¬ My teacher said "finger C# this way," I did, treme high register (above F), the tongue fessionals) and less successful clarinetists and out it came. Most students will have begins to drop to almost the same position (struggling students) be quantified, des¬ some success producing fifth partial, and I it was in for the lowest tones. cribed, and taught? suggest that the teacher allow some experi-
September 2003 Page 15 mentation. Let them grunt a little bit at Then practice coordinating the slide-lift with changes of fingering in the right hand first and see whether repeated attempts (.Example 2). After each of the printed three-note groups, a fourth note between G and C in gradually eliminate it. Most often, they the third partial can be added to practice the "pop" return. will. I particularly like one thing that Wheeler said because it describes my approach to playing and teaching register changes: "All we really need to do is to let the instrument teach the tongue which shapes or positions are required. By some sort of 'magic' it is clear that the inherent acoustical properties of the clarinet will not permit the tongue to assume an incor¬ rect shape ... if the clarinetist will allow To avoid overdependence upon half hole, introduce scales, arpeggios and musical exam¬ himself to be taught by his instrument." ples for which half hole is not appropriate. In June 2002 I offered a scale routine in duplets Try this passive approach to changing and triplets with the Baermann-like advantage of going to the bottom of the instrument in registers. Don't do anything with the every key but staying within the first and third partials. Now the range can be extended to tongue and throat. Use half hole to allow include fifth partial (Example 3). the fifth partial to speak automatically Start on the lowest tonic note, go up and down in duplets, turning around on the high and and soon the tongue and throat will find low notes indicated in Example 3. the appropriate position for playing fifth EXAMPLE 3 partial without half-holing. Emphasize the importance of returning to the third partial. This is actually more difficult than connecting third to fifth because of the clar¬ inet's inherent tendency to favor a higher partial once it is achieved. Overfocusing FM, CM, GM, DM, AM: EM, BM: GtM, DkM, AtM, BM, BtM: the fifth partial is even more dangerous than underfocusing because it can lead to squeaks and poor downward slurring. After having played example 4 from Start on the lowest tonic note, go up and down in triplets, turning around on the high and June 2003, practice returning to the third low notes indicated in Example 4. partial with exercises such as those in Example 1 below. Start by establishing the return note, in this case third partial A, then convert the half hole into a "slide- lift." The index finger slides to half hole but continues moving in a C-shaped arc back above the hole. Then it covers the FM, CM, GM, DM, AM, EM, BM: hole with a firm downward motion that I call a "pop." This is the only time in clar¬ inet playing that a fast motion of a finger improves legato. (I use legato in the tradi¬ F#M: G>M, Dt>M, AtM, BM, BM: Avoid the flat keys in triplets for a reasonable period tional sense of the word: connected notes of time because they include high "F." When high "F" indicated by a slur, not notes that are light¬ is finally introduced, approaching it by scale is a good method. When the student is ready, the triplet scales ly or broadly tongued.) Similar exercises will have the following outlines: (not shown here) can be derived from first partial B^, B^ (forked fingering), and C. Example 5 shows the range of the minor scales in duplets (as in Example 3). Notes in Avoid going higher until the student has a parentheses are for varied forms (natural, melodic, harmonic). E minor is an exception in good grasp of fifth partial C# -E. that it starts on first line E in order to allow the melodic and harmonic forms to resolve to "E" on the top.
Save triplet minors for later; they are quite difficult. I include the ranges here so that the complete set will be together in one place (Example 6). This outline of ranges will form the basis of a complete scale routine which will be discussed in a subsequent issue.
Page 16 The Clarinet EXAMPLE 5 ^ A.M.Gigliotti, Inc. am, dm, bm: gm: cm, Hm, d>m: fm: ' - THE MARK OF EXCELLENCE (!>♦)
Gigliotti ♦ (H* ) (•) g#m: c#m: f#m: Mouthpieces These State-of-the-Art clarinet mouthpieces (#») (tt») are the number one choice of professional EXAMPLE 6 clarinetists worldwide (/) Made from the highest quality French am, dm, bm, em, c#m: g#m: gm: cm, fm, bt>m, dm: f#m: ^5 cane, Gigliotti clarinet and saxophone !>♦(*) Isolate the top three, four, or five notes of each scale for repetitive practice. This is the new part; the rest of the scale was learned previously. Two particular note combinations need special mention. I discussed in the previous article the importance of adding the right- hand Al'-EJ' key for fifth partial D but not for Ci. Once the student is comfortable with that contrary motion, the table is set for something even more awkward but equally important: Gigliotti Ligatures connecting Ot-D# and D^-El' using the forked fingering. Because D# (El') is so flat when fin¬ gered with the right-hand middle finger, that fingering should be avoided whenever possible. for clarinet and saxophone Some clarinetists substitute the third (ring) finger for the middle finger, which does raise the pitch, but I prefer to use the forked fingering whenever possible because the pitch and quali¬ ty are even better. As awkward as it is to learn, it can eventually be played very quickly as long as no repetition is involved. Example 7 shows several of the note combinations that should be practiced. EXAMPLE 7 Gigliotti ligatures have a unique patented design featuring internal ribs. K K It improves response, tone quality, and resonance. „ "F f - 3 1 _U 3 U J Gigliotti No Jam Silk Clarinet Swab lk K K f £ £ P * r¥¥ f 1 1 1 1 1 .[[ 1 fj 7A-7D can eventually be played as fast as anything else and 7E and 7F nearly as fast. 7G The World's Only Patented Swab has a definite speed limit and should be practiced very slowly. In every case the pinky must If you get it stuck, pull it back outl be trained to be up for Ci (D'') and down for Dtt (El'). If there is significant undertone (grunt), go through the checklist in the June 2003 article, have the student play louder until secure, Gigliotti Advantage and only if the problem persists offer some judicious suggestions about tongue and throat Ready-To-Play Set position. Offer immediate musical examples as always. Space doesn't allow any here, but I'll include some in a later article. I'm hopeful that the new laryngoscopic studies will con¬ The set includes tinue to shed light on the mystery of the oral cavity, but meanwhile please send me your Gigliotti Advantage favorite verbal description of register changing for inclusion in a future Webster's Web. mouthpiece, ligature, protective cap, and matching reed Webster's Web I am particularly interested in hearing about different approaches to oral cavity adjust¬ A.M.Gigliotti, Inc. ment. Send your thoughts to Webster's Web: Michael Webster, Rice University, Shepherd P.O.Box 8387 School of Music - MS 532, PO Box 1892, Houston, TX 77251-1892; Tel: 713-348-3602; Cherry Hill, NJ 08002 Fax: 713-838-0078; E-mail: September 2003 Page 17 Meri Dolevski comments on my De¬ one pulse is a quarter note and the like triplets. Everything else is in triplets, cember 2002 article regarding rhythm and other is a dotted quarter note. Even and as such, the movement could have notation. I had suggested that eighth-note pieces that are often rewritten in 3/4 been written in 6/8 without any discemable triplets in 2/4 could be used to introduce that are normally in 6/8 do not feel difference in "feel." 6/8. She says: right when written in 3/4." There is absolutely a difference in feel between 3/4 and 6/8 as Meri points out, but "The feel of the eighth-note trip¬ I agree with everything she says, but the I don't believe there is an intrinsic differ¬ let and three eighths with a dotted exception is when the quarter of 2/4 is ence between 3/4 and 3/8. There the choice quarter note as the pulse, to me, is divided into triplets without any duplet lies mostly with tradition, e.g. waltzes and rather different. There is a difference subdivision happening either alternately or scherzos in 3/4, other movements of vary¬ in the feel between an eighth note simultaneously. An example is the last ing speeds in 3/8. triplet and two eighth notes in 2/4 movement of Bach's Fifth Brandenburg My young student has graduated from and 5/8 time written as 2+3 or 3+2. Concerto, which is written in 2/4. The the Lyons C clarinet to one of my old Buf¬ In the former, two quarter notes are theme does contain dotted rhythms, but fet B^s. I decided to switch as the summer the underlying pulse; in the latter, Baroque experts say they are performed approached and I anticipated leaving Hous¬ ton for two months. It was perhaps a little earlier than ideal, but I wanted her to have a month to adjust before I left. She just cel¬ ebrated her 11th birthday, but is still small < 'fipbert 3orSec^ for her age, and covering the right-hand holes is a challenge. An occasional squeak Superior Handcraftedcfarinet Moutfspieces bursts forth, but otherwise the changeover is going smoothly, especially the embou¬ chure, which adapted easily and is produc¬ P.O. Box 13764 ing a full tone, a bit reedy, but with lots Las Vegas, Nevada 89112-1764 of air behind it. She still has problems reading rhythms, and the concept of sub¬ 702-798-4428 division is a struggle. 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HN 344 $19.95 Piano Reduction HN 651 $51.95 For more information or to order, HN 732 $23.95 contact your favorite music dealer! G. Henle USA, Inc. Phone: (314) 514-1791 • Fax: (314) 514-1269 Email: [email protected] • www.henleusa.com Page 18 The Clarinet ered with one-and-two-and. We'll keep working at it. Meanwhile, the Lyons C clarinet experience was definitely posi¬ tive because she has had more than a Clarinet Artists Know year's headstart and is now barely large enough to handle a B'' clarinet. About Thumb Pain The Clarinet First Hand. 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 air¬ mail delivery time outside North America is 7-10 days. The jupiter thumb rest, although preset to the standard position, is adjustable up and down to better fit hand size or finger length VISIT I.C. A. Jupiter student clarinets feature ON THE WEB: an adjustable thumb rest with strap attachment and neck strap. WWW.CLARINiT.ORC This addresses a growing concern among teachers and physicians about problems with hand ailments resulting from students supporting clarinets totally on Mason Gross School of the Arts their thumb. The Jupiter thumb rest features a strap hook eyelet and A comprehensive music program with an internationally each instrument comes with an adjustable neck strap. acclaimed faculty, within one of America's most The neck strap lessens the weight on a student's thumb prestigious universities. Just as heightened awareness of cause and promotes correct hand and finger positioning, embouchure and posture. Bachelor of Music in: and effect resulted in bicycle helmet • Education • Performance • Jazz Studies usage becoming standard for youngsters, so too has knowledge of cause and Bachelor of Arts in Music effect resulted in the development of these Jupiter models. Master of Music in: • Education • Collaborative Piano • Performance • Conducting Jupiter's adjustable thumb rest can be raised or lowered to accommodate a player's • Performance with specialization in Jazz Studies hand size and finger length, which further reduces strain on the wrist, known to Master of Arts in: contribute to ailments such as carpal tunnel syndrome. Leading hand surgeons • Composition/Theory • History/Theory have authored articles on this subject*. Students, not yet fully developed as Doctor of Musical Arts in: adults, who practice or play for periods of more than one hour at a time • Education • Collaborative Piano • Performance with specialization in all orchestral become increasingly vulnerable as they continue on in their musical careers. instruments, voice, keyboard, or conducting. Artist Diploma Let's help young artists avoid medical problems. PhD in Musicology Recommend beginning clarinetists start on instruments PhD in Composition/Theory having adjustable thumb rests and neck straps. THE STATE UNIVERSHY OF NEW JERSEY . . RUTGERS1VJL1VJ Schoo|Mason of the Arts Gross Department of Music rJlM^ Marryott Music Building • 81 George Street (www.jupitermusic.comj New Brunswick, NJ 08901-1411 USA (732) 932-9302 • FAX (732) 932-1517 * The Clarinet, February/March 1992 www.music.rutgers.edu * The Clarinet, July/August 1998 P.O. Box 90249 • Austin, TX 78709-0249 September 2003 Page 19 CLARLHOTEc^ Kingsville International Competition 2003 The winner of the 2003 Kingsville (Texas) International Competition in the Senior Non-bowed Instrument Concerto division was clarinetist Michael Jacob Wayne, 21, a student of Fred Ormand at the University of Michigan. He also placed third in the overall final competition and received $2,100 in prizes, which will also include a performance with the Corpus Christi Wind Symphony. the jury were: Jiri Krejci (Czech Repub¬ form the Mozart Concerto with the Vi¬ lic), Luigi Magistrelli, Nicola Miorada, valdi Chamber Orchestra conducted by Primo Borali and Silvio Maggioni, who Silvio Maggioni the day after the conclu¬ was also the organizer and Artistic Direc¬ sion of the competition. Second prize and tor of the Competition. A good number 700 Euros were given to Falco Alessandro of participants were from Italy and other from Italy and third price ax aequo to two European countries. players, Antonio Duca and Midali Gian In the minor category the winner was a Luigi, also from Italy. Special mention was Michael Wayne very gifted 14-year-old clarinetist from Sa¬ given to the other two finalists, Marco- lerno (south of Italy) who, among others, gliese Stefano and Bertasa Damiano. Third Edition of the Breno played the Mozart Concerto from memory. International Clarinet He won 350 Euros. The second prize (250 Euros) was won by Marco Giani and third The Andres Makris Competition "G. Mensi" prize ex-aequo (150 Euros) to Selene Fra- Clarinet Competition The third edition of the Breno, Italy, marin and Tullio Balduzzi. Special men¬ The Andreas Makris Colorado State International Clarinet Competition "G. tion was given to the 11 -year-old Daniele University Clarinet Competition was held Mensi" took place May 8-10, 2003, in Zamboni (Italy) Tomas Vavra (Prague) April 26-29th, 2003. First Prize $3,000 — Breno, a little town in the northern part of and Julia Werner (Germany). Brian Viliunas, Northwestern University, Italy where Giacomo Mensi was bom. Gia- In the major category three rounds (in Illinois; Second Prize $1,000 — Ismail como Mensi was a talented clarinetist who which the competitors played behind a cur¬ Lumanovski, Interlochen, Michigan; Third studied at the local Conservatory in Darfo tain) were necessary in order to determine Prize $500 — Vasko Dukovski, Inter¬ Boario Terme, and then took a diploma the winner. In the first round the compul¬ lochen, Michigan at the Hochschule of Freiburg (Germany) sory pieces were the Weber Concerto No. On Tuesday evening, Brian performed studying with the well-known player Die¬ 1, Op 73 (first movement) and a modem the clarinet piece with blinding technique, ter Klocker. Soon after his graduation he and interesting piece of P. Damiani's titled sensitive phrasing, and dramatic flair to an died in a tragic car accident, and this com¬ Romania e Scherzo. In the second round appreciative audience. His standing ova¬ petition has been organized to keep alive 15 players (out of 33) moved on and had to tion was immediate and well-deserved. the memory of this young player. play the Stravinsky Three Pieces. Six play¬ Andreas Makris was also recognized by The competition allowed the clarinetists ers were selected for the last round in the audience and was very pleased with to compete in two different categories: which the Mozart Concerto had been cho¬ Brian's performance. The CSU Wind En¬ "young promises" and "excellence." The sen as a compulsory piece. The winner was semble followed Intrigues with a new edi¬ President of the jury in the major category Tamas Massanyi from Hungary winning tion of Andreas Makris' Aegean Festival. was Anthony Pay. The other members of 2,000 Euros and the opportunity to per¬ Kate Gaines, CSU graduate student, per- Page 20 The Clarinet offer information on many topics ranging from musical experiments related to the clarinet to the rare opportunity of seeing closeup some of the world's oldest and most significant clarinets. The time span covered by the exhibition includes instru¬ ments through the 1950s or 1960s, so the symposium, besides including historical matters, will represent today's clarinet world via concerts and lectures as well. More detailed information will be made public in due time. Please consult the Web site: "Peanuts" Hucko Dies Fourth German Clarinet Famed Swing-Era clarinetist Michael Symposium in Berlin $ * "Peanuts" Hucko died on June 19, 2003, in The Deutsche Klarinetten Gesellschaft Fort Worth, Texas, after a long illness. He will host the Fourth German Clarinet Sym¬ was 85. posium in Berlin, Germany, October 1-3, He played with Glenn Miller's Orches¬ 2004. The event will occur at a most inter¬ 1 tra during World War II and latter became esting location — the Musikinstrumenten- yr . the leader of the band. He was also a fea¬ Museum des Staatlichen Instituts fiir tured artist on "The Lawrence Welk Show" Musikforschung Preussischer Kulturbesitz. in the 1970s. He worked as a television This world-famous museum for musical studio musician for CBS, NBC and ABC instruments is adjacent to the Berlin Phil- for 15 years, and was described by Louis harmonie. The symposium will be the I Armstrong as, "my main man ... my fa¬ opening event of a half-year exhibition Lisa Diane Snyder and Colonel Dennis M. vorite jazz clarinet player." entitled "300 Years of Clarinet" which will Layendecker, Commander/Music Director September 2003 Page 21 the Richmond Symphony. She currently studies with Robert Spring, clarinet pro¬ fessor at Arizona State University, and is a former student of clarinetist Marta Schworm Weldon of the Richmond (Va.) Symphony and Charles West of Virginia Commonwealth University. The Colonel George S. Howard Young Artist Competition is an annual competi¬ tion that began in 1994 and is named for (I to r) John Stephens, William Wright, Nancy Genovese, Cathy Ogram, Janice Webber- the second commander and conductor of Norris, Ben Redwine, Dave Spiegalthal, Mary Ahmadi, Denis Malloy, Charlene McDaniel The Air Force Band to honor his many and Michael Kelly. contributions to young musicians. The competition is open to all high school band Information about the 2004 competition was a sponsor of the ensemble and at¬ instrumentalists in grades 9-12 who are can be obtained by writing to: Young Art¬ tended many of its rehearsals. The con¬ United States citizens. Originally a compe¬ ist Competition, The United States Air cert took place at Riderwood Village, tition for winds and percussion, it now Force Band, 201 McChord Street, Boiling a retirement community in Maryland alternates yearly between brass/percussion AFB, Washington, D.C. 20332-0202, or where he had recently moved. Works by and woodwinds, with the 2004 competi¬ by calling/e-mailing Technical Sergeant Pergolesi, Schickele, Ahmadi, Barber, tion being for brass and percussion. Melinda Burts at (202) 404-8363, e-mail: D'Rivera, Stephens, Roden and Granados For the preliminary round, a panel of RedwineJazz Neuranter — Paris proudly featuring Clarinette Gennusa "Excellente "Quand une anche donne la couleur" Mouthpiece "V Provides musicians with exceptional tones and colors of sound. This B1, clarinet mouthpiece combines tradi- l|i|ypF tion, professional experience and years of Clarinet Reeds E^- experimentation with state-of-the-art technol¬ Clarinet Reeds B'- ogy. 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September 2003 Page 23 by William Nichols ris exhibits accomplished skills and imagi¬ Personal editorial policy would nor¬ nation in handling the musical materials mally prevent this writer from including in That all-too-little listening time and the ensemble of instruments. His writ¬ the same issue of "Audio Notes" (or even recently has been taken up by two ing for the bass clarinet utilizes a wide successive issues) another recent release recordings from the same forces, range of the instrument's capabilities, in¬ from the same performers. However a which, in a year of numerous notable clar¬ cluding the altissimo register, for which recording from the Orpheus Quartet of the inet chamber music productions, are this Sparnaay is well known. three Brahms quartets and the Clarinet clarinetist's nominees for releases of the The performances are world class. Es¬ Quintet in B Minor, with Mr. Estelles, is year. They come from the Spanish clar¬ telles is a clarinetist of the highest accom¬ too good to ignore. inetist Jose-Luis Estelles and the Orpheus plishment. He is a naturally fluent and poe¬ Expecting a very good performance and String Quartet of Germany. tic player who communicates remarkably recording, admittedly, in the instance of One of these discs contains two brilliant well subtle shadings of musical character these discs (given the well-known music string quartets, the Clarinet Quintet, and and expression. His tone is limpid and and the recorded competition), I did not the Concertino for bass clarinet and string beautifully controlled throughout its com¬ expect Mr. Estelles and the Orpheus to dis¬ quartet, all by the late Dutch composer pass, and he brings this music to the lis¬ tinguish themselves as convincingly here tener in a most convincing manner. He has Tristan Keuris (1946-1996). as in the Keuris disc. Indeed they do! This had orchestral experience in England, Bel¬ Written in 1988, the 21-minute Clarinet disc, recorded in the Netherlands and bear¬ gium and Germany, as well as his native Quintet was composed for George Pieter- ing a 2000 copyright date, captures beauti¬ son and the Orlando Quartet. This dram¬ Spain where he is the principal clarinetist fully Brahms' warm, lush sonorities, and is atic piece, in what may be called a post- of the Orchestra of the City of Granada. He impressively balanced. The playing of serial style, is attention-getting and atten¬ has appeared as a soloist, chamber player, these performers is again world class. This tion-holding. It is well conceived and beau¬ and teacher of master classes throughout ensemble finds perfect pacing for the first tifully crafted. Keuris has here, as with all Europe and has also appeared in the U.S. movement, which is allowed to breathe, the music on this release, an effective sense Since 1994 he teaches at the University of but yet is in a basically brisk tempo. The of structure, proportion, and musical con¬ Alcala in Madrid, and is currently a profes¬ phrasing throughout the work is elastic trast, and he clearly understands how to sor at the Centro Superior de Musica del and natural, and intonation, as is the case write well for these instruments. There is Pais Vasco. The Orpheus Quartet (Charles- plenty of virtuosity and rhythmic vitality Andre Linale and Emilian Piedicuta, vio¬ with the Keuris pieces, is pure. These found here, which is always organic in lins; Emile Cantor, viola; and Laurentiu musicians are clearly in spiritual agree¬ nature, as well as lyrical and touching Sbarcea, cello) delivers stunning perfor¬ ment, and deliver thoughtful and sensitive melodic writing. There is a directness and mances of these works. The blend, balance performances of this great music. This honesty in the composer's writing which and tonal sheen of this ensemble, and its Brahms Clarinet Quintet is as good as any has produced a profound and significant like-minded approach to music-making available and certainly joins a handful of work, a piece which has already made its place among world-class quartets. favorite versions (see "Audio Notes," De¬ way into the growing list of clarinet-quin¬ The sound quality — balance, timbre, cember 1998, p. 23). tet repertoire. imaging and sound stage — is also exem¬ The three string quartets in this two- Less known, and also adding to a small plary. The recording delivers a most en¬ disc set maintain the excellent perfor¬ but growing list, is the Concertino for bass gaging musical experience for the fortu¬ mance and recording standards found in clarinet and strings. This three-movement nate listener. The release, which contains the clarinet work, and surpass in musician¬ piece of just under 10 minutes is also ef¬ 76 minutes of music, is beautifully pro¬ ship and sound a set of these works from fective, if cast in a somewhat different vein duced with photos and thorough notes my library on a prominent label. This than the Clarinet Quintet. Written for the in English, Dutch, German, French and release is beautifully produced in a classy prominent Dutch bass clarinetist Harry Spanish. This enthusiastically recom¬ double folding slip case with especially Sparnaay, it is earlier (1977, revised in mended disc is on the EMERGO CLAS¬ attractive cover and interior graphics, and 1979), has more edge in its character, and SICS label, number EC 3907-2. For more with, appropriately, few notes (English displays serial technique and pointillism at information go to the Web site: Page 24 The Clarinet turtlerecords.com>. The song of Orpheus consistently excellent, with a rare occa¬ work. The Concerto was composed in 1815 calls — strongly recommended. sional raspy reed or ambient hall noise for clarinetist Ivan Miiller. The second showing up. The master tape is believed to movement is missing, and for this record¬ To quote the clarinetist/producer re¬ be an analog recording, and may be the bet¬ ing Klocker has inserted the "Andante" garding a CD set at hand, Timothy Perry ter for it. While listeners with high-end movement from the third of Miiller's own says: "It's a bit of an odd bird, to be sure, equipment and good resolution will possi¬ three clarinet concerti. This movement is but I dearly love these etudes and think bly detect a small amount of tape hiss, the a rollicking theme-and-variation piece that they are possibly the most musical natural depth and smoothness of the clar¬ which is more finale-like than the custom¬ ever composed for our instrument." This inet sound captured here is beautiful, and is ary middle movement. The Reicha con¬ reference is to Mr. Perry's recording (the often missing from some digital processing. certo's general character and structure is "odd bird") of Paul Jeanjean's 18 Etudes This production contains some brief quite interesting, and is certainly more de Perfectionnement. Recording these biographical notes, in English only, regard¬ akin to the early Romanticism of Weber studies, which are (hopefully) still widely ing Paul Jeanjean, contributions that this and Spohr than to earlier models. Busch¬ used, is not so "odd" after all. important clarinetist/pedagogue made to mann has added a brief slow introduction This writer agrees with Mr. Perry that our profession, and photos of the composer to the third movement "Rondo." Reicha's these studies (or are least most of them) and performing artist. The discs, which third movement "Allegretto" is especially are musically strong enough to be pro¬ bear the CLARINARTS label but no cata¬ appealing and ends brilliantly. The other clarinet work presented here, a set of vari¬ grammed for public performance. log number, are available from the artist ations, was written for clarinetist Frederic These, as well as Jeanjean's 16 Etudes for $20 (two-CD set) at: 14 Bennett Ave¬ Blasius, who is the composer of the pie¬ Modernes, are familiar to many of our nue, Binghamton, NY 13905. ce's introduction. readers. They are some of the earliest ped¬ While there is obvious pedagogical These pieces are played with enthusi¬ agogical examples dealing with 20th-cen¬ merit to having recordings of polished asm by soloist and orchestra. Mr. Klocker tury music. In the brief preface to the 18 performances of these studies available at is in customary form, exhibiting agile con¬ Etudes the composer states that these stud¬ our fingertips for students and ourselves, trol of his German instrument and a round ies, "...prepare the clarinetist to read and perhaps more importantly there is consid¬ tone. Both soloist and orchestra deliver a execute various odd melodic chord forma¬ erable musical listening pleasure to be certain quirkiness at times appropriate to tions and intricate rhythmic figures found experienced. This writer is most pleased the character of this early Romantic music. in the symphonic works of the Modern¬ to add this recording to his library. Bravo, The remainder of the recording pre¬ ists." The studies were published in Jean¬ Timothy Perry! sents two works: the Introduction and jean's last year, 1928, and the prominent ^ ^ Rondo in F for horn and orchestra, and Modernists that the clarinetist/composer Clarinetist Dieter Klocker continues to the Theme and Variations in G for bas¬ was most familiar with was Debussy, Ra¬ bring to light clarinet and wind music, as soon and orchestra. Both pieces are a de¬ vel and Stravinsky. well as string/wind chamber music from light to hear, and played very impressively Timothy Perry is a professor of music the early 19th century. In a recent release by American homist Sarah Willis, now a at Binghamton University in New York. In on the Orfeo label Klocker and colleagues member of the Berlin Philharmonic, and addition to activity as a clarinetist and present this writer's first exposure to or¬ the well-known German bassoonist Karl- teacher, he is a conductor. He has concer- chestral music of Anton Reicha. This Bee¬ Otto Hartmann. These performances are tized throughout the U.S., Europe and Asia thoven contemporary is best known for his highlights of the disc. as well as touring South America and the significant number of wind quintets and The audio engineering presents the Caribbean as a United States Musical Am¬ other chamber works. There are a small Prague Chamber Orchestra on a somewhat bassador. He has performed at I.C.A. con¬ number of concerted works for solo instru¬ too large and reveberant sound stage. The ferences in France and Belgium. He plays ment and orchestra, four of which are pre¬ sound is certainly smooth and warm, if a these studies with panache and has a large, sented here by Klocker, homist Sarah Wil¬ bit bigger than life. This recording does darkly colored tone with a woody ring. lis, bassoonist Karl-Otto Hartmann, and envelope the listener in a rich, distantly The quality is very even throughout the the Prague Chamber Orchestra under the focused ambiance which does yield a cer¬ instrument's range, and finger technique is leadership of concertmaster Milan Lajcfk. tain old-world sound. silky smooth and very impressive. This The major portion of the disc is taken Recommended to any interested in project, which actually was recorded in by two clarinet works, a Concerto in G hearing orchestral music of this some¬ 1993 but only available lately on compact Minor and the Introduction and Variations what significant Bohemian, and to those disc, was a labor of love. That love mani¬ in on a Theme of Dittersdorf. Reicha's looking for fresh solo literature of the fests itself in the effective musical result concerto as performed here is an almost early Romantic era. The disc is ORFEO achieved in this two-disc release of slightly 28-minute work, and the manuscript is not C 170 021 A, distributed by Qualiton more than 89 minutes length. complete, and is partially lost. It has been Imports, and is found in leading retail Considering the multiple recording ses¬ reconstructed for this recording by Eber- outlets. Extensive notes are in German, sions demanded of a project of this scope, hard Buschmann, who furnishes some de¬ English and French. the recorded ambiance and clarinet tone is tailed notes regarding his hand in this Good listening! September 2003 Page 25 ^'aMW 'ms'gsLW 8111881JI1HS5I11 ili(i Ik 'lal Puerto Rico Conservatory of Music Celebrates V! Clarinet Festival, and Other News from the Island of Enchantment A Report by Kathleen Jones From January 30 through February 3, 2003, the Conservatory of Music of Puerto Rico celebrated its Sixth Clarinet Festival, with the participation of James Gillespie and John Scott of the Uni¬ versity of North Texas. The two master (I to r) front, kneeling: Miguel Hernandez, Christine Alvarado; second row: Glori teachers each offered two master classes Sanchez, Marianela Trinidad, Carmen Collazo; standing at back: Christina Rodriguez, and a lecture, as well as sharing a recital Noel Marcano, Jeanny Lopez, Emely Medina, Jose Luis Rodriguez, Denise Cardona, and adjudicating an etude competition. Jonathan Alcantara (not pictured: Liza Nazario, Luis Flores) Fourteen clarinet students at the CMPR participated in the master classes, and 10 recital of works that were mostly new to first in the competition, bringing home competed in the contest, which required us. John Scott presented the romantic Son¬ the Gold Award. students to present a pair of etudes from ata for A for clarinet and piano by Nino Our Conservatory Chancellor, Profes¬ Himie Voxman's Selected Studies. The Rota, and John Mayer's enchanting Raga sor Maria del Carmen Gil, has steadfastly winners, receiving cash prizes donated by Music for solo A clarinet. James Gillespie supported our Clarinet Festival over the Villa Music, were: Noel Marcano (first), offered Max Reger's Album Leaf and Tar¬ years, making it possible to bring the fol¬ Denise Cardona (second), Cristina Rodri¬ antella, the jazzy Variations by Mexican guez (third) and Emely Medina (honor¬ lowing guest artist-teachers to Puerto Rico composer Leonardo Velazquez, Aubade able mention). to work with our students since 1997: by Norbert Goddaer and Alec Temple- These four were joined by Luis Flores Fred Ormand, Tom Ridenour, William ton's charming Pocket Size Sonata. The (bass clarinet) in presenting two move¬ McColl, Jerry Hall, the Caracas Clarinet morning's banquet came to a rousing ments of Paquito d'Rivera's Aires Tropi- Quartet, Richard Hawkins, Michael Web¬ conclusion with the ever-popular Concert cales in one of the master classes to the de¬ ster, Ricardo Morales, Mitchell Lurie and Piece in f minor by Mendelssohn. The light of the two professors who had per¬ Jorge Montilla. Master classes have also pianist for the recital, as well as all the formed the work with Paquito himself pre¬ been given by clarinetists Keith Koons master classes, was our much appreciated viously. Other students participating in the and Wagner Campos, visiting during first Professor Rafael Sueiras. master classes were: Jonathan Alcantara, semester 2002-03. The VI Clarinet Festival was attended Christine Alvarado, Carmen Collazo, Mi¬ And as an additional bonus to these by Conservatory students and faculty, as guel Hernandez, Jeanny Lopez, Liza Na¬ riches, we were honored by a visit by Hi¬ well as by teachers and students from all zario, Jose Luis Rodriguez, Glorilivet San¬ mie Voxman to our island in February. chez and Marianela Trinidad. over the island and the general public. It He and his son, Jim, graciously interrupted The Casals Museum kindly showed was sponsored by the Conservatory, the their tourist itinerary to come hear the videos of past Casals Festivals on Friday Corporation for the Musical Arts, the Ca¬ Puerto Rico Symphony Orchestra on the at noon. We were able to watch perform¬ sals Museum and Villa Music. 