Vol. 48 • No. 2 March 2021

RicaRdo MoRales in this issue interview with Ricardo Morales and Genesio Riboldi “Queen ”: Doreen Ketchens A new Look at Lefèvre’s Third Concerto

ClarinetFest® 2021 GOes ViRtuAL

TO DESIGN OUR NEW CLARINET MOUTHPIECE WE HAD TO GO TO MILAN

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The New Chedeville Umbra Clarinet Mouthpiece Our new Umbra Bb Clarinet Mouthpiece creates a beautiful dark sound full of rich colors. Darker in sound color than our Elite model, it also has less resistance, a combination that is seldom found in a clarinet mouthpiece. Because it doesn’t add resistance, you will have no limits in dynamics, colors or articulation. Each mouthpiece is handcrafted at our factory in Savannah Georgia Life Without Limits through a combination of new world technology and old world craftsmanship, and to the highest standards of excellence. Chedeville.com President’sThe

EDITOR Rachel Yoder [email protected]

ASSOCIATE EDITOR Dear ICA Members, Emily Kerski [email protected]

hope that 2021 will be a year filled with joy, hope and EDITORIAL BOARD good health for everyone in the worldwide clarinet Diane Barger, Heike Fricke, Denise Gainey, community! The ICA is starting off the year with so Jessica Harrie, Rachel Yoder many things to celebrate, including a new website MUSIC REVIEWS EDITOR with enhanced abilities to serve our membership through Gregory Barrett I [email protected] online events and facilitate our outreach to clarinetists across the globe. We are on solid financial ground and have AUDIO REVIEWS EDITOR Kip Franklin committees working to include all of our members and vendors [email protected] Denise A. Gainey in dialogues to shape a new and positive direction for our ASSOCIATE AUDIO REVIEWS EDITOR organization. We also look forward with great excitement to Karl Kolbeck ClarinetFest® 2021 reimagined in exciting new ways! [email protected] Speaking of ClarinetFest® 2021, while we were deeply saddened to make the difficult GRAPHIC DESIGN decision not to meet in person again this year out of consideration for the health and Karry Thomas Graphic Design [email protected] safety of our members, our Artistic Director Co-Hosts, Mary Alice Druhan and Jennifer Daffinee, along with the Artistic Leadership Team – Jody Webb, Cheyenne Cruz, and THE CLARINET ONLINE Jessica Harrie Gary Whitman – have planned a wonderfully diverse and comprehensive online festival [email protected] filled with a fantastic lineup of world-class artists (outlined in this issue) that embraces our ABOUT THE COVER: entire membership, no matter your age or ability. We are especially excited to welcome the Clarinet Learning Community that is structured to help classify all pedagogy clinics,

Vol. 48 • No. 2 lectures, seminars, workshops and master classes into a balanced and easy-to-navigate March 2021 schedule – there is something for everyone! The Showcase Stage is devoted to our younger RicaRdo members, with an emphasis on student groups of six or more players under the age MoRales in this issue interview with Ricardo Morales and Genesio Riboldi of 18. I encourage your students and colleagues to enter the ICA competitions, as the “Queen Clarinet”: Doreen Ketchens A new Look at Lefèvre’s Third Concerto application deadlines are approaching. We are also proud to present the Third Annual Guido Six International Festival virtually! ClarinetFest® 2021 Thank you so much to our International Vice President, Eddy Vanoosthusye, and GOes ViRtuAL the International Council, along with our continent and country chairs for their Ricardo Morales; photo by Alex Kruchoski tireless efforts to increase the presence of the ICA around the world. They are laying the The Clarinet (ISSN 0361-5553) is published 4 times important groundwork for exponential growth of our organization over the coming years. a year by the International Clarinet Association Thank you also to state chair coordinator Julia Heinen for her excellent leadership in International Clarinet Association working with our state chairs to develop an exciting upcoming online event for students 829 Bethel Road, #216, Columbus, OH 43214 and educators. Be on the lookout for events from our other committees, as well! [email protected] +1 888-983-5441 Thank you for your continued support of the ICA. Sending you my best wishes for a www.clarinet.org year of good health and a return to music-making together. And now, as my mentor Kal ICAclarinet facebook.com/icaclarinet Opperman would have said, Onward. @icaclarinet youtube.com/internationalclarinetassociation

© Copyright 2021, International Clarinet Association. Views expressed by writers, reviewers and advertisers in Denise A. Gainey The Clarinet are not necessarily those of the staff of the President, International Clarinet Association journal or of the International Clarinet Association.

2 | THE CLARINET MARCH 2021 ICA EXECUTIVE BOARD STAFF President: Denise Gainey – [email protected] Executive Director of Operations: Past President: Mitchell Estrin – [email protected] Jessica Harrie – [email protected] President Elect: Diane Barger – [email protected] Chair of International Relations: International Vice President: Eddy Vanoosthuyse – Luca Saracca – [email protected] [email protected] Social Media Coordinator: Secretary: Christopher Nichols – [email protected] Jenny Maclay – [email protected] Treasurer: Tod Kerstetter – [email protected] Historian: Jean-Marie Paul – [email protected] Research Coordinator and Library Liaison: Joshua Gardner – [email protected] ICA RESEARCH CENTER Pedagogy Chair: Phillip Paglialonga – [email protected] University of Maryland – www.lib.umd.edu/scpa/scores Webmaster: Insight Designs – www.insightdesigns.com

CONTINENT CHAIRS Europe: Friedrich Pfatschbacher (Austria) Asia: Hyung-Jik Yoo (Korea) Israel and the Near East: Ilan Schul (Israel) Africa: Danre Strydom (Republic of South Africa) Asia: Zhen Sun (China) North America: Catherine Wood Asia: Masaharu Yamamoto (Japan) South America: Marco Mazzini (Peru)

COUNTRY CHAIRS Argentina: Carlos Céspedes Denmark: Anna Klett Panama: Alexis Fong Castillo Armenia: Alexandr G. Manukyan Finland: Juhani Valtasalmi People’s Republic of China: Yi He Australia: Floyd Williams France: Jean-Marie Paul Peru: Marco Antonio Mazzini Austria: MSDir. Mag. Germany: Prof. Johannes M. Gmeinder Poland: Barbara Borowicz Dr. Friedrich Pfatschbacher Great Britain: Dr. Sarah Watts Portugal: António Saiote Belarus: Vladimir P. Skorokhodov Greece: Paula Smith Diamandis Puerto Rico/Carribean: Kathleen Jones Belgium: Hong Kong: Maria Wong Romania: Cosmin Harsian Brazil: Ricardo Dourado Freire Hungary: Bence Szepesi Russia: Kyrill Rybakov Bulgaria: Iceland: Bobo Yotzov Kjartan Óskarsson Serbia: Andrija Blagojević Canada, Atlantic Region: Karem Simon India: Dr. Pandit Narasimhalu Vadavati Slovakia: Canada, St. Lawrence Region: Iran: Július Klein Marie Picard Ghazal Faghihi Slovenia: Canada, Great Lakes Region: Ireland: Joze Kotar Paul Roe South Africa: Trevor Pittman Israel: Danny Erdmann Danre Strydom South Korea: Canada, Central Region: Italy: Nicola Bulfone Imsoo Lee Dr. Catherine M. Wood Japan: Masaharu Yamamoto Spain: Lara Diaz Canada, Pacific Region: Patricia Kostek Jordan: Dima Abdin Sweden: Stefan Harg Chile: Luxembourg: Sébastien Duguet Switzerland: Matthias Müller Colombia: Javier Asdrúbal Vinasco Mexico: Luis Humberto Ramos Taiwan: Chien-Ming Costa Rica: Lenin Izaguirre Cedeño Moldava: Victor Tihoneac Tanzania: Emmanuel Ndale Croatia: Davor Reba Netherlands: Céleste Zewald Thailand: Cassandra Fox-Percival Czech Republic: Igor Frantisak New Zealand: Marie Ross Uruguay: Martín Castillos Cyprus: George Georgiou Norway: Christian Stene Venezuela: Victor Salamanques

STATE CHAIRS Alabama: Lori Ardovino Louisana: Malena McLaren Ohio: Caroline Hartig Alaska: Mark Wolbers Maine: Beth Wiemann Oklahoma: Dawn Lindblade-Evans Arizona: Robert Spring Maryland: Robert Dilutis Oregon: Wonkak Kim Arkansas: Andrew DeBoer Massachusettes: Jonathan Cohler Pennsylvania: Christy Banks California: Julia Heinen Michigan: George Stoffan Rhode Island: Jim Kleiner Colorado: Daniel Silver Minnesota: Karrin Meffert-Nelson South Carolina: Joseph Eller Connecticut: Mississippi: Jim Kleiner Michael Rowlett South Dakota: Deborah Check Reeves Delaware: Christopher Nichols Missouri: Jane Carl Tennessee: Elizabeth Aleksander Florida: Lynn Musco Montana: Christopher Kirkpatrick Texas: Timothy Bonenfant Georgia: Kenneth Long Nebraska: Jennifer Reeves Utah: Hawaii: Melanie Yamada Nevada: D. Gause Jaren Hinckley Idaho: Leslie Moreau New Hampshire: Elizabeth Gunlogson Vermont: Steven Klimowski Illinois: David Cook New Jersey: Maureen Hurd Hause Virginia: Cathy Ogram Indiana: Thomas Josenhans New Mexico: Jeffrey Brooks Washington: Mary Kantor Iowa: Jorge Montilla Moreno New York: Julianne Kirk Doyle West Virginia: Cathy Ogram Kansas: Dawn McConkie North Carolina: Andy Hudson Wisconsin: Jennifer Fraley Kentucky: Adria Sutherland North Dakota: Cassie Keogh Wyoming: Blake McGee Contact information for continent, country and state chairs is available at www.clarinet.org

MARCH 2021 THE CLARINET | 3 PAST PRESIDENTS ICA LEGENDS HONORARY MEMBERS Ramon Kireilis 1973-1978 (I.C.S.) Daniel Bonade (1896-1976) Ben Armato (1928–2015) Lee Gibson 1978-1980 (1880-1960) (1938–2013) Jerry Pierce 1980-1986 (1909-1986) Betty Brockett (1936–2003) John Mohler 1986-1988 (1906-1981) Clark Brody (1914–2012) Charles West 1988-1990 (I.C.S./C.I.) (1928-1996) (1915–2003) Fred Ormand 1990-1992 (I.C.S./C.I.) Harold Wright (1926-1993) , Evanston, Illinois 1992-1994 (I.C.A.) , Santa Fe, New Mexico F. Gerard Errante 1994-1996 ICA RESEARCH CENTER Buddy DeFranco (1923–2014) Alan Stanek 1996-1998 University of Maryland: (1934–2020) Robert Spring 1998-2000 www.lib.umd.edu/scpa/scores Guy Deplus (1924–2020) Julie DeRoche 2000-2002 , New York, New York Robert Walzel 2002-2004 F. Gerard Errante, Las Vegas, Nevada Michael Galván 2004-2005 Don’t miss an issue David Etheridge (1942–2010) Lee Livengood 2005-2008 Lee Gibson (1915–2013) Gary Whitman 2008-2010 of The Clarinet! James Gillespie (Editor Emeritus), Denton, Texas Keith Koons 2010-2012 Renew your Paul Harvey, Twickenham, Middlesex, U.K. John Cipolla 2012-2014 Stanley Hasty (1920–2011) Maxine Ramey 2014-2015 membership online at Caroline Hartig 2015-2018 www.clarinet.org Ramon Kireilis, Denver, Colorado Mitchell Estrin 2018-2020 Béla Kovács, Budapest, Hungary Frank Kowalsky, Tallahassee, Florida (1920–2009) For advertising rates and specifications or to join the , Berlin, Germany International Clarinet Association, visit www.clarinet.org. Mitchell Lurie (1922–2008) John McCaw (1919-2015) John Mohler (1929-2019) , New York, New York Ron Odrich, New York, New York Fred Ormand, Lawrence, Kansas Bernard Portnoy (1915–2006) Alfred Prinz (1930–2014) Petko Radev (1933-2017) Luis Rossi, Santiago, Chile SUPPORT THE ICA CAPITAL CAMPAIGN! Harry “Bud” Rubin (1928–2018) António Saiote, Porto, Portugal YOUR DONATION WILL: James Sauers (1921–1988) • help students around the world afford ICA membership James Schoepflin, Spokane, Washington • purchase up-to-date clarinet equipment for those in need Selim Sesler (1957–2014) • support ClarinetFest® , Norwalk, Connecticut • provide ClarinetFest® student travel grants William O. Smith (1926–2020) • support ICA competitions Harry Sparnaay (1944-2017) • support the Adopt-A-Member program Hans-Rudolf Stalder (1930-2017) • support the Harry Sparnaay Scholarship for Alan Stanek, Papillion, Nebraska research and performance Milenko Stefanović, Belgrade, Serbia • support the Loren Kitt Memorial Award, which supports , , and emerging artists Ralph Strouf (1926–2002) • support the partnership between the ICA and the Bill Cook Foundation Elsa Ludewig-Verdehr, East Lansing, Michigan • grow our endowment to ensure a bright future for the ICA Bernard Van Doren, Paris, France Eddy Vanoosthuyse, Kortrijk, Belgium Thank you for helping us raise over $20,000 so far! Gifts of Himie Voxman (1912–2011) any size ar George Waln (1904–1999) e DONATE AT: www.clarinet.org/donate welcome. David Weber (1913-2006) Pamela Weston (1921–2009) , Los Angeles, California

4 | THE CLARINET MARCH 2021 Features Advertiser Index Aria Academy ...... 19 32 Limitations Breed Creativity: 36 Lefèvre’s Third Concerto An Interview with Amy Viewed Through the Lens of Buffet Group USA ...... IFC Advocat of Transient Canvas his Méthode De Clarinette Chedeville ...... 1 by Marguerite Levin by Moria Tunison Crystal Records ...... 35

44 The Clarinet Mouthpiece: David McClune Mouthpieces ...... 15 A Bibliography by Jonathan Aubrey Instrument Care Accessories ...... 18 46 Clarinet Orchestral Excerpt Lisa’s Clarinet Shop ...... 35 Study Books of the Past Luyben Music ...... 19 by Mary Kantor Lomax Classic ...... 13, 69 Interview with 50 Precision Reed Products ...... 41 Ricardo Morales and Genesio Riboldi ReedGeek, Inc...... 34 by Bernard Rose Retro Revival Mouthpieces ...... 17 56 Collaboration with Boehm Rodriguez Musical Services ...... 69 and Oehler Clarinets Rovner Products ...... 43 by Barbara Heilmair Vandoren ...... OBC 60 ClarinetFest® 2021 Yamaha Corporation of America . . . . .IBC 64 Your New Favorite Composer: Cassie Wieland by Andy Hudson 24 Announcements

ICA Capital Campaign ...... 4

2021 High School Solo Competition . . . .23 Departments 2021 Young Artist Competition ...... 23 ClarinetFest® 2022 Call for Proposals . . . .23 2 The President’s Message 24 The Scene: by Denise A. Gainey Doreen Ketchens 2021 Orchestral Audition Competition . . .43 by Ben Redwine NEWS 28 Quintessence 6 Clarinotes by Bruce M. Creditor 11 News from Latin America 66 Historically Speaking by Ricardo Dourado Freire by Deborah Check Reeves Don’t miss an issue Letter from the UK 14 68 Statement of Credits and of The Clarinet! by Paul Harris Debits by Tod Kerstetter PEDAGOGY REVIEWS Renew your 16 Pedagogy Corner 70 Reviews membership online at by Phillip O. Paglialonga 78 Audio Notes by Kip Franklin www.clarinet.org 20 Master Class by Jessica Lindsey 80 Clarinet Chronicles by Jenny Maclay

MARCH 2021 THE CLARINET | 5 NEWS

ICA 100% ENROLLMENT CHALLENGE Compiled by Emily Kerski

The ICA is proud to feature six clarinet studios that have reached 100% enrollment as ICA members for the 2020-2021 school year. The $10 new student rate has been extended to July 31, 2021. Middle school, high school and college students can join the ICA at this discounted price and receive full access to the benefits of the organization. The benefits of ICA membership include a subscription to The Clarinet, access to Naxos Music Library and the ICA Research Center, discounted clarinet insurance, and eligibility to compete in ICA composition, research and performance competitions. For more information about how your school or studio can reach 100% enrollment and be featured in an upcoming issue of The Clarinet, contact [email protected]. COASTAL CAROLINA UNIVERSITY CLARINET STUDIO The Coastal Carolina University Clarinet Studio, under the leadership of Dr. Eric Schultz, consists of students pursuing a wide variety of degrees in music, including concentrations in education, performance, commercial music, jazz, general studies, and even a new Master of Arts in Music Technology. The studio prioritizes creating a safe and supportive space for students combos, and other groups formed to growing music departments on the East to grow as artists and future music approach specific repertoire. The clarinet Coast, we are just a few minutes from educators. Regardless of major, all students studio enjoys all of the benefits of a paradise – beautiful Myrtle Beach, South receive one-hour weekly lessons with smaller music department, but has the Carolina. Contact Dr. Eric Schultz at the faculty. In addition to the premiere resources of a larger university, bringing [email protected]. Wind Ensemble, students have the option in several guest artists for performances Coastal Carolina University Clarinet to join many chamber groups tailored and lectures each year. All students benefit Studio Members: Erin Collins, Hailey to their interest, including woodwind from the Wheelwright Recording Studio, Cornell, Matthew Dickler, Christopher quintets, clarinet choir or quartet, jazz a state-of-the-art facility. One of the fastest Imes, Victor Sanchez.

6 | THE CLARINET MARCH 2021 NEWS

made up of undergraduate and graduate students from all over the southwestern United States. Most of these students are majors who perform in the Pride of New Mexico Marching Band, University Wind Ensembles and Symphony Orchestra. This group is excited to be performing as a clarinet choir at ClarinetFest® 2021 in Fort Worth, Texas. Go Aggies! New Mexico State University Clarinet Studio Members: Jade Blackburn, Amanda Cabe, Vicenta Gardea, Thomas Gee, Sofia Gonzales, Maximiliano Luera, Nathan Martinez, Quinn McPherson, Carlos Muñoz, Raul Olivas, Sara Reed, Ruth Rodriguez.

TEXAS CHRISTIAN UNIVERSITY CLARINET STUDIO The TCU Clarinet Studio is currently home to 19 students pursuing undergraduate, master’s, artist diploma, and doctoral degrees. Led by Dr. Corey Mackey, the vibrant studio is composed of national and international students who are dedicated to their craft and eager to push the limits of their skill and creativity. Alumni of the TCU Clarinet Studio have gone on to secure prestigious graduate school placements, positions in orchestras and military bands, and jobs EASTERN NEW MEXICO Montoya, Zandra Neff, Felix Rodriguez, in higher education. Many alumni also UNIVERSITY CLARINET STUDIO Christian Rushin, Roberto Sanchez, teach in the Texas public school system The Eastern New Mexico University Jessica Smart, Gilda Valenzuela. and have led their ensembles to place Clarinet Studio, under the leadership in statewide band competitions and the of Dr. Pamela Shuler, is comprised of NEW MEXICO STATE UNIVERSITY CLARINET STUDIO Midwest Band and Orchestra Conference. undergraduate students pursuing degrees At TCU, we’re developing the next that include: Bachelor of Music in The New Mexico State University Clarinet Clarinet Performance, Bachelor of Music Studio, led by Dr. Madelyn Moore, is generation of education and performers Education, and Bachelor of Science in Music. Also included are students working towards minors in music. Studio members play in the ENMU Clarinet New Mexico State University Clarinet Studio Choir and various large ensembles and chamber ensembles. Each spring semester the studio hosts the Eastern New Mexico University Clarinet Day, which is open to all clarinet players and features a different guest artist each year. Eastern New Mexico University Clarinet Studio Members: Jordan Alexander, Haley Brown, Melina Encinias, Victoria Garcia, Bonnie Hong, Daniel Jimenez, Jacob Johnston, Rebekah Majkrzak, Herman

MARCH 2021 THE CLARINET | 7 NEWS

McGregor, Shiana Montanari, Abby Muraski, Emily Rose, Brigit Shultz, Grant Westerman.

UNIVERSITY OF SOUTH DAKOTA CLARINET STUDIO The University of South Dakota Clarinet Studio offers vast performance opportunities in excellent orchestral, band and chamber music ensembles to all our clarinet majors and minors. USD clarinet students have firsthand access to the resources of the internationally-renowned National Music Museum and participate in regional and national competitions on a regular basis. The Department of Music hosts the annual South Dakota Clarinet Day, which features recognized clinicians from all over the globe. For more information, please contact Assistant Professor of Clarinet and Director of Orchestras Dr. Luis Víquez: luis.viquez@ to make a difference in the world. You Hakenewerth, Taeyeong Jung, Rachel usd.edu. can learn more at www.music.tcu.edu. Levison, Dayton Linhardt, Allison Linton, University of South Dakota Clarinet Connect with the TCU Clarinet Studio Kayla Martin, Caroline Mattern, Grayson Studio Members: Morgan Boeding, Steven on Facebook and Instagram at: www. facebook.com/groups/tcuclarinets and www.instagram.com/tcuclarinetstudio.

UNIVERSITY OF NEBRASKA- LINCOLN CLARINET STUDIO The clarinet studio at the University of Nebraska-Lincoln is proud to be pioneering new frontiers inside the studio and classroom to prepare students for diverse careers in music. Professor of Clarinet Dr. Diane Barger arrived at UNL in 1994 and has enjoyed mentoring her students to become music educators at the pre- college level and in college and university positions, leading figures in military bands and performance ensembles, and important contributors to other music career fields. The 2020-2021 studio is made up of four D.M.A. students, one M.M., one M.M. in woodwind specialties, and 13 undergraduate students in B.M., B.A. or B.M.E. programs. For more information about the UNL Clarinet Studio, please visit https://arts.unl.edu/music/clarinet or contact Dr. Barger at [email protected]. University of Nebraska-Lincoln Clarinet Studio Members: Lizzy Chinowth, Season Cowley, Ashley Cypher, Sarah Ernst, Michaela Folkers, Melissa Graue, Jenna

8 | THE CLARINET MARCH 2021 NEWS

Bray, Kacie Cox, Alexis Fenhaus, Olivia Gulseth, Daniel Hauck, Anna Klocke, Emily Muirhead, Caleb Nadeu, Bailey Nielsen, Hayden Vickey, Kylie Weier.

SILVER LININGS INITIATIVE PANEL DISCUSSIONS ON PARADIGM SHIFTS IN CLARINET PEDAGOGY AND PERFORMANCE AMIDST COVID-19

by Cecilia Kang

In the wake of the COVID-19 pandemic, the abrupt shift to virtual platforms has made a profound impact on how musicians listen, learn, teach, perform and promote themselves. Between August and October of 2020, 34 clarinet artist-teachers around the world exchanged ideas and examined the paradigm shifts in clarinet pedagogy and performance modalities through the Silver Linings Initiative, a series of seven Zoom panel discussions hosted by Dr.

MARCH 2021 THE CLARINET | 9 NEWS

Cecilia Kang, associate professor of clarinet Corley, Mark Dover, Alexander Fiterstein, at Louisiana State University. These panel Jose Franch-Ballester, Denise Gainey, KEY CHANGES AND discussions gave opportunities to reflect Daniel Gilbert, Laura Grantier, David CLOSING CHORDS on things that may have been taken for Griffiths, Lorenzo Antonio Iosco, István Kohan, Nils Kohler, Jenny Maclay, Luigi granted, share frustrations, brainstorm, Compiled by Emily Kerski and engage in conversations addressing the Magistrelli, Marco Antonio Mazzini, future of the music industry. Ayako Oshima, Phillip Paglialonga, Rob KEY CHANGES The pandemic may have forever Patterson, Sean Perrin, James Shields, Erin Cameron has accepted changed the course of the arts. However, , Jana Starling, Peter Stoll, an appointment as instructor the panelists agreed that the adversity we Tiffany Valvo, Yos Vaneesorm, Sergei of clarinet at Arkansas State Vassiliev, Eva Wasserman-Margolis, Cathy currently face can be overcome. While University. musicians and arts organizations adapt Wood, Robert Woolfrey, Young Dae Yoo, and discover innovative ways to coexist in and Stephanie Zelnick. This project was CLOSING CHORDS the evolving musical landscape, the social launched with the support of Louisiana Renowned clarinet repair efficacy of the arts and its infrastructure State University. technician Bill Brannen (1937- must be carefully examined and 2020) passed away on November reimagined. As a result of the pandemic, 24, 2020, at the age of 83. A tribute the creative, pedagogical and artistic will appear in an upcoming issue. collaborative possibilities that emerge may Turkish clarinet star Mustafa supersede geographical and pre-existing Don’t miss an issue Kandirali (1930-2020) passed boundaries to become silver linings from away in December 2020, at the age this dark period in history. of The Clarinet! of 90. A tribute will appear in an Highlights from the panel discussions upcoming issue. were premiered at the Virtual Renew your WoodwindFest in October 2020, Information in this column is available for viewing at https://youtu. membership online at gathered from the Clarinet Jobs be/ZAfDkoAVUA4. The author would www.clarinet.org Facebook Group and submissions like to acknowledge panelists Mariam to [email protected]. Adam, Ixi Chen, Steven Cohen, Paula

ICA INTERNATIONAL COUNCIL FORMED Dear ICA members, 1, 2020. I started a new committee, the and Continent Chairs in a special page International Council, that I will chair, in the magazine and on the website. The International Clarinet Association with members Dr. Caroline Hartig, Luca Of course you will read about our new has been making a serious effort to focus Saracca and Severine Sierens (secretary). initiatives, but we are very interested in more on the international component of The president of the ICA (Denise Gainey) your ideas and requests. Please send them our organization. To assist in this endeavor, and the President Elect (Diane Barger) to [email protected]. the board has added a new board position, are ex-officio members. This council is I hope to hear from you! International Vice President, with the working hard to make the ICA truly specific responsibility to enhance and build international. This will help ICA members Warm regards, upon the internationalization of the ICA. to work together in concerts, master I was elected for this function and I classes, research and so many other things. Eddy Vanoosthuyse started my new position on September We are going to feature our Country ICA International Vice President

Eddy Vanoosthuyse Dr. Caroline Hartig Luca Saracca Severine Sierens Denise Gainey Diane Barger

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News from

by Ricardo Dourado Freire

ENCONTRO FEMININO DE CLARINETISTAS n May 2019, a group of women de Clarinetistas (First Female Clarinet represents different perspectives for the clarinet players decided to Meeting) in May of 2019. The event clarinet world. FEMICLARI shows how organize, in Salvador, Brazil, was a huge success as players from all women approach their instrument and a clarinet event centering the over Brazil came together to play and their lives. It looks at personal stories Iperspectives of women clarinetists. In share their ideas about improvisation, as important trajectories; it values how October 2020, a group in Brasília took the motherhood, popular music, teaching, attitudes can build trust and how attentive idea and transformed the small local event sexuality, ethnicity, musicians’ health, support can change history. into an international clarinet symposium social projects, and job In March, due to COVID-19, all that celebrated female clarinet playing. opportunities for women. The proposal plans for the second conference stopped. The movement started with Patricia to organize a second event in 2020 came The organizers – Rosa Barros, Paula Perez, a Cuban clarinetist who studied in from a group from Brasília. Pires, Eliana Costa, Renata Menezes, Venezuela and moved to Salvador to take The II Encontro Feminino de Ilka Nascimento and Elaine Rodrigues – a position in the professional orchestra at Clarinetistas (Second Female Clarinet considered postponing the event, but Universidade Federal da Bahia (UFBA). Meeting) was much more! It became some successful online events gave She organized the I Encontro Feminino FEMICLARI for short, a construct that encouragement to go ahead and do it anyway. It was a challenging option that paid off! It was the right moment to raise awareness about female clarinet playing and many people supported it. Someone had the idea to invite women from outside Central/South America, such as , Doreen Ketchens, , Sarah Watts and Rachel Yoder, and everyone was eager to participate. It was a sorority chain that became stronger at each invitation. In the end, 82 people presented in a five-day event that brought women players to a deserved spotlight. The FEMICLARI 2020 was organized and broadcasted from Brasília, the capital and federal district of Brazil. It went from October 9 to 13 and the complete event can be accessed on YouTube at the FEMICLARI – DF channel. The opening day started with an online welcome reception. The organization Photo 1: Encontro Feminino de Clarinetists – Salvador-Bahia, Brazil, 2019 committee received participants in a

MARCH 2021 THE CLARINET | 11 NEWS

clarinets; she talked to Elaine Rodrigues and showed how she decided to play low instruments and how she built her career. Diana Gallegos came from a family of male clarinet players and became an important artistic voice in Ecuador. She spoke to Elisa Rangel, who also studied in Venezuela. Rachel Yoder discussed “Clarinet Playing During Pregnancy and the Postpartum Period” with Ricardo Freire and presented some preliminary results from her survey on the topic. She looked at the time period before and after childbirth to address how women deal with the changes in their bodies and how they come back to their professional careers. Workshops were opportunities to interact with guests about specific topics. Sharon Kam connected from Israel to share her vision of clarinet and singing, bringing back the importance of vocal models to expand the expressivity Photo 2: FEMICLARI 2020 organizers: (bottom, left to right) Ilka Nascimento, Tais Vilar (middle) Eliana Costa, Elaine Rodrigues (top) Renata Menezes, Rosa Barros and Paula Pires of clarinet playing. Maria Fernanda Rodríguez participated from Colombia and developed ideas on free improvisation with clarinet and bass clarinet players. meeting platform and presented the Germany, and displayed her normal life Health issues are also important for main objectives for the event. The first as a clarinet player, schedule of concerts, players around the world. Ana Maria concert was presented live at Casa Thomas teaching, family and grandchildren. It was Pérez, from Spain, showed herself in the Jefferson in Brasília, and streamed on an opportunity to see her in her studio and parks of Gijón-Astúrias to display her YouTube. The organization committee to listen to her view on clarinet playing. experience with yoga and hypopressive played pieces by women composers Sarah Watts from the U.K. presented her breathing, a way to work and understand and brought fresh repertoire by Suzy trajectory with the bass and contrabass breathing muscles while holding air during Magalhães, Thanise Silva, Francisca Aquino, Iara Gomes, Elenice Maranesi, Elisa Rangel Hill, Kilza Setti and Clara Schumann. There was a bass clarinet recital played by Lara Díaz and a contemporary recital with solo pieces played by Angélica Meza, Mauren Aguirre, Jessica Gubert, Sandra Sánchez, Rachel Yoder and María Juliana Sivila. Amalia del Giudice and Marina Lopez played music from Argentina in their recitals. Doreen Ketchens participated from New Orleans with a delightful video playing New Orleans jazz. The popular music recital featured Vaisy Alencar, Roberto Kaçulinha, Fernando Machado, Manoel de Carvalho, Laura Santos and André Gomes. Interviews with international female players were primetime events; each session was recorded previously to allow the addition of subtitles in Portuguese. Photo 3: FEMICLARI concert (bottom, left to right) Angélica Meza, Sandra Sanchez, (middle) Mauren Sabine Meyer talked to Paula Pires, from Aguire, Maria Juliana Sivila, (top) Jéssica Gubert, Rachel Yoder

