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The Chalumeau and Two-Keyed Clarinet History (See Article On Page 11) Page 2 THE CLARINET August, 1974

The International Clarinet The) clarcinot Society Department of Music Idaho State University President, Ramon Kireilis, School of Music, University of Pocatello, Idaho 83209 Denver, Denver, Colo. 80210. Telephone: 208-236-3636 Vice President, Leon Russian off, 12 Pine Ridge Road, (Official magazine of the International Clarinet Society) Greenvale, New York 11548 Secretary-Treasurer, Robert Schott, Department of Music, Editor: Kansas State College of Pittsburg, Kansas 66762 DR. LEE GIBSON Editor, Lee Gibson, School of Music, North Texas State University, Denton, Texas 76203 Publisher: DR. JAMES SCHOEPFLIN Publisher, H. James Schoepflin, Department of Music, Idaho State University, Pocatello, Idaho 83209 (208) COMMERCIAL ADVERTISING 236-3636) Advertising Manager, Robert Luyben, Luyben Music Co., General Advertising rates: 4318 Main, Kansas City, Mo. 64111 (816) 753-7111 Inside Front Cover: $110.00 Editorial Associates, James Gillespie, (Editor of Reviews), Inside Back Cover 110.00 Department of Music, Northeast Louisiana University, Full Page 90.00 Monroe, La. 71201 Two-thirds Page 66.00 Half-page 50.00 Mary Jungerman, 2030 Spruce, No. 8, Boulder, Colo. 80302 One-third Page 34.00 Bruce Bullock, Amarillo College, 2201 S. Washington, One-fourth Page 25.00 Amarillo, Tex. 79101 One column-inch 6.00 H. James Schoepflin (address above) Richard Gilbert, 201 E. 21st St., No. 15-L, New York, N.Y. A 10% discount will apply for two or more consecutive 10010 entries of the same advertisement. Research Library, Robert Schott (Coordinator); address Circulation Information: above. (a) Rates based on 700 copies Vacancy Service, Harold Ashenfelter, Director, 607 W. (b) Character of circulation: Clarinet teachers, students, Washington St., New Carlisle, Ohio 45344 & professionals; College music departments & libraries Regional Chairmen, Northeast: Frank Stachow, Lebanon (c) International circulation Valley College, Dept. of Music, Annville, Pa. 17003 Camera-ready Commercial ads may be sent to: New York City: Richard Gilbert (address above) Southeast: F. Gerard Errante, 1444 Melrose Parkway, Editor Lee Gibson Norfolk, Va. 23508 School of Music North Central: Glenn Bowen, 1925 Kendall Ave., Madison, North Texas State University Wis. 53705 Denton, Texas 76203 South Central: James Gillespie (address above) Publisher James Schoepflin Northwest: Cecil Gold, School of Music, University of (see classified info, for address) Idaho, Moscow, Idaho 83843 or Southwest: L. Charles King, Department of Music, Califor¬ Advertising Manager nia State University, San Diego, Calif. 92115 Bob Luyben National Chairmen, Eastern Canada: Avram Galper, 679 4318 Main Coldstream Ave., Toronto 19, Ont., Canada Kansas City, Missouri 64111 Australia: Nevolle Thomas, 36 Bishop Ave., Randwick, CLASSIFIED ADVERTISING Sydney, Aust. 2031 Austria: Roger Salander, 1180 Vienna, Oesterreich, Rates: 15 cents per word, with a 10% discount for the same Messerschmidtgasse 2-6-1-3 ad placed in two or more consecutive issues. England: Jack Brymer, Underwood, Ballards Farm Road, South Croydon, Surrey England Closing Dates: January, April, July, & October 1 Mexico: Christie Lundquist, National Orchestra, Mexico, D.F., Mexico Four issues per year: Fall (October), Winter (January), Contributing Members, G. Leblanc Corporation (Vito Spring (April), Summer (July). Pascucci, President), Kenosha, Wis. 53141 Buffet-Crampon Div., Chicago Musical Instrument Co. Classified Ads should be sent directly to Publishei: (Ken Yohe, Marketing Manager), 7373 N. Cicero Ave., H. James Schoepflin Lincoln wood. 111. 60646 Department of Music C.G. Conn, Ltd. (Donald M. Hogue, Director of Marketing Idaho State University Development), 616 Enterprise Dr., Oak Brook, 111. 60521 Pocatello, Idaho 83209 August, 1974 THE CLARINET Page 3

Table of Contents

Proposed Constitution of the ICS Page 4 Confessions of a Clarinet Teacher Page 6 by Leon Russianoff About our Secretary/Treasurer Page 8 Current and Germane Page 8 The Rose Thirty-Two Etudes: Page 8 By Larry Maxey Clarinet Embouchure Control Through Use of the Upper Lip Page 9 By Thomas Gerbino Claranalysis Page 10 By Lee Gibson The History and Literature of the Chalumeau and the Two-Keyed Clarmet with Bibliographies Page 11 By Albert R. Rice New Music Review Page 21 By James Gillespie and Mary Jungerman Book Review Page 23 New Music Review Page 24 By Henry Gulick Music Review Page 24 By Lee Gibson "Going on Record" Page 24 By Richard Gilbert Record Review Page 25 By James Gillespie Letters Page 26 A Selective Discography of Recent Music for Clarinet Page 27 By F. Gerard Errante International Clarinet Society List of Members Page 29 Page 4 THE CLARINET August, 1974

performing position a Vacancy Notice Service. Notice to members and subscribers of the (e) To publish a quarterly journal, The Clarinet, to be International Clarinet Society: distributed to all members. (f) To conduct a yearly general meeting at which Society business will be voted upon. Our supply of the first issue of the new Clarinet, Vol. I, No. 1, has been exhausted. This issue was in fact mailed to every college and university music department in the U.S. ARTICLE IV The Society will appreciate the return of extra copies to our Powers publisher so that these may be sent to members and subscribers. It was the announced intention of the Society Section 1. to apply all issues of our Vol. I to new members and The Society shall have the powers necessary and proper subscribers; in order to retain a uniform expiration date for to the achievement of the aforementioned purposes for memberships and subscriptions we must make the follow¬ which the Society is organized. ing stipulation: Section 2. If by Aug. 31,1974 you have not received an issue of The Notwithstanding any other provisions of these articles, Clarinet (following due notification to the publisher of its the Society shall not carry on any activities not permitted non-delivery), your fee for renewal of membership of to be carried on by a corporation exempt from federal subscription for the 1974-75 year, which begins on October income tax under Section 501 (c) (3) of the Internal Revenue 1, may be reduced by 20%. The Society expects to be able to Code (or the corresponding provision of any future United supply all succeeding issues to members and subscribers. States Internal Revenue Law). Section 3. No part of the net earnings of the Society shall inure to Proposed Constitution the benefit of, or be distributable to, its members, officers, ofthe or other private persons, except that the Society shall be International authorized and empowered to pay reasonable compensa¬ tion for services rendered and to make payments and Clarinet Society distributions in furtherance of the purposes set forth in Article III hereof. No substantial part of the activities ofthe Society shall be the carrying on of propaganda, or otherwise attempting to influence legislation, and the ARTICLE I Society shall not participate in, or intervene in (including Name the publishing or distribution of statements) any political campaign on behalf of any candidate for public office. This organization shall be known as the International Section 4. Clarinet Society, incorporated under the laws of the State This Society may hold real estate, and own copyrights of , as a non-profit organization. and property. No loans shall be contracted on behalf of the Society and no evidences of indebtedness shall be issued in ARTICLE II its name unless authorized by a resolution of the Executive Location Committee. Such authority may be general or confined to specific instances. The headquarters of the Society shall be in the United Section 5. States. The initial registered office of the corporation is This Society may accept outright any unrestricted gifts, , , and its registered agent at such grants, or endowments that may be presented by any address is - The address of the person, firm, or corporation, and such gifts, grants, or registered office may be changed from time to time by the endowments shall be placed on the general funds of the Executive Committee of the Society. Society to be used, as directed by the Executive Committee, for the aims and purposes of the Society. ARTICLE III Objectives and Purposes Section 6. All checks, drafts, or other orders for the payment of The objectives and purposes of this Society are: money, notes or other evidences if indebtedness issued in (a) To foster communication and fellowship of the name of the Society, shall be signed by the Treasurer. clarinetists on a world-wide basis through the Society. The President shall have this authority in the event that (b) To establish a research library providing all Society the Treasurer is unable to attend to his duties. All funds of members an extensive bibliography of materials per¬ the Society not otherwise employed shall be deposited from taining to the clarinet. time to time to the credit of the Society in such Banks, trust (c) To support projects which will benefit clarinet perfor¬ companies or other depositories as selected by the Ex¬ mance; providing opportunity for the exchange of ideas, ecutive Committee. materials and information among members; fostering the composition, publication, recording, and distribution of Section 7. music for the clarinet; encouraging the research and Dues from the membership will support the activities of manufacture of a more definitive clarinet; avoiding com¬ the Society, as well as providing for subscription to the mercialism in any form while encouraging communication annual journal and a newsletter. and cooperation among clarinetists and the music industry. Section 8. (d) Providing to all members seeking a teaching or The fiscal year of the Society shall be the August, 1974 THE CLARINET Page 5

ARTICLE V remove from office any officer who is unable to attend Membership meetings and is unable to attend to the duties of his office when, in the opinion of the Committee, the effectiveness of the Society is impaired. Section 1. The founding membership of this Society shall constitute Section 4. the incorporators of the corporation. The duties of the elected officers are: (a) The President (and in his absence, the Vice-President) Section 2. shall preside at all meetings of the Society; he shall be the Membership to this Society shall be open to all persons chief executive officer of the Society and a member ex- interested in the clarinet upon payment of annual dues, officio of all special and standing committees. He shall and all members shall be entitled to all rights and engage necessary secretarial assistance. privileges of membership in the Society, including a (b) The Vice-President shall act in the absence of the subscription to the quarterly journal. Members shall pay President, and accept other such responsibilities and annual dues, shall have the right to a voice and the right to assignments as the President may request. a vote for electing officers and for other such matters (c) The Secretary-Treasurer shall be responsible for: presented for voting. recording the proceedings of all general meetings of the Society, and presentation of these minutes to the following Section 3. ing general meeting; for the correspondence of the Society, There shall be four types of membership: and maintaining the financial records of the Society ; He (a) Active—the only category of membership with voting shall be the only officer normally allowed to disburse privileges. funds, however the President will have this authorization (b) Associate—a non-voting membership available to in the event the Treasurer is unable to attend to his duties. libraries, publishers, dealers and others with an active The Treasurer will also maintain up-to-date membership interest in the clarinet music profession. lists and will send up-to-date lists to members of the (c) Student—a non-voting membership open to all Executive Committee. students from elementary through conservatory levels. (d) The Editor of Publications will be responsible for the (d) Contributing—a non-voting membership. publication of the quarterly journal. He may select a staff to The dues for the four types of membership will be deter¬ assist him in the preparation and publication of these mined by the Executive Committee and must be approved periodicals. by a majority of those voting at a general business meeting of members. ARTICLE VII Committees Section 4. Application for membership, with dues, shall be sent to Section 1. the Treasurer of the Society. In addition to the Executive Committee there shall be the following Constitutional Committees: By-Laws Com¬ Section 5. mittee, Nominating Committee, Finance Committee, and As memberships are received from countries other than Library Committee. The President shall himself be an ex- the United States, the Executive Committee shall take officio member of all committees. The President of the appropriate action to ensure their representation in the Society may appoint other committees as needed, and he Society, and to foster a truly international organization. may change or remove members and dissolve such com¬ mittees. The members of each committee shall elect a Section 6. chairman of the committee. A special category of Honorary Membership may be created for persons of unusual distinction. Such persons Section 2. can be nominated at any time by the Society's membership The Library Committee shall be responsible for the and may be elected to honorary status upon receiving two- maintenance of a Library to serve the needs of the Society thirds vote of the voting members at the annual business as described in Article III of this constitution. This meeting. committee shall work closely with the Editor of Publications, who will ex-officio be a member of the Library ARTICLE VI Committee, to collect material for publication in the Officers journal. Section 1. The elected officers of the Society shall be President, ARTICLE VIII Vice-President, Secretary-Treasurer, and the Editor of Meetings Publication. All of them shall be elected by ballot from among the membership at the Annual Meeting. These Section 1. officers shall hold office for two years with the possibility of There shall be a general Annual Meeting, including a succession. Business Meeting, of all members, the time and place to be determined by the Executive Committee. Section 2. The elected officers shall form the Executive Committee Section 2. and shall be empowered to carry on the business of the There shall be a minimum of one meeting a yezx of the Society between annual meetings. Executive Committee. Additional meetings of this Com¬ mittee may be called by the President alone or at the Section 3. request of a majority of the Committee. The President shall The Executive Committee by a two-thirds vote may determine the time and place of meetings. Page 6 THE CLARINET August, 1974

Section 3. . The President, after consultation with the Executive CONFESSIONS OF A CLARINET Committee, may call special meetings to plan for the particulars of Ad Hoc projects TEACHER An Account of Blind Faith, Inconsistency, Vacilla¬ Section 4. _ » tion, and Hopefully Finally, Some Growth and Sufficient time must be given to members to plan Change attendance at all meetings, with two months a minimum notice for general meetings and two weeks a minimum notice for Executive Committee meetings. There will be no time minimum notice for special meetings. Leon Russianoff, Vice President of the ICS, continues here a series begun in our first issue. As per our request he Section 5. . has supplied a list of former students: S. Drucker, M. Burgio, and Steve Freeman, N.Y. Philharmonic; Franklin A quorum at General meetings shall be those in atten¬ dance. If voting includes a ballot by mail, these shall be Cohen and E. Palanker, Baltimore Symphony; Naomi counted as in attendance. A quorum at Executive Com¬ (Mrs. Stanley) Drucker, Huntington, N.Y.; A. Blustine, De mittee meetings shall be a majority of filled seats of the Capo Players; J. Bunke, recordings; J. Kreiselman, Little Committee. There shall be no voting by proxy at any Orchestra; S. Girko, Houston Symphony; Larry Combs, meeting. The Rules and Order of Business of Robert's Rules Chicago Symphony; Martin Zwick, Utah Symphony; Jim Gilmore, N. Carolina Symphony; Phil Fath, San Francisco of Order shall govern the Society in all cases where they are applicable and in which they are not inconsistent with the Symphony; Michel Bloch, Los Angeles Philharmonic; Constitution and By-Laws of the Society. A general report James Smith, Miami Symphony; Simeon Loring and on the affairs of the Society shall be submitted at the Deborah Pittman, Goldman Band; Charles MacLeod, San annual General Meeting of the Society, by the Executive Diego Symphony; Bill Shadel, New Jersey Symphony; Committee. Andrew Schenck (assistant conductor) Honolulu Symphony; Mike Borschel, Milwaukee Symphony; David Stem and Susan Martula, American Symphony; Richard Section 6. Pickar, Houston Symphony; Judith Freeman, soloist; Fred Any member may propose new business to the Executive Healing, Minnesota Orchestra. Committee to be brought before the membership for discussion and voting. Lee Gibson is surely a fine editor! His suggestion that his ARTICLE IX readers might be interested in "something Publications autobiographical," something about my early training and The publications of the Society shall include an official development—this, praise be, resolved my "topic" dilemma scholarly journal to be published quarterly. The and gave me an opportunity for some honest self- publications are the responsibility of the Editor of evaluation and the always welcome additional bonanza of Publications, staff personnel appointed by him, and the an opportunity for some braggadocio. Those who know me, Library Committee as a source of assistance to the Editor. know that I am not averse to either. Dr. Gibson in his flattering introduction to last issue's article, mentioned ARTICLE X that I had not sent him, as per his request, a list of students Regional Chapters who had achieved renown and professional status. I am overjoyed to append it to this article.* If the list seems The Society will encourage and assist the formation of rather long, I can explain: The trick is simple; a student regional chapters for the purposes of more frequent that has worked with me for many years, a semester, a meetings of members, more widely varied activities of the month, a week, or even just knocked at my door— Society between annual meetings, and to foster and automatically becomes MY student. Obversely: should a encourage musical performances by the members. student labor with me diligently, believing in me for 15 years or more, and fail to "make it," should he out of ARTICLE XI desperation transfer to another teacher, then he im¬ Amendments mediately becomes HIS pupil. Hence the inordinate length The Constitution and By-Laws of this Society may be of the list. altered, amended, or repealed and new By-Laws may be Seriously, though, many great teachers have been large¬ adopted by a three-fourths majority of the votes cast by ly responsible for nurturing the marvelous talents of these members at any General Annual Meeting, or at any special artists. Mr. Marcellus, Mr. Hasty, Mr. Ormond, Mr. Gigliot- General Meeting called for that purpose. ti, to mention only a few, have invested in these artists their own special artistic and tutorial genius, and are equally to ARTICLE XII be credited for helping these artists to fulfill their own Distribution of Assets Upon Dissolution inherent potential and innate genius. Upon dissolution of the corporation, the Executive My first mentor was Mr. Dominic Tramonta. Basic, Committee shall, after paying or making provision for the uncomplicated, open, direct, and simple. From him I payment of all of the liabilities of the corporation, dispose learned how to play without too much in the way of of all of the assets of the corporation to (and only to) one or complicated, theoretic, mystical detail. You stuck the horn more organizations organized and operated exclusively for in your mouth and blew. I learned many other great things. educational purposes as shall at the time qualify as an To wit: Italian culture, music, art, cooking, and women exempt organization or organizations under Section 501 (c) were far superior to ours. "Chianti" was uplifting, delight¬ (3) of the Internal Revenue Code of 1954 (or the correspon¬ fully stimulating and deliciously aromatic; Wrigley's chew¬ ding provision of any future United States Internal ing gum was malodorous and revolting. That the band Revenue Law), as the Executive Committee shall deter¬ arrangement of Verdi's "La Forza" was the greatest mine. musical achievement of all time. In addition since Mr. T. August, 1974 THE CLARINET Page 7