12th and to be our guests at the Conser¬ ances given by Robert Marcellus (the We are especially grateful to James Gil¬ Brahms Trio with Pablo Casals and Eu¬ lespie and John Scott for their wonderful vatory's weekly clarinet seminar on Val¬ gene Istomin) and by Harold Wright (Ra¬ work with our students at this time. In entine's Day. Interspersed with Don Hi¬ vel's Introduction and Allegro with John April, our Conservatory Band participat¬ mie's marvelous stories were student per¬ Wummer, Nicanor Zabaleta and the Guar- ed in a Wind Band Festival sponsored by formances of his Selected Studies, and a neri Quartet). World Projects, Inc. in Carnegie Hall, in surprise Valentine's Day Serenade, sung On Sunday morning at 11:00, Gillespie New York City. Conducted by Professor by multi-talented clarinetist/soprano Chris¬ and Scott rewarded us with a lovely joint Rafael Enrique Irizarry, our band placed tine Alvarado. Page 26 The Clarinet Saturday began with a performance by The Second Annual nardo Velazquez's Variaciones para clari- David Shea, the symposium host. Shea nete y piano. From lively to mellow and Texas Tech University welcomed the attendees and opened his serious to slapstick, Gillespie effectively recital with an energetic performance of captured a different mood for each varia¬ Clarinet Symposium the Paavo Heininen Short 1, Op. 58a for tion. Next came a mesmerizing perform¬ Clarinet Solo. This was followed by an ex¬ ance of the Norbert Goddaer Aubade and A report by Tonya Lawson pressive rendition of the Carlos Guastavino a klezmer-like performance of the Srul Tonada y Cueca, and the recital closed Irving Glick Suite Hebraique. The recital The second annual Texas Tech Uni¬ with a beautiful performance of the Cahu- closed with a lovely performance of the versity Clarinet Symposium was zac Variations sur un air du pays d'oc. Alec Templeton Pocket Size Sonata. held on the campus of Texas Tech Next we moved across the hall for a In addition to the clinics and recitals, University on March 28-29, 2003. The pedagogy clinic given by Carol Jessup, many local area high school and middle weekend was full of recitals, clinics and professor of clarinet at the University of school students participated in the sympo¬ master classes, all brought together by Texas at Arlington. Jessup opened the clin¬ sium by taking lessons, attending recitals David Shea, assistant professor of clarinet ic with the distribution of several handouts and a fundamentals clinic, and rehearsing at Texas Tech University. including an article from the February and performing with the Texas Tech clar¬ The symposium started Friday evening 2003 issue of The Instrumentalist entitled inet choir. The final round of the sympo¬ with a master class by James Gillespie, re¬ "In Developing a Clarinet Sound So Much sium high school competition attracted gents professor of clarinet at the University Depends on the Embouchure," Teaching many fine players from around the state. of North Texas, who worked with six stu¬ the Clarinet, a pamphlet distributed by This year's finalists were Jonathan Jones, dents from Texas Tech. The class began Southern Music Company and a final Brent Buemi, Malcolm Prigg, Chantelle with Trisha Burrel beautifully performing handout entitled "All-State Auditions: Kelly and Nathan Beaty. The judges were the second movement from Tedesco's Son¬ Practical ways to prepare for auditions at Tamara Raatz (Eastern New Mexico Uni¬ ata for Clarinet and Piano, followed by a all levels." Jessup gave a very eloquent versity), Rich Spece (Angelo State Univer¬ clever performance of the Copland by Jake and detailed presentation on how to teach sity) and Sandy Mosteller (Wayland Bap¬ Beeman. Amy Sandefur gave a lively ren¬ good tone, use of air, hand position, use of tist University). First place was awarded to dition of the first movement of the Mal¬ tongue, playing in the upper register and Jonathan Jones and second place to Brent colm Arnold Sonatina, and a stirring inter¬ other general topics including equipment Buemi, both students from Duncanville pretation of Stravinsky's Three Pieces was and a student's concept of sound. High School in Duncanville, Texas. given by Kristen Morrow. The master class After a brief lunch break, the sympo¬ was concluded with two works titled Intro¬ sium reconvened with a recital by Gary duction, Theme and Variations by Cru- Whitman, associate professor of clarinet at sell and Kiiffner (often incorrectly attrib¬ Texas Christian University. The perform¬ 603 Chapel Hill W. Drive Indianapolis, IN 46214 uted to Weber), played by Lauren Kamin- ance opened with a beautiful presentation 317-248-9755 ski and Becky Rosales. Gillespie offered of the Burgmilller Duo for Clarinet and Contest abridged solos for clarinet many very useful ideas to the participants Piano, Op. 15. Whitman then performed and piano with performance and on topics such as intonation, looking for the Bela Kovacs Hommage a Manual de play along CD. $10.00 each misprints in the music and the use of al¬ Falla for solo clarinet with great flare, and Mozart Concerto, 1st. movt. ternate fingerings to aid in the production closed the recital with a fabulous perfor¬ Mozart Concerto, 3rd. movt. accompanied music by means of rubato mance of the Copland Sonata. Stamitz Concerto in Bb, 1st. movt. and placing emphasis on certain inter¬ Immediately following Mr. Whitman, Weber Concerto #1,1st. movt. vals. The suggestions were very useful to James Gillespie took the stage with a vari¬ Weber Concerto #1,3rd. movt. the participants and greatly appreciated by ety of lesser-known pieces, including Max Weber Concertino, op. 26 the audience. Reger's Two Pieces, followed by Leo¬ Haydn, Op. 64, No. 5,3rd. movt. Mixed Cl. Quartet, $5.00 Music of John Dowland Mixed Cl. Quartet, $5.00 John Dowland Suite Clarinet Choir, $15.00 Silent Night, Gruber Flute, Clarinet, Piano, Opt. Chimes and Bells. Medium Difficult. $10.00 Listen to Real Audio recordings of the above compositions on our web site. Symposium clarinet choir www.brsmusic.net September 2003 Page 27 The symposium came to a close with a mance, was a recital by David Etheridge, concert by the TTU clarinet choir which professor of music at the University of Ok¬ gave spectacular performances of the Bach lahoma and Jeong Soo Kim, piano faculty Brandenburg Concerto No. 3 and the final member at Northern Illinois University. two movements from Moussorgsky's Pic¬ Etheridge performed a recital devoted to tures at an Exhibition. Finally, attendees of the A clarinet, beginning with the Mozart the symposium joined the TTU clarinet Clarinet Concerto, K. 622. He followed choir to perform the Mozart Menuetto with the little known Sonata in Re by Nino from Divertimento No. 2, K. 229, Ay re by Rota and the Sonatine pour clarinette et Texas Tech's own Mary Jeanne van Ap- piano by Arthur Honegger. pledom, Trepak from the Nutcracker Suite, Mike Lowenstem, David Etheridge, Greg Sunday began with a warm-up class "The Pink Panther" and a grand finale of Barrett and Lawrie Bloom. by Melvin Warner. Mr. Warner discussed Stars and Stripes Forever. Thanks to this flexibility with the mouthpiece. Be¬ symposium, all of the participants left choir by Bjom Eklund. The ensemble ben¬ coming familiar with how comfortable Texas Tech having learned new ideas on efited from the guidance and direction of you can bend the pitch at the mouthpiece playing the clarinet, hearing many won¬ Lawrence Stoffel, director of the NIU allows you to stay in tune with others in derful performances and enjoying the op¬ Wind Symphony and the North Shore an ensemble. portunity to meet and play with other clar¬ Concert Band. The rehearsal concluded After the warm-up class was finished, inet players of all ages and abilities. with preparations for Sunday's collabora¬ we moved on to the David Etheridge mas¬ tive performances with the NIU Wind En¬ ter class. Three students volunteered to semble, directed by Ronnie Wooten. Northern Illinois play, each presenting a different challenge. After lunch the festival continued with a The first topic was phrasing. Etheridge University Clarinet master class taught by J. Lawrie Bloom, of referred to phrasing in two parts, ante¬ the Chicago Symphony Orchestra, whose Cornucopia, cedent and consequent: that each phrase appearance was sponsored by Buffet had a question and it had to be answered. March 29-30,2003 Clarinets. The performers at the class per¬ The second topic was tone. Tongue posi¬ formed a wide range of works for soprano tion is key. Keeping the tongue close to the A Report by James Tobin and and bass clarinet, from recital to orches¬ top of the mouth allows the air to flow Ryan Kawabata tral repertoire. Mr. Bloom emphasized directly towards the reed. The last topic flexibility in articulation and accent, or¬ discussed was subdivision. He explained Amidst cold weather and flurries chestral phrasing and ensemble play. that subdividing by 16th notes increases the second annual Clarinet Cor¬ The tools of our trade, reeds, mouth¬ the accuracy of the rhythm. nucopia opened Saturday, March pieces, and more were on hand in abun¬ Next was a master class featuring Mel¬ 29 at Northern Illinois University in dance thanks to the presence of Mark vin Warner and Greg "Moose" Barrett. DeKalb, Illinois, hosted by NIU's clarinet Thompson of International Musical Sup¬ Among the topics addressed were breath faculty: Gregory Barrett and Melvin pliers and Steve Baughman of Vandoren. support and musicality. Both Melvin War¬ Warner. Participants and teachers began The afternoon treat was a recital by bass ner and Barrett stressed the importance of the day with a presentation by Deanne clarinetist Michael Lowenstem. Mr. Low- good support, which allows for a fuller Blanco, a physical therapist and hand spe¬ enstern performed an electro-acoustic sound and makes the altissimo register cialist for more than 10 years. Mrs. Blanco recital of original works (with the excep¬ easier to control. On the topic of musicali¬ covered many topics important to musi¬ tion of Gershwin's "Summertime") includ¬ ty, Mr. Warner noted that knowledge of cians who spend the greater part of their ing the premiere of Two Children, the first the composer's intentions helps the player day in rehearsal or the practice room, and two in a set of dancing songs in composi¬ make decisions on how a passage may shared insights she has garnered from tion for his daughter. The audience was be performed. working with her sister, a concert violist. greatly appreciative of this chance to see After the master class we listened to After discussing overuse, prevention, and such a mixture of virtuosic playing blend¬ a lecture given by James Falzone called general wellness topics, Mrs. Blanco led us ed with extended techniques and modern "Trends in Jazz and World Music Clarinet¬ through a series of basic exercises and compositional tools. Several pieces fell ists." Mr. Falzone mentioned a region of motions to prepare us for the day of work into the category of "tape" music, while France called Breton. There, clarinetists ahead. others involved layering techniques: the re¬ use the full tonal range of the clarinet to A short clarinet warm-up segued into petitive looping of performed material to add color to folk music. the Cornucopia's clarinet ensemble re¬ add voices and textures to the composition. Following the lecture was one of the hearsal. The ensemble performed later that With the exception of the premiered works, highlights of the Cornucopia: The Wind evening with a varied program, which in¬ all the pieces can be heard on Mr. Lowen¬ Ensemble concert featuring the guest art¬ cluded Bach, Mozart and Dvorak trans¬ stem's two albums: Spasm, and 1985. ists of the Cornucopia, David Etheridge, J. criptions as well as a Finnish piece, Karan- That evening, following the Clarinet Lawrie Bloom, Michael Lowenstem, and nut Kahdeksasosa, composed for clarinet Cornucopia's clarinet ensemble perfor¬ NIU's own Greg Barrett performing Con- Page 28 The Clarinet certante for Four Clarinets and Orchestra by L.A.B. Schindelmeisser. Patrick Shee- han, a student at NIU, arranged the piece originally composed for orchestra. Other pieces on the program included the Clar¬ inet Concerto No. 2 by Carl Maria von Weber performed by NIU senior Richard Zili. The concert concluded with Clarinet Polka played by all attendees of the Clari¬ net Cornucopia. The Cornucopia ended with J. Lawrie Bloom's recital. He was accompanied by Kuang-Hao Huang. Bloom opened by demonstrating his ability to mimic a violin when he performed the Violin Sonatina in D Major, Op. 137, No.l by Franz Schu¬ bert. Bloom followed with four of the Six Studies in English Folk Song by Ralph Vaughan Williams played on bass clarinet; Sonata in M Op. 120, No. 2 by Johannes Honolulu Symphony clarinetists, Norman Foster, second and clarinet; Scott Anderson, Brahms; and Suite 1 in G Major by Johan principal clarinet; James Moffit, associate principal clarinet Sebastian Bach, also played on bass clar¬ inet. He ended the recital with the Fan¬ gan in grand style with congress organizer the small but significant differences Naka¬ tasia on Motives from "Rigoletto" by Lu- Miles Ishigaki (California State University, jima demonstrated. Nakajima also dis¬ igi Bassi. This piece required him to Fresno), partnered by flutist Teresa Ishi¬ cussed new prototypes, including a model switch multiple times between B'' clarinet gaki, and pianist Natashia Kislenko treat¬ that combines the key system of the French and bass clarinet. ing participants to a poised, expressive clarinet with a bore more akin to German The last event on the weekend's pro¬ rendition of an arrangement of Debussy's models, and an instrument made of a new gram was the Clarinet Cornucopia's recep¬ Prelude a I'apres midi d'un faune, and a composite material. tion. The guest artists mingled with the lively performance of Fran^aix's Double The morning concluded with an in¬ attendees. Everyone enjoyed the caterer's Concerto with its quirky, humorous caden¬ spiring master class given by David Ether- giant cookies. With full stomachs we re¬ za for Eb clarinet and piccolo. Ishigaki was idge (University of Oklahoma), whose turned home to our practice rooms, reflect¬ then joined by Marino Calva (Orquesta innovative teaching methods can perhaps ing on the events of the weekend. All had a Pilhannonica de la Universidad Nacional be best summed up in his own words: good time, and we look forward to next Autonoma de Mexico) and Alison Dead- "The only way to lose the game of music year's event and another opportunity to man (East Tennessee State University) in is not to play the game!" Participants learn from another group of master educa¬ the First Trio by Bouffil. Hiroshi Nakajima headed out to lunch and an afternoon of tor/performers. (Yamaha Corporation of America) provid¬ sightseeing or lazing by the ocean with ed a change of pace next, as he explained plenty to think about. Energized by the beautiful surround¬ West Coast Clarinet the intricacies of customizing clarinets. Participants were intrigued and amazed by ings, congress attendees returned on Sun¬ Congress 2003: day to be treated to a varied fare of recit¬ als, lectures and demonstrations. David Oahu, Hawaii and Etheridge's evening recital combined the Fresno, California familiar and not so familiar in a beauti¬ fully intelligent performance of Mozart's A Report by Alison Deadman Concerto, followed by Nino Rota's ex¬ with Christine Montanez pressive Sonata. The program closed with the well-loved Honegger Sonatina. In January 2003, the West Coast Clari¬ The combined skills of the Honolulu Sym¬ net Congress embarked upon a new phony Orchestra's clarinet section (Scott stage of development, with sessions Anderson, James Moffit and Norman split between two venues: the first leg on Foster) provided the core of the Sunday the beautiful island of Oahu, Hawaii, and morning concert. They were joined by the second at the by now traditional venue Vicki Gorman (soprano), Beebee Freitas of Fresno, California. (piano) and Nancy Masaki Hathaway The three-day program on the campus Hiroshi Nakajima, Yamaha Corporation ('cello) for an exciting program: a nu- of the University of Hawaii (at Manoa) be¬ clarinet designer anced performance of Stravinsky's Ber- September 2003 Page 29 ceuse du Chat, a sensitive rendition of Free time on Monday morning al¬ This session was shared by Harry Miller Schumann's Romances, and a delightful lowed more exploration of the delights of of Miller Sheet Music Sales Inc. (chttp:// arrangement by Norman Foster of Bar- Oahu before an informative and enter¬ www.millersheetmusic.com/>), who led tok's Six Rumanian Folk Dances (1915). taining afternoon demonstration of the an informative open question/answer ses¬ The program concluded with Purple Ver¬ orchestral use of some unusual clarinets sion on the sheet music industry. ses for soprano, clarinet, 'cello and pi¬ (El'and d soprano, c, and bass clarinets, The first of the day's concerts, given by ano, by local composer Takeo Kudo, who and basset horn) by members of the Gary Cauchi (Merced Symphony Orches¬ was in attendance. Honolulu Symphony Orchestra clarinet tra) presented a delightfully varied pro¬ Sunday also gave the participants a section. The Hawaii leg of the conference gram (Pierne Andante Scherzo, Fisher chance to get some "hands-on" experi¬ was rounded out by a spectacular recital Four Movements, Prokofiev Sonata). This ence. Hiroshi Nakajima hosted a session of music by Hispanic composers per¬ contrasted beautifully with Tom Pulaw- in which he encouraged audience mem¬ formed by Marino Calva. ski's evening performance which began bers to try the instruments he had dis¬ When the congress reconvened in Fres¬ with Italian opera (the Fantasia di Con¬ cussed the day before, and Alexander no the following Friday afternoon, Miles certo on Verdi's Rigoletto, the Mozart/ Technique teacher Charlotte Anderson and Teresa Ishigaki repeated their recital Danzi Konzerstiick-Variationen uber "La ( Page 30 The Clarinet '■?rt cm CLEVELAND INSTITUTE OF MUSIC David Cerone, President BY ANY MEASURE, EXCEPTIONAL The Cleveland Institute of Music is a leading international conservatory that is distinguished by an exceptional degree of collaboration between students and teachers. The clarinet faculty at The Cleveland Institute of Music includes Franklin Cohen, department head; and Linnea Nereim, bass clarinet - both members of "I can think of no finer place to The Cleveland Orchestra. nurture ones talents in preparation for a performance career. To partici¬ pate in Cleveland's vital musical life Bachelor of Music Master of Music is a great privilege - for both student Doctor of Musical Arts Artist Certificate and teacher." Artist Diploma Professional Studies Franklin Cohen For further information, contact Principal Clarinet William Fay, Director of Admission The Cleveland Orchestra The Cleveland Institute of Music 11021 East Boulevard Cleveland, Ohio 44106 (216) 795-3107 Visit our web site at cim.edu September 2003 Page 31 £ istorically Speaking" is a the holes are opened or closed one after feature of The Clarinet of another successively the chromatic scale H-fered in response to numer¬ is produced. Since all of the tone holes ous inquiries received by the editorial staff msroKicAiiy are pad-covered, a uniform sound is pro¬ about clarinets. Most of the information duced since none have open holes. Inton¬ SKAKlJtg... will be based on sources available at the ation can be perfected since each tone National Music Museum located on The hole can be drilled the exact size and covered with a pad to produce the best University of South Dakota campus in Ver- pitch. Since all the tone holes are at the million. Please send your e-mail inquires upper side, water can easily drain and not to Deborah Check Reeves at PATRICOLA Fratelli Via Magenta, 10 - P.O. Box 50 15053Casteiftjovo Scrivia (AL) - ITALIA Page 32 The Clarinet Devault clarinet: lower section Devault clarinet: upper joint Devault clarinet: overlapping projections there are more covers to be operated than ah the middle finger glides down to the the performer has fingers, it becomes nec¬ eleventh cover sons why. Very few people are willing to essary for some of the fingers to operate g: the ring finger touches the 12th cover abandon a fingering system that they may two covers each, one after the other . . . have spent their whole lives mastering to All the keys, whether they are left-hand This can only be done by gliding." learn a completely different system. The little finger keys, right-hand little finger To perform a descending chromatic mechanism is quite complicated and must keys, right-hand side keys, or left-hand scale from "open G" to G an octave below: have been difficult to maintain. Devault's Gt or A keys, can all be accessed by glid¬ clarinet uses no less than 18 adjustment ing. There is also a complicated system WITH THE LEFT HAND screws just for the overlapping projections. g: is fingered open of interlocking and overlapping rods and In spite of its own inherent difficulties gl": is fingered with the thumb on the first sleeves that make many articulated trills and lack of acceptance by the general pub¬ and tremolos playable by moving only key on the back which closes the first lic, Devault's clarinet reflects the ageless one finger. cover on the front of the clarinet and universal power of human ingenuity In reviewing this clarinet curiosity, one f: the thumb glides down to the second and imagination. It is definitely an interest¬ question must come to mind. Many of the key on the back which closes the ing specimen and worthy of note. ideas presented make much sense. Why, second cover then, did this instrument not gain general e: the index finger touches the third cover (All photos courtesy of the National acceptance? There are some obvious rea- Music Museum) ek the index finger glides down to the fourth cover d: the middle finger touches the fifth cover Campione Symphony Clarinetist, Adjunct Professor of Clarinet, dk the middle finger glides down to the Curtis graduate, and author, On sixth cover Carmine Campione c: the ring finger touches the seventh Clarinet clearly details his 40-year method of clarinet cover playing and instruction in this popular new book. 5| Complete Guide Written for all levels of clarinet playing, it is especially helpful for the serious student, clarinet teachers or WITH THE RIGHT HAND t0 ||I Clarinet Playing university professors, and aspiring or struggling professionals. b: the index finger touches the eighth A and This book contains many pages of drills, techniques, and an instructional cover Instruction method using the Rose 40 Studies for Clarinet as its base. It's truly a must b'': the index finger glides down to the Carmine Campione for anyone seeking to enter the world of fine clarinet playing, and costs ninth cover WRITE TO MR. CAMPIONE AT: less than a single private lesson! John Ten-Ten Publishing a: the middle finger touches the 10th PO Box 18880, Fairfield, Ohio USA TO ORDER THIS BOOK OR INQUIRE ABOUT CLINICS / MASTER CLASSES: cover 45018-0880 phone toll free 866-885-3582 web www.campioneonclarinet.com September 2003 Page 33 I am pleased to present the following article that I came across in The Dou¬ ble Reed, Vol. 25 No. 2. This is the journal of the International Double Reed uintessence Society, to which the oboists and bassoon¬ ists of our quintets may belong. I was so taken with the scholarship and presenta¬ 7%e Wind Quintet Informant, No. 25 tion of the material, and also its contribu¬ tion to our knowledge of and access to this important body of work, that I contacted by Bruce M. Creditor, Wind Quintet Editor the author, who (along with the editor of The Double Reed) has graciously given serious explorations of structure, including No. 3, Reicha's use of double counterpoint the permission to reprint it here. sonata form. And they become increasing is outstanding. Since the article is a bit lengthy, we Romantic and avant-garde as one moves Quintet No. 4 is a glorious work of great have found it necessary to present it in two through the Op. 91 and 99. length, containing unforgettable solo writ¬ installments, Part 1 in the last issue and Insofar as sonata form is concerned, ing in the slow movement, which is set in Part 2 below. Reicha had already perfected his madriga- the highly ornamented bel canto style. This [Please note that access to the music at lesque handling of thematic material by the is the same quintet which contains the fin¬ Page 34 The Clarinet quite apparent in substantial portions of to have the audience on its feet by the time In each, the composer has invented new L'Enfance du Christ. it's over. One is reminded of the finale in structures to take the place of the dance- The great "Alma Mater" finale of Quin¬ Jan Zelenka's Sonata V. format type centered around binary form tet No. I will remind one of the later work The first movements of Quintets Nos. 3 modules. The "trio" of the scherzo con¬ done by Brahms in his Academic Festival and 4 are outstanding examples of sonata tained in Quintet No. 5 contains two sets of Overture. The first movement of No. 2 is form constructed in Reicha's personal "extravagant" modulations which make an ethnomusicologist's dream, for within it madrigalesque style. Mary Roger's words, daring use of the circle of thirds. This pro¬ Reicha has either paraphrased or actually which she spoke in regards to the song cedure is so complex that Reicha has to quoted a Slavic theme he could have heard repertory found in the American Musicals employ several differing key signatures in his youth in Prague. More of the same of her famous father, Richard Rogers, are simultaneously in order to make it work! Czech fervor can be heard in the Quintet appropriate in describing what I heard: No. 5 both in the finale and in the scherzo, "He peed forth melodies like there was no Finale the latter of which includes a substantial end to it all." It is my hope that as a result of the pub¬ number of key signature changes. Total suppression of the ideals of Rei¬ lication of the Reicha Regroups Geoffrey Flolo and Experiments with Dr. Cecil Gold 703.971.1980 Scherzo Design: c. 1820 olivacr.com sole distributor of HEINZ VIOTTO Op. 100 Quintets: Schott: Mainz (1824) CLARINET MOUTHPIECES No. 1 Fa majeur: Z 1 in the Americas No. 2 Re mineur: Z 2 CLARINET RESOURCE No. 3 Mil' majeur: Z 3 No. 4 Mi mineur: Z 4 No. 5 La mineur: Z 5 No. 6 Si^ majeur: Z 6 French Boehm models: By the time he began the composition G01, G04, GOS, G06, GO, B, GI-2, Gl of the Op. 100 quintets, Reicha had clear¬ Oehler & Reform models: MIOO.NI.NI+a.NI+S.GS ly decided to abandon the excesses of the (also availablefor French Boehm) Op. 99 and start to regroup. Quintet No. 1 is initiated by a straightforward sonata form with slow introduction just like the Op. 88 quintets. The hand-horn writing in American contact for the slow movement and finale of this SCHWENK 8e SEGGELKE CLARINET MAKERS quintet is really quite wonderful. S&S French Boehm Barrels The Schubertian slow movement of Quintet No. 2 is gorgeous, and the finale of the same work is perhaps the greatest Reicha ever composed. Utilizing concerto- schwenpNseggelke style thematic material, every player gets the workout of a lifetime, one that is sure September 2003 Page 35 one point Karl told us this thought-provok¬ ing tale. He was listening to a student and at the end of a phrase asked of the student, "What are you thinking about?" "Nothing Letter really," came the answer. "I can tell," Karl responded. He would always want to know what was in your mind as each phrase From went by, and he would from time to time present his own, often deeply felt interpre¬ tation. We were all much moved by his description of the final coda of the first The U.K. movement of Brahms F minor sonata as "life's resolution and a kind of final accep¬ by Paul Harris Grande and the ballet scores — music for tance of the mortality of man." Ultimately which the young Arnold had enormously it doesn't matter exactly what you think — The number of fascinating Malcolm high regard. Although it is a shame that but with weighty thoughts like that one can Arnold works that are coming to Malcolm didn't add more movements to hardly give an inexpressive performance. light is ever growing. On a recent this projected suite, we nevertheless have We talked about technique, dynamics, visit to Sir Malcolm's, I came home with yet another short but worthy work to add rhythm, sound and projection. At one point an intriguing work for wind octet. Mal¬ to his oeuvres. Since the work was prob¬ during a tense musical moment in the first colm began this work on January 3, 1940, ably written for fellow students at the movement of Spohr's 2nd concerto, Karl's and there are 31 bars completed in pencil. Royal College of Music, it was very fit¬ mobile phone rang. "Good heavens! It's It is entitled Suite for Wind Octet and this ting that the first U.K. performance was Spohr," he said. movement is called Overture. Clearly other given by students at the RCM's Junior De¬ I gave a performance the other day of a projects took over because there is no more partment. It is published by Queen's Tem¬ wonderful clarinet quartet by Barrington work done until April when Malcolm com¬ ple Publications. Pheloung. Barrington wrote the music for pleted the movement in short score. Sadly Some months ago I took two of my stu¬ the film Hilary and Jackie (about the life he never returned to the work — there are dents, Charlotte Swift and Jonathan Howse, of the great cellist Jacqueline du Pre) and, no further movements. I asked a friend to to Germany to have a lesson with the great among many others, the spectacular TV complete the arrangement and so emerged Karl Leister. Charlotte is principal clarinet series "Inspector Morse" — do you get yet another little gem by the young com¬ in the National Youth Orchestra of Great it in the U.S.? If not, buy it on video or poser. Like all his early works this must Britain (and indeed took part in that Octet DVD — it's unmissable! Nearer The Light have been written for friends to play. I had performance), and Jonathan has a similarly Now is a very personal work. It represents tea with Malcolm only last Sunday and we high position in the National Youth Wind the composer himself, a devoutly reli¬ discussed the Octet. Even though he wrote Orchestra. We arrived in Berlin on a pleas¬ gious man, living in rural bliss in the some it more than 60 years ago, that old memory antly warm day and went straight to the of the best countryside the east of Eng¬ still came up trumps. Malcolm recalled Berlin Radio building where we met Karl land has to offer. The music moves from three influences behind the octet. The rag¬ in an enormous studio. Karl is both un¬ moments of utter stillness and serenity to time rhythms, which pervade the work, are compromising and hugely inspiring as a passages of extreme energy — very well an indication of his love for jazz, popular teacher. During the day he worked on conceived for clarinets. I hope it will find and dance music — styles that were to be¬ Brahms and Spohr, Weber and Fran^aix. its way out across the Atlantic before too come such a hallmark of his mature work. Always demanding tremendous control long. It's a real spiritual experience. In the meantime, happy summer holidays! He did toy with calling the work "Rag¬ and ceaseless flights of the imagination. At time." Arnold was fiercely anti-war: in¬ deed in 1942 he shot himself in the foot to avoid military service. The middle section, made up of aggressive chords and heavily accented melodic lines, is surely a power¬ ful proclamation of the looming clouds of war and the ever-advancing armies. The Charlotte Swift, final movement of his Wind Quintet is Karl Leister and much in the same vein. Finally, there is his Jonathan Howse admiration for the music of Constant Lam¬ bert. "There is no man in this world whom I admire more," Malcolm once told me. Lambert was another composer who had assimilated more popular styles into his music, especially into works like the Rio Page 36 The Clarinet Buffet clarinets Inc. • reeds & reed tools Professional service and expertise for all your clarinet needs • accessories k. u. ^ • sheet music lict 7^ ' fv(d r • clarinet repairs Jeanne Clarinet Stand Injection molded rubber of the highest quality is used in the manufacture of the Jeanne clarinet peg. Our new design gives you the safest and most secure support for your instrument. The heavy steel base provides maximum stability. The base holds 1-2 pegs. Jeanne ReedGauge The Jeanne ReedGauge allows you to measure all points on the reed vamp for accurate adjustments. A movable table, where the reed is placed, is easily locked in place at any position along the reed vamp. After a quick Extensive inventory of solo, chamber and adjustment, the reed can be checked again at pedagogical material for all reed instruments precisely the same point. A heavy, solid aluminum base provides maximum stability. Online Catalog available at www.jeanne-inc.com PO Box 49564 Blaine, Minnesota 55449 www.jeanne-inc.com (800) 831-7691 (763) 754-6000 (fax) [email protected] September 2003 Page 37 also explains why the nearby jaw, physi¬ THE CLARINET TEACHING OF cally interrelated with the throat, is easily influenced sympathetically to apply jaw- clench or pinching at the reed, as a natural follow-through of the tension in the throat. Fingers and their joints are prone to tighten up following unsuccessful attempts to KEITH STEIN cover the clarinet's tone-holes; tense facial drawings are set up by unfamiliar muscular Part Four: Breathing by David Pino groupings in the interest of creating new muscular groupings necessary for embou¬ and Breath Control chure formation; nerves are set on edge by demanding requirements in reading diffi¬ Much later I was told to contract and drive Readers of recent issues of The cult music; instances of applying too much the abdominal muscles as if I had been Clarinet know that this is the drive behind the airstream abound; all of "punched in the stomach;" this did give fourth part of a series of articles these faults and many more abnormal some support to the tone even though it based on materials from which Keith Stein physical exertions can set up body tensions simultaneously tensed and restricted the (Professor of Clarinet at Michigan State which in turn cause other constrictions breathing mechanism. University from 1934 to 1975) planned to throughout the body. Efficiency is realized Learning to breathe unobstructedly create a how-to book for those who had no only when breath is impulsed to start and from breath source, to focus the air for¬ access to a clarinet teacher. I have at¬ stop from controlled action at lung source. ward onto the reed, to discover and apply tempted to put those materials into prose This manner of breath-use, operating with¬ such matters as proper breath-use in attack, form, and a little fuller explanation of the in the confines of an ever open windway, release, phrasing and tonal nuance, were circumstances surrounding that endeavor makes it possible to bring up and use air is given in Part One, which appeared in bypassed completely and were left for me precisely and only as needed. This pre¬ to fall upon by chance, or to work out in the Volume 29, No. 4 (September, 2002) vents harmful air pressure build-up in the issue of the magazine. In this issue we my own way if and when I felt a need for windway by uncontrolled airflow, or by them in my playing equipment. In this arti¬ will deal with some of Stein's materials the abnormal use of constrictions (squee¬ on breathing and breath control as they cle, we will treat the problem in three sec¬ zes) within the throat, or by jaw-bite in an tions: Clearing the Windway, the Mechan¬ relate to playing the clarinet. effort to control the airflow in the absence ics of Breathing, and Breath Technique as of proper techniques. Blowing the air from Applied to Clarinet Playing. An over-arching theme that should breath source adds depth and dimension to permeate our advancement toward fine the tone in addition to an instant response. clarinet playing is that of learning to play Clearing the Windway This is opposed to the conventional system with maximum ease and response. A well- The second and third phases of breath of packing air behind the reed prior to its formed, non-biting embouchure operating procedure (mechanics and technique) are release, a common cause of an uncon¬ together with acceptable breathing princi¬ effective only as an unobstructed windway trolled, blurting attack. ples are prime factors promoting freedom can be established and maintained from Perfecting the attack will be explored in playing. Granting that both factors are breath source upward to the point where later, but let it suffice for now that good operating correctly, the effect of the breath¬ the air meets the reed. attack depends upon a fine coordination of ing procedure is immediately nullified if it Learning to widen the oral cavity and breath and tongue, exactly as good tonal is forced to pass through a tense, narrowed throat prior to and during playing is highly release involves syncronously timed action throat, or through a constricted jaw or lip- recommended. Begin by establishing ex¬ of breath-controlled air stoppage and pinch at the reed. cessive widening as deep breath is inhaled tongue-trapping on the reed. The human being tends to overuse or down to the breath source; then hold that An excellent practice for opening the misuse any factor brought to his attention widening at its fullest dimension as the windway is to think of opening the oral as an aid. In the instance of breathing, he breath is exhaled. Actually, the eventual cavity and the throat widely as breath is tends to use too much air (over-blowing) aim is to approximate normal throat di¬ inhaled to the depths of the breath source, and to apply it to the degree of causing ten¬ mensions while playing instead of falling maintaining this posture while exhaling as sion, cramping, and sympathetic cramping. into the common habit of narrowing the well. Follow this procedure without the Those clarinetists who have had voice throat opening. The neck is most sensitive, clarinet before playing a sustained tone. lessons concentrating on breathing, its use the first location to reflect body tension The aim is not to over-stretch normal di¬ and support, are fortunate. When I was a from fear or concern, because it is through mensions, but to experience the long, unin¬ youngster, the director of music in my the neck that messages must be transmitted terrupted air column within the normal school system told me to put the clarinet in from the brain to the rest of the body. It is throat dimensions. my mouth and "blow," and this constituted quite obvious, therefore, that this strategic Next, we gain maximum roominess in his only reference to breath except for a location is the most natural place for ten¬ the back portion of the oral cavity and in later addendum to add "push" to the tone. sion to concentrate, and then to spread. It the throat by shifting the back-most part of Page 38 The Clarinet the tongue slightly forward out of the to inhale, using instead whatever breath the midriff to press inward and upward throat, and then directing it downward happens to be in the lungs at the time. Ex¬ against the lung sacs. along the floor of the mouth accompanied hale this residue, particularly noting the in¬ The following 10 breathing exercises by the normal dropping of the jaw. voluntary addition of abdominal muscula¬ are designed to develop lung capacity Finally, a drastic but effective exercise ture to aid the expulsion of air. This nat¬ and abdominal strength. Where the exer¬ to experience the open mouth and throat ural, reflexive action together with con¬ cises permit, practice them first without was facetiously dubbed "Stein's Vomitosis sciously applied, gentle contraction com¬ the clarinet. System" by students. The object is to sim¬ pletes the mechanism known as "breath Exercise 1: Sit approximately six inches ulate imaginatively a state of nausea com¬ support," an action absolutely necessary forward from the back of your chair. monly experienced by people at some time for controlled tonal drive, density and Concentrate on correct posture, particu¬ in their lives. As the sick feeling becomes quality of sound. After the breath is com¬ larly in the spine for six inches up from overwhelming the stomach suddenly emp¬ pletely expelled, maintain breath support a the sitting bones. Direct the total spine ties itself with a series of violent but in¬ few seconds beyond that, and make several upward as the entire back falls back¬ voluntary muscular contractions in the ab¬ short pantings to ensure an open throat. ward in one piece from the hips until domen. In a flash, the back of the tongue The stage is now set for inhalation. the shoulders touch the back of the thrusts forward, the jaw drops, the mouth Suddenly "let go" of the muscular hold. chair. On arrival at that point, note the and throat are thrown open excessively, Denser air now rushes into the lungs of muscular stretch experienced in the ab¬ and the involuntary, upward propulsion itself, vacuum fashion, filling the lung dominal and groinal areas. Maintain the feels as though the walls of the throat had sacs. Just as conscious musculature was diagonal posture as breath is inhaled been turned suddenly inside-out. It is both added to aid final air expulsion, quickly and then exhaled. Note the natural drive humorous and ironic that the potential for apply conscious abdominal pushing to aid and power which the stretch affords the all these simulated effects must actually inhalation to the middle upper reaches of breath flow. Also sense the concentra¬ be in place before we can proceed to the the lungs. Once this pre-posture of the tion of contraction emanating from the mechanics and techniques of breathing lungs has been established, permit no lift¬ lower abdominal area; this is the basis while playing. ing of the shoulders to aid lung capacity. for the low breathing doctors some¬ Besides the upward and outward lung times prescribe, and which they call The Mechanics expansion which occurs during inhalation, "belly-breathing." Bring the back for¬ a downward expansion takes place simul¬ of Breathing ward to the upright position from the taneously as the diaphragm and the neigh¬ hips, maintaining the spine in an im¬ The lungs are encased within the chest boring contents of the stomach area (liver, movable, single piece. Carry this a step (thoracic cavity), surrounded by the collar digestive organs, etc.) reflexively displace further by standing six inches forward bone, shoulder blades, ribs, sternum, and one another downward in chain reaction. from a wall, falling backward in a dead¬ the backbone. This framework is largely This abdominal expansion creates more weight manner, and pivoting from the comprised of bone, cartilage and muscle. room for the lungs at the floor of the rib- feet in one piece until the head or shoul¬ The diaphragm, a dome-shaped muscular cage similar to the upward expansion at ders touch the wall. Repeat both rou¬ sheet, snugs up between the two lung sacs, the top of the lungs. Stretching in both dir¬ tines while playing a sustained tone. operating reflexively in a dual capacity; it ections provides elastic power for air ex¬ Exercise 2: Lie down on your right side at adds natural power to air expulsion and it pulsion during the muscular return to nor¬ a full-length stretch. Draw the extreme serves as the floor of the lungs. The dia¬ mal positions. low back and the right side musculature phragm attaches in back to the lowest ribs At the peak of inhalation, again hold the firmly together, band-like, around the and backbone, in front to the abdominal air momentarily in suspension with "breath sacroiliac and groinal areas, prompting muscles. Each rib, attached to a separate support," repeating the panting action to the lower spine into an upright stance. vertebra at the backbone, extends around ensure an open throat. Exhalation begins There must be no sagging outward in to the breastbone in front. The total rib when the player voluntarily "lets go" the back nor any belly protrusion in front. structure moves as a unit, similar to the up- hold in the abdominal musculature in a Note the flattening action of the lower and-down wing action of a chicken, pow¬ graduated, controlled manner. The first sta¬ frontal abdomen, providing muscular ered by intercostal muscles and diaphrag¬ ges of upper expiration are nearly self- tone which eventually spreads into the matic action. The lungs are filled with powered as the musculature begins its re¬ upper abdomen. This musculature fluc¬ masses of tiny air sacs elastically constitut¬ traction to normal composure. The balance tuates constantly in the control of breath, ed to expand and contract alternately, bel¬ of the expiration is a combination of that must always operate with suppleness lows-fashion, to help move air in and out with consciously applied, abdominal push. and flexibility, and must never be tense in cooperation with the rib, back, side, and The two actions nicely regulate the de¬ or rigid. abdominal muscles. sired speed and the volume of breath flow. Exercise 3: Lie full-length along your left The use of correct breathing procedure I am often asked if the conscious abdomi¬ side. Place your left hand over the navel during the final stages of exhalation en¬ nal exertion is one of pushing out or area. Exhale, pushing the abdominal sures the success of the inhalation that fol¬ pulling in. The answer sounds a bit tricky musculature down and outward as you lows. The best method for arriving quickly in that one feels he is pushing out and become aware that the above applied at this point is to refuse the natural impulse down, whereas actually this pushing causes energy actually moves the abdomen September 2003 Page 39 and its contents upward and inward, ting position with your spine rolling straight out behind, suspending the carrying the hand with it. or curling in the process. Your hands body between the wheel and the toes. Exercise 4: Lie prone, with your back on and arms should be carried along in this Roll the wheel from underneath the the floor. Keep your feet flat on the floor movement. Uncurl the spine back to the chest to beyond the head, and back. as the knees draw in at an acute angle floor, doing it again gradually without a Exercise 9: Stand up. Assume the "up¬ towards the trunk. Raise your hips off lurch or "set" to start the movement. ness" of spine and head prescribed ear¬ the floor and inhale, holding this posi¬ Inhale on the upward move, exhale on lier in the article on posture and bal¬ tion for a count of five. Straighten your the return. Be certain that the throat ance. Suddenly relax at the knee-joints, knees to return to the prone posture, this does not close sympathetically with the allowing them to assume an angle, but time suspending the trunk between the energy expended in the movement. remain mindful of the entire body, es¬ heels and the shoulders for another Exercise 7: Lie on your stomach with the pecially the hips, back, and head; main¬ count of five. spine arched backward in a radical, bar¬ tain their dynamic, postural "upness" Exercise 5: Lie on your back with your rel-like curve, the thighs and legs bend¬ without sagging in any part of the body. legs extended on the floor. Alternately ing backward to continue the hoop-like As the knees flex, hold in mind the raise each leg slowly to its maximum curving. Bend your elbows inward to a maxim, "My back is lengthening and height, and hold it there for five counts. 