m.
k. LEGENDRRV
Buffet Crampon clarinets have a long history of being the finest clarinets in the
world: beautiful Grenadilla wood, flawless key work, and an exquisite sound
that is the signature of a Buffet.
The legendary R-13 is just one of a vast family of clarinets. Our
Prestige line of clarinets, made from the very finest wood, feature an adjustable thumb rest and auxiliary
Eb lever. The Vintage, our salute to the
original 1950ys R-13, boasts a
beautiful, resonant sound. The
R - 1 3^
For ouer 100 Green
years Buffet Line clarinet is
Crampon has been at the forefront of inno¬
helping the vation: impeccable intonation
world's and rich harmonics all within a clarinet body that goes unchanged in any clarinetists play climate. their finest. This
uncompromising It's no accident that clarinetists swear by quality continues PAR! their Buffets and recommend them to today with the their students, children, and friends. Our BOOSEY HAWKES legendary R-13 & legacy of uncompromising quality doesn't and its uast better by design just make us legendary - it makes us 1925 Enterprise Court ♦ Libertyville, IL 60048 family of eKtraor- Phone: 847.816.2500 ♦ Fax: 847.816.2514 better by design. e-mail: [email protected] ♦ Web Site: http://www.boosey.com dinary clarinets Volume 25, Number 4 July/August 1998
Features About the Cover... The clarinetists of the 1997 Bayreu- UTAH SYMPHONY CLARINETIST CHRISTIE LUNDQUIST DIES 22 ther Festspielorchester (l-r): Wolfhard MEDICAL PROBLEMS OF CLARINETISTS: Pencz, Joachim Welz, Thomas Ulrich RESULTS FROM THE U.N.T. MUSICIAN HEALTH SURVEY Schliiter, Matthias Glander, Thomas by Michael Thrasher and Kris S. Cheskx 24 Franke and Bernd-Michael Hassel. See James Gillespie's feature article begin¬ OPTIMUM PRODUCTION AND CONTROL OF CLARINET TONE ning on page 32. by Mark Sellen 28 THE CLARINETISTS OF THE INDEX OF ADVERTISERS 1997 & 1998 BAYREUTHER FESTSPIELORCHESTER Albert Alphin 33 by James Gillespie 32 Altieri Instrument Bags 50 Ben Armato 31 THE FIVE BASS CLARINET SUITES OF J.S. BACH Charles Bay 39 by Edward Pal anker 42 BG - France 23, 43 Boosey & Hawkes/ Buffet Crampon Inside Front Cover COMMITTED TO NEW ORLEANS JAZZ AND METAL CLARINETS — Brannen Woodwinds 57 EBERHARD KRAUT HAS SET HIS HEART ON THE Brixton Publications 22 CASS 12 NEW ORLEANS CLARINETS Clarinet Classics 4 by Ralf Kriiger 44 Crystal Records 55 DEC Music Products 63 John DeWitt Music 69 ANTON RUBINSTEIN AND THE CLARINET Avrahm Galper 15 by Justin E.A. Busch 48 Ignatius Gennusa 23 Anthony Gigliotti, Inc 67 AN INTERVIEW WITH ERIC HOEPRICH Houston Band Instrument Company 74 Howarth 76 by Luigi Magistrelli .52 International Musical Suppliers, Inc 12, 47 International Clarinet Association THE BRAZILIAN'S CLARINET Music from the I.C.A. CD 41 by Fernando Jose Silveira .56 Jupiter Clarinets 53 Ton Kooiman 9 BERNHARD HENRIK CRUSELL'S AUTOBIOGRAPHY G. Leblanc 38, Inside Back Cover Luyben Music 16, 76 Edited by Brent Coppenbarger .58 Marks Music 46 Muncy Winds 19 Musikverlag G. Aegler 50 Theodor Nagel 46 Departments Norcat Music Press 39 Olathe Band Instrument 69 Ongaku Records, Inc 5 LETTERS 4 Patricola Musical Instruments 51 Pomarico 59 FROM THE EDITOR'S DESK by James Gillespie 6 Bernard Portnoy 30 James Pyne 13 MASTER CLASS by Guy Deplus 8 Quodlibet, Inc 57 Raybum Music Company 43 TEACHING BEGINNERS by Michael Webster 10 Reeds Australia 61 Rico International 35, 37, 39, 41 CLARINOTES 14 Luis Rossi 55 Rousseau Music Products, Inc 71 CLARANALYSIS by Lee Gibson 16 Rovner Products 40 Sayre Woodwinds 41 AUDIO NOTES by William Nichols 20 The Selmer Company Back Cover J.L. Smith & Co 51 THE DOWN UNDER AUSTRALIAN REPORT by Neville Thomas 60 Southern Music Company 51 University of North Dakota 5 REVIEWS 64 Vandoren 75 Wichita Band Instrument Co 69 Wind Instrument Center 62 RECITALS AND CONCERTS 70 Wohlers & Co 73 The Woodwind 68 THE PRESIDENT'S MESSAGE by Alan E. Stanek 72 The Woodwind Corner 15 CLASSIFIED ADVERTISING 76
July/August 1998 Page 1 City of Ostend Clarinet Composition Competition
The City of Ostend, Belgium is sponsoring ClarinetFest a clarinet composition competition in co¬ operation with the I.C.A. The competition 1999 is open to all composers. Works are to be submitted for the following categories: Ostend, Belgium July 6-11 A. Clarinet Choir: high school level; 8-10 minutes in duration OOSTENDE
B. Clarinet Quintet (strings and Claribel the clarinet choir of the Ostend (Belgium) Conservatory of Music, clarinet): professional level; is honored to host ClarinetFest 1999, the annual clarinet conference of the 10-15 minutes in duration International Clarinet Association. Those who attended the festivals in Chicago (1994), Paris (1996) and Lubbock (1997) have been able to hear the outstanding quality and enthusiasm of this young ensemble. C. Clarinet Quartet (any combination of four clarinets): professional level; Now, on the occasion of the 150th anniversary of the Ostend Conservatory of 10-15 minutes in duration Music, they want to prove that they are also good organizers and are happy to welcome you to Ostend, the most beautiful city on the Belgian Coast. D. Bass Clarinet Solo: professional Althougth no final schedule is established as yet, a tentative daily schedule level; 6-8 minutes in duration looks like this: 8:30 a.m. Lectures, clinics, presentations E. Clarinet Trio (any combination of 9:45 a.m. Young ClarinetFest featuring new talent three clarinets): professional level; (including I.C.A.'s Young Artist Competition) 10-15 minutes duration 11:00a.m. Solo Recitals 2:00 p.m. Simultaneous Masterclasses A prize of $1,000 U.S. will be awarded to 3:00 p.m. Solo recitals composers of works chosen in each cate¬ 4:15 p.m. Clarinet Choirs gory. The prize money is provided by 5:30 p.m. Trios, quartets Vande Lanotte, Minister of the Home Of¬ 8:30 p.m. Gala Evening Concerts (with band, orchestra, jazz and folk music) fice; Mr. Vandecasteele, Mayor of Ostend; Mrs. Willems, Assistant Mayor of Educa¬ Special Features of ClarinetFest 1999: tion of Ostend; the I.C.A.; and Mr. Breyne, • Premieres of the winning pieces of the International Composition Contest of Governor of the province of West Flanders. the City of Ostend. • Tours of historical sites, such as Bruges, Flanders Fields and Veurne. • Belgian ClarinetFest Chocolates and our own unique CLARIBELBEER Contestants should send a full score, and the works should not have been previous¬ Important Recommendation Concerning Housing Facilities: ly published or performed in a profession¬ Ostend has a wide range of housing facilities from low-budget family hotels to al setting. All works should be postmarked deluxe hotels like the Thermae Palace where the festival takes place. Contact no later than March 31,1999. Guido Six for a brochure with all the information. We recommend that reservations be made as early as March 1999. Ostend is the main tourist city on the coast and Send all entries to: all hotels fill up very quickly. G UID O SIX Conservatory of Music For more Information, contact: ClarinetFest 1999, Conservatory of Music, Romestraat 36, B8400 Oostende, Romestraat 36 Belgium, phone +32 59 70 70 08 B-8400 Oostende, Belgium or ClarinetFest 1999, Guido Six, Festival Host, Artanstraat 3, B8670 The winning works will be premiered at Oostduinkerke, Belgium, ph +32 58 52 33 94, fax +32 58 51 02 94, the ClarinetFest 1999 in Ostend, Belgium. email:
Page 2 The Clarinet INTERNATIONAL CLARINET ASSOCIATION President: Alan E. Stanek. Department of Music. Idaho State University. Pocatello, Idaho 83209-8099 Korea: Im Soo Lee. Hanshin 2nd Apt.. 108-302, Chamwondong Suhchoku, Seoul, Korea. (02) 533-6952 (phone), 208/236-3108 (office). 208/2364884 (fax). 208/232-1338 (home). E-mail:
July/August 1998 Page 3 CLARINET LETTERS C L A SS I C S (Letters intended for publication in The "My Inspiration." Gary played it in B^, Clarinet should be addressed to James Gil- while the original was in C. Pete Fountain lespie, Editor, "Letters," The Clarinet, Col¬ has also recorded it. Innovative lege of Music, University of North Texas, Faz made only one album that I am Denton, Texas 76203-1367. Letters may be aware of in the late '40s for Mercury, and Recordings edited for purposes of clarity and space.) it has not been re-released to my knowl¬ for the edge. Mine disappeared long ago, a victim I would like to make some comments of various moving companies. Does any¬ Clarinet on the letters by Vance Jennings and one have it so a copy tape could be made? Carl Todd in the last issue of The Clar¬ Mr. Jennings mentions that Faz once inet (February /March 1998). played for the Candy Candido Orchestra, First, I am delighted that someone is as and I wonder if this would be the same big a fan of Irving Fazola as I am. How he Candy Candido I knew as a bass player with was not listed among the great New Orleans the Ted Fio Rito dance orchestra in the '30s, clarinetists, I cannot understand. He was who did a novelty number called The Three Pete Fountain's hero, and I understand that Trees? I would love to have a recording of Pete's first professional job in New Orleans that if any was ever made. The Fio Rito MARCEL MULE was subbing for Faz the night he died. Faz band had Betty Grable as one of the girl trio 'Le Patron' of the Saxophone PLAYS ON... has been described as "everybody's favorite for awhile, and Ray Hendricks, Laraine Works by Saint-Saens, Rimsky- clarinetist but nobody's favorite person." He Day's husband before the baseball manager Korsakov. Pierne. Dillon, Raff. Haydn. Marceau and others. was not only as gross as Jennings quotes but Leo Durocher, was a violinist/vocalist. a mean, very mean drunk. I cannot imagine As Mr. Todd undoubtedly knows, syn¬ him getting along with straight arrow Hor¬ thetic reeds have been around for at least 55 ace Heidt! Glenn Miller was not the only or more years. When the unpleasantness of H Y M N O S big band leader who admired him. He was the '40s made cane unavailable, a plastic Jimmy Dorsey's favorite clarinetist, and lots reed was an alternative. I do not recall the of sidemen had the same admiration. His name, but it was solid plastic and reddish tone was big and fat — gorgeous would be brown or brownish red. It could be suitable a good description. He played an Albert- in the right hands. For instance, Artie Shaw HYMNOS system horn, and he is reputed to have used one to make Stardust, and Rosario Works by: Maxwell Davies, scoured pawn shops in every city he was Mazzeo in his book tells us of using one for Goehr and Birtwistle years in the Boston Symphony without any Roger Heaton, clarinets; playing looking for horns he could get parts Stephen Pruslin, piano; from. Jerry Pierce once commented that if colleagues knowing the difference. I have Kreutzer String Quartet. anyone played Faz's horn today, the room been told that the maker of the Fibercell would reek of garlic for a month! Jerry and reed knows what must be done to improve I would argue about the tones from an Al¬ the reed's performance in the extreme al- bert versus a Boehm clarinet, Jerry holding tissimo, but that the money to do it is un¬ that there was no inherent difference. attainable for him. I argued for the Albert horn having a fat¬ In fashioning synthetic reeds, Mr. Todd ter, mellower tone, and I used Faz as the per¬ cites the Bellison adage, "Remove only fect example. Jerry could not cite a Boehm dust." To do this, I would recommend lap¬ ping paper which can be had in very fine THE WORLD OF player that matched Faz! CLARINET CLASSICS He had the happy facility of making grades, far better than emery paper. Al¬ Complete tracks taken from each everything look like he was coasting, but he though I have not used it, I understand that of the first 19 releases of Clarinet Classics. could move quite rapidly not seeming to be 3M has marketed a 9,000 grit paper which CC0020 BUDGET PRICE doing so. It was his relaxed style, coupled should be more than fine enough for any with that tone, that made him unique. use on a reed. The lapping paper I use is either medium (yellow) grade, 12-micron You can also visit our web site at: A few years ago, Gary Foster came to http://wwvu.ci|j.co.ul(/impulse/clarinet_classics/ town to play with a local community col¬ aluminum oxide or fine (pink), 3 micron NOW WITH SOUND BITES! lege jazz band. One of the pieces he sent to aluminum oxide. These were developed USA orders: QUALITON IMPORTS LTD be played he called Gone But Not Forgot¬ for lapping magnetic heads and come in 20-02 40th Avenue, Long Island City, NY 11101. Tel: 718 937 8515. Fax: 718 729 3239. ten and said it was written in memory of sheets 5"x9". For full Clarinet Classics catalogue: Faz. After the rehearsal, I took him home Frank Riordan Richard Ralph, 77 St Albans Avenue, 9926 Holliston Court East Ham, London E6 4HH, England. to hear Faz play it with the Bob Crosby Tel/Fax: +44 (0)181-472 2057. band. Gary did not know that it was writ¬ Saint Louis, MO 63124 E-mail: [email protected] Web site: http://www.cdj.co.uk/impulse/clarinet_classics ten by Bob Haggart while Faz was in the [An article on Irving Fazola is planned Crosby band and that its proper name was for a future issue. Ed]
Page 4 The Clarinet r
The University of North Dakota Department of Music presents the
1998 NORTHERN PLAINS GUEST ARTISTS Monty Cole CLARINET SYMPOSIUM Minot State University and Loran Eckroth University of Mary FIRST ANNUAL Beverly Gibson Augustana College YOUNG ARTIST COMPETITION Ron Goddard for High School Clarinetists Brandon University Christopher Hill South Dakota Symphony Friday and Saturday Alan LaFave September 18 & 19, 1998 Northern State University Hughes Fine Arts Center Dennis Layne St. Cloud State University University of North Dakota Campus Grand Forks, North Dakota Deborah Reeves University of South Dakota Elizabeth Rheude INS) 'THuacc For information, contact Elizabeth Rheude, University of North Dakota riTLT.T/L] Symposium Coordinator at (701) 777-2823
Jonathan Cohler Jonathan Cohler plays the most important and least recorded 20th Century TIu works for solo clarinet
Clarinet "The poetry that lesser artists miss." -Qramophone "Superhuman." -Fanfare Magazine S^ilone
Brahms Order Your CDs Today! Sonata No. 1 Weber Call 1-800-647-9509 Grand Duo Concertant FAX 781-863-6105 BArmann Adagio or mail a check or money order for $15.99/CD Sargon plus $3.00 shipping (5% sales tax in MA only) Deep Ellum Nights New ReleaseI Make checks payable to: DONALD MARTINO A Set for Clarinet Ottya&it ^econxU, Inc. 6 Royal Circle • Lexington, MA 02173-1325 OLIVIER Messiaen Abime des oiseaux http://www.ongaku-records.com/ WlLLSON OsBORNE Rhapsody Be sure to include your name, address and phone number with order. Brahms Sonata No. 2 NlCOLO PagANINI Moto Perpetuo Distributed in North America by: POULENC Sonata VINCENT Persichetti Parable for Solo Clarinet Allegro Corporation Schumann 14134 N.E. Airport Way • Portland, OR 97230-3443 Fantasy Pieces WILLIAM O. Smith 5 Pieces for Clarinet Alone 1-800-288-2007 • FAX 503-257-9061 Milhaud http://www.allegro-music.com/~allegro Sonatine Erland von Koch Mono/og 3 Stravinsky Also available at fine record stores. Three Pieces Egon Wellesz Suite for Clarinet Solo
July /August 1998 Page 5 25 years of Tlx-' ciARinet Issue No. 1 covers
ime*
celewiateA
WO iMue&f
| Tlx:1 dAuinen
<7torn the, 8dit&i d !De4&
by James Gillespie Another goal was to make the content truly in¬ ternational to reflect the name of our organization. I have made very limited use of this space in our Contributors from outside the U.S. were called upon journal over the years, opting for the more val¬ to send in reports and articles on their respective coun¬ uable use that could be made of it by other tries. Neville Thomas (Australia), Raffaello Orlando contributors; however, on the occasion of our 25th (Italy), Allan Ware (Germany) and Tsuneya Hirai anniversary year and our 100th issue (and your edi¬ (Japan) have been some of our most loyal and dedi¬ tor for 80 of them), I hope you will allow me a few cated reporters from the international scene. Regret¬ words of reflection. When I took over the editor's position from Lee tably, reports from other countries have been neither Gibson in 1978 with Vol. 6, No. 1 as my first is¬ as frequent nor as regular as I would have liked. sue (with a cover story devoted to Rufus Arey, my As I mentioned in my first "From the Editor's teacher's teacher), my only experience with any Desk" in the Spring 1979 issue, "I feel that one of the journal was as the review editor during the first five most important responsibilities that the journal can years of The Clarinet. What followed, however, was fulfill is to serve as a vehicle through which the pre¬ strictly on-the-job training, since very little in graduate sent generation of artist-teachers and performers can school pursuing degrees in clarinet performance pre¬ expound their philosophies of teaching and perfor¬ pares one to put a journal together four times a year. mance." Through the "Master Class" series and play¬ Since omniscience does not go with the appoint¬ er interviews and profiles, I hope that we have been ment as editor, I set about establishing an Editorial successful in this area, at least in part. Unfortunately, Board, consisting of Himie Voxman and Lee Gibson many players and teachers who have been invited to (who are still serving ably today!), that reviews all write for us declined the offer. of the formal articles that are submitted. Frequently Knowing that the readership of The Clarinet is articles are also sent to other specialists to review. Another priority was to invite regular columnists to extremely wide-ranging in its interest in the clarinet contribute in order to provide the publication with — from those of us whose livelihood depends on it, continuity and articles written by specialists in various to those who only play the instrument for fun or as a areas. Thankfully, individuals such as Jerry Pierce, hobby — it has always been a challenge to try to put Rosario Mazzeo, Robert Schmidt, Howard Klug, Lee together an issue that would have some appeal and Gibson, Pamela Weston and Arthur Christmann, to hold the interest of all of our readers. I realize that I name only a few, were willing and very able. have been only partially successful in this regard.
lS\incrr ^
Page 6 The Clarinet IssKL
■ /f■*<*'' 7ln // WCW//>('/.'/ «/ ( v v/.vc'// )/ic //(an
I have taken a special interest in the covers of our ing a book review, and the "tempest in a teapot" publication, since you can indeed "tell a book by its over the article on Klezmer clarinet was more than l Aiyner cover." Some of my past favorites have been: the a little disconcerting. A1 Gallodoro/Paul Whiteman art deco-esque photo However, these episodes pale in comparison to on the May/June, 1994 issue; the the lifelong friendships I have Summer 1981 issue with the pic¬ made with clarinetists all over ture of one of my German wood the world, the knowledge I have carving of a clarinet player (spe¬ gained and experiences I have cial, too, because it was our first had solely because I was in this full-color cover), which is now position. Allow me to take this framed and on my office wall; the opportunity to express my sin¬ Holiday Inn/New Orleans clari¬ cere appreciation to all of the net mural on the February/March, officers over the years, regular 1997 issue; the Marx Brothers staff members and contributors IIHI (thanks to the good work of my (especially Himie Voxman and ee former student and Membership Pir!#! j ^ Gibson), ad managers (Henry Coordinator, Elena Lence Talley) Duckham, John Scott and Gary on the February/March, 1991 Whitman), review editors, Betty issue; "The Sketches of Benjie Brockett, Buchanan Printing Goodman Lasseau" on the July/ Co. (now Buchanan Visual Com¬ August, 1994 cover; and the bee- munications), the readers and covered, dixieland-playing, ento¬ everyone else who has made the mology professor from Califor¬ journal what it is today. (Trying nia on the May/June, 1990 issue. to recall everyone I should have (By the way, a friend told me that fx thanked from the past 20 years one of our most respected players is proving quite impossible, I'm and teachers was so incensed by afraid.) It has been an honor and t - •* j.' this cover — feeling that it de¬ L&\ii a privilege to have had this op¬ meaned the clarinet — that he portunity to serve the I.C.A. withdrew his membership from the I.C.A.! However, Through all of the name changes and reorganiza¬ ■V this was never confirmed.) tions of our various clarinet societies, the one con¬ As with any significant undertaking, there have stant was always The Clarinet. Thank you for al¬ been the inevitable peaks and valleys. Some years lowing me to keep it on track and pointed in what I back I almost gave up the post over a flap concern- hope has been the right direction.
\Jk 'fev
\
♦
July/August 1998 Page 7 SOLO DE CONCOURS, Op. 10 by Henri Rabaud
by Guy Deplus
In France we usually play the second edition by Leduc; that is to say:
First page: Moderate (written j = 66 in the first publication). It is about right, but poco ad. lib., like an improvisation. In m. 3, add a small fermata to the B'' and another small fer- mata on the A^ on the third beat (but a little less), etc. Mm. 9-13 should be played all/, except for the diminuendo on the last two notes. The last two lines on this page should be played forte and the ascending arpeggios should not be rushed (see Example No. 2).
Guy Deplus
The French composer and conductor Henri Rabaud (1873-1949) was bom in Paris and studied with Mas¬ senet and Gedalge. He was the director of the Conservatoire de Paris from 1920 to 1941. Among his compositions are the fol¬ lowing operas comique: Marouf du Caire, La fille de Roland, L'appel de la mer, the opera Rolande et le mauvair gargon, music for film and theatre and chamber music. Solo de Concours, Op. 10 was com¬ posed in 1901 for the competition at the end of the school year, and it was dedicat¬ ed to Charles Turban, the clarinet profes¬ sor at the Conservatoire at the time. It was first published by Evette & Schaeffer Ed., but later, in 1951, Alphonse Leduc Ed. published an edition revised by Ulysse Delecluse, the clarinet professor at the EXAMPLE Paris Conservatoire at that time. This sec¬ ond French publication has more editorial Second page: Largo (^ = 63) [While many of us have thought for years that the suggested markings (accents, nuances, cedendo, piu metronome marking was a mistake, Mr. Deplus feels that the printed marking is correct due to mosso, etc.) and different notes on the last the Largo indication. The Leduc edition provides breath marks to accommodate the slower page, mm. 183-186 (see Example No. 1). tempo. Ed]; Breathe in m. 20 after the first note, but only if necessary (see Example No. 3).
Page 8 The Clarinet has made many highly acclaimed record¬ ings of works by Mozart, Weber, Rossini, Brahms, Ravel, Saint-Saens, Poulenc, Stravinsky and Messiaen, and he has col¬ laborated with such conductors as Stravin¬ sky, Sold, Monteux, Munch, Boehm, Sa- wallisch, Boulez and Ozawa. He has per¬ formed at numerous I.C.A. conferences over the years. [We look forward to future articles in this series by Mr. Deplus on concours works by Widor and Messager. Ed.]
Tempo^ QUESTIONS ABOUT YOUR MEMBERSHIP? PROBLEMS WITH MISSED MAGAZINES? ADDRESS HAS CHANGED? Contact: EXAMPLE Elena Lence Talley, LC.A. Membership Allegro (j = 144-152); m. 39: the G (Mercadante) and Krakow. Composers such Coordinator should be short (subito in the new tempo). as Constant, Rivier, Ballif, Moene, Rivier P.O. Box 7683, Shawnee From here until the end do not change the and Chaynes have dedicated works to him Mission, KS 66207-0683 tempo. Do not forget the new things in the Phone/Fax: and he has premiered works by Messiaen, (913) 268-3064 second (Leduc) edition — m. 71: c; Xenakis, Amy and Mas, among others. He mm. 72-73: >; mm. 91-98: p\ m. 107: /?; m. 130: p\ m. 134: pp; m. 167: <; m. 169: >; m. 173: >; mm. 174-175: <; FROM CARRYING TO CONTROL mm. 176-177: >; mm. 183-186: differ¬ ent notes (see Example 1). [VOLUTIONAffl This is what is considered the correct tradition. THE KOOIMAN THUMB REST FOR CLARINET About the Writer... AND OBOE (patented) Guy Deplus studied at the Consen'a- toire National Supeheur de Musique de — adapts to the anatomy of Paris where he obtained a first prize in clar¬ hand and thumb inet and chamber music. [He won his first — opens the hand more prize in clarinet in 1945 when the contours — relaxes both hand and piece for the year was Henri Martelli's Pre- fingers ambule et Scherzo. Ed.] Presently he is clar¬ — lessens the strain and inet professor at the Ecole Nonnale de Mu¬ makes playing effortless sique de Paris after having been professor of chamber music and clarinet at the Con- servatoire National Supeheur de Musique de Paris (1972-1989). He performed with the Garde Republicaine Band and as first soloist with the Paris Opera, with the Do- ION MOOiMAN maine Musical with Pierre Boulez, the Con¬ Exclusive U.S. Distributor: Woodwind instrument certs Colonne, the Ars Nova with Marius The Selmer Company, Inc. parts manufacturer Constant and the Paris Octet. He has been a P.O. Box 310 The Netherlands jury member of international competitions Elkhart, IN 46515-0310 U.S.A. Tel: +31.30.6662941 in Munich, Geneva, Prague, Paris, Reims, Phone: 219-522-1675 Fax: +31.30.6663379 Brussels, Dos Hermanas (Seville), Italy
July/August 1998 Page 9 Suzuki's accomplishments, however, were not achieved without controversy. By far the most significant criticism of his method is the use of rote learning techniques, which, in the eyes of his critics, do not allow for independent musical thought and create difficulties in learning to read music. It has been scientifically documented that learning by listening or by reading are two entirely different brain functions, and that some people learn more easily one way or the other. The Beatles never read music, nor did many wonderful jazz artists, but there are many of us, myself included, who have been so strongly trained to read music, that we find "playing by ear" to be unnaturally difficult. That there is a middle road is proven by such artists as Benny Goodman, Richard Stoltzman and Eddie Daniels; in fact, the clarinet has a particularly distinguished history of performers who do both well. But what about the rest of us? I did play jazz during my high school years and am not a complete dunce when it comes to improvising. But I must admit that one of the most stressful moments in my entire performing life came when Eddie Daniels was guest soloist with the Rochester Pops and Eric Kunzel had chosen an orchestral arrangement of When the Saints Come Marching In to close the program. I imagined myself standing at By Note or by Rote my chair in the orchestra when called upon to improvise 16 measures of Dixieland and being laughed off the stage with my lame efforts, starkly contrasted with the virtuoso riffs by Michael Webster Eddie would be producing earlier in the program. I would much rather play Galanta Dances and Miraculous Mandarin in the same evening, which, in fact, I once did at a con¬ siderably lower level of stress. What did I do? Well, I ... er ... cheated. I bluffed my way through the rehearsal, went home, worked out a few licks and essentially played a "planned improvisation" during the concert. It wasn't Eddie Daniels, but it was well received, and I never "confessed" until now. You can see where my train of thought is leading. The best musical training, in my opin¬ ion, neglects neither the ear nor the eye and allows rote and note learning to develop simul¬ taneously. In my previous article, the students had just learned to play "E, D, C" in the left hand. Now they will learn to play the following tune, but by rote, not by note ... yet.
EXAMPLE 1
£4 1 , 1 Ifl — , ^ i ^ 1 J jJ J >4 i }
Michael Webster -7—1—n— \ 1 1 1 1 Jl a O^0^0 —^ i >—^ Shin'ichi Suzuki died earlier this year at the age of 99. He was argu¬ ably the most influential music edu¬ The big advantage to rote learning is marily on the right hand — playing a tune cator of the century, having successfully that the student is relating directly to that is fun and familiar. applied his observation of language devel¬ the instrument and, therefore, can concen¬ For woodwinds, basic technical de¬ opment in young children to the teaching trate more upon the technical issues of mands are different from the violin. Our first priority is forming an embouchure that of the violin. His method of class instruc¬ embouchure formation and hand position. can produce a beautiful tone and learning tion and parental involvement burgeoned Controversy over his rote methods of¬ how to supply a stream of air over an ex¬ worldwide and became particularly popu¬ ten overshadows the real crux of Suzuki's tended period of time. The material I've lar in the United States. Suzuki training success: selection of materials relative to the technical demands of the instrument. chosen to introduce the clarinet is very dif¬ made a significant contribution to the ferent from Suzuki's material because the The "Mississippi Hot Dog" variation of development of public school orchestral demands of the instrument are different. Twinkle, Twinkle Little Star immediately programs nationwide. When I was in pub¬ The goal is the same, however: to start by lic school in the 1950s, band programs addresses the most basic issue of string producing a tone in the most basic, efficient abounded, but string programs were rare. playing: drawing the bow and stopping the way, to avoid attacking too many problems The "bridge to the 21st century" now bow with appropriate amounts of speed at once, and to use material that is fun and seems to be a violin bridge, and thousands and pressure. Left hand involvement is familiar. Students immediately recognize of children can be seen carrying miniature minimal, reading music is not an issue, my tune as being Man' Had a Little Lamb, cases of all sizes to and from their lessons and the student can become acquainted and it doesn't seem to bother them that I've and rehearsals. with the instrument by concentrating pri¬ altered it to avoid repeated notes.
