Vol. 45 • No. 1 December 2017
Tao Chunxiao: A Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata
D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD.
— JONATHAN GUNN
REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. The
President’s EDITOR Rachel Yoder [email protected]
ASSOCIATE EDITOR Jessica Harrie [email protected]
EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulfilling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. The ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. The ICA is grateful for your generosity Karry Thomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017. Emily Kerski – [email protected] It is the hope of the ICA board that the Capital Campaign will not only help to secure THE CLARINET ONLINE the future and continued success of our wonderful organization, but will help those in need in the clarinet world. We seek to assist, particularly those younger students, who Jason Alder and Jessica Harrie [email protected] cannot afford membership, equipment that is up-to-date or who might wish to apply to young artist competitions, or travel grants. ABOUT THE COVER: Thank you to those who submitted surveys for ClarinetFest® 2017 and for our youth committee initiative. Our younger members are our future, and we are making a
Vol. 45 • No. 1 concerted effort to get more of them involved in the ICA. Please encourage your students December 2017 to join. Thank you to Mitch Estrin for chairing this important committee, and thank you also to those on the committee for your innovative ideas and insight. Please encourage your students to enter the various competitions. We are excited for the composition competition which will feature a work for clarinet quartet (3 B-flat clarinets and B-flat bass clarinet). The deadline is December 20, 2017; the winner will receive a $1,000 prize and a performance of the work at ClarinetFest® 2018. Antonio Fraoli is Tao Chunxiao: coordinator. Please visit clarinet.org for details. A Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report Stay tuned for exciting updates on ClarinetFest®2018 in Ostend, Belgium hosted by The Genesis of Gustav Jenner’s Clarinet Sonata Artistic Director, Eddy Vanoosthuyse, Chantal and Bert Six and the Ostend team. Visit www.clarinet.org/clarinetfest/clarinetfest-2018 and be sure to read the article in this issue of Chinese clarinet legend Tao Chunxiao the journal for important ClarinetFest® 2018 information. The lineup of artists is amazing, with many exciting concerts and tourist attractions. The Clarinet (ISSN 0361-5553) is published 4 times The ICA is honored to announce the Guido Six International Clarinet Choir festival a year by the International Clarinet Association which will be part of ClarinetFest® 2018 in Ostend. This will be the inaugural Clarinet International Clarinet Association Choir Festival to honor the late Guido Six who did so much for the clarinet world- 829 Bethel Road, #216 wide. The Guido Six International Clarinet Choir festival will take place at all future Columbus, OH 43214 ClarinetFest® conferences. [email protected] Thank you for your continued support of the International Clarinet Association. Stay +1 888-983-5441 tuned for many exciting events ahead, and in the meantime, please accept my best wishes to you and your families for Happy Holidays and a blessed 2018! www.clarinet.org ICAclarinet facebook.com/icaclarinet
Follow me on Twitter at © Copyright 2017, International Clarinet Association. @ICAPres for Views expressed by the writers and reviewers in The Caroline A. Hartig @ICApres ClarinetFest® updates! Clarinet are not necessarily those of the staff of the President, International Clarinet Association journal or of the International Clarinet Association.
2 | THE CLARINET DECEMBER 2017 International Clarinet Association President: Caroline Hartig – ICA Research Center: [email protected]; @ICAPres University of Maryland – www.lib.umd.edu/scpa/scores President Elect: Mitchell Estrin – [email protected] Research Coordinator and Library Liaison: Secretary: Denise Gainey – [email protected] Jesse Krebs – [email protected] Pedagogy Chair: Treasurer: Tod Kerstetter – [email protected] Diane Barger – [email protected] Social Media Editor: Executive Director: Evan Lynch – [email protected] Timothy Phillips – [email protected] E-Newsletter Editor: Jessica Harrie – [email protected] Webmaster: Kevin and Sonya Morgan – www.morgansites.com Historian: Jean-Marie Paul – [email protected]
The ICA wishes to thank Stephan Vermeersch for four years of dedicated service as International Representative. We are currently working to redefine the international position and the new Chair of International Relations will be announced in the March 2018 journal along with details regarding this new position.
Contact information for national chairpersons is available at www.clarinet.org HONORARY MEMBERS Ben Armato (1928–2015) Walter Boeykens (1938–2013) Betty Brockett (1936–2003) NATIONAL CHAIRPERSONS Clark Brody (1914–2012) Argentina: Carlos Céspedes Hungary: Bence Szepesi Jack Brymer (1915–2003) Larry Combs, Evanston, Illinois Armenia: Alexandr G. Manukyan Iceland: Kjartan Óskarsson Eddie Daniels, Santa Fe, New Mexico Australia: Floyd Williams India: Dr. Pandit Narasimhalu Vadavati Buddy DeFranco (1923–2014) Austria: Ireland: Paul Roe Hans Deinzer, Frankfurt, Germany & Bobbio, Italy MSDir. Mag. Guy Deplus, Paris, France Dr. Friedrich Pfatschbacher Israel: Eva Wasserman-Margolis Stanley Drucker, New York, New York Belarus: Vladimir P. Skorokhodov Italy: Luigi Magistrelli F. Gerard Errante, Las Vegas, Nevada David Etheridge (1942–2010) Belgium: Hedwig Swimberghe Japan: Masaharu Yamamoto Lee Gibson (1915–2013) Brazil: Ricardo Dourado Freire Luxembourg: Sébastien Duguet James Gillespie (Editor Emeritus), Denton, Texas Mexico: Luis Humberto Ramos Paul Harvey, Twickenham, Middlesex, U.K. Bulgaria: Bobo Yotzov Stanley Hasty (1920–2011) Moldava: Canada, National Chair: Victor Tihoneac Ramon Kireilis, Denver, Colorado Netherlands: Céleste Zewald Béla Kovács, Budapest, Hungary Dr. Catherine M. Wood Frank Kowalsky, Tallahassee, Florida New Zealand: Marie Ross Canada, St. Lawrence Region: Jacques Lancelot (1920–2009) Norway: Christian Stene Karl Leister, Berlin, Germany Lorne Buick Panama: Alexis Fong Castillo Mitchell Lurie (1922–2008) Canada, Great Lakes Region: John McCaw (1919-2015) People’s Republic of China: Yi He Barbara Hankins John Mohler, Chelsea, Michigan Peru: Marco Antonio Mazzini Fred Ormand, Lawrence, Kansas Canada, Central Region: Bernard Portnoy (1915–2006) Poland: Jan Jakub Bokun Margaret Wilson Alfred Prinz (1930–2014) Portugal: António Saiote Luis Rossi, Santiago, Chile Canada, Pacific Region: Patricia Kostek Puerto Rico/Carribean: Kathleen Jones Harry Rubin, York, Pennsylvania Chile: Luis Rossi António Saiote, Porto, Portugal Serbia: Andrija Blagojević James Sauers (1921–1988) Columbia: Javier Asdrúbal Vinasco Slovakia: Július Klein James Schoepflin, Spokane, Washington Costa Rica: Selim Sesler (1957–2014) Lenin Izaguirre Cedeño Slovenia: Joze Kotar Croatia: David Shifrin, Norwalk, Connecticut Davor Reba South Africa: Danre Strydom William O. Smith, Seattle, Washington Czech Republic: Stepán Koutník South Korea: Im Soo Lee Harry Sparnaay, Lloret de Mar, Spain Denmark: Anna Klett Hans-Rudolf Stalder (1930-2017) Spain: Carlos Jesús Casadó Tarín Milenko Stefanović, Belgrade, Serbia Finland: Juhani Valtasalmi Sweden: Stefan Harg Richard Stoltzman, Boston, Massachusetts France: Jean-Marie Paul Switzerland: Ralph Strouf (1926–2002) Matthias Müller Elsa Ludewig-Verdehr, East Lansing, Michigan Germany: Prof. Johannes M. Gmeinder Taiwan: Chien-Ming Himie Voxman (1912–2011) Great Britain: Dr. Sarah Watts Thailand: Cassandra Fox-Percival George Waln (1904–1999) David Weber (1913-2006) Greece: Paula Smith Diamandis Uruguay: Martín Castillos Pamela Weston (1921–2009) Hong Kong: Maria Wong Venezuela: Victor Salamanques Michele Zukovsky, Los Angeles, California
DECEMBER 2017 THE CLARINET | 3 Features Advertiser Index AMB Clarinet ...... 12 32 The Genesis of Gustav Ann Arbor Clarinet Connection ...... 33 Jenner’s Clarinet Sonata Belgian Clarinet Academy ...... 61 by Elizabeth Aleksander Brannen Woodwinds ...... 28 Buffet Group USA ...... IFC, 51 36 An Interview with Chopsaver ...... 69 Tao Chunxiao – Clark W Fobes ...... 18 a Chinese Clarinet Legend Classical Collection Inc...... 73 by Shuang Zhu Claude T. Smith Publications, Inc...... 41 Crystal Records ...... 57 42 Achieving Different Tone D’Addario Winds ...... 1 Colors Through David McClune Mouthpiece Service . . . .27 Variations in Air Speed 32 DePaul University School of Music . . . . .65 by Dennis Nygren Freewing ...... 54 James M. Pyne-Clarion ...... 31 46 Interview with J.L. Smith & Co...... 45 Larry Maxey 46 Kirstin Bertrand’s Woodwind Shop . . . . .23 by Michael Walsh Kornel Wolak ...... 39 Lift Clarinet Academy ...... 41 48 ClarinetFest® 2017 Lisa’s Clarinet Shop ...... 29 Report Lomax Classic Mouthpieces ...... 19 by Jessica Harrie Luyben Music Co...... 7 Muncy Winds ...... 17 56 ClarinetFest® 2018 Oleg Products, Inc...... 61 by Eddy Vanoosthuyse Patricola Brothers ...... 59 ReedGeek, Inc...... 79 RJ Music Group ...... 78 Rodriguez Musical Services ...... 67 Departments Roosevelt University ...... 39 Rovner Products ...... 55 2 The President’s Message 26 The Clarinet Enthusiast Royal Musical Collection, Inc...... 5 by Caroline Hartig by S. Michael Plaut Royal Musical Instruments ...... 21 The Clarinet Choir Sunderman Conservatory of Music at NEWS 28 Gettysburg College ...... 79 by Margaret Thornhill 6 Clarinotes Taplin-Weir ...... 33 14 Letter from the UK 58 ICA General Business Vandoren ...... IBC by Paul Harris Meeting Wichita Band Instrument Co...... 53 by Denise Gainey 16 News from Latin America Yamaha Corporation of America . . . . .OBC by Ricardo Dourado Freire REVIEWS PEDAGOGY 62 Reviews 20 Pedagogy Corner 76 Audio Notes by Diane Barger by Christopher Nichols Announcements 2018 Research Competition ...... 67 22 Historically Speaking 78 BuzzReed 2018 High School Solo Competition . . . .69 by Kristine Nichols with by Deborah Check Reeves 2018 Orchestral Audition Competition . . .75 Spencer Prewitt and Eric Salazar 24 Clarinet Cache 2018 Young Artist Competition ...... 73 by Kellie Lignitz-Hahn and 80 Hysterically Speaking Call for Honorary Membership Bret Pimentel by Eric Hoeprich Nominees ...... 65
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NEWS
CYPRUS CLARINET FESTIVAL by George Georgiou and Kristine Dizon Cyprus Clarinet Festival faculty and attendees The first edition of the Cyprus Clarinet Festival was organized by George Georgiou and Radovan Cavallin. It took place from June 14-19, 2017. The festival, which hosted nearly 25 participants, featured master classes taught by George Georgiou (Cyprus) and Angelos Angelides (Cyprus). International artists included Radovan Cavallin (Croatia/Spain), Nuno Pinto (Portugal) and Hedwig Swimberghe (Belgium). The faculty performed a series of concerts, which included Pinto performing works for clarinet and electronics by João Pedro Oliveira and Nikola Resanovic. Georgiou performed works written by Cypriote composers for ensemble, directed by Kristine Dizon. In performed works for clarinet and delay contemporary clarinet. Cavallin performed addition, Swimberghe performed works step. The final concert concluded with the Cyprus premiere of Oscar Navarro’s for solo clarinet and a duet for clarinet students performing in a clarinet ensemble Second Clarinet Concerto with clarinet and bass clarinet with Pinto. Angelides directed by Swimberghe.
BUFFET CRAMPON USA CELEBRATES 10TH ANNIVERSARY OF SUMMER CLARINET ACADEMY by Matt Vance Philharmonic), André Moisan (Montreal and accessories during the week, including Symphony Orchestra) and Mark Nuccio barrels, bells, mouthpieces and ligatures Buffet Crampon USA recently celebrated (Houston Symphony Orchestra). Every from the ICON accessory line. the 10th anniversary of their Summer student received a one-on-one lesson At the conclusion of the academy, Clarinet Academy at the University of with each artist, in addition to daily awards were presented to students that North Florida in Jacksonville. Held master classes. The students also studied showed excellent musical growth and July 10-15, the Academy hosted 20 instrument technology with BCUSA collegiality during the week. Olivia undergraduate and graduate students woodwind technician Bruce Marking, Galante, a student at the Eastman School from around North America for a week of learning basic care and maintenance. of Music, was selected to receive the clarinet education with Buffet Crampon Students were given the opportunity Stanley Drucker Award and was presented clarinet artists J. Lawrie Bloom (Chicago to tour the Buffet Crampon USA with a new Buffet Crampon Tradition Symphony Orchestra), Victoria Luperi Headquarters during the academy to try B-flat clarinet hand-selected by the (Pittsburgh Symphony Orchestra), Buffet Crampon clarinets and accessories. artist faculty. A full tuition scholarship Pascual Martínez-Forteza (New York Several students purchased instruments for the 2018 Academy was presented to
6 | THE CLARINET DECEMBER 2017
NEWS
Students pose with faculty and organizers
Northwestern University student Steven Zhang in recognition of his outstanding Students work with technician Bruce Marking during Instrument Technology Class progress at the academy, and Taylor Overholt of the University of Cincinnati College-Conservatory of Music received honorable mention. The 2018 Summer Clarinet Academy will be held July 16-21 and will welcome Philippe Cuper (Paris National Opera Orchestra), Florent Héau (Paris CRR), Inn-Hyuck Cho (Metropolitan Opera Orchestra), Victoria Luperi (Pittsburgh Symphony Orchestra) and Alcides Rodriguez (Atlanta Symphony Orchestra) to the artist faculty. Audition and application information will be posted on the academy website (www. bcsummerclarinetacademy.com) and Facebook page soon!
22ND ANNUAL BELGIAN CLARINET ACADEMY by Kimberly Fullerton Each day started off with a group topics. Spring started off the week with warm-up led by Spring, which consisted a demonstration on how to make your nd The 22 annual Belgian Clarinet Academy of technical exercises and the introduction own reeds. The next day, Cuper gave took place from July 4-11, 2017, in of extended techniques such as double- a presentation on the history of the Ostend, Belgium. A total of 24 students tonguing and circular breathing. Students clarinet. On the third day, Vanoosthuyse then had the opportunity to attend and from various countries including Spain, discussed the audition process and how participate in a rotating schedule of group Belgium, France, Germany, Russia, Cuba lessons and ensemble coachings given best to prepare. Bish concluded the series and the USA, were in attendance. Faculty throughout the day by members of the of master classes with a presentation on for this year’s academy consisted of Robert faculty. practice techniques and clarinet repertoire. Spring, Deborah Bish, Eddy Vanoosthuyse In addition to lessons and rehearsals, The final two days of the academy and Philippe Cuper. daily master classes were given on multiple were reserved for student performances.
8 | THE CLARINET DECEMBER 2017 NEWS
Students had the opportunity to perform their solo and chamber repertoire for their peers and host families. The clarinet choir then gave the closing performance with Vanoosthuyse, Cuper and Bert Six as conductors. Featured soloists for the performance were Kristi Hanno (USA), Rebecca Ankenbrand (Germany) and Katherine Breeden (USA). The BCA would like to give special thanks to Chantal Six-Vandekerckhove for her invaluable knowledge and expertise which help to make the academy a success year after year. The BCA would also like to thank the host families, whose kindness 2017 Belgian Clarinet Academy and generosity helped to make the Participants and Faculty academy a home away from home.
MIDDLE TENNESSEE STATE UNIVERSITY 17TH ANNUAL HONORS HIGH SCHOOL CLARINET CHOIR by Todd Waldecker Cundari. Members of the MTSU Clarinet Five Hebrew Love Songs arranged Studio assisted throughout the day and led and conducted for clarinet choir and On March 18, 2017, the Middle Tennessee sectional rehearsals. The day concluded percussion by MTSU music major State University School of Music hosted with a concert featuring the Honors High Katiana Nicholson. The arrangement its 17th annual Honors High School School Clarinet Choir performing works was completed in partial fulfillment of Clarinet Choir, welcoming over 40 of by Holst, Gershwin, The Beatles and Nicholson’s MTSU Honors College thesis. the most accomplished high school Frank Perkins. clarinetists from the region for a day of The MTSU Clarinet Choir also For more information about the 2018 clarinet choir fun. The event was hosted performed on the final concert and MTSU Honors High School Clarinet by Todd Waldecker, professor of clarinet presented works by Harvey, Ronkin and Choir, contact Todd Waldecker at at MTSU and graduate assistant Michaela the world premiere of Eric Whitacre’s [email protected].
2017 MTSU Honors High School Clarinet Choir conducted by Todd Waldecker
DECEMBER 2017 THE CLARINET | 9 NEWS
KEY CHANGES AND CLOSING CHORDS
Compiled by Jessica Harrie
KEY CHANGES Swiss clarinetist Hans-Rudolf Stalder (1930-2017) Amitai Vardi was recently passed away on July 28, 2017. A student of Louis Cahuzac appointed assistant professor of in France, Stalder played solo clarinet in Zürich Tonhalle clarinet at the Kent State University orchestra and taught at the Basel High School of Music. He Hugh A. Glauser School of Music. is an honorary member of the ICA. A tribute will appear in Afendi Yusuf was recently an upcoming issue. appointed principal clarinet of the Bulgarian clarinetist Petko Radev (1933-2017) passed Cleveland Orchestra. away on September 23, 2017. Radev is an honorary member of the ICA. A tribute will appear in an upcoming issue. CLOSING CHORDS Retired National Symphony Orchestra clarinetist Loren George Townsend (1932-2017), Western Illinois University professor Amitai Vardi Kitt passed away on September 4, 2017. A tribute can be of clarinet emeritus, passed away on found in this issue. March 18, 2017. A tribute can be found in this issue. Harvey Hermann, longtime woodwind assistant to the Clarinetist and creator of the woodwind.org bulletin director of bands at the University of Illinois and creator board Ken Shaw (1943-2017) passed away on June 28, of the University of Illinois Clarinet Choir, passed away on 2017, at the age of 74. August 4, 2017.
Information in this column is gathered from the Clarinet Jobs Facebook Group and submissions to [email protected].
IUP CRIMSON SQUAWKFEST by Rosemary Engelstad Dibert also had the opportunity to work IUP student Anthony McDonnell. with Morrison in a performance class. The Squawkfest concluded with a large The Indiana University of Pennsylvania The morning activities ended with a large ensemble performance directed by clarinet studio and Rosemary Engelstad group discussion that focused on strategies Rosemary Engelstad and IUP alumna, hosted their inaugural Crimson Squawkfest on March 4, 2017. The for performance preparation. Marykate Kuhne. The day was a success, featured artist for the one-day event was The afternoon began with a potpourri packed full of fun and clarinet fellowship. Pittsburgh-based clarinetist, Amanda recital in Gorell Hall featuring performers The IUP clarinet studio looks forward to Morrison. The festival began with a large Amanda Morrison, Rosemary Engelstad, hosting the second Crimson Squawkfest clarinet ensemble rehearsal that brought David Martynuik, Evan Engelstad and on April 7, 2018. together 35 clarinetists from Western Pennsylvania and Maryland. Following the rehearsal, Morrison led an exciting discussion about preparing and performing Eric Mandat’s Double Life. IUP clarinetists Catherine 2017 IUP Crimson Squawkfest faculty and attendees Kasun and Jenn
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LIFT CLARINET ACADEMY 2017 by Lara Mitofsky Neuss Spring. Following this full circle experience, began with a passionate masterclass by Spring, Starling and Ferreira performed a Spring, focusing on musical details such The Lift Clarinet Academy wrapped up handful of light-hearted trios by Jacques as rhythm, style and emotion. The class its fourth successful summer in June at Bouffil and Peter Schickele. concluded with a heartfelt talk between Colorado State University in Fort Collins, The week then began in full force, Spring and the students where he shared Colorado. Created in 2014 by Wesley starting out with topic classes, lessons and his own musical path and offered career Ferreira (Colorado State University) and quartet rehearsals. The beginning half of suggestions. On Friday, Ferreira and Jana Starling (University of Western the week at the Lift Clarinet Academy Starling brought a perfect combination of Ontario), this invigorating festival is dedicated to technical and musical personal inspiration and clarinet pedagogy continues to bring in the country’s finest training. Students were placed in topic to their joint master class. upcoming clarinetists. An established classes based on their pre-determined In addition to musical training, the pedagogue joins Ferreira and Starling each year, and the three work as a team to personalized goals and in quartets based Lift Clarinet Academy places a high value mentor and guide students both musically on their audition recordings. Classes and on personal connection to music, musical and personally. Robert Spring, esteemed quartet coachings facilitated by faculty were peers and life experience. Throughout the clarinetist, pedagogue and professor of inspiring and uplifting, covering topics week the students connected while enjoying clarinet at Arizona State University joined including articulation, tone production, a hike up to Horsetooth Reservoir, a festival the trio this year. Ferreira and Starling altissimo, extended techniques, intonation gathering in the park and an afternoon were both pupils of Spring which created and warm-up. A highlight of the week in Fort Collins’ Old Town. The week an intimate and family-like atmosphere was Wednesday night’s roundtable on culminated in a final concert featuring four for the academy. performance anxiety, in which students student soloists, student clarinet quartets Upon arrival, students gathered for the were given the opportunity to speak via and the full Lift Clarinet Academy choir annual faculty performance held in the Skype with clarinetist Christine Carter, an performing Rikudim by Jan Van der Roost. Organ Recital Hall. Ferreira and Starling expert in the field. Students and faculty then gathered for a opened the show performing Freebirds by The personalized training during the beautifully catered reception to celebrate Scott McAllister, a work they often perform first three days prepared students for the the week’s success. together, which was originally premiered by latter half of the week. Thursday morning See you next year!
2017 Lift Clarinet Academy Participants and Faculty
DECEMBER 2017 THE CLARINET | 11 NEWS
FIRST ANNUAL HENRI SELMER PARIS SUMMER CLARINET ACADEMY AND COMPETITION Photo by Stéphane Gentil
First annual Henri Selmer Paris Summer Academy attendees and faculty
by Amy Humberd James Campbell (Indiana University recitals. In addition, each guest artist was Jacobs School of Music), Michael Rusinek featured in one of three electrifying night The inaugural Henri Selmer Paris Summer (Pittsburgh Symphony, Curtis Institute of concerts scheduled throughout the week Clarinet Academy and Competition was Music and Carnegie Mellon University), with repertoire ranging from Carl Maria held on the beautiful campus of Michigan Robert Spring (Arizona State University), von Weber and Luigi Bassi to William O. State University from May 31 - June 4, Tasha Warren (Michigan State University) Smith and Phil Nimmons. 2017. Academy Artistic Director Guy and Stephen Williamson (Chicago The festival also afforded an intensive two-part competition of solo Yehuda (Michigan State University, Symphony Orchestra, DePaul University). unaccompanied works by Stravinsky, Lansing Symphony Orchestra) hosted the The five-day festival offered energetic, Husa and Carter, with three winners being festival, which boasted an all-star faculty engaging master classes with six of the selected from the five competitors in the of guest artists including Philippe Berrod faculty as well as individual and group final round. Third prize winner, Steven (Paris Conservatory, Orcheste de Paris), lessons, chamber music and two student Gooden (Northwestern University), received a Selmer Concept mouthpiece, second prize winner, Chia-Yun Yeh (Michigan State University), received $1,000 USD and first prize winner, Aileen Razey (University of North Texas), received a new Selmer Presence clarinet. The festival ended with a farewell reception and presentation given by representatives from Henri Selmer Paris and Conn-Selmer in the Hart Recital Hall. For more information about the festival, a tentative schedule, faculty information or announcements regarding the 2018 academy visit www.henriselmeracademy.com.
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REMEMBERING LOREN KITT by Lora Ferguson Loren Kitt On September 4, 2017, the clarinet world suffered a huge loss with the death of Loren Kitt (1941-2017). Kitt died in Glens Fall, New York only a little more than a year after his retirement as principal clarinetist with the National Symphony Orchestra Photo by Kennedy Center in 2016 Kitt was revered by his colleagues for his artistry and musical leadership. After receiving word of his passing, NSO acting assistant principal clarinetist Paul Cigan, remarked, “He was one of the great musical leaders of the orchestra. We’ve lost an incredible musical voice.” Kitt’s solo work on numerous recordings with the orchestra and with chamber groups is highly regarded by musicians throughout the world. As a teacher at Oberlin Conservatory, Peabody Conservatory, Catholic University and the University of Maryland, he influenced countless students, many of whom went on to important positions in orchestras and colleges. A native of the state of Washington, Kitt studied with Ronald Phillips of the Seattle Symphony. In 1959, he enrolled at the Curtis Institute as a student of Anthony Gigliotti, receiving the artist’s diploma in 1963. After graduating from Curtis, Kitt played with the Buffalo Philharmonic for one year and the Milwaukee Symphony for three seasons as principal clarinet. Antal Doráti appointed Kitt as principal clarinet with the NSO in 1970. Kitt was a founding member of the Smithsonian’s Twentieth Society of Lincoln Center and the Festival of Two Worlds in Century Consort, the American Chamber Players and the Spoleto, Italy. National Symphony Chamber Players. He performed with other Survivors include his wife Catherine Kitt of Camden, Maine, chamber ensembles nationally and internationally, including the daughters Sandra and Karen, stepchildren Cindy and Chris, a Emerson String Quartet, the Beaux Arts Trio, the Chamber Music brother, a sister and three grandchildren.
REMEMBERING GEORGE TOWNSEND (1932-2017) by Kathy Karr (Townsend’s daughter; 1966 as the first ensemble in residence at principal flute of the Louisville Orchestra; George WIU. The quintet gained international Townsend flute professor at the University of Louisville) fame with their series of recordings Music Minus One. During Townsend’s tenure the George Townsend was professor of clarinet quintet toured extensively throughout the and chairman of the wind and percussion United States, Mexico and Yugoslavia. The area at Western Illinois University. He quintet made its Carnegie Hall debut in began teaching at WIU in 1964 and 1983, receiving rave reviews in the New became professor emeritus when he retired. Townsend also served as a faculty York Times. member at the Interlochen Arts Camp Townsend served as principal clarinet from 1973-2003, teaching clarinet and with the Knox-Galesburg Symphony chamber music. He was highly regarded and bass clarinet with the Quad City as an adjudicator of international Symphony and the Traverse City clarinet competitions and was a frequent Symphony. He began his career as a performer at clarinet conventions. clarinetist in the President’s Own Marine As a performer, Townsend was a Band in Washington D.C. He received his founding member of the Camerata bachelor’s, master’s and doctoral degrees Woodwind Quintet which was formed in from the University of Illinois.