90-degree angle on the floor, with the widening, and my head is leading for¬ Lower it gradually to the floor during hands meeting under the chin as a head¬ ward and up." Allow the arms to dan¬ another count of five. Repeat the exer¬ rest. Roll back and forth over the stom¬ gle loosely at the sides, monkey-fash¬ cise raising, holding and lowering both ach in rocking-chair fashion. ion. Complete the exercise by bending legs simultaneously. Exercise 8: Purchase an inexpensive five- forward at the hips to a 45-degree an¬ Exercise 6: Lie on your back with your or six-inch gymnastic wheel exerciser gle, again concentrating on the "up¬ legs fully extended, and with your arms at a sports store. Place your knees on ness" idea. Hold the monkey-like pos¬ resting on the floor and reaching full- the floor with your hands grasping the ture for a minute before returning to the length above, or beyond, your head. wheel's handles. Roll the body to the vertical position. The return procedure Relax all of your body joints as you floor by the use of the wheel forward brings the knees to an upright align¬ concentrate on attaining the ideal, pos¬ and backward, the body going up and ment, followed by the trunk to its verti¬ tural "upness." Then, without a prelimi¬ down, to develop the abdominal mus¬ cal position. nary, sudden lurch or "set," raise your cles. Do not overextend the forward Exercise 10: Practice exhalation by start¬ trunk gradually and smoothly to the sit¬ movement. Secondly, extend the legs ing and stopping the breath several For the most complete line of clarinets at guaranteed low prices... WOODWIND BRASSWIND Call 800-348-5003 or online at wwbw.com for your free Woodwind Catalog! Page 40 The Clarinet times within one, continuous breath- order to move back up when the player ex¬ controlling the stops and starts of the load, forming the breathline into several hales. A second and equally important rea¬ breath line from breath source. short, forward segments or bursts. Hold son for the upper musculature remaining Clarinetists who are unschooled in spe¬ the breath in suspension at each slight, free and supple is so that it can add con¬ cific breath procedure most often employ a silent interval between segments of air scious charges of muscular impulse against continuous, pressurized airflow begun and by means of "breath control" and al¬ the breath line for starting and stopping stopped by the tongue at the reed-tip. This ways within a continuously maintained, tone at will and for controlling the speed action robs them of the chance to have open windway. Use a deeply aspirated and volume of the air. greater tonal depth, because they are, in and audible whispering to power each The beginner, even if he is told to blow effect, breathing from the tip of the reed. segment. Keep in mind that the breath all the way up from breath source to the Most assuredly the tongue enters into artic¬ never pulls back to stop each segment, reed, will have little or no concept that the ulation in a vital way, but it needs breath but always achieves its purpose with a air column must follow a continuous, un¬ coordination to realize the infinite variety drive further forward to stop each seg¬ broken pattern to its destination at the reed, of attack and release possibilities, ranging ment in a "sweep-off." or that it must be turned on and off at from almost inaudible entrances by breath breath source. If his first attempts at blow¬ alone to sharp bursts of accent and color ing should happen to be done by this Breath Technique made possible by combining the actions of method of full-length breathing, he will tongue and breath. Applied to most likely abandon it very quickly, be¬ Apply muscular supporting action at the cause of the resulting feeling of insecurity mid-section, always in moderation and Clarinet Playing in controlling the breath from such a re¬ short of tight muscular contractions. The First it is necessary to distinguish be¬ mote distance. This is even more likely to player experiences an exhilaration when tween Breath Control (the breath as used happen when the beginner notices that all breath moves without obstruction in and during playing) and Breath Support, which of the playing action seems to take place out of the body. Hyperventilation occurs is that extra energy added to the breath up at the reed and mouthpiece. When he is when the lungs are over-oxygenated from flow to give it body, direction and drive. gripped by his frustrating inability to con¬ excessive or too frequent inhalations. A trol the breath flow in what actually is the Conventional breathing procedure treats serious problem develops if pressurized air proper manner, he will tighten up suddenly breath use and breath support as a single, is pent up in the wind column beyond a at the throat and in the embouchure in a integrated action so bound up and em¬ reasonable length of time. The player feels vain attempt to stem the tide of the uncon¬ ployed one with the other as to become distress as if he is overfilled with breath, indistinguishable. Too often I find, howev¬ trolled breath. Quickly and easily this be¬ comes his established habit pattern. but actually he is suffocating from his er, that supporting the tone solely from the inability to discharge it and refill the lungs overall abdominal area can, when used too All of this takes place in a flash, and is quite unknown to the player himself. In with a fresh supply. Most players have ex¬ strenuously and too generally, tense and tie perienced this during actual performance. up the entire breathing mechanism. fact, it may be a long time before he dis¬ covers this breathing fault in himself, or If this practice is allowed to continue I propose, therefore, that any conscious the pressure in the windway, though un¬ endeavor regarding the support factor be before he is made aware of it by someone else. What he doesn't realize is that he has comfortable, will become fixed as an ac¬ applied in a location as far removed from committed the cardinal sin of negating the ceptable part of playing. After removal of the upper abdomen, including the dia¬ basic principle of breath-control technique, the fault, the player may be temporarily at phragm, as is possible. The lower abdomen a technique which is absolutely vital to loose ends because of his sense of loss of is ideal, because its musculature can tonal manipulation. At the same time he all that resistance. transmit support against the breathline has thrown away the opportunity to add without tying up and tensing the upper the all-important breath support to his musculature. This remote location permits The foregoing represents about half of sound, which is possible only upon the gentle, indirect muscular application of Stein's materials on the use of the air in vehicle of a full-dimensioned and an unin¬ support to range up through the high area clarinet playing, and in the next issue we terrupted breath line. will deal with the remaining half. without interfering with the soft, flexible To take a step in the right direction, muscle response needed to attend to such practice breathing principles without the About the Writer... matters as starting, stopping, accelerating, clarinet in your hands. Then you will be or slowing down the breath flow at the just as unencumbered by your instrument David Pino is professor of clarinet in lung source. as a singer is while practicing breathing the School of Music at Southwest Texas Before outlining the support procedure, techniques. You will be able to feel the State University. He studied with Keith it is necessary to set down the advantages action of the breath as a living, controllable Stein for 15 years, and is the author of the of maintaining a flexible upper abdomen. body substance. Those players fortunate book The Clarinet and Clarinet Playing Upper abdominal musculature should re¬ enough to have studied breathing with a (Scribner's, 1980, and Dover, 1998). He main soft and responsive to help create an competent singer are able to establish a has performed and toured with the David easy downward expansion of the lungs and clear conception of breath routine before Pino Chamber Ensemble (clarinet, strings, diaphragm during inhalation. Likewise it applying it to the clarinet. Vocal technique and piano), and is a former Secretary of the needs to maintain the same flexibility in is a great model regarding the question of International Clarinet Society. September 2003 Page 41 The dictionary defines kinesthesia as "The sensation of bodily position, presence or movement resulting chiefly from stimulation of nerve endings in muscles, tendons and joints." Playing the clarinet involves kinesthesia every time we produce a tone. It is important that all clarinetists understand the kinesthesia not only in his or her body, but, if teaching, that of the student as well. Those of us in medicine must under¬ stand each patient's description of feel¬ ings of bodily function so that we can an¬ alyze them in a fashion that leads to prop¬ er diagnosis. Rarely do any two patients proximately one-half inch apart. Gently with the same illness describe it in the The sensation I feel during abdominal same way. In a similar manner each of us breathing is the protrusion of my "belly move the lower jaw very slightly forward has his or her own unique feelings that button" as I inhale. Describing this to her so that the bottom teeth are almost parallel produce the muscular actions used while was of little benefit. Next we worked on or "lined up" with the upper teeth." She, of playing the clarinet. feeling inhalation in the flanks and the course, goes on from this first instruction. Perhaps this is best exemplified by my back. Neither of these touched upon the In an article by David Pino entitled "The first attempt at applied kinesthesia. The pa¬ sensation necessary for abdominal breath¬ Clarinet Teaching of Keith Stein" in The tient was a young television singer who ing. Finally I had her lie on the examining Clarinet, December 2002 issue, the em¬ had developed vocal nodules. These nod¬ table with a heavy textbook on her abdo¬ bouchure is described in five complex sta¬ ules are swellings of each vocal cord pro¬ men and asked her to push it toward the ges. It would be easy to quote many others duced by improper breathing. The breath¬ ceiling during inhalation. At last she was but this demonstrates the complexity of ing techniques of the singer are exactly the able to tell me what she felt. To my sur¬ kinesthesia. We all feel our bodily func¬ same as those of a woodwind musician. prise she felt the sensation of inhalation tions in different ways. It is up to the clar¬ The only difference is that the singer's best in her pelvis. Once we both understood inetist to understand that he or she may her personal kinesthesia, progress was reed is the vocal cords. Unlike clarinet feel the sensation of the embouchure in a reeds, one cannot throw the vocal cords easy. (See "The Thoracoabdominal Dia¬ different way than does another individ¬ away and try another set. In this case, im¬ phragm," The Clarinet, May/June 1993.) ual. It behooves us to find a way that we proper breathing had placed undue stress My favorite singing teacher provided a can best impart the appropriate feelings on the cords resulting in the nodules. She great experience for me. When any of her to the individual player. It is also im¬ had seen every singing teacher she could students suffered medical problems asso¬ portant to study the works of other mas¬ find without improvement in her voice. ciated with their vocalization, she came Other doctors had recommended surgical with them to my office. We combined our ters. When your approach fails be aware excision since little else had helped. Sur¬ knowledge to determine which exercise of the many other teaching techniques gery for removal of a vocal nodule is an would resolve each problem. Then came that can be applied. absolute taboo. Only rarely does a rock the task of imparting the student's own My reason for using the "inside smile" singer or cheerleader misuse their voice to sensation to the solution of his or her diffi¬ is that it is the quickest way for me to es¬ the extent that the nodes become so large culties. This lady, Larra Browning Hender¬ tablish a good embouchure. As with the that there is little help other than excision. son, subsequently published How To Train singer above, by the time a musician reach¬ Had proper treatment been sought earlier Singers, Parker Publishing Company, West es me, he or she has already tried numer¬ in such cases, surgery would not have Nyack, New York. ous other approaches without success. It been necessary. The embouchure is perhaps the most leaves me with the necessity of finding Fortunately, my young singer had rec¬ complex of the kinesthesia aspects of a quick resolution to the problem. The ognized the change in her voice at an early playing the clarinet. My favorite teaching "inside smile" is a natural motion that we stage. Since she had tried so many voice methodology is the "Inside Smile." (See use many times a day. When properly teachers and doctors, this left me as her "The Embouchure" in The Clarinet, Feb¬ achieved, this movement produces all the last resort. She and I scheduled her office sensations of a good embouchure. The visits at the last of the day so there would ruary/March 1995.) Perusal of the litera¬ be no time limitation. The diagnosis was ture indicates as many approaches to the "inside smile" comes about when we qui¬ simple enough. She was "collapsing." This embouchure as there are authors. Our past etly chuckle or wish to express pleasure to is the term singers apply to breathing from president, Julie DeRoche, describes the someone across the room. It is also the the chest rather than the abdomen. With embouchure in "Clarinet Basics" in Le- expression we achieve when smelling a the knowledge gained from playing the blanc Bell, Winter 2002. "To set the struc¬ foul odor. A last resort solution is to hold a clarinet, I hoped I could teach her the prop¬ ture of your embouchure, begin by open¬ pencil crosswise between the teeth. Re¬ er breathing technique. ing your mouth so that your teeth are ap¬ move the pencil without changing the fa- Page 42 The Clarinet cial expression. All of these approaches Knowing little about brass instruments, He was unfazed by the presence of dis¬ can be achieved in minutes, and one or the all I had left was to try the "inside smile." sected cadavers, anxious to learn the anat¬ other should do the job. The palate is not under voluntary control. omy. Later I took him to surgery and dem¬ What are the anatomic consequences of We cannot suddenly decide to lift the soft onstrated as much as could be seen surgi¬ this maneuver? First and perhaps the most palate as we can a finger. I taught the cally. I think I was the one who learned the important is that this lifts the palate and young trumpet player my technique of at¬ most because he started making connec¬ closes the air passage to the nose. Moving taining clarinet embouchure that automati¬ tions between the anatomy and perfor¬ forward, the tongue rests gently against the cally lifts the soft palate. Sure enough, his mance. This knowledge added much to my lower teeth, ready to move against the problem is readily resolved. I learned that learning and I am certain added to the reed. The teeth are positioned so that the the only difference between the embou¬ learning of his students. All of us involved lower teeth are just below the upper teeth. chure of a clarinet and that of the trumpet with clarinet performance should make an The distance between the upper and lower is the position of the lips. effort to understand the anatomy and phys¬ teeth is usually the proper distance for One can only wish that every teacher of iology of mastering the clarinet. Perhaps you cannot have the experience of an an¬ placement of the mouthpiece. The lower the clarinet could have the opportunity I atomy lab but many excellent textbooks lip rests lightly against the lower teeth, just was afforded by my favorite mentor. John are available. below the vermilion line of the lip, ready lessen is a product of the Big Band era and To summarize, we all feel our bodily for the reed. The upper lip is pulled tightly decided he would prefer staying home and functions in different ways. Just imagine against the upper teeth. Thus, in one natur¬ raising a family to that of the traveling mu¬ looking through someone else's eyes. Per¬ al motion, proper embouchure is achieved. sician. John, well into his 80s, still taught haps what they see as red would be blue to All that is left is to insert the mouthpiece music. When asked to list his famous stu¬ you. Each of us who play or teach must and make music. dents, he replied, "All of my students are learn the appropriate kinesthesia to pro¬ An interesting case was that of a student famous." It was only later that I learned of duce good tone and recognize that we are of the trumpet, brought to the office by a his students whose names have become all individuals and feel the sensations in well-known teacher of brass instruments. household words. As I studied with him different ways. Of great importance is that The student's problem was that of air pass¬ he spent much of our lesson time asking understanding the anatomy and physiology ing through the nose when attempting to me about the anatomy and physiology of of playing the clarinet adds greatly to one's play his instrument. This can be a symp¬ playing. I finally asked if he could tolerate understanding of technique. tom of severe neurological disease. My the anatomy lab. He was ready to go the E-mail: The clarinet world may never be the same... The Gonzalez The Hand-Made "For Our Friends" Reed. 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Musikfreunde in Vienna (the name later Such clarinetists included Daniel Bonade changed to Akademie when taken over by from France, Gustave Langenus from Bel¬ the State in 1909). At that time, the full gium and Simeon Bellison from Russia. course of studies consisted of six years of Likewise, one of the most accomplished preparation and three of advanced instruc¬ Austrian clarinetists, Victor Polatschek, tion. Being already somewhat advanced, emigrated in 1930 from Vienna to Boston. Polatschek began his first year at the third He went on to play principal clarinet with the Boston Symphony Orchestra for 18 level of instruction ("Vorbildung ///"). He years and left behind a legacy of accom¬ studied with Prof. Franz Bartholomey from plished students in both Austria and the 1903 to 1907, when he earned his degree United States. in clarinet with highest honors. In 1909, Victor Polatschek (Photograph by Homer, Courtesy, Boston Symphony Orchestra Archives) Polatschek enrolled once again, this time studying with Prof. Hermann Gradener.1 During World War I, Polatschek served in the Austrian Army. He began teaching at the Music Academy as a substitute instructor from February to June of 1921 and was officially employed as a clarinet professor on September 1, 1921. Mean¬ while, on August 10, 1921, he was married to Friederike Loffler. He continued teach¬ ing at the Academy until resigning his post on September 30, 1932, with the exception of a leave of absence in 1931. During these years, Polatschek's students included Leo¬ pold Wlach, Richard Schmidt, Josef Ort- ner, Johann Huschek, Rudolf Jettel, Leo¬ pold Petru-Hammer, Viktor Korda, Erwin Ratz, Hilda Merinsky-Steuermann, Johan¬ nes Scherian, Johann Rohner, Eduard Kasacek, Franz Falta, Rudolf Zawodsky, Music Director Serge Koussevitzky and first desk players. Front, left to right: Femand Rudolf Szokoll, Alfred Boskowsky, and 2 Gillet, oboe, 1925-1946; Richard Burgin, concert master, 1920-1962; assistant conductor, Hans Kremsberger. Not only that, but he 1934—1943; associate conductor, 1943—1966; Georges Mager, viola, 1918—1919; trumpet, also taught at Modling 's Real-gymnasium, 1919-1950; Serge Koussevitzky, Music Director, 1924-1949; Georges Laurent, flute, where he instructed Friedrich Wildgans, 1918-1952; Jean Bedetti, cello, 1919-1948; Rear, left to right: Jean LeFranc, viola, clarinetist who would go on to play with 1925—1947; Victor Polatschek, clarinet, 1930—1948; Raymond Allard, bassoon, the Vienna State Opera (1936-1939) and 1922-1953; Willem Valkenier, french horn, 1923-1950; Jacob Raichman, trombone, teach clarinet at the Vienna Academy of 1927-1955 (Courtesy, Boston Symphony Orchestra Archives) Music (1950-1965).3 Page 44 The Clarinet smiled. But being Viennese Jewish in a French orchestra? Very courtly and refined personality. Gave me a totally different perspective from Arey and Langenus.8 Polatschek taught many students in the United States, including the late David Glazer, and developed three etude books for instructional use. These include 24 Clarinet Studies for Beginners, 12 Etudes for Clarinet, and Advanced Studies for the Clarinet. The 24 Clarinet Studies for Be¬ ginners are comprised of short etudes, which progressively increase in difficulty. Each includes an introductory paragraph and focuses on a particular aspect of clar¬ inet playing, such as rhythm, articulation, meter changes, ornamentation or playing various intervals like fourths and octaves with smooth connections.9 The 12 Etudes for Clarinet are designed to "develop an even and precise finger technique, with staccato exercises to help the student achieve perfect synchronization Standing, left to right: Willem Valkenier, James Pappoutsakis (flute, 1937-1978); Lukas of fingers and tongue." Some of the studies Foss; Louis Speyer (english horn, 1918-1964); Seated, left to right: Victor Polatschek; are based on motives of famous works like Raymond Allard (Courtesy, Boston Symphony Orchestra Archives) the Piano Sonata in C major of Weber and the Prelude to Act IV of Carmen.™ Finally, Besides teaching at the Academy, Po¬ Of the Brahms Quintet performance, the Advanced Studies are comprised of 28 latschek was also recognized as one of the one review stated that "Polatschek, Burgin, technically challenging etudes. They focus most accomplished performers in Vienna. Gunderson, Lefranc, and Bedetti gave it a either on the styles of major composers He played with the State Opera and the Vi¬ careful, intelligent performance and lent it like Johann Sebastian Bach or Ludwig van enna Philharmonic Orchestras from 1910 warmth and beauty of tone; if for one or Beethoven, or are based on actual motives to 1930. On November 30, 1922, he played another hearer the music itself seemed nei¬ of important orchestral clarinet solos, such clarinet and bass clarinet in the Swiss pre¬ ther stirring nor eloquent the fault lay not miere of Arnold Schoenberg's Pierrot lu- with the playing of it, and the majority naire under the composer's baton. Two heard it eagerly;"6 another that "the perfec¬ years later, he premiered Anton Webem's tion of both performances [Brahms's Quin¬ Trakl-Leider with his student, Leopold tet] reflects great credit on Mr. Polatschek Wlach, on bass clarinet.4 and the Burgin string quartet."7 In 1930, at the request of conductor Besides the clarinet pupils he taught at Serge Koussevitzky, Polatschek came to the Berkshire Music Center, Polatsckek the United States to play principal clarinet also coached students at the Tangle wood with the Boston Symphony Orchestra and summer festivals. Henry Gulick, retired became an American citizen as soon as clarinet professor at Indiana University, re¬ possible. He played 18 consecutive years members his experiences being coached by with the orchestra and soloed with them on Polatschek in sectional rehearsals: three occasions, performing the Adagio from Mozart's Concerto for Clarinet on I knew him for two six-week November 12 and 13, 1930, the complete sessions of Tangle wood, 1942 and concerto on November 14 and 15, 1930, 1946. He did not play the Boehm and Brahms's Quintet for Clarinet and system as I recall, and used a reed I Strings on April 27, 1933. Critics said of had never heard of. He had a small, the Mozart performance: "When the little straight sound and tended to get cov¬ orchestra was clustered about Mr. Polats¬ ered up in the orchestra. He did not chek for the clarinet concerto, the illusion like vibrato or too much rubato. An Georges Laurent and Victor Polatschek of eighteenth-century performance was as impeccable musician ... had great (Photograph by David W. Nilsson, complete as it was rare."5 taste. Not a happy man — rarely Courtesy, Boston Symphony Orchestra Archives) September 2003 Page 45 as those found in Shostakovich's Symphony many successful clarinetists proved his CLARINET No. 1 or Rimsky-Korsakov's Sheherazade" unquestionable wealth of talent, dedica¬ When Austria was devastated during tion and love for music. World War II, Polatschek assisted mem¬ bers of his family by helping to make it CLASSICS A Selective Discography possible for some of them to come to the Stravinsky: L'Histoire du soldat CONCERTOS BY United States. He passed away on July 27, MERCADANTE • Recorded with members of the Boston Symphony Concertos, concertoni 1948 at the age of 59, stricken apparently Orchestra on August 11, 1947 at Tanglewood with CC0042 with a heart ailment just a few hours be¬ Leonard Bernstein conducting (RCA Victor). Saverio Mercadante Concerto in B flat major op. 101 Concertone No. 1 in F major. fore scheduled to play the Bach-Mozart Concertone No. 2 in F major. Concertone No. 3 series of concerts at the Berkshire festival Strauss: Don Juan, Op. 20 in F major. Concerto in E Hat major op. 76. at Tanglewood. Before the funeral service, • Recorded with Boston Symphony Orchestra in Liiigl Magistrelli clarnet Laura Magistrelli Symphony Hall on April 19, 1946 with Serge clarinet Elena Cecconi flute Altredo Pedretti turn members of the Boston Symphony Or¬ Lario Chamber Orchestra conducted by Koussevitzky conducting (matrix numbers D6-RC- Pierangelo Gelmini. chestra performed the slow movement of 5719, 5720, 5721,5722). Mozart's Clarinet Quintet. During the ser¬ 100 YEARS OF THE SIMPLE- The sessions with the Boston Symphony Orches¬ SYSTEM CLARINET vice, remarks were offered by Willem Bal- tra in Symphony Hall on November 22, 1944 with CC0044 nekier, a colleague who had played horn Serge Koussevitzky conducting: Joseph Williams Pensees Fugitives Arthur Somervell Romance op 4 Charles Oberthiir with the orchestra since 1923. The next • Tchaikovsky: Symphony No. 5 in E minor. Op. 64 Sweet Dreams op. 300 Charles Harford Lloyd Duo Concertant Edward German day, Serge Kossevitzky and Tanglewood (RCA Victor set M/DM-1057, discs 11-9192 to 11- Pastorale. Bounce Richard Walthew Four 9197). Mediations (2nd set) Alfred Pratt Souvenir musicians gave a tribute chamber music d'lspahan Joseph Holbrooke Nocturne op. 55 concert which again included the slow • Berlioz: Roman Carnival Overture, Op. 9 (RCA no 1 Ralph Greaves idyll William Victor 11-9008: D4-RC-628-2 and D4-RC-629-2). JUNE RELEASE Lovelock Romance Ito/CAdam Carse movement of the Clarinet Quintet by Mo¬ Happy TuneC. R. Yuille-Smith Gavotte • Debussy: Prelude a I'apres-midi d'un faune (RCA Thomas DunhiN Phantasy Suite op. 91 zart. During the concert Kossevitzky spoke Victor 18-0042: D4-RC-630-3 and D4-RC-631-2). Colin Lawson clarinet Francis Pott piano of Polatschek: PREMIERE RECORDING. The passing of Victor Polatschek End Notes is an inestimable loss to the Boston 1 Lynne Heller, Vienna Music Academy Archives, E- Symphony. During the 18 years of mail Correspondence, 17 February 2003. 2 Ibid. his association with the orchestra, 3 Pamela Weston, Yesterday's Clarinettists: a sequel he not only won the affectionate ad¬ (Yorkshire: Emerson Edition Ltd., 2002), 132. 4 Ibid. miration and respect of his col¬ 5 leagues, but he also became one of Boston Transcript (Boston), 17 November 1930. 6 Boston Post (Boston), 28 April 1933. the pillars of our organization. A 7 Boston Herald (Boston), 28 April 1933. strict disciplinarian, an uncompro¬ 8 Henry Gulick, E-mail Correspondence, 6 February 2003. mising artist and a loyal member of 9 the orchestra, he gave unreservedly Victor Polatschek, 24 Clarinet Studies for Begin¬ ners (New York: Marks Music Company, 1948). of his devotion, enthusiasm and re¬ 10 Victor Polatschek, 12 Etudes for Clarinet (New markable qualities, for he was in¬ York: Marks Music Company, 1947). GEMS OF THE CLARINET deed an incomparable artist, to serve " Victor Polatschek, Advanced Studies for the Clarinet (Milwaukee: G. Schirmer, Inc., 1947). The Baermann and Hermstedt CD portraits in one set music and maintain the highest stan¬ 12 Berkshire Eagle (Pittsfield), 28 July 1948. CC0027 dard of performance. CD 1 Carl Maria von Weber Quintet in B fid op. 34, Melodie. S/eben Variationen op 33 Felix Mendelssohn Konzertstucke Heinrich Baermann Quintet No. 3 (including Death claimed Polatschek un¬ the famous Adagio). Air Varte About the Writer... CD 2: Louis Spoilt Sechs deutsche Lieder op. 103. Recitative and Aria'Ich bin altein'. timely, at the summit of his artistic Theme and Variations trow the opera Afruna, die Eulenkonigin Mozart (arr W. attainment. Fate timed it to have not Bergmann) Parto! Parto!'from La clemenza Page 46 The Clarinet The Lomax (j/cm&io Clarinet Mouthpiece Andreas Sunden Norwegian Opera Orchestra "After years of searching I finally found a mouthpiece with endless possibilities. It is reed- friendly and it combines a warm sound with an easy articulation in all registers and dynamics." Andreas Sunden Andreas Sunden has been principal clarinet of The Norwegian National Opera Orchestra since 2000. Prior to that he was principal clarinet of The Nordic Youth Symphony Orchestra, Norwegian Youth Symphony Orchestra, Swedish Youth Symphony Orchestra and Concert Master of The Swedish Army Band and The Swedish Youth Wind Orchestra. After studies with Professor Hans-Christian Braein he graduated from The Norwegian State Academy of Music with top scores. He has also performed in Masterclasses for Karl Leister, Michel Arrignon, Michael Collins, Yehuda Gilad, Alessandro Carbonare and Hakan Rosengren. Mr. Sunden is an active partici¬ pant in chamber music and has been prizewinner in several Music Competitions in Sweden. Listed below are some of the artists using "LOMAX" What makes a great mouthpiece? mouthpieces: "A great mouthpiece enables a fine clarinet to be Paul Garner Dallas Symphony, Assistant Principal & E-flat Clarinet played at its full potential. It compliments and Harold Nogle Dallas Symphony, 2nd Clarinet enhances intonation, tone and response. A great Clarinet Section Mexico City Symphony mouthpiece should enhance the qualities of a good Members The Army Field Band Kenneth Grant Eastman School of Music reed and be 'reed friendlyallowing average reeds James Gholson Memphis Symphony, Principal - Memphis University to produce superior results! Finally, a great mouth¬ Bill Holman Brigham Young University piece must be replaceable. Nothing lasts forever. Jay East Freedonia College, New York Young students as well as professionals deserve the Joseph Rabbi Metropolitan Opera Orchestra, Co-Principal Clarinet very best equipment possible. " Andrew Firth Jazz Artist "Extraordinaire" -Sydney, Australia Paulo Sergio Santos Brazilian Jazz Artist and Recording Musician Phillip Baldino Portland OR, Studio Musician John Wiener Kansas City Philharmonic, retired Principal Clarinet Steve Shelton Springfield Symphony Orchestra, Springfield, MO Michael A. Lomax The "Andrew Firth" Jazz Model This mouthpiece has a medium length, double concave baffle, medium large bore and open tip. It possesses great projection, clarity and extreme range ability (A must for Andrew, who plays high fs and g's above double high g!!!). It can also play very softly with a warm, fat quality. Crafted from the finest German rod rubber, it tunes at 441-442 with standard barrel. A word on ligatures: After testing many of the available ligatures being used, we have found that BG's Revelation, Super Revelation and Tradition seem to work the best on our mouthpieces For Lomax 6/a.t,uc Mouthpieces, Call (417) 865-0996 fax : 33 4 78 56 57 78 Visit us on the web at: lomaxclassic.com www.bgfranckbichon.com E-mail: [email protected] September 2003 Page 47 ing released of some of Bonade's playing on The Legacy of Daniel Bonade (pro¬ duced by Larry Guy in 2002, Boston Re¬ Orchestral cords, BR1048CD), he plays this solo very straight, with little or no emotion, and does articulate the last measure as written. The Comparisons, Bloch book is also the same as the part, and he provides both the transposed ver¬ sion and the original. He also states that this solo must be played in strict tempo. A Study of Most players will probably agree with this because of what the strings are doing under Orchestral Excerpts, the clarinet solo, but when you listen to enough recordings, you will discover that some conductors allow for a little rubato. The Giampieri book is the same as the part, Part V but in the last measure adds a slur over the original articulation in the last two mea¬ sures. Hadcock also does not include the by Edward Palanker subito p. He claims that it is a misprint, which appears to be true. He, too, slurs the entire last bar. My score only has the slur The fifth installment in this series with very little to play before the exposed from the first to the second note. This is will compare some of the popular solo. The clarinet player cannot afford to really a minor point, because by that time orchestral excerpt books to the come in flat on the first note. The other you can hardly hear the clarinet — slurred scores and point out errors and editing dif¬ reason that I've been given is that at the or not. Hadcock also includes the trans¬ ferences. I will also comment on the end of the solo it's smoother to play the posed part. He suggests the use of a slight b differences in the playing styles of several large interval legato on the B clarinet than rubato in this solo in contrast to what Bloch major orchestras using recordings of on the A clarinet. Take your choice. Some recommends. Larry Combs suggests in his selected excerpts. As a reminder, I am not players transpose the entire movement and Orchestral Excerpts recording that the going to critique the performances of the others change to the A clarinet right after second movement solo should be played players. When listening to a recording, the solo. I'm sure there are players who very strictly in tempo because of the com¬ just play the entire movement on the A you have to remember that the conductor plexity of the accompaniment. Not all the clarinet as written too. has the last word in the interpretation. It recordings do that, however, as it obvious¬ The one difference between the part and may not be the way the player would ly depends on the conductor. Once again, the score is that the score has a subito p on have chosen to play it. this is proof positive that there is more than the last measure and the part has a diminu¬ This article deals with the Brahms Sym¬ one way to play a solo. I've heard some endo. All the recordings play it as indicat¬ phony No. 1 in c minor. Op. 68, move¬ players tell me that it must be played with¬ ed in the part, not the score, which is pretty out any rubato. I just smile. ments II and III. much performance practice. The McGinnis book is the same as the score. I wonder if Movement III, Un poco Movement II, Andante sostenuto Robert McGinnis really played it that way Allegretto e grazioso This solo is for the A clarinet but is of¬ when he was principal clarinet of the New ten performed on the B'' clarinet for several York Philharmonic? Bonade adds a slur in The score and part are the same. That's reasons. One reason is that the first move¬ measures 4 and 5 and slurs the entire last unusual. The McGinnis book omits both ment requires the B1, clarinet throughout, so measure. He does not include the subito p. the p dolce at the beginning and measures the A clarinet will be cold, maybe even flat Interestingly enough, in the new record¬ 11-18 which technically are not part of the solo. The Bonade book also omits the p SYMPHONY No. i and dolce but adds other dynamic mark¬ Example 1 in C minor ings and omits the same measures as does CLARINET I. McGinnis. In Bonade's recorded perfor¬ Johannes Brahms, Op. 68 mance, he does very little, if any, of the dynamics he indicated in his book and plays this solo with a bit of weight on each eighth note. Giampieri also leaves out measures 11-18. Bloch provides the entire passage and is true to the part, as is the Hadcock book. Both offer some good per¬ formance suggestions. Page 48 The Clarinet Example 2 IMPROVE in B Un poco Allegretto e grazioso Solo INTONATION, TONE QUALITY & RESPONSE. pdolce AccuBor* Clarinet S fat TuningBarrels bt Recordings Cleveland Orchestra, Dohnanyi, 1987, The Cleveland recording plays the sec¬ Teldec (8.43479) ond movement at about the eighth Berlin Philharmonic, von Karajan, 1987, note=88. The score has it marked as the Deutsche Grammophon (427602-2) quarter = 54, or 108 to the eighth note. NBC, Toscanini, BMG - RCA Victor, ori¬ Original ribbed design produces a brighter and more Dohnanyi allows a slight rubato in the ginal broadcast 1948, (60257-2RG) brilliant quality of sound. manner of a tenuto on the Gte three and Southwest Radio Orchestra Stuttgart, Celi- four measures before the end and makes a bidache, Deutsche Grammophon 1990 slight dynamic change from p to pp in the (3459 636-2) same bars. The third movement is about 96 Orchestral Excerpts for clarinet by to the quarter note, whereas the score in¬ Larry Combs, 1994, Summit Records dicates 88. It's played with a very subtle (DCD 161) cresc.-dim. in measures 4 and 5, and a very Dark heavy wall design has more mass than the original delicate tonguing at letter A. The Berlin ribbed design. There is more focus and solidity on short recording is about 96 to the eighth note in Reference Books tube notes, 12* firmly in tune, brightness and harshness in upper register greatly reduced, response is smooth the second movement. It's performed very Orchestral Excerpts, Vol. II, Robert Mc- and even throughout entire range. straight with no rubato at all and with no Ginnis, International Music Co., 1950 dynamic contrasts. Movement III is played Bonade Orchestral Studies for Clarinet, at about 84 to the quarter note and makes Daniel Bonade, Leblanc Educational more of the cresc.-dim. and sustains it Publications, 1947 longer. The staccato is more pronounced Studie d'orchestra per clarinetto e Clari- than the previous recording. The NBC netto Basso, Vol. 2, Giampieri, G. Ri- recording is played about 96 to the quarter cordi & Co., 1946 Eddie Daniels - Produces a rich, warm sound. Fully note in the second movement. It is played The Orchestral Clarinet, Vol. II, Kalman centered with a pitch controlled tone. with a very slight rubato on the highest Bloch, Clarion Music Association, 1987 notes in measures 2, 3 and 4. The final The Working Clarinetist, Peter Hadcock, AccuBore™ Clarinet products are made eighth notes are in a slightly quicker Roncorp, 1999 from a specially developed anodized tempo. The third movement is played at aluminum / bronze alloy which provides about 96 to the quarter note. There is a stable, consistent size and shape of bore and substantial cresc.-dim. — more than in the bell. This material will not chip, crack, break or warp and is not affected by temperature, others. The staccato is a legato tonguing The Clarinet with a very slight tenuto on the top note. humidity or condensation. Priced very reasonably compared to wood barrels and The Southwest Radio Orchestra of Stutt¬ PUBLICATION SCHEDULE bells, all of the attributes of the AccuBore™ gart recording plays the second move¬ line allow more freedom in playing choices. ment at about 84 to the eighth note. It is The magazine is usually mailed played almost straight, but puts a slight during the last week of February, rubato on the top notes in the line. Move¬ May, August and November. De¬ ment III is performed at about 80 to the DEC livery time within North America quarter note with a more substantial cresc.