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Electronic Theses, Treatises and Dissertations The Graduate School

2011 A Biographical Dictionary of Twentieth- Century American Clarinetists Tracey Lynn Paddock

Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE STATE UNIVERSITY

COLLEGE OF MUSIC

A BIOGRAPHICAL DICTIONARY OF

TWENTIETH-CENTURY

AMERICAN CLARINETISTS

By

TRACEY LYNN PADDOCK

A treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music

Degree Awarded: Spring Semester, 2011

The members of the committee approve the Treatise of Tracey . Paddock defended on March 28, 2011.

______Frank Kowalsky Professor Directing Treatise

______Richard Clary University Representative

______Deborah Bish Committee Member

______Jeff Keesecker Committee Member

The Graduate School has verified and approved the above-named committee members.

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To my husband Grant, who has stood by my side in the face of this and many other challenges, and to my parents, teachers, and friends, who have supported me generously and tirelessly.

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ACKNOWLEDGEMENTS

I would like to acknowledge all of the teachers and mentors who have helped me on my musical, educational, and life path. To James Campbell, thank you for providing me with a strong musical foundation, and musical and philosophical inspiration which will last a lifetime, and which I try to pass on to my own students. To former committee member Eric Ohlsson, thank you for setting the comprehensive exam question that led me to this treatise. To former committee member John Deal, thank you for urging me to make the treatise “comprehensive.” To , thank you for your invaluable guidance at the onset of this journey. Thank you also to former committee member James Croft for your role in the early stages of my research. Special thanks to Frank Kowalsky who, in addition to his wonderful musical guidance and wisdom, has been patient and endlessly supportive in helping me to finish this massive (but fascinating) undertaking. My profound gratitude goes out to all of the clarinetists who completed and returned my survey, making this document that much more valuable by providing future generations of clarinetists with your own words. I must express my appreciation to the librarians in the music section at the Library of Congress for delivering hundreds of pounds of books to me via their mysterious elevator, and for allowing me access to the back room to dig through stacks of programs which were not even logged into the library catalog at the time. Thanks also to the proprietors of the countless Washington ..-area coffee establishments in which I set shop for hours at a time, on a daily basis, over the years. Thank you to fellow Florida State University Doctor of Music recipients John Mula, Elizabeth Gunlogson, Charles Willett, and Dannene Drummond for your support and guidance throughout this process, and to Drs. Elizabeth Matera and Susan Rider. To my committee members Deborah Bish, Richard Clary, and Jeff Keesecker, thank you for your guidance and flexibility. To my mom and dad, thanks for a lifetime of love and support, and for always having faith in me. Lastly, to my husband, there are no words adequate to express the depth of my thanks for supporting me in this endeavor.

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TABLE OF CONTENTS

List of Tables ...... vi Abstract...... vii INTRODUCTION ...... 1 A. Format of Biographical Sketches ...... 4 . Table of Abbreviations ...... 5 BIOGRAPHICAL DICTIONARY...... 8 CONCLUSION...... 371 APPENDIX A: HUMAN SUBJECTS APPROVAL MEMORANDUM ...... 373 APPENDIX B: EXAMPLE OF SURVEY SENT TO SELECTED ENTRANTS...... 374 SELECTED BIBLIOGRAPHY...... 376 BIOGRAPHICAL SKETCH ...... 379

LIST OF TABLES

A. Format of Biographical Sketches...... 4

B. Table of Abbreviations...... 5

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ABSTRACT

A Biographical Dictionary of Twentieth-Century American Clarinetists is designed as a resource to provide information on the lives and careers of American clarinetists and pedagogues of note, active primarily between the years 1900 and 2000. In the case of this dictionary, the term “American” refers not only to those born in the , but also to select foreign-born clarinetists who either immigrated to the United States and spent a significant portion of their career in America, and/or who made such a profound impact on the American tradition that they have been essentially “adopted” as American clarinetists. The focus of the dictionary is on classical clarinetists, but some entrants have been active in classical performance as well as “non-classical” styles of performance, such as and . Included in the dictionary are clarinetists who perform or have performed in A- or AA-rated (as rated and listed in Musical America: International Directory of the Performing Arts, 1998 edition), and/or teach or have taught at college-level music schools with 20 or more full-time music faculty (as listed in the CMS Directory of Music Faculties in Colleges and Universities, United States and Canada, examined between 1968-1998). Also included are clarinetists who may not appear in either of the above resources, but who have established themselves as American clarinetists of note through their careers as prominent soloists, chamber musicians, recording artists, etc. Through the entries themselves, the reader will find a snapshot of American clarinetistry during the confines of the twentieth century. By studying an entrant’ teacher(s), often cross-referenced within the dictionary, a clarinetist examining the document can gather information not only on that entrant’s clarinet ancestry, but by extension, their own clarinet lineage as well. A study of each entrant’s list of students provides a window into the future of the American clarinet tradition. Lastly, the bibliography at the end of most entries will provide direction to those wishing to learn more about an entrant.

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INTRODUCTION

The impetus for “A Biographical Dictionary of Twentieth-Century American Clarinetists” was a comprehensive examination question which required the author to write about the American clarinet tradition. At the time of the examination, in the early days of the World Wide Web, as it was then more commonly known, information on prominent American clarinetists was not as readily at one’s fingertips as it is now. Even today, culling this information from online searches would take a great deal of time and effort, and one would have to question the accuracy of some of what was found. Researching the examination topic, at that time, required poring over volumes of The Clarinet and ClariNetwork journals, consulting Pamela Weston’s invaluable Clarinet Virtuosi books, scanning the more primitive version of the internet, and cobbling all of this information together, along with information for four additional research papers to be completed in just five days. Not yet available was Carol Anne Kycia’s now-published dissertation, Daniel Bonade: A Founder of the American Style of Clarinet Playing, nor had the excellent doctoral treatises of Elizabeth Gunlogson (“Stanley Hasty: His Life and Teaching”) or Shannon Thompson (“A History and Analysis of the Philadelphia School of Clarinet Playing”) been written. Undoubtedly, these three authors, and others who have since written on this topic, also noticed the profound gap in current research focusing on the subject of the American clarinet tradition. The original intent of this biographical dictionary was to provide a discussion of the American clarinet tradition during the twentieth century as a prelude to the biographical entries, which were to be gathered from all volumes of The Clarinet and ClariNetwork journals. One committee member suggested that the author not limit herself to these two resources, but to cast the net wider, and make the document a true and inclusive dictionary, not merely a survey of prominent American clarinetists found in these two journals. Given this worthy recommendation, which vastly expanded the scope of the project, and the recent, high-quality publications concerning major elements of the American clarinet tradition of the twentieth century listed above, this document will focus completely on the clarinetists who have played (and continue to play) the most significant roles in this tradition. While there are discussions pertaining to the American clarinet tradition within some of the biographies themselves (see the entries of , Earl Bates, , Daniel Bonade, Luigi Cancellieri, Gino Cioffi, , Harry Gee, , Gaston Hamelin, Ramon Kireilis, Gustave Langenus, Elsa Ludewig-Verdehr, Mitchell Lurie, Eric Mandat, , Rosario Mazzeo, Robert McGinnis, Ralph McLane, Donald Montanaro, Timothy Perry, Lillian Poenisch, Jeannette Scheerer, Joseph Schreurs, Manuel Valerio, David Weber, Alexander Williams, Harold Wright, and Michelle Zukovsky for historical commentary), the author will refer the reader to the aforementioned publications for a more in-depth history, as well as Cecil Gold’s publication, Clarinet Performing Practices and Teaching in the United States and Canada. After determining that the dictionary was to be very broad in scope, the next step was to determine elements of inclusion. Confining musical activities to those occurring within the twentieth century was the first means of narrowing down potential entrants, and further limiting entrants to American classical clarinetists and teachers would narrow the field even more. There are complications inherent in all of these determinants, which the author has exercised some latitude in working around. The twentieth-century time-frame was intended to include only activities which occurred between 1900 and 2000; if a clarinetist assumed a new position on January 1, 2000, no mention of it was to be made. The dictionary was meant to offer a frozen-in-time snapshot of the twentieth century. If the document had been finished within a few years of its starting date in 1998, this guideline would have been much easier to observe, but more than a decade later, it is difficult to ignore the significant changes that have occurred in American orchestras and music schools in the early years of the 21st century. Thus, while most entrants’ musical activities are limited to the twentieth century, in cases where nationally significant turnovers have occurred, the author has used her discretion in alluding to these changes. For example, if the reader sees that an entrant’s penultimate orchestral or teaching position went up to the year 2000 or perhaps beyond (notated as 2000+), their subsequent position will be notated as “current,” which means the position began after the year 2000. Clarinetists active during the first half of the century who may fall at the fringes of these time parameters have sometimes been included on the premise that their careers may have extended beyond the limited information found on them, and that there was much less documentation available on these earlier clarinetists of the twentieth century. If they could be found in print, they must have had some significance

1 during that time in their region. Similar flexibility has been given to those active in less-populated American states, in the interest of even geographical representation. Defining an entrant as an “American clarinetist” would also seem to be a simple classification, but there are indistinct lines here as well. During the first quarter of the twentieth century, conductors such as Stokowski, Mengelberg, Damrosch, and Toscanini were in the habit of recruiting European clarinetists to come to the U.S. to perform in their orchestras. While foreign-born, these clarinetists are most often considered to be American clarinetists, as they either a spent significant amount of their careers in the United States, or made such an impression on the evolution of the American clarinet tradition that one could not help but think of them as American. Examples of these prominent clarinetists are Simeon Bellison, Luigi Cancellieri, Gaston Hamelin, and Gustave Langenus, among others. Similarly, throughout the course of the century, foreign-born clarinetists have taken performance or teaching positions in the U.S. and have become “adopted” as American clarinetists. Such clarinetists have enmeshed themselves into the American clarinet tradition and have been influential on the evolution of this tradition through their playing and/or teaching. Examples of these “adoptees” are James Campbell, John Denman, , and , among others. The classification of “classical” clarinetists and/or teachers refers to classical clarinetists who hold (or have held) positions in AA- or A-rated American orchestras (as rated and listed in Musical America, 1998 edition), and/or hold (or have held) positions in American college-level music schools or conservatories with 20 or more full-time music faculty (as listed in the CMS Directory of Music Faculties in Colleges and Universities, United States and Canada, examined between 1968-1998). Where possible, surveys (see Appendix B) to collect biographical and career information were mailed to these clarinetists, through the assistance of a Florida State University Dissertation Research Grant, with an impressively strong response from almost 250 American clarinetists. Clarinetists who have been primarily active in “non-classical” genres, such as jazz or Klezmer, but have had classical training and/or have been active to some extent in a classical capacity have also been included. These “crossover” clarinetists include , Buddy DeFranco, , , and , among others. While the author acknowledges, from firsthand experience, that thousands of highly talented clarinetists have served and continue to serve in American military bands, this outstanding group of musicians has not been singled out for inclusion in this document. Many clarinetists (including quite prominent ones) who have served in American military bands do appear in the dictionary, but this is not their primary basis for inclusion. Some prominent clarinetists who have served in American military bands include Earl Bates, Ignatius Gennusa, Anthony Gigliotti, David Glazer, Frank Kowalsky, Robert Marcellus, Ronald Phillips, and Harold Wright, among others. American military clarinetists have kept and continue to keep very good company. In the category of “included at the author’s discretion” are clarinetists who have appeared in relevant Who’s Who publications, were listed as “Prominent Clarinetists” by The Clarinet during a series of articles from the , have moved into a position of prominence just beyond the end of the twentieth century (see explanation above), have been active as clarinetists of note outside of the traditional sense of “classical” performance (i.., those who are taking clarinet performance in new directions), have been active primarily as soloists, chamber musicians, and/or recording artists, thereby sometimes falling outside of the parameters, and/or those who may otherwise fall outside of the parameters but have made an impact on the American clarinet tradition. In addition to examining various editions of the CMS and Musical America directories, data was also compiled through a survey of clarinet- and woodwind-related music journals, various Who’s Who publications, collections of orchestral programs (housed in the Library of Congress), and histories of American musicians and orchestras. Books which were very important to this research include the excellent Pamela Weston Clarinet Virtuosi collection, Richard Gilbert’s volumes of annotated clarinet discographies, and Bonnie Walker’s earlier publication on clarinet recording artists. Also key to learning more about different aspects of the American clarinet tradition were the dissertations or treatises of Cecil Gold, Elizabeth Gunlogson, Jesse Krebs, Carol Ann Kycia, and Shannon Thompson, articles by John Cipolla, Paul Drushler, James Gholson, James Gillespie, Vance Jennings, Loren Kitt, and Shirley Mackie, and collections of articles by Harry Gee, Lee Gibson, Anthony Gigliotti, George Waln, and David Weber. The above resources appear not only in the relevant individual entrant’s Bibliography, but also in the Selected Bibliography at the end of the dictionary. Additionally, reliable internet resources were used, in most cases as a supplement to other bibliographic materials, but in some cases, where no other information could be found, as primary

2 resources. Sources deemed by the author to be reliable include official school and orchestra/ensemble websites, an entrant’s own personal website, websites paying tribute to a specific clarinetist, and resources such as Larry Huffman’s Stokowski website, which lists all members of selected major American orchestras throughout the orchestras’ histories, along with brief biographical sketches. The author has attempted to be as accurate as possible with biographical and career information, and to be as inclusive as possible within the given parameters, but with so many entrants, and sources containing conflicting information, it is likely that there are occasional inaccuracies and/or omissions. Nevertheless, the information provided within should be relatively close to the truth. There are a few helpful tools of which the reader should be aware in using the dictionary. Firstly, capitalized names within an entry indicate that those clarinetists also appear as entrants in the dictionary. From this, one can gain a rough idea of the main entrant’s clarinet “family tree.” Secondly, the partial list of students (at the end of many entries) should be perused in looking toward the future of the American clarinet tradition. Several of these students now occupy orchestral and/or teaching positions of note, gained within the first decade of the 21st century, but outside of the parameters of inclusion. Many students listed under their teachers’ names are also members of America’s fine military bands. Thirdly, the Bibliography at the end of most entries will offer the reader further resources for more in-depth study of the entrant. Lastly, among the more special elements of the dictionary are the direct quotations from the entrants themselves, as provided on surveys sent to them by the author. Nothing can define the personality and/or philosophy of an entrant as well as his or her own words. Particularly precious are the words of great clarinetists and pedagogues who have passed during the writing of this document, including Anthony Gigliotti, Mitchell Lurie, and Bernard Portnoy, among others. Within the body of entrants, the reader will find fascinating careers and life stories: people who have changed careers or who have had multiple careers; those who have strayed from and then come back to the music; those who never intended to pursue a career as a clarinetist; those for whom injury has altered the course of their musical careers; those who died under tragic circumstances or at a very young age. It is a picture of life in twentieth-century America as viewed through the lens of American clarinetists.

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TABLE A: FORMAT OF BIOGRAPHICAL SKETCHES

Each entry includes a section or sections of biographical data and professional activities, followed by an optional section containing commentary about and/or from the entrant. Most entries conclude with a selected bibliography which points the reader toward resources where they may find more detailed information on the entrant. When no bibliography is provided, the information within the biography (usually very limited in these cases), was derived either from information found within other entries in the dictionary, or from orchestral programs, which often provided only lists of personnel. Any capitalized names found within an entry also appear as entrants in the dictionary. In the interest of clarity, an entry may be in the form of one “paragraph” or several, depending on the amount of information found on the entrant. Below is a general template for the biographical sketches, with some variation occurring depending on available information on each entrant.

Blayman, Herbert S. B. Jan. 25, 1921 (Johnstown, ); d. Jan. 2, 2005.1 Began music studies on sax before switching to clarinet. Grad: Juilliard (1942) with ARTHUR CHRISTMANN; Army SOM (1944). Additional clarinet studies with AUGUSTIN DUQUES and ERIC SIMON.2 Former clarinetist: Goldman Band; Radio City Music Hall (Clarinet/Sax); Utah Symph (Principal: 1948-49); Orch (Principal: 1950-81).3 Was active as a jazz/dance band musician (early in career), recitalist (incl perfs at ICA conferences), and recording artist (with the Metropolitan Opera Orch).4 Former faculty member: Univ of Utah (Adj Prof: 1948-49); Manhattan SOM (Adj Prof: for approx. 20 years); Trenton State Coll (Adj Prof: for 20+ years); Interlochen Arts Camp (1965); Univ of Michigan (Prof: 1982-83).5 Other positions/activities: was a respected craftsman of and instrument stands.6 Memb: ICA.7 Hon: Juilliard Schol.8 Plays on: Buffet ; BLAYMAN mouthpiece; Vandoren reeds; Wunderlich ; uses BLAYMAN clarinet stands.9 Students include: Daniel Carter, PETER COKKINIAS, Herbert Dregalla, Lynn Fryer, ROGER GARRETT, JULIA HEINEN, Janet Johnson, Gene Keyes, KEITH LEMMONS, WILLIAM MCCOLL, Ruth McDonald, Don Mokrynski, Donna Nossett, Chris Pedersen, , LAWRENCE SOBOL, STAN STANFORD, Lee Walkup, Charles Yassky, DOW YOUNG JR., GREGORY YOUNG.10 Herbert Blayman noted that both of his major teachers, A. CHRISTMANN and A. DUQUES, “. . . were exceptional. I was honored and most fortunate to have studied with those two artists.” He added, “I was extremely lucky to have had a successful and illustrious career as a musician. The satisfaction of performing with such great musicians and artists for so many years was worth all of those countless hours spent in a practice room. We did make great music.” (Blayman/Paddock 1998) In addition to his career as a performer, Blayman also enjoyed a successful career as a mouthpiece craftsman and maker of various other clarinet equipment.11 Bib: “About Herb Blayman.” Blayman Music. http://www.blaymanmusic.com/about.html (accessed February 15, 2011); Blayman, Herbert S., to Tracey L. Paddock, Tallahassee, FL, May 29, 1998; Leeson, Daniel. “An Interview with Herbert Blayman.” The Instrumentalist 3 (November 1975): 59-65; Stewart, Robert. “A Conversation with Herbert Blayman.” The Clarinet 10 (Summer 1983): 14-16.12

1 Dates and/or locations of birth/death 2 Educational information, including degree name, name of school, year degree received, name(s) of teacher(s), additional study information 3 Professional positions held as clarinetist, including name of ensemble, position title, dates position held 4 Additional performance-related activities, including name of ensemble, dates position held, premiere and/or broadcast performances, etc. 5 Teaching activities, including name of school, position held, dates position held, additional teaching information (publications, etc.) 6 Additional musical and/or non-musical activities of note (including hobbies, areas of interest, etc.) 7 Memberships held 8 Honors, awards, achievements 9 Equipment used 10 Partial list of students (listed by entrant in survey and/or found via brief internet search) 11 Comment section (may include comments from or about the entrant) 12 Selected bibliography

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TABLE B: TABLE OF ABBREVIATIONS

AAUP: American Association of University Professors ABA: American Bandmasters Association Acad: Academic, Academy Admin: Administration, Administrative AFB: Air Force Base AFM: American Federation of Musicians Actg: Acting Alt: Alternate AMS: American Musicological Society Approx.: approximately AS: Associate of Science Assn: Association Assoc: Associate Asst: Assistant Aux: Auxiliary B.: born BA: Bachelor of Arts Bass: bass clarinet BDA: Band Directors Association Bib: Bibliography BM: Bachelor of Music BME: Bachelor of BS: Bachelor of Science BSME: Bachelor of Science (Music Education) C. or c.: circa CAN: Canada CASS: Clarinet and Society of Great Britain CBC: Canadian Broadcast Company CBDNA: College Band Directors National Association CD: compact disc Chmn: Chairman/Chairwoman Conserv: Cincinnati College Conservatory of Music CMA: America Co.: Company Coll: College Comp: composition Conserv: Conservatory (of Music) Corp.: Corporation CUNY: City University of New D. or d.: Date of death, or known to be deceased if no date follows Dept: Department Dipl: Diploma Diss: dissertation Div: Division DM: Doctor of Music, Doctor of Musical Arts Ed: Editor, Education Elem: Elementary Exec: Executive Ft: Fort Gen: General Grad: Graduate Hist: History

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Hon: Honors/Awards/Etc. HS: high school ICA: International Clarinet Association (formerly International Clarinet Society) IDRS: International Double Society Improv: improvisation Intl: International IOM: Institute of Music Instit: Institution Interlochen: Interlochen Arts Camp (formerly National Music Camp) Juilliard: of Music Lect: Lecturer Lit: Literature MA: Master of Arts MEA: Music Educators Association Memb: member MENC: Music Educators National Conference--verify MFA: Master of Fine Arts Mgr: Manager MS: Master of Science Mt: Mount MTA: Music Teachers Association MTNA: Music Teachers National Association Mus: Music Mus Ed: Music Education NACWPI: National Association of Woodwind and Percussion Instructors NAJE: National Association of Jazz Educators NARAS: National Academy of Recording Arts and Sciences NASM: National Association of Schools of Music Natl: National NEA: National Endowment for the Arts NEH: National Endowment for the Humanities No.: Number NPR: National Public Radio NYC: City Oberlin Conserv: Oberlin College Conservatory of Music Orch: Orchestra, Orchestral Org: Organization Ped: Pedagogy Perf: Performance, Performing Perf Artist: Performing Artist Perf Cert: Performers Certificate PhD: Doctor of Philosophy Phil: Philharmonic Prep: Preparatory Pres: President Prof: Professor PT: Part-time Recip: Recipient Rep: Representative Res: Residence, Resident Sax: Saxophone Schol: Scholarship Secr: Secretary SOM: School of Music Sub: Substitute SUNY: State University of New York

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Symph: Symphony, Symphonic Tanglewood: University/Tanglewood Institute and/or Berkshire Music Center Tech: Technological, Technology, Technique Treas: Treasurer Univ: University UCLA: University of - U.S.: United States USAF: United States Air Force USMA: United States Military Academy Vol.: Volume WWI: World War One WWII: World War Two Yr/Yrs: Year, years

Symbols

+ Period of activity likely to have extended later than date indicated +/- Date given is one of known activity; individual was most likely active with the organization earlier and/or later than date indicated

Other notes

Universities will be spelled out the first time they appear in an entry and will be abbreviated thereafter where appropriate and clear (e.. Florida State Univ: FSU).

Standard American state abbreviations may be used where appropriate and clear.

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BIOGRAPHICAL DICTIONARY

A

Aaholm, Philip Eugene. B. Apr. 3, 1937 (Sheboygan, WI). Clarinet studies with HAROLD WRIGHT at the Navy SOM (1955-56); BA/MM: Univ of Wisconsin-Madison (1964/1968) with GLENN BOWEN and RUSSELL DAGON; DM: Univ of Arizona (1972) with SAMUEL FAIN. Clarinetist: Colorado Wind (Founder/Memb: 1970s-80s, +/-). Active as a recitalist (incl perfs at the Univ of Oklahoma Clarinet Symposium and other clarinet conferences), chamber musician (incl tours of the U.S. with the Colorado ), and festival artist (incl participation at the Colorado Music Festival). Faculty member: Lamar Univ (Prof of Clarinet: 1966-70); Univ of Colorado (Prof of Clarinet: 1972-99). Articles published in The Clarinet (including a series entitled “Forum”). Other positions/activities: Vice Pres, ICA (1976-78); ICA State Chmn, CO (1979-); Chmn, ICA Composition Committee (formerly); has been active as an administrator (incl service at Univ of CO as Chmn of Woodwind/Brass/Percussion Faculty, Assoc Dean of Grad Studies, and Dir of Summer School) and woodwind chamber music scholar; special interest in the use of relaxation in clarinet perf; extra-musical activities incl biking, kayaking, skiing. Memb: ICA. Plays on: Leblanc clarinets (overhauled by Tim Clark); GLENN BOWEN mouthpiece; Kaspar ; Rico Grand Concert Thick-cut #3 ¾ reeds. Clarinetist Philip Aaholm retired from the University of Colorado in June 1999 to begin his new career as a ski instructor in Frisco, CO. On the subject of the clarinet and performance, Aaholm comments:

My philosophy regarding both teaching and performance revolves around the principle that one should enjoy what they are doing. However, to maximize the “enjoyment” one needs to commit oneself to learning as much as possible about the clarinet – technique, tuning, tone production, etc. The more proficient one becomes enables the player to have many more avenues of enjoyment to explore. I believe that every clarinetist should explore the many venues of expression available . . . jazz, the various ethnic styles so prevalent in Eastern , classical, avant garde – for in this way we can learn to appreciate and more easily accept and respect other means of expressing music which is just another means of communication. (Aaholm/Paddock 1998)

In response to the author’s request for a list of “prominent students,” Aaholm was concerned that by listing only some, those not included might feel slighted. In the interest of respecting Aaholm’s wishes, while at the same time providing historical documentation, the author has included the following independently-researched, partial list of students, gathered from this document as well as a brief survey of the internet: Michael Dean, Brian Ebert, Ruth June Hale, Anne Kleve, JOHN KUEHN, GREGG MILLER, David Odom, Timothy Phillips, Patty Shaw, ALAN WOY. Bib: “Aaholm, Philip Eugene.” Who’s Who in American Music (Classical). 2nd ed. New York, : .R. Bowker Co., 1985: 1; Aaholm, Philip, to Tracey Paddock, Tallahassee, FL, June 8, 1998; “Phil Aaholm Retires.” The Clarinet 26 (September 1999): 15.

Abato, Cosimo C. D. Sept. 19, 1995 (Abingdon, MD). Nephew of VINCENT ABATO. Clarinet studies at Peabody Conserv and Juilliard. Grad: NYU (1955); NYU Law School (1957). Former clarinetist: U.S. Army Field Band; Baltimore Symph (1945-46). Was active as a studio/theatre musician (incl perfs on NY radio/television networks and shows) and saxophonist. Other positions/activities: co-founded a law firm with whom he served as partner for many years; served as a lawyer for the Baltimore AFM (1978-87). Memb: AFM, Beta Kappa. Hon: Cosimo C. Abato Clarinet Schol established in 1995 at Peabody Conserv. Bib: “Cosimo C. Abato.” Law Offices of Abato, Rubenstein, and Abato, P.A. http://www.abato.com/history.html#cosimo (accessed February 6, 2011).

Abato, Vincent Joseph [Jimmy]. B. Jan. 21, 1919 (Wilmerding, PA); d. 2008. Clarinet studies begun at age 7; early studies with his brother Tony Abato and GILBERT STANGE (at Peabody Conserv); additional studies at Juilliard with JAN WILLIAMS. Additional clarinet studies with DANIEL BONADE. Clarinetist: Baltimore Symph (Clarinet/Bass/Sax: 1940-42, +/-); New York Phil (Clarinet/Bass/Sax: 1942-

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44); Metropolitan Opera (Bass/Sax: 1973, +/-); has also performed with the Boston Pops, Bowl Orch, and Los Angeles Phil; has performed as a member of the , Claude Thornhill, and bands and other ensembles on clarinet/sax. Active as a soloist (incl the premiere of the Paul Creston Sax Concerto with the NY Phil in 1944), jazz musician, studio musician, and recording artist (on the Columbia, Music Minus One, and Nonesuch labels). Works dedicated to Abato incl Rex Mitchell’s Song of the City and Alfred Reed’s Ballade (both for sax). Former faculty member: Columbia Teachers Coll; Hofstra Univ; Juilliard (1948-58; 1982-87); Coll. Author, How to Develop a Good Clarinet Tone (Leblanc). Hon: has appeared on the cover of The Clarinet twice (1956, 1974). Students include: EDDIE DANIELS, James Hopper, BRIAN HYSONG, Fraser MacPherson, Heather Monkhouse, VICTOR MOROSCO, RON ODRICH, DEBORAH PITTMAN, Neal Ramsay, STEPHEN SEFSIK. In addition to performing as a clarinetist in several major orchestras, Vincent “Jimmy” Abato was equally well-known as a saxophonist with the same orchestras and with big bands and jazz ensembles. He was active as a soloist and recording artist in both arenas and was the first saxophone teacher at Juilliard. An early champion of saxophone performance and education in America, Abato was determined to raise the status of the saxophone and its repertoire to that of other orchestral instruments. (Demsey 2011) Although Abato’s name has sometimes been recorded (even in his own handwriting) as “Vincent James Abato,” and his nickname was “Jimmy,” Abato’s preferred full name is “Vincent Joseph Abato.” (Michlin 2011) Bib: Demsey, David. “The Saxophone at Juilliard.” http://www.joeallard.org/JuilliardArticle.html (accessed February 6, 2011); Gee, Harry. Saxophone Soloists and Their Music. Bloomington, IN: Indiana University Press, 1984; Michlin, Adam. “Vincent . Abato.” A. Michlin. http://michlinmusic.com/abato/ (accessed March 15, 2011); “The Clarinetists of the Metropolitan Opera.” The Clarinet 1 (May 1974): 3.

Aber, Thomas C. B. Sept. 29, 1954 (Kansas City, MO). BM/MM: Juilliard with JOSEPH ALLARD; DM: Univ of Missouri-Kansas City; additional studies at the Sweelinck Conserv- with Harry Sparnaay. Additional clarinet studies with PATRICIA KOSTEK, JAMES MEYER, and JOHN PARRETTE. Clarinetist: Cedar Rapids Symph (Bass: 1989-97); Omaha Symph (Bass: 1990-); newEAR Contemporary Chamber Ensemble (Founding Memb; current); has also performed with the Kansas City Symph, Rotterdam Phil, , and Natl Orch Assn. Active as a recitalist, chamber musician, saxophonist, and recording artist (on the earThis! label). Published in The Clarinet. Memb: ICA. Hon: Fulbright-Hayes Award for study with Harry Sparnaay; Prize Winner, Gaudeamus Intl Compt for Interpreters of Contemporary Music (1979). Plays on: Leblanc Concerto B-flat clarinet; Selmer Low C bass clarinet. Thomas Aber has focused much of his career on the performance of contemporary chamber music and music for the bass clarinet. Concerning the bass clarinet, Aber comments that it is “. . . an important musical voice, related closely to the , but not merely an adjunct to it.” (Aber/ Paddock 1998) Aber also has an interest in “. . . the distinctive styles of clarinet playing used in Bulgarian, Greek and Turkish .” (Ibid.) Bib: Aber, Thomas and Terje Lerstad. “Altissimo Register Fingerings for the Bass Clarinet.” The Clarinet 9 (Summer 1984): 39-41; Aber, Thomas C., to Tracey L. Paddock, Tallahassee, FL, August 17, 1998.

Abrams, David. Native of Brooklyn, NY. BM/MM (both in Perf/Mus Theory)/DM (Perf/Lit): Eastman SOM with STANLEY HASTY. Former clarinetist: Syracuse Symph; Rochester Phil. Active as a chamber musician (incl perfs with the Cassatt String and ) and festival artist (incl participation at the Skaneateles Festival). Faculty member: Syracuse Univ (Prof of Clarinet: formerly, 1990s, +/-); Onondaga Community Coll (Prof of Music/Computers: current). Other positions/activities: Treas, ICA (formerly, 1990s); award-winning Chief /Feature Writer for the Syracuse Post- Standard and Herald Journal; active as an adjudicator and clinician; also designs computer software for small central NY businesses and runs a private tax prep/accounting firm specializing in services for orch musicians. Extra-musical interests incl chess. Memb: ICA. Students include: Curt Altarac, Colleen ’Neil. Bib: Abrams, David. “David Abrams.” Onondaga Community College. http://myhome.sunyocc. edu/~abramsd/ (accessed February 6, 2011); “Candidates for I.C.A. Officers.” The Clarinet 23 (February/ March 1995): 18-19.

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Acord, Michael. Native of Ashland, KY. Early music studies with John “Pop” Lewis, Larry Moore, and Robert Hawkins. BME: Morehead State Univ-KY (1975) with WILLIAM BIGHAM; MM: Michigan State Univ (1977) with ELSA LUDEWIG-VERDEHR; additional studies at Eastman SOM with STANLEY HASTY. Additional clarinet studies with FRED ORMAND. Clarinetist: Lexington Phil-KY (Principal: 1991-); Philharmonic Woodwind Quintet (1991-); Baird Winds (current); Movere Woodwind Quintet (current). Active as a recitalist/soloist (incl perfs with the Lexington Phil), chamber musician, and festival artist (incl participation at Lutheran Summer Music). Faculty member: Morehead State Univ (Assoc Prof: 1989-). Bib: “Michael Acord.” Morehead State University. http://www2.moreheadstate.edu/ orgs/sai/index.aspx?id=7972 (accessed February 6, 2011).

Adelson, Robert. BM/MM: Northwestern Univ with ROBERT MARCELLUS. Additional clarinet studies with DOUGLAS CORNELSEN. Clarinetist: Colorado Symph (formerly). Active as a soloist (incl perfs with the Detroit Symph, Orchestre Recontres Musicales Internationales, and the Los Angeles Baroque Orch) and historical clarinet specialist (incl perfs on 18th-century clarinets with the Handel and Haydn Society Orch and Boston Baroque). Faculty member: Boston Conserv (formerly); Rencontres Musicales Intl Festival (formerly); Univ of Utah (Guest Prof: 1998, +/-); Towson Univ (Asst Prof of Clarinet: current). Articles published in The Clarinet, Lettre de Zuylen, Music and Letters, Performance Practice Review, d’histoire du théatre, and Women of Note Quarterly. Other positions/ activities: active as a musicologist with special research interest in the area of women opera composers/ librettists of late 18th-century (book underway as of 1998); has served as program annotator for the SONY-Classical label. Hon: NEH Fellowship in Musicology (1993) to research the Beethoven String at Harvard Univ. Bib: Adelson, Robert. “New Perspectives on Performing ’s .” The Clarinet 25 (February/March 1998): 50-52; Adelson, Robert. “’Too Difficult for Benny Goodman’: The Original Version of the Copland Clarinet Concerto.” The Clarinet 23 (November/ December 1995): 42-45.

Akeroyd, Evans. B. 1857 (); d. 1920. Clarinetist: Boston Symph (Principal: 1888-89). Bib: Huffman, Larry. “Boston Symphony Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/ Boston_Symphony_Musicians_List.htm (accessed February 7, 2011).

Alemann, Paul Ernst Rudolph. B. 1877 (Germany); d. circa 1946+. Clarinetist: Philadelphia Orch (Bass: 1904-30). Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http:// www.stokowski.org/Philadelphia_Orchestra_Musicians_List.htm (accessed February 7, 2011).

Alemany, Robert. Active as a clarinet recitalist, soloist, chamber musician (incl perfs with his wife, conductor/classical guitarist JoAnn Falletta), and recording artist (incl recording of American clarinet concerti with the Czech Natl Symph conducted by his wife, JoAnn Falletta, on the Albany Records label; also appears on the Troy label). Hon: favorable reviews of recording appear in American Record Guide, The Clarinet (see Bib), and Gramophone. Bib: Nichols, William. “Audio Notes.” The Clarinet 27 (March 2000): 18-19.

Alexander, Peter. Grad: Columbia Univ, Univ of Wisconsin, Eastman SOM. Clarinet studies with GLENN BOWEN; has also worked with clarinetist/composer MEYER KUPFERMAN. Active as a clarinet recitalist (incl perfs at ICA conferences), soloist (incl perfs/recordings with the Pro Arte Chamber Orch of Boston and Hudson Valley Phil), chamber musician (incl perfs/recordings with the Hudson Valley Wind Quintet and the Music in the Mountains /Chamber Players), festival artist (incl participation at the Music in the Mountains Festival), and recording artist (on the CRI label). Premiere perfs incl MEYER KUPFERMAN’s Clarinet Concerto, performed with the Hudson Valley Phil (1985), and Robert Starer’s Kli Zemer with the Pro Arte Chamber Orch of Boston. Faculty member: SUNY-New Palz (has served as Dean of the School of Fine and Perf Arts). Hon: recip of numerous educational awards. Clarinetist Peter Alexander has enjoyed a working relationship with clarinetist/composer MEYER KUPFERMAN, having premiered Kupferman’s Clarinet Concerto in 1985. Kupferman has described Alexander as “a fine soloist” who “. . . feels that all clarinet players should listen to other types of instrumentalists – like violinists, cellists, and singers – because they are more accustomed to solo style.” (Kupferman 1986, 18) In Kupferman’s article listed below, Alexander himself discusses the merits of exploring and embracing the performance styles and musical language of other instrumentalists to bring

10 more to one’s own performance. He further advocates variety in one’s musical life and a flexible approach to clarinet equipment as determined by the performance repertoire at hand. (Ibid., 19) Bib: Kupferman, Meyer. “Expressivity – More Head, Heart or Lip?” ClariNetwork 5 (Winter 1986): 7-8; 18-20; “Notes for ‘Robert Starer: Chamber Works.’” DRAM. http://www.dramonline.org/ /robert-starer-chamber-works/notes (accessed February 7, 2011).

Allard, Joseph A. B. Dec. 31, 1910 (Lowell, MA); d. May 3, 1991 (Bradford, MA). Undergrad music studies begun at COM. Clarinet studies with EDMONDO ALLEGRA, DANIEL BONADE, AUGUSTIN DUQUES, GASTON HAMELIN, and RALPH MCLANE. Sax studies with Lyle Bowen, CHESTER HAZLETT, and Rudy Wiedoeft. Former clarinetist: NBC Symph (Clarinet/Bass/Solo Sax); WOR Symph; Symph of the Air (Clarinet/Bass/Solo Sax); Band of America (Solo: 1948-58, +/-; served as Co-Principal with SIGURD BOCKMAN); Bell Telephone Hour (Principal, for 18 years); Du Pont Radio Show (Principal, for 19 yrs); has also performed as Solo Sax with the New York Phil and for RCA. Active as a soloist (incl broadcast solo perfs on the Bell Telephone Hour), studio musician, jazz musician (incl work as saxophonist with the Band and others), and recording artist (on the RCA Victor and other labels). Former faculty member: Juilliard (Prof of Clarinet/Bass Clarinet: 1956-85+); New England Conserv (Prof of Clarinet/Bass Clarinet/Sax/Jazz: 1980s, +/-); CUNY-Brooklyn (Asst Prof of Sax: 1980s, +/-); Manhattan SOM (1980s, +/-); Long Island Univ; Columbia Univ; NY Univ. Author: Three Octave Scales; Advanced Rhythms; Jazz Progressive Studies. Hon: ’s Concerto for Sax and Orch commissioned for Allard by his students in celebration of his 70th birthday. Students include: THOMAS ABER, Peter Anderson, Bob Berg, GARY BOVYER, , Don Byron, CARMINE CAMPIONE, Harry Carney, JOHN CIPOLLA, Paul Cohen, EDDIE DANIELS, , . GERARD ERRANTE, JOHN FULLAM, Larry Garges, DIANA HASKELL, WILLIAM HELMERS, THOMAS HILL, Daniel Klimoski, , JEFFREY LERNER, , Dave Liebman, , JAMES MEYER, VICTOR MOROSCO, JOHN MOSES, DAVID NIETHAMER, EDWARD PALANKER, DEBORAH PITTMAN, RAOUL QUERZE, John Richmond, EDWIN RILEY, Jay Rodriguez, DENNIS SMYLIE, JACK SNAVELY, NOEL STEVENS, EARL THOMAS, Dave Tofani, Jerry Vivino, JOHN WIENER, Paul Winter, . Joseph Allard significantly influenced the playing and teaching of many prominent twentieth- century clarinetists (and saxophonists), among them CARMINE CAMPIONE who commented, “I’d like to point out and give extra credit to Joe Allard as possibly the finest teacher. I believe his contribution has not been given proper due.” (Campione/Paddock 1998) Another of Allard’s former students, EDDIE DANIELS, offered the following commentary on Allard’s teaching:

Joe Allard . . . solved almost all my problems for me; he just pointed the way—eye- opening, creative way of analyzing the embouchure and tone production, a very analytical, brilliant guy. He really was one of my biggest inspirations in terms of a teacher, with a great personality and a certain kind of sense into the workings of things. Joe used to talk about not grabbing the reed, choking it. We all talk about not choking the reed, but you just can’ pull the jaw back, like some people do. Some people put pressure on the top teeth to get it away from the bottom lip; but there is another way to do it that Joe had which prevented the sides of the lip from pinching the sides of the reed. You’d go in there and he’d show you how and you’d leave playing twice as loud, twice as vibrant and thinking, “Holy cow!” It’s like an enlightenment, each lesson! (Novak-Murrow 1991, 36)

JACK SNAVELY, who cites Joseph Allard as the most significant influence on his playing and teaching, was similarly enlightened by Allard’s teaching which changed Snavely’s concept of playing from their first lesson. Snavely took lessons at Allard’s studio across the street from Radio City Music Hall, a studio which Allard rented out to DANIEL BONADE for a short time. Allard and Bonade played together in a radio orchestra, and when Allard would ask Bonade how he achieved certain things on the clarinet, Bonade refused to tell him. Being analytical by nature, Allard would then observe Bonade

11 playing and figure it out for himself. Allard was also adaptive and creative in his teaching, frequently developing original exercises on the spot to help a student with a specific challenge. (McKim 2000) The website, “The Joe Allard Project,” which includes portions of Debra Jean McKim’s published dissertation, “Joseph Allard: His Contributions to Saxophone Pedagogy and Performance,” and is listed in the Bibliography below, is highly recommended for a thorough history of Allard’s career, complete with numerous anecdotes. Bib: “Allard, Joseph.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 9; Campione, Carmine to Tracey L. Paddock, Tallahassee, FL, May 14, 1998; Cipolla, John . “Pedagogy of Master Clarinet and Saxophone Teacher, Joe Allard: A Panel Discussion.” The Clarinet 36 (June 2009): 50-52; McKim, Debra Jean. “Joseph Allard: His Contributions to Saxophone Pedagogy and Performance.” Doctor of Arts diss., University of Colorado, 2000, excerpted at http://www. joeallard.org/interviews/snavely.html (accessed January 8, 2011); Michlin, Alan, Ed. “The Joe Allard Project.” JoeAllard.org. http://joeallard.org/ (accessed January 8, 2011); Morosco, Victor. “Joseph Allard.” V. Morosco. http://www.morsax.com/allard.html (accessed January 8, 2011); Novak-Murrow, Jeanie. “An Interview with Eddie Daniels.” The Clarinet 19 (November/December 1991): 36-41; Porter, Joan Waryha. “Joe Allard (1910-1991): A Revered Artist.” The Clarinet 19 (November/December 1991): 30-31.

Allegra, Edmondo [Edmund]. B. Nov. 28, 1889 (Crevacuore, ); deceased. Clarinetist: Tonhalle Orch (Principal: 1916-25); Boston Symph (Principal: 1925-26; Clarinet/E-flat: 1926-33). Active as a soloist (incl perfs of Debussy’s Premiere Rhapsodie with the Boston Symph on Oct. 23 and 24, 1925). Students include: JOSEPH ALLARD. Allegra left his native Italy for in 1916 to become one of Switzerland’s most renowned clarinetists. He was the clarinetist in the first performance of Stravinsky’s L’histoire du Soldat on September 28, 1919, and several weeks later, on November 8, 1919, Allegra gave the first public performance of Stravinsky’s Three Pieces in Lausanne, Switzerland. Other well-known works associated with Allegra are Busoni’s , Op. 48 and Elegie, both of which were dedicated to Allegra. Allegra served as Solo Clarinetist of the Tonhalle Orchestra for several years, leaving this post in 1925 to become Principal Clarinetist of the Boston Symphony in the 1925-26 season. Following this first season, Allegra performed as Clarinetist and E-flat Clarinetist of the Boston Symphony from 1926 to 1933. Little was found in writing about the remainder of Allegra’s life and career. Bib: Pierce, Jerry. “Pierce’s Potpourri.” The Clarinet 20 (November/December 1992): 14.

Alleman, John. Clarinet studies with KEITH STEIN. Active as a recitalist (incl a perf at the 1983 Keith Stein Memorial Clinic). Faculty member: Youngstown State Univ (Prof of Clarinet: 1983, +/-). Other positions/activities: organized the 1983 Keith Stein Memorial Clarinet Clinic at Youngstown State Univ. Students include: DAVID PINO. Alleman is a unique clarinetist who continued performing despite being stricken with multiple sclerosis which curtailed the use of two of his fingers. At the 1983 Keith Stein Memorial Clarinet Clinic, Alleman performed his own composition, Variations for Clarinet and , which calls for the use of the left hand and first two fingers of the right hand. For a brief time, when he felt unable to play the clarinet, Alleman turned to painting as an artistic outlet and has painted his visual impressions of several works in the clarinet repertoire. Bib: Pino, David. “The First Keith Stein Memorial Clarinet Clinic.” The Clarinet 11 (Fall 1983): 20.

Ambler, Donald. Native of Lafayette, IN. Early clarinet studies with Robert Priest. BM: Vandercook Coll of Music. Additional clarinet studies with DANIEL BONADE, CLARK BRODY, ANTHONY GIGLIOTTI, LEON LESTER, PAUL HOWLAND, LEON RUSSIANOFF, and WILLIAM SCHUMACHER. Former clarinetist: Civic Orch of ; Goldman Band; NY Orch Society (Founding Memb; Clarinet/Personnel Mgr: 1960-62); North Carolina Symph; Virginia Symph; Denver Symph (Bass: 1962-92); currently performs with the Central City Opera and Co. Active as a soloist. Faculty member: Colorado Christian Univ (Affiliate Prof of Clarinet: current). Articles published in The Clarinet. Other positions/activities: active as an adjudicator, clinician, and private clarinet/bass clarinet instructor. Hon: inducted into the Jefferson HS Hall of Fame (1999). Students include: Scott Chiu, Karen Dusek, Peter Forman, CRAIG NORDSTROM, Mark Sloss, ANDREW STEVENS, Michael Stordahl, Debra Wilbur. Bib: “Jefferson High School Hall of Fame - 1999.” Jefferson High School. http://www.

12 lafayettejeff.org/hall_of_fame/hof_1999.htm (accessed February 10, 2011); “The Clarinetists of the Denver Symphony Orchestra.” The Clarinet 5(Fall 1977): 30.

Amelotte, .R. Grad: Conserv. Clarinetist: Boston Opera Orch (Second: active early 1900s). Other positions/activities: owned a music store in the Boston area. Students include: RUFUS MONT AREY. While performing as Principal Clarinetist of the Boston Opera Orch, Rufus Mont Arey gained so much admiration for Amelotte’s playing that he requested lessons from Amelotte, despite the fact that Amelotte played Second to Arey. Arey’s clarinet playing was strongly influenced by his studies with Amelotte, especially in the area of articulation. Arey purchased the clarinets he used throughout his career from Amelotte’s Boston music store. Bib: Jones, George. “The Artistry of Mont Arey (Part I).” The Clarinet 5 (Winter 1978): 16-18.

Amodeo, Ferdinand. B. Naples, Italy (1891). Grad: Emma Willard Conserv; Troy Conserv of Music. Clarinet studies with MICHAEL FUSCO. Former clarinetist: 105th Infantry Band, NY Natl Guard (Solo/Asst Bandmaster); prominent NY clarinetist active during the (+/-), and was also active as a violinist and band leader (incl position with Amodeo’s Mechanicville City Band). Hon: listed in Who is Who in Music (1941). Bib: “Amodeo, Ferdinand.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 34.

Andelman, Arnold Leonard. B. Hartford, CT (1920). Grad: Hartt SOM. Former clarinetist: Hartford Federal Symph (Principal); prominent NY clarinetist active during the 1940s (+/-). Hon: listed in Who is Who in Music (1941). Bib: “Andelman, Arnold Leonard.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 34.

Anderson, John E. Clarinetist: Fiati (1990s-; +/-). Active as a clarinet recitalist/soloist (incl perfs at CMS and ICA conferences and the Intl Conference of Electronic Arts, and in China, Russia, Denmark, , and , and throughout North America), chamber musician, recording artist (incl 1996 recording of works for ), and new music specialist (incl perfs of works utilizing solo clarinet in conjunction with various electronic, computerized, and/or sound manipulating components). Faculty member: Univ of (Prof of Clarinet/Dir of Grad Studies: late-1970s-; +/-; has also served as Head of Woodwind Dept). Author, Concepts for Clarinet Teachers (Jeanné Inc). Other positions/activities: Editorial Staff, The Clarinet (1980s, +/-). Hon: favorable reviews of perfs/recordings appear in The Clarinet (see Bib below), Detroit News, Wilmington Journal, and Minneapolis Tribune. Students include: Becky Erickson, JENNIFER GERTH, JULIA HEINEN, ROBYN JONES, LEIGH WAKEFIELD. Bib: “Fiati.” Fiati. http://www153.pair.com/bensav/Interpretes/Fiati.Dirlam.html (accessed February 10, 2011); “John Anderson.” University of Minnesota. http://www.music.umn.edu/directory/facProfiles/Anderson John.php (accessed February 10, 2011); Nichols, William. “Audio Notes.” The Clarinet 24 (July/August 1997): 16-17.

Anderson, Michael. B. Oak Grove, OR. BM: Portland State Univ (1977); MM/DM(in progress): Univ of Oregon (1979) with WAYNE BENNETT, John McManus, and ROBERT VAGNER; additional doctoral studies at Univ of Southern California with DAVID SHIFRIN. Additional clarinet studies with CATHERINE PALLADINO. Clarinetist: Eugene Symph (Principal: current); Santa Fe Pro Musica (current); Oregon Ballet (Principal: current); also performs with the Oregon Symph, and has performed with the Fresno Phil and William Hall Chorale of Los Angeles. Active as a soloist (incl perfs with Santa Fe Pro Musica), chamber musician, festival artist (incl participation at the Ernest Bloch, Oregon Coast, Oregon Bach, Peter Britt, and Sunriver music festivals), and recording artist (on the Dorian and North Pacific Music labels). Former faculty member: Univ of Oregon; Willamette Univ; Lane Community Coll. Other positions/activities: Artistic Administrator, Oregon Bach Festival (current). Michael Anderson has garnered much praise for his playing and recordings, including the following from his former teacher DAVID SHIFRIN:

Michael has distinguished himself as one of the leading clarinetists in the country. . . . He has a beautiful sound, a formidable technique and wonderful communicative ability on the instrument. (Crafts 2004)

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Rather than pursuing a solo career, something well within his reach, Anderson has instead chosen to remain in Eugene, Oregon and to pursue a variety of performance options there rather than limiting himself to a solo career. He is active as a soloist, but also enjoys orchestral and chamber playing and varying styles of music from classical to contemporary. In addition to his teachers, Anderson cites BENNY GOODMAN as a clarinet role model. Bib: Crafts, Fred. “Eugene Clarinetist Michael Anderson Racks up the Gigs and Two New CDs.” The Register-Guard (January 23, 2004) at http://oregonbachfestival.com/2004/01/eugene-clarinetist- michael-anderson-racks-up-the-gigs-and-two-new-cds/ (accessed February 11, 2011); “Michael Anderson.” . http://www.eugenesymphony.org/orchestra/meet-musicians/anderson-michael/ (accessed February 11, 2011).

Anderson, Scott J. Native of Minneapolis, MN. Early clarinet studies with FREDRIK HEDLING. Grad: Interlochen Arts Acad; Eastman SOM with STANLEY HASTY; Northwestern Univ (1980s) with ROBERT MARCELLUS. Additional studies/coaching with Rhadames Angelucci, Jan De Gaetani, and ROSARIO MAZZEO. Clarinetist: Orquesta Sinfónica de Xalapa- (Assoc Principal/ Bass: 1982-85); Oakland Symph (Principal: 1985-87); Grand Rapids Symph (Principal: 1987+); Los Angeles Chamber Orch (1980s+); LA Chamber Winds (formerly); San Francisco Contemporary Music Players; Honolulu Symph (Principal: 1990-); Ebb and Flow (new music ensemble; current); has also performed as Principal Clarinetist of the Long Beach Symph and Los Angeles Opera. Active as a soloist (incl perfs with the Honolulu Symph), chamber musician (incl perfs on the Music in the Mishkan and Trinity Chamber Concerts series), new music specialist (incl perfs with above groups), studio musician (incl work with various film/television studios), festival artist (incl participation at the Bear Valley, Carmel Bach, Colorado, Mendocino, Albert, Spoleto, and Sun Valley music festivals), and recording artist (on the CRI and Well-Tempered labels). Faculty member: California State Univ-Sacramento (formerly); Univ of CA-Davis (formerly); Univ of CA-Berkeley (Lect: current). Other positions/activities: Memb, Honolulu Symph Orch Musicians’ Committee (incl service as Chair). Hon: Northwestern Univ Fellowship; favorable reviews of perfs appear in the Honolulu Advertiser and Honolulu Star Bulletin. Students include: Umesh Shankar. Bib: “Scott Anderson, Principal Clarinet.” A Concertgoer’s Guide: The Honolulu Symphony, Opus 2: 66-67. Honolulu Symphony. http://honolulusymphonymusicians.org/Guide. pdf (accessed February 11, 2011).

Andolina, Salvatore [Sal]. Grad: Univ of Buffalo (1970s) with JAMES PYNE; Eastman SOM with STANLEY HASTY. Sax studies with EDWARD YADZINSKI. Additional clarinet coaching with BENNY GOODMAN. Clarinetist: Buffalo Phil (Clarinet/Bass/Sax: 1994-, +/-). Saxophonist: Amherst Sax Quartet (Founding Memb); Da Capo Sax Quartet (Founding Memb). Active as an intl recitalist/soloist (incl perfs with the Buffalo, Fresno, and Rochester Phil Orchs, the Grand Rapids, Niagara, and Virginia Symphs, and the Ars Nova Chamber Orch, Artpark Festival Orch, and NYC Pops; has performed at , the , and numerous other well-known venues, and on “” with ), chamber musician (incl numerous perfs/tours with the Amherst Sax Quartet), jazz musician, and recording artist (incl solo recording on the Koch Intl/Rhapsody Records labels, and recordings with the Amherst and Da Capo Sax Quartets). Faculty member (dates unknown): Buffalo State Coll; SUNY-Buffalo; Houghton Coll; SUNY-Fredonia. Other positions/activities: Vandoren Artist. Hon: 1st Prize (with Amherst Sax Quartet), ASCAP/CMA (1993). Bib: Andolina, Sal. “Bio.” Sal Andolina. http://www.salandolina.com/Bio.html (accessed February 15, 2011); “Salvatore Andolina.” Buffalo Philharmonic. http://bpo.org/meet/orchestra-salvatore_andolina.php (accessed February 15, 2011).

Andrews, Scott. Native of Virginia Beach, VA. Studied piano and before beginning clarinet studies with F. Edward Knakal. BM(with distinction): New England Conserv (1993) with HAROLD WRIGHT; additional studies at the Virginia Governor’s School for the Arts, Interlochen Arts Camp (with SIDNEY FORREST), and Tanglewood. Additional clarinet studies with STANLEY HASTY. Clarinetist: New England Chamber Orch (Principal: formerly); Gardner Chamber Orch (Principal: formerly); Cantata Singers and Ensemble (Second: formerly); New World Symph (Sub Principal: formerly); Toho Gauken Symph (Principal: formerly); Boston Symph/Boston Pops Esplanade Orch (Second: formerly, 1995-2000+); St. Louis Symph (Principal: current); has also performed with the Philadelphia and Seito Kinen Orchs, and Mito Chamber Orch. Active as an intl soloist (incl perfs with the St. Louis Symph), recitalist/chamber musician (incl perfs given throughout North America and the Asian

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Pacific, and perfs with the Boston Symph Chamber Players, Calyx , Walden Chamber Players, Ying String Quartet, et al), new music specialist (incl perfs with the Auros Group for New Music, , and Composers in Red Sneakers), festival artist (incl participation at Tanglewood and the Kneisel Hall, Missouri, and Portland Chamber Music Festivals), and recording artist (appears on recordings with the Boston Symph/Pops, and on the Chandos, Denouement, Koch Intl, and VQR Digital labels). Former faculty member: Boston Conserv (incl position as Woodwind Dept Chair); Tanglewood. Other positions/activities: Dir, Missouri Chamber Music Festival; active as a clinician (master classes given at Longy SOM, Kansas State Univ, and the Tokyo’s Toho School). Hon: Tanglewood Fellow (1991, 1994); 1st Prize, Alliance for the Arts Chamber Music Compt (1991); Kneisel Hall Chamber Music Fellowship (1992); favorable reviews of perfs appear in and New York Times. Students include: Katie Brown, Anna Najoom, Erin Svoboda. Bib: “Musical Chairs.” The Clarinet 23 (May/June 1996): 54; “Scott Andrews.” St. Louis Symphony. http://www.stlsymphony.org/musicians/bios/bio-scott-andrews.htm (accessed February 15, 2011).

Annis, Robert Lyndon. BM: New England COM; MM: Univ of Southern California; additional studies at Harvard Univ/Coll Board Admissions Instit and Tanglewood. Clarinetist: San Antonio Symph (1971-73); Collage New Music (1976-). Active as an orchestral clarinetist, recitalist, chamber musician, and recording artist (on the Crest, CRI, Delos, Gunmar, Nonesuch, Northeastern, and Philips labels); broadcast perfs given on NPR, PBS, and the Tokyo Broadcasting System. Faculty member: Brown Univ (Instructor of Clarinet: 1977-85+); New England Conserv (Instructor of Clarinet: 1978-85+); Westminster Coll-Rider Univ (Dir/Dean/Adj Assoc Prof: current). Author of an essay/discography on HAROLD WRIGHT. Other positions/activities: Exec Dir, Collage Inc.-Boston (1979-82); Dir of Admissions (1983- 85+)/Dean of Enrollment Services (formerly), New England Conserv; active as an adviser/consultant to educational instits/arts orgs in the areas of enrollment, marketing, and planning, and as a lecturer on church music (lectures given in U.S. univs and in Korea). Memb: NARAS, ICA, MENC. Students include: Andy Tangborn. Bib: “Annis, Robert Lyndon.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 16; “Robert Annis, Clarinet.” Collage New Music. http://www.collage newmusic.org/annis.html (accessed February 15, 2011).

Applebaum, Mordecai. Clarinet studies with DANIEL BONADE, GINO CIOFFI, and RALPH MCLANE. Former clarinetist: Boris Goldovsky Orch; New England Opera Co.; Radio Orch of ; Pittsburgh Symph (Bass/E-flat: 1957-63+). Has been active as a NYC freelance clarinetist (1950s, +/-) and festival artist (incl participation at Tanglewood, 1948-50). Students include: Joshua Kovach. Bib: Browning, James, Ed. Pittsburgh Symphony Orchestra Program Magazine. (April 11 and 13, 1958): 27.

Arcieri, Emilio [Emil]. B. Dec. 26, 1901 (Lynn, MA); d. Mar. 17, 1949. Clarinetist: Boston Symph (Second/Third: 1921-34; Percussion: 1934-49). Other positions/activities: was active as a conductor (former memb, Boston Pops Orch staff). Students include: ATTILIO POTO. Emil Arcieri served as the Boston Symphony Orchestra’s Second Clarinetist for many years until being diagnosed with a heart condition, at which time he joined the orchestra’s percussion section. Arcieri reportedly died while on tour with the orchestra in New York City during the 1948-49 season. Former Arcieri student ATTILIO POTO offered the following commentary on his teacher:

Mr. Emilio Arcieri of the B.S.O. helped me for several years to complete my training. He was a strong believer in developing a beautiful tone by using the Kroëpsch studies, I and II, very slow. He always said that the real clarinet sound should be like “deep blue velvet.” He meant that the Italian and French School should be combined. (Poto/Paddock 1998)

Bib: Brush, Gerome. Boston Symphony Orchestra: Charcoal Drawings of Its Members with Biographical Sketches. Boston, MA: Merrymount Press, 1936: 8-9; Huffman, Larry. “Boston Symphony Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Boston_Symphony_Musicians_List.htm (accessed February 15, 2011); Poto, Attilio, to Tracey L. Paddock, Tallahassee, FL, June 15, 1998.

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Ardan, Laura. BM/MM: Juilliard (1980/1981) with STANLEY DRUCKER and LEON RUSSIANOFF. Additional clarinet studies with ROGER HILLER. Clarinetist: Lincoln Center Instit (Res Artist/Teacher: formerly, for 4 years); Metropolitan Opera Orch (formerly, for 2 years); Atlanta Symph (Principal: 1982-); Atlanta Chamber Players (1987-); Emory Chamber Music Society of Atlanta (current). Active as a recitalist (incl a perf as guest artist on the Great Performers Series with “Emmanuel Ax Invites…” at Lincoln Center), soloist (incl perfs with the Atlanta Symph and the Greenville and Nashville Chamber Orchs), chamber musician (incl perfs with above groups the Atlanta and Georgian Chamber Players, and the Emory Chamber Music Society), festival artist (incl participation at the Grand Teton, Marlboro, Mostly Mozart, and Tanglewood festivals and at the Amelia Island and Highlands-Cashiers Chamber Music Festivals), and recording artist (on the Naxos label); broadcast perf given on NPR’s “Performance Today.” Faculty member: Lincoln Center Instit (Res Artist/Teacher: formerly); Emory Univ (current); Gordon Coll (current). Hon: Recipient, Juilliard and Naumburg Foundation Schols. Students include: David Callaway, Joseph Eller, Marci Gurnow, Amy Jarjoura, Tia Thomason. Bib: “Laura Ardan.” Atlanta Chamber Players. http://www.atlantachamberplayers.com/ musicians.html (accessed February 15, 2011); “Laura Ardan.” Atlanta Symphony. http://www.atlanta symphony.org/TheMusic/Artist.aspx?performer=woodwinds---Laura-Ardan (accessed February 15, 2011).

Ardovino, Lori (Neprud). BA(Clarinet Perf)/BS(Ed): Moorhead State Univ (1984) with KEITH LEMMONS (clarinet/sax) and Arthur Nix; MM(Clarinet/Woodwinds): Michigan State Univ with ELSA LUDEWIG-VERDEHR; DM: Cincinnati Conserv with RONALD DE KANT. Sax studies with R. Van Matre, J. Forger, R. Buckley; composition studies with F. Bianchi, J. Hutchinson, C. Ruggiero, . Gwiazda. Clarinetist (all positions current): Ardovino Trio; Univ of Montevallo Woodwind Quintet; Magnolia Trio; Cahaba Sax Quartet (Founding Memb); Birmingham Art Music Alliance (Composer/ Clarinetist); also performs as clarinetist/saxophonist with the and Tuscaloosa Symphs. Active as a recitalist (incl perfs at several Univ of Montevallo Clarinet Symposia, the Montana-Idaho Clarinet Symposium, and other clarinet conferences), soloist (incl perfs with the Red Mountain Chamber Orch and the Univ of Montevallo Wind Ensemble), chamber musician, new music specialist (incl perfs of her own compositions), and festival artist (incl participation at the Michigan State Univ Clarinet Festival). Faculty member: Augustana Coll (formerly); Univ of Montevallo (Prof of Clarinet/Dir of Mus Grad Studies: current). Articles/reviews published in Ala and The Clarinet. Other positions/activities: G. Leblanc Corp. Artist/Clinician; Founder/Host, Univ of Alabama Clarinet Symposium; active as an adjudicator, clinician, and composer (works performed throughout North America). Memb: AL Bandmasters Assn, AL MEA, Birmingham MTA, ICA, MTNA, NACWPI, North American Sax Alliance. Plays on: Leblanc Symphonie clarinets; Backun O+ mouthpiece; Selmer Mark VII alto sax; Selmer Series II tenor sax; Selmer C* S80 sax mouthpieces. Bib: “Lori Ardovino.” University of Montevallo. http://www.montevallo.edu/ music/FacultyPages/loriardovino.shtm (accessed February 16, 2011).

Arey, Rufus Mont. B. Feb. 28, 1887 (Vinalhaven, ME); d. Dec. 22, 1966 (Vinalhaven, ME). Early clarinet studies with C. Fred Meservey (at a cost of fifty cents per lesson, 1898); additional clarinet studies with N.R. AMELOTTE (Second Clarinet, Boston Opera Orch) and LUCIEN CAILLIET. Former clarinetist: Boston Festival Orch (Principal: active early 1900s); Boston Opera Orch (Principal: active early 1900s); 71st Coast Artillery Band-France (during WWI); Detroit Symph (Principal: 1919-24, +/-); Philadelphia Orch (Principal: 1923-24, and briefly during WWII); Rochester Phil (Principal: 1927-54); Rochester Civic Orch (Principal); Eastman-Rochester Orch (Principal); was appointed Principal Clarinetist of Toscanini’s NBC Orch (1938), but broke contract to stay in Rochester for the remainder of his career. Was active as a recitalist, soloist, chamber musician, and NYC freelance musician (incl perfs in various theater orchs, 1925-27). Faculty member: Eastman SOM (Prof of Clarinet: 1927-54). Author, Method for Clarinet and Orchestral Studies (both unpublished). Played on: Alexandre Roberts (Paris) and Jacques Albert fils (Brussels) clarinets; Selmer H.S. and O’Brien crystal mouthpieces; this equipment is now in the possession of GEORGE JONES. Students include: CLARK BRODY, LEE GIBSON, HENRY GULICK, STANLEY HASTY, NORMAN HEIM, VANCE JENNINGS, RICHARD JOINER, GEORGE JONES, ALFRED MAZZOCCHIO, DAVID OPPENHEIM, WILLIAM OSSECK, KEITH STEIN. Former R.M. Arey student LEE GIBSON called Arey “the [most] outstanding artist I’ve ever heard play the clarinet, and one of the greatest virtuosos that I’ve ever heard in every respect.” (Knepper

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1978, 31) Gibson helps to place Arey in historical context by noting that Arey was playing during the same era in which GUSTAVE LANGENUS, VICTOR POLATCHEK, SIMEON BELLISON, ROBERT LINDEMANN, MARIUS FOSSENKEMPER, and JOSEPH ELLIOTT were active. (Ibid.) A thorough biography of Arey can be found in the George Jones articles listed in the bibliography below. These articles are highly recommended as they provide not only insight into Arey’s career and teaching methodology, but also into musical life beginning at the turn of the century through the middle of the twentieth century. Bib: Gibson, Lee. “Letters—Rufus Mont Arey.” The Clarinet 4 (Fall 1977): 5; Jones, George. “The Artistry of Mont Arey (Part I).” The Clarinet 5 (Winter 1978): 16-18; Jones, George. “The Artistry of Mont Arey (Conclusion).” The Clarinet 6 (Fall 1978): 6-9; Knepper, Noah A. “An Interview with Lee Gibson.” The Clarinet 6 (Fall 1978): 31.

Armato, Ben. Dipl: Juilliard (1951) with DANIEL BONADE. Former clarinetist: USMA Band- West Point (1944-47); Metropolitan Opera Orch (Second: 1953-88). Former faculty member: Juilliard; SUNY-Purchase (1981-91); was very active as a private clarinet instructor. Articles published in The Clarinet. Author: Perfect a Reed, A Scientific Method for Reed Adjusting (1980; no longer in print); Perfect A Reed . . . and Beyond (1995; updated and expanded version of previous publication of similar name). Editor: The Opera Clarinetist (1972; a very useful collection of edited clarinet parts used at the Met); The Recital Clarinetist. Other positions/activities: Inventor of PerfectaReed (1969) and The Reed Wizard (1993), devices used by many clarinetists for measuring/adjusting reeds. Has played on: Gennusa mouthpiece. Students include: Richard Barnes, , B. Thomas Blodgett, Curt Ebersole, Dale Fedele, ERIC GINSBERG, Janice Minor, Danielle Occhipinti, Ben Redwine, Alia Sabur. Bib: “About Mr. Ben Armato.” ReedWizard.com. http://www.reedwizard.com/AboutArmato.html (accessed February 15, 2011); “Ben Armato.” The Clarinet 1 (May 1974): cover, 3.

Aseltine, Kimberly. BM: Michigan State Univ; grad studies begun at Univ of Michigan; additional studies at the Blossom Festival, New College Music Festival, and Music Acad of the West (with MITCHELL LURIE, 1983). Clarinet studies with FRANKLIN COHEN, , ROLF LEGBANDT, FRED ORMAND, and DAVID SHIFRIN. Former clarinetist: American Wind Symph; Key West Symph (Principal); South Dakota Symph (Principal: 1980s, +/-); Honolulu Symph (Principal: 1987- 90s, +/-); also perfs/has performed with the Detroit, Grand Rapids, and Toledo Symphs, the Michigan Opera Theater, and Keith Brion’s New Sousa Band. Active as a soloist (incl perfs with the Flint and South Dakota Symphs), chamber musician (incl perfs with the Dakota Wind Quintet, Detroit Chamber Winds, Toledo Chamber Players, and Chamber Music Hawaii), festival artist (incl participation as Principal Clarinetist of the Santo Domingo Intl Music Festival), and recording artist (on the Fleur de Son label). Faculty member: Oberlin Conserv Community Music School (current). Hon: Winner, William C. Byrd Concerto Compt. Bib: “Kimberly Aseltine.” WGTE Public Media. http://www.wgte.org/wgte/listen/index. asp?page_id=308 (accessed February 15, 2011); “Musical Chairs II.” The Clarinet 14 (Winter 1987): 47.

Atkins, David. Clarinetist: California Chamber Symph (Solo: formerly, for 26 years); Westwood Wind Quintet (Co-Founder; 1959-); has also performed with the Los Angeles Phil and Fear No Music. Active as a chamber musician (incl perfs with the Westwood Wind Quintet and South Bay Chamber Music Society), studio musician (incl work with various Los Angeles studios during the 1940s), and recording artist (numerous recordings with the Westwood Wind Quintet appear on the Crystal Records label). Former faculty member: California State Univ-Long Beach (1980s, +/-). Published in Windplayer and in Windplayer’s publication Clarinet Masterclasses. Hon: favorable reviews of recordings (with Westwood Wind Quintet) appear in Fanfare, Gramophone, and IDRS Journal. Plays on: Buffet clarinets (B-flat/E- flat/Bass); custom-modified MITCHELL LURIE long/open mouthpiece; hand-made ligature; modified #5 Apollo reeds. Students include: Russell Campbell, Deborah Carnahan, Keith Felch, Mary Kantor, Clarence Padilla, Jennifer Showalter, Lea Steffens, Loren Weisbrod. Bib: Atkins, David. “Masterclass: Tips for Freelancers.” Windplayer No. 52: 38; Atkins, Dave. “Tips for Freelancers.” Selected Clarinet Masterclasses from the Editors of Wind Player. Malibu, CA: Windplayer Publications, 1998: 28-29.

Aufmann, Ronald G. Native of Cincinnati, OH. BM/Perf Cert: Indiana Univ with EARL BATES. Additional clarinet studies with LAWRENCE BOCANER, Frank Bowsher, LOREN KITT, EMIL SCHMACTENBERG, and WILLIAM WRIGHT. Clarinetist: Baltimore Chamber Orch (Co-

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Principal: formerly); Parnassus Wind Quintet (formerly); Contemporary Music Forum (formerly); Cincinnati Symph Orch/Pops (Bass: 1986-; served as Actg Assoc Principal in 1999); has also performed with the Baltimore Symph, Washington Ballet, and Washington Terrace Theater Orch. Active as a soloist (incl perfs with the Cincinnati Conserv Wind Symph and Cincinnati Symph) and chamber musician/new music specialist (incl perfs with above groups). Premiere perfs incl works by F. Proto and P. Sciortino. Faculty member: Washington D.C. Youth Orch Program (formerly); Cincinnati Conserv (Adj Asst Prof of Bass Clarinet: 1995-); Northern Kentucky Univ (1999-). Extra-musical activities incl cooking and woodworking. Hon: Winner, Brahms Festival Compt, Wolftrap, VA (1983); favorable review of perf appears in the Cincinnati Enquirer. Students include: Michael Maccaferri, Sarah Nowlin, Tiffani Perry, Aaron Shemus, Anthony Taylor. Bib: “Ronald G. Aufmann.” College-Conservatory of Music. http://ccm. uc.edu/musicx/accent/aufmann.aspx (accessed February 15, 2011); “Ron Aufmann.” Cincinnati Symphony. http://www.cincinnatisymphony.org/pages/musicianshow2.php?mid=25 (accessed February 15, 2011).

Aurand, Charles Henry, Jr. B. Sept. 6, 1932 (Battle Creek, MI). BM/MM: Michigan State Univ (1954/1958) with KEITH STEIN; PhD: Univ of Michigan (1971). Clarinetist: Battle Creek Symph (formerly); Youngstown Symph (formerly); Shreveport Symph (formerly); Flagstaff Symph (Principal: current); Tucson Civic Orch (current); Sonora Winds (current). Active as a recitalist (incl perfs at the 1991 ICA conference and ClarinetFest 1999), chamber musician (incl perfs with Sonora Winds, various Youngstown, OH ensembles, 1960-73, and in Flagstaff, AZ, 1973). Faculty member: Hiram Coll (Asst Prof: 1958-60); Youngstown State Univ (Prof/Dean: 1960-73); Northern Arizona Univ (Prof/Dean of Coll of Creative and Communication Arts: 1973-94; Prof Emeritus: 1994-). Other positions/activities: Commander/Dir, U.S. Air Force Band-Barksdale AFB, LA (1955-57); Host, ClarinetFest 1991. Memb: ICA. Hon: favorable review of perf appears in The Clarinet (see Bib below). Plays on: Buffet R-13 clarinets; Kaspar (Ann Arbor) mouthpiece with Stein facing. Students include: Albert Grijalva, Joan White. Bib: Aurand, Charles H., to Tracey L. Paddock, Tallahassee, FL, July 14, 1998; Cardon, and Norbert Goddaer. “ClarinetFest ’99, Ostend, .” The Clarinet 27 (December 1999): 58-67.

Averett, Janet M. BM: Univ of North Carolina-Greensboro with JOHN WEIGAND; MM: Northwestern Univ with CLARK BRODY, RUSSELL DAGON and ROBERT MARCELLUS; DM: Univ of Michigan with FRED ORMAND. Additional clarinet studies with Robert Crowley, JIMMY GILMORE, and ROSARIO MAZZEO. Clarinetist: Grant Park Symph (Second/E-flat: formerly); Greensboro Symph (formerly); Opera San José Orch (current); Keith Brion’s New Sousa Band (current; incl perfs as Principal); also perfs/has performed with the California, Grant Park, Greensboro, Lake Forest and San José Symphs, Theater, Symph , Ballet San José, Bay Area Women’s Phil, Chicago Music of the Baroque, and Concertante di Chicago. Active as a recitalist/soloist (incl perfs with MARK BRANDENBURG at the 1995 Alea II concerts of new music at Stanford Univ, and with the Palo Alto Chamber Orch and San José Wind Symph), chamber musician (incl perfs with the Greensboro Symph Orch Woodwind Quintet) and festival artist (incl participation at the Brevard and Grand Teton Music Festivals, and the San Francisco Midsummer Mozart Festival). Faculty member: San Jose State Univ (Asst Prof of Clarinet/Woodwind Area Coordinator: 1986-). Articles published in The Clarinet and Instrumentalist (incl interviews with prominent American clarinetists ALEXANDER WILLIAMS, , and others). Other positions/activities: Founder, San Jose (1991-); Founder, South Bay Clarinet Society (1993); ICA State Chair, CA (late 1990s); active as an adjudicator, clinician (incl clinics for the California MEA conferences), and conductor (incl a perf with the San Jose Wind Symph at the 1997 WASBE Festival in ). Memb: ICA. Students include: Kenta Akaogi, Charles Ancheta, Robert Baucus, Andrew Connell, Allene Goshey, Charlotte MacManus. Bib: Averett, Janet. “Clarinet Style and Nuance, An Interview with Michele Zukovsky.” The Instrumentalist 46 (September 1991): 23; Averett, Janet, and Mark Brandenburg. “Toscanini’s Clarinetist: An Interview with Alexander Williams.” The Clarinet 19 (February/March 1992): 34-39; Averett, Janet, to Tracey L. Paddock, Tallahassee, FL, May 15, 1998; “Averett, Janet.” Woodwind Anthology; A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 827; “Janet Averett.” San Jose State University. http://www.music.sjsu.edu/music/faculty-and- staff/dr-janet-averett (accessed February 15, 2011); “Musical Chairs.” The Clarinet 14 (Winter 1987): 47.

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Ayer, Christopher. Native of New Brunswick, CAN. BME: Acadia Univ (1991); MM: New England Conserv (1993) with THOMAS MARTIN; DM: Cincinnati Conserv (1997) with RONALD DE KANT. Clarinetist: Stone Fort Wind Quintet (current); Duo Karadan (with his wife, pianist Kae Hosoda- Ayer). Active as an intl recitalist (incl perfs at ICA conferences, and in North America and Japan) and chamber musician (incl perfs with above groups). Faculty member: Eastern New Mexico Univ (Prof of Clarinet/Orch Conductor: formerly); Stephen F. Austin State Univ (Assoc Prof: current). Published in The Clarinet. Other positions/activities: active as an adjudicator, clinician, and lecturer (incl presentations at ICA conferences and the Texas Clarinet Consortium). Students include: Sarah Baty, Jeremy Cohen, Kellie Jordan. Bib: Ayer, Christopher. “Reviews.” The Clarinet 26 (March 1999): 95-96; “Christopher Ayer.” Texas Clarinet Colloquium. http://www.druhanclarinet.com/GuestMain.html (accessed February 15, 2011).

Ayres, Thomas A. B. Jan. 30, 1917; d. Feb. 22, 1990 (IA). BM/MM: Univ of Iowa with HIMIE VOXMAN. Former clarinetist: Univ of IA Faculty Woodwind Quintet; The Stadler Ensemble (Founding Memb; 1974). Was active as a recitalist, chamber musician, basset specialist (incl perf at the 1988 ICA conference), and recording artist. Former faculty member: Western Kentucky State Coll (Dir of Bands); Univ of Miami; IA and MN Public Schools; Univ of Iowa (Asst Prof: 1950s-80s, +/-). Other positions/activities: was active as an arranger. Students include: Donald Black, Alex Fields, LAWRENCE MALLETT, RITCHARD MAYNARD, GEORGE MELLOTT, DAVID WRIGHT. Bib: “Ayres, Thomas A.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 527; West, Charles. “Memo to the Membership.” The Clarinet 17 (July/August 1990): 54.

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Baez, Luis. Native of Washington D.C. Early clarinet studies with RICHARD BASSETT (Washington D.C.). BM: Peabody Conserv with SIDNEY FORREST; additional music studies at Interlochen Arts Camp. Additional clarinet studies with STEVEN BARTA, LARRY COMBS, Marshall Haddock, ROGER HILLER, and ROBERT MARCELLUS. Clarinetist: Civic Orch of Chicago (formerly); Annapolis Opera Co. (Principal: formerly); The Florida Orch (Second: 1983-86, +/-); Santa Fe Opera Orch (formerly); New Mexico Symph (Principal:1986-90); San Francisco Symph (Assoc Principal/E-flat:1990-; has also served as Principal). Active as a soloist (incl perfs with the Alexandria-VA, Natl, New Mexico, and San Francisco Symphs, the U.S. Navy Band, and the Chautauqua Summer Festival Orch), chamber musician (incl perfs on the San Francisco Symph’s Chamber Music Series), festival artist (incl participation at the San Francisco Symph Stravinsky Festival and Telluride Chamber Music Festival), and recording artist (on the Imaginary Road and Real Music labels, and on motion picture soundtracks). Faculty member: San Francisco Conserv (1990s-, +/-). Other positions/activities: Rico Artist; active as a clinician. Hon: Winner, Alexandria Symph Compt; Winner, Chautauqua Festival Compt; Winner, Natl Symph Orch Young Soloist Compt; Winner, U.S. Navy Band Concerto Compt. Plays on: Buffet Prestige clarinets; JAMES KANTER “D” mouthpiece; Buffet R-13 E-flat clarinet; Vandoren 5RV E-flat mouthpiece (refaced by Steve Roberts); Rico Grand Concert Select Evolution #4 ½ reeds. Students include: Jeff Anderle, Patrick Barry, Sarah Bonomo, Roman Fukshansky, Lynné Funkhouser, Sophie Huet, Anthony Marotta, Ricki Nelson, Donna Nossett, Steve Sánchez, Laurie San Martin. Before he began playing the clarinet, Luis Baez first studied piano and then became enamored with the upon listening to a recording of Tchaikovsky’s . Baez was redirected to the clarinet by his orchestra director and from that point forward, his musical direction was assured. Baez became so devoted to his clarinet studies that he moved to Chicago and worked at the Commodities Exchange (where he monitored price fluctuation in pork bellies) in order to finance his private studies with ROBERT MARCELLUS. In addition to his activities with the San Francisco Symphony, Baez also enjoys the art of bonsai. Bib: Gillespie, James. “The Clarinetists of the San Francisco Symphony.” The Clarinet 27 (March 2000): 68-71; “Luis Baez.” San Francisco Conservatory of Music. http://www.sfcm.edu/faculty/baez.aspx (accessed February 14, 2011); “Luis Baez.” San Francisco Symphony. http://www.sfsymphony.org/music/ MeetTheMusicians/MembersOfOrchestra.aspx (accessed February 14, 2011); Steinberg, Michael, Program Annotator. San Francisco Symphony Stagebill 12 (September/October 1992): 40.

Baker, Norman Louis. B. Dec. 8, 1941 (, WI). BM: Juilliard (1964); MM: IOM (1968). Clarinetist: Atlanta Symph (Assoc Principal: 1980s-90s). Faculty member: Georgia State Univ (formerly). Other positions/activities: Program Coordinator, Atlanta Symph (1980s-90s). Hon: NEA Chamber Music Grant (1970-72). Students include: David Pharris. Bib: “Baker, Norman Louis.” Woodwind Anthology: A Compendium of Woodwind Articles from the Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 27.

Baldwin, Harry. Clarinetist: Sousa Band (1907-12); Los Angeles Phil (1919-20). Bib: Berger, Kenneth. “Members of Sousa’s Band.” Wind Symphony. http://www.dws.org/sousa/roster.htm (accessed February 14, 2010).

Balter, Alan Neil. B. Mar. 17, 1945 (NY, NY); d. Aug. 21, 1998. Music studies at Juilliard (1961-62) with LEON RUSSIANOFF and DAVID WEBER. BM/BA: Oberlin Conserv (1966) with GEORGE WALN; MM (Clarinet/Conducting): Cleveland IOM (1967) with ROBERT MARCELLUS. Additional music studies at Tanglewood. Clarinetist: Atlanta Symph (Principal: 1967-75). Was active as a recitalist (incl perfs at ICA conferences), soloist (incl perfs with the Akron and Memphis Symphs), chamber musician, and recording artist (incl David Baker’s Clarinet Concerto, written for Balter, on the Telarc label). Former faculty member: Georgia State Univ (Instructor of Clarinet/Orch: 1970-75); San Francisco Conserv (Instructor of Orch Conducting/Clarinet: 1975-79); Manhattan SOM; Mannes SOM. Author of a book on conducting. Other positions/activities: Host, Alan Balter Clarinet Workshop, NC (1982); became very active as a conductor incl positions with the Atlanta Symph (Asst Conductor: 1972-

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75), Exxon Arts Endowment (Conductor: 1979-82), Baltimore Symph (Assoc Conductor: active 1982-84), Akron Symph (Music Dir/Conductor: 1983-98, +/-), and Memphis Symph (1984-98, +/-); was also active as a clinician (master classes given at various clarinet conferences). Hon: NEA Grant (1966); 1st Prize, MIN-ON Intl Concours for Conductors-Tokyo (1976); Exxon Arts Endowment Conducting Fellowship (1979). Students include: DRU DEVAN, Jere Douglas, Geoffrey Flolo, John Sackett, CAROLEE SMITH, CHARLES STIER. Alan Balter’s original instrument was piano, but he became interested in the clarinet through his growing familiarity with jazz clarinet and because he was seeking a more social, interactive musical experience than piano could provide. The freedom of musical exploration in jazz and the desire to share music would eventually steer Balter from a position of prominence in the American clarinet community to a position of prominence as an award-winning American conductor. Although Balter’s career came to focus on conducting, he remained active as a clarinetist, soloing in his late years with both the Akron and Memphis Symphony Orchestras during his tenure as Music Director of those orchestras. Balter was about to renew his focus on clarinet playing and record just before his untimely death in 1998. Bib: “Alan Balter.” ClariNetwork (April/May 1982): 6; “Balter, Alan (Neil).” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker, 1985: 30; Busbee, James. “The Maestro Moves On.” Memphis Flyer. http://www.memphisflyer.com/backissues/issue482/cvr482.htm (accessed February 2011); “The 1982 Alan Balter Clarinet Workshop.” ClariNetwork (November/ December 1982): 3.

Bambach, Paul. BM: Wooster Coll; MM: Cincinnati Conserv. Clarinet studies with ROBERT MARCELLUS. Clarinetist: Santa Barbara Grand Opera (Principal: current); Columbus Symph-OH (1990s-, +/-); also performs with the Santa Barbara Symph/Master Chorale/Choral Society. Active as a chamber musician (incl perfs with the Montana Festival Chamber Ensemble while Artist-in-Res at the Intl Composer’s Conference-Talloires, France), recording artist (appears on the Battery Records, CRI, and New World labels, and for NPR), and Southern CA freelance musician. Faculty member: Summer Music Instit of the Intl Composer’s Conference (formerly); Univ of California-Santa Barbara (Prof of Clarinet/Dir of Wind Ensemble: current). Other positions/activities: Yamaha Artist; active as an adjudicator and clinician. Students include: Priscilla Balasa. Bib: “Paul Bambach.” University of California-Santa Barbara. http:// www.music.ucsb.edu/NEW_MUSIC_SITE/FacultyPages/Bambach.htm (accessed February 14, 2011).

Barger, Diane Cawein. B. Sept. 12, 1966 (St. Petersburg, FL). BM/DM: Florida State Univ (1988/1999) with FRANK KOWALSKY; MM/Perf Cert: Northwestern Univ (1989/1990) with ROBERT MARCELLUS and GREGORY SMITH. DM diss: “A Comparative Study of 19th Century Works for Clarinet Based on Motives from Operas of Vincenzo Bellini.” Clarinetist: Tampa Bay Chamber Orch (Second: 1984); Civic Orch of Chicago (Co-Principal/E- flat: 1988-90); Florida Orch (Sub: 1988-90; Second/E-flat: 1990-91); Tampa Bay Opera Orch (Principal: 1991-92); Tallahassee Symph (Second: 1992-94); Naples Phil (Second/Bass: 1992-94); Moran Woodwind Quintet (1994-); Amilcare Chamber Ensemble (Co-Founder/Clarinetist: current); Lincoln Symph (Principal: current). Active as a recitalist (incl perfs at the MidWest ClariFest, the 1998 Oklahoma Clarinet Symposium, and at Broken Silence, A Benefit Concert for the Nebraska AIDS Project), soloist (incl perfs with the Tampa Bay and FSU Symphs, and the premiere of Scott McAllister’s “” with the Univ of Nebraska-Lincoln Wind Ensemble), chamber musician (incl a perf with the Amilcare Chamber Ensemble at ClarinetFest 1997, and with the Moran Quintet at the 1996 IDRS Convention and the 1999 North Central MENC Convention), and recording artist (with the Moran Woodwind Quintet on the Crystal Records label; also appears on Music from the ICA ’98). Faculty member: Univ of South Florida (Clarinet Instructor: 1990-91); Univ of Nebraska-Lincoln (Assoc Prof of Clarinet/Chair of Woodwind, Brass and Percussion Div: 1994-); Great Plains Music Camp (active 1996-). Published in The Clarinet. Other positions/activities: Host, 1998 Midwest ClariFest; Woodwind Rep, MTNA Pedagogy Committee (current); active as an adjudicator, administrator (incl positions on various univ and sorority committees), clinician (master classes given at the 1998 Midwest ClariFest), and visual artist (with artwork featured on the cover of ClariNetwork). Memb: AFM, ICA, MENC, Nebraska MEA, MTNA, NACWPI, Sigma Alpha Iota. Hon: Collegiate Artist Woodwind State Award Winner, Florida MTNA (1986); Winner, Tampa Bay Symph Young Artist Compt (1987); 2nd Place, ClariNetwork Intl Young Clarinetist’s Compt (1987);

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Tallahassee Music Guild Schol (1987); Presser Scholar Foundation Schol, FSU (1987); Acad Leadership Award, FSU (1988); Who’s Who in College Music, FSU (1988); “Outstanding Young Women in America,” FSU (1989); All-American Scholar Award, FSU (1989); Univ of Nebraska Summer Faculty Research Fellowship and Research Grant in Aid (1996); Univ of Nebraska Cert of Recognition for Contributions to Students (1997); Featured Soloist, ICA CD Recording Project (1998); numerous grants awarded by the Univ of Nebraska-Lincoln. Plays on: Buffet R-13 (A), R-13 Prestige (B-flat, Bass), and RC Prestige (E-flat) clarinets; CHADASH barrels; GREG SMITH #1 mouthpiece; BAY “covered” Rhodium ligature; Vandoren V-12 #4 reeds; GREG SMITH E-flat mouthpiece; BG standard ligature (on E-flat); Vandoren German-cut #3 ½ reeds (bottoms cut short for E-flat); PYNE bass mouthpiece; Vandoren #3 ½ bass reeds. Students include: Elizabeth Aleksander, Janet Hildebrand, Alejandro Lozada, Pance Zaev. Diane Barger was profoundly influenced by her studies with ROBERT MARCELLUS and FRANK KOWALSKY, and considers the passing on of their playing and teaching traditions to be part of her life mission as a musician. Barger’s own teaching philosophy combines key values and tenets of these two great teachers, as she seeks to

. . . create an atmosphere of learning in which the students feel comfortable to express their views and concerns while developing their skills of musicianship through carrying on the teaching traditions given to me by my former clarinet teachers. In addition to teaching the basic fundamentals of clarinet playing and musicianship, I find it satisfying to encourage each student’s own ‘uniqueness’ in their artistry.” (Cawein/Paddock 1998).

For more of Barger’s commentary on her former teachers, see also the entries of F. KOWALSKY and R. MARCELLUS. Bib: “About the Cover.” ClariNetwork 5 (Holidays 1986): 1; Cawein, Diane. “The 1997 University of Oklahoma Clarinet Symposium.” The Clarinet 25 (February/March 1998): 31-35; Cawein, Diane, to Tracey L. Paddock, Tallahassee, FL, May 4, 1998; “Musical Chairs.” The Clarinet 22 (November/December 1994): 60.

Barker, John Craig. Native of MS. Advanced clarinet studies begun at Univ of Southern Mississippi with WILBUR MORELAND; Grad: Juilliard with LEON RUSSIANOFF and STANLEY DRUCKER. Clarinetist: Mobile Symph (current); Banff Center for the Arts (Artist-in-Res: formerly); has also performed with Continuum (NY). Active as a recitalist (incl Carnegie Hall debut), soloist (incl perfs with the Phil), chamber musician (incl perfs with Yehudi Menuhin, Jean-Pierre Rampal, Mstislav Rostropovich, and the American and Horizon String Quartets), festival artist (incl participation at the Aspen Festival, Bay View Music Festival, Woche der Begegnung-Austria, and Evian Festival-France), and recording artist (on the Angel, EMI, Musical Heritage, Naxos, and Nonesuch Records labels). Faculty member: Univ of South Alabama (current). Other positions/activities: former participant, NEA’s Rural Residency Program, promoting classical music in rural areas (southern Georgia, in this case). Hon: Prize Winner, ICA Clarinet Compt, Denver, CO; 1st Place, Klar-Fest Compt, Baltimore; Winner, Artists Intl Compt; Finalist, Naumburg Intl Compt; Finalist Jeunesses Musicales Belgrade Compt; NEA Rural Resident; favorable review of perf appears in . Bib: “John Craig Barker.” University of South Alabama. http://sites.google.com/site/usadepartmentofmusic/faculty/jcbarker (accessed February 14, 2011); “John Craig Barker, Principal.” Mobile Symphony. http://www.mobilesymphony.org/contact- us/john-craig-barker%2c-principal.html (accessed February 14, 2011).

Barkhymer, Lyle T. BA(German)/BM: Otterbein Coll (1964); MM/DM: Indiana Univ (1967/1970); post-grad studies in and . Former clarinetist: Columbus Symph (Clarinet/ Bass: 1990s-2000+, +/-); has also performed with the Chautauqua Symph (bass clarinet). Faculty member: Otterbein Coll (Prof of Clarinet/Chamber Mus: formerly, 1967-2000+; retired, but continues to teach part- time). Articles/reviews published in The Clarinet and Modern Austrian Literature. Other positions/ activities: created two classes (Aspects of ; Approaching Japan Through Its Arts) and a Senior Year Experience course (for study in Vienna, Austria) for Otterbein Coll; former Chair of Otterbein’s Integrative Studies program; active as a conductor (served as Asst Band Dir and conductor of musicals/ operas at Otterbein Coll); has traveled and studied in Japan. Hon: recip of several NEH Awards and the Fulbright Teaching Exchange Award. Bib: Barkhymer, Lyle. “Clarinet in the : The Four

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Cities.” The Clarinet 8 (Winter 1981): 6; “My Otterbein Story.” Otterbein College Profiles. http://www. otterbein.edu/profiles/barkhymer/index.asp (accessed February 14, 2011).

Barrett, Gregory M. B. Buffalo, NY. BM: Northwestern Univ (1983) with CLARK BRODY and ROBERT MARCELLUS; MFA: SUNY-Buffalo (1985) with JAMES PYNE; DM: Indiana Univ (1998) with JAMES CAMPBELL. Additional clarinet studies with RUSSELL DAGON, ELI EBAN, WESLEY FOSTER, HOWARD KLUG, and EDWARD YADZINSKI. Clarinetist: Civic Orch of Chicago (1983-84); Greensboro Symph (Second/Alt Principal: 1986- 91); Roanoke Symph (Second/Actg Principal: 1988-91); Columbus Phil-IN (Principal/E-flat/Bass: 1991- 96); Symph (Sub/Extra: 1992-96); Alabama Symph (Bass: 1997-2000); has also performed with the Charleston, NC, Richmond, and Piedmont Triad Symphs and the Indianapolis Chamber Orch, Fort Wayne Phil, and Bloomington Pops. Active as a recitalist (incl perfs at ClarinetFests 1994, 1998, and 2000, and at the Finnish Embassy in 1998), soloist (incl perfs with the Indiana Univ, Jacksonville State Univ, and Red Mountain Chamber Orchs, and the JSU Wind Ensemble), chamber musician (incl perfs with the Greensboro and Richmond Symph Orch Woodwind and the Richmond Chamber Players; has also performed on the Civic Orch of Chicago Chamber Music Series), festival artist (incl participation at the Chautauqua Festival and Buffalo Festival of Contemporary Music), and recording artist (on the Naxos label and the Finnish label ALBA CDs). Faculty member: Salem Coll (Instructor: 1989-91); Jacksonville State Univ-AL (Asst Prof of Clarinet: 1996-2000); Northern Univ (Asst Prof of Clarinet: 2000-). Articles/reviews published in The Clarinet. Other positions/activities: USA Perf Artist; active as an arranger (incl arrangements of Brahms’ Trio for Piano, Clarinet and Horn, Op. 40 and Two Songs for Contralto, Clarinet and Piano, Op. 91 Nos. 1 & 2 for Brazinmusikanta Publications), clinician, composer (incl DuoLudium), lecturer (presentations given at ICA conferences), and scholar of Finnish music and culture. Hon: Ekstein Scholar, Northwestern Univ (1980-83); Cultural Expert Research Grant, Finnish Ministry for Foreign Affairs (1982); JSU Research Grant for Sibelius project (1998); JSU Faculty Research Award (1997-2000). Students include: Madelyn Moore. Bib: Barrett, Gregory M. “Vitae – NIU.” Northern Illinois University School of Music. http://www.niu.edu/~gbarrett/aboutme/vita.shtml (accessed February 14, 2011); “Musical Chairs.” The Clarinet 2 (February/March 1997): 70.

Barta, Steven. Native of Boston, MA. HS clarinet studies with CHESTER HAZLETT. BM/MM: Cleveland IOM with ROBERT MARCELLUS; additional studies at Boston Univ (with PASQUALE CARDILLO), Marlboro Music Festival (with HAROLD WRIGHT), Tanglewood (1971), and Blossom Music Center (1972). Clarinetist: Savannah Symph (Principal: formerly, 1970s, +/-); Baltimore Symph (Principal: 1976-); Baltimore Wind Quintet (current); has also performed with the University Circle and Cleveland Orchs, and the Festival Chamber Players from Gretna. Active as a soloist (incl perfs with the Baltimore Symph and the Seoul Phil), chamber musician (incl perfs with above groups), festival artist (incl participation at the Sebago Music Festival, 1975, 1991) and recording artist (incl recordings with the Baltimore Symph, and on the Koch Intl label). Faculty member: Peabody Conserv (Prof of Clarinet: 1984- ); Asian Youth Orch (1998-); has also taught at Catholic Univ. Has played on: Buffet clarinets; Kaspar mouthpiece; Bonade inverted ligature (with cross- removed); Morré and Gonzalez reeds. Other positions/activities: Gonzalez Reeds Artist; extra-musical interests incl astronomy, gardening, home brewing, and rock collecting. Students include: Alison Altman, LUIS BAEZ, I-Fei Chen, Sara Egner, Joseph Eller, Melany Felson, CECIL GOLD, Taneea Hull, Nan Lopata, Gregory Marsh, Charlene McDaniel, Igor Shakhman, Ian Sims. Bib: Palanker, Edward S. “The Clarinet Section of the Baltimore Symphony Orchestra.” The Clarinet 6 (Summer 1979): 18; “Peabody Profiles.” Advertisement in The Clarinet. 24 (November/December 1996): 67; “Steven Barta.” Baltimore Symphony. http://www.bsomusic. org/main.taf?p=4,4,1,1&id=StevenBarta (accessed February 14, 2011).

Bartlett, Loren Wayne. Native of Washington State. MM(Woodwinds): Oberlin Conserv with GEORGE WALN; PhD: Univ of Iowa (1961) with HIMIE VOXMAN. PhD diss: “A Survey and Checklist of Representative Eighteenth-Century and Sonatas for .” Active as a woodwind performer with concentrations in clarinet and bassoon (incl current activity as bassoonist of a reed trio with

23 clarinetist WILLIAM JAMIESON). Former faculty member: Arkansas Tech Univ (1960s, +/-); Univ of Northern Colorado (1970s, +/-). Students include: RICHARD FLETCHER, MILES ISHIGAKI, WILLIAM NICHOLS, CHARLES WEST. Former student MILES ISHIGAKI offered the following commentary on Dr. Bartlett:

It was odd that I was assigned to study with Dr. Bartlett at the University of Northern Colorado. I had asked him why I was his student because they had a clarinet professor on staff (Jamieson), and his response was the computer assigned me to him. In any case he was a major influence on my early collegiate experiences. During the 70’s Dr. Bartlett was one of the top 2 woodwind performers in the U.S. I studied Bassoon with him for 2 ½ years before specializing only on the clarinet. Being around a woodwinds specialist allowed me a unique insight into clarinet performance. His connection to Prof. Himie Voxman and Prof. William Gower connects me to some of the major clarinet/woodwinds teacher/performers of the U.S. (Ishigaki/Paddock 2005)

Bib: Ishigaki, Miles M. E-mail message to the author. March 18, 2005.

Bartley, Linda L. B. Nov. 7, 1948 (Amarillo, TX). BME/MM/DM: Michigan State Univ (1971/1972/1998) with ELSA LUDEWIG-VERDEHR and KEITH STEIN; additional studies at the Woodwind Seminar with Marcel Moyse. Additional clarinet studies with PETER HADCOCK, STANLEY HASTY, ROBERT MARCELLUS, and HAROLD WRIGHT. Clarinetist: London Symph Orch- (Principal: 1974-81); Madison Symph-WI (Principal: 1992-); Wingra Woodwind Quintet (current). Active as an intl recitalist (incl perfs at Montana-Idaho and Oklahoma Clarinet Symposia, the IDRS Conference, ClarinetFest 1998, and throughout Japan, Switzerland, and North America), soloist (incl perfs with the London Symph-Ontario), chamber musician (incl perfs with the London Wind Quintet, Canadian Chamber Ensemble, Central Michigan Univ Woodwind Quintet, Central Michigan Chamber Orch, Powers Quintet, Lafayette String Quartet, and the Wingra Woodwind Quintet), festival artist (incl participation at the Aspen, Bay View, Brevard, Grand Teton, and Tanglewood Music Festivals), and recording artist (on the Cantabile label); broadcast perfs given on the CBC, NPR, and PBS radio networks. Faculty member: SUNY-Fredonia (1973-74); Univ of Western Ontario (Adj: 1974-80); Arkansas Tech Univ (1981-82); Central Michigan Univ (1985-92); Grand Teton Music Festival (1988-); Univ of Wisconsin-Madison (1992-). Articles/reviews published in The Clarinet and The Journal of the NACWPI. Other positions/activities: Founder, London Sinfonia Chamber Players-Ontario; Buffet Crampon USA Perf Artist; ICA State Chmn, WI (late 1990s); active as an adjudicator (incl judging for the Buffet Intl and ICA Clarinet Compts) and clinician. Memb: ICA, CMS, NACWPI. Hon: C.D. Jackson Award, Tanglewood. Plays on: Buffet R-13 clarinets; PYNE mouthpiece. Students include: Rosemary Brumbelow, Noelle Eisfeldt, Mark Gallagher, Jean Hay, Shandra Helman, MICHAEL KORNACKI, Tom Leistner, George Stoffan, Kevin Streich, GREGORY YOUNG. On teaching, Linda Bartley remarked, “I like to focus on music-making and teach the technical skills that will allow a student to achieve musicianship goals.” (Bartley/Paddock 1998) Bib: Anderson, Jess. “Linda Bartley, Clarinetist.” Madison Music Reviews. http://www.madison musicreviews.org/doc/p_199805_bartley.html (accessed February 14, 2011); Bartley, Linda. “Reviews.” The Clarinet 25 (May/June 1998): 81; Bartley, Linda to Tracey L. Paddock, Tallahassee, FL, July 20, 1998; “Musical Chairs.” The Clarinet 15 (November/December 1987): 62; “Musical Chairs.” The Clarinet 20 (November/December 1992): 52.

Barzenick, Walter. BM/MM: Northwestern Univ with DOMENICO DE CAPRIO. Additional clarinet studies with SIMEON BELLISON. Former clarinetist: Baton Rouge Symph (Principal: 1950s-70s, +/-). Active as a soloist and clinician. Faculty member: Southeastern Louisiana Univ (Assoc Prof: formerly; 1956-70s+; Prof Emeritus: current). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet Vol. 22 (Spring 1956): 18. Bib: “Barzenick, Walter.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: The Instrumentalist Co., 1992: 827.

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Bassett, Richard. Former clarinetist: U.S. Army Band-Washington D.C.; Indianapolis Symph (Clarinet/Bass: 1948-50); Natl Symph (Clarinet/Bass/E-flat: 1950-55). Students include: LUIS BAEZ, Robert Hoffman.

Bates, Earl O. B. Oct. 29, 1920 (Arkansas); d. Mar. 14, 1991. Undergrad studies at Oklahoma State Univ and Curtis IOM (with DANIEL BONADE); MM: Univ of Michigan (1947). Clarinetist: U.S. Navy Band-Norfolk (during WWII); Houston Symph (Principal: 1947-48); Kansas City Phil (Principal: 1948-49); St. Louis Symph (Principal: 1949-63); Aspen Festival Orch (Principal:1958-75). Was active as a recitalist and chamber musician (incl perfs with the American Woodwind Quintet). Faculty member: Aspen Music School (Prof of Clarinet: 1958-75); Indiana Univ (Prof of Clarinet/Chmn of Woodwind Dept: 1963-89). Author, Choosing an Artist Clarinet (Leblanc). Other positions/activities: was active as an adjudicator, clinician, and G. Leblanc Corp. Artist/Clinician. Students include: RONALD AUFMANN, Shela Bondurant-Koehler, MICHAEL CHESHER, RANDALL CUNNINGHAM, Don DaGrade, David Driskell, Keith Dwyer, Celeste Gates, Donald Gephardt, MICHÉLE GINGRAS, STEVEN HARTMAN, EUGENE KAVADLO, DAVID KEBERLE, TOD KERSTETTER, LOREN KITT, Claudia Mickelson, WILBUR MORELAND, JAMES OGNIBENE, EDWARD PALANKER, Alan Portzline, C. ROBERT ROSE, Mark Watkins, MICHAEL WEBSTER, ROBERT WINGERT. Interestingly, Earl Bates and IGNATIUS GENNUSA were competitors for the one clarinet position available at the Curtis Institute when both auditioned to study there with DANIEL BONADE. Gennusa was apparently favored for the position (in the minds of the other clarinet auditionees) because he had been studying privately with Bonade for some time prior to the audition. Gennusa did in fact win the audition, but Bonade considered Bates to be a very worthwhile candidate as well, and created a position at the school for Bates by subtracting ten minutes from the lessons of his other four students for Bates’ own lesson. In his article on Bonade, JERRY PIERCE points out that “this plan worked only in theory because rarely was a lesson ever cut short with Bonade unless you had not practiced well. If anything he would run longer than an hour if the student was prepared well.” (Pierce 1977, 14) Bib: “Bates, Earl.” Who’s Who in American Music (Classical). 2nd Edition, 36. New York, NY: R.R. Bowker Co., 1985; Gulick, Henry. “Earl O. Bates.” The Clarinet 18 (May/June 1991): 29; Pierce, Jerry. “The Bonade Legacy, Part II.” The Clarinet 4 (Winter 1977): 14-15.

Bay, Charles. Grad: Eastman SOM with STANLEY HASTY. Active as a clarinet/bass clarinet recitalist, soloist, and chamber musician (incl perfs at ICA conferences). Former faculty member: Ithaca Coll (1960s-70s, +/-); California State Univ-Northridge (1970s-80s, +/-). Other positions/activities: active as a composer/arranger (incl music for clarinet and woodwinds) and prominent mouthpiece, barrel, and ligature craftsman. Students include: Rob Chavez, Bradley Cohen, Jeffery Cotton, MICHAEL DRAPKIN, Elizabeth Branch McAllister, Miles Osland. Bib: Schertz, Deborah. “Report on the 1987 Urbana I.C.S. Conference.” The Clarinet 15 (November/December 1987): 36-39.

Beers, Eric. BM(Perf, with distinction)/MM(Perf): New England Conserv (1986/1988). Clarinetist: Omaha Symph (Second: formerly, for 10 years, late-1990s, +/-); has also performed with various Boston orchs/ensembles. Other positions/activities: former memb, Omaha Local AFM Board of Dirs; former Exec Board memb, Regional Orch Players Assn; former Orch Committee Chair, Omaha Symph; currently serves as Contract Administrator of the AFM’s Symphonic Services Division. Beers, Eric. “Traveling by Air with Your Instrument: Some Guidelines.” Polyphonic.org. http://www.polyphonic. org/article.php?id=79 (accessed February 14, 2011).

Begelman, Igor. B. Kiev, ; has resided in the U.S. since 1989. BM: Manhattan SOM; MA: Juilliard. Clarinet studies with STANLEY DRUCKER and ; has collaborated with clarinetist/composer MEYER KUPFERMAN. Clarinetist: New Haven Symph (Principal: 1997-, +/-). Active as an intl recitalist (incl 1996 debut at Weill Recital Hall, and perfs at the Auditorium du Louvre-Paris, and throughout North America, Europe, and Asia), soloist (incl perfs with the Bienne, Greenwich, Houston, New Haven, Odense and Summit Symphs, the Jupiter Symph of NY, the Metropolitan Orch of , and L’Orchestre de la Suisse Romande), chamber musician (incl perfs with the Aspen Woodwind Quintet, Chamber Music Society of Lincoln Center, Virtuosi Chamber Orch, and NY Lyric Chamber Players, et al), new music specialist (incl premiere perfs of works by Alex Krasotov, Anton Kuerti, MEYER KUPFERMAN, Elliott Schwartz, and

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Roland Tec), festival artist (incl participation at the Caramoor, Marlboro, Music by the Red Sea, Ravinia, Schleswig-Holstein, Tanglewood, and Pacific Music Festivals), and recording artist (on the Soundspells label); broadcast perf given on WHYY-Philadelphia. Faculty member: Brooklyn Coll (current); NC School of the Arts (current); has also taught at Juilliard, Manhattan SOM, Swarthmore Coll, and Yale Univ. Other positions/activities: affiliated with the Piatigorsky Foundation (current); active as a clinician (incl master classes given at the Caramoor and Bowdoin festivals and throughout the U.S.). Hon: Leon Russianoff Memorial Schol (1989; first and only recipient); Prize Winner, Koussevitzky Compt; Prize Winner, Tilden Prize Compt; Prize Winner, Crane New Music Compt; Prize Winner, Natl Federation of Music Clubs Compt; Special Prize Winner, 41st Munich Intl Compt; Altamura/ Caruso Music Foundation Award; 2nd Prize, The 1st Intl Clarinet Compt-Denmark; 2nd Prize, 53rd Geneva Intl Compt (1997); Winner, Astral Artistic Service Natl Auditions (1998); Avery Fisher Career Grant (2000); favorable reviews of perfs appear in The Inquirer (Philadelphia), New Haven Register, Savannah Morning News, Tribune de Geneve, et al. Students include: Kania Mills. Bib: Begelman, Igor. “Igor Begelman.” I. Begelman. http://www.igorbegelman.com/bio.html (accessed February 14, 2011).

Behm, Gary. B. Dec. 20, 1935. BM/MA: Univ of Iowa (1958/1965) with HIMIE VOXMAN; DM: Univ of Southern Mississippi (1980) with WILBUR MORELAND; additional studies at Indiana Univ with BERNARD PORTNOY. Clarinetist: Billings Symph (Principal: 1980-); Flathead Festival Orch (Co- Principal: current); Yellowstone Chamber Players (Founding Memb; current). Active as a recitalist/soloist (incl perf at the 1997 Montana/Idaho Clarinet Festival), chamber musician (incl 6 perfs of Messiaen’s Quartet for the End of Time in 1994 throughout Montana and at the MTNA Natl Convention as a special project funded by the MT Arts Council), and festival artist (incl participation at the Flathead Orch Festival and Red Lodge Music Festival); broadcast perfs given on NPR’s “Performance Today.” Faculty member: Montana State Univ-Billings (Prof of Clarinet/Sax: 1997-, +/-); Red Lodge Music Festival (1980s-, +/-). Published in The Clarinet. Other positions/activities: ICA State Chmn, MT; Buffet Crampon USA Perf Artist; active as an adjudicator. Memb: ICA. Plays on: Buffet R-13 clarinets. Students include: Laura Skinner. Bib: “Gary Behm.” Montana State University. http://www.msubillings.edu/cas/music/biobehm. htm (accessed February 14, 2011).

Behn, Bradford [Brad]. BM/MM: Northwestern Univ with ROBERT MARCELLUS. Clarinetist: Savannah Symph (Second/E-flat/Bass: formerly); Tulsa Phil/Woodwind Quintet (Second/E- flat: formerly); Ft. Collins Symph (Principal: current); Tulsa Symph (Principal: current); Council Oak Trio (Co-Founder; current); Tulsa Chamber Music Ensemble (Founder; current); has also performed with the Alabama, Baltimore, Charleston, San Antonio, and Utah Symphs and the Chamber Orch. Active as a recitalist/soloist and chamber musician. Faculty member: Univ of Northern Colorado (current); has also taught at Oklahoma State Univ, Tulsa Community Coll, Univ of Oklahoma (formerly). Other positions/ activities: Buffet Crampon USA Perf Artist; Owner/Founder, Behn Mouthpieces Intl (1992-); active as a clinician/lecturer (incl presentations at numerous SOMs) and clarinet/sax mouthpiece acoustician and craftsman/designer. Plays on: Buffet R-13 (B-flat/A), RC Prestige (E-flat), and Prestige (bass) clarinets. Students include: Julianne Kirk, Kellan Toohey, Sterling Wilson. Bib: Behn, Bradford. “About Bradford Behn.” Behn Mouthpieces International website. http://www.behnmouthpieces.com/bradfordbehn.html (accessed February 14, 2011).

Belisle, Kristina. B. Sept. 4, 1964 (Hancock, MI). BM: Univ of Georgia (1986) with THEODORE JAHN; MM/DM: Michigan State Univ (1988/1994) with ELSA LUDEWIG-VERDEHR. Clarinetist: Southspoon Winds (Founding Memb); Akron Symph (Principal: current); Solaris Wind Quintet (current); has also performed with the Cleveland Orch. Active as an intl recitalist (incl perfs at Oklahoma, NACWPI, and Univ of Montevallo Clarinet Symposia, the Montana/Idaho Clarinet Festival, and in China and Japan), soloist (incl perfs with the Akron, Akron Youth, Conway, Flint, and Houston Symphs, and the Cleveland Chamber Symph), chamber musician (incl perfs with above groups, the Chamber Music Society of OH, and on the Renaud Chamber Music Series), festival artist (incl participation at the Fontana Festival of Music and Arts and the Bowdoin, Garth Newel, and Norfolk Chamber Music Festivals), and recording artist (on the Capstone and New Tertian Recordings labels). Faculty member: Alma Coll (Adj: 1988-91,

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1997-98); Albion Coll (Adj: 1989-92); Univ of Central Arkansas (Asst Prof of Clarinet: formerly, 1992+); Univ of Akron (Asst Prof: current). Other positions/activities: Secr, ICA (formerly); active as a clinician. Memb: CMA, CMS, ICA, NACWPI. Hon: Winner, Ima Hogg Natl Young Artist Award (1992); Winner, William C. Byrd Natl Young Artist Award (1993); Finalist, Concert Artist Guild Compt (with Southspoon Winds, 1997); Prize Winner, Fischoff Chamber Music Compt (with Southspoon Winds, 1997); Prize Winner, Yellow Springs Compt (with Southspoon Winds, 1997). Plays on: Leblanc Concerto B-flat clarinet; Buffet R-13 A clarinet; PYNE “M” mouthpiece. Students include: Blake Arrington, Janet Hildebrand, Jennifer Laubenthal, Kelley Rogers Niiyama, Mark Tryon. ELSA LUDEWIG-VERDEHR, as both teacher and performer, greatly influenced Kristina Belisle’s musical development. As a result of her experience with Ludewig-Verdehr, Belisle commented, “I focus on the physical aspect of playing the clarinet in my teaching and then concentrate on the musical qualities after the physical mechanics have been solidified.” (Belisle/Paddock 1998) Bib: Belisle, Kristina, to Tracey L. Paddock, Tallahassee, FL, June 5, 1998; “Clarinotes.” The Clarinet 20 (May/June 1993): 11; “Solaris.” Solaris. http://www3.uakron.edu/solaris/bios.html (accessed February 14, 2011).

Bell, Carey M. B. Nov. 7, 1974 (Eugene, OR). HS clarinet studies with Cindi Bartels. BM(Perf/Comp): Univ of Michigan (1997) with FRED ORMAND; additional studies at Tanglewood (1992), Music Acad of the West, and DePaul Univ (with LARRY COMBS. Composition studies with , , and Bright Sheng. Clarinetist: Civic Orch of Chicago (1998); Syracuse Symph (Principal: formerly, 1998-2000+); San Francisco Symph (Principal: current); San Francisco Contemporary Music Players (current); has also performed as Principal of the and Opera Orchs. Active as a soloist (incl perfs with the Syracuse Symph), chamber musician, and festival artist (incl participation at Music@Menlo, the Oregon Bach Festival, the Telluride Chamber Music Festival, and the Skaneateles Music Festival). Hon: Semifinalist, Intl Carl Nielsen Clarinet Compt (1997). Students include: Steve Sánchez, Umesh Shankar. Bib: “Carey Bell.” San Francisco Symphony. http:// www.sfsymphony.org/ music/MeetTheMusicians/MembersOfOrchestra.aspx (accessed February 14, 2011); Huffman, Larry. “San Francisco Symphony Principal Musicians.” Stokowski.org. http://www.stokowski. org/Principal_Musicians_San_Francisco_Symphony.htm (accessed February 14, 2011).

Bell, David. BM: Oberlin Conserv with LAWRENCE MCDONALD; MM: Northwestern Univ with ROBERT MARCELLUS. Additional clarinet/music studies with CLARK BRODY, LARRY COMBS, Arnold Jacobs, and Peter Mansfield. Clarinetist: Florida Gulf Coast Symph (Second/E-flat: formerly); Colorado Phil (formerly); Akron Symph (Principal: 1980s-90s, +/-); Canton Symph (E-flat: 1980-90s, +/-); Civic Orch of Chicago (formerly); Chamber Orch (Principal: formerly, 1994+); Orch (Principal: formerly, 1994+); Cleveland Opera Orch (Principal: formerly, 1994+); LaCrosse Symph (current); also perfs with the Fox Valley Symph, and has performed with the Chicago, and Milwaukee Symphs, the Cleveland Orch, and the Chicago Sinfonietta. Active as a chamber musician (incl perfs with Univ of Akron ensembles L’Etoile and Solaris Quintet) and festival artist (incl participation at the Midsummer and Peninsula Music Festivals). Faculty member: Univ of Akron (Asst Prof: 1981-94); Baldwin-Wallace Conserv (Assoc Prof: formerly, 1994+); Lawrence Univ (current); has also taught at West Virginia Univ and Western Illinois Univ. Other positions/activities: Founder, Solaris Quintet. Students include: Cheryl Melfi, MELANIE RICHARDS, Stephen Richter, Rose Sperrazza, William Tennant. Bib: “David Bell.” Lawrence University. http://www.lawrence.edu/conservatory/bios/bell.shtml (accessed February 14, 2011); “Musical Chairs.” The Clarinet 11 (Fall 1983): 38; “Musical Chairs.” The Clarinet 22 (November/December 1994): 61.

Bellison, Simeon. Born Shlem-Girsh Zelikovich Beylezon; known to close friends as “Senia.” B. Sept. 4, 1881 (Moscow); d. May 3 or 4, 1953 (NY). Early clarinet studies with his father, Andrus Bellison, a military bandmaster. BA(with high honors): Moscow Imperial Conserv (1902) with Josef Friedrich. Immigrated to the U.S. circa 1918; obtained U.S. citizenship in 1927. Former clarinetist: Moscow Art Theatre Orch; Moscow Opera Orch (Principal: early-1900s, for 10 years); Moscow Symph (Principal: early 1900s, for 10 years); Moscow Quintet (Founder; 1902+); St. Petersburg Imperial Opera Orch (Principal: 1915); Zimro (Russian woodwind chamber ensemble specializing in the perf of Jewish natl music; founded by Bellison); New York Phil (Principal: 1920-48; recruited by conductor Mengelberg). Active as a recitalist (incl, for many years, a popular and widely-

27 attended annual recital in NYC), soloist (incl perfs with various Moscow orchs and the NY Phil), chamber musician (incl a world tour, 1917, and North American tour, 1918-20, with Zimro, and perfs with the Stringwood Ensemble and numerous string quartets), and recording artist (on the Classic, Columbia and Simeon Bellison Phonograph Records labels); appeared on numerous radio broadcasts; is said to have given over 10,000 perfs in his lifetime. (Weston Virtuosi, 45) Premiere perfs incl the Russian premiere of Debussy’s Premiere Rhapsodie with Debussy conducting. Former faculty member: various Moscow conservs; Manhattan SOM; New York SOM; Teachers Coll of Columbia Univ; Community Center Conserv-NY; Englewood Conserv-NJ; also had large private studio (1920-53). Author, The Adventures of Jivoglot (a novel). Articles published in The Clarinet. Other positions/activities: Founder, Stringwood Ensemble (1925); Conductor/Founder, Bellison Clarinet Ensemble (1927-38, +/-); Founder/Owner, Simeon Bellison Phonograph Records; was active as an arranger (incl numerous transcriptions for clarinet, various chamber works, and works for the Bellison Clarinet Ensemble), editor (incl editions of the Baermann and Klosé studies), and Jewish music scholar. Former memb: Society of Jewish Folk Music in Russia. Played on: C. Cruspe clarinets (modeled after clarinets made in Erfort, Germany); Oehler clarinets; string ligature; hard reeds. Students include: WALTER BARZENICK, , MICHAEL BURGIO, ANTHONY CECERE, HERBERT COUF, Murray Deutsch, SIDNEY FORREST, Avrahm Galper, BENNY GOODMAN, FREDRIK HEDLING, HOWARD JOHNSON, HARRY KELLER, S. JAMES KURTZ, HENRY LARSEN, MAXIMILLIAN MEHLMANN, KALMAN OPPERMAN, LEON RUSSIANOFF, CHARLES RUSSO, HARRY SCHMIDT, DAVID WEBER, RICHARD WEERTS, DOW YOUNG JR., MARTIN ZWICK. Simeon Bellison’s career as a clarinetist began at the age of nine when he performed in various military bands conducted by his father. During a concert as Principal Clarinetist with one of these groups in the town of Smolensk, Bellison’s virtuosic playing caught the attention of Vassily Safonoff, conductor and director of the Moscow Imperial Conservatory, who was in Smolensk by happenstance. Safonoff invited and encouraged Bellison to take the Conservatory entrance examinations in Moscow. Upon passing the examinations at the age of 11, Bellison was admitted to the Conservatory where he had a distinguished academic career and graduated with high honors at the age of 18. After graduating from the Conservatory, Bellison performed and toured with several major Russian orchestras and chamber ensembles, although his playing career was interrupted twice by service with the Russian Army in the Russo-Japanese War and . During the throes of the Russian Revolution, Bellison organized the chamber ensemble, Zimro, an ensemble whose focus was the performance and advocacy of Russian Jewish music, a genre about which Bellison was very passionate. With Zimro, Bellison toured Eastern Europe and Asia in 1917-1918, and then embarked upon a North American tour, from 1918-1920, which led Bellison to his new home in the United States. In 1920, Bellison was offered the position of Principal Clarinetist of the Orchestra with whom he continued to perform until 1948. In her article, “Hilarity, Calamity, and Other To-Dos,” (listed in Bib below) Pamela Weston wrote that Bellison possessed a “. . . strong German-type tone and . . . a mild vibrato which he said was produced by his right little finger on the F/C key.” (Weston 1999, 74) Bellison himself wrote an article decrying the use of vibrato in wind playing, commenting, “Vibration in winds sounds is as unpleasant as strings without vibration.” (Bellison 1953, 6). Later in the article, Bellison did admit that, on occasion, while performing , he noticed in his own playing a brief vibrato-like waver, but that it arose from the heart rather than as a means to cover up any deficiencies of tone or pitch. Weston also described Bellison’s ingenious solution to the problem of recurring dry-mouth while performing: a flask of water in his pocket connected to rubber tubing through which he could drink. (Weston 1999, 74-75) After performing with the New York Philharmonic for 28 years, Bellison retired to devote himself more fully to teaching. He served on the faculties of many well-known New York music schools and also maintained a large private studio. As one may surmise from the list of students above, Bellison was responsible for training many prominent clarinetists of the next generation. Of his teacher, former Bellison student DAVID WEBER has written:

He was a superior musician and person. He was very kind and gentle. Lessons lasted forever. He couldn’t do enough for you. In the later years of my study with him, I studied orchestral excerpts. He could describe every moment. . . . We worked on phrasing and

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musicality, which really formed my musical ideas. . . . He was a great man – always helping out young students. (Levy et al 2001, 52-53)

Another of Bellison’s stellar students, LEON RUSSIANOFF, praised Bellison’s calm and mild- mannered demeanor and his methodical approach to teaching, in which the music itself was of primary importance, with the technical aspects of clarinet playing in the background. Russianoff described Bellison’s teaching below:

Rhythm and phrasing carefully marked in the part; emphasis on careful separation of phrase and sub-phrase, posture a stance in which angles of feet, elbows, and clarinet were carefully regimented. Basic to his technical direction was that all execution was to be firm and strong; fingers stiff and heavy were to lift high and come down hard; “Stiff Fingers” was his technical trademark. There was little emphasis on alternate or “fake” fingerings. Problem solving, technical, tonal, and intonational, was not his forte. (Russianoff 1974, 7)

The “stiff-finger”-ed, finger popping aspect of Bellison’s teaching philosophy was a stark contrast to the “legato fingers” philosophy of his distinguished contemporary DANIEL BONADE, in which any finger-popping was abhorrent. Bellison used the Kroepsch and Baermann studies extensively with his students, and focused heavily on French solo repertoire with an emphasis on his own specific, prescribed phrasing. Later in a student’s progress, Bellison would guide the student into more Romantic repertoire, chamber music, and orchestral repertoire. (Deutsch 1986, 9) Bellison reportedly gave over 10,000 performances in the course of his lifetime. In fact, his very last performance was a chamber music recital given at New York’s Town Hall just one week before his death. Some of the performances among the 10,000 were with the Bellison Clarinet Ensemble, a famous ensemble founded and led by Bellison, which was comprised of more than fifty clarinetists spanning the entire (even the diminutive A-flat clarinet), with a handful of other instruments added for color (at times including harp, , and a concertina). Bellison poured a great deal of his energy, as well as many of his students, into this ensemble which gave performances in such venues as Madison Square Garden, Town Hall, and any number of churches and other music halls. He also arranged a large body of repertoire for the ensemble. Many of the articles listed in the Bibliography below offer interesting information and commentary on Bellison’s life and career. One should be warned that dates and stories vary from article to article. For example, there are several variations on Bellison’s birth and death dates as well as on the story of how Bellison was “discovered” and recruited for the Moscow Conservatory. Perhaps the most accurate and interesting version of the first half of Bellison’s life can be found in the autobiographical excerpt “Fifty Years of Clarinet Playing,” printed in ClariNetwork. Bellison’s article in The Clarinet entitled “Vibrato in Wind Playing” is well worth reading for insight not only into Bellison’s views on vibrato (or “shaky playing,” as he refers to it) but also for a glimpse into his personality and keen sense of humor. This article is also an interesting commentary from a European-American musician on differences between European and American wind-playing. Bib: Bellison, Simeon. “Fifty Years of Clarinet Playing.” ClariNetwork 5 (Holiday 1986): 8-9; 14- 17; Bellison, Simeon. “Vibrato in Wind Playing.” The Clarinet 1 (Fall 1953): 5-7; “Bellison, Simeon.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 46; Deutsch, Murray L. “Remembering Simeon Bellison.” ClariNetwork 5 (Spring 1986): 9, 11; Greenfield, Alan. “Bellison’s Treasured Collection at the Rubin Academy.” The Clarinet 22 (February/March 1995): 22; Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57; Randall, David. “Remembering Bellison: An Inspiration for the Present.” ClariNetwork 5 (Fall 1986): 1, 16-17; Russianoff, Leon. “Confessions of a Clarinet Teacher.” The Clarinet 1 (August 1974): 7; “Simeon Bellison.” The Clarinet 1 (Fall 1953): 12-13; “Simeon Bellison.” Woodwind Magazine 5 (May 1953): 6, 14; Weston, Pamela. “Hilarity, Calamity, and Other To-Dos.” The Clarinet 27 (December 1999): 74-76; Weston, Pamela. More Clarinet Virtuosi of the Past: London: The author, 1977: 45-47.

Bellman, David A. B. Nov. 29, 1955 (Manhattan, NY). BM/Perf Cert: Eastman SOM (1977) with STANLEY HASTY and WILLIAM OSSECK; grad studies begun at Northwestern Univ (1977-78)

29 with LARRY COMBS (continued study with Combs until 1980). Clarinetist: Oklahoma Symph (Principal: 1980-81); Indianapolis Symph (Principal: 1981-); has also performed with the Chicago Symph, Chicago Lyric Opera and Rochester Phil. Active as a recitalist/soloist (incl a perf at the 1981 Univ of Oklahoma Clarinet Symposium), chamber musician (incl perfs with the Ronen Chamber Ensemble), festival artist (incl participation at the 1982 and 1983 Sebago Music Festivals and the 1984 and 1985 Marlboro Festivals), and recording artist (with the Indianapolis Symph on the Koss Classics and London labels). Faculty member: Ball State Univ (current); Univ of Indianapolis (current). Other positions/activities: Co- Musical Dir/Founder, Ronen Chamber Ensemble (1983-); active as a clinician (incl master class given at the 1981 Univ of Oklahoma Clarinet Symposium). Memb: AFM-ICSOM, ICA. Hon: Winner, Eastman SOM Concerto Compt (1976). Plays on: Buffet R-13 Prestige B-flat clarinet; Buffet R-13 A clarinet; PYNE “M~” mouthpiece. Students include: Robert Janssen, John Walker. David Bellman commented, “I am a strong believer in the importance of playing music as a service to humanity. The communication of the emotional content of the music we play is a foremost goal in my own playing and teaching. I have relied on principles from The Inner Game of Tennis and the Alexander Technique in my teaching and playing.” (Bellman/Paddock 1998) In addition to his musical activities, Bellman is active as a volunteer with Amnesty International and the Indianapolis Hebrew Congregation. He also enjoys bicycling, collecting miniature cars, and raising animals. He currently shares his home with his wife (Indianapolis Symphony cellist Ingrid Fischer- Bellman) and daughter, an 18-year old cat, a dog, and a parakeet. Bib: Bellman, David, to Tracey L. Paddock, Tallahassee, FL, July 18, 1998; “David Bellman.” Indianapolis Symphony. http://www.indianapolissymphony.org/about_us/the_orchestra/woodwinds/clarinet (accessed February 14, 2011); Rose, Bernard. “The University of Oklahoma Clarinet Symposium.” The Clarinet 9 (Fall 1981): 24-25.

Bellucci, Antonio. B. Feb. 5, 1957 (Pisa, Italy); d. May 24, 1916 (NYC). Clarinetist: Metropolitan Opera Orch (Principal: 1883-1914). Reportedly played with the reed on the top side of the mouthpiece. Bib: Huffman, Larry. “Metropolitan Opera Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Metropolitan_Opera.htm (accessed February 14, 2011).

Belter, Babette. BM: Univ of Wisconsin-Stevens Point; BME/MM(Woodwind Specialist)/ DMA(in progress): Michigan State Univ with FRANK ELL and ELSA LUDEWIG-VERDEHR. Clarinetist: Oklahoma Sinfonia (Principal: current); Orch (Principal: current); also performs with the Tulsa Phil. Active as an intl recitalist (incl perfs at CBDNA, ICA, MTNA, and Oklahoma MEA conventions and in Costa Rica, England, Israel, and Japan), soloist (incl perfs with above groups and the Guatemala Natl Symph), and festival artist (incl participation at the Classical Music Seminar-Festival in Eisenstadt, Austria). Faculty member: Albion Coll-MI (formerly); Winthrop Coll-SC (formerly); Oklahoma State Univ (Asst Prof: 1988-). Other positions/activities: American Cultural Specialist in Costa Rica for U.S. Info Agency; scholar of Hungarian chamber music. Hon: Southwestern Bell Foundation Fellowship. Students include: Michael Scheuerman, Daniel Sheridan. Bib: “Ms. Babette Belter.” Oklahoma State University. http://music.okstate.edu/belter_bio. php (accessed February 14, 2011); “Musical Chairs.” The Clarinet 16 (November/December 1988): 64.

Bendazzi, Ettore. B. Nov. 16, 1881 (Novi Ligure, Italy). Immigrated to the U.S. in 1922. Grad: Liceo Musicale, Turino, Italy (1900) with Domenico Mari. Former clarinetist: Liceo Musicale; Metropolitan Opera Orch (Asst Principal: 1922-58). Former faculty member: Liceo Musicale. Bib: Huffman, Larry. “Metropolitan Opera Orchestra Principal Musicians.” Stokowski.org. http://www. stokowski.org/Principal_Musicians_ Metropolitan_Opera.htm (accessed February 14, 2011).

Bennett, Stephen Sydney. B. San Francisco. Clarinet studies with FREALON BIBBINS (1960- 63), , GERVASE DE PEYER, Guy DePlus, , , ANTONIO RAIMONDI (1963-66), and Hans Stalder. Additional music studies with Marc Lifschey. Clarinetist: Brentwood Symph-CA (Principal: formerly); Richmond Symph-CA (Principal: 1966- 71); Westwind Quintet (Founder: formerly); Alban Trio (Founder: current); Alban Quartet (Founder: current), Philomela Trio (Founder: current); Heritage Ensemble (Founder: 1996-); has also performed with the San Jose Symph, the Joffrey and London Festival Ballet Orchs, the Chamber Orch of Paris, the Mozart Festival Orch, and the Northwest German Phil. Active as an intl soloist (incl 1966 solo debut performing

30 the Nielson Clarinet Concerto with the Richmond Symph), chamber musician (incl perfs with above ensembles), festival artist (incl participation at the Clapham and Planet Tree Music Festivals), and recording artist (incl recordings with U.S. and European orchs). Premiere perfs incl the Arnold Cooke Clarinet Concerto, written for Bennett, and performed on/recorded by BBC Radio. Active as a private clarinet instructor in CA (formerly) and the UK (currently). Articles published in The Clarinet, Clarinet and Saxophone Society Magazine, and Clarinet Heritage Society Magazine. Other positions/activities: Artistic Dir, Clapham Music Festival (current); also active in the visual arts and advertising/marketing. Memb: Clarinet Heritage Society. Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Stephen Bennett is one of relatively few American-born clarinetists to have established a successful full-time career as a performer in a European country (see also L. MORGAN, L. PASSIN, R. SALANDER, S. STEPHENS, M. STURM, and/or A. WARE). The early years of Bennett’s career were spent in California, where he performed with various regional orchestras. In the mid-1970’s, he left the U.S. for Europe where he studied with many renowned clarinetists (see above) and continued his successful performance career. He launched several new chamber ensembles in London and founded and currently directs the Clapham Music Festival. Bennett is very active as a clarinet instructor in England and accepts students of all levels and financial situations, contending that music should not be denied to anyone. Bib: “Bennett, Stephen Sydney.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 44; “Stephen Bennett.” Cl’am Fest. http://www.claamfest.org/ meettheteam.htm (accessed February 14, 2011).

Bennett, Wayne. B. Aug. 14, 1946 (Kingman, ). BME: Oklahoma State Univ (1968) with Stanley Green; MM/PhD: North Texas State Univ (1969/1974) with LEE GIBSON. Clarinetist: Ft. Wayne Phil (Bass: 1974-78); has also performed with the Indiana Chamber Orch and Eugene Symph-OR. Active as a festival artist (incl participation at the Oregon Bach Festival, 1979-, Sunriver Music Festival, 1980-, and Cascade Music Festival, 1984-). Faculty member: Indiana Univ-Ft. Wayne (Prof of Clarinet: 1974- 78); Univ of Oregon (Prof of Clarinet: 1978-; has also served as Dir of Bands, 1978-90, Dir of Orch Studies, 1990-, and Conductor of Univ Symph, current); Univ of California-Los Angeles (Guest Prof: 1984-85); has also taught Texas Wesleyan Coll, Univ of North Texas, and Univ of Wisconsin-LaCrosse. Other positions/activities: Music Dir/Conductor, Cascade Music Festival (1984-); Artistic Advisor, Govt. of Cyprus (1991-92); active as a guest lecturer/conductor (incl appearances in North and Central America, Cyprus, Hong Kong, Japan, and ). Hon: listed in Who’s Who in American Colleges and Universities; Northwest Young Artist Winner (1982); Fulbright Commission/Arts America Grant (1991); Cypriot State Prize (1992). Plays on: Buffet R-13 clarinets; Kaspar (Cicero) mouthpiece; EDDIE DANIELS Rovner ligature. Students include: MICHAEL ANDERSON, Kenneth Ayoob, Todd DelGiudice, John Klinghammer, STAN STANFORD, SHANNON THOMPSON. Bib: Bennett, Wayne, to Tracey L. Paddock, Tallahassee, FL, July 10, 1998; “Wayne Bennett.” University of Oregon. http://music. uoregon.edu/people/faculty/bennett.htm (accessed February 14, 2011).

Berberian, Ani A. Native of Brookings, SD. BA(Music/German): South Dakota State Univ with CORLISS JOHNSON; MM: Arizona State Univ with ROBERT SPRING; DM: Michigan State Univ with ELSA LUDEWIG-VERDEHR. Additional clarinet studies with Kjell-Inge Stevensson and . Clarinetist: Missouri Chamber Players (formerly, 1999+); U.S. Air Force Acad Band (current); Rampart Winds Woodwind Quintet (current). Active as an intl recitalist/soloist (incl perfs at the NACWPI conference, Univ of Oklahoma Clarinet Symposium, ClarFests, and the 1998 Armenian Earthquake Benefit in Los Angeles), chamber musician (incl perfs with the Missouri Chamber Players in Norway, Sweden, and Poland), and recording (incl standout perf as soloist on the MSU Wind Ensemble recording of F. Ticheli’s Blue Shades); broadcast perfs (with Rampart Winds) given on NPR. Faculty member: Concordia State Univ (formerly); Univ of Colorado-Boulder (formerly); Missouri Fine Arts Acad (formerly); Missouri State Univ (Asst Prof of Clarinet/Mus Theory: formerly, 1999+). Published in The Clarinet. Other positions/activities: Buffet Crampon USA Perf Artist; active as a music editor (incl a work for clarinet and piano composed by her grandfather). Hon: favorable reviews of perfs appear in The Clarinet. Plays on: Buffet RC Prestige clarinet; BEHN mouthpiece. Bib: “Ani Berberian.” Buffet Crampon. http://www. buffet-crampon.com/en/artists.php?mode=artistPresentation&aid=572 (accessed February 14, 2011); “Musical Chairs.” The Clarinet 27 (December 1999): 86.

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Bernstein, Emily. B. 1959; d. Jan. 26, 2005. BM(with honors): Stanford Univ; MM: Eastman SOM. Clarinet studies with JAMES KANTER. Former clarinetist: Los Angeles Opera (Principal); Pasadena Symph (Principal); XTET (new music ensemble). Was active as a soloist, chamber musician (incl perfs with the Angeles String Quartet and Pacific Trio), festival artist (incl participation at the Peter Britt Music and Arts Festival and the Mancini Instit), recording artist (on the Delos, Phillips, and Sony Classics labels), and studio artist (was featured soloist on the soundtrack for ’s motion picture The Terminal; also appeared on soundtracks for JAG, Catch Me If You Can, Pirates of the Caribbean, Sea Biscuit, and other television/movie soundtracks). Former faculty member: Instit; was active as a private clarinet instructor. Hon: Students include: Joseph Green. Clarinetist Emily Bernstein, who died of liver cancer at the young age of 46, was the muse for the prominent clarinet solo passages in ’s score for the motion picture The Terminal. Stephen Spielberg, director of the film, was so enamored with Bernstein’s performance that he insisted that her name appear as clarinet soloist in the movie’s closing credits, an honor not often bestowed upon studio musicians. Amazingly, Bernstein’s beautiful performances on the soundtrack were recorded between chemotherapy treatments. Bib: “Pasadena Symphony Musician, Emily Bernstein, Loses Battle With Cancer.” La Cañada Valley Sun. http://articles.lacanadaonline.com/2005-02-03/entertainment/applause03_1_jorge-mester- emily-bernstein-clarinetist (accessed February 15, 2011).

Bettoney, Frederick. D. circa 1932-33. Clarinetist: Boston Symph (Bass: 1931-33, +/-). Was active as a chamber musician, festival artist (incl perf at the 1928 Berkshire Festival of Chamber Mus) and arranger (incl etude books and other works for clarinet, often in conjunction with Harry Bettoney). Bib: “Berkshire Festival of Chamber Music (1918-38).” Arts & Humanities Research Council. http://www. concertprogrammes.org.uk/html/search/verb/GetRecord/4287 (accessed February 15, 2010).

Bevins, Karl Alten. B. May 30, 1915 (Wellman, IA). BS(Electrical Engineering): Georgia Instit of Tech (1939); Traffic Engineering Cert: Yale Univ Grad School (1941). Clarinet and other woodwind studies with Frank Chase, MICHELE FUSCO, RALPH MCLANE, Carl Rundquist, H. Charles Stumph, HIMIE VOXMAN, and CLARENCE WARMELIN. Clarinetist: Atlanta Phil (Principal: 1935-36); Atlanta Symph (Principal: 1945-66); Atlanta Pops (Principal/Sax: 1945-); Municipal Theatre of the Stars (Principal: 1954-79); Band of Atlanta (Principal: 1958-74). Active as a recitalist, chamber musician, studio musician (incl radio/television work), and jazz musician (incl perfs with various combos and big bands). Faculty member: Washington, IA Public Schools (Instructor of Woodwinds: 1933-34); Georgia State Univ (Instructor of Clarinet/Sax: 1964-86); Agnes Scott Coll (1989-); has been active as a private clarinet instructor (1933-). Other positions/activities: Former Pres, Kappa Kappa Psi-Iota Chapter; has served as Pres/Pres Emeritus/Exec Board Memb of the Atlanta Federation of Musicians; Memb, GA State Univ Commercial Music/Recording Industry Advisory Board (1978-94); Board Memb, NARAS-Atlanta (1979-94); Memb, State of GA Senate Music Advisory Committee (1979-96); active as a clinician and conductor (incl positions with the IA Municipal Band, 1933, GA Tech Band, 1936-39, and GA State Guard Headquarters Band, 1941-46); has led dual career as a musician and traffic engineer/administrator. Memb: Kappa Kappa Psi, Atlanta Federation of Musicians, NARAS-Atlanta. Hon: 1st Place, Iowa HS Music Festival Clarinet Solo Compt (1933); 2nd Place, Natl HS Solo Festival (1933); listed in Who’s Who in American Music (Classical), 1985 edition. Plays on: Buffet R-13 clarinets; GIGLIOTTI “P” mouthpiece; Selmer E-flat clarinet; J.D. HITE E- flat mouthpiece; Selmer C and bass clarinets; Selmer C* bass mouthpiece; Selmer Mark VI alto sax; Conn (Naked Lady) B-flat tenor sax (1934-36); vintage Otto Link 5* sax mouthpiece (1938); King Saxello B-flat soprano sax. Students include: Mark Butcher, Alan Portzline, Beryl Weiner. Karl Bevins is unique in that he has excelled not only in the field of music, but also as a traffic engineer and administrator. As a traffic engineer, Bevins was the recipient of numerous awards during his career of forty-one years. In 1978, Bevins left this field in order to devote his complete attention to music. Bevins believes that “the clarinet and/or saxophone is really an extension of the player’s voice -- the reed is used in place of the vocal chords -- the sound is formed primarily within the player and then

32 made more facile and modified (as to function/overtone relationships) by the instrument. . .” (Bevins/ Paddock 1998) Bib: Bevins, Karl A., to Tracey L. Paddock, Tallahassee, FL, May 15, 1998; “Bevins, Karl Alten.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 50.

Bibbins, Frealon Cyrus. B. Sept. 4, 1897 (Santa Cruz, CA); d. 1982 (Sacramento, CA). Clarinetist: NBC Orch (); San Francisco Symph (1944-50); Sacramento Symph (Principal: 1950-72). Students include: FREALON (BUD) BIBBINS JR. Bib: Brandenburg, Mark. Email message to author, July 13, 2004.

Bibbins, Frealon Nordon [Bud] Jr. B. Sept. 9, 1925 (CA). Clarinet studies with FREALON CYRUS BIBBINS and REGINALD KELL. Former clarinetist: San Francisco Symph (Clarinet/E-flat: 1948-62, +/-). Students include: STEPHEN BENNETT, MARK BRANDENBURG, DONALD CARROLL, Daniel Geeting, Franklin Stover. Bib: Brandenburg, Mark. E-mail message to author, July 13, 2004.

Bigham, William M. B. June 6, 1934 (Paris, TN). Early clarinet studies with William F. Crosswy. BME: Murray State Univ (KY) with D.J. Gowens; MM: Univ of Miami with LAURENCE TREMBLAY; PhD (Mus Ed): Florida State Univ with HAROLD SCHMIDT. Active as a soloist (incl 1997 solo debut, at age 63, performing the Mozart Clarinet Concerto with the Montgomery Symph-AL). Faculty member: Greenville, KY Schools (1958-60); Moultrie HS-GA (Dir of Bands: 1960-63); Morehead State Univ-KY (Prof of Clarinet/Mus Ed: 1965-89); Huntingdon Coll-AL (Adj Prof of Music: 1993-). Articles/reviews published in Journal of Research in Music Education and Journal of the American Library Association. Other positions/activities: Former Pres, Kentucky MEA. Memb: Kentucky MEA, MENC. Hon: Kentucky MEA Distinguished Service Award (1989). Plays on: Buffet R-13 clarinets; CHADASH barrels; GREG SMITH mouthpiece; Glotin Gaia and Vandoren V-12 reeds; Yamaha E-flat clarinet; Selmer bass clarinet. Students include: MICHAEL ACORD, Travis Miller, Cindy Wolfe. In both performance and teaching, William Bigham believes that tone production and intonation are “the basis for everything else that can happen in clarinet performance.” (Bigham/Paddock 1998) Bib: Bigham, William M., to Tracey L. Paddock, Tallahassee, FL, May 11, 1998.

Birnbach, Fred Wolfe. B. Middletown, OH. Grad: Univ of Minnesota; MacPhail SOM; Cincinnati Conserv. Prominent NJ clarinetist of the 1940s; was also active as an organist. Hon: listed in Who is Who in Music, 1941 edition. Bib: “Birnbach, Fred Wolfe.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 49.

Bish, Deborah. B. Oct. 5, 1971 (Meridian, CT). Grad: Arizona State Univ with ROBERT SPRING; Florida State Univ with FRANK KOWALSKY. Additional clarinet studies with MICHAEL CYZEWSKI. Clarinetist: Phoenix Symph; Arizona Opera; North Carolina Symph; Arkansas Symph; Tallahassee Symph (current). Active as a recitalist (incl perfs at Weill Recital Hall and at ICA, CBDNA, and Florida MEA conferences), chamber musician (incl perf with Trio Solis, and participation at the Wallowa Lake Chamber Music Festival-OR), new music specialist (incl special interest in the works of Gregory Wanamaker and WILLIAM O. SMITH), festival artist (incl participation at the Mainly Mozart Festival), and recording artist (on the Mark Custom Recording Services label). Works written for Bish incl G. Wanamaker’s Clarikinetics. Faculty member: Henderson State Univ (formerly, late 1990s); Florida State Univ (Assoc Prof of Clarinet: current). Other positions/activities: active as an adjudicator (incl judging for the ICA’s Young Artist’s and HS Compts) and clinician. Hon: appears in Who's Who of American Women and Who’s Who Among America’s Teachers. Students include: Sarah Bonomo, Jeffrey Brooks, Miranda Dohrman, Yasmin Flores, Tim Haas, Janet Hildebrand, Annaka Price, Berginald Rash, David Thornton, Sara Wollmacher. Bib: “Deborah Bish.” Florida State University. http://www.music.fsu. edu/Faculty-and-Staff/Faculty/Deborah-Bish (accessed February 17, 2011).

Bishop, Neil. Clarinetist: Baltimore Symph Orch (1949-50).

Blayman, Herbert S. B. Jan. 25, 1921 (Johnstown, PA); deceased. Began music studies on sax before switching to clarinet. Grad: Juilliard (1942) with ARTHUR CHRISTMANN; Army SOM (1944).

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Additional clarinet studies with AUGUSTIN DUQUES and ERIC SIMON. Former clarinetist: Goldman Band; Radio City Music Hall (Clarinet/Sax); Utah Symph (Principal: 1948-49); Metropolitan Opera Orch (Principal: 1950-81). Was active as a jazz/dance band musician (early in career), recitalist (incl perfs at ICA conferences), and recording artist (with the Metropolitan Opera Orch). Former faculty member: Univ of Utah (Adj Prof: 1948-49); Manhattan SOM (Adj Prof: for approx. 20 years); Trenton State Coll (Adj Prof: for 20+ years); Interlochen Arts Camp (1965); Univ of Michigan (Prof: 1982-83). Other positions/ activities: was a respected mouthpiece craftsman. Memb: ICA. Hon: Juilliard Schol. Plays on: Buffet clarinets; BLAYMAN mouthpiece; Vandoren reeds; Wunderlich bass clarinet; uses BLAYMAN clarinet stands. Students include: Daniel Carter, PETER COKKINIAS, Herbert Dregalla, Lynn Fryer, ROGER GARRETT, JULIA HEINEN, Janet Johnson, Gene Keyes, KEITH LEMMONS, WILLIAM MCCOLL, Ruth McDonald, Don Mokrynski, Donna Nossett, Chris Pedersen, DAVID SHIFRIN, LAWRENCE SOBOL, STAN STANFORD, Lee Walkup, Charles Yassky, DOW YOUNG JR., GREGORY YOUNG. Herbert Blayman noted that both of his major teachers, ARTHUR CHRISTMANN and AUGUSTIN DUQUES “. . . were exceptional. I was honored and most fortunate to have studied with those two artists.” He added, “I was extremely lucky to have had a successful and illustrious career as a musician. The satisfaction of performing with such great musicians and artists for so many years, was worth all of those countless hours spent in a practice room. We did make great music.” (Blayman/Paddock 1998) In addition to his career as a performer, Blayman also enjoyed a career as a prominent mouthpiece craftsman and maker of various other clarinet equipment. Bib: “About Herb Blayman.” Blayman Music. http://www.blaymanmusic.com/about.html (accessed February 15, 2011); Blayman, Herbert S., to Tracey L. Paddock, Tallahassee, FL, May 29, 1998; Leeson, Daniel. “An Interview with Herbert Blayman.” The Instrumentalist 3 (November 1975): 59-65; Stewart, Robert. “A Conversation with Herbert Blayman.” The Clarinet 10 (Summer 1983): 14-16.

Blayney, William Elliott. B. Sept. 15, 1951 (Columbus, OH). BM: Peabody Conserv. Clarinet studies with Donald R. Blayney (his father), IGNATIUS GENNUSA, and DAVID WEBER. Clarinetist: Seattle Symph (Principal: formerly, late 1980s, +/-); has also performed with the Atlanta and Yakima Symphs, the Northwest Chamber Orch, the Seattle Opera, , and Fifth Ave. Theater, and with various other opera/ballet orchs in Atlanta, Baltimore, NY, and Seattle. Active as a recitalist/ soloist (incl recital given at the Kennedy Center), and studio artist (incl film soundtracks and re-scorings of 1930s and 1940s Disney cartoons); broadcast perfs given on radio, television, and internet. Faculty member: Peabody Conserv Pre-Coll Div (formerly, 1970s-80s, +/-); Music Center of the Northwest (1989- ); has also taught at the Baltimore HS for the Perf Arts and Univ of Maryland-Baltimore. Other positions/ activities: Buffet Crampon USA Perf Artist; active as a clinician. Hon: favorable review of recital appeared in the Washington Post. Plays on: Buffet R-13 clarinets. Students include: ROBERT DILUTIS, Reis McCullough. Bib: Blayney, Keith. “The Truth About Cadwallader Blayney (1705-1794).” . Blayney. http://www.keithblayney.com/Blayney/CadwalladerUSA.html#ConclusionMusic (February 15, 2011); “William Blayney, Clarinet.” Music Center of the Northwest. http://www.mcnw.org/faculty/woodwinds/ blayney.htm (accessed February 15, 2011).

Bloch, Kalman. B. May 30, 1913 (NYC); Mar. 12, 2009 (Los Angeles, CA). Father of MICHELE ZUKOVSKY. Early clarinet studies with SIMEON BELLISON. Advanced music studies at NY Univ, Columbia Coll, and Univ of California-Los Angeles. Former clarinetist: Bellison Clarinet Ensemble (Concertmaster); Los Angeles Phil (Principal: 1937-81, +/-); Columbia Symph-West Coast (Principal); Los Angeles Phil Orch Woodwind Quintet. Was active as a recitalist, soloist (incl West Coast premiere of the Copland Clarinet Concerto and perfs with the Los Angeles Phil and Orchs), chamber musician (incl perfs with the Los Angeles Phil Woodwind Quintet and the Budapest, Hungarian, and Roth String Quartets), studio musician (appeared on the motion picture soundtracks for For Whom the Bell Tolls, North by Northwest, and Sunset Boulevard), and recording artist (incl the premiere recording of Schoenberg’s Pierrot Lunaire at the composer’s request). Former faculty member: Pomona Coll (Prof of Clarinet: 1970s-80s, +/-); California State Univ- Fullerton (Prof of Clarinet: 1970s-80s, +/-); Los Angeles Phil Orch Training Program (1970s-80s+). Published in The Clarinet and The Instrumentalist. Author, The Orchestral Clarinet: A Study of Symphonic Repertoire (Boston Music Co., 1987), a compilation of excerpts. Other positions/activities: Co-Founder, Monday Evening Concert Series-Los Angeles.

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Hon: NY Phil Schol; Gold Medal Award-NY; favorable review of perf appeared in the . Played on: Buffet clarinets; Kaspar mouthpiece; BONADE ligature; Vandoren reeds. Students include: Bob Barnhart, Charles Bell, MERRITT BUXBAUM, Robert Chavez, David Diaz, WILLIAM DOMINIK, Christina Giacona, Erica Horn, DEBRA KANTER, JERRY KIRKBRIDE, ROLF LEGBANDT, RICHARD LESSER, James Lytthans, DANIEL MAGNUSSON, Scott McIntosh, Arthur Ness, TIMOTHY PARADISE, RICHARD PICKAR, Katie Porter, PHILLIP REHFELDT, ALBERT RICE, Perry Robinson, FRANKLIN SABIN, CHRISTIAN SCHUBERT, Neal Sulmeyer, JOAQUIN VALDEPEÑAS, William Wellwood, RALPH WILLIAMS, MICHELE ZUKOVSKY. The Russian-American tradition of clarinet playing has been passed from SIMEON BELLISON through Kalman Bloch to the current generation of clarinetists by way of Bloch’s daughter and former student MICHELLE ZUKOVSKY. Practical in his teaching, Bloch started the young Zukovsky’s clarinet studies on the E-flat clarinet. In her own teaching, Zukovsky tries to pass on the sense of musicality instilled in her by Bloch, who believed in using the clarinet repertoire itself rather than technical studies as learning material. Bloch, as with his own teacher Bellison, focused his teaching (and performance) on musicality, especially the elements of tone, style, nuance, and subtlety. (Averett 1991, 23) Bib: Averett, Janet. “Clarinet Style and Nuance, An Interview with Michelle Zukovsky.” The Instrumentalist 46 (September 1991): 23; Bloch, Kalman. “Preparing for Auditions: A Study of Symphonic Repertoire” The Clarinet 12 (Spring 1985): 55; “In Memoriam 2007-2009.” World Clarinet Alliance. http:// www.wka-clarinet.org/In_Memoriam09.htm (accessed February 15, 2011); King, L. Charles. “The Clarinetists of the Orchestra.” The Clarinet 3 (November 1975): 18.

Bloom, J. Lawrie. B. Aug. 20, 1952 (Buffalo, NY). Music studies begun on piano at age 4; clarinet studies begun at age 9. Early clarinet studies with ROGER MCKINNEY; additional pre-coll music studies at the American Boychoir Coll, with whom Bloom toured North America and Japan as a choir member and clarinetist. BM(cum laude): Temple Univ (1974) with ANTHONY GIGLIOTTI; MM: Arizona State Univ (1976). Clarinetist: Phoenix Symph (Asst Principal/Bass: 1974-76); Lyric Opera of Chicago (Clarinet/ Bass: 1976-77); Symph (Clarinet/Bass: 1978-79); Cincinnati Symph (Clarinet/Bass: 1979-80); Chicago Symph (Clarinet/Bass: 1980-). Active as a recitalist (incl perfs at ClarinetFest 1998, the 1999 Univ of Oklahoma Clarinet Symposium, and other clarinet conferences), soloist (incl a perf of Ian Krouse’s Concerto for Bass Clarinet and Large Orch with the Chicago Symph; has also performed as soloist with the Northwestern Chamber Orch), chamber musician (incl perfs/recordings with the Chicago Symph Orch Winds), festival artist (incl participation at the Eastern Shore Chamber Music, Grand Teton, Mostly Mozart, Pendeli, Peninsula, Ravinia, and Spoleto Festivals), and recording artist (appears on recordings with above ensembles and on the Novitas label; performed on the Grammy-nominated Chicago Symph Orch Winds recording Mozart: Music for on CBA Masterworks); broadcast perfs given on the Australian Broadcast Co., NPR’s “Performance Today,” and WFMT-Chicago. Faculty member: DePaul Univ (formerly; mid-1980s, +/-); American Conserv of Music-Chicago (formerly; 1990, +/-); Northwestern Univ (Senior Lect: current). Other positions/activities: Founder/Co-Artistic Dir, Eastern Shore Chamber Festival (1986-90s, +/-); Memb, Chicago Children’s Theater Board of Dirs; Buffet Crampon USA Perf Artist; Rico Artist; active as a clinician (incl master class given at the 1999 Univ of Oklahoma Clarinet Symposium); extra- musical activities incl biking, sailing, camping, canoeing, and hiking. Plays on: Buffet Prestige B-flat/A/Bass clarinets; custom mouthpieces; Vandoren reeds. Students include: Sarah Bednarcik, Jared Davis, Michele Doyle-Ronkin, ROGER GARRETT, Vicki Gotcher, Sam Kaestner, Michael Maccaferri, Yosef Mendelsohnn, Aage Nielsen, Shannon Orme, Alcides Rodriguez, Richard Viglucci, TIMOTHY ZAVADIL. Bib: Bloom, J. Lawrie, to Tracey L. Paddock, Tallahassee, FL, August 6, 1998; “Bloom, Lawrie.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 56; Fenton, Michael, Program Book Ed. “Meet the Musicians.” CSO Notebook. 1996-97 Season (October 31, November 1 and 2): 67; Jacobs, Laura, Editor-in-Chief. “J. Lawrie Bloom, Clarinet/Bass Clarinet.” CSO Stagebill. 1992-93 Season (February 25, 26, 27, 28, 1993): 14; “Musical Chairs.” The Clarinet 17 (May/ June): 45.

