Autumn 2013 Volume 38, No 3 2013 Single Reed Royal Albert Hall Day, Liverpool to the Falkland 24th November Islands - full details

AAllssoo:: WWhhaatt’’ss oonn && wwhheerree ttoo ggoo,, nneewwss,, rreevviieewwss aanndd mmuucchh mmoorree

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2 Clarinet & Saxophone Autumn 2013 JOIN TODAY 12 21 26 30 IN THIS ISSUE Join the clarinet Regulars 36 Reviews & Saxophone 36 Book Society at 38 cD www.cassgb.org 42 Music 44 Diary Details of concerts, courses and playdays 51 Library Form Make good use of our ever growing library! 52 Readers’ Letters 52 Classifieds 54 The Editor’s Notes richard edwards 54 Guidelines for Contributors 55 New Members 55 Clarinet & Saxophone Society Details 55 Index of Advertisers Features 4 Clarinet & Saxophone Society Single Reed Day 2013 Liverpool Hope University, Sunday 24th november 6 Clarinet & Saxophone Society Single Reed Day 2013 Who’s Who & Sponsors 8 Clarinet & Saxophone Society Single Reed Day 2013 a stunning trade exhibition 10 ICA ClarinetFest, Assisi reflections on this major event by nicholas cox, Susan Moss, ian cover image: ica clarinetfest, assisi Mitchell, Sarah Watts Photo: Andrew Taylor 16 Royal Albert Hall to the Falkland Islands the challenges for the principal clarinettist in the central Band of the raf, rob Jordan 18 Basil Tschaikov a lifetime in the music profession - part two, Stephanie reeve 20 Trish Clowes interviewed by William Upton 22 ABRSM Saxophone Grade 3 your guide to the new syllabus, Stephanie reeve 26 Pen Portraits of Master Saxophonists UK conservatoire nurtures jazz saxophonist tommaso follow Starace, Kenneth Morris us on: 28 The Cornerstone Festival Paola nieddu 30 Michaela Stapleton the story behind new works for marimba and saxophone, William twitter.com/cassgb Upton 32 An International School of Clarinet Playing eric Hoeprich facebook.com/cassgb 34 Where Can I Play? Hythe, Brecon, Perth, callender, Bath, edinburgh, thornbury, north Whetstone 53 Booking Form for Clarinet & Saxophone Society Single Reed Day 2013 Book now! 56 How Was I To Know? final word, robert Parker

The Official Publication of the Clarinet & Saxophone Society of Great Britain Autumn 2013 Volume 38 Number 3

Editor: Richard Edwards Printed by WO Jones, Llangefni, Ynys Môn, LL77 7JA Clarinet & Saxophone, Fron, Llansadwrn, LL59 5SL Advertising: Clarinet & Saxophone, Fron, Llansadwrn, Menai Bridge, Tel. 01248 811285, [email protected] LL59 5SL Tel. 01248 811285, [email protected] Editorial Team: Philip Bee, Janet Eggleden, Graham Join online at www.cassgb.org Honeywood, Kenneth Morris, Susan Moss, John Playfair, Copy Dates: January 15, April 15, July 15, October 15 Stephanie Reeve, William Upton © All copyrights reserved 2013 • ISSN 0260 390X Views expressed in the magazine do not necessarily Membership: Andrew Smith, Tel: 08456 440187 [email protected] reflect those of the Editor or the Editorial Board.

Autumn 2013 Clarinet & Saxophone 3 in association with cornerstone festival 2013 Society of Great Britain Sunday, 24th November, 10am -5pm Cornerstone, Liverpool Hope Uni versity, Liverpool, L6 1HP SINGLE REED DAY TWO EVENTS IN ONE! Non-stop Playing Trade Exhibition Join the single reed choir on arrival and take time out to visit the manufacturers’ continue playing throughout the day in and retailers’ stands. try out their range saxophone choirs, clarinet choirs, of mouthpieces, instruments and workshops and mini masterclasses. accessories. Browse the music from the publishers’ stands.

the event described is based on information available as the magazine went to press. the details may change.

4 Clarinet & Saxophone Autumn 2013 Discount for clarinet & Saxophone Society Sunday, 24th November, 10am -5pm members Cornerstone, Liverpool Hope Uni versity, Liverpool, L6 1HP free entry for every teacher with three or more school age pupils Parking is easy and close by on-site café open all day free entry to trade hall SINGLE REED DAY Hotels nearby SECURE YOUR PLACE NOW! Send off the application form on page 53 or visit James Rae will be Stephanie Reeve is Gemma Harvey is www.cassgb.org directing single reed leading a saxophone directing single reed and saxophone choirs workshop and directing choirs and taking a mini a saxophone choir masterclass session

David Campbell will on-site all day will be Linda Merrick will be Rob Hughes is giving two be directing single instrument repairer taking a clarinet workshop, workshops for single reed and clarinet Eddie Ashton giving mini masterclasses reeders with guidance on choirs and working with a clarinet soloing in a variety of choir musical styles

SPONSOR SPONSOR

TRADE EXHIBITORS WINDSTRUMENTS

Autumn 2013 Clarinet & Saxophone 5 EVENT SPONSORS Society of Great Britain D’ADDARIO Sunday, 24th November, 10am - 5pm rico are excited to be part of the clarinet Cornerstone, Liverpool Hope University, Shaw Street, Liverpool, L6 1HP and Saxophone Society Single reed day in november. come along to our exhibition stand and find out what makes rico the world’s most popular reed. We will be exhibiting our entire range WHO’S WHO AT THE SINGLE REED DAY of clarinet and saxophone reeds as well as ligatures, straps, and Hertfordshire. She is a deputy teacher at the woodwind care products. We want DAVID CAMPBELL royal college of Music Junior Department to help you find the best possible David campbell’s early career and she previously taught at the Birmingham set up for your instrument to was spent as a clarinettist in conservatoire Junior Department, where she allow you to forget about the the field of contemporary was also appointed as Head of Woodwind and technology and concentrate music as a member of ‘the Brass. on your music. fires of London’ and the a significant part of Gemma’s work has We would also like to London Sinfonietta, but over involved leading workshops and bringing give you the chance recent years David campbell has developed people together to create large-scale to try out the new the solo and chamber music strands of his performance projects. these have included reserve Bb career, performing in over 40 countries with co-founding the national Saxophone choir of clarinet leading orchestras and ensembles. Great Britain, directing saxophone choirs for mouthpiece. this is David particularly enjoys the genre of the events hosted by the clarinet and Saxophone the world’s first 100% clarinet quintet and has commissioned many Society, and leading an ensemble workshop machine milled vintage inspired new works, most recently from richard at the 2005 British Saxophone congress, mouthpiece. the result of two years of Blackford and roger Steptoe which he will which resulted in a performa nce involving work involving top clarinet players and perform at the Wigmore Hall in 2014. over 200 saxophonists. technicians which produced over 1000 David has made numerous radio and prototypes, rico has produced a television broadcasts both here and abroad, professional standard mouthpiece that is and has made many cDs as a soloist and ROB HUGHES machine milled, not moulded, to chamber musician. Saxophonist, flautist, tolerances of .0005’’. But make no He was visiting professor at canterbury composer and fast rising star mistake, the true beauty of reserve lies christ church University from 1989 to 2013 of the British jazz scene rob beyond its polished angles, glorious and is currently Head of Woodwind at began his career at the age of curves and proprietary materials to Westminster School. David has been artistic 17 playing on a tour something far more remarkable - its Director of Musicfest Summer School in supporting chuck Berry. He sound. aberystwyth since 2002, and has given then moved to London to study performance Since acquiring rico in 2004, D’addario masterclasses at Dartington international and composition at Goldsmiths. rob Hughes & co. has invested over $12 million in new Summer School and his masterclass at is an experienced live performer with an technology and reed making machines on Domaine forget academy in Quebec can be extensive list to his credit including Billy its quest to produce the finest quality viewed on www.PlaywithaPro.com. ocean, Gloria Gaynor, Heather Small (M- reeds possible. rico is the only reed David campbell is the UK chair of the People), all Saints, aBc, frankie Goes to company to grow 100% of its own reeds international clarinet association, and was Hollywood, anastacia, Lulu, Howard Jones, and now takes pride in producing the chair of the clarinet and Saxophone Society Kid creole, Katrina and the Waves, the world’s most consistent reeds. I of Great Britain until January 2013 . christians, Beverly craven, candi Staton, tony Hadley, rick astley, nik Kershaw plus many more. GEMMA HARVEY in 2006 rob released his debut album Gemma Harvey studied Butterfly and a second album The London saxophone and clarinet at Experiment in 2010. His third album was Birmingham conservatoire recorded live earlier this year (2013) and is and the State University of now available on itunes under ‘rob Hughes new york, USa. She is now Live’. you can find out more information and based in London where she follow rob’s blog at works as a freelance musician and educator. www.robhughesmusic.com. Gemma has performed at UK music as well as performing, rob has recently festivals, given a series of recitals of launched a playalong book called Free to contemporary British music and featured as Solo published by Schott. rob is currently a recitalist as part of the BBc ‘Spotlight’ writing a beginners book specifically for series. as a chamber musician, she has Saxophone which will come with a backing worked with the anglo Saxophone Quartet, cD as well as a pull out piano score. the idea the Zephyr Saxophone Quartet, and ‘Spark’ behind the book is to make simple beginner saxophone and percussion duo. She has tunes exciting to play. I performed internationally throughout europe, the USa and canada, as well as performing at top London venues including the Queen elizabeth Hall, Purcell room, and the Barbican. Gemma currently teaches saxophone and clarinet at Kingston University, London and the Haberdashers’ aske’s Boys’ School,

6 Clarinet & Saxophone Autumn 2013 EVENT SPONSORS Sunday, 24th November, 10am - 5pm BARNES & Cornerstone, Liverpool Hope University, Shaw Street, Liverpool, L6 1HP MULLINS Barnes & Mullins are pleased to announce they will be WHO’S WHO AT THE SINGLE REED DAY exhibiting a wide range of Vandoren reeds, ligatures, 1990 he compiled the first Jazz Clarinet mouthpieces and accessories LINDA MERRICK and Saxophone Syllabus for the Guildhall for clarinet and saxophone. Linda Merrick has established School of Music and Drama. recent Vandoren have introduced an international profile as a commissions have included the overture many new items to their clarinet soloist, recording artist for concert band Platform One for the product range this year and clinician. Specialising in opening of the £8m colyer-fergusson Music including new Masters clarinet mouthpieces contemporary repertoire, she Building at the University of Kent. (which now incorporate the Masters 13 Series) has commissioned more than as a freelance clarinettist and saxophonist, plus the new baby M30 eb clarinet mouthpiece 40 works for her instrument by British James rae has worked professionally in and M/o Lite Bb clarinet ligature. composers, including 10 concertos, five nearly every possible musical situation from Vandoren’s new sax harness will make your clarinet quintets, and a significant number of West end musicals to engagements with some saxophone weightless, if you don’t believe it, smaller scale chamber works and works with of the country’s major orchestras. come and try it! Both the new optimum aL5 electronics. as well as writing and performing, James alto sax mouthpiece and the new metal V16 Linda’s catalogue of over 20 solo cD rae has tutored and conducted on many gold plated metal tenor sax mouthpiece will recordings includes new concertos for clarinet courses over the last 25 years including the be on display. and concert band by Gary carpenter, nigel highly popular northern Saxophone course, the new Juno clarinet and saxophone reeds clarke, Martin ellerby, Kit turnbull and Guy ace foundation courses (cambridge) and Jazz which are specially designed for the beginner Woolfenden (Polyphonic), Philip Sparke Zone. will be available. Juno has been carefully (anglo records) and Stephen Mcneff James rae lives in carshalton Beeches in created for students to get a great sound from (campion), plus concertos for clarinet and Surrey with his wife Sue and two sons andrew the instrument straight away. orchestra by John Mcleod (chandos), edwin and Stephen. His interests are food, drink and We will also have a comprehensive display roxburgh (nMc) and Philip Spratley (toccata). any thing at all to do with railways! of yanagisawa saxophones, arguably the Her chamber music output includes première world’s finest, along with yanagisawa recordings of four new clarinet quintets with STEPHANIE REEVE saxophone necks and metal or rubber the navarra Quartet (naxos), a new clarinet saxophone mouthpieces. if you want to try a quintet by John Mccabe with the Kreutzer Stephanie reeve graduated specific model, please notify us before the Quartet (Guild), Wilfred Josephs’ clarinet from trinity college of Music event so we can make sure we take what you Quintet (Metier), robert crawford’s clarinet winning prizes for chamber require from the extensive range. Quintet (Metier) and chamber works by music and woodwind in addition there will be a selection of Malcolm arnold and John ireland (Maestro), performance. as a soloist and antigua saxophones including the new 3000 and by Martin ellerby (classicPrint). chamber musician she has Linda has broadcast as a solo artist for BBc given recitals, led workshops and provided Series and Pro-one professional range to try radio 3, radio france, DrS1, Switzerland, background music at many venues all over out. the Pro-one models are cKWr in canada and arte tV in South Korea, the UK. now based in cambridgeshire designed and manufactured in and performed as a concerto soloist across Stephanie teaches woodwind privately and in conjunction with renowned america, asia, australia, europe, South schools. She is principal conductor of the saxophone maker Peter Ponzol. america, the Uae, and throughout the UK. She Palace Band and this year directed the band in expert advice will be available on all is a founder member of the contemporary two concerts in ceret, france. She regularly aspects of the Vandoren, Juno, ensemble Sounds Positive, with whom she has works as a coach for courses at Benslow Music yanagisawa and antigua products. premiered over 70 works by British trust, Hitchin, and has led playdays and Please come and take the composers, and released three cDs. workshops across england as well as for the opportunity to try any of these great combining her performing career with work clarinet and Saxophone Society Play Day in items in the playing sessions. if you in music education, Linda is regularly invited Liverpool in 2011. She has assisted on want to check we have anything to give masterclasses at conservatoires across playdays for the ace foundation at Bury particular available for you to try the world. She currently holds the position of farm, Stapleford and will be leading two on the day, don’t hesitate to Principal and Professor at the royal northe rn junior playdays there next year. She is also a contact Kerry Long at Barnes & college of Music, Manchester. coach for Walden Winds. Stephanie plays Mullins with your requirements clarinet with several local orchestras and beforehand. email kerry.long@ chamber ensembles and plays baritone JAMES RAE bandm.co.uk , saxophone in a sax quartet. Stephanie’s Ma tel: 07785 465963 I James rae is one of europe’s study compared the ways in which adults and yanagisawa a9937 alto most published writers of children learn musical instruments and she saxophone educational wind music, having continues to take an interest in the ways in at present over 200 which all ages learn musical instruments. publications to his credit. His Stephanie regularly contributes to Clarinet & music includes instrumental Saxophone and manages the Society’s library. jazz study books, tutors, five musicals, I transcriptions and many volumes of duets along with sonatinas and chamber works for all woodwinds and saxophones. Many of his publications are to be found on all the major wind examination syllabuses worldwide. in

Autumn 2013 Clarinet & Saxophone 7 Society of Great Britain Sunday, 24th November, 10am - 5pm Cornerstone, Liverpool Hope Universi ty, Shaw Stre et, Liverpool, L6 1HP A STUNNING TRA DE EXHIBITION to get in touch beforehand to answer any of your questions. if ABRSM DAWKES MUSIC request something in you would like to contact us aBrSM is proud Dawkes Music particular please email: before the event, then to be a part of the (classic fM’s [email protected]. email ted@humming clarinet & ‘Best classical www.dawkes.co.uk birdmaskarade.co.uk Saxophone instrument or john@humming Society Single Shop’ 2011 & 2012) will be FORTON MUSIC birdmaskarade.co.uk reed Day this november. come present to show the hottest along to our exhibition stand to products currently in the forton Music JOHN PACKER browse music from our new clarinet anD sax world. We will is a well woodwind syllabus, find out have a selection of yamaha cSG established the brand new more about our upcoming clarinets which have taken the music JP222 bass teacher support opportunities professional clarinet market by publishing company based in clarinet to low c and tell us your Music Medals storm - come by the stand and the north of england, takes centre stories. the syllabus comes try Bbs and as with gold or specialising in music for wind stage this year into effect from January 2014 silver keys and the lever key instruments in all amongst a varied selection of so make sure you’ve got models will be present as well. combinations from solos and instruments, mouthpieces, everything you need! (there is a testing room duets to large ensemble pieces. reeds, ligatures, stands, cases, www.abrsm.org/woodwind available - Ed. ) our transcription of the Saint- slings, maintenance materials We will also have the full Saëns Sonata for alto sax and and much more. the JP222, the piano has been included in the latest addition to the JP ARNOLD STOELZEL range of Gonzalez clarinet and saxophone reeds. if you’re tired new aBrSM exam syllabus, and woodwind range, has received GMBH - UEBEL of the inconsistency of other our arrangement of Abendlied great acclaim following praise in 1936, friedrich brands and feeling the pinch of by rheinberger was recorded from musicians including Leslie arthur Uebel, high prices come by and talk to by the east anglian Single reed craven (rWcMD, Welsh established his our expert who will help you choir on their latest cD. We’ll national opera). on hand to own workshop in find the right strength and style be bringing our entire extensive answer all your woodwind Markneukirchen, for your mouthpiece. free clarinet and saxophone queries during the day is andy Germany. after the death of his samples will be available. also catalogue along to Liverpool. Still our woodwind specialist. ‘old master’, oskar oehler, he on our stand will be some Why not take a look at With friendly advice and carried on the tradition of Weinberg clarinet mouthpieces, www.fortonmusic.co.uk and professional expertise, andy manufacturing state of the art handmade in the UK and see if there is anything you and the John Packer team are clarinets under the brand of f. chosen by professionals would be interested in! Looking renowned for their high level of arthur Uebel. Using the worldwide, take the ten minute forward to seeing you all in customer service. if you want foundation of this tradition and test and see if we can improve november. get in touch prior to the event, the latest manufacturing the depth of your sound. please email techniques, we are able to in our sax display we will [email protected] . enthuse discerning clarinet feature the cannonball saxes, HUMMINGBIRD www.johnpacker.co.uk players all over the world. With including the new ‘Vintage MASKARADE the introduction of the new reborn’ series as played by sax french system (Boehm) icon Branford Marsalis. We will JONATHAN MYALL clarinets in 2006, f. arthur also have a selection of the Jonathan Myall Uebel set a new standard in Japanese aiZen mouthpieces. ted Watson and John Meadows Music welcomes sound, ergonomics and Since landing in the UK in 2010 will be selling music from their you to visit our response and will be bringing aiZen have established catalogue. With solo trade stand to the exhibition the latest themselves as a leading compositions through to incorporating the range of clarinets. Sarah Watts mouthpiece choice for any clarinet and saxophone choir Publishers cooperative at reviewed these instruments in saxophonist who is serious arrangements, there should be Liverpool Hope this year. We the last issue of Clarinet & about their sound. Hand something for every size will be displaying a wide Saxophone. finished in Japan by master of group, including chamber selection of printed music craftsmen the aiZen range is music for mixed ensemble. including the new clarinet and impeccably made and offer their styles include classical, saxophone ensemble repertoire immediate response. jazz, contemporary, klezmer from Wonderful Winds and alry Please pop by for a chat and much, much more! Publications (USa). Special about all things single reed or Do come and have a chat with caSS offers will be available on just to have a blow. if you’d like us during the day so we can the day.

8 Clarinet & Saxophone Autumn 2013 Sunday, 24th November, 10am - 5pm SECURE YOUR PLACE NOW! Cornerstone, Liverpool Hope Universi ty, Shaw Stre et, Liverpool, L6 1HP Send in the application form on page 53 or visit A STUNNING TRA DE EXHIBITION www.cassgb.org listings, however our We will also be displaying a at the event in addition to SEMPRE MUSIC wide selection of clarinets and details of their expanding range selection of clarinet quartets Sempre Music specialises in saxophones from the major of teaching and learning is increasing rapidly. a quick music for woodwind and manufacturers both new and resources plus even a few free look at our website at mixed woodwind ensembles. pre-owned. come and have a samples. come and have a chat www.packapunch.co.uk will over the past few years we browse - you never know what to Keri Degg (a fellow single reveal the breadth of pieces have continued to increase treasures you may find! reeder!) and browse our range. available, from trios through the titles in our catalogue www.justflutes.com www.masquerade-music.co.uk to choirs and we have a developing single reed choir with original compositions section which will be available and both jazz and classical MASQUERADE MUSIC PACK-A-PUNCH for close inspection on the arrangements. We work PUBLICATIONS day. closely with many We will be bringing our educational groups and also entire catalogue so do come professional and amateur Masquerade Music is delighted and find us in the trade stand ensembles. We are able to re- to be in attendance at the Pack a Punch Publications area for a browse and a chat! arrange our music for clarinet and Saxophone offers a growing catalogue of in the meantime if you spot individual ensembles at no Society’s Single reed Day. new arrangements and items on the website which extra cost. established in December 2010, originals skilfully scored for a don’t quite fit the scoring of over the past year we have they provide accessible original range of single reed your ensemble then do let us considerably extended our sheet music for the woodwind combinations. currently we know on sales in the US market and player. their growing catalogue have to admit a slight bias [email protected] and also in europe. at the Single of publications will be available towards saxophone music in the we can look at tweaking and reed Day at Liverpool Hope customising ready for University on the 24th november. We look forward november, delegates will be to seeing you there. able to view all of our titles and also listen to them, recorded through Sibelius SELMER software. Please visit our Henri Selmer website, Paris will be www.sempremusic.co.uk , coming over prior to the Single reed Day from france to in order see our current present to you their latest titles. We look forward to clarinets, saxophones and seeing you at Liverpool Hope mouthpieces. Lots of University. instruments and mouthpieces will be available for testing. WOODWIND & CO erik claeys, Selmer’s UK promotion manager will be after 40 plus present to assist you on trials years in the and answer any questions. business eddie Highlights will be on ashton, the upcoming products such as designer of our brand new mouthpiece Superpads, ‘concept’ for alto saxophone will be on hand to explain his and many more. Please visit unique views on the us on www.selmer.fr or email maintenance and repair of to erik [email protected] for woodwind instruments, and advance information. We look to carry out free on site forward meeting you in repairs during the day. Liverpool! www.woodwindco.com

Also at the exhibition with be VINCENT BACH INTERNATIONAL with Conn Selmer saxophones. I

Autumn 2013 Clarinet & Saxophone 9 REPORT BY SUSAN MOSS, SARAH WATTS & NICHOLAS COX Photos: Carol Taylor, Andrew Taylor & Sarah Watts ASSISI CLARI NETFE ST CLARINETFEST 2013, 24-28 JULY, ASSISI, ITALY INTERNATIONAL CLARINET ASSOCIATION/ACCADEMIA ITALIANA DEL CLARINETTO

hen the ICA ClarinetFest comes to Europe there’s always an extra buzz of lights up any stage and when he plays, his personality goes straight through his bass anticipation. Simple geography means that more European artists attend clarinet and into the audience. He performed Wand by January 2013 we learnt that Piero Vincenti, the organiser, had Blues by Ante Grgin in which he used all four received over 250 proposals for Assisi. A quick count through the 200 page and a half octaves of the bass and quite programme book showed that there were around 190 presentations and concerts to literally danced with his instrument. The concert was rounded off in light-hearted choose from with as many as seven taking place simultaneously. There was almost mood by Finnish player Kari Kriikku who too much choice and many clashes of events that one wanted to see. The Mayor of performed klezmer inspired solos on C Assisi had generously given the ICA free use of the town’s theatres and halls for the clarinet which included some tap dancing. concerts and trade exhibitions which were spread out around this beautiful but very The audience went away with smiles to match Rocco’s grin! hilly town. So although Assisi has thousands of tourists who come to visit the Friday night was jazz night and the evening Basilica, it was a common sight to see clarinettists engaging in a daily fitness routine, kicked off with Eddie Daniels playing some toiling up the hills carrying heavy instruments in 35° heat. Having made it to the standards and his own compositions and Piazza del Comune, this square became the social meeting point of the festival and arrangements including a very up tempo version of Albinoni’s Adagio , just so that was a perfect setting for a limoncello or cappuccino whilst meeting with players there was something Italian in his set! His from other countries. place on stage was taken by his best friend Ron Odrich but it was not long before Eddie Palermo who played the Fantasia on Themes The evening concerts was back to join Ron in a duet. The last two from Rigoletto with both panache and sets featured Mauro Negri and Larry Linkin. The evening concerts are always special sensitivity. He is principal clarinet at the The final evening concert on Saturday was occasions and the Lyrick Theatre, although a Opera House in Rome. the Buffet Crampon Gala Concert with short bus ride out of town, was large and cool On Thursday a capacity audience attended performances by Quatuor Anches Hantées, and had a pleasant acoustic. On Wednesday to hear some of the most well known players Nuno Pinto, Paolo Ravaglia, Enrico Maria evening we heard a programme of Italian in the clarinet world. Ricardo Morales gave Baroni, Sergio Bosi and Sauro Berti. The only music accompanied by the Band of Italian us the Rossini Variations and Eddy non-European artist was Bill Smith who State Police. They came on to the stage and Vanoosthuyse the Mercadante Concerto. played his own piece Assisi Improv for sat down in their incredibly smart uniforms Philippe Cuper gave a stunning performance amplified clarinet. Bill Smith, also known as and I wondered how much the hats obscured of the Baermann Concerto Op. 23. It is always William O. Smith, is now 87 years old and the view of the conductor, then they took a pleasure to hear Cuper perform – a was performing his own Assisi Suite the next them off to play! The soloists were Piero clarinettist who can woo an audience simply day with a trio. Vincenti, Robert DiLutis and William Blayney by just standing on the stage and offering his and Corrado Giuffredi playing respectively, sheer musicality straight to the heart of the Cavallini, Ponchielli and Mangani, but the audience. The Italian bass clarinettist Rocco Clarinet choirs star of the show was without doubt Calogero Parisi simply oozes charisma – his smile It is natural that performers want to bring new music from their homeland and we counted over 40 world premières, some of coro de clarinetes de México them written especially for Assisi. Three of the clarinet choir performances were excellent examples of this. The British Clarinet Ensemble played two brand new pieces written for them by Andy Scott and

