ClarinetFest.2005 TAMA.TOKYO
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www.buffet-crampon.com Volume 32, Number 3 June 2005
Features About the Cover... CLARINETFEST. 2005: TAMA, TOKYO • JULY 18-JULY 24, 2005 • PARTHENON, TAMA 36 ClarinetFesU 2005 poster IN MEMORIAM: EMILY BERNSTEIN • ROBERT J. SCHOTT • YUKIO OHASHI 38
THE CLARINET TEACHING OF KEITH STEIN — PART 11: INDEX OF ADVERTISERS DISCUSSION OF ARTICULATION, CONCLUDED by David Pino 40 Alea Publishing & Recording 17 Alexander's Wind Instrument Center 21 DANISH CLARINET MUSIC OF THE 19TH CENTURY: Altieri Instrument Bags 22 THE CLARINETIST'S INFLUENCE by Michael Thrasher 47 Ben Armato 7 Backun Musical Services Inside Back Cover THE ELECTRIC CLARINET, PART II by F. Gerard Errante 52 Behn Mouthpieces International 9, 65 BG Franck Bichon 44 CARLO PAESSLER (1774-1865): CONCERTOS FOR CLARINET AND ORCHESTRA Charles Bay 70 FOUND IN A MUSIC ARCHIVE IN FRIULI IN NORTHERN ITALY by Nicola Bulfone 58 Kristin Bertrand Woodwind Repair 75 "FASZINATION KLARINETTE": THE FOURTH GERMAN CLARINET SYMPOSIUM Bois Ligatures 83 A Report by Bruce Edwards and Nicolai Pfeffer 61 Robert Borbeck 73 Brannen Woodwinds 40 THE "MOZART EFFECT" by Heston L. Wilson, M.I). .66 Carmine Campione 22 CASS 74 AMERICAN CHAMBER ENSEMBLE CELEBRATES 40TH ANNIVERSARY Clarinet Classics 31 by Naomi Drucker 68 Conn-Selmer. Inc Back Cover Crystal Records 34, 42 THE CLARINET IN HUNGARY — AN ENDURING LOVE AFFAIR by Paul Globus 71 The Davie Cane Company 14 Fleming Instrument Repair 60 AN OUTSIDER'S VIEW b\ Katharine Whitelaw 74 The Hasty Legacy 44 J. D'Addario — Rico Reeds 46 Jeanne, Inc 23 Departments Jupiter Clarinets 35 LampCraft 9 LETTERS 4 Last Resort Music 14 Leblanc 2 MASTER CLASS — The Artie Shaw Clarinet Concerto by Tad Calcara 6 Luyben Music Co 19 Vincent Marinelli 18 TEACHING CLARINET by Michael Webster 10 Muncy Winds 87 The Music Group, Inc Inside Front Cover, 88 AUDIO NOTES by William Nichols 16 Naylor's Custom Wind Repair 65 CONFERENCES & WORKSHOPS 20 Olivieri Reeds 87 Ongaku Records, Inc 5 HISTORICALLY SPEAKING... by Deborah Check Reeves 24 Patricola Fratelli SNS 75 Pomarico 72 LETTER FROM THE U.K. by Paul Harris 26 Bernard Portnoy 86 Quodlibit. Inc 12 CLASSIFIED ADVERTISING 26 Rast Music 87 RedwineJazz 4 CLARINETISTS IN UNIFORM by Staff Sergeant Diana Cassar-Uhl 27 Reeds Australia 57 Ridenour Clarinet Products 25 QUINTESSENCE — The Wind Informant, No. 27 by Bruce M. Creditor 28 L. Rossi 15 INDUSTRY PROFILES — Luyben Music Company by Kelly Johnson 32 Sayre Woodwinds 37 Tap Music Sales 73 REVIEWS 76 U.S. Army Recruiting Command 43 Van Cott Information Services 51 RECITALS AND CONCERTS 84 Wichita Band Instrument Co 37 Woodwindiana, Inc 85 MUSICAL CHAIRS 85 Yamaha Corporation of America 45 THE PRESIDENT'S MESSAGE by Michael Galvdn 86
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June 2005 Page 3 LETTERS ilemaR (Letters intended for publication in The have left a legacy that will never be for¬ r< tr c; lj O Clarinet should be addressed to James gotten. Gillespie, Editor, "Letters," The Clarinet, As mentioned. Dr. Fennell was appoint¬ College of Music, University of North ed Conductor Laureate of the Tokyo Kosei Texas, Denton, Texas 76203-1367 or via Wind Orchestra in 1984. Under his direc¬ unusual e-mail:
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Page 4 The Clarinet C H L L FDR P R 0 P 05 D L 5
ClarinetFest® 2006 • August 9-13, 2006 • Atlanta, Georgia U.S.A.
Co-Artistic Directors and Co-Hosts Joseph Eller D. Ray McCIellan Clarinet Professor Clarinet Professor University of South Carolina University of Georgia All interested I.C.A. members wishing to submit performance/presentation proposals should send written and/or recorded applications to:
Joseph Eller Clarinet Professor, School of Music University of South Carolina Columbia, SC 29208 E-mail:
Submission Deadline: September 30, 2005
ClarinetFest 2006s will be housed in the Omni Hotel at the CNN Center in downtown Atlanta. More information will follow in subsequent issues of The Clarinet and on the I.C.A. Web site:
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June 2005 Page 5 hits are credited to anyone of his fine ar¬ heard Louis Armstrong play in person. He rangers over the years — Shaw played an was also impressed by what Bix Beider- active role in evolving these pieces. In beck was doing on his horn. At this same some cases these hits were actual composi¬ time he discovered many of the great con¬ tions by Shaw himself (e.g., "Any Old temporary classical composers of the day: Time" (1938), "Streamline" (1936), "Sum¬ Stravinsky, Ravel, Debussy. mit Ridge Road" (1939), etc.). When Artie Shaw's interest in classical music must Shaw was Art Shaw the studio musician have fed his fascination with the use of The Artie Shaw one of the places he went to study jazz and strings in jazz. He seemed to be drawn to Clarinet Concerto composition was Harlem where the great the infinite variety of timbres that could be jazz musicians of the late 1920s and early achieved by a full string section. Through¬ by Tad Calcara '30s were. One of Shaw's important influ¬ out his career he always enjoyed having ences was Willie "the Lion" Smith — one this velvety carpet of sound for his clarinet of the true masters of the Harlem Stride to float over. One of his earliest successes School of jazz piano. as a leader and soloist was the day after his One can hear Shaw's gift for sponta¬ 26th birthday in 1936. He was participat¬ neous composition in any of his imagina¬ ing in one of the first concerts of Swing tive improvisational solos. In some cases Music at the Imperial Theater where he he truly re-invents a well-known piece to was asked to perform. Shaw decided to produce something new and original. One eschew the typical brass and reeds instru¬ of the best examples of this is his half cho¬ mentation and used a string quartet and rus solo on "Stardust" (Victor Recordings rhythm section. This group performed his 1940). One is struck by the great ease in composition — "Interlude in Bk" The per¬ which Shaw climbs the clarinet making the formance was so successful it not only altissimo pitches sound like gentle ringing brought the house down, it stirred such bells instead of the strident notes they great interest in him that he was forced to potentially can be. It is from this period of form his own band. His choice of instru¬ Artie Shaw that the Concerto was bom. mentation included the core of a string sec¬ Some Background tion with a few brass and reeds. (Listen to "Streamline" and "Cream Puff to hear The work slowly evolved into the piece how great and original the strings sound that we know today from a loose knit of is incorporated in with this group.) several musical ideas surrounded in the His next band of 1938 had a straightfor¬ Tad Calcara beginning by a rather romantic (but swing¬ ward big band instrumentation without the (photo: Brett Colvin) ing) introduction — and concluding with a strings. (This is the band which recorded virtuoso cadenza ending on a high concert "Begin the Beguine.") But his band of The Artie Shaw Concerto has in re¬ Bk Between these two outer events one 1940 brought back the use of strings. The cent years become a very popular will encounter many fascinating musical 1940 band was the one that first performed showpiece for clarinetists. Obvi¬ expositions from — 12-bar "boogie woo- the Concerto. ously a better performance can be achieved gie" blues — a dramatic klezmerish ca¬ if the soloist has a solid background and denza — a wild romp in which the soloist In the Beginning understanding in jazz. However, many has the opportunity to pair off with the per¬ classical "legit" players who are not im¬ cussion for some primal swing — and After the rather rude and dissonant provising jazz musicians have had great finally a rousing build to the final cadenza. crash chords of the full ensemble in the success with this piece. The key to any The Concerto was featured in the mo¬ first three measures, the mood immediately performance of this work is to have a vie Second Chorus (1940)' (see page 8). A relaxes in the main body of the introduc¬ thorough understanding of Artie Shaw's good bulk of the piece was probably im¬ tion. The clarinet line should be played approach to the clarinet, as well as famil¬ provised on the spot. Undoubtedly the clar¬ with great ease with an unhurried feel over iarity with some of the basic principals of inet/drum duo could very well have been the lush string chords. A feeling of a jazz phrasing. extended in performance. This is an impor¬ straight tempo should not really be felt The most important suggestion for any tant factor when performing the piece — until the last two measures of the intro one attempting this piece is to become to create the impression of improvisation. (two measures before B) when the full tutti acquainted with the art of Artie Shaw. With that in mind it is important to ap¬ comes back in. (References to rehearsal Shaw was a truly gifted musician who proach the piece much like a jazz musician letters are to the Consolidated Music Pub¬ channeled his artistic energy into his clar¬ may approach a transcribed solo for study lishers edition.) inet as well as his many bands over the or performance. years. His impressive gift for improvisa¬ Shaw discovered jazz as a young man Tempo di Boogie Woogie tion flowed over into his compositions and in the 1920s. In his autobiography, he re¬ It would help when performing this arrangements. Although many of his big counts the great impression when he first piece to have a jazz pianist who is familiar
Page 6 The Clarinet with the early styles: stride and boogie- woogie. On his recording Shaw has one of the all-time great jazz piano masters, THE REED WIZARD Johnny Guamieri, covering the keyboard. After four measures of tempo setting by the piano, it is recommended to have one PERFECTAREED chorus of boogie-woogie piano alone like on the recording (with very light drums and bass). This helps set the tempo and allows the rhythm section an opportunity THE REED WIZARD, a sophisticated to set a solid groove before the clarinet high-tech device which quickly redesigns comes in with the theme. After the 12 commercially manufactured reeds. measures of the theme, it is time for the THE REED WIZARD is fantastic!" clarinet to cut loose (letter D). Be wild (or - Ricardo Morales, Prin. Philadelphia Orchestra at least getting wild). Underneath the clarinet line are the Price $225.00 saxes and other reeds belting out an ag¬ add $9.00 S&H (USA only) gressive figure (riff). The sax riff should help to egg on the soloist. By the third cho¬ rus at letter E the clarinet should abso¬ PerfectaReed, an ingenious device lutely achieve wildness. The soloist should that takes the guesswork out of reed have a feel of riding above the orchestra. adjustments. Designed to measure the entire area of single reeds. Do not overdo the lip slurs in the music. Listen to the way Shaw does this — sub¬ "PerfectaReed is great!" tle but noticeable — loose but not soggy - Andrew Simon, Prin. Hong Kong Phil. — and always swingin'. During one of the choruses before the first cadenza (letter G) it would be a great idea to open up the form for solos — e.g., Price $200.00 actual improvisation. On the recording add $9.00 S&H (USA only) * ♦ * * * * Shaw is quite generous and has some great PERFECTAREED solos by sax (Jerry Jerome, I think), trum¬ ...and BEYOND pet (Billy Butterfield) and trombone (Jack 2nd Edition Jenney), before Shaw rips in with a great PERFECT A REED...and BEYOND Priee $20.00 improvisation built around some fine glis- A Comprehensive add $2.00 S&H (USA only) Method for sandos. If you are not an improviser chal¬ Reed Adjusting... lenge yourself and write out a solo of one or and More two choruses of B'' blues or try to transcribe BEN ARMATO what Shaw did (and then try playing it!). the Quasi Klezmer Cadenza Opera Clarinetist Shaw was a great master at creating THE OPERA CLARINETIST moods and portraying emotions through Kxcerpts from the From the original Metropolitan Opera parts and music. His theme song for his band was an Operatic should be in every clarinetist's repertoire. evocative and dark work called "Night¬ Literature Price $25.00 mare." In this first cadenza the mood chan¬ GimiiilcU ami IMIIitl h> Ben Armato add $2.00 S&H (USA only) ges from the bright and light sound of B^ of major to the dark and rather brooding five The Mrimpnlilan Opera House flats of B? minor — recalling the mood of his theme song. Once again the solo needs NY residents please include local tax. to never feel in a hurry and give the im¬ THE REED WIZARD/PerfectaReed pression of being improvised. At one point P.O. BOX 594 • ARDSLEY, NY 10502 the clarinet line becomes almost Yiddish Phone 1-800-650-4743, access 02 / Fax 914-693-3336 like (is there such a thing?) with hints of e-mail [email protected] klezmer-sounding phrases. Shaw does not web site www.reed-wizard.woodwind.org/ over do this, but tastefully hints at it.
June 2005 Page 7 drama of this section. After letter K a change of sound and attitude should occur. We are thrust back into B'' minor concert and the mood should be more urgent. As the line begins to descend (around 14 mea¬ sures after letter K) allow the dynamic to ease toward the piano end of the spectrum. Eighteen measures after letter K should begin the slow but dramatic (as well as dynamically and musically) ascent back to B'' major concert (around 19 measures be¬ fore letter L). When the band returns at letter M the soloist should be ready to add to the mo¬ mentum at letter N. At this point, musical¬ ly it is all about riding the giant crescendo- ing wave to letter P. The soloist should be on the front edge of this great crest espe¬ cially when the six-measure gliss reaches the high concert F.
That High C The final cadenza provides a viruostic wrap-up from the previous big build up. Of course this final section is a build up in itself allowing the soloist to really show the full and complete range of the clarinet. Shaw's approach to the high c was like this: Shaw would usually end his concert appearances with the Concerto. Every night he would finish on that high c. One day a clarinet friend asked, "Are you afraid of missing?" Shaw's reply was simple. He had the person asking the question put his hand on a table. Shaw told him to raise his index finger. Then Shaw asked him if he was afraid of not being able to raise his 1941 magazine advertisement for Second Chorus. Note reversed photo of Artie Shaw. finger? Confidence — and a good reed. Just in case, it is a good idea to have a Practice With a High Hat the clarinet (e.g., between letters K and L). back up. Usually when you gliss up to the It would also be helpful for the drummer to high C it will sing out — but sometimes The next section features the clarinet have a copy of the solo part. it's stubborn. What comes out instead of a playing an extended duo with the drums. This section is reminiscent of Benny high C is an Pk sounding note (I am speak¬ When playing eighth notes with a swing ing in clarinet key). All one needs to do to feel one needs to feel the backbeats (beats Goodman's duo with Gene Krupa on "Sing Sing Sing." Clarinet and drum duos are not save yourself (and face, reputation, job, 2 and 4). Generally these beats are con¬ etc....) is to work your way up note by stantly emphasized by the drummer's high new. There are examples that go back to the '20s, like the Dodds brothers — Johnny note up to the high C. A good sequence is: hat operated by the left foot. This is really hold onto the failed C that sounds like an the great Creole clarinetist and his brother the heartbeat of a swing band or any jazz A^, then play A natural — then B natural "Baby" who was one of the famed New group. Using a metronome as your high and then finger the C (sounds like the old Orleans drummers. When Benny Good¬ hat is a great way to work on improving JELLO advertisement theme). The audi¬ swung eighth notes. Just set the metronome man played with Ben Pollock's Band in ence will still love it! so that the clicks are on beats 2 and 4. the late 1920s, a clarinet/drum duo be¬ The main thing when attempting this The soloist should have an opportunity tween Goodman and Pollock was a feature piece is for the soloist to saturate his or to run this section (between letters H and for the band. Shaw, too, played around her ears with the glorious sounds of Artie M) with the drummer a couple of times. with the idea as well especially with his Shaw's band of 1940. Hearing his ease of This will allow the proper interplay needed 1936 string quartet band. phrasing and his melodic approach to swing to pull this section off. There are certain Careful dynamic phrasing following the will give anyone the inspiration to do jus¬ "hits" the drummer should reinforce behind contour of the line will bring out the true tice with this work.
Page 8 The Clarinet About the Writer... Tad Calcara has been principal clar¬ inet of the Utah Symphony since 1999. Don't leave home without one! He previously was a member of the New World Symphony. While a student at the Cleveland Institute of Music, he played Battery Music Lights sub/extra with the Cleveland Orchestra. At this same time he played principal clarinet from Lampcraft with two of the area's regional orchestras. Mr. Calcara began the clarinet after hear¬ ing recordings of Benny Goodman and Artie Shaw. His first teacher was his father who did the young clarinetist a great favor by taking him to see the new Artie Shaw Orchestra with Dick Johnson on clarinet (and Mr. Shaw himself conducting). His other teachers included Sue Collado, Leon OonoertLight H Russianoff, Charles Russo, David Breeden Professional Strength and Frank Cohen. In addition to playing with the Utah Symphony, Mr. Calcara plays chamber music and also leads his visit own vintage big band. New Deal Swing. www.lampcraft.com 'The 2004 CD/DVD collection titled Artie Shaw— or call The Centennial Collection (Bluebird 82876-60092- GigLight™ 2) includes 20 of his biggest hits on the CD and three 1-800-277-5527 film clips from two movies, including Artie Shaw Lightweight & Compact Class in Swing and Second Chorus, including the for more information scene with the Concerto for Clarinet. Also included on the DVD is a 2001 interview with Shaw.
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June 2005 Page 9 adapt the patterns offered in "Beyond Start with A minor and proceed through Baermann" (Vol. 32, No. 2, March 2005) the circle of fifths starting with the flat key to the minor keys. All exercise numbers signatures. Raising the sixth and seventh (1A, IB, 2A, 2B, etc.) refer to the article, scale steps cancels flats, but adds sharps so you must have a copy to refer to. (and double sharps!), so the flat key signa¬ Let's go mining for minors and see what tures are considerably easier. The choice of we can dig up! Exercise 1A or IB is less clear-cut than Minor keys are intrinsically more diffi¬ with the major keys, where use of 1A for cult than major keys because of the mental keys with E natural and IB for keys with and physical gymnastics required to raise Ef1 is regular. In minor keys, the choice of and lower the sixth and seventh scale range is influenced by the raising and low¬ steps properly. The routine is easy to ering of the sixth and seventh scale steps. state: For any key signature, the natural The chart in Example 1 is a handy guide. minor scale starts a Example 1 by Michael Webster third lower than the major key. For har¬ 3 3( monic minor, raise the KEY harm. J J J J mel.J333 harm, j J J mel. seventh scale step to create a leading tone am 1A 1A 1A 1A to the tonic note; for dm 1A 1A 1A 1A melodic minor, raise IB 1A,1B IB 1A the sixth and seventh gm scale steps ascending cm IB IB IB IB and revert to the natu¬ fin 1A 1A IB IB ral minor descending. b b m IB IB IB IB In practice, it is sur¬ prisingly tricky. As e b m IB IB IB IB Artistic Director of the g#m 1A 1A 1A 1A Houston Youth Sym¬ c#m 1A 1A 1A 1A phony, I hear the au¬ 1A 1A IB IB ditions of advanced f#m teenagers, who often bm 1A 1A 1A 1A whip off concertos em IB IB 1A 1A and major scales with aplomb and then fumble the minor scales. Example 2 shows some fingerings to Michael Webster Spend a long time on Exercises 1A and IB watch out for. At the bottom of A minor, (from "Beyond Baermann") in the minor be sure to use the left pinky for F natural in Mining for Minors keys before continuing with other patterns, the melodic form (see Example 2). G minor which can be considered to be "advanced Twenty-ninth in a series of articles us¬ is unusual. 1A works well for the melodic intermediate" and should not be addressed ing excerpts from a clarinet method in pro¬ form with the lower turn around being until a degree of fluidity, albeit at slower gress by the Associate Professor Clarinet G-F#-E-FMj. The downward F# and E are tempos than for the major keys, is assured. and Ensembles at Rice University's Shep¬ not strictly part of the melodic form, but in herd School of Music. Although the melodic minor form is practice composers nearly always opt for more important because of its vastly more this turnaround sequence. The triplet ver¬ It boggles the mind to contemplate frequent usage, I recommend starting sion of G harmonic minor requires using the number of possible combinations with the harmonic minor in a given key, exercise IB, meaning that we must turn of the twelve tones in our chromatic followed immediately by the melodic around on high Ftt. Although difficult, this scale, especially across several octaves. minor. Following the instructions from is as good a time as any to introduce high Bach passions, Wagner operas and Mahler "Beyond Baermann" there are six ver¬ Ft. Use the normal forked fingering for E^ symphonies aside, the number of available sions of quadruplets, starting by ascend¬ but curve the finger so that it contacts the scale and arpeggio patterns stretches to¬ ing or descending in each of three oc¬ key near the rod, allowing the rings to lift ward the infinite. The advantage is that taves, and also the same six versions of when going to Fl Leaving the fork down there are so many possibilities; doing the triplets. It is good to do all 12 versions at (see Example 2) raises the pitch of the Ft. same old routine time and again needn't first, the advantage being to keep the Professionals avoid the "normal" fingering ever become a bore. The disadvantage is brain occupied while gaining the degree for Ftf (see Example 2) whenever possible, that making choices can be daunting. Ano¬ of repetition necessary to imprint the fin¬ due to its flatness of pitch. Approaching ther challenge is to notate those choices gering on the neurological system. At this from El' introduces the preferred fingering efficiently. The project at hand is to rate, one key per day is enough. in the easiest possible way. Turning around
Page 10 The Clarinet on the raised seventh scale step is a bit Example 2 strange, but one gets accustomed to it easily. <11 M. ± fe: ± ± ± Example 3 is a chart for all of the other 1 patterns, made easier by using only the melodic minor with occasional slight vari¬ TR O TR O TR O TR O ations depending upon where the pattern • • • • • o • o changes direction. The choice of melodic • o • o minor is completely utilitarian, mirroring 2? 2> 2? _p the actual usage of the great composers. Compact presentation is much more of an issue for minor scales than for majors. Example 3 As the patterns become more and more complex, it becomes harder and harder to am 2A 3A 4A 5A 6A 7A 8A 9A 10A 11A play them by ear. By the time we get to dm 2A 3A 4A 5A 6A 7A 8A 9B 10A 11A Exercises 8-11 in a key like G# minor, rais¬ gm 2A, 2B 3A, 3B 4A 5A 6A 7 A, 7B 8B 9B 10A 11A ing the sixth and seventh scale steps by ear cm 2B 3B 4B SB 6B 7B 8B 9B 10B 11B is extremely challenging. At some point it fm 2A 3A 4A SB 6B 7A 8A 9A 10A 1 IB may be advisable and/or necessary to keep b b m 2B 3B 4B SB 6B 7B 8B 9B 10B 11B track by using written music. Space pro¬ ebm 2B 3B 4B SB 6B 7B 8B 9B 10B 11B hibits doing that in this article, but the dif¬ g#m 2A, 2B 3B 4A 5A 6A 7 A, 7B 8A 9B 10A HA ficulty of playing all 11 patterns in all keys 2A 3A, 3B 4A SA 6A 7A, 7B 8A 9A 10B 11A becomes obvious when you actually try to c#m 6B 7A 8A 9A 10A 11B do it. Allow the intermediate student to be¬ f#m 2A 3A 4A SB come fully comfortable with the first three bm 2A 3A 4A SA 6A 7 A, 7B 8A 9A 10A 11A or four patterns before moving to the more em 2B 3B 4B SA 6A 7B 8A 9A 10B 11A difficult ones. Expect (but also demand!) slow progress over a period of months and work well in 4/4 meter and quadruplets in 3/4 meter. Displacing the beat creates three or even years. Somewhere during the jour¬ four variations. For instance, Example 4 could begin on either Gl, two or four notes before ney, the intermediate student will become the repeat sign, creating slightly more difficult versions well worth practicing. advanced, just as the beginner had grad¬ ually become intermediate a couple of years earlier. The choice of whether to raise the sixth and seventh scale steps at turnaround points is not always clear cut, nor is it cru¬ cial to the success of these exercises. My rule of thumb is to conform with what my ear tells me would be standard practice in the 18th and 19th centuries. Here are some guidelines and samples for each exercise.
Exercises 2A, 2B Exercises 3A-1&2, 3B-1&2 In G minor and G# minor, it is valuable Exercises 3A, 3B, 4A, 4B, 5A, 5B, 8A and 8B need two versions each because the turn¬ to do both outlines 2A and 2B in order to around points are a third away from each other. By starting in two different octaves, we practice raising the sixth and seventh scale cover all possible turnaround points. Sometimes the upper and lower turnarounds influence steps at the bottom turnaround point. For our choice of A or B. For example, turning around on an upper seventh is a little awkward all keys, we keep the sixth lowered when (but certainly not impossible) in minor, so we will choose 3B for E minor allowing the heading down and the seventh raised upper turnaround to be on the tonic. when heading up. This is true even in cases like m. 2, where the seventh scale step (F double sharp) is raised as a leading tone even though it doesn't resolve until the next beat. To save space, examples will show cru¬ cial turnaround points with arrows indicat¬ ing that the same pattern continues diatoni- cally. The number of notes in each ex¬ ercise is divisible by 12, so triplet figures
June 2005 Page 11 3B-2 starts an octave lower, placing the raised sixth and seventh scale steps differently A fancy thumb rest may save relative to the turning points. Displacing the beat gives four variations of each, starting in your thumb nail but this can 3B-1 on the eighth or tenth note of m. 5 or the eleventh note of m. 6. save your career Exercises 4A-1&2, 4B-1&2 Sometimes an exercise can be awkward in one key because the turnaround points are FHRED® arbitrary, selected to keep the number of notes divisible by twelve. In E minor, 4A-1 would The patented support that attaches turn around on the seventh scale step, an unlikely occurrence in real music. If one did use to your thumbrest and 4A-1 for E minor, the top turnaround would sound better with unaltered sixth and seventh rests on your chair scale steps, but I prefer to use 4B-1 and 4B-2. 4B-2 (shown in Example 6) goes up to Fit, which should be practiced both with and without the right fork key: slower speeds with, faster speeds without. Be sure that the fork key is down only for Dit and Ftt, and released for E. Learning this awkward coordination early will reap great dividends later on.
Example 6
For Clarinet, Basset Horn, Soprano Sax, Oboe, English Horn, Exercises 5A-1&2, 5B-1&2 Oboe d'Amore, Bass Oboe Priced from $28.99 Similarly, we choose 5A for G minor and Gl minor to avoid the top turnaround on the Teacher discounts on student models seventh scale step. The result is a bottom turnaround on the raised sixth, which sounds fine.
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Exercises 6A, 6B Now it's time to "skip 'n flip" and "slide 'n glide"! The skips in Exercises 6A and 6B create the necessity of sliding and flipping in the more difficult keys, such as B1, minor, For Alto, Tenor, Bari Sax and Bass Clarinet shown in Example 8. The relative merits of side G1, versus flipping to the index finger (m. 1) have been discussed in previous editions of Webster's Web. I prefer using side G'' to forked Quodlibet® Inc. Eh others prefer flipping. In m. 3 the R-R slide cannot be avoided, but the "glide" factor can http://wvvvv.quodlibet.com be improved by greasing the right pinky on the side of the nostril. With more experience, 10% discounts for online orders "greasing" gradually becomes unnecessary. M. 8 starts with an unavoidable flip and contin¬ Visa, MasterCard, Discover ues with a R-R slide from E> to I>. The E> key noisily snaps closed, but the other alternatives 1 -800-59-FHRED (L-L from Dk to C or R-R from C to E>) are unreliable. It is very valuable to learn to slide e-mail [email protected] from C to £> well. It is much quieter than El,-I>, but can't be accomplished quite as quickly. Tel: (303) 779-3083 Fax: (303)779-4571 RO. Box 3780 Englewood, CO 80155-3780 Exercises 7A, 7B Quodlibet and FHRED arc registered trademarks and Ah! The ubiquitous scale in thirds. Raise the sixth and seventh scale steps going up, SAX-ON is a trademark of Quodlibet Inc. lower them going down, and don't forget to practice triplets.
Page 12 The Clarinet He described the accompaniment of Example 8 movement II of Beethoven's Sixth as hav¬ ing "rocks in the brook" to create the 16th- note motion and said, "Put your arms ji^JJUJ^iyrrrrrrr^S around the audience." In the first Fantasie- stiick of Schumann, the clarinet an¬ swers the piano F "like an old friend." The high C must be "velvet" and a breath is re¬ commended for "explaining" the El' octave. His humor came forth in this remark to the substantial audience: "What we [perform¬ ers] are thinking, you can hear, but you also can hear what we are not thinking!" In the Rachmaninoff Second he wanted "to hear the vibration of your heartbeat Exercises 8A-1&2,8B-1&2,9A, 9B, 10A, 10B and soul" and in the Mozart Concerto he wanted "to hear your pleasure." He didn't These are all variations of the scale in thirds requiring no special explanation, but lots want to hear fingers! "You don't hear a cat of practice! They are difficult. when it walks. Have fingers like a cat." Exercises 11 A, 11B And "we are like a leaf on the flowing wa¬ ter." At one point in the Weber first con¬ In minor keys, the most practical use of the scale in fourths is as an upside-down scale in certo he perceived, "These are the same thirds as demonstrated in Example 9. notes, but not the same story." After Mr. Leister had continued on to the University of Florida, we discussed in studio class the many things we had learned: The difference in tone quality, legato, and intonation between French and Ger¬ man clarinets is significant. There is a whole different range of ex¬ pression that doesn't include fortissimo as we Americans conceive of it. Of course there are many other possible patterns, but mastering this group will prepare the intermediate stu¬ dent for more advanced study. One is sure to discover a few gems while mining for minors.
