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Home , Andrew Marriner, Boehm system (clarinet), Bruno Brun, Derek Bermel, Hans Deinzer, Jacques Lancelot

Vol. 47 • No. 4 September 2020

ALSO IN THIS ISSUE Research Competition Winner: Humming and Singing While Playing Interview with Nicolas Bacri’s Ophelia’s Tears The Quarter-Tone MARIAM ADAM Extended & BERGINALD RASH THE CLARINETISTS OF CHINEKE!

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

“I am so happy to play the Chedeville Umbra because it is so sweet, dark, so full of colors like when you listen to Pavarotti. You have absolutely all kind of harmonics, you don’t have to force or push, and the vibration of the reed, the mouthpiece, the material, it’s connected with my heart.” Milan Rericha – International Soloist, Co-founder RZ

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, Jessica Harrie [email protected] hope everyone is remaining safe and healthy during the EDITORIAL BOARD COVID-19 pandemic. Although the pandemic has changed Mitchell Estrin, Heike Fricke, Denise Gainey, our lives in ways we could not have imagined just a short Jessica Harrie, Rachel Yoder time ago, inspiring musical and technological creativity is keeping us all connected. We hope everyone tuned in to ICA Plays MUSIC REVIEWS EDITOR I Gregory Barrett On! during June and will enjoy our continuing series of virtual events. Very special thanks to Executive Director of Operations [email protected] Jessica Harrie and Social Media Coordinator Jenny Maclay for AUDIO REVIEWS EDITOR creating and producing our online events! We are also grateful to Kip Franklin all of the panelists who are sharing their time and expertise. [email protected] Congratulations to all of the winners of the 2020 ICA Mitchell Estrin Competitions! The association is grateful to the competition ASSOCIATE AUDIO REVIEWS EDITOR Karl Kolbeck coordinators and adjudicators for their excellent work and, [email protected] despite the current circumstances, insuring that the show must go on! The association continues its commitment to international outreach and expansion. In GRAPHIC DESIGN coordination with our continent and country chairs, we are working to be inclusive of all Karry Thomas Graphic Design clarinetists around the world and to identify and assist those in need to become members. Please [email protected] consider supporting the Adopt-A-Member program to help someone’s dream to join the ICA INDEX MANAGER worldwide community. Also, please remember to keep your association membership current, so Emily Kerski you can continue to enjoy all of the resources and benefits available exclusively to ICA members. [email protected] As I complete my term as president, I would like to recognize and extend my heartfelt thanks to the many people who have worked with me during the past two years to continue THE CLARINET ONLINE the association’s path forward. Thank you to my dear friends and colleagues on the Board of Jessica Harrie [email protected] Directors – Caroline Hartig, Denise Gainey, Chris Nichols and Tod Kerstetter – for your wisdom, support, and collaboration. A very special thank you to Past President Hartig for her many years ABOUT THE COVER: of distinguished service to the ICA as she completes her term on the Board. Thank you to the distinguished ICA Advisory Board – Julie DeRoche, Stéphane Gentil, , Alan Stanek, Vol. 47 • No. 4 and Steven Williamson – for serving in this important capacity. Thank you to ICA Chair of September 2020 International Relations Luca Saracca for expertly organizing our Continent and Country Chairs and expanding our international outreach. Thank you to the extraordinary Executive Director of Operations Jessica Harrie who has tirelessly worked with me on every initiative and aspect of association business. Thank you to the Editor of The ClarinetRachel Yoder for her scholarly work and high standard of excellence for our journal. Thank you to ICA Social Media Coordinator ALSO IN THIS ISSUE Research Competition Winner: Humming and Singing While Playing Interview with Derek Bermel Jenny Maclay for her creativity and significant expansion of all of our online platforms. Thank Nicolas Bacri’s Ophelia’s Tears The Quarter-Tone MARIAM ADAM Extended Clarinet you to U.S. State Chair Coordinator Julia Heinen and all of the State Chairs for your many & BERGINALD RASH contributions. Thank you to all of the sponsors, advertisers and exhibitors for continuing to THE CLARINETISTS OF CHINEKE! support the ICA. And last, but certainly not least, thank you to the membership for giving me the Mariam Adam and Berginald Rash; privilege to serve as your president these past two years. I could have never imagined some of the photo by Matthew Higham unique challenges we would face during this time, but the ICA Plays On! We are stable, fiscally The Clarinet (ISSN 0361-5553) is published 4 times sound, and optimistic about the future. Music unites and inspires, and our love and passion for a year by the International Clarinet Association the clarinet will carry our great organization into the future for decades to come. st International Clarinet Association I welcome Denise Gainey as the 21 ICA President and look forward to serving the 829 Bethel Road, #216, Columbus, OH 43214 association in my new role as Past President. [email protected] Long live the ICA! +1 888-983-5441

Musically yours, www.clarinet.org

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© Copyright 2020, International Clarinet Association. Views expressed by writers, reviewers and advertisers in Mitchell Estrin 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 SEPTEMBER 2020 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: Kevin and Sonya Morgan – www.morgansites.com

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

SEPTEMBER 2020 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 Benny Goodman (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) Charles Neidich, 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, , Serbia • support the Loren Kitt Memorial Award, which supports , Boston, Massachusetts chamber music 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, , 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 SEPTEMBER 2020 Stephen R. Williamson

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AN OUTSTANDING HARD SUPERB RESPONSE RUBBER MOUTHPIECE AND ACCURATE AFFORDABLE TO ALL! INTONATION! OUR HAND FINISHED SONATA FILLS THE CONCERT HALL FOR PROFESSIONAL LEVEL CLARINETISTS AND ENCOURAGES EXCELLENT CONTACT DEVELOPMENT IN YOUNG PLAYERS. THE MEDIUM FACING IS INFORMATION: WELL PROVEN BY TOP 800-JPYNE-440 PERFORMERS AND EDUCATORS. www.pyne-clarion.com $139.00 [email protected] Features Advertiser Index AMB Clarinet ...... 9 38 Nicolas Bacri’s Ophelia’s Tears: Ann Arbor Clarinet Connection ...... 15 Concertante Elegy for Bass Summer Academy . . . . 13 Clarinet and Orchestra Buffet Group USA ...... IFC by Chedeville ...... 1 40 Humming and Singing Clark W Fobes ...... 49 While Playing: Analysis of Classical Collection Inc...... 64 Two Distinct Vocalization Crystal Records ...... 37 Techniques During Clarinet David McClune Mouthpieces ...... 66 Performance DePaul University ...... 31 by Jeremy Ruth 56 Freewing ...... 80 46 James Dean Mackey’s James M. Pyne – Pyne Clarion ...... 5 Clarinet Patents J.L. Smith & Co...... 13 by Will Peebles 50 The Quarter-Tone Extended Keiser Southern Music ...... 7 Clarinet Lisa’s Clarinet Shop ...... 31 by Gregory Oakes Lomax Classic ...... 49, 55 Music Matters ...... 25 Reexamining Articulation in 53 Muncy Winds ...... 19 Alban Berg’s Vier Stücke by Eric Schultz P. Mauriat Music Instruments ...... 12 Patricola Brothers ...... 12 In Discussion: The 56 Peabody Conservatory ...... 65 Clarinetists of Chineke! by Berginald Rash Precision Reed Products ...... 79 ReedGeek, Inc...... 35 Interview with Derek Bermel 60 Retro Revival Mouthpieces ...... 78 by Rachel Yoder 53 Rice Shepherd School ...... 37 66 ClarinetFest® 2021 RJ Music Group ...... 35 Rodriguez Musical Services ...... 52 Roosevelt University ...... 79 Rovner Products ...... 65 Departments Taplin-Weir ...... 41 Vandoren ...... OBC 2 The President’s Message 26 The Clarinet Enthusiast Wichita Band Instrument Co...... 35 by Mitchell Estrin by Donald B. Jenny Yamaha Corporation of America . . . . . IBC NEWS PEDAGOGY 8 Clarinotes 28 Pedagogy Corner by Paula Corley 14 Letter from the UK Announcements by Paul Harris 32 Master Class by Nicola Bulfone ICA Capital Campaign ...... 4 International Spotlight 2021 Research Competition ...... 13 16 REVIEWS 2021 Composition Competition ...... 29 by Danré Strydom 68 Reviews 2021 Young Artist Competition ...... 52 21 The 77 Audio Notes 2021 High School Solo Competition . . . .55 by Margaret Thornhill by Kip Franklin Call for Honorary Membership Nominations ...... 67 24 Historically Speaking 80 Clarinet Chronicles Call for Proposals – ClarinetFest® 2021 . . .67 by Deborah Check Reeves by Jenny Maclay 2021 Orchestral Audition Competition . . .78

6 | THE CLARINET SEPTEMBER 2020 Keiser Southern Music R MUSIC Clarinet Publications KEISERSOUTHERNMUSIC.COM Charles Neidich BRAHMS - TWO SONATAS, Op. 120 21st Century Series NEW URTEXT EDITION - THE FIRST BASED ON BRAHMS’ MANUSCRIPTS This edition of the Sonatas Op. 120 for Clarinet and Piano is unique in that it is the first and only one based on a thorough study of Brahms’ working manuscripts, which the composer generally destroyed. These, however, he gave to his great friend, the clarinetist Richard Mühlfeldt. They include both the piano scores plus the clarinet parts written for Mühlfeldt. They not only clear up problems of where Brahms placed dynamics and expression marks, they resolve questions of misprints which have remained to this day in every edition since Simrock first published them in 1895. HL00298301 ALSO AVAILABLE CAVALLINI 30 Caprices for Clarinet “the only edition with audio”*...... 42367 GERSHWIN Three Preludes for Clarinet and Piano ...... 144422 JEANJEAN 18 Etudes for Clarinet*...... 42385 MOZART Concerto in A Major KV. 622...... 172779 ROSSINI Introduction, Theme and Variations...... 111949 WEBER Concertino for Clarinet and Piano ...... 111948 *includes audio

Paula Corley SOUTHERN MUSIC INTRODUCES TWO OUTSTANDING NEW EDUCATIONAL PUBLICATIONS ICA Pedagogy Chair SO YOU WANT TO PLAY THE CLARINET So You Want to Play the Clarinet is a carefully sequenced book for beginner clarinetists that emphasizes good tone quality and phrasing. The range is moderate, from the lowest E to third line B-flat. Rhythms and basic techniques needed for first semester performance are included. For the best result, follow the lessons in order. With regular practice, you can teach yourself to play. Visit clarinetcity.com to find articles, videos, and helpful information that is free to download. HL00298849 THE BREAK Crossing the ‘break’ can be a source of frustration for developing clarinetists. The Break is a logical guide for mastering this important step in clarinet performance. Part 1 of the method covers the clarinet overtone series and how new note names attach to previously learned fingerings, the ‘right hand down’ technique, first scales across the break and melodies in the clarion register. Part 2 contains Rhythmical Articulation Studies by Pasquale Bona, selected and edited for clarinet. These combined studies and exercises provide the ideal means to develop smooth connections between the lower and middle registers of the clarinet. HL00298118

Richard Stoltzman BACH SONATA No. 2 in D MAJOR 21st Century Series for Viola da gamba and keyboard NEW FIRST-EVER PUBLICATION FOR CLARINET OF THIS MASTERPIECE Bach’s Sonata for Viola da gamba and Harpsichord, BWV 1028, would later be incorporated into one of the composer’s greatest masterpieces, the St. Matthew’s Passion. This new transcription by Richard Stoltzman, edited for Clarinet in A, was inspired by collaborations with two legendary pianists - Keith Jarrett and Yehudi Wyner. This publication’s clarinet part contains Stoltzman’s performance suggestions and interpretive markings, set off in a light grey as to not alter the original. HL000262903

ALSO AVAILABLE BACH Chromatic Fantasia and Fugue for Clarinet and Bass Clarinet Duo* ...... 42681 BRAHMS Intermezzo, Op. 118 No. 2 for Clarinet and Piano*...... 42682 FOSS Elegy for Clarinet and Piano...... 144421 HARTKE Concerto for Clarinet: Landscape with Blues (solo/piano reduction) ...... 127805 SCHUBERT Sonatines 1 & 2, Op. 137 for Clarinet and Piano...... 42593 *includes audio

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CENTENARY OF ANTON EBERST, CLARINETIST AND AUTHOR by Andrija Blagojević A do Z. The book is listed in university Sad Chamber Orchestra, Radio Novi Sad curriculums and bibliographies of various Orchestra and Novi Sad Philharmonic In 2020, Serbia celebrated the centenary books and doctoral dissertations in the Orchestra. Eberst served as secretary and, of the birth of Anton Eberst (Vršac, former , Russia, Poland, the eventually, president of the Novi Sad 1920 – Novi Sad, 2005), author of the U.K. and the . Philharmonic Orchestra. On the record 1963 book Klarinet i klarinetisti (Clarinet Eberst also wrote the first Serbian scale of the Novi Sad Philharmonic Orchestra and Clarinetists). It was the first book on books for the clarinet (Škola za klarinet – (RTB Stereo 22-2555), Eberst appears the clarinet published in Serbia and the lestvica i akord, 2 vols., 1954–1957, as soloist in Mozart’s , former Yugoslavia and was based primarily featuring the dedication: “To my esteemed conducted by Predrag Milošević. The on German sources, as well as Italian, Professor ”), for wind recording was taken at a public concert on British and American sources, and on the instruments and percussions (Priručnik za January 10, 1956. Eberst also performed author’s correspondence with significant duvačke instrumente: flauta, oboa, klarinet, Mozart’s Concerto with the City of clarinetists of his time. The book can be fagot, rog, truba, pozauna – lestvica i akord, Sombor Symphony Orchestra. Eberst was found in public and university libraries 1958; Škola za duvačke instrumente: flauta, the clarinet teacher, founder (1946) and worldwide, including the Library of klarinet, B-truba, tenor, bariton, ES-truba, head of the wind department at the Isidor Congress in Washington, D.C. In 1971, rog, F-bas, B-bas, udarački instrumenti i Bajić School of Music in Novi Sad. it was published in Poland as Klarnet od teorisko uputstvo, 1960), first orchestral Since 2008, an international studies for the clarinet (Orkestarski album competition for clarinet and named za klarinet, 2 vols., 1954–1956), first after Eberst has been held in Novi Sad books on teaching wind instruments (www.antoneberst-cfc.rs). The jury (Nastava duvačkih instumenata, 1964, members for the competition include Metodika nastave duvačkih instrumenata, artistic director Nikola Srdić, clarinet 1979), the second oldest clarinet method professor at the University of Novi Sad, (Osnovna škola za klarinet, 1967), Đuro Pete, current clarinet teacher at the collection of solos (Koncertni album Isidor Bajić School of Music (where the competition is held) and other important za klarinet i klavir, 1975), book about clarinetists including the ICA national wind instruments (Šta treba da se zna chairpersons for Italy, Slovenia, Croatia o duvačkim instrumentima, 1958, with and Hungary. co-author Milan Čuljak), and numerous music history books. Some of his books were subsequently published in Germany. Anton Eberst studied clarinet and cello at a military music school in Don’t miss an issue Vršac (1938) and clarinet at a music of The Clarinet! academy in Belgrade (1953). His clarinet appointments include those in the Renew your Royal Guard in Belgrade and in several membership online at orchestras in Novi Sad: Opera Orchestra www.clarinet.org Anton Eberst (1920-2005) of the Serbian National Theater, Novi

8 | THE CLARINET SEPTEMBER 2020 NEWS Photo by Ben Zubrycki

Franklin Cohen (center) with Catherine Wood (second from right) and the Brandon University Clarinet Studio

2020 BRANDON UNIVERSITY CLARINET FESTIVAL by Mackenzie Dunseath and Hwan Gyu Cho entrepreneurship. That evening, everyone artists and BU faculty. They performed was treated to the concert of a lifetime by a variety of music from folk to classical On February 29 and March 1, 2020, Cohen, his daughter Diana and son-in-law by Azmeh, Hope, Horowitz, Poulenc, Brandon University celebrated the 10th Roman Rabinovich. Kovacs, Tiricanti and Tomasi. The festival anniversary of its clarinet festival. This The second day started with a session finale was the clarinet ensemble concert annual event was founded by BU professor on body alignment and breathing by which featured the BU Clarinet Choir, Catherine Wood and was hosted by the voice professor Sarah Hall. BU’s dean the Regina and the mass BU clarinet studio. and saxophonist Greg Gatien gave a festival choir. Festival participants ranged The festival began with a master class workshop on improvisation. Participants from those just beginning their clarinet by world-renowned clarinetist Franklin received free gifts and prizes from Buffet journey to those who have been playing Cohen and featured students from Crampon, Vandoren and St. John’s Music. for many years. The BU Clarinet Festival across the prairies. It was an incredible A highlight of the day was a concert that was a huge success thanks to our guests, opportunity to hear stories and learn from showcased the incredible talent of the guest sponsors and participants. his expertise. Participants had the chance to get to know Buffet Crampon artist André Moisan in a Q&A session and were treated to an impromptu performance that showed his phenomenal versatility. The charismatic Moisan also gave a workshop on peak performance strategies. Throughout the festival there was a strong focus on entrepreneurship: Vandoren artist and popular blogger Jenny Maclay presented on social media and digital marketing, and award-winning business owner and entrepreneur Lisa Canning gave a compelling lecture on creative

SEPTEMBER 2020 THE CLARINET | 9 NEWS

REMEMBERING FRANK SIDORFSKY (1930-2020) by Jerry Rife, Professor Emeritus, composer and presented solo recitals and high A became a sort of A-flat. Monteux Rider University ensemble performances at ClarinetFest® howled, “clarinet, wrong note,” and I was conferences in Denver, Lubbock, Tokyo totally embarrassed. Frank immediately On March 24, 2020, esteemed clarinetist and Lincoln. In 1985 he began to loaned me his clarinet for the rest of the and beloved teacher Dr. Frank Sidorfsky specialize on the in solo and rehearsal and then we went to a dime passed away in Manhattan, Kansas, at ensemble settings. store where he bought a packet of sewing the age of 89. He taught undergraduate Professor Sidorfsky was profoundly needles. He selected one that fit his and graduate applied lessons (clarinet, dedicated to each of his students. In my specifications and installed that needle flute and ), woodwind classes, lessons he systematically and with great into the post where it worked as the right music history, music appreciation and care covered all the basics, and he made hand spring for a month until I returned counterpoint at Kansas State University sure I understood his comments by asking to Lansing and Robert Scott. It would from 1965 to 1999. Frank studied that I demonstrate and discuss each in have been a long trip from that small town primarily with Leopold Liegl at Kansas detail. Often he would say, “I’m serious to find a place to get the spring fixed had State Teachers College in Emporia, about this! Let’s go over it again.” He drew it not been for Frank’s resourcefulness. He Kansas, and received his master’s and upon his deep wisdom of all aspects of was a wonderful person on so many levels, doctoral degrees from Eastman where he playing. Additionally, he taught us about and we enjoyed many good times together, was a student of Stanley Hasty. He also clarinet history, legendary players, repair, but I’ll never forget how he saved the day studied with Robert Marcellus, Anthony reed making, acoustics, and mouthpiece for me. Gigliotti, Sigurd Rascher (saxophone) refacing. Perhaps the most valuable benefit and Joseph Mariano (flute). His extensive – Elsa Ludewig-Verdehr, from the Sidorfsky studio was his teaching performance career includes four years in Distinguished Professor of Clarinet, the elusive art of playing the phrase and Navy bands, recitals in 13 states, several Michigan State University making music from the notes. Frank orchestral positions and solo work with Sidorfsky greatly enriched and shaped my I had the pleasure of working with bands and orchestras. He performed the education as a conductor and performer, Frank as a member of the Manhattan Copland Concerto under the baton of the and through emulation, he made me Basset Horn Trio. He was an extremely a more effective teacher as I pass his knowledgeable musician, with a beautiful knowledge on to my students. He is with feel for music. More importantly, he was me whispering in my ear every time I pick a kind human being who was willing to up the clarinet. I think all of us would help me through a rough time, even before agree with a fellow Sidorfsky student, Susan we got to know each other. I learned Cranston, who said, “He changed my life.” about both music and life from him, and What follows are additional tributes from for that, I am grateful. those who knew Frank and worked with – Chris Hill, Principal Clarinet, him. South Dakota Symphony As the saying goes, Frank Sidorfsky and I go back a long way. We studied at Dr. Frank Sidorfsky shared so much Eastman School of music at the same with so many. He did so often, unselfishly, time, and he often visited Robert Scott, and in so many different ways. As an the famed repairman and woodwind undergraduate student in his studio, craftsman in Lansing. My favorite memory he started with the basics, taking me of Frank dates back to the years when where I was and moving me with steady, Pierre Monteux was still alive and had a continuous improvement through summer “camp” in a tiny town in Maine graduate school. After graduation, I was for a month or so. There, a number of fortunate to have been able to perform young conductors would lead a “pick-up” with him for many years in bands and orchestra in a standard repertoire piece other joint performances. Along with and he would critique their efforts. We many others, I count myself lucky to have were playing Weber’s Der Freischutz been profoundly influenced by his proven Overture, and I had just launched into musicianship and his dedication to the the big solo starting on above-the-staff highest levels of performance. A when suddenly the spring on the right – Dean Armstead, Former Student, Frank Sidorfsky hand rings snapped and my rather fulsome Kansas State University

10 | THE CLARINET SEPTEMBER 2020 NEWS

TRIBUTE TO PAUL SHELDEN (1941-2020) and radio programs. In popular music, he His son, Seth Shelden, is a musician worked with luminaries such as Bob Hope, and performer in his own right – among Rosemary Clooney and Tony Bennett, and his credits is years of playing Harpo Marx played with groups ranging from Blood, (and Harpo’s instruments) in the first-ever Sweat & Tears to the famous Lombardo revival of the Marx Brothers’ first-ever orchestra, ushering in the televised New Broadway show. He is also a law professor Year’s Eve festivities for years. In classical at CUNY Law, and part of the team that music, Shelden performed under the was awarded the 2017 Nobel Peace Prize. batons of conductors such as James Levine, Paul Shelden’s wife of 51 years, Dr. Robert Shaw and Leonard Bernstein, Pamela Shelden, a lifelong educator who and premiered works written specifically spent much of her career teaching at for him, including at Carnegie Hall. As Stuyvesant High School, was also sick an academic, with a doctorate from the with COVID-19 but has since recovered. University of Maryland, he published Their daughter, Dr. Loren Napoli, is widely about pedagogy and performance a school psychologist living in White and adjudicated numerous competitions Plains with her husband, Rocco, and two and programs. children. Dr. Shelden is survived also by In his later years, he founded his own his identical twin brother, Aaron Shelden, musical instrument company, Diplomatte 79, who after a career in television works Musical Instruments, where he oversaw in financial services. the design and manufacture of woodwind What follows are additional tributes by Seth Shelden instruments made in China. He battled from those who knew Paul Shelden and Parkinson’s disease, even in a somewhat worked with him. Dr. Paul Shelden, professor emeritus literal sense, as he became a devoted of music at Brooklyn College and an Really the most modest of men, Paul influential woodwind performer and participant in the Rock Steady Boxing program (a noted Parkinsonian therapy) at never understood just how extraordinary educator, died April 17, 2020, at his he was – as a human being or as a Hewlett, Long Island home, at age 79, due the New York Institute of Technology – carrying on the legacy of his father, musician. All who knew him admired his to complications from COVID-19. warmth, charm, sweetness, and sensitivity, As assistant director at the himself a boxer in his youth. But Shelden continued to perform, even into his final wonderful characteristics that clearly Conservatory of Music at Brooklyn enhanced his talent as a clarinetist. College, and inspired by his time playing months, including with Long Island’s under Leonard Bernstein, he spent decades Northwinds Symphonic Band. – Dr. Pamela Shelden producing and conducting concerts for young people, bringing to hundreds of thousands of Brooklyn public school students. KEY CHANGES AND CLOSING CHORDS A native of Brooklyn, New York, Shelden was a musician from the start – Compiled by Jessica Harrie as a child he performed on Ted Mack’s Original Amateur Hour alongside his KEY CHANGES identical twin brother, before later Corey Mackey has accepted an appointment as assistant professor of becoming the youngest band director in clarinet at Texas Christian University in Fort Worth, Texas. the Catskill Mountain resorts. It was there Evelyn Moria Tunison has accepted an appointment as adjunct instructor that he met his wife Pamela, after she at Illinois Wesleyan University. sang with his band. He would go on to receive multiple degrees from Juilliard, to CLOSING CHORDS perform and conduct in a wide range of Frank Sidorfsky (1930-2020) passed away on March 24, 2020, at the age of genres, including classical, opera, jazz and 89. He was professor emeritus at Kansas State University, where he taught for klezmer, in numerous venues including 34 years. A tribute can be found in this issue. Carnegie Hall, Radio City Music Hall, the Information in this column is gathered from the Clarinet Jobs Kennedy Center and the White House, Facebook Group and submissions to [email protected]. but also Broadway pits, recording studios,

SEPTEMBER 2020 THE CLARINET | 11 NEWS

I doubt that anyone will ever love me of music, a terrific Catskills band leader, the way he did, inspire me or admire me and so much more. Paul was always the way he did, or do anything in their someone we could rely on, answer our “Artista” lives as well as he played the clarinet. His questions or offer advice. I remember accomplishments were extraordinary, Paul’s laugh and his joy in making people Art of sound and he could have given us still more. happy… He was a real mensch! Everyone was so drawn to him as someone – John Moses, Grammy-award Eb full of goodness – he never boasted about winning clarinetist his accomplishments – but had you heard Bb him perform, you would have realized his Paul had a deceptively simple, positive A unique greatness also. and wonderfully constructive nature. His level of musical understanding and artistry – Seth Shelden C was profound and an inspiration. He is “…. [W]e were very close throughout one of the colleagues who always made our years at Juilliard, the Catskills, me proud to be in the music business and Brooklyn College, and many freelance always made me feel good being in the jobs. Paul was multitalented. A terrific same room with him. woodwind doubler, a wonderful professor – Bert Lucarelli, oboist

You can read more tributes to Paul Shelden at The Clarinet Online: www.patricola.com www.clarinet.org/TCO.

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12 | THE CLARINET SEPTEMBER 2020 ICA ANNOUNCEMENT 2021 Research Competition CALL FOR PAPERS AND PRESENTATIONS ClarinetFest® 2021 Fort Worth, Texas, USA Coordinator: Jane Ellsworth ([email protected]) Deadline: January 15, 2021 The ICA solicits proposals for research presentations (such as papers or lecture-recitals) on any topic related to the clarinet. Prizes: First place – $1000 USD and publication in The Clarinet journal Second place – $500 USD Visit www.clarinet.org for full competition rules and application details.

SEPTEMBER 2020 THE CLARINET | 13 NEWS

by Paul Harris Letterfrom the

A CHAT WITH THE DISTINGUISHED ndrew Marriner has recently Previn, Schiff and Tavener are to name but a lot. “They taught you to feel and behave moved on from his amazing a very few. like a professional from the age of seven,” 36-year relationship with the But it all began in Cambridge. Andrew reflects. He went on to King’s London Symphony Orchestra. Andrew’s father, the celebrated conductor School, Canterbury where he decided to HisA life in music has been deeply rich , sent the young lad off to take up the clarinet. Thanks to Sir Neville, in so many respects: in the characters he be a chorister at the famous King’s College he had some lessons with two of the has known and with whom he has shared School, which provides much of the music greatest British players of the time, Jack performances, in the repertoire he has for one of the world’s greatest icons of Brymer and . Andrew played, and in innumerable fascinating religious music, King’s Chapel. In fact, met up with Gervase at Dartington and experiences that make a such a life in chorister Andrew’s first recording at age had been given a £5 note (to pay for the music so very special. 8, still available and lauded, was singing lesson) and the equivalent of about 12 The list of Andrew’s musical colleagues treble in Allegri’s Miserere with Roy pence pocket-money. De Peyer was about reads like a veritable “Who’s really Who” Goodman & The Choir of King’s College, to embark on a doubles tennis match but among 20th-century giants: Abbado, conducted by Sir David Willcocks. happily agreed to delay the match and give Bernstein, Brendel, Brymer, Celibidache, During his years at King’s, Andrew learned Andrew a short lesson. The young player presented two performances, back to back, of the slow movement of the Mozart Concerto. De Peyer, delighted with the performances, thanked and congratulated Andrew Marriner young Andrew. The playing over, Andrew thought it time to discuss financial matters, “My dad says how much do I owe you for the lesson?” “Oh… just give me what you thought it was worth,” came the reply. “So I gave him the twelve pence,” Andrew recalls with a mischievous grin. De Peyer seemed not to mind. When they met again on a National Youth Orchestra course, Gervase gave Andrew a lot of help including lending him his precious 1010. Andrew held the position of principal in the National Youth Orchestra for a number of years and a particular highlight was a performance of the Rite of Spring under Boulez in 1968. “Another highlight was playing it again with Boulez, forty-five years later!” He also learned a lot playing in the NYO.