10 Clarinet & Saxophone Autumn 2013 REPORT BY SUSAN MOSS, SARAH WATTS & NICHOLAS COX Photos: Carol Taylor, Andrew Taylor & Sarah Watts ASSISI CLARI NETFE ST Jeffery Wilson. Andy Scott’s Jumbo completes a trio of pieces he has written for the group over the years, Paquito , Fujiko and now Jumbo , named after the water tower near Colchester, Essex. Alas, I think we are doomed to explain this title in perpetuity. Jeffery’s piece was Three Haikus and each was descriptive of the poem printed at the start of each movement. The BCE recital finished with Adam Gorb’s Burlesque , first performed at the ICA ClarinetFest in Tokyo in 2005. The Part of the ‘Biggest clarinet choir’ playing in the Piazza del comune Coro de Clarinetes de México had invited Rocco Parisi to be their guest conductor and The biggest clarinet choir tessitura. In all three pieces multiphonics every performer gave their all in a Mexican were integral to the music. Roberta Gottardi themed programme featuring works by Serna, Just when clarinet fatigue might have been performed Stockhausen’s Little Harlequin on Marquez and Moncayo. The encore saw two setting in, a really off the wall idea was to get the tiny stage of the Instabili Theatre. In 2001 members of the ensemble grab a surprised as many players together as possible in the Roberta was awarded first prize for her Rocco Parisi and Philippe Cuper and the Piazza del Comune to play together. I doubt it interpretation of this piece by the composer audience was treated to an impromptu was the biggest clarinet choir ever assembled himself. display of quite impressive dancing. The but I’m certain it was the biggest that Assisi Nicholas Cox and Harvey Davies brought Capriccio Clarinet Choir from the had ever seen. They played Eine Kleine two new pieces of British music which look Netherlands played a composition by their Nachtmusik , Scott Joplin and a medley of certain to become valuable additions to the conductor John de Beer. Entitled Only 30 popular tunes. Amazed locals and tourists clarinet and piano repertoire. Nick’s Minutes it was billed as the first and only clapped and cheered for more so the Mozart introduction to the music was most performance. The first two movements, ‘Set was repeated. Piero Vincenti conducted from informative, the first piece being a sonata in E up the Band’ and ‘Introduction to Assisi’ had a high platform. major by Arnold Bax, a student work from a funky blues feel and featured clarinet solos 1901 only recently discovered. As it predates by John de Beer. The third movement, ‘With A Some solo concerts Bax’s obsession with all things Celtic, the Little Help From Beethoven And Bizet’ was style is more reminiscent of Tchaikovsky or made up of excerpts of the 6th Symphony and The majority of performances are clarinet Scriabin. There are two movements and Carmen and ‘Clear the stage “NOW”’ had solo, clarinet and piano, or small chamber Lazarus Edition will be publishing the piece some vocalisations “Hey you”, “Let’s play” groups so the following are just the tip of the later this year. The second item on the and “Ciao Assisi”. It was a totally original and iceberg. Sarah Watts, the British bass programme was also a recent find, this time in imaginative performance. Although we were clarinettist, reprised two of the pieces she the New York Public Library. The Scottish not able to hear their concert, John de Beer performed in Ghent at the 3rd European composer Iain Hamilton moved to the USA told us just how good the Istambul Clarinet Clarinet Festival, Marc Yeats’ Quarter-sounds , after becoming disillusioned with the Choir was, and now there are new friendships and her own piece Screapadal . Receiving its reception his music was receiving in Great between Holland, Turkey and the UK – just première was Patrick Nunn’s Shadowplay – a Britain. His output, at the time thought very what ClarinetFest is all about! contemplative piece, mostly piano and high in modern, includes operas, symphonies,

assisi

Autumn 2013 Clarinet & Saxophone 11 CLARINETFEST 2013, 24-28 JULY, ASSISI, ITALY

Stephen Bagot roberta from the Gottardi British performing clarinet Stockhausen’s ensemble tries Little out the Harlequin ripamonte Bb contrabass clarinet

nicholas cox and Harvey Davies concertos and chamber works. The Wild Second Solo by the Spaniard Bartolomé Casas performance of Nino Rota’s characterful Trio Garden for clarinet and piano consists of five (1873-1976). This University of Denver duo was also most persuasive. short movements, each named after a flower found this decidedly 19th century piece a The Scottish Clarinet Quartet’s recital in – Harebells, Cornflowers, Birdsfoot Trefoil, struggle to project in a very humid but the Sala delle Volte’s generous undercroft Mignonette and Daffodils. Nick and Harvey beautiful little Instabili acoustic featured a new version of Judith gave a superb performance particularly Theatre. In Pierre Gabaye’s attractive Weir’s Sketches from a Bagpiper’s bringing out the different characteristics in Sonatine the high point was the Almanac . Originally written in 1984 the Hamilton flower pieces. Nicholas Cox beautiful Gershwinesque second One could for the late Kevin Corner to play also found time to attend some recitals and movement in which Reynolds’ almost envisage on B flat, E flat and basset has written the following reviews: - long lines were more clarinet with piano (but later Einar J óhannesson and Ármann Helgason a successful than the bustling his preaching to published in the version for B master and pupil duo from Iceland chose a and tricky opening Allegro the birds in the flat or A) the Scottish group of varied programme of mainly Nordic music and the third movement’s clarinets’ initial Nicola Long, Becky Milne, rounded off with Poulenc’s Sonata for two perpetuum mobile . In spite of Frances Pybus and Alex South clarinets. If the latter lacked a little in tuning committed playing long note s had the sense of style, tuning and and ensemble, Bernhard Henrik Crusell’s from Leathwood, somehow these relative dynamics and most of the Clarinet Duet No.2 in D minor certainly seemed to lack the necessary Gallic ensemble necessary to make this convinced us of their technical command in charm and rhythmic commitment. effective arrangement by Alex South a all registers and a generally good balance in Simone Weber’s Torun Trio presented a successful addition to the quartet repertoire. sound and stamina. More interesting were the rarity of the trio repertoire in Robert Kahn’s In all three movements the bagpiper’s quirky two works by fellow Icelanders Áskell M ásson Op. 73 Serenade in one movement. Rarely ornaments are hard enough to get together in (b.1953) and El ín Gunnlaugsd óttir (b.1965). straying even as late as Rachmaninov in style the clarinet and piano version and in the B After starting with the lively Duo for two and originally for oboe, horn and piano, this flat version the high tessitura of the curiously clarinets (1980) by the unashamedly Brahmsian work can be played named ‘Nocturne’ is notoriously perilous. clarinettist/percussionist M ásson, we heard in about nine different versions making it Unfortunately even on the smaller the première of Gunnlaugsd óttir’s Spil III . In more than programmable. Weber’s vocal instrument the Scottish quartet’s E flat player this brief but effective arch-shaped work approach and musical communication with sounded less than comfortable. However based on letters from St. Francis’s name, one cellist Anna Catharina Nimczik and Sara Alex South’s take on the Lament over the Sea could almost envisage his preaching to the Derman’s fine piano playing really brought on bass clarinet with the accompanying birds in the clarinets’ initial long notes, low this Romantic piece to life. With their finely clarinets lapping at the edges really atmospheric flutterings and hopping staccati. blended softly expressive playing in the transported us to a tranquil Scottish loch. In his recital Jeremy Reynolds accompanied ‘Andante’ and a real sense of fun in the Many Miles Away , five quotations from Sir by Heide Brende Leathwood started with the skittish ‘Allegrissimo’ movement their Walter Scott by the Scots composer Francine

British clarinet ensemble

12 Clarinet & Saxophone Autumn 2013 CLARINETFEST 2013, 24-28 JULY, ASSISI, ITALY

Trester (a commission for the Scottish Quartet from Creative Scotland) proved the real find in this enterprising young group’s programme. Here the composer found five different sound worlds from different combinations of bass clarinets and B flats which reflected Scott’s poetic images of Scotland leading the listener from the ‘Prologue’ (on the shore of a dark Scottish loch) to melting ‘Frozen’ statues of snow to another ‘Nocturne’ to ‘Enigma’-tic Cats stealthy feline frolics and no flying fur, to a paean to Edinburgh’s steep slopes ‘piled deep and massy’ - a rousing hymn to ‘Mine Own Romantic Town’. In this well prepared and well crafted work full of character and poetry, the Scottish Clarinet Quartet brilliantly brought to life each movement in texture and detail. In Becky Milne’s own Waulking Bass from 2004, a highland lament crooned over atmospheric ostinati noodling IMPRESSIONS OF ASSISI on high bass clarinets - a fun finale never far away from a Highland fling or reel. Gabor Varga’s excellent recital in the Ian Mitchell Metastasio Theatre turned out to be one of the most memorable experiences of the ClarinetFest 2013. This fine Hungarian beautiful medieval town built on a dramatic hill with narrow streets, player (Principal in Hungarian Radio since alleyways, enticing steps down to even tinier streets; the occasional pseudo- 1997) impressed in Mih ály Hajdu’s Capriccio Apop star trying, and failing, to scatter tourists as he hopes to impress with his all’Ongarese . With his rich, focused and Alfa Romeo; delicious pizza; St Francis mementos everywhere; permanent 35 degree colourful sound Varga’s fluent technique and heat; lovely peaceful evenings chatting in one of several café/bars in the main fine ensemble with pianist Kim Fabbri made square. All this set the scene for a splendid ClarinetFest. There were eight venues, this Hungarian staple a real treat with quite spread out, and there were often six or seven simultaneous 30 minute events tasteful vibrato where appropriate. back to back. This created a challenge as to what to hear and what to miss. There Clarisonus No. 2 by prize-winning clarinettist/composer Teodor Burkali (b. were over 100 events – 30 minute recitals, plus classes and lectures during the day, 1976) was a real discovery. This striking work with lengthy evening concerts. I realise that I heard all or snatches of, about 50 for solo clarinet in the same tradition as different kinds of event. Standards varied from truly memorable to best forgotten, Olah’s Sonata embarks on a moto perpetuo with everything in between. Here’s an attempt at a personal, and I hope objective, on repeated articulated and timbral very selective overview . trills/changes of one note. A brilliantly The opening evening concert was special totally ruined the end of Morales’s effective slow middle section based on not least because of the truly splendid performance, leaving various bits of orchestra viable multiphonics was dispatched with performance of the Band of Italian State stranded all over the place. Highly articulative ease and aplomb by Gabor Varga Police and their outstanding conductor embarrassing. I don’t think he really caught a - a real tour de force. This approachable but Maurizio Billi. They lived every note of the single pause or restart all evening. Despite modern sounding work is a real must for Italian music presented. The soloistic this, Philippe Cuper gave us an immaculate anyone keen on good solo pieces for clarinet. highlight was the magnificent clarinet playing Baermann Concerto Op. 23, with the famous Gabor Varga’s performance of this piece can and movingly sensitive musicality of ‘Wagner’ Adagio , and I will gloss over the be seen on YouTube. Varga concluded with a Calogero Palermo (principal of the Rome final item as no doubt others elsewhere will Rhapsody by tuba player Roland Szentp áli (b. Opera House Orchestra) in the Rigoletto have a more objective view. All I will say is 1977) in which his exciting doodling around Fantasy, beautifully arranged for band that I could not leap to my feet with the rest traditional Hungarian rhythms and twiddly accompaniment. This was a totally unified of the audience before the final note had modal scales contrasted with glissando performance between soloist and band that died. Perhaps I’m an uneducated snob who wailings and a central wistful shepherd’s will stay long in the memory, as will the final doesn’t understand the subtle musical song. For all his committed and impressively band item with no soloist to steal their essence embedded in the Michael Jackson fluent playing he could not quite thunder: ‘The Triumphant March’ and ‘moonwalk’… compensate for an over-repetitive piano part ‘Finale’ from Aida . With four then eight Nicholas Cox gave committed, convincing which seemed stuck in a groove for rather ceremonial trumpets standing at the back performances of two novelties. Iain too long in the edgy finale. and the whole band proudly presenting ‘their’ Hamilton’s The Wild Garden , five miniatures, The 2013 ClarinetFest will hold many music, the little hair I have left was all each with a flower name as its title was lasting memories for us all and will be standing on end. A wonderful almost end to a written in 2000 during the last weeks of the remembered, like New Orleans in 2001, as concert. Their rendition of the Italian composer’s life, and received its first one of the best. Thanks go to Piero Vincenti national anthem no less also showed the performance. Then a sonata by Bax written in and Antonio Fraioli for all their hard work band’s corporate heart as well as their fine 1901, whilst he was a student at the RAM. A and dedication to this event, five years in the musical and technical skills. No wonder they major two-movement work, it had the very planning. take the world by storm on their tours. occasional hint of things to come, but clarinetfest 2014 – Baton rouge, The second evening concert didn’t fare so basically looked backwards, and was none Louisiana well. Ricardo Morales, as one would expect, the worse for that. Names mentioned were clarinetfest 2015 – Madrid, Spain I was superb in Rossini’s Introduction, Theme Tchaikovsky, early Scriabin and Stanford. and Variations . Alas throughout the evening Perhaps a teacher might have suggested a the conductor of the modest Bruno Maderna little pruning here and there, but it is major Chamber Orchestra was out to lunch. He work that sustains interest of players and

Autumn 2013 Clarinet & Saxophone 13 CLARINETFEST 2013, 24-28 JULY, ASSISI, ITALY

Kari Kriikku plays klezmer eddie Daniels and ron odrich - best friends duetting

audience. After hearing some performances Michigan University – Joanna Cowan White, enticing, often unknown repertoire brought that seemed primarily concerned with notes, flute and Kennen White, clarinet, playing by individuals from around the world. it was good to hear this one that focused enjoyable pieces by Nicola Resanovic and Cornelius Boots’s funky, hard-hitting four 100% on the music. Someone else who put Rusty Banks in total unanimity. Also, the bass clarinet ensemble was full on and the music first was Alessandro Carbonare, Cavell Trio from the University of Alabama: engrossing. They certainly needed no whose rendition of Jörg Widman’s fiendishly Shelly Meggison, oboe; Osiris J. Molina, amplification! He also gave a thought- difficult unaccompanied Fantaisie was truly clarinet; Jenny Mann, bassoon, offered a provoking talk on holistic breathing, entitled memorable for superlative clarinet playing splendidly characterful performance of Breathe from the Heels: Tone, Alchemy and serving the music in a spectacular fashion. Schulhoff’s challenging seven-movement Inspiration embracing Taoist and other The British artist David Jean-Baptiste offered Divertissement that is sadly little known. oriental thinking. The UK’s Andrew Roberts potentially interesting clarinet and bass There were lots of clarinet quartets from all offered a most valuable talk entitled Gain clarinet items. Alas, the heat got to him, and over the place, outstanding being the Anches without Pain. A guide to avoiding and dealing unfortunately his circular breathing broke Hantées Quartet from Paris, one of whose with injuries for the clarinet player. Essential down. Still one got the essence of what he was members was an excellent arranger. Larger stuff for us all, as was Australian Diana about. clarinet ensembles came from Istanbul, Tolmie’s talk on The Portfolio Career The Buffet Crampon Gala Concert was Berlin, Netherlands, Tokyo, and elsewhere, Clarinettist given to five of us. memorable for me when William O. (Bill) and included our own British Clarinet The final event of the Fest was the Smith came on and stood alone barely Ensemble. Here I become less than objective, American Professors’ Clarinet Ensemble, moving, encouraging us, therefore to listen . I’m afraid. They were due to start at 5pm, I followed by the Italian AFAM Clarinet What a difference from some of the balletic dashed up the hill, leaving Karl Leister to his Ensemble; then they joined together. The music making we saw that evening. He played Mozart Quintet as I wanted to hear their Andy Italians lived every note of their national a lovely reflective ten-minute improvisation Scott première. I arrived about one minute to repertoire. They are proud of it and it just with soul. The next day he presented his five having lost 3lbs in sweat dashing up a one emerges naturally communicating directly latest work for two clarinettists (both playing in three hill only to hear about the last with each of us. They loved it; we loved it. A two clarinets at once at various points) and minute. They decided to start early. Hmm, fitting end to ClarinetFest 2013. double bass. The encore, Bill’s Blues, was better move on quickly. A last downbeat plea: could every one of us remarkable as Bill soloed wonderfully on We had an extraordinary amount of bass agree to ban circular breathing from all double clarinet. How does he do that? And clarinet music, mostly solo, and occasionally standard repertoire, please? Thanks. I how does he do all that at 87 years old? in ensemble. Alas, much of it I missed, despite Someone else who genuinely draws new sounds from the clarinet is Eric Mandat whose performance of his own Chiral calogero Palermo Symmetries for clarinet alone (a première) performing was immensely colourful. The six movements Verdi/Bassi had evocative titles such as Dancing on the Edge of Light . The whole 30 minutes, some of it on the edge of audibility, was totally engrossing, and took us on a voyage to discover a myriad of extraordinary clarinet sounds. Back to the eighteenth century there was some neat, undemonstrative basset horn playing in Backofen and Salieri from Nicola Bulfone, enjoyable, if musically undemanding fare. Good to hear the basset is alive and kicking. I very much enjoyed some mixed ensembles that changed the colour of the week from a purely clarinet focus. There was the excellent Crescent Duo from Central

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 Autumn 2013 Clarinet & Saxophone 15  Rob Jordan ROYAL ALBERT HALL TO THE FALKLAND ISLANDS

he Royal Air Force Sea King search and rescue helicopter came in low and fast In May we released an album of music by the over the rough windswept terrain of West Falkland. Sergeant Tom Rodda gave TV and film composer Nigel Hess. That went on to become CD of the week on Classic FM, Bara, his patrol dog, a reassuring pat, but this was all in a day’s work for this T with his new arrangement of Ladies in experienced, highly trained patrol dog. The din in the back of the Sea King increased Lavender achieving ‘track of the week’. Each as the pilot ‘flared’ the throttle, bringing the aircraft into a hover over the boggy year the bands of RAF Music Services take to landscape. Using hand signals, the winch man motioned for Tom and Bara to prepare the road as part of their ‘RAF in Concert’ themselves for a descent via wire onto terra firma . Hooked up to the winch and with tour. Tom has special reason to enjoy these high profile concerts. “The UK has some Bara firmly strapped to Tom’s chest, the rotor blades rotating just feet above their fabulous concert halls and I have been lucky heads, they were gently lowered to the ground. Sergeant Tom Rodda, patrol dog enough to perform as a soloist to capacity handler, was now primed and ready to begin a four day training exercise in one of the audiences. I was given the opportunity to world’s most inhospitable environments. With his backpack, weapon and rations, perform an especially composed arrangement of the music of George Tom and Bara set off into the unforgiving terrain of the Falkland Islands . Gershwin. Performing it at the Royal Albert Tom is the principal clarinettist of the So what have been Tom’s career highlights? Hall, Symphony Hall Birmingham and the Central Band of the Royal Air Force. As many “Being the principal clarinettist of Central Bridgewater Hall in Manchester was a of you may know, the Central Band is the Band is a great honour. The band performs at fantastic experience.” Unusually for a United Kingdom’s leading military band with such a high standard, we regularly concert performer Tom has enjoyed playing a worldwide reputation for musical commission new works and have recor ded at many of the international military Tattoos excellence. Tom’s professional musical with many outstanding musicians. Last year that the band appears at. Particular journey began at the Royal Academy of Music our album Diamonds featuring the world highlights were performances in Quebec, the studying under such luminaries as Tim Lines, renowned euphonium player Steven Mead Netherlands and the Aussie Stadium in Angela Malsbury and Nick Rodwell. As a received critical acclaim by many magazines. Sydney Australia. “It’s weird to think that I student Tom fully immersed himself in every performance opportunity, going on to become a Royal Academy prize-winner. Tom recalls: “I tom performing live on radio 3 from the Queen loved every minute of my time at the elizabeth Hall Academy, practising and performing for several hours a day became routine and has made me the performer I am now. By the time I graduated I felt pretty burnt out. I knew I wanted a career as a performer but didn’t feel ready to start auditioning so I applied for the job of president of the student union.” Tom now feels that this break from music gave him perspective. Very soon he realised that a career as a military musician would give him both an active lifestyle and a musical career. But which branch of the services to choose? That was easy, Tom expands: “The Central Band of the RAF has such a brilliant reputation and I knew that they performed not only at all the country’s finest concert halls but had toured abroad to some pretty interesting places”. Decision made, Tom contacted RAF Music Services and began the process of joining up. Audition passed and recruiting criteria completed, he set off for his initial recruit training at RAF Halton. “The basic training was very different to life as a student, lots of early mornings, running about and quite a lot of shouting!” Tom continues, “On the day of my graduation parade I felt proud as Punch, nine weeks previously I had been a scruffy ex-student, now I was a full member of the British forces”.

16 Clarinet & Saxophone Autumn 2013 ROYAL ALBERT HALL tom rodda and his patrol dog Bara TO THE FALKLAND ISLANDS

played with the band in Australia to 30,000 people a night in the same arena where the British Lions beat the Australians at rugby!” So how did Tom get to be suspended from a wire beneath a helicopter in the Falkland Islands? As with all members of the British Forces, RAF musicians (not bandsmen!) are required to serve on operations overseas. Music services personnel have been deployed as convoy commanders, administrators and with air transportation squadrons to Afghanistan, Iraq, Turkey and Cyprus. Tom says of his time on operations operations has enjoyed the experience, at broadcast on Classic FM with the Northern “Most musicians only ever get one the end of the day we are military personnel Sinfonia. What became of Bara the patrol opportunity to go on ‘Ops’ and nearly all of who have made a commitment to defend the dog? Tom says “It was a sad day to leave those who get deployed volunteer, this was UK’s interests.” Bara, we worked together for six months and the case with me. I’m very much an So what’s next for Tom? Pretty much more during that time we became best buddies. I’d ‘outdoors’ person, so doing a job that is of the same. In October the band will take to like to think that right now she is with her completely out of my comfort zone was very the road for their tour, with appearances on new patrol dog handler wagging her tail and daunting but ultimately exciting. Virtually BBC 1’s Festival of Remembrance and a live eager for action!” I every RAF musician who has served on

Autumn 2013 Clarinet & Saxophone 17 Part 2. Stephanie Reeve finds out about the man who played with major orchestras, worked with the greatest conductors, played chamber music and in West end shows, did BASIL sessions with the Beatles and much more

Basil tschaikov with John TSCHAIKOV Mccaw n the last issue of Clarinet & Saxophone Stephanie Reeve looked at the early life and orchestral playing Icareer of Basil Tschaikov, better known as Nick. While Nick was hugely successful as a performer, his interests in keeping up with the day to day workings of the orchestras he played in, led to other projects and positions resulting in equally successful careers in teaching and administration. Nick retired to Norwich a few years ago. Nick’s playing was not limited in both posts in 1979. to orchestras and included a lot “I was on the Goodman of light music with Mantovani Committee which was set up to idea of the National Centre for him being invited straight back to and other light music ensembles sort out the problems of the four Orchestral Studies which was Hong Kong to sort out a delicate often on radio and television. “I London orchestras and so I had established in 1978. I left the situation involving a dispute recorded with the Beatles on the quite a lot to do with Lord Philharmonia and I was between the orchestra and the Sgt. Pepper’s Lonely Hearts Club Goodman. When the Gulbenkian appointed its director and I conductor. Band album. That was a Foundation was established to stayed for ten years.” The Even the most successful of wonderful experience with a inquire into the facilities National Centre was attached to performing musicians teach and whole lot of players from the available to prepare musicians Goldsmiths College, University Nick began teaching quite early symphony orchestras. Why they leaving the colleges of music for of London and Nick was able to on. “I had pupils from when I was got us there I don’t know but we the orchestral profession, it was use his influence to bring well 18. It sounds ridiculous and just played whatever we liked! All decided to set up a committee of respected conductors to work many were much older than at the same time! Ludicrous!” enquiry into the training of with students. Many former myself. When I was in the Nick regularly played for musicians. I was chosen to be on students continue to work in the London Philharmonic Orchestra Glyndebourne Opera House. “In it because I was a professor at the music profession. There were and Royal Philharmonic those days the opera houses Royal College of Music, chairman hopes to move the centre to Orchestra I had quite a few pupils closed in the summer and all the of the council of management of Bristol, but a fire at the intended who were in the dance band top international artists used to the Philharmonia and on the venue prevented this and as world and who came to me for come to Glyndebourne. Doing Executive Committee of the funding was being withdrawn it lessons. I also taught at the the Mozart operas there with Musicians’ Union. Other was considered too difficult to Central School of Dance Music Fritz Busch was marvellous. representatives on the Goodman continue. where I had every sort of pupil Vittorio Goi was conducting as Committee were from the BBC, Nick’s travels took him all over including an MP and his wife. well then.” music colleges and the MU with the world listening to There were people of every kind. During his playing career Nick John Vasey (later Lord Vasey) as prospective students in Some went into the profession. I had many opportunities as a chairman. The BBC Training conservatoires. After a trip to the was a professor at the Royal chamber musician and played Orchestra had been set up in Far East Nick’s reputation as a College of Music for over 20 most of the clarinet chamber 1966 but by 1976 the BBC decided troubleshooter (“as well as a years.” One of Nick’s most repertoire and most of the it could not afford to keep it any trouble maker” he jokes) led to famous past pupils is clarinet sonatas. “I began playing longer. I put forward the surprisingly not a clarinettist, chamber music while I was at but does cite Nick as a major school. When I was in the Basil influence on his own career. London Philharmonic Orchestra tschaikov While still a student at the Royal the string players liked to do with College of Music Rick Wakeman chamber music so I did the riccardo had been offered a lot of session Mozart and Brahms quintets Muti work. When the work started with them.” getting in the way of college work The move into administration Nick, his clarinet teacher at the came during the 1960s when time advised Rick that if he Nick was elected to the Executive didn’t take the opportunities Committee of the Musician’s now it might be a while before Union and he served as other doors opened. Wakeman chairman of the London branch left the RCM and later in a committee. Nick was also programme of This Is Your Life chairman of the Philharmonia explained what Nick had done Orchestra from 1974 and finished