- DEC MUSIC PRODUCTS, INC. dim. than the others and with much more is normally 10-14 days, while air¬ LAKE GENEVA, Wl USA expression in the phrasing. The staccato mail delivery time outside North 800.558.9416 * [email protected] is well marked, more like the Berlin re¬ cording than the other two recordings. America is 7-10 days. September 2003 Page 49 Dn ihe Shadow of Shostakovich: A Clarinet Sonata by Moisey Vainberg by Igor Pohlad in the West, and all of them are currently out of print in Russia. Fortunately, there Most clarinetists around the world are several public and private libraries in would probably agree, that which the performance scores of these 2 Dmitri Shostakovich under¬ sonatas may be found and checked out. stood the technical and timbral resources By writing this article, I hope to intro¬ of the clarinet better than most other com¬ duce clarinetists to Clarinet Sonata Op. 28 posers. Almost every orchestral work by in D, by Moisey Vainberg. In turn, this this great musician contains an exciting might eventually expand the repertoire of solo episode for soprano, piccolo or today's clarinetists beyond the traditional bass clarinet, which in the context of that Hindemith-Poulenc-Bemstein axis of 20th- particular composition produces a tremen¬ century clarinet sonatas. dous musical effect. And all too often When I studied clarinet at the Odessa have we heard a heartfelt complaint of Conservatory, in Ukraine, my venerable the clarinetists, which can be summed up professor, Vassili Povzun, regarded Vain- as, "what a shame it is, that Shostakovich berg's Clarinet Sonata as being the only never wrote any chamber or solo music work comparable in its beauty and depth for clarinet (or any other wind instrument of feeling to works by Mozart and Brahms. for that matter)." Moreover, he insisted that only an emo¬ Moisey Vainberg Be it as it may, clarinetists are very tionally mature musician with a complete lucky to have a number of compositions command of his/her technique could suc¬ berg was a very close personal friend of written by various Russian composers un¬ cessfully perform this work. The Sonata Shostakovich, and once remarked, "Al¬ der the influence of Shostakovich's musi¬ doesn't present the technical difficulties though I took no lessons from him, Dmitry cal style. There is a wonderfully expres¬ related to virtuosic passagework, or epi¬ Shostakovich was the first person to whom sive Sonata for Clarinet and Piano #2 sodes with fast staccato tonguing. The I would show each of my new works."3 An (1972) by Solomon Lobel, a dark and tragic main challenge in performing this compo¬ extended clarinet solo at the very begin¬ Sonata for Clarinet and Piano #3 (1982) sition lies in achieving complete dynamic ning of the work may demonstrate the type by Grigory Frid, and above all, one of the control over all registers of the instrument, of melodic gestures typical of Shosta¬ most beautiful works written for clarinet — as well as understanding of various types kovich (see Example 1). The two lyrical Sonata for Clarinet and Piano (1945) by of expressive articulation. These challen¬ themes of the first movement (Allegro, Moisey Vainberg.1 Unfortunately, most ges are related to the fact that Vainberg's quarter note = 144) grow in intensity, and American and European clarinetists have Clarinet Sonata is of truly "symphonic finally reach a dramatic climax, at which never heard of these composers. Nor have proportions" (more than 40 minutes in dur¬ point the clarinet's and piano's lines are they obviously studied or performed their ation), and written for clarinet in A. engaged in a complex polyphonic dialog. clarinet sonatas. Additionally, it doesn't As I've mentioned, in terms of its musi¬ Several moments later the musical intensi¬ help to know that none of these composi¬ cal language, the Sonata exhibits a pro¬ ty grows even higher, with the clarinetist tions has ever been published or recorded nounced influence of composers like being asked to sustain a high G"fortissimo Shostakovich and Prokofiev. In fact, Vain- for nine beats. Over the course of the next Example 1 Allegro Mr. & Mrs. Vainberg (right) with Dimitri Shostakovich (I) Page 50 The Clarinet 30 measures, the tension of this moment is lishes itself. While recently performing somber version of what might be called a gradually resolved and the peaceful lyri¬ this Sonata, I've noticed that the final 10 "Jingle Bells motive" (see Example 2), cism of the movement's opening re-estab- measures of the piano part contain a rather although it would be rather speculative to insist that Vainberg knew this American Example 2 Christmas tune, and deliberately used it for dramatic purposes. The second movement is a series of variations on a march-like theme in G Major (Allegretto, eighth note = 144). The melodic contour of the melody, and partic¬ ularly the modal alterations of the second scale degree are rather typical of Shosta¬ kovich's musical language (see Example 3). In the middle section of the second movement, Vainberg introduces a new theme reminiscent of Jewish folk music, and supported by a perfect-fifth-drone of the piano (see Example 4). Consider¬ ing the year of this work's composition (1945), the appearance of the Klezmer- type music within a highly academic genre of a sonata can be viewed as a composer's highly personal artistic statement. It is important to keep in mind that during this time the music of Gustav Mahler was es¬ sentially unknown in the Soviet Union, Example 3 and such "Klezmer-flavored" composi¬ Allegretto m. tions as Sergei Prokofiev's Overture on 1 Hebrew Themes, Op. 34, were not pub¬ lished until the late 1950s. Thus, Vain- berg's Clarinet Sonata may be viewed as one of the first solo/chamber compositions in which the "Klezmer character" of the clarinet is being explored. At this point a clarinetist has to be able to change her/his musical personality, and forget everything they've been taught about the "orchestral clarinet tone," but rather emulate the "sob¬ bing" intonations of such Klezmer vir¬ Example 4 tuosos as Giora Feidman and David Kra- kauer. The ability to successfully (and tastefully) change performing styles and tone colors will be one of the main chal¬ lenges in a performance of this work. The third movement begins with a long progression of slow, arpeggiated chords in the piano. The music creates a sense of deep contemplation. This moment of peace is suddenly disrupted by two fortis¬ simo chords, which announce a stately, 16-bar-long melody in the piano (Adagio, eighth note = 108). Similar to the middle section of the previous movement, the melodic emphasis on the intonations of a harmonic minor, combined with "expres¬ sive" grace notes has an obvious relation crescendo to the melodic patterns of Jewish folk September 2003 Page 51 Example 5 Musically, the Clarinet Sonata by Moi¬ sey Vainberg is truly unlike any other com¬ position for this instrument. One can only wonder why this work, written more than 50 years ago, is completely unknown to musicians outside of Russia and Ukraine. 1 am hoping that more clarinetists will invest their time and effort in discovering the music of Moisey Vainberg, and find a way to obtain the music to his Clarinet Sonata. Speaking from personal experi¬ ence, this composition is one of those rare pieces of clarinet music, which by the end of the performance bring tears to the eyes of the audience. Endnotes 'This is the Russian version of the composer's name. In the latest edition of The New Grove Dictionary (2001) the composer's name is spelled as Moisey Weinberg, which is a Polish way of pronouncing it. Example 6 Although both versions can be used, Vainberg is a more common spelling. 2 One can check out the music of Frid's Clarinet Son¬ ata No. 3 at the Library of Congress (call # M250.F) and Lobel's Clarinet Sonata No. 2 at the I.C.A. Collection of the University of Maryland Library (call # 963). The score of Vainberg's Sonata can be found in the libraries of the Peabody Conservatory of Music and California State University at Fresno rf/m. poco a poco (call no. M250). 3L.N. Nikitina, "Weinberg, Moisey Samuilovich," music. A clarinetist enters on a sustained and emotionally charged cadenzas for over The New Grove Dictionary of Music and Musicians', fortissimo trill on a low followed by 30 minutes, the clarinetist will have to de¬ ed. Stanley Sadie (London: Macmillan, 2001), vol. an extended cadenza full of passion and pend upon his/her muscle control and 27, p. 236. drama. The composer disregards a tradi¬ breath support to successfully bring out the tional notion of equality between the two melodic leaps between various registers of About the Writer... instruments in a sonata composition, and the instrument (see Example 6). As music A native of Odessa, gives a clarinetist an opportunity to be in dies away on a sustained D Major sonority, Ukraine, Igor Poklad the spotlight as he/she performs this con¬ the clarinetist is being required to hold a received his B.M. (in high C pianissimo for more than 16 beats. certo-type cadenza (see Example 5). Since Clarinet Performance) The Clarinet Sonata, Op. 28, of Moisey the composer did not provide any specific and M.A. (in Music Vainberg is a lyrical and melodious work expressive/dynamic markings for the mu¬ History) at San Fran¬ which essentially continues the aesthetic of sic of the clarinet solo (notated fortissimo cisco State Univer¬ throughout), it will be up to the performer musical romanticism. Although written in sity. One of his main to come up with various expressive ges¬ 1945, there are no traces of neo-classicism, spheres of interest is tures and original musical ideas. serialism or any other compositional tech¬ contemporary Ukrainian and Russian mu¬ The cadenza if followed by a clarinet¬ niques of the earlier twentieth century. The sic. In the past few years, he has performed ist's version of a quasi-Klezmer melody obvious musical influences are Mahler, two solo recitals of the U.S. premiers of the previously stated in the piano part. The Prokofiev and — above all — Shostako¬ new clarinet music from these two coun¬ main challenge for a soloist will be to keep vich, but what distinguishes Vainberg from tries. Additionally, he has written a num¬ the pitch up, since the material is almost these composers is his unabashed lyricism. ber of research studies dedicated to various exclusively presented in the throat-tone In his music we will not find the phantas¬ specific issues of the contemporary clarinet register fortissimo. Similar to the musical magoric irony of Shostakovich, or the eso¬ music, including a master's thesis "Ukrain¬ procedures of the first movement, the final teric spiritual revelations of Mahler. Vain- ian Clarinet Music since 1982: Aspects of moments of the third movement bring a berg's voice is unique in its passionate out¬ Aesthetics and Style." A member of the peaceful and consonant resolution to the bursts of heart wrenching melodiousness U.S. Air Force Band of the Golden West, dark passions and emotional outbursts typ¬ in light of the ever shifting balance between Mr. Poklad has performed with various ical of the entire Sonata. After playing the inner peace and the harsh brutality of the orchestras and chamber groups throughout Klezmer-type melodies, march-like themes, outside world. the San Francisco Bay Area. Page 52 The Clarinet Gigliotti Mouthpiece»-| Gigliotti Reeds Gigliotti Ligatures | Gigliotti No - Gigliotti Ready- to- Play Set Fan. They all sound energised by one another's artistry. The transcendent trios by Beethoven and Beethoven Piano Trio No 4 in B flat, Op 11 Brahms receive performances that are real Brahms Clarinet Trio in A minor. Op 114 occasions. There is a feeling of seamless Glinka Trio pathetique in D minor conversation in the Beethoven, in which Anthony Gigliotti cl balances are fine and judicious tempi allow Felix Fan vc Hung-Kuan Chen pf lines to emerge in all of their exuberance Bravo ©20123 or lyricism. The players provide abundant (64 minutes: DDD) warmth in the Brahms trio without going over the romantic deep end. Anthony Gigliotti was The surprise here is Glinka's Trio pathetique one of the world's in D minor, which sounds nothing like leading clarinettists the music the composer would create once he during the second half became the epitome of Russian nationalism. of the 20th century. Beethoven and Schubert seem to be the He played principal models for this charming piece of Viennese- clarinet in the Philadel¬ inspired classicism. phia Orchestra for 47 Gigliotti's fluid technique, crystalline seasons, retiring in 1997, and was a longtime articulation and tonal beauty grace every member of the Philadelphia Woodwind piece, while Chen's pianism is alert to Quintet, which can be heard on milestone detail and momentum and Fan (playing the Columbia recordings from the 1950s 1724 'Hausmann' Stradivarius which was recently released on compact disc. used at the premieres of both Brahms' Trio Gigliotti died at the age of 79 in December and also his Double Concerto) contributes 2001, a year after making this recording of music-making of compelling ardour. The trios with exceptional young colleagues, recording is an eloquent farewell to a pianist Hung-Kuan Chen and cellist Felix clarinettist of rare gifts. Donald Rosenberg Anthony Gigliotti and TSO's performance is impeccable. By far, this is the best recording of my music Bravo 20126 " Bravo 20123 Bravo 20125 ever made. " R. Strauss: Duet-Concertino Beethoven, Brahms, Glinka: Rochberg, Argento: Mozart, Weber: Clarinet Trios Clarinet Concertos George Rochberg Bassoon Concertos lA/orld Pre—ntere Recording A. M. Gigliotti, Inc. P. O. Box 8387 • Cherry Hill, NJ 08002 Tel ./Fax (856) 667-0837 www.clarinetworld.com September 2003 Page 53 INTERNATIONAL CLARINET ASSOCIATION 20(W HIGH SCHOOL SOLO COMPETITION Eligibility: The competition is open to all clarinetists born after January 1, 1986 and who are currently enrolled in high school. Application: Send materials postmarked no later than Monday, April 19, 2004 to: 2004 I.C.A. High School Solo Competition PO Box 1274, Boone, NC 28607 USA Diane Cawein Barger, Coordinator FAX 1(828)963-8990 School of Music • University of Nebraska-Lincoln See Our Web Specials 120 Westbrook Music Building www. m uncywinds, com Lincoln, Nebraska 68588-0100 Phone: (402) 472-0582 • Fax: (402) 472-8962 E-mail: Visit Our CONTEST RULES I. Application fee: $35 U.S. All applicants must be members of the I.C.A. and must provide proof of member¬ ship. Non-members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest application fee. Make amount payable to the I.C.A. in U.S. currency. This fee is non-refundable. II. Please provide a good quality recording (cassette or CD-R format acceptable) containing the following repertoire in this order: 1. Johann Wenzel Kalliwoda, Introduction und Variationen, Op. 128 (Kunzelmann) 2. Willson Osborne, Rhapsody for solo clarinet (Peters) The recording should be made on a CD-R, or new cassette tape on one side only, with accompaniment where appropriate. Please be aware that the quality of the recording will influence the judges. 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. Please note that no application form is required. muricywinds.com JUDGING muncywinds.com Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R, cas¬ sette, 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. Letters of notification will be mailed by Monday, May 17, 2004. Final round will be held at the ClarinetFest 2004, to be held in Maryland, July 2004. 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 ICA will pro¬ vide a pianist for all finalists. All finalists will receive free registration at ClarinetFest 2004. Travel and other expenses will be the respon¬ sibility of the contestant. ■mjncywuids.i All recordings will become the property of the I.C.A. and will not be returned unless a self-addressed, stamped envelope is provid¬ ed. 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Also available at International Musical Suppliers ¥ P.O.BOX 305, DEXTER, MI 48130 USA PH: 734-426-5814 • FAX: 734-426-5834 www.ValentinoPads.com www.inllmusicalsuppliers.coni - 800.762.1116 www.equilibri.com Announces an immediate opening for: Bass Clarinet Benefits include: Full medical and dental care I he U.S. Army Concert Band currently seeks an accomplished 30 days paid vacation each year section bass clarinet player. The winning candidate will demonstrate College Loan Repayment Program superior section, lead and solo playing skills. Regular duties include up to $65,000. performance with The U.S. Army Concert Band, and occasional Current annual starting salary performances with the Army Ceremonial Band. Applicants will be $37,900. ret]uired to submit a representative taped example of their abilities with finalists being selected for a live audition. Finalists will be transported Age Limit: to Fort Myer at Army expense as soon as suitable candidates are The maximum age for enlistment identified. The live audition will include prepared material, sight- in the U.S. Army is 34. reading and a brief ceremonial audition. This position will remain open Army Band members undergo an until a suitable candidate is selected. extensive background investigation to assure suitability As the premier concert band of the U.S. Army, The U.S. Army Band is for White House support duties. one of the significant military musical organizations in the world. The U.S. Army Band is equally at home performing at a White House Auditions: function; venues such as The Kennedy Center in Washington, D.C., or The U.S. Army Band conducts competitive auditions only for actual and Lincoln Center in New York; premiering a new composition or backing projected vacancies in iPershingis Own.T Applicants are required to headliners at major musical, sports or patriotic events throughout the submit a resume, photo, and cassette tape that demonstrates their United States, Canada and Europe. overall musicianship. Those materials are reviewed and the best For more information on this and other vacancies, qualified applicants are invited to Fort Myer (expenses paid by the Army) contact: www.army.mil/armyband for the audition. The audition may include the performance of a The U.S. Army Band prepared solo, excerpts, and sight-reading. Attn: Auditions, 204 Lee Avenue ./ Fort Myer. Virginia 22211 -1199 (703) 696-3643 September 2003 Page 55 SPC Alice Park. SPC Jessica Kopp. SGT Timothy Mason. SPC Justin Paul Eller. SSG Roberta Walters. Woodwind Quintet. Europe's always been a great place to be a great musician. Find out for yourself, as a wind player in the U.S. Army. Start by visiting us at band.goarmy.com/dm/5. For serious musicians, there's no better place. INTERNATIONAL CLARINET ASSOCIATION 2004 ORCHESTRAL AUDITION COMPETITION Eligibility: The competition is open to clarinetists of all ages who are not currently employed as full-time salaried members of a profes¬ sional symphony orchestra. Application: Send materials postmarked no later than Monday, April 19, 2004 to: 2004 I.C.A. Orchestral Audition Competition • Kathy Pope, Coordinator University of Utah - School of Music • 1375 E. Presidents Circle, Room 204 • Salt Lake City, UT 84112-0030 USA Phone: 801-581-6762 Fax: 801-581-5683 • E-mail: CONTEST RULES I. Application fee: $50.00 U.S. All applicants must be members of the I.C.A., and must provide proof of membership. Non-members wish¬ ing to compete may join the I.C.A. by including the appropriate membership fee with their contest application fee. Make amount payable to the I.C.A. in U.S. currency. This fee is non-refundable. II. Please provide a good quality recording (CD-R format preferred, cassette acceptable) containing the following excerpts in this exact order: 1. Mendelssohn, MidsummerNighfs Dream Scherzo — Beginning to m. 48 2. Respighi, Pines of Rome Mvt. Ill — Solo: rehearsal 13 to end 3. Berlioz, Symphonie Fantastique Mvt. II — Rehearsal 35 to Tempo I (18 measures) Mvt. Ill — Rehearsal 43 to rehearsal 44 Mvt. IV — Two measures before rehearsal 56 to six measures before rehearsal 57 4. Borodin, Polovetsian Dances Mvt. I — Beginning to rehearsal B Dance of the Wild Men (#17) — 18 measures after rehearsal B to rehearsal C 5. Rimsky-Korsakov, Scheherazade Mvt. II — Cadenza: rehearsal F to rehearsal G Mvt. Ill — Five measures before rehearsal A to rehearsal A Mvt. Ill — Pick-up to rehearsal G through first measure of rehearsal H Mvt. IV — Rehearsal I to rehearsal K 6. Tchaikovsky, Symphony #4 Mvt. I — Solo at meno mosso, first six measures only (mm. 115-120) Mvt. Ill — After meno mosso, measures 13-17 (mm. 145-149) Mvt. Ill — Rehearsal E, first three measures only; and rehearsal F, first nine measures only III. A separate written and signed statement, attesting that 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. Please note that no application form is required. JUDGING Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R (or cassette) or case/box. There should be no speaking on the recording, such as announcing of compositions. Preliminary judging will be by taped audition. Semifinalists will be chosen be committee. Letters of notification will be mailed by Monday, May 20, 2002. Semifinal and final rounds will be held at the ClarinetFest©2004, to be held in Washington, DC, July 2004. 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© 2004. 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 unless a stamped, addressed envelope is provided. (Use U.S. postage or International Postal Coupon.) PRIZES First Place: $1,000 U.S.; Gregory Smith Custom Mouthpiece; The Reed Wizard by Ben Armato Second Place: Gregory Smith Custom Mouthpiece; The Reed Wizard by Ben Armato The I.C.A. is grateful to Gregory Smith and Ben Armato for their sponsorship of the Orchestral Audition Competition. September 2003 Page 57 Ronald Phillips—Living Legend -m by Mary Louise Kantor Seattle is blessed with many clarinet Albert-system C clarinet when I was MK: Did you have any clarinet teachers? luminaries — William O. Smith, four, but my father said, "No, you have RP: I had a few lessons in high school William McColl, Christopher Se- to wait until you're five." So, January 2 with a vaudeville player named Hilmar reque and many others. The great elder after my fifth birthday, my father said, Ekstrand, who had studied with a pupil statesman is, without a doubt, Ronald "Today we'll start the boy. My father of Baermann's. He said nothing about Phillips. His main claim to fame is his long rigged me up with a large velvet cov¬ blowing the clarinet, but straightened tenure as the Seattle Symphony's princi¬ ered hook, which could support the bell me out on the fingerings. I studied pal clarinetist — 56 years. of the clarinet from the music stand. At Baermann books 2 and 3. Later in high There is so much more to this story, in the age of six, I was given a set of Buf¬ school, I was part of the first class to truth, I could write a book! He is still alive, fet B!" and A clarinets with two wooden occupy the newly opened Roosevelt a hale and hearty 96 years old and consent¬ mouthpieces, which I played on for 10 High School (now a venerable school ed to be interviewed for an article in The years, until discovering that one only with an excellent music department). Clarinet in June of 2002. He was also the needs to have one mouthpiece, and MK: When did you start playing with the subject of an article by Sherrick Hiscock in started playing on a Chedeville. The Seattle Symphony? neighborhood "orchestra" of 14 players the Spring 1983 issue. RP: It was called the Seattle Civic Sym¬ gave regular concerts, and I played fre¬ phony, and had Madame Davenport Mary Kantor: Tell us about your early quent solos, such as Luisa de Montfort Engberg as the conductor. I played sec¬ years and how you started on the clar¬ by Bergson. ond to Nicolas Oeconomacos (an ex¬ inet. MK: When did you start getting profes¬ traordinary Greek-bom clarinetist with Ronald Phillips: I was born New Year's sional engagements? a beautiful sound) for about six years. Day 1906 on an Indian reservation. RP: There was a city park orchestra, which While he was out of town, I was play¬ (My father worked for the U.S. Govern¬ gave 30 concerts in the summer. The ing second to a clarinetist named Stone. ment.) in Lac du Flambeau, Wisconsin, first chair players got seven dollars a ser¬ We were rehearsing Beethoven's Pas¬ and my family moved to Seattle's Ra¬ vice, and I was probably getting about torale Symphony, and in the third move¬ venna neighborhood when I was still a six. I attended Lincoln High School in ment, Mr. Stone stopped playing. Ma¬ toddler. My family was quite musical, Seattle, which had a good music de¬ dame Engberg said, "What's the matter, each one playing an instrument so they partment, with an orchestra of 50 play¬ Mr. Stone?", and he said, "This passage could have nightly concerts. I was im¬ ers. My first experience with them was is too hard. Not even Oeconomacos patient to start on the family's 11-keyed playing in Flotow's opera Martha. could play it." Then she asked me to PRO GRAMS ^ Fourth Program Fifth Program w Monday and Tuesday Monday and Tuesday December 10 and 11, 1945 J anuary 7 and 8, 1946 Moore Theater, 8:30 p.m. Moore Theater, 8:30 p. in. ORCHESTRA SEASON 1942-43 CARL BRICKEN, Conductor Sir THOMAS BEECHAM, Conductor CARL BRICKEN, Conductor WHITNEY TUSTIN, Oboist Guest Artist RONALD PHILLIPS, Clarinet Soloist Haydn Symphony No. 100 in G Major ("Military") SECOND SUBSCRIPTION CONCERT Adagio; Allegro Menuetto: moderato Mozart Symphony No. 40 in G Minor (K. 550) Allegretto Finale: Presto Allegro molto Minuetto; trio Monday, October 19, 1942 Music Hal! 'Dakius Milhaud Suite Francaise Andante Finale: allegro assai Sir Thomas Beecham, conductor "Cimarosa Concerto for Oboe and Strings Freely arranged by Arthur Benjamin Smktana Three dances from "The Bartered Bride" PROGRAM Slow introduction Siciliana Matthay Overture "In May" Allegro Allegro Debussy First Rhapsody for clarinet and orchestra (Rrt+ Performance in S*attt«) Whitney Tustin Ronald Phillips Sibelius Suite from the Incidental Music to "Pelleas and Melisande" "Godard "Marche des Highlanders," INTERMISSION (first Performance in $ea+ti«) for oboe and orchestra Mozart Concerto tor Clarinet and Orchestra in A major Vaughn Williams Fantasia on a Theme by Thomas I. AJtegro Whitney Tustin III.II. AdagioRondo; allegro Tallis for Double String Or¬ RONALD PHILLIPS, soloist INTERMISSION chestra. (firct Performance in Seattle) Dmitri Shostakovitch Symphony No. 5, op. 47 Moderato Largo Strauss "Till Eulenspiegel's Merry Pranks, INTERMISSION Allegretto Allegro non troppo after the Old-fashioned, Rougish •Firs/ Performance in Seattle Manner, in Rondo Form," op. 28. Schumann Symphony No. I, in B flat major II.I. Andan+e;Larghetto allegro moHo vivace IV.III. Scherzo;Allegro animato moHo vivace e grazioso Concert programs Page 58 The Clarinet Ronald, age 5 (note the sideways ligature) Ronald Phillips when he was 20 in 1926 play it, and I did. Mr. Stone got up and At that time, you could raise a family profession and made a living my entire left, and I was promoted to principal. on $20 a week in Seattle. I stayed at life from playing the clarinet. I could MK: How many concerts were in the sea¬ that job for two and one-half years. double on sax and flute also, so there son at that time? MK: So, eventually, you moved on. What was always work, such as playing on RP: Probably a couple. Probably two. was your next engagement? cruise ships, and touring the west coast with Martha Graham's Dance Com¬ MK: Tell me about your other engage¬ RP: I went on to play in the Olympic Hotel pany. In the '30s, I charged two dollars ments when you graduated from high concert orchestra (piano, violin, cello a lesson. I also started teaching at the school. and clarinet) for two years. (Side note: University of Washington, a position I RP: The theater orchestras were where It was also during prohibition.) We held until 1968. the big money was. In the '20s in Se¬ played everything. Transcriptions, salon attle, the Symphony wasn't playing orchestra arrangements. It was there MK: You also had military service. Tell me frequently enough to make a significant I met my wife to be — Gladys Phillips about that. income from (a 16-week season). While (yes, same last name!!), and she was RP: I joined the National Guard in 1935, I was still at Roosevelt High School, the a very good pianist. Visiting soloists serving as a Sergeant in the 146th Field second clarinet player there said his were amazed by her virtuosic sight- Artillery Band. At the time I joined, it teacher was leaving the Coliseum The¬ reading ability on orchestra reductions. was a lot of amateurs, but since it be¬ ater Orchestra. It was too much work I also played in the Fox Theater orches¬ came a paying job, thanks to the WPA, for him, and they asked me if I would tra. In 1930, with the advent of sound good musicians started to join up, so it be interested in taking the job playing pictures, the theaters disbanded the or¬ became a good band. chestras. It was very sudden, from one first clarinet. I met with the conductor, MK: The symphony also did a tour that day to the next, the jobs were gone. The Sam Wineland. He said. "I've heard year. Tell us about that. Great Depression was also a factor in about you." Then he looked skeptically RP: There was a trip to San Diego with the closure of many work venues. at me because I was young and said, the symphony in August of that year. "Have you heard of the Second Hun¬ MK: You also got married in the '30s? The SSO was there by the invitation of garian Rhapsody?" I said, "Yes, I had RP: Yes, on December 10th, 1935,1 mar¬ the San Diego Symphony to perform heard of it, but never heard it. I had ried Gladys Bezeau Phillips, who was at the California Pacific International studied the cadenzas out of a book." also the pianist with the symphony. Exposition in the Ford Bowl, built by Without playing, I got the job. At the We lived in an apartment in the Para¬ Henry Ford. time, it was the biggest job in Seattle. mount Theater building, and both of MMK: What about the time George Gersh¬ The orchestra had 30 musicians and us gave lessons there. win came to Seattle (in 1936)? played the sound tracks for silent films. MK: Did you ever have to do anything else RP: George Gershwin came to play and The work included four short concerts besides play/teach the clarinet? conduct the orchestra in Rhapsody in each day and an hour concert on Sun¬ RP: I took up teaching to make money as Blue. This was shortly before his un¬ day. The pay was good — $65 a week. a side profession. I never had any other timely death. Seeking an opportunity September 2003 Page 59 The Seattle Symphony Woodwind Quintet in the 1960s: Scott Goff, flute, Bernard Shapiro, oboe, Robert Bonnevie, french horn, Morgan Griffin, bassoon, Ronald Phillips, clarinet (photo by La rev McDaniel) first one to play the Mozart Concerto cises. I immediately enlisted at the Ber¬ in the Northwest. In this review from litz school, because my two years of the Seattle Times October 20, 1942, high school French were inadequate. Richard E. Hays states: "And climax¬ We stayed until October of that year. ing the evening was the tremendous I also took lessons with Bonade, Dele- ovation given Ronald Phillips, clar¬ cluse, Cahuzac, and many others. Ronald Phillips and Stravinsky at the His- inetist, who, as the featured soloist of MK: Later that decade, you toured South¬ toire du Soldat concert. the evening, played with the orchestra east Asia with the Los Angeles Philhar¬ (photo by Larey McDaniel) the melodious and graceful Concerto monic. That must have been thrilling. in A by Mozart. There was beauty of RP: Yes it was exciting, because it was to speak to the maestro, I asked Mr. tone as well as technical command in long and we went to a lot of countries. Gershwin how to approach the solo. Mr. Phillip's playing and a finesse in Alfred Wallenstein was familiar with Gershwin said simply, "It's a big place. phrasing that was most grateful to the my playing from his guest conducting Boot it out." ear." Beecham also admired my play¬ with the Seattle Symphony. Wallenstein MK: Now we come to a real career high¬ ing as well and let many people know asked especially for me after there was light. Sir Thomas Beecham came to Se¬ what a great musician he thought I trouble with the first clarinet player's attle. There's a lot to say on this topic. was. In 1946, I performed the Debussy visa. I was also asked to come and play RP: With the onset of WWII, Seattle was Rhapsodic with conductor Carl Bric- principal in San Francisco, but since all lucky enough to get Sir Thomas Bee¬ ken. The Debussy was not listed as my friends and family were here, I cham to come and conduct the orches¬ being a Seattle premiere, but it possi¬ didn't want to leave. tra. They hated him in England, be¬ bly was. I was featured soloist many MK: So, had the Symphony become a good cause he went away to avoid the Ger¬ more times with other great conduc¬ source of income by the time Milton mans. We all loved him, because he tors, but those were the truly memo¬ Katims came to conduct? knew it was going to be good, and it rable firsts. RP: All the time, the SSO was far from a always was good. A new concert- MK: You have a lifelong love of learning. full-time job, so there were musicals, master came in also, Francis Aranyi There was a study period in Paris that band concerts in the parks, and teaching (not brought in by Beecham), and Sir I'd like you to recount for us. to supplement the income. In 1957, the Thomas asked him if he thought I RP: In April of 1950, Gladys and I went yearly salary from the Symphony was could play the Mozart Concerto. I had to Paris, so I could study with Gaston around $2,000. never played it in concert, but had Hamelin. We went over the Premiere MK: You also had a strong teaching stu¬ practiced it. So, he put it on. I was the Rhapsodic and a lot of his own ex-er- dio. Name some of the star students. Page 60 The Clarinet Sir Thomas Beecham with Ronald Phillips Ronald Phillips and Basil Rathbone at the concert o/ Histoire du Soldat and Whitney Tustin (photo by Larey McDaniel) RP: There was Loren Kitt, Richard Shan- ser, a Los Angeles clarinetist then play¬ slowed down somewhat, but still does the ley, Gene Zoro, Dileep Gangolli, and ing principal in the Israel Philhar¬ occasional gig. Once a week, Monday Larey McDaniel, just to name a few. monic, told Milton Katims, SSO's night, the Shrine Band, and each and (Interviewer's note: Ronald saves ev¬ longtime conductor, "He is one of the every Mozart Requiem that he is available erything, and the letters from his for¬ best-known, and most admired, of all for on his Selmer basset horn. He still mer students show him to be admired, clarinetists, not only in the United lives in the house he bought in 1941 and greatly loved and not forgotten as a States, but all over the world." Also is doing well. He even had a great time at clarinet teacher and friend.) noteworthy is the great love and re¬ the New Orleans ClarinetFest 2001. spect of his colleagues on the music MK: I 've heard about your lifelong love scene in Seattle. He has received nu¬ About the Writer... of golf. Tell us about that. merous awards from local and state arts RP: I heard these fellows talking about organizations, and he is a life member Clarinetist Mary Kantor received her golf during a rehearsal. That was in of Musician's Local 76. On his retire¬ Bachelor of Music degree from the Uni¬ 1923. I said I'd like to give it a try, and ment from the Symphony in 1983, after versity of Washington and graduated so I played my first game. My first 56 years of being in the orchestra, con¬ from the Academy of Music in Vienna shot was well hit, but went onto a park¬ gratulatory telegrams came in from with honors in clarinet performance. She ing strip and was a two-stroke penalty. everywhere — then President Ronald has studied with David Atkins, William Anyway, I got started playing golf, Reagan, the mayor, the governor, also McColl and Rudolf Jettel, principal clar¬ and I loved it. I've never hit a hole in countless musical celebrities. This one inetist of the Vienna Philharmonic for 38 one, but I once golfed my age. I shot a from Leon Russianoff: "Dear Ron, I years. Mary is a founding member of the 76 when I was 78, which for you non- cannot believe that it is more than a half Johann Strauss Trio and the Mazeltones, golfers, is 400 times better than a hole- century that you have been sharing both of which have toured widely and in-one. your great artistry with your col¬ have appeared on television and radio. As MK: The 1960s saw more great perfor¬ leagues, your audiences, and your stu¬ a soloist, she has performed the Mozart mances, such as playing the Copland dents. I would like you to know that Concerto and the Richard Strauss Duet- Concerto numerous times for runout you are for me, an ideal of the artist Concertino with Philharmonia Northwest. concerts, playing Histoire du Soldat whose personality, character, and ele¬ She has also performed with the Seattle with Stravinsky himself conducting, gance match his musical magnificence. Symphony, Seattle Opera, Pacific North¬ Basil Rathbone narrating, and a thrilling Congratulations, good luck, and happi¬ west Ballet, Northwest Chamber Orches¬ N.W. premiere of Quartour pour la fin ness for the next one quarter of the tra, and the Austrian Radio Orchestra du temps. He also started the Seattle next century." Leon Russianoff (ORF). She is currently principal clar¬ Art Museum Chamber Music Series, inetist with the Bellevue Philharmonic paid for with MPTF. That went from He continued to be active as a player, and the Seattle Choral Company. Since 1963 to 1989, adding up to more than performing concertos, chamber music, fall quarter, 2000, Mary has been the 400 concerts. A great compliment was teaching, adjudicating, and gigs of all clarinet professor (adjunct) at Seattle Pa¬ paid to him in 1968 when Richard Les¬ kinds throughout the '80s. In the 1990s he cific University. September 2003 Page 61 by James Gillespie Robert Heger (Federal Republic of Conservatory where he was awarded Germany) a First Prize in 1951. In addition to his Karl Holler (Federal Republic of Of all the international music com- First Prize in Munich, he also won a First Germany) petions that include the clarinet, Prize at the Geneva International Compe¬ Eberhard Preussner (Austria) none is more prestigious and suc¬ tition in 1953. His professional career in¬ Leopold Wlach (Austria) cessful in attracting world-class performers cluded positions in the Garde Republi- than the International Music Competition caine Band in Paris, principal clarinet in Repertoire of the ARD (Allgemeine Rundfunkanstalten the Monte Carlo Opera and as a professor The only required work was the Mozart Deutschlands) in Munich (Intemationaler at the Angers Conservatory. Concerto, K. 622, with four other works Musikwettbewerb der ARD Miinchen). selected freely by the contestant from the 1957 2003 marks its 53rd consecutive year and romantic and modern eras, including one the 11th year in which the clarinet has Jury concerto. been included. It has been organized and Hans Miiller-Kray (Federal Republic sponsored by the Bavarian Radio from the of Germany), Chair Winner beginning, and more than 11,000 instru¬ Anton von Bavier (Italy) The only prizewinner in 1954 was mentalists and singers from more than 80 Ulysse Delecluse (France) Norbert Bourdan from France who was countries have participated. For many of awarded a First Prize. He had been a stu¬ Rudolf Gall (Federal Republic of the prizewinners who later went on to an dent of Ulysse Delecluse at the Paris Germany) international career and worldwide fame, Giacomo Gandini (Italy) the awards presented by the ARD competi¬ lost Michaels (Federal Republic of tion most certainly helped to provide im¬ Germany) portant support for their careers. The present overview is intended to Repertoire provide a look back at former clarinet win¬ The required work was the Weber Con¬ ners, jury members and repertoire per¬ certino, in addition to two works each formed in order to provide more historical from the classical (Mozart or Carl background and perpective to the complete Stamitz), romantic (a concerto by Weber report on this year's event (to be held Sep¬ tember 2-19 in Munich) that will appear in or Spohr) and modem (including one work the December 2003 issue. for clarinet and orchestra) periods. The Competition was first established in 1952 as a piano competition but in 1953 Winners was expanded to include categories for pi¬ The first prize was awarded to Edmond ano, violin, flute and violin and piano duo. Boulanger from France and the second The first year for the clarinet was in 1954. prize to Karl Leister (Federal Republic of Germany). Boulanger was in the Garde 1954 Republicaine Band in the 1980s and per¬ Jury: formed with the Societe des Concerts du The jury for the first clarinet competi¬ Conservatoire and the Paris Opera. Leister tion consisted of: joined the Berlin Philharmonic as solo Ulysee Delecluse (France) clarinet in 1959. He made numerous solo Rudolf Gall (Federal Republic of Norbert Bourdan and chamber music recordings with Germany) (photo: Jean-Pierre Leloir) Ensemble Wien and the Berliner Solisten. Page 62 The Clarinet Winner Weber, Concerto in F minor Only a second prize was awarded in or Concerto £} Major 1962 to Karl Leister (Federal Republic of Spohr, Concerto No. 1,2 or 3 Germany). B: Brahms, Sonata Op. 120 No. 1 or No. 2 1968 C: Reger, Sonata, Op. 49 or Op. 107 Jury D: Busoni, Concertino Hans Miiller-Kray (Federal Republic Debussy, Rhapsody of Germany), Chair Hindemith, Concerto Jack Brymer (England) Tomasi, Concerto Alfred Boskovsky (Austria) David Glazer (United States) Finally, the contestant had to select a Robert Gugolz (Switzerland) work of their own choosing. Jacques Lancelot (France) Jost Michaels (Federal Republic of Winners Germany) The first prize was awarded to Frank¬ Karl Schiitte (German Democratic lin Cohen, the first prizewinner from the Republic) U.S.A. in the history of the Clarinet Com¬ petition. Juraj Hirner from Czechoslo¬ Gerhard Starke (Federal Republic of Karl Leister vakia won second prize, and third prize Germany) was awarded to Kurt Weber from Swit¬ Georgij Orvid (U.S.S.R.) 1962 zerland. Franklin Cohen became a member Jury of the American Symphony, the Baltimore Repertoire Hans Miiller-Kray (Federal Republic Symphony and presently serves as Prin¬ A total of eight works had to be pre¬ of Germany), Chair cipal Clarinet of the Cleveland Orchestra. pared, including the Mozart Concerto, K. Anton von Bavier (Italy) Kurt Weber became a professor of clarinet 622, Weber Grand Duo Concertante, Op. Jack Brymer (England) in Berne, Switzerland and a member of the Rudolf Gall (Federal Republic of 48 and Hindemith Sonate. Selected move¬ Berne Symphony Orchestra. Germany) ments from the Hindemith and Weber David Glazer (United States) works had to be played in the first round. 