14 | THE CLARINET SEPTEMBER 2020 NEWS

After a single year at Oxford University strike.” Andrew was mystified, and the I asked Andrew what were the reading academic music, Andrew decided result was no Daphnis and Chloe. Instead, highlights. It was too difficult a question that he’d rather play the clarinet for a back in London, Andrew gained a lot to answer – there were too many. But living. He went to tell his father about of experience over the next few months working with Colin Davis, especially his somewhat dramatic change of plan. from a host of jobs: in the pit for Evita; The Trojans, was among them. So, too, Sir Neville was in fact in the middle of a with Opera 80 and the Wren Orchestra; Mahler’s Ninth Symphony with Abbado session recording horn concertos with Barry and then in the Albion Ensemble, a wind and Russian music with Valery Gergiev. Tuckwell at Abbey Road, but was not at all quintet of which he was a regular member. In this next phase of his life, post- fazed by young Andrew’s decision and set Eventually there was some work with the LSO, Andrew is teaching and enjoying it up for him to go and study with Hans BBC Symphony Orchestra, and finally the sitting on adjudicating panels. And Deinzer at the Hochschule in . London Symphony Orchestra. among all this he is passing on his great “It was tough going,” Andrew recalls, “I The celebrated Romanian conductor experience playing the repertoire: chamber was in a class with , Reiner Celibidache was invited to work with the and symphony orchestra and the great Wehle, and various LSO in mid-1978. He ended up staying canon of solo clarinet music. So much of other spectacular players, but Deinzer in an apartment in London owned by this repertoire might be summed up in had figured it all out. And this was a real the Marriners and (to Andrew’s delight) character as warm, intelligent and witty. It’s beginning in really learning how to play sharing meals. Celibidache wanted a curious how those attracted to playing the the clarinet. It was all very methodical and doubled clarinet section for a performance clarinet so often have similar characters. about minute attention to detail. Germanic of Brahms’s Fourth Symphony. The section Andrew Marriner certainly has. v thoroughness! It was all about consistency didn’t. So Andrew was invited to sit in the of sound.” British players of the time would orchestra and pretend to play. An unusual often allow and indeed relish the different first invitation to “play” in the LSO but ABOUT THE WRITER characteristics of notes (often due to the not one that Andrew was going to turn Paul Harris is one wider bores of British instruments) to down. Indeed he ended up playing quite a of the U.K.’s most determine the phrase shapes and climaxes. few notes and no one seemed to mind. In influential music The German method demanded much fact, they seemed to be clearly impressed educators. He studied more tonal uniformity. “Musically, he as, five years later, he was invited back. the clarinet at the would dissect music to allow you the But this time as assistant principal. Royal Academy of Andrew sat in for Jack Brymer on a five- freedom to play as you wished.” Andrew Music, where he won decided that this was certainly the direction week world tour and impressed Abbado. the August Manns to take his playing, although at first the He was then invited to become guest Prize for outstanding German sound made getting working in principal until Brymer retired a year later. performance and the U.K. a little difficult. He became principal in 1986 and held In 1978 he finished studies with this position for 36 years. “How lucky where he now teaches. He is in great Deinzer, returned to the U.K. and had can you be?” Andrew muses on those demand as a teacher, composer and writer a number of lessons with Anthony Pay. golden years. “Playing all this wonderful (he has written over 600 music books and He also invested in an early example of repertoire and constantly on the move.” compositions), and his master classes and an answering machine, hoping to pick Alongside his LSO duties Andrew workshops continue to inspire thousands of up work while acting by day as a tour was also principal in the Academy of St. young musicians and teachers all over the guide taking foreign tourists to the Tower Martin in the Fields – one of the world’s world in both the principles and practice of of London. After many silent days, the greatest chamber orchestras. musical performance and education. machine finally took a message – it was an invitation from the City of Birmingham Symphony Orchestra inviting Andrew to play Daphnis and Chloe (second clarinet). After three weeks of practice and a cheerful train ride to Birmingham, Andrew arrived full of expectation and anticipation. But his greeting was far from cheerful. “Are you Andrew Marriner? You’re in dispute with the management!” “Well, I don’t think so,” replied Andrew, somewhat bemused and very surprised. “You’re in dispute over meal allowances paid to our freelance players. They’re not going to pay you for lunch so you’re on

SEPTEMBER 2020 THE CLARINET | 15 “International Spotlight” showcases perspectives from the global clarinet community. International

by Danré Strydom, ICA Continent Chair for Africa and Country Chair for South Africa THE CLARINET IN AFRICA AND THE INTERNATIONAL CLARINET EXTRAVAGANZA recently interviewed a few country. According to her, classical music I would say about 20% of my established clarinetists in Africa is rather active and they are quite busy students have their own instruments. to help give a basic outline of the with teaching the youth: We do not have any music shops current situation regarding clarinet We have a fairly large music here in Zimbabwe. All of the reeds playing opportunities and education in I department… it is probably and mouthpieces/cleaners have to be the selected countries. the largest music department in brought in from other countries. EGYPT the country. There are very few SOUTH AFRICA clarinet teachers here in Harare. Amr Imam, professor of clarinet and South Africa has various music schools I am the only qualified clarinet saxophone at the American University and institutions where young learners have teacher based in Harare. There are in Cairo (AUC) in Egypt and principal to opportunity to take clarinet lessons. only three schools that have an clarinet of the Cairo Symphony Orchestra, There are also several universities where orchestra and wind band. I always writes that there are two professional students can study clarinet, including the enter my private students into orchestras in Egypt: the Cairo Symphony University of Cape Town, University of the Eisteddfod, and then we do Orchestra and the Cairo Opera Orchestra. Stellenbsoch, University of Pretoria and the ABRSM-based exams normally in There are several ad hoc orchestra events as University of the Free State. The University the second term. Unfortunately, the well as a student orchestra and big band at of Cape Town and the University of the ABRSM examiners will not come the Cairo Conservatory for students and Free State have full-time employed clarinet to Zimbabwe anymore because of high school learners. Advanced clarinet lecturers. One of the most prestigious the political situation. For the more players can study clarinet at the faculty institutions for school-going learners is advanced ones – they will do the of music at the Helwan University. Imam the Hugo Lambrechts Centre in Cape examinations out of the country, states that classical music is not as popular Town. Established and sought-after clarinet normally in South Africa although as traditional Arab music and that playing lecturers Liam Burden and Charlene sometimes we have gone to Zambia the clarinet is not a popular choice among Saayman briefly elaborate on the institution for those exams. young children, but that the instrument and the opportunities they create for young The National Musicamp is well-known and that those who do clarinet players. opt to learn to play the clarinet “like to Association of Zimbabwe is a camp play it.” There is some support from the that has been running for about 56 Based in the Western Cape of government for classical music, but as years and is held in the April school South Africa, the Hugo Lambrechts with many other African countries, this is holidays. It is a weeklong camp Music Centre is one of three Western not enough to solve many of the financial that caters to instrumentalists and Cape Education Department Music problems that the institutions have. choristers of Grade 4 level and above. Centres. Founded in 1986 with the There are universities here, but none late Leon Hartshorne, a clarinetist ZIMBABWE that specialize in music. They may and respected pedagogue as principal, Angela Wilde, clarinet teacher based at a have programs, the Hugo Lambrechts Music Centre private school called Hellenic Academy in but nothing that focuses on Western has over the years produced many Harare, Zimbabwe, provided quite a bit classical music. All music studies excellent young clarinetists who have of information on clarinet activities in her need to take place out of the country. gone on to careers both locally and

16 | THE CLARINET SEPTEMBER 2020 internationally. Learners have the opportunity to perform as members of three level-appropriate wind bands as well as the Hugo Lambrechts Symphony Orchestra for the most advanced learners. Competitions and Eisteddfodau provide performance opportunities for learners across the Western Cape. Concerto Festivals hosted by ArtsCape and the Hugo Lambrechts Music Centre give aspiring young musicians the opportunity to perform as soloists with symphony orchestra. The Hugo Lambrechts Music Centre currently has three clarinet teachers, namely Dr Arisa Voges (principal), Liam Burden (departmental head of the woodwind department) and Charlene Saayman. The Western Cape is lucky to have many schools with exceptional wind band programs that produce many young musicians and clarinetists, all contributing to a vibrant musical life. (Left to right) Eddy Vanoosthuyse, Lesley-Ann Botha, Severine Sierens, Jana Matthee, Danré Strydom, Cezarre Strydom, Bence Szepesi THE ZA INTERNATIONAL CLARINET EXTRAVAGANZA The first International Clarinet Extravaganza hosted in 2016 was a and all players had several individual This gave young as well as advanced tremendous success, and it has grown master classes. The age of the participants players the opportunity to perform their into a major South African classical ranged from 6 to 76 years old. Each day repertoire with an accompanist, which music event. The extravaganza took place there were four master classes happening was a first for many players. Learners of this year from January 28 to February simultaneously in the various Odeion all levels and experience received master 1, 2020, and was hosted by the Odeion School of Music venues. There were classes and smaller ensembles were School of Music, University of the Free three of these sessions per day, with a arranged for the less advanced learners State in Bloemfontein. The objective of professional accompanist at each venue. to play in quartets to work on ensemble the festival is to expose South African clarinetists of all ages and levels as well as educators to current international clarinet trends, excellent artistry and the opportunity to receive master classes from top clarinet pedagogues. The 2020 extravaganza included eight concerts, workshops, individual masterclasses, various competitions and a festival clarinet choir. The 2020 guest artists were Eddy Vanoosthuyse (Buffet Crampon Artist), Severine Sierens (Buffet Crampon Artist), Bence Szepesi (RZ Instrument Artist) and Danielle Rossouw. Danré Strydom (Buffet Crampon Artist) was curator of the extravaganza and also taught various master classes and performed at the gala evening concert. Participants from seven different provinces attended the weeklong event Master class participants at the International Clarinet Extravaganza

SEPTEMBER 2020 THE CLARINET | 17 The clarinet choir with more than 50 the “greatness” of the instrument, a giant players and a symphony orchestra was clarinet of 6 meters was constructed a unique experience not only for the from recycled material. This was displayed audience, but also for the participants in the foyer of the Odeion School of and professional orchestra members. At Music and was a welcoming gesture to this same gala event, all the international all the participants. guests performed a solo work or concerto The official partners for the event with the orchestra. The audience feedback were the Odeion School of Music, Free was extremely positive and the newspaper State Symphony Orchestra, Odeion review concluded it was a “gala concert String Quartet, OSM Camerata, Buffet that blew the audience away.” The Crampon, RZ instruments, Free State concert was live-streamed with listeners Arts Trust, Rupert Foundation and the from all over the globe. Other concerts International Clarinet Association. There included a concert with the professional were also several local sponsors that were Odeion String Quartet. This concert crucial in the success of the extravaganza. was held at a beautiful venue outside of A composition competition was Bloemfontein, Warmkaroo, where guests introduced this year as part of the clarinet extravaganza and organizers were amazed received five-star canapés and drinks at the amount and quality of applications. after the quintet concert. Another well- Giant clarinet made of recycled materials at There were three categories: clarinet and attended and extremely successful concert International Clarinet Extravaganza piano, clarinet and string quartet, and was the concert where the international clarinet and chamber orchestra. Interested guests performed with top South African players and teachers are welcome to collaborative pianists Cezarre Strydom, contact the winners for a copy of the new playing, sight reading and intonation. Anneke Lamont, Lesley-Ann Botha compositions. The three winners were: Each afternoon there was a clarinet and Jana Matthee. These four pianists choir rehearsal. This was also a first for performed the wonderful concerto by • Clarinet and Chamber Orchestra the majority of the participants. As it Bach, BWV 1065, for four pianos and Chesney Palmer (Johannesburg) is a Beethoven year, the choir opted orchestra, with the Free State Symphony [email protected] to play an arrangement of the first Orchestra as part of the gala evening. Sketches of Memory is based on a movement of the Fifth Symphony with As part of the aim to create a feel of poem that deals with violence towards the Free State Symphony Orchestra. unity among the players and to emphasize women … The piece has tender

Sketches of Memory by Chesney Palmer

18 | THE CLARINET SEPTEMBER 2020 Oscillation by Jeremy Hart

melodic moments and subtle shades the playful abstract artworks of of color and mood changes that a friend. A “Hooha” is a fuss, capture serendipitous moments of commotion or uproar (which soon innocence, somber chorale themes dissipates). The germinal musical that speak of purity and exciting idea uses a play on major/minor moments of redemption. third intervals and extended figures, in various mutations, with quirkily • Clarinet and String Quartet conversational accompaniments Jeremy Hart (Cape Town) favoring minimal resources. [email protected] Another competition that formed part Oscillation is a piece which seeks to of the extravaganza was an art competition take two juxtaposed elements – that where young artists were invited to of the melody and harmony which creatively portray a clarinet. are both organized by structures At the gala event, the award for the independent of each other – and unify most promising festival participant was them via a single point of common given to Naledi Dweba, a final year ground: the shared pitch which they student at the Odeion School of Music. both oscillate around. The award includes a scholarship to attend • Clarinet and Piano the prestigious international clarinet Rexleigh Gay Bunyard (Johannesburg) festival in Belgium, Clarinets on Stage [email protected] (www.clarinetsonstage.be). Dweba stated, HOOHA is a set of tiny fun pieces The biannual International with tongue-in-cheek titles inspired by Extravaganza was an unforgettable

HOOHA by Rexleigh Gay Bunyard

SEPTEMBER 2020 THE CLARINET | 19 Student artwork from the International Clarinet Extravaganza art competition

week consisting of a daily warm-up ZA-International-Clarinet-Extravaganza. After attending the Interlochen Arts Camp class, lessons for all each day, Interested guest performers, teachers and (USA), she began her formal studies with ensemble rehearsals, classes on participants can also send an email to Heinrich Armer at the University of the Free reeds and auditions, ample daily [email protected] for further State. She furthered her studies at Indiana performance opportunities by information on the 2022 extravaganza. University’s Jacobs School of Music. She holds participants and clarinet choir separate master’s degrees in clarinet, early rehearsals. It was moving to see ABOUT THE WRITER clarinet and bass clarinet performance from so many young South African Danrè Strydom has the Royal Conservatory at Ghent University clarinetists at the extravaganza and to established herself as and completed her Ph.D. at the University see that the clarinet culture in South one of South Africa’s of the Free State. After playing clarinet in Africa is being developed through premier solo, chamber the award-winning Brussels Philharmonic mediums of teaching the youth. v and orchestral from 2009 to 2013, she accepted a position musicians through as woodwind lecturer at the University of the * * * * * her global concert Free State’s Odeion School of Music. She is Detailed information about the experience. Born in currently principal clarinetist of the Free State complete extravaganza program and all the South Africa, she Symphony Orchestra, an International Buffet international artists and mentors can be began her musical Crampon artist and Africa continent chair for acquired from the official Facebook Page training in neighboring country Namibia. the International Clarinet Association.

20 | THE CLARINET SEPTEMBER 2020 ClarinetThe by Margaret Thornhill

PEDRO RUBIO AND THE MADRID SUPERIOR CONSERVATORY CLARINET ENSEMBLE: THE IMPORTANCE OF ENSEMBLES

t is always gratifying to discover design its main objectives and a way to is significant and good transcriptions a dedicated teacher who believes evaluate the process. I decided that the from music of any period or style are strongly in the importance of students had to meet at least these three numerous. Consequently, this versatility clarinet ensembles to advanced requirements to obtain a positive rating: and flexibility of a group formed Istudy. In August of 2019, I had an online A) Attendance. exclusively by members of the clarinet conversation with Pedro Rubio – the B) Playing the different clarinet parts family will help them to develop their distinguished soloist, author and professor (1st, 2nd, 3rd or 4th clarinet), musical skills and to be better prepared at the Real Conservatorio Superior de whenever possible, and for their future musical life. Not less Música de Madrid – about the Madrid understanding their distinctiveness. important, all the clarinet students form Superior Conservatory Clarinet Ensemble C) Playing, whenever possible, part of the ensemble playing together. and his view of the role of the clarinet the E-flat clarinet, basset horn, This helps create a favorable atmosphere choir in conservatory education. bass clarinet and contrabass that enhances a spirit of comradeship. In my opinion this is especially important MARGARET THORNHILL: I was clarinet parts, understanding their distinctiveness. Alongside, in a highly competitive field like the interested to hear that the clarinet musical world. ensemble is a mandatory subject at your I always encourage the students to perform clarinet concertante conservatory. That is unusual. MT: How young are the students when pieces, accompanied by the Clarinet PEDRO RUBIO: In 2011, the syllabus they start at your conservatory, and Ensemble, with an emphasis on the of the Madrid Superior Conservatory do they come from the area around Spanish repertoire. was slightly changed. Following the Madrid or from different parts of Spain example of the string ensembles, the MT: Do all clarinet students participate or other countries? wind instruments were allowed to set every year? Who conducts the ensemble? PR: In Spain, there are two types up groups formed with members of PR: Every year 5 or 6 members go in or of conservatories: Professional the same instrument family, or closely out, so every four years its members are and Superior. The Professional related. In the woodwind department, renewed completely. Its total number conservatories cover the Elementary the clarinet professors decided to create of members ranges from 17 to 20. As and Medium levels and the Superior a clarinet ensemble and made it a the teacher of the subject, I’m the only the last four courses. In the Madrid mandatory subject during the second conductor. area, there are nine Professional and and third courses (years). During the only one Superior conservatory. fourth course, the students have also MT: Can you explain for our readers why The students are usually 18-19 the possibility to enroll in it one extra you believe a clarinet ensemble is so years old when they start the Superior year as an optional subject. beneficial to advanced students? conservatory. Approximately one- When the ensemble was created, I PR: A well-balanced clarinet ensemble third of the students come from the was the clarinet professor designated to could be an extremely satisfactory area around Madrid; the rest come manage it. As a new subject, I had to musical group. The original repertory from different parts of the country.

SEPTEMBER 2020 THE CLARINET | 21 Pedro Rubio and the Madrid Superior Clarinet Ensemble (2017-18)

We also have some students from perform off campus to other places in usually perform during the holidays other European countries, members the city? (Christmas, Easter and summertime.) of the European Community, thanks PR: The Ensemble performs at to the Erasmus program, an exchange minimum twice a year: once inside MT: What repertoire have they performed program for students. of the Conservatory and once in an in concerts the past two years? What are auditorium in Madrid. This last concert your favorites? MT: So your students are in a regular degree is the most remarkable moment of PR: Here is a list [see next page]. My or diploma program? the course. The venue is always an favorites are original pieces written PR: All the students are enrolled in the important auditorium of the city and a by composers that know perfectly the four-course program of the Madrid good opportunity to show to the public possibilities of the , like Superior Conservatory. They have the work done during the year. Arthur Gottschalk or József Balogh. their weekly clarinet lessons with their In 2018, the concert was in the Also, good arrangements of the great clarinet teacher. The Clarinet Ensemble Real Academia de Bellas Artes and in clarinet repertoire, like Weber or is one of the subjects they have during 2019 in the Residencia de Estudiantes. Mendelssohn, and the Spanish clarinet their music training, like chamber Both places are important cultural repertoire, of course! music, orchestra or history of music. focal points of Madrid. Prior to the When they finish the four-year coronavirus pandemic, a 2020 concert MT: I looked at your website. In the program, they get the Diploma was also scheduled in the Madrid “Bassus Ediciones” section, I see very th “Profesor Superior de Clarinete” – Central Auditorium. The Clarinet good arrangements of 19 -century solo equivalent to a university degree Ensemble has also participated in concert pieces as a concerto, with easy in music. This Diploma reflects National and International Clarinet accompaniment for the ensemble. I 14 years of music training, including Congresses. Among them, I’d name think readers will be interested in these the Elementary, Medium and the European Clarinet Congress held composers who are not generally well Superior levels. in Gent in 2013, and the National known outside Spain. (Romero y Andia, Clarinet Congress held in Madrid in Carnicer y Battle, Oudrid y Segura) and MT: How often does the Clarinet Ensemble 2017. Due to its academic nature, the two short works for ensemble, the perform each year? Do they travel or the Clarinet Ensemble does not Obertura and the Presentación. Why

22 | THE CLARINET SEPTEMBER 2020 in the syllabus of the clarinet studies, so the students can take the opportunity and play them with clarinet choir accompaniment. These pieces are always performed by the students. Romero, Carnicer, Oudrid and Perez Casas are Spanish composers who wrote important pieces for clarinet; the students must know them as part of their clarinet heritage. In the case of the Nicolau’s Obertura and Romero’s Presentación, I arranged them for the important concert that took place in May of 2015 to commemorate the bicentenary of Antonio Romero’s birth (that’s why ClarinetFest® 2015 was dedicated to him and held in Madrid that year). Romero was the most important Pedro Rubio conducting the Madrid Superior Clarinet Ensemble (2018-19) Spanish clarinetist of the 19th century and clarinet professor of the Madrid Conservatory from 1849 to 1876. Every year I usually make one arrangement or two (with or without did you choose these particular pieces its principal objectives would be the soloist), these pieces will be published to arrange? performing of the Spanish repertoire and uploaded in the free part of the PR: When the Clarinet Ensemble was of the 19th century, especially the Bassus Ediciones website. [Note: many created in 2011, I decided that one of concertante pieces. All these pieces are of Pedro Rubio’s editions are currently downloadable, gratis, at http://www. bassusediciones.com/descargas.php.]

MT: What do you enjoy most about teaching? REPERTOIRE 2017-19, MADRID SUPERIOR PR: To teach is to learn. Each pupil CONSERVATORY CLARINET ENSEMBLE is different, a challenge and an opportunity to learn: trying to solve M. Balakirev – Overture on a Spanish March Theme, Op. 6 a common problem, proposing new J. Balogh – Max and Moritz Muppet Show solutions, dealing with the topic from J. Balogh – Episodes of the Crescent Moon a new approach, a new perspective. R. Carnicer – Fantasía para clarinete obligado Teaching is also an act of knowledge F. Gómez – Lorito transfer, the opportunity to pass to the A. Gottschalk – Suite Nothings next generation what you have learned G. Mahler – Adagietto (5th Symphony) along the years. v S. Mariné – Angel F. Mendelssohn – Konzertstück No. 1, Op. 113 F. Mendelssohn – Konzertstück No. 2, Op. 114 ABOUT THE WRITER J. M. Molter – Concerto No. 1 (E-flat clarinet) Margaret Thornhill, A. Nicolau – Pequeña obertura D.M.A., is a C. de Ordóñez – Sinfonía en La performer and private C. Oudrid – El molinero de Subiza teacher in Los Angeles B. Pérez – Casas Romanza (for bass clarinet) who conducts the A. Ponchielli – Il Convegno Los Angeles Clarinet A. Román – Montenegro Airs Choir and is adjunct A. Romero – Fantasía para clarinete professor of clarinet at J. Van der Roost – Rikudim Concordia University, C.M. von Weber – Concerto No. 1 Irvine. Send her clarinet choir news or comments at www.margaretthornhill.com.

SEPTEMBER 2020 THE CLARINET | 23 Historically

by Deborah Check Reeves

“Historically Speaking” is a feature of The Clarinet offered in response to numerous inquiries received by the editorial staff about clarinets. Most of the information is based on sources available at the National Music Museum, located on the University of South Dakota campus in Vermillion (orgs.usd.edu/nmm). Please send your email inquiries to Deborah Check Reeves at [email protected]. THE PAN-AMERICAN VIOLIN-FINISH CLARINET hey were striking clarinets with two of these clarinets. Ltd. claimed use of both trademarks as a beautiful reddish-yellowish- NMM 2508 exemplifies early as January 1, 1917; however, the brownish color and prominent, the color and grain that Pan-American trademark was not officially symmetrical grain. “Identical was typical for these awarded until November 20, 1917. While in specific gravity with the best Grenadilla instruments (see Photo 2). both lines were initially produced, the T1 wood,” at one time they were “guaranteed It is understood that America First line quietly disappeared from not to crack, check or split.”2 So, why did the Violin-Finish wood catalogs in the early 1920s, while the Pan- these clarinets not live up to all the hype? clarinet was a student- American brand increased in popularity.4 Pan American’s Violin-Finish wood line instrument. Price The Pan American Band Instrument and clarinet was designated model 68-N lists reveal that they were Case Company was incorporated in 1919 (see Photo 1). It had a laminated wood slightly less expensive by Greenleaf and two other investors. It was body and nickel keys and key mechanism.3 than Pan-American then recognized as a subsidiary company The National Music Museum is home to grenadilla clarinets, but standing alongside Conn, Ltd.5 more expensive than Like many consumer product metal or ebonite models. companies, Conn suffered from the effects According to of the Great Depression and World War Margaret Downie II production limitations and conversion Banks, Conn historian to wartime products. After the war, and associate director reconversion to peacetime production at the National Music was delayed due to a four-month factory Museum, it was Carl worker strike.6 It was perhaps amid the D. Greenleaf, president efforts to become a viable and profitable of C. G. Conn, Ltd., company again that Conn, through Pan- located in Elkhart, American, introduced the unique Violin- Indiana, who created Finish woodwinds.7 This hypothesis is two new lines of echoed by a former Conn employee who moderately priced commented that the novel appearance musical instruments in of the instrument was what “sold,” not 1917: “Pan-American” necessarily a musical improvement.8 and “America First.” It is difficult to pinpoint an exact date According to the U.S. of manufacture of these novel woodwinds. Patent Office, Conn, Anecdotal information from Conn employees point to manufacture probably between 1948 and 1952. Price lists show Photo 1: NMM 2508 Pan-American Photo 2: NMM 2508 Pan-American that they were offered for sale at least into Violin-Finish bell Violin-Finish clarinet 1954.9 It is certain, however, that the Photos courtesy of National Music Museum, University of South Dakota; Photo 1 by Ana Sofia Silva, Photo 2 by Byron Pillow Violin-Finish woodwinds were short lived.

24 | THE CLARINET SEPTEMBER 2020 It is true that, for a time, the Violin- woodwinds. A favorite story is that the 8 Correspondence from former Conn employee to Finish clarinet was popular. But evidently wood was repurposed from airplane Dr. Margaret Downie Banks. a bad batch of wood was obtained that propellers. Sometimes even nicknamed 9 Price List Pan-American Band Instruments. Elkhart, IN: January 18, 1954. made the instruments prone to cracking. propeller wood clarinets, there is, however, 10 Pan-American Violin Finish Wood Clarinet 68-N. Obviously, Pan-American could not no truth to this story. Single advertising flyer: ca. 1954. deliver on their guarantee not to crack. It An interesting fact, though, is that the 11 Price List for Pan-American Band and Orchestra is speculated that cracks developed along model designation “68-N” was repurposed Instruments. Elkhart, IN: September 27, 1933. grain lines due to the wood becoming from a pre-World War II model. In 1933 delaminated. It is true that the National Pan-American’s “Challenger” metal clarinet 11 ABOUT THE WRITER Music Museum’s clarinets each have cracks in two-piece design was labeled 68-N. v Dr. Deborah Check along grain lines. Whatever the reason for ENDNOTES Reeves is the Curator the cracking, Pan-American continued 1 The Pan-American Violin Finish Clarinet. Single of Education and to tout the durability of the clarinet, but advertising tri-fold: ca. 1950. Woodwinds at the did not maintain the guarantee. In fact, 2 P-A Extra Value Wind Instruments. Catalog: ca. later advertising contained the statement 1950. National Music 3 Pan-American Violin Finish Wood Clarinet 68-N. “Covered by the regular Pan-American Museum (NMM) Single advertising flyer: ca. 1954. in Vermillion, SD, woodwind guarantee against defective 4 The author thanks Dr. Margaret Downie Banks workmanship but not against normal wear for sharing this information. and professor at the and deterioration or cracking of the wood, 5 News item in The Iron Age 104, No. 4 (August University of South 10 14, 1919): 484. Dakota. She received a doctorate in clarinet since wood is a product of nature.” 6 Margaret Downie Banks, Elkhart’s Brass Roots: An Needless to say, sales of the product Exhibition to Commemorate the 150th Anniversary performance from the University of Iowa. declined. In 1955, the entire line of Pan- of C.G. Conn’s Birth and the 120th Anniversary She plays with the Sioux City Symphony American instruments was dissolved, with of the Conn Company (Vermillion, SD: The Orchestra and directs Tatag, the NMM’s Shrine to Music Museum, College of Fine Arts, Javanese gamelan performance ensemble. She sales of inventory continuing into 1956. University of South Dakota, 1994), 5. Folklore abounds about the actual 7 Pan-American also produced model 68-Q is a contributing editor to The Clarinet, and wood used in the Violin-Finish in the Violin-Finish. serves as the ICA South Dakota State Chair.

SEPTEMBER 2020 THE CLARINET | 25 The Clarinet

by Donald B. Jenny

“The Clarinet Enthusiast” features a rotating cast of contributors; if you are interested in sharing your perspective, contact [email protected].