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long periods of time. Michelle Xavier, a and invited the audience to look at the cities in Brazil. The local event became speech therapist, presented her approach to family, from soprano to tenor, global and the female community could clarinet embouchure, talking with Fabricia and also talked about baroque and classical be truly represented both as women and as Medeiros about how facial muscles work clarinets with only a few keys. Eliana Costa clarinet players. v and how to use enjoyable facial exercises to showed her work with children in Brasília, improve embouchure control. Jeane Dias, starting at 4 years old and following ABOUT THE WRITER a physical trainer, was also invited to talk them growing into teenagers and adults. Ricardo Dourado about general muscle readiness and how Dialogue 5 focused on clarinet pedagogy Freire is professor to prepare your body to endure hours of and invited Claudia Pinto, Eliana Costa, of clarinet at rehearsals and practice time. Cristiane Fayão, Fernanda Santos, Kassia Universidade de The event promoted interactive sessions Oliveira and Mónica Díaz. Brasília – UnB, in called Dialogues held on the Zoom Children ages 4 to 9 played a special Brazil. He received platform. Each meeting had a moderator concert streamed on YouTube with an M.M and D.M.A and many participants that shared their participants from many states of Brazil. from Michigan State experiences. Dialogue 1 brought together Young teenagers, ages 10 to 15, also had “Women Clarinet Players in Orchestras;” University, under a concert to show their development in it was a tribute to women that started in the guidance of Elsa a national event. Older beginners and the orchestra market and climbed to be Verdehr, and a bachelor’s degree in clarinet adults were not left out, and Luciana Silva principal players in many orchestras in from UnB, where he studied with Luiz Brazil. It was a broad vision of orchestral showed her work with adults followed by a Gonzaga Carneiro. Dr. Freire has written playing stories with Camila Barrientos, concert titled “It is Never Late to Begin.” over 100 articles in the fields of clarinet Elaine Lopes, Isabel de Latorre, Isabel After the five scheduled days, 105 performance, music cognition and music Santos, Lucia Morelenbaum, Luciana clarinet players participated in the online education. Over the last 25 years, he has Silva, Juliana Correia, Lígia Campos, clarinet choir, and 516 people enrolled taken part in major clarinet events in Marisa Takano, Marta Vidigal, Patrícia at FEMICLARI. Participants were 60% Latin America including Brazil, Colombia, Perez, Solamy Oliveira and Thayná Ítaline. female and 40% male from 60 different Mexico, Paraguay, Peru and Venezuela. Dialogue 2 focused on the bass clarinet and had Bruno Avoglia, Isabel de Latorre, Lara Díaz, Maria Fernanda Rodríguez, Marta Vidigal and Vaisy Alencar. Dialogue 3 discussed professional perspectives for the clarinet player with Vanessa Melo, Danelly Dantas, Jéssica Gubert, Ariane Rovesse, Fábia Fusco and Renata Garcia. Dialogue 4 brought Caetano Brasil (a Latin Grammy nominee), Bia Stutz, Joana Queiroz, Maria Beraldo, Carmen Pontes and Indira Dourado to talk about independent works and new artistic proposals. Dialogue 6 talked about how to get into the university with Alba Valéria, Amanda Müller, Aynara Montenegro, Carina Bertunes and Vinícius Fraga. Diálogue 7 dealt with leadership roles of clarinet players as conductors with Elaine Rodrigues, Paula Araújo, Fabrícia Medeiros, Elisa Rangel Hill, Mônica Díaz and Luanda Ben. The final Dialogue was an evaluation of FEMICLARI and what to do for the FEMICLARI 2021 discussed with Bia Stutz, Cláudia Pinto, Emília Carneiro, Fábia Fusco, Patrícia Perez and Victoria Gautto. There was an entire day dedicated to clarinet teaching and learning. Joel Barbosa presented historical clarinets to children,

MARCH 2021 THE CLARINET | 13 NEWS

by Paul Harris Letterfrom the

A RATHER SPECIAL VISIT TO SAFFRON WALDEN ast weekend I had the great wonderful day spent with Margaret has house, survives virtually unchanged. pleasure of meeting Margaret inspired me to write a little more on this “I haven’t been up there for decades!” Jacob, widow of the composer important and rather neglected British Margaret told me. The study was well Gordon Jacob, known to composer. looked after though and Gordon’s desk, at generationsL of clarinet players through his Margaret lives in the house they shared which he wrote a very impressive volume enduring Concertino arrangement of tunes for many years in the lovely village of of music, still has his pens and pencils by Tartini. Saffron Walden just south of Cambridge. sitting waiting for the next composition. I have written about Gordon Jacob Though Gordon died in 1984, his study, Gordon Jacob was born in 1895 and before (The Clarinet, June 2016) but this on the third floor of their very characterful studied at the Royal College of Music with

Gordon Jacob

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Vaughan Williams, Stanford and Herbert (in the U.K.) just two days before Jim was “He loved pigs!” Margaret told me. Howells – all of whom have contributed playing his Jacob first performance in Texas. Not necessarily real pigs, but those made, significantly to the clarinet repertoire. Gordon Jacob wrote the first of his for example, from ceramics and leather. He continued his connection with the two wind quintets in 1930 and the The house was full of them. The house was RCM as a professor for over 40 years, and clarinetist in the first performance was also full of warmth, wit and charm – and among his distinguished pupils number Stephen Walters – who also played in the even though Jacob died nearly 40 years Malcolm Arnold, Ruth Gipps and Joseph first performance of Malcolm Arnold’s ago, his character still lives on: there in Horovitz, another group of composers brilliant Wind Quintet (not the Three Saffron Walden and in his very substantial who contributed important works to the Shanties!) 12 years later. Rarely played, body of lovely works for the clarinet. v repertoire. “He was quite a strict teacher,” Jacob’s first quintet is a very appealing Margaret remarked with a smile, “but also work in six short movements in the form ABOUT THE WRITER had a wonderful sense of humour.” In his of a suite: Overture, Air, Jig, Interlude, Paul Harris is one long composing career, he wrote over 700 Theme & Variations and Rondino. The of the U.K.’s most works, many of them featuring the clarinet more substantial second wind quintet influential music as a solo instrument. appeared in 1980. Though the playing educators. He studied Gordon Jacob is largely forgotten today time is only just over 12 minutes, it’s a the clarinet at the as a serious composer. He was serious good work and well worth investigating Royal Academy of about his composition – writing three if looking for something a little out of Music, where he won symphonies, 17 concertos and a host of the regular repertoire. The Sextet for wind the August Manns works in other styles. The reason is not quintet and piano is certainly worth Prize for outstanding hard to fathom. At a time when the BBC, exploring; it sits most comfortably beside performance and critics and concert promoters were only the famous sextets by Thuille and Poulenc. where he now teaches. He is in great interested in the avant-garde, Jacob was Again Stephen Walters played in the first demand as a teacher, composer and writer still writing tonal music. And he wrote a performance among some other greats of (he has written over 600 music books and lot of “educational” music – a label that the time (1956) – Gareth Morris compositions), and his master classes and seems to spell exclusion from those who and Leonard and Dennis Brain. This workshops continue to inspire thousands of might be taken seriously. expansive piece is haunting, deeply young musicians and teachers all over the I posted an account of my visit expressive and energetic by turns. The world in both the principles and practice of to Margaret on Facebook and was Scherzo second movement creates some musical performance and education. overwhelmed by the response. Over 60 wonderful sonorities. comments, all displaying a great affection A year later Jacob wrote a Miniature for Jacob and his music. So I thought it Suite for clarinet and viola, for Georgina time to revisit this important composer’s Dobrée and Anatole Mines – a fascinating contribution to the clarinet repertoire and 10-minute work in four movements – the Don’t miss an issue discuss more of his many works featuring fourth of which, intriguingly, is a fugue. of The Clarinet! the clarinet. My own favourite Jacob work is the set In my first article I considered that of three pieces for four clarinets written Renew your famous Concertino, the two concertos in 1976 – the Scherzetto, the first of the membership online at (the Mini-Concerto and the terrific Double three, is a very lively and engaging way to www.clarinet.org Concerto for Clarinet and Trumpet, which begin any recital for this combination. one of my pupils played – to a delighted audience – in Oxford a short while ago), the Quintet, the 5 Pieces for unaccompanied David McClune Mouthpiece Service clarinet, and the Trio for clarinet, viola and piano. I’ve recently been in touch with Jim Professional through beginner models Gillespie, a former editor of this magazine, who gave the first performance of the Large stock of Zinner based mouthpieces Mini-Concerto in the States; he recalled the New FMK model, CNC made, German rod rubber, 8 years in very well-received performance on January development. Effortless response and beautiful sweet 29, 1983, with the Fort Worth (Texas) sound. Civic Orchestra. I’ve also since discovered Custom refacing available that the Double Concerto exists in a useful arrangement accompanied by wind band – mcclunemouthpiece.com, [email protected] and John Wilbraham gave it its 731-499-3756 first broadcast performance in this version

MARCH 2021 THE CLARINET | 15 PEDAGOGY

Corner by Phillip O. Paglialonga

LEARNING FROM n my last article for this column, I played for nearly two decades as principal we went to hear him. That night my wrote about “Developing Artistry,” clarinet of the Israel Philharmonic, but in immature brain told me that I really which is a topic I am certainly 1964 he left the orchestra and moved to needed to study with him. I couldn’t passionateI about in my work as a Paris, where he taught clarinet and studied explain why, and I still can’t, but there teacher and pedagogue. In that article, I composition with Nadia Boulanger. In was something deep and sincere about presented philosophical ideas alongside 1966, he then joined the faculty at the his musicianship that spoke to me. some practical ways we can each develop Guildhall School of Music and Drama ELI EBAN: I “grew up” on Ettlinger’s as artists. In this article, I would like to in London where he taught clarinet and chamber and solo performances when continue this pursuit by looking at the conducted the school’s orchestra. he flew from Paris to Tel Aviv two or playing and teaching of Yona Ettlinger. Though I never had the opportunity three times a year. I studied with him One of my teachers, Fred Ormand, was to meet Ettlinger, I have certainly been intensively and sometimes concurrently fond of starting his first studio class each influenced by his legacy, both through his with Richard Lesser, who was never year with a paraphrase of a quote from the recordings and his teaching. When I listen territorial about this despite the fact legendary flutist Marcel Moyse: to recordings of Ettlinger I am consistently that neither of them liked each other. Anytime you hear a player that struck by both the ease with which he During my four years at Curtis I would you really admire you should ask them played, and also the sincerity of his music also stop over in London or Paris for three questions: making. There is a certain simplicity to intense study on my annual summer his playing, but also an inherent beauty trip back home to Tel Aviv, between 1. Who did you study with? to his sound. To my ear, I can definitely the end of the academic year and the 2. What etudes do you play? hear influences from his teacher, Louis start of the Marlboro Festival. In 1973 3. Where did you buy your lips? Cahuzac, but also a unique voice. the World Jeunesses Musicale orchestra Ormand would go on to tell us that Below are excerpts from interviews I convened in Israel under Zubin Mehta. we needed to really think about what did with three distinguished clarinetists, Jim Campbell represented Canada Moyse was suggesting to people. Who did each influenced by Ettlinger. and I represented Israel. Yona was the you study with? Where did their ideas and James Campbell recently retired from woodwind coach. Jim was studying approaches come from? What etudes do you the faculty of Indiana University, Alexander with him in Paris at the time. We split play? What exercises or practice techniques Fiterstein teaches clarinet at the Peabody the principal book; I played Mahler 1 can you borrow? Where did you buy your Institute of Music, and Eli Eban currently and Jim played a beautiful Schubert lips? What sort of equipment do they use? teaches clarinet at Indiana University. 3. We became fast friends, and met We each are able to do some things at again in Toronto in 1976, at one of the an exceptionally high level, but struggle PHILLIP O. PAGLIALONGA: Could you early ICA conferences. Yona was one with other things. When you find someone talk a bit about how you knew Yona of the featured recitalists, the other was who can do something exceptional, try to Ettlinger? Stanley Drucker. figure out how they were able to learn to JAMES CAMPBELL: I met Yona, we all So, starting around age 16, through do that. And when you hear someone who called him Yona, when I was a senior at the years in the Israeli orchestras, and plays in a way that you admire, try to gain the University of Toronto and looking up until the time of his death, it was a better understanding of their approach to for a place to continue my studies. a concentrated series of lessons and the instrument. Yona was a friend of Abe Galper, my hearing his concerts, two to three One of my musical heroes has always teacher in Toronto, and suggested I times a year, as both of our schedules been Yona Ettlinger (1924-1981), the consider going to Paris to work with permitted. And an ongoing personal famous former principal of the Israel him. As luck would have it, just at relationship with him. Philharmonic Orchestra (1947-1964). that time Yona was playing the Mozart Ettlinger was a complete artist in the most Quintet with the Tel Aviv Quartet POP: So many of us never had the sincere way. He was a fine clarinetist who in Buffalo. Several of us made sure opportunity to hear Ettlinger play

16 | THE CLARINET MARCH 2021 PEDAGOGY

in person, so I am curious which of and Kroepsch, also some Klosé. Yona (I was very young when he passed his recordings you think are most stated that his role was not supplying away), he had a significant influence representative of his playing. Which of answers or solutions, but to “raise on my playing through my teacher, the recordings available do you think best questions.” The student was expected Eli Heifetz, who was one of his most exemplify his approach? to work towards their own solutions or notable students in Israel and from JAMES CAMPBELL: His recording of “results,” as he called them. Any kind of listening to his wonderful recordings. I the slow movement of the Mozart technical guidance, about embouchure, also studied for a year with Mordechai is for me the gold etc., was very cryptic, almost like a Rechtman who was the principal standard of clarinet playing. It sums up Zen koan, and very sparse in terms of bassoonist of the IPO and played next all that I remember from my lessons. specific physical application. to Ettlinger for 17 years. ELI EBAN: The great clarinet quintets JAMES CAMPBELL: I was never aware Heifetz admired Ettlinger and and the transcriptions of Pergolesi of Yona having specific methods or mentioned him in our lessons (I was and Veracini concertos. The playing is exercises. Embouchure solidity and 12-16 years old at the time, and this very nuanced but in a very subtle way. control were very important to him, all made a big impression on me). Among There is a purity of intent, and a well- at the service of a beautiful, consistent the repertoire I studied at the time informed sincerity about the musical sound. The Klosé “Daily Exercises” were Ettlinger arrangements such as approach, which he always felt is the and Jeanjean etudes became my daily Mozart’s Church Sonatas and Theme most important part of this endeavor. clarinet diet. and Variations from the Gran Partita Nothing was done for cheap effect. In I do remember my first lesson with as well as some baroque music. We also lessons he would talk about a sense of him very clearly. He had me play four worked on Klosé Exercices Journaliers “responsibility” he had towards our notes starting on throat F, then E, E and other French etudes. Listening to great repertoire and towards a refined, and D, each with the embouchure b Ettlinger’s recordings I can say that cultivated aesthetic of clarinet playing. that most of us teach – pointed chin, Heifetz absorbed a lot of Ettlinger’s corners in, etc. He then told me to play approach and style. They spoke the POP: When you listen to recordings of only those notes until the next lesson, same “language” in terms of clarinet Ettlinger what aspects do you think are nothing else. Unfortunately, or perhaps playing and musical expression. particularly special? fortunately, the next lesson was three Heifetz wrote a method book titled ALEXANDER FITERSTEIN: The weeks away. There I was, a stranger Legato-Staccato. In it he mentions that recordings of Ettlinger that are available in Paris, in my little room, with only he created the book to alleviate some of on YouTube that I find inspiring are four notes to keep me company. the boredom associated with working the Burgmüller Duo, Handel Concerto A few weeks earlier I had won an on long notes. I believe Ettlinger (live recording, arranged by Ettlinger), international clarinet competition in worked on long tones extensively and Mozart Concerto first movement (live Belgrade, and, at 21, was all set to so did his students. As far as I can tell recording), and the Brahms sonatas “conquer” the world. Those four notes Ettlinger emphasized “correct” playing: and Quintet. turned out to be the most important of embouchure, hand position, posture, His softer dynamics are full and my life. When the time for my second breathing and articulation. During resonant, his rubato is very natural, lesson finally came, I was once again a the first six months that I studied with and he continually creates a sense of student, ready to learn! Heifetz, I mostly did long tones and flow within a larger musical arc. He has slow legato exercises. I would describe impeccable intonation, matching notes POP: Could you speak about the influence his approach as uncompromising but in different octaves or with the piano, Yona Ettlinger has had on your playing? patient, always in search of the highest both synchronously and in echoing ALEXANDER FITERSTEIN: Although quality. (He suggested practicing in notes stated by the piano earlier. He has I never met Yona Ettlinger in person “dry” acoustics and not in resonant a wonderful sense of ensemble with his partners (especially in the recordings with Pnina Salzman). The music- making is purposeful and sincere, but also powerful and fiery when needed.

POP: What were your lessons with Ettlinger like? What sorts of things did you play for him? Did he have any specific exercises or methods that he used? ELI EBAN: Lessons were long and very intense. Much time was spent on long tones, slow scales and intervals, lyrical phrase analysis and shaping, and clarity and variety of articulation. I remember working out of the Stark Staccato Studies

MARCH 2021 THE CLARINET | 17 PEDAGOGY

design. Later, he played a German- influenced French mouthpiece, perhaps by a gentleman called Berger who worked in Munich. His first clarinet instruction in Israel came from Zvi Tzipin who played a German system. Yona’s intonation was close to impeccable, so the choice of mouthpiece bore or interior was acoustically viable on French bore clarinets. I tried it once, very free, without a lot of back pressure. Example 1: Excerpt from the method book Legato-Staccato by Eli Heifetz He said “it’s set up very much to remain in place with the embouchure,” no compensatory lip movements or jawing.

POP: In your teaching, do you feel there are ways Ettlinger’s legacy continues? ALEXANDER FITERSTEIN: Absolutely. I think it is important to have an ideal, a type of a “lighthouse,” something to strive for and for me Ettlinger is this type of an ideal. A way of playing where the technical aspect is always in the service of the music, and I try to convey this to my students. Breathing, embouchure, Example 2: Excerpt from the method book Legato-Staccato by Eli Heifetz posture, hand position and making phrases sound natural are things that we work on in every lesson. Ettlinger was a complete musician. He studied spaces in order to be disadvantaged and POP: Were you ever able to play on composition, taught, conducted and to be forced to improve your basic tone.) Ettlinger’s setup? Do you know what sort wrote arrangements that expanded our In these excerpts from Legato- of equipment he used? Do you know if he repertoire. By passing on the principles Staccato you can see Ettlinger’s ideas changed equipment often or if he more or that were taught to me by Eli Heifetz about the execution of smooth legato less played the same setup through most of and introducing a new generation and his method of teaching articulation his career? to Ettlinger’s recordings I hope to (see Examples 1 and 2). Heifetz ELI EBAN: In his early career he played continue his legacy. emphasized that one should use the Selmer mouthpieces, quite close facing, JAMES CAMPBELL: Basics, basics, diaphragm and abdominal muscles when these could still be played on basics! If you can’t play the clarinet actively in all of the examples that Buffet clarinets. I am told that Selmer you can’t make music. (And if you require it (Nos. 2-7) and not to move got tired of Buffet players using only don’t make music, there is no point in your mouth (add pressure) or throat. their mouthpiece so they changed the playing the clarinet). ELI EBAN: Well, I would hope – imbuing a sense of appropriateness to the musical style of a piece, whether it be an etude or a concert piece or certainly any orchestral excerpts. More does not necessarily guarantee better. More force, more volume, more muscle, more unbridled velocity was not the point at all! So as I think out loud here, I would sum it up in one word – proportion. v

* * * * * In many ways I think Ettlinger was always striving for the highest level of artistic excellence. It is my sincere hope

18 | THE CLARINET MARCH 2021 that reflecting on his musical journey, 2021 thinking about his approach, and Online Summer Academy listening to his recordings will help you discover ideas that will elevate your own Mihai Tetel, director musicianship. Aria SUGGESTED RESOURCES Boot Camp Session ~ July 14-23, 2021 Aronson, Josh, dir.. Orchestra of Exiles. 2012. New York, NY: Aronson Films. DVD faculty: Heifetz, Eli. Legato-Staccato Method for Mark Nuccio the Clarinet. Tel Aviv: OR-TAV Music Alexander Fiterstein peabody institute northwestern university & Publications, 1984. university of houston Steve Cohen principal-houston symphony northwestern university ABOUT THE WRITER Ron Samuels Phillip O. Paglialonga Jonathan Gunn pittsburgh symphony & is associate professor university of texas-austin duquesne university of clarinet at the University of North 8 full hour lessons, 4 master classes, and Talk to the Pros Texas and pedagogy Question & Answer forum on career issues, auditions, coordinator for the and competitions International Clarinet Association. More For more information please contact information about him CProf. Mihai Tetel at [email protected] is available online at or visit our website at www.SqueakBig.com. www.ariaacademy.com tel 765.212.0327

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MARCH 2021 THE CLARINET | 19 PEDAGOGY Master

by Jessica Lindsey

KATHERINE HOOVER’S SET FOR CLARINET Katherine Hoover’s Set for Clarinet is required repertoire for the 2021 ICA High School Competition.

elebrated composer and account for all of the eighth-note beats. There is some ambiguity to the notes flutist Katherine Hoover Giving attention to the eighth notes printed in the score in lines five and six (1937-2018) was recognized can also guide the shape of the phrase. (see Example 2). My performance practice many times during her career, The clarinetist may choose to play the follows these guidelines: accidentals are mostC notably by receiving a Lifetime phrases in such a way that no two eighth only relevant for the octave in which they Achievement Award from the National notes (or eighth-note subdivisions) are are printed; once notes are separated by Flute Association and a Composer’s performed at the same dynamic level. This rests, the accidentals no longer apply; and Fellowship from the National Endowment interpretation will ensure that each phrase accidentals applied to grace notes do not for the Arts. In addition to her well- is shaped with a subtle crescendo and/or apply to notes that are not grace notes. For known flute compositions, Hoover wrote decrescendo. I suggest a tempo of 72-76 example, after the a tempo in line five, I significant works for clarinet that were for the quarter note at the beginning. suggest that the C in the grace notes does # premiered by world-renowned artists. For The top of the score says “(Trumpets, not carry through to the eighth note that example, in 1982 she composed Images for Drums)”; Hoover’s first motive is in the follows it (a C ). Likewise, in the last line, the Verdehr Trio. In 1987, her Concerto the C appliedn to the second note of the style of a trumpet and the second motive # for clarinet was premiered by Eddie after the fermata emulates a drum (see line does not carry through to the fourth Daniels in collaboration with the Santa Fe note of the line (a C ). Example 1). To sound like a trumpet right n Symphony. In 1989, her Ritual for clarinet from the start, end the C without a taper. After the fermata in line four, the trumpet “fanfare” should be played with a and piano was commissioned by the New Play the motive under then asterisk with York State Music Teachers Association and crescendo and sustained volume into line clear articulation. I refer to this second premiered by Naomi Drucker. five. At the a tempo in line five, Hoover idea, under the asterisk, as the “drum Altogether, Hoover wrote nine works inverts the drum motive and deconstructs motive” for the remainder of the article. that include the clarinet. Her first work to it by replacing the repeated notes with In line two, begin forte (as marked) feature the instrument was Set for Clarinet, rests. Play the first four notes in line six and sustain the energy level through the written in 1978 and published in 1985 in a similar style to the notes in the poco by Boelke-Bomart Publications. In this tremolo-like sextuplets. Count carefully mosso section: separated and resonant. article, I will present my interpretation to include all of the eighth-note beats After the fermata, three short ideas of Set for Clarinet, a lesser known but in this line. The end of line two is made separated by rests build to a final trumpet valuable work for solo clarinet. Playing more interesting by the wide variety of call. For the last note, crescendo to the this work with musical conviction takes a articulations; be sure to carefully adhere to end of the note – let it ring! deliberate and thoughtful approach. the staccato, tenuto and slur markings. The title of the second movement, The first movement, “Fanfare,” evokes In the third line, play the drum “Air,” is a good reminder of the challenges a flourish of trumpets through its soaring motive with clear articulation. Consider that often arise in solo works. At each melodies and driving motives. In a a decrescendo for this presentation of the possible opportunity, the performer performance note, Hoover instructs the motive, starting each group of grace notes should examine if they need to exhale performer to ensure the grace notes “fit quieter than the previous set. At the poco or inhale, one of each, or neither. It is between steady beats.” Taking her note mosso, Hoover employs barlines for the first crucial to write in your breathing needs. I into account, keep a steady beat and time. These barlines inform us that the E is suggest marking the exhales with an “x.” n change tempo only where marked. Even not a pickup but rather a strong beat. The Another item to consider is embouchure in the absence of time signatures and solid staccato notes are best played separated and endurance. In a multi-movement barlines, the clarinetist should carefully resonant in lines three and four. unaccompanied work, a performer should

20 | THE CLARINET MARCH 2021 PEDAGOGY

In musical terms, “air” simply means a melody or a song. This is a slow movement, and I suggest a tempo between 52-60 for the quarter note. In the first measure, the A is best played as unaccented and tenuto nas possible while Example 1: Mvt. I, line 1 still giving the eighth rest its full value (see Example 3). This keeps the focus on the B . In measures two and five, lengthening then first note of the quintuplet helps emphasize its meandering character. As longer lines unfold, it is necessary to connect upward leaps by focusing air on the lower notes. To bring out the subito piano in measure 11, exaggerate the end of the crescendo without breathing at the end of measure 10. A shift in dynamics without a breath creates a more dramatic effect for the listener here and in measures 18 and 33. Breathing in measure 12 after Example 2: Mvt. I, lines 5-6 the C and/or in measure 16 after the first A is appropriate.n n In measures 20 and 21, the first note of each pair should be more emphasized and the second note tapered to create a musical sigh. Take time at the fermata in measure 21 to sort out breathing or other items as needed. Starting at measure 22, Hoover writes out a series of timbral trills using alternate fingerings for the same pitch. I see this as a variation of the drum motive from movement I. The alternate fingerings provide an effective subtle shading of the timbre (versus the articulation in movement I). Various makes/models of Example 3: Mvt. II, mm 1-12 instruments will produce more dramatic results using a choice of the fingerings offered by the composer. Have fun experimenting with this technique! In comparison to the beginning of the movement, at measure 22 the quintuplet figure is now twice as fast and less meandering. Here the quintuplets should not sound frantic, but rather smooth and directed. Use the side fingering for the G s and F s within the quintuplets. # The crescendo/decrescendob pairs in Example 4: Mvt. II, mm 24-30 measures 24 to 30 are most dramatic if each crescendo peaks at the first of the eighth notes following the quintuplets in measures 24, 28, and 30 (see Example 4). take advantage of the silence between tension in the space between and above At the quintuplets in measure 35, find movements to fully release the work of the eyebrows, and take a few measured an intimate piano dynamic to cue the the embouchure and tongue, let go of any inhales and exhales. audience to the return of the opening’s

MARCH 2021 THE CLARINET | 21 PEDAGOGY

The “long F” fingering is useful in measure 52. The descending arpeggios in measures 50, 51 and 53 will take deliberate work, maintaining a curve in the fingers to create a consistent fingertip seal over the tone holes at the fast pace of this movement. This movement should be practiced slowly with a metronome, including all of the printed musical markings and utilizing Example 5: Mvt. III, mm 1-7 a variety of practice rhythms so that the fingers move evenly in performance. A more conservative tempo may help to incorporate all the strong accents, direction in crescendos and decrescendos, and sudden dynamic shifts. My suggested performance tempo ranges between 120 to 144 for the quarter note. If you enjoy the writing in this third movement, be sure to investigate Hoover’s work for clarinet and piano, Ritual, as it employs many of the same motives, accents and register leaps! Six of Hoover’s works involving clarinet can be purchased from Theodore Presser and have been recorded: • Homage to Bartók for woodwind quintet Example 6: Mvt. III, mm 47-56 (1975), recorded by the Cumberland Katherine Hoover, Set for Clarinet; Copyright © 1978 Boelke-Bomart, Inc., All Rights Reserved. Used Quintet on their album Shadows and by permission of European American Music Distributors Company, sole U.S. and Canadian agent for Dreams (Centaur CRC2335) Boelke-Bomart, Inc. • Set for Clarinet for solo clarinet (1978), recorded by Mary Alice Druhan on both SoundCloud and YouTube on the ornamentation of B , decorated in The opening three lines should be “Druhanclarinet” channel measure 36 with alternaten fingerings. In practiced first to establish dynamic • Selima for soprano, clarinet, and piano the last three measures, do not play too levels, character and tempo. One practice (1979), recorded by the Ariel Ensemble quietly too soon. This allows each motive technique is to start at the end and work (Spectrum SC-425) to be finessed with a significant taper, backwards in increasingly larger sections. • Images for clarinet, violin, and piano progressively moving to the softest sigh of To do this, begin with the last two measures (1982), recorded on the self-titled departure in the last two eighth notes. and practice them in comparison with album The Verdehr Trio (Leonarda Hoover begins the third movement, the dynamics from the beginning. Then Productions LE326) “Dance,” with variations of motives begin one or two measures earlier than • for clarinet and from the first movement; she writes in a the previous starting point and continue orchestra (1987), recorded by Robert trumpetlike style before the fermata, and playing to the last measure. With great Spring on his album Black Dog brings back the drum motive in measures discipline, you can repeat this process, (Summit Records) 2 and 3 (see Example 5). In measure 2, moving the starting point to the top of the • Ritual (1989) for clarinet and piano, play the drum motive insistently. Staying recorded by Jessica Lindsey and quiet in measure 4 (up to the fermata) and second page or even to the very beginning of the movement. Practicing the opening Christian Bohnenstengel on Set No making a slight crescendo on the fermata Limits (Albany Records) leads the audience to contemplate what and then working backwards from the is next: Will it be yet another slow and end of the movement helps to transfer the Of Hoover’s six published compositions thoughtful movement? No! Hoover sends style from the beginning and balance the listed above, Set for Clarinet is the first and us forward to a fast-paced movement dynamic levels throughout the movement. only work for clarinet alone. Her writing in filled with syncopation, register leaps In measures 54 and 55, an effective this piece is expressive and straightforward, and sudden dynamic contrast. While way to incorporate style and tempo from accessible to performers and audiences this movement is the most technically the opening is to maintain the tempo alike. With so few works by women challenging of the three, it is the most through the long diminuendo and composers, this piece is an excellent choice straightforward musically. individual sighing figures (see Example 6). for a clarinetist who wishes to diversify their

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ICA ANNOUNCEMENT ICA ANNOUNCEMENT repertoire list and perform a fine work for 2021 High School 2021 Young Artist clarinet solo. For more information about Solo Competition Competition Katherine Hoover’s life and compositions, please visit papagenapress.net. v Coordinator: Kimberly Cole Luevano Coordinator: Diane Barger [email protected] [email protected] Deadline: April 1, 2021. ABOUT THE WRITER Eligibility: Competition participants Jessica Lindsey is must be 18 years old or younger Repertoire: associate professor as of June 30, 2021. • Introduction et Rondo, Op. 72, for of clarinet at the clarinet and piano – Charles-Marie University of North Deadline: April 1, 2021. Widor (Heugel/Leduc) Carolina at Charlotte, • Sonata for solo clarinet, Mvt. 1, Lyrique performing throughout Repertoire: and Mvt. 4, Final – Ida Gotkovsky the United States • Set for Clarinet by Katherine Hoover (Molenaar) and as far afield as (movements 2 and 3 only) • BlingBling for clarinet and piano (all) – China and New • Sonatina, Op. 29 by Malcolm Arnold Scott McAllister (www.lydmusic.com) Zealand. Jessica Prizes: Prizes: is co-founder of the Spatial Forces Duo First prize – $2500 USD and a professional First prize – $1,000 USD with Christy Banks and a member of the clarinet to be announced Second prize – $750 USD Association for Body Mapping Education. Second prize – $1000 USD Third prize – $500 USD Her clarinet teaching is deeply influenced Third prize – $500 USD by her mentors, Diane Barger and Daniel Visit www.clarinet.org for full competition Visit www.clarinet.org for full Silver. She holds two music degrees from rules and application details. competition rules and application details. the University of Nebraska–Lincoln and a D.M.A. in performance and pedagogy from the University of Colorado at Boulder.