drove to my home to teach me, I learned the fantastic value all—accepted the approach without any doubt, castigated of the "flat tire" as the most acceptable reason for arriving as uncivilized and unmusical anyone who dared to differ for the lesson several hours late or not at all. I would guess from our "given" interpretation one single jot. Blind that three flats per month were par for the course. Some of acceptance, the student-teacher disease, centuries old! the greatest fun was to be had by playing and marching in Rhythm and phrasing carefully marked in the part; a band, "imbibing" and celebrating all day, for an Italian emphasis on careful separation of phrase and sub-phrase, fiesta. I remember little of the specifics of his instruction posture a stance in which angles of feet, elbows, and except for his remarkable use of the razor blade. Without clarinet were carefully regimented. Basic to his technical any apparent thought or even any aim he would scrape, direction was that all execution was to be firm and strong; SCRAPE, SCRAPE! and lo and behond; a perfectly balanc¬ fingers stiff and heavy were to lift high and come down ed and playable reed; as if he had used all of our hard; "Stiff Fingers" was his technical trademark. There sophisticated devices: DuAls, gauges, clippers, reed glass, was little emphasis on alternate or "fake" fingerings. sandpaper, rush, thumbs, lights, burnishers, et al. I did get Problem solving, technical, tonal, and intonational, was from this lovely man a sense of music, of gaiety, warmth, not his forte. love, and enthusiasm. We, all his students, accepted these approaches without My first teacher change came with a scholarship to study question and without doubt, and for the most part they with Mr. Bellison. It was accompanied by the awful worked fairly well. Jimmy Abato arrived in New York at "teacher-changing-trauma" which all of you, teacher and about this time and his beautiful playing created quite a student alike, will recognize. It involves changing teachers, stir in professional circles. Our mutual friend, Harold for whatever reason, be it dissatisfaction with your Goltzer, a wonderful bassoonist, urged me to study with progress, or wishing to move to a new dimension, or out of Jimmy's teacher: Daniel Bonade. boredom; from your old devoted teacher who gave so much And so, guiltily, secretly, I again stole away like a thief in of himself, who really was responsible for your love of the the night to Mr. Bonade's studio and began to unlearn all clarinet, etc., to a more famous teacher. I have been on both the sacred and dearly held ideas I had so whole-heartedly ends of this transaction, and I can tell you it is most painful and sometimes painfully absorbed from Mr. Bellison—I on either side. It hits you most painfully in the solar plexus had now come to the "real thing" and "seen the light." And of one of Dr. Albert Ellis' most important sets of false again, the same old device of "unquestioning acceptance" assumptions: "That unless your success id total and won the day. Fingers now were feather light—floating high complete, and unless Everybody is Fascinated and up, and gently down—weightless and noiseless. To "pop" Enthralled by You the Master, unless this totality of became the ubiquitous clarinetistic abomination to be achievement is unmarred by any trace of incompleteness, avoided at all cost—no "note" at all was better than one you are therefore 1) A Failure, 2) A Phony, 3) A Fraud 4) Not that "popped" out. Clarinets came down dangerously close Lovable 5) Worse. to the belly button, reeds got softer and meticulously If you ever would like to see the word "crestfallen" balanced, Dutch rush became the most sought after plant demonstrated, I wish you could see me after discovery in the whole botanical world. Ligatures were bent accor¬ through the grapevine that one of my greatest students just ding to rule; Rose 40 Etudes became the clarinetist's Holy "flew the coop" and was now happily consorting with Bible, Rose 32 Etudes: the ultimate in study books. French another instructor. Clarinet Teachers of the World! I beg Solos de Concours replaced Beethoven, Schubert, and you! Give up that False Assumption. You have nothing to Mozart—and France itself became the clarinet player's lose but your misery. After twenty years of struggling with mecca—a visit there would cure everything; a visit to the it, after much therapy at no expense from my brilliant wife, Buffet Factory was like a trip to Lourdes. I bought Mr. I have learned to let go (more or less gracefully), to love Bonade's approach lock, stock, and barrel—without ques¬ myself as a human being and teacher, just as much, even tion. I looked down at my colleagues who had not yet seen though not everybody is completely enraptured by my the light. My main confession then is that I had taken to my teaching and personality. I am still a nice person and a fine bosom the traditions and values passed on to me by great teacher. Perhaps this student's judgment is mistaken. teachers, without question, without doubt, without in¬ After all, is not frivolous teacher-hopping rather vestigation, without rational scientific verification. And characteristic of much of our student population? ultimately and concomitantly passed it on in possibly Students!! Listen to me! I would like you not to be diluted or distorted form. This to me was the great sin. I was surreptitious or devious. When you "get wise" to us, give us then the good citizen of the clarinet, never doubting a direct message, polite or otherwise. We can take it. "Mr. authority, never challenging assumptions or evaluating R., I've had it with you. I haven't really learned a thing of directives. value in the last five years. Good-bye, good luck, and stay Alas, when I was a Bellison student and a teacher, I well." Or, much better: "Mr. R., I know you are the greatest passed around "pure Bellison"; imitation and second-hand and there will never again be anybody like you and I owe Bellison at that. Only Bellison should teach Bellison! everything I ever learned to you, but just for the sake of Under Mr. Bonade, I became a docile transmitter of his change..." transmission, pandering undiluted Bonade to a growing So, full of guilt feelings of betrayal, I switched to Mr. group of trusting students. At a sadly late stage of my Bellison. Mr. Bellison, an olympian personality, awe- professional life, I began to feel unhappy with myself; my inspiring, intimate, yet distant; dignified and reserved, a self-esteem was very low—I think deservedly so—and I supreme artist, inspirational and universally loved and decided to re-examine every single thing I had been admired. His life, his style, his love of music and the taught—to test them, to put everything I had so naively clarinet as his means of self-expression call for a book just accepted as gospel to the one acid test. Does that directive about him. His teaching was calm, methodical, concerned really work? Does that exhortation get you musically mostly with the music itself and not with the techniques where you want to go as quickly as possible. I've been a and tools of its production. His method of teaching very happy teacher since I found out I could change my interpretation, his first concern, was, I think now, ar¬ directions. That I could question, that I could be inconsis¬ bitrary and rigid, although always in perfect taste. tent. After all, is not consistency in many instances a Needless to say—we, students and naive hero-worshippers stubborn process of hanging on to notions and ideas whose Page 8 THE CLARINET August, 1974 worth either were never valid or did not at all meet the City Philharmonic under Hans Schwieger. Certainly all needs of new generations of clarinetists? I discovered that I officers of the society join with the full membership in an could even come up with some exciting new possibilities. expression of appreciation for Dr. Schott's work during This is where I "am" today. A teacher in "process" finally 1973-74 as Secretary/Treasurer! having learned some few really valid teaching guides: "That you the teacher must genuinely respect and trust the H. James Schoepflin student. That you, the teacher must learn from your students, from your mutual struggle, to overcome obstacles: technical, psychological, interpretational. Dearest student: Don't pay too much attention to the teacher who does not warn you not to pay too much Current and Germane attention to him. Listen hard, absorb thoroughly, think through, question, and evaluate. Dave Glazer, a member of the ICS, will give a two-week I try to qualify for these standards by first warning any master class for the Institute of Advanced Musical Study at new student to question me, to test me, and to rely on his Crans, Switzerland, July 22-August 3. Besides his ac¬ own insights and intelligence, to formulate his own tivities in solo and chamber music performances (recor¬ musical values, and to beware of all traditional absolutism. dings, New York Woodwind Quintet), he is on the faculties I try to qualify to my own standards by stimulating doubt of the Mannes College of Music in New York and the State of any all-wiseness, and by trying to earn confidence by my University of New York at Stony Brook. In January, 1975, deep interest in my students as "human beings" and he will make concert tours in England, Germany, and "musicians" (not necessarily mutually exclusive terms). I France. hope they will come to trust in my avid goal of seeing them grow as musicians and as men and women. The Clarinet solicits announcements of events of interest to My Exhortation: Exorcize the devils of Blind Faith and clarinetists, and reports thereafter. Unchallenged Tradition! Repent! Grow! Question and above all else, "Risk Change!"

The Rose THIRTY-TWO ETUDES: A Study in Metamorphosis by Larry Maxey University of Kansas

Larry Maxey is a member of the woodwind faculty of the University of Kansas, Lawrence, Kansas, and formerly taught at Long Beach State University and Michigan State University. He has been principal clarinetist of the East¬ man Wind Ensemble, Eastman Philharmonic Orchestra, Rochester Chamber Orchestra, and the Seventh Army Symphony Orchestra in Stuttgart, Germany.

If it is possible to single out one collection of studies as representing a definitive compendium for the clarinet, that collection must assuredly be the Thirty-two Etudes by Cyrille Rose (1830-1903). This volume is undoubtedly the most widely-used in the entire etude repertoire and provides the foundation for the clarinet curriculum in countless music schools in this country. Far from being a succession of mere challenges to the player's technique, these studies require the utmost in About Our control, sensitivity and musicianship, and are sufficiently complex and sophisticated to warrant study at various Secretary/Treasurer... stages of the performer's development. Cyrille Rose, a native of northern France, was a pupil of Of all who have given so much time to making the the famed H.C. Klose, who served as professor at the Paris International Clarinet Society a success during its first Conservatory from 1838 until 1868. Rose succeeded to the year, none has worked harder and more tirelessly than Dr. same post in 1876, and from 1857 until 1891 he played in the Robert Schott, Secretary/Treasurer. Dr. Schott has main¬ orchestra of the Paris Opera, where he was consulted by tained complete records of memberships, finances, and such composers as Gounod and Massenet concerning handled a multitude of other projects to further the interest technical points of writing for the clarinet. He was known of our society. Presently Professor of Clarinet at Kansas as a brilliant performer and excellent teacher and produced State College of Pittsburg, Dr. Schott recently returned a number of fine players, among them Henri and Alexan¬ from a years' sabbatical leave which he spent in London dre Selmer, H. Lefebvre, and Paul Jeanjean. Less well studying with Gervase DePeyer and Jack Brymer. known than his other achievements are the experiments he Previously he attended the Universitv of Tulsa and the made in conjunction with the clarinet manufacturer Buffet Cincinnati Conservatory. He has been a member of the to establish the correct proportions of the bore-of the Band of the Air under Dr. Frank Simon, and the Kansas instrument. August, 1974 THE CLARINET Page 9

All of the Thirty-two Etudes for Clarinet of Rose except I feel that the clarinet etudes of Cyrille Rose constitute a one are based on etudes from Op. 31 of F. Wilhelm Ferling basic part of the clarinetist's training, and that repeated (1796-1874), a collection of forty-eight studies for the oboe study of them never fails to be profitable. They are composed in the mid-19th century. Although each of Rose's invaluable as a means of developing control and beauty of etudes is easily matched with its prototype, his tone, and in instilling a sense of phrasing and melodic line modifications of the original studies are extensive and in the student. The musical value of the Rose etudes is include virtually every aspect of compositional technique. beyond question, and I find them extremely well-suited to Newly-composed sections ranging in length from four to the clarinet in every respect. They are an essential part of forty measures occur in all except one of the etudes (Rose the clarinetist's program of study at Michigan State No. 11—Ferling No. 27). Each Ferling study in its entirety University. is usually incorporated by Rose, but occasionally a seg¬ —Mr. Keith Stein ment is omitted. Rose freely modifies the factors of rhythm, articulation, tempo, range, melody, dynamics, expression markings, meter, phrasing, and key. Meter change is limited to alteration from simple duple to simple quadruple or vice versa, as well as changing the unit of the beat, as from 3/4 Clarinet Embouchure Control through to 3/8. Use of the Upper Lip Ferling's etudes consist of forty-eight studies in every major and minor key with one slow and one fast etude in Thomas Gerbino each key. However, the tonalities of Ferling's studies are almost invariably transposed by Rose, and the intervals of Mr. Gerbino is Instructor of Clarinet at State University these transpositions include the minor second, major of New York, Cortland, N.Y. second, augmented second, minor third, major third, perfect fourth, augmented fourth, perfect fifth, and octave. Through these transpositions Rose avoids using any minor Most clarinetists write about, discuss, and perform with keys beyond three accidentals and any major keys beyond the following points of a good clarinet embouchure: use of five accidentals. the flat, pointed chin, mouthpiece laid on lower lip, lower teeth covered by lower lip at a place where only a portion of It is worth noting that in two of the etudes Rose the red is externally showing, upper teeth resting lightly incorporates excerpts from works for solo violin by Johann atop the mouthpiece (approximately x/-> inch from the tip), Sebastian Bach. Tn his Etude No. 16 (Ferling Study No. 20) head in an upright position, clarinet at a 30-40 degree angle Rose inserts a twelve-measure section between measures 8 from the body, lips drawn firmly around the mouthpiece (in and 9 of the Ferling study. The initial ten measures of this rubber band-like fashion), and the corners of the mouth section constitute an almost literal repetition of measures turned slightly upward in a quasi smile. (It should be noted 13-17 of the second movement of Bach's Partita I in B that the embouchure under discussion is the commonly Minor for solo violin. The discrepancy in the number of termed "single-lip" formation). measures cited can be attributed to the fact that the Rose While it is true that the aforementioned points are the etude is in duple meter, whereas the violin edition is in most important features in development of a suitable tone quadruple meter. and control, refinements are essential. In his Etude No. 20 (Ferling Study No. 32) Rose inserts a Most teachers of the instrument would agree that many thirty-measure section between measures 32 and 33 of the students have difficulty with one or more of the following original study. The final eight measures of this section "hurdles": management of wide slurs (especially descen¬ constitute an almost literal repetition of measures 1-8 of the ding), control of dynamics and tone in the altissimo fourth movement of the Sonata I in G Minor for solo violin register, command of register changes, and articulation in by Bach. the upper ranges of the clarinet. It was apparently the purpose and intent of Cyrille Rose The symptoms of faulty playing are also well known. to evolve from the studies of Ferling a collection of etudes These include tension as the player attempts to produce a which would represent an expansion of the rich musical decent tone. Lip changes, throat changes, and a lack of content of the original work, and at the same time diaphragmatic support create unwanted strain in playing. encompass a highly idiomatic style for the clarinet. His Embouchure problems are crucial since they may take success may be judged in light of the following quotations the greatest amount of time for correction. The teacher from two of our leading artist-teachers. should discourage tension in the overall tone production. Movement in the eyebrows, pressure seen in the fingering of notes, or "white" pressure marks on the bottom hp are The primary purposes of instrumental teaching are detrimental to control and tone. It is this pressure on the twofold: to develop in the student the ability to respond to bottom lip with which we deal directly. the character of the music, and to enable him to gain the The clarinetist must learn to relieve the tension from the necessary facility to effectively express his response bottom lip. Many clarinetists complain about an aching through playing. In the past it has often been felt that lower lip. The reason is obvious, if the player's top teeth are sensitivity in a performer was an inherent quality which digging into the mouthpiece, thus compressing the bottom could not be instilled from without, but the entire lip. To emphasize this point, one may draw the analogy of philosophy of music education decries this outlook. In my the index finger digging into the thumb. The student mind the Rose etudes are the most comprehensive studies should recognize this pain as being very similar in effect for the development of musicianship and sensitivity to to "white" pressure. In addition, an unwanted indentation music in the maturing clarinet student. They form a basic may form in both cases. part of the clarinet curriculum at the Eastman School of It would be beneficial for the player to readjust his Music. embouchure. One should not hesitate as the change is —Mr. Stanley Hasty slight and can be effected within a short period of time. Page 10 THE CLARINET August, 1974

The alteration involves the bottom lip's formation. This no professional clarinetist (and almost all of our members lip should be less than taut. It should serve as a soft are professional clarinetists) will buy an instrument cushion. This bottom lip must help to reduce sharpness in without due process of trial. The justification for such the chalumeau register. It can serve to produce the desired reviews has to be that, without being mercilessly critical, warm, round tone. Tension is avoided with the "soft these can apprise readers of some developments which they cushion" embouchure. Moreover, tone is not suitable when in their busy lives may not have taken time and occasion to produced with a tightly stretched or folded lower lip. discover, and that these may contribute to a finer synthesis The question must now be formed, "how does one gain of design and construction. There has not been within my maximum embouchure control without pain?" The answer life a time which offered so much improvement in the state is found through effective use of the top lip. Too often this of the art of clarinet making. I believe that this may be at part of the embouchure is ignored in terms of discussion or least in part because clarinetists are increasingly making demonstration. their voices heard, and manufacturers are listening. This The upper lip should appear as a smooth curve holding was one of the expressed purposes of the formation of our the mouthpiece in position. The top lip is in contrast to the society. It is our intention to review impartially all lower lip. Its appearance should be curled, and rather tight products, whether made by sponsors and advertisers or against the upper teeth. not. However, neither the tax-exempt status of the ICS nor The procedure for forming the new embouchure is not the good will of the manufacturers can be done without. If very complex. The steps for setting the formation are as this project is not a good one or is not being properly done, follows: 1) the student should curl the upper lip against the please tell us what you believe immediately. teeth (with the aid of a finger at first), 2) the instrument should be introduced into the mouth at a horizontal angle The S6prano Clarinet in B-flat: Leblanc's L70 (keeping top lip braced), 3) the instrument should now be Leblanc's clarinets have always maintained an enviable brought into normal playing position. standard of excellence of mechanical design, It is important to note that a mirror may aid the player in workmanship, and finish. These qualities are now found in adjustment of the "new" embouchure. This change can one of advanced acoustical proportions which completes eventually feel natural. the availability of a smaller-bored soprano clarinet in each The advantages gained with the control of the upper lip of the major French manufacturers' production. are numerous. One receives many of the benefits of the The basic cylinder of the L70 in B-flat is essentially the "double-lip" formation without sacrificing control. The 14.57 mm size chosen by Buffet in 1959 and Selmerin 1966. player is now able to make efficient use of a large oral There remain intentional differences in the reversed con¬ cavity and an open throat. More resonance is heard in the ical enlargements of the upper joint and barrel, but these player's sound while skills such as command of wide skips are minimized in the latest designs of Selmer (Model 10G), and tone quality of upper registers are achieved. Most Buffet (S-l), and Leblanc (L70). There are still differences in important, embouchure discomfort is now alleviated. tone, pitch, and flexibility; nevertheless these instruments can be played together quite satisfactorily, a great advance BIBLIOGRAPHY which has occurred only within the last five years. Bonade, Daniel. The Clarinetist's Compendium. Kenosha, What is the rationale for the tremendous popularity of a Wis.: LeBlanc Publications Inc., 1962. smaller bore in contrast to those of 14.8 mm.to 15 mm.which were so widely used in over a hundred years of French Heim, Norman. A Handbook For Clarinet Performance. manufacture? The smaller cylinder trades away some Dele van, N.Y.: Kendor Music Inc., 1965. breadth of tone for the purpose of achieving more useful relationships of the fundamental and overblown modes in Hovey, Nilo. Teacher's Guide To The Clarinet. Elkhart, the lower middle of its length. Given a larger cylinder the Ind.: H. & A. Semer Inc., 1967. achievement of full-sized twelfths between g-d and b-f# on the lower half of the instrument becomes quite critical. Porter, Maurice. The Embouchure. London: Boosey & Since in the design of wind instruments a best compromise Hawkes, 1967. is the name of the game, one surmises (correctly) that in the smaller-bored clarinets the achievement of minimally Schmidt, Robert. A Clarinetist's Notebook, Vol. II. oversized twelfths at both ends of the clarion register (available from the author at Ithaca College, Ithaca, becomes paramount. (Boosey and Hawkes' solutions for N.Y.), 1971. their remarkable 15.2 mm Model 1010 include a cylindrical- ly bored mouthpiece and a resonance vent for the b-f#-high Stein, Keith. The Art Of Clarinet Playing. Evanston, 111.: e flat which will probably appear eventually on all Klose- Summy-Birchard, 1958. system (Boehm) clarinets. The 1010 will be reviewed subsequently). Although the finely graduated reversed cone of the L70 (in contrast to the intentionally stair-stepped cone of the Buffets) loses a bit of the flexibility of the Buffets it is more secure in its navigation of passages which cross modal breaks. I find the intonation to be remarkable throughout Claranalysis the entire scale. The c#-g#-high f vent is well located (lower and larger). This and the even taper of the boi-e enable a standard high f fingering which is in tune without extra Regarding the project of reviewing clarinets and help keys. clarinetists' equipment for our members, we print in the Some minor adjustments of the sizing and undercutting Letters section the only letter as yet received from a of tone holes seem advisable, but of course every company member which is pertinent. In the current review, as in the engaged in mass production faces this problem in the first, no attempt is made to convince anyone that here checkout of an instrument. Congratulations, Leblanc. indeed is the one perfect instrument for everyone. Certainly Lee Gibson August, 1974 THE CLARINET Page 11

The History and Literature of the instrument maker, has been credited with the improvement Chalumeau and the Two-Keyed of a folk instrument-the chalumeau (spelled also chalmie, shalamo, scialmo, etc.). Most importantly he was also Clarinet credited with the development of the clarinet at the Albert R. Rice beginning of the eighteenth century. The passage concer¬ ning the clarinet from this book follows: Albert Rice is a music student at California State University at Fullerton, California. Some of his source Zuletzt triebe ihn namely Denner sein Kunst-Belieben materials are newly obtained; others are seen elsewhere annoch dahin an, wie er noch ein mehrers durch deine and are so attributed. I have at hand an outstanding Erfindung und Verbesserung bey bemeldten Instrumenten translation of Heinz Becker's "Die Europaische dargeben mogte, dieses gute Vorhaben erreichte auch Klarinette," from Die Musik in Geschichteund Gegenwart, wurcklich einen erwunschten Effect, indeme er zu Anfang by Dyke Kiel at North Texas State University. Also at hand dieses lauffenden Seculi, eine neue Arth von Pfeiffen- is an equally fine translation of Becker's "Zur Geschiechte Wercken, die so genannte Clarinette, zu der Music- der Klarinette im 18. Jahrhundert," from Die Liebenden grossen Vergnugen, ausfande,endluch auch dei Musikforschung, VIII (1955), pp. 271-292, by Don Halloran. Chalumeaux verbesserter darstellte. However, since neither of the latter may be published at this time, the presentation of Rice's paper seems ap¬ An English translation of the above lines follows: propriate, and the bibliography of scores, recordings, and books in his appendix is of great value. L.G. Finally his (Denner's) artistic passion compelled him to seek ways of improving his invention of the aforesaid instrument, and this praiseworth intention had the desired effect. At the beginning of the current century, he invented a new kind of pipe-work, the so-called clarinet, to the great delight of all music lovers, and at length presented an improved chalumeau.1

Denner was known throughout Europe as an excellent recorder maker, and surprisingly was not completely forgotten in the twentieth century as evidenced by the opera Der Klarinettenmacher by Fr. Weigmann, in which Denner appears as the hero. All subsequent histories of musical instruments have given credit for the development or "invention" of the clarinet to J.C. Denner usually around the year 1690. The "improved" or Denner chalumeau was a cylindrical tube having seven tone holes and two diametrically- opposing keys above the first tone hole. This instrument used a bell-like mouthpiece with a single reed, but was shorter than the clarinet (about 12 inches), did not have a barrel or bell, and could not overblow because of the arrangement of its keys. Chalumeaus were constructed in several sizes to form a complete family of spranino, soprano, alto or quart, and tenor instruments. These The history and origins of the clarinet and its precursor instruments would have been very difficult to play in tune, the chalumeau are rather ambiguous and uncertain. by modern standards, and their range would have been However, musicological research and comparisons of limited to only a twelfth. However, the distinctive timbre of known works using these instruments help to establish a these instruments made them useful in the opera urchestra traceable and interesting history in relation to the musical and in many diverse instrumental combinations, e.g., events of the time. Graupner's Sonata for chalumeau, viola d'amore and The word chalumeau is a diminuitive of the Latin harpsichord, and Dittersdorfs Divertimento Notturno for calamus meaning reed or stalks, and actually refers to the violin, chalumeau, and two violas. Distinctive and unique instruments the chalumeau was developed from, the Egyp¬ timbres were generally sought after by many composers tian argul and the Arabian zummarah. Both of these during this time, as is shown by the number of works extant instruments utilized two parallel cylindrical pipes of reed. using the chalumeau (See Appendix). A recording on The word clarinet, which came from the Italian clarinetto, Deutsche Grammophon Gesellschaft (DGG Archive is a diminuitive of clarino, meaning high natural trumpet, 198430) uses soprano and alto chalumeaus built by the and in fact means little clarino. This name was quite Moeck company of Celle, Germany, who modeled their logical to give this instrument since its sound was very instruments after the chalumeaus found in the Music similar to the clarino. The terms chalumeau and clarinetto, History Museum of Stockholm. Here, a charming Carillon clarinette, or clarinett were used at the same time, during a 2 Chalumeaux by Telemann is performed, effectively the early eighteenth century, and denote an displaying the distinctive timbre of these instruments (See interchangeability of terminology. However, there were Appendix). existing at the same time two distinct but very similar In the J uly, ] 953, edition of the Galpin Society Journal an instruments, as will be presently shown. article by Thurston Dart entitled "The Mock Trumpet" Ever since the publication of Johann Gabriel describes what the author of the article believes to be the Doppelmayr's book, Historische Nachricht von den first known tutor for the chalumeau. The title of the tutor is Nurnbergischen Mathematicis und Kunstlern in 1730, "The Fourth Compleat Book for the Mock Trumpet Con¬ Johann Christoph Denner (1655-1707), the Nurenberg taining Plain and Easy Directions to Sound ye Mock Page 12 THE CLARINET August, 1974