THE ELEGANT ELATION Techniques et Melodiques, which became and 12 Etudes. Marcel Bitsch, in his 12 OF ETUDES my favorite book of studies. I found the Rhythmical Studies, accosts the clarinetist ver three decades had passed whole-tone melodies and funky rhythms with interesting rhythms. Roger Wartelle’s since I last put a reed on my haunting: the elegant No. 3 (style ancien) 14 Technical Studies are melodic exercises mouthpiece. I had taken has such proud grace; No. 7 begins with a with lively technical and rhythmic music seriously at one point lambent vif which then suddenly changes challenges. The 60 etudes of Louis Costes Oin my life. I was principal clarinet and a to the new melody of a bright dolce; No. are scintillating gems. Costes humbly states, charter member of the Wisconsin Youth 12, and the eight bars in its mid-section “these etudes have no ambition, other than Symphony Orchestra under the late Dr. that seem, for me, so difficult to play helping … clarinet players perform modern Marvin Rabin in the 1960s, a member of fluidly, has such beauty; the sheer fun and and classical works.” the symphony orchestra at Northwestern gaiety of Nos. 13, 14 and 17. I really loved I began playing Rudolf Jettel’s University and a student of Jerry Stowell them all – and they seemed somehow more Preliminary Clarinet Studies to the of the Chicago Symphony Orchestra for emotionally fulfilling than, say, Perier! Accomplished Clarinetist (three volumes), one year. Then, I transferred from the When I resumed lessons years later, I thinking to myself how a moniker for School of Music to the School of Arts and was assigned the Rose Thirty-Two Etudes. “preparatory” seems so misplaced. Jettel Sciences and pursued a career in medicine. They initially held little interest to me, as (who allegedly composed over 500 etudes!), As I immersed myself in my new studies, they had seemed, years ago, more prosaic with his difficult rhythms and tempi, the dominant role music had played in my compared with those of JeanJean. But clearly challenges my understanding of life became a fading memory, recurring they are perfect for the many seemingly melody and phrasing. Jettel’s three volumes only as remnant stories told to my wife pedestrian problems of rhythm and of The Accomplished Clarinetistextend these and children. Two decades ago, however, interpretation that I encountered with a challenges. The third volume is comprised the memories were revived by my son who musical knowledge that was arrested at of four concert etudes and four sonatas had started to play the clarinet and asked the age of 18. I was thrilled, though, when for clarinet and piano. The Advanced for some help (in the valley of the blind, asked to start JeanJean’s 16 Etudes Modernes. Studies by Victor Polatschek provides the one-eyed man is king). As I watched Number 5, especially, could stand alone 28 studies modeled after 21 composers him discover the art’s joy, I rediscovered it as a concert piece and was a challenging that are excellent in teaching a variety of as well. Restarting after so many years was study for me to learn due to the required musical styles, but also for practice of some painful, but after 10 years of nurturing breath control and tonal focus of the lower uncomfortable clarinet fingerings that the process on my own, I moved to a register. Then, my teacher introduced me help obviate the “grabbing” technique as great university town and had the good to the works of a Belgian composer I had my teacher phrases it. Then, I approached fortune of continuing clarinet lessons with never heard of: Fernand Carion, whose Te n Agostino Gabucci’s Ten Fantasies. If Jettel the university clarinet professor. Under Grand Etudes remind me of those romantic is teutonic angst, Gabucci is Catanian bel his tutelage, I realized the great value of JeanJean compositions. Number 5 has canto; redolent of JeanJean, his studies are the many eclectic clarinet studies and a quiet, soulful intensity that could also filled with often abrupt two-bar moments how they can contribute, often in unique serve as a solo piece; I never seem to tire of lyrically beautiful phrases. These are ways, to overcoming specific performance playing it. Number 10 seems to incorporate simply stunning etudes! Fellow Italian issues. During this time of isolation, they many of the rhythms and fingerings in Giacomo Miluccio – whose Rhapsodie for may provide a perfect source of uplifting the previous nine, as though it alone solo clarinet is lovely – composed 8 Grandes diversion and joy. summarizes the entire book of studies. Etudes De Technique Melodique which are While in high school, I had been given Eugene Bozza, who has composed so unrestrained beauty; No. 2 and No. 6 could an old large-format Alphonse Leduc edition many solo pieces for the clarinet, has two easily be solo pieces. Ferdinand Capelle’s 20 of Paul JeanJean’s Twenty-Five Etudes fun books of etudes: 14 Etudes Mechanisme Grande Etudes are also great for technical

26 | THE CLARINET SEPTEMBER 2020 development (No. 12 could also be played demurred when asked to work on various Jettel, R. 18 Etuden as a solo piece). clarinet studies. Perhaps they sense an Kovacs, B. Hommages Peruvian composer Daniel Cueto urgency to master the great works and Magnani, A. 10 Etudes-Caprices De Grande certainly challenges the clarinetist with orchestral studies when they’re young. My Difficulte his 5 Estudios Criollos. As noted by the perspective, after a hiatus from playing for Menendez, J. 18 Characteristic Studies composer, the English translation of many years and with limited opportunities (Difficult) “Creole” is not equivalent to the Spanish to perform, probably differs from younger Miluccio, G. 8 Grandes Etudes De word; the pieces are based on indigenous players focusing on their aspirations and Technique Melodiques melodies from coastal Peru and “represent future performance goals. Yet these etudes, Paganini, N. 17 Caprices a fascinating artistic tradition still largely beautiful by themselves, have enhanced Perier, A. 331 Exercises Journaliers De unknown to many musicians around the my approach to other standard clarinet Mecanisme globe.” These are wonderful and all are repertoire. Would encouraging students to Perier, A. Le Debutant Clarinettiste composed for performance (in potentially learn some of these studies perhaps expand Perier, A. 30 Etudes creative combinations). their own understanding of the clarinet Perier, A. 20 Etudes The Béla Kovács Hommages are nine and interpretation of the oeuvre? Without Perier, A. 22 Etudes Modernes demanding clarinet solos (“intended to a formal collegiate music education, I Perier, A. 20 Etudes de Virtuosite be etudes or studies”) in the style of nine know that I likely miss much about what Perier, A. Etudes de Genre et different composers: Bach, Paganini, I am playing, but while a botanical garden D’Interpretation – Cahier 1,2 Weber, Debussy, de Falla, Strauss, Bartók, may be more interesting if one perhaps Perier, A. Recueil De Sonates pour L’Etude Kodaly, Khatchaturian. understood detailed botany and taxonomy, Du Style Classique – Cahier 1,2,3 All these studies have helped me address without it, one can still enjoy the flowers. Polatschek, V. Advanced Studies for the a multitude of problems I face in trying to And, depending upon the length of our Clarinet play at a level that allows me to participate current pandemic, there is more JeanJean, Rachmaninov, S. Studies for Clarinet (from in group ensembles. While I have also spent Jettel, Rueff, Menendez and others to Rhapsody on a Theme of Paganini) time becoming familiar with some of the explore. I can’t wait! v Rueff, J. 14 Etudes Rose, C. 32 Etudes classic solo repertoire for the clarinet – SELECTED ETUDES and memorization has been incredibly Rose, C. 40 Studies for Clarinet (two books Bitsch, M. Twelve Rhythmical Studies of 20) difficult – these clarinet studies have made Bozza, E. 14 Etudes De Mecanisme 1948 returning to the clarinet so enjoyable. There Sarlit, H. 25 Etudes de Virtuosite Bozza, E. 12 Etudes 1953 Uhl, A. 48 Etuden fur Klarinette (two are likely many reasons for this, but for Bozza, E. 11 Etudes Karnatiques 1972 me each study is not only a new challenge, books of 25) Capelle, F. 20 Grand Etudes Wartelle, R. 14 Technical Studies but it often seems to explode in totally Carion, F. 10 Grande Etudes de Haute unexpected delights. Like reading an Zelinsky/Smeyers (ed.) Studies for Playing Virtuosites Contemporary Music F. Scott Fitzgerald or John Cheever short Cavallini, C. 30 Caprices story for the first time, they make you look Costes, L. 60 Etudes at things a little differently, giving irony, [For an annotated list of etude books by Cueto, D. Estudios Criollos category, see Kelly Johnson’s “Clarinet ardency, a piercing joy. They’re fun. From Delécluse, U. 14 Grande Etudes a concert music perspective, I think of Books for the College Undergraduate” in Delécluse, U. Six Suites de J.S. Bach The ClarinetVol. 29/3 (June 2002). Ed.] Ravel’s Daphnis et Chloe Suite No. 2, when Gabucci, A. 10 the and strident violins play what Gabucci, A. 10 Etudes Modernes suggests birds flitting in the underbrush Gabucci, A. 60 Divertimenti ABOUT THE WRITER and then opens into a glorious melody Gabucci, A. 50 Duets for Two Clarinets Donald B. Jenny, like stepping into a verdant garden; or in Heim, N. The Development of the Altissimo M.D., is a retired the final Pesante Aufersteh’n of Mahler’s Register interventional Second Symphony when the chorus and JeanJean, P. 25 Etudes Techniques (and cardiologist living in brass pause to reveal the strings playing volumes II and III) Chapel Hill, North two quietly pulsing phrases until the final JeanJean, P. Etudes Progressives et Carolina, with his glorious measures – when like a passenger Melodiques – cahiers 1,2,3 wife Debra of 34 jet on takeoff, one’s view is briefly hidden JeanJean, P. 16 Etudes Modernes years. They enjoy by cloud cover until suddenly breaking JeanJean, P. 18 Etudes music, reading, through, revealing the clear topography JeanJean, P. Vade-Mecum du Clarinetist travel and spending below – like a resurrection. It is difficult to Jettel, R. Preliminary studies to The time with their three children. He is deeply accept that these clarinet studies were all Accomplished Clarinetist – books 1,2,3 grateful to Professor Donald L. Oehler, written as singular etudes to stand alone Jetel, R. The Accomplished Clarinetist – University of North Carolina School of with the clarinetist in a practice room. They books 1,2,3 (book 3 comprised of Music, who rekindled intellectual pursuit deserve much more. 4 concert etudes and four sonatas of the instrument, suggested the topic of and I was surprised to have learned that with piano) reviewed this paper, and provided countless some of my teacher’s college students have Jettel, R. Zehn Etuden hours of inspired teaching.

SEPTEMBER 2020 THE CLARINET | 27 PEDAGOGY

Corner by Paula Corley, ICA Pedagogy Chair

“THE TIMES THEY ARE A-CHANGIN” – PANDEMIC PERSPECTIVES FOR PERFORMING AND TEACHING

hen Bob Dylan recorded embouchure hole, with some going importance of remaining flexible when his iconic song “The Times into the instrument and some into thinking about music in the pandemic: They Are A-Changin” in the environment. One thing we teach our students 1963, he said, “I know • Aerosols do not reach the room air at Peabody is that, as artists, you I had no understanding of anything. W directly from the mouth opening when have to become as flexible as Something had just gone haywire in the playing clarinet. When air is blown possible. This was true even before country.” Sound familiar? Change is now into a woodwind (flute excepted) or the constant in our current environment. the pandemic. But the pandemic brass instrument, aerosols go into is a genuine life lesson on adapting In this article, we hear perspectives from the instrument and can only escape researchers, performers, teachers and and being flexible in what it means through tone holes or the bells (brass to create a performance for an administrators about how the pandemic is instruments). Research is still pending changing our musical lives. audience. There are always going to on how much aerosol is released. be new and different ways to reach Research regarding performance • Performance distancing works. Playing audiences, and we’re seeing this take safety is a top priority. Kirk D. any wind instrument requires an shape in real time. Moss, chair of the Department of intense air stream. Since no conclusive Music and Theatre at the University of evidence exists about virus in outgoing Boris Allakhverdyan, Los Angeles Northwestern – St. Paul, is the editor of air, experts suggest a distance of 6.5 Philharmonic principal clarinetist, said the a study conducted in May, 2020, at the feet between performers. The study cancellation of orchestra rehearsals and Freiburg Institute for Musicians’ Medicine concluded that the risk of droplet performances has completely changed his in conjunction with the University infection when observing this distance daily life. Hospital and University of Music Freiburg protocol was very low. I no longer practice and prepare (Germany). This particular study was a • Structural and organizational protocols the pieces I would have normally. collaboration with five physicians whose are necessary for face-to-face private Instead, I spend a lot of time specialties include psychotherapeutic lessons. Based on this study, experts practicing and learning non- medicine, ear-nose-throat, infection agree that online lessons are still the orchestral pieces – mostly solo and prevention and hospital hygiene, best option, particularly for those virology, anesthesiology and critical care. chamber works – watching a lot of Although this is only one of many studies in a high risk group. If face-to-face concerts online, and reading. I think ongoing, the findings are encouraging for instruction occurs, the following this pandemic has provided all of us clarinetists. Here are their findings: protocols are suggested: 1) install a extra time to think, to analyze, to see partition between teacher and student; things from a different angle. While • There is no increased risk of droplet 2) teachers should wear a mask; 3) I do miss playing live concerts and infection when playing clarinet. No ventilation breaks should be taken seeing my students face-to-face, I am droplets are released directly into the every 15 minutes; and 4) the 6.5 finding myself constantly trying to environment from brass instruments foot performance distancing between think of new ways to satisfy this ache and woodwind instruments that student and teacher applies. and passion I have for music. utilize a reed. However, the flute can release droplets into the environment We need to adapt. Fred Bronstein, Online teaching has exploded. because of how the tone is produced. dean of the Peabody Institute of Johns There are countless apps, videos and When playing flute, the air “splits” the Hopkins University, emphasizes the virtual classes everywhere. While some

28 | THE CLARINET SEPTEMBER 2020 PEDAGOGY

educational institutions have shortened local school districts. She started by music enrollment in school settings will schedules, implemented social distancing contacting music supervisors and team have significant impact. Dr. Lauryn Evans and developed other protocols, others are leaders with her idea, and Rachel is now is superintendent of the North Kitsap offering online instruction only. Almost ready to expand the business and create a School District in Washington state and everyone has embraced technology out scholarship program. serves on a statewide task force to address how music instruction might look going of necessity. However, teaching clarinet Motivation is challenging. forward. She provided these thoughts online is not a new concept. Boris was Clarinetist Nicolas Baldeyrou is known teaching online before the pandemic. He about possible changes in the North for his playing expertise, creative Kitsap School District: believes students feel more comfortable arrangements and videos. He also playing behind a home computer screen maintains a studio of aspiring professional If we are open in any manner, than they do in face-to-face settings: clarinetists. When asked about the I would anticipate that we’d see a move to chamber or small ensembles This can take a lot of pressure challenges of instruction as a result of the and no more large group rehearsals current environment, he had this to say: off from getting nervous in front and performances for some time. If of a live audience and possibly not The biggest change is that I’m we are completely online again, this presenting their full potential. The not able to play with them and will present a significant challenge downside to online master classes accompany them when online. I to our performing arts classes. Right or teaching – aside from technical love to play the accompaniment – now, our instrumental music classes hiccups – is that you cannot hear on piano or clarinet – but it doesn’t are struggling to continue. Teachers the subtle nuances in clarinet tone, work well with the online “delay.” I are orchestrating small group and dynamics, etc. miss the direct contact with students individual music study. I am unsure Rachel Turgoose launched RMT and find it more difficult to inspire how sustainable this is for the Music in the fall of 2019 to provide and motivate them. That’s the reason long term. Statistics show that the academic core is taking students online instruction. With limited startup I do the video projects with them, longer to work through, giving less funds and a lot of determination, Rachel’s with very challenging parts and new time for the “elective” classes such as first step was to hire a business coach things to master like playing with who taught her the importance of fee earphones and a click track. equality. All students should pay the same, Nicolas assigns his students extended regardless of circumstance. techniques that require a lot of time on ICA ANNOUNCEMENT Rachel said, task including double-tonguing, circular Student attrition is low. I check breathing, and slap-tonguing. He also 2021 Composition in regularly with parents and introduces students to new styles of playing and repertoire to keep them moving Competition: Bass ensemble teachers to make sure forward. Nicolas’s personal daily practice everything is going well. If there routine includes the Jeanjean Vade-Mecum Clarinet and Piano are any issues, I try to resolve them and new repertoire daily. He also learns as quickly as possible. Parents have all of the non-clarinet instrument parts The ICA seeks previously access to the same information as for the imaginative videos he records. unperformed works for bass the student, especially practice logs “The Françaix concerto was really tough, and lesson feedback. The majority of clarinet and piano, 10-15 min. especially with the flute parts!” in length. them thank me regularly for having Boris advises his students to be patient, a system and site that works easily continue to work hard, and stay focused The deadline is December and quickly. Parents are especially on your goals despite these circumstances. happy to have a normal routine for “Believe in what you believe in. Learn new 20, 2020; the winner will their kids. things from people who inspire you most. receive a $1000 prize and a Rachel now manages ten other teachers Reach out, stay connected and remain performance of the work at who also provide online instruction positive. Embrace this extra time we have ClarinetFest® 2021. through her site. She uses Music Staff, all been given.” a platform that is comprehensive with What changes should we expect in For details, please visit options for scheduling, payment, teacher schools as a result of the coronavirus www.clarinet.org or contact feedback, practice logs, assignments, and pandemic? Schools play a major role Scott McAllister, coordinator a calendar function that sends Zoom links in the future of music teaching and to students automatically at their assigned performing. Most of us got our start in a ([email protected]). lesson time. To grow her business, Rachel school setting where we learned how to went to the market with the most need – play and perform music. A decrease in

SEPTEMBER 2020 THE CLARINET | 29 PEDAGOGY

music. I think the arts will struggle “The Enduring Value of the Arts in the Covid response updates in an online forum to maintain student interest with the Age of Social Distancing.” The Hub, (guest login required); sponsors of safe lack of the large performances that April 29, 2020. www.hub.jhu.edu. instrumental rehearsal research ongoing: are typically the highlights of any Walsh, James D. “The Coming Disruption.” www.americanbandmasters.org; http:// music program. The Intelligencer. May 11, 2020. band-chat-2020.freeforums.net Urkevich, Lisa A. “Our Rebirth: Although no one can predict the The National Association of Music Reshaping the Music Discipline after future, we do know this: how we Merchants offers free access to a large the Covid-19 Pandemic.” College experience music has changed and will amount of COVID-19 information Music Symposium, May 1, 2020. continue to do so, maybe permanently. including how to properly clean https://symposium.music.org. Lisa Urkevitch, at the College Music Elliott, Hannah. “Forget Baking. During instruments and mouthpieces, and Symposium in May 2020, noted that Covid-19, You Need to Learn How suggestions for maintaining a successful this time can be an era of opportunity in to Have a Conversation.” Bloomberg online instruction business: www. which individuals are “…moving more News, May 13, 2020. nammfoundation.org/projects/namm- quickly, becoming entrepreneurs, creating foundation-covid-19-resources companies, sharing new sounds and RESOURCES ideas, devising useful platforms, [and] For updates and a copy of the complete ACKNOWLEDGEMENTS elbowing into the room. Extraordinary coronavirus study for instrumentalists Thank you to the ICA for allowing me to opportunities lie before us.” v and vocalists: www.mh-freiburg.de/ serve as Pedagogy Chair for the past two en/university/covid-19-corona/risk- years. I have learned much and am grateful CONTRIBUTORS assessment for the wonderful collaborations with Boris Allakhverdyan, Principal Clarinet, Proceedings of the National Academy of colleagues from all over the world who Sciences (www.pnas.org) conducted contributed to my research. Thank you Nicolas Baldeyrou: a study titled “Identifying Airborne to Caroline Hartig for the opportunity, Orchestra Philharmonique, Transmission as the Dominant Route to Diane Barger for recommending me, Conservatorie National Superieur for the Spread of Covid-19.” This study to Rachel Yoder for her high level of Music and Dance, Lyon is ongoing and updated frequently. professionalism, and to Al Corley for his Dr. Laurynn Evans, Superintendent of www.pnas.org/content/pnas/ Schools, North Kitsap School District, early/2020/06/10/2009637117.full.pdf editing expertise and inspiration. It has Washington The National Association for Music been a pleasure to serve. Kirk D. Moss, Ph.D., Chair, Department Educators is supporting a study on the * * * * * of Music & Theatre, University of effects of COVID-19 and the return to Northwestern – St. Paul the rehearsal hall. The study examines AUTHOR’S NOTE: In the June issue Rachel Turgoose, RMTMusic.com, Reed aerosol rates produced by wind of Pedagogy Corner, David Howard’s Geek representative instrumentalists, vocalists and actors, name was printed incorrectly. I apologize and how quickly those aerosol rates for the error. REFERENCES accumulate in a space. Go here for the Spahn, Claudia, and Bernhard Richter. latest information: https://nafme.org/ “Risk Assessment of a Coronavirus nafme-supports-arts-coalition-study- ABOUT THE WRITER Infection in the Field of Music – Second effects-covid-19/. Paula Corley is a Texas Update of 19 May 2020.” Translated Higher Ed Music Lessons in the Time music educator whose by Scott Swope and Kirk Moss. Risk of COVID-19 (Facebook Group): passion is clarinet. assessment. Accessed June 4, 2020. This group is for sharing strategies, She is the “mayor” of www.mh-freiburg.de/en/university/ successes, failures, platforms, etc. that Clarinet City (www. covid-19-corona/risk-assessment. we encounter or develop in our work clarinetcity.com), as studio teachers in the academy pedagogy chair for facing the challenge of teaching during the International a pandemic. Clarinet Association Music Educators Creating Online Learning and the clarinet (Facebook Group): a repository and help center for online music teaching. instructor at Texas Lutheran University Covid response updates from College in Seguin. The author of two books for Band Directors National Association developing clarinetists, Paula has appeared that include instructional models at over 40 music conferences throughout the See www.clarinet.org/tco for applied lessons and chamber United States. She is a performing artist and clinician for Vandoren and Buffet Crampon, for our ongoing "Clarinet in the ensembles, mental health awareness, research based guidelines for safe and is featured in the “Play Wind” app Time of COVID" article series. rehearsals: www.cbdna.org/covid19 developed by Buffet Crampon Paris.

30 | THE CLARINET SEPTEMBER 2020 Go beyond the music. That’s the beauty of studying music at DePaul University. Designed to be rigorous and collaborative, our programs of study give you the experience and the knowledge to More than a confi dently pursue a life dedicated to music. Conservatory. Study with faculty members Wagner Campos, Julie DeRoche, and Stephen Williamson music.depaul.edu | 773.325.7444 | [email protected]

SEPTEMBER 2020 THE CLARINET | 31 PEDAGOGY Master

by Nicola Bulfone

ERNESTO CAVALLINI’S CONCERTO FOR CLARINET NO. 1 IN E MAJOR rnesto Cavallini bwas born in and teaching at the Conservatorio in and is based on the reworking of a theme Milan in 1807. At the age of 9 Milan, and died in 1874. His technical by Joseph Weigl.2 The composition begins he started to study at the Milan and interpretive gifts are described in with an orchestral introduction with a Conservatory with Benedetto many press articles and reviews: in 1842 martial character. After the magnificent ECarulli. He graduated in September the Gazzetta Musicale di Milano declared: introduction the clarinet soloist starts at 1824. In 1827 he was highly praised for a “Cavallini is the Paganini of the clarinet,” bar 20 performing arpeggios moving up performance of his Concerto in E Major in and the Revue de Paris dubbed him “the and down in a typical recitativo character one of the foyers of the Teatro allab Scala. best clarinetist of the universe.” (Example 1). Cavallini worked at the Teatro Re The Concerto No. 1 in E Major for In this Italian recitativo style the in Milano, in the Teatro La Fenice in clarinet and orchestra was premieredb by rhythmical figure based on dotted Venice, and towards the end of the decade Cavallini himself at the Teatro alla Scala eighth notes followed by a 16th note is performed at La Scala several times as di Milano on July 5, 1827. According to important. In the Italian style these 16th both soloist and orchestral musician. Martinotti,1 this concerto is not structured notes are played slightly later and faster He was appointed first clarinet of the after the typical scheme of a classical and I suggest the performer to follow La Scala orchestra in 1831. In 1839 he concerto: the Allegro at the beginning has this tradition during the execution of the appeared with great acclaim in Venice, the character of an introduction with upbeats in the recitativo parts. In bars Bratislava and Budapest. Two years later wide concertante cadenzas of the soloist, 25 and 26 the atmosphere becomes he played in Milan with the virtuoso the Adagio cantabile is an expressive cantabile and lyrical. I recommend to cellist Alfredo Piatti; soon afterwards he Romanza in operatic style and the Allegro perform this part with a smooth sound, played in Paris. Cavallini travelled then is a theme with virtuoso variations. The “singing” the triplets. to London. In 1844 he undertook a new composition is dedicated to his “friend During the whole composition the concert tour, visiting Geneva, Paris and Giuseppe Cattaneo.” soloist alternates between assuming the London. In Brussels he gave a concert at The work belongs to the form of an roles of an opera singer and a virtuoso the home of the composer Fétis. In 1846 operatic fantasy. It is in fact, in spite of violin player like Paganini – do not he returned to Milan and performed his the title, structured in only one movement forget that Cavallini was considered “the Capriccio “Fiori rossiniani.” Cavallini left Italy in 1851 on a long tour that took him to Spain, France, Belgium, Holland, Germany, Poland, and finally, Russia. He reached St. Petersburg in 1854, where the czar appointed him soloist of the newly

founded Imperial Theatre, and in the same , courtesy of Edizioni Eufonia year he began to teach at the conservatory. Major b In 1862 Cavallini took part in the premiere of La forza del destino, whose No. 1 in E famous clarinet solo had been written expressly for him by Giuseppe Verdi. In All examples from Cavallini’s Concerto for Clarinet 1869 he returned to Italy, performing Example 1

32 | THE CLARINET SEPTEMBER 2020 PEDAGOGY

Paganini of the clarinet!” This is typical for that period. At bar 30 the theme appears for the first time (Example 2). This is a theme composed by J. Weigl, here presented in the tempo of Adagio in 4/4. Here a smooth articulation is needed; 16th notes not too fast and grace notes clearly pronounced. Upbeat of bar 38: nd Example 2 with elan, play the couplets of 32 notes molto crescendo and clearly articulated. The next upbeat of bar 39 should be played in a very singing manner, molto cantabile with a sound contrast, suddenly really smooth. In the following two bars the schema is repeated in the same way. At bar 42, with the upbeat, the character becomes resolute, starting with a crescendo and accelerando until bar 44, turning from here to a calm tempo with lyrical accents on the first note of the groups of four 16th notes. The upbeat of the fermata (cadenza bars 48-49) creates the tension with a crescendo and rallentando in a very rubato style. I recommend at bar 49, at the end of the fast notes, to start the arpeggio with a poco esitando, slowing down and then accelerating to the top note, performing the grace notes in any case very quickly. Go then firmly fast down through the chromatic scale arriving to a trill that I like to start slightly lengthening the first note. Example 3 The cadenza ends with emphasis, freely ad libitum. A following Più mosso played by the full orchestra leads to the real tempo of the theme by Weigl: Andantino. I suggest to show a great difference between the grace notes, to be played fast and lightly, and the smoothly staccato 16th-note upbeats. Example 4 I would avoid performing accents in any case on the trills, instead playing them in a melodic way, without disturbing the natural flow of the melody. The first variation is often executed too fast (Example 4). It is a typical triplet variation in a tempo Più mosso. This tempo must be related to the theme (Andantino). The triplets should be performed in an elegant way, really grazioso. The editor – probably – suggests to reinforce the dynamic in the first part of the second repetition turning at the end of the variation to the mezzo piano Example 5 of the beginning.

SEPTEMBER 2020 THE CLARINET | 33 PEDAGOGY

accompanies the melody with an Alberti bass characterized by very wide leaps in staccato eighth notes. The character is really joyful and striking. From a review published in 1847 by the Museo di Scienza e Letteratura of Naples:3 Alle note basse massimamente nessuno potrebbe negare una quieta sonorità; ed esse son talvolta fatte servire con bello artifizio come basso fondamentale alla melodia per acuti svolta, per modo che quasi si crederia esser posto un clarino a cantare ed un altro ad accompagnare. [No one could refuse to admit that his low notes have a calm Example 6 sonority; and these are used with a surprising effect as fundamental bass to the melody done by the high notes, so that you would believe After a brief orchestral interlude the marcato character. After that we go back that one clarinet sings and another second variation starts; the tempo of the to an Adagio where the clarinet plays accompanies.] th 16 notes remains the same as before a short part in fortissimo again with a Be careful at the beginning of this (Example 5). dramatic and operatic character ending th variation, because the clarinet plays an The 16 notes should be executed in a with a Più mosso and dolce. light staccato leggero. Each repetition ends upbeat of a quarter note while the solo Through a short modulation we reach with a surprising and humorous figuration oboe has three eighth notes, starting one that we can find in some Paganini violin the third variation: Allegro (Example eighth note before the soloist. concertos. This effect you can emphasize 7). The oboe of the orchestra plays the Technically it’s a matter of coordination, doing a big crescendo ending with a theme by Weigl, while the solo clarinet breath control and embouchure. As a fortissimo in the low register. During the following 25 bars, the orchestra plays an interlude remaining in same character of the second variation, a march with fast scales and dotted rhythms leading through a modulation to a melody in F minor. The episode ends with a very short cadenza of the clarinet, a scale descending “ad libitum” and directly leading to an Adagio in the key of E minor (sounding pitch). In the firstb part of this slow movement the character is very dramatic (Example 6). The clarinet has a virtuoso part which should be played firmly with determination. In the second part the atmosphere becomes more peaceful and “cantabile” in a dynamic of piano and mezzo-piano and in a slightly faster tempo. The key changes also to G major. In this part that is more fluid I suggestb to change suddenly the color of the timbre, playing with a very sweet sound contrasting with the prior forte and Example 7

34 | THE CLARINET SEPTEMBER 2020 PEDAGOGY

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preparatory exercise I suggest to play the leads through an interruption in a forte eighth notes grouping them in pairs of dynamic with a march character to the legato notes with accents in the low register. fourth variation, featuring rapid arpeggios During the following bars the orchestra ending with ascending staccato scales

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SEPTEMBER 2020 THE CLARINET | 35 PEDAGOGY

going down through the descending scale. After the Più mosso of bar 249 we reach a rallentando which I suggest to emphasize. From bar 256 the orchestra plays the clarinet-theme of bar 229 again while the soloist performs in a lively tempo as accompaniment a sequence of 16th notes in wide leaps that you can emphasize with energy and a clear articulation (Example 10). The coda ends in a very virtuoso way with 32nd notes ascending with strong effect (Example 11). The crescendo should be of course emphasized. Technically speaking, the movement of the fingers must be reduced as much as possible, opening and closing the holes with the lowest pressure on the keys, remaining in a rounded shape. These flexible movements of the fingers will be supported by a rich air flow and a Example 10 stable embouchure. The Italian publishing house Eufonia published for the first time after the Bertuzzi publication of 1845 this concerto (Example 8). This Più presto, con brio a long “Rossini-crescendo.” From bar revised by Davide Pedrazzini. The Concerto should be realized with brilliant virtuosity 229 the soloist presents with elegance a No. 1 by Cavallini is an important in a very fast tempo and fortissimo marching theme, very rhythmic and in addition to the Italian repertoire of the dynamic playing the alternated scales and a traditionally slightly slower tempo 19th century, to be reconsidered and arpeggios with a very outgoing personality. (Example 9). performed by the young generations of This part of the concerto is very From bar 241 the soloist begins to clarinet players. idiomatic for the clarinet and effortless for play a sequence of 16th notes arpeggiando I would like to thank very much the Edizioni Eufonia and my friend the performer: take risks! with clear articulation. I suggest at bars Prof. Silvio Maggioni for giving me the In the coda the character becomes very 244 and 248 to play the articulation of permission to reproduce some parts of this magnificent, nearly celebratory during the pair of legato notes very marcato published concerto for the examples added to this article. v ENDNOTES 1 Sergio Martinotti, Ottocento Strumentale Italiano (Forni, 1972), p. 301-302. 2 Joseph Weigl, 1766-1846, was an Austrian opera composer. He studied under Mozart and Salieri and became Kapellmeister at the court of Vienna in 1792 and from 1827 to 1838 was vice- Kapellmeister. 3 Andrea Martinez, “Ernesto Cavallini, Suonator di Clarino,” Museo di Scienza e Letteratura Napoli Vol XI (Naples: 1847), p. 387-392; republished in Gazzetta Musicale di Milano (1847) p. 265-268.