18 Clarinet & Saxophone Autumn 2013 for him as a student. As well as really!” I explain that readers are teaching, Nick has written several often interested to learn what tutor books, First Tunes and instruments performers play on Studies published by Schott in and it should come as no surprise 1960 and Play the Clarinet that Nick played on 1010s. published by Chappell & Co. in “Boosey & Hawkes started 1969. making 1010s which were copied At one time Nick had the from a French instrument that opportunity to meet Benny Reginald Kell played on. They Goodman when he was invited to gave a pair to Kell and my father attend a rehearsal at Aldeburgh (Anassim Tschaikov*). Then my where Benny was to perform with father was given another pair the Amadeus Quartet in 1981. “At which I started on. I played on the end of the rehearsal I started those most of my life and towards talking with Goodman. One of the the end they made some changes things Goodman had terrible to the 1010s, updated them a bit trouble with was reeds. At that and I had a pair of those. I never time, as a sort of side thing, I was enjoyed playing on those as much making reeds and so I got quite as the old ones but the old ones good at fixing them and so I said tended to have some intonation would you like me to fix your faults and you had to do all sorts reeds for you and we spent about of comic fingerings to overcome an hour ‘tootling’ together. It was that especially in the top a wonderful occasion for me.” register.” In 1990 Nick and Dorothy We briefly mention Nick’s moved from their home in younger brother Alan who was Welbeck Street, very close the also a clarinettist and played for Philharmonia’s office, to over 40 years in the Jerusalem Hampshire. “When I was 65 I Radio Symphony Orchestra. Six retired and we went down and months after what was an lived in Liss where we had a unsuccessful audition for the beautiful cottage with an acre of Israel Philharmonic it was then ground, right in the country down that Alan got invited to go out to a dip. It was absolutely lovely.” the radio orchestra. “He went out “In 1987 I set up the Music and he stayed there until he was Performance Research Centre 70. He has still gone on playing in with Jon Tolansky, which in 2001 an amateur orchestra made up of became Music Preserved at York retired professional musicians.” University. Our aim was to record Nick’s memories are vivid and performances at the Royal Festival his tales are recalled as if they Hall and other concert halls that happened yesterday. I am curious could be listened to at our to know whether he kept a diary. listening sudio in the Barbican Nick does have all his diaries but Centre. We were able to persuade they are not reflective, merely the Musicians Union and other records of where he played and authorities as well as the only occasionally including the orchestra and the musicians programme. Nick mentions his themselves not to charge us as good fortune many times but long as we guaranteed that these throughout the interview and in recordings would not be available chatting with him and Dorothy to be re-recorded by anyone else. afterwards I realise he has that Over time we recorded a great rare skill to be able to grab at any deal of music of all kinds. Some opportunity and look at anything time after 2001, when Music with a positive view, something Preserved became part of York that today’s musicians should be University they have issued a few encouraged to do. Nick took the of the recordings. At about the opportunity to write down many same time I started Music events within his life in the Preserved’s aural history of context of the profession and the musicians in Britain. I recorded result is his book The Music Goes interviews with musicians of all Round and Around full of ages, some were already very insights. If we all strive to have elderly who had played in meaningful musical experiences symphony orchestras, dance perhaps we can hope to look bands, jazz musicians, those who forward to equally strong played in light orchesras and even memories in years to come. the chap who played in the More information about Music street.” Preserved can be found at I ask Nick if he follows any www.musicpreserved.org.uk current career but he smiles and *anassim tschaikov was nick’s father, says “I’m just trying to enjoy life not anton as stated in part 1. anton was anassim’s brother. I

Autumn 2013 Clarinet & Saxophone 19 William Upton TRISH

CLOWES resemblance, an influence she is happy to Impresario Norman Ganz (1918-2001) contributed much to many of the best wear on her sleeve. “I was 16 when I aspects of jazz, not least its role in combating racial inequality in the ‘50s decided on music as a career”, says Trish. and ‘60s. Among his more questionable additions to the jazz tradition, “People were quite shocked because it was however, are the album liner notes to Charlie Parker with Strings (1949). In a sudden change; I was just going to sleep describing the addition of these quintessentially classical instruments to one day when I realised I loved music too much and I couldn’t commit to doing Parker’s usual ensemble as ‘softening’ and ‘prettifying’, he set the tone for medicine anymore”. Fortunately she had the future of their oft maligned integration with jazz. Thankfully, musical already been given some recordings of horizons have broadened, and today classically influenced orchestration is a Loose Tubes, and having checked out the major force behind some of the most compelling music on the British scene, individual characters in the band Ballamy was the obvious choice when it was from Julian Arguelles’s As Above So Below to Acoustic Triangle’s Three suggested she needed lessons with Dimensions, via the music of John Surman. Among those leading the way in somebody on the scene. “Iain’s music spoke this arena is saxophonist and composer Trish Clowes, who is currently a BBC to me straight away, so we literally just Radio 3 New Generation Artist. looked his number up in the Musicians’ Union Directory. I had a few lessons with Trish’s debut album, Tangent (2010), players as individuals, rather than just a him before going to the Royal Academy of fe atured an orchestra conducted by Jules string quartet, and to really integrate them Music, and studied with him again in my Buckley (of the Heritage Orchestra), while into the standard line up. Before I came to third year there, and he’s just been an her most recent release, And In The Night- jazz, I’d always been writing music, so I’ve incredible support ever since”. Ballamy’s Time She is There (2012) pairs a virtuoso always had those classical textures in my influence on Trish stretches well beyond string quartet with her core ensemble of head. It’s just that jazz musicians have been the immediately musical; jazz remains a James Maddren on drums, Chris Montague working with amplification for a long time, male dominated world, and female role on guitar, and Calum Gourlay on bass, with so while we’re used to dealing with a group models are few and far between. For this guest artists Gwilym Simcock (piano) and of instruments that aren’t naturally the reason, Ballamy was perceptive in pointing Kathleen Willison (voice). The result is same volume, for most classical musicians Trish in the direction of Clarinet & some of the most refreshing music of recent that’s not normal.” Certainly, with young Saxophone favourite Barbara Thompson. times. The album’s unusual title comes virtuosi such as Louise McMonagle on cello “Being female in the jazz world isn’t an from a poem by Oscar Wilde, and it is a and Thomas Gould on violin at her disposal issue, but it’s still different than it is for a mark of Trish’s success that an Internet one can see why Trish has gone to such guy”, opines Trish. “Iain suggested it might search for the line takes you to rave reviews lengths to make the most of their individual be nice for me to meet Barbara, because of her latest release rather than to the talents. The resulting compositions also she’s such an incredible woman for lots of collected works of the famous Irish bring out the best in her standard different reasons. She’s got such a wordsmith. I spoke to Trish at the end of ensemble; guitarist Chris Montague in personality and has always done big 2012, a year of dizzying success and critical particular is majestic on ‘Atlas’. Trish’s projects and worked in an interesting way. recognition for this remarkably modest writing arguably reaches the full extent of When I met her and her husband, the musician, and from what she tells me, 2013 its ingenuity in ‘Animator’, whose opening drummer Jon Hiseman, I took the rough is just as rewarding for her listeners. quasi-Baroque string figurations give way mixes for my second album so they could The glisteningly intricate sound world of to a counterpoint between earthy guitar hear what kind of a player I was. Jon heard Trish’s epic ‘Iris Nonet’, with its composerly and eerie string harmonics. my sound and said straight away that I improvisations and expressionistic score, Over the last 30 years there can hardly should perform a suite of arrangements of belies the challenges facing anyone who have been a UK jazz project not coloured by the music of Kurt Weill that Barbara had wants to incorporate strings into a jazz the influence of 1980s big band Loose commissioned. They gave me a copy of setting. Fortunately for Trish, who grew up Tubes. Among that group’s alumni, Iain Barbara’s recording of the project ( Barbara immersed in classical music, composition Ballamy holds a special place in the hearts Song ) and a couple of months later I was and improvisation have never been far of many music lovers for his consummate chatting to Christine Allen, owner of Basho removed, and the fact that it can be hard to musicianship, wit, and apparent ability to records and the curator for the St James’s define a role for bowed strings within the capture something identifiably British in Piccadilly concerts during the 2012 London well established context of the jazz quartet his music. Trish has been variously Jazz Festival. Drums can be problematic in is an opportunity rather than an compared to Wayne Shorter, Stan Getz, and that acoustic, so we thought this would be a impediment. “In my latest album”, she Joe Lovano, but it is arguably to Ballamy project that would work really well.” enthuses, “I tried to think of the string that her musical sensibility bears its closest Thankfully, for those who missed it, Trish

20 Clarinet & Saxophone Autumn 2013 desire to tap into the hinterland between contemporary classical music and jazz, combining and expanding those genre’s limited audiences – a practical aim at a time of austerity. “For me that combination’s always felt very natural, and perhaps in the past when some musicians have tried to force these things it hasn’t worked out. That’s true of anything, not just incorporating classical instruments as such, but in general if you force things musically it tends not to be successful”. The same naturalness is apparent in another of the defining features of Trish’s musical persona; while other young musicians, such as Marius Neset, announce their arrival in the jazz world with their pyrotechnical virtuosity, Trish’s technical facility is very much in service to her melodic voice. “This is something I think about every day”, she admits, and the results are apparent on tracks such as ‘Little Tune’, a heartfelt nod to the American Songbook which closes her second album. “There are other things to think about other than flying around the instrument, and I’ve chosen to think about those. Each day as an individual you have to decide what kind of playing suits you, and keep a balance between what challenges you and what sounds right. Whatever feels natural, you should check it out and get obsessed with it. I think being obsessed with things is part of the process of being a musician, and I’m actually trying to get back to that.” The age of iTunes has certainly changed the way we listen, and despite her youth Trish admits to being nostalgic for the past. “When I was a teenager you bought a CD and that was the promises that they’re planning to do again. common buzzwords in the artistic only thing you listened to – you really From the outside looking in, 2012 had community, and are standard criteria for cherished the music you had, and I actually the flavour of a breakthrough year for funding. But few such projects live up to think it’s a good thing to just focus on what Trish. Certainly, the BBC New Generation their hype. Trish’s Emulsion is one that it is about one person’s sound that you Artist award has propelled her into the does – ‘a cross-genre music festival’ with really love. If you’re going to do music for foreground of the British musical the modest mission statement to ‘offer up your life you’ve got to get obsessed and landscape, but in an era of instant success, a few ideas’ as to ‘where the improvised love things.” when female performers are often valued music scene is going’. Her co-protagonists This seemingly simple approach is more for their looks than ability, Trish is in this venture are composers Luke Styles, behind one of the most nuanced voices in keen to emphasise the long-term aspect of Rory Simmons, and Iain Ballamy, and British music, and we should be grateful her career. “To me it’s been gradual. It’s recent concerts have included new works that the BBC is helping to bring Trish’s putting in a lot of hard work every day alongside such avant-garde standards as music to an ever-wider audience. Major when you have no idea what’s going to Helmut Lachenmann’s wonderfully upcoming events for the saxophonist happen, and I’ve been doing that for a long guttural Pression for solo cello. “The whole include a performance with the Trish time, so even though it has been a reason Simmons, Ballamy, and Styles are Clowes Quartet featuring Gareth Williams breakthrough year it’s not been a lottery.” involved”, says Trish, “is because I felt we on the 26th September at the Vortex Jazz Questions such as ‘Is what I’m doing all had a very similar vibe, we all have that Club in a double bill with Tom Challenger’s socially useful, and is it going anywhere?’ ability to blur boundaries, and people Brass Mask, and with her Tangent Sextet at plague every thoughtful musician. But the expect the unexpected from us already. the RNCM Saxophone Day on 10th BBC award has given Trish some peace of Having all four of us in the same place is November. For details of these and other mind. “It’s nice when you’ve been through going to draw an audience that’s happy to performances visit her regularly updated thick and thin in your head and something be surprised and have its ears tested, and events page: like this comes along and gives you that we try to make it very clear what the push. It just filled me with energy; there’s festival is about so that there aren’t people www.trishclowes.com/Site/Dates.html. projects I know are definitely going to turning up expecting swing for three sets.” twitter: @trishclowes happen, and I’ve never had that before”. At the heart of Emulsion , and indeed facebook: www.facebook.com/trish.clowes I ‘Cross-genre’ and ‘collaboration’ are much of what Trish does, seems to be the

Autumn 2013 Clarinet & Saxophone 21 Stephanie Reeve Looks at ABRSM SAXOPHONE GRADE 3 Repertoire for the ABRSM woodwind lists has been revised for 2014 and the changes are quite substantial. The 2013 syllabus may be used in the first exam session of 2014. From this issue onwards the focus is on the new syllabus.

strong rhythm and a good range of dynamics markings so just enjoy holding onto those give the piece its drive. Use the long fingering notes before moving on. for the a sharp in bar 11. Good stamina is LIST A needed as there is just one crotchet rest Philip Sparke Waltz with throughout and make sure all the repeated Variations C.P.E. Bach March (from Anna quavers are played in the run up to the D.S. Magdalena’s Notebook) marking. Skilful Solos for alto Saxophone or Skilful Solos for tenor Saxophone, arr. Sparke time travels for Saxophone arr. Buckland and Mussorgsky ‘Promenade’ from the theme of this waltz is in G major with a Scott. eb and Bb piano accompaniments are Pictures at an Exhibition fairly simple rhythm. the ascending arpeggio published separately of the first two bars and the a sharp later are first repertoire for alto Saxophone, arr Harris features which appear in the two variations. in c major this march is in cut common time and calland or Selected Solos for the first variation introduces a dotted rhythm and the military feel really suits the saxophone. Soprano/tenor Saxophones Vol. 1, arr. Denley the repeated rhythmic motif has a minim which while the second variation is of continuous bars will need to be sustained. Bars 15 to 18 and bars the changing irregular time signatures of 5/4, full of quavers. if played well this one can 19 to 22 require some stamina to keep the 6/4 and 3/2 should not be a distraction as the certainly sound skilful. quavers on the move. aim for accurate crotchet pulse remains the same throughout. intonation on the final top c. the crescendo the only note values used are crotchets and Vaughan Williams Linden Lea over the previous four bars should help this. quavers so rhythmically this should not be too daunting. the interest comes from the strong time Pieces for eb Saxophone Vol. 1 or time Pieces for Bb Saxophone Vol. 1, arr. Denley MacDowell To A Wild Rose opening with tenuti setting the scene and the expectation as we enter the exhibition. Much of this gentle folk tune is in D major and begins time travels for Saxophone arr. Buckland and the material appears in different forms, both in halfway through the 3/4 bar. as a song the Scott. eb and Bb piano accompaniments are saxophone and piano so linking these will help phrasing should be carefully thought out and published separately the piece be understood. there is much scope breaths should be taken in places where it will for linking this with other pictures and no not disrupt the flow. consider the use of this well known gentle ‘Woodland Sketch’ gives doubt a composition or two in creating music dynamics, particularly around the climax of the melody to the saxophone throughout, so for new pictures. the piano part is more each section. a strong forte can lead to an plan the breathing carefully. Keep the sound as demanding than others at this level. expressive answer in the repeated quieter simple as possible and sustain each phrase. phrase. the piano takes the melody in the Make the most of the dynamic range. top D Vivaldi ‘Cantabile’ from Il second section while the saxophone plays a alternates with Bb at the climax and this should Cordelino counter melody that weaves around the be smooth and carefully executed. original melody. Some changes in tempo add to first repertoire, arr Harris and calland or the expressive feel. Grieg ‘Morning’ from Peer Gynt Selected Solos for Soprano/tenor Saxophones Vol. 1, arr. Denley the classic experience for alto Saxophone / Jacob A Christmas Tune (B flat classic experience collection for tenor this beautiful slow movement is from one of saxophone only) Saxophone, arr. Lanning Vivaldi’s many flute concertos. in 12/8 the rhythmic lilt of crotchet to quaver supports the time Pieces for Bb Saxophone Vol. 1, arr. this popular melody is no doubt well known to saxophone’s slightly more varied melody. Denley everyone and the arrangement is simple but cantabile is in a song-like manner and the effective for this level. the saxophone and originally for cello and piano this tune works phrases can almost be from a ballad. Both e well for saxophone. it has the feel of a piano alternate the melody as in the orchestral flat and B flat versions are written in c major so version where flute alternates with oboe. Pace christmas carol with its simple vocal melody tuning of top c notes in the last line should be and regular phrases. the tempo marking is the crescendo up to the climax at bar 30 and checked. use the bis key for the a to B flat trill. the notes Andante con moto and the con moto is particularly important as this may have a at the end are long so count carefully to play Rubinstein Melodie them for the correct length. tendency to drag if not careful. (E flat saxophone only) Mozart Marche funebre del J. Strauss I Radetsky March (E Klassische Saxophone-Soli, arr. Both flat saxophone only) Signor Maestro Contrapunto (B originally for piano, this melody of almost all flat saxophone only) the classic experience for alto Saxophone, arr. crotchet and two quavers in a bar, is a gentle Lanning expressive piece with phrases clearly defined time Pieces for Bb Saxophone Vol. 1, arr. and gently shaped over a syncopated Denley another very well known tune, without the trio accompaniment. as with To A Wild Rose the this piece is almost too sombre with its heavy in this arrangement as the March gives enough breathing needs to be thought through as there minor opening and dotted quaver-semiquaver to think about at this stage. crisp articulation, is just one rest. there are several ritenuto motif. after a short syncopated section the

22 Clarinet & Saxophone Autumn 2013 ABRSM SAXOPHONE GRADE 3 music really brightens. the second section also Pam Wedgwood Eclipse begins seriously and while rhythmic material is Ros Stephen Roda de Choro based on the first section it stays minor until the Up Grade! for alto Saxophone Grades 2-3, arr. end. the contrast between forte tongued and Wedgwood eb Saxophone Globetrotters or B flat Saxophone piano smooth phrases are worth spending time Globetrotters an atmospheric number in a minor but with a on. the syncopated bars will need preparation modal feel. Dotted crotchet followed by two a Roda de Choro is a circle of a group of people with the accompaniment. not everyone’s cup of semiquavers is the featured rhythm and each who cry or lament and the style is an early form tea but contains recognisable Mozart melodic idea has to have some phrased shape to of Brazilian popular music. However it does characteristics. keep the interest. the poco rit. takes place over have a light energy. Phrases in this piece start crotchets. Having played quaver rhythms up to on the second quaver of the 4/4 bar so a sense this point make sure the rit . happens effectively. of where the first beat comes is essential. there are some lovely chromatic twists, again typical Mike Mower Still Waters of this style, and the top Ds are all approached LIST B from an ascending arpeggio. there is much to Coward My Horse had Cast a Shoe future Hits for alto or Baritone Saxophone think about here but there are helpful exercises and warm up suggestions in the book. not yet available as we went to press - Ed. time Pieces for eb Saxophone or time Pieces for Bb Saxophone, arr. Denley Paul Harris Showtime (B flat James Rae Waltz for Emily featuring a prima donna of the operatic world saxophone only) who joins the community of a remote island, Blue Saxophone Selected Solos for Soprano/tenor Saxophone Pacific 1860 was an operetta by noel coward, a jazz waltz in a minor for alto and D minor for Grades 1-3 but was not one of his successes. this song, tenor plus a few blues notes. this should not be this is a varied piece exploring a range of sung by the heroine is in two clear sections. the taken too slowly, perhaps a one in a bar feel to rhythmic patterns, dynamic shape and first half is humorous, typical of much of keep it moving. it is in three sections with the articulation. it needs a confident sound as most coward’s writing. Straightforward rhythmically, third being a repeat of the first. the middle of the piece is marked forte. all this takes place the melody features wide intervals in G major section is brighter and contains a few technical above a spirited accompaniment and the tempo over clashing chords in the accompaniment. challenges. the second section is much more lyrical and the changes might need good preparation. Watch step movement midway is in f major. a lovely out for the quaver rest in the penultimate bar. contrast and a good test for thinking about Andy Scott Castanet adjusting the sound. time travels for Saxophone, arr. Buckland and Scott. eb and Bb piano accompaniments are Pam Wedgwood Rosie or Plaza de Paul Harris Round the Bend published separately Toros (B flat saxophone only)

first repertoire for alto Saxophone, arr. Harris a really enjoyable piece, full of Spanish spirit Selected Solos for Soprano / tenor Saxophone and calland through the harmonies, rhythms and piano to Grades 1-3 forte hairpins. Some phrases start on the off it will most likely be the rhythms in this lively beat so rhythms may need work. the castanet Rosie is a mournful ballad well suited to the number that will drive you round the bend! in effect is achieved by tapping the bell with the tenor saxophone. Lyrical phrases stretch out 6/8, the tied notes across the bar line confuse right finger nails. this presents several over a ninth interval for expressive effect. the beat unless you maintain a strong sense of challenges and early unsuccessful attempts tongued triplet crotchets give a sense of pulse. the accompaniment remains firmly on may include missing the bell by hitting the key movement before the first tune returns. Keep the beat for the first 12 bars and final 12 bars guard, saxophone swinging away, difficulty concentrating during the penultimate rest bar while the middle 12 is slightly smoother, more getting the saxophone back into playing position so that the final bar is accurately placed. you lyrical and less complex than the outer sections. and even when all this is solved actually tapping might need your matador outfit for Plaza de Use the contrasts with articulation to achieve rhythmically may cause some issues! the piece Toros , as this is a fiery Spanish number the spiritoso direction. ends with both saxophonist and pianist tapping complete with a carmen cliché midway. the the rhythm. piano introduction along with several bars Joplin The Easy Winners between the main melodic phrases are in 5/4 but the melody itself is in 3/4. Up Grade! for alto Saxophone Grades 2-3, arr. Philip Sparke Alladale Aria Wedgwood Skilful Solos for alto Saxophone or Skilful Solos Pam Wedgwood Survivor (B flat two sections of this popular rag are presented for tenor Saxophone, arr. Sparke saxophone only) here. in G major the first section is the melody over a repetitive semiquaver backing the as expected while the second section with its saxophone sings a haunting melody between D after Hours for tenor Saxophone short chromatic bursts has been simplified to major and B minor. it is mostly melody and a cool swing number. Phrases have an easy feel make it technically more manageable. the accompaniment throughout but there is a lovely with a light tonguing needed throughout and piano fills in the ends of phrases while the middle section where the saxophone answers are in basic minor mode. rhythms are not too saxophone sustains a long note. if you don’t the piano before joining together. the Scottish complicated but there are one or two bars where already know the tune this should not cause any snap and the title suggest the Scottish the material is not quite as expected. Dynamic trouble but players who do know the tune might wilderness as alladale is in north-eastern range here can really make a difference as pp, ff find it odd at first. a good challenge with plenty Scotland. as well as saxophone and piano parts and everything in between is used. the book has of syncopated rhythms and ensemble aspects to there is a cD with piano accompaniments, very a cD with backing tracks featuring a small band work on. useful for practice at home. which is effective.

Autumn 2013 Clarinet & Saxophone 23 ABRSM SAXOPHONE GRADE 3

taken from otto Langey’s Practical Tutor for the tenutos, accents and slurs give this the Saxophone this was originally a duet contrast. Dynamics are in clear blocks with the written to explore the key of a minor and many loudest note saved for the final bar. Pot Luck is LIST C of the figures are made up from the common a swing number in c major but with some fun chords within the key. the first part is reprinted chromatic deviations. a good feel for the Alan Bullard Scaly Sax or in 80 Graded Studies and is good for working on syncopated bars is useful and again rhythm in 6/8 time. it is quite energetic and a articulation is particular so keep it light. Thoughtful Sax contrast between forte and mezzo-forte might be something to develop. there is a D.c. al fine Sixty for Sax Soussmann Moderato so the first half is played again. two more from this popular collection. Using repertoire explorer for alto Saxophone or scaly passages in c major Scaly Sax is Mike Mower Out of Plaice repertoire explorer for tenor Saxophone surprisingly tricky. rests are as important as flautist Heinrich Soussmann wrote many the notes for placing phrases at the right time. the Good tempered Saxophone studies for flute and this pleasing Moderato in c Grace notes from B to c can be played with the Mower suggests that pieces in this recent major explores the full range from low c to D middle side key. this is a great technical publication are written as short solo concert above the stave. Some agility is required for the exercise. By contrast Thoughtful Sax is much pieces rather than studies so are particularly arpeggio figures and the smooth legatos can more expressive and the hairpins and slurs are entertaining while testing or developing a skill. contrast with the light staccatos. as a classical the skills needed here to create a beautiful ‘out of Plaice’ reference here is the G sharp that study this sits well with the other more modern phrased account. this is reflective and there is first appears in bar two. it makes no apology for pieces on this list. time on the long notes to shape phrases. interrupting what is otherwise a fun melody so Paul Harris No. 22 Tango enjoy the amusement it should cause. as a Karen Street No. 6 Phish and lively waltz i can see this one becoming quite Chips or No. 13 Domain Reason popular. 80 Graded Studies Double click!! for Solo Saxophone the syncopated rhythms of the tango give this James Rae No. 9 Spinnaker Jig or study in a minor plenty of charm. the quaver No. 13 Pot Luck at first glance Phish and Chips looks like a rest at the start of some bars is the most likely swung number but players are warned ‘don’t be place to have to work on but keeping it flowing 36 More Modern Studies tempted to swing the quavers’. Mostly in D could also be an issue. Dynamics are major pentatonic the occasional B flat gives a the Spinnaker tower rises above Portsmouth straightforward but use the crescendos to create little colour and the whole pentatonic scale is and this is where rae’s youngest son is the feel of sweeping across the dance floor. featured in an ascent on the last line. Domain currently studying, so the influence for the Jig Reason is more relaxed and in B flat major. Bis Langey No. 23 Study in A minor has come from numerous visits. it is a hearty key is recommended although there is one B sailor’s tune alternating between D major and D natural. Both pieces have enjoyable melodies, Dorian. the staccatos on crotchets and quavers 80 Graded Studies clear phrases and are fun to play. I within the 6/8 time give this a clipped feel and

24 Clarinet & Saxophone Autumn 2013 Autumn 2013 Clarinet & Saxophone 25 Kenneth Morris’s Pen Portrait of Master Saxophonists

UK CONSERVATOIRE NUTURES JAZZ SAXOPHONIST

Picture a young man growing up in Milan, italy, in the 1980s interested in the arts, embraced by an 800 year national culture of artistic innovation (Leonardo, raphael and Michelangelo; Donatello, cellini and Bernini; Mascagni, Busoni and respighi; Brunelleschi, Palladio, nervi and Piano). one would have thought that local schools would major on stimulating any sign of creativity in the national interest. in the case of one tommaso Starace (sorry folks, i’m going to have to help you on pronunciation, it’s “Star-aah-chay”) this turns out not to be the case. in fact, as tommaso has since discovered in his worldwide perambulations, italian art and italians in general are much loved and respected but that the italian education system, at least in Milan, relegates artistic subjects almost out of sight.