Trumpet Together with Variety of new Trumpet Tunes "Ex.nniplc o£th« Time Tripl# Tim* v Aires Marches & Minuets fitted to that Instrument, and Tk:Wiwts etd T.njtk of alltk*"Notesof WXnJic.-toeetker- vttk >tinuin. S" tkcirll/ftt Yojl «t yooJcc t* tk*Sdltr of (^mition aWT^xr-Zc tVT* Very Proper for ye Brazen Trumpet, also severall First and Twit.i yevtibruf.O is us muckTiuev j^ [ftf Crotchets Second Trebles for two Trumpets the whole Fairly 4 CrvtckctflQ-MVCwiid 8 {Ir.averslSbeviurwivcyt.JZiamgC* CruUhcts. j j ^ | t» the S'cale» Engraven." This unique edition is found only in the Euing Quivc/i r In IhfU Tim*.lPridtV *s «nck as "5 Ctvttf ctCl Qjiarvexs collection of the University of Glasgow, Scotland (Class- -.inliK CrotcQts 6 Quavers. 6 Q.i;««erj 1 jScKiewvers1 ^Jamtle -tktSccU. y mark: B.e. 19), and according to contemporary newspaper Oa.^cs^.^tJPJffff Wke*it Ulfti tkefcts* Pnck_ or Dot.iJJctl.^j±l M any Note itnckcs Quovers advertisements it was published between November 1706 IVkcre yoijee. tkcje Mft. .. rTLrJl*.'- ... tcijc TUyttq tiej^tatkor and October 1708. The very first edition of this work, *^tjoflke7f9tet^»ert^ftLc VUifCil trJtcc_ tkcnfivm/\ Jltrris^rinrLcd vkt'ek Hates, tkey tare tkcir'Jltnxs>« DoahU lia.fr- .A Repeat tkus §11^ ts juvicd aidflev* tkrs. tkc iS* Stwiucndj. au-ljievs lietkere. entitled "A Collection of Ayers fitted for the new instru¬ Tke'lrcjU CLffutkal Note.tkc ticrk.cducrk.cd tkts'TTi\}=^-.'J6Keyti'iancd. tzov txovHoUyj/ttr vf.utQ* tkat; Keyill Hoviulcausa m.ObJerPe eud vitk tieikeftrJlftr&iM left NoU. or • CUJc of tke ment call'd the mock Trumpet, with Instruction to play on it, also first and Second Trebles for two Trumpets: Graven price Is," was advertised in Post Boy, September 13 through 15, 1698. This edition and the second and third editions of this tutor have not been found. The copies from the fourth book for the Mock Trumpet, received from the University of Glasgow on November 30, 1973, are: the title page, a fingering chart, instructions on how to play the instrument (see Figure I), and four pages from the 18 pages of music (of which two are shown in Figure II). The music itself reveals that not every one of the pieces could be played by "the Brazen Trumpet" or natural trumpet, since any a's and b's within the staff are not in the range of the natural trumpet. All of the pieces are in C major, the first trumpet's range limited to a ninth, the second to a fifth. Anthony Baines believes that the Chalumeau or Mock Trumpet was first sold in England around 1695 as a musical toy, but was redesigned in the eithteenth century by Denner, to use a mouthpiece with a tied-on reed as in the clarinet. Actual specimens of eighteenth-century chalumeaus are extremely rare. One specimen in good condition dating from around 1700 is found in the Bayerisches National Museum in Munich. Figure II. "The Fourth Compleat Book for the Mock Trumpet," Glasgow University Library. The first known orchestral usage of the chalumeau 'W She ycmrth . • occurred in Marc Antonio Ziani's opera Caio Pompilio, • Cortij?lc.at Book, for the produced in Vienna in 1704. During the same year 76 duets ■ MOCI^Tivumtet for two chalumeaus by an anonymous composer were Ccntainirtcf TUiin. arid, C.cuyDirectionj fo Soundysltoc-jz. Th r'j-Sr published as Airs by the Amsterdam publisher Estienne ii-ith Vlirictij ofnerv Trtmipot TtiJicj y! iresJUarcJius Roger. Obviously, the chalumeau was becoming more (iitsil to that Ins li'iuuejir. LiiulK-i-ifJ^rcy.ier/bri/firazcji Trmnpet. also widely known and spreading to different parts of Europe. I .'tvciuillixnd Secojirl Tj-ehles two 'J"i-iunjicts_ —■—— have included the first of the Anonymous Airs which were the n-hcIeJ'atrhjcngrayeii. published in 1954 by Breitkopf & Hartel (Figure III). These price 6- pieces are very similar to trumpet fanfares and are typical Hcu-M1/ firstSeccnH * m m.r anti tA. . /"hi'-.lJh-i'tj. .• M t' _• i ' "im/ be- /*• filiU.. - - » 'Ilit-.-- here thru.» I -i/i.art ' b'lSold... m *•»•/••// .*»■ . I7. /..I ..H Lute -ivr/. .-../- T:...,71., of many works for chalumeau in the avoidance of the lower n register. The title of the original publication was, "Airs a The Gamut or Scale for the Mock Trurapet deux Chalumeaux, Deux Trompettes, deux Hautbois, deux Uotcs Afccn.ling Xotn Drfc eliding Violins, deux Flutes, deux Clarineiles ou Cors de Chasse." "Clarinelles" was a printer's error and was corrected to "Clarinettes" in the Catalogue. This is still more proof of the existence and usage of the chalumeau and clarinet at the same time. The Breitkopf & Hartel edition is a version of the Airs first published in 1716. Ikelove/l'i iotr JtjA* Head; Another view as to the usage of both the chalumeau and clarinet in the beginning of the eighteenth century is that there was no apparent difference between the chalumeau and the clarinet at this time. This view is subscribed to by Georgina Dobree (See Appendix) and Helmut Boese in his doctoral dissertation "Die Klarinette als Solo Instrument in der musik der Mannheimer Schule". Bt)ese points out Johann Walther's definition of chalumeau in the Musikaiisehes Lexicon of 1732. He defined chalumeau (1) as a"SchafeT-Pfeiffe,'"a shepherd's pipe (2) as the chanter of a bagpipe; (3) as a small wind instrument with seven holes; s the fzr..c Ln'vtLn ttt l»9fCr Hole conUrJiza u tia it o« v\k vj*.* •>««».«. ^ -y (4) as a small wind instrument, made of boxwood, with -'.ercicr tkrkalf Hoi tilt tcliv the KiU- tolcfvcrt'c! c-Ji'-fi uiAiteff TA«(r ?ei. n-fl l-'il'&l 31.W ■«»-r or a UrA c the third t\*rr of yotr Xc/i lUa i'v wr tic half UcLr. celt Ulcu t^2 ~-j seven holes on the top, two brass keys, and one hole J* * f tyc SkaLe heezjoxr TinjCrJomu^ After aeoftt A late Ircf *£ • beneath. The last descritpion fits the Denner clarinet Figure I. "The Fourth Compleat Book for the Mock exactly while the penultimate fits the description of the Trumpet," Glasgow University Library. chalumeau previously described. The names of these August, 1974 THE CLARINET Page 13

Airs fur zwei Klarinetten the two-keyed clarinet goes. The speaker key or the key on Anooym (cx 1710- 1716) the back of the instrument was relocated to produce a b-flat tAUtyro with the aid of the a key. Also, there was an addition of a key to cover a hole in the bell that produced an e and a b. This key, however, was not always used until the middle of the eighteenth century. These improvements occurred in 1720, as also did the first known orchestral work using the clarinet by name, the Mass, "Maria Assumpta" by J.A.J. Faber, organist of the Antwerp Cathedral. A portion of this work is reproduced in Francois Gevaert's book, A New Treatise on Instrumentation, and is reproduced here (Figure IV). The writing for the clarinet shows an unex¬ pected usage of the low register to low f, the lowest note on the clarinet at that time, in chordal figurations. A reproduction of a fingering chart for the clarinet in Majer's Museum musicum of 1732 shows the range of the -KMotM NO>06 4 by BrtkkoylftMrtci WW«b*d«>t instrument used in Faber's mass as from f to a" (Figure V). Figure III. No. 1, "Anonymous Airs for Two Faber did specify a clarinet in C for his mass, and Clarinets," Wiesbaden, Breitkopf & Hartel, 1954. apparently the clarinets in c and in b-flat were the most instruments were definitely interchangeable, and the popular of the day. The first known depiction of the clarinet clarinet described above was known under the name of occurs in Johann Weigl's Musicalishes Theatrum of 1741. chalumeau in Germany until around 1730. Therefore, one It is reproduced here and shows a man playing a two-keyed can easily assume that the "improved" chalumeau and clarinet (Figure V). An English translation of the caption two-keyed clarinet were very similar instruments, the follows: difference being only in their respective ranges. Boese gives more proof for the building of chalumeaus in When the trumpet call is all too loud, different keys when he points out the existence of the C- The clarinet does serve to please major Concerto for two Chalumeaux by Telemann. "The Eschewing both the high and lowest sound, part of the first chalumeau is notated in French violin It varies gracefully and thus attains the prize. treble clef (on the first line) for low-g pitch, which is Wherefore the noble spirit, enamoured of this reed, transposed upwards by a fourth."2 The second chalumeau Instruction craves and plays assidously.' part is notated in the bass clef and would have been played an octave higher but certainly on a differently-pitched The clarinet is still compared to a trumpet but is given a instrument than the first part. Several Graupner concertos much more favorable description then that held even nine in this author's collection are also notated according to the years ago. This probably indicates a greater acceptance above manner, as are the chalumeau parts in Reiser's and usage of the instruments. In Italy the clarinet was Croesus of 1710. In both the Telemann concerto and known as early as 1722 from a description of it in Fillipo Reiser's opera Croesus there is a considerable amount of Bonanni's Gabinetto Armonico. The description is similar chromaticism used. In order to play these notes on an to Walther's of 1732. instrument as simple as the chalumeau one must make use of "half-hole" fingerings or "forked" fingerings which Un' Istromento simile all Oboe nominate Clarone e lungo result in quite unsatisfactory intonation. This fact helps to palmi due e mezzo termine con bocca diTromba larga oncie explain Johann Mattheson's complaint in Das neu- 3. E bucato in sette luoghi nella parte superiore, e in uno eroffnete of 1713: nella parte apposta inferiore. Oltre a questa buchi ne ha due altri lateral! opposti, ma non in diametro, li quali si The so-called chalumeaux may be allowed to voice their chiudono, e aprono con due molle calcate con le dita. somewhat howling symphony of an evening, perhaps inJune or July and from a distance, butnever in January at The English translation follows: a serenade on the water.3 An instrument similar to the oboe is the clarone. It is two The clarinet as distinguished from the chalumeau had and a half palms long and terminates in a bell like the presumably been developed by 1700 by J.C. Denner. It is to trumpet three inches in width. It is pierced with seven holes his son Jacob that the credit for the further improvement of in front and one behind. There are in addition two other holes opposite to each other, but not diametrically, which J.jjj - .Jf are closed and opened by two springs pressed by the fr 5 fr:r-£-T r finger. '-AfDiJ * r <1^)' Bonanni's book does not contain a picture of the clarinet J- 1 but it does testify to the early arrival of the instrument it rily ' dit:: ! Lfe there. By 1740, Antonio Vivaldi had written three very i-W mi * i charming concerti grossi including two clarinets (in C) and rmr? "Etri two oboes, Pincherle 73, 74 and 84. Included here is an j example from p. 73 as published by Ricordi in 1947 (Figure P^TT-.- VI). These works use the full range of the two-keyed clarinet rrr-:~r by going down to the low f and up to the c"'. They also display some fanfare-like writing in some places, but there rrrcrn pduv '"r f-r Mrm. ft iI are some unusually lyric passages such as the second Figure IV. Mass by J.A.J. Faber, reprinted from F. movement of p. 74, where clarinets and oboes play alone in Gevaert, A New Treatise on Instrumentation, a beautiful dialog. P. 84 is quite unusual in that it utilizes as Page 14 THE CLARINET August, 1974

)o( &Q& many wind instruments as a late Haydn symphony, and is really a violin concerto. The instrumentation includes: two flutes, two oboes, two clarinets, one bassoon, 1st concer- §- 16. tante violin (solo), 2nd concertante violin, strings, and CUHneno. (ft ttnju&nfjng tufrtfSccuIi tun (incm ^urnbtrgft jlpplicatio crfunbtnrt/nnbtinrtfaiiafnHautboijtiidn unolctdjttf bclj(rnc«25!fl«» continue. «ufba4 Inft mmcnc, aufffr tinbrcftrt 2)?unti(li'icf baran bcftfligtt ifljc# flmgt Handel composed an interesting chamber work for two ClarinetL CICftNuremberg, ca. 1740. An example is given here of part of one concerto published by Breitkopf & Hartel in 1957 (Figure VII). The range used at its extremes for all of the concertos is c to g'".

4—U* g*— c

frm^ - =fr 4} ■

1 r_ - jrt 1 ■ 1 j > j N , 1 1 1 + ij- ' f > t »— * 1—1—t— ^ 'I- * T * L B I ■ * - X J T 1 -J > PVt in 165 i ^ rf*P r, - - 3 -S1 CZLT CiLr 'rrr r rrr r <9> wjISSj

Figure VI. Vivaldi, Concerto Grosso, Pincherle 73, Rome, G. Ricordi, 1947. August, 1974 THE CLARINET Page 15

Brussels Conservatoire Royal de Musique de Bruxelles 30 Rue de la Regence Brussels, Belgium Cambridge Fitzwilliam Museum Trumpington Street Cambridge CB2 IRB England Darmstadt Hessische Landes-und Hochschulbibliothek 61 Darmstadt, Schloss West Germany Dresden Sachsische Landesbibliothek 806 Dresden Marienallee 12 East Germany Frankfurt Deutsche Bibliothek Zeppelinallee 4-8 Franfurt am Main, West Germany

Glasgow Glasgow University Library Hillhead Street Glasgow, G12 8QE England

Karlsruhe Badische Landesbibliothek 75 Karlsruhe 1 Postfach 1451 Lammstrasse 16 (Am Nymphengarten) West Germany London British Museum Great Russell Street W.C.I London, England Figure VII. Molter, Concerto in A, Weisbaden, Breitkopf & Hartel, 1957. Turin Biblioteca Nazionale Universitaria Via Po 19 FOOTNOTES Turino, Italy 1. Oskar Kroll, The Clarinet, New York, Taplinger Publishing Co., 1968, p. 14. Vienna 1 Osterreichische Nationalbibliothek Wien, I., Josefsplatz 1 2. Helmut Boese, Die Klarinette als solo Instrument in der Musiksammlung Musik der Mannheimer Schule, (Phil, dissertation, Osterreich Berlin, 1940) English translation, Kenneth Kawashima, Baltimore, Maryland, Peabody Conser¬ Vienna 2 Gesellschaft der Musikfreunde vatory of Music, 1965, pp. 3-4. Musik-Archiv, Bosendorferstrasse 12 Wien I., Osterreich 3. Oskar Kroll, op cit., p. 15.

4. Ibid., p. 51. 5. F. Geoffrey Rendall, The Clarinet, New York, W.W. Norton & Co., 1971, pp. 68-69. APPENDIX 6. Pamela Weston, Clarinet Virtuosi of the Past, London, Robert Hale, 1971, p. 23. Dear Mr. Rice, Mr. Philip Bate has passed on to me your letter about certain works of Molter and Telemann, which I will do my best to answer. I am sorry to hear you have been searching in vain for my recording of the 4 Molter concertos. I'm afraid it was List of Addresses For Museums and deleted some time ago, and the only hope is perhaps to write Libraries to E.M.I, direct. If they have enough requests they might even re-issue it! I'm afraid I can't help you about it myself. The Telemann Concerto for 2 Chalumeaux/Clarinets in Berlin Deutsche Staatsbibliothek d minor has just reached me from Musica Rara. The edition 108 Berlin is by Hermann Dechant. I expect you will he getting it so East Germany there is no need for me to quote from the preface. It is the Page 1(» THE CLARINET August, 1974 same work as that recorded on the Da Camera label by the Arie in F major, 1st Part Heidelberg group. I think the point to remember when b to a" comparing music for chalumeau and for clarinet is the 2nd Part—g' to d" range involved. It seems to me there is little doubt these 3rd Part—d' to c"—D.T.D. were different instruments even after the chalumeau had been developed. I have looked quite carefully at parts for Steffani, Agostino (1654-1728)—IL Turno, 1709 chalumeaux and they are invariably much lower and more 1st Part—f to f" restricted than those specified for the clarinet even when by 2nd Part-'-b-flat to c" the same composer. Of course there must have been some 3rd Part—c to g" confusion about the names and alotofthe parts could have 4th Part—col basso—N/A. been interchangeable. (There seems even to be some Telemann, Georg Philipp (1681-1767)—Genserich, 1732 confusion in the preface to the Musica Rara Telemann 1st Part—c" to f" which is misleading about the range of the instruments 2nd Part—f to b"—Berlin and even suggests that the 2nd part would have been " :. Miriways, 1728—N/A— played in the bass clef range whereas a look at the 2nd N/A. vioiin part in the opening tutti suggests the not uncommon Ziani, Marc Antonio (1653-1715)—Caio Pompilio, 1704— octave transposition to avoid ledger lines). I see no reason N/A—Vienna 1. for not playing any of these works on clarinets nowadays. Cantatas: There was probably not a great deal of difference between Bach, Johann Ludwig (1677-1741)—Cantat bey der the two at the time, though one was intended for the Curuzkkunft Ihro Hochfurstl. Durchl. Herre Herzog clarinet registers and the other for the chalumeau. Anton Ulrich aus Wien in dero Hochfurstl. Residenz Probably the players specialized also, as with the clarini Meiningen, 1728—f to b-flat"—N/A. etc., but whether we shall ever know the whole truth about Graupner, Christoph (1687-1760)—Es begab sich, da Jesus it is another question. I'm afraid I know nothing about the in eine Stadt min Namen Nain ging, 1737 Graupner work you also mention. If you are interested, why 1st Part—G to g not ask the library for a photocopy? 2nd Part—C to e—D.T.D. Konig, Johann Ulrich (1688-1744)—Auf zur Lust, N/A— Yours sincerely, N/A—Frankfurt. Telemann, Georg Philipp (1681-1767)—Cantata for Whit¬ August 31, 1973 sunday, 172l—Clarinet specified—N/A. Danket dem Herrn Zabaoth, 1718—N /A—Frankfurt. Der feste Grund Gottes besteht, 1721—N/A—Frenkfurt. Mit Gott im Gnadenbunde stehen, A List of Works for the Chalumeau and N/A—N/A—Frankfurt. Clarinet Before 1750 Oratorios: Composer—Composition and date—range of instruments Vivaldi, Antonio (1678-1783)—Juditha triumphans devicta Holofernis barbarie, N/A—2 Claren specified—Turin. used—Source. Concertos: Operas: Gassman, Florian (1729-1774)—Notturno, 1798?— Ariosti, Taillio (1666-c. 1740)—Marte placato, 1707—N/A— Chalumaux and Orchestra—Vienna 1, Mus. ms. Sm Vienna 1. 11394. Bonno, Giuseppe (1710-1788)—Eleazaro, 1739—b-flat' to b- Graupner, Christoph (1687-1760)—Concerto, N/A—N/A— flat"—Vienna 1. Darmstadt, Mus. ms. 6054/6. Bononcini, Antonio Maria (1675-1726)—La Conquista delle Concerto, N/A—N/A— Spagne, 1707-N/A—Vienna 1. Bononcini, Giovannie Battista (1670-1755)—Turno Darmstadt, Mus. ms. 26. Aricino, 1708—N/A—Vienna 1, Mus. ms. 430 (Score). Concerto, N/A—Chalumeau Fux, Johann Joseph (1660-1741)—Giunone placata, 1725— and Viola d'Amore specified, F to a—Darmstadt, Mus. r to b-flat"—Vienna 1. ms. 31. —Julo Ascanio, 1708—N/A— Concerto, N/A—Two N/A. Chalumeaux specified . Gluck, Christoph Willibald (Ritter von) (1714-1787)—Orfeo, 1st Part—G to b 1762—f to a"—Collected Works. 2nd Part—C to e—Darmstadt, Mus. ms. 50 Alceste, 1767—f to a"— Hasse, Johann Adolph (1699-1783)—Concerto, N/A—f to Colected Works. b"—Dresden. Handel, George Frederic (1685-1759)—Ricardo Prinio, Hoffmeister, Franz Ajnton (1754-1812)—Concerto, N/A— 1727—d' to c'"—N/A. Schlamaux specified—Vienna 2, Mus. ms. VIII 1404 Tamerlano, 1724—Clarinets (microfilm only). specified—N /A. Molter, Johann Melchior (1696-1765)—Concerto in A, Hasse, Johann Adolph (1699-1783)—Alfonso, 1738— 1747—Clarinet in D, c' to g"—Karlsruhe Mus. ms. 302, N/A—Dresden, Brussels. published by Breitkopf & Hartel (score only). La virtu appie della croce, 1737, Concerto in D, 1747—Clarinet F to f"—Dresden. in D, c to f-sharp"—Karlsruhe Mus. ms. 304,1 published Reiser, Reinhard (1674-1739)—Croesus, 1730— by Breitkopf & Hartel (score only). Arie in A major, Concerto in G, 1747—Clarinet 1st Part—e' to g-sharp" in D, c' to g"—Karlsruhe Mus. ms. 334, published by 2nd Part—d-sharp' to c-sharp" Breitkopf & Hartel (score only), and Schott, London, 3rd Part—b to a' 10939. August, 1974 THE CLARINET Page 17