DECEMBER 2017 THE CLARINET | 13 NEWS Letter by Paul Harris from the
TWO OF A KIND Paul Harris explores the history of UK clarinet duets
don’t know about you, but I the second volume there are the 24 Easy nothing of particular significance, so I’ll always play duets with pupils at Duets on Operatic and Standard Melodies, restrict myself to various one-off duets some point in a lesson… and as a intended, as Lazarus charmingly puts it, to written by important composers. The first particular pupil and I were playing “form the style of the pupil.” These are all is the Suite for Two Clarinets by Alan Frank Ia really exhilarating duet by Henry arrangements and among them are some (of the famous Thurston and Frank Clarinet Lazarus the other day, it gave me the idea really effective concert items – Lazarus’s Method), published in 1934 and written for for this particular letter. I thought I’d look, version of Mozart’s Non Piu Andrai being Thurston and Ralph Clarke, who together in general terms, at the history of U.K. especially good. It’s the third volume, constituted the clarinet section of the BBC clarinet duets, for there is quite a rich though, where you will find the real Symphony Orchestra for many years. Alan and impressive catalogue of works to treasure. On opening the very first page we was senior editor at Oxford University be discovered. are plunged into what Lazarus ambitiously Press, the publisher of this Suite. The It would seem that the first-ever entitles Three Grand Artistic Duets.In duet is comprised of four short, witty and duets date back to 1803 with the Four fact, these are three monumental works, imaginative movements. A recording exists Concertante Duetts to be found in the each made up of multiple movements and played by the two dedicatees on Volume Oxford-born, Irish clarinetist John Mahon’s certainly worthy of performance as well 1 of The Clarinet: Historical Recordings on New and Compleat Preceptor for the Clarinet. as technical and musical study. Lazarus Clarinet Classics. It’s a real treat to have this Mahon had a brother, William, who was takes great pains to ensure that both parts performance available! also a clarinet player, and maybe this was have equal status and engagement. They Next is the first of two works by the reason he was inspired to produce some really are rather special. And that’s not all. Gordon Lewin, a delightful man whom music for two clarinets together. Though Later in the volume we find Three Operatic I met a number of times towards the end concertos for two clarinets were written Duets, similarly large-scale and written of his life. Two of a Kind was published around this time, these may be the first ever to get the best out of the instrument. in 1953 and is made up of five short duets for unaccompanied clarinets. They The final of these operatic duets (and my movements. Similar to the Frank suite, they are quite substantial, too – number four personal favourite), Robert Le Diable, is a are lighthearted and very playable. Gordon lasting nearly 20 minutes! real winner with audiences. Very bold and was always proud of being a member of the There seem to be no more duets written dramatic and not too lengthy, it makes for orchestra that had recorded the incidental by English composers until the great a very colorful concert item. music to two iconic television programs – Henry Lazarus produced his magnificent Lazarus was my teacher’s teacher’s “Dr. Who” and “Thunderbirds!” three-volume New and Modern Method teacher – John Davies/George Anderson/ The Short Sonata for Two Clarinets in 1881. Inside this mighty tome you Henry Lazarus – all of them living to great was written in 1956 for my teacher, John will find a considerable number of such ages, which is why I can trace my clarinet Davies, by Antony Elton and published by works. In the first volume, we have the lineage so far back in so few connections. J.W. Chester. Born in 1935, Elton was a 20 Easy and Progressive Duets, suitable for So I have a rather special place for these composer, conductor and lecturer in music players of really quite elementary level, wonderful works. Do explore them if you at Durham University before moving to and full of inventive music. Among them haven’t already. Australia. It’s certainly worthy of study. are many duets influenced by any number As the 20th century moved forward, The work is in a more contemporary of European dance styles: polonaise, various new tutors and methods emerged style and concludes with a fast-moving tyrolienne, redowa, mazurka, polka. In complete with occasional duets – but and exciting finale. Nearly 10 years later,
14 | THE CLARINET DECEMBER 2017 NEWS
Views of the Blues, also by Gordon Lewin, was published by Boosey and Hawkes in 1986. This very versatile composer has served up three jazzy and fun movements in this collection – not too complicated and certainly a winner with audiences. My final duet is the 1988 Divertimento by Malcolm Arnold (published by Queen’s Temple Publications), a fascinating work and one of his last. There are six enigmatic movements with much of the material derived from his Ninth Symphony. I came to know Malcolm well some years after he had written this piece, but he would never reveal why he’d written these duets. They seem to be from another world – long and deeply contemplative melodies contrasted with short, witty episodes. Audiences find these intriguing, but they do need some words of introduction for best effect. So, there are lots to choose from, whether you just like to play duets with pupils or friends or are looking for some interesting and unusual concert repertoire. Hope you enjoyed your fall and can find some occasions for more duet playing this winter! v
ABOUT THE WRITER Paul Harris is one of the U.K.’s most influential music educators. He studied the clarinet at the John McCabe wrote his Bagatelles – eight Weddings and a Funeral and many others) Royal Academy of short (and quite complex) pieces full of but his concert music is very fine. These Music, where he won polyrhythmic writing. Perhaps not for the duets can be played by more intermediate the August Manns faint-hearted, but as with all of McCabe’s students and are very attractive indeed. Prize for outstanding music, it is top quality. They have been Two years later, Richard wrote his superb performance and where he now teaches. recorded by the Chicago Clarinet Trio (or Crosstalk. This really is a terrific work for He is in great demand as a teacher, at least by two members thereof!). the medium. Richard and Thea King were composer and writer (he has written over The same year saw the publication deep in conversation one evening at the 600 music books and compositions), and of the first of two duets by Richard Dartington Summer School talking about his master classes and workshops continue Rodney Bennett. Conversations has five repertoire. The next morning Thea woke to inspire thousands of young musicians movements in a very accessible style. up to find Crosstalk on her floor by the and teachers all over the world in both Richard is perhaps best known for his film door, Richard having written it overnight! the principles and practice of musical work (Murder on the Orient Express, Four It’s a must if you don’t know it! performance and education.
DECEMBER 2017 THE CLARINET | 15 NEWS
News from
by Ricardo Dourado Freire
bout 10 years ago, a group of Costa Rica, Equator, France, Guatemala, RF: As an ensemble, how have you developed Colombian clarinet players Portugal, Venezuela and Uruguay. original repertoire and which experiences were studying in Caracas as helped the group to find a musical part of the Latin American RICARDO DOURADO FREIRE: When identity? Clarinet Academy organized by Waldemar was the Columbian Clarinet Quartet HG: At first, we looked at the standard A formed and what was the initial idea for Rodriguez. They were young and willing international repertoire for clarinet the group? to develop new projects such as starting a quartet. Very soon after, we began HERNÁN DARIO GUTIERREZ: The clarinet quartet. Hernán Dario Gutierrez, to write our own arrangements of Columbian Clarinet Quartet was Guillermo Marín, Fredy Pinzón and Juan Latin American music. These first formed in February of 2007, in arrangements were well-received by Alejandro Candamil (Bass clarinet) started Caracas, Venezuela. All members the public and our professors. At our the adventure of creating a clarinet quartet were fellow students at Simón Bolívar exams, the jury of the examination that could represent their country and University studying for the Masters of proposed that we continue with this culture. Today, the Cuarteto Colombiano Music with emphasis on instrumental project in the following semesters. Thus, de Clarinetes (Colombian Clarinet execution. The group initially formed we wrote and organized many more Quartet) displays the culture of Colombia to fulfill the requirements for a arrangements of Latin American pieces to audiences around the world. The chamber music course. We all had and over time, the standard repertoire ensemble is recognized by the Colombian previous experience playing in clarinet was displaced. The quartet started to Ministry of Foreign Affairs for their quartets, but we had never played gain prestige and performed several performances in Belgium, Bolivia, Brazil, together as a group before. recitals in Venezuela. In 2008, we received support from Simón Bolívar University to attend the European Festival for Clarinet Ensembles held in Ghent, Belgium. This was our first international performance, and all works presented were Latin pieces.
RF: How did you have the idea for the veggie clarinets and to compose a piece for organic instruments? HG: By 2009, the Colombian Clarinet Quartet had already joined the national concert series promoted by the Banco da Republica from Colombia. This series is considered one of the strongest cultural institutions in the country, featuring programs for music, visual arts, theater and literature in many theaters throughout the country. In 2012, the quartet was The Columbian Clarinet Quartet in 2007 programmed for a series of eight
16 | THE CLARINET DECEMBER 2017 NEWS
Clariveggies
children’s concerts at the most clarinets and bass clarinet. There is prestigious hall in Bogota, the Luis a small part where the Claricarrot, Ángel Arango Theater. We needed Claricassava and banananet play with to think about doing something the bass clarinet simultaneously. The entertaining for children, and we piece ends with a Cumbia where we started looking for alternatives. We added two hoses tuned in F-sharp came across some musical games and and C-sharp to play the bass line. found a video on the internet of Linsey Because organic instruments don’t Pollac showing how to construct a last for more than three days, we need clarinet with a carrot. Using his idea, to build and tune new instruments we made a Claricarrot and explored for each concert. There is a trick, other vegetable products. After some however, in the construction of the research, we built similar instruments instruments. Saxophone mouthpieces with a green banana, creating the are used to make the instruments more Banananet and with the cassava, comfortable to play. creating the Jucaphone. Different This piece that was meant to be just vegetables had specific timbres and something entertaining for children, we had to work on tuning to allow but it reached a wider audience, and has become a requested piece in our the instruments to be played in an concert programs. We have been ensemble and simultaneously with able to present the work regularly in the clarinets. Once this was done, we Uruguay, Brazil, Ecuador, Portugal had to think about what we could and Colombia, and in many other do musically. From there, we had to international clarinet festivals. write a piece so that we could show different phases of the sound that are RF: What are the major contributions from strange and shocking for the audience; the Columbian Clarinet Quartet to because they do not believe the sound Latin American clarinet players? is possible alone, let alone together. HG: I think our most important The piece presents a small contribution is providing an example improvisation for the Claricarrot alone. for other ensembles by keeping the The tune is then accompanied by two group together and successfully
DECEMBER 2017 THE CLARINET | 17 NEWS
Quartet has been given the status of National Artist affiliated with the Ministry of Foreign Affairs of Colombia. We take part in the plan to promote Colombian culture around the world. Our immediate plan is to take part in scheduled concerts at Colombian Embassies around Latin America and Europe. We are also composing, arranging and commissioning original compositions that will be in our first CD, due to be recorded in 2018. The quartet has a fifth member, Oscar Gutierrez, who contributes by playing percussion, guitar, cuatro (a four-string small guitar, similar Cuarteto Colombiano de Clarinetes in Uruguay to a baritone ukulele) and writing arrangements. The presence of percussion and harmonic instruments promoting the group nationally and Young groups use the repertoire for allows the clarinets to play with internationally, since most groups concerts and in some cases for chamber freedom and offers a variety of timbers disappear after a short period of time. music competitions in Colombia. that enrich the musical possibilities for Another way we have contributed is the clarinet quartet. that we have shared a good amount RF: What are the plans for the next 10 years? It is a challenge to start a chamber of repertoire with beginning quartets. HG: Since 2013, the Columbian Clarinet group, but it is even harder when all members play the same instrument, because you are never going to all have jobs in the same city. After a few years, it is very difficult to keep the interest and to maintain the same goals as a group. The Columbian Clarinet a n d p r o d u c t s Clarinet Saxophone Quartet has shown that they have the strength to look forward for 10 more years. We will continue to compose, INTRODUCING THE NEW arrange and play concerts with the same youthful enthusiasm and love for K playing the clarinet. v 10 ABOUT THE WRITER Computer machined from German rod rubber and Ricardo Dourado hand finished, the 10K series represents craftsmanship Freire is professor and design expertise developed over 30 years from of clarinet at making more than 10,000 professional mouthpieces. Universidade de Brasília (UnB) in Brazil. He studied Visit our website for premium at UnB with Luiz clarinet accessories, including: Gonzaga Carneiro, • Custom barrels for all clarinets and at Michigan State • Peter Leuthner reeds University with Elsa • Tuning rings, and more! Ludewig-Verdehr. Freire is an enthusiast of Latin American music, both classical and popular, and has participated in clarinet events in Brazil, Colombia, Italy, Peru, Portugal, USA and Venezuela.
18 | THE CLARINET DECEMBER 2017
PEDAGOGY
by Diane Barger, ICA Pedagogy Chair Corner “PLAY PRETTY”
or as long as I can remember, mesmerized by my other teacher, Frank with your most ideal, unique tone quality. my mother has always told me Kowalsky, whose tone quality was like As for equipment, again, the best tools to “play pretty” before every liquid velvet (or, “like buttah” for those of will simply allow you to reach your full performance. If she was not able you who watched the “Coffee Talk” sketch potential and help you better achieve your Fto attend, she made sure to call me and tell with Mike Myers as Linda Richman on concept of sound, but they will not make me those words, and when I would hear Saturday Night Live in the 90’s). His tone you sound like Player X. them I would immediately feel a sense was smooth and colorful, touched with a In helping students find their tonal of calm wash over me. Even now as she hint of vibrato at times to further color his concept, besides encouraging them to suffers from Alzheimer’s, she remembers to musical voice. (Note: I once asked Frank listen to many clarinet players and styles impart those special words to me when I about his use of vibrato at times to color of playing, many teachers play frequently call to tell her I have a performance. These a note. His response, “Oh, I use vibrato?” in lessons for their students or with their two simple words have become my elixir It was so instinctual and natural in his students, as one of the best ways we learn is over the last forty-plus years of playing the playing; it was purely a part of his voice with our ears. Other teachers do not play as clarinet, and I say them to each and every and concept of sound.) frequently in lessons, allowing students to one of my students before they walk on So, what are the qualities that one find their own voice or shape to the phrase, stage to perform. searches for along this journey? As Charles often guided by the teacher’s words or hand “Play pretty” also reminds me of how West so succinctly wrote in his 2001 gestures (conducting) while playing. I fall hard I have worked to find my sound Midwest Clinic handout, a beautiful into the latter category, as my teachers did over the years, as well as my continuous clarinet sound consists of: “depth, stability, not perform often for me in lessons, only focus, clarity and an appropriate balance when they knew I needed to hear them quest to improve upon that tonal concept. of ‘ring’ and ‘darkness’ that could be called play, which almost always resulted in an In a recent interview, I was asked if my color.”1 Those qualities are controlled “aha” moment. Hearing Frank Kowalsky concept of sound has changed over the by our breath support, embouchure, taper the end of a note in a phrase while years since my foundational work with oral cavity and tongue position, and maintaining the purity and center of the Frank Kowalsky and Robert Marcellus as our equipment. As we develop the sound or listening to Robert Marcellus a college student. Most definitely it has, basic fundamentals on our instrument, voice beautifully articulated altissimo notes due to the number of musicians with our journey towards developing our in an orchestral excerpt during a lesson whom I have been fortunate enough to tonal concept begins. Building a strong had a profound influence in my playing. collaborate and who have influenced my foundation is the key to discovering your This was particularly true when working playing throughout the years. As many sound. While this article cannot possibly on musicality and phrasing. Some of my musicians may note, that is one element venture into the numerous roads taken best playing occurred when my teachers of your playing that is constantly evolving on that tonal journey, I would like to would simply conduct me while playing, – finding your signature sound and highlight the fact that no matter what your as their musical gestures with their hands embracing its evolution. tonal concept is, you will always sound like demonstrated what I needed to be doing When first developing my sound/voice, you, no matter how hard you try to sound with my airstream to create more shape I was greatly influenced by my teachers. like your clarinet idol. Learning to “play in my phrasing. (So much so that I would My ideal was the Marcellus sound, having pretty” with great breath support and a often ask, “Could you sit in the front row listened to endless recordings of this fast, cool airstream focused through your during my recital and do that?!”) master teacher and artist during my early unique oral cavity with the ideal tongue In addition to playing with my best development. That school of playing placement, along with an embouchure that sound at all times and shaping the (Daniel Bonade) was identified as rich, provides the proper foundation for the phrases with an intentional airstream, pure and full of sparkling color. I was also best reed response, will allow you to play the phrase “play pretty” reminds me to
20 | THE CLARINET DECEMBER 2017 PEDAGOGY
enjoy the performance. To this day, I artist “makes a mistake” because they have 2 For full access to the audio archives of the have a very old, weathered piece of scrap wowed us with their personal artistry and Robert Marcellus Master Classes (1977-1990) paper (laminated several years ago to help do not grimace or show the audience that visit this link:
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DECEMBER 2017 THE CLARINET | 21 Historically
by Deborah Check Reeves
“Historically Speaking” is a feature of The Clarinet offered in response to numerous inquiries received by the editorial staff about clarinets. Most of the information is based on sources available at the National Music Museum, located on the University of South Dakota campus in Vermillion (orgs.usd.edu/nmm). Please send your email inquiries to Deborah Check Reeves at [email protected].
n 1905, Harry Pedler immigrated Gronert (who had also worked for Conn) to the United States and started to establish the American Manufacturing working for C.G. Conn and Company. The Elkhart Truth announced Company in Elkhart, Indiana. In in late 1919 that, with the death of 1916I (although some advertising materials Gronert, the company was now known as say 1914), he partnered with William Harry Pedler and Company. Photo 3: NMM 1105 Pedler alto clarinet bell.
Photo 4: NMM 1105 Pedler alto clarinet bridge key alignment guide.
Photo 1: Photo 2: NMM 1105 Pedler alto NMM 1105 Pedler alto clarinet left side. clarinet right side. Photo 5: NMM 1105 Pedler alto clarinet B-flat and register vents.
22 | THE CLARINET DECEMBER 2017 In 1927, Pedler announced in the Music joint and bell. The neck and mouthpiece Pedler alto clarinets in the collections of Trade Review that they had added a silver are missing. At the top of the bottom which another five are metal. Among the clarinet to their production of woodwinds. joint, a metal hook can be found. This five Pedler bass clarinets, three are metal.v A catalog from 1927 confirms that two lines up with a post on the top joint. (4: models of silver soprano clarinet had been NMM 1105 Pedler alto clarinet bridge key ABOUT THE WRITER added to their line of clarinets that were alignment guide.) When properly aligned, Dr. Deborah Check made from grenadilla and ebonite. the bridge key is in perfect position. Reeves is the Curator Although that catalog clearly shows On the top joint side of NMM 1105, soprano clarinets of metal, alto and bass of Education and an automatic throat B-flat and register Woodwinds at the clarinets remained out of “rosewood” and vent mechanism can be seen. Third line ebonite. It makes a Pedler alto clarinet National Music B-flat is produced the conventional way from metal all the more curious. Just such Museum (NMM) in by depressing the A and left-hand thumb an alto clarinet is at the National Music Vermillion, SD, and keys. This activates a separate B-flat vent Museum in Vermillion, South Dakota. (1 associate professor at located lower on the instrument in the & 2: NMM 1105 Pedler alto clarinet left the University of South and right sides.) NMM 1105 is stamped proper acoustic position. When the A key Dakota. She received a doctorate in clarinet on top and bottom joints, inside an is released, as if continuing up the scale performance from the University of Iowa. oval: [lyre] / HARRY PEDLER / & Co / to B-natural and above, the B-flat vent She plays with the Sioux City Symphony ELKHART, / IND. This indicates that the closes, and the higher, correctly positioned Orchestra and directs Tatag, the NMM’s instrument must have been made before register vent opens. (5: NMM 1105 Pedler Javanese gamelan performance ensemble. She 1936 when the company became known alto clarinet B-flat and register vents.) is a contributing editor to The Clarinet, and as “The Pedler Company.” The bell of this As curious as it is, NMM 1105 is not serves as the ICA South Dakota State Chair clarinet is engraved and surrounded by the only Pedler alto clarinet at the National and the Secretary of the American Musical a geometric Art Deco design: PEDLER Music Museum. There are seven other Instrument Society. / Custom built (script) / ELKHART – IND. (3: NMM 1105 Pedler alto clarinet bell.) It is important to realize that Pedler was using “Custom built” as a model name. The instruments are not one-of-a- kind custom examples. Several metal bass ‘ clarinets carry the same bell design, but are stamped on the other joints, inside an oval: [lyre] / THE PEDLER / CO. / ELKHART, / IND. NMM 1105 has a low E-flat key and is made in three sections: top joint, bottom FLUSHING NEW YORK
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DECEMBER 2017 THE CLARINET | 23 Clarinet
by Kellie Lignitz-Hahn and Bret Pimentel
AN INTERVIEW WITH WESLEY FERREIRA
n this issue we present an interview with clarinetist and Of course, students now have access to many audio and teacher Wesley Ferreira about his online presence and video examples of great clarinet playing. They also have access interaction with the clarinet community on social media. to examples of poor playing. I feel that it is important for the Wesley Ferreira has an active and varied career teacher to direct students towards which examples demonstrate performingI worldwide as a solo, orchestral and chamber musician. the type of qualities that they should be striving for. Born in Canada to parents of Portuguese heritage, he received CC: In the past you broadcasted an interactive streaming recital his musical training at the University of Western Ontario (B.M.) program. Can you tell us more about this program and the and Arizona State University (M.M. and D.M.A.) studying with inspiration behind it? Robert Riseling and Robert Spring, respectively. In 2011, he joined the faculty at Colorado State University where he maintains a thriving clarinet studio as associate professor. Ferreira also has a personal website at www.wesleyferreira.com and has developed a breath support training program called Air Revelation which Wesley Ferreira includes video lessons that can be streamed or downloaded.
CLARINET CACHE: As a collegiate teacher, in what ways do you incorporate technology into your studio? WESLEY FERREIRA: Our students have grown up in a time of incredible technological advances. They are the first generation to have been raised with personal computers and smartphones. Everything is now available quickly and often at your fingertips. Unfortunately, this can sometimes be at odds with an art form where development can’t be rushed. As a collegiate teacher, we have a greater responsibility now more than ever to help guide our students through the noise. We can use technology to our advantage in the studio. I have my students submit videos of their practice sessions via YouTube each month. This gives me an opportunity to comment directly on their practice habits and techniques. I have also had my students on occasion view each other’s practice videos and offer comments both positive and constructive on practice habits and techniques. This allows students to learn from one another. I have also had my students use time-tracking software on their smartphones, tablets or laptops to analyze their practice sessions. I am able to review their practice logs each week and discuss with them any trends or issues that I can see.
24 | THE CLARINET DECEMBER 2017 WF: The interactive streaming recital One of the benefits of performing Twitter, Instagram and Snapchat. Each occurred in the early days of web new music is that it gives composers social media platform has a unique way streaming before Facebook Live or other new music performers a of connecting with people and each has or Periscope made this common. I sense of confidence that you will be a different set of users. encouraged the public to select my receptive to them if they approach you recital repertoire by voting online. with an idea for a new composition * * * * * The works mainly consisted of the or commissioning project. I find As always, don’t forget to check out the masterworks of our clarinet repertoire. that composers are generally very electronic version of this column posted I left it completely up to them up enthusiastic when you contact them to on The Clarinet [Online] at www.clarinet. until the concert date. Additionally, I begin a dialogue on a new project. org/tco, and send your ideas for future encouraged audience viewers present columns to [email protected]. v in the concert hall and those watching CC: Do you have any new projects lined up? all over the world to communicate and WF: The most immediate project that ABOUT THE WRITERS connect via Facebook and Twitter using I’m working on is a new recording a common hashtag. I projected these which advances my doctoral research Kellie Lignitz-Hahn moderated comments live onstage while project. I’ve commissioned prominent is assistant professor of performing. I titled the recital “Clarinet Portuguese composers to create works clarinet at Texas A&M in the Digital Age.” I knew that I was that feature the clarinet and which University-Kingsville taking a chance in some regards, but exhibit Portuguese folk elements. where she teaches I was very interested (and still am) in applied lessons and how the current technology of our day CC: You have a strong presence on the web directs the TAMUK can be used to bring people together; to within the clarinet community. What Clarinet Choir. appreciate music in new ways. platforms or techniques do you apply to She received both reach out to people? her D.M.A. and M.M. degrees in clarinet CC: Your interest in new music has led WF: I feel that social media is an extension performance from the University of North to commissions of new works. What of one’s everyday life. It’s a way to Texas and her BM from Washburn University. compositions have you been involved with, Her primary teachers include James Gillespie and how did you forge those connections? build, maintain and foster a sense of and Kirt Saville. Kellie is an active clinician WF: My interest in new music comes from community across wide distances and and chamber musician, and frequently plays a desire to be a part of a living process. with people you would normally not in the Laredo Philharmonic Orchestra, the Performing contemporary music is get to see in person. I consider postings Corpus Christi Symphony Orchestra and the about being an active participant on social media to be the telling of Victoria Symphony Orchestra. She is also a in the evolution and sometimes a story. Whether intentional or not, Regional Artist for Vandoren. revolution of classical or Western art the collection of any person’s posts music. I have been involved in the sole describes who they are, what they feel is Bret Pimentel is an commissioning of and consortium important, their general attitudes about associate professor projects for some really fantastic new life and work, their sense of humor, etc. of music at Delta works for the clarinet. I’m also interested Much has been discussed and written State University in performing newer works that I feel on the negative aspects of social media, (Mississippi), where deserve exposure or which have been but I aim to use social media for the he teaches clarinet, lost in time. My first solo recording, forces of good. I hope that my postings oboe, bassoon and Madison Avenue, was an example of all always reflect this. I use Facebook, saxophone and directs this. It included works such as James the Jazz Ensemble. He M. David’s Auto ’66 clarinet concerto is an active performer in a variety of musical with wind band, Without Further Ado settings. Bret is the author of Woodwind for two clarinets and piano by Alasdair Basics: Core concepts for playing and MacLean, and Nikola Resanovic’s teaching flute, oboe, clarinet, bassoon, and Clarinet Sonata. Other works that saxophone. He received D.M.A. and M.M. I’ve been involved in commissioning degrees in multiple woodwinds performance recently include Clarimba for clarinet from the University of Georgia and Indiana and marimba by Jorge Montilla, University respectively, and a B.M. in Calcipher for E-flat clarinet and piano Read the full interview and saxophone performance from Brigham by Theresa Martin, Quelques Fleurs for see a performance by Ferreira Young University. His clarinet teachers have Clarinet, Cello and Piano by Karim at The Clarinet Online included D. Ray McClellan, Guy Yehuda, Al-Zand, and the Clarinet Concerto with (www.clarinet.org). Daron Bradford and Heather Rodriguez. wind band by David Maslanka. Bret blogs at bretpimentel.com.