Page 10 The Clarinet Why avoid repeated notes? In a survey of 20 beginning clarinet methods, I was able to Make sure that each technical rudi¬ divide them into two categories. Thirteen began by stressing articulation with each note ment is reestablished every time some¬ tongued — usually starting with repeated notes. Seven stressed legato playing, using the thing new is added. tongue at the beginning of slurred phrases. During my years of teaching students of every Our checklist: level of advancement, I have developed a strong preference for the latter approach. Simulta¬ 1. The reed is moistened, freed of warp, neous motion of the tongue and jaw are inherent in both eating and speaking. In playing the dried and placed carefully on the mouth¬ clarinet, it is difficult but very important to separate tongue motion from jaw motion, and the piece. If it responds too weakly, raise legato approach accomplishes this more easily. Apart from the French horn, the clarinet is the it slightly. If it responds too strongly, most "dangerous" instrument to play because of unintentional harmonics, which on other lower it slightly. Check each student's instruments can be nearly inaudible evidence themselves as horrendous squeaks. Avoiding reed placement frequently. It is a diffi¬ extraneous jaw motion is crucial! cult skill. To that end, I go one step further than the legato methods. My students don't use their 2. The clarinet is comfortably supported tongues at all for the first several weeks of playing! Does it work? You bet it does! We are by holding the thumb rest. all so conditioned to starting every note with our tongues that we forget how easy it is to pro¬ 3. The angle of the clarinet and the position duce a sound simply by blowing into the instrument. Without tongue involvement there is of the upper teeth and lower lip on the no temptation to move the jaw; that problem simply doesn't enter the picture, and the stu¬ mouthpiece should be determined by dent can concentrate on embouchure and fingers. Later the tongue will be introduced as an the teacher. Adjust the placement of the interruption of a steady air stream; repeated notes will be avoided in the meantime. lower lip depending upon the quality of Next the students learn the inversion of the tune (still by rote), a harmony line, and the sound. If pinched, the lip is placed lower. harmony to the inversion. If uncontrolled, the lip is placed higher. 4. The left hand approaches from the rear, EXAMPLE 2 contacts the G# key, and curves the fin¬ gers over the holes. Fingers are gently curved at each knuckle and not allowed ^iL i2. ^I cl>I C(i d?( ^t &( 1\ ^( - \ d\ &M \ rJI - dI ai g1 * to collapse. (Only rarely will a double- jointed condition make this impossible.) Reestablishing the curve from the rear and having the student resist while you 1 gently push each knuckle usually fixes collapsing knuckles. 5. Each finger gently seals the hole by /( it I i i 1 ( I l - 11 I \ ( - ■ correct placement rather than undue pressure. Small fingers may sometimes have trouble with this, but we'll be get¬ ting lots of practice with the left hand before moving to the right hand, where the holes are even bigger. A final comment about Suzuki is in order. If we don't introduce the clarinet / 4—%—j—t—|—r r ^ j—= 1 1 H-=- until age 10, aren't we losing up to six Qy i <7 c? \ J? a & & ft 1 e) —&M O—^i-»— valuable years of mental and neuromus- cular development? The answer is "yes." Until recently, I advocated early keyboard i training as the solution to this problem, V 3 2 —J. J ^ i— U J l July/August 1998 Page 11 The materials in my method are geared to the 10-year old, relying primarily upon excerpts from the great composers, interna¬ tional folk music, and tunes and exercises ANNOUNCING: written for specific technical challenges. The basic approach, however, could easily be adapted to a Kinderclarinet program. Meanwhile, there will always be children nternational whose first instrumental lessons come at age 10, and their materials must be more sophisticated than those for a four- or five- year old. Musical "Intonation and Notation" will be the subject of our next article. Suppliers The Clarinet PUBLICATION SCHEDULE inc. The magazine is usually mailed during the last week of February, May, July and QUALITY INSTRUMENTS AT AFFORDABLE November. Delivery time within North America is normally 10-14 PRICES! days, while airmail delivery time CALL: 1 -800-762-1116 outside North America is 7-10 days. The Clarinet and Saxophone Society of Great Britain. MEMBERSHIP FEES President: JACK BRYMER, O.B.E. All fees to be paid in sterling Subscriptions UK & Eire Europe All other Individual Membership £23.00 £25.00 £30.00 WHO IS CASS FOR? magazine catalogues and other resources. CASS is for everyone with an interest in the There is also an instrument insurance Senior Citizens £17.00 £20.00 £25.00 clarinet or saxophone whether players or scheme available to CASS members giving non-players, young or old, beginners or a 10% discount on policies from British Students £17.00 £20.00 £25.00 professionals. Reserve. WHAT DOES CASS DO? THE CONFERENCE Family £30.00 £35.00 £40.00 CASS has as its aim the promotion of the A high point of CASS activities is the Commercial, professional clarinet and saxophone and their music. To annual summer conference held at a amateur & educational £35.00 £40.00 £45.00 this end it publishes a quarterley magazine, different venue around the country each organises regular congresses and year, when members have an opportunity Lite membership £275.00 £300.00 £325.00 workshops, and runs an extensive music to meet, play together and participate in library. masterclasses and discussions. Regular NB. Payments by standing order carry features of the event are concerts and £2.00 discount THE MAGAZINE clinics given by top international soloists The quarterly magazine "Clarinet and Subscription payments can be made by credit card. and ensembles from all fields of music. We accept: Saxophone" is free to all members. It Smaller workshops are mounted Visa, Eurocard, and Mastercard. covers all aspects of both instruments with throughout the year as well as courses news and reviews of concerts, recordings, designed specifically for teachers. Membership applications and enquiries to: music and instruments, plus profiles of The Membership Secretary leading players, historical and technical THE LIBRARY Susan Moss, articles, and features on all styles of music. CASS members may borrow from a library 167 Ellerton Road, It also provides a forum for the exchange which contains a large number of works for Tolworth, of members' ideas and questions. clarinet and saxophone, including some Surbiton, In addition to the magazine CASS very rare material, as well as a great range Surrey KT6 7UB produces a handbook of useful information of ensemble music for almost any such as members' addresses, library and combination of single reed instruments. Page 12 The Clarinet ^pne/Clarion, Snt. profile Ricardo Morales "A young lion with the heart of a virtuoso and the soul of a poet" STames iPjme/Clarton, 3fnc. ftnesit clarinet moutljpteces; anb barrels Appointed Principal Clarinet of the New York Metropolitan Opera Orchestra at age 21, Ricardo Morales has performed as soloist with the symphonies of Chicago, Cincinnati, Indianapolis, Florida, Puerto Rico, Savannah and many more. He is scheduled to solo with the Met Orchestra in Carnegie Hall next season. His critically acclaimed recitals and masterclasses have been featured around the world, and his chamber music performances include prestigious presentations with The Chamber Music Soci¬ ety of Lincoln Center, the Metropolitan Museum of Art, chamber concerts with James Levine, and the "Today" show. Mr. Morales is on the faculty of the Manhattan School of Music and Mannes College. He performs on Leblanc Clarinets with a ^jPne/Clarion, Bel Canto mouthpiece, designed and hand crafted for him by James Pyne. For Pyne/Clarion products, call 1-800 JPYNE 440. July/August 1998 Page 13 clarihote^ Richard Hawkins Joins clarinet playing and teaching. It is espe¬ tations on various topics for clarinetists at cially for those of all ages who are still any level. Among the topics were scales, Leblanc as Mouthpiece learning how to play and for those who warm-ups, well-known performers, equip¬ and Clarinet Specialist teach them. The quarterly journals are ment and care and maintenance. The 1998 Leblanc has recently announced that written by a team of highly skilled and Midwest ClariFest was a full day of learn¬ Richard Hawkins has been appointed tech¬ experienced teachers, examiners and pro¬ ing, playing and hearing great music. The nician for the Woodwind Company, the fessional performers with plenty of input clarinet studio at the University of Ne¬ mouthpiece division of G. Leblanc Corpor¬ from the members themselves. Each issue braska-Lincoln is looking forward to the ation. Before assuming his new duties. Haw- is full of ideas, news, views, information third annual Midwest ClariFest on Friday, and fun competitions. There are advice March 12, 1999. There is no registration pages, road tests of instruments, acces¬ fee for the festival, and clarinetists of all sories and music and "how to" articles, all ages are encouraged to attend. For further presented in a simple and accessible way. information, please contact Diane Cawein President Michael Collins writes in every at Page 14 The Clarinet Crescendo. He can be contacted via e-mail Louisiana State University and Louisiana plan is to conclude on Saturday evening or at CLARINET TONE GALPER CLARINET METHOD ENHANCERS Book 1 $6.95 Book 2 $8.95 Better sound THE UPBEAT BAERMANN $ Responsive sound 1495 Easy on reeds. MELODIC SCALE STUDIES Used by other works by Avrahm Galper Mitchell Lurie Joseph Achron Francisco Geminiani James Campbell HEBREW MELODY $11.95 SONATE $11.95 and others Bela Bartok Alexandre Tansman ROUMANIAN DANCES $11.95 VISIT TO ISRAEL $11.95 Frederic Chopin Antonin Dvorak LARGO $7.95 4 ROMANTIC PIECES $11.95 PUBLISHER $3.95 Order in USA from MHARVA MUSIC WATERLOO LUYBEN MUSIC 679 Coldstream Ave. 1-800-258-9236 USIC Toronto, Ont. M6B 2L6 1-(816) 753-7111 3 Regina Street North, (416) 783-5520 Waterloo, Ontario, Canada N2J 4A5 E-mail: [email protected] Fax: (816) 753-6879 E-mail: [email protected] July/August 1998 Page 15 Clark Fobes also provides precision- machined African blackwood barrels for Claranalysis: by Lee Gibson B'' and A clarinets. Address: 130 Beverly, San Francisco, CA 94132, Tel./Fax 415/ 585-0636. Vibratory characteristics of the as is also true of the lighter plastics, such I wondered for years about Lee Spring¬ material of which a clarinet's as Robert Vinson's excellent single-screw er's fine waterproof, dimensionally stable body is made do affect its tones. model. A soft nickel silver ligature, such plastic barrels. Now that they are no longer Apparently the performer feels and hears as the no longer available Kaspar three- available, one notes that James Pyne's are these differences more than do one's lis¬ band reversed two-screw model, is my preferred over blackwood by some excel¬ teners, who in blindfold tests usually fail current favorite. (Charles Bay's ligature is lent clarinetists. For what reason, other to distinguish the tones of metal and wood in this genre.) Those desiring more pro¬ than their stability? While acousticians clarinets. My virtuoso teacher at Eastman jection and brilliance may use the silver- have told us that the vibratory character of in 1936-38, R.M. Arey, played rosewood plated brass ligatures presently furnished a wooden tube is not important, one be¬ clarinets by Jacques Albert (Brussels) by French manufacturers. Of particular lieves that it is significant, at least to the with an O'Brien Selmer crystal mouth¬ interest here is an unparalleled new player. Again, if the performer believes that piece, which he preferred for its darker "Floating Rail Ligature" developed by the plastic barrel produces a slightly dark¬ tone with the perhaps more brilliant rose¬ Peter Spriggs, Canadian National Chair¬ er sound by damping some higher frequen¬ wood instruments. During the last decade person for the I.C.A. Its two arched- cies, this may very well account for its there has been a resurgence of interest in lengthwise rails, supported by a surround¬ increased use, although it is arguable that alternative woods for woodwinds: rose¬ ing triple ring, furnish a totally different similar results might be obtained by chang¬ wood, cocus (cocobolo), etc., and even freedom to the reed, particularly in the ing the dimensions of the mouthpiece, the boxwood. (I have a Gregory Smith Zinner highest registers. reed and/or the ligature, for instance. cocus mouthpiece which seems to vibrate Spriggs also manufactures precisely Clifford Ellsworth, who says that I quite beautifully with the reed.) dimensioned wooden barrels of the highest failed to mention a most important virtue Ligatures also communicate their char¬ finish and quality for ca. 14.65-70 mm. B'' of his new RH A key (its provision of an acter to the reed: Heavily impregnated and A clarinets, as well as the ^ clarinet. in-tune Al'/B'' trill), also reports that Ri- fiber darkens tones most, as does Rov- Address: The Clarinet Center, R0. Box 59, cardo Freire's new Luis Rossi clarinet has ner's. The German cord ligature is rather Penticton, BC, Canada V2A 6K3, Tel/Fax the Ellsworth key. Freire is preparing a neutral, leaving to the reed, mouthpiece 250/497-8200; e-mail: vertical pressure not horizontal as other ligatures exclusive side shoulders * • Will not distort or crush reed fibers nor warp mouthpiece as do metal ligatures • Top and bottom straps are spaced wider apart and work independently of each other. (Helps regulate and control reed opening). • Sound posts are scientifically designed to give equal pressure and full reed vibration. • Tighten screws firmly to desired tension, (very important). (816) 753-7111 4318 Main Kansas City, MO 64111 Page 16 The Clarinet WHO DO I CONTACT? Your Newly Elected I.CA Officers 0 Send all articles, recital programs, orders for back issues, announcements and any other non¬ commercial items intended for publication in The Clarinet to: The winners in the recent election for I.C.A. officers were as follows: James Gillespie, Editor/Publisher College of Music, University of North Texas • Denton, Texas 76203-136/ O-Send all inquiries about advertising in The Clarinet to: Gory Whitman, Advertising Manager Department of Music, Texas Christian University • P.O. Box 29/500 • Fort Worth, Texas /6129 O-Send all printed materials (music, books, etc.) intended for review in The Clarinet to: Joseph Messenger, Editor of Reviews Department of Music, Iowa State University • Ames, Iowa 50011 ❖ Send all recordings intended for review in The Clarinet to: William Nichols, Audio Review Editor School of Music, Northeast Louisiana University • Monroe, Louisiana 71209-0250 President-elect: Treasurer: Secretary: Julie DeRoche Robert Walzel Maurita ❖ Send changes of address, inquiries about I.C.A.. membership, missing issues, etc., to: Murphy Mead Elena Lence Talley, I.CA Membership Coordinator P.O. Box /683 • Shawnee Mission, Kansas 6620/-0683 1999 Orchestral Audition Competition • Clarinetfest '99 Eligibility: Open to clarinetists of any age who are not currently employed as full-time members of a professional symphony orchestra. Application: For all contestants, send materials postmarked no later than Monday, April 12,1999 to: I.C.A. 1999 O.A.C. Raphael P Sanders, Jr., Coordinator • Department of Music, Stephen F. Austin State University PO. Box 13043 • Nacogdoches, TX 75962-3043 U.S.A. • Office: (409) 468-1360 • Fax: (409) 468-5810 • Email: Judging Judging of tapes will be conducted with no knowledge of the contestants. Do not include any identification on the cassette or on the cassette box. There should be no speaking on the tape such as announcing excerpts. Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be mailed by Monday, May 3,1999. Semifinal and final round will be held at Clarinetfest '99 at Ostend, Belgium, with repertoire consisting of the works listed. All contestants will accept the decision of the judges as final. All semifinalists will receive free registration at Clarinetfest '99. Travel, hotel and meal expenses will be the responsibility of the contestants. All cassettes will become the property of the I.C.A. and will not be returned unless a stamped, self-addressed envelope is provided. (Use U.S. postage or an International Postal Coupon.) Prizes Both a First and Second Prize will be awarded. These prizes will include gift certificates and/or merchandise from major musical establishments. Please note that no application form is required. July/August 1998 Page 17 INTERNATIONAL CLARINET ASSOCIATION 1 9 9 9 YOUNG ARTIST COMPETITION Eligibility: The Competition is open to ail clarinetists who shall not have reached the age of 27 years by January 1,2000, provided that they are not currently under major artist management. Application: Send materials postmarked no later than Friday, April 23,1999 to: 1.C.A. 1999 YAC • Julie DeRoche, Coordinator DePaul University School of Music • 804 W. Belden Ave. • Chicago, IL 60614 U.S.A. Phone: 773.325.4365 • FAX: 773.325.7264 • e-mail: [email protected] Contest Rules 1. Application fee: $25 U.S. All applicants must be members of the I.C.A., and must provide proof of membership. Non-members wishing to apply may joint the I.C.A. by including the appropriate membership fee with their contest application fee. Make amount payable to the I.C.A. in U.S. currency. The fee is non-refundable. 2. Please provide a good quality cassette tape recording containing the following repertoire in this order: 1. Victor Babin Hillandale Waltzes, Eble Music Co. 2. Elliott Carter GRA for & clarinet alone, Hendon Music, Boosey & Hawkes 3. Carl Maria von Weber Concertino, Op. 26, Fenton Edition The recording should be made on new tape on one side only, with accompaniment where appropriate. Please be aware that the quality of the recording will influence the judges. 3. A photocopy of the contestant's driver's license, passport or birth certificate as proof of age. 4. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is the playing of the contestant and has been unedited. 5. A summer address, telephone number and e-mail address, if applicable, should be provided if different than those used during the academic year. Please note that no application form is required. Judging Judging of the tapes will be conducted with no knowledge of the contestant. Do not include any identification on the cassette or the cassette box. There should be no speaking on the tape, such as announcing of compositions. Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be mailed by Monday, May 24,1999. Semifinal and final rounds will be held at ClarinetFest '99, to be held in Ostend, Belgium, July 6-11,1999, Repertoire will consist of the works listed above. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A. will provide a pianist for all semifinalists and finalists. All semifinalists will receive free registration at ClarinetFest '99. Travel expenses will be the responsibility of the contestant. All cassette tapes will become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is provided. (Use U.S. postage or an International Postal Coupon.) Prizes first prize - a new clarinet $1,000 U.S. and a performance at ClarinetFest • second prize - $750 U.S. • third prize - $500 U.S. INTERNATIONAL CLARINET ASSOCIATION 1 999 HIGH SCHOOL SOLO COMPETITION Eligibility: Open to all clarinetists who are currently enrolled in high school and who shall not have reached the age of 19 years by January 1,1999. Application: The following materials must be received no later than Saturday, May 1,1999, addressed to: I. C. A. 1999 High School Solo Competition Gerald King, Coordinator • School of Music • University of Victoria P.O. Box 1700 Victoria, British Columbia, Canada V8W 2Y2 Contest Rules 1. Application fee: $25 for current I.C.A. members, $35 for nonmembers. Payment may be made by check or money order. Make checks payable to the International Clarinet Association in U.S. dollars. Please use an International Money Order or check drawn on a U.S. bank. The fee is nonrefundable. 2. Good quality cassette tape recording with the following repertoire in the following order: 1, Carl Maria von Weber, Grand Duo Concertant, Op. 48 (Rondo only) Schirmer 2. Charles Villiers Stanford, Three Intermezzi, Op. 13 (all three) Ed. Colin Bradbury, Chester Music The recording should be made on new tape on one side only, with noise reduction clearly marked. Please be aware that the quality of the recording will influence the judges. 3. A photocopy of the contestant's driver's license, passport or birth certificate as proof of age. 4. A separate typed statement attesting that the recording is the playing of the contestant. The statement must be signed by the contestant and should include the contestant's name, permanent address, home telephone number, class level and name of school. 5. Name, address and telephone number of clarinet teacher. Please note that no application form is required. Judging Judging of tapes will be conducted with no knowledge of the contestant. Do not include any identification on the cassette or on the cassette box. There should be no speaking on the tape, such as announcing of compositions. Judging will be by taped audition, and the contestants will accept the decisions of the judges as final. Notification will be sent by May 31,1999, and an announcement will be printed in the November/December issue of The Clarinet. All cassettes will become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is provided with U.S. postage or an International Postal Coupon. Prizes first prize - $500 • second prize - $350 • third prize - $250 Page 18 The Clarinet Muncy Winds Is Playing Your Tune! Cfieck Out These Mew Producte! Michele Zukovfiky'e Mew CD! Mew Reed Models! Patricola Roeewood Clarinete! Pobefi Pro Clarinet Mouthpiecee! Robert Lifitokin's Mew CD! Mew Grand Concert Select Reeds! Pyne Clarinet Mouthpieces! Orly Clarinet Cases Single, Double, & Triple! Mew Eddie Daniels II Ligaturefi! Mew Vandoren Optimum Ligatures! Call (?00) 222-64-15 or (704) 962-70?2 Por More Information Call: Muncy Winds, PO Box 1274, Boons, MC 2^607 Fax (704) 962-^990 1 (?00) 222-6415 Web Site http://mernberfi.aol.corn/muncywinde/ Email: [email protected] by William Nichols The piece is sensitively played, and its enades of 1932, which include clarinet, character (which often eludes players) is would be a welcome addition to this disc (or Congratulations to clarinetist and jazz quite effectively captured. Special men¬ perhaps the Sextet of 1929). This production legend Buddy DeFranco, who was tion should be made of the stunning per¬ from Summit Records is one of the best nominated early this year for a formance of pianist Gloria Chang-Cochran. chamber music discs to come my way Grammy award in the Best Jazz Instru¬ Her playing of the Sonatine is the most recently — strongly recommended. The mental Solo category for his CD, You Musi committed, clean and rhythmically vital catalog number is DCD 214. Summit is dis¬ Believe in Swing. This recording is in col¬ known to this writer. The work has been tributed by Allegro or can be ordered by laboration with Dave McKenna and is on recorded numerous times since it first calling 1-800-543-5156. the Concord label. A review of this disc appeared in the late 1950s, but surprising¬ For those who are interested in clarinet will hopefully appear soon in an upcoming ly, this recording is one of only three read¬ ensemble music in the light vein, includ¬ issue. Last summer I and a couple of other ily available. La Revue de Cuisine (The ing pop and jazz styles, there is a disc from "youngsters" spent an enjoyable lunch with Kitchen Revue) of 1927 is ballet music for the German firm Signum entitled Fas¬ Buddy DeFranco. He is a treasure chest of clarinet, bassoon, trumpet, violin, cello cinating Rhythm, which has been available knowledge and authoritative opinion about and piano, and is one of the composer's for some time, but has not made it into the jazz world in which he has performed more popular works. Founded in the then these pages until now. The quartet of per¬ professionally for more than 60 years. He current neo-classical movement and com¬ formers are the Ensemble Clarinesque, has recorded more than 150 albums and posed in Paris, it is jazz-influenced, clever whose members are Bettina Theile, Frank still plays beautifully in his elegant tasteful and never fails to please. Its dance move¬ Christmann, Bruce Edwards and Christof style, which is attested to by this latest ments are stylish and well crafted. This Hilger. They are joined by saxophonist Grammy-nominated disc. performance is exemplary. Lesser known and clarinetist Stuart Curtis in five selec¬ Czech musician Bohuslav Martinu is the unusually scored Quartet (1924) for tions, one of which utilizes clarinet. The (1890-1959) has long held a higher profile clarinet, horn, cello and side drum. Stra¬ four members of this ensemble double ex¬ in central Europe and France than on the vinsky's hand can be felt in this three- tensively and use at various times not only American continents. This is also true of movement piece, which is strikingly effec¬ clarinet, bass clarinet and clarinet, but his recorded repertoire. Currently the over¬ tive. The central movement, "Poco an¬ basset horn and contrabass as well. There whelming majority of the many recordings dante," is a highlight of the recording. This are 11 titles presented, all but one being of his vast and varied output comes to us 12-minute quartet is a natural recital audi¬ arrangements, several by Bruce Edwards, from European sources. Martinifs chamber ence pleaser. Commercially recorded here and Gertrud and Bruce Edwards. Selec¬ works have been growing in popularity in for the first time is the Pastoral (Stowe) for tions include the disc's title tune, Gersh¬ the United States in recent years, and I am an also unusual ensemble consisting of five win's Fascinating Rhythm, Harry Warren excited to have a new recording by superb recorders, clarinet, two violins and cello. and Mack Gordon's There Will Never Be American artists. From Summit Records Completed in 1951 in Stowe, Vermont, it Another You, Stephen Sondheim's Send In comes a disc which features Los Angeles was written for the von Trapp Family of the Clowns, Henry Mancini's Pink Pan¬ Philharmonic principal clarinetist Michele The Sound of Music fame. The piece ex¬ ther Theme, Dave Brubeck's Blue Rondo a Zukovsky in collaboration with other Phil¬ hibits a rather rustic and happy character, la Turk, two Brazilian tunes, Villa-Lobos' harmonic members, as well as some other at times not unlike the Sonatine. The tone Bachiana Brasileira No. 5, and songs from leading L.A.-area musicians known collec¬ colors realized by this group of instru¬ Kurt Weill's Threepenny Opera, arranged tively here as the Bohemian Ensemble Los ments is quite unique. The clarinet used for quartet by Tilmann Claus. There is a Angeles. The four works included are La here is a C instrument and is less promi¬ six-minute recent work which blends jazz Revue de Cuisine, the Sonatine for clarinet nent in the scoring than in the Quartet and and classical styles and which appears to and piano. Pastorals (Stowe) and the Quar¬ La Revue. be an original quartet piece entitled Tim- tet for clarinet, horn, cello and side drum. All of the music contained on this disc is Tam Bird by Wilhelm Lutz-Rijeka. The Sonatine is well known to many masterfully played and is very well record¬ This disc is a marvelously engineered clarinetists as a standard recital work and ed. The sound is natural and clear, and the recording played by an excellent collec¬ is beautifully played. Michele Zukovsky's performers are appropriately placed within tion of players who have worked together tone is rich, full-bodied, dark in timbre, the sound stage. The 48- minute timing is a since 1985. All were at one time students and she exhibits superb technical control. bit stingy. The currently unavailable Ser¬ of Franz Klein in Cologne. They have a Page 20 The Clarinet keen sense of stylistic inflection, rhythm based in New York. He exhibits a beautiful more than arrangements, however, both be¬ and precise ensemble. The arrangements sound and smooth facility. The clarinet part ing based upon earlier works of Sculthorpe. are effective save a few spots in the Three¬ becomes somewhat soloistic in the con¬ Night-Song is a seven-minute work of se¬ penny Opera music. Tilmann Claus' use of cluding movement of this otherwise cham¬ rene beauty. It is essentially simple music three El' clarinets and the manner which he ber style piece, and the clarinetist is up to based on an early song of the composer and uses them in Mack the Knife is somewhat the challenge. There is nothing strikingly has a sense of freshness about it. The roots bizarre and not in the character of the unique or new here, but there is an engag¬ of the brief From Nourlangie come from a music at hand. The tone colors contained ing and pleasing musical experience to be guitar concerto of 1989, a piece composed on this disc are extremely varied, rich, and had, an experience in the tradition of Mo¬ after a visit by the composer to the Kakadu are enhanced by the soprano, tenor and zart and Brahms. National Park in northern Australia. Nour¬ baritone saxophone playing of Stuart Cur¬ The recorded sound is first rate. Bal¬ langie is a rock monolith in the park. Both tis. The recorded sound is close-up, de¬ ance, presence and timbre are natural, and these pieces create atmosphere in a some¬ tailed and gets the listener involved. The the entire disc is warm and never harsh. what minimalist repetitive fashion (espe¬ contrabass clarinet in the Pink Panther The 68 minutes of music contained here cially From Nourlangie) but are not that at Theme will test your system's bass exten¬ passes by very quickly. This is an excel¬ all. They exhibit change and forward mo¬ sion. My subwoofer got some good exer¬ lent production of beautifully crafted and tion which engages the listener throughout. cise. A number of striking sounding quar¬ played music in traditional style. The la¬ This music enchants and is effectively per¬ tet recordings have been available recent¬ bel is Newport Classic NPD 85624 which formed and recorded. ly. This ranks with the best in its sonic is distributed by Allegro. The manufactur¬ David Diamond has been an important characteristics. If this literature is of inter¬ er can be contacted at tel. 401-848-2442 figure on the American musical scene for est to you, this impressive CD is recom¬ or fax 401-848-0060. more than half a century. His Trio for vio¬ mended. The label is Signum SIG 76-00, The sixth volume of the Verdehr Trio's lin, clarinet and piano of 1994 is a major distributed by Qualiton Imports, Ltd. (En¬ The Making of a Medium series has been new contribution to this genre. It is a four- semble Clarinesque performed at the '98 available for some months now. This new¬ movement work of 28-minute duration ClarinetFest in Columbus.) est disc departs somewhat from previous that was commissioned by the Library of From Newport Classic comes a delight¬ practice in that in addition to works for the Congress and dedicated to the Verdehr ful disc entitled For Winds which features Trio (Walter Verdehr, violin; Elsa Ludewig- Trio, who gave its premiere performance. members of the Bronx Arts Ensemble per¬ Verdehr, clarinet; and Gary Kirkpatrick, pi¬ This piece is rhythmically very energetic forming music of American Robert Baksa. ano), it also presents two violin and piano and exhibits a strong American character, Paquito D'Rivera is joined by pianist Pablo sonatas: the Second Sonata of David Dia¬ which is so often present from composers Zinger in the Sonata for alto saxophone and mond and the Sonata of John Corigliano. of Diamond's generation. Basically tra¬ piano of 1991. Cuban-born D'Rivera, who Violinist Walter Verdehr is joined by Gary ditional tonal structures, such as sonata is also an accomplished clarinetist, was Kirkpatrick in the Diamond and by guest form, Scherzo and trio, ABA and sonata- mentioned in my last "Audio Notes" in artist Ralph Votapek in the Corigliano. Both rondo are used in a clearly 20th-century regard to his work with the Caracas Clar¬ works are significant contributions to the manner. The "Scherzo" is a striking and inet Quartet. This Sonata is a very attractive repertoire, and while they are not staples in work reminiscent of the Creston Sonata. many violinist's programming, they are not intriguing display of virtuosity. The last Oboist Marsha Heller and pianist Elizabeth total strangers to this writer. The Corigliano movement is an example of vigorous Wright perform Baksa's equally attractive (from 1963) has achieved some prominent counterpoint which is a bit hard to warm Sonata. Two quintets are presented, the status among American violin works. It is a up to. This Trio, however, is a piece which Quintet for bassoon and strings with bas¬ substantial work of some 23 minutes and yields greater rewards with repeated hear¬ soonist William Scribner, and the Quintet has found