ICA ANNOUNCEMENT Call for Proposals – ClarinetFest® 2022

ClarinetFest® 2022 will take place in Reno/Lake Tahoe Nevada, USA, June 29-July 3. The Artistic Leadership Team – Christy Banks, Joshua Anderson, Soo Goh, and Jessica Lindsey – looks forward to presenting a wonderfully diverse and comprehensive program centered around the theme of Connecting People, Ideas and Cultures. ClarinetFest® 2022 will be held at the Peppermill Resort in Reno, a Four Diamond AAA property. A free round-trip shuttle service will be available to take conference attendees directly from the Reno International Airport to the Peppermill Resort. For those traveling by car, the Peppermill has provided free parking (valet or self-park) with your hotel room reservation. The conference will feature performances by the Reno Philharmonic Orchestra as well as emerging and established artists in solo and ensemble settings. The conference site will provide ample space for events and exhibits all in one convenient central location. The Peppermill is offering ClarinetFest® attendees several different price points for onsite lodging; there are nearby hotels to choose from as well. Additionally, the conference site has a variety of restaurants on the property. The city of Reno offers world-class entertainment and dining options within the city and is just a 30-minute drive to the beautiful Lake Tahoe resort area. International Clarinet Association members are invited to submit performance and presentation proposals for ClarinetFest® 2022 linked to the theme of Connecting People, Ideas and Cultures. The committee seeks to have a wide selection of diverse performances and presentations and encourages participation by our members from all across the globe. The maximum time allotment for a performance or presentation proposal is 25 minutes. Please find more information and submit proposals through the Acceptd portal at www.clarinet.org under the ClarinetFest® 2022 page. The deadline for applications is September 15, 2021. Please note there is a $20 application fee to submit a proposal. Performing in an evening concert is by invitation only. Evening concert performers are invited by the Artistic Leadership Team often in consultation with the ICA and with ClarinetFest® sponsors. General questions can be sent to [email protected].

MARCH 2021 THE CLARINET | 23 JazzThe by Ben Redwine

“The Jazz Scene” now features a rotating cast of writers. If you are interested in becoming a contributor, contact [email protected]. QUEEN CLARINET: INTERVIEW WITH DOREEN KETCHENS

or all of the nicknames for New Orleans (the Big Easy, the Crescent City, etc.), it could also be called “Clarinet City.” FThere are more professional clarinetists living and working in New Orleans than any other American city, except, perhaps, for Washington, D.C. because of all of the military bands stationed there. Of all the clarinetists in the city, only one is sometimes called “Lady Louis,” or the “Female ,” or “Queen Clarinet.” Doreen Ketchens has been performing in New Orleans, mostly on Royal Street, for decades. In addition to holding court as a street performer, Doreen tours internationally, has performed for four U.S. presidents, and regularly educates the youth of the Doreen Ketchens world, spreading the culture and music of New Orleans. I sat down, virtually, with Doreen Ketchens in November 2020. month. My school had an arrangement with the New Orleans BEN REDWINE: Good afternoon, Mrs. Ketchens, it is a pleasure to Philharmonic where we would hear the symphony several speak with you! times a year, so I had a pretty wide exposure to two genres DOREEN KETCHENS: Hello! Oh, man, I just learned about you. of music, funky jazz street beats and classical music. I started We are clarinet cousins! playing clarinet in the fifth grade. It wasn’t like a dream, I was BR: Yes, thank you for agreeing to this interview. Let’s jump right really trying to get out of a history test! We had a pop quiz one in! Will you relate your memories of growing up in New Orleans, day. It was a brutal test, each student was asked questions – what your perception of the city was, and when it was that you you were either right or wrong, pass or fail. When the first first became interested in music? question came to me, I got it wrong. So, I looked out of the DK: I grew up in the Treme neighborhood. Jazz funerals and window, like I did most days, and I prayed, saying, “God, parades passed in front of my home several times each if you can get me out of this test, I’ll do anything!” Almost

24 | THE CLARINET MARCH 2021 simultaneously, the principal spoke over the loudspeaker, and she said, “Anyone interested in joining the band, report immediately to the bandroom.” I was “saved by the bell”! I remember running down the hall breathing a sigh of relief, having gotten out of the test. Back then, girls played certain instruments and boys played certain instruments. I sat on the side where the girls had congregated, and I saw a poster of a flute. I thought to myself, “Man, that instrument is pretty, I want

to play that!” By the time it got to (dianedanthonyphotography.com) Danthony Diane credit: Photo me, the flutes had been all accounted for, so I chose the next instrument on the poster. I didn’t even know what it was called, it just looked pretty, so I chose the clarinet! None of my family members were musicians, but my dad was a member of a social aid and pleasure club, and he used to Second Line all the time.1 He played the stereo constantly, so I’m sure that’s where my musical influence came from.

BR: Were you able to hear local musicians before you started playing the clarinet? DK: Roger Lewis, with the Dirty Dozen Brass Band, lived five doors away from me, and they used to practice at his there was Mr. Batiste. He caught my jazz clarinetists that I had heard, like apartment, so I heard them a lot! They eye and said, “Come in!” We started George Lewis and others, I appreciated would practice marching, and pass talking about Rachel, music, and my their tones and I respected them, but right in front of my house. At that audition earlier that day. He told me, that was not my concept of tone at all. time, there were four funeral homes “You know, you probably didn’t do as Their styles at the time were against within three blocks of our home, so badly in that audition as you think you what I was studying, trying to get a Second Lines would pass constantly, did. You must have confidence when perfect classical clarinet tone. Now, in passing my house and my school you are playing music!” Mr. Batiste was my class with Mr. Marsalis was another several times every week. a rocket scientist. I don’t care what you musician, Harry Connick, Jr. The only were talking about, he was a genius. relief I got in that class was when Mr. BR: There are some locally and He had ways of communicating which Marsalis stopped trashing me in class internationally famous music educators flew over your head, but you might to start trashing Harry! Mr. Marsalis associated with New Orleans. I’m actually catch a few stars, you know? had a way of looking straight through thinking of Ellis Marsalis and Alvin So, he said, “You must think positively. you when you didn’t do what you were Batiste. Did you have any contact with How are you thinking?” I told him I supposed to. If I had been raised by them when you were growing up? was positive. He said, “There you go, Mr. Marsalis, I would be the greatest DK: I used to call Alvin Batiste “Uncle Al,” you got it!” And, that was that. I won clarinetist in the whole world, I’d know because I went to NOCCA (the New first chair in that audition! So, he was everything there is to know about Orleans Center for Creative Arts) with “Uncle Al” after that. I considered him music, and everything, because he had his niece Rachel. I remember we were my guardian angel, and it set the course this way of pushing you and making auditioning for the Louisiana Music for me to think positively for the rest you feel like dirt if you didn’t live up Educators Association honor band, of my life! to his standards. That happened quite and I was feeling low because I didn’t Ellis Marsalis was my ear training often to me – they move pretty fast at think I did very well on the audition. teacher at NOCCA where I was strictly NOCCA! I already thought everyone I was walking around, feeling sorry for a classical player. He used to call me was smarter than me, because they myself, and I heard a clarinet being Ms. Joseph, my maiden name. I wasn’t came from prestigious schools, and I played in a room. I looked in, and interested in jazz at all. You know, the didn’t think I belonged there. I made

MARCH 2021 THE CLARINET | 25 fine grades, and kept up musically, I has two bridges, and he played one, what he was doing. had just didn’t think I was! He had this way while I played the other. Of course, a similar background to me, starting of shaking his head – first he’d shake he knew all of that, but he said to out with classical music, then learning it up, then he’d shake it sideways, and me, “I kind of remember your bridge, jazz. Early on, I emulated Jerry Fuller, I always thought, “Oh boy, here we but show me what you’re doing.” clarinetist with the Dukes of Dixieland. go.” He was amazing, but my life with I said, “You want me to teach you I would steal so many of his solos just him was challenging. I liked him as a something?” So, I showed him, and he so I could keep up with my husband’s person, and he liked me as a person, nailed it, of course. He was just being band. Eventually, I realized what he but, boy, he shook his head side to side kind to me, I think, and showing that was doing, and it translated into me quite often at me! sometimes the teacher can become being able to improvise. I’d start out As I got older, I remember one the student. He was a special man and transcribing solos, then playing by of my first recordings with Kermit musician! Then he said, “But, you still ear, copying what those clarinetists Ruffins. I was warming up, and Mr. have to practice!” I was really looking were doing. I don’t remember those Marsalis walked in. He passed by forward to that performance, and it solos now, but I’m sure that I still play me, then backed up and said “Ms. really hurt me when he passed away snippets of them that creep into Joseph, what are you doing here?” I on April 1. my improvisations. said, “I’m playing on this recording BR: Who were your musical idols when you session.” He said, “You mean to tell BR: Do you have advice for a young were learning your instrument? me, all those years at NOCCA, you musician who would like to pursue a DK: Classical wise, Stanley Weinstein. weren’t interested in jazz, and now career as a performer? He was my clarinet teacher, principal DK: you’re playing jazz? I’ve got to hear It’s a passion. Even if you’re successful, clarinetist with the New Orleans this!” I was very intimidated at that it’s not easy. You have to practice and Symphony. Still to this day, nobody recording session. At that time, I wasn’t be ready to perform at the drop of a plays like Stanley. He had this sound! really educated in improvisation, just hat. Listen to other people, find what People tell me all the time, “Oh, your playing by ear. I’d find a recording of stimulates you. Listen, listen, listen! sound is so beautiful,” but I’m really the song we were supposed to play, and There are so many good clarinetists out still chasing the Stanley sound! He just play along, figuring out the tune, there, and they want the jobs too. Even was a perfectionist. If I knew then and what to play to sound good. I if you get told no, keep pursuing your what I know now, I’d be a much dreams. You need to find your voice so remember “Honey Child.” It’s a pretty better clarinetist and musician than I simple song, but, for some reason, I that your personality can come out in am today. I would have known what your playing. You don’t want to sound just couldn’t figure it out. I approached to concentrate on. You know, God like you’re playing an etude book. This Mr. Marsalis, and said, “You know, protects little children and damn fools, is for all types of music – even classical. I need some help. I can’t figure out and I did alright, I just didn’t do as You want to move the audience, you this tune. He’s a rocket scientist too. much as I could have. I’m not a child want to touch them. He gave me some advice which I anymore, but I’m going to be okay! didn’t really understand, then he said I started playing jazz because I fell BR: You are known in New Orleans as “retrogression.” I still didn’t understand in love with a tuba player! Lawrence, a “street musician,” and you have him, but he said it again, then showed my husband, had a jazz band, and all performed on Royal Street in the French me on the piano. And, it was like a key of the sudden, jazz wasn’t so bad. I Quarter of New Orleans for many years. opening a door, which made me able to started to listen to jazz so I could learn How long have you been performing on play the song! the tunes and fit in with his band. I your “stage” on Royal Street? We were supposed to play with the started listening to Louis Armstrong. DK: It’s been 30-35 years, 4 days a week. Louisiana Philharmonic Orchestra He is my biggest influence. Some Early on, 12 hours a day. We’d start at (LPO) in March of 2020, which, people call me Mrs. Satchmo, I guess 9 in the morning and play until 9 or of course, was postponed because because that concept is in my head. sometimes even until 11 at night! As we of COVID. Back in January, I was I’ll hear something he plays, which got older, we realized how to make more recording a film for Branford Marsalis, I’ve heard thousands of times, and I’ll money in less time, so now, we play for Ellis came around a few times, and we think, “What? How did he do that?” about 5 hours a day. When it’s really had worked out what we were going Then, I listened to the clarinetists who busy, sometimes we’ll still play for 8 to play – one song together, and one played with him: Edmund Hall, Buster hours. It’s crazy, but it’s what you do! song as a solo with the LPO. I needed Bailey, Barney Bigard. Those cats were some rehearsals, I thought! I had rarely awesome too! Edmund Hall had this BR: Please tell us about your band and played with a symphony, and it had thing he could do, where it sounds its instrumentation. been a long time since I had played like he was playing two tones at the DK: Dorian, my daughter has been with him. So, I went to his house for same time. People today might hum playing with us since she was 4. She is the rehearsal. We were going to play while they play to achieve something our main drummer. That’s a godsend! Duke Ellington’s “Caravan.” “Caravan” similar, but I don’t think that was My husband, Lawrence, is a tuba

26 | THE CLARINET MARCH 2021 player. My favorite band is a quintet – a great scholarship, but as the years in the weather, so I’m glad I found this we add guitar, Dave Hammer, and progressed, the tuition kept rising, composite clarinet. trombone, Steve Wonker. but my scholarship didn’t, so I started I played Mitchell Lurie reeds in looking around, and was accepted college. When my teacher moved, BR: There is a protocol for claiming a spot at the Hartt School in Hartford, his wife gave me about 600 boxes of on the street in New Orleans. Now that Connecticut, where I studied with Mitchell Lurie 5.5 reeds. I still have you are established, do any other bands Hank Lawson. He was principal some of those reeds. Only recently did steal your spot? clarinetist of the Hartford Symphony, I start looking for other reeds. I’ve been DK: Yes, all the time! But, there is a great but had Lou Gehrig’s disease, and playing D’Addario Reserve 5 reeds too. level of respect among street musicians. couldn’t play anymore. He was a When I went to college, I didn’t Since we’ve been playing for so long, wonderful teacher and could explain know what an A clarinet was, but I if someone is in my spot, and I show what you had to do in a way which learned that I needed to buy one. I up, they’ll say, “Oh, Doreen, I didn’t was so clear. I learned a lot from him! found a set of clarinets and they came know you were coming today.” There is In the meantime, my husband’s father with two Kaspar mouthpieces, which respect among musicians. passed away, then shortly after, my I fell in love with. I played those until father passed away, so we moved back 2018, but I played them so much that BR: There is a lovely tradition in the music to New Orleans. I wore indentations through the beak scene in New Orleans where bands allow of the mouthpiece. So, I started to and encourage other musicians, regardless BR: How are you faring with this pandemic look for a new mouthpiece, and I saw of ability, to “sit in” with their band. we are all suffering through, and how are the D’Addario marbled mouthpiece. I When I have experienced this, the look you coping with the sudden change in just thought it was so pretty, but when on an amateur’s face is priceless, as they livelihood and lifestyle? I played it, it sounded terrible until I seem to be having the time of their life. DK: I always have saved for a rainy day, changed reeds to 4.5, and then it was Do you have any thoughts about this but I didn’t know it would be a rainy amazing. I’ve been playing it for a few cultural phenomenon? year! I don’t like using savings, as months now. DK: When I started, all I could do was opposed to saving savings, but thank BR: play melodies. People would come God we had savings! I’ve been teaching Thank you for sharing your life with the readers of The Clarinet! We look forward to sit in, and they could play circles private lessons online, and I did to a time when we can hear you perform around me. We’re very approachable, weekly clarinet lessons on my YouTube again, whether it be on Royal Street, or and give everyone an opportunity channel, but we had to stop once the at an International Clarinet Association to play. It’s their privilege to lose. storms started – we are still cleaning ClarinetFest®! Someone will come up and say, “Can up from that. It’s been about a month DK: Thank you! I encourage readers to visit I sit in?” And, we’ll say, “Sure, you can since I did a YouTube lesson. We’ve my website: doreensjazz.com, where you play one or two songs.” Sometimes we been doing Facebook Live concerts can learn more about me and where you have to say, “Thank you, thank you,” from our dining room, where we ask can purchase recordings, and even get in just to get them to not play any more. for donations to our “virtual bucket.” touch with me yourself! v Sometimes people surprise you! We’ve Most mornings, I get up in the had 80-year-olds sound like they are morning, play some etudes, then we ENDNOTE 17, and we’ve had 17-year-olds sound record some tunes. We haven’t played 1 Second Line is a New Orleans tradition in which like they’re 80! As long as people don’t on the street since March, but we have a “second line” of revelers follows behind a “first overstay their welcome. Sometimes been playing. It’s nothing like before line” of parade participants and musicians. having someone sit in is a pleasure, the pandemic, but we are surviving. and other times, you’re looking at your ABOUT THE WRITER watch, waiting for them to leave! BR: Tell us about the equipment you play. DK: I recently got a Shine clarinet, a Ben Redwine retired BR: Please tell us about your formal music composite instrument from Korea. It from the United education. plays really well, and I don’t have to Stated Naval Academy DK: I started at Delgado Community worry about the heat or cold. Band in 2014. He College, and while there, I studied Before that, I played Buffet and earned degrees from with George Jensen, a trumpet player Selmer, but I played them so much the University of at the New Orleans Phil, until he had that they fell apart. I have a gold-plated Oklahoma (B.M.E.), a stroke and couldn’t play anymore. He Selmer that I had pinned so many Louisiana State was a very gifted educator. He could times my repairman said, “Doreen, University (M.M.), communicate even what he couldn’t you need to retire this instrument.” and The Catholic demonstrate any longer. Then, I So, I did. The weather really does University of America (D.M.A.). He transferred to Loyola University, where wreak havoc on instruments. I was “retired” to New Orleans, where he performs I studied with Stanley Weinstein. I had destroying these beautiful instruments frequently in both classical and jazz genres.

MARCH 2021 THE CLARINET | 27 The Wind Quintet Informant, No. 45 by Bruce M. Creditor, Wind Quintet Editor

CHAMBER MUSIC AMERICA GRANTS ach year Chamber Music America (chamber-music.org) awards Residency Partnership Program grants to performing Eensembles. The 2019 grantees included the Quintet of the Americas and the Spring Wind Quintet. In the fall of 2019 the eminent New York-based Quintet of the Americas (quintet.org; Benjamin Baron, clarinet) partnered with various care institutions to reach underserved populations in such diverse venues as a community library, a rehabilitation and nursing center, and an Alzheimer’s Adult Care program. The group collaborated with jazz artists trombone/ tuba/arranger Earl McIntyre, percussionist Carlos Maldonado and vocalist Renée Quintet of the Americas Manning. Their presentations celebrated the Queens neighborhood of as the “home of jazz” (or at least one of the “homes”!). Through four workshops and then culminating concerts the Quintet This kind of crossing artificial divides providing relevant information that other of the Americas presented aspects of jazz can invite creative and innovative thinking ensembles could use for reference to such as its history, improvisation, rhythms on the part of other ensembles. I am expand their own repertoire. and the history of vocal music. always in favor of expanding the quintet The Spring Wind Quintet The quintet and their assisting artists – ensemble to include other instruments, (chambermusichawaii.org; Jim Moffitt, in particular a bass instrument (usually clarinet) completed its CMA Residency, what a creative group they were – bass clarinet). Here the trombone/tuba The Paka’a Project, in October 2019, demonstrated the topics and invited provides that underpinning. featuring a remarkable commission. audience participation in learning and The Quintet of the Americas is also Paka’a Lanakila! is a coming-of-age story repeating some rhythms and melodies, working on a large project to document composed by Jon Magnussen – who was and even scat singing! The concerts the 100+ works they have commissioned the director of the Honolulu Symphony included music by Louis Armstrong, James in the 40 years of the quintet. They plan education and outreach program – about P. Johnson, Fats Waller, Billie Holiday, to create YouTube videos of the works a boy outsmarting older, more experienced Dizzy Gillespie and others – not the with new introductions by the composers fishermen. The classic music mo’olelo usual list of composers on a wind quintet who are still alive, and a website with (story), a part of a longer one previously program! Some of these arrangements more information about the composers. printed in old Hawaiian newspapers can be obtained from Earl McIntyre at This will be a great documentation of from the late 19th century, is told [email protected]. the quintet’s valuable legacy as well as through the voice of the wind quintet,

28 | THE CLARINET MARCH 2021 A reminder from a previous “Quintessence” that many transcriptions for wind quintet by the group’s bassoonist Marsha Schweitzer are available from her at springwindquintet@ hawaiiantel.net. I strongly suggest quintets to join Chamber Music America for their programs – such as this Residency project and other grants, for networking, and for their important publication Chamber Music. ROBERT PATERSON’S WIND QUINTET (KLEZMESHUGEH) Robert Paterson was until recently an unknown name for me, but after learning more about him I dare say that he should be more well-known, at least in the wind quintet world for his Wind Quintet. He is quite the accomplished composer with over 100 works to his credit in all genres and formats and has received many performances from orchestral to chamber music. From his excellent and easy to navigate web site, robpaterson.com, you can easily find the wind quintet page in the extensive list of his chamber music. Not only are there two performances – a video with the Imani Winds and an audio recording with the Ithaca Wind Quintet – but also the perusal score and even a link to Bill Holab Music to order the materials. Spoiler alert: this 18-minute piece – which dates from 2004 – is challenging and virtuosic, and should not be attempted by less-than-adventurous ensembles. However it can be a joy to listen to by all. Paterson’s program note for his unique and compelling work states, “All of the movements of this wind quintet are connected Spring Wind Quintet and inspired in some way by American icons, surrealism, collage and post-1950s imagery and suburbia.” He describes elements and influences in the four movements of his Wind Quintet, including the character development of the film Pulp Fiction by narration – in both an English version and a Hawaiian-language Quentin Tarantino, TV show themes from the 1960s and ’70s, version, developed in collaboration with experts in Hawaiian oral Dalí’s famous painting The Persistence of Memoryas well as Jon traditions – and visual images. Gilmore’s Melting Clock, and klezmer music. The work’s subtitle “Klezmeshugeh” is in fact a made-up word combining two Yiddish Magnussen writes, terms: klezmer and meshugeh (“crazy”). As in composer Michael [T]he musical language reflects both Western and Daugherty’s works such as Metropolis Symphony, Sunset Strip and Hawaiian influences. One hears this in the sound of the Dead Elvis, Paterson’s popular cultural references are used both to Western instruments mixing with the Hawaiian ka’eke’eke – comic and serious effect. Sometimes whimsical, sometimes more a traditional bamboo tube – as well as in the complex, serious, but always provocative. contemporary Western music rhythms blending with the This work continues to give lie to the oft-repeated strain rhythmic solidity of the pahu hula drum. that there is a dearth of quality, accessible contemporary works There is also a free downloadable Teacher’s Resource Guide for the wind quintet – an assertion that I try to prove wrong in in Hawaiian and English, curriculum support for classroom every issue of this column. It was commissioned by the Quintet use particularly in third to fifth grades. It is truly a wonderful of the Americas and underwritten by a grant from the American intersection of music, language, history, art and education. The Composers Forum with funds provided by the Jerome Foundation, host institution for the CMA grant was the Bishop Museum with a fine example of partnerships in the creation of new works. the education and outreach aspects of the project during October Paterson’s Wind Quintet has been highly praised, and in 2019 culminating in a grand public performance on October 23 addition to Imani Winds and Ithaca Wind Quintet it has in the museum’s Great Hawaiian Hall. This unique partnership, been performed by the Sylvan Winds, Albermarle Ensemble, utilizing staff and funding resources from both organizations can Philharmonia Quintet of Cracow, Poland (who has recorded it) point to further collaborations. and others. It is high-spirited, enjoyable, full of energy, written The work was also made possible by a generous grant from with great imagination and flair, and is successful because, though the Honolulu Mayor’s office on Culture and the Arts and can be quite demanding of the players, it is so well crafted. Dramatic and obtained from the composer Jon Magnussen at jonmagnussen@ full of interplay among the performers, it presents an Ivesian flair me.com. It has already been performed on Kauai, Maui and for collage in its use of quotations – here not from hymns but Oahu. What scenic venues for performances! from those icons of pop culture.

MARCH 2021 THE CLARINET | 29 our audience to experience music in innovative ways.

BC: What is the range of the Adelante Winds repertoire? SS: Our extensive repertoire emphasizes music of composers from many diverse backgrounds, especially those from underrepresented and marginalized communities. We particularly enjoy working with living composers and expanding the wind quintet repertoire. Attending the Imani Winds Chamber Festival and the Fresh Inc Music Festival has afforded us the opportunity to collaborate with new composers. In 2016, we premiered Marnen E. Laibow-Koser’s Fantasy- Ricercar at the Imani Winds Chamber Festival. During the summer of 2018, the ensemble had the privilege of premiering Emily Joy Sullivan’s Spirit Moves and Bronwen McVeigh’s Spring Songs at the Fresh Inc Music Festival. We are currently commissioning a work by Carle Wirshba as part of a larger project, the B.R.E.A.T.H.E. Collective. B.R.E.A.T.H.E. is an acronym for Blending Responsive Experiences of Art Towards Healing Empathy. Based in Chicago, this is an exciting program that provides soloists and ensembles with entrepreneurial and commissioning skills. The collective includes three other ensembles: the Spring, Chione and Oregon Wind Quintets, each commissioning a work by an underrepresented composer to Robert Paterson, Wind Quintet, Mvt. IV “Klezmeshugeh,” opening. Copyright ©2006 by Robert Paterson illuminate the significance of breath (ASCAP). All Rights Reserved. Sole Agent: Bill Holab Music. Used by permission. in an ongoing cultural narrative about the impact of COVID-19 and current social justice issues. Speaking of COVID-19, we When asked about writing a second BRUCE CREDITOR: What is Adelante recently streamed a performance quintet Paterson says he’s open to the Winds and its mission? entitled Reunidos! as a celebration of idea, pending a commission request. Any SABRINA STOVALL: Adelante Winds our first time performing together quintets ready to step up?! is a multicultural chamber ensemble since the outbreak of COVID-19. based in San Antonio focusing on The program consisted of dance- ADELANTE WINDS educating and exposing audiences inspired music: Aires Tropicales by In the Winter 2020 issue of Chamber to a diverse range of composers and Paquito d’Rivera, Oblivion by Astor Music – the publication of Chamber styles. Commissioning new works Piazzolla (arr. Jeff Scott of the Imani Music America – I came across a new wind by such composers is very important Winds), Danza de Mediodia by Arturo quintet, Adelante Winds (adelantewinds. to us. Adelante, which means forward Márquez, Dance Mediterranean by com, Gary Fair, clarinet) which seemed or ahead in Spanish, is used as our Simon Shaheen (arr. Jeff Scott) and to leap off the page. Bassoonist Sabrina mantra in exploring new sounds Libertango by Piazzolla (arr. Jeff Scott). Stovall also serves as the executive director. and imaginative performance concepts The holidays really give us an I recently spoke with Sabrina about the to reach a broader audience. We opportunity to use our repertoire to ensemble’s mission and future projects. aspire to challenge ourselves and highlight many different cultures,

30 | THE CLARINET MARCH 2021 to premiere Chris Pratorius-Gomez’s Cumbia del Quinceanero.

BC: According to your bio, it looks like you have done some great work in the San Antonio community. Tell us more about that. SS: Service work to our local community is very important to us. We have served by performing at an International Day Celebration: an event, coordinated by our hornist LaNetra Carther, designed to foster community and celebrate diversity in the Adult Education Program of the North East Independent School District of San Antonio, TX. In September 2017 when Hurricane Harvey had a significant impact on the local community, we felt compelled to organize a benefit concert to provide necessary items and Adelante Winds provisions to those affected.

BC: What’s next for Adelante Winds? SS: In addition to expanding our camp celebrating the spirit of inclusiveness. at Our Lady of the Lake University. In and commissioning of new music, our In 2019, we wrote an interactive summer 2020 we adapted the camp next goal is to create partnerships and narrative that included stories about to a virtual environment. Despite establish residencies with college and Hanukkah, Christmas and Kwanzaa the challenges of COVID-19, we university programs. Chamber music to compliment a collection of holiday wanted students to have a meaningful has had such a huge impact on all of arrangements by Valerie Coleman in a collaborative experience. We hope to our lives as individuals, and we want program, Home for the Holidays. return to a full in-person experience for to share that experience of growth with the summer of 2021. In both versions future colleagues. v BC: The ensemble’s dedication to younger of the camp, we offered chamber composers and students seems to be a prime ensemble coaching, private lessons, * * * * * force within the group’s mission. How so? master classes, and workshops on SS: Giving younger composers a voice As you can see, Adelante Winds is a body awareness, running independent multifaceted and multicultural group is an integral part of the Adelante rehearsals and arranging. This past Winds mission. We had the pleasure moving forward, and one to keep our summer we guided participants eyes – and ears – on. Check in with them to serve as judges for the American through the recording process and Festival for the Arts Composition at adelantewinds.com and on social media creation of streaming a final concert. pages (Facebook, Instagram and YouTube). competition in 2018 and premiered All students receive full-tuition the competition winner’s work, Façade, scholarships for the session upon by Neo Scott Winter. The following admittance to the program. ABOUT THE WRITER summer we premiered 12 brand-new Bruce Creditor has works by high school composition BC: Where and with what artists have you enjoyed a diverse career students who were participating in collaborated? in music including the Youth Orchestras of San Antonio SS: We have been blessed to be able to performance (the (YOSA) Summer Symphony Camp. collaborate in recitals with groups such Naumburg Award- This program involved us teaching and as the Olmos Basin Brass quintet and winning Emmanuel allowing students to experiment with Grammy Award-winning percussionist Wind Quintet, etc.), the different color combinations and Nina Rodriguez. In 2018, we had the music publishing, techniques of our instruments in the honor of traveling to San Francisco to record producer, week leading up to their concert. participate in the inaugural Seminario music librarian and The project we are most proud of is Institute, an event on diversity, equity, orchestra management as assistant personnel the Adelante Winds Chamber Music inclusion and arts advocacy. During manager of the Boston Symphony and Boston Camp, which launched with a 2-week the course of the event we collaborated Pops Orchestras. He has enjoyed editing session in the summer of 2019, held with Quinteto Latino and Deep Tones Quintessence since 1986.

MARCH 2021 THE CLARINET | 31 LIMITATIONS BREED CREATIVITY An Interview with Amy Advocat of Transient Canvas by Marguerite Levin

ransient Canvas is a Boston-based duo AA: At NEC, I received a world-class orchestral comprised of bass clarinetist Amy Advocat education, but I was also given opportunities to and marimbist Matt Sharrock. The duo perform in the Contemporary Music Ensemble Twas conceived in 2011 with the idea of and work with student composers for NEC’s revolutionizing the modern concert experience and Tuesday Night New Music Series. It was a thrill since then, they have performed over 140 concerts to have works written specifically for me, and and festivals, commissioned over 80 works, premiered my interest in contemporary music blossomed hundreds of student compositions, released three alongside my traditional orchestral training. albums to critical acclaim, and gained hundreds of Both Tom Martin and Craig Nordstrom were fans as noted on their Facebook page. This is no encouraging of my playing contemporary works, small feat for an ensemble of any size and requires even those pieces requiring techniques that were countless hours of preparation both administratively not necessarily in their arsenal. They were always and creatively. Advocat serves as the duo’s executive interested in helping me find the music in these director and Sharrock is the artistic director. works. It was also my time at NEC, when I Amy Advocat received her bachelor’s and master’s spent many summers at Tanglewood, twice as degree in music at New England Conservatory a fellow and then as part of the New Fromm of Music as a student of Tom Martin and Craig Players at Tanglewood. Nordstrom, and earned her doctorate in music from McGill University as a student of Simon Aldrich. ML: When and how was Transient Canvas conceived? Hailed as “dazzling” by the Boston Globe, and AA: The initial desire was to have friends and “nothing short of fabulous” by the Boston Musical make music together. Matt – who studied with Intelligencer, she performs regularly with the Boston the renowned marimbist Nancy Zeltsman and Modern Orchestra Project, Odyssey Opera, Sound was inspired by her duo, Marmolin – casually Icon and the New Hampshire Music Festival among approached me about getting together and others. I sat down (online) to chat over coffee with reading some music in the summer of 2011. Advocat about her career and the making and By spring 2012, we made our Jordan Hall debut, running of this highly successful ensemble. commissioned four new works, and were off MARGUERITE LEVIN: Tell me a bit about your and running! background. ML: The Transient Canvas website states you are a bass AMY ADVOCAT: I grew up in Brooklyn, New clarinetist. Talk about your instrumental identity. York. I am the oldest of three children; all of us AA: I am a bass clarinetist in Transient Canvas but played instruments. My dad, an architect, was an this is a bit fluid. I consider myself a jack-of- amateur clarinet and player and my all-trades in the ; I love playing mom played piano and taught piano lessons. My all of them. Our initial pieces were a mixture mom wanted us to have a well-rounded education so we were surrounded by the arts, we attended of clarinet, bass clarinet and other percussion many performances, and I took dance lessons until instruments. Matt and I discovered after a short I started high school. Along the way, my mother while and numerous works written for us, that decided that once “the banging on the piano” that the best works we were receiving were for bass I was doing started to sound like music, I needed clarinet and marimba. The two instruments have lessons. Antithetical to other moms, she pushed me similar ranges and we feel the combination creates to be a clarinet player. more of an equal partnership. I am a big believer that “limitations breed creativity,” our mantra, ML: Having gone to a music conservatory, was there and when we pared it down to bass clarinet and an expectation that you would follow a traditional marimba, we saw a big change in how composers classical music route? started treating the two instruments.