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Blount, John [Johnny]. Father of WILLIAM BLOUNT. Clarinetist: NBC Staff Orch-Chicago (Principal: 1940s-50s, +/-); also active as a woodwind doubler. Students include: Arkady, WILLIAM BLOUNT, Ken Jarczyk. Bib: “Ken Jarczyk.” SaxQuest. http://saxquest.com/teachersDetail.asp?Teacher ID=52&printview=true (accessed February 15, 2011).

Blount, William. B. Chicago, IL. Son of JOHN BLOUNT. Clarinet studies with JOHN BLOUNT, WALTER WOLLWAGE, and LEON RUSSIANOFF (at Manhattan SOM). Clarinetist: Orch of St. Luke’s (Principal: 1976-90s, +/-). Active as a recitalist/soloist (incl 1981 professional debut at Kaufman Concert Hall-NYC), chamber musician, NYC free-lance clarinetist/saxophonist, jazz musician (incl perfs as saxophonist with the ), and recording artist (incl acclaimed recording of the Copland Clarinet Concerto on the Music Masters label); also perfs as a saxophonist in various bands. Former faculty member: Mannes Coll of Music; Princeton Univ. Published in Windplayer. Hon: favorable reviews of perfs/recordings appear in The Clarinet and New York Times (October 1981). Students include: Arkady, Christine MacDonnell, Liz Player, Joe Traina, Edward Wojtowicz. Bib: Arkady. “William Blount.” Arkady.com. http://arkady.com/blount (accessed February 15, 2011); Blount, William. “Masterclass: Learning Style from Etudes.” Windplayer 10: 36; Gilbert, Richard. “Recital Reviews.” The Clarinet 10 (Fall 1982): 48-49; Hunt, Albert. “Compact Disc Review.” The Clarinet 18 (July/August 1991): 56.

Blustine, Allen. Clarinet studies with LEON RUSSIANOFF. Clarinetist/Bass Clarinetist: Da Capo Players (formerly, 1970+); Japan Phil (Principal: formerly, early-1970s); Musica Aeterna Orch (Principal: formerly, 1970s); (1983-); Orch (Bass: 1991); NY Chamber Soloists (current); North Country Chamber Players (Founding memb; current); Festival Winds (current); has also performed with the New York Phil. Active as a soloist (incl perfs with the NY Phil, NY Chamber Soloists, Festival Winds, and Music Aeterna Orch, and at the Vermont Mozart Festival), chamber musician (incl premiere perf of Harbison’s Die Kürze, 1970, perfs with above groups, and with the Chamber Music Society of the Lincoln Center), new music specialist (commissioned ’s Breakfast Rhythms I and II, which were dedicated to Blustine), festival artist (incl participation at the Sebago Music Festival), and recording artist (appears on recordings with Speculum Musicae on the Bridge label, and on the Columbia, CRI, and Nonesuch labels). Other premiere perfs incl works by M. Babbitt, E. Carter, M. Davidovsky, D. Martino, and . Peterson. Faculty member: Columbia Univ (current). Other positions/activities: Artistic Dir, Vermont Mozart Music Festival (current); Assoc Dir, Instit and Festival for Contemporary Perf at Mannes Coll of Music. Bib: “Allen Blustine.” North Country Chamber Players. http://www.northcountry chamberplayers.org/players/blustine.php (accessed February 15, 2011).

Bocaner, Lawrence. B. June 4, 1931 (Wisconsin Rapids, WI). Clarinet studies at DePaul Univ (1949-51) with JEROME STOWELL; BS: Juilliard (1957) with DANIEL BONADE; MM(Comp): Univ of Colorado (1960); additional studies at Tanglewood (1951, 1956) with ROSARIO MAZZEO. Additional clarinet/bass clarinet studies with BERNARD PORTNOY and GEORGE WEBER. Clarinetist: U.S. Army Field Band (1953-56); Denver Symph (1957-60); Aspen Festival Orch; Civic Orch of Chicago (formerly); Natl Symph (Bass: 1960-2000); Nightwinds (Founding Memb: current). Active as a soloist (incl Natl Symph premiere of Ezra Laderman’s ) and chamber musician. Faculty member: Howard Univ (1961-96); Catholic Univ (1994-). Memb: ICA. Hon: Juilliard schol. Plays on: Buffet R-13 B-flat and C clarinets; Buffet RC A clarinet; Vandoren B-45 mouthpiece; Vandoren reeds; Leblanc bass clarinets; Lelandais bass mouthpiece (faced by Robert Miller). Students include: RONALD AUFMANN, Linda Baker, CRAIG NORDSTROM, JAMES OGNIBENE, LARRY THOMPSON. Clarinetist Lawrence Bocaner, who served as bass clarinetist of the National Symphony for forty years, considers himself very fortunate to have played in orchestral clarinet sections with three outstanding principal players: RICHARD JOINER, HAROLD WRIGHT, and LOREN KITT. (Bocaner/Paddock 1998) Bib: Bocaner, Lawrence, to Tracey L. Paddock, Tallahassee, FL, July 13, 1998; Kitt, Loren. “The Clarinet Section of the National Symphony Orchestra.” The Clarinet 7 (Winter 1980): 29; “Lawrence Bocaner.” The Catholic University of America. http://music.cua.edu/faculty/bocaner.cfm (accessed February 15, 2011).

Bockman, Sigurd. B. circa 1911 (Seattle, WA); d. May 25, 2000 (Annapolis, MD). MA(Mus Ed): Univ of Minnesota (1932). Clarinet studies with GEORGES GRISEZ. Former clarinetist:

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Minneapolis Symph (Second/E-flat: 1932-44); Pittsburgh Symph (Principal: 1944-46); NBC Symph; American Symph; NYC Opera; Band of America (Co-Principal with JOSEPH ALLARD; 1950s); also performed with the NY Phil, Cleveland Orch, and Ballet Russe de Monte Carlo. Was active as a studio musician (incl perfs on the Bell Telephone and Firestone Hour radio programs, et al) and recording artist (with above orchs). Former faculty member: Univ of Minnesota; Carleton Coll; MacPhail SOM. Former memb: AFM Local 802. Hon: favorable review of orch recording appears in The Clarinet (see Bib below). Students include: THOMAS RIDENOUR. Bib: Nichols, William. “Audio Notes.” The Clarinet 24 (May/ June 1997): 18; “.” Allegro Archives (of AFM Local 802) Vol. C No. 7/8 (July 2000) at http:// www.local802afm.org/publication_entry.cfm?xEntry=27436582#bockman (accessed February 15, 2011).

Bohnen, John M. [Hans]. B. Meyers Grove, MN. Former clarinetist: St. Paul Symph; Los Angeles Phil Orch (1920s, +/-). Was also active as a conductor (incl position with the Fox Movietone Orch in Los Angeles). Bib: Bohnen, Arthur. “The Bohnens.” Dennis Goodno’s Genealogy. http://www.dennis goodno.com/Bohnen%20History/index.htm (accessed February 15, 2011).

Bonade, Daniel. B. Apr. 4, 1896 (Geneva, Switzerland); d. Nov. 11, 1976 (Cannes, France). Began clarinet studies at age 8; early clarinet studies with Ferdinand Capelle (student of Henri Lefebvre). 1st Prize (Clarinet): Paris Conserv (1913) with Prospér Mimart. Additional clarinet studies with HENRI LEFEBVRE. Clarinetist: Garde Républicaine Band (Principal: 1915; LUCIEN CAILLIET was also in this section); Diaghilev Ballet Russe (Principal: 1916-17 American tour); Philadelphia Orch (Principal: 1917- 22, 1924-30; Bonade followed ROBERT LINDEMANN in this position, was replaced by RUFUS AREY and GEORGE GRISEZ during his time away from the orch, and then succeeded by his student ROBERT MCGINNIS); CBS Orch (1931-33); Cleveland Orch (Principal: 1933-41); NBC Symph (Principal: 1940 South American tour); also freelanced with numerous other orchs/bands during his career (incl the Rialto Opera, the Sousa Band, the Victor Herbert Orch, and others). Was active as a soloist, chamber musician (incl perfs with the Cleveland String Quartet), recording artist (with the Philadelphia Orch and Cleveland Orch; is also reported to have made solo recordings which remain as yet undiscovered), and NYC freelance musician; broadcast perfs given on the Bell Telephone Hour and with various radio orchs. Faculty member: Curtis IOM (1924-40, +/-); Cleveland IOM (1933-42); Juilliard (1948-60); also taught privately both in the U.S. and later in Cannes, France during the 1970s. Articles published in The Clarinet, The Leblanc Bandsman, Symphony, and Woodwind World. Author/Editor of Bonade Orchestral Studies for Clarinet, The Clarinetists Compendium, and other publications listed in Bib below. Other positions/activities: Leblanc Consultant, with special contributions made to Leblanc’s Symphony 3 line of clarinets (1950s) and with whom he developed his mouthpiece, ligature and reeds. Played on: Henri Selmer clarinets (early in career); inherited and played on Henri Lefebvre’s Buffet clarinets for most of his career; Leblanc clarinets; played mostly on the A clarinet, transposing as necessary, because he did not care as much for the sound of the B-flat clarinet as much; Chedeville mouthpiece. (Pierce “Part I,” 8-9) Students include: JAMES VINCENT ABATO, JOSEPH ALLARD, DONALD AMBLER, MORDECAI APPLEBAUM, BEN ARMATO, EARL BATES, LAWRENCE BOCANER, CLARK BRODY, MICHAEL BURGIO, JAMES CAMPBELL, CARMINE CAMPIONE, JAMES COLLIS, EDDIE DANIELS, EMERY DAVIS, RONALD DE KANT, STANLEY DRUCKER, MIKE FAULHABER, IGNATIUS GENNUSA, ROBERT GENOVESE, ANTHONY GIGLIOTTI, JOSEPH GIGLIOTTI, STANLEY HASTY, ROGER HILLER, , RICHARD JOINER, MARY JUNGERMAN, WILLIAM KLINGER, Leo Lakritz, RUSSELL LANDGRABE, JEFFREY LERNER, LEON LESTER, ROBERT LISTOKIN, MITCHELL LURIE, ROBERT LUYBEN, ROBERT MARCELLUS, Carl Marks, DONALD MCCATHREN, ROBERT MCGINNIS, ROGER MCKINNEY, RALPH MCLANE, JAMES MEYER, VICTOR MOROSCO, IRVING NEIDICH, RON ODRICH, DAVID OPPENHEIM, CHARLES PAASHAUS, LOUIS PAUL, RONALD PHILLIPS, JERRY PIERCE, BERNARD PORTNOY, JAMES RETTEW, LEON RUSSIANOFF, CHARLES RUSSO, EMIL SCHMACTENBERG, GEORGE TOENES, John Van Bockern, RICHARD WALLER, DAVID WEBER, RICHARD WEERTS, ROGER WILLER, ALFRED ZETZER, MARTIN ZWICK. Daniel Bonade, often referred to as “The Dean of American Clarinetists,” (Gee 1981, 17-19) was arguably the most influential clarinetist in the development of the American clarinet tradition through his

37 playing but even more so through his teaching. Former Bonade student JERRY PIERCE summarized Bonade’s influence:

Daniel Bonade has occupied one of the premiere positions in the American clarinet scene. His teaching spans more than one half of the twentieth century. His students have gone on to occupy many of the principal clarinet positions with America’s major symphony orchestras, colleges, and universities. The standards he set are goals clarinetists strive to attain and his passing leaves a void in the clarinet fraternity. Through teachings, writings, and recorded performances his ideas will serve as an inspiration to all musicians. Thus, the Bonade legacy stretches to infinity. (Pierce 1977 Spring, 14-15)

Sol Schoenbach, former principal bassoonist of the Philadelphia Orchestra, also commented on Bonade’s influence on American clarinet playing, offering this snapshot of the times in which Bonade worked:

There were many German and Russian clarinet players around who didn’t have a definite School; Italians who wanted to refine their playing, etc. Bonade arrived and had this very definite approach to the clarinet. It was almost overwhelming since the others were still wandering around.

In every school, in every situation, some people emerge because of their basic personality, not just because they have the facts. Of 100 students attending a medical school one will emerge as a great doctor, not because he knows more than others, but because he can express himself more. Bonade is such a man. (Pierce 1977 Summer, 11- 13)

Schoenbach described Bonade’s sound as

Very pure. Completely lacking in vibrato. Quite lovely and cool and limpid, but it didn’t have any vibrato or inner warmth. Quite straight, especially in contrast to many of the Frenchmen of that time who undulated. . . (Ibid.)

The sound described by Shoenbach may not have been the sound Bonade brought to America originally. JOSEPH MESSENGER comments,

Bonade was one of the first non-German players in a major American symphony, and he soon discovered that the “old French school” sound, although ringing, full, and vibrant, was inadequate for an orchestra the size of Philadelphia. By making that sound bigger and somewhat darker, without losing the ringing, flexible quality, his sound combined the best of both the French and German tones. He also introduced the Boehm clarinet into the American orchestral color. (Messenger 2000, 84-85)

Bonade was born to a father who achieved the First Prize in clarinet at the Paris Conservatory (under the tutelage of Hyacinthe Klosé), and a mother who achieved the Conservatory’s First Prize in voice and piano and had a successful career as an opera singer. It is therefore not surprising that Bonade combined the influence of both parents in his own playing and teaching. Bonade believed that the playing of the clarinet should be akin to singing through the instrument; non-vocal qualities were not to be tolerated in the sound, mechanics, or style of playing. Thus, as a teacher, Bonade developed specific methods for the elimination of clarinet-related hindrances to the achievement of musical beauty. He was well-known for his staccato methodology as well as his doctrine of “legato fingers,” which emphasized complete control and accuracy and at the same time, light, relaxed fingers. (Pierce, Spring 1977, 14-15) The late Leon Russianoff offered this summary of Bonade’s pedagogical approach:

Fingers now were feather light – floating high up, and gently down – weightless and noiseless. To “pop” became the ubiquitous clarinetistic abomination to be avoided at all cost -- no “note” at all was better than one that “popped” out. Clarinets came down

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dangerously close to the belly button, reeds got softer and meticulously balanced, Dutch rush became the most sought after plant in the whole botanical world. Ligatures were bent according to rule; Rose 40 Etudes became the clarinetist’s Holy Bible, Rose 32 Etudes: the ultimate in study books. French Solos de Concours replaced Beethoven, Schubert, and Mozart – and France itself became the clarinet player’s mecca – a visit there would cure everything; a visit to the Buffet Factory was like a trip to Lourdes. (Russianoff 1974, 7)

Bonade offered his own commentary on clarinet performance:

Technique is everyone’s playground. ‘PHRASING’ however, belongs to those who can concentrate on the meaning of the music, who are willing to work and who have achieved all the requirement of fine playing: that is, beauty and flexibility of tone, perfect control of finger action, comprehension of musical line and feeling for interpretation. (Pierce, Spring 1977, 14-15)

The above summary of Bonade’s career and philosophy is a much-abbreviated offering of the wealth of available information. His reach in the American clarinet community extends through generations of clarinetists and his legacy is ensured through his own publications as well as numerous articles written about him, which appear in the Bibliography below. Although some of his own publications have been out of print, some are being reissued, and most are accessible at the Library of Congress and/or the music libraries of major music schools. The University of Maryland also has an extensive collection, entitled “Daniel Bonade Papers,” located in its Performing Arts Library. Clarinetist JERRY PIERCE was one of the last students Daniel Bonade taught while Bonade resided in the United States. Pierce wrote a series of articles in The Clarinet entitled, “The Bonade Legacy,” from which several of the above quotations are taken. These articles are essential reading for anyone truly desiring to learn the extent of Bonade’s influence on the American clarinet tradition. They are filled with detailed biographical, philosophical, and pedagogical details, but equally as valuable are the numerous anecdotes and quotations from former Bonade students. Carol Anne Kycia’s book, Daniel Bonade: A Founder of the American Style of Clarinet Playing, is also highly recommended as are any of the articles written by Bonade or about Bonade listed below. Lastly, Larry Guy’s compilation recording The Legacy of Daniel Bonade, is another important resource to consult, featuring excerpts of Bonade’s performances as Principal Clarinetist of the Philadelphia and Cleveland Orchestras and the RCA Victor Symphony, spanning the years 1923-1947. This is an invaluable resource to all clarinetists and provides a link to the formative years of the American clarinet tradition. Selected Bibliography of publications/articles written by Daniel Bonade: Books: Bonade Orchestral Studies for Clarinet. Kenosha, WI: Leblanc Publications, 1947, 1970; Method of Staccato. Kenosha, WI: G. Leblanc Corp., 1957; Sixteen Phrasing Studies for Clarinet. Kenosha, WI: Leblanc Publications, 1962; Sixteen Grand Etudes for Clarinet. Kenosha, WI: Leblanc Publications, 1968; The Clarinetist’s Compendium. Kenosha, WI: Leblanc Publications, 1964. Articles: “Master Class (Concertino by Weber).” The Clarinet 22 (July/August 1995): 6-8; “Playing in Tune.” The Clarinet (Winter 1954). Clarinet Anthology – International Clarinet Association. http://www.clarinet. orgAnthology1.asp?Anthology=3 (accessed February 15, 2011); “The Art of Legato.” The Clarinet (Summer 1951). Clarinet Anthology – International Clarinet Association. http://www.clarinet. org/Anthology1.asp?Anthology=2 (accessed February 15, 2011). Bonade also wrote a monthly series of articles in Symphony, entitled “Scoring for Woods,” which may be accessible at the Library of Congress and/or various music school libraries. Bib: Gee, Harry. “French Clarinetists in America, Part III.” The Clarinet 9 (Fall 1981): 17-19; Guy, Larry, Editor/Compiler. The Legacy of Daniel Bonade. Daniel Bonade, Cleveland Orchestra et al. Boston Records 1048. CD. 2002; Kycia, Carol Anne. Daniel Bonade: A Founder of the American Style of Clarinet Playing. Captiva, FL: Captiva Publishing, 1999; Levine, S. Joseph. “OUCH! Saying Good-bye to an Old Friend.” The Clarinet 19 (February/March 1992): 28-29; Messenger, Joseph. “Book Review.” The Clarinet 27 (September 2000): 84-85; “Obituary.” Printed in The Clarinet 4 (Winter 1977): 19; Pierce, Jerry. “The Bonade Legacy, Part I.” The Clarinet 4 (Fall 1976): 8-9; Pierce, Jerry. “The Bonade Legacy, Part II.” The Clarinet 4 (Spring 1977): 14-15; Pierce, Jerry. “The Bonade Legacy, Part III.” The Clarinet 4

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(Summer 1977): 11-13; Pierce, Jerry. “The Bonade Legacy, Part IV.” The Clarinet 6 (Summer 1979): 6-9; Russianoff, Leon. “Confessions of a Clarinet Teacher.” The Clarinet 1 (August 1974): 7.

Bond, Robert Augustine. B. Aug. 26, 1928 (Ketchikan, AK). BA: Linfield Coll (1950); MA: Eastman SOM (1952). Clarinet studies with RUFUS AREY, Anthony Bruno, ANGELO DE CAPRIO (1947), Joseph Kolma. Clarinetist: St. Paul Chamber Orch (Principal: 1961-63); Beloit Symph-WI (Principal: 1963-81). Faculty member: Mitton Coll (Music Dept Chmn: 1975-81); Allegheny Coll (Prof: 1981-2000+). Other positions/activities: Asst Conductor, Beloit Symph (1963-81); Dir, Allegheny Summer Music Festival (1981-90, +/-). Bib: “Bond, Robert Augustine.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 61.

Boroughs, Lowell. B. East Chicago, IN. Clarinet studies with ROBERT LINDEMANN and JEROME STOWELL. Former clarinetist: Civic Orch of Chicago (Principal); Chicago N..A. Orch (Principal); Indianapolis Symph (1943-46). Faculty member: Limberlost Music Camp (1943). Bib: Indianapolis Symphony Orchestra Program (December 4 and 5, 1943): 20; Indianapolis Symphony Orchestra Program (December 1 and 2, 1945): 26-7.

Borschel, Michael. B. Nov. 22, 1946 (Ottumwa, IA). BA/MA: California State Univ-Los Angeles (1968/1969); MM/DM: Yale Univ SOM (1974/1979) with KEITH WILSON. Paralegal Studies Cert: Indiana Univ-Purdue Univ (1995); law degree in progress at Indiana Univ School of Law. Additional clarinet studies with WILLIAM DOMINIK, MITCHELL LURIE, John Pinsker, LEON RUSSIANOFF, , and Vito Susca. Other areas of study incl chamber music and conducting. Clarinetist: Borschel Ensemble (1966-); Borschel Woodwind Trio (1968-69); USMA Band-West Point (1st Clarinet Section: 1969-72); New Haven Symph (Asst Principal/Second: 1972-74); Milwaukee Symph (Bass/Aux Clarinet/Sax: 1974-80); Vancouver Symph (Asst Principal/Bass: 1980-85); Vancouver Wind Trio (1982-85); Indianapolis Symph (Asst Principal/Bass: 1985-); Indianapolis Wind Trio (1986-); New Indianapolis Woodwind Quintet (1994-). Active as a soloist (incl perfs with the Claremont and Indianapolis Symphs and Vancouver Phil), chamber musician (incl perfs with above groups), and recording artist (on the CBC, Koss, Orion, and Columbia labels); numerous broadcast perfs given on CBC and NPR. Faculty member: City Coll of NY (Adj Lect: 1972-74); Wisconsin Coll-Conserv (1974-80); Univ of British Columbia (1980-85); DePauw Univ (Vstg Instructor/Artist: 1986-87, 1994); Purdue Univ (1988- 90); has also taught in CA and CT public schools. Articles published in The Clarinet, Ovation, and Sinfonia Review. Other positions/activities: Conductor, Heartland Pops Orch (current); active as an administrator (incl membership on the Milwaukee Symph Players Council, Vancouver Symph Artistic Advisory Committee, Univ of British Columbia Music Faculty Committee, and Indianapolis Symph Orch Committee); upon completion of his law degree, Borschel intends to focus on labor and employment law. Memb: AFM, The Bohemians, ICA, Indiana Civil Liberties Union, NY Musicians Club. Plays on: Buffet R-13 (B-flat) and Yamaha (A/E-flat) clarinets; KANTER mouthpieces; Selmer Low C bass clarinet; Kaspar bass mouthpiece; Rico Grand Concert and Vandoren reeds. Students include: Tom Colclough, Frank Glover, WILLIAM JENKEN. Clarinetist Michael Borschel attributes his musical development not only to his former teachers but also to his colleagues. Clarinetists whose playing influenced Borschel include DANIEL BONADE, , LARRY COMBS, STANLEY DRUCKER, BENNY GOODMAN, ROBERT LINDEMANN, MITCHELL LURIE, ROBERT MARCELLUS, RALPH MCLANE, GEORGE SILFIES, HAROLD WRIGHT, and MICHELE ZUKOVSKY. Of these players, Borschel commented, “All . . . use their technical mastery and beautiful tone to serve the music. The clarinet is thus a voice substitute of sorts.” He concluded, “The clarinet can be a marvelously expressive instrument, when we and conductors allow.” (Borschel/Paddock 1998) Bib: Borschel, Michael C., to Tracey L. Paddock, Tallahassee, FL, May 14, 1998; “Musical Chairs.” The Clarinet 16 (February/March 1989): 15.

Both, Emerson. Former clarinetist: Cleveland Orch (Principal: 1944-45); NBC Orch; Chicago Phil. Students include: Theldon Myers. Bib: Myers, Theldon. “Theldon Myers, Composer.” T. Myers. http://www.theldonmyers.com (accessed February 15, 2011)

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Bovyer, Gary. Native of Oakland, CA. BM: San Jose State Univ; MM: Juilliard with JOSEPH ALLARD. Additional clarinet studies with GERVASE DE PEYER and . Clarinetist: Symph (Principal: formerly, for 3 seasons); Ariel Ensemble Jerusalem (Founding memb; formerly); Los Angeles Opera (Principal: formerly); Long Beach Symph (Principal: 1985-); Santa Monica Symph (Principal: current); Hollywood Bowl Orch (Principal: current); Pacific Classical Winds (current); has also performed with the Orch. Active as an intl soloist (incl perf with the Bremerton, Jerusalem, and Santa Monica Symphs, the Santa Monica Phil, Hollywood Bowl Orch, and Mozart Classical Orch), chamber musician (incl perfs with above groups, the Archwood Chamber Ensemble, and Toyon Woodwind Quintet), historical instrument specialist (incl perfs/recordings with the Pacific Classical Winds), festival artist (incl participation at the Fairbanks Summer Arts Festival), studio musician (motion picture soundtracks incl Spitfire Grill, Titanic, et al), and recording artist (with the Pacific Classical Winds on the New Worlds Records label; also appears on the Israel Broadcast Authority and Philips labels). Former faculty member: Univ of California-Irvine (1990, +/-); California State Univ-Long Beach (1990+); Pomona Coll. Published in Windplayer. Extra-musical activities incl hiking, motorcycling, and tennis. Hon: favorable reviews of perfs appear in the Ha’aretz Israel, Long Beach Grunion Gazette, and Los Angeles Times. Students include: Jennifer Connor, SCOTT HARRIS, Jennifer Showalter, Brian Walsh. Bib: Bovyer, Gary. “Masterclass: The Register Key as an Aid.” Windplayer No. 53: 38; “Gary Bovyer, Clarinet.” Santa Monica Symphony. http://www.smsymphony.org/sms0708/program4.html (accessed February 15, 2011); “Musical Chairs.” The Clarinet 17 (May/June 1990): 45.

Bowen, Glenn H. B. Jan. 26, 1933 (Little Rock, AR). BM(with high honors): Univ of Arkansas with Roger Widder and Bruce Benward; MM/DM: Eastman SOM with STANLEY HASTY, Allan McHose, and WILLIAM OSSECK. Clarinetist: Wingra Woodwind Quintet (1970s-90s, +/-). Active as a recitalist, soloist (incl world premiere perf of Alec Wilder’s Concerto for Clarinet and Chamber Orch, 1974), chamber musician (incl perfs with the Fine Arts and Pro Arte Quartets and the NY and Wingra Woodwind Quintets), and recording artist (on the Golden Crest label). Faculty member: North Dakota State Univ (1958-61); Univ of Wisconsin-Madison (1961-92; Prof Emeritus: current); has also taught as part-time faculty at Lawrence and Northwestern Univs, and Univ of Iowa. Author, Making and Adjusting Clarinet Reeds (Hancock, MA: Sounds of Woodwinds, 1980). Articles published in The Clarinet, Woodwind World, and NACWPI Journal. Other positions/activities: North Central Regional Chmn, ICA (formerly); Vice Pres, ICA (1978-80); active as an arranger and mouthpiece/reed craftsman. Memb: ICA. Hon: Grad Fellowship, Eastman SOM; Avon Foundation Grant; UW-Madison Grad School Research Grant; Madison Symph Distinguished Service Award. Plays on: Leblanc Opus (B-flat) and Concerto (A) clarinets; Bowen mouthpiece; handmade and commercial reeds. Students include: PHILLIP AAHOLM, PETER ALEXANDER, BRENT COPPENBARGER, F. GERARD ERRANTE, Karen Hansen, Daniel Harris, Fred Hemke, Mark Hollingsworth, JOHN KUEHN, Ron LeRoy, Nancy Mackenzie, MAURITA MEAD, RONALD PETER MONSEN, LESLIE NICHOLAS, DENNIS NYGREN, Jeffrey Olson, Daniel Paprocki, TIMOTHY PERRY, Dennis Prime, DAVID SEILER, Becky Steltzner. Former student TIMOTHY PERRY described Glenn Bowen as “an excellent embouchure coach and student of the clarinet mechanism, especially the role of the mouthpiece.” (Perry/Paddock 1998) Bib: Bowen, Glenn. “Clarinet Mechanism Improvements.” The Clarinet 1 (February 1974): 12; Bowen, Glenn. “For the Clarinetist: Fact or Factoid.” The Clarinet 4 (Fall 1977): 17; Bowen, Glenn, to Tracey L. Paddock, Tallahassee, FL, June 1, 1998; “Glenn Bowen Elected Vice President.” The Clarinet 6 (Fall 1978): 41; Perry, Timothy, to Tracey L. Paddock, Tallahassee, FL, August 27, 1998.

Brackett, Anthony. B. Sitka, AK. BM/Artist Dipl: Hartt SOM; grad studies at Manhattan SOM; additional studies at the Yale Summer SOM and Pierre Monteux School for Conductors and Orch Musicians. Clarinetist: has performed with the American, New Jersey, New Orleans and Singapore Symphs, the Brooklyn and Colorado Phil Orchs, the Orch of St. Luke’s, the NYC Ballet Orch, the Dance Theater of Harlem, and the Dance Co. Active as a chamber musician (incl perfs with the Emerson and Shanghai String Quartets, the Dorian Wind Quintet, Columbia Composers, and Blue Door Chamber Music), festival artist (incl participation at the Waterloo Festival), Broadway theatre musician (incl Beauty and the Beast, Can-Can, The King and I, The Music Man, and Swan Lake), and recording artist (on the QRecords, Sony, Telarc, and Varese Sarabande labels). Faculty member: Juilliard Music Pre- College/Advancement Programs (current); Greenwich HS (Clarinet Instructor: current). Other positions/ activities active as an arranger. Students include: Hope Weissler. Bib: “Anthony Brackett.” Juilliard Pre-

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College Division. http://www.juilliard.edu/youth-adult/pre-college/faculty/detail.php?FacultyId=483& School=Pre-College&Division= (accessed February 15, 2011).

Bradley, Alan. B. Aug. 27, 1934 (Canton, IL). BA: Knoxville; MM/DM: Indiana Univ with HENRY GULICK and BERNARD PORTNOY. Additional clarinet studies with JEROME STOWELL, WILLIAM STUBBINS, and HIMIE VOXMAN. Clarinetist: Charleston Symph-WV (Principal: 1957-58); Columbus Symph-OH (1960-66); Springfield Symph-MO (1972-91); Springfield Opera (Principal: 1980- 96). Faculty member: Morris Harvey Coll-WV (1957-58); Otterbein Coll-OH (1960-67); Southwest Missouri State Univ (1969-98). Plays on: Buffet R-13 clarinets; GENNUSA mouthpiece. Bib: Bradley, Alan, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998.

Brand, Richard. Clarinetist: Cincinnati Symph (1914-34, +/-). During Brand’s tenure with the Cincinnati Symphony Orchestra, the names “Richard M. Brand,” “Richard N. Brand,” and “Richard W. Brand” were variously listed as members of the clarinet section in the orchestra programs. The author’s assumption is that these changes of middle initial reflect either typographical errors in the program or that there may have been a father/son also named Richard who performed with the orchestra during this time.

Brandenburg, Mark. BM/MS: Juilliard; additional grad studies in Musicology at NY Univ. Clarinet studies with FREALON BIBBINS, JR., ROSARIO MAZZEO, and BERNARD PORTNOY. Clarinetist: San Jose Symph (Principal: formerly, for 6 years); San Francisco Symph (Asst Principal/E-flat: formerly, for 2 seasons during late 1980s); Opera San Jose (Principal: current); Stanford Woodwind Quintet (current); Midsummer Mozart Festival Orch (Principal: current); has also performed with the San Francisco Ballet, Chamber and Opera Orchs, and the Western Opera Theatre. Active as a recitalist/soloist (incl perfs with Chamber Orch and with JANET AVERETT at Stanford Univ’s 1995 Alea II concerts of new music), chamber musician (incl perfs with the Anchor Chamber Players and Stanford Woodwind Quintet), festival artist (incl participation at the Cabrillo Music and Midsummer Mozart Festivals), and recording artist (on the Arizona Univ label). Faculty member: San Francisco Conserv (late 1980s, +/-); Univ of California-Santa Cruz (Instructor of Clarinet: current). Stanford Univ (current). Articles published in The Clarinet. Students include: Charles Ancheta, Bruce Foster, Michael Jordin, Jacob Lindsay, Adam Michlin, Joseph Morris, John Romano. In teaching, clarinetist Mark Brandenburg addresses “concerns of musical expression and development of technique, with careful attention to matters of interpretation as they relate to historical performance styles.” (“Mark Brandenburg” 2011) Bib: Brandenburg, Mark and Janet Averett. “Toscanini’s Clarinetist: An Interview with Alexander Williams.” The Clarinet 19 (February/March 1992): 34-39; “Mark Brandenburg.” University of California- Santa Cruz. http://music.ucsc.edu/faculty/Mark-Brandenburg (accessed February 15, 2011).

Brasch, Otto. Clarinetist: Cincinnati Symph Orch (Bass: 1917-18, +/-).

Bratman, Morris. Clarinetist: Natl Symph Orch (Bass/Sax: 1932-34; 1936-39); Baltimore Symph Orch (Clarinet/Bass: 1942-43).

Breda, John. BM/MM: New England Conserv; Doctor of Medicine: Univ of (1996). Clarinetist: Oregon Symph (Bass: 1982-89). Other positions/activities: active as a craftsman and is currently active in the medical field. Hon: Symph Orch Instit Doctoral Fellowship Award to study the effects of job-related stress on orchestral musicians (1996). Bib: “Research Program Update.” Harmony 2 (April 1996): 42, at www.polyphonic.org/harmony/2/Research2_Update.pdf (accessed February 15, 2011).

Breeden, David McKee. B. July 19, 1946 (Ft. Worth, TX); d. June 22, 2005. Early clarinet studies with his father, LEON BREEDEN. BME(with honors): Univ of North Texas (1968) with LEE GIBSON; MM: Catholic Univ with LOREN KITT and HAROLD WRIGHT; additional studies at Tanglewood (1960s). Additional clarinet studies with ROSARIO MAZZEO. Former clarinetist: U.S. Navy Band-Washington, D.C. (1968-72); San Francisco Opera (Second/E-flat: 1972-80); San Francisco Symph (Second/E-flat: 1972-79; Asst Principal: 1979-80; Principal: 1980-2000+); Caseli Ensemble (Founding Memb). Was active as a recitalist (incl perfs at ICA conferences), soloist (incl perfs with the

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San Francisco Symph), chamber musician (incl perfs with the Caseli Ensemble), and recording artist (on San Francisco Symph recordings). Former faculty member: Stanford Univ (1973-78); San Francisco Conserv (1973-2000+). Other positions/activities: was active as a clinician (lectures/master classes given at ICA conferences and at various SOMs). Memb: ICA. Hon: Honoree, Univ of North Texas 1991 Alumni Appreciation Day. Played on: Buffet R-13 clarinets; HITE Signature mouthpiece; Vandoren V-12 #4 ½ and occasionally handmade reeds. Students include: Teddy Abrams, Karla Avila, Ginger Kroft Barnetson, TAD CALCARA, Rob Chavez, PAUL CIGAN, Lynné Funkhouser, Michael Jordin, ELIZABETH CRAWFORD, ANDREW LAMY, Charles Messersmith, RAPHAEL SANDERS, Lynne Snyder, Karen Sremac, Margaret Thornhill. Having served for a quarter of a century as Principal Clarinetist of the San Francisco Symphony, and even longer as a clarinet section member of that orchestra, David Breeden was something of a musical institution in San Francisco. Breeden was known for the beauty and clarity of his sound, consistently musical performances, and his humble nature. His career and life were cut short by complications from multiple myeloma at the young age of 58. Bib: Breeden, David, to Tracey L. Paddock, Tallahassee, FL, August 18, 1998; Gillespie, James. “The Clarinetists of the San Francisco Symphony.” The Clarinet 27(March 2000): 68-71; Huffman, Larry. “San Francisco Symphony Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_ Musicians_San_Francisco_Symphony.htm (accessed February 15, 2011); Kosman, Doshua. “David Breeden – Featured Clarinetist.” SFGate.com. http://articles.sfgate.com/2005-06-24/bay-area/17376501_ 1_san-francisco-symphony-clarinetist-stravinsky-bernstein-weber (accessed February 15, 2011); Steinberg, Michael, Program Annotator. “David Breeden.” San Francisco Symphony Stagebill 12 (81st Season, September/October 1992): 40.

Breeden, Leon. B. Oct. 3, 1921 (Guthrie, OK); d. August 2010. Father of DAVID BREEDEN. BM/MM: Texas Christian Univ; additional studies at Mannes Coll of Music with REGINALD KELL. Additional clarinet studies with Gabe Brollier. Former clarinetist: Ft. Worth Opera; Ft. Worth Symph; also performed with his own private orch in Ft. Worth, TX. Was active as a recitalist/soloist, jazz musician, and theatre musician (incl perfs in pit orchs for numerous Broadway shows in the Dallas/Ft. Worth area). Faculty member: Texas Christian Univ (1944-50); Univ of North Texas (Prof of Clarinet/Dir of Jazz Studies: 1959-81; Prof Emeritus: 1980s-2000+). Author, Fun with the Clarinet (no longer in print). Articles published in The Clarinet. Other positions/activities: was active as a conductor (incl a perf at ClarinetFest 1997, and with groups listed in comment section below). Memb: AFM, Intl Assn of Jazz Educators, NARAS. Hon: see comment section below. Plays on: Leblanc Concerto clarinet; Selmer 10 “Center Tone” clarinet; Legend “O” and “M” and Borbeck “16” mouthpieces; Rico Grand Concert, Marca 3, and BAY 3 reeds. Students include: DAVID BREEDEN, John Giordano. Leon Breeden was active as a clarinet performer and teacher and as a jazz performer and conductor. In the course of his career, Breeden worked with such renowned artists as , , , Henry Mancini, , and Joe Williams, and appeared leading his ensembles in such prestigious locales as the White House (as a guest of three presidents), the Spoleto Music Festival, the Notre Dame Jazz Festival, and the Dorothy Chandler Pavilion (Los Angeles). Breeden and his University of North Texas One O’Clock Jazz Band toured Germany, Mexico, , Russia, and Switzerland, and were nominated for Grammies for recordings in 1975 and 1976. They also performed at the White House for the King and Queen of Thailand and with ’s Neophonic Orchestra. Breeden has been honored on numerous occasions including a unanimous vote of the 67th Legislature of Texas declaring May 3, 1981 “Leon Breeden Day in Texas.” He is a Hall of Fame member of the International Association of Jazz Educators (1985), and a member of Texas Christian University’s “Band of Fame” (1985) and the Texas Bandmasters Association (1995). In 1997, Breeden was presented with the “Distinguished Alumnus Award” by the Alumni Association of Texas Christian University. Perhaps the greatest honor bestowed upon Breeden came from approximately 500 of his former students. In 1987, these students returned to the North Texas campus to celebrate “The Breeden Years at North Texas,” a two-day long event organized secretly for two years by the students. In spite of this impressive list of honors and tributes, Breeden stated, “My greatest asset is my son, David Breeden, Principal with San Francisco Symphony for a number of years!” (Breeden/Paddock 1998) His philosophy regarding the clarinet was simple: “. . . just love the instrument totally!” (Ibid.)

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Bib: Breeden, Leon, to Tracey L. Paddock, Tallahassee, FL, May 11, 1998; Fox, Margalit. “Leon Breeden, Jazz Educator, Dies at 88.” NYTimes.com. http://www.nytimes.com/2010/08/14/arts/music/ 14breeden.html (accessed February 15, 2011).

Brendel, Albert. American clarinetist and teacher active during the early 1900s, +/-; contemporary of JOSEPH SCHREURS. Students include: ERWIN HARDER.

Bridges, Scott. BME/MM: Univ of Kansas; MM/DM: Catholic Univ; Dipl: Academia Musicale Chigiana-Siena, Italy. Clarinet studies with STEPHEN JOHNSTON and ROBERT MARCELLUS. Clarinetist: U.S. Army Band (formerly); Kennedy Center Orch (formerly); New Jersey Symph (formerly); North Carolina Symph (formerly); Tuscaloosa Symph (Principal: formerly). Active as a recitalist/soloist (incl perfs throughout the U.S., Europe, and Asia); has commissioned clarinet works from Frederic Goossen, Marvin Johnson, Libby Larson, Dana Wilson, and Xi Yi. Faculty member: Univ of North Carolina (formerly); Shenandoah Conserv (formerly); Univ of Alabama (1978-; currently serves as Dir of Creative Campus Initiative). Memb: ICA (Alabama State Chmn, 1997). Students include: Brock Derringer, Laura Grantier, NICHOLAS MORRISON. Bib: “Scott Bridges Named Director of UA Creative Campus Initiative.” University of Alabama. http://uanews.ua.edu/2006/09/scott-bridges-named-director-of- ua-creative-campus-initiative/ (accessed February 15, 2011).

Bright, Ernest. B. circa 1927 (Detroit, MI); d. Oct. 8, 2008 (FL). Former clarinetist: NYC Opera (Principal, for 5 years); Brooklyn Philharmonia (Principal); Columbia Symph; RCA Symph; Minneapolis Symph; also performed with the Palm Beach and Coral Springs Symph Pops Orchs (1990s). Was active as a recording artist (incl E-flat perf on Schoenberg’s Pierrot Lunaire with clarinetist CHARLES RUSSO on the Finnador label’s 1975 recording, Music of ) and Broadway musician. Bib: “Requiem: Ernest Bright.” Allegro 108 (December 2008) at http://www.local802afm.org/ publication_ entry.cfm?xEntry=94917151#bright (accessed February 15, 2011).

Brobst, Fred E. Conducting studies with Pierre Monteux. Former clarinetist: Columbus Phil- OH; Columbus Little Symph (1955, +/-). Former faculty member: Capital Univ (Assoc Prof: 1955, +/-). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet, No. 18 (Spring 1955): 19.

Brockett, Betty. B. Montpelier, ID; d. 2003. BA: Univ of Idaho. Clarinet studies with DONALD MCGLOTHLIN, H. JAMES SCHOEPFLIN, and ALAN STANEK. Clarinetist: Idaho Falls Symph (Principal: formerly). Other positions/activities: Pres, Idaho Falls Symph Board of Dirs (formerly); Publishing Assoc, The Clarinet (formerly). Hon: Honorary Memb, ICA (awarded in 1986). While in high school, Betty Brockett was drawn not only to music but also to English, literature, and journalism, all of which she studied in college. After receiving her Bachelor of Arts degree and teaching certification, Brockett’s attention shifted primarily to her family and her teaching career. In time, her love of music and the clarinet led Brockett to begin playing again, and she accepted a position as Principal Clarinetist of the Idaho Falls Symphony and resumed private clarinet studies. Brockett’s most significant contribution to the clarinet community has been her commitment to the International Clarinet Association, particularly concerning the publication of the Association’s journal, The Clarinet. Brockett was instrumental in the establishment, development, and distribution of this journal from its beginnings in the 1970s. Both the ICA and The Clarinet have been and continue to be invaluable resources to clarinetists worldwide and Brockett was an integral link in connecting these two entities with the clarinet community. The ICA recognized Mrs. Brockett’s years of dedication in 1986 by making her a lifetime Honorary Member, one of very few granted this honor. Bib: Schoepflin, H. James. “A Tribute to Betty Brockett.” The Clarinet 14 (Fall 1986): 37; Schoepflin, H. James. “Clarinetists and The Clarinet.” The Clarinet 7 (Fall 1979): 38.

Brody, Clark L. B. June 9, 1914 (Three Rivers, MI). BA: Michigan State Univ (1934); BM/Perf Cert: Eastman SOM (1936/1937) with RUFUS AREY. Additional clarinet studies with DANIEL BONADE and in NYC. Clarinetist: CBS Orch (Principal: 1941-51); Chicago Symph Orch (Principal: 1951-78). Active as a recitalist (incl perfs at the Library of Congress), soloist (incl perfs with the CBS Orch and Chicago Symph), chamber musician (incl perfs with the Budapest, Juilliard, New Friends of Music, and Paganini

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String Quartets), festival artist (incl participation at the Ravinia Festival), and recording artist (with the CBS and Chicago Symphs, and on the Oxford Record Co. and RCA labels). Faculty member: Northwestern Univ (Prof of Clarinet: formerly, 1978-1990s+, +/-); active as a private clarinet instructor. Published in The Instrumentalist. Other positions/activities: Artist/Rep, “Melior” mouthpieces and reeds (formerly); active as a clinician (incl coaching for the Chicago Civic Symph Orch). Hon: featured on the cover of The Clarinet Vol. 25 (Winter 1956-57). Has played on: Buffet R-13 clarinets; Melior and OPPERMAN mouthpieces; Melior and Morré reeds. Students include: Jon Agazzi, DONALD AMBLER, JANET AVERETT, GREGORY BARRETT, DAVID BELL, Lisa Canning, ROBERT CHESEBRO, MICHAEL CHESHER, DARYL COAD, BRENT COPPENBARGER, JULIE DEROCHE, WILLIAM DOMINIK, NAOMI DRUCKER, MARCUS ELEY, ROBERT FITZER, K. THOMAS GAINACOPULOS, STANLEY GAULKE, JENNIFER GERTH, JACK GRAHAM, Richard Hancock, STEVE HANUSOFSKI, BURT HARA, JAMES HEFFERNAN, HARVEY HERMANN, David Jones, KATHLEEN JONES, Robert Jones, PATRICIA KOSTEK, CARLA KUSEL, Ernie Lascell. CASSANDRA LEE, Carl Long, Lori Lovato, LAWRENCE MCDONALD, Janice Minor, JAMES MOFFITT, BRIAN MOORHEAD, James Morton, LESLIE NICHOLAS, RICHARD NUNEMAKER, DENNIS NYGREN, Thomas Parchman, STEPHEN PASZTOR, Jennifer Showalter, Karem Simon, CAROLEE SMITH, GREGORY SMITH, Ken Stein, MARINA STURM, THOMAS THOMPSON, PAUL VOTAPEK, KENNEN WHITE, JOHN WIENER, CHARLENE ZIMMERMAN. Clark Brody’s position as Principal Clarinetist of the Chicago Symphony for more than a quarter of a century more than defines his significance as a twentieth-century American clarinetist; the impressive list of successful students Brody produced only adds to this elevated status. Brody, a very tall man, is known for his calm and kind demeanor, his passion for music, and the clarity and beauty of his sound and articulation. According to clarinetist FRANK KOWALSKY, who enjoyed a close working relationship with ROBERT MARCELLUS while both were on the Interlochen faculty, Marcellus held Brody’s playing in the highest regard. After hearing Brody perform the Mozart Clarinet Concerto on one occasion, Marcellus commented to Kowalsky on the high quality of Brody’s performance, and on his pristine and impeccable rhythm in particular. Bib: “Brody, Clark L.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 73; “Clarinetists of the Chicago Symphony Orchestra.” The Clarinet 5 (Summer 1978): 5; “Clark Brody, Principal Clarinet.” Chicago Symphony Orchestra Program 82nd season (April 12 and 13, 1973): 43.

Brown, Janis A. DM: Indiana Univ (in progress). Clarinetist: East Texas Symph (Principal: 1997-, +/-); Orch of the Pines (Principal: 1997-, +/-); has also performed with the Concord Chorale Symph, Des Moines Metropolitan Opera, Dubuque Symph (Principal), Quad Cities Symph, and on tour with the Joffrey and Kirov Co.’s. Active as a recitalist (incl perf at ClarinetFest 1997) and chamber musician (incl perfs with the Quintessence Woodwind Quintet). Faculty member: Univ of (formerly); Concord Community Music School (formerly); Mount Mercy Coll (formerly); Notre Dame Coll (formerly); Stephen F. Austin State Univ (Instructor of Clarinet: formerly, 1997+, +/-). Bib: “Janis A. Brown.” SFA State University. http://www.www.finearts.sfasu.edu/music/faculty/Jbrown.html (accessed December 9, 1997).

Bryan, Diane Lang. B. July 11, 1947 (Ventura, CA). BM: Univ of California-Los Angeles (1970) with MITCHELL LURIE; MM: Manhattan SOM (1972) with LEON RUSSIANOFF; DM: Univ of Southern California (1980) with MITCHELL LURIE. Active as a recitalist (incl perfs on the Bakersfield, CA “Young Audiences” programs, 1970s, +/-), soloist (incl 1969 solo debut with the Salvador Symph-San Salvador), and recording artist (incl The Versatile Clarinet for Protone Records, 1983). Faculty member: California State Univ-Bakersfield (Instructor of Clarinet and Winds/Lect: 1972-85, +/-). Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Bib: “Bryan, Diane Lang.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 78.

Bullock, Bruce. Clarinet studies with LEE GIBSON. Former clarinetist: Ft. Worth Symph; New Haven Symph; Amarillo Symph (Principal: 1970s). Active as a recitalist (incl perfs at ICA conferences). Former faculty member: Univ of South Florida; Amarillo Coll; Northwestern State Univ (Prof of Clarinet:

45 formerly, 1989-90s, +/-). Numerous articles/reviews published in The Clarinet. Students include: Jack Bradley, RITCHARD MAYNARD, Michael Thrasher. Bib: Bullock, Bruce. “Compact Disc Reviews.” The Clarinet 25 (November/December 1997): 88; Bullock, Bruce. “The Cadenza and Ornamentation in the for Wind Instruments in the Eighteenth Century: A Compendium.” The Clarinet 1 (February 1974): 6.

Bunke, Jerome Samuel. B. Sept. 8, 1945 (Albany, NY). BM/MM: Juilliard (1967/1968); PhD: NY Univ. Clarinet studies with LEON RUSSIANOFF. Clarinetist: The Ariel Ensemble (1980s, +/-). Active as an intl recitalist/chamber musician (incl perfs at the Kennedy Center, Carnegie Hall, and Town Hall of St. Lawrence Center-), soloist (incl perfs with the Japan Phil and Yomuiri Symph), festival artist (incl participation at the Chautauqua Festival), and recording artist (on the Musical Heritage Society and Music Minus One labels); broadcast perfs (radio/television) given in Kansas City, NY, and Tokyo. Other positions/activities: Exec Dir, Concert Artists Guild (formerly); Memb, CRI Records Advisory Board (formerly); Panelist, NEA (formerly); Pres, Boosey & Hawkes, Inc (1984, +/-); Pres, Digital Force (recording company); has been active as an arts administrator, clinician, and music arranger/editor (incl a fine series of beginning/intermediate clarinet solos produced in conjunction with Music Minus One). Hon: Concert Artists Guild Award (1968); favorable review of recording appears in Richard Gilbert’s The Clarinetists’ Discography II (1976). Bib: “Bunke, Jerome Samuel.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 82; “Bunke New President of Boosey & Hawkes.” The Clarinet 12 (Fall 1984): 34; Gilbert, Richard. The Clarinetists’ Discography II. New York: Grenadilla Society, 1975: 103.

Burgio, Michael E. Music studies at the Contemporary SOM. Clarinet studies with SIMEON BELLISON, DANIEL BONADE, HENRY CHRISTMANN, ROBERT MCGINNIS, and LEON RUSSIANOFF. Former clarinetist: Longines Symphonette, North Carolina Symph, Ballet Russe de Monte Carlo, Ballet Espagnoles of Madrid, St. Louis Symph, St. Louis Municipal Opera. Clarinetist: New York Phil (Second: 1960-2000). Active as a chamber musician (incl perfs with NY Phil Ensembles), festival artist (incl participation at the Aspen Festival), and recording artist (on the CBS Masterworks, , , RCA, and Teledec labels). Faculty member: Mannes Coll of Music- Extension Program (current). Other positions/activities: active as a volunteer tutor in the arts/other subjects for children with learning/emotional disabilities at the Children’s Developmental Center in Queens, NY for over 25 years. Has played on: Buffet R-13 clarinets (adjusted by Hans Moennig); Vandoren B-44, B-45 and 11.1 mouthpieces (refaced by Everett Matson); Vandoren #5 reeds. Bib: “Michael Burgio, Clarinet” Mannes Extension Division. http://www.newschool.edu/mannes/facultyExtensionDivision.aspx?mid=4554 (accessed February 15, 2011); Sichel, John. “The Clarinetists of the New York Philharmonic.” The Clarinet 19 (July/August 1992): 36-44.

Burke, Kelly J. Native of Syracuse, NY. BM/MM: Eastman SOM with STANLEY HASTY; DM: Univ of Michigan with FRED ORMAND. Clarinetist: Greensboro Symph (Principal: 1990-, +/-); EastWind Quintet (1990-, +/-); also performs regularly with the Arlington Trio, Cascade Wind Quintet, EastWind Trio d’Anches, and Mallarmé Chamber Ensemble; has also performed with the South Bend and Toledo Symphs. Active as an intl recitalist (incl perfs throughout North America, Germany, , Australia, and Russia, at ICA conferences, and at the Intl Computer Music Conference-), soloist (incl perfs with the Univ of Michigan Philharmonia, the Univ of North Carolina-Greensboro Univ Orch and Percussion Ensemble), chamber musician (with above groups), festival artist (incl participation at the Heidelberg Opera Festival), and recording artist (on the Arabesque, Centaur, and Telarc labels). Faculty member: St. Olaf Coll (formerly); UNC-Greensboro (Assoc Prof of Clarinet: 1990-). Author, Clarinet Warm-Ups: Materials for the Contemporary Clarinetist. Articles published in various music journals. Other positions/activities: Buffet Crampon USA Perf Artist; Rico Artist; ICA Treas. Hon: Alumni Teaching Excellence Award, UNC-Greensboro (1995); UNC-Greensboro SOM Outstanding Teacher Award; listed in Who’s Who Among American Teachers (1996). Plays on: Buffet Tosca Green Line (B- flat/A), R-13 (E-flat), and Prestige (bass) clarinets; Rico reeds. Students include: David Allen, JOHN CIPOLLA, Michael Dean, Loraine Enloe, Kristyn Kuhlman, Eric Wachmann. Bib: Burke, Kelly, to Tracey L. Paddock, Tallahassee, FL, May 7, 1998; “Kelly Burke.” Clarinet@UNCG. http://www.uncg.edu/~ kjburke/ (accessed February 15, 2011); “Musical Chairs.” The Clarinet 17 (May/June 1990): 45.

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Buschardt, Karl. Clarinetist: Minnesota Orch (Clarinet/Bass: 1924-25).

Busse, Adolf F. Clarinetist: Chicago Symph Orch (Clarinet: 1897-1903; 1906-34; also played in the violin section).

Buxbaum, Merritt. B. July 3, 1924 (Seattle, WA). Undergrad music studies at Univ of Southern California. Clarinet studies with KALMAN BLOCH, RONALD PHILLIPS, and LEONARD SCHALLER. Former clarinetist: Los Angeles Phil (1947-87+); has also performed with the Columbia Symph-West Coast. Has been active as chamber musician, Hollywood studio musician, saxophonist, and private clarinet instructor. Extra-musical activities incl tennis and tending roses. Hon: Coleman Award. Has played on: Buffet clarinets; B. Mario mouthpiece; MITCHELL LURIE ligature; Vandoren reeds. Students include: JAMES KANTER. Bib: King, L. Charles. “The Clarinetists of the Los Angeles Philharmonic Orchestra.” The Clarinet 3 (November 1975): 18.

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Cabarga, Edward. B. Jan. 4, 1962 (Lakewood, NJ). BM(summa cum laude): San Francisco State Univ with DONALD CARROLL; MM: Northwestern Univ with ROBERT MARCELLUS. Additional musical/orchestral studies at the Aspen Festival and as Principal Clarinetist of the Civic Orch of Chicago and Natl Repertory Orch. Clarinetist: Utah Symph (Third/Bass: 1988-2000); Opus Chamber Orch (Principal: formerly); Natl Symph (Third/Bass: 2000-); has also performed with the Utah Opera and . Active as a recitalist, soloist, chamber musician (was a featured artist for 12 years on Salt Lake City’s Nova chamber music series), festival artist (incl participation at the Grand Teton Festival), studio musician (incl work for various television/motion picture studios), and recording artist (on recordings with the Utah and Natl Symph Orchs and the Mormon Tabernacle Choir). Memb: AFM. Plays on: Buffet R-13 clarinets (B-flat/A/E-flat); Buffet Prestige Low C Bass Clarinet. Edward Cabarga was greatly influenced by his studies with DONALD CARROLL, bass clarinetist of the San Francisco Symphony, commenting that Carroll’s “. . . excellence as a bass clarinetist rubbed off on me and all of his students seem to be able to play the bass clarinet extremely well.” (Cabarga/Paddock 1998). Carroll also pointed Cabarga in the direction of ROBERT MARCELLUS and Northwestern University where Cabarga earned his Master’s degree. In regard to his own performance philosophy, Cabarga commented,

My emphasis as a player is on pure phrasing without musical gimmickry such as excessive vibrato and rubato. I am a traditionalist and prefer to emulate great orchestral players from the past such as Robert Marcellus. I like to adhere strictly to the printed page and let my inner musicality come out within the confines of what the composer has written. (Ibid.).

Bib: Cabarga, Edward, to Tracey L. Paddock, Tallahassee, FL, July 8, 1998; “Edward Cabarga.” John F. Kennedy Center for the Performing Arts. http://kennedy-center.org/explorer/artists/?entity_id= 4059&source_type=A (accessed February 15, 2011).

Cailliet (often misspelled in print sources as Caillet), Lucien. B. May 22, 1891 (France); d. Jan. 3, 1985 (Woodland Hills, CA). Became a U.S. citizen in 1923. Early clarinet studies with Defosé. 1st Prize: Conservatoire Nationale (Dijon, France); grad studies at the Philadelphia Music Acad; DM(1937, school unknown). Additional music studies with P. Fauchet, G. Caussade (counterpoint), G. Parés (orchestration/arranging/conducting), and Vincent D’Indy (comp). Former Clarinetist: French Army Band (Principal/Drum Major/Asst Conductor); Garde Républicaine Band (1915; in section with DANIEL BONADE); Roxy Theater; Philadelphia Orch (Second/E-flat/Sax: 1916-30; Bass: 1930-38); also performed with the Baltimore Symph (1930s). Former faculty member: Curtis IOM (1929-30); Trenton State Coll; Interlochen Arts Camp; Univ of Southern California-Los Angeles (1938-45). Was active as an instructor of clarinet and composition. Other positions/activities: Arranger, Philadelphia Orch (active in this capacity throughout his career); Dir of Publications, G. Leblanc Corp. (formerly); Educational Dir, G. Leblanc Corp. (formerly); was primarily active as an arranger/composer (with over 100 published works, incl motion picture scores and orchestrations, to his credit) and conductor (incl work with Paramount and other Hollywood studios, with Ballet Russe de Monte Carlo, and guest appearances with the Atlanta, Chicago, Cincinnati, Cleveland, Hollywood Bowl, Minneapolis, New Orleans, Philadelphia, San Francisco, and Washington Symph Orchs). Was also very influential in the clarinet choir movement during the 1950s. Hon: listed in Baker’s Biographical Dictionary of 20th-Century Classical Musicians (1997). Played on: Buffet E-flat clarinet (now owned by DONALD MONTANARO). Students include: RUFUS AREY, LEON LESTER, Jerry Nowak, ROBERT VAGNER. Bib: Gee, Harry. “French Clarinetists in America, Part II: Grisez, LeRoy, Cailliet.” The Clarinet 8 (Summer 1981): 21-22; “Lucien Cailliet.” The Clarinet (Winter 1951): 23; Oron, Aryeh. “Lucien Cailliet (Composer, Arranger).” Bach Cantatas. http://www.bach-cantatas.com/Lib/Cailliet-Lucien.htm (accessed February 15, 2011).

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Calcara, Tad. B. 1971 (Oceanside, CA). Piano studies begun at age 5; clarinet studies begun at age 12 with his father and with Sue Collado (Principal Clarinetist: La Jolla Symph). Undergrad studies begun at Manhattan SOM with LEON RUSSIANOFF and CHARLES RUSSO; BM: San Francisco Conserv with DAVID BREEDEN; MM: Cleveland IOM with FRANKLIN COHEN; additional studies at Aspen, Music Acad of the West, and Tanglewood. Clarinetist: Canton Symph (Principal: formerly); Akron Symph (Principal: formerly); New World Symph (formerly, 1990s); Utah Symph (Principal: 1999-); has also performed with the Cleveland Orch. Active as a recitalist (incl perf as a Baracasa Foundation Guest Recitalist at the 1997 Montpellier Music Festival), soloist (incl perfs with the Cleveland Orch, New World Symph, Texas Festival Orch, and Utah Symph), chamber musician, jazz musician (incl perfs with jazz violinist Chisako Takashima and with his own band, the New Deal Swing Big Band), festival artist (incl participation at the Grand Teton Festival), and recording artist (as soloist with the New World Symph on the BMG/RCA Red Seal label; jazz recordings on the Toshiba/EMI CDs label); broadcast perfs given on NPR’s “Performance Today” and on Radio France. Hon: 1st Place, 49th Annual Awards Program of the Musical Merit Foundation of Greater (May 1994); Aspen Music School Schol (1994). Bib: “Musical Chairs.” The Clarinet 26 (June 1999): 64. “Tad Calcara.” Utah Symphony. http://www.utah symphony.org/about_musicians.php?cat=9 (accessed February 15, 2011).

Camacho, Carlos E. [Charles]. Clarinetist: St. Louis Symph (Clarinet/Bass: 1922-51, +/-).

Camarda, Antonio J. Clarinet studies at New England Conserv and Tanglewood (as a schol student). Clarinet studies with DANIEL BONADE. Clarinetist: U.S. Marine Band (formerly, for 4 years); Salem Cadet Band (Soloist: formerly); Ringling Bros., Barnum & Bailey Circus-Boston (Soloist: formerly, for 11 years); Natl Symph Orch (1946-48); North Carolina Symph (formerly); has also performed with the Boston Symph/Pops. Active as a private clarinet instructor in MA. Other positions/activities: Founder, Camarda Music Company, MA. Bib: “About Us.” Camarda Music. http://www.camardamusic.com/about. shtml (accessed February 15, 2011)

Campbell, Arthur. Native of Nova Scotia; U.S. resident (current). Piano studies begun at age 6; clarinet studies begun at age 8. MM/DM: Northwestern Univ with ROBERT MARCELLUS. Additional clarinet/music studies with Jay Morton, , John Rapson, and Bruce McKinley. Clarinetist: Symph Nova Scotia (formerly, 1990s). Active as a recitalist/soloist (incl perfs/presentations given at Bands of America, ICA, MEA and other conferences, and perfs throughout North America, Europe, and Asia), chamber musician, and recording artist (appears on Music from the ICA recording and on the Centaur and Gasparo Records labels); broadcast perfs given internationally on more than 300 radio networks and on the internet’s Web Concert Hall Series. Premiere perfs appear on Campbell’s compact discs Premieres! and Music From the Third Practice; works written for Campbell on these recordings incl those of Shulamit Ran, Andrew MacDonald, Pieter Snapper, Bruce Saylor, and others. Faculty member: Grand Valley State Univ (c. 1996-). Other positions/activities: active as a clinician. Hon: Top Clarinet Prize Winner, 1988 Natl Music Festival of Canada; Winner, 1996 ICA Intl Clarinet Compt; U.S. State Dept Artist Abroad Award (2000); favorable perf reviews appear in The Clarinet and other publications. Plays on: Leblanc Opus II clarinets; Dave Knox AC custom mouthpiece. International clarinet soloist Arthur Campbell is one of only three clarinetists to have received the doctorate in clarinet performance at Northwestern University under the tutelage of the late ROBERT MARCELLUS. Campbell, a faculty member at Grand Valley State University in Michigan, was greatly influenced by his studies with Marcellus, both in performance and teaching philosophy. An advocate of new music, Campbell challenges himself to communicate effectively to audiences via a broad spectrum of clarinet repertoire, embracing the classics and broadening musical horizons through the performance of more aurally adventurous new works. The interview below is highly recommended for further insight. Bib: Campbell, Arthur. “Arthur Campbell Biography.” A. Campbell. http://www.arthur Campbell.net/bio.htm (accessed January 30, 2011); “Interview - Arthur Campbell.” Web Concert Hall. http://www.webconcerthall.com/interview/arthurc.htm (accessed January 30, 2011).

Campbell, James. B. Aug. 10, 1949 (Leduc, Alberta, Canada); resides in the U.S. Early clarinet studies with Ernest Dalwood. BM: Univ of Toronto (1971) with Avrahm Galper. Additional clarinet studies with DANIEL BONADE, Yona Ettlinger, MITCHELL LURIE (at Music Acad of the West), and GEORGE SILFIES.

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Clarinetist: Camerata (1972-82); Arioso Trio (1976-82); Da Camera (1984-); Trio Indiana (with ELI EBAN and HOWARD KLUG; early-1990s-). Active as an intl recitalist/soloist (incl perfs with the Belgrade, London, Toronto, and Vancouver Symph Orchs, the London and Moscow Phil Orchs, the Natl Arts Centre Orch, the Natl Radio-Television Orch of Spain, and the Philharmonia of London; has performed at prestigious concert venues around the world incl the Barbican Centre, the Budapest Opera House, the Concertgebouw, Davies Symph Hall, the Kennedy Center, the Library of Congress, Massey Hall, the Natl Arts Centre, Queen Elizabeth Hall, Roy Thomson Hall, Théâtre des Champs Elysée, Town Hall, and ), chamber musician (incl perfs with the Borodin Trio, the Allegri, Amadeus, Bath, Colorado, Fine Arts, Guarneri, Manhattan, and Orford String Quartets, and with artists Elly Ameling, Gene DiNovi, , Manahem Pressler, Janos Starker, among others), festival artist (incl participation at the Festival of the Sound), and recording artist (over 36 recordings on the CALA, CBC Records, Marquis Records, and Sony Classical labels); perfs (incl broadcast television/radio perfs) given in Australia, China, Europe, Great Britain, Japan, and North and South America. Commissions/premieres incl works by David Baker, Patrick Cardy, Michael Colgrass, Harry Freedman, Anthony Hedges, Jacques Hétu, Derek Holman, An-Lun Huang, Ezra Laderman, Gregory Levin, Robert Mundinger, , André Prévost, , and Robert Sherlaw-Johnson. Faculty member: Univ of Toronto (1978-87); Indiana Univ (Prof of Clarinet: 1987-); Orford Arts Centre (Summers: 1980s-, +/-). Other positions/activities: Artistic Dir, The Festival of the Sound-Parry Sound, Ontario (1984-; has participated in documentaries on the festival for BBC, CBC, and TV Ontario); Légère Reeds Artist; Pyne/Clarion Artist; Selmer Artist. Hon: Semi-finalist, Budapest Intl Clarinet Compt (1970); Juno Award for Stolen Gems (1986); Canadian Artist of the Year (1989); Roy Thomson Award; featured in The Clarinet (on cover and in article, Vol. 17 No. 2, Feb./March 1990); featured in JAMES PYNE’s “Artist Profile” series of ads (The Clarinet, 1996); (1997); featured in articles in Clarinet and Saxophone-UK, Piper Magazine-Japan, Gramophone, and in Pamela Weston’s Clarinet Virtuosi of Today; favorable reviews of perfs/recordings appear in The Clarinet, Los Angeles Times, Toronto Star, and numerous other publications. Plays on: Selmer Recital clarinets; Pyne PK Signature mouthpiece; has performed on Vandoren and RIDENOUR #3 ½ and 4 reeds. Students include: GREGORY BARRETT, Melissa Bishop, MICHAEL CHESHER, Cam Collins, John Coppa, CATHRYN GROSS, JAREN HINCKLEY, Richard Hornsby, Nobuko Igarashi, Walter Johnston, TOD KERSTETTER, Tilly Kooyman, Abigail McBirnie, Kelley Rogers-Niiyama, Tracey Paddock, Karen Pearce, Alan Portzline, Jim Provenzale, DAVID SHEA, Joel Schekman, Lin Sheng-hsin, Halley Schoenberg, Robert Schubert, Ron Selka, Jennifer Smerud, Richard Spece, Peter Stoll, Penny Volpe, TODD WALDECKER, TASHA WARREN, Min-Yo Yeh, GUY YEHUDA. James Campbell has enjoyed a multi-faceted career as an internationally renowned, highly sought- after soloist, recitalist, chamber musician, and recording artist. Not only has he performed and recorded most of the major clarinet repertoire, he has also contributed to the repertoire through the commissioning of numerous new works. Campbell is equally gifted as a teacher. His thorough understanding of and respect for whatever music is at hand inspires the student as does his understanding of and respect for the student as an individual. Campbell is flexible and imaginative in his means of communication, instinctively conveying ideas in a manner that best suits each individual. He teaches not only from within the realm of music and performance practice, but also incorporates ideas from other artistic and creative disciplines, from athletics, from all manner of extra-musical experiences, from his own performance experience and from the student’s own life experiences. The student blossoms as a musician and as a person under Campbell’s guidance. A former Campbell student herself, the author fondly remembers a unique studio class in which Campbell discussed resonance:

In the course of our studio class, Mr. Campbell began talking about wolves. He pointed out that wolves have a natural resonance in their howl; a wolf’s entire body is involved in the creation of this pure, mournful, penetrating sound. He then encouraged us, in his small studio, to howl ourselves in order to tap into this experience and apply it to our playing. While we were skittish in the studio (what would the passersby in the halls of the School of Music think?), a couple of us later decided to give it a go while walking around the Indiana University campus that weekend. After a series of howls, tentative at first, but

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growing bolder with each attempt, we did gain a different perspective on the generation of sound – it was a total body experience. Another benefit, we decided, was that howling was an excellent way to blow off steam and release some of the stress accumulated during a particularly grueling week of classes and rehearsals.

This is a rather unique interpretation of Campbell’s encouragement to find one’s own voice as a musician. Campbell’s teaching embraces the idea that one’s musical output is closely intertwined with one’s own experiences, whether intellectual, emotional, physical, or otherwise. It is no surprise, then, that Campbell incorporates concepts derived from the Alexander Technique and other relaxation and mind/body techniques into his teaching. The potential benefits of incorporating these techniques into one’s own playing can be easily discerned simply by witnessing the freedom, ease, and fluidity of sound and phrasing with which Campbell himself performs. Bib: Campbell, James to Tracey L. Paddock, Tallahassee, FL, May 26, 1998; Gami/Simonds, Inc., Publicist. “James Campbell, Clarinet.” Press Release. October 16, 1997; Pyne, James. “James Campbell - Artist Profile.” The Clarinet 23 (July/August 1996): 17; Schulman, Michael. “James Campbell – A Warm Wind from Canada.” The Clarinet 17 (February/March 1990): 35-38; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 53-59; Wong, Bradley. “Compact Discs.” The Clarinet 16 (November/December 1988): 58.

Campione, Carmine. B. May 7, 1937 (Elizabeth, NJ). Undergrad studies begun at Oberlin Conserv (1955-56) with GEORGE WALN; BM: Curtis IOM (1961) with ANTHONY GIGLIOTTI. Additional clarinet studies with JOSEPH ALLARD and DANIEL BONADE. Clarinetist: Cincinnati Symph (Second: 1961-98). Active as a recitalist (incl perfs at the 1974 and 1992 ICA conferences). Faculty member: Cincinnati Conserv (Adj Prof of Clarinet: 1961-); has also taught at Xavier Univ. Author, Campione on Clarinet---A Complete Guide to Clarinet Playing and Instruction (1998). Published in Selmer Bandwagon. Other positions/activities: Selmer Artist. Memb: AFM. Hon: High Fidelity Magazine Award for Outstanding Instrumentalist (Tanglewood, 1959); Koussevitsky Award (Tanglewood, 1959). Has played on: Moennig Buffet clarinets (until 1974); Selmer 10G clarinets (current); H. Chedeville and HITE mouthpieces. Students include: PETER COKKINIAS, DOUGLAS CORNELSEN, Anthony Costa, Marcia Diehl, Beth Fabrizio, Suzanne Gekker, Deborah Gers, Robert Gray, CARLA KUSEL, THOMAS LEGRAND, Eugene Marquis, LESLIE NICHOLAS, Gene Parker, RANDALL PAUL, CHRISTOPHER ZELLO. Of his former teacher JOSEPH ALLARD, Carmine Campione comments, “I’d like to point out and give extra credit to Joe Allard as possibly the finest teacher. I believe his contribution has not been given proper due.” (Campione/Paddock 1998). As a clarinetist, Campione strives “to sound beautifully. . . to play musically. . . and to further the cause of truly beautiful clarinet playing.” (Ibid.) Bib: Campione, Carmine, to Tracey L. Paddock, Tallahassee, FL, May 14, 1998; Campione, Carmine. “Campione on Clarinet.” C. Campione. http://www.campioneonclarinet.com (accessed February 1, 2011); “Campione, Carmine.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 89.

Campos, Wagner. B. Heredia, Costa Rica. Grad: Baylor Univ with RICHARD SHANLEY; DePaul Univ with LARRY COMBS and JOHN BRUCE YEH. Clarinetist: San Francisco Ballet Orch (Principal: 1998-99); also perfs with the Joffrey Ballet, Lyric Opera of Chicago, Chicago Symph, Chicago Sinfonietta, CSO Music Now, Chicago Ensemble, and Fulcrum Point Project, and has performed with the Alabama, Charleston, and Milwaukee Symphs. Active as a recitalist/chamber musician (incl perfs with Chicago Chamber Musicians), festival artist (incl participation at the Ravinia Festival), studio artist (incl tv/ radio commercial jingles), and recording artist (on the Southport label). Faculty member: Merit Music Program (formerly); Lake Forest Acad (formerly); Sherwood Conserv (formerly); De Paul Univ (current). Other positions/activities: Leblanc Artist; active as a clinician (incl master classes given in North and South America) and coach (incl work with the Costa Rica Youth Symph, Protégé Phil, and Classical Symph Orch). Students include: Alejandro Acierto, Philip Espe, Teri Johenan, Cory Tiffin. Bib: “Wagner Campos.” DePaul University. http://music.depaul.edu/FacultyAndStaff/C/wcampos.asp (accessed February 4, 2011).

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Cancellieri, Luigi [Louis]. B. June 21, 1895 (, Italy); d. 1959. Immigrated to the U.S. in 1924. Clarinet studies at the St. Cecilia Conserv, Rome with Aurelio Magnani. Clarinetist: La Scala Orch (Principal: 1920-24, +/-, with ALBERT LUCONI as Second); Metropolitan Opera Orch (Principal: 1924- 55, +/-; performed in section with HERBERT BLAYMAN and DAVID WEBER). Was active as a chamber musician (incl perfs/recordings with the Metropolitan Wind Quintet) and recording artist (on the Dial label). Played on: crystal and/or glass mouthpieces. Luigi Cancellieri was one of many musicians recruited to play in America by Toscanini, having performed at La Scala under Toscanini before immigrating to America. Cancellieri lived above Carnegie Hall for many years and was said to have had “a rich, full clarinet sound, immediately identifiable.” (Huffman 2011) Bib: Huffman, Larry. “Metropolitan Opera Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_ Musicians_Metropolitan_Opera.htm (accessed January 28, 2011).

Capaccio, Vito. Native of Philadelphia, PA. Former clarinetist:San Antonio Symph. Vito Capaccio was one of at least four prominent clarinetists (including JOHN GENOVESE, GUIDO MECOLI, and DONALD MONTANARO) who grew up together within the same four-block radius in South Philadelphia. Bib: Dubin, Murray. South Philadelphia: Mummers, Memories, and the Melrose Diner. Philadelphia, PA: Temple University Press, 1996: 41.

Caputo, Domenico. Clarinetist: Pittsburgh Symph (Principal: 1940s, +/-; retired in 1947). Was active as a chamber musician and recording artist. Former faculty member: Carnegie Instit of Tech. Students include: BERNARD CERILLI, BERNARD PORTNOY. Bib: “The Clarinet Section of the Pittsburgh Symphony Orchestra.” The Clarinet 10 (Spring 1983): 20-1.

Caravan, Ronald L. B. Nov. 20, 1946 (Pottsville, PA). BSME: SUNY-Fredonia (1968) with WILLIAM WILLETT; MA(Theory)/Perf Cert/DM(Ed): Eastman SOM (1973/1974/1974) with STANLEY HASTY. Additional clarinet studies with Everett Gates; sax studies with Sigurd Rascher. DM diss: “Extensions of Technique for Clarinet and Saxophone.” Clarinetist/Saxophonist: Aeolian Sax Quartet; perfs as an extra with the Syracuse Symph. Active as a soloist, chamber musician, new music specialist (incl perfs/recordings with the Society for New Music), specialist in extended technique for clarinet/sax, and recording artist (with the Aeolian Sax Quartet and Sax Sinfonia; appears on the Ethos, Golden Crest, and Innova labels). Faculty member: SUNY-Potsdam (Theory/Clarinet/Sax: 1975-76); SUNY-Oswego (Theory/Woodwinds/Band: 1977-78); SUNY-Fredonia (Theory/Sax: 1978-79); Syracuse Univ (Clarinet/ Sax/Sax Ensemble: 1980-). Other positions/activities: active as an arranger/editor/publisher of works for clarinet, sax, and ensembles (for Ethos Publications and others), composer of music for clarinet/sax (numerous works incl Excursions for A Clarinet and Five for One Clarinetist for SeeSaw Music, and Recitation for Ethos Publications), composer of clarinet etudes (Preliminary Exercises and Etudes in Contemporary Techniques and Polychromatic Diversions for Clarinet for Ethos Publications; both are excellent tools for learning contemporary musical styles/techniques), and craftsman of clarinet/sax mouthpieces. Memb: ICA, MENC, North American Sax Alliance (has served as Pres). Plays on: Buffet R- 13 clarinets; Caravan mouthpiece. Students include: Daniel Gordon, Virginia Johnston, Gary Scavone. Ronald Caravan is “committed to the excellence of the mature American concept of sound, as representing a synthesis of the French and German traditional approaches (symphonic application).” (Caravan/Paddock 1998) Bib: Caravan, Ron. “Dr. Ronald Caravan.” Caravan Mouthpieces. http://www.caravan mouthpieces.com/about.html (accessed February 15, 2011); Caravan, Ronald L., to Tracey L. Paddock, Tallahassee, FL, August 24, 1998.

Card, Patricia Pierce. BM/DM: Univ of North Texas with JAMES GILLESPIE and JOHN SCOTT; MM: Univ of Michigan with JOHN MOHLER. Clarinetist: Oklahoma City Phil (Principal: formerly, 1997-2000+). Active as a recitalist/soloist (incl perfs at ICA, Midwest, and Texas MEA conferences). Faculty member: Oklahoma City Univ (formerly); Sam Houston State Univ (Assoc Prof of Clarinet: current). Other positions/activities: active as a clinician (clinics given at the MEA conventions of OK and TX and the TX Bandmasters Assn convention). Hon: Finalist, 1989 ICA Compt; Finalist, 1991 Young Artist Compt; Outstanding Grad Student in Instrumental Studies, Univ of North TX (1991); has

52 appeared twice in Who’s Who Among America’s Teachers. Bib: Card, Patricia. “Dr. Patricia Card.” SHSU. http://music.shsu.edu/faculty/card.php (accessed February 2, 2011).

Cardillo, Pasquale [Patsy]. B. circa 1919 (North Adams, MA); d. Jan. 20, 1998. Grad: New England Conserv. Clarinetist: Boston Symph (Second/E-flat: 1939-84); Boston Pops (Principal: 1939-84, +/-). Former faculty member: Boston Univ; Boston Conserv; may have also taught at New England Conserv. Other positions/activities: Selmer Artist. Extra-musical interests included cooking and fishing. Played on: Selmer (Paris) Series 10G clarinets. Students include: STEVEN BARTA, Todd Brunel, Rich Carpenter, , PETER COKKINIAS, BRUCE CREDITOR, PATRICIA DILUTIS, SHERMAN FRIEDLAND, JOHN FULLAM, WILLIAM HUDGINS, Mary Jungerman, ALLAN KOLSKY, HENRY LARSEN, Steven Lipsitt, Carl Long, Nan Lopata, DAVID MINELLI, Richard Nelson, NANCY RADNOFSKY, Richard Strange. An article about Pasquale Cardillo published in The Boston Globe after his death included a humorous exchange between Cardillo, conductor Serge Koussevitsky, and another orchestra member:

During another concert, Koussevitsky told Mr. Cardillo, “If you play like this again, you will kill me.” A disaffected bassoonist approached Mr. Cardillo at intermission and said, “If you play like that again, I’ give you $25.” (Long 1998, 14)

Bib: Long, Tom. “Pasquale Cardillo, Boston Symphony Orchestra Clarinetist for 45 Years, Dies.” Excerpted from The Boston Globe (January 24, 1998) in The Clarinet 25 (May-June 1998): 14.

Carl, Jane. Native of Michigan. BM/MM/DM: Univ of Michigan with FRED ORMAND. Clarinetist: South Bend Symph (formerly); Flint Symph (formerly); Michigan Opera Theater Orch (formerly); St. Louis Symph (formerly; Bass: 1997-98; Second: 1998-99; Actg Asst Principal: 1999- 2000+); Summerfest (current); has also performed with the Toledo Symph and St. Paul Chamber Orch. Active as a recitalist/soloist (incl perfs with the Kansas City Chamber Orch), chamber musician (incl perfs with membs of the St. Louis Symph and Summerfest, and a perf at the 1999 IDRS conference), and recording artist (appears on recordings with the St. Louis Symph). Faculty member: Notre Dame Univ (formerly); Hillsdale Coll (formerly); Andrews Univ (formerly); Univ of Missouri-Kansas City Conserv of Music (late 1990s-, +/-); has also taught at Univ of Michigan. Other positions/activities: ICA State Chmn, MO (1997, +/-). Memb: ICA. Students include: Kristin Bennett, Nophachai Cholthitchanta, Amanda Cook, Ryan Dudenbostel, Calista Martin, Mary Redmon, Mauricio Salguero, Amy Scurry, Eric Tishkoff. Bib: Carl, Jane. “Jane Carl.” University of Missouri-Kansas City Conservatory of Music and Dance. http://conservatory.umkc.edu/faculty-profile.cfm?id=26 (accessed February 2, 2011).

Carroll, Donald. Early clarinet studies with BEN KANTER. Advanced music studies at the Los Angeles Conserv, Los Angeles State Coll, and California State Univ-San Francisco. Additional clarinet studies with FREALON BIBBINS. Clarinetist: Jimmy Zito’s Dance Band (formerly); 6th Army Band-Los Angeles (during Korean War); Boston Pops Tour Orch (formerly); Little Symph of San Francisco (formerly); San Francisco Opera Orch (1955-80); San Francisco Symph (Bass: 1956-); San Francisco Ballet; has also performed in the pit orchs of the Curran and Geary Theaters. Active as a sax soloist (incl perfs with the San Francisco Chamber Orch), jazz musician, and chamber musician (incl perfs with the San Francisco Woodwind Quintet). Faculty member: San Francisco State Univ (1960s-90s, +/-; Prof Emeritus: current). Other positions/activities: has been active as an administrator (incl positions on various San Francisco Symph and SFSU committees) and clinician/coach (incl work with the San Francisco Youth Orch); extra-musical activities incl gardening and sailing. Plays on: Buffet Prestige clarinets; Charles Chedeville mouthpiece; Buffet bass clarinet; Selmer C* bass mouthpiece. Students include: Kenneth Ayoob, EDWARD CABARGA, Lois Clymer, Edward Harris, Stephen Heinemann, Michael Jordin, FRANK RENK, SHERYL RENK, REBECCA RISCHIN, David Schneider, Mark Shannon, CAROLEE SMITH, Mark Sowlakis, Anthony Striplen. Former Carroll student Edward Cabarga, former bass clarinetist of the Utah Symphony, praised Carroll’s playing and teaching abilities. Cabarga remarked, “His excellence as a bass clarinetist rubbed off on me and all of his students seem to be able to play the bass clarinet extremely well.” (Cabarga/Paddock 1998)

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Bib: Cabarga, Edward, to Tracey L. Paddock, Tallahassee, FL, July 8, 1998; Gillespie, James. “The Clarinetists of the San Francisco Symphony.” The Clarinet 27 (March 2000): 68-71; Steinberg, Michael, Program Annotator. “Donald Carroll.” San Francisco Symphony Stagebill 11 (September/October 1991, 80th Season): 42.

Caviezel, Samuel R. B. 1974 (Seattle, WA). Early clarinet studies with LAURA DELUCA. Grad: Interlochen Arts Acad with DEBORAH CHODACKI; Curtis IOM (1996) with DONALD MONTANARO. Clarinetist: Grand Rapids Symph (Principal: 1996-98); Philadelphia Orch (Principal: formerly; 1998-2000+; Assoc Principal: current); has also performed with the Recontres Musicales d’Evian, the South Jersey Symph, and the Whanfried Chamber Orch. Active as a recitalist, soloist (incl perfs with the Grand Rapids Symph), chamber musician (incl perfs with the King’s and Wister Quartets), festival artist (incl participation at the Saratoga Chamber Music Festival), recording artist (appears on Grand Rapids Symph recordings on the Centaur label), and studio artist (incl motion picture work). Other positions/activities: enjoys writing songs, smoking cigars, motorcycling, and practicing Bikram yoga. Students include: Dae Kim, Jared Kobos. Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Philadelphia_Orchestra_Musicians_List.htm (accessed February 16, 2011); “Samuel Caviezel, Associate Principal Clarinet.” Philadelphia Orchestra. http://www.philorch. org/bios.php?page=caviezelsamuel (accessed February 16, 2011).

Cavin, Mike. BM/MM/DM: Indiana Univ with BERNARD PORTNOY. Additional clarinet studies with ANTHONY GIGLIOTTI, , and HAROLD WRIGHT. Has performed as clarinetist with the American Ballet Theater, Brazos Valley Symph, Harkness Ballet, Houston Festival Orch, Houston Grand Opera, Le Gran Ballet Classique de France, Metropolitan Opera Natl Co., and the U.S. Navy Band/Orch; active as a recitalist (incl perfs at Carnegie Recital Hall, Radio City Music Hall, the Lincoln Center, and in Mexico), chamber musician, and studio artist (incl work on Broadway/other soundtracks). Published on the Selmer web-site. Faculty member: Sam Houston State Univ (Prof of Clarinet: formerly, for 6 years). Other positions/activities: Selmer Artist; selected as a Featured Artist (with Destination Texas) by the TX Commission on the Arts; active as a clinician. Hon: favorable review of Carnegie Recital Hall debut appeared in The New York Times. Has played on: Selmer 10G clarinets; GIGLIOTTI P mouthpiece; GIGLIOTTI barrel; Vandoren V-12 #4.5 reeds. Bib: Cavin, Mike. “Biography.” Mike Cavin. http://mikecavin.com (accessed February 8, 2011).

Cecere, Anthony. Clarinet studies with SIMEON BELLISON. Former clarinetist: NY Symph Orch. Has been active as a private clarinet instructor with a studio in Queens, NY. Hon: featured as a “Prominent Clarinet Teacher” in The Clarinet 22 (Spring 1956): 18.

Cerilli, Bernard. B. Coraopolis, PA; d. Mar. 22, 2005. BA(Mus Ed): Carnegie-Mellon Univ. Clarinet studies with DOMENICO CAPUTO. Clarinetist: KDKA Radio Staff Orch; Pittsburgh Sinfonietta; 94th Army Ground Forces Band-Ft. Bragg, NC (Principal: during WWII); Pittsburgh Symph (Second:1947- 89). Faculty member: Duquesne Univ (Instructor of Clarinet/Sax: formerly, for 25 years). Extra-musical activities included golf, reading, and swimming. Played on: Buffet clarinets; Kaspar (Ann Arbor) mouthpiece; Selmer ligature; Vandoren reeds. Students include: Bill Balawajder, Louis Sacchini. Bib: “The Clarinet Section of the Pittsburgh Symphony Orchestra.” The Clarinet 10 (Spring 1983): 20-1.

Cerminara, Napolean or Napoleon. Former clarinetist: Utah Symph (Principal); Philadelphia Orch (1931-44); New York Phil (1948-60, +/-). Active as a recitalist, soloist (incl a perf with the Provo Festival Orch), chamber musician, and festival artist (incl participation at the Provo Festival). Faculty member: may have taught at Univ of Utah (late 1940s, +/-). Students include: Howard Field, DOW YOUNG JR. Published in The Clarinet and Woodwind Magazine. Bib: Cerminara, Napoleon. “An Approach to Clarinet Instruction.” Woodwind Magazine 6 (November 1953): 5.

Chadash, Guy. Native of Israel; has resided in the U.S. for many years; currently resides in NYC. Clarinet studies with Yona Ettlinger, , ROBERT MARCELLUS, and BERNARD PORTNOY. Former clarinetist: Mexico City Phil; Virginia Opera; Florida Orch; Rishon Israel Symph Orch. Active as a recitalist (perfs regularly at Univ of Southern California and Yale Univ and throughout the U.S. and Europe), soloist (incl perf/recording with the Lithuanian Chamber Orch), chamber musician,

54 and recording artist (on the Fleur de Son Classics label). Other positions/activities: Buffet Crampon USA Perf Artist; developed the very popular “Chadash” barrel in 1994; has also designed a line of Chadash clarinets/mouthpieces; clarinet section coach of the Asian Youth Orch (1999-). Hon: Recip, Israel- American Cultural Grant (to study in the U.S. with Marcellus and Portnoy, 1974). Bib: Chadash, Guy. “Biography.” G. Chadash. http://www.chadashclarinet.com/Biography.html (accessed February 9, 2011).

Chavez, Aris. Former clarinetist: Santa Fe Opera (Second). Former faculty member: Illinois State Univ (1990s-2000+, +/-; Prof Emeritus: current). Active as a chamber musician (incl perfs with the Prairie Wind Ensemble, 1987, and Sonneris Woodwind Quintet, 1998), and recording artist (appears on recording with J. LAWRIE BLOOM, ROGER GARRETT, and JOHN BRUCE YEH on the Novitas Records label). Other positions/activities: Personnel Mgr, Santa Fe Opera. Students include: Tom Smith, Jennifer Woodrum. Bib: Garrett, Roger. “CD Info.” Garrett Music Products. http://www.garrettmusic products.com/CD%20Info.html (accessed February 16, 2011).

Cherlin, Johan. Clarinetist: Cleveland Orch (Clarinet/E-flat: 1920-24).

Chesebro, Robert Carl. B. Jan. 18, 1937 (Stevens Point, WI). BSME: Wisconsin State Univ- Stevens Point (1960) with Hugo Marple; MM(Woodwind Perf)/DM(Clarinet/Woodwind Perf, with Distinction): Indiana Univ (1963/1971) with ROBERT MCGINNIS and HENRY GULICK. Additional clarinet studies with CLARK BRODY, JOHN DENMAN, TOD KERSTETTER (bass), HOWARD KLUG (bass), ROBERT MARCELLUS, KALMEN OPPERMAN, and Kjell Inge Stevenson. Clarinetist: Greenville Symph (Principal: 1965-); has also performed as clarinetist and/or on oboe/English horn/ bassoon with the Anderson, Asheville, Charlotte, Columbia, and Hendersonville Symphs. Active as a recitalist (incl perfs at the 1977 and 1984 ICA conferences and at six SC MENC conventions), soloist (incl perfs with the Carolina Youth, Greenville, and Henderson Symphs), chamber musician (incl perfs with the Galliard Woodwind Quintet, Shanghai String Quartet, and Heritage Chamber Players), and jazz musician. Faculty member: Hammond Public Schools-IN (Instrumental Mus: 1964-65); Furman Univ (Prof of Clarinet/Woodwinds: 1965-). Articles published in The Clarinet and other music journals. Other positions/activities: Yamaha Artist; active as an adjudicator, clinician, conductor (incl 250+ perfs as Music Dir/Conductor of the Carolina Youth Symph, perfs with the Henderson Symph, and numerous musicals/ operas/choral works), and lecturer (incl presentations given at ICA conferences); extra-musical activities incl traveling (especially in Europe) and running. Plays on: Yamaha clarinets (YCL 72X and SE); FOBES #1 mouthpiece (used a Kaspar-Cicero mouthpiece for 25 years previously); Zonda and Vandoren #3 ½-4 reeds. Students include: Jennifer Everhart, Alvin Keitt, TOD KERSTETTER, ELIZABETH CRAWFORD, Keith Lockhart; many other former students hold teaching positions in public schools and univs. In the studio, Robert Chesebro teaches by example through playing. He focuses on “. . . fundamentals, tone, and technical development. . .” and encourages clarinetists to have a variety of practice methods at their disposal. (Chesebro/Paddock 1998) Chesebro treats each student as an individual with different needs, and seeks to “. . . take each student at their level, and move them up to higher levels.” (Ibid.) Bib: Chesebro, Bob, to Tracey L. Paddock, Tallahassee, FL, October 22, 1998; Chesebro, Robert. “Robert Chesebro.” Furman Univ. http://eweb.furman.edu/~bchesebro/rcresume.htm (accessed February 16, 2011).

Chesher, Michael L. B. Oct. 1, 1954 (Louisville, KY). Early clarinet studies with JAMES LIVINGSTON. BM: Oberlin Conserv (1976) with LAWRENCE MCDONALD; MM: Northwestern Univ (1978) with ROBERT MARCELLUS; DM: Indiana Univ (1996) with EARL BATES, JAMES CAMPBELL, and Anton Weinberg. Additional clarinet studies with CLARK BRODY, LARRY COMBS, ELI EBAN, HOWARD KLUG. Clarinetist: Civic Orch of Chicago (Co-Principal: 1978-80); Central City Opera-CO (Second: 1984-89); Owensboro Symph-KY (Principal: 1985-92); Indianapolis Chamber Orch (Second: 1987-92); Evansville Phil-IN (Bass: 1988-92); LaCrosse Symph-WI (Principal: 1992-); Dubuque Symph (Principal: 1993-); has also performed with the Chicago Symph (1978-80, incl recordings/tours with ) and Indianapolis Symph. Active as a recitalist and chamber musician. Faculty member: Luther Coll-IA (Asst Prof of Clarinet/Sax: 1992-). Other positions/activities: Selmer Artist. Memb: AFL, Kappa Lambda. Plays on: Buffet R-13 clarinets; Moennig barrels; Vandoren M-13 Lyre mouthpiece;

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Buffet R-13 E-flat clarinet; Zinner E-flat mouthpiece; Selmer C* bass mouthpiece (refaced by THOMAS RIDENOUR). Students include: Carmen Strine Eby, Soo Goh, Elizabeth Gunlogson, Jeremy Koch. Clarinetist Michael Chesher officered the following commentary on his teaching method:

I generally teach the Daniel Bonade “school” concepts of legato, staccato, and phrasing as I have come to understand them from my teachers who were Bonade students. I interpolate far more and varied etude repertoire and solo repertoire though, and the artistic ideas and playing concepts of all of my artist-teachers. I sought ideas from as many great teachers that I could in order to have an abundant set of concepts to use in my own teaching. (Chesher/Paddock 1998)

Chesher noted that JAMES LIVINGSTON, the first performing clarinetist with whom he studied, “. . . inspired me immeasurably . . . the model he provided me with as a teacher in higher education and as an orchestral musician combined ended up being the model I wanted to follow.” (Ibid.) Chesher also noted,

I’ve found the study and teaching of saxophone to be very enlightening. Jazz studies and practicing jazz improvisation have been valuable as well. Both have increased my perspective and have contributed to my performance abilities on the clarinet in more “traditional” settings. (Ibid.)

Bib: Chesher, Michael L., to Tracey L. Paddock, Tallahassee, FL, July 18, 1998; “Musical Chairs.” The Clarinet 20 (November/December 1992): 52.

Chiaffarelli, Albert C. B. Feb. 5, 1884 (Prata Sannita, Italy); d. 1945 (NYC). Immigrated to the U.S. in 1884. Former clarinetist: Sousa Band (1904); New York Phil (Principal: 1910-19); Metropolitan Opera Orch (Co-Principal: 1919-21); Chicago Opera (Co-Principal: 1921+); Theater of Marcus Klaw (active 1924+); Pittsburgh Symph (Principal: 1942-43). Students include: ANGELO DE CAPRIO. Huffman, Larry. “Metropolitan Opera Orchestra Principal Musicians.” Stokowski.org. http://www. stokowski.org/Principal_Musicians_Metropolitan_Opera.htm (accessed January 28, 2011); “Sousa Band Roster.” Dallas Wind Symph. http://www.dws.org/sousa/roster.htm (accessed February 16, 2011).

Chodacki, Deborah. Early clarinet studies with ALLEN SIGEL (1971-72). BM(with Distinction in Perf): Eastman SOM (1976) with STANLEY HASTY; MM: Northwestern Univ (1977) with ROBERT MARCELLUS. Clarinetist: North Carolina Symph (Sub Principal/Second/E-flat: 1980-90); American Chamber Symph (Second/E-flat: 1983-84); Traverse Symph (Principal: 1989-93); Grand Rapids Symph (1992, 1994); Michigan Chamber Players (1993-); Toledo Symph (E-flat: 1994); has also performed with the Colorado Phil. Active as a recitalist (incl perfs at East Carolina Univ, Interlochen Arts Acad, Univ of Michigan, and other SOMs, and at ClarinetFest 1997), soloist (incl perfs with the Grand Rapids, Houghton, North Carolina, and Traverse Symphs, the American Chamber Symph and Colorado Phil, and at the Skaneateles, Spoleto, and Summer Music Monterey Festivals), chamber musician (incl perfs with the Meadowmount Trio, Interlochen Chamber Players, and Michigan Chamber Players), festival artist (incl participation at above festivals, the Banff, Manitou, New Hampshire, and Seal Bay Festivals, and the Intl Festival and School of Bogota, Columbia), and recording artist (incl a CD project as wind soloist with the Lithuanian Phil); broadcast perfs given on NPR’s “Performance Today.” Faculty member: East Carolina Univ (Asst Prof of Clarinet: 1979-89); Interlochen Arts Acad (Instructor of Clarinet: 1989-93; current); Univ of Michigan (Asst Prof of Clarinet: formerly, 1993-2000+). Other positions/activities: active as a clinician and lecturer. Hon: listed in Who’s Who Among America’s Teachers (1990-). Students include: SAMUEL CAVIEZEL, Sam Chin, Jamal Duncan, Christopher Grant, Armand Hall, Linda Hargett, Micah Heilbrunn, Melissa Johnson, Juliet Lai, Grant Linsell, Theresa Martin, Barnaby Palmer, Guillermo Prado, Emily Renz, James Shields, DANIEL SILVER. Clarinetist Deborah Chodacki expressed her musical ideals and principles below:

When the instrument is in my hands or I am in the presence of someone else playing, I am continually brought back to the experience that this is language. The meanings of this language are carried by the intention of phrase directions, understanding of the musical

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architecture, and the ability to portray this with human flexibility and variety. Hearing our voice is always the ground awareness. Linking together what we are listening for, how it is resonating in the moment, and being aware of our body/wind sensation is the work of carrying the musical thought. The meaning of the language is the guide for the instrumentalist, the study of the music should help to provide solutions for the physical act of playing, with the ears always leading the way. We are in the process of ‘drawing’ the listener and ourselves to the music, allowing the meaning to speak through. (Chodacki/Paddock 1998)

Bib: Chodacki, Deborah, to Tracey L. Paddock, Tallahassee, FL, July 15, 1998; “Deborah Chodacki.” Interlochen Center for the Arts. http://www.interlochen.org/person/deborah-chodacki (accessed February 16, 2011).

Christie, Louis. Former clarinetist: Arthur Pryor Band; Sousa Band (Solo Clarinet: 1898-1902+). Was active as a soloist (incl numerous perfs throughout the U.S. with the Sousa Band), recording artist (early American clarinet recording artist on the Victor label), and conductor (conducted the Morgan Park Boys’ Band, MN). Bib: Krebs, Jesse. "The Clarinet Soloists of the Sousa Band: 1892-1929." ICA. http://www.clarinet.org/clarinetFestArchive.asp?archive=45 (accessed February 9, 2011).

Christmann, Arthur H. Son of HENRY CHRISTMANN; grandson of a professional NYC clarinetist. Artist Dipl(with highest honors)/BM/MM: Juilliard (early 1930s); DM: Columbia Univ. Additional studies in composition and conducting. Former Principal Clarinetist: Chautauqua Symph (for 10 years); Worcester Festival Orch-MA (for 10 years); USMA Band-West Point. Was active as a soloist (incl perfs with above ensembles and perfs of his own compositions) and festival artist; played all of the woodwind instruments as well as piano, organ, violin, and . Former faculty member: Juilliard (Prof of Clarinet and Instrumental Methods/Dir of Wind Ensemble: 1934-69); Montclair State Coll; Clayton SOM- Long Island, NY; also had a large private studio. Articles published in The Clarinet (including “Clarinet Talk” series) and Woodwind Magazine. Other positions/activities: was active as a composer (incl works for clarinet and clarinet ensemble), conductor (conducted the Juilliard /Symph Band/Wind Ensemble), and music editor (incl work for G. Schirmer). Hon: Juilliard schol recipient (for 7 years); Loeb Memorial Prize (1931), Juilliard; listed as a “Prominent Clarinet Teacher” in The Clarinet Vol. 15 (Summer 1954): 11. Memb: American Guild of Organists. Students include: Hugh Aitken, HERBERT BLAYMAN, CECIL GOLD, STANLEY HASTY, HENRY LARSEN, Ralph Laycock, DANIEL MAGNUSSON, Phil Nimmons, DAVID OPPENHEIM, Ezra Schabas, ALDO SIMONELLI, FRANK STACHOW, HERBERT TICHMAN. Arthur Christmann may have been genetically predisposed to become a professional clarinetist: his father, HENRY CHRISTMANN, performed as a member of the New York Philharmonic for many years, and his grandfather was also a professional clarinetist in New York City. One of Arthur Christmann’s major contributions to the clarinet world was his development of a method of double- tonguing called rebound staccato, a concept explained by Christmann in two articles in the December 1950 and January 1951 volumes of Woodwind Magazine. In an interview with Daniel Leeson, HERBERT BLAYMAN offered the following insight into Christmann’s playing:

He had one of the most phenomenal technical abilities I have ever heard and his tonguing capabilities were . . . well, remarkable is not a strong enough word. He could double and triple tongue and his single tonguing was extraordinary. His sound was beautiful and to top it off, he was a fine scholar with a profound knowledge of the repertoire. (Leeson 1975, 60)

Bib “Arthur Christmann.” Clarinet 15 (Summer 1954): 11; “Arthur Christmann.” Woodwind Magazine 5 (October 1952): 6; “Christmann, Arthur H.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 828; Christmann, Arthur Henry. “Clarinet Talk (Aesthetics of the Clarinet).” The Clarinet 9 (Fall 1981): 13; Leeson, Daniel. “An Interview with Herbert Blayman.” The Clarinet 30 (November 1975): 60.

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Christmann, Henry. Son of a professional NYC clarinetist; father of ARTHUR CHRISTMANN. Former clarinetist: New York Phil (1912-28, +/-); NY Symph. Students include MICHAEL BURGIO, WILLIAM HULLFISH. Former student WILLIAM HULLFISH commented on his studies with Henry Christmann:

Henry Christmann introduced me early to the discipline of ‘long tones’ and stressed the importance of ‘sound’ on the clarinet – technique could come later but the development of a beautiful tone was most important.” (Hullfish/Paddock 1998)

Bib: Hullfish, William, to Tracey L. Paddock, Tallahassee, FL, July 9, 1998.

Ciccarelli, Anthony Joseph. Grad: Curtis IOM (1949); MA(Conducting/Ed): Glassboro State Coll. Clarinetist: Cleveland Orch (1951-54); has also performed as clarinetist and/or saxophonist with the Philadelphia Orch and Houston Symph; active as a chamber musician (incl perfs with his wife, composer and instrumentalist Anna Ciccarelli, a former student of DONALD MONTANARO) and recording artist (on the Beautifully Inspirational label). Students include: Karen Beacham, Dennis DiBlasio, James Fay, TED GURCH, RICARDO MORALES, Stephen Page, Jason Parks, Theodore Schoen. Bib: Huffman, Larry. “Cleveland Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Cleveland_Orchestra_ Musicians_List.htm#C (accessed February 16, 2011).

Cigan, Paul. Clarinet studies at the San Francisco Conserv with DAVID BREEDEN and DAVID NEUMANN, and Temple Univ with ANTHONY GIGLIOTTI. Clarinetist: Virginia Symph (Principal: 1994-95, +/-); Colorado Symph (Principal: 1995, +/-); San Antonio Symph (Principal: formerly); Natl Symph (Asst Principal: c.1998-); 21st Century Consort (current); Eclipse Chamber Orch (Principal: current); has also performed with the Concerto Soloists Chamber Orch, Natl Repertory Orch, New World Symph, and Sarasota Opera. Active as a recitalist (incl perfs at the Kennedy Center and Natl Holocaust Museum), soloist (incl perfs with the Eclipse Chamber Orch), chamber musician (incl perfs with the Olmos Ensemble, the Theater Chamber Players, and the Smithsonian Chamber Players), festival artist (incl participation at the Cactus Pear Music Festival and Spoleto Festival USA), and recording artist (on the Bridge and Naxos labels). Faculty member: Peabody Conserv (formerly); Univ of Maryland (current); NSO Youth Fellowship Program (current); Natl Orch Instit. Hon: favorable reviews of perfs appear in the San Antonio Express-News and Washington Post. Students include: Laura Armstrong, Wen-Mi Chen, Nick Homenda, Taneea Hull, Brian McCurdy, Luke Ward. Bib: “Paul Cigan.” John F. Kennedy Center for the Performing Arts. http://www.kennedy-center.org/explorer/artists/?entity_id=4062&source_type=A (accessed February 16, 2011).

Cioffi, Gino. B. 1913 (Italy). Immigrated to the U.S. in 1937. Grad: Naples Conserv (1930) with Piccione and Carpio; additional studies at St. Cecilia Conserv, Rome. Former clarinetist: Radio City Music Hall Orch; NBC Orch (Principal: under Toscanini); Pittsburgh Symph (Principal: 1941-42, +/-); Cleveland Orch (Principal: 1942-44); New York Phil (E-flat: 1944-46); Metropolitan Opera Orch (Principal: 1946- 50); Boston Symph (Principal: 1950-70; preceded by VICTOR POLATCHEK and MANUEL VALARIO; succeeded by HAROLD WRIGHT). Active as a soloist (incl perfs with the Boston Symph), chamber musician, and recording artist (on the Boston Records label). Former faculty member: Tanglewood; Boston Univ; New England Conserv. Other positions/activities: Selmer Artist; was active as a clarinet mouthpiece craftsman. Played on: Selmer clarinets; O’Brien crystal mouthpieces. Students include: MORDECAI APPLEBAUM, Chester Brezniak, ANDREW CRISANTI, BRUCE CREDITOR, SHERMAN FRIEDLAND, Jess Gross, William Hagenah, Vincent Iannone, Eugene Jones, S. JAMES KURTZ, Anthony Liberio, Joseph MacCaffrey, DANIEL MAGNUSSON, ACHILLE ROSSI, JOSEPH RUTKOWSKI, Louis Sacchini, John Swift. In his book The Clarinetists’ Solo Repertoire - A Discography, RICHARD GILBERT offered the following colorful piece of commentary on Cioffi’s playing:

Gino Cioffi can be credited with holding a major orchestra’s principal clarinetist’s chair longer than most other players. His orchestral prowess appears on many Boston Symphony recordings made during the 50’s and 60’s and these will long be remembered. His lone solo recording of the Brahms Trio & Sonata No. 2 does not achieve the artistic

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heights one might expect, although his performance of the Mozart Concerto, especially the Adagio cadenza can only be termed “delightfully zany.” (Gilbert 1972, 84)

SHERMAN FRIEDLAND, a former Cioffi student, has written that Cioffi produced one of the most beautiful clarinet sounds he ever heard. He also described Cioffi’s somewhat unorthodox playing position: although he always played using a double-lipped embouchure, there was also a time in which Cioffi played with the mouthpiece “upside-down” (as Italian clarinetists apparently used to do), with very little mouthpiece in his mouth, and with the clarinet held at a great angle away from the body. (Friedland “Double Lip” 2011) Friedland’s “Gino Cioffi, The Stories,” on his website is well worth reading for insight into Cioffi’s colorful personality, his mastery of the clarinet, and the many “Gino-isms” uttered by him and collected and cherished by his students over the years. Bib: Friedland, Sherman. “Double Lip Embouchure.” Clarinet Corner. http://clarinetcorner. wordpress.com/2006/11/10/double-lip-embouchure-3/ (accessed February 16, 2011); Friedland, Sherman. “Gino Cioffi, The Stories.” Clarinet Corner. http://clarinetcorner.wordpress.com/2009/03/19/gino-cioffi- the-stories/ (accessed January 27, 2011); Gilbert, Richard. The Clarinetists’ Solo Repertoire - A Discography. NY: The Grenadilla Society, 1972: 84; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 47.

Ciompi, Arturo. B. Sept. 6, 1949 (NYC). BM: NC School of the Arts (1972) with ROBERT LISTOKIN and Robert Ward (conducting); MM: SUNY-Stony Brook (1974) with DAVID GLAZER and David Lawton (conducting); postgrad clarinet studies with LEON RUSSIANOFF; additional studies at Festival Casals-San Juan, Puerto Rico (1967, 1968, 1971). Additional clarinet studies with THEODORE JOHNSON and HAROLD WRIGHT. Clarinetist: Orpheus Ensemble (1973-75); Piedmont Chamber Orch (1974); American Symph (1975); Music for Westchester (1975-77); NYC Opera (1975-76, 1981); Albany Wind Quintet (1975-78); Sylvan Wind Quintet (1978-81); Amor Artis Orch (1980-81). Active as a recitalist (incl 1981 Merkin Hall debut), soloist (incl perfs with the Winston-Salem Symph, SUNY-Albany Orch, and St. Joseph in the Fields Chamber Orch), chamber musician (incl perfs with above groups and the Duke Univ and Manhattan String Quartets, the Aeolian Ensemble, the Composers Chamber Ensemble, the Chamber Music Society of the NYC Opera, Chamber Music Northwest, and Philomusica of NY), festival artist (incl participation at the Spoleto, Siena, Caramoor, and Kneisel Hall Festivals), and recording artist (on the Orion and Columbia Records labels). Premiere perfs incl works by M. Colina, K. Gates, R. Vodnoy, G. Buchanan, W. Braxton, V. Nehlybel, C. Fussel, D. Foley, W. Jonas, and C. Koechlin. Faculty member: SUNY-Stony Brook (1972-74); Manitou-Wabing Arts Center (1974); SUNY- Albany (Asst Prof of Clarinet/Conductor of Wind Ensemble and Univ Orch: 1975-78); Princeton Univ (Clarinet Instructor: 1979-81); Duke Univ (Artist-in-Res: 1983-85). Other positions/activities: has been active as a conductor (incl positions with the SUNY-Albany Wind Ensemble/Orch, the Duke Univ Symph, and various North Carolina School of the Arts ensembles) and wine expert; fluent in Italian and French. In 1985, Arturo Ciompi elected to take a twelve-year “retirement,” but has recently become active again as a clarinetist and intends to begin recording in the near future. During this hiatus, Ciompi served as a retail wine manager, had a wine segment on NPR, and wrote columns on wine for the Durham Herald- Sun and Independent Weekly. Bib: “Arturo Ciompi.” Keith Gates Music. http://www.keithgates.com/bio-Arturo_Ciompi.html (accessed February 16, 2011); Ciompi, Arturo, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998.

Cionitti, Linda Anne. B. Dec. 1, 1960 (Batavia, NY). Early clarinet studies with Nick Cionitti (her father), Valentine Anzalone, and MICHAEL WEBSTER. BME/Perf Cert: SUNY-Potsdam (1982) with ALAN WOY; MM(Clarinet Perf/Woodwind Specialist)/DM(Clarinet Perf): Michigan State Univ (1984/1989) with ELSA LUDEWIG-VERDEHR and FRANK ELL. Additional clarinet studies with ANTHONY GIGLIOTTI and STANLEY HASTY. Clarinetist: Savannah Symph (Sub: 1989-); Augusta Symph (Sub: 1989-); Hilton Head Orch (Sub: 1989-). Active as a recitalist/soloist (incl perfs at the 1990 CMS Natl Convention, 1993 Montana/Idaho Clarinet Festival, 1997 Michigan Clarinet Contemporary Festival, 1997 Univ of Oklahoma Clarinet Symposium, and 1998 Univ of Montevallo Clarinet Symposium) and recording artist. Faculty member: Lansing Community Coll (Instructor of Clarinet/: 1986-88); Northwest Missouri State Univ (Vstg: 1988-89); Georgia Southern Univ (Assoc Prof of Clarinet/Head of

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Woodwind Area: 1989-). Published in The Clarinet. Other positions/activities: G. Leblanc Corp. Artist/ Clinician; Organizer, GSU Annual Unaccompanied Clarinet Festival (1994-); active as an adjudicator and clinician. Memb: ICA, Georgia MEA, Georgia MTA, MENC, MTNA. Hon: Rocque F. Dominick Clarinet Award, SUNY-Potsdam (1982); Winner, MSU Concerto Compt (1984); Semi-Finalist, 1990 Intl Compt for Musical Performers, Geneva, Switzerland; GSU Advisor of the Year Award (1997); Natl Academic Advising Assn Advising Award (1997). Plays on: Leblanc Symphonie (B-flat) and Concerto (A) clarinets and barrels; GIGLIOTTI P-facing mouthpiece; GIGLIOTTI ligature; Vandoren V-12 #4 reeds. Clarinetist Linda Cionitti has been profoundly influenced by all aspects of her relationship with ELSA LUDEWIG-VERDEHR, as both Cionitti’s teacher and mentor, and as a performer. Cionitti offered the following commentary on her own philosophy of teaching and performing:

I am a firm believer in working on the basics of playing on a daily basis: long tones, embouchure, air control, dynamic range, technique, hand position, articulation, and sight- reading. I also believe that one must always practice with a purpose. Knowing what and how you will practice BEFORE beginning each session will lead to quicker progress. I also think that the more one performs, the more one will practice and improve. Therefore, I have my student and I perform in public several times a year. I myself focus on new music (as do my advanced students) as it challenges me in new and unique ways and improves tone color, technique, and overall musicianship. (Cionitti/Paddock 1998)

Bib: Cionitti, Linda Anne, to Tracey L. Paddock, Tallahassee, FL, June 7, 1998; “Linda A. Cionitti.” Leblanc Clarinets. http://www.leblancclarinets.com/artists/bio.php?aid=890 (accessed February 2, 2011); “Musical Chairs.” The Clarinet 17 (November/December 1989): 66.

Cipolla, John. BM(Sax Perf): Eastman SOM with WILLIAM OSSECK and RAMON RICKER; MM(Clarinet Perf): Rutgers Univ with GEORGE JONES; DM: Univ of North Carolina-Greensboro with KELLY BURKE; additional studies at Juilliard with JOSEPH ALLARD. Clarinetist: Radio City Music Hall Orch (1985-); CATS Broadway Orch (1992-2000); Mozart on Fifth (formerly); has also performed with the NYC Opera, Bowling Green/Western Symph, Bowling Green Chamber Orch, Brooklyn Phil, Ensemble, Hudson Valley Phil, and the Ensembles. Active as a recitalist/soloist (incl perfs at ICA and NY MEA conferences), chamber musician (incl perfs with The St. Luke’s Chamber Ensemble, the St. Luke’s and Muir String Quartets, and Mozart on Fifth), woodwind freelance artist (on clarinet/sax/flute/), jazz/popular musician (incl perfs/ recordings with Jose Carreras, , “Doc” Livingston, Johnny Mathis, Aretha Franklin, and Mario Bauza’s Latin Jazz Ensemble), and recording artist (on the ECM New Series, Music Minus One, Nonesuch, and Sony labels). Faculty member: Wagner College-NY (Adj Prof of Clarinet/Sax: 1997, +/-); Western Kentucky Univ (Asst Prof of Clarinet/Sax: current). Articles published on the Online Clarinet Resource (they now appear on The Woodwind Pages). Other positions/activities: Yamaha Artist (formerly); Selmer Artist (current); active as an adjudicator (incl ICA compts), arranger/editor (for C.F. Peters and G. Schirmer) and clinician; extra- musical activities incl reading, deep sea fishing, and woodworking. Hon: favorable review of Music Minus One series of pedagogical recordings appears in The Clarinet (see Bib below). Has played on: Yamaha Custom SE clarinet; J&D HITE mouthpiece; Vandoren #4 reeds. Currently plays on: Selmer Recital clarinets; Gonzalez reeds; Selmer Reference 54 alto sax. Bib: Cipolla, John. “Historical Perspectives of Excellence for the Clarinetist.” The Woodwind Pages. http://www1.woodwind.org/the-online-clarinet-resource/john-cipolla/historical-perspectives-of- excellence.html (accessed February 16, 2011); Cipolla, John. “John Cipolla.” J. Cipolla. http://www.john cipolla.com (accessed February 15, 2006); Nichols, William. “Audio Notes.” The Clarinet 25 (February/ March 1998): 18.

Clark, Stephen Lee. B. 1949. BME/MME: Central State Univ-OK; DM: Univ of Oklahoma (1983) with JERRY NEIL SMITH; additional studies at Univ of Houston. DM diss: Leon Russianoff: Clarinet Pedagogue. Additional clarinet studies with DAVID ETHERIDGE, STEPHEN GIRKO, Ronald Howell, PETER SIMENAUER, and LORIS WILES. Clarinetist: USMA Band-West Point (B-flat/E-flat:

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1972-75); has also performed with the Oklahoma City and Nashville Symphs. Active as a recitalist (incl perf at the 1989 Univ of Oklahoma Clarinet Symposium), soloist (incl perf with the 1995 Tennessee All State Women’s Chorale), chamber musician (incl perfs with the Croissant Woodwind Quintet, the Cumberland and Dorian Quintets, and the Lydian Chamber Players); broadcast perfs given on NPR (WPLN-Nashville, WQZR-NY). Faculty member: Moore, OK Public Schools (formerly); Tennessee Tech Univ (formerly); Univ of Science and Arts of Oklahoma (formerly); Austin Peay State Univ (Prof of Clarinet/Dir of Wind Ensemble: 1986-); has also taught at the Tennessee Governor’s School for the Arts. Articles published in The Clarinet. Other positions/activities: active as a conductor (incl positions as Asst Conductor of the Oklahoma City Junior Symph and Guest Conductor of the 1992 and 1993 Univ of Oklahoma Clarinet Symposium Clarinet ). Memb: Alpha Chi, ICA, Kappa Delta Pi, Phi Mu Alpha Sinfonia, Pi Kappa Lambda. Hon: Outstanding Sr Music Major Award, Univ of Central Oklahoma. Students include: J. Derek Jones. One of Stephen Clark’s most important contributions to the clarinet community is his doctoral dissertation, Leon Russianoff: Clarinet Pedagogue. This document, which received favorable reviews in The Bulletin of the Council of Research in Music Education, The Clarinet, and ClariNetwork, offers keen insight into one of the most influential American clarinet teachers of the twentieth century through a series of interviews with former students and family members interspersed with Clark’s own commentary. Bib: Clark, Stephen L. “University of Oklahoma Symposium.” The Clarinet 15 (March/June 1988): 29; Clark, Stephen Lee. “Leon Russianoff: Clarinet Pedagogue.” DMA dissertation, University of Oklahoma, 1983; McCutchan, Ann. “Book Review.” ClariNetwork 4 (Spring 1985): 19; “Musical Chairs.” The Clarinet 13 (Winter 1986): 48;

Clearfield, Elvin. Grad: Curtis IOM (1937). Former clarinetist: Indianapolis Symph (Clarinet/Bass: 1930s-1943, +/-); Baltimore Symph (Clarinet/Bass: 1947-49); also performed with other U.S. orchs.

Clifton, Artie. B. Aug. 28, 1953 (Savannah, GA). BME: Stetson Univ with Richard Feasel. MM(Perf): Cincinnati Conserv with RICHARD WALLER; additional mus ed studies at NYU. Clarinetist: Pennsylvania Sinfonia Orch (formerly); Jacksonville Symph-FL (1989-, +/-). Active as a recitalist and chamber musician. Faculty member: Winter Park Jr. HS (Band Dir); Muhlenberg Coll (Dir of Instrumental Ensembles: 1981-89); Jacksonville Univ (Assoc Prof: 1989-). Other positions/activities: Buffet Crampon USA Perf Artist; active as a conductor (incl First Coast Wind Ensemble, 1989-). Plays on: Buffet Prestige clarinets (B-flat/A/Bass). Artie Clifton commented:

When I studied with Richard Waller at the Univ. of Cincinnati, 1975-77, he taught only double lip method. I switched to double lip embouchure (for two years only). Though I didn’t switch because of single lip embouchure problems, when I switched back to single lip after studying with him, I found it helped my embouchure and sound (more flexibility & tone color). I don’t teach or promote double lip embouchure, but the experience was positive for me. (Clifton/Paddock 1998)

He added,

I believe a strong and active performing career is important to strengthen and inform teaching. I maintain a balance between classroom teaching, conducting and clarinet performance. (Ibid.)

Bib: “Artie Clifton.” Buffet Crampon. http://buffet-crampon.pl/en/artists.php?mode= artistPresentation&aid=721 (accessed February 16, 2011); Clifton, Artie, to Tracey L. Paddock, Tallahassee, FL, September 1, 1998.

Clow, R.W. Clarinetist: San Francisco Symph (late 1920s-1938, +/-; performed as an Extra before becoming a permanent section member).

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Coad, Daryl. BM(Clarinet)/MM(Conducting): Northwestern Univ; additional studies at the Aspen Festival (late 1970s). Clarinet studies with CLARK BRODY, LARRY COMBS, ROBERT LISTOKIN, and ROBERT MARCELLUS. Conducting studies with David Zinman. Clarinetist: Rochester Phil (formerly); New Orleans Symph (formerly); has also performed with the Chicago and Milwaukee Symphs, Hong Kong Phil, and Dallas Chamber Orch; also perfs with the Ft. Worth Symph. Active as a chamber musician, recording artist (appears on recordings with the Chicago Symph and Rochester Phil), and conductor. Faculty member: Brevard Music Center (formerly); Univ of North Carolina-Greensboro (formerly; also served as Music Dir of Univ Symph); University of North Texas (1999-). Students include: Brian Blauch, Katie Combest, Isaac Lamar, Adam Myers, Sam Ross, Eileen Young. Bib: “Daryl Coad.” UNT College of Music. http://music.unt.edu/clarinet/faculty.php (accessed January 12, 2011).

Coggins, Willis Robert. B. Aug. 20, 1926 (Winston-Salem, NC); d. June 1, 1997 (Winston- Salem, NC). Grad: Naval SOM; BS: Davidson Coll (1949); MS: Univ of Illinois (1958); additional studies at Univ of Michigan. Clarinet studies with IGNATIUS GENNUSA and others. Clarinetist: U.S. Navy Band, Washington D.C. and Hilo, HI (Clarinet/Sax: 1944-46); Brevard Music Festival Orch (Principal: 1947-59, 1952-58, 1965); Charlotte Symph (Principal: 1948-49); Champaign-Urbana Chamber Orch (Principal: 1964-66); Champaign-Urbana Symph (E-flat/Bass/ Sax: 1965-68); Moravian Music Festival Orch (Second: 1966); Springfield Symph-IL (Second/Bass: 1965-69); also performed with the . Was active as a recitalist/soloist (on clarinet and sax; incl perfs with the Champaign-Urbana Chamber Orch and the Winston-Salem Symph), chamber musician (incl perfs with the Walden String Quartet), studio/jazz woodwind player (incl perfs on the Frank Fontaine, Ernie Ford, Florence Henderson, , and Patti Page Shows, for the Ringling Brothers Circus, and with , , , and others), and festival artist. Faculty member: Brevard Music Center (1944, 1947-50, 1952-58); Conway, SC Public Schools (Dir of Instrumental Music: 1949-53); Univ of Illinois (Prof of Clarinet/Sax: 1953-84; Prof Emeritus: 1984- 89); Transylvania Music Camp (formerly, with IGNATIUS GENNUSA); Illinois Summer Youth Music Camp (Founder/Instructor: 1957, 1959-68). Author, Belwin Student Instrumental Course for Saxophone (and other educational publications). Other positions/activities: Arranger/Leader/Performer, Skylarks (vocal quartet); was active as an adjudicator, arranger (incl work for the U.S. Jazz Orch, U.S. Air Old South Band, Wachovia Little Symph, and the Society Swing Band; all ensembles with whom Coggins performed after his retirement), and clinician, conductor (incl direction of numerous musicals). Hon: Listed in Who’s Who in American Music (Classical), 1985 edition. Played on: Buffet clarinets; Selmer and Yamaha saxes. Students include: NORMAN FOSTER. Willis Coggins’ wife, Jessie, had the following insight to offer on her late husband:

Music was his very being. . . . You might say he lived and breathed music. He told me several times he would rather be dead than to have to give up playing. He performed a clarinet solo on March 1st and died on June 1st. Though Willis was chosen to do the Belwin Student Instrumental Course for Saxophone, his first love was the Clarinet and most of his concerts, recitals, etc. were performed on both instruments. (Coggins/ Paddock 1998)

Bib: Coggins, Jessie, Winston-Salem, NC, to Tracey Paddock, Tallahassee, FL, July 8, 1998; “Coggins, Willis Robert.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 110.

Coggiola, Jill. Native of Buffalo, NY. BM/BME (magna cum laude): SUNY-Fredonia; MM/DM: Florida State Univ with FRANK KOWALSKY. Additional clarinet studies with JAMES EAST, ROGER HILLER, and JAMES PYNE. Clarinetist: Naples Phil (formerly); Tallahassee Symph (formerly); Erie Phil (formerly); Opera Roanoke (formerly); also perfs/has performed with the Buffalo and Rochester Phil Orchs, the Roanoke and Syracuse Symphs, and SUNY-Oswego’s Upstate X-tet. Active as a recitalist/ soloist (incl perfs at CMS conferences), chamber musician, festival artist (incl participation at the Skaneateles Festival), and recording artist (appears on the Summit label); broadcast perfs given on Buffalo and Syracuse radio stations. Faculty member: Radford Univ (formerly); Syracuse Univ (1997-); active as a

62 private clarinet instructor. Other positions/activities: active as an adjudicator and clinician. Hon: Winner, SUNY-Fredonia SOM Concerto Compt; R.W. Marvel Award for Excellence in Perf, SUNY-Fredonia. Bib: “Jill Coggiola.” Syracuse University. http://vpa.syr.edu/directory/jill-coggiola (accessed March 11, 2011).

Cohen, Franklin R. B. July 28, 1946 (NY, NY). Clarinet studies begun at age 10. BM: Juilliard (1970) with STANLEY DRUCKER, BERNARD PORTNOY, and LEON RUSSIANOFF. Clarinetist: American Symph (Principal: formerly, during studies at Juilliard; performed under Stokowski); Baltimore Symph (Principal: 1970-76); Cleveland Orch (Principal: 1976-). Active as a recitalist (incl frequent perfs with his wife, Lynette Diers Cohen, Principal Bassoonist of the Ohio Chamber Orch), soloist (incl numerous perfs with the Cleveland Orch, and perfs with the Baltimore Symph, the Basel, Düsseldorf, Frankfurt, and Nürnberg Orchs, the Bavarian and Stuttgart Radio Orchs, the Chamber Orch of the Saar, and at the 1983 Intl Clarinet Congress), chamber musician (incl perfs with Cynthia Raim and Benita Valente, with the Emerson, Guarneri, and Cleveland Orch String Quartets, with the Chamber Music Society of Lincoln Center, and at the Alice Tully and Carnegie Halls), festival artist (incl participation at the Marlboro and Casals Festivals and the Santa Fe Chamber Music Festival), and recording artist (on the Deutsche Grammophon and London Recording labels). Faculty member: Juilliard (formerly); Aspen Festival (formerly); Peabody Conserv (formerly); Cleveland IOM/Blossom Music Festival (Chmn of the Clarinet Dept: 1976-). Other positions/activities: Gonzalez Reeds Artist; active as an adjudicator (incl the 1998 Munich Compt) and clinician. Hon: 1st Prize, Munich Intl Compt (1968; first clarinetist ever to win this prize); appears as soloist (Premiere Rhapsodie) on the Cleveland Orch’s Grammy Award-winning all-Debussy recording on Deutsche Grammophon; favorable reviews appear in The Clarinet (Vol. 19, May/June 1992, p.60) and other publications. Students include: Boris Allakhverdyan, KIMBERLY ASELTINE, Jim Bensinger, TAD CALCARA, KIMBERLY COLE-LUEVANO, KIM ELLIS, JANE ELLSWORTH, CARMELO GALANTE, Elizandro Garcia-Montoya, CECIL GOLD, Stanislav Golovin, KENNETH GRANT, Emil Khudyev, DAVID LEWIS, DANIEL LOCHRIE, Benjamin Lulich, Charles Messersmith, Patrick Messina, LARRY PASSIN, DEBORAH PITTMAN, GARY SPERL, Christopher You. Success came very early in Franklin Cohen’s career when, at the age of 22, he became the first clarinetist ever to win First Prize at the Munich International Competition in 1968. Early in his career, Cohen was active as a recitalist and soloist, activities which continued upon attaining the Principal Clarinet positions of first the Baltimore Symphony Orchestra and then the Cleveland Orchestra. Cohen has performed as a soloist on more than 140 occasions with the Cleveland Orchestra and other orchestras around the world. He has also collaborated on many occasions with pianist Vladimir Ashkenazy, and performs frequently with his wife, Lynette Diers Cohen, Principal Bassoonist of the Ohio Chamber Orchestra. In addition to his very successful career as a performer, Cohen also enjoys the challenge of teaching, a challenge he has undertaken for three decades at the Cleveland Institute of Music. The James Gillespie/John Scott article listed below is recommended for further insight into Cohen and his career. Bib: “Cohen, Franklin R.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 110; “Franklin Cohen.” Gonzalez Reeds. http://www.gonzalezreeds.com/ english/artists/franklin-cohen.html (accessed February 16, 2011); Gillespie, James and John Scott. “An Interview with Franklin Cohen.” The Clarinet 10 (Winter 1983): 22-25; Roy, Klaus G., ed. “Franklin Cohen.” The Cleveland Orchestra 1986-87 (February 19 and 21, 1987): 26.

Cohen, Steven. B. Nov. 18, 1951 (Bronx, NY). BM(Clarinet/Piano): Oberlin Conserv (1973) with LOREN KITT and LAWRENCE MCDONALD; additional studies at Schiller Coll- (1971-72) with Karl Leister. Additional clarinet studies with ROBERT MARCELLUS (1973-75). Clarinetist: Civic Orch of Chicago (Principal: formerly); Louisiana Phil (Second/E-flat: 1975-82; Principal: formerly, 1982-2000+); Brevard Music Center Orch (Principal: 1979-); Timm Wind Quintet; has also performed as Principal Clarinetist with the Texas Opera Theater (1988 Tour) and the Seoul Phil (Spring 1988 European Tour). Active as an intl recitalist/soloist (incl a perf at Weill Recital Hall, and perfs at the 1997 Seoul Phil Clarinet Camp, the 1998 Idaho-Montana Clarinet Symposium, various Univ of Oklahoma Clarinet Symposia, and throughout the U.S. and Europe), chamber musician (incl perfs with the Timm Wind Quintet), pianist, and recording artist (incl recordings of music by contemporary composers S. Dankner, W. Horne, and D. Constantinides on small labels).

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Faculty member: Tulane Univ (formerly); Loyola Univ (1975-90); Louisiana State Univ (Assoc Prof of Clarinet: formerly, 1990-2000+); Brevard Music Festival (current); Cincinnati Conserv (formerly); Northwestern Univ (current). Articles published in The Clarinet and on the Boosey & Hawkes web-site. Other positions/activities: Buffet Crampon USA Artist; Légère Reed Artist; Rico Artist; active as an administrator (incl former position as Chmn of the Louisiana Phil’s Concert Committee) and clinician (master classes given at the 1998 Montana/Idaho Clarinet Festival, the 1999 Univ of Oklahoma Clarinet Symposium, and other conferences). Memb: ICA. Plays on: Buffet Prestige R-13 clarinets (B-flat/A/C); GIGLIOTTI “P” mouthpiece; EDDIE DANIELS Rovner ligature; Légère synthetic reeds and Rico Grand Concert Select reeds. Students include: Lauren Cook, Andrew Dees, Victor Goines, Patrick Graham, Kristin King, Chris McDonnell, Ember Miller, David Pharris, Anthony Talor, Owen Tucker, Jody Webb, Krista Weiss, Sara Anne Wollmacher. In addition to clarinet performance, Steven Cohen is also an accomplished pianist. As a pianist, he is actively involved in chamber music and also performs frequently as an accompanist for his students. Cohen’s wife is a cellist in the Louisiana Philharmonic, and the couple has three children. One of Cohen’s main objectives in performing is, as he commented, “Keeping all the balls in the air!” (Cohen/Paddock 1998) Bib: Cohen, Steven, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998; “Musical Chairs.” The Clarinet 18 (November/December 1990): 44; Reeks, John. “The Clarinets of the Louisiana Philharmonic.” The Clarinet 24 (February/March 1997): 48-51; “Steve Cohen.” Brevard Music Center. http://www.brevard music.org/institute/faculty/45/ (accessed February 16, 2011).

Cohler, Jonathan. B. June 19, 1959 (Boston, MA). Clarinet studies begun at age 6. Grad: Harvard Univ (degree in Physics, with high honors). Clarinet studies with PASQUALE CARDILLO, Karl Leister, Frank Martin, CHARLES NEIDICH, and HAROLD WRIGHT; has also worked with clarinetist/composer MEYER KUPFERMAN. Clarinetist: Colorado Phil Orch (formerly). Active as an intl recitalist/soloist (incl perfs with the Boston Classical Orch, and with artists Suren Bagratuni, Karol Bennett, Boris Berezovsky, Andres Diaz, Judith Gordon, Randall Hodgkinson, Veronica Jochum, , Laurence Lesser, CHARLES NEIDICH, and ; perfs given at the 1998 Beijing Intl Clarinet Festival, ClarinetFest 1999, and other clarinet conferences, and on the Dame Memorial Concert Series and Concerts Under the Dome Series in Chicago), chamber musician (incl perfs with the Amadeus, Moscow Conserv, and Wavehill Trios, the Emerson and Muir String Quartets, the Boston and New Jersey Chamber Music Societies, and as part of the Crescent Duo), festival artist (incl participation at Aspen and Tanglewood and festivals in Newport, Rockport and the Hamptons, and on Martha’s Vineyard), and recording artist (incl 5 highly acclaimed recordings on the Crystal Records and Ongaku Records labels); broadcast perfs given on NPR and cable television. Faculty member: New England Conserv Prep School (Clarinet/Chamber Mus/Conducting: 1983-); Hartt SOM (Clarinet/Chamber Mus: current); Longy SOM (1998-). Other positions/activities: Vandoren Artist; Rossi Artist; Gao Artist; Coordinator, Intl Clarinet Connection; active as a clinician (incl participation at the 2000 Intl Clarinet Connection) and conductor (incl positions with the Greater Boston and Empire State Youth Symphs, and the Harvard-Radcliffe Ensemble Society; currently serves as Music Dir/Conductor of the Brockton Symph and Asst Conductor of the New England Conserv Youth Phil Orch). Hon: Tanglewood Fellow; More Cohler on Clarinet (Ongaku Records) named one of three “Best CDs of the Year,” BBC Music Magazine (1994); “Outstanding Record,” American Record Guide (1994) for Moonflowers, Baby! (Crystal Records); Finalist/Honorable Mention, INDIE Awards (1995) for The Clarinet Alone (Ongaku Records); numerous favorable reviews of recordings appear in American Record Guide, BBC Music Magazine, The Clarinet, Fanfare Magazine, Gramophone, Listener Magazine, Online Clarinet Resource. Plays on: Luis Rossi clarinets; Gao bell and barrel; Vandoren B40-13 mouthpiece; Vandoren Optimum ligature; Vandoren V-12 #3 ½ reeds. Students include: Leah Abbott, Todd Brunel, Ana Catalina Ramirez Castrillo, Vento Chiaro, Louise Dierker, Yuan Gao, Marcus Julius Lander, Benito Menza, Christopher Salvo, Uriel Vanchestein.

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Cohler believes that his role as a musician is to “play in tune, do what the composer asks, and above all, make music,” and he operates according to the following credo: “There is no try.” (Evans/Paddock 1998) Bib: Cohler, Jonathan. “Jonathan Cohler’s Bio.” J. Cohler. http://jonathancohler.com/cohlerbio. php (accessed February 16, 2011); Evans, Katherine to Tracey L. Paddock, Tallahassee, FL, June 15, 1998; “Jonathan Cohler.” Ongaku Records. http://www.ongaku-records.com/CAloneBio.html (accessed February 16, 2011); “Musical Chairs.” The Clarinet 25 (May/June 1998): 76; Snavely, Jack. “Compact Disc Reviews.” The Clarinet 20 (July/August 1993): 42; Wong, Bradley A. “Compact Disc Reviews.” The Clarinet 21 (May/June 1994): 56-57.

Cokkinias, Peter Leonidas. B. May 24, 1945 (Springfield, MA). BM/BME(magna cum laude): Hartt SOM (1967/1968) with HENRY LARSEN; MM(magna cum laude): Manhattan SOM (1971) with HERBERT BLAYMAN; DM(magna cum laude): Cincinnati Conserv (1976) with CARMINE CAMPIONE. Additional clarinet studies with PASQUALE CARDILLO, PETER HADCOCK, ROBERT MARCELLUS, and BERNARD PORTNOY. Clarinetist: USMA Band-West Point (formerly); has also performed as Clarinet/E-flat/ Bass and/or Sax with the Boston, Cincinnati, Hartford, Pittsburgh, and Springfield Symphs, the , Boston Pops, and Harvard Chamber Orch, the Opera Co. of Boston, the Boston Lyric Opera, and the Cincinnati, , and Goodspeed Opera Companies. Active as a soloist (incl perfs with the Boston Pops and the Boston, Platteville-WI, Reading-MA, and Springfield-MA Symphs), chamber musician (incl perfs with the Boston Sax Quartet and Scarborough Chamber Players), studio musician (incl perf as Principal Clarinetist on the soundtrack for the MGM Studios film Yes, Georgio with Luciano Pavarotti), festival artist (incl participation at Tanglewood, the New College Music Festival, and the Yale Summer School of Music and Art), and recording artist (appears on recordings with the Boston Symph on the Philips label and with the Scarborough Chamber Players on the Centaur label). Faculty member: Cincinnati Conserv (Lect of Clarinet: 1972); Anna Maria Coll-MA (Lect of Clarinet/Mus Ed/Percussion: 1977-78); Tufts Univ (Asst Prof and Dir of Chamber Mus/Bands/Opera: 1974-81); Boston Conserv (Prof of Clarinet/Conducting: 1980-); Hartt SOM (Vstg Prof: Fall 1984); Berklee Coll of Music (current). Other positions/activities: active as an adjudicator, administrator, arranger (incl commissions from Boris Goldovsky for Curtis IOM and the Goldovsky Opera Theatre), clinician/lecturer, conductor (incl positions as Music Dir/Conductor of the Atlantic Sinfonietta, Cambridge Opera Workshop, Greater Marlboro Symph, and Tufts Opera Theater, as Asst Conductor of the Civic Symph of Boston and the Greater Hartford Youth Orch, and as Guest Conductor of the Boston Ballet and Boston Pops). Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Peter Cokkinias is very active as a conductor throughout New England with engagements involving both professional and educational ensembles. As a clarinetist, both his performance and teaching philosophies are strongly influenced by his former teacher ROBERT MARCELLUS. Cokkinias believes that excellence in clarinet playing can be achieved through a combination of the tonal and phrasing concepts espoused by Marcellus, Bonade’s concepts of legato playing, and a thorough knowledge of all scales and arpeggios. Cokkinias adds that “complete mastery of the Mozart Concerto is a must!” (Cokkinias/Paddock 1998) Bib: Cokkinias, Peter, to Tracey L. Paddock, Tallahassee, FL, May 12, 1998; “Cokkinias, Peter Leonidas.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 111.

Cole-Luevano, Kimberly S. B. Dec. 18, 1968 (Oklahoma City, OK). Early clarinet studies with KEITH LEMMONS. BM: Univ of North Texas (1991) with JAMES GILLESPIE; MM/DM: Michigan State Univ (1995/1996) with ELSA LUDEWIG-VERDEHR; additional studies at L’Ecole Normale de Musique-Paris (1991-92) with Guy Deplus and , and at the Natl Orch Instit (1993, 1994). Additional clarinet studies with FRANKLIN COHEN, THEODORE JOHNSON, Luis Rossi, and Kjell Inge Stevenson. Clarinetist: Quorum Chamber Arts Collective (current); has also performed with the Ann Arbor, Detroit, Flint, Jackson, Kalamazoo, Lansing, Midland, and New World Symphs and Keith Brion’s New Sousa Band. Active as a recitalist/soloist (incl perf at the Oklahoma Clarinet Symposium), chamber musician (incl perfs with the Eastern Michigan Univ faculty woodwind quintet and with the Quorum

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Chamber Arts Collective, a chamber ensemble specializing in the commissioning/perf of contemporary works), festival artist (incl participation at the Kent/Blossom Music Festival, 1993, 1994), and recording artist (appears as Solo Clarinetist on the Clarion Symph recording of Sea Drift: Wind Music of Anthony Iannaccone on Albany Records). Faculty member: Univ of New Mexico (1993); Alma College (Adj Instructor of Clarinet: 1994- 96); Eastern Michigan Univ (Asst Prof of Clarinet: 1996-). Articles/reviews published in The Clarinet. Hon: Finalist, Oklahoma Young Artists Compt (1989); Finalist, ICA Young Artists Compt (1990); Fulbright Scholar, Paris, France (1991); Semi-Finalist, Ima Hogg/Houston Symph Young Artists Compt (1995). Students include: Thomas Kmiecik, Michael Scheuerman. Bib: Cole, Kimberly. “An Interview with Guy Deplus.” The Clarinet 26 (September 1999): 42-45; Cole, Kimberly, to Tracey L. Paddock, Tallahassee, FL, July 15, 1998; “Dr. Kimberly Cole-Luevano.” Eastern Michigan University. http://www.emich.edu/music/faculty/profile.php?lastname=Cole-Luevano& firstname=Kimberly (accessed February 16, 2011); “Musical Chairs.” The Clarinet 24 (November/ December 1996): 74.

Coleman, Robert. BME/Perf Cert: Eastman SOM (1959) with STANLEY HASTY. Clarinetist: St. Louis Symph (Second: 1960-65; Second/E-flat: 1965-70; Asst Principal: 1970-97). Active as a recitalist/soloist (incl perfs with the Champaign-Urbana, Lafayette-IN, and St. Louis Symphs, and the Florida Space Coast Phil), chamber musician (has served as Music Dir and/or Memb of the St. Louis Chamber Players, St. Louis Woodwind Quintet, Riverfront Ragtime Ensemble, and New Music Circle of St. Louis), and saxophonist. Other positions/activities: Founder of the St. Louis Chamber Players, River City Saxes, and Legacy Big Band; Music Dir/Conductor, Space Coast Pops (1999-). Has played on: Buffet clarinets; Frank Wells mouthpieces (refaced); handmade reeds. Students include: Rié Suzuki, Charles Willett, JEANINE YORK-GARESCHÉ. Bib: Mellott, George. “The Clarinet Section of the Saint Louis Symphony Orchestra.” The Clarinet 7 (Spring 1980): 12; “Robert Coleman, Previous Conductor.” Space Coast Pops. http://www.spacecoastpops.com/bob_conductor.html (accessed February 16, 2011).

Coleman, Russell. BM: Kansas State Univ; MM: Indiana Univ; PhD: Univ of Iowa with HIMIE VOXMAN. Clarinetist: Roadkill (current). Faculty member: Central Missouri State Univ (Prof of Clarinet/Dir of Bands: formerly, for 32 years; also served as Music Dept Chmn for 21 years). Other positions/activities: active as an adjudicator, arranger (incl works for the Roadkill Clarinet Quintet), clinician, and conductor (incl regular guest perfs with Tokyo’s Musashino Wind Ensemble). Students include: Blair Campbell, KELLY JOHNSON. Bib: Dean, Michael. “Southeast Missouri Single Reed Day 2009.” M. Dean. http://www.clarinetmike.com/docs/srday_2009_program.pdf (accessed February 1, 2011).

Collis, James. Native of Edmonton, Alberta, CAN; deceased. Grad: Curtis IOM (1932) with DANIEL BONADE. Former clarinetist: Newsboy’s Band (Principal/Librarian); San Carlo Opera Co. (Principal: 1930s, +/-); Chesterfield Orch; Jansens Orch-Los Angeles (served as MITCHELL LURIE’s replacement during WWII); also performed as a freelance clarinetist with orchs in NYC, Philadelphia, et al. Was active as a soloist (incl perfs conducted by F. Reiner and L. Stokowski). Was active as a private clarinet instructor in NYC. Other positions/activities: Publisher, Symphony (1948-54); Publisher, The Clarinet (1950-56); Founder/Publisher, Woodwind World (1956-63); published numerous clarinet method books and solos. Memb: AFM. Students include: Perry (Morris) Robinson, DAVID SHIFRIN. Early in his career, James Collis was very active as a New York City freelance clarinetist, also performing regularly with orchestras in Philadelphia and Los Angeles. In 1945, after living in Los Angeles for some time, Collis returned to New York and shifted his focus to publishing, including work with Symphony, The Clarinet, and Woodwind World. Collis is noteworthy for his work with these journals and also for the considerable collection of high-quality pedagogical and performance literature he published for young clarinetists. The HOWARD KLUG interview with Collis listed below is highly recommended for a more in-depth description of Collis’s career; the article also features a review of his publications. Bib: “Collis, James.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist Vol. 2. Northfield, IL: Instrumentalist Co, 1992: 828; Klug, Howard. “Clarinet Pedagogy: An Interview with James Collis.” The Clarinet 19 (May/ June 1992): 14-17; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 255.

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Combs, Larry. B. Dec. 31, 1939 (Charleston, WV). Began clarinet studies at age 10; early music studies at Interlochen Arts Camp. BM/MM/Perf Cert: Eastman SOM (c.1950s) with STANLEY HASTY. Additional clarinet studies with LEON RUSSIANOFF. Clarinetist: Charleston Symph-WV (Memb: 1952-55, +/-, from age 13; Principal: 1955, +/-, from age 16); New Orleans Phil (Bass: 1961-62; Principal: 1965-68); USMA Band-West Point (1962-65); Santa Fe Opera (Principal: Summers, 1966-67); Montreal Symph (Principal: 1968-74); Musica Camerata Montreal (Founding Memb: 1970-74); Chicago Symph (Asst Principal/E-flat: 1974-78; Principal: 1978-); World Orch for Peace-Geneva, Switzerland (1995); Chicago Symph Winds (1974-); Chicago Symph Chamber Players (1974-); Chicago Chamber Musicians (Founding Memb: 1986-); “Ears” (jazz group; current); Chicago (with JULIE DEROCHE and JOHN BRUCE YEH; current). Active as a recitalist (incl perfs at ICA conferences), soloist (incl perfs with the Chicago and Montreal Symphs, and numerous other U.S. orchs), chamber musician (incl perfs with , Yo-Yo Ma, Christopher Eschenbach, the Chamber Music Society of Lincoln Center, the Smithsonian Chamber Players, and with his wife, Gail Williams, Assoc Principal Horn of the Chicago Symph), festival artist (incl participation at the Marlboro Festival, 1967-69, and the Ravinia Festival), jazz clarinetist (incl perfs with Chicago jazz group “Ears”), and recording artist (incl a vast amount of symphonic repertoire recorded with the Chicago Symph under such conductors as Abbado, Barenboim, Boulez, Levine, Solti, and Tilson Thomas, and a significant amount of solo/chamber music on the Cedille, Erato, and Summit labels). Faculty member: Northwestern Univ (active 1975-85, +/-); DePaul Univ (Prof of Clarinet: 1981-). Published in The Clarinet. Other positions/activities: Artistic Co-Dir, Chicago Chamber Musicians (1987-95); G. Leblanc Corp. Artist/Clinician; Légère Reeds Artist; active as a composer (incl Duo for Clarinet and Horn with Ears) and mouthpiece designer. Hon: Grammy recip (1994), for recording of Mozart/Beethoven chamber works with Daniel Barenboim and members of the Chicago Symph and Berlin Phil; subject of many articles and interviews incl features in The Clarinet, The Instrumentalist, and Pamela Weston’s Clarinet Virtuosi of Today; subject of the doctoral diss of Karen Lynn Craig; favorable reviews of recordings appear in The Clarinet (see Bib below) and other publications. Has played on: Leblanc Opus clarinets and (current); Buffet Prestige clarinets; Opperman and Woodwind LC3 mouthpieces; handmade reeds. Students include: KIMBERLY ASELTINE, LUIS BAEZ, CAREY BELL, DAVID BELL, DAVID BELLMAN, WAGNER CAMPOS, MICHAEL CHESHER, DARYL COAD, PAUL DEMERS, JULIE DEROCHE, Yevgeny Dokshansky, ROBERT FITZER, NORMAN FOSTER, JOHN FULLAM, MICHAEL GALVÁN, Elizandro Garcia-Mantoya, THOMAS HILL, FRANKIE KELLY, Laura Kelly, TOD KERSTETTER, ALLAN KOLSKY, PATRICIA KOSTEK, KEITH LEMMONS, LAURENCE LIBERSON, Carl Long, JOHN MANRY, ANTHONY MCGILL, EUGENE MONDIE, BRIAN MOORHEAD, LINNEA NEREIM, LESLIE NICHOLAS, DENNIS NYGREN, THEDORE OIEN, David Pharris, JESSICA PHILLIPS, RAPHAEL SANDERS, CHRISTIAN SCHUBERT, RICHARD SHANLEY, DANIEL SILVER, CAROLEE SMITH, GREGORY SMITH, Janice Murphy, Charlie Suriyakham, DALLAS TIDWELL, TIMOTHY ZAVADIL, CHARLENE ZIMMERMAN, AMY ZOLOTO. Larry Combs is one of the most well-known and successful clarinetists of the twentieth century. Principal Clarinetist with the Chicago Symphony for more than two decades, Combs has also been active internationally as a soloist, chamber musician, recording artist, jazz musician, and clarinet teacher. While studying at Eastman, Combs was faced with the difficult choice between a career in classical versus jazz music. As a teenager, he had performed as a clarinetist and saxophonist in a wide array of musical situations ranging from performances with the Charleston Symphony to gigs with dance bands, circus bands, at county fairs, and an appearance on a televised amateur hour. At Eastman, Combs continued to develop his jazz skills as a member of “The Jazz Brothers” with fellow student Chuck Mangione. Although Combs decided to pursue a classical career, Pamela Weston points out that he is

. . . one of the finest straight musicians who can be heard on occasion in the jazz field. His success in both worlds would seem to stem from the fact that he can eliminate all jazz influence as regards both tone quality and style from his symphonic and solo playing, and then discard the restrictions of classical music in the freedom of jazz. (Weston 1989, 66- 70)

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Combs has kept his jazz background alive through performances at ICA conferences (including a memorable collaboration with EDDIE DANIELS and JOHN DENMAN in 1979) and through his current involvement with a Chicago jazz group called “Ears.” Combs has made a particularly unique contribution to the clarinet community through his recording Orchestral Excerpts for the Clarinet on the Summit label. This recording of twenty-one major orchestral clarinet excerpts, with performance commentary from Combs, is an asset to both student and professional clarinetists. Bib: “Clarinetists of the Chicago Symphony.” The Clarinet 5 (Summer 1978): 5; Craig, Karen Lynn. Larry Combs: Interpretation of the Clarinet Symphonic Audition Repertoire. DMA diss., University of Oklahoma, 1993; Huffman, Larry. “Chicago Symphony Orchestra Principal Musicians.” http://www. stokowski.org/Principal_Musicians_Chicago_Symphony.htm#Clarinet%20Index%20Point_Stokowski.org. (accessed February 16, 2011); Jacobs, Laura, Ed. “Larry Combs, Principal Clarinet.” CSO Stagebill 1993- 94 Season (October 29, 30, and November 2, 1993): 38; Nichols, William. “Audio Notes.” The Clarinet 26 (March 1999): 21-22; Wagner, Jeffrey. “Larry Combs – A View from the First Chair.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 381; Weston, Pamela. Clarinet Virtuosi of Today: Baldock, England: Egon, 1989: 66-70.

Conrad, Otto. Former clarinetist: Berlin Phil (Principal: early 20th century); NY Phil (Second/Asst Principal/E-flat: 1928-47, +/-). Other positions/activities: was active as a mouthpiece craftsman. Students include: SIDNEY FORREST. Bib: Averett, Janet and Mark Brandenburg. “Toscanini’s Clarinetist: An Interview with Alexander Williams.” The Clarinet 19 (February/March 1992): 34-39.

Contino, Joseph. D. June 30, 2000. BM: Oberlin Conserv; MM: Columbia Teachers Coll. Former clarinetist: Univ of Massachusetts Faculty Woodwind Quintet. Faculty member: Univ of Massachusetts (Prof of Clarinet/Dir of Bands: 1950-83; also taught flute/sax/conducting); Kinhaven Music School (1967-84; 1995-99). Other positions/activities: was active as a conductor (incl work with Amherst, MA-area HS/community bands, and as founder/conductor of the Univ of MA Youth Orch). Hon: Bronze Star (Army) for service in the Battle of the Bulge (1942-45); Univ of MA Distinguished Service Award (1955). Students include: Miriam Jenkins, Maryanne Lacaille, David Tasgal. Bib: Contino, Joseph, to Tracey L. Paddock, Alexandria, VA, June 23, 1999; “Obituaries.” The Campus Chronicle http://www. umass.edu/pubaffs/publications/chronicle/archives/00/07-14/obits38.html (accessed February 16, 2011).

Cornelsen, Douglas. B. Apr. 11, 1943 (Oakland, CA). Undergrad music studies begun at Cleveland IOM with ROBERT MARCELLUS; BM/MM: Cincinnati Conserv with CARMINE CAMPIONE and RICHARD WALLER. Additional clarinet studies with Robert Herman. Clarinetist: U.S. Marine Band (1963-67); Detroit Symph (Second: 1970-); Detroit Chamber Winds (Assoc Principal/ Founding Memb: 1978-). Active as a soloist (incl perfs with the Detroit Symph), chamber musician (incl perfs with Detroit Chamber Winds and at Carnegie Recital Hall), festival artist (incl participation as Principal Clarinetist of the Pine Mountain Music Festival, 1992-), and recording artist (on Detroit Symph recordings on the London Decca and Chandos labels, and on Detroit Chamber Winds recordings on the Koch label). Faculty member: Oakland Univ (1972-); has also taught at Macomb Community Coll, Univ of Michigan, and Wayne State Univ. Plays on: Buffet R-13 clarinets; PYNE mouthpiece; BONADE inverted ligature; Vandoren V-12 reeds. Students include: ROBERT ADELSON, Brian Bowman, Orval Oleson. Bib: Cornelsen, Douglas, to Tracey L. Paddock, Tallahassee, FL July 10, 1998; “Douglas Cornelsen.” Detroit Symphony. http://www.detroitsymphony.com/page.aspx?page_id=375 (accessed February 16, 2011); “The Clarinet Section of the Detroit Symphony Orchestra.” The Clarinet 23 (May/June 1996): 22.