Webster's Web Karl Leister arrived in Houston on February 28, just in time for me to include a report of his visit. He spent five days at Rice University's Shepherd School of Mu¬ sic, the first stop on a five-university tour of the United States, ably and energetically organized by Mitchell Es- trin of the University of Florida. A more detailed account of his entire tour will appear in the September issue of The Clarinet. Recently retired from the Berlin Philharmonic, where he held the principal clarinet chair for 34 years, 30 of which coincided with Herbert von Karajan's tenure, Mr. Leister is still in top performing shape and able to tour without the restrictions of his orchestral schedule. We all know that he is a consummate performer, and his master class at the Shepherd School proved that he is a master teacher as well. His English is excellent, even po¬ etic at times, and one student remarked that he found Mr. Leister easier to understand than some native-speak¬ Leister Master Class Participants (front row): Philip Erode rick, Kana Mimaki ing teachers he had worked with. I hope I am not included (pianist), Maiko Sasaki, Hsing-Hui Hsu; (back row): Robert Moeling (pianist), in that category!! Sergei Vassiliev, Louis DeMartino, Karl Leister, Michael Webster, Brian Viliunas
June 2005 Page 13 The breath can be used to start tones SOLOS • DUETS Take Time! Be unapologetic about without the tongue in many more situa¬ playing rubato and breathing, but plan TRIOS • QUARTETS tions than we might think. your breath assiduously. Emulate string bowing. ALL NEW TRIO SERIES! Become fluent transposing between Bl" 2 Volumes and A clarinet so that you don't have to Clarinet Trio • Mixed Trio change as often and can always play on a Woodwind Trio & More! The Clarinet j warm instrument. Know your vintages well so that you PUBLICATION SCHEDULE can spot bargains and stock your wine cel¬ lar before prices go up. The magazine is usually Appreciate a good wine whether it is $200 or $10 per bottle. Enjoy your wine mailed during the last after the concert! week of February, May, A wise man is Karl Leister and a joy to have spent time with. I'm sure the other August and November. four universities gained as much from his visit as we did at the Shepherd School. Delivery time within
NEW T-SHIRT DESIGNS! North America is nor¬ To share opinions and feedback, contact Fitted French Style • Crystals Webster's Web: Michael Webster, Clarinet Coquette • Bass Clef Babe mally 10-14 days, while Sax Kitten • Reed Freak & More! Associate Professor of Clarinet and En¬ airmail delivery time sembles, Rice University, Shepherd School Online Catalog & Dealer Listing of Music - MS 532, PO Box 1892, Hous¬ outside North America ton, TX 77521-1892; Tel: 713-348-3602; LAST RESORT MUSIC Fax: 713-348-5317; e-mail:
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We 866-292-5037 (toll free) invite you to experience for yourselves what players all over the world have come 7276 SW 44th Court to regard as... Da vie, FL 33314 "The Finest Cane, The Finest Reeds" Page 14 The Clarinet ft/ Rossi clarinets embody the best characteristics of the perfect larinet Their large, warm, flexible sound, great intonation, miformly outstanding response and homogenous tone in all egisters are advantages I've never before experienced with any lake of instrument Crafted with such skill, design innovation md quality materials, that they're almost works of art, Rossis ould only be brought into being by a performer/artist like Luis, levoting his career to the pursuit of a unique musical voice hrough his fiandmade instruments. Now the rest of us can share he fruits of his successful journey. ^ Howard Klug Professor of Clarinet, Indiana University School of Music Member, Trio Indiana Artistic Director, Belgian Clarinet Academy Past-President of the ICA Coquimbo 1033 # 1, Santiago, Chile. Fax ( 562 ) 274 3170 WWW. rossiclarinet.d June 2005 Page 15 by William Nichols although not yet in stylistic full bloom, esting to note that the Vacellier, Meyer, already bears the thumbprint of the com¬ and Deplus versions are "composer super¬ Olivier Messiaen's Quartet for the poser to come. The variation structure as vised" recordings and differ widely. The End of Time has not been neglect¬ form is not easily applicable to the non- performances of Messrs. Shifrin, Deplus ed by the recording microphone progressive nature of Messiaen's harmo¬ and Cohler are in at nine minutes plus, and for the past nearly 50 years since the 1957 ny, however the composer manages to are the better for it. release with the composer at the piano, fashion an appealing set of variations. It is Much is made in Mr. Cohler's exten¬ although recent years have yielded but a interesting to hear what influences are felt sive program notes regarding timings and few new discs. There was a surge of re¬ in the 24-year-old musician — some De¬ an attempt to follow the composer's direc¬ cording activity in the 1970s, '80s and bussy to be sure, but almost completely tions. However when all is said here, it is early '90s of Messiaen's only major cham¬ original Messiaen. the composer's directions tempered with ber work as the popularity of the piece This new Quartet recording is striking the performer's perception of the musical in its precision, rhythmic vitality and pres¬ grew, reaching out to a more general pub¬ character and intent that should result in an ence, and its ability to capture the compos¬ lic than most any serious modem work of effective performance. It does in this in¬ er's timeless ecstacism. Throughout, the the genre, and even achieving almost cult stance. Perhaps I am a victim of early im¬ technical skills of these performers are evi¬ status in some music centers and perfor¬ printing, but I have long held the Deplus dent and the music is executed with ap¬ mance venues. I have identified some 45 recording in high regard, especially in its parent ease. The cleanly realized unison recordings of Messiaen's Quartet, past and success in capturing the ethereal nature playing, such as in the sixth movement of much of this piece, and not sounding present, and surely have not discovered all ("Dance of the Fury, for the Seven Trum¬ rushed in the fast sections. This new re¬ of them. It is truly a crowded field. For a pets") with its "added value" rhythms is cording clicked for this writer from first listing of then available recordings, the exciting, and the intonation is impeccable, hearing. In comparing movement timings, reader is directed to an article by guest which is true throughout the piece. The both recordings are consistently close, and columnist Richard Gilbert in the March recorded balances are fine throughout the at a total length of 50 minutes and slightly 1999 issue of The Clarinet, page 23. disc, although in that unison sixth move¬ over, the two are only 15 seconds apart! At least one of the best and latest efforts ment, a more effective result would have This new release was recorded in Me¬ is a 2004 release from Ongaku Records perhaps been achieved by placing the clar¬ chanics Hall in Worcester, Massachusetts, (recorded in 2002) which features clar¬ inet sound a bit further back into the tex¬ a venue which is highly regarded in the inetist Jonathan Cohler. Mr. Cohler is a ture of the string sound. Mr. Cohler's tone industry. It offers a reverberant sound- Boston-based performer of international is bright (in the best sense of the word) as stage, and the sonics here are clear and stature who has had previous recordings it should be in this piece, even, and beauti¬ spacious, displaying excellent resolution, reviewed in this journal, and who is well fully controlled. His phrasing and breath detail, and dynamic range. The production known to many I.C.A. members through control in the solo "Abyss" movement is is ONGAKU RECORDS 024-119 and is his appearances at ClarinetFest.. His re¬ amazing, making the opening two phrases available through the Web site: Page 16 The Clarinet Vesselin Gellev, cellist Rebecca Patterson, edged and very aggressive in the active roller coaster-like arpeggios," and "diaton¬ and pianist Eric Huebner. A review of a sections. In the "serene" final section there ic scales which uses all 12 tones." The CD by Antares' previous incarnation, the is even a hint of Messiaen. Eclipse is an rapid melodic lines wind their way through Elm City Ensemble (founded in 1996), engaging listening experience, a colorful the 12 tones in angular and interesting pat¬ appeared in these pages some five years piece of darkness and optimism. terns. This is truly a clever, "phun phrolic." ago. The quartet has since changed names BUZZ (.. .'cause it does) perhaps can be Carter Pann's Antares is a six-movement and personnel (violin and piano), and has described as a neurotic showpiece. It is an piece in which the first and last movement become quite an active presence on the under-seven-minute trip in a constant tem¬ (a non-literal reprise of the first), surround concert scene. Antares was the First Prize po which is characterized by rapid scale four movements, each of which showcases Winner of the 2002 Concert Artists Guild patterns, subdued lyrical lines, and periods the quartet's members. All the members International Competition, and has found of relative calm and neurosis. The scale are treated equally in the bookend move¬ itself the recipient of several other awards, "licks" are indeed very fast, at times har¬ ments which are set in an e^ tonality, and and has secured concert engagements in monically biting and always virtuosic. This which are sensually pretty. The inner move¬ numerous prestigious venues in North and is an exciting tour-de-force for this group ments bear the featured performer's name. South America. of players. Simaku is quite an appealing Each of the four movements vary from This new disc, entitled eclipse, is ter¬ piece at first and subsequent hearings, a fast finger study for the piano; a lyrical rific. All but one of the six works pro¬ which features a lyrical violin line through¬ and romantic lullaby for the cello; a happy, grammed here were written for the ensem¬ out most of the work, accompanied by the playful and near zany scale and arpeggio ble, that one being the title piece, Eclipse infectious bustling trio of instruments. The piece in F and A major for the clarinet; to a by George Tsontakis. Composed in 1995, violin is gradually "infected" by the rhyth¬ gypsy-like introduction followed by some¬ it is the oldest and largest piece on the pro¬ mic activity becoming active itself. In the thing like a tarantella for the violinist. gram, and together with the latest piece, closing minute the texture thins, instrumen¬ This disc has two outstanding qualities Antares (2004) by Carter Pann, accounts tal roles reverse somewhat, and the piece which make for a very successful produc¬ for almost 41 minutes of this 66-minute ends quietly, but briskly — a most charm¬ tion. The music presented is, without ex¬ disc. The remaining four works are single- ing, well-conceived, and refreshing work. ception, appealing, accessible and also well movement pieces from three-and-a-half to The three-and-a-half minute dodeca- crafted. It is rare to come across a release nine minutes in length and are: Breakdown phunphrolic of Stefan Freund is not really containing six new works which all inter¬ Tango (2000) by John Mackey, BUZZ a 12-tone piece in the Schonbergian sense, est this listener. Secondly, the performan¬ (2001) by James Matheson, SIMAKU but is a "piece with jerky rhythms and (1996) by Kevin Puts, and dodecaphun- ces by Antares are exciting, no-holds- phrolic (1997) by Stefan Freund. Mackey's Breakdown Tango is in its outer sections (ABA) somewhat edgy, and with its hard driving rhythmic ostinato, you know quickly this is not your father's tango. The middle section breaks into a -PLM very sultry and (quoting the composer), IS4JINC "sleazy, Klezmer-flavored tango." Look we offer a growing catalogue of for this piece "at a concert hall near you." high quality published music Versions for orchestra and wind ensemble and recordings J.S. Bach, appeared in 2002 and 2003 and are proba¬ for all bass clarinetists - Sonata I & bly destined for many performances. It is students, teachers & performers Partita II (solo an appealing, and at times wonderfully violin) trashy piece. (I will admit to being a sucker original music for tangos.) George Tsontakis' Eclipse is a Gregory Youtz, descriptive adventure of a lunar eclipse in & transcriptions 'Lone Wolf for four movements designated by the com¬ solo bass poser as "Haunting," "Hyperactive," "Ser¬ for clarinet (2004) ene but disturbing," and "Maniacal — Dis¬ tant, Serene." This imaginative work is a solo bass clarinet significant contribution to this medium's bass clarinet duet repertoire. It is at times dark, bright, play¬ soprano-bass clarinet duo & trio ful, and a joyous dance. Its use of tremolo bass clarinet & piano order from our secure online catalogue in the third movement (perhaps my favor¬ www.bassclarinet.org ite) is quite original and amazing. Tsonta¬ Bach, Beethoven, Mozart, Vivaldi, kis' scoring is striking to say the least. The or contact us by mail at mandolin effect defies my ear's analysis Gabriel, Haydn, Rachmaninoff, 3701 Tacoma Ave. S. vb — is it prepared piano, or am I way off? and more Tacoma, WA 98418 USA The "maniacal" last movement is hard- June 2005 Page 17 barred playing with total commitment. another recording which offers a complete clarinetist of the Haifa Symphony. She This ensemble is hot! disc of music for two clarinets and piano serves as the national chairperson for the The recording sonics are good, with — and no Mendelssohn Concert Pieces or I.C.A. in Israel. Regarding this new disc plenty of dynamic impact — a strongly II Convegno in sight. As a matter of fact, she says: "This recording celebrates clar¬ recommended listening experience, and a four of the eight programmed works are inet music from the late classic to the mod¬ disc which will certainly give ensembles of recorded here for the first time, and, except em era, which is in some cases completely this instrumentation some very strong for the Camilleri piece, I would be sur¬ unknown. The recording is meant to glor¬ repertoire beyond Hindemith and Mes- prised to find currently available record¬ ify the beauty of colors that two clarinets siaen. The disc is INNOVA 618. Innova is ings of the remaining pieces. In addition to can exhibit with the piano and its rich ac¬ the label supported by the American the countries included in the subtitle companiment." Indeed the clarinet voices Composers Forum based in St. Paul, above, the points in between include: Ger¬ of Mr. Magistrelli and Ms. Wasserman- Minnesota. For availability try Web sites: many, Italy, Latvia, the Czech Republic Margolis do present the listener with Page 18 The Clarinet The Source for CLARINET MUSIC Over 50 years of fast Classical - Jazz dependable Pop - Sacred service. Solos and Ensembles Expansive inventory of Music for music ALE from publishers 4318 Main Street Instruments world-wide Kansas City, MO. 64111-1897 phone: 816-753-7111 fax: 816-753-6879 recorded order line: 800-2-LUYBEN (800-258-9236 for credit card orders only) Your order will be recorded - please have all information ready email: [email protected] Clarinet Catalog available at: www.luybenmusic.com -also Home of the world famous Luyben Soundpost Ligature. 1 Vertical Pressure ■ Exclusive side shoulders* 1 Will not distort or crush reed fibers nor warp mouthpiece as do metal ligatures 1 Top and bottom straps are spaced wider apart and work independently of each other. (Helps regulate and control reed opening). • Sound posts are scientifically designed to give equal pressure and full reed vibration, 1 Tighten screws firmly to desired tension. (Very important). 1 Available in Black, Clear and Colors. 1 Cap included Visit our Website www.luybenmusic.coni June 2005 Page 19 Leister's recordings, including a concerto 120. After a prolonged standing ovation, Karl Leister at the by Mercadante and a sonata by Brahms. Mr. Leister presented an encore, a lovely University of Florida After the broadcast, Mr. Leister and Profes¬ and reflective Romanze by Max Reger. The University of Florida, School of sor Estrin headed off to the School of Mu¬ Words are entirely inadequate to describe Music recently hosted a one-week sic to rehearse for Mr. Leister's solo recital. the consummate artistry displayed by Mr. residency by internationally ac¬ Mr. Leister's recital took place on Tues¬ Leister. His clarinet playing is as close to claimed German clarinetist, Karl Leister. day, March 8, 2005, in the University Au¬ perfection as humanly possible and his This special event marked the first time in ditorium. Just prior to the recital, Mr. Da¬ musicianship was inspiring. Absolute his illustrious career that Mr. Leister has vid Gould, representing Vandoren/Dansr, beauty of tone, subtle phrasing, and seam¬ been in residence in North America. displayed a selection of clarinet mouth¬ less legato are the hallmarks of this re¬ The idea for the residency came from pieces, ligatures, and literature in the markable performer. University of Florida clarinet professor, Friends of Music Room, located in the con¬ Wednesday, March 8 was a busy day, Mitchell Estrin. Professor Estrin and a cert hall. The program began at 6:00 with which began with Mr. Leister rehearsing group of his students attended the 2001 an introspective reading of the Schumann for his solo appearance with the University I.C.A. ClarinetFest in New Orleans, where Phantasiestiike, opus 73. This was fol¬ of Florida Wind Symphony. The perfor¬ Mr. Leister was a featured performer. An lowed by the intriguing When the Wind mance took place on Wednesday evening invitation to Mr. Leister to visit the Uni¬ Turns for clarinet solo (1989) by Ulf All- in the Curtis M. Phillips Center for the versity of Florida soon followed. The itin¬ gulin. Following the performance, Mr. Leis¬ Performing Arts, located on the south¬ erary was carefully planned over a period ter told the audience that his purpose for western part of the University of Florida of two years and included seven different performing this work was to "warm-up the campus. Concurrent with Mr. Leister's events. The residency was generously B'' clarinet for the Mendelssohn!" The residency, the University of Florida hosted funded by a consortium of sponsors which Mendelssohn Concertpiece No. 2, opus the American Bandmasters Association included: The University of Florida Presi¬ 114 followed, with Mitchell Estrin per¬ 71st Annual Convention. The UF Wind dent's Visiting Artist Series, College of Fine forming the second clarinet part alongside Symphony performed the opening concert Arts Dean Donald McGlothlin, University Mr. Leister. Many audience members of the convention with Mr. Leister as the of Florida Performing Arts, David Way- remarked about the incredible blend that featured soloist in the Weber Concertino, bright and the University Bands, Martin was achieved between the performers, opus 26. UF Director of Bands, David Fackler and Mrs. Shelley Melvin, Van- despite the obvious difference in instru¬ Waybright, had a new arrangement of the doren/Dansr, and Herbert Wurlitzer Wood¬ ment. Mr. Leister performs on a German- Weber commissioned specially for the wind Instrument Makers. system instrument made by Herbert Wur¬ occasion. The arrangement, prepared by The premiere performance took place litzer and Mr. Estrin on a French-system John Laverty, utilized a "harmonic ensem¬ on Sunday, March 6, 2005, in the historic instrument made by Buffet Crampon. ble" type of instrumentation and was most University Auditorium on the campus of After intermission, Mr. Leister gave a effective. Mr. Leister thrilled the audience the University of Florida. Mr. Leister per¬ thoughtful and seamless performance of by performing the original cadenza com¬ formed the Brahms Clarinet Quintet in B- the Brahms Sonata No. 2 in E* major, opus posed by Heinrich Baermann. The cadenza minor, opus 115 with the celebrated Leip¬ zig String Quartet. Mr. Leister is specially known for his sublime interpretation of this monumental work and has recorded the quintet six times (most recently with the Leipzig Quartet). The performance was in¬ describably beautiful, with Mr. Leister's gorgeous tone and impeccable phrasing enveloped by the warm and rich timbre of the Leipzigers. An extended standing ova¬ tion from the 400-member audience fol¬ lowed the remarkable performance. On Monday morning March 7, Leister and Estrin were interviewed live on WUFT-FM, the regional NPR affiliate. They described the week's activities and discussed the many facets of Mr. Leister's distinguished career. Voice of the Arts eFSi-jW host, Richard Drake, played several of Mr. Karl Leister and Mitchell Estrin performing the Mendelssohn Concertpiece No. 2 Page 20 The Clarinet was also time for everyone to take pho¬ tographs and receive an autograph from Mr. Leister. It was truly an incredible week filled with musical memories that will last a lifetime. Clarinet and Klezmer in the Galilee — An International Celebration of Jazz, Clarinet and Klezmer in Safed, Israel — August 15-22,2005 Clarinet and Klezmer in the Galilee — An International Celebration of Jazz, Clarinet and Klezmer — has announced details of its August 15-22, 2005, festival in Safed, Israel. Following Karl Leister with master class performers last year's success, several of the world's leading classical, jazz and klezmer clar¬ was recently rediscovered by the eminent certo, published by Edizioni "Eufonia." inetists will meet again the historic old city English clarinet scholar, Pamela Weston. The final portion of the second master of Safed, considered the spiritual home of The placement of the cadenza is at the class was devoted to a question and answer klezmer, for a week of performances and conclusion of the Lento, directly before session with the audience. Mr. Leister ela¬ master classes. the 6/8 Allegro. borated on many of the pedagogical con¬ Performers and teachers scheduled to Mr. Leister was honored by the Ameri¬ cepts he had presented during the classes. attend, perform and lead programs include can Bandmasters Association at their gen¬ He also told some interesting and amusing Festival Artistic Director Giora Feidman, eral membership meeting on the morning stories, and offered many philosophical international soloist and teacher at New of March 9. He was introduced to the mem¬ pearls of wisdom regarding practicing, per¬ York's Juilliard School Charles Neidich, bership by ABA President, Jerry Junkin, forming, and being a musician. He is truly renowned classical, jazz and klezmer clar¬ offered a few opening remarks, and then a master teacher and was an inspiration to inetists Moshe (Moussa) Berlin, Richard fielded questions from the membership. all in attendance. Lesser, Eva Wasserman-Margolis, Sarah After the meeting he was whisked off to Immediately following the conclusion Elbaz and Orit Orbach, bandoneonist and the University Auditorium, where he pre¬ of the second master class, Mr. Leister tango specialist Raul Jauren, Ilan Schul of sented two two-hour master classes. The displayed a new set (B'' and A) of reform the Jerusalem Academy of Music, saxo¬ classes featured performances by students Boehm system clarinets made by Herbert phonist and faculty member of the Jeru¬ of Mitchell Estrin. The performers and Wurlitzer. All interested players were al¬ salem Music and Dance Academy Guri their repertoire were as follows: Megan lowed to play test the instruments. This Agmon and others. Machnik, Brahms, Sonata No. 2 in E^, opus 120; Jennifer Schundler, Schumann, Phantasiestiicke, opus 73; Kyle Rowan, Mozart, Clarinet Concerto, K. 622; Peter Geldrich, Weber, Concerto No. 1 in F- minor, opus 73; Kira Bokalders, Brahms, We Carry NEW & USED: Sonata No. 1 in F-minor, opus 120; Jen¬ Selmek Buffet Leblanc nifer Burton, Martimi, Sonatina; Jaclyn Profesional and Student Clarinets Surber, Brahms, Sonata No. 2 in E^, opus *0ther Makes Also Available 120; Heidi Schultheis, Crusell, Concerto *Full Line of Accessories * Highest Quality BAY Products No. 2 in F-minor, opus 5. When the students were finished per¬ Professional Repair & Restoration forming, Mr. Leister presented Professor Unique Personal Attention Estrin with an autographed copy of his Phone 212-730-1569 new edition of the Mozart Clarinet Con¬ 7017th Avc. (Entrance on 47th St.), New York, NT 10036 June 2005 Page 21 Master classes will be offered in classi¬ the city, including historic synagogues. An AltiesU OfiAbuutteHt QcUfA< cal and jazz clarinet, and in the klezmer organized tour of Safed and environs is style for all instruments. This festival pro¬ also included in the program. Nightly per¬ The professional casecover gram is open to all musicians — classical, formances will be held in various locations jazz and klezmer clarinetists and klez- throughout the city. Students will also per¬ ...custom mer/jazz musicians in all instruments — form in the Workshop Finale Concert, designed for age 16 and over. Participants will receive which will mark the Opening Night Gala every size both master classes and individual lessons and model of the 18th annual Klezmer Festival from clarinet case during the course of the program. Classes August 23 to 25. featuring will take place in different locations around Clarinet and Klezmer in the Galilee is V . ease of sponsored by the Culture and Art Admin¬ transport, istration of the Ministry of Education, V Culture and Sport, Safed Foundation, multiple Back Issues * ^ *" i pockets, Inc., The Ministry of Tourism, The Jeru¬ salem Academy of Music and Dance, waterproof of The Clarinet nylon shell "Omanut L'Am" and the American-Israel and, Back-issue order forms for The Clarinet Culture Fund. of course... may now be downloaded from the I.C.A. There is information about Clarinet and Web site: A graduate of The Curtis Institute of Music, 37 years a clarinetist with the Cincinnati Symphony Orchestra, 40 years an Adjunct Professor of Clarinet at the • Campione College-Conservatory of Music of the University of Cincinnati, the author. Carmine Campione, has put in writing proven methods, solid concepts, and a 1 On successful system of clarinet playing and instruction - "Campione on Clarinet". Although helpful for all levels of clarinet playing, this book will be especially helpful for serious students, clarinet teachers or university professors, and for Clarinet aspiring or struggling professionals seeking to find some missing links in the perfecting of their craft. Carmine Campione "Campione on Clarinet" contains many pages of instructional information, techniques, drills, and a detailed method of clarinet instruction using the Rose 40 Studies for Clarinet as its base. This book will answer in simple terms and in a logical fashion many questions regarding: Complete Guide — the clarinet embouchure — breathing and support — tonguing — — the making of music — how to practice — reeds — and much more !! "Campione on Clarinet" is truly a must for any individual seeking to enter the world of fine clarinet to playing. For less than the price of a professional clarinet lesson, this book may be one of the best investments you can make. Clarinet Playing To quote Donald Montanaro (Associate Principle of the Philadelphia Orchestra and Instructor of Clarinet at The Curtis Institute of Music), "I found Carmine Campione's book on the clarinet very interesting. It clearly explains the solutions to the many problems encountered in and clarinet playing. I feel certain that it will prove useful to students, as well as teachers and professionals. My congratulations on a labor of love well done!" Instruction TO ORDER THIS BOOK OR TO INQUIRE ABOUT CLINICS OR MASTER CLASSES, PLEASE CONTACT: Carmine Campione Price per Book $45.00 by P.O. Box 18880 Shipping & Handling - per Book 5.00 Fairfield, OH USA 45018-0880 Ohio Residents - add 5.5% Sales Tax email: [email protected] Carmine Campione Check out our new website: Phone: 513/829-3636 or toll free 866/885-3582 www.campioneonclarinet.com Page 22 The Clarinet Buffet clarinets Inc. • reeds & reed tools Professional service and expertise for all your clarinet needs • accessories • sheet music 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] June 2005 Page 23 "Historically Speaking " is a feature of was issued in America in 1894. Conn in¬ The Clarinet offered in response to numer¬ cluded the Pupeschi device on several ous inquiries received by the editorial staff models of clarinet, including the Perfected about clarinets. Most of the information msroKicALiy Wonder System and the Improved Wonder will be based on sources available at the System. The Pupeschi device affects the National Music Museum located on The sfeAKiwg... bottom joint (see Photo I: Pupeschi De¬ University of South Dakota campus in Ver- vice). All of the left-hand little finger keys million. Please send your e-mail inquires are interconnected so that e/b' or f/c" or to Deborah Check Reeves at Photo 1: Pupeschi Device Photo 2: Plateau Key Photo 3: Right-hand Side Keys Page 24 The Clarinet I f*\ Photo 4: Interconnection lifted the extra a^/e''" key opens, while the rings of the lower toneholes keep the pad closed over the first tonehole. So, for ex¬ ample, to proceed from d^" to d'", finger d^" the regular way and simply lift the right- hand first finger to produce e^". In addition to these special mechanisms, the bottom joint has a patent c#" key, a left-hand little finger alternate key for f/c", and makes use of an articulated gf" device that is activated by any one of the left-hand little finger keys. The top joint of the Perfected Wonder System has an interesting device. There are four right-hand side keys that are operated with the right-hand first finger (see Photo 3: Right-hand Side Keys). The top two side keys possess some interesting features. Going from e' down through c' to either gf or a' is accomplished very easily. The left- hand notes e' down through c' are fingered normally. Through some interconnections, when the second from top right-hand side key is pressed, gf is produced (see Photo 4: Interconnection). When the top right-hand side key is pressed, then a' is produced. Half and whole step trills are produced in a similar manner. Fingering the throat tones gf through b''' in the normal ways and then Learn more about the full line of new ARIOSO clarinets pressing the second from top right-hand exclusively designed by Tom Rideiittur side key produces half step trills. Pressing at www.ridenourclarinetproducts.com the top right-hand side key produces whole or write [email protected] step trills. June 2005 Page 25 — his interpretations at once sophisticated and subtle, his tone uniquely mellifluous and flowing. I had a place of honor on the Letter front row (next to a Mr. Stadler, though I discovered he was not a relation!). The five players followed their performance by returning to the stage and indulging in a From question and answer session with the au¬ dience for almost an hour. What a won¬ derful idea — we ought to do this kind of The U.K. thing more often. My German meant that about 99 percent of it passed me by, but I by Paul Harris Birtwistle. (Did you know Birtwistle was enjoyed witnessing the enthusiam and originally a clarinetist!?) real interest shown by this very intelligent A few weeks ago I had the pleasure John remembers having help with the and clearly informed gathering. After the of meeting up with the composer work from Erwin Stein, a great teacher and event, and a chat with Karl (who was virtu¬ Alexander Goehr at his house just authority on serial composition and perfor¬ ally going from the concert directly to the outside Cambridge. Harrison Birtwistle, mance. If you haven't read his marvellous U.S. for some master classes), we wan¬ Peter Maxwell-Davies, John Ogden and book Form and Performance, head for dered around the exhibition picking up Sandy Goehr make up the so-called "Man¬ your local library! Stein was a little old many exhibits I seemed to have missed chester Four" — four brilliant students man at the time, but would dance about the first time around. The first edition of We¬ studying together at the Royal Manchester room on his toes, singing and directing the ber's Quintet for example and a catalogue College of Music in the 1940s. Sandy went performance. John, and his pianist Else of instruments once belonging to my teach¬ on, after more studies with Messiaen and Cross (herself a pupil of Webem), went on er's teacher's teacher, Henry Lazarus. We Loriod in Paris and a career in teaching, to give performances all over Europe as also explored further into the museum to to become highly admired as Professor of well as the first broadcast performance in look at other exhibits — perhaps the most Music at Cambridge University for many May 1958. The three movements last extraordinary being a contra-bass saxo¬ years, retiring just a few years ago. Those about 10 minutes, don't involve any "mod¬ phone. Virtually big enough to hide inside! readers who have broad musical tastes will ern" techniques, and reap many rewards What noises it might produce were fasci¬ probably know his wonderful Monteverdi for the performer who is prepared to put in nating to imagine! Paraphrase for unaccompanied clarinet, some really hard work (technically, rhyth¬ Berlin was very cold, but we managed but may not be aware of his much earlier mically and musically!). to find a friendly taxi driver who gave us a Fantasias Op. 3 for Clarinet and Piano. Last weekend I went (taking some whistle-stop tour of the major attractions! It's a very difficult serial work but well friends and pupils) to Berlin for the final The sun shone briefly between snow show¬ worth study. The first performance was event of the tremendously successful Fas- ers, and we had a marvellous day there. given by his two fellow students, Birt¬ zination Klarinette exhibition. And what As usual, my letter wouldn't be com¬ wistle and Ogden, in January 1956 but it an event it was! Karl Leister playing the plete without some Sir Malcolm Arnold was championed by John Davies — my Mozart and Brahms quintets with the Leip¬ news. I was over there for tea the other day teacher, who, by the way, also taught zig Quartet. Karl's playing is quite sublime and Anthony (Malcolm's care giver) asked whether I would do a wind octet arrange¬ ment of the terrific music for Hobson 's Choice (that first-rate David Lean film classified advertising starring Charles Laughton and John Mills). So that's something to look forward to later this year. There is the Overture for All ads submitted for The Clarinet should be: 1. Typewritten, double-spaced; 2. As concisely Wind Octet, a very effective single move¬ worded as possible; 3. Non-commercial in nature and limited to the sale and trade of personally ment written in 1942, and the late Wind owned instruments, music, accessories, etc.; 4. Submitted to the Editor by the advertising dead¬ Octet, Op. 137 written for the Manchester lines listed on page 3. Placed by members of the I.C.A. only. Each ad will run only one issue Camerata Wind Soloists in 1988. The lat¬ unless the Editor is otherwise advised. ter is not one of Malcolm's greatest works, but nevertheless very much worth a look FOR SALE: Set of Selmer bass clarinets, and A. Date from the 1990s. Bl' range to low C; A range to low Ek Necks correctly angled, other modifications. Send SASE to John Snyder, at. It's yet another medium for which Mal¬ 1731 Laurel Avenue, Knoxville, TN 37916-1903 USA. $7,000. colm has provided some fascinating mu¬ sic. And I am at present in negotiation WANTED TO BUY: Boehm-system clarinet with plateau (covered) tone holes. Frank Rior- with a big recording company over mak¬ dan, tel. 314/821-7189. ing a new CD of all these wind works, so watch this space! Page 26 The Clarinet Washington, D.C.'s only professional clar¬ inet choir. Ben adds, "It has been an excit¬ ing year, and the crazy schedule does not look like it will subside any time soon. I wouldn't have it any other way." Here at West Point, Staff Sergeant Shawn Hemdon, assisted by Staff Sergeant Sam Kaestner, is preparing the first West Point Clarinet Summit, to be held on March 17 and 18, 2006, at the United States Mili¬ tary Academy. The summit will feature by Staff Sergeant Diana Cassar-Uhl, three guest artists who were once members United States Military Academy Band of the Academy Band: Larry Combs, from the Chicago Symphony; Stephen Girko, Greetings from West Point! I hope his doings! As you may recall from a past from the Austin Symphony; and clarinet¬ this column finds you well and edition of this column, Ben and his wife, ist/master teacher Kalmen Opperman. Ad¬ preparing for an exciting summer. Leslie, own RedwineJazz, LLC, which, ditionally, Professor Jim Pyne, from Ohio Here at the U.S.M.A. Band, summer among other things, makes and distributes State University, will serve as a clinician. means lots of outdoor concerts at and Gennusa mouthpieces. Ben has been very A young artists' competition will be held around West Point. It's my favorite time of active as a freelance musician, as well. He in conjunction with the event. Master clas¬ year work-wise, as I fondly remember the was a featured musician in the first annual ses, panel discussions, solo and ensemble summer of 1984, when I attended my first Annapolis Jazz Jam, produced by bassist recitals featuring the guest artists and mem¬ concert by the West Point Band. I was Joe Byrd. He continues to perform with his bers of the West Point Band clarinet sec¬ jazz trio, which recently released a full- about to begin sixth grade, and the evening tion will highlight the weekend, which will length compact disc titled Baby Won't I spent at the Trophy Point Amphitheatre conclude with a gala concert event on Sa¬ You Please Come Home. Additionally, listening to concert band music inspired turday night. Be sure to watch The Clari¬ Ben recorded a piece of music he commis¬ me to pursue a career as a military musi¬ net for further advertising, or check out the sioned from Washington, D.C.