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36 | THE CLARINET SEPTEMBER 2020 With a dedicated faculty, ABOUT THE WRITER extraordinary performance Nicola Bulfone is opportunities, beautiful facilities and an unparalleled education at clarinet professor at the one of America’s premier universities, Udine Conservatoire The Shepherd School of Music Richie Hawley, provides an environment for the (Italy), and is active Professor of Clarinet as a soloist and in the musical and intellectual growth that is essential to professional success. orchestra of the Theatre of Trieste. He has been Dean, The Shepherd School of Music solo clarinet in the Robert Yekovich Udine Philharmonic Orchestra, in the Orchestra Sinfonica del Woodwind Faculty Friuli Venezia Giulia and founding member Flute Clarinet of the Associazione Filarmonica del Friuli Leone Buyse Richie Hawley Oboe Venezia Giulia. He has played clarinet, bass Robert Atherholt Benjamin Kamins clarinet and basset horn in a number of other Music of School The Shepherd orchestras including the Teatro alla Scala Orchestra and the Teatro la Fenice Orchestra. Bulfone has played as soloist with ensembles including the Slovak Philharmonic Orchestra of Bratislava, the Sophia Philharmonic Orchestra and the Orchestra Sinfonica del Estado del Mexico. Nicola Bulfone plays Wurlitzer Reform Boehm clarinets. His recordings include a Naxos album of all the The Shepherd School of Music, Rice University, Houston, TX, music.rice.edu 30 Caprices by Ernesto Cavallini. Learn more at www.nicolabulfone.it.

Crystal Records, 54th anniversary – Clarinet CDs – see more at www.crystalrecords.com MOZART, Serenade in Bb, K361, MITCHELL LURIE: CD301. THE VERDEHR TRIO: Gran Partita, for 12 Winds & Double Brahms Clarinet Sonatas 1 & 2; plus Elsa Ludewig Verdehr, clari- Bass. CD646: Toronto Chamber Winds. RICHARD LESSER: Kessner, Danc- net; Walter Verdehr, violin; Sil- James Campbell & Gwillym Williams, clari- es (Clarinet, Guitar). Lurie was principal, via Roederer, piano. The Trio has NOTE: ad net; David Bourque & Daniel Leeson, basset Chicago & Pittsburgh Symphonies; and commissioned over 225 works, size should horns. “interpretation is exemplary...re- prof. U.S.C. over 50 years; Lesser was prin- and has 24 CDs, including CD741: Bartok, Contrasts; Hovha- markable virtuosity and an irreproachable musicality.” Sonances cipal Israel Phil. 35 years. CD737: Lurie plays Halsey Stevens, Con- ness, Lake Samish; Pasatieri, Theatrepieces; plus Mozart & be 7.375 x certo for Clarinet & String Orch; Lesemann, Sonata; and Muczynski, Frescobaldi. CD745: Arutiunian, David, Sculthorpe, Schickele. TRIO INDIANA: James Time Pieces.”One of the world’s most famous clarinetists” Fanfare. CD974: Music by Baccri, Sculthorpe, Harvey, Dickinson, etc. 4.6815. I have Campbell, Eli Eban, Howard Klug, CD971: Daugherty, Ladder to the Moon; plus Madsen, Cohen, Clarinets (clarinet faculty, Indiana LARRY COMBS: CD731. Principal Clari- been doing it & Chambers. CD742: Rorem; Musgrave; David; Vanhal; Liszt. University). 2 CDs – CD734: Music net 30 years, Chicago Symphony. Rosza, Sonatina CD743: Schuller; Averitt; Currier. Elsa Ludewig Verdehr & wrong. by Defaye, Schickele, Kulesha & Sonata for Clarinet Solo (written for Larry Combs); (with David Shea, clarinet, guest), Kibbe, and Fox. CD736: Rochberg & Schuller Trios for Clarinet, Horn, & Walter Verdehr are featured as a Duo (with Alfred Prinz, Mitchell Lurie, & Min-Ho Yeh, guests). Piano. “a showcase for Larry Combs...impressive on CD973, Double Concertos by Mills, Music by Prinz, Heiden, Uhl, and Weill. “Marvelous group... virtuosity” Fanfare. With Gail Williams, horn. Chatman, & Chihara, & Duo by T.C. Da- lovely ensemble of ravishing sounds.” American Record Guide. vid. Other Trio CDs include: CD746: Di- MELVIN WARNER: CD332. Weber, Fantasia & Rondo, amond; Sculthorpe; Corigliano. CD941: JONATHAN COHLER: CD733. Hindemith, Grand Duo Concertante; Stravinsky, 3 Songs from Shakespeare; Menotti, Bruch; Constantinides; Deak. CD942: Chihara, Dia- Sonata; Honegger, Sonatina; Francaix, Th. & Var.; Vaughan Penderecki, 3 Miniature; Martino, Set for Clarinet; Spohr, Six mond, Biggs, Erb. CD943: Currier, Tower, Gershwin, Welcher, Williams, Six Studies English Folksong; Milhaud, Duo Con- German Songs; Wm. O. Smith, Five Pieces. “One of the finest Biggs, Hoag. CD947: Bolcom, Robert Mann, Liptak, Rugiero, certant & Caprice; Bozza, Pulcinella; Kupferman, Moon- clarinet recordings I have yet to hear.” Audio Magazine. & Hartway. See complete list at www.crystalrecords.com. flowers Baby. “playing of real distinction” BBC Mag. TASHA WARREN: CD739. The Naked MICHAEL EDWARDS: CD735. Clarinet Clarinet, Unaccompanied Clarinet: Rozsa, Sonati- WEBSTER TRIO: Leone Buyse, Sonatas by Saint-Saëns, Ladmirault, & Bjelinski. flute; Michael Webster, clarinet; Rob- na; Tower, Wings; Ran, Music for an Actor; Dzubay, Solus II; Yehuda, Three Preludes; & Larsen, Dancing Martinu Sonatina; Rabaud Solo de Concours. “Clar- ert Moeling, piano. 3 CDs – CD717: inet fanciers will find a treat here.” Fanfare. Music by Libby Larsen, Sirota, Solo. “Sheer virtuosity” International Record Review. Brandt, Toensing, & Schonfeld. CD356: Fauré Dolly Suite; ENSEMBLE ISOLA: principals Gran Canaria Philharmonic LAWRENCE SOBOL: CD808. Hovhaness, Saturn, Saint-Saëns, Tarantella; Debussy, Petite Piece, Syrinx; Bizet, (Spain)– Radovan Cavallin, clarinet; Jose Zarzo, horn; Victor for Clarinet, Soprano, & Piano. Also Hovhaness Magnificat Jeux d’enfants. CD357: Dvorak, Slavonic Dances; Debussy, Pe- Parra, violin. CD771: Trios: Brahms, Reinecke, Duvernoy. CD772: for Chorus, & Orch. “Saturn is a beguiling hymnal...freshness tite Suite; Brahms, Hungarian Dances; Gottschalk, Four Pieces. Czerny; Jenner; Duvernoy. “Delightful , virtuosic.” Gramophone. and vitality.” Classic CD Magazine. CDs $16.95. FREE US shipping; $7 Canada; $14 other foreign (mention this ad). FREE CD with each purchase of three ® CRYSTAL RECORDS, 28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, email: [email protected] Order by phone, mail, or online at www.crystalrecords.com • Many more woodwind recordings; Hear sound samples at www.crystalrecords.com

SEPTEMBER 2020 THE CLARINET | 37 Nicolas Bacri’s Ophelia’s Tears Concertante Elegy for Bass Clarinet and Orchestra by Stephan Vermeersch

he few compositions for bass clarinet and A. Johnson of the Chicago Classical Review said, orchestra almost fit on one sheet of paper, “The clarinet is Bacri’s favorite solo instrument but a pearl can be added: Ophelia’s Tears by and he clearly knows how to exploit its capabilities TNicolas Bacri. in a resourceful and distinctive way. ... If any bass Ophelia’s Tears (2019) was a composition clarinet concerto has a chance at making it into the commission from the Chicago Symphony regular repertoire this is likely to be the one.” Orchestra, dedicated to bass clarinetist J. Lawrie Nicolas Bacri is an accomplished composer with Bloom and in memory of the British composer/ an enormous broad erudition (arts, philosophy, conductor Oliver Knussen (1952-2018). It is about history, society, politics...) that is reflected in his 15 minutes in length and is published by Alphonse compositions. As soon as you enter his apartment Leduc/Music Sales, Paris. The world premiere took in Brussels you immediately notice the wall cabinet place on February 20, 2020, at Symphony Center with at least 10,000 CDs and piles of books Chicago by the Chicago Symphony Orchestra everywhere: not a “man cave” but a “composer conducted by . cave.” In addition to historical composers, he also The performance was well-received. Howard knows all living composers and their repertoire Reich of the Chicago Tribune noted, “The openly today. Bacri’s oeuvre contains more than 150 opus numbers, of which the clarinet plays a prominent emotional writing for the bass clarinet ... surely role in 33 compositions. I would like to refer defied musical fashions of our noisy age.” Lawrence the reader to www.nicolasbacri.net because his curriculum is already a book in itself. As a composer, Nicolas Bacri first had an orthodox modernist (post-serial structuralist) period, gradually returning to melody and to tonality. He has written two fascinating theoretical works Crise and Notes etrangères in which he explains his vision on the evolution of the music of the second half of the 20th century. In Crise the composer Nicolas Bacri denounces the stranglehold of neo-serialist ideology on 20th century music. He

Photo by © Todd Rosenberg Photography tries to show what this “modernist orthodoxy” was and what harmful effects it had on many musicians and how this music was widely received. In his theoretical work Notes étrangères, Nicolas Bacri reflects on his current position as a composer and makes the following statement: My music is not neoclassical, it is classical, for it retains the timeless aspect of classicism: the rigor of expression. My music is not neo-romantic, it is romantic, J. Lawrie Bloom premieres Nicolas Bacri’s Ophelia’s Tears with Riccardo Muti and the for it retains the timeless aspect of Chicago Symphony Orchestra romanticism: the density of expression.

38 | THE CLARINET SEPTEMBER 2020 My music is modern, for it experiences oppression by the patriarchal retains the timeless aspect of society in which she lives. The thematic modernism: the broadening of materials are further developed, creating a the field of expression. kind of synthesis of the tonal and atonal My music is Postmodern, for it music of Nicolas Bacri: an emotional retains the timeless aspect of roller coaster of guilt, truth, self-pity and Postmodernism: the mixture of feigned cheerfulness. techniques of expression. Death: Ophelia dies from drowning – Photo by © Todd Rosenberg Photography By choosing melody and tonality, Bacri suicide? A melodic low bass clarinet line has by no means opted for convenience; represents death, elements of the first on the contrary, in the language of the and second parts return dramatically contemporary it is relatively easy to make and it ends with the bass clarinet in the an impression, even to overwhelm you. low register in a dream state imagining Bacri’s music is not “conservative” Ophelia’s soul taking off. because of its interpretation of traditional Ophelia’s Tears does not demand great values, because his interpretations are virtuosity from the soloist, but you have always personal, expressive and authentic, to master the lyrical expressivity with the using a familiar-sounding musical fingertips, and this requires a grandmaster language, but what is “said” is always on the bass clarinet. new. His compositions have thematic and THE SOLOIST: coherent material, which always creates J. LAWRIE BLOOM a catchy atmosphere – hence his great J. Lawrie Bloom has been a clarinetist and preference for the symphony and string bass clarinetist with the Chicago Symphony J. Lawrie Bloom and Nicolas Bacri quartet. But his entire body of work Orchestra since 1980 at the invitation of testifies to a composer with vision, a must Sir George Solti. He is a great promoter to listen to. of the bass clarinet and is well known and audience and my colleagues were appreciated in many music environments. THE COMPOSITION: OPHELIA’S more enthusiastic than could even J. Lawrie shares the following about TEARS, OP. 150 (2019) have been imagined. Ophelia’s Tears: Although the clarinet has a prominent Nicolas has written a magnificent place in his oeuvre, Nicolas Bacri was When in 2018 Maestro Muti piece for us, and it will get many initially not so keen on writing a bass offered to commission a piece for performances, I’m sure. v clarinet concerto. He thought it was me, Nicolas Bacri was always my not obvious (not appealing enough) to first choice. I had played chamber * * * * * compose a full-fledged concerto for the pieces, and heard many other works [See also “The Clarinet Compositions of bass clarinet with its acoustic qualities of Nicolas and I thought his lyric Nicolas Bacri” by Kristine Dizon in The (compared to, for example, the cello). But approach would be fantastic for a Clarinet Vol. 47/1 (December 2019). Ed.] a compromise came in the form of the bass clarinet piece. symphonic poem – a concertante elegy I met Nicolas in February 2019 for bass clarinet and orchestra. Ophelia’s in Paris and played the solo clarinet ABOUT THE WRITER Tears has three continuous parts: tragedy, version of Ophelia for him, and Stephan Vermeersch madness and death. It is based in part on many other things. We talked at a is recognized as a Bacri’s earlier work Ophelia’s Mad Scene, deep level for quite some time and versatile performer, Op. 146, for soprano and clarinet. The went our separate ways. improviser and inspiration comes from the character Quite soon after he began to composer of classical, Ophelia from Shakespeare’s Hamlet. send me fragments of Ophelia’s contemporary, world Tragedy: her position as a woman Tears, the new piece. By April it and electroacoustic in that zeitgeist, her dominant father, was complete with his caveat that music with many her love for Hamlet and his rejection. if I wanted something changed, let crossovers to other A prelude (Adagio maestoso - Dolcissimo him know. I never asked for changes cultures and art cantabile) and then a fugue (Doppio other than adding a breath or forms. He is president of the European movimento). The first part contains themes starting a crescendo earlier or later. Clarinet Association (2013) and was that recur throughout the piece. Muti was clearly pleased with International Representative on the board Madness: Ophelia becomes mad: the piece when I played for him of the International Clarinet Association Hamlet killed her father and she before orchestra rehearsals and the (2014-2017).

SEPTEMBER 2020 THE CLARINET | 39 2019 ICA Research Competition Winner Humming and Singing While Playing: Analysis of Two Distinct Vocalization Techniques During Clarinet Performance by Jeremy Ruth

INTRODUCTION each technique. This research study was conducted hile research has been done on clarinet as part of the author’s D.M.A. dissertation, which multiphonics achieved through special can be referred to for further information, including fingerings and voicing manipulation, more in-depth analysis and the resulting method for Wvery few resources address an performers and resource for composers. alternative technique for producing multiple sounds in clarinet performance – singing while PHYSIOLOGICAL MECHANICS playing. Singing while playing has been researched SINGING WHILE PLAYING more extensively in brass pedagogy, but the few The primary physiological difference between resources that address this technique in clarinet standard playing and singing while playing is simply performance are limited in scope, and no research that in the latter, the vocal folds are allowed to has examined the separate, but closely related vibrate. The additional vocal sound generated by the technique of humming while playing. Both singing vocal folds then resonates in and exits through the and humming while playing utilize the vocal folds oral cavity, as the nasal cavity is sealed by the closed to produce a second sounding pitch but differ in velopharyngeal port, which is the space behind the how the airstream is used and the chamber in which soft palate. The velopharyngeal port is considered the vocalized pitches resonate. closed when the soft palate and the pharyngeal walls, In order to accurately explain the physiological or the back walls of the throat, form a seal. The differences in the production mechanisms for these energy required to produce this technique, however, two techniques and to describe how each technique is greater than with standard clarinet playing – it produces a unique aural effect, a research study requires two sound sources to utilize the same air was devised that recorded nasalance and intraoral stream, and the clarinetist must learn how to allocate pressure from one subject (the author) performing enough air pressure to cause both the reed and the several tasks demonstrating each technique. vocal folds to vibrate and produce sound. Nasalance is defined as the ratio of nasal acoustic In addition to this pressure allocation problem, it energy to total nasal and oral acoustic energy, while is also likely that simply inducing vocal fold vibration intraoral pressure is defined as the “quantifiable in singing while playing is more difficult than in measure of force exerted on the surface area of the normal phonation. This is due to the fact that while oral cavity.” The quantitative data were used to help subglottal pressure levels, or pressure levels below explain the physiological differences between singing the vocal folds, in phonation are typically between and humming while playing, while spectrograms 0.49 kilopascals (kPa) and 0.98 kPa when excluding and sound intensity measurements were taken atmospheric pressure, the intraoral pressure levels from the recorded audio of the tasks and examined present in standard clarinet playing can be up to to help describe how each technique produces a six times higher than the upper end of this range, distinct acoustic effect. according to the data from this research study. This These data were then analyzed to create two means that not only must the clarinetist allocate resources: a method for clarinetists to learn how enough pressure to cause both the reed and the vocal to produce each technique in performance, and folds to vibrate, but they must also learn to produce a resource for composers who want to know the vocalized pitches within a much higher-pressure technical limitations and acoustic differences between environment than they would in normal phonation.

40 | THE CLARINET SEPTEMBER 2020 Additionally, the possible vocal pitch that resonates in and exits through performance, “humming while playing” range for singing while playing should the nasal cavity. was chosen as the preferred nomenclature. theoretically be smaller than if the One notable difference in theoretical The label also creates a clear distinction performer was singing without a second limitations between humming while between this technique and “singing while sound source due to the phonation playing and singing while playing relates to playing,” which is far more similar to threshold pressure – the minimum the possible vocal range available for each traditional singing since it uses the oral amount of pressure needed to phonate technique. Unlike singing while playing, cavity as a resonating chamber and allows – needing to be higher as the sung pitch which requires the clarinetist to divide the the vocal sound to exit through the mouth. increases. This means that not only must total air pressure in one air stream between METHOD AND EQUIPMENT the clarinetist use more air pressure than two vibrating sound sources, humming FOR RESEARCH STUDY in standard playing to ensure that both while playing separates the air source used This research study consisted of one sound sources can vibrate, but they must to generate the clarinet sound from the air professional clarinetist (the author of also be prepared to add additional air source used to generate the vocal sound, this study) performing 59 performance pressure to account for the higher pressure allowing the clarinetist to devote all of tasks, during which intraoral pressure, demands of higher sung pitches. Because the available air pressure from the latter nasalance, and audio data were recorded of this, the upper end of a performer’s source to producing vocal pitches. This simultaneously. The first three performance vocal range should theoretically be smaller means that humming while playing should tasks contained no vocalized pitches, but in singing while playing. theoretically offer a higher upper vocal only the following played pitches: E , range limit than singing while playing. 3 G , B , C , E , G , and C . These tasks HUMMING WHILE PLAYING The author chose “humming while 4 4 6 6 6 7 Humming while playing is physiologically were used as a baseline against which all playing” as the preferred nomenclature subsequent tasks could be compared. The closely related to singing while playing in for this technique for multiple reasons, one significant way: both humming and three tasks were played at soft, medium and but this choice was primarily based on the loud dynamics, respectively. singing while playing require the vocal physiological mechanisms described above. folds to vibrate and act as a second sound The remaining 56 tasks were divided As Richard Miller points out, the term into eight groups of seven tasks each. source. Beyond this, the physiological “humming” can be used to refer to any Every group contained one task for each mechanisms used to produce the “vocal sounds emitted through the nose, of the played notes listed above, and each humming while playing technique share rather than through the mouth,” which task consisted of the subject playing and much more in common with the circular includes the /m/, /n/, and /ŋ/ sounds. holding one note on the clarinet. In the breathing technique than with singing The /ŋ/ sound, as in the word “king,” is first group, the subject played as loudly while playing. As in circular breathing, particularly relevant here, since production as possible while attempting to hum a humming while playing utilizes an open of it entails sealing the oral cavity from chromatic scale as loudly as possible from velopharyngeal port, with the tongue and the pharyngeal cavity with the soft palate the lowest to the highest possible hummed soft palate coming together to store air and tongue, using the nasal cavity as a notes in his vocal range. The second group in the oral cavity and seal it off from the resonating chamber, and utilizing the used the same outline as the first, but rest of the vocal tract. The air stored in nostrils as the exit portals for the vocal with the subject now humming the notes the cheeks is then used as the air source sound. Because of the striking similarity as softly as possible. The next two groups to generate the clarinet sound while the in physiological mechanics between /ŋ/ were identical to the first two, but with rest of the vocal tract is free to operate humming in vocal pedagogy and the the subject playing every task as softly as independently of the oral cavity. related vocalization technique in clarinet possible while humming either as loudly Humming while playing is identical to circular breathing up to this point, but differs in how it uses the rest of the vocal BUFFET CLARINETS tract after the tongue and soft palate seal off the oral cavity. In circular breathing, L B the clarinetist inhales fresh air through the I A G nasal cavity while expelling the stored air R in the oral cavity through the instrument A to maintain reed vibration. In humming T R while playing, the clarinetist does not U E R www. .com inhale while the air in the oral cavity Taplin Weir L is expelled, but instead pushes air out E (647) 351-8181 through the nasal cavity while placing S S enough air pressure on the vocal folds to REPAIRS • VOICING • CUSTOM WORK induce vibration. The result is a hummed

SEPTEMBER 2020 THE CLARINET | 41 ANALYSIS Figure 1. Mouthpiece with stainless steel tube embedded in epoxy. NASALANCE After initially examining each individual task’s average nasalance value, overall average nasalance values for all tasks utilizing each technique were calculated, as well. This resulted in overall average nasalance values of 27% for standard playing, 27% for singing while playing, and 76% for humming while playing, as shown in Figure 3. This provides clear evidence that humming while playing uses nasal acoustic energy to produce the hummed pitch, exceeding the baseline average nasalance value for standard playing by or as softly as possible. The final four The steel tube was then connected 49%. In contrast, singing while playing groups followed the same layout as the to a gas pressure sensor connected to produced identical average nasalance first four, with the only difference being an interface. The interface was connected values to standard playing. This shows that instead of humming while playing, to a laptop, and intraoral pressure that after accounting for microphone the subject was now singing while playing. changes were recorded in kPa at 1 contamination, singing while playing The subject’s mouthpiece was modified millisecond (ms) intervals for the duration does not generate any nasal acoustic by embedding a 1.3 mm (inner diameter; of every performance task using data- energy and helps to confirm the 1.5 mm outer diameter) stainless steel logging software. explanation of the physiological tube in a thin layer of epoxy resin on top Nasalance data were collected using a mechanisms behind each technique. of the beak of the mouthpiece, as shown nasometer headset strapped to the subject’s in Figure 1. head, as shown in Figure 2. INTRAORAL PRESSURE Intraoral pressure can be altered by adjusting the volume of air used or by changing the resistance to the air stream exiting the mouth. Because different played pitches on the clarinet can offer different levels of resistance, the intraoral pressure levels are expected to shift somewhat from one pitch to another. By examining intraoral pressure across techniques on the same played pitch, some of the differences and difficulties involved with the production of each technique can become more apparent. Of particular interest in this study are any notable changes in intraoral pressure during humming while playing. Any time the clarinetist transitions from the primary air stream, as in standard playing, to the air stored in the oral cavity, as is typically used in the circular breathing technique, this likely produces an intraoral pressure change. Since smoothly making this transition is often regarded as the most difficult element of circular breathing to master, any data gathered showing changes Figure 2. Subject wearing the nasometer headset used in the study. in intraoral pressure during humming while playing should help explain possible

42 | THE CLARINET SEPTEMBER 2020 without a perfectly smooth transition, although the clarinetist should still aim to minimize any changes in intraoral pressure, as it will help create a more seamless shift between air sources.

SPECTROGRAMS Spectrogram analysis was one of the primary audio analysis methods chosen since musicologists sometimes use this method as a way to visually represent the overall acoustic effects produced in a recording. A spectrogram shows the frequencies present in a task and the relative intensity of each frequency over time. If a single pitch is played, the spectrogram should show the fundamental frequency and any of its strong overtones, Figure 3. Overall average of nasalance values for all pitches. as shown in Figure 5. The frequencies in Figure 5 appear as very clearly defined horizontal lines – any other played pitch will be represented in changes the performer should make to greater difference than that found in either the same way, but with the horizontal lines aid in the execution of the technique on singing or standard playing, as shown in placed at the corresponding fundamental different played notes throughout the Figure 4. and overtone frequencies for that pitch. range of the clarinet. This would seem to correspond to One of the primary differences After determining the average and peak the transition from the main air stream between the humming while playing and intraoral pressure values for each task, to the air stored in the oral cavity, and the singing while playing spectrograms the two values were compared. The peak can be attributed to an increase in directly relates to how distinctly the intraoral pressure levels during humming embouchure pressure as the clarinetist two simultaneous pitches appear. The exceeded the average levels from the same makes this transition. This also shows that tasks utilizing humming while playing tasks by an average of 1.99 kPa, showing a it is possible to maintain a played pitch overwhelmingly generated spectrograms that show a clear distinction between the frequencies of the played pitch and the frequencies of the hummed pitch, as shown in Figure 6. The additional frequencies present in Figure 6 correspond to the hummed

D3, with the overtones fading at roughly 3000 Hz. It is important to note that the frequencies of the played pitch and the hummed pitch are both present without appearing to interfere with each other. This contrasts sharply with the way most of the singing while playing spectrograms appear. Figure 7 again shows a loudly played

G6, but with a D3 being sung loudly, rather than hummed loudly.

The frequencies for the played G6 are again clearly present, with the overtones fading at roughly the same point as in the hummed task. Additionally, the

fundamental of the sung D3 and its first Figure 4. Mean difference between peak and corresponding average intraoral pressure. overtone appear fairly clearly on the

SEPTEMBER 2020 THE CLARINET | 43 for the hummed task continued to appear This is noteworthy because it shows fairly consistently up until they began to how the singing while playing technique fade at 3000 Hz, the sung task shows an primarily creates a distortion effect entirely different effect. modifying the played pitch, rather than After the first overtone at roughly 262 generating two distinct pitches. While

Hz, the overtones from the sung D3 fade the fundamental and first overtone of the significantly. Rather than appearing to be sung pitch are clearly visible, the intensity a separate and independent acoustic event of many of the frequencies surrounding

from the played pitch like in the hummed the played G6 frequencies appear to task, the sung pitch appears to combine be stronger than the lower frequencies with the played pitch to create a distortion from the sung pitch. This means that Figure 5. Spectrogram of loudly played G6 with effect that is visible in the additional the overall acoustic effect produced is no vocalization. frequencies surrounding the played pitch. that of a distorted clarinet pitch blended At both the fundamental frequency together with a somewhat less clearly and all of the overtones present on the defined sung pitch. The vast majority of singing while playing tasks produced this spectrogram, just as in the hummed task. spectrogram for the played G6, several However, while the subsequent overtones strong nearby frequencies are also present. effect, in contrast to the distinct played and hummed pitches with minimal interference found in the humming while playing tasks.

IRMS One of the most widely used intensity measurements, often generally labeled as “sound intensity,” is the root mean square

measurement of sound pressure, or IRMS, which provides an average intensity value

over time. IRMS measurements from tasks utilizing the same played, hummed, and sung pitches at different dynamic levels were examined to compare their intensity levels and determine if there were any major differences in overall intensity between techniques. The results showed that while the intensity levels of many of Figure 6. Spectrogram of loudly played G6 with loudly hummed D3 and intensity contour. the individual tasks tended to fluctuate, the total intensity output ranges of singing and humming while playing are both quite similar to the intensity ranges for standard clarinet playing, often deviating from baseline levels by 2.0 dB or less. The intensity ranges for singing and humming while playing tend not to have upper limits that are quite as high as in standard playing, however.