Corner, Michael. Grad(magna cum laude): Univ of Southern California with MITCHELL LURIE; Soloist’s Dipl: Basel Conserv-Switzerland; additional music studies at Music Acad of the West and Tanglewood. Additional clarinet studies with Hans Rudolph Stalder. Clarinetist: Zurich Chamber Orch (Principal: formerly); San Jose Symph (Principal: 1983-, orch no longer exists); Symph Silicon Valley (Principal: current); Ballet Silicon Valley (Principal: current); also performs with the American Musical Theater of San Jose (clarinet/sax), and has performed with the Boston and San Francisco Symphs,

68 the San Francisco Opera/Ballet, the Stockholm Phil, and most of the major orchs of Switzerland. Active as a recitalist (incl perfs at the Palo Alto Cultural Center, San Jose Museum of the Arts, and the Walnut Creek and Mountain View Perf Arts Centers), soloist (incl perfs with the Colorado and Mendocino Music Festival Orchs, the Marin and San Jose Symphs, and Sinfonica San Francisco), chamber musician (incl perfs with the San Jose and Sierra Chamber Music Societies), theater musician (incl perfs on clarinet/sax/flute), jazz musician, and festival artist (incl participation at the Colorado and Mendocino Music Festivals). Other positions/activities: Woodwind Coach, CA and Peninsula Youth Symphs. Hon: C.D. Jackson Masters Award, Tanglewood (awarded twice); 1st Prize, Coleman Chamber Music Compt. Bib: Corner, Michael. “Michael Corner.” Mike Corner Music. http://www.mikecornermusic.com/ (accessed February 16, 2011).

Cortellazzi, O. Clarinetist: San Francisco Symph Orch (1922).

Corti, Gustave. Faculty member: Kansas City Conserv (1920s, +/-). Students include: KEITH STEIN.

Couf, Herbert. B. 1920; native of Atlantic City, NJ. Grad: Univ of Kentucky; Peabody Conserv. Clarinet studies with SIMEON BELLISON, GEORGES GRISEZ, and ROBERT MCGINNIS. Clarinetist: Baltimore Symph (Clarinet/ Bass: 1946-47); Pittsburgh Symph (E-flat/Bass/Sax: 1947-52); Detroit Symph (Principal: 1953-56, +/-); has also been active as a jazz musician and saxophonist. Faculty member: Pennsylvania Coll for Women (1950, +/-); has been active as a private clarinet instructor. Other positions/ activities: Bandmaster, 1st Marine Div (formerly); Pres, W.T. Armstrong (1960s-1989); Owner, Royal Music (professional music store); active as a composer and sax designer (for Selmer and W.T. Armstrong). Students include: LAURENCE LIBERSON, JOHN MOSES, Kirt Vener. Bib: “Bass Clarinetist Herbert Couf.” Pittsburgh Symphony Orchestra Program. 24th Season (January 12 and 14, 1951): 57.

Crawford, Elizabeth. Native of Louisville, KY. BM(magna cum laude): Furman Univ (1982) with ROBERT CHESEBRO; MM: Univ of Michigan with JOHN MOHLER and FRED ORMAND; DM: Florida State Univ with FRANK KOWALSKY. Additional clarinet studies with DAVID BREEDEN and THEODORE JOHNSON. Clarinetist: Jacksonville Symph (formerly, for 10 yrs); Muncie Symph (Principal: current); Musical Arts Quintet; has also performed with the Annapolis and Monterey Symphs, the Baltimore Chamber and Opera Orchs, and numerous UK orchs (incl the BBC Phil and BBC Natl Orch of Wales, the Philharmonia Orch, Royal Phil, Royal Phil of Scotland, and Royal Scottish Natl Orch), and perfs with the Indianapolis Symph and Ft. Wayne Phil. Active as a recitalist (incl perfs at several ClarinetFests and the IDRS conference), soloist (incl perfs with the Brevard Festival Orch and Jacksonville Symph), chamber musician, festival artist (incl participation at the Colorado Music Festival), studio artist (incl work for the Abbey Road, Angel, BBC, and Olympic Studios of London), recording artist (appears on “Highlights from ClarinetFest ’95” and with the Philharmonia of London on the Naxos label). Faculty member: FL Community Coll (formerly); Jacksonville Univ (formerly); Univ of North Florida (formerly); Robert Louis Stevenson School (formerly); Hill House School, London (formerly); Ball State Univ (Asst Prof: current). Students include: John Walker. Bib: “Elizabeth Crawford.” Ball State University. http:// www.bsu.edu/music/profile/0,2017,9943-1180-168172,00.html (accessed February 16, 2011).

Creditor, Bruce Mitchell. B. Nov. 4, 1953 (Brooklyn, NY). Clarinet studies begun at age 9. BM/MM: New England Conserv (1975/1977) with PETER HADCOCK. Additional clarinet studies with PASQUALE CARDILLO and GINO CIOFFI. Clarinetist: New Hampshire Symph (Principal: 1973-79); Boston Phil (Principal: 1973-85+); Emmanuel Wind Quintet (Founding Memb; 1986, +/-); Alea III (Founding Memb); has also performed with Boston Musica Viva, the Boston Pops, Boston Ballet, Boston Symph, Emmanuel Chamber Orch, and New England Ragtime Ensemble. Active as a recitalist, soloist, chamber musician (incl perfs with above groups), and recording artist (on the CRI, GM, Koch, Neuma, and New World labels). Boston premiere perfs incl solo works by T. Antoniou, W. Doppman, J. Harbison, G. Schuller, J. Tower, and O. Wilson. Faculty member: New England Conserv (Music Hist: 1975-79); Boston Conserv (formerly, 1983-85, +/-). Articles published in The Clarinet. Other positions/activities: Asst Conductor, New England Ragtime Ensemble (1980s, +/-); General Mgr, Margun/GM Recordings (formerly, for 6 years); Asst Personnel Mgr, Boston Symph (1992-); Editorial Staff, The Clarinet; Wind Quintet Editor, The Clarinet (1990s-, +/-). Hon: Grammy Award (with New England Ragtime Ensemble, 1973); Naumburg Award (with Emmanuel Wind Quintet, 1981); listed in Who’s Who in American Music

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(1985). Bib: “Bruce M. Creditor.” Boston Symphony. http://www.bso.org/bso/mods/bios_detail.jsp?id= 2100281 (accessed February 16, 2011); Creditor, Bruce. “Clarinet Section of the Boston Symphony.” The Clarinet 14 (Winter 1987): 37; Creditor, Bruce. “In Memoriam: Harold Wright.” The Clarinet 21 (November/December 1993): 38-40; Creditor, Bruce M. “Quintessence: The Wind Quintet Informant, No. 18.” The Clarinet 24 (February/March 1997): 16 “Creditor, Bruce Mitchell.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 125.

Crisanti, Andrew J. B. Nov. 3, 1934 (Cranford, NJ). Early clarinet studies with Henri Barron (1945-52). Undergrad studies begun at Ithaca Coll (on a baseball scholarship) with MARTIN ROSENWASSER; BM/MM: New England Conserv with GINO CIOFFI; additional studies at Tanglewood with HAROLD WRIGHT. Clarinetist: Boston Opera Co. (1958-59); Canadian Ballet (1959 tour); Robert Joffrey Ballet Orch (1959 tour); Cincinnati Symph (Second: 1960-61; Asst Principal/E-flat: 1961-63); St. Louis Symph (Principal: 1963-65, 1969-70); Dallas Symph (Actg Principal: 1975); Ft. Worth Symph (Principal: formerly, 1976-2000+); has also performed with the Brooklyn Phil and NY State Opera. Active as a recitalist (incl a perf at ClarinetFest 1997), soloist (incl perf with the Dallas Wind Symph), chamber musician, festival artist (incl participation at the Marlboro and Tanglewood festivals), jazz musician, and recording artist (with the Ft. Worth Symph, and independently on the RCA label). Former faculty member: Cincinnati Conserv; Washington Univ; Southern Illinois Univ; Texas Christian Univ. Other positions/ activities: Artist, TX Commission for the Arts Touring Roster; developer of “The Vent,” a modified register-key tube; active as a clinician. Extra-musical activities incl golfing. Memb: AFM, Phi Mu Alpha, Pi Kappa Lambda. Has played on: 1960 vintage R-13 Buffet clarinets (adjusted by Hans Moennig); Chedeville (Mattson facing) and Cartier mouthpieces; BAY Gold ligature; played on hand-made reeds for 25 years; currently plays on Zonda reeds; plays with a double-lipped embouchure. Students include: Charles Coltman, Amanda Cox, DEBORAH FABIAN, Ben Garcia, MARGUERITE BAKER LEVIN, JOHN MANRY, GEORGE MELLOTT, Adam Myers, KENNEN WHITE, GARY WHITMAN. Although Andrew Crisanti’s musical tendencies were stimulated at an early age by hearing performances of the Band and Benny Goodman, Crisanti initially attended Ithaca College on a baseball scholarship, turning to music after an injury ended his hopes of a career in baseball. Crisanti notes that the two summers he spent at Tanglewood studying with HAROLD WRIGHT and Marcel Moyse were very influential in the development of his playing. Bib: Baker, Marguerite. “The Clarinet Sections of the Dallas and Ft. Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 30; Crisanti, Andrew J., to Tracey L. Paddock, Tallahassee, FL, September 1998.

Cunningham, Randall. B. Detroit, MI. BM/MM/DM: Indiana Univ (1971/1973/1984) with EARL BATES and HENRY GULICK. Clarinetist: U.S. Air Force Bands (1962-66); Liberty Symph (Principal: current); St. Joseph Symph-MO (Principal: current); Rondo Woodwind Quintet (Founder/ Memb: current); has also performed with the Detroit Concert Band, Evansville Phil, the Florida Gulf Coast, Indianapolis, Kansas City, and Owensboro Symphs, the Des Moines Metro and Santa Fe Operas, the Kansas City Chamber Orch, and Orquesta de Xalapa. Active as a soloist (incl perfs with IU Symph Orch and St. Joseph and Liberty Symphs). Faculty member: Univ of South Florida (1974); Missouri State Univ (1984); William Jewell Coll (1985-); active as a private clarinet instructor. Other positions/activities: active as a composer/arranger (incl several etude books, original works, and editions, published by Woodwindiana) and clinician (incl work with the Rondo Woodwind Quintet for Young Audiences of Kansas City). Memb: AFM, ICA, Midwest Clarinet Society of Kansas City (incl past positions as Newsletter Editor and Secr/Treas). Hon: Recip, IU Teaching Assistantship (1971-73) and Fellowship (1978-79); Winner, IU Annual Woodwind Compt (1981). Bib: “Randall Cunningham.” ClarinetProfiles. com. http://randallcunningham.clarinetprofiles.com/biography (accessed March 11, 2011).

Cyzewksi, Michael E. BM: Temple Univ with JOSEPH GIGLIOTTI; MM: Catholic Univ with ANTHONY GIGLIOTTI. Clarinetist: U.S. Army Band (formerly); Arlington Symph (formerly); North Carolina Symph (Asst Principal: 1973-); Symph Winds (Co-Founder; current); Mallarmé Chamber Players (current). Active as a recitalist/soloist (incl perfs with the U.S. Army Band and NC Symph, and with his wife, soprano Judith Bruno), chamber musician (incl perfs with above groups), and festival artist (incl participation at the Grand Teton Music Festival). Faculty member: St. Augustine’s Coll (1991-, +/-); has also taught at Univ of NC-Chapel Hill, East Carolina Univ, the NC Governor’s School, and Interlochen

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Arts Acad/Camp. Other positions/activities: active as a clinician/coach (incl work with the Triangle Youth Phil/Symph). Students include: DEBORAH BISH, Wayne Leechford, Brent Smith. Bib: “Raleigh Chamber Music Guild.” Raleigh Chamber Music Guild. http://www.rcmg.org/programs/museum/0910/ symphony-winds.htm (accessed February 16, 2011).

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D

Dagon, Russell. B. Mar. 17, 1938 (Joliet, IL). Undergrad studies begun as an engineering major at Purdue Univ (1956-58); Assoc Degree (Mus): Joliet Junior Coll (1959) with JEROME STOWELL; BME/MM: Northwestern Univ (1961/1962) with JEROME STOWELL; doctoral studies begun at Eastman SOM (1965-66) with STANLEY HASTY. Additional clarinet studies with CLOYDE WILLIAMS. Clarinetist: Buffalo Phil (Second/E-flat: 1966-69); Milwaukee Symph (Principal: 1969-). Active as an intl recitalist (incl perfs at the 1997 Montana/Idaho Clarinet Festival, ClarinetFest 1998, and other clarinet conferences), soloist (incl perfs with the Milwaukee Symph), chamber musician (incl perfs with the Milwaukee Chamber Music Society and Wisconsin Chamber Players; is a founding memb of both), jazz clarinetist, oboist, and recording artist (with the Milwaukee Symph on the Koss label, with the Buffalo Phil, and on the TELARC label); numerous broadcast perfs given in North America and Great Britain. Faculty member: Bemidji State Coll (Instructor of Woodwinds: 1962-64); Univ of Wisconsin- Madison (Vstg Prof of Clarinet/Sax: 1964-65); SUNY-Fredonia (Lect of Clarinet: formerly); Northwestern Univ (Ad Hoc Prof of Clarinet: 1980-90; PT Prof of Clarinet: 1990-); Natl Youth Orch of Canada (Instructor of Clarinet: 1992-); has also taught at Univ of Wisconsin (Milwaukee, Waukesha, West Bend, and Oshkosh campuses), Carroll Coll, and the Wisconsin Conserv, all between 1969-85. Other positions/activities: Buffet Crampon USA Perf Artist; Pyne/Clarion Artist; has also performed as an oboist. Hon: Grad Schols (Northwestern Univ, Eastman SOM). Plays on: Buffet R-13 B-flat (Silver Plated), A (Nickel), and C (Nickel) clarinets; CHADASH (B- flat) and standard Buffet (A) barrels; PYNE CK (predominantly) and Bn (alternately) mouthpieces; Kaspar ligature; Olivieri 3 ½ reeds. Students include: PHILIP AAHOLM, JANET AVERETT, GREGORY BARRETT, Sarah Bednarcik, Chad Burrow, BRENT COPPENBARGER, Kathleen Costello, Jared Davis, Andrea DiOrio, Steve Gerko, JENNIFER GERTH, Vicki Gotcher, Marci Gurnow, ROBERT (WOODY) JONES, JOHN KUEHN, TODD KUHN, Bridget Miles, DAVID MINELLI, LINNEA NEREIM, James Ormston, Daniel Paprocki, JO ANN POLLEY, MELANIE RICHARDS, Alcides Rodriguez, Christopher Salvo, GARY SPERL, Allison Storochuk, MARINA STURM, Richard Viglucci, TIMOTHY ZAVADIL, CHARLENE ZIMMERMAN. In addition to his talents as a performing clarinetist and teacher, Russell Dagon has also taught saxophone (at the University of Wisconsin-Madison, 1964-65), performed briefly as an oboist (during his tenure at Bemidji State College, 1962-64), and made jazz clarinet recordings. Of the latter group of recordings, Dagon remarks with candor, “There’s a definite reason that I became a ‘serious’ clarinetist.” (Dagon/Paddock 1998) Dagon attributes his development as a musician not only to his teachers, but also to his colleagues, particularly those he learned with while at Eastman. He considers his teaching and performing careers to be of equal importance and derives great enjoyment from the continuing success of his students. Below are some of Dagon’s ideas about the teaching and playing of the clarinet.

I believe that all clarinetists must develop their sound. This is what we have to offer (in a unique way). We, as clarinetists, must offer our most well-developed concepts of technique, sound, articulation and musicality in the most personal way to “make it” in the late 20th Century Music Business.

Philosophically, I feel that instrumentalists must develop their instrumental skills before they even dream of using those instrumental skills to make music. Developing our skills is similar to carpenters buying their tools. One cannot build a house until they know how to use the tools and one cannot make music until they know how to use their instrument. Too many times young instrumentalists are forced into using their instrument to attempt to make music when they haven’t yet developed the skills to even dream of doing the same. . . .

If I do anything similar to JEROME STOWELL, STANLEY HASTY or CLOYDE WILLIAMS (I teach many technical and musical things that I learned from them), it is in

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the area of establishing an atmosphere where my students not only learn from me, but also from their colleagues (peers) who, I insist, they respect as colleagues and human beings. Yes, they are competitors but the competition must be collegial, respectful and encouraging to one another. Our Universities, Colleges and Conservatories are institutions of higher learning. The definition of a college goes through all three institutions and it must also be present in the definition of “the studio.” We have four clarinet teachers at Northwestern who have the common goal of helping all of our students to attain, and achieve, their highest individual goals and capabilities. We are not selfish about exchanging ideas with all of the students and we are not paranoid about having our colleagues share their ideas with all of the students (no matter who their primary teacher may be). I also hope that our students continue to learn from one another as this was a strong learning experience for me and, in retrospect, a very positive experience. (Dagon/Paddock 1998)

Bib: Belay, Andy, Ed. “Russell Dagon, Principal Clarinetist.” Encore (September/October 1991): 73; Dagon, Russell, to Tracey L. Paddock, Tallahassee, FL, July 26, 1998; “Dagon, Russell.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 131; Pyne, James. “Russell Dagon – Artist Profile.” The Clarinet 22 (May/June 1995): 49; “Russell Dagon.” Buffet Crampon. http://www.buffet-crampon.com/en/artists.php?mode=artistPresentation&aid=204 (accessed February 16, 2011).

Dahm, Paul J. B. St. Louis, MO (1899). AB: St. Louis Univ; BME: NYU. Former clarinetist: Goldman Band (1929+); Natl Orch Society-NYC (Principal: 1930-33); Maganini Chamber Symph Orch (1930+); also played under Stokowski at the NYC Center, and performed as an oboist and bassoonist. Other positions/activities: was active as a clarinet instructor on Long Island, NY with a large private studio; published many transcriptions for clarinet (incl transcription of Mozart’s for bass clarinet, published by Musicus New York). Hon: listed in Who is Who in Music, 1941 edition; listed as a “Prominent Clarinet Teacher” in The Clarinet. Bib: “Dahm, Paul J.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 73.

Dalby, Max Foreman. B. Aug. 22, 1920 (Driggs, ID); d. Mar. 20, 2005. BM: Brigham Young Univ (1942); MM: San Diego State Univ (1950); EdD: Utah State Univ (1961). EdD diss: “Psychology and Method in Teaching Woodwind Instruments.” Former clarinetist: Utah Symph (Principal: for 4 years, mid-20th century). Former faculty member: Utah State Univ (for many years, 1957+); San Diego Diocese Schools Instrumental Music (Founder/Administrator: 1946-50). Other positions/activities: Conductor, 249th Army Ground Forces Band, Panama; Co-Founder/Conductor, Cache Chamber Orch; Founder/ Conductor, USU Alumni Band; was active as an adjudicator, clinician, and conductor throughout North America and Europe. Memb: ABA. Hon: USU Univ Distinguished Service Award (1989); USU Alumnus of the Year (1994). Students include: R. DENNIS LAYNE, Eric Nelson, Kirt Saville. Bib: “Cleon and Max Dalby Papers.” University of Maryland Libraries. http://www.lib.umd.edu/PAL/SCPA/ABA/Dalby/ Dalby.html (accessed February 16, 2011); “Long-time USU Music Professor Dies.” Utah State University. http://www.usu.edu/alumni/newsletter/2005/jun05. html (accessed February 16, 2011).

Damm, Alfred Jr. Clarinetist: Minneapolis Symph Orch (Clarinet/Bass: 1920-21; served periodically as Extra throughout the mid-1950s).

Dandrow, Charles. Grad: Juilliard. Clarinetist: Indianapolis Symph (1946-48). Hon: recip of three Juilliard schols. Has been active as a private clarinet instructor.

Danfelt, Douglas. Clarinetist: Natl Symph Orch (Clarinet/Sax: 1940).

Daniels, Eddie. B. Oct. 19, 1941 (Brooklyn, NY). Sax studies begun at age 9; clarinet studies from age 13; early clarinet/sax studies with Buddy Geier. HS studies: NYC HS of Perf Arts (private clarinet studies with VINCENT ABATO and DANIEL BONADE). Grad: Brooklyn Coll; MM(Clarinet/Comp): Juilliard (1966). Additional clarinet studies with JOSEPH ALLARD and

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BERNARD PORTNOY. Jazz influences incl BENNY GOODMAN, John Coltrane, Stan Getz, , and ARTIE SHAW. Clarinetist: Thad Jones/ Orch (Clarinet/Flute/Tenor Sax: 1966-72); Bobby Rosengarden’s Band (Woodwinds: formerly). Active as an intl jazz musician, recitalist/soloist (incl perfs with the Arlington Wind Symph-TX, the Navy Commodores, the Air Force, Natl Repertory, and New American Orchs, and the Columbus and Santa Fe Symphs; perfs given throughout the U.S., Europe and Japan, and at numerous ICA, ClariNetwork, and other conferences), chamber musician (incl perfs with the Vermeer String Quartet in Europe, and a recording of the Brahms and Weber clarinet quintets with The Composers String Quartet on the Reference Recordings label), woodwind doubler (on the entire flute and sax family; has also played ), studio musician, and recording artist (incl perfs as band member/leader/soloist with , , , the Cincinnati Pops, and the Thad Jones/Mel Lewis Orch; appears on the Blue Note, CBS, Choice Records, Columbia, GRP, Marlin, Muse, Prestige Records, Solid State, Reference Recordings, and Telarc labels; has received critical acclaim for recordings in both jazz and classical genres). Premiere perfs incl Jorge Callendrelli’s Concerto for Jazz Clarinet, ’s Concerto for Clarinet and Orchestra (1992), and Catherine Hoover’s Concerto for Clarinet (all written for Daniels), and ’s Sketches for Clarinet and Strings (1998). Other positions/activities: G. Leblanc Corp. Artist/Clinician; active as a clinician/lecturer (incl participation at various clarinet conferences), composer (incl much of the material he performs/records), and designer/craftsman of clarinet mouthpieces/ligatures. Published in ClariNetwork. Hon: Winner, Vienna Jazz Compt (Tenor Sax: 1966); Downbeat Award (1967 and other years); 1st Place, Downbeat “New Stars” Award (1978); First Place (Clarinet Division), Downbeat Readers Poll (awarded several times throughout the mid-1980s and 1990’s); recip of numerous Grammy nominations for recordings. Plays on: Leblanc Concerto clarinet; EDDIE DANIELS mouthpiece; Vandoren regular and V-12 #4 ½ reeds; has also played on Buffet R-13 and Yamaha clarinets. Students include: Jeffrey Brooks, Chad Donohue, Joel Levy, Gary Meggs, GEORGE MELLOTT, John Tegmeyer. Eddie Daniels began his music studies on saxophone at age nine, adding clarinet as a double at the age of thirteen. He began performing professionally at the age of thirteen, and became quite successful as a woodwind doubler. Daniels’s career was propelled forward after a European tour with a jazz quartet in 1962, followed by a win at the Vienna Jazz Competition on in 1966. As a result of this, Daniels’ first solo recording, First Prize, was released by Prestige Records. Daniels’s reputation as an outstanding reed doubler earned him positions with several groups, including the Thad Jones/Mel Lewis Orch and Bobby Rosengarden’s Band. During the mid-1980’s, Daniel’s turned his attention predominantly to clarinet performance in both jazz and classical music. He has been highly successful as a recording artist and soloist, and is one of few professional clarinetists to excel in both jazz and classical music. Daniels’s primary jazz clarinet influences were BENNY GOODMAN and ARTIE SHAW, both of whom were responsible for inspiring numerous youngsters to pursue clarinet studies. Following the end of their era, the clarinet suffered a decline of use in jazz performance. Eddie Daniels has almost single- handedly engineered a resurgence of the clarinet in jazz through his playing and compositions. Daniels comments on his early inclination towards jazz:

When I was a kid, my mother said, “You’ve got to learn how to play the clarinet right, you’ve got to be the best. . .” And I was reacting to that by playing jazz as a way to get out all of the frustration of having to be the best. It helped release the pressure because you don’t have to be the best when you play jazz. You just have to be yourself. It’s like a natural therapy for human beings. (Shuster 1991, 21)

Since focusing his attention almost exclusively on the clarinet beginning in the mid-1980’s, the instrument has been Daniels’s self-described “daily struggle,” as he comments below on feelings familiar to many clarinetists:

I’m always afraid something terrible will happen, that the sound won’t come out, that the instrument will squeak. So my everyday life includes getting up in the morning and seeing if it works, if I can get this thing to work the same way everyday. And it just

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doesn’t. It fights you. But I love both the sound and the struggle because I think there’s a voice coming out of the clarinet through me that’s a new expression. (Ibid.)

Daniels is an aficionado of the clarinet sound, that element serving as his first priority, followed by musicality and technique. As important as a beautiful sound is to Daniels, he qualifies this by saying,

. . . I don’t want to have one kind of beautiful sound. Some players have their own kind of beautiful sound that is locked into one place. I want to have all the beautiful sounds at my disposal, so that if I want to express flute, I can be a flute. I can be a bassoon within the clarinet vocabulary; then I can be harsh if I want to, I can be funky if I want to. I want to take all the voices within that instrument and be able to be all those voices, not just one pretty thing. It’s like buying one suit of clothes and wearing it every day for the rest of your life. (Novak-Murrow 1991, 36-41)

Both the Shuster and Novak-Murrow articles listed in the bibliography below are highly recommended for a more detailed account of Daniels’s career and performance philosophy. Daniels is quoted frequently throughout both articles, and his own well-chosen and pithy words are worth reading. Bib: Combs, Larry. “Compact Disc Reviews.” The Clarinet 19 (November/December 1991): 63; Daniels, Eddie. “Eddie Daniels Bio.” E. Daniels. http://www.eddiedanielsclarinet.com/bio.html (accessed February 16, 2011); “Eddie Daniels.” Recordings. http://www.gerrymulligan. info/ recordings/bigband.html (accessed February 16, 2011); Novak-Murrow, Jeanie. “An Interview with Eddie Daniels.” The Clarinet 19 (November/December 1991): 36-41; Schuster, Fred. “Eddie Daniels: Searching for the Sound of the City.” Downbeat (May 1991): 21.

Dannessa, Karen. BME: Youngstown State Univ (magna cum laude, 1985) with JOSEPH EDWARDS; MM(Clarinet Perf/Woodwinds): Michigan State Univ (summa cum laude, 1987) with ELSA LUDEWIG-VERDEHR; DM: Florida State Univ (1994) with FRANK KOWALSKY. Additional clarinet studies with THEODORE JOHNSON (Summer 1982). DM diss: An Annotated Bibliography of Published and Unpublished Trios for Clarinet, One , and Piano Composed Between 1978 and 1990 by Composers Active in the U.S. Clarinetist: Youngstown Chamber Orch (1982-83); American Wind Symph (B-flat/E-flat: 1983); Tallahassee Reed Trio (1988+); Tallahassee Symph (1989); Southeast Kansas Symph (1989-90); Midwest Woodwind Quintet (1991); Springfield Symph-MO (B-flat/E-flat: 1993-); has also performed with the Delaware, Harrisburg, Lancaster and Youngstown Symphs, and Northeast Phil. Active as a soloist (incl perfs with Pittsburgh State Univ, FSU, and YSU ensembles, and the Southeast KS Symph), recitalist/chamber musician (incl perfs with above ensembles, at the 1991 and 1994 Kansas MEA Conventions, 1993 Univ of Oklahoma Clarinet Symposium, ClarinetFests 1995 and 1997, 1995 Montana- Idaho Clarinet Festival, and 1996 IDRS Convention, and at Weill Recital Hall), festival artist (incl participation at the 1991 Sarasota Music Festival), and recording artist. Premiere perfs incl the 4 clarinet sonatas of J. McKay, Jr. (dedicated to Dannessa). Faculty member: Pittsburgh State Univ-KS (Assoc Prof of Woodwinds: 1989-92); Clarion Univ (Asst Prof of Clarinet/Sax: formerly); West Chester Univ (Lect: Fall 1993; Assoc Prof: current). Articles/reviews published in The Clarinet and The Instrumentalist. Memb: CMS, ICA, The Midwest Clarinet Society, MENC, Pi Kappa Lambda, Sigma Alpha Iota. Hon: Winner, 1982 YSU Concerto/Aria Compt. Bib: “Karen Dannessa.” West Chester University. http://www. wcupa.edu/cvpa/som/am_faculty_kdannessa.htm (accessed February 16, 2011).

Darby, Charles. Clarinetist: Natl Symph Orch (1930-38, +/-).

Davis, Emery. B. Aug. 28, 1923 (Bar Harbor, ME). Clarinet studies begun at age 12. Grad: Curtis IOM with DANIEL BONADE. Clarinetist: Pittsburgh Symph (Clarinet/E-flat/Bass: 1952-53); Detroit Symph (Clarinet/Bass: 1954-56); also performed with the Longines Symphonette, Robert Shaw Chorale, Agnes de Mille Ballet, The Strauss Festival, with several military bands, and in numerous Broadway shows, all during the 1950s. Other positions/activities: active for much of his career as leader of the Emery Davis Orch, an orch that performed at/in conjunction with the Tony Awards for almost 4 decades and also performed at numerous Presidential Inaugural Balls. Bib: “Emery Davis Trio.” Friendship Heights Maryland Government. http://www.friendshipheightsmd.gov/PDFs/Concerts508.pdf (accessed February 16, 2011).

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Deaton, James Wright. B. Jan. 24, 1936 (Bemis, TN). BM: Union Univ with FREDERIC LUBRANI; MME: East Texas State Univ with LARRY MAXEY; DM: Univ of Texas-Austin (1971) with LELAND MUNGER. DM diss: The Eighteenth-Century Six-Keyed Clarinet: A Study of Its Mechanical and Acoustical Properties and Their Relationship to Performance of Selected Literature. Clarinetist: North East Texas Symph (Principal: 1990-97); also active as a soloist. Faculty member: Texas A&M Univ- Commerce (Prof of Clarinet: 1965-97; Dept Chmn: 1994-; has also served as Dir of Woodwind Ensembles/Clarinet Choir). Published in The Instrumentalist and other music journals. Other positions/ activities: active as an adjudicator, arranger, clinician, and composer (works incl musicals and music for clarinet choir). Memb: Texas MEA, MENC. Hon: 1st recip of DMA in Clarinet from Univ of Texas- Austin (1971). Plays on: Leblanc Concerto (B-flat) and Buffet R-13 (A) clarinets; modified KANTER mouthpiece; Vandoren #4 reeds. Students include: Eddie Airheart, Becky Orr. In addition to his clarinet-related interests, James Deaton has also written the books and songs for two stage musicals (one of which has been staged) and two plays (one of which has been staged); he also writes humorous poetry about musicians, some of which have been published. Deaton offered the following commentary on his own clarinet philosophy:

1. Tone is everything. Correct production of characteristic clarinet tone also solves other problems (i.e. tuning, response, technique, etc.).

2. I teach people first, music second, and clarinet third. (Deaton/Paddock 1998)

Of his former teacher FREDERIC LUBRANI, Deaton comments:

Until I met him, I was pretty much self-taught. He opened a completely new world of music for me. [He] taught me self discipline, appreciation of work well done, and how to be a gentleman. A wonderful man. (Ibid.)

Bib: Deaton, James W., to Tracey L. Paddock, Tallahassee, FL, May 26, 1998; “Deaton, James.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 828.

De Caprio, Angelo. B. circa 1896 (Italy); immigrated to the U.S. in 1911; deceased. Brother of DOMENICO DE CAPRIO. Early clarinet studies with DOMENICO DE CAPRIO; additional clarinet studies with PIERRE PERRIER, FELIX VIVIER (clarinet and comp), and ALBERT CHIAFFARELLI. Harmony studies with Sansone and Palmer. Former clarinetist: Innes Band (Principal); Max Bendix Band (Principal); Minneapolis Symph (1914-22, +/-); Detroit Symph (1922+). Former faculty member: Balatka Acad; DePaul Univ; Chicago Musical Coll (1950s, +/-); Sherwood Music School (Clarinet Instructor/Dir of Band: 1950s, +/-); also taught in Chicago-area high schools. Author, New Approach to Clarinet. Other positions/activities: active as a composer (works for clarinet and piano incl Adagio and Scherzo, Chant D’Orient, Impressions Fantasy, Nocturne Moderne, and Toccatina). Students include: ROBERT BOND, DON MCCATHREN, DAVID OPPENHEIM. Bib: “Angelo De Caprio.” The Clarinet 1 (Fall 1953): 19.

De Caprio, Domenico [Domenic]. B. Italy; deceased. Brother of ANGELO DE CAPRIO. Clarinetist: Chicago Symph (1922-23). Was also active as a theater and studio musician. Faculty member: Northwestern Univ (Instructor of Clarinet: 1930-70s, +/-). Published in Woodwind Magazine. Students include: Carl Anderson, WALTER BARZENICK, ANGELO DE CAPRIO, Stephen Christos, STANLEY GAULKE, NORMAN HEIM, JOHN MCMANUS, Roy Norton, William Stewart, GEORGE WALN. Bib: De Caprio, Domenic. “One Man’s Opinion.” Woodwind Magazine 1 (November 1948): 2, 4.

DeFranco, Boniface Ferdinand Leonardo [Buddy]. B. Feb. 17, 1923 (Camden, NJ). While known first and foremost for his career as an outstanding and highly influential jazz clarinetist, Buddy DeFranco’s clarinet skills are anchored in traditional studies. He began clarinet and saxophone studies at the age of nine with Willie DeSimone and began performing professionally just three years later to help his father support the family. During his studies at the Mastbaum School, which DeFranco attended in place of high school, DeFranco performed with the school orchestra and the Symphony Club (a youth orchestra) in

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Philadelphia. He has worked from a base of traditional clarinet studies and has used the Klosé scales and other mainstream clarinet studies for the purpose of “cleaning out” throughout his career. (Bowen 1994, 59) As a jazz clarinetist, DeFranco was active during the Big Band era, performing with the biggest names of the age including Charlie Burnet, , , Boyd Raeburn, and others. He was also influential in the movement and performed with legendary musicians such as , , Charlie Parker, and others. In addition to performances with these jazz greats, as a member of the Count Basie (1950), and as leader of the (1966-74), DeFranco also led his own big band and formed his own quartet with a kaleidoscope of jazz legends as members (including , , , , Bobby White, , and others over the years). DeFranco has won numerous “all-star” and “poll” awards, including 20 Downbeat awards, 3 Melody Maker awards, 7 Metronome awards, and 14 awards from Playboy. (Ibid.) In 1998, DeFranco was nominated for a Grammy for Best Instrumental Solo for his recording, You Must Believe in Swing. Most recently DeFranco has been named a Jazz Master by the NEA and has been inducted into The American Jazz Hall of Fame. He has performed at numerous ICA and other clarinet conventions to great acclaim. In his article on the clarinet and jazz, Douglas Carleton comments:

DeFranco, influenced heavily by both Goodman and another technical wizard of the big band, Artie Shaw, came under the spell of bop’s progenitor, alto saxophonist Charlie Parker in the mid-1940’s. DeFranco’s astounding technique and superb musicianship won him the respect and admiration of many of his contemporaries. (Carleton 1976, 11)

Jazz clarinetist, periodontist, and former DeFranco student RON ODRICH offered the following insight into DeFranco’s approach to the clarinet:

Buddy has a thoroughly analyzed, technical approach to his playing, right down to the movement of your fingers and the distance they should move from the clarinet. We got into breathing and the ‘psycho-analytic’ approach to playing jazz. And relaxing while playing. (Daniels 1982, 16)

For an in-depth study of DeFranco’s career as a jazz clarinetist, A Life in the Golden Age of Jazz: A Biography of Buddy DeFranco, written by Fabrice Zammarchi and Sylvie Mas, is highly recommended as are the articles and books listed in Bib below. Students include: RON ODRICH. Bib: Bowen, Glenn. “Book Review.” The Clarinet 21 (May/June 1994): 59; Carleton, Douglas J. “The Role of the Clarinet in the Development of Jazz.” The Clarinet 4 (Fall 1976): 11; Daniels, Eddie. “Meet Ronnie Odrich!” ClariNetwork (February/March 1982): 16; Kuehn, John, and Arne Astrup. Buddy DeFranco: A Biographical Portrait and Discography. Metuchen, NJ: Scarecrow Press, 1993; Zammarchi, Fabrice and Sylvie Mas. “Buddy DeFranco Biography.” Parkside Publications. http://www.parkside publications.com/defranco1.html (accessed February 16, 2011).

De Jesu, James. Clarinet studies with GUSTAVE LANGENUS. Active as a private clarinet instructor; was influential in the burgeoning clarinet choir movement in the U.S during the 1950s. Students include: Joseph De Palo, NAOMI DRUCKER. Bib: Estrin, Mitchell. “A Brief History of the American Clarinet Choir.” University of Florida. http://www.arts.ufl.edu/music/clarinet/articles.html (accessed February 16, 2011).

de Kant, Ronald. B. Oct. 30, 1931(Lancaster, PA). Artist Dipl: Juilliard. Clarinet studies with DANIEL BONADE. Clarinetist: New Orleans Phil/Opera (Principal: 1956-65); CBC Vancouver Chamber Orch (Principal: 1965-80); Vancouver Symph/Opera (Principal: 1965-83); Santa Fe Opera (Summers, 1972-73); Phoenix Symph (E-flat: 1984-87). Active as an intl recitalist (incl a recital broadcast live from the Sydney Opera House for the Australian Broadcasting Commission and a perf at ClarinetFest 1998), soloist (incl perfs/recordings with the CBC, Cincinnati, and Vancouver Symphs, and a perf of the Copland Clarinet Concerto conducted by Copland), chamber musician (incl perfs/recordings with the Purcell String Quartet), and recording artist (appears on 100+ recordings with above orchs and various chamber ensembles). Faculty member: U.S. Naval SOM-Washington D.C. (formerly); Xavier Univ (1956-65);

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Loyola Univ (1956-65); Univ of British Columbia (Prof of Clarinet: 1965-83); Arizona State Univ (Prof of Clarinet: 1983-87); Cincinnati Conserv (Prof of Clarinet/Chamber Music: 1987-; Chmn of Brass/ Woodwind Dept: 1989-93, +/-); Shanghai Conserv (Guest Artist/Teacher: 1994). Articles published in The Clarinet. Other positions/activities: Leblanc Artist; active as a clinician and conductor (incl positions as conductor of the Vancouver Youth Orch, 1980-82, and the AZ State Univ Wind Ensemble, 1984-87); Host, 1992 ICA Clarinet Conference; Editorial Staff, The Clarinet (1997, +/-). Memb: ICA. Hon: Juilliard schol. Plays on: Buffet clarinets; an old Selmer mouthpiece; Bonade ligature; Vandoren V-12 #4 reeds. Students include: LORI ARDOVINO, CHRISTOPHER AYER, Priscilla Balasa, William Bernier, Allison Blackburn, Erin Bubalo, Antoine Clark, Katie Curran, KIM ELLIS, Julianna Evans, WESLEY FOSTER, Suzanne Gekker, Jean Hay, WILLIAM JENKEN, John Kurokawa, Keith McLeod, Janice Minor, RICARDO MORALES, Marc Naylor, LESLIE NICHOLAS, MAXINE RAMEY, Russell Shedd, Robert Sheffield, Kimball Sykes, Wallis Williams. In addition to his musical activities, Ronald de Kant has also been a race car driver and commercial pilot, and is an avid mountain hiker. On teaching clarinet, de Kant believes that one should “try to get the students young – they will listen and do what they should. Then, when they go on, the training will stay.” (de Kant/Paddock 1998) On performance, de Kant believes in “keeping the integrity of the music; subjugate your ego to that of the music and you can consider yourself an honest player.” (Ibid.) Bib: de Kant, Ronald, to Tracey L. Paddock, Tallahassee, FL, June 8, 1998.

DeLuca, Laura. Clarinet studies at Northwestern Univ with ROBERT MARCELLUS. Clarinetist: Seattle Symph (1986-); Seattle Chamber Players (Co-Founder/Memb: 1989-); Music of Remembrance (current). Active as an intl soloist (incl perfs with the Cascade, Rainier, and Seattle Symphs, and Seattle Youth Orch), chamber musician (incl perfs with the Moscow , and with the Seattle Chamber Players in China, Costa Rica, Denmark, Estonia, Italy, Moscow, and Warsaw), festival artist (incl participation at the Icicle Creek and Richmond Music Festivals), Klezmer artist, studio musician (appears on several motion picture soundtracks), and recording artist (with the Seattle Symph, and with Music of Remembrance on the Naxos label). Faculty member: Cornish Coll of the Arts (Adj: current); has also taught at the Marrowstone Music Festival and Univ of Puget Sound. Other positions/activities: has strong interest in yoga, tai chi, meditation and practices that integrate body/mind/spirit, all of which she applies to her musical and non-musical life. Students include: Jeffrey Brooks, SAMUEL CAVIEZEL, Levana Cohen, Benjamin Lulich, Campbell MacDonald. Bib: “Laura DeLuca.” Cornish College of the Arts. http://www.cornish.edu/music/faculty/laura_deluca/ (accessed February 16, 2011).

Denman, John. B. July 22, 1933 (London, ); immigrated to the U.S. in 1976; d. Nov. 6, 2001 (Tucson, AZ). Music studies at the Royal Military SOM. Former clarinetist: Band of the Life Guards (Principal); Tucson Symph (Principal: 1980s-1999, +/-); Jazzberry Jam (Founding Memb); also performed as Principal Clarinet/Clarinet of the English Natl Opera, London Symph, and Royal Phil Orch. Was active as an intl recitalist (incl perfs at ICA conferences, and numerous perfs with his wife, pianist Paula Fan, as the Denman-Fan duo), soloist (incl perfs with the Tucson Symph and various London orchs), chamber musician, jazz musician (incl a memorable perf at the 1979 ICA conference with LARRY COMBS and EDDIE DANIELS, and a tour of Japan with the ), studio artist (incl work for BBC), recording artist (incl recordings of the sonatas of Bax, Hughes, Ireland, and Stanford, the concerti of Finzi, Spohr, and Stamitz, and an award-winning jazz recording with his idol, BUDDY DEFRANCO; appears on the Carlton Classic label and his own label). Premiere perfs incl Richard Faith’s Clarinet Concerto with the Tucson Symph (April 24, 1987) and his own Crossover Concerto with the Tucson Pops, just months before his death). Faculty member: Univ of Arizona (Prof of Clarinet: 1976-85). Articles published in The Clarinet. Other positions/activities: Organizer, Univ of Arizona Clarinet Convention (1977); developed the “Kinder Klari,” an E-flat-sized clarinet for beginners with small hands; was active as a clinician, composer (incl Crossover Concerto, a swing concerto dedicated to DeFranco, and composed the year before he lost his battle with cancer), and lecturer; enjoyed golf. Hon: first wind soloist invited to perf in China by the Ministry of Culture (introduced wide range of Western clarinet music to Chinese clarinetists and gave Chinese premiere of the Mozart Clarinet Concerto during this visit); BASF Sunnie Award for Best Jazz (1995). Students include: ROBERT CHESEBRO, Kevin Justus, Ian Scott, David Townsend. Although John Denman was born in England and spent the first portion of his professional career there, he spent the second portion teaching and performing in the U.S. While in England, Denman’s repertoire was mostly classically-oriented, but upon his arrival in the U.S., he began to develop his jazz

78 playing, and became equally comfortable playing classical, jazz, or pops music. While in the U.S., Denman influenced many clarinetists through his teaching and playing and through his involvement with the ICA. Denman was widely liked and was essentially adopted into the American clarinet community. Bib: “Clarinetist John Denman.” Musiclassical.com. http://perfartists.tripod. com/jdenman.html (accessed February 16, 2011); “Denman, John.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 142; Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 103; Gillespie, James, Ed. “An Interview with John Denman.” The Clarinet 4 (Spring 1977): 22-23; West, Charles. “Faith Clarinet Concerto Premiered.” The Clarinet 15 (November/December 1987): 20.

de Peyer, Gervase Alan. B. Apr. 11, 1926 (London, ENG). Began music studies on the piano; clarinet studies begun at age 12. Early clarinet studies with Thomas Holding. Grad (Clarinet/Piano): Royal Coll of Music (1944) with . Additional clarinet studies with Louis Cahuzac in Paris. Former clarinetist: Marine Band-Columbo (1946-48); Music in Miniature; London Baroque Ensemble; Boyd Neel Orch; Fidelio Ensemble; London Wind Players; London Mozart Players (1949-55); (Founding Memb: 1950-74); English Chamber Orch (formerly known as the Goldsbrough Orch; 1951-56); London Chamber Orch (1953-58); London Symph Orch (Principal: 1955- 72); Chamber Music Society of the Lincoln Center (1969-89). Active as an intl recitalist (incl perfs with duo partner/pianist Gwenneth Pryor at ICA conferences and throughout North America and Europe), soloist (incl perfs with the Hallé Orch and BBC Symph, and perfs of the clarinet concerti of Copland and Francaix conducted by the composers), chamber musician (incl perfs with above groups and the Amadeus Quartet), festival artist (incl participation at the Cheltenham Festival-England and Spoleto Festival-Italy), and recording artist (numerous solo/chamber recordings on the Chandos, Decca, EMI, Music Masters, Radiant Mastery Ltd, Seraphim, and other labels). Premiere perfs incl concerti by and , quintets by Benjamin Frankel, , and Robert Simpson, and other works. Works written for de Peyer incl those by Arnold Cooke, Alun Hoddinott, , Elizabeth Maconchy, , John McCabe, Thea Musgrave, Matyas Seiber, and others. Faculty member: Royal Acad of Music (1959-62); Mannes Coll of Music (1980s, +/-). Other positions/activities: has been active as a clinician/lecturer (incl lecture at the 1977 Clarinet Clinic), conductor (incl work with the London Symph, Haydn Orch, London Mozart Players, and London Symph Orch Wind Players; has also conducted the Melos Sinfonia of NY and the Concerto Soloists of Philadelphia). Hon: recip of numerous awards from the Royal Coll of Music incl the Worshipful Co. of Musicians’ Gold Medal; Charles Gros Grand Prix du Disque (1961, 1962); Acad of Arts and Sciences of America Plaque of Honor (1962); numerous favorable reviews of perfs/recordings appear in The Clarinet (see Bib below), Financial Times, Manchester Guardian, New York Times, San Diego Tribune, and other publications. Has played on: Boosey & Hawkes 10/10 clarinets (formerly), Peter Eaton and Luis Rossi clarinets; Boosey & Hawkes 10/10 mouthpiece. Students include: Emma Alexandra, STEVEN BENNETT, GARY BOVYER, PAUL GARRITSON, TODD PALMER, RANDALL PAUL, , Valdemar Rodriguez, ROBERT SCHOTT, Robert Owen West. As with JOHN DENMAN immediately above, Gervase de Peyer was born in England, but spent the latter part of his musical career based in the U.S. De Peyer remarked to Pamela Weston in her book Clarinet Virtuosi of Today that he was part of the “slow crescendo of disappearances from the London scene.” (Weston 1989, 89-94) Although he made the U.S. his permanent home in 1976, de Peyer has continued to enjoy an active career as a recitalist, soloist, chamber musician, and conductor throughout Europe as well. He has recorded prolifically, having made two recordings of the Mozart Clarinet Concerto with the London Symphony Orchestra as well as recordings with the Melos Ensemble, the Amadeus Quartet, the Chamber Music Society of the Lincoln Center, and with such artists as Frederick Thurston, , Daniel Barenboim, Gwenneth Pryor, and PETER SIMENAUER. At one time, de Peyer was reputed to have had more recordings to his credit than any other clarinetist in history. The interview by Luigi Magistrelli (see Bib below) is highly recommended for insight into de Peyer’s philosophy and for its thorough discography. Bib: Dannessa, Karen. “Compact Disc Reviews.” The Clarinet 27 (December 1999): 93; “de Peyer, Gervase Alan.” Jacobs, Arthur. The Penguin Dictionary of Musical Performers: A Biographical

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Guide to Significant Interpreters of Classical Music, Singers, Solo Instrumentalists, Conductors, Orchestras, and String Quartets Ranging from the Seventeenth Century to the Present Day. New York, N.Y: Penguin Books, 1991: 51; “de Peyer, Gervase.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 143; “Gervase de Peyer and the Peter Eaton ‘Elite 600.’” Advertisement in The Clarinet 14 (Spring 1987): 47; Gilbert, Richard. The Clarinetists’ Repertoire – A Discography. New York: The Grenadilla Society, 1972: 85-86; Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 94, 104; Magistrelli, Luigi. “An Interview with Gervase de Peyer.” The Clarinet 26 (June 1999): 45-50; Weston, Pamela. Clarinet Virtuosi of Today: Baldock, England: Egon, 1989: 89-94.

DeRoche, Julie Reid. B. June 19, 1959 (Carbondale, IL). BM: Northwestern Univ (1981) with CLARK BRODY and ROBERT MARCELLUS; additional studies at the Aspen Festival (1978) with RICHARD WALLER. Additional clarinet studies with LARRY COMBS. Clarinetist: The Loop Group (1981-87); Civic Orch of Chicago (1982); Sheffield Winds (1983- 84); Illinois Phil (1984-92); Absolute Theater Co. (production of Good, Fall 1985); Light Opera Works (1988); Nutcracker Ballet Orch-Airie Crown (1988-91); Terry Fryor Studios (1990-); Chicago Symph Orch (Sub/Extra: 1991-; Guest Second: 2000+; perfs incl several European tours with the CSO); Chicago Recording Co. (1991-); Chicago Music Works (1991-); Steve Ford Music (1991-); Chicago Clarinet Trio (with LARRY COMBS and JOHN BRUCE YEH; current). Active as a recitalist (incl perfs at the 1998 Montana/Idaho Clarinet Festival, the 1999 Univ of Montevallo Clarinet Symposium, and other clarinet conferences), chamber musician (incl perfs/recordings with the Sheffield Winds, The Loop Group, Chicago Clarinet Trio, and Chicago Chamber Musicians), festival artist (incl perfs with the Chicago Symph at the Ravinia Festival), studio musician (incl work for above studios and Universal Studios), recording artist (incl recordings with the Chicago Symph, Chicago Clarinet Trio, and Chicago Chamber Musicians); broadcast perfs given on WFMT Radio. Faculty member: DePaul Univ (Instructor of Clarinet/Woodwind Div Coordinator: 1983-; incl duties as Coordinator/Instructor at the annual summer DePaul Clarinet Workshop); active as a private clarinet instructor (1976-). Other positions/activities: Owner/Pres, Natl Clarinet Suppliers, Inc. (1981-86); Dir, 1994 ICA Conference; Treas, ICA (formerly, 1997, +/-); Pres, ICA; G. Leblanc Corp. Artist/Clinician; active as an adjudicator (incl the 1998 ICA Young Artist Compt) and clinician in the U.S. and Europe (master classes given at numerous SOMs, at the 1998 Montana/Idaho Clarinet Festival and 1999 Univ of Montevallo Clarinet Symposium, and at various state music convention clinics). Hon: Northwestern Univ Dean’s List; Josephine C. Magnani Schol; Illinois State Scholar. Plays on: Leblanc Opus clarinets; RICHARD HAWKINS mouthpiece; BONADE inverted ligature; Vandoren V-12 #4 reeds. Students include: Alejandro Acierto, Patti Goodwin, Teri Johenan, Laura Kelly, Julie Linder, ANTHONY MCGILL, Carrie Ravenscraft, Emily Hanzlik Robinson, Adrian Sandi, Andrew Seymour. Julie DeRoche may be not only one of the busiest clarinetists in the Chicago area, but also one of the most frequently heard clarinetists in America, as noted in her biographical sketch:

Ms. DeRoche plays on the soundtrack for ’ Othello and on hundreds of spots for McDonald’s, United Airlines, Kelloggs, Sealy, Budweiser and many others. It is not an exaggeration to say that most people probably hear her play every day. (DeRoche/Paddock 1998)

On her development as a musician, DeRoche comments,

I have learned as much from my friends and colleagues LARRY COMBS and JOHN BRUCE YEH [capitals mine] as I have from my past teachers. I appreciate their help with my career very much, though I have not studied with them. (Ibid.)

Bib: “Candidates for I.C.A. Officers.” The Clarinet 25 (February/March 1998): 24; DeRoche, Julie, to Tracey L. Paddock, Tallahassee, FL, May 21, 1998; “Julie DeRoche.” DePaul University. http://music.depaul.edu/FacultyAndStaff/D/jderoche.asp (accessed February 16, 2011).

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De Santis, Louis. B. Apr. 22, 1880 (Torino di Sangro, Italy); d. 1940. Former clarinetist: St. Louis Symph (Principal: 1925-26); Cleveland Orch (Principal: 1926-29); Philadelphia Orch (Principal: 1930-31); CBS Symph (Principal: mid- to late-1930s); WPA Orch-Philadelphia (during WWII). Appeared on recordings with the CBS Symph. Published a method book entitled New Studies for Clarinet. Louis De Santis’s playing influenced ROBERT MARCELLUS profoundly. He commented,

Then there was another chap named Louis De Santis who recorded Deems Taylor’s Through the Looking Glass suite with the Columbia Broadcasting Symphony under Howard Barlow. The first time I heard that record I realized that’s what a clarinet should sound like. His tone was truly beautiful. (Nygren 1988, 33-42)

MITCHELL LURIE was similarly influenced by De Santis’ playing. He commented,

My favorite recording was . . . DeSantis playing Deems Taylor’s Through the Looking Glass with the C.B.S. Symphony. There is a big clarinet solo, ‘The Jabberwocky,’ and I think I wore out three sets of records listening to that, thinking that this is the clarinetist I want to sound like. In time I learned that there isn’t just one style of playing or sound of clarinet that is the best . . .” (Phillips 1991, 10-13)

Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski. org/Philadelphia_Orchestra_Musicians.htm (accessed January 28, 2011); Nygren, Dennis. “Robert Marcellus, Yesterday and Today: An Interview.” The Clarinet 16 (November/December 1988): 33-42; Phillips, Harvey. “A Lifetime of Musical Opportunities: An Interview with Mitchell Lurie.” The Instrumentalist 46 (September 1991): 10-13.

Detgen, Gene. B. Bremen, KS (1911). Grad: Concordia Teachers Coll. Former clarinetist: WARMELIN Clarinet Quartet; Bachman Band; Col. Hand’s Band; prominent Iowa clarinetist of the 1940s who also performed as a guest artist on Chicago radio station WGN. Hon: featured in Who is Who in Music. Bib: “Degten, Gene.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 78.

DeVan, Dru. BM: Georgia State Univ (1973) with ALAN BALTER; additional music studies at the Royal Conserv of Music-Liege, Belgium (1973), the Royal Conserv of Music-Antwerp, Belgium (1974) with , and the Intl Summer Acad of -France (1974). Additional clarinet studies with STANLEY HASTY and ROBERT MARCELLUS. Clarinetist: Royal Cercle Orch of Liege- Belgium (Principal: 1974); Atlanta Symph (Extra/E-flat: 1975-80); Savannah Symph/Woodwind Quintet (1975-81); Atlanta Lyric Opera (Principal: 1977-79); Atlanta Chamber Orch (Principal: Summer 1979); Missouri Chamber Orch (Co-Principal: 1980); Charlotte Symph (Clarinet/E-flat: 1985-; has also performed as Principal); Knoxville Symph (Extra E-flat: 1996-); North Carolina Symph (Extra: 1997-). Active as a soloist (incl perfs with the Charlotte and Savannah Symphs and the Royal Cercle Orch), chamber musician (incl perfs with the American Pro Art Quartet and on the Wildacre, NC Summer Chamber Music Series), festival artist (incl participation at the Missouri Symph Society Perf Arts and Piccolo Spoleto Festivals), and recording artist (incl recordings with the Atlanta Symph). Faculty member: has taught at Davidson Coll, Queens Coll, and Charlotte Community School of the Arts. Other positions/activities: Rep, Charlotte Symph Players’ Artistic Committee. Extra-musical activities incl fishing the Outer Banks of NC and studying the stock market. Memb: ICA. Plays on: Buffet R-13 (B-flat/A) and RC (E-flat) clarinets; PYNE mouthpieces. Bib: DeVan, Dru, to Tracey L. Paddock, Tallahassee, FL, September 5, 1998.

Dieterichs, Frederich (Fritz). B. Feb. 29, 1872 (Brunswick, GER). Immigrated to the U.S. in 1901. Clarinet studies with Carl Baermann. Clarinetist: Philadelphia Orch (Principal: 1901-13); also performed regularly during this time as Principal of the Boston Festival Orch; performed in various Philadelphia theaters (1910s-50s) after his departure from the Philadelphia Orch. Former faculty member: Hahn Conserv of Music-Philadelphia. Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Philadelphia_Orchestra_Musicians.htm (accessed January 28, 2011); Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57.

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DiLutis, Patricia [Patti]. Clarinet studies with HAROLD WRIGHT (at Boston Univ), PASQUALE CARDILLO, KALMEN OPPERMAN, and DAVID WEBER. Clarinetist: San Antonio Symph (Actg Second/E-flat: formerly); Syracuse Symph (Actg Principal: formerly); Buffalo Phil (Second/ E-flat: current); has also performed with the Austin Symph, , and the Laredo and Rochester Phil Orchs. Active as a recitalist/soloist, chamber musician, and festival artist (incl participation at the Chautauqua, Nueva Laredo, Round Top, Skaneateles, and Victoria Music Festivals). Faculty member: Trinity Univ (formerly); Eastman Community Music School (current); has served as Guest Faculty at SOMs in TX and NY (incl Ithaca Coll). Other positions/activities: Co-Founder, Greater San Antonio Music Instit (1994); Buffet Crampon USA Perf Artist (1996-); Dir, New Horizons Clarinet Ensemble (current). Hon: Finalist, Concert Artist Guild Compt; featured at 1995 Intl Flute Convention. Plays on: Buffet R-13 (E-flat/A) and Tosca (B-flat) clarinets. Bib: “Patricia DiLutis.” Buffet Crampon. http://www. buffet-crampon.com/en/artists.php?mode=artistPresentation&aid=415 (accessed February 16, 2011).

DiLutis, Robert. B. Sept. 7, 1967 (Baltimore, MD). Advanced music studies at Peabody Pre- Coll (1979-85) with WILLIAM BLAYNEY; BM: Juilliard (1989) with DAVID WEBER. Clarinetist: San Antonio Symph (Asst Principal/E-flat: 1990-96); Rochester Phil (Second/E-flat: 1996-). Active as a recitalist (incl 1989 Carnegie Recital Hall debut) and soloist (incl perfs with the Peabody Sinfonietta, River City Consort, Rochester Phil, and Seattle Wind Symph). Faculty member: Baltimore School for the Arts (1987-89); Incarnate Word Coll (1993-96); St. Mary’s Univ (1993-96); Nazareth Coll-Rochester, NY (1997-); Eastman Community Music School (current). Co-Editor (with DAVID WEBER), Lebanchi Volume 1. Other positions/activities: Co-Founder, Greater San Antonio Music Instit (1993); Inventor of The Reed Machine, a clarinet/sax reed-making device used around the world; Buffet Crampon USA Perf Artist (1996-); active as an instrument repairman. Hon: Winner, Artist Intl Compt (1989). Memb: ICA. Plays on: Buffet R-13 (B-flat/A), RC (E-flat), and Prestige (C/Low C Bass) clarinets. Students include: Charles Douglas, Reis McCullough, April Milbert. DiLutis’s personal musical mission is to “further the development of music through education and performance.” (DiLutis/Paddock 1998) Bib: DiLutis, Robert, to Tracey L. Paddock, Tallahassee, FL, July 9, 1998; “Robert DiLutis.” Buffet Crampon. http://www.buffet-crampon.com/en/artists.php?mode=artistPresentation&aid=258 (accessed February 16, 2011).

Dirksmeyer, Paul D. D. Aug. 1996. Former faculty member: Louisiana State Univ (1950s-70s, +/-). Other positions/activities: well-known as a clarinet/sax mouthpiece craftsman; mentor to mouthpiece craftsman Michael Lomax. Students include: Carl Anderson, Alvin Batiste, Russell Burnham, Alex Fields, ROBERT GREENLEAF, John Milbauer, WILLIAM SCARLETT. Bib: Wheeler, Julian. “Mike Lomax Mouthpiece Event at .” Howarth of London. http:www.howarth.uk.com/images/lomax/ lomax.pdf (accessed February 16, 2011).

D'Isere or Disair, Guy. Clarinetist: Minneapolis Symph Orch (Principal: 1920-21); CBS Symph (Second: formerly, with both DANIEL BONADE and RALPH MCLANE as Principal). Played on: Chedeville 8 mouthpieces (one of which he gave to RALPH MCLANE, who passed it on to HAROLD WRIGHT, who played on it until it warped beyond use). Bib: Weber, David. “Reminiscences.” Liner Notes. Brahms, Johannes, 1833-1997. Trio in A Minor for Clarinet, Violoncello and Piano, Op. 114 Perf. Ralph McLane, Sterling Hunkins, Milton Kaye. LP. Grenadilla Society, originally released 1939; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 298-302.

D’Mello, Ralph. B. Bombay, India. MM: Yale Univ with KEITH WILSON; MME/DM: Syracuse Univ. Active as an intl recitalist/soloist (incl the 1984 premiere of Howard Boatwright’s ) and chamber musician throughout India and the U.S. Former faculty member: Syracuse and Liverpool Central Schools, NY; Syracuse Univ. Published in Woodwind World-Brass and Percussion and other music journals. Other positions/activities: former Asst Dir of Music, Indian Army’s Military Music Wing; active as a writer (incl a book on Indian folk instruments) and composer (incl works for the clarinet). Bib: “Ralph D’Mello.” Woodwind World-Brass and Percussion. 15 (March 1976): 8.

Doherty, Charles R. Clarinetist: Natl Symph Orch (Principal: 1944-46, +/-); Kansas City Phil (1949, +/-). Faculty member: Univ of Missouri-Kansas City (1979, +/-). Students include: Janet Johnson,

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Orval Oleson, Douglas Storey. Bib: Stoddard, Hope. “Clarinets and Clarinetists in Our Orchestras.” International Musician. 48 (): 23.

Dolphy, Eric. B. June 20, 1928 (Los Angeles, CA); d. June 29, 1964 (Berlin, GER). Music studies at Los Angeles City Coll. Clarinet/Sax studies with JOSEPH ALLARD. Active as a clarinetist and bass clarinetist (in traditional, avant garde, and jazz settings); most well-known for his skills as an innovative jazz bass clarinetist/flutist/saxophonist. Performed in Orch USA (on flute), Gunther Schuller’s Orch (on clarinet), and various chamber ensembles; led his own ensembles and performed with numerous jazz legends (incl Chico Hamilton, Charles Mingus, Ornette Coleman, and John Coltrane). Recorded prolifically (on the Prestige, Blue Note, and other labels). Works written for Dolphy incl WILLIAM O. SMITH’s clarinet work Elegy for Eric. Composer/Clarinetist William O. Smith offered the following commentary on the multi-talented Eric Dolphy:

Eric Dolphy played flute in Orchestra USA. While staying in New York, I attended several concerts. I went to Carnegie Hall one evening, and there was Eric Dolphy playing in Gunther Schuller’s Orchestra performing Stravinsky and this time playing the clarinet. He sounded great. Then I went to the Village Vanguard where I heard him play , flute and bass clarinet. Simply stated, he had a solid background in classical music, was competent on several instruments, and played jazz. . . . Along the way, he developed some sensational multiphonic and worldly stratosphere bass clarinet sounds that I find striking and unique. (Suther 1997, 41)

For more in-depth information on Dolphy’s career, the internet link below is very useful. Bib: Saul, Allen. “Introduction to Eric Dolphy Discography.” Adale.org. http://adale.org/ Discographies/EDIntro.html (accessed February 16, 2011); Suther, Kathryn Hallgrimson. “Two Sides of William O. ‘Bill’ Smith.” The Clarinet 24 (July/August 1997): 40-44.

Dominik, William Carl. B. June 12, 1925 (Lansing, MI). BME(with high honors): Michigan State Univ (1949) with KEITH STEIN; MM/DM(Ed): Univ of Southern California (1950/1964). Additional clarinet studies with JOSEPH SINISCALCHI (1947-49), KALMAN BLOCH (1949), ROBERT MARCELLUS (Summer 1955), CLARK BRODY (1955-60), and Guy Dangain (Paris, 1979). Clarinetist: Stockton Symph (formerly); Pacific Arts Woodwind Quintet (formerly). Active as a recitalist/soloist, chamber musician (incl perfs with the Pro Arte String Quartet and Pacific Arts Woodwind Quintet), festival artist (incl participation at Tanglewood, 1951), and recording artist (with the Pacific Arts Woodwind Quintet on Orion Masters Recordings). Faculty member: Bethany Coll-KS (1950-51); Escondido Public Schools-CA (1951-52); Oberlin Coll (1952-55); Univ of Wisconsin-Madison (1955-60); Texas Coll of Arts and Industries (1960-61); San Fernando Valley State Coll (Fall 1965); California State Univ-Los Angeles (1966-67); Univ of the Pacific (Prof of Woodwinds: 1967-95, +/-); has been active as a private clarinet instructor in Los Angeles (1961- 67); other areas of teaching incl chamber mus, conducting, history, orchestration, theory, and woodwind ensembles. Other positions/activities: Chapter Pres, Pi Kappa Lambda, Univ of the Pacific (formerly); ICA Pacific Regional Chmn (formerly); NACWPI Western Div Chmn (formerly); Province Governor/Faculty Advisor, Phi Mu Alpha Sinfonia (formerly); has been active as an adjudicator. Memb: California MEA, ICA, MENC, NACWPI, Phi Mu Alpha Sinfonia. Hon: Memb of Phi Kappa Phi, Pi Kappa Lambda, and Tau Sigma honorary fraternities. Plays on: Buffet R-13 clarinets; Frank Kaspar (Chicago) mouthpiece; Vandoren reeds. Students include: MICHAEL BORSCHEL, Mark Hollingsworth, Hank King, Maryanne Lacaille, Florie Rothenberg, ROBERT WILLIAMS. Bib: Dominik, William C., to Tracey L. Paddock, Tallahassee, FL, July 14, 1998; “Dominik, William Carl.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 150.

Donatelli, Vincent. B. 1892 (Matera, Italy); d. 1956 (CA, USA). Immigrated to the U.S. in 1908. Music studies at the Naples Conserv-Italy. Clarinet studies with Angelo Picone. Former clarinetist: Long

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Beach Band; RKO Studios (Principal); also played in many of the major Los Angeles theatre orchs. Was active as a studio musician (incl work with all of the major Los Angeles motion picture studios), clarinet instructor, author (Daily Studies for the Clarinet), and composer/arranger of many works for the clarinet. Bib: Collis, James, ed. “Vincent Donatelli.” The Clarinet 22 (Spring 1956): 22.

Dost, Oscar. Clarinetist: Minneapolis Symph Orch (1913-14).

Drapkin, Michael Lewis. B. Apr. 14, 1957 (Van Nuys, CA). Early clarinet studies with GARY GRAY (1973-75). BM: Eastman SOM (1979) with STANLEY HASTY; additional studies at the Aspen and Tanglewood festivals. Additional clarinet studies with CHARLES BAY and HAROLD WRIGHT. Clarinetist: Natl Opera Touring Co. of the NY Opera (Principal: 1981-82); Honolulu Symph (Assoc Principal/Bass: 1982-83); Music Amici (Solo Clarinetist/Exec Dir: formerly); has also performed with the New Jersey and Portland Symphs and the Brooklyn, Long Island, and Rochester Phil Orchs. Active as a clarinet/bass clarinet recitalist, soloist, chamber musician, jazz musician, Klezmer musician, and festival artist (incl participation as Principal Clarinetist of the Lake George Opera Festival). Author, Symphonic Repertoire for the Bass Clarinet (Roncorp Publications); is also working on a volume of transposed orch bass clarinet parts. Articles published in various music journals. Other positions/activities: Yamaha Artist; Founder, Drapkin Technology (1999); Founder/Exec Dir, Foundation for Entrepreneurialism in the Arts; active as an adjudicator, arranger (incl works for clarinet), and clinician/lecturer. Hon: listed in Who’s Who in American Music (Classical), 1985 edition. In addition to his musical activities, Michael Drapkin has had a very successful career in the business world, specializing in technology and electronic commerce. He has merged these two areas of his life by founding and operating the Foundation for Entrepreneurialism in the Arts. Through its programs this organization trains performing artists to carve out their own niche in the competitive and saturated performing arts world by merging their performance skills with entrepreneurialism and creating demand for their skills. Bib: “Drapkin, Michael Lewis.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 154; Drapkin, Michael. “Michael Drapkin.” M. Drapkin. http://www. drapkin.net/music.html (accessed February 16, 2011).

Drucker, Naomi Frances, neé Lewis. B. Oct. 13, 1932 (Freeport, NY). Married to STANLEY DRUCKER. Early clarinet studies with Monroe Lewis (her father), a dance band clarinetist. Grad: Hofstra Univ. Additional clarinet studies with Alfred Walters (1940-42), JAMES DE JESU (1942-50), GUSTAVE LANGENUS (1950), CLARK BRODY (1951), and LEON RUSSIANOFF (1952-57); has also worked with clarinetist/ composer MEYER KUPFERMAN. Clarinetist: Natl Orch Assn (formerly); NC Symph (1954-55); American Chamber Ensemble (Founding Memb/Co-Dir: 1962-); Drucker Trio (1977-); has also performed as Principal Clarinetist of the NY Virtuosi, and has performed/recorded/toured with the NY Phil. Active as an intl recitalist/soloist (incl perfs at CASS and ICA conferences, at the Leningrad and Tchaikovsky Conservs, and throughout North America, Europe, and Japan), chamber musician (incl perfs with the Drucker Trio, comprised of herself, husband STANLEY DRUCKER, and pianist Blanche Abram), festival artist (incl participation at Sweden’s East Meets West Festival and the Mykonos Intl Chamber Music Festival), and recording artist (incl solo recordings as well as recordings with STANLEY DRUCKER on the Cala Records, Elysium, and Soundspells labels). Works composed for the Drucker Trio incl those by Joseph Alexander, MEYER KUPFERMAN, Max Lifshitz, Alfred Prinz, Marga Richter, Elie Siegmeister, Vally Weigl, and Jacob Weinberger. Faculty member: Hofstra Univ (1969-). Hon: Distinguished Alumni Award, Hofstra Univ (1994); favorable review of recording appears in The Clarinet. Students include: Mindy Dragovich, Nancy Fiske, Geoffrey Flolo, April Johannesen, Amy Shapiro. Drucker met her husband, clarinetist STANLEY DRUCKER, while a student of LEON RUSSIANOFF. The two began performing together frequently and in 1977, along with pianist Blanche Abram, formed the Drucker Trio. The couple continues to perform and record together as co-soloists and in chamber music settings. Bib: “Naomi Drucker.” ClariNetwork (April/May 1982): 20; Nichols, William. “Audio Notes.” The Clarinet 26 (June 1999): 19-20; “The American Chamber Ensemble.” American Chamber Ensemble. http://www.jamesarts.com/ace/bios.html (accessed February 16, 2011); Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 108-110.

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Drucker, Stanley. B. Feb. 4, 1929 (Brooklyn, NY). Married to NAOMI DRUCKER. Early clarinet studies with ARTHUR SMALL. HS studies: HS of Music and Arts-NY; private clarinet studies with LEON RUSSIANOFF. Grad: Curtis IOM (1945) with BERNARD PORTNOY. Has also worked with clarinetist/composer MEYER KUPFERMAN. Clarinetist: Natl Orch Assn (formerly); Indianapolis Symph (Principal: 1945-46); Adolph Busch Chamber Players (Principal: 1946-47); Buffalo Phil (Principal: 1947-48); New York Phil (Asst Principal/E- flat: 1948-60; Principal: 1960-2009). Active as an internationally prominent recitalist, soloist (incl almost 200 perfs with the NY Phil), chamber musician (incl perfs with the Drucker Trio, consisting of himself, wife NAOMI DRUCKER, and pianist Blanche Abram), and recording artist (numerous recordings with the NY Phil as well as recordings of much of the major clarinet solo and chamber repertoire; appears on the Cala Records, Elysium and other labels, and on the New York Legends: Recitals with Principals from the New York Philharmonic recording). Faculty member: Juilliard (1968-). Hon: Grammy nominations for recordings of the Corigliano Clarinet Concerto (1982) and Copland Clarinet Concerto (1992) with the NY Phil; 1998 Instrumentalist of the Year, Musical America International Directory; appears in the Guinness Book of World Records for longest career as a clarinetist; one of few living orchestral instrumentalists to have an entry in the New Grove Dictionary of Music and Musicians Students include: LAURA ARDAN, JOHN CRAIG BARKER, IGOR BEGELMAN, FRANKLIN COHEN, MITCHELL ESTRIN, Kjell Fageus, ERIC GINSBERG, JEAN KOPPERUD, ESTHER LAMNECK, TED LANE, WILLIAM POWELL, ROGER SALANDER, Shannon Scott, Tom Servinsky, Amy Shapiro, et al. Stanley Drucker’s stellar and enduring career began with his appointment to the position of Principal Clarinet of the Indianapolis Symphony Orchestra at the age of sixteen. This was followed by several more Principal Clarinet positions with major orchestras, culminating in his 60-year-long affiliation with the New York Philharmonic Orchestra. When Drucker joined the New York Philharmonic in 1948, he was appointed Assistant Principal and E-flat Clarinetist, with ROBERT MCGINNIS as Principal Clarinetist and ALEXANDER WILLIAMS as Second and Bass Clarinetist. Drucker ascended to the position of Principal Clarinet in 1960 upon the retirement of McGinnis. In his six decades with the orchestra, Drucker recorded prolifically, both as a soloist (including performances with his wife NAOMI) and as a chamber musician, and performed the Copland Clarinet Concerto with the Philharmonic an astonishing sixty times. Drucker earned two Grammy nominations for his recordings of the Corigliano and Copland clarinet concerti with the New York Philharmonic. He has been listed in the Guinness Book of World Records for longest career as a clarinetist, and is at the heart of the twentieth-century American clarinet tradition. The Wakin and Weston articles (listed in Bib below) are highly recommended for further insight into Drucker’s remarkable career. Bib: Drucker, Stanley, to Tracey L. Paddock, Tallahassee, FL, July 16, 1998; Gholson, James. “Landmark Personalities in Clarinet Teaching.” ClariNetwork 7 (Winter 1988): 4-5; 14; “Musical America International Directory Names Stanley Drucker 1998 Instrumentalist of the Year.” The Clarinet 25 (May/ June 1998): 12; Wakin, Daniel J. “Stanley Drucker Ends a 60-Year Clarinet Gig.” NYTimes.com. http:// www.nytimes.com/2009/06/05/arts/music/05druc.html?_r=1 (accessed February 16, 2011); Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 103-108.

Drummond, Dannene Joy. B. Dec. 19, 1971 (Leonardtown, MD). HS studies with CHRISTOPHER WOLFE. Undergrad studies begun at New England Conserv; BM: Eastman SOM with PETER HADCOCK; MM: Michigan State Univ with ELSA LUDEWIG-VERDEHR; DM: Florida State Univ (1999) with FRANK KOWALSKY. DM diss: An Annotated Bibliography of Clarinet Choir Music Currently Published in the United States. Active as a recitalist/soloist, chamber musician, and recording artist. Faculty member: Univ of Georgia (Adj Instructor of Clarinet: formerly, c. 2000, +/-). Other positions/activities: active as an adjudicator and clinician. Students include: Megan King, Kris Plummer, John Robinson, David Roth. Bib: “The Clarinet Studio at the University of Georgia.” University of Georgia. http://www.arches.uga.edu/~mccleldr/ (accessed March 23, 2001).

Drushler, Paul. B. Apr. 26, 1936 (Buffalo, NY). BS: SUNY-Fredonia; EdM/EdD: SUNY- Buffalo. Clarinet studies with DAVID GLAZER, STANLEY HASTY, ALLEN SIGEL and WILLIAM WILLETT. Clarinetist: U.S. Air Force Band-Washington D.C. (1958-62). Has been active as a recitalist/

85 soloist, chamber musician, recording artist (incl perfs on Chamber Music For Clarinets Vol. 1-3 with LARRY COMBS, ALLEN SIGEL, and ROBERT SCHMIDT, and on the Mark Records label), and saxophonist. Faculty member: SUNY-Brockport (Assoc Prof: 1965-85). Author: The Altissimo Register: A Partial Approach; The Clarinet: Its Evolution, Literature and Artists; Clarinet Vibrato (all for SHALL- u-mo Publications). Articles published in The Clarinet and The Instrumentalist. Hon: appears in Richard Gilbert’s The Clarinetists’ Discography II. Plays on: Buffet R-13 clarinets. Clarinetist Paul Drushler retired in 1995 and now spends the seasons of spring, summer, and fall in Rochester, NY, wintering in the Tampa/St. Petersburg area of FL. Bib: Drushler, Paul, to Tracey L. Paddock, Tallahassee, FL, May 22, 1998; Drushler, Paul. “Vibrato: Call it What It Is!” The Clarinet. 3 (November 1975): 4; Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 123.

Duckham, (William) Henry II. B. Jan. 23, 1929 (NYC). Advanced studies: Hotchkiss School- CT (1947), Lafayette Coll-PA (1947-49). BM/MM: New England Conserv (1954/1956) with ROSARIO MAZZEO; MBA: Northeastern Univ (1967). Additional clarinet studies at Tanglewood (1953), and with KEITH STEIN (in Arizona). Clarinetist: Boston Civic Symph (Principal: 1951-54); North Carolina Symph (Principal: 1957); Reading Symph (Asst Principal: 1971-74); Phoenix Symph (Bass: 1977); Manderen Duckham Duo (1981-91); Squibnocket Trio (current). Active as a recitalist, chamber musician (incl perfs as clarinetist of the Manderen Duckham duo, consisting of clarinet/bass clarinet and /lute/jazz guitar, performing jazz and classical repertoire), and jazz musician (incl perfs with Gene Bertoncini, Fred Fried, , , Cecil P. Taylor and Dick Wellstood). Faculty member: Arizona State Univ (Adj: 1976-77); Whitman Coll (Adj: 1978-81); Oberlin Conserv (Adj Lect in Clarinet: 1981-91); currently active as a private clarinet instructor in Cape Cod, MA. Articles published in The Clarinet (incl “Musician’s Crossings,” a series of articles on jazz clarinetists). Other positions/activities: Dir of External Affairs, Oberlin Conserv (formerly); Advertising Mgr, ICA (formerly); has been active as a clinician. Memb: ICA, Pi Kappa Lambda, Young Audiences. Hon: Hotchkiss School Schol; Boston Civic Symph Schol (1952). Plays on: Buffet R-13 clarinets; Vandoren M-13 mouthpiece; Morré #2 ½ and Vandoren #3 reeds; plays with a double-lipped embouchure. Henry Duckham has enjoyed a varied career in and out of the field of music:

In my early career I earned a living for the most part outside of the music business in the food and confectionery business as a marketing manager – a necessity to make enough money to provide decently for my family. From the mid-seventies on I returned to the music business as a fund raiser for Symphony, Whitman College [and] Oberlin and until two years ago headed the alumni office of my alma mater, the New England Conservatory. I always maintained my practice routine and performed consistently. I have taught throughout my career. (Duckham/Paddock 1998)

In addition to the influence of his teachers, Duckham’s traditional clarinet playing has also been influenced by double-lipped clarinetists RALPH MCLANE and HAROLD WRIGHT. Duckham himself is a double-lipped player and advocates the use of this embouchure because of the ease of tone production and flexibility afforded by its use. With the complexities of tone production diminished, a clarinetist can then focus on achieving “maximum expressiveness playing notated literature” and translating “. . . ideas without impediments when improvising.” (Ibid.) He adds that, “Most clarinetists play with too tight an embouchure and excessive tonal rigidity. Musicality is sacrificed for tonal density (dullness).” (Ibid.) Duckham has also been active as a jazz clarinetist and lists Sidney Bechet, Jimmy Noone, Stan Getz, Cecil Taylor and ERIC DOLPHY as influences. He works to diversify his own playing by continually searching for “concepts beyond swing influences of Goodman and Shaw and bop-influenced DeFranco and Daniels when improvising.” (Ibid.) Duckham offers these thoughts on the components of an ideal music education:

For the most part I believe most clarinetists (as well as other instrumentalists) are too hung up on their instruments and would benefit from studying music theory and piano and listening to and knowing many kinds of musics. Improvisation should be a requirement and we should all be stronger advocates for contemporary music. A wide

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range of reading can’t hurt. As Artie Shaw says: ‘The more you know about everything, the better anything you do will be.’ (Ibid.)

To this end, one of the driving ideas behind the Manderen Duckham Duo was the idea that “improvisation has played a key role in almost every musical period from the Middle Ages to the present and that a sense of improvisation and spontaneity should pervade all musical performance.” (Ibid.) Bib: Duckham, Henry, “A Masterclass with Artie Shaw.” The Clarinet 13 (Spring 1985): 10-17; Duckham, Henry. “An Interview with Benny Goodman.” The Clarinet 9 (Summer 1982): 6-13; Duckham, Henry. “An Introduction to Our Jazz Clarinet Heritage.” The Clarinet 9 (Spring 1982): 16; Duckham, William Henry II, to Tracey L. Paddock, Tallahassee, FL, May 29, 1998.

Dufallo, Richard. B. Jan. 30, 1933 (Whiting, IN); d. June 16, 2000 (Denton, TX). Clarinet studies at the American Conserv of Music-Chicago (1950-53); conducting studies at UCLA with . Former clarinetist: Lukas Foss’ Improvisation Chamber Ensemble (mid-1960s +/-). Was active in the early part of his career as a clarinet soloist (incl perfs with the Berlin, Buffalo, and NY Phil Orchs, Philadelphia Orch, and Boston Symph), chamber musician (incl perfs with the Improvisation Chamber Ensemble), new music specialist, festival artist (incl participation at the Ojai Festival), and recording artist (on the Columbia and RCA Victor labels); was primarily active as a conductor in the second phase of his career. Former faculty member: SUNY-Buffalo (mid-1960s, +/-). Other positions/activities: Assoc Conductor, Buffalo Phil (formerly, mid-1960s, +/-); Conductor, Center for the Creative and Perf Arts Concert Series (formerly, mid-1960s, +/-); Asst Conductor, NY Phil (1965-67); served as Guest Conductor of the Chicago, London and Pittsburgh Symphs, Berlin Phil, St. Paul Chamber Orch, Natl Orch of Spain, Royal Concertgebouw Orch, et al; served as Dir of the contemporary music series at Juilliard and the Aspen Festival; was an active advocate and interpreter of contemporary music. Bib: “Conductor Richard Duffalo Dies at 67.” NewMusicBox. http://www.newmusicbox.org/news/jul00/obit_ dufallo.html 24 (accessed February 16, 2011); Jacobs, Arthur. “Richard Duffalo.” The Penguin Dictionary of Musical Performers: A Biographical Guide to Significant Interpreters of Classical Music, Singers, Solo Instrumentalists, Conductors, Orchestras, and String Quartets Ranging from the Seventeenth Century to the Present Day. New York, N.Y: Penguin Books, 1991: 56; “Richard Dufallo.” Overture [Program of the Buffalo Philharmonic]. 1964-65 Season. (February 21 and 23, 1965): 6; “Richard Duffalo.” Overture [Program of the Buffalo Philharmonic]. 1966-67 Season. (January 29 and 31, 1967): 67.

Duques, Augustin [“Gus”]. B. Mar. 3, 1899 (Toulouse, France); d. Aug. 14, 1972 (NY). 1st Prize: Paris Conserv (1919). Former clarinetist: NY Symph (Principal: active for 10 years, c.1920-30; replaced GUSTAVE LANGENUS); NBC Symph (Principal: 1937-47, under Toscanini); WOR Symph (Principal: late 1940s, +/-); Goldman Band (for several decades); performed in several of ’s touring ensembles before coming to the U.S. World premiere perfs incl the trio version of Stravinsky’s L’Histoire du Soldat and one of the Poulenc duos. Was active as a chamber musician and recording artist (incl the Mozart Clarinet Quintet on the Stradivari label). Faculty member: Juilliard (1923-63). Author, Twenty-four Contemporary Studies for the Clarinet. Students include: JOSEPH ALLARD, HERBERT BLAYMAN, LAURA FLAX, Donald Gephardt, BENNY GOODMAN, STEVEN HARTMAN, GENE KAVADLO, Billy Kerr, GERHARDT KOCH, JACK KREISELMAN, DON LITUCHY, CARL MARKS, JAMES MEYER, RON ODRICH, LOUIS PAUL, ROGER SALANDER, WALLY SHAPIRO, Bonnie Isbey Sholl, EARL THOMAS, CLOYDE WILLIAMS, Pete Yellin. Augustin Duques’s career included many historic performances. He won First Prize at the Paris Conservatory with Messager’s Solo de Concours as the contest piece for the year (1917). He performed Debussy’s Premiere Rhapsodie with the composer in attendance and premiered the trio version of Stravinsky’s L’Histoire du Soldat. Walter Damrosch, conductor of the New York Symphony, brought Duques to the United States to perform as Principal Clarinetist of that orchestra. Duques subsequently performed as Principal Clarinetist of the NBC and WOR Symphonies under and respectively. An interesting and little known fact is that not only did Duques perform at the opening of Radio City Music Hall but he also married one of the original members of . Bib: Gee, Harry. “French Clarinetists in America Part III.” The Clarinet 9 (Fall 1981): 19; Gilbert, Richard. The Clarinetists’ Repertoire: A Discography. New York: The Grenadilla Society, 1971: 87; ; Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 91.

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Dworkin, David. B. 1934. Grad: Juilliard with DANIEL BONADE, ROBERT MCGINNIS, and Jean Morel (conducting); Columbia Univ (grad degrees in Perf/Ed). Former clarinetist: American Symph Orch (Principal; under Stokowski); Metropolitan Opera Orch. Active as a recitalist, soloist (incl recent perfs of Peter von Winter’s Concertino for Clarinet and Bassoon with NY Phil Principal Bassoonist Leonard Hindell), chamber musician (incl four solo/chamber recitals at Carnegie Recital Hall), and festival artist (incl perfs as a member of Musicisti Americani at the summer festival in Sulmona, Italy). Former faculty member: Univ of Vermont Summer Music Session (Conductor/Coach: for 15 years); Manhattan SOM Pre-College Div (Clarinet/Chamber Music/Conductor: for 10+ years). Other positions/activities: has been equally active as a conductor (incl positions at above schools and as Mus Dir of the Vermont Youth Orch and the Philharmonic on the Hudson, and perfs with the Manhattan, New Jersey, and Vermont Symphs); Creator, Conductorcise™, a program which combines basic conducting/ listening skills with an aerobic workout. Students include: Danielle Occhipinti, Allan Vaché. Bib: Dworkin, David. “Conductorcise® - A Sound Workout for Body and .” Conductorcise. http://www.conductorcise. com/maestro.html (accessed January 31, 2011).

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E

East, James [Jay]. B. July 15, 1941 (Hays, KS). BM: Oberlin Conserv (1963) with GEORGE WALN; MM: Cleveland IOM (1969) with ROBERT MARCELLUS; additional music studies at Eastman SOM (with STANLEY HASTY) and at the Mozarteum-Austria. Additional clarinet studies with LEON RUSSIANOFF. Clarinetist: U.S. Navy Band-Washington, D.C. (Asst Principal: 1965-69); Erie Phil (Principal: 1975-); Western NY Chamber Orch (Principal/Exec Dir: current); Fredonia Woodwind Quintet (current); East Trio (current). Active as a recitalist (incl a perf at ClarinetFest 1998), soloist (incl perfs with the U.S. Navy Band, Western NY Chamber Orch, Erie Phil, and Sun Valley Summer Festival Orch), chamber musician (incl perfs with the Fredonia Woodwind Quintet and the East Trio, comprised of East, his wife Phyllis, and son Alexander, performing on clarinet, piano and respectively), festival artist (incl participation at Valley Summer Festival), and recording artist (on the Grenadilla label). Faculty member: Prince Georges Community Coll (Lect: 1965-85, +/-); SUNY-Fredonia (Assoc Prof: formerly, 1970-2000+; Prof Emeritus: current). Other positions/activities: ICA State Chmn, NY. Memb: ICA. Students include: Russ Carere, JILL COGGIOLA, MICHAEL KORNACKI. Bib: “East, James.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 161; “Jay East.” SUNY-Fredonia. http://www.fredonia.edu/music/faculty/bios/eastjay.asp (accessed February 16, 2011).

Eban, Eli. B. Jan. 17, 1950 (NY). Music studies begun in Israel with Yona Ettlinger and RICHARD LESSER. Grad: Curtis IOM (1975) with ANTHONY GIGLIOTTI. Clarinetist: Israel Radio Symph (Principal: 1974-76, +/-, under Lukas Foss); Orch (Principal: 1974-75); Jerusalem Symph (Principal: 1975-76); Israel Phil (Second/E-flat: 1976-89, at the invitation of ); Indianapolis Chamber Orch (Principal: currently); Trio Indiana (with JAMES CAMPBELL and HOWARD KLUG; 1990s-); Chautauqua Symph (Principal: current). Active as an intl recitalist (incl perfs at the 1989 ICA conference and on the IMS Concert Series-England), soloist (incl perfs with the Israel Phil, Camerata Academica Orch of the Salzburg Mozarteum, City of London Sinfonia, Concerto Soloists of Philadelphia, and the English Chamber Orch), chamber musician (incl perfs in North America, Europe, Israel, and the Far East, and with the Alexander, Audubon, Israel, and Ying String Quartets, Trio Indiana, and Myriad), festival artist (incl participation at the Carmel Bach, Chautauqua, Krakow, Marlboro, Prague, Sarasota, and Windsor-England music festivals), and recording artist (on the Crystal Records and Meridian-London labels). Premiere perfs incl Lalo Shifrin’s for Clarinet and Orch (conducted by Shifrin). Faculty member: Eastman SOM (Vstg Prof: 1989-90; 1994-95); Indiana Univ (Prof of Clarinet: 1990-); Chautauqua Instit (current); Sarasota Music Festival (current). Other positions/activities: Vstg Artist/ Teacher, European Mozart Foundation. Memb: AFM, ICA. Hon: favorable reviews of recordings appear in the London Guardian and Penguin Guide to CDs. Plays on: Buffet R-13 clarinets; Kaspar mouthpiece; hand-made reeds. Students include: Sharon Adar, Pascal Archer, GREGRORY BARRETT, MICHAEL CHESHER, Nophachai Cholthitchanta, Candice Clayton, Scott Dasovich, Martin Gold, Danny Goldman, CATHRYN GROSS, CHRISTOPHER GRYMES, Nick Homenda, Chris Howard, Nobuko Igarishi, Jean Johnson, Sharon Karn, Candace Kiser, Matthew Kanowith, Georg Klaas, Simon Kovacs, Kirsten Offer, Emily Hanzlik Robinson, Egils Sefers, Ron Selka, DAVID SHEA, Michael Stordahl, Daniel Sullivan, Amitai Vardi, Michelle Verheul, TODD WALDECKER, TASHA WARREN, Eileen Walsh, Kornel Wolnak, GUY YEHUDA. Of his musical philosophy, Eli Eban commented,

The clarinet is a lyrical, singing instrument. Technique is important, but velocity and facility do not create artistry in and of themselves. A beautiful sound and deep musical understanding are what attracted Mozart to Stadler and Brahms to Muhlfeld. Let’s continue that tradition! (Eban/Paddock 1998)

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Bib: Eban, Eli. “Eli Eban.” E. Eban. http://www.elieban.com/ (accessed February 16, 2011); Eban, Eli. “Product Review.” The Clarinet 21 (November/December 1993): 30; Eban, Eli, to Tracey L. Paddock, Tallahassee, FL, May 14, 1998;

Eckstein, Sol. Clarinetist: Philadelphia Orch (Bass: 1900-01; 1907-13), Sousa Band (1910-11). Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/sousa/ roster.htm (accessed February 16, 2011).

Edwards, Joseph. BME: Youngstown State Univ; MM(Woodwinds): Michigan State Univ with ELSA LUDEWIG-VERDEHR and KEITH STEIN; doctoral studies begun at Cincinnati Conserv. Additional clarinet studies with ROBERT MARCELLUS and RICHARD WALLER. Clarinetist: Dana Faculty Woodwind Quintet (formerly); has also performed with the American Wind Symph, Blossom Festival Band, Cleveland Symphonic Winds, Detroit Concert Band, and the Sioux City and Youngstown Symphs. Active as a soloist (incl guest perfs with HS/coll ensembles) and chamber musician. Faculty member: Morningside College-IA (formerly, until 1969);Youngstown State Univ (Prof of Clarinet/Sax/ Bands: formerly, 1969-1999+). Other positions/activities: Dir, Dana SOM-Youngstown State Univ (formerly); active as a clinician. Memb: Phi Kappa Phi, Omicron Delta Kappa. Hon: Distinguished Prof of Music Award, YSU (1988); Watson Award, YSU (1996). Students include: KAREN DANNESSA, Daniel Heasley, Patti Ohlsson. Bib: “Joseph Edwards.” Youngstown State University. http://www.fpa.ysu. edu/music/faculy/bio/jedwards.html (accessed February 4, 1999; link no longer available).

Egbers, Cheri Ann. B. Aug.14, 1934 (Coeur d’Alene, ID). BS(Business Admin): Lewis and Clark Coll (1956). Clarinet studies with A. Owen Sanders (Portland, OR) and ANTHONY GIGLIOTTI. Clarinetist: Portland Symphonic Band (Principal: 1953-82, +/-); Oregon Symph (Second: formerly, 1961- 2000+; has served as Actg Principal); Portland Opera (Second; Principal: 1980s, +/-); has also performed with the Pro-Art Woodwind Ensemble. Active as a freelance clarinetist and clinician. Other positions/ activities: ICA State Chmn, OR; Portland Community Concert Assn Board Memb. Memb: ICA. Bib: Egbers, Cheri Ann, to Tracey L. Paddock, Tallahassee, FL, June 26, 1998.

Eley, Marcus. Grad: Indiana Univ; additional studies at Hochschule für Musik-Vienna, Austria. Active as an intl recitalist/chamber musician (incl 1987 Carnegie Hall debut, and perfs on the Dame Myra Hess Memorial Concert Series-Los Angeles/Chicago, for the Foundation for American Musicians in Europe, and at the 1998 Beijing Intl and Montana/Idaho Clarinet Festivals, ClarinetFests 1994, 1996, and 1999, and other clarinet conferences), soloist (incl perfs with the Berlin and Indianapolis Symph Orchs, Louisville Orch, Edmonton Wind Symph, and Natl Army Band-Beijing), and recording artist (on the Arabesque label); broadcast perfs given on WFMT-Chicago’s 1992 “African-American Composers, Live!” and on BBC, NPR, and Hungarian Television. Faculty member: California State Univ-Los Angeles (Asst Prof of Clarinet: formerly). Other positions/activities: Dean of Students, New England Conserv (formerly); Artist-in-Res, North Div HS-Milwaukee (1992); Rico Intl Marketing Projects Specialist (1990s); Guest Artist, 1997 Australasian Clarinet and Sax Conference; active as a teacher and clinician/lecturer (incl lectures given in China in 1991 on the influence of African-American culture on American music, and presentations given at the 1998 Idaho/Montana Clarinet Festival, various MEA, MENC, and other music conferences). Hon: served as a Rep for Arts America, presenting lectures/perfs in the People’s Republic of China (1991); favorable reviews of recordings/perfs appear in The Clarinet (see Bib below) and New York Times. Bib: Barrett, Gregory. “Compact Disc Reviews.” The Clarinet 26 (March 1999): 96-97; “Marcus Eley Performs Works by African-American Composers.” The Clarinet 19 (May/June 1992): 8.

Ell, Frank. Dipl: Curtis IOM (1963); MFA: Univ of Minnesota. Clarinetist: Rotterdam Phil (Principal: formerly); Netherlands Wind Ensemble (Principal: formerly); New Orleans Symph (formerly); American Reed Trio (Founding Memb); Richards Quintet; Greater Lansing Symph (Co-Principal); performs regularly with the St. Paul Chamber Orch. Active as a soloist (incl perfs with the St. Paul Chamber Orch), chamber musician (incl perfs with the American Reed Trio and Richards Quintet, and as clarinetist of the Swannanoa Chamber Festival), festival artist (incl participation at the Bergen, Brevard, Holland, Marlboro, Messiaen, Monadnock, Spoleto, and Swannanoa Music Festivals). Former faculty member: Univ of Delaware; Interlochen Arts Acad; St. Johns Univ/Coll of St. Benedict; Michigan State Univ (Prof of Clarinet: 1970s-2000+; Prof Emeritus: current). Published in The Clarinet. Other positions/

90 activities: Founder/Music Dir/Clarinetist, Swannanoa Chamber Festival (current; 20+ years); Buffet Crampon USA Perf Artist (formerly). Hon: Fulbright Grant, for study in Holland. Students include: Jason Alder, BABETTE BELTER, LINDA CIONITTI, Mary Beth Huttlin, Staci Miller, Lori Musicant, Hild Peersen, MAXINE RAMEY, Michelle Shoemaker, ANDREA SPLITTBERGER-ROSEN, Margaret Thornhill, Ian Tyson. Bib: “Frank Ell.” The Clarinet 10 (Spring 1983): 47; “Michigan State University School of Music Faculty – Frank Ell.” Michigan State University. http://www.music.msu.edu/faculty/ ell.html (accessed December 11, 1997; link no longer available).

Elliott, Joseph E. (Sr.) B. 1883 (Mulberry, IN); d. 1939. Clarinet studies with CHARLES SCHUETT and ALEXANDRE SELMER. Clarinetist: Cincinnati Symph (Principal: 1906-39; replaced ALEXANDRE SELMER). Was active as a soloist (incl perfs with the Cincinnati Symph). Students include: EMIL SCHMACTENBERG, MELVILLE WEBSTER, SR, JIMMY WILBER. Bib: Elliott, Joseph E. (Jr.). “Letters.” The Clarinet 28 (September 2001): 4.

Elliott, William. Deceased. Not related to JOSEPH ELLIOTT. Former faculty member: Indiana Univ. Students include: Joseph Elliott, Jr. Bib: Elliott, Joseph E. “Letters.” The Clarinet 28 (September 2001): 4.

Ellis-MacLeod, Charles. Grad: Eastman SOM; Boston Univ; MM: California State Univ- Northridge. Clarinet studies with STANLEY HASTY, VICTOR POLATCHEK, LEON RUSSIANOFF, and HAROLD WRIGHT. Former clarinetist: USMA Band-West Point; Rochester Phil; Buffalo Phil; San Diego Symph (for 30 years; 1970s, +/-); currently serves as Principal Clarinet of the San Diego Opera. Active as a private clarinet instructor. Other positions/activities: Co-founder, San Diego Clarinet Society (1997); Vice Pres, San Diego Clarinet Society (2000, +/-); Coordinator, San Diego Clarinet Summit ’98; active as an arranger/composer (published The Clarinet Duo Series and other works for clarinet duo/ clarinet choir). Bib: Messenger, Joseph. “Music Reviews.” The Clarinet 28 (September 2001): 92-93; Wilson, Hester L., M.D. “Clarinet Summit ’98.” The Clarinet 25 (May/June 1998): 12-14.

Ellsworth, Jane. B. Nov. 3, 1961 (Akron, OH). BM/MM: Cleveland IOM (1983/1984) with FRANKLIN COHEN; DM: Ohio State Univ (1991) with JAMES PYNE. DM diss: “The Clarinet in Early America, 1758-1820.” Clarinetist: Akron Symph (Second: 1988-89); Ohio Valley Symph (Second: 1991- 95); Cipriani Trio (1991-); Welsh Hills Symph (Second: 1993-97); OSU Faculty Chamber Orch (Principal: current); has also performed with the Central Ohio Symph and the Columbus Women’s Orch. Active as a recitalist and chamber musician (incl perf at ClarinetFest 1998). Faculty member: Ohio Univ (Vstg Instructor of Clarinet: 1990); Kenyon Coll (Instructor of Clarinet/Sax/Woodwind Chamber Mus: 1992-; Vstg Asst Prof of Mus Hist: 1994-95); Denison Univ (Adj Instructor of Clarinet: 1993-96); Mt. Vernon Nazarene Coll (Instructor of Clarinet/Sax/Woodwind Chamber Mus: 1993-); Ohio State Univ (Lect of Mus Hist: 1995-); active as a private clarinet instructor. Other positions/activities: Festival/Symposium Coordinator, ClarinetFest 1998; active as an editor, lecturer (incl presentation in Ghent, Belgium, 1999), publisher, and scholar (incl research on early clarinet history in the U.S.). Articles/reviews published in The Clarinet and Fontes Artis Musicae. Memb: AFM, CASS, CMS, ICA. Hon: Pi Kappa Lambda (1982); Osborn Grad Fellowship (1988); OSU Grad Research Award (1991); Honorable Mention, ICA Research Presentations. Plays on: Rossi rosewood clarinets with English ; PYNE BN mouthpiece with larger bore to match clarinet; Peterson-Pyne woven string ligature; Vandoren V-12 and regular #4 reeds. Jane Ellsworth’s area of special academic interest is clarinet music of 19th-century English composers, a subject she has written about in both her doctoral dissertation and in The Clarinet. She is also active as an editor, having published editions of works by Blas Atehortúa, Cipriani Potter, Samuel Coleridge Taylor, and Richard Henry Walthew, all through her own publishing company, Tecchler Press. Ellsworth commented,

For me it is important to be a whole musician who happens to play the clarinet. Thus I have interests in scholarship as well as performance, including non-clarinet-related fields such as 18th-century music and musical theory and the social history of music. I try to encourage wide-ranging interests in my students as well. Along with the usual goals of sound musicianship and technique that any conscientious clarinet teacher stresses, I try to get my students to develop a keen awareness of the physical and kinesthetic aspects of

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clarinet playing, which I feel are crucial. The Alexander Technique and its principals have helped a lot in this regard. (Ellsworth/Paddock 1998).

Bib: Ellsworth, Jane. “Clarinet Music by Nineteenth-Century British Composers: A ‘Lost’ Repertoire Rediscovered.” The Clarinet 22 (May/June 1995): 46; Ellsworth, Jane, to Tracey L. Paddock, Tallahassee, FL, June 23, 1998.

Errante, F. Gerard. B. Jan. 11, 1941 (NYC). BA: CUNY-Queens Coll (1963); MM: Univ of Wisconsin-Madison with GLENN BOWEN (1964); DM: Univ of Michigan (1970). Additional clarinet studies with JOSEPH ALLARD, Walter Boeykens, DAVID GLAZER, JACK KREISELMAN, ROBERT MARCELLUS, ROBERT MCGINNIS, LEON RUSSIANOFF, and WILLIAM STUBBINS. Clarinetist: Norfolk Chamber Consort (Co-Dir/Clarinetist: 1972-); Clarion Synthesis (current); Creo (current). Active as an intl recitalist/soloist (incl perfs at ClarinetFests 1998 and 1999, the 1998 Univ of Montevallo Clarinet Symposium, and numerous other clarinet/music conferences; recital tours incl Japan, South Africa, Australia, and Europe), chamber musician, specialist in the perf of new music and music for clarinet and electronics, festival artist (incl perfs at the Intl New Music Festival), and recording artist (on the AIR, Apollo, Capstone, Centaur, CRI, Drimala, Mark Recordings, Tall Poppies, and Telarc record labels and on the ClarinetFest ’95 CD); broadcast perfs given on radio networks worldwide. Faculty member: Norfolk State Univ (Prof of Clarinet: formerly, 1970s-2000, +/-); Old Dominion Univ (Adj Prof of Clarinet: current); Artist-in-Res, Sydney Conserv of Music-Australia (formerly). Articles published in The Clarinet and other music journals. Author: A Selective Clarinet Bibliography; Contemporary Clarinet Repertoire. Other positions/activities: Southeast Regional Chmn, ICA (1974-92); Co-Dir, Norfolk Chamber Consort (1972-); Pres, ClariNetwork (1983-85); Pres-Elect/Pres, ICA (1992-96); Yamaha Artist (1991-); active as a composer (10 compositions for clarinet, incl Shadows of Ancient Dreams) and lecturer (numerous presentations given at ICA and other clarinet/music conferences worldwide). Memb: ICA, NACWPI, CASS, CMS, Chamber Music America, AAUP, MENC, VA MEA, Phi Kappa Phi, Foundation, Society of Composers, and others. Hon: 2nd Prize, 1976 Intl Gaudeamus Compt for Interpreters of Contemporary Music-Rotterdam, Netherlands; tour of Japan sponsored by the Asian Cultural Council; two-time recipient of Norfolk State Univ’s Outstanding Teacher of the Year Award; appears in numerous artist directories and “Who’s Who” resources (incl Who’s Who In American Music (Classical), 1985); favorable reviews of recordings/perfs appear in The Clarinet (see Bib below), Fanfare, The Fiji Times, Japan Clarinet Society Journal, Living Music, Musical America, The New York Times, The Philadelphia Inquirer, The Sydney Morning Herald, The Washington Post, and numerous other intl publications. Plays on: Yamaha Custom SE-V clarinet; CLARK FOBES mouthpiece; BG ligature; Vintage reeds. Students include: D. Gause-Snelson. F. Gerard Errante has been at the forefront of the exploration of the clarinet in combination with various electronic paraphernalia as well as non-electronic contemporary music. He performs not only the more esoteric, contemporary, envelope-pushing repertoire but also presents more approachable music that can be lyrical, improvisational, ethereal, jazzy, or influenced by various ethnic music styles. Critics have praised Errante’s warm sound, his technical virtuosity, and his imagination. He has added to the clarinet repertoire ten of his own compositions. Errante has also given much to the clarinet community through his service as President first of ClariNetwork and more recently the International Clarinet Association. He has been active as an international recitalist, soloist, and clinician including four tours of Japan and two tours of Australia. Although he recently retired from Norfolk State University after thirty years, he continues to be very active as a performer and is an Adjunct Professor at Old Dominion University. Bib: Errante, F. Gerard. “F. Gerard Errante.” F.G. Errante. http://www.fgerrante.org/ (accessed March 27, 2006); Errante, F. Gerard, to Tracey L. Paddock, Tallahassee, FL, July 7, 1998; Gingras, Michéle. “Compact Disc Reviews.” The Clarinet 25 (February/March 1998): 91-92.

Ertel, Dan. Prominent Pennsylvania clarinetist/teacher of the early 20th century. VALENTINE HENRICH is thought to have been one of his students. Bib: Ambler, Don, and Hugh McMillan. “Valentine P. (Tiny) Henrich – (1890-1980).” The Clarinet 8 (Winter 1981): 19.

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Estrin, Mitchell S. B. Dec. 23, 1956 (Bethpage, NY). Early clarinet studies with JEROME STOWELL and WALTER WOLLWAGE. BM/MM: Juilliard (1978/1979) with STANLEY DRUCKER. Clarinetist: Brooklyn Phil (Principal: 1979-85, +/-); NY Phil (Extra: 1979-80s; Second: mid- 1980s-99, +/-; has also performed as Principal/Assoc Principal/E-flat); San Francisco Ballet Orch (Principal: 1980-85, +/-); Lausanne Orch-Switzerland (Principal: 1983 American tour); Martha Graham Dance Co. (Principal: 1985); Amadeus Ensemble (Founding Memb); has also performed as Principal Clarinetist of the Joffrey Ballet, Little Orch Society, NY Pops, Orpheus Chamber Orch, and Philharmonic Virtuosi. Active as an intl recitalist/soloist (incl 1976 solo debut at the Aspen Music Festival, and perfs with the Brooklyn and Janacek Phil Orchs, the Little Orch Society, the White Plains Symph, and NY Phil Ensembles), chamber musician (incl perfs with the Amadeus and NY Phil Ensembles, the NY Phil Woodwind Quintet, The Chamber Music Society of Lincoln Center, the New Arts Trio, the Seacliff Chamber Players, Chamber Music at the Brooklyn Acad of Music, and Chamber Music at the 92nd St Y), festival artist (incl participation as Artist-in-Res at the Newport Music Festival for 3 seasons), studio musician (incl perfs on soundtracks for the Century Fox, Columbia Pictures, MGM, Paramount Pictures, United Artists, Pictures, and Warner Brothers film studios, and for the ABC, CBS, CNN, ESPN, HBO, and TBS television studios; has appeared on “The Late Show with David Letterman” and “The Phil Donahue Show,” and on numerous radio/television commercials), and recording artist (on the Albany Records, Arabesque, Columbia Masterworks, Heritage Music Society, and Newport Classic labels). Premiere perfs incl Michael Whalen’s The Shadows of October with the Janacek Phil-Czech Republic. Faculty member: Rockland Instit of Orch and Chamber Music Studies; Univ of Florida (current). Other positions/activities: Buffet Crampon USA Perf Artist (1990-; currently serves as Education and Creative Development Manager and Artistic Dir of Buffet Crampon USA Summer Acad); Vandoren Artist (incl current position as Artistic Dir of Vandoren Clarinet Ensemble Festival); active as an adjudicator (incl judging for the Concert Artists Guild Intl NY Compt, Buffet North American Clarinet Compt, Natl Wind Ensemble, Performers of Connecticut Young Artists Compt, and Orquestra del Principado de Astuarias-Spain), clinician (incl master classes given with STANLEY HASTY), coach (incl work with the wind sections of the NJ and NY Youth Symphs), and lecturer (presentations given at the Connecticut MEA and NY State Music Assn Natl Conferences, and at Vandercook Coll of Music). Memb: AFM, Rec Mus Am. Hon: Louis A. Sudler Foundation Award, Chicago Symph (1974); Naumburg Schol, Juilliard (1978); recognized by NARAS for outstanding perf as a recording artist; has received critical acclaim for recording series with the Amadeus Ensemble; listed in Who’s Who in American Music (Classical) and Who’s Who in International Music.. Plays on: Buffet clarinets; Vandoren mouthpieces and reeds. Students include: Gabriel Fielder, Jackie Glazier, Saraneal Johnston, Kyle Rowan. Bib: “Estrin, Mitchell S.” Who’s Who in American Music (Classical). 2nd Edition. NY, NY: R.R. Bowker Co., 1985: 171; “Mitchell Estrin.” Buffet Crampon. http://www.buffet-crampon.com/en/artists. php?mode=artistPresentation&aid=214 (accessed February 16, 2011); “Mitchell Estrin.” University of Florida. http://www.arts.ufl.edu/bio.aspx?PID=58 (accessed February 16, 2011).

Etheridge, David. B. Sept. 11, 1942 (Denver, CO); d. July 21, 2010. HS clarinet studies with VALENTINE HENRICH. BM/MM: Univ of Colorado with JERRY NEIL SMITH; DM: Eastman SOM with STANLEY HASTY. Additional clarinet studies with Jack Brymer (London), Ulysse Delecluse (Paris Conserv), Michael Incenzo (Rome Conserv), and Rudolph Jettel (Vienna Conserv). Former clarinetist: Central City Opera; Denver Municipal Band; Oklahoma City Phil (1980s-90s, +/-, for 9 years). Was active as a recitalist/soloist (incl perfs at the 1982, 1986, and 1998 ICA conferences, the 1998 Montana-Idaho Clarinet Festival, the 1999 Northern Plains Clarinet Symposium, various Univ of Oklahoma Clarinet Symposia, and other clarinet conferences), chamber musician (incl perfs with the Oklahoma Woodwind Quintet at Carnegie Hall, the Eisenstadt Festival-Austria and the Natl Assn of Music Educators’ Conference), and festival artist (incl participation at the Red Lodge Montana Music Festival). Former faculty member: SUNY-Potsdam/Crane SOM; Univ of Oklahoma (Prof of Clarinet: for 35-years, c. 1970s-2000s). Author, Mozart’s Clarinet Concerto: The Clarinetist’s View (Pelican Books, 1983) and Clarinet for Dummies. Articles published in The Instrumentalist, NACWPI Journal, and Woodwind World. Other positions/activities: Vice Pres, ICA (1982-86); Founder, Univ of OK Clarinet Symposium; Yamaha Artist; Rico Artist; was active as an adjudicator, clinician (presentations given at state conventions

93 for the CO, OK and NY MEA’s, and at ICA conferences and Montevallo and Univ of OK Clarinet Symposia). Hon: Amoco Foundation Award for Good Teaching (1987); Univ of OK Regents Award for Superior Teaching (1992). Played on: Yamaha YCL-953 and YCL-943 clarinets; Rico Grand Concert Select Evolution Reeds. Students include: STEPHEN CLARK, Christina Giacona, John Gibson, MILES ISHIGAKI, Julianne Kirk, Benjamin Redwine, CONNNIE ANN RHOADES, Kristi Sturgeon. Bib: “David Etheridge Obituary.” University of Oklahoma Clarinet Symposium. http://www. ouclarinetsymposium.org/OU_Clarinet_Symposium/David_Etheridge_Obituary.html (accessed February 16, 2011); Etheridge, David, to Tracey L. Paddock, Tallahassee, FL, July 28, 1998.

Evenson, Samuel. Clarinetist: Chicago Symph Orch (1923-46). May also have performed as a member of the Minneapolis Symph Orch (1912-13); an “S. Evenson” is listed in that orch’s programs during this period. Students include: DAVID GLAZER. Bib: Huffman, Larry. “Chicago Symphony Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Chicago_Symphony_Musicians_ List.htm#E (accessed February 16, 2011).

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Fabian, Deborah Ungaro. BM/BME: Univ of Buffalo; MM(Clarinet/Woodwinds): Michigan State Univ. Clarinet studies with ANDREW CRISANTI, STANLEY HASTY, FRED ORMAND, JAMES PYNE. Clarinetist: Dallas Wind Symph (Principal: current); Texas Chamber Orch (Principal: current); Plano Symph (Principal: current); also perfs with the Dallas and Ft. Worth Symphs and Dallas Opera; has also performed with the Dallas Chamber Orch, Buffalo Phil, and Grand Rapids Symph. Active as a soloist (incl perfs with above groups), festival artist (incl participation at the Bravo! Vail Valley Music Festival and Festival de Sole), and recording artist (incl recordings with Dallas Symph and Wind Symph). Faculty member: Univ of North Texas (1990-); Univ of Texas-Arlington (current); Collin County Community Coll (current). Bib: “Deborah Ungaro Fabian.” UNT College of Music. http://music.unt.edu/clarinet/faculty.php (accessed January 12, 2011).

Fain, Samuel S. Native of Chicago; d. circa 1983. Clarinetist: Civic Orch of Chicago (early 1930s, with KEITH STEIN). Was active as a recitalist and chamber musician (incl 1970 premiere perf of Muczynski’s Fantasy Trio at Univ of Arizona). Former faculty member: Univ of Arizona (Prof of Clarinet: 1950s-1980, +/-); was also active as a private clarinet instructor in Chicago. Students include: PHILIP AAHOLM, PHILLIP REHFELDT, John Snavely, ROBERT WILLIAMS. Bib: Denman, John. “Samuel S. Fain – In Memoriam.” The Clarinet 10 (Summer 1983): 7.

Faria, Richard. B. Dec. 20, 1965 (New Bedford, MA). BM: Ithaca Coll with MICHAEL GALVÁN; MM: Michigan State Univ with ELSA LUDEWIG-VERDEHR; DM: SUNY-Stony Brook with CHARLES NEIDICH. Additional clarinet studies with Georgina Dobrée, John McCaw, and JOAQUIN VALDEPEÑAS. Clarinetist: Ensemble X (contemporary chamber mus group; Founding Memb; current); Cayuga Chamber Orch (current); has also performed with the Manhattan Chamber Orch, Natl Repertory Orch, and Syracuse Symph. Active as a recitalist/soloist (incl perfs with Ensemble X, Seattle’s Young Composers Collective, and the North West Symph), chamber musician (incl perfs with the Guild Trio, the Ariadne and Atlantic String Quartets, the Sylvan Wind Quintet, Ensemble X, and the Apple Hill Chamber Collective), festival artist (incl participation at the Aspen, Bang-on-a-Can, and Skaneateles Music Festivals, and at the 1st Annual Interpretation and Comp Courses on the Works of -Kurten, Germany), and recording artist (on the Albany, Koch, Mark Record, Newport Classics, and Tzadik labels). Premiere perfs incl concertos by Joshua Kohl and Steven Burke. Faculty member: Ithaca Coll (Assoc Prof: 1995-). Other positions/activities: active as a clinician. Students include: Will Cicola, Bari Doeffinger, Mickey Ireland, Brad Pipenger, Suzanne Tirk. Bib: Faria, Richard, to Tracey L. Paddock, Tallahassee, FL, April 26, 1998; “Musical Chairs.” The Clarinet 23 (November/December 1995): 49; “Richard Faria.” Ithaca College. http://faculty.ithaca.edu/rfaria (accessed February 21, 2010).

Farmer, Gerald James. DM: Univ of Oregon (1977). DM diss: “Multiphonic Trills and Tremolos for Clarinet.” Active as a clarinetist/saxophonist, recitalist/soloist, chamber musician, recording artist (on the Capstone label), and specialist in the perf of contemporary and electronic music. Author, Multiphonics and Other Contemporary Clarinet Techniques. Bib: Farmer, Gerald James. Multiphonics and Other Contemporary Clarinet Techniques. Rochester, NY: Shall-u-mo Publications, 1982.

Fath, Philip. B. circa 1929 (NYC). Clarinet studies begun at age 7. HS studies at HS of Music and Art-Manhattan. Clarinet studies with LEON RUSSIANOFF. Clarinetist: Cleveland Orch (Asst Principal: 1954-56); San Francisco Symph (Principal/Co-Principal: 1956-80); San Francisco Opera (Principal: formerly, 1956-2000+); Fath Chamber Players (current). Active as a chamber musician (incl the 1954 Carnegie Recital Hall premiere perf of the Bernstein Sonata, and perfs with the Fath Chamber Players). Former faculty member: Univ of California-Berkeley; San Francisco State Univ; Stanford Univ. Hon: Milley Award (1998). Students include: Rob Chavez, Richard Mathias. Bib: “Fath Chamber Players.” Throckmorton Theatre. http://www.142throckmortontheatre.com/event.php?eventid=1288 (accessed February 21, 2011); “Date Lines: News from the Bay Area Arts Scene.” SFGate. http://articles. sfgate.com/2009-02-25/entertainment/17189105_1_san-francisco-symphony-cleveland-orchestra-mill- valley (accessed February 21, 2011).

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Feinsmith, Samuel. Clarinetist: Pittsburgh Symph Orch (Clarinet/Bass: 1942-43); New York Phil Orch (Clarinet/Bass: 1944-45).

Feller, David E. Native of Utah. BM: Brigham Young Univ (1976); MM/DM(Woodwind Perf/ Clarinet): Indiana Univ (1979/1983); additional studies/research at Hochschule der Künste-Berlin, (1981- 82) with Peter Rieckhoff. DM diss: “An Analysis and Comparison of the Oehler and Boehm Clarinet Fingering Systems.” Clarinetist: Das Sinfonie Orch Berlin (Sub: formerly; played on an clarinet); Ballet West (current); Pioneer Theater (current). Active as a clarinet/sax recitalist, soloist, chamber musician, theater/studio musician, and recording artist. Faculty member: Texas A&M Univ System (formerly); Univ of Utah (formerly, 1984, +/-); Weber State Univ (Prof : current). Published in The Clarinet. Other positions/activities: active as a composer of computer music, inventor (developed a patented device that measures lip pressure on single reed instruments), lecturer, and scholar on the Oehler clarinet system. Hon: DAAD Grant (1981-82). Memb: ICA, MENC. Bib: “David Feller.” Weber State University. http://departments.weber.edu/performingarts/faculty_staff/dfeller.htm (accessed February 21, 2011); Feller, David. “Comparison of the Oehler and the Boehm Clarinet Fingering Systems.” The Clarinet 11 (Summer 1984): 12.

Fera, Dominick. B. Apr. 13, 1927 (Vallelonga, Italy); grew up in Ellwood City, PA; d. Nov. 2008 (Los Angeles, CA). Dipl: New SOM; Dipl: Curtis IOM (1952) with RALPH MCLANE; BA(Political Science): Univ of Southern California (1957). Former Principal Clarinetist: Philadelphia LaScala Opera Orch; California Chamber Orch; Los Angeles Greek Theatre Orch; Los Angeles Master Chorale Sinfonia; Los Angeles Promenade Orch; New American Orch; Pasadena Symph (retired, 1996); Santa Monica Symph; has also performed as a memb of the ABC Staff Orch and Philadelphia Orch. Was active as a recitalist/soloist (incl perfs on the Monday Evening Concerts series), chamber musician (incl perfs with the Aspen Festival Chamber Players, California Chamber Symph, Curtis String Quartet, and Pacific Woodwind Quintet), festival artist (incl participation at the Aspen, Mozart in Monterey, and Ojai Music Festivals), studio musician (incl work as Principal Clarinetist for Walt Disney Studios and other major motion picture/ television/recording studios), saxophonist, flutist, and recording artist. Faculty member: California State Univ-Northridge (1966-81). Hon: NARAS Award (1974-78) for “consistently outstanding performances as a clarinetist.” Students include: Rob Chavez, Gary Corrin, SCOTT HARRIS, JAMES KANTER, R. DENNIS LAYNE, Toshiyuki Shimada, MELVIN WARNER, RALPH WILLIAMS. Dominick Fera was a major player in the Los Angeles recording studios, having performed on numerous motion picture soundtracks and commercials. He was also a saxophone and flute virtuoso. Fera commented, “Love music for its own sake. Approach music as though it was praying without words.” (Fera/Paddock 1998) Bib: Fera, Dominick, to Tracey L. Paddock, Tallahassee, FL, May 29, 1998.

Ferguson, Lora McDonald. Early clarinet studies with SIDNEY FORREST; BM: Oberlin Conserv (1963) with GEORGE WALN; MM: Catholic Univ (1974) with LOREN KITT. Additional clarinet studies with Alois Heine at the Mozarteum-Salzburg, Austria. Clarinetist: Capitol Woodwind Quintet (1978-); Kennedy Center Opera House Orch (Asst Principal: 1980-); Virginia Chamber Orch (Principal: current); Washington Concert Opera (Principal: current); also performs/has performed as Principal Clarinet of the American Chamber Orch, Amadeus and Filene Center Orchs, and Key West Symph. Active as a recitalist (incl perfs on the Holocaust Museum’s Embassy Series and on the Kennedy Center’s Millennium Stage), soloist (incl perfs with the Kennedy Center Opera House Orch), chamber musician (incl perfs with the Capitol Woodwind Quintet and Natl Musical Arts), and recording artist (incl appearance on a Natl Symph recording). Faculty member: George Washington Univ (Prof of Clarinet: current); George Mason Univ (Clarinet: current); Selma Levine SOM (Clarinet: current). Students include: Brian McCurdy. Bib: “Lora Ferguson.” George Washington University. http://www.gwu.edu/~music/ facultybio.html#ferguson (accessed February 21, 2011).

Ferguson, Robert C. Clarinetist: Kansas City Phil (1949, +/-). Bib: Stoddard, Hope. “Clarinets and Clarinetists of Our Orchestras.” International Musician 48 (September 1949): 22.

Fillsack, Paul. Clarinetist: Philadelphia Orch (1901-03; 1904-24); may also have performed as a violinist with this orch.

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Finkelstein, Adolph. Was active as a recording artist (appeared on the Edison label in 1911). Students include: HARRY SCHMIDT, WALLACE TENNEY. Bib: Stanford, Stan. “Early Clarinet Recordings.” Early Clarinet Recordings. http://www.pacifier.com/~suzann/clarinetrecordings.htm (accessed February 21, 2011).

Fiorani, Angelo. Clarinetist: Baltimore Symph Orch (Clarinet/Bass: 1940-46, +/-; 1951-56, +/-). Students include: DAVID LEWIS.

Fitzer, Robert D. B. July 27, 1956 (Youngstown, OH); d. May 16, 2007. Early musical studies begun on piano; clarinet studies begun at age 10 with CARL MARKS, JR. BM: Northwestern Univ (c.1978) with ROBERT MARCELLUS; additional studies at the American Instit of Musical Studies-Graz, Austria and Intl Festival Instit. Additional clarinet studies with CLARK BRODY, LARRY COMBS, Dieter Klocker, and THOMAS THOMPSON. Former clarinetist: Civic Orch of Chicago; Chicago Symph (toured/recorded with orch for 2 years); Mexico City Phil; San Antonio Symph; Cleveland Lyric Opera (Principal); Playhouse Square Orch (Principal); Warren Phil (Principal); Greenville Symph (Principal); Dana Wind Quintet; Robert Fitzer Quintet; W.D. Packard Concert Band; also performed with the , Ballet Monte Carlo, and Pittsburgh Symph. Was active as an intl recitalist/soloist (incl Carnegie Hall debut at age 19, and perfs with the Greensburg Symph, American Wind Symph, AIMS and Rome Festival Orchs, and Moscow Phil), chamber musician (incl perfs with above ensembles), recording artist (performed on Grammy Award-winning Chicago Symph recordings of Brahms Symphs), studio/theater musician (appeared on many motion picture soundtracks and Broadway shows), jazz/pop musician (incl perfs with Dizzie Gillespie and the rock bands Styx and Yes). Premiere perfs incl J. Plumieri’s Clarinet Concerto with the Moscow Phil. Former faculty member: Trinity Univ; Allegheny Coll; Youngstown State Univ (Dir of Clarinet Studies: 1996-2000+); was active as a private clarinet instructor. Other positions/activities: was active as a coach/clinician, conductor (incl position as Mus Dir of Allegheny Civic Symph), writer, political/community activist, and radio and television broadcaster/interviewer. Hon: honored posthumously in the Apr. 25, 2007 Congressional Record by OH Congressman T. Ryan. Students include: Kristen Mather, David McClune, Brandie Suchevich. Bib: Peyko, Mark. “Mark Peyko Remembers Bob Fitzer.” Youngstown Renaissance. http://youngstownrenaissance.com/2007/07/mark-peyko-remembers-bob-fitzer/ (accessed February 21, 2011); Ryan, Tim. “Honoring Robert D. Fitzer.” Metro Monthly. http://www.metromonthly.net/bob/ BobFitzer/BobFitzer_files/waisgate-1.pdf (accessed February 21, 2011).

Fitzsimmons, Guy P., Jr. B. circa 1913; d. 2000. Prominent Indiana clarinetist of the 1940s, listed in Who is Who in Music (1941). Performed as a clarinetist/saxophonist on “The Little Red Barn,” a radio show broadcast in Fort Wayne, IN. Bib: Thompson, Blaine. “RadioWatch Archive – July 29, 2000.” Indiana Radio Watch. http://www.well.com/~irw/archive/072900.html (accessed February 21, 2011).

Flaver, John A., Jr. B. May 15, 1948 (Rome, NY). HS clarinet studies with ROBERT SCHMIDT. BM: Temple Univ with ANTHONY GIGLIOTTI; MM: Catholic Univ with ANTHONY GIGLIOTTI. Postgrad studies in instrumental music techniques for band with Edward S. Lisk. Clarinetist: U.S. Army Band (1970-73); Syracuse Symph (1973-81). Faculty member: Ithaca Coll (Clarinet Instructor: Spring 1984); active as a public school teacher in the state of NY (1973-). Author/publisher of numerous educational clarinet pamphlets (incl “Practicing Productively,” “The Bass Clarinet Student,” and “How to Select a Mouthpiece for a Beginner, Intermediate and Advanced Student”). Memb: MENC, NYSBDA, NYSSMA, OCMEA. Hon: “Outstanding Instrumental Music Educator of the Year,” Central NY (1996); listed in Who’s Who Among American Teachers (Fifth Edition). Plays on: Buffet R-13 clarinets; GIGLIOTTI P and P-34 mouthpieces (refaced by Dong Jin Kim) and Vandoren M-13 mouthpiece; Vandoren V-12 reeds. Students include: Jeffrey M. Geller, Frederick Vare III. Both John Flaver and his father, John Flaver Sr., were students of Anthony Gigliotti. John Flaver Jr. was profoundly influenced not only by his studies with Gigliotti, but has also written that listening to the Philadelphia Orchestra during his six years as a student in Philadelphia had a substantial impact on his

97 musicianship. Flaver espouses “. . . the Bonade school of teaching and playing exclusively.” (Flaver/ Paddock 1998) Although he is now active primarily in music education as a middle school teacher of instrumental music, Flaver continues to teach private clarinet lessons. His former students can be found at leading schools of music and in the West Point and Marine Bands. Bib: Flaver, John A., Jr., to Tracey L. Paddock, Tallahassee, FL, May 13, 1998; Flaver, John, Jr. “John Flaver.” Clarinet World. http://www.clarinetworld/flaver.htm (accessed February 21, 2011); “John Flaver.” NYSBDA. http://www.nysbda.org/Symposium2004/flaver.html (accessed February 21, 2011).

Flax, Laura. BM/MM: Juilliard with AUGUSTIN DUQUES and LEON RUSSIANOFF. Clarinetist: Da Capo Chamber Players (1970s-); San Francisco Symph (formerly); San Diego Symph (formerly); NYC Opera (Principal: current); American Symph Orch (Principal: current); Brooklyn Phil (current); Eos Chamber Orch (current); also performs with the American Composers Orch, the New York Phil, the Metropolitan and NYC Opera Orchs, and the Orpheus and St. Luke’s Orchs. Active as a recitalist (incl the premiere of Joan Tower’s Wings at Merkin Hall, Dec. 14, 1981), soloist (incl perfs with the Bard Festival Orch, NY Chamber Symph, and the American and Puerto Rico Symph Orchs), chamber musician, festival artist (incl participation at the Bard and Storm King Music Festivals), and recording artist (incl Joan Tower’s Wings on CRI; also appears on the Bridge label). Premiere perfs incl works by , , Shulamit Ran, and Joan Tower. Faculty member: Juilliard Pre-Coll Div (current); Bard Coll Conserv (current). Other positions/activities: active as a clinician. Hon: favorable review of perf appears New York Times; Joan Tower dedicated Wings, her well-known unaccompanied work for clarinet, to Laura Flax, who was performing with Tower in a chamber ensemble at the time of its composition. Students include: Will Anderson, Conor Brown. Bib: “Laura Flax.” Bard College. http://www.bard.edu/ conservatory/faculty/?action=details& id=2140 (accessed February 21, 2011); Rischin, Rebecca. “Master Class: Wings by Joan Tower.” The Clarinet 26 (March 1999): 4-12.

Fletcher, Richard W. B. Oct. 22, 1945 (Little Rock, AR). BME: Arkansas Tech Univ with LOREN BARTLETT and W. JAMES JONES; BM: Southern Illinois Univ-Edwardsville with GEORGE MELLOTT; DM: Univ of Iowa with HIMIE VOXMAN. Postgrad clarinet studies with GEORGE SILFIES. Active as a recording artist (incl The Music of Ivar Lunde, released in Norway, 1989). Faculty member: Arkansas Tech Univ (Instructor of Clarinet/Sax/Bassoon: 1973-82); Univ of Wisconsin- Claire (Prof of Clarinet/Sax: 1982-). Memb: ICA, NACWPI, North American Sax Alliance. Plays on: Buffet R-13 clarinets; CHARLES BAY mouthpiece; Vandoren #3 ½ reeds. Students include: Kenneth Carroll, Brian Handeland, Greg Keel, Megan Pattarozzi. Bib: Fletcher, Richard W., to Tracey L. Paddock, Tallahassee, FL, June 2, 1998.

Fobes, Clark W. BM: California State Univ-Fresno with RUSSELL HOWLAND; MM: San Francisco Conserv (1983). Additional clarinet studies with GARY GRAY, HOWARD KLUG, R. DENNIS LAYNE, ROSARIO MAZZEO, and GEORGE WALN. Clarinetist: San Francisco Symph (Regular Extra: 1980s-); also performs regularly with the California Symph, San Francisco Opera Orch, Skywalker Ranch Orch, and San Francisco Contemporary Music Players. Active as a freelance clarinetist/ bass clarinetist and chamber musician in San Francisco (1981-). Published in The Clarinet. Other positions/activities: has been active as a clarinet repairman (mid-1970s-) and leading craftsman of clarinet/ sax mouthpieces and clarinet barrels. Clarinetists who play on Fobes’s mouthpieces and/or barrels include ROBERT CHESEBRO, Mary Alice Druhan, F. GERARD ERRANTE, GARY FOSTER, JULIA HEINEN, John Mula, Tracey Paddock, JOHN REEKS, and SHANNON THOMPSON. Plays on: CLARK FOBES E- flat, B-flat, Bass, and contra bass clarinet mouthpieces. In addition to his excellence as a performer on the entire clarinet family, Clark Fobes has emerged in recent years as a highly reputable craftsman of clarinet mouthpieces and barrels whose product line is increasingly in demand. He has three levels of clarinet mouthpieces including an extremely popular beginning model (“Debut”), moderately-priced professional models, and a line of hand-crafted and individually numbered professional mouthpieces. His barrels are also quite popular as are his saxophone products. Fobes has contributed numerous articles to The Clarinet on subjects such as the care and repair of the clarinet, reviews of clarinets, and a tribute to one of his teachers, Rosario Mazzeo. Bib: Fobes, Clark. “A Tribute to Rosario Mazzeo.” The Clarinet 25 (February/March 1998): 40- 45; Fobes, Clark. “Clark W Fobes Clarinet and Saxophone Products.” C. Fobes. http://www.clarkwfobes.

98 com (accessed February 21, 2011); Fobes, Clark. “Leblanc Professional Bass Clarinets, A Review” The Clarinet 13 (Winter 1986): 39.

Fogle, Elizabeth Ann. Active as a recitalist (incl well-received perfs at London’s Wigmore Hall and Carnegie Recital Hall); favorable reviews of perfs appear in The New York Times. Was active as a clarinetist/teacher in AZ during the late 1970s. Students include: ANDREA SPLITTBERGER-ROSEN. Bib: Fogle, Elizabeth Ann. “Georgina Dobrée – A Profile.” The Clarinet 6 (Summer 1979): 14; Harvey, Paul. “Recital Reviews.” The Clarinet 6 (Spring 1979): 35.

Forlani, H. Clarinetist: Detroit Symph Orch (1923-24).

Forlani, Nichola. B. 1886 (Italy); d. 1976. Clarinetist: Boston Symph Orch (Second: 1918-19; Third: 1919-21). Bib: Huffman, Larry. “Boston Symphony Orchestra Musicians.” Stokowski.org. http:// www.stokowski.org/Boston_Symphony_Musicians_List.htm#F (accessed February 21, 2011).

Forrest, Sidney. B. Aug. 21, 1918 (NY, NY). Early clarinet studies with Geraldi Iasilli. Advanced studies at Juilliard (1935-37); BA: Univ of Miami (1939); MA: Columbia Univ (1941). Clarinet studies with SIMEON BELLISON, OTTO CONRAD, and ALEXANDER WILLIAMS. Former clarinetist: Radio City Music Hall Symph; Little Orch Society of NY; CBS Symph (with DANIEL BONADE); U.S. Marine Band (1941-45); Natl Symph (Principal: 1946-50); Watergate Symph (Principal: formerly, until 1950); Natl Capital Woodwind Quintet (1961-72) Active as a recitalist (incl perfs at the Brooklyn Museum, Carnegie Recital Hall, Interlochen Center for the Arts, the Library of Congress, and the Natl Art Gallery), soloist (incl perfs with the U.S. Marine Band, and a perf of the Copland Clarinet Concerto conducted by Copland at the Pan American Union), chamber musician, and recording artist (on the Lyrichord and WCFM Records labels); numerous broadcast perfs given on radio. Faculty member: Peabody Conserv (Prof of Clarinet: 1946-85; Dir of Placement/Career Counseling, 1969-85; Prof Emeritus: 1985-); Catholic Univ (Adj Prof: 1954-); George Washington Univ (Lect: formerly); Interlochen Arts Camp (1959-2000+); American Univ (1961-85, +/-); Levine SOM (1980-97, +/-). Articles published in various music journals. Other positions/activities: has been active as an adjudicator (incl judging for the Natl Fulbright Commission, 1980-84), clinician (presentations given at the Mid-East Music Educators’ Conference, Natl Band Conductors Conference, and Pennsylvania Music Educators’ Conference), and editor/arranger (incl numerous solos and transcriptions for the clarinet). Extra-musical activities incl gardening, photography, stamp-collecting, and travel. Memb: ClariNetwork (formerly), MTNA. Hon: NY Phil Symph Orch Schol; listed as a “Prominent Clarinet Teacher” in The Clarinet No. 14 (Spring 1954): 24; favorable reviews of recordings appear in The Clarinet and Richard Gilbert’s The Clarinetists’ Repertoire – A Discography. Plays on: Buffet R-13 and Selmer 10G clarinets; Vandoren 5RV Lyre mouthpiece. Students include: SCOTT ANDREWS, Dominick Argento, Michelle Arrignon, LUIS BAEZ, James Bryla, Alisha Coleman, Miranda Dohrman, Mark Dover, Mark Dubac, James Fay, LORA FERGUSON, Susan Fo, JAMES GHOLSON, Greg Harrison, KELLY JOHNSON, Suzan Russell Kiepper, KEITH KOONS, LOREN LEVEE, LEE CARROLL LEVINE, Ari Lipman, Elizabeth Gish Matera, Charlene McDaniel, ANTHONY MCGILL, GORDON MILLER, NICHOLAS MORRISON, Tommy Newsom, Tracey Paddock, C. ROBERT ROSE, Alfred Savia, Marc Schlossberg, Jane Schuller, JOHN SPICKNALL, , Anthony Taylor, DAVID THOMAS, CHRISTOPHER WOLFE, BRADLEY WONG. In addition to the students listed above, dozens more of Sidney Forrest’s former and current students perform as members of the premier military bands in Washington D.C., and in orchestras throughout the world. Forrest became something of a legend and a fixture at Interlochen Arts Camp (formerly National Music Camp), having served on the summer faculty longer than almost anyone else at that institution. Much insight into Forrest’s background as well as his teaching ideals can be found in an extensive interview with James Gholson, available on-line (see Bib below). This interview is highly recommended as it contains not only valuable information about Forrest but also commentary on other prominent twentieth-century American clarinetists, e.g. Bellison, Bonade, etc. Bib: Forrest, Sidney, to Tracey L. Paddock, Alexandria, VA, October 6, 1998; Gholson, James. “Interview with Sidney Forrest.” UNITUS. http://www.unitus.org/SEACLAR.html (accessed January 8,

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2011); Gilbert, Richard. The Clarinetists’ Repertoire—A Discography. New York: The Grenadilla Society, 1972: 88; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 49.

Fossenkemper, Marius E. [“Fossie”]. D. circa 1999. Music/acad studies in Cincinnati and at Earlham Coll and Univ of Michigan. Former clarinetist: Detroit Symph (Principal: 1922-52, +/-); Leonard Smith Concert Band (Principal: 1954, +/-). Former faculty member: Michigan State Normal Coll/now Eastern Michigan Univ (Chair of Instrumental Music Dept: 1927-47); Detroit Instit of Mus Arts (1954, +/- ). Published in Woodwind Magazine. Other positions/activities: Conductor, Lansing Symph (1950s, +/-); Founder/Conductor, Little Symph at Normal Coll; Selmer Artist (1952, +/-). Hon: Memorial Clarinet Schol at Eastern Michigan Univ named for Fossenkemper. Played on: Selmer clarinets. Students include: OLIVER GREEN. A brief biography included in Fossenkemper’s article listed in the Bibliography below offered the following insight into Fossenkemper’s personality:

Marius Fossenkemper is one of those rare individuals who undoubtedly will fall into a good number of people’s listings of “the most unforgettable person I have known.” His complete sincerity as a teacher and clarinetist and his devotion to the three guiding factors of his philosophy: the giving of knowledge, guidance and delight, combine to make him a remarkable and thoroughly delightful individual. Fossy, as he is popularly known . . . At eighteen . . . became a member of the Detroit Symphony and filled the first clarinet post for over twenty-five years. . . .” (Fossenkemper 1954, 10)

Bib: Fossenkemper, Marius. “On the Clarinet.” Woodwind Magazine 7 (October 1954): 10; “Symphony Orchestra: History.” EMU Music and Dance. http://www.emich.edu/music/orchestra/ history.html (accessed February 21, 2011).

Foster, Gary. Native of Leavenworth, KS. Undergrad studies begun at Central Methodist State Univ; BM(c.1961)/MM(Musicology): Univ of Kansas with DON SCHEID. Clarinetist: Acad Awards Orch (Clarinet/Winds: 1998, +/-). Active as a leading Los Angeles studio musician (1966-; live televised perfs incl “The Show” and “The Invaders;” television soundtracks incl “King of the Hill” and “The Simpsons;” movie soundtracks incl Catch Me If You Can, Chicago, Men in Black, Midnight in the Garden of Good and Evil, and Mel Brooks’ The History of the World, Part I), woodwind doubler (performs on all members of the flute/clarinet/sax families), jazz musician (incl perfs with the Jack Radavich Quartet and the -Lew Tabackin Big Band), soloist (incl perf with the 1992 All-American Coll Band), and recording artist (on the , Discovery, Insights Records, RCA, Revelation, and Toshiba EMI labels). Faculty member: Univ of Missouri-Kansas City (Millsap Vstg Jazz Prof: 1984-); Univ of California-Los Angeles (Sax Instructor). Hon: NARAS Most Valuable Player for Woodwind Doubling Award; appears on ’s multiple-Grammy-winning recording, Unforgettable, With Love; numerous favorable reviews of perfs/recordings appear online. Plays on: Buffet R-13 (B-flat/E-flat) and Yamaha 72 (A) clarinets; CLARK FOBES 2L (classical) and 4L mouthpieces; Selmer HS* E-flat mouthpiece; Selmer Low C bass clarinet; KANTER bass mouthpiece; Bundy E-flat contralto clarinet; KANTER and John Reilly contralto mouthpieces; Leblanc B-flat clarinet; see article listed in Bib below for flute/sax information. Students include: Jimmy Emserzian, RUSSELL HARLOW, John Paulson, Timothy Price. Gary Foster is one of the most active woodwind doublers in Los Angeles with a long list of television and motion picture soundtracks to his credit. While Foster received classical training, he also grew up under the influence of the performances of Benny Goodman and Woody Herman, so he is equally comfortable playing traditional clarinet repertoire or performing with jazz/pop artists like Natalie Cole, , Diana Krall, Johnny Mathis, Liza Minnelli, , or . A further testament to his versatility, Foster performs on all members of the flute, clarinet, and saxophone families. One of Foster’s annual engagements is performing for the , at which he observes that he has frequently performed on one or more of the nominated soundtracks. Bib: Hoffman, Michelle. “For Sought-after Musician, Jazz Is Frosting on Cake.” AZCentral.com. http://www. azcentral.com/community/scottsdale/articles/0119sr-hoffman19musicZ8.html (accessed February 21, 2011); Talley, Elena Lence. “Profile: Gary Foster.” The Clarinet 26 (March 1999): 80-83.

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Foster, Norman F. B. Aug. 3, 1956 (Urbana, IL). BM(with high honors)/DM studies: Univ of Illinois (1979/1984-85) with WILLIS COGGINS, HARVEY HERMANN, and HOWARD KLUG; MM: Michigan State Univ (1983) with ELSA LUDEWIG-VERDEHR. Additional clarinet studies with LARRY COMBS, JOHN BRUCE YEH, RICHARD WALLER, and PAUL ZONN. Clarinetist: Hong Kong Phil (Second/E-flat: 1980-83; also performed on Bass Cl/Sax/ Harpsichord); Springfield Symph (Third/Bass/E-flat: 1984-85); Sinfonia da Camera-IL (Founding Memb/ Second/E-flat: 1984-85, 1990-91); Honolulu Symph (Second/E-flat: 1985-; perfs as Principal and/or on Bass/Sax/Basset Clarinet as needed); Aspen Festival Orch (Second/E-flat: Summer 1990); has also performed with the Hong Kong Chamber Orch and the Grand Rapids Symph. Active as a recitalist/soloist (incl perf as bass clarinet soloist at the 1981 ICA Conference), chamber musician (incl participation at the Red-Hot Lava Chamber Music Festival), and recording artist (on recordings with the Honolulu and Hong Kong Phil Orchs and Sinfonia da Camera; appears on the Arabesque, Golden Crest, JVC, Marco Polo, and Sony labels). Faculty member: Ling-Nan Coll (1981-83); Hong Kong Arts Center (1981-83); Aspen Music Festival (E-flat Instructor: Summer 1990); active as a private clarinet instructor (1979-). Other positions/activities: Orch Rep, Hong Kong Phil Artistic Committee (1981-83); Project Coordinator, Red-Hot Lava Chamber Music Festival (1998, 1999); Founder/Pres, Normzart Greeting Cards (current); active as a clinician (incl master classes/clinics given at the Honolulu Symph Talented Student Schol Program, Illinois Summer Youth Music, Pacific Basin Band Festival, and at Univ Of Illinois), and composer/arranger (incl recent publication of a book of piano rags). Memb: AFM, NAMM, Phi Kappa Phi, Pi Kappa Lambda, Retail Print Music Dealers Assn. Hon: Winner, Univ of Illinois Concerto Compt (1977); Winner, Michigan State Univ Concerto Compt (1980); Grad Assistant, Univ of Illinois (1984-85); selected to participate in master classes given by Walter Boeykens (1981), J. LAWRIE BLOOM (1983), and LARRY COMBS (1984, 1985). Plays on: Buffet clarinets; PYNE PK~ mouthpiece; Buffet E-flat clarinet; BAY E-flat mouthpiece; Selmer Low C bass clarinet; Borbeck bass mouthpiece; Leblanc D clarinet. In addition to his primary clarinet teachers listed above, Norman Foster has also worked with J. LAWRIE BLOOM, GERVASE DE PEYER, FRED ORMAND, and GEORGE SILFIES. He offered the following commentary on his musical philosophy:

In teaching, I believe “a picture is worth a thousand words,” i.e., I constantly demonstrate for my students telling them to watch my embouchure, fingers, etc., and imitate. Also I have them observe themselves by watching how they play in a mirror, in the lesson and at home. I also suggest they memorize, so that they can shut their eyes – this heightens their listening. In performing it is important to be relaxed and enjoy what you’re doing – this transfers to the audience, making them relaxed and able to enjoy the performance – they must be receptive. I also give high importance to intonation. (Foster/Paddock 1998)

Foster adds,

I believe in pre-natal exposure to classical music – especially Mozart – and some level of music playing (and singing) at a very early age. The synapses of the brain required for music must be stimulated early for ideal development and success later in life. At the same time, it is never too late to derive some benefits from playing music. (Ibid.)

Aside from his musical activities, Foster is also the founder and president of Normzart Greeting Cards for which he designs and distributes “cards for music-lovers” as well as Hawaiian cards available at music stores across the country. (Ibid.) Bib: Foster, Norman F., to Tracey L. Paddock, Tallahassee, FL, September 1998.

Foster, Wesley. B. Vancouver, BC. Clarinet studies with RONALD DE KANT, Dominic Lastoria, ROBERT MARCELLUS, James Morton, Henry Ohlemann, and Elliot Weisgarber. Clarinetist: Indianapolis Symph (Principal: formerly); Natl Ballet Rochester (Principal: formerly); Hamilton Phil (Principal: formerly); Vancouver Symph (Principal: formerly, 1981-2000+). Active as a recitalist, soloist (incl perfs with the Vancouver Symph), chamber musician (incl perfs with Masterpiece Chamber Music, the Lorien and Santiri Woodwind Quintets, and the Vetta String Quartet) and festival artist (incl

101 participation at the Banff Centre Festival of the Arts, the Boris Brott Summer Music Festival, the Olympic and Sebago Music Festivals, the Scotia and Sharon Festivals, the Vancouver Intl Chamber Music Festival, and at the Orford Centre for the Arts). Faculty member: Northwestern Univ (formerly); McMaster Univ (formerly); Univ of British Columbia (current). Plays on: Buffet R-13 clarinets; GREG SMITH hard rubber and cocus wood mouthpieces; Penzel Mueller ligature; Morrie Backun barrels (cocobolo or dalburgia refusa wood); rosewood Backun bell. Students include: GREGORY BARRETT, Graham Lord, Keith MacLeod, James Ormston, Susan Schwaegler, TASHA WARREN. Although Wesley Foster is primarily a Canadian clarinetist, he spent several years training, performing, and teaching in the U.S. Bib: “Vancouver Symphony.” Vancouver Symphony. http://www.vancouversymphony.ca/or_ member_bio.cfm?& CFMusicianCode=WFOS (accessed March 14, 2000; link no longer available).

Fragale, Francesco Domingo [Frank]. B. Dec. 1, 1894 (Sciara, Italy); d. Sept. 21, 1955 (San Francisco, CA). Immigrated to the U.S. in 1910. Music studies with the Bellini Conserv; continued clarinet studies in NYC with Julius Gold. Former clarinetist: San Francisco Symph (Principal: 1912-32; may have continued to perform as section clarinet/bass until the mid-1950s); San Francisco Opera; also performed as a theater musician. Other positions/activities: was active as a composer (incl chamber/orch works and an opera) and publisher of several books of clarinet etudes. Students include: Arthur Ness. Bib: “Guide to the Frank Fragale Collection.” Online Archive of California. http://www.oac.cdlib.org/findaid/ ark:/13030/kt529026r6/ (accessed February 21, 2011); Huffman, Larry. “San Francisco Symphony Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_San_Francisco_ Symphony.htm (accessed January 31, 2011).

Frederick, W. Clarinetist: Cleveland Orch (1918-19, +/-).

Freeman, Harold. Clarinetist: Chicago Symph Orch (Clarinet/E-flat: 1935-36); NBC Symph (Second/Third/E-flat/Bass: 1948-50, +/-). Former faculty member: Metropolitan Music School (Woodwind Instructor). Has been active as a music editor (incl a Mozart for two clarinets and Album of Concert Music, Vol. 1). Students include: MICHAEL WEBSTER. Bib: Price, Erwin L. “Allegro Interviews Al Gallodoro.” Allegro Archives 99 (December 1999) at http://www.local802afm.org/publication_entry.cfm? xEntry=8779477 (accessed February 21, 2011).

Freeman, Stephen. Clarinet studies with LEON RUSSIANOFF and HAROLD WRIGHT. Clarinetist: U.S. Air Force Band (1953-57); Ottawa Phil (formerly); St. Louis Symph (1958-59); Baltimore Symph (1960-63); Pittsburgh Symph (formerly, for 3 seasons); New York Phil (Bass: formerly, 1966- 2000+). Faculty member: Brevard Music Center (formerly, for 6 summers). Other positions/activities: Coach, NY All-City HS Orch (for 10+ years); extra-musical activities incl running (has completed at least 2 NYC Marathons); Freeman’s wife, Judith Kalin-Freeman, has served for many years on the clarinet faculty of the Manhattan SOM Prep Div. Plays on: Buffet clarinets; Frank Kaspar (Ann Arbor) mouthpiece; Vandoren V-12 #4 reeds; Buffet bass clarinet (c.1955) modified by Hans Moennig (incl removable extension joint and manual register key), originally owned by LEON LESTER; Vandoren B-45 bass mouthpiece (modified for a deeper baffle); Vandoren #2 ½ -3 bass reeds. Students include: DENNIS SMYLIE, Stephen Valk. Bib: Sichel, John. “The Clarinetists of the New York Philharmonic.” The Clarinet 19 (July/August 1992): 44; “Stephen Freeman – Bass Clarinet.” World Clarinet Alliance. http://www.wka-clarinet.org/Newsletter_Apr08.htm (accessed February 21, 2011).

Freimuth, Ben. Native of Upper Marlboro, MD. Grad: Interlochen Arts Acad (with DEBORAH CHODACKI); Cleveland IOM with LINNEA NEREIM; Rice Univ with DAVID PECK. Clarinetist: New World Symph (1997-99); Utah Symph (Bass/Third: formerly); Santa Fe Opera (Summers, current); Kansas City Symph (Principal: formerly); San Francisco Symph (Bass: formerly); ProMusica Chamber Orch (current). Active as a soloist (incl perfs with the Kansas City Symph), chamber musician, festival artist (incl participation at the Grand Teton and Tanglewood festivals), and recording artist (appears on recordings with the San Francisco Symph). Faculty member: Univ of Missouri-Kansas City (formerly); San Francisco Conserv of Music (formerly); Ohio State Univ (current). Bib: “Ben Freimuth.” OSU School of Music. http://music.osu.edu/faculty/ben-freimuth (accessed February 21, 2011); Helmers, William. “Opera in the Mountains.” The Clarinet 28 (March 2001): 85.

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Frey, Eugene V. Former clarinetist: Cincinnati Symph Orch (1940-50s, +/-); U.S. Army Band, Ft. Lee, VA (for 3 years during WWII); Cincinnati Opera (1940-57). Other positions/activities: Pres, AFM, Local 1-Cincinnati (1958, for 50+ years). Students include: Gordon Brisker.

Friedland, Sherman. American-born clarinetist, currently active in Canada. Clarinet/music studies with Nadia Boulanger, PASQUALE CARDILLO, Norman Carrel, GINO CIOFFI, Fernand Gillet, Marcel Jean, ROSARIO MAZZEO, and LELAND MUNGER. Clarinetist: Milwaukee Symph (Principal: formerly); Concordia Chamber Players (Clarinet/Dir: 1977-, +/-). Active as a soloist (incl perfs with various orchs and a solo perf conducted by Gunther Schuller at Tanglewood), chamber musician, and recording artist (incl 4 recordings of contemporary works, most written for or dedicated to him; appears on the Societe Novello D’Enregistrement label); numerous broadcast perfs given on CBC Radio, and on the CBS television show Camera Three. Faculty member: Concordia Univ (Prof of Clarinet/Conductor of Univ Orch/Assoc Dean of Fine Arts Faculty: current). Other positions/activities: Creative Assoc, SUNY- Buffalo’s Center for the Creative and Perf Arts; active as a conductor and lecturer (incl an appearance at the CASS conference). Hon: Winner, Natl Compt for Wind Instruments; Fromm Fellowship, Tanglewood; Rockefeller Grant for new music; favorable reviews of recordings appear in The Clarinet (see Bib below). Although he currently resides, performs and teaches in Montreal, Friedland began his studies and spent a good portion of his professional career in the United States. He has commissioned more than 35 works for the clarinet, many of which can be heard on the Societe Novello D’Enregistrement label. In addition, Friedland’s Clarinet Corner website (listed in Bib below) contains a wealth of information on the American clarinet tradition, past and present. Bib: Gingras, Michéle. “Compact Disc Reviews.” The Clarinet 20 (February/March 1993): 53; Gingras, Michéle. “Compact Disc Reviews.” The Clarinet 24 (February/March 1997): 73-74; Gingras, Michéle. “Record Reviews.” The Clarinet 16 (November/December 1988): 58; Friedland, Sherman. “About Sherman Friedland.” Clarinet Corner. http://clarinetcorner.wordpress.com/about/ (accessed January 25, 2005).

Friedman, Rita Feller. B. NY. HS studies at Juilliard Pre-Coll. BM: Oberlin Conserv (1982) with LAWRENCE MCDONALD; MM: Juilliard (1984) with DAVID WEBER; additional studies at the Grand Teton Orch Seminar with STEPHEN GIRKO and at the Yale/Norfolk Chamber Music Program. Additional clarinet studies with LEON RUSSIANOFF. Clarinetist: Jupiter Symph (formerly); Knoxville Symph (Principal: 1985-86); Berkshire Opera (Principal: 1991-99); Memphis Symph (Second: 1986-); Memphis Chamber Orch (current); Ole Miss Winds (current); has also performed with the NY Ballet Orch. Active as a soloist (incl perfs at Interlochen Arts Acad, Memphis State Coll, and Rhodes Coll), chamber musician (incl perfs with Ole Miss Winds), festival artist (incl participation as Principal Clarinetist of the Bedford Springs Festival Orch, Summer 1986), and recording artist (on the Teldec Records label). Faculty member: Univ of Mississippi (1995, +/-); Rhodes Coll (current); active as a private clarinet instructor. Students include: Chastine Hofmeister. Bib: “Musical Chairs, Part 1.” The Clarinet 14 (Fall 1986): 44.