Concerto in D, 1747—Clarinet A Selective Listing of Recordings of in D, g to g"—Karlsruhe Mus. ms. 337, published by Breitkopf & Hartel (score only). Music for the Chalumeau and the Two- Telemann, Georg Philipp (1681-1767)—Concerto in C, Keyed Clarinet N/A—2 Chalumeaux Handel, George Frideric—Ouverture (Suit) for 2 clarinets in 1st Part—d to f D and Corno di Caccia in D—Frederick Thurston, 2nd Part—G to a—Darmstadt, Mus. ms. 1033/38. Gervase de Peyer, clarinets in B-flat, Dennis Brain, Concerto in d, N/A—2 French horn in F (London Baroque Ensemble)— Chalumeaux Parlophone R20581 (mono) and Decca 4070 (10 inch 1st Part—d to g' mono). 2nd Part—E to a—Darmstadt, Mus. ms. 1033/50 (score only), published by Musica Rara. Molter, Johann Melchior—Concerti (4) for Clarinet in D, Vivaldi, Antonio (1678-1741)—Concerto in C for 2 Clarinets Strings and Cembalo.' in C, 2 Oboes, Strings and Cembalo, Fanna XII No. 1; Pincherle 73, 1740 No. 1 in A 1st Part—g to c'" Georgina Dobree, clarinet in D, Carlos Villa and the 2nd Part—f to c'"—published by Ricordi Collected Carlos Villa Ensemble—EMI (Hayes, Middlesex) Works Tomo 3. HQS 1119 (H.M.V. Baroque Library). : Concerto in C for 2 Clarinets in C, 2 Oboes, Strings and Cembalo, Fanna XII No. 2; Jacques Lancelot, clarinet in D, Albert Beaucamp Pincherle 74, 1740 and the Rouen Chamber Orchestra—Philips World 1st Part—g to c'" Series PHC 9078. 2nd Part—f to c'"—published Ricordi Collected Works Tomo 4. Hans-Rudolf Stalder, clarinet in D, Helmut Muller- —_. Concerto in C "per la solemnita Bruhl and the Kolner Kammerorchester—schwann di San Lorenzo" (for the feast of Saint Lawrence) for 2 Musica Mundi VMS 2012, and 808 (mono). flutes, 2 oboes, 2 clarinets, bassoon, 2 concertante violins, strings and cembalo, Fanna XII No. 14; Pincherle 84, 1740 No. 2 in D 1st Part—c' to d'" " Georgina Dobree, clarinet in D, Carlos Villa and the 2nd Part—gto c'"—published Ricordi Collected Works Carlos Villa Ensemble—EMI (Hayes, Middlesex) Tomo 54. HQS 1119 (H.M.V. Baroque Library). Chamber Works: Dittersdorf, Karlditters von (1739-1799)—Divertimento Jacques Lancelot, clarinet in D, Albert Beaucamp Notturno, N/A—f-sharp' to c'"—Vienna 2 (microfilm and the Rouen Chamber Orchestra—Philips World only) Series PHC 9078. Dreux, Jacques Philippe (16? -16?)—Fanfares et autres airs dechalumeau a 2 dessus, 1706—N/A—Brussels. No. 3 in G Graupner, Christoph (1687-1760)—Ouverture a 3 Georgina Dobree, clarinet in D, Carlos Villa and the chalumeaux, N/A— Carlos Villa Ensemble—EMI (Hayes, Middlesex) 1st Part—c' to f" HQS 1119 (H.M.V. Baroque Library). 2nd Part—F to B 3rd Part—C to f—Karlsruhe, Mus. ms. 183, Darmstadt, Dieter Klocker, clarinet in D, and the Heidelbert Mus. ms. 464/43, 73 and published by Peters and Chamber Orchestra—DaCamara 91015 (Virtuose Schott, London. Barock Klarinettenkonzerte). Sonata for Chalumeau, Viola d'Amore, and Cembalo, N/A—N/A—London, Mus. ms. Jost Michaels, clarinet in D, Hans Stadlmair and the 3/6976. Trio for Viola d'Amore, Munchener Kammerorchester—Deutsche Gram- Chalumeau, and Cembalo, N/A—C to g—Darmstadt, mophon Gesellschaft Archive 3151 (mono), 73151, Mus. ms. 4190. 198415, 198651. Trio for Fagotto, Chalumeau and Cembalo, N/A—C to f—Darmstadt, Mus. ms. 4191. No. 4 in D Handel, George Frederic (1685-1759)—Ouverture (Suite) for Georgina Dobree,9 clarinet in D, Carlos Villa and the two clarinets in D and Corno di Caccia in D, 1748 Carlos Villa Ensemble—EMI (Hayes, Middlesex) 1st Part—d to d" HQS 1119 (H.M.V. Baroque Library). 2nd Part—A to b'—Cambridge, published by Schott, London, 10086, Mercury and McGinnis & Marx. Telemann, Georg Philipp—Carillon a 2 Chalumeaux ou Telemann, Georg Philipp (1681-1767)—Carilon a 2 Flute a bee ou trav. avec la Basse—Otto Steinkopf, Chalumeaus, N/A—N/A—N/A. Soprano Chalumeau, Frithjof Fest, Alto Concerto for flute, chalumeau, Chalumeau—Deutsche Grammophon Gesellschaft oboe, violin, viola, 2 contrabasses, and basso continuo Archive 198430 (Serenade for Wind Instruments— in G major, N/A—N/A—N/A. Extracts from "The Constant Music-Master"). Anonymous—"The Fourth Compleat Book for the Mock Concerto in d minor for 2 Chalumeaux, Strings and Trumpet Containing Plain and Easy Direction to Cembalo—Dieter Klocker, Andreas Bonifert, Sound ye Mock Trumpet Together with Variety of new clarinets in B-flat with the Heidelberg Chamber Trumpet Tunes Aires Marches & Minuets fitted to that Orchestra—DaCamara 91015 (Virtuose Barock Instrument, and Very Proper for ye Brazan Trumpet, Karinettenkonzerte) and Musical Heritage Society also severall First and Second Trebles for two Inc. MHS 1512 (mail order only: 1991 Broadwav,New Trumpets.", 1704—g to a'—Glasgow. York, N.Y. 10023). Page 18 THE CLARINET August, 1974

Concerto for flute, chalumeau, oboe, violin, viola, 2 A Brief Outline of the Historical and Contrabasses and Basso Continuo in G major— Mechanical Development of the Artists Unknown—Philips 802816. Chalumeau and Clarinet to 1750 Antonio Vivaldi—Concerti (2) for 2 clarinets in C, 2 oboes, I. The Chalumeau existed as a simple folk instrument, strings and cembalo. having a cylindrical bore and an idioglotreed, since the Middle Ages. Fanna XII No. 1, Pincherle 73 A. The improvement of the keyless Chalumeau Jack Brymer, Stephen Walters, clarinets in C, Karl by the addition of two opposing keys above the Haas with the London Baroque Ensemble— thumb hole is credited to J.C. Denner circa 1690. Vanguard 192 (mono) and 192SD. Ferrucio Gonizzi, Guiseppe Tassis, clarinets in C, B. The first known treatise for the Chalumeau, Newell Jenkins with the Milan Chamber Orchestra— entitled "A Collection of Ayers fitted for the new Washington Records WLP-404 (mono). Instrument call'd the Mock Trumpet, with In¬ structions to play on it, & also first and Second Charles Paashaus, Walter Lewis, clarinets in C, Max Trebles for two Trumpets: Graven price Is' ", Goberman with the New York Sinfonietta—Library published September 13-15, 1698. of Recorded Masterpieces (mono), Musical Heritage Society Inc. MHS-V7 (mail order only: 1991 C. The first known orchestral usage of the Broadway, New York, N.Y. 10023). Chalumeau occurred in Marc Antonio Ziani's opera, Caio Pompilio (Vienna, 1704). Ezio Schiani, Alfio Gerbi, clarinets in C, Piero Santi with Gli Accademici di Milano—Vox 450 (mono), D. Anonymous Airs for two Chalumeaux are 500450, Turnabout 4025 (mono), 34025S. found in the 1704 edition of Estienne Roger's catalogue in Amsterdam. Fanna XII No. 2, Pincherle 74 Rolf Eichler, Adolf Schoebinger, clarinets in C, E. The first known literary reference to the Edgar Seipenbusch with the Austrian Tonkunstler Chalumeau made in J. Mattheson's Das neu- Orchestra—Musical Heritage Society Inc. MHS788, eroffnete Orchester in 1713. MHC 2036, cassette (mail order only: 1991 Broadway, New York, N.Y. 10023), Amadeo AVRS 6416 (mono). F. The last known usage of orchestral parts for the Chalumeau appears in Gluck's Alceste of Jost Michaels, Hans Schoneberger, clarinets in C, 1767. Hans Stadlmair with the Munchener Kammerorchester—Deutsche Grammophon II. The development of the Clarinet from the Gesellschaft Archive 2533 044 (Concertos for wind Chalumeau, credited to J.C. Denner c. 1700, by placing instruments). the speaker key in a position that would enable the instrument to play its third and fifth harmonics, by Charles Paashaus, Walter Lewis, clarinets in C, Max widening the bore, lengthening the instrument and Goverman with the New York Sinfonietta—Library providing a bell. of Recorded Masterpieces (mono), Musical Heritage Society Inc. MHS-V5 (mail order only: 1991 A. Clarinets may have been used to play the Broadway, New York, N.Y. 10023), and Odyssey 3216 parts designated for the Chalumeau as early as 0011 (mono), 32 16 0012. 1710, in Reinhard Keiser's opera, Croesus. Ezio Schiani, Alfio Gerbi, clarinets in C, Piero Santi B. The first known works that were specifically with Gli Accadmici di Milano—Vox 450 (mono), written for the clarinet are the Airs for two 500450, 513120. clarinets by Jacques Dreux, and 76 Airs by an Anonymous composer both in 1716. Fanna XII No. 14, Pincherle 84—"For the feast of Saint Lawrence" for two flutes, two oboes, two clarinets, bassoon, C. The first known orchestral work using the two concertante violins, strings and harpsichord. clarinet occurs in J.A.J. Faber's mass, "Maria Assumpta" in 1720. Charles Paashaus, Walter Lewis, clarinets in C, Max Goberman with the New York Sinfonietta—Library D. F urther improvement of the clarinet occurred of Recorded Masterpieces (mono), Musical Heritage around 1720 and is credited to Jacob Denner (son Society Inc. MHS-V4 (mail order only:- 1991 • of J.C. Denner), when the speaker key was Broadway, New York, N.Y. 10023). relocated to produce B-flat and the addition of a key to cover a hole in the Bell that produced an E and a b\ E. The first litereary reference to the Clarinet occurs in J.G. Doppelmayr's book, Historische Nachrict von den Nurnbergischen Matematics und Kunstlern in 1730. F. The earliest known solo concertos for the Clarinet were composed by Kapellmeister Johann Melchior Molter of Durlach circa 1747. August, 1974 THE CLARINET Page 19

Marcuse, Sibyl. Musical Instruments: A Comprehensive Bibliographies Dictionary. Garden City, New York: Doubleday &Co., A Selective Bibliography of Books and 1964. Articles that Mention the Baroque Petzoldt, Richard. Georg Philipp Telemann. Leben und Clarinet, the Chalumeau, or Music for Werk. Leipzig: VEB Deutscher Verlag fur Musik, 1967. these Instruments Pincherle, M. Antonio Vivaldi et la Musique Instrumen- tale. Paris, 1948. A. Books: Rasmussen, Mary and Donald Mattran. A Teacher's Guide Baines, Anthony. "Clarinet." Encyclopedia Britannica. to the Literature of Woodwind Instruments. Durham, 14th ed. Warren E. Preece, ed. Chicago: Encyclopedia New Hampshire: Brass and Woodwind Quarterly, Britannica, 1965. 1966. Eurepean and American Musical Rendall, F. Geoffrey. The Clarinet, some notes on its Instruments. New York: The Viking Press, 1966. History and Construction. 3rd edition. Philip Bate, ed., New York: W.W. Norton & Co., 1971. History of Orchestration. New York: W.W. Norton & Co., 1964. "Clarinet" Groves Dictionary of Music and Musicians. 5th ed. Eric Blom, ed. London: Woodwind Instruments and MacMillan & Co.: New York: St. Martin's Press, 1954. their History. 3rd ed. London: Faber, 1967. Vol. II, 315-329. Becker, Heinz. "European Clarinets." Die Musik in Riemann, Hugo. "Klarinette." Riemann Musik-Lexicon. Geschichte und Gegenwart. Friedrich Blume, ed. 12th ed. Mainz: B. Schott's Sohne, 1967. Vol. Ill, 461- Kassel: Barenreiter-Verlag, 1949-. Vol. VII (1958), 462. 1006-1027. Sachs, Curt. The History of Musical Instruments. New "Vorwort" Klarinetten-Duette York: W.W. Norton & Co., 1940. aus der Fruhzeit ^des Instruments. Wiesbaden: Breitkopf & Hartel, 1954. Scholes, Percy A. "Clarinet Family." The Concise Oxford Dictionary of Music. 10th ed. Revised and edited by "Vorwort" Klarinetten- John Owen Ward. London: Oxford University Press, Konzerte des 18. Jahrhunderts. Wiesbaden: Breitkopf 1970. 190-193. & Hartel, 1957. Stubbins, William H. The Art of Clarinetistry. Ann Arbor, Boese, Helmut. "Die Klarinette als Soloinstrument in der Michigan: Ann Arbor Publishers, 1965. Musik der Mannheimer Schule." (Phil. Dissertation, Berlin, 1940) English translation, Kenneth Tuthill, Burnet C. Concertos for Clarinet, Sonatas for Kawashima, Baltimore: Peabody Conservatory of Clarinet and Piano: Annotated Listings. Washington, Music, 1967. D.C.: Music Educators National Conference, 1972. Bonnani, Filippo. Gabinetto Armonico pieno d'lnstromen- Walther, Johann Gottfried. "Clarinetto." Musikalisches ti Sonori. (Rome, 1723) reissued as Antique Musical Lexicon. Leipzig: Wolffgang Deer, 1732. Facsimile Instruments and Their Players. New York: Dover edition edited by Richard Schaal. Kassel and Basel: Publications, 1964. Barenreiter-Verlag, 1953. 168. Denny, William D. "Clarinet Family." Harvard Dictionary Weigel, Johann Christoph. "Clarinett." Musicalisches of Music. Willi Apel, ed. Cambridge, Mass.: Harvard Theatrum. Facsimile edition edited by Alfred Berner. University Press, 1968. 151-154. Kassel und Basel: Barenreiter-Verlag, 1961. 14. Errante, F. Gerard. A Selective Clarinet Bibliography. Weston, Pamela. Clarinet Virtuosi of the Past. London: Oneonta, New York: Swift-Dorr Publications, 1973. Robert Hale, 1971. Gevaert, Francois Auguste. A New Treatuse on Instrumen¬ Whitwell, David. A New History of Wind Music. Evanston, tation. English translation, E.F.E. Studdard, London: Illinois: The Instrumentalist Co., 1972. Faber, 1906. Eitner, Robert. Biographisch-Bibliographisches Quellen- Gilbert, Richard. The Clarinetist's Solo Repertoire—A Lexicon. Graz, Austria: Akademische Druck und Discography. New York: The Grenadilla Society, 1972. Verlagsanstadt, 1959. Kroll, Oskar. The Clarinet. Revised, Diethard Riehm, English translation, Hilda Morris, translation edited, Anthony Baines, New York: Taplinger Publishing B. Periodicals Co., 1968. Altenburg, Wilhelm. "The Clarinet. Its Origin and Development." translated by Himie Voxman, emend¬ Kross, Siegfried. Das Instrumental Konzert bei Telemann. ed by Harry Bettoney. Woodwind Magazine, II, No. 6 Tutzing: Hans Schneider, 1969. (February, 1950), 4, 16. Page 20 THE CLARINET August, 1974

Becker, Heinz. "Das Chalumeau im 18. Jarhundert." "Handel and the Clarinet." The Speculum Musicase Artis, Munchen: Wilhelm Fink Musical Times, 93, No. 1318 (December, 1952), 557. Verlag (1970), 23-46. Reply to letter by Thurston Dart in November, 1952 issue. "Zur Geschichte der Klarinetteim 18. Jarhundert." Die Musikforschung, VIII, No. 3 Hunt, Edgar. "Some Light on the Chalumeau." The Galpin (1955), 271-293. Society Journal, XIV (March, 1961), 41-44. Bonaccorsi, Alfredo. "II clarinette e Vivaldi." La Rassegna Kolneder, Walter. "Die Klarinette als Concertino Instru¬ Musicale, XVIII, No. 3 (July, 1948), 212-213. ment bei Vivaldi." Die Musikforschung, IV, No. 2/3 (1951), 185-191. Brenet, Michel. "Rameau, Gossec et les clarinettes." Le Guide Musicale, XLIX, Nos. 9, 10, 11 (1903), 183-185, "Noch einmal: Vivaldi und die 203-205, 227-228. Klarinette." Die Musikforschung, VIII, No. 2 (1955), 209-211. Burnau, John. "The Origin and Development of the Clarinet." The Instrumentalist, XXII, No. 8 (March, Kroll, Oskar. "Das Chalumeau." Zeitschrift fur 1968), 53-55; XXII, No. 11 (June, 1968), 56-57; XXIII, Musikwissenschaft, XV, No. 8 (May, 1933), 274-278. No. 3 (October, 1968), 57-58; XXIII, No. 4 (November, 1968), 43-45. Lancelot, Jacques. "La Clarinette."Musique et Radio, LII No. 619 (November, 1962), 27-28. Carse, Adam. "The Clarinet in the Eighteenth Century." The Sackbut, II, No. 4 (October, 1921), 17-20. La Rue, Jan. "Handel's Clarinet." Music Review, 21, No. 3 (August, 1960), 177-178. Chatwin, R.B. "Handel and the Clarinet." The Galpin Society Journal, III (March, 1950), 3-8. Laurencie, Lionel de la. "Rameau et les clarinettes." Bulletin francaise de la Societe Internationale de "Xome Notes on The History of Musique, IX, No. 2 (February, 1913), 27-28. The Clarinet." The Musical Progress and Mail, CXX, Nos. 1-3 (October-December, 1938). Lebermann, Walter. "Zur Besetzungs frage der Concerti grossi von A. Vivaldi." Die Musikforschung, VII, No. 3 Christmann, Arthur. "The Clarinet." The Baton, XIX, No. (1954), 337-339. 7 (May, 1930), 12-13. Owen, Angela Maria. "The Chalumeau and Its Music." ."Six Early Clarinet Concertos." American Recorder, VIII, No. 1 (1967), 7-9. Woodwind World, III, No. 3 (June, 1959), 14-15. Reiners, Ronald. "History and Development of the Cucuel, Georges. "La question des clarinettes dans I'in- Clarinet." Woodwind World, 11, No. 3 (June, 1972), 6-9. strumentation du XVIII siecle." Zeitschrift der Inter- nationalen Musikgessellshaft, XII, No. 10 (July, 1911), Rendall, F. Geoffrey. "The Invention of the Clarinet." The 280-284. Clarinet, No. 15 (Summer, 1954), 12, 14. Dart, Thurston. "The Earliest Collections of Clarinet Rousseau, Eugene. "History of the Clarinet." Woodwind Music." The Galpin Society Journal, IV (June, 1951), World, VI, No. 7 (December, 1965), 7-8. 39-41. Scott, Maxyne Mathisen. "Some Early Composers for the "Handel and the Clarinet." The Clarinet, 1700-1740." NACWPI Journal, XIX, No. 4 Musical Times, 93, Nos. 1-3 (October-December, 1938). (Summer, 1971), 20-22. "The Mock Trumpet." The Galpin Toenes, George. "Important Dates in Clarinet History." Society Journal, VI (July, 1953), 35-40. The Clarinet, No. 21 (Winter, 1955-56), 22-25. Errante, F. Gerard. "The Music of Johann Molter." Townsend, George. "Clarinet Virtuosity in the 18th and Leblanc's, The World of Music, XII, No. 1 (Spring, 19th Century." NACWPI Bulletin, XVIII, No. 2 1969), 3-4. (Winter, 1969-70), 9-10, 20, 34. Fitzpatrick, H. "Jacob Denner's Woodwinds for Gottweig Tyrell, R.M. "The Clarinet: A -Concise History of the Abbey." The Galpin Society Journal, XII (March, Instrument and Its Elaborate Key System." American 1968) 81-87. Music Journal, VI, No. 10 (1907), 10-12.

Gradenwitz, Peter. "The Beginnings of Clarinet van der Meer, John Henry. "The Chalumeau Problem." Literature." Translated by G.D.H. Pidcock. Music and The Galpin Society Journal, XV (March, 1962), 89-91. Letters, XVII, No. 2 (April, 1936), 145-150. "Some More Denner Guesses." Halfpenny, Eric. "Castillon on the Clarinet." Music and The Galpin Society Journal, XXIII (August, 1970), 117- Letters, XXXV, No. 4 (October, 1954), 332-338. 119.