32 | THE CLARINET MARCH 2021 Matt Sharrock and Amy Advocat of Transient Canvas Photo by Robert Torres

ML: You move so masterfully over the AA: Initially, if someone has not yet heard members and it took off from there. instrument with ease and flexibility. the combination of bass clarinet and Networking has a lot to do with it. What do you play on and what is your marimba, they may see it as a barrier We now have regular invitations to prescription for creating such facility? or a limitation, but it is this limitation universities across the United States AA: I really like having a lot of flexibility; that has borne so much creativity. We who have us come and do workshops it’s a big part of my playing. I want are also very mobile and can travel with their students. Many times, we are to be able to claim that I can do most fairly easily anywhere in the world. learning new music on the spot. anything so I challenge myself to We are known for our flexibility both ML: What is your strategy for working regularly learn a lot of notes. Because I in our playing and personalities, our with composers? Do you ever run across have grown accustomed to absorbing ability to learn new music quickly, techniques or concepts that just will so much music in a short time, I don’t and our ability to tell stories about the feel overwhelmed when I see a new not work? music to make it approachable even to piece. Rather, I look for phrases and AA: I love exploring new sounds. a newcomer to this genre. other opportunities to communicate Challenges are welcome; I love it musically, even in a dense score riddled ML: In 10 years, Transient Canvas has when a composer stumps me. I will have them talk about the sound that with extended techniques. This spring, I commissioned well over 80 works they want to hear, maybe sing it, until will play nearly 40 world premieres with and premiered hundreds of student I understand how to produce it. This Transient Canvas in remote residencies compositions. How did this happen? at universities and colleges across the is exciting to me because the end AA: We’ve been fortunate that we both United States. I am a Selmer clarinet product is something very personal have a network of composer friends artist and I play on a Vandoren B50 to our collaboration. here in Boston who were eager to write bass clarinet mouthpiece with Vandoren V12, #3 and on I play a for us. Boston is rich in its number of ML: Tell me about your Composition Vandoren BD5 with V12, #3.5. new music ensembles and excellent Fellowship Program. university/conservatory composition AA: Most of our commissions are ML: What challenges or strengths do you departments. This led us to be noticed from people who are on our radar. have as a duo? by Boston-area composition faculty We wanted to give an opportunity

MARCH 2021 THE CLARINET | 33 to composers whom we do not AA: In Boston, we have a shortage of ML: What exciting projects do you have have a chance to meet. Winners affordable venues. We decided we coming up? of our composition fellowship would meet people where they are. AA: Transient Canvas is in the midst of a receive a stipend of $1000, at least This could be a brewery, coffee shop, flurry of activity this season (our 10th three performances of their work library, an art gallery, any non- anniversary!) with world premieres all and audio/visual recordings of the traditional venue. People who end spring and summer through remote premiere performance. We do several up at our concerts may never have residencies at schools and music performances of our commissions thought that they would like a program festivals. Our most recent album, because we want the music to have of new music by a bass clarinet and Right now, in a second, was released in legs and not just achieve a premiere marimba. We enjoy bringing music to November 2020 to rave reviews by The performance. Each year we receive new audiences. Boston Globe and more. We’re already approximately 150-250 international working on our fourth album Origami ML: What have been some of your most applications. The process is simple, with featuring music by Marti Epstein, successful fundraising efforts? Your Anthony R. Green, and more, slated no fee to enter. Applicants submit two website lists several sources. for release in the 2021-22 season. sample recordings of their work, any AA: Having a specific project in mind instrumentation, and a short proposal facilitates grant writing. We are ML: Are there any long-reaching goals that outlining a new piece for Transient fortunate to have grant possibilities you want to share? Canvas. An independent panel selects in both Boston and the state of AA: Yes! Transient Canvas recently six to eight semi-finalists and then Matt Massachusetts. We have also used premiered a new opera “Exposure” by and I take over from there. Indiegogo and other crowd sourcing/ Daniel Feslenfeld and Bea Goodwin online platforms. I write about two ML: I seem to recall in recent years that for which a film project is in the works, grants every month. Transient Canvas was performing in which we hope to release in 2021-22. We are also working on a new concert local breweries. Tell me about your ML: How has Transient Canvas made so program titled Synesthesia which strategy for finding performance venues. many contacts across the country? How will pair music with commissioned would you advise others to do this? videos for a multimedia experience. AA: Be engaged and take ownership of We hope to start touring this program your work. Attend a lot of concerts v in your area. Network and do not be in 2021-22. ® afraid to make a cold call. * * * * * ML: What advice would you give To learn more about Transient Canvas clarinetists who desire to follow your visit transientcanvas.com, amyadvocat.com career path? and mattsharrock.com. AA: Don’t limit yourself. Listen to a lot of music. Be a master of numerous ABOUT THE WRITER skills. Be flexible. Be present in your Marguerite Levin community. Be a good colleague. Say is a Boston-based yes to trying new things. clarinetist and is on ML: Do you recommend any sources for faculty at Northeastern playing contemporary music? University, Concord AA: Due to the explosion of YouTube, Academy and “I never leave you can probably find a video targeted the Cremona home without my towards any musical topic. Heather International ReedGeek!” Roche’s website (www.heatherroche. Music Academy in -Stephan Vermeersch net) and blog has a lot of useful Cremona, Italy. She was principal clarinet information for contemporary playing of the Baltimore Opera Orchestra for many and writing. Also, the writings of years, and performed with all of the high Phillip Rehfeldt and Henri Bok are profile ensembles in the Washington, D.C./ helpful. I also teach online and can Baltimore area. Currently, she performs offer assistance both for traditional with North Winds Quintet, Boston Bass Serious Reed Performance and contemporary performance, Clarinets and North Shore Music Theater, www.ReedGeek.com particularly for those learning new and is a regular substitute with the Boston MADE IN USA extended techniques. Ballet Orchestra.

34 | THE CLARINET MARCH 2021 WOODWIND QUINTET CDS WESTWOOD WIND QUINTET “AUG- ALEC WILDER Woodwind Quin- MENTED” (William Helmers, clar- tets 5, 7, 8, 10, & 12: CD758. So- This is a small sample of woodwind quin- inet; Carol Robe, bs. clar) CD791. laris Wind Quintet (Kristina Belisle tets on Crystal. See web for complete list. Hindemith, Septet (wwq, trumpet, Jones, clarinet). “The works leave bs clar.); Janacek, Mladi (wwq, the listener with a feeling of great SONI VENTORUM (William McColl, bs clar.); Stark, Quintet; Mathias, happiness.” Audiophile Audition. clarinet): CD251. Danzi, Quintets op Concertino. “Outstanding musicality.” Fanfare “Solaris members play expertly.” Fanfare 68, 2 & 3; Taffanel, Quintet in g mi- REICHA, 24 Clarinet: Gene Zoro, MORAN WOODWIND QUIN- nor. Soni Ventorum was active 1961- Wind Quintets Wm. Helmers, Rich- TET (Diane Cawein Barger, clarinet): 2001. “the performers were the CDs 261-272 ard Spece, Dileep CD754. Murdock, Postcards from country’s best” Amer. Rcd. Guide Westwood Gangolli. “Sympho- the Center; Higdon, Autumn Music; Wind Quintet nies in miniature... Lieuwen, Savannah; Heiden, Quintet. FATE & FIRE: CD790 12 CD Set each one a mas- “Well worth exploring. Playing is excellent. ” Gramophone Westwood Wind Quintet (William ($16.95 ea CD terpiece...terrific” or $128 for all) Audiophile Audition THEODOR BLUMER performed by the Moran Helmers, clarinet). Welcher, The Woodwind Quintet. “Blumer was an exceptional Moerae & Quintet No. 2; Etler, Quin- “Westwood Wind Quintet has a standard of ensemble playing that is nothing short of breathtaking.” International Rcd. Review craftsman...the performances overflow with pur- tets 1 & 2. Some of the best works poseful expressivity.” Gramophone. 3 CDs: CD753: BARBER, Summer Music, Ligeti, ever written for ww quintet. ”a most Quintett, op.57; Sextett, op. 45; Tanz-Suite, op. 53 • stimulating release” Fanfare Six Bagatelles, Mathias, Quintet: CD755: Schweizer Quintett; Kinderspielung; Sextett, CD750. Westwood Wind Quintet CAMERATA WOODWIND QUIN- op. 92 • CD757: Serenade & Theme and Variations, op. (David Atkins, clarinet) “recording TET (Eric Ginsberg, clarinet): 34; plus flute & piano works (John Bailey, flute) which, equally good in tone-quality, CD756. Quintets by Hétu, Stein- balance and clarity, can also be de- RICHARDS WIND QUINTET (Elsa metz, and Iannaccone. “This is scribed as superlative.” Gramophone Ludewig-Verdehr, clarinet): CD252. really a top-notch ensemble, Peter Müller (1791-1877) WW and they have chosen great NIELSEN Quintet; Hindemith, Kleine Quintets 1, 2, & 3 are delightfullly pieces.” American Record Guide Kammermusik; Schulhoff, Divertisse- classical in nature. Richards Wind ment: CD601. Westwood Wind Quin- WESTWOOD WIND QUINTET (David Atkins, clarinet): Quintet, in-residence Michigan tet (David Atkins, clarinet). “I cannot State Univ. was active 1948-1988. CD250. Klughardt, Quintet; Berio, Opus Zoo; Linn, imagine a better performance than Quintet; Pillin, Scherzo; Stein, Sour the one given here by the Westwood Visit www.crystalrecords.com for many more solo Suite; Heussenstamm, Seven Wind Quintet” High Fidelity Magazine & ensemble Clarinet CDs, & hear sound samples. Etudes. “Westwood Wind Quintet is one of the premier interpreters CDs $16.95 each. FREE US shipping. $7 Canada & $18 other countries (any size order) ® of woodwind music. This CD cer- CRYSTAL RECORDS [email protected] tainly bears this out.” Music Web 28818 NE Hancock, Camas, WA 98607 • 360-834-7022 • www.crystalrecords.com

1981 to 2021

MARCH 2021 THE CLARINET | 35 Lefèvre’s Third Concerto Viewed Through The Lens Of His Méthode De Clarinette An Argument for Historical and Pedagogical Performance Practice by Moria Tunison

ean Xavier Lefèvre’s Méthode de Clarinette has Allegro musical styles, finger and articulation been discussed in the context of early clarinet exercises, a short history of the clarinet (leading method books, but not in the performance up to the invention of Lefèvre’s sixth key, the Jpractice of his Third Concerto. In the Méthode de chalumeau C and clarion G key) and 12 sonatas Clarinette, Lefèvre focuses primarily on musicality written for C #clarinet and bass# line (with a note that and gives detailed instructions on how to play the sonatas can be played on the B clarinet if the ornamentations, articulations, musical styles and bass line is transposed down a wholeb step). In total, repeated phrases. The performance instructions in there are 14 articles in the Méthode de Clarinette: Lefèvre’s method book can be applied to his Third Article I: Origin and Composition of the Concerto, giving the modern performer a more Clarinet informed view of Lefèvre’s concerto and other Article II: How to Hold the Clarinet classical clarinet pieces. Article III: The Embouchure and the Quality of the Reed LEFÈVRE Article IV: Enharmonic Notes That Are Made Lefèvre was born in Switzerland in 1763 and moved by the Same Keys to Paris at a young age to study clarinet with Michel 1 Article V: Embouchure and Fingerings Yost. After studying with Yost, Lefèvre performed Article VI: Development of Sound in the Concert Spirituel (a concert series in Paris) Article VII: Range of the Clarinet and the from 1783 to 1791, was the principal clarinetist Different Sounds It Produces of the Paris Opéra orchestra from 1791 to 1817, Article VIII: About Articulation and played in the Imperial Chapel (later called the Article IX: Ornamentation of Song 2 Royal Chapel) from 1807 until 1829. He also Article X: How to Nuance the Sound taught at the École royale de Musique from 1789 Article XI: In the Manner of Phrasing and and continued to teach there when it became the Breathing 3 Paris Conservatoire in 1795. Through his playing Article XII: How to Play Adagio and teaching positions, Lefèvre became a prominent Article XIII: How to Play Allegro Parisian clarinetist and he heavily influenced the Article XIV: The Character of the Clarinet French school of clarinet sound. THIRD CONCERTO MÉTHODE DE CLARINETTE In addition to the 12 sonatas in the method book, Lefèvre wrote the Méthode de Clarinette in 1802 Lefèvre composed six clarinet concertos. The Third for use at the Paris Conservatoire. His method Concerto is located at the Universitätsbibliothek book is regarded as one of the most thorough Augsburg in Germany, with the title page listing clarinet method books from the time period and publication in Paris by Chez Naderman around as the first “containing a pedagogy from beginner 1810. While this edition was published circa 1810, to professional level.”4 The Méthode de Clarinette Sainsbury’s Dictionary listed the first five concertos was also the first clarinet method book to use the by Lefèvre as being published between 1793 and modern-day standard clarinet range of the low E to 1799, indicating that it is likely there was an earlier the altissimo C, with trill fingerings from the low E edition of the concerto.6 to the altissimo E.5 The Naderman edition of the Third Concerto is The method book covers a wide variety of topics marked as Exécuté au Concert spirituel et Composé including instructions for beginning students, Par X. Le Fevre, 1er Clarinette du Concert spiritual articulations, ornamentations, the Adagio and (Executed at the Concert spirituel and Composed

36 | THE CLARINET MARCH 2021 Fig. 1: Lefèvre, Méthode de Clarinette, Article VIII, detached or staccatissimo articulation example Fig. 2: Lefèvre, Third Concerto, Mvt. I, m. 152

Fig. 3: Lefèvre, Méthode de Clarinette, Article VIII, staccato articulation example

Fig. 4: Lefèvre, Third Concerto, Mvt. I, mm. 82-84 Fig. 5: Lefèvre, Méthode de Clarinette, Article VIII, legato articulation example

by X. Lefèvre, First Clarinet of the Lefèvre states that the detached or Concert spirituel). staccatissimo must be played with the Lefèvre’s Third Concerto is written for tongue and the fingers working together B clarinet solo, violin 1, violin 2, viola, Fig. 6: Lefèvre, Third Concerto, Mvt. I, m. 95 to create a forceful, vigorous attack, bass,b oboe 1, oboe 2, horn 1, horn 2 and while the staccato must remain light. For bassoon. The orchestration of the concerto detached or staccatissimo, he stresses that is typical of the Classical period with the the tongue and fingers must have the oboes, horns and bassoon doubling the these sonatas and his concertos, suggesting greatest possible equality and to make sure string parts, only occasionally adding that the markings in the Naderman edition to raise the fingers at the same time as the harmonic or rhythmic interest that differs. are original. The Third Concerto contains stroke of the tongue. Even though the Third Concerto was fewer dynamic indications than most of Lefèvre prescribes using the syllable written before Lefèvre’s Paris Conservatoire his sonatas, but the ornamentations and TÛ, pronounced like “too,” as the default appointment and the Méthode de Clarinette, articulations are precisely notated. articulation appropriate for all musical it was used for the 1824 Paris Conservatoire The Third Concerto contains the styles and he notes that it is impossible contest piece, reflecting that the concerto same four articulation types that are to play the clarinet well without using was challenging enough to be used for in the Méthode de Clarinette: detached the tongue for articulation. For legato, 7 Third the prestigious competition. The or staccatissimo, staccato, legato and he specifies that the first note must be Concerto also reflects Lefèvre’s teaching the standard, non-marked articulation. tongued and the clarinetist should be and musical philosophies that would be Article VIII, About Articulation, gives careful not to tighten the embouchure written down in his Méthode de Clarinette information and instruction on how these while playing the legato articulation or the and contains the same articulations, articulations should be played and shows a sound will be stifled (Figures 5 and 6). ornamentations, breathing challenges, Lefèvre used varied articulations music styles and musical and technical distinction between the staccatissimo and challenges that would be discussed in the staccato, with wedges for staccatissimo for repeated phrases in the concerto, later method book. and dots for staccato (Figures 1 and 3). showing a high level of attention to In the concerto, the wedges for the creating musical contrasts. This aligns ARTICULATIONS staccatissimo and the rounder dots for the with Article VIII – where Lefèvre states As shown in the Méthode de Clarinette staccatos are clearly differentiated, as seen that articulation, when done well, should sonatas, Lefèvre was a detailed composer. in Figure 2 and Figure 4, and even the change according to the different phrases He wrote out the ornamentations, short second movement contains all four found in music – and with Article X, How dynamics and articulations in detail for types of articulation. to Nuance the Sound, where he adds that

MARCH 2021 THE CLARINET | 37 Fig. 7: Lefèvre, Méthode de Clarinette, Article X, nuance examples

Fig. 8: Lefèvre, Méthode de Clarinette, Article X, melody and variations example

Fig. 9: Lefèvre, Third Concerto, Mvt I, mm. 127-131

without nuancing the articulation, the his instructions to achieve this. Lefèvre Lefèvre instructs that repeated phrases clarinet will sound monotonous. describes nuances as giving a sound more must be varied by using dynamics and or less strength in starting or finishing, ornamentations, and in the method book NUANCES as the genre requires, while varying a he includes an example of a simple melody Lefèvre believed that it is not enough to simply play the notes on the page, but that phrase is to add style to the notes. As with ornamentation and nuance variations the clarinetist is responsible for adding the shown in Figure 7, nuances are essentially (Figure 8). character and nuances to a piece. Article crescendos (en augment) and decrescendos This usage of ornamentation variations X, How to Nuance the Sound, contains (en diminuant). for character can be seen in the precise

38 | THE CLARINET MARCH 2021 Fig. 10: Lefèvre, Third Concerto, Fig. 11: Lefèvre, Méthode de Clarinette, Article IX, grace note example Mvt. III, m. 119

Fig. 12: Lefèvre, Méthode de Clarinette, Article IX, prepared grace note Fig. 13: Lefèvre, Third Concerto, Mvt. II, m. 24 example

Fig. 14: Lefèvre, Méthode de Clarinette, Article IX, double grace note example Fig. 15: Lefèvre, Third Concerto, Mvt. I, mm. 229-231

Fig. 16: Lefèvre, Méthode de Clarinette, Article IX, trill example

details that Lefèvre writes in the Third prepared (where the grace note is the same but if the turn is placed after the note, it Concerto (Figure 9). note as the note before and then pulls its can be indicated with the turn sign (Figure half value from that preceding note), as 19). However, in the Third Concerto all the ORNAMENTATIONS seen in Figure 12. turns are spelled out, including the turns Although Lefèvre writes few dynamics in Lefèvre also discusses double grace after the note, and many are more than the Third Concerto (except for the second notes, stating that these are executed by three notes (Figure 20). movement which features pianissimo, lightly playing the two grace notes and piano and a crescendo), the amount of resting on the big note (Figures 14 and 15). ADAGIO AND ALLEGRO ornamentation he includes leaves little For trill notes, Lefèvre instructs that In the Méthode de Clarinette, Lefèvre for the clarinetist to add ­– the performer they should have an emphasis on the includes two articles on what we would could sensibly get away with making only upper note to give a sense of purpose now consider tempo markings, but one ornamentation addition in between and equality. He further differentiates he considered musical styles. Article the ad libitum fermatas in the third between a trill, a trill on the final cadence, XII, How to Play Adagio, and Article movement (Figure 10). and mordents (simply declaring these XIII, How to Play Allegro give specific The Third Concerto contains grace truncated trills). Both trill types trill on instructions for how to play these two notes, trills and turns. All these the note above the main note, as seen in musical styles. In the Third Concerto, the ornamentations are discussed by Lefèvre Figures 16 and 17 from the method book first movement is marked Allegro and the in the Méthode de Clarinette in Article IX, and Figure 18 from the concerto, while second movement is marked Adagio. Ornamentation of Song. the trill on the final cadence starts slow Lefèvre declares that the Adagio might For the grace notes, Lefèvre tells the and gradually becomes faster and faster. be the most difficult musical style to student that they can be placed above or Lefèvre states that turns are three small play, arguing that the clarinetist must below the main note and are typically half notes placed before or after the main note. be able to fully feel the sentiments that of the note value that follows, as seen in When the turn is placed before the main create the Adagio style for a convincing Figure 11 and Figure 13, unless the note is note it must be written out completely, performance. He lists the Adagio style

MARCH 2021 THE CLARINET | 39 Fig. 17: Lefèvre, Méthode de Clarinette, Article IX, trill on the final cadence example

as being noble and expressive, while sometimes also being severe, melancholy or painful. Lefèvre states that the balance, purity of sound, elegance, dynamics, varied articulation and breathing must all Fig. 18: Lefèvre, Third Concerto, Mvt. I, mm. 100-103 be executed correctly to play this style. He also stresses that the trills of the Andante, Adagio or Largo styles should be played slower than those of the Allegro or Presto styles. Only the second movement of the Third Concerto includes dynamics (Figure Fig. 19: Lefèvre, Méthode de Clarinette, Article IX, turn examples 21). The two outer movements have the Dol. (Dolce) markings seen in Figure 22 but nothing else, while the second movement includes pianissimo, piano, While this movement does not contain and a crescendo marking. To master the dynamics, there are several repeated Adagio style, Lefèvre further recommends phrases. Lefèvre tells the clarinetist to listening to skillful singers and applying add articulation into the solo when the Fig. 20: Lefèvre, Third Concerto, Mvt. I, m. 116 their techniques to the clarinet. composer does not write it in. To that The Allegro style, according to Lefèvre, end, he includes instructions on how to must have balance, agility, precision and play repeated phrases (found throughout varied nuances played with confidence, the first and third movement of the Third create a more brilliant execution of the grace and feeling. In the Third Concerto, Concerto), using different articulations solo. For phrases that are repeated twice, the first movement is marked Allegro. to avoid monotony, vary the sound and he recommends playing the phrase once

Fig. 21: Lefèvre, Third Concerto, Mvt. II, mm. 26-34 Fig. 22: Lefèvre, Third Concerto, Mvt III, mm. 16-18

Fig. 23: Lefèvre, Third Concerto, Mvt III, mm. 95-104

40 | THE CLARINET MARCH 2021 Fig. 24: Lefèvre, Third Concerto, Mvt I, mm. 323-358

forte and once piano, or vice versa if it most movements only have a few eighth the issues of breathing and phrasing in better suits the character of the piece. rests for quick breaths. Lefèvre addresses his Méthode de Clarinette in Article XI, In For phrases that are repeated more than twice, he recommends further varying the articulation to create interest. Figure 23 is an example of the articulation variation for repeated phrases, with each repetition of measure 99 having a different articulation.

BREATHING While the Third Concerto presents several technical challenges, one of the biggest challenges for modern clarinetists is the long phrases that have few to no places for a breath. There are a few longer multimeasure rests, but these are brief respites from the demanding, continual phrases. An example of these long phrases is the 24-measure phrase at the end of the first movement that has the clarinetist play the full range of the clarinet from the chalumeau E to the altissimo C, seen in Figure 24. Another example in Figure 25 is the third movement’s 44 measures without rests, which require the clarinetist to play the minore section of the seven-part rondo all the way back to the A section which consists of a cheerful, major tune. The same stamina challenge can be seen in the Méthode de Clarinette sonatas, where

MARCH 2021 THE CLARINET | 41 Fig. 25: Lefèvre, Third Concerto, Mvt III, mm. 71-133

the Manner of Phrasing and Breathing. The concerto contains ornamentations, ENDNOTES For Lefèvre, the most important thing articulations, nuances, phrasing and 1 Pamela Weston, Heroes & Heroines of was to have the phrasing and breathing musical styles that are all broken Clarinettistry (Victoria, BC: Trafford, 2008), 78. fit the overall musical rhythm and phrase. down and explained in the Méthode 2 Albert R. Rice and Frédéric Robert, “Lefèvre, He instructs that the clarinetist should de Clarinette. These explanations and Xavier,” Grove Music Online, accessed November 9, 2017, www.oxfordmusiconline.com/ try to make it all the way through a instructions provide the modern-day subscriber/article/grove/music/16280. phrase without taking a breath but, if it is clarinetist with performance practices 3 Pamela Weston, Heroes & Heroines of necessary to take a breath before the end of from the early 19th century and an insight Clarinettistry, 80. the phrase, the breath should be hidden in into how Lefèvre would have played the 4 John Murphy, The Clarinet Tutors of Xavier rests or, in dire cases, by shortening notes. Third Concerto. v Lefevre, Ivan Muller and Hyacinthe Klose, and Their Contribution to the Technical and CONCLUSION BIBLIOGRAPHY Mechanical Development of the Clarinet, M.A. Even though the Third Concerto was Lefèvre, Jean-Xavier. Méthode de Clarinette. thesis, Maynooth, Ireland: St. Patrick’s College, 1996, Preface. written before Lefèvre’s Méthode de Genève: Minkoff Reprint, 1974. 5 Rice and Robert, “Lefèvre, Xavier.” Clarinette, it still reflects Lefèvre’s Lefèvre, Xavier. Troisieme Concerto pour 6 John S. Sainsbury, A Biographical Dictionary of teachings and philosophies that he la Clarinette. Paris: Chez Naderman, Musicians from the Earliest Ages to the Present Time would later include in the method book. ca. 1810. (New York, NY: Da Capo Press, 1966), 55.

42 | THE CLARINET MARCH 2021 7 Pamela Weston, More Clarinet Virtuosi of the Past (London: Halstan & Co. Ltd., 1977), 160-161.

ABOUT THE WRITER Dr. Moria Tunison is the adjunct instructor of clarinet at Illinois Wesleyan University and the adjunct professor of clarinet at the University of Illinois, Springfield. She teaches clarinet lessons at the UIS New Year...New World...New Ideas. Community Music School, Monticello Middle School, the Music Shoppe Lesson Studies in Champaign, and at Blue Lake Explore With Us! Fine Arts Camp as a clarinet instructor and woodwind auxiliary instructor. Versa-X Fit & Features Moria has performed in the Franco- Platinum Gold To Help You American Vocal Academy Opera Chamber Van Gogh Expand Your Platinum Clarinet Orchestra in France, the Urbana Pops Versa Universe! Orchestra, the Millikin-Decatur Symphony Orchestra and the 2017 National Intercollegiate Band. www.rovnerproducts.com (Patents. See website.)

ICA ANNOUNCEMENT 2021 Orchestral Audition Competition Coordinator: Vanguel Tangarov – [email protected] Eligibility: The competition is open to clarinetists of all ages who are not employed full-time as salaried members of a professional symphony orchestra. Deadline: March 31, 2021.

Repertoire (visit www.clarinet.org for specific audition requirements):

Solo: • Respighi: Pines of Rome: Movement III, (13) to (15) Mozart: Concerto, K. 622, Movement I, exposition only, unaccompanied • Sibelius: Symphony No. 1, Movement I: mm. 1-32; Movement III: 5 measures after (E) to 6 measures after (G) First Clarinet Excerpts: • Stravinsky: Firebird Suite (1919): Variation de L’Oiseau de Feu, • Bartók: Suite from “The Miraculous Mandarin,” Rehearsal (13) to Rehearsal (9) to 5 measures after (18) 5 measures after Rehearsal (15), and Rehearsal (22) to (25) • Borodin: Polovetsian Dances, No. 17: Allegro vivo after (B) to E-flat Clarinet Excerpts: 6 measures after (D) • Berlioz: Symphonie Fantastique, Movement V: Rehearsal (63) to • Mendelssohn: Scherzo from “A Midsummer Night’s Dream”, 4 measures after (64) Beginning to (B) • Strauss: Till Eulenspiegel’s Merry Pranks: Rehearsal (30) to (32) and • Puccini: Tosca, Act III; (11) to (12) Rehearsal (40) to 9 measures after (40)

Prizes: First Prize – $1000 USD and a Chedeville mouthpiece Second Prize – $500 USD and a Chedeville mouthpiece Visit www.clarinet.org for full competition rules and application details.