1973 Leon Hoogstoel (Switzerland) From each group below the contestant had Jury Meinhard von Zallinger (Federal to select one work: Heinrich Sutermeister (Switzerland), Chair Republic of Germany) Giinter Bialas (Federal Republic of A: Crusell, Concerto in F minor. Op. 5 Germany) Repertoire Krommer, Concerto in Ej" Major, Bruno Brun (Yugoslavia) A total of seven works had to be pre¬ Op. 36 Ulysse Delecluse (France) pared: Mozart Concerto, K. 622; Hinde- mith, Sonate\ and Stravinsky, Three Pieces for Clarinet Solo in the first category, then either one of the Brahms sonatas or either the Reger Op. 49 in A^ Major sonata or Op. 107 B1* sonata. In addition, three works of the contestant's choice, two of which had to be with orchestral accompaniment. Prize winners from 1968 (I to r): Juraj Hirner, Second Prize, clarinet; Yuko Fujimura, Third Prize, piano; Valentin Erben, Second Prize, Violoncello; Meriem Bleger, Third Prize, piano; Anne Querffelec, First Prize, piano; Michael Schopper, First Prize, Vocal; Jessye Norman, First Prize, Vocal; Marco Bakker, Second Prize, Vocal; Reingard Karl Leister rehearsing with the orchestra Didusch, Second Prize, Vocal; Franklin Cohen, First Prize, clarinet September 2003 Page 63 David Glazer (United States) to Rainer Schumacher from Germany, Pieces and a work of their choice from Robert Gugolz (Switzerland) who presently serves as solo clarinet in Category D (above). Rudolf Jettel (Austria) the Wiirttembergischen Staatsorchester Jost Michaels (Federal Republic of in Stuttgart, Germany. Winners Germany) A third prize was awarded to Claude Gerd Starke (Federal Republic of 1977 Faucomprez from France and David Shif- Germany) Jury rin from the Unites States. Faucomprez is Hans-Peter Schmitz, (Federal Republic presently solo clarinet in the Orchestre Na¬ Repertoire of Germany), Chair tional de Lille and professor at the Lille The two required works of all contes¬ Bruno Brun (Yugoslavia) Conservatory. He also played in the Garde tants were the Weber Concertino, Op. 26 Eduard Brunner (Switzerland) Republicaine Band and in the Orchestre and the Genzer Sonatine. One work selected Hans Deinzer (Federal Republic of Philharmonique de Radio-France. Shifrin from each group also had to be prepared: Germany) later served as principal clarinet of the Guy Deplus (France) Cleveland Orchestra and is now active as A. Mozart, Concerto, K. 622 Dieter Klocker (Federal Republic of a soloist, chamber music performer and Krommer, Concerto in M Op. 36 Germany) recording artist. Weber, Concerto in F minor. Op. 73 or Victor Petrov (U.S.S.R.) Concerto in & Major, Op. 74 Heinrich Sutermeister (Switzerland) Spohr, Concerto in C minor. Op. 26 or Concerto in Major, Op. 57 Repertoire B. Brahms, Sonatas, Op. 120, No. 1 A total of eight works had to be pre¬ or No. 2 pared. The two required works of all con¬ Debussy, Rhapsodic testants were the Schumann Fantasy Reger, Sonatas, Op. 49 or Op. 107 Pieces, Op. 73 and the Rossini C. Hindemith, Concerto Introduction, Theme and Variations. One Tomasi, Concerto work from each of the following categories Milhaud, Concerto also had to be selected. D. Stravinsky, Three Pieces for Clarinet Solo A. Mozart, Concerto, K. 622 Sutermeister, Capriccio for Clarinet Weber, Concerto in F minor. Op. 73 or Solo Concerto in & Major, Op. 74 Messager, Solo de concours Spohr, Concerto in £>, Op. 57 Hindemith, Concerto Finally, two works were to be selected Frangaix, Concerto by the contestants with no specifications David Shifrin (© Foto Sessner) required as to medium, accompaniment, B. Molter, Concerto No. 3 in G Major for 1982 etc. In the first round, the Weber Concer¬ D Clarinet tino and one work from Category D J. Stamitz, Concerto in & Major Jury (above) had to be performed. K. Stamitz, Concerto in £> Major Gerd Starke (Federal Republic of Devienne, Sonata in C Major or Germany), Chair Winners & Major Guy Deplus (France) Two third prizes were awarded — to C. Weber, Grand Duo Concertante, Milan Etlik (Czechoslovakia) David Glick from the United States and Op. 48 David Glazer (United States) Brahms, Sonatas, Op. 120, No. 1 Kurt Mahn (German Democratic or Op. 120, No. 2 Republic) Saint-Saens, Sonata in F", Op. 167 Jost Michaels (Federal Republic of Reger, Sonate in $ Major, Op. 107 Germany) D. Berg, 4 Stiicke, Op. 5 Hermann Rauhe (Federal Republic of Milhaud, Sonatine Germany) Lutoslawski, 5 Dance Preludes Hans Rudolf Stalder (Switzerland) Isang Yun, Riul E. Boulez, Domaines Repertoire Denisow, Sonate A total of eight works had to be pre¬ Jolivet, Asceses pared — one from each of the following Antoniou, 3 Likes groups: Round I An eighth required work was left to the 1. Egon Wellesz, Suite, Op. 74 for clarinet Third-prize winner Rainer Schumacher discretion of the contestant. solo performing Sutermeister's Capriccio for In the first round, all contestants were 2. Spohr, Concerto in C minor. Op. 26 Clarinet Solo (© Sessner) required to play the Schumann Fantasy (Movement I) Page 64 The Clarinet Concerto in Major, Op. 57 (Movement I or III) Concerto in F minor (Movement I) Concerto in E minor (Movement III) Round II 3. Weber, Concerto in F minor. Op. 73 Concerto in E^ Major, Op. 74 4. Schumann, Three Fantasy Pieces, Op. 73 Brahms, Sonatas, Op. 120, No. 1 or Op. 120, No. 2 Reger, Sonata in A^, Op. 49, No. 1; Sonata in F$ minor. Op. 49, No. 2; Sonata in Major, Op. 107 1987 jury members (I to r): Eugene Rousseau, Kalmdn Berkes, Alan Hacker, Heinrich Rheinberger, Sonata, Op. 105a Geuser, Chunxiao Tao, Guy Deplus, Gerd Starke, Jost Michaels (photo © Karlheinz Eg ginger) 5. Milhaud, Concerto Fran^aix, Concerto Kalman Berkes (Hungary) Round III Nielsen, Concerto Guy Deplus (France) 6. Weber, Quintet for Clarinet and Strings Sikorsky, Concerto Heinrich Geuser (Federal Republic of in $ Major, Op. 34 Round III Germany) 7. Stravinsky, Three Pieces for Clarinet 6. Mozart, Concerto, K. 622 Alan Hacker (England) Solo 7. Debussy, Rhapsodic Jost Michaels (Federal Republic of Messiaen, Abime des oiseaux, from Berg, Four Pieces, Op. 5 Germany) Quatuor pour la fin du temps Stravinsky, Three Pieces for Solo George Pieterson (Netherlands) Genzmer, Fantasie Clarinet Eugene Rousseau (United States) Berio, Sequenza IXa Messiaen, Abime des oiseaux Chunxiao Tao (People's Republic of Lehmann, Mosaik (from Quatuor pour la fin du temps) China Denisov, Sonata for Clarinet Solo in & 8. A work chosen by the contestant. Jolivet, Asceses Repertoire Mihalovici, Recit Final Round with Orchestra A total of nine works had to be pre¬ 8. A work to be selected by the contestant. 9. Mozart, Concerto, K. 622 pared, one from each group below. Final Round with Orchestra Winners Round I 9. Mozart, Concerto, K. 622 A second prize was awarded both to 1. Busoni, Concertino, Op. 48 Philippe Cuper of France and Charles (Works in Categories 3 and 9 2. Rossini, Introduction, Theme and had to be memorized.) Neidich of the United States. John Bruce Variations (without repeats) Yeh of the United States was awarded third Crusell, Concerto in F minor. Op. 5 Winners prize. Cuper is presently principal clarinet (Movement I) of the Paris Opera Orchestra, teaches at the Second prize was awarded to Anna- Pleyel, Concerto in $ Major Maija Korsimaa from Finland. Third pri¬ Versailles Conservatory and is active as a (Movement I) soloist, chamber musician and recording zes were won by Fabrizio Meloni from It¬ artist. Neidich is a member of the Orphe¬ Round II aly and Richard Rimbert from France. us Chamber Orchestra and the New York 3. Weber, Concerto in F minor. Op. 73; Korsimaa is presently deputy section lead¬ Woodwind Quintet and is an active reci- Concerto in E} Major, Op. 74 er of the Helsinki Philharmonic Orchestra, talist, soloist and recording artist. He has Spohr, Concerto in C minor. Op. 26; a teacher at the Sibelius Academy and is taught at Eastman, Juilliard, Manhattan Concerto in E minor active as a soloist, chamber music per¬ School of Music and the State University 4. Brahms, Sonata in F minor. Op. 120, former and recording artist. Meloni is cur¬ of New York at Stony Brook. Yeh is cur¬ No. 1; Sonata In & Major, Op. 120, rently solo clarinet in the La Scala Orches¬ rently a member of the Chicago Symphony No. 2 tra in Milan and will be a member of the Orchestra and maintains a busy schedule Reger, Sonata in A^ Major, Op. 49, Munich Competition jury this year. Rim¬ as a solo and chamber musician and re¬ No. 1; Sonata in Fit minor. Op. 49, bert is a professor at the Bourdeaux Con¬ cording artist. No. 2; Sonata in & Major, Op. 107 servatory and solo clarinet of the Orches- Rheinberger, Sonata, Op. 105a tre National de Bourdeaux Aquitaine and a 1987 Draeseke, Sonata in B> Major former co-soloist of the Garde Republi- Jury 5. Milhaud, Concerto caine Band and a prizewinner in the Tou¬ Gerd Starke (Federal Republic of Fran^aix, Concerto lon Competition in 1985. He has premiered Germany), Chair Nielsen, Concerto many new works and has appeared as a September 2003 Page 65 Lew Mikhailow (U.S.S.R.) Charles Neidich (United States) Ulf Rodenhauser (Germany) Repertoire A total of nine works had to be pre¬ pared, one from each group below. Round I 1. Donizetti, Study 2. Berio, Lied Messiaen, Abime des Oiseaux, from Quatuor pour la fin du temps Stravinsky, Three Pieces for Clarinet Solo Round II 3. J. Stamitz, Concerto in & Major K. Stamitz, Concerto in & or Concerto in E? Major Devienne, Sonata No. 1 in C Major or Sonata No. 2 in & Major Pleyel, Concerto in B" Major (I to r) Richard Rimbert (Third Prize), Anna-Maija Korsimaa (Second Prize) and 4. Schumann, Three Fantasy Pieces Fabrizio Meloni (Third Prize) (Photo © Karlheinz Egginger) Brahms, Sonata in F minor, Op. 120, No. 1 or Sonata in &, Op. 120, No. 2 Reger, Sonata in A^ Major, Op. 49, No. 1 or Sonata in Fit minor. Op. 49, No. 2 or Sonata in & Major, Op. 107 5. Copland, Concerto Frangaix, Concerto Milhaud, Concerto Nielsen, Concerto Round III 6. Mozart, Concerto 7. Berio, Sequenza IXa Boulez, Domaines Denisov, Sonata in & Stockhausen, In Freundschaft Tower, Wings The 1992 Jury members (below, I to r): Eduard Brunner, Eugene Rousseau, Giora Feidman, Ulf Rodenhauser, Ernest Ackun, 1987 clarinet contestants waiting for the results (© Foto-Sessner) Lutz Kohler, Charles Neidich, Philippe Cuper, Andrea Paletta (jury assistant) soloist in Geneva, Tokyo, Buenos Aires and Lew Mikhailow and Paris. (photo © Andreas Heddergott) 1992 Jury Eugene Rousseau (United States), Chair Ernest Ackun (Yugoslavia) Eduard Brunner (Switzerland) Philippe Cuper (France) Giora Feidman (Argentina) Lutz Kohler (Germany) Page 66 8. One work selected by the contestant (no Round I longer than 15 minutes) 1. Weber, Concertino, Op. 26 2. Denisov, Sonata (1972) Final Round with Orchestra Lidholm, Amicizia 9. Spohr, Concerto in C minor, Op. 26 or Messiaen, Abime des oiseaux, from Concerto in & Major, Op. 57 Quatuor pour la fin du temps Weber, Concerto in F minor. Op. 73 or Concerto in & Major, Op. 74 Round II (The works in Categories 3, 6 and 9 3. J. Stamitz, Concerto in & Major had to be memorized.) K. Stamitz, Concerto in £& Major "2nd Darmstadter" or Concerto in & Winners Pleyel, Concerto in Major Nicolas Baldeyrou (right) with conduc¬ Second prize was awarded to Sharon Devienne, Sonata in C Major or Sonata tor Carl St. Clair (Photo: Sessner/BR) Kam from Israel. She now enjoys an inter¬ in & Major national career as a soloist and recording 4. Brahms, Sonata in F minor, Op. 120, Reflections artist. She graduated from The Juilliard No. 1 or Sonata in £}, Op. 120, No. 2 School where she studied with Charles Reger, Sonata in A^ Major, Op. 49, In 1957 when Karl Leister first entered Neidich. Alessandro Carbonare from No. 1 or Sonata in F# minor. Op. 49, the competition and won second prize, Italy was awarded third prize. Today he is No. 2 Ulysee Delecluse, one of the jury members the solo clarinetist with the Orchestre Na¬ Rheinberger, Sonata, Op. 105a that year, said to Leister, "Everything you tional de France in Paris and was also a Saint-Saens, Sonata, Op. 167 do on the technical side and your staccato prize winner in competitions in Toulon, 5. One of the concertos by Copland, is just fine but I must say that you have a Geneva, Prague and Paris. curious sound." A student of Delecluse, Frangaix, Milhaud or Nielsen Edmond Boulanger, won the first prize that year, and Leister exclaimed, "I am Round III coming back!"1 "By the time of the next 6. Crusell, Concerto in F minor. Op. 5 or Munich Competition in 1962 he was al¬ Concerto in & Major, Op. 11 ready principal in the Berlin Philharmonic Spohr, Concerto in C minor, Op. 26 or and competing was a big risk to take. Concerto in £> Major, Op. 57 Thirty contestants got through the first Weber, Concerto in F minor. Op. 73 or round and were whittled down to ten at the Concerto in &, Op. 74 second. Finally, he was singled out to play 7. Berio, Sequenza IXa 'against himself.' For two hours the jury Boulez, Domaines discussed which of the three prizes to give Jarrell, Assonance pour clarinette solo him and decided on the Second — no First Stockhausen, In Freundschaft Prize was awarded. When the Competition 8. A work selected by the contestant came round again in 1967 the jury said: (maximum length 15 minutes) 'We never can now award a First Prize be¬ cause Karl Leister was not given one.' In a Final Round with Orchestra quandary, they phoned him in Berlin and Sharon Kam, second prize winner, 1992 9. Mozart, Concerto, K. 622 he said to them: 'It's enough you make this (photo © Hans Grimm) (The works from groups 1,3,6 and 9 mistake once. Give all of the prizes to the good clarinet players.' Karl feels Munich 1998 had to be memorized.) is by far the toughest competition and that Jury as a general rule the best player does not Winner Lutz Kohler (Germany), Chair always win in competitions. The biggest Only one prize was awarded in clarinet, Kalman Berkes (Hungary) problem is often amongst the jury, with a a third prize to Nicolas Baldeyrou from Franklin R. Cohen (United States) fight between French and German-style Philippe Cuper (France) France. He is now a member of the Garde partisans. The candidates are good enough Thea King (England) Republicaine Band and has been a free¬ friends amongst themselves."2 Kari Krikku (Finland) lance orchestral player in several European Former prizewinner and jury member Hans Rudolf Stalder (Switzerland) orchestras, including solo clarinet in the Philippe Cuper urges contestants, "Good Karl-Heinz Steffens (Germany) Mahler Chamber Orchestra (2001-2002) luck to the contestants. International music Alessandro Carbonare (Italy) and as a substitute in major orchestras in competitions are no Olympic games. It Paris. He won first prize in both the Dos should help young people to find concerts Repertoire Hermanas (Spain) International Competi¬ and recordings and to provide money to A total of nine works had to be pre¬ tion in 1999 and the I.C.A. Young Artist buy good instruments." He laments that "it pared, one from each group below. Competition in 2001. is not possible to help everyone," and that September 2003 Page 67 "there are contestants who don't receive a sured, has merit, but in practice, I don't the ARD International Music Competition prize but who play very well ... I think we think a jury can accurately compare per¬ in 1987 and — even though I didn't win a are 'richer' after participating in an inter¬ formers with the level of a first prize win¬ prize —I have very good memories of the national competition and that the result is ner that was chosen by a substantially dif¬ days I spent in Munich. First of all, I was not so important. We have worked a lot, ferent jury years earlier. It would be very more than impressed by the stunning logis¬ and we have made progress on our instru¬ difficult for even the same group of judges tics — never again have I experienced ment and met and heard a lot of people to withhold a prize based on what they had such equally perfect organization. Some¬ from everywhere in the world. As a result, heard in another year. If the organization where between 100 and 120 clarinetsists we become more 'open' — more human."3 does not have the funds to award all of participated that year, and it was a unique David Shifrin, a third-prize winner in the advertised prizes, then fewer or lower opportunity to listen to many different na¬ 1977, remembers that, "For me, the most prizes should be offered. If clarinetists are tionalities perform on the clarinet. That memorable and lasting effects of the com¬ indeed competing against violinists, pian¬ really opened up my eyes (or should I say petition were due to the process to a great¬ ists and cellists, that should also be clear¬ my ears?) for my own playing! Of course, er degree than the prize. The environment ly stated in the contest's published bro¬ the greatest benefit I gained from being in that existed among the hundreds of musi¬ chure. I have subsequently been invited to the contest came from working on a really cians participating on several instruments serve on the jury in Munich, but thus far it demanding program: the concertos by Cm- was very friendly and conducive to learn¬ has not worked with my schedule. If I am sell (Op. 5), Spohr (No. 4), Nielsen, Mo¬ ing, having a good time while working someday able to participate I would defi¬ zart and Copland, the Busoni Concertino, very hard. Regardless of the prize, I found nitely lobby for the presentation of all Reger's B^-major Sonata, Stravinsky's that spending months preparing the re¬ advertised awards!4 Three Pieces and Weber's Quintet. The quired repertoire and the scrutiny of com¬ Michael Webster recalls his participa¬ only thing I regret is that I passed the age petition helped bring my playing to a new tion in the 1968 Competition: "My recol¬ limit for trying a second time five years level. I learned a great deal of new and fas¬ lection is colored by my disappointment later. I can really recommend paticipation cinating repertoire both through my own about not having done better. I played well in this competition to any advanced and preparation and by listening to all of the in the first round, then had severe saliva- ambitious young clarinetist."6 other candidates' recitals. For instance, this on-reed trouble in the Debussy Rhapsody Eugene Rousseau, a veteran member was the first time I played (or heard) a sub¬ and was told by the judges that I just bare¬ of Munich Competition juries (clarinet stantial amount of repertoire. ly missed making the finals. I had planned jury in 1987 and clarinet jury chair in "Another very tangible result of the to hang out with an Eastman friend who 1992; flute in 1985; oboe jury chair in competition was not directly related to the lived there and visit the Alte Pinakothek 1986, and saxophone jury in 2001), re¬ prizes. I was very pleased when I learned [museum], sightsee, etc., but was so de¬ gards it as, "one of the most prestigious that representatives from the various Ger¬ pressed that I flew home standby at the and challenging competitions in the world, man radio stations and concert presenters earliest opportunity and started my first and one of the best organized." When were present at the final rounds of the season as principal clarinet in Rochester. asked about what separated the prizewin¬ competition and the prizewinners concert That cheered me up immensely! ners' playing from other contestants, he with the Bavarian Radio Orchestra. Many "My most vivid impression of the com¬ remarked, 'it was not only their technical of these impresarios made invitations to petition was how different the national accuracy but their ability to project a finalists regardless of whether they won styles were. I listened to a lot of other com¬ musical personality and a spark of individ¬ first, second or third prize. The concerts petitors and found many of them to be ton¬ uality that set them apart."7 and radio recordings that I was offered for ally so far from what I thought was beauti¬ Former professor of clarinet at the Paris the next couple of seasons all over Ger¬ ful, that I couldn't believe it when some of Conservatory Guy Deplus has served on many included recitals in Cologne and a them were passed to the next round. Ultim¬ the juries for numerous international clar¬ Mozart Concerto with the Berlin Radio Or¬ ately, the very best of players all sounded inet competitions throughout his career, chestra at the Philharmonie and were in¬ beautiful regardless of national origin and, including 1977, 1983 and 1987 in Munich. valuable for my confidence and develop¬ in that sense, nationalism tended to disap¬ "It was always interesting every time to ment as a soloist. pear as quality improved. participate as a judge at the international "The only aspect of the competition that "The organization was efficient, and the Munich competitions because they have so I would like to see reexamined is the prac¬ accompanists were excellent. I felt that many competitors of different schools. It tice, shared by a number of other competi¬ each competitor was given an equal oppor¬ is a very serious competition. I was lucky tions, of not awarding all of the advertised tunity to play well, but there were still eli- enough once to live in the same hotel as prizes. I honestly think that I would feel ments of luck. It was easier to pass a given Heinrich Sutermeister, the Swiss composer this way had I been awarded a first prize. round the earlier you played, and although of Capriccio for unaccompanied clarinet in I would certainly not want a contestant there was no quota system per se, it was A (1946). He explained to me which inter¬ in 2003 to be denied even a third prize more difficult if the country you represent¬ pretation he liked for his composition. [De- because of a perception that they did ed had more competitors.5 plus and Sutermesiter were on the Munich not meet the standard of 1977! The lofty Bruce Edwards, who lives and teaches jury together in 1977.] In addition to this, concept of holding a "timeless" standard in Fulda, Germany, and plays in Ensemble he told me about his bad memories of the against which all contestants are mea¬ Clarinesque, remembers that he "entered war period because he travelled very often Page 68 The Clarinet from Switzerland to Munich where he had making the pilgrimage to Mozart's birth¬ Nearly two weeks had passed by the be¬ 8 studied. This was very instructive for me." place Salzburg, just over the border in Aus¬ ginning of the third round, which pro¬ tria. My practicing for the next round in¬ gressed more quickly because there were The 1982 Competition: cluded the Weber Concerto No. 1, the Niel¬ now only seven of us remaining. I played sen Concerto and the Brahms F-minor the Stravinsky Three Pieces, the Debussy Reminiscences Sonata. The competition provided accom¬ Rapsodie, and the Schumann Fantasie- panists for those contestants who didn't stticke. Following the third round, every¬ by John Bruce Yeh bring their own collaborative pianists. I one apprehensively gathered around the had the misfortune of being assigned to a door upon which the list of finalists' names In 1982, after five years of playing in pianist who didn't know my repertoire! I was to be posted. To my excitement three the Chicago Symphony Orchestra, I decid¬ actually had to teach him the Nielsen Con¬ names appeared: Philippe Cuper, Charles ed to try my luck entering the ARD Musik- certo and the Brahms Sonata. The day be¬ Neidich and John Bruce Yeh. The final wettbewerb. This prestigious annual com¬ fore the second test he got called away on round consisted of a complete performance petition is hosted by the Bavarian Radio in a family emergency and I was reassigned of the Mozart Concerto by each finalist Miinchen (Munich), Germany during the to a sensitive and thoroughly professional with the Orchester des Bayerischen Rund- month of September. Each year the cat¬ pianist who knew the repertoire. Unfor¬ funks (Bavarian Radio Orchestra). Just the egories change, and clarinet only comes tunately, I had already wasted a lot of time thought of soloing with that world-re¬ up once every 10 years or so. The age limit and energy rehearsing with the first one. nowned orchestra in the famed Herkules- guidelines dictated that I would have to This experience made me wonder whe¬ saal was thrilling, and I looked forward to enter that particular year, or never again ther bringing my own pianist might have it. When listening to that recording now, have the opportunity to do so. What started been worth the extra expense. Another my performance doesn't sound so bad, but out as an interesting project, became one challenge to be met was matching my during the concert something went really that would make me work harder than ever pitch to that of the pianos and orchestras wrong. A most uncomfortable feeling dis¬ before. It was even more challenging than in Germany. I had heard that they custom¬ tracted me. I started to squeak and it was preparing for orchestra auditions because arily tune to A-443, so I brought extra- difficult to control my sound. A few of the judges started to scribble. "Oh, no, my of the imagination and stamina required to short barrels to be prepared for this. With reed is dying!," I thought frantically, sum¬ sustain three complete solo programs. Nine some pianos, the pitch climbs as high as moning all my powers of concentration to works, including three concertos from A-446, though. finish the concerto. After an hour or so of memory, were required but I was able to An enjoyable part of this competition deliberation and suspense the prizes were choose mostly standard works that I had was the camaraderie with the other partici¬ announced. No first prize was awarded. studied before. I did, however, have to learn pants and some distinguished guests who Philippe and Charlie were each given a the music for the first round of the compe¬ were just visiting. I remember one day Karl second prize, and I was awarded the third tition: the Spohr Concerto #2 and the Egon Leister breezing through the lobby of the prize. It wasn't till the next day that I hap¬ Wellesz Sonatina for Clarinet Unaccom¬ Musikhochschule as the contestants were pened to notice a large crack in my A clar¬ panied. The jury passed 20 contestants on awaiting the posting of results. He recog¬ to the second round from the 120 or so that inet. That would explain my discomfort nized me and we exchanged greetings. He during the previous day's Mozart Con- entered the competition. All the competi¬ winked and said, "So, you're here to win certol It also dawned on me that Karl's tion performances were open to a public first prize, eh?" "Of course, I'm going to comment about coming to win first prize audience and were increasingly well at¬ try!," was my reply. He chuckled and was significant. I did not know that first tended as the month progressed. The first, wished me luck. I also remember a seri¬ prizes are usually withheld at Munich, pre¬ second and third round tests of the clarinet ous-looking bespectacled fellow walking sumably to boost the prestige of the com¬ competition took place in the Musikhoch- around with a violin case, amongst the petition. In fact, out of six categories — schule, infamous as the building Hitler many clarinetists. I wondered who he was Clarinet, 'Cello, Guitar, String Quartet, commandeered for Nazi headquarters dur¬ because many people seemed to know him. Women's and Men's Voice — only one ing World War II. I finally saw him open the violin case and first prize was awarded in 1982, to the One of the most challenging things it revealed a beautiful set of Wurlitzer clar¬ singer Kaaren Herr Ericsson. about this type of competition is the psy¬ inets. This young man was Reiner Wehle, Two gala awards concerts were set for chological pacing needed, for example, who was the principal clarinet of the Mu¬ the following week. I was to perform the waiting an entire week to learn the results nich Philharmonic orchestra. Reiner and Debussy Rapsodie and Charlie the Fran- of the first round. I recognized that it was his wife Sabine Meyer have since become gaix Concerto, again with the Bavarian important to take time away from the com¬ friends with my wife Teresa Reilly and Radio Orchestra. Philippe was to perform petition atmosphere, so I alternated prac¬ myself. Since the competition provided the Schumann Fantasiestiicke on the prize¬ tice sessions with time getting to know meal tickets redeemable at a number of winners' chamber concert. Following the Munich, its Oktoberfest, which actually local restaurants, many of us soon discov¬ performances, there was a reception for all begins in September, just getting under¬ ered our favorites, like the Zadar Grill with the participants and distinguished guests. I way. I also took day trips to the surround¬ its awesome Zwiebelsuppe mit eier and met Herbert and Ruth Wurlitzer, the famed ing areas in Germany, visiting "Mad" King Cevapcici. I also developed a fondness for German clarinet makers. Herr Wurlitzer Ludwig II's castle Neuschwanstein, and Apfelschorle and pizza with pepperoncini. lamented the lack of any clarinet finalists September 2003 Page 69 from Germany, expressing concern that the work in the U.S. I really started to feel "After the competition I was totally great German clarinet tradition would be the shortage of exquisite literature for tired but HAPPY! After the Geneve and lost. I was sympathetic, and explained that solo clarinet and orchestra. ARD competitions I was invited to play the competitive atmosphere doesn't always "The competition really helped me to abroad a great deal, not to mention in my foster the most artistic results. Although get to the next artistic level. I have always own country. Both competitions had a very this was an invaluable experience from been grounded by the middle European big effect on my career, and it was also which I grew a lot, following that stressful way of making music, and it was an unbe¬ personally meaningful — winning those time I vowed never again to enter a com¬ lievable opportunity to perform with the two big events. petition. I should never say "never," be¬ finest German orchestras of the day. "So now I play, play and play, and be¬ cause three years later, I talked myself into "When I served on the Jury in 1998, tween concerts I jog, read books and take entering the first Naumburg Clarinet Com¬ I really realized what democracy is all care of my home and husband!in petition in New York. But that's a whole about. The voting and the proceedural other story!9 conduct was quite powerful in effect. Everyone's voice was equally important End Notes Franklin Cohen: "There were two and critical. 1. Pamela Weston, Clarinet Virtuosi of Today, p. 179 first-prize winners at the competition in "I noticed that for this year's competi¬ 2. Ibid. pp. 179-180 my year [1968], myself and Jessye Nor¬ tion, the final round is not the Mozart Con¬ 3. E-mail to the writer dated June 3, 2003. man. We went on to do many radio and TV certo. This, I believe, is a first. I think it concerts and appearances together. It was had been a very wise choice in the past — 4. E-mail to the writer dated June 14, 2003. for obvious reasons.10 on these special occasions that I really start¬ 5. E-mail to the writer dated June 20, 2003. Second-prize winner in 1987, Anna- ed thinking about how sound and music are 6. E-mail to the writer dated June 22, 2003. Maija Korsimaa, provided the following: connected. You know that Jessya has one 7. Telephone conversation with the writer, June 8, "Every memory that I have of the Munich of the great voices of our generation, and a 2003. competition is GOOD! I remember first of clarinet can sound pretty insignificant 8. Letter to the writer dated June 19, 2003. all the excellent staff in the competition after hearing her voice. It really started 9. E-mail to the writer dated June 30, 2003. office. They helped me in every way, and I 10. E-mail to the writer dated July 5, 2003. another ball rolling in my mind. could always ask them anything. The re¬ 11. E-mail to the writer dated July 25, 2003 "The competition was very well run by hearsal opportunites were very good at the a woman who just retired, Renate Ronne- conservatory, and we always had an op¬ Bibiliography feld. She was still in charge in 1998 when portunity to practice. I also remember my I acted as a jury member and actually be¬ very good pianist who was fun, friendly 50 Jahre Intemationaler Musikwettbewerb came acquainted with the rules of scoring. and comfortable to play with. Unfortun¬ der ARD Miinchen, published by Inter- It is virtually impossible to win a first ately, I have forgotten her name. nationaler Musikwettbewerb der ARD prize if any of the jury members is not "The program in this competition has Miinchen, Bayerischer Rundfunk, D- very attracted to your way of making mu¬ always been large and demanding, and so 80300 Miinchen, Germany. Edited by sic. One must retain, over four rounds, an it was when I competed. There were four Christoph Poppen and Ingeborg Krause, average of 23 points per jury member for rounds with big pieces. I remember there 2001 the first prize. The maximum number of was not a taped round then, which meant Cuper, Philippe. "Concours Intemationaux points is 25. that in the first round there were about — Geneve, Munich, Prague," Clari- "After receiving my prize I was ap¬ 300 (!!!!) players! I felt sorry for the nette Magazine, No. 28, 1998 proached by a very well-known agency jury! At some later round we had to play Paul, Jean-Marie. "International Clarinet in Munich and was lucky enough to chamber music, and I remember it was Competitions of the Past," The Clari¬ enjoy a rather rich and satisfying solo the quintet by von Weber. The quartet net, Vol. 8, No. 4 (Summer 1981), pp. career in Germany for several years. I was excellent and I had a very good time 50-51 eventually made the decision to live and playing with them. Weston, Pamela. Clarinet Virtuosi of To¬ day, Egon Publishers Ltd., 1989 (The writer wishes to acknowledge the Walter Grabner's ClarinetXpress kind and generous assistance of Eugene Rousseau, Jean-Marie Paul, Philippe Cu¬ Superbly Voiced, HancUCrafted Mouthpieces per, Michael Webster, Guy Deplus, John Soprano * Bass ' Eb Bruce Yeh, Franklin Cohen and especially of Nicole Braun and Ingeborg Krause and Repairs and Restorations other members of the staff of the ARD Clarinets Only Clarinet Competition in Munich. Without Specialist in Bass Clarinet Work their cooperation this article would not have been possible.) Grabner WG@aoLcom 847-'266'8644 www.ClarinetXpress.com (All photos provided by the Archive of the ARD Music Competition.) Page 70 The Clarinet The Source for CLARINET MUSIC Over 50 years of fast Classical - Jazz dependable Pop - Sacred service. 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(Very important). 1 Available in Black, Clear and Colors. ■ Cap included Visit our Website www.luybenmusic.com September 2003 Page 71 nil by Charles West With clarinet music filling the gram with her own improvisations on the From this writer's perspective, the crisp Iowa air friends, alumni, hymn tune "Amazing Grace." most fun part of the weekend was the Sat¬ students and colleagues gath¬ Venturing "off the page" into the world urday morning rehearsal of the Ad Hoc ered on the weekend of September 27- of improvised jazz, she and Thomas left Clarinet Ensemble — a 25-piece clarinet 29, 2002, to wish Himie Voxman a happy the audience more than aware of the tre¬ choir with full instrumentation, all from 90th birthday. The inspiration of Voxman's mendous gift a lifetime of work has been Voxman's former or present studio. Look¬ long life of service and mentoring inspired to each one of the audience members. Con¬ ing around the ensemble and seeing many his many students and colleagues to per¬ tinuing the Friday evening program were of his most distinguished alumni play¬ form at their very best in a Friday evening the Iowa Wind Quintet's performances of ing second and third clarinet was a real concert presented by Maurita Murphy works with Iowa connections — a quintet. "charge" in this ensemble of remarkable Mead, the Iowa Wind Quintet, and the Rustic Holiday by Paul Koepke written competence. Perhaps even more noticeable Iowa Brass Quintet. Prof. Mead's stellar at Voxman's request, and other favorite though was the spirit of togetherness and performance of Ernst Mahle's Sonatina, a works of the honoree and of the quintet, teamsmanship which reflected our men¬ Brazilian work with University of Iowa pi¬ many having some connection to Iowa and tor's own approach to living. University of anist Carole Thomas, engendered the fla¬ to Voxman. The Iowa Brass Quintet con¬ Iowa Director of Bands, and the event's vor of the riquinta of the Brazilian Cho- cluded with some stirring performances of organizer, Myron Welch, conducted a Can- rores. Mead, who has been Secretary of the their own, played to an ample audience of zona per Sonare no. 2 by Gabrielli, tran¬ I.C.A., concluded her portion of the pro¬ nearly 500 people in Clapp Recital Hall. scribed by Voxman's former student and former Iowa clarinet professor Thomas Ayres, followed by Russell Coleman con¬ ducting his own transcription of the Waltz from Serenade for Strings. Joseph Mes¬ senger conducted Gordon Lewin's tongue- in-cheek The Grand Old Duke of York and, finally, Denver clarinetist and arranger Jack Frederickson's Tribute to the Duke was played by the ensemble with this author conducting. Later that afternoon, the clarinet ensem¬ ble opened the performance, which then continued with performances by Vox- man's current and former students and col¬ leagues who gathered from as far away as Freiburg, Germany. The capstone of the weekend was the social hour and banquet on Saturday eve¬ ning at the Iowa Memorial Union. The centerpiece of each table was a shiny new Charles West and Aaron Home Vito clarinet, provided by the G. Leblanc Page 72 The Clarinet Corporation, whose President, Leon Pas- cucci, was in attendance. With 250 people at the banquet, Voxman was honored by Paul Lavendar, Vice President for Instru¬ mental Publications of the Hal Leonard Publishing Company, as the recipient of the first Lowell Mason Award presented annually by the Music Educators National Conference. All of the weekend's guests were invited to sign a "time line" marking each person's first acquaintance with the eminent professor. A thick book of memo¬ ries had been compiled by Welch and his staff, with letters of appreciation from his friends, Iowa's governor and senators, Uni¬ Larry Linkin, clarinet; Jim Dreier, drums; Thomas L. Davis, vibraphone; Mark Urness, versity of Iowa administrators, and from bass; Eugene Martin, alto saxophone President George W. Bush. Eugene Rousseau and Himie Voxman Joseph Messenger, clarinet; Sue Haug, piano The evening's entertainment was a per¬ formance of a medley from Porgy and Bess, performed by distinguished Iowa al¬ umnus Eugene Rousseau. The refined tones of Rousseau's soprano and alto saxo¬ phones drew a standing ovation from the appreciative crowd — the first of several standing ovations of the evening; how¬ ever, Rousseau and pianist Marcelina Tur- canu brought the house down with an un¬ believably intellectual and complex amal¬ gamation of Weber's Pollaca, Mozart's Concerto. K. 622 (irreverently transposed to F major concert!) and then "Happy Birthday," performed even more irrever¬ ently on the saxophone, leaving the wri¬ ter inspired to obtain the composition and transcribe it for alto clarinet and maybe even someday euphonium! Finally, Professor Voxman was invited to the podium to make a few remarks. Donald McGinn is, Ruth McGinn is, Myron Welch With his characteristically dry humor and September 2003 Page 73 uncanny humility, our mentor and friend sent us all home with a renewed vision of our own life's goals and aspirations. Re¬ turning to Iowa City on that fall afternoon and being with Prof. Voxman and all of our now-distinguished former classmates was a refreshing bath in the headwaters of our careers. As I walked out of Clapp Re¬ cital Hall with BYU School of Music Di¬ rector David Randall, we were already hatching plans for the next Voxman cele¬ bration. Our friends and colleagues will Myron Welch conducting the clarinet choir hear us present Himie's beloved Mihalo- vici Trio for his hundredth birthday in September of 2012. Happy Birthday, Himie! VISIT I.C.A. ON THE WEB: WWW.UARINiT.OItt (I to r): Charles Eble, Kimberly Werner, Elise Parker, Himie Voxman, Christine Fleming the SouL in Your oar Z inner Respomsive /?