-based com¬ cian. Yes, I did know at that young age Academy Band's Web site: June 2005 Page 27 semble, carrying out interviews with com¬ posers the group has worked with and maintaining a growing database of the ensemble's repertoire since its inception. "In terms of repertoire," he explains, uintessence "the wind quintet faces a situation that is almost the opposite of the string quartet. The Wind Quintet Informant, No. 27 We do play a lot of 20th-century music, which the string quartet often doesn't... For a wind quintet there is frankly not much great Romantic music. I don't know by Bruce M. Creditor, Composed in 1961 for the Philadelphia why. The Romantic composers certainly Wind Quintet (and recorded by them on a Wind Quintet Editor wrote wonderfully for wind instruments in long out-of-print Odyssey LP), Soli II is a the orchestra and certainly for the clarinet rigorous and complex work in which • Grammy, awarded to Chavez CD in chamber settings..." Chavez attempts to integrate the worlds of • The Dorian Wind Quintet "Not until the 20th century do we get neo-classicism and 12-tone composition • CDs received big-name composers, and then we get a through a non-dogmatic use of his own • Mel Powell Quintet number of terrific pieces: Nielsen, Hinde- concept of "non-repetition." Mr. Von der • Quattro Quadri mith, Villa-Lobos, and many others... Schmidt states that in importance it stands • Miscellaneous The most popular piece in the Dorian's as a "bookend" next to the Schoenberg repertoire is Ibert's Trois pieces breves — Wind Quintet. The five movements — Pre- Kudos to Southwest Chamber Mu¬ 433 times in formal concerts and about ludio, Rondo, Aria, Sonatina and Finale — sic for their second Grammy® 500 times in master classes. Kirkbride give the "soli" spotlight in order to flute, Award in the category of Best comments, "It's not deep, but it's fun and oboe, bassoon, clarinet and horn. The per¬ Small Ensemble Performance (with or it shows off the possibilities of the quintet formances on this Cambria CD 8851 (Jim without Conductor), this time for Volume so well — as individual instruments, in Foschia, clarinet) are committed, forceful 2 of The Complete Chamber Works of groupings with the ensemble, and as a full and eloquent, and make a great case and Carlos Chavez. Of relevance to this col¬ quintet. The whole thing lasts only seven challenge to other professional ensembles to umn is the performance of Chavez's Soli II minutes, and the first and third move¬ take on this monumental work (published for wind quintet, a substantial 20-minute, ments are exciting — just full of notes. In by Boosey & Hawkes). A well-deserved fact, the end of the first movement is so five-movement work. The other chamber award (even though this writer performed exciting that we tend to flip it with the music Soli, Soli I for wind quartet (1933 for on a CD of works by Yehudi Wyner that third. We just came to feel that the piece oboe, clarinet, trumpet, bassoon) and Soli was nominated in the same category) to ended better that way, and that's how we IV for Brass Trio, are part of a cycle that Southwest Chamber Music. We eagerly recorded it back in the 1970s. Nobody has also includes three inventions — for solo await release of Volume 3. ever objected!" piano, for string trio, for solo harp. (Soli III The Dorian also helps address the rep¬ is for solo instruments and orchestra.) >{c sjc ertoire question by embracing transcrip¬ As Jeff von der Schmidt, SWCM's ar¬ tions of masterworks by A-list composers. tistic director and the conductor of the The Dorian Wind Quintet Kirkbride especially endorses the tran¬ works on this CD, writes in the notes: on Repertoire and Sound scriptions by the legendary Israeli bassoon¬ "Chavez's philosophical intent in both ist Mordechai Rechtman, who has brought I am pleased to present with permission cycles is to examine the human need for works by such "audience draws" as Bach, several excerpts from an article by James monologue and dialogue. Chavez himself Vivaldi, Mozart and Beethoven into the M. Keller in Chamber Music, which places shed light on these relationships: '[these] repertoire. "Some people criticize the idea the active role that the Dorian Wind Quin¬ are the terms of the contradiction: the mon¬ of transcriptions," Kirkbride acknowled¬ tet has had in developing new repertoire ologue of a first person speaking to him¬ ges, "but they can sound great if they're for the wind quintet over the past almost self, enjoying by himself whatever achieve¬ well done, if they really fit the ensemble 45 years, in a historical context, as well as ments are the fruit of his own creative abil¬ with sensitivity." other topics germane to the medium. ities ... and the dialogue of the creative Whether it's true or not, there is a quietly artist — first person — with his public — The Dorian Wind Quintet reigns as an voiced opinion in some chamber music cir¬ second person — from which is derived eminent mainstay among American wind cles that the wind quintet is not ultimately the intense happiness of having something quintets, having been founded in 1961. a very satisfying combination, which ac¬ to say and being able to say it in a way Although no original members remain counts for the resistance quintets encounter convincing and agreeable to others. I do since founding bassoonist Jane Taylor re¬ among presenters. [We found the same not hesitate to say, a contradiction more tired in 2002, the group's clarinetist since attitude when trying to book concerts for apparent than real that all and every artistic 1970 Jerry Kirkbride can give experienced the Emmanuel Wind Quintet in the 1980s, creation has such a double intention.'" insights and is writing a history of the en¬ even though we had just won the Naum- Page 28 The Clarinet burg Competition. BMC] Detractors recite The results, as heard in these virtuosic CDs Received a roster of charges: sameness of timbre, readings, range from tragic to the comic. I limited range of instruments, overriding and Reviewed have given the movement indications in brightness of sound, inherent lack of blend. the headnote above which give indications SOLARIS Each of these points can be countered logi¬ of the character and narrative pieces these American Quintets II cally, but in the end they add up to what composers have given us. The program is Kristina Belisle, clarinet (I.C.A. Secretary) may be a self-fulfilling spiral of reluctance balanced with three Joplin rags and a suite Capstone CPS 8723 (2003) on the part of presenters and audiences. of four songs by Stephen Foster, all taste¬ Kirkbride and his colleagues have heard all fully and imaginatively done. Nikola Resanovi the objections and face them philosophi¬ One sad note, to acknowledge the ac¬ Drones and Nanorhythms (13') cally. "People come backstage and tell us complished performances here by the late (.Drones and Nanorhythms, Quintessence, that they almost didn't come to the concert bassoonist, Lynette Diers Cohen — wife Joy Ride) because they didn't have any prior experi¬ of Cleveland Orchestra principal clari¬ Roger Zahab ence of a wind quintet, or they thought the netist Frank Cohen. A high recommenda¬ Doubles Keening 6') wouldn't like it much... But they were tion for this creative program and first- Daniel McCarthy pleasantly surprised: they loved the sound, rate performances. Tales of the Donner Expedition (12') they loved the repertoire, they heard some {Westward Ho!, Midwest: Plains and really wonderful music by composers they BLUMER, Theodor: Valleys, Of Dog Meat and Hide, weren't familiar with. They always say Wind Chamber Music, Vol. 2 Children Play, Children Die, The Lake, how glad they were that they came." Schweizer Quintett (1953) 19' The Forlorn Hope) In no small part, that's a tribute to the Kinderspielzeug, Op. 64 (12') Ralph Turek Dorian Wind Quintet itself, which has Sextett (Kammersinfonie), Op. 92, 1941 Three Piece Suite (14') spent decades addressing and readdressing (37) (Scherzo, Free Form, Jazz) the challenges that its particular ensemble Scott Joplin Moran Woodwind Quintet presents. "It's a generic mission of ours to Solace, Magnetic Rag, Stoptime Rag (Diane Barger, clarinet) blend," Kirkbride says, "to create a singu¬ Stephen Foster Crystal CD755 (2004) lar sound with five very diverse instru¬ Four Songs ments. That's one of the things we work at Back in "Quintessence" No. 15 (Febru¬ most. In fact, each instrument in a wind American Quintets II is a collection ary 1995) I asked for a sequel to a record¬ quintet does have its own distinctive sound of works by four composers who are col¬ ing of wind music by Theodor Blumer I and the challenge is really quite different leagues with the players of Solaris on the had reviewed. Thank you Peter Christ and from what a string quartet encounters... faculty of the University of Akron (Ohio) Crystal Records for fulfilling my wish with You have two double reed woodwinds, and whose names are probably new to this release. What a joy — to listen as a one single reed, a woodwind with no reed, most of us. They offer a range of compo¬ performer and as a music lover. Once and one instrument that isn't a woodwind sitional styles and approaches to the wind again the Moran Woodwind Quintet of at all — and they operate on rather differ¬ quintet medium. This collaboration be¬ University Nebraska-Lincoln — and again ent acoustic principles. The art of the wind tween local performers and composers with funding support by the School of Mu¬ quintet involves really getting into the has many models and is to be commended sic and showing great endorsement of its other person's sound (bold italics by the and given high praise. Composition is the faculty — splendidly brings these substan¬ editor). As you progress in this art, you lifeline of our music and every opportun¬ tial works into our ears, with brilliance, reach a point where you have two instru¬ ity to support, encourage and commission effervescence and sophistication. Excellent ments playing in a way that creates a third our composing muses should be given and helpful notes by flutist John Bailey singular-instrument sound (e.g., the begin¬ due consideration. illuminate the background and scenarios of ning of the Harbison Wind Quintet, Ed.) And by the way, let me point out that in a wind quintet the horn player is the hero. When they play in a wind quintet they adopt a style that is completely different from how they play in other contexts." In the next "Quintessence": how the Dorian Wind Quintet celebrated its 40th anniversary by commissioning a work — Anniversary Variations —from five differ¬ ent composers! June 2005 Page 29 each of these three challenging yet appeal¬ ing Romantic works of the 20th century, even from mid-century. In particular, the Kinderspielz.eug (Children's Toys), with its evocation of a tranquil domestic scene in a series of miniatures, charms as only this music can. Thanks to Crystal for listing the dif¬ ferent publisher for each of the works so we can find and perform them. Now — might there be material for a Volume 3 in the offing? WOODWIND QUINTET ARIART "Cocktail" Joze Kotar, clarinet SAZAS KDPA CD 001 Haydn: Divertimento in & Danzi: Quintet in G minor. Op. 56/2 © tjas iy C: Farkas, F.: Antic he Danze Ungheresi (12') First page of Woodwind Quintet Mel Powell Agay, D.: Five Easy Pieces (8') Piazzolla, A: Four Seasons in and exfoliates the past, and thus helps all organ: sharp linear distinction is right Buenos Aires (10') of us to know better where and how the there. So of course in that sense an inde¬ very roots of life, present and future, are to pendence of parts is built in... And winds Brief mention of these eminently plea¬ be found." surable performances by the Ariart Quin¬ do not hide, sneaking in or out — a clar¬ With the scene thus set, I share some of tet, which was founded in 1996 by mem¬ inet may manage it pretty well but none of the conversation about Powell's Wood¬ bers of various Slovenian orchestras. The the others do; the winds are there, very wind Quintet: program is on the light side, with Danzi audible entries. Which means that every¬ playing the role of the "heavyweight." The thing counts in ways that are somewhat Anything to be said about this com¬ quintet has performed a wide range of rep¬ relentless compared to what might be position? ertoire, including the Schoenberg Quintet indulged in with either strings or exotica... MP: A marvel of a description is one as well as a commitment to works by Slo¬ Is that useful? Or have I merely said that a I'd love to borrow from an author who said venian composers. The Piazzolla is espe¬ fine temporal structure displaying a fine not long ago that his latest short story was cially delicious with its depiction of the assemblage of pitches is a fine thing? full of poetic oddities exploring a range of cycle of seasons in Buenos Aires. impossibilities. Perfect. I think it's useful, but you have talked about the particular medium, not about ...What else? this particular work. I recently came across a program and Remember, I'll be hearing this along Yes. Well, then, this particular piece is performance notes in my fdes of "An Eve¬ with the audience for the first time... A a beautiful piece. Will that do? ning with Mel Powell" from March 8, composer's inner-ear performance is quite 1985, at Cal Arts where the late composer a different matter — an ideal photograph was on the faculty, and at which his Wood¬ of an ideal lamb chop: Platonic nutrition. We are getting somewhere. wind Quintet of 1985 was premiered. The Later you may eat an actual lamb chop and I doubt it. That's what every composer program note is in the form of a conversa¬ wish you hadn't — but let's give up on actually believes at first about every new tion with Powell and captures the subtle that metaphor... piece. Eventually, gradually, truth emerges. wit, vibrancy and sophisticated intelli¬ gence of this multi-faceted Pulitzer Prize- Is it a difficult work? If you were not the composer, what winning composer, jazz pianist and ar¬ Difficult to compose, to perform, and to would you make of the structure as ranger (with Benny Goodman and others). listen to; otherwise a comprehensive joy. a whole? His music, like his conversation — in the Aside from all that, I'm sure everyone The underlying associational maze is words of Frans van Rossum — "gives im¬ knows that of all our standard chamber not too remote from the music's sounding mediate pleasure, yet always challenges music ensembles the woodwind quintet surface. There are quite pointed contrasts the understanding before revealing its true provides the greatest range of normative and quite pointed resemblances: an ebb meaning — which in turn reveals new differentiation with respect to timbral value and flow in the continual pattern of trans¬ meanings in our great and centuries-long — is made up of more contrasting tone formation that helps to illuminate the self- tradition ... that he exemplifies the present colors than any other. It's like the Baroque referential contour. Page 30 The Clarinet Mel Powell's Woodwind Quintet is stable wind quintet. Now in its seventh published by G. Schirmer. It has not yet season, the ensemble has toured nationally, CLARINET been recorded. but more regularly performs in and around CLASSICS Austin, Texas. Chamber Music Austin, with a grant from arts patron John Scanlan, c... the admirable In a press release by Cutting Edge commissioned Donald Grantham to create a work for the quintet, resulting in Wild Clarinet Classics label' Concerts in New York City, I noticed a Basin Music, inspired by the beauty of the premiere given by the Sylvan Winds of PRESENTS local wildlife preserve from which the en¬ Quatro Quadri (Four Paintings) by the Period Performance and semble also takes its name. The WBW Italian-American composer Davide Zan- received a CMA grant to support residen¬ Central Clarinet Repertoire noni. Being one who delights in and is cies in underserved schools in Austin and intrigued by works based on paintings, I THE EARLY CLARINET nearby farming communities. contacted the composer who graciously FAMILY CC0004 Quintet of the Americas continues to sent me a score and performance CD as Works by: Danzi, Handel, amass a remarkable register of premieres. Graupner and Beethoven well as reproductions of the four paintings Among them have been Bird Bath for Keith Ruddy C clarinet/ depicted: Piet Mondrian: "Broadway Boo¬ D clarinet/alto chalumeau/ quintet and electronics by Elliott Schwartz, 5-keyed B flat clarinet/ gie Woogie"; Rene Magritte: "Le Chateau and a new version of Twilight Cranes, a basset horn des Pyrenees"; Lucien Freud: "Portrait of fantasy for narrator and quintet by Jack 'No praise can be too high my Brother"; Edward Hopper: "Night- for this issue, expertly and stylishly played, beautifully Gottlieb, based on the Japanese folk tale recorded and immaculately documented.' musical times hawks." Quite a distinguished gallery! Yuzuru. Mr. Zannoni describes his music as New York University is sponsoring a A GRAND DUOccoois encompassing "a variety of styles. A piece Summer Institute for Wind Quintet and Works by: Weber. Stadler, can typically mix chromaticism and tonal¬ Burgmuller, Danzi and Loewe Woodwind Chamber Music for High Colin Lawson 10-keyed ity, can be lyrical and then rhythmically School and College Students. The Insti¬ B flat clarinet and 8-keyed very energetic, quiet and meditative and tute is being held June 18-25 and will in¬ C clarinet Neal Peres da Costa grand subsequently explode in loud dissonant volve the Quintet of the Americas as well piano (1826) sections. Often my music is spiced with as other premiere wind performers, teach¬ my first love, jazz. I try to give each piece ers and coaches. Information can be ob¬ a strong sense of form and balance." tained at June 2005 Page 31 KJ: Really?! AL: Absolutely. She did not want to get into that arena with my dad. That was his thing. But, my dad also didn't mess with the "business" side of the business either. That was her thing. And that was fine. Obviously, I'm not saying he didn't control any of the money be¬ was 18 he was playing bass clarinet Luyben Music Company cause he made decisions about that too. with the Kansas City Philharmonic. Of course, she knew instruments and That was in 1934. He continued to by Kelly Johnson she learned about composers and pub¬ play bass clarinet in the Philharmonic, lishers, but that was all picked up over Annette Luyben of Luyben Music when not studying back east with Bon- the years. ade, until just prior to our entering World has been a fixture at the exhibit KJ: How did the store progress to what it booths during I.C.A. conventions War II in 1941. At that point he went is today? into the United States Navy Band in for years. I called her on a Saturday morn¬ AL: Kids were coming in to take lessons, Washington, D.C., where he played ing at her store where she was kind enough and they had to have music, accessories from 1941-1945. My grandfather had to share her thoughts and experiences as a and instruments. They started to buy died in 1944 and my dad, rather than clarinetist and entrepreneur. For more in¬ those things and that's how the business taking some jobs that were offered to formation about Luyben Music please con¬ went. Until the mid-'60s, we had a staff him in New York, came back to Kansas tact Page 32 The Clarinet mold. I had the original drawings and decision to come here full time in 1980, so they used those to make a new mold. and when that decision was made I de¬ And the new mold is even more to the cided I had better switch to the Luyben. specifications than the old mold due to I put it on the clarinet and went, "Whoa! the use of a computer. We did that This really works!" about four or five years ago. KJ: I always see you at clarinet conven¬ KJ: Can you tell a difference in the liga¬ tions. Tell us how that started. tures? AL: My folks started going to the early AL: Oh, I can by looking at them. The new clarinet conventions in the 1970s. They molds are much cleaner. And also, we were held at the University of Denver. added a little bit of ridging to the inside KJ: Did they participate as vendors? of the new ligature. It had been on my AL: No, my dad went as a clarinetist. I dad's original drawings but was not on think he probably also wanted to talk the original mold. It adds just a little bit to people about his ligature because it of friction so it doesn't slide as easily was still new in the market at that time. on the mouthpiece. Everyone was al¬ Then my mom noticed an interest for ways complaining about the ligature the printed copies of the music that Annete and Bob Lityben (1981 in Paris) sliding off the mouthpiece. We've was being performed, so she would get always said it had to be tightened down a list of the performers and stock up on ics, and I taught American History and enough if you changed mouthpieces their music to sell. They did that until Political Science in high school for from B'' to an A. Now with that ridging 1982, and I started going in 1983. Aside 15 years. on the inside it helps. from a few conventions outside the KJ: When were the Luyben ligatures de¬ KJ: Were they originally clear? U.S., Luyben Music has attended the veloped? AL: Yes, the plastic is clear. When you get I.C. A. conventions for over 30 years. AL: My dad started working on the Luy¬ the clear one that is the raw plastic. All KJ: That has to be the longest run of any ben ligature in the late 1950s. Having we do is add black dye for the black lig¬ vendor I would imagine. been a repairperson, a tinkerer, he could ature. There are people who have ar¬ AL: Well, I think some of the instrument tlx any clarinet and fix it beautifully. He gued with me that they play differently. companies came to the early ones too. did wonderful work. He was constantly Once this young student was just read¬ We also began going to the University thinking about what he could do to ing me the riot act that the black liga¬ of Oklahoma Clarinet Symposiums in make things easier and better. We have ture just had to be better. After the con¬ 1984, and have been there every year a bevy of things now that have been versation, Rich (that's Rich Coble, my since then. invented for the clarinet in the past 30 "better half) looked at me and said, KJ: That 's such a sen'ice. years, but I think prior to that time "Why can't we make them red or green AL: So many people live in places where printed music isn't available. Of course things were slow in coming. It's not or purple?" And that's how we got the now we have computers and you can like it is now, where every time we turn colored ligatures. The kids love them look at some things on the Internet, but around there's a new ligature, a new and they think they are fun. It still pro¬ it still isn't like having it in your hand reed, or a new mouthpiece. Dad thought vides students with a good product, so and seeing that piece of music. And I that there must be something better than it's not just a gimmick. And if it's some¬ the metal ligature that would get out of thing that helps a student to practice or shape and thus not hold the reed prop¬ like his instrument a little bit better, erly. And so he tinkered with it and he then that's great. worked with the people here at Mid¬ KJ: What makes the Luyben ligature west Research to find the material. They unique? experimented with many kinds of mate¬ AL: This was the first alternative to the rials and finally came up with plastic. metal ligature. My dad did a good job Of course it is just regular plastic that is of providing a ligature that holds the used now, but that was not readily reed well, but does not crush any of the available in 1960. Then my father hired fiber in the reed. I love the way I can an engineering firm to make a drawing adjust the screws (tighter or looser) to of what he wanted to do, and finally get better response from reeds. I don't the mold was made. And interestingly play very often and I spend no time on enough the mold that was used has been reeds, but I can get most reeds to work used so many times in the last 40-some just by "playing" with the pressure on years that it gave out. We have a com¬ the reed! And I have to be honest. I had pany here in Kansas City that runs the stopped playing about the time my dad The Luyben booth in the late 1970s in ligatures for us and finally they just developed the ligature, so I didn't own Denver. Annette Luyben is standing on couldn't do any more repairs to the one. It's true! But I finally made the the left. June 2005 Page 33 thoroughly enjoy seeing old friends and Mozart stands out of all of them as my mail orders and selection and packing making new ones every summer. I think favorite. I have to say too that I can al¬ of the music that goes to the confer¬ my biggest enjoyment comes from ways tell who's played really well by ences. Many of you have probably seen meeting people, especially watching how we sell the music! If somebody Julie Chaney if you have visited our young students grow up, and go on to plays really well that particular piece of booth at a conference. She comes to wonderful careers both in and out of music sells very well! help Rich and me so others can stay at music. It's wonderful to be able to do KJ: What is on the horizon for Luyben home and run the store! that while running a business. music? KJ: Do you have any closing thoughts you KJ: You can probably tell some good sto¬ AL: First I'm going to clean my desk! would like to share? ries too. Then we hope to provide more music to AL: For a number of years I worked only AL: Yes, and they would fill volumes! Do more people and try to do it even better part time in the store (while going to you want my favorite moment at all con¬ than we do it now. I think a lot of peo¬ school and then teaching) and finally ventions? It was at the 1987 convention ple don't realize that we are an active realized that with dad's health, the busi¬ in Seattle. Mitchell Lurie performed the retail store with music for all instru¬ ness would not continue if Mom didn't Mozart Quintet with the Philadelphia ments, as well as band and orchestra get more help. I just had a good reckon¬ String Quartet. It was the most beautiful instruments, guitars, harps, recorders, ing with myself, and I finally decided thing that I'd ever heard. It was one of etc., plus accessories for all. Many peo¬ that I love it, and I love the people, and those incredible moments where every¬ ple think that we deal strictly with clar¬ it's FUN, really fun. I love seeing the body was just at the right place at the inet, but that is not the case. It is not people I grew up with and have known right time. And when it was finished, unusual to have 100 or more people in since I was a child, and now I'm watch¬ there was not a dry eye in the house. I the store on a Saturday. So clarinet and ing their children grow and have chil¬ went back to Mitchell Lurie and I shipping music is just part of what we dren. There's no other business any couldn't even talk to him I was crying do. And of course, we at Luyben Music place that has as great a percentage of so hard. It was so incredibly gorgeous. would not be doing what we are doing wonderful people as exists in the music Unfortunately it wasn't recorded. now if it were not for the people who industry. I don't have hard facts to back KJ: Oh no! work here — especially Don Shoberg, that up, except just what I feel in my AL: There have been many incredible per¬ who has been with us for nearly 50 own heart. But from what I've seen formances at every single conference years. He handles all music purchasing other places, we don't have all the prob¬ we've attended, but Mitchell and the while Keith Wilcox handles all of the lems that most businesses have, be- Now available! CD266: The first release in Crystal Records' series of Reicha's monumental 24 woodwind quintets, which are beautiful works, symphonic in scope. Most are 35-40 minutes long, and all hold the listener's attention with their gorgeous slow movements and thrilling allegros and Avrox is Kim a 4 scherzos. The Westwood Wind Quintet is recording all 24 of them. WotMlwiml Anton Reicha (1770-1836), one of the most respected composers of Voliimo the period, was a friend of Beethoven & Haydn, and teacher of Berlioz, Franck, Gounod, & Liszt.These 24 woodwind quintets are his masterworks. 0|HIN !>l. nos. 5 & Many performers have heard only one or two of these, but they are all WilMl fabulous, and they all will be included in this Crystal Records series. The Westwood Wind Quintet captures the glory of these wonderful pieces. This recording project will continue over the next few years, with releases every four to five months. We hope the series will increase the recognition of this giant of the 19th century. Of the Westwood Wind Quintet, which has performed actively for over 45 years, famed conductor Robert Shaw wrote "One listens to this ensemble as one listens to the finest of string quartets. It is a complete and completely satisfying musical experience." WESTWOOD WIND QUINTET, other CDs include: CD250: Klughardt Quintet, Berio Opus No. Zoo; also Linn, Stein, Heussenstamm; CD601: Nielsen & Hindemith Quintets, Schulhoff Divertissement (oboe, clarinet, bassoon); CD750: Barber Summer Music, Ligeti Six Bagatelles, Mathias Quintet, Carlson Nightwings (tape and quintet); CD751: Dahl Allegro & Arioso, Husa Serenade, Sapieyevski Arioso, Moyse Quintet; CD752: Bergsma Con¬ certo, Roch berg To the Dark Wood, Carter Quintet 1948, Schuller Suite, Plog Animal Ditties, Schuman Dances, for woodwind quintet & percussion; CD647: Sapieyevski Concerto for Viola & Winds, Plog Four Miniatures; Hoist,Terzetto, with James Dunham, viola. "Magnificent American group. Superlative playing."-Gramophone. "The Westwood Wind Quintet is to be cherished; nothing short of amazing." International Record Review CDs $16.95; Add $2.00 per order US shipping; $6. foreign (mention this ad) FREE CD Of CUSSette With CBCh purchase Of threes Visa, MC, U.S. check accepted. Order by phone, fax, email, mail, or on the web. 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 34 The Clarinet cause music people are the nicest peo¬ ple. That's really what made me de¬ cide to do this full time, along with my belief in the importance of music in Clarinet Artists Know everyone's life and the desire to con¬ tinue what my parents worked so hard to establish. About Thumb Pain About the Writer... First Hand. Kelly Johnson is assistant professor of music at Arkansas Tech University and principal clarinetist with the Arkansas Symphony Orchestra. She performs with the Etesian Woodwind Quintet and Pinna¬ cle Players, a chamber music group based in Little Rock. Johnson received her M.M. and D.M.A. degrees from Arizona State University and a B.M.E. degree from Cen¬ tral Missouri State University. Her teachers The Jupiter thumb rest, although preset to the standard were Robert Spring and Russell Coleman. position, is adjustable up and down to better fit hand size or finger length. Contacts for Jupiter student clarinets feature The Clarinet: an adjustable thumb rest with strap attachment and neck strap. Send all articles, recital programs, orders for back issues, announcements and any other non-commercial This addresses a growing concern items intended for publication in The Clarinet to: among teachers and physicians about problems with hand 11 James Gillespie, Editor/Publisher ailments resulting from students College of Music, University of North Texas supporting clarinets totally on P.O. Box 311367 The jupiter thumb rest features a strap hook eyelet and Denton, Texas 76203-1367 their thumb. each instrument comes with an adjustable neck strap. E-mail: June 2005 Page 35 Have you planned your summer holiday in Japan? ClarinetFest* 2005 assures to be an unforget¬ table and exciting experience! This is the very first I.C.A. festival in Asia and more than 80 offers were received. The organiz¬ ing committee would like to have as many performers as possible to join the festival, ClarinetFest.2005 and the SATELLITE RECITALS are set TAMA,TOKYO for July 18 and 19. As has been already announced, the official festival begins on July 20, but many fantastic programs are also planned for July 18 and 19. Please pay July 18-July 24,2005 a visit to the satellite recitals too. The offi¬ cial Web site will assist you in registering: Parthenon Tama Koichi Hamanaka Kazuko Ninomiya Masaharu Yamamoto Page 36 The Clarinet Schubert Hall at Pamassos TAMA 17:00. Jozsef Balogh recital 10:00. Young Artist Competition 18:00. Jan Guns, Antonio Siote and Semi-Finals Guy Deplus recital 13:00. High School Competition Lecture room 18:00. Jan Guns, Seiki Shinohe and 10:00. Master Class by Charles Neidich Hiroshi Kamata recital 12:30.1.C.A. Business Meeting 19:00. Hudson Nogueira, Brazilian music Saturday, July 23 Thursday, July 21 Concert Hall Concert Hall 11:00. Clarinet Choirs: Yokohama 19:30. Gala concert by Alessandro Clarinet Ensemble, Holz Ensemble, ***ALL SORTS*** Carbonare, Michel Portal and Tokyo Clarinet Choir, British Clarinet of RARE and vintage winds, Louis Scravis Ensemble especially saxes, clarinets Recital Hall 19:00. Clarinet Concertos: Franz Danzi, & flutes. 9:30. Recitals by Ricardo Alves, Aaron Copland and Richard Strauss, Quattuor Ventus, Stephen Fox, Charles Neidich, Wenzel Fuchs New or fully restored in Gregory Barrett, Luigi Magistrelli, and Masaharu Yamamoto, soloists, our own workshop. Eva Wasserman, Dallas Tidwell with the Japan Chamber Orchestra Wichita Band Instrument Co. 13:00. Asian composers' recital: Rikuya Recital Hall 2525 East Douglas, Wichita, KS 67211 Terashima features his premier pieces. 9:30. Recitals: Javer Vinasco, orders (800)835-3006 14:00. Asian music by Michael Richard, Im Soo Lee, Stephan Siegenthaler, Info (316)684-0291 Min-Ho Yeh, Tod Kerstetter, Tai Bai, Andrew Simon, West Coast Clarinet FAX (316)684-6858 Ensemble, Clarivar, La Forza Quartet Daniel Geeting and Aloke Dasgupta, E-Mail: [email protected] Timothy Perry 13:00. Greetings from Atlanta 16:00. JSH competition winners 14:00. Nathan Williams, Maureen L. Hurd, visit our web site: (Yoko Fujii, Junko Ohtani, and Thomas Piercy, Leanne Manning www.wichitaband.com Mami Kuroiwa); recital of Japanese Chan, Robert Spring ***since 1953!*** composers' music. 16:00. Claude Faucomprez recital 17:00. Jean-Daniel Bugaj and Philippe 17:00. Recitals: Jonathan Cohler, Cuper Recital John Masserini 18:30. Clarinet quintets by Weber and 18:00. New clarinet made with ceramics Reger: Yuji Murai and Shuhei Isobe Lecture room SAYRE WOODWINDS Lecture room 10:00. Master Class with Wenzel Fuchs 10:00. Master Class by Michel Arrignon featuring orchestra study Mouthpieces Schubert Hall at Pamassos TAMA A Sunday, July 24 ✓ -VCX&avV" x • Handcrafted 10:00. Young Artist Competition Finals to cx * * 15:00. Jochen Seggelke lecture and Concert Hall • Mass Produced performance 14:00. Woodwind band concert TRADmON 19:00. Final Gala Concert with Michel • Hard Rubber Friday, July 22 Arrignon, P. Messina, Andrew Simon ( s O i .C'ceno.jvv, ' • 14kt Gold Facing Concert Hall and Wei-leng Chen OF 19:00. Jazz Concert by Buddy DeFranco, Recital Hall • Refacing ( O i Eddie Daniels, Eiji Kitamura, 13:00. Clarinet with audiovisuals: MAMI K arbo^, ' • Adjustment Eiji Taniguchi, Eiji Hanaoka and Trio, Thelema Trio, Brigid Burke, EXCELLENCE Masahiro Takigawa Jean Guy Boisvert, F. Gerard Errante, { uA&m ) • Repair of Broken Recital Hall and Harry Spamaay N ^«»CAGO.