Fritzsche, Otto George. B. 1869 (Germany). Clarinet studies at the Leipzig Conserv (late 1800s). Former clarinetist: Gewerbehaus Orch-Dresden, Germany; Sousa Band (1898, 1900); Boston Symph (Bass: 1902-07); may also have performed with the Leipzig Gewandhaus Orch (late 1800s). Was active as a soloist (incl perfs with the Sousa Band) and composer/editor (incl 3-part method book published by Cundy-Bettoney). Bib: Huffman, Larry. “Boston Symphony Orchestra Musicians.” http://www. stokowski.org/Boston_Symphony_Musicians_List.htm#F (accessed February 23, 2011); Krebs, Jesse. “The Clarinet Soloists of the Sousa Band: 1892-1929.” ICA. http://www.clarinet.org/clarinetFestArchive.asp? archive=45 (accessed February 23, 2011).

Fulginiti, Anthony. Advanced studies at New England Conserv with ROSARIO MAZZEO. Clarinetist: San Antonio Symph (Bass: 1954-55, +/-); Minneapolis Symph (Clarinet/Bass: 1959-67); Beethoven Society (current). Active as a recitalist and chamber musician. Hon: favorable review of perf appears in The Melrose Mirror. Students include: David Benjamin. Bib: Wattenberg, Jackie. “Variety, Color and Fine Performances in Beethoven Concert.” The Melrose Mirror. http://melrosemirror.media. mit.edu/servlet/pluto?state=30303470616765303037576562506167653030326964303033343131 (accessed March 15, 2011).

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Fullam, John C. B. Dec. 19, 1951 (NYC). BM/MM: Juilliard (1970-75) with JOSEPH ALLARD; Dipl of Orch Studies: Mozarteum Acad-Salzburg, Austria (1976); additional studies at the Saratoga Perf Arts Center with ANTHONY GIGLIOTTI (1970). Additional clarinet studies with PASQUALE CARDILLO, LARRY COMBS, PETER SIMENAUER, LEON RUSSIANOFF (1968-72), and HAROLD WRIGHT. Clarinetist: Marlboro Festival Orch (Principal: 1973); Intl Symph of (Principal: 1976-77); Natl Orch Assn (1977-80); Caracas Phil-Venezuela (Principal: 1980-86); Utah Symph (Assoc Principal: 1986-89); Boston Phil (Principal: 1990-92); Portland Symph (Assoc Principal: 1991-92); Buffalo Phil (Principal: 1992-); Buffalo Wind Quintet (1993-); Raycroft Festival Chamber Players (1996-); has also performed with the London Festival Ballet. Active as a recitalist (incl perfs at Carnegie Hall and Lincoln Center), soloist (incl a perf at the Berkshire Festival of Contemporary Music, perfs with above Orchs, and a perf of Copland’s Clarinet Concerto conducted by Copland), chamber musician, (incl perfs with the Buffalo Wind Quintet and Raycroft Festival Chamber Players), festival artist (incl participation at the Amalfi Coast, Berkshire, Marlboro, and Roundtop Festivals), and recording artist (on the Masters, Mode, Naxos, Pickwick, and Pro Arte labels, and on the Marlboro Recording Society Series); broadcast perfs given on Radio Hong Kong and Venezuelan Natl Radio and Television. Faculty member: Phil Conserv of Caracas (Clarinet Dept Chmn: 1980-86); Univ of Utah (1987- 88); Atlantic Union Coll (1988-92); Boston Conserv (Prof of Clarinet/Dir of Chamber Mus: 1989-92); SUNY-Buffalo (1993-); Eastman SOM (1994-95); SUNY-Fredonia (1997-). Memb: AFM. Hon: full schol, Saratoga Perf Arts Center (1970); Juilliard schol (1970-75); Winner, intl compt for position of Principal Clarinetist/Soloist of the Intl Symph of Venice, Italy (1976-77); Tanglewood Fellowship and C.D. Jackson Award for Outstanding Perf (1977); Winner, Natl Arts Club Award; Winner, Bergen Phil Concerto Compt; Diplome d’Honore, awarded by Italian govt; Winner, Massachusetts State Concerto Compt; U.S. Components Inc. Fellowship Grant; performed as Principal Clarinetist on the Boston Phil’s Grammy-nominated recording of Stravinsky’s Rite of Spring (1991). Plays on: Buffet R-13 clarinets; KANTER A° facing and Selmer HS* modified mouthpieces; Penzel-Muller ligature. Students include: Samantha Angelo, Rich Carpenter, JAREN HINCKLEY. Bib: Fullam, John C., to Tracey L. Paddock, Tallahassee, FL, May 19, 1998.

Fusco, Michele. B. 1878 (Cardito, Italy). Immigrated to the U.S. in 1905. Clarinetist: Metropolitan Opera Orch (Principal: 1919-41). Students include: FERDINAND AMODEO, KARL BEVINS. Bib: Huffman, Larry. “Metropolitan Opera Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Metropolitan_Opera.htm (accessed February 23, 2011).

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Gai, James R. B. Aug. 18, 1950 (Litchfield, IL). BME/MM: Southern Illinois Univ-Carbondale with ROBERT RESNICK; DM: Northern Colorado Univ with William Jamison. Clarinetist: Greeley Phil (Bass/Utility: 1978-80); Sedalia Symph (1985-); also performs regularly as an Extra with the Kansas City Symph. Active as a soloist, jazz musician (incl perfs with the After-hours and the Jim Gai Big Band), theater musician, and woodwind doubler. Faculty member: Univ of South Dakota-Springfield (1973-74); Northern State Coll-SD (1974-85); Central Missouri State Univ (Prof of Clarinet/Sax: 1985-). 28 articles published in various music journals. Other positions/activities: Yamaha Artist (1981-). Memb: ICS, Midwest Clarinet Society. Plays on: Yamaha Custom AE (B-flat) and Yamaha CX (A) clarinets; LARRY COMBS LC1 mouthpiece; Leblanc bass clarinet; CHARLES BAY bass mouthpiece; Lyons E-flat clarinet. Students include: Alan LaFave, Paul Moen, Justin Robinson, James Westbrook. James Gai believes that “the clarinet only gets in the way of the music, so solve the technical problems in the practice room.” He goes on to say that the audience does not want to and should not have to concern itself with the idiosyncrasies of the clarinet such as stuffy or out of tune notes or awkward fingerings, adding that “they just want to hear a moving performance.” (Gai/Paddock 1998). Bib: Gai, James R., to Tracey L. Paddock, Tallahassee, FL, June 15, 1998; “James Gai, DA.” University of Central Missouri. http://www.ucmo.edu/music/gai.cfm (accessed February 23, 2011).

Gainacopulos, Kay Thomas. B. July 24, 1939 (Fond du Lac, WI). BME: Lawrence Univ (1961) with SEARL PICKETT and CARLETON SAWALL; MM: Peabody Conserv (1962) with IGNATIUS GENNUSA; DM(Sax): Indiana Univ (1977) with Eugene Rousseau and BERNARD PORTNOY. Additional clarinet studies with CLARK BRODY. Flute studies with former Baltimore Symph flutist Britton Johnson. Clarinetist: 5th Army Band (Principal: 1962-63); 7th Army Band-Stuttgart, Germany (Asst Band Leader/Soloist: 1963-65); Civic Orch of Chicago (Principal: 1965); Honolulu Symph (Principal: 1966-68); Searl Pickett Sax Quartet (Founder/Memb: current); has also performed as Principal Clarinetist of . Has been active as a clarinet/sax recitalist and soloist (incl perfs with the Baltimore Symph and Ford Foundation Orch, and with the Lakeshore Wind Ensemble in Scandinavia and Russia). Faculty member: Whitman Coll (Asst Prof/Chmn of Music Dept: 1974-79); Coll of St. Teresa (1979-80); Univ of Wisconsin-Eau Claire (Assoc Prof: 1980-82); Univ of Wisconsin-Oshkosh (Prof of Clarinet/Sax/Music Business: 1982-, +/-; has also served as Dir of Bands). Other positions/activities: G. Leblanc Corp. Artist/Clinician (formerly); Yamaha Artist (current); Founder/Music Dir, Searl Pickett Chamber Music Series (1996-); active as an adjudicator, administrator (incl leadership/elected positions with the Fond du Lac Jazz Festival and the Natl Affiliated Music Business Instits), clinician and conductor. Memb: AFM, Assn of Concert Bands, CMS, ICA. Hon: first recip of DM in Sax Perf from Indiana Univ. Bib: “Kay Gainacopulos, Clarinet & Saxophone.” University of Wisconsin-Oshkosh. http://www.uwosh. edu/music/faculty-1/faculty/kay-gainocopulos-clarinet-saxophone (accessed February 23, 2010); “Meet the Music Makers.” Program of the Honolulu Symphony Orchestra (January 8 and 10, 1967): 19.

Galante, Carmelo. B. Oct. 8, 1959 (Buffalo, NY). Artist Dipl: Cleveland IOM with FRANKLIN COHEN; BM: Oberlin Conserv with LAWRENCE MCDONALD; Artist Dipl: Niagara Community Coll. Additional clarinet studies with Dana Mathewson and JAMES PYNE. Clarinetist: South Bend Symph (Principal: 1985-88); Omaha Symph (Principal: 1988-); Lincoln Symph (Principal: 1989-). Active as a soloist (incl perf with the Omaha Symph), chamber musician (incl perfs with the Omaha Chamber Society), festival artist (incl participation at the Sebago Music Festival, 1986-, +/-, Peninsula Music Festival, and Chenango Summer MusicFest), and recording artist. Faculty member: St. Mary’s Coll (formerly); Andrews Univ (formerly); Univ of Nebraska-Omaha (1988-). Memb: AFM. Plays on: Buffet R-13 clarinets; PYNE mouthpiece; Rovner and BONADE ligatures; Vandoren V-12 #3 reeds. Students include: Ed Love. In teaching, Carmelo Galante stresses the importance of strong fundamental clarinet skills. He favors a dark clarinet sound and urges students to strive for an opera-inspired vocal quality in lyrical playing. He also believes that one should give careful consideration to the “character and style of [the] composer and time period.” (Galante/Paddock 1998) Galante encourages students to perform chamber

105 music frequently, as it can greatly benefit performance in other musical settings (e.g. recital and solo playing, orchestral playing, etc.). On his own career, Galante commented,

I credit my success in winning a principal clarinet position with the Omaha Symphony to all of my teachers. Each one had plenty to offer for my education and each were slightly different in their approach and this I believe is very important in developing useful skills as a clarinetist in a symphony orchestra. (Ibid.)

Bib: Galante, Carmelo, to Tracey L. Paddock, Tallahassee, FL, July 27, 1998.

Gallo, Paul Arthur. B. July 27, 1944 (Bronx, NY). BM/MM: Juilliard (1968/1972). Clarinet coaching with clarinetist/composer MEYER KUPFERMAN. Clarinetist: Clarion Concerts Orch (1972- 85+); Mostly Mozart Orch-Lincoln Center (1976-85+); Bronx Arts Ensemble. Has been active as recitalist/ soloist (incl perf at Clar-Fest 1983), chamber musician, and recording artist (incl recordings with the Bronx Arts Ensemble on the New World Records label; also appears on the Newport Classic label); has performed in the above capacities on B-flat, E-flat, and bass clarinets, and basset horn. Premiere perfs/recordings incl works by R. Baksa. Faculty member: Vassar Coll (1973-83). Other positions/activities: Music Dir, Northeastern Arts Ensemble (1976-85+); Conductor, Hudson Valley Phil (1979-81). Memb: ClariNetwork (formerly). Hon: favorable review of recording appears in The Clarinet (see Bib below). Bib: “Gallo, Paul Arthur.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 199; Nichols, William. “Audio Notes.” The Clarinet 25 (July/August 1998): 21.

Gallodoro, Alfred J [Al]. (Born Fortunato Gallodoro). B. June 20, 1913 (Birmingham, AL); d Oct. 4, 2008 (Oneonta, NY). Began playing the Albert-system clarinet at age 5; early studies with his father, Antonio Gallodoro, from age 7. Self-taught on sax (began learning during childhood years). Clarinetist: NBC Symph (Staff: 1942-44); ABC Staff Orch (1946-66); WJZ Orch (Second Clarinet/Sax: 1948, +/-); performed as lead saxophonist/clarinetist with numerous jazz orchs (see comment section below). Very active as a jazz musician, but also active in the perf of classical music as an orchestral clarinetist/bass clarinetist, and as a recitalist, soloist, chamber musician, and recording artist (incl recordings of the Brahms Clarinet Quintet on the Concert Hall Society and Intl Records label, a broadcast perf of the double woodwind quintets of Beethoven and Haydn with VINCENT ABATO; also appears on the Columbia, Golden Rooster, Manor, and Merri record labels). Composers who have written works for Gallodoro include Carmine , Ferdé Grofé, and Ralph Hermann. Former faculty member: Hartwick Coll. Other positions/activities: Author, Saxophone, Clarinet Notebook (out of print); Selmer Clinician (1953-80; master classes/clinics/perfs given on clarinet/sax throughout the U.S.); was active as an arranger (incl transcriptions of Chopin piano works for the clarinet). Played on: Selmer Series 9 clarinet (gold- plated keys); Noblet A clarinet; O’Brian crystal mouthpiece and various hard-rubber mouthpieces; 1935 Selmer bass clarinet (gold-plated keys; with custom-added keys); Penzel-Mueller bass mouthpiece. Students include: Dan Levinson, Jack Martindale. Al Gallodoro began his professional career as a teenager playing clarinet and saxophone in clubs, acts, and theaters throughout the South. He soon tired of the hectic performance schedule and gradually worked his way to New York by way of jobs in Philadelphia, Ocean City (NJ), and Atlantic City (with the Orchestra). Once in New York, Gallodoro quickly established a reputation as a formidable reed player replete with special skills, including double and triple tonguing, and amazing technical ability. His earliest New York engagements included work at the Gloria Palast, at radio station WINS, and with the Orchestra. It was with the Rudy Vallee Orchestra that Gallodoro received national recognition with the broadcast of his saxophone performance of Jimmy Dorsey’s Beebe. From 1936 to 1965, Gallodoro played with Paul Whiteman’s Orchestra as alto saxophonist/clarinet soloist. During his association with this group, Gallodoro was featured as a soloist in the movies (as clarinet soloist) and Strike Up the Band (as saxophonist). Gallodoro increased his activities as a classical musician in the 1940s, performing as clarinetist/ bass clarinetist with the NBC and ABC Symphony Orchestras under legendary conductors Bernstein, Fiedler, Stokowski, Toscanini, and others. He also became very involved as an educator, especially through his work as a Selmer clinician.

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Whether performing in a jazz or classical setting, Gallodoro’s playing has been widely-admired throughout his career. Clarinetist BUDDY DEFRANCO described Gallodoro’s playing in both settings as “unequalled,” commenting,

Al displays a flexibility which very few performers possess. A case in point is his excellent rendition of Brahms [Quintet] and his ability to “switch gears” into Stardust, Caprice and Harlem Nocturne – never straying from his great technique and high musical standards. (DeFranco 1999, 73-74)

The Riordan article below is highly recommended for more detailed information on Gallodoro’s career, as is the official Al Gallodoro website. A documentary of Gallodoro’s life is available through SUNY-Oneonta’s communications department. Bib: “Al Gallodoro.” Al Gallodoro: The Official Site. http://www.algallodoro.com/bio.htm (accessed February 23, 2011); DeFranco, Buddy. “Compact Disc Reviews.” The Clarinet 26 (June 1999): 73-74; Price, Erwin L. “Allegro Interviews Al Gallodoro.” Allegro Archives 99 (December 1999) at http:// www.local802afm.org/publication_entry.cfm?xEntry=8779477 (accessed February 23, 2011); Riordan, Frank S. Jr. “The Incomparable Al Gallodoro: 67 Years of Unparalleled Virtuosity, 1927-1994.” The Clarinet 21 (May/June 1994): 26-30.

Galván, Michael. B. Sept. 7, 1955 (Silver City, NM). BME(with distinction): Univ of New Mexico (1978); MM/DM: Univ of Illinois (1980/ABD) with HOWARD KLUG; additional studies at Northwestern Univ (1976). Additional clarinet studies with LARRY COMBS, ANTHONY GIGLIOTTI, STANLEY HASTY, and Floyd Williams. Chamber music studies with Marcel Moyse. Clarinetist: Orch of Santa Fe (Second/Bass: 1975); Alborada Chamber Ensemble (Principal: 1975, 1976); El Paso Pro Musica (Principal: 1978-79); Illinois Woodwind Quintet (Vstg Memb: 1981, 1982); Springfield Symph-IL (E-flat: 1981-82); Champaign-Urbana Symph (Second: 1979-82; has also performed as Principal); Binghamton Symph (Clarinet/E-flat: 1982, 1985-92); Sati: A Group for Contemporary Music (Clarinet/E-flat/Bass: 1983-86); Glimmerglass Opera (1989); Ithaca Opera Assn (Principal: 1983-97); Cayuga Chamber Orch (Principal: 1985-); Ithaca Wind Quintet (1986-; also performed with this group in 1982, 1983, 1985); Syracuse Symph (Second/E-flat: 1995, 1996, 1997). Active as a recitalist (incl perfs at ClarinetFest 1995 and 1999, at the Symposium for New Woodwind Quintet Music, at conferences of the IDRS, MENC, and Natl Flute Assn, and at Lincoln Center), soloist (incl perfs with the Cayuga Chamber Orch), chamber musician (incl perfs with the Ariadne String Quartet, the Illinois and NY Woodwind Quintets, and Ensemble X), and festival artist (incl participation at the Skaneateles Music Festival); broadcast perfs given on public radio. Faculty member: Alameda Jr. High-NM (Dir of Bands: 1978-79); Ithaca Coll (Prof of Clarinet: 1982-). Articles published in Band Director’s Guide, Chamber Music America, and The Clarinet. Other positions/activities: Northeast Regional Chmn, ICA; Chmn, ICA HS Compt (1995, 1996); active as an adjudicator and clinician throughout the U.S. Memb: AFM, ICA, MENC, NACWPI, NY State School Teachers Assn, Phi Kappa Phi. Hon: Nominee for ICA Treas (1988); nominee for ICA Pres (1996). Plays on: Buffet R-13 and Leblanc Concerto clarinets; CHADASH barrels; DAN JOHNSTON mouthpieces; Rovner ligatures; Vandoren and Olivieri reeds. Students include: Adam Berkowitz, Kate Berning-Alfred, Adam Butalewicz, Diana Cassar-Uhl, Lucas Christensen, RICHARD FARIA, Mickey Ireland, Matthew Libera, Brendon Lukas, Charlene McDaniel, Jeremy Reynolds. On teaching, Michael Galván remarked:

I keep my students aware of our place at the end of the twentieth century while staying within the framework of a long Franco/German-American tradition of clarinetistry. One may draw unmistakable lines from my teaching through that of teachers and performers of the past . . . from Klose and Rose to Bonade and McLane to Hasty and Wright to Williams, Combs, and Klug – individuals whose concepts of tone, technique, phrasing, repertoire, teaching materials, and musicianship helped to shape my version of the American School of clarinetistry in the 1990s.

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Students need a consistent regimen of technique, etudes, solos, chamber music, and orchestral excerpts from the 18th, 19th, and 20th centuries. Technical development from Do-to-Do scales to Baermann to extended technique helps form routine and facility. The etudes of Rose, Baermann, Cavallini, Jeanjean, Uhl, Caravan, et al carry within themselves our tradition of clarinetistry and music-making and provide weekly challenges and growth. I am endeavoring to hand down in the repertoire a body of music to a new generation of performer and give them the tools to search out and develop their own repertoire. It is within the music that one finds the intrinsic value of music study. The sense of discovery, newness, emotion, communication, mastery, accomplishment, challenge, and worth is in the music. In chamber music I try to teach skills and concepts of intonation, temperament, blend, balance, style, energy, time, polish, stage manner, colors, projection, and joy. (Galván/Paddock 1998)

Bib: Galván, Michael, to Tracey L. Paddock, Tallahassee, FL, July 22, 1998; “Michael Galván Clarinet Ithaca College.” Ithaca College. http://www.ithaca.edu/mgalvan/ (accessed February 23, 2011).

Gangolli, Dileep. Perf Cert: Northwestern Univ (1993) with ROBERT MARCELLUS. Grad: Southern Methodist Univ with STEPHEN GIRKO; Univ of Washington with RONALD PHILLIPS; Univ of Chicago. Additional clarinet studies with ANTHONY GIGLIOTTI and . Clarinetist: Seattle Symph (formerly, 1983, +/-); North Park Chamber Players (1997, +/-); Chicago Sinfonietta (1997, +/-); Symph of the Shores (1997, +/-); Joffrey Ballet Orch (current); Fulcrum Point New Music Project (current); Sheridan Chamber Players (Founder/Artistic Dir: current); Present Music (current); perfs regularly with the Ars Viva Orch and as an Extra with the Chicago and Milwaukee Symphs. Active as a recitalist/soloist (incl perfs at ICA conferences), chamber musician (incl perfs with above groups, the Atlantic Arts Trio, Chicago Chamber Musicians, Pilgrim Chamber Players, and New Center for Black Music Research Ensemble, and at the Token Creek Chamber Music Festival), festival artist (incl participation at the Washington Island Music Festival, Interlink Festival for Contemporary Music, and Istanbul Contemporary Music Festival), new music specialist, recording artist (on the Crystal, Deca, Delos, and Erato labels), and saxophonist; broadcast perfs given on WFMT-Chicago’s Live from Studio One. Faculty member: North Park Univ (Instructor of Clarinet: formerly, 1990s, +/-); VanderCook Coll (formerly, 1990s, +/-); Univ of Puget Sound (formerly); Near North Montesssori School (current); Illinois Woodwind Acad (Founder/Dir: current). Articles published in The Clarinet. Other positions/activities: scholar on authentic perf practice from the classical period; active as a clinician/lecturer (incl lecture recital given at the 1991 AMS conference). Hon: Fulbright Grant for study in the U.K. (1986). Bib: “Dileep Gangolli, Artistic Director.” Illinois Woodwind Academy. http://www.ilwoodwind.com/about_us (accessed February 23, 2011); “Musical Chairs.” The Clarinet 24 (May/June 1997): 65.

Gardiner, Kathleen M. HS studies with JAMES PYNE. BM/DM: Ohio State Univ with JAMES PYNE; MM: Eastman SOM with KENNETH GRANT and PETER HADCOCK. Clarinetist: ProMusica Chamber Orch (Principal: 1994-97, +/-); Binghamton Symph (1994, +/-); Buffalo Phil (Extra: 1994, +/-; Second/E-flat: 1997-; has also served as Asst Principal); Grant Park Symph (Second/E-flat: current). Active as a recitalist/soloist (incl perf at ClarinetFest 1998) and chamber musician. Faculty member: Fredonia State Coll. Other positions/activities: Pyne/Clarion Artist. Hon: Winner, OSU Concerto Compt (1991); Winner, Eastman SOM Concerto Compt (1993); Winner, ICA Young Artist Compt (1994); OSU doctoral fellowship recip; Participant, Natl Orch Project at Carnegie Hall. Has played on: Buffet R- 13 clarinets; PYNE Signature Nsk mouthpiece; Pyne 1+ barrel; Peterson-Pyne ligature; Olivieri reeds; Pyne P+ E-flat mouthpiece. Students include: Lori Baruth, Erika Garnot. Bib: “Musical Chairs.” The Clarinet 24 (February/March 1997): 70; Pyne, James. “Artist Profile – Kathleen Gardiner.” The Clarinet 22 (November/December 1994): 63; Pyne, James. “Kathleen Gardiner.” Pyne-Clarion. http://www.pyne- clarion.com/kathleen_gardiner.htm (accessed February 23, 2011).

Gardner, Carl. Clarinetist: Boston Symph Orch (active late-19th/early-20th centuries). Students include: JULIO MAZZOCCA. Bib: Program of the Indianapolis Symphony Orchestra. 1937-38 Season (December 3 and 4, 1937): 21.

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Garlick, Nancy Buckingham. B. Feb. 1, 1946 (White Plains, NY). BS: SUNY-Potsdam (1968) with HARRY PHILLIPS; MM: Manhattan SOM (1970) with LEON RUSSIANOFF and CHARLES RUSSO; DM: Catholic Univ with LOREN KITT; additional studies at Ecoles Americaines de Beaux Arts- Fountainbleu, France (1973) with Marcel Jean and at Tanglewood with HAROLD WRIGHT. Clarinetist: Natl Orch Assn (Assoc Principal: 1969-70); New Haven Symph (Principal: 1971-75); Pennsylvania Sinfonia (Principal: 1994, +/-); Charlottesville Symph (Principal: 1994-, +/-); Albemarle Ensemble (Founding Memb, 1994-, +/-); has also performed with the American Wind Symph, Lakeside and Waterbury Symphs, and Ashlawn Opera. Active as a soloist (incl perfs with the Boston and Westchester Pops, and the Charlottesville, Crane, and Wooster Symphs), chamber musician (incl 1981 Carnegie Recital Hall debut with the Wooster Trio, and perfs with the Canton and Chester Quartets), and recording artist (with the Wooster Symph on the Olympus Music label). Faculty member: Coll of Wooster (Assoc Prof of Woodwinds/Conducting: formerly, 1975, +/-); Univ of Virginia (Artist-in-Res: 1990s, +/-); has also taught at James Madison Univ and Mary Baldwin Coll. Published in The Clarinet. Other positions/activities: Artistic Dir, McIntire Chamber Music Series (1994, +/-); has served as Music Dir of the Charlottesville/ Albemarle Youth Orch, Mozart Ensemble, and Wooster Symph. Memb: AFM, CMS, ICA, NACWPI. Hon: Natl Orch Assn Accomplishment Award (1970); listed in Who’s Who in American Music (Classical), 1985 edition. Bib: “Elizabeth ‘Ibby’ Roberts and Nancy Garlick.” Kennedy Center for the Performing Arts. http://www.kennedy-center.org/explorer/artists/?entity_id=10972 &source_type=B (accessed February 23, 2011); Garlick, Nancy Buckingham. “Charles Villiers Stanford & His Five Works for Clarinet.” The Clarinet 21 (July/August 1994): 32.

Garner, Paul. B. Feb. 28, 1958 (Oak Park, IL). BM: Michigan State Univ with ELSA LUDEWIG-VERDEHR and FRED ORMAND; MM: Univ of Kansas with LARRY MAXEY. Additional clarinet studies with KALMEN OPPERMAN. Clarinetist: USMA Band-West Point (1982-85); New Orleans Symph (Asst Principal/E-flat: 1989-91); Denver Symph (Asst Principal/E-flat: 1991-92); Dallas Symph (Assoc Principal/E-flat: 1992-); Voices of Change (current). Active as a recitalist, chamber musician, and festival artist (incl participation at the Grand Teton and Brevard Music Festivals). Faculty member: Southern Methodist Univ (Adj Assoc Prof: current); has also taught at the Brevard Music Center; active as a private clarinet instructor. Other positions/activities: Lomax Artist; active as a clinician; extra- musical interests incl fitness activities and collecting jazz records. (Baker 1998) Has played on: Buffet R- 13 B-flat/A/E-flat clarinets; GENNUSA (refaced by THOMAS LEGRAND) and Lomax Classic mouthpieces; BONADE ligature; Vandoren Black Master #3 ½ reeds (B-flat/E-flat); HITE (refaced by LeGrand) and Lomax Classic E-flat mouthpieces; MITCHELL LURIE E-flat ligature. Students include: Christopher Bronson, Brent Buemi, Megan Chiavetta, Katie Combest, Andrew Dees, Marci Gurnow, April Johannesen, Jonathan Jones, Adam Myers, Ashley Ragle-Leigh. Paul Garner offered the following practical advice to aspiring professional clarinetists: “Realize the difficulty and reality of the job market. If you are interested in an orchestral job, you must make rhythm your number one top priority. You must learn to subdivide!” (Baker 1998, 29) He also noted that he took between twenty and twenty-five auditions before winning his first orchestral position with the New Orleans Symphony, underscoring the importance of not only talent but also tenacity in pursuing a career in performance. (Ibid.) Bib: Baker, Marguerite. “The Clarinetists of the Dallas and Fort Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 29; Garner, Paul to Tracey L. Paddock, Tallahassee, FL, June 29, 1998; “Paul Garner.” Dallas Symphony. http://www.dallassymphony.com/Bio.aspx?bID=78 (accessed February 23, 2010).

Garrett, Paul. Clarinetist: Natl Symph Orch (Clarinet/Bass/Sax/: 1934-37).

Garrett, Roger. BME(with distinction)/MME/PhD(in progress): Univ of Michigan with JOHN MOHLER. Additional clarinet studies with J. LAWRIE BLOOM (bass), HERBERT BLAYMAN, OLIVER GREEN, DAVID SHIFRIN, STAN STANFORD, and JOHN BRUCE YEH (D/E-flat clarinets). Clarinetist: Oregon Symph (formerly); Peoria Symph (Principal: current): has also performed as a memb (on clarinet and/or bass clarinet) of the Ann Arbor Chamber Orch, the Ann Arbor and Illinois Symphs, and Keith Brion’s New Sousa Band. Active as an intl recitalist (incl recital tours of the Northwest U.S. and Sweden), soloist (incl perf with the Oregon Symph at age 17), chamber musician (incl perfs/ recordings with clarinetists J. LAWRIE BLOOM, ARISTIDES CHAVEZ, YOSHINORI NAKAO,

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ROBERT RISELING, and JOHN BRUCE YEH), basset horn specialist, and recording artist (incl Extended Clarinets!, a recording with Bloom, Chavez, and Yeh featuring Garrett’s arrangements of Mozart’s 12 Variations on “Ah, Vous dirai-je, Maman” and Holst’s St. Paul’s Suite; on the NOViTAS Records label). Faculty member: Longview, WA and Bozeman, MT Public Schools (Music Instructor, Grades 6- 12: formerly); Illinois Wesleyan Univ (Asst Prof of Clarinet/Dir of Bands/Faculty Advisor of the Titan Band: 1988-). Reviews/articles published on the Online Clarinet Resource. Other positions/activities: Editor, ICA Electronic Newsletter (1998-); Mgr, Illinois Wesleyan Univ Recording Studio (current); Buffet Crampon USA Perf Artist (1998-); active as an arranger, conductor (incl perf with the Band of the Royal Swedish Army and guest perfs across the U.S.), scholar/specialist on the extended clarinet family, and craftsman of handmade conductor’s batons, baton cases, single- and double- reed cases, and clarinet/bass mouthpieces. Extra-musical activities incl competitive swimming, downhill skiing, racquetball, and woodworking. Hon: recip of several grants for further study of the extended clarinet family. Plays on: Buffet R-13 (A), Prestige (B-flat/Low C Bass), and Prestige RC (D/E-flat) clarinets; PYNE “M” mouthpiece; Vandoren V-12 #4 reeds; GREG SMITH E-flat mouthpiece with RICHARD HAWKINS facing; Selmer C* (refaced by JAMES KANTER) and C** (refaced by Rick Sayre) bass mouthpieces; Vandoren #4 bass reeds; Leblanc basset horn; CHARLES BAY basset horn mouthpiece. Bib: Garrett, Roger. “Roger Garrett’s Bio.” Illinois Wesleyan University. http://www.iwu.edu/ ~rgarrett/ (accessed February 23, 2011).

Garritson, Paul. BM: Univ of California-Berkeley; MM: Yale Univ with KEITH WILSON. Additional clarinet studies with GERVASE DE PEYER, ROSARIO MAZZEO and LEON RUSSIANOFF. Clarinetist: 6th U.S. Army Band (formerly); Chamber Orch of New England (formerly); New Haven Symph (formerly); Opera Theatre of St. Louis (formerly); St. Louis Symph (Extra: 1986, +/-); Missouri Quintet (1986-, +/-); also perfs with the Gateway Festival Orch and Keith Brion’s New Sousa Band. Active as a recitalist (incl perfs at ICA conferences and Univ of Oklahoma Clarinet Symposia), soloist (incl perfs with the Gateway Festival Orch), chamber musician (incl 1989 Carnegie Recital Hall debut with the Missouri Quintet), and recording artist (incl recording with the Missouri Quintet). Faculty member: Principia Coll- IL (formerly); Univ of Missouri-Columbia (Asst Prof: 1986-); has also taught at Webster and Washington Univs. Other positions/activities: Memb, New Music Circle of St. Louis Board of Dirs. Hon: Recip, Alfred Hertz Memorial Schol in Music, Univ of CA-Berkeley; favorable review of recording appears in American Record Guide. Students include: TODD WALDECKER, GREGORY WILLIAMS. Bib: “Musical Chairs.” The Clarinet 14 (Fall 1986): 22; “Paul Garritson.” University of Missouri. http://music. missouri.edu/faculty/garritson. html (accessed February 25, 2011).

Gasbarro, William R. Grad: Juilliard. Former clarinetist: Cincinnati Symph. Former faculty member: Wilkes Coll (Music Dept Chair/Prof of Clarinet: 1960s, +/-); Univ of DePauw-PA (1980s, +/-). Students include: Timothy Foley, Wilkes Kubasek, Robert Olivia, Rose Sperrazza, Carl Sponenberg, RICHARD STOLTZMAN, Brenda Wasenda, EDWARD YADZINSKI. Bib: “Passing the Baton.” U.S. Marine Band. http://www.marineband.usmc.mil/downloads/newsletters/july_august_2004.pdf#search= 'william%20gasbarro%20clarinet (accessed February 25, 2011).

Gaulke, Stanley Jack. Early clarinet studies with his father, a Chicago clarinetist, and with DOMENICO DE CAPRIO and OLIVER THOMAS. Undergrad studies begun at Univ of Southern California with MITCHELL LURIE; BM/MM Northwestern Univ with CLARK BRODY and JEROME STOWELL; DM: Eastman SOM (1978). Additional clarinet studies with STANLEY HASTY and HAROLD WRIGHT. DM diss: “The Published Solo and Chamber Works for Clarinet of Arnold Cooke.” Former clarinetist: Civic Orch of Chicago; U.S. Marine Band-Washington D.C.; San Francisco Ballet; Grant Park Orch; Rochester Phil (1968+). Active as a festival artist (incl participation at the Fish Creek and Ravinia Festivals). Faculty member: Nebraska Wesleyan Univ (Prof of Clarinet/Conducting: 1962- 66); Nazareth Coll of Rochester (1968-90s, +/-). Has played on: Buffet R-13 clarinets; Kaspar mouthpieces. Students include: Nancy Ackerman, Ernest Lascell, David McIntire, Jules Orósz. Bib: “The Clarinet Section of the Rochester Philharmonic.” The Clarinet 6 (Fall 1978): 24.

Gee, Harry R. B. Feb. 20, 1924 (Minneapolis, MN). HS studies with EARL HANDLON. Dipl: Curtis IOM (1949) with RALPH MCLANE and BERNARD PORTNOY; MM (Woodwinds/Comp): Univ

110 of Denver (1954); postgrad studies at Indiana Univ and Univ of Minnesota (Summers, 1956-61) and in Paris, France with GASTON HAMELIN (1946, 1948, 1949-50). Clarinetist: Duluth Symph (Principal: 1942-43); Houston Symph (Principal: Summer, 1950); Denver Symph/Denver Opera/Oberfelder Concerts (1951-54); Minneapolis Pops (Summers, 1956- 59);Terre Haute Symph (Principal: 1965-). Active as a recitalist, soloist (incl perfs with the Minneapolis Pops and various hs, univ, and municipal ensembles), chamber musician, saxophonist, bassoonist (incl perfs as Principal Bassoonist of the Memphis Symphonietta, 1956-57), and recording artist (clarinet and sax; on the Roncorp, Inc. label). Faculty member: Arkansas State Univ (Instructor of Woodwinds: 1956-57); Butler Univ (Asst Prof of Woodwinds: 1957-60); Indiana State Univ (Assoc Prof of Clarinet/Sax: 1960-92; Prof Emeritus: current); Interlochen Arts Camp (1964-67). Author: Clarinet Solo de Concours, 1897-1980 (1983); Saxophone Soloists and Their Music (1988); both published by Indiana Univ Press. More than 100 articles/ reviews published in journals in the U.S., Australia, England and France. Other positions/activities: Vstg Prof, British Woodwind Workshop (1978) and 5th American Single-Reed Workshop-Towson Univ (1979); has served as Regional Chmn for NACWPI and North American Sax Alliance; active as an adjudicator (incl judging in the U.S., Belgium, Canada, and France) and arranger/composer/editor (more than 100 works published by major American publishing companies, incl 3 widely performed arrangements of solos for clarinet and band: Mendelssohn, Concertpiece No. 2; Rabaud, Solo de Concours; Weber, Rondo from Concerto No. 1). Memb: AFM, CASS, NACWPI, North American Sax Alliance, Phi Mu Alpha Sinfonia. Hon: Cunningham Memorial Library Award, Indiana State Univ; Honorary Memb, North American Sax Alliance; has also won awards for his 2 books listed above (1983, 1988). Plays on: Buffet clarinets; Morgan M-10 mouthpiece; Vandoren V-12 #4 reeds; Buffet Prestige alto sax; Selmer 190 sax mouthpiece; Vandoren reeds #3 ½ sax reeds; Buffet S-1 tenor sax; Rousseau tenor mouthpiece; Olivieri #3 tenor reeds. Students include: Mark Conrad, Shannon Ford, Thomas Stacy, Travis Towle, Christopher Winton. Harry Gee offered the following commentary on his clarinet background [capitals mine]:

Early clarinet teachers have made great contributions to successful professionals. My first teacher, EARL HANDLON, prepared me for a scholarship at The Curtis Institute of Music and my first job with the Duluth (Minnesota) Orchestra and the St. Paul Pops; he was also ROBERT MARCELLUS’ first teacher. Other fine teachers were BERNARD PORTNOY (at Curtis before he left for the Cleveland Orch.), and my master teacher, GASTON HAMELIN, who was also the teacher of ROSARIO MAZZEO and RALPH MCLANE. My last two years at Curtis were a disappointment with McLane, who was not a dedicated teacher. (Gee/Paddock 1998)

On his career he added,

In addition to clarinet, I was also successful with the saxophone. My greatest orchestral experience was the American premiere of Peter Grimes under at Tanglewood (1946) and later to play under Andre Kosteloniz with the Minneapolis Symphony Summer Concerts. (Ibid.)

On the evolution of the American style of clarinet playing, Gee remarked:

Early influence in the United States by such artists as GASTON HAMELIN, DANIEL BONADE, GUSTAVE LANGENUS, [and] SIMEON BELLISON have made an enormous influence in today’s artist-performers. American manufacture of mouthpieces and accessories has also helped our clarinetists. In the last 40 years we have seen fine American clarinetists and teachers throughout the country; in the 1930s and ’40s serious students had to go East for fine instruction. The American concept is a rich sound with focus and also roundness (or darkness), smooth-clean technique, and knowledge of clarinet literature. (Ibid.)

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Bib: Gee, Harry. “French Clarinetists in America, Part I: Early Artists and Alexandre Selmer.” The Clarinet 8 (Spring 1981 ): 52-54; Gee, Harry. “French Clarinetists in America, Part II: Grisez, LeRoy, Cailliet.” The Clarinet 8 (Summer 1981): 21-22; Gee, Harry. “French Clarinetists in America, Part III.” The Clarinet 9 (Fall 1981): 17-19; “Gee, Harry.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 829; Gee, Harry R., to Tracey L. Paddock, Tallahassee, FL, May 25, 1998.

Gehrhardt, J. Clarinetist: New York Phil Orch (Clarinet/E-flat: 1924-31, +/-).

Gennusa, Ignatius N. [“Iggy”]. B. Dec. 26, 1920 (Philadelphia, PA); d. May 2003. Early clarinet studies with JULES SERPENTINI. Dipl: Curtis IOM (1943) with DANIEL BONADE. Additional clarinet studies with RALPH MCLANE. Clarinetist: Philadelphia Navy Yard Band (1942+; served with ANTHONY GIGLIOTTI); Ballet Theater (Principal: 1946); Natl Symph (Principal: 1947-50); Chicago Symph (Principal: 1950-51; followed MITCHELL LURIE in this position); Baltimore Symph (Principal: 1951-72); also performed with the ABC Symph and Radio City Music Hall Orchs. Was active as a soloist (incl perfs of the Ben-Haim Pastorale Variee, Debussy Premiere Rhapsody, Weber Concertino, and other works with the Baltimore Symph), chamber musician, and recording artist (appears on recordings with the Baltimore Symph). Former faculty member: Peabody Conserv (1951-93, +/-); was active as a private clarinet instructor. Other positions/activities: was active as a well-known mouthpiece designer/craftsman. Played on: Buffet clarinets; Chedeville mouthpiece; first clarinet was purchased from Sears-Roebuck for just under $16 (Guidetti 1993). Students include: Phyllis Crossen-Richardson, WILLIS COGGINS, Geoffrey Flolo, K. THOMAS GAINACOPULOS, RICHARD GILBERT, Wesley Hall, DORIS HALL-GULATI, Jeff Harrington, JAMES HEFFERNAN, WILLIAM HULLFISH, STEPHEN JOHNSTON, Wallace Kramer, Alan Lawson, LEE CARROLL LEVINE, Tom Puwalski, Benjamin Redwine, JOHN RUSSO, WILLIAM SCARLETT, JOHN SCOTT, LAWRENCE SOBOL, JOHN SPICKNALL, ALLAN WARE, Bill Welty, CHRISTOPHER WOLFE, WILLIAM WRIGHT. Ignatius Gennusa’s earliest musical training was based on solfege taught to him by his father, an amateur musician. Gennusa continued to incorporate solfege and the different vowel sounds involved in the solfege system to shape his clarinet sound. (Guidetti 1993, 48-51) As a teacher, Gennusa focused first on the development of good tone production and solid rhythm, followed by the development of various articulation styles, intonation, and phrasing. Gennusa believed that good tone production will occur when the elements of air, embouchure, mouthpiece, and reed are all working together. (Ibid.) While clarinetist ROBERT MARCELLUS did not study formally with Gennusa, his playing was influenced by Gennusa during his tenure as Second Clarinet of the National Symphony Orchestra when Gennusa was Principal. Marcellus commented, “His care and enthusiasm for the beauty of phrasing and sound and in selecting reeds and mouthpieces were contagious to me, and I feel that I learned a great deal from him.” (Nygren 1988, 33-42) In addition to his career as a clarinetist and teacher, Gennusa was also active as a designer and craftsman of clarinet mouthpieces for many years. His mouthpiece is modeled closely on the Charles Chedeville mouthpiece and is widely used in the United States. The Guidetti interview with Gennusa (listed in Bib below) is highly recommended for greater insight into Gennusa’s career and philosophy. Bib: Gennusa, Ignatius, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998; Gilbert, Richard. The Clarinetists’ Repertoire - A Discography. New York: The Grenadilla Society, 1972: 89; Guidetti, Terry. “An Interview With Ignatius Gennusa.” The Clarinet 21 (November/December 1993): 48-51; “Ignatius “Iggy” N. Gennusa Bio Page.” Redwine Jazz. http://www.redwinejazz.com/IggyGennusa.htm (accessed February 25, 2011); Nygren, Dennis. “Robert Marcellus, Yesterday and Today: An Interview.” The Clarinet 16 (November/December 1988): 33-42.

Genovese, John B. Native of Philadelphia, PA. Brother of ROBERT GENOVESE. Early clarinet studies with JULES SERPENTINI. Grad: Curtis IOM (1950). Former clarinetist: Natl Symph Orch (1961-62); San Francisco Symph. John Genovese was one of at least four prominent clarinetists (including VITO CAPACCIO, GUIDO MECOLI, DONALD MONTANARO, and most likely Genovese’s brother ROBERT) who grew up together within the same four-block radius in South Philadelphia. Students include: ROBERT GENOVESE. Bib: “Curtis Alumni Since 1924: Clarinet.” Curtis Institute of

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Music. http://216.158.58.59/about-curtis/history/full-alumni-listing/view-by-instrument.html (accessed February 25, 2011); Dubin, Murray. South Philadelphia: Mummers, Memories, and the Melrose Diner. Philadelphia, PA: Temple University Press, 1996: 40-41.

Genovese, Robert. Brother of JOHN GENOVESE. B. circa 1938 (Philadelphia, PA); d. Feb. 7, 1991. Clarinet studies with JOHN GENOVESE and DANIEL BONADE. Former clarinetist: 2nd Army Band-Ft. Meade (late 1950s-61, +/-); 101st Airborne Div Band-GER; Natl Symph (Asst Principal/Second: 1962-91). Was active as a chamber musician, festival artist (incl participation at the Marlboro and Dartmouth Festivals), and recording artist (incl recording of the Mozart Grand Partita with HAROLD WRIGHT and alumni of the Marlboro Festival, directed by Marcel Moyse). Former faculty member: Catholic Univ. Played on: Buffet R-13 clarinets; Chedeville mouthpiece; BONADE ligature; Vandoren #5 reeds. Students include: Phil Chumley, Alan Francis, Bill Holman, KEITH KOONS, MARGUERITE BAKER LEVIN, Nan Lopata, Lon Roach; also taught many Washington D.C. military band clarinetists. Bib: “Clarinotes.” The Clarinet 18 (May/June 1991): 12; Kitt, Loren. “The Clarinet Section of the National Symphony Orchestra.” The Clarinet 7 (Winter 1980): 29.

Gentile, Americo. Clarinetist: Sousa Band (1906-15); NYC clarinetist active during the 1940s (+/-). Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/ sousa/roster.htm (accessed February 25, 2011).

Gentile, Pirro. Clarinetist: NY Phil Orch (Clarinet/Bass: 1915-17, +/-), Sousa Band (Bass: 1919- 21). Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/ sousa/roster.htm (accessed February 25, 2011).

Gerth, Jennifer. B. Jan. 20, 1966 (Jackson, MN). BA: St. Olaf Coll with JO ANN POLLEY; MM: Northwestern Univ with CLARK BRODY, RUSSELL DAGON, and ROBERT MARCELLUS; DM(ABD): Univ of Minnesota with JOHN ANDERSON and BURT HARA. Clarinetist: Duluth-Superior Symph (Principal: 1997-); Prospect Park Chamber Players (current); also perfs with the Minnesota Orch and Opera. Active as a soloist/recitalist, chamber musician, and festival artist (incl participation at the Lakes Chamber Music Festival). Faculty member: Coll of St. Benedict (Clarinet Instructor: 1992-95); Augsburg Coll (Clarinet Instructor: 1994-); St. Olaf Coll (Clarinet Instructor: formerly, 1995-98+); Univ of St. Thomas (current); Birch Creek Summer Perf Center; has also taught at St. Cloud State Univ and Concordia Coll. Memb: ICA. Plays on: Buffet R-13 clarinets (B-flat/A); Yamaha E-flat clarinet. Bib: Gerth, Jennifer, to Tracey L. Paddock, Tallahassee, FL, July 2, 1998; “Gerth, Jennifer.” University of St. Thomas. http://www.stthomas.edu/music/directory/jgerth.htm (accessed February 25, 2011).

Gesner, Clarence L. Clarinetist: St. Louis Symph (1922-51, +/-). Students include: ALFRED MAZZOCCHIO.

Gholson, James. B. Norfolk, VA. BME: Michigan State Univ (1962) with KEITH STEIN, ELSA LUDEWIG VERDEHR; MM/DM: Catholic Univ (1970/1975) with SIDNEY FORREST; additional studies at Interlochen Arts Camp. Additional clarinet studies with ANTHONY GIGLIOTTI. Clarinetist: U.S. Navy Band (formerly); Memphis Symph (1972-79; Principal: 1979-); Opera Memphis (Principal: 1986, +/-). Active as a soloist (incl perfs with the U.S. Navy Band) and festival artist (incl participation as Solo Clarinetist of the Allegheny Summer Music Festival). Faculty member: Univ of Memphis (Prof of Clarinet: 1972-). Author, “The Seasoned Clarinetist,” a privately-published collection of interviews with clarinetists STANLEY DRUCKER, SIDNEY FORREST, ANTHONY GIGLIOTTI, STANLEY HASTY, and ROBERT MARCELLUS. Articles published in ClariNetwork and on the Online Clarinet Resource. Other positions/activities: produced a 35-minute video for HS clarinetists (made in the 1980s) as well as electronic/computer teaching products. Hon: John Philip Sousa Award. Plays on: Buffet clarinets. Students include: LEE CARROLL LEVINE, Kathy Joyner, JEAN RAINES, London-Silas Shavers, Dan Smith. James Gholson’s below articles as well as his privately published collection of interviews, “The Seasoned Clarinetist,” are fascinating discussions with some of the most influential clarinetists of the twentieth century, and are well worth reading. The complete collection may be obtained by contacting

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Gholson via his UNITUS website (also listed below). As for Gholson’s own performance philosophy, he adheres to the credo, “Greed for the fruit misses the flower.” (Gholson/Paddock 1998) Bib: Gholson, James. “An Interview with Sidney Forrest.” UNITUS. http://www.unitus.org/ SEACLAR.html (accessed February 25, 2011); Gholson, James. “Landmark Personalities in Clarinet Teaching.” ClariNetwork 7 (Winter 1988): 4-5; Gholson, James, to Tracey L. Paddock, Tallahassee, FL, June 15, 1998; “James Gholson, Clarinet.” University of Memphis. http://www.memphis.edu/music/ gholson.htm (accessed February 25, 2011).

Gibson, (Oscar) Lee. B. June 22, 1915 (Louisville, KY). BS: Oklahoma State Univ; MM/Perf Cert: Eastman SOM (1930s) with RUFUS MONT AREY; PhD: Univ of North Texas. Additional clarinet studies with Bob Makovsky and OAKLEY PITTMAN. Clarinetist: Ft. Worth Symph/Opera (Principal: 1945-82). Active as a recitalist (incl perfs at numerous ICA conferences), soloist (incl perfs with the Ft. Worth and Idaho Falls Symphs, the Colorado Phil, and the Rochester Civic Orch), and chamber musician. Faculty member: Oklahoma State Univ (1936-38); Univ of Idaho (Dir of Bands: 1938-45); Univ of North Texas (Prof of Clarinet: 1945-82; also served as Chmn of Woodwind Dept). Author, Clarinet Acoustics (Indiana Univ Press, 1994). Articles published in The Clarinet (incl “Claranalysis,” a regular column appearing in The Clarinet, 1972-). Other positions/activities: Founding Editor, The Clarinet (1973-79); Pres, ICA (1978-80); active as a lecturer (incl presentations at ICA conferences) and specialist on clarinet acoustics and design. Hon: O. Lee Gibson Schol Fund established in 1996 to honor Gibson and his contributions; Halsey Stevens Concerto commissioned for/dedicated to Gibson by his students. Plays on: Buffet R-13 clarinets; Kaspar mouthpiece. Students include: WAYNE BENNETT, DAVID BREEDEN, BRUCE BULLOCK, Charles Coltman, Steve Duke, D. Gause-Snelson, JACK GRAHAM, Ken Hatch, DAN HEARN, Mark Hollingsworth, RAMON KIREILIS, ERIC MANDAT, Marilyn Mattei, Ann McCutchan, Eric Nelson, Louis Sacchini, RAPHAEL SANDERS, H. JAMES SCHOEPFLIN, RICHARD SHANLEY, JAMES SMITH, GARY WHITMAN. In addition to his stature as a performer and teacher, Lee Gibson has also contributed significantly to the clarinet community through his work as Founding Editor of The Clarinet. In this internationally esteemed journal, Gibson has enlightened clarinetists on the acoustics and design of the clarinet (as well as numerous other subjects) through his column “ClarAnalysis,” which has appeared in The Clarinet since 1972. In an article written by Elisabeth Stimpert and JAMES PYNE, the authors elaborate on Gibson’s breadth of knowledge, especially as pertaining to his more scientific work:

From his distinguished career as a clarinetist and teacher, Gibson has brought the necessary anecdotal experience of a fine performer to the task of scientific exploration and explanation. In doing so, he has become a standard-bearer for the difficult process of applying objective scientific methodology to artistic activity, a process which requires informed, but subjective evaluation. (Stimpert/Pyne 1997, 28)

They conclude that Gibson

. . . has done perhaps more than anyone else to date to bring us an understanding of the science behind the design and performance of the clarinet. His pioneering efforts have set the stage for continued work employing technologically innovative tools for sound measurement and evaluation. (Ibid., 29)

The interview by Noah Knepper (see Bib below) is highly recommended for more a more in-depth discussion of Gibson’s career and views. The article by Stimpert and Pyne is excellent for its insight into Gibson’s work in the area of acoustics, and includes a bibliography of articles written by Gibson. Bib: “Clarinotes.” The Clarinet 23 (May/June 1996): 10; Gibson, O. Lee, to Tracey L. Paddock, Tallahassee, FL, May 13, 1998; Knepper, Noah A. “An Interview With Lee Gibson.” The Clarinet 6 (Fall 1978): 31; Schoepflin, H. James. “About Our Editor…” The Clarinet 1 (February 1974): 3; Schoepflin, H. James. “A Tribute to Dr. Lee Gibson, Professor of Music, North Texas State University – 1945-1981.” The Clarinet 9 (Fall 1981): 14-16; Stimpert, Elizabeth M. and James Pyne. “Exploring the Science of the Clarinet: Dr. Lee Gibson's Contributions to Musical Acoustics.” The Clarinet 24 (May/June 1997): 28-30.

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Gigliotti, Anthony M. B. May 13, 1922 (Philadelphia, PA); d. Dec. 3, 2001 (Camden, NJ). Son of JOSEPH GIGLIOTTI. Early clarinet studies with JOSEPH GIGLIOTTI. Dipl: Curtis IOM (1947) with DANIEL BONADE. Former clarinetist: Philadelphia Navy Yard Band (1942-45, +/-; served with IGNATIUS GENNUSA); Ballet Russe de Monte Carlo (1945-46); Little Orch Society of NY (Principal: 1946-49); Philadelphia Orch (Principal: 1949-96), Philadelphia Woodwind Quintet. Was active as a recitalist (incl perfs at the 1999 Univ of Oklahoma Clarinet Symposium and numerous other clarinet conferences), soloist (incl numerous perfs with the Philadelphia Orch), chamber musician (incl perfs with the Acad and Gigliotti Trios, the Philarte Quartet, and the Philadelphia Woodwind Quintet), festival artist (incl participation at the Fame Festival), and recording artist (incl a vast quantity of symphonic repertoire recorded with the Philadelphia Orch; solo recordings with the Philadelphia Orch incl: Weber Concertino, Debussy Premiere Rhapsodie, Mozart Concerto and Sinfonia Concertante; also appears on recordings with the Philarte Quartet and Philadelphia Woodwind Quintet on the Proarte Records and Columbia Records labels, respectively); was featured on a series of 12 PBS television programs. Faculty member: Curtis IOM (1952-2001); Temple Univ (1952-2001); Peabody Conserv (1998- 2001). Other positions/activities: was active as a clinician (master classes given at various ICA conferences, the 1999 Univ of Oklahoma Clarinet Symposium, and other conferences) and clarinet equipment designer/craftsman/collaborator (designed his own line of mouthpieces, barrels, ligatures, and swabs, with patents for his ligature and swab designs; collaborated with Selmer in designing the 10G [Gigliotti] clarinet model; collaborated with Vandoren on the V-12 reed design); extra-musical interests included fishing, sailing, swimming, and scuba diving. Hon: Hartmann Kahn Award, Philadelphia Orch; Philadelphia Orch Award (1996); George Rochberg’s Clarinet Concerto commissioned for Gigliotti by the Philadelphia Orch. Played on: Selmer 10G clarinets; Gigliotti P mouthpiece (also played on Chedeville and Kaspar - Ann Arbor mouthpieces); Gigliotti ligature; Vandoren V-12 #4 ½ reeds; used a Gigliotti swab. Students include: DONALD AMBLER, Mark Belczyk, Donald Black, J. LAURIE BLOOM, Leslie Burnick, CARMINE CAMPIONE, MIKE CAVIN, Mindy Christiensen, PAUL CIGAN, LINDA CIONITTI, MICHAEL CYZEWSKI, ELI EBAN, CHERI ANN EGBERS, James Fay, JOHN FLAVER JR., JOHN FULLAM, MICHAEL GALVÁN, DILEEP GANGOLLI, JAMES GHOLSON, JIMMY GILMORE, Barbara Haney, TED HEGVIK, WILLIAM HELMERS, CHRISTOPHER HILL, DAVID HITE, ROBERT JONES, Sam Kaestner, Dong Jin Kim, LOREN KITT, Randy Klein, ALLAN KOLSKY, TODD KUHNS, RUSSELL LANDGRABE, Enrique Lasansky, THOMAS LEGRAND, RICHARD LESSER, Michael Lomax, Vincent Marinelli, EDWARD MARKS, Matthew Marsit, Ruth McDonald, ROGER MCKINNEY, DONALD MONTANARO, JENNIFER NELSON, DAVID NEUMAN, CRAIG NORDSTROM, JAMES OGNIBENE, Cathy Ogram, Tony Penz, VITO PLATAMONE, RICHARD POROTSKY, RAOUL QUERZE, JOSEPH RABBAI, JACK RATTERREE, RONALD REUBEN, Arne Running, JOHN RUSSO, CHARLES SALINGER, ROBERT SCHMIDT, DAVID SHIFRIN, FRANK SIDORFSKY, Song Jin Son, Peter Spriggs, Jeffrey Strouf, LAWRENCE WAGNER, ROBERT WINGERT,CHRISTOPHER WOLFE, Chang Su Yi. Although Anthony Gigliotti would become one of the foremost American clarinetists of the twentieth century, his earliest career aspirations were altogether non-musical. Clarinetist IGNATIUS GENNUSA, a lifelong friend of Gigliotti, recalled Gigliotti’s teen-aged desire to become a Royal Canadian Mounty; later, Gigliotti planned to pursue a career as a civil engineer. (Muncy 1996, 12) (Mohler 1980, 56) Gigliotti began clarinet studies with his father at the age of nine and continued his studies with DANIEL BONADE from age seventeen, first as a private student and later at the Curtis Institute. His studies with Bonade and acceptance at Curtis convinced Gigliotti to pursue music over civil engineering. During his 47 years as Principal Clarinetist of the Philadelphia Orchestra, Gigliotti played for a long list of legendary conductors including Chailly, Dutoit, Muti, Ormandy, and Sawallisch. He also had the opportunity to work with composers , Alvin Etler, , George Rochberg, , Igor Stravinsky, and many others. He performed with some of the finest woodwind players of the century, including Marcel Tabuteau (oboe), William Kincaid (flute), and Sol Schoenbach (bassoon). Gigliotti noted that his father Joseph, a former Bonade student and Philadelphia clarinetist and teacher, was a great influence on his playing and teaching, as was Bonade. Of his own clarinet philosophy, Gigliotti commented,

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My concept (like my teachers) is to incorporate the best of French, German, and Italian clarinet playing to form an American school of playing which is free from the restrictions or chauvinism of other schools of playing. (Gigliotti/Paddock 1998)

Further, Gigliotti believed that clarinetists (and all wind players) need

To learn to sing and not merely blow air through a tube with holes in it. Playing great music should be a great thrill, pleasure, and honor, not a self-imposed form of torture. A smooth, fluid, suave technique should be a goal for aspiring young clarinetists instead of the usual mechanical approach. Play music instead of just playing the clarinet. (Ibid.)

The Bibliography below contains many valuable resources, including a wonderful and highly recommended character sketch of Gigliotti in Philip Muncy’s article “Memories of Gigliotti.” “Anthony Gigliotti: In My Own Words” is an excellent autobiographical article and includes a discography of the Philadelphia Woodwind Quintet. Arthur Hegvik’s interview contains many of Gigliotti’s ideas on the physical aspects of playing the clarinet. Also highly recommended is the series of articles Gigliotti contributed to The Clarinet in the late 1990s entitled, “The Orchestral Clarinetist,” a few of which are listed below. This series offers Gigliotti’s insight on a variety of clarinet-related topics and also offers, in many cases, a fascinating historical perspective on the history of clarinet playing in twentieth-century America. Bib: Gigliotti, Anthony. “The Orchestral Clarinetist.” The Clarinet 27 (December 1999): 20; Gigliotti, Anthony. “The Orchestral Clarinetist: McLane vs. MacLean?” The Clarinet 26 (September 1999): 24; Gigliotti, Anthony and Elena Lence Talley. “Anthony Gigliotti: In My Own Words.” The Clarinet 24 (November/ December 1996): 44-50; Gigliotti, Anthony, to Tracey L. Paddock, Tallahassee, FL, August 10, 1998; Gilbert, Richard. The Clarinetists’ Repertoire – A Discography. New York: The Grenadilla Society, 1972: 90; Hegvik, Ted. “An Interview With Anthony Gigliotti.” The Instrumentalist 24 (June 1970): 45-53; Mohler, John. “The Clarinet Section of the Philadelphia Orchestra.” The Clarinet 8 (Fall 1980): 56; Muncy, Philip. “Memories of Gigliotti.” The Clarinet 24 (November/December 1996): 52-53; “Tribute to Anthony M. Gigliotti.” A.M. Gigliotti, Inc. http://www.clarinetworld.com/tribute.htm (accessed February 25, 2011).

Gigliotti, Joseph. D. Father of ANTHONY GIGLIOTTI. Clarinet studies with DANIEL BONADE (while performing with Bonade at the Stanley Theatre in Philadelphia). Clarinetist: Stanley Theatre (for 2 years). Was very active as a freelance clarinetist in Philadelphia (incl numerous opera/ theater positions). Faculty member: Temple Univ (1970s, +/-; served on the faculty for some time with son ANTHONY); Settlement Music School; also maintained a large private clarinet studio for which he was well-known. Students include: Arthur Chodoroff, MICHAEL CYZEWSKI, James Fay, ANTHONY GIGLIOTTI, Ray Jackendoff, John LaPorta, Vincent Marinelli, EDWARD MARKS, Thomas McKay, DONALD MONTANARO, Tony Penz, Ron Poorman, JOSEPH RABBAI, RONALD REUBEN, GEORGE SILFIES. JOSEPH GIGLIOTTI’s son ANTHONY wrote [capitals mine] that his two teachers were. . .

. . . my father (Joseph) and his teacher DANIEL BONADE. My father was a strong influence. He played with Bonade at the Stanley Theater in Phila. for 2 years and during that time he studied with Bonade. He played theaters, opera and freelanced until finally deciding to turn to teaching full time. For many years he taught at Temple Un. and the Settlement Music School plus private studio teaching. (Gigliotti/Paddock 1998)

Bib: Gigliotti, Anthony, to Tracey L. Paddock, Tallahassee, FL, August 10, 1998.

Gilad, Yehuda. B. Sept. 5, 1952 (Kibbutz Gan Shmuell, Israel). Dipl: Menashe Conserv-Israel (1971); BM: Univ of Southern California (1980) with MITCHELL LURIE. Additional studies in Tel Aviv with Giora Feidman (1968-71), at Acad SOM (1973-75), and at Guildhall SOM with Yona Ettlinger. Chamber music studies with J. Lowenthal, Marcel Moyse, and Brooks Smith; conducting studies with Daniel Lewis, William Schaefer, and Herbert Zipper.

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Clarinetist: Yoav Chamber Ensemble (Clarinet/Founder: 1977-85+); Joyeaux Woodwind Ensemble (Clarinet/Music Dir: 1978-85+); American Woodwind Chamber Players (Principal: 1981-85+); Santa Monica Symph (Clarinet/Music Dir: 1982-85+); Kibbutzim Chamber Orch (formerly); Colburn Woodwind Chamber Players (Founder); has also performed with the Israel Phil. Active as an intl recitalist (incl 1984 professional debut at Merkin Hall), chamber musician (incl perfs on the Carnegie Recital Hall Chamber Music Series), festival artist (incl participation at Chamber Music West, the Isomatz California Summer Festival, the San Francisco Chamber Music Festival, and the Bowdoin and Marlboro Music Festivals), and recording artist (on the Kibbutz, Orion, and Town Hall labels). Faculty member: Colburn School (Master Teacher: 1970s-80s, +/-); Community School (Lect of Clarinet/Chamber Music: 1977-85+); California Instit of the Arts (1983-85+); Univ of Southern California (Prof: 1981-); Idyllwild Chamber Music Program (1985, +/-). Other positions/activities: Founder/Music Dir/Conductor, Strawberry Creek Symph of the Isomatz California Summer Festival; Music Dir/Conductor: Colonial Symph of New Jersey (1988-), 20th Century Unlimited Concerts (1996-), and Herbert Zipper Orch (1997-); active as a clinician and conductor (with above groups and the Los Angeles Phil; guest appearances in China, Germany, Israel, and the U.S.). Memb: ACSOM, AFM, ASOL, CMA, ICA,Young Musicians Foundation. Hon: American-Israeli Cultural Fund Award (1968-75); Robert Simon Award in Music (1977-80); Teacher of the Year, Colburn School (1979); awarded the Distinguished Teacher Award by the U.S. Secretary of Education in conjunction with the White House Commission on Presidential Scholars (1988); Colonial Symph Orch (led by Gilad) named Distinguished Arts Org.. Plays on: Buffet Vintage and R-13 B-flat clarinets; Buffet Festival and Continental A clarinets; CHADASH barrels, MITCHELL LURIE and Chedeville-Lenalde mouthpieces. Students include: John Barclay, Paul Won Jin Cho, PASCUAL MARTINEZ FORTEZA, Ivan Garcia, Helen Goode-Castro, BURT HARA, RICHARD HAWLEY, Joselyn Langworthy, Kathryn Nevin, Björn Nyman, Rob Patterson, David Sapadin, Lynne Snyder, Hermann Stefansson, William Wellwood. Clarinetist Yehuda Gilad strives, in his playing, to use a “singing voice at all times.” (Gilad/Paddock 1998) Bib: Gilad, Yehuda, to Tracey L. Paddock, Tallahassee, FL, May 17, 1998; “Gilad, Yehuda.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co.,1985: 209; “Yehuda Gilad.” Los Angeles Philharmonic. http://www.hollywoodbowl.com/philpedia/artist-detail.cfm? id=2144 (accessed February 25, 2011).

Gilbert, Daniel. Native of NYC. BA: Yale Univ; MM/Professional Studies Cert: Juilliard. Clarinet studies with BURT HARA, STANLEY HASTY, Judith Kalin-Freeman, ROBERT MARCELLUS, RICHARD WALLER, and DAVID WEBER. Clarinetist: New Haven Symph (Principal: 1992-95); Quintet of the Americas (1994-95; in res at Northwestern Univ); Cleveland Orch (Second: formerly, 1995- 2000+); has also performed with the NJ and Stamford Symphs, Metropolitan Opera Orch, American Ballet Theater, and Soloisti New York. Active as a recitalist (incl perf at ClarinetFest 1998), soloist (incl perfs with the Cleveland Orch, Cleveland Heights Chamber Orch, Aspen Mozart Orch, New Haven and Suburban Symphs, and Soloisti New York), chamber musician (incl perfs on the Cleveland Orch, Cleveland Museum of Art, and Oberlin Chamber Series), festival artist (incl participation at the Aspen and Kent/Blossom Music Festivals), and recording artist. Faculty member: Kent/Blossom Music Festival (1997, +/-); Oberlin Conserv (Assoc Prof: formerly, 2000+); SUNY-Stony Brook (current); Univ of Michigan (current). Other positions/activities: Buffet Crampon USA Perf Artist; Vandoren Artist; active as a clinician. Plays on: Buffet R-13 clarinets; PYNE/Clarion Bn Signature mouthpiece. Students include: Levana Cohen, Ann Lavin, Justin Stanley. Bib: “Daniel Gilbert.” Stony Brook University. http://naples.cc. sunysb.edu/CAS%5Cmusic.nsf/pages/gilbert (accessed February 27, 2011); “Pyne/Clarion, Inc. Artist Profile: Daniel Gilbert.” The Clarinet 25 (February/March 1998): 11.

Gilbert, Richard. B. May 21, 1943 (Brooklyn, NY). Undergrad studies begun at Peabody Conserv (1961-65) with IGNATIUS GENNUSA; BS: Hofstra Univ (1968); grad studies at NY Univ. Has been active as a recitalist (incl 1984 professional debut at Carnegie Recital Hall), chamber musician, and recording artist. Author: The Clarinetists’ Solo Repertoire – A Discography (1972); The Clarinetists’ Discography II (1975); The Recorded Clarinetist (1985); The Clarinetists’ Discography III (1991); all published by The Grenadilla Society. Articles published in Woodwind World and other music journals. Other positions/activities: Co-Founder/Dir, Waterford Chamber Soloists (1968-69); Pres/Founder/Artistic

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Dir/Producer, Grenadilla Records (1972-); Executive Dir, Guild Contemporary Music Inc. (1979+); has held various positions with the ICA (incl Chmn of the ICA Sound Archive Committee, NY Regional Chmn, and Editorial Assoc); active as an editor and music therapist (incl staff position at the NY Univ Medical Center). Memb: Assn of Classical Music, ICA, Music and Perf Arts Lodge, NARAS. Hon: favorable reviews of publications appear in the NACWPI Journal (see Bib below); favorable review of recital appears in The Clarinet (see Bib below). Richard Gilbert has provided a great service to the clarinet community through the publication of his series of clarinet discography books. In this series, a massive amount of information compiled by Gilbert is distilled into honest and colorful critical commentary of clarinet recordings coupled with excellent biographical information on many of the entrants. These books are highly recommended for inclusion into any clarinetist’s personal library. Gilbert has also provided valuable contributions to the woodwind community through his leadership of The Grenadilla Society and Grenadilla Records Bib: Gilbert, Richard, and Lawrence Sobol. “Alan Hovhaness, 1911-2000: ‘The 20th Century Musical .’” The Clarinet 28 (March 2001): 66-69; Gilbert, Richard. The Clarinetists’ Solo Repertoire – A Discography. New York: The Grenadilla Society, 1972; Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975; “Gilbert, Richard.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 209; Sobol, Lawrence. “Record Entrepreneur-Clarinetist Has Auspicious Debut.” The Clarinet 12 (Fall 1984): 46; Weerts, Richard. “Book Review.” NACWPI Journal (Summer 1992): 19.

Gillespie, James Ernest. B. Nov. 30, 1940 (Tazewell, VA). BSME: Concord Coll with DAVID LEWIS; MM/DM(both in Clarinet/Woodwind Perf; both earned with distinction): Indiana Univ (1963/1969) with HENRY GULICK. Additional clarinet studies with MITCHELL LURIE. Clarinetist: Contemporary Woodwind Quintet (1969-78, +/-); Texas Clarinet Consort (1999, +/-). Active as an intl recitalist/soloist (incl perfs at the 1999 Univ of Oklahoma Clarinet Symposium and numerous other clarinet conferences), chamber musician (incl perfs with above ensembles), festival artist (incl participation at festivals throughout North America, Europe, and Asia), and recording artist (on the Mark Records label). Works written for Gillespie include Norbert Goddaer’s Aubade. Faculty member: Concord Coll (Instructor: 1963-66); Indiana State Univ (PT Instructor: 1968); Univ of Redlands (Asst Prof: 1968-69); Northeast Louisiana Univ (Assoc Prof: 1969-78); Univ of North Texas (Prof: 1978-). Author: The Reed Trio: An Annotated Bibliography of Original Published Works (1971); Solos for Unaccompanied Clarinet: An Annotated Bibliography of Published Works (1973); both published by Information Coordinators. Numerous articles published in Clarinet and Saxophone, The Clarinet, The Instrumentalist, NACWPI Journal, School Musician and Woodwind World. Other positions/activities: South Central Regional Chmn, ICA (1974, +/-); Editor, The Clarinet (1978-98, +/-); Review Editor, The Clarinet (formerly, for 5 years); Rico Artist; G. Leblanc Corp. Artist/ Clinician (formerly); Buffet Crampon USA Perf Artist (current); active as an intl adjudicator (incl judging for the Dos Hermanas Intl Clarinet Compt) and editor (numerous editions published by Billaudot, Musica Rara, and Southern Music Co.). Memb: AFM, ICA, Pi Kappa Lambda. Hon: favorable reviews of perfs (incl a review by ANTHONY GIGLIOTTI in The Clarinet, listed in Bib below) appear in Clarinet and Saxophone, The Clarinet, Crescendo, and Gazeta Wyborcza. Has played on: Leblanc Concerto clarinets; Buffet Tosca A clarinet; PYNE mouthpiece; BG ligature; Rico Grand Concert Thick Blank and Evolution reeds; BG neckstrap. Students include: PATRICIA PIERCE CARD, KIMBERLY COLE-LUEVANO, Charles Coltman, Garry Evans, Denise Gainey, Chastine Hofmeister, Mark Hollingsworth, Jesse Langston, MARGUERITE BAKER LEVIN, Dawn Lindblade, RITCHARD MAYNARD, RAPHAEL SANDERS, ELENA LENCE TALLEY, ROBERT WALZEL, Jody Webb, Rachel Yoder; numerous students active in the Washington D.C. military bands and in teaching positions throughout the U.S. James Gillespie has contributed enormously to the clarinet community through his role as editor of The Clarinet for nearly thirty years. Additionally, his annotated bibliographies (listed above) for reed trio and unaccompanied clarinet are indispensable reference materials for clarinetists and other woodwind instrumentalists. The article on the Buffet Crampon website is recommended for further insight into Gillespie’s distinguished career. Bib: Gigliotti, Anthony. “The Orchestral Clarinetist.” The Clarinet 27 (December 1999): 20; Gillespie, James, to Tracey L. Paddock, Tallahassee, FL, June 15, 1998; Gillespie, James, ed. “Reviews.” The Clarinet 1 (February 1974): 15; “Gillespie, James Ernest.” Who’s Who in American Music (Classical).

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2nd Edition. New York, NY: R.R. Bowker Co., 1985: 210; “James Gillespie.” Buffet Crampon. http://www. buffet-crampon.com/en/artists.php?mode=artistProducts&aid=747 (accessed February 27, 2011).

Gilmore, Jimmy J. Native of Dallas, TX. BM: Eastman SOM with STANLEY HASTY; MS: Juilliard with LEON RUSSIANOFF. Additional clarinet studies with ANTHONY GIGLIOTTI. Clarinetist: Rochester Phil (formerly); USMA Band-West Point (formerly); North Carolina Symph (Principal: formerly, 1969-2000+, for 41 years); Musicalis (Co-Founder/Clarinet: current); has also performed with the World Symph and Hudson Valley Phil. Active as a chamber musician (incl perfs with Aurora Musicalis) and recording artist (on the Albany Records label). Faculty member: Duke Univ (current); Meredith Coll (1994-). Articles published in ClariNetwork and other journals. Other positions/activities: active as an administrator (incl various committee positions with the NC Symph), conductor (currently conducts the Meredith Wind Symph), and award-winning writer/playwright. Hon: 2nd Prize, Wachovia Playwrights Compt (1989). Students include: JANET AVERETT. Bib: “Jimmy Gilmore.” Meredith College. http://www.meredith.edu/music/faculty.htm#gilmore (accessed February 27, 2011); Menconi, David. “Longtime Clarinetist Retires from N.C. Symphony.” NewsObserver.com. http://www.newsobserver.com/2010/07/11/573397/the-final-notes.html (accessed February 27, 2011).

Gingras, Michéle. B. Sept. 24, 1960 (Montreal, CAN). 1st Prize (Clarinet Perf/Chamber Mus): Montreal Conserv (1981) with Raphael Masella; MM: Northwestern Univ (1984) with ROBERT MARCELLUS; doctoral studies at Indiana Univ (1985-86) with EARL BATES and BERNARD PORTNOY. Clarinetist: Santiago Phil Orch-Chile (Principal: 1982-83); Orchestre Professionel des Jeunes du Québéc (Principal: formerly); Natl Youth Orch of Canada (Principal: formerly); NY Strings Orch (Principal: formerly); Miami Wind Quintet (current); Cincinnati Klezmer Project (1996-); Echternach Festival Orch-Luxembourg (Principal: Summers, current). Active as an intl recitalist (incl perfs at ClarinetFest 1999 and other conferences), soloist (incl perfs on Radio-Canada and in Québéc), chamber musician (incl perfs/recordings with the Miami and Prague Wind Quintets; chamber perfs given throughout North America and in Australia, the Czech Republic, Taiwan, and Venezuela), Klezmer specialist (1996-), festival artist (incl participation at the Echternach Festival and Spoleto Festival-SC), and recording artist (on the Mastersound and SNE labels); numerous broadcast perfs given on Radio-Canada. Also performs on the Akai Corporation’s Electronic (EWI). Faculty member: Miami Univ-OH (Prof of Clarinet: 1986-); has served as Vstg Artist at the Elder Conservatorium-Australia, the Luxembourg Conserv, and the Oslo Conserv, and has taught at summer music programs in Paris and Québéc. More than 75 articles published in Clarinet and Saxophone, The Clarinet, The Instrumentalist, Le Musicien Québécois, NACWPI Journal, and other music journals. Other positions/activities: Chmn, ICA Composition Compt (1992-); Compact Disc Reviewer, The Clarinet; Memb, ICA Composers Commissioning Committee; Consultant, Coda Music Technology; Consultant, Légère Reeds; Buffet Crampon USA Perf Artist; Rico Artist; active as an adjudicator (incl judging for the annual exams at the Montreal Conserv and for the ICA Young Artist Compt), clinician, and translator (incl a textbook published by Roncorp). Memb: ICA. Hon: 1st Prize, Québéc Music Compt (1979, 1981); favorable reviews of recordings appear in The Clarinet (see Bib below). Plays on: Buffet R-13 clarinets; Pomarico #2 crystal mouthpiece; BONADE inverted ligature; Olivieri #3 reeds. Students include: Jean-Luc Blasius, Will Cicola, Patrick Hannudel, Kim Nissius, Shanti Raval. Michéle Gingras espouses the “Bonade-Marcellus concepts of sound, phrasing, articulation, rhythm, etc.” (Gingras/Paddock 1998). Added to this tradition, she incorporates “the latest concepts or alternative performance mediums such as avant-garde, clarinet with electronics, Klezmer music, Vivace Accompaniment System, Wind ,” etc. (Ibid.) As Professor of Clarinet at Miami University of Ohio, Gingras emphasizes

… pedagogy, repertoire, musicianship, career goals, nurturing, recruiting, individualized teaching for each student, doubling, orchestral excerpts, stage presence, sight-reading, transposition, languages. (Ibid.)

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She also assists students with competitions, festivals, pedagogical approaches, job searches, and other opportunities as they arise. Bib: Gingras, Michéle, to Tracey L. Paddock, Tallahassee, FL, May 14, 1998; Kavadlo, Gene. “Compact Disc Reviews.” The Clarinet 26 (March 1999): 97; “Michele Gingras.” Buffet Crampon. http:// www.buffet-crampon.com/en/artists.php?mode=artistProducts&aid=631 (accessed February 27, 2011); Nichols, William. “Audio Notes.” The Clarinet 25 (November/December 1997): 22; Wong, Bradley A. “AudioNotes.” The Clarinet 22 (July/August 1995): 17.

Ginsberg, Eric. B. Oct. 31, 1950 (NYC). BM/MM: Juilliard with STANLEY DRUCKER. Additional clarinet/chamber music studies with BEN ARMATO, Stanley Hammer, and KALMEN OPPERMAN. Clarinetist: Oklahoma Symph (Second/E-flat: 1975-87); Omaha Symph (Second: 1987-88); Pittsburgh Opera Orch (1988-90); Camerata Quintet (1996-); Knox-Galesburg Symph (Principal: current); has also performed with the Brooklyn Phil, Chamber Orch of Oklahoma City (Principal), Goldman Band, Lincoln Symph, and NYC Ballet. Active as a chamber musician (incl perfs with the Camerata, Con Spirito, and Moran Woodwind Quintets), festival artist (incl participation at the Adirondack, Aspen, Brevard, and Spoleto Festivals), and recording artist (on the Crystal Records label). Faculty member: Brevard Music Center (1988; 1992-); Univ of Nebraska-Lincoln (Vstg Prof: 1990-94); Western Illinois Univ (Asst Prof: 1996-); has also taught at the Univ of Arts and Sciences-Oklahoma, OK Christian Coll, and OK Summer Arts Instit. Other positions/activities: ICA Chmn, North Central Region. Memb: ICA. Students include: Christy Banks, Frank Delo, Jennifer Krogmeier, Sara Anne Wollmacher. Bib: “Eric Ginsberg.” Western Illinois University. http://www.wiu.edu/music/faculty_staff/ginsberg.html (accessed February 27, 2011); Ginsberg, Eric, to Tracey L. Paddock, Tallahassee, FL, May 5, 1998; “Musical Chairs.” The Clarinet 18 (February/March 1991): 37; “Musical Chairs.” The Clarinet 24 (February/March 1997): 70.

Girko, Stephen. B. Dec. 22, 1943 (Bronx, NY). HS music studies at the Music and Arts HS with Irving Glazer; private studies with LEON RUSSIANOFF. BME: SUNY-Potsdam (1965) with HARRY PHILLIPS; MM: Manhattan SOM (1966) with LEON RUSSIANOFF. Clarinetist: USMA Band- West Point (1967-70); Albany Symph (Principal: formerly); Hudson Valley Phil (Principal: formerly); Oklahoma City Symph (Principal: 1970-74); Houston Symph (Assoc Principal: 1974-75); Dallas Symph (Principal: formerly, 1975-98); Wild Basin Winds (1996-); San Antonio Symph (Principal: 1999-2000); Austin Symph (Principal: 1999-). Active as a recitalist (incl perfs at ICA conferences and the Univ of Oklahoma Clarinet Symposium), soloist (numerous perfs given with the Dallas Symph, incl a perf of the Copland Clarinet Concerto conducted by Copland), chamber musician (incl perfs/recordings with the Dallas Chamber Players and Wild Basin Winds), festival artist (incl participation at the Carmel Bach, Grand Teton and Music in the Mountains Festivals), and recording artist (on Dallas Symph recordings and on the Gasparo and Klavier Records labels). Faculty member: Oklahoma Univ (Adj Prof: 1970-74); Southern Methodist Univ (Adj Prof: formerly, 1975-90s, +/-, for 18 years); San Antonio Coll (Adj: current); Our Lady of the Lake Coll (current); also teaches privately in the San Antonio public school system. Other positions/activities: active as a gourmet chef/caterer recitalist (see comments below). Hon: favorable reviews of recordings appear in The Clarinet (see NICHOLS and WONG in Bib below). Plays on: Buffet clarinets (20+ years old; maintained by Mark Jacobi); Selmer ‘S’ mouthpiece (refaced by Mattson); modified BONADE ligature; Vandoren #5 reeds. Students include: STEPHEN CLARK, Paula Corley, RENA FELLER FRIEDMAN, DILEEP GANGOLLI, Shawn Herndon, MARGUERITE BAKER LEVIN, LEE CARROLL LEVINE, EUGENE MONDIE, LESLIE NICHOLAS, KENNEN WHITE. Stephen Girko has commented [capitals mine],

Being in the Southwest for all these years is out of the mainstream of activity. I’m an old- fashioned player in the tradition of BELLISON, BONADE, WRIGHT, etc. I emphasize refinement of technique and purity of sound (in the French tradition). (Girko/Paddock 1998)

In an article in The Clarinet, Girko advises aspiring clarinetists to concentrate on . . . intonation, rhythm and a good sound. You’ve got to practice till your fingers fall off. You’ve got to love doing it. You can’t let anyone discourage you – but you’d better play in tune, rhythmically correct and have a good sound!” (Baker 1998, 29)

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In addition to his musical career, Girko is also a talented gourmet chef, specializing in Italian and classical French cuisine. “Symphony Steve,” as he refers to himself, has owned his own catering business called “Eat My Pizza!” for over ten years, “making and delivering New York pizzas in peoples’ homes and afterwards treating them to a clarinet recital.” (Girko/Paddock 1998) It was due to interest in this second profession that an article about Mr. Girko and his catering company appeared in the tabloid The National Enquirer in the early 1990s, a distinction which few if any other clarinetists can claim to have achieved. Bib: Baker, Marguerite. “The Clarinet Sections of the Dallas and Fort Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 29; Girko, Stephen, to Tracey L. Paddock, Tallahassee, FL, May 17, 1998; Nichols, William. “Audio Notes.” The Clarinet 24 (May/June 1997): 19; Wong, Bradley A. “Audio Notes.” The Clarinet 22 (May/June 1995): 13.

Glazer, David. B. May 7, 1913 (Milwaukee, WI); d. Mar. 4, 2001. BME: Univ of Wisconsin- Milwaukee (1935); additional studies at Tanglewood (Summers, 1940-42). Clarinet studies with SAMUEL EVANSON and VICTOR POLATCHEK. Former clarinetist: U.S. Air Force Band-Washington D.C. (1942-45); Cleveland Orch (1946-51; 1968, +/-); NY Woodwind Quintet (1951-85, +/-). Was active as an intl recitalist/soloist, chamber musician (incl a tour of the former Soviet Union with the NY Woodwind Quintet and the Composers Quartet, a South American tour with the NY Woodwind Quintet, and a tour of the Far East with the Fine Arts Quartet), festival artist (incl participation at the Casals and Tanglewood Festivals), and recording artist (on the EMI and Vox Records labels); appeared on numerous radio broadcasts. Premiere perfs incl Bernstein’s Sonata for Clarinet and Piano with Bernstein at the Boston Instit of Modern Art (1942). Former faculty member: Plymouth, WI Public Schools (HS Band/Instrumental Instructor: 1935- 37); Longy SOM (Prof: 1937-42); Mannes Coll of Music (1954-2000+); SUNY-Binghamton and Stony Brook (1967-85+); Queens Coll (late 1990s, +/-); also taught at NYU and the Lucy Moses School for Music and Dance. Other positions/activities: was active as an adjudicator (incl judging for the 1968/1973/1982 Munich Intl Clarinet Compts), clinician (master classes given in China and Switzerland), and editor/ arranger (incl transcriptions/editions for Associated Music Publishers, Oxford Univ Press, and, Southern Music Co.). Memb: ABA, AFM, CASS, ICA, Musicians Club of NY. Hon: listed in Who’s Who in American Music (Classical), 1985 edition; favorable reviews of recordings appear in Richard Gilbert’s discography series (see Bib below) and in High Fidelity and Records and Recordings. Played on: Buffet clarinets. Students include: ARTURO CIOMPI, Joseph De Palo, PAUL DRUSHLER, F. GERARD ERRANTE, RICHARD GOLDSMITH, PAUL GREEN, Joel Levy, RONALD PETER MONSEN, Donald Moy, Edward O’Rourke, C. ROBERT ROSE, JOSEPH RUTKOWSKI, DAVID SHIFRIN, Mark Wardlaw. David Glazer enjoyed a multi-faceted career as a clarinetist, having performed as a member of the Cleveland Orchestra and the New York Woodwind Quintet, and having achieved success as a soloist, recording artist, and teacher. After five years with the Cleveland Orchestra, Glazer relocated to New York City where he earned a reputation as a fine soloist and chamber musician. He became very active as a chamber musician, performing, touring, and recording extensively with the New York Woodwind Quintet and with his brother, pianist Frank Glazer. As a teacher, Glazer influenced many of today’s successful clarinetists, and extended the reach of his teaching with numerous master classes given in Europe, Asia, and throughout the U.S. Bib: Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 67-8, 78; Gilbert, Richard. The Clarinetists’ Repertoire – A Discography. New York: The Grenadilla Society, 1972: 90; Glazer, David, to Tracey L. Paddock, Tallahassee, FL, May 14, 1998; “Glazer, David.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 212; Švalbe, Erika. “Looking for David Oppenheim.” The Clarinet 25 (May/June 1998): 44; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 50-51.

Glick, Alexander. Clarinetist: Natl Symph Orch (Clarinet/Bass: 1942-49); Indianapolis Symph Orch (Clarinet/Bass: 1950-51).

Gold, Cecil. B. Mar. 30, 1943 (Brooklyn, NY). Advanced clarinet studies begun with Marvin Klebinoff and continued with ARTHUR CHRISTMANN and Jerry Nazer at Juilliard (1960-61). BM: Univ

121 of Nebraska-Lincoln (1969) with WESLEY REIST; MM: Univ of Idaho (1972) with DAVID SEILER; DM: Catholic Univ (1984) with KALMEN OPPERMAN; additional studies at the Marlboro Festival (1969) with HAROLD WRIGHT. Additional clarinet studies with STEVEN BARTA (1986-87), FRANKLIN COHEN (1976-79), George Garside (UK), and WILLIAM MCCOLL. Chamber music studies with Marcel Moyse (1978). Clarinetist: U.S. Air Force Band-London, UK (Principal: 1961-65); Duluth Symph (1969-71); Northwest Wind Quintet (1972-76); Cambini Wind Quintet (1976-79); Rosewood Consort/Potomac Wind Quintet (1979-87); Greensboro Symph/Wind Quintet (Principal: 1981-83); U.S. Naval Acad Band (1981- 84); has also performed with the Baltimore Chamber and Symph Orchs, and for Young Audiences of Washington D.C. (all during the 1980s). Active as a recitalist, soloist (incl perfs on the Music at the Abbey Series, Washington D.C.), chamber musician (incl perfs/recordings with above groups and the Harrogate Faculty Trio), jazz musician (incl perfs at the 1989 Edinburgh Festival and the McEwan Jazz Festival), festival artist, and recording artist (incl recording with the Cambini Wind Quintet on the Coronet Records label); broadcast perfs given on various radio/television stations. Faculty member: Univ of Idaho (Asst Prof of Clarinet/Sax/Jazz: 1972-76); Univ of Akron (Asst Prof: 1976-79); Univ of North Carolina-Greensboro (Clarinet: 1981-83); Harrogate School of the Arts- North Yorkshire, UK (Instructor of Clarinet/Sax/Ensembles: 1987-89). Author: Saxophone Performance Practices and Technics (1974, 1977); Clarinet Performing Practices and Teaching in the United States and Canada (1973, 1977); Contemporary Clarinet Technique: A Study of the Altissimo Register (1977; 1984 edition published by Spectrum Music Publishing Co.); all published by the Instit for Woodwind Research. Publications currently underway incl an updated version of the 1973/1977 clarinet volume. Numerous articles published in The Clarinet, Idaho Music Notes, The Instrumentalist, The North Carolina Music Educator, Triad Magazine, and Woodwind World-Brass and Percussion. Other positions/activities: Founder/Research Dir, ICA Research Library (1972-79); active as a lecturer (presentations given at ICA, CASS, and MENC conferences and in the Netherlands). Memb: ClariNetwork (formerly), ICA, Pi Kappa Lambda. Hon: listed in Who’s Who in the West and Mid-West, Who’s Who in American Music (Classical), International Who’s Who in Music, and International Who’s Who of Intellectuals; Univ of Akron Research Grant (1978). Plays on: Buffet R-13 clarinets; Viotto mouthpiece; Vandoren V-12 #3 ½ and Grand Concert thick blank reeds; also plays on clarinets with a Viotto N1 mouthpiece and Vandoren White Master #3-3 ½ reeds. Students include many clarinetists in the Washington D.C. military bands. In the early 1980s, while simultaneously pursuing his doctorate from Catholic University and playing with the U.S. Naval Academy Band, clarinetist Cecil Gold underwent spinal surgery which would eventually cause him to decrease his performance activities. Gold commented,

Since my spinal injury in 1980, I have had to develop in different ways as I use a wheelchair and sometimes crutches. . . . it makes it hard to compete with the rest. . . . I began to see the clarinet profession differently. I have not had to compete for a long time and I love this part of it. I still play everyday and have begun rehearsals for a CD of 2 clarinet and bassoon works never recorded. (Gold/Paddock 1999)

While the spinal surgery did not end Gold’s playing career, he did shift his focus to clarinet research and teaching. In the late 1980s, while teaching at the Harrogate School of the Arts in England, Gold became interested in the German clarinet system and German clarinet playing in general. He and his wife moved to Germany, which enabled Gold to visit factories and mouthpiece makers in Germany, Austria, and France. In addition to these visits, Gold spent several years researching European clarinet playing, the German and Dutch styles in particular. A book based on Gold’s research in Europe, entitled Performance Practices of Germany-Dutch-Austria, was projected to be published in 1999. Gold returned to the U.S. in 1995, and continues to be active in clarinet research and with various recording projects. During his stay in Europe, Gold developed a rapport with Heinz Viotto, a prominent European mouthpiece maker. The two have combined their knowledge and skills to produce a French mouthpiece blank with a German facing to be used with a Vandoren White Master style reed. Of this mouthpiece, Gold remarks, “The sound is amazing and the articulation is equally wonderful. . . . I have never played anything to equal Viotto’s mouthpiece.” (Ibid.) This combination of French and German concepts works in harmony

122 with Gold’s pedagogical philosophy, “. . . to help American players understand the German way of playing and to be able to capture this sound concept with our French instruments.” (Ibid.) Gold’s earlier publication, Clarinet Performing Practices and Teaching in the United States and Canada, is a very useful compilation of information gathered through a survey of over 150 professional North American clarinetists. In it can be found the most commonly taught solos and studies for undergraduate and graduate clarinet students, as well as clarinet equipment most commonly used in North America, and many other clarinet-related topics. Gold’s publication, which has been updated twice, would work very well in conjunction with this dictionary, as it would provide more specific information on some of the trends of North American clarinetistry during the twentieth century. Gold has also contributed significantly to the clarinet community through his role as Founder and former Research Director of the ICA Research Library, located at the University of Maryland. Bib: Gold Cecil. “Clarinet Performing Practices and Teaching in the United States and Canada.” Woodwind World 12 (June 1973): 14-15; Gold, Cecil. “Climate and the Clarinet.” The Clarinet 1 (May 1974): 6; Gold, Cecil, to Tracey L. Paddock, Alexandria, VA, January 12, 1999; “Gold, Cecil.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 214.

Goldsmith, Richard Neil. B. Sept. 27, 1953 (Bronx, NY). BM: Queens Coll (1975); MM: Manhattan SOM (1977); additional studies at NY Univ. Clarinet studies with DAVID GLAZER, JOSEPH RABBAI, and CHARLES RUSSO. Clarinetist: Dover Woodwind Quintet (Clarinet/Mgr: formerly, 1975- 85+); New Repertory Ensemble (Principal: formerly, 1975-85+); Haydn-Mozart Chamber Orch (Principal: formerly, 1980-85+); Windmill Ensemble (Principal: formerly, 1982-85+); Carnegie Chamber Players (Clarinet/Artistic Dir: current); NY Philomusica (Clarinet/Bass: current); Thurnauer Chamber Music Society (Clarinet/Artistic Dir: current); has also performed with the Brooklyn and Long Island Phil Orchs, North-South Consonance, Philharmonia Virtuosi, and the Erich Hawkins and Paul Taylor dance companies. Active as a soloist, chamber musician (incl perfs with above ensembles, Sylvan Winds, and the Linden and Virtuosi Quintets), recording artist (on the Albany and Grenadilla labels), and theatre/commercial musician (incl frequently perfs on Broadway shows). Faculty member: NY Univ (Asst Concert Band Dir: formerly, 1981-85+); Queens Coll (Instructor of Clarinet: 1981-); United Nations Intl School (current); Hunter Coll Elem School (current); JCC/Thurnnauer SOM (current). Memb: Associated Musicians-NY, CMA, CMS, Queens Council of the Arts. Hon: listed in Who’s Who in American Music (Classical), 1985 edition; favorable reviews of recordings appear in The Clarinet (see Bib below) and New York Times. Bib: Ayer, Christopher. “Compact Disc Reviews.” The Clarinet 25 (February/March 1998): 90-91; Gingras, Michéle. “Compact Disc Reviews.” The Clarinet 22 (May/June 1995): 63; “Goldsmith, Richard Neil.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 216.

Goldstein, Abe. Clarinetist: RCA Orch (1954, +/-).

Goldstein, Jerome D. Clarinetist: Pittsburgh Symph Orch (Bass/E-flat: 1953-57 +/-).

Goodman, Benjamin David [Benny]. B. May 30, 1909 (Chicago, IL); d. June 13, 1986. Early clarinet studies with FRANZ SCHOEPP; additional studies with SIMEON BELLISON, AUGUSTIN DUQUES, REGINALD KELL, GUSTAVE LANGENUS, ERIC SIMON, and DAVID WEBER. Clarinetist (Jazz): ’s band (Clarinet/Soloist: 1925-29, +/-); NYC freelance musician (incl commercial, recording, and theater work, etc: 1929-34); “Let’s Dance,” (Clarinet/Bandleader: 1934- 35); the Benny Goodman Band, Trio, Quartet, and (Clarinet/Leader: 1935+; incl the first ever jazz perf at Carnegie Hall); “The Camel Caravan” (1936-39, +/-); also played in the bands of Isham Jones, Red Nichols, and ; also played bass clarinet and sax. Was very active as a soloist and recording artist (refer to discography listed in Bib below). Clarinetist (Classical): “Voice of Firestone” Orch (Second: formerly, with GUSTAVE LENGENUS as Principal); Columbia Chamber Orch (March 1951; under Bernstein). Was active as a recitalist (incl a perf at NYC’s Town Hall), soloist (incl perfs with the Boston, Chicago, NBC, and Tucson Symphs, and the Buffalo, New York, and Rochester Phil Orchs; works performed incl those of Debussy, Copland, Hindemith, and Nielsen), chamber musician (incl perfs/recordings with Béla Bartók, Paul Coker, Yehudi Menuhin, József Szigeti, the Amadeus, Boston Symph, Budapest, and Pro Arte String Quartets, and others), festival artist (incl a perf at the Aldeburgh Festival-England), and recording artist (on the Capitol, Columbia, Sunbeam, and other labels; recordings incl the Weber concerti, the Nielsen Concerto with the

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Chicago Symph, and the Mozart Concerto with the Boston Symph). Appeared frequently, both as a jazz and classical clarinetist, on television (incl appearances on the “Tonight Show” and “Merv Griffin Show”), radio (incl NBC’s “Let’s Dance” program, 1934-35, and “The Camel Caravan,” 1936-39), and in motion pictures (incl Sweet and Lowdown, The Big Broadcast of 1937, Hollywood Hotel, and The Benny Goodman Story). Works commissioned and/or premiered by Goodman incl: Contrasts, Bartok; Preludes, Fugue and Riffs, Bernstein; Clarinet Concerto, Copland; Derivations, Gould; Clarinet Concerto, Hindemith; Clarinet Concerto, Milhaud; et al. Memb: AFM (from age 14). Played on: Selmer and Buffet clarinets (adjusted by Hans Moennig); Howarth and numerous other mouthpieces; metal ligature; Vandoren reeds; fluctuated between a single- and double-lipped embouchure. Hon: Elected to Down Beat Magazine’s All-Time Jazz Hall of Fame (1957); Kennedy Center Lifetime Achievement Award (1982); Lifetime Achievement Award, Howard Univ; 1st Annual Distinguished Service Ward, Hull House (1985); NARAS Lifetime Achievement Award and Grammy (1986); Natl Broadcasters Hall of Fame; two Grammy Awards, awarded posthumously (1987, 1998); Emerson (1988); appeared on U.S. Postal Service’s “Legends of American Music” series of stamps (1996); ASCAP Jazz Wall of Fame (1997); honorary doctorates from Brandeis Univ, Columbia Univ, Harvard Univ, Union Coll, Univ of Hartford, Univ of Illinois, and Yale Univ. Known as the “King of Swing,” Benny Goodman has influenced not only the history of music in general, but the history of clarinet performance in America in particular. Numerous American clarinetists, in both classical and jazz performance, name Benny Goodman as the primary instigator in their decision to play the clarinet. In a tribute to Goodman in The Clarinet, EDDIE DANIELS commented,

Without Benny, I doubt whether my life would have been infused with an excitement about music and a love for the clarinet. Along with this came the idea that jazz and classical music can be played fully by the same person. Benny did it all. (Duckham 1986, 18-19)

In addition to inspiring an untold number of young clarinetists, Goodman made another lasting contribution to the clarinet community through the commissioning of works which are now staples of the clarinet solo and chamber repertoire. Foremost among these are Bartok’s Contrasts and the clarinet concerti of Copland, Hindemith, and Milhaud. Goodman also premiered a number of works, including Dahl’s Concerto a Tre, ’s Concerto No. 2, and Bernstein’s Preludes, Fugue and Riffs, among others. Richard Gilbert, in his book The Clarinetists’ Repertoire – A Discography, summarized Goodman’s career and contributions succinctly:

Benny Goodman will go down as a giant of the jazz world, of course. What many people, and among them clarinetists, do not realize is that “jazz” gave Goodman the wherewithal to have commissioned several major compositions from first-rate composers, such as Bartok, Copland and Milhaud. Besides his better than average recordings, the works composed for Goodman will remain his real legacy. (Gilbert 1972, 90)

Born and raised in Chicago, Goodman began his clarinet studies with FRANZ SCHOEPP, a Chicago Symphony Orchestra clarinetist. Schoepp did not advocate jazz performance and trained Goodman with the traditional studies of Klosé and Baermann. In spite of Schoepp’s classical orientation, Goodman began his career as a jazz clarinetist as a teenager, imitating in a local Chicago theater. During his early- to mid-teens, Goodman was already a member of the American Federation of Musicians in Chicago, and was performing with pit orchestras and bands around Chicago, including one of Bix Beiderbeck’s bands. At the age of 16, Goodman moved to Los Angeles to join Ben Pollack’s band, with whom he played for four years, often as a featured soloist. In 1929, Goodman left the Pollack band, and immersed himself in the New York City freelance scene, performing and leading in studio bands, Broadway pit orchestras, and on recordings with other groups and independently. Having thus broadened his base as a musician and established useful and important connections, Goodman formed a band which successfully won one of three spots on NBC’s new radio program, “Let’s Dance.” While the exposure gained from these broadcasts certainly helped Goodman’s band, it was the band’s first tour shortly thereafter that launched the band to stardom,

124 particularly their wildly successful performance and national broadcast from the Palomar Ballroom in Los Angeles in 1935. From within his band, Goodman also formed chamber music-style jazz groups including the Goodman Trio (with pianist and drummer Gene Krupa), Quartet (the Trio plus vibraphonist ), and Sextet (the Quartet plus guitarist and bassist ), all of which were highly successful. (“The Grand Goodman Style” 1982, 2) Goodman and his groups would make history in a number of ways. Goodman was at the forefront of the , and at the height of his career, he had achieved the type of celebrity most easily equated in contemporary times with that of a movie or rock star, bringing high visibility not only to jazz but also to the clarinet. Goodman later elevated jazz music appreciation to new heights with the debut of jazz performance at Carnegie Hall (1938), and through tours around the world, including the first American jazz performance given in the former Soviet Union (1962). Also significant was the fact that Goodman boldly and without apology featured racially integrated bands during a socially sensitive period in U.S. history. Goodman’s jazz playing, anchored as it was by his early classical clarinet training, has been described by writer Douglas J. Carleton as consisting of “. . . a flawless technique of fluid movement and impeccable taste, and his own brand of Chicago style. . .” (Carleton 1976, 11-12) “Clean,” “facile,” and “agile” are adjectives that appear frequently in descriptions of Goodman’s playing. Carleton later added, “One is at a loss to think of a clarinetist of the day who was not influenced by Goodman’s example.” (Ibid) Goodman’s interest in traditional clarinet performance was rekindled in the mid-1930s, beginning with an informal performance of the Mozart Clarinet Quintet in 1935 at a colleague’s home. While his career as a jazz musician thrived, Goodman’s classical career continued to develop as well, leading to performances of chamber works with the Amadeus, Budapest, and Pro Arte String Quartets, as well as an active career as a recitalist, soloist, and recording artist, including solo performances with the Boston and Chicago Symphonies. This renewed interest in classical performance, which lasted for the rest of Goodman’s life, also led to the aforementioned commissions. Anyone studying the Copland Concerto, Bartok’s Contrasts, or any of the other works commissioned or premiered by Goodman, should listen to his recordings of these works for an interesting point of reference. Numerous articles and books, and at least one dissertation, have been devoted to every aspect of clarinetist Benny Goodman: the man, the jazz musician, the classical musician, his recordings, his influence on the music world and the clarinet community, important commissions, etc. The author refers the reader to the partial bibliography below (many more sources are easily available) for more in depth information about Goodman. Bib: “About the Cover.” ClariNetwork 5 (Fall 1986): 1; “Benny Goodman – The King of Swing.” The Benny Goodman Estate. http://www.bennygoodman.com/about/biography2.html (accessed February 27, 2011); Carleton, Douglas. “The Role of the Clarinet in the Development of Jazz.” The Clarinet 4 (Fall 1976): 10-11; Duckham, Henry. “In Memory of Benny Goodman.” The Clarinet 14 (Fall 1986): 18-19; Gilbert, Richard. The Clarinetists’ Repertoire – A Discography. New York: The Grenadilla Society, 1972: 90; Park Recording Co., Inc. “The Grand Goodman Style.” ClariNetwork (April/May 1982): 2-3; Mannino, F. Vincent. “Clarinetists’ Tributes to Benny Goodman.” The Clarinet 28 (March 2001): 70-71; Maxey, Larry. “The Copland Clarinet Concerto.” The Clarinet 12 (Summer 1985): 28-32; McCormick, Cathy L. “The Origin of Bartók’s Contrasts.” The Clarinet 13 (Fall 1985): 32-33; Snavely, Jack. “Benny Goodman’s Commissioning of New Works and their Significance for Twentieth-Century Clarinetists.” DMA dissertation. University of Arizona, 1991; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 51.

Gorodner, Aaron. B. 1893; d. 1984. Clarinetist: Cleveland Orch (Principal: 1930-31); also performed with the Goldman Band, Metropolitan Orch, and New York Phil. Was active as a soloist, chamber musician (incl perfs/recordings with the Aeolian String Quartet), and recording artist (on the Columbia label). Faculty member: Turtle Bay SOM (formerly); was active as a private clarinet instructor. Bib: Huffman, Larry. “Cleveland Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/ Cleveland_Orchestra_Musicians_List.htm (accessed February 27, 2011).

Graham, Jack. B. Nov. 20, 1942 (Wichita, KS). Early clarinet studies with Dick Helt (Wichita, KS). BME: Wichita State Univ (1965) with VANCE JENNINGS; MM: North Texas State Univ (1967) with LEE GIBSON. Additional clarinet studies with CLARK BRODY. Clarinetist: Project “MUSE” Woodwind Quintet (1966); Waterloo/Cedar Falls Symph (Principal: 1967-); Northwind Quintet (1967-).

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Active as a recitalist/soloist, chamber musician (incl perfs with above ensembles), jazz musician, festival artist (incl participation as Principal Clarinetist of the New Hampshire Music Festival, 1969-), and recording artist (incl recordings with the Northwind Quintet, Univ of Northern Iowa Jazz Band, and Music Festival Orch). Faculty member: Univ of Northern Iowa (Assoc Prof: 1967-). Other positions/ activities: Chamber Music Coordinator, NH Music Festival (1975-92, +/-); Co-Founder, Chamber Orch of Iowa (1980); Personnel Mgr, NH Music Festival (1993-); active as a conductor (Assoc Conductor, Waterloo/Cedar Falls Symph, 1977-; has also worked with the Chamber Orch of Iowa and the NH Music Festival Orch). Memb: ICA. Plays on: Noblet C clarinet; Buffet R-13 clarinets (incl E-flat and D clarinets as well as three vintage B-flat clarinets and a vintage A clarinet); PYNE S mouthpiece; handmade reeds. Students include: Les Aldrich, Trevor Jorgensen, Gayle Rose, Kariann Voigts. With his students, Jack Graham focuses on the essential components of clarinet playing including sound production, embouchure, hand position, rhythm, articulation, legato playing, repertoire and musicianship. He also places a special emphasis on scales learned in a variety of melodic and harmonic patterns. All of Graham’s students follow the same progression of studies at their own rate of learning, including studies by Bona (Rhythmic Articulations), HITE (Melodious and Progressive Studies, books 1 and 2), Rose, Cavallini and others; Graham also uses Odd Meter Etudes in his curriculum. (Graham/ Paddock 1998) Graham commented,

Unlike some other persons in our profession (playing/teaching) who progress from position to position until they find just the right one for themselves, I lucked into some pretty terrific positions right out of graduate school and have stayed ever since. I often say that “I’m in a rut, but it’s a good rut.” My positions . . . with The University of Northern Iowa, the Waterloo Cedar Falls Symphony Orchestra and the New Hampshire Music Festival have given me opportunities and challenges in orchestral, solo, and chamber music performing; conducting; and in management/administration as well.

My hobbies (or as my wife would probably refer to them: obsessions) include daily racquetball during the fall/winter/spring and nearly daily hiking in the White Mountains of New Hampshire during the July/August NHMF season. (Ibid.)

Bib: Graham, Jack, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998; “Jack Graham.” University of Northern Iowa. http://www.uni.edu/music/faculty/graham.html (accessed February 27, 2011).

Grant, Kenneth John. Native of Buffalo, NY. Early clarinet studies with Donald Mattea; HS clarinet studies with JAMES PYNE. BM/Perf Cert: Eastman SOM with STANLEY HASTY. Additional clarinet studies with FRANKLIN COHEN and THEODORE JOHNSON. Clarinetist: Columbus Symph-OH (Principal: 1972-87, +/-); Colorado Phil (Principal: formerly); Rochester Phil (Principal: 1987-); Cleveland Orch (Asst Principal: 1990/1997 European tours/recordings); has also performed with the Buffalo Phil and Chautauqua Symph. Active as a recitalist (incl a perf at the Oklahoma Clarinet Symposium), soloist (incl perfs with the Eastman Wind Ensemble in Japan and the world premiere perf of Sydney Hodkinson’s Clarinet Concerto with the Rochester Phil), and chamber musician (incl perfs with the Muir and Cleveland Quartets). Faculty member: Barker Central Schools-NY (formerly); Eastman SOM (PT: 1987-95; Assoc Prof: 1995-); has also taught at the Capital and Ohio Wesleyan Univs and Otterbein Coll. Other positions/ activities: Pyne/Clarion Artist; extra-musical activities incl: cooking, hiking, running, swimming. Hon: Winner, Intl Woodwind Compt (with the San Francisco Symph); Winner, Young Artists Compt (NYC). Has played on: Buffet R-13 clarinets; PYNE Pk mouthpiece; BAY and Peterson-Pyne ligatures; Olivieri and Vandoren V-12 reeds. (Pyne 1994) Students include: Samantha Angelo, Priscilla Balasa, William Bernier, Jihoon Chang, John Coppa, KATHLEEN GARDINER, Jonathan Guist, Reis McCullough, Jun Qian, James Perone, TAMARA RAATZ, Laura Grantier Snavely, Elizabeth Stimpert, STEPHEN WILLIAMSON. Bib: Grant, Kenneth. “Masterclass: Contrasts for Violin, Clarinet and Piano by Béla Bartók.” The Clarinet 25 (February/March 1998): 10; “Kenneth Grant.” Rochester Philharmonic. http://www.rpo.org/

126 s_7/s_153/p_127/Kenneth_Grant/ (accessed February 27, 2011); “Kenneth Grant, Eastman School of Music, Rochester, New York.” Advertisement in The Clarinet 23 (November/December 1995): 49; Pyne, James. “Kenneth John Grant – Artist Profile.” The Clarinet 21 (May/June 1994): 41.

Gray, Gary. Native of Indianapolis, IN. Clarinet studies begun c. age 11. HS clarinet studies with ROSEMARY LANG and at Interlochen Arts Camp with KEITH STEIN. BM/MM: Indiana Univ with HENRY GULICK, ROBERT MCGINNIS, and Janos Starker (chamber music); additional studies at Music Acad of the West (1960) with MITCHELL LURIE. Other clarinet influences incl Louis Cahuzac, BUDDY DEFRANCO, BENNY GOODMAN, and REGINALD KELL. Clarinetist: Kansas City Phil (Asst Principal/Bass: 1963-64); St. Louis Symph (Asst Principal/ Bass: 1964-66); Los Angeles Chamber Orch (Founding Memb: 1969-89; Principal: 1989-). Active as a prominent Los Angeles studio clarinetist (appearances on numerous television shows incl “My Three Sons,” “,” “Moonlighting,” “Murder She Wrote,” “JAG,” and “The Simpsons;” has appeared on more than 800 movie soundtracks incl Bonny and Clyde, Tootsie, On Golden Pond, Apollo 13, Schindler’s List, Forrest Gump, JKF, Castaway, and the Back to the Future, Gremlins, Home Alone, City Slickers and Toy Story series of movies, among others) and saxophonist. Also active as an intl soloist (incl perfs with the Indianapolis and San Francisco Symphs and the Aspen and Los Angeles Chamber Orchs), chamber musician (incl perfs with the Bravura, Francesco, and Tchaikovsky Trios, the Angeles, Cleveland, and New Hollywood Quartets, and on the Pacific Serenades chamber series), jazz musician (incl perfs with the big bands of David Baker, Al Cobine, , , Claude Thornhill, and others), festival artist (incl participation at the Festival de Musique Française de Léon-France), and recording artist (on the BMG, Centaur, Harmonia Mundi, Laurel, Nonesuch, RCA, and Vox labels). Faculty member: Aspen Music Festival (1963-84); Univ of California-Los Angeles (Prof of Clarinet/Chamber Music: 1970s-, +/-; has also taught sax and directed jazz ensembles). Other positions/activities: active as a clinician (master classes given throughout the West Coast and at the Royal Coll of Music-London). Hon: 1st Prize, San Francisco Symph Foundation Compt; Frank Sinatra Award (1968); Grammy nomination (1988) for The Art of Gary Gray in the Best Soloist with Orch category; favorable reviews of recordings/perfs appear in Clarinet and Saxophone Magazine, Fanfare, Los Angeles Times, and San Francisco Chronicle. Plays on: Buffet R-13 clarinets (with silver keys); Riffault blank mouthpiece (refaced by Charles Boito); BG ligature; Vandoren reeds; Buffet RC E-flat clarinet; Selmer C85/120 E-flat mouthpiece (refaced); Buffet E-flat ligature (stock); Vandoren #3 ½ E-flat reeds; Selmer Low C bass clarinet; Selmer bass mouthpiece (refaced by JAMES KANTER); Buffet bass ligature (stock); Vandoren #3 ½ bass reeds; Selmer Balanced Action alto sax; Meyer No. 7 sax mouthpiece (small chamber); Java #3 sax reeds. Students include: Lisa Marie Baratta, Eyal Bor, GARY BOVYER, Denexxel Domingo, MICHAEL DRAPKIN, Virginia Figueiredo, Helen Goode-Kastro, Barbara Heilmair, DEBRA KANTER, Marty Krystall, Jennifer Showalter, KT Somero, Amanda Walker, Daniel Won, JOHN BRUCE YEH. Gary Gray was featured in James Gillespie’s column, “I Wonder Who the Clarinet Player Was?,” a series of articles written to satisfy the curiosity of those pondering the clarinet-playing heard on movie soundtracks, television, and commercials. Gray was an especially appropriate subject for this series as he has appeared on more than eight hundred motion picture soundtracks and on numerous television shows. It is fair to say that many clarinetists have heard Gary Gray on a regular basis without knowing it. In addition to his studio work, Gray is also a jazz musician and saxophonist, an acclaimed soloist and chamber musician, a Grammy-nominated recording artist, and Professor of Clarinet at University of California at Los Angeles. Having successfully balanced such a diverse career, Gray seeks to expose his students to the wide variety of skills a clarinetist should have at his/her disposal to more readily establish a career as a performing musician. He strives for his students to have a 360-degree view of the music world, and encourages them to make the most of the Los Angeles area as a vast resource of every kind of musical performance. Gray encourages students to familiarize themselves with all members of the clarinet family and to make sight-reading a regular component of their practice time. He often brings students to studio sessions as a means of illustrating the importance of not only their sight-reading and pattern recognition skills, but also the importance of flexibility as a musician. For a more detailed account of Gray’s career, as well as a glimpse into the life of a Hollywood studio musician, Gillespie’s article (listed in Bib below) is highly recommended, as are Gray’s own website and J. Robert Bragonier’s five-part interview with Gray.

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Bib: Bragonier, J. Robert. “Interview with Gary Gray, Part 1 of 5.” Los Angeles Chamber Orchestra. http://www.laco.org/blog/238/ (accessed February 27, 2011); “Gary Gray Receives Grammy Nomination.” The Clarinet 16 (May/June 1989): 14; Gillespie, James. “I Wonder Who the Clarinet Player Was?” The Clarinet 29 (March 2002): 42-47; Gray, Gary. “Clarinet by Gray.” G. Gray. http://www.clarinet bygray.com/ (accessed February 27, 2011); “West Coast Clarinet Congress 2001.” The Clarinet 28 (March 2001): 30.

Green, Louis. Former clarinetist: Russian Symph; NY Symph Orch; Hugo Mariani and his Salon Orch (Principal/Second; played with RALPH MCLANE during McLane’s brief tenure with this orch); Cleveland Orch (Principal: 1920-25); NBC Symph (Second: 1937-38+). Was active as a soloist (incl perf of the Weber Concertino with the Cleveland Orch during the 1920-21 season) and clarinet teacher. Bib: Weber, David. “Reminiscences.” Liner Notes. Brahms, Johannes, 1833-1997. Trio in A Minor for Clarinet, Violoncello and Piano, Op. 114 Perf. Ralph McLane, Sterling Hunkins, Milton Kaye. LP. Grenadilla Society, originally released 1939.

Green, Oliver. Native of Royal Oak, MI. BSE(Math)/MSE(Guidance/Counseling): Wayne State Univ; additional studies at Case Instit of Tech. Clarinet studies with MARIUS FOSSENKEMPER. Clarinetist: Detroit Symph (Bass: formerly; 1948-49; 1956-2000+); Houston Symph (formerly; early 1950s); Detroit Concert Band (formerly, for 11 years); has performed as Principal Clarinet of various touring and/or festival orchs in Jackson Hole-WY, NC, and VA. Active as a chamber musician. Former faculty member: Wright State Univ; Schoolcraft Summer Coll. Other positions/activities: Personnel Mgr, Detroit Symph (1972-93); former sub math teacher in Detroit Public Schools for 30 years, +/-; extra- musical activities incl bridge, sailing, tennis, and spending time with his children/grandchildren. Has played on: Selmer “pre-war” bass clarinet with double octave key; KANTER mouthpiece; Vandoren reeds. Students include: ROGER GARRETT, DANIEL LOCHRIE, Lisa Ellen Rosenberg. Bib: “Detroit Symphony Orchestra – Orchestra Roster Individual.” Detroit Symphony. http://www.detroitsymphony. com/main.taf?e rube_fh=dso&dso.submit.getOrchMember=1&dso.memberId=181 (accessed May 26, 2003; link no longer available); “The Clarinet Section of the Detroit Symphony Orchestra.” The Clarinet 23 (May/June 1996): 23.

Green, Paul J. Early clarinet studies with LEON RUSSIANOFF. BA(Theory/Comp): Yale Univ (1970) with KEITH WILSON; MS(Perf): Juilliard (1972) with JOSEPH ALLARD; JD(cum laude) (1978); LL.M (Taxation): NYU. Additional clarinet studies with DAVID GLAZER. Clarinetist: New Haven Symph (Principal: 1989-90); American Sinfonietta (Principal: 1992, +/-); Symph of the Americas (Principal: current); Atlantic Classical Orch (Principal: current); Ballet Florida (Principal: current); Ensemble 21 (current); has also performed with the American and NJ Symphs, the Natl Orch Assn, and the Orpheus Ensemble. Active as an intl recitalist (incl professional debut in 1966, a well- received second debut in 1990 at Merkin Hall, and perfs throughout Asia, Europe, the Middle East, and the U.S.), soloist (incl televised perf, at age 13, with the NY Phil, conducted by Leonard Bernstein, and perfs with the Natl Orch Assn and the Hartford, Kansas City, and Springfield Symphs), chamber musician (incl perfs with Jacqueline du Pré and Richard Goode at the Festival of Two Worlds-Spoleto, Italy, as a memb of the Arboretum and Festival Chamber Music Societies, and with the Borromeo, Cuarteto Lantinoamericano, Fine Arts, Lark, Miami, St. Lawrence, and Ying Quartets), Klezmer artist, jazz artist, festival artist (incl participation at the Festival at Sandpoint, the Rutgers and Hamptons Summerfests, the White Mountain Arts and Music Festival, the Austin, Dobbs Ferry, and Gold Coast Chamber Music Festivals, and the Colorado, Kneisel Hall, Manchester, and Yale Music Festivals), and recording artist. Premiere perfs incl ’s Clarinet Concerto with the Harid Philharmonia, conducted by Weisberg (1996). Faculty member: Brooklyn Law School (formerly, 1985+); Harid Conserv (formerly, 1990s); Florida Intl Univ (current); Florida Atlantic Univ (current). Published in The Clarinet. Other positions/activities: active as a clinician/lecturer; former Editor, Brooklyn Law School Review; Founder/Artistic Dir, Gold Coast Chamber Music Festival (formerly, 1996-2000+); was active as an attorney during the 1980s. Hon: selected by Leonard Bernstein to perf with NY Phil on a televised Young People’s Concert Series concert (1962, at age 13); Winner, Young Concert Artists Intl Compt (1966); Distinguished Artists Award of the Artists Intl Compt (1988); U.S. Info Agency Artistic Ambassador (1997; gave perfs/clinics throughout the Middle East); favorable review of 1990 recital appeared in the New York Times.

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Clarinetist Paul Green has had a most interesting career, beginning at the age of 13, when he was selected by Leonard Bernstein to participate in a televised performance with the New York Philharmonic on the 1962 Young People’s Concert Series. Shortly after that, in 1965, Green was invited by composer Gian-Carlo Menotti to perform with world-renowned musicians at the Festival of Two Worlds in Spoleto, Italy, and then won the prestigious Young Concert Artists International Competition. In spite of this impressive early success, Green decided to go to law school, and upon graduation, practiced law for several years with prominent New York law firms. After several years of working as an attorney, Green began to long for musical involvement again. He began studies with LEON RUSSIANOFF once more, and soon boldly reentered the musical world first winning the Distinguished Artists Award of the Artists International Competition, followed by a Merkin Hall recital which received an excellent review in the New York Times. Since that time, Green has been active as an orchestral clarinetist, soloist, recitalist, chamber musician, and clarinet professor. Bib: “Clarinotes.” The Clarinet 23 (May/June 1996): 11; Green, Paul. “Law & Music: Common Ground.” The Clarinet 23 (November/December 1995): 97; Green, Paul. “Paul Green.” P. Green. http:// www.paulgreenmusic.com/ (accessed February 1, 2011).

Greenleaf, Robert Bruce. B. Apr. 28, 1949 (Auburn, AL). Undergrad studies begun at Auburn Univ (1967-68); BM(cum laude): Florida State Univ (1971) with HAROLD SCHMIDT; MM/DM: Louisiana State Univ (1972/1974) with PAUL DIRKSMEYER; additional studies at Sewanee Summer Music Center (1971) with JAMES LIVINGSTON. Clarinetist: Auburn Wind Quintet (1974-); Winds and Ivories (1979-80, +/-). Active as a recitalist/chamber musician (incl perfs throughout the southern U.S. and on public radio). Faculty member: Auburn Univ (Prof: 1974-). Articles published in the Journal of the Alabama Academy of Science, Junior Keynotes, and Music Clubs Magazine. Other positions/activities: Board Memb, Alabama Symphonic Assn (1996); active as an administrator (incl membership on numerous univ committees), clinician, award-winning composer (8 published works incl Piece for Clarinet and Tape (1974), Quartet in C Minor, Celebration, and Under the Arbor, a full-scale, two act opera), and lecturer. Memb: ASCAP, MTNA, NACWPI, Phi Eta Sigma, Phi Kappa Phi, Pi Kappa Lambda. Hon: Natl Merit Finalist (1967); FSU Orch Librarian Schol; Undergrad Prep for Coll/Univ Teaching Fellowship, FSU (2 years); Natl Defense Education Act Fellowship, LSU (3 years); listed in Who’s Who in American Classical Music, 1985 edition; Auburn Univ Extension Award for Excellence (1992); Human Odyssey Faculty Memb, Auburn Univ (1993-96); EMMY nomination for his opera Under the Arbor in the Programming Excellence-Cultural Affairs Programming category (1994); Under the Arbor distributed nationally to Public Television (1994); Finalist Award for Under the Arbor at the 1994 Intl Film and Television Festival of NY; Banquet Speaker, 1994 Natl Federation of Music Clubs natl meeting; Greenleaf’s composition Fanfare for Governor James commissioned for Alabama’s 1995 Governor’s Inauguration; Greenleaf’s composition Celebration commissioned to open 1997-98 Alabama Symph concert season; Celebration selected by Maestro to be performed on tour by the Natl Symph (1998); recipient of numerous other grants for various composition, production, and perf endeavors. Plays on: Buffet R-13 clarinets; Woodwind and Kaspar (Ann Arbor) mouthpieces. Students include: Branden Bowman, Thomas Daniel, Heather Hanks, Brenda Neece, Paige Nunnelly, Constance Whitfield. Concerning the clarinet, Robert Greenleaf has commented, “I like a clear, focused, free tone (firm embouchure, open throat) and players who understand the structure of the music and the emotional intent of the composer.” (Greenleaf/Paddock 1998) Bib: “Greenleaf, Robert Bruce.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 226; Greenleaf, Robert, to Tracey L. Paddock, Tallahassee, FL, May 15, 1998.

Greenwald, Irving Sydney. B. Schenectady, NY (1910). Grad: Western Reserve Univ; Cleveland IOM. Former clarinetist: WHK-Cleveland Staff Orch; Tio Fio Rito; Merle Jacobs Orch; Richard Bono Orch; prominent Cleveland clarinetist/saxophonist active during the 1940s (+/-); appeared in Who is Who in Music (1941). Bib: “Greenwald, Irving Sydney.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 109.

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Greitzer, Ian. BM/MM(with honors): New England Conserv; additional studies at Tanglewood. Clarinetist: Boston Musica Viva (formerly); Boston Classical Orch (Principal: 1990s-, +/-); Phil (Principal: 1990s-, +/-); Pro Arte Chamber Orch of Boston (Founding Memb; current); Boston Pops Esplanade Orch (Principal: current); Dinosaur Annex Music Ensemble (current); has also performed with the Cantata Singers, Boston Ballet Orch, Boston Modern Orch Project, and Boston Symph. Active as a recitalist (incl perfs at the Library of Congress and Carnegie Recital Hall), chamber musician (incl perfs with the Arada Trio, the Blair, Lydian, Manhattan, and Vermeer String Quartets, and the New England and Zephyr Wind Quintets), festival artist (incl participation at the Blossom, Newport, Ravinia, and Tanglewood Music Festivals), and recording artist (on the CRI, Koch Intl, Newport Classics, New World, Northeastern Records, Nu Classix, and Philips labels, and on South German Radio). Faculty member: Longy SOM (formerly, 1990s, +/-); Univ of Massachusetts-Dartmouth (formerly, 1990s, +/-); Boston Conserv (current); Rhode Island Coll (current); Boston Univ (current). Bib: “Ian Greitzer.” Pro Arte Chamber Orchestra. http://www.bu.edu/proarte/People/Greitzer.html (accessed March 1, 2011).

Grimm, Leslie. MM: Northwestern Univ. Clarinet studies with JOHN WIENER. Clarinetist: Chicago Pan-American Ensemble (current); also perfs with the Chicago, Grant Park, and Milwaukee Symphs, Chicago Sinfonietta, Lyric Opera of Chicago, Ravinia Festival Orch, and Symph II. Active as a recitalist, chamber musician, recording artist (on the Centaur, Koss, Pro-Arte, and Telarc labels), and studio musician (incl numerous television/radio spots). Faculty member: Northern Illinois Univ (1990s-, +/-); Northwestern Univ (Lect: current). Students include: Jonathan Han, Jill Noerenberg, Owen Tucker, Molly Walker, Mike Wilkens, Jennifer Woodrum. Bib: “Faculty Profiles.” Bienen School of Music. http://www. music.northwestern.edu/faculty/profiles/leslie-grimm.html (accessed March 1, 2011).

Grisez, Georges. B. Mar. 31, 1884 (Paris, France); d. Mar. 1946 (Baltimore, MD). 1st Prize: Paris Conserv (1902). Former clarinetist: Boston Symph (Principal: 1904-14); NY Chamber Music Society (1921); Philadelphia Orch (1922-23); Minneapolis Symph (Principal: 1923-36); NBC Symph (Bass: 1936- 38+); New York Phil (Principal: late-1930s/early-1940s, +/-); Baltimore Symph (Bass: 1943-46); Grisez Woodwind Quintet; also served as a musician with the French military during WWI and as a flutist in the NY Symph. Was active as a soloist (incl numerous perfs with the Minneapolis Symph), recording artist (incl recording of clarinet excerpts on the Phono-Cut label, 1913), and was particularly well-respected for his musical sensitivity as a chamber musician (incl perfs with above groups, the Georges Longy Club, and the Letz Quartet, and at the Berkshire Festival of Chamber Music during the 1920s). Faculty member: Univ of Minnesota (1927-34). Students include: SIGURD BOCKMAN, HERBERT COUF, EARL HANDLON, LEOPOLD LIEGL, WALTER THALIN. Many interesting facts about Georges Grisez’s life and career can be found in Harry Gee’s article on French clarinetists in America in The Clarinet (see Bib below). One of the more interesting facts is about the end of Grisez’s life: a devoted musician to the end, Grisez quietly passed away on stage just after playing the clarinet solo at the beginning of a performance of Gershwin’s Rhapsody in Blue with the Baltimore Symphony. (Gee 1981, 21) Bib: Gee, Harry R. “French Clarinetists in America, Part II: Grisez, LeRoy, and Cailliet.” The Clarinet 8 (Summer 1981): 20-21; Huffman, Larry. “Boston Symphony Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Boston_Symphony.htm (accessed March 1, 2011).

Griss, William. Former clarinetist: Russian Ballet Orch; Detroit Symph (1944-70, +/-).

Grochmal, James. Clarinetist: Baltimore Symph Orch (1926-27, +/-).

Gross, Cathryn [Trina]. B. El Paso, TX. BM: Eastman SOM (1990) with CHARLES NEIDICH; MM: Indiana Univ with JAMES CAMPBELL and ELI EBAN (1993). Additional clarinet studies with WILLIAM OSSECK and Alfred Prinz. Clarinetist: Indianapolis Chamber Orch (Second: 1995-99); Augusta Symph Orch-GA (Principal: formerly, 1999+); Louisville Symph (Actg Principal: formerly); Indianapolis Symph (Second/E-flat: current); has also performed with the Columbus Phil-IN and Ohio Light Opera Orch. Active as a recitalist, soloist (incl perfs with the Augusta Symph and Indiana Univ Wind Ensemble), and chamber musician. Hon: 2nd Prize, ICA Young Artists Compt (1990). Bib: “Cathryn

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Gross.” Indianapolis Symphony. http://www.indianapolissymphony.org/about_us/the_orchestra/ woodwinds/clarinet (accessed March 1, 2011).

Gross, (Gottfried Ernst) Julius. Clarinetist: Chicago Symph Orch (1896-98; 1903-08; 1914-15).

Gruner, William Otto. B. Jan. 12, 1883 (Berlin, GER); d. Feb. 1971 (Philadelphia, PA). Immigrated to U.S. in 1906. Clarinetist: Philadelphia Orch (Clarinet: 1929-40; also performed as Principal Bassoon, 1906-07, Third Bassoon, 1907-17 and 1929-51, and on tenor sax). Was active as a recording artist (incl bassoon solos on the Victor, Blue Seal, and Red Seal labels) and private instructor (incl woodwind and piano lessons). Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Philadelphia_Orchestra_Musicians.htm (accessed March 1, 2011).

Grymes, Christopher. B. circa 1971; native of Virginia Beach, VA. BM: Indiana Univ with Avrahm Galper and ELI EBAN; MM: East Carolina Univ with NATHAN WILLIAMS; doctoral studies in progress at Michigan State Univ with ELSA LUDEWIG-VERDEHR; additional studies at the Norfolk/ Yale Summer SOM Chamber Music Festival’s Contemporary Music Seminar. Clarinetist: Natl Repertory Orch (formerly); Tales and Scales (formerly); Winston-Salem Symph (Principal: current); also perfs with the NC Symph, Carolina Chamber Symph, and Carolina Winds. Active as a recitalist, soloist (incl perfs with the Boston and Utah Symphs), and chamber musician. Faculty member: East Carolina Univ (current). Hon: 1st Prize, MTNA Natl Collegiate Woodwind Soloist Compt; Catherine Herrick Cobb Fellowship, MSU; favorable reviews of perfs appear in The Clarinet and Classical Voice of North Carolina. Students include: Katie Brown, Matthew Roerich. Bib: “Christopher Grymes.” East Carolina University. http:// www.ecu.edu/cs-cfac/music/directory/grymes.cfm (accessed March 1, 2011).

Guerra, Michael. B. 1888 (Philadelphia, PA); d. 1976. Former clarinetist/bass clarinetist/ saxophonist: Philadelphia Orch (formerly, under Stokowski); began career as a clarinetist (incl much theater work) but became predominantly active as a saxophonist and teacher. Faculty member: Ornstein SOM (1940s). Students include: Mark Belczyk, Elizabeth Carroll, John Coltrane, Jimmy Dorsey, Joe Forziati, Stan Getz, Elliott Levin, Gerry Mulligan, Matthew Rastelli, Vance Wilson, WILLIAM WRIGHT. Bib: “Dr. Mark E. Belczyk.” Chester County Youth Orchestra. http://www.ccyo.org/Belczyk.html (accessed March 1, 2011); Porter, Lewis. John Coltrane: His Life and Music. Ann Arbor, MI: The Press, 1998: 33-34. .

Guidetti, Terry. BM/MM: Northwestern Univ with JEROME STOWELL; additional studies at the Marcel Moyse Chamber Music Seminars. Additional clarinet studies with John McCaw, KALMEN OPPERMAN, and HAROLD WRIGHT. Conducting studies with Elizabeth Green, Richard Lert, and Wolfgang Vacano. Principal Clarinetist (dates unknown): Chicago Opera Ballet; Colorado Phil; Delaware Symph; Opera Delaware. Active as a recitalist, soloist, chamber musician, and recording artist (on the CRI label). Faculty member: West Chester Univ (Prof of Clarinet/Conductor of Univ Symph: 1966-late 1990s, +/-). Articles published in The Clarinet (incl an excellent interview with prominent American clarinetist IGNATIUS GENNUSA). Other positions/activities: active as an adjudicator and conductor (incl former positions with the Colorado Phil and Kennett Symph, and many appearances as guest conductor at orch/ band festivals). Students include: Anthony Simons. Bib: Guidetti, Terry. “An Interview with Ignatius Gennusa.” The Clarinet 21 (November/December 1993): 48-51.

Gulick, Henry. BM: Eastman SOM with RUFUS MONT AREY; additional studies at Interlochen and Tanglewood. Additional clarinet studies with GUSTAVE LANGENUS, OAKLEY PITTMAN, and VICTOR POLATCHEK. Former clarinetist: Army Air Corps Band-Sheppard Field; Rochester Phil; San Antonio Symph (Principal: 1949-75, +/-). Faculty member: Indiana Univ (Prof: 1951- 86). Articles published in The Clarinet. Other positions/activities: has been active as a clinician. Students include: ALAN BRADLEY, ROBERT CHESEBRO, RANDALL CUNNINGHAM, Sue Devito, Celeste Gates, JAMES GILLESPIE, GARY GRAY, GREGORY IMBODEN, THEODORE JAHN, TOD KERSTETTER, DAVID LEWIS, JAMES LIVINGSTON, Tansie Mayer, Donald McMahel, JERRY PIERCE, Alan Portzline, DAVID RANDALL, C. ROBERT ROSE, RAPHAEL SANDERS, JOHN SCOTT, David Townsend, Ken Wilson.

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In a tribute to Henry Gulick upon his retirement, former student JAMES GILLESPIE remembered Gulick’s “. . . round, liquid tone and his facile technique . . .” and how “he somehow managed to keep all those Sarlit, Perier, and Polatchek etudes under his fingers, while I was struggling to cope with one or two a week.” (Scott 1986, 36). In teaching, Gulick was supportive and nurturing, diplomatic, open-minded, devoted, and generous. Many of his students remember Gulick as a fatherly or avuncular figure, even dubbed “Uncle Henry” by at least one generation of his students. (Ibid.) Former student John Scott comments,

It is difficult to estimate the number of students that he taught . . . but knowing him as I do, I suspect he knows not only the precise number that passed through his studio, but also the literature they studied and just how well it was prepared. (Ibid.)

Bib: Scott, John C., Bernard Portnoy, et al. “A Tribute to Henry Gulick.” The Clarinet 14 (Fall 1986): 36; Stoddard, Hope. “Clarinets and Clarinetists of Our Orchestras.” International Musician 48 (September 1949): 22.

Gunn, Jonathan. B. Sheffield, England. Began music studies on violin and piano before beginning clarinet studies at age 11 upon moving to the U.S. BM: Rice Univ; MM: Duquesne Univ. Clarinet studies with BIL JACKSON, MARK NUCCIO, RICHARD PICKAR, and Patricia Shands. Clarinetist: Wheeling Symph (Principal: formerly); Palm Beach Orch (Second: formerly); Fort Wayne Phil (Principal: formerly, 1998-2000+); Cincinnati Symph (Assoc Principal/E-flat: current); has also performed with the Colorado and Pittsburgh Symphs. Active as a soloist (incl perfs with the Wheeling Symph and Fort Wayne Phil) and festival artist (incl participation at the Aspen, Bard, Sunflower, and St. Bart’s festivals and the Telluride Jazz Celebration). Faculty member: Andrews Univ; Indiana Univ-Purdue Univ at Fort Wayne. Other positions/activities: Buffet Crampon USA Perf Artist; extra-musical activities incl beer brewing and cycling. Plays on Buffet R-13 clarinets and Buffet RC Prestige E-flat clarinet. Students include: Jackie Glazier, Aaron Shemas. Bib: “Jonathan Gunn.” Buffet Crampon. http://www.buffet- crampon.com/en/artists.php?mode=artist Presentation&aid=643 (accessed March 15, 2011).

Gunn, Wilford. Clarinetist: Cincinnati Symph Orch (Clarinet/Bass: 1914-36, +/-).

Gurch, Ted A. B. May 13, 1964 (Camden, NJ). BM/Perf Cert: Eastman SOM (1986) with STANLEY HASTY and CHARLES NEIDICH; additional clarinet studies with ANTHONY CICCARELLI and Keith DiSantis. Clarinetist: Rochester Phil (Extra: 1984-86); Mississippi Symph (Principal: 1986-89); Atlanta Symph (Asst Principal/E-flat/Sax: 1989-); Thamyris (contemporary mus ensemble; current). Active as a clarinet/sax soloist (incl perfs with the Atlanta Symph), chamber musician (incl perfs/ recordings with the Atlanta Winds, Jackson Symph Woodwind Quintet, and Thamyris), recording artist (incl recordings with above groups, and as Solo Sax with the Atlanta Symph on the Telarc label), and classical/jazz saxophonist (incl a perf of the Ibert Concertino da Camera with the Atlanta Symph). Faculty member: Emory Univ (Clarinet Instructor: 1989-); Clayton State Univ (Clarinet Instructor: 1992-); Kennesaw State Univ (Artist-in-Res: current). Other positions/activities: Clarinet Section Coach, Atlanta Symph Youth Orch (current). Plays on: Buffet R-13 (B-flat) and Yamaha (A) clarinets; JOHNSTON H4 mouthpiece; handmade reeds; Buffet RC Prestige E-flat clarinet; JOHNSTON E-flat mouthpiece. Students include: John Devlin, Andrew Hudson, Christopher Kirkpatrick, James Touzel. Ted Gurch commented [capitals mine],

I try to remember and build on what I learned from STANLEY HASTY. Focuses are phrasing (tension and release), mechanics of sound production (attacks, support, voicing, tone). Also reed-making and adjusting (by hand). I think versatility in musical styles is important, as is a thorough working knowledge of music theory (as an aid to technique and phrasing. (Gurch/Paddock 1998)

In addition to his clarinet activities, Gurch has also been active as a saxophonist (both classical and jazz) for quite some time. While at Eastman, he played alto sax in the Eastman Jazz Ensemble, and continues to “enjoy listening to and playing jazz on that instrument.” (Ibid.)

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Bib: Gurch, Ted, to Tracey L. Paddock, Tallahassee, FL, July 11, 1998; “Musical Chairs II.” The Clarinet 14 (Winter 1987): 47; “Ted Gurch.” Kennesaw State University. http://www.kennesaw.edu/ music/TedGurch.shtml (accessed March 4, 2011).

Guy, Larry. BM: Oberlin Conserv; MM: Catholic Univ; Dipl: Manhattan SOM. Clarinet studies with ANTHONY GIGLIOTTI, ROBERT MARCELLUS, and KALMEN OPPERMAN; additional music studies with Marcel Moyse. Clarinetist: Atlanta Symph (formerly); Joffrey Ballet (Principal: formerly); Metropolitan Opera Guild Orch (Principal: formerly); Queens Symph (Principal: formerly); Long Island Phil (Principal: formerly, for 27 years); Lake George Opera (Principal: formerly); has also performed with the American and NYC Ballet Orchs, the New York and Brooklyn Phil Orchs, the American Composers Orch, the Orch of St. Luke’s, the NYC Opera, and the NJ Symph. Active as a recitalist (incl perfs at Weill Recital Hall and Washington D.C.’s Phillips Collection), chamber musician (incl perfs with Orpheus Ensemble, Philharmonia Virtuosi, Speculum Musicae, Sylvan Winds, and the Emerson, Manhattan, and Vermeer String Quartets), theater musician (incl numerous Broadway shows), and recording artist (on the Angel, Columbia Masterworks, CRI, Decca, Delos, Island Records, Koch Intl, and Vanguard labels); broadcast perfs given on NPR. Faculty member: Juilliard’s Music Advancement Program (current); Manhattan SOM Pre-Coll Div (current); NY Univ (current); Vassar Coll (Adj: current). Author/compiler of several publications (incl The Complete Daniel Bonade, a compilation of 3 major Bonade publications which had gone out of print, incl the very essential Orchestral Studies). Other positions/activities: Gonzalez Reeds Artist; active as a lecturer (incl presentations given at ICA conferences and the Univ of OK Clarinet Symposium); has released 2 very important compilations of recorded perfs of DANIEL BONADE and RALPH MCLANE, on Boston Records. Hon: Andrew Goodman Prize for Excellence in Clarinet Perf, Manhattan SOM. Bib: “Larry Guy.” Vassar College. http://music.vassar.edu/bios/laguy. html (accessed March 4, 2011).

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Hadcock, Peter. B. 1940 (MI); d. Oct. 25, 1993. Early clarinet studies with WILLIAM STUBBINS at Univ of Michigan and Interlochen Arts Camp. BM(with honors)/Perf Cert: Eastman SOM (1960) with STANLEY HASTY. Former clarinetist: Buffalo Phil (E-flat/Bass: 1960-63; Principal: 1963-65); Boston Symph (Asst Principal/E-flat: 1965-90); Boston Pops (Principal: 1985-90); Collage (contemporary chamber ensemble founded by Hadcock while a memb of the Boston Symph). Was active as a recitalist (incl perfs at ICA conferences), soloist (incl perfs with various New England orchs and a perf of the Copland Clarinet Concerto at the composer’s 85th birthday celebration at Tanglewood), chamber musician (incl perfs/ recordings with Boston Symph Chamber Players and Collage), and recording artist (incl recordings with the Boston Symph/Pops, BSO Chamber Players, and Eastman Rochester Orch; recordings appear on the Deutsche Grammophon, Nonesuch, and Northeastern Records labels). Former faculty member: SUNY-Buffalo (1960-65, +/-); Hartt SOM (1965-90); New England Conserv (1965-90); Tanglewood (1965-90); Eastman SOM (Vstg Prof: 1982; Prof: 1990-93); Yale Univ (Vstg Prof: 1992). Author: Orchestral Excerpts for the E-flat Clarinet (Roncorp Publications); The Working Clarinetist: Master Classes with Peter Hadcock (edited/published posthumously by Roncorp Publications, 1999). Articles published in various music journals. Other positions/activities: was active as a clinician (master classes/workshops given throughout the U.S. and The People’s Republic of China) and editor (incl publications for Intl Music Publishers). Played on: Buffet clarinets; JOHNSTON mouthpiece; Vandoren 5-RV E-flat mouthpiece; Kaspar ligatures; Vandoren reeds. Students include: LINDA BARTLEY, Karen Beacham, Aline Benoit, PETER COKKINIAS, Charles Coltman, BRUCE CREDITOR, DANNENE DRUMMOND, KATHLEEN GARDINER, Jennifer Gilman, William Hagenah, CAROLINE HARTIG, KARL HERMAN, THOMAS HILL, MARK KARLIN, RICHARD MACDOWELL, Edward Marcus, THOMAS MARTIN, DAVID MARTINS, Ruth McDonald, John Parrette, Linda Poland, TAMARA RAATZ, GREGORY RADEN, KEVIN SCHEMPF, Robin Seletsky, Michelle Guadagnino Urzynicok, LEIGH GRAHAM WAKEFIELD, Lindsay William, Robert Owen West. Peter Hadcock’s success as a clarinetist began when Fredrick Fennell, former legendary conductor of the Eastman Wind Ensemble, heard Hadcock perform at Interlochen Arts Camp when Hadcock was a high school student. Fennell subsequently invited Hadcock to forego his senior year of high school to attend Eastman. During his final year of studies at Eastman, Hadcock took his first professional position as E-flat and Bass Clarinetist of the Buffalo Philharmonic, and was appointed Principal of this orchestra after three years. His appointment to the position of Assistant Principal and E-flat Clarinetist of the Boston Symphony followed two years later (at the age of twenty-five) and spanned twenty-five years. Of equal importance to Hadcock was his teaching career. He held faculty positions at SUNY- Buffalo, the Hartt School of Music, the New England Conservatory, and Tanglewood before accepting his final position at the Eastman School of Music in 1990. In teaching, Hadcock was known for his flexible communication skills, able to express concepts in a manner best befitting each student, and for the honesty and integrity which he applied both to himself and to his students. Many of Peter Hadcock’s former students hold positions in orchestras and on music faculties across the United States. Of his own experience with Hadcock, former student KARL HERMAN commented,

Pete Hadcock was the best teacher I could have ever had. He had confidence in me when no one else did. My career would not have been possible without him, and he was probably the best E-flat clarinetist ever. (Herman/Paddock 1998)

Another former student, LEIGH GRAHAM WAKEFIELD, added that Hadcock was

A passionate, dedicated, articulate and compassionate teacher. His life was infused with an energy that carried into his music. Pete was a marvelous human being and is missed greatly. (Wakefield/Paddock 1998)

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In conclusion, clarinetist Aline Benoit, Peter Hadcock’s widow, offers this fitting portrait of Hadcock:

In his personal life, Peter Hadcock exhibited the same energy and intensity that characterized his professional career. His primary mode of transportation was a large BMW motorcycle. He was a passionate sailor and outdoorsman who sailed extensively around the New England coast in his thirty-foot sloop “Temerity.” In 1984 he sailed to Bermuda and back, and in 1992 he sailed up the Hudson River to the Erie Canal and Rochester. He was a “renaissance man” who built his own home, repaired just about every machine with which he came in contact, was a voracious reader and audiophile, and never stopped his intense pursuit of learning. (Benoit, 52-53)

This excerpt appears in both a memoriam published in The Clarinet (co-authored by THOMAS HILL) and in Hadcock’s posthumously published book, The Working Clarinetist. Both the article and Hadcock’s book are highly recommended. Bib: Benoit, Aline, and Thomas Hill. “Remembering Peter Hadcock.” The Clarinet 27 (September 2000): 52-53; Creditor, Bruce. “Clarinet Section of the Boston Symphony.” The Clarinet 14 (Winter 1987): 37; Herman, Karl, to Tracey L. Paddock, Tallahassee, FL, August 10, 1998; “Musical Chairs.” The Clarinet 17 (February/March 1990): 58; “Peter Hadcock, July 5-9.” The Clarinet 20 (February/March 1993): 65; Ronkin, Bruce, Aline Benoit and Marshall Burlingame, eds. The Working Clarinetist: Master Classes with Peter Hadcock. Cherry Hill, NJ: Roncorp Publications, 1999; Wakefield, Leigh Graham, to Tracey L. Paddock, Tallahassee, FL, July 15, 1998; Webster, Michael. “The Hasty Festival.” The Clarinet 7 (Summer 1980): 25.

Halbman, Alexander. Clarinetist: St. Louis Symph Orch (1921-22, +/-).

Hall, Jerry. Native of Alexandria, VA; d. early 2000s. BM/MM: Univ of Tennessee. Clarinetist: Chattanooga Symph (formerly); also performed with the Berlin Phil. Was active as an intl recitalist/soloist (incl perfs at the 1996 Oklahoma Clarinet Symposium and the 1998/1999 Univ of Montevallo Clarinet Symposia) and chamber musician (incl the 1985 premiere perf of John Webber’s Clarinet Quintet with the Chesapeake String Quartet). Broadcast perfs given on BBC Radio, DDR Radio and Television, French Natl Radio, and Swiss Natl Radio. Other positions/activities: Dir, Alabama Clarinet Instit (1999, +/-); active as a clinician (presentation given at the 1998 Univ of Montevallo Clarinet Symposium) and clarinet/ sax mouthpiece craftsman. Bib: “Lake Michigan College to Host Clarinet Clinic.” Lake Michigan College. http://www.lakemichigancollege.edu/news/2005/042705-Clarinet_Clinic.html (accessed July 12, 2010).

Hall-Gulati, Doris J. BM: Peabody Conserv with LOREN KITT; MM: Univ of Michigan with FRED ORMAND. Additional clarinet studies with IGNATIUS GENNUSA. Clarinetist: Opera Co. of Philadelphia (Bass: formerly, for 15 years, 1990s+); Harrisburg Symph (1997, +/-); Reading Symph (1997, +/-); Chamber Orch of Philadelphia (Principal: current); Black Pearl Chamber Orch (Principal: current). Active as an intl recitalist (incl perfs in the U.S., China, and Russia), soloist (incl 1997 world premiere of John Carbon’s Rhapsody for Clarinet and Orch with the NY Chamber Symph at Avery Fisher Hall, led by Gerard Schwartz), chamber musician (incl Carnegie Hall debut with the Alaria Chamber Ensemble and Merkin Hall debut with the Philadelphia Trio; also perfs with Beyond Ourselves, chamber musicians dedicated to raising money for intl peace-keeping efforts), new music specialist, festival artist (incl participation at the Berkshire Opera Festival for 10 years), and recording artist (incl Carbon’s Rhapsody on the MMC label, 1999; also appears on the Naxos and New World labels). Faculty member: Franklin and Marshall Coll (Adj Asst Prof: 1990s-, +/-); Pennsylvania Acad of Music (1990s-, +/-). Hon: 1st Prize, Louise D. McMahon Intl Music Compt (1996); favorable reviews of perfs appear in the Boston Globe and New York Times. Students include: Jerry Laboranti. Bib: “Clarinotes.” The Clarinet 24 (February/March 1997): 8; “Clarinotes.” The Clarinet 25 (May/June 1998): 14; “DHG: Biography.” John Carbon. http:// www.johncarbon.com/doris/biography.html (accessed March 8, 2011).

Hamelin, Armand. B. 1907 (France). Son of GASTON HAMELIN. Clarinetist: Boston Symph (Bass: 1929-30). Returned to France with his father, Gaston, in 1930.

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Hamelin, (Emil) Gaston. Father of ARMAND HAMELIN. B. May 27, 1884 (Saint-Georges- Sur Baulche, FRA); d. Sept. 8, 1951 (Paris, France). Immigrated to the U.S. in 1926. 1st Prize: Paris Conserv (1904) with Charles Turban. Former clarinetist: ; Boston Symph (Principal: 1926-30); Concert Colonnes Orch (Principal: 1932-34); Orchestre Natl-France (Principal: 1934-51); also performed with the Orch (late 1930s) and Radio French Orch (1940s-51). Was active as a soloist (incl what is thought to have been the very first perf of Debussy’s Premiere Rhapsodie with an orch in 1919), chamber musician, and recording artist (well-known recordings made in France after Hamelin left the Boston Symph incl the Debussy Premiere Rhapsodie and Gammes et Exercises on the Victor label; also appeared on the HMV label). Other positions/activities: was active as a private clarinet instructor in the U.S. and Paris; former consultant to the Selmer brothers (incl design contributions to Selmer’s large-bored “Balance Tone” model). Played on a metal clarinet at one time, as well as a large bore clarinet (possibly a Selmer “Balance Tone” clarinet); used a double-lipped embouchure. Students include: JOSEPH ALLARD, George Dietz, HARRY GEE, Georgina Dobrée, ROSARIO MAZZEO, RALPH MCLANE, RONALD PHILLIPS, DAVID WEBER. In her book Clarinet Virtuosi of Today, Pamela Weston described the circumstances of Gaston Hamelin’s departure from the Boston Symphony which precipitated his return to France in 1930. She wrote that Boston Symphony conductor Serge Koussevitsky had praised Hamelin’s playing during a rehearsal to which Hamelin responded by waving his clarinet in acknowledgement. The fact that the clarinet which Hamelin waved at Koussevitsky was a metal clarinet, one which he had played for the entire season, enraged Koussevitsky, and Hamelin’s contract was not renewed at the end of the season. (Weston, 201) Although his time in the Unites States was short, Hamelin’s impact on the American clarinet tradition was great as one might surmise from the list of students above, not to mention the dozens of fine players influenced by these former Hamelin students. Hamelin played with a double-lipped embouchure, as did his student, RALPH MCLANE, and McLane’s student, HAROLD WRIGHT. Although all three clarinetists had many great musical traits, the one thing so often singled out in reference to them all was their beautiful, liquid tone quality, the result (in part) of their use of the double-lipped embouchure. Other well-known double-lipped clarinetists include ELSA LUDEWIG-VERDEHR, a close colleague of the late HAROLD WRIGHT, as well as Hamelin student DAVID WEBER, McLane student KALMEN OPPERMAN, Opperman student RICHARD STOLTZMAN, and BENNY GOODMAN (who used both types of embouchure). In his article on French Clarinetists in America, Harry Gee summarized,

Gaston Hamelin performed with authority not only his native French music but standard repertoire of solos, chamber works and symphonic works from other nations. Conductors, regardless of nationality, praised his clarinet playing and purity of style . . . The artistry of Hamelin was a reflection of his personal life – genuine, sincere, and generous. (Gee 1981, 18)

Bib (for both Hamelins): Gee, Harry. “French Clarinetists in America – Part III.” The Clarinet 9 (Fall 1981): 17-19; Gee, Harry R. “Gaston Hamelin – Artist and Teacher.” Bandwagon 5 (Midwinter 1957): 8; Huffman, Larry. “Boston Symphony Orchestra Principal Musicians.” Stokowski.org. http://www. stokowski.org/Principal_Musicians_Boston_Symphony.htm (accessed March 4, 2011); Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 201; Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 122.

Handlon, Earl. Clarinet studies with GEORGES GRISEZ. Clarinetist: Minneapolis Symph (Asst Principal/Bass: 1925-59; performed as Extra prior to 1925). Students include: HARRY GEE, ROBERT MARCELLUS, Dick Ramberg. Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet No. 14 (Spring 1954): 24. Prominent Handlon student ROBERT MARCELLUS described Handlon’s teaching methodology in some detail in an interview with DENNIS NYGREN in The Clarinet (see Bib below). According to Marcellus, Handlon

. . . started out right away with long tones, scales he would write out for me, and Klosé books 1 and 2. He would play the Klosé duets with me, which he felt were very

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important. One of his credos was the discipline of the Klosé practical exercises with a metronome, each exercise played first at half tempo, followed immediately by the same exercise at full tempo. . . . He placed great emphasis on the straight sustaining of tone and very clean, correct finger action. I had occasion to hear Earl play principal in the orchestra on some occasions and he played with a very fine, intense sound, impeccably in rhythm. (Nygren 1988, 34)

Bib: Nygren, Dennis. “Robert Marcellus, Yesterday and Today: And Interview.” The Clarinet 16 (November/December 1988): 34-42.

Hansen, Herman, Jr. Clarinetist: Cincinnati Symph (Second: 1928-40, +/-).

Hanson, Harald or Harold. Clarinetist: Indianapolis Symph Orch (Clarinet/Bass: 1943-48; 1951-89, +/-).