MARCH 2021 THE CLARINET | 43 The Clarinet Mouthpiece: A Bibliography by Dr. Jonathan Aubrey

arlier in 2020, while in the midst of a 10-week Cauchi, Gary S. M. “The Single Reed Mouthpiece - COVID-19 lockdown, I decided to review the a Bibliography.” The Clarinet, vol. 5, no. 2, 1978, Eliterature on clarinet mouthpieces and refacing. pp. 26-28. As I set out to accomplish the task at hand, I was Fiedman, Giora. “Industry Profiles: Pomarico soon struck by the immense difficulty of locating Mouthpieces – An Introduction and History.” various publications, as there was not one central The Clarinet, vol. 24, no. 1, 1996, pp. 24-25. location from which to grasp it all. The bibliography Gibson, Lee. “Claranalysis: A Comparison of Reed that follows is not meant to be exhaustive, rather, it Dimensions for German and French Mouthpiece provides a few key seminal works, along with a much Types for the Soprano Clarinet.” The Clarinet, needed update on the topic. Most of these resources vol. 2, no. 4, 1975, pp. 16-17. are easily accessible to the readers of The Clarinet. _____. “Claranalysis: Two Generalizations Upon the Clarinet Mouthpiece – One Necessity, One BOOKS Option.” The Clarinet, vol. 3, no. 2, 1976, p. 18. Brand, Erick D. Band Instrument Repairing Manual. _____. “Germanic Traditions in Clarinet 1978. 8th edition reprint, Battle Creek, MI: Mouthpieces.” The Clarinet, vol. 4, no. 1, 1976, Ferree’s Tools Inc., 1993. p. 23. Brand, Erick D. How to Reface Reed Instrument _____. “Claranalysis: The Clarinet Mouthpiece – Mouthpieces: With the Erick Brand Refacing Dimensional Effects Upon Tone and Pitch, Part Outfit. Elkhart: Erick Brand, 1950. I.” The Clarinet, vol. 7, no. 4, 1980, p. 38. Pino, David. The Clarinet and Clarinet Playing., _____. “Claranalysis: The Clarinet Mouthpiece – 1980. Reprint, Minneola, NY: Dover Dimensional Effects Upon Tone and Pitch, Part Publications Inc., 1998. II.” The Clarinet, vol. 8, no. 1, 1980, p. 29. Ridenour, Thomas. The Educator’s Guide to the _____. “Claranalysis: The Reed Vs. The Mouthpiece.” Clarinet. 2nd edition. Duncanville, TX: Thomas The Clarinet, vol. 8, no. 4, 1981, p. 23. Ridenour, 2002. _____. “Claranalysis: Matching the Mouthpiece to Wanne, Theo. Mouthpiece Refacing Basics. Theo the Clarinet (or Vice Versa).” The Clarinet, vol. Wanne, (n.d.). 10, no. 2, 1983, pp. 4-5. Weinberg, Anton. Mouthpieces: What You Need to _____. “Claranalysis: Soprano Clarinet Mouthpiece Know. Maidenhead, England: Dawkes Music Dimensions and Materials.” The Clarinet, vol. Ltd., 2008. 10, no. 4, 1983, p. 4. JOURNAL ARTICLES _____. “Claranalysis: Preserving the Integrity of “Industry Profiles (Peter Eaton Clarinets and the Bore, Fine Finish in the Mouthpiece.” The Mouthpieces).” The Clarinet, vol. 47, no. 4, Clarinet, vol. 12, no. 1, 1984, p. 30. 2000, pp. 30-33. _____. “Claranalysis: A Comparison of Classical “Jerry Hall, New Mouthpiece Specialist for Leblanc.” German and French Soprano Clarinet The Clarinet, vol. 28, no. 3, 2001, p. 13. Mouthpieces.” The Clarinet, vol. 16, no. 3, 1989, “Oberlin Student Creates World’s Largest pp. 12-13. Mouthpiece.” The Clarinet, vol. 20, no. 4, 1993, _____. “Claranalysis: Reed Types for French p. 10. Mouthpieces.” The Clarinet, vol. 16, no. 4, 1989, “Richard Hawkins Joins Leblanc as Mouthpiece and p. 16. Clarinet Specialist.” The Clarinet, vol. 25, no. 4, _____. “Claranalysis: A Comparison of Reed 1998, p. 14. Dimensions for German and French Mouthpiece

44 | THE CLARINET MARCH 2021 Types for the Soprano Clarinet.” The _____. “Mouthpiece Madness – Part V: Mouthpieces.” Ph.D. diss. London Clarinet, vol. 17, no. 3, 1990, pp. 6-8. An Interview with Michael Lomax.” The Guildhall University, 2000. _____. “Claranalysis: Clarinet Clarinet, vol. 41, no. 1, 2013, pp. 74-76. Rose, Clyde Robert. “A Selected, Mouthpieces: Beware of the Bore.” The _____. “Mouthpiece Madness – Part Annotated Bibliography of Writings Clarinet, vol. 20, no. 2, 1993, p. 10. VI: An Interview with Ramon on the Clarinet.” D.M. diss. Indiana _____. “Claranalysis: Soprano Clarinet Wodkowski.” The Clarinet, vol. 42, no. University, 1978. Reeds, Mouthpiece Bores, Galper 2, 2015, pp. 72-75. Thompson, Shannon Lannigan. Patents, Deg Barrel.” The Clarinet, vol. Martins, David. “The Craft of Mouthpiece “A History and Analysis of the 22, no. 4, 1995, p. 12. Making: A Profile of Dan Johnston.” Philadelphia School of Clarinet _____. “Claranalysis: Dimensional and The Clarinet, vol. 22, no. 4, 1995, pp. Playing.” D.M.A. diss. University of Qualitative Considerations in Clarinet 34-36. Texas at Austin, 1998. Mouthpieces.” The Clarinet, vol. 23, Palanker, Edward S. “Does One Wehner, Walter L. “The Effect of no. 1, 1995, p. 12. Mouthpiece Fit All? Does Yours Interior Shape and Size of Clarinet _____. “Claranalysis: The Clarinet Measure Up?” The Clarinet, vol. 27, no. Mouthpieces on Intonation and Tone Mouthpiece: The Windway (Its 4, 2000, pp. 76-77. Quality.” Ed. D. diss. University of Compression Chamber).” The Clarinet, Peatman, William B. “Frank Kaspar’s Kansas, 1961. vol. 23, no. 2, 1996, p. 12. Cicero Mouthpieces: The Stradivari Winston, Edmund Walter. “A Study _____. “Claranalysis: The Soprano Interview.” The Clarinet, vol. 39, no. 3, of Alterations to the Baffle of the Clarinet Mouthpiece: Its Facing.” The 2012, pp. 66-70. Clarinet Mouthpiece and How They Clarinet, vol. 23, no. 3, 1996, p. 12. Petroff, Merlin. “Equipment Matters: Baffle Affect Tone Quality, Intonation, and _____. “Claranalysis: Evolving Clarinet Adjustments for Optimum Mouthpiece Response.” Ph.D. diss. Louisiana State Mouthpiece Designs.” The Clarinet, Performance.” The Clarinet, vol. 44, no. University, 1976. v vol. 24, no. 1, 1996, p. 14. 2, 2017, pp. 30-32. Reeves, Deborah Check. “Historically _____. “Claranalysis.” The Clarinet, vol. ABOUT THE WRITER 24, no. 3, 1997, p. 14. Speaking.” The Clarinet, vol. 32, no. 4, Dr. Jonathan Aubrey _____. “Claranalysis: The Buffet 2005, p. 30. holds degrees from Crampon Vintage B Soprano Clarinet, Tuttle, David. “The Chicago Mouthpiece the University of Kooiman Thumb Rest,b Materials for Legacy, Part I.” The Clarinet, vol. 41, Exeter (U.K.) and Mouthpieces.” The Clarinet, vol. 25, no. 3, 2014, pp. 68-72. the University of no. 1, 1997, p. 16. _____. “The Chicago Mouthpiece Legacy, The Clarinet Massachusetts at Glass, Bonnie. “Autumn Fancies.” The Part 2a.” , vol. 42, no. 3, 2015, pp. 66-69. Amherst. He has Clarinet, vol. 33, no. 2, 2006, p. 65. _____. “The Chicago Mouthpiece Legacy, performed with the Globus, Paul. “Industry Profiles: Building Part 2b.” The Clarinet, vol. 43, no. 2, United States Air Mouthpieces from the Ground Up.” 2016, pp. 26-30. Force Band of New England, the UAE The Clarinet, vol. 34, no. 2, 2007, pp. _____. “The Chicago Mouthpiece Legacy, NSO, the Qatar Philharmonic, and with 26-29. Part 3 – Frank Kaspar in Chicago and the Aubarra Clarinet Duo in conferences Guy, Larry. “The Pedagogy Corner.” The Cicero, 1916-1989.” The Clarinet, vol. for the International Clarinet Association Clarinet, vol. 37, no. 3, 2010, pp. 32-36. 44, no. 3, 2017, pp. 50-56. and the European Clarinet Association. His Lomax, Michael A. “Clarinet Mouthpieces Wilson, Ken. “Mouthpiece Changers teachers include Michael Sussman, William and the Young Student.” The Clarinet Anonymous.” The Clarinet, vol. 3, no. Wrzesien, Peter Hadcock, Yusef Lateef, vol. 37, no. 3, 2010, p. 51. 4, 1976, p. 11. Robert Spring and Christopher Hill. MacDowell, Richard, and Larry Guy. Zhi-Jian, Wang. “The Design of the Facing “Mouthpiece Madness – Part I.” of the Clarinet Mouthpiece.” The The Clarinet, vol. 39, no. 4, 2012, Clarinet, vol. 12, no. 1, 1984, pp. 22-23. pp. 38-40. _____. “Mouthpiece Madness – Part II.” THESES The Clarinet, vol. 40, no. 1, 2012, pp. Ellis, Kim Sharon. “Comparative Analysis Don’t miss an issue 58-61. of Four Measurement Instruments of The Clarinet! _____. “Mouthpiece Madness – Part III: for Clarinet Mouthpieces and An Interview with Brad Behn.” The An Investigation of Dimensional Clarinet, vol. 40, no. 2, 2013, pp. 76-78. Consistency of Intermediate Renew your _____. “Mouthpiece Madness – Part IV: Mouthpieces.” Ph.D. diss. Ohio State membership online at An Interview with Christopher Hill.” University, 1991. The Clarinet, vol. 40, no. 4, 2013, pp. Pillinger, Edward. “The Effects of Design www.clarinet.org 40-42. on the Tone and Response of Clarinet

MARCH 2021 THE CLARINET | 45 Clarinet Orchestral Excerpt Study Books of the Past by Mary Kantor

dward Palanker has written a series of less than 100 years old, and copyright was in effect, excellent articles comparing the standard it was the practice to write out the part by hand clarinet orchestra study books from the last if you could get hold of it (Photo 1). Since then, half of the 20th century.1 In this article, I will there have been the Kalmus Orchestra parts on lookE back to the past, starting with the late 1800s. CD, IMSLP, some great sites where you can get What did clarinet players of an earlier time use as transposed parts, and the ability to buy individual resources? I have been the lucky recipient of several parts from rental companies, such as Luck’s. professional collections from retired clarinet players, What did they do back in the late 1800s and among them, Ronald Phillips, David Atkins, and early 1900s? What literature was in these books some retired gifted amateurs as well. for excerpts back then that we never heard of? What When I was in high school, a while ago, the two literature is still being used for most auditions? common orchestra study books were the Bonade We will look at some of these old books to and the International Edition series. They only determine that. had small excerpts and no complete parts, and The first book, custom-bound for Fred Sustad misprints were common. Copy machines were not and all written out by hand, was from the library of readily available at that time, so if you were lucky, Ronald Phillips (Photos 2 and 3). He inherited the your teacher would let you take their complete library of a professor from Germany, Otto Ringwald. parts to a local copy store and then you would have The book is 60 pages long, in beautiful handwriting. to convince the clerk that you were not breaking There doesn’t seem to be an order to the contents. All copyright. Sometimes it worked. If the piece was the composers are identified by last names only. Here follows a brief sample of what’s in the book: Caprice No. 3 – Wieniawski Introduction to “The Prophet” – Meyerbeer North Star Selection (in C) – Meyerbeer Hungarian Rhapsody Nos. 1 and 2 – Lizst 1 line of Opus 12, No. 2 – Chopin – an etude idea perhaps? Overture to the Bronze Horse – Auber Overture – Guiraud Overture “Jessonda” – Spohr Overture “Midsummer Night’s Dream” – Suppé In addition there is some standard repertoire, such as Mendelssohn’s Midsummer Night’s Dream Scherzo, Beethoven’s Fidelio Overture, and symphonies of Schumann. Another interesting book is published by Merseburger, and assembled by Edmund Heyneck (Photo 4). There are 10 volumes. I have only volume 2, which is all Beethoven. Of interest here is that the iconic Symphony No. 6 excerpt is legato in the Photo 1: David Atkins, prominent Los Angeles freelancer, hand wrote this Daphnis et Chloe first and third movements (Photo 5). That certainly excerpt to practice way back in the 1950s makes it easier, but you would lose a modern

46 | THE CLARINET MARCH 2021 Photo 3: Custom-bound Fred Sustad book

Photo 2: Handwritten Mendelssohn Scherzo excerpt from a book custom-bound for Fred Sustad

audition with that articulation! All the (Photo 8). Book 1 is about half well-known excerpts are in the key they originally works and half now-obscure works, with appear in the work, non-transposed. a sadly neglected work, the Postillion von From the music library of Lowell Lonjumeau by Adolfe Adam, which has a Froman,2 purchased from Martius Music3 substantial clarinet solo. It has a table of in Seattle comes Orchestra Studies compiled contents and is in alphabetical order by by G. F. Carney (Photos 6 and 7). composer name. The composer’s names are Beethoven 6 is also all slurred here, and a mix of full first and last name with first looks to be taken from the same edition, initial and last name. Of special note is the with some minor changes. Book 1 is direction in German to play the Barber of overtures, mostly famous works that are Seville Overture on the A clarinet, while still in the repertoire, but there are a few, providing the C part (Photo 9)! such as “North Star” by Meyerbeer that Some of the works in Book 1 are: are no longer performed much, if at all. The Barber of Bagdad Here is a sample of the contents of Book – Cornelius 1 of the Carney compilation. Once again, Cricket on the Hearth – Goldmark Photo 4: Ausgabe Merseburger book, out of a collection of 10 volumes from the early 1900s no table of contents, and no order by time The Poacher – Lortzing period, composer, difficulty level or title. Overture “Zanetta” – Auber Overture “Semiramide” – Rossini Overture “Anna Bolena” – Donizetti Overture “Flying Dutchman” – Wagner Book 2 is symphonies, but contains only symphonies of Beethoven, with one excerpt from the Saint-Saëns Danse Macabre at the very end. From 1908 comes the Edition Breitkopf Orchesterstudien ed. Fr. Hinze Photo 5: Merseburger Beethoven 6 excerpt with slurs edited in

MARCH 2021 THE CLARINET | 47 Photo 6: Carney Beethoven 6 excerpt

Photo 10: Cundy-Bettoney Orchestra Studies

Photo 8: The Breitkopf has no copyright date; estimating the condition of the paper, it’s turn of the 20th century

transpose it on the E from the D part that is provided (Photo 11b). Photo 7: Carney Orchestral Studies; these two From the library of Ron Phillips also orchestra study books say copyright 1886 comes a complete collection of whole orchestra parts, not bound together, all published by Carl Fischer. They are not original orchestra parts, but arrangements In 1947, both International and Cundy- by various arrangers for theater orchestra. Bettony published three volumes of Richard The parts are mostly close to the originals, Strauss excerpts. Volume 1 and 2, from Photo 12: Cailliet Orchestral Passages published with few alterations. These full parts by Durand in 1956, edited by Lucien Caillet International, are edited by Bartholomey, include: and are in the familiar International format. First Arabesque – Debussy The third one, from Cundy-Bettony, Scherzo from Midsummer Night’s does not have an editor’s name, and has Dream – Mendelssohn Theater musicians were expected to be an amusing three different fonts, one the Grande Polka de Concert – Homer able to perform all the standard orchestra original part, one from the publisher, and Newton Bartlett repertoire of the time. Whereas the Seattle one typed in on an old fashioned typewriter Capriccio Espagnole – Rimsky- Symphony played few concerts in the (Photo 10). The Till Eulenspiegel excerpt has Korsakov 1920s, the local theaters needed musicians the direction at the bottom of the page to Hungarian Rhapsody #6 – Lizst to provide sound for the silents at that

48 | THE CLARINET MARCH 2021 Photo 9: From the Breitkopf Orchestra Studies, Barber of Seville excerpt with directions to play on the A

Photo 11: Till Eulenspiegel excerpt from Cundy-Bettoney book time. A full time job at the old Fox Theater paid about $22.00 a week, which was enough to support a family of four in Seattle. Lastly, from Durand is Orchestral Passages for the Clarinet from entire season. This is a highly unusual amount of clarinetists. I only have one personnel list per season at my disposal. Others listed in order: Nick the Modern French Repertoire, compiled and edited by Lucien Oeconomacos, Ron Phillips, Nicholas Sirignano, Hjalmer Ekstrand. Hjalmer Cailliet, copyright 1956 (Photo 12). There are lots of helpful is almost certainly an “extra” by this time. hints on performance practices, delivered in a friendly and folksy 3 The Martius Music Store went out of business in 1908, so the music that manner, to wit: “This movement begins with a clarinet solo of Lowell Froman stamped must have been from someone else’s library. He didn’t delicate nature, complicating the task of the clarinets.” There is a move to Seattle until 1926. The above historical information is provided by table of contents, with all composers fully identified by first and a local historian, Greg Dziekonski, whose help was invaluable. last names. There are all the modern standards by Debussy, Dukas, Ravel, Roussel and Saint-Saëns. ABOUT THE WRITER The access to readable, clear passages for the clarinet student Clarinetist Mary Kantor maintains an active and professional to practice has improved vastly over time. career as an orchestra and chamber musician. Orchestra auditions of the past were usually based on who you knew and being in the right place at the right time. With the best As a Seattle Pacific University faculty member, performing jobs now requiring the highest level interpretation she has participated in faculty recitals, clarinet on these famous excerpts, accuracy, clarity and availability are choir concerts, and annual chamber music continually evolving. v recital concerts. She received her Bachelor of Music degree from the University of Washington ENDNOTES and graduated from the Academy of Music in 1 Edward Palanker, “Orchestral Comparisons: A Study of Orchestral Excerpts,” Vienna with honors in clarinet performance, Parts I-VII, The Clarinet Vol. 29/4, 30/1, 30/2, 30/3, 30/4, 31/1, 32/2 (Sept. where she was in the class of Rudolf Jettel. As 2002–March 2004). 2 Lowell Froman is listed in personnel in a Seattle Symphony program from the Washington state chair for the International Clarinet Association, 1929-30 season as fifth clarinet, but I can’t attest to him being there the she has published numerous articles in The Clarinet.

MARCH 2021 THE CLARINET | 49 INTERVIEW

Interview with

&

Ricardoby Bernard Rose Morales Genesio Riboldi

n February 25, 2019, I had the pleasure of San Juan, is currently clarinetist, conductor and of meeting and interviewing clarinetists faculty member at the Conservatory and University Ricardo Morales and Genesio Riboldi of Puerto Rico where he teaches clarinet, chamber at Ricardo’s home in Philadelphia, music and performance of lieder song. He studied OPennsylvania. Ricardo, in his early years growing clarinet with Alfred Prinz, principal clarinetist with up in San Juan, Puerto Rico, was a clarinet student the Vienna Philharmonic, as well as Leslie López, of Genesio. They have maintained a professional Earl Thomas, Sidney Forrest and David Glazer. and personal relationship ever since. Ricardo has been the principal clarinetist with the Philadelphia BERNARD ROSE: I am going to ask Genesio to begin. Orchestra since 2003. Before that, he was principal GENESIO RIBOLDI: I was born in Puerto Rico. clarinet with the New York Metropolitan Opera from My family were almost all musicians. My 1993 to 2003. Morales studied at the Cincinnati grandfather was a saxophone/clarinet player. My Conservatory and Indiana University where he mother studied singing at the Verdi Conservatory received his Artist Diploma. Riboldi, also a native in Milan, where she later met my father, a

Genesio Riboldi

Ricardo Morales

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baritone, who founded the Italian Opera Company of New York. They traveled quite a bit and eventually settled in Puerto Rico. I studied clarinet at San Juan’s Free High School of Music and later at the Conservatory. After graduating, I pursued further studies in at the Verdi Conservatory in Milan and clarinet at the Hochschule in Vienna. My first teacher, and Ricardo’s, was our beloved professor, the late Leslie López. Leslie studied under William McColl, who was at the time principal clarinet with the Puerto Rico Symphony. From there, we can trace a path to the Viennese School of clarinet playing, as McColl and another one of my teachers, Alfred Prinz, were students of Leopold Wlach, who was principal clarinetist with the Vienna Philharmonic. Prinz later succeeded Wlach at the Philharmonic’s first clarinet chair. Under his tutelage, I switched to the Viennese clarinet system. When I returned to San Juan, I brought Leslie a few of my Viennese mouthpieces, which featured extremely close and long facings. Like McColl, he used these mouthpieces on Boehm clarinets. I brought a full set of Vienna Philharmonic clarinets by Hammerschmidt and began teaching how to make reeds by hand. I was traveling back and forth to San Juan from Vienna and Milan, where I was playing with Ars Wien and the Ensemble di Milano. One day, Leslie called and said, “Genesio, you have to meet this young boy, Ricardo Morales. I want you to give him some advice.” Leslie also told me that Ricardo had been using some of the mouthpieces I had given him. I was astonished when I heard him play. We worked on interpretation and style. Later, Ricardo attended some of my Genesio Riboldi, Ricardo Morales and Leslie Lopez master classes. We continue to communicate and enjoy a warm friendship to this day. I am so glad that we can share all these things. And one of the best are the new Uebel clarinets Ricardo has worked on. I had the pleasure of listening to him playing we always admired for his virtuosity and musicianship. I was the early prototypes and seeing the improvements in tuning very lucky that we had this teacher in common [López] who and sound. These are very special instruments. I think they will made it possible for us to interact. make a significant contribution to the . We share BR: Genesio told me that you also play the violin. the same concepts regarding the Viennese (German) system. RM: Yes, I started playing the violin at the same time. I entered Applying them to the Boehm clarinet will offer performers a the Free High School of Music at 11. My first love was the whole new range of possibilities. clarinet. On the very first day I got my clarinet, I ran to Leslie’s room and he had to kick me out because I did not want to BR: Now I want to focus on Ricardo. You both came from musical leave. That evening, after four hours playing like a crazy little families. Research has shown that children who had two musical kid, my parents said to me, “You might want to save some lip parents do best. for tomorrow.” [Laughs] RICARDO MORALES: Actually, my parents were not musicians. My musical growth, especially with Genesio, has been of My mother was an occupational therapist and my father played great influence and inspiration, with his beautiful sound, musical guitar by ear. He never had any musical training but had great generosity and eagerness to share his knowledge and experience natural talent, devotion and love of music. I am in the second in Europe with the clarinet and the Viennese generation and it could be said that I come from a family of School. It was a pleasure to have him as a model of excellence. musicians in the sense that my siblings are all professional musicians: two composers, a conductor and a cellist. BR: Both of you are from San Juan, Puerto Rico. Was your first musical instruction in music schools or private? BR: Would you please describe how you met Genesio? GR: We both went to the Free High School of Music in San Juan. RM: The common thread is Leslie López. Genesio is well known We are very proud of that music school. It’s part of Puerto in Puerto Rico’s musical scene. I started studying music in Rico’s Department of Education. It’s a public school that is also seventh grade, when I was 11 years old. Genesio was this giant a model school.

MARCH 2021 THE CLARINET | 51 INTERVIEW

“I loved studying with Genesio. Despite the fact that he has been a professor for a long time, he is always in a never- ending quest. That kind of spirit inspires continued growth.”

There was a very important politician clarinet with the Cleveland Orchestra, GR: Guigui was born in Panama and grew in the 1940s and ’50s, very close to in his later years. Marcellus came to up in Argentina. Cosimo Pomarico the governor, named Ernesto Ramos the Casals Festival to play the Mozart and Guigui were co-principals at the Antonini. He was president of the Clarinet Concerto and the Brahms Teatro Colón in Buenos Aires. Guigui House of Representatives of Puerto Trio with Casals and Rudolph Serkin. went to study with Gino Cioffi in Rico and had a deep love of music. In It was a revelation. I have a Kaspar Boston, while Pomarico retired and fact, it was he who granted my mother’s mouthpiece that Marcellus had given went to Italy, where he developed and scholarship to Italy and even went to to Leslie. His famous Morré “German- manufactured his crystal mouthpieces. Milan to attend her first performance. cut” reeds were made in Austria. The By coincidence, I studied conducting He envisioned a school that combined cut is really Viennese, as a German cut in Milan in the same conservatory standard academic subjects in the would not fit a Kaspar. where my mother studied singing. But morning and music studies in the as soon as I would pick up my clarinet BR: afternoon. It would choose the most Genesio, what were your first musical and play, the clarinetists would come talented young people from seventh performance experiences? around and introduce me to their GR: through twelfth grade. Many of us I was part of a clarinet quintet Leslie professors. That’s how I met Pomarico. were accepted into the conservatory started. Fortunately, the woodwinds His factory is still near Milan. I went were about the best prepared section even before graduating ... transferring there and we had so much fun. He in the school. We won every academic into the conservatory’s second-year showed me crystal mouthpieces from competition in Puerto Rico. I also level. Many students, pianists, for many other brands. I was astonished played with piano and with some example, went to conservatories to learn that his shop made them all. I orchestras. Some time later, I had outside the island and were also learned so much from him! the privilege of studying with the given advanced placement. There are Argentinian professor Ephraim Guigui. BR: I want to ask Ricardo the same question: many good teachers at this school. From him, I inherited a great Chedeville Can you tell me some of your earliest Students can borrow their instruments, crystal mouthpiece. Many people do non-professional performance experiences, and everything is free of cost. It’s a not know that Chedeville once made like where and what you played? remarkable institution. The school was [them]… Guigui would also conduct RM: My earliest experiences were playing named after Ramos Antonini and there’s the Puerto Rico Symphony. I was his with my family. a monument to his memory there. featured soloist for Debussy’s Première GR: Rolando, his brother, is one of the Later, several similar Free High Schools Rhapsodie several times. I have also best percussionists that you can find. of Music opened around the island. played the Mozart, Nielsen and both RM: Actually, one of the things that was It was a model school to the Weber concertos with the orchestra. The great about Leslie was that he helped his world. And I had the privilege to have Nielsen was a local premiere. students to find a natural way to play. Leslie López as my teacher from the I joined Maestro Guigui at the Like when you start a beginner, you may beginning. He followed the Viennese Puerto Rico Symphony as second have rules for the embouchure, etc. He School but had also studied with the clarinet and eventually succeeded him would say to many players, “Just blow prominent American professor Joe as principal. I was 17. and see what happens.” He said that to Allard in New York. He would tell me me. I just put it in my mouth. I guess I great stories about Allard and Robert BR: I also studied with Joe Allard, a life had a natural ability to make noise and Marcellus when he first came to Puerto changer for me. Sometimes when I have a then, after a week or so of blowing, you Rico in the early ’60s. Leslie had one of problem, I think of what Joe said and the get into a comfort groove, “Okay, let me the most beautiful saxophone tones you problem is solved. I am indebted to him try this or that.” could imagine. He could move from and my other teachers. I did play under And he was very good at finding clarinet to saxophone, applying his the baton of Guigui in an orchestra in the short but effective pieces. I remember unique concepts to each instrument. Bronx. I still have a crystal mouthpiece the very first piece I got to play. It was Then I had the good fortune to that says “Guigui” on it, made I believe the Sicilienne and Rigaudon by Kreisler, meet Robert Marcellus, principal by Pomarico. a very short piece. A good choice to

52 | THE CLARINET MARCH 2021 INTERVIEW

play in public because it requires expression. This was about six weeks after I started playing. Maybe it was a bit early, but I was always in a very supportive environment.

BR: It sounds like both of you were in very supportive environments. GR: Yes. Completely. Even the school principals. They favored the music department. If there was a conflict between an academic test and an important concert, she would say to the teacher, “You have to excuse them. Their main goal is music and they represent us. It’s a great opportunity for their improvement. Give them a make-up later.”

BR: Genesio, can you tell me how you developed professionally? GR: Yes. I became principal clarinetist and guest conductor with the Puerto Rico Symphony and then joined the Casals Festival Orchestra.

BR: Tell us about it. GR: The Casals Festival has been one of the most important festivals in the world for many years. It was founded by Pablo Casals in 1956. The festival in its heyday would bring in celebrities like , Claudio Arrau, Mitchell Lurie, Harold Wright, the best of the best. Besides, it was on Casals’s insistence that the Puerto Rico Symphony came to be. The festival’s orchestra members were chosen from different orchestras in the States. If you were principal clarinetist in the P. R. Symphony, you played second clarinet next to the guest principal. I played second clarinet next to Franklin Cohen from the Cleveland Orchestra and Michele Zukovsky from the Los Ricardo Morales, Genesio Riboldi and Bernard Rose Angeles Philharmonic. Michele followed the Oehler system. At that time, Michele and Karl Leister (of the Berlin Philharmonic) were beginning to get recognition. Michele brought her Oehler clarinets, same as Leister’s, to the festival, with string ligature. out of high school. I moved in with one of my older brothers, Thanks to Michele, I got to know these instruments. who was in graduate school there. I was scheduled to study with Bernard Portnoy, but he retired one year early. But I had BR: You had the influence of top professionals while you were still a very wonderful teacher, Anton Weinberg, who was a visiting growing and developing, just by sitting next to them. People like the professor for a few years. He was a British clarinet player from governor supported the Casals Festival. the Guildhall School of Music in London. GR: Yes. The festival also featured hornist Myron Bloom; violinist Alexander Schneider; tympanist Saul Goodman, who played BR: While you were finishing high school in Bloomington, you were under Toscanini; violist Walter Trampler; Sidney Harth, also studying at the University? concertmaster of the ; and cellist GR: Something like that happened with many of us in the Leslie Parnas. They were the best in the country. Conservatory. We still had one or two years of high school to BR: Ricardo, how did you develop into the profession? go, but if we could manage to enter the university they would RM: Well, I went through that supportive environment with allow us to start early. Maestro López, seeing how he was a great teacher, very wise and BR: Ricardo, in the next step in your career, Anton Weinberg was extremely humble to a fault. When I was in the 10th grade, he your teacher. called my parents and said, “I really don’t have that much more RM: At that time Henry Gulick and Earl Bates were also clarinet to teach the boy, so you should take him to Vienna or to the professors at Indiana University. But I studied with Anton States. But he should not stay here.” He did have so much more knowledge to give, but it shows his great sense of humility. Weinberg. In the summers I would go to the Eastern Music Festival where I studied with Edward Palanker, who was bass BR: Did you play in the Casals Festival? clarinetist with the Baltimore Symphony. He retired from there RM: No. I was only 14 years old at the time and had been playing after 52 years. That was amazing. He had a very long career for three and a half years. But I was already planning to go to in Baltimore. He would teach at the Peabody Conservatory Indiana University in Bloomington. So they transferred me and in the summers at the Eastern Music Festival, which was

MARCH 2021 THE CLARINET | 53 INTERVIEW

very nice. From there I went to the as a musical divide – the sound and as Ricardo does. Of course, this is my Cincinnati Conservatory for one year musical concepts of the Viennese system opinion, and it may be easier said than and then I was lucky enough to win my versus the French system. And you have done. What is technically difficult on first job with the Florida Symphony. I studied and played both. What is the the Oehler can be easier on the Boehm was there for three years. difference between the two? and vice-versa. The articulation is about GR: The Oehler German system is similar the same. You have to compensate with BR: Who was the conductor? to the Viennese. It has the same one or the other. RM: This was in Orlando and the fingerings, but the Viennese bore is RM: There is no free lunch. [Laughs] conductor was Kenneth Jin, previously wider. The mouthpiece has the closest GR: Right, there is no free lunch. associate conductor of the Chicago facing you can imagine. It is called a Symphony under George Solti. I was zero facing with a tip opening of about BR: Around the mid-1800s there was a there for three years and then I won the 0.70 - 0.75 millimeters and the longest definite divide in the clarinet world, audition for the Metropolitan Opera. known facing. When I got started, you which split into two basic branches or This was in 1993 and I was 21 years old. needed handmade reeds because there two systems: French and German. These were no commercial reeds that were influenced the sound and style of clarinet BR: Can you tell us something about your strong enough for this mouthpiece. playing. Can you tell us about clarinet experiences in the Met? playing in the U.S. and what part you RM: It was amazing! The only word is BR: There are two basic clarinet fingerings: have to play in that? amazing. It was an incredible time. the French Boehm and the German RM: I am just trying to ride the wave. The orchestra was so great with James systems. The German systems are favored [Laughs] Levine conducting. They had won in Austria and Germany while the GR: The American School was heavily all of these Grammys for recordings Boehm system is common in the U.S., influenced by Daniel Bonade. for Deutsche Grammophon – the much of Western Europe and elsewhere. entire Ring Cycle. The orchestra was in GR: The Oehler System is also used in BR: He was French and played the Boehm incredible shape. They were playing parts of Russia. system. many concerts and touring like they RM: Bonade studied with Charles- used to do in the days of Toscanini BR: The Boehm system came from France in Édouard Lefebvre in the Paris and Mahler. They started touring the mid-1800s. Conservatory. again with Levine. I was very lucky RM: What is interesting was that that he gave me opportunities to Hyacinthe Klosé adapted the new BR: The Paris Conservatory advocated the solo. I performed the Mozart Clarinet fingering system that Theobold Boehm Boehm system. Now a great clarinetist, Concerto at Carnegie Hall and on two invented for the flute. , from Russia and the different European tours [with] the Moscow Conservatory, played the Oehler orchestra. So, I had a fantastic time BR: Klosé and Louis-Auguste Buffet System in the New York Philharmonic as with a great degree of learning. were French instrument makers and principal clarinetist, 1920-1948. clarinetists. They were developing their GR: You have to keep in mind that at BR: How long were you there? new systems, an improvement over the that time almost everybody, even my RM: I was there 10 seasons from 1993- of their time. Denner grandfather, was playing the Albert 2003 and then I was offered the invented the clarinet around 1696. system. It was a “cousin” of the Oehler. position as principal clarinet for the RM: We are still behind the time. By I think the Albert was a Belgian Philadelphia Orchestra. 1696, Stradivarius had already finished derivate of the old Müller 13-key most of his violins. It’s just amazing. In system, while in America, everyone BR: You have been here in Philadelphia for less than 60 years the invention went played something close to the Oehler about 15 years. Genesio, tell us about from being a baby to being a teenager. until Klosé and Buffet came along. your experiences after the Conservatory. You went to Europe and studied there? BR: The clarinet was a newcomer and did BR: If you came to America in the 1920s GR: Yes. I went to Europe where I studied not really surface until the Mannheim and you went to the Philadelphia with Alfred Prinz because I love the School in the mid-1700s. Orchestra, you might hear Bonade Viennese system clarinet. I changed my GR: Yes, the late Baroque period. And playing a Boehm and if you went to mind about switching to the German the German bore is still as Denner the New York Philharmonic, you might Oehlers after listening to Prinz. invented it. The bore is cylindrical, hear Simeon Bellison playing an Oehler. and many fingerings are the same. I Although Bellison played Oehler he BR: Right here we have something unusual. play both, but if you have the right insisted his students play Boehm. As a clarinetist, I recognize somebody, concept in mind, you can recreate your GR: For several summers, I was fortunate Genesio, who crosses a divide in the embouchure to approach the sound to study with Peabody professor Sidney clarinet world. This is a physical as well quality of any system on any clarinet, Forrest, who played the Boehm system