"Early English Clarinets." The Weerts, Richard K. "Some Contributions of Stamitz, Galpin Society Journal, XVIII (March, 1965), 42-56. Molter, and Pokorney to the Repertory of the August, 1974 THE CLARINET Page 21

Clarinet." NACWPI Bulletin, XVIII, No. 2 (Winter, Lacour, Guy. 100 Dechiffrages manuscrits en forme de 1969-70), 43-44. petites etudes melodiques et rhythmiques pour clarinette (sans accompagnement). Vol. I (nos. 1-50)—easy to Whitwell, David. "Early Wind Manuscripts in Vienna." moderately difficult, Vol. II (nos. 51-100)—moderately The Instrumentalist, XXV, No. 4 (November, 1970), 38- difficult to very difficult. Gerard Billaudot, 14, rue del 39. I'Echiquier, Paris 10, France (U.S. agent: Theodore Presser Co.) (copyright 1973). Young Phillip T. "Woodwind Instruments by the Denners Most teachers would probably agree that one of the most of Nurnberg." The Galpin Society Journal, XX valuable assets any musician can acquire is the ability to (March, 1967), 9-16. sight read with fluency and consistency, yet it is too frequently one of the most overlooked areas in a student's course of study. The stock answer to the students' cry of "what can I do to improve my sight reading?" has been— "Sight read!" Finally someone has produced a series of etudes solely for this purpose, and the result is one of the most useful and well planned publications I have come NEW MUSIC REVIEW across in years. Published in two volumes ranging in difficulty from easy to very ditticult, Lacour prefaces the musical portion of Cahuzac, Louis. Anelquin - piece caracteristique pour each book with instructions and suggestions on the use of clarinette seule, Gerard Billaudot, 14, rue de I'Echiquier, the material (in French, English, and German). Each etude Paris 10, Ranee (U.S. agent: Theodore Presser Co.) is six lines in length and carefully planned to progress (copyright 1972). gradually from simple melodies in C major (with a very In his comments on the score, Cahuzac—one of France's limited rhythmic and dynamic vocabulary) to serial lines most important clarinetists—explains that he has with intricate rhythms and unexpected dynamic changes. attempted in this delightful little piece to depict musically A handy Table of Contents at the end of each volume the antics, gestures, movements, and moods of the buffoon. summarizes each etude's melodic and rhythmic content. The result is a fanciful and rhapsodic work that is fun to Lacour stresses the importance of being completely in play and an almost certain audience pleaser for recital use. command of all the major and minor scales and arpeggios It is short (less than three minutes), flashy (but very (where have I heard that before?) as "this will prove idiomatically written), and offers ample opportunity for the invaluable in sight-reading since these forms will be met player to call upon his utmost interpretive with again in music, either in a reduced or diffused form skills. Players looking for the esoteric, the avant - garde, and very often even integral." Eropha-sis is also placed en the cerebral, multiple sonorities, and knuckle-breaking learning to mentally group notes, recognize patierns. and technical demands won't find it in this solo piece, as they reading ahead. To improve one's rapid reading of pitch' > are so accustomed to in much of the unaccompanied both volumes includes exercises consisting solely oi a repertory. In my opinion there aren't enough pieces like succession of notes to be read first at a moderate tempo in Cahuzac's which serve to balance out the literature one of the composer's suggested even rhythms, that is somewhat. played all in triplets, or sixteenth notes, etc. These may be James Gillespie repeated using various articulations and rhythmic groupings, and will challenge the best of players. Lancelot, Jacques. Trente trois etudes assez faciles pour At the risk of overstating my enthusiasm for these clarinette, Vol. I—Nos. 1-16, Vol. II—Nos. 17-33. Editions etudes, I urge you to consider them for a part of your course Transatlantiques, 14, avenue Hoche, Paris 8, France (U.S. of study. I definitely plan to. agent: Theodore Presser Co.) (copyright 1973). James Gillespie These "somewhat easy" etudes are published in two books and are designed to follow Lancelot's Vingt-cinq ALBUM FOR CLARINET with Piano Accompaniment, etudes faciles et progressives also published by Editions Belwin-Mills Publishing Co., Melville, N.Y. 11746. $2.00 Transatlantiques. A more appropriate classification of these mostly one-page studies might be "intermediate," Contents: ALLEMANDE, C. Gervaise (Kith century); rather than "somewhat easy." The technical demands and CHORALE MELODY FROM THE LINUS COLLEC¬ wide variety of rhythms and articulations would be much TION, P. Karolyi; AN OLD HUNGARIAN DANCE FROM too advanced for a very young student. THE LUNUS COLLECTION, P. Karolyi. MINUET (from While Lancelot's gifts for composition do not match SUITE IN D MINOR. NO. 4), J.C.F. Fischer: MINUF-T L. those he possesses for performance, each etude does isolate Marchand; MUSETTE (from ENGLISH SUITE NO i>, a specific problem(s) and treats it in an interesting manner. J.S. Bach; PASSAGE FROM THE PEASANT CANTA TA. Emphasis throughout both volumes is on smooth connec¬ J.S. Bach; ADAGIO (from C MAJOR SONATA FOR tion of registers and complete control of legato and staccato GAxMBA AND HARPSICHORD), G.F. Handel; MINUET, phrases. The brevity of the studies also eliminates most of J. Rameau; ROMANCE. K.V. 229 and MINUET, K.V. 229, the needless repetition and tedium that is too often W.A. Mozart; WALTZ, GERMAN DANCE, F. Schubert; encountered in etudes written in such a conventional, SIIEHEREZADE. R. Shumann; ARIOSO and TWO conservatove style. PIECES IN OLD STYLE, P. Karolyi; SCHERZETTINO, I. The publisher is to be commended for the planning that Mezo; THREE PIECES, J. Sari; SMALL SUITE, S. went into the publication. The cover and paper are of a high Szokolay; SUITE, L. Dubrovay. quality, and the printing is clear, clean, well spaced, and I his rather unique collection of solos was edited by Janos almost totally lacking in errors. Other French publishers Kuszing and apparentlv first published in Hungary under would do well to follow Editions Transatlantiques' exam¬ the title CLARINET MUSIC FOR BEGINNERS. The ple. present edition was released jointly in 1972 by Editio James Gillespie Musica, Budapest and Belwin-Mills and is certainly one of Page 22 THE CLARINET August, 1974 the most attractively prepared and musically sound collec¬ lines or meter signatures, and frequent use is made of tions for the beginning and intermediate levels that has quarter tones, trills, and flutter tonguing. The monotony of come to the attention of this reviewer. the soft, low-register scoring is broken near the middle of Almost all of the pieces are quite short with many being the movement with a loud, rhythmically accelerated sec¬ arranged for the clarinet from other media—namely, those tion in the altissimo register. This subsides, and the works of Bach, Handel, Schubert, Schumann, Rameau.etc. movement closes much as it began. The second movement However, it is the pieces by contemporary Hungarian (Allegro giusto) employs irregular meter signatures (8/32, composers—Dubrovay, Karolyi, Mezo, Sari, and 3/16, 7/32, etc.) and changes of meter in almost every Szokolay—that are of particular interest. Apparently each measure. Phrases are derived from reiterated pitches, is an original work for the clarinet, and, with the exception extremely disjunct motives, and slurred chromatic lines. of the Dubrovay SUITE, they are well suited for young The dynamic and pitch range is wide, and the scoring is players. Due to its more modern idiom, difficult piano part, both pointillistic and ostinato-like. The work was written rhythmic complexities, and ensemble problems, for Lew Mikhailow and lasts about seven minutes. Dubrovay's piece will interest a more advanced player. Written in 1965 for the Rumanian clarinetist Aurelian Players of all ages will find the colorful artwork very Octa v Popa, the Marbe INCANTATIO "consists of various appealing and particularly appropriate for the age level of sections which, in tone color, should contrast with one the student most likely to make use of the collection. another, especially when they follow one another." No Let us hope that this publication comes to the attention of meter signatures are employed, and the composer suggests state committees revising contest solo lists, for there is in the Preface that "the indicated rhythm can be rendered much useful material for the bdginning grade level in according to the notation or can serve as a point of ALBUM FOR CLARINET. Highly recommended! departure for rubato playing." Flutter tonguing, quarter James Gillespie tones, slap tonguing ("jazz effect"), and some improvisa¬ tion occur from time to time. The overall effect is decidedly 30 PLUS-TRIOS FOR CLARINETS, Arranged by John atonal and abstract. (Duration: c. 5:00). Cacavas. Belwin-Mills Publishing Co., Melville, N.Y. 11746 Schroder's style in his SONATA (1971) reveals a more The American composer John Cacavas has become conservative, modern idiom than is the case in the two fairly well known during the past several years through his works discussed above. Although the melodic style is works for band and scores for television, such as "Kojak." atonal, it is nevertheless very melodious and rhythmically This collection of 32 trios published in 1973 was "scored straightforward. The three movements—Moderate, Lento, and compiled basically for recreational playing, yet keep¬ Allegro—are well written for the clarinet, although suitable ing in mind many of the problems confronting young primarily for an advanced player. There are no quarter players." tones, unusual meters, or unconventional demands made Published in score form, most of the pieces are one page upon the player. The piece comes across as a light, in length. The music is in two categories: that of a "serious" animated showpiece, and it should be useful as an etude or nature (Mozart, Corelli, Telemann, etc.) and folk and recital selection. This reviewer considers it one of the best of traditional melodies ("Shenandoah," "Deep River," etc.). the newer solo pieces. (Duration: 5:30). There is an ample variety of meters, key signatures James Gillespie (through four flats), and rhythmic figures to maintain interest and challenge players at the intermediate level. Concerto for Clarinet with piano accompaniment The melody is always the first part, and the arranger (transcribed from Violin Concerto #1)—J.S. Bach, arrang¬ suggests that players alternate parts from piece to piece. ed by J.A. Tomei, published by Pro Art Publications, The editing and phrasing throughout is quite meticulous, Inc./Westbury, .I./New York, $1.25. and there is more dynamic interest than is usually en¬ Transcriptions such as this one from the Baroque countered in such collections. literature may serve a good purpose in allowing a student to Cacavas has done a commendable job in compiling a to become familiar with a wider range of music than that most useful set of trios. originally written for his instrument, but this particular arrangement serves neither the music nor the student well. New Unaccompanied Solos The major problem is that of phrasing and breath marks in the clarinet part, which, often as not, occur right before the One of the more important German publishers of contem¬ last note of a phrase, between the leading tone and the porary clarinet music is Hans Gerig of Cologne who tonic! This makes it difficult, if not impossible, for the published three new works for unaccompanied clarinet student to feel the phrases accurately and hinders the during 1973. development of a strong sense of phrase structure. In addition to the phrasing problem, there is a wrong Denissow, Edison. SONATA FOR CLARINET IN B-FLAT note six bars after #6 in the piano part (the F in the right SOLO, Edition Gerig hand, second beat, against an F-sharp in the clarinet line) Marbe, Myriam. INC ANT ATIO—SONATA FOR and the writing for clarinet before #7 contains very CLARINET SOLO, Edition Gerig monotonous articulation and poor breath marks. Schroeder, Hermann. SONATA FOR CLARINET SOLO The piano accompaniment is generally too thick and (A or B-flat), Edition Gerig vertical sounding, with the contrapuntal aspect of the Musikverlage Hans Gerig, Drususgasse 7-11, Cologne 1, music often ignored, but Mr. Tomei does not indulge in the West Germany (Available in the United States from MCA usual over-editing which one often finds in Baroque Music, 435 Hudson Street, New York, N.Y. 10014). transcriptions; the piano part is largely free of extra Denissow's two-movement SONATA was written in articulation and dynamic markings. 1972, and, from the standpoint of rhythmic intricacy, has One final aesthetic and visual annoyance results from few rivals in the unaccompanied repretory. The first the fact that the last page of the clarinet part is printed on movement (Lento, poco rubato) is characterized by many the back cover in "shocking pink-on-white" to match the short, narrow-range phrases usually combined with an front cover. Surely this could have been spared the poor indication of 5/4, 7/6,9/8, etc. above each. There are no bar student! August, 1974 THE CLARINET Page 23

It is a shame that so many transcriptions contain flaws A veritable encyclopedia of 20th-century notation which such as these, because the music could be edited to suit the may become standardized and is of great value when clarinet well and serve to enrich and expand the literature trying to interpret unfamiliar notational symbols in new for students. Students could profit greatly by exposure to scores. the musical problems presented by the music of this period, Poema for clarinet in A and piano, by Istvan Kardos but this sort of introduction is more a hindrance than a (with technical revision by Gyorgy Balassa), copyright help. 1969 by General Music Publishing Co./414 East 75th St./New York/New York 10021 $4.00. Suite for clarinet (or viola) and piano, by Halsey Stevens, This one movement work is a rhapsodic, ultra-romantic copyright 1959 by C.F. Peters/373 Park Ave. South/New piece. It is rather difficult technically in spots, with fast York/New York 10016. Four movements: runs and a range extending upward to g3. In some places Allegretto/Adagio/Bucolico, pesante/Moderato con moto. the writing remains in a high tessitura for several Performing time apprx. 9 minutes. measures, requiring a well-controlled high register. This Suite, dedicated to Ingolf Dahl, is quite a nice work, The piece has a somewhat popularized Hungarian folk- using largely quartal harmonies and containing no major dance flavor, but it is a bit gushy and lacks direction, technical difficulties. The range is from F-sharp to g3. especially in the middle section, where there seems to be no' Notation is traditional and straightforward, with some melody at all. Poema could be an interesting piece for more moderately complex meters in the Bucolico movement. The technically advanced students, but musically it lacks Adagio and Moderate movements contain some nice lyric depth. writing. The clarinet part comes transposed for both B-flat and A Mary Jungerman clarinets, and a viola part is also included. This work would make a nice addition to a program, and would be great for advanced students also. Mary Jungerman

Two's Company (1954)—duet for 2 b-flat clarinets, by Leo BOOK REVIEW Kraft. Pub. Boosey & Hawkes, Lynbrook, N.Y. Clarinet Performing Practices and I. Cheerful, II. Brisk, III. Quiet, IV. Waltz, and V. Lively Teaching in the United States and These are very nice duets, using homorous jazz or Canada, compiled and edited by Cecil popular idioms throughout. Very good for use with V. Gold, School of Music Publications, students, as the range is not extreme (the highest note, in #V only, is an F3) and the technical difficulties involve University of Idaho, Moscow, Idaho primarily rhythmic accuracy up to tempo (syncopated 83843, 1973. $5.00. rhythms, etc.) and a couple of tricky runs in #IV. These could also be good pieces to program on a recital for a light This study grew out of a desire by the author "to know diversion—especially good for student recitals—great fun what was occurring in clarinet pedagogy throughout the to play. United States and Canada". The initial survey was under¬ taken in 1966 when Gold was a graduate student at the Karkoschka, Erhard. Notation in New Music (transl. from University of Nebraska, but this second edition is based on German by Ruth Koenig) New York: Praeger an additional survey made in 1971-72. Publishers/111 4th Ave./N.Y., N.Y. 10003, 1974. A questionnaire was mailed to 250 performer-teachers of (Fiest ed. Moeck/Celle, 1966) the clarinet, and 162 replied. Thus, the information provid¬ ed here is based on the replies of the 162 respondents to the This book is of great value to anyone interested in 22 questions on the survey form. performance of new scores containing unusual notation. It Each question that appeared on the survey form is taken is divided into four main sections: up separately with the responses tallied and, when ap¬ I. The Essentials—A. The Present Situation discusses the propriate, a short discussion by the author on the salient problems of notation in twentieth-century music and points on the findings and possible interpretation. The lists sources for further information. B. Tempered questions cover a wide range of topics, such as teachers Notation discusses problems inherent in making old with whom the respondents studied, brands and model of notation work for new music—what should notation instruments, ligatures, reeds, mouthpieces, repertory used accomplish? in performance and teaching, tonguing techniques, em¬ II. Present Practice—The most valuable section, with bouchure (double or single lip?), vibrato (112 use it examples from the literature of notation classed "occasionally'), tonal concept (American, French, Ger¬ according to Exact, Frame Notation, and Indicative man) etc. Excerpts from the respondents' comments are Notation, for all different instrumental groups regar¬ frequently provided, and they offer some of the more ding: tempo, pitch, articulation, meter, duration, interesting (and amusing) aspects of the study. grouping, special effects, and score layout. The Appendices include repertory lists provided by some III. Examples of Musical Notation—Reproductions of of the respondents (including George Wain and Stanley scores of various composers such as Penderecki, Drucker), measurements of several reeds used in perfor¬ Mauricio Kagel, and others. (The examples are' mance by some of the respondents, and a list of the names numbered and are arranged to correspond to the of those answering the survey. score examples in Part II). Notational examples of Although there are few surprises in Gold's findings, there electronic music are also included. is ample information of what we have all been hearing for IV. Index—Names and Works (pub. information with cities years. For instance: 112 teachers use the Rose ETUDES (32 of publicaton). Lists composer, work, instrumenta¬ and 40); 114 use a Buffet clarinet, model R-13; 127 use tion, publisher, list of examples cited by number. Vandoren reeds; only eight make their own reeds; most Page 24 THE CLARINET August, 1974 preferred a medium tip opening and medium facing length; Gerard Victory—Three Fairy-Tales for b flat Clarinet & 142 use a single-lip embouchure; no one uses a vibrato Piano. A. Leduc, 175 rue St. Honore, Paris. Time 7' 20". "always", etc., etc. I Beauty and the Beast, II The Sleeping Beauty, III Hop o' A more careful proofreading of the text by Gold would my Thumb. have eliminated several misspellings and other minor Rhapsodic, mildly dissonant, contemporary French? After inconsistencies, but, in general, the report is well designed, the enticing titles, I am a little disappointed in the music extremely informative, and very readable. It is somewhat itself. It is not a bad work, but somehow the ideas never disconcerting, though, that nearly one third of the wholly come alive. "professional clarinetists and teachers" that were con¬ tacted chose not to respond to the survey. Clarinetists are fortunate to have men in the profession like Cecil Gold whose enthusiasm for and interest in the clarinet have not waned! James Gillespie Music Review Brahms, Johannes, Quintet in B Minor, Op. 115, arr. for clarinet and piano by Pamela Weston. Fenette Music (Selling agents: Breitkopf & Hartel, Weisbaden and Lon¬ don; Alexander Broude Inc., 225 W. 57th St., New York, N.Y. 10019). New Music Reviews This reviewer is not an authority in the subject of the various clarinet—piano reductions which have appeared since Simrock (Brahms' original publisher) printed theirs by Henry Gulick of 1892. Chances are that most clarinetists will continue to Note: Henry Gulick has taught clarinet at Indiana Univer¬ hope for the collaboration of a Juilliard or an Amadeus sity since 1951. He holds the B.M. and M.M. (and Per¬ (quartet) or a group of qualified, ever-loving amateurs for former's Certificate) from Eastman. He played their Opus 115 sessions. But good clarinetists have told me professionally with the Rochester Philharmonic and the that a duo sonata performance can be felicitous for all San Antonio Symphony. concerned. Pamela Weston's version gives the clarinet part as originally composed, and the quartet's voices are Charles Bochsa (1789-1856): Theme & Variations for b-flat sensibly integrated in a polyphonic texture which seems Clarinet (or violin) and Harp (or piano). Edited by Frederic well suited to the piano. Printing and paper are excellent. Robert. Galaxy Music Corp., New York. Price $3.50 Time 5'. Lee Gibson This is the second movement of the Grand Sonata. Typical of the era, no great originality or inspiration, but pleasant enough. The Harp (or piano) part is much more suited to the latter. Intermediate level.