******? Kick Preferred by the finest performers, teachers and craftsmen in the world Bb, Eb & Bass Clarinet French and German Mouthpiece Blanks P.O. Box 1122 Des Plaines, IL 60017-1122 Phone: 800.762.1116 FAX: 847.827.9092 Page 74 The Clarinet i * ^o^DE cu^%^ w \ c£.c&ossL $ * " * v chile "Basically there are two styles of playing fhe clarinet: singing 2nd non-singing. Being a follower of *he former, I'm fortunate in having discovered a magical nstrument, the Rossi :larinet. Its evenness 2nd beauty of sound have sparked off a "enewed interest in ?laying and inspired ne to explore new erritory." Einar Johannesson Principal The Iceland Symphony Orchestra The Reykjavik Chamber Orchestra Faculty Iceland Academy of the Arts Coquimbo 1033 #1, Santiago, Chile. Fax ( 562 ) 222 0162 www.rossiclarinet.cl Conservatory and was highly respected locally as a director of bands. In 1929 Jean Tastenoe received the "Prix d'excellence" for solfege and clarinet with great distinc¬ tion. In celebration of this event, Jean's parents gave him a new Buffet clarinet. u I was fortunate to meet with Jean Tas¬ tenoe and his wife, Anna, at their home in a Brussels suburb on a visit to Belgium in An Interview from 1998 1998. His former student, Guido Six, was kind enough to make the introductions and by Howard Klug handle the translations through the follow¬ ing interview. Jean Tastenoe was one of the most in¬ mon among Flemish communities of the fluential and important clarinet play¬ time, towns often had at least two wind Howard Klug: As a young boy in Ruis¬ ers and teachers in Dutch-speaking bands; a Catholic Band and a liberal band. brock, your father allowed you to join a lo¬ Belgium during the middle 50 years of Jean Tastenoe's town of Ruisbrock had a cal community band called "Our House." the 20th century. Known primarily for his third band, Ons Huis (Our Home), created How did it come about that you chose to long tenure as principal clarinetist of the by the Catholic workers' alliance, and it learn the clarinet? Belgian Guides, Belgium's premiere mili¬ was this group that Jean's father allowed Jean Tastenoe: When I was about 10 tary band, and for his many years as pro¬ him to join at the age of 12 ... on clarinet. years old, my father told me I could go fessor of clarinet at the Royal Conser¬ Jean's first clarinet teacher was Mr. Jules play in the local Fanfare (a brass band). But vatory of Music in Ghent, Jean Tastenoe Springael, conductor of the band. they gave me a trumpet, and my father, who was a World War I veteran, thought was, "probably the greatest teacher of clar¬ Ons Huis provided Jean Tastenoe with that instrument sounded too loud. So, from inet we ever had in Flanders."' Here are his first clarinet, a 13-keyed instrument, within the political party he was in, the some specifics about his musical life: which his parents eventually paid back to CMP (the Catholic Party), he helped estab¬ Jean Tastenoe was bom in Ruisbrock, the band ... a then-princely sum of $18! lish a wind band and told me that I was Due to Tastenoe's early success on the clar¬ Belgium, on September 16, 1912. Named going to play the clarinet. The day they inet, friends advised him to go to a school after his grandfather Jan, and the fourth started the band, some two years after I of music to further his talents. He then child in the Tastenoe family, "little Jean" had initially started in Fanfare, all the in¬ (the name he preferred throughout his life) enrolled in a school in Vorst, a suburb of struments were displayed on a big table, was encouraged by his father to seek out Brussels, to study clarinet with Mr. Jean- and when I came in, the first thing I grabbed instruction in solfege, comet and piano at Baptiste Belmont (1890-1977). Belmont was the trumpet. Because of my experi¬ the nearby Catholic church. As was com¬ was a first-prize winner of the Brussels ence with Fanfare, I already knew how to play that instrument. So, I started to play some scales, and suddenly some other boy came to me and took away the trumpet. He said it was his trumpet, so I asked him if he could play on it, and he said no. Anyway, my father wanted me to play the clarinet, but on that day, every clarinet was already assigned. So, they had to order a clarinet for me. The instrument came from Ghent, and it was a Faulconier with 13 keys. HK: Your first clarinet lessons were from the conductor of the band, who was really a trombonist. Were the members of the band able to play together right away, or were there private lessons given first? JT: No, the conductor started teaching private lessons first. Very quickly, I be¬ came his assistant teacher, because I knew solfege, and the others didn't know any¬ thing about music. Because I was the best member of the band, the conductor decided to send me to an official school of music in Band of the Guides (1958) (© Studio Verhassel) Vorst, just a few miles away. Page 76 The Clarinet philosophy quite often of symphonic clari¬ net players/teachers. What is your opinion on this? JT: That was not true in my time. Clar¬ inetists were often required to play saxo¬ phone many years ago, and at the conser¬ vatories it even took until the early '60s to have separate courses, one for clarinet and one for saxophone. The teaching of saxo¬ phone started in the conservatory in Brus¬ sels, yet even after that, 90% of the saxo¬ phone students still went to the clarinet teacher for instruction. HK: In 1932 you had to do military ser¬ vice, but you apparently had a good colo¬ Band of the Guides (1965) (© Studio Verhassel) nel who allowed you to go on with your outside musical activities and studies. HK: How long did you play on the 13- some money. The saxophone was not that Could you explain how that came about? key clarinet, and when did you get your popular at that time, so I only started play¬ JT: The colonel let me go home over firstfull-Boehm system instrument? ing it later on in the 1930s. My first saxo¬ the weekends so I could go play in various JT: About two or three years after be¬ phone was a tenor. community bands. This was very rare that ginning with the band, around 1926-27, I HK: Was it common for Belgian clar¬ a soldier got to go home for these purpos¬ received my first full-Boehm clarinet. I re¬ inetists to also play the saxophone in that es, but the colonel loved music and he member it was a Leblanc. I got it for my time ? knew that I was talented and he didn't graduation when I was 17.1 later found the JT: Yes, although the first saxophone want a large break in my career, just be¬ invoice for it, and noticed that we bought it players were usually the oboists who dou¬ cause of two years of military service. Af¬ from Mrs. Vangucht, who was the wife of bled. The saxophone teaching in the con¬ ter my military service, I wanted to audi¬ Mr. Vangucht, a future teacher of mine. At servatory in Ghent began in the late 1930s, tion for the Belgian Guides, but the audi¬ this time I was then studying with Bel- and at that time it was done by the clarinet mont, a friend of Vangucht's, and who was tion was scheduled immediately following teacher, Mr. Vangucht. It was then very my first real clarinet teacher. a two-month period where I was recalled common, if you played the clarinet, you HK: How long did you study with Mr. on reserve, so I was not able to practice for also played the saxophone. Belmont, and what do you remember the it. The other person auditioning at that time HK: In the United States, it is thought best about him? was given the principal chair in the Band, sometimes that if you want to be a very- JT: I studied five years with him. He but I was able to get that decision thrown good and serious clarinet player, you was such a great pedagogue. In addition to out because he failed to play the required all of his clarinet teaching, he conducted should never touch a saxophone, some¬ piece on the audition. A new audition was five community bands. I believe this is times not even a bass clarinet. This is a scheduled and, just like the first one, it also where he got all the experience of working so well with musicians at all levels. Bel¬ mont also had a habit of picking up his instrument to demonstrate something to the musicians to show us how the music should go. Since Mr. Belmont couldn't make a living from teaching alone, he also had a company that distributed soft drinks and beer. This person who directed the school of music, who also taught me music history privately, was in fact my inspira¬ tion to go further with music. HK: When did you start to study the pi¬ ano and saxophone? JT: I started piano when I was still studying the clarinet with Mr. Belmont in Vorst. Everywhere in cafes and pubs at that time they had a piano, and after a while I started to play the piano all around Brussels to entertain the people and make In his studio at the Royal Conservatory in Ghent (1958) September 2003 Page 77 a little teaching, all at the teachers like Vangucht realized it was same time? a new style coming. It changed people's JT: The Orchestra of the minds very fast, but not that of everybody. Mint had four clarinet play¬ HK: Besides Vangucht and Belmont, ers, so I didn't have to be were there other clarinetists who influ¬ there all the time. The enced you when you were a student? Band of the Guides easily JT: None in those days, as the only let me go to other concerts people who came to play in Belgium were if I had to, and there were French clarinetists. You could say that Mr. two days a week reserved Vangucht was 99% of the influence on me. for teaching. Some days, And I was with Mr. Vangucht all the time I went to the rehearsal of ... in my lessons, sitting next to him in the Band of the Guides the Belgian Guides. And my schedule also until noon, and then across didn't allow me to listen to a lot of clarinet the street to a hotel, where playing except for that which took place in I played in a small band the Band. during the lunchtime meal HK: What kind of travelling did you do until two o'clock. After as a clarinetist? Did you play concerts on that there was a rehearsal your own, go with the royal orchestras, or for the Royal Mint until just with the Guides? 5:00, and then I started JT: Mostly with the Guides — travel¬ teaching until 10:00. ling to Germany, a bit of France and also HK: How did Mr. Van¬ gucht influence the style to England. and kind of music you HK: You received your final diploma in 1939, just one year before the war. What In his Gala Uniform of the Mounted Band of the Guides worked on in lessons? was it like living as a musician under Ger¬ (Liege, 1938) JT: He usually favored French music, mainly be¬ man occupation ? JT: I was lucky to be playing in the was right after a period of military ser¬ cause he had received a first prize in clar¬ orchestra of the Queen at that time. We vice for me. This time, however, my con¬ inet from Paris. The French also influ¬ were protected, and stayed around the ductor wrote a letter of explanation to my enced us in tone production, since there Royal Palace all the time. The soloists of general. The general called me into his was no vibrato allowed in the French the Band of the Guides came to the Or¬ office and told me that not only could I clarinet style of the time. We became chestra of the Queen and, together with the leave early on the day of the audition, but aware of what was happening interna¬ conductor of the Guides, we formed sort of that I could go practice in my room every tionally in clarinet playing, which did not a national band. In other words, during the day instead of going out on the field with allow vibrato. But soon, with some big war, the Guides did not exist. The newly the other soldiers. French names starting to play with vibrato. HK: How many years did you study with Mr. Vangucht in Ghent? JT: One year for my first prize and then two for my higher diploma. HK: Was Mr. Vangucht the most influ¬ ential teacher in your career? JT: Mr. Vangucht was not only a great influence on me as a teacher, but he also let me play next to him in both the Queen's Orchestra and the Belgian Guides. During the war, the Queen's Orchestra rehearsed daily at the royal palace, and that is where I had my first experiences on bass clarinet. Thanks to my experience with the bass clarinet I was appointed to the Royal Mint Orchestra. They needed someone who could play clarinet, bass clarinet and saxo¬ phone, and I was the only one who did all three instruments. HK: How is it that you were able to play in the Belgian Guides, the Queen's Orches¬ Trio L. Wilmet (Leon Wilmet, piano; Georges Longree, viola; Jean Tastenoe, clarinet (1952) tra and the Royal Mint Orchestra, plus do (Photo Presse) Page 78 The Clarinet formed band was civil, not owned by the JT: The reeds were mostly Vandoren, I knew the piece already because I had Belgian Army. The conductor did this to and the mouthpieces were mainly re¬ gone through it with my ears, but the air protect the jobs of the musicians. After the worked Leblancs. When I was so active as and fingers of my friends. war he left the Army, and many people a teacher and player I was also sort of a It happened occasionally to all of us thought he had been collaborating with the spokesman for Leblanc in Belgium. that we had not practiced enough for our Germans, which hurt his career a lot. After HK: Mr. Tastenoe, it has been a great lessons, but Mr. Tastenoe never got mad at the war it took seven years for him to clear pleasure to make your acquaintance and to any of us. In situations like this I was not his name and to be reappointed as the con¬ learn about your musical life. afraid to go to the lesson but I was really ductor of the Guides. JT: Many thanks for the opportunity to ashamed that I was going to steal some of HK: Your clarinet library contains tell my story. Mr. Tastenoe's precious time. many of the monuments by Weber, Mo¬ In the career of a musician it often hap¬ zart, Brahms. What are some of the Bel¬ Comments from Guido Six about his for¬ pens that only a few people are very im¬ gian compositions that you loved to play mer teacher, Jean Tastenoe: portant in their development. For me, I can and to teach to your students? tell you that there would be no Guido Six When I talk about my experiences JT: Works by Stekke. I did the premiere with Mr. Tastenoe, I can go on for hours. and no Claribel (my clarinet choir) without of one of his pieces, Prelude et Dance, for It is really impossible to say just a few Mr. Tastenoe. He was my musical father in the offical opening of a school of music words about this unique clarinet profes¬ many ways and I owe him a great deal. where Vangucht was going to teach clar¬ sor. I was one of the last of Mr. Taste¬ In 1987 I organized a student reunion to inet. Later I took over his place as teacher noe's students before he retired in June celebrate Mr. Tastenoe's 75th birthday. there. Stekke was going to be the principal 1977. At that point in his life he was no Ninety-five percent of his former students of the school, and we premiered his piece longer the principal clarinet of the famous from Ghent came to honor their wonderful together ... he at the piano, me at the clar¬ Band of the Guides, but only taught at the teacher. After the big celebration he gave inet. I also favored the clarinet music of royal Conservatory of Music in Ghent. me his whole library, including copies of Marcel Poot and Jongen. His long and rich career was a real bless¬ music with the autographs of Hindemith, Stravinsky, Gallois-Montbrun, Semler- HK: As a young boy you started on ing to his students, as the man had so Collery and many others. Leblanc clarinets. Did you play Leblanc much to tell about music, musicians and At the funeral of Mr. Tastenoe on Jan¬ most of your career? life that every lesson was unique in its uary 4, 2003, in the church of Drogenbos, JT: Always, and, in fact, I still have own way. it was an honor for all of his former stu¬ four Leblancs here in the house. At one Since the Royal Conservatory of Music in Ghent followed the European model of dents to pay tribute to this great human time, 17 out of 23 clarinetists in the Bel¬ group lessons, I spent almost 12 hours a being. Mr. Tastenoe, in the name of all gian Guides were students of mine and they week, for a period of two years, listening your former students, we thank you for all played Leblanc. Right now, about half to my fellow students and Mr. Tastenoe's your great gifts to our musical lives. of the clarinetists in the Guides are stu¬ comments on their performances. I actu¬ dents of my students, my grand-students ally learned more about repertoire in listen¬ so to speak. End Note ing that way than in studying the music 1 HK: And what brands of mouthpieces Guido Six, Director of the Conservatory of Music myself. Every time he instructed me to in Ostend, and former student of Jean Tastenoe and reeds did you favor? start on a new piece, I had the feeling that in Ghent. Clarinet Mouthpiece Custom-Designed Through years of experience in performing, Portnoy has devel¬ oped a Mouthpiece used by leading Clarinetists. For uniformity, sound, intonation, and response, it is unequalled. All mouth¬ pieces may look alike, but Portnoy has the sensitivity in con¬ struction which makes his the most outstanding. Facings: BP! Close • BP02 Persona/ • BPS Open Write for Free Illustrated Brochure B. Portnoy Clarinet Accessories P.O. Box 1066 • Larkspur. CA 94939 / Email: [email protected] Tel: (415) 927-0482 • Fax: (415) 927-1498 / Also available through Harris Teller, Inc. and Barclay Music September 2003 Page 79 Perfect time and rhythm are among the most important attributes a good musician must possess. Without them, one cannot hope to win an Metronome Studies orchestral position. Indeed, the most fre¬ quent reason players don't advance in orchestral auditions is bad time and/or for Developing rhythm. Musicians who lack these quali¬ ties are often poor ensemble players, and audition committees are well aware of Musicianship this. A good orchestra can play together without (or in spite of) a conductor. The by Paul Garner glue that holds the ensemble together is each individual's sense of time. Acquiring an accurate and indepen¬ dent sense of time and rhythm will be no subdivisions. Some of the exercises require a Dr. Beat or similar machine with which rewarded in many ways. Music just sounds beat and subdivision can be manipulated. The Dr. Beat I refer to is model DB-66. "right" when notes are evenly spaced and the beat is steady. It is easier to play tech¬ nical passages evenly when one's beat The Studies and internal sense of subdivision are spa¬ 1. SIMPLE SUBDIVISION. One of our goals is to make mental subdivision second cious and equal. Technical work feels and nature. By doubling the tempo we can place a "tick" on each eighth note of the bar. sounds more secure, is more dependable This simple study promotes evenness in technical passages by providing rhythmic and less frantic. Phrasing improves due landmarks between beats. to the player's greater sense of direction and ability to shape lines within the con¬ = 16 = 0= 152. text of steady time. Players with good time tend to stay more involved with the beat in passages where they rest, promot¬ ing entrances that are both on time and in correct tempo, a very important ensem¬ ble skill. In general, the more refined one's time-related skills are, the more mature his playing will sound. tr rfr Following are several metronome stud¬ ies designed to develop, reinforce and chal¬ lenge your rhythmic skills. They range In triple meters (in one) we can similarly get three ticks in the bar by tripling the from simple subdivisions to more sophis¬ tempo. If you have a subdividing metronome use the appropriate settings. ticated exercises that test even the most advanced player. My intention is to ad¬ p. = 66 = p = 198. dress this area on as many levels as possi¬ ble. One benefit of these studies is the Stravinsky: Firebird Suite level of concentration required for their successful and comfortable performance. They promote excellent listening skills and can help improve one's ensemble awareness as a result. Most of the musical examples are from orchestral repertoire; obviously the student can use these in whatever context is desired. I do encour¬ age students to use the studies with their daily scale and foundation work as a means of adding a new level of challenge and sense of purpose to those seemingly 2. REMOVING TICKS. Here we take away some of the ticks, or reference points, test¬ routine tasks. ing our ability to maintain steady tempo in a passage. This promotes a stronger, more A word about metronomes. Many of independent sense of time and builds confidence. I these studies can be done with a simple [ With a simple metronome, set the metronome on half tempo, e.g • = 120 becomes metronome, the old-fashioned kind with o = 60. The excerpt is played at the same tempo, only the metronome pulse changes. Page 80 The Clarinet Rimsky-Korsakov: Capriccio Espagnol New from Oxford ne Clarinet m the r r r Classical Period You can go farther by setting the simple metronome on J. = 40 playing the excerpt accompanied thus: ALBERT R. RICE ■R The Clarinet in the Classical r Period r AUiKRT R. RICK A rapid scale passage at 0 = 160 can be executed with the simple metronome at o A comprehensive study of the 40, giving a tick every four bleats. clarinet in use through the classical period, 17()0 to 18M0, a period of intensive musical experimentation. The book provides a detailed review and analysis of construction, design, materials, and makers of clarinets. Rice also explores how clarinet construction and performance practice developed in tandem with the musical styles of the period. TMi pp. $74.00 It you are studying the Mendelssohn Scherzo, you can halve the tempo from 0- = 84 = /Vew in Paperback! to r* r* 42: The Baroque Clarinet Mendelssohn: Scherzo from A Midsummer Night's Dream. ALBERT R. RICE A sourcebook for the historical study of the European clarinet during the first half of the 3J J J * 1 j * 4 jj » * *' eighteenth century: The hook is £ based on a comprehensive study of the theoretical, musical, and 7 Y 7^7 7 7 7 7 7 iconographical evidence, and many conclusions are presented here for F V the first time. ' Oxford Early Music Series) Another configuration would be to leave the setting the same, but start playing on the 222 pp. S25.00 silent beat, requiring you to start independently: m m d- OXFORD .flu jjjJ IJ.JJ'J UNIVERSITY PRESS Prices are subject to change and apply in the US. To order, call 1-800-451- 1 1 I . 7 v [7 7 I 7 r 7556. In Canada, 1-800-387-8020. Visit t——i— our website at www.oup-usa.org September 2003 Page 81 The Dr. Beat opens up more possibilities to explore in this area, with even longer rests Woodwindiana between "ticks" of the machine. By setting the "beat" control to "4" while leaving all A resource for great other functions off, Capriccio Espagnol can be accompanied like this: clarinet music and CDs: 25 Etudes (1998) by Alfred Prinz Very challenging and musically satisfying advanced etudes based on passages from the symphonic and operatic repertoire for clarinet. $16.50 Trio (1997) by Alfred Prinz Quixotic humor and a flurry of notes in r three contrasting movements for r B!" & Bass Clarinet. Now without changing the "beat" setting, set the tempo to 60 and we have this: $15.50 Serenade, Op. 131 (1998) by Michael Kibbe A 16-minute set of seven dance movements for clarinet duet; great fun and a hit with audiences. $16.00 "Pre-Rose" Etude Books by Randall Cunningham: r r 21 Chalumeau Studies (1989) Great melodies for the young clarinetist. It is notoriously difficult to perform the rests in the following excerpt with perfect $11.50 accuracy in an unaccompanied situation. We can check up on our time by setting "beat" to "4" and tempo to J. = 50. 18 Preludes (1991) Intermediate pieces in all keys & styles. $12.50 Beethoven: Pastoral Symphony, mvt. II 15 Advanced Etudes (1990) A challenge for late high school and early college level. $13.50 Bridges to Bloomington ). f V V |j. d- I- \}. I■ l- t' New CD by Trio Indiana (James Campbell, Eli Eban, Howard Klug) with Alfred Prinz & Mitchell Lurie. Here we have eight bars of silence between landmarks: "beat" = 4 tempo = fm f' = 42 Music by Prinz, Heiden, Uhl, Weill. $15.00 Elegie CD by Howard Klug & Andrew De Grado Clarinet and bass clarinet pieces with piano by Sarasate, Debussy, Phillips, Prinz, Faure, Schumann, Reinecke, Templeton. $15.00 The Clarinet Doctor Book by Howard Klug 117 pages of performance problem-solving with new approaches to improve technique, tone, 3. RHYTHMIC DISPLACEMENT. This is a real mental exercise, and one that will staccato. Annotated lists of repertoire and a complete college curriculum. challenge your listening abilities as well. The rhythmic shift takes place entirely in your $35.00 mind and has nothing to do with manipulating the metronome in any way. This can be done with a simple machine, or Dr. B. Set a tempo and begin to count the tick with the VISA, MasterCard and checks (USD) accepted. Include $3.50 shipping for U.S. and Canada. word "and" for several beats: Foreign orders add $6 for surface mail or $12 for airmail. Woodwindiana, Inc. M.M.: C, ? f> 7 ft T J> 7 1* 1 ^ P.O. Box 344 Bloomington, IN 47402-0344 ph/fax 812-323-8622 + + ■h + r [email protected] COUNT: c. Page 82 The Clarinet When you're ready, add the number of the beat in the silence after each tick, that is, on the beat: Feel the Music not the Weight COUNT: & / + 2 +3 V + IN THE (I find that this is actually easiest for many students if spoken aloud.) After you've concert hall - studio made the shift and your ticks are coming on the "and" of each beat comfortably, go ahead and play along. If your time and rhythm are solid, you'll stay with the metronome. - classroom As you play, listen to how you and the metronome are interlocking and be sure your "ensemble" doesn't come apart. You can make subtle adjustments as you go, just like in the real world. Shostakovich: First Symphony, mvt. I f dim. 7 7 ■l) 7 7 7 7 I7 J* 7 I We can practice rhythmic displacement in triple meters as well. In a 3/8 passage, mentally shift the tick to "3." When you begin to play, notice if your final eighth note of each bar is really falling squarely on 3, with the tick. If it seems to be late, mentally sub¬ divide eighths to help keep you moving at the right pace. One of the things I like about this particular 3/8 study is the way the tick on 3 reminds my pulse that beat one is about to come. It seems to encourage good rhythmic flow and direction by providing an The only support that attaches to anacrusis. your thumbrest and Rose: 32 Etudes for Clarinet, no. 20 rests on your chair Teachers - our new, low-priced Student model spells SUCCESS for your beginners 7 > 7 t ' T ^ | -special teacher discounts- Available for Clarinet Basset Horn, Mozart: Concerto, K. 622, mvt. Ill Soprano Saxophone, Oboe, English Horn, Oboe d'Amore, bass oboe Models priced from $28.99 1-800-59-FHRED Visa and Master Card Accepted P l77 7 ft H7 7 |77 J* 7 7 P Visit our new on-line store for special internet discounts http://www.quodlibet.com 4. FLOWING OFFBEATS. This study is excellent in slower music that can bog down and lose direction. The offbeat serves to impart flow towards the next beat, which Quodlibet® Inc. P.O. Box 3780 is then the player's responsibility to place. The offbeats always remind the player where Englewood, CO 80155-3780 e-mail [email protected] he is going, and when he needs to arrive there! This is another Dr. Beat study. Dr. Beat Settings: Beat = 4 Tel: (303) 779-3083 Fax: (303)779-4571 f \) J Quodlibet and FHRED are registered trademarks and / • turned on. • turned off. SAMI is a trademark of Quodlibet Inc. September 2003 Page 83 Brahms: Third Symphony, mvt. II Contacts for The Clarinet: Send all articles, recital programs, orders for back Lr r J if ^ r issues, announcements and any other non-commercial items intended for publication in The Clarinet to: 7 P ^ t t James Gillespie, Editor/Publisher T T I Z r College of Music, University of North Texas P.O. Box 311367 Remember that a good musician can shape phrases beautifully within the time, and Denton, Texas 76203-1367 doesn't need to use rubato to convey emotion. If you feel shackled by the steadiness of E-mail: Updated Advertising Submission Requirements for The Clarinet All advertising should be handled through Rose Sperrazza, Executive Director, 1406 Lowden Avenue, Wheaton, Illinois 60187, E-mail: Page 84 The Clarinet Site Search for ClarinetFest, 2006 and ClarinetFest. 2007 The Board of Directors is soliciting the help of the general membership to identify potential sites for future ClarinetFests. Specifically trying to be identified for 2006 and 2007 are sites in North America with the follow¬ ing attributes: Performance Space — Superior acoustical space with multimedia capabilities suitable for the presentation of concerts, recitals, lectures and master classes. Having two or more performance venues in the same location is considered optimal. Minimum capacity of the large hall should 900-1000 seats. Exhibition Space — Approximately 15,000 sq. ft. exhibition/ballroom space located in or near the same facility where program presentations will take place. Housing — Convenient housing (hotel/dorm) with a variety of price options able to accommodate budgets ranging from students to corporate executives. Travel — Access to major transportation centers (i.e. — airports, train stations, etc.) Excursions — Interesting tourist activities in, or within the vicinity of, the city/area of venue. Other — Incorporation of area musical resources (i.e. — professional sym¬ phony orchestras, jazz ensembles, chamber musicians, military ensembles, etc.) adds greatly to the local experience for those attending ClarinetFests. Program Director — Whereas it is not required that site nominations include an artistic coordinator and/or event facilitator, nominations are encouraged for individuals to serve in these capacities. Send site nominations/recommendations by June 1, 2004 to: Robert Walzel, President 4745 S. Bron Breck Salt Lake City, UT 84117 September 2003 Page 85 Jcinaz Seteok ^Pleuel (1751-1831b. fpl Trpi IfBtl h 1 iil M by Michael Thrasher and Barbara Wallace During the course of the 18th cen¬ Pleyel's name appears in a number of for the remainder of his life Pleyel devoted tury, composers gradually ac¬ different published spellings, including his time to various business ventures. His cepted the clarinet as a viable Ignace, Ignatio, Igna., Jgnace, Jgnazio, firm's activities included music merchan¬ member of orchestral, operatic and cham¬ Jgna. or Pleyl.5 He was bom in the small dising, music publishing, and the invention ber music ensembles. Some of the earliest town of Ruppersthal, Austria (near Vien¬ and manufacture of music-related prod¬ orchestral clarinet parts may be found in na) on June 18, 1757. The 24th of 38 chil¬ ucts. Pleyel's 1803 catalog lists a large the works of Caldara (1718), Conti (1719), dren, his father Martin worked as a school inventory of items for sale: 6 Faber (1720), Telemann (1721, 1728), and teacher. He received his early musical Graupner (final cantata, 1754).' In opera, training from Johann Baptist Wanhall Citizen Pleyel also keeps in his evidence suggests that clarinets may have (1739-1813) before being sent to Haydn shop instruments such as pianos, been utilized as early as 1724 in Handel's around the age of 15. Thanks to the gen¬ harps, horns for the orchestra and Tamerlane as well as in Handel's 1727 op¬ erosity of Count Ladislaus Erdody (whose others; trumpets, trombones, flutes, era Riccardo Primo.2 By the time Mozart family was related to the Esterhazys), clarinets, Italian and ordinary vio¬ Pleyel was able to spend five years in lins, all sorts of bows, tuning forks, wrote his clarinet works (such as the Trio, 12 K. 498 of 1786; the Quintet, K. 581 of Eisenstadt in an apprenticeship under piano hammers and harp keys. Haydn.7 The Count not only paid Pleyel's 1789; and the Concerto, K. 622 of 1791), In the publishing arm of his company, salary, but also showed his appreciation the instrument had attained a certain level Pleyel illustrated aggressive planning and a of acceptance in the musical world. to Haydn by offering him a carriage and 8 keen sense of business: Besides Mozart, other composers of the two horses. Classical period made contributions to solo During this period Pleyel produced a In my publishing house I have clarinet literature. Wanhal, Karl Stamitz, puppet opera (Die Fee Urgele, 1776) and already 36,000 plates engraved in Hoffmeister and Devienne, among others, made a series of trips to Italy. These travels pewter which are my property, and wrote for the clarinet. One composer who culminated in the premiere of his opera for which purpose I have my own has often been ignored as a writer for Ifigena in Aulida (1785) at the San Carlo engraver especially engaged to keep 9 clarinet is the Austrian-born Ignaz Joseph opera in Naples. Around 1783-84, Pleyel them in constant good order. There¬ Pleyel (1757-1831). As a pioneer in the became second Kapellmeister to Franz fore my publishing house will be business of music publishing and manufac¬ Xaver Richter at the Strasbourg Cathedral, one of the finest in the near future.13 turing as well as composition, Pleyel war¬ and succeeded Richter in the position upon rants special consideration. His music at¬ the latter's death in 1789. However, the The publishing firm continued under tained immense popularity during its time. turbulent times brought on by the French Pleyel and his son Camille until 1834, and One writer even states, "It is undeniable revolution led Pleyel to leave Strasbourg made a significant contribution to Parisian 14 that about 1800 he was the most popular for London, where he conducted the "Pro¬ musical activities composer in all Western Europe."3 Fur¬ fessional Concerts" series during the 1791- One of the leading innovations of the thermore, one need only examine the writ¬ 92 season. Although Haydn was conduct¬ Pleyel publishing firm was the issue of the ings of Pleyel's contemporaries to estab¬ ing the Salomon concerts in Hanover world's first miniature scores. The series, lish a rationale for exploring his music. In Square during the same period, the two entitled Bibliotheque musicale, began in 1784, Mozart wrote to his father: men maintained a close, cordial relation¬ 1802 with four of Haydn's symphonies ship. This time was extremely productive (Nos. 103, 104, 102, and 99) and contin¬ I must tell you that some quartets for Pleyel, as most of his symphonies, quar¬ ued with 10 Haydn string quartets and have just appeared, composed by tets, and sonatas date to the Strasbourg/ chamber works of Mozart, Beethoven, a certain Pleyel, a pupil of Joseph London period (1783-1795).10 Hummel, and Onslow.15 During the same Haydn. If you do not know them, After liquidating his Strasbourg estate, period (1801), Pleyel published a complete do try and get hold of them; you Pleyel went to Paris in March 1795.11 He collection of the string quartets of Haydn. will find them worth the trouble.4 immediately opened a music store, and Haydn's music maintained a prominent Page 86 The Clarinet place in the output of the Pleyel firm, and as many performers as possible. These ef¬ culties. Traditionally, the descriptor "origi¬ Pleyel's productive business relationship forts resulted in many hundreds of arrange¬ nal" has been applied to works that were with his mentor is documented in a letter ments and adaptations of "original" works. not derived or copied (in whole or in part) to Hoffmeister: E. L. Gerber, writing in the early 19th cen¬ from preexisting works. In regards to ar¬ tury, remarked: "His works appear in fif¬ rangements or adaptations, the original in¬ I doubt not that you will make an teen different numbers and at the same strumentation is usually regarded as the in¬ agreement with Haydn, especially if time, through arrangements, in fifteen dif¬ strumentation of the earliest incarnation of you show him the 100 ducats and ex¬ 21 ferent titles and shapes." Rita Benton, the work. Unfortunately, determining such plain to him how difficult it is now¬ author of the Pleyel thematic catalog, ex¬ vital statistics in Pleyel's music is difficult adays to get hold of money, and re¬ plains further: at best, and disputes about such infor¬ mind him that I am his pupil and mation are common. For example, in the how much I appreciate him, and that The proliferation of printed and foreword to a published version of six in the future we can conduct good manuscript copies contributes to the duets for two clarinets (which are based business together with his second confusion that is further complicated on several earlier sets of Pleyel violin du¬ oratorio [The Seasons], where I can by the large number of contempo¬ be of good use to him in France.16 rary arrangements, many not indi¬ ets adapted by Gebauer), editor Wolfgang cated as such. The composer himself Suppan states: "The 'arranger' Gebauer In 1807, Pleyel founded a piano factory adds to this confusion by reworking created new contexts from different du¬ that achieved substantial prosperity. The movements from earlier pieces into ets. Therefore these 'Six Duos' should instrument firm, known as Pleyel et Cie., new settings that because of their not be called 'arrangements' but rather and the concert hall he founded in 1830 context or altered development, must ought to be classified as independent (Salle Pleyel) are still in existence. Further¬ sometimes be treated as new compo¬ compositions for the clarinet."23 more, Pleyel continually sought new and sitions. The problem is further com¬ For the purposes of this study, a more innovative approaches to the design of plicated by the custom, not uncom¬ conservative definition of what consti¬ musical instruments. For example, in mon in Pleyel's time, of issuing the tutes an "original" clarinet work will be November 1810, he wrote to the Ministre same work with different titles and employed. After consulting Rita Ben- 22 de I Interieur in Paris requesting a patent opus numbers. ton's Ignace Pleyel: A Thematic Catalog for his music wire. At the time, all Parisian of his Compositions (New York: Pendra- Examining Pleyel's works for clarinet music wire was imported from Germany gon, 1977), the authors formulated a list illustrates the difficulties of cataloguing his or Prussia; the patent was promptly grant¬ music. A search of the OCLC "World Cat¬ of works in which the initial catalog en¬ ed in January 1811.18During the 1820s, alog" database using the parameters of try defines the piece as being for clarinet. Pleyel spent less time in the day-to-day "Pleyel" as author with "clarinet" as key¬ Only four works in the catalog are identi¬ operations of his business and more time word (and limiting the search to only musi¬ fied as such, and the remainder of this on his large farm about 30 miles outside cal scores) yielded 55 hits (a selected list¬ paper will be devoted to a detailed exam¬ of Paris. His son Camille eventually took ing of these works is included at the con¬ ination of those four works. over the Pleyel firm, but devoted most of clusion of this paper). Comparing that list his attention to the piano factory. with Benton's thematic catalog, however, Concerto for Clarinet in C Major, Ignaz Pleyel died in Paris in Novem¬ indicates that very few of these works were Ben. 10624 ber 1831 at the age of 64. Three years originally written with the clarinet in mind. later, the large stock of plates and printed Pleyel's Clarinet Concerto, which was Of course, a fundamental question aris¬ first published in 1797, illustrates many works owned by the Pleyel publishing es when one is asked to produce a defini¬ of the aforementioned bibliographical firm was sold to various Parisian publish¬ tion of an "original" work, and questions problems regarding Pleyel's music. It ap¬ ers including Lemoine, Prilipp, Delloy, surrounding the "original" instrumentation pears variously as Op. 1, Op. 59, or Op. Richault and Schlesinger.19 By this time of a specific work create even more diffi¬ 60. Furthermore, the concerto appears in Pleyel's reputation and popularity as a composer had reached throughout Europe and even to North America. In his book, A Bibliography of Early American Secu¬ lar Music, Oscar Sonneck lists 159 perfor¬ mances of works by Pleyel in American Visit Clarinettists' Paradise! cities between 1789 and 1800. The small town of Nantucket, Massachusetts, even 20 formed a Pleyel Society around 1822. www.pomaricompieces.com One of the great difficulties in consider¬ ing Pleyel's compositional output relates to the many different formats in which his Info@pomaricompiecesxom works appeared. As a publisher, in addi¬ tion to being a composer, Pleyel was con¬ cerned with making his music available to September 2003 Page 87 versions for clarinet, flute and cello. Ben- ton describes: Lebermann claims the violon¬ cello version