54 | THE CLARINET MARCH 2021 INTERVIEW

as did Benny Goodman and the rest of BR: What is special about this room is that panoramic view, because we may be Bellison’s students. Forrest said Bellison here are two people who have known one luckier than we realize. I feel very never asked them to switch systems. another since their teens and have kept lucky to know you and about the great their relationship as teacher, mentor, experience of learning from Genesio BR: Leon Russianoff, a student of Bellison’s student and friends. My teacher, Joe and all of my other great teachers. with whom I studied, also played on Allard, once told me, “You have a healthy GR: Every time I talk to him, I learn the Boehm system. Karl Leister blew curiosity and that is the best thing you something new and valuable. I can feel my mind with his beautiful playing. can have. There is nothing more I can he is on the right path all the time. It And so did my first recording of the tell you now, you must go out and play has been very rewarding to collaborate Mozart Quintet by Heinrich Geuser! and then come back. You will make any with such a great artist and person, one I accidentally came upon it in the Sam instrument sound good; just go out and of the most gifted musicians in history. Goody record store in Manhattan. get the one the most in tune.” Gueser’s sound was so smooth he did not GR and RM: [Laughter] BR: I hope this relationship continues for a seem to have a reed. I did not know too long time. It is a unique professional much about different clarinets until I met BR: In your relationship, what has been your and personal bond. You are making the you, Genesio. Our first conversation ever most recent endeavor? world, and especially the clarinet world, was about that. RM: To me, it is just the deepening a better place. v GR: Remember we still have people of a concept of sound, beauty and playing Oehler in the States, like originality; a particular school that we ABOUT THE WRITER Michele Zukovsky. have tried to develop in our hearts. Bernard N. Rose holds And basically this has been what BR: She played the German system when a Ph.D. in music makes things wonderful, because it just about everyone else in this country education from the keeps mind, heart and spirit happily that I know of was playing the French University of North searching for better ways to play music system. She heard the “German sound.” Texas; M.M. in more beautifully and more accurately. What if you went to Germany and clarinet from UNT, I loved studying with Genesio. Despite wanted to play in an orchestra there and and a B.M. in clarinet the fact that he has been a professor play the Boehm system? from the Manhattan for a long time, he is always in a RM: Well, for the longest time it was School of Music. He never-ending quest. That kind of spirit strictly Oehler system. studied with Lee inspires continued growth. Gibson, Norman Heim, Ignatius Gennusa, BR: Oehler system only? BR: Genesio, what can you say about your Leon Russianoff, Joe Allard, Gene Keyes, RM: There are always exceptions to the relationship with Ricardo now? James Schoepflin, Hy Mandel and Charles rules. There have been some people GR: In Puerto Rico we worked a bit on Russo. Rose has played with the U.S. Army who were lucky enough to win the concepts of new instruments. Field Band, the Midland-Odessa Symphony, auditions and do things like that. The Dallas Summer Musicals, New York word “never” is the issue. His new developments are fantastic Opera Orchestra, the Winnipeg Symphony, GR: They made an exception with Ricardo. contributions. I am really proud of him. the 92nd Street Y Orchestra, the New RM: Yes, I was invited to play and I had a BR: So, “If I can see further than those who Amsterdam Symphony, and the Broadway wonderful time playing principal with came before me it is because I have stood Bach Orchestra. He was music director of the Berlin Philharmonic. on the shoulders of giants”? the Queens Symphonic Band. GR: Your sound matches and blends very RM: Yes, that is very true. I have been very well there because of the concepts lucky to have such incredibly supportive involved. teachers – mentors who have helped BR: So, if you were playing in the Berlin me to keep pushing forward and have a Philharmonic on Boehm and the other more panoramic view of the world. clarinetist was playing Oehler system… Don’t miss an issue BR: We are running out of time, not because RM: No problem with that. of ideas but because of flight schedules. Is of The Clarinet! BR: None with intonation or tone color? It there anything with which you would like seems to me like we have come full circle to conclude? Renew your and the two of you are a bridge. RM: We can find a great deal of RM: It is the instrument that facilitates. inspiration from our teachers and the membership online at An instrument is ultimately a tool. It people around us. Sometimes we forget www.clarinet.org either hinders you or inspires you to how lucky we are to have them around. develop a particular language. I like to encourage others to see the

MARCH 2021 THE CLARINET | 55 Collaboration with Boehm and Oehler Clarinets by Barbara Heilmair

he clarinet, like several other wind these divided perspectives regarding the two systems instruments, has two primary forms. Both the have evolved to become more inclusive while regional Boehm (“French”) and Oehler (“German”) tastes and cultural influences persist. For example, Tclarinets are recognized as being equipped the Berlin Philharmonic as well as other orchestras in to play music at the highest level of performance Germany still require one to play the Oehler system. standards, and outstanding artists around the world Combined-system collaborations within ensembles play them. In many music festivals and higher remain uncommon. education institutions that have an international Excellent and encompassing research has been reach, both systems are present. However, combining done on this topic by Stephanie Angloher in her Oehler and Boehm systems in professional ensembles dissertation on the German and French clarinet is still an exception. There has been some controversy systems. She reports that artists such as Dieter involving concepts of tradition, national schools of Klöcker, Karl Leister, Reiner Wehle, Sabine Meyer playing, aesthetics, geographically and culturally and Chen Halevi have emphasized the importance formed musical tastes, acoustical phenomena, and of the individual musician’s ideas, musicianship, career considerations. Before sharing insights from and personal expression over system considerations.2 my own collaboration and recording project with Regarding the overall sound of the two systems, Oehler and Boehm clarinets, I will discuss the two Reiner Wehle has observed that Boehm and German clarinet systems and their history. clarinets nowadays tend to sound more similar than a few decades ago, due to changes in mouthpiece- HISTORICAL BACKGROUND reed setups worldwide.3 Sabine Meyer, who is Around the middle of the 19th century, the married to Wehle, confirms that we sometimes development of the clarinet took two distinct paths cannot even tell the difference between Boehm and which led to two main schools of clarinet playing: German clarinet sound anymore.4 Additionally, the French Boehm-system clarinet and the German Reiner Wehle, who has spent some time studying Oehler-system clarinet. Today, the Boehm clarinet in Paris with Guy Deplus, reminds us that different is used around the world, except in Germany and in systems also exist for other wind instruments some other German-speaking countries. The system such as oboe, bassoon, and horn; difficult situations began in 1840 when French clarinetist Hyacinthe may arise when having individual players switch Eléonore Klosé (1808–1880) and instrument maker between instrument systems depending on literature Louis-Auguste Buffet (1789-1864) transferred parts or ensemble.5 of Theobald Boehm’s flute keywork to the clarinet. Karl Leister’s statement goes further when he The Oehler clarinet, on the other hand, is the describes sound as “something very personal, as primary clarinet system used today in Germany a color of our voice, as vibrations of our soul.”6 and parts of some other German-speaking areas. It Therefore, Leister does not even use the expression is based on the 1900 instrument by Oskar Oehler, “German sound.”7 For him, it is imperative that a refinement of the 1860 German clarinet by Carl one “breathes soul into the instrument instead of 1 Baermann and Georg Ottensteiner. From that point putting the instrument itself forward as the center on, different schools of clarinet playing and teaching of attention.”8 developed, blossoming into different geographical and cultural variations of aesthetics in sound, playing COMBINING THE TWO SYSTEMS style, teaching approach and literature. The question remains: What happens when the two In the past, representing one system or the other clarinet systems are combined in an ensemble? has often become a polarizing factor for musical Chen Halevi, professor of clarinet at the institutions and for performance. In the present time, Hochschule für Musik in Trossingen, Germany, has

56 | THE CLARINET MARCH 2021 witnessed many student ensembles with Jozsef Balogh was also kind enough to Despite … technical combined systems and has not observed share his insights with me. In a description sophistication, musicians are any problems resulting from using different of a past recording project with German ultimately left in the performance clarinet systems together.9 and French clarinets, he writes: “We came situation with their ears as the arbiter All things considered, one can also from completely different schools, we of pitch. This ambiguity of science observe a track record of successful played on different instruments and and musicianship regarding the combined-system professional ensembles. reeds, yet that is not heard in the production of musical pitches places Here are some examples: recordings. Because we finally got there, the job of physically tuning a musical • Sabine Meyer (Oehler clarinet) and to our music.”11 instrument in the category of art, subjective at best.14 (Boehm clarinet) with their Both clarinetists seem to confirm a 2007 album Krommer Concerto for Two mind-over-matter situation and that In summation, we are looking at a Clarinets, Spohr Clarinet Concerto No. sound differences could hardly be heard complex intonation situation on every 4, with Academy of St. Martin in the after a while. According to Angloher, we clarinet that requires ongoing active Fields, EMI Classics have arrived at a point where ensembles listening as well as skills and knowledge to • Michele Zukovsky: playing the Oehler with combinations of clarinet systems handle them. system in an American orchestra, have become more widely accepted by Second, Boehm and Oehler system besides being the longest-serving female professional clarinetists, especially for clarinets indeed have different intonation tendencies. There is an excellent general woodwind player in the history of the chamber music and double concertos. Los Angeles Philharmonic Orchestra overview provided by Angloher.15 I There are hesitations towards combining (1961-2015 until her retirement) would like to point out that, while these the two systems within orchestral sections • Jozsef Balogh and “InterClarinet”: differences exist between the two clarinet where the factors of homogeneity and clarinet ensemble comprised of systems, they generally affect the same areas alignment of playing traditions seem to professional members who are playing (e.g., low register or throat tones), and they on Oehler and Boehm clarinets have more importance than individuality are usually not opposite from each other. 12 (current) or contrast within a section. Skeptics could wonder here: With an instrument that is already complex in terms Michele Zukovsky recently gave me INTONATION of intonation, should one avoid making her insight on using Oehler and Boehm The basis for a successful performance matters even more difficult by adding clarinets together in an ensemble: with different clarinet systems should another instrument that has different Many years ago, when I be a shared musical vision that includes tendencies? Would “problem areas” on the played with my husband, Charles common ideas on tuning, tonal timbres clarinet be highlighted in such settings? Zukovsky, in the orchestra, it and performance style. There are a few points to be considered. was heaven, for he also played It has sometimes been suggested that Overall, intonation as an art is a complex Wurlitzers. It could have been that intonation differences would lead to topic. we were playing the same brand! significant difficulties, discouraging any Intonation needs to be individually And we played out of tune together! collaborations between French and German imagined, anticipated and produced by (…) Playing with Boehm clarinets clarinets. While I agree that intonation each player. One should not have to rely is what I did in my orchestra for needs particular attention due to the on other instruments as a reference to be 40 years, and it was like a pretty acoustical facts of both clarinet systems, I able to play in tune. If a player has learned good marriage. They [Oehler and think the two systems are compatible in to independently imagine and produce Boehm instruments] are both ensemble settings, provided the performers an intended pitch on the clarinet within clarinets, so it was okay. And also, prepare accordingly. Intonation in a musical context, then tuning with any on both the German and the French combined-system ensembles has several other instrument, including another clarinets, along with the change in clarinet, should well be possible. The usage angles to it. First, because of their acoustics, mouthpiece style, it got easier and of different clarinet systems alone does not all clarinets show tuning inconsistencies easier for everybody. We all started automatically mean that there are going even though the finest instrument makers to have the same goal; to have a nice to be intonation problems, and there can dark sound that blends. Vandoren have worked on resolving the issues. “And even be issues with intonation within a mouthpieces are going in that as the maker is usually an intelligent group comprised of players with only direction, and the cane itself is now person, he leaves us with a clarinet which one system. Even within the same brand darker and softer sounding since the is imperfect but predictably so. … These of instrument, using the same clarinet ’80s. So, while it is not incredible, faults are present in all clarinets, but in system, there can be intonation issues it is now fine. In the ’60s, where a greater or lesser degree,” writes Jack because of the many variables involved. people had more identifiable sounds Brymer.13 Clark W. Fobes reminds us Admittedly, it is easier to play in tune if from different areas, it would have that every clarinetist has an active role in you play with someone who has a very been quite difficult.10 making good intonation happen: similar setup and playing tendencies.

MARCH 2021 THE CLARINET | 57 As a first step in rehearsing, I would recommend to assess the actual tuning situation with the help of a tuner, and then to decide on the necessary steps for balancing intonation. Fobes gives some excellent advice on how to measure and document intonation inconsistencies in the article mentioned above.16 Along those lines, clarinetists can keep a written chart of their individual intonation tendencies on hand in rehearsal and practice. One other essential element to keep in mind is the overall pitch calibration of the involved instruments. Players need to know at what level their instrument and mouthpiece are calibrated (A = 440, 441 or 442). It would be ideal to play on instruments with the same pitch calibration. In a situation with different instrument calibrations, it is necessary to find a common “middle ground” for tuning with the help of other equipment parts, or by applying balancing procedures. This may initially require some time because of the many parameters involved; adjustments can be made with various mouthpieces, different length barrels, barrels that change the length by rotation or tuning rings. Kazue Tsuzuki, Rolf Weber and Barbara Heilmair Pulling out or pushing in at the different joints of the clarinet can also provide balance within the instrument. In an extreme case, an instrument maker can sound might arise. What does someone subject can be used as a reference in relation make permanent changes to individual mean by talking about a “dark” or a to clarinet acoustics in this setting. notes by working on the tone holes, levers “brilliant” clarinet sound, and do these For further performance and pads. Some experimentation may need sounds only occur in certain instruments? considerations, it is helpful to know about to happen. The idea is to settle the overall What is influencing the tone color on the concepts of national schools of clarinet tuning in the first stages of collaboration. the clarinet? Which passages might be playing and the history of literature on Finally, other aspects such as more or less playable on one or the other both clarinet systems. Instrument makers, embouchure, attack, and the use of clarinet system? performers, and composers all infuse their air influence intonation, and it is thus Numerous scholars have published work with ideas of musical aesthetics a good practice to get to know your research on the acoustics of the German which are related to their culture and partners’ intonation tendencies. It makes and French systems, often with a focus on time. Each of the two clarinet systems a significant difference to have access the spectrum of overtones as a characteristic has tendencies that reflect their musical 17 to well-maintained equipment, as well of sound. Jean-Roger Miller, Gregg environment throughout history. 18 19 as the assistance of talented instrument Miller, and Miwa Tagaki have analyzed While all literature can be played on technicians and knowledge or guidance the relationships between instrument either clarinet system, performers can make on tuning procedures, and to be actively hardware, mouthpiece-reed-ligature setup, choices for ensemble part distribution, listening and adjusting. airflow/pressure, and several other factors. knowing the tendencies of each clarinet. More importantly, the studies also show For example, some scholars argue that EXPRESSING A COMMON that there is a great importance of the the Boehm clarinet is particularly well- MUSICAL VISION player’s anatomy (cavity of the mouth) suited for playing French music, with Depending on the available time frame and of the use of the airflow that creates its tendencies to feature agile technical and the musical scope of the ensemble, acoustical and subjectively heard differences passages. The instrument with its well- discussions on the use of timbre and group in the sound. Such body of research on the projecting and sometimes more brilliant

58 | THE CLARINET MARCH 2021 sound would be ideal for highlighting arrangement for clarinet and bassoon is Klarinettensystem,” 229. (Original text: “...etwas precise lines within a filigreed texture as can based on a concept of pairing instruments sehr persönliches, als Farbe unserer Stimme, als be found in many French compositions. Schwingungen unserer Seele...“) that contrast from each other in tonal 7 Ibid. The German clarinet, on the other hand, range and expressive characteristics as with 8 Angloher, “Das deutsche und französische with a full and stable presence, would different singers’ roles in an opera. Rolf Klarinettensystem,” 233. (Original text: support the aesthetic of roundness and a Weber’s arrangement for two clarinets “Weiterhin aber möchte er im Instrument nicht bigger sound mass as it appears in some highlights elements of dialogue and die Rolle einer gewissen Alibi-Funktion sehen. Für German Romantic compositions. interplay between the two clarinet parts. ihn ist es besonders wichtig, dass dem Instrument unsere Seele eingehaucht werden soll.“) A lot of creative work can go into The feel for contrasts is inherent in the 9 Ibid. exploring the balance of sound within a music and can be found in the different 10 Michele Zukovsky, personal communication on diverse setting of clarinet timbres. What ranges, roles, and rhythmic material combining German and French systems, July 5, blend of ensemble sound is appropriate? present in the two clarinet parts. Either 2020. Does it depend on the musical context? part is suitable for featuring the German 11 Jozsef Balogh, personal communication on combining German and French systems, May 19, Can these passages inherently call for more or Boehm clarinet. 2020. homogeneity or more contrast? Can these My favorite type of setting in the 12 Angloher, “Das deutsche und französische effects be efficiently produced with the context of different clarinet systems might Klarinettensystem,” 71. instruments present? What is the influence be passages with repeated music, played 13 Jack Brymer, “Clarinet,” Yehudi Menuhin Music on the part distribution and seating in by a different clarinetist each time around. Guides. (Schirmer Books, 1976), 82. 14 Clark W. Fobes, “Tuning and voicing the clarinet. the ensemble? In these situations, one can hear the subtle Procedure and techniques,” Clark W. Fobes, 2000. In 2019, I recorded a CD with differences that are happening between www.clarkwfobes.com/pages/tuning-and-voicing- clarinetist Rolf Weber, principal clarinetist the notes on each instrument. Both Franz the-clarinet. Last accessed 7-2-2020. for the Bavarian State Theater at the Cibulka’s s’Zwitscherl Für Zwei and Charles 15 Angloher, “Das deutsche und französische Gärtnerplatz in Munich, Germany, and Camilleri’s Divertimento No. 1 for Two Klarinettensystem,” 71. pianist Kazue Tsuzuki (Hochschule Clarinets and Piano include such a passage. 16 Fobes, “Tuning and voicing the clarinet.“ 20 17 Jean-Roger Miller, “A Spectrum Analysis of für Musik, Munich, Germany). On In these cases, there is perfect equality Clarinet Tones,” dissertation, University of this album, we are playing together on for each clarinet part and a beautiful Wisconsin, 1956. clarinets with different systems; the Oehler idiomatic effect. Any part distribution 18 Gregg Miller, “Acoustical Comparison of French and Boehm systems. would be appropriate as well. All in all, and German Clarinets,” The Clarinet, Vol. 1/2 For our trio collaboration with two our part distribution decisions have been (1992), 24-27. 19 Miwa Takagi, “Wiener Klarinette versus different clarinet systems, we chose based on personal preferences and with Französische Klarinette” (“Viennese Clarinet literature that allows the ensemble the instruments we were playing in mind. Versus French Clarinet”), M.A. thesis, Universität to highlight some of these elements. für Musik und darstellende Kunst Wien (Vienna, For instance with Iwan Müller’s Duo JUST DO IT! 2000). Concertante in E Major, Op. 23, and With an ever-growing number of 20 Barbara Heilmair, with Rolf Weber and Kazue b education and performance events which Tsuzuki, s’Zwitscherl – Music for Two Clarinets Carl Baermann’s Duo Concertant, Op. and Piano (Centaur Records CRC 3837, 2020). 33 – two German compositions – we include players using different clarinet had homogeneity of sound and equality systems, it appears relevant to be informed of parts as our overall ensemble goal. We about both systems. There is a lot to ABOUT THE WRITER placed the German clarinet on the slightly be discovered and learned for students Barbara Heilmair more prominent first part, to highlight and professional musicians alike. I can serves as professor of the connection with the German clarinet certainly recommend it! v clarinet and music history at Portland playing tradition. The part features ENDNOTES State University all clarinet registers in elaborate, yet 1 Oskar Kroll, “Die Klarinette. Ihre Geschichte. grounded slurred solo lines. At the same Ihre Literatur. Ihre grossen Meister” (Bärenreiter in Oregon. She time, in Baermann’s composition, there is Verlag, 2001), 66. holds degrees in a bouncy triplet variation with big leaps 2 Stephanie Angloher, “Das deutsche und instrumental pedagogy and interesting articulation in the second französische Klarinettensystem. Eine vergleichende (clarinet) and clarinet Untersuchung zur Klangästhetik und didaktischen performance from clarinet part that sounds effortlessly agile Vermittlung” ( “The German and French clarinet on the Boehm clarinet, a fact that has fit system. A comparative study on sound aesthetics the “Mozarteum” University of Music and our parts distribution very well. and didactic teaching”), Ph.D. diss, Ludwig- Performing Arts in Salzburg, Austria, In the case of Adolphe Leroy’s and Maximilians-Universität München (Munich: as well as M.M. and D.M.A. degrees in Eugene Jancourt’s operatic Duo on Bellini’s Herbert Utz Verlag GmbH, 2007), 232. clarinet performance from UCLA. She has 3 Ibid. “La Sonnambula” arranged by Rolf Weber, 4 Ibid. specialized in clarinet choir teaching and, as our focus for the clarinet encounter was 5 Ibid. a native of Germany, is familiar with both more on featuring differences. The original 6 Angloher, “Das deutsche und französische the German and French clarinet systems.

MARCH 2021 THE CLARINET | 59 CLARINETFEST®

FLOWERS WITHOUT BORDERS by Mary Alice Druhan, Jennifer Daffinee and Jody Webb

In Texas the bluebonnet is celebrated and protected as the state flower, and for ClarinetFest® 2021 we invite all the wildflowers of the world to come together to form a more beautifully diverse and inclusive garden.

(Due to print deadlines this article was the schedule. Each event will be given a Paquito D’Rivera, Joris Roelofs, Javier completed in January 2021. All events unique air time over four weekends in July Vinasco and our featured Breakout Artist, are subject to change. Please visit (Fridays through Sundays) but will also Ruzaliia Kasimova. This digital conference www.clarinet.org for the latest updates.) remain available throughout the duration allows the Artistic Leadership Team to of the conference for attendees to view on work with International Vice President n the summer of 2018 the Artistic their own time. Eddy Vanoosthuyse to finalize a truly Leadership Team for ClarinetFest® The Featured Evening Artist invitation global representation with a few 2021 envisioned a very different process started in summer of 2019 and new spots created by our expanded plan, but like strong-rooted has constantly evolved around pandemic calendar and global clock. We would like wildflowersI blowing in the wind, we are concerns. Featured Evening Artists and to thank all of the sponsors and advertisers overcoming the continued challenges their sponsors will choose a unique air who are working with the ICA executive of COVID-19 to completely reimagine time in their preferred local prime time to board to ensure a diverse and engaging the possibilities! The Artistic Leadership encourage friends, family and supporters performance roster. Team is charging ahead with preparations from home an opportunity to watch, The International Clarinet Association for a globally-inclusive virtual creating a truly international stage on a will also recognize Honorary Members ClarinetFest® and we look forward to global clock! We are excited to announce Robert Spring and Charles West at hosting a wonderfully diverse event for an anticipated performances by Mariam ClarinetFest® 2021 both through increasingly connected clarinet world. Adam, Jeff Anderle, Laura Ardan, Jose performances and a live virtual reception. Although we will miss seeing each of Ballester, Carmen Borregales, Ixi Chen, Watch the website and program you in Texas, redesigning the conference Martin Fröst, Wenzel Fuchs, Diana information for more details. has allowed us the opportunity to Haskell, Cindy Lin, Jon Manasse, Ricardo A unique component of ClarinetFest® respond to membership requests to relax Morales, Patrick Morgan, Jessica Phillips, 2021 is the Flowers without Borders

60 | THE CLARINET MARCH 2021 CLARINETFEST®

virtual choir opportunities (for planning and recording purposes). See the www. clarinet.org website for continuing updates. We would like to highlight and update the Showcase Stage which will feature performances by young student ensembles. The deadline for submitting applications and recordings for this stage has been extended to April 30, 2021. The ensemble size requirement has been reduced to trio (three players) or larger in an attempt to encourage the membership to use best health practices. Each performing ensemble must be comprised of only school-aged students (high school graduating seniors and younger) and each ensemble must comply with their Robert Spring Charles West school and local health guidelines for any rehearsal, recording or event related to the Showcase Stage initiative. Non- clarinetist ensemble directors do not have Stage, designed to feature performances events are open to anyone registered to be an ICA member in order to apply which subscribe to the Flowers without for ClarinetFest® 2021 but are designed for their ensemble to perform as part of Borders theme. The membership was for a specific target population. Master the Showcase Stage. Applications and asked to explore opportunities to affect class application and participation will recordings can be submitted through positive change across borders, cultures be organized by Phillip Paglialonga. See the www.clarinet.org website using the and societal divisions as the basis for www.clarinet.org for continuing updates. Acceptd portal link and will be reviewed proposals. This virtual stage will feature a We are pleased to be able to host the for selection for the Showcase Stage by wide variety of recitals, each named after a Third Annual Guido Six International Paula Corley. Notification regarding the native wildflower. Clarinet Choir Festival. Attendees status of the application will be sent by Another innovative addition in 2021 of ClarinetFest® 2021 are invited to June 1, 2021. v is the Clarinet Learning Community at participate in virtual international ClarinetFest®, which is structured to clarinet choir opportunities led by a * * * * * organize and feature all pedagogy clinics, team of exceptional musicians. Although seminars, lectures, workshops and master this component is undergoing drastic The Artistic Leadership Team consists classes from both Reno and Fort Worth adjustments at this time, we would like of Cheyenne Cruz, Jody Webb, Gary proposals. We have assembled a team of to recognize the planned conductors for Whitman and your Co-Hosts, Mary Alice respected and charismatic featured CLC their willingness to volunteer their time, Druhan and Jennifer Mendez Daffinee. Clinicians to build an engaging class knowledge and enthusiasm for what General event questions can be sent to schedule and foster collaboration and promised to be a wonderful Fort Worth [email protected]. Questions community. These include Ryan Gaughan, event. These include Matteo Dal Masso, about ICA membership, conference Michelle Anderson, Ricky Reeves, Jane Victoria Ramos Dresel, Alan Woy, Chuck registration, sponsorship, virtual exhibit Carl, Phil Paglialonga, John Scott, Laura West, Ron Scott and Christine Wolf. hall and website can be sent to Jessica Grantier and Deborah Bish. All CLC Attendees must register in advance for Harrie at [email protected].