Cesar Bresgen—Studies II for b-flat Clarinet and Piano: "Going On Record" Book I: Easy. Verlag Doblinger (Vienna, Munich). Time 8'. There are eight short movements, or studies. Highly recommended! Clean, economical but interesting writing. By Richard Gilbert Lower intermediate level. BRAHMS: Clarinet Quintet, Op. 115 Marcel G. Frank—Moment Musicale for b-flat Clarinet and Recordings by: JACK BRYMER (Prometheus Ensemble) Piano. U. of Miami, Fla. Sole Agent Sam Fox, 62 Cooper PYE VIRTUOSO TPLS 13004, HENRI DRUART (String Square, N.Y. 10003. Price $1.50, Time 1' 48". This is good Quartet of the Orchestra of Paris) DECCA ARISTOCRAT public school educational material; it stays mostly in the 7183, OSKAR MICHALLIK (Morbitzer, Martens, Bucholz clarion register, and stresses articulation. Intermediate & Gunter) PHILIPS UNIVERSO 6580 057, HERBERT level. STAHR (Berlin Philharmonic Octet Members) PHILIPS 6500 453. Donald Martino (1931- ) Tn'ofor Violin, Clarinet in A, and Recently, four very impressive recordings of this superior Piano. E.C. Schirmer, 600 Washington St., Boston Mass. chamber work have been made. The clarinetists are all Score $5. No separate parts. Time 10'. Range to highest A. first-rate European artists whose individual styles are Disjunct, atonal, and the rhythmic complications are representative of their national origin. awesome. Not highly technical, but does have wide skips. The latest is Henri Druart's. With this we now have the Calls for slap tongue by the clarinetist, and plucked strings definitive recordings of each of the three major European by the pianist. Contains special instructions as to articula¬ schools of clarinetistry. Druart representing the French tion. According to my Schwann Catalog, this has been school. Jack Brymer the English school with Oskar recorded. Very Difficult. Michallik and Herbert Stahr representing the German school. The best American recording belongs to David Manfred J.M. Nedbal—Sonatine for Bass Clarinet or Glazer. Europe's leading clarinetists have traditionally Clarinet in b-flat, & Piano. Verlag Doblinger (Vienna, provided us with fine performances for their day. These Munich). Time 6'. Range: to highest G#! include Leopold Wlach, Heinrich Geuser and Reginald I Allegro Deciso II Adagio III Presto Kell's version with the Busch ensemble. This is a short work of moderate interest—not idiomatic for The packaging of Decca's Aristocrat series suggests the bass clarinet (there is much writing in the upper artistry on a high level and one is not disappointed with the register). I rate it as Difficult for Bass, Intermediate for performance or the engineering. As a matter of fact, all of Sorpano Clar. these recordings have much in common: rich, warm August, 1974 THE CLARINET Page 25 tones—in the context of their styles; sensitive styling of the MODERNE; Carl Stamitz, CONCERTO NO. 3— musical phrase; good tempi and excellent intonation. "Romanze"; Gustave Langenus, CHRYSALIS; Carl Baer- Interpretively, Druart's is the least profound while mann, ADAGIO (ETUDE NO. 24); Jaromir Weinberger, Michallik's and Stahr's are progressively more profound SONATINE (complete). and Teutonic. Brymer's lies somewhere between these highly artistic poles. Remember, each of these recordings are outstanding and any criticism is aimed at this level. In recent years the Music Minus One company has Gretting back to Druart: Stylistically he is not always the turned its attention to the more serious repertoire for the most musical. This is most apparent in the second move¬ clarinet, and in its new "Laureate Series Contest Solos" the ment. In the Piu Lento he allows himself to "float" above aim is to feature "the choicest repertoire for the instrument the arabesques instead of "digging in" to them. This is as performed by the foremost players in the land and they where Brymer, Michallik and especially Stahr excel. But in by YOU". The two discs at the beginning level will be spite of this, Druart's rendition is a fine display of the discussed here, and the seven others at the intermediate French school, surpassing all that has come before. and advanced levels will be considered in later issues of Brymer's beautiful, rich, creamy tone ingratiates this this journal. lovely work. His tempo in the first movement is faster and Perhaps a brief refresher is in order on the format of more vivid than Druart's. In the second movement MMO recordings. The music for clarinet and piano is Brymer's approach to the Piu Lento makes it more included on one side of the disc with the piano part only on mysterious and dramatic. His technique may not be as the other side for the student to play along with. Oc¬ clean as Druart but he makes your blood run. Brymer's casionally two different versions of a particular work are slight vibrato is nicely controlled throughout the work. included on the "piano only" side: one at a slower rehearsal Oskar Michallik's recording was considered by this tempo, the other at a performance tempo. The printed reviewer to be the finest available and this held true until clarinet part to each of the works is also included as are Stahr's recent recording. Everything that will be said suggestions on performance supplied by the artist. about Michallik is enhanced and further refined in Stahr's The repertoire and editions used in this particular series masterful performance. were selected from approved lists of various state music Michallik's tone is dark, resonant and passionate. The education associations, such as those in New York, Florida, string quartet is fluid and stylistic. The Quasi sostenuto (of Virginia, Texas, Ohio, etc. While some may not agree that the first movement) is beautifully lyric and provides a nice the music chosen is indeed "the very best solo literature for contrast to the rest of the movement. The second movement the instrument", it is literature that is heard very frequent¬ is full of contrast: the opening is angelic and crystalline ly at solo and ensemble contests. The edition that is while the Piu Lento is intensely rhapsodic, yet smooth and supplied is identified along with the publisher's address for refined. The 32nd note runs for the second violin and viola, securing a copy of the piano part. in the third movement, are generally obscured. However, The commentary provided by the artists in the "Perfor¬ this is such a good recording that any such criticism is mance Guide" section should be very helpful to young doomed to hair-splitting. students. The suggestions are both general in nature This brings us to Stahr, without reservation the finest of (regarding style, etc.) and, at times, somwehat detailed (on all the Brahms Quintet recordings to date. He has such matters as breathing, fingerings, rhythm, etc.). MMO everything going for him—tradition, tone, intonation, failed to number the measures of the Weinberger technique, style and a fabulous string quartet. From any SONATINE in the same manner as did Wright, so that his point of view this has to be the most successful disc. I do not reference to a rhythmic problem in measure 8 of the last say this to negate the other schools of playing but to me, movement is apparently in measure 112. Wright also is what playing Brahms is all about. cautions the student to differentiate between the grace notes and appoggiaturas in the slow movement from the Stamitz CONCERTO No. 3. He explains how these or¬ naments are to be executed but, unfortunately, the editor of the G. Schirmer edition that is provided does not differen¬ RECORD REVIEW tiate between the symbols used for the two ornaments. That is, the same sign is used for both, rather than indicating a grace note by means of a small note with a slash through the stem and an appoggiatura with the same sign without Music Minus One—Laureate Series (MMO 8011), Begin¬ the marks through the stem. Admittedly these are minor ning Clarinet Solos; Jerome Bunke, clarinet and Sondra points, but without the supervision of a competent teacher Bianca, piano; Music Minus One, 43 West 61st Street, New a young student could be easily confused. York, N.Y. 10023. The playing is very fine, and it is always a joy to hear Noel-Gallon, CANTABILE; Gustave Langenus, artists such as Wright bring life to pieces that are not LULLABY; Manont Kennaway, CAPRICE; Edward Mc¬ always rich in musical content. Both B'unke and Wright Dowell, TO A WILD ROSE; Nilo Hovey and Beldon follow the published version fairly closely, although there Leonard, SONG OF SPRING; Alexander Gretchanioff, are occasional changes in breathing places (eight-measure SUITE MINIATURE, Op. 145 (Movements V and I); phrases, instead of four, etc.), minor alterations of Christopher Edmunds, LAMENT; Forrest Buchtel, dynamics on repetitions of phrases, and corrections to SERENADE; Carl Frangkiser, CAPRICIOUS IMP. omitted articulation markings. Given the guidance of his teacher, a young player should Music Minus One—Laureate Series (MMO 8012), Begin¬ benefit greatly by the use of these well produced recordings. ning Clarinet Solos; Harold Wright, clarinet and Harris Goldsmith, piano; Music Minus One, 43 West 61st Street, THE VOICE OF THE INSTRUMENT—THE CLARINET New York, N.Y. 10023. (ABK 16); Jack Brymer, clarinet, with The Fidelio Quartet Wolfgang A. Mozart, SERENADE FOR WINDS, K. and David Lloyd, piano. Published by Discourses, Ltd., 361—"Minuet and Trio"; Hovey-Leoriard, CHANSON High Street, Royal Turnbridge Wells, Kent (England)— Page 26 THE CLARINET August, 1974 available in the U.S. from Theodore Front Music Literature, 131 N. Robertson Blvd., Beverly Hills, Cal. LETTERS 90211. The Clarinet invites letters from ICS Program: members and readers. Side One—W.A. Mozart, ALLEGRO IN B-FLAT, K. Anh. 91 (516c) for clarinet and string quartet. Carl Maria von Weber, QUINTET IN B-FLAT, Op. 34, Dear Dr. Gibson: Fantasia and Rondo. Robert Schumann, PHANTASIESTUCKE, Op. 73, Having only recently joined the I.C.S., and having just No. 1. received copis of Vol. 1, nos. 2 and 3 of the Journal, I wish to Felix Mendelssohn, CONCERTPIECE NO. 2 in D congratulate you on your efforts to further the exchange of MINOR, Op. 114. information between clarinetists throughthis long needed Side Two—Camille Saint-Saens, SONATA, Op. 167, publication. It is my sincere hope that the Journal will not Allegro animato. only continue to exist but will expand its coverage in some Josef Holbrooke, CLARINET QUINTET, Op. 27, Can¬ of the many areas of interest to all of us. zonet. Bertold Hummel, SUITE FOR SOLO CLARINET, While I found your article on the Buffet 'A' to be of great Marche grotesque and Tarantella. interest, I am forced to wonder if your approach is not Frederic Ernest Curzon, CLARINETTA CON MOTO. somewhat at odds with the published guideline of non- Malcolm Arnold, SONATINA FOR CLARINET AND commercialism. It is not that I am against being commer¬ PIANO (complete). cial, far from it, as I make my living selling and repairing Alec Templeton, SECOND POCKET-SIZE SONATA, musical instruments, but rather that I question if a Gavotte. commercial or biased approach of this type may possibly Francis Poulenc, CLARINET SONATA, First move¬ cancel some source(s) of support which the Society may ment. need not only to foster its financial stability but also to develop an open mindedness toward the continued evolu¬ Published in 1973, this disc is one in a series titled "All tion of the instrument as it is being pursued on several About Music" which has "been planned to give you not fronts. It is my understanding that all of the major only an entertaining programme of listening but also a manufacturers are working on important acoustical and basic introduction to one aspect of music". Although mechanical improvements at this time. My personal opi¬ primarily directed toward the general "music apprecia¬ nion is that the 'perfect' clarinet is still somewhere way tion" listener, even the most experienced clarinetist will down the road—if indeed ever! find something of interest here. Jack Brymer, considered by many to be the leading English clarinetist of the present It is my hope that you will someday reprint copies of Vol. 1, day, has selected an extremely varied program of solo and No. 1 of the Journal. I feel that many others, like myself, chamber works—almost 56 minutes of music, in fact! An who have only recently joined the Society will want to add eight-page booklet, written by Brymer, is included with the this copy to their library. On another but similar matter, I LP, and it includes a general discussion of the clarinet, its am wondering if it would be possible for the Society to history, and comments on the works performed. publish (possibly in hard back) a book containing reprints Appearing in a recorded form for the first time are the of the old 'Clarinetist' magazine? Having had great pieces by Mozart, Hummel, Curzon, Arnold, and personal success in selling over 100 copies of The Templeton. Of particular musicological interest is Mozart's Woodwind Anthology, as published by The Instrumen¬ unfinished movement (K. Anh. 91) for clarinet and string talist, I believe this would be a vary marketable item. quartet dating from 1787. Only the first four pages have been found and, although these pages are complete, it was Among other personal projects, I am trying to develop a the American musicologist Robert D. Leven who completed collection of professional and/or custom made clarinet the remainder of the movement. This was published in 1970 mouthpieces. So far I have about60. Mr. Schotthas written by Nagels Verlag, Heinrich Schutz Allee 31, Kassel, that he thinks this would be of interest as a display for the Germany (available from Associated Music Publishers in ClinicvHis reaction pleased me, of course, but this project is the U.S.). far from being complete. Hopefully within the year it will be Somewhat shortened versions of the works by Weber and expanded to 80 or 100. Mendelssohn are utilized apparently to include as many works as possible. Neither work suffers noticeably from the Sincerely yours, cuts. Thanks to modern recording techniques, Brymer GORBY'S MUSIC, INC. plays both the clarinet and the basset horn on the CONCERTPIECE NO. 2! Jerry Gorby Brymer's commentary in the booklet is both informal Vice-President and informative—much in the manner of the oral program notes he frequently includes as a part of his recitals. For instance, Holbrooke's interest in the clarinet was prompted, at least in part, because "of the playing of his Paragraph 2 of Jerry Gorby's letter is discussed in son-in-law, Reginald Kell." Claranalysis (this issue). Regarding a reprint of articles While the playing on this recording may lack some of the from the first Clarinet: We have at hand a complete index of technical polish one might hope for, there is the ever that magazine prepared by ICS member Dr. Norman Heim, present espressivo and vitality that seem to be so much a Professor of Music, University of Maryland, College Park, part of the English style. Hail Britannia! James Gillespie Md. 20742. There may be a question at this time as to whether enough copies of the old Clarinet remain available to justify its printing. Perhaps Dr. Heim could be persuaded August, 1974 THE CLARINET Page 27

to prepare his own anthology either with or without sponsorship of the ICS. Please inform him and us of your A Selective Discography of Recent thoughts. Music for Clarinet

Dear Dr. Gibson: F. Gerard Errante Dr. Errante is Southeast Regional Chairman of the ICS. I read with interest and appreciation your article on the Buffet A Clarinet, as found in the May 1974 International Clarinet Society magazine. Edward Applebaum Montages cl, 'cello, pf John Gates 1968 Everest 3262 Bozay Attila Paper Slips, Op. 5 As you mentioned in your article, Tolchin Instruments, Inc. sop. cl. 'cello Hungaroton 1-PX 11412 is the parent corporation of Buffet Crampon S.A. It is with Tibor Ditthch Milton Babbit Composition for Four Instruments this in mind that I ask you to contact me in the future, fl, cl, vln, 'cello 1948 CRI i;J8 regarding further articles about Buffet Crampon S.A. As at Stanley Drucker the beginning of 1974, Buffet Crampon S.A. is a wholly l^eslie Bassett Trio cl, via, pf 1953 CRI MH owned subsidiary of Tolchin Instruments, Inc. Also, just to Charles Russo John Bavicchi Trio No. 4, Op. 33 keep the record straight, Mr. Heinz Weil, formerly director vl, vln, harp 1958 CRI i:W of Buffet Crampon, is no longer with the company. The David Glazer Burton Beerman Sensations cl & tape president of Buffet Crampon since 1969 is Mr. Martin Phillip Rehfeldl 1969 Advance PGR- I5S Tolchin. Jean Binet Petit Concert cl &. str. orch. 1950 Communaute de travail Eduard Brunner irr^4 ii It was approximately two years ago that Buffet Crampon Allan Blank Poem sop, cl, 'cello, harp 1963 CRI SI) 250 discontinued the Evette & Schaeffer A Clarinet. Needless Michael Sussman Elliot Borishansky Two Pieces unacc. cl to say, this particular clarinet is no longer available. Phillip Rehfeldt 1964 AdvanceFGR-15S Pierre Boulez Domaines cl & orch 1970 HarmoniaMundiSBH8JM Please accept the above corrections in the spirit in which Michel Portal they are given. That is, we are more than anxious to hear Ursula Burkhard Serenade fl & cl ElectrolaSMKHl 1115 and read good things about our Buffet Clarinet. We are Hans Rudolf Stalder John Cage Sonata for Clarinet unacc. cl 1933 AdvanceKGK-4 similarly anxious that the information disseminated to the Phillip Rehfeldt public is accurate. !»uis Calabro Environments cl & brass ens. Gunnar Schonbeck CRI SI) *260 Frank Campo Concertino 1965 WIMR-7 I am sure that so long as Buffet Crampon S.A. continues to E-flat, B-flat, bass c) & pf 1950 WIMR-I produce excellence in the field of woodwind instruments, David Atkins wyou will wontinue to write favorably on behalf of their Carlos Chavez Soli I ob, cl, bsn, trpt 19;tt Crystal SMI2 products. It was a pleasure to discover the magazine of the David Atkins Carlos Chavez Soli I ob. cl. bsn. trpt International Clarinet Society, and I am writing to Dr. Anastasio Florcs 1933 Odyssey Y31534 James Schoepflin to enter subscriptions for myself, here in Carlos Chavez Soli U woodwind quintet 1961 Odyssey Y31 .VW Melville, and for Buffet Crampon S.A. in Mantes, France. Anastasio Flores Barney Childs Barnard 1 cl & pf 1968 Advance Ft;K ITS Phillip Regfeldt Very truly yours, Robert Keys Clark Concerto for cl & orch. Trilogy Jerome Bunke TOLCHIN INSTRUMENTS, INC. Geornt* Crumb F.leven Echoes of Autumn 1965 CRI SI) 2:13 fl alto fl. cl. vln. pf Arthur Custor Permutations vln. cl. 'cello 1967 CRI SI) 253 Edgar Hausman Gary Gray Vice President Arthur Coster Sextet woodwind quintet & pf 1959 Screnus SKS 12(124 Arthur Custer Two Movements for Woodwind (Juintet 1964 CRI SI) 253 Mario Dovidovsky Synchronism No. 2 1964 CRI SI) 2f:4 Editor's Reply: fl, cl. vln. 'cello, tope A letter of June 24, 1974, from Edgar Hausman, Vice Stanley Drucker Ariine 1 )inmond Composition for Clarinet-unacc. cl 11*63 AdvanceKGK I President of Tolchin Instruments, Inc.. 55 Marcus Drive, Phillip Rehfeldt Melville, N.Y. 11746, corrects errors in the first M;itt Doran Sonata cl & pf 1963 WIMR-1 Claranalysis of May, 1974. Buffet Crampon S.A. is a David Atkins Jacob Druckuian Animus ill cl & tape wholly owned subsidiary of Tolchin, and Martin Tolchin is Arthur Bloom Nonesuch H-721" president of Buffet. The Evette and Schaeffer clarinet in A John K;i(*.n Concert Music for Solo Clarinet I9»i| CRI >•:> X*. is no longer available. We thank Mr. Hausman for these William O. Smith corrections and the subscriptions submitted for Buffet John Kutwn CKl SI) 296 Crampon and himself. John Katon Vibrations fl. ob. 2 cl 1966 Deica 1)1,710165 William MoColl. Michael Da\ The Viola in My IJfe fl. cl, vln. via. 'cello, pf. perc 1970 CRI SD 276 Arthur Bloom Time Cycle sop, cl, 'cello, perc. pf. orch 1960 CMS 6280 Richard Dufalio Mti » Gidcn Rhymes from the Hill sop. H, marimba, 'cello 1968 CRI SI) 286 Arthur Bloom Peter Griffith Classic for Clarinet unacc. cl Phillip Rehfeldt 1969 Advance FOR 15S George Heusstenstamm 4 cits & pen l»70 WIMR-7 Page 28 THE CLARINET August, 1974

Sydney Hodkinson The Oissolution of the Serial 1967 CRI SI) 292 Ezra Sims (chamber Cantata on (Chinese Poems cl/bass cl/tenor sax. pf, tape tenor, fl. cl. via. 'cello, hpscd 1954 CRI SI) 223 F. Gerard Errante Felix Viscuglia Alan Hovhaness Satum. Op. 243 cl, cop, pf 1971 Poseidon 1010 William O. Smith Five Pieces for Clarinet Alone Lawrence Sobol William O. Smith 1959 ContemporaryS8010 M. William Karlins Solo Piece with Passacaglia 1964 Advance FOR- 15S William O. Smith Four Pieces for Clarinet, Violin, unacc. cl and Piano 195ft Contemporary S8010 Phillip Rehfeldt William O. Smith Morris Knight Refractions cl & tape 1962 Golden Crest CR-4092 William O. Smith Quartet for Clarinet. Violin. David Sweetkind 'Cello, and Piano 1958 ContemporarySH010 William 0. Smith Ernst Krenek Monologue for Clarinet Solo 1956 Advance FGR-4 Phillip Rehfeldt William O. Smith Suite for Violin and Clarinet William 0. Smith 1952 Contem porary S7015 Krnst Krenek Suite for clarinet and piano 1955 Mark MMF."$355 Paul Drushler Robert Starer Concerto a Tre cl. trpt. trb, str Desto 7135 Meyer Kupferman Curtain Kaiser fl. cl. horn, pf I960 SerenusSRS 120.1-1 Joseph Kabbai Robert Starer l^ire-Kric I-arsson Concertino cl & orch Philips tCt9 >77 I>ialogues cl 8c pf 1961 Desto DC 7106 There Janssen David Glazer Karlheinz Stockhausen Zeitmasse for Five Woodwinds Hans Ulrich l>ehiii;*nn Mosaik unacc. cl 1964 Communautede travail fl. ob. cl. eng hrn, bsn 1956 Odyssey32 160154 Hans Rudolf Stalder CTS 50 William Ulyate Krwierick li sermjinn Sonata cl & perc 1972 Crystals 841 Halsey Stevens Concerto cl & str. orch 1968- Crystal SK51 Mitchell Lcrie Mitchell Lurie 69 Witold 1 jitoslawski Five Dance Preludes 1955 CandideCK:iM>:i5 cl. str. harp. pf. perc Gerald Strang Sonatina for Clarinet Alone 1932 Advance FGR-i7S Hartmut Stute Phillip Rehfeldt William Sydeman Music for Oboe and B-flat Clarinet Klisuhfth I.otyens Wind Quintet. Op. 45 Argo RG 425 Phillip Rehfeldt 1963 Advance FGR 17S iKmald Martino B. a. b. b. it. t unacc. cl 19 2:«) 1961) Antonio Tauriello I lonahl Martino A Set for Clarinet unacc. cl 1951 Advance F(»K-4 Uinx cl & orch 1968 Louisvillel-S-701 Phillip Rehfeldt James Livingston l>ester Trimble Four Fragments from the Canterbury I ton a Id Martino A Set for Clarinet unacc. cl 1954 Advance FGR- 15S Tales sop, cl. fl. harpsichord 1958 Columbia MS619h Phillip Rehfeldt Charles Russo Ifcmalri Martino Trio vln. cl. pf 1959 CRI 240 USD David Ward-Steinman Fragments From Sapphro Arthur Bloom sop. fl. cl, pf 1965 CRI SD 238 Ihmai Michalsky Divertimento 1952 WIMR-7 David Glazer H-Hat. alto & bass cl Trio cl. via. 'cello 1948 CRI 116 K^lward MilU-r Piece for Clarinet and Ta|>e 1967 Advance FGR- 17S Kalman Bloch Phillip Rehfeldt John White Variations for clarinet and piano 1971 Advent 5005 K. M«ts2umanrka Nazii Mtniatury cl & pf Golden Crest RK 70.V2 Charles Whittenberg Games for Five woodwind quintet RoIhtI Ustokin John McManus 1968 Advance FOR-1 IS New Music Kns^mble Free Group Improvisations NME 101 sop. fl. cl. bass cl. bsn Charles Whittenberg Three Pieces for Clarinet Solo 1963 Advance FOR 4 sax. trpt. pf. perc Phillip Rehfeldt Jon Gibson, Wayne Johnson Durko Zsolt A Hungarian Rhapsody 2 cl & orch Hungaroton LPX 11363 Harold Owen Cha ber Music 4 B-flat cits W1MR7 Bela Kovac^ Tibor Dittrich Ki>l>ert Palmer Quintet cl. vln, cello, pf 1952 TurnaboutTV-S .i4-"»(»^ Arthur Bloom Hons Pillin Sonata cl & pf 1965 WIMK-1 David Atkins ('.eraId Flam Showers of Blessings cl &. tape 1972 Advance FtIK- I7S Phillip Rehfeldt Addresses of Record Companies Kjioul Fieskow Bagatelles with Contrabass Ars Nova 1001 fl. cl. cbs. vibr Listed Above Henri Pousseur Madrigal III 1962 Everest :il70 cl. vln. cello, perc. pf Mel Fowell Improvisation cl. •la. pf 1962 CRI 227 USD Advance Recordings Crystal Record Co. Nonesuch Records Keith Wilson P.O Box 17072 P.O. Box 65661 15 Columbus Circle Creorife K<>chber>» Contra Mortem et Tempus 1965 CRI SI) 231 Tucson. Arizona 85731 U»s Angeles. California New York. N.Y. 10023 alto fl. cl. vln. pf Advent Productions 90065 P.O. Box 635 Odyssey Ned Rt»rem Water Music vln. cl. orch 1966 Desto DC 6462 Manhattan Beach. California Desto Records c/o CBS Recordings l^arry l>ondon 90404 1H60 Broad wav Philips New York. N Y. 10023 c/o Mercury Utvan Sarkozy Sinfonia Concertante cl & orch. 1962 Qualiton LPX 1297 Amadeo Gyorgy Balassa c/o Apun Poseidon Society Electrola Gesellschaft 88d Seventh Avenue Dtmald Scavarda landscape Journey 1963- Advance FGR-5 Apon Record Co., Inc. Postfach 450363 Suite 400 cl. pf. film, lighting 64 P.O. Box 131 Maarweg 149 New York. N.Y. 10019 John Morgan Grand Central Station 5000 C4>logne 41 New York. N.Y. 10001 Germany Qulaiton Records Ltd. IVknald Scavarda Matrix for Clarinetist unacc. d 1962 Advance FGR-4 65-37 Austin Street Phillip Rehfeldt CBS Recordings Everest Records Rego Park, N.Y. 11374 Hans Schaeuble Music for Clarinet and String 1961 Turnabout TV-S.t45!:i 51 West 52nd Street 10920 Wilshire Blvd. Orchestra, Op. 46 New York, N.Y. 10019 Suite 410 Serenus Corporation Jost Michaels CMS lx>s Angeles. California 90024 P.O. Box 267 Columbia Special Products Hastings-on-Hudson, N.Y. 10706 Armin Schihler Concertino. Op. 49 1956 Amadeo 6097 Dept. 55 Gulden Crest Records. Inc. cl & orch. Special Service Collectors' Series 220 Br(»adway Turnabout Hans Rudolf Stalder 2001 South Third Street Huntington Station. N.Y. 11748 c/o Vox William Schmidt Rhapsody No. 1 cl & pf 1955 WIMR-1 Terre Haute. Indiana 47HOH Harmonia Mundi Unicom Records Ltd. l)a>'id Atkins c-'o Apon 27-29 York Road CRI Waterlw, lx>ndon SE 1 Kiilolt Schwartz Aria No. 1 cl & pf 1966 Advance FGR-7 Composers170 West 74th Recordings. Street Inc. Hungaroton England Allen Blustine New York. N.Y. 10O23 c'o Qualiton ille Philharmonic Society Vox Kiilott Schwartz Four Studies for Two Clarinets 1964 Advance FGR 1-">S Candide 21! Brown Building 211 East 43rd Street John Gates. Phillip Rehfeldt 321 West Broadway New York. N.Y. 10017 Kiilott Schwartz Interruptions woodwind quintet 1964 Advance FGR-15 Communaute de travail ille. Kentucky 40202 WIMR John McManus I 1 bis Mark Educational Recordings, In Weatern International Music. Inc. Seymour Shifrin Serenade for Five Instruments 1955 CRI SI) 123 Avenue du Gramnmnt 6010 Goodrich Road 2859 Holt Avenue oh. cl. horn. via. pf Lausanne. Switzerland Clarence Center. N.Y. 14032 Los Angeles. California 90034 Charles Russo Contemporary Recordings. Inc. Mercury KijIhtI Simpson Quintet cl & str quartet 196* Unicorn UNS2:i1 H4MI Melrose Place 35 East Wacker Drive IWrnard Walton l^).s Angeles. California 969 Chicago. Illinois 60601 August, 1974 THE CLARINET Page 29