^ ' Mouthpieces 9:00. Recitals by Ching Chun Lin, Schubert Hall at Parnassos TAMA Hakon St0dle, Vintage Quartet, 10:00. Recitals by Una Voce, Norway Frank Sidorfsky Quartet, Pedora Cervantes Ojeda, Duo Accessories 11:00.1.C.A. board members' recital Picomell-Jagra, Ensemble Sonorite, 12:00.1.C.A. award winner recital, Stephan Vermeesh and Ebony Quartet. Clarinet Repair James Gillespie and Marguerite Baker 12:00. Seiki Shinohe plays Mozart 22 W. St. Charles Road 14:00. Students of Jacques Lancelot: 14:00. Akira Sakata, Yoshiaki Suzuki Lombard, IL 60148 Koichi Hamanaka, Kazuko Ninomiya, and Takeshi Nozaki trio Ayako Ohshima, Yoko Fujii, Tadayoshi Additional Information: Takeda, and Shigeru Ikushima 630-916-1525 15:00. Chamber music by Clearly Three, June 2005 Page 37 As she fought the cancer that ultimately ward to every rehearsal and every con¬ took her life on January 26 [2005], Bern¬ cert. .. Playing in such a great orchestra is stein approached The Pasadena Symphony what I loved to do most." about establishing a fund in her name. This Adds Tom O'Connor, Acting Execu¬ fund, she hoped, would enable future gen¬ tive Director of The Pasadena Symphony, erations who share her love of classical "Emily's generosity has ensured that her music to continue to enjoy performances love for our orchestra will live on. Our sym¬ by The Pasadena Symphony — an orches¬ phony family — musicians, staff, sub¬ tra Bernstein claimed was "filled with the scribers and music lovers throughout the area's best players." Southland — owe her a tremendous debt Bernstein was also principal clarinetist of gratitude." for the Los Angeles Opera Orchestra and a To make a contribution to the Emily member of the acclaimed contemporary Bernstein Fund at The Pasadena Sym¬ music ensemble XTET. As a studio mu¬ Emily Bernstein phony or for more information, call 626. sician, she recorded over 500 movie and 793.7172, ext. 21. For more information television scores, including Catch Me if Principal Clarinetist with about The Pasadena Symphony, call 626. You Can, Pirates of the Caribbean, Sea- the Pasadena Symphony 793.7172 or visit the orchestra's Web site, biscuit and JAG. Bernstein also served on Page 38 The Clarinet burg elementary schools. He was a mem¬ Bob Stahl, Charlie Beard, Marlin Cooper, Robert J. Schott Woodwind Music Schol¬ ber of the Audubon Society and the First Betty Jo Laflen, Steve Wilkerson, Keith arship Fund at the Cecil and Eva Wilkin¬ United Methodist Church and was also ac¬ Lemmons and Dr. Donald McGlothlin. son Alumni Center, 401 E. Ford Ave, Pitts¬ tive with the Big Brothers Big Sisters As¬ The family suggests expressions of sym¬ burg State University, Pittsburg, KS sociation of America. pathy be in the form of memorials for the 66762-7517. Phone (620)235-4758. He married Isa Schott on April 26, 1973, in London, England and she survives at the home. Additional survivors include Yukio Ohashi, 1923-2004 two daughters, Jennifer Schott of Nash¬ Yukio Ohashi, honorary president ville, TN; and Julie Rowland of Hollis, of the Japan Clarinet Society NH; a son, Jeffery Scott of Grapevine, TX; (JCS), died of chronic lung dys¬ a brother, John Schott of Kansas City, MO; function December 21, 2004. Bom Janu¬ a sister, Judy Malraven of Tucson, AZ and ary 3, 1923, in Tokyo, he studied clarinet two grandsons. at the Tokyo Music School, the Tokyo "A Musical Celebration of the Life for Geidai of today. Shortly after the end of Robert Schott" was held at 3:00 p.m. in WWII, he joined the Japan Symphony McCray Auditorium on the campus of Orchestra, today's NHK Symphony Or¬ Pittsburg State University on Saturday, chestra, as principal. Along with his activi¬ January 22, 2005, with Rev. Thomas ty as a top symphony player, he was a Sims officiating. Amazing Grace was per¬ devoted educator with warmest considera¬ formed by Steve Wilkerson, alto saxo¬ tion for his pupils, raising many leading phone, and Danny Boy for clarinet quartet players of today's Japan including Koichi was performed by Charlie Beard, Marlin Hamanaka, current JCS president. Keen to Cooper, Betty Jo Laflen, Bob Stahl, clar¬ the cause of international solidarity of clar¬ inets. Keith Lemmons performed the inetists, he supported fervently JCS's host¬ Mozart Quintet in A Major for clarinet ing of ClarinetFest 2005 TAMA Tokyo. and strings, K. 581 and the Poulenc So¬ So it is a great pity that he passed only ca. nata for clarinet and piano. Former student half a year prior to this long-hoped-for Yukio Ohashi at the 22nd Annual Meet¬ remembrances were from Karen Laskey, memorable event. ing of JCS. April 7, 2001, Tokyo THE INTERNATIONAL CLARINET ASSOCIATION Knnounces a vacancy for the position of mECUJJUWl ®IIME€T©I1 Effective September 1, 2005 Duties: To coordinate and manage all business operations of the association including, but not limited to, membership renewal/develop¬ ment, journal advertising solicitation/collection, ClarinetFest. presentation, Web site management and communication facilitation. Qualifications: Knowledge and experience in business operations including data management, budget management and contract nego¬ tiation. Outstanding computer skills and experience including spreadsheets, databases and working with Web designers and online transactions. Experience in conference management including registrations, on-site coordination, exhibitor communication/facilitation, conference materials development and promotion. Excellent writing and verbal communication skills. Ability to work independently. Ability to work effectively with a variety of personality types. Projected salary: $35,000 + possible benefits stipend Other: The successful candidate will report to and work under the supervision of the association board of directors. Candidates will be expected to provide their own office space, so applications are not restricted according to geographic region. This is a full-time salaried position with work expectations averaging 40 hours per week. Process: Inquiries, nominations and applications should be made to: Michael Galvdn, l.C.A. President • Ithaca College, Whalen Center for Music • Ithaca, NY 14850-7240 June 2005 Page 39 Readers of previous issues of The THE CLARINET TEACHING OF Clarinet will know that this is the eleventh part of a series of articles based on materials from which Keith Stein (Professor of Clarinet at Michigan State University from 1934 to 1975) planned to KEITH STEIN create a how-to book for those who had no access to a clarinet teacher. I have attempt¬ Part 11: Discussion of ed to put those materials into prose form, by David Pino and a little fuller explanation of the cir¬ Articulation, Concluded cumstances surrounding that endeavor is given in Part One in the Volume 29, No. 4 in mind I zeroed in on a "back door" ap¬ tion that eventually transferred to a corre¬ (September 2002) issue of the magazine. proach to tonguing improvement by first sponding spot on the reed with each sweep In Part 11 here we will deal with the seeking to establish the most advantageous when playing took place. I made a point to remainder of Stein's materials related to arrangement of the jaw. I took into account sweep the tongue boldly in a wide swath, the subject of articulation. that any up-and-down jaw movement is bounding alternately in each direction off strictly prohibited during tonguing, and the teeth. The tongue soon became rough¬ further that any conscious attempt to hold ened with vigorous exercise but I consid¬ the jaw still often causes players to "set" it ered any discomfort an aid in tongue-con¬ A New Twist rigidly when trying to obey that mental sciousness to help pin-point finer locations in Rapid Tonguing command. Thus, I decided first to set the between tongue-tip and reed-tip. jaw free as an aid to eventual tongue free¬ Practicing scale segments at various The following tonguing proposals are dom, proceeding in the following manner. speeds, I learned that the tongue's side- an outgrowth of a search for greater tongu¬ Line the thumb and index finger around swing action (in concert with synchronized ing freedom and motility while tonguing. The majority of clarinetists progressively the jaw rim. Begin jaw motion (without jaw-action) was much easier to do than tense up both tongue and jaw as the tongu¬ playing) by releasing the jaw at the tem¬ conventional to-and-fro swinging which ing rate increases, and likewise, gradually ples, then alternately swinging it back usually occurs while tonguing. Equally tighten the same components as they pro¬ and forth from side to side with the aid of important, that side-to-side tongue action ceed with tonguing into the clarion and al- the fingers. This action did afford greater automatically released any built-up tension tissimo registers. freedom when I allowed the jaw to con¬ acquired after each swing, leaving the This study was not made in the interest tinue wagging from side to side as I tongue completely relaxed for the next of those very few who, by abundance of tongued, and it did not, as one might sus¬ stroke ahead, regardless of the speed en¬ talent and favorable temperament, adapt pect, throw the embouchure off or cause countered. The action simulates that of naturally to the demands of clarinet play¬ tonal distortion. alternate strokes used by a painter brushing ing, but for those of that vast majority who I was suddenly smitten with the idea, in comers except that he operates with up actually have or appear to have slower mo¬ while practicing to regain my controls and down strokes instead of horizontal tility rates or who, for one reason or anoth¬ with this added movement, of allowing the ones. Conventional tonguing, on the other er, are not realizing their ultimate threshold tongue to synchronize with the jaw in al¬ hand, tends to build up tension until a stub- in tonguing performance. ternate side-to-side swings. I repeated the bom, if not a paralyzed, tie-up occurs. It is common knowledge that tongue alternate jaw-wagging (again without the Pushing the new idea further, I discov¬ and jaw are physically interrelated to the clarinet), adding synchronized tongue-tip ered it easier to infiltrate timed spurts of extent that any tensed or relaxed state of swings, touching a central spot on the in¬ breath with each tongue action (impulsed one similarly affects the other. With this side edge of the upper front teeth, a loca¬ from breath source at the lungs). In this way breath segments became sharply de¬ fined at both the start and the finish of each BRANNEN WOODWINDS staccato tone, requiring only moderate tongue articulation at both ends to achieve Expert Repairing Our Specialty neat tonguing. Breath segmentation allows the tongue to make articulation contact at Over 45 Years Experience interim moments when the reed is not vi¬ brating. The tongue, relieved of this expen¬ 8:30-4:30 Tuesday, Thursday & Friday diture of energy, is free to apply energy 908 Hinman Avenue towards greater speed. Rest assured that Evanston, IL 60202 these instant, positive breath starts and (847) 866-7576 stops will not cause gushed, bumpy attacks or releases, providing the back throat re¬ mains at normal, relaxed opening. Page 40 The Clarinet What follows are exercises for the development of side-action Subsequent playings are the same, except for mentally changing tonguing. the 32nd-note figures in the ways given below. Exercise One This exercise deals with the use of breath segmentation. Utter the following pitches of the well-known tune "Yankee Doodle" with whispered spurts of breath, or "silent singing." Carefully note Strive to keep each cluster of repeated tones extremely quick, that a forward rush of breath starts each pitch and a second forward clean-cut and positive as the groups are enlarged by each additional rush of breath stops the same tone. The breath is then held in sus¬ tone. In good time jaw movement, though consciously initiated, will pension by breath control with no pulling back or throat blockage narrow its orbit of motion until there is no visible side-movement between tones. detectable under closest scrutiny before a mirror. The tongue will also refine its width until it seemingly remains in one position to dance at the reed. However, always be reminded to begin each tongued passage with positive side-to-side action of both jaw and nsuityHJU ii tongue. Further Exercises The player has a world of materials as a source of further exer¬ cises to develop this technique. Clearly, one can use other exercises in that same Kell book, and of course there are many commonly Then "sing" it a second time, adding the alternate side-swing excerpted orchestral passages to be approached in this same man¬ tongue action, touching behind the front teeth along with the aspi¬ ner. One of the best comes from the "Scherzo" movement of the rate vocalizing. Finally, play the tune on clarinet instead of using Sibelius Symphony No. 1. First set the metronome at 104 and play the "whispered singing." the passage "in one," with the dotted-half (or the whole measure) receiving the beat. Two more treatments of the passage should fol¬ Exercise Two low. In the first, vary the articulation; play all slurred, then in slurred couplets, then with two notes slurred and two tongued, and Play the following quarter-notes at a moderate tempo. Next play finally all tongued. In the second treatment, vary the speeds; leave the same notes at the same tempo, but making them eighth-notes the metronome at 104 but vary the note-values so that there are this time, two to a beat. On a third playing, do the same but using slow playings and fast playings. However, do not play at topmost 16ths. During a fourth playing, play at topmost speed, whatever that tonguing-speed more than once. may be, but be sure to do that only once! During this process of A second usable passage is from another "Scherzo," the famous four playings, remember that as tongue-speed increases, the dis¬ one from Mendelssohn's Midsummer Night's Dream. Treat this tance covered by the tongue during its side-to-side movement excerpt in exactly the same way as was described for the Sibelius grows steadily narrower. music above, except that in this case the beat at 104 equals a dotted- quarter rather than a dotted-half. To use one more example from the orchestral literature, there is the famous tongued passage for the solo clarinet from the last ^ gf movement of Beethoven's Symphony No. 4. Use again the same approach as for the excerpts mentioned above, this time setting the metronome at 120. Exercise Three Some unexpected fringe benefits emerged from continued prac¬ The music for this exercise comes from the first eight bars of tice of this new idea. One was that the tongue did not creep back¬ No. 6 in Reginald KelFs 77 Staccato Studies for Clarinet (used here wards while tonguing, a great help in maintaining good back-throat by permission of the publisher, International Music Company). opening. Another was that the tone became noticeably superior to Credit for the development of this particular application of the exer¬ that of conventional tonguing in density, texture and quality, even in cise goes to my former student, (the late) Professor Ralph Strouf of the shortest staccato. At present I am unable to account for this the University of Wyoming. The idea is to play the eight bars first as written, but much more slowly than was originally intended by Kell. Play "in 4," giving each eighth- note value a beat, with a metronome set at 72. The object is to incorporate the most vigorously tossed side-stroke tonguing in company with equally positive jaw move¬ ment and breath segmentation. June 2005 Page 41 unless side-action permits more breath to in the mouth at all times, with the end Random, Isolated infiltrate between strokes, and possibly the tipped upward to the reed-tip. breath flow has freedom to impact more Thoughts About 4.) Some fine clarinetists do not like flut- directly upon the reed. And finally, I made ter-tonguing for clarinet, and prefer a Articulation a point to test this technique in the high "throat growl" to accomplish the same clarion register (and also in the altissimo) 1.) Tongue along the floor of the oral cavi¬ purpose. Flutter-tonguing has been said for freedom and motility in tonguing where ty always. The tip of the tongue comes to be very hard on reeds, also. the jaw is particularly apt to tighten up, up to touch the tip of the reed. Keep the mouthpiece and reed imbedded causing thin tone and limited motility. I deeply in the cushion of the lower lip. was gratified to learn that freedom and This article concludes Stein's materials 2.) Secure, flawless attack, or tonal en¬ ease prevailed to the extent that jaw and dealing with tonguing and articulation. trance, depends largely upon the upper tongue remained relaxed. Next there will be a couple of installments lip. The entire upper lip area draws of these articles that will deal with what Students often ask how long they need downward, curling the red portion in Keith Stein originally planned to be a chap¬ to continue practicing this system of tongu¬ upon itself. Then it draws on down ter entitled "Building Technique." ing. The answer is that they may practice it along the mouth corners and past the indefinitely provided that it benefits them. mouth level. The lower half of the Include it in the daily preluding routine embouchure, on the other hand, should About the Writer... along with Baermann Part III or any other never attempt to assist in the attack; the David Pino is professor of clarinet in such vade-mecum work. My belief is that lower half simply drops to its full ex¬ the School of Music at Texas State Uni¬ the new and the conventional systems of tension downward while staying re¬ versity-San Marcos. He studied clarinet tonguing eventually merge. laxed. The red portion of the lower lip with Keith Stein for 15 years, and is the Give the idea a fair trial for yourself and lines the teeth-fence up to the eye- author of the book The Clarinet and for your students, especially for those ex¬ teeth, then directs gently upwards. Re¬ Clarinet Playing (Scribner's 1980 and Do¬ periencing tonguing difficulty. Rest as¬ membering these basic principles of ver 1998). He has performed and toured sured that any time students spend experi¬ embouchure will help greatly in secur¬ with the David Pino Chamber Ensemble menting with it will not harm their present ing the attack. (clarinet, strings, and piano), and is a for¬ playing procedure, and may just make 3.) One of the great secrets of successful mer Secretary of the International Clar¬ tonguing a decided pleasure. tonguing is to have the tongue forward inet Society. Clarinet Recordings THE VERDEHR TRIO. (Elsa Ludewig-Verdehr, Clarinet). The Sonata; Sculthorpe, Night Song; Corigliano. CD747: Music by James Niblock.. CD748:Triple Making of a Medium Series (Violin, Clarinet, Piano). CD741: Bartok, Concertos by Ott & Wallace. CD749: Trio w/Orchestra; Skrowaczewski & David. CD940: Contrasts; Hovhaness, Lake Samish; Pasatieri; Mozart; etc. CD742: Trios by Beethoven, Larsen; Druckman; Bolcom; Bruch (no. 6 & 7). 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Halsey ENSEMBLE ISOLA: Radovan Cavallin, clarinet; Jose CD357: World Wide Webster Stevens, Concerto, Clarinet & String Orch.; Lesemann, Zarzo, horn; Carlos Rivera, cello; Juan Francisco Parra, Michael Webster, clarinet; Leone Sonata for Clarinet & Percussion; Muczynski, Time Pieces piano (principals Gran Canaria Philharmonic, Spain). Buyse, flute; Robert Moeling, for Clarinet & Piano. Lurie was principal in Chicago & CD771: Trios by Brahms, Reinecke, & Duvernoy. CD772: piano. Delightful transcriptions of Pittsburgh Symphonies, & taught for over 40 years at U.S.C. Czerny, Grande Serenade; Jenner, Trio; Duvernoy, Two the Slavonic & Hungarian MICHAEL EDWARDS, Clarinet: CD735. Clarinet Sonatas. "Delightful release...artistry is virtuosic." Gramophone Dances by Dvorak & Brahms; Sonatas by Saint-Saens, Ladmirault, & Bjelinski. Martinu JONATHAN COHLER, CLARINET: CD733. Petite Suite by Debussy; & Dances Sonatina; Rabaud Solo de Concours. Edwards formerly Hindemith, Sonata; Honegger, Sonatina; Francaix, Theme by Louis Moreau Gottschalk Montreal Symphony & soloist at Orford & Stratfad Festivals. & Variations; Vaughan Williams, 6 Studies English CD356.Tour de France: Michael Webster, Clarinet; Leone "Clarinet fanciers will find a treat here." Fanfare Folksong; Milhaud, Duo Concertant & Caprice; Bozza, Buyse, Flute; Katherine Collier, Piano. Debussy: Afternoon Pulcinella; Kupferman, Moonflowers, Baby! of a Faune, Petite Piece, Premiere Rhapsody, & Syrinx; LAWRENCE SOBOL, CLARINET: CD808. Hovhaness, Saturn, for Clarinet, Soprano, & Piano. Also WESTWOODWIND QUINTET (David Atkins, clarinet): Saint-Saens: Tarantella; Bizet, Jeux d'enfants; Faure, "Magnficent American group... superlative playing" Gramophone Dolly Suite. "Delightful; exquisitely played." Fanfare Hovhaness Magnificat for Chorus, & Orch. "Saturn is a beguiling hymnal...freshness and vitality." Classic CD Mag. CD601: Hindemith & Nielsen Quintets; Schulhoff Diver¬ TRIO INDIANA: James Campbell, Eli Eban, Howard tissement. CD750: Barber, Summer Music; Ligeti, Bagatelles; Klug, Clarinets (clarinet faculty Indiana University). CD734: LARRY COMBS: C731 (cassette only) Rochberg, Trio for Mathias, Quintet; etc. CD751: Dahl, Allegro & Arioso; Moyse, Defaye, Pieces D'Audition; Schickele, Dances; Kulesha, Clarinet, Horn, & Piano; Schuller, Romantic Sonata for Quintet; Husa, Serenade; Sapieyevski, Arioso. CD752: Political Implications (with David Shea, clarinet, guest); Clarinet, Horn, & Piano; Rosza, Sonatina for Clarinet Solo. Bergsma, Concerto; Rochberg, Dark Wood; Carter, Quintet; Kibbe, Ebony Suite; Fox, Time Weaving. CD736: (with Alfred Gail Williams, horn; Mary Ann Covert, piano. Biggs, Scherzo; Plog, Animal Ditties; Schuller, Suite; Prinz, Mitchell Lurie, & Min-HoYeh, guests). Prinz, JAMES CAMPBELL: C732 (cass. only) Reicha & Francaix Schuman, Dances. CD250: Klughardt, Quintet; Berio, Opus Bloomington Quartet & Trio; Heiden, Clarinet Trio; Uhl, Quintets, Clarinet & String Quartet, w/ Allegri String Quartet. No. Zoo; Linn, Quintet; Pillin; Stein, etc. CD647: Sapieyevski, Divertimento; Weill, Pieces from The Threepenny Opera. C331 (cass. only): Poulenc, Jeanjean, Schumann, Berg, etc. Concerto for Viola & WQ; Plog, Miniatures; Hoist, Terzetto. 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; $6. foreign (mention this ad). for each four ordered, omit payment for lowest-priced one. CRYSTAL® RECORDS, 28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, fax (24 hrs) 360-834-9680 email: [email protected] • web site: http://www.crystalrecords.com • Many more woodwind recordings; send for free catalog. Page 42 The Clarinet SPC Alk;e Park-$PC Jessica KoPP-SGT Timothy Mason. SPC Justin Paul Eller. SSG Roberta Walters. 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All Rights Reserved, www.yamaha.com A 1* Grand Comert SELECT Ricardo Morales Principal Clarinet, Philadelphia Orchestra Reed of choice: Grand Concert Select Evolution™ X A* Photo: Wes Steinberg The World's Most Popular Reed RICO .1. I )'\ 3 by Michael Thrasher circles. In the latter 18th century, a more Rauch, Albert Rauch and Philip Wach- uniquely Danish musical tradition began to telbrenner, and the Bohemian Vincents Clarinetists have forged productive appear. Foreign musicians in Copenhagen Wannierzowsky.10 Not until the early 19th relationships with leading com¬ contributed to this trend4, but the greatest century did native Danish clarinetists begin posers since the early decades of changes came from a new and talented to take leadership roles in Copenhagen's the 18th century. As early as the 1740s, the generation of native Danish composers. musical activities. Among the more promi¬ flutist Johann Reusch (who also played Many of these composers developed an nent early Danish players were Jens Krag oboe and clarinet) inspired Johann Mel- international reputation, including C.E.F. (who played in the court orchestra from chior Molter to compose six concertos for Weyse (called the "Schubert of Denmark" 1802 to 1830) and Peter Christian Peter- the clarinet.' Karl Stamitz wrote 11 clarinet for his songs) and Friedrich Kuhlau (high¬ sen. Besides being a fine musician, Krag concertos, most of which were inspired by ly regarded for his piano and flute works, developed a strong reputation as a teacher. (or perhaps even written in collaboration but also a prolific writer of Danish opera).5 Krag's students included Theodor Julius with) the Bohemian clarinetist Joseph Due to European political unrest in the Hombeck (who performed in the orchestra Beer.2 This trend would continue through¬ early decades of the 19th century, formal with him for a time) and Petersen's two out the 19th century, most notably in the concerts of instrumental music declined sons, Crusell and Mozart." relationships between Heinrich Baermann during this period. However, church mu¬ Both Crusell and Mozart Petersen re¬ and Weber, Simon Hermstedt and Spohr, sic enjoyed wide popularity (especially ceived a thoroughly Danish musical and Richard Miihlfeld and Brahms. Weyse's cantatas).6 With the end of the Na¬ training, studying first with their father Historically, Germany, France and Italy poleonic wars and a return to relative sta¬ and Krag, and later with Johan Braun- dominated musical developments through¬ bility, a series of native Danish compos¬ stein (a Danish player of German heri¬ out the majority of the Romantic era, and ers boldly promoted the establishment of tage who played in the court orchestra most of the above-mentioned clarinetists a Danish Nationalistic movement. This from 1825-1836). Crusell, the oldest son and composers belong to this "mainstream" movement first gained momentum under of Peter Christian, exhibited great talent, European tradition. However, as the centu¬ the leadership of J.P.E. Hartmann, and cul¬ performing concerts with his father at an ry unfolded, other nations also developed minated in the work of Niels Gade (who early age. He joined the court orchestra in celebrated composers and numerous in¬ was also Hartmann's son-in-law). 1829, only to die suddenly the next year at strumental virtuosi. For example, in Den¬ Generally considered the most impor¬ only 15 years of age.12 However, Crusell's mark, a similar collaborative relationship tant Danish composer of the century, Gade's younger brother Mozart went on to be¬ evolved between native Danish composers early works "are decidedly Danish in tone come the premiere Danish clarinetist of the and a number of specific clarinetists. As in and feeling."7 However, his later composi¬ century. He enjoyed a 42-year tenure in the other nations, the qualities and musical tions illustrate a more cosmopolitan or in¬ court orchestra (1832-1874), and main¬ aptitudes of these performers would play a ternational style. Gade studied in Leipzig, tained an active career as a teacher. significant role in influencing the produc¬ and the German Romantic style had a sig¬ Mozart Petersen's skills as a clarinetist tion of a wide and varied body of literature. nificant impact on his musical development. won him many admirers. Frits Bendix, a The nation of Denmark enjoys a unique Gade enjoyed a warm relationship with cellist with the court orchestra, character¬ position both culturally and geographically. Mendelssohn in particular, and many of ized him as "altogether the most outstand¬ Thoroughly Scandinavian, Denmark none¬ his mature orchestral works bear the ing woodwind player that the Royal The¬ theless maintained close cultural ties to marks of Mendelssohn's influence. In many ater ever had."13 He maintained close rela¬ mainland Europe, and this factor produced ways, Gade's music demonstrates the tionships with Nationalist Danish compos¬ a profound influence on Denmark's arts fact that Danish composers were clearly ers, including J.P.E. Hartmannn, Niels Gade community. For example, during the Ren¬ seeking a uniquely Danish musical tradi¬ and August Winding. As a teacher, he aissance and Baroque eras, many promi¬ tion, but still found themselves relentless¬ exerted a strong influence on the next gen¬ nent composers from England, Germany ly drawn to European (and specifically eration of Danish clarinetists; among his or Italy held significant musical posts in German) Romanticism. most prominent students were Laurentius Denmark (John Dowland, Heinrich Schiitz, The clarinet appeared in Denmark no Lassen, J0rgen Mathiason, David Wilhelm and Christoph Willibald Gluck among later than 1759s, and clarinetists were regu¬ Noack and Carl Stockmarr (all of whom them). Indeed, until about 1750, compos¬ larly employed in the court orchestra from played in the court orchestra).14 ers from central or western Europe exerted 1774.9 Among the earliest clarinetists in Carl Skjerne replaced Stockmarr in almost total dominance in Danish musical Copenhagen were the Bavarians Joseph the orchestra upon the latter's retirement June 2005 Page 47 in 1886. Although Danish by birth, Skjeme Carl Reinecke in Leipzig. After returning Neruda made significant contributions to chose to study in Germany under the re¬ to Copenhagen, he established a career as a Danish musical life, and spent the majority nowned clarinetist Richard Miihlfeld. As teacher at the Copenhagen Conservatory, of his adult life in Copenhagen. A cellist professor of clarinet at the Royal Danish becoming director of that institution in with the court orchestra from 1864-1876, Academy from 1895-1927, Skjerne un¬ 1891.18 Winding is best known today for Neruda was a prominent figure in Copen¬ doubtedly propagated this Germanic in¬ his piano works and his cadenzas for Mo¬ hagen's chamber music scene. He served fluence among his students, most notably zart's piano concertos. as a founder of the Society for Chamber in the playing of his famous student Aage Reinecke, a friend of both Mendelssohn Music (Kammermusikforeningen) in 1868, Oxenvad.15 and Schumann, held to a rather conserva¬ and performed frequently with its string A variety of solo or chamber works for tive musical philosophy, and this influence quartet.19 After a short time in England clarinet resulted from the collaborative clearly illustrates itself in Winding's works. (1876-1879), he resumed his career as a relationships between native Danish com¬ Significantly, Reinecke also showed an chamber musician in Copenhagen, per¬ posers and specific clarinetists. One of the affinity for the clarinet, producing his own forming with his own newly formed string first such pieces was Gade's Fantasistyk- set of Fantasiestiicke for clarinet and piano quartet. Neruda also served as conductor ker. Op. 43 (1864), written for Mozart Pe- in 1865. Given that both of Winding's for the concerts of the Danish Music Soci¬ tersen. The Danish music historian Kai teachers had written such pieces, his inter¬ ety (1891-1915), while concurrently hold¬ Aage Bruun cites Schumann's Mdrchen- est in the genre should come as no sur¬ ing a similar position in Stockholm.20 erzdhlungen for clarinet, viola and piano prise. His Phantasiestiicke illustrates the Neruda wrote two chamber works that (1853) as one of the musical models for same stylistic features of earlier examples: include clarinet: the Sextet, Op. 24, and the this work,16 but the piece certainly bears a long, flowing melodic lines; thick harmon¬ Musikalische Mlire hen. Op. 31. The Sextet, striking similarity to Schumann's own Fan- ic texture; and solo writing that is more completed in May 1871, features the rather tasiestiicke for clarinet and piano (1849). concerned with expressiveness and emo¬ unorthodox instrumentation of clarinet, tion rather than virtuosic technical display. During his years in Germany, Gade and two violins, viola and two cellos. Neruda However, Winding's work does present a Schumann had become well acquainted, dedicated the work to Gottfred Matthison- substantially more ambitious harmonic and Schumann praised Gade's music in Hansen — not a clarinetist, but rather a plan than its predecessors. For example, the Neu Zeitschrift fiir Musik.11 After the Danish composer active in Copenhagen at the closing movement features an abrupt mid-1840s, Gade's music bore less re¬ the same time as Neruda. Matthison-Han- modulation from D'' major to A major. semblance to the ideas of Danish nation¬ sen was a highly regarded organist, serving Such unusual harmonic progressions can alism so evident in his early works, and as a professor at the Copenhagen Conser¬ be found in later Danish works as well, par¬ reflected more of the ideas of German ro¬ vatory from 1867 and performing in sever¬ ticularly in the music of Johan Amberg. manticism as exemplified by Mendels¬ al of the city's churches. A proponent of Unfortunately, Winding's work re¬ contemporary music, he maintained a par¬ sohn and Schumann. ceived limited performances. Petersen died ticular affinity for the works of Wagner Gade's Fantasistykker consists of four only two years after the work's comple¬ and Liszt.21 This Sextet, undoubtedly pro¬ movements: Andantino con moto, Allegro tion, and he likely never performed the duced as a result of Neruda's interest in vivace, Ballade (moderato), and a lively piece. Stephen Bennet of the Clarinet chamber music, consists of a short 16- Allegro molto vivace. Like Schumann's Heritage Society republished the work in Fantasiestiicke, Gade's work features lyri¬ 1982, and a subsequent edition appeared in measure introduction followed by four cal, expressive writing for the clarinet. 1988 by Zinneberg Musikverlag (edited by movements: Allegro non troppo. Scherzo Both works begin with a movement of Jost Michaels). (Allegro), Andantino and Allegro con moderate tempo with long, flowing melod¬ By examining the works of Gade and fuoco. The piece adheres strictly to the ic lines. Neither work exhibits virtuosic Winding, a clear picture of Mozart Pe¬ spirit of chamber music, with the clarinet solo technique, but instead rely on thick tersen's playing style becomes evident. serving more as a member of the ensemble 22 harmonies to create tension and emotion. Highly regarded for his artistry, Petersen than as a solo voice. The manuscript score In terms of harmonic and formal design, most likely did not display the technical resides in Det Kongelige Bibliotek in Co¬ Gade's Fantasistykker follows a rather wizardry of clarinetists such as Heinrich penhagen; a modern edition is available simple plan: after establishing F major in Baermann or Simon Hermstedt. These from Rosewood Publications, edited by the opening Andantino, the subsequent works suggest a style more closely resem¬ Michael Thrasher. movements center on B'' major, G minor, bling that of Richard Miihlfeld, the Ger¬ Neruda's other piece for clarinet is the and A^ major. Modulations, when they man clarinetist renowned for his expres¬ Musikalische Mdrchen, Op. 31, for clar¬ occur, tend to be short and typically move siveness and innate musicality. Later Dan¬ inet, viola and cello. The manuscript score to closely related keys. ish clarinetists certainly seemed drawn to does not include the date of composition, A second set of Danish Phantasiestiicke that style of playing, exemplified by the but it apparently dates from the late 1870s. for clarinet and piano appeared in 1872. fact that Miihlfeld was Carl Skjerne's The piece consists of nine relatively short Produced by August Winding (1835- teacher of choice. movements, with thematic material being 1899), this three-movement work also was Several other Danish composers opted shared between the first and last move¬ dedicated to Mozart Petersen. A prominent to use the clarinet as a chamber instrument, ments in order to provide overall unity. Sev¬ student of Gade, Winding was exposed to including Franz Neruda, Emil Hartmann, eral movements display a folklike charac¬ the Germanic style through studies with and Johan Amberg. Though Czech by birth. ter; this is particularly evident in the fifth Page 48 The Clarinet movement, which carries the subtitle Mdh- from the A clarinet to the instrument. was not a professional clarinetist. None¬ risches Volkslied (Moravian Folksong). As Hartmann again requests the A clarinet in theless, the work's lyrical, expressive, in the Sextet, the clarinet functions on an the last movement, which begins in A emotional style illustrates a direct link to equal footing with the viola and cello, minor before moving through F major. The an earlier style cultivated by composers rarely dominating the overall texture. The movement returns to A minor in a power¬ such as Niels Gade and August Winding, Musikalische Mdrchen were originally ful concluding section. A modern edition, and certainly played a vital role in Niel¬ published by Wilhelm Hansen; the manu¬ edited by Michael Bryant, is available sen's musical evolution. script score also resides in Det Kongelige from Rosewood Publications. Another native Danish composer wrote Bibliotek in Copenhagen. A new modem The clarinet plays a more prominent a trio of clarinet chamber pieces that, al¬ edition appeared in 2004 (Rosewood Pub¬ role in the overall texture in this Serenade though written in the early years of the lications, edited by Michael Thrasher). than in the works by Neruda, but the over¬ 20th century, clearly belong to the 19th- Neruda dedicated this piece to the prom¬ all style clearly favors lyrical phrasing over century Danish romantic tradition. Johan inent Swedish clarinetist Johan Kjellberg technical showmanship. A student of Mo¬ Amberg, born 20 October 1846, initially (1846-1904). Regarded as the premiere zart Petersen who enjoyed a 38-year tenure studied singing at the Copenhagen Conser¬ Swedish player of his generation, Kjell¬ in the court orchestra (26 years of which vatory. He apparently had a lovely tenor berg served in the court orchestra in Stock¬ were spent alongside Petersen),25 Stock¬ voice until an illness caused him to lose the holm from 1871 to 1892, and taught at marr undoubtedly reflected his teacher's ability to sing; he then focused on piano Stockholm's Royal Academy of Music sense of expressiveness, artistry and style. and violin. The permanent staff of Copen¬ 23 from 1886 until his death. As Neruda tra¬ Although more commonly associated hagen's court orchestra was greatly in¬ veled and performed extensively through¬ with 20-century music, the early works of creased in 1877, and this provided Amberg out Scandinavia, he most likely came into Carl Nielsen (1865-1931) clearly illustrate with an opportunity to join the orchestra as contact with Kjellberg during one of these Danish romanticism. In terms of clarinet a violinist. He continued in that capacity concert tours. Although Neruda's life fo¬ music, Nielsen's Quintet, Op. 43 (1922) until 1905, at which time he retired to cused primarily on Copenhagen, the fact and Clarinet Concerto, Op. 57 (1928) hold focus on composition. During this time he that he was not a native Dane resulted in prominent places in the literature; howev¬ played alongside Carl Nielsen (who joined far less interest in Danish nationalism than er, Nielsen composed a short work for the orchestra as a violinist in 1889), and he is evident in the works of Gade or Hart- clarinet and piano that predates the Quintet most likely played under Nielsen's con¬ mann. Furthermore, the choice of Kjell¬ by almost 40 years. Nielsen's Fantasi- ducting as well. berg as dedicatee (during a period in which stykke dates from approximately 1883, Amberg's earliest clarinet work dates to such fine players as Stockmarr, Mathiason during a time in which he played signal approximately 1905: the Suite for flute, and Skjerne were active in Copenhagen) horn and alto trombone in a regimental oboe, clarinet and piano. In three move¬ perhaps illustrates a limited loyalty to na¬ band in Odense. The piece is dedicated to ments, the inside cover of the Wilhelm tive Danish musicians. Hans Marius Hansen, a young Danish clar¬ Hansen published edition includes the text At about the same time as Neruda's inetist assigned to the same band. of a French poem by Jules Bois entitled clarinet works, Emil Hartmann (1836- The Fantasistykke was written before Seguedille. The first movement, a triple- 1898) produced his Serenade, Op. 24, for Nielsen had much systematic training in meter Allegretto in D minor, also bears the clarinet, cello and piano. The son of J.P.E. music; he did not enter the Copenhagen title Seguedille, and features a dance-like Hartmann, Emil was himself a prolific Conservatory until 1884 (where he studied style. The second movement, entitled De- composer whose works include seven with J.P.E. Hartmann, Gade, and Matthi- vant la Cathedrale, opens with an impro¬ symphonies and three concertos, as well as son-Hansen, among others). As a result, visatory piano solo in an almost Impres¬ operas, ballets, and various choral works. this short piece (the entire work consists of sionistic style. Sweeping major seventh Emil also collaborated with August Wind¬ only 51 measures) follows a very simple arpeggios with frequent chromaticism ing (who happened to be his brother-in- binary form. An opening Andante canta- progress until the establishment of an F law) in the 1859 ballet Fjeldstuen. As a bile section in G minor presents a lyrical major tonality. The piece concludes with a performer, Emil served as organist in sev¬ clarinet melody characterized by a triplet Ronde villageoise finale featuring exten¬ eral Copenhagen churches from 1861 until rhythmic motive. A transitory modulation sive contrapuntal interplay among the three 24 his death in 1898. moves briefly to the relative major and wind instruments. Dedicated to the Danish clarinetist Carl back to G minor before a two-measure Amberg dedicated his Suite to a Count Stockmarr, the Op. 24 Serenade consists of clarinet cadenza. A 17-measure Allegro W. Schulin Zeuthen — not a clarinetist, three movements (some with descriptive agitato in G minor concludes the work. but rather an arts patron from T0ll0se, a titles): Idylle (Andante; Allegro), Romance The Danish publishing company Wilhelm small town located in West Zealand (about {Andante) and Rondo-Finale (Allegro). Hansen produced a contemporary edition 80 kilometers west of Copenhagen). Other The opening movement, in A major, trav¬ of the work (edited by Torben Schousboe) Danish composers also dedicated works els through an extended passage in the par¬ in 1981. to Zeuthen; for example, Balduin Dahl allel minor before returning to the tonic The clarinet writing in Nielsen's Fanta¬ (1834—1891) dedicated his William Galup key. The second movement makes a rather sistykke reflects a rather elementary ap¬ for piano to Zeuthen in 1876. abrupt harmonic shift to F Major (the flat proach to the instrument, perhaps empha¬ Amberg's other pieces for clarinet dem¬ submediant), and a change is requested sizing the fact that Hans Marius Hansen onstrate a more traditional style. His Trio, June 2005 Page 49 Op. 11, for clarinet, cello and piano dates denken Robert Schumcmns gewidmet (To ment construction and history did indeed to approximately 1910, and is dedicated to the Memory of Robert Schumann). The lead him to Copenhagen in 1909-1910. In the Berlin Trio. The piece features lyrical, movement bears similarities to Schu¬ an article for the Zeitschrift fiir Instrumen- flowing melodies against a rich harmonic mann's