Hanusofski, Steve. B. Miami, FL. BM: North Park Coll; MM: Florida State Univ; doctoral studies at FSU and Arizona State Univ; has also studied piano, flute, bassoon, and sax. Clarinet studies with CLARK BRODY, ROBERT MARCELLUS, and JOHN WIENER. Clarinetist: Florida Phil (formerly); Miami Opera (formerly); Phoenix Symph (Asst Principal/Bass: 1986-). Active as a recitalist/ soloist and chamber musician (incl perfs with the Bel Canto Players). Faculty member: AZ Community School of the Arts (current); AZ School of the Arts (current). Other positions/activities: Memb, Tape Screening Committee, 1998 ICA Young Artist Compt. Bib: “Steve Hanusofski.” Phoenix Symphony. http://www.phoenixsymphony.org/artists/orchestra_members/hanusofski.aspx (accessed March 4, 2011).

Hara, Burt T. B. Feb. 7, 1963 (Alameda, CA). Dipl: Curtis IOM (1984) with DONALD MONTANARO; additional studies at Northwestern Univ with CLARK BRODY. Additional clarinet studies with YEHUDA GILAD and MITCHELL LURIE. Clarinetist: Colorado Phil (Co-Principal: Summer 1983); Alabama Symph (Principal: 1984-87); Pensacola Chamber Orch (Principal: Summer 1986); Minnesota Orch (Principal: 1987-97; 1997-); Philadelphia Orch (Principal: 1997 season); has also performed with NY Pro Musica. Active as a recitalist (incl perfs at ICA conferences), soloist (incl debut with the Los Angeles Phil at age 14, and perfs with the Minnesota Orch and the Colonial, Fargo-Moorhead, Monterey County and Tucson Symphs), chamber musician (incl perfs at the Pensacola and Santa Fe Chamber Music Festivals and on the Minnesota Orch’s summer chamber series), festival artist (incl participation at Music Acad of the West and the Strawberry Creek and Grand Teton Music Festivals), and recording artist (on Reference Recordings). Faculty member: Univ of Alabama (formerly, 1980s); Univ of Montevallo (formerly, 1980s); Univ of Minnesota (1980s-, +/-); Grand Teton Music Festival. Other positions/activities: Buffet Crampon USA Perf Artist; active as a clinician. Students include: Rebecca Erickson, JENNIFER GERTH, DANIEL GILBERT, Karen Hansen, CHRISTOPHER HILL, ROBYN JONES, Jocelyn Langworthy, Anna Najoom, Kelli O’Connor, Paul Schimming, James Shields, Emily Threinen, Owen Tucker, Krista Weiss. Bib: “Burt Hara.” Minnesota Orchestra. http://www.minnesota orchestra.org/music/artist_ detail.cfm?id_artist=15523878 (accessed March 4, 2011); “Clarinotes.” The Clarinet 24 (May/June 1997): 13; Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Philadelphia_Orchestra_Musicians.htm (accessed March 4, 2011); “Musical Chairs.” The Clarinet 15 (November/December 1987): 62.

Harder, Erwin E. B. 1883 (Beaver Dam, WI); deceased. Clarinet studies with ALBERT BRENDEL, Henry Harder, and JOSEPH SCHREURS. Clarinetist: St. Louis Symph (Clarinet/Bass: 1919- 22); also performed with the Chicago City Opera Orch, and the Chicago and Detroit Symphs. Former faculty member: Sherwood Music School. Author of The First Clarinet, or: Chautauqua Chit-chat, Telling the Trials and Tribulations of Thirty Merry Music Makers on Tour of the Chautauquas from Terre Haute to Texarkana, Summer of 1912 (1913) and Hints on Reeds (published in 2 parts in 1917 and 1918; publisher unknown). Other positions/activities: was active as a composer (clarinet works incl a concerto, several short pieces, chamber music, and etudes, all published privately) and lecturer. Bib: “Harder, Erwin E.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 114.

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Hardine, Doris. D. 2001. MM: Eastman SOM (1946). Clarinetist: Bloomington-Normal Symph-IL (Principal: 1954, +/-). Was active as a recitalist (incl an annual recital at Illinois State Normal Univ). Former faculty member: Illinois State Normal Univ (1947-54+). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet 17 (Winter 1954-55): 9.

Harlow, Russell. Native of Los Angeles, CA. Advanced music studies at Univ of Southern California and UCLA. Clarinet studies with GARY FOSTER, MITCHELL LURIE, and HAROLD WRIGHT (at Tanglewood). Clarinetist: Buffalo Phil (Principal/E-flat: formerly); Utah Symph (Assoc Principal: 1971-, +/-; has also performed as Principal); Sonolumina Chamber Orch/Ensemble (current); also perfs with the Contemporary Music Consortium. Active as an intl recitalist (incl perfs at ClarinetFest 1997 and Carnegie Hall’s Weill Hall), chamber musician (incl perfs/recordings with the Raphael and Mirecourt Trios, Muir String Quartet, Allegria Wind Quintet, Amsterdam Chamber Players, and on the Nova Chamber Music Series), recording artist (with above groups and the Utah Symph, and for the Park City Intl Festival), festival artist (incl participation at the Park City Intl Music Festival, Music from Ouray Festival, and Sitka Festival Autumn Classics), and studio musician (incl work on many television/motion picture soundtracks). Premiere perfs incl the Ramiro Cortes Trio (written for Harlow). Other positions/activities: Yamaha Artist; Founder/Former Dir, Nova Chamber Music Series-Salt Lake City; Co-Dir, Park City Intl Music Festival (1985-); active as a lecturer and chamber coach. Bib: “Russell Harlow, Clarinetist.” Sonolumina Ensemble. http://www.sonolumina.com/russellharlow.html (accessed March 6, 2011).

Harman, David Rex. B. Nov. 9, 1948 (Redding, CA). BA/MA: California State Univ- Sacramento (1970/1971); DM: Eastman SOM (1974); additional studies at the Aspen Music Festival and at the Paris Conserv (with Ulysse Delecluse). Active as a recitalist/soloist (incl 1982 professional debut at Wigmore Hall-London) and recording artist (on the Crystal Records and Musical Heritage labels); broadcast perf given on BBC Radio (1983). Faculty member: Colorado State Univ (Assoc Prof: 1974-81); Univ of Connecticut-Storrs (1981-88+); Univ of Rochester (Prof of Music/Dir of Orch Activities: 1990s-). Articles published in American Music Teacher and Woodwind World. Other positions/activities: active as a conductor (Music Dir: Rochester Youth Orch, 1993-; Music Dir: Penfield Symph, current; has also performed with the Cincinnati, Tucson, and Shanghai Conserv Symphs and the Louisville Orch) and music editor (incl chamber works published by Musica Rara). Memb: AFM, ClariNetwork (formerly), CMS. Hon: French Government Scholar (1971-72); Yamaha Perf Award (1973); favorable review of recording appears in The Clarinet (see Bib below); favorable review of perf appears in the New York Times (May 8, 1981). Students include: MILES ISHIGAKI, Stephen Richter. In The Clarinet, recording reviewer KEITH LEMMONS offered the following commentary on David Harman’s playing on the Crystal Records recording French Music with David Harman:

David Harmon shows with this recording that he is a most exciting, enjoyable and controlled clarinetist. . . . Dr. Harmon executes these standard and delightful pieces with ease and precision. . . . Harmon produces great colors and timbres, musical phrasing . . . good intonation, character, gracefulness, and tasteful vibrato. (Lemmons 1988, 53-54)

(Note: Harman’s name is misspelled in the Lemmons review).

Bib: “Harman, David Rex.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker, 1985: 244; Lemmons, Keith. “French Music with David Harmon.” The Clarinet 15 (May/June 1988): 53-54.

Harmon, Keith. Former clarinetist: Cincinnati Orch; Indianapolis Symph (1948-57+).

Harris, J. David. BM/MM: Cleveland IOM with ROBERT MARCELLUS; additional studies at the Blossom Festival School, Sewanee Summer Music Center, and Tennessee Temple Coll. Additional clarinet studies with JAMES LIVINGSTON, WILLIAM SCARLETT, and Frank Witherspoon. Clarinetist: Cleveland Symphonic Winds (Principal: formerly); Baton Rouge Symph (Principal: 1980s, +/-); Illinois Woodwind Quintet (1990, +/-); Sinfonia da Camera (Principal: 1990, +/-); Champaign-Urbana Symph (Principal: 1990, +/-); Illinois Symph (Principal: dates unknown); has also performed as Sub/Extra with the Cleveland Orch and as Guest Principal Clarinet of the Knoxville Symph. Active as an intl recitalist (incl

138 perfs at Carnegie Hall, throughout the U.S., in Manchester, ENG, and at ClariNetwork, ICA, and IDRS conventions), soloist (incl perfs with the Baton Rouge, Champaign-Urbana, and Illinois Symphs, and Sinfonia da Camera), chamber musician (incl perfs with the Illinois Woodwind Quintet), and festival artist (incl participation at the Great Music Festival of the West). Broadcast perfs given on WILL (radio). Faculty member: Kent State Univ (formerly); Interlochen Arts Acad/Arts Camp (formerly); Sewanee Summer Music Center (formerly); Louisiana State Univ (1983-90, +/-); Univ of Illinois (Assoc Prof/Chmn of Woodwind Div: 1990-). Published in Band Directors Guide. Memb: Pi Kappa Lambda. Other positions/activities: active as an adjudicator and clinician. Students include: Andrea DiOrio, Deborah Hanson-Gerber, FRANKIE KELLY, Rahni Kennedy, Fred Lemmons, Stephen Richter, Joseph Tomasso. Bib: “J. David Harris.” University of Illinois. http://www.music.illinois.edu/facultyWoodwind.pdf (accessed March 6, 2011); “Musical Chairs.” The Clarinet 11 (Fall 1983): 38.

Harris, Scott. Advanced music studies at Westminster Coll (1972-73) and Univ of Utah (1973- 76, 1994-96). Clarinet studies with CHRISTIE LUNDQUIST, MARTIN ZWICK, GARY BOVYER, MITCHELL LURIE, and DOMINICK FERA. Clarinetist: Utah Symph (1975-78; 1995-); Burbank Symph (1982-92); Opera Ala Carte (1990-93). Active as a woodwind performer (incl perfs on clarinet/sax/flute with jazz/pop artists , Ray Charles, Johnny Mathis, et al), theater musician, and studio/ recording artist. Other positions/activities: Music Preparation Specialist, Twentieth Century Fox Studios Music Dept (1984-94; incl work on such films as Forrest Gump, Jurassic Park, and Schindler’s List and with many well-known musicians incl Itzhak Perlman and Barbra Streisand). Memb: AFM, NARAS, Recording Musicians Assn. Bib: Harris, Scott. “Scott Harris.” Mark Charette. http://www.woodwind.org/ clarinet/Help/Scott_Harris.html (accessed March 6, 2011).

Hartig, Caroline A. BME: Ohio State Univ (1983) with Marshall Haddock and ROBERT TITUS; MM: New England Conserv (1985) with PETER HADCOCK and HAROLD WRIGHT; DM: SUNY-Stony Brook (1990) with CHARLES NEIDICH. Additional clarinet studies with Karl Leister, ROBERT MARCELLUS, GEORGE SILFIES, and MICHELE ZUKOVSKY. Clarinetist: Ball State Univ Musical Arts Quintet (formerly, 1992-2000s, +/-); Muncie Symph (Principal: formerly, 1992-2000s, +/-); has also performed with the Indianapolis Symph. Active as an intl recitalist (incl perfs at Carnegie Hall’s Weill Recital Hall, and perfs in Dublin, Ireland and Vienna, Austria, at various ICA conferences, and at the 1999 Northern Plains Clarinet Symposium), soloist (incl perf at ClarinetFest 1997, and a perf of ’s at NYC’s Fritz Reiner Center for Contemporary Music), chamber musician (incl perfs with the Chester String Quartet and the Musical Arts Quintet), festival artist (incl participation as Artist-in-Res at the Kneisel Hall Chamber Music Festival), and recording artist (on the label). Premiere perfs incl Libby Larsen’s Dancing Solo (Weill Hall, 1994), commissioned by Hartig. Faculty member: Univ of Central Arkansas (Asst Prof: formerly); Ball State Univ (Asst Prof: formerly, 1992-2000s, +/-); Michigan State Univ (Asst Prof: current). Published in The Clarinet. Other positions/activities: NACWPI State Chmn, IN (1997+); active as an adjudicator, administrator (incl positions on numerous univ committees), and clinician. Hon: Winner, 1982 ClarFest Natl Clarinet Compt; appointed to the Res Artists Roster by the North Carolina Arts Council; recip of numerous grants; favorable reviews of recordings appear in The Clarinet, The Minneapolis Star Tribune, The Muncie Star Press, and The NACWPI Journal. Memb: AFM, CASS, CMA, CMS, ICA, MENC, NACWPI, Sigma Alpha Iota. Students include: Jason Andert, Christina Block, Will Cicola, Andy Hollandbeck, Scot Humes, Ember Miller, Eddie Rich, Sarah Stolt, Andrew Sprung, Cathy Wood, Rachel Yoder. In The Clarinet, recording reviewer Christopher Ayer offered the following commentary on Caroline Hartig’s playing on her recording, Dancing Solo (Innova Recordings):

Not only is the music wonderful, but Caroline Hartig is simply virtuosic in her performance of it. As well as possessing the ample technique required to perform these pieces, the listener gets the feeling she has an uncanny sense of line and insight into the music. . . . Ms. Hartig skillfully paints different color with her sound . . .

It is in Dancing Solo that Ms. Hartig really demonstrates her musicality and prodigious technique. Whether it is executing one attack after another from silence . . . or negotiating

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the sometimes steep, angular melodic lines, Ms. Hartig impresses. Her beautiful sound in the altissimo is not strident in the least, until she wants to add a certain amount of edge befitting the music. (Ayer 1998, 81)

Bib: Ayer, Christopher. “CD Reviews.” The Clarinet 25 (May/June 1998): 80-1; “Caroline Hartig to Present Carnegie Hall Recital.” The Clarinet 20 (November/December 1993): 8; Hartig, Caroline. “Caroline A. Hartig, D.M.A.” C. Hartig. http://www.carolinehartig.com/pdfs/vitaresume.pdf (accessed March 6, 2011); “Musical Chairs.” The Clarinet 20 (November/December 1992): 52.

Hartman, Steven D. Grad: Juilliard with AUGUSTIN DUQUES. Additional clarinet studies with EARL BATES, KALMEN OPPERMAN, and Les Scott. Clarinetist: Music Project (1981, +/-); Arioso Wind Quintet (1981, +/-); NY Scandia Symph (Principal: 1990-); NYC Ballet (Assoc Principal: 1990s, +/-; Principal: current); NYC Opera Orch (Assoc Principal: current); Opera Orch of NY (Principal: current); Brooklyn Phil (Principal: current); Mostly Mozart Festival Orch (Second: current); Boehm Quintette (current); also perfs as sub/extra with NY Phil, Metropolitan Opera Orch, and Orch of St. Luke’s. Active as a recitalist (incl 1981 debut at Abraham Goodman House, NYC), soloist (incl perfs with the NY Scandia Symph), chamber musician (incl perfs with above groups), theatre musician, and recording artist. Hon: favorable reviews of perfs appear in The Clarinet (see Bib below) and The New York Times (May 31, 1981 and Mar. 14, 1984). Plays on: Buffet clarinets; OPPERMAN mouthpiece/barrel; string ligature; Vandoren reeds; plays with double-lipped embouchure. Bib: Hartman, Steven D. “Kal and Me.” Kalmen Opperman.com. http://www.kalmenopperman.com/steve_hartman_kal_opperman_and_me (accessed March 6, 2011); Shelden, Paul. “Concert Review.” The Clarinet 27 (June 2000): 60-61.

Haskell, Diana. B. Sterling, IL. Early clarinet studies at Interlochen Arts Camp with GEORGE TOWNSEND. BM: Eastman SOM with STANLEY HASTY; MM: Juilliard with JOSEPH ALLARD. Additional clarinet studies with MITCHELL LURIE. Clarinetist: Savannah Symph (Principal: formerly); Buffalo Phil (Principal: 1987-90); Milwaukee Symph (Asst Principal/E-flat: formerly, 1990-2000+); St. Louis Symph (Asst Principal/E-flat: current). Active as an intl recitalist (incl perfs at Carnegie Hall, the 1988 and 1997 ICA conferences, and in Europe, Japan, and Cuba), soloist (incl world premiere perf of Wally Kleucker’s An Italian Concerto with the Savannah Symph), and festival artist (incl participation at the Colorado and Florida Music Festivals, Music Acad of the West, and Spoleto Festival of Two Worlds). Other premiere perfs incl EDWARD YADZINSKI’s adaptation of Bartok’s Rumanian Dances (ICA conference, 1988). Hon: Finalist, 1986 Naumberg Compt. Faculty member: has taught at SUNY-Buffalo, Houghton Coll, Univ of Wisconsin-Whitewater, and Wisconsin Lutheran Coll. Hon: performed as Principal Clarinet on Grammy Award-winning recording of Barber’s opera, Antony and Cleopatra (New World Records). Extra-musical activities incl antiquing, camping, hiking, tennis, speedskating. Bib: Below, Andy, Ed. “Diana Haskell.” Encore 9 (May/June 1991). Milwaukee, WI: ENCORE, 1991: 17; “Diana Haskell.” St. Louis Symphony. http://www.stlsymphony.org/musicians/bios/ bio-diana-haskell.htm (accessed March 6, 2011).

Hasty, D. Stanley. B. Feb. 21, 1920 (McCook, NE). Early clarinet studies with Arthur Small and VALENTINE “TINY” HENRICH. BM: Eastman SOM with RUFUS MONT AREY; grad studies at Juilliard with ARTHUR CHRISTMANN. Additional clarinet studies with DANIEL BONADE and RALPH MCLANE. Former clarinetist: Natl Symph (Principal: 1943-44); Indianapolis Symph (Principal: 1944-45); Cleveland Orch (Principal: 1945-46); Baltimore Symph (Principal: 1946-48); Pittsburgh Symph (Principal: 1948-55); Rochester Phil (Principal: 1955-68). Active as a recitalist, soloist, and chamber musician (incl ICA conference perfs). Former faculty member: Indiana Univ; Peabody Conserv (1946-48); Carnegie Mellon Univ (1948-55, +/-); Eastman SOM (Prof of Clarinet: 1955-85; Prof Emeritus: current); has also taught at Cleveland IOM, Juilliard, and New England Conserv. Other positions/activities: Clarinet Coach, Asian Youth Orch (current); active as an arranger (incl Bach’s Chromatic Fantasy), clinician, lecturer (master classes/lectures given at ICA conferences and around the world). Hon: featured twice on the cover of The Clarinet (No. 24, Fall 1956, and Vol. 27 No. 2, March 2000); honored by students at “The Hasty Festival,” a celebration of Hasty’s 25th year at Eastman, held in May 1980 at Eastman SOM. Students include: DAVID ABRAMS, MICHAEL ACORD, SCOTT ANDERSON, SALVATORE ANDOLINA, SCOTT ANDREWS, LINDA BARTLEY, CHARLES BAY, DAVID BELLMAN, GLENN BOWEN, KELLY BURKE, RONALD CARAVAN, DEBORAH CHODACKI, LINDA ANNE

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CIONITTI, ROBERT COLEMAN, LARRY COMBS, RUSSELL DAGON, DRU DEVAN, MICHAEL DRAPKIN, PAUL DRUSHLER, JAMES EAST, KIM ELLIS, CHARLES ELLIS-MACLEOD, DAVID ETHERIDGE, DEBORAH FABIAN, Mark Gallagher, MICHAEL GALVÁN, STANLEY GAULKE, DANIEL GILBERT, JIMMY GILMORE, David Glick, KENNETH GRANT, TED GURCH, Marianne Gythfeldt, PETER HADCOCK, Barbara Haney, DIANA HASKELL, NORMAN HEIM, WILLIAM HELMERS, PAMELA HELTON, Leslie Hicken, MILES ISHIGAKI, Edward JOHNSON, DAN JOHNSTON, FRANK KOWALSKY, ROLF LEGBANDT, MARIAN LIEBOWITZ, LEE LIVENGOOD, ELSA LUDEWIG-VERDEHR, Daniel Lukens, RICHARD MACDOWELL, ERIC MANDAT, THOMAS MARTIN, DAVID MARTINS, LARRY MAXEY, MAURITA MEAD, GORDON MILLER, Don Mokrynski, Jules Orósz, SEAN OSBORN, ANTHONY PASQUALE, KYLE PETERSON-PYNE, PAMELA POULIN, JAMES PYNE, Jun Qian, TAMARA RAATZ, ELIZABETH RHEUDE, RAMON RICKER, CHESTER ROWELL, KEVIN SCHEMPF, FRANK SIDORFSKY, ANDREA SPLITTBERGER-ROSEN, Karen Sremac, ANDREW STEVENS, NOEL STEVENS, ROBERT UMIKER, MICHAEL WEBSTER, RICHARD WEBSTER, John Wheeler, NATHAN WILLIAMS, ROBERT WINGERT, PETER WRIGHT III, EDWARD YADZINSKI, Richard York, GREGORY YOUNG, and many others. Stanley Hasty has been as been as prominent an influence on mid- to late-twentieth-century American clarinetistry as his teachers BONADE and MCLANE were in the first half of the century. While his impressive early career as an orchestral clarinetist is significant, the long list of successful former students above (which represents only a fraction of those who have been impacted by Hasty’s teaching) is perhaps even more impressive and makes a statement on its own. For example, one of Hasty’s classes at Eastman included LARRY COMBS, PETER HADCOCK, and ELSA LUDEWIG-VERDEHR. (Webster 2000, 38-47) Many of Hasty’s former students have commented in various articles on all aspects of Hasty’s career and personality. Former student LARRY MAXEY commented on his affiliation with Hasty:

Stanley Hasty, with whom I studied at Eastman, is truly one of the great clarinetists of our time. His career includes principal clarinet positions with the National Symphony, the Pittsburgh Symphony, and the Cleveland Orchestra before coming to Eastman and the Rochester Philharmonic. His teaching style is highly analytical and rational. Problems are explained in terms of cause-and-effect, so that the student has a clear picture of what to do and the reasons why. Even musical concepts such as phrasing are approached in terms of some basic rules regarding note group, motion to the cadence, change of melodic position, and so on. Nothing is pro forma, of course, but a student leaves his studio with ideas on interpretation which are based on something other than simply intuition. His list of former students – Combs, Hadcock, Ludewig-Verdehr – speaks for itself. (Maxey/ Paddock 1998)

In an article on the “Hasty Festival,” held in 1980 at Eastman, author and former Hasty student MICHAEL WEBSTER elaborated on Hasty’s teaching:

He is demanding yet caring. He knows how and when to ‘lead the student around by the nose’ or allow him latitude to pursue his own ideas. He has a definite and precise ‘method’ of teaching and yet he can mold it to fit the ability and personality of the individual student. Perhaps most important of all, Hasty fosters an atmosphere of each student working to achieve the most of his own potential without relation or comparison with other clarinetists. (Webster 1980, 25)

Webster continued his discussion of Hasty’s teaching and playing in a commentary on a master class given by Hasty during the festival:

The main message was clear. Make a musical statement positively and forcefully and exaggerate if necessary. It is better to risk offending one or two listeners than to put your whole audience to sleep. At one time or another, Stan borrowed each student’s clarinet for demonstration, and showed his incredible control producing beautiful tones on each different set-up. (Ibid., 27)

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Elsa Ludewig-Verdehr summarized,

Simply put, Stanley Hasty was the most important musical influence of my life. And he was equally important personally, setting an example of integrity, good humor and teaching excellence which influences me to this day. . . . To hear Hasty perform in the orchestra was equally eye-opening and a true learning experience. He played with sensitivity, musicality and passion. He created a huge palate of colors and was attentive to details of rhythmic coordinations with the strings and yet was always ready with a word of advice or praise for his second clarinet player. (Ibid., 42)

A lesser known fact about Hasty is that he built a summer home near Lake Placid, with very little professional assistance, which he called “Hasty Retreat.” (Gunlogson 2006, 48) Retirement has given Hasty more time to enjoy his hobbies of woodworking, building model airplanes, and ballroom dancing with his wife June. Elizabeth Gunlogson’s doctoral treatise (listed in Bib below) is essential reading for anyone desiring to know more not only about Hasty’s career, but also his teaching principles. The two Webster articles listed below are also highly recommended, particularly the one entitled, “Hasty at 80,” which features commentary from numerous Hasty students and from Hasty himself. Bib: Gunlogson, Elizabeth. “Stanley Hasty: His Life and Teaching.” D.M. treatise, Florida State University, 2006; Maxey, Larry, to Tracey L. Paddock, Tallahassee, FL, May 17, 1998; “Our Orchestra.” The Pittsburgh Symphony Society 23rd Season (January 6-8, 1950): 57; “Stanley Hasty.” The Pittsburgh Symphony Society 27th Season (March 1954): 53-54; “The ClarFest 1982 Faculty.” ClariNetwork (April/May 1982): 7; Webster, Michael. “The Hasty Festival.” The Clarinet 7 (Summer 1980): 25-29; Webster, Michael. “Hasty at 80.” The Clarinet 27 (March 2000): 38-47.

Haugen, Ruben. B. circa 1922. BM/MM: MacPhail Center for Music; grad studies at Paris Conserv with Marcel Mule. Active as an orchestral saxophonist/clarinetist (incl perfs with the NYC Ballet), soloist, studio musician (incl radio/television), and jazz musician. Faculty member: Univ of Minnesota (formerly, 1955, +/-); Breck’s Military Acad (Dir of Music: 1955, +/-); St. Olaf Coll (1957-, +/- ); MacPhail Center for Music (formerly, for 18 years); Univ of St. Thomas (current); active as a private sax/clarinet instructor. Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet 18 (Spring 1955): 19. Students include: James Bjork, Kurt Claussen, Doug Haining, Justin Kennedy, Jeff King, JO ANN POLLEY, Dick Ramberg, Lon Roach, James Romain. Bib: “Ruben Haugen.” University of St. Thomas. http://www.stthomas.edu/music/directory/rghaugen.htm (accessed March 6, 2011).

Hawkins, Richard. Native of TX. BM/MM: Univ of Michigan (1991/1993) with FRED ORMAND. Additional clarinet studies with ROBERT SPRING. Clarinetist: Pennsylvania Ballet Orch (Principal: formerly, for 5 seasons, 1990s); also perfs with the Cleveland Orch. Active as a recitalist (incl perfs at ClarinetFest 1997 and 1999, the 1999 Puerto Rico Clarinet Festival, and the 1999 Northern Plains Clarinet Symposium), soloist (50+ concerto perfs, incl 1992 professional debut at the Kennedy Center, performing the Copland Clarinet Concerto with the Natl Symph under Rostropovich, and perfs with the Bogota Phil, Kennedy Center Opera Orch, Pensacola Symph, Pennsylvania Ballet, and Univ of MI Orch), chamber musician (incl perfs with LARRY COMBS, EDDIE DANIELS, and ), and festival artist (incl participation at the Hot Springs Music Festival, 1997-); broadcast perfs given on NPR. Faculty member: Interlochen Arts Camp (1989-94); Interlochen Arts Acad (formerly, 1993- 2000+); Univ of Southern California (Vstg Prof: 1998); DePaul Univ (formerly, 2000+); Oberlin Conserv (current). Other positions/activities: G. Leblanc Corp. Artist/Clinician and Technician (1995-); Légère Reeds Artist; active as a well-respected clarinet/sax mouthpiece craftsman (incl an independent line of handmade mouthpieces and lines designed for Leblanc and The Woodwind Co.). Hon: Winner, Natl Symph Orch Concerto Compt (c.1991). Plays on: Leblanc Opus II clarinets (which he helped Leblanc design). Students include: Boris Allakhverdyan, Aaron Cummings, James Danderfer, Jamal Duncan, Sergiy Dvornichenko, Christopher Howard, Bojana Kragulj, ANTHONY MCGILL, Harry Ong, Paul Vincent Petrucelly, Egils Sefers, Russell Shedd, Justin Stanley, Anthony Taylor, Michael Wayne.

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Bib: “About Us.” Richard Hawkins. http://www.richardhawkinsmouthpiece.com/aboutus.html (accessed March 6, 2011); “Clarinotes.” The Clarinet 19 (July/August 1992): 12; “Clarinotes.” The Clarinet 25 (July/August 1998): 14; “Richard Hawkins.” Leblanc. http://www.leblancclarinets.com/artists/ bio.php?aid=317 (accessed March 6, 2011); “Richard Hawkins.” Oberlin Conservatory. http://new.oberlin. edu/conservatory/faculty/faculty-detail.?id=20821 (accessed March 6, 2011).

Hawley, Richard [Richie]. B. circa 1971 (Santa Barbara, CA). Early music studies (from age 9) at the Colburn School of Perf Arts with YEHUDA GILAD. BM: Curtis IOM (1993) with DONALD MONTANARO. Additional clarinet studies with MITCHELL LURIE, and EDWARD PALANKER. Clarinetist: Charleston Symph (Principal: formerly, 1990s,); Cincinnati Symph (Principal: 1994-, at age 23). Active as an intl recitalist (incl perf at ClarinetFest 1998), soloist (incl debut perf with the Los Angeles Phil at age 13, a perf with the New York Phil at age 14, and perfs with the Philadelphia Orch, Eastern Music Festival Orch, and Cincinnati and Santa Barbara Symphs), chamber musician (incl perfs on the Linton Chamber Music Series, the “Musicians from Marlboro” 50th Anniversary Gala tour, and throughout North America, China, and Japan), festival artist (incl participation at the Marlboro and Piccolo Spoleto Festivals), and recording artist; broadcast perfs incl 1991 perf of the Mozart Clarinet Concerto with the Symph Orch of the Curtis Instit. Faculty member: Cincinnati Conserv (Prof: 1998-); Music Acad of the West (Summers, current). Other positions/activities: Buffet Crampon USA Perf Artist; Rico Artist; Staff Photographer, Island of Namtou, Fiji; active as a clinician; extra-musical activities incl surfing/surf photography. Hon: 1st Prize, Los Angeles Phil Orch’s “Student Stars” Compt (age 13); 1st Prize, NY Phil’s Young Artists Concerto Compt (age 14); 1st Prize, Coleman Chamber Music Compt (1988, as member of Trio con Brio); Presidential Scholar in the Arts medal (awarded by Pres Reagan at the White House, 1988); Léni Fé Bland Foundation Grant; favorable reviews of perfs appear in the Cincinnati Enquirer and Cincinnati Post. Plays on: Buffet Tosca clarinets; Mark Jacobi “Lucky #7” barrels; Vandoren and Henri Chedeville (c. 1920s) mouthpieces; Momo ligature (from Japan); Rico Reserve reeds. Students include: Todd Cope, Katie Curran, Joseph LeBlanc, Raymond Santos, Aaron Shemas, Ralph Skiano, Jennifer Webb, GREGORY WILLIAMS. Bib: Hawley, Richie. “Richie Hawley, Clarinet.” R. Hawley. http://www.richiehawley.com/ (accessed March 6, 2011); “Richie Hawley.” Cincinnati Symphony. http://cincinnatisymphony.org/ Content.php?id=99#woodwinds (accessed March 6, 2011).

Hazlett, Chester [Chet]. D. circa 1975. Clarinetist: San Francisco Symph (Clarinet/Bass: 1918- 22); Paul Whiteman Orch (Lead Alto Sax/Clarinet: 1920s-30s, +/-); NBC Symph (Bass: late 1950s, +/-). Was active as a classical clarinetist, jazz clarinetist/saxophonist (primarily), recording artist (appeared on hundreds of jazz, pop, and classical recordings), and mouthpiece craftsman. Students include: JOSEPH ALLARD, STEVEN BARTA, Richard Page (not the same R. Page appearing later in dictionary). Bib: Averett, Janet and Mark Brandenburg. “Toscanini’s Clarinetist: An Interview with Alexander Williams.” The Clarinet 19 (February/March 1992): 34-39; Riordan, Frank S., Jr. “The Incomparable Al Gallodoro: 67 Years of Unparalleled Virtuosity, 1927-1994.” The Clarinet 21 (May/June 1994): 29.

Hearn, Dan. B. July 22, 1934 (Houston, TX). BME/MM(Perf): Univ of North Texas with LEE GIBSON; additional studies at Univ of Houston with JEFFREY LERNER. Clarinetist: Nashville Little Symph (1969-75); Nashville Symph (1969-79); Nashville Baroque and Classical Society (1970-75); Bryan Symph (Principal: formerly); Cumberland Quintet (current); Takolas Trio (current); also performs as Extra with the Chattanooga and Knoxville Symphs. Active as a chamber musician (incl perfs/recordings with the Cumberland Quintet and the Takolas Trio), and studio/recording artist (incl 3 recordings with the Cumberland Quintet and participation on many Nashville-area recording projects). Faculty member: Tennessee Tech Univ (Prof: 1967-2000+). Articles/music reviews published in The Clarinet. Other positions/activities: ICA State Chmn, TN (current). Memb: AFM, ICA. Plays on: Buffet R-13 clarinets; Kaspar (Cicero) mouthpiece with Mattson facing. Students include: Katie Belvin, Garry Evans, John Norton; numerous members of Washington D.C. military bands, a clarinetist in a Greek orch, and many music educators. In addition to his primary career focus of clarinet teaching and performance, Dan Hearn has also been a band director at both the high school and college levels, and has taught every age group from

143 elementary school through college. In clarinet teaching and performance, Hearn emphasizes the concepts of good sound, good habits (embouchure, hand position, etc.), and musical interpretation. (Hearn/Paddock 1998) Bib: Hearn, Dan. “Stephen Sefsik, 1930-1995.” The Clarinet 23 (November/December 1995): 18; Hearn, Dan to Tracey Paddock, Tallahassee, FL, July 16, 1998.

Hedling, Fredrik. Native of NY. Early clarinet studies with LEON RUSSIANOFF. BM: Oberlin Conserv (1960) with GEORGE WALN; additional studies at the Mozarteum-Salzburg, Austria with Alois Heine. Additional clarinet studies with SIMEON BELLISON. Former clarinetist: USMA Band-West Point (1960-63); New Orleans Phil; Santa Fe Opera; American Ballet Theatre (formerly); Minnesota Orch (Clarinet/Bass: 1968-2000+). Has played on: Leblanc clarinets; Rifault mouthpieces; Vandoren reeds. Students include: SCOTT ANDERSON, JOHN REEKS. Bib: Plasko, George. “The Clarinet Section of the Minnesota Orchestra.” The Clarinet 6 (Spring 1979): 17.

Heffernan, James Daniel. B. June 28, 1954 (Chicago, IL). BME: Quincy Coll (1976) with Louis Margaglione; MM/PhD(Perf/Theory/Lit): Michigan State Univ (1978/ABD) with Thea King, ELSA LUDEWIG-VERDEHR, John McCaw, FRED ORMAND, and Peter Riechoff. Additional clarinet studies with CLARK BRODY, IGNATIUS GENNUSA, and GEORGE SILFIES. Clarinetist: U.S. Army Field Band (Principal: 1988-96); Kalamos [Clarinet] Quartet (1989-98+); also performs with the Natl Chamber Players. Active as a soloist (incl perfs with the Army Field Band), chamber musician (incl perfs with above ensembles), and recording artist (incl recordings with the La Sonore Wind Quintet on the River City Studios label and the Kalamos Clarinet Quartet and Natl Chamber Players on the Klavier label). Faculty member: Central Missouri State Univ (Clarinet/Theory: 1978-80); Central Michigan Univ (Clarinet/ Theory: 1983-87). Numerous articles published in Band Directors Guide, The Clarinet, and The Instrumentalist. Other positions/activities: Producer, Using Clarinet Quartets to Improve Your Clarinet Section (video made by the U.S. Dept of the Army, 1994). Hon: Winner (as member of Kalamos Quartet), 1994 Baltimore Chamber Music Compt; favorable review of Kalamos Quartet recording appears in The Clarinet (see WILLIAMS in Bib below). Plays on: Buffet R-13 clarinets; PYNE barrel and mouthpiece; BAY ligature; Vandoren V-12 #4 reeds. James Heffernan began his music career as a clarinet and music theory instructor first at Central Missouri State University and then at Central Michigan University. In 1987, he joined the U.S. Army Field Band as Principal Clarinetist and Soloist. Of this second portion of his career Heffernan comments,

The United States Army Field Band is the official touring band for the Army. Since we tour 120 days a year I have been fortunate to be able to perform the Debussy, Concertino (Weber), both Mendelssohn Concertpieces, and one of the Krommer Duets at various places around the world. Being able to do this has been the high point of my career. (Heffernan/Paddock 1998)

Bib: Heffernan, James. “The Successful Use of the Reedual.” The Clarinet 11 (Summer 1984): 40- 43; Heffernan, James Daniel, to Tracey Paddock, Tallahassee, FL, May 17, 1998; Nichols, William. “Audio Notes.” The Clarinet 25 (February/March 1998): 20.

Hegvik, Arthur Theodore [Ted]. B. July 16, 1932 (Valley City, ND). BM(Wind Instruments/ Sax/MM(Wind Instruments/Clarinet): Univ of Michigan (1958/1959) with ALBERT LUCONI and WILLIAM STUBBINS; additional studies at the Instit of Audio Research-NY (1973). Additional clarinet studies with ANTHONY GIGLIOTTI (1964), ROBERT MARCELLUS (1964), and MITCHELL LURIE (1965). Additional woodwind studies with Nelson Hauenstein (flute), Florian Mueller (oboe), LARRY TEAL (sax), and Hugh Cooper (bassoon). Clarinetist: 97th Army Band (1953-55); Tampa Phil (Principal: 1959-66); San Carlo Opera (Principal: 1959-66); Tampa Symphonette (Principal: 1959-66); Florida Phil (Principal: 1960-63); Tampa Lyric Theater (Principal: 1963-66); St. Petersburg Symph (Principal: 1963-66); St. Petersburg Civic Opera (Principal: 1965-66). Saxophonist: Philadelphia Orch (Regular Sub: 1968-); has also performed with the Delaware, Pittsburgh, and St. Petersburg Symphs, the Philly Pops, and Tampa Phil. Active as a recitalist (clarinet/sax), chamber musician (incl a Golden Crest recording of chamber works by Prokofieff and Khachaturian), woodwind specialist, jazz musician, studio musician (incl positions with the Buddy Baer

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Orch and Valley Forge Music Fair), and recording artist (incl recordings as saxophonist with the Philadelphia Orch, and clarinet/sax recordings on the Golden Crest label). Faculty member: Univ of South Florida (Clarinet/Sax: 1960-66); Idyllwild SOM and Arts (Clarinet/Sax/Chamber Music: Summers 1972, 1973); West Chester Univ (Assoc Prof of Woodwinds: 1974-97); has also been affiliated (as a private instructor) with the Univ of Tampa (1959-62), Settlement Music School-Philadelphia (1966-68), Cardinal Dougherty HS-Philadelphia (1966-68), and Bishop Shanahan HS-West Chester, PA (1970-72). Author, Modern Course for the Saxophone (in six parts; published by Henry Elkan). Articles published in The Instrumentalist (incl an excellent interview with ANTHONY GIGLIOTTI listed in Bib below) and The Music Director. Other positions/activities: Owner/Mgr, Hegvik Studios (1959-66); responsible for establishing the sax program at West Chester Univ; has been active as a producer/arranger (incl work for JRB Sound Studios). Memb: Phi Beta Kappa, Phi Kappa Phi, Pi Kappa Lambda. Hon: Winner, Univ of Michigan Concerto Compt (1958). Plays on: Buffet clarinets; Kaspar (Chicago) mouthpiece refaced by Everett Mattson. Students include: Gerald Baum, Jim Forger, DAVID NEUMAN, Anthony Simons. Ted Hegvik lists Louis Cahuzac, BENNY GOODMAN, and REGINALD KELL as his “great clarinet idols.” (Hegvik/Paddock 1998) Of his own teachers, he noted that “GIGLIOTTI was a major influence on my playing, especially his clear, no-nonsense approach to breathing.” (Ibid.) Gigliotti’s breathing methodology is discussed at length in Hegvik’s June 1970 interview with Gigliotti in The Instrumentalist. Bib: Hegvik, Arthur.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 830; Hegvik, Ted. “An Interview with Anthony Gigliotti.” The Instrumentalist 24 (June 1970): 45-53; “Hegvik, Ted, to Tracey L. Paddock, Tallahassee, FL, June 11, 1998.

Heim, Norman Michael. B. Sept. 30, 1929 (Chicago, IL). Clarinet studies at Northwestern Univ with DOMENICO DE CAPRIO. BME: Univ of Evansville (1951) with WESLEY SHEPARD; MM/DM: Eastman SOM (1952/1961) with RUFUS MONT AREY (MM), STANLEY HASTY (DM), and WILLIAM OSSECK (DM). Former clarinetist: Univ of Maryland Woodwind Quintet (Founding Memb; performed with this group for 30 years); Univ of MD Clarinet Quartet (Founder; 1st Clarinet: for 10 years). Has been active as a chamber musician and recording artist (on the Kendor and Peabody Conserv labels). Faculty member: Central Missouri Coll (Instructor: 1952-53); Univ of Evansville (Asst Prof: 1953-60); Univ of Maryland (Prof: 1960-91; Prof Emeritus: 1992-). Author of numerous books and other publications pertaining to the clarinet including: A Handbook for Clarinet Performance, The Development of the Altissimo Register for the Clarinet, The Clarinet Instructor, and various clarinet study books (all published by Kendor Music); Clarinet Literature in Outline (Norcat Press); other books and publications for Dorn Publications, Kendor Music, Medici Music Press, Mel Bay Publications, and Norcat Press. Over 250 articles published in The Clarinet, NACWPI Journal, Woodwind World-Brass and Percussion, and other music journals. Other positions/activities: Secr, ICA (formerly); Vice Pres, ICA (1984-86); Member, ICA Publications Committee (formerly); Dir, ICA Archives (formerly); Dir, NACWPI Research Library (formerly); active as a composer (over 230 published original works, incl works for clarinet and various clarinet ensembles; many works written for bass clarinetist/former Heim student Josef Horak; works published by Dorn Publications, Kendor Music, etc.), conductor (incl work with numerous clarinet choirs), lecturer (presentations given at ICA, Intl Society of Wind Music, MENC and other conventions), and scholar in the areas of clarinet choir, clarinet literature, and woodwind literature. Memb: CASS, ICA, Intl Society for Promotion of Wind Music, NACWPI. Hon: Lilly Foundation Grant for Doctoral Study; Recip, Univ of MD Grad School Summer Grants (4); sabbatical leaves (4) granted by Univ of MD for research. Plays on: Buffet Prestige clarinet; CHARLES BAY mouthpiece; Vandoren #3 reeds (adjusted). Students include: Josef Horak, WILLIAM HULLFISH, STEPHEN JOHNSTON, HOWARD KLUG, EDWARD MARKS, Sterling Murray, Paul Sheldon, JOHN SPICKNALL, CHARLES STIER. Norman Heim has been a major advocate of the clarinet choir, both through his activities as Professor of Clarinet at the University of Maryland and as a composer of more than 150 works for this medium. Heim encourages and practices the use of the clarinet choir as a developmental tool for the

145 clarinetists. In addition to the many articles Heim has written on this subject, he has also written hundreds of articles on other clarinet- and woodwind-related topics, and has also contributed numerous compositions for members of the clarinet family and for woodwind ensembles, clarinet study books, and a number of other books, all of which are excellent resources for the performing and teaching clarinetist. A sample of these publications is listed above. In 1998, Heim donated his extensive personal collection of clarinet music (consisting of 3,279 titles) to Shenandoah Conservatory. In his approach to clarinet playing, Heim encourages the clarinetist to “play easy [with the] same embouchure for all notes – use medium equipment.” (Heim/Paddock 1998) Bib: “Clarinotes.” The Clarinet 26 (September 1999): 14-15; Heim, Norman, to Tracey Paddock, Tallahassee, FL, May 13, 1998; “Heim, Norman Michael.” Who’s Who in American Music (Classical). 2nd Edition. New York: R.R. Bowker Co.,1985: 254; “Heim, Norman.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 830.

Heinen, Julia M. B. Mar. 11, 1960 (Mankato, MN). BM/DM: Univ of Minnesota (1982/1988) with CLOYDE WILLIAMS, JOHN ANDERSON, and ROBERT MARCELLUS; MM: Univ of Michigan (1983) with HERBERT BLAYMAN. Additional clarinet studies with TIMOTHY PARADISE. Clarinetist: American Wind Symph (Principal: formerly); Dubuque Symph (Principal: formerly); Iowa Symph (Principal: formerly); LaCrosse Symph-WI (Principal: formerly); Valdosta State Univ Woodwind Quintet (1992-95, +/-); Valdosta Symph (Principal: 1992-95, +/-); has also performed with the Minnesota Orch. Active as an intl recitalist (incl perfs at the 1999 Univ of Oklahoma Clarinet Symposium, at ICA and CMS conferences, and in Central America and Europe), soloist (incl perfs with the Dubuque, LaCrosse, Rochester, and Valdosta Symphs), chamber musician (incl perfs with Trio Chiaroscuro, Trio Inegal, the Tapestry Ensemble, and the TEMPO New Music Ensemble), and recording artist (on the Centaur and Parma labels). Broadcast perfs given on Minnesota Public Radio (“Live from Landmark”) and Chicago Public Radio (“Dame Myra Hess” series). Faculty member: Luther Coll (Asst Prof: 1987-92); Valdosta State Univ (Assoc Prof: 1992-95); California State Univ-Northridge (Prof: 1995-). Published in Windplayer Magazine. Other positions/activities: Selmer Artist (formerly); Buffet Crampon USA Perf Artist (current); Rico Artist. Hon: Finalist, ICA Compt (1983); Winner, WAMSO Compt (1986); Winner, Jacksonville-MacMurray Young Artist Compt (1991); Finalist (with Trio Chiaroscuro), Fischoff Chamber Music Compt (1991, 1992). Has played on: Buffet Tosca clarinets (B-flat/A: current); CLARK FOBES lined barrels and OM mouthpiece; Buffet RC Prestige E-flat clarinet; Buffet RC D clarinet; Noblet C clarinet; Selmer Model 37 bass clarinet (formerly); Buffet GL bass clarinet (current); Rico Reserve Classic reeds. Students include: Garrett Crosby, Christina Giacona, Wendy Mazon, Jorge Sotelo, Ryan Yuré. Julia Heinen’s goal as an artist is “. . . to give the gift of music to as many people as possible through the art of performance and teaching. I hope to touch as many lives as I can.” (Heinen/Paddock 1998) Bib: Heinen, Julia M. to Tracey Paddock, Tallahassee, FL, May 1, 1998; “Julia Heinen.” http:// www.csun.edu/music/BioHeinen.html (accessed March 6, 2011); “Musical Chairs.” The Clarinet 20 (May/June 1993): 38.

Helmers, William Alan. B. Mar. 1, 1957 (Wilmington, DE). Early clarinet studies with PETER HILL (1972-76); undergrad studies begun in chemical engineering at Univ of Delaware (1975-76) while continuing clarinet studies with PETER HILL. BM(with distinction)/Perf Cert: Eastman SOM (1979) with STANLEY HASTY; MM: Juilliard (1980) with JOSEPH ALLARD; additional studies at Music Acad of the West (with MITCHELL LURIE, 1979) and Tanglewood (1980). Additional clarinet studies with ANTHONY GIGLIOTTI (Summers 1976, 1978), and RONALD REUBEN (Summers 1977, 1978). Conducting studies with Paul Phillips (1977-79) and David Becker (1991) and at The Conductor’s Instit- Hartt SOM (1994). Clarinetist: Rochester Phil (Fourth/Utility: 1977-79); Natl Orch Assn (1979-80); Milwaukee Chamber Orch (Second: 1980-85; Principal: 1985-); Milwaukee Symph (Second/Bass: 1980-; Asst Principal/Bass: 1989-91); Santa Fe Opera (Bass/Basset Horn/Utility: 1980s-; +/-); Sylvan Winds (1987-89); Present Music (1988-); Woodwind Arts Quintet (1994-). Active as a recitalist, soloist (incl perfs with the Albany and Milwaukee Symphs, Milwaukee Chamber Orch, Dayton Phil, Eastman Philharmonia, Univ of Wisconsin-Milwaukee ensembles, and Present Music), chamber musician (incl perfs with above ensembles and the Contemporary Chamber Players of Chicago, Milwaukee Chamber Music Society, and Milwaukee Music Ensemble), festival artist (incl participation at the Indiana State Contemporary Music Festival, the

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Intl Music Festivals of Istanbul and Toulon, and the Washington Island Chamber Music Festival), and recording artist (on the Argo, CRI, and Innova labels); numerous broadcast perfs given on Wisconsin Public Radio, WFMT-Chicago, and other stations. Premiere perfs incl ’ clarinet concerto Gnarly Buttons (American premiere with Present Music, 1997), ’s Piezas Caracteristicas (commissioned by Helmers; world premiere with Present Music), and McDonald’s Concertino for bass clarinet and orch (world premiere with Milwaukee Symph). Faculty member: Wisconsin Conserv (Clarinet/Chamber Music: 1981-94); Alverno Coll (1985); Carroll Coll (1993-94); Univ of Wisconsin-Milwaukee (1994-); Wisconsin Lutheran Coll (1997-98). Other positions/activities: Music Dir, Milwaukee Municipal Orch (1993-95); Chamber Music/Sectional Coach, Milwaukee Youth Symph; Lecturer/Clinician, Wisconsin State Arts Board; extra- musical activities incl golfing and hiking. Hon: Winner, Eastman Concerto Compt (1979); Bronze Medalist, Intl Clarinet Compt of the Music Festival of Toulon (1979); Tanglewood Fellow (1980); Semi-Finalist, Naumberg Foundation (1985); favorable perf/recording reviews appear in The American Record Guide, The Clarinet (see BARTLEY in Bib below), and other publications. Plays on: Luis Rossi Blackwood clarinets (American bore); Selmer Model 37 bass clarinet. Students include: David Erato, Theresa Martin, Bill Olsen, CHRISTOPHER ZELLO. Bib: Bartley, Linda. “Compact Disc Reviews.” The Clarinet 25 (May/June 1998): 81; Below, Andy, Ed. “William Helmers, Clarinetist, Bass Clarinetist.” Encore. Milwaukee Symphony Orchestra. 10 (April/June 1992): 17; Helmers, William. “Opera in the Mountains.” The Clarinet 28 (March 2001): 84-85; Helmers, William Alan to Tracey Paddock, Tallahassee, FL, May 17, 1998; “Helmers, William Alan.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 256.

Helton, Pamela. B. May 20, 1960 (Vicksburg, MS). BM: Univ of Southern Mississippi; MM: Northwestern Univ with ROBERT MARCELLUS; DM: Eastman SOM with STANLEY HASTY and CHARLES NEIDICH; additional clarinet studies at the Sweelink Conserv with Harry Sparnaay (1990). Clarinetist: Mexico City Opera (Principal: 1982); Nova Filharmonia Portuguesa (Principal: 1989); Corpus Christi Symph (Principal: 1989-91); Orlando Bach Festival (Principal: 1992-93); U.S. Army Field Band (Clarinet/E-flat: 1994-97); Kalamos [Clarinet] Quartet (E-flat: 1989-98+); Third Millennium Ensemble (Artistic Dir/Clarinet: current). Active as an intl recitalist (incl perfs for the NY Council on the Arts and at the Concertgebouw, Eglise St. Merry-Paris, and St. Martin’s in the Fields), soloist (incl perfs with the New Orleans Phil and Sewanee Festival Orch), chamber musician (incl perfs with the Kalamos Quartet), festival artist, and recording artist (with the Kalamos Quartet on the Klavier Records label). Faculty member: Univ of Central Florida (Instructor of Clarinet: 1989-90); Univ of Mississippi (Instructor of Clarinet: 1997-). Published in The Clarinet. Other positions/activities: active as a composer (incl works for cl/fl, cl/pno) and scholar on “laryngeal and pharyngeal function as they impact on wind instrument performance.” (Helton/Paddock 1998) Memb: AFM, ICA. Hon: Winner, New Orleans Phil Concerto Compt (1981, 1982); John Eckstein Scholar, Northwestern Univ (1982-83); NY Council on the Arts Recital Soloist (1989); Fulbright Faculty Scholar, Netherlands (1990); Winner (with Kalamos Quartet), 1994 Baltimore Chamber Music Compt. Plays on: Buffet R-13 clarinet; GREG SMITH mouthpiece; CHADASH barrel; Yamaha Low C bass clarinet; Selmer C* and BAY bass mouthpieces. Students include: Sara Rutledge. Bib: Helton, Pamela to Tracey Paddock, Tallahassee, FL, June 29, 1998.

Henrich, Valentine P. [“Tiny”]. B. June 6, 1890 (South Williamsport, PA); d. 1980. Early clarinet studies with “Mr. Nuzzi” in Denver, CO; may also have studied with DAN ERTEL. Former clarinetist: Denver Municipal Band; Denver Post Opera; Denver Symph (Principal); KLZ and KOA radio orchs. Was active as a chamber musician (incl perfs with the Denver String Quartette) and theatre musician (incl perfs with the Denver Grande and Orpheum vaudeville theatre orchs). Faculty member: Blackburn Band School (1931+); Univ of Colorado (1932-63); was active as a private clarinet instructor in Denver. Students include: Emil Acitelli, DAVID ETHERIDGE, John Gibson, Ruth June Hale, STANLEY HASTY, ALAN STANEK, ROBERT VAGNER, KEITH WILSON. Of Valentine Henrich’s playing, DON AMBLER and Hugh McMillan wrote:

He was a master teacher and player of extreme sensitivity with a beautiful rich, dark sound, and with a warmth of phrasing and a musicianly approach to musical styles – all of which he communicated to hundreds of his loyal students. (Ambler 1981, 19)

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STANLEY HASTY added:

We called him Tiny because he was very short. He had lips like raw liver because he played every note with you. He had a lot of students. . . . He had a very nice, woody, pingy sound which was lovely really. (Webster 2000, 39)

Bib: Ambler, Donald and Hugh McMillan. “Valentine P. (Tiny) Henrich – (1890-1980).” The Clarinet 8 (Winter 1981): 19; Webster, Michael. “Hasty at 80.” The Clarinet 27 (March 2000): 39.

Herman, Karl. B. Mar. 26, 1953 (Pittsburgh, PA). BFA/BME: Carnegie-Mellon Univ (1975/1976) with JEROME LEVINE; MM(with honors): New England Conserv (1978) with PETER HADCOCK. Clarinetist: New Jersey Symph (Second/E-flat: 1979-81; Principal: 1981-); has also performed with the New York Phil, the American and Detroit Symphs, the American Ballet Theatre, the Joffrey, Pacific Northwest and San Francisco Ballets, the Concordia and Prism Chamber Orchs, the NYC Opera, the American Composer’s Orch, and Concerto Soloists of Philadelphia. Active as a soloist (incl perfs with the NJ Symph), chamber musician (incl perfs with the Aspen Wind Quintet), festival artist (incl participation at the Adare Festival-Ireland, Cape May Festival, and Craftsbury Chamber Music Festival), and studio/recording artist (incl work on motion picture soundtracks and commercial jingles; appears on recordings with the Concordia Chamber Orch, NJ Symph, and NY Phil). Faculty member: Princeton Univ (1990-); William Paterson Univ (1991-); active as a private clarinet instructor. Memb: AFM, BMW Motorcycle Owners of America. Plays on: Buffet Festival clarinets; DAN JOHNSTON, Bill Street, and Vandoren mouthpieces (all refaced by Everett Mattson); has played exclusively on hand-made reeds for 25+ years. Students include: CHRISTOPHER HILL, BRIAN HYSONG. Philosophically, Herman feels that “the ideals of ‘the clarinet’ are not nearly as important as the ideals of music, performance and artistic integrity.” (Herman/Paddock 1998) Herman’s multi-faceted musical life has been very rewarding to him, and under the “Honors/Awards” category of the author’s survey Herman listed simply, “My career!” (Ibid.) He attributes his success in great part to the late PETER HADCOCK:

Pete Hadcock was the best teacher I could have ever had. He had confidence in me when no one else did. My career would not have been possible without him, and he was probably the best E-flat clarinetist ever. (Ibid.)

In addition to his musical activities, Herman also has a woodworking shop in which he makes reproductions of furniture (Stickley, Greene & Greene & Mackintosh); he is also a collector of motorcycles. Bib: Herman, Karl, to Tracey Paddock, Tallahassee, FL, August 10, 1998; “Karl Herman.” New Jersey Symphony. http://www.njsymphony.org/aboutus/musiciansstaff/m_herman.htm (accessed March 6, 2011).

Hermann, Harvey. BS/MS(both in Music Ed): Univ of Illinois (1963/1968) with AUSTIN MCDOWELL. Additional clarinet studies with CLARK BRODY, Arnold Hartel, and Tony Siramarco. Arranging studies with Mark Hindsley. Former Principal Clarinetist: U.S. Army Far East Headquarters Band-Japan; Tokyo ABC Symph; Yokohama Symph. Faculty member: Univ of Illinois (Prof of Woodwinds: formerly, for 32 years, 1960s-90s, +/-; Prof Emeritus: current); Illinois Summer Youth Music Camp (Dir: formerly); Indiana Univ Clarinet Teaching Workshop (2000, +/-); active as a private clarinet/sax instructor in Central IL. Other positions/activities: Founder/Conductor, Univ of IL Clarinet Choir (1965-98); Founder, Annual Clarinet Choir Festival held at Univ of IL ; active as a conductor (incl many perfs with ICA conference clarinet choirs); arranger of numerous orch transcriptions for clarinet choir; noted pedagogue. Students include: NORMAN FOSTER, John Mula, Ken Stein. The clarinet choir concept was introduced to the United States by SIMEON BELLISON in the late 1920s when he formed his famous 75-member Bellison Ensemble. The clarinet choir movement truly blossomed in the 1950s and 1960s through the advocacy of Harvey Hermann, LUCIEN CAILLIET, JAMES DE JESU, RUSSELL HOWLAND, and DONALD MCCATHREN, and other music educators. Hermann is known world-wide for his expertise on the clarinet choir and its repertoire, and appears regularly as a guest conductor of choirs from around the world. In addition, he as contributed numerous

148 transcriptions and arrangements to the ensemble’s repertoire. Through the steadfast commitment and enthusiasm of Hermann and others, the clarinet choir has experienced a recent resurgence of popularity with several festivals a year devoted specifically to this ensemble. Bib: “Clarinet Choir News 2004.” World Clarinet Alliance. http://www.wka-clarinet.org/Choir1 News2004.htm (accessed March 6, 2011); “Harvey Hermann Bio.” Dan Freeman. http://clarinetchoir. dfapam.com/hahbio.htm (accessed March 6, 2011).

Herrick, W.D. Clarinetist: Detroit Symph Orch (Bass: 1920-29+).

Hickey, Michael John [Jack]. B. 1878; d. 1954. Former clarinetist: Sousa Band (1900-10+); NY Phil (Second: 1910-1920); also performed with the Goldman and Pryor Band and the Victor Herbert Orch. Students include: JOHN MCGROSSO, ALDO SIMONELLI, FRANK STACHOW. Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/sousa/roster.htm (accessed March 6, 2011); Krebs, Jesse Daniel. “The Clarinetists of the John Phillip Sousa Band: 1892- 1931.” DM treatise, Florida State University, 2006; Pierce, Jerry. “Frank Stachow – 1914-1982.” The Clarinet 9 (Spring 1982): 9.

Hill, Christopher. BM/MM: Temple Univ with ANTHONY GIGLIOTTI. Additional clarinet studies with BURT HARA, KARL HERMAN, DONALD MONTANARO, DAVID PECK, RONALD REUBEN, and GEORGE SILFIES. Clarinetist: South Dakota Symph (Principal: 1987-); has also performed with the Binghamton and Omaha Symphs, the Philadelphia and Jimmy Dorsey Orchs, the Rome Festival Orch, and the New Sousa Band. Active as a soloist (incl perfs with the Hunterdon and South Dakota Symphs, the Blawenburg and Sioux Falls Municipal Bands, the Rome Festival Orch, and at the White House), chamber musician (incl perfs with the Dakota Wind Quintet), theater musician (incl perfs with the Carousel Natl and Evita World Tours), and recording artist (incl recording of Rose Etudes with original piano accompaniment). Faculty member: Augustana Coll (current); active as a private clarinet instructor. Other positions/activities: Rico Artist; Conductor, Sioux Falls Municipal Band (current); active as a clinician and mouthpiece craftsman. Bib: “Chris Hill.” Woodwind.org. http://www.woodwind.org/ clarinet/Help/Chris_Hill.html (accessed March 6, 2011).

Hill, Robert James. B. July 10, 1959 (Cleveland Heights, OH). BM/Artist Dipl: Cleveland IOM (1981/1982). Former clarinetist: Renaissance Contemporary Music Ensemble (Principal: 1978-83); New Cleveland Chamber Players (Principal: 1979-85+); Cleveland Chamber Orch (Principal: 1980-83); Cleveland Orch (1983-85+). Active as a chamber musician (incl recording with the Ariel Quartet) and recording artist (on the Cleveland Instit Studio, CRI, EMI and Unicorn-Kanchana labels). Former faculty member: Cleveland Music School Settlement (Woodwind Dept Chmn: 1976-85+); South Euclid-Lyndhurst School-OH (Instructor of Chamber Mus: 1982); Case Western Reserve Univ (Clarinet Instructor: 1980s, +/-). Other positions/activities: Rep, LIG Limited. Hon: Leonard Bernstein Soloist Award (1982); listed in Who’s Who in American Music (Classical), 1985 edition. Bib: “Hill, Robert James.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 262.

Hill, Thomas. B. NYC. BM/MM(both with honors): New England Conserv with HAROLD WRIGHT and PETER HADCOCK; additional studies at Cleveland IOM with ROBERT MARCELLUS. Additional clarinet studies with JOSEPH ALLARD and LARRY COMBS. Clarinetist: Aeolian Chamber Players (1973-80); New Haven Symph (Principal: for 5 seasons, 1980s, +/-); Long Beach Symph (Principal: formerly); San Diego Symph (Principal: formerly); Handel and Haydn Society (Principal: formerly); Boston Chamber Music Society (1983-); Kansas City Wind Quintet (1989+); Boston Phil (Principal: current). Active as an intl recitalist/soloist (incl perf with the Longwood Symph), chamber musician (incl perfs with the Boston Chamber Music Society, and throughout the Americas and Asia with the Aeolian Chamber Players), festival artist (incl participation as Principal Clarinetist of the Bend, Cascade, and Mainly Mozart Festival Orchs), and recording artist (on the Boston Chamber Music Society, Nonesuch, and Northeastern labels). Faculty member: New England Conserv (Instructor of Chamber Mus: formerly); Boston Conserv (Clarinet Instructor/Chamber Mus Coordinator: 1983-89); Univ of Missouri- Kansas City (Asst Prof: 1989+); has also taught at Longy SOM, the Chinese Foundation for the Perf Arts, and at univs in CA, MA, MO, and NY; active as a private clarinet instructor. Published in The Clarinet. Hon: Distinguished Artist Award, New Haven Symph (1988). Bib: “Artists.” Chestnut Hill Concerts.

149 http://www.chestnuthillconcerts.org/artists.html (accessed March 6, 2011); Benoit, Aline and Thomas Hill. “Remembering Peter Hadcock.” The Clarinet 27 (September 2000): 52-53; “Musical Chairs.” The Clarinet 17 (February/March 1990): 58; “Thomas Hill Bio.” Aine Minogue. http://www.minogue.com/greenroom/ images/downloads/1872869172TomHillBio.pdf (accessed March 6, 2011).

Hiller, Roger. B. Feb. 26, 1933 (NY, NY). BM: Juilliard (1954); additional studies at Berkshire Music Center and Chautauqua Music School. Clarinet studies with DANIEL BONADE and ROBERT MCGINNIS. Former clarinetist: Houston Symph (Principal: 1956-59); Metropolitan Opera Orch (Assoc Principal/E-flat: 1959-92+); Chautauqua Symph (Principal: Summers, 1960-85+). Active as a chamber musician and recording artist (incl a recording of Leroy Anderson’s Clarinet Candy with ABATO, BLAYMAN, and PORTNOY on the MCA Classics label). Former faculty member: NY Univ (Assoc Prof: 1980s, +/-); Chautauqua Music School. Hon: favorable review of perf appears in the New York Times (March 1982). Students include: Paul Alexander, LAURA ARDAN, LUIS BAEZ, JILL COGGIOLA, Eugene Jones, Richard Shillea. Bib: “Hiller, Roger.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 263; “Roger Hiller.” The Clarinet 1 (May 1974): cover, 3.

Hinckley, Jaren S. BM: Univ of Utah (1993); MM: Indiana Univ (1995) with JAMES CAMPBELL and HOWARD KLUG; DM: Florida State Univ (2002) with FRANK KOWALSKY. Additional clarinet studies with Sonia DeFord, JOHN FULLAM, and DAVID RANDALL. Clarinetist: has performed with the Boise Phil, Mormon Tabernacle Choir/Orch, Ballet West, and Utah Symph. Active as an intl soloist (incl perfs with the UT Symph, Canyonlands New Music Ensemble, and Manhattan SOM Philharmonia), chamber musician (incl perfs in the UK and North America with the Orpheus Winds, and perfs with UT Chamber Artists, UT Composers Ensemble, and Canyonlands New Music Ensemble), new music specialist (incl perfs with above groups), festival artist (incl participation at the UT Arts Festival), and recording artist (incl recordings with the Canyonlands New Music Ensemble and UT Composers Ensemble); broadcast perfs given on BYU-TV and KBYU radio. Faculty member: The Waterford School (1995-98); Salt Lake Community Coll (1995-99); Brigham Young Univ (Assoc Prof: current); active as a private clarinet instructor. Memb: CMS, ICA, MTNA, Pi Kappa Lambda, Utah MTA. Bib: Hinckley, Jaren. “Jaren S. Hinckley.” Brigham Young University. http://cfac-old.byu.edu/fileadmin/ college/user_files/faculty_directory_music/documents/music-jhinckley-vitae.pdf (accessed March 13, 2011).

Hite, David. B. Sept. 25, 1923 (New Straitsville, OH); d. Jan. 18, 2004 (Ft. Myers, FL). Early clarinet studies with FRED WEAVER. BM/MM: Ohio State Univ (1940s); additional studies at Tanglewood (1947, 1948) with ROSARIO MAZZEO. Additional clarinet studies with DANIEL BONADE and ANTHONY GIGLIOTTI. Former clarinetist: Columbus Phil-OH (late 1940s, +/-); also served as an Army band musician in and Okinawa during WWII. Active as a recording artist (on the Coronet label). Former faculty member: Capital Univ (1954-74). Other positions/activities: Dir, Capital Univ Clarinet Quartet; Co-Founder (with wife Jean), David Hite, Inc; was active as a composer/editor (incl works/editions published by Ludwig Music Publishing and Southern Music Co.; published several excellent clarinet etude books) and respected clarinet/sax mouthpiece craftsman/expert. Students include: Donald Black, James Perone. Bib: Estrin, Mitchell. “Tribute—David Hite.” University of Florida Clarinet Studio. http://www.arts.ufl.edu/music/clarinet/articles.html (accessed March 6, 2011); Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 122; “Noted Composer and Clarinet Expert David Hite Dies.” Southern Music Co. http://www.southernmusic.com/david_hite.htm (accessed March 6, 2011); Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 51.

Hlavin, Anthony J. Clarinetist: Cleveland Orch (1924-45).

Hlavin, William G. Clarinetist: Cleveland Orch (Clarinet/E-flat: 1922-23). Bib (for both Hlavin’s): Huffman, Larry. “Cleveland Orchestra Musicians.” Stokowski.org. http://www.stokowski. org/Cleveland_Orchestra_Musicians_List.htm#H (accessed March 6, 2011).

Hoffmeester, Theodorus Marinus [Theodore]. Clarinetist: Chicago Symph Orch (1909-11).

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Hopkins, David Charles. B. July 18, 1939 (Herbert, Saskatchewan, CAN). Active as a U.S. clarinetist. BA: Univ of Saskatoon; MM(Woodwinds): Indiana Univ (1963). Clarinetist: Vancouver Symph (Principal: formerly); St. Luke’s Chamber Ensemble (Founding Memb; formerly); “Monday Nights at LeMarais,” NYC (jazz trio; 1997-, +/-); Downtown Chamber Society (1999, +/-); has also performed with the American Symph, Metropolitan and NYC Operas, Chamber Music Society of the Lincoln Center, and Speculum Musicae. Active as a soloist (incl a perf with the Natl Jazz Ensemble at NYC’s Town Hall), chamber musician (incl perfs with the Dorian Quintet and Contemporary Chamber Ensemble), jazz clarinetist (incl perfs with Ella Fitzgerald, Lena Horne, Cleo Laine, Sarah Vaughan, Jazzmobile, and The Dave Hopkins Jazz Trio), NYC freelance musician (incl work with various Broadway musical orchs), and recording artist (on the Big Worlds Records, Nonesuch, and North Country Records labels). Other positions/activities: active as a composer. Hon: favorable reviews of jazz recordings appear in Cadence Jazz Magazine, The Clarinet The Montevideo Observer, et al. Students include: Rozanne Levine. Bib: Hopkins, Dave. “Dave Hopkins – Jazz Clarinet.” D. Hopkins. http://davehopkinsjazz.com/bio.php (accessed March 7, 2011); Hopkins, David, to Tracey Paddock, Alexandria, VA, February 24, 1999; Jacobsen, Thomas. “The Jazz Scene.” The Clarinet 26 (June 1999): 24.

Howard, David. B. Los Angeles, CA. BA(Russian Lit, magna cum laude): Yale Univ. Music studies at Tanglewood and Music Acad of the West. Clarinet studies with LEON RUSSIANOFF, MITCHELL LURIE, and Robert Bloom (oboist). Clarinetist: New Jersey Symph (Principal: formerly); New Haven Symph (Principal: formerly); Los Angeles Phil Orch (Clarinet/Bass: 1981-). Active as a recitalist (incl perf at the 1996 Oklahoma Clarinet Symposium), soloist (incl perfs with the LA Phil and Philharmonic New Music Group, and on the 1998 “Chamber Music Under the Stars Series”), chamber musician (incl perfs with the LA Phil Chamber Music Society and Phil New Music Group), festival artist (incl participation at the Colorado and Ojai Music Festivals, and as Performer/Chamber Mus Coach at the Bahnhof Rolandseck Festival in Bonn, Germany, 1992), and recording artist (on the Centaur label). Faculty member: Univ of Southern California (1986-); LA Phil Orch Training Program; Aspen Music Festival. Other positions/activities: active as a lecturer (incl appearances on various LA Phil programs); extra-musical activities incl cooking, yoga, traveling, and spending time with his son. Hon: Recip, Tanglewood’s C.D. Jackson Memorial Award and Henry Cabot Prize. Students include: Bradley Cohen, Rob Chavez, Carl Kesselman, John Klinghammer, ANDREW LAMY, Lori Musicant, Kathryn Nevin, Enid Press, Jeremy Reynolds, Jim Sullivan, Amanda Walker, William Wellwood, Daniel Williams. Bib: “David Howard.” Los Angeles Philharmonic. http://www.laphil.com/philpedia/artist-detail.cfm?id=348 (accessed March 7, 2011); “David Howard.” USC Thornton School of Music. http://www.usc.edu/schools/music/ private/faculty/djhoward.php (accessed March 7, 2011).

Howell, Jack. Grad: Univ of Northern Colorado. Clarinet studies with H. JAMES SCHOEPFLIN. Clarinetist: New Mexico Symph (Principal: formerly); Greeley Phil (Principal: formerly); Cheyenne Symph (Principal: formerly); Fort Collins Symph (Principal: formerly); Pittsburgh Symph (Second/Actg Principal: formerly, for 2 yrs in the late 1990s; Sub: current); New Zealand Symph (Assoc Principal: formerly); Wheeling Symph (Principal: current); Pittsburgh Opera/Ballet Orchs (Second: current). Active as a soloist, chamber musician (incl perfs with Renaissance City Winds), and festival artist (incl participation at the Santa Fe Chamber Music Festival and Sunflower Music Festival); broadcast perfs given on NPR’s Performance Today. Faculty member: Duquesne Univ (Adj Prof of Clarinet: current); Laurel Highlands Summer Music Acad. Other positions/activities: avid fly fisherman and author of The Lovely Reed: An Enthusiast's Guide to Building Bamboo Fly Rods. Students include: Will Cicola, Kevin Walko. Bib: “Musicians.” Renaissance City Winds. http://hepmac.phyast.pitt.edu/~paul/musicians.htm (accessed March 7, 2011).

Howland, Paul E. B. 1904 (Seymour, IA); d. 1967. Brother of RUSSELL HOWLAND. Self- taught until beginning private study with GUSTAVE LANGENUS while a member of the Sousa Band. Former clarinetist: Sousa Band (1931); Goldman Band (Bass); WOR Orch (Staff Clarinet/Sax: 1948, +/-); also performed with the Little Symph of NY and New York Phil. Was active as a recording artist (incl appearance on a recording Stravinsky’s music conducted by Stravinsky on the Sony Classics label), theater musician and much sought-after bass/basset clarinetist in NYC. Students include: DONALD AMBLER. Of Paul Howland’s playing Daniel Geeting has written,

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His tone and technical facility were equally virtuosic on all clarinets; his double-tonguing was an amazement to his colleagues. In fact, during this time, he was generally considered “first call” on bass clarinet and basset horn in New York, and was in constant demand by all the leading conductors of the day. (Geeting 1986, 40)

A dedicated clarinetist to the end, Howland died at the age of sixty-three during a rehearsal.

Bib: Geeting, Daniel. “Paul Howland: A Clarinetist’s Life.” The Clarinet 13 (Winter 1986): 40.

Howland, Russell S. B. July 19, 1908 (Novinger, MO); d. May 3, 1995. Brother of PAUL HOWLAND. BA(1933)/MA: Univ of Illinois. Clarinet studies with GUSTAVE LANGENUS (1927). Former member: Fresno Phil (String Bass: 1953-58, 1962-80s; Principal Oboe: 1958-62; Principal String Bass: early 1980s, +/-; other woodwind instruments as needed); Fresno Sax Quartet (Co-Founder/Memb). Former faculty member: Univ of Kansas (1936); Univ of Michigan (1941-48, +/-); California State Univ- Fresno (Woodwinds/Percussion/Conducting: 1948-74, +/-; Harp Instructor: 1963-74, +/-; Prof Emeritus: 1975+); High Plains Music Camp (1950s-74, +/-); also taught in the Madison, WI (1935) and Fort Collins, CO (1937-40) Public Schools. Published in The Instrumentalist. Other positions/activities: was active as a clinician, guest conductor throughout North America (incl perf with the 1980 Natl Clarinet Clinic clarinet choir in Denver), and composer/arranger. Hon: Distinguished Lectureship Award, CSU-Fresno (1973-74); named “one of the ten most outstanding musical directors and teachers” (Brothers 1981) in the U.S. and Canada by The School Musician, Director and Teacher (1974); California Music Educator’s Keynote Award for an Outstanding Music Educator (1975); Outstanding Service Award, Fresno Phil (1975). Students include: Lester Brothers, John Doolittle, CLARK FOBES, Daniel Geeting, Larry Honda, Theldon Myers, ROBERT VAGNER. As a clarinet teacher, Russell Howland was very committed to his students and expected the same commitment and attention from them. He first developed in his students a strong technical foundation through the use of scales and technical studies (such as the Jeanjean series). Students would then progress to the study of major clarinet repertoire, while continuing to address other aspects of clarinet playing such as intonation and sight-reading. In lessons, Howland regularly played with his students (on clarinet and other wind instruments), as he believed that modeling was an important teaching technique applicable to every aspect of clarinet playing. Howland was also known for his strong advocacy of and contributions to the clarinet choir, woodwind choir, and . In addition to writing numerous compositions, arrangements and transcriptions (published by Crescendo and Rebo Press) for these ensembles, Howland also had one of the largest known collections of clarinet choir transcriptions. Howland shared his enthusiasm for and advocacy of the clarinet choir with LUCIEN CAILLIET, JAMES DE JESU, HARVEY HERMANN, RUSSELL HOWLAND, Harold Palmer, Alfred Reed, and others. During his affiliation with the Fresno Philharmonic, Howland performed not only as Principal Bass, but also as Principal Oboe, and on virtually every member of the woodwind family as needed. Later in his career, Howland also became active as a harpist and harp instructor. Bib: Brothers, Lester D. “Russell S. Howland: A Personal Profile.” The Clarinet 8 (Spring 1981): 10-13.

Hruby, Frank Jr. B. 1883; d. 1974. Clarinetist: Cleveland Orch (Clarinet/E-flat/Bass/Sax: 1918- 26; Sub: 1930s, +/-). Students include: Richard Kuciemba. Bib: Huffman, Larry. “Cleveland Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Cleveland_Orchestra_Musicians_List.htm#H (accessed March 7, 2011).

Hudgins, William R. BM: Boston Univ with PASQUALE CARDILLO and HAROLD WRIGHT; additional studies at the Aspen and Tanglewood festivals. Additional clarinet studies with JULES SERPENTINI, RICHARD WALLER, and members of the Cincinnati and Indianapolis Symphs. Clarinetist: Orquestra Sinfonica Municipal de Caracas (Asst Principal/Principal: formerly); Charleston Symph-SC (Principal: 1984-92); Boston Symph (Second: 1992-94; Principal: 1994-); Boston Symph Chamber Players (1992-); Boston Pops (Principal: formerly, 1992+). Active as a soloist (incl perfs with the Boston Symph), chamber musician (incl perfs/recordings with the Boston Symph Chamber Players), and festival artist (incl participation at the Aspen and Tanglewood festivals, and at the Spoleto Festivals in

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Charleston, SC and Italy for 7 seasons). Hon: C.D. Jackson Master Musician Award, Tanglewood (1979); recording of Hindemith Quartet with Boston Symph Chamber Players nominated for a Grammy. Students include: Elizabeth Branch McAllister. Bib: “Musical Chairs.” The Clarinet 19 (May/June 1992): 51; “Musical Chairs.” The Clarinet 22 (November/December 1994): 60; “William R. Hudgins.” Boston Symphony Orchestra. http://www.bso.org/bso/mods/bio_toc.jsp?id=cat240028 (accessed March 7, 2011).

Hurd, Maureen. B. Iowa. BM: Iowa State Univ with JOSEPH MESSENGER; MM/DM: Yale Univ with DAVID SHIFRIN and CHARLES NEIDICH. Additional clarinet studies with Ayako Oshima. Active as an intl clarinet recitalist (incl perfs at several ClarinetFests, at Carnegie Hall, and throughout North America, Europe, and Asia), soloist (incl perf/recording with the Lancaster Chamber Orch), chamber musician (incl perfs at Merkin Hall and with the Chamber Music Society of Lincoln Center at Alice Tully Hall), and recording artist (appears on the Marquis Classics, MSR Classics, and Naxos labels); broadcast perf given on German radio. Faculty member: Rutgers Univ (current). Articles published in The Clarinet. Other positions/activities: Selmer Artist; active as a clinician/lecturer, and BENNY GOODMAN scholar. Plays on: Selmer Paris Signature clarinets. Students include: Sarah Bednarcik, Craig Buying, Genevieve Webber. Bib: “Maureen Hurd.” Mason Gross School of the Arts. http://mgsa.rutgers.edu/music/mus_f_ dept_wood.php (accessed March 7, 2011).

Hysong, Brian. B. Oct. 27, 1955 (Pittsburgh, PA). BFA: Carnegie-Mellon Univ with RICHARD PAGE and LOUIS PAUL; Artist Dipl: Juilliard with VINCENT ABATO and DAVID WEBER. Additional clarinet studies with KARL HERMAN and EDWARD PALANKER. Clarinetist: Natl Orchestral Assn (1982-84); NYC Ballet Orch (Bass: 1985-); Pittsburgh Symph (Sub: 1986-; incl tours with Maazel); New Jersey Symph (Bass: formerly, 1990-98+); Orpheus Ensemble (Clarinet/Bass: 1992-); has also performed with the American Symph Orch. Active as a chamber musician, festival artist (incl participation at the Bard and Eastern Music Festivals and the Newport Jazz Festival), and recording artist (with the NJ Symph on Naxos, with the NYC Ballet on Nonesuch, with the Orpheus Ensemble on Deutsche Grammophon, and with the Warner Brothers Orch on Warner Brothers); broadcast perfs given on television (incl “Live From Lincoln Center,” and “Dance in America”) and radio (incl a perf with the Pittsburgh Symph led by John Williams on NPR). Faculty member: Carnegie Mellon Univ Pre-Coll/Extension Divs (formerly); active as a private clarinet instructor. Other positions/activities: active as a conductor (incl position as Asst Conductor of the NJ Youth Symph). Memb: ICA. Hon: Tuesday Musical Club Schol (1982). Plays on: Buffet clarinets; Martin ligature; Vandoren V-12 #4 reeds; Selmer Model 35 Low C bass clarinet; Penzel Mueller bass mouthpiece; Martin bass ligature; Vandoren and/or Marca #4 bass reeds. Among Brian Hysong’s classmates at Juilliard were clarinetists DAN GILBERT, ALAN KAY, TODD LEVY, and JON MANASSE, all of whom are still friends. Of his clarinet teachers, Hysong commented [capitals mine]:

RICHARD PAGE gave me the kick in the rear I needed, VINCENT (JIMMY) ABATO gave me the confidence, and DAVID WEBER gave me the opportunity. I am very grateful to all three of these wonderful friends and colleagues. . . . This profession is really a blessing to earn your living. It’s pleasant, fun and interesting. We’re blessed in the orchestral community. (Hysong/Paddock 1998)

On his background and the development of his own ideals, Hysong added,

Having grown up in Pittsburgh, I heard great playing, and I tried to add my own ideas to what I heard. Namely: 1) dark tone, 2) excellent musicianship, 3) good ensemble, 4) orchestral blend. (Ibid.)

Bib: Hysong, Brian to Tracey Paddock, Tallahassee, FL, July 27, 1998.

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Imboden, Gregory A. B. Dec. 13, 1947 (Indianapolis, IN). BM/MM(both in Woodwinds): Indiana Univ with HENRY GULICK. Woodwind studies with Harry Houdeshel, Eugene Rousseau, Leonard Sharrow, and Jerry Sirucek. Active as an orchestral clarinetist (incl regular perfs as Extra with the Indianapolis Symph), woodwind doubler, and theater musician. Faculty member: DePauw Univ (Clarinet/ Sax: 1973-74); Univ of Indianapolis (Clarinet/Sax: 1974-79); Butler Univ (Clarinet/Sax/Woodwind Methods: 1979-). Memb: AFM, Pi Kappa Lambda. Plays on: Buffet R-13 clarinets (B-flat/A); Yamaha Pro Line E-flat clarinet; Yamaha Pro Line Low C bass clarinet. Students include: Sean Imboden. Bib: Imboden, Gregory, to Tracey Paddock, Tallahassee, FL, May 15, 1998.

Ishigaki, Miles M. Native of Honolulu, Hawaii. Clarinet studies begun at age 10. BM/BME: Univ of Northern Colorado (1978) with LOREN BARTLETT; MM: Colorado State Univ with DAVID HARMAN; DM: Univ of Oklahoma with DAVID ETHERIDGE; additional studies at Univ of Arizona (clarinet with JOHN DENMAN; music theory with Michael Rogers). Additional clarinet studies with William Gower, STANLEY HASTY, Stanley Shimana, HIMIE VOXMAN, and GEORGE WALN. Clarinetist: California State Univ-Fresno Faculty Woodwind Quintet; Clovis Chamber Orch (Principal: current); has also performed with the Fresno and Greeley Phils, the Fort Collins and Oklahoma Symphs, and the Fresno Lyric Opera. Active as an intl recitalist (incl perfs at the Oklahoma Clarinet Symposium, throughout the U.S., and in England, Japan, and Mexico) and chamber musician (incl perfs with the Orpheus Chamber Ensemble). Faculty member: California State Univ-Fresno (Clarinet/Sax/Dir of Univ Clarinet Choir: 1987-, +/-). Other positions/activities: NACWPI State Chair, CA (1989-); Founder, West Coast Clarinet Congress (2000); Yamaha Artist; Rico Artist. Plays on: Yamaha YCL-951 clarinet; Rico Grand Concert Thick Blank reeds. Students include: Andrew Seigel, Justin Stanley. Miles Ishigaki, founder of the West Coast Clarinet Congress, credits LOREN BARTLETT and DAVID ETHERIDGE with shaping him as a musician and teacher. Ishigaki gained a unique perspective on clarinet performance through his studies with Bartlett, an exceptional woodwind specialist and teacher. Clarinetist, pedagogue, and author Etheridge provided a model for Ishigaki’s pedagogical style. Ishigaki was also influenced by his studies with English/adopted-American clarinetist John Denman. In addition to his clarinet activities, Ishigaki has also learned much from music theorist Michael Rogers with whom he has collaborated on a project entitled, “Inspired Accidents: The reciprocal relationship between the teaching of musical performance and analysis.” Bib: Ishigaki, Miles M. Electronic mail to the author. March 18, 2005; “Miles M. Ishigaki.” California State University-Fresno. http://www.csufresno.edu/music/faculty_staff/ishigaki.shtml (accessed March 7, 2011); “Musical Chairs.” The Clarinet 15 (November/December 1987): 62.

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Jackson, Bil. B. June 13, 1960 (Fulton, MO). HS studies at Interlochen Arts Acad (1974-78) with FRANK KOWALSKY. Undergrad studies at Northwestern Univ (1978-80) with ROBERT MARCELLUS. Additional clarinet studies with LEON RUSSIANOFF and GEORGE SILFIES. Clarinetist: Honolulu Symph (Principal: 1980-82); Aspen Chamber Symph (Principal: 1980-); Colorado Symph (formerly Denver Symph; Principal: 1982-, +/-); Pittsburgh Symph (Principal: formerly, 1994+); has also performed as Principal Clarinet of the Cincinnati Symph and Minnesota Orch. Active as a recitalist (incl perfs at ICA conferences, and perfs/recordings of classical, contemporary, and jazz music with pianist Bill Douglas), soloist (incl perfs with the Charlotte, Colorado, Denver, Honolulu, and Midwestern Music and Art Symphs, and the Dallas Chamber Orch, Greeley Phil, Missouri Orch, and Aspen Festival Orch), chamber musician (incl perfs with the American and Miami String Quartets, the Lincoln Center Chamber Music Society, Emanuel Ax, Ida Kavafian, David Shifrin, Eugenia Zukerman, et al), festival artist (incl participation at the Aspen, Australian Chamber Music, BRAVO!, Chamber Music Northwest, Music From Angel Fire, and Sunflower festivals), and recording artist (on the Golden Crest Records, Hawaii Records Inc, Hearts in Space, and Marco Polo labels). Premiere perfs incl ’s Clarinet Concerto with the Honolulu Symph (1989), commissioned by Jackson and the Honolulu Symph. Faculty member: Univ of Northern Colorado (1990s-, +/-); Aspen Music Festival (current); Duquesne Univ (formerly, 1995, +/-); has also taught at Univ of Colorado and Univ of Texas. Other positions/activities: Co-Artistic Dir, Alpenglow Chamber Music Festival (current); Yamaha Artist; active as a clinician and creator of internationally-marketed reed machine. Memb: ICA. Hon: Three-time Winner, Interlochen Arts Acad Concerto Compt; Recip, Interlochen Arts Acad Gold Medal for overall musicianship; Winner, Milwaukee Young Artists Compt; Winner, Intl Clarinet Compt (1975, 1976); Finalist, Intl Clarinet Compt-Prague (1981). Students include: Wendy Bickford, Nophachai Cholthitchanta, Jared Davis, Susan Fo, Heike Gazetti, Susan Govier, Jason Gresl, JONATHAN GUNN, Chantal Hovendick, Jean Johnson, Erica Manzo, DAVID MINELLI, Lauren Miner, MARK NUCCIO, GREGORY OAKES, Daniel Paprocki, Timothy Phillips, Jeremy Reynolds, Kariann Voigts, Jun Watabe, Krista Weiss. Plays on: Yamaha “G” series clarinets. Bib: “Bil Jackson.” University of Northern Colorado. http://www.unco.edu/arts/music/music_ faculty/jackson.html (accessed March 7, 2011); “Jackson, Bil.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 285; “Musical Chairs.” The Clarinet 22 (May/June 1995): 50; “University of Northern Colorado School of Music.” The Clarinet 17 (February/March 1990): 44.

Jahn, Theodore Lee. B. June 12, 1939 (Spokane, WA); d. Sept. 28, 2001. BM: Oberlin Coll (1961) with GEORGE WALN; MA(Woodwind Ped): Ohio State Univ (1964) with DONALD MCGINNIS; DM(Woodwind Perf): Indiana Univ (1975) with HENRY GULICK and BERNARD PORTNOY; additional studies at the Mozarteum-Salzburg with Alois Heine. Former clarinetist: American Wind Symph (Principal: 1964-66); Augusta Symph-GA (Principal: 1981-82); Macon Symph-GA (Principal: 1994-1998+); Georgia Woodwind Quintet; also performed with the Symph and Cobb Community Orch. Was active as an intl recitalist (incl 1987 London debut at St. John’s Smith Square, perfs at numerous ICA conferences, and the conferences of the Intl Society for Mus Ed, IDRS, MENC, MTNA; also performed in Austria, Brazil, and Uruguay), soloist (incl perfs with the Athens and Macon Symphs and the Cobb Community Orch), chamber musician (incl perfs with the Georgia Woodwind Quintet in Helsinki, North Wales, Rotterdam, and Washington D.C.), festival artist (incl participation at the North Wales Music Festival), and recording artist (incl a recording with the Georgia Woodwind Quintet on the ACA label, and of the Badings Pittsburgh Concerto with the American Wind Symph on RCA Custom Recordings). Performed on all woodwind instruments and piano. Former faculty member: Bemidji State Coll (Instructor of Woodwinds: 1964-67); Univ of Georgia (Prof/Woodwind Dept Chair: 1967-98+). Articles/reviews published in The Clarinet. Other positions/activities: Treas, ICA (1988-92); was active as an adjudicator, arranger (incl numerous works for clarinet ensembles), clinician, and scholar (area of special interest: the C clarinet). Memb: ClariNetwork, ICA, MENC, NACWPI.

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Played on: Buffet clarinets (late 1950s); Frank Kaspar mouthpieces; Vandoren reeds (primarily). Students include: KRISTINA BELISLE, Susan Dinwiddie, Patricia Ewing, Alex Fields, Andy Harwood, TOD KERSTETTER, Kris Plummer, Lanie Radecke, David Roth, Laura Stanley, Don Suder. As a clarinetist, woodwind doubler, and pianist, it is not surprising to learn that Theodore Jahn cited his Oberlin piano professor, John Elvin, as his most influential music teacher. Nor is it surprising, with his varied musical background, that Jahn believed that one should “try to be a fine musician, not just a fine clarinetist.” (Jahn/Paddock 1998) Jahn was an admirer of the qualities of the C clarinet and wished that the instrument was performed on more often. Bib: Jahn, Theodore. “Repertoire for the C Clarinet.” The Clarinet 16 (May/June 1983): 24; Jahn, Theodore, to Tracey Paddock, Tallahassee, FL, June 5, 1998; “Jahn, Theodore Lee.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 288; Kerstetter, Tod. “In Memoriam: Theodore ‘Ted’ Jahn.” The Clarinet 29 (December 2001): 46; Klug, Howard. “In Memoriam – Theodore L. Jahn.” The Clarinet 29 (March 2002): 86.

Jenken, William. Native of Alberta, Canada. Clarinet studies with MICHAEL BORSCHEL and RONALD DE KANT. Clarinetist: Vancouver Symph (Asst Principal/Bass: 1989-98); Baltimore Symph (Second: 1998-); has also performed with the Edmonton and Thunder Bay Symphs, Orch London, and Symph Nova Scotia. Active as a soloist (incl perfs with the Baltimore Symph and Chamber Orchs), chamber musician (incl broadcast perfs with Curio on CBC radio), and private clarinet instructor. Bib: “Musician Biography.” Baltimore Symphony Orchestra. http://www.bsomusic.org/main.taf?p=4,4,1,1&id= WilliamJenken (accessed March 7, 2011).

Jenner, Charles. Native of England. Former clarinetist: Los Angeles Phil (Clarinet/Bass: 1919- 23; Sub: 1920s-30s, +/-). Former faculty member: Hollywood HS (Dir of Band/Orch). Other positions/ activities: Jenner left the Los Angeles Phil to pursue a career in public school education; it was during this portion of his career that he taught MITCHELL LURIE. Played on: Boosey & Hawkes clarinets. Students include: MITCHELL LURIE. Bib: Waln, George. “Relaxed Concentration: An Interview with Mitchell Lurie.” The Instrumentalist 32 (January 1978): 55-61.

Jennings, Vance Shelby. B. Aug. 10, 1925 (Oklahoma City, OK). Early clarinet studies with J.B. “Chic” Rounds, Jr.; HS clarinet studies with OAKLEY PITTMAN; undergrad studies begun at Univ of Oklahoma with ROBERT ROSS. BM/PerfCert: Eastman SOM (1950) with RUFUS MONT AREY; MME: Univ of Mississippi (1952); Cert: Conservatoire Americain (1957) with Marcel Jean (sax studies with Andre Bauchy, Daniel Duffayet, and Marcel Mule); DME: Univ of Oklahoma (1972). DME diss: “Selected Twentieth Century Clarinet Solo Literature: A Study in Interpretation and Performance.” Additional woodwind studies with Charles Bolen, Frank Stalzer, and Hugo Marple. Former clarinetist: Oklahoma City Symph (1941-43; 1946-48); 423rd A.S.F. Band-Europe (Principal: 1945); The “G.I.” Symph (Second); Florida Gulf Coast Symph (now Florida Orch; Charter Memb/Principal: 1948-50); Wichita Symph (Principal: 1953-67); Tampa Phil (Second: 1967-68); has also performed as Principal of the St. Petersburg Symph and Municipal Band, and Sunshine City Concert Band. Has been active as a recitalist (incl perfs at numerous schools/univs, at the Allison’s Wells Artist Colony, and at the Conservatoire Americain), soloist (incl perfs with the Brevard, Joplin, and Wichita Symphs, the U.S. Army “Eisenhower” Band, Eastman-Rochester Symph, 313th/316th Army Combined Bands, Wichita Municipal Band, and ensembles of Univ of Oklahoma, Univ of Mississippi, Wichita State Univ, Univ of South Florida, and Florida Southern Coll), chamber musician, and saxophonist. Currently active (post- retirement) as a free-lance clarinetist/saxophonist in the Tampa Bay, FL area (incl perfs with the Melody- Booth and Shades of Blue Orchs). Faculty member: Univ of Mississippi (Instructor of Woodwinds/Asst Dir of Bands: 1950-53); Wichita State Univ (Asst Prof of Clarinet/Sax: 1953-67); Univ of South Florida (Prof of Clarinet: 1967-90; Prof Emeritus: 1991-; also served as Chmn of Dept of Music, Asst Dean of Coll of Fine Arts, and Dir of Grad Music Studies). Articles published in two books and in Bandwagon, Kansas Music Review, Mississippi Notes, Music Educators Journal, NACWPI Bulletin/Journal (incl a series of woodwind columns), The Instrumentalist, The International Musician, and Woodwind World. Other positions/activities: active as an adjudicator, arranger (works published by Kendor Music, Co.), clinician, and conductor (incl perfs at MENC conventions); has also held offices and/or board memberships with AFM-Tampa Bay, Florida ASOM, CMEA, ICA, NACWPI, and Phi Mu Alpha Sinfonia;

156 served for many years in the U.S. Army (active and Reserves; incl active duty during WWII; retired as a Lieutenant Colonel) and National Guard. Memb: AFM, CMS, Florida ASOM, Florida Bandmasters Assn, Florida CMEA, ICA, Kappa Delta Pi, MENC, MTNA, NACWPI, Phi Delta Kappa, Phi Mu Alpha Sinfonia (Life Alumni Memb). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet 19 (Summer 1955): 14, and as a “Significant Clarinet Teacher” in Cecil Gold’s Clarinet Performing Practices and Teaching in the United States and Canada (1972); listed in Who’s Who in Greater Wichita (1963), Who’s Who in the South and Southwest (1971-72), and International Who’s Who in Music (1988); Chapter Honorary, Kappa Kappa Psi, WSU (1963); Radio Station WDAE-Tampa’s “Business Man of the Day” (1975); FL Bandmasters Assn Dedicated Service Award (1996). Plays on: Buffet R-13 clarinets; Kaspar (Ann Arbor) mouthpiece (GIGLIOTTI facing); Vandoren reeds. Students include: James Anderson, John Carmichael, Roger Coppenbarger, BRUCE DINKENS, JACK GRAHAM, David Green, Ron Howell, Robert Jones, Dale Kennedy, Michael Lomax, Eldridge Martin, Robert Moon, J. BRIAN MOORHEAD, Brian Ross, John Sumrall, Max Tromblee, Harold Worman, James Slutz, Donald Story. Vance Jennings commented,

I always have been grateful for my early experiences. While in the eighth grade, I was “discovered” by James Neilson, the band director at Oklahoma City University, and became a member of his college band. I played my first professional engagement with the Oklahoma (City) Symphony during my junior year in high school and remained associated with that orchestra for four years although there was a gap because of my military service.

I have always focused on tone production, correct articulation, and sense of musical phrasing. To me, good tone is essential to beautiful playing. Technique, while important, is always second to a beautiful tone. I always teach the French “stopped” staccato, and stress a good sense of the musical phrase line, especially in Romantic music. Otherwise, historical performance practices should be observed. (Jennings/Paddock 1998)

Bib: Jennings, Vance S. “America’s Clarinetists and the Development of American Symphonic Clarinet Playing.” Woodwind World 11 (February 1972): 6; Jennings, Vance S., to Tracey Paddock, Tallahassee, FL, July 10, 1998; “Jennings, Vance S.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 830; “Jennings, Vance Shelby.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 291.

Jernigan, Gary. Clarinetist: Atlanta Symph Orch (Clarinet/Bass: 1960s, +/-).

Johnson, Corliss Lee. B. Nov. 2, 1943 (Hutchinson, KS). BM/MM: Kansas State Teachers Coll (1965/1966); DM: Univ of Colorado (1972). Clarinetist: KS State Teachers Coll Woodwind Quintet (1965-66); The New Ensemble for Clarinet and Percussion (1974-77); Wind Power Ensemble (1979-85+). Active as a recitalist, soloist, chamber musician, and jazz musician. Faculty member: South Dakota State Univ (Prof of Clarinet/Sax: formerly, 1972-2000+; Prof Emeritus: current; also served as Dir of Jazz Activities, Assoc Dir of Bands, and Head of Music Dept). Articles published in South Dakota State Collegian. Other positions/activities: ICA State Chmn, SD; active as an adjudicator, clinician, composer (incl film scores and other works), and conductor. Memb: ICA, NAJE, SD Bandmasters Assn. Hon: featured in Robert Merrick’s article, “South Dakota Composers,” in South Dakota Musician (Spring 1985); listed in Who’s Who in American Music (Classical), 1985 edition; Recip, F.O. Butler Award for Excellence in Teaching and Creative Activities; Recip, Phi Kappa Phi Faculty Lecture Award; Recip, Phi Beta Mu Distinguished Service Award. Students include: ANI BERBERIAN. Bib: “Corliss Johnson.” South Dakota State High School Activities. http://sports.sdpb.org/archive/0506/finearts/chorus/ awards.htm (accessed March 7, 2011); “Johnson, Corliss, Lee.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 293.

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Johnson, Edward. May have studied clarinet with STANLEY HASTY. Active as a soloist (incl a perf at “The Hasty Festival,” 1980) and composer, specializing in avant-garde music. Hon: Winner, 1978 Gaudeamus Interpreters Compt. In a review of “The Hasty Festival,” a celebration held by Hasty students and admirers (c.1980), clarinetist MICHAEL WEBSTER offered the following commentary on Edward Johnson’s playing:

In performing avant-garde works by William Albright and himself, Ed showed that there is more to performing than musicianship. With his uncommon stage presence and flair for the dramatic, Ed seems to be musician, actor, philosopher and all rolled into one. (Webster 1980, 29)

Bib: Webster, Michael. “The Hasty Festival.” The Clarinet 7 (Summer 1980): 29.

Johnson, Howard. B. 1925 (Ashland, WI). Clarinet studies with SIMEON BELLISON. Former Principal Clarinetist: Denver Symph; Civic Orch of Chicago; Cavallo Symph Band; Indianapolis Symph (1946-57+).

Johnson, Kelly A. B. Nov. 22, 1970 (San Pedro, CA). BME: Central Missouri State Univ (1993) with RUSSELL COLEMAN; MM(1995)/DM: Arizona State Univ with ROBERT SPRING; additional studies at Interlochen Arts Camp (with SIDNEY FORREST, 1989) and the Natl Orch Instit (1995). Clarinetist: Mesa Symph (Sub Principal: 1994-97); Conway Civic Orch (1997-98); Arkansas Symph (Principal: 1997-). Active as a recitalist (incl perfs at ClarinetFest 1998 and 1999), soloist (incl perfs with CMSU and ASU ensembles), chamber musician, festival artist (incl participation at the Mainly Mozart Festival, 1996, 1997), and recording artist (appears on the Koch Intl label on ROBERT SPRING’s recording, Dragon’s Tongue, and on her own recording, Clarinet Unlimited, 1999); also plays bassoon, piano, and sax. Faculty member: Mesa Community Coll (Adj: 1995-97); Scottsdale Community Coll (Adj: 1995- 97); Univ of Central Arkansas (1997-, +/-); Hendrix Coll (Adj: 1998+); Arkansas Tech Univ (Asst Prof of Clarinet: 1999-). Articles published in The Clarinet. Other positions/activities: active as an adjudicator and clinician. Memb: CMS, ICA, NACWPI, Pi Kappa Lambda, Sigma Alpha Iota. Hon: Governor’s Scholar, Interlochen Arts Camp (1989); Warrensburg Area Teachers Assn Schol (1991); Mary Elizabeth Clinton Orch Instruments Schol (1992); Hazel Van Deursen Memorial Schol, Sigma Alpha Iota (1992); Distinguished Scholar Award, CMSU (1989-93); Miles Dresskell Memorial Award (1993-94); Natl Finalist, MTNA Compt (1993, 1995); Grad Teaching Assistantship, ASU (1993- 95); Regents Schol, ASU (1993-96); Winner, ASU Concert of Soloists Compt (1994); Outstanding Grad Perf Student, ASU (1994); Selectee, Preparing Future Faculty Program, ASU (1995-97). Plays on: Buffet R-13 clarinets; Scott barrel; PYNE PK mouthpiece; Vandoren V-12 reeds. Bib: Johnson, Kelly. “An Interview with John Mohler.” The Clarinet 23 (May/June 1996): 36-38; Johnson, Kelly A., to Tracey Paddock, Tallahassee, FL, May 29, 1998; Johnson, Kelly and Lisa Oberlander. “ClarinetFest ’95: The Hot Place to Be.” The Clarinet 23 (November/December 1995): 26-32; “Kelly Johnson.” University of Central Arkansas. http://www.uca.edu/music/facultystaff/kjohnson.php (accessed March 7, 2011); “Musical Chairs.” The Clarinet 25 (November/December 1997): 84; “Musical Chairs.” The Clarinet 26 (September 1999): 90.

Johnson, Richmond. Native of Phoenix, AZ. Piano studies begun at age 4; clarinet studies begun at age 8. BM/MM(1966): Arizona State Univ with JACK RATTERREE. Clarinetist: Phoenix Symph (1966-68; 1976-). Extra-musical activities: sports car/car racing enthusiast and Mazerati owner. Johnson’s career with the Phoenix Symphony was interrupted when he was called for service in the U.S. Army during Vietnam. Bib: “Richmond Johnson.” Phoenix Symphony. http://www.phoenixsymphony.org/ artists/orchestra_members/johnson.aspx (accessed March 7, 2011).

Johnson, Theodore. BM: DePaul Univ with JEROME STOWELL. Clarinetist: Grant Park Symph (1949); Ravinia Festival Orch (1949); Kansas City Phil (1951-58); Kansas City Lyric Opera (Principal: 1957-58); Santa Fe Opera/Chamber Music (Principal: 1957-60); Cleveland Pops (Principal: formerly); Cleveland Orch (Second/E-flat: 1959-95); Cleveland (1983-93); Cleveland Orch

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Woodwind Quintet (1985-95); Youngstown Symph (1999); Cleveland Ballet (1999-2000); Akron Symph (2000); Canton Symph (formerly, 2000+); Venner Ensemble (Founder/Memb: current); has also performed with the Chicago Symph. Active as an intl recitalist/soloist (incl perf with the Ft. Wayne Summer Symph), chamber musician (incl perfs with above ensembles and the Martinu String Quartet), and festival artist (incl participation at the Casals Festival, 1970-75). Faculty member: Cleveland IOM (1960-96); Cleveland Music School Settlement (1960-96); Case Western Reserve Univ (1960-96); Akron Univ (1970-75); Cleveland State Univ (Prof of Clarinet/Dir of Clarinet Choir: 1982-); Kent/Blossom School (1990-95); Baldwin Wallace Coll (1995-96); has also taught at the Kansas City Conserv and in Kansas City, KS schools. Other positions/activities: active as a mouthpiece craftsman. Students include: ARTURO CIOMPI, KIMBERLY COLE-LUEVANO, Jennifer Connor, KAREN DANNESSA, Gunnard Doboze, Karen Fisher, Louis Gangale, KENNETH GRANT, Thomas Josenhans, ELIZABETH CRAWFORD, Randy Klein, LARRY PASSIN, Tracy Phillips, MELANIE RICHARDS, James Stahl, Amy Stralka- Larson, Eric Tishkoff. Bib: Johnson, Theodore. “Theodore Johnson.” T. Johnston. http://www.johnson clarinetmp.com/ (accessed March 7, 2011).

Johnston, Daniel. Native of Coalport, PA. Grad: Eastman SOM (1962) with STANLEY HASTY. Clarinetist: Buffalo Phil (Second/E-flat/Principal: formerly, for 20 yrs, c. 1970s-90s). Active as a festival artist (incl participation at the New Hampshire Music Festival). Published in The Clarinet. Other positions/activities: active as a clinician/lecturer and as a respected mouthpiece craftsman (known for his innovative mouthpiece design featuring asymmetrical rails). Students include: Kathleen Costello, Alice Meyer, Crystal Proper. The Martins article (see Bib below) is highly recommended for more insight into Johnston’s mouthpiece work. Bib: Johnston, Dan. “Clarinalysis: To Grunt or Not to Grunt.” The Clarinet 25 (February/March 1998): 14-15; Martins, David. “The Craft of Mouthpiece Making: A Profile of Dan Johnston.” The Clarinet 22 (July/August 1995): 34-36.

Johnston, Stephen Keith. B. Oct. 7, 1941 (Evansville, IN). BME(cum laude): Univ of Evansville (1963) with WESLEY SHEPARD; MM/DM: Univ of Maryland (1967/1972) with NORMAN HEIM; additional studies at Indiana Univ. DM diss: “The Clarinet Concertos of .” Additional clarinet studies with IGNATIUS GENNUSA, Earl Kilgour, BARRY WYMAN. Former clarinetist: Evansville Phil; Prince Georges Phil; Potomac Symph; Millbrook Orch; Winchester Chamber Orch. Active as a recitalist (incl perfs at the German Embassy and Virginia Museum, for the Coolfont Arts Foundation, and at NACWPI conferences), soloist (incl perfs with the Evansville Phil, Shenandoah Symph, U.S. Air Force Band, and Univ of Evansville Symphonic Band), and chamber musician (incl perfs with the Van Buren Quintet and Camerata Ensemble, perfs throughout the U.S. and Europe, and perfs at the Kennedy Center and Friday Morning Music Club-Washington D.C., and at MENC and NACWPI conferences), and recording artist; broadcast perfs given on Virginia Public Television. Faculty member: Evansville, IN (1963-65) and Prince Georges County, MD (1967-68, 1971-72) Public Schools; Univ of Evansville Prep SOM (1963-65); Montgomery Coll (Adj Instructor: 1967-69); Shenandoah Univ (Clarinet/Conductor of Symphonic Band and Clarinet Choir: formerly, 1972-2000+). Articles/reviews published in Clarinet Choir News International, NACWPI Journal, Northern Virginia Daily, The Clarinet, The Podium, The Winchester Star, and Woodwind World Brass & Percussion; DM diss (“The Clarinet Concertos of Louis Spohr”) cited in Spohr article in New Grove Dictionary of Music and Musicians. Other positions/activities: active as an adjudicator, administrator (incl chair and actg Dean positions at Shenandoah Conserv), clinician, composer/arranger (works published by Norcat Music and Shawnee Press), conductor, and lecturer; very actively involved with MENC (incl work as a clarinetist, conductor, and lecturer at conventions, and as a contributor to the Selective Music Lists) and NACWPI (has held several offices incl Pres). Memb: CASS, CMS, ICA, MENC, NACWPI. Hon: Univ of MD Diss Fellowship (1971); Shenandoah Faculty Lectureship (1979, 1981); Shenandoah Univ Faculty Development Grant (1983, 1985-88, 1993); Phi Mu Alpha Sinfonia Orpheus Award (1986); Anna Lee Van Buren Endowed Chair in Clarinet, Shenandoah Univ (1988); Sears-Roebuck Foundation and Foundation for Independent Colls Excellence in Teaching and Campus Leadership Award (1991); James R. and Mary Wilkins Faculty Appreciation Award (1996). Plays on: Buffet R-13 clarinets; BAY barrels; HITE J&D mouthpiece; B/Glotin “Revelation” ligature; Vandoren V-12 reeds.

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Students include: SCOTT BRIDGES, Sam Clauter, Susan Hungerford, Steve Lawson, John Piercy, John Romano, Marvin Western. Stephen Johnston commented,

Good clarinet performance is comprised first of beauty of the tone which is dark, focused, centered, and controlled, with just enough brilliance for adequate carriage. The tone is also consistent in all registers and at all dynamic ranges. Good tone production is also conducive to integrity of intonation. Fluidity of technique and rapidity and clarity of articulation in a variety of styles are also factors of refined clarinet playing. These and other aspects of clarinet performance are a part of clarinet pedagogy at every stage of the development of the student into a performer. (Johnston/Paddock 1998)

Bib: Johnston, Stephen Keith, to Tracey Paddock, Tallahassee, FL, August 24, 1998; “Stephen K. Johnston.” Woodwind World Brass & Percussion 15 (May 1976): 18.

Joiner, Richard. Clarinet studies at Eastman SOM with RUFUS MONT AREY (c.1930s) and in NYC with DANIEL BONADE. Former clarinetist: U.S. Marine Band; Natl Symph (Principal: 1941); St. Louis Symph (Principal: 1950s, +/-); Denver Symph (Principal: 1950s-70s, +/-). Active as a recitalist (incl perfs at ICA conferences), soloist (incl 1946 premiere of Milhaud’s Concerto with the U.S. Marine Chamber Orch), and chamber musician (incl perfs with the Hungarian, Juilliard, and Paganini String Quartets). Works written for Joiner incl several compositions by George Lynn. Has been active as a private clarinet instructor. Other positions/activities: Record Reviewer, The Clarinet (formerly); has been active as a lecturer/clinician (presentations given at ICA conferences). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet No. 15 (Spring 1954): 11. Students include: Bryan Aaker, Paul Bertagnolli, Art Brockmeyer, , Tom Griesser, ERIC MANDAT, Alice Meyer, Marcus Shelby, ANDREW STEVENS. Bib: “The Clarinetists of the Denver Symphony Orchestra.” The Clarinet 5 (Fall 1977): 30.

Jones, Frances. Clarinetist: Atlanta Symph Orch (1952-56, +/-).

Jones, George Morton. B. Jan. 8, 1929 (Evergreen, AL). BM(Mus Hist: with distinction)/Perf Cert/MM(Musicology: Valedictorian, with distinction): Eastman SOM (1951/1951/1953) with RUFUS MONT AREY; PhD(Musicology): NY Univ (1972); additional studies at Tanglewood (1952) and the Yaddo Festival (1952). Clarinetist: Rochester Phil/Pops/Civic Orchs (1950-54); Eastman-Rochester Orch (1950-54); Eastman Wind Ensemble (Principal/Founding Memb: 1952-54); Princeton Symph (Principal: 1954-64); Trenton Symph (Principal: 1956-63); Brunswick Chamber Players (1957-63); Princeton Opera Orch (Principal: 1960); Douglass Coll Woodwind Quintet (1969-79); Princeton Collegium Musicum (Principal/ Soloist: 1969-76); Princeton Cantata Ensemble (Principal: 1975); Natl Opera Orch (Principal: 1978); Garden State Symphonic Orch (Principal: 1982-91); Brunswick Symph (1991-); Princeton Chamber Players (1991-); has also performed as Principal Clarinetist of the Princeton Pro Musica. Active as a recitalist (incl 1973 Carnegie Hall solo recital and perfs at ICA conferences), soloist (incl perfs with the Eastman-Rochester Orch, Phi Mu Alpha Symphonette, Princeton Symph, and Collegium Musicum), chamber musician (incl perfs with above ensembles and in NYC and MA with Bethany Beardsley, STANLEY DRUCKER, and others), theater/opera musician (incl a 1978 perf of Wagner’s Tristan und Isolde at Carnegie Hall with the Natl Opera, and perfs on the “Plays in the Park” Series, 1982-91), and recording artist (on the Columbia, Gothic, Jovilla, and Mercury labels; on recordings with the Eastman Wind Ensemble, Rochester Phil, Eastman-Rochester Orch, Rochester Oratorio Society Orch, Princeton Symph, and Natl Opera Orch; on Douglass Coll, Princeton Univ, and Rutgers Univ recordings). Faculty member: David Hochstein SOM (Clarinet Instructor: 1950-54); Princeton Univ (Clarinet Instructor: 1954-76); Rutgers Univ’s Douglass Coll (Prof: 1954-82) and Mason Gross School (Prof: 1982-); Westminster Choir Coll (Lect: 1960-72; Clarinet Consultant: 1975). Author, Clarinet and Clarinetist (published by Douglass Coll Music Dept). Articles published in Musik in Geschichte und Gegenwart, Official Bulletin of the New Jersey Educator’s Association, and The Clarinet (incl 2 excellent articles on RUFUS MONT AREY listed in Bib below). Other positions/activities: Founder, Rutgers Univ Wind Ensemble and Brunswick Chamber Players; Founder/Dir, Rutgers Clarinet Ensemble and Douglass Coll Collegium Musicum; Pres, Natl Opera

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Workshop (1978-79); Secr/Vice Pres/Pres, Middlesex County Arts Council Board of Dirs (all between 1978-84); Founder/Chmn, Trinity Church Choir of Men, Boys, and Girls Alumni (1985); active as an administrator (incl positions as Chmn of Music Dept and Perf Convener of the Douglass Coll Music Dept, and on numerous committees), lecturer, bass vocalist (incl perfs with the Trinity Church Choir of Men, Boys, and Girls and other choirs), composer (incl works for clarinet and chamber ensembles), conductor (incl position with the Princeton Cantata Ensemble, 1975), and scholar. Memb: AMS, Associated Musicians of Greater NY, ICS, Renaissance Society of America, and organizations listed above. Hon: Rochester Prize Schol; Honorary Schol. Students include: JOHN CIPOLLA, ANTHONY PASQUALE. In addition to clarinet performance, George Jones has performed as a bass vocalist with several choir organizations. He has toured England and Europe with the Trinity Church Choir of Men, Boys, and Girls, and has served as conductor of the Princeton Cantata Ensemble. He also enjoys musicological research, composing chamber music, and performing with his daughter, cellist Katrina Marie Jones, and his former wife, pianist Arlene Jones. Bib: Jones, George. “The Artistry of Mont Arey (Part I).” The Clarinet 5 (Winter 1978): 6-18; Jones, George. “The Artistry of Mont Arey (Conclusion).” The Clarinet 6 (Fall 1978): 6-9; Jones, George M. to Tracey Paddock, Tallahassee, FL, June 1, 1998; “Jones, George Morton.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 296.

Jones, Kathleen. Early clarinet studies with Raymond Wheeler and JOHN MCMANUS. BM: Univ of Southern California with MITCHELL LURIE; MM: Northwestern Univ with ROBERT MARCELLUS; additional studies at Univ of Washington with WILLIAM MCCOLL (1970-72), Music Acad of the West (1972, 1973), and Tanglewood (1982). Additional clarinet studies with LEON RUSSIANOFF (1974-75) and CLARK BRODY (Summer, 1980). Clarinetist: Puerto Rico Symph (Principal: 1975-); Casals Festival Orch (Principal: June 1977, June 1980); Civic Orch of Chicago (1981- 82); Camerata Caribe (formerly, 1982-2000+); has also performed/recorded with the Chicago Symph. Active as a recitalist (incl perfs at Carnegie Recital Hall in 1977, at the 1984 Intl Clarinet Congress, and at ClarinetFest 1997), soloist (incl perfs with the Puerto Rico Symph), chamber musician (incl perfs with the Caribbean Camerata), and festival artist (incl participation at the Puerto Rico Clarinet Festival, the Olympic Music Festival, and the Casals Festival). Faculty member: Conserv of Music of Puerto Rico (Prof of Clarinet: formerly, 1975-2000+). Published in The Clarinet. Other positions/activities: Host/Founder, Puerto Rico Clarinet Festival. Hon: Rockefeller Foundation Stipend (in conjunction with the Contemporary Group for studies at Univ of Washington (1970-72); Tanglewood Fellow (1982). Bib: Jones, Kathleen. “Biography.” K. Jones. http://kklarinet.com/biography.php (accessed March 7, 2011); Jones, Kathleen. “Master Class.” The Clarinet 28 (March 2001): 4-8; Webster, Michael. “Tercer Festival de Clarinete Puerto Rico.” The Clarinet 26 (September 1999): 72-73.

Jones, Robert [“Woody”]. BM: Temple Univ; MM: Bowling Green State Univ; DM studies: Northwestern Univ. Clarinet studies with ANTHONY GIGLIOTTI, ROBERT MARCELLUS, and RUSSELL DAGON. Clarinetist: Columbus Symph Orch-OH (Second/E-flat: 1990-,+/-); has also performed as Principal Clarinetist of the Jacksonville Symph and as Second Clarinetist of the Omaha Symph. Active as a recitalist/soloist (incl perfs at ClarinetFest 1998). Faculty member: Ohio State Univ (formerly); Capital Univ (formerly); Miami Univ (formerly); Otterbein Coll (current); Denison Univ (current). Bib: “Robert Jones.” Denison University. http://www.denison.edu/academics/departments/ music/faculty/robert_jones.html (accessed March 7, 2011).

Jones, Robyn. BM: Indiana Univ with HOWARD KLUG; MM: Florida State Univ with FRANK KOWALSKY; DM: Univ of Minnesota with BURT HARA and JOHN ANDERSON; additional studies with her father, Robert Jones (not the same R. Jones listed above). Clarinetist: Louisiana Phil (Principal: current); has also performed with the Minnesota Orch, New York and Fort Wayne Phils, the Nashville and Honolulu Symphs, and the Civic Orch of Chicago. Active as a recitalist (incl perfs at ICA conferences) and chamber musician (incl perfs with the Luzerne Chamber Players and membs of the Philadelphia Orch). Faculty member: Luzerne Music Center (Summers, 2000-, +/-); Tulane Univ (current). Students include: B.J. Perez III. Bib: “Robyn Jones.” Louisiana Philharmonic. http://www.lpomusic.com/?q=Orchestra/ Musician/RobynJones (accessed March 7, 2011).

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Jones, W. James. B. Aug. 1, 1938 (Youngstown, OH). BM/BSE/MA(Mus Ed): Ohio State Univ (1960/1960/1962) with DONALD MCGINNIS and ROBERT TITUS; PhD: Univ of Iowa (1970) with HIMIE VOXMAN. Clarinetist: Florida Symph (1960); Cedar Rapids Symph (Principal: 1963-64); Wichita Symph (Principal: 1969-); Lieurance Quintet (1969-); Music Theatre of Wichita (Woodwinds: 1971-90); Wiedemann Trio (Clarinetist/Founder: 1991+); has also served as Guest Principal Clarinetist with the Wheeling and San Diego Symphs. Active as a recitalist (incl perfs at ICA conferences and the 1987 Oklahoma Clarinet Symposium), soloist (incl perfs with the Rogue Valley and Wichita Symphs and Camerata Musica), chamber musician (incl perfs at Carnegie Recital Hall, Merkin Hall, the Library of Congress, the Phillips Gallery, and the American Instit-Graz, Austria; perfs given throughout Europe with the Lieurance Quintet), festival artist (incl participation at the Harvey Music Festival and Lake City Chamber Music Festival), and recording artist (on the Soundspells and Summit labels). Faculty member: Cornell Coll (Adj Instructor of Woodwinds: 1962-63); Univ of Tennessee- Martin (Instructor: 1964-65); Arkansas Polytechnic Coll (Asst Prof of Woodwinds: 1965-69); Wichita State Univ (Prof of Clarinet: 1969-). Articles/reviews published in Kansas Music Review, Music Journal, The Clarinet, The Instrumentalist, and The Woodwind Anthology. Other positions/activities: Founder/Board Memb, Wichita Clarinet Society (1990-); Chamber Music Reviewer, The Clarinet (1992-); Founder/Music Dir, Harvey Music Festival (1995-); active as an adjudicator (incl judging for the 1986 ClariNetwork Young Clarinetist Compt and the 1991 ICA Young Clarinetist Compt), administrator (incl service on numerous WSU committees and involvement in fundraising/recruiting activities), arranger, and woodwind coach (incl work with the Wichita Youth Symphs). Memb: AMEA, ClariNetwork, CMS, ICA, KMEA, KMTA, MENC, MTNA, Pi Kappa Lambda, Wichita Clarinet Society. Hon: Natl Federation of Music Clubs Award for the Promotion of American Music to the SOM (1976, 1983, 1987); KS Governor’s Award for the Arts (with Lieurance Quintet, 1988); Stephen Paul Wunsch Foundation Grant (1991); Gordon Evans Foundation Grant to sponsor KS Arts Week (1992); WSU Coll of Fine Arts Faculty Award for Creative Activity (1992); favorable review of recording appears in The Clarinet (see NICHOLS in Bib below). Plays on: Howarth clarinets; Borbeck mouthpiece #13; Vandoren #5 reeds. Students include: WESLEY DESPAIN, RICHARD FLETCHER, Charisse Graves, Sinclair Hackett, Jason Lacey, TED LANE, WILLIAM NICHOLS. Bib: Jones, W. James, to Tracey Paddock, Tallahassee, FL, June 9, 1998; Nichols, William. “Audio Notes.” The Clarinet 24 (July/August 1997): 16.

Joste, Fred. Clarinetist: Kansas City Phil Orch (1938, +/-).

Jungerman, Mary. BM/MM: Univ of Houston with JEFFREY LERNER; DM(Clarinet Perf/Mus Hist)/PhD(Modern German Lit): Univ of Colorado-Boulder; additional studies in Germany with . Additional clarinet studies with DANIEL BONADE in France (after his retirement) and with PASQUALE CARDILLO, MITCHELL LURIE, and Walter Boeykens. Clarinetist: Columbine Chamber Players (Founder/Memb: 1977-); “3 of 3” Perf Art Trio (Founder/Memb: current); has performed with the Center City and Houston Grand Operas and the Colorado and Greeley Symphs, and as Principal Clarinetist of the Boulder Phil and Colorado Ballet. Active as an intl recitalist (incl perfs at ICA conferences), soloist (incl perfs in the U.S. and Germany), chamber musician (incl perfs with above groups, the Sonora Chamber Ensemble, and the Walden Chamber Music Society), festival artist (incl participation at the Colorado Music Festival), recording artist (incl recordings for Swedish Radio, and on the Owl label with the Columbine Players), perf artist, and specialist in the perf of early and contemporary music. Faculty member: Northern Michigan Univ (formerly; 1970s, +/-); Rocky Mountain School of Musical Arts (current); has also taught at the Univs of Colorado, Houston, and Wyoming, and the Orpheus SOM-TX; active as a private clarinet instructor. Articles published in The Clarinet. Other positions/activities: Editorial Assoc, The Clarinet (1970s+); also plays Native American . Extra-musical interests incl writing poetry and creating visual art (drawing, pastels, water colors). Hon: Fulbright Grant for study of contemporary music in Germany (1969-70); Charles Ives Award for the Perf of Contemporary Music, Univ of Houston (1972). Bib: Jungerman, Mary. “The Single-Reed Music of Karlheinz Stockhausen: How Does One Begin?” The Clarinet 27 (December 1999): 52-57; “Mary Jungerman.” Walden Chamber Music Society. http://www.waldenchambermusic.org/musicians.html (accessed March 7, 2011).

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Kaenzig, Monica (Setnicar). B. Feb. 8, 1961 (Waukegan, IL). BME: Western Illinois Univ with GEORGE TOWNSEND; MS: Univ of Illinois with HOWARD KLUG; additional studies at Music Acad of the West (1985, 1986) with GEORGE SILFIES. Clarinetist: St. Louis Symph (1987-94); Los Angeles Phil (Second/E-flat: 1994-). Active as a recitalist (incl perfs at ICA conferences), soloist (incl perfs with the Music Acad of the West Orch and the Los Angeles Phil), and recording artist (incl recordings with the St. Louis Symph on the Angel/EMI and RCA labels and with the Los Angeles Phil on the Sony label; also appears on the ClarinetFest ’95 CD). Faculty member: Long Beach State Univ (current); active as a private clarinet instructor/chamber coach. Memb: AFM, Amnesty Intl, ICA. Hon: winner of various coll concerto compts. Plays on: Buffet clarinets (B-flat/A); Buffet RC E-flat clarinet with Robert Scott barrel; Vandoren metal ligatures; Vandoren #4 reeds. Students include: Mark Dover, Cassandra Fox-Percival, Arnel Ignacio, Phillip Paglialonga, Lisa Raschiatore, Jeremy Reynolds, Raymond Santos, Jennifer Showalter, Lisa Takeuchi. Monica Kaenzig attributes her success in great part to her clarinet teachers GEORGE TOWNSEND, HOWARD KLUG, and GEORGE SILFIES. Her advice to young clarinetists is to

Find your own voice on the clarinet. Don’t be too hard on yourself or others. Have a clear concept of tone and phrasing. (Kaenzig/Paddock 1998)

To this she added,

If an orchestral career is one’s goal, it could help one’s chances of landing a job if he/she were willing to play a position other than Principal. One might find that he/she has a talent for something else besides principal – and may even enjoy another “chair,” and add something positive to the orchestra and clarinet section. . . . (Ibid.)

Kaenzig concludes with a humorous bit of wisdom:

Drink Guinness, but not too much – it’s very filling. (Ibid.)

Bib: “Monica Kaenzig.” Los Angeles Philharmonic. http://www.laphil.com/philpedia/artist- detail.cfm?id=347 (accessed March 8, 2011); Kaenzig, Monica (Setnicar) to Tracey L. Paddock, Tallahassee, FL, July 9, 1998; “Musical Chairs.” The Clarinet 21 (July/August 1994): 45.

Kaiser, Henry. Clarinetist: NY Symph (formerly). Active as a clarinet instructor during the early 1900s, +/-. Students include: BURNET C. TUTHILL.

Kalina, David. Clarinetist: Natl Symph Orch (Clarinet/Bass: 1955-60). Active as a chamber musician and recording artist (incl perf as bass clarinetist on an MGM recording of Schoenberg’s Pierrot Lunaire with clarinetist DONALD LITUCHY).

Kanoff, Steven. Native of CA. Clarinet studies with Yona Ettlinger (in London), MITCHELL LURIE, and Thomas Friedli (at Switzerland’s Geneva Conserv). Active as a recitalist (incl perf at Merkin Concert Hall), soloist (incl perfs and/or recordings with the Los Angeles Phil, Hannover Radio Phil, London Symph Orch, and Orchestre de la Suisse Romande), chamber musician (incl several recordings), and recording artist (on the Academy Sound & Vision and Doron Music labels). Works written for Kanoff incl Berio’s Lied (1983). Faculty member: Music Conserv of Geneva (Asst Prof: 1990s, +/-). Hon: Pro Musicis Intl Award (1980); listed in Who's Who in American Music (Classical), 1985 edition; favorable review of perf appears in The Clarinet (see WONG in Bib below) and the New York Times (March 28, 1984). Has played on: Buffet R-13 clarinets; Mitchell Lurie mouthpiece, ligature, and #4 reeds. Students include: David Boumeeszer. Bib: Boumeeszer, David. “RE: Mozart Clarinet Concerto Recordings.” The Clarinet BBoard. http://test.woodwind.org/clarinet/BBoard/read.html?f=1&i=32540&t=32540 (accessed

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March 8, 2011); “Kanoff, Steven.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 301; Wong, Bradley. “Audio Notes.” The Clarinet 22 (July/August 1995): 17.

Kanter, Ben. D. late 1990s. Father of JAMES KANTER. Clarinet/sax studies with ROSARIO MAZZEO (1930-33). Was active as an orchestral clarinetist/saxophonist, studio/recording artist, and jazz musician (incl perfs as First Sax with BENNY GOODMAN) in Boston, NYC (incl perfs as solo clarinetist of Gershwin’s Rhapsody in Blue with Gershwin at the piano), and Los Angeles (incl work with the CBS network). Students include: Wes Brown, DONALD CARROLL, JAMES KANTER. Bib: Brown, Wes. “RE: Glissando in ‘Rhapsody in Blue.’” The Clarinet BBoard. http://test.woodwind.org/clarinet/BBoard/ read.html?f=1&i=34422&t=34422 (accessed March 8, 2011).

Kanter, Debra. B. July 24, 1955 (Torrance, CA). BM: California State Univ-Fullerton with KALMAN BLOCH and GARY GRAY; MM: Yale Univ with CHARLES RUSSO and KEITH WILSON. Clarinetist: Pacific Symph (formerly, 1985-1998+); Opera Pacific (formerly, 1987-1998+); Hollywood Bowl Orch (1991-95). Faculty member: Central Connecticut State Coll (1981); California State Univ- Northridge (1992-95). Plays on: Peter Eaton clarinets; JIM KANTER “D” facing mouthpiece; LUYBEN ligature. Students include: Riki Levaton, Charlie Suriyakham, Brian Walsh. Bib: Kanter, Debra, to Tracey L. Paddock, Tallahassee, FL, August 10, 1998.

Kanter, James. B. Apr. 29, 1943 (Glendale, CA). Son of BEN KANTER. BA: California State Univ-Northridge with DOMINICK FERA. Additional clarinet studies with MERRITT BUXBAUM, BEN KANTER, ALBERT KLINGLER, RICHARD LESSER, and MITCHELL LURIE. Clarinetist: Santa Barbara Symph (Principal: 1968-82); San Luis Obispo Mozart Festival Orch (Principal: 1975-91); Pacific Symph (Principal: formerly, 1985-98+); Hollywood Bowl Orch (Principal: 1991-95); has also performed with the Bolshoi, Kirov, Paris Opera, and NYC Ballet Orchs. Active as a chamber musician (incl perfs with the Pacific Symph Chamber Players), festival artist, recording artist (appears on recordings with the Hollywood Bowl Orch, Los Angeles Chamber Orch, and Pacific Symph) and Los Angeles studio musician (has been featured on more than 1000 motion picture/television soundtracks incl: As Good As It Gets, Benny and Joon, E.T., Mulan, Nine Months, Titanic). Faculty member: Univ of California-Santa Barbara (1969-87); Univ of California-Irvine (1977- 78); California State Univ-Northridge (1978-90). Other positions/activities: active as a respected mouthpiece craftsman (for James Kanter Mouthpieces, 1975-91) and clinician. Memb: AFM, CMA, NARAS, The Recording Musicians Assn. Hon: Outstanding Clarinetist Award, NARAS-Los Angeles Chapter (1984, 1985, 1986). Plays on: Peter Eaton Intl model clarinets (B-flat/A); Buffet R-13 E-flat clarinet; Buffet Prestige bass clarinet; Selmer E-flat contra-; Leblanc B-flat ; all with James Kanter mouthpieces. Students include: EMILY BERNSTEIN, Gary Corrin, Peter Forman, Sandra McPherson, Clarence Padilla, John Paulson, Steven Roberts, HAKAN ROSENGREN. In addition to his playing career, James Kanter has also been active as a mouthpiece craftsman with such accomplished clients as MICHAEL BORSCHEL, EDDIE DANIELS, JAMES DEATON, DOMINICK FERA, Wesley Foster, JOHN FULLAM, ROGER GARRETT, GARY GRAY, OLIVER GREEN, TODD KUHNS, LORIN LEVEE, REBECCA RISCHIN, HÅKAN ROSENGREN, DAVID SHIFRIN, MICHELLE ZUKOVSKY, and many others. On performing Kanter comments,

We must be musicians who play clarinet, not clarinetists who are musicians. The music must come first. A listener should be first aware of the ideas being expressed, not merely clarinet playing. (Kanter/Paddock 1998)

Bib: “Introducing the James Kanter Clarinet Mouthpiece.” Advertisement in The Clarinet 4 (Fall 1976): 25; Kanter, James, to Tracey L. Paddock, Tallahassee, FL, May 17, 1998.

Karlin, Mark B. B. Apr. 5, 1951 (Newark, NJ). BM: New England Conserv (1976); additional studies at Music Acad of the West (1972) and Tanglewood (1973, 1974). Clarinet studies with PETER HADCOCK, MITCHELL LURIE, LEON RUSSIANOFF, and FELIX VISCUGLIA. Active as a festival

164 artist (incl participation at the Marlboro Music Festival, 1976, 1977). Faculty member: Coll of the Holy Cross (Vstg Prof: 1983-85+). Other positions/activities: scholar on the subject of the clarinet and mouthpiece designs of William Street. Hon: Listed in Who's Who in American Music, 1985 edition. Bib: “Karlin, Mark B.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 302.

Karnes, Leon. Clarinetist: Indianapolis Symph Orch (1937-41, +/-).

Kaufman, Marcellus S. Clarinetist: Baltimore Symph Orch (Bass: 1940-41).

Kavadlo, Eugene [Gene]. B. Panama City, FL. BME: Queens Coll; MM(with high distinction)/ Perf Cert: Indiana Univ with EARL BATES. Additional clarinet studies with AUGUSTIN DUQUES, ROBERT MCGINNIS, and JAMES PYNE. Clarinetist: Jacksonville Symph (Principal: 1972-75); Charlotte Symph (Principal: 1975-); Viva Klezmer! (Founder/Leader: 1984-). Active as a recitalist (incl perfs with Viva Klezmer! at ClarinetFests), soloist (incl perfs with the Charlotte Symph), festival artist (incl participation at the Spoleto and Aspen Music Festivals), and recording artist (with Viva Klezmer!). Faculty member: Jacksonville Univ-FL (1976, +/-); has also taught at Univ of North Carolina, Winthrop Univ, and Queens Coll. Published in The Clarinet. Other positions/activities: Rico Artist (formerly); active as an arranger and lecture recitalist (with Viva Klezmer!). Hon: 1st Annual Classical 89.9 Spencer Artist Award (co-recip with his wife, violinist Ali Kavadlo, for “dedicated work to enhance the community of arts in Charlotte.” Has played on: Buffet clarinets; PYNE mouthpiece; Olivieri and Rico reeds. Students include: Reece Manceaux, PETER WRIGHT. Bib: “Gene Kavadlo.” International Opus. http://www.international opus.com/cgi-bin/io.pl?mode=composer&composer=106 (accessed March 8, 2011); Kavadlo, Gene. “About the Writer…” The Clarinet 13 (Summer 1986): 13.

Kay, Alan R. B. Sept. 22, 1961 (Rochester, NY). BM/MM/Advanced Cert in Conducting: Juilliard; additional studies at Tanglewood (1987). Clarinet studies with CHARLES NEIDICH, LEON RUSSIANOFF, and MICHAEL WEBSTER. Conducting studies with Gustav Meier and Otto-Werner Mueller. Clarinetist: Riverside Symph (Principal: 1986-); Hexagon (1988-); Parnassus (1988-); Santa Fe Opera (Principal: 1992-95+); NY Wind Soloists (1993-); Orpheus Chamber Orch (current). Active as a chamber musician (incl guest artist perfs with the Chamber Music Society of the Lincoln Center, 1992-, and Da Camera of Houston, 1994-), festival artist (incl participation at the Santa Fe Chamber Music Festival, 1994-, the 1995 and 1998 Sebago Music Festivals, and the Cape May Music Festival), and recording artist (incl recordings with Hexagon on the Bridge Records label, and with Parnassus and NY Wind Soloists on the Arabesque label). Faculty member: Juilliard (Pre-Coll Div: 1985-92; SOM: 1992-); Manhattan SOM (1995-). Other positions/activities: Artistic Dir, NY Chamber Ensemble (1998-); active as an arranger (incl works for woodwind quintet published by Intl Opus) and writer (incl liner notes for above Hexagon recording). Memb: AFM, CMA. Hon: Winner, Juilliard Clarinet Compt (1981); C.D. Jackson Award, Tanglewood (1987); Winner (with Hexagon), Young Artists Intl Auditions (1988). Plays on: Buffet R-13 clarinets; Pomarico hard rubber –1 facing mouthpiece (no longer made); Rovner and BG fabric ligatures; Vandoren #4 reeds. Students include: Peter Anderson, Craig Buying, Val Feygin, Benjamin Fingland, David Griffiths, Won-Jin Jo, Andrew Leonard, Yuki Tei, Anna Temin. Alan Kay commented,

I preach a lighter set-up, more “free-blowing,” to enable the player to express him/herself with less “in the way.” I also encourage my students to learn as much non-clarinet music as possible and to seek out lesser-known repertoire. My general approach is musical -- phrasing, harmony, expression – with technique as an important tool to achieve great musicianship. (Kay/Paddock 1998)

He offered the following advice to clarinet students:

Don’t focus on clarinet repertoire only! Listen to all 16 Beethoven String Quartets, for example. As a young player, look for unusual ensemble repertoire to play with your colleagues and contemporary music for your recitals. (Ibid.)

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Bib: “Alan R. Kay.” Manhattan School of Music. http://www.msmnyc.edu/catalog/facbio.asp? fid=1008173123 (accessed March 8, 2011); Kay, Alan R., to Tracey L. Paddock, Tallahassee, FL, July 11, 1998.

Keberle, David. B. Wausau, WI. BME/BM(Comp): Indiana Univ with EARL BATES; MM(Comp): New England Conserv; PhD(Comp/Theory): Univ of Pittsburgh; additional studies at the American Acad of Rome (incl clarinet studies with WILLIAM O. SMITH). Additional clarinet studies with JOSEPH ALLARD. Comp studies with Bernard Heiden and DONALD MARTINO. Active as an intl clarinet/bass clarinet recitalist (incl 16 years as a freelance clarinetist/composer in Rome; has performed in North and South America, Europe, and Asia), soloist, chamber musician, and recording artist (on the BMG- Ariola, EDI-PAN, and New Albion labels; has also recorded at IRCAM and for Italian Natl Radio), specializing in extended clarinet technique. Faculty member: Coll of State Island (current). Other positions/activities: Founding Memb, Electravox (Rome-based, live electronics perf group, formerly); very active as a composer (incl Serenata for clarinet and bass clarinet; premieres of his compositions have been given by RICHARD STOLTZMAN, Ida Kavafian, the Pittsburgh Symph Horn Quartet, et al, and at Merkin Hall). Hon: Recip, Fulbright Grant for study in Rome (1980); Recip, Astral Career Grant from Natl Foundation for the Advancement of the Arts; PA Partners in the Arts Award; Recip, A.W. Mellon Fund’s Individual Artist Grant; Recip, several Meet the Composer Awards, and fellowships from the MacDowell and Millay Colonies; favorable review of recording appears in The Clarinet (see Bib). Bib: “David Keberle.” College of Staten Island. http://www.csi.cuny.edu/faculty/KEBERLE_DAVID.html (accessed March 8, 2011); Whaley, Dawn Ellen. “Record Review.” The Clarinet 18 (February/March 1991): 50.

Keil, Sidney. Clarinetist: Pittsburgh Symph (Clarinet/Bass/E-flat: 1943-45). Active as a recording artist (incl recording of Schoenberg’s Suite, Op. 29 on the Period label).

Kell, Reginald Clifford. B. 1906 (York, England); d. Aug. 5, 1981 (Frankfort, KY). Early clarinet studies with George Davis; advanced studies at the Royal Acad of Music (1929-31) with Haydn Draper. Former Clarinetist: Harrogate Opera Orch; White Rose Band of York (Principal); Royal Phil Orch (Principal: 1931-32); London Phil Orch (Principal: 1932+); Modern Wind Quintet (1934+); London Symph Orch (Principal: 1930s-40s); BBC Salon Orch (Principal: late 1930s-1942); Liverpool Phil (Principal: 1942-45); Ensemble (Founder: mid-1940s+); Clarilyn Sextet (Founder: mid-1940s+); Philharmonia Orch (Principal: mid- to late-1940s); The Kell Chamber Players (1950s, +/-); also performed as Principal Clarinetist of London’s Royal Opera House Orch. Was active as an intl recitalist, soloist (incl perfs with the Royal Phil, London Phil, London Symph, BBC Salon Orch, Bath Festival Orch, et al), chamber musician (incl perfs with the Modern Wind Quintet, the Busch, Philharmonia, and Willoughby Quartets, and several small ensembles founded by Kell for BBC broadcasts), theatre musician, jazz musician, festival artist (incl participation at the Aspen Music Festival and as Principal Clarinetist of the Intl Festival of Music-Lucerne), and recording artist (on the Decca and Testament labels; also made one jazz recording); numerous broadcast chamber music/solo/recital perfs given on BBC. Faculty member: Royal Acad of Music (1935-40s, +/-); Mannes Coll of Music (late 1940s-50s, +/- ); Aspen Music Festival (1951-57, +/-); Monterey Community Coll (1967-69, +/-). Author of numerous, clarinet-related publications, methods, and studies (published by Intl Music Co. and Boosey & Hawkes). Other positions/activities: Educational Dir, C. Bruno Co. (1959-66); Board Memb, Boosey & Hawkes Band Instrument Div (1959-66); was also active as an adjudicator (incl judging for the 1938 Intl Woodwind Compt-Vienna), clinician, composer (incl his famous Staccato Studies), conductor (incl position with the Municipal Concert Band of Scarborough, Yorkshire, UK), designer of clarinets (through Boosey & Hawkes) and clarinet mouthpieces (through Boosey & Hawkes and Babbitt and Co.), and painter (one of his works, which were known as “music sketches,” appeared on a 1982 cover of ClariNetwork). Hon: Recip, Honorary Dipl of Assoc of the Royal Acad of Music (A.R.A.M.); selected as Principal Clarinetist of the BBC Salon Orch, a group of 16 musicians representing the best of England, for the purpose of continuing music broadcasting during WWII. Played on: Hawkes & Son clarinets; A. Warrell mouthpiece. Students include: Harrison Birtwistle, LEON BREEDEN, Georgina Dobrée, BENNY GOODMAN, Jose Ferrer, , Peanuts Hucko, Keith Puddy.

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Although Reginald Kell was born in England, where he lived for many years, he is considered by many to be an adopted American clarinetist, having settled permanently in the U.S. from 1975 until his death in 1981. Prior to 1975, Kell had moved back and forth between England and the U.S. several times. Ultimately, 33 years of his life were spent in the U.S. Within two years of picking up the clarinet for the first time at the age of fourteen, Kell began playing professionally with various ensembles in and around York, England. Shortly after beginning studies at the in London, Kell landed his first major position as Principal Clarinetist of the Royal Philharmonic Orchestra, followed one year later by his appointment as Principal Clarinetist of the newly-formed London Philharmonic Orchestra in 1932. In 1935, Kell was appointed to the faculty of the Royal Academy of Music. In the years leading up to and following World War II, Kell held posts as Principal Clarinetist of the London Symphony Orchestra, the BBC Salon Orchestra, the Liverpool Philharmonic, and the Philharmonia Orchestra. During this period Kell was also active as a recitalist, soloist, chamber musician, and recording artist. He was one of sixteen of England’s finest musicians selected to perform as part of the BBC Salon Orchestra, an ensemble created to continue the broadcasting of music during World War II and to keep up British morale. This group of England’s most highly-regarded English musicians was regarded as a “national treasure,” (Sclater, March 2001, 62) and was very popular. Kell gave numerous broadcast performances on BBC with this group as well as with other post-war chamber ensembles founded by Kell. Kell’s pilgrimages to America were instigated by various disappointments experienced in England. Although Kell was at the height of his orchestral career in the late 1940’s, he felt that England was restraining him musically. Once established as an orchestral clarinetist, Kell had broken with English clarinet tradition by incorporating vibrato into his playing. He observed that the clarinet was the only woodwind instrument to not use vibrato, and further that the use of vibrato could enhance musical expression. This sentiment was not universally shared, and Kell felt that what he thought to be an English clarinet tradition of embracing individuality and individual expression was no longer the case. Kell suspected that America would offer more latitude and so moved with his family to New York in 1948. Once in the U.S., Kell was offered the position of Principal Clarinetist of the Boston Pops by conductor Arthur Fiedler. Kell did not take the position, however, as he was no longer interested in orchestral playing. Instead, Kell performed frequently as a recitalist, soloist, and chamber musician and made several recordings with The Kell Chamber Players. Kell’s free, expressive style of playing, though also found to be somewhat controversial in the U.S., positively influenced numerous young clarinetists of the day, including STANLEY DRUCKER, BENNY GOODMAN, GARY GRAY, TED HEGVIK, MEYER KUPFERMAN, R. DENNIS LAYNE, RALPH WILLIAMS, among others. In time, Kell became disenchanted with musical life in the U.S. and returned to England where he resumed his teaching duties at the Royal Academy of Music in 1958. During his return stay in England, Kell performed frequently as a recitalist and chamber musician, but decided to end his playing career permanently in 1959. The Kell family returned to the U.S. in 1959, and Kell devoted the remainder of his clarinet-related career to the design and manufacture of clarinets and mouthpieces, and to educational endeavors and writing. Kell’s life and career is thoroughly chronicled in James Sclater’s series of articles, “Reginald Kell – Clarinetist Without a Country,” in The Clarinet (see Bib below). This series is highly recommended. Kell’s style of playing was controversial both in England and the United States during his lifetime. He had both fervent admirers and opponents (the latter of whom were mostly clarinetists). While the use of vibrato in clarinet playing was a heated issue in the 1940s and 1950s, its use is more acceptable today, although not considered appropriate in every musical setting. Some find it musically beneficial to utilize vibrato in chamber settings involving strings as it promotes a better blending of sounds. Once the issue of vibrato is dismissed, one is left with Kell’s freedom of expression in performance, the special trait that set Kell apart from others. As STANLEY HASTY pointed out in one of the Sclater articles below, he could cover his eyes and listen to Kell’s playing and know exactly who was playing. Bib: Sclater, James. “Reginald Kell – Clarinetist Without a Country, Part I.” The Clarinet 28 (March 2001): 58-63; Sclater, James. “Reginald Kell – Clarinetist Without a Country, Part II.” The Clarinet 28 (June 2001): 34-39; Sclater, James. “Reginald Kell – Clarinetist Without a Country, Part III.” The Clarinet 28 (September 2001): 58-63; Sclater, James. “Reginald Kell – Clarinetist Without a Country, Part IV.” The Clarinet 29 (December 2001): 40-45.

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Keller, Harry. B. 1909 (NYC); d. 1969 (Angwin, CA). Grad: Juilliard; Columbia Univ. Clarinet studies with SIMEON BELLISON and JAN WILLIAMS. Former clarinetist: The Lucille Norman Show, KNX-Los Angeles (Soloist: late 1930s, +/-). Former faculty member: Oklahoma A & M Univ; Pacific Union Coll (1963, +/-); was active as a private clarinet instructor in CA. Other positions/activities: was active as an arranger (incl instrumental solos, string quartets/quintets, and jazz charts, many arranged for unusual combinations). Memb: Phi Beta Kappa. Played on: Buffet and Selmer clarinets. Students include: Matt Utal. Although Harry Keller’s name is not known to many clarinetists, he was known to have possessed “a technique of diabolical proportions.” (Josias 1989, 57) In his article on Keller, Conrad Josias theorized that part of the reason for Keller’s lack of recognition was that he was ahead of his time, or in Josias’s own words, “Born Thirty Years Too Soon.” Josias described Keller as

. . . an extraordinary musician who aspired to a concert-hall career as a soloist long before the notion of classical concerts built around wind instrumentalists became acceptable to promoters and audiences. . . . his talents were devoted, in large part, to performing virtuoso violin literature on the clarinet from the original violin scores. . . . [in] the obsessive belief that the existing solo literature for the clarinet did little to explore the potential of the instrument. (Ibid., 56)

In his performance of virtuosic works written for other instruments, Keller would play directly from the score, transposing not the solo part, but the accompaniment, even if he had to transpose an entire orchestral score worth of parts. So driven to succeed in his career as a soloist was Keller that during the 1930s, he hired an orchestra and recorded a number of these solo works with the Jewel Recording Company; this project to launch his career was financed by Keller alone. Due to complications involving the musicians’ union, the recordings were never released and their whereabouts are unknown. In spite of his ongoing disappointment with the recording fiasco and with various phases of his career, Keller eventually became a well-respected teacher and performer in California. In time Keller grew to embrace more traditional works for the clarinet and his solo and chamber performances in the Napa Valley region of California during the 1960’s received favorable reviews in several publications. The article by Conrad Josias, the author’s sole source of information on Harry Keller, is fascinating and highly recommended. Bib: Josias, Conrad. “Born Thirty Years Too Soon: Just Who Was Harry Keller, And What Made Him So Outrageous?” The Clarinet 16 (February/March 1989): 56-58.

Keller, Oscar. Clarinetist: Philadelphia Orch (1902-04).

Kelly, . Grad: Northwestern Univ with LARRY COMBS; Univ of Southern Mississippi with LeRoy Johnston and WILBUR MORELAND; DM: Univ of Illinois with J. DAVID HARRIS; additional studies at the Instit of Chamber Music. Former clarinetist: Opera Orch of Bellas Artes (1980s); Mexico City Phil (1980s); State of Mexico Symph (1980s); Musica da Camera; has also performed with the Champaign-Urbana, Danville, and Illinois Symphs, Zweigrosenoper, Mineria Opera, and Ohio Light Opera. Active as a recitalist/soloist (incl perfs with above orchs), chamber musician (incl perfs with Aircraft, and throughout the U.S. and Mexico), festival artist (incl participation at the AIMS, Cervantino, and Sewanee Festivals, and the Classical Music Seminar), and recording artist (on the Innova label). Faculty member: West Carolina Univ (formerly); Southeastern Louisiana Univ (formerly, 1998+); Univ of New Orleans (Clarinet/Piano Accompanist: current); has also taught at Loyola Univ. Articles published on the Online Clarinet Resource. Other positions/activities: Co-Writer/Organizer, Latin American Music Now (1995) and Wisconsin Alliance Festival and Conference (1996); active as a conductor (incl current position with the Greater New Orleans Youth Orch); actively involved in musical exchange between the U.S. and Latin America (projects incl Tapestry: New Music From Mexico and the United States, to commission/ record works from both countries for clarinet, violin and bass). Extra-musical interests incl gourmet cooking, nature, reading, and tennis. Memb: Phi Beta Delta. Hon: Recip, Summer Research Grant, WCU (1996) and other research grants; favorable review of recording appears in The Clarinet, Sequenza 21, and 21st-Century Music. Plays on: Buffet Elite clarinet; GREG SMITH 1* mouthpiece; Vandoren V-12 #3½ and #4 reeds. Students include: Rahni Kennedy, Ana Ramírez. Bib: “Dr. Frankie J. Kelly.” University of New Orleans. http://www.music.uno.edu/faculty/fkelly.cfm (accessed March 8, 2011).

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Kelly, Joseph. Grad: Curtis IOM (1934). Clarinetist: Baltimore Symph (1943-45; may also have served as Principal). Bib: “Curtis Alumni Since 1924.” Curtis Institute of Music. http://216.158.58.59/about-curtis/history/full-alumni-listing/view-by-instrument.html (accessed March 8, 2011).

Kerstetter, K. Tod. BM: Furman Univ with ROBERT CHESEBRO; MM: Indiana Univ with EARL BATES, JAMES CAMPBELL, and HENRY GULICK; DM: Univ of Georgia with THEODORE JAHN; additional studies at the American Instit of Musical Studies-Graz, Austria. Additional clarinet studies with Alois Brandhofer, LARRY COMBS, and RICHARD WALLER. Clarinetist: American Wind Symph (Principal: formerly); Filarmónica del Bajío-Mexico (Principal: 1988-89); Bowling Green/Western Symph (Principal: 1994-, +/-); Owensboro Symph-KY (Second: 1994-, +/-); The Western Arts Quintet; also performs with the Charleston, Huntsville, Nashville, and Savannah Symphs. Active as a clarinet/sax recitalist (incl perf at ClarinetFest 1998), soloist (incl perfs with the Nashville Chamber Orch and Western Kentucky Univ Wind Ensemble), chamber musician, and recording artist. Faculty member: Western Kentucky Univ (Asst Prof of Clarinet/Sax: formerly, 1994+); Kansas State Univ (current). Published in The Clarinet. Other positions/activities: active as an arranger/editor (for Carl Fischer and Prairie Dawg Press). Memb: ICA, Kentucky MEA, Kentucky MTA, MENC, MTNA, NACWPI, North American Sax Alliance. Students include: ROBERT CHESEBRO, Mac Knight, Kim Miller, Mary Margaret Smith. Bib: Kerstetter, K. Tod. “The Clarinet Music of .” The Clarinet 24 (July/August 1997): 38; “Dr. Tod Kerstetter.” Kansas State University. http://www.k-state.edu/music/kerstetter (accessed March 8, 2011).