Members of the International Clarinet Society:

Norman S. Abrmma Glenn Bowen Sp-6 Stephen L Clark Marc M. Davia 116 Nawau Rd. School of Muaic 301A-D Stony Lonesome 10361 HumbohSt. A.8 Byrne Ferguson St. Lesley Goldsmith Huntincton. N.Y. 11743 Madiaon.U. of Wiaconnn Wise. 53705 West Point. N.Y. 10996 Los Alamitos, Cal. 90720 FaiMeTd T103 69 Denham Tee Jowph Allard (Member USMA Band, West Point) Queensland, Australia H103 WetlerHallBrisbane 4121 134 Downey Drive Allen Brae kin Wayne S. Clark Dr. SG. Finn Queensland. Australia Tcnafly, N.J. 07670 PointBox 274 Lookout. Mo. 65726 1390 Eurora St. 5 Rue Maurice Bartaux Dept. of Music CgtCH.C. Anderaon (Pres..Denver. Andante Colo 80220 Pub. (303-388-1512) Co.) F 78200 Mantes La-ViUe Univ. of Calgary 7Liza Valentine Goldstein Dr. y David Breeden East Lansing. Mich. 488. 1551 Carroll Ave. 319Jeff Graham Flolo Hail S.U.N.Y at Purchase Anklry,Box 594 N.Y. 10502 310San GraystoneFrandaco, Terrace,Cal. 94114 No. 1 St. Paul. Minn. 55104 University of Idaho Purchase. N.Y. 10577 George150 West Cochran 87th St (Member, St. Paul Chamber Orch.) Moscow. Idaho 83843 Glenor 39 Cove.Jerome N.Y. Drive 11542 TbomaaCanandaifue R- Aahe, Elementary Jr. School Hetty Brockett, New York, N.Y. 10024 Mark S. DeTurk Cindy Ford Canandiague. N.Y. 14424 Idaho1774 Avalon Fall*. IdahoAve. 83401 574 Seilery Hall 682049th Ave. Jerry Gorby 8 Gwyn L^rve James1 Bluff Cochran view Court Madiaon. Wise. 53706 Kenosha. Wis. 53140 Gorby's214 7th Ave.Music. Inc. Hotoonb, N.Y. 14469 Alan Brody CollinavUle, IU. 62234 Gerritt Jay deVriaa Margaret M. Foster Southern Charleston, W. Va. 25303 Ralph R. Athey 701 N. Grand^Fla view 32505 St. 342 Liberty Court, Apt 2 1317 Fourth Avenue South 1409 N. Hickory 115Robert Upton L Cohen Ave. Ann Arbor. Mich. 48108 Lethbridge. Alberta, Canada TlJ ONO 5009Ted Gostin Fifty-fourth St. Champaifn, Ul. 61620 BoxL of 2822. South. Southern Miss. Stati Providence. RI. 02906 Lyle Dewan Randall P. Fotiu Ssn Diego. Cal. 92115 Harold Aahenfelter Hattiesburg. Miss. Dr. Francis F. Coleman Kerrobeit,Kerrobert SchoolSaskatchewan, Unit 44 Canda Sol 1RO 11306 Sunset Ave. William R. Grace 607 W. Waahinfton St. - 4544 Granger St. Livonia, Mich. 48150 3938 Bikini New Cariiale, Ohio 46344 (513«4&4836> James E. Brown San Diego, Cal. 92107 MichaH L Dewey Eric Freud San Antonio, Texaa 78218 Brian T. Ayacve ^pplin,01-03 FirstMissouri National 64801 Bid*. 6205 Glen brook Circle 306 26th Avenue SE 1217 Sylvan Dr. 'Dept.Raasell of Muaic Coleman Madison. Wis. 53711 606-271-6370 Hillcrest Heights, Maryland 20031 Debbie1017 Arizona Greene SE. Haddoo Heigbu. N.Y. 06035 ay Brown \JV A Ce.Central Miaaonri State Univ. John J. Dixon Stanley R. Friedman Albuquerque. N.M. 67106 (505266-2760) Linda Loia Bartley Gordontfetxler Place Warrensburg, Missouri 64093 3512 Fleet wood Dr. Route 1—Melaon Ave. 22 Mott Street N.S.W. 2072 Murray B. Colosimo Rockford. Dl. 61103 (815477-6374) Irma, Wise. 54442 (715536-9281) 2811William Hentag'e E. Grim. Ave., Jr. N.W. Ariingtoa, Maaaachuactta 02174 Australia Ridgewood Public Schoola ^Charles Doherty John A. Fuerst Canton. Ohio 44718 EMtor B«nenick Christopher 0. Brune 49Ridgewood. Cottage Place NJ. 07451 07452 jpbnaervatoryof Mo. at Kanaaa of Muaic City _ Dept. of Microbiology Past R. Grischke Acpt. a( Muaic 100 Ehn Drive 131 Banday Drive (201-444-9600 or 201-447-4292) Hanaaa City, Mo. 64111 St.Univ. Loci of a, Queensland Brisbane Dept of Muaic .| / /Somlha—iemBoa 449 University Lomaiana Station Univ. Point Pleaaent. N.J. 06742 Queensland. Auatralia Grand Valley State College y Hammood. La. 70401 Michael JX. Bryant Dept.Richard of MusicCwnpton 206Frank W. J.Franklin Dolak St. No. 6 orAUendale. 857 Co veil Mich. Ave. 49401 NW Control Room. BBC External Service it Tenneaase St. U. Winchester. Ind. 47394 11Biran Georges John RiverFuller Road 906T«rry Den Baaocn too Street Bush House. Aldwych Box 2714 Oyster Bay Henry Gubck Den ton, Tcxaj 76201 orLondon 106 Sutton WC2. CourtEngland Road Johnaon City, Tenn. 37601 Daniel L Dolan New South Wales 2225, Australia School of Muaic Chriawick. London W4 3BQ England 615-929-4270or 1703 McQellan Dr. 2413Springfield, Clareroont Mo. Grde65804 Bloomington.Indiana Univ. Ind. 47401 Earl O. Bates Johnaon City 37601 George1245 Uslcrest R Fulton. Circle Jr. Rt 2. Box 221 School ofUniv. Mnaic Bloominfton Irene Brychcin 615-9290979 pla R. Donn Beaumont Texaa 7706 Bloomington lodinna 47401 2025Ann Arbor.Huron Mich.Parkway. 48104 Apt. 203 > Meadow dale St. JosephDept of ContineMusic La. 70002 Mr. A. Gal per JanetBox 1551 L Gump Victor A. Battipaglia Jack Brymer Univ. of Maaa. Toronto679 Coldatream 19. Ontario. Ave. Canada Susquehanna University 2159Rochester. Wcetfall N.Y. Rd. 14618 BallardaUnderwood Farm Road Amherst. Maaa. 01002 Selina Grove, Pa. 17870 South Croydon. Surrey. England 50Amherst. Varview Maaa. Way David W. Gander Laurel J. Hall Clarence G. Beale, Jr. Eaat1415-B Lanaing. Sparton Mich. Village 48823 3245 Arlington Ave. Camp4516 Simmons Springs, LaneMaryland 20031 2118Bruce South Bullock Jackaon Melvin D. Cookaey Muskegan. Mich. 49441 Amarillo. Texaa 79109 (806-373-3697) Saskatoon,2315 Seventh Saskatchewan. St. Apt. 7 Canada MaryBox 109 Downing Walters Hall Stanley Garber Hale Hambieton ChaxltfI61U Cram Circle. Apt. 14 306-387-4606 | >^^astem Kentucky U. RR. 7. Bos 764 49 Lowther Hill Ann Afbor, Mich. 46105 /jjMKC ConservatoryS. Bunke of Muaic \ ^^lichmond. Ky. 40475 Elkhart, Indiana 46514 Longon 3E23 1PZ England 01-6905616 \y B of M 506Steven South M. CoopersmithFess, Apt. 11 V 1073-BC^umbua. Irongate Ohio Lane43213 Edwin C. Gardner. Jr. (WithLondon Sadler's WC2N Wells4ES. OpersEngland) 47Desmond Hilltop A.Rd. Benzley City, Mo. 64111 Bloomington, Ind. 47401 31Swansea. Elm St. Maaa. 02777 CWeviUe NSW 2107 Gilbert D. Byerman Stanley Drucker Barbara Hankins 320 Broadway Scott10922 CoplenEast 19th St. 9Maaaapequa. Compaaa Lane N.Y. 11758 (516-541-9090) Harry R. Gee Calgary.3036 Second Alberta. St SW Canada T2S ITS Enon. Ohio 45323 Tulsa, Oklahoma 74128 IndianaDept of Music—State Univ.1090 Alan P. Caldweti Roger D. Coppenberger Aasoc.Dr. Paul Prof Drushler of Muaic Terre Haute, Ind. 47809 BoxIsabel 186 Hankins Dept. of Muaic State Univ. College or317 419 233-6311. Sooth 32ndExt 537SStreet Star Cky Wajme Bennett Bros due. Montana 59317 Whitewater.U. of Wiaconsin Wia. 53190 716-395-2332Breckport. N.Y. 14420 Terre Haute. lod. 317-2333875 Saskatchewan. Canada SOE IPO Univ.Dept. etof MnaicWisconsin RR. 3 or 364 Fiesta Drive Thomas J. Gerbano Eldon W. Hanaon La Craaa. Wia. 54501 RRRichard 4, Box Camlek 138 Rochester. N.Y. Muaic Dept. 2314 Court St. (606-784-6050. ezt 206) or 606-784-3174) Black River Wia 54615 Barbara11705 East J. Coy3rd St. 715-225-215414626 SUNY-Cortland StaU College Sioux City. Iowa 51104 Aline Cecilia Benovt (715-2842766) Tulaa, Oklahoma 74128 Corgland. N.Y. 13045 Shelley Hanaon-Little c/o Orehestia Sinfonia Nacional George N. Campbdl, Jr. Deanne DuFreene or Belleview Gardens. Apt 12, Cortland 424 Michigan Ave. Apt 20W APDO 1035 P.O. Box 2007 TheDr. LotafayeMenninger Coyne Foundation 380Eugene. Eaat Oregon46th Ave. 97405 Michael Getzin East Lansing. Mich. 46823 CostaSaa Jose Rica, Centra) Amoica Northeast La Univ. Box 829 503-344-3502 2301 North 10th St. Apt 304 Daniel Harria Monroe.1411 Woodland La. 71201 Topeka. Kanaaa 66601 (U^.Arlington. Army Va. Band, Ft. Meyer. Va) 22201 School of Muaic John Berigan West Monroe. La. 71291 or913-234-9566 1830 Lane Ext. 3745 Mrs.10902 Barbara Ambleside E. DumanCourt Madiaon.University Wia. of Wiaconsin 53706 P.O.Lincoin. Boa Neb.80674 66501 James Campbell Topeka Kanaaa Reston. Va. 22090 .15Bruce Zwamer Geyer Hall (teaches Neb. Wesley an U.) 140 Famham Avenue 913-357-0113 Jamea Edward Eaat Holland. Mich. 49423 Paul Harvey Toronto, Ontario. Canada Mary Ann Crain Dept. of Music Twickenham.38 Amyand Park Middles Rd. i TW1 3HE England 55Joseph Ver PlanckM. Berta St. 925-8249 66 East Woodruff State Univ. College, Fredonia, N.Y. 14063 SchoolProf. O. of Lee Music Gibson 01-892-6751 Geneva, N.Y. 14456 Gloria Carepione Columbus. Ohio 43201 or 142 Temple Street North Texas State U. (Prof, of Oar. at Royal Military School 20 Lark Ave. Bruce M. Creditor Fredonia. N.Y. Den ton. Texas 76203 of Music) 318Frank Tbomaa V. Bibb Drive, No. 4 White Plains, N.Y. 10607 51 Purk Drive No. 2 Marcus N. Eley Home 817-382 2920 Edgar Hausman Laarel, Maryland 20610 Narelle Canham Boston. Maaa. 02215 Indianopolis.1423 Eaat Lynn Ind. Drive 46202 Richard Gilbert Vice-President 73 Jannali Ave. * Roger Croaby 201 E. 21st St Apt. 15-L 55Tokhin Marcus Inrtrumenta. Dr. Inc. Meivyn12 Woodland Blackxnan St. Maiden Public Spools Jannali 2226 V/IOJ Morningside New York, N.Y. 10010 (212-417«32) Melville, N.Y. 11746 Everett, Maaa Maiden. Maas. 02146 N.S.W. Australia \x^Springfield. Mo. 65804 Ann GiUan 02149 John T. Cannon Ernie Cross 7777Oral SouthRoberts Lewis Univer. 7440 Englewood Nancy D. Havener 617-387-2764 or 617-324-8000 450 East 63rd Sc 1800 South 7th Street Tulsa. Okla. 74136 Lincoln. Neb 68510(402-4865612) 225Belvidere. Highline 111X1006 Dr.. Apt 9 Herbert S. Blayman New York. N.Y. 10021 Apt 108 Jamea Gilleapie Summer. 7A41 Philadelphia. Pa. 19107 James Gholson. Jr. 17 (exington Ave. Auburn. Cal. 95603 VVWebaterCGrove*. Missouri 63119 (314-962 * lS»iiihl M n«i[«y Attn: Mr. Henn Elkan Depl of Music. Room 293 wNew 220 York. West N.Y 7l*t 10010St. Apt. 74 Brian Bogga 'Bill Castleman School of Music ^r^Wemphis Memphia. StateTenn U.36152 <901-321-1549) New York. N.Y. 10023 119 Acadia Bay 590M Monad nock Way 601)Univ. So. of College Tulsa 603Mark So. Epstein Onetda Way Winnipeg. Manitoba. Canada R3T 3J1 Oakland. Cal. 94605 Tulsa. Oklahoma 74104 Denver. Colo. 00222 Qfvid Glucx / 8jMDan Roberts K. Ileam Rd Martha Boggs Frederick P. Chamberlain 25New Central York. N.YPark 10023West / v<-ookeville. Tenn. School of Music 1220 East 165th St. JohnBox 322 H Daniela. Jr. F.1444 Gerard Melrote Errante Parkwjy (Asst. Prof, of Mui . Tech U.-Cookeviile) Abilene.Hardin-Siromons Texas 79601 Unvierstiy (673-1900) South Holland. III. 60473 IVpt of Music Norfolk. Virginia 23506 22David Glenton Glenn Rd. Fredrik Hedling Geri Chapman TutiahassreFlorida A & Ha.M Univ. 32307 or Muric Dept . Norfijk Si Od London S-E. 13 32^ft) First Ave S.. Minneapolis. Minn Ralph Boll* 2705 Avenue W England or110 c/o Northrop Minneapolis Auditorium Club McAllen,P.O. Box 565Texas 78501 (512-66&6469> Brooklyn. N.Y. U229 Robert A. Eechdman Minneapolis. Minn Richard M. ChiarMiuce Selinsgrove.403 Universtiy Pa. Ave. 17870 Norman185 Davenport Glick Kd 602*22-9412 or 602-373 2525 Janette1440 SW A. 99th Bonce Street )X)7 Twenty-Seci»nd St.. N» or 19 W 34th St. ReifTton Toronto M5R I Jl. Ontario. Canada lumber Route I. Box 7 Greeley. Colo. HIKv'U Reading. Pa. 19606 Toronto.or 30* Glenayr Ontario. Rd. Canada vS^IION i 66>46 (91^761-2^)60) GaryDept. T.of DavitMuaic Robert £ Evans as City. Mo 6411 Booaey 4 Hawkes Luther College 1318 KImwoud Ave. Susan Glick David S Heide 279 Yorkland Blvd. Quebec. Canada HIT 2H4 Decorah. la. 52101 < • 104 Monroe. Decorah Evanstor. III. 60201 7954Denver. East Colo Kenvon H02347 Place 1300-771 i:l|4> 411 E. Market. No. 10! B Willowdale M2J 1S7 Lucy M Davia Philip Fath Iowa City, la .S224" Ontario. Canada J>r. Henjamin C. Chnsty Box 359 300 Lovell Ave. SchoolC eril CJold of Muxic l» ofk. Ma,Ma Ml2IMt:«i:t-K93-t)652) r Page 30 THE CLARINET August, 1974