as the original. But Falter's edition for clarinet seems to have appeared two years before any other! Most of the early pub¬ lishers, including Pleyel, issued the three versions simultaneously and obviously considered them equally "original."25 Written for C clarinet and orchestra, the concerto is available in several contempo¬ The development section begins in mea¬ time). Cadences are approached typically, rary editions. Furthermore, the clarinetist sure 169 in G with the first of two new with harmonic rhythm moving in quarters Thomas Friedl has recorded the work themes in the dominant key (measure 169). at the bar before tonic. Quite often Pleyel (Claves D813&CD 50-813). Pleyel moves through G to E minor and employs pleasant-sounding harmonic se¬ The concerto consists of three move¬ back to G. In measure 192, he states a sec¬ quences (usually "circle-of-fifth sequen¬ ments: Allegro, Adagio and Rondo: Alle¬ ond "development theme." Neither this ces"). Examples of this are in measures gro molto. theme nor the other new theme is used 60-61 and 66-67 (toward the end of the anywhere else in the movement. There is a first exposition). A more dramatic use of Movement I - Allegro restatement of the minor theme from Ex¬ the "circle-of-fifths sequence" is in the de¬ position II (from measure 120), this time in While this movement includes the main velopment (measures 186-189), a passage A minor. After moving through C major sections of standard classical concerto in E minor with accented seventh chords (measure 256) and C minor (measure 262), structure, the use of thematic material is and a dialogue of upward-rushing 16th the emphasis of the dominant seventh of C somewhat unlike many standard works of triplets. The clarinet adds an arpeggiated the Classical period. In Exposition I the in measures 267-276 provides the "retran- melodic sequence above another harmonic main theme begins with a bold, fanfare¬ sition" preparing the recapitulation. sequence in measures 206-209. The last like two-bar introductory motive, punctuat¬ The order of melodic material is pre¬ dramatic demonstration of the develop¬ ed with rests (see Example 1). This con¬ dictable in the recapitulation: main theme trasts the softer melodic theme that fol¬ in tonic (measure 277), the transition ment section (measures 267-259) also uses lows. This announcement will also be stat¬ themes in tonic major and tonic minor a harmonic sequence and repeats the inter¬ ed at the beginning of the recapitulation. (measures 298 and 313, respectively), the play of the rushing triplets. This sequence, This first exposition (measures 1-76) re¬ subordinate theme in tonic (measure 329), however, uses a different pattern of root mains in the tonic key (as classical concer¬ and the strong cadence in measures 358- movement: up a fourth, and down a third. tos usually do). Exposition II is longer, en¬ 360 (again with the trill over the domi¬ This very bold section heralds the retransi- compassing measures 77-169. The subor¬ nant, ushering in the solo cadenza in mea¬ tion to prepare the recapitulation. dinate theme which is stated in Exposition sure 364). A brief eight-bar codetta ends I (measure 44) is not stated in the domi¬ the movement. Movement II - Adagio nant in Exposition II until measure 136. The sections are fairly well balanced, This very lovely slow movement offers There is a rather curious insertion of two with some brevity being noticed in the first well-contoured, singing melodic phrases, distinct melodies, one in measure 103 in G, exposition and the development being though often irregular in length. The over¬ and one in measure 120 in G minor. These all structure of the movement is also less could be said to be "transition themes" somewhat heavier than the other sections preparing the subordinate theme. These (as was not uncommon in this period). regular and symmetrical than other move¬ two themes did not appear in Exposition I, Many phrases in this movement are ments (see Table 2). but do return later in the movement. clear, four-bar phrases, often appearing as Pleyel makes little use of recurrence of The clear cadence with the typical trill parallel pairs. The harmony is simple, and thematic material in this movement. The over the dominant seventh chord (mea¬ the harmonic rhythm is usually slow (mov¬ opening dotted eighth-sixteenth rhythmic sures 167-169) ends the two expositions. ing in half or whole notes much of the motive is repeated at the entrance of the Table 1. Formal Outline of Pleyel's Clarinet Concerto, Ben. 106, Mvmt. I. Table 2. Formal Outline of PleyePs Clarinet Concerto, Ben. 106, Mvmt. II. Exposition I 1-76 (76 bars) Section 1 Section 2 Section 3 Exposition II 77-168 (92 bars) Measures 1-24 25-46 47-71 Development 169-276 (108 bars) Keys FtoC C gm to F Recapitulation 277-373 (97 bars) Page 88 The Clarinet Example 2. Pleyel, Clarinet Concerto, Ben. 106, Mvmt. II, mm. 1-6 (reduction). and with a bit more variety of harmony (such as the inclusion of augmented sixth Adagio chords). This section ends with an empha¬ Clarinet sis of dominant seventh harmony to pre¬ pare the return of the beginning material. The final "A" section concludes the Orchestra solo material with the strongest cadence yet, four measures of a tonic 6/4 chord over which the clarinet has sweeping lines leading to the orchestral coda. Nocturne in C Major, Ben. 202.5 The C Major Nocturne is written for the unusual ensemble of two violas, bass, two clarinets, two horns, and two liras. The ori¬ gin of the work apparently dates to Pley- el's 1785 visit to Naples. There he came in Example 3. Pleyel, Clarinet Concerto, Ben. 106, Mvmt. Ill, mm. 1-8 (reduction). contact with King Ferdinand IV, who was Allegro molto an enthusiastic performer on the hurdy- gurdy.26 This instrument was utilized by many prominent composers, including Mozart (the hurdy-gurdy was included in mixed ensembles in the four Minuets, K. 601, and the four German Dances, K. 602.)27 Haydn wrote five concertos and eight notturni for two instruments of this type and dedicated them to King Ferdi¬ nand, who apparently enjoyed playing duets with his teacher, Norbert Hadrava. However, the instrument utilized by Haydn was a modified hurdy-gurdy (organ pipes and bellows having been added) and was termed a lira organizzata.28 This type of lira may have been just what Pleyel had clarinet (see Example 2). It is heard again Movement III - Rondo {Allegro molto) in mind. in measure 19, making the listener recall This movement is in a very typical The work is in four movements: Mar- the beginning phrase, although the melody Rondo form (see Table 3). Each of the cia, Allegro, Andante, and Prestissimo. takes a new direction, and then only a few "A" sections presents a lilting melodic more times in the movement. Measures theme in tonic (first by the clarinet, then Movement I - Marcia 39^0 have a suggestion of hemiola. restated by the orchestra). It is supported This movement is a brief but energetic As the movement comes to a close, the with the simplest of harmonic progres¬ march in C major. Most phrases are clear predicted tonicization of the subdominant sions — one consisting of totally tonic four-bar units, and the form is a modified is emphasized in measure 65. It is also and dominant chords (see Example 3). rounded binary. Harmony is simple, mov¬ noteworthy that Pleyel sometimes uses the The "B" section is in the dominant key, ing from C to the expected dominant, and beautiful accented appoggiatura in the mel¬ and though it retains the simple harmonic then back to C. The melody is usually in ody above the IV chord (beat 1 of measure progressions, it displays more virtuosic the two lira, but with the dotted figure rein¬ 66) much in the manner of Mozart. This writing for the clarinet. forced homophonically in all instruments. movement also includes a solo cadenza The "C" section is typical of a classical just before the brief four-bar codetta. rondo, with material in more than one key, Movement II - Allegro Table 3. Formal Outline of Pleyel's Clarinet Concerto, Ben. 106, Mvmt. III. The second movement is in ternary form. Dynamic changes from p to /are Section A B A C A Coda supported by a thicker texture. This move¬ ment is in C major throughout. The only Key C G C cm, Eb, cm C C departure from extremely simple harmony Measures 1-39 40-78 79-94 95-144 145-202 203-216 is, once again, Pleyel's use of the "circle- of-fifths" harmonic sequence, stated twice (measures 42-51). September 2003 Page 89 Quartet in E:?, Ben. 395 This quartet, written for flute, two clar¬ inets, and bassoon, seems to date from between 1783 and 1793.30 It is published in a contemporary version by Musica Rara (1970, edited by Georg Meerwein). The work consists of four movements: Allegro assai. Andante con Variazioni, Menuetto, and Rondo (Allegro). Movement I - Allegro assai This beginning movement is in a sim¬ ple, straightforward sonata form. The uni¬ son main theme in £> is a forthright des¬ Movement III - Andante repeated in measures 41-42, the short cending arpeggiation of the tonic chord. The lyrical slow movement is in F ma¬ melodic motive is inverted. Although the The subordinate theme in B'' is a more sus¬ jor, modulating to C, and back to F. Except harmony in these two passages is all tonic tained melody in the first clarinet. The for the first two phrases of four plus six and dominant, the use of inversion adds to closing theme (measure 56) recalls the uni¬ bars in length, most phrases in this move¬ the variety and interest. son arpeggiation of tonic, but here in an ment are the expected four measure units. ascending direction. The use of imitation between the two lira Serenade [Parthia] in Pleyel usually seems to favor placing (measures 35^-1) offers textural variety. Ben. 219 the melody in clarinet I, with clarinet II This obscure Serenade is orchestrated and bassoon functioning mostly as accom¬ Movement IV - Prestissimo for two clarinets, two horns, and two bas¬ paniment (see Example 5). Flute some¬ times doubles the melody, with occasional The last movement is in ternary form. soons. Benton describes the work's myste¬ ornamentation. An interesting variety to The simple, four-bar melody is harmo¬ rious background: such simple texture is at the beginning of nized with slightly more complex progres¬ Incipits of this work were copied the development (measure 64). Clarinet I sions, utilizing chromaticism from the out¬ down from a recording issued in states a new four-bar melody as a solo. set (see Example 4). Although the basic 1974 by the Musical Heritage So¬ This is followed by clarinet II playing the key scheme is from C to the dominant G ciety (MHS 3024). Program notes melody in a duet with the other clarinet, and then back to C, probably the most dar¬ by Harry Halbreich do not give the then with bassoon having the melody in a ing and dramatic harmony of all the works source of the work. The Music Di¬ three-part texture. The development passes discussed is the extended use of bVI (flat rector of the Musical Heritage So¬ through the keys of G minor, EK C minor, VI) from measure 46 through measure ciety reports that the recording was B'', EK C minor, F minor and Ek 52. This is then followed by a slow, rising originally produced by Da Camera The recapitulation (beginning in mea¬ chromatic bass (EK E-Natural, F, Ft, G), Schallplatten in Mannheim. Letters sure 109) is an almost exact repeat of the on which Pleyel reiterates the alternation of inquiry sent to that recording exposition, with an occasionally thicker texture. At measure 136, the melody origi¬ of I 6/4 and V for six measures (which company and to the performers, the nally in clarinet I is now played by the serves as a "retransition," preparing the Consortium Classicum, elicited no flute. Measures 144—148 repeat the same return of the original theme in C major response29 after the fermata). delightful counterpoint of paired instru¬ There is yet one more "circle-of-fifths" Little is known about the history of this ments as first heard in the exposition in harmonic sequence from measure 79 work, and printed music is unavailable. measures 36-40. Each of these sections through 83. It may also be interesting to Benton states that the work is in four presents melodic sequences based on har¬ note the dialogue between pairs of instru¬ movements: Poco Adagio, Allegro, Sicil- monic sequences using the pattern up a fourth, down a third. ments (measures 29-32). Then as this is iano, and Rondo: Allegro. Movement II — Andante con Variazioni Example 5. Pleyel, Quartet in E-Flat Major, Ben. 395, Mvmt. I, mm. 1-8. Allegro assai The second movement consists of a theme with six variations (see Table 4). The main theme, played in the first clar¬ inet, is in a very simple rounded binary form. It has clear-cut four-bar phrases: a a' b a. This melody bears a distinct resem¬ blance to the melody of Georges Enesco's First Rumanian Rhapsody; one wonders whether the later composer was aware of Pleyel's work. Page 90 The Clarinet Table 4. Formal Outline of PleyePs Quartet in E-Flat, Ben. 395, Mvmt. II. Duets Variation I Retains the melody in the first clarinet and adds sixteenth notes in the bassoon Duets for Two Clarinets (from the Six Lit¬ accompaniment. tle Duets for Violin, Op. 8, Nos. 1 & 2), Variation II Presents the melody in the flute, but in arpeggios, supported by a rocking Ben. 538-539. Arr. and ed. by David accompaniment. Variation III Has an ornamented melody in 32nd notes in the first clarinet, again with the Glazer. New York: Oxford University rocking accompaniment. Press, 1966. Originally for two violins. Variation IV Increases the rhythmic activity and presents a "dialog" between the upper Duo in C for Two Clarinets, Ben. 513. instruments in contrary motion. Arr. by F. Gebauer; Ed. by Elwyn A. Variation V Has an ornamented melody split up in sixteenth motives between the two upper Wienandt. San Antonio: Southern Mu¬ instruments. Variation VI Retains only a hint of the framework of the melody in the second clarinet. sic Company, 1965. Originally for two violins. Duo in F for Two B* Clarinets, Ben. 514. Movement III - Menuetto and Trio Selected Works by Arr. by F. Gebauer; Ed. by Elwyn A. This movement is a very short Minuet Wienandt. San Antonio: Southern Mu¬ in El' and Trio in Bk The Minuet consists of Pleyel Arranged sic Company, 1965. Originally for two four phrases with the following number of for Clarinet violins. measures in each: 4 + 6 + 4 + 6. In phrases Duo in D Minor for Two B* Clarinets, Ben. 1, 2, and 4, the melody is carried by the Solo Works 524. Arr. by F. Gebauer; Ed. by Elwyn first clarinet, while in the third phrase it is Konzert fiir Klarinette und Orchester, Ben. A. Wienandt. San Antonio: Southern played by flute and second clarinet. 104. Ed. by Gyorgy Balassa & Oliver Music Company, 1965. Originally for The Trio has four four-bar phrases in Nagy. Budapest: Editio Musica, 1977. two violins. rounded binary form. The melody is in the Originally for cello. This edition is Six Duets, Op. 8, for Two Clarinets, Ben. flute supported by extremely simple ac¬ transposed from the original key of C to 538-543. Arr. by A.E. Harris. New companiment. Phrase 1 begins (measures the key of BK which allows the B^ clar¬ York: Cundy-Bettoney, 1987. Origin¬ 21-22) basically with a downward arpeg¬ inet to execute the solo part in the writ¬ ally for two violins. gio, and ends interestingly with a modified ten key of C. The concerto is in three Sechs Duos fiir 2 Klarinetten. Arr. by F. inversion of the initial three-beat motive. movements (Allegro vivace. Adagio, Gebauer; Ed. by Wolfgang Suppan. Rondo: Allegro), and cadenzas are writ¬ Wien: Universal Edition, 1989. In two Movement IV -Rondo (Allegro) ten out for each movement. volumes. Originally for two violins, The delightful final movement is in a Konzert C-Dur fiir Violoncello oder Flote these pieces consist of various move¬ typically Mozartian 6/8. This classical oder Klarinette und Orchester, Ben. ments from several different duets. rondo follows a scheme of A B A C A, with 106. Ed. by Arpad Pejtsik and Bela Duet 1 contains Ben. 516/i, 515/i and "B" in the dominant, and "C" in the rela¬ Kovacs. Zurich: Edition Kunzelmann, 516/ii; Duet 2 contains Ben. 517/i and tive minor. In each of the "A" sections, 1985. This edition includes solo parts 513/ii; Duet 3 contains Ben. 521/i and Pleyel consistently states the theme first in for all three versions of the concerto (for 522/ii; Duet 4 contains Ben. 514/i and the flute, then repeated by flute and first clarinet, flute, or cello). This edition is 514/ii; Duet 5 contains 513/i and 521/ii; written for C clarinet (as is the original). clarinet together. and Duet 6 contains Ben. 524/i and Suggested cadenzas are provided for the The use of imitation in the lower three 518/ii & iii. first and second movements. instruments is interesting (measures 1\- Duets for Two Clarinets (from the Duets Clarinet Concerto in C Major, Ben. 106. 73). The same idea ornamented is repeated for Violin, Op. 8, No. 4, and Op. 59, Ed. by Georgina Dobree. London: in flute, clarinet I, and bassoon (measures Nos. 4 & 1), Ben. 541, 583, and 580. Musica Rara, 1968. The solo part has 75-77). There is some degree of unifica¬ Arr. and ed. by David Glazer. New been transposed for B1, clarinet (written tion of ideas in the movement in the repeti¬ York: Oxford University Press, 1969. key of D Major). Suggested cadenzas tion of dynamic contrast: measure 137 are provided for the first and second Ben. 541 was originally for two violins; (final "A" section) borrows the accents p-f- movements. Ben. 583 and 580 was originally for p-ffrom measure 80 (section "C"). Konzert B-dur fiir Klarinette und Orches¬ violin and keyboard. ter, Ben. 106. Ed. and arr. Jost Michaels. In addition to these four "original" clar¬ Hamburg: H. Sikorski, 1974. The piano Trios inet works, many other Pleyel pieces have reduction has been transposed to Bl"; the Trio II for flute, clarinet, and bassoon, been arranged for ensembles including solo part is for Bl" clarinet (written key Ben. 474. Ed. by Himie Voxman. Lon¬ clarinet (a selected listing of these works of C). Suggested cadenzas are provided don: Musica Rara, 1978. Originally for follows). Each of these works is identified for the first and second movements. violin, cello, and piano. by its Benton thematic catalog number as Sonata I for clarinet and viola, Ben. 437/i Trio in C-Dur fiir Flote, Klarinette und well as its original instrumentation. Many & 438/ii, iii. Arr. by Etienne Solere; ed. Fagott, Ben. 474. Ed. Gyorgy Balassa. of these pieces — especially the duets — by Himie Voxman. Monteux: Musica Budapest: Editio Musica, 1984. Ori¬ are readily accessible in modem editions. Rara, 1985. Originally for piano trio. ginally for violin, cello, and piano. September 2003 Page 91 Other Works Field, Corey. Review of Pleyel as Music Randall, David Max. "A Comprehensive Cinquieme symphonie concertante, pour Publisher: A Documentary Sourcebook Performance Project in Clarinet Litera¬ flute, hautbois ou clarinette, cor, bas- of Early 19th-century Music, by Rita ture with an Essay on the Clarinet Duet son et orchestre, Ben. 115. Ed. by Fer- Benton and Jeanne Halley. Notes 47/3 from ca. 1715 to ca. 1825." D.M.A. nand Oubradous. Paris: Editions mu- (March 1991): 793-94. diss. University of Iowa, 1970. sicales transatlantiques, 1958. Finscher, Ludwig. Review of Ignace Ple¬ Rowley, Gordon S. Preface by Rita Ben¬ Symphonie concertante no. 5 in F major yel: a Thematic Catalog of his Compo¬ ton. An Annotated Catalog of Rare for flute, oboe (or clarinet), horn, bas¬ sitions, by Rita Benton. Die Musik- Musical Items in the Libraries of the soon and orchestra (piano reduction), forschung 35/1 (1982): 85-86. University of Iowa; Additions 1963- Ben. 115. Piano reduction by R. P. Grave, Floyd K. Review of Ignace Pleyel: 1972. Iowa City: University of Iowa Block; Ed. by David Lasocki. London: a Thematic Catalog of his Compo¬ Press, 1973. MusicaRara, 1973. sitions, by Rita Benton. Journal of the Sachs, Joel. Review of Ignace Pleyel: a Quintet fiir 5 Blasinstrumente, Ben. 428. American Musicological Society 33/1 Thematic Catalog of his Compositions, Arr. by Fritz Muth. Leipzig: Merse- (Spring 1980): 204-10. by Rita Benton. Musical Times 1655 burger, 1909. Originally for piano trio. Gug, Remy. "Historical Tests on Pleyel's (January 1981): 31-32. Quintet in C for Oboe, Clarinet, Horn, Music Wire: Paris 1811." FoMRHl Schaal, Richard. Review of Pleyel as Mu¬ Bassoon & Piano, Ben. 353. Ed. by Quarterly 54 (January 1989): 41-57. sic Publisher: A Documentary Source- Werner Genuit & Dieter Klocker. Lon¬ Hellyer, Roger. "Mozart's Harmonie- book of Early 19th-century Music, by don: Musica Rara, 1969. Originally for musik, with Bibliographical Notes on Rita Benton and Jeanne Halley. Die string quartet. Haydn and Pleyel." Haydn Yearbook 9 Musikforschung 44/4 (1991): 380-81. (1975): 349-58. Schony, Heinz. "Ignaz Josef Pleyel (1757- Honegger, Genevieve. "Pleyel a Strasbourg 1831): Komponist, Pianist, Klavier- Bibliography durant la Terreur." Revue de Musicolo- fabrikant." Genealogie 39/4 (April Benton, Rita. Ignace Pleyel: a Thematic gie 73/1 (1987): 113-19. 1990): 103-6. Catalog of his Compositions. New York: Homick, Michael Andrew. "Ensemble and Tyson, Alan. Review of Ignace Pleyel: a Pendragon, 1977. Solo Works of Ignaz Pleyel Originally Thematic Catalog of his Compositions, . "Pleyel as Music Publisher." Jour¬ Composed for Keyboard: A Style-An¬ by Rita Benton. Eontes art is musicae nal of the American Musicological alytic Review." Ph.D. diss., New York 26/2 (April-June 1979): 139-41. Society 32/1 (Spring 1979): 125-40. University, 1986. Zsako, Julius. "The String Quartets of and Jeanne Halley. Pleyel as Music Komlos, Katalin. "The Viennese Keyboard Ignace J. Pleyel." Ph.D. diss., Columbia Publisher: A Documentary Sourcebook Trio in the 1780s: Sociological Back¬ University, 1975. of Early 19th-century Music. Stuyve- ground and Contemporary Reception." sant, NY: Pendragon, 1990. Music & Letters 68/3 (July 1987): 222- . "Pleyel's Bibliotheque Musicale." 34. Endnotes Music Review 36/1 (February 1975): . "The Viennese Keyboard Trio in 'Colin Lawson, "Single Reeds before 1750" in The 1-4. the 1780s: Studies in Texture and In¬ Cambridge Companion to the Clarinet, ed. Colin Lawson (Cambridge: Cambridge UP, 1995), 14. . "A Resume of the Haydn-Pleyel strumentation." Ph.D. diss., Cornell 2R.B. Chatwin, "Handel and the Clarinet," Galpin 'Trio Controversy' with Some Added University, 1986. Society Journal 3 (1950): 3. Contributions." Haydn-Studien 4/2 Landon, H.C. Robbins. Review of Ignace 3 Charles Van den Borren, "Souvenirs bruxellois de (1978): 114-17. la famille Pleyel," Reveu Pleyel 46 (July 1927), 308. Pleyel: a Thematic Catalog of his Com¬ 4 Cardinale, Flavia. Review of Pleyel as Mu¬ positions, by Rita Benton. Haydn Year¬ Letter from Mozart to his father dated April 2, 1784. sic Publisher: A Documentary Source- 'Malcolm S Cole, "A Pleyel Collection at UCLA," book 11 (1980): 212-13. Notes 29/2 (December 1972), 215-223. book of Early 19th-century Music, by Lebermann, Walter. "Ignaz Joseph Pleyel: 6Nicolas Slonimsky, ed., "Ignaz Joseph Pleyel" in Rita Benton and Jeanne Halley. Nuova die Fruhdrucke seiner Solokonzerte und Baker's Biographical Dictionary of Musicians, 7th rivista musicale italiana 27/4 (Octo¬ ed., (New York: Schirmer, 1984), 1788. deren Doppelfassungen." ("Ignaz Jo¬ 7 ber-December 1993): 664-66. seph Pleyel: the early prints of his solo Rita Benton, "Pleyel as Music Publisher," Journal of the American Musicological Society 32/1 (Spring Cole, Malcolm S. "A Pleyel Collection at concertos and their alternative ver¬ 1979), 125-W. UCLA." Notes 29/2 (December 1972): sions.") Die Musikforschung 26/4 (Oc¬ 8 Rita Benton, "Ignace Joseph Pleyel" in The New 215-23. tober-December 1973): 481-86. Grove Dictionary of Music and Musicians, (Lon¬ Coral, Lenore. Review of Ignace Pleyel: a Lenneberg, Hans. Review of Pleyel as Mu¬ don: Macmillan, 1980), 6. 9 Ibid. Thematic Catalog of his Compositions, sic Publisher: A Documentary Source- 10 by Rita Benton. Notes 35/1 (September Benton, "Pleyel as Music Publisher." book of Early 19th-century Music, by "Slonimsky, 1788. 1978): 75-76. Rita Benton and Jeanne Halley. Journal 12 Benton, "Pleyel as Music Publisher." The 1803 Devries, Anik. Review of Pleyel as Music of Musicological Research 11/1-2 Pleyel catalog is held at the Bibliotheque nationale, Publisher: A Documentary Sourcebook Paris. (May 1991): 143^14. 13 of Early 19th-Century Music, by Rita Radant, Else. "Ignaz Pleyel's Corres¬ Else Radant. "Ignaz Pleyel's Correspondence with Benton and Jeanne Halley. Revue de Hoffmeister & Co.," Haydn Yearbook 12 (1981): pondence with Hoffmeister & Co." 122-74. This quote is from a letter from Pleyel to musicologielUX (1991): 131-33. Haydn Yearbook 12 (1981): 122-74. Hoffmeister dated July 1, 1804. Page 92 The Clarinet '"Benton, "Pleyel as Music Publisher." Texas. She is currently an active member Association. For the last 20 years, she has "Rita Benton, "Pleyel's Bibliotheque Musicale," of Texas Society of Music Theory, Asso¬ Music Review 36/1 (February 1975): adjudicated piano competitions and festi¬ '6Radant, 148. This quote is from a letter from Pleyel ciation for Technology in Music Instruc¬ vals for music organizations in the Dal¬ to Hoffmeister dated November 9, 1800. tion (ATMI), and Texas Music Educators las/Ft. Worth metroplex. "Rita Benton, Ignace Pleyel: A Thematic Catalog of his Compositions (New York: Pendragon, 1977), ix. l8Remy Gug, "Historical Tests on Pleyel's Music Wire: Paris 1811," FoMRHI Quarterly 54 (January In Coming Issues... 1989), 41-57. "Rita Benton, "Ignace Joseph Pleyel" in The New Grove Dictionary of Music and Musicians, (Lon¬ don: Macmillan, 1980), 8. • "Master Class" articles by Linda Merrick and 20 Rita Benton, Ignace Pleyel: A Thematic Catalog of J. Lawrie Bloom his Compositions, ix. 2IE.L. Gerber, Neues Historisch-Biographisches Lexicon der Tonkiinstker (Leipzig, 1812-1814), Pt. 3, col. 375. • "A Profile of Kalman Bloch," by Stephen 22 Rita Benton, Ignace Pleyel: A Thematic Catalog of his Compositions, viii. M. Rochford "Wolfgang Suppan, Foreword to Six Duets for Two Clarinets, Volume I (Vienna: Universal Edition, 1989). • "Out of Purdah: Three Early 19th-century 24 All "Ben" numbers refer to Rita Benton, Ignace Pleyel: A Thematic Catalog of his Compositions Female Virtuosi," by Pamela Weston (New York: Pendragon, 1977)5 25 Rita Benton, Ignace Pleyel: A Thematic Catalog of his Compositions, 6. • A Tribute to Ignatius Gennusa by Ben Redwine 26 Rita Benton, Ignace Pleyel: A Thematic Catalog of his Compositions, 72. "Don Randel (ed.). The New Harvard Dictionary of Music (Cambridge: Harvard University Press), 384. • "Industry Profiles": An Interview with Michael 28 Ibid. '' Rita Benton, Ignace Pleyel: A Thematic Catalog of Beare of Reeds Australia, his Compositions, 76. by Paul Globus Georg Meerwein, foreword to Pleyel's Quartet in £>> Major (London: Musica Rara, 1970). • "An Overview of the Development of Clarinet About the Writers... Performance in the Moscow Conservatory," Michael Thrasher currently serves as assistant professor of music (clarinet) at by Igor Shakhan North Dakota State University. Active as a chamber musician and recitalist, Thrasher has also performed with the Garland Sym¬ • "The Contributions of Armenian Composers to phony Orchestra, the Shreveport Sym¬ the Clarinet Repertoire," by Cynthia Wolverton phony Orchestra, the Fargo-Moorhead Opera and the Texas Music Festival Or¬ chestra. He holds a Bachelor of Music And much more! Education degree from Northwestern State University, the Master of Music degree in clarinet from the University of North Texas, and the Doctor of Musical Arts degree in clarinet from the University of North Texas. His primary teachers in¬ clude James Gillespie, Bruce Bullock, and We Carry NEW & USED: John Scott. Selmer Buffet Leblanc Barbara Wallace is currently a faculty Profesional and Student Clarinets member of the School of Music at Baylor *0ther Makes Also Available University, where she teaches music the¬ *Full Line of Accessories ory. Prior to that she taught for 10 years ^Highest Quality BAY Products at Dallas Baptist University. She holds a Professional Repair & Restoration Bachelor of Music degree from Baylor Unique Personal Attention University, as well as a Master of Music Phone 212-730-1569 and Ph.D. from the University of North 7017th Ave. (Entrance on 47th St.), New York, NY 10036 September 2003 Page 93 knowledge of the clarinetists about whom Book Reviews Weston was writing. by Joseph Messenger These are minor points, considering all Reviews that is contained in this volume, and the Pamela Weston. Yesterday's Clarinettists: wealth of information that Weston has a sequel, Emerson Edition, 2002. given to the clarinet world makes this another book that every clarinetist should After three books about clarinetists of own and read thoroughly. Thank you the past and present, one might well ask Pamela Weston, for bringing our past to what could be added in a fourth book that life so vividly! had not previously been covered. Pamela Weston, clarinet historian extraordinaire, quickly demonstrates that she has not cre¬ Music Reviews ated a rehash of the material of the earlier In a book of this scope, a few minor by Joseph Messenger books. This volume contains just over one glitches would not be surprising, but there thousand entries including substantial new were several inconsistencies that I found Donald Martino, trans. Fantasia per Clar- information about those clarinetists who confusing. The very title of Yesterday's inetto Nell'Opera Poliuto Di Gaetano were profiled in the earlier books, as well Clarinetists indicates that the players in¬ Donizetti, for clarinet and piano. Dan- as some 600 new entries. Although one cluded are no longer living, and that seems talian, 2002, $25.00. might be tempted to initially think that a to have been the format of the previous Giusto Dacci. Aida di G. Verdi Fantasia, book of this type would be a dry, reference books; however, Ignatius Gennusa is Op. 240, for clarinet and piano, ed. work, it is, like the earlier books, a delight¬ included in the biographical section (with Colin Bradbury. Lazarus Edition, 2003. ful read and quite difficult to put down an entry that only mentions his one-year once begun. Not only do we learn about stint in the National Symphony), as are I have a weakness for operatic fantasies the musical and professional side of the longtime Philadelphia Orchestra players (some of my colleagues think it is more of players, but Weston often includes little Raul Querze and Donald Montanaro in the a character flaw), and when new ones personal tid-bits, and we discover, for in¬ orchestral location section (with dates indi¬ arrive I have to find an opportunity to per¬ stance, that Henri Leroy, in addition to his cating that they left the orchestra in 1970!). form them as soon as possible. The works many musical accomplishments, also was The inclusion of non-principal players reviewed here are part of continuing publi¬ an amateur magician. Many of the new seems to be somewhat hit or miss, and cations by two esteemed editors and repre¬ profiles are of 20th-century players such there are no entries for well-known players sent their ongoing efforts to provide per¬ as Daniel Bonade, Robert Marcellus, such as Pasquale Cardillo and Manuel Va- formance editions of neglected works which Gino Cioffi, Keith Stein, Oskar Kroll, lerio of the Boston Symphony, Jerome Sto- deserve to be a more visible part of the Georges Grisez, David Glazer, Yona Et- well of the Chicago Symphony and James clarinet repertoire. tlinger, Ulysse Delecluse, Alfred Bos- Rettew (who also was the first to import Donald Martino is a well-known com¬ kovsky and Robert McGinnis, and the new Morre reeds to the U.S.A.) and Alfred poser and life-long clarinetist who inherit¬ entries fill the gap between the earlier Zetzer of the Cleveland Orchestra. ed a sizable library of these pieces from a books of players of the past and living In the entries for Benny Goodman and former teacher, Francesco Lieto (see The clarinetists of today. Reginald Kell, one is referred to Clarinet Clarinet, Vol. 30, No. 1 for reviews of ear¬ This book can stand alone as a resource, Virtuosi of Today, but one will not find lier Martino editions and Vol. 29, No. 4 for but readers will find it helpful to have either player listed in the biographical sec¬ an article by Martino about operatic fan¬ Clarinet Virtuosi of the Past, More Clar¬ tion of that book. Because they died short¬ tasies). The versions he has were originally inet Virtuosi of the Past and Clarinet Vir¬ ly before publication of the book, their scored for band or orchestra accompani¬ tuosi of Today available. References to the biographies are included in the introduc¬ ment, and their origins are often unknown. appropriate earlier volumes appear in the tion; however, both Rosario Mazzeo and They have probably been handed down entries of players who have been written Harold Wright have died since that book through several players and are likely cop¬ about previously, and I found myself re¬ was published, but there are no reference ies of copies. Some of them may also al¬ turning to the original entries constantly to entries for either in the current volume. ready have piano accompaniments, but see what had been added or, in some in¬ The biographical sketches often list the since Martino had most often heard them stances, changed and/or corrected. As a se¬ important students of the player, but those performed with bands, he has created pi¬ quel to More Clarinet Virtuosi of the Past, students, even those who are deceased, are ano parts which maintain the sound of the it follows the same format of biographical not usually afforded their own entries, original band scoring rather than simply section followed by location and composi¬ even though the inclusion of their names re-edit existing piano versions. tion lists. The knowledge about the players would seem to indicate that they had a sig¬ This arrangement of music is from Don¬ who have shaped the current state of the nificant position in the clarinet world. izetti's tuneful opera Poliuto, which was clarinetist's art is staggering as collected in There are several entries with incomplete composed in 1838 but did not have its first these books, and Weston has done an enor¬ information or with small errors, which I performance until 1848. The Fantasia, by mous service to clarinetists worldwide. noticed only because I finally had some an unknown composer, dates from about Page 94 The Clarinet 1900 and was originally for clarinet and opportunity to sing on the clarinet in a ano. Somewhat easier, but lovely, pieces orchestra. In keeping with Lieto's empha¬ unique manner. Don't overlook them when are Mozart: Ave Verum Corpus, Faure: sis on musicality and interpretation before planning performances. En Priere and Pie Jesu, and Saint-Saens: virtuosity, and the need to "play the words," The Swan. This section also includes two Martino has included the opera texts (with Richard Stoltzman, arr. The Richard excellent recital pieces. The transcription translations) and secondary phrasings to Stoltzman Songbook, for clarinet and from the violin/piano version of Lukas illuminate this aspect of the music. There piano. Carl Fischer, 2002, $26.95. Foss' Three American Pieces is worthy are ample opportunities for the clarinetist of regular study and performance, and to demonstrate both musicality and virtu¬ Richard Stoltzman is likely the best Kalman Opperman's unaccompanied un osity, and the music lies well for the fin¬ known clarinetist since Benny Goodman, seul for clarinet or bass clarinet is also gers. Because the piano part is constructed and his eclectic range of recordings has a welcome addition to the repertoire. from the orchestral original, a good pianist made his name familiar to many people The Foss and Opperman pieces have not is a must for this work, but the efforts of who might not have ever had any contact been recorded. both players are well rewarded. The music with a clarinetist. Indeed, he is the only III. "Jazz" is the final section and in¬ is well laid out and readable, but page clarinetist to have an identified section in cludes eight excellent selections for per¬ turns are a problem throughout. Martino is the CD bins at popular stores such as Bor¬ formance and development of style. These making a valuable contribution to the ders and Barnes and Noble. Following the arrangements are done by Stoltzman and repertoire with this series. success of the publication of the music also by John Fedchock, Peter John Stoltz¬ The Aida fantasy marks a return of from his Aria CD, he has made arrange¬ man, Frank Bennett, William Thomas Lazarus Edition and of Bradbury's editions ments available from several of his most McKinley, James Rowles and Jay Gach. of 19th-century clarinet music. He has popular recordings. Many of the works in¬ There are short arrangements of "Amaz¬ recorded most of these editions, as well, on cluded are special arrangements and writ¬ ing Grace," Duke Ellington's "Come Sun¬ the Clarinet Classics label. ten out improvisations. day," James Rowles' "The Peacocks," Giusto Dacci entered the Royal Parma Stoltzman stresses the concept of sing¬ "There's a Man Goin' Round," and long¬ School of Music at the age of 11, and spent ing songs with the clarinet, and suggests er arrangements of "Night and Day" and the rest of his life there as piano teacher, that singing a melodic line before playing "My Funny Valentine." There are also two Professor of Harmony, and after 1875, as it will often help form the appropriate ex¬ superb arrangements of music by Gersh¬ Director and Composer in Residence. He pression. Because of that, he has not added win. The Gach transcription of the Three wrote more than 500 compositions, includ¬ extensive dynamic and expressive makings Preludes for Piano should find its way ing songs, piano pieces, chamber music, so that players can form their own interpre¬ onto many recital programs, and Gersh¬ and operatic fantasies for various instru¬ tations of the music. He does include sub¬ win!! by Frank Bennett includes "Fas- ments, including five for clarinet and pi¬ stantial notes about each of the 24 pieces, cinatin' Rhythm," "Embraceable You," ano. The fantasia on Aida was published with comments about the origin of the and "I Got Rhythm" and would make a approximately two years after the first per¬ work and suggestions for performance. delightful encore, or even a recital piece. formance of Verdi's opera at the Cairo The music is taken from the CDs Begin Several of these pieces have Stoltzman's Opera House (December 24, 1871). Sweet World, Open Sky, Garden of improvisations written out by his son, The fantasia makes free use of the Sounds, Infant Dreams, Dreams, Peter John, but those sections also have priests' motive first heard in the opera's WorldBeat Bach, Innervoices, Spirits, chord symbols for players who wish to prelude to link together a selection of the Romance, Amber Waves, Ebony, La- provide their own improvisations. work's best known tunes. In addition to the mento and Concerto!, and each piece is The wide variety of music in this col¬ settings of the familiar arias, it also in¬ identified as to which CD it comes from. lection makes it a substantial addition to cludes ballet music and a rousing finale The book is divided into three sections, the repertoire, and the music is not found based on (what else?) the "Grand March." arranged by the type of music included. I. anywhere else. Richard Stoltzman is to be This piece also requires a sensitive pianist, "Bill Douglas" comprises six pieces writ¬ commended for making these special ar¬ and even though this version is originally ten for Stoltzman by Douglas: Begin Sweet rangements available to other clarinetists, for piano, the pianist may find it works World, Feast, Infant Dreams, Lullaby, and this is a collection that you will find better to leave out some occasional notes. Morning Song and Open Sky. With the ex¬ much use for in your library. The Lazarus Edition is handsomely printed ception of Feast, which has driving rhy¬ but there are some difficult page turns for thms and an improvised section, these pie¬ the clarinetist. ces are technically easy and quite playable CD Reviews These two fantasias approach the same by any moderately advanced clarinetist. by Eric Mandat genre in a somewhat different manner, but II. "Classics" contains nine transcrip¬ both are quite successful and appealing to tions of works not originally for clarinet Argento/Rochberg: Clarinet Concertos. an audience as well as being great fun to and one original piece for solo clarinet. Anthony Gigliotti, clarinet; Taipei play. Operatic fantasies may seem a bit There are four familiar pieces by J.S. Symphony Orchestra conducted by trite and predictable for some, but they Bach: Air on the G String, Largo from the Felix Chiu-Sen Chen. Dominick Ar- contain some of the most beautiful music Concerto for Harpsichord and Orchestra, gento: Capriccio (Rossini in Paris)', ever written and provide the player an O Sacred Head Now Wounded and Sicili- George Rochberg: Clarinet Concerto. September 2003 Page 95 BRAVO 20125. LibrArts, 1906 Phila¬ George Rochberg's Concerto was delphia Ave., Reading, PA 