RESULTS METHOD FOR PERFORMERS One of the primary purposes for this research study was to create a method that would allow performers to learn each of the techniques studied using all of the data gathered. While this method is too large to be included here, it can be found in the Figure 7. Spectrogram of loudly played G6 with loudly sung D3 and intensity contour. author’s DMA dissertation or

44 | THE CLARINET SEPTEMBER 2020 freely downloaded at jeremyruth.com. CONCLUSION Humming Accomplish,” Journal of Singing It focuses on first isolating the Both singing and humming while playing 52, no. 3 (January/February 1996): 49; Jamie L. Perry, “Anatomy and Physiology of the physiological mechanisms used in the are challenging advanced techniques Velopharyngeal Mechanism,” Seminars in Speech production of each technique and working that use vocalization to create unique and Language 32, no. 2 (2011): 84. through them in a step-by-step process. acoustic effects involving the production 11 Miller, “Sotto Voce,” 49. Particular emphasis is placed on practicing of multiple pitches simultaneously. 12 All pitches, including sung and hummed pitches, the challenging elements illuminated in Beyond their obvious connection are transposed up a major second to correspond to written B-flat clarinet pitches. Octave the data analysis from the study, such through vocalization, however, these two designations correspond to E3 being the lowest as smoothing the transition between air techniques differ greatly. Not only are the note on the clarinet. sources in humming while playing. Range physiological mechanisms used to produce 13 Vernier Software and Technology (2019), Logger limitations from the study are utilized each technique quite different, but each Pro (Computer program), Version 3.9, retrieved for the exercises in the method, and the technique comes with its own unique set February 9, 2019, www.vernier.com/products/ software/lp/. exercises become progressively more of possibilities, challenges, and limitations. 14 Since the nasometer is designed for use with difficult in various ways to help prepare As with any technique, and particularly speech and not clarinet playing, it is likely that the performer to use the techniques in with techniques such as these that offer when certain tasks are played particularly loudly different contexts. so many different combinations of or sound exits the clarinet through tone holes acoustic possibilities, the exploration and closer to the headset, the upper nasal microphone RESOURCE FOR COMPOSERS discovery of ways to incorporate them into could pick up the clarinet sound, which would Another primary purpose for this research produce a higher nasalance value than is actually future compositions can only add to the being produced by nasal acoustic energy. While study was to produce a resource that musical palette available to composers. this means that the nasalance measurements may composers could utilize when writing The author hopes that this research not not be precise ratios of the actual nasal acoustic for each technique. While the author’s only provides useful information for energy to the total acoustic energy, the nasalance dissertation should be consulted for composers who wish to use these new data should still show clear differences between more detailed guidelines, the following tasks with generally high nasalance levels and colors on their canvasses, but also helps tasks with generally low nasalance levels, along recommendations regarding vocal range, the performers who want to learn how to with any overarching trends between task groups. playing range, dynamic range, duration play their works. v 15 Bowling, 7. and effect are the main points from 16 Gardner and Hansen, 10. that analysis: ENDNOTES 17 Stephen McAdams, Philippe Depalle, and Eric 1 William Haislet, “The Art of Multiphonics: A Clarke, “Analyzing Musical Sound,” in Empirical • Humming while playing allows the Progressive Method for Trombone” (DA diss., Musicology: Aims, Methods, Prospects, ed. Eric player to utilize their full vocal range, University of Northern Colorado, 2015), 6; Clarke and Nicholas Cook (Oxford: Oxford while singing while playing is limited Ronald Caravan, Preliminary Exercises and Etudes University Press, 2004), 157-161. 18 Lerch, 73. to roughly one octave. in Contemporary Techniques for Clarinet (Oswego, NY: Ethos Publications, 1979), 30. • Both techniques can be utilized 2 Nasometer II: Model 6450, Informational throughout the full range of the brochure (Lincoln Park, NJ: KayPENTAX), 2; ABOUT THE WRITER clarinet, but humming while playing Micah Bowling, “Intraoral Pressure and Sound Jeremy Ruth is a becomes much more difficult in the Pressure During Woodwind Performance” (DMA clarinetist and altissimo register. diss., University of North Texas, 2016), 7. educator based in 3 Alexander Lerch, An Introduction to Audio • The dynamic range of each technique is Content Analysis (Piscataway, NJ: IEEE Press, Phoenix, Arizona. comparable to that of standard playing. 2012), 73. He currently serves Photo by Olivia Meadows by Photo • Singing while playing is limited in 4 Jeremy Larkham Ruth, “Humming and Singing as a faculty member duration only by the length of time While Playing in Clarinet Performance: An at Estrella Mountain Evidence Based Method for Performers and a player can expel air in standard Community College, Resource for Composers” (DMA diss., Arizona playing, assuming that the player does State University, 2019). the East Valley School not attempt to circular breathe, while 5 Jamie L. Perry, “Anatomy and Physiology of the of Music, and Harmony Project Phoenix, humming while playing is limited to Velopharyngeal Mechanism,” Seminars in Speech in addition to regularly performing around short bursts equal to the length of time and Language 32, no. 2 (2011): 84. the world as both a soloist and a member of 6 Ingo Titze, “Voice Research: Lip and Tongue the Ambassador Trio. Jeremy’s performance that the performer can expel air from Trills – What Do They Do for Us?,” Journal of their sealed-off oral cavity. Singing 52, no. 3 (January/February 1996): 51. and research interests are wide ranging, but • The overall acoustic effect produced 7 Kenneth N. Stevens, Acoustic Phonetics he has a particular interest in contemporary by each technique is vastly different (Cambridge, MA: The MIT Press, 1998), 35. music, performance art, and exploring new since singing while playing creates a 8 Ibid. extended techniques for the clarinet. 9 Joshua T. Gardner and Eric C. Hansen, Extreme distorted clarinet sound, in contrast to Clarinet (Cedartown, GA: Potenza Music, 2012), the two clear, distinct pitches produced 10. by humming while playing. 10 Richard Miller, “Sotto Voce: What Does

SEPTEMBER 2020 THE CLARINET | 45 James Dean Mackey’s Clarinet Patents by Will Peebles, Western Carolina University

eborah Check Reeves1 and Nophachai James Dean Mackey (1889-1968) grew up on Cholthitchanta2 recently reviewed a variety a farm near Marietta, Ohio, where he learned to of attempts to fix certain weaknesses of play his father’s boxwood flute.5 Although he never the Boehm-system clarinet developed by finished high school, Mackey pursued a lively interest HyacintheD Klosé and Louis-Auguste Buffet. These in music throughout his life – performing, arranging fixes tend to focus on 1) the use of the left thumb key music for his dance band, and making at least seven as both a register key and the tone hole for (written) different woodwind instruments, from a Boehm-

B 4, 2) alternatives to the left hand first finger (L1) system bassoon to a “stratosphere piccolo” a fifth keysb for the throat tones, and 3) the side keys used higher than normal. From 1919-1921 Mackey lived for trills (operated by R1). Two patents issued by in Columbia, South Carolina, where he established the U.S. Patent Office in the 1920s to James Dean an engraving company and played for silent movies Mackey show further interest in these issues in the in the Columbia Theater. In August 1921 he married United States.3 Although his second patent has Nellie Koon and moved to Parkersburg, West been cited four times in other patent applications, Virginia where his wife taught school and he founded the only one involving the clarinet was by Oscar E. the Mountain State Engraving Company with his Christensen in 1946.4 If Mackey built models for brother-in-law. In 1926 Mackey moved to Newark, either of his clarinet mechanisms, their whereabouts Ohio, establishing the Newark Engraving Company, are not known and his ideas do not seem to have which provided both traditional and photoengraving been pursued commercially. Nevertheless, the services. Mackey continued to play flute in bands and patent documents reveal a radically innovative but the Licking County Symphony Orchestra through inherently logical approach to clarinet fingerings. the 1950s. In April 1964, he exhibited many of the woodwind instruments that he had made at a local bank (Fig. 1).6 Mackey died of a heart attack on December 20, 1968. In the mid-1970s, after the death of his widow, Mackey’s flutes were given to a flute player in the Indianapolis Symphony. His Boehm-system bassoon is in my possession, but the locations of the other instruments are not known. When I interviewed Mackey’s daughter, Elizabeth Postlethwaite, and two of Mackey’s three grandchildren in June 2019, no one could recall ever seeing clarinets built on his patents. And while a scrapbook Mackey had assembled in the 1960s included photographs or drawings of some of his other instruments, it contained no further information about the clarinets.7 So the only evidence we have comes from the patent documents. Mackey filed his first patent application for improvements to the Boehm-system clarinet on May 25, 1921 (Fig. 2).8 The patent describes a mechanism by which the throat tones of the clarinet are controlled not by the traditional keys for the left Fig. 1. Mackey at age 74 with instruments that he made. He is playing a rackett of his own hand first finger (L1) and the left thumb register key, design. Behind him are his Boehm-system bassoon (on diagonal), another bassoon and but remotely by the four fingers of the right hand. flutes of various sizes.18 The mechanism involves a set of five tone holes for

46 | THE CLARINET SEPTEMBER 2020 U.S. Patent 1,424,253 was awarded on August 1, 1922, for this ingenious mechanism. Mackey does not specifically mention or illustrate a register key because, unlike the Klosé-Buffet

mechanism, his does not require the B 4 tone hole to double as the register vent.b His statement that “those parts which have been omitted [from the patent] can be readily supplied by reference to any standard form of Boehm clarinet” seems to indicate the continued use of the thumb key as a register key. Mackey’s 1921 mechanism bears superficial resemblance to that patented in the 1860s by Antonio Romero,9 but it is unlikely that Mackey knew of Romero’s system as his work was not available in English. Romero used four tone holes (G , G , A and A ) that are controlled 4 #4 4 #4 remotely by the right-hand ring keys. A is played “open,” while successively #4 adding R1, R2 and R3 will produce A4, Fig. 2. Mackey’s 1921 patent application drawing. G and G . The ring keys can be used Fig. 4. Mackey’s 1922 patent application drawing. #4 4 either independently or in conjunction,

such that G4 can be played with R3 alone, written pitches throat G up to C that are with R3 and R2, or with R3, R2 and R1 tone holes. Then, by adding tone holes #4 5 together, and G 4 can be played with R2 covered by keys sprung to be open. # for B4 and C5, he ensured that trills above or with R2 and R1. Romero divorced the When the left thumb hole is closed B 4 could be executed “in a far more for the low register, the ring key engages a function of the highest tone hole from that expeditiousb manner than is possible in bar that closes all five of these tone holes. of the register vent (as seems to have been clarinets heretofore proposed.” Finally, When the left thumb is raised as if to Mackey’s intention), but used two register and most significantly, he duplicated the vents with an automatic mechanism to play G4 on a Boehm clarinet, all five tone first octave’s right-hand fingering pattern switch from one to the other, at least on an holes will open, producing C5. Now the for the first part of the second octave. As 10 player can control these five tone holes example made by Lefèvre. a flute player, Mackey was familiar with using the same right hand fingerings as for The originality of Mackey’s initial the replication of fingering patterns at the the notes an octave lower (Fig. 3). When patent is striking. First, he eliminated octave, and the fact that clarinet fingerings all three right-hand fingers are down, all the throat-tone keys for L1 and the side start over at the twelfth may have bothered five holes are closed and G is produced keys for R1 so that the fingers never have 4 him enough to trigger his creative (○/○○○/●●●). to leave their “home” positions over the solution. But he wasn’t done. On July 21, 1922, Mackey filed another patent.11 Mackey’s thinking had clearly matured, as had the quality of First octave (low register) Second octave (“throat tones”) the patent drawings (Fig. 4). The new Written LT L1,2,3 R1,2,3 R4 Written LT L1,2,3 R1,2,3 R4 mechanism is more ingenious yet, and the

C4 ● ●●● ○○○ C5 ○ ○○○ ○○○ fingering system shows truly “out of the box” thinking. B3 ● ●●● ○●○ B4 ○ ○○○ ○●○ Mackey’s new design does without the A#3 ● ●●● ●○○ A#4 ○ ○○○ ●○○ separate tone hole for C4 and specifies A3 ● ●●● ●●○ A4 ○ ○○○ ●●○ a register vent (R) that is divorced from

G#3 ● ●●● ●●● G#3 key G#4 ○ ○○○ ●●● G#3 key the tone hole matrix. The left thumb ring G ● ●●● ●●● G ○ ○○○ ●●● key functions in the same way as before, 3 4 allowing the throat-tone holes to open as Fig. 3. Comparison of notes that use the same right hand fingerings (1921 patent). a group. But in the fingering pattern that

SEPTEMBER 2020 THE CLARINET | 47 Written LT L1,2,3,4 R1,2,3,4 Comments patented by Thomas and Robert McIntyre in 1962 and produced commercially by C ●R ●●●F ●●○ See discussion of new fingerings for E and F . 15 5 #3 3 3 Thibouville frères. Like Romero’s, the B ○ ●●● ●○○ Or use ●R/●●●F /●○○ for trill to C or C . McIntyre system employs a grouping 4 #3 5 #5 A# ○ ●●● ○○○ Use the register key for trill from B to C ? of four keys for G , G , A and A , but 4 4 5 4 #4 4 #4 these are controlled by the fingers of the A ○ ●●○ ○○○ b 4 left hand: L3 opens the G tone hole, L2 #4 G#4 ○ ●○○ ○○○ opens the A4 tone hole, and L1 opens the G ○ ○○○ ○○○ A tone hole. The McIntyre system retains 4 #4 three of the Boehm clarinet’s familiar R1 Fig. 5. Fingerings for G4 through C5 (1922 patent). side keys and all of its little-finger keys. The McIntyres’ patent application does not cite Romero, Mackey or Child.16 controls these tone holes, Mackey goes L4 now operates only the left F key and Although reviewed favorably at the time as #3 where no other the C key on the upper joint, while R4 “the clarinet of the future,” its unfamiliar #4 maker has gone: an ascending series of operates only the G key and a duplicate fingerings, heavy mechanism and difficulty #3 pitches is now obtained by adding fingers F key. of adjustment led to the eventual eclipse #3 17 down the instrument (Fig. 5). Richard As handy as this new mechanism is of the McIntyre clarinet. Carte had employed a somewhat similar in the low range, it is in the transition Mackey does not seem to have pursued idea in his 1858 clarinet patent,12 but he to the second register that it has its most his patents commercially nor, apparently, has anyone else. In view of the logic and used single fingers in succession to operate revolutionary effect. Moving from 4B to simplicity of the fingering patterns, the his new throat keys, while Mackey adds C5 (as shown in Fig. 5) now requires only the fingers cumulatively so that most of the addition of the left thumb (on the possibility of locating the B tone hole b the fingers are already down when the register key and ring key), plus R2 and the in its acoustically correct position, and transition to the second register arrives. F key for L4. This is far easier than the the potential to find a more acoustically #3 At first, Mackey’s new fingerings traditional “break” of the clarinet, where advantageous placement of the register may seem crazy – and they certainly the position of the left thumb and seven of vent(s), perhaps his time will come. are counter-intuitive – but there was a the fingers must be changed at once. The I would appreciate hearing from method to his madness. To understand cumulative effect of these innovations is anyone with further interest in or their full significance, however, we to allow a continuous chromatic compass knowledge of Mackey and his musical must first examine another of Mackey’s that requires the movement of only one or instruments. Please send any questions or innovations. two fingers for every chromatic step except information to [email protected]. To simplify the low end of the for B to C and C to C .13 I am grateful to Al Rice, Deborah 4 5 6 #6 clarinet, Mackey created a mechanism Two other patents for innovative Check Reeves, Shannon Thompson, Greg that automatically closes the tone holes throat-tone mechanisms show continued Oakes and Rachel Yoder for their helpful v under R2 and R3 when the left-hand interest in solving the problems Mackey suggestions regarding this project. F key is pressed. But now there are two was trying to correct. In 1924 Geoffrey #3 ENDNOTES new overlapping keys for R2 and R3 that Herbert Child was issued a patent for a 1 Deborah Check Reeves, “A Prescription for the control normally closed keys over the mechanism that, like Mackey’s, eliminates Clarinet’s Sore Throat: Throat B Mechanisms as F and F tone holes, respectively. Thus the G , A and A keys and reduces the Illustrated Using Clarinets from bthe Sir Nicholas 3 #3 #4 4 #4 the familiar Boehm clarinet fingering number of little finger keys to two each.14 Shackleton Collection,” in Arnold Myers, Eleanor Smith and Heike Fricke, eds., Proceedings (●/●●●F /●●●) opens these closed holes Control for G , A and A is assigned to #3 #4 4 #4 of the Clarinet and Woodwind Colloquium 2007, to produce F . To descend from F , the right-hand fingers in a manner similar #3 #3 Edinburgh: Edinburgh University Collection of raising R3 (●/●●●F /●●○) produces F to Romero’s. But Child’s mechanism Historical Musical Instruments, 2012, 159-172. #3 3 by closing the F tone hole, and then is considerably more complex than 2 Nophachai Cholthitchanta, “Stubbins S-K #3 raising R2 (●/●●●F /●○○) produces E Mackey’s, involving as many as six parallel Mechanism Clarinet,” in Arnold Myers, Eleanor #3 3 Smith and Heike Fricke, eds., Proceedings of new by closing the F3 tone hole. Here again, rods, two keys above L1 for trills to B4 the Clarinet and Woodwind Colloquium 2007, Mackey introduces fingerings that are and C5, and another new trill key for L2. Edinburgh: Edinburgh University Collection of backwards from the traditional way in Child also covers R1 with a plate and adds Historical Musical Instruments, 2012, 181-190. which woodwind fingering systems work. a second plate for the same finger that 3 William J. Maynard included a brief discussion But what he gains from this is significant: controls both F and B ! of Mackey’s patents in his “Patents: Searching 3 b4 to Eliminate the ‘Break,’” The Clarinet, Vol, 2/2 the Boehm clarinet’s pairs of keys for E3 In the June 2020 issue of The Clarinet, (February 1975), pp. 4-9. and F3 are no longer needed! So instead Deborah Check Reeves describes a 4 U.S. Patent 2,506,489, issued May 2, 1946. of four keys for each of the little fingers, mechanism (simpler than Child’s) that was 5 James Dean Mackey published a series of

48 | THE CLARINET SEPTEMBER 2020 humorous recollections of his youth as Us Fellers (Philadelphia: Dorrance & Company, 1953); the story of the flute is on p.178. Clarinet a n d Saxophone p r o d u c t s 6 For a more detailed biography, see my articles “James Dean Mackey: Maverick Instrument Maker of Newark,” American Musical INTRODUCING THE NEW Instrument Society Newsletter, vol. 49/1 (Spring 2020), pp. 5-7; and “James Dean Mackey and His Boehm-System Bassoon,” The Double Reed, vol. 43/1 (2020), pp. 50-68. 7 Interview with Elizabeth Mackey Postlethwaite, K June 12, 2019. The biographical information in 10 this paper is from this interview and from the Computer machined from German rod rubber and scrapbook. hand finished, the 10K series represents craftsmanship 8 U. S. Patent 1,424,253, issued August 1, 1922. and design expertise developed over 30 years from 9 Eric Hoeprich, The Clarinet, New Haven: Press, 2008, 186-187. making more than 10,000 professional mouthpieces. 10 See Reeves (2012), p. 169, for photos and a description of this mechanism. 11 U.S. Patent 1,585,594, issued May 18, 1926. 12 Maynard, p. 5. Carte’s patent is British Patent Visit our website for premium 1858, February 9, No 245. clarinet accessories, including: 13 This can best be seen in my version of the • Custom barrels for all clarinets full fingering chart based on Mackey’s patent application but reformatted for clarity (available • Peter Leuthner reeds upon request). • Tuning rings, and more! 14 U.K. patent GB 214,348 on April 24, 1924. 15 Deborah Check Reeves, “Historically Speaking,” The Clarinet, Vol. 47/3 (June 2020), pp. 22-23. 16 U.S. Patent 3,015,981, issued January 9, 1962. The McIntyres cited an earlier patent by Christensen (U.S. Patent 2,183,423 issued on December 12, 1939), but in this one Christensen did not cite Mackey’s patents. 17 Reeves (2020), p. 23. 18 Newark (Ohio), Advocate, April 2, 1964, p. 15.

ABOUT THE WRITER Will Peebles teaches bassoon, music theory and gamelan at Western Carolina University. He received his masters and doctoral degrees from Michigan State University, where he studied with Edgar Kirk, Richard Beene, Barrick Stees and Robert Williams.

Don’t miss an issue of The Clarinet! Renew your membership online at www.clarinet.org

SEPTEMBER 2020 THE CLARINET | 49 The Quarter-Tone Extended Clarinet by Gregory Oakes

omposers and theorists began working with same range of notes in the next register, B4 to E5, music involving microtones (notes that fall range from awkward to extremely impractical to between the 12 notes traditionally constituting play with any degree of facility (see Fig. 2). Can octave) as early as the 11th century.1 Because of these limitations, composers writing Division of the octave into 24 equally-spaced quarter-tone music for the clarinet have either had intervals, called “quarter tones,” can be traced back to avoid these ranges of the instrument or devise to 1823 and music theorist Heinrich Richter.2 Since new instruments that are able to play the notes. that time, many composers have written music that calls for quarter tones, enough that a standardized PAST SOLUTIONS system of notation for quarter sharps and flats For composers wishing to write in a true quarter-tone (called Stein-Zimmerman) has evolved and is language, avoiding such large portions of the clarinet’s incorporated into notation software like Finale and range can be a troublesome limitation. Another Sibelius (see Fig. 1). solution is to create an instrument capable of playing the quarter tones in those ranges, eliminating that WHY MAKE THIS INSTRUMENT? constraint. Composer Alois Hába (1893–1973),3 as With instruments like strings, voice or trombone, an example, specified a quarter-tone clarinet designed placement of pitch is not limited by the structure in 1924 by the Grazlitz-based Kohlert company4 for of the instrument, but rather by the performer’s his Suite for Quarter-Tone Clarinet and Quarter-Tone practice and listening skills. For typical woodwind instruments, however, the discreet fingerings that determine the notes in the octave are already set. In order to play quarter tones on the clarinet, specific fingerings must be used that produce pitches halfway between each of the originally intended notes. Since the clarinet was not designed for these quarter-tone notes, however, there are

some limitations. Quarter tones from the lowest E3

on the instrument to the A3 a fourth above it are not possible due to the lack of fingering options available with the pinky-key-activated pads. The

Fig. 1. Stein-Zimmerman symbols for quarter sharp, three- quarter sharp, quarter flat, and three-quarter flat

Fig. 2. Ranges of impossible or impractical quarter tones on Fig. 3. Fritz Schüller’s quarter-tone clarinet from 1937 the clarinet Credit: Creative Commons

50 | THE CLARINET SEPTEMBER 2020 Piano No. 1, Op. 24 (1925). While this instrument provided a full range of quarter tones, the added keys required learning a new set of fingerings, a potentially daunting task for a clarinetist. Fritz Schüller’s now widely-seen 1937 dual bore design was, in effect, two joined clarinets tuned a quarter tone apart with a common set of keys controlling both (see Fig. 3).5 A valve at the top directed the air through one of the two bores. The advantage of this design is a complete set of tone holes for each quarter tone on the instrument. It was bulky with a complicated key mechanism, however, and some quarter tones could be better produced on a standard clarinet without the extra complication. Ultimately, this design was not popular enough for it to escape novelty status. Fig. 5. Right hand pinky key (highlighted for Fig. 6. Side and back views of the right-hand clarity) and the two tone holes it controls thumb key (highlighted for clarity) THE QUARTER-TONE EXTENDED CLARINET Building upon the lessons from previous attempts, the Quarter-Tone Extended of five new tone holes on the bottom so it can still be played exactly as a typical Clarinet is a modified Buffet R13. The joint facilitate the quarter tones for the clarinet. The fingerings extra keys, added by Lohff & Pfeiffer previously unavailable notes (see Fig. 4). that composers and performers have of Copenhagen, Denmark, extend the Although the keywork may look already employed for other ranges of the possibilities of the existing clarinet without complicated at first, the method of playing instrument are still the ones that this changing the fundamental workings of the each new note is quite straightforward. instrument utilizes to create quarter tones original instrument. All of the original keys There are only two added keys for the through the rest of its range. And there are in their normal places and function fingers to operate: a right-hand pinky key are only two new keys that operate in exactly as they always have. The addition and a right-hand thumb key. The pinky context with what other keys are already key opens one or both of the lowest two being pressed, allowing the performer to tone holes depending on what other keys press a single key to raise any of the five are down. If the E/B is pressed, only the lowest notes on the instrument (and their hole on the bell opens (labeled 1 in Fig. respective clarion notes a twelfth above) 5), creating the E/B quarter sharp. If the by a quarter tone. The simplicity of the E/B key is left in its open state, the next performer’s experience will allow for quick hole up is allowed to open (labeled 2 in adoption of facile quarter-tone technique Fig. 5), creating the C/F quarter sharp. through this previously troublesome The remaining three added tone holes portion of the instrument. are controlled by the right-hand thumb ADDITIONAL BENEFITS key. When pressed, it also allows tone As an added bonus, the new tone holes holes to open based on what other keys are in positions where none existed before pressed. If the F♯/C♯ is pressed, the hole have created other possibilities beyond labeled 3 in Fig. 6 opens to create F three- quarter tones. Their inclusion with some quarter sharp. If no other keys are pressed, multiphonics has already shown to change the tone hole labeled 4 in Fig. 6 opens for them in helpful ways, specifically bringing a G quarter sharp. Finally, if the G♯/D♯ certain dyads better in tune. With time key is pressed along with the thumb key, and experimentation, there may well be the tone hole labeled 5 in Fig. 6 opens to multiple other multiphonics that benefit create D three-quarter sharp. from the new tone holes. Like any It’s important to note that the Quarter- new creation, the full capacity of the Fig. 4. Added tone holes on the Quarter-Tone Tone Extended Clarinet still uses all of the Quarter-Tone Extended Clarinet has yet Extended Clarinet traditionally-learned clarinet technique, to be realized.

SEPTEMBER 2020 THE CLARINET | 51 ICA ANNOUNCEMENT

2021 Young Artist BUT IS THERE ANY MUSIC ENDNOTES Competition WRITTEN FOR IT? 1 E. Michael Richards, “Chapter 2 – Single Pieces need not have been written Sounds,” The Clarinet of the Twenty-First Century, Coordinator: Diane Barger – accessed 29 January 2020, https://userpages. [email protected] specifically for the Quarter Tone Extended umbc.edu/~emrich/chapter2-5.html. Clarinet in order to benefit from its 2 Julian Rushton, “Quarter-Tone,” The New Application Deadline: advances. Much of the awkwardness of Grove Dictionary of Music and Musicians, second Sunday, April 1, 2021. quarter tones in the middle of the staff edition, ed. Stanley Sadie and John Tyrell Repertoire: becomes much easier with dedicated (London: Macmillan Publishers, 2001). • Introduction et Rondo, Op. 72, for keys and tone holes. Besides the pieces 3 Eric Hoeprich, The Clarinet(New Haven: Yale University Press, 2008), 293. clarinet and piano – Charles-Marie of Alois Hába, there are few for this kind 4 Richards, The Clarinet of the Twenty-First Century. Widor (Heugel/Leduc) of instrument for the clear reason that 5 Ibid. • Sonata for solo clarinet, Mvt. 1, Lyrique quarter-tone clarinets aren’t a common and Mvt. 4, Final – Ida Gotovsky thing. There are, however, nine composers ABOUT THE WRITER (Molenaar) that the author has commissioned to write Gregory Oakes is • BlingBling for clarinet and piano (all) – for the Quarter-Tone Extended Clarinet, professor of clarinet at Scott McAllister (www.lydmusic.com) and more are signing on to the project as Iowa State University, Prizes: it begins to gather momentum. Two of First prize – $2500 USD and a professional these composers’ works will be featured principal clarinet clarinet to be announced on a recital to introduce this clarinet at of the Des Moines Second prize – $1000 USD the 2021 ClarinetFest® in Fort Worth. Symphony Orchestra, Third prize – $500 USD That will be the first opportunity to see and a soloist who specializes in avant- Visit www.clarinet.org for full and hear this new instrument in action, garde and extended- competition rules and application details. so be sure to come listen and stay around afterward to check out the Quarter-Tone technique music for the clarinet. He is a Extended Clarinet in person. v Buffet and a Vandoren Performing Artist.