Mdrchenerzdhlungen of 1853, tenbau dated 1 February 1910, Altenburg background, and resembles in many ways which was written for this same combina¬ wrote extensively about the new Museum other works for this instrumentation of the tion of instruments. An Andante move¬ of Music History in Copenhagen.30 He most same era, including Brahms' Trio, Op. 114 ment, entitled Der Tag bricht an (The Day likely met Amberg during this visit. and Wilhelm Berger's Trio, Op. 94. The Breaks), features a lyrical, expressive style The musical and artistic qualities of opening movement, an Allegro moderate with frequent chromaticism. Significantly, performers such as Petersen, Stockmarr, in major, begins with a lyrical clarinet this movement is written without the use of Kjellberg, Schubert and Altenburg played melody over a gentle, syncopated accom¬ key signatures. Amberg titled the third a significant role in the production of Dan¬ paniment. Several abrupt modulations lead movement Mdrchen (Fairy Tale)', the pi¬ ish clarinet music. As in the more famous through D major, F# minor, A major, and C ano dominates the texture in this flowing examples of Brahms, Mozart or Weber, major before returning to Ek The second Andante centered on Fi minor. The final Danish composers drew inspiration from movement, a short but energetic scherzo in movement, Zum Abschied (Goodbye), is the specific attributes of these musicians, a typical ternary form, alternates between an energetic Allegro giusto in D major. and crafted works to take full advantage of F major and El* major. Subtitled Elegie, the The overall work follows the Schumann those skills. On another level, this body of third movement opens with a melancholy model of short, descriptive character literature shows a particular school of main theme in G minor with frequent chro¬ pieces that evoke a particular atmosphere composition seeking its own unique voice maticism. The final Allegro mesto is ener¬ or mood, albeit with an expanded har¬ in the musical world. Although nationalis¬ monic vocabulary. The very title, Fanta¬ tic elements are present in these works — getic and dancelike, but again follows an siestiicke, echoes a tradition that extends best exemplified in the works written for ambitious harmonic plan, moving from El' back at least 60 years. Danish clarinetists — others clearly show major through F major and C major. An Amberg dedicated his Fantasiestiicke to the influence of German romanticism. In extended contrapuntal interlude leads to a the German clarinetist Wilhelm Altenburg. miniature form, this body of literature poco lento that visits E major before re¬ Born 27 April 1835, in Bonn, Altenburg illustrates a much larger trend in the devel¬ turning to the opening thematic material in was an amateur player and clarinet enthu¬ opment of 19th-century Danish music. & to conclude. siast; he is best known today as the author The members of the Berlin Trio, men¬ of one of the earliest books on the clarinet tioned by name on Amberg's title page, in¬ A Summary Listing of (Die Klarinette, 1904). Between 1892 and clude Ernst Ferrier, Max Zeidler and clar¬ 1908, he also authored numerous articles Repertoire (Composer, inetist Oskar Schubert (1849-1933). One on clarinet design and construction. Al¬ of the leading German players at the turn though Amberg's dedication reads "An Title, Dedicatee, Year) of the century, Schubert studied clarinet Herrn Professor W. Altenburg in Wiirz- Niels Gade, Fantasistykker, Op. 43, for with August Schubert (no blood relation), burg," Altenburg actually taught at a Gym¬ clarinet & piano, Mozart Petersen, 1864 and also married August's daughter. He nasium — meaning that he was the equiva¬ August Winding, Phantasiestiicke, Op. 19, enjoyed a truly international orchestral lent of a teacher at the high school level, for clarinet & piano, Mozart Petersen, career, performing with orchestras in and not a university professor. He came to 1872 Boston, New York, St. Petersburg and Wiirzburg on 8 April 1899, likely retiring Franz Neruda, Sextet, Op. 24, for clarinet, Berlin. Schubert served in the orchestra of there. He died in Wiirzburg on 24 No¬ two violins, viola, & two cellos, Gott- the Royal Opera in Berlin from 1878- vember 1914.27 fred Matthison-Hansen, 1871 1903; in 1892, he was named a Royal Altenburg's primary interests were in Franz Neruda, Musikalische Mdrchen, Op. Chamber musician and accepted a profes¬ acoustics and design; however, in the pref¬ 31, for clarinet, viola & piano, Johan sorship at the Berlin Hochshule. During ace to Die Klarinette, he wrote: "In rela¬ Kjellberg, late 1870s the last decade of the 19th century and the tion to the rising standards of musical diffi¬ Emil Hartmann, Serenade, Op. 24, for early years of the 20th century, Schubert culty, the indispensable great studies of clarinet, cello & piano, Carl Stockmarr, made extensive tours as an orchestral professor Robert Stark serve as the most late 1870s soloist and chamber musician, performing suitable model, and their special recogni¬ Carl Nielsen, Fantasistykke for clarinet & throughout Germany, Austria, Italy, Russia tion cannot be avoided."28 Despite Alten¬ piano, Hans Marius Hansen, 1883 26 and France. He almost certainly visited burg's respect for the eminent German Johan Amberg, Suite for flute, oboe, clar¬ Copenhagen during this period as well, teacher Stark, he most likely did not for¬ inet & piano, Count W. Schulin Zeu- where he likely came into contact with mally study with him, due both to his age then, c. 1905 Johan Amberg. (Altenburg was 64 upon his relocation to Amberg's other trio for clarinet is the Wiirzburg) and the fact that his name is Fantasiestiicke, Op. 12, for clarinet, viola not on the enrollment lists of the Wiirz¬ Selected Discography and piano. Completed in 1912, the piece burg conservatory.29 Bergen blasekvintett. Nielsen's Wind consists of four movements, each with des¬ Altenburg would at first seem to be an Chamber Music: Complete Edition. criptive titles. A march-like first move¬ odd dedicatee for Amberg's Fantasie¬ Nielsen, Fantasistykke. Bis CD-428, ment in D major bears the title Dem An- stiicke, but Altenburg's interest in instru¬ ©1988. Page 50 The Clarinet Coppenbarger, Brent. Clarinet Muse. 15 Ibid., 157. The 20th-century Danish composer Carl er, technischer and musikalischer Beziehung Gade, Fantasistykker, Op. 43. With La- Nielsen wrote the clarinet part to his Quintet, Op. (Heilbronn a. N.: C.F. Schmidt, 1904), ii. 29 vonne Coppenbarger. KAO Optical BC 43 (1922) for Oxenvad and also dedicated his Robert Stark taught at the conservatory in Wurz- Clarinet Concerto, Op. 57 (1928) to Oxenvad. 1022, ©1994. 16 burgfrom 1881-1919. Kai Aage Bruun, Dansk Musiks Historie: Era Hol- 30 Fynske Trio. Dansk Klarinet Musik. Wilhelm Altenburg, "Das neue musikhistorische berg-Tiden Til Carl Nielsen (Copenhagen: Vinten, Museum in Kopenhagen," Zeitschrift fitr Instru- Gade, Fantasistykker, Op. 43; Nielsen, 1969), 116. 17 mentenbau 30, no. 13(1 February 1910). Fantasistykke', Hartmann, Serenade, Bo Marschner and Finn Egeland Hansen, "Niels Op. 24. EMI 072 (LP record), ©1984. Gade," in The New Grove Dictionary of Music and Leister, Karl. Karl Leister Plays Ro¬ Musicians, 2nd ed., 405. 18 The Macmillan Encyclopedia of Music and Mu¬ About the Writer... mantic Sonatas. Nielsen, Fantasistykke sicians, s.v. "August Winding," 2021. Michael Thrasher is assistant profes¬ With Ferenc Bognar. Camerata 28CM- 19 Anna Erslev, Dansk Tonekunst (Copenhagen: Ha- 615, ©2000. gerup, 1920), 88. sor of music (clarinet) at North Dakota 20 Leister, Karl. Trio Pathetique. Gade, Fan¬ Nicholas Slonimsky, Laura Kuhn and Dennis Mc- State University. He holds degrees from tasistykker, Op. 43. With Ferenc Bog¬ Intire, "Franz Neruda." in Baker's Biographical Northwestern State University and the Dictionary of Musicians, Centennial ed., 2585. University of North Texas, where he stud¬ nar. Camerata 30CM-370, ©1993. 21 Torben Schousboe, "Gottfred Matthison-Hansen." Schlechta, Karl. Devienne, Danzi, Weber, in The New Grove Dictionary of Music and Musi¬ ied with James Gillespie, Bruce Bullock Gade. Gade, Fantasistykker, Op. 43. cians, 2nd ed., 147. and John Scott. He has published articles 22 With Akos Hernadi. Antes BM-CD The manuscript score places the clarinet part be¬ in a variety of journals, and has edited sev¬ tween the first and second violins. 31.9007, ©1990. 23 eral works for Rosewood Publications Stier, Charles. The Art of the Romantic Weston, More Clarinet Virtuosi of the Past (Lon¬ don: Emerson Edition. 1977), 137. ( June 2005 Page 51 m smm mm The first of two works to be discussed should the performer wish to add that ele¬ Part II that utilizes the effects unit is Narcissus, ment as well. composed in 1987 by Thea Musgrave. A From a technical standpoint, the effects by F. Gerard Errante native of Scotland, Musgrave has been an unit that Musgrave employed, the Vesta American resident since 1972 and is estab¬ Koza Dig 411, has long been obsolete. The Clarmet Am lished as one of the major composers of electronic community has a concern about Omtal Effects the 20th century. Her output is diverse, the problem of compositions that have both in terms of genre and style. Narcis¬ been created by technology that is now ob¬ The next category of working with sus was composed originally for flute and solete and unavailable, and it is true that electronics involves "real-time' digital delay, however, as a gesture of some pieces written for specific gear have electronic processing since the el¬ thanks to the author for his assistance with been lost. In this case, however, there are ectronic sounds are created as the perfor¬ the electronics, Musgrave created a version two mitigating factors. Fortunately, the de¬ mer is playing. The use of real-time elec¬ for the clarinet. The subject of Narcissus scription that Musgrave provides in her tronics allows for a sense of immediacy is a natural for the delay system as the notes for this composition is so complete as opposed to the mechanical playing of aural duplication mirrors the visual reflec¬ that the effects can be replicated by other a tape or CD. For some it of course may tion of the Greek legend. Clear directions more recent units. The digital delay is cali¬ add a sense of trepidation, but that is are provided for the use of the delay unit. brated in milliseconds and of course, for always the case with live performance. These call for varied delay times, a hold, example 512 milliseconds on one machine Electronics produced in a studio can be and modulation effect. The hold requires will be the same on another. It is definitely more complex, but there is more flexibility a foot pedal to "hold" the delayed sound necessary that whatever unit is used have if working with live electronics. a hold function. Also, the modulation In performing with live or real-time elec¬ that has been produced. While this is effect may vary somewhat among differ¬ tronics, the clarinetist will require a micro¬ playing, the clarinetist plays new material ent effects units, but as long as the effect phone, either freestanding or attached to over the pattern that is continually repeat¬ is present, it should be satisfactory. the instrument. Then connect this micro¬ ing. The pedal is depressed again and the The other factor in keeping this compo¬ phone to an effects unit that will alter and pattern slowly dissolves. Musgrave uses sition current is the work of David Wetzel enhance the sound of the instrument. Most this technique both in a lyrical manner as Page 52 The Clarinet sity about the instrument, and his inquisi¬ the effect of a two-part canon. Extended mouthpieces will fit into the lower joint so tive mind has left no area of performance techniques employed here are a double some searching may be necessary. In order unexplored. Due to the confines of this ar¬ stop utilizing an unconventional fingering to create the proper pitch, the mouthpiece ticle, discussion will be limited to one that produces a fourth, and the direction to should fit almost entirely in the socket. work, his Solo for Clarinet with Delay hum while playing. This takes place in the William O. Smith has made extraordi¬ System composed in 1980. low register where it is relatively easy to nary contributions to the development of The earlier discussion of the Thea produce. In addition, there are two multi- new clarinet literature and new ways of Musgrave composition noted the fact that phonics created by overblowing a low E approaching the instrument. This work is equipment tends to become obsolete rather and low F. Movement three is whimsical but one of many of his compositions that quickly. Smith wrote this work in 1980 in nature, and the most demanding of the deserve to be explored by the adventure¬ for a specific piece of equipment that was five, as it calls for humming precise pitch¬ some clarinetist. much in use at the time, the MXR analog es while playing pitches in the low register. delay. As with Musgrave's Narcissus, it is Using a long delay, this creates an ecclesi¬ CtmNET Mt> Computer possible to use another piece of equipment, astical effect. In fact, the performer is in this case a digital delay, and follow the asked to intone a Latin phrase through the A reference was made earlier in this ar¬ original guidelines to achieve the desired clarinet. Air sounds, key clicks, slap ton¬ ticle's discussion of Narcissus by Thea effect. Since he was working originally gue, and flutter tongue are other extended Musgrave regarding the computer software with an analog device. Smith is not quite so techniques employed here. Max/MSP. This is an extremely flexible specific with his directions as Musgrave, Like the second movement, the fourth program and is now widely used in creating for example calling for "a long sustained movement uses a short, dry delay that pro¬ compositions for clarinet and computer. delay" or a "relatively short dry delay." duces the effect of a two-part canon. This Named after a major figure in the early de¬ Solo consists of five short movements movement goes quickly and employs rapid velopment of electronic music, Max Mat¬ using a kind of spatial notation. Small hash staccato passages with disjunct motion. On thews, this software was developed by Mil¬ marks on the top line of the staff are pro¬ two occasions, a spoken exclamation is ler Puckette in the late 1980s at IRC AM in vided to delineate one-second intervals, called for. This should be done deliber¬ Paris. Later, it was expanded by David Zi- and Smith directs, "The rhythmic notation ately, as on one performance some time carelli, first at Opcode and then at Cycling may be interpreted rather freely". The first ago, a listener thought I had made a mis¬ '74. For a discussion of Max, as well as movement utilizes several extended techni¬ take and was commenting on it as I played. many other elements of electronic music, ques including a glissando, flutter tongue, The last movement involves a signature the interested reader may consult two of the and some of the multiphonics that he was device of Smith, which is taking the instru¬ books, Electric Sound and Electronic and instrumental in developing. The multiphon¬ ment apart and placing a second mouth¬ Computer Music cited at the end of the arti¬ ics used here are more rightly called double piece in the tenon of the lower joint. He cle. Max/MSP is a powerful programming stops, as they consist of two precise pitches. has done this in a number of other works, language that allows the user to work in The fingering indicated is the upper pitch where he calls for both upper and lower MIDI and signal processing. It is an envi¬ notated "N" with an undertone being gener¬ parts of the instrument to be played simul¬ ronment in which the user can create his or ated, and the dynamic is pianissimo. An taneously. Here, the two parts alternate her own software or generate any kind of added element is a tremolo with the register with pitches played on the upper half of sound. In sum, it is a graphic-based com¬ key. These double stops with a tremolo on the instrument having a long delay, so they puter programming language for real-time the lower pitch, combined with a long sus¬ will sustain while the lower half is being processing of MIDI and audio. Practically tained delay, create a magical effect. played. Not only does this create a unique speaking, from the point of view of the per¬ The second movement is twice as fast sonority, it provides an unusual visual ex¬ forming clarinetist, it is both expensive and as the first, and a short dry delay produces perience for the audience as well. Not all difficult to use. Fortunately, however, in Example 1 tr~ (R.K.) from William O. Smith, Solo June 2005 Page 53 order to perform pieces written using Max/ and at the conclusion of four solo passages ly a tiring piece, but it is one that requires MSP, the performer does not need to own for the computer. The composition is quite great control, especially in its final mo¬ the software or even need to know how it flexible (in fact marked flessibile) so, un¬ ments. After building to a climax and the works. The software contains a feature like compositions with prerecorded elec¬ computer takes over with a solo passage, called "runtime" which the composer can tronics, the performer can play with a the clarinetist ends the composition with give to the performer on a disc in order to great deal of rubato. a lovely section that includes many quiet play the composition. While quite modem in its musical voca¬ double stops. The fingerings have been Most composers and performers using bulary, the piece is also romantic in nature. provided by the author and are clearly no- Max/MSP use a Macintosh computer. It is truly remarkable that May has adapted tated in the score. The work ends triple However, since this software is now avail¬ this software to enable it to follow the clar¬ piano on a double stop interval of an 11 th able in a PC version, it may see even wider inet and allow for so much freedom. In as the computer injects a quiet comment. use. Once the clarinetist loads the disc, it is some other works written in Max/MSP, There is afennata on this double stop and necessary to connect the clarinet to the an electronic portion might be cued by an it is most effective to end the piece by computer. This is accomplished with an exact pitch. That means, of course, if the holding this until the computer has silen¬ audio interface that is designed for this pur¬ hapless clarinetist happens to play a wrong ced, and then taper off to a whisper. pose. The two most common interfaces in note, the piece may grind to a halt until the The second composition using Max/ use are the RME Hammerfall DSP and the proper pitch is played. Picture a pianist MSP to be discussed is Gerrymander, com¬ MOTU 828. In addition to the interface, a who stops playing the accompaniment posed in 2002 by Russell Pinkston. A Pro¬ microphone pre-amplifier, and MIDI foot should the soloist make an error! Fortun¬ fessor of Composition and Director of the pedal will also be necessary. The clarinetist ately, May's use of the software is more Electronic Music Studios at the University unfamiliar with connecting these devices forgiving and does (at least to a reasonable of Texas-Austin, Pinkston is also currently can find assistance at an academic institu¬ degree) allow for human error. While it the President of SEAMUS, the Society for tion, local electronics music store, or the perhaps may not be meaningful to most Electro-Acoustic Music in the United States. composer who has provided the disc. clarinetists, the following example is a sec¬ The composition's title is a pun on the Again, our major concern is the music, and tion of the program created by May for this name of the person for whom it was writ¬ the technology is a way to help create the work that shows various "objects" and ten, but also refers to the concept of gerry¬ music, not an end in itself. Fortunately patch cords. Be assured that this is not mandering, the creation of election dis¬ much of this computer technology, while what the performer sees on the computer tricts of unusual, sometimes bizarre shapes, complicated to create, is easy to use. screen, as it is imbedded at a lower level of in order to include or exclude specific blocs Andrew May, the composer of the first the main computer patch. of voters. Relating the concept to this com¬ of two works to be discussed in this article Many interpretative directions are pro¬ position, Pinskton writes: "I tried to take created using Max/MSP, has studied with vided in the score for example: "decisive, the clarinet on an interesting musical path, its developer, Miller Puckette. A performer lighthearted, ruminating, delicate, resigned, with some unexpected twists and turns, himself. May states that he "views the hopeful, savage", etc. Perhaps appropri¬ partly for purely musical reasons, and part¬ score as a blueprint for a living relationship ately near the end of the work, the direc¬ ly to include specific effects and techniques between composers and performers, the tion is "exhausted." However, it is not real¬ I wanted to try." Pinkston has succeeded terms of which are constantly evolving." Further, he is interested in blurring the dis¬ tinctions between the various categories of musician performer, improviser, techni¬ cian, and composer. Consequently, in work¬ ing with composers such as May, the per¬ former becomes more a part of the creative process in bringing the piece to life. Composed in 2004, Chant/Songe in May's words, "presents a duo between the clarinetist and a dream version of himself. The basic sonorities used in the electronic portion of the work are resonant strings, a hand drum, and clarinet extended tech¬ niques. All these have been processed elec¬ tronically and many are considerable al¬ tered. In order to start the piece, the clari¬ netist calls it up on the computer and sim¬ ply depresses the foot pedal which is cue 1 in the score. The piece contains 33 cues, however, only five need to be activated by the foot pedal: at the beginning of the piece Andrew May Max, patch from Chant/Songe Page 54 The Clarinet e o o CerrymanderSx electronically and the performer impro¬ vises against random percussive phrases. By use of a foot pedal, the pacing here is iRecord pedal will advance and record all under the control of the clarinetist. WTien desired, the codetta can be called up and the composition ends quietly, recalling start audio |y| GO SECTION: material played at the beginning. sanQiim 3223 GO NEXT EVENT! Q| While it is true that performing compo¬ IL IR DO El FX EO S OL OR sition for clarinet and computer will be STOP PLAYBACK more involved from a technological point of view, the bulk of the work has been done by the composer, and specialized training is definitely not required on the part of the Reverberator performer. Just as it is not necessary to □ Harmonizer know the intricacies of what is under the □ Granary pJnputsHi^ffect^^la^i^pOutputsHp funeUp hood of an automobile in order to drive, the performer need not know, or be intimated □ Delay/Shifter by the inner workings of the computer pro¬ Counterpointer □ gram. A little curiosity and an open mind n Score Follower will pay great dividends in opening a world □ Pitch Tracker of new, exciting repertoire. • B-channel O 2-channel CtARMET AW £ All concerts naturally have a visual com¬ Russsell Pinkston, main window from Gerrymander ponent, as it is always interesting to watch a performer re-create a piece of music and admirably, and this composition has been the analog on/off footswitch mentioned bring life to the printed page. However, widely performed with great success. above. As long as the footswitch is de¬ some compositions can also enhance the With his performance notes in the score, pressed, the clarinet is being recorded. visual experience by adding elements such and the clear, intuitive main level of the When it is released at the end of the line as lighting, movement, or visuals. Two Max/MSP program, Pinkston has created a under the pitches in the score, the computer compositions in this last category, in the work that is easy to use for the clarinetist captures the recorded passage and process¬ form of visuals and prerecorded electronics unfamiliar with computer music. The per¬ es it electronically. This is an excellent ex¬ on a DVD, will be discussed briefly here. formance notes cite the computer used to ample of real-time electronic processing, The first work, Grito del Corazon (Cry create the piece, lists possible audio inter¬ and also demonstrates how the performer is of the Heart) was composed by Judith Sha- faces, and explains the use of the MIDI in control of the unfolding of the piece. The tin with the assistance of visual artist, foot pedal. In addition, an analog on/off electronic processing developed by Pink¬ Kathy Aoki. Shatin is an award-winning footswitch is required. This will permit the ston is unique and masterful. For example, composer who serves both as professor of clarinetist to record portions of what he or there is a section in the piece that involves a music at the University of Virginia and Di¬ she is performing. This recorded material harmonization of the clarinet part. In earlier rector of the Virginia Center for Computer will then be electronically processed by the compositions using an effects unit, this har¬ Music. This composition was inspired by Goya's "Black Paintings" that were creat¬ Max program. A portion of the top level of monization would be in exactly parallel ed near the end of his life on the walls of the computer program that is used by the motion that could become tedious in time. his last home known as the "Deaf House." clarinetist or an assisting technician is pic¬ Here, Pinkston has worked with the Max The visuals make use of these grotesque tured on the previous page. As can be seen, program to create a contrapuntal harmoni¬ and fantastic paintings in a creative man¬ it is quite clear how the program is to be zation that is unique. It is a wonderful feel¬ ner, as portions of them are seen moving in operated and the clarinetist need only to ing for the clarinetist to hear the computer abstract shapes that appear to be cut out of read the instructions. A tuning note is pro¬ program following what he or she is play¬ a black background. Those familiar with vided which will not only be used for the ing and transforming the sound in such a these paintings will especially recognize obvious purpose, it also is an assurance musical way. Of course it is the music, not "Saturn," an iconic figure named for the that the connections are properly made and the electronic wizardry that is paramount, Titan who ate his children. Needless to the program is ready to go. and here Pinkston succeeds in a marriage say, this subject matter makes for a stark Once the performer is ready, he or she of technology and musicality. and haunting visual experience. need only to depress the foot pedal and the Near the end of the composition, Pink¬ The electronic palette created by Shatin electronic sound will play. At a point at the ston provides an optional section for free perfectly matches these terrifying images end of the first line, the direction Rec improvisation. In this exciting climax of and is deeply compelling. A short work of is indicated. This is the direction to depress the work, the clarinet sound is "thickened" a little over five minutes, it creates a power- June 2005 Page 55 will provide an idea of the celebratory na¬ ture of this work. For the audio portion, various old swing band recordings were processed electroni¬ cally, so they become barely recognizable as sort of a "ghost" of the original piece. The clarinet portion requires an effects pro¬ cessor as described above, so a microphone and foot pedal to step through the effects will also be needed. There are four settings for the piece that are used a total of 13 times during the performance. These set¬ tings consist of two reverbs, a digital delay, and a more involved setting consisting of chorus, pitch transposition and delay. All these parameters are clearly indicated and will be available on most effects units. The clarinet portion of the piece must be coordinated exactly with the audio por¬ tion so a time line is provided in the score. As mentioned earlier in the article, where a Still frame from Swing Bridge (1997) by Reynold Weidenaar time line is provided, it will be necessary to perform with a stopwatch to assist with ful impact with its striking visuals and dy¬ very definitely a part of the creative pro¬ exact coordination. In addition to the time namic electronics. The solo portion of the cess. As mentioned earlier in this article, it line, clear audio cues are indicated. No ex¬ work has been created for a variety of solo is most satisfying to be more than only a re- tended techniques are called for except and chamber combinations with the sound- creator, but rather play an active role in the flutter tongue and glissando. In some pas¬ scape, in Shatin's words, "inspired by and shaping of the piece. sages, to mirror the style of the audio taken reflective of both the digital musical and A pioneer in the area of creating works from old swing band recordings, a loose visual images." The performer is allowed a for an acoustic instrument with visuals is jazz style is called for. great deal of freedom in constructing the the New York-based composer, Reynold The Shatin and Weidenaar works are but piece as the "score" provided by Shatin is a Weidenaar. Long active in the electronic two of several compositions available that series of 49 motives with only the initial music world, Weidenaar founded and ed¬ utilize visuals with the clarinet that will no and ending being stipulated. For the rest of ited Electronic Music Review in 1967. In doubt add interest to a recital. Since the in¬ the work, it is up to the performer to decide 1982, to commemorate the centennial of strumentalist will coordinate with the au¬ what to play and in what order. It is not the Brooklyn Bridge the following year, he dio portion of the work, it is not necessary necessary or even desirable to play all the wrote Love of Line, of Light and Shadow: for the performer to see the visuals. An motives — some may be repeated and of The Brooklyn Bridge for clarinet, color vi¬ LCD or data projector will usually be used course, some may be eliminated. It is also deo and electronic sound. This was the first to connect to the DVD player and project not necessary or desirable to play constant¬ work of its kind and it won numerous the images on a screen either next to or ly, as there will be portions where the per¬ awards, including the Grand Prize at the behind the performer. In most cases the former might want a particular passage in Tokyo Video Festival. Many successful lighting should be dimmed and conse¬ the electronics to be heard without the clar¬ works followed, and what will be discussed quently the performer will require a stand inet. Naturally, each performer will create briefly here is a companion composition to light or a "down" spotlight that does not his or her own version of the piece, so this Love of Line... titled Swing Bridge. Com¬ bleed onto the screen. work will become very personal. Creating a posed in 1997, this piece looks back to version of this work was a challenge as May 24, 1983, which was the day set aside CONCWStON well as a very enjoyable experience. What for the lOOth-anniversary celebration of the was most helpful to the author in creating Brooklyn Bridge. The span was closed to This relatively lengthy article serves as his own version was to photocopy the score motor traffic for the entire day to provide only an introduction to the world of per¬ and cut out the various motives. These can for this celebration. Weidenaar filmed the forming with electronics. Naturally, the then easily be placed in any order and events which included dancers, musicians, nine compositions briefly discussed here changed simply by moving the individual and actors during the day, and a grand fire¬ are but a beginning in the exploration of the motives. Once one is satisfied, they can be works display at night. These images were ever-expanding repertoire in this medium. I taped and photocopied, thereby creating then processed at the Experimental Tele¬ would like to encourage interested clari¬ your own version of the work. Of course, it vision Center in Owego, New York, and netists to delve into this area by perhaps is possible to create different realizations, edited to create a composition lasting five performing some of the works discussed as the possibilities are endless. In a compo¬ minutes, 20 seconds. A black-and-white here, or exploring the many other pieces sition such as this, the performer becomes image from the color video is above that that are available. With anything new and Page 56 The Clarinet unfamiliar, there may be moments of con¬ Dobson, Richard. A Dictionary of fusion and consternation, but be assured Electronic and Computer Music that any effort will be greatly rewarded. For Technology. New York: Oxford those clarinetists affiliated with an academ¬ University Press, 1992. T-qIR ic institution, it is likely that help and ad¬ Manning, Peter. Electronic and Computer vice should you require it, is most likely Music. New York: Oxford University with Mike Beare Manager, Reeds Australia readily available. Composers are eager to Press, 2004 work with performers and when lines of communication are opened, much can be Journals The Test of Time learned and often, friendships created. As Computer Music Journal, June 2005 Page 57 (1774-1865) Concertos for Clarinet and Orchestra Found in a Music Archive in Friuli in Northern Italy which had excited my interest, for the service of Count Pola. Two years later he by Nicola Bulfone amateur clarinet player Count Rodolfo III was in Rome. He then returned to Naples, later played in Florence and Venice and Italian oboe players know Carlo Paes- of Colloredo (1778-1874 ), a forebear of finally was summoned as an oboist to the sler very well as the composer of the the present owner of these manuscripts. Teatro Nuovo in Trieste where he played 24 oboe studies (published by Ricordi) Count Rodolfo took advantage of the from the theatre's opening in 1801. He also which they study at the Conservatory. I presence in Udine of outstanding instru¬ performed in Vienna where he was paid learned about the work of Carlo Paessler mentalists and composers, including, apart 2,000 florins for a single concert. In De¬ quite casually during a pause in an orches¬ from Paessler, the famous oboist Giusep¬ cember 1809, he left Trieste for Venice tral rehearsal while a collegue of mine — a pe Ferlendis, and the Bohemian Wenzel where he was employed at the Fenice flute player — was examining (studying) a Wratny (Vaclav Wratny), and collected Theatre. He also worked at the theatres of catalog published by the association for re¬ works written by musicians for the clarinet Udine and Treviso during the spring and search of musical sources in Friuli-Vene- for his own "use and entertainment." In¬ autumn music seasons. In Milan he gave a zia Giulia, edited by Lorenzo Nassimbeni. I deed, each autographed manuscript in fact concert at the court of the Viceroy Eugene became curious and asked to look at them. bears the dedication "Composed by Carlo Paessler for the noble Gentlemann Ridolfo de Beauhamais. He was then invited to play It was a publication about the archives of at the court of the King of Bavaria. The instrumental music of Ricardi di Netro. de Colloredo." fame he acquired as a virtuoso of his in¬ After a short look, I realized that it con¬ Carlo Paessler was born in Naples on March 27, 1774. His father, who came from strument won him the title of "The Pagan- tained a lot of music for flute and clarinet, Dresden, was a captain in the Royal Swiss ini of the Oboe." composed mostly between 1700 and 1850. Guard. At the age of 11 Carlo, having lost Still playing with various operatic com¬ My attention was drawn to a set of pieces his mother, was accepted at the Naples panies, in 1822 he went to Faenza, then to for clarinet, namely a concerto with varia¬ Conservatory della Pieta dei Turchini Parma, Reggio, Ferrara and Verona. In tions for clarinet and orchestra, two clari¬ where he devoted himself to the oboe and 1826, after many years of absence, he re¬ net concertos, a concerto for oboe, clar¬ the cor anglais so successfully that he was turned to Naples and was appointed concert inet and orchestra, a divertimento, and, appointed extraordinary teacher. In 1796 he performer at the Royal Chamber and Pa¬ finally, a potpourri composed by the Ital¬ began his long tour of the theatres of the ian oboe virtuoso Carlo Paessler. I decid¬ latine Cappella. After playing in Palermo Italian peninsula: the first stops were in ed, with the help of Lorenzo Nassimbeni and Bari, in 1827 he returned to Trieste for Faenza, Senigallia and then Treviso at the who gave me a copy of this catalogue, to good and on April 19, 1829, was appointed contact the owner of the archives. first oboist and cor anglais in the city the¬ These manuscripts were examined atre, replacing Antonio Ferlendis. On June about 15 years ago by Gabriella Spano, 22, 1833, he was given the same post in the a student at Rome University. While she Cappella of San Giusto. He died on January was working for her graduation thesis, she 26, 1865, at the grand old age of 90. studied the history of this collection and its Carlo Paessler wrote a substantial quan¬ owners, the nobles who belonged to the tity of music, much of it dedicated to his middle-European family of Colloredo — own instrument. We recall the Fantasia Mels, who lived in the castle in Colloredo brillante e variata for oboe and orchestra di Montalbano near Udine. One famous and many other instrumental works. His descendant of the Austro-Bohemian line of best-known works, however, are his col¬ this ancient family was Count Hieronymus lections of oboe studies — praised in a Colloredo, archbishop of Salzburg, who signed letter by Saverio Mercadante — owes much of his fame to his tormented (24 Largos for Oboe Solo, Progressive dealings with W.A. Mozart. Studies in Four Parts, Six Capriccios, 18 This rare collection was found by chance Capriccios), reprinted several times and around 1960 by Count A. Ricardi di Netro still used in Italian conservatories as a in his library in the Castle of Colloredo. fundamental method for the study of this Carlo Paessler wrote the clarinet concertos. Carlo Paessler double reed instrument. Page 58 The Clarinet tinuous flow of melodic inventions, bor¬ rowed from the style of Italian opera, alter¬ nating with moments of "bravura" playing. The second movement, a Larghetto affettu- oso in A-B-A form, steeped in simple, ef¬ fective lyricism, highlights the lyrical quali¬ ties of the solo instrument. The concerto concludes with a theme characterized by an atmosphere of serenity, followed