DECEMBER 2017 THE CLARINET | 25 ClarinetThe
by S. Michael Plaut
“The Clarinet Enthusiast” features a rotating cast of contributors; if you are interested in sharing your perspective, contact [email protected]. RETURNING TO THE CLARINET IN LATER LIFE
ne of the most rewarding move into Oak Hammock, a retirement Soon after arriving in Gainesville in aspects of my retirement community affiliated with the University 2013, I joined the Gainesville Community years has been playing the of Florida in Gainesville, I contacted Band, conducted by Gerald Poe and now clarinet again and playing Mitch Estrin, clarinet professor at UF, who by R. Gary Langford, retired director of Omusic with others. Like many, I had recommended a source in Wilmington, bands at UF. Our retirement community learned to play in elementary school, Delaware for purchase of a professional did not have an instrumental group, so continued through high school and then level clarinet. I now play a Buffet R-13 I put the word out about my interest in stopped when I went off to college. I had Greenline, and have since added Rovner forming such a group. After four years, always used borrowed school instruments, ligature, Vandoren M-15 mouthpiece and the Oak Hammock Chamber Players both clarinet and oboe, but had never Backun studio barrel and bell. now numbers 20 musicians, and we have taken private lessons. When my wife and I attended our first been fortunate to have had Gary Langford My interest in music was life long, concert of the Wilmington Symphony conducting us almost since the beginning. and some musical activities continued Orchestra in North Carolina in the fall of We are also members of New Horizons. throughout my adulthood, whether 2008, I was chatting with the usher before Even though Gary does not work with us attending concerts or forming jug and the doors opened and mentioned that I was during the summer, the enthusiasm is high bottle bands in places where I worked. My looking for a group to play with. She asked enough that most of us continue to meet niece gave me her Vito student clarinet me where I was sitting. At intermission, each week and play through most of the when she went off to medical school. A year a woman came over and said she was the before my expected retirement, I had the oboist with the New Horizons Band at the summer. When I asked one of our flutists if instrument refurbished, bought a method University of North Carolina Wilmington. she planned to be with us this past summer, book and started taking lessons with Cory I soon learned that New Horizons she wrote, “I am happy I found your group. Kasprzyk, a saxophone student at Peabody. was an international support network for It has been a blessing in my life.” One of the early problems I had was adult musicians that had been started in Mitch Estrin has continued to be not being able to easily reach the right 1991 by an Eastman music education helpful in referring me to excellent local hand E/B key. A physical therapist friend professor named Roy Ernst, which was teachers, first two FSU clarinet grads, recommended doing hand stretches active in a number of countries. Ernst Danielle Levine Porter and then Amy with a rubber band, and I did that for had two basic rules – no competition, no McConn Freeman, both of whom had to a few months, eventually eliminating intimidation. These groups had provided discontinue due to other life priorities (like that problem. welcoming places to grow musically at moving away and having babies). For the After Cory decided that it was time any stage of adult life and to meet others last two years, I have been working with for me to work with a clarinet specialist, in similar situations.1,2,3 Our conductors UF master’s student Elizabeth Druesedow, I approached Eddie Palanker, then bass in Wilmington were Chris Ackerman and who has now embarked on a doctoral clarinetist with the Baltimore Symphony, later John LaCognata, successive band program with Robert Spring and Joshua who was willing to work with me as directors at UNCW. Jazzmone Sutton, Gardner in Arizona. As of this writing, we long as I was serious. When I retired, the student mentor for the clarinet are continuing to work together via Skype. and planned to move to our beach house section, was very helpful and supportive. in North Carolina, Eddie’s last bit of I also joined a small chamber group that TAKE-HOME MESSAGES advice was “find a group to play with.” rehearsed at UNCW, and took lessons There are a few things that are worth Knowing that we were eventually going to with WSO bass clarinetist Pam Merritt. emphasizing based on my journey to get
26 | THE CLARINET DECEMBER 2017 back into music and to clarinet playing. has contributed to my learning in a ENDNOTES Some of these would not be different for different way. 1 New Horizons International Music Association, any musician. Others, however, may be accessed June 11, 2017, www.newhorizonsmusic. More General Learning org. more pertinent for older musicians or for 2 “Music for Life: The Story of New Horizons,” me personally. Much of my learning has been of a more WXXI Public Broadcasting, 2014, accessed general nature. I try to learn more about June 11, 2017, www youtube.com/ Mastering the Instrument theory, certain composers, conducting watch?v=iQtL8iXjGPk. As with any developing instrumentalist, technique, various musical topics (e.g., 3 New Horizons Clarinet Choir, accessed June one must learn the characteristics of the film music) and music and aging.5,6,7 I also 11, 2017, www.esm.rochester.edu/community/ course/new-horizons-clarinet-choir/. instrument, practice fundamentals, and find that my playing leads me to listen to 4 Roy Ernst. A Bicycle for the Brain. New Horizons 8 become familiar with such things as reeds, music with a different ear. News, (Fall 2014): 6. ligatures, and alternative fingerings. There 5 Ada P. Kahn, Keeping the Beat: Healthy Aging is also the self-discipline of practicing and Social Factors through Chamber Music Playing (Evanston: building confidence to perform. Retired One of the most valuable advantages of Wordscope Associates), 1999. my playing has been the social aspects.9 6 Association of Chamber Music Players, accessed people are likely to have the time to June 11, 2017, https://acmp.net/. practice and though we do it only because Meeting and playing with others provides 7 Lisa J. Lehmberg and C. Victor Fung, “Benefits we want to, it is still helpful to schedule support, sharing of both difficulty and of Music Participation for Senior Citizens: A times for practice as we may do for enjoyment, new friendships, and the Review of The Literature.” Music Education opportunity to organize musical groups Research International, 4 (2010): 19. physical exercise or other things that we 8 Aaron Copland, What to Listen for in Music do on a regular basis. or events. (New York: McGraw-Hill, 1957). 9 “Music for Life: The Story of New Horizons.” Accepting limitations is important. Personal Support I need to accept that I will never be able None of what I have done musically over to play as fast as I might like to, and I the last decade would have worked so well ABOUT THE WRITER often have to make pencil notes in my if I had not had the support of my wife, Michael Plaut earned music to remind myself of accidentals or Judy, whether it involved expenses for his Ph.D. in psychology alternate fingerings. equipment, music and lessons, putting from the University Musical Expression up with practice sessions, especially the of Rochester in 1969 All of us work to master the notes, early ones, working around rehearsal and and spent most of his dynamics, intonation, phrasing, voicing concert schedules in our planning of trips career on the faculty and, ultimately, to play musically. Ernst and other events, attending concerts, and of the University of Maryland School of observed that older musicians tend to even helping me decide which of six new Medicine in Baltimore. exhibit an expression of feeling based on bells produced the best tone. Anticipating their life experience: “We chronologically CLOSING THOUGHT retirement, he resumed playing clarinet in gifted adults have some special strengths Musical activity has many benefits in later 2007 after a 48-year lapse. He now plays in a that we bring to performing music. We life, whether physical, psychological or number of settings, including the Gainesville have a lifetime of music in our memories social. For me, music making has been (FL) Community Band, which he now that influence our expressive choices. Our challenging, stimulating, rewarding, serves as president, and the Oak Hammock life experiences such as struggle, joy, birth sometimes frustrating, but mostly fun Chamber Players, which he founded in and death, lead to very expressive music.”4 and very fulfilling, both individually 2013. He played in his first clarinet choir at Balance of Work and Enjoyment and socially. v ClarinetFest® 2017. As important as it is to master the fundamentals and to play challenging pieces, we ultimately play music for enjoyment, relaxation and even escape. So…What’s On Your Barrel? Otherwise, why do it at all? David McClune Mouthpiece Role Models I have always been grateful for teachers Service Professional through beginner and conductors willing to work with older models Exciting new custom blank and people. I have also found other resources valuable in my learning, including books, model this Spring! articles (many from The Clarinet), other Custom refacing available clarinetists and online resources such as Michelle Anderson’s Clarinet Mentors mcclunemouthpiece.com, [email protected] program. Each teacher and each experience,
DECEMBER 2017 THE CLARINET | 27 ClarinetThe by Margaret Thornhill
CARLOS JAVIER FERNÁNDEZ COBO AND MADRID’S VICTORIA DE LOS ÁNGELES CLARINET ENSEMBLE
he Victoria de los Ángeles Clarinet Ensemble of Madrid, Spain, is a clarinet choir with an unusually activeT performance history and an ambitious schedule of pedagogic concerts and collaborative projects, including performances with live dance. In 2017, the group is celebrating its 10th anniversary. Founded in 2007 by its conductor and professor Carlos Javier Fernández Cobo, the group is in residence at Madrid’s Conservatorio Professional “Victoria de los Ángeles,” the professional conservatory 2017 Members of the Victoria de los Ángeles Clarinet Ensemble with conductor Carlos Javier Fernández of music named for the famous Spanish Cobo (far right) and guest performers operatic soprano. Members include current clarinet students and some older clarinet graduates of the conservatory, now working events such as the second European of Uclés (Cuenca). The ensemble has also as music teachers or in various professions, Clarinet Congress (Madrid), Úbeda’s recently recorded for Spanish National as well as two of Fernández Cobo’s former International Music Festival (Jaén) and the Television (TVE), playing Bartók’s students from his prior teaching position at fourth ADEC National Clarinet Congress, Romanian Dances. the University of Córdoba. and at locations such as the Universidad To celebrate their 10th anniversary, the During its history, the group has Autónoma de Madrid, the Euskalduna group traveled outside of Spain for the performed throughout Spain, including Auditorium in Bilbao and the Monastery first time, performing at the Basilica of San Giuseppe al Trionfale in Rome, Italy, in a program of Spanish and Italian music featuring works by Michelle Mangani and Vence Biscontin. Fernández Cobo, who holds a Ph.D. in music from the Universidad Autónoma de Madrid, has performed with the Orchestra of Córdoba, the Ciudad de Madrid Orchestra, the Banda Sinfonica Municipal, the Pro-United Nations Orchestra and many other groups. He has taught and presented at courses and conferences in Mexico and Portugal and written articles and books about clarinet
28 | THE CLARINET DECEMBER 2017 The Victoria de los Ángeles Clarinet Ensemble with dancers at the Monastery of Uclés, Spain, 2014
pedagogy and history, including his new CFC: Our conservatory shares the it for Spanish television. During the book about Antonio Romero: Enseñanza, building with the Carmen Amaya years, we have played choreographed téchnica y desarrollo del clarinete en la Dance Conservatory. Ten years ago, compositions like John Williams’s Europa de Antonio Romero (Universidad a small group of teachers designed a Schindler’s List, Strauss’s Tritsch-Tratsch, Rey Juan Carlos, 2015). In addition to performance where music and dance Isaac Albéniz’s Polka, Sevilla, Córdoba, his position at the Conservatorio Victoria were mixed, titled Amalgama (“mix, and Tango, Manuel de Falla’s Danza de los Ángeles, he is also professor at the combination”), and the following del Fuego Fatuo and Gustav Holst’s St. Universidad Autónoma de Madrid. In a year, a select group of pupils recorded Paul’s Suite (Ostinato), most of them recent email interview, I asked him about his work with the ensemble and his goals for the future. MARGARET THORNHILL: Ten years is a fine accomplishment for any group, even one based at a conservatory. Tell me about the history of your ensemble. CARLOS JAVIER FERNÁNDEZ COBO: I founded this group one year after I arrived at this conservatory in 2006. Our history has been based on four elements: conception of the ensemble as a string chamber orchestra, pedagogical concerts, live music and dance and the performance of concerts outside of Madrid through exchanges with other musical institutions or clarinet ensembles. We have organized several interchanges with other ensembles, music schools and conservatories, playing in auditoriums and monasteries all over Spain in locations such as Córdoba, Adamuz, Santa Ollalla, Úbeda and Uclés, with selected and distinct programs depending on the place and the event.
MT: I was excited to learn about your concerts with dancers, especially flamenco. How did that come about? What music are you playing for the dancers?
DECEMBER 2017 THE CLARINET | 29 arranged by myself to be played by a CFC: In our pedagogical aspect, we have 18) will be to organize a concert with clarinet ensemble or clarinet quartet played for more than 5,000 people over Spanish contemporary composers who with dancers. The Albéniz Tango was the years, promoting music-making have composed for clarinet ensembles, also played at ClarinetFest® 2015 by among students. In addition, we played inviting them to assist at the rehearsals the ADEC ensemble (where I play) in several museums under the program and work with us, offering a concert with my beloved dance pupils from “New Music, New Public” organized with their compositions in our Carmen Amaya. by the Madrid education government. auditorium and recording it in audio Three dance styles are taught in the These performances have been offered and video. There are some works that I Carmen Amaya Conservatory: classic, to people with cerebral palsy, autism, will arrange for the ensemble, too. Some Spanish (flamenco is included in this Asperger’s syndrome ... they are our composers who have confirmed their style) and contemporary. One day, I favorite and very grateful public. compositions are Vicent Alamá, David listened to beautiful guitar music with Pedagogical concerts, lovingly named Bellas, Arturo Medina, Paulino Martí, a flamenco singer and saw a rehearsal “Clarigama” (Clarinet-Amalgama), are Alejandro Moreno, Enrique Muñoz and of flamenco dance pupils. I asked very important for us. On one hand, we José Susi. In addition, I asked for two Estefania Palacio Vera, the teacher in promote our conservatory and music- more works from Maria José Berenguer the conservatory and choreographer making. On the other hand, through and Rebeca Valverde. It will be very of the dance, who composed it. She the money earned at these concerts, we special for us and it will be a challenge! explained to me that it was Carlos are able to organize trips to offer our I invite composers to compose for us or Pucherete, our flamenco guitar teacher. concerts, buy musical scores and pay to send us their compositions! I told them that I wanted to compose for other activities for the ensemble. a clarinet ensemble part and they We combine music, dance and images/ MT: Is there anything else you would like to encouraged me to do it! Several years pictures. The conservatory has an share about your work? ago, I played a composition titled auditorium with 300 seats and technical CFC: I always have tried to learn and equipment which allows us to prepare Poeta for orchestra, guitar, cantaor, and remember the most important phrases performances as shows that are very percussion with narrator at Granada’s or concepts of my teachers: love for attractive to the public. International Flamenco Festival with the clarinet (Vicente Lloréns, my I coordinate the concerts with music the Córdoba Symphonic Orchestra, first teacher), dark sound (Jean Louis teachers depending on the student which inspired me to compose the Sajot), “music always has to sound level or age. All of them are the result clarinet ensemble part. It was very fresh” (Rafael Herrero), “the clarinet of several years of collaboration with difficult because flamenco’s language, has to sound like a singer” (Manuel schools and teachers. Two years ago, harmony and rhythms are very specific. Rodríguez), orchestral sonority we were able to offer a pedagogical and embouchure (Ramón Barona), I had to study and prepare a lot in order concert in the Universidad Autómona to compose it emphasizing the flamenco thoroughness of execution (Justo de Madrid’s Education Faculty. We Sanz), clarity of passages due to a style without my own prejudice. received a lot of congratulations for it. This year, we recorded the music good technique (Silvie Hue), phrasing using technologies such as a drone or MT: Some of your published arrangements (Florián Popa), “the sound is in your GoPro® camera on the stage. We are or compositions for clarinet quartet are brain” (Hedwig Swimberghe), “nothing editing it at this time. You can find listed on your personal website. Have you has to be repeated twice the same way” these videos on my YouTube channel arranged for larger ensembles as well? (Carlos Riera), clarity of concepts and several links on our blog, http:// CFC: I have published some arrangements when they have been explained (Javier grupodeclarinetesvictoriadelosangeles. for small clarinet ensembles or clarinet Balaguer), naturalness and spontaneity blogspot.com. quartet, and I have more than 30 (Walter Boeykens). Thanks to all. v expecting to be published. It is difficult MT: Some of your photos show collaborations to get a publishing house interested in ABOUT THE WRITER with singers. What have you performed doing it. I have not arranged for bigger Margaret Thornhill, with voice? ones because most mid-level ensembles D.M.A., is a CFC: We have played my arrangements in Spain play in B-flat and bass performer and private for clarinet ensemble and singers instrumentation. This year, we started teacher in Los Angeles or vocal choirs of different original to play with E-flat, B-flat, basset horn who conducts the Los compositions. The most important of and bass clarinet, and I am thinking Angeles Clarinet Choir these past 10 years is Gabriel Fauré’s about adapting some and making new Requiem, Op. 48, sometimes complete – ones for large ensemble. and is founder/director on other occasions, the “Pie Jesu” part. of the Claremont MT: What are your goals for the future with Clarinet Festival. Send MT: Tell me more about your pedagogical this group? her clarinet choir news or comments at her concerts. CFC: One project next season (2017- website: www.margaretthornhill.com
30 | THE CLARINET DECEMBER 2017 Stephen R. Williamson
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ustav Jenner is not famous but holds the distinction of being the only composition student of Johannes Brahms, a very demanding teacher. Jenner’s output consists of choral works, Lieder, piano compositions and chamberG music, including the Sonata in G Major, Op. 5 for A clarinet and piano and the Trio in E-flat Major for B-flat clarinet, horn and piano. Like Jenner himself, his Sonata is not well- known, even though scholars have commented on its similarities with Brahms’s Sonatas, Op. 120. For example, Bernhard Röthlisberger asserts that, “Brahms clearly casts his shadow on all four movements of [Jenner’s Sonata] … [He] is ubiquitous in the structure, in the melodic contours, in the swaying rhythm, in the mastery of traditional counterpoint as well as in the use of subtle harmonies.”1 While the style of Jenner’s Sonata was unquestionably influenced by Brahms’s Sonatas, he never would have written it in the first place, were it not for Brahms, his Sonatas and Mühlfeld. FORMATIVE YEARS (1865-1888) Gustav Jenner Cornelius Uwe Gustav Jenner, born December 3, 1865, in Keitum, Germany, was the third and final child of Anna and Andreas Ludwig Otto Jenner. Two years later, at the age of 20, he finally began He was not born into a musical family: his mother’s receiving formal training in composition. ancestors were seamen and merchants, and his As this time, Jenner went to school with the father was a doctor who descended from a line of sons of Klaus Groth, who had many friends in Scottish physicians. Jenner’s family expected him to the musical world, including Robert and Clara become a doctor as well, although they soon realized Schumann, Joseph Joachim, Julius Stockhausen that he was more interested in music than medicine. and Johannes Brahms. On the recommendation Jenner’s early musical training was sporadic, of Groth, Brahms agreed to meet Jenner in Vienna in part because the family moved several times in December 1887. At that time, Jenner presented during his childhood. More significantly, his father Brahms with several vocal and chamber works. After discouraged Jenner’s musical interests so that he “some preliminary remarks to the effect that he had would devote more time to medicine. In spite of received a generally positive impression,”2 Brahms these factors, Jenner took sporadic piano lessons proceeded to deliver harsh criticisms of the works. In and began composing on his own, though he later spite of this, Jenner recalls that he was never unkind: destroyed these early works. In 1884, Jenner’s father committed suicide; Everything seemed softened by a good while this event undoubtedly took an emotional will that won my confidence: he showed me toll on Jenner, it allowed him to pursue his musical without leniency or any possibility of objection ambitions. He started taking piano lessons for the that I didn’t know how to do anything … first time in 10 years, and he also studied organ. Before my eyes a new world was dawning. I
32 | THE CLARINET DECEMBER 2017 saw the correct road to the land of his relief in a letter to Groth: “Above all, University of Marburg honored him with true art clear and palpable in front of I can now not be thankful enough to the title of professor on April 26, 1900, me, even if that realm itself was still have received at all regular employment and presented him with an honorary lost in fog.3 and a field in which I can engage myself doctorate on November 13, 1904. 5 Upon his return from Leipzig, Jenner practically.” While in Marburg, Jenner also wrote to Brahms on January 13, 1888, Jenner’s duties at the University maintained a rewarding career outside the requesting composition lessons, and Brahms included conducting music at academic University. His high expectations for the recommended that he move to Vienna. ceremonies, teaching musicology, and ensembles he conducted, including those conducting for the Academic Concert not affiliated with the University, helped VIENNA YEARS (1888-1895) Society, which included chamber, choral establish Marburg as an important musical Jenner arrived in Vienna on February 13, and symphonic performances. The city. He was active as a pianist, conductor 1888, and went straight from the train station to Brahms’s home. The two men toured Vienna, including lunch at the Red Hedgehog and an introduction to Eusebius Mandyczewski. Brahms continued to help Jenner in the matters of day-to-day life throughout his years in Vienna. However, Jenner’s lessons with both Mandyczewski and Brahms quickly proved frustrating: he did not progress quickly in his counterpoint studies with Mandyczewski, and Brahms’s criticisms were even more harsh than they had been in Leipzig. As Jenner stated: Not until a whole year later did Brahms remark on some occasion: “You will never hear a word of praise from me; if you can’t stand that, then whatever is inside you only deserves to go to waste.” This sentence was my salvation.4 In spite of his severe demeanor in lessons, Brahms showed that he cared Play Selected about Jenner’s career by helping establish him in the Viennese music circle. Jenner Buffet Clarinets came to serve as the editor-in-chief of the Vienna Tonkünstlerverein, the conductor Taplin-Weir Barrels & Bells of two women’s choirs, a piano teacher (647) 351-8181 SELECTION and the director of the Society of Catholic [email protected] Music Church in Baden. In addition, he STUDIO – was active as a composer, and his music An extensive onhand selection of Buffet Clarinets was performed in public and at gatherings of Brahms’s circle of friends, which REPAIRS – Artist level included prominent Viennese musicians. repairs, custom work Finally, Brahms helped Jenner attain and voicing of all professional clarinets the position of Music Director at the University of Marburg. LIGATURES – Gold plated Bonade and finely crafted Ishimori ligatures MARBURG YEARS (1895-1920) In spite of his achievements in Vienna, GAUGE – The unique Taplin-Weir clarinet bore gauge Jenner aspired to a permanent post. He realized this goal in 1895 when Brahms John Weir and Patti Goodwin Hassle Free Shipping to and from the US! and Groth helped him secure the position of Music Director at the University of www.taplinweir.com Marburg. Shortly thereafter, he expressed
DECEMBER 2017 THE CLARINET | 33 Jenner’s Sonata. The first movement features a number of parallels with the first movements of both Brahms Sonatas. As expected, these movements are all in sonata form; like Brahms, Jenner uses traditional tonic-dominant key relationships in the exposition and recapitulation. Jenner also utilizes developing variation in this movement, and the first theme is similar to that of Brahms’s Sonata in E-flat Major. As Jenner’s Sonata progresses, its harmonic, melodic and formal language become more distinct. The second movement is similar to that of Brahms’s Sonata in F Minor in that both present a similar approach to ternary form and exhibit a chromatic-third relationship with the overall tonic. However, the melodies in Jenner’s second movement (and the remainder of the Sonata) do not exhibit Excerpt from the first movement of Jenner’s Sonata the direct influence found in the first movement. Like the third movement of Brahms’s Sonata in F Minor, Jenner’s third movement is a dance in composite ternary and composer, especially of chamber and Brahms, in Vienna on January 7, form. While the first section’s structure music. Jenner’s scholarly ambitions also 1895. In addition, on January 21, 1897, and textures are similar to Brahms’s, flourished while in Marburg; he wrote he performed Brahms’s Sonata No. 2 with Jenner deviates from that model in his articles on Bach, Beethoven, Brahms Mühlfeld on a recital for the University of Trio. In the fourth movement, Jenner and Handel. Prominently featured in his Marburg’s Academic Concert Society. departs most noticeably from his teacher’s literary output of this period is his work These performances of Brahms’s influence; this rondo is very different Johannes Brahms als Mensch, Lehrer, und Sonatas and interactions with Mühlfeld from the rondo that concludes Brahms’s Künstler: Studien und Erlebnisse, an account inspired Jenner to write a clarinet sonata Sonata in F Minor. Jenner emphasizes of his studies with Brahms. Gustav Jenner for him. The precise date the Sonata’s the transitions by prolonging them and died on August 29, 1920, in Marburg. completion is unknown, though it can introducing new themes; also, its refrain is be narrowed down to a period of just GENESIS OF THE SONATA over one year in 1898-1899. Mühlfeld march-like, a character that Brahms does (1890S) and Marie Baumayer premiered it on not feature in either of his Sonatas. Like Brahms, Jenner wrote for Richard February 16, 1899, at a concert to benefit Although Jenner’s Sonata is similar Mühlfeld, whom he most likely met when the Brahms Memorial Fund. After the to Brahms’s Sonatas, it is clearly not an visiting Meiningen with Brahms in March premiere, Mühlfeld performed the work imitation of these works. It is a noteworthy 1891. Mühlfeld performed a program of several more times, including the English work that deserves further study and works by Mozart, Weber and Spohr; he premiere on January 13, 1900, with Fanny increased performance, based not only also discussed repertoire and characteristics Davies on piano and a performance with on its historical significance, but also on of the clarinet, including differences Jenner in Meiningen on January 22, 1901. its own merit. Jenner’s “distinctive, highly between the A and B-flat clarinets. While Jenner submitted his Sonata to Breitkopf sensitive voice as a composer”6 renders the this encounter famously inspired Brahms and Härtel for publication on July 13, Sonata indispensable to both clarinetists and to compose his clarinet works, it also laid 1899, and they published the work that historians. Furthermore, his output serves as the groundwork for Jenner’s Sonata in same month, including an arrangement an important historical resource. According G Major, Op. 5. In the years following – by Jenner – for violin and piano. His to Jenner scholar Horst Heussner: Brahms’s and Jenner’s trip to Meiningen, only other clarinet work, the Trio in E-flat Jenner’s works number among Mühlfeld visited Vienna several times. Major for clarinet, horn and piano, was not the interesting documents of more Because of Jenner’s relationship with published during his lifetime. Brahms, he likely spent time with Mühlfeld recent music history not merely and heard him play on these visits. JENNER’S SONATA for the simple reason that they are In addition to his interactions with Jenner’s Sonata was influenced by Brahms, representative of the music between Mühlfeld, Jenner was familiar with both historically and stylistically, so it Brahms and Schönberg but because, Brahms’s Sonatas, Op. 120. He attended is only natural to use the more famous as perhaps the last expression of the premiere of the works, by Mühlfeld Brahms Sonatas as a means to understand middle-class music culture on
34 | THE CLARINET DECEMBER 2017 Jenner, Gustav. Johannes Brahms als Mensch, Lehrer und Künstler: Studien und Erlebnisse. Marburg: N.G. Elwert’sche, 1903. (Note: Susan Gillespie translated a portion of Jenner’s book to be published as “Johannes Brahms as Man, Teacher, and Artist” in Brahms and His World, ed. Walter Frisch, 185-204. Princeton: Princeton University Press, 1990.) Rauch, Stefani. “Gustav Jenner.” Philipps- Universität Marburg - Hessisches Musikarchiv. 3 February 2006. www. uni-marburg.de/fb09/hma/jenner. Russell, Peter. “Gustav Jenner.” In Johannes Brahms and Klaus Groth: The Biography of a Friendship. Hampshire: Ashgate, 2006. v ENDNOTES 1 Bernhard Röthlisberger, liner notes from Bernhard Röthlisberger (clarinet) and Philip Smith (piano), Portrait: Works by Johannes Brahms and Gustav Jenner, Pan Classics 510 151, 2002, www.clarinet.ch/cd/cd_brahms.asp. 2 Gustav Jenner, “Johannes Brahms as Man, Teacher, and Artist,” trans. Susan Gillespie, in Brahms and His World, ed. Walter Frisch (Princeton: Princeton University Press, 1990), 187. 3 Ibid., 189. 4 Ibid., 193. 5 Quoted in Stefanie Rauch, “Gustav Jenner (1865-1920): Life and Work,” trans. Susan Marie Praeder, liner notes from Martin Litschgi (clarinet), Iryna Krasnovska (piano) and Nadja Helble (horn), Jenner: Chamber Music, MDG 6031343, 2005, 5. 6 Horst Heussner, Preface to Gustav Jenner’s Sonata in G-Dur für Klavier und Klarinette in A (Mainz: Schott, 1987). 7 Horst Heussner, Gustav Jenner (1865-1920). Full score excerpt from the fourth movement of Jenner’s Sonata Universitätsmusikdirektor in Marburg (Marburg: 1985), 8-9; quoted in Rauch, “Gustav Jenner,” trans. Praeder, 7.
the eve of catastrophe, musical Fellinger, Richard. “Über Gustav Jenners inspiration and a thoroughly Erste Wiener Jahre.” In Klänge um ABOUT THE WRITER personal style are proper to them.7 Brahms: Erinnerungen von Richard Dr. Liz Aleksander Fellinger, ed. Imogen Fellinger. is associate professor FURTHER READING Österreichische Johannes Brahms- of music at the Aleksander, Elizabeth. “Gustav Jenner’s Gesellschaft Mürzzuschlag: 1997. University of Tennessee Clarinet Sonata in G Major, opus 5: Heussner, Horst. “Der Brahmsschüler at Martin, where An Analysis and Performance Guide Gustav Jenner.” In Brahms-Kongress, she teaches clarinet with Stylistic Comparison to the Wien 1983: Kongressbericht, by the and music theory. Clarinet Sonatas, opus 120 of His Gesellschaft der Musikfreunde in Wien She is bass clarinetist Teacher, Johannes Brahms.” D.M.A. und Österreichischen Gesellschaft with the Paducah document, University of Nebraska, für Musikwissenschaft, ed. Susanne Symphony Orchestra, clarinetist for the LCD 2008. http://digitalcommons.unl.edu/ Antonicek and Otto Biba, 247-57. Woodwind Trio and founder of the UTM musicstudent/14. Hans Schneider: 1988. Community Music Academy.
DECEMBER 2017 THE CLARINET | 35 An Interview with Tao Chunxiao – aby Shuang Chinese Zhu Clarinet Legend
his special year, before Tao Chunxiao Chinese clarinetist Tao Chunxiao celebrated her 80th birthday, I sent her a personal interview request as a former student for my DMA research project titled, The Role of the Clarinet in China. I am very grateful that she kindly accepted my invitation. It is my hope that through my interview with Chunxiao, Photo Credit: Buffet Crampon China moreT and more clarinet lovers and professionals around the world will gain a better understanding of the history of clarinet arts development in China and its promising future. Additionally, I hope that more people will get to know Chunxiao, a legend who has played such an important role in China’s clarinet arts development. The motivation for this article is to show that the historical development of the clarinet including its repertoire, pedagogy and performers were related closely to the rise and fall of modern China, and Chunxiao has been a significant part of that progress.