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52 | THE CLARINET SEPTEMBER 2020 Reexamining Articulation in Alban Berg’s Vier Stücke by Eric Schultz

lban Berg is known for bringing a certain “humanity” Vier Stücke may have contributed to to the atonal and twelve-tone methods of composition. Schoenberg’s general disapproval. Berg’s He would come to learn the theory of his teacher Arnold previous work, Fünf Orchesterlieder nach ASchoenberg but was never afraid to break the rules to Ansichtkartentexten von Peter Altenberg, achieve his desired result. Vier Stücke is unusual in his output. Op. 4, is similar in length to the clarinet Written in 1913, the four pieces are very short, with the pieces. Reacting to both, Schoenberg longest being only 20 measures. expressed his dislike and demanded Many Romantic composers wrote miniatures, including Berg write on a larger scale. Berg’s Drei Beethoven, Brahms, Schubert, Schumann and Chopin. Later, Orchesterstücke, Op. 6, is a clear response Debussy, Ravel, Bartók, and all of the composers of the Second to this criticism, perhaps also inspired by Viennese School would continue in this genre. Vier Stücke Schoenberg’s Fünf Orchesterstücke, Op. 16. is an example of aphoristic (small-scale) composition, as it In 1915, communication ceased tends to avoid obvious melodic development or repetition, between Schoenberg and Berg for a while providing a stark contrast to the large formal structures of the after a personal rift.1 It was a painful late Romantic era. At first, Berg thought this would be the only period for Berg, as Schoenberg’s other possible way to write in an atonal style, but he would soon student Anton Webern was allowed to disprove this with his own landmark opera, Wozzeck (1914-22). address his teacher by the familiar, more Berg began studying with Schoenberg in 1904. Before equal German “you” form, du. Berg was this, he had minimal musical education. After Schoenberg not offered this privilege until years later, moved to Berlin in 1911, he communicated often with Berg, as his relationship with his teacher was especially to tend to his needs in Vienna. Berg was desperate repaired. Schoenberg even dedicated his to please his teacher but did not always succeed. In fact, Violin Concerto to Webern, and while Berg dedicated four works to his teacher, including Vier Stücke, Schoenberg never gave Berg such recognition. Further, studying with a Jewish teacher would become problematic for Berg later in life as anti-Semitism rose in Germany, Austria, and beyond. Eventually, Berg’s work was placed on the Nazi list of entartete Musik, or “degenerate music.” Many excellent and varying analyses have been written about Vier Stücke, most notably relating the pieces to the traditional four movements of a sonata. In fact, in an analysis published by The Clarinetover two decades ago, Dennis Nygren argues that the first piece suggests a sonata form, and the last a rondo.2 Nygren is not the first to comment on the possibility of a Ländler3 hiding in the third movement. Arnold Schoenberg’s Portrait of Alban Berg (detail, 1910) Some scholars assert the work as the most

SEPTEMBER 2020 THE CLARINET | 53 Flatterzunge, a marking which Berg also uses in Vier Stücke. There are a few reasons to reconsider this tradition. For one, why would a composer as meticulous as Berg use two different markings for one effect? Perhaps a better argument, however, can be found in Figure 1. From the marking espressivo, the rhythm in the clarinet part becomes incrementally shorter in duration, a rhythmic technique Berg uses often in his music. From eighth notes, to triplets, 16ths, sextuplets, 32nds – why wouldn’t the next rhythm be exactly as marked – eight equal divisions of each Credit: by Universal © Copyright 1952 Edition 1924, A.G. Wien/UE7485 quarter note within a broader triplet gesture? This would make 24 notes in the space of two beats, as illustrated in Figure 2. This is quite different from a stagnant fluttertongue effect if one takes this approach to performance, especially given the ritardando following an already very slow ganz langsam tempo, which would allow for the audible distinction of each separate note while continuing to slow all the way up until the molto accelerando in the next measure. By the end of the ritardando, the tempo should be exceedingly slow, allowing for clear and distinct articulation. Because of the use of the word quasi, and the obvious rhythmic diminution technique employed here, there is a strong Figure 1: Use of rhythm and expressive markings in Alban Berg’s 4 Stücke für Klarinette und Klavier, case against the traditionally performed Op. 5/I, mm. 3-7 fluttertongue effect, replacing it with a controlled use of the tongue that allows for articulation as marked while continuing the atonal of Berg’s output,4 while others argue opening major thirds which are usually broader slowing of the music. that the piece is actually tonal at times, and avoided, especially by Schoenberg. As a Berg writes a considerable amount even attempt to show functional harmonic listener, it forces one to reconsider what a in his scores. Performers may come progressions.5 For example, the second major third should sound like outside of to different conclusions as to how to interpret markings, but we owe it to a great piece can be analyzed in B-flat, with an the context of tonality. composer like Berg to pay just as much augmented triad as tonic to purposely One feature that is rarely discussed, attention to his words as to his music. v blur the tonality.6 The opening thirds are and critical for performers to consider is strikingly reminiscent of Schoenberg’s the use of the marking quasi Flatterzunge. ENDNOTES Sechs kleine Klavierstücke, Op. 19, No. 2 Performers often discuss this marking 1 Douglas Jarman, “Berg, Alban,” Oxford (1911), also exactly nine measures and with as if it is interchangeable with the effect Music Online, 2001, doi:10.1093/ gmo/9781561592630.artice.02767. 2 Dennis Nygren, “The Chamber Music of Berg,” The Clarinet Vol. 13/3 (1986): 26–31. 3 Mosco Carner, Alban Berg: the Man and the Work. New York: Holmes & Meier, 1983: 121. 4 Theodor W. Adorno, Alban Berg, Master of the Smallest Link, Translated by Juliane Brand and Christopher Hailey, Cambridge: Cambridge University Press, 1994: 77-78. Figure 2: Proposed alternative notation for Op. 5/I, m. 6 5 Christopher Lewis, “Tonal Focus in Atonal

54 | THE CLARINET SEPTEMBER 2020 ICA ANNOUNCEMENT

Music: Berg’s Op. 5/3,” Music Theory Spectrum 3 in Ostend, Belgium. He has commissioned 2021 High School (1981): 84–97, https://doi.org/10.2307/746136. and premiered the music of composers such Solo Competition 6 James Perone, “Tonal Implications and the Role as Liliya Ugay, Chiayu Hsu, Carlos Carrillo, of the Symmetrical Hexachord in Alban Berg’s Coordinator: Kimberly Cole Luevano Four Pieces for Clarinet and Piano, Opus 5, No. Iván Enrique Rodríguez, Omar Surillo, and 2,” Interface 16, No. 1-2 (1987): 49–54, https:// Tony Solitro. He has performed with The [email protected] doi.org/10.1080/09298218708570487. Chelsea Symphony in and Eligibility: Competition participants is the founding clarinetist of the Victory Players contemporary chamber ensemble. must be 18 years old or younger ABOUT THE WRITER as of June 30, 2021. Eric Schultz is Schultz completed his Doctor of Musical assistant professor Arts degree in clarinet performance at Stony Deadline: April 1, 2021. of woodwinds at Brook University. Coastal Carolina Repertoire: University. As the • Set for Clarinet by Katherine Hoover first prize winner of (movements 2 and 3 only) the 2019 American • Sonatina, Op. 29 by Malcolm Arnold Protégé International Don’t miss an issue Prizes: Competition, he First prize – $1,000 USD will be performing in a solo recital at of The Clarinet! Second prize – $750 USD Carnegie Hall next season. As an expert Third prize – $500 USD on contemporary articulation techniques, Renew your Schultz has been invited to perform Visit www.clarinet.org for full competition and present at several international membership online at rules and application details. conferences, including the College Music Society conference in Vancouver and the www.clarinet.org International Clarinet Association conference

SEPTEMBER 2020 THE CLARINET | 55 IN DISCUSSION: THE CLARINETISTS OF CHINEKE! by Berginald Rash

ariam Adam and I are the clarinetists of Chineke!, pandemic, Chineke! was scheduled to make its first North American Europe’s first professional orchestra whose members tour performing in cities such as Los Angeles, San Francisco, are primarily Black and minority ethnic musicians. Washington D.C., and Ottawa; and later make its Edinburgh MChineke! was founded by double bassist Chi-chi Festival debut ending with its sixth recording, an album of chamber Nwanoku O.B.E. in 2015, and its motto is “championing change music by Black composers. Bringing all of our artistic strengths and celebrating diversity in classical music.” Chineke! has performed and experiences to the table, Mariam & I share an appreciation for at the Brighton, Cheltenham and Salisbury festivals, Wigmore Chineke! serving as a crucible replete with opportunities to meet Hall, Royal Festival Hall and the BBC Proms, and toured the U.K., other world-class musicians and develop further collaborations Germany, Belgium and Italy while serving as associate resident beyond its own creative borders. orchestra at London’s Southbank Center. Prior to the COVID-19 We’re often greeted with questions related to the work of the ensemble and asked to speak about our roles in expanding the reach of classical music. As friends and colleagues we often discuss our thoughts and experiences in hopes of encouraging, enlightening and celebrating the many advancements being achieved.

BERGINALD RASH: Your career has been varied and multifaceted from being a founding member of Imani Winds to half of the AdZel Duo to principal clarinet of Chineke!. In the U.K. and Photo by Matthew Higham Ireland we would call this a “portfolio career” which is so greatly benefited by creativity, tenacity, and ambition. How did you find or make your way? MARIAM ADAM: I am fortunate to have made some pivotal decisions in my life that led to what is now my career path based in Europe. The first was attending the Aspen Music Festival over 20 years ago now where I met a few musical angels: Valerie Coleman, the founder of Imani Winds; Myrissa Lai, who invited me to Europe; Stephanie Zelnick, who is my now AdZel Duo partner; and pianist Irene Ziglina who encouraged me to move to New York City for grad school.

BR: I am heartened by your humility in acknowledging the guidance you received early on in your career and education that encouraged you to not only continue on your artistic path but dream and envision more. I think that’s a huge part of just “making it” in this career, being around others who encourage and inspire, guide, and mentor. I too feel very fortunate that when I first started playing clarinet I had a teacher, F. Edward Knakal in Virginia Beach, who encouraged me throughout my formative education. I don’t think we can overstate the importance of having someone in your corner to do that. MA: Absolutely. I think the biggest barometer of my career has The Warehouse (London, U.K.) been being able to be open to new ideas musically, the desire to keep learning and being at the right place and the right time.

56 | THE CLARINET SEPTEMBER 2020 Photo by Eric Richmond Eric by Photo

Southbank Centre’s Queen Elizabeth Hall (London, U.K.); (left to right) Burt Mason, Paul Philbert, Robert Olisa Nzekwu, Nermis Mieses, Samson Diamond, Mariam Adam, Chi-chi Nwanoku OBE, Eric Lamb, Berginald Rash, Nicola Hicks

BR: I agree. Timing is everything, serendipitous and ephemeral. MA: I’m definitely trying to bring my experiences to this side of I certainly wouldn’t be living in Dublin and playing with you the pond. A couple of projects now include a festival in the and my many other friends and colleagues in Chineke! if it French vineyards as well as one in my hometown of Monterey, weren’t for timing and the fortunate confluence of events, from California. I love meeting new musicians and composers my undergrad at Florida State University to my master’s at the with whom I collaborate to produce new works for chamber University of Wisconsin–Milwaukee and second master’s at music, a genre that continues to be at the focal point of my NYU–Madrid. It’s amazing and wonderful how those things musical passion. come together and lead down a path hitherto unknown. Case in point: you’re in France! BR: I love your creative energy and have been very inspired by you MA: Exactly! Moving to France was a result of wanting a change and the rest of our Chineke! family. I’m currently working on a that would help me grow as a clarinetist in the country that has few projects, one I’m especially excited about – my debut album, birthed some of the leading wind instrumentalists. I felt I was Dathanna: Hues & Shades, with Irish harpist Fiona Gryson. I’ve in a place in 2016 to move on from what was a tremendous also had the pleasure of joining the London-based chamber experience with Imani Winds, to pursue growth and learning group Decus Ensemble, founded by Uchenna Ngwe, that (and eventually grow a family!) in France. A wonderful surprise champions the works of African and Black British composers, was being a two-hour train ride away from the Chineke! and in the summers I have the pleasure of playing principal Orchestra and ensemble which I affectionately call my new clarinet in szene12, a Dresden-based opera company conducted family. The collaboration with the members of Chineke! by Matthew Lynch that specializes in the reimagination and has been a rewarding experience that has encouraged me to experimentation of classic opera. be active in Europe in expanding the vision of musicians of How do you see the music world changing or evolving various backgrounds. from when you set out to today, and where would you like to see it heading? BR: What an incredible journey! You’ve helped foment the roots MA: I think I’m the most in awe of the resources students have of one of America’s most beloved chamber music groups, Imani today. Before, one traveled far and wide to gain an ear from Winds, and now you’re further extending and building on that a renowned teacher or to listen to a certain ensemble; now strength, experience, and knowledge in the clarinet section of it’s at your fingertips 24/7 on the internet, much thanks to Chineke! No doubt you’ve got other more personal projects in YouTube. I think this has had a significant benefit for people’s the works. ability to be open to new concepts in contemporary music,

SEPTEMBER 2020 THE CLARINET | 57 BR: And perhaps not just expanding the minds of audiences or would-be audiences but also those who develop and build audience bases. In much the same way the ICA has representatives around the world to connect people interested in the clarinet through pedagogy, scholarship, performance, etc.,

Photo by Matthew Higham classical music would benefit from such ambassadors. There’s work to be done on both sides of the stage, and having people from diverse backgrounds leading the charge in positions of leadership is a very healthy path towards doing that. In providing access – a seat at the table – to diverse audiences, populations and artists, we’re committing ourselves to doing just that. We’re just now beginning to see, with the rising popularity and awareness of the Black Lives Matter movement in the arts sector, orchestras and chamber ensembles actively seeking feedback from diverse artists, musicians and audience bases, and using those relationships to further develop authentic representation across the board, on the podium, and in the ensemble. Artistically, what is something you’re passionate about? MA: I love the mixing of genres of music in a comprehensive way that respects authenticity while leaving room for tradition and interpretation. For me music – even contemporary experimental music – should have some sort of story, feeling, Het Concertgebouw (, Netherlands) or dialogue with the listener. I have always liked the idea, especially in recitals, that the audience is on a journey with me through all the music; it’s important to make the live music interpretation, image and information. The age of information experience relevant and that’s something I’m passionate about. has been a boon and a burden in some ways, but I see many That has led to my desire to want to have my own chamber many students using this to their advantage to advance in music festival and to curate concert series that collaborate with their craft at a much faster pace than before. This does lead to everything from food, visual art and spoken word to puppetry a plethora of talent sometimes that has to be carefully guided and nontraditional settings. even at the professional level. BR: That sounds very exciting and reminds me of my work with BR: I completely agree. We live in an age of information with the non-profit chamber music ensemble, Vivre Musicale, which access to great scholarship and pedagogy at the click of a button focused on bridging the gap between the emerging artist and the or the swipe of a finger. In a way the advent of technology professional through interdisciplinary collaboration. Helping has democratized education and access to it to an even greater highlight and guide emerging artists through the milieu of extent, assuming one has access to the internet. I think another career development has been an artistic passion of mine. I love way the music world is evolving is the increased role the artist your idea of bringing all of these sensory experiences together plays in arts development and production, the creation of work to further enhance an electrifying concert experience. Concert for themselves and the cultivation of work as both artist and curation is one of those arts skills I believe every musician needs curator. Artists today have to wear many more hats than are for success in the 21st century. necessarily taught or provided; finding relevance and staying Knowing the mission of Chineke! and being so in touch with the zeitgeist is a constant challenge. Classical instrumental is its growth as a principal player, how would you musicians today have to essentially market and hustle in the describe the purpose of Chineke!? same vein as pop artists. I think that’s new and further links it to MA: The mission of Chineke! is quite parallel to the mission of social media as well. Imani Winds. Over the years with Imani Winds we saw a MA: Indeed, and I would like to see more people/women of color lot of growth in the types of audiences who came to classical in positions of artistic leadership: directors of music and art music concerts as well as the number of professional musicians schools, concert series, performing art venues, etc. I feel that of color. This is quite in step with “championing change and sometimes even if you don’t go on to be a performer, you can showing diversity in classical music.” We spent a lot of time find admin positions that might even help expand the minds of helping concert venues cultivate these audiences, not just at underserved populations with a voice and unique perspective the adult level but with young children all the way through that speaks to new audiences. I hope that classical music can university. This is the kind of ground work that is needed, and soon have a connotation of accessible, understandable and it has to have the support of the community and government relatable music for the whole population. alike. It’s many early mornings at schools, pre- and post-

58 | THE CLARINET SEPTEMBER 2020 concert cocktails and meetings with administration and clarinet family. I play on their exquisite Fluency model A & sponsors, and Q&A with young audiences that contribute to B-flat grenadilla clarinets with gold keys; Vandoren B40 13 consistent change in our industry. Chineke! has had the added mouthpiece; Vandoren leather ligature with metal insert and benefit of having the support of a nation that has shown it’s Vandoren pink gold ligature and recently added the Ishimori ready to recognize the changing face of classical music. Kodama II ligature and their pink gold ligature to my arsenal; for reeds I rotate through Vandoren Rue Lepic (black box) and BR: I appreciate your acknowledgement of the grassroots work D’Addario Evolution (yellow box) 3 and 3.5 reeds. that has to be done at every level of artistic engagement. There MA: Since living in France, I am a Selmer Paris Artist playing on are tangible rewards in that beyond an increase in numbers; Selmer Privilege clarinets, though I previously played Luis Rossi there’s the expansion of ideas and the connection with others rosewood clarinets (still in my heart and soul, those babies!); unlike ourselves. I also appreciate your recognizing that in Vandoren B40 13 mouthpiece, and I’ve previously used a order for such initiatives to be successful they require support Ramon Wodkowski mouthpiece and Clark Fobes mouthpieces from the community – both the one being served and the one and barrel. I have been a fan of wrapping with string instead of providing a service. For me the biggest difference between using a ligature, but often in the interest of time I use a Rovner Chineke! and other ensembles with whom I’ve played is the Versa. For reeds, I move between Vandoren V21 3.5+ and V12, immediate feel of family and camaraderie I experienced. I can’t and occasionally Pilgerstorfer. v tell you how awestruck I was by the beauty and vitality of the * * * * * group. For me it was magical. MA: It is definitely a visually stunning ensemble! Chineke! strives Learn more about Chineke! at www.chineke.org. to make classical music played by musicians of color known, but to also expand the audience to those who perhaps wouldn’t ABOUT THE WRITER “normally” come to such concerts. I feel the high level of Berginald Rash is a freelance clarinetist and musicians and the variation of projects have made Chineke! a educator based in Dublin, Ireland, where he’s well-known entity that I’m quite proud to be a part of. collaborated with RTÉ National Symphony Orchestra and RTÉ ConTempo Quartet and BR: I would also add that a huge part of its mission is to served as an 1848 Scholar and teaching fellow normalize and encourage the existence of ensembles, namely at the Royal Irish Academy of Music where orchestras, that reflect their communities. There’s a huge push he completed a recital artist diploma. He has for that globally, to see ourselves reflected in the media we served on the faculty of PRIZM Music Camp consume, and Chineke! is committed to seeing that come to and International Chamber Music Festival and fruition within classical music. has given a master class with Vivre Musicale at How would you say the unique mission of Chineke! is Truman State University. Berginald has collaborated with members relevant globally to the wider music world and specifically of such orchestras as the Atlanta Symphony, City of Birmingham to clarinetists? Symphony and Frankfurt hr-Sinfonieorchester. He is a Devon & MA: Chineke! couldn’t have come into existence at a better time. Burgani artist and has played with Chineke! since their inaugural There is a socio-conscious wave that is sweeping through Europe. concert as both principal and second/bass clarinet, and with that I believe music is a portal to people’s sensibilities and need group made his debut at the BBC Proms, Snape Maltings Proms and for entertainment and escape. As a clarinetist I have seen that Ghent Festival. Learn more at www.berginaldrash.com. it’s possible to make an impact on an audience with a simple Mariam Adam is an internationally known thing like the well-known opening of Rhapsody in Blue – often chamber musician, soloist, music advocate and people just want to recognize something so that they can feel educator originally from Monterey, California. comfortable in being exposed to new things. A founding member of the Grammy-nominated Imani Winds, she has maintained an active BR: I couldn’t agree more. Clarinetists the world over can touring career with performances at Carnegie be inspired by the work being done by Chineke! and its Hall, Kennedy Center, Beijing Arts Center expansion of visibility for all of us who love this art form. I and the Hollywood Bowl among others. Since think Chineke! stands as a testament to what can be done moving to France in 2016 she has performed when we make room and offer others a seat at that table. It with Eric le Sage, Francois Salque and Xavier is similar to how Gershwin’s Rhapsody in Blue and Porgy and Philippe; has been a featured artist at the Folle Journee, Colmar Bess propelled the notion of jazz music as concert music – not Festival and Radio France Festival; toured with actor Gaspard Proust, merely borrowing the compositional language of jazz and jazz the Jerusalem Trio and Le Cercle; and soloed with the Singapore idioms, but fully channeling the genre and presenting it as Symphony, Appassionata Ensemble and Orchestre de Pau. Mariam truly relevant in its own right. is a Selmer Paris artist and has been performing with Chineke! Can we talk about our clarinet equipment? I’ll go first. Orchestra and Chamber Ensemble as principal clarinet since 2016. I’ve recently joined the artist roster of the Devon & Burgani Learn more at www.mariamadam.com.

SEPTEMBER 2020 THE CLARINET | 59 INTERVIEW Interview with by Rachel Yoder Derek Bermel

erek Bermel is a New-York-based group and starting to write more. I still didn’t composer and clarinetist known for his really have a handle on what I was doing eclectic compositional style and dynamic compositionally; I was trying a million things. performances. He has been commissioned Playing in rock bands and stuff like that. Dby ensembles including the Pittsburgh Symphony, RY: National Symphony, Los Angeles Philharmonic, And were you doing jazz too at that point? DB: Alarm Will Sound, , JACK Oh yeah. I had taught myself to play piano Quartet, Chamber Music Society of Lincoln Center, by imitating Bill Evans and Thelonious Monk – who was a huge influence on me and many others. Bermel currently serves as artistic compositionally, harmonically probably my director for the American Composers Orchestra and biggest influence. I played with jazz combos and is active in a variety of other roles at workshops and big bands in high school, and in college I played festivals throughout the world. His awards include a in a synthesizer band. Even in my 30s, years later Guggenheim Fellowship, the Prize, the Alpert when I had come back to New York, I played in Award in the Arts, and two Grammy nominations: a band for years. best soloist with orchestra for his clarinet concerto Voices with the Boston Modern Orchestra Project RY: What band? and best instrumental composition for Migration DB: I played as a keyboardist in several bands but Series. After studies at Yale and the University of mostly I played with my own group called Peace Michigan, Bermel’s musical explorations took by Piece, which made two albums and then split him to Amsterdam and Paris to study with Louis up. We played all the clubs downtown, some of Andriessen and , and beyond, with which are still there – the Bowery Ballroom, the travels to Ghana, Brazil and Bulgaria influencing his Mercury Lounge – and a lot of clubs which aren’t compositional language. His most recent recording around any more. That band broke up around is Migrations, featuring the Juilliard Jazz Orchestra, the time that I got the Rome Prize; I think it had Luciana Souza, Ted Nash, and the Albany run its course. Symphony under Maestro . RY: So that was before you went to Michigan then? Bermel has been composer-in-residence with the DB: No, that was after. I went to Michigan in Los Angeles Chamber Orchestra and most recently the ’90s. And at Michigan I did some jazz. I with the Seattle Symphony, where we met in the actually got to know wonderful jazz musicians summer of 2019 to talk about his life and work. like Gerald Cleaver and Craig Taborn, and those RY: So did you originally start out as a clarinet major, are long friendships that have lasted. I did a or composition, or…? lot of improvising. Ed Sarath was running the jazz program, which was fledgling, but some DB: I started playing clarinet when I was about 7 excellent people came through. And Detroit, of and I began composing after my grandmother course, had a great jazz scene – James and Regina gave me a beat-up piano when I was 11. My Carter were there – And many came through clarinet teacher in high school was Ben Armato the … Rodney Whitaker, who played in the Met Opera Orchestra. He was Marion Hayden, Reggie Workman… a very rigorous teacher – my main influence on the clarinet. Then I went to Yale just before Keith RY: So you weren’t obsessed with the earlier clarinet Wilson retired, so I studied for two years with stars of jazz. him. But at that point I was already transitioning DB: Oh sure, when I was a kid I listened to Benny to composition, I was singing in an a cappella Goodman, great player; , I love his

60 | THE CLARINET SEPTEMBER 2020 INTERVIEW Photo by Richard Bowditch

sound; but I didn’t really listen to the Williams, James P. Johnson, Duke RY: Tell me about your studies in clarinet for jazz per se, because I was Ellington – especially Ellington – and Amsterdam. more interested in the saxophonists for continues today. These two traditions DB: I was studying with jazz. There were just so many superb have always been intertwined in there in ’95-’96. I studied with Louis saxophonists – of course Charlie Parker American music and I think it’s one and then once a month I would travel and John Coltrane – but Dolphy was of the things that makes our musical to Paris on the Thalys train and take particularly an influence for me. He signature distinctive. a lesson with Henri Dutilleux. It was truly had a compositional brain, like an interesting year, because they were RY: That’s the piece that was nominated for two very different teachers. They were Monk, as did Charles Mingus and a Grammy this year, right? almost opposite kinds of personalities. Ornette Coleman. I was drawn to DB: Yes, that was a nice surprise! I was players who were composers at heart. RY: lucky to work with a great orchestra What do you think you took away Also Latin music. I loved Horace Silver – the Albany Symphony and Maestro from each of them for your own and Jobim, and Paquito D’Rivera – compositional standpoint? David Alan Miller – who have a long he’s become a friend and we’ve played DB: Well, Louis was a notes-and-rhythms history of championing American together so that’s exciting. I got to kind of guy. He would get into the notes music. Plus an all-star cast: reed player know Wynton Marsalis in the early and say, “I think you should take this Ted Nash, singer Luciana Souza, the 2000s. He commissioned a piece part out…” He was hands-on. Dutilleux Juilliard Jazz Orchestra led by James from me which I wrote for his band was a much more conceptual and Burton III, and the brilliant producer plus orchestra; it’s called Migration abstract kind of teacher. He would find Silas Brown. Series, based on the iconic paintings poetic and literary references and he was very big-picture, so it was stimulating by the Harlem Renaissance artist RY: And you performed yourself on the CD to experience both approaches. Now, it Jacob Lawrence, and the recording was as well? wasn’t that Louis couldn’t be big picture released this past year on Naxos. I’ve DB: I improvised one of the interludes. or that Dutilleux (I could never call him always been interested in the hybrid The piece has five movements and Henri!) couldn’t get into the notes, but tradition in America that’s existed since three improvisations which act as he preferred not to. the start, this compositional lineage connectors, each featuring a different that starts early in classical music soloist or group of musicians. Every RY: Do you have clarinet repertoire, like with Joplin, Gershwin, Copland member of the jazz ensemble gets a standard rep or composers that really and Still, and in jazz with Mary Lou moment to shine. inspire you as a composer or performer?

SEPTEMBER 2020 THE CLARINET | 61 INTERVIEW

and response. I even wrote out words “You have to continually create when I sketched it. opportunities in order to keep doing RY: So Voices, the title, is in reference to this conversation going back and forth. what you love.” DB: Yeah, and in reference to the different ways that the clarinet – and the orchestra – can sing or speak or shout. DB: Well certainly Messiaen was a huge that’s probably what caused me to And also the adaptation of what was influence on me, and not because of concern myself primarily with melody essentially an improvised framework the Quartet for the End of Time – I came and line. A composer is usually either into a classical format, a sort of to know that later – but I loved the a harmonist or a contrapuntalist translation. With Voices I tried to create orchestral work first, and also these foremost, either vertical or horizontal. a conversation between two human large ensemble pieces and large piano I’m a contrapuntal composer at heart. beings. When composing it’s important pieces. Actually the work that made me to take a giant leap, maybe even an want to be a composer was the Vingt RY: So you’re not thinking so much about impossible one! If the proposition is regards sur l’enfant-Jésus; its sound just coming from a chord progression or interesting enough, the spot where I struck me like a lightning bolt. I heard something like that, but more from a land might be interesting, even if it’s it when I was 12 or 13 and couldn’t get gesture standpoint? different than the place I had initially it out of my head. I remember thinking DB: I think primarily of gesture and the set out to explore. In that way, we to myself, “I don’t know exactly what counterpoint of gestures – of line – with composers are a bit like scientists. that guy does, but that’s what I want harmony being a natural outgrowth. RY: So with Voices and a lot of your music, to do” – which was composing, to RY: I wanted to ask about your clarinet I notice you have a lot of glissandi in the be a composer. Messiaen’s music concerto Voices, which got the Grammy clarinet, even in the low register. How speaks to a lot of young composers, nomination in 2009 and which has been do you technically accomplish all these as does Stravinsky’s, because it’s direct performed quite a bit. What was the smooth glissandi that you do? and powerful. Bartók was also very genesis of that work? DB: important to me, and of course all those It’s probably a natural outgrowth of DB: composers also wrote great clarinet That piece came out of listening playing jazz and improvising, feeling music. But what pulled me toward the to Charles Mingus and Eric Dolphy the freedom to make any sound. When music wasn’t really the clarinet. improvising together. Take a I was a kid I used to take detours, composition like What Love, in which playing anything and everything; my RY: It strikes me that the composers you the clarinet and double bass play mom would yell at me from the other mention are known for developing their an extended duo break; you hear a room, “What are you doing?” I used to own compositional language. It seems like conversation, an argument. When I improvise when I practiced, as a way you’ve done that too, with the variety of listened to the recording I nearly fell of being expressive – or maybe just influences in your writing, especially for off my chair; I thought, “I want to blowing off steam! I’ve always been very clarinet, like the different types of extended do this, but with an orchestra.” I was interested in the sounds the human techniques you use and things like that. fascinated by the musical drama; so voice can make – that goes for all types DB: Well, I’ve always felt that it’s much meaning was communicated of sounds, whether it’s speaking or important to allow yourself to gravitate without words: intent, focus, mood. singing or grunting or yelling or crying. toward the music that you love and My father was a playwright and I’ve always wanted to break outside to move deeper into that music. Or a translator, and my mom was an of the 12 pitches. Much of the music maybe it’s literature, or linguistics or editor, so I grew up in a theater I enjoy is not based on the so-called science – wherever you need to dig, to household, a literary household. I saw “classical” tradition and therefore uses all dig there. If I loved a particular style every Shakespeare play before I had the in-between pitches and in-between of music, I always tried to create a finished high school. Even though I inflections that aren’t part of our situation that allowed me to research wasn’t involved in theater as an actor theoretical and practical training. it, learn it firsthand, whether it meant or anything, that knowledge seeped traveling to West Africa or Bulgaria or into my compositional palette and I RY: So do you use a softer reed so you can Brazil – it was a desire to get closer to absorbed it into my musical language. bend the pitches a lot, do you use your the music and to explore the context in In Voices the first theme you hear is not fingers to accomplish half-holing and stuff which that music was being made. a series of notes but a musical gesture like that? Of course my composing has been in the clarinet, which is then taken up DB: It’s a combo of lip, and fingers and influenced by my clarinet playing – by the orchestra who replies – it’s a call breath also, control of breath. Ben

62 | THE CLARINET SEPTEMBER 2020 INTERVIEW

Armato once told me that at one point he changed all his students’ embouchures to be loose like mine. I said, “That sounds like a terrible idea!” [Laughs] But I think Ben felt I had

been able to access a certain kind of Photo by Richard Bowditch freedom, one that allowed me to tune more easily than if my lip had been locked into position.

RY: So what do you play on? DB: The mouthpiece is Bob Scott. I have tried Fobes and I like some of them too.

RY: What strength reeds do you play on? DB: I almost always use 3.5.