its way onto disc some four or ings. The recording is certainly the defini¬ for clarinet and strings of 1973 with clari¬ five times, including one recording by the tive performance. The sound presented on netist Paul Gallo. Gallo is joined by violin¬ composer's father with the present disc's this CD is clear with generally good pres¬ ists Gerald Tarack, Browning Cramer, vio- Ralph Votapek at the piano. Both works are ence. The balance is good albeit there is list Susan Follari and cellist Leo Grinhauz. masterfully written and beautifully played some over emphasis of the clarinet in the Playing from all the accomplished artists by these artists. Diamond work at the violin's expense. It is on this disc is excellent. Probably of greater interest to our read¬ recommended to anyone interested in new Robert Baksa is a tonal composer who ers is the remainder of the music contained works and mainstream American classical utilizes classical tonal forms throughout the here. The Verdehr Trio performs two pieces music. It contains major works by two im¬ works presented here. The Clarinet Quintet by prominent Australian composer Peter portant American composers and a very is a three-movement work clearly in the Sculthorpe whose music has been reviewed prominent Australian. Production details spirit of the 19th century. It is tuneful, well several times recently in these pages. These such as notes, photos, etc. are excellent. crafted, a rich aural experience, and most pieces entitled Night-Song and From Nour- The label is Crystal CD 746, available in importantly is a satisfying musical exper¬ langie are arrangements made in 1995 by many retail outlets or by mail order, tel. ience. Paul Gallo is a well-known player the composer for the Verdehr Trio. They are 360-834-7022 or fax 360-834-9680. July/August 1998 Page 21 Christie Lundquist, principal clar¬ ite books in a symphony question¬ inetist for the Utah Symphony for naire. "The most important things the past 21 years, died in Cali¬ in her life ... first was God, then fornia on March 12, 1998, after a lengthy family, then music, then friends," illness. "She was a superb artist," said Utah said her mother. Symphony conductor Joseph Silverstein. The March 27-28, 1998, issue "It will be difficult for the orchestra to find of the Utah Symphony Program in¬ another person who will have a similar cluded the following tribute writ¬ artistic impact." She established herself as a ten by Erich Graf, the orchestra's soloist, recitalist and teacher, and Ingolf principal flutist: Dahl and Halsey Stevens composed works One of the Utah Symphony's pro¬ specifically for her. foundly beautiful and expressive Lundquist earned her degrees at the voices has been silenced with the University of Southern California and the recent passing of its principal Cleveland Institute. She joined the Utah clarinetist, Christie Lundquist. Ms. Symphony in 1977. She also taught pri¬ Lundquist's uniquely vocal perfor¬ vately. "She had a sense of inspiration, mance style and evocative musi¬ Christie Lundquist playing from the soul instead of from the cianship became a characteristic head," said Kathy Pope, a close friend and of the Utah Symphony's sound. Her artis¬ mitment in virtually every aspect of her student of Lundquist's in the late '70s. tic expression and projection was an inspi¬ being. This fervency was obvious not only A Christian Scientist, she listed the rational solicitation for all to listen. in aesthetics, but also in her simmering Bible and Science and Health as her favor- Christie exhibited an intense sense of coin- intellectual curiosity and constant pursuit SOLOS, DUOS AND CHAMBER MUSIC! unaccompanied clarinet: trios: A DAY IN THE CITY "7 Vignettes" by Howard Buss. These colorful musical AWAKENING for clarinet, guitar and string bass by Howard Buss. Based upon scenes from the city are attractive recital pieces. (10') B302 $4.95 a Jewish idiom, this soulful work is a tribute to Giora Feidman. NOCTURNE by Howard Buss. This lyrical composition evokes the pensive and (7') B307 $8.50 mysterious aura of the night. (S'/s') B328 $3.25 CAPRICCI0 for clarinet, trombone and percussion by Howard Buss. "Frolicking SANTIAGO LEGEND by Howard Buss. Written for Luis Rossi. This composition and freewheeling with 12-tone Dixieland to boot!" —The London Times. showcases the expressive and technical capabilities of the distinct registers of (13') B309 $20.00 the clarinet. (6') B355 $4.95 CONSENSUS FENCES for clarinets/bass clarinet, flute/piccolo and string bass by Erik Lund. This energetic trio is a "must" for the advanced new music clarinet and piano: ensemble. Recorded on Opus One Records. (IOV2) B401 $16.50 DIALOGUE by Howard Buss. Hard driving sections contrast with beautiful lyrical DESERT ODYSSEY for clarinet, bassoon and piano by Howard Buss was in passages in charming balance. (13V2') B315 $12.00 spired by the dramatic landscapes of the American Southwest and was NIGHT PIECE BY David Alpher. At times lyrical and romantic, at others urban premiered at Clarinet Fest '97. (8') B357 $16.50 and on-the-edge, this is an exquisite recital piece. (6V2') BIOS $8.50 FANTASIA for clarinet, flute and piano by Howard Buss. This memorable work POLEMICS by Randall Snyder. This exciting work is in a spiky and hard-edged moves gradually from a contemplative opening to an intense and driving style. Recorded on CRS by John Russo. (5') B812 $9.50 finish. (7V2') B319 $10.00 SEASCAPE by Zack Browning. This flashy and engaging work suggests images FLORIDA TABLEAU for clarinet, trombone and piano by Howard Buss. of the grandeur of the sea. (W) B203 $16.00 "A curious blend of the old and new, much like modern Florida itself" solo clarinet and percussion: —The Orlando Sentinel. (17') B335 $16.50 COEXISTENCE by Howard Buss. Dramatic tension permeates as the solitary REVERIE for clarinet, viola and piano by Howard Buss. This enchanting work clarinet is pitted against the potentially overpowering might of the percussion was composed for Luis Rossi and the Trio de Buenos Aires. (W'h') battery. (9') B311 $16.50 B335 $16.50 duos: SUITE TIME for flute, clarinet and bassoon by Zack Browning in 4 entertaining C0MEDIE CHALUMEAU for 2 clarinets by Randall Snyder is a humorous romp movements: Imaginary Time, Real Time, Easy Time, and Hard Time. (11') through argumentative counterpoint and quotes from the literature. B204 $16.50 (5') B811 $8.50 To order send a check or money order to the address below, add $3.50 for shipping in the IMPROMPTU for clarinet and marimba by Howard Buss. "A very accessible and U.S. & Canada; Foreign orders: Send payment in U.S. funds, add $6.00 for surface mail or enjoyable work" —Percussive Notes Magazine. (6') B321 $8.75 $12.00 for airmail. FREE CATALOG (including more clarinet chamber music) ON REQUEST TIME CAPSULE by Howard Buss is an incisive, entertaining sonatina in four movements. (7') Version for flute and clarinet: B350 $8.50 Version for clarinet and violin: B351 $8.00 TWIN MOONS for flute and clarinet by Roger Vogel. This colorful duo is sugges¬ Bp Brixton Publications Fax: 941 /646-0961 tive of the interweaving orbits of the moons of Mars. (6') B911 $4.95 4311 Braemar Avenue • Lakeland, FL 33813 U.S.A. Page 22 The Clarinet of personal growth. Among her many extra- musical achievements, she became a pub¬ NEW '"Excettente" lished poet during her tenure with the Utah Clarinet {Mbutft-Tiecc Symphony. Whenever the challenge of a with a change in core-bore and shape new skill beckoned — whether it was clas¬ sical guitar, ballroom dancing, tennis or This new Bb clarinet mouthpiece combines tradition, professional experience and years of experiments public speaking at the Toastmasters'— she with new technology. It is the most accurate responded with dedication. Christie was not mouthpiece produced anywhere in the world. The only a wonderful colleague, but truly an "'Exce&ente" Cfarinet OUbutfi-rPiece has been altruistic and positive human being, who designed to give both the professional artist and the cared deeply for all of us, and because of student comfort, ease of playing, beauty of tone and clean staccato attack. this used her superb gift of communication to endeavor to make the world a kinder, Innovative features are: gentler place for everyone. • Pivot point which rolls evenly toward Christie's clarinet has been quieted now, the tip. but her memory and the echoes of her beau¬ Ignatius Gennusa • Tapered bore to give the professional former principal clarinet tiful music will continue to enrich our clarinetist intonation that is superior Baltimore, Chicago, National, throughout the registers. lives by lingering in our minds and re¬ NBC Symphony Orchestras. • Soft rubber blend which produces a sounding in our hearts. (Reprinted with Student of Daniel Bonade. "cushioned" tone. the kind permission of Erich Graf and the CONTACT: Ignatius Gennusa • Facing which accepts easily the stan¬ Utah Symphony. Ed.) 9800 Coastal Highway dard, professional reed. The Utah Symphony will endow the 1409 Plaza Price—$75.00 each principal clarinet chair in her name, and Ocean City, MD 21842 Check with order contributions can be made to the Utah Phone/Fax (410) 524-5887 Symphony, 123 W. South Temple, Salt Lake Custom Work by Appointment NEW FEATURE — ' 'Deep Hollow Dark'' Tone City, UT 84101 for the memorial fund. " When details make Clarinet " When details make Clarinet the difference. " Support 'he difference." Accessories — Straps — CLEANING SWAB MOUTHPIECE CUSHIONS LP = With Leather Pad 3 angles to grip with S and M supports THIN/FIN (0,4 mm) TRANSPARENT* MEDIUM (0,8 mm) BLACK ' - Chamois / Very absorbent / Washable THICK/EPAIS (1,0 mm) TRANSPARENT (* Available in 2 sizes : Large / Small) STANDS THUMB REST. Studies M = Marching With Lyre jQ STANDARD FOR ALL CLARINETS - Allows a more natural right hand position, - keeps the mouthpiece in position For the complete BG catalog and a free sample of BG mouthpiece cushions, ■ New: also available with elastic version please contact: - The elastic absorbs the weight thus preventing hand and shoulder problems. For the complete BG catalog and a free sample of BG mouthpiece cushions, NORTH AMERICA OVERSEAS please contact: ROUSSEAU Music Products, Inc. Franck BICHON NORTH AMERICA OVERSEASw P.O. BOX 651 ROUSSEAU Music Products, Inc. BLOOMINGTON, IN 47402 T6I. (33) 04 78 56 86 00 P.O. BOX 651 Franck BICHON Toll Free: (888) ROUSSEAU (768-7732) e; Fax (33) 04 78 56 57 78 BLOOMINGTON, IN 47402 T6I. (33) 04 78 56 86 00 Toll Free: (888) ROUSSEAU (768-7732) Fax (33) 04 78 56 57 78 Fax: (812) 332-2555 http://www.musicindustr)r.com/bg/ Fax: (812) 332-2555 France http://www.musicindustry.com/bg/ e-mail : [email protected] e-mail : [email protected] e-mail : [email protected] e-mail : [email protected] July /August 1998 Page 23 Medical Problems of Clarinetists: o o g©(I§ H© (UJoTo Rfl® 0@ by Michael Thrasher and because the unique and varied demands netists by examining the data collected associated with each instrument type can¬ through the UNT-MHS. Kris S. Che sky not be accounted for. Fry (1988) highlight¬ ed these contrasts by citing soft palate dam¬ Information about musicians and mu¬ Method sic teachers is important for curricular age caused by the high-pressure demands and educational decision making. For of oboe performance, shoulder problems A non-probability method for creat¬ example, understanding the medical prob¬ related to flute performance, and specific ing an accidental sample population was lems of musicians plays an important role right hand problems associated with sup¬ achieved by recruiting subjects through in developing health-conscious pedagogy porting a clarinet or English horn. Based on the World Wide Web (WWW). The main advantage of this process is the ability to and effective clinical interventions. Un¬ clinical observations, Fry (1988) noted that find and recruit musicians from diverse fortunately, current information only in¬ among 69 professional clarinetists affected locations and musical backgrounds. Alter¬ cludes a few surveys of full-time orches¬ by over-use syndrome, 52% reported prob¬ natively, a major limitation is the inability tra professionals, university and public lems related to the right hand and/or wrist, to know what specific attributes are pre¬ school students and clinical case reviews. as well as a high frequency of problems sent in those who offer themselves as sub¬ Furthermore, these studies will typically related to the forearm and shoulder. Only jects via the WWW. The authors recog¬ group musicians into broad categories, two subjects reported problems related to nize that those who volunteer to take the such as woodwinds, strings or brass, and the embouchure. Another report suggested survey may be atypical of the target pop¬ provide little insight to instrument spe¬ a correlation between TMJ dysfunction and ulation of all musicians in terms of such cific problems. the physical stress levels associated with characteristics as socioeconomic status, There are unique demands associated the clarinet (Betz, 1989); however, Bejani motivation and other correlates of health with playing the clarinet. When address¬ (1996) suggested performers of upper consciousness. ing medical issues in the pedagogical liter¬ strings and some brass instruments experi¬ Following approval by the UNT In¬ ature, authors assert that health risks to ence TMJ syndrome most often. stitutional Review Board, subjects were clarinetists include musculoskeletal prob¬ Fishbein and associates (1988) noted recruited through messages posted to In¬ lems of the hands, wrists, forearms and the need for research that considers a vari¬ ternet links, Internet discussion groups, shoulders, and problems with hearing and ety of interdependent variables and recog¬ professional publications, and professional the embouchure. There is little agreement, nized the relationships between overall societies and organizations. Subjects were however, regarding what problems are health, lifestyle and medical problems. Fur¬ directed to access the survey via the web common or serious. For instance, Mazzeo thermore, Mazzeo (1989) acknowledged at: http://www.scs.unt.edu/surveys/msurvey/ (1989) suggested that nearly all problems that symphony and opera clarinetists rep¬ index.html. Once logged on, standardized of clarinetists are associated with the em¬ resent only a small percentage of the total instructions prompted subjects through bouchure and the right hand thumb. Wil¬ number of active clarinet players, and sug¬ various sections of the survey. Subject par¬ son (1990), however, cited thumb prob¬ gested the need for more information re¬ ticipation is considered anonymous. At lems but added that the only other problem garding all clarinetists. the end of the survey, subjects were al¬ is danger to hearing. lowed to submit comments with their re¬ The research literature includes sur¬ To overcome the difficulty of accessing and surveying musicians, a unique ap¬ sponses. Data files received over the In¬ veys of professional musicians or students ternet were downloaded into a master file proach was developed at the University of but typically describes medical concerns for periodic preliminary inspection. This North Texas that utilizes the World Wide without differentiation by specific instru¬ step allowed for identification of bogus, Web. Following successful pilot studies ment type. For example, 71 % of woodwind duplicate, or faulty data. Following screen¬ and research funding from the National players have reported musculoskeletal prob¬ ing procedures, data were merged into a lems in a study of 660 professional or¬ Academy of Recording Arts and Sciences, master SPSS file. chestral musicians (Larsson, Baum, Med- the UNT Musician Health Survey (UNT- The UNT-MHS is divided into five sec¬ holkar & Kollia, 1993). Similarly, in a MHS) has developed into a viable platform tions and asks questions regarding: 1) study of college music students, the wood¬ for obtaining information from musicians demographics; 2) musculoskeletal prob¬ wind players reported frequent pain in the across the nation and from around the lems; 3) non-musculoskeletal problems; 4) wrists, fingers, back and neck (Pratt, Jes- world. To date, over 2,000 musicians have lifestyle and environment; and 5) feedback sop, & Nieman, 1992). Fry and Rowley participated in the project. This report is and comments (Corns, Edmonds, & Wil¬ (1989) suggested that cello, clarinet, and the first to describe data from a heteroge¬ son, 1996). The development of the UNT- flute musicians report upper limb pain neous sample of musicians who play the MHS allows for direct comparison of data more often compared to other instrumen¬ same instrument. The purpose of this study to other well-known musician health sur¬ talists. Overall, these findings are limited is to describe medical problems of clari¬ veys. The musculoskeletal section seeks Page 24 The Clarinet information on 16 bilateral body locations. balanced, 5.7% reported vegetarian, Table 1. Frequency of Reported Also, similar to the ICSOM study (Fish- and 9.2% reported fast food/restaurant. Non-Musculoskeletal Problems Subjects described their work environ¬ bein, et.al., 1988), the non-musculoskeletal Gender section asks questions regarding incidence ments as moderately stressful (63%), Problem Male Female Total and severity of several possible problems. highly stressful (13.2%) or little to- Eyestrain 34.6% 49.0% 43.5% Questions regarding pain severity utilize a no-stress (23.8%). mild 32.7% 44.5% 38.3% modified five-point graded severity score The survey determined rates of oc¬ severe 1.8% 4.5% 3.1% Headache developed by Fry (1988) that incorporates a currence for non-musculoskeletal prob¬ 28.7% 58.8% 43.0% mild 21.1% 36.8% 28.5% measure of functionality and problem dura¬ lems. For each problem, the subjects' severe 7.6% 21.9% 14.4% tion. The scale is as follows: choices included no problem, mild Fatigue 35.7% 49.7% 42.4% Grade 1: Pain while playing; should be problem or severe problem. Table 1 mild 32.2% 36.8% 34.4% (right) shows the percentages of sub¬ severe 3.5% 12.9% 8.0% consistent rather than occasional; pain Stage Fright 25.8% jects reporting non-musculoskeletal 43.3% 34.1% ceases when not playing. mild 24.0% 34.8% 29.1% problems. The most common prob¬ Grade 2: Pain while playing; slight physi¬ severe 1.8% 8.4% 4.9% lems included eyestrain, headaches cal signs of tenderness; may have tran¬ Weight Problems 23.4% 36.8% 30.0% mild 19.3% 24.5% 21.8% sient weakness or loss of control; no and fatigue, followed by stage fright, weight problems and depression. More severe 4.1% 12.3% 8.0% interference with other uses of this Depression 24.0% 31.0% 27.6% location. than 40 percent of females reported a mild 15.2% 22.6% 18.7% mild or severe problem with eyestrain, Grade 3: Pain while playing; pain persists severe 8.8% 8.4% 8.6% headache, fatigue or stage fright. Over Sleep Disturbance 22.2% 29.1% 25.0% away from instrument; some other uses 20 percent of females reported severe mild 19.3% 23.9% 21.5% of this location cause pain; may have severe 2.9% problems with headaches. The percent¬ 5.2% 4.0% weakness, loss of control; loss of mus¬ Respir. Allergies 21.1% 22.6% 21.8% ages of females reporting problems cular response or dexterity. mild 14.6% 14.8% 14.7% were typically higher compared to severe 6.4% 7.7% 7.1% Grade 4: As for Grade 3; all common uses males; however, more males reported Acute Anxiety 19.3% 23.3% 21.2% of the location cause pain (housework, problems with hearing loss and ac¬ mild 18.1% 18.1% 18.1% driving, writing, turning knobs, dress¬ severe 1.2% 5.2% 3.1% quired dental malocclusion compared ing, washing, etc.) but these are possi¬ Blackouts/Dizzy 12.9% 17.1% 20.0% to females. ble as long as pain is tolerated. mild 12.3% 26.5% 19.0% Subjects reported several upper- severe .6% .6% .6% Grade 5: As for Grade 4; including loss of extremity musculoskeletal problems. Hearing Loss 23.4% 15.5% 20.0% use of location due to disabling pain. mild 21.6% 14.8% 18.4% Table 2 (next page) shows the percent¬ severe 1.8% .6% 1.2% ages of subjects reporting problems Asthma 13.5% 20.7% 17.0% Results with various bilateral locations. Specific mild 9.9% 17.4% 13.5% locations on the right side of the body severe 3.5% 3.2% 3.4% Extracted from the UNT-MHS master Mouth Lesions 15.8% were identified as leading problem 16.8% 16.3% database, 324 subjects (N = 324; females mild 14.6% 14.8% 14.7% = 155, males = 169) were selected for this areas. Most notably, over 30 percent severe 1.2% 1.9% 1.5% analysis. Subjects were included if they reported right wrist or finger problems. Earaches 9.9% 21.9% 15.7% indicated clarinet as their primary (most- Similar to non-musculoskeletal prob¬ mild 7.0% 17.4% 12.0% lems, females reported musculoskeletal severe 2.9% 4.5% 3.7% played), secondary (second most-played), Chest Discomfort 14.1% 16.8% 15.5% or tertiary (third most-played) instrument. problems at a higher rate compared to mild 13.5% 14.2% 13.8% Subjects' mean age was 34.75 years (S.D. males. For instance, over 40 percent of severe .6% 2.6% 1.5% = 14.83; range = 12 to 77 yrs.). The sub¬ females reported problems with right TMJ Syndrome 6.4% 23.2% 14.5% jects averaged 4 years (S.D. = 3.19; range fingers or hand compared to less than mild 5.8% 18.7% 12.0% severe .6% 4.5% 2.5% = 0 to 16 yrs.) of formal college music 20 percent of males. Similarly, over 50 Acquired Dental instruction and an average 11.25 years percent of females reported problems Malocclusion 17.5% 9.7% 14.1% of professional musical activity (S.D. = with right wrist compared to only 25 mild 15.8% 7.1% 11.7% 12.73; range = 0 to 53 yrs.). Subjects' percent of males. Subjects described the severe 1.8% 2.6% 2.1% Loss of Seal severity of their problems using the 10.0% 15.5% 12.1% average annual salary was $34,974.54. mild 8.2% 12.9% 10.4% Questions pertaining to lifestyle indicated modified five-point grading scale devel¬ severe 1.8% 2.6% 2.1% that subjects traveled away from home ap¬ oped by Fry (1988). Over 10 percent of proximately three days each month (S.D. females reported problems at grade 3 or = 4.14), and exercised about three and a higher for right wrist, fingers and hand. This Discussion half hours per week (S.D. = 2.96). Half means that they experience pain while play¬ The most common non-musculoskeletal (50%) indicated that they followed a com¬ ing, the pain persists away from the instru¬ problems reported by clarinetists included bination diet consisting of well-balanced, ment, other uses cause pain, and they may headache, fatigue and eyestrain. The rates of vegetarian, and fast food/restaurant. Thirty- have weakness, loss of control and loss of occurrence, as well as the severity levels, for four percent identified their diet as well- muscular response or dexterity. these problems were higher among females July/August 1998 Page 25 Table 2. Frequency of Reported Upper-Extremity woodwind players reported more right- Musculoskeletal Problems than left-side symptoms. Females reported higher rates of occur¬ Left Side Gender Right Side Gender Male Female Total Male Female Total rence for musculoskeletal problems com¬ pared to males. In all categories in which Finger 15.3% 25.9% 20.0% Finger 19.9% 42.0% 30.0% grade 1 9.9% 12.9% 11.3% grade 1 14.0% 16.8% 15.3% more than ten percent of the total popula¬ grade 2 1.2% 6.5% 3.7% grade 2 2.9% 12.9% 7.7% tion reported a problem, rates of occur¬ grade 3 2.9% 5.2% 4.0% grade 3 2.3% 10.3% 6.1% rence among females were higher than grade 4 .0% .6% .3% grade 4 .0% 1.3% .6% males. These finding are consistent with grade 5 1.2% .6% .9% grade 5 .6% .6% .6% previous reports. For instance, Zaza (1992) Hand 14.6% 25.2% 20.0% Hand 17.5% 42.0% 29.0% calculated that gender was the best predic¬ grade 1 7.6% 13.5% 10.4% grade 1 7.0% 16.1% 11.3% tor of injury in 300 university instrumental grade 2 1.8% 4.5% 3.1% grade 2 7.6% 9.7% 8.6% music students. Furthermore, in a study of grade 3 4.1% 3.2% 3.7% grade 3 1.8% 11.0% 6.1% secondary school-aged musicians. Lock- grade 4 .6% 3.2% 1.8% grade 4 .6% 3.9% 2.1% wood (1988) reported that 68 percent of grade 5 .6% .6% .6% grade 5 .6% 1.3% .9% females identified problems compared to Wrist 14.6% 26.5% 20.0% Wrist 25.0% 51.4% 37.2% grade 1 7.0% 10.3% 8.6% grade 1 12.3% 17.4% 14.7% only 17 percent of males. grade 2 3.5% 4.5% 4.0% grade 2 5.3% 11.0% 8.0% In summary, findings for this study grade 3 2.9% 5.2% 4.0% grade 3 6.4% 11.6% 8.9% should be interpreted with caution. Gen¬ grade 4 1.2% 5.2% 3.1% grade 4 1.2% 9.7% 5.2% eralizations to the total population of clar¬ grade 5 .0% 1.3% .6% grade 5 .0% .6% .3% inetists cannot be made due to the acciden¬ Forearm 5.9% 16.8% 11.1% Forearm 17.6% 30.4% 23.0% tal sampling procedures used. The lack of grade 1 4.1% 6.5% 5.2% grade 1 5.8% 9.0% 7.4% randomization and the reliance on Internet- grade 2 .0% 4.5% 2.1% grade 2 5.3% 8.4% 6.7% based collection procedures introduce un¬ grade 3 1.8% 5.2% grade 3 4.1% 8.4% 3.4% 6.1% known factors that may not be accounted grade 4 .0% .6% .3% grade 4 1.8% 3.9% 2.8% for in this analysis. Future research will Elbow 5.3% 7.1 % 6.0% grade 5 .6% .6% .6% grade 1 2.3% 3.2% 2.8% Elbow 6.5% 15.5% 10.5% continue to refine and determine the utility grade 2 .0% .6% .3% grade 1 2.9% 5.2% 4.0% of Internet-based survey techniques. Re¬ grade 3 .6% 2.6% 1.5% grade 2 2.3% 2.6% 2.5% gardless of its limitations, this study con¬ grade 4 2.3% .0% 1.2% grade 3 1.2% 4.5% 2.8% firms the need for further investigation re¬ grade 5 .0% .6% .3% grade 4 .0% 2.6% 1.2% garding the medical problems of clarinet¬ Shoulder 15.8% 24.6% 20.0% Shoulder 15.8% 25.2% 20.0% ists. The identification of headaches, eye- grade 1 9.4% 11.0% 10.1% grade 1 5.8% 7.1% 6.4% strain and fatigue raises concerns that have grade 2 2.9% 5.8% 4.3% grade 2 5.8% 5.2% 5.5% not appeared in the clarinet literature. Fur¬ grade 3 2.3% 5.8% 4.0% grade 3 2.3% 6.5% 4.3% thermore, findings strongly support the grade 4 1.2% 1.9% 1.5% grade 4 1.8% 5.8% 3.7% previously voiced concerns related to the Neck 15.3% 26.5% 21.0% Neck 18.7% 30.4% 24.3% grade 1 7.6% 9.7% 8.6% grade 1 8.8% 7.7% 8.3% right wrist, fingers and hand. The dramatic grade 2 2.3% 7.7% 4.9% grade 2 4.1% 8.4% 6.1% contrasts between male and female musi¬ grade 3 4.7% 4.5% 4.6% grade 3 4.1% 6.5% 5.2% cians also warrants further investigation. grade 4 .6% 4.5% 2.5% grade 4 1.8% 7.1% 4.3% This study suggests several trends that Upper Back 5.9% 20.7% 13.0% Upper Back 10.6% 27.1% 18.5% demand attention from today's clarinet grade 1 2.3% 8.4% 5.2% grade 1 6.4% 10.3% 8.3% players, teachers and designers. First, those grade 2 1.8% 6.5% 4.0% grade 2 2.3% 7.1% 4.6% charged with the instruction of the next grade 3 1.8% 4.5% 3.1% grade 3 1.8% 5.2% 3.4% generation of clarinetists must recognize grade 4 .0% .6% .3% grade 4 .0% 3.2% 1.5% the magnitude and danger of the above- grade 5 .0% .6% .3% grade 5 .0% 1.3% .6% mentioned problems. The problem of clar¬ compared to males. These problems have The musculoskeletal problems reported inet-related medical conditions is not a been identified in other studies, but to a les¬ on the right side of the body may be associ¬ myth. Unfortunately, many choose to dis¬ ser degree. Shoup (1995), for instance, found ated with clarinet-specific demands placed miss physical pain or even encourage pain that eyestrain (15.8%) and severe headaches on the right wrist. Approximately 40 per¬ as a natural part of performance. For exam¬ (14.8%) were the two leading non-muscu- cent of the clarinetists reported a problem ple, Shoup (1995) found that 44 percent of loskeletal problems reported by 425 junior in this area. Whereas the right hand and high school musicians believed in playing high- and high school-aged instrumental fingers were reported as problem sites, through pain, adhering to a "no pain, no music students. The higher rates of occur¬ subjects specifically identified the right gain" philosophy. Newmark and Hochberg rence found in the present study may be wrist more often than any other site. These (1987) reported that almost 7 percent of associated with several factors including findings agree with previously published musicians suffering from pain actually clarinet-specific demands or differences in reports. In Manchester's (1988) study chose to increase their playing schedules as age and years of performing experience. of 132 university-level music students, a form of treatment, assuming that pain Page 26 The Clarinet resulted from insufficient practice. Second, Fry, H.J.H. (1987). "Overuse syndrome in clar¬ of Musical Arts degree in clarinet and musi- players must develop an open-minded inetists." The Clarinet, 14(3), 48-50. cology from the University of North Texas. Fry, H.J.H. (1988). "Patterns of over-use seen in approach when considering new and inno¬ 658 affected instrumental musicians." International His major clarinet teachers include James vative ideas about clarinet pedagogy, play¬ Journal of Music Education, 11, 3-16. Gillespie, Bruce Bullock and John Scott. ing technique and instrument design. As Fry, H.J.H. & Rowley, G.L. (1989). "Music re¬ Kris Chesky, Ph.D. holds a joint ap¬ early as 1987, Fry suggested that professors lated upper limb pain in school children." Annals of of clarinet critically review the traditional Rheumatic Diseases, 48 (12), 998-1002. pointment at the University of North Texas loading of the clarinet on the right thumb. Larsson, L., Baum, J., Mudholkar, G.S. & Kol- as Assistant Professor in Division of Music lia, G.D. (1993). "Nature and impact of musculo¬ Education and the Department of Medi¬ Furthermore, writers such as Farmer (1979) skeletal problems in a population of musicians." and Mazzeo (1989) have described alterna¬ Medical Problems of Performing Artists, 8, 73-76. cine. Dr. Chesky has over 20 years of expe¬ tive means of supporting the weight of the Lockwood, A.H. (1988). "Medical problems in rience as a professional trumpet player. He instrument. Third, players should actively secondary school-aged musicians." Medical Prob¬ is an elected member of the Commission encourage instrument designers and manu¬ lems of Performing Artists 3(4), 129-132. for Music Therapy, Music Medicine and Mazzeo, R. (1989). "Mazzeo musings." The Clar¬ facturers to develop a responsible and sen¬ inet, 16(2), 7-9. Music in Special Education of the Inter¬ sitive approach to clarinet design. Finally, Manchester, R.A. (1988). "The incidence of national Society for Music Education, guest the community of experienced clarinet play¬ hand problems in music students" Medical Problems co-editor of a special issue of Music Perfor¬ ers must take the lead on these issues. of Performing Artists 3(1), 15-18. mance Journal and co-editor of Medicine Through the development of trained artist- Newmark, J. and Hochberg, F.H. (1987). " 'Doc¬ in Music. He has had scientific articles in scholars with the prerequisite skills as per¬ tor, it hurts when I play': painful disorders among instrumental musicians." Medical Problems of Per¬ Music Therapy Perspectives Journal, Alter¬ formers, inquirers, and problem-solvers, forming Artists 2(3), 93-97. native Therapies in Clinical Practice, Arts significant contributions can be made to the Pratt, R.R., Jessop, S.G. & Niemann, B.K. overall understanding of the various aspects (1992). "Performance-related disorders among mu¬ in Psychotherapy Journal, Journal of Mus¬ of clarinet performance. The authors pro¬ sic majors at Brigham Young University." Interna¬ culoskeletal Pain, Music Medicine Vol. II, pose to continue such endeavors through the tional Journal of Arts Medicine, 1(2), 7-20. Music Therapy in Pediatric Pain and Med¬ Shoup, D. (1995). "Survey of performance-re¬ University of North Texas Musician Health ical Problems of Performing Artists Jour¬ lated problems among high school and junior high Survey and other tools with the intention of school musicians." Medical Problems of Performing nal. He has lectured in England, Canada, helping all to gain greater insight into the Artists 10(3), 100-105. Spain, Germany, France, the Netherlands, art of playing the clarinet. Wilson, H.L. (1990). "Hearing loss and the clar¬ and throughout the United States. Chesky's inet." The Clarinet, 18 (1), 22-25. This research is sponsored in part areas of interest include music perfor¬ through a grant from the National Academy mance, music education, music therapy, of Recording Arts and Sciences. Special About the Writers... music medicine, performing arts medicine thanks to Steve Corns for assistance in data Clarinetist Michael Thrasher has held and interdisciplinary research. Chesky has management. Correspondence regarding teaching positions with many prominent developed conceptual models and tech¬ musicians' health issues and any future re¬ music programs, including Lewisville (TX) nologies for medical and scientific applica¬ search is encouraged by the authors, and High School, Richardson (TX) J.J. Pearce tions of music vibration, and he holds a may be addressed via email to Dr. Thrasher High School, the Denton (TX) Indepen¬ U.S. patent for the development of music at thrasher® wfnet or to Dr. Chesky at kch- dent School District, the Louisiana School vibration technology, which is now being esky @ music, unt. edu for Math, Science and the Arts, and the used in pediatric medical settings