by three variations of increasing virtuosity and a brilliant finale. In the Divertimento for Clarinet and Strings, Paessler makes free use of two arias taken from famous operas, adapted and transcribed for the clarinet. The first, "Cimentando i venti e I'onde," is Isabella's cavatina from the first act of I'ltaliana in Algeri which Gioachino Rossini composed especially for the Vicenza performance of the opera in 1813. For his instrumental composition Paessler uses a part of the ob- bligato recitative of the cavatina and the following Allegro, scoring the role of the voice for the clarinet in instead of the much more taxing original key of E major. Solo part from the Concerto con variationi in El> for clarinet and strings The following aria, "se ancor tu m'ami," with its clearly Rossinian flavor, provides a When the owner gave me his permis¬ ten out, as were the added cadenzas that brilliant conclusion to this brief work which sion to view the manuscripts of the clari¬ were part of the performance practice of brings out its chamber character, simplicity net concertos by Paessler, preserved in the period, complete with suggestions for of composition and pleasant melody. the Ricardi di Netro archive, I realized dynamics and articulation. The Concerto in C minor and the Con¬ that I was looking at compositions of In October 2000 the Paessler Concerto certo in IP Major for Clarinet and Orches¬ great interest. They certainly represent a con Variazioni for Clarinet and Strings was tra have numerous elements in common: rare expansion of the early 19th-century published by Edition Kunzelmann (GM both works are of the genre of solo instru¬ Italian clarinet repertoire, even consider¬ 1775; score no. 10296a), who later also mental composition designated as "Intro¬ ing the fact that three of the six concertos published the Concerto for Oboe, Clarinet duction, Theme and Variations." In this way have only string accompaniment, which and Orchestra under the catalog number they resemble the pieces for clarinet solo was an unusual feature at the time. Ano¬ GM 646. In 2000 I recorded the works for written by Gioachino Rossini and Saverio ther important element is the presence of clarinet and orchestra for the Italian label Mercadante. Both concertos open with a a double concerto for oboe, clarinet and Agora (AG 276.1) with the oboist Matej slow, cantabile introductory movement, orchestra. In a sense, Paessler's composi¬ Sarc (Slovenska Philharmonia Ljubljana) preceded in the Concerto in Major by a tions represent an overview of Italian and the Collegium Musicum. recitative, almost in spoken style halfway instrumental music of the 19th century: Now we will examine in more detail between vocal and instrumental tone. Then the Introduction, Theme and Variations, each of Paessler's compositions for clarinet follows a theme and a sequence of pleasant Pot-pourri, Divertimento with themes from and orchestra held in the collection of Ri¬ virtuoso variations linked by brief orches¬ famous opera arias, and the sinfonia con- cardi di Netro. The manuscript of the Con¬ tral interludes. In the Concerto in C minor certantes for more than one soloist. certo con Variazioni for Clarinet and each variation has a pause mark during I immediately decided to revise the Strings bears the date 1818 on its fron¬ which the soloist is free to improvise ad clarinet part and publish these unknown in¬ tispiece, this being the year in which Carlo libitum. At the end of each concerto, Paes¬ strumental works. For the revision of the Paessler, the virtuoso oboist composer, held sler pays tribute to dance: the first con¬ orchestral part and the reduction for clari¬ an "Accademia" (concert performance) in cludes with a dainty rondo in 6/8 time, net and piano I turned to Professor Daniele Udine on August 14 in the hall of the Manin while the final variation of the concerto in Zanettovich, teacher of composition at the residence. This work is a fresh, bright com¬ B^ has the character of a Polonaise in 3/4 Udine Conservatory, a musician of great position in which the solo part for the clar¬ time. Another feature which the two works skill and an expert in orchestration. Since inet reveals the composer's knowledge of share is their quotation of the original the manuscripts contain only the indi¬ the technical and expressive potential of the theme set after the sequence of variations vidual parts, a complete score was creat¬ instrument. The first movement. Allegro as if to frame it as a whole, followed by a ed. Errors and imperfections in the ac¬ vivace, opens with a brief orchestral intro¬ brief but lively finale. In the orchestral en¬ companiment were eliminated, whereas in duction of a sunny nature; the clarinet then semble, whose function is primarily to the solo parts embellishments were writ¬ takes on the leading role marked by a con¬ provide accompaniment, the composer June 2005 Page 59 includes two clarinets, two horns and a end a restatement of the quotation from the the Teatro G. Verdi Orchestra, Trieste, the bassoon, as well as the strings. initial theme leads into a majestic finale. San Remo Symphony Orchestra, Filannon- The Concerto for Clarinet, Oboe and Pot-pourri is the French term used to ica della Scala, Teatro La Fenice, Venice, Orchestra was most probably performed indicate a sequence of melodies or an in¬ Teatro San Carlo, Naples. He has partici¬ by the composer himself with the aristo¬ strumental selection of various motfis from pated in various music festivals and concert cratic clarinetist to whom the composition operas, linked by brief modulating pas¬ seasons both as soloist and with several is dedicated. The composition belongs to a sages. The genre was popular in the 19th chamber music ensembles (Paris St. Ger¬ genre which became very popular in the century, and Paessler, a fashionable com¬ main, Musica Viva Munich, Ludwigsburg, first half of the 19th century — the sinfo- poser, made use of it to create a brilliant, Milan, Venice Biennale, Ravello, Klagen- nia concertante, a form derived from the boldly virtuoso work for clarinet and strings. furt, Middelburg Holland, Horowitz Festi¬ baroque concerto grosso in which a group The composition opens with an Andante in val Europe, Nomus Novi Sad, Ljubljana, of solo instruments was set against the or¬ 6/8 time, lyrical and melancholy at times. Rossini Festival Riigen, Rotte Mediterranee chestral "Tutti." The first movement, an Then follows the theme from the aria Algiers, Budapest, Bratislava, Mallorca, Allegro almost in the style of sonata form, "Miei cari venite" with two characteristic Mexico City, Sevilla, Oporto...) He played opens with a fairly long orchestral prelude variations. After a brief cadenza the clar¬ as soloist with the Slovac Philharmonic preceded by a singular introduction in inet solo plays the notes of the famous Orchestra of Bratislava, the Rossini Festi¬ which pairs of horns and clarinets echo melody "Di tanti palpiti," the aria from val Orchestra, the Udine Chamber Orches¬ each other with brief melodies, creating a Rossini's Tancredi. The Pot-pourri closes tra, the Orchestra Sinfonica del Estado del mood of expectancy before the exposition with an "original theme" by Paessler, fol¬ Mexico, the Udine Philharmonic Orchestra, begins. The entrance of the two soloists is lowed by bravura variations leading up to the Orquesta do Norte (Portugal), the Or¬ characterized by an almost declaimed an applause-winning finale. chestra Sinfonica del Friuli — Venezia theme in which the clarinet is reinforced My particular thanks go to Count Ri- Giulia, the Sophia Philharmonic, the Bjalis- by the oboe playing an octave lower. The cardi di Netro, who gave me permission to tok Philharmonia (Poland) and various two instruments now begin a continuous, work with the manuscripts from his private chamber orchestras. He has recorded for amusing dialogue with a playful attitude, music archives. SWF, RAI, ORF, BR, SDR, Koper and Art punctuated with episodes of fanciful, Kanal. Many renowned composers have almost free, character. This unusual combi¬ About the Writer... written solo pieces for him. He teaches nation of intruments is rarely heard and clarinet at Gallarate Conservatory and in generates an interesting combination of Nicola Bulfone was bom in Hassleholm international master classes (Lucca, Tar- timbres with very striking results. Both (Sweden) in 1963. He studied clarinet at visio, Cividale, Chioggia, Gorizia). In 1997 the oboe and the clarinet are given pleas¬ the Udine Conservatory under A. Pecile he was a member of the jury at the "Jeu- and passed his final exam with top marks. ant themes, virtuoso passages and nesses Musicales" International Clarinet From 1985 to 1988 he continued his music episodes with cadenzas all highlighting the Competition in Belgrade. He has recorded studies at the Hochschule fiir Musik in composer's melodic creativity. The second three CDs for the Agora label containing Stuttgart under Prof. Ulf Rodenhauser movement is a brief interlude —just 15 music for two clarinets and orchestra and (Berlin Philharmonic Orchestra), where he bars — with a serious, solemn tone played has made a first world recording of the con¬ obtained an Advanced Diploma in Clarinet. by the orchestra alone. For the final move¬ certos for clarinet and orchestra by Carlo Among other awards, in 1983 he won first ment Paessler again uses a theme with Paessler. He is solo clarinet in the Orches¬ variations. Here we find a melody remi¬ prize at the International Music Competi¬ tra Sinfonica del Friuli Venezia Giulia and niscent of Mozart, evoking quotations tion in Stresa. He also attended master founder member of the Associazione Filar- from the Marriage of Figaro, a first varia¬ classes held by Karl Leister, Anthony Pay monica del Friuli Venezia Giulia. tion for the solo clarinet in triplets, a sec¬ and Giuseppe Garbarino (Accademia Chi- ond devoted exlusively to the oboe accom¬ giana, Siena). He has played clarinet and panied by the wind section and finally the basset horn in a number of orchestras, third performed by both soloists. At the including the Teatro alia Scala Orchestra, Fleming's \f\emj ■' d C^INSTRUMENT repairw THE place for Exceptional Claritiet repair' Play testing and set-ups by Houston Symphony Clarinetist, Bass Clarinetist, Richard Nunemaker Houston 713-426-3663 www.FlenningRepair.com Nicola Bulfone Page 60 The Clarinet ccFaszination Klarimtte" THE FOURTH — GERMAN CLARINET SYMPOSIUM Berlin, Germany • October 1-3, 2004 A Report by Bruce Edwards a witty little piece based on "Happy Birth¬ day" especially for this occasion! and Nicolai Pfeffer Prof. Dr. Conny Restle, the Director of So now, Friday morning, was the offi¬ the Musikinstrumenten-Museum, offering It was early in the morning of Friday cial opening of the symposium, which greetings at the opening of the Symposium brings us back to the beginning of this re¬ October 1, 2004, as the museum start¬ port. "Kind of jazz" was the theme of the ed becoming alive. The first batch of Tausch, a very famous clarinet virtuoso of opening concert in which students of Fran¬ clarinet maniacs out of a notable number his time which made the city even more cois Benda (Berlin) presented 20th-century, yet to come was just arriving. The mu¬ interesting for any clarinetist on the road. jazz-inspired compositions, and Conny seum? — oh yes, that is the world famous Klocker stressed the immense diversity in Restle of the Musikinstrumentenmuseum Musikinstnimenten Museum in Berlin, clarinet playing styles found not only be¬ and Heribert Haase of the Deutsche Klar¬ Germany, and it was the Fourth German tween countries but also between regions inetten Gesellschaft welcomed the sympo¬ Clarinet Symposium for which clarinet within these countries. Klocker pleaded for sium's attendants. friends from Europe gathered at this re¬ conserving this diversity rather than every¬ The program consisted of Copland's markable spot. one internationally sounding much alike. Sonata, Honegger's Sonatina, Stravinsky's It was immediately clear that the Deut¬ Klocker's lecture was barely over when 3 Pieces, Milhaud's Scaramouche and Cop¬ sche Klarinetten Gese Use haft could hardly two contrasting composers had the oppor¬ land's Concerto. Sandra Kutter, Kilian Her- have found any better location for the tunity of presenting their compositions. An¬ old. Felix Welz, Anna Deyhle and Stephan event. The concert stage in the midst of the dreas Salm (born in 1957) is not only a Oberle were the performers, all of them ac¬ "Exhibition Forum" and "Curt-Sachs Hall" composer, but also a clarinetist; having stu¬ companied by Eberhard Hasenfratz. They made an ideal setting for concerts and pre¬ died with Hans Deinzer in Hannover he all showed excellent technique, warm and knows the possibilities of the instrument. sentations and the museum's special half- even sound and good intonation. This is the year exhibition titled "Faszination Klari- He demonstrated his Clarinet Concerto, time we should apologize for generalizing, which makes use of avant-garde techniques. nette'''' created a special kick. but reporting in detail on each performer or Werner Heinrich Schmitt (bom in 1961) Indeed this exhibition was unique. An item on the symposium's program would performed his virtuoso Sonata for Clarinet exorbitant number of historic clarinets, make this article much too lengthy. How¬ and Piano with clarinetist Alan Valotta. normally to be seen in various collections ever, one composer from this opening pro¬ This piece is more in a late romantic style all over the world and thus accessible only gram has not yet been mentioned and by means of extensive travelling, were should be especially highlighted since the using three fairy tales as its program. now on loan in Berlin and put together into two of his compositions presented here are After lunch David Ross of El Paso, this most sensational compilation that will not standard clarinet repertoire. Certainly Texas, gave a splendid presentation on the hardly be seen again. This was the result of Daniel Schnyder's Sonata and Who Nose life and career of Alfred Biirkner, one of an outstanding job done by the museum's — very jazzy and witty pieces — deserve Germany's leading clarinetists from an ear- management, Conny Restle and Heike being performed in many clarinet recitals. Fricke. To them we say, "thank you!" Next was renowned clarinetist and histor¬ Linking the clarinet's history to today's ian Dieter Klocker lecturing on European clarinet reality was the aim of incorporat¬ clarinet virtuosi in the 19th century. He ing the Fourth German Clarinet Sympo¬ described their extended activities through¬ sium into the exhibition — and this was out all of Europe. He sees the beginning of very well achieved. this development coming from the famous The exhibition had officially been Bohemian wind players. Among the travel¬ opened in a ceremony on Thursday even¬ ling clarinettists of the time he talked espe¬ ing. (During this ceremony the event's pa¬ cially about Vaclav Knesek, Joseph Beer, tron, British clarinet legend Alan Hacker Heinrich Baermann, Anton Stadler, Iwan — who himself is a collector of historic Mtiller and Avelino Canongia. Berlin played clarinets, was surprised by a ditty presented a very important part for many of these by the clarinet section of the Berlin Phil¬ vagabonds as it was often a stopover when harmonic Orchestra. It was Alan Hacker's travelling between west and east or north birthday, and Paul Harris had composed and south. Also it was the home of Franz Nickolas Shackleton June 2005 Page 61 lier era. Biirkner was a member of the Ber¬ to Candide, Brahms' Haydn Variations and lin Philharmonic Orchestra from 1925 until a James Bond Medley) were excellent. 1971, holding the position of principal clar¬ The second half of the program be¬ inetist until 1961. David Ross had done a longed to the Ensemble harmonique con¬ lot of research in various archives and with sisting of the Leipzig students Sonja Rie- the family of Biirckner, whom he visited in del, Anna Bardell, Robert Schenker and Berlin several times. Biirkner was bom in Alexander May. Their performance of an 1905 and after taking up the clarinet, at arrangement of Jean Frangaix's Suite for which he made fast progress, very soon Saxophones was excellent — very well bal¬ started playing at movie theatres. Still at the anced and good ensemble. young age of about 16 or 17 he started The early history of the basset horn was playing in the Grosse Volksoper in Berlin. the topic of a lecture given by Dr. Thomas At this time he was studying at the Conser¬ Grass and Prof. Dietrich Demus. These two vatory and such side activities were not basset horn fans have done a remarkable allowed. He asked the director of the opera amount of research on the history of their what he should do and was told that he favorite instrument and have published would have to make a decision as working their findings in a comprehensive book, the at the opera and studying at the Conser¬ first one of its kind in German. Their report vatory at the same were not really possible. showed that the first written document us¬ He stayed with the opera at first but later ing the name "Corno di bassetto" dates started taking lessons from a very hard from 1767 and comes from Leopold Mo¬ teacher. One day his teacher told him to go zart, and that by 1771-1773 the instrument to an audition he had arranged for him with demonstrably was in use in Regensburg, the Berlin Philharmonic the next day. Biirk¬ Mannheim and Paris. A recital with contemporary duo music ner actually auditioned for second clarinet Rumi Sota-Klemm performing Stockhau- for clarinet and bass clarinet planned next but instead, to his surprise, was offered the sen 's Susani position of principal clarinet. Biirkner's had to be cancelled due to illness. The gap, however, was filled by Alan Hacker. He in¬ reply to the assembled orchestra that he ner's son, who had supplied David Ross troduced a new basset clarinet edition of would have to ask his teacher's permission with much interesting and valuable infor¬ Mozart's K 622 which he had brought with before accepting the job caused lots of mation, was present, as was Peter Geissler him to Berlin. He has waited for many laughter. However, his parents had to sign of the Berlin Philharmonic Orchestra. Mr. years to put forth some new ideas concern¬ the contract for him because he was not of Geissler actually played in the orchestra ing the reconstruction for basset clarinet. legal age. He was only 19! Dr. Ross also with Biirkner, who had gone back to sec¬ Alan has also arranged the orchestra part showed many photos and some interesting ond clarinet for his last 10 years before re¬ for clarinet quartet which is meant especial¬ recordings from the 1930s and 1940s which tiring. He amused those present with a ly to make study of the concerto more he had found in the archives. Biirkner's in¬ backstage anecdote. Every evening Biirk¬ interesting. Unfortunately, a clarinetist who terpretations of Beethoven's Septet, Mo¬ ner would say, "Let's see if I have to work had promised to play the solo part did not zart's Sinfonia Concertante and especially tonight." Then he would throw his clarinet show up. However, a courageous man was Weber's Concertino vividly showed how high into the air. If he caught his clarinet, found to take his place. David Glenn, a for¬ much clarinet playing and interpretation he was on. If not, he was off! Needless to have changed since then. Nonetheless, these mer student of Prof. Hacker's, took over say, he always made it. As a matter of fact. the solo part sight reading the new edition recordings impressively demonstrated Biirk¬ Die Holzbldser, a big woodwind music ner's musicianship and artistry. Alfred Biirk- and realizing octave transpositions un¬ shop in Berlin, sold Biirkner's instruments, known to him, according to Hacker's mo¬ undamaged, only two or three years ago! mentary instructions. The interested audi¬ Dr. Ross' presentation was followed by ence admired Mr. Glenn even more so, a nice concert shared by the students of Pro¬ because he had to fulfill the task on an fessor Ulrich Klemm (Dresden) and Pro¬ fessor Wolfgang Mader (Leipzig). The pro¬ gram was put together with new arrange¬ iv ments for clarinet ensembles. The students _ * I from Dresden (Andreas Treffurth, Shingo Oku, Susann Renk) began the program as¬ sisted by their teacher Ulrich Klemm play¬ i. ing basset horn. Listening to them was a great pleasure for two reasons: they really . f. (7 to r) The Vienna Clarinet Connection, got involved with the music they were play¬ Helmut Hodl, Wolfgang Kornberger, Ru¬ ing, and the arrangements Ulrich Klemm pert Fankhauser and Hubert Salmhofer. had written for them (Bernstein's Overture Alan Hacker and Conny Restle Page 62 The Clarinet taining late night event kept everyone in the liche Klarinette combined with several ex¬ museum and awake until after midnight. ercises pertaining to children's concentra¬ (Free beers were another good reason for tion and relaxation. Another matter of con¬ staying!) Helmut Eisel and JEM played cern was the presentation of a c clarinet, klezmer music inspired by Jewish clari¬ specially designed for a child's ergonomic netist Naftule Brandwein and incorporating situation, by Joachim Kreul. According to elements from jazz, classical and avant- Ulrike Wamecke, these clarinets have pro¬ garde music. Clarinetist Eisel, who spoke ven themselves very well in her everyday more on his clarinet rather than just playing teaching. "Lessons on the clarinet are al¬ the instrument, had found two ideal part¬ ready possible with children aged about ners in Stefan Engelmann (double bass) six," the experienced pedagogue stated and Michael Marx (guitar). Besides creat¬ underlining her success in this field by ing a great rhythmic basis for Eisel's im¬ means of several sound examples and con¬ provisations, they obviously enjoyed the cert recordings by some of her pupils. humorous parts of the concert. The audi¬ During her complete talk, Ulrike Wamecke ence was truly enthusiastic about Michael remained in constant contact with the audi¬ •«< Marx's stunning voice acrobatics in imitat¬ ence and answered individual questions ing Eisel's clarinet. Perhaps many of those very effectively. Moreover, she offered the Prof. Dieter Klocker lecturing on clarinet present took that experience into their sleep possibility of a more intensive exchange of virtuosi of the 18th and 19th centuries that night and dreamed about what they had ideas with all clarinetists at the end of her just heard! informative and practical talk. instrument, mouthpiece and reed borrowed Saturday morning again started early After a lunch break, Markus Heeb and from the box of Schwenk & Seggelke. with the business meeting of the Deutsch Matthias Grimminger (clarinet), assisted Before coming to the cafeteria, where the Klarinetten Gesellschaft and continued by Jorg Wehner (bassoon), presented con¬ presentation took place, he did not know with a recital shared by the students of temporary literature suitable for students at what was awaiting him, so he hadn't Prof. Norbert Kaiser (Stuttgart) and Prof. the high school level. Besides three com¬ brought his clarinet with him. Taking over Frank Ulrich Wurlitzer (Wiirzburg). The positions by the two clarinetists (Heeb's this task so spontaneously was truly a sign content of this program was solely virtu- Canzone for clarinet solo and Grimmin¬ of courage and of the great respect he has osic in nature. ger's Capriccio for two clarinets and Mo- for his former teacher Alan Hacker! The students from Stuttgart presented saik for two clarinets and bassoon), Hen- The evening concert that followed was mainly classical or romantic German reper¬ ning Hagedorn's 5 Epigrams for wood¬ an absolute highlight as could be expected. toire, with the exception of Conclamatio by wind trio and Bernd Hanscke's Monolog The wind section of the Berlin Philhar¬ Kurt Dietmar Richter, performed by Rafael for clarinet solo were also introduced. monic Orchestra performed a Mozart pro¬ Caldentey. The composer was present and Next the Ensemble Clarinesque showed gram in the Kammermusiksaal of the Phil- briefly explained the concept of his piece. the versatility and attractiveness of clarinet harmonie. This concert hall is, of course, The other pieces performed by Prof. Kai¬ chamber music in a stylistically varied pro¬ world famous for its architecture and acou¬ ser's students were Michel Jost's Concerto gram. Besides compositions by Beethoven stics, and since the museum is practically in B' (Marion Henne), Burgmiiller's Duo in and Bernstein, the ensemble performed located in a part of the building, a concert M Op. 15 (Wolfgang Bayer) and Weber's William Boyce's Symphony No. IV honor¬ there was a must. The concert was a regular Concerto No. 2 in E^ (Andreas Langen- ing Alan Hacker (who had written this ar¬ subscription concert, but the program was buch). The accompanist for all of these rangement), as well as some new transcrip¬ selected to correspond with the exhibition pieces was Katrin Randecker. tions by Bruce Edwards. Of special note and the symposium. Therefore, the Berlin The young clarinetists from Wiirzburg were Astor Piazzolla's Prelude No. 9 and concert audience got to hear more clarinet had dedicated themselves to the French re¬ Fugue No. 9 and Feast, a 12/8 time "study" chamber music than usual. This was espe¬ pertoire — Debussy's Premiere Rhapsody by Bill Douglas showing the melodic, cially true for the first half of the concert (Sergiy Radyuk), Frangaix's Tema con var- I i 1 > I with very nice performances of the Diverti- iazioni (Iwan Linnenbank) and Bozza's menti No. 1 and No. 3, K 439b for three Fantasie italienne and Bucolique (Robert basset horns framing the lovely Adagio, K Dreksler) accompanied by Denette Whitter. 411 in which two clarinets joined their three In the following lecture, Ulrike War- fellow musicians. The evening (and even necke, an ambitious clarinet teacher from so the whole day) culminated in an impec¬ Erftstadt, pointed out the advantages of an cable performance of the Gran Partita, K early start on the clarinet, presenting her 361 for 13 wind instruments which was own innovative teaching drafts. Wamecke The clarinet class of Prof. Joachim Klemm absolutely brilliant and exceeded even the discussed several clarinet tutors regarding from the Dresden Hochschule (I to r): An¬ highest expectations for this concert! their demands and, above all, their motivat¬ dreas Trejfurth, Vladyslav Vasylyev, Su- A very strenuous and demanding Friday ing elements. She described her success us¬ sanne Renk, Shingo Oku, Joachim it was, but an enthralling and very enter¬ ing Rudolf Mautz's clarinet tutor Die froh- Klemm and Daniel Rothe June 2005 Page 63 harmonic and rhythmic influence of jazz both presented by Michele Marelli on bas¬ The second half was more wide ranging and pop music. All of them were especially set horn, whose tremendous ease at play¬ also dealing with jazz and romantic reper¬ fascinating. Above all, rapid instrument ing the most difficult microtonal passages toire. Absolutely breathtaking was their changes within the whole clarinet family, is absolutely breathtaking! Learning this quartet arrangement of the overture to Men¬ as well as the musicians' flawless intona¬ demanding music to such a level of per¬ delssohn's Midsummer's Night's Dream. tion were impressive. The Ensemble Clar- fection and realizing the complex chore¬ On hearing this, one clarinetist from the inesque performs every style of music ography requires an enormous amount of audience remarked, "Playing with these sounding absolutely authentic. hard work. Anyone who manages this task guys would really scare me." The audience The next item on the program was ano¬ deserves admiration, which can be said loved their commentary during the program ther recital shared by the students from about each of the four young musicians in in which they turned on the old Viennese two schools. Prof. Chen Halevi (Trossin- this recital. charm and displayed lots of verve and a gen) had chosen contemporary literature great sense of humor. Indeed their perfor¬ for clarinet solo for his students' half of the mance was not just a concert, but a show program. Nadia Hamoudi (Clair by Franco which contributed to the "Connection's" Donatoni), Mareike Kirchmann (Sequenza great success in Berlin. IX A by Luciano Berio) and Michal Lew- Saturday ended with a furious late-night kowitz (Tattoo For One by Poul Ruders) event, again keeping everyone there until impressed with technical brilliance and midnight. Claudio Puntin and Steffen convincing interpretations. Especially ef¬ Schorn gave an ideal demonstration of fective was Twist and Shout by Niklas Si- what is possible when two musicians use velov performed by Nicole Kriiger (clari¬ "tons" of instruments in order to express an net) and Nicole Lendle (motion). The piece Ulrich Mehlhardt, president of the incredible amount of creativity. Absolutely describes episodes from the life of a mar¬ no limits! Puntin and Schorn play their own ionette linking the musical part of the Deutsche Klarinetten Gesellschaft, and Heike Fricke of the Museum compositions and improvise extensively clarinet to the choreographed movement using extreme combinations, such as bass of an assisting performer. and contrabass clarinet and such unusual "Clarinet Wien-ternational" was the A completely different segment of the clarinet world was covered in a discussion instruments as the tubax, a kind of contra¬ theme of the second half. Mag. Reinhard bass saxophone. This group is very enter¬ Wieser's (Vienna) students Thomas Fich- on the question, "Which is the oldest exist¬ ing clarinet?" Jochen Seggelke of Bam- taining and very worthwhile to experience. tinger and Sonja Hochgotz (accompanied Scotsman James B. Wright's presenta¬ by Sandra Jost) fulfilled this theme with a berg reported on how he had been given tion on historically significant radio record¬ truly international program. Technically the rare opportunity of examining a clari¬ ings was the first event on Sunday morn¬ very skilled and with a perceptible joy in net from the Berkeley collection com¬ ing, the last day of the symposium. He had playing, they performed Jean Frangaix's monly believed to be the oldest one. This chosen Rudolf Irmisch as his main point of Tema con variazioni, Francis Burt's Duo instrument was also on exhibition in Berlin interest. Irmisch held the position of princi¬ for clarinet and piano, Op. 7, and three and shows the stamp of Johann Christoph pal clarinetist with the Radio Symphony movements from Michael Kibbe's Seren¬ Denner. Seggelke had been asked to make Orchestra of the NDR in Hamburg from ade for Two Clarinets. a mouthpiece for this instrument as only 1948 until 1972. Besides describing Ir- A recital with compositions by Karl- the body exists. He provided interesting in¬ misch's life, Mr. Wright had brought with Heinz Stockhausen had already been one of formation on how he went about this task. him unpublished radio recordings out of the the highlights at the preceding clarinet sym¬ He made an exact copy of the instrument, posium in Diisseldorf in 2002. Now there and it was fascinating to follow his re¬ NDR Archives. He had been given permis¬ were high expectations for the perfor¬ marks on how he measured the exact di¬ sion to copy these onto DAT directly from mances of participants in the "Stockhausen mensions of the instrument. He then dem¬ the master tapes. The clear and brilliant course," which takes place every year pro¬ onstrated the differences in sound when acoustic quality of these documents was viding interested musicians with intensive playing the copy with both cylindrical and more than surprising. Dating back as early study of Stockhausen's music. Actually conical mouthpieces he had made. The as 1949 the sound was so alive that one Rechter Augenbrauentanz for eight clari¬ results were surprising and prompted a could have believed Irmisch was just right nets had been planned, but due to other subject for discussion. The experts present there, playing at that moment. A recording commitments and illness, the program con¬ took the opportunity and stayed together of the Brahms E^ major sonata was of spe¬ sisted of four solo pieces. The audience talking the matter over for quite a while! cial interest in a double sense. In this re¬ heard and saw (acting is a strong element in The main event of Saturday evening cording prominent clarinetist Jost Michaels all of these compositions) excellent — yes was a really hot concert with the fabulous was Irmisch's excellent piano partner! even stunning — interpretations of In Vienna Clarinet Connection. This fine One of the main events planned for Freundschaft (Maja Pawelke), Der Kleine quartet had prepared mostly compositions Sunday was a concert with the clarinet sec¬ Harlekin (Antomia Lorenz) and Susani or arrangements of their own. In the first tion of the Staatskapelle Berlin. Unfortu¬ (Humi Sota-Klemm). The recital began half they stayed mainly with music inspired nately, this event was cancelled due to ill¬ with Freia and ended with Traumformel, by eastern European folklore and klezmer. ness. The gap however was used for inten- Page 64 The Clarinet ~where my craft meets your art~ Larry Naylor, NAPBIRT Master Clinician in suburban Denver, CO USA — toll-free 877.761.4759 Quality repairs and immersion restorations for the discriminating clarinetist 670 Eleventh Avenue Salt Lake City, UT 84103 Please visit me at... Toll-free 888-264-4788 www.naylors-woodwind-repair.com [email protected] www.clarinetmouthpiece.com June 2005 Page 65 According to a study by Rauscher and Shaw, disadvantaged preschoolers dis¬ play dramatic improvement in spatial rea¬ soning ability after music training. The very best engineers and technical designers in Silicone Valley are musicians. (Grant Venerable, The Center for the Arts in the Basic Curriculum, New York, 1989). by Heston L. Wilson, M.D. the earlier in a person's life this begins, the AT & T and DuPont have decreased the better. There are ongoing studies of preg¬ training time in new employees by using usic hath charms, we all nant women, theorizing that the fetus bene¬ creative music programs. It was found that may find. Ingratiate deeply fits from hearing music as well. Dr. Thomas the accuracy of a group editing manu¬ M with the mind." Vemy reports that fetuses preferred Mozart scripts increased 21.3 percent while listen¬ and Vivaldi to other composers in early as ing to classical music. I guess my insis¬ Thus wrote Mathew Green (1696- well as late stages of pregnancy. He found tence on having calming music in the sur¬ 1737). Little did he know at the time how that fetal heart rates and kicking lessened gical suite was proper even though in pre¬ "deeply with the mind" would be deter¬ when the above music was played. Other retirement days I had never heard of the mined by modem studies. In 1993, Gordon music, especially rock "drove most fetuses Mozart Effect. L. Shaw, PhD and his associate Frances to distraction." They kicked violently when Just because it is known as the "Mo¬ Rauscher published an article in the British it was played to their mothers. zart Effect" does not mean that Mozart's journal Nature. They stated: "listening to Prior to recent scientific studies it was music is the only music to produce en¬ 10 minutes of the Mozart Sonata in D Ma¬ well-known that music had a beneficial hancement of our mental capabilities. jor would cause a subsequent enhancement effect on the brain. Einstein, an avid vio¬ Chris Brewer lists the music that pro¬ in reasoning." Preschool children were the linist, was aware of this. His son stated: duces the same effect. Not only does he subjects. This publication produced a flur¬ "Whenever he (Einstein) felt that he had list the music but classifies the composi¬ ry in the press that resulted in the term come to the end of the road or into a diffi¬ tions according to the specific effect de¬ "Mozart Effect." cult situation in his work, he would take sired. He recommends music that calms, Rauscher and Shaw chose Mozart with energizes or encourages learning. His re¬ refuge in music and usually that would re¬ good reason. The biographer, Davenport commendations are directed specifically for solve all his difficulties." states: "He (God) planted in Wolfgang the classroom though they can be used by The results of carefully controlled stud¬ Mozart what is probably the purest, sheer¬ anyone. This list can be found at chttp:// ies of the "Mozart Effect" are astonishing. est genius ever bom in man." Frances Raus¬ songsforteaching.homestead.com>. In a study of 237 second grade students, cher had a strong background in music. The preferred musical compositions are Graziano et al (Neurological Research, She had been a successful professional cel¬ from the Baroque period or by Mozart. March 1999) used keyboard training to list from an early age and at the age of 24 The most important aspect of the music is determine improvement in math skills. "burned out" from the long hours of prac¬ that it be soothing. The tempo should be These students showed 27% higher results tice and the stress of performance. Certainly close to that of the human heart at a tempo her knowledge of music made the choice than did the controls. Later the Department of 60 beats per minute. The list suggested of Mozart an easy one. of Education in its own study established by Brewer (see above) does not limit his Frances Rauscher cites the reason for that these results had nothing to do with list to Baroque and Mozart but chooses choosing the Mozart sonata: "We (Frances socioeconomic status. music to fit most tastes. and a composer friend) picked the Mozart The College Entrance Board in 2001 re¬ As expected, rock and roll, heavy metal Sonata because it is composed of a limited vealed that students with musical experi¬ and rap music have the opposite effect. number of musical motives which appear ence scored 57 points higher on verbal These venues increase the pulse and blood in symmetry a number of times. It's an ex¬ skills and 41 points on the math skills. pressure and are distracting. The majority tremely organized composition. The fact An unusual study by Hamann and Wal¬ of teenagers in residential treatment facil¬ that it is a two piano sonata made it even ker found that 36% of minority students ities listen to more heavy metal than other more appealing, because there are more op¬ chose music teachers as their role model. teens. Not only the music itself but also portunities for the motives to evolve from Next down the list were English teachers. the unpleasant lyrics of hate and degrada¬ one piano to the next." Surprisingly only 7% chose sports teach¬ tion affect the thinking of these children. The excitement of this report incited ers as their role model. Perhaps students It is of great importance that parents guide experiments by scientists in many related