Artists selected for participation and performance at ClarinetFest® 2021 include:

Amy Advocat Michelle Anderson Adam Ballif Anthony Aguayo Sara Aratake Diane Barger Francisco Javier de Alba Lori Ardovino Taylor Barlow Jason Alder Taiki Azuma Gregory Barrett Elisabeth Aleksander Christopher Ayer David Barrientos Thiago Ancelmo Gabrielle Baffoni Michael Bartnik

MARCH 2021 THE CLARINET | 61 CLARINETFEST® Photo courtesy Nicole Perroni Photo by Carlos Vargas Ovalle Photo by Ashleigh Taylor Photography Taylor Ashleigh by Photo

Mariam Adam Jeff Anderle Laura Ardan Jose Franch-Ballester Carmen Borregales Ixi Chen

Steve Becraft Karen Craig Ryan Gaughan Joshua Bennett Elizabeth Crawford George Georgiou Ani Berberian Cheyenne Cruz Kaitlyn Gerde Sauro Berti Jennifer Mendez Daffinee Meredith Gersten Joanna Birchfield Trevor Davis Michael Gersten Deborah Bish Vanessa Davis Lucas Gianini Erika Block Andrew DeBoer Jackie Glazier Tim Bonenfant Miles DeCastro Daniel Goldman Stephen Borodkin Lara Diaz Stanislav Golovin Denise Boudot Jorge Diez Laura Grantier Richard Boukas Robert DiLutis Natalie Groom Melanie Bourassa Stacey DiPaolo Jonathan Guist Ellen Breakfield-Glick Vincent Dominguez Elizabeth Gunlogson Katherine Breeden Margaret Donaghue Flavin Jonathan Gunn Marianne Breneman Victoria Ramos Dresel Timothy Haas Karen Bronson Mary Alice Druhan Myroslava Hagen Jeffrey Brooks Javier Elizondo Russell Harlow Raquel Bruening Luke Ellard Caroline Hartig Christopher Bush Jane Ellsworth William Hayter Clara Byom Patrick Englert Barbara Heilmair Erin Cameron Oskar Espina-Ruiz Julia Heinen Lisa Canning Kjell Fageus Shandra Helman Patricia Card Calvin Falwell Rachael Hendricks Jane Carl Amanda Forest Jaren Hinckley Martin Castillos Ford Fourqurean Matthew Hodgetts Stanislav Chernyshev Jennifer Fraley Chastine Hofmeister John Cipolla Kip Franklin, University of Annaka Hogelin David Ciucevich, Venner Clarinet Choir South Alabama Clarinet Choir Jonathan Holden Katrina Clements Ricardo Dourado Freire Andy Hudson CoCane Clarinets Amy Gabbitas Amy Humberd Kimberly Cole Luevano Denise Gainey Scot Humes Jarom Coleman Carl Galland Wolcott Humphrey David Cook Kathya Galleguillos Diaz Sarah Jaegers Paula Corley Joshua Gardner Danielle Janos Photo by Mats Bäcker Photo by Brenda Feliciano Feliciano Brenda by Photo Photo courtesy Emil Matveev

Paquito D’Rivera Martin Fröst Wenzel Fuchs Diana Haskell Ruzaliia Kasimova Cindy Lin

62 | THE CLARINET MARCH 2021 CLARINETFEST®

Photo by Gabriel Hernandez Tinajero Hernandez Gabriel Photo courtesy Marcelbakker.com courtesy Photo

Jon Manasse Ricardo Morales Patrick Morgan Jessica Phillips Joris Roelofs Javier Vinasco

Csaba Jevtic-Somlai Amanda Morrison Jana Starling Kathleen Jones, Puerto Rico Christopher Mothersole Daryll Stevens Conservatory Choir Lara Mitofsky Neuss Elisabeth Stimpert Lisa Kachouee Bryce Newcomer Doug Storey Ellen Kaner Donald Nicholls Allison Storochuk Cecilia Kang Christopher Nichols Gi-Hyun Sunwoo Cassie Keogh, North Dakota State Keith Northover Vanguel Tangarov Clarinet Ensemble Gregory Oakes Meghan Taylor Tod Kerstetter David Odom John Tegmeyer Melissa Kindy Cathy Ogram Nikolasa Tejero Christopher Kirkpatrick Sean Osborn Shannon Thompson Rick Kissinger, Licorice Sticks Phil Paglialonga Stephanie Thompson Keith Koons Kelsey Paquin Ken Thomson Paul Kopetz Dmitry Perevertailenko Margaret Thornhill, Los Angeles Kyle Kostenko Lisa Perry Clarinet Choir Sean Krissman Ivan Petruziello Suzanne Tirk Maryanne Lacaille Joshua Phillips Anni Tolvanen Jean Lake, Prickly Pear Clarinet Ensemble Katrina Phillips Rucha Trivedi Kellie Lignitz-Hahn Anthony Poehailos Ian Tyson Dawn Marie Lindblade-Evans Alyssa Powell Eddy Vanoosthuyse Spencer Prewitt Gabriel Lellouch Stephan Vermeersch Thomas Puwalski Kathryn Vetter Sheng-hsin Lin Aileen Razey Michele Von Haugg Jessica Lindsey Jennifer Reeves Andrea Vos-Rochefort Dylan Lloyd Ricky Reeves Wesley Warnhoff James Logan, UTEP Clarinet Choir Lundrim Rexha John Warren Victoria Luperi Jeremy Reynolds Sarah Watts Corey Mackey, Host Clarinet Choir Marie Ross Jody Webb Jenny Maclay Kyle Rowan Michael Webster Celeste Markey Jonathan Russell Lowell Weiner Matteo Dal Maso Jeremy Ruth Charles West Jenna McCall Larkin Sanders Colleen White Amanda McCandless Michael Scheuerman Gary Whitman Amy McCann, Murray State University John Scott Lucas Willsie Racer Clarinet Choir Ron Scott Jeremy Wohletz Dawn McConkie, Emporia State Lee Seidner Kornel Wolak University Clarinet Choir Jason Shafer Christine Wolf Joanna McCoskey, UNCG Clarinet Choir David Shea Catherine Wood Jacqueline McIlwain Rongbing Shen Marilyn Woodruff, Plano Clarinet Choir Ian McIntyre Lori Shepherd Alan Woy Olivia Meadows Sunshine Simmons, University of Shengwen Wu Audrey Miller North Florida Clarinet Ensemble Rachel Yoder Osiris Molina Amelia Smith Jonatas Zacarias de Oliveira Shiana Montanari Lynne Snyder Hila Zamir Madelyn Moore Kevin Spagnolo Shuang Zhu Patrick Morgan Robert Spring Jenny Ziefel

MARCH 2021 THE CLARINET | 63 Your New Favorite Composer: Cassie Wieland by Andy Hudson

first encountered composer Cassie Wieland in a remarkably millennial way. “You know, I completely forgot that we first met through somebody else’s tweet,” she laughs asI I remind her of our strange initial encounter. In

2017, my ensemble Ritual Action was on the hunt Photo by Emma O’Halloran for new reed trios by women and people of color. We took to social media with a call for scores and found dozens upon dozens of amazing works. Wieland’s open-score trio Go Together stood out for its dazzling clarity and wry humor. “And to think that tweet turned into years of collaboration,” she muses. I, for one, am glad it did: Go Together has become a staple of our repertoire, and one of Wieland’s most-performed pieces. She recalls the work’s inception: “This piece was one of my first ‘big girl’ commissions, and was originally supposed to be for two oboes and trombone. I remember talking to a friend about it, and they replied, ‘Do those instruments even… go together?’ to which I replied, Cassie Wieland ‘They’re going to.’” That interaction gave Wieland the idea to open the work up, composing it for two treble instruments and one bass instrument. This open scoring has allowed the work to garner many undergraduate career. She later went on to graduate performances in venues across the country by a school at the University of Illinois, before making her bizarre and wonderful variety of instruments. way to her current home in Brooklyn, New York. “This way, every instrumentation that wants “I started out in music because I loved my band to ‘go together’ can play Go Together,” she laughs, directors; they were an inspiration to me. I knew recounting performances by a number of strange I liked playing clarinet and that I wanted to do combinations. “Clarinet, flute, harp, bassoon, cello, something in music, but that’s about all the direction bass clarinet,” the list goes on. “I’m so glad I didn’t I had. I actually only started composing when I was limit it to just one sound, because so many beautiful 20. I was invited to a group composition class by contributions have come from it.” one of my theory professors, and it sort of snapped. I This message of warmth and inclusion defines thought, ‘Oh! This is what I should be doing!’” much of Wieland’s output, which “sweetly When pressed about what factors led to her shimmers” according to the New York Times. In 10 delayed start as a composer, Cassie elaborates: years she will be a household name. It might not “I really didn’t realize that composition was even take that long. an option for me. All the composers that I had Growing up in central Illinois, Cassie could never come across were dead,” she says with a smile, have dreamed of her meteoric rise. She got her start “or alive and a man. It never occurred to me as a clarinetist and bass clarinetist studying music that composing was something I could do, education at Illinois State University, but didn’t something I could make money doing. When I compose a single note until halfway through her took that composition class, something clicked.

64 | THE CLARINET MARCH 2021 It was a hard decision, but… I guess it worked out?” Wieland first began her composition career by experimenting on her clarinet. “I would sort of ‘practice’ by writing for my instrument, because I didn’t have to learn anything new about the clarinet or how it works. After those beginning stages, though, I went through a phase where I did not want to write for clarinet. [Writing for the clarinet] felt like a cop- out, because I already knew how the clarinet worked. I didn’t want to get into a comfort zone and stay there.” series of pieces called ANATOMY – to the A above?” which made no sense to Interestingly enough and in stark each for a different solo instrument, and them, but perfect sense to me. There are contrast to most composers, it took Cassie each inspired by a different part of the so many intricacies, and each note has its a long time to complete a piece for her human body. own special timbre and its own feel. Now, primary instrument. I spoke with Fourqurean, who when I’m writing for other instruments, “The first time I wrote for solo clarinet remembers being deeply struck by the I look back on that. I want to know how was in 2017, my solo work, hands, which I piece ahead of the premiere. “hands, like each instrument feels to play.” wrote for my friend Ford Fourqurean.” most of Cassie’s music, deals with these Even the clarinet, with its tendency When asked what broke her iron will of intangible and insular moments and to squeak? resistance against writing for the clarinet? sounds in ways that make the small seem Cassie smiles. “Playing clarinet “It was only because he asked really really monumental,” he recalls. Perhaps has driven me to ask, ‘What are the nicely.” this is what the Financial Times was mistake sounds that can come out of an That composition, hands, was getting at when they said that Wieland’s instrument and become beautiful?’” premiered at the 2017 Bang on a Can music “seduces the ear.” New music is like fresh air, but Summer Music Festival. “Bang on a Can “In addition to hands,” Cassie goes on, somebody’s got to write it and somebody’s has turned out to be very influential in my “I’ve got eyelid for alto saxophone, heart got to perform it. Typically, that happens life and career so far,” says Wieland. At the for hammered dulcimer, mouth for electric when a performer commissions a festival, she had the chance to work with guitar, and lung for violin.” Wieland composer to write a brand-new piece. renowned performers and composers from mentions that heart had its premiere in I asked Wieland for pointers on how across the world and had three brand new the midst of the national quarantine at performers of all ages can begin to pieces premiered – including hands. It has the Digital Bang on a Can Marathon by commission new music, and she suggested since been performed widely by clarinetists percussionist/composer Adam Holmes. starting with your local network. across the country and is slated to receive a The intimate trust Wieland places in her “Asking for a commission is not professional recording for release in 2021. performers, that I initially encountered in something that’s often discussed in “While writing this piece, I was Go Together, was the genesis for the project. schools, and there’s really no by-the-book thinking about how much you can tell “Each piece in the series was inspired way to do it. The best collaborations about a person by looking at just their by a different friend. Not only am I taking I’ve had were working with my peers. If hands. The gestures a person uses when extra time to get to know the instrument you’re in school, go down the hall and they talk, the way they their nails are kept, I’m writing for, but the person who will make friends with composers. Getting the way their fingers are slightly molded be playing it too. I’m usually thinking of to talk with them one-on-one, creating from the type of work that they do – all the person, and I try to think what part something together… it’s really that time of these characteristics tell a story. This of a person would complement what I’m sitting with a composer that makes a piece is a sort of illustration of examining writing sonically.” commission so valuable. When I think of a loved one’s hands – of zooming in closer Beginning life as a clarinetist my early collaborations, all of them grew and closer and uncovering a story in the has certainly informed Wieland’s from a joint curiosity.” tiny details. The whole experience of compositional approach. “Clarinet is And if someone wants to commission a writing something personal for someone definitely one of the most complex more established composer? else, I loved that.” instruments to know personally – I am so “Composers are just people. Shoot hands is a haunting work that slowly grateful I started on it. In graduate school, them an email and let them know you develops like a polaroid picture, the music I sort of became the resident advisor for love their work, and ask some questions. emerging from breath sounds into gentle clarinet. Colleagues would show me things If you don’t have a lot of money to spend, undulations that emotionally spike before they’d written, and I’d tell them “that trill keep in mind that you have a lot of withering back into the mist. Wieland has works, that trill doesn’t… B-C is great, things in addition to money that are very gone on to flesh out hands into a full-blown A-C not so much. Have you tried C up valuable to composers, including potential

MARCH 2021 THE CLARINET | 65 performances and recordings. Always be up front with what you have to offer and if it doesn’t work out, you can ask those composers to recommend other pieces or composers you might enjoy.” Historically Wieland sees the world as a place for intimate personal connection against the busy backdrop of human progress, and her current projects are also relationship- driven. Presently, Wieland is in the process of finishing up a new work for solo piano and electronics, commissioned by the by Deborah Check Reeves Jerome Foundation, to be premiered at Roulette by pianist Vicky Chow (with whom Wieland says she corresponds about the piece over text message). She is also “Historically Speaking” is a feature of The Clarinet offered in response to numerous inquiries working alongside three other composers received by the editorial staff about clarinets. Most of the information is based on sources to remix the album Compartments by available at the National Music Museum, located on the University of South Dakota campus the aforementioned Adam Holmes, and in Vermillion (orgs.usd.edu/nmm). Please send your email inquiries to Deborah Check Reeves is completing a capstone project for at [email protected]. the Bouman Fellowship she currently holds with Kinds of Kings, an all-female o you remember when you 1). NMM 5026 probably was made before composer collective that has quickly started playing the clarinet? the patent was granted since the bell is become a global powerhouse. Do you remember how marked “PAT. PENDING” (Photo 2). One can’t help but marvel at Cassie’s difficult it was to cover the The bottom two tone holes illustrate the ascent, and imagine that she will one day Dtone holes with your fingers? Have you elongated and diagonal pattern that Loomis become the role model she never had for a ever had a student whose hands and highlighted in his patent. The back of the generation of emerging female composers. fingers were so small that it was impossible instrument, too, shows the spring of the Wieland, like her music, invites each to cover all of the holes? Are you or one of register key as well as the raised thumbhole person in and meets them where they are. your students struggling with arthritis that (Photo 3). This openness, this celebration of each makes covering the holes and operating Loomis was granted many patents for person’s individual experience, is one of the keys challenging? If you answer yes to woodwind instruments. One patent4 is for her most essential qualities. any of the scenarios, then this may have a register key mechanism that automatically “The main takeaway that I want a been the instrument for you! At least, controls operation of separate holes performer to have from playing my music that is what C.G. Conn Ltd., of Elkhart, for throat B and the register vent (see is that, when they see these notes I have Indiana, manufacturer of the “Clar-O- Leblanc’s “patentb B ”5 and Stubbins’ “S-K written on the page, I am not thinking Sax,” believed. mechanism”6). Severalb other octave key 1 about the resulting sound. I am thinking Patented in 1932 by Allen Loomis, mechanisms were patented, including one about the performer going through these one of Conn’s designers noted for his for a triple automatic octave mechanism actions and what may result from them. innovative ideas, the Clar-O-Sax had many for saxophone!7 An adjustable thumbrest, Different things will happen for each of features that would have been ideal for patented in 1933,8 shows how Loomis was them. For me, it’s about who’s playing.” v those players with small hands. Intended ahead of his time. A number of patents to apply to any single-reed woodwind were for various kinds of bearings for key instrument, Loomis chose to illustrate ABOUT THE WRITER mechanisms – not as striking, perhaps, but his inventions on a saxophone-type equally innovative. v Andy Hudson is instrument. Of the many objectives listed assistant professor in his patent,2 including a lightweight ENDNOTES of clarinet at UNC body with a minimal number of keys, 1 Allen Loomis was trained as a naval architect and Greensboro and the elongated tone holes set at a diagonal had worked in the automobile industry as an North Carolina state “facilitate operation of the instrument by engineer, having been granted 54 patents in that chair for the ICA. a child whose fingers have a limited reach field. He was granted at least 16 patents related He is the clarinetist or spread.”3 A spring-activated register key to musical instruments. William Waterhouse, The New Langwill Index: A Dictionary of Musical Photo by Brittany Faith Photography for Latitude 49 and an elevated tone hole for easy access Wind-Instrument Makers and Inventors and enjoys running, (London: by the thumb were additional features. Tony Bingham, 1993), 240. baseball, craft beer The National Music Museum at the 2 US patent 1,855,248, granted April 26, 1932. and collecting obscure instruments. Let’s University of South Dakota in Vermillion 3 Ibid. connect online: www.theandyhudson.com. has a Clar-O-Sax in its collections (Photo 4 US patent 1,585,296.

66 | THE CLARINET MARCH 2021 Photos by Dara Lohnes-Davies, courtesy of National Music Museum, University of South Dakota.

Photo 2: NMM 5026 Clar-O-Sax bell signature

5 Deborah Check Reeves, “Historically Speaking,” The Clarinet 33, No. 3 (June 2006): 22-23. 6 Reeves, The Clarinet 35, No. 1 (December 2007): 24. 7 US patent 1,670,774. 8 US patent 1,937,025.

ABOUT THE WRITER Dr. Deborah Check Reeves is the Curator of Education and Woodwinds at the National Music Museum (NMM) in Vermillion, SD, and professor at the University of South Dakota. She received a doctorate in clarinet performance from the University of Iowa. She plays with the Sioux City Symphony Orchestra and directs Tatag, the NMM’s Javanese gamelan performance ensemble. She is a contributing editor to The Clarinet, and serves as the ICA South Dakota State Chair.

The Clarinet seeks articles from members! See www.clarinet.org for submission guidelines. Feature Article Review Deadlines: August 1 • November 1 February 1 • May 1 News, Event Reports and Department Submissions: September 1 (for Dec. issue) December 1 (for March issue) Photo 1: NMM 5026 Photo 3: NMM 5026 March 1 (for June issue) Clar-O-Sax by C.G. Conn, Clar-O-Sax back June 1 (for Sept. issue) Ltd., ca. 1930

MARCH 2021 THE CLARINET | 67 International Clarinet Association Statement of Credits and Debits September 2019 – August 2020 Submitted by Tod Kerstetter, ICA Treasurer

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68 | THE CLARINET MARCH 2021 Established 2013

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• In the process of learning music we will fun teaching BOOKS experience failure; do not be afraid, philosophy, also Amy Dunker. Meditations for Musicians. because every failure is for the final expressed through Batuta Press, 2019. Print edition success. her “Clarinet $10.00; Kindle edition $2.99. Available • Reading these steps was kind of a Playground” in English, Spanish, Portuguese and wake-up call for me to not let my website. With Czech. emotions run my life because they are feedback from only temporary. It made me think, do many students This singular not push away or hide the emotions and professionals, book contains but acknowledge them and resolve including bass 151 one-page them, like the quote said. Overall, I clarinet-specific meditations – thought it was motivational. ideas from Anne thoughtful words • I really liked how many of the of encouragement Watson and guiding musical suggestions sentences on each page were about from L.A. legend Michele Zukovsky, and cues for one’s personal journey – not being reflection. Some Denny-Chambers has composed measured by anyone else around us. of the meditations etudes that are a unique contribution • This book is a valuable resource are only one word, for developing clarinetists and bass because there are some great reminders but on average clarinetists. Here’s the recipe: take the dry for many different aspects of being a they are two short one-bar mechanism studies from either musician. sentences. The open space on each page Baermann or Klosé, pour a little cream • I think as musicians there is a lot we allows time to breathe and refresh. For from Jeanjean’s Vade-Mecum over the top can learn from this book: breathing, the hard-driving college student or young so as to progress tone by tone from low to patience, perseverance and self- professional, the writing of composer, high and add a bit of zany comic-book- preservation. trumpeter and teacher Amy Dunker is a meets-Fantasia style to ensure you are soothing balm. – Gregory Barrett satisfyingly full at the end of the meal. Seven of my Northern Illinois Each of the 48 pages of etudes is University students read the book and headed with the two-note combinations shared their impressions with me. Here is MUSIC that are the focus of the etude on that a sample of their thoughts. page; the student repeats the intervals as Kristen Denny-Chambers. Finger • This book has been very inspiring to many times as desired. Once the player Fitness Études for clarinet and auxiliary me. I would describe it as simple yet has familiarity with the targeted intervals, clarinets, Book 1. Clarinet Playground, thought-provoking and inspiring. off they launch into Denny-Chambers’s 2020. $18.00 or $15.00/each for five I have often looked to this book etude. The player is cajoled by her or more. for motivation to practice. I would engaging score indications: “Flying – with recommend this book to both the You probably already know ease and momentum,” “Moderato – with student and the professional because it Kristen Denny-Chambers’s clever and Latin flair,” “Mysteriously – in slow 2, offers motivation for both. pedagogically sound major and minor with a smooth and sultry character.” You • I have mixed feelings about the book; key-centric approach to developing get the idea – this book is about all the I understand the purpose of the book technical ease, Prep Steps Before You dimensions of a life in music. is to inspire but personally I found Kroepsch. Her latest book, Finger Fitness The first 16 studies focus on half steps, it more a “personal growth book” Études, complements that mission with moving only one finger at a time. The than a book that could help me really finesse. The inviting cover art reflects second 22 are harder, requiring perfection understand music’s core. Denny-Chambers’s passionate and of the motion of two or more fingers.

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The third section (10 etudes) is for bass the charm of the original compositions cultures outside the Western European clarinet and reworks some of the pieces has remained intact. Ferling’s etudes are tradition. As contemporary clarinetists from the first two sections but with actually very nice little pieces of music, see conversancy in multiple musical styles changes to incorporate low E in the first which explains their steady popularity becoming an increasingly important skill two studies and then down tob low C in with countless adaptations for various set, the value of a thoughtfully curated the concluding eight. instruments. I warmly recommend this book such as this one becomes clear. It’s hard to assign a difficulty level collection to every bass clarinet or basset Studying these 24 Clarinet Etudes from the to this collection. Everyone needs to horn player who aims to improve their World would deepen the vocabulary of any refine their finger motion, right? The “low-end” skills. The lay-out of the edition clarinetist’s musical language. note range is modest and most of the is also clear and flawless. You can hear all – Gregory Oakes movement is scalar or by small leaps, but the etudes on YouTube, expertly played on the large number of cut time pieces and by Dr. Wolbers himself (search Stacy Garrop. Phoenix Rising for solo 3/4 pieces in one requires a player with “Wolbers Ferling”). B clarinet and optional bass clarinet b at least a couple years of experience. Add – Mikko Raasakka (2016/2017). Theodore Presser syncopated rhythms, lots of markings in Company, 2019/2020. $13.99 the score and direct or oblique references Gregory M. Barrett. 24 Clarinet Etudes Stacy Garrop’s to the standard literature (Copland from the World. Gérard Billaudot Phoenix Rising Concerto for example) and you have an Éditeur, 2012. $29.95 depicts the appetizing feast for even an undergraduate Etudes are life cycle of who would like to refine their finger work. an essential the mythical – Gregory Barrett part of each phoenix, tracing student’s musical first its death Franz Wilhelm Ferling. 48 études, Op. and technical in I. “Dying in 31, for bass clarinet, basset horn or development. As embers” and then (originally for oboe). teachers, it’s easy its resurrection Adaptation by Mark Wolbers. Gérard for many of us to in II. “Reborn Billaudot Éditeur, 2020. $26.95 assign the same in flames.” Many etudes we have Performers and audiences alike will find clarinetists are become familiar this highly programmatic work accessible aware that Cyrille with over time. and evocative. Originally written for Rose used the Gregory Barrett’s book of progressive etudes saxophone and commissioned by oboe etudes of (in all the major and minor keys) makes an saxophonist Christopher Creviston, this Franz Wilhelm excellent case for expanding into musical clarinet edition is dedicated to New Music Ferling (1796- areas that extend beyond what many Chicago clarinetist Jennifer Woodrum. 1874) as a starting clarinetists learn in their formal studies. Though some of the figures, particularly point for his The strength of this book is that each toward the end of the second movement, famous 32 études. of the etudes is from the music of a assume a slightly different character on the Mark Wolbers, different culture. Drawing from countries clarinet, the transcription maintains its clarinetist, representing all the world continents essential features between instruments. conductor and basset horn aficionado except Antarctica, the variety of included Garrop writes in her program note that from Anchorage, Alaska, has adapted styles gives opportunities for an impressive the first movement, “Dying in embers,” the full set of original Ferling etudes for breadth of musical possibility. From the captures the final moments of an ancient clarinets with low C extensions. The result quarter tones in a Palestinian wedding phoenix’s life, the bird “settling on top is outstanding. Musically, Dr. Wolbers’ song to the metrical intricacies of an of a pile of embers and breathing its last adaptation remains faithful to the original. Indian raga, the idiom of each musical breath.” The register, rhythms and space The biggest change he has made is to culture brings with it challenges that are in this movement reveal a soundscape of expand the original range of two-and-a- both technical and interpretive. Being fatigue. Enervated moments of fluttering/ half octaves to three-and-a-half to fully able to play in many different styles is a flapping from air sounds combined exploit the range of clarinets with low C skill that performers already recognize as with multiple articulation occasionally extensions (every etude goes below low essential, and the flexibility this book of interrupt the solemn, chantlike lines E). The changes have been made with etudes fosters goes beyond what many and bends in the low register groan skill and taste. Whereas the main goal of typical books can offer. What’s more, between pitches. these adaptations has certainly been to music being written now is incorporating The contrasting second movement, work on the lowest notes of low clarinets, even more influences from the music of “Reborn in flames,” races to life with

MARCH 2021 THE CLARINET | 71 REVIEWS

fast articulations and brilliant technical through eighth rests and ties which The pattern quickly ruptures as each flourishes. This movement sustains a have a destabilizing effect for both the performer seeks higher ground, and breaks highly rhythmic feel, dancing between listener and performer. Furthermore, down completely through the middle time signatures as it describes pyrogenic unusual harmonies and unexpected of the movement, where wider intervals explosions and the reincarnation of the accidentals bring this toccata decidedly dominate the aural landscape and the newborn phoenix. Garrop employs fewer out of its Baroque roots. The middle performers alternate between progressively extended techniques in this movement section has a calming effect as the melody longer motives. A recapitulation eventually than in the first, but still includes several becomes more lyrical and settles in to an culminates in a muddy soup of dense timbre trills and glissandi in the altissimo. unchanging mixed-meter feel. Finally, chromatic imitation, racing toward the Garrop’s biography boasts an both instruments return to the opening final augmented unison that embodies this impressive lineup of commissions, material before the duo comes to an fractious relationship. Cohen calms his including works for the Kronos Quartet, exciting finish. actors in the second movement, weaving the Cabrillo Festival, the Grant Park Paul Ayres’s Toccata Duo lasts slightly variations of a languorous song over and Music Festival, Chanticleer, the Detroit less than four minutes and would be a through a four-bar ostinato. He interrupts Symphony and the St. Louis Symphony. fun and interesting way to fill out any this indolent surface several times with Her works are widely recorded on Cedille recital. The notes are fairly idiomatic for individual bars of aggressive activity, Records and other labels. clarinetists and the range is accessible, only and just when it seems that the two – Matthew Nelson extending to an altissimo D. PDF files parts will settle into a final and peaceful of the solo and accompaniment parts are resolution, they move instead to a very Paul Ayres. Toccata Duo. http://paulayres. available for download on the composer’s dissonant major seventh. The third and co.uk, 2008. £10.00 or $15.00 website: http://paulayres.co.uk. final movement most closely resembles classic minimalist works, as additive and Paul Ayres (b. – Madelyn Moore sequential variations in one part slowly 1970) lives in Robert S. Cohen. change the context of more constant London, where Sibling Rivalry for repeated figures in another. he is a freelance two clarinets in B (2020). Leapfrog b Sibling Rivalry was written for Italian composer, Productions, 2020. $15.00 (digital clarinet duo Guido Arbonelli and Natalia arranger and download) Benedetti, who premiered the work choral conductor. Robert Cohen’s over a live feed from Perugia, Italy, on Although he new work Sibling May 29, 2020. is primarily a Rivalry adds composer of choral nine minutes of – Matthew Nelson and church music, entertaining and Michael Drapkin, he has a wide array evocative material arranger. Trios for Two of instrumental works available as well. to the clarinet Clarinets and Bass Clarinet. Drapkin Ayres says that he “enjoys ‘re-composing’ duo repertoire, Music Publications, 2020. Distribution classical works and ‘classicizing’ pop depicting an by Carl Fischer/Presser. Two Volumes, music.” This description is especially often-contentious each: $35.00/score; $95.00/set of parts. appropriate of his Toccata Duo. musical Toyota, Apple, Toccata Duo is composed for competition Michael Drapkin – any melody instrument and can be between the two performers. The title all synonyms for accompanied by either piano or organ. cleverly manifests itself in the particular quality, reliability The version for clarinet and piano was nature of the competitive strategy devised and ubiquity. With used for this review. As the title would by Cohen, whose use of imitation, phasing, the first clarinet suggest, the work features fast moving and variation recalls minimalist influences. part running 70 notes and a fair amount of imitation Sharp dissonances punctuate musical or 80 pages of between the two parts. However, in a nod “shoves” as the performers perpetually music in each to the composer’s pop music proclivities, seek to outdo one another, yet the overall volume, and the this toccata is in 7/8 time and has a dance- harmonic content of the piece should full scores to about like quality. prove accessible to audiences, and the 200, Drapkin has Toccata Duo opens with an intense presentation of the material provides a rare arranged and assembled what must be the melody in which both instruments sense of fullness to this instrumentation. ultimate gig book for clarinet trios. Or move fluidly between a 2+2+3 feel and The first movement commences with are these two volumes a lifelong diary in a 3+2+2 feel. As the piece continues, the a series of rapid repeated notes, passed quarters, eighths and 16ths – revealing composer uses an abundance of hemiola back and forth between the performers. all of Drapkin’s musical and emotional

72 | THE CLARINET MARCH 2021 REVIEWS

proclivities? Spanning the gamut from an Willems offers original compositions could serve as a reference guide to graduate audacious arrangement of Strauss’s Till and arrangements with great appeal from students and other recitalists looking for Eulenspiegel’s lustige Streiche to the much classical, jazz and folk genres. Browse obscure but effective repertoire. easier pieces of 16th and 17th century and you will find titles both familiar and Bai opens with Récitatif et Thème superstar John Dowland, Drapkin has exotically enticing. Varié by the blind French organist, pedagogue and composer Gaston Litaize. supplied the fuel for many a late night – Gregory Barrett clarinet soirée. Selected as the contest piece for the Paris The arrangements are practical, with Conservatoire in 1944, it was published playing ranges and technical demands RECORDINGS in 1946 and dedicated to Auguste Périer, idiomatic. Obligatory pieces by J.S. Bach, professor of clarinet at the Conservatoire 20th Century’s Dedication. Mendelssohn and Mozart are comforting. Tie Bai, at that time. A colorful, atmospheric The Frederick Fennell effect is here clarinet; Hae Chung Kim, piano; piece with numerous varying sections with several Sousa march arrangements. Roberta Garten, piano. G. Litaize: and considerable technical challenges, it High school and college wind ensemble Récitatif et Thème Varié pour Clarinette deserves a wider audience than it currently memories will be rekindled with the et Piano; M. Bitsch: Bagatelle pour enjoys, and would be an excellent choice arrangement of the Holst First Suite in Clarinette et Piano; J. Jin: Arirang for a master’s or doctoral recital. E . Do you like opera overtures and arias? Variations for Clarinet Solo; E. Bozza: Marcel Bitsch was a winner of the Plentyb of Rossini and Mozart to keep your Caprice Improvisation pour Clarinette et Prix de Rome and later professor of fingers and voice humming. Who says Piano; P. Gabaye: Sonatine for Clarinet counterpoint at the Paris Conservatoire. a can’t play Wagner’s Magic and Piano; M. Arnold: Sonatina for By turns mysterious and whimsical, Fire Music? Not Michael Drapkin! You get Clarinet and Piano. China Audio and his Bagatelle is rarely heard in spite of the idea. Feeling a bit sentimental? Elgar’s Video Publishing House, CAV 1096. its originality and craftsmanship. “Nimrod” from Enigma Variations will have Total Time: 52:39. Lasting under six minutes, it could be you in tears after three phrases. Perhaps an effective encore. the one original composition by Drapkin Jeong W. Kim, a prizewinning Korean included, The Yellow Rose of Mozart, sums composer, pianist and conductor, holds a it all up: Have a little fun with music, Ph.D. in music from UCLA. His Arirang whether you live in Texas or not. Variations, based on traditional Korean melodies and rhythms, is spacious, tonal – Gregory Barrett and accessible. One variation employs Hoagy Carmichael and Johnny Mercer. flutter tonguing to lyrical effect. Skylark arranged for clarinet quartet Eugène Bozza dedicated his expressive Caprice Improvisation (with bass clarinet) by Dana Paul to Guy Dangain. Its title may refer to an extensive, dramatic Perna. http://willemsmusiik.com cadenza near the middle of the piece, $12.00 (digital download) flanked by passages of great energy Skylark, one and charm. of the most Another winner of the Prix de Rome, memorable Currently professor at the Xi’an Pierre Gabaye wrote his lighthearted, American Conservatory of Music in Xi’an, Shaanxi, optimistic three-movement Sonatine standards, is China, prizewinning clarinetist Tie Bai with a nod to jazz and blues influences sensitively studied at the National Military Art of a French cast, especially noted in the arranged by Dana College in China and continued his reflective second movement. This crowd Paul Perna in studies at the University of Southern pleaser, a perfect choice for the last piece close harmony California. His teachers include noted on a recital, requires the collaboration utilizing the best Chinese clarinetists as well as Mitchell of an outstanding pianist, and Bai is ranges of the Lurie and Yehuda Gilad. He has soloed fortunate to have such a partner here. clarinets and bass with orchestras in Korea, China and Los Malcom Arnold needs no introduction clarinet. Each voice has rhythmic Angeles, and has given recitals in France, to clarinetists; of all the works on this disc, independence and the lines alternately China and the United States. his three-movement Sonatina may be the move in parallel and contrary motion. For this album, Bai has chosen a variety most frequently encountered on recitals, Please let this arrangement introduce you of 20th-century music from France, Korea at least in the United States. However, to Willemsmusiik, with over 1,200 titles and Britain. Some of these works are rather perhaps not everyone knows that the in its searchable online catalog. Founder well-known and others are less frequently prolific Arnold was principal trumpet with and multi-woodwind performer Tristan encountered, but all are of high quality. It the London Philharmonic, wrote nine