for relief University of North Texas. He currently from pain associated with major surgery. References... serves as Instructor of Woodwinds for the Bejjani, F.J., Kaye, G.M. & Benham, M. (1996). Bridgeport (TX) Independent School Dis¬ Musculoskeletal and neuromuscular conditions of trict and is a Research Associate at the Uni¬ JAZZ COLUMNIST NEEDED instrumental musicians. Archives of Physical Medi¬ versity of North Texas. Thrasher has per¬ The Clarinet is currently seeking someone to cover cine and Rehabilitation, 77(4), 406-413. formed with the Shreveport Symphony the jazz clarinet scene. The position's responsibil¬ Betz, S. (1989). "Are you a victim of T.M.J. dys¬ Orchestra since 1996, and has also played ities include writing two jazz clarinet-related arti¬ function?" The Clarinet, 16(2), ^^■■■'17. cles each year and reviewing jazz recordings. Appli¬ Corns, J.S., Edmund, D. & Wilson, S. (1996). with the University of North Texas Cham¬ World Wide Web research in performing arts medi¬ ber and Symphony Orchestras, and with the cants should have a special interest in and knowl¬ edge of jazz and jazz clarinetists, be able to write cine: The University of North Texas Musician Health Texas Music Festival Orchestra. He has well and meet deadlines. Survey. In K.S. Chesky, K.S. and B. Rubin (Eds.), done research projects and scholarly pre¬ Applications of Medicine in Music (pp. 13-18), Uni¬ sentations for the Texas Music Educators Interested applicants should send a brief resume versity of North Texas. emphasizing the jazz aspect of their qualifications to: Farmer, G.J. (1979). "Use of the clarinet neck- Association, the Music Educators National strap." Woodwind World-Brass and Percussion June Conference, and the International Clarinet James Gillespie, Editor 1979, 8-9. Association. Thrasher holds the Bachelor The Clarinet Fishbein, M., Middlestadt, S.E., Ottati, V., of Music Education degree from North¬ College of Music, University of North Texas Straus, S. & Ellis, A. (1988). "Medical problems western State University of Louisiana, the Denton, Texas 76203-1367 among ICSOM musicians: Overview of a national Fax: 940/565-2002 survey." Medical Problems of Performing Artists, 3, Master of Music degree in clarinet from the e-mail: July/August 1998 Page 27 DjjiJjuxiiu J-* Jj u JJ xj fid LI'JJ iiJi jj (J, LiJJ CDlJ i/i Z7_y Mark Sellen article is to deal with the breath¬ ing apparatus, its control, and the Instrumental tone is very much a per¬ identification and control of res¬ sonal matter — each individual hav¬ onators in the optimum produc¬ ing, to a greater or lesser extent, his/ tion and control of clarinet tone. her own idea on the ideal tone or the tone It is well worth considering that musical instruments are played which any particular individual may seek by human beings, and that it is es¬ to produce. There are, however, two fun¬ sential that ordinary, normal bod¬ damental factors which govern the resul¬ ily functions be maintained while K qm'i CeA^lY" Page 28 The Clarinet ment of thoracic capacity as the diaphragm FIGURE 4 descends, resulting in tension being set on CirjuS CttvniC.c, the abdominal muscles to the point where (itliVAOisal j ((YW^.11 Wrj both sets of muscles are held in balance at the furthest point of inspiration. The level of tension existing between these muscles is generally referred to as "support." At this point, greatest concern should be directed towards the abdominal mus¬ cles themselves, being the most important muscles of expiration. The diaphragm has hfcsal CCUihj no muscles capable of raising itself, its as¬ cent therefore is as a result of its own na¬ h&stal tural relaxation. The wind instrumentalist aware of this seeks to gain maximum con¬ (tyn oOtK trol over its ascent by management of the oir<* I Gow iKjJ abdominal muscles. QlZfcL - PHrt+Wfi* The four sets of muscles (see Figure 2), providing a wall and extending from the ribs to the region of the pubic crest, and which encircle the trunk of the torso by hav¬ ing their attachments to the spine, serve the function of protecting the organs con¬ tained therein and the abdomen itself. As the muscles contract, the rise in intra-ab- instrument itself. The tone quality at this cles controlling the lower lip should act so dominal pressure — feeling the muscles point depends upon certain physical char¬ as to create a "bunching" of the flesh to¬ "tucking in" while maintaining expansion acteristics of the individual player and also wards the center of the lower lip; this will of the lower ribs — forces the diaphragm, upon effective management of resonating help to achieve the maximum degree of under control, to rise, and as a result the systems within the head of the player. control over the spring of the reed. The thoracic capacity is reduced, promoting ex¬ The size and shape of the mouth itself, jaw swung downwards and forwards en¬ piration. Tension of the abdominal mus¬ which encloses the generator, are vital larges the cavity of the mouth — this can cles must be marked, and control over this in their contribution to tone quality. The be successfully achieved before the lips is essential in the management of breath mandible and maxilla are independent of are parted. With the mandible relaxed in volume and pressure — each of which af¬ one another (see Figure 3), to the extent that this manner, and acting in conjunction fects pitch, tone quality and dynamic level. the maxilla is a fixed part of the skull, and with the lower lip, one can work towards The supported air column having left as such is not moved when the mouth is achieving maximum amplitude of the reed the lungs enters the mouth, via the trachea opened and closed. This is a function of the in generation. By considering such physi¬ and throat, where it meets the initiator, the mandible, where it articulates with the ological conditions it is easier to gain full mouthpiece and reed. The resulting sound maxilla at the temporo-mandibular joint. In amplitude of the vibrating reed and this is then subject to resonation in the body of effect, a hinge where the mandible can be results in generation of the clarinet tone the player and also within the body of the swung up and closed or down and open. being more efficiently and more effectively Keeping the obtained and controlled. FIGURE 3 mandible down When the tongue is held forward, in and feeling a order to achieve a close proximity with light, but con¬ the reed tip edge, and this allowing only trolled, support the tip to twitch, the oral pharynx is en¬ of the reed by the larged — this prevents restriction of the air lower lip will help column at this point (see Figure 4). For¬ Max.ifU to prevent biting. ward of the oral pharynx and above the It is here that op¬ tongue is the palate. The anterior two-thirds timum placement or so is of a bony consistency and pro¬ of the reed on the vides a division between the mouth and lower lip is as vi¬ the nasal cavity. This "hard palate" is con¬ tal as is the for¬ tinuous with the posterior third, known as cwiiHvxj mation of those the "soft palate," and which is of a fibro- muscles and their muscular consistency and provides con¬ action on the lo¬ tinuation of the floor of the nasal cavity wer lip. The mus- and also extends downwards, towards the July/August 1998 Page 29 throat, to provide the floor to the naso¬ resonance cavities at their disposal for use The core of tone if located on any one pharynx. This particular opening — the in resonating the sounds produced — this note on the instrument can be located on all pharyngeal isthmus — is of vital impor¬ is certainly true with players of intra-oral others. Playing to the core of the tone will tance to the wind musician. Control of the wind instruments. With the air column un¬ lead to a unification of qualities throughout openings and surfaces here leads to pro¬ der pressure in the mouth, at the initiator, the range of the instrument. Having identi¬ found effects upon tonal quality, presence vibrations are produced and the buoyancy fied the core the tone can be filled by nour¬ and projection. and intensity of the tone are affected by ishment from the air column. Letting the The pharyngeal isthmus may be closed the addition to the equation, at this point, tone up into the head and with the mandible by raising the soft palate and bringing this of head resonances. down feel that the tone is "flipped" up into into contact with the posterior wall of the As the throat is opened its walls — and the head; tonal quality and placement take pharynx — as is the case when swallow¬ also the fabric of the soft palate — become, on a new sense. The sensation will indeed ing — and is opened by lowering the soft under tension, less soft. Their increased be one of tone placed in the front of the palate — to allow the passage of air. With firmness reduces their damping qualities upper head, and this can be developed to the point where one feels the tone occurring the lips closed and the mandible swung leading to increased vibrancy. Keeping the outside the head — in front or above. This down and forward, the mouth already at¬ mandible down results in the head of the sensation (head tone) is the point at which tains larger proportions, but in addition to mandible — positioned closely to the bony production is dealt with by the uncon¬ this, if the soft palate is now raised — not part of the external ear — rotating where it scious. The instrument appears to take little to the point of contact with the posterior articulates with the temporal bone. Conduc¬ conscious effort to speak. The conscious tion of vibrations is noticeably enhanced wall of the pharynx — and arched, as in a mind is now in the position of being able to yawn, then an "opening up" is experi¬ once a certain position, on the arc, has been concern itself with the music. enced. This sensation, as if perhaps one reached. Concentrating on the relaxed low¬ This forward placement and projection has a hot object in one's mouth, leads to ered mandible and the relaxed but con¬ of the tone presents a more accurate aural an opening up to the cavities in the head. trolled "bunching" of the lower lip point the picture of the emanating tone as heard by Rose states that the voice is unique in mouth comers upwards towards the eyes. an external listener; the wedding of notes having several resonance cavities reinforc¬ This slight but positive movement leads to and registers is much easier and more even ing the same note simultaneously. Players considerable focusing on the tonal center throughout, and the tone is projected above of wind instruments do have these same which is immediately audible to the player. and beyond — rather than being lost some¬ where between the instrument and the play¬ er's body. One can imagine the sound cir¬ culating in the cavities of the upper head — the sinus and nasal cavities are indeed con¬ nected by air channels and are therefore open to the throat and mouth. Constant analysis of tone will develop one's own tonal awareness. Pushing through and keeping the tone continually moving and "live" are all vital in a musical ap¬ proach to tone. Keeping the embouchure Clarinet mobile and also keeping the contours of the Mouthpiece mouth open to flexibility, where alteration in the dimensions here, along the lines of Custom-Designed the formation of vowel shapes, will aid con¬ trol of color. Stein talks of the conscious Through years of experience in performing, Portnoy has developed addition of speed to breath, giving variety a Mouthpiece used by leading Clarinetists. For uniformity, sound, and control over tone color, and through its intonation, and reponse, it is unequalled. All mouthpieces may careful application this gives "a beautiful look alike, but Portnoy has the sensitivity in construction which spinning or purling quality which adds makes his the most outstanding. richness, momentum and scintillating vital¬ ity to the tone." Facings: BP1 Close • BP02 Personal • BPS Open By bringing into consideration factors Write for Free Illustrated Brochure involving complex interrelationships be¬ B. Portnoy Clarinet Accessories tween breath, lips, jaws, mouth shape, mouth size and head resonances, one is, in P.O. Box 1066 • Larkspur, CA 94939 effect, consciously able to control the har¬ Tel: (415) 927-0482 • Fax: (415) 927-1498 monic distribution throughout the tone, and Also available through Harris Teller, Inc. and Barclay Music therefore vary and shape the character of the tone, controlling quality and color. This Page 30 The Clarinet surely is the aim of all wind musicians, to achieve optimum tonal production, projec¬ tion and control and to have at one's dis¬ Maximizing reed performance... posal the widest possible palette of color. through technology! Selected Bibliography 1. Goossens, L. and Roxburgh, E. Oboe. Macdonald THE REED WIZARD, a sophisticated and Jane's, London (1977). high-tech device which quickly redesigns 2. Gray, H. Gray's Anatomy. John W. Parker and commercially manufactured reeds to an Son (1858), edition by PRC, Leicester (1991). 3. Green, J.H. and Silver, P.H.S. An Introduction to individual's need. Reeds can be adjusted Human Anatomy. Oxford Medical Publication in a matter of seconds with no guess-work. O.U.P. Oxford (1981). 4. Porter, M.M. The Embouchure. Boosey and Price $300.00 Hawkes London (1967). 5. Rose, A. The Singer and the Voice. Scholar Press (1962) second edition Faber and Faber London THE REED WIZARD is fantastic!" (1971). - Ricardo Morales, Prin. Met. Opera 6. Stein, K. The Art of Clarinet Playing. Summy- Birchard Music Princeton (1958). PerfectaReed, an ingenious device that takes 7. Thurston, F.J. Clarinet Technique. O.U.P. (1956) the guesswork out of reed adjustments. Designed third edition (1977). to measure the entire area of single reeds. Eliminates "human feel" and the user can About the Writer... reproduce reeds to exact measurements or to Mark Sellen studied clarinet with Ste¬ new specifications. Price $175.00 phen Waters. He has been active in various areas of performance, and for the past 20 "PerfectaReed is great!" years has given duo recitals with pianist -Andrew Simon, Prin. Hong Kong Phil. Timothy Miller. He has taught clarinet for 20 years in England, is assistant director of ****** music at St. Edward's School, Oxford, and is a Moderator for the University of Cam¬ PERFECT AGREED PERFECT A REED...and BEYOND bridge Local Examinations Syndicate. ...and BEYOND "...(Ben Armato's) frank presentation of vital knowl¬ edge, coupled with the clear and excellent illustra¬ Acknowledgment tions, makes this book a must..." A Comprehensive — Clarinet Magazine Price $20.00 Method for , The author wishes to acknowledge his Reed Adjusting... / gratitude to the late D.J.C. Cunningham, and Mone MA, MB, ChB, DSc, former Radcliff Med¬ ical Fellow of University College, Oxford the and Lecturer in Physiology at the Univer¬ Opera sity of Oxford, for his help in the prepara¬ tion of this article. Clarinetist THE OPERA CLARINETIST Excerpts These excerpts are reproduced from the original from the Metropolitan Opera parts and should be in every Operatic ' Literature clarinetist's repertoire. L; Visit the J Price $25.00 , Compiled and Edited Ay Ben Armato of International The Metropolitan Opera House J Clarinet All prices include postage and handling in U.S. only. NY residents please include local tax. Association ORDER TODAY □ THE REED WIZARD $300.00 □ PerfectaReed $175.00 on the □ The Opera Clarinetist $25.00 □ Perfect A Reed...and Beyond $20.00 World Wide Web3 THE REED WIZARD/PerfectaReed P.O. BOX 594 • ARDSLEY, NY 10502 www.clarmet.org Phone/Fax (914) 693-3336 July/August 1998 Page 31 The Clarinetists of the 1 997 & 1998 t by James Gillespie ers, etc., but — something that may be material, but who only played one season, overlooked — also to an orchestra com¬ 1884); and Georg Zeretzke, current solo prised of the most outstanding instrumen¬ clarinet in the Deutschen Oper Berlin and talists from orchestras all over Germany. professor of clarinet at the Hochschule der (After 1966, it was not possible for musi¬ Kiinste in Berlin, who played solo clarinet cians from East Germany, the German Dem¬ in Bayreuth during much of the late 1970s ocratic Republic, to be invited due to polit¬ and 1980s. Alfred Sous' recently published ical restrictions and prohibitions.) It is a Das Bayreuther Festspielorchester provides veritable "all-star" ensemble that comes to¬ a comprehensive listing of all of the musi¬ gether every summer for two weeks of re¬ cians (and the years they played) who have hearsals and four weeks of performances played in the orchestra since its first season. for a well-paid engagement, the special Ba¬ The 228-page Das Festspielbueh 1997 even varian Gemiitlichkeit that Bayreuth offers, includes individual photos of all the mem¬ and a unique musicians' camraderie. Many bers of the orchestra and chorus, a clear in¬ also bring their families and make a holiday dication of how important these ensembles out of it. are regarded in the whole Wagner experi¬ Over the years, the clarinet section of ence. The list of conductors who have ap¬ peared at Bayreuth reads like a "Who's this Bayreuther Festspielorchester has been Solo clarinetist Matthias Glander stand¬ Who" among conductors: Knappertsbusch, comprised of some of Germany's most fa¬ ing near his seat in the pit. Karajan, Keilberth, Kempe, Krips, Klei- mous and influential clarinetists, including ber, Cluytens, Strauss, Bohm, Sawallisch, such well-known players as Richard Mtihl- Furtwangler, Boulez, Levine and Baren- There is probably no city more feld (who played during the opening 1876 boim (see photo below). closely associated with Richard season, throughout much of the 1880s and What do the clarinetists think of the Wagner than Bavaria's Bayreuth, 1890s, and became friends of Richard, Cos- acoustics of this famous Wagner-conceived and since its founding in 1876, for six weeks ima and Siegfried Wagner) (see Illustra¬ every summer the Bayreuther Festspiele has hall? "Very different," "No other like it in tions Nos. 4, 5 and 6); Franz Klein, who Germany," some said. Although all agreed been a mecca for Wagner devotees (see Il¬ played for 20 years (1958-1978) (see Bruce lustration No. 4). Wagner's hands-on in¬ that from the audience's perspective it pro¬ Edwards' "An Interview with Franz Klein" volvement and personal design of the vides a good mix of the orchestra with the in The Clarinet, Vol. 24, No. 1); Heinrich Festspielhaus have been well documented. singers on stage, all concurred that because Geuser, the famous teacher of many of (Oddly enough, the Festspielhaus, which of the pit's size and the depth of the angle suffered little damage during World War II, Germany's best players, including Karl downward from the conductor's podium, is hardly used at all for concerts or perfor¬ Leister; Robert Stark (noted for his etude the brass and woodwinds, situated in the mances during the remainder of the year, except for the administrative offices where planning is always underway for the next year's season. There is no full-time, profes¬ sional orchestra in Bayreuth.) Wagner's home in Bayreuth, Wahnfried, which he also designed, was one-third destroyed by bombing raids in 1945. It now houses the Richard Wagner Museum, which is open to the public year round. After World War II, performances at the Festspielhaus did not resume until 1951. If one is fortunate enough to obtain tick¬ ets, which are among the most expensive and difficult to get in all of Germany, an audience is not only treated to the world's foremost Wagnerian singers, stage design¬ A gallery of conductors' photos Page 32 The Clarinet back of the pit, had to play very loudly most of the time. The winds, situated in the lower back rows, are completely depen¬ dent upon the conductor for maintaining ensemble precision since any vocal cues from the stage and other wind players in the pit are largely inaudible. (By the way, the orchestra still uses original parts that date back to the 19th century, and most have dated autographs of players who have used them over the years.) (See Illustra¬ tions Nos. 1 and 2.) Wagner's unique arrangement of the or¬ chestra calls for the first violins to be at the conductor's right and that the contrabasses be separated. His designated division of the cello section did not work and has not been employed over the years. Herbert von Kara- jan's attempt during the 1950s to change the seating arrangement to a more tradi¬ tional one was not successful. Tradition is very important in Bayreuth! The pit is built in such a way as to make the orchestra only audible, not visible, since there is no vantage point in the audience from where the musicians can be seen. (There are no balconies, and the lip of the pit extends high enough to make it impos¬ sible to peer down into it from the audi¬ ence.) (See Illustration No. 3). As a result, there is no "show boating" for the sake of the audience by the conductor, and the musicians are allowed to wear almost any¬ thing they wish! How are members chosen for the or¬ chestra? Unlike most professional orches¬ tras, there is no personnel manager in¬ volved (with the inevitable political intrigue) or formal audition process. New members Illustration No. 1: Solo (First) clarinet part (from the early 20th century) to the Overture are simply chosen based upon recommen¬ (Vorspiel) to Wagner's Parsifal dations from members of the section, and netist of the Staatskapelle Berlin (Deutsche 1994 and 1997 seasons. He has performed once a new player has proven him/herself Staatsoper Berlin), and in 1985 became the for a season, he/she is free to return each with such ensembles as the Trio Apollon, solo clarinetist. He has been solo clarinet in year. Contracts, however, are written for Kammerhannonie der Lindenoper, Ensem¬ only one season. the Bayreuth orchestra during the 1992, ble Variazione der Staatskapelle Berlin and Albert Alphin Wind Instruments, Inc. The Clarinet Section for the 1997 Season Expert Repair, Restoration and Alterations, Customized New Clarinets, | Custom Barrels and Bells, Handcrafted Mouthpieces, Custom Refacing. Matthias dander (first and third clarinet) LARGE SELECTION OF: Clarinets, Reeds, Reedmaking Supplies, was born in Berlin and Mouthpieces, Cases, Instrument Stands, Accessories and Sheet Music!! studied at the Hochschule fiir Musik, "Hanns Eis- All at Discount Prices!! ler" in Berlin with Hans Radiinz. Later he studied FREE Catalogue on Request with Professor Ewald Koch, as well as Karl Leister. In 1983 he was engaged as El' clari- 590 South Street Box B Needham MA 02192 (617) 449-4197 July/August 1998 Page 33 Bldsersolisten der Staatsoper. His clarinets are by Fritz Schiiller of Markneukirchen, {313-1^ his mouthpiece is by Viotto and his reeds • - ; and third clarinet) was f bom in Berlin, where his a" ^ ' ■•'''*- *0 , - 'a "r* —. .. // j, father was a violist in the ■ Komischen Oper Berlin. He studied clarinet at the Hochschule fiir Musik in _ ~~79f¥ '' :*iJl—" strt&r ■< Berlin with Professor Ewald Koch. He took (■_ ■ v ..-- part in the competitions in Prague (1971), Markneukirchen (1974 and 1976), Kurpin- .,>»i ski Competition (1975) and Genf (1979). Since 1981 he has been the solo clarinet in the Sinfonieorchester des Norddeuts- chen Rundfunks in Hamburg and solo clar¬ inetist in Bayreuth for seven seasons (1985, xiLJ* ..•• //^,'^zM 1986, 1991, 1994-1997). /p. 'fit*? Thomas Franke (sec¬ ond clarinet) studied with ^p-: :^---. ■ ■ Ewald Koch in Berlin and with his father Hermann Franke. He has played with the Landestheater 'A> Halle, solo clarinet with V'lf 1 the Staatsoper in Berlin (1974—1986), and since 1986 in the Philharmonischen Staats- orchester Hamburg. He has also taught at the Musikhochschulen in Berlin, Liibeck and Hamburg. He plays Herbert Wurlitzer clarinets, a Todt mouthpiece and Kriiger reeds. 1997 was his first season in Bayreuth. Wolfhard Pencz (first and third clarinet) studied at the Hochschule fiir Mu¬ sik, "Hanns Eisler," in Ber¬ lin with Professor Ewald Koch. Since 1986 he has Illustration No. 2: Autographs of clarinetists on the Parsifal part from 1933 to 1957. been solo clarinet with the Note in 1933 the conductor was Richard Strauss and the clarinetists were Hermann Siidwestfunk Sinfonieorchester in Baden- Schrader and Waldemar Conrad. In 1936 Wilhelm Furtwdngler was the conductor and Baden and Freiburg. His clarinets and Willy Schreinecke from Leipzig was the solo clarinet. Apparently there were no perfor¬ mouthpiece are made by Herbert Wurlit¬ mances of Parsifal during the war and post-war years 1939-1950. Performances resumed zer, and he has played seven seasons in in 1951 with Hans Knappertsbusch on the podium and Heinrich Geuser and Richard Bayreuth (1989-1994, 1997). Ebeling (from Hannover) playing solo clarinet. During the Spain tour of 1955 Gerd Starke Bernd-Michael Has- played solo clarinet. sel (second and bass clar¬ inet) studied with Profes¬ Bass clarinetist Joa¬ (1978-1983), and since 1983 with the sor Franz Klein at the chim Welz (second and Deutschen Symphonie Orchester Berlin Hochschule fiir Musik in bass clarinet) studied at (formerly RIAS Symphonie Orchester). He Cologne, and he present¬ the Hochschule der Kiinste has played in Bayreuth for 15 seasons. He ly serves as the bass clar¬ in Berlin with Professor has two bass clarinets; one made by Fritz inetist in the Sinfonieorchester des Saar- Heinrich Geuser and later Wurlitzer and the other by Herbert Wur¬ landischen Rundfunks Saarbriicken. His with Professor Georg Zer- litzer. His soprano clarinets are by Wolf¬ clarinets and mouthpieces are made by etzke. He has played with the Philharmonie gang Dietz with Wurlitzer mouthpieces Herbert Wurlitzer, and he has played 18 Orchester der Stadt Kiel, and as bass clar¬ refaced by Georg Zeretzke, and he plays seasons in Bayreuth. inetist with the Deutschen Oper Berlin Vandoren German cut reeds. Page 34 The Clarinet Ulrich Schliiter (sec¬ ond clarinet) studied with Udo Schmidt and Peter- Klaus Loffler in Frankfurt. During 1984-1985 he was solo clarinet in the Giir- zenich Orchester der Stadt Koln. Since 1987 he has been the El' and second clarinetist with the Orchester des Hessischen Staatstheaters Wiesbaden. He has also played in orchestras at the Staats- theater Darmstadt, Nationaltheater Mann¬ heim and the Staatstheater Mainz. 1997 was his first season in Bayreuth. He plays Wurlitzer clarinets (A, B'' and E^) and Van- doren Black Master reeds. Clarinetists for the 1998 Season Karl-Heinz Steffens studied at the Musikhoch- schule in Mannheim with Rico Professor Ulf Rodenhau- ser. He played with the Grand Cowm Staastheater in Kassel (1984-1985), solo clar¬ SELECT inetist in the Frankfurter Oper (1985- 1989), and solo clarinetist in the Sym- phonieorchester des Bayerischen Rund- funks in Munich (1989-1996). As a cham¬ ber musician he has played with the Amade wind ensemble and in the Charts Ensem¬ ble. His interest in jazz led to his founding of the BR Symphony Big Band in 1995. Since 1996 he has been the professor of clarinet at the Musikhochschule in Han¬ nover. Steffens replaces Matthias Glander as first and third clarinet. Kai Fischer (second clarinet) studied at the Musikhochschule Heidel¬ berg-Mannheim with Pro¬ fessor Hans Pfeifer dur¬ ing the period of 1987- 1992. During 1991-1994 he served as bass clarinetist in the Orches¬ ter der Hansestadt Liibeck, and since 1991 he has been a member of the Philharmo- nischen Staatsorchesters Hamburg. His soprano clarinets are made by Herbert Wur¬ litzer, his mouthpiece by Viotto and his reeds are Vandoren. He uses a Berger ©1998 liico liiternational Worldwide (8IS) 71)7-7(1:50 US (800) 891-RICO (742(i) wwv.ricorefds.com mouthpiece and Steuer reeds on his Her¬ bert Wurlitzer bass clarinet. He replaces BOOSEY^HAWKES Thomas Franke as second clarinet for the 1998 season. July/August 1998 Page 35 BAYREUTH FESTSP1ELHAUS Versenktes OrcHestes- C QuatsdiHffr) Zuschauemum* BuhMt, "Atobt/w des BUhHutbodens S^a*, out it* \^0 -J-_46CL-| 3/30- j_ ^/fcr *| A,4^ "11,40- &KyGB-rrf-* 'KD. ^SBS^SS^SSS^^SS^mSS^i M&w Illustration No. 3: Cutaway side view of the pit Dieter Velte (bass clar¬ : ; — - inet) studied at the Mu- sikhochschule in Detmold with Gerhard Albert, Jost Michaels and Hans-Die¬ trich Klaus. He has played bass clarinet in the Orches- ter der Staatstheaters Darmstadt (1985), the Radio-Sinfonieorchester Frankfurt (1987) and since 1989 as solo bass clarinetist with the Deutschen Oper Berlin. He also plays in the EBENOS clarinet sextet and with the Quintettsolisten, which is comprised of members of the clarinet section of the Deutschen Oper. He plays a Herbert Wur- litzer bass clarinet and mouthpiece and Steuer reeds. Velte replaces Joachim Welz as second and bass clarinet. Selected Bibliography Eberhard Kretschmar. Richard Wagner. Sein Leben in Selbstzeugnissen, Brief en und Berichten, Ber¬ ©flt? gejlfpiel^aud in Sai^reuff) gur ^eit fcer erften 2Iuffu^rungcn lin, 1939 Josef Oehrlein. "Die Musiker des Bayreuther Fest- spielorchesters," Das Orchester, 1983 (30) Illustration No. 4: Drawing of the Festspielhaus from the the first season, (from Richard Alfred Sous. Das Bayreuther Festspielorchester, Wagner. Sein Leben in Selbstzeugnissen, Briefen und Berichten, by Eberhard Kretschmar, Robert Lienau Musikverlag, 1997 Berlin, 1939) Page 36 The Clarinet (The kind and generous assistance of both Professor Georg Zeretzke and Cor- dula Heymann in preparing this article is gratefully acknowledged.) \ "Whether in concert or in class, I never have any Illustration No. 5: Miihlfeld is in the cir¬ doubts with this reed." cled photo on the right. (Used with permission of the Richard Wagner National Archive in Bayreuth.) MICHEL ARRIGNON Professor Seilane an ben ,^SIncr SJndiricfiten." Conservatoire National Superieiir de Paris njf»„ni o in u u Biihnenfestspielhaus in Bayreuth. \ SluffflftrunBrn om 13.—17, 20.—24. u. 27.—30. Sluguft ....-S ffiintrilH-SfatltB Pb ^otrtnalfditis) jn btjitieii twnS tini - lilnrr Pidintii PuprtJmiH. Grand Concert SELECT 3eifungdan|eige fur &ie erflen Q3apreuf^er Jeflfpiefc im Sfaljtre 1876 i^urcf) &en Joiner 2Ricf)art> SBagner^erein Illustration No. 6: Newspaper announce¬ ment from 1876 about the opening season ©1998 Rico International Worldwide (818) 767-7030 US (800) 891-RICO (742(i) ww.ricormls.coin of the Festspielhaus (from Richard Wag¬ ner. Sein Leben in Selbstzeugnissen, Brie- BOOSEY^HAWKESBOOSEYf oHAWKES fen und Berichten, by Eberhard Kretsch- mar, Berlin, 1939) July /August 1998 over the instrument, with an even sound from the softest to the loudest dynamic. The register response is much better than my previous clarinet's. Articulation is much more secure. Reed selection becomes somewhat less critical, too, simply because the instrument's overall performance is so much better. And the sound is compact and well focused. To my ear, it's simply a well-balanced disposition of overtones that I find to i be just about ideal."—Larry Combs World-Class Imtrurnermfrom the World ofLeblanc LEblAiNC@ France* G. Leblanc Corporation 7001 Leblanc Boulevard P.O. Box 1415 Kenosha, Wisconsin 53141-1415 USA Internet: http://www.gleblanc.coin/gleblanc/ norcat MUSIC PRESS 7402 Wells Blvd. Hyattsville, MD 20783-1920 phone: 301-422-9006 ❖ New Book The Clarinet Concerto in Outline by Dr. Norman Heim Professor Emeritus University of Maryland 143 pages, 177 composers $23.00 + $4.00 shipping Other Books Clarinet Literature in Outline $20.00 + $4.00 shipping Ornamentation for the Clarinetist $20.00 + $4.00 shipping The Clarinet Sonata in Outline $25.00 + $4.00 shipping Free Catalog Clarinet and Woodwind Music CONSISTENTLY DEPENDABLE ACCESSORIES ^nur j\rttstru Mest MOUTHPIECES LIGATURES • REEDS CLARINETS ADJUSTABLE THUMB RESTS MPCE. & TEETH CUSHIONS IMPROVED-ANGLE BASS CLARINET NECKS SPECIAL KEYS Brochure on Request pioobfcitnh ^robucts ©I!)!>8 Riro International Worldwide (818) 707-7030 US (800) 8iM-l»l('0 (7120) www.ricoreeds.coin P.O. Box 3935-C Westlake Village, CA 91359 BOOSEY^rj'HAWKES (805) 497-8161 July/August 1998 Page New from Rovner Products evS : * x. The newest Eddie Daniels model is the only ligature available with "Quickswitch Technology" „ which allows you to Featuring "Quickswitch Technology switch between 12 distinct tones in a matter of seconds; quicker than any other model ligature! This new model also features the liveliest and most open sound of any ligature available. You don't have to be Eddie Daniels to play this ligature, but Eddie does, Twelve responsive tones, two easy inserts, one great ligature, and so why shouldn't you? ...PERFECTION!!! Ration by Des/Ae For more information on the EDM "Over twenty years write: Rovner Products of quality service, P.O. Box 4116 design, and innovation, Timonium, Maryland 21094 USA to create the best Phone: (410)252-7750 Fax: (410)252-7792 possible product E-mail: [email protected] for you..." erformance by ^)e Visit our Web-site: www.directweb.com/rovner Page 40 The Clarinet >1 iisic from the I.C.A. '96 CD Kaleidoscope for clarinet and piano, James Fry — Elizabeth Rheude Lijjnon for unaccompanied clarinet, Paul M. Douglas — Arthur Campbell Three Sketches, Op. 44/2, Augustin Kubizek — The Presitige Quartet: Kimberly Boardman, John Kurakawa, Elsa Tung-Wing Lam and Sarah Nowlin Air for solo clarinet, Philip Collins — James Freeman Intimations, Sebastian Currier — Nathan Williams Lexington Trio, Op. 151 for basset horns, Norman M. Heim — Trio Chalumeaux: Cindy, Don and Michael Christensen U.S., Canadian and Mexican orders: $13, plus $2 postage. All other countries: $13, plus $4 postage Order from: Music from the I.C.A. CD, "This reed helps me Laroy Borchert, Dept. of Music, New Mexico State University, create the exact sounds Las Cruces, NM 88003 I imagine. Make checks payable to: International Clarinet Association, Music from the I.C.A. CD SEIJI YOKOKAWA Principal (lariiiclisl NIIK Svmphonv Orehestra. Tokyo SAYRE WOODWINDS Mouthpieces _ -A- • Handcrafted 1 10 CZX -i # Mass Produced TRADmON u ^ n uu ^ x • Hard Rubber r * o » ' • 14kt Gold Facing ^OF . Refacing ( o i excellence ' Adjustment ✓ oIoBE®*"* > ( ^ MAKERS 0 I • Repair of Broken * ^jcago.