26 Clarinet & Saxophone Autumn 2013 ommaso, born in 1975 to an Italian has delivered a continuous stream of work relates closely to the exploitation of clear father and an Australian mother, found extremely competent saxophonists from its programme themes, some quite novel. He is Thimself, aged 16, in the third year of four-year B.Mus (Hons)/B.Mus (Hons) jazz always supported by world-class sidemen, the Liceo Scientifico Italiano (equivalent to programmes – a tribute to the breadth and either Italian or British. the British GCSE examination year) . He was depth of the tutors’ skills. Tommaso benefited During the years after leaving college and uncomfortable with a system which from tuition in both classical and jazz alongside his jazz projects he started a 2003 prioritised humanitarian and scientific repertoire with Andrew Tweed, Chris collaboration with pianist Joan Taylor forming subjects and which held artistic disciplines in Gumbley, Nigel Wood and Jeremy Price (Head the ‘Jazz meets Classical’ duo performing low esteem. Indeed the only subject viewed as of the Jazz Department). In 1996 Tommaso repertoire from 20th century composers who being remotely artistic was ‘Disegno Tecnico’ took part in Jamie Abersold’s Kentucky influenced or were influenced by the jazz made up of two boring hours of orthographic Summer Camp and enjoyed periods of study idiom (Ravel, Debussy, Ibert and Piazzolla etc.) projections with little real artistic content and and performance with US saxophonist Don In 2004 came a partnership with Oscar winner leaving him distinctly uninspired. So with no Braden and jazz educator David Baker, who and composer Dario Marianelli ( Pride and sign of exposure to any creative tuition in after audition offered him a masters place at Prejudice , The Atonement ) for the Channel such delights of music, fine art, acting or the prestigious Indiana University. In the end Four drama Little Life . During 2005 he photography such as can be he decided to follow on with a postgraduate produced and recorded his second CD found in profusion in the US degree at the Guildhall School of Music and Tommaso Starace Plays the Photos of Elliott and UK, Tommaso decided The Drama which he completed in 2000, Erwitt , a tribute to the work of the US in 1990 to make a real life of a studying with ex-Jazz Messengers Magnum Photos Bureau photographer, whose change. saxophonist Jean Toussaint and the output inspired Tommaso’s compositions. He was fortunate to musician UK sax players Stan Sulzman and This CD involved a supporting quartet of UK be accepted into the Sir starts when Martin Hathaway. sidemen (Roger Beaujolais, Liam Noble, Julian James Henderson British you leave In the same period he gained Bury and Jim Hart). School of Milan. This valuable experience performing with In Italy, where Tommaso works with a establishment with its college small jazz combos and big bands and different quartet, his third recording entitled relatively wide subject base receiving masterclasses from such stalwarts Don’t Forget took place 2007 with 100% local naturally facilitated a rapid as Tim Garland. Do these three episodes of UK talent (reviewed in Clarinet & Saxophone , improvement in Tommaso’s English language education, GCSEs and A-levels, BMus and a Winter 2009). 2010 saw the production of skills and at the same time bolstered his GCSE master’s degree end the learning process in the Blood and Champagne with the current UK preparation work. Giving up acting classes case of a jazz musician? In Tommaso’s case the quartet (Frank Harrison, Laurence Cottle and made time to explore fine arts and to take up answer is an emphatic “no”, followed by an Chris Nickolls) also reviewed in Clarinet & saxophone lessons, the latter stimulated by equally emphatic “but it jolly well gave me a Saxophone , Winter 2010. For all three of his Tommaso’s attraction to his father’s jazz secure grounding and a strong platform from CDs Tommaso toured extensively throughout record collection and the inspirati onal Clint which to launch my career as a jazz musician.” the UK, Italy and Switzerland and over the Eastwood biopic Bird dealing with the life of Further quoting Tommaso (and a little Miles past seven years has guested at some of the t t

e saxophonist Charlie Parker. Since his early Davis) from an article he wrote for his old most prestigious clubs and festivals including: b r o teens Tommaso had been very fond of the school magazine in Milan: ‘The real life of a Blue Note, Milan; Pizza Express, Dean Street, c y r

r saxophone’s sound, it being very close to that musician starts when you leave college, London; The Purcell Room; Brecon Jazz a G of the human voice, he makes it quite clear personal artistic growth happens on stage by Festival; Nuoro Jazz Festival and Marsden Jazz that he would not have considered music as a performing next to other great artists, not Festival. In late 2012 Tommaso made his debut career had it not been for ‘the unique during time spent in a classroom. A degree is on the important Em/Arcy/Universal label saxophone sound’. In addition he was much more for those who want to teach, when it with a new thematic CD Simply Marvellous , inspired by the dedication of the Henderson comes to performance nobody in the audience celebrating the music of Michel Petrucciani, teaching staff, in particular, Dennis Cooper, a cares where or what you have studied, you the late great French jazz pianist and very passionate and energetic art tutor; have to prove it on stage every time with what composer. This recording paved the way for a Gregory Wright, head of the music comes out of the horn’. Certainly in jazz the visit to Santiago (Chile) to participate in the department, who was very generous with his development of an individual style, sound or Providencia International Jazz Festival in time in helping Tommaso with general exam approach is essential to give an artist a January 2013. He also took part in the 2013 preparation, GCSE music theory and A-levels, competitive or an attractive edge in order to London Jazz Festival and will be appearing in and pianist Deidre Penicaut who inspired all of secure bookings. the prestigious Luzern Jazz Club in her pupils with her musicianship. Thanks to Leaving the Guildhall in 2000 Tommaso’s Switzerland. As a result of both enthusiastic all of this support, personal hard work and first priority was to generate a living wage and record and concert reviews, frequent jazz club passion Tommaso managed to complete, in this was achieved in two stages. Firstly and festival appearances and numerous only two years, his music GCSE and A-levels developing a number of private tuition awards stretched over at least three plus grade eight in both theory and practical. students and secondly joining the tutorial staff continents Tommaso has succeeded in Tommaso made a relatively late start on a of the capital’s Morley Adult Education making a living playing jazz saxophone, surely musical instrument, especially so where one College. helped in no small way by the UK education has the inclination to make it a professional There are three distinct strands to system. As Tommaso puts it: “I’m very career. He was aware that he had to learn a lot Tommaso’s master plan to succeed as a privileged to live in London, a city I have in a very short time and certainly the professional jazz musician: firstly take a always adored, that constantly continues to Henderson teaching staff did a remarkable job project approach to each major step forward give me stimulus and inspiration, to make me to groom the young Italian for university and commit each step to a quality recording, feel free in my choices.” entrance for which he was accepted in 1994. secondly think internationally and finally But firstly he had to decide where to study. promote constantly, all backed by a realisation tommaso’s set-ups are: Distance, costs and difficulties with that the lingua franca of jazz is English. When alto, Selmer Super Balanced action with a US ‘Jody Jazz’ Hr #7 mouthpiece and rico Jazz documentation ruled out his first choice, New preparing for recordings and gigs Tommaso strength three reeds York but having prepared for and faced a few admits that his playing style is influenced by Soprano, yamaha 62, Meyer 8* mouthpiece and auditions at various UK colleges, Birmingham such artists as Cannonball Adderley, Stefano strength three Vandoren reeds. Conservatoire came through with a place. As I Di Batista, Joshua Redman and Rosario have previously reported ( Clarinet and Giuliani but the sounds I now hear are quite More on tommaso’s website, including gig lists: I Saxophone , Summer 2011) the Conservatoire individually Tommaso’s. His compositional www.tommasostarace.com Autumn 2013 Clarinet & Saxophone 27 The Clarinet & Saxophone Society of Great Britain is delighted to be part of the 2013 Cornerstone Arts Festival with the Single Reed Day on Sunday, 24th November. The Festival returns to the unique Creative Campus, home to the creative and performing arts subjects of Liverpool Hope University. The programme aims to present an innovative combination of arts in high standard performances, exhibitions and participatory workshops, with an emphasis on showcasing new artists and their works alongside established performers and repertoires. PAOLA NIEDDU outlines some of the highlights around our event - why not make a long weekend of it and enjoy some of the other events? A LONG WEEKEND OF TOP PERFORMANCES Thursday 21 November 2013 Friday 22 November 2013

‘How to flee from St Cecilia’s Day sorrow: Corelli Concert: Britten talks to Stradella’ and Purcell Capstone Theatre, £10/£8, 7.30pm Great Hall, £10/£8, 7.30pm Screenwriter and novelist frank cottrell Boyce joins violinist the centenary of Benjamin Britten will be the most widely and musicologist alberto Sanna in a sequel to the Stradella celebrated anniversary of a British composer ever seen. His Project, presented to great acclaim in the cornerstone arts 100th birthday would have been on 22nd november 2013 and festival 2012. the cornerstone arts festival with the University chamber in this original musical-literary show, you will hear the voices choir prepare to honour Britten. of two very talented composers from late seventeenth century the University chamber choir, joined by soloists and italy, arcangelo corelli and alessandro Stradella, alongside instrumentalists, directed by Philip Duffy, performs Britten and their extraordinary music and fascinating life stories. Purcell’s compositions. Britten was influenced strongly by the music of Henry Purcell, and this is reflected in the programme, which will include Purcell’s Abdelazar Suite (from which Britten took the theme he later used in his Young Person’s Guide to the Orchestra ), Britten’s Simple Symphony and Hymn to St Cecilia , and one of Purcell’s large-scale Odes .

the cornerstone arts festival 2013 runs from 20 november to 14 December tickets for all the events can be purchased online http://store.hope.ac.uk or alternatively at Contacts: tel: 0151 291 2096 • email: [email protected] the Cornerstone Arts Festival Box Office , Liverpool Hope University, the creative campus, 17 www.hope.ac.uk/cornerstonefestival Shaw Street, L6 1HP

28 Clarinet & Saxophone Autumn 2013 The Clarinet & Saxophone Society of Great Britain is delighted to be part of the 2013 Cornerstone Arts Festival with the Single Reed Day on Sunday, 24th November. The Festival returns to the unique Creative Campus, home to the creative and performing arts subjects of Liverpool Hope University. The programme aims to present an innovative combination of arts in high standard performances, exhibitions and participatory workshops, with an emphasis on showcasing new artists and their works alongside established performers and repertoires. PAOLA NIEDDU outlines some of the highlights around our event - why not make a long weekend of it and enjoy some of the other events? A LONG WEEKEND OF TOP PERFORMANCES Sunday 24 November 2013 Saturday 14 December 2013

Joanna Cornerstone Arts MacGregor: Festival – Choral Bach Goldberg Concert Variations Great Hall, £10/£8, 7.30pm Capstone Theatre, £10/£8, 3.00pm an irreplaceable performance and experience for all music students! it has become a wonderful tradition to celebrate the Liverpool Hope’s Professor of Musical Performance, Joanna final day of the festival with the choral concert. Liverpool Hope MacGregor, performs here in one of Liverpool’s newest venues, University choir will perform with members of the Metropolitan the capstone theatre. the capstone is the perfect venue for the cathedral cantata choir. Goldberg Variations : acoustically excellent and boasting a conducted by Stephen Pratt, the programme offers a Handel Steinway D grand piano. celebration including the Foundling Hospital Anthem (Blessed Joanna in 2012 was the soloist in three BBc Proms , and her are they that considereth the poor), Zadok the Priest and opera performance of the Goldberg Variations was broadcast live from arias. I the royal albert Hall in 2013. She is thought of as one of the world’s most innovative musicians committed to expressing musical connections in increasingly diverse and original programmes. the cornerstone arts festival 2013 runs from 20 november to 14 December tickets for all the events can be purchased online http://store.hope.ac.uk or alternatively at Contacts: tel: 0151 291 2096 • email: [email protected] the Cornerstone Arts Festival Box Office , Liverpool Hope University, the creative campus, 17 www.hope.ac.uk/cornerstonefestival Shaw Street, L6 1HP

Autumn 2013 Clarinet & Saxophone 29 William Upton talks to MICHAELA STAPLETON

hat British saxophonists are In 2008 Michaela Stapleton was graduating from the increasingly looking to further their Tstudies in mainland Europe is a cause Royal College of Music, and could have been forgiven for for both celebration and reflection. On one hand, it shows that in the UK the classical wanting to settle down to enjoy the best of what the saxophone is reaping the benefits of the work of musicians such as Rob Buckland, Kyle London music scene had to offer a freelance saxophonist. Horch, and Christian Forshaw, and is being taken ever more seriously by performers, She’d already performed at the Royal Festival Hall with composers, and audiences alike. On the other, it suggests that the music scene in the UK the London Philharmonic Orchestra, and as part of the remains as resistant as ever to the concept of Rising Stars series at Cadogan Hall, but like a growing a specialist classical saxophonist, and those most committed to exploring the instrument’s number of British saxophonists she chose instead to move limits are being driven abroad. “I didn’t really realise this before I went to Paris”, admits to Europe, studying in Paris, the pressure cooker of the Michaela, “but the conservatoires in the UK genuinely do prepare you for what’s coming in saxophone world, with Christian Wirth at the the professional world. During your studies, when you’re learning to be versatile on the Conservatoire Maurice Ravel (CMR). Now she’s back in saxophone, clarinet, and flute, it can be easy to think: ‘Hang on, we’re not actually London, and I took the opportunity to talk to her about specialising in what we came here to do’. But it is very realistic to how life turns out to be her studies in France, and about Cocora, her newly after graduation.” Having paid her dues to the system that keeps the West End well stocked formed duo with marimba player Eri Kaishima, and their with world-class multi-instrumentalists, however, Michaela seems very much in thrall work with composer Ian Stewart. to the rather different approach in France.

30 Clarinet & Saxophone Autumn 2013 “When I went to Paris it was exciting because was closed to other influences at all.” In fact, concert didn’t like the piece”, recalls Ian. “But I was thinking: ‘OK, I’ve had this wider, more it was a French saxophonist, Jean-Denis the saxophone players in the audience did, varied education, and now I’m really going to Michat, who warned Michaela against particularly Kyle Horch, who immediately focus on the classical saxophone.’ In France forgetting her British roots. “When I moved to commissioned a work for a big recital he had they don’t have the concept of working Paris I was really keen to speak French, and coming up. After this, the word spread that I professionally alongside their studies, (in fact for some reason I didn’t have a problem with wrote for saxophone.” Michaela encountered MICHAELA it’s frowned upon) and they don’t do a great the accent so people would assume I was Ian’s work while performing with the RCM deal of ensemble playing. So I entered an French. I remember a lesson with Jean-Denis saxophone ensemble, directed by Horch. “We environment at the CMR where everyone was when he stopped me and said: ‘You know played Purple Gong Orange Tam-tam (for 12 working really hard, and getting incredibly what Michaela, you need to be careful, alto saxophones), which is a really cool work, good, both musically and technically. This because it’s like the way you talk – you’re and great fun to play, influenced by ’60s just enabled me to develop a side to my starting to sound like a French saxophonist’. psychadelia,” she recalls. Michaela’s partner playing which isn’t really a focus in the UK, At that point I thought that was the in Cocora, Eri Kaishima, had also worked particularly in terms of extended biggest compliment, but this with Ian, performing his trio for cello, STAPLETON techniques.” taught me that it’s important This was violin, and piano, Ancient Memory of Michaela’s drive to achieve a level of not to lose touch with what just one of those Diffracted Surf , an arrangement of saxophonic mastery that exceeds what is I’d done before. That’s examples of the which – Ancient Memory of expected and asked for in the UK is unusual, really stayed with me, and I Diffracted Surf 2 – became the particularly in a culture that increasingly tried to keep what I already way the music second major work in Cocora’s prizes knowledge only as it relates to the had and just take the bits I industry is very repertory. “One of the things I love pursuit of financial gain. Somewhat liked from the French way.” much about who about working with Ian is that he is surprisingly however, in their quest to Although Michaela went to you know so attuned to his performers, and is develop a repertoire for Cocora’s unusual Paris to specialise, a surprise always interested in how it feels to play combination of saxophone and marimba, visit from jazz saxophonist Jean- his music,” says Michaela. “Originally he Michaela and Eri turned to Ian Stewart, a Charles Richard ensured her education was arranged Ancient Memory… for tenor composer renowned for producing robust, broader than might typically be expected of a saxophone, violin, and marimba, but it felt a well-crafted works with elegant melodies French conservatoire. “Jean-Charles came bit awkward. The original cello line was just rather than contemporary showpieces. As into Christian’s class one day and said: ‘Is beautiful, lyrical, and easy sounding, and for Michaela says, “it’s hard to get audiences there anyone here who’d like to study with me the tenor is just not! I was thinking this interested in contemporary music, and Ian’s me?’ So thankfully I was able to skip the when suddenly he said: ‘Of course! We have works are both contemporary and audition for the jazz course and go straight in. to put it on alto!’” The result is certainly accessible”. Unusually for a composer, Ian is It was a real revelation for me, because Jean- impressive, and readers will be able to hear a sceptical about the concept of ‘innovation’ Charles is a brilliant jazz saxophonist who recording of Cocora, augmented by violinist altogether, and his works display an almost originally studied classical music with Claude Guillem Calvo, playing Ancient Memory… and total avoidance of contemporary techniques. Delangle, and he really recognised the Earth/Yellow/Midsummer on the Clarinet & “I think innovation is overrated”, he tells me. obstacles I was facing. Being a good classical Saxophone Society’s soon to be launched new “But it’s overrated by funding bodies, not by player and a perfectionist, it’s hard to feel like website. Also, keep an eye on our events artists. The analogy I use is a house: no a beginner again, and I always thought I listings for details of live performances. matter how avant-garde it is, someone’s still couldn’t improvise; suddenly I realised it was Despite the effectiveness with which Ian got to live in it, and in the case of music that’s just a process I had to accept.” It was also balances Cocora’s unusual blend of sounds, performers and listeners.” Ian’s background is thanks to Jean-Charles that Michaela joined he suggests that most composers are in genres such as jazz, New Wave, and storyteller and dramatist Muriel Bloch’s unwilling to follow suit. “A lot of people, Psyschedelia, as much as classical, and in multi-media Le Soufflé des Marquises, particularly in music clubs and societies, Earth/ Yellow/Midsummer , written for touring venues across France and Algeria. don’t even know what the classical Michaela and Eri, his inspiration came from “This was just one of those examples of the saxophone is”, he observes. “And it’s difficult the playing of saxophonist Steve Grossman way the music industry is very much about to say this without it coming across as a with the Miles Davis group of the 1970s and who you know”, says Michaela, modestly. In criticism of composers at large, because it’s ‘80s. “I’ve never heard anybody construct another example, in 2010 she was invited to not, but unfortunately many interesting long melodic lines like Grossman does”, says play the soprano saxophone solo in Ravel’s instruments with unique sounds, such as Ian, “and at that time Davis was using very Bolero , with the recently formed Symphony electric guitars and basses, alto flutes, and percussive synths. I think this comes out in Orchestra of India. “I was in Paris at the time, saxophones, still haven’t really found their my work for Michaela and Eri, who really and an old friend from the RCM gave me a call way into mainstream classical music. Is it bring off the interplay between those soaring and said: ‘Would you like to come to India?’ I because students gravitate towards those saxophone lines and the immediacy of the absolutely love Indian culture and history, so ensembles with the biggest repertoire, or marimba.” I jumped at the chance, and being a because people prefer homogenous One of the stock reactions to hearing some saxophonist on an orchestral gig, there was a combinations?” he asks. Certainly, although of the incredible saxophonists coming out of lot of time during rehearsals to go out and the saxophone still cannot access some of the France is to bemoan their uniformity: it’s fine explore Mumbai on my own.” avenues available to other instruments, that they can do things that we can’t, but Clarinet & Saxophone readers will already Michaela is showing that it is possible to aside from the fact that they’d never scratch a be familiar with Ian’s work, as there can be explore its unique sound within the musical living in the UK, they all sound the same. I few composers to have been so active in their landscape of the UK. As Ian’s new works asked Michaela if her experience of the support of the classical saxophone. His love show, Cocora’s combination of saxophone French teaching system conformed to such a affair with the instrument began in 1990, and marimba could well be a happy hunting stereotype. “I think it’s misleading in that it’s with a commission for a soprano saxophone ground for future composers willing to break normal that a teacher wants to guide a quintet, performed by John Harle at the début free from standard line-ups. student in the same way that worked for performance of the world-famous Smith www.cocora.co.uk them, and personally I didn’t find Christian Quartet. “The journalist who reviewed the www.ianstewart.eu I

Autumn 2013 Clarinet & Saxophone 31 Eric Hoeprich AN INTERNATIONAL SCHOOL OF CLARINET PLAYING?

he twentieth century saw an entrenchment of woodwind playing styles, difference between ‘head’, ‘middle’ and ‘chest’ basically along national lines and reflected especially in the sound voice – which might be easier to achieve on an production of clarinettists in the world’s major symphony orchestras, who Oehler instrument. They also strike me as T slightly more powerful, although possibly a were often also prominent soloists. A proliferation of recordings helped a discerning touch more cumbersome. public learn to recognise these differences, and it became enjoyable to try to identify It is worth noting that more and more an orchestra in a sort of ‘drop the needle’ test when, for example, turning on the students go abroad for their tertiary radio and hearing an orchestra in the midst of a symphony by Beethoven. An education. The motivation is usually as simple essential clue was nearly always the sound of the wind section, at least for wind as the desire to study with a particular players. Is this still possible? If it is, can we still regard the differences in sound and teacher, or an opportunity made possible by expression as ‘entrenched’ as they were in the mid-twentieth century? grant money. The presence of foreign students among the locals is enriching for everyone. As a contribution to the 2007 Colloquium which any contestant has to be judged, This however may not be reflected in who celebrating the addition of Sir Nicholas intonation, proved to be one of the more gets the prime spots in an orchestra or on a Shackleton’s clarinets to the decisive factors. The organisers had wisely conservatoire faculty, employment that Edinburgh University’s Collection of chosen the ‘average’ pitch of a=442 Hz, generally still tends to go to locals. Which Historic Musical Instruments already placing a similar number of players at a leads to another phenomenon - a new, impressive holdings, I discussed the history of similar disadvantage. In spite of the pitch international breed of top-quality orchestras differences in clarinet design east and west of being known well before the competition, too working on a project basis. The Chamber the Rhine 1. My main point was that already in many players seemed unprepared, generally Orchestra of Europe is a good example, with the eighteenth century, French clarinets playing not just slightly sharp, but very sharp representatives from practically every tended to show design differences from their to the piano. (To be fair, it did appear that European country and a wind section that has German counterparts, and that these players accustomed to 442 played more in varied over the years including differences became more pronounced during tune.) Aside from occasional issues of clarinettists from England, the course of the nineteenth century. Bore intonation, all these clarinet players It is worth Germany and France. This size and shape determine the resistance of the were excellent by any standard. noting that more model of a non-resident instrument and influence the sound. The Listening to young clarinet orchestra has been taken up liquid ease of playing French instruments has players elsewhere in the western and more in many places, with players led to a sound often described as light and hemisphere has yielded the same students go coming in for individual brilliant, qualities eschewed by players of experience. There is a thriving abroad for their projects rather than being in German instruments, which are more clarinet culture in the US with tertiary residence throughout a resistant and usually described as sounding basically the same sound ideal, conventional season. dark. again best described as warm and education No special mention of reeds If the antecedents are recognisable and, due flexible. Little of the transparency or has yet been made, that fickle and to current activity in organological research, quick-footed lightness which one might all-important element of clarinet sound. For are becoming ever more carefully quantified consider typical of French instruments is in the most part players stick to the usual (who did what, when and where), then a evidence. But by European standards, the method of using their preferred brand of discerning look at the state of clarinet playing Americans sound slightly more like the conventional reeds. There is definitely a trend today can be revealing, where the most traditional French players, featuring more towards playing harder reeds, recently striking aspect is a tendency toward a brilliance and effortless projection. exacerbated by reed makers. Most players worldwide standardisation. The vast majority Americans tend also to experiment with more would agree that a number three today is of clarinettists play on French instruments models of clarinets than Europeans. It is not stiffer than a number three of ten years ago. (usually Buffet-Crampon models), with a unusual to see top players with clarinets by Beginning with Légère in Canada (founded standard French mouthpiece (often a French makers other than Buffet-Crampon, 1998), there is also a growing production of Vandoren B45) and French-model reeds, and for example by Luis Rossi of Chile or synthetic reeds. Now there are several brands strengths 3½ or 4. Not surprisingly, players Jochen Seggelke of Germany. to choose from; these reeds are used by tend to sound similar. It’s almost off-putting how much clarinet players in a variety of top orchestras. For example, at last year’s ARD competition students at the Paris Conservatoire national Although the sound lacks the warmth and in Munich, the prize winners were from supérieur de musique (CNSM) resemble a style depth of reeds made from cane, they have Belgium, Russia and Serbia. They performed of playing traditionally heard outside their obvious day-to-day advantages, lasting for on French instruments, with sounds that were native country. Occasionally a few first-year weeks, if not months. warm, flexible, and also strikingly similar. In students retain the more brilliant, lively Another noticeable trend is the growing the phases of the competition leading up to sound produced with softer reeds and less interest in playing on historical or ‘period’ the final, players had come from every corner resistance in their set-up, but they soon fall in clarinets. Perhaps we now have a swing back of the globe. Given that the competition was line. While there is no denying that this to a new ‘drop the needle’ test, where a guess in Germany, it was somewhat disappointing warmer sound is objectively more beautiful, I relating to a random Beethoven symphony that only four of the 32 first-round miss the lovely transparency and lightness of has more to do with ‘modern’ versus ‘period’ contestants played on German/Austrian years past. And while most music schools in instruments than with national style. Given instruments, and it is true to say that although Germany currently have a proportion of that the rise in an international school of this was noticeable, it was perhaps not quite students playing French clarinets, the clarinet playing is here to stay, one way of as pronounced as one might expect. They too traditional Oehler-system clarinet is for the keeping the vital link between various types produced a warm, flexible tone, and in the moment still dominant. Heard one after the of repertoire and the appropriate clarinets is ‘new music’ selections showed a facility that next, the difference in timbre, especially on through the choice in instruments. It is a might have been thought impossible on a certain notes is fairly obvious and interesting somewhat vast place to find oneself given the German instrument. Curiously, a factor by – more like a singer with a pronounced sheer number of instruments required to