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symphonies and won an Oscar for the film Nouaux, that being a recording featuring two tracks, one on each album, of just score to The Bridge Over the River Kwai an international lineup of fabulous piano and drums duo, perhaps giving a in 1957. It is fitting that Bai’s album ends clarinetists in a jazz trio setting, inspired nod in the direction of my thinking. with a smashing performance of this well- by a similar album titled Zutty Singleton It is refreshing to hear and review an known and well-respected work. and the Clarinet Kings (Volume 1 and 2), album conceived and led by a musician Both of the pianists on this CD, Hae which Nouaux discovered in a Parisian other than a clarinetist for The Clarinet. Chung Kim and Roberta Garten, offer record store years ago. His concept was to It is also a wonderful concept to feature expert collaboration to Bai’s ardent, present some of his favorite jazz clarinetists multiple clarinetists performing on one colorful playing. The recorded sound is in a trio with piano and drums. He has album, allowing the listener to hear fresh and resonant, with perfect balances employed clarinetists Jean-François Bonnel multiple examples of music in a similar between clarinet and piano. This recording (France) Evan Christopher (United States), genre, but with varying approaches to the is highly recommended for many reasons, Esaie Cid (Spain), Lars Frank (Norway), instrument and compositions. The album not the least of which is the rarity of some Jérôme Gatius (France), Eiji Hanaoka contains an artistic record jacket with of its high-quality repertoire. (Japan), David Lukács (The Netherlands), minimal, but sufficient liner notes. If you – Larry Guy Frank Roberscheuten (The Netherlands), like good music, you will like this album! Antti Sarpila (Finland), Aurélie Tropez – Ben Redwine Guillaume Nouaux & The Clarinet (France), and Engelbert Wrobel (Germany) Kings. Guillaume Nouaux, drums; in a wonderful recording of mostly jazz Once Upon A Time There Was A Piece with Evan Christopher, Antti Sarpila, standards. Composers represented are Of Wood. Sarah Watts, clarinet; Jon Engelbert Wrobel, Eiji Hanaoka, Duke Ellington, Fats Waller, Cole Porter, Iles, narrator. S. Fontanelli: Once Upon Aurélie Tropez, Lars Frank, David George Gershwin, Jelly Roll Morton, A Time There Was A Piece Of Wood. Lukács, Jérôme Gatius, Esaie Cid, Benny Goodman, Al Jolson and more, with Cuillin Sound, CUILL1005. Total Frank Roberscheuten, Jean-François two original compositions, presumably Bonnel, clarinet; and Luca Filastro, Time: 66:04. written for this endeavor. The album was Alain Barrabès, Harry Kanters, Jacques nominated for Classical Jazz Prize of the Schneck, piano. Self-Published, GN Académie du Jazz and won Special Jury 2019. Total Time: 50:31 (album 1); Prize of Hot Club de France, both in 2019. 50:37 (album 2). All of the clarinetists, save for the lone American, were unknown to this author, but in every instance, these musicians are at the top of their art form, perfectly interpreting traditional jazz with excellent clarinet tone, impeccable technique and inventive improvisations. Each clarinetist is afforded two tracks, one on each disc of the double CD. If these clarinetists are unknown to you, you owe it to yourself to learn about them and to get to know their playing. Once Upon a Time There Was A Piece Luca Filastro (Italy), Alain Barrabes Of Wood is the retelling of the classic story (France), Harry Kanters (Holland) and of The Adventures of Pinocchio in a new Jacques Schneck (France) are consummate setting for clarinet and narrator. Simone Guillaume Nouaux and the Clarinet pianists who work double duty performing Fontanelli was commissioned by the Kings is the 2019 double disc recording strong left hand accompaniments (with Gürzenich-Orchester Köln and Kinderoper of drummer and band leader Guillaume the absence of a double bass player). Köln to write a chamber opera for children Nouaux, a performer and educator from They serve the music and the concept of in 2010. The resulting German version Arcachon, France. Nouaux is an award- this album perfectly. When the pianists was performed in Switzerland and Austria winning musician, having won Artist of improvise, their solos are interesting and then translated to Hungarian, Italian the Year in 2007 from Jazz Magazine, and inventive. As a clarinetist, I have no and Spanish with performances in those Classical Jazz Prize from the Académie complaints regarding such clarinet-heavy respective countries as well. Fontanelli then du Jazz in 2011, and in 2014, Special improvisations, but looking at the big whittled down the English translation of Jury Prize of Hot Club de France for his picture of the music, I might have allowed The Adventures of Pinocchio into 14 scenes album Drumology. more piano solos to balance the clarinet of Pinocchio’s most important moments to Guillaume Nouaux and the Clarinet improvisations, but that, of course, is just create a theatrical work for narration and Kings was a longtime dream and goal of a matter of opinion. Nouaux does present clarinet, which here is presented with Jon

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Iles as narrator and actor and Sarah Watts, simpler lyrical sections to help sustain this work with razor-sharp precision and clarinetist. A nicely-illustrated booklet with interest and attention throughout the excitement. Then, we have the Ravel Pièce a synopsis for each scene and additional hour-plus CD for two performers. Despite en forme de Habanera, a work originally background information is included with these critiques, the CD is worth having in written as a vocalise that has become the disc. This piece for one narrator/actor order to hear the smooth playing of their a major staple in clarinet/piano recital and one clarinetist lends a certain friendly interpretation of this unique work. repertoire. The duo truly delivers the sultry, intimacy to the theatrical chamber work – Karen Dannessa seductive nature of this piece; the guitar for youngsters, and is also an entertaining transcription adds a special elan to this listen for adults, with a focus on universal A La Carte 2. Jan Jakub Bokun, habanera. Following the Ravel is another themes, emotions and actions ranging from clarinet, Jakub Kościuszko, guitar. G. delightful work in an almost neoclassical the sweetest to the most bitter. Connesson: Disco Toccata; M. Ravel: style by Łukasz Woś titled Scherzino. Both Jon Iles is an experienced British Pièce en Forme de Habanera; Ł. Woś: Bokun and Kosciuszko display beautiful voiceover artist and actor and is active in Scherzino; Souvenir de Halama; G. colors of sound in this performance. television, radio and theater performance. Drozd: Adagio, Op. 44j, “Hommage á In keeping with gastronomic terms He is best known as DC Mike Dashwood J.S. Bach”; B. Kovács: A la Flamenco; as A la Carte suggests, we move from in iTV’s The Bill and has also acted in Hommage á Zoltán Kodály; J. the hors d’oeuvres to a more substantive dozens of TV commercials, documentaries Zenamon: Luz y Sombra, Op. 121; work on the disc, Gerard Drozd’s and corporate broadcasting. His warm, G. Viseur: Douce Joie; D. Reinhardt: Adagio, Op.44j “Hommage á J.S. Bach” deep voice is a perfect fit for this CD Nuages; R. Galliano: A French Touch; adapted for clarinet and guitar. This track project. Clarinetist Sarah Watts is a D. McDonald: Urban Pastoral; Yom: exemplifies exquisite intonation, style and bass clarinet specialist who is a Selmer, La Traversée. JB Records, 025-2. Total expressiveness by both performers. The Vandoren and Silverstein artist and is Time: 53:00. second of two works by Woś on this disc, professor of bass clarinet at the Northern Souvenir de Halama, is sung beautifully Royal College of Music and professor by Bokun. Again, his color palette is aptly of performance at Sheffield University. displayed in this performance. She has published bass clarinet tutorials The following work, A la flamenco, more and performs with Northern Ireland’s commonly known as Hommage á Manuel Hard Rain Soloist Ensemble and her de Falla by Béla Kovács, is the most familiar duo SCAW. offering on this disc. This performance by Jon Iles’s narration brings the characters Bokun is the highlight of the recording, to life with a variety of accents and exhibiting flawless technique, superb style vocal characterizations, and colorful and rhythmic precision. This arrangement interpretation of the text. The clarinet part for clarinet and guitar only adds to the weaves in and around the narrator and brilliance of this work. Also by Kovács, the both performers have long stretches of solo Hommage á Zoltán Kodaly is performed material as well. The technical and musical with flair and precision by Bokun in this demands for the clarinetist are extreme and unaccompanied work. The Zenamon, with showcase Watts’s accomplished clarinet Founded in 2013, the Bokun/ its alteration of dance-like sections and playing. The angular, virtuosic writing Kosciuszko clarinet and guitar duo is chanson styles, is performed with panache allows Watts’s excellent and unwavering dedicated to rediscovering the greatest and meticulousness. The other chanson- articulations to shine, and she presents chamber music masterpieces from like works by Viseur, McDonald, Galliano a variety of extended techniques such as Schubert to contemporary repertoire. and Reinhardt (with the last being for flutter tonguing, glissandi, multiphonics The duo has performed Piazzolla’s Double solo guitar) are delivered with soulful style and more with ease. Although Watts easily Concerto with orchestras and released by Bokun and Kosciusko, respectively. performs these effects, she falters slightly their premiere recording, A la Carte, The final work on the disc, Yom’s La in a few places in altissimo connection and to considerable acclaim. They have Traversée is an exciting tour de force in a in creating a lyrical dolce sound and softer performed in Cologne, Tokyo, New York, quasi-klezmer style. dynamics overall. The clarinet is recorded Prague, Budapest and Brussels among Overall, this disc exhibits extremely with close-set microphones and is at times other major cities. fine ensemble and lyrical playing and a bit too prominent, aurally crowding the The disc opens with a delightful was a pleasure to review. The combination narrator. Despite having a relatively varied amuse-bouche titled Disco Toccata by of clarinet and guitar is deserving of texture of voice characterizations and effects Guillaume Connesson. Here, we have a from the clarinet, the duo pairing sounds lively work seemingly inspired by Reich further exploration by performers and too similar after a while. The clarinet with its rhythmic language tinged with composers alike. writing might have benefited from a few minimalism. The performers execute – Kenneth Long

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Astor Piazzolla: Presence. Kjell Fagéus, This pairing of clarinet and guitar is quite Sonata in Re. Super Audio CD, CD clarinet; David Härenstam, guitar. A. good and the Fagéus/Härenstam duo takes 28001. Total Time: 54:56. Piazzolla: Psicosis, Gulinay, Revirado, great advantage of the timbral possibilities Todo Fué, Decarisimo, Los Poseidos, inherent with these two instruments to Misteriosa Vida, Nuevo Mondo, Tango bring out the seductive nature of the Choc, Tanguisimo, Dernier Lamento, tango. While the guitar is exceedingly Greenwich, Las Furias, Yo Canto Un nimble in complicated passages, these Tango, Adios Nonino, Romantico pieces really shine when the guitar uses Idilio, L’histoire du Tango: Bordel its powerful harmonic and rhythmic 1900, Café 1930, Nightclub 1960, strumming capabilities to underpin Concert d’Aujourd’hui. Sound Spheres, the clarinet soaring over the top in the RHLB22. Total Time 62:00. melodic line. Fagéus and Härenstam are in complete command of their instruments on this recording – not just through the technical demands, which is to be expected, but they are also in command of their sound. Both players are able to vary their instrument’s tone to suit the moment This album by Duo Aeternica (Kjell of the music, pivoting on a dime from a Fagéus, clarinet and Love Derwinger, piano) features primarily transcriptions penetrating presence in some places to an of 19th and 20th-century works. In the almost amorphous, breathy mood just a program notes, the duo states that the few measures later. album’s works are compiled “with the Fagéus is especially skilled in taking ambition to present beautiful music advantage of the nuance the clarinet is from the 19th and 20th century that also capable of and exploiting it to great effect will widen the repertoire for clarinet and with a subtle vibrato and husky tone when piano.” Many of the works on this album appropriate. The centerpiece of the album Piazzolla fans, rejoice! This is a new are transcribed for clarinet but maintain is the Histoire du Tango at the end of the collection of his works arranged for the original piano part. disc and this arrangement demands the clarinet and guitar performed by the The first works on the album are most from both musicians. It is performed Swedish duo of clarinetist Kjell Fagéus and by César Franck. Prelude, Fugue and here with aplomb and an excellent sense guitarist David Härenstam. This collection Variation, Op. 18, is originally for organ, contains 16 small pieces (most only two or of style; the listener doesn’t even notice but this recorded transcription is based three minutes long) as well as the famous the technical demands which are easily on a version of the work for violin and Histoire du Tango, which is well known to negotiated by the duo. Occasionally, the piano created by Paul Lemaître. The all. Kjell Fagéus was principal clarinet with guitar sound is difficult to discern when second work, Mélancolie, is originally for the Royal Opera Orchestra in Stockholm the clarinet is playing above the staff, violin and piano, and the third, Pièce V, for 14 years, as well as serving as principal but in general the balance between the is originally for harmonium, but is often clarinet in other Swedish orchestras. two instruments is excellent. The wide played by oboe and piano. My favorite He has toured Europe, the U.S., South dynamic and color range of the clarinet of these is Mélancolie. The clarinet’s America, Ukraine, Israel and China, and is perfect for this music, especially when lower register blends well with the piano, has recorded for radio and television. paired with the guitar. These performances creating a warm, melancholic scene. I also David Härenstam is currently the artistic are extremely effective and if you like enjoyed the duo’s recording of Pièce V. It director of the Stockholm Chamber Piazzolla’s music, you’ll definitely want to has a sweet innocence that is charming. Music at Riddarhuset in Stockholm. He listen to this album! All these transcriptions work well and are has appeared on numerous recordings – Christopher Ayer performed beautifully. performing in a range of styles from Three Piecesby Nadia Boulanger is Baroque to jazz. Nocturne. Duo Aeternica: Kjell Fagéus, a highlight of this album. Known and Piazzolla’s works have maintained an clarinet, and Love Derwinger, piano. C. respected as a great composition teacher, enduring popularity over the years and Franck: Prelude, Fugue, and Variation, Boulanger’s actual compositions are have been transcribed and arranged for Op. 18; Mélancolie, Pièce V; G. Fauré: often overlooked. It is exciting to have nearly every instrumental combination Vocalise-Étude; N. Boulanger: Three arrangements of her works prepared for imaginable. No matter what instrument is Pieces; L. Boulanger: Nocturne; D’un clarinet and piano. Originally for organ, performing, his music maintains its sultry, Matin de Printemps; G. Tailleferre: then arranged for cello and piano by the suave and rhythmically engaging qualities. Adagio; Pastorale; Arabesque; N. Rota: composer, these works are gems. They are

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full of color and provide opportunities Moore: Tout Passe. Polymnia, 2019. “Blizzard” encapsulating the line “where for the clarinetist to display a full range Total Time 37:00. fear is posed in slow motion” through his of emotion. The third movement in C tightly-controlled pacing. minor is particularly vibrant and full of# Tawnie Olson’s Paraclete allows Earle life. This is a wonderful work and I plan to to feature his expertise in extended seek it out to perform in the future. techniques. The two movements depict Works on this album by Lili Boulanger the shock and distress of hearing bad include Nocturne, originally composed news, and afterward the second movement for violin or flute with piano, and D’un tries to create a meditative state with Matin de Printemps, which was adapted clarinet accompanied by a Tibetan for many instrumentations and here is singing bowl. Raga Music by John Mayer taken from the flute and piano version. features nine movements that take their These compositions work well as a set. The titles from different ragas associated with first is a slow, expressive work, while the events, seasons and times of day. The suite second is faster and energetic. Like all the of movements is enjoyable and should transcriptions on this album, they make definitely be added to more repertoire lovely additions to the clarinet’s repertoire. lists. Sandy Moore’s Tout Passe brings out The duo then includes three works Canadian clarinetist Shawn Earle’s supple and heartfelt performances from by Germaine Tailleferre including her 2019 album The Cross-Cultural Clarinet both Earle and Edwards-Burrs. Their Arabesque, the album’s first work originally demonstrates his flexibility and musicality gentle lines at the beginning build up in across a wide span of newly-written works. intended for clarinet and piano. Tailleferre frantic energy and motion over the piece’s Earle has performed and taught across had a gift for writing beautiful, tuneful four sections. North America and previously served melodies, and these works highlight this. Shawn Earle’s album shares a wide as assistant professor of clarinet at the The first work, Adagio, is a transcription array of music that is worth many University of Virginia and an instructor of a violin and piano version of the second listenings. The Cross-Cultural Clarinet at the University of British Columbia. movement of her piano concerto. Pastorale showcases Earle’s excellent performance The compendium features Earle’s fantastic and illuminates many works that deserve was originally written for violin or flute performances of solo works by Robert being added to our wider repertoire. with piano. These are not well-known Rosen, Tawnie Olson, John Mayer, and While a listener might not love every works, but the duo’s performance will Elliot Weisgarber. He is joined by Lisa work, they can definitely find something inspire clarinetists to seek them out. Edwards-Burrs on works for clarinet and worth exploring. Nino Rota’s Sonata for Clarinet and voice by Derek Charke and Sandy Moore. Piano is the epitome of beautiful clarinet – Ford Fourqurean Earle states his interest in both Canadian writing, and the duo’s recording is yet clarinet music as well as music influenced another interpretation of this work for by non-Western cultures as his premise for performers to consider. Overall, this the album. album is a nice collection of beautiful, The first track, Sipatsimoyi, by Robert The Clarinet seeks traditional-style works for clarinet. Rosen meanders between quarter-tone articles from members! The tone quality of both Fagéus and phrases and extended techniques. Rosen See www.clarinet.org for Derwinger is coloristic and vibrant, aims to evoke a Piikuni Blackfoot smudge submission guidelines. resulting in compelling performances. I ceremony in which sweetgrass is burned Feature Article hope that the duo considers publishing and wafted to cleanse negativity. Earle’s their transcriptions, particularly the Nadia smooth and soothing lines easily evoke Review Deadlines: Boulanger work. I think many clarinetists tendrils of smoke pluming out. August 1 would like to play them, and we have Derek Charke’s two-song cycle Between November 1 Duo Aeternica to thank for adding them the Shore & The Ships is the highlight of February 1 to our repertoire. this album. Edwards-Burrs’s fantastic May 1 – Amanda McCandless tone and musicality lend themselves to the work and blend well with Earle’s News, Event Reports and The Cross-Cultural Clarinet.Shawn pure sound. Charke chose to set the Department Submissions: Earle, clarinet; L. Edwards-Burrs, eponymous first song to an excerpt September 1 (for Dec. issue) soprano. R. Rosen: Sipatsimoyi; D. of Longfellow’s poem “Evangeline,” December 1 (for March issue) Charke: Between the Shore and the which depicts the British deportation of March 1 (for June issue) Ships; T. Olson: Paraclete; J. Mayer: Acadians from Grand-Pré. Earle captures June 1 (for Sept. issue) Raga Music; E. Weisgarber: Koku; S. the essence of the second movement

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AUDIO NOTES By Kip Franklin strikingly haunting; Gunn demonstrates somehow a preview to this track. All of the such proficiency of response that he is able commendable elements one can perceive Jonathan Gunn, clarinet; Anton Nel, to completely control the evolution of in Gunn’s playing are concentrated and piano. G. Pierné: Canzonetta; F. his sound from pure silence. The languid, amalgamated here. Of particular mention Poulenc: Sonata for Clarinet and Piano; melancholic lines are executed seamlessly again is the resonance in the throat tone C. Debussy: Première Rhapsodie; C. with a quiet, unyielding intensity from range that Gunn is able to achieve coupled Saint-Saëns: Sonata for Clarinet and Gunn. His articulation, upper-register with the seamless navigation between the Piano; O. Messiaen: Abîme des Oiseaux response and technique are clean and first and third partials. The sustained F ’s from Quatuor pour la fin du temps; C. unblemished in the fiery final movement. emerge from nothingness and evolve into# a Widor: Introduction et Rondo. Centaur Anton Nel’s playing in this work, both full-bodied and intense tone. Every detail of Records, CRC 3774. Total Time: 61:08. in the brief solo passages and in the this taxing and strenuous work is expertly accompanimental sections, is laudable and handled. Gunn is entirely in command of efficient, augmenting and enhancing the all facets of his playing in this piece. expertness of the joint interpretation. Widor’s Introduction et Rondo offers Debussy’s Première Rhapsodie is a poignant and satisfying conclusion performed with poise and intricacy. to the album. The opening is spacious Gunn’s tone is sweet and maintains a solid, and improvisatory, allowing both Gunn focused core at both the loud and soft and Nel opportunities to display their dynamics. It floats gracefully above Nel’s talent and whim. Throughout the work dutifully-executed textures and colors, Gunn again showcases his craftmanship resulting in a tightly-woven sonic reverie. of cadence and color, intertwining The notoriously difficult and awkward diaphanous flourishes with firm rhythm passagework is rendered with fluidity, and pointed articulations. delicacy and tranquility. Gunn’s playing in Gunn’s playing throughout the album the scherzando is amabile and unassuming; is of the highest level of clarity and his execution of the articulations and purity. Every phrase contains whittled A recently-released album by Jonathan technical dexterity are as light and perfection. The album is enthusiastically Gunn, assistant professor of clarinet at sinuous as the brushstrokes of an recommended for all levels and the University of Texas at Austin, features impressionist painter. specializations of players. standard and well-known works from the Gunn’s performance of Saint-Saëns’s French canon. Although all these works are Sonata for Clarinet and Piano is equal parts Archival Series of Transcriptions familiar to clarinetists, this recording offers innocent and dramatic. The flowing lines for Violin, Clarinet and Piano. refreshing and invigorating interpretations. of the first movement percolate with vocal The Verdehr Trio: Elsa Ludwig- Gunn’s execution of Pierné’s Canzonetta lyricism and clear, well-defined phrase Verdehr, clarinet; Walter Verdehr, is nothing short of elegant. His playing architecture. Gunn’s management of tempo violin; Silvia Roederer, piano; Gary exudes a coy capriciousness that is equal and rubato in the second movement make Kirkpatrick, piano. J.J. Werner: Suite parts attractive and enticing. His tempo for a refreshing and delightful rendition. Francaise; W.A. Mozart: Dance Suite, is perhaps more conservative than other The third movement showcases Gunn’s Divertimento K. 240a, and German recordings of this work, but that is one power of sustain and complete control of Dance; A. Dvorak: Three Slavonic of the recording’s most commendable his core sound. The loudest playing in the Dances and Romanza, Op. 11; E. attributes; in doing so Gunn proves to low register is deep and rich without any Grieg: A Set of Norwegian Dances; M. be a master manipulator of color and hint of spreading or coarseness. Similarly Bruch: from Eight Pieces, Op. 83 Nos. cadence. In Gunn’s deft hands, this short the softer playing in the upper register is 1, 2, 3, 5; J. Brahms: Three Hungarian and simple work conveys a depth and ethereal and resolute without being thin Dances; L.V. Beethoven: Andante charm that is admirable and praiseworthy. or pinched. The alla breve feel of the final and Allegretto from “Creatures of Gunn effectively achieves stark movement is clearly perceived. Gunn Prometheus,” Op. 43 and Trio, Op. 38, contrasts between the vaudevillian and decorates the underlying rhythmic pulse No. 14; P. Tchaikovsky: Entr’acte from somber characters in the first movement with rapid filigree that is coiled and refined “Sleeping Beauty”; H. Berlioz: Rêverie of Poulenc’s Sonata for Clarinet and before doubling back to the opening et Caprice; P. Dickinson: Bach in Blue; Piano. The resonance of his throat tones lyricism of the first movement. K. Szymanowski: Chant de Roxane; D. is impeccable and robust, lending a In listening to Gunn’s recording of Constantinides: Hellenic Musings; J. truly doleful hue to the melodic lines. Messiaen’s Abîme des oiseaux, it seems Vanhal: Trio, Op. 120, No. 1 and No. The opening of the second movement is as if all of the previous works were 2; R. Schumann: Märchenerzählungen,

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Op. 132; Fanny Mendelssohn: Three to forlorn melancholy to tempestuous technology used in some of these Pieces; Felix Mendelssohn: Concert Piece bustle. Taken from Greig’s Slåtter, Russell’s recording’s qualities, but this is a narrow No. 1, Op. 113; F. Schubert: Fantasy, arrangement of A Set of Norwegian Folk concern. The caliber and quality of Op. 103; C.P.E. Bach: Trio, No. 3; S. Dances offers a contrast in harmonic and playing far outweighs any issue related to Rachmaninoff: Vocalise; R. Wagner: stylistic language that is adeptly performed recording technology. Siegfried Idyll; F. Mendelssohn: Concert by the trio. The first and third of Max Both albums open with works by Jan Piece No. 2, Op. 114. Blue Griffin Bruch’s iconic Eight Pieces ensue, with Vanhal that are permeated with galant Recording, BGR 557. Total Time: No. 3 being the true highlight of the style. Schumann’s Märchenerzählungen 71:31 (Volume 1), 65:52 (Volume 2), volume. The initial melodic disparities forms the centerpiece for volume three 77:54 (Volume 3), 71:34 (Volume 4). between the clarinet and violin eventually and Schubert’s Fantasy in F Minor, Op. yield to a harmonious rendezvous 103, is the cornerstone work of volume saturated with all of the indulgences of late four. Both performances exhibit the depth Romanticism. Brahms’s Three Hungarian of high German Romanticism and are Dances, with their fast tempi and spiccato skillfully handled by the performers. These articulations, deliver a thrilling conclusion last volumes include works by Felix and to volume one. Fanny Mendelssohn. Russell’s arrangement In the opening to Volume 2, Elsa of Fanny’s Three Piecesis performed with Verdehr displays her dramatic command of grace and ardor, and in Felix’s Concert the clarinet, being at times the lyrical soloist Pieces Nos. 1 and 2, both Verdehrs play and others the technical undercurrent of with zealous passion and fury. Volume Beethoven’s Andante and Allegretto from three includes Beethoven’s Trio, Op. 38, “Creatures of Prometheus” and Dvořák’s which is arranged for clarinet, cello and Romanza, Op. 11. Walter Verdehr’s playing piano from his Sextet, Op. 20. Here the in the Dvořák is particularly rhapsodic Verdehrs fashion their own arrangement and compelling. Two more arrangements for clarinet, violin and piano that is In a career spanning several decades, by Russell follow: the first is a delightful remarkably effective and fulfilling. Their the Verdehr Trio has commissioned over Mozart divertimento and the second the playing in C.P.E. Bach’s Trio in G Major is 200 works for clarinet, violin and piano Entr’acte from Tchaikovsky’s Sleeping blithe and cheery. Rachmaninov’s famous and produced over 25 albums and eight Beauty in which Walter Verdehr showcases Vocalise is performed with prodigious DVDs as part of their Making of a Medium mastery of the stratospheric range of sentimentality, first by Elsa and echoed by Series. This latest four-volume release is the the violin. Another pair of Bruch’s Eight Walter. Wagner’s Siegfried Idyll, arranged first of a final series of albums. Featuring Pieces, this time Nos. 2 and 5, follows; by Michael Zearlott, is a synthesis of archived recordings from between the Trio’s performance of the Romanian rich, chromatically-evolving harmonies 1979 and 2012, these albums contain Melody is especially emotive and hauntingly that the trio performs with depth and transcriptions and arrangements from the bittersweet. Walter Verdehr’s artistry is conviction. The entire album set concludes 18th and 19th centuries. again brought to the fore in Berlioz’s with a rollicking German dance by Volume 1 is dedicated solely to dances. Rêverie et Caprice and supplemented Mozart which offers a lighthearted and Jean-Jacques Werner’s Suite Francaise: with heroic interjections and embracing spirited denouement. 17th-Century Airs and Dances is a charming accompaniments from Elsa. Bach in Blue Obviously anything bearing the and eclectic work. This opening work offers an interesting soundscape in which name of the Verdehr Trio is expected to exemplifies all the elements for which the Verdehrs’ blues-inflected melodies orbit be of extraordinary quality. However, the Verdehr Trio is known: exquisite around pianist Silvia Roederer playing the comprehensiveness and eclecticism individual dexterity, honed ensemble Bach’s Prelude No.1 from the Well-Tempered of these four volumes is of the highest blend and totally unified interpretation. Clavier; the result is a sonic tapestry that possible distinction. The performers Armand Russell’s transcription of dances is equal parts witty and plaintive. Karol function in perfect synchronicity with one by Mozart comprise the Dance Suite and Szymanowski’s Chant de Roxane is infused another, with impeccable accuracy and include a march, two minuets and three with harmonic and timbral exoticism ensemble blend. Armand Russell should lively contredanses that embody all the that creates a meditative and tranquil be commended as well for his expert and wit and humor of the composer’s operatic atmosphere. Hellenic Musings, volume two’s valuable arrangements. Meticulously classical style. The concentrated adroitness final work, is comprised of two movements: constructed, extensive liner notes add of the music of this work make it one the first one rather songlike and the final to the album’s pedagogical value. These of the highlights of the album. In their one perky and nimble. artists have done an incredible service by arrangement of Dvořák’s Slavonic Dances, Volumes 3 and 4 of the set consist providing reputable recordings of these the Verdehr Trio conveys the full gamut entirely of live-performance recordings. valuable works. They are a must-have set of expression, from childlike jubilance The liner notes reference the antiquated for anyone’s collection. v

MARCH 2021 THE CLARINET | 79 Clarinet by Jenny Maclay

5 ENGAGING ACTIVITIES FOR ONLINE STUDIO CLASSES f you’re looking for new ideas to playlist and use screen share with on Zoom using screen share. This engage your students during your audio to see how many students can is a wonderful way to discover new virtual studio class, here are a few correctly identify each piece using chat resources and understand more about activities you can incorporate: or poll functions. your students and what inspires them. Invite a guest lecturer. I• Guess the repertoire. Use screen • Compete in a trivia challenge. • One of the share to show a musical excerpt and Zoom’s poll feature is perfect to benefits of online studio classes is the see who can identify the piece. This quiz students on repertoire, history, ease and accessibility of inviting guest is a great way to teach students about theory, pedagogy and other important artists. Having a fresh perspective will different musical styles throughout fundamentals. keep your students engaged, motivated history, and this can easily be done • Host a virtual show and tell. Ask and excited to try new ideas. using IMSLP and other websites with students to find a piece of music, I hope these activities are both engaging free public domain music. interesting article, website, or other and inspiring for you and your students • Organize a listening quiz. Create a relevant piece of information to share during your next virtual studio class!

CONGRATULATIONS TO THE NEWEST MEMBERS OF THE ICA KLOSÉ SCALE CLUB! As part of the International Clarinet Association Warm-Up Week, we invited members to join the 2020 ICA Klosé Scale Club. The following members submitted recordings of themselves performing the Klosé scale exercise (major and melodic minor scales) with the hashtag #ICAKloseScaleClub: Greg Angeloni Jonathan Mendoza Linda Dickson Alexandra Thomson Hayley Galvin Marie Watkins Vicki Garcia Braeden Weyhrich v Rebekah Majkrzak

ABOUT THE WRITER Jenny Maclay enjoys a diverse career as a soloist, recitalist, orchestral player, chamber musician, educator and blogger. She is a Vandoren Artist-Clinician and has performed throughout Europe and North America. She welcomes an international audience of clarinet enthusiasts on her award-winning blog Jenny Clarinet. Photo by Ann Weis Photography

80 | THE CLARINET MARCH 2021 DEMAND A HIGHER STANDARD

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