^ ^ Mouthpieces Accessories SELECT Clarinet Repair Shop: 19 W. St. Charles Rd. Lombard, IL 60148 ©l»!)8 liico Inlmiational Worldwide (818) 7li7-7():{0 US (800) 8!)I-I! 1( 0 <742fi) www.i icorci'ds.coiii Mail: 60x 164, Clarendon Hills, IL 60514 BOOSE Y^HAWKES 708-916-1525 July/August 1998 Page 41 Cfifue (>/urine/ Otute& IBM J^T r /. fjftorf by Edward Palanker Did you know that Bach wrote the finest concert pieces ever written for the bass clarinet? Did you know that he wrote the best concert etudes ever written for the bass clarinet? How about the finest technical studies for flexi¬ bility, or the best tonal and intonation stud¬ note D as a 16th note continuing the ies for the instrument? Well, I know you line of 16th notes and the double stop . . know that he wrote the finest music to learn as a B grace note to the D. In Example how to read the bass clef for the bass clar¬ 3, from the Prelude in Suite #3, you inet, right? Well one out of five ain't bad. may want to play the lower G an octave Bach may not have known it, but he was higher in order to keep the line flowing. by far the best composer to ever write for In Example 4, from the Gigue in Suite the instrument. The Suites, challenging and you could omit the bottom note. full of great music, make fantastic concert Of course, breathing is a tremen¬ pieces or etudes. You can teach a student dous problem in these pieces, so you how to phrase in a very romantic style, tak¬ have to be a little creative if you can't ing great liberties with a great deal of ruba- circular breathe. You can leave notes to and developing an independent style of out, as in Example 5, from the Prelude playing. Or you can teach the Suites in a in Suite #I, or do some creative phras¬ very strict style, reflecting the period in ing so that it sounds like you meant to which they were written. You can play slow down at a certain place and take a these with great discipline or great free¬ breath, as in Example 6. Or just don't dom, in any style you wish. They can be music of any period, for any time. a j-a-; ja'Vi j JtFi I have performed some of these pieces at concerts as complete suites, as well as individual movements. When I used to take auditions, I would use the Bourree 1 and 2 from the Third Suite as my prepared piece. It usually made a very good impres¬ sion. Leonard Bernstein remarked to me, "That was a remarkable job young man," (I was 24 at the time) when I was in the finals for the New York Philharmonic years ago. I think he was really surprised to hear someone in the mid '608 play Bach on the bass clarinet. Good music is good music on any instrument. I play them as written with no transpo¬ sition or editing. When I come to double stops, as in Example 1, from the Sara- worry about it and breathe bande in Suite #1, I play them as broken wherever it seems to make chords or grace notes, sometimes revers¬ the most sense musically. ing the order of the notes if it suits me (you These are just some ideas on make up the rules). In Example 2, from the how to get around the prob¬ same movement, I just play the quarter lems of these pieces. Page 42 The Clarinet You can use the slow movements to help develop your students' tone quality, as well as a smooth legato and lyrical style. Use the fast ones to develop their technique and nmm music comfant flexibility. Use all of them for phrasing. I do not teach the sixth suite because of the use of the tenor clef. There is no reason to learn 263 Huntington Ave. to read this clef other than the sheer enjoy¬ ment of being able to play this suite, but I Boston, MA 02115 have found that having five bass clarinet suites of J.S. Bach is quite ample to satisfy my appetite. (617) 266-4727 Fax (617) 266-1517 About the Writer... Edward Palanker is the bass clarinetist of the Baltimore Symphony Orchestra and Professional service by Emilio Lyons teaches both clarinet and bass clarinet at The Peabodv Conservatory of Music and Towson University. New England Headquarters for new and used clarinets, mouthpieces, and other accessories I.C.A. Website: www.clarinet.org Featured are Buffet, Selmer, Let lane, and Vandoren products £1 • I " Each BG ligature produces a different sound. 91 Ligatures I"-SIANDARD^^r^REVELAnON^ISUPERREVELATION | TRADITION AN IDEAL LIGATURE FOR ENSEMBLE THE SOLOIST LIGATURE THE SOLOIST LIGATURE THE ORCHESTRAL LIGATURE WORK AND CHAMBER MUSIC - Exceptional radiance - Direct sound projection - Darker sound - Clear sound - more brilliant and compact - Brilliant sound - Free blowing. - Easy Staccato. sound due to the gold plating. (richer in gold plating). developed with developed with Robert BIANCIOTTO Developed with Guy DANGAIN Ricardo MORALES PIckc ligature above the heel of the from the New York Metropolitan reed for best results Opera Orchestra For the complete BG catalog and a free sample of BG mouthpiece cushions, please contact: NORTH AMERICA: ROUSSEAU Music Products, Inc. OVERSEAS: TjT^I Franck BICHON P.O. BOX 651 Tel. (33) 04 78 56 86 00 BLOOMINGTON, IN 47402 FRANCE Fax (33) 04 78 56 57 78 Toll Free: (888) ROUSSEAU (768-7732) Fax: (812) 332-2555 http://www.musicindustry.com/bg/ e-mail : [email protected] e-mail : [email protected] July/August 1998 Page 43 COMMITTED TO NEW ORLEANS JAZZ AND METAL CLARINEW- Eberhard Kraut with George Lewis' metal clarinet at the Jazz Museum in New Orleans. (Note photo by Bill Russell of George Lewis in the background.) (Photo by Christel Mtiller-Kraut) Everything began with the desire to own the same model of metal clar¬ inet that his great jazz idol, George Lewis from New Orleans, had played — an Albert system made by Harry Pedler of Elkhart, Indiana. This was 15 years ago. Since then Eberhard Kraut from Leonberg/ Stuttgart, Germany has acquired a large collection of metal and wooden clarinets, most of which he overhauled himself. His chapped hands show that he has not be¬ come tired of overhauling the slender in¬ struments, as he holds the view that mu¬ sical instruments have to be playable. "You do have to hear how they sound." "Somehow or other, I slid into it." Eber¬ hard Kraut cannot really tell how this pas¬ sion for collecting clarinets began. The 49- year-old engineering graduate's attention was drawn to the metal clarinet with the rare Albert system by a photo of the famous Bunk Johnson Band 1944 taken by Bill Russell, the foremost authority on New Or¬ leans jazz. "George Lewis' clarinet looked really strange," Kraut recalls. The fact that he is a clarinet player himself — he started to learn the clarinet as a member of a Mu- sikverein (a typically German woodwind and brass band) in 1966 — and the fact that he later began to admire George Lewis' way of playing inspired him to deal more closely with the metal clarinet. "I got my EBERHARD KRAUT HAS m HI/ HEART inspiration from New Orleans jazz," says Kraut. Eberhard Kraut's eyes are shining, ON THE NEW ORLEANS CLARINET; while he is talking about his favorite music. He had not been able to acquire a taste for the so-called beer tent music played by the by Ralf Kriiger Musikverein. His brother, who is his senior by a couple of years, made him familiar 45, of which he particularly enjoyed soon learned that it was almost impossible with traditional jazz. At the age of 18 Eber¬ George's "Burgundy Street Blues," he to obtain a metal clarinet in the Albert sys¬ hard Kraut got hold of the music of "Wild knew he had found the right thing —"Eu¬ tem as played by George Lewis. Besides, Cat Blues," one of Monty Sunshine's fa¬ reka!" The cover of the record showed he could hardly find any publications on vorite tunes, and tried to play it on his George Lewis playing the metal clarinet the subject. "The only thing I had was the wooden clarinet. He became more and that was to become the object of Eberhard Bill Russell photo of George Lewis with more interested in that kind of music and Kraut's efforts, the one he desperately the Bunk Johnson Band." finally he came upon the authentic jazz wanted to get hold of. Not only did he want to know how to played by George Lewis a.o. In the 1930s, metal clarinets were very play a clarinet, he was also interested in When listening to George Lewis' re¬ common in the U.S.A., but mainly in the learning how a clarinet is built and how it cordings done by Bill Russell in 1943- Boehm system. And so Eberhard Kraut works. Eberhard Kraut was friendly with a Page 44 The Clarinet Eherhard Kraut with his 66-year-old Harry style jazz clarinetist. "If I join a band some¬ Pedler metal Albert clarinet, which is identical where tonight, I'll only play this particular to George Lewis'. He already owns a great instrument," Kraut insisted. number of metal clarinets, which constitute Eberhard Kraut is proud not to be a an almost complete documentation of the "crafty" instrument collector, as he has history of this type of clarinet. His oldest never wangled any clarinet out of anybody. instrument was made around 1857, his He also writes articles on New Orleans newest about 140 years later. jazz and metal clarinets for specialist jour¬ Apart from the George Lewis model, he nals, jazz magazines (e.g., The Second Line also possesses the models of metal clarinets of the New Orleans Jazz Club) or liner played by musicians of the classic jazz era notes for CD booklets of metal clarinet 1920-50, like Don Murray, Frank Trumbauer, players, such as Brian Carrick or Chris Capt. John Handy, Lester Young, Buster Blount — free of charge, of course. Since Bailey, Earl Carruthers or Willie Smith. 1986 the jazz idealist has been an honorary (Photo by Ralf Kriiger) citizen of New Orleans in recognition of his publications on New Orleans jazz. also part of his collection: a one-piece Al¬ Eberhard Kraut has established interna¬ bert system by Pedler with detachable bell, tional connections and is in touch with a screw adjusting tuning barrel, and silver great number of like-minded friends he got soldered and strap-mounted pillars. He to know because of his passion for jazz and loved this silver clarinet so much that he clarinets. Among those friends are some almost shared his bed with the instrument jazz musicians who play the metal clarinet he had chased after for years. For months today: Brian Carrick, Chris Blount, Jack the instrument was lying in a cupboard. "I McLaughlin, Nick Polites, Fabio Palchetti, was afraid to break off a key or to slip down Gordon Hunt, Kjeld Brandt, Mac Rae, Penn with the screwdriver when overhauling this Pengelly, Michel Laplace, Jean Depoid, very rare metal clarinet," Kraut explained. Franz Stuhler, Louis Siankope, Acker Bilk Only when A.G. Klapproth, a jazz friend and Jiirgen Vieregge. Twice he even met the woodwind instrument maker in Stuttgart. In from Marburg (Germany), came to the area daughter of the legendary George Lewis, the 1980s, he often visited him, and by where Eberhard Kraut lives, along with his Mildred Zeno, in New Orleans. Her father's watching and assisting him he learned how New Orleans style jazz band and guest pian¬ metal clarinet is on display at the Jazz to repair and overhaul clarinets. Later on he ist Bill Sinclair of Connecticut, and asked Museum, and there seems to exist no fur¬ established contact with jazz and clarinet him to play with his band did Kraut take ther copy of the very special model of his pride and joy out of the cupboard and people in the New World, e.g. Bill Russell George's and Eberhard's Pedler. Thanks to overhauled it a few days before the concert, Don Marquis, Kraut had the opportunity to & Bill Wagner, Chris Burke, Alex Cory, which took place in April of last year in a scrutinize George Lewis' metal clarinet mi¬ Hartly Sevems, Scott Robinson, Barry Wrat- small town called Guglingen. For Eberhard nutely and to see for himself that it is iden¬ ten, John Russell, Sid Glickman, Dennis Kraut is also an enthusiastic New Orleans tical to his own. Eder & Gary Windo, Francis Perry, Emilio Lyons, Bob Ackerman, Jon Ray & Dick Bentson, Alden Ashforth, Tom Sharpsteen, Jim Gillespie, John Snyder, Bill Maynard, John McCardle, Kermit Welch, Doug Tank and Tom Wheeler. When metal clarinets from the States were offered to him Kraut could not resist and he acquired a great many, even though most of them were in the Boehm system until, at last, the George Lewis type of metal clarinet he had feverishly longed for was Each clarinet has its very own history. Concerning his wooden clarinets, Eherhard Kraut has put the main emphasis on models played by jazz clarinetists like Alphonse Picon, Jimmie Noone, Johnny Dodds, Sidney Bechet, Emile Barnes, George Lewis, Edmond Hall, Barney Bigard, Sidney Arodin or Omer Simeon from the mid-1920s 'til the 1960s. (photo by Ralf Kriiger) July/August 1998 Page 45 Eberhard Kraut's love for metal clar¬ inets has not faded. Apart from his instru¬ ments and different clarinet mouthpieces, THEODOR NAGEL GmbH. & Co. he has collected lots of descriptions of clarinets printed in old catalogs, as well as Sawmillers patent-specifications and serial number Billstrasse 118 lists, which help him classify and date his instruments. Due to his extensive studies 20539 Hamburg, Germany he has also acquired the specific skill to Tele: Oil 49 40 78 11 00 11 recognize on photos what clarinet model a Fax: 011 4940 78 11 0024 particular jazz clarinetist was playing at the time. He is proud to own the identical model of most of the wooden or metal We Supply clarinets pictured in the hands of the old jazz masters, of which he also has the Defect Free Sawn Sizes recordings on the new CD format. Kraut hopes that his collection will go to For All a museum one day. "But before this hap¬ pens I am going to write a book about the Woodwind Instruments history of the metal clarinet and the New Orleans clarinet tradition," says Eberhard Grenadilla Tulipwood Kraut with an air of determination. There is no reason to doubt his words. Cocobolo Kingwood * * * Cocus Plumwood The above article was written by Ralf Ebony Amazon Rosewood Kriiger for the Leonberger Kreiszeitung on Olive Honduras Rosewood December 4, 1997, and it was republished in the German reed instrument magazine Bubinga European Boxwood 'rohrblatt No. 2/1998 and then translated and revised by Christel Miiller-Kraut. Marks Music • Buffet Clarinets •Reeds • Mouthpieces "Woodwind,™*,, with a tradition of exceience since 1947" • Ligatures • Moennig Barrels • Accessories • Customizing •Repairs rv For a FREE Brochure call or write H SO N, Buhl Farm Dr, • Hermitage, Pa,9 16148 * 412 - 347 - 7629 | Page 46 The Clarinet In Tune ZINNER mouthpieces Lightning speed nternational Effortless Musical Suppliers inc. Exclusive importer Bb, Eb, Bass Clarinet French (Parallel or Angled) and German P.O. Box 1122 Des Plaines, Illinois 60017-1122 Phone: 800.762.1116 Fax: 708.870.1767 July/August 1998 Page 47 -Cr ■O1 XT mia)nm«ni ail ffipnm by Justin EA. Busch appearance of the movement's main theme The initial eight-measure melody is an¬ is given to the solo clarinet, assisted dis¬ swered by a four-measure section of striking After decades of undeserved ne¬ creetly by the second, and supported har¬ beauty (the first phrase of which consists of glect by all but a small number of monically by the rest of the orchestra. The two fourths and a tritone), which dissolves, perspicacious musicians, the mu¬ piano is left free to indulge in decorative via a bridge passage of six measures, into a sic of Anton Rubinstein (1829-1894) has roulades in rhythms of three over two for further 10 measures based on the opening. recently begun again to be performed wide¬ most of the 28 measures. Carefully controlled dynamic indications ly. Previously rare, recorded renditions of The theme itself, con molto espressione allow a climax on F to sound perfectly nat¬ his larger pieces now number in the dozens; in an Andante tempo, is a prime example of ural, despite the same note having opened an important and impressive body of work Rubinstein's melodic serenity, and is well the theme and recurred several times in the is once more asserting vigorously its claims suited to the middle of the clarinet's range. course of its development (see Example 1). to serious attention from listeners. That at¬ tention is well rewarded; within the gener¬ ally conservative musical boundaries which *7 f f ^ I n J I JfrfF| j rxxi he set for himself, Rubinstein's music is striking, expressive, and effective, instantly recognizable as having its own unique char¬ acter, style and sonority. A substantial element of that character derives from Rubinstein's use of the winds, and in particular the clarinet. Rubinstein LMJJ lAA^JAJLRjF thought highly of the clarinet. When asked The memorable quality of the clarinet's The idiomatic writing reflects this; what by Karl Goldmark for advice on composi¬ is subtle and expressive on clarinet is obvi¬ tion, Rubinstein restricted himself to saying role has been prepared carefully and is ous when played on the horn. He knew the simply that Goldmark should pay close at¬ sustained equally carefully. Apart from a sound he wanted and how to obtain it. tention to Mozart's use of clarinets within few brief motivic fragments in the outer As might be expected, Rubinstein's six the orchestral texture. It was advice based movements, the clarinet remains submerged symphonies offer a wide variety of colorful on Rubinstein's own successful experience; in the orchestral texture throughout the rest and eloquent moments for clarinet. The pro- most of his orchestral works contain nu¬ of the concerto; nothing is allowed to dis¬ totypically Tchaikovskian opening of the merous vivid and memorable passages for tract from the unique and extended lyric ari¬ slow movement of the third (1855) springs clarinet, either solo or in duet. etta. Sadly enough, there is at least one con¬ immediately to mind, as do the chromatical¬ An examination of all of Rubinstein's temporary pianist who has seen fit to arbi¬ ly lugubrious passages leading to the devel¬ uses of the clarinet would be a mammoth opment section of the opening movement of undertaking indeed, and would probably re¬ trarily rewrite this movement, assigning the the enormous fourth (1874), the so-called quire a book. In lieu thereof, I offer herein clarinet part to French horn. Not only does a few typical highlights. To this purpose, I this rob the principal clarinet of a delightful "Dramatic" symphony. Less melancholy, and more lightly have chosen four representative orchestral solo, it also displays an abysmal ignorance scored, is the principal theme of the scherzo works, each offering a distinct yet charac¬ of Rubinstein's other music. Rubinstein teristic example of Rubinstein's writing for of the fifth symphony, Op. 107 in G minor organized the slow movement of his first (1880). The clarinet opens the rather jolly the clarinet. As these works will be beyond piano concerto around a prominent horn the purview of most non-orchestral clari¬ proceedings, and maintains a prominent solo; it must be presumed that his choice of netists, I conclude by examining in some¬ place in the ensuing musical dialogue (see what greater detail the only two chamber clarinet here was no accident. Example 2). works in which Rubinstein used the clarinet. Something of the nature of Rubinstein's quite congenial scoring will, I hope, become clear to those who may yet be unfamiliar with his larger scores. Perhaps the best-known clarinet solo in Rubinstein's music, if only because it oc¬ Supple in rhythm and lissome in phras¬ timbral balance. The clarinet serves as the curs in what is undoubtedly his most wide¬ ing, such music speaks for itself. It fulcrum, so to speak, between the lighter ly known large work, is found in the slow should be noted, however, that by opening sounds of the flute and oboe and the weight¬ movement of the Piano Concerto No. 4 in the movement with the clarinet, Rubinstein ier sounds of the strings. This balance cre¬ D Minor, Op. 70 (1864). The entire third has allowed himself the widest leeway for ates propulsive coloristic momentum with a Page 48 The Clarinet minimum of effort, setting off efficaciously nothing and destroyed much suffuses the It must be admitted that, from the clar¬ the more ponderous trio, in which the horns whole work. inetist's point of view, many of the pleasures and lower strings predominate. The mask finally comes off altogether in of the Octet in D minor. Op. 9, are those In addition to the symphonies and a the concluding section, a wonderfully associated with orchestral playing rather goodly amount of orchestral music associ¬ grotesque funeral march, filled with piquant than with more typical smaller ensemble ated with his 19 operas, Rubinstein also touches, oddly angular (and even more works. The octet began life as a piano con¬ wrote a number of independent orchestral oddly scored) melodic scraps, and a genial¬ certo, written when Rubinstein was 17 and works. Chief among these are three "sym¬ ly cynical atmosphere, interrupted only some of the flavor of the concerto approach phonic portraits": Faust, Op. 68 (1864), occasionally by more passionate outbursts. survived its transformation a few years later. Ivan the Terrible, Op. 79 (1869), and Don Of the multitude of prominent passages In fact, out of the 1,335 measures which Quixote, Op. 87 (1870, actually subtitled given to the clarinet, those which open the make up the four movements, the piano is "Humoresque for Orchestra"). Program¬ march, or which recur at various points silent in only 125; 91 of these are found in matic only vaguely, apart from a few spe¬ thereafter, are perhaps the most memorable. the vigorous scherzo, which was added dur¬ cific episodes in the last, these pieces con¬ The clarinet tone adds an altogether appro¬ ing the rewriting of the earlier piece. Even if tain nonetheless much picturesque scoring. priate funereally jaunty insouciance to the substantial portions of the piano part are re¬ The first, exactly contemporary with the proceedings; the restrained use of the snare stricted to harmonic and percussive support, fourth piano concerto, offers yet another drum provides a further macabre fillip. there is little question as to which instru¬ example of Rubinstein's sensitivity to in¬ Much of what follows would be scarcely ment dominates. strumental colors. Important solos are given out of place in a score by Kurt Weill. Despite this, the clarinetist is kept rea¬ to most of the winds and brass, but those for Despite his obvious love for the clar¬ sonably busy (less so than violin, viola, and the clarinet are restricted carefully to the inet and proficiency in writing for it, violoncello, but considerably more than the lower registers. The result contributes im¬ Rubinstein left only two chamber works remainder of the ensemble). Notable contri¬ involving the clarinet: an octet for piano, butions come during the development sec¬ mensely to the somber effect of the work, horn, flute, clarinet, violin, viola, violon¬ tion of the opening movement and the mid¬ especially in the extended slow introduc¬ cello, and doublebass, and a quintet for dle portion of the third. Most interesting to tion, material from which returns in the piano and winds. While an enterprising the solo player, however, must surely be the gloom-wracked conclusion. Apart from a clarinetist might profitably make a tran¬ scherzo (generally a Rubinstein specialty), single pizzicato, the clarinet has the final scription of the viola sonata. Op. 49, or the rhythmic and well-balanced. Passages such despairing note. three pieces for viola and piano. Op. 11, as the following, involving both solo pro¬ The despair is expressed trenchantly, and No. 3, soloists looking for characteristic jection and careful attention to the rest of its affinities with the similar emotion at the music by Rubinstein to perform will have the ensemble, commend themselves to the conclusion of the "Pathetique" symphony to stick to these two larger works. chamber clarinetist (see Example 3): of Rubinstein's pupil Tchaikovsky, written nearly 30 years later, are clear. Indeed, the differences in emotional effect between the ptf - Jj.1 ■ ' J-Ft two works are largely due to the use of the clarinet by Rubinstein. In Faust, the clar¬ inets add a hollowness to the defeat, as if in exhausted resignation to the futility of striv¬ ing; in the "Pathetique," the low basses ex¬ The B'' clarinet is called for in the first stein's work the winds are not short¬ press an utter bleakness, as of a spirit over¬ three movements, being replaced in changed; each is given substantial opportu¬ whelmed and destroyed. The absence of the finale with the A clarinet. nities to shine. The piano part likewise is clarinets in the one, or their presence in the The charge of being a concerto in dis¬ substantial, and has attracted performers of other, would change utterly the respective guise has also been levelled against the the calibre of Hans von Biilow in Rubin¬ qualities of the two works. The care which Quintet for Piano and Winds in F major. stein's day and Lindsay Lafford and Wolf¬ has gone into each composer's scoring is Op. 55, but with much less justice. Even a gang Sawallisch in ours. audible instantly. casual examination of the piece reveals it to Spacious and genial, the quintet (the The Eroica fantasia. Op. 110 (1884), is be more in the nature of a concerto grosso, first of three written by Rubinstein, and unique among Rubinstein's larger works. wherein the winds act as concertino and the the only one involving the winds) is re¬ Written ostensibly in honor of a recently piano as ripieno, albeit with a virtuosic laxed in its formal structure, and awash in deceased Russian military hero, it is in fact flair. The quintet in this regard appears as melody. A surprising number of the best a sophisticated piece of music about public an obvious precursor to Chausson's some¬ tunes are given first to the clarinet. The pomp and circumstance. Rubinstein's Olym¬ what better known Concert, Op. 21, for wistful second theme of the first move¬ pian musical detachment from much of the piano, violin, and string quartet. In Rubin¬ ment is a fine example (see Example 4): ordinary hurly-burly of his day became occasionally quite sardonic, and nowhere more so than here. All the appropriate ges¬ tures are made, and some of them are even quite moving, yet a distinct awareness of the irony of an artist honoring one who created July/August 1998 Page 49 A more urbane countertheme fol¬ ody shared by bassoon and piano in al¬ lows immediately in the clarinet ternation. The slow movement opens Stvii/uunesit licuyi and bassoon against a further motive in with a luscious horn solo, then moves The professional casecover the piano. The initial melody recurs through a variety of contrasting passages subsequently in a number of guises, no¬ to a serene ending calling for some quite delicate isolated dotted half notes. ... custom where more beautifully than in mea¬ designed for sures 274-282, where a quiet piano The driving finale, marked Allegro every size tremolo casts a dark gleam over the appassionato, returns the clarinet to the and model whole. Throughout the movement, the fore. Again the second theme is allotted clarinet case clarinet contribution is paramount. to solo clarinet; warm and jaunty, it con¬ featuring The mellifluous scherzo features the trasts well with the propulsive main ease of A clarinet (the others call for B'' clarinet) theme, without diminishing the move¬ transport, amidst effective and conversational scor¬ ment's momentum in the least (see multiple ing; the trio offers still another fine mel¬ Example 5). pockets, waterproof nylon shell and, of course ... our state-of-the-art 4 layer insulating protection Most of the following 30 bars are introduced the section melodically, over given to the clarinet, rhapsodiz¬ a remarkable pianistic haze produced 3003 Arapahoe St., # 221C Denver, Colorado 80205 Voice 303.291.0658 e-mail [email protected] ing on elements of the theme. initially through rhythms of nine over Fax 303.744.1434 web www. altieribags. com There are too many other fine clar¬ eleven (in cut time), it joins the bassoon inet passages to even begin to mention in octaves to provide, from within the in the space remaining, but special note wide-ranging piano part, an affably pom¬ should be taken of the way in which pous sound suited admirably to the fes¬ Rubinstein exploits the chalumeau reg¬ tive quality of much of the movement New Music ister in the coda. After the clarinet has (see Example 6). for clarinet For clarinet quintet (2 clarinets, basset horn or alto clarinet and 2 bass clarinets) etc. Peter Escher (*1915): Clarinet quintet, op. 152 Hans Peter Graf (*1954): Five music pieces, op. 164 Orchestral clarinetists are discover¬ Philharmonic. Horia Andreescu (Marco Polo 8.223320); Slovak For wind quintet State Philharmonic. Barry Kolman (Centaur CRC 2185) ing much in Rubinstein's scores, Eroica Fantasia, Op. 110: Slovak Radio Symphony, Rob¬ (flute, oboe, clarinet, horn, bassoon) both through recordings and in increas¬ ert Stankovsky (Marco Polo 8.223576). Hans Peter Graf: ingly frequent live performances. Cham¬ Faust: (With Symphony No. 5; Marco Polo 8.223320). Divertissement, op. 108 ber clarinetists are not entirely bereft, Quintet, Op. 55: Alexei Nasedkin. Ensemble (Russian Disc 11061). For soprano, clarinet and organ however, as I hope to have suggested. If 0m, Op, 9; No imwding psenfly avsilebl# in Nenh this article has served to stimulate further Peter Escher: interest in this still too neglected music, Psalm 93, op. 136, 3 or to engender fresh performances, it Peter Escher: About the Writer... will have realized its intentions amply. Lullaby, op. 136, 1 Justin E.A. Busch is a composer and writer residing in Hamilton, Ontario, List of editions available upon request Selected Discography Canada. Among his works are several Piano Concerto No. 4 in d minor. Op. 70: Shura Cher- Musikverlag G. Aegler giving prominence to the clarinet. He is kassky. Royal Philharmonic. Vladimir Ashkenazy (Decca 448 presently pursuing a Ph.D. in philoso¬ CH-3762 Erlenbaeh i.S. 063-2); Alexander Paley. State Symphony. Igor Golovchin (Russian Disc 11 360); Oleg Marshev, Artur Rubinstein Phil¬ phy at McMaster University, as well as Phone/Fax 001141 33 681 16 65 harmonic. Ilya Stupel (Danacord 411) working on a book-length examination Symphony No. 5 in g minor. Op. 107: George Enescu State of Anton Rubinstein's concerted works. Page 50 The Clarinet Southern Music REEDS Alexander Superial (5) $9.25 Vandoren Traditional (10) $11.95 Company Alexander Superial DC (10) $18.50 Vandoren V-12 (10) $15.95 Rico (10) $6.50 Vandoren Black Master (10) $15.95 Rico Royal (10) $8.25 Vandoren Hand Select (10) $23.95 Publishers and Distributors Rico Grand Concert (5) $5.95 Regal Queen (10) $11.95 of Music for Rico Grand Concert Thick(5) $7.25 Zonda (5) $7.95 La Voz (10) $9.95 Fibracell Synthetic (ea.) $6.75 Band, Chorus, Orchestra, Mitchell Lurie (10) $12.50 Bari Synthetic (ea.) $6.75 and Instrumental Mitchell Lurie Premium (5) $6.25 Bari Star Synthetic (ea.) $9.95 Solos & Ensembles I Vandoren $7.50 Vandoren Reed Resurfacer $14.95 VISIT US Selmer (Holds 5) $29.95 Silk Swabs $9.95 ON THE WEB! Selmer (Holds"! 