RY: What kind of clarinet do you play on? DB: I have two R-13s that are almost identical serial numbers. They’re both from the ’80s. I’ve tried some other clarinets. If I was doing any orchestral or large ensemble playing, I might venture toward another model, but I just don’t have much need or time to try all the new ones. I try the new reeds – I use Vandoren reeds. I have a Bonade ligature. And I have a Selmer bass clarinet with a nice juicy low C. To be honest, 90 percent of my time is wrapped up in composition in one a way of giving back, helping steer an DB: It’s a gig economy. Sadly it’s way or another, so unfortunately the institution that’s serving composers, becoming more that way. The teaching clarinet often gets squeezed. But I do especially emerging composers. Since I jobs are rarer and less secure and less love to play. don’t have an academic job, teaching the well paid, so finding institutions to composers at the Bowdoin International support oneself is tougher in this RY: So what’s a typical week for you? Do you Music Festival, during the summers, generation than it was in the last one. have teaching commitments and other is a great way to connect with the next The institutions that have supported regular responsibilities or is it just kind of generation. Sometimes I perform there me the most have been the American different all the time? as well, and occasionally work with the Composers Orchestra and the Institute DB: It is always quite different! I’m artistic clarinetists. And I play regularly with for Advanced Study in Princeton. director of the American Composers Music from Copland House; I was a But those were either part-time or Orchestra, so I spend a good deal of founding member of the ensemble. temporary gigs. So I’m in the gig time on programming. My schedule Every year I play a number of concerts economy too. shifts, depending on what’s going on. with them, sometimes more standard You have to continually create Now I’m starting to write an opera American repertoire, but quite often opportunities in order to keep doing with Sandra Cisneros, so that’s going to including new works as well. And at the what you love. Make time to seek your be very different. Copland House I run a program called muse and recognize that what you CULTIVATE; we invite six emerging love to do most may not be the most RY: Is that a first for you? composers every year to have new pieces profitable aspect of your career. But DB: Yeah. Well, I wrote a music theater workshopped with the ensemble. That’s piece with Wendy S. Walters that veers a lot of fun. eventually it will be valued because toward opera, but this’ll be my first your life’s work will be seen as an bona fide opera. At ACO I do a lot RY: So you work a lot with the younger aggregate. And most importantly, of mentoring, reviewing scores, and generation of composers and clarinetists; something that Ben Armato told me: programming; sometimes it involves what kind of advice do you give them on find a way to make a contribution that public speaking. I enjoy it because it’s being successful in the 21st century? feels meaningful and satisfying to you.

SEPTEMBER 2020 THE CLARINET | 63 INTERVIEW

In the end, our artistry is part of a a style, the performer should educate world’s great soloists so… I don’t think larger humanity. themselves about that style, get their he needed me to do it as a clarinetist, It’s a tough life because artists tend own sense of it. That extra work should I think he just had the idea that it to internalize and take professional hits make playing it feel more personal for would be interesting for the audience personally. Not that other people don’t them too. Whether it’s jazz, Latin or to experience two composers up there do this as well – but when you show Bulgarian music, if I reference a style, performing together – him conducting, your work, you feel as though you’re I hope that the performer will do some me playing. I’ve also played Bill revealing an intimate part of yourself. research! But most importantly I want Bolcom’s Clarinet Concerto quite a bit. When it’s dismissed or criticized, it their unique personality to manifest, to Bill was my teacher, he’s very dear to can feel like you’re being rejected as a come alive. Sometimes a performer will me, and he’s a good friend. I played a person. It’s hard to separate those two apologetically ask, “Oh… do you mind lot of his music and I adore that piece; things. This is one of the hardest things if I do this?” and it seems like such a he and I have performed the second about being an artist; it’s intensely tiny thing – almost comical. I’ll say, movement several times together, competitive, yet the competition feels “Of course you can do that!” I don’t clarinet and piano. very personal. write music for machines. I want to RY: His stuff’s very theatrical as well. hear the soul of the performer. RY: People will want to know about your DB: Oh yeah, and jazz-based. That second solo clarinet pieces, Thracian Sketches, RY: You performed Gnarly Buttons movement is very much based in gospel Theme and Absurdities… Do you have with conducting, tell me music, it’s beautiful. I just recorded a any advice for performers about how to about that. CD of William Albright’s music with perform your clarinet works? DB: Oh it was fun! Well, in a way it was Music from Copland House and on DB: I look for freedom in performances. payback, because John had conducted that CD is his Clarinet Quintet. It’s Freedom of sound, freedom to play my concerto Voices with the LA Phil a brilliant piece; I hope more people up the theatrical impulses in the a few years before, so he asked me to will play it when the recording comes piece. In new music there’s a common play Gnarly Buttons, and I was happy out. I’ve also recorded John Musto’s assumption that one has to be a slave to do so. Spending time with someone and ’s clarinet quintets to the written page, an overly inflated like John is inspirational and an with the Copland House. One can be a attachment to the importance of experience from which one comes composer one’s whole life – and many notation. Notation is just a guide. away transformed. people are – without being a performer, When I listen to performers playing but making music with colleagues is my music, my main concern is that RY: Do you remember any comments from like nothing else; it’s transcendent. they have a bigger idea about what John about the piece or how to play it or I just finished recording a disc of they want to do with the piece. anything like that? my music with the JACK Quartet. If they’re simply reading notes DB: Well, of course it’s beautiful, the last What great musicians; nothing can and rhythms, they’re not yet movement is so gorgeous and needs to top that feeling! be expressive, but John doesn’t want communicating with the audience. RY: Is that what keeps you coming back? a whole lot of changes to his music, The music needs to jump off the page, You’ve said you keep getting away from stretching time and rubato and all the circle must be made complete – the clarinet and then you just keep composer, performer, audience. that; he wants what he writes, and coming back. Certainly it’s always helpful to study the notation is pretty clear. You know, DB: Yeah, because it’s a way of connecting. styles. If I or any composer indicates John has worked with some of the It’s such a special sensation to make music together, very different than being present as the composer while CLARINET SOLOS they play your music. with RY: One of my questions for composers when FULL ORCHESTRAL ACCOMPANIMENT approaching a new piece, especially if it’s pretty difficult, is howimportant are the change the tempo, record yourself with the accompaniment difficult things. DB: You can’t know until you ask. This Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini is one of the central conundrums and challenges of composing: how to convey for more information, please visit our web site one’s ideas on paper in a way that ClassicalCollectionInc.Com communicates what’s most important, that connotes where there’s freedom and where there’s not. Sometimes it takes

64 | THE CLARINET SEPTEMBER 2020 TM

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SEPTEMBER 2020 THE CLARINET | 65 CLARINETFEST®

FLOWERS WITHOUT BORDERS 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.

oin us June 30th through July West. The Artistic Leadership Team is is structured to organize and feature 3rd for a unique four-day, action- committed to creating a global showcase all pedagogy clinics, seminars, lectures, packed holiday weekend at the while specifically featuring Texas, Central workshops and master classes, and the Omni Hotel and the Convention and South America, and the Caribbean Showcase Stage is a special addition to CenterJ in Fort Worth, Texas, for feature young student performances. for this conference. International Clarinet ClarinetFest® 2021! Association members are invited to Details can be found on the ClarinetFest® World-class artists will be performing submit performance proposals for 2021 page of the ICA website. International Clarinet Association with premier collaborative musicians in the ClarinetFest® 2021. members are invited to submit proposals area, including the Fort Worth Symphony The Artistic Leadership Team has for the Clarinet Learning Community at Orchestra, the Orchard Ensemble and created two new features. The Clarinet ClarinetFest® and the Showcase Stage. the United States Air Force Band of the Learning Community at ClarinetFest® We are pleased to be able to host the Third Annual Guido Six International Clarinet Choir Festival. Attendees of ClarinetFest® 2021 are invited to So…What’s On Your Barrel? participate in any of six conference clarinet choirs: Middle School, High David McClune Mouthpiece School, College, Festival, Professors and New Horizons (older adults). Attendees Service Professional through beginner are encouraged to register in advance for models Exciting new custom blank and planning and logistics purposes, but walk- ins are always welcome. model this Spring! The Omni Fort Worth Hotel is Custom refacing available offering attendees onsite lodging ranging from $135 single/double to $145 triple/ mcclunemouthpiece.com, [email protected] quad per night and features several dining options onsite with many additional

66 | THE CLARINET SEPTEMBER 2020 ICA ANNOUNCEMENT dining and entertainment options in the 35-block Sundance Square Call for Proposals – ClarinetFest® 2021 district of Downtown Fort Worth (www.sundancesquare.com). There is hotel ClarinetFest® 2021 will take place June 30-July 3 at the beautiful Omni parking available plus additional garage Fort Worth Hotel in Fort Worth, Texas. The Artistic Leadership Team – Mary and street parking throughout Sundance Alice Druhan, Jennifer Daffinee, Jody Webb, Cheyenne Cruz and Gary Whitman – looks forward to presenting a wonderfully diverse and comprehensive program. Square to accommodate attendees. Learn more about the city of Fort Worth at International Clarinet Association members are invited to submit performance www.fortworth.com. proposals for ClarinetFest® 2021. The ICA would like to specifically showcase The deadline for ClarinetFest® 2021 its members from Texas, Central and South America, and the Caribbean for proposal applications is September 15, this conference. The Artistic Leadership Team is also committed to creating a diverse and inclusive showcase of the global community. 2020. Please find more information and submit proposals through the Acceptd The Artistic Leadership Team has created the Clarinet Learning Community at portal found at www.clarinet.org under the ClarinetFest® to feature pedagogy clinics, seminars, workshops and master ClarinetFest® 2021 page. The maximum classes, and the Showcase Stage to present young student performances. time allotted for any performance or International Clarinet Association members are invited to submit proposals for presentation is 25 minutes. Please note the Clarinet Learning Community and the Showcase Stage. there is a $20 application fee to submit a The deadline for ClarinetFest® 2021 proposal applications is September 15, 2020. proposal. Performing in an evening concert Please find more information and submit proposals through the Acceptd portal is by invitation only. Evening concert at www.clarinet.org under the ClarinetFest® 2021 page. Please note there is performers are invited by the Artistic a $20 application fee to submit a proposal. Performing in an evening concert Leadership Team often in consultation is by invitation only. Evening concert performers are invited by the Artistic with the ICA and with ClarinetFest® Leadership Team often in consultation with the ICA and with ClarinetFest® sponsors. General questions can be sent to sponsors. General questions can be sent to [email protected]. [email protected]. v

ICA ANNOUNCEMENT Call for Honorary Membership Nominees

In accordance with the International Clarinet Association by-laws (Article V, Section 6), a special category of Honorary Membership has been created for persons of “unusual distinction.” The International Clarinet Association board of directors invites the general membership to nominate living individuals for Honorary Memberships from the areas of professional service, teaching, performance and/or lifetime achievements. Nominators should include a brief biographical sketch of the candidate along with further information as specified below. There is a limit of one nomination per person. Nominations must be postmarked no later than December 31, 2020, and sent to:

Christopher Nichols Secretary, International Clarinet Association 314 Lighthouse Rd Wilmington, DE 19809 Email: [email protected]

Nominations for Honorary Memberships should include: 1. Printed name of the nominator 4. Nominee’s address, phone and email address 2. Nominator’s address, phone and email address 5. Biographical sketch of nominee 3. Name of nominee 6. Supporting documentation of nominee’s qualifications

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Lauren Bernofsky. Solitude for B-flat (or a beautiful selection for a clarinetist just MUSIC A) clarinet and piano. Theodore Presser beginning to explore the A clarinet. Michele Naglieri. 24 Studi in tutte le Company, 2019. $8.99 – Lee Seidner tonalità for clarinet. Edizioni Eufonia, Lauren 2020. €18.00 Bernofsky is an Eric Ewazen. A Song from the Heart for B-flat clarinet and piano. Theodore Michele award-winning Naglieri is the composer whose Presser, 2018. $11.99 principal clarinet music has been Eric Ewazen, of the Petruzzelli performed professor of Theatre Orchestra around the world. composition in Bari, Italy, with Having studied at Juilliard and which he has at the Hartt one of the most performed the School of Music, often-performed Debussy Rhapsody New England composers today, and Mozart Conservatory and has contributed a Clarinet Concerto. Boston University, Bernofsky has taught at great deal to the He is active in the Peabody Institute, Boston University clarinet repertoire, chamber music and orchestral performance and Interlochen Center for the Arts. including his beyond the Theatre Orchestra – including The publisher describes Solitude as clarinet concerto as an extra player in Rome’s Santa Cecilia “ethereal and meditative.” Although the Ballade and his wind quintet Roaring Orchestra. He studied clarinet and 5-minute piece was originally written Fork among many other works. His composition at the Milan Conservatory. with B-flat clarinet in mind, a transposed approachable tonal structures and his His 24 Studi in tutte le tonalità (24 Etudes part for A clarinet is included, allowing in all Keys) was composed over a three-year gift for the soaring melodic line make span. As Naglieri told me, he was inspired the performer to choose which clarinet his music appealing to audiences and by two great Baroque composers, J.S. they would like to use. Holding true performers. A Song from the Heart, a Bach and Antonio Vivaldi. In particular to Bernofsky’s description, the “fastest” languid 6-minute work for clarinet and Nos. 1, 4, 8 (Fugue) and 22 (Sarabanda) tempo within the piece is quarter = 52. piano, is a fine representation of his have connections to J.S. Bach, especially Additionally, the range is extremely expressive aesthetic. the harmonic elements. Etudes 2, 3, 5, reasonable, staying within two octaves Originally written in 2011 for trumpet 16 and 17 are merely technical exercises (low G to clarion G in the B-flat part; and piano, A Song from the Heart is a slow for the fingers. In other numbers there are low G-sharp to clarion G-sharp in the A movement in A-B-A form. The relaxed links to orchestral excerpts and concertos, clarinet part). Although there are a couple piano accompaniment at the opening including Götterdämmerung of Wagner, of sections that feature hemiola between lays the groundwork for a tonal, mid- Mozartiana of Tchaikovsky and Peter and the clarinet and piano parts, the greatest clarion range clarinet line. The middle the Wolf by Prokofiev. Studies 2 and 24 are technical difficulty found within this piece section is quicker, with a high clarion and chromatic and were inspired by Puccini’s is the key signature. No matter which altissimo line soaring over cascading piano Turandot. In general though, the language part the performer chooses, five sharps figures. The A section returns, and comes of these etudes is tonal and they could will occur for the clarinetist. Based on to rest with a solemn conclusion. The be accompanied by a second instrument. the above, I believe this piece would be compositional differences between the two These medium-hard studies are very well great for a developing intermediate player versions are primarily in the orchestration, conceived and tailored to the clarinet. to explore expression in playing and to with the clarinet line, compared to the Highly recommended! develop the ability to perform within a trumpet, raised an octave about half the – Luigi Magistrelli difficult key signature. This would also be time. Ewazen never takes advantage of

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the clarinet’s rich ’s range; he way with more gratification than from his marriage to Lies and the first year is content on maximizing the altissimo the typical etude. The performer can clarinetist Gustave Langenus played in register’s possibilities. follow the narrative within the piece to the New York Symphony. Langenus’s Ewazen’s A Song from the Heart is like paint a picture for the audience. Ropes arrangements for clarinet of these two one of those pieces omnipresent in the Course is recommended for an advanced works, and The Old Refrain are completely violin repertoire: a 4-to-7-minute stand- player looking to expand their range idiomatic for clarinet and are of medium alone work tells its story succinctly and and potentially shine in an difficulty. Rounding out this collection are beautifully. The clarinet repertoire has only unaccompanied moment. two arrangements made by Erik Leidzén (1894-1962), the prolific composer and a small number of these single-movement – Lee Seidner works, such as the Cahuzac Cantilene and arranger for organizations in the U.S. such Bliss Pastorale. A Song from the Heart’s Fritz Kreisler. Kreisler for Clarinet: Five as the Salvation Army and the Goldman harmonic accessibility, plaintive melody, pieces by Fritz Kreisler arranged Band. Miniature Viennese March is a and length should make this a lovely for clarinet and piano by Gustave delight to play, with its very proper rhythm choice for recitals and a useful teaching Langenus and Erik Leidzén. Carl married to yearning melodic ideas. Longer, and more challenging than the other piece. Ewazen’s piece fills an important Fischer, 2019. $18.99 nook in our literature written by one of works, is Tambourin Chinois. The fast Violinist, our most respected living composers. tempo, extended articulated sections and composer and a few demanding back-and-forth crossings – Osiris Molina pianist Fritz between clarion and altissimo registers will Kreisler (1875- let you test your mettle to Kreisler’s. Josh Gottry. Ropes Course for solo clarinet. 1962) was born – Gregory Barrett Gottry Publications, 2019. $7.00 in Vienna and Josh Gottry is as a 10-year-old Josh Gottry. Oil & Water for B-flat an ASCAP award- prodigy won first clarinet and vibraphone. Gottry winning composer prize for violinists Publications, 2018. $12.00 who completed at the Vienna Oil & Water his undergraduate Conservatory. was written for percussion During his long the Duo Rodina career he was a singular violin recitalist performance Songbook project degree at Northern and soloist. In 1975, famed violinist and which seeks to Arizona University teacher Joseph Gingold stated, “Kreisler’s commission and his masters legacy is not the technical wizardry of accessible works in composition Heifetz or the sumptuous tone of Elman, for percussion at Arizona but the embodiment of all that was and clarinet State University. He has been on music attractive, humane and endearing among duo. The title is faculties throughout the Phoenix region the musicians of his time.” intended to play and has performed with professional That description of Kreisler’s playing can on the contrasting orchestras, in musical theater and with be equally applied to the many short recital materials of the instruments, the wood of chamber ensembles. pieces he penned throughout his life, many the clarinet and metal of the vibraphone, as Ropes Course was commissioned by offered under false attribution to composers well as the independent lines written within Olivia Meadows as part of a doctoral such as Francoeur (Sicilienne & Rigaudon), the piece for the two instruments. The thesis project of unaccompanied clarinet Pergolesi, Tartini and Vivaldi. Kreisler work provides beautiful moments for the solos that aid students in developing skills was certainly familiar with composers of clarinet and vibraphone to blend. Although necessary to perform advanced clarinet renown; he spent several years in his early this is not a showstopper, the beauty of this works. This 7-minute work was composed 20s rubbing shoulders with Brahms and piece is gratifying for the performers and in 2018-2019 and focuses on the altissimo Hugo Wolf, and had even earlier been very enjoyable for the audience, and can be register. Ropes Course provides quite a theory and composition student of utilized as a short palate cleanser during a the challenge for the performer. Gottry Bruckner and Leo Delibes respectively. recital. This piece is a wonderful addition certainly hits the mark in exploring the In addition to Vienna, Kreisler spent to a hopefully growing repertoire of clarinet altissimo register of the clarinet as it soars considerable periods of his life in Paris and percussion music. up to altissimo A. This piece provides and Berlin before finally settling in New – Lee Seidner numerous technical challenges in other York, home to his American spouse registers as well. As the title implies, Harriet Lies. Two of the works in this Josef Bönisch. Colours – Pieces for three this piece takes the performer through collection, Caprice Viennois and Schön clarinets. Musikverlag Bruno Uetz, a challenging obstacle course, but in a Rosmarin, date from 1910, 10 years after 2018. €13.00

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Josef Bönisch underwhelming belief that his abilities Catherine Wood is the ICA continent is a German were best suited only for incidental music. chair for North America, professor of composer and Melanie Thorne’s arrangement, with bass clarinet at Brandon University (Canada) flutist who studied clarinet to low E-flat, captures the ebb and and a member of the Manitoba Chamber at the Weimar flow of his score with thoughtful sharing of Orchestra. She is a noted performer on Conservatory the melodic line among the instruments. piccolo clarinets, performing recitals and the Leipzig all over the world, including several University of – Gregory Barrett ClarinetFest® conferences. Her present contribution to the literature seems so Music. Colours is Brent Smith. A Stroll through Savannah a fairly simple and obvious and practical; it is a wonder it is for two clarinets in B-flat, violin, viola straightforward not in every clarinetist’s library. and cello. Score Vivo, 2019. $19.00 by work consisting Wood’s arrangement of the slow electronic download. of five short movements: “Happy Time,” movement of the Mozart Concerto is a “Flick-Flack,” “Pink Lady,” “Reflection” Composer and sensible adaptation of one of our most and “Scherzo.” The first four movements clarinetist Brent glorious pieces. It is in the original key and are in common time with all naturals in the Smith is a retired utilizes the A clarinet. The string parts are key signatures and accidentals written in. researcher and faithful to the original orchestral parts, The final movement includes 6/8, 5/8, 3/4 professor in the and the clarinet part is logical, with a few and 3/8 time signatures but remains with fields of chemistry measures brought down the octave to be naturals in the key signature. This work is a and environmental more in line with current wonderful piece to have younger students protection. He performance practice. There are two cadenza learn how to play together within short is active in the options written at the bottom of the second movements that have contrasting styles but North Carolina page comparable with other editions. One not demanding technique or range. triangle region observation is that the clarinet part is devoid – Lee Seidner with the ensemble of all dynamic indications, while the string CarolinaClarinet. His work, A Stroll parts contain a representative, but not excessive, amount of markings. Gabriel Fauré. Sicilienne, Op. 78, arranged through Savannah, is multi-sectional, of Alry does a wonderful job with the for clarinet quartet by Melanie Thorne. medium difficulty, mostly in an Allegro engraving, laser-printed on clean white Sempre Music, 2019. £10.95 tempo and is nearly 7 minutes in duration. paper with a large, comfortable font. All Fauré, the A slower cello cadenza bisects the piece and the parts are two pages long, presented greatest French chorale and waltz sections contribute to the so no one has to turn pages during composer of art evocations of, in Smith’s words: “strolling performance. This arrangement is perfect songs, dear friend around town, horse-drawn carriages, the for chamber recitals, weddings and any of Saint-Saëns hectic city market … and a generally number of occasions. Wood’s arrangement and inspiration ghostly, spiritual feeling throughout the is an essential part of every music library. to members of town.” To clarinetists the overwhelming – Osiris Molina Les Six lived a life associations brought to mind may instead marked by grit be with the Allegro precipitato movement Franz Cibulka. Claroness – Capriccio and eventual fame. from Prokofiev’s Quintet in G minor, Born in 1845, for Clarinet Choir, edited and revised Op. 39, for oboe, clarinet, violin, viola by Barbara Heilmair. Jeanné Music church music and and double bass, due to the quote of ancient modes were lifelong influences, yet Publications, 2019. $35.00 melodic material and strikingly similar until the ascendency of Debussy he was Franz Cibulka instrumentation, and with a quotation of the most modern composer in France. He (1946-2016) the poco rubato theme from Sutermeister’s made innovative use of whole-tone scales in was an Austrian Capriccio for unaccompanied clarinet. I the 1870s and wrote in a flexible harmonic composer, would embrace these connections and style that did not regard sevenths and clarinetist and ninths as dissonant. He made modulations program all three works on the same conductor to remote keys followed by abrupt returns program! I may be missing other references, primarily known and had no qualms with rapid alteration, so happy sleuthing. for his works for by half step, of the third scale degree. – Gregory Barrett symphonic band. His famous Sicilienne, intended for His prolific output a theatrical production, was written in Wolfgang Amadeus Mozart. Adagio from of over 600 works 1898 after his reputation was secure and Clarinet Concerto, K. 622, arranged by includes many showcases his melodic style, interesting Catherine Wood for clarinet and string chamber works for all combinations. His harmonic inflections and proof in his own quartet. Alry Publications, 2018. $20.00 contribution to clarinet choir, Claroness,

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was first performed in its revised version at Louis James Alfred Lefébure-Wély. Adenberger and Radutu give a the 2015 ClarinetFest® with the editorial Although Lefébure-Wély (1817-1869) was wonderfully contrasting and energetic assistance of Dr. Barbara Heilmair, a prolific composer, with over 200 works performance of Krzysztof Penderecki’s associate professor of clarinet and music for piano, chamber ensemble, orchestra Three Miniatures, highlighted by history at Portland State University. She and the theater, today his compositions exceptional articulation in the altissimo has devoted a portion of her research are largely underperformed. Sortie in register in the outer movements and a profile to curating and promoting the E-flat is a joyful and approachable contrasting somber tone quality in the work of Cibulka, and the publication of 5-minute work that makes good use of middle movement. Adenberger maintains Claroness is a strong step in promoting his the sonorous sound of the clarinet choir. the same control and delicate phrasing work to American clarinet choirs. In her arrangement, Thorne includes in the collaborative rendition of George Claroness, (a play on words combining Gershwin’s Rhapsody in Blue, while “clarinet” and “baroness,” an Austrian parts for E-flat sopranino, four B-flat Radutu provides a coy playfulness to the noblewoman) is an 8-minute piece scored sopranos, alto and bass (without extended for E-flat, B-flat clarinets 1-4, alto, bass, range). The distinctive tone colors of the solo piano portions that this reviewer contra-alto and contrabass, with an optional E-flat sopranino, alto and bass clarinets wishes were present in the tutti phrases double bass/bassoon part. It is in one give clarity to the closely interwoven as well. The recording does not indicate movement delineated in four sections: independent lines. Sortie in E-flat is who completed this arrangement, but it Allegro-Moderato-Allegro-Presto. In the of medium difficulty and would be an is quite compelling and would make a first section, the low clarinets establish a energetic concert opener. fine addition to a true duo recital. Franz syncopated, chugging ostinato that contrasts Hofferer joins Adenberger and Radutu – Zachary Dierickx with the legato melody. The second section for a logical follow-up to Rhapsody in is a placid conversation between E-flat and Blue, Artie Shaw’s Concerto for Clarinet. first B-flat clarinet that leads to a return of RECORDINGS Adenberger demonstrates excellent the original Allegro material and culminates technique and control in the virtuosic with a faster 7/8 section with a florid high The GershWIEN Project. Markus swing-influenced passages while still clarinet push to the end. Adenberger, clarinet; Maria Radutu, maintaining flexibility and freedom in the This piece is idiomatic for all piano. K. Penderecki: Three Miniatures various cadenzas (including a confident instruments, scoring the instruments in for Clarinet and Piano; G. Gershwin: double high C to end the piece). comfortable ranges that project well. Low Rhapsody in Blue, A. Shaw: Concerto for The next two transcriptions on this clarinets seldom go over the break, and Clarinet; P. Sarasate: Zigeunerweisen; R. recording are given delightful readings by with the exception of E-flat clarinet, high Schumann: Three Romances; F. Poulenc: the duo. Adenberger and Radutu offer a clarinets do not go over altissimo D. Hommage á Edith Piaf and Sonata. All refined treatment of Pablo de Sarasate’s The E-flat has the most delicate part in Sound Around. Total Time: 67:26. Zigeunerweisen highlighted by impeccable the work. The player needs sensitivity and intonation, an impressive double high D fine intonation. Claroness is a wonderful contribution in the middle of the performance, and a for clarinet choir, suitable for university quick (albeit somewhat reserved) finale and community groups looking for a highlighted by sparkling articulation. substantive piece with rhythmic vitality Adenberger’s covered tone is an ideal fit for and contrasting lyricism. their performance of Robert Schumann’s Three Romances, Op. 94. Although – Osiris Molina originally conceived for oboe and piano, Louis James Alfred Lefébure-Wely. Sortie this performance should convince any in E-flat arranged by Melanie Thorne listener of the worthiness of the clarinet for clarinet choir. version, especially the way Adenberger Sempre Music, 2008. $29.30 explores the soft end of the dynamic spectrum and navigates the legato intervals The sound of the clarinet choir between the clarion and altissimo registers. is often compared The blend of timbre and phrasing in the to that of the Austrian clarinetist Markus Adenberger treacherous unison passages of the third organ, a quality currently performs with the Vienna movement is particularly commendable. that Melanie Chamber Orchestra and teaches at the The last two works are both by Francis Thorne achieves in Global Summer Institute of Music hosted Poulenc, although one will be much her arrangement at Virginia Commonwealth University. In more familiar to the clarinet community of Sortie in E-flat collaboration with Romanian pianist Maria than the other. Radutu’s performance of by French organist Radutu, they bring us an excellent new Hommage à Edith Piaf features the perfect and composer album titled The GershWIEN Project. amount of rubato and tasteful balancing

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of melody and accompaniment, all while F Minor, Sonata in E-flat Major, Trio and the interplay between the voices is channeling the spirit of the famous actress for Clarinet, Cello, and Piano. Centaur, even more striking in this offering. Upon and singer-songwriter. The final piece on CRC 3760. Total Time 79:55. listening it feels like hearing Brahms for the recording, Poulenc’s famous Sonata The clarinet compositions of Johannes the first time; there is time and space for for Clarinet and Piano, features plenty Brahms are some of the most important every compositional structure to shine through. The typical modern approach of of dramatic shifts in character, but is works in the standard clarinet repertoire. letting the music speak for itself usually somewhat marred by an audible air leak The prominence of these works naturally manifests in performances that are that Adenberger does not sport in other has resulted in an abundance of recordings quite metronomic; this hyperexpressive pieces on this recording. It also sounds from a variety of perspectives. However, approach actually feels more like Brahms as though the microphones were placed this recording is unlike so many that and brings out colors and characters that differently for this piece. The performers came before it because it seeks to be a sufficiently plumb the depths of extreme are otherwise lost. But to be sure, the true historical interpretation both in emotions found throughout this clarinet artistic choices made on this album are far the materials used as well as the stylistic standard, further emphasized by hauntingly from arbitrary – they are always connected considerations employed. This approach soft playing in the upper clarion register in to the larger musical framework and extends to all the instruments used on the first two movements. Their rendition of are well thought out and executed with the recording. The pianist Petra Somlai the third movement features great technical refinement and flair. uses a New York Steinway from 1875; facility from Adenberger, but perhaps This recording of the Trio for Clarinet, cellist Claire-Lise Démettre uses gut more impressive is the clarity that Radutu Cello and Piano can be summarized in one strings and no endpin as was the custom emits from the piano in passages that are word: beautiful. The addition of Démettre in Brahms’s circle; and Marie Ross uses all too often marked by blurriness and on cello, particularly with the gut strings, an Oehler B-flat clarinet from the 1890s, excessive pedaling. brings a much more intimate and colorful and an A from 1905 coupled with a The production of this album is quality to this work. There is none of wooden mouthpiece and a reed made in excellent, although there were a couple the harshness that sometimes happens in the tradition of the time. One thing that passages where the clarinet could have modern presentations, but there is no lack is quite modern is the excellent recording been a bit more present in comparison to of interesting ideas either. The phrasing is quality and engineering by Dirk Fischer. the piano. The liner notes contain short clear and intelligent, the interplay between One of the most striking aspects of this biographies of the performers. The album voices is intimate and the composite is album as a whole is what Ross describes as spans from Romanticism to jazz and stunning in every way. tempo elasticity. Essentially, the crescendo the entire spectrum of human emotion. This album is of the highest quality and diminuendo markings for Brahms This will be a welcome addition to any and every clarinetist should listen before are also connected to tempo. Speeding clarinetist’s library, especially those that their next performance of these works. up during crescendos and slowing down regularly perform in a clarinet-piano duo. It is rare to find a recording of standard during diminuendos serve to heighten repertoire that is truly fresh and free from – David Cook the expressive palette and provide the dogma while still honoring the style of needed flexibility for an offering that is Johannes Brahms: Clarinet Sonatas the piece. This recording absolutely does truly romantic. To a modern performer, and Trio Performed on Historical that and more. It sheds new light on this approach is initially jarring, however Instruments. Marie Ross, clarinet; works that are so well known. I would that feeling is short lived. That suppleness be remiss to not give special credit to the Petra Somlai, piano; Claire-Lise brings some interesting elements to this Démettre, cello. J. Brahms: Sonata in clarinet playing of Marie Ross. While the recording. The clarity of the dense musical album is so clearly about the pieces as a textures between the piano and clarinet whole and isn’t meant to highlight any are crystal clear in the Sonata in F Minor. player individually, which is an incredibly Ross and Somlai both give each other positive attribute, still Ross can’t help total freedom to express their individual but shine. The music is elegantly played musical ideas with no hint of urgency. with interesting ideas and breathtaking That fact gives this recording a sense of interplay between the voices, which would true chamber music played at the highest be impressive in itself. However, the fact level. There are bold artistic choices, that Ross is playing 120-year-old clarinets, delicate interplay between the piano and with a wooden mouthpiece, and using the clarinet, and utmost sensitivity. Oehler fingering system is nothing short The same excellence established in of remarkable, and is a testament to her the first sonata is evident in the Sonata commitment to historical performance in E-flat Major. The playing from both generally and this project specifically. She Ross and Somlai is clear and polished has proven that she is a true master of