should think about a major in music with their children's listening habits into the areas. (See "Play Smart, Be Smart," The a minor in English to be the most popular proper channels. Clarinet, March 2003, Vol. 30, Number 3.) teacher on the campus. Gordon Shaw proposed that music is a In essence, later studies have confirmed In 1992, the Department of Education window into higher brain function. His that listening to music or, better yet, play¬ reported that disruptive students constitut¬ book Keeping Mozart in Mind, published ing music, enhances the learning and mem¬ ed 12% of the normal classroom while less by Elsevier press, describes how this win¬ orizing ability of the brain. It appears that than 1% of these were involved in music. dow has been used. Page 66 The Clarinet Scientists at the University of Munster an irrelevant activity? Does the use of of warning when threatened. The playing (Germany) discovered that an area of the music increase our survival chances? of bagpipes comes to mind. Certainly mu¬ brain used to analyze the pitch of a musical 70,000 years ago cave paintings depicted sic had to play a part in our evolutionary note is enlarged 25% in musicians. In the musical activity. Unfortunately, musical cycle since it enhances our mental capabil¬ medical field music has been shown to be instruments have not survived the ravages ities to such an extent. a useful therapeutic agent in patients with of time. The oldest surviving musical in¬ Learning is accomplished by the audi¬ Parkinson's disease, autism, depression struments were whistles made of reindeer tory, visual, kinesthetic and tactile senses. and Alzeimer's disease. Interleukin-1, a bone found in Moravia (Music Through Playing a musical instrument involves ev¬ protein in the blood, assists in blood and the Ages, Dr. Alexander Buchner, Batch- ery one of these. Even without the "Mozart platelet production. This adds up to pro¬ worth Press). Effect" performing music must improve One theory suggests that vocalization tection against cancer, AIDS and other- our learning ability by keeping these sens¬ was used as a means of attracting a mate diseases. Exposure to music increases the es functioning at their best. as is considered true of birds, dolphins, level of interleukin-1 by 12% to 14%. Today our position in the evolutionary whales and apes. Probably the first form of Such diverse studies serve to indicate the scale is based in large part upon mental music was the clapping of hands to accom¬ extent of research associated with the abilities. The fact that music increases pany dancing or rhythmical activity of some "Mozart Effect." Those wishing to inves¬ kind. This could have led to the devel¬ these skills means that music should be tigate the scientific aspects should refer opment of percussive instruments. The incorporated to its fullest, not only in edu¬ to Shaw's book. whistles mentioned above might have cation, but also in almost every facet of No research is reported regarding which been used to maintain contact between in¬ our lives. Sadly, so many of our young¬ musical instrument is most effective in dividuals while hunting or traveling. By sters have never heard classical music or producing the "Mozart Effect." Due to the adding finger holes, the whistles later been exposed to musical instruments. complexity of the fingering, the clarinet became flutes that allowed more precise Hopefully knowledge of the "Mozart Ef¬ should rate high on the list recommended communication between groups. This then fect" will increase and music will become to the beginning student. improved survival by increasing group a standard part of our educational system. Why music plays such an important safety and communication. Since music enhances our lives in so many role in the function of the brain remains a Music may well have acted as a means ways, it behooves us, as clarinetists, to difficult question. Is music an important of bonding, each group developing its own continue to promote the value of the ap¬ part of our evolutionary cycle or is it just characteristic sounds and used for a means propriate music in every way we can. In coming issues... ^ "Master Class" articles by Eric Mandat and Deborah Chodacki ^ The Clarinetists of the National Orchestra of Spain C:^ An Interview with Julian Bliss ^ The Clarinet in India June 2005 Page 67 dmsKieM (SmmMt ®M$wtu Awmwuy by Naomi Drucker, ACE has commissioned and presented bies, and while life with all its duties, com¬ world premiers by Long Island composers plications and joys has swirled around us, Clarinetist and Director Elie Siegmeister, Albert Tepper, Marga we have continued giving our ACE con¬ Richter, Dana Richardson, Edward Smal- certs, practicing, rehearsing, and being January 2005 marked the 40th anniver¬ done, Jerry Rizzi, Herbert Deutsch, Leo friends. With our wonderful musicians, we sary of the American Chamber En¬ Kraft, Benjamin Lees, Adrienne Elisha, have performed most of the chamber music semble (ACE). In 1965, pianist Julie Mandel, Arkady Kougell and Irwin available to our combination of instru¬ Blanche Abram and I formed ACE. We Swack; and American composers Meyer ments. The core members of ACE, who were young mothers and musicians, deter¬ Kupferman, Vally Weigl, Max Lifchitz, have performed with us for 25 years, are mined to continue making our place in the David Hollister, Joelle Wallach, Katherine Marilyn Sherman Lehman, piano; Eriko world of music. In a world very different Hoover and Josef Alexander. Sato, violin; Deborah Wong, violin; Lois from today, with a strong sense of place and We have also performed music by Am¬ Martin, viola; and Chris Einckel, cello. a need to perform close to home, the music erican composers Morton Gould, Aaron I want to tell you about my very ordi¬ journey began in libraries and churches and Copland, Virgil Thomson, Leonard Bern¬ nary background. I am from Long Island, a for civic organizations. ACE brought ima¬ stein, Judith Lang Zaimont, Philip James, local product of this place, like Long Island ginative concerts for clarinet and/or piano Miriam Gideon, Daniel Gregory Mason, potatoes or Great South Bay clams. I was with strings, woodwinds and voice to an Charles Ives, George Kleinsinger, Douglas born and grew up in Ereeport, at a time audience eager to hear the world's great Moore, Amy Beach, George Gershwin, when nobody locked their back doors, chamber music in local venues. Alan Hovhaness, Robert Starer, Haskell everyone walked to school, and summers Now in its 40th year of continuous per¬ Small, David Schiff, Robert Muczynski, were spent at Jones Beach. Music was a formances, ACE has a superb reputation Howard Boatwright, and many others. We natural part of life in my home, for my Dad and loyal audience for its concerts, record¬ have recorded works by these composers played the saxophone and clarinet in dance ings, commissions, world premieres and for Elysium, Leonardo, Gasparo, Sound- bands, for shows and in nightclubs. support of American music and Long Is¬ spells, Cala, Dionysus and 4Tay. I started to play my Dad's clarinet at land composers. I have worked with my colleague and age 8. I loved the sound of the clarinet, In 1978, ACE began a residency at Hof- co-director, pianist Blanche Abram, for 40 loved learning to play, and soon became a stra University in Hempstead, New York, years, and a better partnership cannot be big shot player in the fourth grade. My which continues to this day. Because ACE found. We met when our children were ba- father encouraged and supported me every day of my life. He told me that I could is Long Island-based, it has, since 1980, in¬ become anything I wanted to be. There cluded at each concert a work celebrating was no limit or obstacle, and being female the Festival of Long Island Composers. The was a non-factor. purpose is to help our audience realize that During my student years, I studied clar¬ today's composer could be their neighbor, inet with James DeJesu, Robert Grant, Jan whose contribution to our culture, although Williams, Gustave Langenus, Clark Brody relatively unrecognized, is very important. and Leon Russianoff, and played in every Although venues have included the Na¬ community orchestra from Great Neck to tional Gallery of Art in Washington, D.C., Bay Shore. Weill Hall at Carnegie Hall, the 92nd St. While in high school, I became friends YMHA, CAMI Hall, Christ and St. Ste¬ with Walter and Gustav Mueller of the phen's Church, the Nassau County Muse¬ Penzel-Mueller Company, and had the um of Art, and prestigious universities, it is thrill of going to their factory in Long Is¬ the Long Island audience that is the soul of land City, where they assisted me in our American Chamber Ensemble. choosing my first set of A and B'' clarinets. As part of our 40th anniversary cel¬ Since then, for 50 years, I have played on ebration, Elysium Records released in Buffet clarinets and use an original B45 March of 2005 The American Chamber Vandoren mouthpiece and Vandoren reeds Ensemble Plays Peter Schickele, four VI2, No. 3-1/2. chamber works of this American master, I attended Hofstra University (then Hof- who conducted and participated in the re¬ Naomi Drucker, Stanley Drucker stra College) at a time when it was a small cording sessions. (© Steve J. Sherman) college where the music department was Page 68 The Clarinet televised concert and Stanley was inter¬ viewed between pieces. To his great sur¬ prise, he was asked, "Who plays better, you or your wife?" He was able to answer, "Well, her father thinks she does." In addition to my work with ACE, I am principal clarinetist of the New York Vir¬ tuosi Chamber Symphony, and extra clar¬ inet when needed at the New York Phil¬ harmonic. I have toured and recorded with both orchestras. In 1991, the Nassau Symphony and con¬ ductor Andrew Schenk commissioned our friend Meyer Kupferman to write a double clarinet concerto for Stanley and me. It was dedicated to the memory of Leon Rus¬ sianoff, teacher of all three of us (Andrew Monochrome III recording session, January 2004 (I to r): Robert Yam ins, Stanley Drucker, Dana Perna (producer), Mindy Dragovich, Peter Schickele (composer), Peter Weinberg, Schenk was also a clarinetist), and pre¬ Naomi Drucker, Amy Shapiro, Mitchel Estrin, Jess Gross and Lawrence Sobol miered at Hofstra University. In 2000, Stanley, Meyer and I traveled to Prague to record and perform the concerto with the housed in a quonset hut. I received a fine inet is the "cover" to teach about loving Czech National Symphony Orchestra, Paul education there and took many courses music, communicating and interpreting the Freeman conducting. with our famous Great Neck composer Elie music, and bringing joy, humor, romance, In 2002, Stanley and I performed the Siegmeister, whose music is played all over comfort or peace to those who come to lis¬ Krommer Concerto for Two Clarinets and the world. ten. It is a way to teach about personal goals, Orchestra, Op. 32 with the Manhattan Phil¬ New York City was a resource center integrity, artistic honesty and self-discipline. harmonic under the direction of Peter for me, where I trained at the National Or¬ Music makes a difference in everyone's Tiboris, at Carnegie Hall. In 2003, we pre¬ chestra Association under conductor Leon life. I am thrilled every time I introduce the miered Fantasy for Two Clarinets and Or¬ Barzin, attended New York Philharmonic Mozart Clarinet Concerto to a 13- or 14- chestra, written for us by Edward Thomas, conceits and studied at the Manhattan stu¬ year-old, for I know that Mozart and that and performed by the New York Virtuosi dio of Leon Russianoff, the great clarinet Concerto will become a part of the fabric Chamber Orchestra, Kenneth Klein con¬ teacher. That was where I met my future of that student's being. His or her life will ducting, at Merkin Hall, New York City. husband, Stanley Drucker, who joined the never be the same for having practiced and We have performed in concert together New York Philharmonic at age 19. strived to bring the beauty of that music all over the world and have wonderful ca¬ While I was still a student at Hofstra through mind and body, from the black reers, which crisscross all the time. College, I won an audition and became the dots and lines on the white music paper, Music is my life. I am a musician. I am first clarinetist of the North Carolina Sym¬ into living and breathing music. I never get very proud of that. I am truly blessed. All phony. I was 21 years old, and at that time over the wonder of it! of my childhood dreams have come true. I no orchestra had a full-year season, not even Stanley and I were married in 1956, and wanted to be a soloist on the clarinet, I the New York Philharmonic. The North we began a life together that has enriched wanted to play with great orchestras, I Carolina Symphony had an 18-week sea¬ us and made us very happy. Every kind of wanted to be a teacher, I wanted a loving son starting in January, so I took a leave of music has filled our lives. Our daughter husband and children. Actually, much, absence for the spring and then returned to Rosanne and son Leon are both profession¬ much more has come to pass than I ever Hofstra for summer and fall semesters. al musicians. Their music making in the would have dreamed. Hofstra continued my scholarship, arranged blues, country music, and rock-and-roll for me to study privately with faculty to fields has given us great pride and pleasure. make up courses, and really helped me to Leon, aka Lee Rocker, is a bass player and Discography achieve my goals of becoming a teacher, an a founding member of the Stray Cats. Ro¬ AMERICAN CLARINET TREA¬ orchestral player and a soloist. sanne is a country music singer/song writer. SURES. George Kleinsinger: Quintet For me, teaching is the most important My dad was very proud of me and Stan¬ for Clarinet and Strings', Elliott Carter: work I do. For better or worse, we are all ley, and he loved to hear us play together. Pastorale for Clarinet and Piano; Virgil shaped by our teachers. I have been a mem¬ He always joked and said when speaking Thomson: Five Portraits for Four Clar¬ ber of the Music Department of Hofstra about us, "he also plays," which leads me inets:; Douglas Moore: Quintet for Clar¬ University since 1969. I love teaching, and to a little anecdote that all our friends inet and Strings; Gary Schocker: Sonata have been teaching clarinet since I was 16 know, which took place when Stanley and I for Two Clarinets and Piano. Elysium years old. When I was a new teacher, I went on a tour of Japan many years ago: CD GRK 718. Naomi Drucker, clarinet, taught only the clarinet, but now the clar¬ Stanley and I were playing a nationally Blanche Abram, piano, Marilyn Sherman June 2005 Page 69 Lehman, piano, Eriko Sato, violin, Lois Martin, viola, Chris Finckel, cello, Stanley Drucker, clarinet, Dennis Smylie, alto clarinet, Stephen Freeman, bass clarinet Elie Siegmeister: Prelude, Blues and Finale for Two Clarinets and Piano. Gasparo CD GSS-2008. Naomi Druc¬ ker, clarinet, Stanley Drucker, clarinet, Blanche Abram, piano Stanley Drucker and Naomi Drucker Play Meyer Kupferman. Triple Play, Soundspells Fantasy, Quartet for Clarinet and Strings; Five Flings; Four Double Features. Soundspells CD102. Naomi Drucker, clarinet, Stanley Drucker, clarinet, Blanche Abram, piano, Kazuko Hayami, piano, The Laurentian String Quartet Woman in Darkness — Music for Thea¬ ter, Cabaret and Concert Stage by Herbert A. Deutsch. 4Tay CD4012. Standing (I to r): Chris Finkel, cello; Deborah Wong, violin; Eriko Sato, violin; Lois Martin, Naomi Drucker, clarinet, Blanche Ab¬ viola; Naomi Drucker, clarinet; seated (I to r): Blanche Abram, piano; Marilyn Sherman ram, piano and synthesizer, Deirdre Lehman, piano Kingsbury, soprano, Chris Finckel, cello, Donald Larsen, percussion Piano; Three Inventions on DBH\ A Dana Richardson: Sonata for Cello and Albert Tepper: Duos and Trios. Trio Ba- Shakespeare Garland', Moorish Drone Piano. Dionysian LP DR101. Blanche rocco; The Toy Flute; Suite for Clarinet Dance. 4Tay CD4014. Naomi Drucker, Abram, piano, Chris Finckel, cello and Bassoon; Sonata for Violin and clarinet, Blanche Abram, piano, Deirdre Marga Richter: Sonora for Two Clarinets Kingsbury, mezzo soprano, Eriko Sato, and Piano. Leonarda LPI 122. Naomi violin, Lois Martin, viola, Chris Fin¬ Drucker, clarinet, Stanley Drucker, CONSISTENTLY ckel, cello, Patricia Spencer, flute, Bra- clarinet, Blanche Abram, piano DEPENDABLE den Toan, bassoon New York Legends: Stanley Drucker. ACCESSORIES The American Chamber Ensemble. Jud¬ Elie Siegmeister: Prelude, Blues and ith Land Zaimont: From the Great Finale for Two Clarinets and Piano; Land for Mezzo, Clarinet and Piano. Poulenc: Sonata for Two Clarinets. Hfnttr Artistry Valley Weigl: Songs of Remembrance Cala CD CACD0509. Stanley Drucker, for Mezzo, Clarinet and Piano; Paul clarinet, Naomi Drucker, clarinet, Ka¬ jEbmanfrs Ikst Hindemith: Quartet for Clarinet, zuko Hayami, piano Violin, Cello and Piano. Leonarda CD American Chamber Ensemble Plays MOUTHPIECES LE 329. Naomi Drucker, clarinet, Peter Schickele. Quartet for Clarinet, LIGATURES • REEDS Blanche Abram, piano, Deirdre Violin, Cello, Piano; Monochrome III CLARINETS Kingsbury, mezzo soprano, Timothy for 9 Clarinets', Serenade for Three for ADJUSTABLE THUMB RESTS Baker, violin, Chris Finckel, cello Violin, Clarinet, Piano', Octet for Clari¬ MPCE. & TEETH CUSHIONS The Orchestral Music of Meyer Kupfer¬ net, Bassoon, French Horn, 2 Violins, IMPROVED-ANGLE BASS man. Volume 14 — Double Concerto Viola, Cello and Double Bass. Elysium CLARINET NECKS for Two Clarinets and Orchestra. CD GRK 725. Naomi Drucker, clarinet, SPECIAL KEYS Soundspells Productions CD 133. Stan¬ Blanche Abram and Marilyn Sherman ley & Naomi Drucker, clarinets, Lehman, piano, Eriko Sato and Deborah Brochure on Request Czech National Symphony Orchestra, Wong, violin, Lois Martin, viola, Chris Paul Freeman, conductor Finckel, cello, Kurt Muroki, double Music for Doubles. Franz Krommer: Con¬ bass, Braden Toan, bassoon, Eva Conti, liWfrfmttir Prnfructs certo for Two Clarinets and Orchestra, French horn and The Clarinet Band — P.O. Box 3935'C Op. 35. Elysium GRK 714. Stanley Stanley Drucker, Naomi Drucker, Mit¬ Drucker, clarinet, Naomi Drucker, clar¬ chell Estrin, Lawrence Sobol, Robert Westlake Village, CA 91359 inet, Bohulslav Martinu Philharmonic, Yamins, Peter Weinberg, Amy Shapiro, (805) 497-8161 Peter Tiboris, conductor Mindy Dragovich and Jess Gross. Page 70 The Clarinet auai/r by Paul Globus Franz Liszt Academy, professor at the Graz PG: Is studying clarinet at the Liszt Aca¬ Hochshule fur Musik, and recipient of the demy a four-year course? The clarinet enjoys wide popularity Kossuth Prize, Hungary's most prestigious Dittrich: Yes. I think that in North Amer¬ in many countries. In Europe it is as arts award; Gabor Mihaltz, PhD., professor ica you distinguish between performers ubiquitous as the violin, with well- at the Teacher's College of the Franz Liszt and teachers, and have different courses established "schools" of clarinet playing in Academy, former principal clarinet with of study for each. Here at the Academy France, Germany, England and Italy. There the MAY Symphony Orchestra; and Istvan we don't. We teach students to become are also offshoots of the main approaches Varga, principal clarinet with the Hungar¬ proficient players over four years of to the instrument that have taken hold in ian National Philharmonic Orchestra and study. Those who eventually make the just about every country you can name. professor at the Teacher's College of the grade professionally can also teach, if One place with a particular affinity for Franz Liszt Academy. they so desire. the clarinet is Hungary. In the ancient land of the Magyars, the clarinet reigns sup¬ PG: What accounts for the clarinet's long PG: Tell me about the process of enrolment. reme. Some have even suggested that no and proud tradition in Hungary? Dittrich: Students are accepted based on an other instrument comes as close to the Dittrich: There was always something si¬ audition in front of the teachers. But it's Hungarian soul as does the clarinet. milar to the clarinet played in this coun¬ always a judgment call. We've seen it If our favorite instrument is indeed the try. Hungarians like the sound of the many times when students who are not voice of the Hungarians, it has to be be¬ clarinet. It appeals to us on a deep level. accepted at the Liszt Academy, which is cause of its ability to express the extremes The tarogato, which is related to the the top school in Budapest, end up win¬ of human emotion, from the euphoric to the clarinet, was an instrument used by the ning competitions in Europe or even in melancholy. Without a doubt the natural Turks. As you may know, the Turks America. So our judgement is never richness and intensity of the clarinet's were here, as uninvited guests, for sev¬ infallible. sound appeals to the Hungarians, a people eral hundred years. The tarogato also Kohan: The key is to evaluate students as for whom passion and intensity are some¬ played an important role in the Rakoczi individuals. When I listen to young thing of an art form. In short, the instru¬ revolution. Afterwards, the authorities players, it takes me about a minute or ment and the people would seem to be burned a lot of them because they sym¬ two to understand the sound concept. made for each other. bolized the revolution. The best way to learn about the place of Sometimes the sound isn't great but the clarinet in Hungary is to talk to some of PG: So I take it that today many young there's something that just grabs me. I the country's leading players and teachers. people in Hungary still want to play the once evaluated a little boy. He had this I had that pleasure recently while visiting clarinet. flat sound. I don't know what he was Budapest. Dittrich: There are fewer serious clarinet doing, but it was like magic. It was ob¬ In a rare meeting at the famous Franz students coming along than 20 years vious that there was a link between the Liszt Academy, I sat down with six of the ago. But the drop is not as severe as it is boy and the instrument, even though he country's top clarinetists and had a free¬ with other wind instruments, such as the was not playing correctly. wheeling discussion about everything from flute and the oboe. reeds and teaching to which high profile Kovacs: I would add that studying the PG: Hungary is next door to Austria and players they most admire. clarinet is expensive and there are fewer Germany. One would think that you Excerpts of that discussion follow. The opportunities to play professionally than would all play the German system. Yet participants were (in alphabetical order): in years past. That's a big part of the you all play French. Jozsef Balogh, director of InterClarinet reason for the drop in the number of stu¬ Kovacs: That's true but before the war, we Master School and Europa Art School, and dents compared to 20 or 30 years ago. all played German. Even I played Ger¬ former principal with the Hungarian State man for the first two years. But after the Opera Orchestra and the Hungarian Radio PG: What about the quality of teaching? war, there was an instantaneous switch Orchestra; Tibor Dittrich, professor of clar¬ Mihaltz: There are top schools in Buda¬ to the French system, which dominates inet at the Franz Liszt Academy and former pest, naturally. But there are also excel¬ in Hungary to this day. principal clarinet with the Hungarian Radio lent schools outside of the capital where Varga: I believe Gyorgy Balassa is most Orchestra; Istvan Kohan, principal clarinet the teaching of music, and the clarinet in responsible for the switch. He taught with the Budapest Operette Theatre and particular, is on a very high level. Even here at the Liszt Academy at the time. professor at the Dohnanyi Music School; in the high schools, the quality of teach¬ They say he forced everyone to switch Bela Kovacs, professor of clarinet at the ing and playing can be surprisingly good. to the French system overnight. June 2005 Page 71 Dittrich: That's right. I started playing the German system in 1954. In 1958 he told me I must change to the French system. I recall that in 1962, when I began play¬ ing in the Radio Orchestra, there were still two players in the section using the German system. Varga: I heard stories that in the early 1950s, you could be playing German one day and be expected to play French the next. Just imagine what that must have been like. There were a few whose career probably ended because they couldn't make the switch. Kohan: It's true that the French system predominates here today. But you see a trend where more than half of the play¬ ers are using German-made French style mouthpieces on their Boehm clarinets. That probably contributes to the typical sound you hear from Hungarian players, which tends to be closer to the darker, German sound. top row (I to r): Bela Kovdcs, Gdbor Mihdltz, Istvdn Kohan, Tibor Dittrich; Front row (I to r): Paul Globus, Jozsef Balogh, Istvdn Varga PG: Do you perceive big differences be¬ tween the German and French systems about that in this room is Jozsef Balogh, for the older pieces. With my chamber from a sound perspective? who plays both equally well. group, Interclarinet, I play a French sys¬ Kovacs: Certainly I agree that the Germans Balogh: Which is easier? Well, German in¬ tem, as do my colleagues. tend to favor a darker sound. But there's struments have never been made on an PG: Do you have to change your playing really no great disparity between the two assembly line, like Buffets and Selmers. techniques when switching from one to systems. They're custom made, in small shops. A the other? Mihaltz: To your point, they've done stud¬ German system instrument isn't neces¬ Balogh: There are differences in the finger¬ ies that prove there's no real difference sarily better or worse. It's different. ing. But it's still a clarinet, whether between the German and the French With a French instrument, you have to based on one design or the other. With system. By that I mean audiences can¬ find the right mouthpiece, the right reed. practice, any competent French player not tell which is which. But many peo¬ Everything is very critical to the final re¬ can learn to play a German system and ple believe, me included, that the French sult. With a German instrument, the re¬ vice versa. system enables the player to produce a sistances are distributed differently. You richer, more colorful and varied sound. can just pick it up and play it. From that PG: It would be like double-lip embou¬ perspective, they're easier to play. chure, I suppose. There are many play¬ PG: Is one system easier to master than the ers in North America and elsewhere PG: Do you have a preference? other, in your opinion? who can play single and double-lip with Balogh: For orchestra playing, I used to Mihaltz: I would say the German system is equal facility. easier. But the person who knows best use a German instrument, especially Balogh: Precisely. It's a question of desire and practice. Both systems, German and French, are valid in my judgement. It's nice to be able to have the choice. Visit Clarinettists' Paradise! PG: Speaking of double lip embouchure, is it used to any great extent in Hungary? Dittrich: We don't teach it here at the Aca¬ www.pomarieompieces.com demy. Mihaltz: It's certainly interesting that people play that way but I believe it's [email protected] possible to achieve excellent results with a conventional, single-lip embou¬ chure. I think almost everyone here plays that way. Page 72 The Clarinet PG: What about vibrato? PG: Which clarinet recording artists do too time consuming. It's a lot easier to Balogh: I sometimes play with vibrato. Vi¬ you most admire? purchase commercial reeds and adjust brato has its place. It certainly doesn't Dittrich: I don't have one favorite. There them. Besides, manually you can't make work in every piece of music, though. could be a recording that I hear where reeds perfectly. Dittrich: We don't generally teach it. But the clarinet really stands out. Something Kohan: We generally don't make our own I agree that vibrato can be beautiful. just grabs me in the music and the way reeds. I think in Hungary we use mostly When I do teach it, I teach it properly. the clarinetist plays. Vandoren reeds. Kohan: If it's part of the sound concept, it Mihaltz: Even when listening to an orches¬ Dittrich: When it started at the Liszt Aca¬ can work. But it has to be integral to the tra that could happen. You hear the clar¬ demy with Professor Balassa, we were sound. inet and it just strikes you as beautiful. required to learn how to make reeds by And you don't even know the clarinet¬ hand. But that was back in the 1950s. PG: So let me ask you all if you believe ist's name but at that moment, he or she Nowadays there's no such requirement. there is a discemable Hungarian style is your favorite. Almost everyone uses commercial reeds of clarinet playing. Kovacs: There are so many it's hard to and learns to adjust them. Dittrich: Yes, it's called "Bela Kovacs" choose. I do like Antony Pay very much. style. Varga: Certainly Karl Leister and Sabine Varga: I encourage my students to learn to play with any reed. Naturally, they all [This quip, a nod to the fact that Mr. Ko¬ Mayer must be mentioned. And I very eventually learn how to adjust their vacs is a well-known teacher and per¬ much admired the late Jack Brymer. reeds, which is an essential part of play¬ haps the best known Hungarian clarinet Balogh: For me, too, Antony Pay is a fa¬ ing. But I tell them not to become ob¬ player outside of his native country, ge¬ vorite, especially on the old instruments. sessed about reeds. I mean, how often nerated a good-natured laugh from all.] I still like Marcellus as well. do any of us play on a perfect reed? Varga: Heinrich Baerman's son was the Kovacs: I also think it's important to learn first teacher from Austria in Hungary. PG: Okay, one last question. What about flexibility with reeds. It generally takes So if there's such a thing as a Hungar¬ reeds? Do you use commercial reeds or students a long time to learn how to ad¬ ian style, it would be traceable to him. make your own ? just reeds properly. With experience, But I doubt if you would be able to tell Balogh: As I am a Rico Artist, I use Grand by listening to us that we are Hungar¬ Concert, Evolution. But sometimes I one's flexibility in playing different ian players. make some on my own. reeds tends to improve. You have to Kovacs: There's no discernable Hungar¬ Mihaltz: I teach my students how to make learn to play the reed and not to let the ian style of clarinet playing as far as I reeds. But most give it up because it's reed play you. can tell. We are a small country and try to take what is good from every nation¬ al style and adapt it into our own way of playing. June 2005 Page 73 statements; for example, "How was your day?" "Ivegottapractice." "The dog had puppies!" "Ivegottapractice." "Karl Leis¬ ter called and he's coming for dinner." "Ivegottapractice." You clarinetists certainly do have to practice a lot. That's in addition to having your clarinet (or clarinets — perhaps sever¬ al of them) in good working order, and hav¬ ing good reeds. You have to practice a lot because com¬ posers ask a great deal of you in music like Ravel's Daphnis and Chloe, Stravinsky's Firebird, Beethoven's Fourth Symphony, Strauss's Til Eidenspiegel, etc. I've heard the excerpts hundreds of times at home. When I attend a live performance of one of these works, no matter who is playing clarinet, I get sweaty palms. I hope the clarinetist plays well, so well that we lis¬ teners hear the music and not the diffi¬ by Katharine Whitelaw culty. Because that's what it's really about (remember?) — it's about playing amazing music for which composers specifically chose the clarinet. These pieces are the subject of endless vegottapractice. Definition: exclama¬ word. Uttered with increasing frequency discussions whenever clarinetists gather tion used to express imperative need to around our house as certain performances and the topic of many articles in The Clar¬ I practice clarinet, pronounced as one approach. Used in response to all kinds of inet. "What fingering do you use for the 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 74 The Clarinet ment could play the solo in The Pines of as the end of Beethoven's Fourth Symphony Rome by Respighi? Or open Gershwin's goes from slow practice up to concert I've Heard'the excerpts Rhapsody in Blue or Sibelius' First Sym¬ speed. I hear the bass clarinet solo in Sho¬ phony? (For those of you who don't know stakovich's Symphony No. 7 over and over hundreds of times at home, exactly what part I'm talking about in each as each phrase is polished to perfection. of the pieces I've mentioned, get a record¬ Suddenly it's concert time. Shostako¬ when I attend a five ing and listen. You've got work to do.) vich's musical stage has been set and the Robert Marcellus said it's never too late bass clarinet solo begins. The audience to practice slowly. That's why I hear my jperjormance of one of leans forward. What instrument is that? As husband slowly playing the opening of the final notes of the solo disappear into Daphnis and Chloe for the 50th time, tell¬ nothing, people hold their breath. How does these works, no matter ing his fingers again exactly how to move. I the clarinetist take such risks and succeed? hear the metronome click faster and faster In a word, "Ivegottapractice." who ispaying clarinet, I get sweaty pafms. KRISTIN BERTRAND high Gs in the trio in Beethoven's Sym¬ WOODWIND REPAIR phony No. 8?" "What clarinet do you use to play the ' Variacione in moda di Scherzo per EXPERT CLARINET REPAIRS IN THE HEART OF MANHATTAN Clarinetto' in Ginastera's Variaziones con¬ "aEBm^msmsssail) (646) 670-6565 cert antes'T' "I just can't get double trills to work in the Scherzo of Mendelssohn's A SPECIALIZING IN THE SERVICE OF PROFESSIONAL CLARINETS Midsummer's Night Dream." AND OBOES INCLUDING CRACK REPAIR, VOICING, TUNING, We audience members are grateful that CUSTOM KEYWORK, PADWORK, AND ADJUSTMENT. you practice so much. What other instru¬ PATRICOLA Fratelli Via Ercole Beltrami 9/c Zona artigianale G 15053Castefamovo Scrrvia (AL) - ITALIA Tetejirone+v^OlSl 826616 ^ Fax+390131823231 www.patricola.compatricola.net patricola.us [email protected] V v COLA PS k\ \ v., E^-B -A-C The WOODWIND & The MUNCY WINDS BRASSWIND Boone,NC28607 South Bend Indiana46628 Tdephcne (828) 9637083 Tefedxre (800) 348-5003 Fax (828) 9638990 (574)251-3500 Fax (574) 251-3501 You ask more?, now is available the new cL2 S (Bb), try it!it!„ SALgStSr*** fOlslTS To receiv June 2005 Page 75 More information about the books can Book Review be found at Page 76 The Clarinet movement depicts a sort of gradual awak¬ Larghetto, and number 19, Adagio. Carl point, and harmony since 1990, and at the ening in the aftermath of tragedy with re¬ Fischer's Web site advertises an accompa¬ Arabic Higher Institute of Music in Cairo peated fast ascending scales crescendoing niment CD for $19.95. It is unclear how since 1999. until the clarinet's entrance in the altis- many etude accompaniments are included Ma-Wal is a most welcome addition to simo register, followed by forceful accen¬ on the CD. our repertoire. It is a relatively slow piece in tuated passages until the ultimate crying I wholeheartedly recommend this excel¬ 10/8 meter based on the Egyptian mawal scream at the end. A post-chaos slow move¬ lent edition. Melvin Warner did us a tre¬ song form (the art of mawal is an impro¬ ment follows, ending the piece peacefully. mendous service by providing a clear and vised musical poem or story used to depict The clarinet part is of professional level, helpful revised edition of this book. Kudos a message). The notated cadenza-impro¬ with a generous amount of altissimo-reg- to Carl Fischer for their vision in investing visation sections are called taqasim. This ister passages throughout the four move¬ resources to publish a new edition of a book piece will give Western classical musicians ments. The score contains clear instruc¬ which was once thought of as being virtu¬ an understanding of Arabic music, includ¬ tions, and it is beautifully engraved on su¬ ally perfect. ing ornamentation, modes (maqamat), and perior paper quality. [See also, "The Clar¬ rhythmic patterns (wazn). The clarinet part inet Concerto of Ellen Taaffe Zwilich" by calls for microtones or quarter-tones (sikha), Jesse Krebs, The Clarinet, March 2005, "Clarinet Desserts." In today's multi-fa¬ commonly found in Arabic music. The rel¬ pp. 58-60. Ed.] ceted classical music world, the number of atively complex rhythms can be tricky to clarinetists craving unusual repertoire is learn for a novice of this genre, but very Melvin Warner. The New Rose Studies for growing. World music is quickly earning a well worth the effort. It is a short piece, Clarinet. Carl Fischer, 2002, $9.95. comfortable place within the classical reci¬ somewhat reminiscent of today's Arabic tal venue. Here are four pieces that add fla¬ popular music. The score is very well en¬ Melvin Warner, professor emeritus of vor and uniqueness to a classical clarinet re¬ graved on high quality paper. The only clarinet and chamber music at Northern Il¬ cital, hence my nicknaming them "clarinet drawback is the very high price of $28.00 linois University, received a B.M. and a desserts." On the menu: Egyptian Ma-wal for such a short composition. M.M. from the University of Southern Cali¬ by Ali Osman (Arabic rhythms), Laurofor fornia. He taught at San Diego State Uni¬ Clarinet by Venezuelan guitarist/compos¬ Antonia Lauro. Lauro for Clarinet. Inter¬ versity and the University of California at er Antonio Lauro, arranged for solo clar¬ national Opus, 1998, $28.00. Duration: San Diego. During summer months he pre¬ inet by Paquito D'Rivera (Latin rhythms), 9-10 minutes viously taught at the Hartt Summer Youth Threeway by American composer Donald Music Camp and the Birch Creek Music Martino (jazz), and a piece de resistance, Antonio Lauro (1917-1986) was bom in Center. Most recently, he served on the fac¬ Piyutasia-Sephardic Fantasy by Max Stern Bolivar, Venezuela. At a young age, he be¬ ulty of Idyllwild Arts in California and as a (Jewish style). came the official guitarist of Caracas member of Midsummer's Music, a cham¬ Broadcasting. He began composing in the ber ensemble performing every summer in Ali Osman. Egyptian Ma-wal for clarinet 1930s, and studied at the Escuela Superior Wisconsin. He recorded for Crystal Records, and piano. International Opus (P.O. Box de Musica "Jose Angel Lamas" Through¬ Centaur and CRI labels. 