32 Clarinet & Saxophone Autumn 2013 AN INTERNATIONAL SCHOOL OF CLARINET PLAYING? function in the period instrument world. With more frequent use of the C clarinet, an Eric Hoeprich has for the past 30 years repertoire stretching from Vivaldi to Brahms, instrument prized for its colour, and used specialised in performing on historical and oddities like chalumeau and basset horn effectively by a variety of composers, from clarinets, ranging from music of the Baroque in between, a considerable arsenal of Beethoven to Brahms. Berlioz already railed to the late Romantic. A founding member of instruments is needed. Add to this, the against transposing C clarinet parts to the Bb Frans Brüggen’s Orchestra of the 18th Century, sharply defined differences between the clarinet, as did many others including Wagner Hoeprich also plays regularly with a variety of German clarinets Mendelssohn knew and and Richard Strauss. Fortunately, today most early music ensembles, often as a soloist. He expected to hear compared with the Parisian of the better instrument makers are also has founded two wind ensembles, the Stadler clarinets that Berlioz appreciated, making two finally producing good-quality C instruments. Trio and Nachtmusique, the latter performed sets of three instruments, just for the first half In some cases (e.g. Chicago Symphony) this in this year’s Edinburgh Festival. His dozens of of the nineteenth century. Add to this a set of has also led to using sets of Oehler-system recordings are available on a number of labels, classical clarinets (plus a basset clarinet and clarinets in Classical era repertoire, judging and an interest in historical clarinets has led basset horn), and we can see where this is the sound to work more convincingly for this to the publication of a book, The Clarinet (Yale heading – to a massive compromise that music than French instruments. University Press, 2008) and articles dealing undermines the basis for the Early Music In conclusion, it is clear that today’s clarinet with aspects of performance and organology, movement. For instance, programmes landscape differs markedly from that of the including the New Grove Dictionary . Educated featuring symphonies by both Mozart and previous century and that greater uniformity at Harvard University and at the Royal Schubert, which are not unusual, also in clarinet sound appears to be here to stay. Conservatory of Music in The Hague, he is represent different generations in instrument Slight compensation can be found in that currently a faculty member at the latter, and design, and yet for practical reasons no one players of any clarinet, French or German, can also at the CNSM in Paris and Indiana would consider changing instruments during find employment in places where they had University, Bloomington. Hoeprich has such a programme. The slightly rougher, previously been unwelcome. A greater amassed a collection of over a hundred wholesome sound of early Haydn and Mozart compensation can be found in the variety of antique clarinets and built replicas of period contrasts sharply with the more refined clarinets being played around the world, and a originals, maintaining a workshop in woodwinds being built in Vienna in the 1820s growing interest in seeking clarinets that fit Bedfordshire, where he lives with his wife, the by makers such as Koch, Ziegler and specific repertoire. Given that a fair amount of violinist Catherine Manson. Uhlmann. experimentation is ongoing, we can assume 1 Published last year as Proceedings of the Clarinet and Woodwind Colloquium 2007 , ed. arnold Myers, published by Back in the ‘modern’ world, there might also for the moment that the scene is healthy and edinburgh University collection of Historic Musical instruments, be a link between period instruments and the robust. 2012. I

for cLarinet

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Autumn 2013 Clarinet & Saxophone 33 WHERE CAN I PLAY?

HYTHE TOWN CONCERT BAND specifically for adult learners and THORNBURY CLARINET CHOIR returners at several venues in central and HYTHE TOWN CONCERT Scotland. activities include easy and Rehearse : 2nd Saturday of the month, 2 - TRAINING BAND intermediate woodwind ensembles (flute, 4pm oboe, clarinet and bassoon), a moderately Location : thornbury United reformed Rehearse : (Senior Band) tuesdays from easy saxophone and brass group, a play- church, thornbury, South Gloucestershire, 7.30 - 9:30pm in term times along band with occasional taster events BS35 2Ba (training Band) tuesday from 6.15 to for complete beginners. the workshops Standard : adults, grade six plus 7.15pm in term times. are one-off events which recognise that Contact : Location : Saltwood Primary School, many adults have commitments which [email protected] Grange road, Saltwood, Hythe, Kent, ct21 prevent them from attending bands or the thornbury clarinet choir has been set 4QS orchestras on a regular basis. up to cater for adult clarinettists of grade Standard : (Senior Band) grade five, Most of the Blow & Blast music is specially six plus standard. there are a few places (training Band) grade one arranged to suit the capabilities of the left for Bb and bass clarinettists and we Contact : Deryck euden, 01303 812381, individual participants so the sessions are would particularly love to hear from 07790 430677, [email protected] always pleasurable and rewarding. new players of eb, alto, contra-alto and contra- www.hythetownband.org players can be sure of a warm welcome but, bass clarinets. the HtcB is a community band with a as the groups are kept small to ensure www.thornburyclarinetcho.wix.com/thorn history stretching back to the 1880s. We plenty of individual attention, advance bury-cc play a wide range of music from the booking is advisable. www.facebook.com/thornburyclarinetchoir established concert band repertoire to more contemporary pieces and will always ICC SAXOPHONE ENSEMBLE IONIAN CLARINET CHOIR offer a friendly welcome to any new woodwind, brass and percussion players of Rehearse : Sunday afternoons, once a Rehearse : fortnightly on friday evenings any age. Whether you would be interested month, most of the year. Location : christ church Hall, 75 oakleigh in the senior or training section why not Location : inch community centre, Park, north Whetstone, London n20 9ar come along and meet us? all enquiries edinburgh, eH16 5Uf Standard : Grade six or equivalent welcome. Contacts : Bill Blackwood Contact : www.ionianclarinetchoir.co.uk [email protected] 0131 554 6183 We are looking to recruit some new BRECON TOWN BAND and Jim Glancy on 0131 664 2996 clarinettists this autumn! if you live in [email protected] north London, or South Hertfordshire, why Rehearse : Mondays 7-9pm icc Saxophone ensemble - new players not come along to the ionian clarinet Location : theatr Brychieniog, Brecon always welcome. choir. for more information and contact canal Wharf, Brecon, Powys, LD3 7eW the icc has been expanding the number of details see our website. Standard : no entry requirement apart its players recently, but there is still plenty from the ability to read basic music room for more. Players come from within Contact : David Jones 07779390954 edinburgh, and also the surrounding areas, [email protected] to regular monthly rehearsals. as a www.brecontownband.com community venture, we don’t ask for a friendly, happy community concert band auditions, but aspiring players should be who play a mixture of music - easy- music literate to enjoy participation. there listening/film music (which we perform at has been an annual concert early each Perth local agricultural shows/food year, which we hope to continue, but other festivals/Victorian festival), christmas opportunities to perform have been music which is played in Brecon and opening up, raising the ensemble’s profile Edinburgh classical music appropriate to our hugely both in the city and outside. if you feel you successful Last night of the Proms biennial would like to try us out, do please make concerts. contact with Bill or Jim for more Both young and older players are welcome information. - the band has a wide age range. We particularly need clarinet players. there are some student and professional level instruments available for the use of members if required. Membership costs £35 per year payable after three visits.

BLOW & BLAST Rehearse : one-off woodwind ensemble workshops – various dates/times Locations : Birnam arts, PH8 0DS; Perth North concert Hall, PH1 5HZ; St andrew’s Brecon Whetstone church, callander, fK17 8aL. Standard : adults from beginner – intermediate level. Contact : tricia or trona 01764 652052 Bath [email protected] Hythe www.blowandblast.co.uk Blow and Blast run ensemble workshops Summer 2013 Clarinet & Saxophone 34

34 Clarinet & Saxophone Autumn 2013 ZEPHYRIAN WOODWIND ORCHESTRA Rehearse : thursday evenings (8pm) and Sunday afternoons (3pm) alternating fortnights. Location : St Marks community centre, Bath, Ba2 4Pa Standard : Grade five, all ages Contact : richard 01225 313531 or [email protected] ZWo was founded in 1994, evolving from a clarinet choir run for his pupils by director, richard carder. the clarinet choir rehearses on thursday evenings and the full band on Sunday afternoons. current strength is 16 players, but we are currently short of saxes (especially tenor and baritone) and clarinets (Bb and bass), and want to get back to over 20 members. the line up is flutes, oboes, clarinets, bassoons and saxophones. ZWo has played in the Bath festival most years since 2000; also in the cheltenham festival in 1996 (where we premiered eddie McGuire’s West Wind, and in several We commissioned new music from Judith Zephyrian Woodwind Orchestra national concert Band festivals, where we Bailey ( Mor Gwyns ) for clarinet choir in won the Gold award in 1998. We normally 1995; from Michael Short ( Water Music ) in play at least three concerts per year, 2009 and recorded a cD for Dunelm in raising money for local charities. 2002, Wassail Rhapsody. I

Autumn 2013 Clarinet & Saxophone 35 BOOK review

ROAD RAT’S TIPS PLAYING THE SAXOPHONE IMPROVISE FOR REAL The musician’s guide to Rob Buckland David Reed keeping comfortable, Astute Music Self published but safe, sane and www.astute-music.com available from Amazon employed on the road £25 at £22.08 paperback or Pete Cook £16.43 e-book. it’s quite important to Gigster Publishing quote the author’s sub- www.Improvise www.gigster title for his 136-page ForReal.com publishing.com £9.99 magnum opus , ‘a multi- this 254 page manual is Pete cook is a highly dimensional approach in several ways quite respected saxophonist who has been Head using technical understanding to enable remarkable. firstly it covers a slightly of Jazz at the London college of Music for creative and artistic freedom’. it is not for broader area than the accepted definition the last ten years and was previously a beginners, ‘it is for students of the saxophone of improvisation (extemporisation on music lecturer at Brunel University. When i who have reached the point where they want someone else’s composition or chord first heard about his book i thought it to start taking their playing to the next level’. sequence) by including composition and would probably be a collection of for example: grade five/six level players secondly by eschewing the majority of humorous anecdotes about the jazz wanting to secure a path to grade eight, musical conventions including notation, business. i was wrong; it is a very serious first/second year under-graduates aiming at key signatures and (most) chord symbols. book indeed. it does contain some an impressive third year performance recital “a bit brave” i hear you say; well it certainly humorous anecdotes, but they are and even for professionals preparing for an made for difficult reviewing by someone highlighted in shaded boxes to separate audition. oh, and for long-standing amateurs with nearly 65 years of semi-pro jamming them from the basic serious information. (like me), not too tired for a challenge. in public on the back of Benny this is typical of the well organised layout So, how to review such a book? Should i Goodman/artie Shaw/Stan Getz ‘hot licks’ of the book, which is presented very work through it chapter by chapter and books and tutors with transcribed solos. clearly, with bullet points at the end of check on how i improve? no chance! the four purchasers of the book in text from each section, which are all repeated in a editor would be forever awaiting the review. amazon UK rate it with an average of 4.2 coda for quick reference. at first i had Should i read it thoroughly and look at the stars (out of 5), many more, internationally reservations about the title; why should a six (to date) superb mini-tutorials related to based, proffering testimonials on the distinguished musician like Pete refer to book chapters and delivered by rob as website, rate it ‘as the best method they himself as a ‘road rat’? as i read the book video clips on youtube? Should i just sit have ever come across’. reed’s method the answer dawned on me; rats do not have back and think of the many scores of breaks down into five lessons, advising that a cuddly image, but they are among the records, recitals, workshops and events i the first two are the most important and greatest survivors on the planet. However, have experienced with either rob or his that for deep assimilation some months of i think i might have called it ‘road rat’s students performing at the top of their effort are required for each of them. Lesson rules’. these are more than mere tips; they game? of course i did both. one, ‘Landscape’, involves exploring all the are rules for survival in any form of When it comes to saxophone sound notes on your instrument in half-tone steps itinerant professional music making, be it (classical, jazz or pop) Buckland is the with each treated as equals and goes on to gigs, pop tours, symphony orchestra tours, business. Just watch the youtube clip use various movements on the chromatic jazz festivals, opera tours, whatever. Pete Vibrato - awesome. (the five others are: scale to become familiar with whatever is a great one for mantras i.e. oft repeated Harmonics, embouchure, air focusing, Jazz range you can comfortably produce. it rules. His favourite is: ‘Giving your best inflection and articulation and extended carries on with meditation on any random possible performance must take techniques.) What he teaches in this book note, improvisation on 4/5 note runs and precedence over everything’. i particularly definitely works. on more than one solo movement into whole tone steps over an like: ‘you can’t be too early, but being late saxophone record reviewed in Clarinet & octave. Lesson two explores (random) isn’t an option’. on the whole, i think i Saxophone i have mistaken the actual major scales and moves into suggesting measure up to Pete’s standards pretty well artistes, ex-rncM alumni, to be rob. But that the student starts to sing ‘away from after my 64 years in the business, but don’t expect instant success, we are talking your instrument’. it is at this point i where i could learn a lot from him, were i here of a one to two year period of registered where reed’s method is still gigging around, would be in his clever practising the 20-odd modules set out in grounded – it’s in ear training (for those use of modern technology, such as sat Playing the Saxophone . typical teaching without that enviable gift of a ‘musical ear’) navs, smartphone apps and the internet. i points cover: posture/sling/crook angle, unencumbered by having to learn the love the illustrations by Sue Lee; she has finger positioning, air (a lot about air!), basics of musical theory. created a persona for road rat, who always embouchure, starting/stopping a note, Lessons three, four and five cover ‘Pure wears a beret and carries a sax case. i sound focusing, long note practice, Harmony’, ‘Mixed Harmony’ and ‘free would like to see a comic strip about him, intervals, intonation, alternative fingering, Harmony’ respectively. So, in summary, for getting into impossible predicaments on vibrato, harmonics, dynamics, articulation those willing to devote perhaps six months tour, or even an animated movie, vocalised and much more. to a year or more to practising his method by some aging jazzman with a quasi one tiny point of criticism: with it is quite possible that (given the right Satchmo voice. increasing need for saxophonists to more instrumental fluency) they will be able to this book should be required reading for than double across the range of sizes – play any tune in any key from memory and all music students and young professionals typically soprano and sopranino or baritone make a reasonable fist of improvising on it. in every branch of the music profession and bass a module on the impact of and, the author claims, his method can be without exception. i foresee, in the not too doubling on embouchure/intonation would interspersed with conventional musical distant future, the London college of Music be useful. overall (taking both the book and study with impunity. offering a new diploma - fQrr (fully video content) this publication is very Kenneth Morris I Qualified road rat). highly recommended indeed. Paul Harvey Kenneth Morris

36 Clarinet & Saxophone Autumn 2013 Autumn 2013 Clarinet & Saxophone 37 illumination to the early work of important CD reviews arrangers, many of whom have gone on to influence the course of later jazz and even from two guys (Dave Lambert and Buddy pop music. an invaluable piece of jazz SaXoPHone Stewart) who unfortunately infest the end history. of this and the first three tracks of the next Kenneth Morris THE COMPLETE cD. the final cD, number three (apart from PURE GOLD 1 (The Early Years) CHARLIE PARKER the first three tracks) delivers some Volume 6 Passport attractive material from the quintet plus The Northern Dance Orchestra Charlie Parker turk on trombone, Jackson on vibes for (alto sax) with Cheryl , On a Slow Boat to China , and The NDO Project various groups Chasin’ the Bird all roost radio CDs 103/4 transcriptions. We then move into the www.northern Frémeaux et recording studios with the basic quintet for Associés FA 1336 danceorchestra two versions each of Segment and .org.uk www.fremeaux Passport . from a Parisian public concert by .com the quintet we are treated to Moose the readers of Clarinet & Saxophone Vol. 37 no. 1 (Spring 2012) Volume Six covers charlie’s recorded Mooche , Hot House , Allen’s Alley , 52nd might remember a review of the nDo’s activity in the first half of 1949, not quite Street Theme and Salt Peanuts . Diamonds double cD numbered corrian cD following on from our previous review of the set finishes with a somewhat 101/2 which covered rescued archival Volume four which took us to the end of ramshackle jam session from the same recordings of the BBc’s northern Dance 1947 (published in Clarinet & Saxophone Salle Pleyel event. orchestra from a slightly later period than Volume 37, no 2, Summer 2012). Hopefully, Kenneth Morris this particular offering. in due course, the appearance of a Volume the reviewer makes no apology for five will fill the 1948 gap. as usual EAST COAST JAZZ WORKSHOPS repeating his opinions about the masterful frémeaux supply a superb detailed booklet New York 1954- work of this 1950s to the late ‘80s dance along with their three cD 3.5 hour set 1961 band which combined the skills of great carrying 45 music tracks. the cDs actually arrangers with superb section players, total 75 tracks as the producers have Miscellaneous talented soloists and focused musical ‘labelled’ the radio announcer’s groups direction. indeed the work of this commentary, often puerile, as broadcast Frémeaux et aggregation sets a gold standard in from the new york royal roost jazz club. Associés 2-CD set precision performance and rightly earns its firstly the downsides of this volume. FA 5392 title. as before not all 54 tracks, lasting there is much repetition of tunes e.g. five www.fremeaux over two hours, will be of interest to sax Scrapple From The Apple , four Salt .com £25 players/fans (our readership) as there is a Peanuts , three Bebop , three Grooving High this absolutely splendid set of modern jazz sprinkling of vocals and tracks employing etc., a little too many outrageous or septet to dectet groups, lasting well over additional instrumentation from the repetitive interpolated quotes and on one two hours, contains a fascinating variety of northern Variety orchestra, but this takes track ( Grooving High , 29th Jan) a total Birth of the cool (the famous Miles Davis nothing away from the staggering ‘collapse’ of charlie’s performance à la nonet disc scored by Gil evans and competences of the sax section. they Lover Man back in his california days. But, recorded in 1949-50) inspired double/solo/deliver amazingly unified as for any genius, upsides remain with arrangements with nearly every track phrasing and matched vibratos wherever unbelievable speed of improvisation carrying one or more solos by a top rank and whenever they blow. combined with enormous spurts of single reed player. it takes a 32-page My ex-professional friends from the creativity, as the tV advert says, “often booklet to explain and document the same era as the nDo tell me that the secret copied but never equalled”. content/personnel involved over 39 tracks, of their performance standards was rather 80% of cD 1 features the charlie Parker with 33 different groups employing 26 simple, but today perhaps much more all-Stars made up of charlie, Kenny different arrangers! difficult to achieve, the sections played Dorham (trumpet), al Haig (piano), tommy in the space permitted for reviews there together every day (and often twice!). oh, Potter (bass) and either Joe Harris or Max is no hope of covering everyone concerned and the Musical Director insisted, “no roach on drums. the balance comprises but a summary of highlights should passengers!” one short unmemorable track with charlie underline the importance of this set. cD Pure Gold contains some dated and Machito’s afro-cuban orchestra plus one opens with al cohn as a tenorist and arrangements, some best forgotten hits of two excellent 11 minute carnegie Hall Jazz arranger moving on to Manny albam and the day, but don’t let this distract you from at the Philharmonic numbers, Leap Here Brookmeyer writing for Phil Woods, cohn listening to Johnny roadhouse, roger and Indiana . the latter feature norman and Sol Schlinger. ernie Wilkins, Bill Potts, fleetwood, Gary cox et al. strutting their Grantz’s better soloists of the day, fats Quincy Jones and Gigi Gryce then produce stuff on hardy standards and pure dance navarro, flip Phillips, tommy turk, Sonny excellent charts – especially tracks 18 and tunes with arrangements from alyn criss, Hank Jones and, of course, charlie – 19 featuring solos on alto by Gigi. ainsworth, Pat nash and ralph Dollimore. to set that lot alight. the second cD has a more modern cum if there is one (minor) criticism it is that, cD 2 opens with an initially poorly experimental feel. Writers include Gil with so much formerly long lost material, recorded Lover Come Back to Me by the evans, George russell, andre Hodeir, teo full personnel/arranger data and recording crew from the end of cD 1. However, there Macero, charles Mingus, Gil Melle, Billy dates are not available. a wonderful trip are 15 minutes of top quality soloing from Byers, Hal Schaefer, George Handy, Michel down memory lane. recommended; but all involved, although close inspection of Legrand, Bill russo and John carisi. reed then i suppose i’m an old fogey. charlie’s input indicates quite unusual soloists include Hal McKusick, Gerry Kenneth Morris phrase repetition. the rest of the disc Mulligan, Phil Woods and Gene Quill. reverts either to cD 1’s all-Stars or an alain tercinet, the frémeaux Producer augmented quintet adding Milt Jackson on who assembled the material and wrote the vibes and/or Lucky thompson on tenor accompanying booklet, deserves a medal plus some pretty appalling ‘scat’ singing for his efforts which bring considerable

38 Clarinet & Saxophone Autumn 2013 WHAT IF RUPERT MURDOCH MRS MALCOLM cLarinet LIKED JAZZ? Scottish Saxophone The Dan FRENCH MELODIES Ensemble Forshaw/Chris Les Haricots Smith Group Richard Ingham Rouges (soprano), Sue Dan Forshaw McKenzie Frémeaux Soprano/tenor (alto/soprano), Associés FA 586 saxes/bass Tim Watson (tenor www.fremeaux clarinet, Chris soprano), Mike Brogan (baritone) .com Smith trumpet/trombone Largo Music LARGO007 not at all the www.danforshaw.com £10 www.largo-music.co.uk £10 normal ‘fare’ of a magazine devoted to single-reed matters this delightful disc in many respects this is indeed a strange What a delight! a magnificent collection of captures both the spirit of france and of collection of nine tracks lasting 54 quartet pieces, beautifully played, expertly new orleans by having a group of minutes. it is my profound belief that its recorded and sporting a well balanced musicians with contemporary technique content must surely answer the question bright sound from each saxophonist. With deliver Gallic tunes/songs in the style of posed by the title: “He would definitely not a wonderful variety of material clearly the original Dixieland Band. as most of buy this cD”. written and arranged by those who our jazz oriented readership will know, take track one, I Have No Recollection . it understand our instrument this must rate clarinet playing by the architects of early starts with a miscellany of telephone as one of the best quartet recordings of jazz could be described as coarse or naïve dialling/modem sounds and proceeds with recent years. with a tone and vibrato ranging from rough a variety of unrelated snatches of very Seven works lasting a total of 56 minutes to excruciating. no such diversions here. short stanzas played on a mixture of saxes, provide a captivating programme for either clarinettist alain Meaume and his but there is no shape, sense or musicality players or listeners starting with Mrs compatriots on trumpet, trombone, banjo, to the piece. Someone advised me once Malcolm, Her Reel . this clearly piano, bass and drums produce a splendid “that you never get a second chance to nationalistic piece contains a splendid bit ‘jazz in the drawing room’ sound akin to the make a first impression” - obviously the of soprano sax improvisation from the modern jazz quartet’s laid back approach producers of this disc had missed out on composer (richard) in a boppish style – back in the ‘60s. the same homily or else they would have wonderful! if any of our clarinet playing readers are opened up with perhaps the second or third roberto Di Marino’s Quartetto II , a three part of a Dixieland group they are well tracks which are modest jazz-rock movement work made up of a well advised to listen to Les Haricots rouges numbers. constructed tango, a tuneful Milonga who, understandably secure enormous elsewhere the cD staggers through an ballad and a tanguillo with clever audience support for their wordwide unaccompanied tenor sax extemporising interweaving lines provides a solid bridge appearances as concert openers for major behind a young lady reading from a Martin to ian Watson’s So Softly a modern, but jazz and pop stars. they are melodic, Luther King speech; snatches of bass accessible, piece involving very close relaxed, they swing and are extremely clarinet/soprano sax – the latter very harmony and, i suspect, devilish accessible. on the downside (for this poorly articulated and an extended up- embouchure control. reviewer) there are only a couple of tempo tenor sax improvisation on a banal New York Suite (by Paquito D’rivera) is a clarinet solos and too many of the 17 tracks theme Northern Line wherein, again, the four movement piece of serious have a vocal content. nevertheless a very articulation is suspect. entertainment for player and audience enjoyable 58 minutes of entertaining, foot- the forshaw/Smith Group comprises alike. first up ‘Sofia’ is jig-cum-carillon- tapping music. any band who copies this forshaw (saxes/bass clarinet), Smith cum-canon. ‘Waltz’ has a dark sultry gang will never go short of gigs. (trumpet/trombone/programming) plus a ambience with quite modern harmonies Kenneth Morris keyboard player, string or electric bass, whilst ‘Monk-tuno’ has a light, playful almost Latin-american feel. ‘escape to guitar and drums and employs multi- EINAR JÓHANNESSON tracking effects to deliver a quite ‘fat’ Dreamland’, modern, attractive and sound. it’s a great pity that the material technically demanding, completes the Clarinet chosen for this cD does not do justice to suite. Concertos either pure jazz, jazz-rock or even ‘poppish of the final three tracks, Sederunt (from Mozart K 622; jazz’. Perotin) is arranged by richard whilst Weber No 2; Kenneth Morris Through a Landscape and Walking the Debussy Première Cowgate are both composed and arranged Rhapsodie; Jon by him. the former is a chant-like piece Nordal Haustvisa. whilst the two latter works are quite modern, contain either tenor sax or Iceland Symphony soprano sax improvisation or both. and Orchestra, conductors Hermann Bäumer; they also feature virtuosic playing with a David Searle; Petri Sakari. strong jazz influence. in summary, a cD to Smekkleysa ISO2 £13.25 be enjoyed by all. Very strongly iceland’s leading clarinettist and principal recommended. of the symphony orchestra since 1980 has Kenneth Morris assembled a personal collection featuring three highlights of the standard repertoire plus an original work by iceland’s senior for composer. this would be a very suitable cD Superpads cLarinet for someone wanting a single-disc overview of the clarinet’s history as a solo only from concerto instrument. a few points of www.woodwindco.com [email protected] interest: for the Mozart Jóhannesson uses