Kireilis, Ramon J. B. June 25, 1940 (Urbana, IL). BME/MM: Univ of North Texas (1964/1964) with LEE GIBSON and KEITH MCCARTY; DM: Univ of Michigan (1967) with WILLIAM STUBBINS. Additional clarinet studies with Thea King and Hans Stalder. Clarinetist: Denver Symph (Utility Clarinet/Sax: 1967-88); Colorado Springs Symph (Principal: 1972-); Central City Opera (Principal: 1974-77); Colorado Festival Orch (Principal: 1978); Da Capo Woodwind Quintet (1982-89); Opera Colorado Festival (Principal: 1983-98); has also performed with The Colorado Quintet (Founding Memb), Viva Brass, and the Colorado Clarinet Choir. Active as an intl recitalist (incl perfs at numerous ICA and CASS conferences, at the Univ of Northern Colorado, the Academie Internationale D’ete-Belgium, and the Rocky Ridge Music Center, on the Baltic Society Chamber Music Series-Boston, MA, and throughout the U.S. and Europe), soloist (incl perfs with the Arapahoe, Aurora, and Colorado Springs Symphs, the Bad Reichenhall, Centennial, and Prague Phil Orchs, and the Brussels Radio Orch), chamber musician (incl perfs with the Moscow and Prague String Quartets, the DaVinci Quartet, and the Da Capo Woodwind Quintet), festival artist (incl participation at the Aspen Clarinet Festival, Helmsley Festival, Opera Colorado Festival, and Prague Spring Festival), and recording artist (numerous recordings on the Desto, Owl, Roncorp, and Spectrum labels); broadcast perfs given on television (incl a perf on Natl Educational Television’s “Insight” program, 1967) and radio (on KCME- Colorado Springs, KCFR-Denver, KRCC, Radio , and WUOM-Ann Arbor). Premiere perfs incl Morton Subotnick’s Passages of the Beast and works by Daniel Breeden and David Olan. Faculty member: Owendale-Gagetown HS’s, MI (1964-65); Eastern Michigan Univ (Instructor: 1965-67); Univ of Denver (Prof: 1967-); Academie Internationale D’ete-Belgium (1980); Rocky Ridge Music Center (Artist/Faculty: 1992-). Numerous articles/reviews published in The Clarinet, The Instrumentalist, NACWPI Journal, Woodwind World, and other music journals. Other positions/activities: Exec Dir/Artistic Advisor, Intl Clarinet Congress (1967-85); Founder/ Admin Dir, Intl Clarinet Compt (1972-83); Founder, ICS (now ICA; 1973); Pres, ICA (1973-78); Designer, ICA logo (1975) and the clarinet design for The Clarinet and ICA officers’ stationery; has served as Special Contributing Editor and Book/Music Reviewer for The Instrumentalist; active as an adjudicator (incl judging for ICA Clarinet Compts, the Concorso Internazionale S. Mercadante, the Seville Intl Clarinet Concours, and the Intl Clarinet Compt of Prague), administrator (incl many univ committee positions), clinician/lecturer (presentations given at numerous ICA and CASS conferences and at the 5th Annual Symposium of Lithuanian Artists-Chicago), editorial consultant (for Hal Leonard Publishing Co.), and student advisor; extra musical interests have included chess, record collecting, and sailing. Memb: AAUP, AFM, AMS, Colorado MEA, ICA, Kappa Kappa Psi, Lambda Chi Alpha, Leblanc MEA, Lithuanian American Community of USA-Colorado Chapter, MENC, NACWPI, Phi Mu Alpha. Hon: Winner, San Angelo Symph Contest (1963); Senate Research Grant, Univ of Denver (1979, 1983); featured in 2 articles (incl one cover appearance) in The Clarinet (1974, 1978); NEA Grant (1983);

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“Honorary Member,” ICA (1998); listed in Who’s Who in the West, Who’s Who in America, Dictionary of International Biographies, and The World’s Who’s Who of Musicians; numerous favorable reviews of perfs and recordings appear in The Clarinet and other publications. Plays on: Buffet R-13 clarinets; Kaspar (Cicero) mouthpiece; Vandoren reeds. Students include: Jeff Benedict, Kim Gast, Ben Goldberg, Pamelia Henderson, Chantal Hovendick, Sean Jones, Keith Oxman, Peter Petersen, Diane Pitzer-Jensen, Linda Shea. As founder and former President of the International Clarinet Society (now the International Clarinet Association), Ramon Kireilis has contributed enormously to the international clarinet community. Although his leadership in this capacity has been substantial in its own right, it is only the beginning of the list of ways in which Kireilis has distinguished himself. In a review of a recent Kireilis recording, American Clarinet, clarinetist MICHÈLE GINGRAS summarized:

. . . Kireilis’ contribution to the clarinet world is nothing short of spectacular. As a recording artist, he premiered several works, including Morton Subotnick’s innovative Passages of the Beast. An active author, he served a lengthy tenure as Contributing Editor to The Instrumentalist, and his substantial work early on with The Clarinet helped solidify its success. A professor of music at the University of Denver’s Lamont School of Music, Kireilis served 15 years as director of the International Clarinet Congress through which he founded the International Clarinet Competition and the International Clarinet Society. He served two terms as first president of the Society and regularly is invited to be a juror in many of the world’s most prestigious competitions. But most of all, his playing speaks for itself. He could be pegged as the poster child for the American “school” of clarinet playing. National and international critics praise his “devastatingly fine control,” “perfect command” and beautiful tone. (Gingras 1998, 79)

As a performer and teacher, Kireilis encourages the pursuit and recognition of the inner organization of musical phrasing to enhance one’s musical interpretation. A component of this philosophy is remembering that any barring in music – bar lines, bars over groups of notes, etc. – is for organizational and visual purposes; bar lines should not be an audible part of one’s performance. He commented:

When looking at a new piece of music for the first time, whether you are teaching or learning, it is important that the initial impression be one of groups and not of printed patterns. One must learn to look at the music differently than it is printed; that is, the music is read on the beat but played off the beat. (Kireilis/Paddock 1998)

Kireilis concluded:

An artistic interpretation in reality is created more by the artist’s mental conception of the work than by any technical devices he uses (providing he is faithful to the inherent qualities of the work). . . . Everything the composer has expressed on the printed page must be re-created exactly as shown. The grouping of notes does, however, bring out intrinsic, inspirational qualities that cannot be written, and assist the performer to conceive the work in a more artistic, moving and musical way. Such a conception of the composition can result only in a more inspired and aesthetically satisfying performance. (Ibid.)

Bib: Gingras, Michèle. “Reviews.” The Clarinet 25 (May/June 1998): 78-79; “Kireilis, Ramon.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: The Instrumentalist Co., 1992: 830; Kireilis, Ramon J., to Tracey L. Paddock, Tallahassee, FL, June 3, 1998; “Kireilis, Ramon J.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 313; Schoepflin, H. James. “About the Society President, Ramon Kireilis.” The Clarinet 1 (May 1974): 3; Stanek, Alan. “The History of the International Clarinet Association.” ICA. http://www. clarinet.org/history.asp (accessed March 8, 2011).

Kirkbride, Jerry E. B. Mar. 31, 1939 (Seattle, WA). Early clarinet studies with LAURENCE TREMBLAY, KALMAN BLOCH and ALBERT KLINGLER. BM: Univ of Southern California with

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MITCHELL LURIE; Dipl: Conservatorio di Santa Cecilia-Rome, Italy with Fernando Gambacurta; additional studies at the Accademia Internazionale di Musica Camera. Clarinetist: Metropolitan Opera Natl Co. (Principal: formerly, 1960s, +/-); Dorian Wind Quintet (1970-); Brooklyn Phil (Principal: 1980-86); Arizona Wind Quintet (1980s-; +/-); Arizona Opera (Principal: 1989-98). Has been active as an NYC freelance musician (1970-87), recitalist (incl perf at ClarinetFest 1998), soloist (incl perfs at the Desert Music Fest with the Festival Orch), chamber musician (perfs with the Dorian Quintet given throughout North and South America, Europe, and the Middle East), festival artist (incl participation at the Desert Music Fest), and recording artist (recordings with the Dorian Wind Quintet appear on the Columbia, CRI, Deutsche Grammophon, New World Records, Summit, and Vox labels). Faculty member: SUNY-Buffalo (Creative Assoc: formerly, 1960s, +/-); Univ of Arizona (Prof: 1987-). Published in Teaching Woodwinds. Other positions/activities: active as a music editor/arranger (incl many editions published by Intl Music). Memb: ICA. Hon: Fulbright Grant for study in Italy; featured in an interview in The Clarinet (see Bib below). Plays on: Buffet clarinets; MITCHELL LURIE Premium mouthpiece; Olivieri reeds. Students include: Wendy Mazon. Jerry Kirkbride commented:

It is assumed that the clarinetist has mastery of their instrument in terms of technique and sound. However, to become a true musical artist, the approach to the music the clarinetist performs must be at the highest musical level and at the service of the composer, not the performance. (Kirkbride/Paddock 1998)

Bib: “Jerry Kirkbride.” University of Arizona. http://web.cfa.arizona.edu/music/index.php/bio/? netid=jerryk (accessed March 8, 2011); Kirkbride, Jerry E. to Tracey L. Paddock, Tallahassee, FL, August 10, 1998; Leeson, Daniel. “An Interview with Jerry Kirkbride.” The Instrumentalist 30 (January 1976): 46- 52; “Musical Chairs.” The Clarinet 16 (November/December 1988): 88.

Kitt, Loren. B. July 8, 1941 (Bremerton, WA). HS clarinet studies with RONALD PHILLIPS. Dipl: Curtis IOM (1963) with ANTHONY GIGLIOTTI; additional studies at the Aspen Music Festival (1958) with EARL BATES. Clarinetist: Buffalo Phil (Second: 1965-66); Milwaukee Symph (Principal: 1966-69); Natl Symph (Principal: 1970-); American Chamber Players. Active as a recitalist (incl perfs at ICA and other clarinet conferences), soloist (incl a perf of the Copland Clarinet Concerto conducted by Copland and numerous perfs with the Natl Symph), chamber musician (incl perfs with the American Chamber Players, Chamber Music Society of Lincoln Center, the Manchester String Quartet, Theater Chamber Players of the Kennedy Center, and the 20th Century Consort), festival artist (incl participation at the 1976 Spoleto Festivals in Italy and South Carolina, and at the Bay Chamber Concerts Series in ), and recording artist (with the American Chamber Players and the Natl Symph on the Gasparo Records, Koch, and Smithsonian Records labels; also appears on the ClarinetFest ’95 CD). Premiere perfs incl Andreas Makris’s Intrigues for Clarinet and Orch (1993). Faculty member: Oberlin Conserv (Prof of Clarinet: 1969-70); Peabody Conserv (Prof of Clarinet: 1984-98); Univ of Maryland (Prof of Clarinet: 1997-). Other positions/activities: Yamaha Artist; Memb, Curtis IOM Alumni Assn Board of Dirs; active as a lecturer/clinician (incl participation at ICA conferences and the 1999 Univ of Maryland Clarinet Connection); extra-musical interests incl bridge, golf, and tennis. Hon: Winner, Grand Prix du Disque; favorable review of recording appears in ANTHONY GIGLIOTTI’s column, “The Orchestral Clarinetist,” in The Clarinet (see Bib below). Plays on: Selmer 10-G clarinets; GIGLIOTTI mouthpiece; Vandoren V-12 reeds. Students include: RONALD AUFMANN, Stephen Bates, DAVID BREEDEN, STEVEN COHEN, KYLE COUGHLIN, Phyllis Crossen-Richardson, David Drosinos, LORA FERGUSON, Debra Gardner, NANCY GARLICK, John Gottdiener, DORIS HALL-GULATI, Christopher Hite, FRANK KOWALSKY, Andrew Lesser, CRAIG NORDSTROM, ANTHONY PASQUALE, Tom Puwalski, Andrew Simons, Rie Suzuki, TIMOTHY TOPOLEWSKI, David Wetzel. Bib: Gigliotti, Anthony. “The Orchestral Clarinetist.” The Clarinet 27 (March 2000): 24-25; Grim, W. “Record Reviews.” The Clarinet 15 (May/June 1988): 52-53; Kitt, Loren. “The Clarinet Section of the National Symphony Orchestra.” The Clarinet 7 (Winter 1980): 29; Kitt, Loren, to Tracey L. Paddock, Tallahassee, FL, September 1998; Knepper, Noah A. “KlarFest ’81.” The Clarinet 9 (Fall 1981): 38-40;

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“Loren Kitt.” Kennedy Center for the Performing Arts. http://www.kennedy-center.org/explorer/artists/ ?entity_id=3590&source_type=AKitt,Loren (accessed March 8, 2011); “Makris’ Intrigues Premiered by Loren Kitt.” The Clarinet 20 (May/June 1993): 10; “Peabody Profiles.” The Clarinet 22 (November/ December 1994): 65; “The ClarFest ’82 Faculty.” ClariNetwork (April/May 1982): 6; “The 1979 International Clarinet Congress/Clinic.” The Clarinet 7 (Fall 1979): 8.

Klinger, William. B. June 18, 1929 (San Francisco, CA). BM/MM: Juilliard with DANIEL BONADE; additional music studies at Tanglewood; has also pursued studies in Labor Law. Clarinetist: Natl Ballet of Canada (Principal: 1958-59); Hurok Artists (Principal: 1958-61); Goldman Band-NYC (1958-65); Miami Phil (Principal: 1961-82); Ft. Lauderdale Symph (Principal: 1962-74); Miami Opera (Principal: 1962-74); Miami Symph/Chamber Symph (Principal: 1982-94). Active as a recitalist, soloist (incl perfs of the Copland, Finzi, Manievitch, Mozart, Shaw and other concertos in the U.S. and Europe), chamber musician, and recording artist; broadcast perfs given on public television. Faculty member: Univ of Miami (Prof of Clarinet: 1961-94). Other positions/activities: Vice Pres, Miami Federation of Musicians (formerly); Chmn, Miami Phil Players Committee (formerly, for 15 years); Exec Board Memb, Musicians Union (current); has been active for 35 years as a negotiator of collective bargaining agreements for symph orchs. Extra-musical interests incl golf and chess. Hon: recip of schols to Juilliard and Tanglewood. Memb: AAUP, AFM, ICA. Plays on: Buffet clarinets; BONADE mouthpiece and ligature; Charpen #4 reeds. Students include: Chiu Hang. On his principal teacher, DANIEL BONADE, William Klinger commented:

Without a doubt, Daniel Bonade was that rare combination of great artist who also was an outstanding teacher. Since he never had any children of his own, his students were his family. Early studies with him were extremely dogmatic, but after a fairly lengthy period of time things gradually relaxed and you became your own musician. As a person, I always found him to be warm and cordial with a good, although somewhat restrained sense of humor. (Klinger/Paddock 1999)

On musicianship, Klinger commented:

How many times has one gone to a concert and listened as the woodwind soloists sang on their instruments, but the clarinet left you cold? Is it because we clarinetists are more tuned into our instrument, or is it because the ability to “sing” on the clarinet is achieved only at the very highest level of artistry? The technical demands of the instrument are great and must be overcome, but there is so much more than just the notes. Beauty of sound and what is not on the printed page should be the ideal for all performers. (Ibid.)

Bib: Klinger, William, to Tracey L. Paddock, Alexandria, VA, February 26, 1999.

Klingler, Albert. D. Grad: Oberlin Conserv with GEORGE WALN. Additional clarinet studies with ROBERT LINDEMANN. Was active as a Hollywood studio musician (incl motion picture, radio, and television work), recording artist (incl 1963 recording on Century Records), and private clarinet instructor in the San Fernando Valley of CA. Students include: JAMES KANTER, JERRY KIRKBRIDE. Of his former teacher, Albert Klingler, JERRY KIRKBRIDE commented [capitals mine]:

In my last year of high school, I studied with AL KLINGLER, a student of LINDEMANN, who was a proponent of the German school of clarinet playing. . . . [I]t was the first time I had ever run across anyone who played or thought in that manner. Although I spent only six months to a year studying with Al, he had an enormous influence on me. . . . In fact, the only things I know today about reed work I know as a result of Al Klingler’s efforts. . . . He also spoke to me about breathing and long tones (while it’s true that everybody works on long tones, he taught me what to listen for). We liked each other a great deal and Al admired my potential. I would pay for an hour’s lesson and stay for three or four hours. (Leeson 1976, 46-47)

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Bib: Leeson, Daniel. “An Interview with Jerry Kirkbride.” The Instrumentalist 30 (January 1976): 46-47.

Klug, Howard. BME: Ohio State Univ; MA: Univ of Maryland (1974) with NORMAN HEIM. Additional clarinet studies ROBERT TITUS; DONALD MCGINNIS was also an important mentor and influence on Klug’s development as a clarinetist. Clarinetist: U.S. Air Force Band (Memb/Soloist: formerly); Fresno Phil (Principal: formerly); Bear Valley Festival Orch (Principal: formerly); Sinfonia da Camera (Principal: formerly); Indianapolis Chamber Orch (Principal: formerly); Trio Indiana (with JAMES CAMPBELL and ELI EBAN; early 1990s-); has also performed with the Chicago, Columbus, and Grant Park Symphs. Active as a recitalist (incl perfs throughout North and South America, Europe and Asia, and at numerous clarinet/music educator conferences), soloist (incl perfs with the Columbus Symph, Indiana Univ Symph Band, and U.S. Air Force Band, and at ClarinetFest 1998), chamber musician (incl perfs with the Chicago Ensemble, fourté, Illinois Trio, Illinois Woodwind Quintet, and Trio Indiana), and recording artist (appears on recordings with Trio Indiana; solo recording on the Riax label); has also performed as a flute/sax soloist. Premiere perfs incl Alfred Prinz’s Second Clarinet Concerto at ClarinetFest 1998 and Norbert Goddaer’s Cool Inventions at ClarinetFest 1999. Faculty member: Univ of Illinois (Prof: formerly, 1980s, +/-); Indiana Univ (Prof of Clarinet: 1989-; Woodwind Dept Chmn: current); has also held univ teaching positions in CA, NY, and VA. Author, The Clarinet Doctor Is In. Numerous articles published in The Clarinet, The Instrumentalist, NACWPI Journal, and other music journals. Other positions/activities: Pres, ICA (1992-94); Founder/Editor, Woodwindiana, Inc (current); Pedagogy Editor, The Clarinet (formerly, for 10 years); Artistic Dir, Belgian Clarinet Acad (current); Pyne/Clarion Artist; Rossi Artist; active as an intl adjudicator (incl judging for the 1998 ICA Young Artist Compt), clinician, and lecturer; extra-musical interests incl mountain biking. Hon: favorable reviews of recordings/perfs appear in The Clarinet (see Bib below). Has played on: Leblanc Opus clarinets; Luis Rossi clarinets (current); PYNE ~M and David McClune mouthpieces; Pyne #1+ barrel; Peterson-Pyne and BG (traditional, gold-plated) ligatures; Backun barrels and bells; Vandoren V-12 and regular #4 reeds; Buffet Prestige bass; Pyne bass mouthpiece; BG bass ligature; Vandoren #3½ bass reeds. Students include: GREGORY BARRETT, Michal Beit-Halachmi, , Jihoon Chang, Yi- Chun Chen, ROBERT CHESEBRO, MICHAEL CHESHER, Shannon Kiewitt Coleman, Nicholas Del Grazia, KIM ELLIS, Jennifer Everhart, NORMAN FOSTER, MICHAEL GALVÁN, Deborah Hanson- Gerber, JAREN HINCKLEY, ROBYN JONES, MONICA KAENZIG, William Kelly, Leigh Lafosse, Greta Loggins, Jorge Montilla, Leslie Moreau, Patrick Morgan, John Mula, Kevin Murphy, LISA OBERLANDER, Randy Salman, Gorgias Sanchez, Michael Sears, DAVID SHEA, Jeff Snavely, Anne Thurmond, TODD WALDECKER, TASHA WARREN, Chiao-hui Yang. Howard Klug is one of the most renowned and influential clarinet pedagogues of the twentieth century. Through his role as Pedagogy Editor of The Clarinet, his Clarinet Pedagogy course (at Indiana University), his popular Clarinet Doctor seminars, and clinics and master classes given worldwide, Klug’s clarinet wisdom has been widely disseminated and is held in the highest regard. In reading any of his multitude of articles on pedagogy, it is clear that Klug has thoughtfully analyzed every possible aspect of clarinet performance and has distilled the information into clear, concise language that can be digested and integrated by clarinetists of every level of development. Klug’s very useful series of “Clarinet Pedagogy” articles can be found in volumes 14 through 24 of The Clarinet journal. Klug’s current efforts in the area of clarinet pedagogy include his ongoing series of Clarinet Doctor seminars (for teachers and students), a summer seminar for students preparing for college auditions, and his roles as founder of and editor at Woodwindiana, Inc. Through his work with Woodwindiana, a music publishing house, Klug makes available an extensive selection of clarinet performance and teaching materials drawn from an international list of composers, thereby advancing the idea of a more global school of clarinet playing. In addition to his leadership in clarinet pedagogy and his excellent soprano clarinetistry, Klug is also well known for his bass clarinet playing ability, playing with as much agility and control on the larger instrument as on the smaller. He encourages the use of the clarinet choir and smaller clarinet ensembles as learning ensembles, and is active himself in this regard both as conductor of the Indiana University Clarinet

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Choir and as a member of Trio Indiana, a clarinet trio comprised of Klug and his Indiana University clarinet faculty colleagues, JAMES CAMPBELL, and ELI EBAN. Bib: “Howard Klug – Artist Profile.” The Clarinet 22 (July/August 1995): 41; “Indiana University School of Music: Clarinet Teaching Workshop.” Brochure for June 12-15, 2000 Session; Klug, Howard. “Biography.” H. Klug. http://www.howardklug.com/biography.html (accessed March 8, 2011); Klug, Howard. “Clarinet Pedagogy.” The Clarinet Vols. 14 No. 2 through Vol. 24 No. 1.

Koch, Gerhardt. BM/MM: Juilliard with AUGUSTIN DUQUES. Clarinetist: Musica Aeterna (formerly, for 12 years); New Jersey Symph (Principal: formerly); Martha Graham Dance Co. (Principal: formerly); Orch of St. Luke’s (1980-); NYC Ballet Orch (Principal: 1992-, +/-); has also performed with the New York Phil and Metropolitan Opera Orch. Active as a soloist (incl perfs with the NYC Ballet Orch) and recording artist (on the Columbia, MusicMasters, Nonesuch, RCA, and Vox CRI labels). Hon: favorable review of perf appears in The New York Times (Jan. 12, 1995). Students include: Robert De Bellis. Bib: “Gerhardt Koch, Clarinet.” Orchestra of St. Luke’s. http://www.oslmusic.org/about-us/ chamber-ensemble/chamber-musicians/52-gerhardt-koch (accessed March 8, 2011).

Koehler, George. Clarinetist: Minneapolis Symph Orch (1907-15, +/-).

Kolsky, Allan. B. Providence, RI. Early clarinet studies with PASQUALE CARDILLO and Frank Marinaccio. BM(summa cum laude): Temple Univ with ANTHONY GIGLIOTTI; MM(with distinction): DePaul Univ with LARRY COMBS; additional studies at Tanglewood. Clarinetist: Civic Orch of Chicago (formerly); South Bend Symph (Principal: formerly); New Orleans Symph (Actg Principal: 1990-91); Louisiana Phil (Founding Memb/Second/E-flat: 1991-97+); Utah Symph (formerly); Syracuse Symph (Principal: current); has also performed with the Glimmerglass Opera. Active as a chamber musician (incl perfs with fellow LPO clarinetist JOHN REEKS as a memb of the chamber group “Amadeus and Friends”) and festival artist (incl participation at the Sarasota, Skaneateles, and Colorado Music Festivals). Faculty member: Univ of New Orleans (formerly, 1997, +/-). Other positions/activities: has served on various LPO committees (incl the Marketing, Strategic Planning, Personnel, and Finance Committees) and as an elected officer (incl positions on the Exec Committee and as Treas). Extra-musical interests incl American literature, writing, Cajun cooking/dancing, chess, hiking. Hon: Tanglewood fellowship. Has played on: Buffet R-13 clarinets; LARRY COMBS LC1 and GIGLIOTTI P-facing mouthpieces; GIGLIOTTI ligature; Vandoren V-12 #5 reeds. Bib: “Allan Kolsky.” Syracuse Symphony. http://www.syracusesymphony.org/pages/about-us/musicians/allan-kolsky (accessed March 8, 2011); Reeks, John. “The Clarinets of the Louisiana Philharmonic Orchestra.” The Clarinet 24 (February/March 1997): 49-51.

Koons, Keith P. B. July 7, 1955 (Frederick, MD). BME: Univ of North Carolina-Chapel Hill (1977) with DONALD OEHLER; MM: Manhattan SOM (1978) with LEON RUSSIANOFF; DM: Univ of Southern California (1983) with MITCHELL LURIE. Additional clarinet studies with SIDNEY FORREST and ROBERT GENOVESE. Clarinetist: Arkansas Symph (Second: 1983-90); Brevard Symph (Principal: 1993-); has also performed with the Annapolis and Orlando Opera Co.’s, Aspen Festival Orch, Orlando Phil, and Symph West. Active as a recitalist (incl perfs at ClarinetFest 1994 and 1999 and other clarinet/mus ed conferences), chamber musician (incl perfs with the Arkansas Tech faculty woodwind trio and the Pegasus Wind Quintet of Univ of Central Florida), and festival artist (incl participation at the Aspen Music Festival and Winter Park Bach Festival). Faculty member: Maryland Public Schools (1978- 81); Arkansas Tech Univ (Asst Prof: 1983-90); Univ of Central Florida (Assoc Prof: 1990-). Articles published in The Clarinet. Other positions: Founder/Chmn, ICA Research Presentation Committee (1993- ). Memb: CMS, EMA, FBA, Florida MEA, ICA, IDRS, MENC, NACWPI. Plays on: Buffet clarinets; Vandoren mouthpiece and reeds. Students include: Jason Andert, Christine Barron, John Coppa, John Deir, Tabitha Jackson, Terell Johnson, David Lannon. On teaching, Keith Koons commented, “With my students, I try to promote a ‘mixed diet’ of technical, lyrical, repertoire and other elements.” (Koons/Paddock 1998) Bib: “Keith Koons.” University of Central Florida. http://music.ucf.edu/staff.php?id=256 (accessed March 8, 2011); Koons, Keith. “A Guide to Published Editions of Mozart’s Clarinet Concerto, KV 622, for Clarinet and Piano.” The Clarinet 25 (May/June): 34-43; Koons, Keith. “Variety Marks the 1996 Oklahoma Clarinet Symposium.” The Clarinet 24 (February/March 1997): 32-34; Koons, Keith P., to

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Tracey L. Paddock, Tallahassee, FL, June 20, 1998; “Musical Chairs.” The Clarinet 11 (Fall 1983): 36; “Musical Chairs.” The Clarinet 18 (November/December 1990): 45.

Kopperud, Jean K. B. Mar. 17, 1953 (Lake Preston, SD). Undergrad studies begun at Univ of Iowa (1971-73) with LYLE MERRIMAN; BFA: SUNY-Purchase (1975); MM: Juilliard (1978) with STANLEY DRUCKER and LEON RUSSIANOFF; additional studies with Robert Levin (Music/Theory) and Dixie Johnson (vocal coaching, for clarinet perf purposes), and at the Fontainebleau Music School- France (1976-77) with Nadia Boulanger (Music/Theory) and Guy DePlus (clarinet). Other areas of study include acting, voice and speech, dance, choreography, and miming/clowning. Clarinetist (all positions current): NY Music Ensemble, The ISCM Chamber Ensemble, The Omega Ensemble, Erick Hawkins Dance Co. Orch, Washington Square Chamber Players; has also performed as guest artist with Newband, New Music Consort, Boston Musica Viva, Ensemble 21, and the Boston Festival Orch. Active as an intl recitalist/soloist (incl: professional debut at Avery Fisher Hall; perfs at various clarinet conferences and the Wellesley Composers Conference; perfs with the Alabama, New Amsterdam, and South Dakota Symphs, the Buffalo and Rhode Island Phil Orchs, the Fairfield and Prism Chamber Orchs, the Skaneateles Festival Orch, the Maui Festival Band, the NY Music Ensemble, Musical Elements, and Philharmonia Virtuosi), chamber musician (incl a perf with the Thüringer Salonquintett), festival artist (incl participation/perfs at June in Buffalo, Music at Gretna, World Music Days-Toronto, and Music InterAlia; at the North Country Chamber Festival; at the North American and Sacramento State New Music Festivals and the Women’s Contemporary Music Festival; and at the Bach (England), Craftsbury, Sarasota, and Skaneateles Music Festivals), recording artist (on the Aurora Music, Bridge Records, Centaur Records, Columbia Records, CRI, GM Records, Koch Records, MMG, Musical Heritage, Pro Arte, Second Hearing, and Zoe labels), and performance artist (incl perfs at A Celebration of Twelfth Night; other performance art perfs incl Cloud Walking, Harlekin, Der Kleine Harlekin, Animus III, Peer Gynt, Trickster Tales, Makers, The Ladder and the Clarinet, Juggler of Notre Dame); also performs on the WX7 wind synthesizer. Premiere perfs incl William Thomas McKinley’s Dance Movements at Weill Recital Hall, Jan. 16, 1999 (small ensemble version), and at Alice Tully Hall, Mar. 24, 1999 (string orch version). Faculty member: Virginia Governor’s School for the Arts, Radford Univ (1987-89); Queens Museum Music and Dance Workshops (1987-90); Wellesley Composers Conference (1993-); Lincoln Center Instit; “On the Edge Workshops” (given at Univ of California-San Diego, Peabody Conserv, Manhattan SOM, and Juilliard School Evening Div); Juilliard (Music Advancement Program: 1990-); SUNY-Buffalo (current). Author, On the Edge, a Course to Practice Performing. Other positions/activities: Chamber Coach, NY Youth Symph (1992-); ICA State Chmn, NY (formerly); has also held residencies with numerous chambers of commerce, symph orchs, public schools, and colleges/univs (incl Oberlin, Duke Univ, Sacramento State Univ, Stanford Univ, Univ of Illinois, Iowa State Univ, and Univ of California-Santa Barbara). Hon: Paul Foundation Chamber Residency; Mary Flagler Cary Trust Grant; Manitoba Arts Council Commission; High Fidelity Musical America Young Artist of the Year (1981); Klumke Memorial Award; Instit of Intl Ed Fellowship; Damrosch Schol; recip of touring grants from the states of NC, ND, and Sc; Kopperud’s NY New Music Ensemble has also received numerous grants from well-known foundations/corporations incl the NEA; numerous favorable perf reviews appear in The Boston Globe, The , The Buffalo News, New London Day, New York Post, New York Times, The Post- Standard Syracuse, The Strad Magazine, Westerly Sun, and other publications. Plays on: Buffet R-13 clarinets; Selmer bass clarinet. Students include: Christopher Culp, LISA OBERLANDER, Tracey Paddock, GARRICK ZOETER. To read through Jean Kopperud’s “statistics” above, one catches only a glimpse of the unique clarinetist and artist that she is. Her skills as a traditional clarinetist are held in high esteem, and as one of few successful clarinet performance artists, Kopperud regularly receives rave reviews for her unusual skills as clarinetist, actor, dancer, and artist combined. One can find on the cover of a past issue of The Clarinet a photograph of Kopperud sky-diving with clarinet in hand, a perfect illustration of Kopperud’s sense of adventure and verve in performance and in life. In addition to performing more well-known examples of clarinet performance art pieces, such as Stockhausen’s Harlekin, Kopperud has also created or collaborated on original works such as Cloud Walking, described by Kopperud as a “one-woman multi-disciplinary performance work developed with

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Broadway director Tom O’Horgan. Includes drama, dance, visual imagery, music for clarinet and WX7 wind synthesizer.” (Kopperud/Paddock 1998) A review of a performance in April of 1996 summarized Kopperud’s breadth as an artist:

Clarinetist Jean Kopperud stretches the medium. In fact, while blowing her clarinet, she stretches her whole body, rolls on the floor, squats, runs, you name it. . . . Kopperud gave an appropriate performance. Her clarinet line had nightmarish fluidity. You want to turn on the light and look under the bed during “Animus III.” She bent pitches, trilled cleverly, performed glissandos to make fiddlers weep and honked multiphonics with relish.

The other comedic work was Karlheinz Stockhausen’s Harlekin, which Kopperud performed in edited form, a recent surgery apparently inhibiting her physical range in this piece.

You had to wonder what range Kopperud usually has. Here she began by playing a long high trill while rolling over and over on her back, and she went on to demonstrate her dexterity while running across stage, jumping or merely sitting on the floor. Would she play the clarinet uninhibited while running through a wall? Kopperud’s lip is what’s staggering. (Putnam 1996)

Bib: “Clarinotes.” The Clarinet 26 (March 1999): 16; Kopperud, Jean, to Tracey L. Paddock, Tallahassee, FL, June 1, 1998; Putnam, Thomas, quoted from a review in The Buffalo News (April 1996), included as part of Kopperud survey listed above.

Korn, Richard K. Former clarinetist: Natl Symph Orch (Clarinet/Bass: 1939-40). Other positions/activities: was active as a conductor (incl role as Founder/Conductor of the Orch of America); was very active with the American Council for Judaism. Bib: “Richard K. Korn Papers, 1937-1981.” Princeton University Library. http://diglib.princeton.edu/ead/getEad?eadid=C0275&kw=Music (accessed March 8, 2011).

Kornacki, Michael. B. July 11, 1955 (Buffalo, NY). Clarinet studies begun at age 10. BME: SUNY-Fredonia with JAMES EAST; MM: Michigan State Univ with FRED ORMAND. Additional clarinet studies with ALAN BALTER, LINDA BARTLEY, CLARK BRODY, RICHARD HAWKINS, and ROBERT MARCELLUS. Clarinetist: Grand Rapids Symph (Second: 1979-); Wunderwind Quintet (current). Faculty member: has taught at Calvin and Aquinas Colls and Grand Valley Univ (all in MI). Other positions/activities: active as an acoustician (incl work with Robert Scott) and clinician (incl educational outreach work with the Wunderwind Quintet). Plays on: Buffet clarinets; Richard Hawkins mouthpieces. Bib: Kornacki, Michael, to Tracey L. Paddock, Tallahassee, FL, September 1, 1998; “Michael Kornacki.” Grand Rapids Symphony. http://grsymphony.org/about/woodwinds/clarinet/assistant- principal-clarinet/michael-kornacki (accessed March 10, 2011).

Kostek, Patricia. BM: Mansfield State Coll; MM: Michigan State Univ; additional studies in Foreign Languages. Clarinet studies with CLARK BRODY, LARRY COMBS, ELSA LUDEWIG- VERDEHR, ROBERT MARCELLUS, and KONRAD OWENS. Clarinetist: Kansas City Chamber Orch (Principal: late 1980s, +/-); has also performed with the AIMS Orch-Graz, Austria, the Chicago and Florida West Coast Symphs, the Kansas City Phil and Chamber Orchs, the Pacific Arts Ensemble, and as Principal Clarinetist of the Zephyr Wind Octet. Active as an intl recitalist (incl perfs at ICA and Univ of Oklahoma clarinet conferences, at the Women in Music Conference, and in Europe, Asia, and North and South America), soloist (incl perfs with the Kansas City Chamber Orch and at Jeunesse Musicales in Pecs, Hungary), chamber musician (incl perfs with the Aquarius Trio, the Lafayette and Purcell String Quartets, and the Zephyr Wind Octet; has toured Germany, Poland and Sweden with the Pacific Arts Ensemble), festival artist (incl participation at the Electronic Music Plus Festival, Intl Mahler Festival-Italy, Music Festival of Florida, and the New College and Intl Music Festivals), contemporary music specialist, and studio musician/recording artist (incl work with Northwest Sinfonia); broadcast perfs given on CBC Radio, NPR, and Radio Kawotice-Poland.

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Faculty member: Michigan State Univ (formerly); Univ of Kansas (formerly); Univ of Missouri (formerly); Univ of British Columbia (Asst Prof: 1989-94+); Univ of Victoria (current). Articles/reviews published in The Clarinet. Other positions/activities: Buffet Crampon USA Perf Artist; Dir, Kansas City Contemporary Chamber Players; Secretary, ICA (1988-96); active as an adjudicator (incl judging for the Brazilian Natl Clarinet Compt, Buenos Aires Intl Music Festival Compt, and ICA Young Artist Compt) and clinician. Hon: favorable reviews of perfs appear in the Kansas City Star and the German publications Usinger Anzeiger and Zeitung. Students include: THOMAS ABER, Jeff Campbell, Heather Roche, Amy Simon, Steve Tonkinson. Bib: “Candidates for I.C.A. Officers.” The Clarinet 21 (February/March 1994): 34-35; Kostek, Patricia. “The Buenos Aires International Music Festival.” The Clarinet 25 (February/March 1998): 60-61; “Musical Chairs.” The Clarinet 17 (November/December 1989): 67; “Patricia Kostek.” University of Victoria. http://finearts.uvic.ca/music/faculty/Bios/pkostek.shtml (accessed March 10, 2011).

Koval, Nestor. B. 1928 (Pittsburgh, PA); d. Dec. 23, 1998 (St. Petersburg, FL). 1st Prize: Paris Conserv (clarinet studies with Ulysse Delécluse). Former clarinetist: Pittsburgh Symph (Sub: late 1950s, +/-); was also active as a saxophonist. Former faculty member: Duquesne Univ (Clarinet/Sax: 1964-89). Other positions/activities: Founder of Duquesne Univ’s sax program; was active as a clinician (incl work for the King Instrument Co.). Students include: Michael Butera, Jim George, Andrew Grenci, Marshall McDonald. Bib: “Nestor Koval.” Duquesne University. http://www.music.duq.edu/calendar1.htm (accessed March 27, 2001; link no longer available).

Kowalsky, Frank. B. Sept. 17, 1946 (NYC). HS clarinet studies with LEON RUSSIANOFF. BM: Eastman SOM (1967) with STANLEY HASTY; MM: Manhattan SOM (1968) with LEON RUSSIANOFF; DM: Catholic Univ (1973) with LOREN KITT and HAROLD WRIGHT. Clarinetist: Rochester Phil (1966-67); Project Muse-Ft. Worth, TX (1968-69); U.S. Marine Band (1969-73); Trio Con Brio (Founding Memb; current); Tallahassee Symph (1984-); has also performed with the Naples Phil, Northwood Symphonette, and Northwestern Michigan Symph. Active as an intl recitalist/soloist (incl perfs at Oklahoma Clarinet Symposia and throughout the U.S., and a tour of England as soloist with the Florida State Winds), chamber musician (incl perfs with Trio Con Brio), festival artist (incl participation at the Seattle Chamber Music Festival), and recording artist (on the Fujihara label). Faculty member: Coll of St. Benedict (formerly); Interlochen Arts Acad (1973-84); Florida State Univ (Prof of Clarinet: 1984-). Memb: ICA, MENC, MTNA, NACWPI. Other positions/activities: Music Dir, Tallahassee Ballet’s Evening of Music and Dance. Plays on: Buffet clarinets; GIGLIOTTI, RICHARD HAWKINS, JAMES PYNE, Robert Scott, Vandoren M13 Lyre and other mouthpieces. Students include: Jon Agazzi, Christy Banks, DIANE CAWEIN BARGER, DEBORAH BISH, Joanne Britz, JILL COGGIOLA, ELIZABETH CRAWFORD, KAREN DANNESSA, Miranda Dohrman, DANNENE DRUMMOND, Denise Gainey, Elizabeth Gunlogson, Tim Haas, Ken Hatch, David Hattner, JAREN HINCKLEY, Mac Hinson, Chantal Hovendick, Christopher Howard, David Irwin, BIL JACKSON, ROBYN JONES, David McClune, Vinicio Meza, Douglas Monroe, NICHOLAS MORRISON, John Mula, SEAN OSBORN, Tracey Paddock, Berginald Rash, Cindy Renander, REBECCA RISCHIN, KEVIN SCHEMPF, Jim Sullivan, MICHAEL SULLIVAN, Anthony Taylor, Nancy Townsend, Trent Turner, Joan Van Dessel, PAUL VOTAPEK, Charles Willett, AMY ZOLOTO. While Frank Kowalsky never studied formally with ROBERT MARCELLUS, he benefited from a close working relationship with Marcellus while teaching at the Interlochen Arts Academy. (Kowalsky/ Paddock 1998) Former Kowalsky student DIANE CAWEIN BARGER related the following commentary regarding her studies with Kowalsky [capitals mine]:

I originally went to FSU thinking I was going to study with FRED ORMAND, but a few weeks prior to classes beginning, he got the job at University of Michigan. I remember him calling me up to tell me how much I would like Dr. Kowalsky and his teaching, and to give him a try for my freshman year. If I wasn’t satisfied, I could then transfer to UM. I was more than satisfied, and am completely grateful for my stroke of luck. I couldn’t

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have asked for a more dedicated, generous, intelligent, nurturing and completely incredible teacher and musician from whom to learn and grow.

Dr. Kowalsky’s talents are incredible, and he always seemed to know how to encourage me and how to instill in me a sense of confidence about myself and my playing. That is, perhaps, one of his strongest points…his ability to teach his students how to believe in themselves and to strive to be the best musician they can be. . . . Another one of his strengths lies in his inspirational clarinet voice and musicianship. One can’t help but learn something from hearing him play! (Cawein/Paddock 1998)

Bib: Cawein, Diane. “The 1997 University of Oklahoma Clarinet Symposium.” The Clarinet 25 (February/March 1998): 31; Cawein, Diane, to Tracey L. Paddock, Tallahassee, FL, May 4, 1998; “Frank Kowalsky.” Florida State University. http://www.music.fsu.edu/Faculty-and-Staff/Faculty/Frank-Kowalsky (accessed March 11, 2011); Kowalsky, Frank, to Tracey L. Paddock, Tallahassee, FL, May 8, 1998; “Musical Chairs.” The Clarinet 12 (Fall 1984): 38.

Krakauer, David. B. Sept. 22, 1956 (NYC). Early clarinet studies with Joel Press. Grad: HS of Music and Art (1974) with LEON RUSSIANOFF. BA: Sarah Lawrence Coll (1978) with LEON RUSSIANOFF; Perf Cert: Paris Conserv (1977) with Ulysse Delécluse; MM: Juilliard (1980) with LEON RUSSIANOFF. Chamber music studies with Robert Bloom, Felix Galimir, Pierre and Nellie Pasquies, Ronald Roseman, and Leon Temerson. Clarinetist: Music From Marlboro Festival/Tours (1978-91); New Haven Symph (Principal: formerly, for 4 years); Martha Graham Dance Co. (Principal: formerly); American Ballet Theatre (Principal: formerly); Orpheus Chamber Ensemble (Principal: formerly); Aspen Wind Quintet (1981-89); Continuum (1981-); NY Philomusica (1981-); The Klezmatics (1989-96); David Krakauer’s “Klezmer Madness!” (1996-); has also performed with Bargemusic Ltd, Speculum Musicae, and the NY New Music Ensemble. Active as an intl recitalist (incl 1985 Carnegie Hall debut), soloist (incl perfs with the Brooklyn Phil, Janus Ensemble of the 92nd St Y, Metropolitan Greek Chorale, and New Haven Symph), chamber musician (incl perfs with above groups and the Da Capo Chamber Players, Raphael Trio, Kronos Quartet, Tokyo String Quartet, and on the Philadelphia Orch chamber series), festival artist (incl participation at the Aspen and Marlboro Festivals, the Brooklyn Acad of Music’s Next Wave Festival, the Saalfelden Festival, and other American and European festivals), Klezmer musician (incl tours/recordings with the Klezmatics and with his own group, “Klezmer Madness!”), new music specialist (incl collaborations with , John Cage, Osvaldo Golijov, Joan Tower and John Zorn), and recording artist (incl recordings with Itzhak Perlman, the Klezmatics, and the Kronos Quartet, and on the Angel, New York Philomusica, Nonesuch, Opus One Records, Piranha/Flying Fish, Piranha/Green Linnet, and Tzadik labels); broadcast perfs given on radio and television (incl perfs on PBS and on “Late Night with David Letterman). Premiere perfs incl works by Anthony Coleman, Robert Starer, and George Tsontakis. Faculty member: Bard College (formerly); Aspen Music Festival (Chamber Coach: 1983); Vassar Coll (Lect: formerly, 1983-91, +/-); Manhattan SOM (Clarinet/Chamber Mus: current); Mannes Coll of Music (Clarinet/Chamber Mus: current); Queens Coll- SOM (Clarinet: current); active as a private clarinet instructor. Other positions/activities: active as a composer (incl commissions for the AIDS Quilt Songbook, Continuum, Goliard, and Newband). Hon: 2nd Prize, Natl Clarinet Compt (1974); Winner, Aspen Concerto Compt for Winds; Naumberg Chamber Music Award (with Aspen Quintet, 1984); Concert Artists Guild Award (1985); Affiliate Artist (1986-91+); favorable reviews of perfs/recordings appear in Berkshires Week, The Boston Globe, The Clarinet, Financial Times, Gramophone, Option Magazine, The New York Times, The San Francisco Bay Guardian, The Washington Post, The Wire, and other publications. Plays on: Buffet R-13 clarinets; JOHNSTON or CHADASH mouthpieces for classical playing; CHARLE BAY mouthpiece (1976) for Klezmer music; Rico Grand Concert reeds; Selmer Low C bass clarinet (1978); Vandoren Java tenor sax reeds (for bass clarinet). Students include: Conor Brown, David Callaway, Mark Dover, Erin Finkelstein, Mara Plotkin, Shanti Raval, David Sapadin. David Krakauer commented [capitals mine],

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I divide my performing between classical music and Eastern European Jewish Klezmer music. This has been important for me to return to the music of my ancestors. For me, it is also important to create new music, in addition to be an interpreter. I have written original Klezmer tunes, theater pieces, a song for the Aids Quilt Songbook (Boosey & Hawkes), works for solo clarinet, and a trio (cl, cello, pno). I have also developed my own personal style of improvisation within the Klezmer genre.

My major teacher was LEON RUSSIANOFF. I received the formation of my technique and sound from him. The basis of my teaching is the Russianoff School. From there I have developed my own teaching system based on my own playing experience and self analysis of my own playing style. Musically I have been influenced by the great performers of the 1920’s-30’s – violinists Adolph Busch (Busch Quartet), Joseph Szigeti, , flutist Marcel Moyse, etc.

The Klezmer clarinetists, whose recordings I have studied to learn Klezmer music (tunes, ornamentation, style, phrasing, sound) are Eastern European Jewish masters and Dave Tarras (major recordings 1920’s-50’s). My improvisation style is informed by , Sidney Bechet, Barney Bigard, John Coltrane, Johnny Hodges, etc. All of these influences come together in my Klezmer improvisation style. (Krakauer/Paddock 1998)

The Gerald Goodman interview with Krakauer (listed in Bib below) is highly recommended for more insight into Krakauer’s career. Bib: Gingras, Michéle. “Compact Disc Reviews.” The Clarinet 26 (September 1999): 96-98; Goodman, Gerald. “Krakauer: Klassical to Klezmer.” The Clarinet 26 (September 1999): 52-59; Krakauer, David, to Tracey L. Paddock, Tallahassee, FL, June 19, 1998; “Krakauer, David.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 323; “Musical Chairs.” The Clarinet 18 (February/March 1991): 36.

Kreiselman, Jack. D. circa 2001. Clarinet studies with AUGUSTIN DUQUES and LEON RUSSIANOFF. Former clarinetist: Little Orch. Was active as a NYC recitalist (incl perfs at Carnegie Recital Hall), chamber musician, and recording artist (incl recordings with S. JAMES KURTZ and ERIC SIMON on the Epic Records label, with IRVING NEIDICH on the Period label, and on the CRI and New World Records labels). Commissioned works incl Sever Tipei’s Clariphannies for solo clarinet (debuted at Carnegie Recital Hall, 1980). Former faculty member: NYU; SUNY-Stony Brook; was active as a private clarinet instructor and conductor. Hon: favorable reviews of perfs appear in High Fidelity (1983) and The New York Times (1980, 1983). Students include: Anna Maria Baeza, Michael Caputo, F. GERARD ERRANTE, DENNIS ZEISLER. Bib: Tipei, Sever. “Curriculum Vitae.” University of Illinois. http://ems. music.uiuc.edu/people/tipei/vita.html (accessed March 11, 2011).

Kuehn, John. BME/MM: Univ of Wisconsin-Madison with GLENN BOWEN and RUSSELL DAGON; DM: Univ of Colorado-Boulder with PHILIP AAHOLM. Faculty member: Bluffton Coll (formerly); Indiana Univ of PA (Prof of Clarinet/Music Ed: current). Co-Author, Buddy DeFranco: A Biographical Portrait and Discography (Scarecrow Press, 1993); publisher of the Buddy DeFranco Newsletter. Hon: favorable review of DeFranco book appears in The Clarinet (see Bib below). Students include: David Allen. Bib: Bowen, Glenn. “Book Review.” The Clarinet 14 (May/June 1988): 18; “John Kuehn, DMA.” Indiana University of Pennsylvania. http://www.arts.iup.edu/facmus/jkuehn/ (accessed March 11, 2011).

Kuehne, Carl. Clarinetist: Sousa Band (formerly; played in the band with one of the SELMER brothers); Minneapolis Symph (1914-17); Los Angeles Symph (early 1920s, +/-). Students include: DANIEL MAGNUSSON. Former Carl Kuehne student DANIEL MAGNUSSON commented:

He was of German descent, but had studied with a French instructor, and played with a double-lip embouchure. He did not carry this over to his students. He stressed a “singing

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style” of playing with the use of intensity, which some would call a vibrato. (Magnusson/ Paddock 1998)

Bib: Magnusson, Daniel, to Tracey L. Paddock, Tallahassee, FL, July 1, 1998.

Kuhlman or Kuhlmann, Carl. Clarinetist: Cleveland Orch (Clarinet/Bass: 1934-68, +/-). Was active as a chamber musician and festival artist (incl perf at the Berkshire Festival of Chamber Music, 1919). Students include: ALFRED ZETZER. Bib: Stoddard, Hope. “Clarinets and Clarinetists in Our Orchestras.” International Musician. 48 (September 1949): 22-24, 34.

Kuhns, Todd. Native of Portland, OR. Clarinet studies begun at age 10. BA: Portland State Univ (1981) with CATHERINE PALLADINO; MM: Temple Univ (1988) with ANTHONY GIGLIOTTI; additional music studies at the Aspen Music Festival. Additional clarinet studies with RUSSELL DAGON, JAMES KANTER, RONALD REUBEN, LEONA RUSSIANOFF, and RICHARD WALLER. Clarinetist: Chamber Music Northwest (formerly, for 2 seasons); Oregon Symph (Clarinet/E-flat/Bass: 1989-); Third Angle New Music Ensemble (current); has also performed with the Philadelphia Orch, the Haddonfield and Harrisburg Symphs, the Portland Opera, the Oregon Ballet Theater and Ballet West, the Milwaukee and West Coast Chamber Orchs, the Hester Street Klezmer Band, and Tango Pacifica. Active as a soloist (incl perfs with the Oregon Symph), chamber musician, festival artist (incl participation at the Cascade, Oregon Bach, Oregon Coast, and Peter Britt festivals), basset hornist, and recording artist (appears on a recording with ROGER GARRETT on the Novitas Records label, and with Third Angle New Music and the Oregon Bach Festival Orch). Students include: Todd Kreuger. Bib: “Todd Kuhns.” Oregon Symphony. http:// www.orsymphony.org/bios/musicians/bio_kuhns.aspx (March 11, 2011).

Kunzelman, J. Clarinetist: San Francisco Symph Orch (1916-17, +/-)

Kupferman, Meyer. B. July 3, 1926 (NYC); d. 2003 (Rhinebeck, NY). Violin studies begun at age 5; clarinet studies begun at age 10. Early clarinet studies with Abram Klotzman at the HS of Music and Art-NYC. Additional music studies at Queens Coll. Self-taught composer. Clarinetist: Music by My Friends (formerly); Ariel Quintet (formerly); has performed as a memb of various orchs and chamber groups. Has been active as a recitalist, soloist, chamber musician (incl more than 60 premiere perfs given with Music by My Friends at Carnegie Recital Hall and other concert halls), saxophonist, and recording artist; frequently performs his own compositions. Faculty member: Sarah Lawrence Coll (Prof of Comp/Chamber Mus: 1951-94). Articles published in The Clarinet. Other positions/activities: prolific composer of important twentieth-century clarinet music (many works published by General Music Publishing Co.) as well as numerous works for larger symphonic ensembles; has commissioned, with Music by My Friends, more than 60 contemporary chamber works; also active as an artist (an example of his work appears on the cover of Vol. 4 No. 2 of ClariNetwork) and poet. Hon: Kupferman is the subject of several articles/interviews in ClariNetwork and The Clarinet, and of Christopher Di Santo’s doctoral diss, Improvisatory Affect in Selected Unaccompanied Clarinet Works of Meyer Kupferman; recip of grants from the Aaron Copland Fund, the American Acad and Instit of Arts and Letters, the Ford, Guggenheim, and Rockefeller Foundations, the Library of Congress, the NEA, and the U.S. State Dept. Clarinetists whom Kupferman has coached on his own works include: PETER ALEXANDER, IGOR BEGELMAN, JONATHON COHLER, PAUL GALLO, NAOMI and STANLEY DRUCKER, CHARLES NEIDICH. Meyer Kupferman was active both as a clarinetist specializing in the performance of contemporary music and as a prolific composer of works for clarinet including the well-known Moonflowers, Baby!, as well as a clarinet concerto, several works for unaccompanied clarinet, and chamber works for clarinet with voice and/or other instruments. Kupferman contributed more than 35 works to the clarinet repertoire, in addition to his other works which include ballets, chamber music, film scores, operas, and symphonies. In the abstract for his doctoral dissertation, Improvisatory Affect in Selected Unaccompanied Clarinet Works of Meyer Kupferman, Christopher Di Santo comments on the nature of much of Kupferman’s music:

The creative process of improvisation has been a focal point throughout Meyer Kupferman’s career, a career that includes improvisation on the clarinet. A sense of

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spontaneity inherent in improvisation is suggested in his unaccompanied clarinet music through a compositional process that, since the 1950s, reflects his preoccupation with freely mixing atonal classical music with jazz elements. (Di Santo 1996)

As a clarinetist, Kupferman was highly influenced by the unique playing style of REGINALD KELL. What Kupferman most appreciated about Kell was the sense of freedom in Kell’s interpretation and performance, traits espoused by Kupferman in his own performance and in the character of his compositions. A complete listing of Kupferman’s compositions utilizing the clarinet as well as selected analyses of works and detailed biographical information can be found in Di Santo’s dissertation listed below. The Di Santo and Kupferman articles (also below) are also highly recommended for more in-depth information on Kupferman’s compositional process. Bib: Di Santo, Christopher Alan. “Improvisatory Affect in Selected Unaccompanied Clarinet Works of Meyer Kupferman.” D.M.A. diss., Temple University, 1996; Di Santo, Christopher. “Perpetual Licorice: An Interview with Meyer Kupferman.” The Clarinet 24 (February/March 1997): 38-47; Fabian, Valentine. “Meyer Kupferman, Composer.” Jeffrey James Arts Consulting. http://www.jamesarts.com/ MKBIO2000.htm (accessed March 11, 2011); Kozinn, Allan. “Meyer Kupferman, Composer in Many Forms, Is Dead at 77.” NYTime.com. http://query.nytimes.com/gst/fullpage.html?res=950DE7DF1F3 AF930A35751C1A9659C8B63 (accessed March 11, 2011); Kupferman, Meyer. “Creativity – A Composer’s View on Music and the Clarinet.” The Clarinet 12 (Spring 1985): 20-26; Kupferman, Meyer. “Expressivity – More Head, Heart or Lip? (In 3 Clarinet Etudes).” ClariNetwork 5 (Winter 1986): 6-8.

Kurtz, [Saul] James. B. Feb. 8, 1934 (Newark, NJ). Early clarinet studies with SIMEON BELLISON (1946-53). BA/MA: NY Univ (1955/1960); PhD: Univ of Iowa (1971) with HIMIE VOXMAN. Additional clarinet studies with GINO CIOFFI, ROBERT MCGINNIS, KALMEN OPPERMAN, ALEXANDER PREPADCHIEFF, and DAVID WEBER. MA thesis: A Union Catalogue of Early Clarinet Music (c.1760-c.1815); PhD diss: A Study and Catalog of Ensemble Music for Woodwinds Alone or with Brass from CA. 1700 to CA. 1825. Clarinetist: Chamber Arts Wind Quintet (1965-90s, +/-); has also performed with the Boston Symph Wind Players, Firestone Television Orch, Little Orch, Metropolitan Museum Orch, and Symph of the Air. Has been active as a NYC freelance artist (1951-65), and as a recitalist/soloist, chamber musician (incl perfs/recordings with the Chamber Arts Wind Quintet, The Clarion Wind Quintet, with clarinetists ERIC SIMON and JACK KREISELMAN, and on the Figaro Chamber Concerts series), and recording artist (on the Epic and Golden Crest labels). Faculty member: Mannes Coll of Music (formerly); James Madison Univ (Prof: 1965-92; Prof Emeritus: current). Other positions/activities: Dir, Figaro Chamber Concerts (formerly); Dir, Electronic Music Studio, JMU (1974-94); active as an administrator (incl position as Coordinator of Instrumental Area, JMU: 1974- 84), award-winning composer (incl several works for clarinet in various ensemble settings, works for voice and other instruments, and electronic music; works published by Omega/Lyric Arts Publications and Lyric Arts Publications), conductor (incl position as conductor of JMU Wind Ensembles, Concert Band and Clarinet Choir), and music editor (specializing in early clarinet music, e.g. Quartet for Clarinet, Violin, Viola, and Cello, Op. 19/3 for Musica Rara, 1970). Memb: ICA. Hon: Winner, Marion Bauer Natl Composers Award for his Suite for Three Clarinets; favorable reviews of compositions appear in several Hamburg, Germany publications and in The New York Herald Tribune, New York Times, School Music News, Woodwind News, and Woodwind World. Plays on: Buffet R-13 clarinets; PORTNOY BPO2 and RUSSIANOFF mouthpieces; BONADE ligature; Vandoren German-cut and traditional reeds (medium strength). Bib: Kurtz, S. James, to Tracey L. Paddock, Tallahassee, FL, June 15, 1998.

Kyser, Daniel A. D. June 10, 2000 (Kalamazoo, MI). BM: Oberlin Coll (1940) with GEORGE WALN; MM: Univ of Michigan (1947) with WILLIAM STUBBINS. Former clarinetist: 99th Infantry Div U.S. Army Band (Clarinetist/Conductor: 1941+); Kalamazoo Symph (Principal: for 25 years, 1954, +/-). Faculty member: Western Michigan Univ (1947-80). Other positions/activities: was active as a conductor and memb of the exec boards of the Chamber Music Society, Kalamazoo Symph, MENC, NACWPI, and Southwest Michigan Council of the Boy Scouts of America. Hon: listed as a “Prominent Clarinet Teacher”

181 in The Clarinet No. 16 (Fall 1954): 18. Students include: Jack Slater. Bib: “Daniel A. Kyser.” Western Michigan University. http://www.wmich.edu/~wmu/news/2000/0007/0001-x009b.html (accessed March 11, 2011).

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Lacritz, Eugene. Clarinet studies with ROSARIO MAZZEO at New England Conserv. Clarinetist: San Antonio Symph (Second: 1954-55, +/-). Has also been active as an oboist and conductor.

Laing, Alexander. B. Washington DC. Clarinet studies begun at age 11. BM: Northwestern Univ; MM: Manhattan SOM: Artist’s Dipl: Sweelinck Conserv, Amsterdam. Additional studies at the Aspen Music Festival and Tanglewood. Clarinetist: New World Symph (formerly); Detroit Symph (formerly); Phoenix Symph (Principal: current). Active as a recitalist, soloist (incl perfs with the Phoenix Symph), chamber musician (incl perfs at the Kennedy Center and Amsterdam’s Concertgebouw), and recording artist (with Charles Stier and the Halcyon Ensemble on the Halcyon label). Active as a private clarinet instructor (incl work at “Rosie’s House,” a music school for underprivileged children in Phoenix) and Selmer Artist (plays on Selmer clarinets). Hon: Recip, Aspen and Tanglewood fellowships. Students include: Beth Sandholm. Bib: “Alexander Laing.” Arizona Symphony. http://www.phoenixsymphony.org/ artists/orchestra_members/laing.aspx (accessed March 11, 2011).

Lamneck, Esther Evangeline. B. Marion, IN. BM/MM/DM: Juilliard (1972/1973/1980) with STANLEY DRUCKER. Additional clarinet studies with ROBERT LISTOKIN. Clarinetist: New American Trio (1972+); Pro Musicis Foundation (Soloist: 1975+); Virtuoso Quintet (1976-78); Lamneck Steigerwalt Duo (active 1976+). Active as an intl recitalist (incl perfs at the Bing Theater-Los Angeles, Gould Hall-NY, Jordan Hall-Boston, Opéra Comique-Paris, the Orange County Perf Arts Center, the Smithsonian, and the Villa Medici-Rome), soloist (incl perfs with the Juilliard Orch and Houston Symph), chamber musician (incl perfs with above ensembles, the Contrasts Trio and Heritage Wind Quintet, and Saturn), festival artist (incl participation at the Spoleto Festival, the Intl Festival-Gubbio, Italy, and festivals in Mexico City, Newport, Salzburg, and Siena), recording artist (incl recordings with the New American Trio and the Heritage Wind Quintet, and on the Capriccio Records, CDCM-Centaur, Computer Music, CRI, Music and Arts, Music Heritage Society, Opus One, and Philips labels), and Tárogáto (a Hungarian reed instrument) performer; broadcast perfs given on television and radio (incl ORTF-Paris; RAI-Rome). Faculty member: NY Univ (Clinical Assoc Prof: current). Other positions/activities: Dir, NYU Intl Festival, Gubbio, Italy (1992-); active as an administrator (incl positions at NYU as Dir of Instrumental Studies, Dir of Grad Music Program in Italy, and Doctoral Adviser of Perf Programs) and conductor (incl position as Dir of NYU’s New Music Ensemble). Hon: Pro Musicis Award (1975); Naumberg Foundation Scholar (1977); favorable reviews of perfs/recordings appear in Computer Music Journal, Fanfare, Improjazz, and the New York Times. Students include: Christopher Bush, DAVID MINELLI, Shanti Raval, Adam Zagor. As a clarinetist and musician, Esther Lamneck constantly pursues new avenues of expression:

A versatile performer and an advocate of contemporary music, Ms. Lamneck is dedicated to expanding the traditional boundaries of music to create new art forms based on elements of jazz, folk and contemporary music idioms. She is one of few performers who plays the Hungarian Tárogató, a single reed woodwind instrument with a hauntingly beautiful sound. New compositions written for the instrument explore all the facets of new music performance from improvisation, electronics and interactive computer programs to works which suggest the influence of Slavic and Hungarian folk music. (“Esther Lamneck” 2011)

Bib: “Esther Lamneck.” NYU Steinhardt. http://steinhardt.nyu.edu/faculty_bios/view/Esther_ Lamneck (accessed March 11, 2011); Lamneck, Esther, to Tracey L. Paddock, Tallahassee, FL, September 7, 1998; “Lamneck, Esther Evangeline.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 331.

Lamy, Andrew. Native of San Jose, CA. Clarinet studies with DAVID BREEDEN, John Coulehan, Rocco DiStasio, Mary Gale, DAVID HOWARD, MITCHELL LURIE and MICHELLE ZUKOVSKY. Clarinetist: Glendale Orch (Principal: 1991); New Jersey Symph (Asst Principal/Second/E-

183 flat: 1993-); Halcyon Trio (Founding Memb: current); has served as Principal Clarinetist of the Debut Orch, Los Angeles Phil Instit, Natl Orch Instit, Orch of the State of Mexico, and St. Petersburg Phil; has also performed with the American Symph, American Ballet Theater, Concordia and Glendale Orchs, Metropolitan Opera Orch, New York Phil, and Royal Opera of London. Active as a soloist (incl perfs with the Debut Orch, North Shore Phil, and the Haddonfield, Knoxville, and NJ Symphs); chamber musician (incl perfs with the Halcyon Trio, Charleston Quartet, Los Angeles Wind Quintet, Mad Coyote Ensemble, and with members of the Los Angeles Phil on the Gindi Auditorium Series); studio musician (appears on Hollywood motion picture soundtracks), festival artist (incl participation at the Cape May Music Festival), and recording artist (incl the Grammy Award-winning NJ Symph recording of the Dvorak Requiem on the Delos label). Faculty member: Rutgers Univ (formerly); Drew Summer Music (current); NJ Conserv (current); William Paterson Univ (current); has also served as Guest Master Clinician at Juilliard. Other positions/activities: active as a field ornithologist. Hon: 2nd Prize, Buffet North American Clarinet Compt (1995); favorable reviews of recordings/perf received from Aaron Copland and in The Los Angeles Times. Students include: Andrew Leonard, Jessica Sibelman, Genevieve Webber. Bib: “Andrew Lamy.” New Jersey Symphony. http://www.njsymphony.org/aboutus/musiciansstaff/m_lamy.htm (accessed March 11, 2011); “Buffet North American Competition Winners.” The Clarinet 22 (July/August 1995): 66; Lamy, Andrew. “Andrew Lamy - Clarinetist.” A. Lamy. http://www.andrewlamy.com/ (accessed March 11, 2011).

Landgrabe, Russell. B. 1932 (Cleveland, OH); d. July 2005. BM: Cleveland IOM (1955) with JAMES RETTEW and DANIEL BONADE. Additional clarinet studies with ANTHONY GIGLIOTTI. Former clarinetist: U.S. Army Band-Washington D.C. (1955-59); U.S. Navy Band-Washington D.C. (Principal: 1959-86); Mobile Symph (Principal); Gulfcoast Symph (Principal); Singulier Woodwind Trio (Founding Memb: 1960s+). Was active as a soloist (incl perfs with the U.S. Navy Band and the Boston Pops), chamber musician, and recording artist (incl “Daniel Bonade’s French-American Clarinet School,” a two-album recording of French study literature made in collaboration with Bonade on the G. Leblanc label, 1959; also made a Bonade-supervised recording of French solo literature on the Coronet/U.S.A. labels, reviewed in Richard Gilbert’s discography listed in Bib below). Former faculty member: Washington Musical Instit (Prof of Clarinet: 1980, +/-). Published in The Clarinet. Other positions/activities: was active as a clinician in collaboration with Bonade during the late 1950s (+/-). Hon: favorable review of perf with Singulier Woodwind Trio appeared in the Washington Evening Star. Played on: Buffet and Leblanc clarinets; Selmer GINO CIOFFI Special mouthpiece; handmade reeds. Students include: Pat Gatti. Bib: Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 122; Landgrabe, Russell et al. “U.S. Navy Band Clarinet Section.” The Clarinet 7 (Summer 1980): 20; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 53.

Lane, Ted. BM/MM/DM: Juilliard (1976/1977/1985). Primary clarinet teachers incl STANLEY DRUCKER, W. JAMES JONES, and LEON RUSSIANOFF; additional studies with LARRY COMBS, SIDNEY FORREST, and Karl Leister. Clarinetist: Natl Orch Assn (Principal: formerly); La Bianalle Chamber Ensemble-Venice, Italy (Principal: formerly); American Sinfonietta (Principal: 2000-); American Woodwind Quintet (Founding Memb); Natl Woodwind Quintet (Founding Memb); Charleston Chamber Players (Founding Memb); Kansa Winds (Founding Memb: 1999-); has also performed with Festival Winds, Music Aeterna, the Charleston, North Carolina, Omaha, Savannah, and Wichita Symphs, and the New York Phil. Active as an intl recitalist (incl critically acclaimed Carnegie Hall debut, performing Debussy’s Premiere Rhapsodie, while a Juilliard student), soloist (incl perfs with the Colorado Phil and American Sinfonietta), chamber musician (incl perfs with above groups, various faculty wind quintets, and on the Lincoln Center Chamber Music Program), and festival artist (incl participation at the Bay View and Bear Valley Music Festivals, the Spoleto Festivals, Music from Monterey, and Tanglewood). Faculty member: Florida State Univ (1979-81); Univ of Nebraska-Omaha (1983-85); California State Univ-Sacramento (1985-91); Univ of Texas-Brownsville (current); has also served on the music faculties of the Coll of Charleston, Wichita State Univ, and Interlochen Arts Camp. Other positions/activities: Légère Reeds Artist; Memb, Sacramento Chamber Music Society Board of Dirs (formerly); webmaster of various websites; active as a mouthpiece craftsman. Hon: Recip, Juilliard’s Naumburg Schol; 1st Prize, Naftzger Young Artist Compt; Winner, ICA Clarinet Compt (1983).

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Plays on: Luis Rossi clarinets/barrels; Légère reeds; has also played on the Leblanc L-300 clarinet. Bib: “1983 Clarinet Competition Winners Announced.” The Clarinet 11 (Fall 1983): 7; “Ted Lane, Clarinetist/Educator.” American Sinfonietta. http://www.americansinfonietta.org/Ted_Lane/Ted_ Lane.htm (accessed March 11, 2011).

Lang, Rosemary Rita. B. Apr. 29, 1920 (Weisburg, IN). BME/MA: Butler Univ-Jordan Coll of Music (1947/1952). Former clarinetist: Indianapolis Concert Band (Principal); Indianapolis Symph (Regular Sub/Extra). Faculty member: Butler Univ’s Jordan Coll of Music (1947-51) and Jordan Coll of Fine Arts (Assoc Prof of Woodwinds/Theory/Ensembles: 1947-85+). Author/Publisher of several well- respected texts on woodwind techniques/pedagogy incl Saxophone: Beginning Studies in the Altissimo Register (1972), Woodwind Class Method (1978), and Clarinet: Short Cuts to Virtuoso Technique (1980), all published by Lang Music Publications. Other positions/activities: active as a composer and publisher. Memb: AFM. Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet (Summer 1954); listed in Who's Who in American Music (Classical), 1985 edition. Students include: GARY GRAY. In her entry as a “Prominent Clarinet Teacher” in The Clarinet it is mentioned that Rosemary Lang was “one of few women clarinet majors to attain a Master’s degree.” (The Clarinet 1954, 11) During a time in which the music field was largely dominated by men, Lang was able to achieve success on par with that of her male colleagues not only as a clarinet performer and teacher, but in other areas of music as well, including writing, publishing, and composing. Former student GARY GRAY wrote,

Miss Lang was a large, life-time single lady who played and taught clarinet at the highest level, and I was VERY fortunate to get to study with her during my high school years! She was quite strict, and I needed her discipline to overcome some bad habits I’d acquired during junior high, playing in concert bands with lots of clarinetists who were all trying to see who could play loudest and fastest and highest! She also made time to coach some chamber ensembles—clarinet quartets, quintets—again made up of young guys, but this time some talented, more serious clarinetists. (Bragonier 2011)

Bib: Bragonier, J. Robert. “Interview with Gary Gray, Part 2 of 5.” Los Angeles Chamber Orchestra. http://www.laco.org/blog/241/ (accessed March 11, 2011); “Lang, Rosemary.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 831; “Lang, Rosemary Rita.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 333; “Prominent Clarinet Teachers.” The Clarinet 15 (Summer 1954): 11.

Langenus, [Jean] Gustave. B. Aug. 6, 1883 (Malines, Belgium); d. Jan. 30, 1957 (Commack, Long Island, NY). 1st Prize (Clarinet/Transposition): Brussels Conserv (1900) with Gustav Poncelet. Former clarinetist: Private band of the 8th Duke of Devonshire (1903-05, +/-); Queens Hall Orch- England (Second: 1904-07); Duke of Devonshire’s Orch-England (Principal: 1907-10); NY Symph (Principal: 1910-19, +/-; recruited by Walter Damrosch in 1910); New York Phil (Principal: 1919-23); NY Chamber Society (Co-Founder/Clarinetist: 1915-35+); Arthur Pryor Band; Sousa Band; also performed as Principal Clarinetist of the NY Civic Orch and “Voice of Firestone Orch.” Was active as a recitalist (incl perfs for the Beethoven Assn and the Bohemians, and a perf at the White House in 1916 at the invitation of Pres and Mrs. Wilson), soloist (incl perfs with various Belgian ensembles, the Duke of Devonshire Orch, and the NY Symph), chamber musician (incl perfs with the Barrère Ensemble, Elshuco Trio, NY Chamber Music Society, and Tonkünstler Society of NY, and with the Budapest, Coolidge, Gordon, Kroll, Perolé, Pro Arte, and South Mountain [String] Quartets), festival artist (incl participation at the Berkshire Festival), and recording artist (on the Celesta label; chamber recordings recently re-released on the Bridge Records label); was a pioneer as one of the earliest American clarinet recitalists broadcast on radio. Works written for Langenus incl those by composer Aurelio Giorni. Former faculty member: Dalcroze SOM; Juilliard; Interlochen Arts Camp (1930s-40s); also taught at Oberlin Conserv during GEORGE WALN’s sabbatical, and maintained a large private studio. Articles appear in Ensemble News, Wireless Age, Woodwind News, and other publications. Other positions/activities: Founder, Celesta Record Co.; Co-Founder, NY Chamber Music Society; Founder, G. Langenus, Inc., publishing company (1910s-20s); active as an administrator (incl

185 position on the Duke of Devonshire Orch’s Board of Dirs), composer/arranger (incl numerous studies, method books, transcriptions and original works for the clarinet, many published by Carl Fischer), music editor (incl a version of the Baermann studies), mouthpiece craftsman, writer/editor/publisher (published Woodwind News and its later version, Ensemble News, 1926-28), and scholar of clarinet history. Hon: early solo perfs in England received critical acclaim in various English publications. Played on: Florent Hofinger clarinets (made in Brussels); also played on Selmer and Buffet clarinets for brief periods. Students include: JAMES DE JESU, NAOMI DRUCKER, BENNY GOODMAN, HENRY GULICK, PAUL HOWLAND, RUSSELL HOWLAND, ROSARIO MAZZEO, JULIO MAZZOCCA, DONALD MCGINNIS, DAVID OPPENHEIM,GEORGE SELTZER, FRANK STACHOW, HIMIE VOXMAN, GEORGE WALN, Frederick Westphal, KEITH WILSON. Although Gustave Langenus was considered by many to have been one of the finest clarinetists of his time, his playing was apparently somewhat controversial. Former Utah Symphony clarinetist MARTIN ZWICK, for example, holds the Belgian sound, as exemplified by Langenus, in high esteem, describing Langenus’s sound as “. . . a dark bright sound with a penetrating resonance that maintained its core throughout the total dynamic range.” (Zwick/Paddock 1998) In contrast, Pamela Weston has written that Langenus played with “…a light quality tone, almost like an oboe, and [he] used a pronounced vibrato which he himself called a ‘glow.’” (Weston 1989, 201). Weston further noted that this “glow” is the apparent reason for Langenus’s loss of his position as Principal Clarinetist of the New York Philharmonic Orchestra to Simeon Bellison, this position being the last orchestral position Langenus would hold. (Ibid.) Langenus scholar David Ross contends that Langenus resigned his post due to issues that arose when the National Orchestra of New York and the New York Philharmonic merged into one orchestra in 1921. Further, Ross suggests that Langenus may have left the Philharmonic to devote more energy to chamber music performance and to teaching, writing, and publishing. Langenus had already been engaged in these activities prior to leaving the orchestra, but the diversification of his musical career gained intensity following his departure. As one may surmise from the incomplete list of Langenus students above, Langenus made a significant impact on the American clarinet tradition through the generation of successful students he taught as well as the generations they have fostered. Additionally, Langenus wrote dozens of clarinet- and woodwind-related articles, published and edited a woodwind journal, and produced a highly-respected collection of clarinet studies (still in use today) as well as numerous original works and transcriptions for clarinet. As a clarinet instructor, Langenus was “. . . a congenial and enthusiastic teacher, rather soft spoken and modest, with a kindly disposition toward his students.” (Ross 2000, 46) He emphasized musicality in addition to the basic components of clarinetistry and once commented to student and friend GEORGE WALN, “The tone is the thing. You will acquire technique, but beauty of tone and phrasing are the most important aspects.” (Scott 1984, 13) For further insight into the life and career of Langenus, David Ross’s article, “A Belgian in America: The Life and Career of Gustave Langenus,” in The Clarinet (listed in Bib below) is the most highly recommended of the below articles for its thoroughness and for its commentary on the history of the American clarinet tradition. Bib: Gee, Harry R. “French Clarinetists in America, Part I: Early Artists and Alexandre Selmer.” The Clarinet 8 (Spring 1981): 52; “Gustave Langenus, 1883-1957.” The Clarinet 25 (Winter 1956-57): 16; “Langenus, Gustave.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 831; Ross, David. “A Belgian in America: The Life and Career of Gustave Langenus.” The Clarinet 27 (September 2000): 40-49; Scott, John C. “An Interview with George Waln.” The Clarinet 11 (Spring 1984): 12-19; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 201; Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 152-53; Zwick, Martin, to Tracey L. Paddock, Tallahassee, FL, 1998.

Larsen, Henry. B. 1926 (Port Reading, NJ); d. Apr. 20, 2001. Advanced clarinet studies at New England Conserv with PASQUALE CARDILLO (1948-50). BM/MM: Hartt SOM (1952/1961) with SIMEON BELLISON; additional studies at New England Conserv (1955-56) with ROSARIO MAZZEO. Additional clarinet studies with ARTHUR CHRISTMANN. Clarinetist: Hartford Symph (Asst Principal: 1950-78); also performed with the Connecticut Opera and the Hartford Ballet. Was active as a chamber musician and recording artist (on the Ars Nova/Ars Antigua label). Faculty member: Hartt SOM (Assoc

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Prof of Clarinet/Sax/Chamber Music: 1950-88). Author/Publisher: The Young Clarinetists Friend (Larsen Productions, 1982), The New Rose 32 Studies: An Analysis and Study Guide (privately published), and others. Published in The Clarinet. Other positions/activities: Exec Board Memb, AFM (1959-68); was active as a composer (incl works for the clarinet, and for chamber, jazz, and orch ensembles). Memb: AFM, Pi Kappa Lambda. Students include: PETER COKKINIAS, Alan Francis. Bib: “Clarinotes.” The Clarinet 28 (September 2001): 14-15; Larsen, Henry. “The Reed Connection, Part I.” The Clarinet 18 (July/August 1991): 41-43; Larsen, Henry. “The Reed Connection, Part II.” The Clarinet 19 (November/ December 1991): 22-25; “Larsen, Henry.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 334.

Lauriente, Marilyn. D. October 13, 1991. Clarinetist: Chicago Lyric Opera (Principal: formerly, for 25 years); Grant Park Symph (Principal: 1960-86). Was active as a soloist (incl a perf of a restored version of the Mozart Clarinet Concerto, on a custom-made extended-clarinet, made by Frank Kaspar (Cicero), with the Grant Park Symph). Other positions/activities: Personnel Mgr, Chicago Lyric Opera (1966-73); Ravinia Ballet Orch Mgr (1972-91); Founder, Sanibel Music Festival (1980s). Students include: Gail Kalver. Bib: Heise, Kenneth. “Marilyn Lauriente, 57, Lyric Opera Clarinetist.” Chicago Tribune.com. http://articles.chicagotribune.com/1991-10-18/news/9104030930_1_ardis-krainik-principal- clarinetist-chicago-orchestra (accessed February 1, 2011).

Layne, R. (Richard) Dennis. B. Nov. 27, 1935 (Lewiston, UT). Clarinet studies begun at age 8 on the metal clarinet used by his mother when she was a child. AS: Weber Community Coll (1956); BS: Utah State Univ (1961); MM: Univ of Redlands (1964); PhD: Univ of Southern California (1972). PhD diss topic: modified Suzuki techniques applied to clarinet instruction. Clarinet studies with his mother and MAX DALBY, DOMINICK FERA, MITCHELL LURIE, and KALMEN OPPERMAN; flute studies with Roger Stevens. Clarinetist: San Bernardino Symph (Principal: 1963-72); St. Cloud Symph (Principal: 1974-); has also been a member of the Redlands Bowl and Riverside Symph Orchs. Active as a soloist (incl perfs with the San Bernardino and St. Cloud Symphs, and a perf of his own arrangement of Jeanjean’s Au Clair de Lune for E-flat clarinet and orch as a HS junior). Faculty member: Lyman, WY (1961-62) and Etiwanda, CA Public Schools (1962-72); Univ of Redlands (Grad Asst: 1962-64; Actg Dir of Bands/ Woodwind Instructor: 1964-65; Prof: 1972-; also served as Dir of Bands, 1972-89); St. Cloud State Univ (1972-). Other positions/activities: extra-musical interests incl gardening, bee-keeping, motorcycling, ceramics, world travel, and reading. Memb: ICA, Natl Flute Assn. Plays on: Buffet R-13 clarinets. Students include: Arthur Desens, CLARK FOBES, Jill Pattock. On clarinet playing, R. Dennis Layne commented:

Tone quality is first priority – it doesn’t matter what else you do if it doesn’t sound good. Then develop technical mastery of clarinet and impose it on musical performance. Musicality is learned from fine teachers and listening, listening, listening. Choose a ‘hero’ and imitate – mine are Reginald Kell, Mitchell Lurie, Harold Wright, Richard Stoltzman, Eddie Daniels, Robert Marcellus. (Layne/Paddock 1998)

Bib: Layne, R. Dennis, to Tracey L. Paddock, Tallahassee, FL, June 22, 1998; “Professor of Music: Woodwinds/Humanities.” St. Cloud State University. http://www.stcloudstate.edu/music/faculty/ layne.asp (accessed March 11, 2011).

Lebailly, Victor Edmund. B. Dec. 12, 1872 (Boulogne-sur-Mer, France); deceased. 1st Prize: Paris Conserv (1888). Former clarinetist: Théâtre de l’Opéra-Comique; Boston Symph (Principal: 1901- 03; Clarinet: 1903-04). Was active as a chamber musician (incl perfs with the Kneisel String Quartet, the Longy Society, and various French chamber groups). Former faculty member: Boulogne-Sur-Mer Natl SOM (1907+). Bib: Huffman, Larry. “Boston Symphony Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Boston_Symphony.htm (accessed March 11, 2011).

Lee, Cassandra D. B. Apr. 29, 1953 (Appalachia, VA). BS: Univ of Tennessee (1975) with WILLIAM SCARLETT; MM: Northwestern Univ (1978) with ROBERT MARCELLUS and CLARK BRODY; additional studies at the Aspen Music Festival (1976). Additional clarinet studies with LEON RUSSIANOFF. Clarinetist: Knoxville Symph (Second/ E-flat: 1973-77); Ars Nova Woodwind Quintet

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(1976-77); Civic Orch of Chicago (Co-Principal: 1978); Nashville Symph (Second/E-flat: 1979-); Stone Rivers Chamber Players (1994); Blair Woodwind Quintet (current). Active as a chamber musician (incl perfs with above ensembles), festival artist (incl participation at the 1983 New College Music Festival), recording artist (appears on recordings with the Nashville Symph). Faculty member: Univ of Tennessee (Instructor of Clarinet: 1975-77); Vanderbilt Univ-Blair SOM (Asst Prof: 1981-); TN Governor’s School for the Arts (1986). Hon: recognized as one of Tennessee’s top teachers (HS level). Plays on: Buffet R-13 clarinets; Zinner/Dirksmeyer mouthpiece; Glotin Gaia reeds. Students include: David Mitchell, Rose Rutledge, Lauren Wright. In teaching, Cassandra Lee strives to

Teach the student how to practice the fundamentals correctly. Involve students in chamber ensembles as much as possible and as soon as possible. Stress the importance of sight-reading. (Lee/Paddock 1998)

Bib: “Cassandra Lee.” Vanderbilt University. http://blair.vanderbilt.edu/faculty-administration/ faculty/cassandra-lee (accessed March 11, 2011); Lee, Cassandra, to Tracey L. Paddock, Tallahassee, FL, July 16, 1998.

Leeson, Daniel N. Clarinet/basset horn studies with ROSARIO MAZZEO. Clarinetist: San Jose Symph (Bass: formerly, for 20 years, 1980s, +/-); also performed with the San Diego Symph, San Francisco Opera, and Mozart Orch of San Luis Obispo. Active as a recitalist, chamber musician, and basset hornist (incl perf at the 1976 ICA conference). Articles published in Mozart Jahrbuch, Music & Letters, Musical America, The Clarinet, The Instrumentalist, The International Journal of Musicology, and The Musical Times. Other positions/activities: IBM Exec; Editorial Staff, Neue Mozart Ausgabe; active as a lecturer/clinician (incl presentations given at ICA conferences and at SOMs across the U.S.) and scholar (areas of research incl the basset horn, and the clarinet and woodwind music of Mozart). Hon: favorable review of 1976 perfs/lectures appeared in The Clarinet (see Bib below). Daniel Leeson balances a career outside of the music world with extensive musical research and performance activities. He has made important contributions to the clarinet world through his research on the clarinet (and woodwind) music of Mozart and his advocacy of the use of the basset horn. Though Leeson is a full-time executive with IBM, he has always found time to perform, conduct music research, and write (including academic and fictional publications). He has a special affinity for the basset horn, and has been very active as a basset horn performer. According to a 1980 biographical sketch in The Clarinet, Leeson (at that time) held “. . . the world record for playing basset horn in both the Mozart Requiem (57 times) and the Great Wind Serenade (84 times).” (Leeson 1980, 24) Bib: “International Clarinet Clinic, 1976.” The Clarinet 3 (Spring 1976): 22; Leeson, Daniel. “An Interview with Herbert Blayman.” The Instrumentalist 3 (November 1975): 59-65; Leeson, Daniel. “An Interview with Jerry Kirkbride.” The Instrumentalist 30 (January 1976): 46-52; Leeson, Daniel. “Embellishments and Improvisation in the Clarinet Repertoire of the Classic and Early Romantic Periods.” The Clarinet 8 (Fall 1980): 16-24; “Leeson, Daniel N.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 831; Livingood, Marvin D. “International Clarinet Clinic, 1976, Think Clarinet!” The Clarinet 4 (Fall 1976): 30.

Lefson, Arthur. Clarinetist: Pittsburgh Symph Orch (Bass/E-flat: 1945-47).

Legbandt, Rolf. B. Aug. 26, 1930 (Chicago, IL). BM/Perf Cert: Eastman SOM with STANLEY HASTY; MM(Woodwinds): Univ of Michigan with ALBERT LUCONI. Additional clarinet studies with KALMAN BLOCH, Jack Brymer, ROBERT MARCELLUS, and JEROME STOWELL. Clarinetist: Rochester Phil (1958-59); Toledo Symph (1959-60); Muncie Symph (Principal: formerly); Musical Arts Quintet (1960-92). Active as a chamber musician and recording artist (on the Coronet and Mercury labels; performed as 1st Clarinet on 13 recordings with the Eastman Wind Ensemble). Faculty member: Ball State Univ (Clarinet Instructor: 1960-92). Articles/reviews published in The Clarinet. Other positions/activities: Record Review Ed, The Clarinet (formerly). Hon: Oliver Ditson Award, Univ of MI; favorable reviews of perfs/recordings appear in Hi/Fi Stereo Review, Indianapolis Times, New York Herald-Tribune, New York Times, and Woodwind World-Brass and Percussion. Plays on: Buffet R-13 clarinets; Vandoren 5RV Lyre

188 mouthpiece; Rovner ligature; Vandoren V-12 #4 reeds. Students include: Naomi Henderson, KIMBERLY ASELTINE ISACKSON, Robert Jones, Shela Bondurant-Koehler, Scott Locke. Of his musical training, Rolf Legbandt commented, “My most influential teachers were STAN HASTY and BOB MARCELLUS. Both were superb musicians as well as virtuoso technicians.” (Legbandt/Paddock 1998) On musicianship, he added:

There are far too many clarinetists even at the professional level who seem to concentrate on the physical aspects of their approach to the clarinet, both as teachers and performers. My personal philosophy is that all the technical skills developed should be used for only one purpose: making music, not simply reading it. Unless you develop the ability to “sing” through your instrument, you are just another button pusher. . . . Music is truly the universal language, but only if we have something of beauty to say. (Ibid.)

Of Legbandt’s own clarinetistry, GEORGE TOWNSEND has written, “Legbandt’s playing is tasteful, musical, and stylish, and he is endowed with abundant technique.” (Townsend 1976, 14) Legbandt is enjoying retirement on four acres of land in Northeast Georgia. He remains active as a clarinetist, performing as a member of two community orchestras and with the “Cake & Coffee Trio” (oboe, clarinet, bassoon), the “Mountain Winds” Woodwind Quintet, and the Carolina Chamber Players. Bib: Legbandt, Rolf. “Making Music Vs. Reading Music.” The Clarinet 13 (Summer 1986): 38- 39; Legbandt, Rolf, to Tracey L. Paddock, Tallahassee, FL, June 1, 1998; Townsend, George. “Clarinet Review.” Woodwind World-Brass and Percussion (November 1976): 14.

LeGrand, Thomas. Native of Richmond, VA. Early clarinet studies with his father, Louis LeGrand (former clarinetist, Richmond Symph). BM: Curtis IOM (1980) with ANTHONY GIGLIOTTI; additional studies at the Cincinnati Conserv with CARMINE CAMPIONE, and at the Eastern Music Festival with EDWARD PALANKER. Clarinetist: Cincinnati Symph (Bass: 1980-86); Houston Symph Orch (Assoc Principal: late-1980s-, +/-); Grand Teton Music Festival Orch (1980s-, +/-); Greenbriar Consortium (Founding Memb: current). Active as a recitalist (incl perf at ClarinetFest 1997), soloist (incl perfs with the Houston Symph), chamber musician (incl perfs with above groups and the Da Camera Society, and on Cincinnati’s Linton and Taft Museum Series and the Houston Symph’s Innova and Mostly Mozart Series), and festival artist (incl participation at the Grand Teton Festival). Faculty member: Cincinnati Conserv (formerly, 1980s); Univ of Houston (Affil Artist: current); Rice Univ (Assoc Prof: current); active as a private clarinet instructor. Other positions/activities: has been active as a refacer of clarinet mouthpieces. Extra-musical activities incl camping, hiking, and distance running. Hon: Bloomfield Award, Eastern Music Festival (1976); Distinguished Alumnus, Eastern Music Festival (1988). Students include: Leah Biber, Marcia Diehl, Deborah Gers, Michael Isadore, Charlie Suriyakham, JOHN WARREN. Bib: de Kant, Ronald. “Symphonic Corner.” The Clarinet 17 (February/March 1990): 23-25; “Thomas LeGrand.” Shepherd School of Music. http://music.rice.edu/facultybios/legrand. shtml (accessed March 13, 2011).

Lei, Fan. Native of China. BM: Central Conserv of Music-Beijing; Artist Dipl: Oberlin Conserv with LAWRENCE MCDONALD; MM/Perf Cert: Yale Univ with DAVID SHIFRIN. Additional clarinet studies with Tao Chunxiao, ELSA LUDEWIG-VERDEHR, KALMEN OPPERMAN, and FRED ORMAND. Clarinetist: Green Bay Symph (Principal: current); Norfolk Trio (Founding Memb: current). Active as an intl recitalist/soloist (incl perfs at the 1998 Beijing Intl Clarinet Festival and for the British and Canadian Prime Ministers), chamber musician, festival artist (incl participation at the Norfolk Summer Chamber Music Festival), and new music specialist (incl North American premiere of Penderecki’s Sextet and the premiere of James Cohn’s Three Pieces for Clarinet Alone, dedicated to Lei, JON MANASSE, and RAPHAEL SANDERS); broadcast perfs given in North America and on Chinese and Yugoslavian television networks. Faculty member: Lawrence Univ (Assoc Prof: 1993-); Banff Center for the Arts (Vstg Artist: 1999-); Central Conserv of Music-Beijing (Vstg Prof: current). Other positions/activities: Artistic Dir, Intl Clarinet Festival, Xian, China; active as an adjudicator (incl judging for the 1998 Beijing Intl Clarinet Compt and the Natl Arts Club Clarinet Compt in NYC) and clinician (master classes given at SOMs throughout North America and China). Hon: Grand Prize, Chinese Natl Clarinet Compt; Participant, Toulon Intl Compt-France; Prize Winner, Intl Young Clarinetist Compt-Seattle; Finalist, 1991 Young

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Concert Artist Intl Auditions-NYC. Students include: Shandra Helman, Julie Asuma Levene, Suzanne Tirk. Bib: “.” The Banff Centre. http://www.banffcentre.ca/faculty/faculty_member.aspx?facId= 121 (accessed March 13, 2011).

Lemmons, Keith. BME: Pittsburgh (KS) State Univ with ROBERT SCHOTT; MM(Clarinet Perf/Woodwind Specialist)/DM studies: Michigan State Univ with ELSA LUDEWIG-VERDEHR. Additional clarinet studies with HERBERT BLAYMAN, LARRY COMBS, Robert Crowley, Thea King, and CHARLES NEIDICH. Clarinetist: Santa Fe Opera (Summers; current); has performed as Principal Clarinetist of the Chamber Orch of Albuquerque, the Missoula, Montana, New Mexico and Santa Fe Symph Orchs, the Santa Fe Festival Ballet, and Santa Fe Pro Musica. Active as an intl recitalist/soloist (incl perfs at the 1987, 1991, 1995, and 1996 Oklahoma Clarinet Symposia; the 1989, 1990, 1997, and 2000 ClarinetFests, the 1999 Northern Plains Clarinet Symposium, various Montana-Idaho Clarinet Symposia, the 2000 Brazilian Clarinet Congress, the IDRS conference, and throughout the Americas and Europe), chamber musician (incl perfs with the Ay! Carumba Clarinet Quartet, Albuquerque Chamber Soloists, New Mexico Winds, Serenata of Santa Fe, Taos Chamber Music Group, Trio New Mexico, and the Helios String Quartet), festival artist (incl participation at the Intl Music in the Mountains Festival, the Michigan Contemporary Clarinet Festival, and the Santa Fe Chamber Music Festival), and recording artist. Faculty member: Moorhead State Univ (formerly); Albion Coll (formerly); Alma Coll (formerly); New England Music Camp; Univ of New Mexico (Prof of Clarinet: 1984-). Articles/reviews published in the NACWPI Journal and The Clarinet. Other positions/activities: ICA State Chmn, NM; MTNA Woodwind Consultant; has served as Pres of Southwest chapters of CMS and NACWPI. Memb: ICA. Hon: UNM/Burlington Northern Foundation Faculty Achievement Award (1987); UNM Teacher of the Year (1999); UNM Presidential Teaching Fellow Award (2000); Pittsburgh State Univ Alumni of the Year (2000); Recip, USIA Grants to teach at Universidad Autonoma Mexico; favorable reviews of perfs/recordings appear in the Albuquerque Journal and The Clarinet. Students include: Stephanie Akau, LORI ARDOVINO, Mary Clark, KIMBERLY COLE- LUEVANO, Christina Giacona, Michael Herrera, Loretta Krein, Jeanny Lopez, John Masserini, Malena McLaren, GREGORY OAKES, John Winder. Bib: Helmers, William. “Opera in the Mountains.” The Clarinet 28 (March 2001): 84; “Keith Lemmons.” University of New Mexico. http://music.unm.edu/faculty_staff/fac_profiles/lemmons.htm (accessed March 13, 2011); Lemmons, Keith. “French Music with David Harmon.” The Clarinet 15 (May/June 1988): 53-4.

Lentini, F. Clarinetist: Atlanta Symph Orch (formerly, mid-1950s to 1959, +/-).

Lerner, Jeffrey L. BM/MM: Juilliard. Clarinet studies with DANIEL BONADE; sax studies with JOSEPH ALLARD. Clarinetist: Houston Symph/Ballet/Grand Opera (Principal: formerly, c. 1950s); North Texas Opera Theater (Principal: formerly); Carolina Symph (Principal: formerly); has also performed with the Goldman Band, Winds of Texas, and NYC Opera. Active as a clarinet/sax recitalist (incl perfs at the 1997 Univ of Oklahoma Clarinet Symposium and ClarinetFest 1998), soloist (incl perf at ClarinetFest 1997), and recording artist (on the Albany Records label). Faculty member: Univ of Houston (Prof of Clarinet/Sax/Chamber Mus: 1980s-2000+; Prof Emeritus: current). Published in The Clarinet. Other positions/activities: active as an adjudicator (incl the 1998 ICA Young Artist Compt) and clinician. Hon: Grammy semi-finalist for Souvenirs de Voyage (Albany Records). Students include: Joanne Britz, Rachel Grasso, DAN HEARN, MARY JUNGERMAN, , NANCY RADNOFSKY, Will Reavis, Charlie Suriyakham, ROBERT WALZEL, M. Eugene Williams. Bib: Cawein, Diane. “The 1997 University of Oklahoma Clarinet Symposium.” The Clarinet 2 (February/March 1998): 32-5; “Jeffrey Lerner.” Moores School of Music. http://www.music.uh.edu/people/lerner.html (accessed March 13, 2011); Lerner, Jeffrey L. “Master Class.” The Clarinet 29 (March 2002): 6-9.

LeRoy, Henri Leon. D. 1st Prize (Clarinet): Paris Conserv (1898). Clarinetist: Garde Républicaine Band-France (Principal: 1898+); NY Symph (Principal: 1905-10, +/-; recruited, with oboist Marcel Tabuteau, by conductor Walter Damrosch); New York Phil (Principal: 1912-14, 1917-19, +/-); Cleveland Orch (Principal: 1929-30). Former faculty member: Instit of Musical Art (now Juilliard; Prof of Clarinet: 1905-1910); Interlochen Arts Camp. Author of several clarinet etude books (published by

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Costallat, Paris). Other positions/activities: Owner/Dir, Robért instrument manufacturer, France; was active as a mouthpiece/reed craftsman; extra-musical interests included performing magic tricks. Students include: EMIL RADA, BURNET TUTHILL. Bib: Gee, Harry R. “French Clarinetists in America, Pt. II: Grisez, LeRoy, Cailliet.” The Clarinet 8 (Summer 1981): 21.

Lesser, Richard. B. Washington D.C. Clarinet studies begun at age 7. Early clarinet studies in Los Angeles with KALMAN BLOCH and MITCHELL LURIE. Grad: Curtis IOM (1959) with ANTONY GIGLIOTTI. Clarinetist: Ballet Russe de Monte Carlo (formerly); Natl Ballet of Canada Orch (formerly); Pasadena Symph (Second: formerly); Columbia Symph-Los Angeles (Principal: formerly); Israel Phil (Clarinet: 1966-68; Principal: formerly, 1968-2000+). Active as a soloist (incl perfs with the Israeli Phil), recitalist/chamber musician (incl perfs on the Monday Evening Concert Series in Los Angeles), festival artist (incl participation at the Ojai and Marlboro Festivals), studio musician (incl work with Los Angeles film studios early in his career), and recording artist (on the CBS label); broadcast perfs given on radio and television. Faculty member: Tel Aviv Univ (Head of Clarinet Dept: 1968-). Active as a clinician (master classes given in Asia, Australia, Germany, Israel, and the U.S). Has played on: Buffet R-13 clarinets; MITCHELL LURIE crystal mouthpiece; LUYBEN ligature; Olivieri, Zonda, and Vandoren V-12 reeds. Students include: Eyal Bor, ELI EBAN, Nophachai Cholthitchanta, Jonathan Hadas, Chen Halevi, JAMES KANTER, Moran Katz, Assaf Leibowitz, Michal Lewkowicz, Orit Orbach, Ron Selka, Eva Wasserman. Bib: “Richard Lesser.” ClarinetDays.com. www.clarinetdays.com/clarinetdays-2005/Richard%20Lesser %20CV1.pdf (accessed March 13, 2011); Wasserman-Margolis, Eva. “The Clarinet Section of the Israel Philharmonic Orchestra.” The Clarinet 23 (July/August 1996): 37.

Lester, Leon. B. Apr. 22, 1910 (Clarksburg, WV); d. Aug. 1, 2003. Grad: Curtis IOM (1934) with LUCIEN CAILLIET and DANIEL BONADE. Additional studies with Marcel Tabuteau. Former clarinetist: Richmond Symph (Principal); Baltimore Symph (mid-1930s); Philadelphia Orch (Bass: 1938- 66; also played Second). Former faculty member: Germantown Settlement Music School (1953, +/-); has been active as a private clarinet instructor. Author/Composer/Editor of several clarinet method books/solos (many are especially significant as they were written to bridge the gap between the multitude of beginning and advanced method books/solos; published by Carl Fischer and/or Chester Music). Students include: DONALD AMBLER, David Blumberg, Michael Brecker, John Greenly. Bib: Klug, Howard. “Clarinet Pedagogy: An Interview with Leon Lester, Performer, Teacher, and Composer/Editor.” The Clarinet 17 (November/December 1989): 12; “Philadelphia Clarinetists.” The Clarinet 1 (Fall 1953): 27.

Levee, Lorin. B. Chicago, IL. Clarinet/music studies begun at age 4 with his father. Clarinet studies with SIDNEY FORREST. Clarinetist: Grant Park Symph (formerly); Chicago Lyric Opera (formerly); Chicago Chamber Orch (Principal: formerly); Contemporary Chamber Players-Univ of Chicago (formerly); American Ballet Theater Orch (Principal: formerly); Los Angeles Phil (Bass: 1976-81; Principal: 1981-). Active as a soloist (incl perfs with the Grant Park Symph, Chicago Chamber Orch, Chicago Civic Opera Orch, and Los Angeles Phil), chamber musician (incl perfs on the Los Angeles Phil’s chamber music series and with the New Music Group), festival artist (incl participation as Principal Clarinetist of the Colorado Music Festival and Grand Teton Festival), and recording artist. Premiere perfs incl the 1994 U.S. premiere of Carpe Diem!, a clarinet concerto by Jouni Kaipainen. Faculty member: DePaul Univ (formerly, for 3 years, c. 1970s). Other positions/activities: Yamaha Artist. Extra-musical activities incl collecting vintage records and vintage audio equipment. Hon: favorable reviews of perfs appear in the Los Angeles Times and New York Times. Has played on Zonda reeds. Students include: Don Blasick, Daniel Coombs, Kathryne Pirtle, Darryl Tanikawa. Bib: “Lorin Levee.” Los Angeles Philharmonic. http://www.laphil.com/philpedia/artist-detail.cfm?id=346 (accessed March 13, 2011).

Levin, Marguerite Baker. Native of TX. BME: North Texas State Univ with JAMES GILLESPIE; MM: Catholic Univ with ROBERT GENOVESE and LEON RUSSIANOFF; DM: Univ of Maryland with LOREN KITT. Additional clarinet studies with ANDREW CRISANTI, STEPHEN GIRKO, and EDWARD PALANKER. Clarinetist: U.S. Navy Band-Washington, D.C. (1986-90); Atlantic Winds; Baltimore Opera (Principal: formerly, for 10 years, 1999+); Quintigre (current); Towson New Music Ensemble (current); Key West Symph (Principal: current); perfs regularly with the Alexandria, Annapolis, Fairfax, and Maryland Symphs, and Natl Gallery Orch; has also performed with the Baltimore Symph/Baltimore Pops, Kennedy Center, and Natl Symph Orchs, and Wolf Trap and Annapolis Operas.

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Active as a recitalist (incl perf at ClarinetFest 1997), chamber musician (incl perfs with above groups, the Quintessence Chamber and Post Classical Ensembles, and Carpe Diem and Florin String Quartets), festival artist (incl participation at the Bay View Music Festival), and recording artist (incl recordings with Washington Winds). Faculty member: Northern VA Community Coll-Woodbridge (formerly); Howard Univ (formerly); Towson Univ (Asst Prof of Clarinet: 1998-). Articles published in The Clarinet. Other positions/activities: ICA State Chair, MD; active as an adjudicator (incl various ICA compts) and clinician (incl appearances with Atlantic Winds on the Young Audiences of MD program). Memb: ICA. Hon: three-time Winner (with Atlantic Winds), Baltimore Chamber Mus Awards Compt; two-time selectee (with Atlantic Winds), VA Touring Artist Roster; favorable reviews of perfs appear in the Harrisburg Patriot News and Washington Post. Bib: Baker, Marguerite. “The Clarinet Sections of the Dallas and Fort Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 32; Levin, Marguerite. “Biography.” Clarinessence. http://clarinessence.com/Biography.html (accessed March 13, 2011).

Levine, Jerome. Grad: Juilliard. Clarinetist: Pittsburgh Symph (formerly). Faculty member: Carnegie-Mellon Univ (formerly, active 1970s, +/-). Students include: Bill Balawajder, Nancy Galbraith, Richard Heffler, KARL HERMAN. Bib: “Evelyn and Jerry Levine.” University of Texas MD Anderson Center. http://mdanderson.planyourlegacy.org/donor-levine.php (accessed March 13, 2011).

Levine, Lee Carroll. B. Nov. 20, 1956 (Greenwood, MS). HS clarinet studies with JAMES GHOLSON. Undergrad studies begun at Converse Coll (1974-76) with Donald Henderson; BM: Peabody Conserv (1979) with IGNATIUS GENNUSA and SIDNEY FORREST; additional studies at the Grand Teton Festival Orch Training Seminar (1982) with TIMOTHY PARADISE and STEVE GIRKO, and at Tanglewood (1985, 1986) with HAROLD WRIGHT. Clarinetist: Memphis Symph (Second: 1979-80); Bogotá Phil (Principal: 1980-82); Colorado Phil (Utility Clarinet: 1983); Nashville Symph (Principal: 1984-); Belmont Camerata Musicale (1990-, +/-); Nashville Studio Orch (current). Active as a soloist (incl perfs with the Nashville Symph), chamber musician (incl perfs with the ALIAS Chamber Ensemble), recording artist (on the Gasparo and Naxos labels), and Nashville studio musician (records jingles, demos, limited pressings, and masters). Faculty member: Belmont Univ (Adj Instructor: 1990-); active as a private clarinet instructor. Hon: Cabot Award for Outstanding Instrumentalist, Tanglewood (1985); two-time nominee, Nashville Music Award for Outstanding Instrumentalist (1996, 1998). Memb: AFM, ICA. Plays on: Buffet R-13 clarinets; GENNUSA GE* mouthpiece; BONADE ligature; Vandoren V-12 #4 ½ reeds. Students include: Magie Smith. Bib: Levine, Lee Carroll, to Tracey L. Paddock, Tallahassee, FL, May 17, 1998; “Musical Chairs.” The Clarinet 12 (Fall 1984): 38.

Levy, Todd. Grad: Juilliard with DAVID WEBER; additional studies with Marcel Moyse, , and DON LITUCHY. Clarinetist: Stamford Symph (Principal: 1980-, +/-); Soloisti NY Chamber Orch (Principal: 1985-, +/-); New World Symph (Principal: 1988-93, +/-); Santa Fe Opera (Principal: 1990s-, +/-); Aspen Wind Quintet (1992-97); American Symph Orch (Asst Principal: 1994-, +/-); Northeastern Pennsylvania Phil (Principal: 1995-, +/-); EOS Ensemble (1995-); Metropolitan Opera Orch (Guest Principal/Assoc Memb: formerly, 1996+); Metropolitan Chamber Ensemble (E-flat: formerly, 1996+); Milwaukee Symph (Principal: current); American Wind Quintet (current); Windham Ensemble (current); has also performed as Guest Principal Clarinet with the Cincinnati and NJ Symphs, the NY Phil, the Orch of St. Luke's, and the Orpheus Chamber Ensemble. Active as a recitalist/soloist (incl professional debut at age 17, performing the Hindemith Clarinet Concerto at Lincoln Center; has also performed with the Israel Phil, Lar Lubovitch Dance Co., NYC Ballet Orch, and Mostly Mozart Fest Orch, and at Carnegie Hall and the White House), chamber musician (incl perfs with members of the Beaux Arts Trio, the Cleveland, Guarneri, Juilliard, Orion and Ying Quartets, the Aspen and American Wind Quintets, the Met Chamber Ensemble, and with , Richard Goode, Midori, Paula Robison, Mitsuko Uchida, et al), festival artist (incl participation at the Marlboro Music Festival for 4 seasons and at the Santa Fe Chamber Music Festival), and recording artist (recordings with above groups appear on the BMG, BMG/Catalyst, , Deutsche Grammophone, Koch Intl, London/Decca, and Northeastern labels). Premiere perfs incl Peter Schickele’s Concerto for Clarinet and Flute, conducted by Schickele. Faculty member: Univ of Wisconsin-Milwaukee (current). Other positions/activities: Selmer Artist; published in The Clarinet.

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Hon: Naumburg Award (as member of the Aspen Wind Quintet); appeared as solo clarinetist in a perf of Rhapsody in Blue at the White House for President and Mrs. Bill Clinton (Nov. 1998); recording of Rhapsody in Blue with the EOS Orch awarded a “Rosette” (1999) by the Penguin Guide to Compact Discs. Plays on: Selmer Signature clarinets; Vandoren mouthpieces, ligatures, and reeds. Students include: Mark Dubac, Matthew Gunderson, Kyle Knox, Berginald Rash. Bib: Helmers, William. “Opera in the Mountains.” The Clarinet 28 (March 2001): 84; Levy, Todd. “Todd Levy - Clarinetist.” T. Levy. http://www.toddlevy.org/ (accessed March 13, 2011); Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57; “Todd Levy.” Selmer Corporation. http://www.selmer.fr/musicfiche.php?id=219 (accessed March 13, 2011).

Lewis, David S. B. Dec. 10, 1929 (Baltimore, MD); d. Aug. 14 1996 (Chautauqua, NY). Early clarinet studies with ANGELO FIORANI. BS: Concord Coll (1952); MM: Univ of Michigan (1957) with WILLIAM STUBBINS; PhD(Theory): West Virginia Univ (1968). Additional clarinet studies with FRANKLIN COHEN and HENRY GULICK. Former clarinetist: U.S. Air Force Bands (NY, Germany); Roanoke Symph (Principal: 1959-63); Singapore Symph (Co-Principal: 1978-80; Principal: 1984); Ohio Univ Woodwind Quintet; Jazz Quartet- THE PROFS. Was active as an intl recitalist (incl perfs at several ICA conferences, for the ICA Singapore chapter, and in Bangkok, Thailand), soloist (incl perfs with the Bangkok, Ohio Valley, Roanoke, and Singapore Symph Orchs, the Natl Theater Symph Band-Singapore, the Thessalonicki Municipal Orch- Greece, the Emory Univ and Virginia Tech Wind Ensembles, the Cincinnati Conserv Wind Symph, and various Ohio Univ ensembles), chamber musician, jazz musician (incl perfs with the Jazz Quartet-THE PROFS, the Bangkok and Singapore Symphs, and at the Intl Music Festival-Greece and ClarFest 1992), and festival artist (incl participation at the 1989 Piccolo Spoleto Festival and the 1989 Intl Music Festival- Greece); broadcast perfs given on NPR. Former faculty member: Concord Coll (Asst Prof of Woodwinds/Theory: 1957-63); Frostburg State Univ (1964-66); Ohio Univ (Prof of Clarinet/Theory: 1966-90s; retired as Prof Emeritus). Co- Author, Harmonic Dictation: a Programmed Course (published privately). Articles/reviews published in ClariNetwork and The Clarinet and in JAMES GILLESPIE’s book Solos for Unaccompanied Clarinet. Other positions/activities: Record Reviewer, The Clarinet (1974-85+); was active as an administrator (incl positions at as Chmn of the Acad Studies and Perf areas, Chmn of Mus Theory/Hist, and Actg Dir of the SOM) and clinician (master classes given at the 1989 Intl Music Festival-Greece, at the Shanghai Conserv, and around the world). Memb: ClariNetwork, CMS, ICA. Hon: Fulbright Grant, for perf as Principal Clarinetist of the Singapore Symph (1978, 1984); Baker Award, OU (1983). Students include: JAMES GILLESPIE, JOHN SCOTT. In Thomas Brooks’s article, “In Memoriam: David Lewis,” (see Bib below) JAMES GILLESPIE wrote about his experience as a young student of Lewis, commenting, “He was a wonderful role model for musicianship and dedication to one’s art and vocation, an excellent classroom theory teacher and a super jazz musician.” (Brooks 1997, 31) In the same article, Lewis’s widow Karen offered the following tribute to Lewis:

St. Augustine believed that to sing was to pray twice. When David Lewis picked up his horn, his soul and heart opened, and he played with reckless abandon for his God and all of us. He nourished us with the great musical gift God had given him. His beautiful music allowed us to bask in beauty and healing, and was prayer for us – twice. (Ibid.)

Bib: Brooks, Thomas W. “In Memoriam: David S. Lewis – 1929-96.” The Clarinet 24 (February/ March 1997): 30-31;“David Lewis Awarded Fulbright Grant.” The Clarinet 11 (Winter 1984): 43; “David Lewis to Teach in Greece.” The Clarinet 16 (July/August 1989): 17; “Lewis, David S.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 249; “News of Members.” The Clarinet 6 (Spring 1979): 42.

Liberson, Laurence. B. June 7, 1952 (Detroit, MI). Early clarinet studies with Nicholas Cannici (1965-68) and HERBERT COUF (1968-70). BM: Univ of Michigan (1975) with WILLIAM STUBBINS. Additional clarinet studies with PAUL SCHALLER (1975-76) and LARRY COMBS (1980). Clarinetist:

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Grand Rapids Symph (Principal: 1976-81); Detroit Symph (Asst Principal/E-flat: 1981-); Detroit Chamber Winds (Charter Memb: 1982-). Active as a recitalist, soloist (incl perfs with the Detroit and Grand Rapids Symphs, chamber musician (incl perfs with the Detroit Chamber Winds and members of the Grand Rapids Symph), festival artist (incl participation at the Bravo! Colorado Music Festival, Casals Festival, Great Lakes Chamber Music Festival, and the Lucerne Easter Music Festival-Switzerland), and recording artist (incl more than 40 recordings with the Detroit Symph and several recordings with the Detroit Chamber Winds). Faculty member: Olivet Coll (1974-75); Grand Rapids Baptist Coll (1977-81); Grand Rapids Junior Coll (1977-81); Calvin Coll (1978-81); Wayne State Univ (Adj Instructor of Clarinet: 1983-); Cranbrook Summer Music Acad (Dir of Winds: 1995-). Active as a clinician (master classes given at Interlochen Arts Camp and SOMs across the U.S.). Memb: AFM, ICA. Plays on: Buffet R-13 (B-flat/A/ D/E-flat) and Buffet RC Prestige (C) clarinets; CHADASH barrels; GREG SMITH 1* (B-flat/A/C) and standard facing (D/E-flat) mouthpieces; BONADE inverted ligatures; handmade reeds. While Laurence Liberson has the highest regard for his former teachers, “fine artists and fine teachers, all of whom inspired as well as taught, (Liberson/Paddock 1998) he added:

Frankly, as valuable and enriching as my private studies with all of these wonderful clarinet teachers/players has been, my most valuable educational experiences have been working with my peers, both in orchestral and chamber music settings. (Ibid.)

His philosophy as a musician is, “simply put, to sing with the instrument and make music.” (Ibid.). Liberson loves his profession wholeheartedly but admits to having “. . . a real life away from the clarinet! Skiing, bicycling, in-line skating, reading, film, and crossword puzzles take up a good deal of my time when my family and profession do not!” (Ibid.) He is also an award-winning baker, having won second place in a state chocolate cake baking contest. Bib: “Laurence Liberson.” Detroit Symphony. http://www.detroitsymphony.com/page.aspx? page_id=376 (accessed March 13, 2011); Liberson, Laurence, to Tracey L. Paddock, Tallahassee, FL, October 5, 1998; “The Clarinet Section of the Detroit Symphony Orchestra.” The Clarinet 23 (May/June 1996): 23.

LiCalsi, N. Clarinetist: Natl Symph Orch (1932).

Liebowitz, Marian. B. Apr. 11, 1956 (Huntington, NY). BM: Eastman SOM with STANLEY HASTY; MA(Musicology): Smith Coll with MICHAEL SUSSMAN; DM: Univ of Southern California with MITCHELL LURIE. Additional clarinet studies with LEON RUSSIANOFF. Clarinetist: San Diego Chamber Orch (Principal: formerly); Arioso Wind Quintet/Arioso Winds (Exec Dir/Clarinetist: formerly); Liebowitz/Follingstad Duo (current). Active as a recitalist (incl perfs as part of the Liebowitz./Follingstad Duo and numerous recitals in Latin America and the U.S.), soloist (incl perfs with the Monteux and New Mexico Festival Orchs, the San Diego Chamber Orch, San Diego Symph, and San Diego State Univ Symph), chamber musician (incl perfs with above groups), festival artist (incl participation at the Colorado Music Festival, La Jolla Chamber Music Society’s SummerFest, Mainly Mozart Festival, Sacramento Festival of New American Music, and San Luis Obispo Mozart Festival), and recording artist (incl perfs/recordings with the Arioso Wind Quintet/Arioso Winds). Faculty member: San Diego State Univ (Prof/Dir of Recruitment for SOM and Dance: 1984-). Other positions/activities: Creator, San Diego State Univ’s Adams’ Project, “an innovative professional training program for soloists and small ensembles in music and dance” (Liebowitz/Paddock 1998); active as a clinician (master classes given in Latin America and the U.S.) and lecturer (lectures given on the Business of Music at California State Univ-Sacramento, Univ of California-Davis, Univ of Costa Rica, and the Univ of the Pacific). Hon: Winner, U.S. Information Agency/John F. Kennedy Center for the Perf Arts Artistic Ambassador Compt (1997); American Rep, 3rd Annual Peace Festival, El Salvador (1998); U.S. Information Agency “Cultural Specialist,” Costa Rica (1998). Students include: Peter Dayeh, Jay Easton, Joseph Howell, John Mula, Wes Sansom. Bib: “Clarinotes.” The Clarinet 25 (February/March 1998): 12; Liebowitz, Marian, to Tracey L. Paddock, Tallahassee, FL, May 8 1998; “Marian Liebowitz.” San Diego State University. http://www- rohan.sdsu.edu/~adamspro/liebowitz/ (accessed March 13, 2011); “Musical Chairs.” The Clarinet 12 (Fall 1984): 38.

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Liegl, Leopold Joseph. B. Vienna, Austria (1899). Grad: Univ of Minnesota; MacPhail SOM. Clarinet studies with GEORGE GRISEZ and CLARENCE WARMELIN. Clarinetist: Minneapolis Symph (Second: 1928-32); also performed with the Chicago Symph. Former faculty member: River Falls State Teachers Coll (1936); Univ of Wisconsin (1937-39); DePauw Univ (1939-41+); Emporia State Univ-KS (1950s, +/-). Author, Music Educators Basic Method for Clarinet. Other positions/activities: was also active as a conductor (incl positions with ensembles of above univs). Hon: listed in Who is Who in Music (1941). Students include: FRANK SIDORFSKY. Bib: “Liegl, Leopold Joseph.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 149.

Lightfoot, William C. B. May 5, 1938 (Indianapolis, IN). BME: Butler Univ (1960); additional studies at the Vienna Acad of Music (1965). Clarinetist: St. Polten Staat Theater (Principal: 1964-65); Honolulu Symph (Second/E-flat: 1966-84); Spring Wind Quintet (1976-85). Faculty member: Univ of Hawaii (Lect: 1972-82). Other positions/activities: Orch Mgr, Honolulu Symph (1984-85). Hon: listed in Who's Who in American Music (Classical). Memb: ASOL, CMA. Bib: “Lightfoot, William C.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 352.

Limoli, Michael. BM/DM: Indiana Univ; Dipl: Salzburg Mozarteum. Active as a clarinet recitalist (incl debut perfs at Alice Tully Hall, January 20, 1980, and at Lincoln Center; has also performed at Great Meadow Prison), chamber musician (incl frequent perfs with Saratoga Chamber Players, and perfs with the American and Thouvenel String Quartets), festival artist (incl participation at Tanglewood and the Intl Contemporary Festival-Los Angeles), and recording artist; broadcast perfs given on radio/television in the U.S., Austria, and Germany. World premiere perfs incl a woodwind quintet by M. Powell. Faculty member: Skidmore Univ’s Univ Without Walls (current); Adelphi Univ (current); Coll of St. Rose (current); Empire State Coll (current); has also taught at NYC conservs and public schools, and has taught Music Appreciation at Great Meadow Prison. Other positions/activities: Founder/Dir, Saratoga Winds (current); active as an arranger/composer, dance rehearsal piano accompanist, lecturer, and writer. Hon: Fulbright scholar; favorable reviews of perfs have appeared in the Dallas Morning News and New York Times. Students include: Timothy Bonenfant. Following a series of successful debut performances at Carnegie Hall and Lincoln Center, clarinetist Michael Limoli was seriously injured in an automobile accident. Ironically, Limoli’s accident, which threatened to end his clarinet career, occurred while driving to an audition for the Chicago Symphony. He is performing again and has been very active as a teacher, reaching out especially to at-risk children and adults. He has taught music at inner city schools in New York and has also taught Music Appreciation at the Great Meadows Prison. He is in the process of publishing a book based on these experiences entitled, Who Do We Incarcerate? Bib: “Classical Clarinetist Michael Limoli to Perform at Local Church.” Saratogian.com. http://www.saratogian.com/articles/2009/05/30/entertainment/doc4a1f0c30a1367039826628.txt (accessed March 13, 2011).

Lindemann, Robert. B. Jan. 28, 1884 (Paderborn, Germany); d. Oct. 1975 (Everett, WA). Immigrated to the U.S. in 1911. Clarinet studies with Richard Mühlfeld (German clarinetist for whom the Brahms Sonatas were composed). Clarinetist: Minneapolis Symph (Principal: 1911, +/-); Philadelphia Orch (Principal: 1913-17); NY Symph (Principal: 1918+); Chicago Symph (Principal: 1923-49); Chicago Woodwind Quintet (1930s); may also have performed as Principal of the Minneapolis Symph upon his arrival in the U.S (c.1911). May have taught at DePaul Univ and/or Northwestern Univ. Played on: Oehler-system clarinets. Students include: LOWELL BOROUGHS, ALBERT KLINGLER, HERMAN OLEFSKY, LILLIAN POENISCH, KEITH STEIN, GEORGE WALN, GEORGE WEBER, WALTER WOLLWAGE, PETER ZUKOVSKY. While few articles seem to have been devoted to Robert Lindemann himself, he was the subject of discussion in published interviews with both SIDNEY FORREST and GEORGE WALN. Forrest compared Lindemann’s dark, Germanic sound to present day German clarinetist Karl Leister. To this favorable comparison, Forrest added that Lindemann “left nothing for clarinet posterity but a reputation as an impossible teacher with a terrible temper . . .” but possessing “. . . a beautiful, beautiful sound, a magnificent sound.” (Gholson 2011) Waln described Lindemann as

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. . . a famous old clarinetist with the Chicago Symphony. He was known for how he would wrap the string around his mouthpiece and scare people by doing it when he had only a couple of measures before an important entrance. He always seemed to make it, bless him. (Scott 1984, 12)

Bib: Gholson, James. “Interview with Sidney Forrest.” UNITUS. http://www.unitus.org/ SEACLAR.html (accessed February 16, 2011); Huffman, Larry. “Chicago Symphony Orchestra Principal Musicians.” Stokowski.org. http:// www.stokowski.org/Principal_Musicians_Chicago_Symphony.htm (accessed March 13, 2011); Scott, John C. “An Interview with George Waln.” The Clarinet 11 (Spring 1984): 12-19.

Listokin, Robert. B. July 1, 1933 (Philadelphia, PA). BS: Juilliard (1957) with DANIEL BONADE. Additional clarinet studies with LEON RUSSIANOFF and DAVID WEBER. Clarinetist: New Hampshire Festival Orch (1955-57); Mantovani Orch (1956+); Radio City Music Hall Orch (1959-65); Symph of the Air (Principal: 1959-65); Columbia Recording Orch (Principal: 1959- 65); Musica Aeterna (formerly); Clarion Wind Quintet (1961-); Chautauqua Symph (Principal: 1981); Aeolian Chamber Players (formerly); Winston-Salem Symph (formerly). Active as a recitalist (incl perfs at ClariNetwork and ICA conferences), soloist (incl perfs with the Piedmont Chamber Orch and Winston- Salem Piedmont-Triad Symph), chamber musician (incl perfs and/or recordings with above groups, the NY Chamber Soloists, and the Claremont and Razoumovsky String Quartets), and recording artist (on the Columbia, Decca, Everest, Golden Crest, and RCA labels). Faculty member: Queens Coll (Clarinet/Chamber Mus: 1960-65); North Carolina School of the Arts (Charter Prof: 1965-); has also taught at Duke Univ, Salem Coll, and Wake Forest Univ. Articles published in The Clarinet and The Instrumentalist. Hon: George Wedge Prize for highest grade point average in graduating class, Juilliard (1956); Outstanding Teacher, Juilliard (1972); North Carolina School of the Arts Teaching Award (1997); Award for Excellence in Teaching, Univ of North Carolina Board of Governors (1997). Plays on: Buffet R-13 clarinets; GENNUSA mouthpiece; Vandoren V-12 #3 ½ and 4 reeds. Students include: Christopher Bush, Bob Carter, ARTURO CIOMPI, DARYL COAD, Amy Jarjoura, Jon Julian, ESTHER LAMNECK, David Malek, DANIEL MCKELWAY, DONALD OEHLER, Laurence Sherr, Jennifer Tibbs, Michael Waddell, ALLAN WARE, TASHA WARREN, Brett Wery, NATHAN WILLIAMS, Eileen Young. Reflecting on his training, Robert Listokin acknowledged, with appreciation, the unique assets of each of his former teachers. DANIEL BONADE instilled in Listokin concepts of legato playing and ease of playing, while DAVID WEBER set an example through his beautiful tone, and LEON RUSSIANOFF inspired Listokin with his “many effective ideas about teaching.” (Listokin/Paddock 1998) Listokin noted that in addition to his own teachers, many other clarinetists have influenced his playing including IGNATIUS GENNUSA, RALPH MCLANE, DONALD MONTANARO, BERNARD PORTNOY, and RICHARD STOLTZMAN. In his own teaching, Listokin emphasizes “intonation, tone, flexibility and rhythm, natural phrasing, ease throughout range, etc.” (Ibid.) He has written articles on the topics of practice techniques for the clarinet, clarinet reed-working, and the use of the tuner in improving tone and intonation. Bib: “Clarinotes.” The Clarinet 25 (November/December 1997): 12-14; Gilbert, Richard. The Clarinetists’ Discography II. NY: The Grenadilla Society, 1975: 122; Listokin, Robert, to Tracey L. Paddock, Tallahassee, FL, June 15, 1998; “Listokin, Robert.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 355; “Listokin, Robert.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 831; “North Carolina School for the Arts.” Advertisement in The Clarinet 19 (November/December 1991): 42; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 54.

LiTuchy, Donald. B. Oct. 24, 1932 (NYC); d. 2009. BS/MM: Juilliard with AUGUSTIN DUQUES. Former clarinetist: Hartford Symph (1955-56); Goldman Band (1955+); ABC Orch (Staff Musician: 1957-60); has also performed with Band of America and a variety of NYC-based ensembles. Has been active as an NYC theatre orch musician (incl Broadway productions of Kismet, 1954, and My Fair Lady, 1956), NYC freelance/studio musician, and recording artist (incl Dvorak and Mozart Serenades,

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Pierrot Lunaire, and other chamber works on the MGM label). Faculty member: Juilliard Pre-Coll Div (1956-98+). Hon: Most Outstanding Student, Juilliard (1956). Has played on: Buffet and Selmer clarinets; Selmer mouthpiece; BONADE ligature; Vandoren #4 reeds. Students include: Paul Garment, TODD LEVY, Laura Mitgang, Bonnie Isbey Sholl, JON MANASSE. On his career, Donald LiTuchy commented, “I have played in almost every conceivable ensemble in New York,” (LiTuchy/Paddock 1998) adding that he has also enjoyed performing with many outstanding clarinetists, including ROBERT MCGINNIS, BERNARD PORTNOY, AUGUSTIN DUQUES, ALEX WILLIAMS, and DAVID WEBER. In teaching, LiTuchy emphasized the “continuous study [of] etudes, scales, thirds, tone projection, phrasing, [and] musicality.” (Ibid.) Bib: LiTuchy, Don, to Tracey L. Paddock, Tallahassee, FL, June 5, 1998.

Livengood, Lee. BM: Eastman SOM with STANLEY HASTY; MM: Univ of California-Santa Barbara with MITCHELL LURIE. Clarinetist: Savannah Symph (Second/E-flat: formerly, 1980s to early- 90s); Tulsa Phil (1992); Fresno Phil (formerly); Santa Barbara Chamber Orch (formerly); Utah Symph (Clarinet/Bass: current); Sonolumina Chamber Orch/Ensemble (current). Active as a recitalist, chamber musician (incl perfs with the Sonolumina Ensemble and on the Nova and Intermezzo Chamber Music Series), festival artist (incl participation at the La Jolla and Santa Fe Chamber Music Festivals, and the Round Top and Spoleto Festivals), and recording artist (with the Sonolumina Ensemble on the ISOMIKE label). Faculty member: has taught clarinet and reed-making at Keen State Coll and Univ of CA-Santa Barbara. Other positions/activities: Pres, ICA (current); active as a clarinet mouthpiece maker/refacer. Extra-musical activities incl spending time outdoors with family, drinking coffee, playing electric bass. Bib: “Lee Livengood.” Utah Symphony. http://www.utahsymphony.org/about_musicians.php?cat=9 (accessed March 6, 2011); Livengood, Lee. “A Study of Clarinet Reed-Making Part III.” The Clarinet 20 (November/December 1992): 26-29.

Livingston, James. B. Monmouth, IL. BA: Knox Coll (1958); MM/Perf Cert: Indiana Univ (1960) with HENRY GULICK. Conducting studies with Tibor Kozma. Former clarinetist: Louisville Phil (Principal: 1960-70s, +/-). Active as a soloist (incl premiere perfs of works by Ben-Haim, Seiber, and Tauriello with the Louisville Phil), chamber musician (incl perfs/recordings with the Louisville String Quartet), and recording artist (on the Louisville Orch First Edition and RCA Gold Seal labels). Faculty member: Univ of Louisville (Prof: 1960-85+); Sewanee Summer Music Center (1971, +/-). Other positions/activities: Conductor, Univ of Louisville Orch. Hon: favorable review of recording appears in Richard Gilbert’s The Clarinetists’ Repertoire: A Discography. Students include: Solomon Baer, MICHAEL CHESHER, ROBERT GREENLEAF, J. DAVID HARRIS, RICHARD NUNEMAKER, Orval Oleson, DALLAS TIDWELL. Former James Livingston student MICHAEL CHESHER praised Livingston’s teaching, commenting that he “inspired me immeasurably . . . the model he provided me with as a teacher in higher education and as an orchestral musician combined ended up being the model I wanted to follow.” (Chesher/Paddock 1998) Bib: Chesher, Michael, to Tracey L. Paddock, Tallahassee, FL, July 18, 1998; Gilbert, Richard. The Clarinetists’ Repertoire: A Discography. NY: The Grenadilla Society, 1972: 93; “Livingston, James.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 356; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 54.

Lizotte, Andre. Clarinetist: New England Wind Sinfonia (1980s, +/-); Opera Co. Boston (Principal: 1980s, +/-); has also performed with the Boston Pops (incl 1985 recording) and Houston Symph, and as a memb of the American and Boston Ballet Theaters, the Goldovsky and New England Operas, and the Metropolitan Opera Co. Faculty member: Mount St. Charles Acad (formerly); Berklee Coll of Music (1980s, +/-). Students include: Gregory Koltyk, Jonathon Singleton, Stephen Toro. Bib: “Lizotte, Andre.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 356.

Lochrie, Daniel. BM: Univ of Michigan with JOHN MOHLER; MM: Cleveland IOM with FRANKLIN COHEN; DM: Ohio State Univ with JAMES PYNE. Additional clarinet studies with OLIVER GREEN (bass clarinet), LEON RUSSIANOFF, PAUL SCHALLER, and BRIAN SCHWEICKHARDT. Clarinetist: Natl Orch of NY (formerly); Nashville Symph (Bass: 1992-); Belmont Univ Faculty Woodwind Quintet (current); has also performed with the Columbus and WV Symphs, and

197 the Ft. Wayne Phil. Active as an intl recitalist/soloist (incl perfs in the U.S. and Italy), chamber musician (incl live perfs on WPLN’s Live in Studio C), studio musician, festival artist (incl participation at the Crested Butte and Lancaster Music Festivals), and recording artist (on the Naxos and Decca labels). Faculty member: Middle Tennessee State Univ (Asst Prof: formerly, 1998+); Corsi Internazionali di Musica, Univ of Urbino-Italy (1998, +/-); Belmont Univ (Adj: current); Lipscomb Univ (current). Other positions/activities: active as an administrator (incl work with the Nashville Symph) and composer/ arranger. Students include: Tia Thomason. Bib: “Corsi Internazionali di Music at the University of Urbino, Italy.” Advertisement in The Clarinet 25 (February/March 1998): 61; “Daniel Lochrie.” Belmont University. http://www.belmont.edu/music/faculty/faculty_current/lochrie_daniel.html (accessed March 13, 2011).

Longmuir, G.H. Clarinetist: San Francisco Symph Orch (1918-20).

Longo, Joseph H. Native of Chicago, IL. BM/MM: DePaul Univ. Clarinet studies with JEROME STOWELL. Clarinetist: Chicago Lyric Opera (Principal: formerly); 7th Army Symph-Germany (Principal: 1957-58); NBC Orch-Chicago (Principal: 1959-63); Milwaukee Symph (Principal: 1963-66); Santa Fe Opera Co. (formerly); St. Paul Opera Co. (Principal: formerly); Minnesota Orch (Asst Principal: 1966-75; Co-Principal: formerly, 1975-2000+); Musical Offering (current). Active as a recitalist (incl perfs at the 1983 ClariNetwork and other clarinet conferences), soloist (incl the premiere perf of Stanislaw Skrowaczewski’s Clarinet Concerto with the Minnesota Orch), and chamber musician (incl perfs with Musical Offering and the Hill House Players). Faculty member: Univ of Minnesota (formerly); also serves/has served on the faculties of MacPhail Center for the Arts and Macalester Coll. Other positions/ activities: G. Leblanc Corp. Artist/Clinician (late 1970s +). Has played on: Leblanc clarinets (incl the L- 200 model, c. 1976); Elmer Aiello mouthpiece; Vandoren reeds. Bib: “Joseph Longo.” Musical Offering. http://musicaloffering.org/players/joseph-longo_clarinet/ (accessed March 13, 2011); Rhodes, Ronald V. and Chris Ernest. “Longo, Joseph.” 7th Army Symphony. http://7aso.org/htmldocs/asbiospi.html#ll (March 13, 2011); Plasko, George. “The Clarinet Section of the Minnesota Orchestra.” The Clarinet 6 (Spring 1979): 17.

Loomis, James Phillip. B. Dec. 28, 1929 (Bowling Green, OH). BM: Bowling Green State Univ (1951); MM/DM: Univ of Michigan (1963/1971) with WILLIAM STUBBINS and LARRY TEAL (sax). Former clarinetist: USAF Band of the West (Principal), Toledo Symph, Northwest Symph. Faculty member: Wheaton Coll Conserv (Prof of Woodwinds: 1969-72); Bowling Green State Univ (Instructor of Clarinet: 1964-85+). Co-Editor, Bibliography of Woodwind Teaching Material (1963). Articles published in The Clarinet. Hon: listed in Who’s Who in American Music, 1985 edition. Memb: AFM, ICA. Bib: “Loomis, James Phillip.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 360.

Lord, Joe. Former clarinetist: Columbus Symph (Principal: for 12 years); Longines Symphonette (Principal); NBC Opera Co.; Orch (Clarinet/Tenor Sax); Toll House Jazz Band (Clarinet/ Sax/: current); has also been active as a flutist (incl position as Principal Flutist of the Leningrad Ballet Co.). Active primarily as a jazz/Dixieland musician during the last 20 years of the 20th century. Bib: “Joe Lord.” Toll House Jazz Band. http://www.class-acts.com/entertainers/tollhousejazz/index.htm (accessed March 15, 2011).

Lowenstern, Michael. B. 1968 (Chicago, IL). BM/Perf Cert: Eastman SOM (1989); Artist’s Cert: Sweelinck Conserv-Amsterdam (1990) with Harry Sparnaay; MM/PhD: SUNY-Stony Brook (1990- 94); additional studies at Interlochen Arts Acad (1984-85). Clarinet/bass clarinet studies with RICHARD MACDOWELL, CHARLES NEIDICH, and JOHN BRUCE YEH. Comp studies with Daniel Weymouth. Clarinetist/Bass Clarinetist: New Jersey Symph (formerly, for 6 years, 2000+); has also performed with Ensemble st-X, the Steve Reich Ensemble, Bang on a Can, the Orpheus Chamber Orch, The Klezmatics, and Zeitgeist, the Mad Coyote. Active as a bass clarinet recitalist/soloist (incl a perf at the Univ of Oklahoma Clarinet Symposium), chamber musician (incl perfs with The Chamber Music Society of Lincoln Center), recording artist (on the Capstone, Earspasm, New World Records, and Nonesuch labels); specialist in the areas of contemporary music perf (incl the use of electronics and electronic wind instruments), jazz, and pop media. Faculty member: Manhattan SOM (Guest Lect: formerly); has also

198 taught at Juilliard and NY Univ. Other positions/activities: active as a clinician, composer (has recorded several of his own works for bass clarinet), and professional marketer (specializing in online banner advertisement). Hon: Fulbright Grant for study in Amsterdam (1989); 1st Prize, Intl Gaudeamus Compt- The Netherlands (1991); favorable reviews of recordings appear in The Clarinet (see Bib below). Clarinetist and reviewer MICHÉLE GINGRAS wrote of Michael Lowenstern’s recording, Spasm: “This recording is a treasure for bass clarinetists and seekers of new music. Michael Lowenstern is a stellar performer and should become any composer’s new best friend.” (Gingras 1997, 53) Bib: Gingras, Michèle. “Compact Disc Reviews.” The Clarinet 24 (July/August 1997): 53; Lowenstern, Michael. “Michael Lowenstern.” Linked In. http://www.linkedin.com/pub/michael- lowenstern/4/976/888 (accessed March 13, 2011).

Lowry, Robert E. B. Iowa. Has been active as a recitalist, soloist and recording artist (on the Golden Crest Records label). Former faculty member: Morningside Coll. Other positions/activities: Pres, IA Bandmasters Assn (formerly). Active as a clinician throughout the U.S. (incl presentation given at the 1975 Intl Clarinet Clinic) and author of clarinet method books. Memb: ABA, IA Bandmasters Assn. Bib: Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 54.

Lubrani, Frederic. Deceased. Former faculty member: Cincinnati Conserv (1940s-50s, +/-); Union Coll-TN; Univ of Memphis (Prof of Clarinet). Hon: Lubrani Clarinet Award created in memory of Lubrani at Univ of Memphis. Students include: JAMES DEATON, Fred O’Bryant, Thomas Parchman, GENE SAUCIER. Of Frederic Lubrani, former student JAMES DEATON commented,

Until I met him, I was pretty much self-taught. He opened a completely new world of music for me. [He] taught me self discipline, appreciation of work well done, and how to be a gentleman. A wonderful man. (Deaton/Paddock 1998)

Bib: Deaton, James W., to Tracey L. Paddock, Tallahassee, FL, May 26, 1998.

Lucas, Frank. Clarinetist: Cleveland Orch (Clarinet/Bass/Sax: 1927-34; Sub: 1934-42).

Luconi, Albert(o). B. 1893; d. 1984. Master’s Dipl: Royal Acad of St. Cecilia-Rome (1919). Clarinet studies with Magnani (prominent 19th-century Italian clarinetist). Former clarinetist: Augusteum Orch (Principal); La Scala Orch (Second/Principal; performed in section with LUIGI CANCELLIERI); Detroit Symph (Principal: 1923-26, +/-); Manhattan Opera Co; WJR Radio. Was active as a chamber musician (incl perfs with the Univ of Michigan Woodwind Quintet and Stanley Quartet). Former faculty member: Teal Music Studios (owned and run by LARRY TEAL); Wayne Univ; Univ of Michigan (Prof of Clarinet: 1941-63). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet (1954). Students include: Emil Acitelli, TED HEGVIK, ROLF LEGBANDT, Martha MacDonald, James Morton, JOHN MOSES, Bernie Okin, FRED ORMAND, ROSS POWELL, BERNARD ROSEN, DAVID WEBER. Bib: “Prominent Clarinet Teachers.” The Clarinet 15 (Summer 1954): 11.

Ludewig-Verdehr, Elsa. B. Apr. 14, 1936 (Charlottesville, VA). BM/BME: Oberlin Conserv (1957/1959) with GEORGE WALN; MM/Perf Cert/DM: Eastman SOM (1958/1959/1964) with STANLEY HASTY; additional studies at Tanglewood (1955). MM thesis: “An Analytical Study of the Quartet for Clarinet, Violin, Cello and Piano by ;” DM diss: “A Study of the Clarinet Concertos Written Before the Mozart Concerto (1791).” Clarinetist: American Wind Symph (Summers, 1957-59); New Hampshire Orch (Principal: Summer 1960); Rochester Phil (Second/E-flat: 1960-62); Lansing Symph (Principal: 1962-); Richards Wind Quintet (1962-82+); Music From Marlboro (East Coast tours, 1968); Brevard Festival Orch (Principal: 1969, 1970); Verdehr Trio (cl/vln/pno; 1972-); Grand Teton Festival Orch (Principal: 1974-). Active as an internationally renowned recitalist (incl 1959 Carnegie Hall debut, and perfs at numerous ICA conventions, Univ of Oklahoma Clarinet Symposia, and the 1999 Northern Plains Clarinet Symposium), soloist (including perfs with the Breckenridge and Grand Teton Festival Orchs, the Houston, Lansing, and Rio Hondo Symphs, and the Michigan State Univ Symph and Wind Symph), chamber musician (numerous perfs given with the Richards Wind Quintet throughout the U.S., incl perfs at the White House; hundreds of

199 perfs given around the world with the Verdehr Trio, 1972-), festival artist (incl participation at the: Marlboro Music Festival, 1965-68; Brevard Festival, 1969, 1970; Grand Teton Festival, 1974-; Saskatchewan Music Festival, 1980; Breckenridge Music Festival, 1984; numerous other festivals around the world with the Verdehr Trio), and recording artist (solo/chamber recordings on the Amadeus, Crystal Records, Grenadilla Records, Leonarda, Mark Records, and Musical Heritage labels); broadcast perfs given on radio and television (incl two 1994 appearances on the CBS “Sunday Morning” Show and appearances on the Verdehr Trio’s own television series, The Making of a Medium). Faculty member: Ithaca Coll (1960-62); Michigan State Univ (Prof: formerly, 1962-2000+). Frequent contributor to The Clarinet; has also published articles in ClariNetwork, The Instrumentalist, and NACWPI Journal. Other positions/activities: G. Leblanc Corp. Artist/Clinician (current); active as a clinician/lecturer (presentations given at ICA conventions as well as at the Alabama, Montana-Idaho, Northeast, and Oklahoma Clarinet Symposia, the Brazil Clarinet Conference, the Breckenridge Music Festival, and the Keith Stein Memorial Clinic), and intl adjudicator (incl the Kingsville, TX Clarinet Compt, the Midland- Odessa Concerto Compt, the MTNA Compt, and the Naumberg Compt for Clarinet). Hon: David and Virginia Roberston Award (1957); listed in Outstanding Young Women of 1968, Who’s Who of American Women, Who’s Who in Music, and Intl Musicians Directory; Distinguished Prof Award, Michigan State Univ (1979); Diana Award of Professional Women (1980); AURIG Grant for Karel Husa commission (1981); Cert of Recognition as an MSU “Woman Achiever” (1982-83); Apollo Award, MSU Dean’s Council of Arts and Letters (to the Verdehr Trio, 1995); Distinguished Faculty Professorship, MSU (1997); listed in Pamela Weston’s Clarinet Virtuosi of Today (of the 45 featured clarinetists, Ludewig-Verdehr is one of only 5 women); Michigan Council of the Arts Grant for Leslie Bassett commission; recip of numerous travel grants awarded by the MSU SOM and Coll of Letters; Honorary Life Memb, Sigma Alpha Iota; “Verdehr Trio” listed in the New Groves Dictionary of Music. Plays on: Leblanc Concerto clarinets; PYNE mouthpiece; plays with a double-lipped embouchure. Students include: MICHAEL ACORD, Deborah Andrus, MARCIA HILDEN ANDERSON, LORI ARDOVINO, LINDA BARTLEY, KRISTINA BELISLE, BABETTE BELTER, ANI BERBERIAN, William Berz, Stan Burroughs, GARY CAUCHI, LINDA CIONITTI, KIMBERLY COLE- LUEVANO, KAREN DANNESSA, DANNENE DRUMMOND, Roz Dunlop, JOSEPH EDWARDS, RICHARD FARIA, Stan Fisher, Rusty Floyd, NORMAN FOSTER, Ricardo Freire, PAUL GARNER, JAMES GHOLSON, Christopher Grymes, Laurel Hall, Shelly HANSON, Andy Harwood, Kathy Boyer Hawkins, JAMES HEFFERNAN, Jonathan Holden, Mark Jackson, Carol Jessup, Elizabeth Kelvin, Lonnie Klein, PATRICIA KOSTEK, FAN LEI, KEITH LEMMONS, Dawn Lindblade, Alejandro Lozada, John Masserini, Catherine McCorkill, Amanda McCandless, MAURITA MEAD, Margaret Mezei, Osiris Molina, Doug Monroe, Nicole Morizio, MICHAEL NORSWORTHY, DENNIS NYGREN, GREGORY OAKES, J.D. Parr, MARLENE PAULEY, DAVID PINO, Paul Pino, MAXINE RAMEY, Barb Rentschler, ELIZABETH RHEUDE, CONSTANCE RHOADES, RAMON RICKER, Andrew Seigel, Shari Smith, ANDREA SPLITTBERGER-ROSEN, Frank Stewart, Jeffrey Strouf, TIMOTHY TOPOLEWSKI, MARTIN WALKER, Myron Welch, Rachel Yoder. Elsa Ludewig-Verdehr has been highly influential upon the American clarinet tradition of the twentieth century through her unique voice as a performer, her advocacy of avant-garde literature, and her immense contribution to the clarinet chamber repertoire through the numerous works commissioned by the Verdehr Trio. In addition, Ludewig-Verdehr has always been a strong advocate for women in the music profession and through her teaching, has helped launch the careers of a significant number of today’s finest professional clarinetists. It is certain that future generations of clarinetists will recognize Ludewig-Verdehr as an important link in the American clarinet tradition, in the same way that clarinetists of today view former icons Schreurs, Bonade, Bellison, Langenus, McLane, Wright, Russianoff, Marcellus, Gigliotti, and others. Indeed, noted clarinetists of this century, such as Rosario Mazzeo, have already observed that “. . . she must be one of the five best clarinetists in the world.” (Scott 1984, 14) Former Ludewig-Verdehr student LINDA CIONITTI elaborated on the above commentary with this portrait of Ludewig-Verdehr:

Knowing Elsa personally is a treat! Her sense of humor, candor and commitment to all she does makes her a very unique, special and exceptional individual and friend!

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. . . As a teacher she demands musical and technical excellence. She is thorough and organized in her approach to all aspects of playing. She knows exactly what to say (or rather sing!) to get the best possible results from her students.

As a performer, Elsa plays with an amazing array of tone colors. Her technique is flawless and she improves immensely each time I hear her. The Verdehr Trio, in their “Making of a Medium” has commissioned works by many of the world’s leading composers, contributing enormously to the repertoire of chamber music. The Trio’s melding and blending of tone colors is stellar and one of the chief marks of their greatness. . . . (Cionitti/Paddock 1998)

The Verdehr Trio (comprised of Ludewig-Verdehr, husband and violinist Walter Verdehr, and pianist Gary Kirkpatrick), as Cionitti points out above, has made and continues to make great contributions to the chamber repertoire for clarinet, violin and piano trio. The Trio has commissioned over one hundred new works, including works by composers Leslie Bassett, William Bolcom, Paul Chihara, Thomas Christian David, Donald Erb, Don Freund, Ida Govotsky, Alan Hovhaness, Karel Husa, Ladislav Kubik, Libby Larsen, John McCabe, Thea Musgrave, David Ott, Ned Rorem, Peter Schickele, William O. Smith, Joan Tower, Dan Welcher, and many others. The Trio has enjoyed the practice of premiering some of their commissions in exotic cities, including performances in Bombay, India, Colombo, Sri Lanka, Islamabad, Pakistan, and Istanbul, . The Trio has given performances at major concert venues literally all over the world. An ongoing project for the Trio is their television series, The Making of a Medium, featuring performances and discussions of some of the Trio’s repertoire. An excellent discography of the Verdehr Trio can be found in part two of Mary Platt’s article listed in bibliography below. Ludewig-Verdehr herself attributes much of her success as a musician to the diversity of her training:

I was most fortunate to study for several years each with George Waln at Oberlin, and Stanley Hasty at Eastman; to work at the same university with Keith Stein; and to learn by proximity from sitting next to Harold Wright in many chamber groups during my four summers at the Marlboro Music Festival. They represented many traditions: Waln- Langenus; Hasty-Bonade; Stein-Wright-Ralph McLane. (Ludewig-Verdehr/Paddock 1998)

Ludewig-Verdehr elucidates her teaching philosophy below:

As a teacher my philosophy is to teach my students in such a way as to make it possible for them to teach themselves. This begins right away with the time they spend in a practice room after our first lesson to the time when eventually they have no teacher and are on their own. My teaching basically breaks down into two large areas both of which involve much analysis and thought and application of principles involved in: 1) playing the instrument physically and 2) playing the instrument musically.

The first category, particularly within the first few months of lessons, involves a careful consideration of the details included in the physical part of playing the instrument— finger technique, intonation, embouchure, breathing, tone production, practical acoustical applications, etc.—i.e. the component parts of the physical side of playing the clarinet plus exercises for these.

The second category involves a thoughtful consideration of the details which make up a piece of music and how these relate and contribute to the interpretation of that work—i.e. the overall form, the smaller units or sections, the phrases, the focus point of phrases and sections, the personality, mood or character of each movement or section of phrase, how dynamics and written words influence the interpretation—basically seeking out all the possible clues as to what the composer had in mind and trying to find the organization and unique expression of each work.

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As a performer my philosophy is to practice what I preach! I find one must constantly keep striving to perfect the physical and seek better equipment in an effort to be able to accomplish what one has in mind musically. That for me is the never-ending challenge and stimulation of playing the clarinet. (Ibid.)

In addition to their musical activities, Ludewig-Verdehr and husband Walter enjoy traveling and hiking. They have hiked in the Tetons, the Himalayas, and on Mount Kilimanjaro. The Platt/Ramey articles below provide a wealth of information on the Verdehr Trio, and are highly recommended. Bib: Cionitti, Linda Anne, to Tracey L. Paddock, Tallahassee, FL, June 7, 1998; “Elsa Ludewig- Verdehr.” Verdehr.com. http://www.verdehr.com/members.htm (accessed March 13, 2011); Ludewig- Verdehr, Elsa, to Tracey L. Paddock, Tallahassee, FL, June 25, 1998; “Ludewig-Verdehr, Elsa.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 363; Platt, Mary, assisted by Maxine Ramey. “Elsa and Walter Verdehr – A Musical Partnership: 25 Years of the Verdehr Trio, Part I.” The Clarinet 25 (November/December 1997): 68-72; Platt, Mary assisted by Maxine Ramey. “Elsa and Walter Verdehr – A Musical Partnership: 25 Years of the Verdehr Trio, Part II.” The Clarinet 25 (February/March 1998): 36-39; Scott, John C. “An Interview with George Waln.” The Clarinet 11 (Spring 1984): 14; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 183-89.

Luedeke, Ray. B. Nov. 11, 1944 (NYC); dual citizen of Canada and the U.S, currently residing in Canada. BM(Mus Hist): Eastman SOM (1966) with STANLEY HASTY; MM(Comp): Catholic Univ (1971) with composer George T. Jones; DM(Comp): Northwestern Univ (1976) with composer Alan Stout; additional clarinet studies at the Vienna Acad of Music (1966-67) with Rudolph Jettel. Additional comp studies with George Crumb. Clarinetist: Colorado Phil (Principal: 1966); U.S. Air Force Band (1967-71); Toronto Symph (Assoc Principal/E-flat: 1981-). Faculty member: Univ of Wisconsin-Stevens Point (Clarinet/Comp: 1971-74); Univ of Missouri-Kansas City (Clarinet/Comp: 1976-81). Other positions/ activities: active as one of Canada’s leading living composers (incl many large scale works and chamber pieces, several of which utilize/feature the clarinet); also active as a librettist. Hon: Fulbright Grant (1966- 67) to study clarinet with R. Jettel in Austria; recip of numerous grants/awards for his compositions. Students include: Douglas Storey. Bib: Elliott, Robin. “Luedeke, Raymond.” The Canadian Encyclopedia. http://www.thecanadianencyclopedia.com/PrinterFriendly.cfm?Params=U1ARTU0002120 (accessed March 13, 2011).

Luisetti, Peter A. B. 1902 (NYC); deceased. Grad: Instit of Musical Art (now Juilliard); additional studies in Italy. Was active as a NYC clarinetist, saxophonist, and private clarinet/sax instructor. Editor, Bach Inventions for Clarinets. Other positions/activities: Clarinet Columnist, Metronome (1936- 41+). Hon: listed in Who is Who in Music (1941). Bib: “Luisetti, Peter A.” Who is Who in Music. 1941 Edition. Chicago: Lee Stern Press, 1941: 152.

Lundquist, Christie. B. Chicago, IL; d. Mar. 13, 1998 (California). BM: Univ of Southern California (1968) with MITCHELL LURIE; MM: Cleveland IOM (1971) with ROBERT MARCELLUS. Former clarinetist: Natl Symph Orch of Mexico (Principal: 1970s, +/-); Colorado Chamber Symph (Principal); Utah Symph (Principal: 1977-98). Was active as a recitalist (incl perf at the 1974 Clarinet Clinic), soloist (incl perfs with the Utah Symph and Breckenridge Music Instit Chamber Orch, and at ClarinetFest 1997), chamber musician, festival artist (incl participation as Principal Clarinetist at the Casals Festival), and recording artist (incl recording of Ingolf Dahl’s Five Duets for Clarinet with MITCHELL LURIE on the Grenadilla label). Works composed for Lundquist incl those by Ingolf Dahl and Halsey Stevens. Other positions/activities: was active as a clinician (presentations given at the Breckenridge Music Instit and the 1974 Clarinet Clinic) and private clarinet instructor. Former member: Utah Poetry Society. Hon: recip of several Outstanding Musician Awards, incl those given by Univ of Southern California, Tanglewood, and the Musician’s Union (Local No. 47). Students include: Frank Garcia, SCOTT HARRIS, JAREN HINCKLEY, John Paulson, KATHY POPE. In addition to her musical activities, Christie Lundquist was also a devoted Christian Scientist and a poet whose work appeared in the Christian Science Monitor. She enjoyed a wide range of other activities including skiing, ballroom dancing, classical guitar, tennis, and public speaking. She was said to have

202 played with an expressive, vocal style, “. . . playing from the soul instead of from the head,” (Gillespie 1998, 22-23) as described by friend and clarinetist KATHY POPE. Bib: “Breckenridge Music Institute to Hold Three-Day Workshop.” The Clarinet 9 (Spring 1982): 39; Gillespie, James, ed. “Utah Clarinetist Christie Lundquist Dies.” The Clarinet 25 (July/August 1998): 22-23; Scharffs, Gilbert and Virginia, Eds. “Christie Lundquist.” Utah Symphony Program (March 8, 9, and 10, 1990): 6.