0) $35.50 Vandoren Reed Trimmer $49.50 http://www.southernmusic.coiii Gennusa $57.95 Vandoren B-45 $51.95 ❖ ❖ ❖ ❖ Eddie Daniels $68.95 Vandoren M-13 $54.95 Southern Music Company Gigliotti $89.95 Vandoren 5 RV Lyre $51.95 P.O. Box 329 CASES & COVERS San Antonio, Texas 78292 Pro Tec Clarinet Case $53.95 Olathe Clarinet Carry All $59.95 210-226-8167 Pro Tec Double Clarinet Case $79.95 Cavallaro Case Cover $52.00 Fax 210-223-4537 Toil-Free 800-284-5443 J. L. Smith & Co. 1-800-822-2157 e-mail: CRAFTSMEN & MERCHANTS [email protected] Charlotte, NC Fratelli PATRICOLA s.n.c. Via Magenta, 10 - P.O. Box 50 15053 Castelnuovo Scrivia (AL) - ITALIA Telephone+39 131 826616 - Fax+39 131 823231 [email protected] http://web.tin.it/patricola SALE POINTS: The WOODWIND & The BRASSWIND 19880 State Line Road South Bend. Indiana 46637 Telephone (800) 348-5003 (USA ONLY) Telephone (219) 272-8266 - Fax (219) 277-2542 CHARLES BAY WOODWIND PRODUCTS P.O. BOX 3935-C Westlake Village, CA 91359 Telephone (805) 497-8161 - Fax (805) 497-8208 MUNCY WINDS P.O. BOX 1274 Boone, NC 28607 Telephone (800) 333-6415 - Fax (704) 963-8990 INTERNATIONAL MUSICAL SUPPLIERS inc. P.O. BOX 1122 3 Des Plaines, IL 60016 Telephone (800) 762-1116 (USA ONLY) Telephone (847) 827-0707 - Fax (847) 827-9092 Td obtain the tultlress of our sales points nearest to you write to Patricola Brothers July/August 1998 Page 51 Eric Hoeprich 'erview Eric Hoeprich: I think study at university, but I never intended that this has happened to become a professional clarinet play¬ through experiments er. My plan was to study philosophy, that were made in the which I did at Harvard University, and 1960s in performing then go to law school. But when I ar¬ music of the Baroque rived there at the age of 17, Frans Briig¬ era. The first perfor¬ gen was on the faculty as a visiting pro¬ mances (under the di¬ fessor, so I had the opportunity to meet rection of people like and study with him, which was, I sup¬ Gustav Leonhardt and pose, a sort of turning point for me. My Nicholas Hamoncourt) interest and excitement about "early mu¬ of the Bach cantatas sic" grew when I attended his seminar and passions led to a on performance practice, and I realized new and fresh view of that this path would probably satisfy this music, and one that both my scholarly and musical interests. seemed to be closer to At that time I decided to come to Eu¬ by Luigi Magistrelli the composer's ideas. It was only a mat¬ ter of time before the same approach rope to study further with him, which I did with recorder, because there was no After his early meeting with Frans would be applied to later repertoire. By Briiggen, Eric Hoeprich took over the end of the 18th century, the clarinet idea at the time that eventually the early the early music movement becom¬ had found a secure place among the in¬ clarinet would be of interest. So I stud¬ ing one of the best specialists on the early struments of the orchestra, and in cham¬ ied recorder, which I don't regret as it clarinet, "trying to find the real meaning ber music as well. So I think using peri¬ was a way to learn about 18th-century of the music through solid philological cri¬ od clarinets to play this music was a na¬ performance practice, which I was later teria..." Hoeprich was a performer at the tural development from the "early days" able to use while playing period clarinet. 1998 ClarinetFest in Columbus and he per¬ of Leonhard and Hamoncourt. When I When I studied the recorder I learned forms often as a soloist and in various first began to play early clarinets, it was about 18th-century musical ideas, style, chamber ensembles. He is a professor at quite an exciting time as it was the last articulation, phrasing and how different the Royal Conservatory of Music in The of the wind instruments to become part this was compared to the modern ap¬ Hague, The Netherlands, and resides in of the scene. It was necessary to find proach to music. So when I began to Amsterdam. His cover article, "The Ear¬ good instruments either to play or to play early clarinets, I could use many liest Paintings of the Clarinet," appeared in copy, and to discover all the aspects of of these ideas. the July/August 1996 issue of The Clarinet. playing technique. For the most part, LM: Did you ever perform professionally much of this has now been worked out, on the modern clarinet as well? Luigi Magistrelli: Mr. Hoeprich, we all but there is still a lot to do. For one thing, EH: No, I never performed profession¬ know that you are one of the most qual¬ now there is great interest in 19th-centu¬ ally on the modern clarinet, but I have ified experts on performance practice of ry repertoire, and I think it's fair to say played concerts on modem clarinets re¬ the 18th century on early clarinets. Can that the clarinet was perhaps the most cently for historical reasons, such as per¬ you tell us why in the last few decades important wind instrument during the there has been a sort of increase in inter¬ 19th century, with many important pie¬ forming the Brahms sonatas on clarinets est about performances based on philo¬ ces written for it. and it held a prominent by Ottensteiner, who made Miihlfeld's logical criteria using early instruments, place in the orchestra's wind section. clarinets, as well the Saint-Saens Sonata copies or originals? Why did it happen? LM: How did you approach the historical on an early Buffet-Crampon clarinet Why this awareness of rediscovering the clarinets, and how was your musical with a crystal mouthpiece like Perier charming world of different timbres and education? would have used. This together with a dynamic contrasts through the use of his¬ EH: I played the modem French clarinet period piano makes these pieces sound torical instruments? from the age of 8 until I left home to quite differently. Page 52 The Clarinet LM: You have been performing with the ces very much, I miss something be¬ Orchestra of the 18th Century con¬ cause it is a sort of imitation, but still ducted by Briiggen for many years; better than nothing! how was it founded, and what about LM: Some eminent clarinetists don't Furthering its present activity? approve so much of the performan¬ EH: When the Orchestra of the 18th ces on early clarinets because they Century was founded by Frans Briig¬ claim that it is so difficult to repro¬ the Art gen, his idea was to bring together duce the same performing conditions specialists from all over the world of 200 years ago on present copies ■e^>- two or three times a year for projects or on original clarinets with no ap¬ beginning with rehearsals in Amster¬ propriate mouthpieces. Also, they A Jupiter Commitment dam, followed by a tour. All the peo¬ say that at those times they played ple he asked he already knew from using the reversed position of the his own travels and concerts, so he reed. What can you tell them about had a good idea that these people this point? would work well together. At the EH: First of all, there is a lot of evidence time he started the Orchestra I was to show that the two reed positions living in Holland and, of course, I existed side by side in the Classical was very excited when he asked me era. I think it would be very interest¬ to play, beginning already with the ing if someone were to develop the orchestra's second tour back in the technique of playing with the reed on early 1980s. The current activities top, but I don't think it is a central of the orchestra follow the current point. Additionally, there is a great trends in the early music scene with deal of material relating to playing the a lot of 19th-century repertoire. We early clarinet, so I don't understand just did a tour with Mendelssohn's this objection that we cannot know Midsummer Night's Dream, and this how the clarinets sounded in the 18th month (November 1997) we will and 19th centuries. So I don't really have a project with Kent Nagano as understand these objections to period conductor playing Beethoven, Men¬ clarinets, as I believe a good perfor¬ delssohn and Schumann. mance on such instruments can enrich LM: In what way can it be possible, in everybody's understanding of this your opinion, to perform thinking music. I think it is wonderful that so about philological criteria but using many great players play the Mozart modern instruments? Concerto on the normal modem clar¬ EH: That's a very good question. I re¬ inet. You choose your instrument and cently heard a concert played by the it becomes a part of you and your ex¬ Chamber Orchestra of Europe, which pression. I would never say to modem is a very good modem instruments clarinet players that it is not "true" group. They work a lot with Abbado what you are doing, and I hope they and Harnoncourt, and through this would not say this to me. and listening a lot to recordings and LM: We know that you have a personal concerts on period instruments they collection of early clarinets, both cop¬ have a good sense of style, articula¬ ies and originals; could you tell us tion, phrasing, color, etc. When they how many and which are the most play Haydn, Mozart and Beethoven, precious clarinets that you have? they use natural trumpets and old EH: I guess I have about 50 period box¬ timpani and the effect is quite stun¬ wood clarinets. The most precious is ning, plus you have the greater relia¬ the A. Grenser B^, made ca. 1785, and bility of modem instruments; howev¬ a very interesting basset hom made er, I don't think they would play so by Raimund Griesbacher, a Viennese The Jupiter Model 93 IN well or so interestingly if we had not maker, that is virtually identical to the Parisienne Artist Bt> Clarinet done all the work in the first place to basset homs of Theodor Lotz. Gries¬ determine what this music sounds bacher was also a clarinet player and like on instruments from the time of performed at Esterhazy under Haydn. ESJUPITER CLARINETS the great Viennese school. Person¬ There is a clear connection between PO Box 90249 • Austin, TX 78709-0249 ally, although I like these performan¬ these instruments and the circle of July/August 1998 Page 53 Mozart, Stadler and Lotz. Another inter¬ the 18th century. What fun it must have with Musica Antique Koln on DGG, esting clarinet I have is a set by Gries- been for them as well to write for, play Weber Grand Duo on EMI, Stadler trios sling and Schlott, who were makers in and manufacture this unique clarinet. with Mozart basset horn music on Berlin and made clarinets for Heinrich And really, no one of them could have Philips and Schubert Octet on Harmo- Baermann. done it without the other. As for the bas¬ nia Mundi. Upcoming recording pro¬ LM: Do you think that it is more impor¬ set clarinet itself, I believe in the end jects include the three Mozart quartet tant to perform on an original histori¬ there were probably only the two instru¬ arrangements for clarinet and string cal clarinet or on a very good copy? ments that Lotz made for Stadler, in B'' trio, more basset horn trios (this time on EH: This is a kind of philosophical ques¬ and in A. There was probably great a set of original Lotz basset horns) and tion. If you play on a good original, interest in the instrument. We know that the Brahms sonatas on a copy of Miihl- such as my August Grenser clarinet, I Scholl, who took over the Lotz work¬ feld's Ottensteiner clarinets. I have orig¬ guess you can say this is truly authen¬ shop, claimed to make basset clarinets, inal Ottensteiner clarinets, but they are a tic. But we have to remember that these though none survives, and also Bac- bit used up. I will also record the Weber instruments are 200 years old and that kofen writes about it in his Anwei- concertos next year. all the wind players at that time were sung... But I must say, as someone who LM: Could you make a comparison be¬ playing on instruments that were rela¬ has played the basset clarinet a great tween a performance on early clarinets tively new. There is a difference in how deal, it is difficult to play and to carry and one on modern clarinets? Which a new and old instrument feels and around, so it's understandable that the aspects would you notice considering reacts. The wood can get tired after a idea did not catch on. Furthermore, one and the other? long time, and also there is the danger after 1800 composers' interest grew in EH: If we take, for instance, a performance of the instrument cracking. So, origi¬ the other direction, i.e., the clarinet's of the Mozart Clarinet Quintet on mod¬ nals or copies — both are fine as long extreme high range rather than the low em versus period instruments, there are as they are good instruments. range. Just look at the compositions of vast differences in the effect the two LM: Do you play with an original mouth¬ Weber and Spohr, for example. In the will produce. I do not want to judge one piece as well ? end it was enough just to be able to play as being inherently better than the other, EH: Yes, I do. I have quite a few original to a low E! but I do think I can get closer to what I mouthpieces. I have seen many outside LM: Which are the most important trea¬ feel might have been the intention of of these as well and can say there is a tises you would recommend in order to Mozart in composing the piece with large variation in design. The differen¬ be aware of some fundamental philo¬ period instruments. Obviously, the level ces in mouthpieces today are nothing logical rules? of artistry must be very high no matter compared to the variety that was played EH: The Methode of Xavier Lefevre creat¬ which instruments are being used. But on around 1800. Back then there was ed for the Conservatoire of Paris is the the instruments lend themselves to a not as much communication and there best source for playing the clarinet of certain kind of playing. Modem instru¬ was no standard, so the players just the late 18th century, and one should be ments are built to be strong in volume learned to do their best with what was sure to get the facsimile published by and brilliant in sound. This can make it available to them. Minkoff. The Backofen treatise is also difficult to create a blended sound in LM: Could you explain to us, if you have a useful, and A1 Rice has made a useful Mozart, where the balance doesn't nec¬ theory, why that after Mozart wrote his compilation of fingering charts in a very essarily come with its cross-fingerings concerto, and a very few others (Siiss- interesting article for the Galpin Soci¬ and uneven color over the entire range, mayr's Concerto movement, Paer's aria ety Journal. For performance practice together with the lower tension strings from Sargino with basset clarinet ob- the best sources remain the Quantz and using gut strings creates a very different bligato, and a cadenza, perhaps added Leopold Mozart treatises. effect. The blend is easier to make and by Stadler in a Kozeluch Concerto in LM: Talking about chamber music, which the instruments don't fight each other. B^), the basset clarinet was nevermore are the groups you have at the present LM: Besides your concert activities, do considered by any other composer? in which you are performing the most? you also have a teaching activity? If so, Could you give us some more informa¬ EH: For winds this would be the wind where? tion about this instrument which inspired sextet "Nachtmusik" and "Stadler Trio" EH: Yes, I teach in Holland at the Royal Mozart for his masterpieces ? with three basset horns. But I also play Conservatory of Music in The Hague EH: My feeling is that the Clarinet Con¬ regularly with various string quartets and and at the Conservatoire of Paris. certo, Kv. 622 was a sort of combined with fortepiano. LM: Are there some particular composi¬ effort of the trio of Mozart, Stadler and LM: Could you make us a short list of tions which are part of an unknown Lotz. The three are inextricably bound your past solo recordings and the ones repertory for clarinet, in the solo and together through not only this work, but you plan to make in the future? chamber music fields, that you would other compositions, instrument-making EH: The most important recordings are the suggest that we should reevaluate? activities. Freemasonry, and generally Mozart Concerto and Quintet with the EH: One of my favorite underrated com¬ being part of the same circles in Vien¬ "Orchestra of the 18th Century" for Phil¬ posers is Franz Krommer. He wrote a nese musical life in the last decades of ips, Telemann Chalumeau Concerto number of works for clarinet solo, wind Page 54 The Clarinet ensemble, clarinet with string trio and Clarinet Recordings string quartets, etc. Other underrated THE VERDEHR TRIO: Elsa Ludewig Verdehr, Clarinet; Walter Verdehr, Vio¬ composers include Hummel, J.C. Bach, lin; Gary Kirkpatrick, Piano: The Making of a Medium. Six CDs in this continu¬ Danzi, Reicha, all the anonymous Har- ing series of exciting new works. CD741: Hovhaness, Lake Samish; Bartok, Contrasts; moniemusik, and much music for chalu- Pasatieri, Theatrepieces; Mozart, Trio in D; Frescobaldi Canzoni. CD742: Rorem, End of Sum¬ mer; Musgrave, Pierrot; T.C. David, Schubertiade; Vanhal, Trio; Liszt, Hung. Rhapsody. CD743: meau which is rarely performed. Schuller, A Trio Setting; Averitt, Tripartita; Currier, Adagio & Variations. CD744: Dickinson, Hymns, LM: In what way would you recommend Rags and Blues; Husa, Sonata a tre; Freund, Triomusic; Niblock, Trio. CD745: Arutiunian, Suite; Schickele, Serenade; that students approach early clarinets? Sculthorpe, Dream Tracks; David, Triple Concerto (with the Tonkiinstler Orchestra). CD746: Diamond, Trio & Violin So¬ nata No. 2; Sculthorpe, Night Song; Corigliano, Violin Sonata. EH: They should start by playing classical TRIO INDIANA: James Campbell, Eli Eban, Howard Klug, Clarinets — CD734 clarinet with five keys, trying to get one i Jean-Michel Defaye, Six Pieces D'Audition; Peter Schickele, Dances for Three; from a good maker by testing different Gary Kulesha, Political Implications (with David Shea, clarinet, assisting artist); ones and choosing the one they like. Michael Kibbe, Ebony Suite; Frederick Fox, Time Weaving. Trio Indiana is the clarinet faculty at the Indiana University School of Music. Each of the three is a Then it would be a good idea to take a world-renowned soloist and chamber musician. week or more away from the modern MOONFLOWERS, BABY! Jonathan Cohler, Clarinet — CD733. Hindemith, clarinet and study some pieces by Le- Clarinet Sonata; Honegger, Sonatina; Francaix, Theme & Variations; Vaughan fevre, a Stamitz concerto or simple pie¬ Williams, Six Studies in English Folksong; Milhaud, Duo Concertant & Caprice; Bozza, Pulcinella; Kupferman, Moonflowers, Baby! with Judith Gordon, piano. ces by Mozart to see if they enjoy it. If Jonathan Cohler has "playing of real distinction" (BBC Music Magazine), and not, there is always plenty to do on the "superlative technique and consistently lovely tone" (Fanfare Magazine) modem clarinets! MICHAEL EDWARDS, CLARINET — CD735. Sonatas for Clarinet & Piano by Camille Saint-Saens, Paul Ladmirault, and Bruno Bjelinski. Sonatina by Bohuslav Martinu; Solo de Concours by Henri Rabaud. with Timothy Bach, Piano. Michael About the Interviewer... Edwards has been in the Montreal Symphony, principal clarinet with the Cana¬ dian Chamber Ensemble, and soloist at the Orford and Stratford Festivals.. Luigi Magistrelli is a frequent contrib¬ OTHER CLARINET RECORDINGS: Larry Combs: Rochberg, Schuller, Rosza (cass C731 only); James Campbell: Reicha, utor to The Clarinet. He has recorded five Francaix (cass C732 only). Also many more clarinet and woodwind ensemble recordings; Send for free catalog. CDs as a soloist and is presently professor CD signifies compact disc ($16.95); C signifies cassette ($10.98) of clarinet at the Conservatory of Milan. FREE CD or cassette with each purchase of three: for each four ordered, omit payment for lowest-priced one (mention this ad). Check, VISA, MC. Add $2.00 per order US shipping; $6. foreign He also performed at the 1998 Clarinet- CRYSTAL® RECORDS, 28818 NE Hancock, Camas, WA 98607, phone 360-834-7022, fax (24 hrs) 360-834-9680 Fest in Columbus . Dreaming of a handmade clarinet? djb We '11 make it for you ! d0.£^OSSL CLARINETMAKER t GUILLERMO FRANKE 2390, NUNOA, SANTIAGO 11, CHILE, FAX (562) 274 31 70 £ July/August 1998 Page 55 The history of the clarinet in Brazil could be confused with that from other countries except for the fact that a clarinet school didn't exist in Brazil before 1920. At that time all of our pro¬ fessional clarinet players came from army bands, and they joined symphony orches¬ tras without any previous preparation. And most of them came from wind bands from small cities. At that time most of the orchestra mu¬ sicians came from other countries for only by Fernando Jose Silveira one season and then they left Brazil and returned home. We've had several good During this period we had few profes¬ Choro is a type of instrumental music musicians that have taken lessons with sionals playing classical music. Most of based on the samba. All popular musi¬ clarinet players from those countries, and, those clarinet players worked in popular cians must play choro if they hope to get since that time, we've started to learn music doubling on saxophones. some jobs. All choro music was very dif¬ more about clarinet and about music. In the beginning of the '40s, the Bra¬ ficult, and, as they said, "Only the best We've had big names like Caruso who zilian Symphony Orchestra was founded, player can play choro." Choro is for the have sung in opera houses here, and for which is today one of the best private sym¬ Brazilian people like jazz is for the Amer¬ that reason, having to play with such big phony orchestras in Brazil. The name of icans. The choro, together with the wind names, the quality of Brazilian musicians Jayoleno dos Santos is associated with this bands, was the main reason for the popu¬ has improved. era as he was the principal clarinet of the larity of the clarinet at that time. Brazilian Symphony until he retired. He Another big name is Jose Botelho who had also been the clarinet professor at Rio is Brazilian but had studied in Portugal. de Janeiro University for 35 years. He was He came back to Brazil in 1952 and today perhaps the most significant teacher of he is the most famous clarinet player in that era, and he had played with the most Brazil. For 30 years he played most of the important Brazilian composers. premieres of the best Brazilian compo¬ Santos was the teacher of our best clar¬ sers, such as Villa-Lobos, Guarniere, Car¬ inet players, such as Jose de Freitas (prin¬ los Gomes, Oswaldo Lacerda, et al. Sev¬ cipal clarinet of the Brazilian Symphony eral clarinet concertos were written for and professor of the Rio de Janeiro Fed¬ him, such as the Concertino by Francisco eral University) and Luis Gonzaga Car- Mignone, as well as solo pieces and a lot of chamber music. Botelho was the principal neiro (principal clarinet of the Brasilia clarinet of the Gazeta Radio Symphony, Rio Symphony and retired professor of the de Janeiro Municipal Theater Symphony, Brasilia University). Brazilian Symphony and National Sym¬ At that time all the people said that it phony. Now he is retired and is the clarinet was very difficult to get clarinet materials professor of the Rio de Janeiro University. in Brazil. We didn't have shops to buy Nowadays we have a lot of fine players reeds, mouthpieces and instruments, and playing and teaching in Brazil and abroad; none of the clarinet players had A clar¬ for instance, Jose de Freitas (Rio de Jan¬ inets. All of them had full-Boehm clar¬ Fernando Jose Silveira eiro), Jose Botelho (Rio de Janeiro), Ser¬ inets (with low E'') and transposed the A gio Burgani (Sao Paulo), Ricardo Freire clarinet part. Mr. Santos played the entire The first big name and maybe the most (Brasilia), Pedro Robatto (Bahia), Paulo Mozart Concerto on the B'' clarinet! Can significant clarinet player we had in Rio Sergio Santos (Rio de Janeiro), Maurmcio you believe that? de Janeiro at that time was Antco Soares. Loureiro (Minas Gerais), Cristiano Alves We also had "big bands," and, of course, Mr. Soares has been, for years, principal (Rio de Janeiro), and many more. We also clarinet for the Rio de Janeiro Municipal great clarinet players playing in them, the have the Brazilian Clarinet Ensemble and Theater Symphony Orchestra. Musicians best known being Severino Araujo. He the "Sujeito a Guincho" quartet that was from that time remember his beautiful founded the "Tabajara" Orchestra, and its present at the last ClarinetFest in Lubbock. tone and accurate technique. He was also repertoire was based on American orches¬ We are still alive, working to develop the first clarinet professor of the music tras' hits, such as sambas and choro. the clarinet, and, what is more important, school of the University of Brazil (current¬ In the field of Brazilian popular music trying to survive during the time of the ly the School of Music of Rio de Janeiro we had Abel Ferreira who was the most synthesizer. It is not easy to be a musician Federal University). significant clarinet player playing "choro." in Brazil where, sometimes, we have to Page 56 The Clarinet (standing, l-r) tm Fernando FHREDV SAM I Silveira, Cristiano Alves, A Simple Solution to a Complex Mauricio Problem Loureiro; (seated l-r) Jose Botelho, Take weight off of your thumb. Jose de Freitas (photo by Concentrate on music, not your pain. Ana Siqueim) Have longer, more productive practice. Prevent injury due to overuse. Standing with a FRHED & SAM I deal with a lot of social problems, and cul¬ cussions about our problems and, the main ture has to wait. reason of the Association, give the clarinet In the area of clarinet repertoire we the prominence it deserves. have a lot of clarinet concertos, chamber Seated using ft?P music and popular music to be played, a FHRED ***" About the Writer... and much of that music could be com¬ pared with the most important clarinet Fernando Jose Silveira was bom in Rio music and should be included in the de Janeiro, Brazil, in 1970. He received the repertoire of all fine clarinet players. bachelor's degree in clarinet from the Rio Since 1996 we have had an association de Janeiro Federal University where he is called the Brazilian Clarinet Association. presently completing his master's degree. Since it was founded we have gotten to He won several contests in Brazil and he ! Standing know more and more people who play and has played as a soloist with the best orches¬ with a love the clarinet. Like the International Clar¬ tras in Brazil. As a chamber and orchestra FHRED, inet Association, we've had an annual player he has played in the United States SAMI and meeting where we can attend recitals, mas¬ and Europe. Neckstrap Y ter classes, discussion meetings and breathe He is currently the principal clarinet with clarinet all the time. For me, the Associa¬ the National Symphony Orchestra in Rio de Recommended by professional tion was the best thing that has happened in Janeiro, a position he has held since 1993 musicians and physicians for the last 10 years, and now, with the help of succeeding Jose Botelho. He also presently the Association, we can learn more about serves as the professor of chamber music at practice and performance. clarinet, stimulate our students, have dis¬ the Rio de Janeiro Federal University. For clarinet, basset horn, soprano saxophone, oboe, english horn, oboe d'amore, BRANNEN WOODWINDS bass oboe. Expert Repairing Our Specialty Call 1-800-59-FHRED or visit ourweb site Over 45 Years Experience http://www.quodlibet.com Visa Available in several models and 8:30-4:30 Tuesday, Thursday & Friday price ranges. iO day return if not fully satisfied. 908 Hinman Avenue Quodlibet® Inc. Tel: (303) 779-3083 Evanston, IL 60202 PO. Box 3780 Fax: (303)779-4571 Englewood;CO 80155-3780 (847) 866-7576 e-mail [email protected] Quodlibet,mark of Quodlibet FHRED Inc. are registered trademarks and SAMI is a trade¬ July/August 1998 Page 57 who had learned to play a couple of pieces solo pieces. In 1792 I became manager of from his father but who did not know how the regiment music, not even 17 years old, Edited by to write. Young Wester and I agreed that I and the same year was offered a position would teach him to write, while he would in the Royal Orchestra by Abbe Vogler, Brent Coppenbarger teach me to play his pieces, and within a who was especially good to me. The fol¬ short time I had managed, on an old clar¬ lowing year I also accepted a position as The music of Bemhard Henrik Cru- inet of birch with only two keys, to play sell (1775-1838) is becoming in¬ first clarinet player at the then Duke's Re¬ not only these pieces, but also all those I creasingly popular. Most of his gent Band, that position I left, however, could sing. This attracted a certain atten¬ works are currently published. Crusell after a couple of years. tion and Captain Armfelt, mentioned wrote two autobiographies; the shorter of I began more and more to discover how above, who in January 1788 went to Svea- the two, written in first person, is presented much artistic education I still lacked, and borg, suggested that I follow him there. here. I would like to thank Britt Marie my warmest wish was to go to Berlin for We arrived at parade time and after the Moxness for translating the old Swedish instruction on my instrument by the, at the Captain, who had entered the officer's into English. The following translation at¬ time, widely well-known virtuoso, Tausch room to greet his former fellow soldiers, tempts to stay as closely as possible to the the master. Fortunately, such an occasion had told me to come in, I grabbed hold of original syntax. (See also Pamela Western's arose when, in the spring of 1798,1 received the first clarinet I was given and with fro¬ "An Assessment of Crusell the Man," The a free trip to Berlin where I, for seven zen fingers, but with boldness you usually Clarinet, November/December 1994. Ed.) months, received lessons with Tausch, have when you are 12 years old — I have whom I paid with the proceeds from a con¬ never thereafter, when I performed in pub¬ cert I gave in October the same year in Ber¬ Bernhard Henrik Crusell's lic, been less afraid than then — I now lin. After that I left with the famous court played all the pieces I knew. Major O. Autobiography singer Hurka from Prussia, also well-known (Announced by the Royal Library: Wallenstjerna then immediately offered composer and executor, for Hamburg, and A.I. Arvidsson) me a position as a volunteer in the Queen there together we gave two concerts, after Mother's Regiment. I considered myself A few biographical notes about myself which I returned to my fatherland. extremely lucky and Captain Armfelt also I have the honor to give here: The following year I married Anna agreed, after Wallenstjerna promised that I Sofia Klemming. This marriage has been I was born in 1775, October 15, in would be taken care of in his home; this Nystad, Finland. My father was the book¬ promise he also kept. A short time there¬ blessed with six children, with three still binder there, Jacob Crusell, and my moth¬ after the war with Russia broke out. My currently living. er was Margareta Elisabeth Messman. new benefactor was ordered with part of In 1801 I was elected a member of the Already in my tender childhood I seemed the regiment to sea in the Iwar Benlos, and Royal Musical Academy. In 1803, in the to have shown an extraordinary love for at my urgent request I was allowed to spring, the French minister at the Swedish music, but the small town didn't offer any accompany him and took part in several court at that time, Mr. Bourgoing, a noble opportunity to either hear or learn music. small encounters during that year's naval and brilliant man, invited me to go with My parents' poverty prevented them also campaign. During the fall Major Wallen¬ him on a free trip to Paris, where he had from being able to give me other educa¬ stjerna once again was called in for duty at been called back. I gratefully accepted the tion. From my mother I, however, learned Sveaborg, and I stayed with him until he, offer, of course, and have every reason to to read. When I was 8 years old, I moved in 1791, was sent to that battalion of the consider this the happiest occasion of my with my mother to Nurmjervi county in same regiment which was stationed in artistic life, because at court secretary Bour- Nyland. In the neighborhood lived a Cap¬ Stockholm, where, to my great delight, I going's house I had an opportunity to get tain Armfelt, for whom I sometimes ran was allowed to accompany him. to know several of the most excellent writ¬ errands. From his childrens' tutor I bor¬ Now a new opportunity arose. From a ers and artists in France. I now seriously rowed a guide book, from which I myself violinist, Boritz, I learned notes and at the started to study composition, first with Ber- learned to write. In the next village there Royal Secretary Fjellman's house, where ton and then with Gossec, who in the lived a clarinet player, Wester, in Nyland's once a week amateur concerts were per¬ capacity of inspector of the Music Regiment. He had a son the same age as I formed, I had a chance to practice small Conservatory had given me permission to Page 58 The Clarinet take advantage of lessons during the win¬ agree with a publisher about their printing. Addner, who for the time being, busy in St. ter in this splendid educational institution, In 1818 1 was given the position of mu¬ Petersburg, is the most famous. even though I was a foreigner. I was also sic director of both Royal Life-Grenadier Stockholm, November 6th, 1837. offered a position in the Italian Theater Regiments, this position I still have, during Bernhard Henrik Crusell Orchestra as first clarinet player and in a three- to four-month stay in the summer the so-called Concert Spirituel. But as my in Linkoping. In 1823 a pension fund for leave of absence was at an end with the the musicians widow and children was About the Writer... month of October, I decided to go to founded with the help of proceeds from Brent Coppenbarger teaches woodwinds Carlsruhe, where the previous king. Gust. concerts, which are given yearly in Sep¬ at both North Greenville College in Tiger- Adolph was at the time, to get permission tember. The capital is, at the present time, ville. South Carolina, and Erskine College to return to Paris and stay there until next about 10,000 rix bank dollars. in Due West, SC. He received his Doctor of spring; this, however, was denied. Never¬ In 1822 I went on a trip to Carlsbad Musical Arts degree in clarinet performance theless to alleviate the tough refusal, I was together with my friend, professor Ber- from the University of Wisconsin-Madison told by the king to let the court hear me in School of Music, where he studied with a couple of days, where the Elector of Ba¬ zelius. During our stay in Dresden I had varia and his wife recently had arrived. I the pleasure to daily be together with the Glenn Bowen. His former teachers include was lucky to win approval, and after the well educated composer C.M. von Weber. Clark Brody, Roger Coppenbarger, Russ concert the old Elector of Baden gave me In 1833 I resigned from the Royal Dagon, Anita Gariott, Robert Marcellus a very beautiful box made of gold as a gift. Orchestra due to weakened health, which and Walter Wollwage. Coppenbarger's pub¬ I was ordered to hastily return to Stock¬ ever since my youth had been frail and lished compositions have appeared on the holm, and as a result my studies in Paris, which mainly had prevented me from Wisconsin School Music Association's solo unfortunately, were cut short. being more industrious concerning the art and ensemble contest list and have received The following years I was kept busy I loved so deeply, and which had formed favorable reviews in The Musical Times with compositions during the free mo¬ half my life. I have, however, been fortu¬ magazine and The Clarinet. His edition of ments my duties in the orchestra gave me, nate enough to be able to train several the Crusell Clarinet Concerto No.l is pub¬ and in 1811 I made a trip to Leipzig to pupils for my instrument — among them lished by Musica Rara. July/August 1998 Page 59 Some career highlights: 1960 — Toured New Zealand with the Oscar Peterson Trio. 1962-1964 — Led his own septet on national television. 