ABOUT TAO CHUNXIAO Tao Chunxiao was born in Chongqing, China, in 1937, and is not only regarded as one of the most influential clarinet players in China, but also a witness to most of the clarinet’s development in China. She is a professor at the Central Conservatory of Music (Beijing, China) and has served in various roles in the past, including: Director of the Orchestral Instruments Department at Central Conservatory of Music, President of the Chinese Clarinet Association, Member of the Committee on Arts Education at Ministry of Education of China, and Director of the Education and Technology Department at Ministry of Culture of China. In addition, Chunxiao has been invited to many significant international clarinet festivals and competitions, including the Munich and the Geneva International Competitions as a member of the adjudication panel. Many of her former students, such as Fan Lei and Yuan Yuan, have played pivotal roles in helping the clarinet gain its prominence in modern China.
36 | THE CLARINET DECEMBER 2017 Shuang Zhu: Can you talk about the Chinese government’s attitude towards The achievement that we have today Western music, the clarinet in particular, after People’s Republic of China was in clarinet development is inseparable established in 1949 (but before the Cultural Revolution was launched in 1966)? from the hard work put in by each and Tao Chunxiao: During those years, speaking overall, the Chinese every one of the clarinet educators, government was being very respectful and supportive towards Western music. After 1949, the Communist Party and I am simply one of them. of China recruited a large group of talented youth to form military bands. This is a tradition that the Communist Chinese government began to promote SZ: In your opinion, which events (e.g. Party adopted from the Kuomintang “aesthetic education” allowed music festivals, competitions, or other special (also known as the Chinese Nationalist education to start blooming. To give a occasions) have positively influenced the Party). At the same time, China rough estimate, in Beijing alone, there development of clarinet industry in China? started to have its own symphonies, are hundreds of secondary-school and TC: First, considering the competitions, the even though the number and size of primary-school orchestras and wind series of National Clarinet Competitions symphonies were not comparable to bands today. Moreover, ever since initiated by the Ministry of Culture that of the military bands at that time. the “Reform and Opening-Up,” the of China have been very influential. SZ: What was the Cultural Revolution’s Chinese government has put great Many winners from these competitions main impact on China’s general emphasis on cross-national cultural have become backbones of the education, and more specifically, China’s exchange. Well-known foreign clarinet industry in China. As for the Western music education (including clarinetists have been invited to China conferences, back in 1990, the Ministry clarinet development)? to perform and teach. This has, without of Culture of China designated the TC: During that period, China’s a doubt, stimulated the fast growth of Wuhan Conservatory of Music to hold education system as a whole was the clarinet industry, as well. a Chinese Clarinet Music Conference. almost ruined, and there was no room This conference was an important driver SZ: Has the military band of the Chinese for Western music to survive. The behind the development in Chinese People’s Liberation Army contributed to major conservatories of music were clarinet music. Last but not least, the development of clarinet in China? shut down, and when the Revolution looking at the music festivals, the most If yes, how? reached its climax, people were significant one has to be the Beijing TC: The military band has played a pivotal prohibited from speaking favorably International Clarinet Festival held role in publicizing and promoting of Western music. Near the end of in 1998. It was the very first Chinese the education of wind music. In fact, the Cultural Revolution, the major clarinet festival, and many well-known Beijing’s primary school/secondary conservatories of music gradually world-class clarinetists attended it, started to reopen, but Western school orchestras and wind bands including Robert Spring. These famous instruments were only allowed to (something that I mentioned earlier) clarinetists’ stunning performances perform Chinese music that portrayed have all received different kinds of inspired music lovers in China, igniting a strong political message. Music by support from the military band. In their passion for clarinet music. Mozart, Debussy and other famous addition, the military band has been SZ: Western composers and musicians was an important talent pool for the main In your opinion, what are some of the not allowed to be played in those years. music institutions in China, sending representative clarinet pieces from China? numerous high-potential students Why do you think they are important? SZ: In 1978, China started its “Reform (including clarinet players) to top TC: The first one that came to my mind and Opening-up” policy. Can you please conservatories of music each year. was Theme and Variations (1952) talk in detail about how this policy has These students further improve their composed by Zhang Wu, a former influenced the development of clarinet performance skills as well as theory clarinet professor at the Central education in China? knowledge in music institutions, and Conservatory of Music. This work TC: After this policy came into force, the training they receive from both the by Wu was the first clarinet piece not only the clarinet industry, but the army and the school become cutting independently composed by a Chinese entire music industry had promising edge, allowing them to shine in many composer. It was also the first time development. The fact that the national clarinet competitions. that Chinese music elements were
DECEMBER 2017 THE CLARINET | 37 incorporated and used in clarinet pieces. SZ: In your opinion, what does the future of TC: After 1949, China started to establish Next, The Song of Grazing Horses (1984) China’s clarinet industry look like? What diplomatic ties with the Soviet Union by Chinese composer Wang Yan is also are some of the potential directions that it and Eastern European countries and a classic piece in China’s clarinet music might or should follow? signed bilateral corporation agreements history. This piece was specially written TC: The most important task is to with these countries. Some of these for me at that time. Yan made use of a compose more and more world- agreements apply to the music composition skill that is called musical class Chinese clarinet pieces, and world, and that is why the Ministry imaging. It was one of the mandatory accumulate such works, so that China of Culture of China started to select pieces of the repertoire at the First can form its own “School of Thought” and appoint representatives to study National Clarinet Competition. or “System of Practice” with respect abroad in Eastern European countries. Finally, I have to mention The to the clarinet arts. Only with distinct I was lucky to be nominated by my Sound of Pamir (1981) by composer Chinese characteristics and a system institution, the Sichuan Conservatory Hu Bijing. This is the first clarinet of practice can we improve the status of Music, to participate in the national concerto in China’s history. Its and international reputation of China’s selection process and earned the great musicality, technical difficulty and clarinet arts in general. However, this opportunity to study clarinet in the influence since its publishing has made is no doubt a tough and enduring Czech Republic. it one of the most successful Chinese process that requires the devotion and During my years in Prague, my clarinet pieces so far. commitments of generations of clarinet clarinet professor, Vladimir Riha, professionals. put great emphasis on building up SZ: Please talk about the current conditions students’ solid foundations through of clarinet education in China. Please PERSONAL QUESTIONS AND thorough practice of basic skills and feel free to approach it from any aspect, ANSWERS essential techniques. I spent lots of for example, students’ technical skills time practicing to gain familiarity with compared with those from other countries, SZ: Why did you choose to learn clarinet, different patterns of scales and a large the qualifications of Chinese clarinet and not other instruments such as piano number of etudes. The solid foundation instructors, the academic exchange or violin? that I built from this training was the activities with western countries, etc. TC: It was in fact quite coincidental how most valuable asset that I earned from TC: Right now, Chinese clarinet instructors I stepped into this profession. When my overseas studies experiences, and I’ve consist of two main categories of I was young, the Chinese People’s been emphasizing foundation building professionals: those who were educated Liberation Army had just attained in my own teaching for decades, as well. and trained domestically and those who the goal of liberating the nation and studied abroad and gained experience the people. As a result, I admired SZ: Can you please briefly talk about your overseas. Overall, the current batch the Liberation Army very much and own teaching philosophy? of Chinese clarinet instructors are wished to become part of it when TC: First, I ask my students to stay relaxed relatively high-standard. Having said I grew up. Soon after P.R. China during their performance, but “staying that, there are many areas of clarinet was established, I heard that the relaxed” is not the same as “being in education that can be potentially Military Band of the Chinese People’s low spirits.” Second, I ask my students improved. For example, one prominent Liberation Army was conscripting, and to keep the laryngeal cavity wide open phenomenon in today’s China is I applied for it without hesitation. The while playing because if not, it will that both instructors and students military officer who was in charge of be difficult to play once reaching the tend to overly emphasize the mastery conscription back then found that I upper register. Moreover, I came up of technical skills. Unfortunately, had big hands and long fingers, suitable with my “Three Straight Lines” concept this often results in lack of focus for playing wind instruments, and thus as part of my teaching philosophy. To on performance style and failure to assigned me to the clarinet section of be more specific, the first line refers to interpret the real essence and spirit of the Military Band. That was basically the fact that the lower jaw needs to be music itself. This may be part of the how I started to learn clarinet. Before held tight so that it looks like a straight reason why young Chinese clarinetists that, I knew very little about this line and forms a 90-degree angle with have failed to win major international instrument, to be very frank with you. the floor. The second line refers to the clarinet competitions. It will be breath. It should be smooth and stable, crucial for both clarinet instructors SZ: Why did you decide to study abroad? resembling a straight line, so that we and students to improve their ability What is the most important thing that will have beautiful and focused sound to accurately interpret and convey you learned during your years in Prague? coming out of the clarinet. The third the spirit and beauty of each unique How did the knowledge you obtained line refers to the finger motion. Fingers musical piece apart from acquiring and abroad influence your personal clarinet must always remain close to the clarinet mastering fancy technical skills. pedagogy later on in China? and resemble a straight line as well.
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DECEMBER 2017 THE CLARINET | 39 SZ: The American clarinetist Robert Spring embouchure. At the same time, I SZ: Looking back at your career and all once said that “Madam Tao is probably started to get familiar with clarinet your contributions to China’s clarinet the reason why clarinet flourishes in pieces by foreign composers such as development, what were you most proud China.” What do you think of his Weber’s clarinet concertos and Brahms’ of? Do you have any regrets? statement? clarinet sonatas. TC: I’m very proud to see my students TC: First of all, I want to thank Spring for When I studied in Prague, my growing into clarinet professionals, and his kind words, even though I think instructor was Vladimir Riha, a I’m proud to see how China’s clarinet he has given me too much credit. The famous clarinetist from the Czech education has flourished over the years. achievement that we have today in Republic. He taught me for five However, I am a little concerned about clarinet development is inseparable years. I remember that I cried several the fact that our country has very few from the hard work put in by each and times in his class, because he was a world-class clarinet pieces of our own. every one of the clarinet educators, and very strict teacher and had very high I wish I could have done something I am simply one of them. I am just one expectations of his students. I learned earlier in my career to cultivate a batch of the many clarinet educators from my a great deal from him, especially in of composers. generation. Many of my colleagues and music interpretation and performance Besides that, I find that many of friends from the old days have made experiences. I am very grateful for the our young clarinet educators tend significant contributions to clarinet guidance and support that I received to run after big gains and quick education around China, as well, for from these two teachers. accomplishments and have no example: Wang Duanwei and Gu patience for teaching and academic Peng, who used to teach in Shanghai; SZ: Besides being a well-known clarinet research. This is very worrisome. Good Bai Wenshun, who mainly stayed professor, you were also a successful and worked in Northeastern China; politician. Would you mind talking a education requires a teacher’s true Wang Yu, who taught in Xi’an, and little bit about your political life? How devotion. Teachers should nurture their Xing Xuezhi, who worked in Sichuan do you define and balance these two students in the same way as parents Province. different roles in your life? Is there any nurture their kids. v link between them? Compared with my peers, I enjoyed ACKNOWLEDGEMENTS the geographical location advantage TC: I was in charge of performing arts I would like express gratitude to my of being in the capital of the country. management in general when I worked amazing clarinet teachers, Robert Spring, The fact that I became a government for the Ministry of Culture. My job Joshua Gardner and my friend He Linlang official at the Ministry of Culture also required me to be acquainted with who provided me with good guidance for gave me the authority and convenience not only music, but also fine arts, in supporting some of the major drama, dance, etc. These different the interview transcript (translated). clarinet events such as the national disciplines of arts are interconnected, competitions, conferences and festivals. as are performing arts education and ABOUT THE WRITER management. I often applied what I Shuang Zhu was born SZ: Who were your clarinet teachers? learned from my management job to in Changsha City in Are you willing to briefly share your my teaching, and conversely, I was the Hunan province of experiences with them? able to use my teaching experiences China. He graduated TC: My first clarinet professor was a to support my management role. For from Arizona State clarinet player from the Chinese example, because I knew what kind of University with a Nationalist Party Military Band. I challenges teachers were facing on the Doctor of Musical cannot really remember his name frontline, when I served my role as a because he taught me for only a government official, I made sure that I Arts degree in May week. In 1953, I started to study came up with backend support policies 2017. Zhu earned his under Mu Zhiqing at the Southwest that could most effectively address Doctorate and Bachelor of Music degrees at Music College (which was the origin these challenges. ASU and attended the Hogeschool Gent in of today’s Sichuan Conservatory of I believe that bosses should Belgium, graduating with a Master of Music Music). He was my first real clarinet maintain a healthy relationship with degree in 2014. His clarinet teachers include teacher, and in fact, he was the first their direct reports, and people working Wu Chongnai, Zhang Peng, Jin Guangri, Chinese clarinetist in history. Under on the same team should respect each Tao Chunxiao, Joshua Gardner, Robert his guidance, I got to learn more other, trust each other and learn from Spring and Eddy Vanoosthuyse. He was fundamentals of clarinet performance, each other. This is the foundation for a recently hired as associate professor of clarinet and I had many important changes conducive working environment. Only at Hainan University, through the “high- including switching from playing with with this, can leaders then manage level overseas talents” program sponsored by double-lip embouchure to single-lip their team effectively. the Chinese government.
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DECEMBER 2017 THE CLARINET | 41 Achieving Different To n e Co l o r s
Throughby Dennis Nygren Variations in Air Speed
ne of the greatest compliments a in boot (William Stubbins), uh as in soot (Jerry clarinetist can receive is that he or she is Kirkbride), and so on. This great variety in tongue a colorist, implying that the performer positions may be explained, in part, by the variety has the ability to play with a variety of of music being performed. A jazz performer desiring tonal colors – all within the domains of excellent a good sound for close miking and the flexibility tone production. A colorist is capable of creating to bend notes, would choose different positions subtly different colors in performance based on the from those of an orchestral player seeking solidity, Omusical context. For example, the Mozart Concerto, projection and the need for a big sound in a concert a Brahms sonata, the Debussy Rhapsodie, and the hall. Other variables that should be considered Nielsen Concerto would all require a different color include differing acoustics within concert halls, palate. I believe that too often clarinetists perform mouthpiece facing, reed strength, oral cavity with the same tone – beautiful as it might be – makeup and finally, the all-important concept of no matter what variety in color the music might sound desired by each individual performer. demand, which can lead not only to sameness, but As an eighth grader, I recall Jack Snavely, my first also dullness.1 clarinet teacher, suggesting that I “blow a cool stream But how does one obtain these subtle variations of air through the clarinet.”4 This was great advice to in tone color or timbre? Timbre is defined as “the a young clarinetist, and something I continue to do quality given to a sound by its overtones.”2 We and teach. This cool airstream plays a role in creating all know that by engaging different equipment – the large, projecting sound that all clarinetists must clarinets, mouthpieces, barrels, bells, reeds, ligatures, know how to produce. Many of us have been told to etc., we can produce differences in the overtones blow like “blowing out a candle,” (Daniel Bonade).5 or partial vibrations which determine timbre or Or to truly achieve a focused tone, you should “blow tone color. But given that one has clarinets and like blowing through a straw.” Keith Stein discussed accessories with which he or she is comfortable, the forward motion of the breath,6 while Larry Guy this question still remains. I believe the answer to refers to a pinpointed stream.7 achieving varieties of tone color in performance lies With regards to generating a big clarinet tone, in producing variations in air speed, which will in Stanley Hasty told me that the louder one plays, turn produce variations in air temperature. the firmer the embouchure must be.8 Imagine The speed of the air stream is determined not performing the third movement of Borodin’s only by how hard or soft one blows, but also by the Polovtsian Dances (see Example 1), alla Robert shape of the tongue within the oral cavity. There Marcellus (If you aren’t familiar with the playing are many ways to voice the sound through tongue of Marcellus, please seek out a recording of him position, and not all teachers are in agreement on performing the Borodin). Although marked mf, this this subject. For example, Robert Marcellus taught passage demands an absolutely barbaric manner, as his students to think of a French eu or a German it should be (like an invasion by Genghis Khan!), umlaut oe or ö, like combining an ee at the back of and calls for an extremely strong muscular wheel the mouth with an oo at the aperture. The thought (see Diagram 1) to avoid spreading. In addition here is that a high tongue position at the back of the to the very firm embouchure, the powerful, mouth increases air speed, while at the same time, concentrated airstream should be as far forward as open jaws (keeping the molars apart) increases the possible, blown directly into the upper heart of the depth of the tone. Other tongue positions include reed. In contrast, a soft chalumeau passage requires aw as in law (Stanley Hasty), long a as in hay much less embouchure firmness and air power – but (Russell Dagon),3 eh as in pet (Donald Montanaro), with every bit of support – to produce a well- ah as in hot and oh as in doe (Jack Brymer), oo as centered tone.
42 | THE CLARINET DECEMBER 2017 And yet, many years past my formative ones, I realized that I wasn’t always “blowing a cool airstream.” To blend, or to produce an ethereal upper register, you must use a less intense, warmer airstream. For example, when performing the bottom of page one (see Example 2) of the aforementioned Première Rhapsodie, the third movement of The Pines of Rome (see Example 3) or much of the slow movement solo in the Rachmaninoff Second Symphony (see Example 4), a warmer air stream is necessary. Example 1: Polovtsian Dances from Prince Igor – Alexander Borodin, Allegro vivo Concerning the matter of air (Borodin Polovetsian Dances, Allegro viva, measures 1-10 – Used with kind permission of European American Distributors Company, U.S. and Canadian agent for Eulenburg Edition) temperature, we utilize both cool and warm airstreams in daily activities. For example, we blow a cool stream of air to cool our hot soup or a cup of coffee, but a warm breath of air to warm our cold hands in winter. Consider that the air inside the mouth is at body temperature, or about 98.6 Fahrenheit. When we “blow a cool airstream,” we’re actually cooling the air at the point of the aperture with the intense, focused airstream. Although the air is blown directly into the reed, it is still nearly at the point of the aperture. This leads us to the fact that, correctly done, the air should be blown at the reed, and not directed straight into the clarinet (see Diagram 2). While directing the air at the reed, the concept of blowing through the clarinet is still applied. The following includes observances I made concerning the process of blowing warmer air. I sensed even more expansion of the oral cavity at the back of the mouth. Compared to the umlaut tongue position described in paragraph three, the tongue position at the back of the The Muscular Wheel mouth between the molars is lower. The air is still directed at the reed, but with considerably less concentration; thus, the Diagram 1: The Muscular Wheel airstream is wider than the pinpointed stream described above. The sound produced by this slower, warmer air is not as clear nor as projecting as that of fast air, but it does possess a more velvety quality of tone. Personally, I’d reserve this technique for softer dynamics, as I did not care for my sound using it at louder volumes. Finally, although all the musical examples above are largely in the clarion and lower altissimo registers, I found the Example 2: Première Rhapsodie – Claude Debussy, mm. 39-45 warmer airstream to also work well in the (Permission for Reprint Granted by Durand et Cie Theodore Presser Company Sole Representative U.S.A.) chalumeau register, for a change in color.
DECEMBER 2017 THE CLARINET | 43 softest pianissimo color.” I would interpret this to mean a dolce big tone. AIR Concerning articulation, certainly AIR the beginning of the sound – what we erroneously call the attack – and the ending or release of the sound have an effect on tone color, or how the tone is shaped. Notice the differences in the placement of the air using a breath attack, or “hoo,” as opposed to a legato attack, or “doo,” in contrast to a standard CORRECT AIR DIRECTION INCORRECT AIR DIRECTION articulation, or “too.” Stanley Hasty and Diagram 2: Direction of Air Diagram Leon Russianoff also taught what they called a “hoo-too” attack, in which the air begins before articulating the reed tip area. Add to this, the elements of accent, be it a tenuto accent (to lean or put weight on the note), a standard accent (>), or a martelle or “hammered” accent (^); these differences in how the tongue leaves the reed also subtly affect the timbre. The release of a note is equally significant. Keith Stein clarified three different releases. The first would be the oft used note ending with a taper (he also stated that, perhaps, this type of ending is overused). The second would be where the volume remains constant, right up to Example 3: Pines of Rome – Ottorino Respighi, III. “pini del Gianicolo” (Ottorino Respighi’s Pines of Rome, III “pini de Gianicolo, measures 1-12 – © Casa Ricordi, Milan – by kind permission) the all-important rounding off of the tone (to round off, think of how a singer would release the sound, so as to not sound clipped or like a glottal stop). The third Three related aspects of clarinet playing considerations. For example, it is possible would be making a crescendo directly up to must also be considered in how they affect to produce a clear, soft tone using a cool the rounded off release.10 Unlike in some varied tone colors: stream of air; consider the first solo in schools of clarinet study, I do believe in • dynamics Ravel’s Bolero. Another consideration the “stopped” or tongued release, as long • articulation concerns a description given to me by as it is used in good taste. This technique • use of vibrato Franklin Cohen. During a rehearsal of involves the tongue tip area returning Brahms’ Symphony No. 3, Lorin Maazel to just below the reed tip, while the air Concerning dynamics, some of the stream remains constant. Here, the music urged him to “soar over the wind choir differences between the big, loud clarinet demands a quick release, where the sound while remaining warm and robust in tone and the softer, gentler sound are is clipped with no rounding off. How else discussed above, but there are other sound,” saying “play forte, but with the does one provide a quick, clean release on either single separated notes, or in a fast staccatissimo run? I cannot, for example, imagine performing the third movement of the Stravinsky Three Pieceswithout the use of a stopped staccato (Stravinsky would not have objected. He loved very short articulations!). My father loved jazz clarinet, especially Benny Goodman, so when it was time for me to choose an instrument in fourth grade, he said, “why don’t you play the Example 4: Symphony No. 2 in E minor, Op. 27 – Sergei Rachmaninov, III. Adagio clarinet?” I listened to his recordings of (Rachmaninoff Symphony No. 2 in E-Minor, Adagio, measures 17-28 – Used with kind permission of EF Kalmus/LMP) Goodman, along with a Reginald Kell
44 | THE CLARINET DECEMBER 2017 recording of the Brahms sonatas loaned 4 Jack Snavely: long-time professor of clarinet at fondness for much jazz. to me by my band director, so I naturally the University of Wisconsin-Milwaukee, Lessons, 13 Lesson with Harold Wright, Denver, Colorado, assumed clarinet should be played with 1959. (summer, 1969). 5 Daniel Bonade, The Clarinetist’s Compendium vibrato. It wasn’t until my participation in 14 Ed Joffe, Legacy Woodwind Series (on-line videos), (Kenosha, WI: Leblanc Publications, 1962): 2. “Clarinet Fundamentals with Larry Guy,” an honor band in sixth grade that another 6 Keith Stein, The Art of Clarinet Playing November 5, 2015. director, a “classically oriented” clarinetist, (Evanston, IL, Summy-Birchard Company, informed me that I shouldn’t use vibrato! 1958): 24. Later, I learned to greatly appreciate the 7 Larry Guy, Articulation Development for ABOUT THE WRITER pure, vibrato-free tone that only a clarinet Clarinetists (Stony Point, NY: Rivernote Press, 2016): 1. Dennis Nygren has and a horn are capable of producing,11 8 Lessons with Stanley Hasty, Rochester, NY, fall, contributed nine however, I have no regret that I initially 1997. articles for The learned how to produce an effective lip 9 Dennis Nygren, “An Interview with Franklin vibrato; I’m comfortable using it if I’m Cohen on 39 Years with the Cleveland Orchestra Clarinet. Dr. Nygren performing jazz, music influenced by jazz and His Retirement,” The Clarinet 42, No. 3 is the former professor or in other appropriate musical styles. I (June, 2015): 56-57. of clarinet at Kent fully realize that many great legitimate 10 Lessons with Keith Stein, 1972-73, Michigan State University, State University. clarinetists (and horn players) use vibrato 11 I assume that the reason the clarinet and horn having also taught all the time but, like many of my teachers, sound beautiful without the use of vibrato may at Northern Michigan, Baldwin Wallace, 12 including Robert Marcellus, Clark Brody be attributed to the pure, round, focused tone Cleveland State and Oakland universities. or Larry Combs, my personal choice both instruments possess, plus the array of He remains active as a professional clarinetist would be to avoid vibrato as a color device overtones of each instrument. in most music. 12 Although Robert Marcellus was totally against and teacher in Northeast Ohio and lives in using vibrato in traditional classical settings, Finally, let me state that I love a dark Silver Lake, Ohio, with his wife Nadine and I have recordings of him performing both their four dogs. Also an arranger, he may clarinet tone. However, I do believe that Rhapsody in Blue and the big jazz solo at No. it is possible to have “too much of a good 35 in Milhaud’s La Création du Monde; in both be heard on his CD A Clarinet Collective thing.” Harold Wright told me that he cases he clearly used vibrato. He possessed a great (Albany Records, Troy 1330). “admired” a dark tone, but “abhorred” a dull one … one lacking color.13 In Ed Joffe’sWoodwind Legacy Series with Larry Guy, 14 the two men discuss how generally, clarinet tones are becoming darker, while flute tones are becoming brighter, and how this is not necessarily a good thing. Think of equating a clarinet tone to an excellent loud speaker; imagine listening to just the woofer, without the mid-range speaker or the tweeter … pretty dull, right? I would recommend that clarinetists choose equipment that most easily allows them to produce the kind of sounds they imagine in their brains. They should also experiment with different air placements, air speeds and the resulting air temperatures to provide a variety of color, but all within the realm of excellent clarinet tone. v
END NOTES 1 I recall Larry Combs telling me that after hearing Harold Wright perform the Mozart Concerto in A at Tanglewood, and while visiting him backstage, Harold said, “it wasn’t dull, was it?” Lessons with Larry Combs, summer, 1975, Northwestern University. 2 Merriam-Webster’s Collegiate Dictionary, tenth edition (Springfield, MA: Merriam Webster, Inc, 2000), 1,231. 3 Lesson with Russell Dagon, Waukesha, Wisconsin, fall, (1997).