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historical performance and instruments replace the brighter feel inherent to higher other from the end of Brahms’s life, is a and is uniquely able to synthesize that voices of the violins from the original classic construction that takes on a deep knowledge into a modern presentation orchestration, but the agility and resonance expressive meaning with the flexibility of that informs and inspires modern of Alexander Bedenko’s sound lends itself tone and comfortable expression of style performers and historical aficionados alike. readily to the task. from the performers. Bendenko conveys – Spencer Prewitt The Andante con variazioni sparkles the youthful enthusiasm of Beethoven with a delightfully classical style and the graceful nostalgia of Brahms with Beethoven and Brahms. Alexander highlighted by virtuosic piano lines and a refreshing and evocative interpretation. Bedenko, clarinet; Kyril Zlotnikov, beautifully matched articulations from the His recording also boasts fantastic program cello; Itamar Golan, piano. L. van Bendenko and Zlotnikov. The two seem to notes describing historical and musical Beethoven: Trio for Clarinet, Cello, and dance, moving as one and arriving at new considerations from instrumentation to Piano; J. Brahms: Trio for Clarinet, ideas in lockstep underneath the piano. the composers’ different approaches to Cello, and Piano. Orchid Classics, LC Bendenko’s sustained clarion notes in this scherzos. This album is well worth a listen! 20037. Total Time: 62:14. movement can be a little bright but reflect – Andrea Vos Rochefort the shimmering quality of a violin vibrato. A playful calando is marvelously executed Winged Creatures. Anthony McGill, with wit and taste, yielding to the Scherzo. clarinet; Demarre McGill, flute; This movement is notable for the beautiful Chicago Youth Symphony Orchestra, ease and fantastic phrasing from pianist Allen Tinkham, music director. M. Itamar Golan and the vocal intuition of Abels: Winged Creatures; F. Danzi: Zlotnikov’s lines coupled with consistent Sinfonia Concertante for Flute, Clarinet, and nuanced support from Bedenko. and Orchestra; C. Saint-Saëns: The Andante con moto Alla Marcia – Tarantelle; J. Puckett: Concerto Duo. Presto confirms the ensemble’s cohesive Cedille Records, CDR 90000187. interpretation, and the understated Total Time: 59:03. virtuosic ease of Golan’s triplet lines spill easily out of the fingers bringing the whole to an exciting finish. In the first movement of Brahms’s Pristine clarity characterizes the Trio in A Minor, Bendenko provides a opening chords of the Adagio and spirited passionate push and pull of emotional articulations of the Allegro con brio in this phrasing with glowing warmth. The recording of Beethoven’s Trio for Clarinet, performers each succeed in finding a darker Cello and Piano (taken from the Septet, sound with more pathos and gravity that Op. 20). The enthusiasm of a younger is highlighted by a light, ethereal quality Beethoven’s playful sense of adventure in the pianissimos. The Adagio opens with and knack for witty, inspired exchanges a luscious quality to the clarinet line that bursts out of this recording with panache. is both satisfying and yearning in nature. The clarinet, cello and piano lines Bedenko continues to show great flexibility interweave adeptly without losing any in his expressive tone that matches easily of their individual sonority or particular across the registers in the soaring intervals They say, “You can’t go home again.” resonance, offering pleasing contrast in a Brahms often favors. This expansive The old adage is not true here! Winged graceful dance. concept of tone continues easily through Creatures is a collaboration of two The Adagio benefits from beautiful the Andante Grazioso as the piano gurgles internationally-recognized virtuosos and and careful phrasing as Bendenko and his happily beneath the nostalgic lines of the brothers: clarinetist Anthony McGill and collaborators trade melodic and supporting clarinet and cello, almost inebriated with flutist DeMarre McGill with the Chicago lines with élan and sentimentality. The joyful memories. The un poco sostenuto that Youth Symphony Orchestra conducted stormy middle section is somewhat closes out the movement submerges the by Allen Tinkham. The McGill brothers, restrained but provides effective contrast listener in a warm bath of sound. These former members of the CYSO, are the and an edge of lovely desperation in contented qualities lend themselves well featured soloists on this recording of Zlotnikov’s playing. In the Tempo di to the contrasting agitation of the final works for clarinet, flute and orchestra. Menuetto, each member contributes to Allegro with grit and bravado in Zlotnikov’s Anthony McGill is principal clarinet of the tightly-wound, exciting energy of opening lines. the New York Philharmonic and DeMarre Beethoven’s writing with an elasticity and Pairing these two trios, one from the McGill is principal flute of the Seattle flexibility of sound. It can be difficult to beginning of Beethoven’s career and the Symphony. Recorded in a single weekend

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in June 2018, I can only imagine what an accompaniment and preparation of the with this recent two-disc release of impression these notable alumni made on CYSO is well done by Tinkham. small ensemble sessions he recorded these orchestra members. Sandwiched between these two newer with friends over a 25-year period. It is The recording begins with the title works are the 19th-century works by Danzi the perfect showcase for his prodigious track, Winged Creatures, by African- and Saint-Saëns. The soloists provide a improvisational talent and commanding American composer Michael Abels. The wonderful master class in late Classical-era presence. The recordings are remarkable in purple liner notes include a list of donors phrasing and voice leading in the Danzi. that they showcase the influential players for this work that was commissioned by The third movement is a full technical in Don’s past and document the breadth Cedille Records, a personnel list for the display from the soloists, and they of his stylistic horizon, which effortlessly CYSO, full bios for the soloists, conductor execute it with apparent ease. Anthony encompasses tunes and styles from early and ensemble, candid shots from the McGill’s articulation here is crystal traditional New Orleans jazz through recording sessions and detailed information clear and clean. Remarkably, DeMarre the swing era to bebop and beyond. In a about each work. Abels shares that he and Anthony McGill, at age 18 and 14 very real sense, we have a history of jazz was inspired by the McGills’ playing to respectively, appeared in a “Mr. Rogers’ evolution here from the first half of the compose a work about butterfly flight. Neighborhood” episode in 1994 playing 20th century. But it is much more than The work features contrasting themes the youthful Saint-Saëns’ Tarantella. a recreation of the literature and stylistic of flight: soaring and purposeful versus It is always a treat to hear Anthony mannerisms of the legends from that random and erratic. Abels, best known as McGill play. His velvety sound is so full time. In the fashion of all great jazz artists, a film composer, crafts quite a cinematic of color and character. This recording Don has delivered a personal and highly effect in this work. The two instruments provides a rewarding insight into music- effective voice that stands on its own while weave together effortlessly. The McGills’ making of a most special kind, two honoring the past traditions of the art. masterful interplay and impeccable tonal virtuoso brothers sharing music with A lifelong resident of New Orleans, blend is achieved as they play soaring lines youth providing inspiration for each Don learned the Dixieland repertoire in with immaculate balance and precision. other and all of us. Take a listen, you will his teen years and mastered the intricacies The two soloists intertwine lines, blurring thoroughly enjoy it! of dense, improvised ensemble playing their tones to disguise their instruments’ – Gail Lehto Zuggar that is the hallmark of early traditional individual characteristics. Anthony jazz performance. He proves that on this McGill’s tonal control and pure intonation Clarinet Connections: From Dixieland recording again and again, especially in in the altissimo range is marvelous. A to Bopsieland and Also Alto: New songs where he is working with a trumpet, neat moment occurs when Abels gives the Orleans Spot Gig+2. Don Suhor, clarinet and trombone front line. There soloists’ material from the exposition to the clarinet; with the Amy Sharpe is no shortage of jazz musicians who orchestra members in the recapitulation, Trio; Gary Burghoff’s Mardi Gras can improvise well, but not all of them a recognition that perhaps these young Celebration Band; Topsy Chapman understand the rules of accurate voice musicians will someday in turn become the and the Pro’s; Wendell Brunious leading and the placement of the right soloists that the McGills are today. Jazz Band; John Eubanks Trio; Don note within the ensemble at just the right The CD includes another result of Vappie Quartet. GHB Records, BCD time. This is a talent that comes from a collaboration for the McGill brothers 561/562. Total Time: 57:11 (album listening spontaneously while playing, and the CYSO. Joel Puckett’s Concerto one); 56:12 (album two). from working with the same group Duo was premiered by the McGills and of musicians for many years and by the CYSO with Tinkham conducting in instinctively knowing where to be at every May of 2012. Puckett is also an alum of moment. Don is a consummate master of the CYSO, having served as composer- this style. He makes it easy for us to get in-residence. Concerto Duo is dedicated to lost in the music with his sinuous melodic the McGills and their parents, and each lines and flawless ensemble counterpoint. of the three movements is dedicated to a Don especially enjoys the intimacy different toddler. Themes of family and and freedom of working as soloist with childhood abound. The music here is a rhythm section. The first eight tracks funky and jazzy alternating with lyricism. feature him in the Amy Sharpe Trio – The soloists and orchestra are fully clarinet, banjo and string bass. Don is engaged for this full-length, 20-minute given free rein to shine here. Sharpe’s work. There is a jubilant effervescence banjo provides everything that is required from the group in the midst of the second and more – highly inventive single-note movement lullaby when the toddler melodies, classic yet colorful harmonies, must be digging in her heels to avoid New Orleans clarinetist Don Suhor a great sense of improvisation and sleep. Coordination of the soloists and (1932-2003) has gained new attention dependable time. Al Bernard is simply

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the perfect bassist delivering flawless not duplicated. Personalized statements [See also “Don Suhor: A Legend in intonation and the ever-important solidity here border on bebop in nature while the Shadows” by Charles Suhor in The of the beat that is critical in every small maintaining the energy and substance of Clarinet Vol. 46/3 (June 2019). Ed.] ensemble. You never get tired of the the original. It is a tribute to these fine – Jerry E. Rife sparsity of the group even in nearly 30 musicians that they can breathe new life minutes of music. into the foundational repertoire of jazz. Stephen Hartke: Clarinet Concerto Sidney Bechet’s signature tune, The second CD of the set continues “Landscapes with Blues.” Richard “Petite Fleur,” opens the first CD and the exploration into the flexibility and Stoltzman, clarinet; IRIS Chamber immediately establishes Don’s New durability of early jazz. Much of this disc Orchestra, Michael Stern, conductor. Orleans roots, linking him to a rich, is from a wild impromptu wedding-party S. Hartke: Concerto for Clarinet and defining tradition of great reed players. session that captures the energy of the Orchestra “Landscapes with Blues,” The Its haunting, serpentine minor melody is event as much as the music of the Don Rose of the Winds, Gradüs, Pacific Rim. presented perfectly here with a beautiful Vappie Quartet. “Lady Be Good,” “South NAXOS, LC 05537. Total Time: 59:39. vibrato, lush, controlled tone and a Rampart Street Parade” and the generic pleasing fluency all the way to the top Mardi Gras march “Second Line” alternate of the altissimo range, compelling the with Duke Ellington standards “Take the listener to relax and spend an evening A-Train” and “Caravan.” To complete the listening to an accomplished master. What mix, the disc ends with Billy Strayhorn’s follows is a parade of some of the best of 1959 “Lotus Blossom” and “Ezz-Thetic,” the 1920s repertoire (“Crazy Rhythm,” an avant-garde tune that was first recorded “Sweet Lorraine,” “Up A Lazy River,” “Just by Don Ellis and Eric Dolphy with the a Closer Walk With Thee”) interspersed George Russell Sextet in 1961. with standard swing classics including Throughout all the diverse music Benny Goodman and Charlie Christian’s included in this fine CD set, one thing is “Seven Come Eleven” and Gershwin’s constant: Don Suhor was an outstanding “S’wonderful.” Along the way, Don and singular musician who mastered his exhibits his effortless improvisation that instrument and should be included among blends a strong traditional style expected the great jazz clarinetists. He is in complete in pre-World War II music with a uniquely control in all registers of the clarinet, is Winner of the 2013 Grammy Award for modern post-1950 hot swing vocabulary. steeped in tradition yet has an individual Best Contemporary Classical Composition This combination of the traditional tunes voice, and he delivers consistently excellent and numerous other awards, Stephen fashioned in a new package works every and engaging solo work. Here is an album Hartke’s (b. 1952) musical influences span a wide range of composers and stylistic time. This is yet another reason to buy and that synthesizes the best of jazz styles from periods, from music of the Medieval period critically devour this collection. 1920 through 1960. to the atonal and chance music of modern The next five tracks employ a full The recording is balanced and high composers. Born in Orange, New Jersey, he Dixieland ensemble. “Basin Street quality, which is remarkable as all but six grew up in Manhattan, encountering music Blues” includes the welcome addition of the 26 tracks were recorded in private at a very early age. Stephen Hartke is widely of a drummer – Gary Burghoff, a fine sessions or on a gig. There also is an recognized as one of the leading composers musician and an accomplished actor who excellent 12-page booklet that was written of his generation, and his work has been played Radar on the acclaimed M.A.S.H. by Charles Suhor – respected jazz critic, hailed for both its singularity of voice and television series. This “Basin Street Blues” author (Jazz in New Orleans: The Postwar the inclusive breadth of its inspiration. is a clarinet feature complete with an Years Through 1970), and Don’s younger Richard Stoltzman’s musicianship extended cadenza and rock-solid rhythm. brother – that personally documents the and virtuosity are known to not only The full ensemble that follows includes 55-year career of Don. It is an inside the clarinet community but also to the legendary players of the style in the front introduction to this brilliant jazz voice that entire musical world. He is regarded as a line (Duke Heitger, trumpet and Lucien is as effective in compelling us to sit up captivating soloist, jazz artist and virtuoso Barbarin, trombone) and vocalist Topsy and recognize his talent as is the music on of many musical genres. He gave the first Chapman with a piano, bass and drum the discs. This CD set is a comprehensive clarinet recitals in the histories of both the rhythm section. Perhaps the best track tribute to a marvelously talented musician Hollywood Bowl and Carnegie Hall. In of the disc is Joe “King” Oliver’s iconic who successfully combined a respectful 1986, Stoltzman became the first wind “Dippermouth Blues.” Played by the appreciation for heritage with a highly player to be awarded the Avery Fisher Prize. Wendell Brunious Jazz Band with Wendell original brand of swing/bebop. It deserves Recently he was awarded the prestigious on trumpet, this tune swings hard. to be in the collection of every jazz Sanford Medal by the Yale School of Music The 1923 solos and playing of Johnny clarinetist and anyone interested in the and was elected a Fellow of the American Dodds and Oliver are referenced but mastery of our instrument. Academy of Arts and Sciences.

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Hartke’s Clarinet Concerto (2001) is The final movement is titled an exciting work with a diverse range “Philamayork.” The composer states, of styles, moods, rhythms and imagery. “‘Philamayork’ takes its title from Albert The first movement, “Senegambia,” is Murray, a compound word he uses to described in the program notes as being denote the mythical cities of the North, influenced by music from the West African where blues had gone and became a hard- nations of Senegal and The Gambia. West driving urban music.” The movement African music is highly polyrhythmic, begins with a dancelike, rhythmic incorporating cross-rhythms that are groove and quickly becomes a faster and characterized by hemiola. Melodies are more energetic dance. A more relaxed not based on a single line over harmony blues style is effortlessly exhibited by but instead rely more on call-and-response Stoltzman finally leading to what Hartke and improvisatory or declamatory styles. calls “travelling music” to the end of the The opening immediately evoked the concerto. The close of this concerto is style of Stravinsky, who is one of Hartke’s driving and exciting, culminating with a energy with brilliant orchestral colors. influences. Based on a five-note ground rhythmic and technical exhibition shown The writing features contrasting sections bass with Stravinsky-like interjections by the clarinet. Stoltzman’s virtuosic of beautiful expressive lines with almost combined with the call-and-response performance is immeasurable. I absolutely jazz-like gestures that really pop. Earth elements of the West African music, this loved this concerto. Caoine by Keith Lay is a hauntingly movement is attention-grabbing to say Highly commendable in this 2003 beautiful work that is a sharp contrast the least. Stoltzman’s melody carries freely recording were the IRIS Chamber Orchestra to Perlongo’s piece. The clarinet line over the orchestra. In the role of griot (the and their soloists. Under the direction of Michael Stern, an internationally known frequently contains descending glissandi storyteller or praise leader), he leads in that evoke a sense of pain and sorrow. the call-and-response, and also gives the conductor, this ensemble was spot-on and virtuosic in its own right. This group of This “wailing” character is set against impression of improvisation, soaring in and an orchestral texture that is expansive and out of a complex cornucopia of sound. performers are exceptionally skillful in their performance of the remaining works on constantly changing. Paraph for Clarinet The second and longest movement of and Orchestra by Gordon Goodwin is a the concerto is titled “Delta Blues.” The the CD: Hartke’s Pacific Rim, The Rose of the Winds for string octet and Gradüs for beautiful, more upbeat and optimistic Mississippi Delta is sometimes described work. With alternating lyric sections and as the “land where the blues was born.” chamber sextet. I would highly recommend this album. aggressive syncopated staccato passages, the Many of the vocal lines were borrowed piece showcases Stoltzman’s ability to from field hollers, a type of song originally The Clarinet Concerto is a stand out, but the additional three works are a bonus of change character and styles seamlessly, sung by enslaved African Americans. This creating a fun and engaging performance. quality musicianship. style of singing is more of a cry than a song Concertante for Clarinet and Orchestra by and is marked by swooping and abrupt – Lori Ardovino Anthony Iannaccone features a series of changes in pitch. This movement begins episodes for virtuoso clarinet and orchestra Reflections. Richard Stoltzman, clarinet; in subdued and mysterious manner. The . The piece unfolds with different scenes style is quite melancholic and laid back. Warsaw National Philharmonic, driven by the solo operatic voice of the Then unexpectedly, with a passionate and George Manahan and Jerzy Swoboda, clarinet. Stoltzman captures the essence of Sunburst ardent display, Stoltzman performs a series conductors. D. J. Perlongo: ; each section beautifully and one does get a Earth Caoine of high energy altissimo “riffs” with the K. Lay: ; G. Goodwin: sense of a character moving through a Stravinsky/Gunther Schuller contravening Paraph for Clarinet and Orchestra; A. story line in a musical drama. harmonic language in the orchestra. His Iannaccone: Concertante for Clarinet The concluding work on this is CD technique is without measure and his and Orchestra; A. Stiller: Procrustean is Procrustean Concerto by Andrew Stiller execution is impressive and precise. This Concerto. MMC Recordings, MMC in two movements. The first movement movement takes many twists and turns, the 2105. Total Time: 61:39. features extreme contrasts and dramatic clarinet at times introspective and soulful, Reflections is a CD release by the world- episodes. Lyrical lines and musical then strident and inflexible, evolving into renowned clarinetist Richard Stoltzman dialogues between the clarinet and solo a mournful wailing. Hartke states that and the Warsaw Philharmonic Orchestra. instruments are interrupted by wild some of the twists and turns of the clarinet This recording includes five short works aggressive gestures in the orchestra. The writing were taken from the opening for clarinet and orchestra, all of which second movement begins with a Chilean motive of Cool Drink of Water Blues by were recent compositions at the time of folk melody written with a very humble Tommy Johnson. Stoltzman’s skill and the recording (2004). and simple accompaniment. Reminiscent knowledge of jazz style and execution is The CD begins with Sunburst by of Ravel’s Bolero, the melody is repeated expert and riveting. Daniel Perlongo, a piece that is full of many times with instruments being added

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resulting in more variations in colors entire career of Richard Stoltzman. He has This CD is very well recorded. There and texture. Unlike Ravel’s work, the been a unique and powerful artistic voice is an excellent sense of space, and the piece returns back to the simple opening for so many decades. In this recording, instruments sound natural and well melodic material after reaching its climax each piece features an experience that is balanced. The individual performances of two-thirds of the way through the piece. special and stunningly beautiful. Each tells Stoltzman and the principal players in the The CD liner note description of a different story, a different opera, where orchestra are truly superb. I don’t think Concertante for Clarinet and Orchestra Stoltzman moves to center stage to say I have heard Richard Stoltzman sound by Anthony Iannaccone says, “…the something meaningful and poetic. The more beautiful, and the works selected for playing is compelling with every moment orchestra becomes, propulsive, then this recording really showcase his special recedes. Like a passionate opera singer, the filled with musical intention. Stoltzman’s talent and musical artistry. This is truly clarinet moves to center stage and imparts tone is beautiful and skillfully controlled, an outstanding CD that every clarinetist arioso-like melodies.” This description especially in many of the highest tessitura should have in their library. resonated with me as it really applies not passages. The lyrical passages sing and the only to every work on this CD, but to the technique is flawless. – David Shea

AUDIO NOTES by Kip Franklin Throughout the movement, Barger and Gainey’s octave intonation is again Woodrow Wilson once said that impeccable, and the pacing of their “friendship is the only cement that will dynamic swells is incredibly well-matched. ever hold the world together.” Play Pretty, The work alternates between passages a brand-new recording from the Amicitia in which the clarinets play a solitary Duo (Diane Barger and Denise Gainey), melody in octaves, and passages in which wholeheartedly embodies that sentiment. they are divided into two independent The album represents the culmination lines in a more traditional melody and of a professional and personal friendship accompaniment style; one voice sings that spans more than three decades. while the other supports, which no doubt Moreover, the album has a tremendous reflects the mother-daughter relationship personal depth as it celebrates not only the that inspired this movement. In both, friendship between Barger and Gainey, but Barger and Gainey’s inflections on the also the relationships they each had with appoggiaturas suggest a sense of longing, their mothers. Three of the four works colors the texture with steady, heartbeat-like both in the sense of melancholy and of involve Barger playing E-flat clarinet to pulses and arpeggiations. fond remembering. The playing is delicate, Gainey’s B-flat. Coupled with the fact that The second movement, “Schizo the duo performs newly-commissioned precise, and tender. Scherzo,” is the most intricate and witty works by Scott McAllister, Alexis Ciesla “BFF,” an acronym for “best friends movement of the piece. In an everything- and William Price as well as a significant forever,” completes the work. It is a work by Gerald Cohen, the scope of the but-the-kitchen-sink approach, McAllister spectacular and sparkly movement full of album is truly unique. incorporates snippets from notable clarinet rapid scale passages, trills and cascading The album opens with what is easily its solos of the orchestral repertoire including arpeggios. The playing is nothing short of most memorable work: Amicitia Suite. This Till Eulenspiegel, Bolero, Rhapsody in Blue, expert. At times Barger and Gainey sound Scott McAllister work was commissioned Symphonie Fantastique, Dances of Galanta, as if they are challenging one another by the duo and was premiered at the 2017 Polovtsian Dances, Scheherazade, Daphnis and at others completing each other’s ClarinetFest® in Orlando, Florida. The et Chloé, Beethoven’s Symphony No. 8, lines. Ultimately the diverging parts opening movement, “Play Pretty,” is the Shostakovich’s Symphony No. 5 join together in a single, unified melody. album’s namesake. It is inspired by the and more! All of these excerpts orbit McAllister has managed to accurately relationship Diane had with her mother, around the third movement from personify both Barger and Gainey, whose who would always tell her to “play pretty.” Brahms’s Sonata in F Minor. As the personal connection to the work coupled The melodic content of the movement is title implies, the movement’s character with their exquisite artistry make it the derived from Dvořák’s Ninth Symphony, is frenetic and humorous. Barger and highlight of the album. specifically the melody “Goin’ Home.” The Gainey’s playing is spot-on rhythmically Alexis Ciesla transcribed his Études interplay between both Barger and Gainey and technically, making for a charming Concertantes (originally composed for is fluid and flowing, with impeccable and exciting interpretation. B-flat or bass clarinets) for E-flat and intonation between the E-flat and B-flat “Heavy D,” the third movement, B-flat clarinet for the Amicitia Duo. clarinet in octaves. Pianist Mark Clinton is in dedication to Denise’s mother. Each movement is a short vignette that

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features one challenging aspect of clarinet special collaborative bond. Their rhythmic Throughout the work, Barger and Gainey’s playing: large intervals, arpeggios, staccato, execution is so well done that listeners expert attention to intonation results in chromaticism and swing style among have a sense that the two parts are fused poignant resonances of perfect intervals. many others. In total there are nine into one. All of the movements in this Similarly, the effects of unison elisions movements in the set. Throughout each work have charm and stylistic coalescence between the E-flat clarinet, B-flat clarinet movement, Barger and Gainey are able that are easily conveyed, making for an and piano are particularly effective and to achieve a totally homogeneous sound enjoyable and fun listening experience. striking. The blend of sound Barger and cohesive interpretation. This work William Price’s Sweet and Simple is a and Gainey create is colorful and vivid. is evidence that these performers share a pastoral work that is highly contrapuntal. Pianist Mark Clinton is to be commended for his playing during his solo passages. In all parts, there is a sensitivity and delicacy to the playing. The interpretation is contemplative, thoughtful, lyrical and pensive. The final work on the album is Gerald Cohen’s Sea of Reeds, a set of five songs based on traditional Hebrew texts. In a break from all the other works on the album, this is the only one to feature two B-flat clarinets as opposed to the E-flat/B- flat combination. The first song, “Hariu L’adonai,” is a jaunty rhythmic frolic that is incredibly effective due again to the evenly-matched forces and faultless intonation of Barger and Gainey. The second song, “Adonai Ro’i lo Echsar,” is

ICA ANNOUNCEMENT 2021 Orchestral Audition Competition Coordinator: Todd Waldecker – [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.

78 | THE CLARINET SEPTEMBER 2020 plaintive and somewhat doleful, which is contrasted by the syncopated and spry third song, “Dodi li va’ani lo.” The fourth song, “Y’varech’cha,” possess a childlike innocence with Barger and Gainey echoing each other’s melodies in canonic imitation mixed with unison singing. The work concludes with “Dayeinu!,” a capricious dance in mixed meter that is a fitting way to conclude an engaging album. Barger and Gainey are in their element throughout every track. The tone from each performer is clear and refined, and furthermore the blend of sound they are able to achieve together is astonishing. It is clear that this duo operates with a single unified consciousness and awareness. All of the works presented on this disc are enjoyable and well-done, but the Amicitia Suite truly stands apart from others. It is imbued with such personality and flair that make a truly unique listening experience. Overall this album is very highly recommended! Happy listening! v

YOUR STAGE. YOUR PERFORMANCE. Program Faculty Todd Levy | Apply by December 1 | roosevelt.edu/clarinet

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by Jenny Maclay

CLARINET IN THE TIME OF COVID here is no question that this year has probably looked • Teaching Younger Students During COVID by Moria entirely different from what you had originally Tunison – Specific advice geared towards remote instruction planned. With so much uncertainty, it can be difficult for younger students to maintain motivation and plan for future events. To • An Interview with Julianne Kirk Doyle by Joe Sferra – helpT clarinetists, we have created an online series of articles on our Ideas for the collegiate clarinet studio during the pandemic, website called “Clarinet in the Time of COVID.” We hope these including teaching, juries, recitals and building community resources will help clarinetists prepare for teaching, performing If you would like to submit an article for publication in our and other activities in this new musical environment. Here are a online “Clarinet in the Time of COVID” series, please email a draft few of the articles published so far in this series, which you can to [email protected] to be reviewed by the editorial committee. read at The Clarinet Online (www.clarinet.org/TCO): We hope this series will be a valuable resource, and we wish • Online Piano Accompaniment for Clarinet Repertoire – you all continued healthy and happy music-making! v A list of online resources for clarinetists to rehearse or perform with virtual accompaniment ABOUT THE WRITER • Studio Morale and Mental Health During Remote Jenny Maclay enjoys a diverse career as a Instruction by David Cook – Important advice regarding soloist, recitalist, orchestral player, chamber mental health during online learning musician, educator and blogger. She is a • Tips on Equipment and Internet Setup for Online Vandoren Artist-Clinician and has performed Clarinet Lessons by Peter Stoll – Everything you need to throughout Europe and North America. know about getting prepared and set up for online teaching She welcomes an international audience of

• Deep Cleaning the Clarinet by Katherine Breeden – Photo by Ann Weis Photography clarinet enthusiasts on her award-winning blog Suggestions to deep clean your clarinet and accessories Jenny Clarinet.

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