ThomM56 Odsr Hcimcr9tr«et Jeaae Johnaon Carl T Levander Ann M McCulchan Alvin Jan Nordell Wesley Beist Yonkm. NY 10701 1209 Ellen Dr. Tallahasaee.I ft) South Boulevard Fla. 32301 St.. Apt. 314 110 Asci Drive School of Muaic 512-8762163Carrizo Spring*. Teua 78834 South Charteaton. W.V 25303 Pittafield. Masa. 01201 Lincoln.University Neb. of Neb.68508 Timothy910 Keym Hcin Court 642Jeanne Eaat Marie Saginaw McElheron Nancy Nye or 801 Driftwood Dr., Lincoln 68510 M*non. Iowa &3302 28Brian Broaa William Ave. HemmantJohnaton 6230Chicago. North III. Hoyne 60659 Eaat Lanatng. Mich. 48823 324Anderaon, Cottage Ind. Ave. 46012 Richard L. Reiter Briabane 4174 Jock McKenna 8206 17th Avenue 2700Irwin Of L and Hetler Concowve Queenaland, Aaatraiia Bill144 ShafteabaryLewinfton. Lid.Ave. 37 Bourke St. Dept.Donald of L.Muaic Oehler Adetphi, Maryland 20783 Btooe. N.Y. 10458 Daryt I* Jonea London W.C. 2, England NewBondi South Junction W alee 2022 Aaatraiia Univeraity of North Carolina Al Rice CUrcnc* V. Hendrickwrn Topeka,626 Wayne Kanaaa Ave. 66606 David S. Lewis orChapel RL 4, Hill. Box N.C.520 A.27514 Chapel Hill Glendora.59 E. Bennett Cal Ave.91740 302 Kingsbary Avenne School of Muaic John McManus 213-335-4286 219-362497SLaPotK. Indiana 46350 Ohio Univeraity Cal. of Fine Arta School of Muaic Brian Ogleabee Chadboome Hall orAthena, 2 Wallace Ohio Drive. 45701 Athena Univeraity of Oregon 3Laura. Laura Ohio Circle 45337 Weat 5441Kent FalhiverRiley Row Coart Harvey A. Hermann, Jr. Madiaon. Wia. 53706 orEugene. 825 Lanat Oregon Dr.. 97403 Eugene 97401 Columbia, Maryland 21044 Chaapaifn,1736 Paaia Dr. 111. 61820 or 2327 So. Tlteicaa Ava. Patty Lewie Jay OXaary Jamsa Cariyie Robbin* Appleton. Wk 54911 (414-73»«915) 467Pittaburg, Reldcreet Kanaaa 66762 L^ara McMulbn WayneDepC of State Muaic College 16962-D Limelight Circle EJuabctli Hcrr Glen J. Jonaa. Jr. 316-231-6133 Allandale,11029 Sixty-Eighth Mich. 49401 Ave. Wayne. Nebraaka 68787 Huntingtoa Beach. Cal. 92647 Lancacter.1310 Roae Aw.Pena. 17601 5731 North Bonnie St. (student 312 Dykatra Hall 402-375-2335 San Bemarduto. CaJ. 92404 711Lauirence Arch. M.No. Liberaon 301 Holland. Mich 49423) Fred Ormand Jamea16952 D Lee Limelight Robbin* Circfe Mark Hifhamtth Patricia Jonea-Wattam Ann Arbor, Mich. 48104 L*rry E. Mentxer 2675 Stewstrl Ave. Hungtington Beach. Cal. 92647 Anderaen.2903 W«( 8thIndiana Si. 46011 Owen Graduate Center 603 Dawnview Evanaton. Ill 60201 MichiganEaat L^naing, State Mich. U. 48824 Chariea1254 Peavy A. LintiRd^ No. 181 San Antonio. Texaa 78213 Ronald L. Owena AngelaDepC af D. Misic Robinaon 217Jamea Topeka W. Hill or 3148 Cache Rd. 1129 DaJlaa, Texaa 75218 John Mettler 1113 South RariLan St. NewHenniker. England N.H Col 03242 leg* WacD.TeKM 76710 Lawtoo. Okl. 73501 Mra. Andrea Lowe 480 Young 303-935-0273Denver. Colo. 80223 or Book Farm. Box 515, Henniker Robert AUea Jordan Dept. of Maaic SoothBrooking*. Dakota S.D. State 57006 Univ. P.O. Bos 672 Bethany College or 326 Frankbn Helen Padfftam P.O.Roae BoxAnn 6149 Roger* NTSU orBoiae. 912^ Idaho No. 10th83701 St.. Boiae orLinda 228 borg, So. 3n) Kanaas Sc. lindaborg 67456 Rapid aty. S.D. 57701 26Walkervilla Wiladen St. Den ton, Texaa 76203 Mary C. Jangei tuan Elaa Ltadewig-Verdo-ber Dougtaa K MiUer Southern Auatralia 5081 Steven M. Rohrer Raady HiU 2030 Spraca, Apt. 8 Maaic Dept. New117 W. York. 74th N St.. Y IB10023 Gail Page 1330 R St 304Weal So. Menphia. Worthington Ariz. 72301 Boalder. Colo. 80302 MichiganEaat L^naing. State Mich. Univ. 48824 306Moacow. Lander, Idaho Apt. 83843 604 Eareka. CaL 96501 Judith Kalin-FVeem*n 517-355-7646 . SchoolPhi dip ofMiller Muaic Tom Romig Dept.Sherrick of MuaicS. Hiacock Teanack.1185 W. Uarefton NJ. 07666 Parkway Harold Leabke V ^ Kentucky J.30 RichardRoxbury Pace R4. UniveraityKappa Sigma of Idaho Walla Walla ColW«» (tc«chea Manhattan School of Ma«c) 6 Spinka Road V^ 1 \ orLexington. 111 Johnaton Ky. 40606 Blvd^ Lexingtoa 40603 Pittaburgh. Pa. 15221 Moacow. Idaho 83843 CeUcc* Place. Waah. 98324 Matthew Kaplan Gloaaodia NSW Z756. Aaatraiia \ 906-278-1300 Edward S. Pal anker ar 8811 Saa Marino Dr.. Boiae, Ida. t David L Hit* 15 Danate Rd. Mitchell Larie MiDa Muaic Library Pept of Muaic C. Robert Roae The564 SoathHit* Moathpiaea Third St. Ca. Gnat Hack. N.Y. 11021 SchoolUniv. of of Southern Performing Cal. Arta 456 North Park Stvaet Towaon.Twoaon StateMaryland College 21209 914-CBkwaungtan. Maxwell Ind. Terrace 47401 Colaabaa. Ohio 43215 Cynthia Katazieneki Booth Hall Madiaon.Uaiveraity Wia. af Wiacoaaia 53706 or 1826 Fair bunk Rd. Donald M. Hofae 9430Morton Okphant Grove, 111. 60063 213-746-2484Loa Angelea, CaL 90007 Baltimore. Maryland 21209 919Harry McKeaae J. Rabin 9c Marketing DevdoptBCflti or 2277 Pelham Ave.. L.A. FacahyLyane Mil ai neeMaaic Amanda N. Palmer York. Pa. 17403 CMC.a EoUrpria* Coos Ltd Drive Dept.Eogena of O.Maatc Kavadk 213-279-2568 Univeraity of Woatarm Ontario Univ.Boa 183 of MercerWaahingloa HaU Joe) Rabia Oak Brook. III. 60521 (312-325-7080) Jackaonville Univeraity William Laae "London,or S01 "Willian Ontario. Stnrt Canada 1101 N.E. Campua Pkwy. Bos FF-18 Anita Lowae Hopkina JackaooviUa. Fla. 32211 310 Uptam HaU Seattle. Waah. 98106 Valencia.CAL ARTS Cal. 91356 220 MiUbrd or 2929 Jaatina Rd. i60. JackaonviBe Moacow.Univeraity Idaho of Idaho 83843 Prad Miaaenda Mr. Gailyn D. Parka 14265 Greenlcaf Sc Eaat Lanaing. Mich. 48823 Mark Robert Kaefer or 1205 17th St. Weat PiXtaburgh.1415 Methyl Pa. St. 15216 215 Henley. ApC 104 Sherman Oak*. Cal. 91403 Kara Hopkioaon Weatlake4525 Regenta Village. Coart CaL 91361 406-259-4913BiUin«B. Mont. 59102 206-882-0983Moacow. Idaho 83843 7SX Grape LatherKathryn Co(k«e A. Moe Hoataa. Texaa 77036 a13-774-0258) Dyke1003 Eagle,Kid Apt. 219 LaybenRobert L. Maaic Laybeo Dscorah. Iowa 52101 7748John BriarPamtta Dr. Jaxaea W. Hop9«r Deatoa, Texaa 76201 4318 Main orSpringfield, RR I. Boa Minn. 176 56087 Shawnse Miaatoo, Kanaaa Jabe C. Ryaa Dept.Bomc mlState M*a*c Univ. Kanaaa City, Mo. 64111 Pan*DepC ofJr. Maak Cslleg* Boaae, Idaho 83702 3715L. Chariaa El Caian King Blvd. orLeawood. 9625 High Kanaaa Dr. 66206 (913-648-1238) Karen Moec& G.Vita LstilauJ Paacncd Corp. Prtaidiirt Pans. Texaa 75460 San Diego. Cal. 92105 Van14209 Naya. Chandlv Cal. 91401Blvd. Kenoaha. Woac. 53141 or 2706 Ridgeview Rd.. Para AnDette Howdl Steve Lyons 414-658-1644 Prof. Roger Salander 3729DaUaa. Da«ree Tasaa Drive 75211 J.522 Randall Sheffield Kinaler Dr. Pittaburg.Parkview EatatasKanaaa A-766762 Paul G. Moen Gail E. Penraon 1180 Vienna Springfield, Ohio 45606 <518^2^6715) 1730 Sooth. S.D. Lincoln 57401 Boa 612 B Meaaerachoudtgaaae 2-6/1/3 211daij Madiaoa Hoxie St. Dr. Ramon Kiretlia Chariea10550 Rancho W. MacLeod Road Blooraington.1209.North Main ID 61701 Austria (N.Y. phone 212-79S3941) Walworth. Wiac. S3184 L^mockt School ai Maaic LaMeaa, Cal. 92041 (4660112) JohnDept. D.of MuaicMohler ar Box 236. 704 Main St. Linda Saaor Univeraity of Denver Principal Clar^ San Diego Symphony Univ. of Michigan Reynolda, III. 61279 Randolph.1828 State OhioRt 44 44265 Steven1506 Tacaoo Hi^baa Rd. 393-753-3681Denver, Cola 80210 Am Arbor. Mich. 48106 S. Michael Petkan Bic Sprinsa. Tcxaa 79720 {915-267-8018) or 2213 So. High, Denver v Rah*Robert G. Moaie 4710 Cnntarbory Ava. 303-777-3400 North Alexander Kalamaxoo. Mich. 49007 Newl^Tsw^btSc Haven. Indiana 46774 429Thomas Aitaraa M. HallAva. Debbie Kinder lExceli 70119 John W. Peteraen 219-74*1242 Modaato. Cal. 95351 Grand1915 Sooth Fork#. 17th ND. SL 58201 t)r. Dean Madam Ridiard L. Morden 3201Deston. Fallaaeadow. Texaa 76201 Apt. 4 Linda Scarborough Wilbaia R. Hall Muaic DepL Unit136 Flue Band hi nf 112 Ave. 817-38^4970 P.O. Box 2127. N.U Dept of Maotc _ Kptia Ki—hug Utah State Univ. Brooklyn. N.Y. 11251 f JrMonroe. 629 Joannea La. 71210 St. Weatherford.Sowthweatem Ok. State 73096 Collefe 1 t /iWlepeikdnoe.)^01 So. McCoy Mo. 64065 (252-0634) orLogan. 1444 UtabMaple 84322 Dr., Logan 84321 RouteDavid 3.A. Box Pfckthom 3lL IS Booster City. La. 71010 5142 North Idlewild Ave. Den ton, Texaa 76201 3187423682 73Ma HendryDale Hanter Ave. StevenRR2. P.O. IQimawski Box 385 M. Daniel Magnuaaon Milwaakae. Wiac. 53217 817-382-9060 Thomaa L Schilt HiUaborouffh Putnam Valley N.Y. 10579 3519 Quunby St. Ona Morton Jerry D. Pierce Monroe.Rural Rout* Wiac 3 53566 AacUand 4. New Zealand Frank Edward Knakal. Jr. San Diego. Cal. 92106 DepC of Muaic AnderaonDepC of Muaic College 5392 Eaat Phnoeea Anne Rd. Jamea M. Mahoney Bloocaington,Narmandale St. Minn. Jr. College Anderaon. Indiana 46015 Harry A. Schmidt Norfolk. Va. 23502 Dept. of Moaac or 2041 Weat Otd Shakopee Rd., Bloocnington or 4611 Mounds Road SchoolFlorida ofState Muaic Univ. . Alau 35226 Noah A. Knepper Arlinfton,Univ of Texaa Texas at 76019Arlington 612-884-3989 317-643-291446013 Tallahasaee. Fla. 32306 Daniel J. Unmerfall TeuaDept. of Chriatian Muaic Univ. or 1104 Dawn Dr.. AHington 261-4387 Larry Moaer Stephen M. Pierre 904-599-2540 Forth Worth. Texaa 76129 Jamea Maniahen 23Kitchener. Ridgewood OntaLrio. Ave. Canada 280 Wellealey St Eaat, *1619 Dr. James SchoepOin School of Maaic 519-7430601 Toronto. Ontario, Can. M4X 104 Chairmao.Idaho State Dept. Univeraity of Muaic Dept.Donald of D.Maaic Jackaon 40David E. 83rd Krakawer St. Canada.Brandon, R7A6A9 Manitoba Cheryl Poe Pocatello, Idaho 83201 Aafuatana College New York. N.Y. 10028 ^04-728-9520 Ext. 231 459John Hillaide J Moaea Ave Dept. of Music 208 236-3616 Rock Uland. 111. 61201 or 304B. 1439 22nd St Pahaadea Park. N J 07650 Univervity of Portland Vincent R. Schoonner orDavenport. 3035 Eaatem Iowa Avenae 52807 609Karyi Linden M Krexel Park Dr. Brandon 204 728-9921 (Prof, of Clar. at Wagner College) orPortland. 6350 No. Ore. Depauw. 97203 Portland 288 Wadsworth Ave. Boulder. Cola 80302 Ronald E. Marine Michael G Mulawka. Jr. New York. N.Y 10040 Jo406 Beat NoUinffham Jackaon Dr. 1 Rock Hill Rd 263 McConkey Dr. Jo Ann Pol ley John E. Schooler Irving. Texaa 75061 Dept.Martin af Khvin Mumc Armonk. N.Y 10504 Kerunore. N.Y. 14223 Brook17745 field.Bolter Wia. Lane 53005 Pi Kappa Alpha William Pateraon College Jane Ann Matika John Muntgea Moacow. Idaho 83843 Stanley Jackaon 300 Pompton Rd. 1934 Lupine Ave. 854 Garfield library PeriodicnU orBuhl. 215 Idaho8th Ave 83316 North 235Glen Ridgewood Ridce Middle Avenae School Wayne. N J 07470 Monterey Park. Cal 91745 Denver. Colo. 80206 5000Univeraity North ofWillamette Portland Blvd Glen Ridge. N.Y 07028 Bernard M. Koac George Matoian Lester K. Neeae. Jr. Portland. Oregon 97203 Robert Srhott or201-429-8300. 65 North Fallerton Ext. 35 Ave 11 Plymoath Dr. Box 8168 North Texaa Stn US Army Band Dept of Musk Montdair. N J. 07042 Newark. Delaware 19711 orDm 2121 ton. LindenTexaa 76203Ave Fort Meyer. Virginia 22211 3373Karen Thirty-fourth Praasterink St. PmsburirKansas State Kansas College *6762 201 783-7914 L^lita Koarteleaai Wauke^an. PI 60085 Send202-692-9869 to: Dominion Tower* Apt. 28 Grandvilie. Mich. 49418 Jl6£ll 7um Ext. 274 31 Cypreaa St. 316-2.11or 111 E .**.'» guincv Apt Kfi 736Steven Michigan J. Jackaon Ave. Ontario.St. Catharine* Canada L2N4L8 Roaano Maaaeo Norfolk. V». 23508 Kryn Mawr. f*a. 1*110 John C. Kwng. USAFA Band 418Sandra Holt. Sue Box Newaton 95 67M^nin Colonial Schreiner Village Apartment* Rodney Jacobaon PSC Box 7247 Craig S. Matsuda ! Robert W PHngle 47 Basnett Street USAF Academy. Colo. 80840 1303-472 9910) 1443 Adams S( Centralette. MethodistMo 65248 College 11 CM McAdams Ave. Amhrrst. Maaa 01022 Chermaide. Bnabane. Aastralia 4032 Frank E. La Rosa 303-377-9013Denver. Colo 80206 29 No. 14th Dallaa. Texaa 75224 L«*h Marie Schrempp George H. Jameaon 3438 Beagle Place j^Ue>-Uevtlle. Ill 62221 William F Probat CampbellUntv of Idaho Hall 3109 W. National Ave. San Diego. Cal 92111 1714 292 1367) Lawrence Maxev Uovd F. Nicholas 5Hlrt Crabapple Lane Moacow. Idaho 83843 orMilwaukee. 2214 Hayea Wise Ave. 53215 Henry l.ar*en L''i>v«>rs<(>*Music Drpt of Kanftas 12 Barr St Madiaon. Wiw 53711 or 728 14th St Rannr. Wise 53405 192 N Mam St rrnce. Kansas 66044 Balmain NSW 2041. Aaatraiia John 1). Rapatm Clarkaton. Waah. 99403 Dave Jenkins WeM Hartford Conn 06107 9I3-H64or 11th VtAA& Misaoun. Apt 25 Wtlliam NicHoU 212 Wychwood Ave. Rowland Schwab 2.162 Nonh Flan-will HrureW I^ttmer 9I3-H42 y Srhottl of Musk. SyracuNe Univ Toronto. Ontano Canada M6C 2T3 21466Ix* Cat Broadway us. Cal 95030 TufMon. Anz H571K ^»l»)¥ulkrt'.n (Kford Cal Ave Apt <7142 V92 KI95i N.i - M.ivIMI orSvrm-uMe. HIS James N Y. St i:t2)U Apt i:>. Syrac Lae 13203 Bnan Redfem l)r. Vance S. Jenmnga Church25 Hill HouseHill Close M5Iwin Fsllan Semple St MuaicUniveraity Dept. of S. Florida Robert E. Laoinger ^r25Sarah I ^kewoudK Nikitas l>rivr London N21 HG. United Kingdom Everton Pk Tampa. Fla. 33620 2213Newburg, Willow Oregon Dr 97132 Kjiamaxun. Mich •*** John Grant Reed Brisbane. Queeni>l<»nd. Carol A J«aeup David H Niethamer 1524 So 6th E Nancy H. Seward 2120 Eaat 10th 47-06Daniel Berdan N. Laeaon Avenue WD East Park Street 21 B *01-467-6621Sah Lake City. Utah 84106 VJlS Eaat Main Odeaaa. Temaa 79761 Fair l^wn. NJ 07410 Herbertl ierM-v MtCartner St Kast OranK*. N J 07017 W^Rjchraond Mo 64085 CoritM Johnaon Dwight E. Leonard Alton HI hJW.' Laurie Noll GaborLerturer Reeve* in Woodwinds So.Maak Dakota Dept. State U. 2895 Greenwood Dr. William I) McColl IWklyn.NY16 Van Sicklen 11223 State Corutervatoriam of Muaic Brookinga. So. Dakota Portamoutb. Va. 23707 4804 3934406) School of Musir SydneyMacQuahe N.S.W. St Australia 2000 or 1403 Second St.. Brookinffs SraltlfUiisvrrsitv Wjwh vf Mtfthmicton»«I05 August, 1974 THE CLARINET Page 31

Patricia Shan* Robert Stewart Charles A. Wells Ken Yohe, Marketing Mgr. Werner Joetem Library Syracua*.1700 Valley N DriveY. 13207 1201 Ocean Parkway 2010Kanaaa Broadway City. Mo. 64108 ChicagoBuffet-Crampon Musical DivisionInstrument Co. Center for the Performing Arta 212-338-1294Brooklyn. N.Y. 11230 or 9502 Cedar 7373 North Cicero Ave. Northampton.Smith College Maaa. 01060 KkhardDept. of A.Musk Shanky James C. Stone Overland Park. Kanaaa 66207 312-675-2000Lincoln Wood, ID. 60646 Baylor UniveraHy 2020 Maple Susan Welty Att:J.S.Library-Periodicals Miller orWaco, 1206 Tcxaa Cliff view,817-772-0632 Waco Paraona, Kanaaa 67357 Santa2214 North Anna. Townar Cal. 92706 807Dr. LeightonPortage Ave. N. Young Norfolk State College Donald L. Story 714-542 S373 Winnipeg. Manitoba Canada R3G 0N3 Norfolk,2401 Copprew Va. 23504 Ave. Irene10053 SheettWalbnfford Ave. North /Dept. of Music Arthur Wei wood. Jr. or 74 Lancaster Blvd., Winnipeg R3P 0*4 Secttie. Waah 96133 ' MarrayMurray, StateKent. University 42071 Dept of Muaic Marilyn E. Young LibrarySerials Department / or 504 Olive Central Conn. State College Biota College Loyola Univeraity 4682Barry Hart L Shelton Hall Murray, Ky. 753-7228 orNew 32 Britain.Cambridge Conn. St. 06060 New Britain 06051 orLa 13800Mirada, Biota Cal. Ave.. 90639 La Mirada 90638 New Orleans. La. 70118 a «y^wray. Marray StaUKentucky U. 42071 DeptRalph of E. Moaic Strouf Sue Wepfer Jesse O. Youngblood i^r/oH^rtooriU*. PoirtmaaUr Ky. 42442 Laramie,University Wyo. of Wyoming 82070 253Madison, Sellery Wisconsin 53706 2111Wichita Wenonah Falls. Texaa 76309 David Sbephard or 1415 Bradley, Laramie 608-2628002 EMer Conaervatoriom Marina Sturm BUir West • BoxBarbara 6569 L North Zickler Texaa Station Adelaide,Uaivetaity Sooth of Adelaide Aaatraba. Aoatrafia 5037 Lakeshore Dr. 2575 Sixteenth St Denton. Texas 76203 Oconomowoc,4143673*78 Wiac. 53066 702-358-1943Sparka. Nevada 89431 or Box 696, Banders. Tex. 78003 4209Donna North A. Shimizo Hardiaf Awe. Werner Zim Chicaco. 111. 60616 SelmerRobert SyburgDivision of Magnavox, Box 310 28Anne Rapton West St. 6516Whiteftah North Bay. Lake Wiac. Dr. 53127 David Shryack SouthElkhart, Bend. Ind. Ind.~t66lS46514 or 918 Whitehall Dr - Brisbane,Pul ten vale Queensland, Australia 4069 414-252-8891 NorthBox 6045 Texaa Station Karl Zipacr Den ton. Teaaa 76203 320Pabbto East R. Belief Tabayo on tc Ay*. Stanley111 Dudoa West Uoe Oak23451 Park. Roanoke Mich. 48237 Barbara J. Smith Alexandria, Va. 22301 Ediaon. New Jersey 08817 206 Wiakermham (Member US Army Band) 201 •572-1296 Richard1587 Route J. Zweier,23. Apt. Jr. 5 FairUniv. bank*. of Alaaka Alaaka 99701 Gregory L. Talford Kathy Wester beck Burler Ridge Apartments Traverse City.City Jr.Mich. High 49684 726Evanaton. University III. 60201 Place Rm. 29 Butler. NJ. 07405 Grafory1937 Univeraity H. Smith A*e, Apt 2 or 1712 Indian Wooda Dr^ Traverae City or 1124 Mohawk Dr. Periodicals Dept. Madiaon. Woac. 53705 Daniel B. 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UL 61868 UniveraityDept. of Muaic of Toledo 22Latham. Meadow N.Y. Lane 12110 Telephone: 208-232-4986 419Toledo. 537 2662Ohio 43606 419-242-7168or 2561 Glenwood Avenue, Toledo 43610 THE CLARINET Nor.-f rofit Org. Published at Department of Music U.S. Postage Idaho State University PAID Pocatello, Idaho 83209 Pocatello, Idaho Permit No. 42

HERBERT S. BLAYMAN

SOLO CLARINET WITH THE

METROPOLITAN OPERA

FOR 25 YEARS

proudly

presents

His

ALL NEW

HARD

RUBBER

Clarinet Mouthpiece

ADDRESS ALL INQUIRIES TO: HERBERT S. BLAYMAN 195 JEFFERSON AVENUE, TENAFLY, N.J. 07670