DECEMBER 2017 THE CLARINET | 45 Interview with Larry by Michael Walsh Maxey arry Maxey has had a long and impactful LARRY MAXEY: My first teacher was Fred Weber, career as a clarinetist. He served as who wrote the Belwin Band Builder method and a professor of clarinet at the University lot of music for beginning and intermediate band. of Kansas School of Music from 1971- It was so successful that he even wrote another L2007. Maxey received degrees from Michigan method for Belwin using the pseudonym “Wayne State University and the Eastman School of Music, Douglas.” He was the junior high band director in where he was a student of Keith Stein and Stanley my hometown of Michigan City, Indiana. Hasty respectively. While attending the Eastman School, Maxey had the opportunity to record five MW: Your undergraduate degree was earned at albums under the direction of Frederick Fennell Michigan State University where you studied and Donald Hunsburger. He has performed at with Keith Stein. Do you credit him with your home and abroad as a soloist, chamber musician development as a player and teacher? Why did you and orchestral player. He has also performed as decide to attend school in Michigan and not stay in featured soloist and clinician at many important state? conferences, including those held by the ICA and LM: I went to Michigan State on the the National Association of College Wind and recommendation of Mr. Weber, who liked the Percussion Instructors conferences. I had the chance band program there. Keith Stein was the clarinet to speak with him about his career, his teachers and teacher and he was an outstanding pedagogue his ongoing lineage. who wrote The Art of Clarinet Playing. I learned an enormous amount from him. MICHAEL WALSH: How did you become involved with music and the clarinet as a beginner growing MW: While earning your graduate degrees at the up in Indiana? Eastman School of Music you had some classmates
Larry Maxey with students at South Dakota State University
46 | THE CLARINET DECEMBER 2017 that would also go on to have successful of choices, to say nothing of ligatures, LM: This may seem impossible today, but careers in music. Who was your teacher at barrels, bells, reeds, digital tuners and I expect that in the future a computer Eastman, and was it very different from so on. I am not much of an equipment will be programmed to coach students Stein’s approach? maven, although I found myself in mechanical aspects such as rhythm, LM: Stanley Hasty at the Eastman School changing mouthpieces about every pitch, accuracy, articulation and even was my next teacher, and he was seven years. However, I have had the tone quality. This would be extremely phenomenal. Hasty and Stein were an same B-flat clarinet since the ‘70s and helpful to students in smaller towns interesting study in contrasts in their I have Keith Stein’s A clarinet that he where there are no potential teachers. I approach to teaching. When Hasty was played in the Chicago Symphony in the don’t think the “live” teacher will ever be trying to get you to articulate a certain 1930s. Its serial number is about 22000. replaced, but some of what we do with way he would analyze the tongue students could be done by a machine. placement, the tongue pressure on the MW: With such a long list of successful reed, the length of time the tongue former students including college MW: What advice would you give to a was on the reed, etc. By contrast, professors and orchestral players, what do young clarinetist, professional player or Stein would say, “Play this note like you believe is the most important aspect of tenured teacher? a rose petal falling on a pond of still a good university teacher? What role does LM: I would advise them to strive to water.” I have tried to incorporate the teacher play as a mentor? achieve a high level of consistency both approaches at times in my own LM: To be an effective teacher I think one in all aspects of their profession. teaching. I was fortunate to be in must be analytical and be able to explain Clearly, consistency in performance is the Eastman Wind Ensemble under things to the students. They must know a given, but I also mean consistency Frederick Fennell, and the clarinet why they need to alter some aspect of in practicing, teaching and in section was pretty salty: Pete Hadcock, their playing and how to do it. Hasty relationships with your students and Elsa Ludewig-Verdehr, Larry Combs, and Stein never played in my lessons colleagues. Indiana basketball coach Norman Heim (who later taught at the because they didn’t need to – they were Bobby Knight put it this way: 1) Do University of Maryland), Charles Bay able to verbalize rather than depending what you have to do (for example, and others. We did three recordings for on demonstration. A good teacher also show up for lessons), 2) Do it the best Capitol Records that year. must be very creative in devising ways you can (every lesson gets your most to communicate with the student. It concentrated effort), and 3) Do it that MW: After your graduate degrees did you get is important to be able to explain the way every time. That is a tall order. a job teaching right away? same thing from a variety of angles. LM: I loved being at MSU and Eastman Hopefully, one of them will strike home MW: If you could meet one person in music and the idea of teaching at the university with the student. Being a mentor to history who would it be? level really appealed to me. After getting students is very important in this age of LM: Judging from what I have read, a master’s from Eastman I was drafted super-competitiveness in getting a job. Mozart could be somewhat of a jerk and into the Army for two years before I tried to avoid getting involved in my Beethoven could be pretty irascible. In getting my first college teaching job. students’ personal lives, but sometimes a general, I would say Brahms is the one little mentoring in that area helps, too. I would choose. I would like to get his MW: You held three teaching positions prior ideas on playing the sonatas, the trio, to Kansas. What was the appeal at KU MW: Was there ever a clarinetist you would the quintet and the symphonies. v that you stayed for so long? drop anything you were doing to hear LM: Lawrence, Kansas, like a lot of perform? ABOUT THE WRITER university towns, has a great deal to LM: There are more wonderful clarinetists Dr. Michael Walsh offer and we landed there just as the on the scene today than ever before. is associate professor children were being born. It is just a I attended a number of performances of clarinet at South nice place to live, and I enjoyed being at the last ClarinetFest® and I was at the university. blown away by the high level of Dakota State playing. Having said that, what I hope University where he MW: What changes in equipment have you to experience in a performance is an also teaches music witnessed over the years? emotional connection between the history and directs LM: The changes in equipment have music and the artist, which allows me the “Windy Jacks” been exponential in the last 70 years. to have an emotional experience as well. Clarinet Ensemble. A At one time there were just a handful This happens less frequently than I wish. native of New York, Walsh received his B.M. of mouthpieces such as the Selmer and M.M. degrees from the University of HS*, the Vandoren B45 and a couple MW: What do you feel is the future of music Miami, Florida. Walsh holds the distinction of Woodwind Co. mouthpieces that education? Do you think there will be of being the first student to earn the D.M.A. were common. Now there are dozens any major changes to the philosophy of in clarinet performance and pedagogy from of mouthpiece makers and hundreds teaching? the University of Kansas.
DECEMBER 2017 THE CLARINET | 47 ClarinetFest® 2017 Report by Jessica Harrie
larinetFest® 2017 took place July 26-30, Ballroom. Performers for the concert included at the DoubleTree Hotel by Hilton Eddie Daniels, Stanley Drucker, Michele Zukovsky at the entrance to Universal Orlando and 2016 Young Artist Competition winner João CResort in beautiful Orlando, Florida. Paiva. The Gala also kicked off the 2017-2018 This was the first time in the festival’s history that Capital Campaign. Tickets for prize drawings were a festival was held in the state of Florida. Artistic available throughout the festival, with various prizes Director Keith Koons was assisted by the Artistic generously donated by sponsors and performers. Leadership Team of Nikolay Blagov, Patrick Throughout the early afternoon, the six finalists Graham, Lynn Musco and Peter Wright. This of the ICA Research Competition presented their year’s festival was presented in partnership with findings for this year’s panel of judges. A new the School of Performing Arts at the University addition for 2017 was the Florida Collegiate Choir, of Central Florida and featured performances, conducted by Lynn Musco, featuring students master classes and lectures from legends and from colleges and universities throughout Florida. up-and-coming artists. Record attendance and A highlight for many attendees was the afternoon exhibitor participation along with the wonderful lecture featuring the retired principal clarinet of performances and collegial atmosphere made this a the New York Philharmonic Orchestra, Stanley ClarinetFest® to remember. Drucker. Drucker discussed his long and storied career, listened to and discussed his legendary DAY 1 – WEDNESDAY, JULY 26 recordings and spoke about his interactions with the The first day of the festival began with the Opening many people he worked with during his career. Gala Recital at 1 p.m. in the Seminole A/B Prior to the evening recital, the newest recipients of the ICA Honorary Member distinction, Eddie Daniels, Luis Rossi and Richard Stoltzman, were honored. The evening recital featured esteemed 2016 Young Artist Competition soloists Steve Ahearn, Julian Bliss, Eddie Daniels, winner João Paiva Milan Rericha and Richard Stoltzman with the Orlando Philharmonic Orchestra conducted by Christopher Confessore. The artists performed works by Debussy, Nieslen, Calendrelli, Bernstein, Bizet and a rousing performance of the Mortimer arrangement of Carnival of Venice. Following the orchestra concert, conference attendees were invited to attend the ICA President’s Reception, which was generously sponsored by Buffet Crampon and the ICA. DAY 2 – THURSDAY, JULY 27 Thursday began with a wonderful morning potpourri recital which included the world premiere of the Amicitia Suite by Scott McAllister, performed by Denise Gainey (ICA secretary), Diane Barger (ICA pedagogy chair) and pianist Dale Williams. There were lectures presented by Wolfgang Lohff, Jacob Campos and Timothy Perry as well as master classes by renowned clarinetists Milan Rericha and Jonathan
48 | THE CLARINET DECEMBER 2017 Richard Stoltzman draws a winner from the Capital Campaign tickets
Julian Bliss performs the Nielsen Concerto with the Orlando Philharmonic Orchestra
Stanley Drucker presents a Cohler. Five clarinet choirs performed on lecture on his career with the Thursday including Stetson University, New York Philharmonic Orchestra Eastman Rochester New Horizons Choir, Orquestra Potiguar de Clarinetas, Frost Clarinet Choir and the Orange County Consort. Thursday also ushered in the first day attendees had the opportunity to visit the exhibition hall. As soon as the doors opened, attendees rushed in to try the latest
Kinan Azmeh and pianist Dinuk Wijeratne
offerings from a record number of vendors. The hall, which contained all exhibitors in the same room, was busy from open to close every day it was open. The afternoon’s feature recital was presented by Syrian-born clarinetist Kinan Azmeh and his pianist Dinuk Wijeratne. Azmeh’s appearance was made possible by Rovner Products. The works performed were primarily original compositions that
DECEMBER 2017 THE CLARINET | 49 The Four Brothers Quartet
were inspired by a mix of classical music and the Claribel Clarinet Choir Guido Clarinetists featured during the evening’s and Middle-Eastern music. The unique Six. Sauro Berti presented a master class concert included Nicolas Baldeyrou, compositions featured Wijeratne’s use of for bass clarinetists and there was also an Julie DeRoche (assisted by Musician the entire piano through drumming and interesting lecture recital by Ed Joffe called 1st Class Jeffrey DeRoche, percussion), strumming of the strings, which added “The Clarinet Doubler on Broadway.” Alex Fiterstein and Anna Hashimoto. unique colors to the works performed. One of the features for Friday was The audience was able to hear first The day concluded with an incredible the incorporation of various works for rate performances of works by Weber, chamber music concert featuring soloists percussion and clarinet. Catherine Wood, Nicola Bulfone, Kimberly This theme culminated Cole Luevano and Eugene Kavadlo with in an afternoon feature the Ritz Chamber Players String Quartet. recital featuring the Works performed on the recital included UCF Percussion Molter’s Concerto No. 1 in A Major for Ensemble performing D Clarinet, Backofen’s Quintet for Basset works with Allison Horn and Strings, Paessler’s Divertimento Storochuk, Kliment su Arie di Rossini for Clarinet and Strings, Krylovskiy, Kennen Coleridge-Taylor’s Quintet in F-sharp minor White, Matthias Müller, and an arrangement of Lev Kogan’s Klezmer Gregory Oakes, STARK Dance Suite for Clarinet, Strings, Percussion Quartet and the Four and Tuba by Alan Kaufman. Brothers Quartet. Friday’s evening DAY 3 – FRIDAY, JULY 28 concert was one of Friday was another packed day, filled with the highlights of the diverse concerts, lectures, master classes entire conference. The and competitions. Middle and high school Southern Winds, led by students were also able to preregister to conductor Douglas L. attend ICA Middle/High School Day for Phillips, performed an free on Friday with a one-day all-access outstanding program of pass. The final round of the ICA High works for clarinet and School Competition was held during the wind ensemble. The morning hours as were concerts featuring concert began with a the University of North Florida Clarinet performance of Hector Choir, Ohio State University Clarinet Berlioz’s Overture to Alex Fiterstein performs the Maslanka Concerto with The Southern Ensemble, Los Angeles Clarinet Choir Les francs-juges, op. 3. Winds
50 | THE CLARINET DECEMBER 2017 Jeanjean, Maslanka, Rossini and a world premiere performance of the Concerto for Wood, Skin and Metal by Seung-Won Oh.
DAY 4 – SATURDAY, JULY 29 The Young Artist Competition’s final round and another splendid potpourri recital started the day on Saturday. There were several clarinet choir concerts held in the early morning as well, including the Bogotá Choir that traveled from Columbia to perform. At 11 a.m., the ICA Annual Business meeting was held, giving members an opportunity to learn about the President Caroline Hartig recognizes the members of the 2017 ClarinetFest® Artistic Leadership Team upcoming initiatives such as the Capital Campaign and the Youth Committee. Mandat” recital which featured former and seconds, you’re going to forget what During the afternoon, Julie DeRoche current students of Mandat performing tonality is.” The recital showcased not and Alex Fiterstein gave master classes selections from the immense collection only Mandat’s compositional skill, but his for packed rooms. DeRoche worked of his works written for the clarinet. All success as an instructor. with young high school students during works were performed beautifully, but This year, the ICA worked with local her master class, focusing on good the final work on the program, the first communities to put on a free outreach fundamentals, while Fiterstein worked movement, “Concertino” from Music for recital, which was held at Dr. Phillips with ages from high school to DMA, Clarinets, was an audience favorite. Robert High School Auditorium on Saturday focusing on clarinet solo repertoire. One of Spring informed the audience prior to afternoon. This recital was presented as the day’s highlights was the “Music of Eric starting the work that “in the first twenty a gift to the Orlando community from
DECEMBER 2017 THE CLARINET | 51 The 2017 ClarinetFest® Festival Choir rehearses prior to their performance
the ICA in memory of the victims of the sponsors helped make ClarinetFest® 2017 Collegiate and Festival choirs. This year’s Pulse nightclub shooting. Performers on possible, but in many cases, they went Collegiate Choir was conducted by Charles the recital represented the US, Puerto above and beyond by donating countless West and the Festival Choir was led by Rico and Columbia. Those in attendance prizes for the Capital Campaign drawings Alan Woy. The groups played beautifully were able to hear a diverse collection that took place throughout the festival. after only rehearsing for a few short days of repertoire for solo clarinet, chamber These prizes were substantial such as and their performance served as the perfect ensembles and clarinet choir. professional instruments, a year’s supply close to a wonderful ClarinetFest® 2017. The Saturday afternoon feature of reeds, instrument cases and even a trip recital showcased various works for to Belgium for next year’s festival. The RESEARCH COMPETITION clarinet and electronics, including two competition winners were recognized and by Jesse Krebs, coordinator 2017 compositions, Pacific by Daniel received their prizes during the awards The proposals submitted for the 2017 Eichenbaum, which was performed by ceremony [See the competition reports for ICA Research Competition came from the the PEN Trio, and Infinite Edges written details on the competitions]. and performed by Eric Mandat. After the The evening concert began following United States, Portugal and Canada. Seven dinner break, the evening events began the awards ceremony and featured the finalists were accepted for presentation with a performance by the ICA Professors outstanding UCF Jazz Professors with at the ClarinetFest® in Orlando, Florida. Choir, conducted by ICA President-Elect soloists Ken Peplowski and Allan Vaché. The finalists and their topics were as Mitchell Estrin. The winning composition Both soloists performed works they called follows: Lori Ardovino: “The Jazz Clarinet: from the 2017 ICA Composition Contest, from the stage. They told stories about Its Evolution and Use in the Early Jazz Meditation and Funk by Sean Osborn, was their careers and the pieces they were Orchestra Before 1920”; Nancy Williams: premiered during the concert. performing, often making humorous “A Clarinetist’s Guide to 18th Century quips. The technical ability of both Classical Solo Ornamentation”; Tiffany AWARDS CEREMONY soloists combined with the tightness of Valvo: “Improvisation in the Applied Following the Professors Choir concert, the ensemble made for a fantastic evening Studio: Building Connections and the awards ceremony was held at 8 p.m. of jazz. Musicianship”; Whitney Coyle: “Using in the Citrus Crown Ballroom. President an artificial mouth to measure tuning Caroline Hartig recognized the hard work DAY 5 – SUNDAY, JULY 30 homogeneity”; Kristine Dizon: “Croatian of the Artistic Leadership Team, and The final day of ClarinetFest® 2017, Clarinet Concertos: The Cultivation thanked the board, the volunteers, the though shorter than the previous days, still of Musical Traditions after 1952”; coordinators and the sponsors for helping had much to offer. The Sunday potpourri and Maryanne Lacaille: “A Tribute to make this festival such a huge success. recital featured a variety of works primarily Three Clarinet Legends: Pete Fountain, Hartig acknowledged the generosity composed within the last century. During Sidney Bechet and Billy Amstell.” One of this year’s sponsors: Buffet Crampon, the morning hours, there were lectures, finalist, Milan Milosevic of Canada, was D’Addario Woodwinds, Rovner Products, choir performances and a solo recital unfortunately not able to attend. RZ Woodwind Manufacturing, Selmer by Dominique Vidal, leading up to the The first prize winner, recipient of Paris, Vandoren and Yamaha. This year’s final performances of the festival by the $1,000 and publication in The Clarinet,
52 | THE CLARINET DECEMBER 2017 finalists were selected by semi-final judges Gabrielle Baffoni (Southeast Missouri State University), Timothy Philips (Troy University) and Stojo Miserlioski (Florida Atlantic University). For the final round, judges Elizabeth Gunlogson (University of New Hampshire), Osiris Molina (University of Alabama) and Danielle Woolery (Texas Woman’s University) heard each finalist perform Hommage á A. Khachaturian by Béla Kovács, as well as movements two and three of Sonata for Clarinet by Francis Poulenc. All finalists performed with collaborative pianist Dianne Frazier (Louisiana State University). The finalists were Besnik Abrashi (USA), Andrew Chang (USA), Javier ICA Research Finalists and Judges Morales, (USA), Noah YI (USA), Siyuan Yin (China) and Alisha Zamore (USA). The first place and a prize of $1,000 USD was award to Noah Yi. Second place was Whitney Coyle. The second prize and Scott Warfield (University of Central and a prize of $750 USD went to Javier of $500 was awarded to Lori Ardovino. Florida). Many thanks to all of the judges Morales, and third place with a prize of The judges for the preliminary round and participants for a very successful 2017 $500 USD was awarded to Siyuan Yin. were Elizabeth Aleksander (University ICA Research Competition!’ Alisha Zamore received an honorable of Tennessee at Martin), Jane Ellsworth mention. (Eastern Washington University), Phillip HIGH SCHOOL COMPETITION Paglialonga (Virginia Tech University), by Margaret Donaghue Flavin, coordinator Gregory Oakes (Iowa State University), and Elizabeth Gunlogson (University The final round of the 2017 High School of New Hampshire). The judges for Competition was held Friday, July 28, the final round in Orlando were Keith at 9:00 a.m. Over 30 clarinetists from Lemmons (University of New Mexico), several countries submitted digital Osiris Molina (University of Alabama) auditions for the preliminary round. Six
2017 High School Competition winners and judges
DECEMBER 2017 THE CLARINET | 53 Congratulations to all who entered the competition, and thank you to the ICA and Vandoren for their significant sponsorship of this competition.
YOUNG ARTIST COMPETITION by Mitchell Estrin, coordinator
This year, the Young Artist Competition received 26 applications from 7 countries. The repertoire list was as follows: Robert Schumann – Fantasiestücke, Op. 73 (all 3 movements) Meyer Kupferman – Soundspells Fantasy Eugene Bozza – Concerto for Clarinet (all 3 movements) The judges for the preliminary (recorded) round were Arthur Campbell (Michigan, USA), Joseph Eller (South Carolina, USA) and Kathy Pope (Utah, USA). The judges selected 12 semifinalists 2017 Orchestra Audition Competition winners and final round judges to be invited to perform at ClarinetFest® in Orlando: Ting-Wei Chang (Taiwan), Samuel Day (USA), Sarah DiPiazza (USA), Kelsey Gallagher (USA), Kristi Hanno ORCHESTRAL AUDITION Of the twelve finalists selected, 10 (USA), Ivan Hernandez (Mexico), Yin- COMPETITION attended and competed in the final round, Ling Liu (Taiwan), Michael Moy (USA), by Scot Humes, coordinator held on Thursday, July 27. Finalists Claudia Ng (China), Aileen Razey (USA), represented Portugal, Romania, Taiwan Sunho Song (South Korea) and Jin-Chen The 2017 Orchestra Audition and the USA. Stanley Drucker (New York Su (Taiwan). The semifinal judges were Competition witnessed a significant Philharmonic), Janice Minor (Cincinnati chair Jonathan Cohler (Massachusetts, increase in participation that included Symphony) and Peter Wright (Jacksonville USA), Linda Bartley (Wisconsin, USA), 35 entrants for the preliminary round. Symphony) served as judges for the final Alexander Fiterstein (Maryland, USA), Preliminary round judges selected 12 round and selected the prize winners. Christopher Nichols (Delaware, USA) and competitors to move on and compete in Charlotte Kies from Cincinnati, OH Allison Storochuk (Missouri, USA). the final round, held at ClarinetFest®. The (USA) won second prize which includes The semifinals took place on Thursday preliminary round judges were: Gregory $500 USD and a Vandoren mouthpiece. morning, and the judges selected six Raden (Dallas Symphony), Ralph Skiano First prize went to Erin Miesner from finalists: Sarah DiPiazza, Kristi Hanno, (Detroit Symphony) and Erin Svoboda Chicago, IL, winning $1,000 USD and Yin-Ling Liu, Michael Moy, Claudia Ng (Utah Symphony). Vandoren Mouthpiece. and Sunho Song. The finals took place on Saturday morning. The judges for the final round were: Stanley Drucker, chair (New York, USA), Julian Bliss (England), Julie DeRoche (Illinois, USA), Vanguel Tangarov (Texas, USA) and Eddy Vanoosthuyse (Belgium). The judges selected three prizewinners. First prize was awarded to Sunho Song. Born in South Korea, Song is a student at the Juilliard School studying with Charles Neidich. He received $2,500 USD, a professional clarinet donated by Yamaha Corporation and an appearance as soloist with orchestra at ClarinetFest® 2018 in
54 | THE CLARINET DECEMBER 2017 ABOUT THE WRITERS Young Artist Competition Winner Sunho This column was written with the help of Song of South Korea, with Brian Petterson the ClarinetFest® 2017 volunteer writers: of Yamaha Corporation Grace Sedgwick, Zachary Dierickx, Meghan Taylor, Elizabeth Rodeck, Sarah E. Korneisel, and Vanessa Klassen. Read more reports by these writers on the events of ClarinetFest® 2017 at: clarinet.org/TCO. All photos featured in this article were taken by Official ClarinetFest® 2017 photographer Ted Lane. Jessica Harrie is active as a freelance clarinetist and teacher in the Columbus, Ohio area. She serves as the associate editor of The Clarinet, as well as a member of the editorial board for submissions. She is a D’Addario Reserve Method Clinician for the state of Ohio. Harrie received her DMA from Michigan State University, her MA from Middle Tennessee State University and Belgium. The first prize was presented by supporting our young artists! her BM from the University of Tennessee, Brian Petterson, marketing manager, wind The ICA would also like to thank the Knoxville. Her primary teachers include Guy instruments for the Yamaha Corporation. excellent competition accompanist, Grace Yehuda, Ted Oien, Caroline Hartig, Todd Second prize was awarded to Michael Choi (Tennessee, USA). v Waldecker and Gary Sperl. Moy. Moy graduated in 2016 from the University of Colorado at Boulder where he studied with Daniel Silver. He is now a student of David Shifrin at Yale University. He received $1,000 USD and a Classical Limited Bb professional model clarinet donated by Royal Musical Instruments and designed by Yuan Gao. HOT. The second prize was presented by Gao. THE Third prize was awarded to Yin-Ling Liu. Born in Taiwan, Liu is studying at Soochow University with Pei-Yun Lin. NEW! She received $500 USD and a professional PLATINUM model Vandoren mouthpiece presented by David Gould, Vandoren artist GOLD! relations manager and product specialist. Warmer. Darker. Congratulations to the winners and to all With The Same Superb of the competitors for their superb musical Intonation & Incredible See Our Website accomplishments. Response As The Original! For Availability! The ICA gratefully recognizes and thanks the Yamaha Corporation, Royal Musical Instruments and Vandoren for Original donating the competition prizes. The Platinum 2017 Young Artist Competition was generously sponsored in part by Buffet Crampon, D’Addario Woodwinds, Henri Selmer Paris, Royal Musical Instruments, COVERED BY ONE OR MORE U.S. PATENTS. SEE WEBSITE FOR DETAILS. Vandoren and the Yamaha Corporation. www.rovnerproducts.com Thank you to all of the sponsors for
DECEMBER 2017 THE CLARINET | 55 by Eddy Vanoosthuyse
ClarinetFest® 2018 will take place in facility will not start until September The following orchestras and ensembles Ostend, Belgium, July 6-11. Artistic Director 2018. We’re now happy to announce will be performing at ClarinetFest® 2018 Eddy Vanoosthuyse will be assisted by the that once again ClarinetFest® will be amongst others: Brussels Philharmonic, family of the late Guido Six (Chantal, Bert hosted at the Thermae Palace Hotel! All Brussels Jazz Orchestra, the Royal Band of and Gaby). The conference will be presented of the rooms at the hotel are available for the Belgian Guides, the Flemish Chamber in partnership with the City of Ostend. ClarinetFest® attendees. Philharmonic, Musique Militaire Grand- During the day, the concerts, exhibits Ducale du Luxembourg, Les Bons hile in Orlando this and lectures will be in and around the Becs and Quartet 212 (soloists of the summer, we talked to a Thermae Palace Hotel. The noon and Metropolitan Opera of New York). lot of people and we were evening concerts will take place in the Soloists include: Nicolas Baldeyrou, pleased to learn that so 2000-seat Casino Kursaal, and we have Philippe Berrod, Alessandro Carbonare, Wmany of you are making plans to come also planned a concert with organ and Stephane Chausse, Philippe Cuper, to Belgium this coming July. Quite a few clarinet choir in the Gothic Revival style Eddie Daniels, Giora Feidman, Wenzel people also remembered the venue where church Saint Peter and Paul in Ostend. Fuchs, Yehuda Gilad, Corrado Giuffredi, the ClarinetFest® was held in 1999: the Clarinet choirs from around the Karl Leister, Pascual Martinez, Anthony wonderful Thermae Palace Hotel, located world are still invited to come and McGill, Paul Meyer, Charles Neidich, right on the beautiful beach in Ostend. participate in the 1st International Felix Peikli, Milan Rericha, Paquito We originally did not plan on hosting Clarinet Choir Festival Guido Six. d’Riveira, Luis Rossi, Antonio Saiote and ClarinetFest® 2018 at the hotel. But due to Applications for clarinet choirs are due by more to be announced soon! popular demand, we decided to talk to the February 1, 2018, on our website www. We have secured over 500 hotel rooms hotel management, and they confirmed clarinetfest2018.com or by sending us an for attendees to book that are located that the planned renovations on the email at [email protected]. within walking distance of the conference.
56 | THE CLARINET DECEMBER 2017 They are available for booking through exactly 100 years ago. For those interested, reasons to come to Ostend, Belgium the special link provided on our website we will provide guided tours to some of next summer. We have all the ingredients www.clarinetfest2018.com. On the website the most memorable World War I sites for a memorable celebration of our you will also find all necessary travel in the area on July 12th, closing the day beloved clarinet! information. Book your room today! with the famous Last Post at the Menin ClarinetFest® 2018 has been based on The city of Ostend is located on the Gate in Ypres. Very close to Ostend, you the ideas of Guido Six and will be presented to the public and the international clarinet beautiful Belgian coast and has a lot to will also find cultural cities like Ghent, world as a tribute to him. v offer in terms of shopping, entertainment Bruges, Antwerp and Brussels. Belgium is and dining. The wider region is also also known for its fine chocolate and over For more information, visit known for the commemoration of the 1,000 specialty beers. www.clarinetfest2018.com and first World War, that ended in the area As you can see, there are plenty of ClarinetFest2018 on Facebook.