Lurie, Mitchell. B. Mar. 9, 1922 (Brooklyn, NY); d. Nov. 24, 2008. Early clarinet studies with CHARLES JENNER and ANTONIO RAIMONDI. Dipl: Curtis IOM (1942) with ROBERT MCGINNIS and DANIEL BONADE. Chamber music studies with Marcel Moyse and Louis Bailly. Clarinetist: Pittsburgh Symph (Principal: 1946-48); Chicago Symph (Principal: 1949-50); RKO Studio Orch (1950-70); Los Angeles Chamber Orch (1972-76). Was active as a recitalist (incl perfs at ICA conferences and Univ of Oklahoma Clarinet Symposia, and at the Library of Congress), soloist (incl a perf with the Los Angeles Phil at age 16, a perf of the Copland Concerto conducted by Copland at the Hollywood Bowl, and perfs with the Los Angeles Chamber Orch and at the Casals Festival), chamber musician (incl perfs and/or recordings with the Budapest, Curtis, Fine Arts, Guarneri, Hollywood, Hungarian, Muir, and Paganini string quartets), recording artist (incl benchmark perfs of works by Brahms, Dahl, Hindemith, Mozart, Muczynski, Reger, and Halsey Stevens; recordings appear on the Columbia, Crystal, EcoClassics, and Laurel Records labels), and festival artist (incl participation at the Casals and Ojai Festivals), and as one of the best-known and most prolific film/television studio clarinetists on the West Coast (active 1950s-1969; incl work with the studios of Disney, Paramount, RKO, United Artists, and Universal). Works written for Lurie incl Robert Muczynski’s Time Pieces and Lynn Murray’s Collage. Former faculty member: Univ of Southern California (1952-2000+); Music Acad of the West (1952-84); Univ of California-Los Angeles (1961-69). Articles published in The Clarinet and Woodwind World. Other positions/activities: Dir, Natl Clarinet Seminar-Sydney, Australia (Inaugural Seminar, 1976); was active as a clinician/lecturer (presentations given at ICA conventions, Univ of Oklahoma Clarinet Symposia, the Mid-West Natl Band Clinic, Australia’s first Natl Clarinet Seminar in Sydney, the Jerusalem Music Center, and in Tel Aviv), and maker of commercially available clarinet equipment (mouthpieces, ligatures, reeds, etc). Memb: Phi Kappa Lambda. Hon: Saturday Review Best Recording (1971); Ramo Outstanding Teacher Award, USC (1977); listed in Pamela Weston’s Clarinet Virtuosi of Today and in Who’s Who in American Music (Classical), 1985 edition; favorable reviews of recordings appear in Richard Gilbert’s clarinet discography series and other publications (see Bib below). Played on: Buffet French model clarinets; Mitchell Lurie Premium rubber mouthpiece; Mitchell Lurie Springboard ligature; Mitchell Lurie #4 ½ regular cut reeds. Students include: John Barclay, MICHAEL BORSCHEL, DIANE LANG BRYAN, JAMES CAMPBELL, Rob Chavez, Sue Collado, MICHAEL CORNER, David Ehrke, STANLEY GAULKE, YEHUDA GILAD, JAMES GILLESPIE, GARY GRAY, BURT HARA, RUSSELL HARLOW, SCOTT HARRIS, RICHARD HAWLEY, TED HEGVIK, WILLIAM HELMERS, KIMBERLY ASELTINE ISACKSON, KATHLEEN JONES, STEVEN KANOFF, JAMES KANTER, MARK KARLIN, JERRY KIRKBRIDE, Georg Klaas, KEITH KOONS, ANDREW LAMY, Jocelyn Langworthy, R. DENNIS LAYNE, RICHARD LESSER, MARIAN LIEBOWITZ, LEE LIVENGOOD, CHRISTIE LUNDQUIST, James Lytthans, GEORGE MELLOTT, John Mula, Janice Murphy, Arthur Ness, Peter Nevin, Donna Nossett, Clarence Padilla, DAVID PECK, PHILLIP REHFELDT, ALBERT RICE, HÅKAN ROSENGREN, RONALD SAMUELS, David Sapadin, DAVID SHIFRIN, GREGORY SMITH, Karen Sremac, ALAN STANEK, Neal Sulmeyer, MELVIN WARNER, MICHELE ZUKOVSKY. Mitchell Lurie was well-known and respected not only as a celebrated performer with diverse abilities, but also as a teacher of numerous successful clarinetists, and as the designer of a widely respected line of clarinet equipment (reeds, mouthpieces, ligatures). As a clarinetist, Lurie performed in almost every type of musical setting and always did so masterfully, whether as a recitalist, soloist, chamber musician, orchestral musician, studio clarinetist, or recording artist. Lurie’s earliest professional work as a musician included studio playing during his teenage years in California, work to which he would eventually return. After finishing his degree at the Curtis Institute of Music, Lurie began his career in earnest as a traditional orchestral clarinetist, performing first as Principal Clarinetist of the Pittsburgh Symphony (1947-49) at the invitation of Fritz Reiner, and then as Principal

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Clarinetist of the Chicago Symphony (1949-50). Lurie then returned to the fair climate of California where he became the preeminent West Coast studio clarinetist for more than twenty years. Former Lurie student JERRY KIRKBRIDE commented on Lurie’s stature as a studio musician:

He was like the god of clarinet playing out on the West coast. He was the number one clarinet in the studios and that’s where everyone wanted to be because that’s where the money was. In New York, everybody wants to be first clarinet with the Philharmonic, but in L.A., everybody wants to be first clarinet in a studio orchestra. (Leeson 1976, 47)

In an interview with Lurie, GEORGE WALN wrote of Lurie’s departure from the Chicago Symphony,

Many people assume he left for lucrative film studio work in Hollywood, but native Californian Lurie insists it was purely a matter of the thermometer. He says, “The first blizzard I didn’t believe, and the second blizzard I resigned.” (Waln 1978, 55)

A gifted teacher and clinician, steeped in and devoted to the Bonade tradition, Lurie left the Hollywood studios in 1969 to teach full-time at the University of Southern California and to become more active in solo and chamber music performance. After more than two decades of performing in the studios and teaching part-time, Lurie realized that teaching was more personally fulfilling than the studio work. As a teacher, Lurie expressed himself succinctly and with humor. His straightforward advice to clarinetists is to “perfect the fundamental techniques and then make music!” (Lurie/Paddock 1998) He considered proper breathing to be a very important cornerstone of these fundamental techniques, as breathing affects every aspect of tone production: sound, intonation, articulation, etc. Lurie also emphasized sight-reading with his students, using the repertoire of other instruments to sharpen this skill, and urges students to seek a state of “relaxed concentration” when playing. He considered preparation to be an extremely important part performance, and was fond of reminding students that “when you get up on the stage, everything leaves but your preparation.” (Waln 1978, 61) Lurie was also quite effective as an administrator, having served as Director of Australia’s inaugural National Clarinet Seminar, and helping to establish that continent’s chapter of the ICA. So great was his influence in Australia that since 1981, students in New South Wales have competed for the Buffet/Mitchell Lurie Award, which rewards the winner with the use of Lurie’s original Buffet clarinet for one year. (Weston 1989, 191-98) In addition to his musical activities, Lurie was also active as a pilot. The Phillips, Waln, and Weston entries below are highly recommended for more insight into Lurie’s career and musical philosophy. The Lurie article, “’. . . As I Was Saying’. . .” offers insight into the life of the Hollywood studio musician. Bib: Gilbert, Richard. The Clarinetists’ Discography II. NY: The Grenadilla Society, 1975: 107-8; Gilbert, Richard. The Clarinetists’ Repertoire-- A Discography. NY: The Grenadilla Society, 1972: 93; Leeson, Daniel. “An Interview with Jerry Kirkbride.” The Instrumentalist 30 (January 1976): 46-53; Lurie, Mitchell. “. . . As I Was Saying. . .” The Clarinet 25 (November/December 1997): 55; Lurie, Mitchell, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998; “Lurie, Mitchell.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 365; McLellan, Dennis. “Mitchell Lurie Dies at 86.” LA Times. http://www.latimes.com/news/obituaries/la-me-lurie30-2008nov30,0,263373.story (accessed March 13, 2011); Phillips, Harvey. “A Lifetime of Musical Opportunities: An Interview with Mitchell Lurie.” The Instrumentalist 46 (September 1991): 10-13, 77; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 54-55; Waln, George. “Relaxed Concentration: An Interview with Mitchell Lurie.” The Instrumentalist 32 (January 1978): 55-61; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 191-98.

Luyben, M. Father of ROBERT LUYBEN. Former clarinetist: Main Street Theater-Kansas City, MO; Kansas City Phil (Founding Memb; Clarinet/E-flat: 1938, +/-).

Luyben, Robert. B. 1916 (Kansas City, MO); d. Aug. 29, 1993 (Kansas City, MO). Clarinet studies with DANIEL BONADE. Clarinetist: Kansas City Phil (Bass: 1934-40; also performed with KCPO at a later date, probably during the 1940s, +/-); U.S. Navy Band/Orch (Bass: 1940-45; alternated as Principal Clarinetist of the Navy Orch with ROBERT MCGINNIS). Other positions/activities: was active as a private clarinet instructor, instrument repairman, designer/craftsman of clarinet equipment

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(mouthpieces, reeds, ligatures, etc.), owner of the well-known Luyben Music store in Kansas City, MO, and first Advertising Mgr of The Clarinet. Hon: Honorary Member of ABA. Students include: Ron Hashhorn, Donna Nossett. In addition to his activities as a performing clarinetist, Robert Luyben made great contributions to the American clarinet community through his involvement with the ICA in its formative years, through his nationally popular music store (Luyben Music), and through his activities as a designer and manufacturer of clarinet equipment. Luyben created the first plastic clarinet ligature, a model which continues to be popular. Luyben’s wife, Annette, was also actively involved with the ICA and with Luyben Music, which is now run by the Luybens’ daughter, also named Annette. Bib: “About Us.” Luyben Music. http://www.luybenmusic.com/about.htm (accessed March 13, 2011); “In Memoriam: Robert Luyben (1916-1993).” The Clarinet 21 (November/December 1993): 42.

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MacDowell, Richard. BM: New England Conserv; MM: Northwestern Univ; additional studies at Eastman SOM and Florida State Univ. Clarinet studies with PETER HADCOCK, STANLEY HASTY, Rudolf Kolisch, ROBERT MARCELLUS, FRED ORMAND, and LEON RUSSIANOFF. Clarinetist: Austin Clarinet Trio (current); has performed as Principal Clarinetist of the Cayuga and Dallas Chamber Orchs, the Lakewood Ensemble, the Northwood Orch, the Chamber Soloists of Austin, and the Catskills, Binghamton, Traverse, and Utica Symph Orchs; has toured as a memb of the American Opera Orch. Active as an intl recitalist/soloist (incl perfs at the 1997 ClarinetFest and Oklahoma Clarinet Symposium), chamber musician (incl U.S. and Asian perfs sponsored by the Pacific Cultural Foundation), festival artist (incl participation at the Banff, Kapalua, and Killington Festivals and the Victoria Bach Festival), and recording artist (on Centaur Records). Faculty member: Interlochen Arts Acad (formerly; 1990s); Univ of Texas-Austin (Assoc Prof: 1990s-, +/-); Banff Festival. Other positions/activities: Buffet Crampon USA Perf Artist; Gonzalez Reeds Artist; active as an adjudicator. Students include: David Aspinwall, Joanne Britz, Peggy Dees, Christopher Howard, Kelly Hurrell, Richard LaCroix, MICHAEL LOWENSTERN, Erica Manzo, Anthony Marotta, James Shields, SHANNON THOMPSON. Bib: “Richard MacDowell.” Buffet Crampon. http://www.buffet-crampon.com/en/artists.php?mode=artistPresentation&aid=563 (accessed March 13, 2011).

Maddy, Joseph E. B. Oct. 14, 1891 (Wellington, KS); d. 1966 (Traverse City, MI). Advanced music studies at Wichita Coll of Music. Clarinetist: Minneapolis Symph (1911-14; also performed on other instruments); was also active as a violinist. Renowned music pedagogue and founder of the Natl Music Camp (1928; now Interlochen Arts Camp and Interlochen Arts Acad). Bib: Goodwin, Susan. “Joseph E. Maddy.” http://homepage.mac.com/wbauer/hpmused/archive/maddy.html (accessed December 20, 2010).

Magnusson, M. Daniel. B. Apr. 4, 1920 (Hallson, ND); d. Feb. 10, 2003 (Point Loma, CA). Early clarinet studies with William DeForrest Gay; HS clarinet studies with CARL KUEHNE (c.1936-37). Dipl: Juilliard (1948) with ARTHUR CHRISTMANN; BM/MM: Univ of Southern California (1950/1960) with KALMAN BLOCH; additional studies at Tanglewood (1965) with GINO CIOFFI and at the Teacher’s Perf Instit at Oberlin Coll (1967) with GEORGE WALN. Clarinetist: San Diego Symph (Principal: 1938-41; 1949-67; Aux Clarinet: 1967-82); Inglewood Symph (Principal: 1947-48); also performed with the San Diego Opera Orch and San Diego Musicians’ Union Band. Was active as a soloist (incl perfs with the San Diego Symph), chamber musician (incl perfs as a member of the San Diego Symph Woodwind Quintet), and recording artist (on the Trend Records label). Faculty member: Los Angeles Conserv (Clarinet Instructor: 1948-50); San Diego City Schools (Instrumental Music, Grades 4-12: 1950- 81); San Diego State Univ (Clarinet Instructor: 1974-75); also taught at Univ of California-San Diego and Univ of San Diego during the 1970s. Published in The Clarinet. Other positions/activities: was active as an arranger (with over 30 arrangements of Icelandic folksongs for junior high level orchs; works published by Wynn Publishing Co.). Memb: AFM, CA Teachers Assn, ICA, MENC, Natl Teachers Assn, San Diego Clarinet Society. Hon: Juilliard Fellowship (1942-43); Tanglewood schol (1965); schol and stipend to attend Teacher’s Perf Instit at Oberlin Coll (1967); sabbatical granted by San Diego City Schools to study Icelandic Folk Song literature in Iceland (1972-73); Honorary Memb, San Diego Clarinet Society. Played on: Buffet clarinets; CHARLES BAY mouthpiece (medium/close facing); Olivieri #3-3 ½ reeds. Students include: Don Baird, Robert Barnhart, Christopher Jepperson, Gary Lefebvre, Robert Ramsey; numerous public school music teachers, private clarinet teachers, and members of orchs/bands. As with many musicians of his generation, Daniel Magnusson’s playing career was interrupted by war. Shortly after graduating from high school, Magnusson won the position of Principal Clarinet with the San Diego Symphony in 1938. He performed with this orchestra until 1941, when the orchestra’s season was interrupted by American involvement in World War I. As a result of this interruption, Magnusson began studies at Juilliard with Arthur Christmann. His studies too were interrupted by the war when he was inducted into the U.S. Army in January 1943; he remained on active duty until December 1945. After the war, Magnusson received his Juilliard diploma, resumed his position as Principal Clarinetist of the San Diego Symphony, and continued his music studies at the University of Southern California with Kalman

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Bloch, earning both Bachelor’s and Master’s degrees. In addition to his career as a performer, Magnusson also taught instrumental music in the San Diego City Schools for more than thirty years. Magnusson described his teaching philosophy below:

In the clarinet studio the basics were stressed. Long tone exercises, tedious but so important. Interval studies, such as scales in thirds, sixths and octaves, for example. The Rose 32 etudes, using the slow movements for interpretation and phrasing. Musicality always came before technical speed. Breath support supplied to legato playing to achieve that seamless binding of the notes that is so beautiful on our instrument. Mr. Christmann’s “rebound staccato” system was included with the principle that even limited success with producing the double tongue might be the result, one’s single tonguing would be improved. And for dessert, we have the fine literature to study which has been happily expanded since I was active. (Magnusson/Paddock 1998)

Magnusson’s performance career was sadly abbreviated when he was diagnosed with Parkinson’s disease in 1986. He comments on the events leading up to his diagnosis:

. . . there were a number of instances where an involuntary jerk or movement would occur, or a muscle in the embouchure would shift, producing an unwanted harmonic (polite term for a squeak). Fortunately this did not happen during any of my rehearsals or concerts with the [San Diego] Symphony. The doctors assured me this was not serious and would go away. When it got progressively worse it became evident that I would have to retire as a performer. (Ibid.)

Nevertheless, Magnusson’s career was full and varied, and he contributed much to the clarinet community through his teaching and research. A nine-month sabbatical to study Icelandic folk song literature in Iceland (1972-73) was an especially rewarding time in Magnusson’s career. His work in Iceland, the homeland of his parents, resulted in more than thirty arrangements of folk songs for junior high level orchestras and the unearthing of Icelandic music for the clarinet (refer to article in Bib below). Bib: Magnusson, Daniel. “Contemporary Icelandic Music for Clarinet.” The Clarinet 3 (February 1976): 18; Magnusson, Daniel, to Tracey L. Paddock, Tallahassee, FL, July 1, 1998; “Requiem.” AFM Local 802. http://www.local802afm.org/publication_entry.cfm?xEntry=95585701#6 (accessed March 13, 2011).

Mallett, Lawrence R. B. Aug. 27, 1947 (Centerville, IA). HS clarinet studies with Mark Kelly. BM/DM(Conducting): Univ of Iowa (1969/1981) with THOMAS AYRES and HIMIE VOXMAN; MM: Ohio State Univ (1971) with DONALD MCGINNIS and ROBERT TITUS. Clarinetist: Columbus Symph Orch-OH (1969-71). Active as a recitalist, soloist, and chamber musician (incl perf at Carnegie Hall). Faculty member: Luther Coll (1971-73); Bemidji State Univ (1976-79); Wright State Univ (1980-82); Gustavus Adolphus Coll (1982-86); Univ of Montevallo (1986-90); Univ of Nebraska (Dir of SOM: formerly, 1990s); Univ of Kansas (Prof of Mus/Chair of Dept of Music and Dance: current). Other positions/activities: active as an administrator and conductor. Memb: NASM Commission on Education, AFM, CBDNA, Phi Kappa Phi, Phi Mu Alpha, Pi Kappa Lambda. Hon: Honorary Memb, Gamma Lambda Professional Band Service Society and Kappa Kappa Psi. Plays on: Buffet R-13 clarinets; Frank Kaspar and JOHNSTON mouthpieces. Bib: Mallett, Lawrence R., to Tracey L. Paddock, Tallahassee, FL, May 19, 1998.

Manasse, Jon. B. circa 1965. Grad: Juilliard with DAVID WEBER; additional studies at the Academie Internationale D’Ete, Aspen Instit, and Waterloo Music Festival. Additional clarinet studies with DON LITUCHY. Clarinetist: American Ballet Theater Orch (Principal: 1990s-; +/-); NY Chamber Symph (Principal: formerly, 1990s); NY Symphonic Ensemble (Principal: 1990s, +/-); Mostly Mozart Festival Orch (current); has performed as Guest Principal Clarinetist with the New Jersey, Saint Louis, and Seattle Symph Orchs, the Metropolitan Opera, the NY and Orpheus Chamber Orchs, the NY Pops, and the Orch of St. Luke’s, and as guest clarinetist with the New York Phil. Active as an intl recitalist (incl perfs at ClarinetFests 1997 and 1999, and in Jerusalem, Osaka, Tel Aviv, and other parts of the U.S., Europe,

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Japan, and Southeast Asia), soloist (incl perfs with the Augsburg, Brooklyn, Dayton, Evansville, and Natl Phil Orchs, the Alabama, Indianapolis, Richmond, and Stamford Symphs, the Mostly Mozart Festival Orch, the NY Symphonic Ensemble, and numerous other ensembles), chamber musician (incl perfs at Alice Tully Hall, Weill Recital Hall, Merkin Concert Hall, the Sylvia and Danny Kay Playhouse, and the Walter Reade Theatre, with the Amadeus Trio and Trio Parnassus, and with the American, Borromeo, Manhattan, Moscow, and Shanghai String Quartets), festival artist (incl participation at the Cape and Islands, Crested Butte, and Seattle Chamber Music Festivals, the Caramoore Intl Music Festival, the Festival Intl des Arts- France, and the Tokyo Bunkamura Festival), and recording artist (incl 6 recordings on the XLNT label). Premiere perfs incl James Cohn’s Concerto for Clarinet and String Orch (1997). Faculty member: Eastman SOM (1995-); Juilliard (current). Other positions/activities: Buffet Crampon USA Perf Artist; Vandoren Artist. Hon: Winner, 1979 ICA Compt (at age 14); Walter W. Naumburg Scholarship, Juilliard; Winner, Juilliard Concerto Compt (two-time winner); Special Prize Winner, 36th Intl Compt for Clarinet-Munich, Germany (1987); favorable reviews of recordings appear in The Clarinet (see Bib below). Plays on: Buffet Tosca clarinets. Students include: Katie Combest, Stacey DiPaolo, Gina Guhl Fouch, Rebecca Graham, Sam Kaestner, Julianne Kirk, Lauren Miner, Stojo Miserlioski, Stefan Van Sant, Allison Sontz, Lindsay Williams. Jon Manasse is among the most celebrated clarinetists of the late twentieth century. Manasse was the youngest clarinetist to win the International Clarinet Association’s Clarinet Competition in 1979 at the age of fourteen, a feat which was to foreshadow his success in future competitions. In years to follow, Manasse was also a two-time winner of the Juilliard Concerto Competition and Special Prize Winner at the 36th International Competition for Clarinet in Munich in 1987. Since that time, Manasse has been in demand as a soloist, chamber musician, and festival artist, and has made six highly acclaimed recordings. The above list of orchestras, chamber ensembles, and musicians with whom Manasse has worked reflects but a sample of his prolific musical activity. Manasse is currently training the next generation of clarinetists at the Eastman School of Music and at Juilliard. Bib: “Jon Manasse.” Buffet Crampon. http://www.buffet-crampon.com/en/artists.php?mode= artistPresentation&aid=272 (accessed March 13, 2011); Wong, Bradley. “AudioNotes.” The Clarinet 17 (February/March 1990): 63.

Mandat, Eric P. B. Dec. 16, 1957 (Denver, CO). BM(magna cum laude): North Texas State Univ (1979) with LEE GIBSON and RICHARD JOINER; MM: Yale Univ (1981) with KEITH WILSON; DM: Eastman SOM (1986) with STANLEY HASTY and CHARLES NEIDICH. Clarinetist: New American Woodwind Quintet (active 1980s+); Ĉiosoni (fl/cl/bass trio; active 1990s, +/-); Tone Road Ramblers (clarinet/percussion sextet with an emphasis on improvisatory/ experimental music; 1990s, +/-). Active as an intl recitalist (incl perfs at ICA and other conferences), soloist (incl the Latvian premiere of the basset clarinet version of the Mozart Clarinet Concerto at the Mozart Bicentennial Festival), chamber musician (incl perfs with above groups and the Transatlantic Trio and with the New American Woodwind Quintet given throughout the U.S., Europe, and the People’s Republic of China), festival artist (incl participation at the New Music Chicago Spring Festival), and recording artist (on the 4-Tay Records, Advance Recordings, Centaur, Einstein Records, and Opus One labels). Premiere perfs incl the title role in , an opera for instrumentalists, who must also act, by John Eaton (1996). Faculty member: Southern Illinois Univ-Carbondale (Prof of Clarinet/Sax: 1981-). Published in The Clarinet and in PHILLIP REHFELDT’s book, New Directions for Clarinet. Other positions/activities: active as a composer (incl several excellent, innovative works for clarinet, some published by Cirrus Music) and lecturer. Memb: ICA, MTNA, Natl Assn of Composers- USA. Hon: Prize Winner, 1983 Intl Clarinet Compt-Denver; 1st Prize, Natl Assn of Composers, USA Young Performers Compt-Los Angeles (1984); Phi Kappa Phi Outstanding Artist Award for Southern Illinois Univ (1997); “Critic’s Choice” award given for solo recital of his own music at New Music Chicago’s Spring Festival ’89; favorable reviews of recordings/compositions appear in the Chicago Tribune, Fanfare, The Clarinet, NACWPI Journal, and other publications. Plays on: Buffet RC Prestige clarinets; Rick Sayre K13 mouthpiece; BONADE inverted ligature; Vandoren V-12 #4 reeds.

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Students include: Marina Antoline, Kevin Cox, Boja Krakulj, MICHAEL NORSWORTHY, SEAN OSBORN, Lee Rodriguez, ANDREA SPLITTBERGER-ROSEN, Chin-Yu Sun. Eric Mandat is one of the leading innovators in the composition and performance of contemporary clarinet music. In addition to being an excellent performer of traditional clarinet literature, Mandat has also expanded the boundaries of clarinet playing through his use of extended clarinet techniques and the exploration of new timbral possibilities for the clarinet. For example, in the highly esteemed composition, Folk Songs, Mandat employs not only the use of quarter tones, multiphonics, and humming while playing, but also calls for the assembled bottom three pieces of the clarinet to be blown across in a flute-like manner, producing a hauntingly beautiful and pure sound. Mandat commented:

Music is a creative art, not merely a re-creative discipline. My philosophy is to always search for the new and expand the knowledge and interpretive possibilities of music of the past. I am very interested in extended performance techniques, both as creative tools for new compositions and as the means to increase timbral and intonation flexibility. (Mandat/Paddock 1998)

Bib: Dannessa, Karen. “Compact Disc Review.” The Clarinet 26 (June 1999): 73; Heim, Norman. “Compact Disc Recording Review.” NACWPI Journal (Spring 1992): 12-13; Mandat, Eric. “Eric Mandat Clarinetist/Composer.” E. Mandat. http://ericmandat.com/?q=node/1 (accessed March 13, 2011); Mandat, Eric P. “Expanding Timbral Flexibility Through Multiphonics.” The Clarinet 16 (May/June 1989): 27-30; Mandat, Eric P. “The Clarinetists of the Latvian Philharmonic.” The Clarinet 20 (May/June 1993): 34-37; Mandat, Eric P., to Tracey L. Paddock, Tallahassee, FL, July 7, 1998; Pierce, Linda. “AudioNotes.” The Clarinet 17 (February/March 1990): 63.

Manning, William Meredith. B. Apr. 28, 1933 (Flushing, NY). BME/MM: Drake Univ (1954/1957). Clarinetist: Blue Mountain Woodwind Quintet (2000, +/-). Faculty member: Sigourney, IA Public Schools (Dir of Instrumental Mus: 1954-56); Univ of Montana (Prof of Clarinet/Mus Theory: 1957- 90s, +/-; Prof Emeritus: current; also served as Actg Chmn of the Mus Dept). Memb: ICA, NACWPI. Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Students include: Gary Herbig, Patricia Larios. Bib: “Manning, William Meredith.” Who’s Who in American Music (Classical). 2nd edition. New York, NY: R.R. Bowker Co., 1985: 382.

Manry, John. B. Dallas, TX. BM: Baylor Univ with RICHARD SHANLEY. Additional clarinet studies with LARRY COMBS and ANDREW CRISANTI. Clarinetist: Ft. Worth Symph (Asst Principal/E-flat: 1977-, +/-). Active as a chamber musician (incl perfs with Spectrum). Former faculty member: Texas Christian Univ. Other positions/activities: active as an administrator (incl positions as Orch Liaison to the Board of Dirs and Chmn of the Player’s Committee for the Ft. Worth Symph) and clinician. Has played on: Buffet R-13 clarinets (B-flat/A/E-flat); Hoffinger Lelandais mouthpiece blank with Mattson facing; BAY ligature; Zonda #4 reeds; Vandoren 2RV E-flat mouthpiece; BONADE E-flat ligature; Vandoren E-flat reeds. Extra-musical activities incl raising livestock (incl a llama) and antiquing (collecting salt cellars, in particular). Bib: Baker, Marguerite. “The Clarinet Sections of the Dallas and Fort Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 30; “John Manry.” Fort Worth Symphony. http://www.fwsymphony.org/hld/bio.asp?bio=114&t=m (accessed March 13, 2011).

Marcellus, Robert. B. June 1, 1928 (Omaha, NE); d. Mar. 31, 1996 (Sister Bay, WI). HS clarinet studies with EARL HANDLON (1940); additional clarinet studies with DANIEL BONADE (1944) in Philadelphia. Clarinetist: Natl Symph (Second/E-flat: 1944-46, at age 17; 1949-50; Principal: 1950-53); U.S. Air Force Band-Washington D.C. (Memb/Soloist: 1946-49); Cleveland Orch (Principal: 1953-73). Was active as a recitalist/soloist (incl perfs with the Natl Symph and Cleveland Orch and at the Casals and Peninsula Music Festivals), chamber musician (incl perfs with the Chamber Music Society of the Lincoln Center), festival artist (incl participation as Principal Clarinetist of the Casals Festival, 1959-63), and recording artist (numerous orch/solo/chamber recordings appear on the Columbia Records and other labels, incl his highly-esteemed 1961 recording of the Mozart Clarinet Concerto on Columbia Records).

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Faculty member: Music School Settlement-Cleveland (formerly); Cleveland IOM (Prof of Clarinet/Dept Head: 1959-74); Blossom Festival School/Kent State Univ (Chmn of Wind Chamber Music/ Dir of Large Wind Ensembles: 1968-73); Northwestern Univ (Prof of Clarinet: 1974-94; also served as Dir of Univ Symph Orch and Conductor of Univ Chamber Ensemble; conducted widely-attended one-week summer master class series, 1975-87). Other positions/activities: was very active as a conductor (incl positions with the Univ Circle Orch and Chamber Ensemble, 1959; and as Music Dir/Conductor of the: Cleveland Phil Orch, 1971-77; Scotia Chamber Players, 1974-92; Canton Symph, 1975-77; Interlochen Arts Acad Symph Orch, 1977-84; and Northwestern Univ Symph Orch, 1978-84) and guest conductor (incl perfs with the Atlantic, Detroit, St. Louis, and Victoria Symphs, the Minnesota Orch, St. Louis Little Symph, and Interlochen’s World Youth Symph, and at the Natl Arts Centre-Ottawa, the Kent/Blossom and Peninsula Music Festivals, and the Minnesota Orch’s Viennese Sommerfest); was also active as an adjudicator (incl work for the Canadian Centenary Festival of Music and the Canada Council). Extra-musical activities included flying, golf, ham radio, old movies. Memb: Pi Kappa Lambda, Delta Omicron. Hon: Principal Clarinet chair of Cleveland Orchestra permanently endowed as “The Robert Marcellus Chair” (1978); featured on “CBS News Sunday Morning,” with Charles Kuralt (January 1988); honorary doctorates awarded by Dalhousie and Lawrence Univs. Played on: Buffet clarinets and barrels (adjusted by Hans Moennig); Conn, Bonade “Melior,” Kaspar-Ann Arbor, Kaspar-Chicago, and O’Brien crystal ** mouthpieces; Morré and Vandoren reeds. Students include: ROBERT ADELSON, Carl Anderson, SCOTT ANDERSON, JANET AVERETT, LUIS BAEZ, ALAN BALTER, PAUL BAMBACH, DIANE CAWEIN BARGER, GREGORY BARRETT, STEVEN BARTA, LINDA BARTLEY, BRAD BEHN, DAVID BELL, Shela Bondurant-Koehler, SCOTT BRIDGES, EDWARD CABARGA, GUY CHADASH, ROBERT CHESEBRO, MICHAEL CHESHER, DEBORAH CHODACKI, DARYL COAD, STEVEN COHEN, PETER COKKINIAS, Sue Collado, BRENT COPPENBARGER, DOUGLAS CORNELSEN, Robert Crowley, LAURA DELUCA, JULIE DEROCHE, DRU DEVAN, WILLIAM DOMINIK, JAMES EAST, JOSEPH EDWARDS, F. GERARD ERRANTE, ROBERT FITZER, Wesley Foster, DILEEP GANGOLLI, JENNIFER GERTH, DANIEL GILBERT, MICHÉLE GINGRAS, J. DAVID HARRIS, CAROLINE HARTIG, TED HEGVIK, JULIA HEINEN, PAMELA HELTON, THOMAS HILL, BIL JACKSON, David Jones, KATHLEEN JONES, ROBERT JONES, PATRICIA KOSTEK, CARLA KUSEL, CASSANDRA LEE, ROLF LEGBANDT, Carl Long, CHRISTIE LUNDQUIST, RICHARD MACDOWELL, CARL MARKS, Stanley McCartney, LAWRENCE MCDONALD, JOSEPH MESSENGER, DAVID MINELLI, LEE MORGAN, LINNEA NEREIM, LESLIE NICHOLAS, MARK NUCCIO, DENNIS NYGREN, RON ODRICH, THEODORE OIEN, JAMES OGNIBENE, FRED ORMAND, Clarence Padilla, EDWARD PALANKER, David Pharris, VITO PLATAMONE, JO ANN POLLEY, WILLIAM RAPPAPORT, JOHN REEKS, CHRISTOPHER RUNK, Christopher Salvo, RAPHAEL SANDERS, CHRISTIAN SCHUBERT, Shannon Scott, RICHARD SHANLEY, DAVID SHIFRIN, Jennifer Showalter, FRANK SIDORFSKY, DANIEL SILVER, CAROLEE SMITH, GREGORY SMITH, JAMES SMITH, CHARLES STIER, RICHARD STOLTZMAN, THOMAS THOMPSON, TIMOTHY TOPOLEWSKI, John Van Bockern, PAUL VOTAPEK, ROBERT WALZEL, CHRISTINE WARD, JOHN WEIGAND, CHARLES WEST, KENNEN WHITE, ROBERT WINGERT, DAVID WRIGHT, PETER WRIGHT III, JOHN BRUCE YEH, CHARLENE ZIMMERMAN. An interesting fact about the legendary clarinetist, pedagogue, and conductor Robert Marcellus is that, in 1944, he narrowly missed winning a place at the Curtis Institute to study with BERNARD PORTNOY. As Marcellus pointed out in an interview with DENNIS NYGREN [caps mine], “. . . I came in number two. Their first choice that year was a chap named STANLEY DRUCKER.” (Nygren 1988, 35) On the advice of principal wind players in the Philadelphia Orchestra, Marcellus instead commuted from Washington, D.C., where his family had just moved, to New York City to study with DANIEL BONADE. Shortly thereafter, Marcellus began his professional career as a member of the National Symphony Orchestra’s clarinet section at the age of 17, serving briefly in this position before enlisting to serve as a clarinetist in the U.S. Air Force Band during World War II. Following his three-year enlistment, Marcellus rejoined the National Symphony in 1949, and became Principal Clarinetist in 1950. A few short years later, in 1953, Marcellus auditioned for the same position with the Cleveland Orchestra, and took the position at the invitation of . He served as Principal Clarinet of the Cleveland Orchestra for twenty years, performing frequently as a soloist, and making recordings which are considered benchmark

210 performances of significant clarinet repertoire to this day (e.g. the 1961 recording of the Mozart Clarinet Concerto). During his years with the Cleveland Orchestra, Robert Marcellus also taught at the Cleveland Institute of Music and the Blossom Festival School, and became more active as a conductor. His conducting career began with a position on the conducting staff of Cleveland’s University Circle Orchestra and Ensembles (1959), and continued with positions as Music Director and Conductor of the Cleveland Philharmonic (1971-76), the Northwestern University Symphony Orchestra and Chamber Ensemble, the Scotia Chamber Players, and the Interlochen Arts Academy Symphony Orchestra, among others. Marcellus also served as Guest Conductor of numerous North American ensembles. In 1973, Marcellus was advised by his doctors to resign his clarinet position with the Cleveland Orchestra as strenuous clarinet playing could further exacerbate his diabetic retinopathy, a condition which had already caused one retinal bleed. Although he underwent surgery for this condition, Marcellus lost his sight completely in 1984. Not to be deterred, Marcellus joined the music faculty at Northwestern University where he served as Professor of Clarinet, from 1974 until his retirement in 1994, also serving as Music Director of the University Symphony for six years. It was at Northwestern that Marcellus initiated his famous week-long, summer master class series. As a clarinetist and teacher, Marcellus combined the principles of his first teacher, EARL HANDLON (former clarinetist of the Minneapolis Symphony) with those of his second teacher, Daniel Bonade. Handlon emphasized a solid, steady, unbroken airstream, and Bonade had very clear ideas on legato finger movement, staccato articulation, and above all, a lyrical approach to playing. (Ibid., 34-35) Marcellus had also espoused an embouchure in which pressure is evenly distributed around the mouthpiece, with no excess pressure from the lower jaw. The upper lip, in his ideal embouchure, had a more active role in that it mimicked a double-lipped embouchure by tucking under itself slightly, whereby the upper lip is simultaneously against the teeth and itself. (Gholson 2011, 4) Clarinetist and former Marcellus student STEVEN BARTA offered the following insight on Robert Marcellus as clarinetist and teacher:

Robert Marcellus was admired for his deep, round velvet sound. A tone of radiant brilliance which maintained its wonderful pear shape even in the extreme registers and dynamics. His phrasing exhibited impeccable taste and intelligence, refinement of articulation, liquid legato and a persuasive, poetic musical style.

Marcellus’s teaching touched with authority on every aspect of clarinet performance; however, it was his sharp intelligence that brought it all together and arguably made him the most sought-after clarinet teacher in the country. (Nygren 1996, 37-38)

DIANE CAWEIN BARGER was also profoundly influenced by Robert Marcellus, with whom she studied from 1989-90, late in his career. Barger felt that in order to succeed as a professional clarinetist, studies with Marcellus were essential. She was first accepted to study with Marcellus at his summer Marcellus Masterclass program and then as a graduate student at Northwestern University. Below, she gives a candid account of her time with Marcellus:

I remember Mr. Marcellus calling me a “diamond in the rough” because I was not disciplined enough in terms of my practicing and certain issues with tone and articulation. . . . We first tackled the brightness of my altissimo register by his explanation of the oral cavity and tongue position. I also had a mouthpiece change my first semester…many of us began switching to the Gigliotti “P” facing mouthpieces…even Mr. Marcellus found one he liked and was using it off and on with his Kaspars. . . . Mr. Marcellus and I also worked on training my tongue to move more rhythmically since I already had a good speed. After we fixed some of the fundamentals, we primarily worked on Cavallini and Baermann etudes and the occasional Jeanjean etudes. Usually 4 etudes a week, plus work on repertoire and orchestral excerpts.

I am glad that I had the opportunity to work with Mr. Marcellus when I did…prior to his going completely blind, I heard horror stories of his dealings with female students (he didn’t think they really wanted a career in music – he thought they would all get married

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and give it up. . .), and students in general, and I think he mellowed out in his later years. He was tough, don’t get me wrong, but he was also more understanding of you if you didn’t happen to know the keys of all the Bruckner symphonies if he asked you at the spur of the moment. That was something he always liked to do…ask you “trivia” questions (name all the keys of the Beethoven symphonies; name four symphonic works with the word “Capriccio” in the title; name six pieces by Ravel, etc…).

I think he was a phenomenal pedagogue and really taught me discipline and patience. To hear his explanations of tone, articulation, style, etc, was really incredible. And, even though he didn’t play very much due to illness, whenever he tried to play something, he still sounded incredible and you could hear exactly what he was talking about. . . . I felt really fortunate to have studied with him, and felt a tremendous loss when he passed away. And, I also felt this enormous responsibility to carry on his teachings. It is amazing how many young people don’t even know who he is anymore…I’d hate to imagine of the clarinet world forgot his teaching and beautiful playing. (Cawein/Paddock 1998)

A wealth of additional information on the life, career, and musical philosophy of Robert Marcellus is available in the articles listed in the Bibliography below. Especially recommended are the three articles by clarinetist Dennis Nygren and the James Gholson interview with Marcellus. The Nygren interview with Marcellus provides a concise biography followed by conversations with Marcellus on his former teachers, colleagues, and role models, and his thoughts on clarinet playing, teaching, and conducting. The first of Nygren’s two-part remembrances of Marcellus includes a brief biography as well as a collection of tributes offered by Marcellus students, colleagues, and friends; the second offers a thorough discography encompassing Marcellus’s solo, chamber, and Cleveland Orchestra recordings. James Gholson’s interview, extracted from his privately published collection of interviews, entitled The Seasoned Clarinetist, features more of Marcellus in his own words. Bib: Cawein, Diane, to Tracey L. Paddock, Tallahassee, FL, May 4, 1998; Gholson, James. “Interview with Robert Marcellus.” University of Memphis. https://umdrive.memphis.edu/ggholson/public/ marcellus.pdf (accessed March 13, 2011); Gilbert, Richard. The Clarinetists’ Repertoire – A Discography. New York: The Grenadilla Society, 1972, 93; “Marcellus, Robert.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 383; Nygren, Dennis. “Remembering Robert Marcellus – 1928-96 Part I.” The Clarinet 24 (November/December 1996): 34-43; Nygren, Dennis. “Remembering Robert Marcellus – 1928-96 Part II.” The Clarinet 24 (February/March 1997): 60-65; Nygren, Dennis. “Robert Marcellus, Yesterday and Today: An Interview.” The Clarinet 16 (November/ December 1988): 33-42.

Marco, John. Clarinetist: Partita (Clarinet/Artistic Dir: formerly); New York Phil (Assoc Memb: active 1970s, +/-); Rountree Ensemble (current); Lake Trio (current); performed with numerous NYC ensembles for 35 years before moving to Wisconsin. Active as a recitalist, soloist (incl perfs at the Fontana Festival), chamber musician (incl perfs with above ensembles and the Emerson String Quartet), festival artist (incl participation at Lorraine Festival-France), and recording artist (on Partita Records). Faculty member: Mannes Coll of Music (formerly); Hunter Coll-CUNY (formerly); Univ of Wisconsin-Platteville (current). Hon: favorable reviews of perfs/recordings appear in American Record Guide and The New York Times. Students include: Andrew Hudson, JOSEPH RUTKOWSKI. Bib: “Clarinet - John Marco.” University of Wisconsin-Platteville. http://www.uwplatt.edu/finearts/music/JohnMarco.htm (accessed March 13, 2011).

Marks, Carl Jr. Deceased. Grad: Juilliard (1940s). Clarinet studies with DANIEL BONADE, AUGUSTIN DUQUES, and ROBERT MARCELLUS. Was active as an orchestral clarinetist. Former faculty member: Duquesne Univ; Youngstown State Univ. Other positions/activities: Founder/Owner of Marks Music (1947), a well-known Farrell, PA music store which remains well-known for its hand- selected stock of Buffet clarinets and other clarinet equipment, and the famous Morré reeds (which are still being advertised). Students include: ROBERT FITZER. Bib: Marks, Maria. “Marks Music – History.” Marks Music. http://www.marksmusic.com/markshistory.html (accessed March 13, 2011).

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Marks, Edward. Grad: Univ of Maryland with NORMAN HEIM; Temple Univ; Curtis IOM (1962) with ANTHONY GIGLIOTTI. Additional clarinet studies with JOSEPH GIGLIOTTI. Former clarinetist: U.S. Army Band-Washington D.C.; Chamber Symph of Philadelphia (Principal); Pennsylvania Ballet (Principal); Camden Symph (Principal); Arlington Civic Opera (Principal); Toledo Orch (Principal); Venti da Camera (1980s-2000+); has also performed with the Philadelphia Orch. Active as a recitalist, soloist (incl perfs with the U.S. Army Band), chamber musician (incl perfs with Venti da Camera), and recording artist (on the RCA label). Former faculty member: Ithaca Coll; Mary Washington Coll; Univ of Virginia; Temple Univ; Interlochen Arts Camp; Bowling Green State Univ-OH (Prof of Clarinet: formerly, 1980s-98+). Other positions/activities: active as a clinician and visual artist (incl an oil painting featured on a ClariNetwork cover). Students include: Heather Bynum, KIM ELLIS, Mary Ann Grof-Neiman, Randy Klein, John Kurokawa, David McClune, Steve Noffsinger, Barbara Specht. Bib: “About the Cover.” ClariNetwork 6 (1987): 1.

Martin, Thomas. B. Oshkosh, WI. BM: Eastman SOM with STANLEY HASTY, PETER HADCOCK, and WILLIAM OSSECK (bass clarinet/sax). Clarinetist: Alabama Symph (Principal: formerly, until 1984); Boston Symph (Second: 1984-91; Asst Principal/E-flat: 1991-93; Actg Principal: 1993-94; Assoc Principal/E-flat: 1994-); Boston Pops Orch (Principal: 1991-, +/-); Walden Chamber Players (Founding Memb: current); performed on flute/clarinet/sax in Wisconsin big bands/combos from age 13. Active as a recitalist, soloist (incl acclaimed East Coast premiere of Elliott Carter’s Clarinet Concerto at Tanglewood in 1998, and perfs with the Boston Symph), and chamber musician (incl perfs at the Gardner Museum, Longy SOM, Symph Hall, and Tanglewood, and with the Hawthorne String Quartet); broadcast perf given on WGBH’s “Morning Pro Musica.” Faculty member: Tanglewood; New England Conserv (current). Other positions/activities: active as a clinician (master classes given at Tanglewood). Has played on: Buffet clarinets; DAN JOHNSTON H3 and Dong-Jin Kim mouthpieces; MITCHELL LURIE and Winslow ligatures; handmade reeds. Students include: Amy Advocat, CHRISTOHER AYER, Todd Brunel, Christopher Bush, Melissa Grieco, Jan Halloran, Juliet Lai, Alexis Lanz, Danielle Occhipinti, Kelli O’Connor, Abby Richmond, Bonnie Isbey Scholl, Ryan Yuré. Bib: Creditor, Bruce. “The Clarinet Section of the Boston Symphony.” The Clarinet 14 (Winter 1987): 37; “Thomas Martin.” Boston Symphony. http://www.bso.org/bso/mods/bios_detail.jsp?id=2100223 (accessed March 13, 2011).

Martínez Forteza, Pascual. B. Aug. 25, 1972 (Palma de Mallorca, Spain); currently resides in U.S. Clarinet studies begun at age 10 with his father, Pascual V. Martinez. MM: Baleares and Liceo de Barcelona Conservs; additional studies at Univ of Southern California-Los Angeles with YEHUDA GILAD. Clarinetist: Baleares Symph (Second/E-flat/Actg Principal: 1991-98; from age 18); Cincinnati Symph (Second: formerly, 1998-2000+; also served as Actg Assoc Principal/E-flat); New York Phil (Actg Assoc Principal: current; has also served as Second); Philharmonic Chamber Soloists (current); Vent Cameristic (Founder/Soloist: current). Active as an intl recitalist (incl perfs at NYC’s Avery Fisher, Carnegie, and Merkin Halls), soloist (incl perfs with Vent Cameristic), chamber musician (incl perfs as a member of the Philharmonic Chamber Soloists), festival artist (incl participation at the NY Chamber Music Festival), and recording artist; broadcast perfs given on radio and television in Asia, Europe, and the U.S. Hon: 1st Prize, USC Concerto Compt (1998). Faculty member: Santanyi Music School-Spain (formerly); NYU (current); also teaches at the Manhattan SOM. Other positions/activities: Buffet Crampon USA Perf Artist; Vandoren Artist; active as an adjudicator (incl ICA and other compts) and clinician (incl appearances at the Buffet Crampon Summer Festival, ICA conferences, and other festivals/clinics/SOMs around the world). Hon: 1st Prize, USC-LA Concerto Compt. Plays on: Buffet Tosca Green Line clarinets. Bib: “Pascual Martínez Forteza.” P. Martínez Forteza. http://www.pascualmartinezforteza.com/eng/bio_ base.htm (accessed March 13, 2011).

Martins, David J. B. Aug. 25, 1955 (Providence, RI). BME: Eastman SOM (1977) with PETER HADCOCK and STANLEY HASTY; MM: Univ of Lowell (1979). Additional clarinet studies at the New School Summer Music Festival (1976), Tanglewood (1984), and the Puccini Festival-Lucca, Italy (1985). Clarinetist: Puccini Festival Orch (Principal: Summer 1985); Philharmonica Hungarica Orch of West Germany (1986 American tour); Boston Festival Orch (Principal: 1995 England tour); Alea III Contemporary Ensemble (1994-, +/-); Boston Classical Orch (1994-, +/-); Rhode Island Phil (1994-, +/-); Commonwealth Winds (Founding Memb: current); HarmonieMusik (Founding Memb: current); also

213 perfs/has performed with the Portland, New Hampshire, and Springfield Symphs, Boston Pops Esplanade Orch, Pro Arte Chamber Orch, Opera Co. of Boston, Boston Concert Opera, Boston Lyric Opera, Boston Ballet, and Masterworks Chorale Orch. Active as an intl recitalist/soloist (incl 1993 solo recital given in Greece at the invitation of the Natl Composers Union of Greece), chamber musician (incl several tours of Greece and Russia with Alea III), festival artist (incl participation at the Intl Contemporary Music Festival- Athens, Greece, and the Great Woods and Monadnock Music Festivals), and recording artist (on the Albany, Classic Produktion Osnabrück, CRI, Gasparo, Koch Intl, Society of Composers, and Titanic labels); broadcast perfs given on Natl Greek Radio. Faculty member: Univ of Massachusetts-Lowell (Prof: 1981-; has also served as Area Coordinator of the Woodwind Dept and Actg Chair of the Dept of Perf); Boston Univ (Adj Prof: current); Tanglewood (Dir of Wind Activities: 1999-). Articles published in The Clarinet and NACWPI Journal. Other positions/activities: RI Phil delegate to the Regional Orch Players Assn (1989-91); Host/ Performer, Univ of MA-Lowell Clarinet Congress (1991-); Yamaha Artist (1991-94); Buffet Crampon USA Perf Artist (formerly, 1994-99+); active as an adjudicator/clinician (incl work for the American School BDA, 1990 and 1993, and for the Massachusetts Instrumental Conductors Assn, 1990 and 1996), administrator (incl various Univ of MA-Lowell committee positions), and conductor/music dir (currently holds positions with the Boston Univ and Univ of MA-Lowell Wind Ensembles, the Metropolitan Wind Symph, and the Lowell Summer Concert Band, and works with various youth ensembles/honor bands throughout the Northeastern U.S.). Memb: AFM, ICA, MENC, NACWPI, New England BDA, Phi Mu Alpha Sinfonia. Hon: New School Summer Music Festival Fellow (1976); Tanglewood Fellow (1984); Puccini Festival Fellow (1985). Students include: Rich Carpenter, Andy Chau, Thomas Weston. Bib: “David Martins, Artistic Director Emeritus.” Metropolitan Wind Symphony. http://www. mws-boston.org/people/martins.html (accessed March 13, 2011); Martins, David. “The Craft of Mouthpiece Making: A Profile of Dan Johnston” The Clarinet 22 (July/August 1995): 36; Martins, David, to Tracey L. Paddock, Tallahassee, FL, June 1, 1998.

Masse, Thomas G. MM/Artist Dipl: Yale Univ SOM; DM: Univ of Michigan; MBA: Univ of Connecticut; additional studies at Music Acad of the West (1992). Active as a clarinet recitalist (incl a perf at the 1st Intl Clarinet and Sax Festival-Peru, 1998). Faculty member: Univ of Northern Colorado (formerly); Yale Univ SOM (Chamber Mus/Deputy Dean of Admissions and Student Affairs: 1999-). Published in The Clarinet. Active as an arts advocate, clinician, and music editor. Hon: Winner, Woolsey Hall Compt, Yale Univ; recip of first Artist Dipl ever awarded at Yale Univ SOM; Univ of MI Regents Fellow. Students include: Nophachai Cholthitchanta, Jayma Superlove. Bib: Masse, Thomas and Gary Whitman. “Primer Festival Internacional de Clarinete y Saxofon.” The Clarinet 26 (March 1999): 72-73; “Thomas Masse.” . http://www.yale.edu/opa/arc-ybc/v35.n10/story8.html (accessed March 13, 2011).

Maxey, Larry S. B. Apr. 1, 1937 (Michigan City, IN). BM(with honors): Michigan State Univ (1959) with GEORGE SILFIES and KEITH STEIN; MM/DM: Eastman SOM (1960/1968) with STANLEY HASTY. Clarinetist: Rochester Chamber Orch (Principal: formerly); 7th Army Symph- Stuttgart, Germany (Principal: formerly); Waco Symph (Principal: 1964-66); Kansas City Chamber Orch (Principal: 1980-); Lawrence Chamber Players (Principal: 1980-). Active as an intl recitalist/soloist (incl perfs given throughout in 1996, at ICA and NACWPI conferences, and at several Oklahoma Clarinet Symposia), chamber musician (incl perfs with above groups and with Kansas Woodwinds at the MENC, Coll Music Society, and Midwest Natl Band and Orch conventions;), festival artist (incl participation as Guest Clarinetist at the Intl Festival de Musica-Portugal, 1995), and recording artist (incl a recording with the Kansas Woodwinds). Faculty member: East Texas State Univ (Instructor: 1962-64); Baylor Univ (Instructor: 1964-66); Long Beach State Univ (Asst Prof: 1968-69); Michigan State Univ (Lect: 1969-70); Univ of Kansas-Lawrence (Prof: 1970-; Prof Emeritus: current). Articles published in The Clarinet, The Instrumentalist, and the NACWPI Journal. Other positions/activities: ICA State Chmn, KS (formerly); active as a clinician (master classes given at the Lithuania Acad of Music, 1996) and writer/ reviewer for various concert series and publications. Memb: AAUP, ICA, MENC, Midwest Clarinet Society, MTNA. Hon: toured Lithuania in 1996 at the invitation of the Lithuania Acad of Music. Plays on: Buffet R-13 clarinets; GENNUSA G*1 and other mouthpieces; BONADE inverted ligature; Vandoren V-

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12 #3 ½ and 4 reeds; uses a homemade swab made from old pajamas. Students include: Joan Blazich, Andy Braden, Wendy Benford, William Berz, Eugene Corporon, JAMES DEATON, PAUL GARNER, D. Gause-Snelson, Robert Neu, Eric Tishkoff, Michael Walsh. On teaching, Larry Maxey commented:

My primary goal in teaching is to help enable my students to play musically. To use a literary analogy, having great technique is like having a wonderful vocabulary, but the gifted writer is one who can take those words and tell a story that affects the reader on a deep level. This is the experience we are trying to bring to our audience. If all we have to offer are the notes, even playing them all flawlessly will leave the audience feeling vaguely unsatisfied. However, if the audience is swept into the musical experience by the performer, they won’t care whether or not it’s flawless because we will have given them a greater gift. Which is not to say that it is not necessary to grind through a lot of Klose, Baermann, etc. These give us the tools with which to free ourselves to concentrate on making music. (Maxey/Paddock 1998)

On his other musical interests, he added:

I have become very interested in Klezmer music in recent years and have begun including it on some programs. The music seems to have universal appeal and is a hit with all audiences. (Ibid.)

Bib: Maxey, Larry. “The Copland Clarinet Concerto.” The Clarinet 12 (Summer 1985): 28-32; Maxey, Larry. “The Rose Thirty-Two Etudes: A Study in Metamorphosis.” The Clarinet 1 (August 1974): 8; Maxey, Larry S., to Tracey L. Paddock, Tallahassee, FL, May 17, 1998.

Maxwell, John. Clarinetist: Baltimore Symph Orch (Bass Clarinet: 1942).

Maynard, Ritchard. BME: Northeast Louisiana Univ with JAMES GILLESPIE and WILLIAM NICHOLS; MA(Clarinet Perf): Univ of Iowa with THOMAS AYRES; DM(Sax Perf): Univ of Georgia. Additional clarinet studies with BRUCE BULLOCK; sax studies with David Gibson and Kenneth Fischer. Clarinetist: Capital City Jazz Band. Faculty member: Boise State Univ (Asst Prof of Clarinet/Sax/Jazz Studies: 1992-, +/-). Other positions/activities: Host, 1996 Montana/Idaho Clarinet Festival; ICA State Chmn, ID; active as a lecturer (incl presentation given at the 1998 Idaho/Montana Clarinet Festival). Bib: “Musical Chairs.” The Clarinet 19 (February/March 1992): 58.

Maze, Earl. Prominent Indiana clarinetist of the 1940s, featured in Who is Who in Music (1941).

Mazzeo, Rosario. B. Apr. 5, 1911 (Pawtucket, RI); d. July 19, 1997. Clarinet studies begun at age 13. Early clarinet studies with Jack Lynch (in Boston), followed by studies with GASTON HAMELIN and GUSTAVE LANGENUS; additional studies with Boston Symph principal oboist Fernand Gillet. Clarinetist: Boston Civic Orch (Principal: 1928, +/-); Boston Chamber Music Society (Founding Memb: 1929-50); Boston Symph (Clarinet/E-flat/D: 1933-39; Bass: 1939-66; Personnel Mgr: 1942-66); Crown Chamber Players (Founder/Memb: 1967-77). Was active as a soloist (incl perfs with the Boston Civic Orch), chamber musician (incl perfs with above groups and with Hamelin’s clarinet quartet), and studio musician (incl perfs on Boston radio broadcasts early in his career). Former faculty member: Tanglewood (1940-66); New England Conserv (Chmn of Woodwind Dept: 1948-66); Univ of California-Santa Cruz (1967-87, +/-); San Francisco Conserv (Adj Prof: 1983+); Stanford Univ. Author: A Brief Survey of Chamber Music for Small Groups (Cundy-Bettoney, 1937, 1938); Manual for the Mazzeo Clarinet (Henri Elkan, 1959); The Clarinet: Excellence and Artistry (Alfred Music Publishing Co., 1981). Author/Editor, Clarinet Classics from the Works of Great Masters (Cundy- Bettoney, 1938). Articles published in The Clarinet (regular columns included “Musings from Mazzeo,” 1962-74, and “Mazzeo’s Musings,” 1986-94) and Selmer Bandwagon (including regular series entitled “Master Class,” 1967-80s).

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Other positions/activities: Selmer Artist (1950s); Pres, Cambridge Society for Early Music (for 5 years); Founder/Memb, Friends of Photography in Carmel; was active as a clinician/lecturer (incl presentations given at ICA conferences) and collector of period instruments and clarinet literature. Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet (Winter 1954-55). Students include: SCOTT ANDREWS, JANET AVERY, LAWRENCE BOCANER, MARK BRANDENBURG, DAVID BREEDEN, Beth Custer, HENRY DUCKHAM, CLARK FOBES, SHERMAN FRIEDLAND, ANTHONY FULGINITI, PAUL GARRITSON, Ben Goldberg, DAVID HITE, BEN KANTER, EUGENE LACRITZ, HENRY LARSEN, DANIEL LEESON, GEORGE MELLOTT, LARRY MENTZER, LELAND MUNGER, FRANK RENK, SHERYL RENK, ALBERT RICE, HARRY SCHMIDT, Karen Sremac, ALAN STANEK, CLOYDE WILLIAMS, WILLIAM WRZESIEN. Rosario Mazzeo influenced the twentieth-century American clarinet community through his skills as an outstanding bass clarinetist, his innovative equipment modifications, and his role as a teacher and mentor to many. His influence as a bass clarinetist, in addition to the significance of his 33 years with the Boston Symphony, was so great that composers, such as William Schuman and , began to incorporate far more exposed and involved bass clarinet parts into their symphonic compositions with Mazzeo’s abilities and instrumental modifications in mind. Mazzeo began advanced clarinet studies in the late 1920s with GASTON HAMELIN, who was, at that time, Principal Clarinetist of the Boston Symphony. Shortly thereafter, in 1930, Hamelin was let go from that position, reputedly because Serge Koussevitsky was enraged that Hamelin had been playing on a metal clarinet. Hamelin returned to France, and Mazzeo decided to make trips by various combinations of steamboat, train, and bus (and eventually his own car) from Boston to New York City to study with GUSTAVE LANGENUS, who himself had been earlier released from an orchestral position with the New York Philharmonic by Willem Mengelberg, reportedly for his use of vibrato. (Weston 1989, 201) Perhaps Mazzeo’s most significant musical influence was Boston Symphony Principal Oboist Fernand Gillet, with whom Mazzeo studied for three years. Mazzeo’s orchestral career began at the age of 22, when he was invited by Koussevitsky (who had fired Mazzeo’s first teacher) to play E-flat clarinet with the Boston Symphony in 1933. Mazzeo assumed the position of bass clarinetist several years later, upon the retirement of PAUL MIMART II. Mazzeo served in that position from 1933 until 1966, also serving as Personnel Manager from 1942 to 1966, and on the faculties of the New England Conservatory and Tanglewood for many of those years. (Fobes et al 1998, 40) Through his playing, Mazzeo raised the standard of bass clarinet performance and brought the instrument into a position of more prominence within the . In addition, Mazzeo physically expanded the playing capacity of the bass clarinet through the creation of an extension which enabled the instrument to play down to a low B-flat. This innovation, created for the second American performance of Shostakovich’s Seventh Symphony with the Boston Symphony in 1942, paved the way for the development of the low C bass clarinet, now in common use. The Selmer Corporation incorporated Mazzeo’s invention into their line of bass clarinets in the 1950s, resulting in the Model 33 bass clarinet, then known as the Mazzeo-model. This innovation revolutionized the use of the instrument for both players and composers, and sparked Mazzeo’s interest in further clarinet modifications. (Weston 1989, 203) Following the success of his bass clarinet extension, Mazzeo devised a new mechanism for the B- flat clarinet which Selmer incorporated into a now-discontinued model known as the Mazzeo-System clarinet. Among the improvements offered by this model were a number of key modifications designed to expand fingering options, aid comfort and facility, and increase resonance. Modifications featured a more secure and resonant throat B-flat and the removal of metal from the bell for a clearer long B-natural. Although Mazzeo’s system was praised by many, and more than 13,000 of the instruments were sold during the 1950s and 1960s, the model was discontinued by Selmer. A comprehensive discussion of these modified clarinets can be found in Mazzeo’s own publication, Manual for the Mazzeo System Clarinet. In addition to serving as bass clarinetist of the Boston Symphony, Mazzeo also served for many years as Personnel Manager. In this capacity, Mazzeo showed patience and creativity as an administrator; the position also enabled him to further demonstrate his creativity and ability as a musician. The late DAVID HITE related the following anecdote:

Rosario was a logical man. He studied the score of Le Sacre du Printemps to find that the two bass clarinets Stravinsky scored never played at the same time; they always divide

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the task in tandem. “It really sounds better,” he said, “when it is played by one player.” Certainly the tone matches better and the line of phrasing can be better controlled. And from his viewpoint as a personnel manager, it was one less player to be hired for that enlarged orchestra. So as long as Rosario was personnel manager of the Boston Symphony Orchestra, Le Sacre was always played with one bass clarinet! He never had a problem convincing the conductors: “Don’t worry, I’ve got it covered. It will sound better than you usually hear it!” (Fobes et al 1998, 44)

As a teacher, Mazzeo strove to cultivate thinker in each student. Rather than offering a direct answer to a question, for example, he might lead a student to an answer through a strategic line of questioning. (Ibid., 41) As WILLIAM WRZESIEN commented, “He developed students, not only as solid instrumentalists, but into thinking, probing and thorough musicians as well.” (Ibid., 43) Mazzeo had several non-musical interests about which he was very passionate, including ornithology, photography, hiking, and an appreciation of the outdoors in general. As an ornithologist, Mazzeo was very active as a member the Audubon Society, including service as a member of the Board of Directors of its New England Chapter. He was also an excellent photographer, having studied with friend and neighbor Ansel Adams as well as with Edward Weston. Mazzeo participated in more than twenty-five photography exhibitions during his lifetime. Upon his retirement from the Boston Symphony in 1966, Mazzeo and his family moved to a new home overlooking the Monterey Bay in Carmel, California, an area perfect for indulging Mazzeo’s love of nature. Mazzeo’s love of the outdoors and hiking took him all over the world (including hikes in several volcanoes) and even infiltrated the lives of some of his students. Several clarinetists have written about “Clarinet Day,” an annual event held at the Mazzeo’s Carmel home, attended by past and present students. “Clarinet Day” would always commence with a brisk and memorable hike through the surrounding hills, led by Mazzeo. (Ibid., 41) During his time in California, Mazzeo continued to play and teach. He formed and performed with the Crown Chamber Players, and taught at the University of California-Santa Cruz and San Francisco Conservatory, and offered private lessons. In the course of his lifetime, Mazzeo had amassed a very large music collection as well as a collection of historical instruments which are housed at the University of California-Santa Cruz library and University of South Dakota-Vermillion’s Shrine to Music, respectively. The tribute to Rosario Mazzeo listed below is highly recommended for both a detailed summary of Mazzeo’s career and rich commentary offered by several prominent clarinetists who knew Mazzeo well. For more detailed information on Mazzeo’s clarinet modifications, the Reeves article and Pamela Weston’s biographical sketch in Clarinet Virtuosi of Today are recommended. Bib: Brush, Gerome. Boston Symphony Orchestra: Charcoal Drawings of Its Members with Biographical Sketches. Boston: Merrymount Press, 1936: 140-41; “ClariNotes: Rosario Mazzeo Collection of Clarinet Music Donated to the University of California, Santa Cruz.” The Clarinet 26 (December 1998): 15; Fobes, Clark, et al. “A Tribute to Rosario Mazzeo.” The Clarinet 25 (February/March 1998): 40-45; Reeves, Deborah Check. “The Mazzeo System Clarinet: An Historical Review.” The Clarinet 26 (March 1999): 62-64; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 199-206.

Mazzocca, Julio. Clarinet studies with C.B. Bellini, A. Magrani, GUSTAVE LANGENUS, and CARL GARDNER. Clarinetist: San Carlo Symph (1916-25, +/-); Society Symph Orch of NY (Principal: 1925+); People’s Symph Orch of Boston (Principal: 1927-35); Indianapolis Symph (Principal: 1937-44, +/- ); also performed with the New York Phil. Faculty member: Butler Univ (formerly); Indiana Univ (formerly). Bib: Program of the Indianapolis Symphony Orchestra. 1937-38 Season (December 3 and 4, 1937): 21.

Mazzocchio, Alfred J. B. Sept. 11, 1918 (St. Louis, MO). Early clarinet studies begun at age 9 with Michael Azzolina. BM: St. Louis IOM (1949); MM: Eastman SOM (1950) with RUFUS MONT AREY. Additional clarinet studies with CLARENCE GESNER, ROCCO ZOTTARELLE, RONALD PHILLIPS, and ROBERT MCGINNIS. Additional woodwind studies with Albert Tipton (flute), Laurent Torno (flute), Bonnie Ross (sax), and John Jennsen (sax). Clarinetist: St. Louis Phil Symph (Principal: 1933, +/-); U.S. Army Bands (1940-45); Seattle Port of Embarkation Band (1942-43); Rochester Phil (Second: 1949-50); St. Louis Symph (1950-56); MUNY Orch (Clarinet/Flute/Sax: Summers, 1953-2000); also performed with the U.S. Air Force Band. Has been active as a freelance musician, woodwind doubler,

217 and recording artist (incl recordings with the St. Louis Symph). Faculty member: Normandy Public Schools Music Dept (1956-80); St. Louis IOM (Instructor of Clarinet: 1963-69). Memb: ICA, MASL, MNEA, NEA. Has played on: Buffet clarinets; Kaspar, GREG SMITH, and Selmer mouthpieces; Rovner ligature; Vandoren V-12 reeds; Selmer E-flat clarinet; Leblanc bass clarinet. Students include numerous successful performers, teachers, and members of the publishing industry. Of his early musical background, Alfred Mazzocchio commented,

I started playing the clarinet at the age of nine under the tutelage of Michael Azzolina who started me on reading rhythmic solfeggio before playing a note on my Albert System clarinet! Solfeggio has helped me immensely in my music reading. (Mazzocchio/ Paddock 1998)

In his playing, Mazzocchio strives for a “clear, round, and solid” clarinet sound, adding that “whenever possible I like to use a singing style of phrasing.” (Ibid.). Clarinetists whose playing Mazzocchio particularly admires include STANLEY DRUCKER, ANTHONY GIGLIOTTI, ROBERT MARCELLUS, RICHARD STOLTZMAN, and HAROLD WRIGHT. In his response to the author’s survey, Mazzocchio offered a glimpse into the plight of the professional clarinetist in the Midwestern United States during the 1950s. He commented,

Incidentally I left that orchestra [St. Louis Symphony], since the 23 week season and rather low pay and no pension at that time pushed me into public school teaching and free-lance playing – musicals, circuses, ices shows, concerts, dances, etc. and lots of private teaching on clarinet, sax and flute. (Ibid.)

These circumstances have undoubtedly shaped the career of countless musicians over the years; nonetheless, Mazzocchio commented, “I have been blessed in that my life’s work has been involved with music which I have enjoyed very much.” (Ibid.) Bib: Mazzocchio, Alfred J., to Tracey L. Paddock, Tallahassee, FL, July 16, 1998.

McCarty, Keith. Faculty member: Univ of North Texas (formerly; 1964, +/-). Author, Methods for New Music for Clarinet (Larriken Press, 1971). Students include: Lowell Cross, Marcia Diehl, RAMON KIREILIS, GEORGE MELLOTT.

McCathren, Donald E. B. July 6, 1924 (Gary, IN); d. Nov. 13, 2004 (DeLand, FL). BSME: Indiana State Univ (1947); MM: Chicago Musical Coll (1949); DM(Honorary): Huron Coll (1971); also earned a degree from Indiana Univ (1950); additional studies at Boston, Harvard, and Tufts Univs, and the U.S. Navy SOM. Clarinet/music studies with DANIEL BONADE, ANGELO DE CAPRIO, Dai Fields, Albert Freedman, Louis Greenspan, E.C. Moore, VICTOR POLATSCHEK, R. Rateau, and Santy Runyon. Former clarinetist: Navy Broadcast Band (during WWII). Was active as a soloist, freelance artist, and recording artist (on the Mark Educational Records label). Premiere perfs incl A. Reed’s Five Solos for Five Clarinets, written for McCathren. Former faculty member: Chicago Musical Coll (Instructor of Woodwinds: 1948-50); Indiana Univ (Instructor of Clarinet: 1950-51); Duquesne Univ (Prof/Dir of Bands: 1958-83). Author: Playing and Teaching the Clarinet Family (Southern Music, 1960); Teachers Guide to Alto, Bass and Contrabass Clarinet (Selmer Corp, 1974); has also published “notebooks” and fingering charts for the woodwind family, and an annotated edition of the Rose 40 Studies for Clarinet. Articles published in The Instrumentalist and School Musician. Other positions/activities: Dir of Educational Services, G. Leblanc Corp (1953-58); Selmer Artist; Chmn, Duquesne Univ Mid-East Instrumental Music Conference (1959-85+); Pres, American Youth Symph, Band and Chorus (1964-85+); was active as a clinician/lecturer (incl presentations at numerous music camps and conferences), conductor (incl positions with the School Orch/Band of America, the American Youth Symph, and as Dir of Bands at Duquesne Univ), and music editor (incl his own edition of the Rose Forty Studies for Clarinet). Hon: Recip, School Musician’s Contribution to Music Award. Donald McCathren made a special contribution to the American clarinet tradition through his leadership in the clarinet choir movement of the 1950s. McCathren, one of the earliest proponents of the clarinet choir, shared his enthusiasm for and advocacy of this medium with LUCIEN CAILLIET, JAMES DE JESU, HARVEY HERMANN, RUSSELL HOWLAND, Harold Palmer, Alfred Reed, and others.

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Bib: Druckenbrod, Andrew. “Obituary: Donald McCathren.” Pittsburgh Post Gazette. http:// www.post-gazette.com/pg/04330/417274-122.stm (accessed March 13, 2011); “McCathren, Don (Donald E.).” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co.,1985: 368; “Remembering Dr. Don McCathren.” Lines and Spaces 6 (Fall 2005). http://www.despub.com/L&S73. htm#TOC (accessed February 16, 2011); Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 55-56.

McClellan, D. Ray, Jr. BM/MM/DM: Juilliard with DAVID WEBER. Additional clarinet studies with ETHAN SLOANE. Clarinetist: U.S. Marine Band (formerly); Alexandria Symph (Principal: formerly); Garden State Phil (Principal: formerly); Natl Women’s Symph (Principal: formerly); has also performed with the Arkansas, Alabama, and Stamford Symphs. Active as an intl recitalist (incl perfs at the Lincoln Center and Carnegie Recital Hall, and in Kenya and Tanzania), soloist (incl perfs with the U.S. Marine Band/Chamber Orch, Juilliard Orch, Little Rock Wind Symph, and Queens Phil), chamber musician (incl perfs with the Chamber Music Society of Lincoln Center, Chamber Sound, Continuum, Montpelier Winds, and Washington Serenade), and festival artist (incl participation at the Great Woods, Music at Penn’s Woods, and Waterloo Festivals). Faculty member: James Madison Univ (formerly); Henderson State Univ (formerly), Nyack Coll (formerly); Univ of Georgia (current). Other positions/ activities: Buffet Crampon USA Perf Artist; Vandoren Artist. Students include: Mitch Birnbaum, John Blair, Katie Brown, Amanda Cox, Joseph Eller, Nikki Hill, Douglas Owens, Joseph Philpott, Kris Plummer, Lanie Radecke, David Roth, Laura Stanley, Alison Thigpen, Megan Williams. Bib: “D. Ray McClellan.” University of Georgia. http://www.music.uga.edu/faculty/Area/Woodwinds/mccleldr/ (accessed March 14, 2011).

McColl, William D. B. May 18, 1933 (Port Huron, MI). Clarinet studies begun at age 12. Advanced music studies at: Interlochen Arts Camp; Oberlin Conserv (1951-53) with GEORGE WALN; Manhattan SOM with HERBERT BLAYMAN. Dipl (with honors): Vienna State Acad of Music (1955) with Leopold Wlach. Additional clarinet studies with KEITH STEIN. Clarinetist: U.S. Seventh Army Symph Orch (Principal: 1957-58); Philharmonia Hungarica (Principal: 1959-60); Puerto Rico Symph (Principal: 1960-68); Soni Ventorum Quintet (Founding Memb: 1960-); New World Basset Horn Trio (Founding Memb: current); has also performed with Amadeus Winds, Boston Handel and Haydn Society, and San Francisco Philharmonia. Active as a clarinetist, bass clarinetist, and basset hornist, and as an intl recitalist/soloist (incl perf at ClarinetFest 1998), chamber musician (incl perfs and recordings with Soni Ventorum and a perf with the New World Basset Horn Trio at ClarinetFest 1998), festival artist (incl participation at the Casals Festival, 1960-68), and recording artist (more than 25 recordings with Soni Ventorum; appears on the Atlantic, Crystal, Decca Mundi, Lyrichord, Musical Heritage Society, and Ravenna labels). Faculty member: Puerto Rico Conserv (Prof of Clarinet: 1960-68); Univ of Washington (Prof of Clarinet: formerly, 1968-2000+). Other positions/activities: active as a lecturer, scholar on antique instruments, and restorer of antique instruments. Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Plays on: custom-designed boxwood clarinet with gold-plated keys. Students include: Michael Davenport, Rudyard Dennis, CECIL GOLD, Mary Kantor, KATHLEEN JONES, Leslie López, Matthew Nelson, Richard Spece, Andy Tangborn. After collaborating with William McColl’s woodwind quintet Soni Ventorum on his composition Jazz Set for Violin and Woodwind Quintet, composer/clarinetist WILLIAM O. SMITH composed Jazz Set for Clarinet and Bass Clarinet for McColl. Smith was particularly impressed with McColl’s skill as a bass clarinetist and wrote this work to suit McColl’s talents. (Suther 1997, 40) McColl appears on all of Soni Ventorum’s recordings, more than twenty-five to date. Bib: “McColl, William D.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 368; Suther, Kathryn Hallgrimson. “Two Sides of William O. ‘Bill’ Smith.” The Clarinet 24 (July/August 1997): 40-44; “William McColl, Clarinet.” Soni Ventorum Wind Quintet. http://soniventorum.com/3.html (accessed March 14, 2011).

McCormick, William. Grad: Curtis IOM (1939). Clarinetist: Natl Symph Orch (Principal: 1941- 42). Bib: “Curtis Alumni Since 1924: Clarinet.” Curtis Institute of Music. http://216.158.58.59/about- curtis/history/full-alumni-listing/view-by-instrument.html (accessed March 14, 2011).

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McDaniel, Larey. B. Oct. 29, 1940 (Wallowa, OR). Grad: Oberlin Conserv with GEORGE WALN; Univ of Washington with RONALD PHILLIPS. Clarinetist: Seattle Symph (Clarinet/Bass: 1960- ); Northwoods Wind Quintet (current); also perfs with the Seattle Opera. Active as a soloist (incl perfs on the Seattle Symph’s Discover Music! and New Music Series concerts) and chamber musician (incl perfs on the Seattle Symph’s Chamber Music Series and with the Northwoods Wind Quintet). Other positions/ activities: active as a clinician (incl educational programs given by the Northwoods Wind Quintet) and professional photographer. Bib: McDaniel, Larey, to Tracey L. Paddock, Tallahassee, FL, August 25, 1998.

McDonald, Lawrence. BME/MM(Mus Hist): Northwestern Univ (1964/1966) with CLARK BRODY, ROBERT MARCELLUS, and JEROME STOWELL; PhD(Musicol): Univ of Michigan (1975). Clarinetist: Honolulu Symph (Co-Principal: formerly); Peninsula Festival Orch (Principal: 1980s-, +/-); Toledo Symph (Principal: 1985, +/-); Oberlin Woodwind Quintet (formerly); Amadeus Winds (Founding Memb: current). Active as an intl recitalist (incl perfs at Carnegie and Alice Tully Halls, Aston Magna, the Library of Congress, and the Metropolitan and Smithsonian Museums), soloist (incl perf with the Cleveland Chamber Symph), chamber musician (incl perfs with Ensemble Pierrot, the Mozartean Players, the Oberlin Trio and Woodwind Quintet, the Smithsonian Chamber Players, and Tafelmusik), specialist in the perf of early and contemporary music, festival artist (incl participation at the Blossom, Peninsula, and Tanglewood Festivals), and recording artist (on the Advance, Arabesque, Decca, Gasparo, Opus One, Orion labels, and Sony Classical Recordings labels). Faculty member: Univ of Michigan (formerly); Eastern Michigan Univ (formerly); Oberlin Conserv (Prof of Clarinet: 1970-2000; Prof Emeritus: current); Aston Magna Acad (formerly); currently offers private clarinet instruction in NYC. Other positions/activities: Dir, Oberlin’s New Directions Series (formerly); Artistic Dir, ICA conference (formerly); active as an adjudicator and clinician (master classes given in North and South America and Europe); began pursuing second Master’s Degree (in English) from Cleveland State Univ prior to Oberlin retirement. Hon: Lawrence McDonald Scholarship created at Oberlin in McDonald’s honor. Students include: David Ballon, DAVID BELL, MICHAEL CHESHER, STEVEN COHEN, Cynthia Douglas, RENA FELLER, CARMELO GALANTE, Mark Gallagher, Thomas Josenhans, FAN LEI, Michael Maccaferri, Campbell MacDonald, EUGENE MONDIE, Katrina Mundinger, Kenneth Robertson, Joshua Rubin, Bela Schwartz, DAVID SHEA, LINDA SILVA, Jennifer Taira, JOHN WEIGAND, William Weinert, Michael Whitmore. Bib: Chase, Claire. “Lawrence McDonald Celebrates Beginnings and Endings in Concert.” Oberlin Online. http://www.oberlin.edu/con/bkstage/200002/mcdonald_lawrence.html (accessed March 14, 2011); McDonald, Lawrence. “Master Class: Sonatina by Bohuslav Martinů.” The Clarinet 27 (December 1999): 4-10; “Oberlin: The Space to Grow.” Advertisement in The Clarinet 12 (Summer 1985): 29.

McDowell, Austin J. Early clarinet studies with KEITH WILSON and Clarence Sawhill. BM(1942)/MM: Univ of Illinois. Former faculty member: Univ of Illinois (Asst Dir of Bands: 1940s, +/-; Prof of Clarinet: 1946-60s+; Prof Emeritus: current). Active as a music editor (incl assistance on a publication of C.L. STAAT’s The New Imperial Method). Students include: Mac Cantrell, HARVEY HERMANN, Marlene Rosenberg, GEORGE TOWNSEND, ROBERT WILLIAMS. Bib: Heilies, Anne Mischakoff. “Keith Wilson: Interwoven Threads of Harding’s Legacy.” Sonorities: The News Magazine of the University of Illinois School of Music at http://www.docstoc.com/docs/48369908/Keith-Wilson-Keith- Wilson (accessed March 14, 2011).

McGibeny, Carlson Glenn. B. 1875. Clarinetist: Sousa Band (1904-08); Cleveland Orch (Principal: 1918-20, +/-). Bib: Huffman, Larry. “Cleveland Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Cleveland_Orchestra.htm#Clarinet% 20Index%20Point_ (accessed March 14, 2011).

McGill, Anthony. HS studies at Interlochen Arts Acad with RICHARD HAWKINS. BM: Curtis IOM (2000) with DONALD MONTANARO. Additional clarinet studies with LARRY COMBS, JULIE DEROCHE, SIDNEY FORREST, and David Tuttle. Clarinetist: Cincinnati Symph (Assoc Principal: formerly, 2000+); Metropolitan Opera Orch (Principal: current). Active as an intl recitalist (incl perfs at Carnegie Hall and the Lincoln Center, on Ravinia’s Rising Star Series, and on tour of Japan with pianist

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Mitsuko Uchida), soloist (incl 1991 solo debut, and perfs with the Baltimore, Kalamazoo, and NJ Symphs, and Curtis and Hilton Head Orchs), chamber musician (incl perfs with Yo-Yo Ma, Itzhak Perlman, and Gabriel Montaro, and with the Avalon, Brentano, Daedelus, Guarneri, Miami, and Tokyo String Quartets, Opus One, and Musicians from Marlboro, et al), festival artist (incl participation at the Marlboro and Sarasota Music Festivals, Tanglewood, Music@Menlo, and La Musica Intl Chamber Music Festival); broadcast perfs given on NPR. Faculty member: Cincinnati Conserv (formerly); Mannes Coll of Music (current); Manhattan SOM Pre-Coll (current); Peabody IOM (current). Other positions/activities: Linton Music Artist (formerly); G. Leblanc Corp. Artist/Clinician; Rico Artist. Hon: Recip, Avery Fisher Career Grant. Students include: Pamela Jordan, Alia Sabur. Bib: “Anthony McGill.” Peabody Institute. http:// www.peabody.jhu.edu/3313 (accessed March 14, 2011); McGill, Anthony. “About Anthony McGill.” A. McGill. http://www.anthonymcgill.com/flash_home.html (accessed March 14, 2011).

McGinnis, Donald E. B. 1917 (Barberton, OH). Clarinet studies begun at age 11. BM: Oberlin Conserv with GEORGE WALN; MA/PhD: Univ of Iowa with HIMIE VOXMAN. Additional clarinet studies with GUSTAVE LANGENUS. Former clarinetist: Columbus Phil-OH (Principal: 1941-42); Navy Pre-Flight School-IA (Principal: 1942-43); Columbus Symph (Principal: 1953+); Ohio State Univ Faculty Woodwind Quintet (Founding Memb). Has been active as a soloist, chamber musician, recording artist (on the Coronet label), and flutist (incl former positions as Principal Flutist of the Columbus and Wheeling Symphs). Faculty member: Ohio State Univ (Prof/Head of Woodwind Dept/Dir of Bands: 1941-81; Prof Emeritus: current). Other positions/activities: Selmer Clinician/ Recording Artist (formerly); has been active as an adjudicator, clinician, and conductor (incl former position as Music Dir of the Southeastern OH Symph for 8 years, in addition to his 27 years as Dir of OSU’s Concert Band). Hon: Honorary Life Memb, ABA (1999). Memb: ABA (Pres: 1978). Students include: James Akins, Dave Beal, Donald Black, Louise Dierker, Burdette Green, James Hill, THEODORE JAHN, W. JAMES JONES, LAWRENCE MALLETT, Frederick Schmidt, HARRY SCHMIDT, RICHARD STOLTZMAN. For more information on Donald McGinnis’s career and his impact on the concert band and wind ensemble in America, Jaime Titus’s recent doctoral dissertation, entitled “The Professional Life of Donald E. McGinnis, PhD,” is recommended. Bib: Hope, Heather. “Former Conductor Honored.” The Lantern. http://www.thelantern.com/2. 1347/former-conductor-honored-1.77050 (accessed March 14, 2011); Titus, Jaime R. “The Professional Life of Donald E. McGinnis, PhD: Abstract.” Ohio Link. http://www.ohiolink.edu/etd/view.cgi?acc_num= osu1116444821 (accessed March 14, 2011); Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 56.

McGinnis, Robert Enman. B. Feb. 1, 1910 (Delaware County, PA); d. Jan. 1, 1976 (Long Island, NY). Early clarinet studies with his father, Claude, an amateur clarinetist and Professor of Physics at Temple Univ. Grad: Curtis IOM (1930) with DANIEL BONADE. Clarinetist: Philadelphia Orch (Principal: 1931-40); Cleveland Orch (Principal: 1940-42; 1945-46); U.S. Navy Band-Washington D.C. (1942-45); NBC Symph (Principal: 1947-48); New York Phil (Principal: 1948-60); San Francisco Symph (Co-Principal: 1964-69); also served as Principal Clarinetist of the NY Symph. Former faculty member: Curtis IOM (for 10 years); Juilliard (1940-41+); Teachers Coll of Columbia Univ; Indiana Univ (1960-63). Other positions/ activities: was active as a music editor (incl an orch repertoire collection and etudes). Students include: MICHAEL BURGIO, ROBERT CHESEBRO, HERBERT COUF, David Dworkin, F. GERARD ERRANTE, Donald Gephardt, GARY GRAY, Edward Harris, ROGER HILLER, GENE KAVADLO, Wallace Kramer, S. JAMES KURTZ, MITCHELL LURIE, ALFRED MAZZOCCHIO, JERRY PIERCE, ROBERT SCHMIDT, GEORGE SELTZER, Don Weng, JOHN WIENER. Like so many other professional musicians of his time, Robert McGinnis’s orchestral career was interrupted by war. In the case of McGinnis and numerous other clarinetists, this interruption was not completely devoid of musical activity as McGinnis was able to serve the country as a member of the U.S. Navy Band in Washington D.C. during World War II. Other clarinetists who served in this or other Navy bands during World War II include ROBERT LUYBEN, EARL BATES, WILLIS COGGINS, and WILLIAM TIETZE. Following the war, McGinnis resumed his post as Principal of the Cleveland Orchestra for one season, and shortly thereafter began his 12-year term as Principal of the New York Philharmonic. Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski. org/Philadelphia_Orchestra_Musicians.htm (accessed March 14, 2011); “Robert McGinnis, a Solo

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Clarinetist.” The Clarinet 3 (February 1976): 23; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 56.

McGrosso, John. Perf Cert: Eastman SOM; MM: Northwestern Univ; additional studies at the Paris Conserv. Clarinet studies with JACK HICKEY. Former faculty member: Univ of Texas (1950s, +/-); Colorado Univ; Illinois Wesleyan Univ (Assoc Prof of Clarinet/Sax: 1958-89; also directed Concert Band). Published in Woodwind World-Brass and Percussion. Other positions/activities: active as a clinician. Students include: Robert Curtis, KIM ELLIS, John Gibson, ALAN WOY. Bib: “John McGrosso.” Woodwind World-Brass and Percussion 15 (January 1976): 12.

McKelway, Daniel. B. Hanover, NH. Clarinet studies begun at age 8. Early clarinet studies with ALLAN WARE and Thomas Cameron (former Principal Clarinet, Charlotte Symph-NC). Grad: NC School of the Arts with ROBERT LISTOKIN; New England Conserv with HAROLD WRIGHT. Clarinetist: Grand Rapids Symph (Principal: 1994-95); Cleveland Orch (Asst Principal/E-flat: 1995-). Active as an intl recitalist (incl perfs at various clarinet conferences), soloist (incl perf with the New Brunswick Symph), chamber musician (incl perfs with the Kandinsky Trio, the Miami and Montclaire String Quartets, and on tours with Music from Marlboro and the St. Luke’s Chamber Ensemble), festival artist (incl participation at the Angelfire, Bowdoin, Bravo!Colorado, Caramoor, Dubrovnik, Foothills, Kent/Blossom, Marlboro, and Skaneateles music festivals), and recording artist (incl recordings with the Orpheus Chamber Orch and St. Luke’s Chamber Ensemble). Faculty member: Kent/Blossom Music Festival (current); NC School of the Arts (formerly); Baldwin-Wallace Conserv (current). Hon: Winner, ARTS Talent and Recognition and Talent Search; Winner, NC School of the Arts Concerto Compt; Winner, Young Concert Artists Intl Compt (1984); Prize Winner at the Naumberg and Affiliate Artists Compts; Avery Fisher Career Grant (1989); listed in Who's Who in American Music, 1985 edition; favorable reviews of perfs have appeared in the Boston Globe and New York Times. Extra-musical activities incl climbing mountains, cooking, cross-country skiing, hiking, running marathons, and sailing. Students include: Kania Mills. Bib: “Daniel McKelway.” Kent/Blossom Music. http://dept.kent.edu/ blossom/html_faculty/mckelway.htm (accessed March 14, 2011); “McKelway, Daniel.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 373.

McKenney, D.H. Clarinetist: Los Angeles Phil Orch (1920-21); MGM Studio Orch (1950s, +/-). Has been active as a studio musician.

McKinney, Roger William. B. Mar. 9, 1931 (Plattsburgh, NY). BSME: SUNY-Potsdam (1953); BS/MS: Juilliard (1956/1957). Clarinet studies with DANIEL BONADE (in New Hope, PA: 1954-58) and ANTHONY GIGLIOTTI (1960-72). Clarinetist: Trenton Symph (Principal: 1957-87); Princeton Chamber Orch (Principal: 1966-67); Pro Musica New Hope (Principal: 1972-75); has also performed as Principal Clarinetist of the Trenton Civic Opera and Trenton Symphonette. Active as a soloist (incl perfs with the Potsdam State Festival Orch, Trenton Symph, and Princeton Chamber Orch). Faculty member: SUNY- Potsdam (Instructor of Clarinet: 1953-54); Coll of New Jersey (Prof of Clarinet/Mus Hist: 1957-); Hochschule für Musik-Frankfurt am Main, Germany (Fulbright Prof of Clarinet: 1995-96). Co-Author (with Dr. Charles Frantz), An Anthology of Music of the Romantic Era (in progress). Other positions/ activities: active as a music history, woodwind chamber music, and clarinet choir scholar, and craftsman of clarinet mouthpieces; extra-musical activities incl backpacking, hiking, and collecting rare books/music/ music facsimiles. Memb: AFM, AMS, Fulbright Assn, ICA. Hon: Franklin H. Bishop Prize for Outstanding Musicianship and Dedication to Teaching Excellence, Potsdam State Coll (1953); listed in Who's Who in American Music, 1985 edition; Fulbright Professional Grant to teach in Frankfurt am Main, Germany (1995-96); Bläsergruppe des Collegium musicum instrumentale, JWG-Universität-Frankfurt am Main, Germany: Leitung (1995-96). Plays on: Selmer 10G clarinets (incl an A clarinet owned by ANTHONY GIGLIOTTI); personally crafted mouthpiece. Students include: B. Thomas Blodgett, J. LAWRIE BLOOM, Melany Felsen, Gregory Marsh, David Somerville. Roger McKinney commented,

After my graduate work at the Juilliard School of Music, I continued my clarinet study with DANIEL BONADE while he lived in New Hope, Pa. I believe I am one of the last

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students to have intimately known him in this area, before he returned to France, and subsequently passed away. (McKinney/Paddock 1998)

He added, “Clarinet playing as a means of musical expression [is] governed by good tone . . . an adequate technique for the music performed . . . [and] good repertoire.” (Ibid.) Bib: McKinney, Roger. “Roger W. McKinney.” The College of New Jersey. http://www.tcnj.edu/ ~mckinney/ (accessed March 14, 2011); McKinney, Roger W., to Tracey L. Paddock, Tallahassee, FL, May 26, 1998; “McKinney, Roger William.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 374.

McLane (changed from original spelling of MacLean or McLean), Ralph. B. Dec. 19, 1907 (Lynn, MA); d. Feb. 19, 1951 (Philadelphia, PA). Early clarinet studies with Elzier Therrien and AUGUSTO VANNINI; advanced studies at New England Conserv and in France (c.1930-32) with GASTON HAMELIN. Also studied briefly with DANIEL BONADE. (Weber, 3) Former clarinetist: CBS Symph (Principal: 1932-35, +/-); WOR Mutual Network System Orch (Principal: for 8 years); Philadelphia Orch (Principal: 1943-51). Was active as a soloist (incl perfs with the CBS and WOR Symphs and the Philadelphia Orch; gave NYC premiere of the Copland Clarinet Concerto with the Philadelphia Orch at Carnegie Hall, Nov. 24, 1950), chamber musician (incl perfs with the Budapest, Busch, Curtis, Kolisch, Perole, Stradivarius, and Stuyvesant String Quartets), and recording artist (incl the Brahms Trio on the Musicraft label and Ravel’s Introduction and Allegro on the Columbia label; also appeared on Philadelphia Orch recordings). Premiere perfs incl works by H. Brant, R. R. Bennett, and V. Duke, and the broadcast premiere of the Busoni Concertino. Former faculty member: Curtis IOM (1943+). Published in Symphony. Played on: Chedeville 8 mouthpiece (given to him by GUY D’ISERE and passed on to HAROLD WRIGHT); Vandoren and Bretano reeds, heavy in strength (equivalent to present-day Vandoren 5’s); played with a double-lipped embouchure (as did most of his students and his teacher G. HAMELIN) and as a result, often performed sitting down. Students include: JOSEPH ALLARD, MORDECAI APPLEBAUM, KARL BEVINS, DOMINICK FERA, HARRY GEE, IGANTIUS GENNUSA, STANLEY HASTY, JOHN MOHLER, KALMEN OPPERMAN, GEORGE SILFIES, HAROLD WRIGHT, WILLIAM WRIGHT. During his lifetime, Ralph McLane was one of the most revered clarinetists in the history of American clarinetistry, and his death has done nothing to diminish his reputation, as he remains something of a legend to present day clarinetists. In all that has been written about McLane’s playing, the common denominator is the wide admiration of his magnificent, fluid sound. In his book, The Clarinetists’ Repertoire: A Discography, RICHARD GILBERT commented:

Most legends are based upon stories representing something less than the truth. However, listening to Ralph McLane’s wonderful recording of Brahms’ Trio, one realizes that Mr. McLane is no myth. McLane’s style is characterized by a beautifully centered, uninhibited, pure tone and a facile technique. Ernest Ansermet has called McLane –the complete clarinetist. (Gilbert 1973, 94)

The pursuit of beauty in the playing of the clarinet, in both sound and phrasing, was the ultimate end in music-making for Ralph McLane. Clarinetist DAVID WEBER, who knew McLane well, described this pursuit:

. . . he was obsessed with playing beautifully, even to a point of missing bars. I remember once he spent a tremendous amount of time working up the Mozart Quintet. He would send me into the hallway to see how the tone carried and I would come back and describe the sound. He’d then put me in a closet, close the door, and while I was suffocating, I would tell him how the tone projected. (Weber 1939, 2)

McLane’s renowned sound was achieved, at least in part, through his use of the double-lipped clarinet embouchure. McLane began using this type of embouchure during his studies with GASTON HAMELIN, who also “played with two lips.” (Ibid.). David Weber described other aspects of McLane’s physical manner of playing:

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He took a good, healthy amount of mouthpiece in his mouth and kept the clarinet, not in the position that Bonade did, but almost at a 45 degree angle. He held it up, not quite to the German style, but more like Hamelin. (Ibid.)

Towards the end of his career, McLane also began to use vibrato in his playing.

In her biography of HAROLD WRIGHT in Clarinet Virtuosi of Today, Pamela Weston offered insight into McLane’s teaching style as perceived by Wright, who was perhaps McLane’s most prominent student and a double-lipped player:

McLane was a stickler for tone and had such a fine conception of it that it stuck with you. His influence on Harold was profound and Harold attributes his tone completely to him. Lessons were almost entirely an exercise first of all in experiencing the effect of different materials on tone quality, then sifting out the good from the bad and applying the results to better and better sound. The pupil was made to play on different reeds, mouthpieces, etc. He then had to listen long and hard to McLane doing the same, and finally was sent into another room to listen still further. (Weston 1989, 298)

McLane’s reputation as a studio teacher is eclipsed by his reputation as a “teacher-by-example” which many clarinetists experienced through hearing McLane perform with the Philadelphia Orchestra. STANLEY HASTY commented,

. . . I would go to Philadelphia and study with Ralph McLane, and that was very influential. I liked his sound better than anybody else I’d heard since I left Denver. That was a big impression on me. He wasn’t a very good teacher – I didn’t think he was anyway – but he was a wonderful example. I used to go hear the orchestra play and study with him. (Webster 2000, 39)

David Weber met McLane after Weber’s first lesson with Daniel Bonade. He offered the following vignette of his chance first association with McLane:

After the lesson, McLane was waiting downstairs. He said, “Young man, what’s your name?” When I told him, he said, “Why do you want to study with Bonade?” I said, “Well I hear he’s a great teacher of the French school.” He said, “I can teach you everything he has to say in two lessons!” (Levy et al 2001, 53)

The two walked to McLane’s apartment where McLane played for Weber. Weber was enthralled with McLane’s playing, and the two established a rapport immediately. In spite of the fact that McLane’s career was cut short by his untimely death at the age of 44, his elevated stature in American clarinet history will endure through the influence of his students and through his orchestral and chamber recordings. Toward the end of McLane’s career and life, during periods of illness, clarinetist ANTHONY GIGLIOTTI began performing as Principal Clarinetist with the Philadelphia Orchestra. Gigliotti commented on the end of McLane’s career:

The 1950/51 season started with Ralph playing principal as much as he could physically manage and my spelling him off. Then, shortly into the season he played the Copland Concerto in Philadelphia and at Carnegie Hall, which was the last time he performed with the orchestra. He passed away a short time later. It was his incredible determination that kept him going to play those performances of the Copland because his physical condition was very bad; however, he pursued his dream to the very end. (Gigliotti 1999, 24)

Both the Levy et al interview with David Weber and Weber’s own “Reminiscences” (found on the liner notes of McLane’s recording of the Brahms Trio, re-issued by the Grenadilla Society, and available online), are highly recommended reading for a colorful description of McLane as a person and as a musician. A thorough discography can be found in the Douglas Miller article listed in Bibliography below.

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Bib: Battipaglia, Victor A. “Double-Lip Embouchure in Clarinet.” Woodwind World 9 (December 1970): 12-13; Collis, James, ed. “Ralph McLane.” Symphony 4 (November 1950): 2; Gee, Harry. “French Clarinetists in America – Pt. III.” The Clarinet 9 (Fall 1981): 17; Gigliotti, Anthony. “The Orchestral Clarinetist: McLane vs. MacLean?” The Clarinet 26 (September 1999): 24; Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1979: 119; Gilbert, Richard. The Clarinetists Repertoire: A Discography. New York: The Grenadilla Society, 1972: 94; Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57; McLane, Ralph. “Single Lip or Double Lip?” Symphony 2 (March 1949): 7-9; Miller, Douglas. “A Ralph McLane Discography.” The Clarinet 19 (February/March 1992): 16-22; “Ralph McLane.” Clarinet 1 (Winter 1950-51): 3; Weber, David and Ignatius Gennusa. “Reminiscences.” Liner Notes. Brahms, Johannes, 1833-1997. Trio in A Minor for Clarinet, Violoncello and Piano, Op. 114 Perf. Ralph McLane, Sterling Hunkins, Milton Kaye. LP. Grenadilla Society, originally released 1939; available at http://www. grenadillamusic.com/mclane_liner_notes.pdf (accessed March 21, 2011); Webster, Michael. “Hasty at 80.” The Clarinet 27 (March 2000): 39; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 298-300; Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 172-73.

McManus, John C. B. La Grande, OR (1921); d. Nov. 12, 2010 (Eugene, OR). BME: Northwestern Univ (1943) with DOMENICO DE CAPRIO; MA: Columbia Univ (1950) with DAVID WEBER. Additional clarinet studies with Roy Mattoon and Owen Sanders. Former clarinetist: Chicago Business Men’s Symph (1940-42); Chicago Woodwind Quintet (1940-42); Univ of Oregon Faculty Woodwind Quintet (1968-77); Oregon Bach Festival Orch (mid-1970s); (early 1980s). Faculty member: Linfield Coll (Woodwinds: 1957-67); Univ of Oregon (Prof of Clarinet/Mus Ed: 1967-83; Prof Emeritus: 1983-2000+); Univ of Hawaii (Guest Lect: 1979). Other positions/activities: Pres, Oregon MEA (1963-66); Founder/Conductor, Salem Concert Band (1975-81); was active as an administrator (incl leadership positions with MENC and Oregon MEA), author (wrote 6 books on topics from the Oregon HS band movement to the history of the Oregon MEA to his experience serving in Italy during WWII ), clinician (incl clinics given in conjunction with the Contemporary Music Project sponsored by the Ford Foundation and MENC), conductor (incl leadership of 3 highly successful Oregon HS music programs and many guest conducting engagements), editor, historian, and lecturer. Memb: MENC, Oregon MEA. Hon: OR Teacher of the Year, and Finalist, Natl Teacher of the Year (1965); Distinguished Music Educator Award, Northwest Bandmasters Assn (1966); Distinguished Service Awards from OR Band Dirs Assn (1986), MENC-Northwest (1989), and OMEA (1996); OMEA Outstanding Music Educator Award (1989); Oregon MEA’s Distinguished Service Award named in McManus’s honor. Students include: MICHAEL ANDERSON, Daniel Geeting, KATHLEEN JONES, TODD KUHNS. Bib: “John McManus, Professor Emeritus.” University of Oregon. http://music.uoregon.edu/people/emeriti/mcmanus.htm (accessed March 14, 2011).

Mead, Maurita Murphy. B. Aug. 30, 1954. BM/Perf Cert: Eastman SOM with STANLEY HASTY; MM/DM: Michigan State Univ with ELSA LUDEWIG-VERDEHR; additional music studies at the Instit for Advanced Musical Studies-Montreaux, Switzerland. Additional clarinet studies with GLENN BOWEN and FRED ORMAND. Clarinetist: Western Woodwind Quintet (1980-83, +/-); has performed as Principal Clarinetist of the Cedar Rapids Symph and other Midwestern orchs. Active as an intl recitalist/ soloist (incl perfs at the Oklahoma Clarinet Symposium, Southeastern Clarinet Workshop, ClarinetFests 1997-99, Brazilian Natl Clarinet Symposium, and CBDNA conferences; has performed on tour throughout Brazil), chamber musician (incl perfs with the Cleveland Quartet, Rafael Dos Santos, Paulo Sergio Santos, and Arlene Schrut), jazz musician, Brazilian music specialist, and recording artist (incl Over the Fence, a recording of Brazilian choros). Faculty member: Western Michigan Univ (1980-83, +/-); Univ of Iowa (Artist Perf/Teacher of Clarinet: 1983-; also serves as Assoc Dir for Grad Studies). Other positions/ activities: North Central Regional Chmn, ICA (formerly); Sec, ICA (1997-, +/-); active as a clinician (presentations given at various clarinet conferences and workshops). Hon: Univ of IA Collegiate Teaching Award. Plays on: Buffet R-13 clarinets; JOHNSTON mouthpiece; Kaspar ligature; handmade reeds. Students include: Joan Blazich, Carl Collins, Yasmin Flores, Shandra Helman, Aaron Kirschner, Elizabeth Gish Matera, Valerie Pearson, Michael Rowlett, Monica Steinbrech, Susan Warner. Maurita Mead urges her students to “. . . strive to be the best that you can be, whatever aspect of music you choose, and to enjoy the passion of your music in the process.” (Mead/Paddock 1998) One of Mead’s own passions is the performance and study of the music of Brazil. In addition to her musical

225 pursuits, Mead enjoys aerobics, auto crossing, bridge, golf, women’s literature, and attending racing schools. (“Candidates,” 1998, 24) Bib: “Candidates for I.C.A. Officers.” The Clarinet 25 (February/March 1998): 24; “.” The Clarinet 12 (February/March 1994): 35; “Maurita Murphy Mead.” . http://www.uiowa.edu/~music/faculty_staff/profiles/mead.shtml (accessed March 14, 2011); Mead, Maurita, to Tracey L. Paddock, Tallahassee, FL, July 23, 1998; “Musical Chairs.” The Clarinet 11 (Fall 1983): 38.

Mecoli, Guido. Native of Philadelphia, PA; deceased. Grad: Curtis IOM (1953). Former clarinetist: La Scala Opera; South Philadelphia Woodwind Quintet (late 1940s). Former faculty member: Philadelphia Music Acad (1960s, +/-). Students include: James Fay, John Simon. Guido Mecoli was one of at least four prominent clarinetists (including VITO CAPACCIO, JOHN GENOVESE, and DONALD MONTANARO) who grew up together within the same four-block radius in South Philadelphia. Bib: “Curtis Alumni Since 1924: Clarinet.” Curtis Institute of Music. http://216.158.58.59/about-curtis/history/ full-alumni-listing/view-by-instrument.html (accessed March 14, 2011); Dubin, Murray. South Philadelphia: Mummers, Memories, and the Melrose Diner. Philadelphia, PA: Temple University Press, 1996: 41.

Mehlmann, Maximillian. B. 1914 (Brooklyn, NY). Grad: Univ of Miami. Clarinet studies with SIMEON BELLISON, Paul Clifford, and WALTER SHAEFFER. Former clarinetist: Miami Symph (1930s, +/-); Miami Symphonic Band. Was active as a soloist (incl perfs with the Miami Symph, 1936-38). Former faculty member: Ada Merritt Jr. HS (Mus Dir); Ash IOM (Reed Instructor); NYC Bands (Band Dir: active 1940s, +/-); Mehlmann SOM-Brooklyn, NY (Dir: 1940s, +/-). Other positions/activities: wrote an intermediate clarinet method book; was active as an arranger. Memb: Phi Mu Alpha. Hon: Univ of Miami SOM Scholarship; listed in Who is Who in Music, 1941. Bib: “Melhmann, Maximillian.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 164.

Melidon, Vincent. Clarinetist: Detroit Symph Orch (Asst Principal/E-flat: 1953-69, +/-).

Mellott, George Kenneth. B. Aug. 18, 1932 (Cleveland, OH). BME/MME: Eastern Illinois Univ (1953/1954) with Earl Boyd; MFA/PhD: Univ of Iowa (1962/1964) with THOMAS AYRES and Eugene Rousseau (sax). Additional clarinet studies with ANDREW CRISANTI, EDDIE DANIELS, MITCHELL LURIE, ROSARIO MAZZEO, KEITH MCCARTY, and GEORGE SILFIES. Additional sax studies with Paul DeMarinis and Donald Sinta. Clarinetist: St. Louis Phil (Principal: 1964-98); Orch and Chorus of St. Louis (Principal: 1982-85+); has also performed with the Ballet Orch of St. Louis, Muny Opera, and St. Louis Symph. Active as a freelance musician (clarinet/sax), jazz musician, theater musician, commercial artist, and recording artist (on the Sonari Records label). Faculty member: Cumberland Coll (Asst Prof: 1963-64); Southern Illinois Univ-Edwardsville (Prof: 1964-94; Prof Emeritus: current). Articles published in The Clarinet (incl interviews with clarinetists RICARDO MORALES and GEORGE SILFIES) and NACWPI Journal. Other positions/activities: Sec/Treas, NACWPI (1978-80). Memb: ClariNetwork Intl (formerly), ICA, MENC, NACWPI. Hon: listed in Who's Who in American Music, 1985 edition; Outstanding Music Alumnus, Eastern Illinois Univ; favorable review of recording appears in The Clarinet (see Bib below). Plays on: Buffet R-13 clarinets; EDDIE DANIELS mouthpiece (close facing); EDDIE DANIELS Rovner ligature; Zonda #4 reeds (adjusted with the Reed Wizard). Students include: RICHARD FLETCHER, LARRY TIETZE, Charles Willett. In addition to his musical career, George Mellott had a second career as a pilot, flying jet fighters and trainers for both the U.S. Air Force and National Guard. After twenty-three years of flying, Mellott retired as a Lieutenant Colonel and moved to Colorado where he is active as a clarinetist and saxophonist, and where he also likes to “ply the trout streams.” (Mellott/Paddock 1998) Mellott believes that one should strive to “be first of all a musician who happens to play the clarinet. . .” (Ibid.) He urges teachers to play in lessons as a form of musical modeling for students, and he encourages all clarinetists to seek out performances and recordings of fine musicians to gather a wide array of ideas on sound, phrasing, and style. He also stresses the importance of carefully selected, high-quality equipment for clarinet students and professional clarinetists alike. Mellott views music-making as a lifelong learning process, striving to “always keep studying, practicing, learning, and performing. . . . Keep open to new ideas, products, music, etc.” (Ibid.)

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Bib: Mellott, George. “An Interview with George Silfies.” The Clarinet 7 (Spring 1950): 10-11; Mellott, George. “An Interview with Ricardo Morales.” The Clarinet 22 (July/August 1995): 42-44; Mellott, George K., to Tracey L. Paddock, Tallahassee, FL, June 9, 1998; “Mellott, George Kenneth.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 396, Nichols, William. “Audio Notes.” The Clarinet 25 (February/March 1998): 19.

Mentkowski, A. Clarinetist: Detroit Symph Orch (1919-22, +/-).

Mentzer, Larry. Native of PA. BM: New England Conserv with ROSARIO MAZZEO; MA: Trinity Univ. Clarinetist: Air Force Band of the West (Clarinet/Sax: formerly); San Antonio Symph (Principal: formerly, for 30 years, 1960s-90s, +/-); Mid-Texas Symph (current); Univ of Texas-San Antonio Chamber Ensemble (current). Active as a recitalist (incl perfs at ICA, TX Bandmasters Assn, and TX MEA conferences) and chamber musician (incl perfs with the King William Winds and the UTSA Chamber Ensemble). Faculty member: Univ of Texas-San Antonio (Lect: current); has also taught at Univ of the Incarnate Word, St. Mary’s Univ, and Trinity Univ; active as a private clarinet instructor. Other positions/activities: Co-Founder, San Antonio’s Music Advancement Program; active as an adjudicator, clinician (incl participation at TX Bandmasters Assn and TX MEA conferences), conductor (currently serves as dir of the UTSA Clarinet Ensemble), lecturer (incl presentation given at ClarinetFest 1997), and woodwind coach. Students include: Christine Belle, Jack Bradley, Christopher Howard, Scot Humes, Larry Mueller, Rick Muraida, Tom Terrell. Bib: “Larry Mentzer.” University of Texas-San Antonio. http://music.utsa.edu/index.php/faculty_page/larry-mentzer/ (accessed March 14, 2011).

Merriman, Lyle C. B. Aug. 7, 1935 (Tescott, KS). BME(with highest distinction): Univ of Kansas (1960) with DON SCHEID; MA(Perf)/PhD(Woodwind Lit/Perf): Univ of Iowa (1961/1963) with HIMIE VOXMAN. Clarinetist: 10th Infantry Div Band (1954-57); has also performed with the Tri-City Symph. Faculty member: Cornell Coll-IA (Woodwind Instructor: 1962-63); Univ of Iowa (Prof of Clarinet/Asst Dir of SOM: 1963-80); Louisiana State Univ (Prof/Dean of SOM: 1980-84); Pennsylvania State Univ (Prof/Dir of SOM: 1984-98; Prof Emeritus: current; also served as Actg Dean of Coll of Arts and Architecture, 1992-93). Author, Woodwind Research Guide (The Instrumentalist Co., 1978); Co- Author with HIMIE VOXMAN: Woodwind Ensemble Music Guide (1973); Woodwind Solo and Study Materials Guide (1975); Woodwind Music Guide – Ensemble Music in Print (1982); Woodwind Music Guide – Solo and Study Music in Print (1984). Published in The Instrumentalist. Other positions/ activities: Former Chmn, NASM Commission on Accreditation (for 8 years); Former Vice Pres, Pi Kappa Lambda; active as an editor/arranger (incl more than 40 publications for Barnhouse, Kendor, Shawnee Press, and Southern Music) and scholar. Memb: NASM, Pi Kappa Lambda, MENC. Hon: Honorary Memb, NASM. Students include: JEAN KOPPERUD. Bib: “Lyle Merriman.” https://music.psu.edu/ about/faculty/emeritus.html#merriman (accessed March 14, 2011); “Merriman, Lyle.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 831; Merriman, Lyle C., to Tracey L. Paddock, Tallahassee, FL, May 18, 1998.

Messenger, Joseph. BME: Bowling Green State Univ; DM(Perf): Univ of Iowa with HIMIE VOXMAN. Additional clarinet studies with ROBERT MARCELLUS. Clarinetist: Des Moines Symph (Principal: formerly, 1980s-2000+, +/-). Active as an intl recitalist/soloist (incl perfs at the 1983, 1986, and 1987 ClarFests, at ICA conferences held at Oberlin Conserv and Univ of Illinois, at the Midwest Intl Band and Orch Clinic, and throughout Mexico). Faculty member: Iowa State Univ (Prof of Clarinet/Sax: 1980s-, +/-). Articles/reviews published in The Clarinet. Other positions/activities: Festival Dir, ClarFest (1986, 1987); Pres, ClariNetwork Intl (formerly); Editor of Reviews, The Clarinet (1988-); ICA State Chmn, IA; active as a conductor (serves as dir of the Iowa State Univ Clarinet Choir); Selmer Artist. Memb: ICA. Hon: sponsored by the U.S. State Dept to tour Mexico. Students include: MAUREEN HURD, Jennifer Kopps, Emily Hanzlik Robinson, Andrew Sprung. Bib: “Joseph Messenger Named New Editor of Reviews for The Clarinet.” The Clarinet 16 (November/December 1988): 59; Messenger, Joseph. “Book Review.” The Clarinet 27 (September 2000): 84-85.

Metzger, Peter. Clarinetist: Boston Symph Orch (Second: 1882-1905).

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Meyer, Carl H. B. 1866 (Berlin, GER). Immigrated to the U.S. in 1890. Clarinetist: Chicago Symph (Clarinet/Bass: 1891-1931; served as Principal, 1921-22). Was active as a clarinetist in NYC prior to joining Chicago Symph. JOSEPH SCHREURS was Principal Clarinetist during much of Meyer’s tenure with the Chicago Symphony. Schreurs held this post from 1891 until his untimely death in 1921, at which time Meyer took over as Principal for two seasons. Students include: LILLIAN POENISCH. Bib: Huffman, Larry. “Chicago Symphony Orchestra Principal Musicians.” Stokowski.org. http://www. stokowski.org/Principal_ Musicians_Chicago_Symphony.htm (accessed March 14, 2011).

Meyer, James. B. St. Louis, MO. BS: Juilliard (1961) with JOSEPH ALLARD (bass clarinet/sax), DANIEL BONADE, AUGUSTIN DUQUES, and BERNARD PORTNOY; MME: Southern Illinois Univ-Edwardsville. Flute studies with Harold Bennett. Clarinetist: New Orleans Symph (Bass: 1964-66); St. Louis Symph (Clarinet/Bass/Sax: 1966-). Saxophonist: USMA Band-West Point (Principal: 1961-64). Former faculty member: St. Louis Univ, Webster Coll, and Washington Univ (active at all 3 schools during the 1980s, +/-). Other positions/activities: active as a composer (incl 56 works for orch, chamber ensembles, et al). Has played on: Buffet clarinets; Selmer B* mouthpiece; Vandoren #3 ½ -4 reeds; Selmer bass clarinet; Selmer C** bass mouthpiece; Rico #3 tenor sax reeds (used on bass clarinet and tenor sax); Brilhart 3* alto/tenor sax mouthpieces; Olivieri #3 alto reeds. Students include: THOMAS ABER, Bill Olsen. Bib: “James Meyer.” St. Louis Symphony. http://www.stlsymphony.org/musicians/ bios/bio-james-meyer.htm (accessed March 14, 2011); Mellott, George. “The Clarinet Section of the Saint Louis Symphony Orchestra.” The Clarinet 7 (Spring 1980): 12.

Miller, Gordon. Native of Baltimore, MD. Clarinet studies at Peabody Conserv with SIDNEY FORREST and STANLEY HASTY. Clarinetist: U.S. Coast Guard Band (formerly); Baltimore Civic Opera (Principal: formerly); Baltimore Symph (Second/E-flat/Sax: 1946-97); Chesapeake Clarinet Quartet (current); Baltimore Chamber Society (Founding Memb: current); has also performed with the Baltimore Municipal Band. Active as a chamber musician and festival artist (incl participation at the Painters Mill Music Fair, 1958-65, and Aspen). Faculty member: Peabody Conserv (formerly); Towson State Univ (1970s-80s, +/-). Has played on: Buffet clarinets; CHARLES BAY mouthpieces (m-O); Rovner “Light” ligature; MITCHELL LURIE reeds; Selmer Mark VI alto sax; Selmer C** sax mouthpiece. Bib: Palanker, Edward S. “The Clarinet Section of the Baltimore Symphony Orchestra.” The Clarinet 6 (Summer 1979): 18.

Miller, Gregg. B. Nov. 12, 1956 (Tacoma, WA). BA/MA: Washington State Univ-Pullman (1978/1980) with Robert Miller and H. JAMES SCHOEPFLIN; DM: Univ of Colorado-Boulder (1987) with PHILLIP AAHOLM. Clarinetist: Sonora (formerly The New Performance Group; 1992-); The Rainier Chamber Winds (1993-). Active as a chamber musician and recording artist (incl recordings with above ensembles). Faculty member: Univ of Tampere- (Lect: Spring 1985); Hastings Coll-NE (Assoc Prof: 1987-92); Cornish Coll of the Arts-Seattle (Music Dept Chmn: 1992-). Published in The Clarinet. Memb: ICA, Intl Assn of Jazz Educators. Hon: German Academic Exchange Service Grant, for 1 year of study at Hochschule für Musick-Freiburg and Univ of Freiburg. Plays on: Selmer clarinets; GLEN BOWEN handmade mouthpieces. Bib: Miller, Dr. Gregg, to Tracey L. Paddock, Tallahassee, FL, May 22, 1998; Miller, Gregg. “An Acoustical Comparison of French and German Clarinets.” The Clarinet 19 (February/March 1992): 24-27.

Milosovich, Chester. Native of Detroit, MI. Early music studies in Chicago; additional studies at the Acad for Music and the Perf Arts-Vienna, Austria. Former clarinetist: Contemporary Chamber Players- Chicago (Founder); Philharmonia Hungarica (Principal); Yokohama Symph (Principal); Mozarteum Orch- Salzburg, Austria (Principal); Salzburg Wind Society; Minnesota Orch (Clarinet/Bass: formerly, 1967- 2000+); has also performed with the Berlin Phil, Vienna State Opera, and Vienna Symph. Active as an intl recitalist/ soloist (incl tour of Alaska and Northern Canada), chamber musician, festival artist (incl participation at the Monadnock Festival for 10 years), and recording artist (on the Concert Disc, Musical Heritage Society, and Monitor Records labels). Has played on: Buffet and Leblanc clarinets; Vandoren 360 and 5RV#2 mouthpieces; BAY, BONADE, and Vandoren ligatures; Vandoren reeds. Clarinetist Chester Milosovich has a special interest in contemporary music, and is an avid collector of international folk recordings. He speaks German and Serbo-Croatian.

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Bib: “Chester Milosovich.” Minnesota Orchestra. http://www.minnesotaorchestra.org/music/ artist_default. cfm?id_artist=24598895 (accessed June 17, 2002; link no longer available); Plasko, George. “The Clarinet Section of the Minnesota Orchestra.” The Clarinet 6 (Spring 1979): 17.

Mimart, Paul, Jr. B. Dec. 18, 1874 (Paris, France); d. 1950. Son of PAUL MIMART SR. (Boston Symph clarinetist of the late 1800s); brother of noted French clarinetist Prospér Mimart (Paris Conserv faculty). Clarinetist: Boston Symph (Clarinet/Bass: 1905-39; there may have been an absence from the symph during these years). Author of a method book for alto/bass clarinet (Cundy-Bettoney, 1922). Bib: Brush, Gerome. Boston Symphony Orchestra: Charcoal Drawings of Its Members with Biographical Sketches. Boston: Merrymount Press, 1936: 144-45; Huffman, Larry. “Boston Symphony Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Boston_Symphony_Musicians_List.htm (accessed March 14, 2011).

Miyamura, Henry. BM/Perf Cert: Eastman SOM (c.1962); MM: Western Washington Univ. Clarinetist: Honolulu Symph (Principal: 1960s, +/-); also performed with the Hillel Chamber Orch and Rochester Phil. Faculty member: Honolulu Public Schools; Univ of Hawaii (Prof of Clarinet/Head of Woodwinds/Dir of Symph Orch: 1970s-, +/-); active as a private clarinet instructor. Other positions/ activities: active as a clinician (all woodwinds) and conductor (current positions incl: Dir, Univ of Hawaii Symph; Music Dir, Hawaii Youth Symph; Asst Dir, Honolulu Symph). Hon: Women’s Assn for the Honolulu Symph Schol (1957); Hawaiian Electric Schol (1958); Community Foundation of Honolulu Schol (c. late 1950s). Other positions/activities: active with the Boys & Girls Club of Hawaii bringing music to children who may not otherwise have access to the opportunity to play an instrument. Students include: Steven Agasa, Nicholas Alexander, Lisa Kohorn, Garrett Martin, Gavin Min, RAPHAEL SANDERS. Although Henry Miyamura had success as a clarinetist early in his career as Principal Clarinetist of the Honolulu Symphony, he came to realize that his true calling was in the realm of music education. Throughout his career, Miyamura has answered this calling whether as a teacher, mentor, clinician, or conductor of youth and professional orchestras. Grant Okamura, a former student of Miyamura and current faculty colleague at the University of Hawaii, observed that “Miyamura could have been one of the great clarinetists if he had concentrated solely on his instrument - but Miyamura chose to teach. And in his career, he has taught an estimated 10,000 kids.” (Keesing 2011, 2008) Bib: Keesing, Alice. “Saved by Music.” Midweek.com. http://www.midweek.com/content/story/ theweekend_coverstory/henry_miyamura (accessed March 14, 2011); “Notes on Tone Makers….” Program of The Honolulu Symphony Society (March 14 and 16, 1965). 1964-65 Season: 20.

Moffitt, James Frances. B. Aug. 27, 1953 (Urbana, IL). BM: St. Joseph’s Coll (1975); MM: Univ of Illinois (1978). Clarinet studies with CLARK BRODY. Clarinetist: Alabama Symph (Second/E- flat: 1980-81); Honolulu Symph (Assoc Principal/Bass: 1981-; also performed as Principal for 3 seasons); Spring Wind Quintet (1986-); Santa Fe Opera (1996-); St. Louis Symph (Actg Asst Principal/E-flat: 1997- 99); has also performed with the Chicago and Colorado Symphs, Chicago Symph Winds, and Aspen Festival Orch/Chamber Symph. Active as a chamber musician (incl perfs with above ensembles and Chamber Music Hawaii). Hon: favorable perf reviews appear in the Honolulu Advertiser. Students include: Steven Agasa. Bib: Helmers, William. “Opera in the Mountains.” The Clarinet 28 (March 2001): 85; “Moffitt, James Frances.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker, 1985: 407; “James Moffitt.” Honolulu Symphony Musicians. http://www.honolulu symphonymusicians.org/bio-jmoffitt.html (accessed March 14, 2011).

Mohler, John D. B. Oct. 30, 1929 (Lancaster, PA). Early clarinet studies with Joseph Leptich (former memb, Lancaster Symph) and Amandus Stetler (former theater orch clarinetist in Lancaster and Philadelphia, PA); HS studies with Salvadore Colangelo (former Principal Clarinet of the Harrisburg Symph-PA, 1940s-50s). Dipl: Curtis IOM (1950) with RALPH MCLANE; BM/MM/DM: Univ of Michigan (1956/1957/1961) with WILLIAM STUBBINS. Additional clarinet mentors incl ANTHONY GIGLIOTTI and ROSARIO MAZZEO. Clarinetist: U.S. Marine Band (1950-54); Univ Woodwind Quintet (formerly); has also performed with the Detroit and Toledo Concert Bands, various Michigan orchs, and as Sub with the Philadelphia Orch (incl the 1965 and 1975 Ann Arbor May Festivals). Active as a recitalist (incl perfs at ICA and other

229 clarinet conferences), soloist (incl perfs with the U.S. Marine Band), chamber musician (incl perfs/tours with the Univ Woodwind Quintet), festival artist (incl participation at the Ann Arbor May Festival), and recording artist (on the Educational Records label). Faculty member: Brevard Music Center (1961, +/-); Drake Univ (1960-62); Univ of Michigan (Prof: 1962-94; also served as Chmn of the Wind and Percussion Dept); Cumberland Forest Music Camp (1965); Interlochen Arts Camp (1986, 1987). Articles published in The Clarinet. Other positions/activities: Review Editor, The Clarinet (1978-82); Pres, ICA (1986-88; facilitated the merger between the Intl Clarinet Society and ClariNetwork Intl during this period); active as a clinician. Memb: AFM, ICA, Michigan and Orch Assn. Hon: First recipient, DMA in Wind Instruments, U of M (1961); Harold Haugh Excellence Award (1976); U of M SOM Outstanding Studio Teacher Award (1986); U of M SOM Alumni Citation of Merit (1992); John Mohler Clarinet Schol established at U of M in Mohler’s honor (1993); featured in an interview in The Clarinet (May/June 1996). Has played on: Selmer (GIGLIOTTI model) and Buffet clarinets; Vandoren, Frank Kaspar (Ann Arbor), PYNE “M” and Gigliotti “P” mouthpieces; Vandoren, Kaspar (Ann Arbor), Rovner “dark,” and Gigliotti ligatures; Vandoren and handmade (since 1956) reeds. When asked to provide a list of his successful students in the author’s survey, John Mohler was concerned that he might omit someone, and preferred instead to say that

. . . numerous students are performing professionally, teaching at all levels of education, and free-lancing, as well as having a great appreciation of music of all types and of clarinet performance. I was very fortunate over the years to have held positions that in themselves attracted a high level of students. Those teachers who “produce their own” are to be particularly commended! (Mohler/Paddock 1998)

In the interest of the historical nature of this document, the author seeks to respect Mohler’s sentiment while at the same time providing her own independently researched, partial list of former Mohler students compiled through the biographies of others appearing in this dictionary and a brief perusal of the internet. The list is by no means complete, but includes: Emil Acitelli, Vicki Bowden, Hilary Brown, PATRICIA PIERCE CARD, Patti Ferrell Carlson, GARY CAUCHI, Lecia Cecconi-Roberts, ELIZABETH CRAWFORD, Michelle Doyle, David Eisler, KIM ELLIS, Susan Fo, ROGER GARRETT, Walter Grabner, Carol Jessup, Lisa Kadala, Gregory Koltyk, DANIEL LOCHRIE, Martha MacDonald, Gary McCumber, Ann McCutchan, JOHN MOSES, John Norton, Richard Shillea, ROBERT SPRING, ALAN STANEK, George Stoffan, Douglas Storey, Mark Wolbers, BRADLEY WONG, Scott Wright, GREGORY YOUNG, DENNIS ZEISLER. As a performer, Mohler seeks “to perform a range of clarinet literature as effectively as possible and to carry the same into my teaching.” (Ibid.) As a teacher, Mohler strives to be “as truthful and helpful as possible, and to try to project practical, professional aspirations.” (Ibid.) With his students, he focuses on “technical and musical goals, including light, facile articulation [and] coverage of a broad range of literature.” (Ibid.) In addition to the influence of his clarinet teachers RALPH MCLANE and WILLIAM STUBBINS, Mohler is grateful for the professional guidance and friendship received over the years from ANTHONY GIGLIOTTI and ROSARIO MAZZEO. Mohler also credits his association with former classmates DONALD MONTANARO, FRED ORMAND, RAOUL QUERZE, RONALD REUBEN, HAROLD WRIGHT, and others with contributing to his informal musical education. (Johnson 1996, 37) KELLY JOHNSON’s interview (listed in Bib below) with John Mohler is highly recommended. Bib: “Dr. John Mohler.” The Clarinet 4 (Fall 1977): 20; Johnson, Kelly. “An Interview with John Mohler.” The Clarinet 23 (May/June 1996): 36-38; Mohler, John D., to Tracey L. Paddock, Tallahassee, FL, May 18, 1998; “Mohler, John D.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 407; “New Editor of Reviews Named.” The Clarinet 8 (Winter 1981): 40; “New President ICS 1986.” The Clarinet 14 (Fall 1986): 42; “University of Michigan Establishes the John Mohler Clarinet Scholarship.” The Clarinet 20 (May/June 1993): 10.

Mondie, Eugene. BM: Oberlin Conserv (1992) with LAWRENCE MCDONALD; MM: DePaul Univ (1994) with LARRY COMBS. Additional clarinet studies with CHRISTOPHER RUNK and STEVEN GIRKO. Clarinetist: Spokane Symph (Principal: formerly); Orch Ensemble Kanazawa

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(Principal: formerly); Charleston Symph (Actg Principal: formerly); Natl Symph (Asst Principal/E-flat: 2000-); has also performed with the Chicago Civic Orch, American Soviet Youth Orch, and the Solti Orchestral Project. Active as a festival artist (incl participation at festivals in Japan and Taiwan). Faculty member: Catholic Univ (current); active as a private clarinet instructor. Other positions/activities: Buffet Crampon USA Perf Artist. Plays on: Buffet R-13 clarinets. Extra-musical activities incl home beer brewing. Students include: Blake Arrington, Laura Grantier, Taneea Hull, Thomas Weston. Bib: “Eugene Mondie.” Buffet Crampon. http://www.buffet-crampon.com/en/artists.php?mode=artistPresentation&aid= 579 (accessed March 14, 2011).

Monsen, Ronald Peter. B. Sept. 20, 1940 (Milwaukee, WI); d. May 2004. BSME: Univ of Wisconsin-Milwaukee (1963) with JACK SNAVELY; MM(Perf): Northwestern Univ (1967) with JEROME STOWELL; Perf Dipl: Royal Acad of Music-London (1972) with Jack Brymer and Alan Hacker; DM: Univ of Wisconsin-Madison (1976) with GLENN BOWEN. Additional clarinet studies with DAVID GLAZER. Former clarinetist: Fargo Symph (Principal: 1968-71, 1973); Fulham Municipal Orch-London (Principal: 1971-72); Beaumont Opera-London (Principal: 1971-72); McCracken Wind Quintet (1980- 2000+); Lexington Phil-KY (Second: 1983-93). Was active as a recitalist (incl perfs at the 1983, 1984, 1986, 1992, and 1998 ICA conferences and the 1985 ClariNetwork Intl conference), chamber musician (incl perfs with the McCracken Wind Quintet), and recording artist (incl a recording of Scandinavian clarinet works, 1979). Former faculty member: Milwaukee Public Schools (1964-67); Concordia Coll (1968-71, 1973); Univ of Wisconsin-Waukesha (Asst Prof: 1976-80); Univ of Kentucky (Prof of Clarinet: 1980-2000+); Royal Military SOM-London (Vstg Prof: 1982). Articles published in The Clarinet and Woodwind World. Other positions/activities: Selmer Artist; ICA State Chmn, KY; was active as a clinician (incl participation at the 10th Annual British Woodwind Workshop), editor (works published by SHALL-U- MO Publications), and scholar on clarinet music by Danish, Norwegian, and Swedish composers. Memb: ICA, Kentucky MEA, Phi Mu Alpha, Pi Kappa Lambda. Played on: Selmer (Paris) Recital Series clarinets; Pomarico crystal mouthpiece; Olivieri, Zonda, and handmade reeds; Selmer (Paris) basset horn. Students include: Anne-Marie Bingham, Edwin Bingham, Montgomery Cole, Denise Schmidt. Ronald Peter Monsen emphasized the following tenets of musicianship: “Sing – focus – color – listen – rhythm!” (Monsen/Paddock 1998). Of his own clarinet teachers, Monsen commented, “They all were very important at the right times!” (Ibid.) In addition to his musical activities, Monsen also enjoyed model railroading, photography, and visits to France. Following Monsen’s passing in 2004, the below excerpt from a memoriam summarized his dedication to music and teaching:

His love of music, and especially chamber music, was communicated to his many students. He will be remembered as well for his many discoveries of odd pieces by unknown composers. His colleagues and many students will miss his gentle spirit and unique sense of humor. (“In Memoriam,” 2004, 8)

Bib: “In Memoriam.” University of Kentucky School of Music Music Notes. Fall 2004: 8; Monsen, Ronald Peter. “Selected Clarinet Solo and Chamber Music by the Danish Composer Jorgen Bentzon.” The Clarinet 6 (Spring 1979): 32; Monsen, Ronald Peter, to Tracey L. Paddock, Tallahassee, FL, July 18, 1998; “Monsen, Ronald Peter.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 408.

Montanaro, Donald. B. 1933 (Philadelphia, PA). Early clarinet studies with JOSEPH GIGLIOTTI at the Settlement Music School, followed by private studies (at age 13) with JULES SERPENTINI. Dipl: Curtis IOM (1954) with ANTHONY GIGLIOTTI. Clarinetist: Ballet Russe de Monte Carlo (formerly); New Orleans Phil (1954-57); Philadelphia Orch (Asst Principal/E-flat: formerly, 1957-2000+; has served as Actg Principal); Philadelphia Chamber Ensemble (Founding Memb/Music Dir: 1977-). Active as an intl recitalist/soloist (incl perfs in Europe and the Far East), chamber musician (incl perfs at ICA and ClariNetwork conferences and with the Philadelphia Chamber Ensemble), festival artist (incl participation at the Casals and Marlboro Festivals), and recording artist (with the Philadelphia Orch and Philadelphia Chamber Ensemble; appears on the Boston Records and other labels). Faculty member: Temple Univ; Philadelphia Coll of the Perf Arts; Philadelphia Musical Acad; Curtis IOM (1980-). Other positions/ activities: Buffet Crampon USA Perf Artist; Vandoren Artist; extra-musical activities incl European travel. Hon: listed in Who's Who in American Music (Classical), 1985 edition. Has played on:

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Buffet RC B-flat and R-13 A clarinets; Chedeville mouthpiece (once owned by JULES SERPENTINI); Vandoren #5 reeds; Buffet E-flat clarinet (once owned by LUCIEN CAILLIET); Vandoren mouthpieces. Students include: Karen Beacham, Alexander Bedenko, SAMUEL CAVIEZEL, David Chang, Anna Ciccarelli, Arthur Chodoroff, Kelly Coyle, Jose Franch-Ballester, BURT HARA, RICHARD HAWLEY, CHRISTOPHER HILL, Vincent Iannone, Carl Jackson, Michael Kimbell, Ana Victoria Luperi, Agnes Marchione, ANTHONY MCGILL, Murray Middleman, DAVID NEUMAN, Rob Patterson, GREGORY RADEN, CHARLES SALINGER, ERIKA SHRAUGER, Johnny Teyssier, JOHN WARREN. Donald Montanaro grew up in a very musical, but not affluent, neighborhood in South Philadelphia. Within four blocks of his childhood home lived future prominent clarinetists and peers VITO CAPACCIO, the GENOVESE brothers, and GUIDO MECOLI. All succeeded as professional clarinetists, and Montanaro, like his Philadelphia Orchestra colleague, the late ANTHONY GIGLIOTTI, became a musical institution in his own right in Philadelphia, performing with the Philadelphia Orchestra for almost 50 years and serving on the Curtis Institute faculty for 30 years and counting. He has also been very active as a chamber musician and recording artist. The interview by Jean-Marie Paul (listed in Bib below) is highly recommended not only for its discussion of Montanaro’s mouthpiece collaboration with Vandoren, but also because it provides great insight into his playing and teaching methodology. Bib: Dubin, Murray. South Philadelphia: Mummers, Memories, and the Melrose Diner. Philadelphia, PA: Temple University Press, 1996: 40-41; Mohler, John. “The Clarinet Section of the Philadelphia Orchestra.” The Clarinet 8 (Fall 1980): 57; “Montanaro, Donald.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: 1985: 409; Paul, Jean-Marie. “Montanaro on Vandoren.” Vandoren. http://www.kovacich.com.ar/montanaro_on_VandorenM.pdf (accessed March 14, 2011); “The Clar-Fest 1982 Faculty.” ClariNetwork (April/May 1982): 6.

Moorhead, J. Brian. BA: Univ of South Florida with VANCE JENNINGS and NOEL STEVENS; MM: Northwestern Univ with CLARK BRODY and LARRY COMBS. Clarinetist: Florida Orch (Principal: 1980s-; +/-); Quantum Winds (current). Active as an intl recitalist/soloist (incl perfs in the U.S., France, and China), chamber musician (incl perfs with the Alexander, Audubon, Cavani, and Lark String Quartets), and festival artist (incl participation at the Highlands/Cashiers Chamber Music Festival, 1989-2000, and St. Petersburg Chamber Music Festival). Faculty member: Univ of South Florida (Assoc Prof: 1985-). Other positions/activities: ICA State Chmn, FL; active as an adjudicator, clinician, and coach. Memb: ICA. Students include: Joanne Britz. Bib: “J. Brian Moorehead.” Florida Orchestra. http://www.floridaorchestra.org/bios-orchestra.asp (accessed March 14, 2011).

Morales, Ricardo. B. 1972 (Puerto Rico). Early clarinet studies with Leslie López at the Escuela Libre de Musica-San Juan, PR. Artist Dipl: Indiana Univ with Anton Weinberg; additional musical studies at the Cincinnati Conserv with RONALD DE KANT and at the Eastern Music Festival with EDWARD PALANKER. Additional clarinet studies with ANTHONY CICCARELLI. Clarinetist: Florida Symph (Principal: 1990-93); Metropolitan Opera Orch (Principal: formerly, 1993-2000+; appointed at age 21); Philadelphia Orch (Principal: current). Active as a recitalist (incl perfs at ClarinetFest 1998 and 1999), soloist (incl perfs with the Metropolitan Opera Orch, the Chicago, Cincinnati, Florida, Indianapolis, Puerto Rico, and Savannah Symph Orchs, the Philadelphia Orch, and at ClarinetFest 1999), basset clarinetist (incl a solo perf at ClarinetFest 1998), chamber musician (incl perfs with The Chamber Music Society of Lincoln Center, , and other artists, and at the Metropolitan Museum of Art), festival artist (incl participation at the Santa Fe and Saratoga Springs Chamber Music Festivals), and recording artist (on the Boston Records and Koch Intl labels, and on the ClarinetFest ’95 CD). Broadcast perfs given on the “Today” show and Metropolitan Opera Live from the Lincoln Center. Faculty member: Mannes Coll of Music (formerly, 1990s); Manhattan SOM (formerly, 1990s); Juilliard (current); Temple Univ (current). Published in The Clarinet. Other positions/activities: Leblanc Artist; has also endorsed JAMES PYNE mouthpieces and BG Revelation ligatures, and has collaborated with Morrie Backun on a line of clarinet equipment; active as a clinician (incl participation at the 1999 and 2000 Le Domaine Forget Music and Dance Acad Clarinet Workshop and the 2000 Intl Clarinet Connection). Hon: Winner, Bloomington Symph Concerto Compt; Winner, Indiana Public Symph Young Musician’s Contest; Winner, Eastern Music Festival Concerto Compt; 1st Prize, ARTS Recognition and Talent Search; Grand Prize, Seventeen Magazine/General Motors Concerto Compt (1989); Presidential

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Scholar; 1st Prize, Woodwind Compt of the Lansing-MI Matinee Musicale; NY Phil Music Assistance Fund Award; favorable reviews of recordings/perfs appear in The Clarinet, New York Times, and other publications. Has played on: Leblanc Opus clarinets; PYNE Bel Canto mouthpiece (designed especially for Morales); BG Revelation ligature; Rico Grand Concert thick blank reeds; has also used a JOHNSTON H3 mouthpiece. Students include: David Callaway, Ana Catalina Ramirez Castrillo, Jose Franch-Ballester, Boja Kragulj, JESSICA PHILLIPS, Joseph Rosen, Jessica Ruiz, Alia Sabur, David Sapadin, Sara Shaw, Kristen Grattan Sheridan, James Shields, Jessica Sibelman, Paul Skinner. Ricardo Morales began clarinet studies at the age of 11 while living in Puerto Rico. After only seven years of clarinet playing, he won his first orchestral post as Principal Clarinetist of the Florida Symphony at the age of 18. Three years later, Morales won the position of Principal Clarinetist of the Metropolitan Opera Orchestra, and he currently holds the coveted position of Principal Clarinetist of the Philadelphia Orchestra. In addition to his success in the orchestral arena, Morales has won numerous concerto competitions, and is in high demand as an international recitalist, soloist, chamber musician, and clinician. On the subject of clarinet playing, Morales believes that clarinetists should concentrate first on musicality, with technique and all other clarinet-specific issues occupying an important but secondary position. The development of technique, sound, and good intonation are essential, but should never stand in the way of conveying one’s musical message. Morales also emphasizes the development of one’s own musical voice, which can be enhanced through listening to the performances of fine musicians (on any instrument) on a regular basis. A James Pyne “Artist Profile” appearing in an issue of The Clarinet offered the following words to describe Morales and his playing: “A young lion with the heart of a virtuoso and the soul of a poet.” (Pyne, 13). For further insight into Morales’s career and musical philosophy, the George Mellott interview with Morales (see Bib below) is highly recommended. Bib: “Cincinnati Conservatory Clarinetist Wins National Woodwind Competition.” The Clarinet 18 (November/December 1990): 10; Dannessa, Karen. “Compact Disc Reviews.” The Clarinet 25 (November/December 1997): 11-12; “Leblanc Clarinets.” Leblanc Clarinets. http://www.leblancclarinets. com/artists/bio.php?aid=546 (accessed March 14, 2011); Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57; Mellott, George. “An Interview with Ricardo Morales.” The Clarinet 22 (July/August 1995): 42-44; “Musical Chairs.” The Clarinet 21 (November/December 1993): 70; Pyne, James. “Pyne/Clarion, Inc. Artist Profile, Ricardo Morales.” The Clarinet 25 (July/August 1998): 13.

Moreland, Wilbur. BA/MA: Univ of Northern Colorado. Clarinet studies with EARL BATES, William Gower, Loyde Hillyer, and LEON RUSSIANOFF. Clarinetist: Mobile Symph (Principal: formerly, 1990s-2000s, +/-); Meridian Symph (Principal: formerly); Tupelo Symph (current); Mobile Opera Orch (current); has also performed as Principal Clarinet of the El Paso, Manila, Pensacola, and Westchester Symphs. Active as an intl recitalist (incl perfs at ICA ClarFests), soloist (incl perfs with the Mobile Symph and 1997 solo tour of Australia, New Zealand, the Philippines, and Hawaii), chamber musician (incl perfs with the Southern Arts Woodwind Quintet and Southerly Winds), and recording artist (on the Albany Records, Shawnee Press, and Spectrum Records labels). Faculty member: Rapid City, SD Public Schools (formerly); Nyack, NY Public Schools (formerly); Univ of Southern Mississippi- Hattiesburg (1972-2000+; Prof Emeritus: current); Univ of Mobile (Adj Prof of Clarinet/Sax: current); has also taught at Univ of the East, Univ of the Philippines, and Univ of TX-El Paso. Published in The Instrumentalist. Other positions/activities: South Central Regional Chmn, ICA; active as a lecturer (incl presentations at ICA conferences). Hon: J.D. Rockefeller III Fund Fellow, Philippines (1967-70). Memb: ICA. Students include: John Craig Barker, GARY BEHM, Barbara Desmarais, Prentiss Harper, Richard Hobson, FRANKIE KELLY, Jody Miller, Bienvenido Yangco. Bib: “Moreland, Wilbur.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 832.

Morgan, Lee. Clarinet studies with ROBERT MARCELLUS and FRED ORMAND. Clarinetist: Oklahoma Symph (formerly, 1980s, +/-); Cleveland Orch (Sub: formerly); Royal Danish Orch (Principal:

233 current); Danish Wind Octet (current). Active as an adjudicator (incl the first Nielsen Intl Clarinet Compt, 1997). Students include: Joseph LeBlanc, Adam Simonsen, Roger Vigulf, Carina Nyberg Washington. Lee Morgan is one of relatively few American-trained clarinetists to have established a successful orchestral career in a European, having served as Principal Clarinetist of the Royal Danish Orchestra for many years. Other clarinetists who have had success in Europe are LARRY PASSIN, ROGER SALANDER, SUZANNE STEPHENS, MARINA STURM, and ALLAN WARE. Bib: “The Danish Wind Octet.” Crescendi Artists. http://www.crescendi.org/profile.php?mod= profile&artist=323 (accessed March 14, 2011).

Morosco, Victor. B. 1936. BS/MS: Juilliard with VINCENT ABATO (clarinet/bass clarinet/ sax), JOSEPH ALLARD (bass clarinet/sax), and DANIEL BONADE. Flute studies with Harold Bennett; chamber music studies with . Primarily a saxophonist, Morosco has also performed as a clarinetist/flutist/saxophonist with: Juilliard Orch (1953-59); Symph of the Air (1962); Contemporary Chamber Ensemble (1965-68); Performers for Contemporary Music (1967); NY Phil (1967-68, 1985-90); Warner Brothers Studios (1968- 85); Los Angeles Sax Quartet (1970-80); New American Orch (1978-85); Music for the Moderns (1987- 92); Griffin Ensemble (1991-93); various Broadway musical orchs. Active as a recitalist (incl perfs at Carnegie Hall and the Library of Congress, at the 10th Annual World Sax Congress and the 1997 Australasian Clarinet and Sax Conference, and in Italy), soloist (incl primarily sax perfs with the Juilliard Orch, Orch of America, Contemporary Chamber Ensemble, Los Angeles Repertory Orch, the Riverside and San Fernando Valley Symphs, and the Nuclear Whales Sax Orch), chamber musician (incl perfs with above groups, the Phoenix Woodwind Quintet, and the Victor Morosco Sax Quartet), studio musician (incl work for the MGM, Paramount, Universal, and Warner Brothers studios), jazz musician (incl perfs with the , Thad-Jones-Mel Lewis, and Buddy Rich bands), pop/commercial artist (incl recordings with the Carpenters, Gladys Knight, Johnny Mathis, , et al), festival artist (incl participation at the Festivale Mondiale del Sassofono and Music in the Mountains Festival), and recording artist (on the Nonesuch, Protone Records, and Whaleco Records labels); broadcast perfs given on Camera Three and Live from Studio 8H. Premiere perfs incl Arlene Zallman’s Blue Delle Ciche and several of Morosco’s own compositions. Former faculty member: California State Univ-Los Angeles (1974-79); Lehman Coll; De Anza Coll (Vstg Instructor of Woodwinds); CUNY-Brooklyn (Adj Prof of Sax/Clarinet: 1987-94). Other positions/activities: Boosey & Hawkes and Keilworth Saxes Artist/Clinician; active as a clinician and composer. Students include: Robert Farrington, Allene Goshey, Adam Michlin, Geoff Nudell, Richard Percival, Mark Sowlakis. Bib: “Victor Morosco.” V. Morosco. http://www.morsax.com/bio.html (accessed March 14, 2011).

Morrison, Nicholas. BM: Univ of North Carolina with DONALD OEHLER; MM: Univ of Notre Dame; DM: Florida State Univ with FRANK KOWALSKY. Additional clarinet studies with Freddy Arteel, Curtis Craver, SIDNEY FORREST, and JOHN BRUCE YEH. Clarinetist: Logan Canyon Winds (1992-); ~Air Fare~ (clarinet/flute duo; current); Utah Festival Opera Orch (current); has also performed with the Ft. Wayne, Jacksonville, South Bend, and Tallahassee Symphs. Active as a recitalist, soloist (incl perfs with Orchestre Philharmonique Ste. Trinité-Haiti, Utah State Univ Wind Ensemble, and UT Festival Opera Orch), chamber musician (incl perfs with above groups and the Arcata and New World String Quartets), festival artist, and early music specialist (incl perfs with Ensemble Courant and Ensemble Rousseau). Faculty member: Utah State Univ (Assoc Prof of Clarinet/Asst Dir of Bands: 1992-). Published in The Clarinet. Other positions/activities: Dir, Logan Canyon Winds (1992-); ICA State Chmn, UT. Memb: ICA. Hon: recip of perf grants from the Marie Eccles Caine Foundation, the Nellie Barker Gardner Commission Fund, the Presser Foundation, and the U.S. Information Agency American Artists Abroad Program; Albert J. Colton Memorial Research Fellowship, UT Humanities Council (1999). Bib: Morrison, Nicholas. “Johann Wanhal’s Chamber Music for Clarinet.” The Clarinet 27 (March 2000): 50- 55; “Musical Chairs.” The Clarinet 20 (November/December 1992): 52-53; “Nicholas Morrison.” Utah State University. http://music.usu.edu/nicholasmorrison.aspx (accessed March 14, 2011).

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Moses, John J. Native of Detroit, MI. Early clarinet studies with HERBERT COUF. Pre-Med studies begun at Univ of Michigan (1961-63), incl clarinet studies with ALBERTO LUCONI and JOHN MOHLER; BM/MS/DM(ABD): Juilliard (1965/1966/1971) with BERNARD PORTNOY and JOSEPH ALLARD; additional studies at Interlochen Arts Camp. Private composition studies with Berio, Persichetti, and Sessions; theory studies with Elliott Carter. Clarinetist: Soho Ensemble (Co-Founder: 1960-70); St. Louis Symph (Principal: 1969-70); Bronx Arts Ensemble (Co-Founder: 1970-80); NJ Symph (Principal: 1971-75); Speculum Musicae (1972-75); Brooklyn Phil (Principal: 1972-82); American Composers Orch (Principal: 1979-); Ballet Orch at the Metropolitan Opera (Principal: 1980-90); P.D.Q. Bach Orch (formerly, 1980-2000+); Westchester Phil (Principal: 1982-); NY Pops (Principal: 1983-); American Symph Orch (Principal: 1985-90); Little Orch Society (Principal: formerly, 1988-2000+); Orpheus Chamber Orch (1993-); also performs/has performed as adjunct to the Metropolitan Opera Orch (1970-), NY Phil (1981-), NYC Ballet (1989-), Orch of St. Luke’s (1992-); Royal Phil Orch (London), and San Francisco Chamber Orch. Active as an intl recitalist (incl 1972 Carnegie Hall debut), soloist (incl perfs of Bernstein’s Prelude, Fugue and Riffs with Bernstein conducting, Copland’s Clarinet Concerto with Copland conducting, and perfs with the Brooklyn Phil, Columbia Symph, Little Orch Society, and Berio Ensemble), chamber musician (incl perfs with above groups and the Amadeus Ensemble, 1982-, and EOS Ensemble, 1999-), festival artist (incl participation at the Adare, Aspen, Cabrillo, Mostly Mozart, Spoleto, and Vermont Mozart Festivals and the Intl Taiwan Music Festival), Broadway musician (incl Wicked, Into the Woods, Titanic, and Sweeney Todd), studio musician (has appeared on more than 150 motion picture soundtracks, numerous commercial jingles, and on Good Morning America, The David Letterman Show, and The Rosie O’Donnell Show), and recording artist (on the Engel, BMG, Columbia, CRI, , RCA, and Varese Sarabande labels). Faculty member: Wagner Coll (Woodwind Faculty Chmn: 1967-79); Aspen Music Festival (Dir, Woodwind Chamber Mus: 1972-80); Riverdale Country School (1977-81); Brooklyn Coll (Lect: 1984-); Queens Coll (Lect: 1993-). Other positions/activities: Légère Reeds Artist; Recording Reviewer, The Clarinet (late 1970s, +/- ); active as a clinician/lecturer (incl presentations given at Curtis IOM, and the Eastman, Mannes, Manhattan, and Yale SOMs, and for NARAS, 1999). Hon: Cohen Clarinet Schol (1964-65); Otto Storm Scholar, Juilliard, (1965-66); Naumburg Scholar, NYC (1966-69). Students include: Matthew Bennett, Jeremy Goldsmith, KeriAnn Dibari-Oberle. Bib: Moses, John. “John Moses.” J. Moses. http://www.johnmosesclarinet.com/ (accessed March 14, 2011).

Munger, Leland. Clarinet studies with ROSARIO MAZZEO at New England Conserv. Clarinetist: San Antonio Symph (Principal: 1954-55, +/-); Austin Symph (formerly, 1990s, +/-). Faculty member: Univ of Texas-Austin (formerly, 1970s, +/-). Students include: JAMES DEATON, Donald Grant, SHERMAN FRIEDLAND, Martha MacDonald, Les Nicholas, Tom Shine. Bib: Nicholas, Les. “Les Nicholas.” L. Nicholas. http://www.lesnicholas.com/pages/read-7E/faqs-links.php (accessed January 2, 2011).

Munsch, G. Clarinetist: Philadelphia Orch (1901-02).

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Nakao, Yoshinori. Clarinetist: Oregon Symph (Principal: 1980s-, +/-). Active as a soloist (incl perfs with the Oregon Symph), chamber musician, festival artist (incl participation at Chamber Music Northwest), and recording artist (appears on recording with J. LAWRIE BLOOM, ROGER GARRETT, and JOHN BRUCE YEH on the Novitas Records label). Premiere perfs incl 1992 perf of Tomas Svoboda’s Symphony No. 6 for Clarinet and Orchestra, Op. 137 with the Oregon Symph. Hon: favorable reviews of perfs appear in The Oregonian and The New York Times. Students include: Michelle Flores. Bib: “Tomas Svoboda.” North Pacific Music. http://www.northpacificmusic.com/Svoboda.html (accessed January 2, 2011).

Neidich, Charles. Native of NYC. Son of IRVING NEIDICH; husband of AYAKO OSHIMA. Clarinet studies begun at age 7 with Irving Neidich. BA(Anthropology): Yale Univ (1975, cum laude); Dipl: Moscow Conserv with Boris Dikov. Additional clarinet studies with LEON RUSSIANOFF; has also worked with MEYER KUPFERMAN. Clarinetist: Goldman Band (formerly); Hague Phil (Principal: formerly, for half season, late 1970s); Orpheus Chamber Orch (Principal: 1980s-, +/-); NY Woodwind Quintet (mid-1980s+); Aeolian Chamber Players (current); Context (Founding Memb: 1985-); Mozzafiato (Founder/Memb: current); has also performed with the New Music Consort and Parnassus. Active as an intl recitalist, soloist (incl perfs/recordings with the Erie, Latvian, and Kanagawa Phil Orchs, the Austrian, Bavarian, and Berlin Radio Orchs, the American, Indianapolis, Jupiter, Spokane, and St. Louis Symphs, the Avanti Chamber Orch, the Orchs of the Suisse Romande and Sibelius Acad, and I Musici de Montreal), chamber musician (incl perfs with above ensembles, the Lincoln Center Chamber Society, and the American, Brentano, Guarneri, Juilliard, Lark, Mendelssohn, Muir, and New Helsinki, String Quartets), festival artist (incl participation at the Brereton Intl Music Symposium, Kammermuzikfest Schloss Moritzburg, Grandin Vocal Chamber Music Festival, Ibach Intl Music Festival, Reizand Gesellschap, and the Bastad, Crusell, Marrowstone, and Orford music festivals), contemporary music specialist, period instrument specialist (incl numerous perfs of his “restoration” of the Mozart Clarinet Concerto on both period and modern clarinets), and recording artist (on the Arabesque, Bridge, Chandos, Deutsche Grammophon, Hyperion, MusicMasters, Sony, and other labels); numerous broadcast perfs given incl perfs on German radio. World premiere perfs incl Joan Tower’s Clarinet Concerto with the American Symph at Carnegie Hall (1988), and works by Milton Babbitt, Edison Denisov, MEYER KUPFERMAN, William Schuman, et al. Faculty member: Eastman SOM (1985-89); SUNY-Stony Brook (late 1980s, +/-); Juilliard (1989- ); Sibelius Acad (Vstg Prof: 1994-95); Yale Univ SOM (Vstg Prof: 1996-97); Orford Arts Centre (Summer 1999, +/-); Manhattan SOM (current); Brooklyn Coll (current). Other positions/activities: active as an intl conductor (incl perfs with the New World Symph Winds, Avanti Chamber Orch, Tapiola Sinfonietta, Stony Brook Orch, San Diego Symph, Plovdiv State Phil, et al, and at the Bastad and Kirishima Festivals). Hon: Selden Award for Outstanding Musicianship and Scholarship, Yale Univ; Winner, Southern Connecticut Young Artists Compt; Fulbright Grant for study in the Soviet Union (1977); Silver Medalist, Geneva Intl Compt (1979); Winner, Munich Intl Compt (1982); Grand Prize, Accanthes Intl Compt, Paris (1984); first clarinetist ever to win the Walter W. Naumburg Compt (1985). Students include: IGOR BEGELMAN, Mate Bekavac, David Callaway, JONATHAN COHLER, Vasko Dukovsky, RICHARD FARIA, CATHRYN GROSS, Alexey Gorokholinsky, TED GURCH, CAROLINE HARTIG, PAMELA HELTON, Robert Janssen, ALAN KAY, KEITH LEMMONS, MICHAEL LOWENSTERN, Ismail Lumanovski, ERIC MANDAT, Donald Moy, Sean Rice, Oskar Espina Ruiz, , Adam Simonsen, MARINA STURM, Michiyo Suzuki, Jörg Widmann, STEPHEN WILLIAMSON, Stephen Zielinski, GARRICK ZOETER. Charles Neidich’s musical training began with piano lessons given by his mother, pianist Litsa Gania Neidich, followed by clarinet studies, begun at age 7, with his father, clarinetist IRVING NEIDICH. Irving started Charles on the E-flat clarinet, progressing to the C and B-flat clarinets as Charles grew. In addition to musical studies with both parents, Charles was also exposed to their playing and that of numerous excellent guest musicians in his own house from an early age.

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Although Neidich was very active in clarinet performance throughout his childhood and adolescence, he began his college studies at Yale University with concentrations in Anthropology and Philosophy. He continued to perform during his early college years and eventually shifted his focus to music with a special interest in . Neidich’s enthnomusicological studies led him to apply for and win the first Fulbright Grant awarded to an American for study in the Soviet Union (c.1977-80). During his time in Russia, Neidich developed a special relationship with composer Edison Denisov and became dedicated to bringing clarinet music from Russia to greater prominence in the United States. In the period between 1979 and 1985, Neidich won several major international competitions (including the Geneva, Munich, and Naumburg competitions) thereby launching his career as one of the most-sought after clarinet soloists in the world. In addition to his highly successful career as an international soloist, chamber musician, and recording artist, Neidich has also served on the music faculties of such prestigious institutions as the Eastman School of Music and SUNY-Stony Brook, and currently teaches at Juilliard and the Manhattan School of Music. For more detailed information on Neidich’s career, the Ken Smith article and Neidich’s own web- site are highly recommended (see Bib below). Bib: Neidich, Charles. “Charles Neidich.” C. Neidich. http://www.charlesneidich.com/ (accessed January 2, 2011); Smith, Ken. “Profile: Clarinetist Charles Neidich.” The Clarinet 25 (February/March 1998): 48-49.