1963 — Musical director of TV special filmed in Hawaii. 1967 — Represented Australia at EXPO' in Montreal, Canada and took part in the world's first satellite telecast. 1970 — Musical director of Australian contingent to Osaka, Japan. 1971 — First Australian group to win a gold record. 1972 — Awarded M.B.E. in Queen's Birthday Honors List for service to by Neville Thomas music (the first jazz musician to be so honored). It is my pleasure in this report to high¬ with the school band. Don First Australian to be invited to light our doyen of single reeds in OZ V studies the geographical lay¬ appear at the Montreux Festival, — Don Burrows. Besides being known out of an area and sets up Switzerland. as our best and greatest clarinetist in all plans to bring children from far- First Australian to be invited to fields, Don Burrows is also our Wynton flung tiny communities into these larger Newport Festival (performed in Marsalis, helping and guiding young talent centers for a week of full-scale music ex¬ Carnegie Hall). on all instruments throughout all of Aus¬ perience, workshops, clinics and rehear¬ 1973 — Established Australia's first jazz tralia. Our muso with a mission. sals. A full-scale concert is held at week's studies program (headed by Howie Don Burrows travels widely through¬ end attended by a very large audience, Smith) at NSW State Conservatorium out the "outback" of Australia, covering which comes from far and wide to witness of Music. such a special event. 1974 — Won Australian Radio Record By also displaying an exhibition of his Award. own black-and-white photography, Don en¬ Toured Southeast Asia (Japan, courages the children to participate with Malaysia, Singapore, Philippines, him with their own drawings, paintings or etc.) for the Department of Foreign photographs. Affairs. When Don encounters a child with out¬ 1975 — Guest lecturer at National Flute standing natural ability, either musically Convention at Indiana University. or artistically, he does all he can to aid in 1976 — Another Gold Record the continuation of their studies, and he be¬ 1976 — Toured South Korea as musical comes a contact or conduit for them in the director for major TV production. major cities. Appeared in concerts and broad¬ Many of the smaller places Don visits, casts in New Zealand. or has the children bussed in from, possess Toured outback Australia for unusual names, including Arkaroola, Ne- Musica Viva and the ABC. pabunna, Wirrealpa, Quorn, Parachilna, 1977 —Appeared as co-soloist with Marree, Orroroo, Enngonia, Weilmorin- Dizzy Gillespie in special concert in gle, Woorabinda, Tilba Tilba, Coober Melbourne. Pedy, Andamooka, Wanaanng, Dimboola, Toured Brazil as guest of Brazilian Warracknabeal, Croajingalingalong, Gun- Government. Don Burrows, A.O., M.B.E. dagai, Dunnedoo, Woy Woy and many, Awarded Queen Elizabeth Jubilee many, many more. Medal for services to music. thousands of kilometers, taking music and Born in Sydney, Don's career has First jazz musician to be awarded a the visual arts to children far removed spanned 55 years, having turned profes¬ Creative Arts Fellowship by the from big city access to such activities. In sional at 14. He has worked in every facet Australian National University. many of the remote spots the children are of music: nightclubs, dance halls, jazz Toured Australia with Stephane entirely self-taught; others receive an oc¬ clubs, opera houses, theaters, festivals, Grappelli and recorded an album casional lesson on their instrument over ships, radio, television, films and teaching with him. the telephone or radio. — covering every part of Australia and 1978 — Toured Egypt, Iraq, France, Italy, Larger country towns usually have a many parts of the world as a concert and Switzerland, Germany and Holland dedicated teacher or two doing great work recording artist. for Department of Foreign Affairs. Page 60 The Clarinet Toured far northwest of Australia "Don Burrows Supper Club" 1987 — Honored by the Australian for Arts Council. Represented Australia at "8th Festi¬ Government and the Queen with the Toured nationally with "The val of Asian Arts" in Hong Kong. insignia of an Officer in the General Brazilian Connection" with Octavio 1984 — Appeared at Perth Festival with Division of the Order of Australia (AO). Burnier and Claudio Cartier. Gismonte and Vasconcelos. Invited to Yugoslavia, Germany, 1979 — Toured every part of Australia, Invited to address General Assem¬ Holland, etc., as player and delegate. including Arnhem Land, Groote bly of International Jazz Federation April, two concerts in the Sydney Eylandt, far west New South Wales, (UNESCO) in Sweden. During this Opera House with Sydney Symphony Gippsland and North Queensland for visit was elected to the board of the Orchestra. Musica Viva. International Jazz Federation. Don Banks - "Nexus" Toured Australia with American Visited Hungary and Netherlands. 1988 — Named as "National Living singer Blossom Dearie. Each year since 1982 Don has Treasure." hosted his own Jazz Series, "The Toured Australia and recorded with Major concert for 80,000 people — Burrows Collection," on ABC "Jazz in the Domain" in Sydney. Brazilian guitarist Luiz Bonfa. Television (National). Toured Europe and Asia with the 1980 — Represented Australia at Jazz 1985 — Toured extensively throughout "Australian Jazz Orchestra." Yatra, Bombay, followed by extensive Australia with his own group and as Toured Australia with own Quintet. tour of India. guest soloist with top Dutch group. 1989 — Toured Australia for Musica Viva. Took over as chairman. Dept. of The Chris Hinze Combination. (Perth Numerous school workshops Jazz Studies at NSW State Conserva- Festival, Melbourne Festival included). throughout Australia. torium of Music. Appeared on a number of concerts 1990 — Toured New Zealand. National 1981 — Represented Australia at the with American jazz star Lee Konitz. Living Treasure Program by the NZ Hong Kong festival. 1986 — Appeared with visiting Government. 1982 — Toured most states of Australia Canadian jazz stars Oliver Jones, Conducted school workshops for Musica Viva. Awarded "King of Fraser Macpherson, etc. throughout Australia. Jazz" trophy in Melbourne. Fronted a further extended season National tour for Musica Viva. 1983 — First to take a jazz group to of "The Burrows Collection." Released Babinda Trilogy, a major appear in concerts in the Peoples' Voted "Jazz Reed Instrumentalist" three-CD set of duets, with string Republic of China. for 1986 by Jazz Action Society of orchestra and quintet. Regent Hotel (Sydney) named new NSW. This award was sponsored by 1991 — Toured New Zealand with the jazz venue. Selmer of Paris. Quartet. Reeds Australia Producers of Quality Reeds Vintage • 'Vintage XL (new!) Fax: Int +61 8 8333 2108 http://www.reedsaus.com.au Recommended by leading performers worldwide! Distributed in the USA by: Yamaha Corporation of America Band and Orchestral Division UK Distributor: Leed Representation Fax: Int +44 124 337 8057 email: [email protected] July/August 1998 Page 61 Conducted school workshops Program. A major five-year project Some of Don's Recordings: throughout Australia. teaching young musicians throughout The Jazz Sounds of the Don Burrows National tour with the Quintet. Australia in disadvantaged areas. Quartet Toured Western Australia for Toured to New Zealand. Just the Beginning Musica Viva. Photographic exhibitions at selected Live at Montreux Toured Queensland for Musica Viva. galleries throughout Australia. D.B.Q. at the Sydney Opera House Started Portland Education 1996 — Toured to China with the Port¬ The New Don Burrows Quintet Program. land School band. Duo 1992 — Played all major jazz festivals Conducted school workshops The Tasinan Connection throughout Australia. throughout Australia. Steph 'n Us (with Stephan Grappelli) Conducted school workshops New "Don Burrows Supper Club" Bonfa - Burrows - Brazil throughout Australia. opened at the Park Royal Manly This Time Tassie Toured all states of Australia. Pacific. Sara Dane Toured with the Quartet to Hong Photographic exhibitions at selected Burrows' Jazz Brothers Kong, China, Malaysia, Singapore galleries throughout Australia. Burrows at the Winery and the Philippines. Toured to Victoria, Western Jazz at the Opera House Released a five-CD set of recordings Australia, Queensland and Tasmania. Flute Salad (with Chris Hinzej with the ABC, The First 50 Years. 1997 — Conducted school workshops The Babinda Trilogy (A three-CD set Toured Western Australia for throughout Australia. of duos with strings and with quintet) Musica Viva. Photographic exhibitions at selected The First 50 Years (A five-CD set of Concert with Cleo Laine. galleries throughout Australia. recordings) 1993 — Toured to Cuba. Toured with the Tasmania Sym¬ Generations, with Portland Secondary Conducted school workshops phony Orchestra. College with Bob Barnard & Nina Ferro throughout Australia. A national Capital City tour with Don Burrows Quintet, Recorded live Toured all states of Australia. the quartet. Toured to China (Beijing and in Shanghai, China. Played all major jazz festivals in Shanghai). Julie Anthony and The Don Burrows Australia. Toured Northern New South Wales. Quartet Concert with James Morrison in the Another tour to China. Don Burrows Best, ABC Sydney Opera House. Recorded a CD with Julie Anthony. The Brazilian Connection with Octavio 1998 — Named again as a "National 1994 — Toured to China for the Burnier and Claudio Cartier. Living Treasure" in the Australia Shanghai International Jazz Festival. People with whom Don has worked Day List. Toured to Beijing and Hong Kong. include: Oscar Peterson, Dizzy Gillespie, Conducted school workshops Buddy Rich, The Sydney String Quartet, At Present: throughout Australia. Mel Torme, The Carl Pini String Quartet, Conducting national school workshops 1995 — Toured all states of Australia. Frank Sinatra, The Sydney Wind Quintet, throughout Australia. Conducted school workshops Tony Bennett, Cleo Laine, Nat King Cole, Touring Australia. throughout Australia. Julie Anthony, Johnny Hartman, Bud Shank, Visiting New Zealand. Toured USA with Pembroke Don Costa, Kate Ceberano, The Sydney An overseas tour with the Quartet. College. Symphony Orchestra, Gary Burton, James A National Tour of Australia for SOCOG Toured China and Hong Kong. Morrison, Charlie Byrd, Ronnie Scott, Started National Creative Fellowship for the Olympic Games Committee. Stephane Grappelli, Claudio Cartier, Bob Barnard, Octavio Burnier, Grace Knight, Buddy DeFranco, The SBS Orchestra, Fiji Kitamura, Paul Grabowski, George Golla, Chris Hinze, Johnny Nicol, Julian Lee and We Carry NEW & USED: many others. Selmer Buffet Leblanc Don's clarinet is a Buffet R13 (pur¬ Profesional and Student Clarinets chased 1972). His mouthpiece is a very *Other Makes Also Available old Meyer t-medium and his reeds are '"Full Line of Accessories Australian-Vintage, 2 1/2, made by Reeds '"Highest Quality BAY Products Australia. And so until next time. Professional Repair & Restoration Cheers Unique Personal Attention Hooroo Phone 212-730-1569 Nev 7017th Ave. (Entrance on 47th St.), New York, NY 10036 E-mail: Page 62 The Clarinet Visit the iNTERNATIOlNrAL WHO DO I CONTACT? CLAKnNTET . Association <0- Send all articles, recital programs, orders for back issues, announcements on the and any other non-commercial items intended for publication in World Wide Web: The Clarinet to: www.clarinet.org 1 James Gillespie, Editor/Publisher College of Music, University of North Texas • Denton, Texas 76203-136/ JAZZ COLUMNIST NEEDED The Clarinet is currently seeking someone to cover Send all inquiries about advertising in The Clarinet to: the jazz clarinet scene. The position's responsibili¬ ties include writing two jazz clarinet-related arti¬ Gary Whitman, Advertising Manager cles each year and reviewing jazz recordings. Appli¬ cants should have a special interest in and knowl¬ Department of Music, Texas Christian University edge of jazz and jazz clarinetists, be able to write well, and meet deadlines. P.O. Box 29/500 • Fort Worth, Texas /6129 Interested applicants should send a brief resume emphasizing the jazz aspect of their qualifications to: -v- Send all printed materials (music, books, etc.) intended for review in James Gillespie, Editor The Clarinet The Clarinet to: College of Music, University of North Texas Denton, Texas 76203-1367 Joseph Messenger, Editor of Reviews Fax: 940/565-2002 e-mail: ■0- Send all recordings intended for review in The Clarinet to: QUESTIONS ABOUT YOUR MEMBERSHIP? William Nichols, Audio Review Editor PROBLEMS WITH School of Music, Northeast Louisiana University MISSED MAGAZINES? ADDRESS HAS Monroe, Louisiana /1209-0250 CHANGED? ❖ Send changes of address, inquiries about I.C.A.. membership, missing Contact: Elena Lence Talley, issues, etc., to: I.C.A. Membership Coordinator Elena Lence Talley, i.CA Membership Coordinator P.O. Box 7683, Shawnee Mission, KS 66207-0683 P.O. Box 7683 * Shawnee Mission, Kansas 6620/-0683 Phone/Fax: (913) 268-3064 Third Generation of Tfie Clarinet DEG AccuBore PUBLICATION SCHEDULE Clarinet Tuning Barrels The magazine is usually now available at your local music store. mailed during the last week of February, May, July and "These new barrels will improve November. Delivery time within any clarinet." - Eddie Daniels North America is normally 10—14 DEG Music Products, Inc. days, while airmail delivery time P.O. Box 968 • Lake Geneva, Wl 53147 USA 414-248-8314 • FAX 414-248-7953 • 1-800-558-9416 outside North America is 7-10 days. July/August 1998 Page 63 The J.S. Bach transcription comprises Compact Disc Reviews nine variations chosen among the 30 Gold¬ by Annand Ferland berg Variations: three groups of three con¬ Reviews trasting variations beginning and ending FOURtissimo / The Bremen Clarinet with the Quodlibet (variation 30). Some of Quartet. Allan Ware, clarinet and E'' the better moments on this disc are to be clarinet; Martin Kratzsch, clarinet, found here. The two Canons (at the third bass clarinet and basset horn; Christian and at the seventh) are good examples. Like Dawid, clarinet and bass clarinet; Bar¬ much of Bach's music, the Goldberg Vari¬ bara Rossler, clarinet and E'' clarinet. ations transcribe very well. Bach, who also Ferenc Farkas: Antique Hungarian Dan¬ allowed his own compositions to be re- ces:; Christian Dawid: Tango ...! and instrumented, would surely nod his agree¬ Klezmeriana; J.S. Bach: From the Gold¬ ment in this case. berg Variations (arr. C. Dawid); Paul The first selection on the disc, Farkas' Three Klezmer tunes, followed by three McCartney: Honey Pie (arr. C. Dawid); Antique Hungarian Dances, sounds won¬ hits from European popular music dating and three hit tunes arranged by C. Da¬ derfully well. Indeed, it was a minute or so back 75 years or so but still providing wid: Comedian Harmonists. CNS RE¬ before this reviewer realized that he was not pleasant listening, and Paul McCartney's CORDS LC 6259. Total time 59:43. listening to bona fide Renaissance music, Honey Pie complete this astoundingly var¬ (U.S. distributor: Simmons, 310 Farley but to a transcription of the well-known ied program for clarinet quartet. Place, Fayetteville, NC 28303. Manu¬ 20th-century composition for woodwind On a single CD such a combination of facturer address: Zionskirchstrasse 33, quintet performed on four modem clari¬ wildly differing musical styles is not only 10119 Berlin, Germany) nets. Very good sound recording, excellent questionable, but would also seem some¬ clarinet sound, fine playing! what risky if not slightly foolhardy from a The instrumental quality is quite constant purely stylistic viewpoint. Surprisingly all throughout the recording, and the listener is selections, from Bach to McCartney, sound not aware of the frequent changes players natural and convincing even though there must make from one instrument to another. are spots where a less boisterous style One of the players does stand out however, (Bach: Fughetta) or more finesse in the for his arrangements: Christian Dawid. Of phrasing and dynamics (Bach: Variation 22) the six main selections on this disc, five could be considered. were arranged by him. The remaining sel¬ I hasten to add, however, that if the ection, Farkas' Antique Hungarian Dances, members of the Bremen Clarinet Quartet is the only one which was actually written wished to show the stylistic possibilities of for clarinet quartet by the composer — al¬ a modern clarinet quartet, they have beit as the result of an after-thought, the emphatically and clearly proven their original being scored for woodwind quin¬ point. At the same time they have shown tet. Special mention is made of Dawid's their many technical and interpretative While woodwind ensembles of all de¬ writing because of the excellent quality of qualities, individually and as a group. scriptions began to proliferate in the 18th his work. Whether he is arranging Argen¬ Many selections require much technical century, surprisingly it is well into the tinian tangos, Baroque or Klezmer music, skill as well as intelligent and delicate 1900s that the clarinet quartet came into his work sounds authentic, imaginative, na¬ ensemble playing; all require in-depth being. Even today this combination re¬ tural and musically satisfying. practical knowledge of performance prac¬ Tango, for example, is actually a suite of mains rather unusual except for the many tices, and much flexibility — mental and five movements taken from five different student and amateur groups who perform physical — to cope successfully with so pieces in the style of "Tango Nuovo." In together in order to gain experience and many diverging styles. The challenge is mood, the movements are worlds apart from proficiency on their instruments or for the well met; the entire CD is musically inter¬ each other, but all preserve the characteristic esting and performed with conviction, pro¬ sheer pleasure of playing music together. sensuous and expressive style of the tango. Nevertheless, the clarinet quartet pos¬ fessionalism and humor. This recording is This arrangement is one of the highlights of a must for all clarinet quartet lovers. sesses the most distinctive sound possibil¬ this CD. It sounds so natural with clarinets ities of any woodwind ensemble and is — a tribute to the players as well — that capable of dazzling virtuosity as well as even a most purist tango lover would proba¬ by Michele Gingras deep musical expression throughout the bly not miss the bandoneon. Not that an imi¬ compass of the modern orchestra. FOUR¬ tation of the bandoneon is here suggested, Street Song — Mike Curtis Klezmer tissimo well exemplifies what a profes¬ nor, even less, that it is deemed desirable. As Quartet. Mike Curtis, clarinet, sopra¬ sional clarinet quartet can achieve from in all successful arrangements and transcrip¬ no saxophone and tarogato; Dave Les¬ musical and technical points of view, and tions, the essence of the music remains; lie, keyboards and accordion; Dan Scol- illustrates its capabilities in a great variety only the means of communicating the musi¬ lard, electric bass; Dave Storrs, drums. of musical styles. cal message differs. Repertoire: Russian Sher\ Hey Judah; Page 64 The Clarinet Troublesome Freyladr, Rumanian Horn, with slower sections. I'm assuming this The last selection, Galician Sher/Yikhes, Chusidl, and Bui gar, Kasimierz', Shver version is intended for the concert stage typically shifts from a slow to a fast tune, un Shviger Tanz\ Alcazaba; Frex lacks because of these cadenza-like sections with Curtis' quartet mixing the ethnic and fun der Khupe', Kostakowsky Freyladr, which preclude dancing. modem styles back and forth. Street Song; Kostakowsky Bulgar; Pianist/accordionist Dave Leslie also Klezmer enthusiasts come in many A Klezmer Wedding; Bei Mir Bistu contributes several compositions such as shapes and forms. Some prefer to recapture Sheitr, Galician Sher/Yikhes. LOUIE the lively Troublesome Freylach (trouble¬ the traditional sounds of the early "master- RECORDS (no catalog number). Total some happy song). The meditative Ruman¬ klezmorim," such as Tarras and Brand- time 62:22. (distributed by Sher Music ian Hora gives away to a Chusidl and a wein, while others choose to experiment, /tel. 1-800-444-7437) faster Bulgar. It is played on the tarogato (a mixing the old and the new, and still others Hungarian wooden conical single-reed in¬ take klezmer into the 21 st century to roads strument). I was surprised to hear how sim¬ yet unpaved. Street Song is a mix of all the ilar the sounds of the tarogato and soprano above, plus more. saxophone came out on the recording. Ka¬ simierz, composed by Dave Leslie features by Edwin Riley the accordion, one of my favorite mediums for klezmer music. A poignant tune, played Recital for Two Clarinets and Piano — with smooth angst. Shver un Shviger Tanz, Pieces of Italian Composers. Luigi is the kind of piece that inevitably gets you Magistrelli, clarinets and basset horn; on your feet and lifts your heart and spirit. Laura Magistrelli, clarinet; Sumiko Hojo, Mike Curtis plays gently, with a sweet piano. Gregorio Sciroli: Sonata for clar¬ sound and clear articulation. His ornamen¬ inet and basso contimw, Gaetano Don¬ tation is sparse, letting the melody take izetti: Studio for clarinet alone', Giu¬ front stage. Alcazaba, written by Curtis and seppe Donizetti: Sonata for two clar¬ inets', Amilcare Ponchielli: II Convegno Since the klezmer revival movement Leslie, blends the Sephardic and Spanish for two clarinets and piano', Nino Rota: began in the mid-70s, it's been thriving sounds. The use of an electric bass and pi¬ Sonata for clarinet and piano, and Five more than ever with bands sprouting out ano gives it a Chick Corea feel and defi¬ Pieces for clarinet and piano\ Ferruc- everywhere, along with klezmer "kamps" nitely modernizes the sound to the point of departing from klezmer if only for a mo¬ cio Busoni: Andante con motofor clar¬ and workshops, concerts and CD releases, inet andpiamr, Riccardo Dionisi: Mono- not to mention the mandatory klezmer ment. The same can be said for Freylachs fun der Khupe, a traditional tune played in dia for clarinet alone', Stefano Laz- dance band at a traditional "bar mitzvah." zoni: Aforismi for clarinet alone. PON- Clarinetist Mike Curtis and his quartet are the style of funk, jazz and everything in between. Kostakowsky Freylach (Mr. Kos¬ GO CLASSICA PCD 2021. Total time veteran "klezmorim" and have been the talk 70:32. (no U.S. distributor located / takowsky's happy song) returns to the tra¬ of the Great Northwest for the last 15 years. Pongo Edizione Musicale, Milano- ditional style of dance music and features Klezmer music defines itself as being the Parigi, Italy. Tel. 0331-833019) folk repertoire of the Yiddish-speaking mu¬ Curtis on the soprano saxophone. sicians who played for celebrations at wed¬ The album's title song. Street Song, is in Recital for 2 clarinets and piano dings and other life-cycle events for Jewish a traditional Hora rhythm, a dance in three, Pieces of Italian composers communities in Europe. In America, klez¬ where the second beat is slightly displaced mer musicians were involved in playing in comparison to the waltz. Its original Yid¬ swing and jazz, and consequently there is dish title, Des Gasn Nign, is a popular wed¬ cross fertilization in the American expres¬ ding processional. Kostakowsky Bulgar is sions of these repertoires in the U.S. Mike an uplifting polka-like dance featuring Cur¬ Curtis follows this idea of merging the old tis on saxophone. At nearly seven minutes, with the new, mixing the soulful expres¬ Curtis' A Klezmer Wedding is the longest siveness of Eastern European folk melodies piece on the recording. In a typical medley with the energy of Dixieland jazz and mod¬ klezmer style, it starts with an improvi¬ em synthesized music. satory slow meditation usually called a J2uigi and J2aura Magistrelli, clarinets c Doyna, shifts to a three-beat dance, fol¬ Sumiko cHojo,c piano Street Song starts off with one of the <3ciroli ^Donizetii - Ponchielli - 7io{a ■ basoni - Zionist - J^ozzoni most popular Yiddish dances, Russian Sher lowed by various two-beat dances. Curtis is or "scissors dance" (like a square dance). at his best here and we finally get to hear This CD is a most unusual presentation Although I prefer a rendition with a little him krecht (a moan or soar imitating the of three works for clarinet alone by more chutzpa the long clarinet solo has a Cantor's voice in prayer). Bei Mir Bistu Gaetano Donizetti, Dionisi and Lazzoni; charm of its own. Hey Judah is one of the Shein (You are Beautiful) is a favorite Yid¬ four works for clarinet and piano, one by many compositions by Mike Curtis on dish tune where Curtis slips into his jazz¬ Sciroli, two by Rota, and one by Busoni; this album. It features the clarinet on a man's outfit and trades improv solos with one duet for clarinets by Giuseppe Don¬ wonderful tune in three beats interspersed pianist Dave Leslie, ending in a fade out. izetti; and one duet for two clarinets and July/August 1998 Page 65 piano by Ponchielli. The Five Pieces of Italian composer. The slow movement is ness: Night of a White Cat, Henrique Rota and the Busoni piece are for clarinet aria-like and especially beautiful. The Five Raxach: Chimaenv, Gerald Glynn: Whir¬ in C. Additionally Aforismi by Lazzoni is Pieces by Rota was originally written for ligig and Gorlywhorl. HEL MUSIC in three movements with each movement flute and transcribed here by Luigi Ma¬ 001. Total time 56:23. (available from for a different clarinet: basset horn, A gistrelli for C clarinet. Mr. Magistrelli's Dom Publications, Medfield, MA and clarinet and B'' clarinet. playing on a C clarinet (Zalud Theresine- Luyben Music, Kansas City, MO in the Gregorio Sciroli (1733-1781) is the ear¬ Mueller system) is especially mellow, and U.S. / Crowthers Woodwind, 10 Long- liest of these Italian composers; Gaetano these character pieces are exceptionally port, Canterbury CT1 PE, England / The Donizetti (1797-1848) is the most famous, effective with the supporting playing of Australian Music Centre, PO N690 a well-known opera composer. Giuseppe Sumiko Hojo. Grosvenor PL NSW 1220) Donizetti (1802-1856) was his younger The three-movement Sonata for two brother. Amilcare Ponchielli is also known clarinets by Giuseppe Donizetti is again a as an opera composer and teacher of Puccini virtuoso work for both parts. The playing by and Mascagni. Nino Rota (1911-1979) was both Magistrellis is outstanding. The An¬ a film composer associated with Fellini. dante con moto for C clarinet by Busoni is a Ferruccio Busoni (1866-1924) was a high¬ delightful lyrical short piece which once ly regarded composer, theorist, teacher and again shows off Mr. Magistrelli's beautiful €l€$©g$©@ pianist, and known to clarinetists for his C clarinet playing. The Monodia for clarinet Concertino. Riccardo Dionisi (b. 1918) alone by Riccardo Dionisi is played by taught composition at the Milan Conserva¬ Laura Magistrelli, and her playing is very tory, and Stefano Lazzoni (b. 1960) was one expressive and technically flawless. The last darineU. of his students. piece on the album, Aforismi by Stefano SVimrf Slomie. This is definitely an album which breaks Lazzoni is a serial composition for unac¬ new ground in many ways. Most of the companied clarinet with each of its three pieces are recorded here for the first time, movements based on a portion of Mozart's Quick — think of a big orchestral piece and it includes many works which deserve Requiem. Also, each movement is for a dif¬ with a solo for E'' clarinet. Berlioz' Sym- to be included in the standard repertoire. ferent clarinet: basset horn, A clarinet and B'' phonie fantastique will do. Then think of a Probably the best-known work on this clarinet. Luigi Magistrelli plays very effec¬ composer, Italian by birth now living in recital album is II Convegno, a three- tively, but this is the least accessible compo¬ Australia, who wrote a solo piece for E'' movement show piece for two clarinets sition on initial hearings. It helps to listen to clarinet and dedicated it to Italian clarinet and piano in operatic style, by Ponchielli. the section of the Requiem first and then to virtuoso Ciro Scarponi. That would be It requires virtuoso playing by both clar¬ the movement for clarinet alone. Riccardo Formosa, composer of this al¬ inetists, and Luigi and Laura Magistrelli The instruments are recorded very well bum's title piece Domino. And what does match each other beautifully in sound, overall. The clarinet sound and piano sound Domino have to do with Berlioz' "Wit¬ are very neutral, although there is more re¬ technique and intonation. The perfor¬ ches' sabbath" movement? The answer lies verberation on the recording of both Don¬ mance of this piece alone is worth buying in the references to Berlioz' famous E^ this album. The ensemble with pianist izetti pieces and the Monodia of Dionisi. solo in Domino. At times you can pick out Sumiko Hojo is excellent. Still, the overall ambiance is very pleasing the outline of Berlioz' melody and all the The most impressive new work on the and not distracting to the musical effect. time you hear frenetic trills and grace disc is the three-movement Sonata by This is truly an outstanding album. All notes played in a long-short trochaic rhy¬ Nino Rota. Rota's style is romantic and of the performers, Luigi and Laura Magis¬ thm pattern as in Berlioz' well-known solo. full of striking melodic invention without trelli and Sumiko Hojo, play on a virtuoso Check your dictionary and you will find sounding dated. Luigi Magistrelli's and level and with exceptional ensemble preci¬ that a domino is also a mask, and that is Sumiko Hojo's playing is especially lyri¬ sion and intonation. Most of all they make exactly what Formosa did to Berlioz' mel¬ cal and expressive, and this performance is wonderful music together. I recommend ody in Domino. Domino is brilliantly played one of the highlights of the album. Also this album very highly to all clarinetists, by Australian Roslyn Dunlop in her first impressive is the Studio for clarinet alone especially those who want to hear Italian solo CD. by Gaetano Donizetti (the famous one). repertoire played in a bel canto style. This combination of elements, an Ital¬ This is one of the most impressive early ian/Australian composer writing a virtu¬ unaccompanied works that this reviewer by Gregory Barrett oso piece for a European clarinetist, is rep¬ has heard, and the virtuoso performance resentative of the formula for this wide- by Laura Magistrelli is very exciting. Domino. Roslyn Dunlop, clarinets; David ranging CD. Four Australian composers The other works for clarinet and piano Howie, piano. Riccardo Formosa: Dom¬ are represented, three of whom studied with besides Rota's Sonata include the three- ino; Gerard Brophy: Twist, Harrison major Europeans, including Kagel, Dona- movement Sonata by G. Sciroli. It is only Birtwistle: Verses; Dulcie Holland: Dia¬ toni and Messiaen. The other four com¬ recently published by Schott, and it is one logue /, Dialogue //, and Ballade', David posers live in Britain, Sweden, the United of a very few early clarinet sonatas by an Sandstrom: Close to... ; Alan Hovha- States and The Netherlands. Dedicatees of Page 66 The Clarinet the recorded works include clarinet luminaries Alan Hacker, Kjell-Inge Stevensson, Mats Persson, the Klarinettenduo Koln of David Smyers and Beate Zelinsky, Harry Sparnaay and the We Can above-mentioned Scarponi. Ms. Dunlop plays EK BK A and bass clarinets. Four of the selections are unaccompanied, one is with tape and the remain¬ Make Such ing