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DECEMBER 2017 THE CLARINET | 57 ICA
by Denise Gainey, Secretary
he ICA General Business Caroline Hartig). For features, this review membership categories. Our efforts in meeting took place at the board determines what is appropriate for the March membership drive brought us Doubletree Hotel by Hilton in publication in the journal. 200 members. Orlando, Florida, on Saturday, The online component of our journal, July 29, 2017, at 11 a.m. The following is the TCO, is improving and will continue TREASURER’S REPORT: T TOD KERSTETTER a summary of the annual meeting. to do so on the new website, which is much less expensive than the old website. ICA Treasurer Tod Kerstetter informed WELCOME BY PRESIDENT: There are opportunities for improvement those in attendance of our financial CAROLINE HARTIG in our online journal content, and we will health and changes that have been made Over the last year, the ICA has been be adding new sections in the coming to save the organization money. Last working hard to incorporate many months. We have other opportunities with year just prior to ClarinetFest® 2016, our suggestions from our membership; we regards to the online journal, including balance was $132,768. This year, we are used an app for the conference ($3500), the expansion of the different sections, now at $226,439. Kerstetter thanked and we welcome feedback on this app including classifieds. Finally, we have Hartig and the board for reinventing the and ways in which it can be improved in taken steps to have a more systematic administrative structure, looking for every the future. The new sponsor agreement approach to the way the organization is possible way to save money. Evan stepping has led to an equal playing field and run, through the creation of an advisory in as the executive director of operations happier sponsors. As an organization, council (non-voting) and the hiring of a has saved money, and he and his assistant, we want to move away from being totally new accountant which will save us lots of Jessica Harrie, are working with the board reliant upon sponsors and have launched money and aid in our quest to be fiscally to keep our membership numbers high. the Capital Campaign (inspired in part healthy as an organization. Our members now receive reminders by the National Flute Association). to renew their membership, and we are This campaign will also allow us to GREETING FROM working to add value to membership help younger people attend ClarinetFest® CLARINETFEST® 2017 ARTISTIC (Anderson Insurance, digital only options, or participate in competitions and DIRECTOR: KEITH KOONS etc.). A surprising area of savings has been other initiatives. Keith thanked the membership and the printing of our journal. By switching Another goal of our organization is discussed the success of the hotel setting as printers, we are saving $8,000 with each to have a broader appeal to the greater the venue for the conference, noting that printing. We have also made changes in international audience. We will continue Orlando helped to attract many people to the accounting process, which is saving to have an international chair and will the conference. the organization money as well. With add other branches of international chairs these changes, the organization looks to to build a true international presence. MEMBERSHIP REPORT: end the financial year in great shape. We We have added a youth committee and EVAN LYNCH appreciate the continued support! had a middle/high school day free of The membership of the ICA is 3,119. charge at this year’s ClarinetFest®. We We have a total of 566 international ICA FINANCIAL YEAR END hope we can get band directors more members, Canada having the most at BALANCES 2010-2017 involved and are always looking for new 109. After being with the organization for Year CF Site Balance ways to build membership. We have had over one year, I have been able to see the 2010 Austin $139,299 some turnaround with the new team, rise and fall of the membership numbers. 2011 LA $135,637 and they are doing a wonderful job! An Membership tends to drop each renewal 2012 Lincoln $117,113 editorial review board for the journal period, but then steadily rises throughout 2013 Assisi $35,022 has been created (Heike Fricke, Jessica each quarter. Student membership 2014 Baton Rouge $68,229 Harrie, Mitch Estrin, Rachel Yoder and numbers fluctuate more than the other 2015 Madrid $13,567
58 | THE CLARINET DECEMBER 2017 2016 Lawrence $85,634 reports (similar to those conducted by state 2017 Orlando $130,000-$150,000 chairs) for feedback and communication. (projected) JOURNAL REPORT: CAROLINE SECRETARY’S REPORT: HARTIG ON BEHALF OF Made in Italy DENISE GAINEY RACHEL YODER, EDITOR: This year, 45 out of 49 state chairs Rachel Yoder is doing an outstanding submitted their reports via the online job as editor of The Clarinet, innovating (Survey Monkey) system to State Chair the journal’s content in new and exciting Virtuoso Future generation Coordinator Michael Rowlett, a notable ways. Members continue to submit increase from the 25 reports received interesting and engaging content for the last year. journal and the quality of submissions State chairs are sending out electronic has steadily improved. Jessica Harrie has newsletters, most choosing to send them become associate editor of the journal once or twice a year. I used an online and assumed full responsibility for the Grenadilla service to make a newsletter for her state December issue of the journal while & for the first time and shared this experience Rachel was on maternity leave. Rosewood at this year’s state chair meeting. ELECTIONS 2018: Many state chairs take advantage of Eb clarinet events that they host or attend to Every two years, the ICA holds elections Bb promote the ICA and encourage others for positions on the ICA Board of A to join. Many of these are planned as a Directors, using an electronic voting C statewide clarinet day (South Dakota, service in order to broaden the base of Wyoming, Delaware, Arkansas, Alabama, voters, as well as to facilitate participation New Mexico, Pennsylvania, Colorado, of international members. Elections will Mississippi, Maryland, Idaho/Montana, organize this fall, with a nominating Iowa, Louisiana, Utah, Kentucky), or a committee being formed that will include regional festival (Diane Barger, Nebraska one industry person and two members. state chair, hosted a Midwest ClariFest), Online elections will take place in the while others attend events linked to spring. We will use SurveyMonkey again specific schools and promote the ICA this election cycle, and will return to the there. A few state chairs have organized dates and deadlines used in past election clarinet ensembles to bring together players years. The board has been working on the in their states, notably New Hampshire clarity of the bylaws in the election process. and Kansas. In Kansas, Dawn McConkie helped organize a statewide clarinet COMPETITION REPORTS choir to perform at ClarinetFest® 2016. Overall, there was a much more positive YOUNG ARTIST COMPETITION: spirit in the responses to this year’s survey. MITCHELL ESTRIN, COORDINATOR Most of the state chairs report receiving AND PRESIDENT-ELECT quarterly membership updates (37 of the This year, the Young Artist Competition 45 respondents) and most of those (34) received 26 applications from 7 countries. say that it is easy to find new members and The repertoire list was as follows: Robert lapsed memberships on their list. Schumann – Fantasiestücke, Op. 73 (all 3 movements) Meyer Kupferman – NATIONAL CHAIR’S REPORT: Soundspells Fantasy and Eugene Bozza – STEPHAN VERMEERSCH, Concerto for Clarinet (all 3 movements) INTERNATIONAL The judges for the preliminary REPRESENTATIVE (recorded) round were Arthur Campbell (Michigan, USA), Joseph Eller (South NEW NATIONAL CHAIRS Carolina, USA) and Kathy Pope (Utah, Handmade New Zealand: Marie Ross USA). The judges selected 12 semifinalists Moldova: Victor Tihoneac to be invited to perform at ClarinetFest® Panama: Alexis E. Fong Castillo in Orlando: Ting-Wei Chang (Taiwan), The network of national chairs is Samuel Day (USA), Sarah DiPiazza www.patricola.com still growing. Stephan will be requesting (USA), Kelsey Gallagher (USA), Kristi
DECEMBER 2017 THE CLARINET | 59 Hanno (USA), Ivan Hernandez (Mexico), Musical Instruments and Vandoren for Gabrielle Baffoni (Southeast Missouri Yin-Ling Liu (Taiwan), Michael Moy donating the competition prizes. The State University), Timothy Philips (Troy (USA), Claudia Ng (China), Aileen Razey 2017 Young Artist Competition was University) and Stojo Miserlioski (Florida (USA), Sunho Song (South Korea) and generously sponsored in part by Buffet Atlantic University). For the final round, Jin-Chen Su (Taiwan). The semifinal Crampon, D’Addario Woodwinds, Henri judges Elizabeth Gunlogson (University judges were Jonathan Cohler, chair Selmer Paris, Royal Musical Instruments, of New Hampshire), Osiris Molina (Massachusetts, USA), Linda Bartley Vandoren and the Yamaha Corporation. (University of Alabama) and Danielle (Wisconsin, USA), Alexander Fiterstein Thank you to all of the sponsors for Woolery (Texas Woman’s University) (Maryland, USA), Christopher Nichols supporting our young artists! heard each finalist perform Hommage à (Delaware, USA) and Allison Storochuk The ICA would also like to thank the Katchaturian, by Bela Kovács, as well as (Missouri, USA). excellent competition accompanist, Grace movements two and three of Sonata for The semifinals took place on Thursday Choi (Tennessee, USA). Clarinet by Francis Poulenc. All finalists morning, and the judges selected six performed with collaborative pianist finalists: Sarah DiPiazza, Kristi Hanno, ORCHESTRAL COMPETITION: Dianne Frazier (Louisiana State University). Yin-Ling Liu, Michael Moy, Claudia Ng SCOT HUMES, COORDINATOR The finalists were Besnik Abrashi and Sunho Song. The 2017 Orchestra Audition (USA), Andrew Chang (USA), Javier The finals took place on Saturday Competition witnessed a significant Morales, (USA), Noah Yi (USA), Siyuan morning. The judges for the final round increase in participation that included Yin (China) and Alisha Zamore (USA). were: Stanley Drucker, chair (New 35 entrants in the preliminary round. An honorable mention was awarded to York, USA), Julian Bliss (England), Preliminary round judges selected 12 Alisha Zamore, third place was awarded to Julie DeRoche (Illinois, USA) Vanguel competitors to move on and compete Siyuan Yin, second place to Javier Morales Tangarov (Texas, USA) and Eddy in the final round held at ClarinetFest® and first place was award to Noah Yi. Vanoosthuyse (Belgium). The judges 2017. The preliminary round judges were: selected three prize winners: First prize was Gregory Raden (Dallas Symphony), Ralph COMPOSITION COMPETITION: awarded to Sunho Song. Born in South Skiano (Detroit Symphony) and Erin ANTONIO FRAIOLI, COORDINATOR Korea, Song is a student at the Juilliard Svoboda (Utah Symphony). Sean Osborn’s clarinet choir piece was School studying with Charles Neidich. Ten of the twelve selected finalists the winner and was premiered with the He received $2,500 USD, a professional attended and competed in the final round, Professors’ Clarinet Choir at ClarinetFest® clarinet donated by Yamaha Corporation held on Thursday, July 27, representing 2017. and an appearance as soloist with orchestra Portugal, Romania, Taiwan and the USA. at ClarinetFest® 2018 in Belgium. The first Stanley Drucker (NY Philharmonic), RESEARCH COMPETITION: prize was presented by Brian Petterson, Janice Minor (Cincinnati Symphony) and JESSE KREBS, COORDINATOR marketing manager, wind instruments Peter Wright (Jacksonville Symphony), The proposals submitted for the 2017 for the Yamaha Corporation. Second served as judges for the final round and ICA Research Competition came from the prize was awarded to Michael Moy. Moy selected the prize winners. United States, Portugal and Canada. Seven graduated in 2016 from the University Charlotte Kies, from Cincinnati, Ohio finalists were accepted for presentation of Colorado at Boulder where he studied (USA), won second prize which included at ClarinetFest® in Orlando, Florida. The with Daniel Silver. He is now a student $500 USD and a Vandoren mouthpiece. finalists and their topics were as follows: of David Shifrin at Yale University. He The first prize of $1,000 USD and a Lori Ardovino: “The Jazz Clarinet: Its received $1,000 USD and a Classical Vandoren mouthpiece was awarded to Erin Evolution and Use in the Early Jazz Limited Bb professional model clarinet Miesner from Chicago, Illinois (USA). Orchestra Before 1920”; Nancy Williams: donated by Royal Musical Instruments Congratulations to all who entered “A Clarinetist’s Guide to Eighteenth- and designed by Yuan Gao. The second the competition, and thank you to the Century Classical Solo Ornamentation”; prize was presented by Gao. Third prize ICA and Vandoren for their significant Tiffany Valvo: “Improvisation in the was awarded to Yin-Ling Liu. Born in sponsorship of this competition. Applied Studio: Building Connections Taiwan, Liu is studying at Soochow and Musicianship”; Whitney Coyle: University with Pei-Yun Lin. She received HIGH SCHOOL COMPETITION: “Using an artificial mouth to measure $500 USD and a professional model MARGARET DONAGHUE FLAVIN, tuning homogeneity”; Kristine Dizon: Vandoren mouthpiece presented by David COORDINATOR “Croatian Clarinet Concertos: The Gould, Vandoren artist relations manager The final round of the High School Cultivation of Musical Traditions after and product specialist. Congratulations to Competition was held Friday, July 28, 1952”; and Maryanne Lacaille: “A Tribute the winners and to all of the competitors at 9:00 a.m. Over 30 clarinetists from to Three Clarinet Legends: Pete Fountain, for their superb musical accomplishments. several countries submitted digital Sidney Bechet and Billy Amstell.” One The ICA gratefully recognizes and auditions for the preliminary round. Six finalist, Milan Milosevic of Canada, was thanks the Yamaha Corporation, Royal finalists were selected by semi-final judges unfortunately unable to attend.
60 | THE CLARINET DECEMBER 2017 The first prize of $1,000 USD and publication in The Clarinet, was awarded to Whitney Coyle. The second prize of $500 USD was awarded to Lori Ardovino. The judges for the preliminary round were Elizabeth Aleksander (University of Tennessee at Martin), Jane Ellsworth (Eastern Washington University), Phillip Paglialonga (Virginia Tech University), Gregory Oakes (Iowa State University) and Elizabeth Gunlogson (University of New Hampshire). The judges for the final round in Orlando were Keith Lemmons (University of New Mexico), Osiris Molina (University of Alabama) and Scott Warfield (University of Central Florida). Many thanks to all of the judges and participants for a very successful 2017 ICA Research Competition! HONORARY MEMBERS Two people were selected to be awarded Honorary Memberships this year: Bernard Vandoren and Charles Neidich. The Board meets twice a year, once at ClarinetFest® in the summer, and in January. Members are encouraged to review the guidelines for Honorary Membership and submit nomination materials to the Secretary, Denise Gainey. CLARINETFEST® 2018 ClarinetFest® 2018 will take place in Ostend, Belgium, from July 6-11. You can read more about this upcoming festival in the preview featured in this issue. CLARINETFEST® 2019 ClarinetFest® 2019 will take place in Knoxville, Tennessee from July 24-28. The Artistic Director, Victor Chávez, Jr. will plan the conference with the assistance of Jessica Harrie, Gary Sperl, Vanguel Tangarov and Robert Walzel. CLOSING REMARKS BY THE PRESIDENT: CAROLINE HARTIG Caroline discussed the new Capital Campaign, which will help to build stability in our organization. She stated to the membership that this is everyone’s association. We have a positive spirit and our association is about being inclusive and encouraging, working to keep the clarinet alive for all! The meeting was adjourned at 11:58 a.m. v
DECEMBER 2017 THE CLARINET | 61 REVIEWS
Clarinet” invented by Theodor Lotz, Viennese woodwind instrument makers BOOKS 1788; Anton’s long concert tour, 1791- who may have provided instruments for Harald Strebel. Anton Stadler: Wirken 1796; reinstatement in the Viennese the Stadler brothers. und Lebensumfeld des “Mozart- Court Theater; Beethoven, the Stadlers From these tables of contents, the Klarinettisten” – Fakten, Daten und and the Theater an der Wien’s Joseph organization of these volumes becomes Hypothesen zu seiner Biographie, 2 vols., Friedlowsky (1777-1859); hornist Johann clear, although more sub-headings might Vienna: Hollitzer Verlag, 2016. 802 Martin Rupp’s (1748-1819) application have been helpful. Even though in + 587 pp. ISBN: 978-3-99012-367-6 for a pension from the Harmonie and German, the biographical volume is in a (hbk). €198.00 Court Theater; Anton’s association relatively easy-to-read historical narrative with the “Hungarian Csakan;” deaths style. Many English speakers with a Among the of Albrechtsberger, Haydn and Paul smattering of college German, a trusty many recent book- Wranitzky (1808-1809); reorganization Cassell’s German-English Dictionary (in an length studies of the Court Theater (Burgtheater) and edition where Kur is translated as dealing of prominent Opera (Kärntnertor Theater) in 1810; with rule by an elector), and 501 German composers Anton’s death in a sub-leased apartment, Verbs will be able to read or translate many are Maynard 1812; his widow Franziska and her brother passages readily enough. Those familiar Solomon’s psycho- Ludwig Bichler; Anton’s surviving sons; with computerized translation programs biography of his brother Johann; Anton’s pedagogical might experiment with them, but Mozart (1995) at 640 pages and Jan activities; with an appendix concerning the cautiously because early German terms Swafford’s door- confusing Griesbacher family. and spellings may prove problematic. stopping biography of Beethoven (2014) at Volume 2 (Documents): Time-line of As background, it might be helpful to 1,077 pages. Now, however, comes Harald Anton Stadler’s life and world (ca. 23 read the chapters on Stadler (pp. 46-58) Strebel’s two-volume biography of Anton pages); genealogy of the Stadler family in Pamela Weston’s indispensable Clarinet Stadler (1753-1812), the clarinetist for (including transcriptions of 105 birth, Virtuosi of the Past (London, 1971), whom Mozart composed repeatedly, at a baptismal, marriage and death records); Pamela L. Poulin’s several articles on whopping 1,389 pages! Even the title is ca. 50 administrative documents (1791- Stadler, as well as their entries on Stadler quite a mouthful: Anton Stadler: Activities 1797) concerning Anton’s concert tour; in The New Grove Dictionary of Music and and Environment in the Life of the “Mozart ca. 20 documents concerning his sons; Musicians (1980 and 2001, respectively). Clarinetist” – Facts, Data and Hypotheses ca. 55 documents concerning his brother In Volume 2, Strebel provides Concerning His Biography. Similarly, the Johann; the estate/probate records of transcriptions of church records, death two tables of contents are the length of Anton and his relatives (with explanatory records, estate/probate records and census short articles (abbreviated below). remarks concerning Viennese estate records, but often includes photographs Volume 1 (Biography): Anton Stadler’s records); documents concerning Anton’s of these documents for greater immediacy. ancestry; his and brother Johann’s (1755- mysterious “live-in partner” Friderika Hand-written documents are likely to 1804) education; their first positions Koebel; residences of Anton and Johann be in 18th-century German Gothic script in ensembles of the nobility and the Stadler and their families in Vienna and (Kurrentschrift), actually much easier to function of such ensembles; Mozart’s its suburbs; Anton’s plan for a music read than later styles (such as Brahms arrival in Vienna and their acquaintance; school in Keszthely; survey of Anton’s used). Strebel also provides guides to both Court Theater and Imperial Harmonie compositions; Mozart’s works with clarinet German and Latin terms used in these from 1782; Stadlers as players of the and basset horn; works by other Viennese documents. “Cor anglais;” Anton as Freemason; visit composers for the Stadler brothers; As can be seen in Plate No. 2, Anton to Prague with Mozart, 1787; Anton biographical sketches of other Viennese Stadler’s Totenbeschauprotokoll (municipal Stadler’s appearances with the “Bass clarinetists during the Stadlers’ lifetimes; death record) from June 15, 1812, appears
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Sierra and Brian Ferneyhough among MUSIC others, must have been kaleidoscopic. His Peter Šavli. Oj, deklica, povej mi to (Hey, chamber, orchestral and operatic scores maiden, do tell me) for Clarinet reflect his flexibility and diversity. and Piano. Edicije DSS, 2017. DSS Oj, deklica, povej mi to (Hey, maiden, (Slovene Composer Society) www.dss. do tell me) for Clarinet and Piano is si/edicije Duration: 8’15” €11.00 centered around a love song expressing heartache. This advanced level work is Andrej Makor. Histria et amor; Suite a masterpiece of folk music, engaging on folk motifs from Slovene Istria for harmonic settings and formal structure. Clarinet and Piano. Edicije DSS, 2017. Many composers, such as Bartók, DSS (Slovene Composer Society) www. struggled to perfect the form of their dss.si/edicije Duration: 8’25” €10.00 works; Šavli has achieved it with a variety of tempos, moods and textures. Beginning Jani Golob. Tri prekmurske ljudske pesmi with a rich-textured traditional setting of (Three Folk Songs from Prekmurje) for the melody it soon morphs into so much Clarinet and Piano. Edicije DSS, 2017. more: bi-tonal and “wrong note” passages DSS (Slovene Composer Society) www. lead to an expanding world of ideas. The dss.si/edicije Duration: 11’10” €11.00 tune is always there, but in transformation. A rousing Vivo section concludes the work. Clarinetist Dušan Sodja and pianist in facsimile and transcription in Strebel’s This is an outstanding addition to the Tatjana Kaučič have performed together Vol. 2, p. 45. clarinet and piano repertoire. since 1994 as Duo Claripiano. Both Andrej Makor (b. 1987) is a composer Stadler, Herr Anton, I[mperial] are graduates of the Ljubljana Academy and singer most famous for his choral R[oyal] Court Musician, married, of Music and the Salzburg Mozarteum works. They have won prizes in numerous born in Bruck an der Leitha, [died] and are members of the Slovenian international competitions and have in Schmoller’s building, No. 407 in Philharmonic. They have commissioned been featured at the ISCM World Music the Landstrasse [southern suburb], more than 40 works by Slovene composers Days and the International Choral from tuberculosis, age 59 years. and in the process have released several Competition. He has worked with the As evidence of the care that Strebel CDs and traveled the world, most recently BBC Singers and the Neue Chor in Berlin has invested, his photo is taken from performing at ClarinetFest® 2017 in among others. Orlando. the actual document, rather than the Histria et amor for Clarinet and Piano Their desire to present elements shadowy microfilm that most visitors to showcases three love songs, including the of Slovene folk heritage grew into Vienna’s City Archive are likely to use. immensely popular Dajte, dajte, all from commissioning eight classically-conceived Here as elsewhere, Strebel’s transcription the composer’s native region on the Istrian pieces inspired by Slovene folk music that is accurate and reliable, reflecting the peninsula in the northeast corner of the could stand proud on the concert hall stage. phonetic spellings of the times. Adriatic Sea. Contrasting with Šavli’s Oj, They have made a definitive recording These fascinating volumes include deklica, povej mi to, that greatly expanded of the entire set [V objemu dvojine (Dual a total of ca. 470 illustrations (ca. 29 upon a folk melody, each of Makor’s three Embrace) RTV SLO 114755] and the sheet portraits, 10 modern photos, 18 maps, movements stays close to the original. The music of each piece is available through the 28 early landscapes and interiors, 267 tender first movement is beautiful in its Slovene Composer Society. All of the pieces documents, letters and books, 93 music simplicity – it brings to mind the songs of are effective and polished. In addition to French composer Joseph Canteloube. The and 25 instruments), ca. 44 of which are the three works reviewed here, there are second and third movements, in this easy- in color. five more by Tomaž Habe, Andrej Misson, to-moderately-difficult suite, are more Harald Strebel’s biography of Anton Katarina Pustinek Rakar, Helena Vidic and reminiscent of the Vaughan Williams Six Stadler, with its integral research guide, is Tadeja Vulc. Studies in English Folk Song. Makor’s work virtually a history of Viennese clarinetists, Peter Šavli (b. 1961) followed his initial was a crowd favorite at ClarinetFest® 2017. clarinet playing and environmental culture musical training in Ljubljana with graduate Interestingly, the movements are ordered well into the 19th century and is likely to degrees at Yale University and Cornell slow, fast, slow. set the standard for decades to come. It is University where his doctoral thesis Jani Golob (b. 1948) is a versatile therefore well worth any serious student’s concerned harmonic density in the works musician. He has played bass guitar in time and energy to negotiate the amount of of Olivier Messiaen. His academic study a rock band, violin in a professional German necessary to mine its many riches. with Jacob Druckman, Ezra Laderman, orchestra and, thanks in part to his – Theodore Albrecht Allen Forte, Steven Stucky, Roberto perfect pitch, composes very quickly. He
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has written three operas and numerous Jean Calmel, (1926-2014) was sixteenth note rhythm. This work is orchestral works that have been performed principal clarinetist of the Orchestre exciting and at times virtuosic. I would by the Slovak State Philharmonic, the d’Île-de France and was the author of give it a grade 5; the soloists’ parts possibly Berlin Symphony Orchestra and other several works for the clarinet and the higher. I find it refreshing to include the European orchestras. He is widely-known pedagogical Le Clarinettiste (Méthode). saxophone as a soloist with the clarinet as a popular music composer and is A devoted teacher, Calmel wrote and quartet, and I believe that this work would internationally famous for his music on dedicated works to his many students. be worthy listening for any audience. television that accompanies slow-motion This is a grade 3 work. The range is a – Lori Ardovino replays of major ski jumping competitions. little over two octaves, with the option to Tri prekmurske ljudske pesmi (Three stretch to two-and-a-half with the ossias in Venceslao Biscontin. Novecentesca: Per the cadenza and last four measures. The Folk Songs from Prekmurje) for Clarinet coro di clarinetti. Edizioni Musicali texture is linear and almost always step- and Piano reflects the music from the Eufonia, 2016. Duration: 20’ €22.00 wise, except for a syncopated motif that extreme northeast corner of Slovenia occasionally appears in the melody. This Venceslao Biscontin is an Italian (across the river Mur) that borders piece would be an excellent solo for the composer who has worked with the Hungary. In English, the songs with which developing high school student. Orchestra di Padova e del Veneto, he worked are: “Sing to me, little bird,” – Lori Ardovino Orchestra del Teatro La Fenice di Venezia “Don’t plough, don’t sow” and “Today is and abroad. Biscontin has recorded CDs a lovely day.” The second song is the most Antonio Fraioli. Percorsi for clarinet, for Velut Luna and Fonit Cetra. Since famous in all of Slovenia. alto saxophone and clarinet quartet. 2006, Biscontin has dedicated himself to As a whole this work is midway Edizioni Musicali Eufonia, 2016. composing for clarinet choir because of his between the unobtrusive and non-fussy Clarinet and alto saxophone (or experiences in several master classes with settings in Makor’s work and the wildly clarinet) with clarinet quartet €19.00 Walter Boeykens and Vincenzo Paci. imaginative setting in Šavli’s. The level Clarinet and alto saxophone (or Biscontin stated, “By reviewing and of difficulty is also in-between. Golob’s clarinet) with string quartet €22.00 listening to what I had composed I wanted first song setting is a masterpiece of to write something expressive, as well long melodic lines with the constant Antonio Fraioli is an active lecturer, as descriptive. Novecentesca is a work of ebb and flow of alternating 5/8 and 6/8 recitalist and presenter. His compositions, expression and description of my life as measures. A contrasting staccato Ritmico transcriptions and arrangements have been a man in the 20th-century. It consists idea is introduced and then combined performed in numerous countries across of memories, paintings, photographs with the opening legato idea. Whole-tone Europe and in the U.S. and drawings alongside each other. Each coloration is briefly used. The second Percosi was written for and dedicated movement follows an evolution of moods to five of his students, Caterina Villari, song setting, “Ne ouri, ne sejaj,” begins performed by the clarinet choir that alto saxophone and member of the Evenos with four striking measures in the piano can be performed in a different order Quartet (Gabriele Coggi, Selene Malizia, of two fermata-length chords each. or individually.” Biscontin explores the Adriano Fabio Testa and Michele Carere). This atmospheric chord progression is wide range of the clarinet family by using Known for working in the jazz style, this similar to an effect Ravel orchestrated in E-flat clarinet, three B-flat clarinets, alto work is no exception, demonstrating Mussorgsky’s Pictures at an Exhibition clarinet, two bass clarinets and contrabass panache and verve throughout this work. where a loud chord suddenly dissipates clarinet in this work. If there is no alto Percosi means paths, in this case a sort revealing a much softer chord. The folk clarinet available, a fourth B-flat clarinet of musical journey. It begins with a free melodies from the Prekmurje region of opening, the two soloists (clarinetist and can be used. The third movement is Slovenia are generally melancholy; this alto saxophonist) trade fermata notes diverse because of how it highlights the one certainly is. The final song setting is in of varying degrees of dynamics and expressiveness of the clarinet in the slow compound meter with passages of hemiola dissonance. The quartet is introduced sections, but it also has high-energy, jazz- inflection, sweeping scalar lines in the briefly, followed by the sustained chords like moments. There is a jazz-like element clarinet and a contrasting dotted rhythm in the soloists. The opening soon turns towards the beginning of the movement that is used prominently in the sudden yet into a rhythmic accompaniment by the that then develops into a lyrical and strong major mode conclusion. quartet with the soloists playing jazzy expressive melody that is intriguing to hear. Like the other two works reviewed, this syncopated figures. The work continues The movements can be performed is a masterpiece for clarinet and piano. in this manner allowing the soloists separately. Biscontin is aware of the – Gregory Barrett to communicate their virtuosity while different colors and possibilities made relying on the steady rhythmic pulse of possible by the clarinet. Pedagogically, this Jean Calmel. Mélancolie pour clarinette en the quartet. The quartet gets to shine work will force students to really listen sib et pianoi. Gérard Billaudot Éditeur, later with the soloists taking on the to each other and help them improve 2016. Duration: 2’ €6.39 accompaniment role with a continuous their conceptualizations of musicality,
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ICA ANNOUNCEMENT Call for Honorary Membership Nominees
In accordance with the International Clarinet Association by-laws (Article V, Section 6), a special category of Honorary Membership has been created for persons of “unusual distinction.” The International Clarinet Association board of directors invites the general membership to nominate living individuals for Honorary Memberships from the areas of professional service, teaching, performance and/or lifetime achievements. Nominators should include a brief biographical sketch of the candidate along with further information as specified below. There is a limit of one nomination per person. Nominations must be postmarked no later than December 31, 2017, and sent to:
Denise Gainey Secretary, International Clarinet Association Associate Professor of Clarinet HC 241 University of Alabama at Birmingham • 950 13th Street South • Birmingham, AL 35294-1260 Email: [email protected]
Nominations for Honorary Memberships should include: 1. Printed name of the nominator 4. Nominee’s address, phone and email address 2. Nominator’s address, phone and email address 5. Biographical sketch of nominee 3. Name of nominee 6. Supporting documentation of nominee’s qualifications
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DECEMBER 2017 THE CLARINET | 65 REVIEWS