Autumn 2013 Clarinet & Saxophone 39 CD reviews the ‘short’ clarinet despite a mention in the excitement, melodies, humour and vitality and quintets. However, i was left programme notes of the basset clarinet. being just a few examples. this cD does not disappointed by the cD as a whole. How quickly the traditional version has disappoint. the playing is exemplary and Wind music is always a hard sell be it to started to sound a bit old-fashioned! He is the repertoire is a fine selection of some of concert promoters or as a recording. as suitably operatic in the Weber, particularly the best of françaix’s music featuring wind performers selling core wind chamber the imaginative and dramatic second instruments. the highlight of the cD is the music, we should strive to offer the best of movement. the nordal is not so much a clarinet concerto, performed by Philippe our repertoire to audiences. this cD concerto as a rhapsody, somewhat in cuper and the orchestre de Bretagne. features works by russian composer Delius style, (Haustvisa means autumn cuper delights in this recording - he makes nikolai tschemberdschi, Brazilian poem) but with a brief orchestral outburst the concerto sound effortless and his composer Joao Guilherme ripper and near the end, somewhat recalling the playing full of life and character. american offerings from arthur Berger, nielsen concerto. if only there had been the repertoire also includes the Theme Walter Piston, Walter Hartley and Martin room to include this too! Jóhannesson’s and Variations for clarinet and piano which Scot Kosins. the music presented is all nice sound is big, broad and expressive with a again is extremely well played. i was a little and easy listening, however as a complete hint of vibrato, a little reminiscent at surprised by some of the tempos set, but cD i was left wanting more from the music. moments of reginald Kell and particularly that is personal and did not distract from the cD seems to throw these more suited to the Debussy, in which i think he my enjoyment in any way. nicolas Prost’s unknown works together and lacks some of gets closer to what the composer probably dulcet tones gave the Cinq Danses the fantastic more substantial and well expected to hear than many other players Exotiques for saxophone and piano a known wind works that would have added today manage, though as always i missed magical quality and the Divertimento for needed musical weight to this recording. any real touch of doux et pénétrant , an bassoon (performed by Lola Descours) and the playing was also a disappointment. for effect that has virtually disappeared from wind quintet is delightfully performed. i a wind quintet that have been playing modern playing. you can read more about would recommend this cD to anybody - together since 1959 and have a catalogue this interesting musician in Pamela good repertoire and virtuosic playing, of many cDs and impressive press quotes, Weston’s Clarinet Virtuosi of Today. thoroughly enjoyable. there were too many intonation and John Playfair Sarah Watts balance issues within the recording itself. at times the ensemble was not together. a JEAN FRANCAIX 1912 - 1997 RAINBOW SUNDAE little more general attention to detail would have made a big difference to this Le Gai Paris Westwood Wind recording. Indesens 045 £13 Quintet Sarah Watts I the music of Jean Trios, Quartets françaix is very and Quintet much in the Crystal Records limelight at the CD759 £17.99 moment following i was excited to the centenary of his birth last year. as far review this cD. it as french wind music writing goes françaix offers a selection of wind trios, quartets offers players and audiences everything -

Steve Crow Saxophone Specialist 0113 440 0987 0789 900 1099 www.stevecrow.co.uk [email protected]

Superpads for cLarinet

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40 Clarinet & Saxophone Autumn 2013 “e horn that I have been waiting for the last 30 years” Courtney Pine and now Nathaniel Facey joins as the new endorser of the Conn-Selmer saxophones

Vincent Bach International Ltd Unit 71 Capitol Park Industrial Estate, Capitol Way, London, NW9 0EW Tel: 020 8358 8800 Autumn 2013 Clarinet & Saxophone 41 enharmonic note spellings. the new Music reviews Boosey and Hawkes edition includes accompanying biographical detail as well as an essay entitled ‘thoughts on Playing SaXoPHone cLarinet the Sonata’. the Bernstein Sonata has featured as part of the aBrSM grade eight DOUBLE CLICK PREMIÈRE RHAPSODIE syllabus until recently, however the piece 30 byte-sized Claude Debussy has not been included in the revised pieces for solo Clarinet and piano syllabus. Whilst not a mature piece and not saxophone particularly indicative of Bernstein’s Gérard Billaudot GB9128, £11.95 Chris Gumbley, generally more popular style, the sonata is this is now the Karen Street and a piece worthy of study by clarinettists and fifth edition which James Rae it remains a significant work in the 20th has become century clarinet repertoire. Gumbles available of the Andrew Smith Publications Debussy Première GP203, £8.50 Rhapsodie . CINEMA CLASSICS this is a set of 30 Billaudot the pieces for unaccompanied saxophone. french publishing 12 Blockbuster Movie Play-alongs they are generally arranged in a company have Vahid Matejko progressive level of difficulty ranging from produced a new Clarinet & mp3 CD grade one to grade five standard. i have very attractive Alfred Music, £12.50 been a fan of chris Gumbley’s other volume of this classic of the clarinet publications for saxophone, Cool School , repertoire, famously written in 1910 as a this is another and the more recent Tongue and Groove test piece for the Paris conservatoire. Guy collection of play- with their contemporary feel. Both of those Dangain is the editor and has produced this along pieces with books came with accompanying cD. this edition based on the two existing cD. there are 12 more recent collection has no manuscripts kept at the Bibliothèque movie themes on accompaniment (either piano or cD nationale. there are differences between offer in the book backing), however there are more pieces on the two manuscripts which Dangain says including popular offer. in line with the book’s title the pieces can be explained by Debussy and the work’s favourites like are all named in a witty way to be computer dedicatee Prosper Mimart working Hedwig’s Theme , related for example Reed Only File . it’s a together on specific technical problems, Star Wars , Pink fine collection of pieces and is featured in and also by Debussy’s own corrections. Panther . Like so the new aBrSM woodwind syllabus from Where there are differences in the many books of this type they are aimed at grades one to five as well as selected manuscripts these have been published as widening their target audience by grades in the trinity college London grade ossia lines alongside the ‘normal’ clarinet producing several versions of the book for exam syllabus. part. the differences are few but startling. different instruments. this particular Andrew Smith if you are familiar with the work you would series is available for six different certainly sit up and take notice on listening instruments, all of which use the same 15 MORE CRAZY JAZZ STUDIES to the piece played with the alternative backing cD. this one size fits all approach versions. as with all of Billaudot’s rarely works for all instruments, and this is Chris Gumbley publications, the music is well laid out with indeed the case with this collection. the Solo Saxophone more generous spacing than in the original clarinet version is essentially the same as Gumbles Durand edition. the tenor saxophone version and does not Publications Andrew Smith go lower than D. this means that it hovers GP101, £10 around the break too much for comfort for CLARINET SONATA the younger players. these kinds of books the original 15 do serve a purpose when players are Crazy Jazz Studies Leonard Bernstein learning their instrument and want to play was published by Clarinet and piano something that they know, however i would Saxtet Boosey & Hawkes BHI10747, £14.99 advise you to look before you buy, to make publications and sure that the book is suited to the player’s was aimed at the intermediate saxophone for many years the ability. player. this new volume is essentially more only edition of this Andrew Smith of the same, and in many ways can be early work by considered to follow on from the recent Leonard Bernstein BASSOON CONCERTO Double Click collection of studies also has been the published by Gumbles Publications. there Warner Brothers Transcription for bass clarinet and piano is no progression of difficulty level in this publication. the Wolfgang Amadeus Mozart book and the pieces are mostly around the clarinet Sonata Gérard Billaudot, £18.75 grade six to seven standard. two of the was written in pieces are actually included in the new 1941-1942 and was as many of you aBrSM syllabus at those grades. as with in fact Bernstein’s will know i am not the original Crazy Jazz Studies collection, first published composition. this new at all against different studies are aimed at various edition by Boosey and Hawkes does not arranging music aspects of technique, for example legato contain any startling revelations although for other playing and rhythmic awareness, as well as it is more generously laid out on the printed instruments for touching on different monophonic page. Sources for the new edition were bass clarinet. a lot fingerings to change sound colour. Bernstein’s pencil manuscripts of the of music Andrew Smith original score. there are places where the transcribes articulation differs from the first published extremely well edition, and there are occasional changed and is even

42 Clarinet & Saxophone Autumn 2013 considered to be important repertoire for stave are smeared and some high notes THREE BRAHMS SONGS the bass clarinet. However, i have to draw need smearing. themes used here are from the line at the wonderful bassoon concerto israeli folk tunes, the first Oh Beautiful and Brahms arr. Rachel Broadbent by Mozart. it is simply a step too far - the the second Water, Water . the epilogue uses Clarinet and piano bass clarinet can get away with ‘borrowing’ earlier material and we finish on octave as. the Weber bassoon works, but the modern thematic ideas link through the Emerson Edition, £7.50 bass clarinet just doesn’t adapt well to movements and this is a very interesting Brahms composed Mozart. this transcription is overly edited. work with lots to analyse and look for, not just under 200 the few bassoon players i have shown it to too difficult but not easy. the range lieder and the have simply shuddered and offered me extends to a and a flat an octave above the three songs in this two-word responses! it is worth noting that stave. i found the clarinet and piano collection all have Mozart didn’t offer much advice in the way version a little heavy going but the a connection to of dynamics or articulations, so if an orchestral accompaniment makes the piece nature, a subject arrangement of such a work is to be done much more exciting and creates an that Brahms was for bass clarinet, then maybe a better way ambience reminiscent of a film full of drawn to. they are to offer it would have been to do an Urtext- nautical adventure and mystery. In Summer Fields style transcription and leave it to the Stephanie Reeve (Feldeinsamkeit ), player to develop their own markings for it. To The Nightingale (An die Nachtigall ) and for me however, and to the relief of all of ABC FOR CLARINET In Woodland Solitude (In my bassoon colleagues i won’t be learning Waldeseinsamkeit ). all are beautifully or performing it. We have a huge amount of Adam Brzozowski vocal and suit the clarinet well. Piano parts repertoire in all styles and some excellent A clarinet playing handbook have been kept closely to the original and transcriptions that work well - i will stick PWM, £19.95 phrasing has been added to the clarinet to these. line. Brahms’ original indications of this new tutor Sarah Watts Langsam or Ziemlich langsam are now book is aimed metronome marks and Moderato for In specifically at TIDES Woodland Solitude . range is all within the pupils aged six to five lines of the stave and just one ledger Tides seven years. line is used. a few chromatic notes add notes, fingerings Faye-Ellen Silverman colour and these are excellent repertoire and basic Clarinet and piano building works for grade four to five information are standard. as with any song a knowledge of Seesaw Music, £25 clearly laid out the words and general background american composer and distributed information should be researched to get faye-ellen evenly throughout the most out of the lovely pieces. this Silverman has the book. Material is a mixture of folk edition is for oboe, cor anglais or clarinet already had many songs, many from Poland, and original so check the double reed section of your compositions tunes by Brzozowski which are nicely music shop if you can’t find it within the published but this written and suitable for children, catchy clarinet repertoire. was the first time i but not too challenging for the player’s Stephanie Reeve had come across her current standard. there are no piano work. composed accompaniments but duet parts for pupil RONDO between autumn and teacher are written out for c or B flat 2011 and spring 2013 instrument. the art work is pleasant to David Henderson Tides is a five movement work, approx - look at. there is a lot of introductory Flute, clarinet and piano information presented at the beginning and imately 15 minutes in length for clarinet and Emerson Edition, £6 piano. Orchestral Tides is the same work for the music doesn’t get going until page 20. clarinet and chamber orchestra. the Given the age aimed at much of this is British born ‘Prologue’ opens darkly with piano octaves. probably not necessary. note range composer David it is loosely centred around a minor and introduced is from bottom e up to throat B Henderson studied uses takemitsu’s sea motif of concert e flat flat with f sharp, B flat and e flat the only and continues to (or es), e and a which spells Sea. non-natural notes introduced. note values live in australia. the opening theme develops and go as far as quavers and dotted crotchets Dedicated to his explores a range of dynamics before ending and other basic symbols gradually current very quietly with low octave as in the piano introduced include pauses, articulation, composition left hand. the octave as begin the second scales and triads. Dynamics come in teacher anatoly movement ‘calm Seas’ this time in the right towards the end. fingering charts are for Dokumentov this hand. the quaver movement firstly within Boehm and German system clarinets. With is a quirky little the accompaniment then with the clarinet 91 pages in total it is quite a big book and a number only just over two minutes in gives this much more of a lift and when little force was needed on the spine to make length and feels like it should be the final duplet and triplet quavers mix this gives the volume sit properly on the music stand. movement in a longer work! it is fun to play the impression of the light flickering. the all writing is in Polish, english and German and energetic throughout. flute, clarinet motif here is from Mendelssohn’s Calm Sea although this does not take up more paper and piano are equal with lines shared out. and Prosperous Voyage and this continues than otherwise needed. it is more flute and clarinet sometimes play in in the oddly named ‘Drowned at Sea’ which expensive than other tutor books on the unison, as echo or with different lines so left me a little curious. it is dramatic with market, just shy of £20 but there is a lot of the ensemble varies. other parts are cued its forte trills and cadenza-like descending material. With only a few weeks to submit a onto the instrumental parts and the piano passages but rather than ending in despair review i have not had time to work through has the full score. I the opening of ‘Shared Waters’ is very it in detail with a younger pupil but do feel Stephanie Reeve strong and the Klezmer influence gives the that it would be worth the effort at least to piece much more life and is very enjoyable try it out. to play. all f to G sharps at the top of the Stephanie Reeve

Autumn 2013 Clarinet & Saxophone 43 DIARY 11 Marden House, new rd, calne, turnage, Gershwin and Debussy. Wiltshire, Sn11 0JJ, 7.30pm tickets: £10/£5 under 18 free concertS Calne Music and Arts Festival - www.matlockmusic.org.uk From Venus www.anthonybrownsaxophone.com OCTOBER Hayley Lambert (saxophone) and 2christ church, the Broadway, Paul turner (piano) 19 Hawick Music club, tower Mill Bexleyheath, Kent, Da6 7Bt, 1.05pm Music by women composers theatre, Hawick, tD9 0ae, 7pm South London Saxophone Quartet including fernande Decruck, Hilary Cameo Clarinet Quartet noelle Sasportas (soprano), Bob tann and ida Gotkovsky. www.cameoclarinetquartet.co.uk Lowdell (alto), Dave eastham www.calnemusicandartsfestival.co.uk www.hawickonline.com/community (tenor), ian noonan (baritone) _groups/arts/music_club Lunchtime recital - free admission 11 St. Saviour’s church, Warwick [email protected] ave, London, W9, 7.30pm 19 city Hall, Malthouse Lane, David Campbell (clarinet) and The 29th october, Salisbury, Wiltshire, 7.30pm 4 St Brides church , fleet Street, Solstice String Quartet Sarah Timothy Orpen (clarinet) London, ec4y 8aU, 1.15pm former clarinet & Saxophone Markham Bournemouth Symphony orchestra Luca Luciano (clarinet) Society chairman will perform with starts her UK Mozart clarinet concerto in a major, Programme to include compositions this ensemble initiating the eleventh tour K. 622 by Luciano from the album edition of the Little Venice Music www.bsolive.com Partenope , and music by Messiaen, festival. Programme to be Berio and Stravinsky. announced soon (see website) 16 the cornerstone, Liverpool Hope 22 Wesley’s chapel, 49 city road, admission free 0207 289 1728 University, 17 Shaw St, Liverpool, L6 London, ec1y 1aU, 1.05 – 1.50pm 0207 427 0133 www.littlevenice-mf.com 1HP, 7.30pm River City Saxes Ensemble 10/10 conducted by chris Hooker (soprano), Sally Blouet 5 new Mark Hall, royal Masonic 12 the Space, isle of Dogs, London, Clark Rundell (alto), Martyn thomas (tenor), Geoff School for Girls, rickmansworth, e14 3rS, 7.30pm Première of Thea Dances by ian Williams (baritone) Hertfordshire, WD3 4Hf, 7.30pm East London Clarinet Choir Stephens, commissioned in memory Lunchtime concert – free admission Equinox Saxophone Ensemble a programme of film music for of thea King and frederick thurston, www.rivercitysaxes.com tickets £12/£6 clarinet choir ‘Gone with the Wind’ for clarinet, bassoon, horn and www.hertschambermusic.org.uk tickets: £10/£8 string quintet (the same instruments 22 the Studio, St James theatre, 12 as Schubert’s octet). Programme to Palace Street, London, 8pm 5 Hot House, Derby, evening 12 Bosbury concert Series, Bosbury include music by Gait, Gaunt, Gilbert, Visual Music Andy Scott with Hot House Derby church, Herefordshire, 7.30pm Pratt and roxburgh. terry trickett (clarinet) and friends. Saxophone Ensemble The Worcestershire Saxophone www.ianstephens.net terry’s renderings of compositions andy Scott will appear as guest Ensembles Saxophone Quartet www.liverpoolphil.com for solo clarinet will be matched by artist with the Hot House saxophone Louisa Davidson (soprano), Jackie the simultaneous projection of his ensemble. www.andyscott.org.uk Harris (alto), Kate Moroni (tenor), 17 eltham conservative club, the visual interpretations of the pieces. Sue Sneath (baritone) Woodcroft , 254 eltham High Street, the concert will also include carl 6 Kings Place, 90 york Way, London, a recital of saxophone quartet pieces Se9 1aa nielsen’s wind quintet. n1 9aG, 4pm from Baroque to contemporary. Frank Griffith with the Hugh Box office: 0844 264 2140 Timothy Orpen (clarinet) and www.worcestershiresaxophone.blog Ockendon Trio [email protected] Ensemble Amorpha spot.com admission: £10 Luke Styles clarinet Quintet 0208 850 8659 23 church of St Mary Magdalene, première, commissioned with 13 St andrew’s church, chulmleigh, eX18 7Br, 1.30pm support from the Britten Pears chelmondiston, iP9 1Hy, 3pm 17 University of Huddersfield, Timothy Orpen (clarinet) and the foundation and the rVW trust. East Anglian Single Reed Choir Queensgate, Huddersfield, West Carducci Quartet www.kingsplace.co.uk a programme of light classical yorkshire, HD1 3DH, 1pm Mozart clarinet Quintet in a major, music conducted by anthony Bailey. Andy Scott and Dave Hassell Duo K. 581 8 St ives Jazz club, Western tickets available on the door andy Scott and Dave Hassell will www.thetwomoorsfestival.com Hotel, tr26 2nD, 9pm www.singlereeds.co.uk give a public lunchtime concert of STREETWORKS original music for saxophone and 23 exeter cathedral, 1 the cloisters, andy tweed (saxophone), Karen 13 the United church, Jewry Street, percussion at the University of exeter, eX1 1HS, 7pm Street (accordion), Mike outram Winchester, So23 8rZ, 7pm Huddersfield, followed by an Timothy Orpen (clarinet) (guitar), Will Harris (bass) Forty Fingers Saxophone Quartet afternoon workshop for students. www.thetwomoorsfestival.com accordionist Karen Street’s latest Jo Paterson-neild (soprano), Kathy www.andyscott.org.uk project - the music is melodic, Laughton (alto), ian James (tenor), 25 the Spice of Life , 6 Moor Street, influenced not only by jazz but with Sarah Moore (baritone) 18 Machynlleth Music club, y cambridge circus, London, W1, 12.30 strong leanings to both central around the World with forty fingers tabernacl, Heol Penrallt, – 3pm european and South american 07963 912588 Machynlleth, Powys, Sy20 8aJ, Frank Griffith with Martin Nickless styles. 7.30pm admission: £10 admission: £12/£8 15 farnham United reformed Timothy Orpen (clarinet) www.spicejazz.co.uk church, South Street, farnham, Victoria Simonsen (cello) and Daniel 8 recital Hall, Bedford School, Surrey, GU9 7QU, 1.10 – 1.50pm tong (piano) 26 Bournemouth Pavilion, Westover Bedford, MK40 2tU, 7.30pm River City Saxes road, Bournemouth, Dorset, 7pm Malcolm Green (clarinet) and chris Hooker (soprano), Sally Blouet 18 St Giles in the fields, 60 St Giles Timothy Orpen (clarinet) Charles Martin (piano) (alto), Martyn thomas (tenor), Geoff High Street, London, Wc2H 8LG, Mozart clarinet concerto in a major, Programme includes music by Williams (baritone) 1.10pm K. 622 Weber, Poulenc, Glick and Lunchtime concert - retiring Luca Luciano (clarinet) Bournemouth Symphony orchestra Schumann. collection Programme to include compositions www.bsolive.com tickets: £5 www.rivercitysaxes.com by Luciano from the album www.bedfordschool.org.uk Partenope , and music by Messiaen, 28 the Gallery at foyles, 113-119 16 Swing Unlimited Jazz club, Berio and Stravinsky. charing cross road, London, Wc2H 9 Ulster Hall, 34 Bedford St, Belfast, centerstage, 14 Queens road, admission free 0eB, 6.30 – 8.30pm Bt2 7ff, 1pm Bournemouth, BH2 6Be, 8.30 – 11pm 0207 240 2532 ‘Duo Sax’ Michael Duke and Sarah Gerard McChrystal Sarah Bolter and ‘Not Just Sax’ Markham UK Tour, with Paul Turner Ulster orchestra Belfast Sarah Bolter (saxophone), ray Shea 18 Highfields School, Lumsdale, (piano) Glazunov, concerto (piano), Pete Maxfield (bass), Johnny Matlock, De4 5na, 7.30pm concert and masterclass, sponsored www.belfastcity.gov.uk/ulsterhall/in eyden (drums) Matlock Music Society by yamaha and Vandoren, hosted dex.aspx tickets: catherine 07771267445 or anthony Brown (saxophone) and Leo by sax.co.uk. available to purchase on the door. nicholson (piano) free admission www.sarahbolter.co.uk Programme to include music by www.sax.co.uk