six are with piano played by David Howie, a member of the accompaniment staff of the Sydney Conservatorium of Music where Ms. Dunlop is a lecturer. The connection to Berlioz is not the only relation masked in this CD. Australian Gerard Brophy's Twist for solo bass clarinet is an appealing work that concentrates on a concise rhythmic motive through repetition with interjected roulades that recall Stravinsky's bass clarinet in The Rite of Spring. Australian-born Gerald Glynn is a former student of Messiaen and now lives in Paris. His virtuosic and rhapsodic Whirligig for solo B^ clarinet inconspicuously quotes the descending large intervals found in Messiaen's Abtmme des oiseaux. Glynn's companion piece Gorlywhorl for solo A clarinet is slower moving. The remaining Australian composer, Dulcie Holland, is known in Australia for her music theory and harmony textbooks. Her three pieces on this CD are the most conservative and con¬ trast strangely with the other repertoire. These pleasant pieces would be ideal for students or to fill a specific niche on a pro¬ fessional program, but on this CD they seem out of place com¬ pared to the contemporary fireworks of Formosa, Brophy and Glynn that surround them. Ms. Dunlop plays Holland's pieces with conviction and a supported sound that unfortunately suffers in quality and pitch when she tries to push her reed too far. The modernist vein is also represented with Henrique Rax- ach's Chimaera for bass clarinet and tape. The mythological fire-breathing monster is represented here with a thick wall of sustained low pitches on the tape that act as a background for the bass clarinet to grow and at times from which to growl. Ms. Dunlop's bass clarinet playing is wonderful as she handles all of the necessary altissimo, multiphonic and slap tongue tech¬ niques required. At nine minutes, this is the longest piece on the CD and through the tape's slow-moving changes has a hyp¬ notic effect. I will not reveal what is the surprise ending to this piece. You must hear it for yourself! Harrison Birtwistle is well-known as a composer but did you know he used to play the clarinet? His Verses, from 1965, were composed for Alan Hacker and to this open-minded lis¬ For The Most tener proved a challenge. The eight miniature movements that Discriminating Clarinetists... comprise Verses are introspective and without much contrast or Select from five beautiful precision-ground facings. movement. Some may find this music restful or intriguing, but • P-close tip-long curve, use #41/2 or heavy reeds I found it austere and unmoving. The remaining two works, Alan Hovhaness' Night of a White Cat and Sven-David Sand- • P34-close tip-shorter curve, use #4 or #41/2 reeds strom's Close to..., while meditative, have a more appealing • #2-medium close, use #4 or #3/2 reeds sound world. Hovhaness' work for clarinet and piano blends • #3-niedium, use #31/2 or #3 reeds his gift for long melodic line with the exotic sound of a game- • #4-open, for jazz player or doubler Ian suggested by the piano. Sandstrom's Close to ..., also for Mouthpiece available in A440 and A442 clarinet and piano, uses the piano as a pitch collector and res¬ Telephone/Fax (609) 667-0837 onator as the keys of its lowest two octaves are held in a depressed position for the duration of the work. This effect is clearly heard on the CD. Ms. Dunlop and pianist David Howie . r/l.M. Gmliotti Inc. integrate their parts extremely well, though I wished for greater sensitivity to intonation from Ms. Dunlop. P.O. Box 8387 • Cherry Hill, NJ 08002-0387 July/August 1998 Page 67 This CD contains some pieces that are Saudade; Carey/Fisher: You 've Changed; woodwind doubler by his peers in the winners: Twist, Close to ..., Night of a Cahn/Styne: It's You or No One!; J. Man- National Academy of Recording Arts and White Cat, Chimaera, Whirligig, Gorly- del: El Cajon; A. Clausen: Good Bud¬ Sciences. Terry's amazing virtuosity on whorl and Domino. The Birtwistle may be dies; T. Peterson: Not Without You; Weill/ vibes, guitar, piano, bass and drums is for some tastes and the Holland works are Anderson: Lover Man; B. Goodman: showcased on It's You or No One, the pleasant alternatives to standard recital Rachel's Dream. MILAGRO 867-530-9. Benny Goodman classic Rachel's Dream fare. Ms. Dunlop is at her best on the bass Total time 69:56. (available from Milagro and his tribute to Alf Clausan, Benny and El' clarinets, and in the most technically Records, 5058 Princess Anne Road, La Goodman and Buddy DeFranco, Good Bud¬ demanding repertoire such as Whirligig Canana Flintridge, CA 91011) dies. As impressive as these sequenced and Domino. The recorded sound is fine, tracks are, it is the clarinet and tenor play¬ though the ambiance of the recorded sound ing that really shine. An alumnus of changes with the varying instrumentation numerous big bands (Count Basie, Louis and repertoire. Bellson, Buddy Rich, Bill Holman Doc Severinson and Quincy Jones), Terry has by Randy Salman also worked with many of the great enter¬ tainers including Sinatra, Peggy Lee, Comin' Atcha. Terry Harrington, clarinet, Sarah Vaughn, Bennett, Torme and Strei¬ tenor sax, vibes, guitar, piano, bass and sand. His tenor playing, reflecting both drums; George Gaffney or Bill Cunliff, his Detroit roots and acknowledged early piano; Tom Warrington, bass; John Perett influences Sonny Rollins, Cannonball Ad- or Paul Kreibich or Bob Leatherbarrow, derley and Phil Woods, reminds me at times drums; John Chiodini, guitar; Jim Fox, of Pete Christlieb. This funky, blues-dri¬ acoustic guitar; George Bohanon, trom¬ ven playing is heard to advantage on the bone. C. Walton: Bolivia; Ranger/Robin: Terry Harrington, a native of Detroit, swinging renditions of Cedar Walton's If I Should Lose You; Bernie/Pink- has built a solid track record as a studio Bolivia, Sweet Georgia Brown and Terry's ard/Casey: Sweet Georgia Brown; C. musician in the highly competitive L.A. original, Walkin' da Rail. Nice contrast is Walton: Midnight Waltz; T. Harrington: environment, having been nominated offered on the sensitive reading of the bal¬ Walkin' de Rail; C. Jobim: Chega de three consecutive years as most valuable lad You've Changed. And you thought our selection and service were OUR PRICES For the ARE MAGIC TOO! world's largest selection of woodwind TOLL FREE l»800»348»5003 instruments and accessories, ready LOCAL l*219*272*8266 for immediate delivery.... Call us today for %Wt0ODWIM special prices or a free catalog. the Woodwind & the Brasswind We perform...so you can perform! 19880 State Line Rd. South Bend, IN 46637 Page 68 The Clarinet Mr. Harrington considers his main in¬ strument to be clarinet, and it is easy to understand why. He learned the instrument The Virtual Accompanist at age 11, studying with Jack Teagarden Ready, willing, and able to rehearse when YOU want to! alumnus Leo Marchioni, and then later • Piano Accompaniments for Solos from the Standard Repertoire with Albert Luconi, who had been princi¬ • All works performed from standard editions pal clarinetist with Toscanini in the NBC • Available in MIDI file or audio cassette format Symphony. He displays a very warm, flex¬ • Makes practicing more productive and enjoyable ible sound that is consistent throughout the NOW AVAILABLE AS MIDI FILES! entire range of the instrument, with impec¬ SEND FOR OUR FREE CATALOG! cable intonation. He contributes fine musi¬ cal statements throughout this excellent John DeWitt Music 20 Nevinwood Place, Huntington Station, NY 11746 USA recording. Particularly noteworthy are his Phone/FAX 516.271.5742 http://www.netcom.com/~dewmusic performances on the standards It's You or No One and If I Should Lose You, along with the Jobim Bossa Nova Chega de Sau- dade. A highlight of the CD is his gorgeous Carry It All In One Bag! interpretation of Lover Man. One can hear Cany your instrument, music and accessories the influence of modem players like Eddie in this very durable cordura nylon bag. The Daniels in Terry's concept; however, it is inside is lined with sheepskin to protect your certainly no mere imitation. As a clarinet¬ clarinet. A large music compartment will hold ist, he offers us an original musical voice orchestra folder, oversized music, even that is both passionate and precise. All par¬ a folding music stand. Also has removable ticipants contribute admirable solo state¬ shoulder strap. Available in black, gray, ments, with particular honors to longtime burgundy and navy. Sarah Vaughn accompanist George Gaffney. Bt> Clarinet Bag $72 Sharing frontline duties with Terry is B'-ZA Clarinet Bag $85 Olathe Band Instrument trombonist George Bohanon. Bohanon's (+4.95 for shipping) 13260 Lakeshore • Olathe, Kansas 66061 subtle performance on You've Changed, MasterCard & Visa Accepted FAX (913) 764-5967 • Phone (913) 764-4159 along with his Ellingtonish harmonization with Terry's clarinet on Cedar Walton's Midnight Waltz offer but two examples of his splendid musicianship. The rhythm FINE WIND INSTRUMENTS sections provide solid support throughout NEW, bus also USED and VINTAGE: this highly recommended recording. There is something here for everyone. Repro¬ duction is excellent. restored in our workshops to Correction: On page 78 (last line on "better than new" condition. the page) in the May/June 1998 issue (Vol. 25, No. 3), an incorrect address was indicated for ordering Ramon Ki- WICHITA BAND INSTRUMENT CO. reilis' compact disc, American Clar¬ inet. The correct address should have 2525 East Douglas Avenue appeared as Castle Rock, CO (not CA) Wichita, Kansas 76211 80104-9578. We regret the typo. Ed. (800) 835-3006 (316) 684-0291 FAX: (316) 684-6858 E-Mail: [email protected] UP-TO-DATE CATALOG OF EVERYTHING World Wide Web: NOW AVAILABLE ON OUR WEB SITE: www.clarinet.org www.wichitaband.conn July/August 1998 Page 69 RECITALS M CONCERTS Heather Jean, clarinet. Master's Reci¬ Etudes on Themes of Gershwin, Harvey; Student... tal, Ohio University, May 31, 1998. Three Dance Preludes, Lutoslawski; Konzertstiick The After Hours Clarinet Choir, Steve Pieces, Stravinsky; Concerto, Copland; Son¬ No. 2, Op. 114, Mendelssohn Prescott, director, Edwin Riley, guest solo¬ ata, Poulenc; Der Hirt auf dem Felsen, Kristi Waiste, clarinet. Student Recital, ist, Indiana State University, April 9, 1998. Schubert; Deux Preludes, Husa University of Alaska, February 19, 1998. Passacaglia, Gee; Concertino for Clarinet, Andrea Leising-Bitunjac, clarinet. Concerto, Englund; Contemplation for Tartini/Jacob; Toccata and Fugue in D Mi¬ Senior Recital, University of Nebraska- Clarinet and Piano, Menendez; Sonatina nor, Bach (trans. Curry) Lincoln, April 9, 1998. Concerto, Finzi; for Clarinet and Piano, Op. 29, Arnold Kyle Bedford and Robyn Srejma, clari¬ Pocket-Size Sonata No. 2, Templeton; Vo¬ nets, Duo Student Recital, Oklahoma City calise, Rachmaninoff/Drucker; Variations Faculty and Professional... University, March 24, 1998. Bouree for sur un Air du Pays d'Oc, Cahuzac Wind Quintet, Colomer; Sonata for Clar¬ Midwest ClariFest, University of Ne¬ Christopher Ayer, clarinet. Eastern New inet and Piano, Bernstein; Dance Preludes, braska-Lincoln, Studio Recital (Todd Alva, Mexico University, March 3, 1998. Dance Lutoslawski; Introduction, Theme and Var¬ Sally Braun, Erica Corwin, Jeni Gossard, Preludes, Lutoslawski; For an Actor: Mon¬ iations, Rossini; Sonata for Clarinet and Michelle Hall, Andrea Leising-Bitunjac ologue, Ran; Sonata in F Minor, Op. 120, No. 1, Brahms; Sonata, Saint-Saens; Son¬ Piano, Hindemith; Concertpiece No. 2, Op. and Wendy O'Dell, clarinetists), March 13, atina, Arnold 114, Mendelssohn 1998. Sonata, Hindemith; Rhapsody for Diane Cawein, clarinet. Midwest Clari¬ Sally Braun, clarinet, Senior Recital, Solo Clarinet, Osbome; Pocket Size Sonata net Society, January 17, 1998; Ohio Uni¬ University of Nebraska-Lincoln, April 5, No. 2, Templeton; Pastoral, Bliss; Etudes to versity, February 20, 1998; Midwest Clari¬ 1998. Five Bagatelles, Op. 23, Finzi; Etudes Spring, Solomon/Dworkin; Sonatine, Ho¬ Fest, University of Nebraska-Lincoln, to Spring for Clarinet Solo, Solomon/Dwor- negger; Konzertstiicke, Op. 114, No. 2, March 13, 1998. Denneriana, Bloch; Son¬ kin; Seeks homertante duos fitr Klarinette Mendelssohn ata, Poulenc; Morceau de salon. Op. 229, und Fagott, Op. 8, Gebauer; Sonata, Bern¬ Midwest ClariFest Potpourri Recital, Kalliwoda; AI hum leaf Reger; Three Etudes stein University of Nebraska-Lincoln, March on Themes of Gershwin, Harvey; Dante Erica Corwin, clarinet. Senior Recital, 13, 1998, Todd Alva, Teresa Bengtson, Dances, Welcher University of Nebraska-Lincoln, March 10, Sally Braun, Erica Corwin, Jeni Gossard, Linda A. Cionitti, clarinet, Florida State 1998. Introduction und Variationen, Op. Michelle Hall, Erin Hill, Greg Huchko, University, March 23, 1998; Georgia South- 128, Kalliwoda; Phantasiestucke, Op. 73, Andrea Leising-Bitunjac, Wendy O'Dell, em University, March 15, 1998. Sonata for Schumann; Three Etudes on Themes of Tammy Rix, Alethea Vrotsos, Dan Wilson Clarinet and Piano, Op. 129, Stanford; Gershwin, Harvey; Andante et Allegro, and Alaina Wood, UNL clarinetists with Dance Preludes, Lutoslawski; Views of the Chausson festival participants with Diane Cawein, Blues, Lewin (assisted by Frank Kowalski, Jessie Coyle, clarinet. Senior Perfor¬ clarinet choir conductor. Trio, Khacha- FSU and E. Claire Allman, GSU); Sere¬ mance Recital, State University of New turian; Acht Stiicke, Op. 83, Bruch; PraIn¬ nade, Reed; HEXAD, Steinberg; Kalei¬ York, Fredonia School of Music, March 15, dium, Corelli/Skomicka; Prelude and Fu- doscope, Fry 1998. Sonata, Poulenc; Phantasiestucke, guette, Frank; Tarantella, Op. 102, No. 3, East Trio (James East, clarinet, Alexan¬ Op. 73, Schumann; Ahime des Oiseaux, Mendelssohn/Webb; Fugue No. IV from der East, cello, Phyllis East, piano). Mid¬ Messiaen; Grand Duo Concertant, Op. 48, The Art of Fugue, Bach/McKay; Stars and west Clarinet Society, University of Mis¬ Weber Stripes Forever, Sousa/Holcombe souri Kansas City, February 22, 1998. Three Jennifer A. Davis, clarinet. Senior Re¬ Diana Sauer, clarinet. Junior Perfor¬ Pieces, Op. 83, Bruch; Fantasy Trio, Muc¬ cital, Georgia Southern University, April mer's Certificate Recital, State University zynski; Trio, Op. 114, Brahms 26, 1998. Sonatina for Clarinet and Piano, of New York, Fredonia School of Music, Patricia Kostek, clarinet & Mario Es¬ Martinu; Three Pieces for Solo Clarinet, February 20, 1998. Five Bagatelles, Finzi; trada, clarinet, Sarasota Music Archive, Stravinsky; Duo for Flute and Clarinet, Corker for Clarinet and Percussion, Lar- "Music Nearly Lost," Sarasota, Florida, Szalowski; Concerto No. 1 in F Minor, Op. sen; Grafor Clarinet Alone, Carter; Sonata April 9, 1998. Divertimento for Wind Oc¬ 73, Weber in fJ*, Op. 120, No. 2, Brahms tet, Klein Jeni Gossard, clarinet. Shared Sopho¬ Christine Sharpe, clarinet, Master's Re¬ Esther Lamneck, clarinet. New York Uni¬ more Recital, University of Nebraska- cital, Oklahoma City University, April 5, versity, April 14, 1998. Six Sound Sculp¬ Lincoln, March 31, 1998. Sonata in fJ*, Op. 1998. Canzonetta, Op. 19, Pierne; Time tures for clarinet and piano (premiere), 120, No. 2, Brahms; Rhapsody, Osbome Pieces, Muczynski; Rhapsody for Clari¬ (David) Bernstein; Bells of Sarajevo for clar¬ Michelle R. Hall, Master's Recital, Uni¬ net, Osborne; Trio in K. 498, Mozart inet and piano (premiere), Schonthal; Life¬ versity of Nebraska-Lincoln, March 12, Lacey Stokes, clarinet, and Amie Schu- lines for clarinet and tape (premiere), Moss; 1998. Concerto in 1^, Stamitz; Sonata, Stan¬ ler, clarinet. Junior Recital, Ohio Unive¬ Sound Etchings for clarinet solo (pre¬ ford; Sonatine, Honegger; Acht Stiicke, Op. rsity, May 17, 1998. Sonata, Hindemith; miere), Ghezzo; Three American Pieces, 83, Bruch Concerto No. 1 in F Minor, Weber; Three Foss (trans.) Page 70 The Clarinet University of Montevallo Faculty Wood¬ ruary 8, 1998. One of a Kind, Phillips; Son¬ Madsen. With Buenos Aires Quartet, Teatro wind Quintet, Lori Ardovino, clarinet, ata in F Minor, Op. 120, No. 1, Brahms; Oriente, Chile, October 31, 1997. Quintet, March 23, 1998. Blaserquintett g-moll, Peregi Verbunk, Weiner; Sonata, Bern¬ Brahms. Soloist with the Chile Chamber Danzi; Quintet, Piston; Dix-sept Varia¬ stein; Konzertstiick No. 2, Op. 114, Men¬ Orchestra, Las Condes, Santiago, October tions, Damase delssohn 7, 1997. Chalumeau Concerto (D clarinet), Moran Woodwind Quintet, Diane Ca- Luis Rossi, clarinet, master class and Fasch wein, clarinet, University of Nebraska- recital. La Rioja, Spain, March 5, 1998. Lincoln, March 17, 1998. Trois pieces Grand Duo Concertante, Weber; Sara- Programs intended for publication in breves, Ibert; Quintet for Winds, Harbison; bande. Theme and Variations, Hahn; The Clarinet should be sent to the Editor. Kinderspielzeug, Op. 64, Blumer; Missis¬ Tango Etude No. 3, Piazzolla; Soloneiron, To ensure accurate program information, sippi Five, Parker Gandini; Sonata, Poulenc. Master class please send a printed program and a sum¬ Horst Prentki, clarinet. Lecture Recital, and performance, Colchester, England Sin¬ mary of pertinent data (names of perform¬ Steglitz/Berlin, Germany, March 7, 1998. gle Reed Festival, March 15, 1998. Solo¬ ers and composers, site, date and titles of Sonata in Vanhal; Sonatine, Martinu; In¬ neiron, Gandini; Cancum del campo. Si¬ works, etc.) in the format above. troduction and Variations, Op. 8, David; Im¬ erra. Master class and recital, Simon Bo¬ provisation, Templeton; Two Tango Etudes livar Conservatory, Caracas, Venezuela, for Clarinet Solo, Piazzolla; Para, Chow, March 21, 1998. Sonata in d. Op. 120, No. QUESTIONS ABOUT Prentki. Ibero-Amerikanisches Institut 2, Brahms; Tango Etude No. 3, Piazzolla; YOUR MEMBERSHIP? PROBLEMS WITH Preussischer Kulturbesitz, Berlin, Ger¬ Soloneiron, Gandini; Sonata, Poulenc. MISSED MAGAZINES? many, February 17, 1998. Lluvia de estrel- Master class and recital, Cartago, Costa ADDRESS HAS la. Tango, Maderna; Clarinet Tango, Pan- Rica, December 17, 1997. Sonata, Poulenc; CHANGED? sera; Palomita blanca, Vals chollo, Aieta; Sarabande, Theme and Variations, Hahn; Taquito mi I i tar, Milonga, Mores; Para, Tango Etude No. 3, Piazzolla; Soloneiron, Contact; Choro, Prentki; Flor de lino, Vals criollo, Gandini; Pocket Size Sonata No. 2, Tem¬ Elena Lence Talley, I.C.A. Membership Stamponi; 2 Estudios tanguisticos, Piaz¬ pleton; Variations, Velazquez. San Telmo, Coordinator zolla Buenos Aires, November 17, 1997. Adagio P.O. Box 7683, Shawnee Rebecca Rischin, clarinet, Ohio Uni¬ in F Major, Mozart; Grand Duo Concer¬ Mission, KS 66207-0683 Phone/Fax: versity, January 27, 1998. Visiting Artist Re¬ tante, Weber; Dance Preludes, Lutoslaw- (913) 268-3064 cital, University of Nebraska-Lincoln, Feb¬ ski; Soloneiron, Gandini; Sonata, Op. 23, FRANCE "When Details Make the Difference" The BG product line features high quality ligatures, straps, swabs and accessories. The BG Revelation ligature is simply the best! It provides the clarity and response of metal Try a BG product today. ligatures avoiding thinning and shrillness of You'll be pleased with the results. sound, and the warmth and flexibility of material ligatures without stuffiness or lack of Available at fine music stores or contact: center. BG gives you the best of both worlds!" Rousseau Music Products, Inc. - Ricardo Morales - Principal Clarinet of the P.O. Box 651 Bloomington, IN 47402 New York Metropolitan Opera Orchestra Telephone: (812) 333-0572 Fax: (812) 332-2555 July/August 1998 Page 71 resicfent^s (JlCessaqe • add new members to our excellent list might seem mundane to some, I can re¬ of national chairpersons; member the difficulties I experienced • encourage the affiliation of more re¬ keeping track of student members not us¬ gional and national clarinet societies, ing permanent addresses, members mov¬ and promote more international clarinet ing without sending new addresses, etc. festivals; Having an outstanding publication. The • enlist the membership to assist in the Clarinet, doesn't hurt either. We will en¬ future development of our organization; roll our 4,000th member most likely be¬ • establish a mechanism to honor individ¬ tween now and the time you receive this uals for lifetime achievements on behalf issue. This is due in part as a result of the of the clarinet and music; Board of Director's enforcement of a new • establish an endowment or structure the policy of allowing only I.C.A. members by Alan E. Stanek budget in such a manner as to have the attendance at the annual conference (an additional registration fee covers mem¬ It doesn't seem possible that almost financial resources to enhance existing bership dues). This has kept the amount of two years have passed since I wrote projects and begin new ones; our membership dues constant for the past my first President's Message. At that • and finally, have a good time doing three years, our treasury solvent, and in¬ time I attempted to recall all the special everything. creased our membership. people that were responsible for making Our progress to date on these goals is our association the great institution it has quite impressive. Stan Geidel, Webmaster become. Members were notified that at the of the I.C. A. Home Page Page 72 The Clarinet to communicate our desire to have more of access to the Internet. 294 (77%) would Volunteer Service an international presence. make use of the listings of the I.C.A. Gerald King, High School Competi¬ Gerry Errante has done much to help Score Catalogue were it made available tion Coordinator, Keith Koons, Coordin¬ national societies affiliate with I.C.A. This electronically online via the Internet. 318 ator of the Clarinet Anthology Project and effort enables individual members of affil¬ (83%) indicate an interest in our CD Pro¬ Chair of the Poster and Paper Presentation iated societies the benefits otherwise re¬ jects and 84% would purchase one of our Committee, Raphael Sanders, Orchestral served for full membership (access to per¬ CDs if they could order it when they paid Audition Competition Coordinator, Eric formance competitions, the I.C.A. Re¬ their yearly membership dues. 90% indi¬ Mandat, CD Project Coordinator, Roger search Library, attendance at annual Clari- cated that $15 (U.S.) for the CD was rea¬ Garrett, new Editor of the Electronic News¬ netEests, CD Recording Projects, transla¬ sonable. Comments from our international letter, Charles Stier, Liaison to the I.C.A. tion rights to copyrighted material in The members indicate heavy duties and ex¬ Research Center, Michele Gingras, Com¬ Clarinet, and items sold only to mem¬ change rates are negative factors. Most position Competition Coordinator, Joseph bers). As you have seen in previous issues respondents indicated a preference for the Messenger, Editor of Reviews, William Ni¬ of our journal, several new clarinet festi¬ location of future ClarinetEests, usually chols, Audio Review Editor, David Nie- vals are being held each year around the corresponding to their own locations. The thamer, Internet Liaison, and all of our world, establishing the clarinet as a voice most mentioned locations were for cities in the northeastern United States, Cali¬ State, Regional and National Chairpersons for artistic expression and affording atten¬ fornia, Seattle and Europe. Many mem¬ all render valuable volunteer service on dees a worldwide fellowship with their bers took time to write comments about behalf of the association which is gen¬ international colleagues. our association and The Clarinet. Typical uinely appreciated. The above constitute comments such as, "Great organization an impressive list of beneficial activities Member Questionnaire and journal,"; "Jim Gillespie has done a and projects available to our members. Data from our recent Member Ques¬ remarkable job as editor."; "Articles are Two new National Chairpersons repre¬ tionnaire is coming in now and, as of June educational and entertaining."; "The Clar¬ senting the Czech Republic and Poland 20,1 have tabulated almost 400. Age dem¬ inet is a storehouse of knowledge as well were added to our long list of international ographics reveal that 292 (76%) of the 384 as a billboard of products available."; and, affiliates. Maurita Mead, our fine secretary, members reporting are 36 years of age or "Three cheers for The Clarinet and I.C.A."; has been in contact several times during the older. The largest percentage of member¬ were given. Helpful suggestions were past two years with all our national chair¬ ship reporting (23%) is over 65 years of given requesting more articles about jazz persons, enlisting their support for in¬ age. 184 (48%) of our respondents have and the clarinet (including improvisation), creasing membership and requesting them attended a ClarinetFest. 285 (75%) have more on reeds and mouthpieces, and more As A Professional Musician; How Do Yom Protect t^e "Toofs of Your Trade1" If you are like thousands of other members of the International Clarinet Association, you have made a major investment in your instruments and other professional musical equipment What you might not know, however, is that musical instruments and related equipment, if used for business, are probably not insurable under your homeowner's policy. Furthermore, if taken on the road, your equipment is probably not insurable under your business insurance. With the International Clarinet Association "All-Risk" Musical Instrument and Equipment Insurance Plan, you can obtain flexible coverage for your musical instruments and related equipment. Insure all your equipment, or use this Plan as a supplement to your current business coverage, insuring only that equipment which you take on location. "All-Risk" means there are very few exceptions to your coverage. The ICA "All-Risk" Plan covers all the equipment you choose to insure. Your equipment is covered from theft, breakage, water damage, vandalism, vehicle damage, fire, lightning and other natural hazards. If you would like information on how to apply for the International Clarinet Association "All-Risk" Musical Instrument and Equipment Insurance Plan, please contact ICA's Insurance Administrator, Albert H. Wohlers & Co., at 1440 N. Northwest Highway, Park Ridge, IL 60068-1400. If you would like information immediately, please call toll free: 1-800-323-2106 July/August 1998 Page 73 information on how professional clar¬ ing to make donations and contributions tion and hearty congratulations. I'm sure inetists choose equipment. The sheer bulk can do so by contacting any of the elected Bob Spring will have more to write about of member comments will take more time officers or Mr. Rubin. these new achievement awards in future to analyze, but will help us as we look to issues of the magazine. the future development of our organiza¬ Honorary Members tion. I suspect from a careful reading of Happy Birthday, I.C.A.! It wouldn't seem right to have a 25th these questionnaires that the data will Anniversary without remembering some Happy 100th to The Clarinetl Our out¬ continue to support this preliminary re¬ of the pioneers who helped found this standing publication is due almost totally port. Thanks to all who have taken the organization. By action of the Board of to the reliable, dedicated and creative work time to respond. Directors, Honorary Memberships and of our Editor/Publisher, James Gillespie. appropriate plaques were presented to Jim and his staff of editorial associates, Endowment Ralph Strouf, Ramon Kireilis and Lee writers, review editors, our advertising man¬ Harry "Bud" Rubin, our longtime legal Gibson at the Columbus ClarinetFest, for ager, Gary Whitman, David Sanders and Pat Goldenberg and the staff at Buchanan counsel and friend, upon inquiry, reported their foresight and organizational vision Visual Communications in Dallas, Texas, to the Board of Directors that an endow¬ of what has become one of the premier are to be congratulated for a superior prod¬ ment could be set up according to the by¬ professional single-instrument societies. uct. What would the I.C.A. be without laws of the association. Several of our The Board has also set in place a mecha¬ The Clarinetl members have made contributions to the nism to honor individuals for their life¬ association during the past few years. time achievements on behalf of the clar¬ Accordingly, "the corporation [I.C.A.] may inet and music. To Ralph Strouf, who took New Officers accept outright any unrestricted gifts, an opportunity to host a national clarinet Finally, as provided for in our bylaws, grants, or endowments that may be pre¬ clinic/symposium on the campus of the the membership has elected new officers sented by any person, firm, or corporation; University of Denver in 1964, Ray Kirei¬ for the next biennium 1998-2000. It is a and such gifts, grants, or endowments lis, who envisioned an organization of privilege to announce that Julie DeRoche shall be placed in the general funds of the international scope and was the associa¬ will be president-elect, Robert Walzel will corporation to be used, as directed by the tion's first president in 1973, and Lee serve as treasurer and Maurita Murphy- Board of Directors, for the aims and pur¬ Gibson, the first editor of our official jour¬ Mead will continue as secretary. Robert poses of the corporation." Members wish¬ nal, The Clarinet, hats off, standing ova¬ Spring will assume the presidency after serving the past two years as president¬ elect. His coordination of the past two Young Artist Competitions has been ex¬ cellent, and we are making progress on sites for future ClarinetFests beyond 1999. I am sure he will have much more to say HOUSTON BAND about this in his first message in the next issue of the magazine. Congratulations to INSTRUMENT COMPANY all, and many thanks to our members for participating in the election process. It is assuring to know that our organization is in capable hands. Hosting a ClarinetFest isn't Professional Restorations and Repairs one of the qualifications for running for Complete Accessories elected office, but it certainly won't hurt to have three successful former ClarinetFest hosts looking into more active involvement in the machinations of future conferences. Vandoren Wanted: Many thanks also to the nominating com¬ Reeds Good, Used Buffet mittee headed by Edwin Riley. 53% off list price K-13 Bband A Clarinets Thanks for the Memories The motto of a service club to which I Orders/Information call 1-800-779-7400 belong is: "If It Ain't Fun, We Ain't Doin' We accept American Express/liastercard/Visa/Discover It." While what we do as an organization isn't exactly "fun," the past two years have 8920 Winkler • Houston, Texas 77017 been a most enjoyable and rewarding ex¬ perience. As Bob Hope would say, "Thanks for the memories!" Page 74 The Clarinet A free poster of this ad is available by request. Sole North American Importer: J. D'Addario & Company, Inc. PO Box 290 • Farmingdale, NY 11735 USA E-MAIL: [email protected] Home Page: http://www.daddario.com Makers o Q Z of O Fine Clarinets 31-35 Chiltern Street London W1M 1HG Tel: +44 171 935 2407 Fax: +44 171 224 2564 * e-mail: [email protected] internet: http.Z/www.howarth.demon.co.uk i classified — fyfuSiC f0rU011 and your darine.^ advertising Over 40 years of Vast stocf^of All ads submitted for The Clarinet should be: fast music from 1. Typewritten, double-spaced; 2. As concisely cCependaBCe around the worded as possible; 3. Non-commercial in nature and limited to the sale and trade of personally- service world. owned instruments, music, accessories, etc.; 4. Submitted to the Editor by the advertising dead¬ lines listed on page 3; and 5. Placed by members of the I.C.A. only. Each ad will run only one issue unless the Editor is otherwise advised. WANTED: Copies of the following books (originals or copies): My Way to Jazz, Benny Goodman; The Trouble 4318 Main Street Kansas City, MO 64111-1897 with Cinderella (1952), Artie Shaw; A Call us TOLL FREE 800-2-LUYBEN Legacy (1983), Artie Shaw. Contact For CHARGE ACCOUNT and CREDIT CARD purchases Dietrich Miiller, Neidenburger Str. 2a, Your order will be recorded - so please have all the information ready All other purchases and questions: (816) 753-7111 44807 Bochum, Germany, teL/fax: Oil 49/234-538423. Clarinetists serving Clarinetist Page 76 The Clarinet Keep your students in line with PRAG -96- * Positive Radial Alignment Guide y * Perfect alignment of the instrument's upper and lower joints every time with PRAG! That's the purpose of Leblanc's simple yet ingenious innova¬ tion — PRAG, the Positive Radial Alignment Guide. This patented design, created to help young clarinetists assemble their instruments correctly, ensures proper alignment crucial to clarinet performance, every time. All Vito Bb soprano clarinets^now feature PRAG Viio® O m:* World-Class Instruments from the World of Leblanc ^3 . Leblanc Corporation • 7001 Leblanc Boulevard • RO. Box 1415 • Kenosha, Wisconsin 53141-1415 USA Internet: www.gleblanc.com /: il i ' THOSE WHOSE MUSJCg IS THE SOUND OF THEIR •Hi To reach inside and find meaning is the heart of music, to then express it is the soul of the musician. The renowned Selmer Clarinets are instruments of such expression. THEY PLAY SELMER. Selmw For brochure AV4785CP or AV4785CS write: The Selmer Company, Inc., P.O. Box 310, Elkhart, Indiana 46515-0310