4852, Richmond, VA 23220. June 2005 Page 77 companiment written for these gorgeous good news is that for the next 36 years I clarinet version was published in 2001. Se¬ waltzes. The pieces will sound best when taught at five different college institutions. phardic music pertains to Jews whose an¬ played with vibrato and with a subtle, sen¬ The bad news is that it soon became appar¬ cestors came from Spain and Portugal. The suous tone. The waltzes are also available ent that teaching, composing, performing, term Sephardic Jews originally referred just for bassoon or flute. The score includes ver¬ and having a life were too much for me to to the Jews in Spain, but now applies to the sions for B'' and A clarinet, which seem handle. The clarinet had to go. Now that I entire Mediterranean region. Sephardic mu¬ unessential if no piano part is provided. The am retired from teaching, I again have time sic contains music elements of Spain, Mo¬ B'' clarinet part is technically uncomfortable to practice my clarinet and I regard those rocco, Argentina, Turkey and Greece. The with two to six sharps in the key signatures, old jazz pieces as unfinished business. It term "Sephard" is derived from the Hebrew whereas the A clarinet part falls in the fin¬ is my hope to record them and then issue word Sephard, meaning "far away." Piyu¬ gers perfectly well. They are moderately the sheet music as Dantalian Publications." tasia is quite difficult both technically and difficult, and the music is extremely well (8/1/2000). Threeway is the finale of the rhythmically. It requires physical endur¬ engraved and easy to read. As with the above-mentioned jazz compositions written ance, considering that there are almost no Egyptian Ma-wal the price is quite high at in 1957 during Martino's Manhattan free¬ rests during 12 pages of music. Because of $28.00 for such a short composition. Add lance clarinet playing days. It is a charming this, the clarinet part has several awkward fugue in the style of a "jazz meets Bach" a piano part, and I'm sold. or impossible page turns. The clarinet part three-part invention, marked "With a gentle calls for several fluttertongued notes, as swing." The three parts are relatively easy. Donald Martino. Threeway for clarinet (or well as technical dexterity and rhythmic The clarinet part remains in the mid and piano), string bass (or 'cello), and vibra¬ savoir-faire. Many of the idiomatic klez- low registers and does not require advanced phone (1957/2000). Dantalian, Inc. (11 mer-like effects are written out, which nov¬ technique, although a knowledge of the Pembroke St., Newton, MA 02458-2122. ices of this genre will appreciate. jazz style is necessary to capture its es¬ Page 78 The Clarinet style. According to the composer's notes, by Gregory Barrett is daunting however. This is not a book that this new contest piece was written for Phi¬ you can play through from cover to cover. lip Trammer, one of Harvey's former stu¬ Jost Michaels. Systematic Approach to But if you attempt this feat, like me, you dents at the Royal Military School of Mu¬ Clarinet Finger Technique. Edition for may find yourself circular breathing before sic, Kneller Hall. He further tributes former Boehm Clarinet. Allan Ware, editor. you are even aware that you are doing so in Kneller Hall clarinet professor, Henry La¬ Musikverlag Zimmermann, Frankfurt, order to play as many exercises as possible zarus, by writing the piece as a virtuosic 2001. in one sitting. The best approach would be variations, a style frequently employed in to either concentrate on one or two pages in Lazarus' own composition. Harvey uses the The December 2004 issue of The Clar¬ a session, or to practice just a few exercises theme from the Regimental March for the inet included Allan Ware's memorial trib¬ from several selected sections. Band of the Green Howards in both stan¬ ute to his former teacher Jost Michaels. Michaels includes a few ideas or exer¬ dard and "not-so standard" variations. Michaels was a renowned musician and cises that were new to me, including alter¬ The introduction begins with flamboy¬ teacher with a long tenure at the North¬ nating between thumb f and c a perfect ant recitative-style material based on the west German Music Academy in Det- fourth below, and when playing the c to take your left-hand thumb off the clarinet. theme in C major. Arpeggiated and step- mold. His teaching stressed musicality, but He also asks you to use fingerings that may wise patterns composed within greatly var¬ also acknowledged the importance of proper not be your normal first choice in order to ied rhythmic groupings dominate the clari¬ technical skills. For years Michaels pro¬ build more flexibility into your technique, net writing within this section, with the vided his students with finger perfor¬ mance exercises that he insisted be played such as practicing an exercise with left then melodies broadly sweeping the range of in a musical manner. Now these exercises right fifth fingers. There is a helpful section the instrument. The piano accompaniment are available for everyone. to learn to switch fifth fingers while sus¬ is simple, punctuating the solo. (Note: In Michaels' work expanded upon the tra¬ taining the same note, and also good mate¬ measure 7 of the clarinet part, there is ap¬ dition of predecessors such as Karl Baer- rial to practice fifth finger sliding. If your parently a misprint in the second beat. The mann. Allan Ware writes in his notes to this weakness is your left-hand second finger, fifth note would logically be a to com¬ book "S [the studies] are based on the fun¬ Michaels has exercises for that too. Both plete the chromatic passage.) The next sec¬ ctions of the fingers and not primarily on register breaks are addressed in a thorough tion, Alia Marcia, consists of several pen- their duties in various tonal scales and ar¬ manner including the concept of preparing tatonic passages in the clarinet while the peggios." To this end, Michaels does take a to cross the first break by putting down fin¬ piano plays a clear statement of the theme. "systematic approach" to the organization gers in advance. Most players would need a This is followed by two dance variations, of the thousands of short coordination exer¬ knowledgeable teacher to explain how best "Con Bravura" and "Waltz." Both portions cises in his 196-page volume. Starting with to use Michaels' exercises in this section. provide the clarinetist with virtuosic- the left hand, practically one finger at a In general, the range of the clarinet is sounding music while lying beneath the time, the exercises begin with intervals up only explored up to high g, though there are fingers easily. to a perfect fifth within C major. In a unique brief sections that include some gland high In a typical variations form, a composer approach, Michaels has included with the a exercises. Short passages from Schehera¬ will write a slow segment in a minor mode. book a one-page heavyweight removable zade, the Weber Quintet, the Overture to This English composer has chosen to give a insert that serves as a guide to expand on the Gypsy Baron, the Mozart Clarinet Con¬ new slant to the slow movement in "Quasi the small fragments that begin each of the certo (Rondo), Debussy's Premiere Rhap¬ Blues." As its name indicates, this variation numerous sections of the book. You place sody, and Schumann's Symphony #1 are in¬ is written in a slow, lazy jazz style. The this insert next to the main book, and as you cluded in appropriate places. These I found performer will enjoy playing the seductive work through the book you apply the rhyth¬ motivational, as they were drawn from chalumeau lines as well as performzing mic and melodic expansions shown on it to standard clarinet literature. the delicate "bluesy" melodies in the al- the subsequent short examples. This too is This is an exceptional book in its thor¬ oughness, and with diligent and correct tissimo register. I recommend adding sub¬ part of the "systematic approach." According to Ware, the exercises "S use would help a player go a long way to tle pitch bends to enhance the style. This train the physical side of playing (hand pos¬ perfect his or her finger technique. It is portion is particularly reminiscent of Har¬ ition, appropriate pressure on the keys, dis¬ very abstract however, and is best used in vey's other jazz-based compositions. The tance of fingers to the keys, selection of ap¬ short doses so that a player's nascent en¬ piece ends with a frolicking "Vivace" in propriate fingerings, etc.), but they go much thusiasm for music is not squelched. Please duple compound meter. Here, he uses long, further. They train concentration, control of follow the prescribed dose and then reap fast moving melodic lines interspersed accents, and keeping one's head at difficult the rewards. with occasional hemiolas. Overall, the com¬ moments." For years I have practiced Klose position lies quite comfortably for the solo¬ mechanism studies and found them con¬ Jost Michaels. Supplemental Scale Sys¬ ist. The composition would be appropriate cise, yet extremely helpful. These exercises tems. Edition for clarinet. Musikverlag for both students and professionals. The are in the same mode but greatly expanded. Zimmermann, Frankfurt, 2001. piano part is quite simple, which makes I did not play every exercise in the book, Bonny English Rose a good repertoire choice but I did play most of them and found that Intended to be an extension of the Syste¬ for a performance with limited time with they are productive as a warm-up and con¬ matic Approach to Clarinet Finger Tech¬ the accompanist. centration tool. The sheer number of them nique, Supplemental Scale Systems begins June 2005 Page 79 where basic major and minor scales end. father, piano; Marilyn Nonken, piano; The pointillistic style of Dove is parallel The first exercises insert one extra chromat¬ "The President's Own" United States to the style of the title movement of this ic note in each octave of a major and minor Marine Band conducted by Timothy CD, Martian Counterpoint. "Martian scale. This results in two, four-note groups Foley; Diane Maltester, clarinet, Peter Counterpoint" is the fourth movement of of 16th notes per octave, which means that Josheff, bass clarinet, and the Empyrean Ten of a Kind (Symphony #2) for 10 clari¬ in 2/4 the tonic note is always the first note Ensemble conducted by Ross Bauer. nets and wind ensemble. I know of no other of the measure. Next the real fun begins. Rakowski: Ten of a Kind (Symphony work like this one. It is a true blending of Michaels points out that Nielsen's Clarinet #2), concerto for 10 clarinets and wind symphonic ideas and of a concerto for a Concerto contains scales where, four notes ensemble; Mento, for clarinet and piano; standard 10-member clarinet section, in¬ at a time, the scale alternates between C Cerberus, triple clarinet concerto; Etudes cluding EK Bl", alto, bass, and contrabass major and C# major. Michaels mixes this for Piano, Nos. 15, 20, 21, 25, 29, and clarinets. Commissioned by the United construction ascending, with an octatonic 33. ALBANY RECORDS TROY 681. States Marine Band, it is here expertly re¬ construction descending. Bear in mind that Total time 75:33. (distributed by Albany corded by them. The clarinet section sounds these exercises are designed to make your Records USA and UK; Web site: Page 80 The Clarinet work is brilliantly orchestrated, and it is It's not everyday you spin a clarinet CD O. Smith's Jazz Fantasy for two clarinets. here very well performed. and you simply want to burst with excite¬ Smith, who goes by "Bill" when jazzing, Spread throughout the CD in three pairs ment. Well, today's the day with Eddie Da¬ needs no introduction to our readers. As a are six of Rakowski's Etudes for Piano, niels and Larry Combs, two favorite cham¬ composer and performer, he pioneered captivatingly performed by Marilyn Non- pions in the clarinet world. This CD proves everything from A to Z, from clarinet avant- ken. I found these works concise and high¬ yet again why. garde techniques to electronic applications ly unified, and with enough invention to The recording is packed with fabulous to taking the instrument apart on stage. (By really hold my attention. They range from repertoire featuring two clarinets, and two the way, thank you Bill, for inspiring this Debussy-like sonorities in "Sliding Scales," clarinets with string quartet (with bass) and writer to venture into the world of electron¬ to rocking motions and rhythmic jazz in¬ jazz trio accompaniment. Both styles are ics after making a presentation at Indiana flections in "The Third, Man" and the chro¬ included equally throughout the recording, University in 1981.) Jazz Fantasy is a deli¬ matic "Twelve-Step Program." Rakowski's and both are stunning. Which clarinet part cious short five-movement clarinet duet. three other titles, "Roll Your Own," "Fourth is played by Daniels, and which is played The last piece on the recording just about of Habit," and "Fists of Fury," are a reflec¬ by Combs...? It's a challenge to set them knocked me down with a most oh-so-won- tion of the good-natured and engaging apart. Both are masters of either genres, derful backup jazz combo and great tunes music of this modem master. and, lucky for us, they decided to get to¬ any clarinetist would want on their music gether to record this precious gem. stand. This is all I'll write about it; you'll by Michele Gingras For form, I will include the widely have to acquire this CD because the last known fact that Larry Combs is the princi¬ movement left me speechless. Uh, Eddie Crossing the Line. Eddie Daniels and pal clarinetist of the Chicago Symphony and Larry, thank you! Larry Combs, clarinets; The Chicago Orchestra, and both he and Eddie Daniels I give this recording my very top four- String Quartet (Joseph Genualdi and Jas¬ enjoy multifaceted stellar careers as per¬ reed rating, plus one extra reed boxed in a mine Lin, violins; Rami Solomonow, formers and recording artists in both gen¬ miniature treasure chest for the thrilling last viola; Christopher Costanza, cello) with res. Both are Leblanc artists. track entitled Andre de Sapato by Andre Brad Opland, double bass; Larry Novak, The menu includes three "classical" Victor Correa. piano; Sean Summer, bass; and Gary pieces and three jazz pieces, separated Novak, drums. Amilcare Ponchielli: II throughout the recording by four short im¬ by Christopher Bade Convegno; Ignaz Josef Pleyel: Original provised and unedited clarinet duet inter¬ Duos (four); Gordon Goodwin: The ludes called "noodles." Each "noodle" has Trio Montecino. David Shea, clarinet; Leblanc Suite; W. F. Bach: Sonata for a title or theme and both players bounce Pablo Mahave-Veglia, cello; Paulina Za- Two Flutes; William O. Smith: Jazz Fan¬ back each other's ideas, making it sound as mora, piano. Alfred Prinz: Variations', tasy for Two Clarinets', four interspersed though they were actually playing from a Andrew Dionne: Prelude to Winter, Scott Noodles: "Jumping In," "Freedom," written score. One of the improvised "noo¬ Miller: Elegy, Alfonso Montecino: Mu¬ "Loosey Goosey," and "Blue Noodle"; dles" worked out so perfectly well that both sic for Clarinet, Cello and Piano', Mary and The Line is Crossed into the performers end up laughing out loud at the Jeanne van Appledom: Passages III', Mi¬ Daniels/Combs Jazz Quintet: Bud end. The CD opens with the popular ope¬ chael Wittgraf: Meditation and Hoole- Powell: "Hallucinations"; Bill Evans: ratic virtuoso II Convegno by Amilcare Pon¬ rei. EROICA JDT3196. Total time "We Will Meet Again"; Thelonius Monk: chielli, usually performed with piano. This 58:14. (available from Eroica Web site: "Blue Monk"; Andre Victor Correa: version works beautifully with string quar¬ June 2005 Page 81 of the selections on the disc were com¬ ister of the cello is offset by a repeated three tetrachords reminds the listener of the sim¬ missioned by Trio Montecino. The pieces eighth-note pattern set in mixed meters and/ plicity of Bartok's Mikrokosmos and the are all accessible and imaginative. The in¬ or syncopation. After some conversational complexity of Hindemith's Ludus tonalis struments are treated idiomatically yet chal¬ treatment between clarinet and cello, a de¬ because of the fugal treatment and satisfy¬ lenged at times by nontraditional linear and velopmental section ensues with each voice ing harmonic cadence that closes the brief harmonic language. Each work deserves taking its own polyphonic route. Imme¬ movement. Pentatonic scales taken from more readings, but the inherent ensemble diately thereafter, a pseudo-walking bass the D Dorian scale are used in the fifth cohesiveness may prove to be a difficult line with sinister temperament is played by movement that features a haunting piano obstacle that only the most advanced play¬ the piano while first the clarinet and then background. The final movement is an in¬ ers can accomplish. cello interject long, legato melodic lines ventive alternation of minor ninth chords There is a definite neoclassical flavor that hint at free jazz improvisation. A brief and quartal harmonies that has an aggres¬ to the Variations of Alfred Prinz (b. 1930). coda of added tone chords in the piano sive rhythmic energy. This piece was commissioned in 2002 and close out this atmospheric work of substan¬ Wittgraf's Meditation and Hoolerei is a is another fine example of the former Vi¬ tial depth and complexity. real study in contrasts. This piece, a finalist enna Philharmonic solo clarinetist's com¬ Alfonso Montecino's Music, Op. 40 is a for the 1995 Ladislav Kubik International positional artistry. Prinz has written several two-movement work that opens a bit like Composition, is actually in two movements excellent works that feature the clarinet and the previous work in terms of its timbres with no break. The opening "Meditation" is clarinet ensembles. The breadth of variation and reflective mood. The fine liner notes slow in tempo and somewhat inactive. treatment runs from free cadenza to con¬ point out that a rhythmic gesture at the on¬ However, the registration and apparent dy¬ set punctuates the melodic texture. This temporary contrapuntal motivic treatments. namic level are not in keeping with the gesture can be heard in other places in the An uninterrupted narrative of continuous quietness usually associated with the con¬ movement but its presence is not overt. The variation helps the piece to flow naturally templative side of meditation. The "Hoo¬ richness of the cello's middle register and from one variation to the next. The open¬ lerei" is taken from a style of Midwestern ing variations are contemplative in nature. the superb intonation of the clarinet in the polka. The relentless pulsing of cello and Subsequent variations are first harmoni¬ high register are striking features. The sec¬ piano in the low registers are a stark con¬ cally conservative that yield to more vig¬ ond movement opens with a jagged but re¬ trast to the virtuosic treatment of the clar¬ orous rhythmic treatment. Truly, the diver¬ gularly pulsing rhythmic theme in the pi¬ inet in the upper register. Pizzicato in the sity of variation technique is remarkable. ano. Clarinet and cello imitate the rhythmic cello and stamping chords in the piano also Yet, the ensemble is always treated as a vitality. Soon afterward, some interesting are prevalent. Extreme leaps are handled complementary group. At the conclusion, string techniques such as col legno are well by Shea, and the mood shifts between the work fades away into the distance with used by the cello for a timbral and ener¬ frantic and merely vibrant to calando are piano chords and a sustained harmonic in getic change. Chromaticism, high harmon¬ ably performed by the trio. the cello. ics, and ingenious rhythmic interplay be¬ This recording is a revelation. To have Andrew Dionne's Prelude to Winter, tween the players take us to the return of the six listenable and engaging works for clar¬ commissioned in 2003, is the most atmos¬ opening material that is varied by percus¬ inet, cello and piano of the last 10 years pheric piece on the disc. Several aspects of sive strikes on the body of the cello and a the piece worth noting are long, arching blistering unison. A dramatic tone cluster all on one disc is a great boon for avid clari¬ melodies (some without apparent goals), on the piano signals the abrupt conclusion. netists and libraries too. Hopefully, these aphoristic and expressionistic gestures, and Montecino (b. 1924) is professor emeritus works will be undertaken on a regular basis a striking section of descending cascading at Indiana University. and reach a wider audience. David Shea, major scales. Depicting the last part of the Passages III by van Appledom (b. 1927) currently an assistant professor of clarinet text, "...when the leaves fall," the piece is a multi-movement work that features a at Texas Tech, is an excellent clarinetist ends surprisingly and gracefully. Dionne (b. concept of "creating each movement ... who plays with great control, solid tech¬ 1973) based the piece on a poem by Wil¬ upon the vast colors of a specific scale, or nique and great energy. Cellist Pablo Ma- liam Carlos Williams. a series of tones cast in a motive or have-Veglia is an assistant professor at There are moments in the Elegy of Scott phrase...For example, the opening move¬ Grand Valley State in Michigan. His play¬ Miller (b. 1963) that remind the listener of ment presents octatonic (alternating whole ing, too, is vibrant, technically secure, and colors heard in Messiaen's Quartet for the and half steps) and modal scale construc¬ impeccable in intonation. Paulina Zamora End of Time and Honegger's Sonatina. Still, tions. After the introduction, a cascading is an often-recorded pianist who recently there is a profound sense of the tragic na¬ piano line is background for an impressive completed D.M.A. course work at Indiana ture of the Jewish ghetto residents in duo passage for clarinet and cello that starts University. Her playing exhibits tasteful Czechoslovakia with ethnically tinged har¬ innocently enough but quickly intensifies collaboration, rhythmic drive, and a var¬ monies and scalar patterns hinting at har¬ into a highly dramatic interchange. The iety of tone colors. The Trio Montecino is monic minor. During the middle third of the second movement is a fine example of bi- a superb chamber ensemble who have piece, the music has both the stability of chordal harmonic treatment with some Pe- bravely commissioned and recorded new stasis and the inkling that the interesting trushka-\ike piano passages. Movement works. We can only hope that they contin¬ harmonic palette will take us onto a new three has octatonic melodic and vertical ue to seek out composers to continue path. A bold angular theme in the low reg¬ structures. The fourth movement's Lydian adding to the repertory. Page 82 The Clarinet by Eric Mandat pered intervals and some of the more famil¬ centration to accurately reproduce that iar timbres ... there are many slight gradu¬ which was inside him. The resultant qual¬ Morton Feldman/Christopher Fox — ations of quietness, complex non-metric ity of Feldman's music, therefore, is of a Clarinet Quintets. Roger Heaton, clar¬ rhythms and an organization of pitch in gradually unfolding flower, the process be¬ inet; Mieko Kanno and Davide Rossi, which intervals of three and five quarter- ing inseparable and indistinguishable from violins; Bridget Carey, viola; Sophie tones are much more common than any¬ the product. The string quartet for this re¬ Harris, cello. Christopher Fox: Clarinet thing in the well-tempered scale." The chal¬ cording, while not a regularly performing Quintet (1992); Morton Feldman: Clar¬ lenges for the ensemble members become ensemble, has a great cohesiveness and sen¬ inet and String Quartet (1983). ME¬ very clear from Fox's statement and each sitivity to the extreme demands of balance TIER RECORDS MSV CD92082. performer is more than up to the task. Soft and intonation, and the group plays with a Total time 57:10. (Web site: June 2005 Page 83 RECITALS M CONCERTS 23, 2005. Sonata in Re, Rota; Three Mini¬ Church, Boston, MA, October 25, 2004. Student... atures, Penderecki; Quintet in B minor. Op. Duo Concert ante, Milhaud; Romance in G Kira Bokalders, clarinet. Junior Recital, 115, Brahms and Tarantella in g minor, Reger; Awaken¬ University of Florida, February 24, 2005. Erin Brooke Hostman, clarinet. Senior ing for clarinet, violin & piano (premiere Duo Concertant, Milhaud; Tango Etude Recital, Brigham Young University-Idaho, performance), Girard No. 6, Piazzolla; Sonata for Clarinet, December 3, 2004. Sonata for Clarinet and Ensemble Clarinesque, Bettina Ross, Poulenc; Sonata No. 1 in F minor. Op. 120, Piano, Bernstein; Rhapsody for Clarinet, Frank Christmann, Bruce Edwards and No. 1 Brahms Osbome; Quartet for Clarinet, Violin, Viola Christof Hilger, clarinets, October 2, 2004. Chad Donohue, clarinet. Senior Recital, and Cello, Hummel Musikinstrumenten Museum, Berlin, Ger¬ University of North Texas, February 25, Mary Beth Huttlin, clarinet, Junior Re¬ many. Symphony No. IV, Boyce (Hacker); 2005. II Carvevale di VenezJa, Giampieri; cital, Michigan State University, February Rondino, WoO 25, Beethoven (Christ¬ Les Trois 'S\ Rivier; Sonatina, Horovitz; 26, 2005. Four Church Sonatas, Mozart/ mann); Seven Songs, Bernstein (G. & B. Jazz Variations on a Theme of Paganini, Ettlinger; Gra for Clarinet Alone, Carter; Edwards, W. Lutz-Rijeka); Preludio 9 & Garson Premiere Rhapsodie, Debussy; Sonata for Fuga 9, Piazzolla (Edwards); Songs from Jessica Flanagan, clarinet, M.M. Re¬ Clarinet and Piano, Bernstein the Threeepenny Opera, Weill (T. Claus); cital, University of North Texas, February Janet C. Kapala, clarinet. Student Re¬ Feast, Bill Douglas. September 26, 2004, cital, Northern Illinois University, April 2, Lina-Hilger-Gymnasium, Bad Kreuznach, 2005. Solo de concours, Rabaud; Sonate, Germany. Rondino, WoO 25, Beethoven Contacts for Rheinberger; Three Pieces for Solo Clar¬ (Christmann); Quartett in c.minor, Op. 4, inet, Stravinsky; Clarinet Quartet No. 3 in Crusell (Hacker); Humoresque, Dvorak The Clarinet: D Major, Op. 7, Crusell (Kovacs); Preludio 9 & Fuga 9, Piazzolla Brian Levels, clarinet, bassoon, oboe Send all articles, recital programs, orders for back (Edwards); Songs from the Threeepenny and flute, M.M. Recital (Multiple Wood¬ issues, announcements and any other non-commercial Opera, Weill (T. Claus); Feast, Bill Douglas winds), University of North Texas, March items intended for publication in The Clarinet to: Michele Gingras, clarinet soloist, Ox¬ 6, 2005. Tema con Variazioni pour clar- ford (OH) Chamber Orchestra, January 27, James Gillespie, Editor/Publisher inette en la et piano, Frangaix; Suite for 2005. Concerto for Clarinet, Shaw College of Music, University of North Texas Oboe and Piano, Piston; Trois pieces pour Michael Pirotta, clarinet, St. James Ca¬ P.O. Box 311367 basson et piano, Procaccini; Syrinx, De¬ valier Center for Culture, Naxxar, Malta, Denton, Texas 76203-1367 bussy; Suite pour trio d'anches, Tansman March 16, 2005. Prelude for solo clarinet, E-mail: Page 84 The Clarinet Woodwindiana MUSICAL CHAIRS A resource for great clarinet music and CDs: Suzanne Tirk University, Lawrence University, Central 25 Etudes (1998) by Alfred Prinz Wichita State University Michigan University, Eastern Michigan Very challenging and musically satisfying University and Montana State University. advanced etudes based on passages from the Wichita, Kansas symphonic and operatic repertoire for clarinet. She holds a Bachelor of Music degree in $16.50 Suzanne Tirk was performance from Lawrence University Trio (1997) by Alfred Prinz appointed assis¬ (WI) and has done her graduate work at Quixotic humor and a flurry of notes in tant professor of Michigan State University, studying with three contrasting movements for EK Bl> & Bass Clarinet. clarinet at Wichita State Elsa Ludewig-Verdehr. Other teachers in¬ $15.50 University in the fall of clude Charles Neidich, Theodore Oien, 2004. Her duties include Colin Lawson, Fan Lei and Richard Faria. Serenade, Op. 131 (1998) teaching undergraduate by Michael Kibbe and graduate applied A 16-minute set of seven dance movements for clarinet duet; great fun and a hit with audiences. clarinet, and performing Suzanne Tirk $16.00 with the Lieurance Notices of recently filled positions in Woodwind Quintet. Tirk has taught at sev¬ colleges, universities, orchestras and major "Pre-Rose" Etude Books eral universities including Bemidji State military bands should be sent to the editor. by Randall Cunningham: 21 Chalumeau Studies (1989) Great melodies for the young clarinetist. $11.50 I.CE WUOBTO MonsG^fto? 18 Preludes (1991) Intermediate pieces in all keys & styles. $12.50 IJOMHJHIIOfl EROCGDUHe 15 Advanced Etudes (1990) A challenge for late high school and In accordance with the International Clarinet Association Bylaws (Article V, early college level. Section 6), a special category of Honorary Membership has been created for per¬ $13.50 sons of "unusual distinction." The International Clarinet Association Board of Bridges to Bloomington New CD by Trio Indiana Directors invites the general membership to nominate individuals for Honorary (James Campbell, Eli Eban, Howard Klug) with Alfred Prinz & Mitchell Lurie. Memberships from the areas of professional service, teaching, performance, and/or Music by Prinz, Heiden, Uhl, Weill. lifetime achievements. Nominators should include a brief biographical sketch of $15.00 the candidate along with further information as specified below. There is a limit of Elegie one nomination per person. Nominations must be postmarked no later than July 1, CD by Howard Klug & Andrew De Grado 2005, and sent to: Clarinet and bass clarinet pieces with piano by Sarasate, Debussy, Phillips, Prinz, Faure, Schumann, Reinecke, Templeton. Kristina Belisle, Associate Professor of Music $15.00 School of Music, University of Akron The Clarinet Doctor Book by Howard Klug Akron, OH 44325-1002 117 pages of performance problem-solving with new approaches to improve technique, tone, staccato. Annotated lists of repertoire and E-mail: < [email protected]> a complete college curriculum. $35.00 Nominations for Honorary Memberships should include the following information: VISA, MasterCard and checks (USD) accepted. Include $3.50 shipping for U.S. and Canada. Foreign orders add $6 for surface mail • Name of nominee: Nominee's address, phone and e-mail address or $12 for airmail. • Biographical sketch of nominee and supportive documentation of the nominee's Woodwindiana, Inc. qualifications P.O. Box 344 Bloomington, IN 47402-0344 • Printed name of the nominator; Nominator's address, phone and e-mail address ph/fax 812-323-8622 hdklug@aol. com June 2005 Page 85 This winter it was my honor and dis¬ tinct pleasure to represent the I.C.A. at the 2005 College Band Directors National Association (CBDNA) Confer¬ ence in New York City. As readers of The Presidents Clarinet and "The President's Message" * - * « will recall, the I.C.A. recently commis¬ sioned a concerto for clarinet and winds. This commissioning project, long in plan¬ ning and complex in execution, came to fruition on Friday, February 25 in Carne¬ Message gie Hall with the premiere of Brooklyn Bridge for Solo Clarinet and Symphony by Michael Galvdn Band by Michael Daugherty. Let me say that in all respects this was a triumphantly ment of the concerto, I also imagine Artie Allow me to digress here and ruminate successful conclusion to a great deal of Shaw, the great jazz swing clarinetist of the on student performers in 2005. At this work by a large number of people from 1940s, performing with his orchestra in the CBDNA conference I was struck and im¬ planners to researchers to funders to so¬ once glorious Rainbow Room." pressed by the kind and level of ensemble loist, accompanists and conductor to (of The soloist, Michael Wayne of the Kan¬ clarinet playing I was fortunate to hear in course) the composer. sas City Symphony, played the piece ("our" concert. The sampling of groups I heard The work itself is enormously satisfying piece!) with elan, energy and polish, alter¬ formed a fascinating cross-section of col¬ to the listener, and apparently, to the soloist nately dancing and singing it out to the leges, regions, and missions, with a com¬ and accompanists as well. At more than 20 audience. Daugherty's lovely and heartfelt monality of artistry and conviction: New minutes, this is a major work with big chal¬ slow movement was balanced with the England Conservatory, University of Mich¬ lenges, but is, as planned, seemingly igan, University of Louisville and Ithaca playable by more than just a handful of vir¬ swinging energy of the finale. The bound¬ College. These schools along with others tuoso performers. It is constructed in four ing and solitary nature of the unaccompa¬ movements, the third being unaccompanied nied section contrasted with the sizable sent students to New York to perform Mo¬ (a very interesting surprise). To paraphrase sound of the wind symphony, complete zart, Husa or Daugherty with a command the composer, "Each movement of the clar¬ with a to-the-fore clarinet choir. (There's and understanding that can make all of us inet concerto is a musical view from the even some sparkling interplay between — students, teachers, professionals or am¬ Brooklyn Bridge: East (Brooklyn and soloist and contra-bass clarinet!) The over¬ ateurs — rightfully proud. This is the same Brooklyn Heights); South (Statue of all impression of the work and its perfor¬ with young players one hears in ensembles Liberty); West (Wall Street and the lower mance was lent polish by the University of from Belgium or Japan or, well, you pick Manhattan skyline which was once domi¬ Michigan Symphony Band who, under your favorite place. It is the same with the nated by the World Trade Towers); North conductor Michael Haithcock, played their remarkable clarinet playing in the I.C.A. (Empire State Building, Chrysler Building, role with energy, enthusiasm, and control. competitions. On National Public Radio in and Rockefeller Center). In the final move¬ Bravi tutti! the U.S.A. there is a show called "From the 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: BPl Close • BP02 Persona! • BP3 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 Tellerv Inc. and Barclay Music Page 86 The Clarinet Top." On it I have heard teenaged clarinetists from Kentucky to China play solos with brilliance and beauty. One stands humbled. We will have the opportunity for a sec¬ ond hearing of our commission soon at ClarinetFest 2005. The organizers have planned for it to be heard this summer with a Japanese wind band. (Yet another high¬ light of a fantastic clarinet event!) And then I can imagine performances by groups PO Box 1274, Boone, NC 28607 USA around the globe, including by the other FAX 1(828)963-8990 institutions of the commissioning consor¬ See Our Web Specials tium: Arizona State, Concordia, Sam Hous¬ www.clarinet.org www. mun cywin ds. com ton State, Texas Christian, Texas Tech, Towson, Kentucky and Utah. I know I'll want to play it soon! And with a piano re¬ duction promised, not every performer will have to enlist a symphony band to experi¬ ence this work. Again, congratulations go out to all who participated in this success¬ ful I.C.A. project. Back Issues of The Clarinet Back-issue order forms for The Clarinet may now be downloaded from the I.C.A. Web site: James Gillespie muncywinds.com College of Music University of North Texas nur P.O. Box 311367 la Denton, TX 76203-1367 •Jill E-mail: muncywinds.com muncywinds.com A Division of MW Enterprises, Inc. 'Every Reed Is A Masterpiece 1(800) FINE REED or (828) 963-6487 Fax (828) 963-8990 VISA Email: [email protected] Free Catalog! PO Box 422, Sugar Grove, NC 28679 Call 1(800)333-6415 Page 87 Buffet Crampon CUruiet Masters Week, August 22 - 26 First Baptist Church of Rochester Rochester, New York Artist and Guests Greg Raden: Dallas Symphony Orchestra Patricia DiLutis: Buffalo Philharmonic Orchestra William Blayney: Seattle Freelance Clarinetist Robert DiLutis: Rochester Philharmonic Orchestra David Drosinos: Zephyros Greek Band & Key West Symphony Francois Kloc: Buffet Crampon Manager of Woodwinds, North America Frederic H. Weiner: Weiner Musical Instruments Inc. Chris Coppinger: The Music Group Regional Manager David Gould: Vandoren Artist and Product Specialist Events & Classes • Daily Clarinet Ensemble coachings by faculty • Learn how Vandoren reeds and mouthpieces are made • Master class with Greg Raden, Principal Clarinetist of the Dallas Symphony • Greek Clarinet technique class and performance by David Drosinos • Reed making and The Reed Machine with Robert DiLutis • Clarinet repair techniques and maintenance with Francois Kloc, including complimentary instrument repairs • Purchase supplies and accessories • Try the latest models of the Buffet Crampon clarinet line including the Tosca Open to students of all ages 88 The Clarinet 0 0 0 They look beautiful but do they really make a difference? You'll never know until you try them yourself. And when you do, we predict you'll join the legions of top players who've discovered an improvement in sound, feel, response and intonation that's as real as anything they've ever experienced. Enhance your playing with the further purity and refinement that only Backun handcrafted bells and barrels can provide. Contact us today and prepare to be astonished. BACKUN MUSICAL SERVICES LIMITED 3612 East Hastings Street Vancouver, BC, Canada V5K 2A9 Tel: (604) 205-5770 Fax: (604) 205-5775 Email: [email protected] www.backunmusical.com Some of the players now using Backun bells and/or barrels: James Campbell, Steve Cohen, Russ Dagon, Ronald DeKant, Eli Ebon, Wesley Foster, Larry Guy, Bil Jackson, Bill Jenken, Howard Klug, Robert Reisling, Larry Liberson, Ricardo Morales, David Shifrin, Kimball Sykes, and Joaquin Valdepenas The items pictured here are made from cocobolo. We also use grenadilla, rosewood, Birdseye maple and other exotic woods. And we offer a great many styles and tapers to suit individual tastes and preferences quaH-ty (kwoTi-te) n. 1. A special, distinctive, or essential character. PROFESSIONAL PLAYERS PRAISE THE SIGNATURE CLARINET FOR ITS DEPTH OF SOUND AND UNIFORMLY DARK, CLEAR TONE f_l I I IX I . I ' I ' V IN ALL RANGES AMD DYNAMICS. QUALITY The tone is a perfect compromise between roundness and presence, and a subtle mixing of sweetness and energy. A wide dynamic range facilitates pianissimo and unsaturated fortissimo, with a perfectly homogeneous tone over the entire range. Playing with slightly more resistance, the Signature allows for a more efficient and free-blowing set-up, resulting in a well-balanced response with a high level of control. SIGNATURE With the Selmer Paris Signature clarinets, you SELMER can concentrate on making music. Available from all authorized Selmer Paris dealers. Available in B1, and A. We Make Legends. • Conn-Selmer, Inc. • A Steinway Musical Instruments company • PO Box 310, Elkhart, IN 46515 • www.conn-selmer.com ,ti o W) r-' S O "S "^f r^ - g g hh Og ItJ)GO ^ < |E ^J o ^ cu Q V