44 Clarinet & Saxophone Autumn 2013 29 trinity Laban conservatoire of 20 Swing Unlimited Jazz club, Music and Dance, old royal naval centerstage, 14 Queens road, college, Se10 9Jf, 1 – 2pm Bournemouth, BH2 6Be, 8.30 – 11pm ‘Duo Sax’ Michael Duke and Sarah Sarah Bolter and ‘Not Just Sax’ Markham UK Tour, with Paul Turner with special guest singer Tina May (piano) Sarah Bolter (saxophone), ray Shea concert in the old royal naval (piano), Pete Maxfield (bass), Johnny college chapel, sponsored by eyden (drums) yamaha and Vandoren tickets: catherine 07771267445 or www.trinitylaban.ac.uk available to purchase on the door www.sarahbolter.co.uk 30 Leeds college of Music, 3 Quarry Hill, Leeds, LS2 7PD, 7.30pm 21 the arts Depot, 5 nether St, ‘Duo Sax’ Michael Duke and Sarah north finchley, London, n12 0Ga, Markham UK Tour, with Paul Turner 8pm (piano) 1st november, apollo Frank Griffith Masterclass in the Venue, 2 – 5pm Saxophone Quartet Part of the Jazz at café Society Show followed by a concert. Sponsored by Photo: Azadour Guzelian with alexander Stewart, Gwyneth yamaha and Vandoren. Herbert and china Moses. www.lcm.ac.uk admission: £15 1 the Lemon tree, 5 W north St, 8 Birmingham Jazz, the red Lion, www.serious.org.uk aberdeen, aberdeen city, aB24 5at, Hockley, B18 6nG, 7.30pm 30 Key theatre, embankment rd, 9pm STREETWORKS Peterborough, cambridgeshire, Pe1 22 chelmsford cathedral, 53 new Apollo Saxophone Quartet at the andy tweed (saxophone), Karen 1ef Street, chelmsford, cM1 1ty, Sound Festival Street (accordion), Mike outram Acker Bilk and his Paramount Jazz 12.30pm the apollo Saxophone Quartet will (guitar), Will Harris (bass). Band Luca Luciano (clarinet) Paolo Losi perform a selection of their works accordionist Karen Street’s latest 01733 207239 (piano) with silent film at the Sound project - melodic music, influenced Programme to include original festival, north east Scotland’s not only by jazz but with strong 31 Birmingham conservatoire, material from the album Neapolis , festival of new music. leanings to both central european Paradise Place, Birmingham, B3 and re-arrangements of music by www.apollosaxophonequartet.com and South american styles. 3HG, 7.30pm Puccini, Vivaldi, Gershwin and admission: £10/£8 ‘Duo Sax’ Michael Duke and Sarah churchill. 2 tockwith church, Vale of york, Markham UK Tour, with Paul Turner free admission yo26 7Py, 7.30pm 9 Wigmore Hall, 36 Wigmore Street, (piano) 01245 294492 Yorkshire Saxophone Choir London, W1U 2BP, 7.30pm Masterclass in the recital Hall, 4.30 an entertaining concert of original Nash Ensemble Series Concert – 6.30pm followed by a concert. 22 old church at rannoch, Kinloch music for 12 saxophones, part of the richard Hosford (clarinet) Sponsored by yamaha and rannoch, Perth and Kinross, PH16 Wetherby festival. Programme to include Bartók, Vandoren. 5Qa, 7.30pm Contrasts for clarinet, violin and www.bcu.ac.uk Cameo Clarinet Quartet 2 the radcliffe centre, church piano. www.cameoclarinetquartet.co.uk Street, Buckingham, MK18 1eG, 0207 935 2141 31 royal northern college of Music, 7.30pm www.wigmore-hall.org.uk 124 oxford rd, Manchester, M13 22 St. Katharine cree church, Equinox Saxophone Ensemble 9rD, 7.30pm Leadenhall Street, city of London, presents ‘The Equinox Collection’ 15 the apex, charter Square, Bury Ensemble 10/10 conducted by (nearest tube aldgate), 7.30pm tickets: £10/£8 incl. refreshments St edmunds, iP33 3fD, 7.30pm Clark Rundell City Wind Orchestra 01280 848770 Timothy Orpen (clarinet) the Manchester première of Thea concert of Spanish works for wind www.equinoxsax.org.uk Programme to include John adams Dances by ian Stephens, orchestra. Gnarly Buttons commissioned in memory of thea 3 the forge, 3-7 Delancey St, www.theapex.co.uk/whats- King and frederick thurston, for 23 isle of arran Music Society, camden town, London, nW1 7nL, on/2011/5 clarinet, bassoon, horn and string Brodick Hall, Brodick, isle of arran, 7.30pm quintet (the same instruments as 7.30pm From the Highlands and Islands 16 teignmouth Jazz festival , United Schubert’s octet). Programme Fell Clarinet Quartet a Scottish themed concert given by reformed church, 29 the Strand, includes music by Gait, Gaunt, Programme to feature original cuillin Sound wind trio. traditional Dawlish, eX7 9Pt, 2pm Gilbert, Pratt and roxburgh. works, classical arrangements, jazz Shetland melodies, music by edward Luca Luciano (clarinet) Paolo Losi www.ianstephens.net and klezmer. McGuire, and a special showing of (piano) www.liverpoolphil.com classic films documenting life in the Programme to include original 23 the Barn, Bristol road, nailsea, Hebrides in the early 20th century, material from the album Neapolis , Somerset, BS48 1BU, 7.30pm NOVEMBER with original live music using and re-arrangements for music by Chris Gumbley traditional melodies from those Gershwin, Parker, corea and 1 royal Welsh college of Music and ‘another Story’ with Karen Street, places featured in the film. an coltrane. Drama, cathays Park, cardiff, cf10 fred Baker and Sara colman afternoon workshop for woodwind admission: £10 3er, 1.15pm www.gumblespublications.co.uk/ne and horn players between 2.30 – 0207 240 2532 ‘Duo Sax’ Michael Duke and Sarah ws Markham UK Tour, with Paul Turner 5.30pm. on-line tickets: 19 royal concert Hall, theatre (piano) 23 Haxby Methodist church, Haxby, www.forgevenue.org/events Square, nottingham, nG1 5nD, Masterclass 2 – 5pm following the york, 7.30pm 7.30pm concert. Sponsored by yamaha and The Yorkshire Saxophone Choir 6 Grantham Music club, Priory Acker Bilk and his Paramount Jazz Vandoren. and Dynamics ruskin academy, rushcliffe road, Band, with Chris Barber www.rwcmd.ac.uk a light programme of music Grantham, nG31 8eD, 7.30pm 0115 989 5555 including some popular and well- Equinox Saxophone Ensemble 1 the Venue, Leeds college of Music, known tunes. 01400 250372 20 Sheffield Jazz, Millennium Hall, 3 Quarry Hill, Leeds, LS2 7PD, tickets available on the door £5 www.equinoxsax.org.uk Sheffield, S11 8Py 7.30pm contact Debbie Scherer or Sarah STREETWORKS Janet Hilton (clarinet) and Jacob Jobson 04123 538473 Fichert (piano) 6 Bideford Music club, Methodist andy tweed (saxophone), Karen church Hall, High Street, Bideford, Street (accordion), Mike outram andré tchaikowsky, Sonata for 24 Wigmore Hall, 36 Wigmore 7.30pm (guitar), Will Harris (bass). clarinet and piano; Arioso e Fuga per Street, London, W1U 2BP, 11.30am Anthony Brown (saxophone) and accordionist Karen Street’s latest clarinetto solo as part of a recital of Nash Ensemble Series Concert Leo Nicholson (piano) project - melodic music, influenced tchaikowsky’s music. richard Hosford (clarinet) Programme to include music by not only by jazz but with strong www.lcm.ac.uk/whats-on Programme to include Stravinsky, ibert, Boutry and Gershwin. leanings to both central european ‘Suite’ from The Soldier’s Tale tickets: £12/free and South american styles. 0207 935 2141 www.eduncan.biz www.wigmore-hall.org.uk www.anthonybrownsaxophone.com

Autumn 2013 Clarinet & Saxophone 45 DIARY 25 the national concert Hall, earlsfort terrace, Dublin 2, ireland JANUARY 2014 coUrSeS Acker Bilk and his Paramount Jazz 9 Park Lane Group young artist new Band, with Chris Barber year Series, Southbank centre, OCTOBER 00 353 1417 0000 London, Se1 8XX, 7.45pm Anthony Brown (saxophone) and 11 - 13 Benslow Music, Benslow Lane, 26 2 Lanyon Pl, Belfast, Bt1 3WH Leo Nicholson (piano) Hitchin, Hertfordshire, SG4 9rB Acker Bilk and his Paramount Jazz this shared concert will include Stephanie Reeve’s Woodwind Band Band, with Chris Barber Bench by Ben foskett, a new work by tutor: Stephanie reeve 0289 033 4455 Graham ross commissioned by PLG, the Woodwind Band gives and richard rodney Bennett, Sonata intermediate players the opportunity 28 faversham Music club, Lynsted, for soprano saxophone. 3rd february to develop ensemble and sight- Kent, Me9 9Qy, 7.30pm tickets: £12/£9.50/£7 2014, timothy reading skills as well as providing Anthony Brown (saxophone) and www.parklanegroup.co.uk orpen assistance with basic technical skills Leo Nicholson (piano) Photo: Benjamin Harte such as breathing, posture and Programme to include music by 12 the Shakespeare institute, church musicianship. the main focus is the Piazzolla, ibert and Debussy. Street, Stratford-upon-avon, FEBRUARY 2014 large ensemble, which works on tickets: £12/£6 Warwickshire, cV37 6HP, 3pm four-part arrangements and original www.favershammusicclub.co.uk Anthony Brown (saxophone) Leo 3 Library theatre, central Library, works. the varied repertoire covers Nicholson (piano) St. George’s Square, Luton, LU1 2nG, everything from renaissance to the 29 St. Georges, Bloomsbury, London, Stratford chamber Music Society 7.45pm present day. Players of flute, oboe, Wc1a 2Hr, 7.30pm Programme to include music by Timothy Orpen (clarinet) and John clarinet, bassoon, bass clarinet and Bloomsbury Woodwind Ensemble ravel, Piazzolla and Maurice. Reid (piano) any saxophone are welcome. there ‘in Praise of Woman’ tickets: £16/£5 Programme to include music by are also parts for french horn. there the programme of music telling the www.stratfordchambermusic.co.uk finzi, Stravinsky, Brahms, Schumann will be some opportunity for story of the struggle women have and Giampieri. chamber music playing so players had as composers, performers and 17 overton church, ritchie Street, www.lutonmusic.org.uk/current_Se are encouraged to bring their own conductors. the programme will West Kilbride, Ka23 9aL, 7.30pm ason/current_season.html music. include music from the 10th century Scottish Wind Ensemble fees: residential £245, non to the present day. Gounod, Petite Symphonie in Bb; 8 the Little theatre, 20 Hoghton residential £195 tickets: £10/£8 Schubert, Trois Marches Militaires , St, town centre, Southport, Pr9 0Pa, 01462 459446 op.51; enescu, Dixtuor , op.14; 7.30 – 10pm www.benslowmusic.org DECEMBER françaix, Nine Characteristic Pieces . Maghull Wind Orchestra www.scottishwindensemble.co.uk charity concert on behalf of Queens 15 - 17 Benslow Music, Benslow Lane, 2 christ church, Jubilee Square, court Hospice, Southport. Hitchin, Hertfordshire, SG4 9rB Woking, GU21 6yG, 12.40 – 1.20pm 17 University of Derby, Kedleston 0151 531 9562 Sarah Francis’s Piano and Wind River City Saxes road, Derby, De22 1GB, 7.30pm www.maghullwindorchestra.co.uk Course chris Hooker (soprano), Bob Lowdell Anthony Brown (saxophone) and tutors: Sarah francis, robert codd (alto), Martyn thomas (tenor), Geoff Leo Nicholson (piano) 10 St Michael at the north Gate , (bassoon) and Stephen Gutman Williams (baritone) Programme to include music by cornmarket, oxford, oX1 3ey, 1pm (piano) Lunchtime concert - retiring collection Maurice, Debussy and Dubois. Luca Luciano (clarinet) to explore a wide range of repertoire, www.rivercitysaxes.com tickets: £13/£12/£7 Programme to include compositions including works like Poulenc’s www.derbychambermusic.org by Luciano from the album Sextet, Saint-Saëns’s Caprice for 7 Wigmore Hall, 36 Wigmore Street, Partenope , and music by Messiaen, flute, oboe, clarinet and piano and London, W1U 2BP, 7pm 19 the Masonic Hall, Harrogate, HG1 Berio and Stravinsky. piano and wind quintets by Mozart Nash Ensemble Series Concert 5ne, 2.30pm admission free and Beethoven. Pre-formed groups, richard Hosford (clarinet) Charity Concert 01865 240940 with or without pianists, are Programme to include music by Pupils of Debbie Scherer and Sarah encouraged to apply to this course, copland, ravel and Gershwin. Jobson will again be performing 15 Wigmore Hall, 36 Wigmore Street, as are individual pianists and 0207 935 2141 their annual concert with all London, W1U 2BP, 6pm harpsichordists – but please note www.wigmore-hall.org.uk proceeds going to local charities. Nash Ensemble Series Concert that there will be mixing and Performances will include richard Hosford (clarinet) matching for everyone. Pianists 8 Palm House, Sefton Park, accompanied solos as well as Programme to include music by should be capable of playing works Liverpool, L17 1aP, 2 – 3.45pm ensembles. Steiner, Waxman and Herrman. such as Beethoven’s Piano Quintet Maghull Wind Orchestra free admission with donations 0207 935 2141 with facility and everyone who a varied programme of music to suit Dragon Music 01423 538473 www.wigmore-hall.org.uk comes should be a good sight- all tastes. reader. Woodwind players who apply 0151 531 9562. 25 Music at St. Peters, St Peter’s 15 all Saints’, Lovelace road, West individually will be carefully www.maghullwindorchestra.co.uk Street, canterbury, Kent, ct1 2Be, Dulwich, Se21 8Jy, 7.30pm matched and incorporated. Grade 7.45pm Anthony Brown (saxophone) eight standard is required for this 11 the Great Drawing room, Timothy Orpen (clarinet) and Lambeth orchestra, conductor selective course, and in order to rothamsted Manor, rothamsted, Daniel Tong (piano) christopher fifield ensure a good balance. Harpenden, aL5 2JQ, 8pm Programme to include music by claude Debussy, Rapsodie ; and fees: residential £245, non Timothy Orpen (clarinet), Victoria Schumann, Poulenc, Brahms and Paule Maurice, Tableaux de residential £195 Simonsen (cello) and Daniel Tong Milhaud. Provence . 01462 459446 (piano) www.musicatstpeters.org.uk tickets: £12/£10/£1 [email protected] Programme to include music by www.lambeth-orchestra.org.uk www.benslowmusic.org frühling, Poulenc, ravel, cassadó 26 Marden House, the Wharf, new and Brahms. road, calne, Wiltshire, Sn11 0JJ, 3pm 20 St Mary’s church Hall, Main 20 Bury farm, Stapleford, www.rothamsted.ac.uk/eventDetails Timothy Orpen (clarinet) and Street, Sprotbrough, Dn5 7rH, cambridge, cB22 5BP .php?PubSci=Manorrecital Daniel Tong (piano) 7.30pm Clarinet Repair Course Programme to include music by Timothy Orpen (clarinet), Fiona one day workshop led by Daniel 13 St Luke’s church, norfolk road, Schumann, Poulenc, Brahms and Winning (viola) and John Reid Bangham in association with the Maidenhead, SL6 7aX, 1.05 – 1.50pm Milhaud. (piano) clarinet and Saxophone Society of River City Saxes www.mardenhouseconcerts.co.uk Programme to include music by Great Britain. chris Hooker (soprano), Bob Lowdell Mozart, clarke, Poulenc, Schumann fee: £65 (£45 to caSS members) (alto), Martyn thomas (tenor), Geoff and françaix. www.cassgb.org Williams (baritone) Promoted by Sprotbrough Music concert for the start of christmas Society 26 – 27 Birnam, Perthshire, Scotland tree festival www.sprotbrough-music- The Birnam Experience www.rivercitysaxes.com society.agilityhoster.com/links.php tutored by bassoonist Laurence

46 Clarinet & Saxophone Autumn 2013 Perkins with flautist Lynda coffin full band and the experienced tutors 3 - 5 Benslow Music, Benslow Lane, and with a focus on specific pieces make sure players of all abilities can Hitchin, Hertfordshire, SG4 9rB FEBRUARY 2014 and ensembles so places will be make a full contribution. Sessions Clarinetfest limited to the requirements of those for smaller groups add to the variety tutors: Shea Lolin, Paul Harris and 14 - 16 Knuston Hall, irchester, works (all pieces will be one player and ad hoc ensembles flourish in anthony Bailey Wellingborough, northants, nn29 7eU to a part). Bookings are on a first- free periods. Help and advice on this year Paul Harris, joins our Beginning To Read and Play Music come first-served basis. technique, instrument maintenance clarinetfest team along with Shea tutor: Sarah Jobson course fee £120 includes all tutored and repertoire selection available. Lolin and anthony Bailey. together a course for those who have always sessions, but not meals or fees: £260 (resident single room), they offer clarinet players of all wanted to be able to read music but accommodation. £228 (resident shared room), £175 abilities the opportunity to play in never had the time or courage to www.windserenades.co.uk (non resident including lunch and workshops, classes and choirs at the try. Using a cheap and easy to learn dinner) relevant level and to join at the end instrument, the recorder, this course 27 Bury farm, Stapleford, 01933 312104 of the course in one joyful, will open doors to the world of cambridge, cB22 5BP [email protected] celebratory ensemble. With music playing and understanding music. Saxophone Repair Course www.knustonhall.org.uk from the renaissance to the 01933 312104 one day workshop led by Daniel contemporary, the weekend focuses [email protected] Bangham in association with the 29 – 1 December Benslow Music, on repertoire building but also www.knustonhall.org.uk clarinet and Saxophone Society of Benslow Lane, Hitchin, includes sessions which focus on Great Britain. Hertfordshire, SG4 9rB technique and musicianship. 16 - 21 Knuston Hall, irchester, fee: £65 (£45 to caSS members) Winter Saxes fees: residential £255, non Wellingborough, northants, nn29 7eU www.cassgb.org tutors: neil crossley and Gerard residential £205 Saxophone Week Mcchrystal 01462 459446 tutors: Sarah Jobson, Debbie 27 – 1 November Knuston Hall, opportunities to play in ensembles [email protected] Scherer and Sarah Markham irchester, Wellingborough, ranging from quartets to a whole www.benslowmusic.org this course is offered to northants, nn29 7eU saxophone choir, and there will also saxophonists with at least 18 A Celebration of Single Reeds be masterclasses and technique 10 - 12 Benslow Music, Benslow months experience. the course will tutors: Sarah Jobson, Debbie clinics. although pre-formed Lane, Hitchin, Hertfordshire, SG4 cover a wide variety of playing Scherer and Jeffery Wilson quartets are very welcome, no 9rB opportunities through ensemble this course is offered to those who previous experience of ensemble John White’s Wind Chamber Music coaching and workshops. play clarinet and saxophone. you playing is necessary. tutors: John White and Shane Participants can expect to play in must be able to play both but not fees: residential £245, non Moroney groups ranging from duos to full necessarily with the same degree of residential £195 oboist John White, formerly choirs. an extensive library will be confidence or ability. there is the 01462 459446 principal at english national opera, available throughout. opportunity to experience a variety [email protected] leads the year’s first wind chamber 01933 312104 of ensemble playing from classical www.benslowmusic.org music course, intended for [email protected] through to jazz benefiting not only individual applicants. together with www.knustonhall.org.uk from the tutors’ enthusiasm and DECEMBER a colleague he’ll help wind players expertise but also from being able to improve their chamber music skills. 22 – 23 the Hayes conference access an enormous library of 9 - 12 Benslow Music, Benslow Lane, Plenty of music, some for unusual centre, Swanwick, Derbyshire, De55 specialist music. Hitchin, Hertfordshire, SG4 9rB combinations, will be provided, but 1aU fees: £556 (resident single room), Quintessential Clarinets you can also bring works you are Nottingham Saxophone Weekend £492 (resident shared room), £377 tutors: Shea Lolin and clifton especially fond of or are simply course director: alistair Parnell. (non resident including lunch and Hughes interested to explore. tutors: Sarah Markham, Julia Mills, dinner) Shea Lolin’s course aims to develop fees: residential £255, non naomi Sullivan, nicola Pennill and 01933 312104 your solo and ensemble playing residential £205 chris Jolly [email protected] both by working through the pieces 01462 459446 two days of saxophone www.knustonhall.org.uk you bring along and by presenting [email protected] masterclasses, ensembles and you with fresh challenges. you will www.benslowmusic.org workshops for the intermediate to NOVEMBER have the chance to work with the advanced (grade five - diploma) course pianist individually on pieces 31 – 2 Feb Benslow Music, Benslow player. 15 – 17 Benslow Music, Benslow you have previously prepared, and Lane, Hitchin, Hertfordshire, SG4 fees: £220 Lane, Hitchin, Hertfordshire, SG4 should you want to share your 9rB [email protected] 9rB performance with the group then Wind Ensembles with the London www.saxday.co.uk The Benslow Symphonic Band you can, in a supportive, informal Myriads tutors: John edney and Les Lake ambience. all areas of performance, tutors: Members of the London 24 - 27 Benslow Music, Benslow a weekend of genuine band music, including stagecraft and coping with Myriad ensemble Lane, Hitchin, Hertfordshire, SG4 exploring repertoire old and new nerves, will be addressed, along another weekend with the popular 9rB and getting to grips with issues like with practice, rehearsal and sight London Myriad ensemble designed Quintessential Clarinets balance and dynamics. We welcome reading techniques, issues common exclusively for pre-formed wind (Elementary) woodwind, saxophone, brass and at all levels of playing. ensembles. applications from any tutors: Shea Lolin and clifton percussionists. there might be some fees: residential £345, non configuration of wind or wind and Hughes (piano) sectional work, but there will residential £270 piano ensemble within reason, from this version of Shea Lolin’s course is certainly be a celebratory play 01462 459446 trios to dectets are welcome. Please aimed at less advanced players, but through of what we’ve learned on [email protected] bring along your prepared like its sister course aims to develop the final day. you must be able to www.benslowmusic.org repertoire. new booking conditions your solo and ensemble playing by sight-read reasonably well and to be mean that one person is required to working through pieces you bring a fluent player, able to hold your JANUARY 2014 book for the whole group and pay all and presenting you with new own line confidently. deposits. if you haven’t yet recruited repertoire. you will have the chance fees: residential £245, non 2 - 5 alston Hall, alston Lane, a player, as long as the relevant to spend time with the course pianist residential £195 Longridge, Preston, Pr3 3BP deposit is paid we’ll keep their place to work on your performances. 01462 459446 Extended Saxophone Weekend free until you do. or you can book, Should you want to share the fruits [email protected] tutors: Sarah Jobson and Debbie as a wind quartet and expand into a of your labours with the rest of the www.benslowmusic.org Scherer wind quintet later but only should group then you can, in Benslow a course providing ensemble space still be available. Music’s uniquely informal and experience for saxophonists with at fees: residential £255, non supportive ambience. Shea will 22 - 24 Knuston Hall, irchester, least 18 months playing experience. residential £205 address all areas of performance, Wellingborough, northants, nn29 Group sizes and music will be 01462 459446 including stagecraft, how to cope 7eU altered each session to provide new [email protected] with nerves, practice regimes and Wind Band Weekend learning opportunities throughout www.benslowmusic.org sight-reading techniques. tutors: Paul egan, Philip Burditt and the course. a vast and diverse fees: residential £365, non John Greaves library will be available for use. residential £290 We tackle a wide range of music of 01772 784661 01462 459446 all ages and styles. a high www.alstonhall.com [email protected] proportion of the sessions are for www.benslowmusic.org

Autumn 2013 Clarinet & Saxophone 47 DIARY

PLayDayS Margaret archibald leads a clarinet OCTOBER workshop on January 11th 6 Great Kingshill Village Hall, Bucks, HP15 6Dr, 10am – 4pm Kingshill Clarinet Choir Play Day tutor: Shea Lolin open to all grade five plus musicians contact: rosalind aspinall [email protected]

13 creative arts centre, King’s High School, chapel row, Warwick, cV34 4HJ, 10am – 4.30pm Warwickshire Saxophone & Clarinet Day the event will be held in the purpose-built creative arts centre at King’s High School, Warwick and will incorporate mass single reed choirs, jazz workshop, small ensembles, talks and a finale concert. course Director: Danielle Mason (saxophone) tutors: Keith allen (clarinet) and Mike Hall (jazz) woodwind and horn players artistic Director: Shea Lolin. tutors: on the previous South West the day is open to all saxophone & including a Mozart Divertimento and chris allen, richard caradon, ian Saxophone and clarinet Days that clarinet players grade two upwards tchaikovsky 1812 finale. followed by Mitchell and David Smith. have proved so popular. this event (larger instruments particularly a performance from cuillin Sound at the east London clarinet choir will also give you some insight into welcome). 7.30pm present a play day for woodwind the inspirational programme of trade stands and light refreshments Details and online application form orchestra. trade stands include teaching available at Wells included. Supported by Saxtet at www.windserenades.co.uk Wood, Wind & reed, Vandoren and cathedral School, in particular the Publications. Sempre Music. See insert with new Jazz Saxophone Pathway. the closing date for this course is 29 10 royal northern college of Music, magazine for details. We recommend that children should September 2013. 124 oxford rd, Manchester, M13 9rD fees: £40 (£35 concessions). be at least grade three standard to fee: £30 (£25 for caSS members) RNCM Saxophone Day 020 8553 4973 get the most out of the event. for more information and booking the rncM Saxophone Day is the www.elclarinetchoir.co.uk/playday.h tel: Dominique Swain on 01749 details contact: [email protected] largest event of its kind in the UK. tm 834487 www.daniellemasonmusic.co.uk Join rob Buckland and andy Scott wellsmusicacademy@wells- for a packed programme of FEBRUARY 2014 cathedral-school.com 26 Wells cathedral School, 15 the saxophone workshops and concerts, www.wellsmusicacademy.com Liberty, Wells, Somerset, Ba5 2St plus trade stands with instruments, 1 the Venue, Leeds college of Music, Southwest Clarinet Day accessories and sheet music. Special 3 Quarry Hill, Leeds, LS2 7PD, 10am- ON THE HORIZON tutors: Victoria Soames Samek, Paul guests include arno Bornkamp, iain 5pm Harris and Kevin Murphy Ballamy, trish clowes Quintet and Woodwind Orchestra Play Day 6 March 2014 St. Paul’s Hall, this event is open to all clarinettists Matt Styles. Please see the rncM artistic Director: Shea Lolin. tutors: University of Huddersfield, of about grade five standard and website for further information: Keiron anderson, Paul Harris, Queensgate, Huddersfield HD 1 3DH above. the emphasis will be on www.rncm.ac.uk anthony Houghton and Michael Saxophone Day positive performance techniques, Shelton. Special guests Jerome Laran coping with nerves for exams and 24 Liverpool Hope University, the east London clarinet choir (france) and equinox Saxophone auditions and ensemble playing plus Liverpool, 10am – 5pm present a play day for woodwind ensemble. Sponsored by Vandoren. masterclass sessions and a Clarinet and Saxophone Society of orchestra. www.hud.ac.uk/concerts performance by the guest tutors. Great Britain Single Reed Day and trade stands include trade stands will be on hand with an Trade Exhibition Windstruments, Vandoren and 7 - 11 April 2014 array of instruments, accessories, www.cassgb.org Sempre Music. See insert with The Isle of Raasay solo bass music and recordings. magazine for details. clarinet and bassoon courses contact: Dominique JANUARY 2014 fees: £40 (£35 concessions). Sarah Watts (bass clarinet), Swain d.swain@wells-cathedral- 0208 553 4973 Laurence Perkins (bassoon) and school.com 01749 834487 11 21 Stone road, Bromley, Kent, Br2 www.elclarinetchoir.co.uk/playday.htm antony clare (piano) host two www.wellsmusicacademy.org 9aX, 1.30pm special courses on one unique and Clarinet Workshop and Concert 23 Wells cathedral School, Somerset beautiful Hebridean island, situated 26 Boys High School, nottingham, tutors: Margaret archibald (clarinet) South West Jazz Saxophone Day just off the West coast of Scotland. nG7 4eD, 2 – 5pm and John flinders (piano) Wells Music academy is hosting all standards welcome. Bass Clarinet Choir Playday John and Margaret will also perform another jazz improvisation for further information: Playday followed by a recital (6 – an item at the 6pm concert for family workshop day for players aged 18 [email protected] 8pm) by ScaW Sarah Watts (bass and friends. and younger in the beautiful setting www.raasaymusiccourses.com clarinet) and antony clare (piano) in free choice of repertoire that players of Wells cathedral School. which the choir will also perform. would like to rehearse and perform, tutors will include andy tweed and 11 - 13 December 2014 all standards welcome. although made in discussion with edward Leaker as well as a very European Clarinet Association fees: £35 adults and £15 students Margaret and John in advance. special guest to be announced Congress Booking: [email protected] fees: £42 (performers) nearer the date. there will be Katowice, Poland contact: Margaret archibald 07970 workshops on improvisation skills organised by the Polish clarinettist NOVEMBER 123105 for all levels, making a jazz sound, arek adamsky. the event will [email protected] jazz stylisation and trade stands will include gala concerts, recitals, 3 the forge, 3-7 Delancey St, be on hand so you can check out the masterclasses, exhibitions and an camden town, London, nW1 7nL, 25 regent Hall, 275 oxford Street, latest gear. the day will also feature international clarinet competition. 2.30 – 5.30pm London, W1c 2DJ, (nearest station: a performance from the guest tutor www.clarinet.com.pl I Cuillin Sound oxford circus) 10am - 5pm with a professional rhythm section. an afternoon workshop for amateur Woodwind Orchestra Play Day the team behind the event has put