dynamics and rhythm. This work would and listen to. Perfect for the advanced Josh Oxford. Funked Up for Clarinet & be fantastic for advanced high school high school student all the way up to CD. Potenza Music, 2014. $23.95 students, amateurs and professionals alike professionals. Highly recommended! to perform. This is an interesting work to match – Kristine Dizon a great title. Oxford, like many young – Kristine Dizon musicians working today, wears many Gottfried Schreiter. arr. Joy to the World. hats. He is a composer, a performer and an Stacy Garrop. Stubborn as Hell for Two 38 Advents und Weihnachtslieder mit arranger of many styles of music, mainly B-flat Clarinets. Theodore Presser Liedtexten (Joy to the World. 38 Easy using vintage synthesizers. This piece Company, 2011. Duration: 5’40” Christmas duets for two clarinets). $14.95 explores the relationships of the certain Musikverlag Bruno Uetz, 2016. €12.00 notes (C-sharp, C, A and D-flat, C, A-flat) Stacy Garrop is currently on a journey Gottfried Schreiter from Dresden, with the accompaniment on the CD, to redefine her personal narrative. She is Germany provides us with a lovely which is influenced by Herbie Hancock. The piece is entertaining and moderately a freelance composer known for writing collection of holiday songs in clarinet challenging with notated jazz patterns and music “centered on dramatic and lyrical duet arrangements. This compilation some asymmetrical measures. I found the storytelling.” Garrop was previously should be very valuable for music teachers professor of composition at the Chicago accompaniment CD a bit confusing as working with young players, creating College of Performing Arts at Roosevelt there is no ‘count-in’ and the track itself is festive moments in teaching or seasonal University. not so harmonically structured as to make performances. Students will also be excited Stubborn as Hell was commissioned by it easy to follow. It would have helped if to have this music at home to play with or American virtuoso Robert Spring. Garrop there was a second (practice) track with the for family and friends. stated, “Bob is one of those wondrous lead voice (clarinet) filled in with a click musicians who plays the most challenging The collection is mostly comprised track of the pulse. That said, this is a fun pieces written for the instrument and of traditional Christmas songs from piece that introduces some nice ideas and makes them sound effortless ... I wanted Germany along with a few from France would be suitable for high school students to write a piece that not only reflected his and the English-speaking world. Original who want to try another style of music technical and musical abilities, but also lyrics have been included for sing-along. apart from the classical music staple. For use in North America, adding his great sense of humor, hence the title – Paul Roe of the piece. The “stubbornness” of the translated lyrics in English would have title refers to the manner in which the two enhanced this edition’s possibilities for Rudolph Mauz. Duets for Fun and Mein instruments incessantly battle each other practical use. The accompaniments in the erstes Konzert. Schott, 2016. U.S. around the pitch D and how they willfully second parts are beautifully simple. distribution by Hal Leonard. $14.99 get stuck repeating pitches and gestures.” The English title states “38 Easy and $19.99 This piece demonstrates Garrop’s Christmas Duets.” While the pieces are prowess as a composer as it captures overall relatively easy, not all of them are Rudolph Mauz has provided teachers Spring’s sense of humor and personality for complete beginners. One can assume with two wonderful resources. In in a matter of minutes. The work starts that Gottfried wanted to keep the tunes in addition to valuable musical content, “Unflinching, obnoxious” at pianissimo a certain pitch range for a good blend with they are formatted well for teaching and followed by flutter tongue between the other instruments and maybe also to stay performing, including page turns, section two voices. Garrop continues to juxtapose close to the songs’ original keys. As a result, breaks and print size that make the score a variety of syncopated rhythms and most parts are frequently crossing “over ideal for ease of use. hemiolas – almost as though they were the break.” About a third of the carols, Duets for Fun contains original works dueling each other. As the work develops, though, can be done by a beginner playing for clarinet except for Mozart’s Bowling Garrop writes brief passages that make the second part where the notes are staying Duets. The works come from the Classical use of accelerating hemiolas between the mainly in the clarinet’s chalumeau register. and Romantic periods, ranging from duo, including “screaming!,” “stoic,” “piu The same duets have been published C.P.E. Bach to Ludwig Wiedemann. mosso, insistent,” and “forlorn.” Garrop for other wind instruments and string Most are fine examples of classical phrase structure, clear cadences, melody/ concludes the work with material from instruments. These arrangements can be accompaniment or melody/countermelody the introduction. combined with each other, an option that Garrop’s ability to sculpt sound in the textures, the expected running thirds will be very welcomed by teachers in the shape of Spring’s persona is quite a feat. between the two parts and traditional junior band room or in other settings. She managed to capture the idiosyncrasies harmonic progressions. The range is Again, Schreiter has arranged a of Bob’s persona in this work along limited to altissimo E and the pieces are in beautiful collection that will enrich many with humor making it truly Stubborn as comfortable keys and meters. They contain a holiday musical occasion. Hell. The contrasts in this piece make it traditional modulations and a variety of entertaining and enjoyable to perform – Barbara Heilmair rhythmic subdivisions appropriate for
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ICA ANNOUNCEMENT young but not beginner students. As the nice step up from the previous duets in the 2018 Research title suggests, these are “Duets for Fun!” book while still being fun to play. The last two works in the duet collection Mein erstes Konzert is intended for Competition are more advanced. Hoffmeister’s Variations beginners and contains 23 works for CALL FOR PAPERS AND on ‘Ah vous dirai-je Maman’ – theme and clarinet and piano. Pieces range in style PRESENTATIONS six variations on the recognizable melody from Classical to Romantic, as well as ClarinetFest® 2018 Twinkle, Twinkle Little Star – contains original works by Mauz that contain Ostend, Belgium interesting rhythmic interplay between influences of Klezmer, jazz, rock and pop. parts, requiring confident subdivision and The first five recital pieces in the book are Coordinator: independent entrances by the performer limited to notes below the break, making Jesse Krebs ([email protected]) of the second part. The Crusell duet at them appropriate to use first; the other Deadline: January 15, 2018. the end of the book is Andante con moto pieces are intended for use after one to two The ICA solicits proposals for research and Allegro vivace from Op. 6, No. 3. years of study. In the introduction, Mauz presentations (such as papers or This duet, also available in a 1993 edition explains, “The first concert performances lecture-recitals) on any topic related by Amadeus, is a great piece for student/ are a special experience for every young to the clarinet. teacher duets. Mauz’s edition contains the musician: ideally, they provide motivation Prizes: two parts printed on the same page, which for continuing engagement with the First place – $1000 USD and is perhaps more helpful in instructional instrument and music written for it … publication in The Clarinet journal settings than the Amadeus edition that An appropriate selection of technically Second place – $500 USD has separate parts. As indicated in the and musically approachable pieces is an introduction to his book, Mauz shortened essential requirement in making this a Visit www.clarinet.org and simplified some of the works, including positive experience.” This collection of for full competition rules and this Andante con moto where he omitted the first recital pieces fulfills that essential application details. modulation to the parallel major. Both the role. The book comes with an audio CD Hoffmeister and Crusell duets provide a that contains two versions of each piece:
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one with clarinet and piano together and Greta Funk. Andante for clarinet and Mid-18th century English composer then the same piece again with only piano, string quintet. Musikverlag Bruno William Boyce wrote three-movement allowing the student to play along with the Uetz, 2015. €15.00 symphonies in a conservative style. accompaniment. This is a great resource This 103-measure, medium-easy work This arrangement by Melanie Thorne for teachers of beginning clarinetists. in the style of Beethoven is scored for B-flat is perfectly suited for a one-day clarinet – Leigh Miller clarinet, two violins, viola, cello and contra festival. The music is tuneful and dance- bass. The Andante opens in D Major, like. Thorne’s instrumentation has built-in RECENT PUBLICATIONS IN moves through G Major to a brief C flexibility for use with a medium to large BRIEF BY – GREGORY BARRETT Minor Allegro Vivace section that lands on choir. For example, a B-flat clarinet part a 10-measure clarinet cadenza transitioning is supplied to replace E-flat sopranino. Lucas Foss. Three American Pieces for back to the opening Andante material. This The six distinct B-flat parts would be Clarinet in Bb and Piano. Arranged by would work well as a first chamber music welcomed by an ensemble that was light Richard Stoltzman. Clarinet part edited piece for clarinet and strings. on alto and bass clarinets. Two alto parts by Seunghee Lee. Carl Fischer, 2017. are included, but the first alto part is an $14.99 Bedřich Smetana. “Danse des comedians” alternate of the sixth B-flat clarinet and Written originally for violin and piano, from the Bartered Bride. Arranged for the second alto part is mostly doubled these three folksy pieces are both charming 3 B-flat clarinets and bass clarinet by by one of the other B-flat parts. The bass and robust. Seunghee Lee worked with Bertrand Hainaut. Collection Jean- clarinet part descends to only low G. A Foss to make Stoltzman’s version accessible François Verdier. Gérard Billaudot very easy optional timpani part is included for more clarinetists. Éditeur, 2012. €6.15 in the first and last movements.
Michel Lysight. Tanka for Bb clarinet and If you were at the Vienna Peter Ilyich Tchaikovsky. Grand piano. Collection Jean-Marc Fessard. Philharmonic’s 2017 summer concert Divertissement from The Nutcracker. Gérard Billaudot Éditeur, 2016. €6.15 at Schönbrunn Palace you would have Arranged for clarinet choir by John heard this work among the encores. This Gibson. Alry Publications, 2012. Belgian composer Michel Lysight stated medium-difficult quartet arrangement $30.00 that Tanka “evokes an ancient Japanese could be expanded for your clarinet choir poetic form.” It is moderately slow, orchestra. Fingered in C Major, the rapid Many orchestral clarinetists have hypnotically beautiful and lays completely passage work is mostly confined to the top memorized their part from Tchaikovsky’s in the clarinet chalumeau register making two parts, though the third clarinet and long-popular ballet. Now your students it very easy. Advanced players will also bass clarinet (notated in bass clef) parts and clarinet choirs can join in the fun. enjoy this satisfying music. also include a few passages of the same. The Act II “Divertissement,” comprised of Danse espagnole, Danse arabe, Danse Johannes Brahms. Trio Movement from Samuel Coleridge-Taylor. Quintet for chinoise, Trépak, Danse des mirlitons and Trio Op. 114 for clarinet, ‘cello & solo clarinet and clarinet quartet. La mère Gigogne et les polichinelles is piano. Adapted for clarinet and piano Arranged by Robert Rainford. Forton expertly adapted for clarinet choir by John by Chris Allen. Emerson Edition, Music, 2016. €13.50 (digital) or Gibson. He freely transposes each dance 2009. £6.00 €18.00 (hard copy) to be more clarinet-friendly. His six-voice ensemble is three B-flat clarinets, alto Brahms’ original trio version uses an A This major repertoire work, originally clarinet (or clarinet 4, or basset horn), bass clarinet. Here the clarinet part is for B-flat, for clarinet in A and string quartet has clarinet and contralto clarinet/contrabass but the player fingers the same notes as in been arranged for solo clarinet in B-flat clarinet/string contrabass. the original. Therefore, this duo version and clarinet quartet of two B-flat, alto sounds a half step higher. The clarinetist (or third B-flat) and bass clarinets. The and pianist take on extra notes to cover solo part is unchanged, hence sounding RECORDINGS the missing cello. a minor second higher than the original. Why Not? Hedwig Swimberghe, clarinet; Traditional. Schabbes Schabbes Klezmer The bass clarinet part is playable on an instrument with range to only low E-flat. Inna Poroshina, piano. A. Lonque: for 3 Clarinets. Arranged by Peter Introduction et danse rustique; J. Bauer: Goden. Bärenreiter, 2017. €11.50 The transfer from strings to clarinets is idiomatic except for a few measures in the Rondo kwartowe; J. Absil: Sicilienne; Eleven, short and easy traditional Larghetto affettuosomovement. J. Feld: Scherzino; B. de Crepy: melodies appropriately harmonized in Repliques; J.M. Ruera: Meditacio; L. three near-equal parts. A variety of tempos William Boyce. Symphony IV for clarinet Cahuzac: Cantilene; W. Hildemann: and key signatures add to the appeal of choir. Arranged by Melanie Thorne. Ritmi Dispari; M. Reger: Romanze in this chamber music for clarinetists in at Sempre Music, 2016. U.S. distribution G major; I. Bazel: Elegie and Scherzo; least their third year of study. Fischer/Presser. $35.00 G. Bacewicz: Easy Pieces; M. Deroo:
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ICA ANNOUNCEMENT Impromptu, Op. 72; V. Nossow: included would serve as good teaching 2018 High School Walz “Junior”; N. Marchenkova-Frei: pieces appropriate for the young college Augurio; G. Lyashenko: Con Amore; H. student or as recital filler pieces. Solo Competition Swimberghe: My Tune 1, Le Printempos As a program, Why Not? is akin to s’annonce and My Tune Too! Artist listening to a well-programmed recital. Coordinator: Margaret Donaghue Produced. Total time: 61:36. The recording quality shows off clarinetist Flavin ([email protected]) Hedwig Swimberghe’s beautiful round [email protected] Eligibility: Competition participants tone with lovely connection between the must be 18 years old or younger as registers and a thinner, brighter upper of June 30, 2018. register as well as pianist Inna Poroshina’s excellent pianistic skills. The mixing and Deadline: April 1, 2018. recording quality is complimentary and Repertoire: draws the listener into their excellent performances. Aside from a few tuning Béla Kovács, Hommage à de Falla and voicing issues, the clarinet playing of André Messager, Solo de Concours Swimberghe engaged me, and I enjoyed Prizes: the verve and musical sparkle he brought First prize – $1,000 USD to the works. Second prize – $750 USD All but three of the recorded pieces Third prize – $500 USD are under five minutes in length. The more familiar works include Cahuzac’s Visit www.clarinet.org Cantilene, played with lovely color and for full competition rules and Hedwig Swimberghe, Belgian nuance, Reger’s Romance, flawlessly application details. clarinetist and a Selmer Paris artist, served performed, and Absil’s Sicilienne. as principal clarinetist in the Brussels Lyashenko’s Con Amore is the longest, most serious work featuring beautiful whisper Philharmonic (Radio Philharmonic) until soft effects from the pianist. Wolfgang 2011. He teaches at the Brussels Royal Hildemannn’s Ritmi Dispari (Sonatine) is Conservatory at Erasmus University where also a substantial work in three distinct he is professor of clarinet and director of movements, which is well-played with the the Brussels Clarinet Choir. Recorded exception of the last few notes. in 2005 and remixed in 2012, his self- Lonque’s charming Introduction et produced recording Why Not? includes Dance Rustique is beautifully performed 18 works. Most are relatively short pieces, and Bacewicz’s upbeat Easy Pieces but there are several lengthier works for are worthwhile, but Swimberghe clarinet and piano and several brief solo sometimes loses tonal focus in technical interludes by Swimberghe. The styles of passages. Swimberghe performs his own the works vary from lyrical, expressive unaccompanied Le Printemps d’Annonce pieces and fun, upbeat character pieces with joyous energy, birdlike trills and to more serious, substantial works. I was calls. The short, simple pieces of Maurits quite surprised to hear Swimberghe’s and Nossow include the melancholy actual speaking voice say “My Tune One” Impromptu, Op. 72 and the humorous and “My Tune Too,” at the beginning Waltz “Junior.” Marchenkova-Frei’s and end of the recording. Both tunes Aurgurio is a lovely, rich work, but like sound like improvisatory warmups the Maurits has a few upper register based on a simple tune and are about intonation flaws. 30 seconds each. This whimsical touch Other works on the disc include combined with pieces mostly from Bauer’s Rondo Kwartowe (Rondo of contemporary European composers Fourths), reminiscent of Penderecki’s just adds to the fun of listening to some Three Miniaturesand the more substantial excellent performances of works not in the Republiques by de Crepy. Along with mainstream repertoire. The booklet did the haunting Meditacio by Joseph, both not have any composer information, but feature wonderful expression and technical I found that most of the music performed precision from the performers. Reger’s is available online. Many of the works Romanza and Lonque’s Introduction et
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Dance Rustiques are easily the highlights the four pieces on this disc are the result about 16 minutes. The composer of the CD in my opinion. Swimberghe’s of its commissions. David Lumsdaine writes that the string quartet forms one articulation and tone quality throughout (b. 1931) and Nicola Lefanu (b. 1947), group with the clarinet as an outsider, are notable, and I recommend this the composers represented on this disc, “sometimes caught up with them, but recording of European composers as a fine have had a long association with Gemini. more often it is like a person pursuing example of their music and the excellent While probably not so well-known an independent train of thought.” I was playing of clarinetist Hedwig Swimberghe to American audiences, this pair of struck by the wide contrasts of energy and and pianist Inna Poroshina. composers (who happen to be married to mood; sometimes frantically energetic each other in private life) have had long while at other times quiet and reflective. – Karen Dannessa and distinguished careers as composers The other piece of Lefanu’s on this disc, Mandala 3. Gemini: Ian Mitchell, and as teachers of composition to several Trio 2: Song for Peter, was written in 1983 clarinet/bass clarinet/gong/conductor; generations of younger composers at the and is scored for soprano, clarinet and Ileana Ruhemann, flute; Catriona several universities where each has taught. cello. The “Peter” in the title refers to Scott, clarinet; Sarah Leonard, soprano; Both are significant enough to be included Peter Wiegold, a composer and original Aleksander Szram, piano; Caroline in all the major music encyclopedias, and founder of Gemini, and draws for the text Balding, violin; David Angel, violin; Lumsdaine has had several books written lines by Emily Dickinson, Ted Hughes, Yuko Inoue, viola; Jo Cole, cello; about his compositions; I found the essay Sara Teasdale and Anton Chekhov, woven Sophie Harris, cello. N. LeFanu: on him written by his wife and posted on together to provide varying perspectives Invisible Places and Trio No. 2: Song his website www.davidlumsdaine.org.uk on life and mortality. This rather dark and to be most thoughtful, informative and for Peter; D. Lumsdaine: fire in leaf moody work of approximately 18 minutes appreciative. requires concentration to listen to and and grass and Mandala 3. Métier The compositional style and harmonic presumably to perform. MSV 28565. Total time: 76:34. www. language of both composers is highly Lumsdaine’s fire and leaf and grass divineartrecords.com complex and adventurous, and I have is a brief short two-minute work for seen this referred to as “post-serial.” But soprano and clarinet, written in 1991. in truth, it is very individual, drawing It has a lyrical, almost modal character, upon many influences and diverse capturing images of nature and summer. techniques: music of various periods from The centerpiece of the disc is Mandala the medieval on, the classical music of 3, a major work in three movements northern India, the landscapes (musical for a chamber ensemble of piano, flute, and otherwise) of the Australian outback clarinet, viola and cello. Written in and music of various native peoples 1978 and lasting almost 40 minutes, throughout the world to name only but a it is one of a series of five “mandala” few. Their musical outlooks have naturally works, each based on the idea of a single influenced each other, but there are subtle musical idea expanding outwards. The and not so subtle distinctions. Lefanu has composer terms this an act of meditation. been drawn to a more vocal and theatrical The opening movement, “Chorale,” is style than her husband, while he has been essentially a transcription of the final interested in electro-acoustic compositions chorus of Bach’s St. Matthew Passion. Gemini is one of Britain’s as well as traditional settings. Lumsdaine, The second part, “Sonata,” is a classically most important and most durable born in Australia where the couple still shaped binary form, with many passing contemporary music ensembles. Founded spends much time, gave up composing allusions or references to the earlier in 1973 and led by several directors around 1997 due to health issues. Lefanu music. The concluding “Fantasia,” has an (presently Ian Mitchell), this group has is still active as a composer, but also works improvisatory and open-ended quality been a regular fixture on British radio as gifted ornithologist, making high in contrast to the tightly constructed and television, at music festivals and at quality recordings of birdsong. “Chorale” and “Sonata.” It includes echoes community and school concerts that The four compositions on this disc – and short quotes from the Bach chorale feature music from the 11th to the 21st two by each composer – come from appearing as if out of nowhere, floating century in innovative school residencies. various periods of compositional activity above the ensemble. Lumsdaine writes “as They have been ensemble-in-residence and are set for various combinations of soon as one resonance opens up, it merely at several British universities and have instruments and voice. Invisible Places opens up another,” clearly referencing the produced a number of recordings of by Lefanu is the first piece on the disc, mandala geometric pattern. This original contemporary music. written in 1986 for clarinet and string and striking work leaves the listener with Gemini has a long and impressive quartet. There are 16 short movements, an inner sense of satisfaction. list of commissions, and indeed three of played without break, altogether lasting As frequent collaborators with long
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associations with these composers, chamber works that include clarinet. works lack continuity and connection Gemini can certainly be regarded as In addition to directing the Kaïros perhaps since several are transcriptions of ideal interpreters of this music. These Association, Berne has performed on 20 other works by the composer borrowed are indeed excellent and fully committed recordings. Her focus is the performing from here and there. performances. Ian Mitchell is a top-flight and commissioning of contemporary Gratefully, the liner notes include clarinetist, and special kudos go to the chamber works. She is a tenured professor commentaries from the composers for soprano Sarah Leonard. All involved of clarinet at the National Conservatory each of their works. Included is mention in this recording have a special affinity of the region of Clermont-Ferrand. Jean- of other works for clarinet by these and dedication to contemporary music, Marc Fessard has a degree from the Paris composers and each composer’s website which is clearly communicated in the Conservatory with highest distinction address. It was interesting to learn, for performances on this disc. for clarinet, bass clarinet and chamber example, that one of the composers, music. Contemporary music is likewise Evan Bellocq composed in 2011 Ouf!, – David Ross his specialty, being the dedicatee of many reportedly the sole existing piece written new works. He is an artist on over 30 French Clarinet Exports. for the octocontralto clarinet in E-flat. Béatrice recordings. More information about these Berne, clarinet; Jean-Marc Fessard, The descriptions of the works by the performers can be found on their websites: composers provide great understanding clarinet. G. Connesson: Scènes de la vie www.jeanmarcfessard.com and www. contemporaine; B. Cavanna: Parking for the listener. Mennesson’s description beatrice-berne.com. of her piece, for instance, “A swell mixing Schubert; I. Bellocq: Impasse; J. Jouve: The challenges to produce an effective Musica Elfica, Erratica, Fuggitiva; C. with kelp and sea-spray again and again recording of French contemporary before losing itself in the blue coastline,” Mennesson: Infinite breathing ;5 L. clarinet duos are many. This recording provides a great picture. Guérinel: Humeurs; P. Hersant: 10 is effective because of the great variety This music places the duo repertoire Duos; T. Escaich: Ground VI. Clarinet of sonic experiences throughout. The squarely on the concert stage rather than Classics CC071. Total time: 71:17. instrumentation varies from two clarinets, in the teacher’s studio, where clarinet duo www.clarinetclassics.com clarinet and bass clarinet, E-flat soprano repertoire is often thought of as a highly clarinet with clarinet or bass clarinet, effective teaching tool. These quality and two bass clarinets. These works works of French art would be demanding are extremely demanding, and so the additions to any advanced clarinet recital. clarinetists’ ability to play with great Berne and Fessard produced a fine virtuosity on multiple clarinets of the recording that provides exposure to these family is quite commendable. Great newest additions to the duo literature. contrast is produced as both Berne and Fessard exhibit considerable tonal – Gail Lehto Zugger flexibility throughout the recording, producing admirably soft dynamics even Flying Solo. Janet Hilton, clarinet. in registers when it is not advantageous M. Arnold: Fantasy; E. Roxburgh: to do so. Additionally, contemporary Wordsworth Miniatures; O. Messaien: techniques are employed such as slap “Abîme des Oiseaux” from Quatuor tonguing, pitch bending, smears and pour la fin du temps; M. Turnage: 2 circular breathing in a particularly Moto Memorials; G. Crosse: A Year and A perpetuo-esque passage. Most notable Day for Clarinet Alone, Op. 48A; L. It was with great anticipation that is the tonal control on Jouve’s Musica I opened this jewel case the first time, Elfica, Erratia, Fuggitiva. Here, Berne and as these works are previously unknown Fessard’s tones are pure, glassy and hollow to me. The recording is an impressive at times, creating a superb effect. undertaking: producing premiere Duo playing is rather exposed. Berne recordings of eight contemporary French and Fessard produce superb synchronicity works for two clarinets. Seven of the in these rhythmically intricate works. The eight duos were composed within the blend and balance is likewise admirable. past five years. The two clarinetists, I envision rehearsal at great lengths to Béatrice Berne and Jean-Marc Fessard, accomplish the depth of refined ensemble are self-described as “key representatives” and like-minded understanding of these of the French school in this recording. eight pieces, many multi-movement The Kaïros Association, which Berne compositions. The least effective work directs, commissioned three works on this on this recording was Hersant’s 10 Duos. recording and has commissioned many Totaling roughly 10 minutes, these short
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Berkeley: Three Pieces for Clarinet; I. barriers of a test piece. Finally, Mayer’s Stravinsky: Three Pieces for Clarinet Sargam adeptly blends western and Indian Solo; R. Rodney Bennett: Sonatina for classical music, providing the clarinetist an Clarinet Solo; L. Cahuzac: Arlequin; entrance in a heretofore forbidden world. H. Tomasi: Sonatine Attique; J. Mayer: A consummate pedagogue, Hilton Sargam. Clarinet Classics 0072. Total succinctly yet engagingly explains her time: 78:01. www.clarinetclassics.com thought process behind the selection of works and their personal meaning to her British clarinetist Janet Hilton presents in a live interview: www.clarinetclassics. impeccable interpretations of music for com/media. The video provides listeners solo clarinet in Flying Solo, a celebration an opportunity to meet the performer of her 50-year career as a clarinet soloist. and to view her technique, scores and Since her days as a scholarship student at stage presence. While the mastering of Royal Northern College of Music, Hilton the recording produced a somewhat dry has appeared as a soloist with major British and sterile sound quality, the video exudes orchestras and as a chamber musician in a vibrational warmth that is inherent in combination works well, and it puzzling festivals such as Edinburgh, Cheltenham her approach. Furthermore, the liner that it has not become more popular. The and the BBC Promenade Concerts. notes written by the performer highlight instruments blend so well together that Her orchestral career includes principal her commitment to education, relaying there are times when it is difficult to know positions in the Scottish Chamber the inspiration and history of each whether one is listening to the organ or Orchestra, Welsh National Opera, Kent composition. the clarinet. The overall effect Jóhannesson Opera and Manchester Camerata. An In this recording, Hilton selected works and Brotchie create in this recording is acclaimed pedagogue, she served as Head that display the beauty of the instrument, lush and beautiful. of Woodwinds at the Royal College of without a reliance on overly flashy The duo breathes new life into Yona Music London, where she continues to passagework or extended techniques. The Ettlinger’s arrangement of Mozart’s maintain a clarinet studio. Guest teaching listening connoisseur is offered a variety Four Church Sonatas. Previously, I was and master class invitations include Paris of standard works and new selections to never fully convinced of this work. Conservatoire, Vienna University for the please the palette, while performers are In this scoring, the organ gives the Performing Arts, Melbourne Conservatory, presented with recital options that are work the weight that is missing in Sydney Conservatory and Xinghai accessible to both clarinetist and audience other arrangements. In addition, the Conservatory of Music. member. This disc would be a welcome contrapuntal writing seems to work The robustness of the British clarinet addition to any clarinetist’s library and it better among more equally matched school is evident in Hilton’s playing, as she serves as a fine example of the eloquence instruments. Jóhanneson’s sound melts exudes warmth and resonance in even the of the British clarinet tradition. most technical passages. Interpretations into the organ in the slow movement, and – Michelle Kiec are adept, girded with warmth and throughout the work their balance and blend is stunning. This recording turns imagination, without overly stretching the Exultavit: Music for Clarinet and a minor transcription into a much more boundaries of delicateness. Throughout Organ. Einar Jóhannesson, clarinet; substantial work. the compilation, Hilton performs with Douglas A. Brotchie, organ. W.A. Bach’s “Prelude in F-sharp Minor unwavering attention to detail, shaping Mozart: Four Church Sonatas; J.S. No. 14” from the Well-Tempered Clavier every note of each phrase with thoughtful Bach: Prelude in F-sharp Minor, No. is another successful transcription. The musicality. 14, BWV 883; G. Tartini: Concertino; overall affect is warm and enveloping. Originally conceived as a compilation M. Reger: Ave Maria; R. Helmschrott: Once again, contrapuntal writing between of pieces Hilton enjoyed performing, the Sonata da chiesa X; O. Olsson: Alma two similar sounding instruments creates a selections transcend art forms and cultures. redemptoris mater; J. Speight: Music, pleasing blend of contrasting lines. A Year and a Day explores the connections when soft voices die; J. Tómasson: between music, literature and drama. 2 Exultavit Maria; A. Másson: Kansóna. Gordon Jacobs’s arrangements of Memorials steps into the world of blues, Total time: 77:20. Amazon.com Giuseppe Tartini’s works, which became and the final movement of Stravinsky’s the Concertino for Clarinet and String Three Pieces for Clarinet is based on The clarinet and organ are an unusual Orchestra, is popular among clarinetists. ragtime. Wordsworth Miniatures is a pairing, yet after listening to Exultavit by This transcription transforms it. With the response to selected Wordsworth poems, clarinetist Einar Jóhannesson and organist addition of the organ, the work becomes and the multi-faceted actor in commedia Douglas A. Brotchie, I think they are a grander. The organ’s ability to sustain in dell’Arte is evoked in Arlequin. Arnold’s well-suited and fascinating combination. the same way as the clarinet makes this Fantasy disregards the intended purpose Since both the organ and the clarinet transcription fuller and, particularly in as a musical study to break the conceptual are blown pipes, it is clear why this the slower movements, more satisfying.