19607; Tel: commissioned by the Philadelphia Or¬ 610-662-1027; Fax: 610-373-5280; E- chestra in 1995 and dedicated to Anthony mail: Page 96 The Clarinet cal circles at this time. In 1907 he became The massive Sonata in B^ is a long 37 Corey Cerovsek, violin; Bruce Bransby, Director of Music at the University of Leip¬ minutes in this recording. The length of bass; Gene DiNovi, Leonard Hokanson, zig. One of his pupils was George Szell, this sonata and of the 39-minute Clarinet and Luke Gillespie, piano; Craig Her- celebrated conductor and music director of Quintet is another challenge that Reger tick, percussion; Kristen Johnson, viola; the Cleveland Orchestra. Perhaps this is presents to performer and listeners. The Marc Johnson, cello; John Rommell, why past Cleveland musician Robert Mar- Major Sonata is full of interesting harmon¬ trumpet; Dee Stewart, trombone; Kim cellus always spoke favorably of Reger's ic ideas and many thematic connections Walker, bassoon; and Geoffrey Simon, Albumblatt and Tarantella. Reger's last and transformations between movements. conductor. Music by David Baker: work with an opus number, composed not This is a forward-thinking work from what Heritage: A Tribute To Great Clarinet¬ long before his early death, was the Clari¬ our 21st-century ears perceive of as a dis¬ ists, Homage a L'Histoire, Sonata for net Quintet in A, Op. 146. tant time. Clarinetist Klenyan executes Clarinet and Piano, and Aspects of If you are new to Reger's works, the many beautifully controlled piano entran¬ Andy. CALA RECORDS CACD77010. best starting point will be the three short ces in his upper register. His playing in the Total time 66:27. (available through works, each under two minutes. In each of first movement also emphasizes the Web site: September 2003 Page 97 To Great Clarinetists for clarinet, violin, is already famous, and who would not piano and bass. As the liner notes indicate, want to rush and perform it on their own it is a series of tributes to some of the clar¬ recital? After hearing Campbell's virtu¬ inet giants in the history of jazz. While oso rendition, the delightful "Dance" cer¬ most of the work is notated, the piano tainly made it on top of my list of hard- solos on this recording are improvised by things-to-practice. Campbell breezes Gene De Novi, who performed with many through — no problem. of the clarinetists honored in the four- The last piece on this CD is Aspects of movement work. The honorees are bebop- Andy for clarinet, piano, bass, and string ist Buddy DeFranco, dance band leader/ quartet. The opening suggests a serious, composer/performer Artie Shaw, blues romantic rich flavor, however, a minute players Buster Bailey and Barney Bigard, and a half later, it breaks up into a pure and the King of Swing, Benny Goodman. walking bass style, cool swing number. The This most unique piece is delightful, chal¬ work was written in memory of Andrew lenging to play, and most worthy of pro¬ Wayne Upper, described in the liner notes gramming on all kinds of concert venues. as an exceptional young man whose cour¬ lon), Valencia and recently at Catarroja Clarinetist James Campbell has devel¬ age, wit and love of music was well- (Valencia). He is also the solo clarinetist oped nice jazz chops over the years and his known to the Baker and Campbell fami¬ with the orchestras Sinfonica de Valencia recent recordings certainly immortalize re¬ lies. The work combines elements of clas¬ and Sinfonica del Mediterrdneo. cital gems that clarinetists choose to in¬ sical music with influences from Baker's Ferrer's playing is simply superb. Not clude in their legit recitals more and more. African-American roots. It includes some only does he possess absolute command of In earlier years, Campbell held the distinc¬ improvised sections, interspersed with the clarinet technically, but he also has a tion of being the only Canadian clarinetist more legit-sounding gorgeous pastoral crystal clear tone which is wonderfully making a living as a full-time soloist. He melodies, and what a treat to hear jazz focused. His intonation is sublime. Most has performed and recorded throughout the violin played so well. impressive to this listener is the ease with world since his professional debut in 1972, I found myself playing this CD repeat¬ which Ferrer moves across registers and up appearing as soloist with more than 50 or¬ edly. This challenging repertoire is intrigu¬ into the extreme altissimo. He is able to do chestras, including the London Symphony, ing, yet fully within one's grasp. The re¬ this with aplomb regardless of the dynamic the Moscow Philharmonic, and the Tor¬ cording quality is good, although I would level at which he is required to perform. onto Symphony. In 1997, he was awarded have enjoyed a little more "hall depth." Francisco Tamarit's Concertino is in a the Order of Canada, the highest Canadian Yet again, Campbell brings us vital fresh traditional three-movement format, with distinction. Since 1988, he has been pro¬ works that will undoubtedly become fast-slow-fast movements. The outer move¬ fessor of Music at the Indiana University essential in our relatively limited chamber ments have some very virtuosic passages School of Music. music repertoire. I give this recording a centered on contrasting motives and ideas. Homage a L'Histoire for clarinet, bas¬ three-reed rating, adding one reed for its The slow movement is described by the soon, trumpet, trombone, violin, bass, and invaluable contribution to enriching our composer as a "...ternary lied. The piano percussion, is not only scored for the same repertoire in a most splendid way. exposes the harmonic scheme, while the instrumentation as I'Histoire du soldat, but clarinet builds up the melody suggested by also contains a number of actual excerpts the piano harmonies." Despite a different by Christopher Ayer from Stravinsky's masterpiece. Beautifully harmonic vocabulary than most listeners played by the ensemble, it is a refreshing may be accustomed to, the organization of piece of music, in that the mix of ultra jazz Dedalo — Spanish Music for Clarinet the work helps make it easy to grasp. sections with a Stravinskynesque flair re¬ and Piano. Duo Dedalo: Alberto Fer¬ Vigils, by Cesar Cano, makes use of sult in wonderful storytelling. One minute rer, clarinet and Renata Casero, piano. some multiphonics, flutter tonguing, and you glide along jazz memory lane, and the Francisco Tamarit: Concertino; Cesar requires the clarinetist to hum. The pianist next, Stravinsky's licks you practice over Cano: Vigilias\ Ricardo Baixauli: Tres also strums the strings inside the instru¬ and over come charging in with no warn¬ piezas para clarinete solo', Amando ment. In other works, the use of such tech¬ ing. Fun! Blanquer: Dedalo; Luis Blanes: Casus niques occasionally overshadows the mu¬ This recording features an I.U. all-star vel fortuna. GADIR aifa GAC-1005. sic, but here the music is well served by ensemble, in addition to musicians from Total time 61:21. (available from Web the judicious use and flawless execution the Bay Chamber Concerts in Rockport, sites: September 2003 Page 99 time, coming to rest at multiphonic caden¬ register. The second movement, using the and finesse, and the jazzy E^ section, ces. After a brief jazzy section and some chalumeau register of the clarinet, is a slow played boldly with great pizzazz. This mildly agitated commentary, the mono¬ melody based on a 12-tone row. The third piece would make a wonderful finale to a logue gradually subsides in a bell-like movement begins with a basic pulse that shared recital. In addition, writes the tolling." Helmers captivates the listener, continues throughout the entire movement; composer, "because neither voice is ever punctuating this soliloquy with musical however, the activity surrounding the pulse really considered 'top' voice, this duet commas, multiphonics, as if carrying on a constantly increases. The traditional metric can be performed by any combination of musical conversation. 'grid' is removed in the fourth movement, B'' clarinet (soprano or bass) and E^ clar¬ Born in Seattle in 1938, Paul Chihara lending an improvisatory-sounding feel to inet or saxophone. This is a versatile has received awards and commissions the music. The fifth movement is lugubri¬ piece that begs experimentation with var¬ from major U.S. orchestras, the Aaron ous, focusing on the wide dynamic and ied instrumentation." Copland Fund, and the Guggenheim and registral ranges of the instrument. The final In conclusion, this is a valuable record¬ Fulbright Foundations. He was Composer- movement, using octatonic collections, is ing of important new music that showcases in-Residence from 1973-1986 with the the bookend that focuses on the athletic the talents of William Helmers and the San Francisco Ballet, and has composed nature of the clarinet." musical possibilities of the clarinet. The re¬ scores for more than 90 motion pictures Helmer's full range of virtuosity is on cording quality is excellent and the assis¬ and television series. He is Professor of display here: dazzling finger technique, ting musicians first-rate. Composition at UCLA. fast passages in the extreme altissimo, The Sonata for clarinet and piano is the multiphonics, and wide leaps played beau¬ by Christopher Bade most tonal piece on this disc. It was begun tifully in tune. In the third movement, he in April of 1994 while Chihara was recov¬ brilliantly navigates the contrapuntal lines, Wilfred Josephs — Music for Clarinet. ering from a serious illness. The composer making this clarinet solo sound like a clar¬ Linda Merrick, clarinet; Benjamin Firth, writes: "During this period, I thought a inet duet. piano; the Kreutzer Quartet (Peter great deal (often in delirium) about the mu¬ James Grant, the composer of the last Sheppard Skaerved and Gordon Mac- sic that I had played as a young music stu¬ two works presented here, Recitative and kay, violins; Bridget Carey, viola; Neil dent, especially the Brahms G major and Frenzy (1993) and Ragamuffins (1991), is Heyde, cello). Wilfred Josephs: Clari¬ Mozart E minor violin sonatas. Fragments known "for his colorful language, honed net Quintet, Op. 135, and Sonatas No. 1, of these lovely pieces appear, almost as craft and immediacy." In addition to re¬ Op. 148, and No. 2, Op. 149 for clari¬ fleeting dream impressions, as well as brief ceiving first prize in the 1998 Louisville net and piano. METIER MSV CD allusions to my song 'Bom to be Together' Orchestra competition for new orchestral 92058. Total time 64:02. (distributed in from Shogun the Musical. I believe that music, Grant was one of five American the U.S. by Albany Music, in the U.K. composing this sonata was instrumental in composers to win the 2001 Aaron Copland by Priory Records. Also available in my eventual recovery." Award. He is currently Composer-in-Res- the U.S. from: Page 100 The Clarinet Among his awards are the 1 st Prize in the homophonic song texture featuring the Kreutzer Quartet and pianist Benjamin Jeunesses Musicales and the Guardian/ clarinet as a solo singer. A marcato ver¬ Firth prove able collaborators. Josephs' Arts Council Prize. He expressed a pref¬ sion of the solo clarinet melody blasts out music, like that of other British composers erence for the A clarinet due to its warmth of the idyllic texture in an extremely force¬ in the 20th century, should be presented and the extra G at the low end of the range. ful manner, taxing the tonal control of the more often if only for the accessible tonal The Clarinet Quintet was composed in clarinetist. Josephs then spins this gesture idioms and idiomatic clarinet writing. 1985 for Angela Malsbury. The piece has into something more cantabile and emo¬ an unusual compositional feature: two first tional, reminiscent of the music of the by Thomas Josenhans movements are used, la and lb. The com¬ French conservatory contest pieces. Per¬ poser indicated that "they follow each haps the overriding feature of the compos¬ American Lyrique. Karen Dannessa, clar¬ other without a break" and that "la is not a er's music is the nature of continual dis¬ inet; Kenneth Boulton, piano; Henry prelude or an introduction to lb" as "they covery and changing nature of the language. Grabb, oboe and English horn. John both carry equal musical weight." In this The opening of Sonata No. 2, Op. 149 MacKay, Jr.: Sonatas No. 1 (1990) and extended work the tonal harmonic lan¬ is very forceful. The clarinet plays a trun¬ No. 3 (1995) for clarinet and piano, and guage employed is eclectic: there are long cated but flowing chant-like theme punctu¬ Romance (1997) for oboe, clarinet and passages reminiscent of the late Romantic ated by unison interjections of the piano. It piano; Mark Sforzini: Two American era, folk-like melodies and modal harmonic culminates with a fortissimo unison pas¬ Sketches (1996) for clarinet and English tendencies recalling Bartok, the concluding sage after which the clarinet is asked to horn, no label name or number. Total cadence of the fourth movement "Not- play at the loudest possible dynamic level time 65:41. (available from the artist at: turno" recalls the choral music of Arvo in the chalumeau register. Only in this pas¬ Dept. of Music, 840 Wood Street, Clar¬ Part, and lengthy melodies in the "Dis- sage is the intonation questionable. There ion University, Clarion, PA 16214., tel. partitura" movement have an almost Am¬ is a noticeable distortion of clarinet tone 814-393-2436) erican flavor, to name but a few of the and pitch at this point. The relative serious¬ attractive features. The clarinet writing is ness of the "Moderato" first movement is idiomatic and challenging. Stamina and quickly replaced in the lighter "Intermez¬ American control are considerations as well. Ms. Mer- zo." Apparent in this movement in particu¬ rick is equal to the challenge. Her tech¬ Lyrique lar is the treatment of musical equality /oV nique is fluid and her clarinet sound is vel¬ between clarinet and piano. The faster Karen Dannessa f TmAmthemSktfckamtd EngUxM Horn vety smooth. The balance is quite good, al¬ movements do make enormous technical Clarinet Henry Grmbb though the writing for string quartet is not r G MtcKmf, Jr. demands on the clarinetist. The concluding Oboe A English Horn So—mforOmiiMtmtirtmo as profound as for the clarinet. Kennelh Boultoit■ ^ /y^Komnmcefiw Ctsnmel. OboramJPimto "Vivo leggiero" also calls on virtuosity Piano m The two clarinet sonatas were written from the pianist. Passages abounding with with close proximity to each other, much syncopation and a "perpetual motion" feel like Brahms did almost 100 years earlier. are joyous and sound fun to play. Altissi- September 2003 Page 101 versity. An enthusiast of the chamber and end. The third movement "Allegro" pro¬ solo music of Brahms, Schubert and Schu¬ vides a much needed contrast with an mann, MacKay's compositions could all articulated and angular melody. In effect, be classified as "Neo-Romantic." While it is a scherzo, and a caccia, in which the the pieces are not exactly programmatic, clarinet and piano jokingly imitate each the moods are elevated and characters other in alternating episodes. quickly change within the works. In gener¬ The second work on the disc, Mac- al the piano parts are very flowing and the Kay's Sonata No. 3 is conceptually similar clarinet line floats on top of the lush tex¬ to his First Sonata. Dannessa plays the ture; the lines are rarely inactive. MacKay simple yet haunting melodies of the open¬ ing movement with great finesse and clar¬ ***ALL SORTS*** exploits the entire range of the clarinet, ity. Occasional harmonic surprises are re¬ of RARE and vintage winds, which Dannessa masterfully controls. freshing, and Dannessa plays the highly or¬ especially saxes, clarinets The first movement "Allegro" of the namented clarinet lines with great agility. Sonata No. 1 begins with a beautiful and & flutes. A nice addition to this sonata is the short lyrical melody. As the piece develops, waltz-like third movement; it is light and New or fully restored in mood shifts coincide with modal changes. succinct. "In a Lyrical Manner and With The clarinet line fits neatly into the piano our own workshop. Movement" is the title of the fourth move¬ texture, and at times the piano part pro¬ ment, which again employs a flowing Wichita Band Instrument Co. vides a lush background upon which the 2525 East Douglas, Wichita, KS 67211 piano part and lyrical clarinet writing. This clarinet soars. The second movement, a movement, along with the preceding waltz, orders (800)835-3006 melancholy "Andante," evokes images of Info (316)684-0291 makes for a strong ending to the piece. gypsies, with frequent melodic embellish¬ Originally intended as the second move¬ FAX (316)684-6858 ments. Effective timing at the ends of E-Mail: [email protected] ment of a three-movement work, the Ro¬ phrases, by both Dannessa and pianist mance for oboe, clarinet and piano is a visit our web site: Kenneth Boulton, emphasizes the emo¬ nice little morsel and concludes the album. www.wichitaband.com tional turmoil of the rich and haunting The movement relies on the push and pull melody. As it progresses, the music be¬ of the winds; the oboe and clarinet alter¬ ***since 1953!*** comes increasingly tumultuous, emphatic nate between canonic and conversational and resolute before arriving at a peaceful textures, while the piano casually observes, CALL FOR PAPERS AND PRESENTATIONS INTERNATIONAL CLARINET ASSOCIATION CLARINETFEST® UNIVERSITY OF MARYLAND • COLLEGE PARK • JULY 21-25, 2004 The International Clarinet Association will hold its ClarinetFest, 2004, a symposium and festival devoted to the clarinet, at the University of Maryland, College Park, MD, from July 21-25, 2004. The program director is Marguerite Baker. The program for the conference will include a series of scholarly papers and presentations. The Association solicits proposals for presentations (such as papers or lecture-recitals) on any topic related to the clarinet. The use of live or recorded performance is acceptable; however, presentations whose sole aim is performance are discour¬ aged. Presentations should be designed to be no more than 25 minutes in length. Those giving presentations must register for the conference. Presenters on the program in 2003 are ineligible for 2004. Each person is limited to one proposal. Prizes will be offered by the I.C.A. as follows: First place paper, $500 and guaranteed publication in The Clarinet journal (subject to editing); and second place paper, $300. To submit a proposal, send the following: 1. SIX copies of an abstract, one page only, fully describing the content of the proposed paper or lecture-recital. 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, and e-mail address, if applicable. Please list all equipment needs for the proposed presentation. This sheet should also contain a biographical sketch of the author, as you would like it printed in the conference program. The above materials must be received by January 15, 2004. PLEASE SEND TO: Dr. Keith Koons, I.C.A. Research Presentation Committee Chair, Music Department University of Central Florida P.O. Box 161354, Orlando, FL 32816-1354 For more information, write or call Keith Koons at (407) 823-5116 or by electronic mail: Page 102 The Clarinet with moments of unobtrusive commentary. sa's playing truly complements each other, The only criticism of these sketches is that This Romance easily reminds one of an op¬ and their musical maturity is revealed in there are only two. Sforzini obviously has eratic duet between two conflicted lovers. their excellent ensemble. This work is made a great imagination, and it would be great Two American Sketches for clarinet and up of two contrasting movements: "Song to hear what else he could cook up for the English horn by Mark Sforzini is a great of the Prairie" and "Atlantic City Rock." English horn and clarinet. addition to this disc. Sforzini has been The first overtly exploits the personality Praise is due Karen Dannessa for pro¬ principal bassoonist of the Florida Or¬ of each instrument and is reminiscent of ducing a CD of music that is so unique and chestra since 1992, and he has written sev¬ the "Largo" of Dvorak's New World Sym¬ virtually unknown, and her playing reveals eral works for wind instruments. The sket¬ phony. "Atlantic City Rock" is a stark con¬ a mature musicality. The MacKay pieces, ches were commissioned by Dannessa and trast: it is a funkier movement that has a while a bit too similar in style to provide as Henry Grabb. The combination of English groove found nowhere else on this disc. much variety as one might like on a re¬ horn and clarinet is rarely heard outside of Both humorous and clever, one cannot cording, are welcome additions to the clar¬ the orchestral setting, and the resulting help but imagine two mischievous students inet repertoire, and make this disc well sound is refreshing. Grabb's and Dannes¬ sneaking around looking for a good time. worth hearing. INTERNATIONAL CLARINET ASSOCIATION SOOt YOUNG ARTIST COMPETITION Eligibility: The competition is open to all clarinetists who shall not have reached the age of 27 years by January 1, 2005 provided that they are not currently under major artist management. Application: Send materials postmarked no later than Monday 26 April 2004 to: 2004 ICA Young Artist Competition • Michael Galvdn, Coordinator School of Music, Ithaca College • 3322 Whalen Center for Music • Ithaca, NY 14850-7240 U.S.A. phone: 607.274.3410 • fax: 607.274.1727 • e-mail: CONTEST RULES 1. Application fee: $50 US. All applicants must be members of the I.C.A., and must provide proof of membership. Non-members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest application fee. Make amount payable to the I.C.A. in U S currency. This fee is non-refundable. 2. Please provide a good quality recording of the following repertoire in this order: Donald Martino: A Set for Clarinet, McGinnis & Marx Frangois Devienne: Deuxieme Sonate, mvts. I, II, Editions Musicales Transatlantiques Bohuslav Martinu: Sonatina, Leduc The recording should be made on a CD-R, or new cassette tape on one side only, with accompaniment where appropriate. Please be aware that the quality of the recording will influence the judges. 3. Include a photocopy of the contestant's driver's license, passport, or birth certificate as proof of age. 4. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is the playing of the contestant and has been not been edited. 5. An e-mail address, summer address, and telephone number must be provided. Please note that no application form is required. JUDGING Judging of recordings will be conducted with no knowledge of the contestant. Do not place any identification on the CD, cassette, or box. There should be no speaking on the recording, such as announcing of compositions. Preliminary judging will be by taped audition. Semifinalists will be chosen be committee. Letters of notification will be e-mailed by Friday 21 May 2004. Semifinal and final rounds will be held at ClarinetFest® 2004, to be held in Washington, D.C., USA, 21-25 July 2004. Repertoire will consist of the works listed aboveA 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 semifinalists and finalists. All semifinalists will receive free registration at ClarinetFest® 2004. Travel expenses will be the responsibility of the contestant. All recordings become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is provided (Use U S postage or International Postal Coupon.) PRIZES First Prize: A new clarinet and $2,000 U.S. • Second Prize: $1,500 U.S. • Third Prize: $1,000 U.S. Sponsored by Conn-Selmer, G. Leblanc Corp., Buffet Crampon/The Music Group, Yamoha and L. Rossi September 2003 Page 103 RECITALS Si CONCERTS May 13, 2003. Fantasy for Clarinet and Brian David Jones, clarinet, Levine Student... Piano, Nielsen; Partita for Solo Clarinet, School of Music, April 12, 2003. Three Christy Banks, clarinet, D.M.A. Re¬ Presser; Mini Concerto, Jacob; Hillandale Preludes, Gershwin/Cohn; Sonata para cital, University of Nebraska-Lincoln, Waltzes, Babin; "Gran Duetto" from Bel¬ Clarinette y Piano, Guastavino; "Cava- December 11, 2002. Premiere Sonate, lini's La Sonnambula, Bassi tina" from Ernani and "Finale" from La Devienne; Concerto per clarinetto solo, Brian R. Schellberg, clarinet, assisted Sonnambula, arr. Lazarus; Trio in E^, K. Bucchi; Premiere Rhapsodie, Debussy; by Daniel Stover, clarinet, Master's Reci¬ 498, Mozart; Scaramouche Suite, Milhaud Peregi Verbunk, Op. 40, Weiner; Trio, tal, Sam Houston State University, March Lou Kauder, clarinet, Charlottesville, Op. 114, Brahms; D.M.A. Recital, Uni¬ 29, 2003. Fantasistykker, Op. 43, Gade; Va., May 7, 2003. Arabesque No. 2, De¬ versity of Nebraska-Lincoln, May 1, Sonatina, Horovitz; Three Etudes on bussy; Five Pieces for Solo Clarinet, Ja¬ 2003. Dante Dances, Welcher; Introduc¬ Themes of Gershwin, Harvey; Concerto cob; Sonatina, Arnold; Overture on He¬ tion and Allegro Appassionato, Op. 256, for Two Clarinets, Op. 35, Krommer brew Themes, Prokofiev; Recalling Benny Goodman ("Rose Room," "Poor Butter¬ Reinecke; Dancing Solo, Larsen; Trio No. Daniel Stover, clarinet, assisted by fly," "Stompin' at the Savoy") 7 "Kegelstatt," K. 498, Mozart Brian Schelberg, clarinet. Senior Recital, J. Bruce Kimball, clarinet, Brunswick Kristen L. Denny, clarinet, M.M. Re¬ Sam Houston State University, April 27, School, April 22, 2003. Solo de concours. cital, University of Nebraska-Lincoln, Ap¬ 2003. Hillandale Waltzes, Babin; Lokale Op. 10, Rabaud; Sonata, Saint-Saens; Trio ril 18, 2003. Premiere Rhapsodie, Debussy; Musik 2.2-25 Kdrwa-Melodien fiir 2 in B^ Major, Op. 11, Beethoven Fantasie for Clarinet, Genzmer; Clarinet Klarinetten, Zimmermann; Two Majorcan PASTICHE, Jan Fillmore Scott, clar¬ Concerto in A Major, K. 622, Mozart Pieces, Horovitz; Sonata in A^ Major, Op. inet, Dave Scott, trumpet, Fred Sahlmann, Nina Englin, clarinet, assisted by Le- 49, No. 1, Reger piano, Dave Walton, percussion, Univer¬ nora French, clarinet, Junior Recital, Uni¬ Jake Wallace, clarinet. Junior Recital, sity of Maryland, October 29, 2002; Elon versity of Nebraska-Lincoln, March 9, University of Nebraska-Lincoln, April 17, University, November 5, 2002. Rough and 2003. Clarinet Concerto in A Major, K. 2003. Sonata, Copland; Three Pieces, Stra¬ Tumble, Freund; Sonata, Gates; So It 622, Mozart; Capriccio, Sutermeister; Duo vinsky; Fantasiestucke, Op. 73, Schumann Goes, Stemper; Woodwork, Frackenpohl; Concertant, Op. 9, No. 2, Lefevre; Sona¬ Alana Wilson, clarinet. Senior Recital, The Bitter and the Sweet, Friedman; Bayou tina, Martinu University of North Texas, April 19, 2003. Rhapsody, Ward; Partly Sunny, Minerd. Lenora French, clarinet, assisted by Sonata in E^ Major, Op. 120, No. 2, Alexandria, Louisiana, March 23, 2003. Nina Englin, clarinet. Senior Recital, Uni¬ Brahms; Trio in £>, K. 498, Mozart; Three Banners Series, Lake Charles, Louisiana, versity of Nebraska-Lincoln, April 5, Preludes, Gershwin (Cohn) April 3, 2003. Bayou Rhapsody, Ward; 2003. Concerto No. 2, Op. 74, Weber; Duo Michael Woods, clarinet soloist, Col¬ The Bitter and the Sweet, Friedman; Son¬ Concertant, Op. 9, No. 2, Lefevre; Sonata, lege of William & Mary Symphony Or¬ ata, Gates; Rhapsody in Blue, Gershwin Op. 120, No. 2, Brahms; Introduction and chestra, April 23, 2003. Premiere Rhap¬ (arr. McMillan/Pastiche); Pecos Bill, Rose; Rondo, Op. 72, Widor sody, Debussy. College of William & Mary, Partly Sunny, Minerd Julie Linder, clarinet. Senior Recital, April 26, 2003. Quatuor pour la fin du Horst Prentki, clarinet, Johanneskirke University of North Texas, April 19, 2003. temps, Messiaen Schlachtensee, Berlin, Germany, February Concerto in C Minor, Op. 26, Spohr; Ada¬ 1, 2003. Siciliano (from Flute Sonata), gio, Harris; Concertstiick, Gallois-Mont- Faculty and Professional... Bach; Sonata in B^ for Clarinet and Piano, brun; Serenata Monellesca, Op. 26 for Vanhal; Andante con Variatione e Rondo oboe, clarinet and bassoon, Madsen Diane Cawein, clarinet. Faculty Recital in F Major, Druschetzky; Abenlied (arr. Erin L. McCarthy, clarinet. Senior Re¬ — Moran Woodwind Quintet, University for clarinet and piano), Schumann; He- cital, University of Nebraska-Lincoln, De¬ of Nebraska-Lincoln, March 9, 2003. brdischer Tanz, Op. 68 for clarinet and cember 15, 2002. Introduction and Allegro Serenade, Farkas; Wind Quintet, Orban; piano (arr. Bellison), Drei volkstiimliche Appassionato, Op. 256, Reinecke; Petite Serenade and Theme with Variations, Klezmerstiicke, Levenson. Thomas-Morus- piece, Debussy; Sonata, Op. 129, Stanford; Blumer; Vaudeville!, Danner Saal, Berlin, Germany, February 16, 2003. Duo Concertant, Milhaud; Funeral March Bruce Edwards, clarinet, Kunststation, Gigue, Corelli; Ave Maria, Caccini; An¬ of the Marionette (wind quintet), Gounod Kleinsassen, Germany, May 18, 2003. dante (from Sonata for Clarinet and Pi¬ Dmitry Perevertailenko, clarinet. Grad¬ Fantasiestucke, Op. 73, Schumann; Son¬ ano), Mendelssohn; Chassidischer Tanz uate Recital, Sam Houston State Univer¬ ata in F minor. Op. 120, No. 1, Brahms; (clarinet solo), Stutschewski; Canzonetta, sity, May 4, 2003. Concerto in A Major, Vier Stiicke, Op. 5, Berg; Sonatine, Ho- Pierne; Tango-Etude No. 3 for clarinet K. 622, Mozart; A Set for Clarinet, negger; Premiere Rhapsodie, Debussy; solo, Piazzolla; Petit Concert for clarinet Martino; Sonata in F minor. Op. 120, No. Idylle, Bozza and piano, Milhaud; Para (Chow) for solo 1, Brahms William Fuller, clarinet soloist, Madi¬ clarinet, Prentki; Capriccio No. 24 for solo Jeremy Reynolds, clarinet, D.M.A. Re¬ son (WI) Municipal Band, May 20, 2003. clarinet, Paganini (arr. Goodman); Czardas cital, University of Southern California, Concerto for Clarinet, Shaw for clarinet and piano, Steinbacher Page 104 The Clarinet James Sclater, clarinet soloist, Metro¬ politan Chamber Orchestra, Jackson, Mis¬ sissippi, May 4, 2003. Concerto in A Ma¬ THE BEST, LONGEST LASTING REEDS jor, K. 622, Mozart Frank Sidorfsky, basset horn, assisted ^itltcyc XL^f; . Thick blank by Deborah Check Reeves, clarinet. The " " • Long vamp, generous heart National Music Museum Brown Bag • Choice of file cut (NEW) or unfiled Lunch Program, Vermillion, South Da¬ • Premium, organically grown cane kota, March 28, 2003. Allegro from Exceptionally long-lasting & consistent Sonata, Op. 9, Backofen; Allemande and Ideal for solo, chamber & orchestral work Gigue from 3rd Cello Suite, Bach; Alle¬ gro from Concerto, Rolla; Allegro mod¬ AVAILABLE AT LEADING MUSIC STORES erate from Concerto, Hess; Adagio und More information at: www.reedsaus.com.au Reeds Email: [email protected] Variationen, Op. 45, Kummer; Konzert- Australia stucke Nr. 2, Op. 114, Mendelssohn Programs intended for publication in The Clarinet should be sent to James Gil- -where nuj craft meets tjour art- lespie, P.O. Box 311367, College of Mu¬ sic, University of North Texas, Denton, Larry Naylor, NAPBIRT Master Clinician TX 76203-1367. To ensure accurate pro¬ Englewood, CO USA—303.761.4759 gram information, please send a printed program and a summary of pertinent data Quality repairs and immersion restorations (names of performers and composers, site, for the discriminating clarinetist date and titles of works, etc.) in the format above. For student recitals, only solo de¬ Please visit me at... gree recital programs (junior, senior, mas¬ www.Naylors-woodwind-repair.com ter's, doctoral) will be listed. ClarinetFest.2004 WASHINGTON, D.C. U.S.A. JULY 21-25, 2004 C larinetFest. 2004 will take place in the beautiful Clarice Smith Performing Arts Center and the School of Music on the University of Maryland, College Park campus. More information will following in subsequent issues of The Clarinetand on the I.C.A. Web site: Send all presentation proposals and nominations to the address below. Recordings and written requests will be accepted through September 1, 2003, and will be reviewed by committee. Please include exact program information including timings and also biographical material for performer(s). Marguerite Baker, Program Director • ClarinetFest. 2004 Towson University, Department of Music 8000 York Road • Towson, MD 21252-0001 E-mail: September 2003 Page 105 the Fort Worth Symphony Orchestra. He is continuing to work closely with Rose in an advisory capacity to ensure a smooth tran¬ sition into our new operational structure. Because of publication deadlines, I am writing just as final preparations are taking BfIT S place for ClarinetFest 2003. The antici¬ pated excitement of pulling off another an¬ nual clarinet extravaganza will have receded somewhat by the time you have the oppor¬ tftessa tunity to read this. Nonetheless, the I.C.A. owes a huge debt of gratitude to Kathy by Robert Walzel Pope for her tireless leadership, vision and dedication in serving the I.C.A. so mar- The LC.A. has taken a giant step ing at some point in the future. Our organi¬ velously as our festival coordinator this forward in terms of restructuring zation has grown significantly in size and past year. Her straightforward style, per¬ our operational staff. The board of scope over the past several years and the sonal integrity and genuine desire to pro¬ directors has approved the creation of a need has developed for more structured vide the Association with a memorable new full-time Executive Director position and consistent leadership in overseeing the event have resulted in 2003 being a very charged with overseeing all organizational many activities and affairs of the associa¬ special year for us. Kathy — thank you business operations. In establishing this tion. We anticipate outstanding results from for all that you have done for us!!! Also, new structure, the responsibilities of the Rose's leadership in her expanded role as thanks to all whom performed, presented, current membership coordinator and ad¬ our executive director. exhibited and/or attended ClarinetFest. vertising manager are being consolidated While looking forward to Rose's fu¬ 2003, Bravissimo! into a single administrative position. The ture leadership, we would be remiss if we Kathy will continue in a service role to executive director will also be responsible didn't extend a hearty word of appreciation the I.C.A. this next year by coordinating for organizing all non-artistic logistical con¬ to Gary Whitman, who is completing his the Orchestral Audition Competition. She cerns for future ClarinetFest, events (except obligations as Advertising Manager for is taking over from Raphael Sanders, who 2005 in Tokyo). The new structure allows The Clarinet and Exhibits Coordinator for is completing his term of service. He has business operations to be centralized in a ClarinetFest. Gary has been wonderfully served as competition coordinator since the way that will promote efficiency and better successful in serving the I.C.A through inaugural event in 1997. Thank you, Ra¬ serve the interests of our members, our building relationships with advertisers phael, for your leadership and dedication commercial/industry affiliates, and the and exhibitors. His effective leadership, de¬ for so many years! greater clarinet community at large. tailed organizational skills and intuitive For many of us, it is back to school In considering how best to identify the management of the important tasks he has time. For others of us it is time to go back right person for the job, the board needed been responsible for, all reflect a sincere to work on the gig after a short summer only to look as far as our current member¬ dedication to the Association. Gary began break. As the new concert season and ship coordinator, Rose Sperrazza. Rose has as advertising coordinator in the summer school year approaches, I hope we can all done an outstanding job of streamlining of 1995. He has served as the fifth adver¬ look for, and find, the happiness that can membership issues/operations since join¬ tising manager on the editorial staff of our come in making music with our friends ing our professional staff a little over three journal, having been preceded by John and colleagues. Many people not working years ago. Her experience, enthusiasm and Scott, Henry Duckham, James Schoepflin as musicians or music educators have the vision for growing the organization will and Robert Luyben. During Gary's years perception that because we "play" for our benefit us all in the months and years to of service in this position, the number of profession, it is not real "work" that we do. come. In addition to her organizational advertisers in The Clarinet has increased Anyone who has suffered through a re¬ prowess. Rose is a fine musician and clar¬ considerably. When, in 1999, the board of hearsal that seemed like it would never end inetist. She is in the process of completing directors decided to better support Clari¬ or some of the other frustrations that we a D.M.A. degree in clarinet performance at netFest by providing an I.C.A.-funded encounter as musicians knows that "play¬ the University of Wisconsin. Rose became exhibits coordinator, Gary was identified ing" for a living is often more work than is membership coordinator in 2000, replacing as the right person for the job. His work in "work." I remember an engagement that I Elena Lence Talley, the first I.C.A. mem¬ helping identify and attract new exhibitors played several years ago as a young musi¬ bership coordinator. Rose and her hus¬ to ClarinetFest, as well as provide service cian in Houston. There was a circus that band, a music educator in the public school for those who exhibit regularly, has been came through town and I was hired to play system, live in suburban Chicago. Rose nothing short of extraordinary. Although baritone saxophone. For me at that time, will continue to work out of her home for no longer on the professional staff of the any gig was a great thing and a wonderful the time being. If funding allows, we hope I.C.A., Gary will continue his busy sched¬ opportunity to pursue my dream of being to be able to consider relocating into an ule of teaching at Texas Christian Univer¬ a professional musician. Those of you who I.C.A. office space in a professional build¬ sity and performing as bass clarinetist with have played a circus job know that the Page 106 The Clarinet j-Jof: ^CJ }0fo\-\\ejr^ OrWrt: K]d- 5or^ Loheft- \\- Carr^ frbm. ! Coo^V^LJ of (YILJ closet ^ | oaf. j~l XrpitofYkrH-' YAMAHA YCL-SEV CUSTOM B-FLAT CLARINET 65MM BARREL GRENADILLA BODY SILVER-PLATED KEYS HYAMAHA P/ay the very best you can!'" Yamaha Corporation of America, Band & Orchestral Division P.O. Box 899 • Grand Rapids, Ml 49518-0899 www.yamaha.com/band playing is loud and continuous. Just before W® Staglk [Hliirdl^o^BDiidl M®®dlwfl[rDd] ij dim^ [^©(gordlBira®]® downbeat at the first performance, the con¬ ductor told us we would know intermission • More than 600 solo clarinet recordings was about to arrive when the elephants •Classical Recordings - both solo & ensemble came in. Well, an hour and half later they • Many imported recordings not found in stores finally made it. After honking enthusiasti¬ • More than 4000 wind recordings on CD, tape, LP & Video cally on my bari nonstop for that period of •We also publish music for woodwinds & brass time my lungs, neck, lip, hands and entire Order Online at www.tapmusic.com body was aching, not to mention my brain or send $4 for our latest catalog feeling like it had been tied in a knot. I didn't see the elephants come in, but as I Tap Music Sales, 1992 Hunter Avenue, Newton, IA 50208 USA took a deep breath to play the next phrase Ph: 641-792-0352 Fax: 641-792-1361 email: [email protected] their presence was all too obvious!! It took me at least a full minute to recover from gagging and choking on the hideous smell that they had brought with them. I'll never the Belgium forget that lesson. "Playing" is work! As it turned out, when I sold my bari sax a few Dimple Mouthpiece years ago still attached to the case was the bumper sticker, given to me all those years ago by one of the more seasoned members of that circus band, that said, "I SUR¬ VIVED THE CIRCUS!" DIRK VANDAMME As you approach your new musical year, I hope that you can avoid the ele¬ www, dirk-vandamme .com phants, or at the very least be able to look past the distractions that detract from www, gr golden. com what we all too often overlook or take for granted ... the joy of "playing." Cheers!!! What can a standing wave do for my sound? chamber bore it can give you... baffle Rovner Products proudly introduces the "REVO-G" Clarinet Mouthpiece. region of increased A revolutionary new design in acoustic pressure Baffle-loaded Mouthpieces. (area of standing wave) Learn more about this new design at: j www.rovnerproducts.com Rovner Products | P.O. Box 4116 | Timonium MD, 21094 | (410) 252-7750 Page 108 The Clarinet \ jaming music that many youthful hearts learn love." *"— ^ne Ricard LeWanc® G. Leblanc Corporation Kenosha, Wisconsin This series of paintings by artist Max Miller is available as a set of four 26"x35" posters For details, visit www.gleblanc.com. aaSyagfe 17) Festoons of semi-finished grenadilla wood bells decorate the ceiling of the Selmer storage vaults. f) ' / / I • cj ctciriiiets isn t ^Awbetli Lucj we tci f^uct, ive recoi^ Vyieticl goifiCf oi/e$>o ircl. fk * ^ We make legends. Selmer www.selmcr.com 1 Conn-Selmer, Inc. A Steinway Musical Instruments Company. / r\ _ rs r\i,r\