48 Clarinet & Saxophone Autumn 2013 Autumn 2013 Clarinet & Saxophone 49 Windband TH E HINSON Woodwind & Brass Specialists COLLECTION Three albums from renowned clarinettist Instruments Selmer Paris Nigel Hinson featuring Keith Puddy and Yamaha Malcolm Martineau Leblanc Music Buffet The French Collection including Yanagisawa sonatas by Saint-Saëns and Poulenc, Accessories Trevor James also works by Debussy, Fauré, P Mauriat Messager, Milhaud and Ravel. Repairs Vandoren Rico The English Collection with Keith Mail Order Rovner Puddy (clarinet) and Malcolm Neotech Martineau (piano). Works by Bax, Buy Online Hiscox Bennett, Finzi, Hinson, Stanford and Fibracell McCabe. Konig & Meyer 12 Months Interest Seiko Morceaux for Clarinet Works by BG Cahuzac, Debussy, John Hall, Joseph Free Signature Custom RAW Horovitz, Milhaud (Scaramouche), (Subject to status, written quotations on request) Plus a wide range of Penderecki and Templeton. music including ABRSM LEA Assisted Purchase Philippe Cuper: Part Exchange & Trinity Guildhall "Congratulations on your CD"

Windband Ltd, 9 Greyfriars Road £7.99 each to Clarinet & Saxophone Longden Coleham Shrewsbury SY3 7EN Society members. Tel: 01743 367482 Available from www.nigelhinson.com www.windband.co.uk See Website for full track listings

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50 Clarinet & Saxophone Autumn 2013 • Top brands at SeLMer MKV1 tenor competitive prices SaXoPHone (1964) £5400

• new and second- hand SeLMer MKVi aLto instruments SaXoPHone (1957) £3400

• specialist workshop SeLMer MKVii aLto Top on the premises SaXoPHone £1700 deals • fast efficient mail- order service SeLMer SerieS ii aLto SaXoPHone £2395 • educational suppliers SeLMer SerieS iii aLto SaXoPHone £2995 for full details of all of these instruments and our full range SeLMer ciGar cUtter aLto of new and pre-owned SaXoPHone £1495 instruments please visit our website.

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CLARINET & SAXOPHONE SOCIETY LIBRARY SERVICE Members’ Borrowing Application Form four works may be borrowed at a time for a period of four weeks. charges are £1.50 per item, plus postage (variable depending on weight of parcel) and must be paid by cheque made payable to caSS GB on return of the items. overseas members are required to pay by either ViSa or Mastercard or by visiting our website www.cassgb.org and using the PayPal facility. Please photocopy this form if you wish. Send requests to: Stephanie reeve, 9 Hamden Way, Papworth everard, cambridge cB23 3UG or by email to [email protected] name: address:

Postcode: telephone no. Membership no:

Works to be borrowed:

1. Composer: 2. Composer: title: title: arranged for: arranged for:

3. Composer: 4. Composer: title: title: arranged for: arranged for:

Terms and conditions: the borrower agrees that he/she will not make any copies of the materials supplied, for any purpose whatsoever. if the materials supplied are used in any concert performance, it is the responsibility of the hirer to notify the Performing right Society of all the details of the performance. the borrower understands that if the declaration is false in a material particular the borrower may be liable for an infringement of copyright. Lost pieces or parts will be charged at the current cost of replacement plus 20% to cover costs. the period of loan is for one month from despatch of the items. the loan period may be extended provided that items have not been requested by another member. a further charge of £1.50 per item per month will apply for loan extension. i agree to the terms of borrowing and agree to pay the standard charges current at the time of my application.

Signed: Date:

Autumn 2013 Clarinet & Saxophone 51 LETTERS Dear Sir , ‘Take it Away’ - Arts Council England Initiative CLASSIFIEDS The news item by Carie Barkhuizen (A Third of Parents Can’t Afford Instruments), in the summer 2013 edition of Clarinet & Saxophone conveyed the good news of interest free Yamaha 475 soprano saxophone . excellent loans to assist parents to buy instruments for their children. condition including mouthpiece and hard case. Excellent though this scheme is, I fear that it does not touch the most needy children. £700 ono. tel: Sue 01604 765172 My sad experience, both as a Leeds city councillor and as a local MP, was that too many children who played in bands and orchestras whilst at school or in a music centre were Buffet R13 A Clarinet. in perfect condition, suddenly unable to continue the day they left the education system when the loan of a rarely used, three years old approx. this school instrument ended. instrument was personally selected from the Buffet france by eric Baret. £1500. free In many, if not most cases even an interest free loan would have been beyond the carriage within UK. means of their families. What is needed is a scheme whereby local authorities have a tel: 07980 779 791 ‘library’ of instruments available on loan to those who have already been playing for some time. It would initially be expensive but thereafter the annual cost would not be Used clarinet sheet music for sale . i have excessive. inherited a selection of clarinet sheet music, Musical ability and enthusiasm is not the preserve of the better off, as the Venezuelan which includes pieces by crusell, Brahms, El Systema shows so vividly. The availability of instruments on loan would bring a great finzi, Goodman, Horovitz, Hurlstone, Poulenc, deal of benefit and pleasure. Saint-Saens, Schubert, Schumann, Spohr, Michael Meadowcroft Stanford, tartini and Weber. a detailed list is available from Dear Sir, [email protected] tel: 01243 771768 Guide to ABRSM Grade 3 Clarinet Buffet R13 Eb clarinet s/n 523750 £1500. There were very interesting descriptions of the ABRSM grade three clarinet pieces in the Buffet E13 A clarinet s/n K120948 in Protec summer issue of Clarinet & Saxophone . The Schumann *** (Op. 68 No. 21) is apparently in double case. £1000. cases and instruments in excellent condition. tel: 01245 257534 memory of Mendelssohn, one star for each syllable. Schumann had a liking for codes. He also had two sides to his personality and even named them as Florestan and Eusebius, WANTED. Leblanc basset horn . any condition. one quite dark and introverted and the other extrovert and full of life. This little piece to tel: 0208 995 5266. me is beautiful and shows what a genius can do with a morsel of material. [email protected] Ian McKay Buffet Prestige bass clarinet to low c. Super Dear Richard , condition, plays beautifully, used professionally, bought new in 1995. recently Bring Back the Alto (Clarinet) regulated and serviced. £4350 ono. One would not travel far to listen to a string quartet consisting of four violins, or even contact: Stuart eminson 07958 178 three violins and a cello. Yet the majority of published clarinet quartets are for the exact 569 [email protected] equivalent: four Bbs or three Bbs and bass. Yanagisawa S9930 Solid sterling silver For classical string quartet transcriptions a middle (viola) voice is sorely needed and soprano saxophone, low B flat to high G, hand not just to reach viola’s bottom string C. On the Bb, so many big viola tunes lie around the engraved with interchangeable straight and break, and the overall sound simply doesn’t stand out the way a real viola does. Obviously curved solid sterling silver crooks. With case, something is wanted between Bb and bass, which means Eb alto or basset-horn. At the mouthpiece and ligature. moment basset horns are more in vogue than altos, mainly because of Mozart (Richard immaculate condition £4380. Yanagisawa Strauss, in my opinion, could just as well have used alto clarinets in most of his scores) A9932Z limited edition (Peter King Model) alto and the more I hear and play them, the more I feel that the basset horn really belongs with saxophone, solid silver neck and bell, bronze two other basset horns and not in a massive ensemble. Another factor is that many alto body and bow. it has extra engraving on the clarinets are quite cheaply made, for military and high-school purposes, and very hard to neck and gold plate and engraving inside the get in tune. But the best from Selmer, Buffet, Leblanc etc are a joy to play. bell. With case, mouthpiece and ligature. £4850 really good condition. Yanigasawa 92 , Interestingly the basset horn, traditionally a small-bore instrument (c. 16mm) seems to engraved pink gold plated bronze alto be creeping up towards alto bore (c.18mm), with an alto rather than a Bb mouthpiece to go saxophone neck with underslung octave with it, in which case it probably matters less which one uses in the quartet. But it would mechanism in original box. £460 excellent do no harm for publishers to include a part for both and let the players and their mates condition. tel: 01842 812274 decide and for manufacturers to go on making top quality altos. John Playfair Saxophones: Yanagisawa 901 baritone £2250, Yamaha 62 alto £600, these are in good playing condition. Saxpac baritone stand . Dear Richard, interesting reconditioned clarinet c.1910 by Impaired Hearing Clinton/Boosey , offers invited. Edgware Bb I found the article in the summer issue of Clarinet & Saxophone by Don Ashton clarinet , wooden, £325. also a quantity of music and arrangements for clarinet including interesting and in some ways similar to my experience. After a childhood mastoid solos, duets and trios etc. tel: 01508 528218 operation I was left with no hearing whatsoever in my right ear. (norfolk) During the past 60 odd years of playing I have always endeavoured to play on the ‘right wing’. Similarly in group conversational situations I have tended to shut down when I can Selmer Super balanced Action alto saxophone only hear half the discussion. However, earlier this year after being referred to an ENT c.1949, original lacquer in good playing order. consultant I was fitted with a ‘cross over’ hearing aid. This consists of a small £3600. Selmer MkVI tenor saxophone c. 1973, receiver/transmitter fitted behind my right ear and a hearing aid/receiver behind my left probably one of the last before the MkVii was ear. This enables me to hear sounds from my right ear in my left ear. This has proved a introduced, near mint condition, original boon in conversational situations but alas from a musical point of view it is not successful lacquer, £5500. tel: rita 0779 200 4729 because of the millisecond delay of the right signal reaching the left, the sound I hear is Alto saxophone, silver, decoratively engraved most uncomfortably distorted. Consequently I have to remove the hearing aid when and signed Jacques albert. an interesting playing which defeats the object of the exercise. It would be good to know if anyone else quality instrument in wonderful condition. has had this problem. new Liteflite case included. offers please. tel: I Gerry Nugent 01489 578373 I

52 Clarinet & Saxophone Autumn 2013 Sunday, 24th November, 10am - 5pm

in Society of Great Brita Cornerstone, Liverpool Hope University, Liverpool, L6 1HP SINGLE REED DAY CATEGORY PRICE NO. REQUIRED TOTAL

adult £25

adult (caSS Member) £20 Booking Student £10 form three school age pupils with teacher (teacher free) £10 each non-participatory adult £15

Non-members may apply for tickets at the CASS rate if Total £ part of a group booking of 10 or more people.

YOUR CONTACT DETAILS name address

Postcode email address telephone number i consent to receive further information about the clarinet & Saxophone Society of Great Britain (no information will be shared with third parties) yes/no (delete as appropriate)

YOUR MUSICAL DETAILS instruments being brought

i would like to play in the clarinet choir yes/no (delete as appropriate)

i would like to play in the saxophone choir yes/no (delete as appropriate)

in the single reed choir i would like to play

My current standard is approximately grade ……….………. (minimum grade three suggested) (Group leaders/teachers should include separate details for each member/pupil) i would like to participate in a mini masterclass yes/no (delete as appropriate) if you require further information email: [email protected]

TICKET APPLICATIONS from www.cassgb.org or by post: 10 Shakespeare road, Mill Hill, London, nW7 4BB. cheques payable to caSS GB. Please enclose a SAE . Photocopy this form if you wish.

Autumn 2013 Clarinet & Saxophone 53 EDITOR’S NOTES

riting this in late July I’m to play so you need your instrument and a Saxophone was apparently not the final delighted to be told that our new music stand and you do not have to solo! edited version. There was a key change Wventure of courses for repair and Perfect for my students when there never missing at the start of bar 17 and it was not maintenance of clarinet and saxophone has seems to be enough time to cover in its decided final key! However, the been very successful in the number of everything one would wish to. Take a look featured duet has now been added to Keri applications received and is now full. at Rob’s YouTube video Degg’s free ‘Music and Woodwind Bookings are coming in for the Single www.youtube.com/watch?v=wXP1azGQwH Resources’ page, www.masquerade- Reed Day at Liverpool Hope University, see c to see what to expect. music.co.uk/ freemusic.html, so do access full details on page four. I’m looking forward I’m looking forward in particular to the the page to print off copies to this day and have organised a coach from trade exhibition, not least to the many as required and they are free North West Wales to convey my students to music publishers attending. Living in to share with students and it. In addition to playing in the ensembles Anglesey there is no opportunity to browse friends. with excellent conductors, the clarinettists a wide range of music, the Internet is no I hope you enjoy this issue of the will be encouraged to attend Linda substitute for me and so this is my chance to magazine and look forward to seeing many Merrick’s clarinet workshop. Those who seek fresh material. of you in Liverpool in November. went two years ago have already told me I felt concerned when I noticed a lower Richard Edwards I that they will definitely be in attendance! number of new members listed in the Linda never fails to inspire, creating a very membership section on page 55. However, positive learning experience in a completely our membership secretary, Andrew Smith, non-intimidating way. It is revealing allayed my fears explaining that increasingly afterwards to have one’s students explain he is not receiving back the form granting us new perspectives on playing and to see permission to publish contact details of them ‘buzzing’ from the experience. For the members. It is evidence of the caution some saxophonists, Rob Hughes is giving two feel they have to exercise in sharing workshops covering tone, practice, personal details, but a pity as it negates articulation (bends, grace notes, staccato facilitation of networking amongst within a slur) and opportunities to work on members. solo technique (i.e. how to structure a solo, Now an apology - unfortunately the which scale or notes you can use to solo Variations on a Celtic Theme (from 40 with and how to have an awareness of Graded Clarinet Duets ) submitted for where you are in the piece). Everyone gets publication in the last issue of Clarinet &

GUIDELINES FOR CONTRIBUTORS

ARTICLES the December issue, January 16th for the NEWS & DIARY/LISTING • 850 words fill one page with obvious March issue. The magazine is distributed • News of forthcoming events or listings is multiples thereof. around the 21st of the month of publication. very welcome. Please send your information • It is helpful if the text is also pasted into the • For guidance with regard to titles, to the Editor. You can request to be notified email in case of problems opening references etc we use Trevor Herbert’s Music by email as each listing/news is being attachments. Please do not submit articles in in Words (pub. ABRSM) as our guide. compiled as a reminder of the opportunity to Microsoft Publisher format - this seems to • We reserve the right to edit all submissions. submit information. give us the most problems. MS Word or text • No guarantee is made that a submission will • There is no charge for listings! saved in Rich Text Format should be fine. be published - this is at the discretion of the • Although great care is taken to ensure • Please supply pictures to enhance the Editorial Board. accuracy in the listings, the Clarinet & presentation of text. Pictures should have a FOR REVIEW Saxophone Society of Great Britain cannot minimum resolution of 350dpi or if hard copy • All material for review should be sent to the accept responsibility for any errors. Readers they will be returned once scanned if are advised to check details before making requested. Pictures should also state if Editor (Fron, LLANSADWRN, Menai Bridge, LL59 5SL). long journeys to an event as the listing is attribution/photo credit is necessary and be prepared some considerable time in . • A review is published for the benefit of the submitted with clear captions advance. • Please do not put pictures within text - send reader, not simply to give an artist/author them as separate attachments in JPEG some publicity. Deadline Period Covered format or similar, cross referenced to text • We cannot guarantee to publish a review of January 24 April 1 - Aug 31 where relevant. every item sent to us. April 24 July 1 - Nov 30 •A brief biography of the author should be • The editorial team will choose the reviewer. supplied along with an image. Unsolicited reviews will not be published. July 24 Oct 1 - Feb 28/29 • Hard copy is usually sent to contributors for • It may be that the reviewer will not like the Oct 24 Jan 1 - May 31 proof-reading, so please ensure that in this work, hence a positive review is not electronic age we have your postal address! guaranteed. • Copy deadline: April 16th for June issue, July • Music received by email in PDF or similar 16th for September issue, October 16th for format will not be accepted

54 Clarinet & Saxophone Autumn 2013 CLARINET &SAXO PHONE SOCIETY OF GREAT BRITAIN

NEW MEMBERS We offer a warm welcome to the following members who have The Clarinet & Saxophone Society of joined the Society since the last issue of Clarinet & Saxophone. Please check page two Great Britain was founded in 1976 for of the Membership Directory for an explanation of the abbreviations. the benefit of everyone who has an interest in the clarinet or saxophone and their repertoire: teachers, DRINKWATER, Mr Ty LYNCH, Ms Clare FOSTER, Ms Karen students, professional or amateur 89 Low catton road, Stamford Lower Bosulval Barn, newmill, 100 Hawthorn road, reepham, players, manufacturers and Bridge, york, yo41 1DZ Penzance, cornwall, tr20 8Xa Lincoln, Ln3 4DU composers. the Society has members 01759 371730 01736 448826 [email protected] in over 35 countries. the Society is a [email protected] [email protected] company limited by guarantee: S J c S P PAY, Mr Antony registered in england no. 3010228, 14 Walton crescent, oxford, oX1 whose registered office is at 15 ELLIOTT, Mr David MURDOCH, Mrs Martine 2JG Springwell, ingleton, Darlington, DL2 8 oval Gardens, alverstoke, 6 Main road, ipswich, Suffolk, iP9 01865 53339 3JJ Gosport, Hampshire, Po12 2ra 1aL [email protected] 02392 522473 [email protected] Presidents: richard ingham and [email protected] SS RAYNER, Miss Anne Janet Hilton c cM 37 Withybrook road, Shirley, OVERLAND, Mrs Siri Solihull, West Midlands, B90 2rZ ENTWISLE, Mrs Jane Vesteveien 46, Haugesund, [email protected] Past Presidents: Lt. col. trevor Le M. 212 London road, Balderton, norway, 5515, norway Sharpe MVo oBe, Jack Brymer oBe, newark, nottinghamshire, nG24 [email protected] WHEELER, Miss Janet Dame thea King, Sir John Dankworth 3HD S P clM J 4 covent Gardens, colwall, cBe [email protected] Malvern, Worcestershire, Wr13 c S f SHEPPARD-VINE, Miss Charlie 6fa Vice-Presidents: 141 churchfields Drive, Bovey 01684 541204 Paul Harvey, charles Hine GRANT, Miss Charlotte tracey, newton abbot, Devon, [email protected] 2a anglefield road, Berkhamsted, tQ13 9QZ Honorary Members: Paul Harvey, Hertfordshire, HP4 3Ja [email protected] WILSON, Miss Emily alan Lucas, Susan Moss, Kevin 01442 866358 c S 44 alma road, Southampton, Murphy [email protected] Hampshire, So14 6UP S CHANGE OF ADDRESS [email protected] Executive Committee: David campbell (Past-chairman), Janet KITAHARA, Mr Yuma BELL, Mrs Jane eggleden, Gemma Harvey, Graham 34 crystal Palace Park road, tresanton, old Brackenlands, Honeywood, Stephanie reeve, plus London, Se26 6UG Wigton, cumbria, ca7 9LB those indicated * 020 3659 7034 016973 42158 [email protected] [email protected] It is with regret we report the *Chairman: c death of: Michael tyler CULLEN, Mr Joseph Shelton LOWERY, Mr Christopher 1 renmore avenue, Portadown, Mr Michael Lloyd, Hove, east 44 Headland Way, font House, 113 Westgate, county armagh, Bt62 3DH, Sussex I Haconby, Bourne, Guisborough, cleveland, tS14 northern ireland Lincolnshire, 6aH 02838 339698 Pe10 0UW 01287 632866 [email protected] tel: 0759 092 8969 [email protected] chairman@ cassgb.org S *Secretary: William Upton, 25 albert road, new Milton, BH25 6SP tel: 0758 824 7421 Index of Advertisers [email protected] aBrSM 24 Sax.co.uk 49 *Treasurer: John MacKenzie, allianz Musical insurance 35 Sempre 40 15 Springwell, ingleton, Darlington, Barnes & Mullins - Juno 15 Southwest clarinet Day 49 DL2 3JJ tel: 01325 730280 Barnes & Mullins - yanagisawa Steve crow 40 [email protected] outside back cover trinity college London inside back cover *Editor: richard edwards, clarinet & Saxophone Society of GB 2 Vandoren 25 fron, Llansadwrn, Menai Bridge, LL59 5SL D’addario - rico 1 VBi - conn Selmer 41 tel: 01248 811285 [email protected] George Gladstone 15 Windband 50 *Membership Secretary: andrew Howarth of London inside front cover Wood, Wind & reed 50 Smith, 23 Hanbury close, ingleby John Packer 19 Woodwind & co. 33, 40, 50 Barwick, Stockton-on-tees, tS17 0UQ Jonathan Myall 53 yamaha 37 tel. 08456 440 187 nigel Hinson 50 [email protected] raf 17 • Back numbers of the magazine reeds Direct 33 are available to members from the Membership Secretary price £4.95. I

Autumn 2013 Clarinet & Saxophone 55 HOW WAS I TO KNOW? “I hate playing!”

he words clattered around in my head as I tried to make sense of it. I had ROBERT Tbeen a full time instrumental teacher (on teachers’ pay and conditions, a rarity nowadays I fear) for over a year, starting in 1980 with an array of degrees, diplomas and PARKER teaching certificates. In those days it was reasonably safe in the instrumental music teaching world to assume that pupils would want to play their chosen instrument. The lessons were free, and those who showed the most interest and aptitude were selected in the first instance. Elitist? Possibly, but it worked, as the music centres were thriving on Saturday mornings, achieving a high standard, and the county orchestra and band were excellent. However, if the student did not put in the effort, their free place was taken away and given to someone else. This was the set-up I joined, and one of my pupils, by then in the fifth form (year 11), had been a chorister in the cathedral choir at Southwell Minster until the age of about 13, also attending the Minster School, which at the time was almost unique in being a state comprehensive including a choir school complete with boarding! He had already passed grade five on the trumpet, always came to his lessons, the school brass group and orchestra, and significantly, the Saturday morning music school in nearby Newark. My trumpeter made steady progress, and while he did not choose to take music at A- words he uttered still haunt me over 30 years form a logical response: “But you always come level in the sixth form, he kept coming to all later. to your lessons, and you rarely miss the ensembles, Saturday mornings included. Without preamble he said: “Don’t you ever ensembles at school or on Saturday morning”. He began work on the grade six syllabus, with do that to me again”. His reply floored me: “I only do it because if I a view to taking the exam at Easter. In his last I was completely taken aback. Until then he don’t my father won’t let me have any pocket lesson before Christmas I encouraged him to had been always polite and well mannered, so money”. keep practising over the holidays, so that in this outburst was completely out of character. I subsequently learnt that as a boarder he January we could decide whether or not to “What do you mean” I asked. He replied: “Mr had been subject to the ‘firm but fair’ take the exam. P…… has just come to the physics lab and told discipline of the Head of Sixth form, who had The first lesson of the spring term duly me to go to my trumpet lesson”, and I been in charge of the boarding house arrived (there is no ‘winter’ in the world of responded: “Yes, I saw him in the staff room throughout his time as a chorister. Mr P…… education!) but my student didn’t. As his and I wondered if you were in school today. I must have put the fear of God into his attendance had always been good, when I just need to know if you want to take the charges, so when his head appeared at the happened to see the Head of Sixth Form in exam this term, because the closing date is door of the physics lab and called my pupil the staff room at break time, I asked if my this week”. Then came the phrase which gave out of the lesson, clearly this six-foot-plus student was in school that day. In hindsight me more cause to reflect on the art of teenager reverted to being eight years old his forceful response should have rung alarm teaching than a thousand hours of studying again! bells: “Don’t worry, I’ll sort him out”, or words the theory of education, either through Needless to say, my student didn’t take the to that effect. I thought no more of it and attending lectures or reading books, could exam. To his credit, he did keep playing, but went back to my room for the start of the next ever have done: “I hate playing the trumpet” that incident taught me two important lesson. Then, there was a knock on the door. he said, between clenched teeth. lessons as a teacher: 1) never assume It was my putative grade six pupil, and the I collected my thoughts, and managed to anything; 2) life is full of surprises… I

56 Clarinet & Saxophone Autumn 2013