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Perhaps one misses the lightness of the confusion for the listener. Yet this should challenges for the performers. In these strings or piano in the fast movements, not discourage anyone from listening to performances, Kotar does an excellent job but the duo’s choices still made this this unique recording, especially those meeting the virtuosic demands of each transcription work well. looking for new, audience-friendly works. piece. He is clearly a fine artist and the The Ave Maria of Max Reger, arranged – Amanda McCandless playing in all four works is flawless and by Eberhard Kraus, is a lovely song with beautifully performed. organ accompaniment. This work, along Clarinet Concertos. Jože Kotar, clarinet; Clarinet Concerto, Op. 31 by Gerald with Otto Olsson’s Alma redemptoris Milena Lipovšek, flute; RTV Slovenia Finzi is the first concerto on the recording. mater and Áskell Másson’s Kansóna, are Symphony Orchestra; Simon Krečič, Kotar gives a solid performance of this somewhat simpler works that feature conductor (Finzi and Žuraj); Benoît piece. He plays with a smooth dark lyrical lines and more traditional liturgical Fromanger, conductor (Françaix); sound and plays with great sensitivity organ writing. These works seem useful for Marko Letonja, conductor (Krek). and control. His tuning and ability to church musicians or others needing new G. Finzi: Clarinet Concerto, Op. blend with the orchestra create a flowing works for ceremonies and events. 31; J. Françaix: Double Concerto for and expressive interpretation that is very The most exciting original work on Flute, Clarinet and Orchestra; U. satisfying and enjoyable. this recording is Robert M. Helmschrott’s Krek: Concert Fantasy for Clarinet and In the Françaix Double Concerto for Sonata da Chiesa X. Helmschrott wrote Orchestra; V. Žuraj: Clarinet Concerto. Flute, Clarinet and Orchestra, Kotar 12 church sonatas for organ and one or RTV SLO Klasika 114045. Total time: demonstrates his technical virtuosity. more instrument between 1984 and 1994. 72:32. www.rtvslo.si/zkpprodaja Flutist Milena Lipovšek, whose beautiful The work’s musical language is modern sound and technique are equally yet borrows from early sources, including impressive, joins him. What is most medieval church modes, Jewish, Greek striking about this performance is the and Roman music. The first movement, interaction between Kotar and Lipovšek, as “Ekologe,” is at first slow and ponderous, their ensemble skills and ability to match then builds in energy to an extended, tonal colors is extraordinary. They perform dramatic clarinet cadenza. The second movement is as close to light dance music as one could imagine the organ ICA ANNOUNCEMENT capable. Both in the second movement “Rondellus” and “Ekologe,” the clarinet 2018 Young Artist carries the melody, and the part is technically challenging and intense. Competition Overall, this recording is well done Coordinator: with a pleasant mixture of transcriptions Mitchell Estrin ([email protected]) and new, original works for the medium. Clarinet Concertos is the latest CD Application Deadline: The liner notes are excellent and place recording by the Slovenian clarinetist Sunday, April 1, 2018. each work into context. The only issue Joše Kotar. It includes works by Gerald Repertoire: I found was that the track numbers are Finzi, Jean Francaix, Uroš Krek and Vito a. Thomas Dunhill – Phantasy Suite, Op. incorrect both on the back of the disc Žuraj. These concertos are diverse in 91 and in the liner notes, which creates some their musical styles and contain many b. Bart Picqueur – Sueño Andaluz for clarinet solo (2011) c. Ludwig Spohr – Concerto No. 4 in E minor for Clarinet and Orchestra (Mvt. I) CLARINET SOLOS Prizes: with First prize – $2500 USD and a professional FULL ORCHESTRAL ACCOMPANIMENT clarinet to be announced Second prize – $1000 USD change the tempo, record yourself with the accompaniment Third prize – $500 USD The Young Artist Competition is generously Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini sponsored in part by Buffet Crampon, D’Addario Woodwinds, Henri Selmer Paris and Yamaha. for more information, please visit our web site Visit www.clarinet.org for full ClassicalCollectionInc.Com competition rules and application details.
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technical passages with great precision Slovenian composers and to become more the Royal Irish Academy of Music. In and the interchange of material between acquainted with Kotar’s playing. I would addition, he conducts ensembles such as the two is seamless and immaculate. In definitely recommend this as an addition the RTÉ National Symphony Orchestra the third movement, Kotar shows that he to anyone’s clarinet recording library. and Concert Orchestra, the Ulster is equally comfortable playing the bass – David Shea Orchestra and Opera Theatre Company clarinet. He plays with great finesse in and the Hibernian Orchestra. Blumina has the staccato passages and expressive lines French Holidays. John Finucane, clarinet; distinguished herself as a member of the and keeps the playing light and nimble Elisaveta Blumina, piano. J. Françaix: “Ensemble Blumina” trio, a scholar of the throughout the entire movement. Tema con variazioni; C.M. Widor: works of Mieczyslaw Weinberg, and artistic The Concerto Fantasy for Clarinet and Introduction et Rondo; F. Poulenc: director of both the International Chamber Orchestra was written by the Slovenian Sonata; C. Saint-Saëns: Sonata in E-flat Music Festival in Hamburg and the festival composer Uroš Krek, and premiered in Major, Op. 167; G. Pierné: Canzonetta, “Giluim” Musica Judaica Salzland. 1988. Highly chromatic and innovative Op. 19; G. Grovlez: Sarabande A dynamic performance of Françaix’s in its harmonies, this single movement et Allegro; C. Debussy: Première Tema con variazione opens the album. The work has great substance and colorful Rhapsodie. Genuin GEN 17451. Total third and final variations were particularly orchestration. It is a compelling work time: 67:45. Amazon.com and iTunes strong stylistically and sounded effortless. that features many instances of musical Equally impressive is the cadenza in dialogue between Kotar and individual which Finucane demonstrates flexibility members of the orchestra. The timing in navigating the large melodic leaps. At of the phrases and interaction with the times, however, I wanted more focus to ensemble is impeccable, resulting in a very the tone through the registers. engaging and energetic dynamic between Widor’s Introduction et Rondo follows the orchestra and soloist. This is a great with its rhapsodic opening. The start of piece and a wonderful performance. the “Rondo,” partly due to its reserved The last piece is Slovenian composer tempo, seems a bit over-controlled. Vito Žuraj’s Clarinet Concerto. This piece is Nonetheless, the interpretation is sensitive completely different from the other three. and well-crafted. Finucane demonstrates This avant-garde work is very difficult for incredible control in the altissimo range the soloist and select solo instruments in the orchestra. Initially, I was not engaged, and his intonation is excellent. but was drawn in by the creative sounds Poulenc’s Sonata was, for me, the and textures created in the orchestra as the highlight of the album. The performance work unfolded. The kaleidoscope of colors John Finucane and Elisaveta Blumina is filled with character and the playful and effects just kept evolving and getting present a mostly traditional collection contrast that we expect from Poulenc. more exciting as the piece progressed. of French repertoire in their new album I love the way Finucane allows the first By the end, I was fully enthralled French Holidays, which highlights the movement’s lyrical melody to unfold and completely swept away. Kotar’s clarinet’s “cantabile virtuosity.” This so naturally. The second movement is performance drives the piece forward, concept unifies the album and is explored stunning as is the rousing third movement as he effortlessly transitions between in the extensive liner notes that provide with its brisk tempo and humor. extended and traditional techniques, while historical background, a brief discussion As with the Poulenc, Finucane imbues constantly responding and contributing to of the clarinet in France and how it the lyrical opening theme of Saint-Saën’s the changing textures of the orchestra. The became celebrated for its vocal quality. Sonata with a lovely vocal sound. The virtuosity of many of the solo players in Three pieces on this disc, including second movement could have been more the orchestra, particularly contrabassoon Widor’s Introduction and Rondo, Debussy’s animated with a faster tempo, but the and piccolo, is also impressive. This Première Rhapsodie, and Françaix’s Tema execution, especially the light ascending piece is complicated and required a lot of con variazioni, were written for the Paris staccato passages, is elegant and crisp. skill and virtuosity from the soloist and Conservatory’s annual competition. Look to the fourth movement for another orchestra, and the result was a compelling Finucane and Blumina are exemplary example of the graceful style and tight and exciting performance. collaborators and are on the same page ensemble the duo achieves. The overall recording quality is high regarding interpretation throughout the Gabriel Pierne’s charming Canzonetta is quality. Kotar sounds beautiful and the album. Finucane has led a distinguished perfectly placed after the two sonatas. The orchestra does a wonderful job supporting and multifaceted performance career. main theme’s elegant quality is irresistible him. The space in which they recorded He is principal clarinet with Ireland’s and played beautifully with a long phrasing lacks reverberation, but provides a smooth RTÉ National Symphony Orchestra, arc and expressive rubato. This performance and rich space for this literature. I was tours regularly as a soloist and chamber highlights Finucane’s great control – delighted to hear some new repertoire by musician, and serves on the faculty of notably in the soft altissimo register.
74 | THE CLARINET DECEMBER 2017 REVIEWS
Originally written for oboe, Grovlez’s Negro Fuego Cruzado. Fernando Sarabande et Allegro is a welcome Dominguez, bass clarinet; Ónix addition. This six-minute arrangement Ensamble. E. Eoussaint: Estudio Bop 8 offers many opportunities to display “A Dolphy-Too”; A. Lara: Entre la bruma technical and lyrical playing. The va; J. Álvarez: Negro Fuego Cruzado; A. contemplative “Sarabande” is approachable Fuentes: Lood; H. Paredes: Intermezzo and memorable while the “Allegro” is malinconico; G. Macías: Bésame azul. bubbly and light with fast articulated Urtext Digital Classics JBCC263. Total lines. Finucane expertly navigates the time: 52:24. www.urtextonline.com passagework as it fluctuates between registers. The delicate and intertwining Negro Fuego Cruzado offers an clarinet and piano lines in the middle of the eclectic mix of new works for bass clarinet “Allegro” are also striking. I look forward to written predominantly by Mexican using this work in my own teaching. composers for Fernando Domínguez. A The album concludes with a polished strong force of contemporary performance and colorful performance of Debussy’s in Mexico, Domínguez performs as a post-minimal to spectral to complex. Première Rhapsodie. I particularly enjoy the member of ÓNIX Ensemble, Mexico The composers featured on the album dreamy texture evoked at the opening as City’s Woodwind Quintet and Duplum represent a span of works from 2007 to well as the clarity of the Animé section. Duo. He studied at the Vienna State 2013. The works are worth hearing for The performances on this album truly Conservatory and at the Sweelinck Domínguez’s bass clarinet performance, showcase the fine collaboration between Conservatory in Amsterdam with extended techniques including a powerful two sensitive musicians. They succeed Harry Sparnaay. Fernando’s inspiration slap-tongue, and use of electronics. in highlighting the clarinet’s “cantabile for the project and the collaboration Written in 2007, the album’s first virtuosity.” bring together different stylistic worlds track by Eugenio Toussaint, Estudio – Justin Stanley handled deftly, ranging from sometimes Bop 8 “A Dolphy-Too,” is a jazz-inflected
ICA ANNOUNCEMENT 2018 Orchestral Audition Competition Coordinator: Scot Humes – [email protected] Eligibility: The competition is open to clarinetists of all ages who are not employed full-time as salaried members of a professional symphony orchestra. Deadline: Saturday, March 31, 2018.
Repertoire (visit www.clarinet.org for specific audition requirements): Solo: Bass Clarinet Excerpts Mozart: Concerto, K. 622, Movement I, exposition, unaccompanied Grofé: Grand Canyon Suite – “On The Trail,” rehearsal [2] until one measure after [3] First Clarinet Excerpts: Shostakovich: Violin Concerto #1 – Mvt. II, [23] until four measures Beethoven: Symphony No. 4 – Mvt. II, mm.10-17 and mm. 81-89; before [25] Mvt. IV, mm.297-302 Stravinsky: Rite of Spring – [5] until four measures after [6]; [11] to Prokofiev: Peter and the Wolf – rehearsal [20] (Nervoso) until [21] [12]; and one measure before [141] to [142] Rachmaninoff: Symphony No. 2 – Mvt. III, beginning to [47] Tchaikovsky: The Nutcracker – No. 4. “Scéne Dansante,” [33] to [34] Rimsky-Korsakov: Scheherezade – Mvt. II, cadenzas from [F] to [G]; Mvt. III, opening until [A]; Mvt. IV, [I] to [K]
Prizes: First Prize – $1000 USD and a professional level mouthpiece to be announced Second Prize – $500 USD and a professional level mouthpiece to be announced Visit www.clarinet.org for full competition rules and application details.
DECEMBER 2017 THE CLARINET | 75 REVIEWS
solo work that highlights Domínguez’s In the liner notes, Alvarez states: “contrast Hilda Paredes’s Intermezzo malinconico roots studying with Harry Sparnaay. between granular and continuous sounds (2013) creates a landscape of “opposites: Toussaint’s piece is explicitly evocative of are reinforced, thus generating the sound aggression and its consequences, deep jazz musician Eric Dolphy, according to scaffolding of the work.” The title meaning and subtle pain” through the malicious the composer’s words. The work aims to of black crossfire finds its place among articulation and Domínguez’s pleading explore this language through a pseudo- “images of fire and metal,” with a chaotic breath and tone control. improvisatory sound world. explosion of force ending in the pure sound The last track, Bésame azul by Gonzalo Ana Lara’s work Entre la bruma va, of the bass clarinet. Macías, sets up a simple lumbering idea written in 2008, features Domínguez Arturo Fuentes’s Lood approaches the that takes flight among electronic howling traversing a range of extended techniques bass clarinet sound world with texture of clarion bass clarinet sounds. Macías from flutter-tonguing to slap-tonguing and noise. The electronics capture the transfigures these sounds and tangentially through contrasts of fast technique with frenetic nature of the air, the key sound moves them away from the original idea. slow lyrical lines. The dynamic range and and the shimmer of the upper bass clarinet The eerie soundscape is unsettling and the diversity of sound colors shines with the overtones, and combine them into an deft playing by Domínguez brings out the accented tonguing popping drastically out effervescent piece. Some sounds are similar work’s color and character games. of a sometimes-subdued texture. to Mario Davidovsky’s Syncronisms with the This recording provides an interesting Javier Alvarez’s piece, and the title high electronic notes and static clicks. The window into varied approaches to track negro fuego cruzado (2008), evokes bass clarinet mixing that had been at the the modern bass clarinet. Fernando emotions both grating and jarring. The fore seems to have become more distant. Domínguez’s performance along with mixture of sounds created by Alvarez in From the first pops of slap tonguing, the eclecticism of these new works makes conjunction with the almost menacing bass Domínguez sets up a surprisingly this a valuable addition to the modern clarinet writing creates a vacillation between wide dynamic contrast that brings the clarinetist’s collection. ethereal space and industrial-sounding grit. subsequent air and breath sound to life. – Ford Fourqurean
AUDIO NOTES by Christopher Nichols
THE VERDEHR TRIO COMPOSERS SERIES VOLUMES V AND VI AND INTERNATIONAL CONNECTIONS II
The March 2017 edition of Audio Notes and movements. In lieu of a printed entirely in English. Sheng’s responses are featured recent compact disc releases by booklet, each disc includes composer and elaborate and engaging, particularly those the Verdehr Trio. The group has continued performer biographies with photos. regarding the creative process, inspirations to contribute to their legacy for greater The complete program of Volume V and education. His recollections of dissemination of its output. Over the opens with an interview from 1999 with his study with Leonard Bernstein are years, violinist Walter Verdehr interviewed the late Armenian composer Alexander especially intriguing. The following many of the composers commissioned by Arutiunian prior to a performance of performance of Tibetan Dance adds a layer the Verdehr Trio. Ultimately, this resulted his violin and trumpet concertos in Los of complementary artwork that enhances in The Verdehr Trio Composers Series Angeles, California. In this instance, a the overall atmospheric effect. of DVDs, which includes both interviews translator is used. The technology of the Volume VI features American with composers and video footage of day is evident in the video quality, but composers William Bolcom and William performances. The most recent releases, the sound quality is excellent. Hence, the David Brohn. The interview with Volumes V and VI, feature legendary entire interview is easily understandable. Bolcom dates from 2001. This interview composers Bright Sheng, Alexander These conversations address composing for is somewhat longer than those found Arutiunian, William Bolcom and William the Verdehr Trio along with inspirations on Volume V and more detailed. This David Brohn. and influences. A high-quality performance includes significant commentary about his The organization of each DVD is of Arutiunian’s Suite for Clarinet, Violin studies with Darius Milhaud and at the similar. Viewers may choose to watch and Piano follows, which was clearly Paris Conservatory. During discussions content as a program, which begins produced especially for this project. about his Trio for Violin, Clarinet and with the interview followed by a Bright Sheng is the next composer Piano, excerpts of the performance complete performance. Additionally, featured on Volume V. The video from this are interspersed. This clarifies the the navigation menu allows for separate interview is slightly higher resolution and relationship between the interview and the access of interview questions, topics follows a similar gamut of questions, but composition, which improves its value as
76 | THE CLARINET DECEMBER 2017 REVIEWS
It features recordings from 2008-2015 of commissioned works or arrangements by eight distinguished composers from around the world. These include Nicolas Bacri, Yang Liqing, Peter Dickinson, Jonathan Harvey, Wolfram Wagner, Kam an educational tool. Unlike Volume V, the a commercially produced recording Kee Yong, Guido López Gavilán and Peter performance video is from the live world on The Making of a Medium series of Schulthorpe. Exceptionally detailed liner premiere performance of his trio. Although compact discs. Fortunately, video footage notes provide comprehensive information the view is distant and the lighting dark, from a superb live performance with the about the compositions and the composers, the audio quality is high quality and this Michigan State University Symphony which enhances the listener’s experience of is an exceptionally polished performance Orchestra was available and substantial a wide array of sound worlds. Throughout by the Verdehr Trio. The ensemble delivers excerpts of the work are included. this recording, it is a pleasure to hear every note, gesture and phrase with Throughout both volumes, several the Verdehr Trio’s signature sound and requisite bravado or sensitivity. clear trends emerge beyond the excellent passionate musicianship. Throughout my perusal of this DVD, performances. Foremost, the Verdehr Although each composition is worth I could not find a clearly specified date Trio has a distinctive sound that is clearly exploring, Peter Dickinson’s Celebration of the interview with William David its own. The personalities and sonorities Trio (2009) is exceptionally effective. Brohn. It likely originates from around the of the individuals and the ensemble are According to the liner notes, the three premiere of “I Got Variations” on “I Got always evident. This receives consistent movements “are based on a story by Rhythm,” which is a trend with the other mention as influential and inspirational British poet John Heath-Stubbs (1918- interviews. The conversation with Brohn in each interview. Additionally, video 2006) called The Unicorns.” The second, provides a different perspective, as he is a certainly adds an additional dimension. “Lullaby,” is hauntingly beautiful in a distinguished Broadway arranger beyond Visual aspects of the trio’s performance luring manner and performed with the his compositional activities. Accordingly, provide a valuable example of chamber utmost sensitivity by the Verdehr Trio. this discussion includes some thoughts music playing of the highest standard. Rather than summarize the plot, I hope on the commonalities and contrasts of Their communication as an ensemble the title of the story and my description of composing and arranging. Excerpts from should serve as a useful pedagogical tool the second movement result in curiosity a radio recording of George Gershwin’s in chamber music instruction at any level. about this particular work! performance of his own variations on Due to the additional editing challenges of According to the trio’s website I Got Rhythm and video footage of a video and audio and the live performance www.verdehr.com, additional compact Verdehr Trio performance of the work footage used, there are occasional flaws discs are in preparation. Volumes 25 and enhance this discussion. In addition to expected at a live performance, but this 26 will feature Verdehr Trio arrangements “I Got Variations” on “I Got Rhythm,” hardly detracts from the significant value by a wide variety of composers. As always, Brohn wrote a double concerto for the of these important volumes. a complete discussion of each release is Verdehrs entitled Tales of the Alahambra: International Connections 2 is the impossible due to spatial constraints. I A Poem for Violin, Clarinet and Orchestra. Verdehr Trio’s most recent compact disc on encourage the readership to explore these This work is unique among the others the Crystal Records label, CD974, and the new offerings and look for forthcoming found in Volumes V and VI, as it lacks 24th volume of The Making of a Medium. volumes! v
DECEMBER 2017 THE CLARINET | 77 by Kristine Nichols with Spencer Prewitt and Eric Salazar
MY LIFE AS A COMMUNITY CLARINETIST ere at ICA’s BuzzReed, we ensemble contests, band festivals, halftime things I learned studying music at this are interested in finding out shows and chamber music followed. What level have been invaluable in the business all we can about the global kept me motivated was steady progress, world: I learned to excel individually but clarinet community and how increasing fun and friendships with also collaborate within a team; to lead Hwe can better connect with clarinetists from fellow bandmates, the joy of listening to as well as follow; to be on time by being all walks of life, from beginning students classical music with friends, and most of early; to plan ahead for deadlines. Most to community players to professional all, the singularly amazing feeling a good importantly, I learned to overcome the fear performers and teachers of clarinetists at performance brings. My favorite musical of the word solo. Excelling in solo passages all levels. We are dedicated to exploring moments in high school were at the despite that fear gave me the courage to questions such as: Why do we play clarinet? annual festivals where the performances speak up in class and in business settings What role does it have in our lives? What were as perfect as they could be, and we to this very day. common problems and joys do we share? were all in sync with the common goal Upon entering the working world after I want to share my point of view and of performing our best and making our graduation, I found that I wanted to keep invite you to think about yours, and even director and school proud. playing, so my husband (also a UNT consider submitting a guest blog – we My experiences at the University of clarinetist) and I joined a local community want to hear your story! North Texas as a performance major took band where we enjoyed playing the I have played clarinet since sixth grade, all of this to the next level as the solo, so it has been a part of my life for over orchestral and chamber repertoire were repertoire that is so fun and familiar. As 40 years. I was very lucky to learn from a explored in great depth. Making music time moved on, we expanded into musical band director who was also a clarinetist, so at this level is something that I’ll never theater, opera and regional orchestras in I started with a solid base of fundamentals. forget, and I am very proud of the work the various parts of the country where Private lessons, lots of practice, the ups I did to achieve my degree. Although we have lived. Our newest venture is a and downs of chair challenges, solo and I did not pursue a career in music, the clarinet ensemble that is a huge source of fun, collaboration, creative challenge and friendship. The greatest challenge for community musicians, in my opinion, is making time to stay in musical shape (or get in shape after a long break) while also working long hours at our day jobs and fitting in important family time. Long tones, scale studies, etudes and orchestral excerpts as well as solo repertoire remain rjmusicgroup.com the foundation to achieve the best tone quality, intonation, technique and ...catering to the discriminating endurance for those long rehearsal and professional and amateur musician. concert days, and sometimes sacrifices in other areas have to be made.
78 | THE CLARINET DECEMBER 2017 I won’t lie. Sometimes I feel like life I used to sing together when she was still would be so much easier if I gave it all up. alive, or especially when I play in a patriotic No more working Saturdays and Sundays at concert and during a medley of military Christmastime when two or more groups’ songs and am moved to see the veterans concerts converge only to head back to in the audience rise and be recognized for Give work at 7 a.m. on Monday; no more reed/ their service. mouthpiece/equipment struggles; no more To all the clarinetists out there, you the anxiety dreams where I show up to a venue are all welcome to our community in only to find I have forgotten my music, the International Clarinet Association. If or am wearing red when everyone else is you’re not a member, I strongly encourage Gift wearing black, or can’t find the entrance you to join the ICA, and “like” and follow to the stage, etc. (Hopefully, I am not the the ICA’s BuzzReed Facebook page so of only one who has experienced this!) Most you can stay up to date with our blog of all, if I gave up music, I would no longer posts and other exciting and informative Better have to explain all of this to my non- content in The Clarinet.v musician friends who try to understand and are very kind, but who just do not Reeds! get this “hobby.” Yes, it might be easier to ABOUT THE WRITER live without these challenges … And yet, Kristine Nichols, ICA BuzzReed committee I will never know, because music is too member, has a B.M. in Clarinet Performance important to me to ever turn my back on from University of North Texas, and is ® it. All the hard work is worth it when I principal clarinet in the Corona Symphony. see children in a Nutcracker audience who Kristine is one of the founding members of have never heard a live orchestra or seen a the Orange County Clarinet Consort, whose ballet before, or when I tear up at a church primary mission is to introduce new works service playing music that my mother and into the clarinet ensemble repertoire. MADE IN USA
(combined with a second major)
DECEMBER 2017 THE CLARINET | 79 Hysterically
by Eric Hoeprich
LE CANARD by Jean-Ignace Isidore Gérard (dit “Grandville”)
nthropomorphic images pour deux Clarinettes (by Michel Yost or melancholy, or is it simply that life for a of clarinet players are not Amand Vanderhagen?), but his partner is duck-clarinetist is not easy? v particularly rare, but this absent. Could this be the reason for his must count among the better Aexamples. Jean-Ignace Isidore Gérard (1803-1847), born in Nancy (northeastern France), departed for Paris at the age of 21 where he enjoyed considerable success, mainly with images like this. Gérard, aka J.J. Grandville (the stage name of his grandparents), developed a special skill for creating portraits of men with animal heads, imbuing his images with highly expressive features that communicate immediately with the viewer. As with any caricature there is always a sub-text; in this instance, the poor quality of the clothing (patched in several places), a rickety duet stand along with a nearly-empty glass of wine and perhaps a few too many bottles waiting in a basket on the floor. The instrument held appears to be a five-key clarinet in C, made of boxwood and ivory (possibly by Amlingue or Prudent?), a bit out-of-date for c.1840. But we are drawn mainly to the player’s head, clearly that of a duck (canard) – also the French word for a “squeak,” two of which we can see escaping from the bell. So, we have a canard playing a canard. All amusing, but there is also a subtly sad and resigned air to the visage. By means of animals Grandville manages to capture something about humanity perhaps not achievable in a straight- forward portrait. Our canard plays an “Andante con variazione” from Duos Le Canard, by J.J. Grandville, c.1840, by kind permission of Bibliothèques de Nancy, fonds Thiéry-Solet
80 | THE CLARINET DECEMBER 2017 818 W. Evergreen, Chicago, IL 60642, 888.707.4455,818 60642, IL Chicago, www.dansr.com W. Evergreen, U.S. DANSR, by the to Imported © 2017 www.vandoren.com SAS. Vandoren Jon Manasse Jon CLARINET REEDS #myvandorencolor WHAT COLOR YOUR IS SOUND?
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