Neidich, Irving. Father and clarinet teacher of CHARLES NEIDICH. Clarinet studies with DANIEL BONADE. Was active as a chamber musician (incl 1955 Carnegie Recital Hall premiere of Mozart’s Quintet for Piano and Winds in E-flat Major s with his wife, pianist Litsa Gania, and 1957 Carnegie Hall premiere of Janáček’s Mládí with the New Art Wind Quintet) and recording artist (appeared on a Schoenberg recording with JACK KREISELMAN on the Period label, 1954). Bib: Ledbetter, Steven. “Program Notes.” Carnegie Hall. http://www.carnegiehall.org/article/box_office/events/evt_7752_pn. html?selecteddate=10072007 (accessed March 14, 2011).

Nelson, Jennifer. Native of Dash Point, WA. Clarinet studies with ANTHONY GIGLIOTTI. Clarinetist: Seattle Ballet (1998-, +/-); Auburn Symph (Principal: current); Pacific Northwest Ballet (Principal: current); has also performed with the Seattle Symph and Opera, Northwest Chamber Orch, and NYC Opera. Active as an intl soloist/recitalist (incl perfs with the Auburn Symph, perfs throughout North and Central America, and in Europe, India, and Japan), chamber musician, recording artist (incl recording with ROGER GARRETT on the Novitas Records label), theatre musician (incl perfs with the natl touring co. of Phantom of the Opera), and studio artist (incl television/motion picture soundtracks). Faculty member: Cornish Coll of the Arts-Seattle (formerly); Univ of Puget Sound (formerly); Univ of Washington (current); active as a private clarinet instructor and clinician/coach. Bib: “Jennifer Nelson.” UW School of Music. http://www.music.washington.edu/faculty/?page=bio&ID=122 (accessed January 2, 2011).

Nereim, Linnea. Native of Chicago. BME/grad studies: Northwestern Univ with LARRY COMBS, RUSSELL DAGON, ROBERT MARCELLUS, and JEROME STOWELL. Additional clarinet studies with GEORGE WEBER. Clarinetist: Colorado Phil (formerly); Florida Symph (Asst Principal: formerly); Contemporary Chamber Ensemble-Chicago (Solo Clarinet/Bass: formerly); Cleveland Orch (Bass: 1985-); has also performed as Extra with the Chicago Lyric Opera Orch, and Chicago, Grant Park, and Milwaukee Symphs. Active as a recitalist/soloist (incl perf at the 1985 Symposium- Chicago), chamber musician (incl perfs with the Contemporary Chamber Ensemble), and studio musician (incl providing the clarinet sound for the Ms. Pacman video game character); broadcast perfs given from the Library of Congress and the Dame Myra Hess Memorial Concerts. Faculty member: Cleveland IOM (1987-); active as a clinician (incl master classes given throughout the U.S. and in Japan). Plays on: Selmer bass clarinet. Students include: Lindsay Charnofksy, Antoine Clark, Robert Davis, BEN FREIMUTH, Elizandro Garcia-Montoya, Daniel Williams, Ramon Wodkowski. Bib: “Linnea Nereim.” Cleveland Institute of Music. http://www.cim.edu/about/bios.php?id=4 (accessed March 14, 2011); “Musical Chairs.” The Clarinet 13 (Summer 1986): 22.

Neuman, David. Native of King of Prussia, PA. BM/Engineering studies: Temple Univ with ANTHONY GIGLIOTTI; Artist Dipl: Curtis IOM (1982) with DONALD MONTANARO. Additional clarinet studies with TED HEGVIK. Clarinetist: Korean Phil (Principal: formerly, 1980s); Colorado Phil

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(Principal: formerly); Columbus Symph (1984-86, +/-); San Francisco Symph (Asst Principal/Second: 1986-98; 2000-); Cincinnati Symph (Asst Principal: 1998-2000). Active as a soloist (incl premiere perf of the Badings Clarinet Concerto). Faculty member: San Francisco Conserv (1986-). Extra-musical activities incl hiking, walking, electronics, and exploring cuisines of various cultures. Hon: Winner, 1977 Concerto Soloists Young Artists Compt; Winner, 1981 Intl American Wind Symph Compt. Plays on: Buffet Prestige clarinets; Kaspar (Cicero) and Charles Chedeville mouthpieces; Vandoren V-12 #4 ½ reeds. Students include: Patrick Barry, Arthur Brockmeyer, PAUL CIGAN, Roman Fukshansky, Allene Goshey, Karen Sremac. Bib: “David Neuman.” San Francisco Symphony. http://www.sfsymphony.org/music/MeetThe Musicians/MembersOfOrchestra.aspx (accessed March 14, 2011); Gillespie, James. “The Clarinetists of the San Francisco Symphony.” The Clarinet 27 (March 2000): 68-71; Steinberg, Michael, Program Annotator. “Orchestra Profiles.” San Francisco Symphony Stagebill 12 (81st Season, February/March 1993): 32A.

Nicholas, Leslie. Early clarinet studies with GLENN BOWEN. BM: Univ of Texas with LELAND MUNGER; MM: Northwestern Univ with CLARK BRODY and ROBERT MARCELLUS; DM(in progress): Cincinnati Conserv with CARMINE CAMPIONE and RONALD DE KANT; additional studies at Southern Methodist Univ with STEPHEN GIRKO. Additional clarinet studies with LARRY COMBS and JOHN BRUCE YEH. Clarinetist: West Virginia Symph (Principal: 1990s, +/-); WindRose Trio (1993-); Bijou Orch (current); has also performed as Principal Clarinetist of the Classic, Dallas, and ProMusica Chamber Orchs, Roanoke Symph, and Central City Opera. Active as an intl recitalist/soloist (incl perfs at the 1992 Clar-Fest, the Oklahoma Clarinet Symposium, and in Europe), chamber musician (incl perfs with above groups, the Natl Chamber Players, the Blair and Pastiche Woodwind Quintets, and at the Kennedy Center, Alice Tully Hall, and St. Martin-in-the Fields), festival artist (incl participation at the AIMS, Aspen, Coronado, Grand Teton, Lancaster, Round Top, and Wintergreen Festivals, and the Shenandoah Valley Bach Festival), and recording artist. Faculty member: Vanderbilt Univ (formerly); Capital Univ (formerly); Kenyon Coll (formerly); American Instit of Musical Studies-Austria (formerly); James Madison Univ (Asst Prof of Clarinet: formerly, 1992+); Radford Univ (formerly); Eastern Mennonite Univ (current); Georgia State Univ (Woodwind Coordinator/Clarinet: current); Blue Lake Arts Camp (current); also active as a clinician. Plays on: Buffet RC Prestige clarinets; Kaspar (Cicero/Chicago) and Vandoren (Profile 88 5RV and 5RV Lyre) mouthpieces; Bonade and Buffet ligatures; handmade reeds. Students include: Karen Bell, Shannon Dooley, Hara Hackett, Michael Lippard. Bib: Nicholas, Leslie. “Les Nicholas.” L. Nicholas. http://www.lesnicholas.com/pages/read-7E/biography.php (accessed March 14, 2011); “Musical Chairs.” The Clarinet 20 (November/December 1992): 53.

Nichols, William. B. Feb. 16, 1944 (Little Rock, AR). BA: Arkansas Tech Univ with LOREN BARTLETT and W. JAMES JONES; MA/DM: Univ of Iowa with HIMIE VOXMAN; additional studies at the Vienna Acad of Music with Rudolph Jettel. Clarinetist: Society for New Music-Syracuse, NY (Clarinetist/Conductor: 1973-79); Monroe Symph-LA (Principal: 1980-89); South Arkansas Symph (Principal: 1985-). Active as a recitalist (incl perfs/lecture recitals at the Univ of Oklahoma Clarinet Symposium, CMS and Society of Composers conferences, and at Carnegie Recital Hall), chamber musician (incl perfs with the Madison and Manhattan String Quartets), festival artist (incl participation at the Aspen Festival), recording artist (on the Decca and Orion labels), and bassoonist (incl positions with the Monroe, South Arkansas, and Utica Symphs). Faculty member: Arkansas Tech Univ (Prof of Clarinet: 1970-73); Syracuse Univ (Prof of Clarinet: 1973-79); Northeast Louisiana Univ (Prof of Clarinet: 1980-). Articles/ reviews published in American Music Teacher, The Clarinet, NACWPI Journal, and the Syracuse Herald- Journal. Other positions/activities: Audio Review Editor, The Clarinet (1996-); ICA State Chmn, LA; active as an arranger, conductor (incl perfs with the Society for New Music), and lecturer/scholar. Memb: ICA, NACWPI, Society of Composers, Inc. Hon: Overall Winner, Arkansas State MTA Solo Compt (1964, 1965); Fulbright Fellowship, Vienna Acad of Music (1966-67); Natl Defense Education Act Title IV Fellowship, Univ of Iowa (1967-70); Winner, St. Louis Symph Aspen Compt (1970); 1st Runner-up, St. Louis Symph Young Artist Compt (1970). Plays on: Buffet R-13 (B-flat/E-flat) clarinets; Yamaha CS (A) clarinet; PYNE mouthpiece; BG ligature; Olivieri reeds; Selmer bass clarinet. Students include: Sandra Clark, Anthony Fabrizio, Laura Hirschman, RITCHARD MAYNARD, Sarah Mickey, Rosanne Rosenthal, Gary Teske. As a musician, William Nichols strives to [capitals mine]

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. . . exhibit in my playing, and stress in my teaching, basic principles of effective musical performances, appropriate articulation, phrasing, good rhythm, and control of a beautiful tone, based on such models as DANIEL BONADE and ROBERT MARCELLUS. I also believe in programming a considerable amount of 20th century music, especially by American composers. (Nichols/Paddock 1998)

Nichols also commented that his former clarinet teacher HIMIE VOXMAN was “a knowledgeable and pragmatic person with whom I always learned something new at each lesson, even if it wasn’t always about the clarinet.” (Ibid.). He added that he attended and performed at numerous ROBERT MARCELLUS master classes, and that Marcellus was “an inspiration . . . and a model of tone production and phrasing.” (Ibid.) Since 1996, Nichols has provided valuable information on numerous international clarinet recordings in his “Audio Notes” column in The Clarinet. Bib: Nichols, William, to Tracey L. Paddock, Tallahassee, FL, May, 26, 1998; “William Nichols Named Audio Review Editor for The Clarinet.” The Clarinet 23 (May/June 1995): 11.

Niethamer, David B. BA: Lebanon Valley Coll with FRANK STACHOW; MM: Manhattan SOM with LEON RUSSIANOFF; additional studies at Juilliard with JOSEPH ALLARD. Clarinetist: Catskill Symph/Wind Quintet (Principal: formerly, 1970s); Riverside Chamber Players (formerly, 1970s); Richmond Symph (Principal: formerly, 1979-2000+); Roxbury Chamber Players (Clarinet/Artistic Dir: 1982-92); Richmond Chamber Players (current; Artistic Dir, 1994-97); Natl Gallery Orch (current); has also performed with the Virginia Symph. Active as a recitalist (incl perfs at ClariNetwork, ClarFest, and other clarinet conferences), soloist (incl perfs with the Bergen Youth Orch, Colgate Univ Orch, Reading Phil, Richmond Sinfonia, and Catskill and Richmond Symphs), chamber musician (incl perfs with above groups and the Kandinsky, Manhattan, and Monticello Trios, and the Composers, Lennox, and Brentano String Quartets), festival artist (incl participation at the Albemarle and Delta Festivals and the Manhattan Trio’s Summer Chamber Music Festival), and recording artist (on the Elan, MMC, and Opus One labels). World premiere perfs incl Allan Blank’s Concerto; U.S. premieres incl Andre Casanova’s Ballade. Faculty member: Ithaca Coll (Vstg Lect of Clarinet/Chamber Mus: formerly, for 2 years); Univ of Richmond (Prof of Clarinet/Dir of Wind Ensemble: current); Longwood Univ (current); Virginia Commonwealth Univ (current). Other positions/activities: Yamaha Artist; ICA Chmn, Northeast Region; active as a clinician. Memb: ICA. Hon: favorable reviews of perfs appear in The Clarinet (see Bib below) and The Richmond Times-Dispatch. Plays on: Yamaha clarinets. Students include: Albert Hunt, Ben Titus. Bib: “Ballade Premiere Performance.” The Clarinet 7 (Winter 1980): 5; “Catskill Woodwind Quintet.” The Clarinet 4 (Fall 1977): 32; “David Niethamer.” VCU Music. http://www.vcu.edu/arts/music/dept/faculty/niethamer. html (accessed January 2, 2011); West, Charles. “Concert Review.” The Clarinet 26 (June 1999): 74-75.

Nirella, Salvatore. Former clarinetist: Minneapolis Symph Orch (Principal: 1907-12, +/-).

Nobile, Louis E. Former clarinetist: Los Angeles Phil Orch (Clarinet/Bass: 1922-40s, +/-).

Nogle, Harold Jr. B. Aug. 20, 1941 (Port Arthur, TX). BM: Southern Methodist Univ with Robert Strickler; additional studies at Lamar Univ. Clarinetist: Dallas Symph (Second: 1962-). Other positions/activities: Systems Programmer, City of Dallas Dept of Info Services (1968-98+); other extra- musical activities incl piloting a Cessna 182 airplane and collecting old movies (serials, Three Stooges, etc.). Has played on: Buffet R-13 clarinets; Kaspar and Lomax Classic mouthpieces; MITCHELL LURIE Springboard ligature; Vandoren V-12 reeds. Bib: Baker, Marguerite. “The Clarinet Sections of the Dallas and Fort Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 30; Nogle, Harold Jr., to Tracey L. Paddock, Tallahassee, FL, July 2, 1998.

Nordstrom, Craig Kyle. B. June 17, 1949 (Denver, CO). Early clarinet studies with DONALD AMBLER. BME: Northwestern Univ (1971) with JEROME STOWELL; MM: Catholic Univ (1974) with LAWRENCE BOCANER. Additional clarinet studies ANTHONY GIGLIOTTI and LOREN KITT. Clarinetist: Civic Orch of Chicago (formerly); Colorado Phil (formerly); U.S. Marine Band (Bass: 1971- 75); Vancouver Symph (Bass: 1975-77); Cincinnati Symph (Bass: 1977-79); Boston Symph (Bass: 1979-). Active as a chamber musician (incl perfs with the Boston Symph Chamber Players) and festival artist (incl

239 participation at the Grand Teton Music Festival) and recording artist (on the Naxos label). Faculty member: Boston Univ (1979-); New England Conserv (1979-); Tanglewood (current). Has played on: Buffet clarinets; H. Bettoney mouthpiece; Selmer bass clarinet; Vandoren 3RV bass mouthpiece; Bonade ligatures; Vandoren reeds. Students include: Amy Advocat, Louis DeMartino, Melissa Grieco, Elena Lin, Gabe Merton, Benjamin Seltzer, Jessica Sibelman, Michelle Spinelli, Ryan Yuré. Bib: “Craig Nordstrom.” Boston Symphony. http://www.bso.org/bso/mods/bios_detail.jsp?id=2100225 (accessed March 14, 2011); Creditor, Bruce. “The Clarinet Section of the Boston Symphony.” The Clarinet 14 (Winter 1987): 37; “Musical Chairs.” The Clarinet 16 (February/March 1989):15; “Nordstrom, Craig.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 431.

Norrito, Joseph [“Dad”]. Former clarinetist: Columbia Theatre-Boston; Sousa Band (Solo Clarinet: 1892-1922). Was active as a nationally touring soloist (incl 44+ perfs as soloist/chamber soloist with the Sousa Band) and recording artist (one of America’s earliest solo clarinet recording artists; appeared on the Berliner label). Favorable reviews of perfs appeared in The Mitchell Republican, Musical America, and The Oregonian. Played on a GRAS clarinet and appeared in their print ads. Bib: Krebs, Jesse. "The Clarinet Soloists of the Sousa Band: 1892-1929." ICA. http://www.clarinet.org/clarinetFest Archive.asp?archive=45 (accessed January 2, 2011).

Norsworthy, Michael. Grad: New England Conserv; Southern Illinois Univ-Carbondale with ERIC MANDAT; additional studies at Michigan State Univ with ELSA LUDEWIG-VERDEHR and at Aspen. Additional clarinet studies with KALMEN OPPERMAN and RICHARD STOLTZMAN. Clarinetist: Harvard Group for New Music (formerly); Boston Modern Orch Project (Principal: current); has also performed with the Orpheus Chamber Orch, St. Louis and Symphs, Boston Phil/Ballet, Pittsburgh New Music Ensemble, Boston Musica Viva, Ensemble 21, Klangforum Wien, et al. Active as an intl recitalist/soloist (incl perfs with the Pottstown and Southern Illinois Symphs, the Aspen and NEC Contemporary Ensembles, the Calistos Chamber Orch, Manhattan Sinfonietta, Symph ProMusica, and Callithumpian Consort), chamber musician (incl perfs with the Borromeo and Maia String Quartets, Soria Chamber Players, Boston Chamber Music Society, and Ibis Camerata), new music specialist (incl 125+ world premieres), studio/theatre musician (incl work on various motion pictures and stage productions), saxophone doubler, and recording artist (on the Cantaloupe, Cauchemar, Gasparo, and Mode labels); broadcast perfs given on Boston’s WGBH. Premiere perfs incl works written for him by C. Dench, P. Escot, M. Finnissy, and H. Tutschku. Faculty member: Columbia Univ (formerly); Harvard Univ (Artist- in-Res: formerly); Boston Conserv (current). Articles published in The Clarinet and New Grove Dictionary of Music and Musicians. Other positions/activities: ICA State Chair, MA; Buffet Crampon USA Perf Artist. Hon: Aspen Fellowship; The John Cage Award; Borromeo String Quartet Guest Artist Award; Chancellor’s Research and Creativity Award, SIU-Carbondale; recip of grants from several arts foundations. Plays on: Buffet clarinets; Rico Reserve reeds. Bib: Norsworthy, Michael. “Michael Norsworthy.” M. Norsworthy.http://www.michaelnorsworthy.com/live/ (accessed February 1, 2011).

Northrup, Ray G. Native of RI. Clarinet studies with Hugo Koehler (NY), William Fletcher (Philadelphia), Edward Oncone (Chicago), and W.E. Strong (Los Angeles). Clarinetist: Grand Opera House-Los Angeles (formerly, for 8 years). Was active as a Los Angeles orchestral/band clarinetist during the 1920s. Other positions/activities: Partner, Baxter & Northrup (music instrument dealer). Hon: listed in Who’s Who in Music in California (1920). Bib: Gates, W. Francis, Ed. Who’s Who in Music in California. Los Angeles: Colby and Pryibil, 1920: 112.

Norton, Don. Clarinetist: Baltimore Symph Orch (1946-47).

Nuccio, Mark Edward. B. May 14, 1963 (Colorado Springs, CO). BM: Univ of Northern Colorado (1985) with BIL JACKSON; MM: Northwestern Univ (1986) with ROBERT MARCELLUS. Additional clarinet studies with Edward Nuccio (his father) and GEORGE SILFIES. Clarinetist: Greeley Chamber Orch (Principal: 1983-85); Cheyenne Symph (Principal: 1983-85); Sarasota Opera (Second: 1986-87); Florida Orch (Second/E-flat: 1986-87); Savannah Symph (Principal: 1987-88); Denver/Colorado Symph (Asst Principal/E-flat: 1988-90); Pittsburgh Symph (Second: 1990-96; Actg Co-Principal: 1996-99, +/-); Minnesota Orch (Guest Principal: April 1997); New York Phil (Assoc Principal/E-flat: 1999-); Philharmonic Quintet of New York (current). Active as an intl, recitalist (incl

240 perfs at Carnegie Hall and Merkin Concert Hall, at ICA conferences, and in Japan), soloist (incl perfs with the Pittsburgh Symph and Pittsburgh Concert Society), chamber musician (incl perfs with the Chicago Chamber Octet, Gulf Coast Wind Quintet, Savannah Symph Woodwind Quintet, Carnegie Mellon Trio, and the Pittsburgh Concert Society, and on the Pittsburgh Chamber Music Project and Shadyside Concert Series), festival artist (incl participation at the Bravo! Vail Valley, Colorado, Strings in the Mountains, Sunflower, St. Barth’s, and Grand Teton Music Festivals), studio musician (appears on numerous commercials and major motion pictures soundtracks, incl The Last Holiday, The Manchurian Candidate, and Intolerable Cruelty), and recording artist (on the Dorian label). Broadcast perfs given on The David Letterman Show and Live From Lincoln Center. Faculty member: Armstrong State Coll-GA (1987-88); Duquesne Univ (Adj Prof of Clarinet: formerly, 1991-99, +/-); Mannes Coll of Music (formerly); Manhattan SOM (current). Other positions/activities: Buffet Crampon USA Perf Artist (1995-); Rico Artist. Hon: Finalist, Boston Symph auditions for Principal Clarinet (1994); Finalist, Philadelphia Orch auditions for Principal Clarinet (1996). Plays on: Buffet clarinets; BONADE ligature; Rico Reserve Classic #4 and handmade reeds. Students include: Heidi Aufdenkamp, Michal Beit-Halachmi, Wendy Bickford, Jeffrey Brooks, Jonathan Cohen, Jerome Fleg, Roman Fukshansky, Alexey Gorokholinsky, JONATHAN GUNN, Christopher Howard, April Johannesen, Anthony Marotta, Jared Mundell, Joshua Rubin, Erin Svoboda, Kiera Thompson, Stephanie Thompson, David Yandl. Bib: “Boosey & Hawkes Announces New Promotional Artists.” The Clarinet 25 (November/ December 1997): 12-13; “Mark Nuccio.” New York Philharmonic. http://nyphil.org/meet/orchestra/index. cfm?page=profile&personNum=68 (accessed March 14, 2011); Nuccio, Mark, to Tracey L. Paddock, Tallahassee, FL, May 8, 1998.

Nunemaker, Richard Earl. B. Nov. 30, 1942 (Buffalo, NY). Clarinet/sax studies begun at age 12 with his father, Earl. BM/Perf Cert: SUNY-Fredonia (1964) with ALLEN SIGEL and WILLIAM WILLETT; MM: Univ of Louisville (1966). Additional clarinet studies with CLARK BRODY, JAMES LIVINGSTON and JEROME STOWELL. Clarinetist: Louisville Orch (Clarinet/Bass/Sax: 1964-66); Houston Symph (Clarinet/Bass/Sax: formerly, 1967-2000+); Houston Pops (Clarinet/Sax: 1970-85+); Cambiata Soloists (1971-84); Third Coast Chamber Players (1985+); Opus 90 (formerly); Air-Mail Special (Founding Memb: formerly, for 16 years, 1990s, +/-). Active as an intl recitalist/soloist (incl numerous sax/clarinet perfs with the Houston Symph and at ClarinetFest 1997), chamber musician (incl tour of Austria with Camerata Bregenz, perfs/recordings with the Tang String Quartet and Third Coast Chamber Players, and perf on the New and Improvised Music Concert at Carnegie Hall), festival artist (incl participation at the Las Vegas Music Festival), jazz musician (incl perfs as saxophonist of Air Mail Special and with the Paul English Quartet), new music advocate/performer (incl commissioning and perf activities with the Houston Composers Alliance), and recording artist (on recordings with the Houston Symph and on the MMC, New Records, Pro Arte, and Red Mark Records labels). Faculty member: Sewanee Summer Music Center (Artist-in-Res/Instructor of Clarinet/Theory/ Chamber Mus: 1966); Hobart Independent School-IN (Band Dir/Woodwind Instructor: 1966-67); Univ of St. Thomas (Instructor of Clarinet/Sax/Chamber Mus: 1970-92); Las Vegas Music Festival (current); has also taught at Houston Baptist Univ, Univ of Houston, Rice Univ and the Wharton TX and San Jacinto TX Junior Colls. Author: The Effortless Clarinet; If the Shoe Fits; Scale and Chord Studies. Other positions/activities: Former Pres/Mus Dir, Houston Composers Alliance. Memb: ClariNetwork (formerly), ICA. Hon: favorable reviews of recordings appear in The Clarinet (see Bib below). Students include: Nancy Angerstein, June Garrison, DALLAS TIDWELL. Bib: Gingras, Michéle. “Compact Disc Reviews.” The Clarinet 21 (May/June 1994): 58-9; Jahn, Theodore. “Compact Disc Reviews.” The Clarinet 26 (September 1999): 98-99; Juvan-Savoy, Connie, Ed. “Finale.” Houston Symphony Magazine (November 1993): 60; Nunemaker, Richard. “Richard Nunemaker.” http://www.richardnunemaker.com/ (accessed January 2, 2011); “Nunemaker, Richard Earl.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 432.

Nygren, Dennis. BM/DM: Northwestern Univ (1968/1982) with CLARK BRODY, LARRY COMBS, ROBERT MARCELLUS, and JEROME STOWELL; MM: Michigan State Univ (1973) with

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ELSA LUDEWIG-VERDEHR and KEITH STEIN. Additional clarinet studies with GLENN BOWEN and JACK SNAVELY. DM diss: “The Music for Accompanied Clarinet Solo of : An Historical and Analytical Study of the Premiére Rhapsodie and Petite Piéce.” Clarinetist: North American Air Defense Band (Principal: 1968-71); Kent Wind Quintet (1983-, +/-); Musica Viva Trio (current). Active as a recitalist/soloist (incl perfs at ClarinetFests 1985, 1992, 1997, and 2000, and perfs with the North American Air Defense Band), chamber musician (incl perfs with above groups), and recording artist (on the C. Alan Publications label). Works written for Nygren incl those by J. Ferritto, M.A. Griebling, A. Stout, and F. Wiley. Faculty member: Northern Michigan Univ (1973-83); Kent State Univ (Assoc Prof: 1983-, +/-). Articles published in The Clarinet (incl 2 excellent articles and an interview on/with ROBERT MARCELLUS, listed in Bib below). Other positions/activities: active as an arranger (incl Babin’s Hillandale Waltzes arranged for band). Hon: 1st clarinetist to receive DM in perf from Northwestern Univ; favorable reviews of recordings appear in The Clarinet (see Bib below). Students include: Cynthia Doggett, Stephanie Thompson. Bib: Nichols, William. “Audio Notes.” The Clarinet 24 (November/ December 1996): 20-23; Nichols, William. “Audio Notes.” The Clarinet 25 (May/June 1998): 25; Nygren, Dennis. “Remembering Robert Marcellus – 1928-96 Part I.” The Clarinet 24 (November/December 1996): 34-43; Nygren, Dennis. “Remembering Robert Marcellus – 1928-96 Part II.” The Clarinet 24 (February/ March 1997): 60-65; Nygren, Dennis. “Robert Marcellus, Yesterday and Today: An Interview.” The Clarinet 16 (November/December 1988): 33-42.

Nytch, Craig. Faculty member: Brigham Young Univ (formerly, 1980s, +/-). Has been active as a recitalist.

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Oakes, Gregory. BM: Michigan State Univ with ELSA LUDEWIG-VERDEHR; MM: DePaul Univ with JOHN BRUCE YEH; DM: Univ of Colorado with BIL JACKSON; additional studies as a Fellow at the Tanglewood and Aspen Festivals. Additional clarinet studies with KEITH LEMMONS. Clarinetist: Chicago Civic Orch (formerly); Colorado Symph (formerly); Mississippi Symph (formerly); Non Sequitur (Founding Memb: current); has also performed with the Colorado Ballet and Central City Opera. Active as an intl recitalist/soloist (incl perfs with the Colorado Symph and Denver Brass, at ICA and Intl Computer Music Conferences and the Gaudeamus Intl Interpreters’ Compt, on the Pendulum New Music Series, and throughout Brazil), chamber musician (incl Carnegie Hall debut with membs of Ensemble Intercontemporain, and perfs as a member of Category 5, Ensemble Syzygy, and the Mississippi Symph Orch Woodwind Quintet), jazz musician (incl perf at the Telluride Jazz Festival), festival artist (incl participation at the Colorado Music Festival, Crested Butte Chamber Music Festival, and Boulder’s Modern Music Festival), and recording artist (on the Bridge, CRI, Gothic, Karnatic Labs, and Naxos labels); broadcast perfs given on NPR. Faculty member: Univ of Southern Mississippi (formerly); Bemidji State Univ (formerly); Regis Univ (formerly); Iowa State Univ (Asst Prof of Clarinet: current). Other positions/activities: Buffet Crampon USA and Vandoren Perf Artist; active as a clinician (incl master classes given at SOM’s across the U.S. and in Brazil). Hon: favorable reviews of perfs have appeared in the Aspen Daily News, Denver Post, New Music Connoisseur, and New York Times. Bib: Oakes, Gregory. “Gregory Oakes.” G. Oakes. http://www.gregoryoakes.com/bio.php (accessed March 13, 2011).

Oberlander, Lisa. Undergrad studies begun at Univ of Illinois with HOWARD KLUG; BME: Indiana Univ (1993) with HOWARD KLUG; MM/DM: Arizona State Univ with ROBERT SPRING; additional studies at the Virginia Governor’s School for the Arts (Summer 1997) with JEAN KOPPERUD. Additional clarinet studies with RICHARD WALLER. Clarinetist: Columbus Ballet Orch-GA (Principal: current); Fountain City Ensemble (Founding Memb: current); has also performed with the Phoenix Symph and Opera Orchs. Active as an intl recitalist (incl perfs at ClarinetFest 1999, the World Sax Congress, and the North American Sax Alliance conferences), soloist (incl perfs with the Arizona State Univ and Lafayette Symphs, and a perf of the Nielsen Clarinet Concerto with the Columbus State Univ Phil), chamber musician (incl tour of Japan with Fountain City Ensemble), and recording artist (on the Summit label). Broadcast perfs given on GA Public Radio and on WTVM (ABC). Faculty member: Columbus State Univ-GA (Asst Prof of Clarinet: 1998-, +/-). Published in The Clarinet. Other positions/activities: active as a clinician. Hon: Winner, AZ State Univ Concerto Compt (1994). Plays on: Buffet Greenline clarinet; PYNE mouthpiece; Vandoren V-12 reeds. Students include: Melissa Harding Behne, Andrew Hudson, Mark Kleine. Bib: “Dr. Lisa Oberlander.” Columbus State University. http://music.columbusstate. edu/faculty/lisa_oberlander.php (accessed March 14, 2011); Johnson, Kelly and Lisa Oberlander. “ClarinetFest ’95: The Hot Place to Be.” The Clarinet. 23 (November/ December 1995): 26-32; “Musical Chairs.” The Clarinet 26 (December 1998): 82.

O’Connell, Thomas. Clarinetist: West Virginia Symph (formerly); Marshall Univ Faculty Woodwind Quintet (1940s-70s, +/-). Faculty member: Marshall Univ (Clarinet/Woodwinds: 1948-72+). Published in The Instrumentalist. Students include: D. RAY MCLELLAN. Bib: “O’Connell, Thomas.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 832.

Odrich, Ronald B. Clarinet studies with VINCENT JAMES ABATO, Sal Amato, DANIEL BONADE, BUDDY DE FRANCO, AUGUSTIN DUQUES, ROBERT MARCELLUS, and KALMEN OPPERMAN. Clarinetist: U.S. Air Force Band/“Airmen of Note,” Washington D.C. (Soloist: formerly, during Korean War); Vinnie Burke Quartet (formerly); Ron Odrich Quartet (current); has also performed with , Buddy DeFranco, , Clark Terry, , et al. Active to some extent as a classical player (with much classical training), but is primarily active as a jazz clarinetist with classical concepts (especially the symphonic clarinet sound) blended into his playing; active as a recitalist/soloist (incl perfs at ICA conferences), bass clarinetist, and recording artist (on the Inner City and Marniste Productions labels). Faculty member: Columbia Univ Dental School (current); has also taught dentistry in

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Italy. Published in The Clarinet (incl a series entitled “Claridontology”). Other positions/activities: Buffet Crampon USA Perf Artist; active as a clinician (incl presentations given at ICA conferences and the ROBERT MARCELLUS masterclasses at Northwestern Univ), novelist, practicing periodontist, and visual artist. Hon: favorable reviews of perfs/recordings appear in ClariNetwork and The Clarinet (see Bib below); DownBeat Magazine Four Stars for 1978 solo recording, Blackstick. Has played on: Buffet R13 Prestige clarinet; BONADE mouthpiece; Melior reeds. Bib: Daniels, Eddie. “Meet Ronnie Odrich!” ClariNetwork (February/March 1982): 16; Nygren, Dennis. “Remembering Robert Marcellus – 1928-1996 Part I.” The Clarinet 24 (November/December 1996): 34-43; Odrich, Ronald B. “Claridontology.” The Clarinet 26 (March 1999): 32-33; Odrich, Ron.” Ron Odrich.” R. Odrich. http://www.ronodrich.com/ (accessed March 14, 2011); Salman, Randy. “Compact Disc Reviews.” The Clarinet 22 (May/June 1995): 66-67.

Oeconomacus, N. Clarinetist: San Francisco Symph Orch (Bass: 1916-1917, +/-).

Oehler, Donald L. Grad: Juilliard. Clarinet studies with JOSEPH ALLARD, Jack Brymer, ROBERT LISTOKIN, Orville Matthias, and BERNARD PORTNOY. Clarinetist: Orchestre Philharmonique de Teheran, (Principal: formerly); Saskatchewan School of the Arts Faculty Wind Symph (Principal: 1976-90); CarolinaWind Quintet (1970s/80s-, +/-); Opera Co. of North Carolina (Principal: current); Q'Appelle Winds (Founder/Memb: current); has also performed with the NC Symph, St. Stephen’s Chamber Orch, the Handel and Haydn Society, Banchetto Musicale, the 18th Century Players, and Ensemble Courant. Active as an intl recitalist (incl perfs given throughout North America and Europe, and in Asia and the Middle East), soloist (incl perfs at ICA conferences and on basset clarinet), chamber musician (incl perfs with above ensembles, the Mallarmé Chamber Players, Trio Sonsa, 27514, and the Bela, Chester, Ciompi, Haydn, and NC String Quartets), festival artist (incl participation at the Bartok Festival and UT State Univ Summer Music Festival), and recording artist (on the Centaur label); broadcast perfs given on CBC and Belgian radio. Premiere perfs incl works by T.J. Anderson and Peter Lieuwen. Faculty member: Univ of North Carolina-Chapel Hill (Prof of Clarinet: 1971-; has also served as Founder/Dir of Univ Chamber Players, and Dir of Univ New Music Ensemble); Cours International de Musique-SWITZ (formerly, for 16 years); MusicFest Intl-Wales (Dir of Winds: formerly); Corso Internazionale di Musica da Camera-ITA (Faculty/Artistic Dir: current). Other positions/activities: Co-Director/Host, Clarinet ChamberFest 1996; Founder/Dir of Chapel Hill Chamber Music, the CHCM Workshop, and the UNC Canterbury Christ Church Univ Coll exchange program for music; ICA State Chmn, NC; Selmer Artist; active as a clinician (master classes given in North American, Asia, Europe, and the Middle East), conductor (incl work with numerous HS bands/youth orchs and Chapel Hill’s Philharmonia and Village Orchs), and proponent of both classical period clarinet music (on basset horn) and new music. Memb: ICA. Hon: favorable reviews of perfs appear in the Longview News-Journal and the CASS journal. Students include: Kathleen Budney, William Clark, Bryan Crumpler, Malathi Iyengar, Wonkak Kim, Angelina Lopez-Frank, KEITH KOONS, NICHOLAS MORRISON, ANDREA SPLITTBERGER- ROSEN, ALLAN WARE. Bib: “Donald L. Oehler.” UNC Music Department. http://music.unc.edu/faculty/facultyandstaff directory/facultystaffmember.2005-10-03.7732626970 (accessed December 18, 2008).

Ognibene, James. Native of Warren, OH. Grad: Indiana Univ with EARL BATES; Youngstown State Univ. Additional clarinet studies with LAWRENCE BOCANER (bass), ANTHONY GIGLIOTTI, ROBERT MARCELLUS, ALFRED ZETZER (bass). Clarinetist: U.S. Marine Band-Washington D.C. (formerly, for 4 years); Charlotte Symph (formerly); Metropolitan Opera Orch (Bass: 1986-, +/-); has also performed as Guest Bass Clarinet with the New York Phil Orch. Active as a chamber musician (incl perfs with the Met Chamber Group and with James Levine on the Met’s Carnegie Hall chamber series), festival artist (incl participation at Bard, Grand Teton, Monadnock, Spoleto, and Verbier Music Festivals), recording artist (on the GM and Naxos labels), chamber music coach, and Selmer Artist. Plays on Selmer Paris Mode 33 and 67 bass clarinets. Students include: Sam Kaestner. Bib: “James Ognibene-Bio.” Naxos. http://www.naxos.com/person/James_Ognibene/104028.htm (accessed March 14, 2011).

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Oien, Theodore. B. Minneapolis, MN. BM/MM: Cincinnati Conserv with RICHARD WALLER. Additional clarinet studies with ROBERT MARCELLUS and LARRY COMBS; additional music studies with Marc Lifschey. Clarinetist: U.S. Army Band-Washington D.C. (Asst Principal: formerly); Winnipeg Symph (Principal: 1969-84); Denver Symph (Second/E-flat: 1984-88); Detroit Symph (Principal: 1988-); has also performed with the Manitoba Chamber Orch. Active as an intl recitalist (incl perfs at ClarinetFests 1994, 1998), soloist (incl perfs with the Detroit, Westmoreland, and Winnipeg Symphs, the Natl Symph Orch of Uruguay, and a perf of the Copland Concerto conducted by Copland), chamber musician (incl perfs with the Lyric Chamber Ensemble and on the American Artist Series), festival artist (incl participation at the Aspen, Bravo!, Blossom, Carmel, Colorado, Kent/Blossom, and Sunflower Music Festivals), and recording artist (on the Chandos label); broadcast perfs given on Performance Today and General Motors Mark of Excellence. Faculty member: Univ of Manitoba (formerly); Wayne State Univ (current); Aspen Music Festival (1990s, +/-); has also taught at Univ of Denver, Univ of Michigan, and Michigan State Univ. Other positions/activities: Buffet Crampon USA Perf Artist; Pyne/Clarion Artist. Memb: Pi Kappa Lambda. Hon: invited to perf at Lincoln Center in 1999 for 50th Anniversary of the Universal Declaration of Human Rights, a concert of principal orchestral musicians from around the world. Has played on: Buffet R-13 and Tosca clarinets; PYNE ~M mouthpiece; BONADE inverted ligature; handmade reeds. Students include: Deborah Andrus, Robyn Cho, Antoine Clark, Jared Davis, Joseph Eller, Susan Fo, Celia Idex, Mickey Ireland, Jean Johnson, John Klinghammer, Alejandro Lozada, Amanda McCandless, James Ormston, Jeremy Reynolds, Andrew Seigel, Igor Shakhman, Andrew Sprung, Stephanie Thompson, Suzanne Tirk. Bib: Oien, Theodore, to Tracey L. Paddock, Tallahassee, FL, August 1, 1998; Pyne, James. “Theodore Oien – Artist Profile.” The Clarinet 22 (February/March 1995): 61; “The Clarinet Section of the Detroit Symphony Orchestra.” The Clarinet 23 (May/June 1996): 22; “Theodore Oien.” Detroit Symphony. http://www.detroitsymphonymusicians.org/theodoreoien.html (accessed March 14, 2011).

Okel, J.D. Former clarinetist: Minneapolis Symph Orch (1916-19); Los Angeles Phil Orch (Clarinet/E-flat/Violin: 1922-30s, +/-).

Olefsky, Herman. Clarinet studies with ROBERT LINDEMANN and ____ Schildauer. Former clarinetist: Civic Orch of Chicago; Natl Symph (Clarinet/Sax: 1937-43; 1947-50; Extra: 1950+). Other positions/activities: Olefsky took a 4-year leave of absence from the Natl Symph (1943-47) to man a torpedo station during WWII.

Onofrey, Robert. B. 1932; d. 2009. DM: Univ of Michigan (c.1970s). Was active as a recitalist/ soloist (incl perf at the 1976 Intl Clarinet Clinic, featuring works all composed for Onofrey by W. Albright, L. Bassett, W. Bolcom, S. Chatman, and R. Verdi, and one of his own compositions), recording artist (on the Composers Recordings label), composer, and priest. Commissioned Bassett’s Soliloquies, and premiered it on Feb. 18, 1976; commissioned other important works by above composers. Bib: “The International Clarinet Clinic ’76.” The Clarinet 3 (May 1976): 22.

Oppenheim, David. B. Apr. 13, 1922 (Detroit, MI); d. Nov. 14, 2007. Early clarinet studies at Interlochen Arts Camp (1936-39) with GUSTAVE LANGENUS. Undergrad studies begun at Juilliard with ARTHUR CHRISTMANN; BM: Eastman SOM (1943) with RUFUS MONT AREY; additional studies at Tanglewood. Additional clarinet studies with DANIEL BONADE, ANGELO DE CAPRIO, Dal Fields, Albert Freedman, Louis Greenspan, E.C. Moore, VICTOR POLATCHEK, R. Rateau, and Santy Runyon. Former clarinetist: NY Symph/NY Phil (Principal: late 1940s); also performed with the RCA and Columbia Studio Orchs. Was active as an intl recitalist/soloist (incl perfs in France and Puerto Rico), chamber musician (incl perfs/recordings with Erna Berger, Leonard Bernstein, Pablo Casals, Eugene Istomin, Dorothy Maynor, and the Budapest, Juilliard, and New Music String Quartets), and recording artist (on the Columbia, Hargail Records, and RCA labels; recordings incl a perf of the Bernstein Sonata

245 with the composer at the piano). Works dedicated to (although not premiered by) Oppenheim incl Leonard Bernstein’s Sonata for Clarinet and Piano (1944). Former faculty member: NY Univ-Tisch School of the Arts (Dean: 1969-92; incl service on the nominating committee for the Tony Awards, 1983-87). Other positions/activities: Dir, Columbia MasterWorks Div (1950-59); Television Producer, Robert Saudek and Associates (produced educational programs incl Omnibus and a series of Leonard Bernstein music specials); Broadway theatre producer (incl Last Analysis, by Saul Bellows); Producer/ Writer/Dir, CBS Television Network News (1962-68; incl documentaries on Stravinsky and Pablo Casals); Exec Producer of Cultural Programming, Public Broadcasting Laboratory; also served as an anti-tank gunner in WWII. Erika Švalbe must be commended for providing insight into the multi-faceted career of David Oppenheim. Her article (see Bib below), one of few pieces of written material to be found on Oppenheim, offers a concise but impressive overview of his career, concluding with a discography. Oppenheim was successful not only as a clarinetist, but also as a producer involved in recorded sound, television, and theatre. He was also very influential in establishing and elevating the status of New York University’s Tisch School of the Arts while he served as Dean of that institution from 1969-92. While studying at Tanglewood in 1942, Oppenheim began a friendship with Leonard Bernstein that would endure throughout his career. Bernstein and Oppenheim recorded Bernstein’s Sonata for Clarinet and Piano in 1944, and upon completion of the recording, Bernstein dedicated the work to Oppenheim. Oppenheim would later work with Bernstein as Principal Clarinetist of the New York Philharmonic, and then as the producer of Bernstein’s televised music specials. Oppenheim retired from his position as Dean of New York University’s Tisch School of the Arts in 1992 and became more active as a performing clarinetist again. Bib: Gilbert, Richard. The Clarinetists’ Repertoire – A Discography. New York: The Grenadilla Society, 1972: 123; Hevesi, Dennis. “David Oppenheim, 85, Dean of N.Y.U. Arts, Is Dead.” NYTimes. com. http://www.nytimes.com/2007/12/03/arts/03oppenheim.html?ei=5088&en=2d615fdb9ace6367&ex= 1354338000&partner=rssnyt&emc=rss&pagewanted=print (accessed March 14, 2011); Švalbe, Erika. “Looking for David Oppenheim.” The Clarinet 25 (May/June 1998): 44-45; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 56.

Opperman, Kalmen. B. Dec. 8, 1919 (Manhattan, NY); d. June 18, 2010 (Manhattan, NY). Clarinet studies begun at age 10. Clarinet studies with SIMEON BELLISON, David Karpilofsky, and RALPH MCLANE (1939-43). Former clarinetist: USMA Band-West Point (1938-41); [American] Ballet Theater (Principal); was active as a Broadway theater musician (productions incl The Brass , Lend an Ear, Lute Song, Peter Pan, A Tree Grows in Brooklyn, and Sonya Henie’s Hollywood Ice Show) and memb of several major ballet orchs; was also active as a recording artist (incl several recordings with RICHARD STOLTZMAN on the RCA label). Former faculty member: Indiana Univ; NY Univ; Boston Univ; Hartt SOM; CUNY-Brooklyn Coll (Assoc Prof: 1990s, +/-); was active as a private clarinet instructor. Author: Modern Daily Studies for Clarinet (Vol. 1-3; M. Baron, publisher); The Clarinet Chromatic Machine; Contemporary Chordal Sequences (multi-volume); Repertory of the Clarinet; Handbook for Making and Adjusting Single Reeds; Velocity Studies (multi-volume); et al. Articles published in The Clarinet (including a series of columns entitled “Kal’s Korner,” 1995-98) and other music journals. Other positions/activities: Dir, Kalmen Opperman Clarinet Choir (formerly, 1986-98+); was active as a lecturer/clinician (incl participation at the New England Conserv Clarinet Summit and the Oklahoma Clarinet Symposium) and mouthpiece/barrel craftsman (designed for his students, incl CLARK BRODY, LARRY COMBS, STEVEN HARTMAN, RONALD PHILLIPS, RICHARD STOLTZMAN, et al). Hon: The Kalmen Opperman Collection (of clarinet-related works) resides in the Hartt SOM’s Mortenson Library. Played with a double-lipped embouchure. Students include: Karen Bailey, Nancy Blum, Tony Burry, MIKE CAVIN, ROBERT CHESEBRO, Kathleen Crotty, Raffaele Del Mastro, Frank Delo Jr., PATRICIA DILUTIS, Gary Dranch, Susan Eberenz, Adam Ebert, Fredrik Fors, Alan Francis, Denise Gainey, PAUL GARNER, ERIC GINSBERG, CECIL GOLD, TERRY GUIDETTI, LARRY GUY, William Hagenah, STEVEN HARTMAN, Ann Hetric, S. JAMES KURTZ, R. DENNIS LAYNE, FAN LEI, MICHAEL

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NORSWORTHY, RON ODRICH, THOMAS RIDENOUR, CHARLES SALINGER, WILLIAM SCARLETT, Paul Sheldon, Richard Shillea, RICHARD STOLTZMAN, OLANDO TOGNOZZI. Renowned clarinetist and pedagogue Kalmen Opperman has been referred to as “the elder statesman of the clarinet” by colleague and former long-time New York Philharmonic Principal Clarinetist STANLEY DRUCKER. (Strum 2011) Opperman’s knowledge of the clarinet and clarinet playing drew not only younger students, but also already-established professional clarinetists. For both younger and older students alike, it was Opperman’s personal mission to draw out every possible ounce of musical potential. Professional clarinetists who consulted with Opperman, including former Long Island Philharmonic clarinetist Larry Guy, sought to reassess or rehabilitate their playing habits, or as Guy put it, “to clean out all the clutter and the dust in their playing.” (Ibid.) One of Opperman’s most prominent students, RICHARD STOLTZMAN, who collaborated with Opperman at clarinet clinics for many years, recalled Opperman’s ability to examine someone’s playing (and/or thinking), deconstruct it, and rebuild it completely. Opperman was known to be generous with his time (with lessons often far exceeding the planned duration), frankness (or “tough love,” as some have called it), and with pithy quotations, many of which decorated the walls of his studio and home. A visit to Opperman’s website (listed in Bib below) is highly recommended for more information on his career and musical philosophy as well as tributes to Opperman from former students and colleagues. Clarinetist Denise (Schmidt) Gainey has also done extensive research on Opperman’s teaching methodology, which she compiled into her doctoral dissertation, and which she will present in a book to be published in the near future. Bib: “Book Reviews.” Woodwind Magazine 5 (March 1953): 12; “Clarinet Master Teacher Kalmen Opperman.” From New England Conservatory Clarinet Summit Brochure, 1998; Opperman, Kalmen. “Kalmen Opperman.” K. Opperman. http://www.kalmenopperman.com/ (accessed January 4, 2011); Opperman, Kalmen. “Kal’s Korner.” The Clarinet 23 (February/March 1995): 16-17; Schmidt, Denise. “Kalmen Opperman’s Contributions to Clarinet Pedagogy in the Teaching of Clarinet Technique.” DM diss., University of Kentucky, 2001; Strum, Charles. “Kalmen Opperman, Master Clarinetist and Teacher, Dies at 90.” NYTimes.com. http://www.nytimes.com/2010/06/23/arts/music/23opperman.html?_ r=1&src=me (accessed January 4, 2011); .

Ormand, Fred. B. Oct. 11, 1935. HS clarinet studies with Robert C. Davidson (student of JOSEPH SCHREURS). BME: Univ of Michigan (1958) with ALBERT LUCONI; MM: Michigan State Univ (1960) with KEITH STEIN; ARCM: Royal Coll of Music-London (1963) with Bernard Walton. Additional clarinet studies with ROBERT MARCELLUS. Chamber music studies with and Marcel Moyse. Clarinetist: Chicago Symph (Extra: 1973-74); has also performed with the Chicago Little Symph, the Princeton Chamber Orch, and the Cleveland, Detroit, and Honolulu Symphs. Active as an intl recitalist (incl perfs at ICA conferences, at Carnegie Recital Hall, at the Shanghai Conserv, and with his wife, soprano Julia Bruxholm, on the Fredriksburg Castle recital series in Copenhagen, Denmark), soloist (incl perfs with the Shanghai Symph and Univ of Southern California Wind Symph), chamber musician (incl perfs with the Interlochen Arts Quintet and the Dusha Quartet), festival artist (incl participation at the Alaska Music Festival, the Grand Teton Music Festival, 1969-90, and Music Acad of the West, 1989-), and recording artist (on the Danacord and Opus 1 labels). Premiere perfs incl Leslie Bassett’s Arias for Clarinet and Piano and Fantasy for Clarinet and Wind Ensemble. Faculty member: Amarillo Coll (1959-62); Interlochen Arts Acad (1962-73); Northwestern Univ (1973-74); SUNY-Fredonia (1974-75); Michigan State Univ (1975-82); Florida State Univ (1982-84); Univ of Michigan (1984-); Shanghai Conserv (Vstg Faculty: 1988); Music Acad of the West (1988-). Author, The Single Reed Adjustment Manual (2000). Other positions/activities: Pres, ICA (1990-92); active as a clinician (incl master classes given in the U.S., China, Denmark, England, and Sweden), lecturer (presentations given at ICA conferences), scholar (has done extensive research on the wind music of Amilcare Ponchielli), and editor (incl editions of the wind music of Amilcare Ponchielli). Hon: Fulbright Grant for study in London, England (1963-64); recip of numerous research grants (from FSU, MSU, U of M, etc.); Harold Haugh Award of Excellence in Applied Teaching, U of M (1995); numerous favorable reviews (perf/teaching) published in various music journals. Memb: AFM, Fulbright Alumni Assn, ICA. Plays on: Buffet R-13 clarinets; generic French mouthpiece (refaced); Vandoren V-12 reeds.

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Students: MICHAEL ACORD, JANET AVERETT, Cindy Bartels, CAREY BELL, LAROY BORCHERT, KELLY BURKE, JANE CARL, GARY CAUCHI, ELIZABETH CRAWFORD, DEBORAH FABIAN, Denise Gainey, PAUL GARNER, Christopher Grant, DORIS HALL-GULATI, Ken Hatch, RICHARD HAWKINS, JAMES HEFFERNAN, KIMBERLY ASELTINE ISACKSON, Lisa Kadala, MICHAEL KORNACKI, Joseph LeBlanc, FAN LEI, RICHARD MACDOWELL, Julia Mahan, MAURITA MEAD, LEE MORGAN, Justin O’Dell, Harry Ong, JO ANN POLLEY, TAMARA RAATZ, MAXINE RAMEY, DAVID SHIFRIN, Nathan Smith, Lee Stephenson, Eric Tishkoff, MICHAEL SULLIVAN, PAUL VOTAPEK, JOHN WEIGAND, Michael Wayne, KENNEN WHITE, BRADLEY WONG, PETER WRIGHT III. Fred Ormand is highly regarded internationally as an outstanding performer, pedagogue, and scholar. He has done extensive research into and editing of the wind music of Amilcare Ponchielli and has recorded four of Ponchielli’s solo works for winds on the Danacord label. He is also an advocate of new compositions for the clarinet, having given special attention to works by Leslie Bassett. Ormand performs frequently with his wife, noted soprano Julia Bruxholm. Ormand commented,

As in any physical skill, it is my belief that one must have a mastery of all basic skills. An excellent control of the fundamentals allows one to express oneself musically. I strongly emphasize a fine voicing on the clarinet in the manner taught by Marcellus. A basic articulation must deal with both length and speed and both have certain basic connections and differences. Good reed skills are necessary to consistent performance. It is no fun to be at the mercy of the reed. I encourage my students to listen to fine singers and string players as well as the finest artists on the clarinet. (Ormand/Paddock 1998)

In addition to performing and teaching, Ormand has contributed much to the international clarinet community through his role as President of the ICA from 1990 to 1992. Outside of his musical activities, Ormand enjoys playing golf, preparing Italian cuisine, and traveling. Bib: Ormand, Fred. “Fred Ormand.” F. Ormand. http://www.fred-ormand.com/ (accessed March 14, 2011); Ormand, Fred. “Master Class (Sonate by Hindemith).” The Clarinet 22 (May/June 1995): 4-7; Ormand, Fred. “New Music Reviews.” The Clarinet 6 (Spring 1979): 31; Ormand, Fred, to Tracey L. Paddock, Tallahassee, FL, June 19, 1998; “University of Michigan Clarinet Professor Returns from China.” The Clarinet 15 (May/June 1988): 18.

Osborn, Sean. B. 1966. Grad: Interlochen Arts Acad with FRANK KOWALSKY; Curtis IOM (1989); MM: Southern Illinois Univ (1999) with ERIC MANDAT; additional studies at Eastman SOM with STANLEY HASTY. Composition studies with Frank Stemper. Clarinetist: Metropolitan Opera Orch (Second: 1989-2000); Quake! (Founding Memb); has also performed as Guest Principal Clarinetist with the American, Pittsburgh, and Seattle Symphs, and NY Phil. Active as an intl recitalist (incl Kennedy Center debut at age 17), soloist (incl perf at ClarinetFest 1998), chamber musician (incl perfs with James Levine, RICHARD STOLTZMAN, Donald Weilerstein, members of the Colorado and St. Lawrence String Quartets, and membs of numerous major orchs), and festival artist (incl participation at the Aspen, Colorado, Keystone, and Marlboro music festivals), recording artist (on the Albany Records label); broadcast perfs given on NPR’s Performance Today. Faculty member: Mannes Coll of Music (Guest Lect: formerly); Univ of Washington (current). Other positions/activities: Selmer Artist; active as an award- winning composer (works performed by membs of the Los Angeles and NY Phil Orchs, the Metropolitan Opera, the Juilliard School, and the Marlboro Music Festival) and clinician. Hon: Young Artist Cert, Interlochen Arts Acad; Presidential Scholar in the Arts (1984); Winner, ARTS Compt; Winner, ICA Concerto Compt; favorable reviews of perfs/recordings appear in American Record Guide, Boston Globe, The Buffalo News, Gramophone, and New York Times. Plays on: Selmer Signature clarinets. Bib: Osborn, Sean. “Sean Osborn.” S. Osborn. http://www.osbornmusic.com/(accessed March 14, 2011).

Oshima, Ayako. B. Tokyo, Japan. Wife of CHARLES NEIDICH. Advanced clarinet studies at the Toho School-Japan and Eastman SOM. Clarinetist: Contrasts Quartet (current); Mozzafiato (current). Active as an intl soloist/recitalist (incl perfs at Casals Hall and Keoi Hall), chamber musician, new music specialist, period instrument specialist (incl perfs with Mozzafiato), festival artist (incl participation at Sarasota Summer Music, Festival Consonances-France, and the Mt. Fuji and Kirishima Intl Music

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Festivals-Japan), and recording artist (on the EMI, Sony, Toshiba, Victor, and Vivarte labels) . Faculty member: Juilliard (1993-); Hartt SOM (current); Mannes Coll of Music (current); SUNY-Purchase (current). Other positions/activities: Founder, Kita Kiruizawa Music Seminar; active as an adjudicator (incl judging at the Japan Music Compt and Japan Winds and Percussion Intl Compt), clinician (incl master classes given at the Toho School), and co-author of a book on clarinet technique with husband Charles Neidich. Hon: Winner, Intl Winds and Percussion Compt-Tokyo (1985); Winner, 55th Japan Music Compt (1986); Bronze Medal/Golden Harp Award, Intl Jeunesses Musicales Compt-Belgrade (1987). Students include: Adam Berkowitz, Vasko Dukovski, Nicholas Graham, Ismail Lumanovski, Donald Moy. Bib: “Ayako Oshima.” The Juilliard School. http://www.juilliard.edu/degrees-programs/music/faculty/detail. php?FacultyId=175&School=College&Division=Music (accessed March 14, 2011).

Osseck, William F. B. Aug. 14, 1917 (St. Louis, MO); d. Sept. 5, 1997. BME/Perf Cert/MM: Eastman SOM (1941/1941/1942) with RUFUS MONT AREY. Clarinetist: Rochester Phil (Clarinet/Sax: 1941-68; was a member during RUFUS MONT AREY’s tenure as Principal); Eastman Chamber Orch (Principal: formerly, 1953+). Faculty member: Eastman SOM (Prof of Clarinet/Sax: 1946-88; Prof Emeritus: 1988-97). Other positions/activities: First Sax Instructor, Eastman SOM; Founder/Dir: Eastman Clarinet Choir. Students include: DAVID BELLMAN, GLENN BOWEN, JOHN CIPOLLA, Beth Fabrizio, Henry Fox, CATHRYN GROSS, NORMAN HEIM, Nelson Hill, Rick Lawn, Mark Lopeman, THOMAS MARTIN, Carl Sponenberg, ALAN STANEK, ANDREW STEVENS, NOEL STEVENS, Chris Vadala. Bib: “William Osseck, Professor Emeritus, Dies.” University of Rochester Currents. http://www. rochester.edu/currents/V25/V25N16/story7.html (accessed March 14, 2011).

Owens, Konrad. BA/BM: Oberlin Conserv with GEORGE WALN; BS(Accounting): Elmira Coll; MM/DM: Michigan State Univ. Active as a recitalist, chamber musician (incl perfs with the Janus, Philadelphia, and Thalia Trios, and the Audubon String Quartet), and festival artist (incl participation as Clarinetist-in-Res at the Mt. Gretna Festival); broadcast perfs given on NPR. Faculty member: Mansfield Univ (Prof of Clarinet: formerly, 1966-2000+; Prof Emeritus: current). Other positions/activities: Treas, ICA (1992-96); Certified Public Accountant with private practice. Students include: PATRICIA KOSTEK. Bib: “Candidates for I.C.A. Officers.” The Clarinet 21 (February/March 1994): 35.

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Paashaus, Charles L. D. circa 2002. Grad: Juilliard. Clarinet studies with DANIEL BONADE. Clarinetist: Band of the 36th Engineers Regiment (during WWII, in Europe); also performed in orchs in NY, Philadelphia, and Dallas. Was active as a Broadway theatre clarinetist (incl several productions at Radio City Music Hall). Memb: AFM Local 802. Bib: Henn, Carl. “Band of Brothers.” LiteraryClub.org. http:// www.literaryclub.org/sitebuildercontent/sitebuilderfiles/band_of_brothers-carl_henn.pdf (accessed January 8, 2011); “Requiem.” AFM Local 802. http://www.local802afm.org/publication_entry.cfm? xEntry=4713827 (accessed January 8, 2011).

Pace, Kenneth L. Former faculty member: Northern Illinois State Teachers Coll; Cornell Univ; Middle Tennessee State Univ. Author, Handbook of Clarinet Playing (1967). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet 22 (Spring 1956): 18.

Page, Richard. B. Pittsburgh, PA. Early clarinet studies with LOUIS PAUL. BM: Carnegie Mellon Univ with LOUIS PAUL. Clarinetist: Natl Symph Orch-El Salvador (Principal: 1973-78, +/-); Pittsburgh Symph (Bass: 1978-); Pittsburgh New Music Ensemble (Founding Memb: current): Pittsburgh Chamber Soloists (Founding Memb: 1981-). Active as a recitalist/soloist (incl perfs with the Pittsburgh New Music Ensemble), chamber musician (incl perfs with above groups)., and recording artist (on the Albany Records label). Premiere perfs incl Ezra Laderman’s Concerto for Bass Clarinet and Orch. Faculty member: Centers for the Musically Talented (formerly); Jewish Community Center (formerly); Carlow Coll (1983, +/-). Other positions/activities: Exec Dir, Pittsburgh Chamber Music Project (current); Board Memb/Fund-Raising Chmn, Pittsburgh Model Railroad Historical Society; active as a stained glass artist; other extra-musical activities incl biking, motorcycling, tennis, and skiing. Has played on: Buffet clarinets; Borbeck #11 mouthpiece; Selmer ligature; Morré reeds; Selmer bass clarinet; Selmer bass mouthpiece; Selmer bass ligature; Morré bass reeds. Students include: BRIAN HYSONG, Daniel Paprocki. Bib: “Richard Page.” Pittsburgh Symphony. http://www.pittsburghsymphony.org/pghsymph.nsf/bios/Richard+ Page (accessed March 14, 2011) “The Clarinet Section of the Pittsburgh Symphony Orchestra.” The Clarinet 10 (Spring 1983): 20-1.

Palanker, Edward S. B. Sept. 30, 1939 (NYC). Advanced music studies begun at Mannes Coll of Music (1957-59) with ERIC SIMON; BM: Manhattan SOM (1962) with LEON RUSSIANOFF and JOSEPH ALLARD (bass clarinet); additional studies at the Aspen Music Festival (Summer 1958) with EARL BATES, the Natl Orch Instit with BERNARD PORTNOY, and the Domain School of Conducting (Summer 1959). Additional clarinet studies with ROBERT MARCELLUS. Clarinetist: American Wind Symph (Bass: Summers, 1960-61); Halifax Symph (Second: 1962- 63); Baltimore Symph (Clarinet/Bass: 1962-); Eastern Music Festival Phil/Chamber Players (Principal: Summer, 1965-90); Towson Chamber Players/Wind Quintet (1967-); Theater Chamber Players (Clarinet/ Bass: 1970-75); Orch Piccolo (Co-Principal: 1974-79); Res Musica (1985-91); Choral Arts Society of Baltimore (Principal: current). Active as an intl recitalist (incl perfs at Clar-Fest 1983, ClarinetFest 1998, and other clarinet conferences), soloist (incl perfs with the Eastern Phil, Peabody Wind Ensemble, and Towson State Symph Band/Orch), chamber musician (incl perfs with above groups and on the Second Presbyterian Chamber Music Series and at the St. Petersburg Conserv of Music-Russia), and recording artist (appears on Baltimore Symph recordings, and on the Golden Crest, Mark Educational, Orion, Shall- U-Mo, and Vienna Modern Masters labels). Faculty member: Peabody Prep School (1963-69); Eastern Music Festival (1965-90); Towson State Univ (Vstg Lect: 1965-76; Asst Prof: 1976-); Kinhaven Music Camp (1992-93); Peabody Conserv (Adj Prof: formerly, 1992-2000+; Prof Emeritus: current); Camp Encore (1994). Numerous articles published in The Clarinet, The School Musician, and Woodwind World. Other positions/activities: ICA Regional Chmn, MD (1989-); Selmer Artist; active as an adjudicator and clinician (incl master classes given at the Peabody and St. Petersburg Conservs, and at ClarinetFests and Univ of Oklahoma Clarinet Symposia). Memb: AFM, ICA.

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Hon: schols awarded by Mannes Coll of Music, Aspen Music Festival, and Manhattan SOM; favorable reviews of perfs/recordings appear in American Record Guide, Baltimore Sun, The Clarinet, Greensboro News, Greensboro Record, Musical America, and other publications. Plays on: Buffet R-13 clarinets; Morgan mouthpiece; Rovner ligature; Rico Grand Concert Thick Blank #4 reeds and handmade reeds (formerly, for 15 years); Selmer Low C bass clarinet; Selmer C** bass mouthpiece; Rovner bass ligature; Vandoren #4 bass reeds. Students include: Raymond Ascione, Wendy Bickford, Scott Farquhar, Melany Felsen, Lynné Funkhouser, RICHARD HAWLEY, BRIAN HYSONG, Sam Kaestner, THOMAS LEGRAND, MARGUERITE BAKER LEVIN, Jim Livengood, RICARDO MORALES, Allison Sontz, Bill Welty, David Wetzel. Edward Palanker commented [capitals mine]:

I try to follow one of my teacher’s philosophies, LEON RUSSIANOFF, as much as possible in my teaching. Every student is an individual. I don’t try to make clones of myself. I try to teach each student as though they are my only student. I don’t insist that every student play the same equipment or even that they sound alike. I try to get them to sound as good as they can sound, in the style best fitted for them. I try to bring out my students’ best features and try to strengthen their weaknesses. (Palanker/Paddock 1998)

Palanker is a frequent contributor to The Clarinet. His articles are excellent reading for all clarinetists, but are especially enlightening for aspiring bass clarinetists. They are also noteworthy for their candor and humor, and for Palanker’s frequent and colorful reminiscences of the American clarinet “scene” as it evolved throughout the second half of the twentieth century. Palanker’s personal website (see Bib below) is recommended for more in-depth information on Palanker’s life, career, and philosophy. Bib: “Edward Palanker.” Baltimore Symphony. http://www.bsomusic.org/main.taf?p=4,4,1,1& id=EdwardPalanker (accessed March 14, 2011); Palanker, Edward. “All You Ever Wanted to Know About the Bass Clarinet and Have Been Afraid to Ask.” The Clarinet 2 (August 1975): 12; Palanker, Edward. “Edward S. Palanker.” E. Palanker. http://eddiesclarinet.com/ (accessed January 8, 2011); Palanker, Edward S. “The Clarinet Section of the Baltimore Symphony Orchestra.” The Clarinet 6 (Summer 1979): 18; Palanker, Edward, to Tracey L. Paddock, Tallahassee, FL, May 9, 1998.

Palladino, Catherine. D. Clarinetist: Oregon Symph (Principal: formerly, 1970s to mid-1980s, +/-). Students include: MICHAEL ANDERSON, Phil Baldino, Lori Calhoun, TODD KUHNS.

Palmer, Todd Darren. B. Hagerstown, MD. Clarinet studies begun at age 16, after studying trumpet for 7 years. BM/MM: Mannes Coll of Music with GERVASE DE PEYER; additional studies at Tanglewood (1987). Clarinetist: Minnesota Orch (Guest Principal: 1996-97). Active as an intl recitalist (incl 1986 NYC debut at Weill Recital Hall, and perfs at the Kennedy Center, the 1998 Midwest ClariFest, and numerous U.S. SOMs), soloist (incl perfs with the Alexandria, Flint, Houston, and Maryland Symphs, the Natl Chamber Orch, and the NY Chamber Players; has performed as a soloist throughout North America, Europe, South America, and in Japan), chamber musician (incl perfs with the Chamber Music Society of the Lincoln Center, Musicians from Marlboro, and the Da Camera Society, with vocalists Kathleen Battle, Renee Fleming, and Peters, and with the Borromeo, Brentano, Orion, and St. Lawrence String Quartets), festival artist (incl participation at the Bravo!, Fountainebleu, Round Top, and Spoleto Music Festivals, the Festival in the Sun, the 1st Intl Festival of the Arts-Rieti, Italy, and the Marlboro Chamber Festival), and recording artist (on the Koch Intl Classics label); broadcast perfs given in Japan. Other positions/activities: active as a clinician (incl master class given at 1998 Midwest ClariFest). Hon: Leonard Bernstein Fellowship, Tanglewood (1987); Winner, Artists Intl Compt (1987); Overall Winner, Ima Hogg Young Artist Compt (1988; first wind player to win the top prize); 1st Prize, William C. Byrd Young Artist Compt (1989); Winner, Young Concert Artists Intl Auditions (1990); Silver Medalist, Castello di Duino Intl Clarinet Compt (1991); numerous favorable reviews of perfs/recordings appear in American Record Guide, The Clarinet, Fanfare, New York Times, and Washington Post. Bib: “Clarinotes.” The Clarinet 17 (November/December 1989): 11; “Todd Palmer.” EventofHonor.com. http://eventofhonor.com/comingsoon.htm (accessed March 14, 2011); “Wong, Bradley A. “Audio Notes.” The Clarinet 22 (July/August 1995): 16.

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Paradise, Timothy. B. Sept. 2, 1947 (Monte Vista, CO). BA: Pomona Coll (1969) with KALMAN BLOCH; MM: Yale Univ (1971) with KEITH WILSON; additional music studies in Munich, Germany (1972). Additional clarinet studies with Yona Ettlinger. Clarinetist: St. Paul Chamber Orch (Principal: 1977-); Santa Fe Opera (Principal: 1990). Active as an intl recitalist (incl perf at the 1999 Univ of Oklahoma Clarinet Symposium, and perfs throughout North America and Europe), soloist (incl perf of the Copland Clarinet Concerto with the St. Paul Chamber Orch conducted by Copland), chamber musician, and festival artist (incl participation at the Bellingham and Jackson Hole Festivals). American premiere perfs incl Copland’s Clarinet Sonata, Berio’s Sequenza, and a work by Meyerbeer. Faculty member: Grand Teton Festival Orch Training Seminar (1982, +/-); Univ of Minnesota (formerly, 1990s). Other positions/ activities: collaborated with Copland in 1978 on a version of Copland’s Violin Sonata for clarinet; active as a clinician (incl master class given at the 1990 Univ of OK Clarinet Symposium), and visual artist (special emphasis on watercolor). Hon: Fulbright Fellowship (1972) for study in Germany; featured intermission guest, St. Paul Chamber Orch’s Aaron Copland birthday tribute concert (1990). Plays on: Buffet R-13 clarinets; Kaspar (Cicero) mouthpiece. Students include: Laurel Bennett, JULIA HEINEN, LEE CARROLL LEVINE. In response to the author’s survey for this dictionary, Timothy Paradise wrote that he could have listed numerous other accomplishments beyond those mentioned above, but that those things are not of the highest importance. He distilled the matter into the following comment: “All that matters is how you play each day.” (Paradise/Paddock 1998) Bib: Paradise, Timothy, to Tracey L. Paddock, Tallahassee, FL, June 1, 1998; “Timothy Paradise.” Saint Paul Chamber Orchestra. http://www.thespco.org/artists/timothy-paradise (accessed January 10, 2011).

Parbs, Hans. D. Oct. 14, 1933. Clarinetist: Chicago Symph Orch (Clarinet/Bass: 1895-1933).

Parme, Frédéric. B. France; deceased. Former clarinetist: New York Phil (Clarinet/Bass: 1912- 15, +/-; 1917+); Philadelphia Orch (Contrabass: 1925-28, +/-). Was also active as a saxophone soloist (incl 1927 perf of Debussy’s Saxophone Rhapsody with the Philadelphia Orch). Parme was known not only for his fine bass clarinet and saxophone playing, but was also reputed to be the first clarinetist appointed to the position of full-time contrabass clarinet in an American orchestra (by Stokowski). Bib: Gee, Harry. “French Clarinetists in America, Pt. II: Grisez, LeRoy, Cailliet.” The Clarinet 8 (Summer 1981): 21-22; Stumpf, Robert M., II. “ Concert Register, 1909-1940.” ClassicalNet. http://www. classical.net/music/guide/society/lssa/concertregister.php (accessed January 10, 2011).

Parrette, John Sr. Grad: Ithaca Coll; Carnegie Mellon Univ; MM: Kansas Univ. Clarinet studies with John LaJohn. Former clarinetist: American Wind Symph; USMA Band (for 3 years); Kansas City Phil (Bass/Asst Principal: for 15 years; 1970s, +/-). Students include: THOMAS ABER, John Parrette. Bib: Agostine, Rosella M. “Something About Italians in Jamestown.” http://www.prendergast library.org/jamestown/ItaliansinJamestown.htm (accessed March 14, 2011); Parrette, John. E-mail to the author, March 14, 2009.

Pasquale, Anthony A. B. Sept. 19, 1946 (Greenport, NY). BM/Perf Cert: Eastman SOM (1968) with STANLEY HASTY; MM: Univ of Nebraska-Lincoln (1983) with WESLEY REIST; DM: Rutgers Univ (1998) with GEORGE JONES. Additional clarinet studies with LOREN KITT and RICHARD WALLER. Clarinetist: Corning Symph (Principal: 1967); Rochester Chamber Orch (Principal: 1968); Washington Ballet Orch (Principal: 1972); Ft. Wayne Phil (Principal: 1976); Indiana Chamber Orch (Principal: 1976); Blomstedt Conducting Clinic (Principal: 1976-85); Dayton Phil (Principal: 1980); Lincoln Symph (Principal: 1986-88); Nebraska Chamber Orch (Principal: 1986-88); Omaha Symph (Principal: 1986-88); Rutgers Summerfest Orch (Principal: 1993-); Manhattan Chamber Orch (Principal: 1996-). Active as a chamber musician (incl recordings/perfs with the Moran Woodwind Quintet and members of the Manhattan Chamber Orch), festival artist (incl participation at the 1982 1st Annual Licorice Stick Festival and the Rutgers Summerfest), and recording artist. Faculty member: Wright State Univ (1972-76); Univ of Dayton (1972-76); Univ of Cincinnati (1975); Taylor Univ (1976); Union Coll (1980- 86); Rutgers Univ (1994-). Plays on: Buffet R-13 clarinets; Kaspar (Ann Arbor and Cicero) mouthpieces (c. 1955); Rovner ligature; Moennig barrels; Zonda #3 ½ reeds; plays with a double-lipped embouchure.

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Students include: Priscilla Balasa, CHRISTIAN ELLENWOOD, Michael Fein, Andrew Lesser, Genevieve Webber. Anthony Pasquale uses a double-lipped embouchure, a trait which was influenced by his teacher, former Cincinnati Symphony Principal Clarinetist RICHARD WALLER. Pasquale’s studies with STANLEY HASTY at Eastman were highly influential as were the differing teaching styles of GEORGE JONES, LOREN KITT, and WESLEY REIST. Pasquale offered the following commentary on another influential period of his musical career:

I spent 9 years during the summers of 1976-1985 playing principal clarinet in the Blomstedt conducting clinic in California. These 9 years were and continue to be of great importance to my professional growth as a clarinetist and musician. (Pasquale/Paddock 1998)

Pasquale is very active as a chamber musician. Since 1996, he has produced his own series of chamber music concerts in Southampton, New York, all of which include clarinet-related repertoire. Bib: Pasquale, Anthony, to Tracey L. Paddock, Tallahassee, May 26, FL, 1998.

Passin, Larry. Clarinet studies at Cleveland IOM with FRANKLIN COHEN and THEODORE JOHNSON. Clarinetist: Ft. Wayne Phil (Principal: formerly, at age 22); Barcelona Symph-Spain (Principal: 1990s-, +/-); Aspen Chamber Symph/Festival Orch (Principal: 1996, +/-). Active as an intl soloist (in the U.S. and Spain), festival artist (incl participation at the Aspen Music Festival), and recording artist (incl world premiere recording of the Jesus Rodriguez-Pico Concerto). Faculty member: Aspen Music Festival (1996, +/-). Other positions/activities: Pyne/Clarion Artist. Hon: Winner, Cleveland IOM Concerto Compt. Plays on: Buffet R-13 clarinets; PYNE ~M mouthpiece; Pyne 4+ barrel; Vandoren reeds. Students include: Marta Oberlin. Clarinetist Larry Passin is one of relatively few American clarinetists to have gained a permanent position in a European orchestra. Other American clarinetists who have had success in Europe include LEE MORGAN, ROGER SALANDER, MARINA STURM, SUZANNE STEPHENS, ALLAN WARE, Bib: Pyne, James. “Larry Passin – Artist Profile.” The Clarinet 24 (November/December 1996): 33.

Pasztor, Stephen. B. Nov. 11, 1928 (East Chicago, IN). BA(Mus Ed)/MA(Mus Theory): American Conserv of Music (1953/1954) with LILLIAN POENISCH and JEROME STOWELL. Additional clarinet studies with CLARK BRODY. Clarinetist: Denver Symph (Second/E-flat: 1955-85+); Denver Woodwind Quintet (1967-77); Central City Opera (1971-76). Active as a chamber musician (incl perfs with the Denver Woodwind Quintet). Faculty member: Metropolitan State Coll (1977, +/-); Univ of Colorado-Denver (1977, +/-). Memb: ICA. Bib: “Pasztor, Stephen.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 448; “The Clarinetists of the Denver Symphony Orchestra.” The Clarinet 5 (Fall 1977): 30.

Paul, Louis. B. Dec. 7, 1929 (Newark, NJ); d. May 2003 (Hilton Head, SC). HS clarinet studies at Cleveland IOM Prep Div with JAMES RETTEW. BM: Juilliard with DANIEL BONADE and AUGUSTIN DUQUES. Conducting studies with Jean Morel. Former clarinetist: Dallas Symph (Principal: 1950-56); Pittsburgh Symph (Principal: 1956-94, +/-). Was active as a soloist (incl perfs with the Pittsburgh Symph) and chamber musician. Former faculty member: Carnegie Mellon Univ (1980s, +/-). Played on: Buffet and Selmer clarinets; HITE mouthpiece; Buffet ligature; Vandoren reeds. Other positions/activities: Selmer Artist; extra-musical interests included classical Indian sitar music, oil painting, and tennis. Students include: Sam Clauter, BRIAN HYSONG, Enrique Lasansky, RICHARD PAGE, Tom Servinsky, Barbara Watts-Robinson. In Louis Paul’s obituary, co-principal clarinetist of the Pittsburgh Symphony Orchestra THOMAS THOMPSON spoke with admiration of Paul’s beautiful, dark clarinet sound. Thompson also commented, “The neat thing about Lou is that he was known and respected, but he did not promote himself. . . . He was the most private person you could ever meet.” (Druckenbrod 2011) Bib: Druckenbrod, Andrew. “Obituary: Louis Paul, Principal Clarinetist of Pittsburgh Symphony for 28 Years.” Post-Gazette.com. http://www.post-gazette.com/obituaries/20030508paulobit3.asp (accessed March 14, 2011); “Paul, Louis.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY,

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1985: 450; “The Clarinet Section of the Pittsburgh Symphony Orchestra.” The Clarinet 10 (Spring 1983): 20-1.

Paul, Randall S. Advanced studies: Jacksonville State Univ; Ithaca Coll; Cincinnati Conserv; DM: Univ of Oklahoma. DM diss: “An Investigation of Four Prominent Clarinet Reed Making Techniques.” Clarinet studies with CARMINE CAMPIONE and GERVASE DE PEYER. Clarinetist: Dayton Phil/Woodwind Quintet (Asst Principal: 1990s, +/-); Wright State Univ Faculty Woodwind Quintet (current); Tutti Soloisti (current); has also performed with the /Opera and the Oklahoma City and Utica Phil Orchs. Active as an intl recitalist/soloist (incl acclaimed Carnegie Hall debut, and perfs at ClarinetFest 1998, the Intl Flute Assn Convention, Oklahoma Clarinet Symposium, and World Sax Congress), chamber musician (incl perfs/recordings with above groups), jazz musician (incl perfs with the Wright Profs-Faculty Jazz Combo), and recording artist (with above ensembles); broadcast perfs given on radio. Premiere perfs incl the U.S. premiere of Stephen Chapman’s Prairie Dawn. Faculty member: Wright State Univ (1990s-, +/-). Articles published in The Clarinet. Other positions/activities: ICA State Chmn, OH; Selmer Artist; Founder/Conductor, Clarinettes du Monde; active as a conductor (incl perfs with the Cincinnati Civic Orch and Cimmeron Circuit Opera). Memb: ICA. Hon: favorable review of Carnegie Hall debut appeared in the New York Times. Plays on: Selmer Signature clarinets. Bib: “Randall Paul.” Conn-Selmer, Inc. http://centerstage.conn-selmer.com/artists/artist.php?aid=593 (accessed March 14, 2011).

Pauley, Marlene. BM: St. Olaf Coll; MM: Michigan State Univ with ELSA LUDEWIG- VERDEHR. Clarinetist: American Wind Symph (Soloist/Asst Conductor: formerly); St. Paul Chamber Orch (formerly, 1982-2000+); has served as Principal Clarinetist of the Minnesota Opera/Pops Orchs and Plymouth Music Series; has performed/recorded with the Minnesota Orch. Active as a soloist (incl perfs with the American Wind Symph and St. Paul Chamber Orch), chamber musician (incl perfs with the Halama Wind Octet, founded and conducted by Pauley), and festival artist (incl participation at the Grand Teton Music Festival as clarinetist and/or conductor for 20+ years, 1987-); broadcast perfs given on radio and television. Premiere perfs incl works by Henk Badings, Libby Larsen, and Gregory Sanders. Former faculty member: SUNY-Potsdam; Arkansas State Univ; Coll of St. Benedict. Other positions/activities: active as a conductor (incl positions/perfs with the American Wind Symph, Greater Twin Cities Youth Symphs, Natl Youth Orch of Jamaica, and Naples and Rochester Phils) and clinician/coach (incl work with the St. Paul Chamber Orch’s CONNECT program, founded and conducted by Pauley). Hon: invited to establish and conduct Jamaica’s Natl Youth Orch by the Prime Minister of Jamaica. Bib: “Marlene Pauley.” Joplin.com. http://www.promusicajoplin.org/pp/uploads/other_files/duo.pauley_bios.pdf (accessed January 10, 2011).

Peck, David J. B. Aug. 15, 1950 (Ventura, CA). BM(Clarinet/Comp): Univ of Southern California (1973) with MITCHELL LURIE, Robert Wojciak, and Frank Salazar; additional studies at Music Acad of the West and Instit for Advanced Musical Studies-Switzerland (with Robert Kemblinsky). Clarinetist: Houston Symph (Assoc Principal: 1975-85; Principal: 1991-); San Diego Symph (Principal: 1985-91). Active as a soloist (incl perfs with the Houston and San Diego Symphs), chamber musician (incl perfs/recordings with the Houston Symph Orch Chamber Players), festival artist (incl participation at the Cascade Head Festival, La Jolla Summerfest, and San Luis Obispo Mozart Festival), and recording artist (on the Koch and Pickwick labels). Faculty member: Univ of Houston (Affiliate Artist: 1976-80); Rice Univ (Assoc Prof: formerly, 1991-2000+); Grand Teton Youth Orch Seminar (formerly); active as a private clarinet instructor. Plays on: Buffet Prestige clarinets; LURIE crystal premium mouthpiece; Zonda #4 ½ reeds (adjusted). Students include: KIM ELLIS, BEN FREIMUTH, Frank Garcia, June Garrison, Mae Grimillion, CHRISTOPHER HILL, Juliet Lai, John Mula, Abby Raymond, Patricia Shands, Song Tu, ROBERT WALZEL. Clarinetist David Peck offered the following advice:

When you play, relax your shoulders, arms and hands. Voice your sound (color and timbre) – equipment isn’t everything. Play with utmost expression whenever possible – don’t be a clarinet nerd. (Peck/Paddock 1998)

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Bib: Juvan-Savoy, Connie, Ed. “David Peck.” Houston Symphony Magazine (Summer 1993): 7A; “Musical Chairs.” The Clarinet 12 (Summer 1985): 22; Peck, David J., to Tracey L. Paddock, Tallahassee, FL, June 10, 1998.

Perrier, Pierre. Clarinet studies with Gustave Poncelet. Former clarinetist: Minneapolis Symph (Principal: 1913-20); Los Angeles Phil (Principal: 1919-30s, +/-). Active as a soloist (incl perfs with the Minneapolis Symph). Students include: ANGELO DE CAPRIO, RONALD PHILLIPS, ROBERT VAGNER.

Perry, Timothy B. B. May 26, 1953 (La Crosse, WI). BM(with honors): Manhattan SOM (1975) with LEON RUSSIANOFF; MM(Clarinet)/MMA(Clarinet/Conducting)/DM(Clarinet/Conducting): Yale Univ (1977/1979/1985) with KEITH WILSON; additional studies at Univ of Wisconsin (1971-73) with GLENN BOWEN. Clarinetist: New Haven Symph (Second/E-flat: 1975-79); Glimmerglass Opera Orch (Second/Principal: 1976-81; 1986); Catskill Symph (Principal: 1979-81; 1986-). Active as a recitalist (incl perfs throughout South America and the Caribbean), chamber musician, recording artist (on the Redwood label), and period instrument specialist/collector. Faculty member: Bemidji State Univ (1981- 86); SUNY-Binghamton (Assoc Prof: 1986-). Author, Technical Fundamentals for the Clarinet (1986). Articles published in The Clarinet. Other positions/activities: very active as a conductor (currently conducts the SUNY-Binghamton Univ Orch and Wind Ensemble) and arranger (for Didone and other publishers). Memb: CMS, ICA. Hon: U.S. Musical Ambassador to South America and the Caribbean (1997); 2nd Prize, ICA Research Presentations. Plays on: Buffet R-13 clarinets; Vandoren M13 and GREG SMITH mouthpieces; Vandoren and Rovner ligatures; Vandoren and Grand Select reeds. Also owns and plays on: 5-, 6-, and 7-key pre-Müller clarinets; 13-key Key clarinet (1822); Wood & Ivy clarinet (1830); various other 19th century instruments. Students include: “no major clarinetists, but a lot of successful doctors, accountants, lawyers, biologists, etc.” (Perry/Paddock 1998) Clarinetist Timothy Perry’s principal focus as a musician is to [capitals mine]:

Identify the idea(s) behind a composition and communicate those ideas to the audience, mind to mind, with as little interference from the instrument as possible. This involves not only mastery of technical problems in fingers and tongue, but as serious a study of phrase and gesture in gradations of dynamics, articulation, intonation and timbre. (Ibid.)

Perry added,

I am in the debt of all my teachers for their patience and wisdom in instruction. GLENN BOWEN was – and though retired, still is – an excellent embouchure coach and student of the clarinet mechanism, especially the role of the mouthpiece; LEON RUSSIANOFF effectively remade my finger action from flat to the ‘quiet curve’ which he later describes in his method, although there could be no substitute for his personal correction “Naaaawww!” and kind but firm guidance. KEITH WILSON has never received his due as a consummate musician who looked beyond the instrument, or rather through it, to the musical essence which must emanate from the other side of our efforts. All these teachers stressed fundamentals, and the importance of being able to step backwards, analyze, break down, and re-assemble the way in which we play as a prerequisite to progress on the instrument. And one of the maxims of Otto-Werner Mueller, my conducting teacher, who reminded conductors – and players – too self-involved in our own efforts that “in the hall, it’s not your job to feel the music, it’s to make them (the audience) feel the music!” (Ibid.)

Bib: Perry, Timothy. “High Notes: Clarinets in the Andes and Beyond.” The Clarinet 25 (May/June 1998): 66-68; Perry, Timothy, to Tracey L. Paddock, Tallahassee, FL, August 27, 1998.

Peterson, Thomas. Grad: Eastman SOM. Clarinetist: Cleveland Orch (Asst Principal Clarinet/ Sax: 1959-95); Buffalo Phil (Asst Principal/Principal: formerly, for 6 years, 1950s). Students include: DANIEL SILVER, Richard York.

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Peterson-Pyne, Kyle. BFA: SUNY-Buffalo; grad studies at Juilliard and Eastman SOM. Clarinet studies with STANLEY HASTY, JAMES PYNE, and LEON RUSSIANOFF. Clarinetist: Buffalo New Music Ensemble (Founder/Conductor/Clarinetist: formerly); OperaColumbus: (Principal: 1990s); has also performed with the Buffalo Phil and Columbus Symph-OH. Has been active as a recitalist (incl perfs at ICA and other clarinet conferences). Former faculty member: Capital Univ (Clarinet Instructor/ Conductor of Clarinet Choir: 1990s). Bib: “Musical Chairs.” The Clarinet 20 (May/June 1993): 38.

Pettinari, Guido. Clarinetist: Los Angeles Phil Orch (1943-53, +/-); has been active as a bass clarinetist, Los Angeles studio musician, and arranger.

Phillips, Harry. Faculty member: SUNY-Potsdam (1960s, +/-). Students include: NANCY GARLICK, STEPHEN GIRKO, Vicki Matteson, ROBERT SCHMIDT.

Phillips, Jessica. B. Boulder, CO. Grad (cum laude): Barnard Coll; Columbia Univ; Manhattan SOM; degrees in Music and Political Science. Clarinet studies with LARRY COMBS, RICARDO MORALES, and DAVID WEBER. Clarinetist: Metropolitan Opera Orch (Second/E-flat: current); has also performed with the EOS and Philadelphia Orchs, the American Symph, DiCapo Opera, and La Boheme on Broadway. Active as a recitalist (incl perfs at ClarFest, the Intl Woodwind Festival, the Intl Clarinet Meeting, and the Oklahoma Clarinet Symposium), chamber musician (incl perfs with the MET Chamber Ensemble and Meliora Wind Quintet, at Weill Recital Hall, and at the Kingston Chamber Music and San Luis Obispo Mozart Festivals), festival artist (incl participation at the Aspen, Bard, and Bravo! Vail Valley Music Festivals, and the Music Festival of the Hamptons), and recording artist (incl many “Live From Lincoln Center” recordings and recordings with the Philadelphia Orch); numerous broadcast perfs given on radio. Faculty member: Rutgers Univ (current). Other positions/activities: G. Leblanc Corp. Artist/Clinician; Backun Artist; Rico Artist; active as a clinician. Extra-musical interests incl cooking, golfing, photography, traveling, and hiking with her dog. Bib: “Bio of Jessica Phillips.” Metropolitan Opera. http://www.metoperafamily.org/metopera/season/bio.aspx?id= 3940&type=1&detect=yes (accessed January 10, 2011); “Jessica Phillips.” Mason Gross School of the Arts. http://www.masongross.rutgers.edu/ music/faculty/jessica-phillips (accessed January 10, 2011).

Phillips, Ronald Pickering. B. 1906 (Lac Du Flambeau), WI; d. Aug. 1, 2004. Clarinet studies begun at age 4; advanced studies with DANIEL BONADE (Paris, Summer 1947), GASTON HAMELIN, PIERRE PERRIER, and Eugene Delécluse. Former clarinetist: Seattle Civic Symph (at age 16); Colossium Theatre Orch (Principal: at age 18); Olympic Hotel Orch-Seattle (at age 18); Seattle Symph (Memb: 1927- 33; Principal: 1933-83); Seattle Point of Embarkation Band (1942-43, +/-); Los Angeles Phil (Principal: Far East tour, 1956). Was active as a soloist (numerous perfs given with the Seattle Symph, incl a perf of Rhapsody in Blue, conducted by Gershwin) and chamber musician (incl perfs with the Coolidge Quartet and on the Seattle Art Museum Chamber Series); first U.S. clarinetist to give broadcast perf on Paris Natl Radio (1950). Faculty member: Univ of Washington (1935-68). Other positions/activities: Selmer Artist; Artistic Dir, Seattle Art Museum (1983, +/-); ICA State Chmn, WA (1997). Memb: ICA. Hon: favorable reviews of perfs appear in the Seattle Times and other publications. Played on: Buffet and Selmer clarinets; Buffet (wood), Chedeville, and OPPERMAN mouthpieces. Students include: MERRITT BUXBAUM, Michael Davenport, Darrel Eide, DILEEP GANGOLLI, LOREN KITT, ALFRED MAZZOCCHIO, LAREY MCDANIEL, RICHARD SHANLEY, DAVID SHEA, RICHARD WEBSTER, Eugene Zoro. Ronald Phillips’s playing, an important component of the Seattle Symphony’s sound for 56 years, attracted the admiration of such conductors as Gerard Schwarz, Reiner Meidel, and Sir , and all who performed with him in the orchestra. Clarinetist LAREY MCDANIELS, who performed in the section with Phillips, noted that “the best musical education I ever had was playing alongside him.” (Bargreen 2011) Bib: Bargreen, Melinda. “Ronald Phillips, 98, Clarinetist Who Toured World.” SeattleTimes.com. http://seattletimes.nwsource.com/html/obituaries/2001999175_phillipsobit07.html (accessed March 14, 2011); Hiscock, Sherrick S. II. “The Golden Years of North America’s Senior Principal Clarinetist.” The Clarinet 10 (Spring 1983): 4; “Ronald P. Phillips papers – Special collections, UW Libraries.” http://www. lib.washington.edu/specialcoll/findaids/docs/papersrecords/PhillipsRonaldP5526.xml (accessed March 14, 2011); “Ronald Phillips.” ClariNetwork (Spring 1983): 5.

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Pickar, Richard W. Music studies begun on piano and violin before beginning clarinet studies with KALMAN BLOCH at age 12. BM: Univ of California-Los Angeles (c.1956); Sam Houston State Univ (1964; Thesis: "A Comparative Analysis of Three Editions of the Clarinet Quintet in B minor"); Dipl(with highest honors): Akademie fur Musik und Darstellende Kunst-Vienna, Austria. Additional clarinet studies with LEON RUSSIANOFF. Clarinetist: Glendale Symph (Principal: formerly, at age 16); Los Angeles Conserv Orch (Principal: formerly, at age 16; also conducted the backstage chorus of production of La Boheme); Houston Symph (formerly, for 31 years, 1960s-90s, +/-). Has been active as a soloist (incl perfs with the Los Angeles Conserv Orch and Houston Symph). Former faculty member: Sam Houston State Univ (formerly); Rice Univ (1980s, +/-). Other positions/activities: Musical Dir/Conductor, Galveston Symph (1979-); has also served as Musical Dir of the Houston Metropolitan Symph, Houston Balalaika Society Orch, and Houston Contemporary Ensemble. Hon: Fulbright Grant for study in Vienna. Students include: JONATHON GUNN, David Kelley, Dyke Kiel, Randy Luster, Ralph Mills, NANCY RADNOFSKY, LINDA GALL SILVA, Jeff Smith. Bib: “Richard Pickar.” Houston Sinfonietta. http:// www.houstonsinfonietta.org/guest_pickar.shtml (accessed March 14, 2011).

Pickett, Searl. Faculty member: Lawrence Univ (1958-61, +/-). Hon: Searl Pickett Sax Quartet and Searl Pickett Chamber Music Series (both founded by former student K. Thomas Gainacopulos) named in Pickett’s honor. Students include: K. THOMAS GAINACOPULOS.

Pierce, Jerry D. B. Aug. 4, 1937 (Muncie, IN); d. 1994. Early clarinet studies with Earnest Boyer and David Jarco; advanced studies begun at Indiana Univ with HENRY GULICK and continued in private study with DANIEL BONADE. BA/MM: Ball State Univ. Additional clarinet studies with ROBERT MCGINNIS, BERNARD PORTNOY, JEROME STOWELL. Former clarinetist: Gerald Phillips Big Band (1950s); Muncie Symph (1950s); Virginia Symph (1950s-60s); CBC Radio/ Television Orch (1950s-60s); Halifax Symph (Principal: 1959-61); Birmingham Symph (1961-64); Anderson Symph-IN (Principal: 1967-80s); Anderson Chamber Orch (1970s). Was active as a recitalist, chamber musician, freelance woodwind artist (incl work in various theaters, at the World’s Fair, and at Radio City Music Hall), festival artist (incl participation at the New Hampshire Music Festival), dance band clarinetist (incl perfs with the Starlighters and the Jerry Lorance Trio, and with the bands of Tommy Allen, Russ Carlyle, Gib Gentry, and Doug Mulligan). Former faculty member: Anderson Univ (1967-80s); was also active as a private clarinet instructor. Articles published in The Clarinet (incl “Pierce’s Potpourri,” 1981-94). Other positions/activities: Pres, ICA (1980-86); was also active in his father’s tool design business; enjoyed race car driving. Throughout his musical career, Jerry Pierce did two things with great ardor: he sought to add to his immense library of clarinet-related music (including numerous obscure and out-of-print pieces), and he corresponded with countless clarinet “pen pals” around the world through the mail, exchanging music and knowledge with great generosity, and fostering close friendships with dozens of people, many of whom he never met in person. Pierce was known for his kind and gentle nature, for his vast knowledge of everything pertaining to the clarinet, and for his generosity and willingness to share all of his resources. The donation of his collection of clarinet music to the ICA library at the University of Maryland has made that collection perhaps the most complete collection in the world. Pierce was also devoted to the ICA, shown in his six years of service as President of the organization, and through his popular series, “Pierce’s Potpourri,” in The Clarinet. He was a great friend of his former teacher DANIEL BONADE during the late stages of Bonade’s life, and wrote an excellent series of articles on Bonade (see Bib below). Pierce also wrote articles about clarinetists BERNARD PORTNOY, FRANK STACHOW, and BURNET CORWIN TUTHILL. Bib: McLaughlin, F. Keith. “Jerry D. Pierce (1937-94): A Tribute.” The Clarinet 22 (November/ December 1994): 20-29; Pierce, Jerry. “Pierce’s Potpourri.” The Clarinet Vols. 8-21; Pierce, Jerry. “The Bonade Legacy, Part I.” The Clarinet 4 (Fall 1976): 8-9; Pierce, Jerry. “The Bonade Legacy, Part II.” The Clarinet 4 (Winter 1977): 14-15; Pierce, Jerry. “The Bonade Legacy, Part III.” The Clarinet 4 (Winter 1977): 11-13; Pierce, Jerry. “The Bonade Legacy, Part IV.” The Clarinet 6 (Summer 1979): 6-9.

Pigassou, Georges. B. circa 1896 (France); deceased. Clarinetist: Boston Symph (Bass: 1930-32, +/-). Bib: Huffman, Larry. “Boston Symphony Orchestra Musicians List.” Stokowski.org. http://www. stokowski.org/Boston_Symphony_Musicians_List.htm (accessed January 11, 2011).

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Pino, David. B. 1941 (Lansing, MI). Clarinet studies begun at age 8 with KEITH STEIN. BM(Mus Theory/Comp)/MM(Woodwind Perf)/DM(Clarinet Perf): Michigan State Univ with K. Stein and ELSA LUDEWIG-VERDEHR. Additional clarinet studies with JOHN ALLEMAN and GEORGE SILFIES. Composition studies with H. Owen Reed. Clarinetist: Lansing Symph (Second: 1950s-60s, +/-; with K. Stein); San Marcos Woodwind Quintet (Founding Memb: 1983, +/-); The Mysterium for Modern Music (late 1990s, +/-); David Pino Chamber Ensemble (Founder/Memb: current). Active as an intl recitalist/soloist (incl the 1995 American premiere perf of Geoffrey Hanson’s Clarinet Concerto with the Southwest Texas Symph), chamber musician (incl perfs with the David Pino Chamber Ensemble in res at the Paul Hindemith Foundation and throughout Switzerland), and recording artist (on the Orion label). Faculty member: Southwest Texas State Univ (now Texas State Univ-San Marco; Prof: 1967-); Malmo Conserv-Sweden (Guest Lect/Artist: formerly); Stockholm Conserv-Sweden (Guest Lect/Artist: formerly); Trinity Coll of Music-London (Guest Lect/Artist: formerly). Author, The Clarinet and Clarinet Playing (1980, Scribner’s; reissued in 1998 by Dover Publications). Other positions/activities: ICA State Chmn, TX (1981-86, +/-); Secr, ICA (1986-88); active as a clinician, composer, and lecturer. Memb: ICA. Hon: Winner, three natl 1st prize awards for two of his compositions; favorable reviews of recordings and publications appear in The Clarinet. Has played on: Buffet R-13 and Vintage clarinets (c. mid-1960s); custom-made bells made by Rene Hagmann of Geneva, Switzerland; handmade Robert Scott hard-rubber mouthpiece and nylon barrel; shoestring ligature; handmade reeds. Bib: Gibson, Lee. “Book Review.” The Clarinet 8 (Winter 1981): 43; Joiner, Richard. “Record Reviews.” The Clarinet 5 (Spring 1978): 31; Pino, David. “A Personal Tribute to Keith Stein.” The Clarinet 8 (Winter 1981): 50; Pino, David. “The First Keith Stein Memorial Clarinet Clinic.” The Clarinet 11 (Fall 1983): 22; Pino, David, to Tracey L. Paddock, Tallahassee, FL, June 8, 1998; Snavely, Jack. “Record Reviews.” The Clarinet 5 (Summer 1978): 31.

Pittman, Deborah. B. Oct. 5, 1952 (Brooklyn, NY). BS/MA: Brooklyn Coll Conserv (1974/ 1976) with LEON RUSSIANOFF; DM(ABD): Manhattan SOM (1983); additional studies at the Aspen Music Festival (1971, 1972). Additional clarinet studies with FRANKLIN COHEN and PETER SIMENAUER; bass clarinet studies with VINCENT ABATO and JOSEPH ALLARD. Clarinetist: Goldman Band (Clarinet/Bass: 1973-90); Symph of the New World (Second: 1975- 77); State Symph of Mexico (Co-Principal/Bass: 1977-78); Brooklyn Phil (1978-81); The Orch of NY (Co- Principal: 1979-80); Sacramento Symph (Second/Bass: 1981-90); Univ of California-Davis Contemporary Music Players (Clarinet/Bass: 1988-94); UC-Davis Faculty Wind Quintet/Chamber Ensembles (Clarinet/ Bass: 1992-); Davis Arts Flextet (1994-96). Active as a recitalist (incl perfs at Carnegie Recital Hall and on various recital series), soloist (incl perfs with the California State Univ-Sacramento Symph and at the Brooklyn Coll Concerto and NY Phil Young Artist Compts), chamber musician, theater musician (incl positions with and various Broadway orchs), festival artist (incl participation at Music in the Mountains and the Yachats Festival by the Sea), and recording artist; broadcast perfs given on NPR, KXPR, WQXR-NY, and on PBS. Faculty member: Univ of California-Davis (Lect: 1989-); California State Univ-Sacramento (Prof of Clarinet: 1991-); Sacramento Light Opera Assn’s Theater Education Project (Artist-in-Res: 1996-); has also taught at the Williamsburg Settlement Music School, Brooklyn Conserv (incl Prep Div), and the Hebrew Educational Society. Other positions/activities: Consultant, California Arts Project (1996-); active as an administrator (incl service as Developer/Coordinator of the Urban School Collaborative “Adopt an Artist” Program, and many top leadership positions with the CA Arts Project, 1989-), composer, and woodwind coach (incl work with the Sacramento Youth Symph since 1984, and participation at the CSU-Chico and Chamber Musicians of Northern CA Chamber Music Workshops). Hon: listed in Who’s Who Among Students in American Universities and Colleges (1973-74); Selma Stein Award, Brooklyn Coll Conserv (1974); recip of schols/fellowships from the Music Assistance Fund of the NY Phil, Brooklyn Coll Conserv, and Natl Fellowships Fund; “Outstanding Woman of Color,” CSU-Sacramento (1995).

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Plays on: Buffet R-13 (B-flat) clarinet; Selmer S-1 (A) clarinet; G.G. crystal mouthpiece; Peterson-Pyne ligature; Olivieri #4 ½ reeds; Selmer Model 33 Low C bass clarinet; Vandoren B-44 bass mouthpiece; Hemke #4-4 ½ tenor sax reeds. Students include: Charlie Messersmith, Ricki Nelson. Deborah Pittman values “beauty of sound and expression above all else!” (Pittman/Paddock 1999) In order to achieve these musical ideals, one must have as a foundation a relaxed embouchure, good usage of air, a refined sound developed through long tone practice, and solid technique developed through slow practice. In addition, Pittman urges students to take chances in performance, to explore the repertoire of other instruments, to “collaborate [and] create – expand performance to include the visual and other performing arts,” to acknowledge and treat one’s body as an extension of the instrument, and to “know when to stop.” (Ibid.) Bib: Pittman, Deborah, to Tracey L. Paddock, Alexandria, VA, January 1, 1999.

Pittman, Oakley. Grad: Oklahoma A&M Coll (now Oklahoma State Univ). Former clarinetist: Okalahoma City Symph (Principal); Dallas Symph (Principal). Former faculty member: Classen HS-OK (Dir of Orch/Bands); Oklahoma State Univ (1930-36); Univ of Kansas; Southern Methodist Univ (Dir of Bands). Students include: John Gibson, LEE GIBSON, HENRY GULICK, VANCE JENNINGS, James Smith. Was also active as a conductor. Bib: “John Gibson.” Vancouver Symphony. http://www. vancouversymphony.org/bios/vancouver-symphony-john-gibson-clarinet.html (accessed January 11, 2011); “The History of Oklahoma State University Band Program.” Oklahoma State University Alumni Band Association. http://okstatealumniband.org/history.htm (accessed March 14, 2011).

Plasko, George. BM: Univ of Wisconsin-Madison; MM: Eastman SOM; DM: Cincinnati Conserv; Perf Dipl: Hochschule für Musik and Darstellende Kunst-Vienna, Austria. Clarinetist: Sonos Chamber Ensemble (formerly, 1978, +/-). Has been active as an orchestral clarinetist, chamber musician, and recording artist (with the Sonos). Former faculty member: Univ of Minnesota (Asst Prof/Artist-in-Res: 1978, +/-). Articles/reviews published in The Clarinet and NACWPI Journal. Other positions/activities: Pres, ADI (music touring co.). Hon: Fulbright Grant for study in Vienna, Austria; Winner (with Sonos), 1978 Concert Artists Guild Compt. Bib: Plasko, George. “An Interview with Cloyde Williams.” The Clarinet 6 (Spring 1979): 16; Plasko, George. “Clarinet Music Reviews.” The Clarinet 6 (Fall 1978): 14; Plasko, George. “The Clarinet Section of the Minnesota Orchestra.” The Clarinet 6 (Spring 1979): 17.

Platamone, Vito, Jr. Clarinet studies with ANTHONY GIGLIOTTI and ROBERT MARCELLUS. Clarinetist: USMA Band-West Point (formerly, active 1960s, with LARRY COMBS). New Orleans Symph (Principal: formerly); Prescott Pops-AZ (Principal: current). May have taught at Loyola Univ. Other positions/activities: active as a clarinet teacher, lecturer (incl participation at ICA events), and ligature designer. Author, Clarinet and Saxophone Reed Adjustments. Students include: JOHN REEKS. Bib: “Reed Books.” Van Cott Information Services. http://www.vcisinc.com/reeds.htm (accessed March 14, 2011).

Poenisch, Lillian Juanita. B. Kansas. Clarinet studies with JOSEPH SCHREURS, CARL MEYER, and ROBERT LINDEMANN. Began performing with her mother at the age of 13 as members of an Arkansas vaudeville company. Former clarinetist: Bush Conserv Orch (Principal); Women’s Symph Orch of Chicago (Principal: 1940s, +/-); Grant Park Symph; Dasch’s Little Symph Orch (Principal); may have performed with the Chicago Symph; was also active as a Chicago theater musician. Faculty member: American Conserv of Music (1950s, +/-). Other positions/activities: Founder, Organized Women Musicians; Founder/Conductor, Chicago Women’s Concert Band; Music Chmn, IL Federation of Music Clubs; was active as a conductor (incl positions with the Chicago Women’s Concert Band and Women’s Symph Orch of Chicago). Hon: listed in Who is Who In Music (1941). Students include: STEPHEN PASZTOR Lillian Poenisch was a pioneer in women’s orchestral playing. Along with two other women, she raised money to found the Woman’s Symphony Orchestra of Chicago in 1925, an ensemble created to remedy the lack of orchestral opportunities for professional female musicians. The orchestra gained popularity to rival that of the Chicago Symphony during their performances on the Grant Park concert series and also maintained a popular concert series of its own. The orchestra was disbanded in 1947 by which time many doors had been opened for orchestral careers for professional female musicians.

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Bib: Dempf, Linda. “Seeking to Overcome the Handicap of Being Barred from Established Orchestras: The Story of the Woman’s Symphony Orchestra of Chicago.” International Women’s Brass Conference Newsletter 10 (Summer 2004): 4-7; “Poenisch, Lillian Juanita.” Who is Who in Music. Chicago: Lee Stern Press: 185; “Women on Their Own – TIME.” Time.com. http://www.time.com/ time/magazine/article/0,9171,755467,00.html (accessed March 14, 2011).

Polatchek or Polatschek, Victor. B. Jan. 29, 1889 (Chotzen, Bohemia; now part of the Czech Republic); d. July 27, 1948 (Massachusetts). Grad: Vienna Conserv (1907). Clarinetist: Vienna Phil/Opera (1912-30); Boston Symph (Principal: 1930-48). Was active as a soloist (incl perfs with the Boston Symph), chamber musician, and festival artist (incl perf at the Berkshire Festival of Chamber Music, 1934). Faculty member: Vienna Conserv (1921-30). Compiler of several etude books incl: 12 Etudes for Clarinet; 24 Clarinet Studies for Beginners; Advanced Studies for the Clarinet. Played on: Oehler-system clarinets. Students include: CHARLES ELLIS-MACLEOD, DAVID GLAZER, HENRY GULICK, DONALD MCCATHREN, DAVID OPPENHEIM, BERNARD PORTNOY, HARRY SCHMIDT, ERIC SIMON, Leopold Wlach. Of Victor Polatchek’s playing, Boston Symphony Orchestra chronicler Gerome Brush wrote:

There are times in music when every instrument but one is stilled and that one instrument carries on alone. Everything is expected of it by conductor and audience alike. The clarinet is temperamental, so the player must not be. It is the 60th measure of the allegro of Der Freischütz. On the beat, clear as crystal, “sol” and then “mi-bemol” must be wafted over the audience. That is when the Boston Symphony Orchestra, Inc., is paging the stolid and dependable Mr. Polatschek. (Brush 1936, 1956-57)

Bib: Brush, Gerome. Boston Symphony Orchestra: Charcoal Drawings of Its Members with Biographical Sketches. Boston: Merrymount Press, 1936: 156-57; Huffman, Larry. “Boston Symphony Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Boston_ Symphony.htm (accessed March 14, 2011); Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 197.

Politzer, David. Clarinetist: St. Louis Symph Orch (1949-50, +/-).

Polley, Jo Ann Marie. B. Mar. 1, 1951 (Racine, WI). BA(Instrumental Mus Ed, cum laude): St. Olaf Coll (1973) with RUBEN HAUGEN; MM(Perf): Northwestern Univ (1974) with FRED ORMAND; PhD(Clarinet Perf/Mus Theory/Mus Lit): Michigan State Univ (1983) with FRED ORMAND. Additional clarinet studies with RUSSELL DAGON, Dan Gilmore, and ROBERT MARCELLUS. PhD diss: An Analysis of the Concerto for Clarinet and Orchestra by . Clarinetist: Minnesota Orch (Sub Clarinet/Bass: current); St. Paul Chamber Orch (Sub Clarinet/Bass: current); North Winds Quintet (Founder/Memb: current). Active as a free lance clarinetist (incl perfs with the Minneapolis Pops, Minnesota Opera, and various ballet and Broadway show orchs), recitalist/soloist, chamber musician (incl perfs with the North Winds Quintet), and recording artist. Faculty member: Arkansas State Univ (Instructor: 1977-80); St. Olaf Coll (Prof: formerly, 1981-2000+; Prof Emeritus: current; was 1st full-time woodwind faculty memb). Other positions/activities: ICA State Chmn, MN (1982-97); ICA North Central Chmn (1997-); Conductor, St. Olaf Philharmonia (current); Board Memb, Fairview Arts Medicine Center (current); active as a clinician. Memb: CMS, ICA, MENC, Minnesota MEA. Hon: Minnesota Symph Young Artist (1969); 1st Place, Woodwind Div, Woman’s Assn of Minnesota Symph Orch (1972). Plays on: Buffet R-13 clarinets; PYNE PK mouthpiece; BAY and BG Revelation ligatures; Yamaha Low C bass clarinet; Yamaha bass mouthpiece; Bay and BG Revelation bass ligatures. Students include: Susan Dvoroscik, JENNIFER GERTH, Chelsea Kimpton, Karrin Meffert-Nelson, Kristen Peterson, Gregory Sanders, Lisa Weyer. Bib: Polley, Jo Ann Marie, to Tracey L. Paddock, Tallahassee, FL, June 28, 1998.

Pope, Kathy. BM/MM: Indiana Univ with BERNARD PORTNOY. Additional clarinet studies with CHRISTIE LUNDQUIST. Clarinetist: Ballet West (Principal: current); perfs regularly with the Utah Symph; has also performed with the Opus Chamber Orch. Active as a recitalist (incl perfs at ICA conferences), soloist (incl perfs with the Salt Lake Symph), chamber musician (incl perfs with the Utah Chamber Artists), and recording artist (on the Centaur label). Faculty member: Univ of Utah (Prof of

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Clarinet: current); Westminster Coll (Adj: current); has also taught at Weber State Univ. Other positions/ activities: Buffet Crampon USA Perf Artist; ICA State Chair, UT; MTNA Natl Clarinet Repertoire Consultant; active as an adjudicator and clinician. Hon: numerous favorable reviews of recordings (incl a review written by MITCHELL LURIE) appear in American Record Guide, The Clarinet and Deseret News. Students include: David Kjar. Bib: “Kathy Pope.” University of Utah. http://www.music.utah.edu/faculty/ faculty_a-z/kathy_pope (accessed March 14, 2011).

Porotsky, Richard. Grad: Curtis IOM (1956). Clarinet studies with ANTHONY GIGLIOTTI. Former clarinetist: Cincinnati Symph (Asst Principal/Assoc Principal/Principal: 1960s-90s, +/-); has also performed/recorded with the Cincinnati Pops. Active as a chamber musician (incl perfs on the Taft Chamber Music Series and with Autumn Winds). Bib: “Curtis Alumni Since 1924: Clarinet.” Curtis Institute of Music. http://216. 158.58.59/about-curtis/history/full-alumni-listing/view-by-instrument.html (accessed March 14, 2011).

Portnoy, Bernard. B. Dec. 4, 1914 (Pittsburgh, PA); d. Dec. 2, 2006. Early clarinet studies with DOMENICO CAPUTO. Grad: Curtis IOM (1937) with DANIEL BONADE; additional studies with VICTOR POLATCHEK, oboist Marcel Tabuteau, and conductor Fritz Reiner. Former clarinetist: Kansas City Phil (Principal: 1938-39); Pittsburgh Symph (Principal: 1939-40); Philadelphia Orch (Principal: 1940-43; 1949); WOR Mutual Broadcasting Orch (Principal: mid-1940s); Cleveland Orch (Principal: 1947-53); also performed with the Columbia Broadcasting Orch, NBC Symph (c.1953), American Symph, and Pablo Casals Orch during the 1950s and/or 1960s. Was active as a recitalist/soloist (incl perfs with the Philadelphia Orch), chamber musician (incl perfs with the Budapest and Curtis String Quartets), NYC freelance musician, studio musician (incl work on numerous television and motion picture soundtracks), Broadway theatre musician (appeared on Broadway recording of My Fair Lady with Rex Harrison and Julie Andrews), and recording artist (incl recordings with above orchs, with , Kostalanich, Ormandy, Stokowski, Szell, Toscanini, and other conductors, on the Capitol, Columbia, MGM, Victor, and Vox labels). Former faculty member: Curtis IOM (1940s); Juilliard (1956-68); Indiana Univ (Prof: 1968-85; Prof Emeritus); Natl Orch Assn. Articles published in The Clarinet and The Woodwind. Other positions/activities: was active as a mouthpiece/ligature craftsman; was a member of the Merchant Marine during WWII. Memb: AFM, Bohemian Club-San Francisco, MENC. Hon: featured on the cover of the Fall 1981 issue of The Clarinet. Students include: GARY BEHM, Matthew Bennett, LAWRENCE BOCANER, ALAN BRADLEY, MARK BRANDENBURG, MIKE CAVIN, GUY CHADASH, FRANKLIN COHEN, PETER COKKINIAS, EDDIE DANIELS, STANLEY DRUCKER, K. THOMAS GAINACOPULOS, HARRY GEE, MICHÉLE GINGRAS, Donald Grant, Leslie Hicken, THEODORE JAHN, ROBERT JONES, JAMES MEYER, JOHN MOSES, EDWARD PALANKER, JERRY PIERCE, KATHY POPE, JOSEPH RABBAI, EDWIN RILEY, Tom Saul, Ken Shaw, GEORGE SILFIES, Randall Smith, GARY SPERL, MICHAEL WEBSTER, Lowell Wiener; numerous service band clarinetists and high school/univ band directors. While Bernard Portnoy credited DANIEL BONADE for forming the foundation of his clarinet playing, he attributed much of his musical development to his studies with oboist Marcel Tabuteau. Portnoy’s studies with Bonade also strongly influenced his own teaching style, which was based on the French school of clarinet study in conjunction with the study of classic clarinet literature. Portnoy considered some of the most important elements for the developing clarinetist to be reed adjustment, ensemble/orchestral performance tactics, and exploring “the shades of color that the clarinet contributes.” (Portnoy/Paddock 1998) Former Portnoy student HARRY GEE offered the following commentary on Portnoy’s teaching [capitals mine]:

Like many great teachers, such as GASTON HAMELIN, SIMEON BELLISON, Marcel Mule, and the late LARRY TEAL, Portnoy has shown an almost parental feeling in his sincerity and personal interest toward all of his pupils. This very special quality is, unfortunately, not always given by many busy performer-teachers. (Pierce 1985, 11)

Portnoy offered the following commentary on his career:

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My life in music exposed me to many stories which [were] very interesting. My travels with orchestra tours of the Philadelphia Orchestra in Europe and the NBC tour of the United States with Toscanini had many laughs. I am retired at this time but am still looking for a reed that will satisfy the sound I would like to hear. (Portnoy/Paddock 1998)

Portnoy concluded his comments with a summary of the current and future climate for aspiring clarinetists: “There is always room for someone good. We must have good schooling with the proper teachers, the right environment and luck.” (Ibid.) Bib: “Bernard Portnoy.” The Clarinet (Fall 1951): cover; Huffman, Larry. “Philadelphia Orchestra Musicians.” L. Huffman. http://www.stokowski.org/Philadelphia_Orchestra_MusiPcians.htm (accessed January 11, 2011); Pierce, Jerry. “Bernard Portnoy.” The Clarinet 12 (Summer 1985): 6-12; “Portnoy.” Woodwind Magazine 1 (March 1949): 6; Portnoy, Bernard, to Tracey L. Paddock, Tallahassee, FL, May 26, 1998; “Portnoy, Bernard.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 467.

Poto, Attilio. B. Aug. 12, 1914 (Boston, MA); d. July 23, 2003 (Boston, MA). Grad: Natl Orch Assn (c.1930s). Clarinet studies with Tito Allegra, EMILIO ARCIERI, _____ Leavitt, John Rossi, and AUGUSTO VANNINI. Conducting studies with Leon Barzin and Serge Koussevitsky, and at Tanglewood Music Center. Clarinetist: Metropolitan Opera Orch (Principal: 1939-40); 628th Air Force Band (1942-46); Boston Symph (Second: 1949-51). Was active as a recitalist/chamber musician (incl perfs at the Boston Conserv) and recording artist (on recordings with the Boston Symph under Koussevitsky and Boston Pops under Arthur Fiedler). Faculty member: Boston Conserv (Prof of Clarinet/Conducting: 1949-92). Author, To Beat or Not to Beat: The Art of Conducting. Other positions/activities: was active as a conductor (incl positions with the Massachusetts State Symph, 1940-42, Army Air Forces Sinfonietta, 1942-45, Tanglewood Orch, 1946, Gian Carlo Menotti’s Telephone and a Medium, 1946, Harvard-Radcliffe Orch, 1949-55, and Concord Orch, 1955-69). Memb: AFM (NY, Boston). Hon: Winner, Boston Herald/Conn Co. Youth Orch Contest (1934); awarded the “I Migliori” Honor by the “Pirandello Club” (1989). Played on: Selmer, Buffet and Bundy clarinets; Selmer mouthpiece; Vandoren reeds. Students include: Chester Brezniak, Todd Brunel, John Buchanan, Cathy Clinton, Carmine Giouta, Warren Hatch, Ernest Manuel, Anthony Morss, Thomas Page, Frank Pardi, Alfred Puopolo, Elizabeth Renda, Kathy Rideout, Michael Vara. Attilio Poto offered the following tenets of his teaching philosophy:

1) The best way to develop a beautiful clarinet sound is to use the Kroëpsch studies, Book I and II, very slow, subdivided, with a full sound. This approach builds a healthier round sound. 2) All the Rose studies must be done. 3) To complete the training, the “Perier” collection of sonatas must be done for Style and Interpretation. 4) Orchestral studies should be done. (Poto/Paddock 1998)

Like BERNARD PORTNOY, listed just above, Poto concluded with his own contrasting assessment of the employment climate for the aspiring professional clarinetist, commenting, “The employment situation in America is not encouraging. It would be very wise and practical to get a Degree in teaching and still audition.” (Ibid.) Bib: Koshkin-Youritzin, Victor. “Memories of Koussevitsky: Victor Koshkin-Youritzin Interviews Attilio Poto.” ClassicalNet. http://www.classical.net/music/guide/society/krs/excerpt8. php (accessed March 14, 2011); Poto, Attilio, to Tracey L. Paddock, Tallahassee, FL, June 15, 1998; “Poto, Attilio.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 467.

Poulin, Pamela Lee. B. Marlboro, NY. BM/MA/PhD: Eastman SOM (1972/1977/1983) with STANLEY HASTY. Additional clarinet studies with LEON RUSSIANOFF. MA thesis: “The Basset Clarinet of and Its Music.” Active as a recitalist/soloist (incl perf at ClarinetFest 1998). Faculty member: Rutgers Univ (Instructor: 1974-75); Univ of North Carolina-Chapel Hill (Vstg Prof:

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1977-78); SUNY-Cortland (Asst Prof: 1978-85+); Peabody Conserv (1995-, +/-). Articles published in The Clarinet and College Music Symposium. Other positions/activities: Pres, CMS Northeast Chapter (1979- 84); Memb, CMS Natl Council (1981-83); Vice Pres, NY State Mus Theory Society (1983-85+); active as an editor/translator (incl an Oxford Univ Press edition/translation of J.S. Bach’s Vorschriften und Grundseitze, and an edition/co-translation of A.E. Neidt’s Musicalische Handleitang Vols. I-III); active as a scholar in the history of music theory in the 17th/18th centuries and on clarinetist Anton Stadler. Memb: CMS, NY State Mus Theory Society. Bib: Poulin, Pamela. “Updated Report on New Information Regarding Stadler's Concert Tour of Europe and Two Early Examples of the Basset Clarinet.” The Clarinet 22 (February/March 1995): 24-28; “Poulin, Pamela Lee.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 468.

Pound, Gomer Jeffrey. B. July 4, 1927 (Saginaw, MI). BM: Michigan State Univ (1950) with KEITH STEIN; MME/PhD: Florida State Univ (1954/1965). PhD diss: “A Study of the Clarinet Concerto Literature Composed before 1850: With Selected Items Edited and Arranged for Contemporary Use.” Faculty member: Morehead State Univ-KY (Asst Prof of Clarinet/Mus Theory/Mus Hist: 1952-56); Florida State Univ (Instructor of Clarinet/Mus Ed: 1956-57); Univ of Southern Mississippi (Prof of Mus Ed: 1958- 85+). Author: Music Fundamentals for Teachers (William C. Brown, 1972); A Handbook for Writing Graduate Thesis (Kendal/Hunt, 1977). Published in Bandwagon; also published America’s Songbag, a regular series of articles which appeared in a variety of newspapers (1976-83). Other positions/activities: active as a scholar of clarinet lit/perf, music ed, and American music. Memb: MENC, Mississippi MEA, NACWPI. Students include: James Sclater. Bib: “Pound, Gomer Jeffrey.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 468.

Powell, Ross. BM(Woodwinds): Univ of Michigan with ALBERTO LUCONI; Perf Cert/MM/ DM studies: Eastman SOM with D. STANLEY HASTY. Clarinetist: Buffalo Phil (formerly, 1960s); Rochester Phil (formerly); Dallas Symph/Opera (formerly); Voices of Change (Co-Founder/Clarinetist: formerly, 1970s-2000+, +/-; served as Pres/Dir, 1975-83). Active as a recitalist, chamber musician, contemporary music specialist (incl perfs with Voices of Change), and recording artist (on the CRI, Crystal, New World, Odyssey, and Redwood labels). Former faculty member: Southern Methodist Univ (Assoc Prof: 1970s-2000, +/-). Other positions/activities: active as an administrator (incl positions as Dallas Symph’s Dir of Educational Services and Southern Methodist Univ’s Head of Orch Instruments, 1979-95) and lecturer (incl perfs/lectures given at ICA conferences). Former memb: NEA’s New Music panel; TX Commission of the Arts panel; City of Dallas Office of Cultural Affairs panel. Students include: Thomas Parchman, Ilya Shterenberg. Bib: Livingood, Marvin. “The 1977 International Clarinet Clinic.” The Clarinet 5 (1977): 13; “Ross Powell, Clarinet.” Voices of Change. http://www.voicesofchange.com/ Ross01.htm (accessed March 14, 2011).

Powell, William E. Artists Dipl: Juilliard with STANLEY DRUCKER; MFA: California Instit of the Arts (1979) with MICHELLE ZUKOVSKY. Additional clarinet studies with LEON RUSSIANOFF and Master Karnatic Clarinetist Sri A.K.C. Natarajan of Tiruchirapalli (India). Clarinetist: CalArts New Century Players (current); Titan Trio (current); former Principal Clarinetist of the Las Vegas Symph, the Orange County and San Diego Chamber Orchs, and Reno Phil; has also performed with Rochester Phil, Buffalo Symph, and Dallas Opera Orch. Active as an intl recitalist (incl perfs at ClarinetFest 1997, at several Intl Congresses on Women in Music, at Avery Fischer and Carnegie Recital Halls, the Kennedy Center, and the United Nations’s Dag Hammerskjold Auditorium, and in India and South Asia), soloist (incl perf with the Buffalo Phil), chamber musician (incl perfs with the Aulos and Sierra Wind Quintets, the Titan Trio, and AULOS), festival artist (incl participation at the Aspen and North American New Music Festivals), recording artist (on the Cambria, CRA, Electra/Asylum, and Nonesuch labels), and specialist in electronic music and cross-cultural perf; broadcast perfs given on All India Radio, Swedish Natl Television, NPR, and numerous Los Angeles radio stations. Has premiered more than 300 works. Faculty member: Univ of California-San Diego (formerly); San Diego State Univ (formerly); California State Univ-Northridge (formerly); Univ of Nevada-Las Vegas (formerly); California Instit of the Arts (Instructor of Clarinet and Chamber Mus/Chmn of Perf: 1990s-, +/-); Brhaddhvani Research and Training Center for Music of the World (1993); Univ of Madras (1993).

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Other positions/activities: Buffet Crampon USA Perf Artist; active as a lecturer and scholar in the areas of teaching methodologies, perf practices, and Indian wind instrumentalists. Hon: Sr. Research Grant/Indo-American Fellowship for studies in India, J. William Fulbright Commission (1993); Creative Leave, CalArts (1993); favorable reviews of perfs appear in numerous publications incl High Fidelity/Musical America, Las Vegas Review-Journal, Los Angeles Times, The New Yorker, New York Times, San Diego Magazine, The San Diego Union. Plays on: Buffet RC Prestige clarinets. Students include: Malathi Iyengar, MICHAEL RICHARDS, Jennifer Showalter, Brian Walsh. Bib: Powell, William. “William E. Powell.” W. Powell. http://www.williamepowell.com/bio.html (accessed March 14, 2011).

Prencipe, Pasquale [“Pat”]. D. 1985. Former clarinetist: Baltimore Symph (Clarinet/Bass: 1949-51); Boston Pops (Second/Bass: 1960s); was also active as a saxophonist and Boston theater musician. Former faculty member: Boston Conserv (1960s-70s, +/-). Students include: Frank Bonanno, Eric Daniel. Eric Daniels, a former student of Pasquale Prencipe, discusses Prencipe’s teaching technique at some length in his publication, The Saxophone Survival Kit (see Bib below). Lessons consisted of chromatic, major, and minor scale exercises in various patterns and articulations, solfege, etudes (including those of Klosé, Jeanjean, Opperman, and the Jay Arnold Swing Etudes (for fun), rhythmic studies, and conducting, all while maintaining a good, strong sound. Prencipe was insistent that the student be committed to what he/she was playing at all times, and would not accept less than that. (Daniel 2011) Bib: Daniel, Eric. “The Saxophone Survival Kit.” LuLu.com. http://www.lulu.com/product/ paperback/the-saxophone-survival-kit-a-guide-for-aspiring-professional-saxophonistsor-just-anyone/ 4329193 (accessed March 14, 2011).

Price, Robert E. Clarinetist: Atlanta Symph (1956-62, +/-). Active as a chamber musician (incl the 1999 world premiere of Howard Buss’s Night Flight for clarinet, piccolo and piano). Bib: “Clarinotes.” The Clarinet 27 (December 1999): 16

Price, Robert H. BA(Art/Music Perf): Univ of Texas; MA (Liberal Arts): St. John’s Coll; PhD (Arts/Perf): The Union Instit & Univ. Clarinetist: BL Lacerta (a new music improvisation quartet; current); The Mora (Balkan ensemble; current). Active as a recitalist (incl perf at Carnegie Recital Hall with BL Lacerta), chamber musician (incl perfs with BL Lacerta and The Mora), contemporary improvisation specialist, performance artist, and recording artist (on the Irida label). Faculty member: Thomas Edison State Coll (current); Marylhurst Univ (current). Other positions/activities: Founder, Present Time Dream Factory (funds art projects in Price’s community); also teaches course in the humanities, religions, world music, and public speaking. Hon: favorable reviews of perfs appear in The New York Times and The Village Voice. Bib: “Dr. Robert Price.” Thomas Edison State College. http://multimedia.tesc.edu/ newsletters/insights/issues/feb_2009/blurb2.html (accessed March 14, 2011); “Robert Price.” Marylhurst University. http://www.marylhurst.edu/music/bio-rprice.php (accessed March 14, 2011).

Pripadcheff, Alexander. Clarinetist: Cleveland Orch (Principal: 1931-33). Students include: S. JAMES KURTZ, DENNIS ZEISLER. This surname has also been spelled Prepadchef, Prepadchieff, and Pripadchef.

Pupa, Robert. Clarinetist: Pittsburgh Symph (E-flat/Aux: formerly); Sigmund Romberg Orch (Principal: 1939-42).

Pyne, James. BFA(Perf/Mus Ed): Univ of Buffalo; MM(Perf/Mus Lit): Eastman SOM with STANLEY HASTY. Clarinetist: Buffalo Phil (Asst Principal/Principal: 1964-86, +/-; at age 18; at the invitation of Josef Krips); Lake Placid Summer Chamber Orch/Sinfonia (Principal: formerly); Buffalo Woodwind Quintet (formerly). Active as a recitalist (incl perfs at ICA conferences and the 1985 Arizona Clarinet Symposium), soloist (incl perfs with the Buffalo Phil), chamber musician (incl perfs with the Buffalo Woodwind Quintet), festival artist (incl participation at the Grand Teton Music Festival and the 1984 and 1985 Sebago-Long Lake Chamber Music Festivals), and recording artist (with the Buffalo Phil).

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Faculty member: SUNY-Fredonia (Clarinet Instructor/Chamber Music Coach: formerly); Cleveland IOM (Clarinet Instructor/Chamber Mus Coach: 1982-85, +/-); SUNY-Buffalo (1980s, +/-); Univ of Michigan (Vstg Prof: 1983-84); Ohio State Univ (Prof: 1986-). Articles published in The Clarinet. Other positions/activities: Memb, Technical Committee, Acoustical Society of America; active as an acoustics scholar (specifically regarding the properties of musical instruments and perf halls), lecturer/clinician (presentations given at ICA and other clarinet conferences), scholar in clarinet bore and mouthpiece design, and as a well-respected mouthpiece and barrel craftsman (perhaps the most prominent of the late 20th century). Memb: Acoustical Society of America, AFM, ICA, OSU Center for Cognitive Science. Students include: SALVATORE ANDOLINA, Deborah Andrus, GREGORY BARRETT, David Carter, Antoine Clark, JILL COGGIOLA, Bruce Curlette, KIM ELLIS, JANE ELLSWORTH, DEBORAH FABIAN, Lynn Fryer, CARMELO GALANTE, KATHLEEN GARDINER, KENNETH GRANT, Robert Jones, EUGENE KAVADLO, Lisa Kadala, DANIEL LOCHRIE, Kenneth Long, Alisha Leigh Miller, Douglas Monroe, Daniel Paprocki, Tracey Paroubek, James Perone, Kyle Peterson-Pyne, MELANIE RICHARDS, ERIKA SHRAUGER, Maggie Smith, Elisabeth Stimpert, PETER WRIGHT III, Richard York. James Pyne is well-known not only as a performer and teacher, but also as a designer and craftsman of a very popular series of clarinet mouthpieces and barrels, and as a scholar in the area of acoustics. More than forty entrants in this dictionary (including the author) use or have used Pyne’s mouthpieces and/or barrels. His work in mouthpiece design and acoustics is described in a biographical sketch appearing in The Clarinet:

Pyne has collaborated with the many of the world’s leading clarinetists in the design and preparation of hand-crafted mouthpieces. This has led to research using sophisticated computer programs for real-time timbre analysis involving the visualization and measurement of sound spectral characteristics. . . . this work has been expanded to examine the unique characteristics of musical sound in a more general way, integrating both physical and psychoacoustical factors important in our perception. (Stimpert 1997, 28-30)

Pyne’s advertisements in The Clarinet regularly feature an “Artist Profile,” a brief biographical sketch of clarinetists who use Pyne’s equipment. “Artist Profiles” have featured clarinetists JAMES CAMPBELL, RUSSELL DAGON, KATHLEEN GARDINER, DANIEL GILBERT, KENNETH GRANT, HOWARD KLUG, RICARDO MORALES, THEODORE OIEN, LARRY PASSIN, CHARLES WEST, and others. Bib: “Musical Chairs.” The Clarinet 11 (Fall 1983): 38; “Musical Chairs I.” The Clarinet 14 (Fall 1986): 44; Pyne, James. “James Pyne.” Pyne/Clarion. http://www.pyne-clarion.com/James_Pyne.html (accessed January 11, 2011); “Pyne, James.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 474; Pyne, James M. “In Search of Resonance, Some Preliminary Findings.” The Clarinet 12 (Spring 1985): 30-33; Stimpert, Elizabeth M. and James Pyne. “Exploring the Science of the Clarinet: Dr. Lee Gibson's Contributions to Musical Acoustics.” The Clarinet 24 (May/June 1997): 28-30.

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Querze, Raoul. Dipl: Curtis IOM (1956) with ANTHONY GIGLIOTTI; BM: Manhattan SOM. Additional clarinet studies with JOSEPH ALLARD. Clarinetist: U.S. Marine Band (formerly, for 4 years); Philadelphia Orch (Second/Principal Sax: 1962-); has also performed as a member of the Goldman Band, Symph of the Air, the Aeolus Woodwind Quintet, the Brooklyn and Metropolitan Opera Orchs, the Main Line and Queens Symphs, the Washington Civic Orch, and the Manhattan Orch. Active as a soloist (incl perfs with the U.S. Marine Band). Has played on: Buffet clarinets; GIGLIOTTI mouthpiece/ligature; Vandoren #5 reeds; Selmer saxes with Rico Royal reeds. Other positions/activities: extra-musical activities have included tennis and building/flying radio-controlled model airplanes. Students include: Richard He. Bib: Mohler, John. “The Clarinet Section of the Philadelphia Orchestra.” The Clarinet 8 (Fall 1980): 57.

Quitsow, Anton. Clarinetist: Chicago Symph Orch (Second: 1891-96; with JOSEPH SCHREURS as Principal). Students include: RUDOLPH SCMITT (c.1910s). Bib: Huffman, Larry. “Chicago Symphony Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Chicago_ Symphony_Musicians_List.htm (accessed January 12, 2011).

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Raatz, Tamara A. B. Sept. 16, 1964 (Huntsville, AL). BME: Baylor Univ with RICHARD SHANLEY; MM: Univ of Michigan with FRED ORMAND; DM: Eastman SOM with KENNETH GRANT, PETER HADCOCK, and STANLEY HASTY. Clarinetist: Sam Houston State Univ Woodwind Quintet (1994-, +/-). Active as a recitalist (incl perfs at ClarinetFest 1997 and the 1999 Univ of Oklahoma Clarinet Symposium) and chamber musician (incl perfs with above groups). Faculty member: Sam Houston State Univ (Asst Prof: 1994-). Published in The Clarinet. Memb: ICA, Texas MEA. Plays on: Buffet R-13 clarinets; CHARLES BAY MO-M mouthpiece; Buffet Prestige extended-range bass clarinet; Charles Bay bass mouthpiece. Bib: “Musical Chairs.” The Clarinet 22 (May/June 1995): 50; Raatz, Tamara. “The University of Oklahoma Clarinet Symposium.” The Clarinet 26 (March 1999): 66-68; Raatz, Tamara, to Tracey L. Paddock, Tallahassee, FL, July 6, 1998.

Rabbai, Joseph. B. Aug. 23, 1938 (Bridgeton, NJ). BSE: Temple Univ (1960) with ANTHONY and JOSEPH GIGLIOTTI; BS/MS: Juilliard (1962/1963) with BERNARD PORTNOY. Clarinetist: Israel Phil (Co-Principal: 1964-66); American Symph Orch (Principal: formerly); Brooklyn Phil (Principal: formerly); NYC Opera (formerly); Mostly Mozart Festival Orch (1971-2000+); Metropolitan Opera Orch (Principal: formerly, 1980-2000+). Has been active as a NYC freelance artist (1967-80), chamber musician (incl perfs with the NY Philomusica Chamber Ensemble), festival artist (incl participation at The Caramoor Festival), and recording artist (on the CRI, Desto, RCA Victor Gold Seal, Serenus, and Vox Box labels). Faculty member: has taught at Brooklyn Coll, CUNY-Grad School, NJ City Univ, Queens Coll, SUNY- Purchase. Other positions/activities: Lomax Artist. Hon: listed in Who's Who in American Music, 1985 edition; included in Richard Gilbert’s The Clarinetists’ Discography II; favorable reviews of perfs/ recordings appear in The New York Times and other publications. Plays on: Buffet R-13 clarinets (B-flat/ A/C); currently plays on a Lomax Classic mouthpiece, but has played on a variety of mouthpieces incl the PORTNOY (BPO2), Kaspar (Cicero) #11, Kaspar (Chicago) #12, JOHNSTON H-3, and GENNUSA G.E. models; Vandoren #3 ½ -4 reeds. Students include: RICHARD GOLDSMITH. Bib: Gilbert, Richard. The Clarinetists’ Discography II. New York: Grenadilla Society, 1975: 79, 109-110; Rabbai, Joseph, to Tracey L. Paddock, Tallahassee, FL, June 29, 1998; “Rabbai, Joseph.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 475; “The Lomax Classic Clarinet Mouthpiece, Joseph Rabbai: Metropolitan Opera Orchestra.” Advertisement in The Clarinet 28 (June 2001): 31.

Rada, Emil. B. 1888 (Chicago, IL); d. 1961. Clarinet studies in NY with SCHREIBER and HENRI LEROY; additional clarinet studies at the Brussels Conserv with Joseph Prymek and Jacques Van Poucke. Former clarinetist: U.S. Army Band-Ft. Slocum (1909-13); Washington Symph (1914-15); U.S. Engineers Band-Washington, D.C. (1915-19); U.S. Marine Band (1919-29+). Was active as a soloist (incl perfs with the U.S. Marine Band and Charlottesville Municipal Band) and as a private clarinet instructor in the Washington D.C. area. Other positions/activities: Mus Dir, Charlottesville-VA Municipal Band (1941- 50). Hon: listed in Who is Who in Music, 1929 edition. Bib: “Emil Rada.” Charlottesville Municipal Band. http://charlottesvillemunicipalband.org/directors.htm (accessed March 15, 2011); Spaeth, Dr. Sigmund, Editor-in-Chief. Who is Who in Music 1929 Edition. Chicago: Who Is Who in Music, Inc., 1941: 227.

Raden, Gregory. Native of White Plains, NY. Clarinet studies with DAVID WEBER at Juilliard Pre-Coll. Undergrad studies begun at New England Conserv with PETER HADCOCK; BM: Curtis IOM (1994) with DONALD MONTANARO. Clarinetist: Charleston Symph-SC (Principal: formerly); Concerto Soloists Chamber Orch (Principal: formerly); Kennedy Center Opera House Orch (Principal: formerly, 1995-2000+); Natl Symph (Asst Principal: 1999); Dallas Symph (Principal: 1999-); has performed as Guest Principal with the San Francisco and St. Louis Symphs, Minnesota Orch, and Bergen Phil-Norway, and has performed/recorded with the Philadelphia Orch. Active as a recitalist (incl perf at the 1999 Univ of Maryland Clarinet Connection), soloist (incl perfs with the Charleston, Dallas, and Natl Symphs, NY String Orch, and Mainly Mozart Festival Orch, and at Carnegie Hall and the Kennedy Center), chamber musician (incl perfs with members of the Philadelphia Orch and Vienna Phil, with the Ft. Worth Chamber Society, on the Bancroft Family and Bay Chamber Concerts, and at the Saratoga Chamber Music Festival and Chamber Music at

267 the Nasher Festival), festival artist (incl participation at the Aspen, Bellingham, Evian, Mainly Mozart, Marlboro, Pacific, Tanglewood, and Waterloo Music Festivals), and recording artist (with the Dallas Symph on the Delos and Hyperion labels); broadcast perfs given on NPR. Faculty member: Coll of Charleston (formerly); George Washington Univ (formerly, late 1990s, +/-); also teaches at the Natl Orch Instit and maintains a private clarinet studio in Dallas. Other positions/activities: Buffet Crampon USA Perf Artist; Vandoren Artist; active as a clinician (incl participation at the 1999 Univ of MD Clarinet Connection). Hon: favorable reviews of perfs appear in the Dallas Morning News, Fort Worth Star-Telegram, San Diego Arts, and Washington Post. Plays on: Buffet R-13 clarinets. Bib: “Gregory Raden.” Buffet Crampon. http://www.buffet-crampon.fr/en/artists.php?mode= artistPresentation&aid=495 (accessed March 14, 2011).

Raffa, Gregory W. Clarinetist: Natl Symph Orch (Clarinet/Bass/Sax: 1940-42).

Raimondi, Antonio. B. Abruzzi, Italy. Music studies: Liceo Musicale Rossini; Santa Cecilia (clarinet/harmony/comp); Scuola Nationale de Musica (band instrumentation). Former clarinetist: Costanzi Theater-Rome; Adriano Theater; Los Angeles Symph (prior to 1919); Los Angeles Phil (Second: 1919-55, +/-; may also have performed as Principal). Former faculty member: Univ of Southern California (1940s, +/-). Played with a double-lipped embouchure. Students include: STEPHEN BENNETT, MITCHELL LURIE, James Lytthans, Robert Marcus, G. Stanton Selby, Ray Still (oboist), FRANKLYN STOKES. Former Antonio Raimondi student MITCHELL LURIE described Raimondi as “. . . the very best clarinet teacher in Los Angeles . . . . He was just a splendid musician, a splendid clarinet teacher.” (Waln 1978, 55) It is not clear what Antonio Raimondi’s relationship is to HUGO RAIMONDI (below). Bib: Waln, George. “Relaxed Concentration: An Interview with Mitchell Lurie.” The Instrumentalist 32 (January 1978): 55-61.

Raimondi, Hugo. Southern CA clarinetist, active as a member of various orchs during the early- to mid-20th century. Active as a recording artist (incl Schoenberg’s Suite, Op. 29 on the Columbia and Philips labels; also appears on the Naxos label and on a recording with MITCHELL LURIE) and studio clarinetist. It is not clear what Hugo Raimondi’s relationship is to ANTONIO RAIMONDI (above). Bib: Josias, Conrad. “Born 30 Years Too Soon!” The Clarinet 16 (February/March 1989): 57.

Ramey, Maxine. BM: Arizona State Univ; MM/doctoral studies: Michigan State Univ with ELSA LUDEWIG-VERDEHR. Additional clarinet studies with RONALD DE KANT, FRED ORMAND, and KEITH STEIN. Clarinetist: Ramey Trio (1984-; with bassoonist/husband Richard Ramey); Missoula Symph (Principal: 1992+); Montana Woodwind Quintet (1992-); Montana Woodwind Trio (1992-); has also performed with the Lansing and Roswell Symphs and the Arizona Opera Co., and as Principal Clarinetist of the American Wind and Southwest Symphs. Active as a recitalist/soloist, chamber musician (incl perfs with above groups, the Sapphire Trio and Tango Nouveau Quartet, at several Montana-Idaho, Univ of Montevallo, and Oklahoma Clarinet Symposia, at woodwind conferences, and in Europe), and new music specialist (special interest in performing/promoting works commissioned by the VERDEHR Trio). Faculty member: Eastern New Mexico Univ (1988-92, +/-); Univ of Montana (1992-). Articles published in The Clarinet. Other positions/activities: Buffet Crampon USA Perf Artist; Founder/Former Pres, Nouveau West Chamber Orch; Co-Founder/frequent Host, Montana-Idaho Clarinet Symposium; active as a lecturer. Hon: favorable reviews of perfs appear in the Albuquerque Journal and Washington Post; two- time recip, Univ of MT Award for Meritorious Teaching and Creative Activity. Bib: “Maxine Ramey.” Sapphire Trio. http://www.sapphiretrio.com/st/maxine.htm (accessed March 14, 2011); “Musical Chairs.” The Clarinet 16 (February/March 1989): 65; “Musical Chairs.” The Clarinet 21 (February/March 1994): 50; Platt, Mary assisted by Maxine Ramey. “Elsa and Walter Verdehr – A Musical Partnership: 25 Years of the Verdehr Trio, Part I.” The Clarinet 25 (November/December 1997): 68-72; Platt, Mary assisted by Maxine Ramey. “Elsa and Walter Verdehr – A Musical Partnership: 25 Years of the Verdehr Trio, Part II.” The Clarinet 25 (February/March 1998): 36-39.

Randall, David M. B. Jan, 16, 1941 (Salt Lake City, UT). BSME(cum laude): Brigham Young Univ with Ralph Laycock; MM(with distinction)/Perf Cert: Indiana Univ with HENRY GULICK; DM:

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Univ of Iowa with HIMIE VOXMAN. Additional clarinet studies with KEITH STEIN. Clarinetist: Center for New Music-Univ of Iowa (1967-70); BYU Faculty Woodwind Quintet (1970+). Active as a recitalist, soloist, and chamber musician (incl perfs at several ICA conferences in the U.S. and London, and at the 1973 Utah MEA Conference, the 1976 Idaho MEA Conference, the 1986 Arizona Clarinet Symposium, the 1987 ClariNetwork Congress, and for the Clarinet Assn of Southern Germany in 1990). Faculty member: Univ of Northern Colorado (Guest Clarinet Instructor: 1970); Brigham Young Univ (Prof of Clarinet: 1970-2000, +/-); has also taught at the Shanghai, Beijing, and Xian Conservs of Music (Vstg Prof: 1988). Articles published in ClariNetwork and other music journals. Other positions/activities: Secr/Treas, ICA (1975-78); Treas, ICA (1978-81); Assoc Dean, Coll of Fine Arts and Communications, BYU (1993-97); Dir, BYU SOM (1997+); active as an adjudicator, clinician, conductor, and lecturer. Memb: Pi Kappa Lambda. Hon: recipient of various BYU research grants/fellowships (1970-); Outstanding Young Artist of Utah (1971). Students include: Don, Cindy, and Michael Christensen, JAREN HINCKLEY, Berkeley Price, David Sucik, Mark Watkins. David Randall commented:

The clarinet, when played with technical understanding, tonal fluency, and musical expression, is one of the most expressive of instruments. It has the capability of expressing all emotions and drawing the listener and performer into a world filled with beauty, intensity, and emotional subtlety. Because of the capabilities of the instrument, it is important that teachers be available who can help students develop their potential. It is also important that performers be available who can serve as examples as to how the instrument should sound with its expressive and technical capabilities. The fortunate student is he or she who has a teacher who can do both.

The good teacher assists students in developing technique through teaching scales, arpeggios, exercises, and etudes. Solos, orchestral excerpts, and chamber music representing the various style periods are also taught. Too often teachers emphasize one or the other of these areas and end up short-changing the student. The good teacher is one who is understanding, but yet demanding. The good mentor is one who praises, but yet points out areas which need improvement and then works with the student to solve these problem spots.

Fortunately we have several excellent clarinetist/teachers throughout the U.S. and in other countries. The challenge is to inspire those students with talent and ability to work until they have reached a goal, set another, and then work towards its completion. The challenge is also to assist students with lesser talent to develop their abilities to a level that they can enjoy the clarinet and its potential. (Randall/Paddock 1998)

Bib: Gibson, Lee. “A Clarinetist and The Clarinet.” The Clarinet 4 (Winter 1977): 6; Randall, David, to Tracey L. Paddock, Tallahassee, FL, July 14, 1998.

Randall, Harold B. Clarinetist: San Francisco Symph Orch (Principal: 1916-late 1930s, +/-).

Randolph, Herman. B. circa 1931; d. Aug. 5, 2007 (Houston, TX). Grad: Univ of Houston. Former clarinetist: 4th Army Band (during Korean War); Houston Symph (mid- to late-20th century; overlapped with R. PICKAR); Galveston Symph (after retirement from Houston Symph); Houston Symphonic Band. Was active as a private clarinet instructor. Students include: Michael Perricone. Bib: Viren, Sarah. “Herman Randolph, 76, Retired Houston Symphony Orchestra Clarinetist.” Houston Chronicle. http://www.chron.com/disp/story.mpl/metropolitan/5042654.html (accessed January 11, 2011).

Rappaport, William. Native of Evanston, IL. Clarinet studies begun at age 9; early studies with WALTER WOLLWAGE. BM(with Distinction): Indiana Univ; additional studies at Interlochen and Music Acad of the West (1972). Additional clarinet studies with ROBERT MARCELLUS. Clarinetist: Greater Miami Phil (formerly, for 2 years); Atlanta Symph (Second/E-flat: 1980s-, +/-). Active as an intl chamber musician (incl a tour of Spain, and perfs in the U.S. and Europe), festival artist (incl participation at the Aspen, Blossom, and Colorado Music Festivals), jazz clarinetist, recording artist (on the Albany

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Records, Jazzology, and MSR Classics labels), and private clarinet instructor (incl work with the Atlanta Symph’s Talent Development Program to nurture interest in classical music perf in minority children). Plays on Buffet R-13 clarinets. Students include: Kevin Tant. Bib: “William Rappaport.” Atlanta Symphony. http://www.atlantasymphony.org/TheMusic/ConductorsAndMusicians.aspx (accessed January 13, 2011).

Ratterree, Jack L. Grad: Curtis IOM (1958); American Univ (1964). Clarinet studies with ANTHONY GIGLIOTTI. Thesis: The Clarinet and its use in the String Trios and String Quartets by Mozart and Brahms (1964). Clarinetist: Phoenix Symph (formerly); active as a chamber musician. Faculty member: Arizona State Univ (formerly). Students include: Richmond Johnson, Dan Pinson. Bib: “Richmond Johnson.” Phoenix Symphony. http://www.phoenixsymphony.org/artists/orchestra_members/ johnson.aspx (accessed March 14, 2011).

Reda, Frank Jr. Former clarinetist: Baltimore Symph (1946).

Reeks, John. B. Sept. 27, 1951 (New Orleans, LA). BME(1973)/MME: Loyola Univ. Clarinet studies with VITO PLATAMONE (main teacher), FREDRIK HEDLING, ROBERT MARCELLUS, and STANLEY WEINSTEIN. Clarinetist: Louisiana Phil Orch/former New Orleans Symph (Clarinet/Bass/ Sax: 1973-); Santa Fe Opera (Clarinet/Bass: 1978, 1987); San Antonio Symph (Clarinet/Bass: 1988-89); Glimmerglass Opera (Clarinet/Bass: 1990); MUSAICA (current); Spike Jones Band. Active as a recitalist (incl perfs at ICA ClarinetFests), chamber musician (incl perfs with “Amadeus & Friends,” with clarinetist ALLAN KOLSKY). Faculty member: Loyola Univ (1993-). Published in The Clarinet. Other positions/ activities: active as an administrator (incl a position on the LPO Marketing Committee and elected positions on the LPO Exec Committee) and conductor (currently conducts Loyola Clarinet Choir); extra- musical activities incl camping, roller coaster-riding, and spending time with his two children. Has played on: Buffet R-13 and Yamaha YCL-CSV (current) clarinets; Backun (current) and GREG SMITH mouthpieces; “Click” tuning barrel and Backun (current) barrels/bells; Vandoren V-12 reeds; Selmer Model 32 bass clarinet; CLARK FOBES bass mouthpiece; Harrison bass ligature; Vandoren bass reeds. Has also played on: Selmer Mark VII alto sax; Selmer LARRY TEAL mouthpiece (refaced by Claude Humber); Rovner ligature; La Voz medium reeds. Students include: BJ Blue, Damien Gibson, Erin Rodgers. On his teaching philosophy, John Reeks commented, “I would rather teach my students how to teach someone else the clarinet than teach them how to play. This gives them a greater understanding instead of becoming a ‘parrot.’” (Reeks/Paddock 1998) Bib: “John Reeks.” Louisiana Philharmonic. http://www.lpomusic.com/?q=Orchestra/Musician/ JohnReeks (accessed March 14, 2011); “Musical Chairs.” The Clarinet 20 (July/August 1993): 38; Reeks, John. “The Clarinets of the Louisiana Philharmonic Orchestra.” The Clarinet 24 (February/March 1997): 48-51; Reeks, John, to Tracey L. Paddock, Tallahassee, FL, June 1, 1998.

Rehfeldt, Phillip. B. Sept. 21, 1939 (Burlington, IA). BME: Univ of Arizona (1961) with SAMUEL FAIN; MM: Mount Saint Mary’s Coll (1962); DM: Univ of Michigan (1969) with WILLIAM STUBBINS. Additional clarinet studies with KALMAN BLOCH and MITCHELL LURIE. Clarinetist: San Bernardino Civic Light Opera (Clarinet/Woodwinds: 1969-); Redlands Symph (Principal: 1969-91); Riverside Symph (Principal: 1972-79; Second Bassoon: 1983-89); Redlands Bowl Summer Festival Orch (Clarinet/Bassoon: 1972-82); Inland Empire Symph (Principal: 1982-83; E-flat/ Bass: 1983-92); Tahquitz Wind Quintet. Active as a recitalist (incl perfs at American Society of Univ Composers, ClariNetwork, ICA, and Intl Computer Music conferences, at the Scottsdale Arts Center, and at the 1980 World Music Days-Israel), soloist (incl perfs with the Cleveland Chamber Orch and Redlands Symph), chamber musician (incl perfs with the Tahquitz Wind Quintet), contemporary music specialist (has commissioned numerous works for clarinet and a variety of accompanying instruments), woodwind doubler, festival artist (incl participation at the Redlands Bowl Summer Festival and the Arcosanti Arts Festival), and recording artist (on the Advance Recordings, Brewster Records, Casa Discografica Edi-Pan, CRI, Desto, Grenadilla, Leonarda, Millcreek Publications, Roncorp Educational Tapes, SCI, and Zanja Records labels). Faculty member: Tucson Public Schools (Elem/Junior HS bands: 1962-65); Northern Michigan Univ (Asst Prof: 1965-68); San Bernardino Valley Coll (Woodwinds: 1969-74); Univ of Redlands (Prof of

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Clarinet/Musicology: 1969-; has also served as Dir of Grad Program in Woodwind Doubling); Arizona State Univ (Vstg Lect in Clarinet: 1982-83); ISOMATA Arts Acad (Adj Prof of Clarinet: 1986-91). Author of several books published by Millcreek Publications (incl Making and Adjusting Single Reeds, Getting the Most Out of Clarinets, and Materials for Music Research: a Bibliography of Essential Tools and Representative Types), Univ of California Press (New Directions for Clarinet), and Waveland Press (Playing Woodwind Instruments). Articles and reviews published in The Clarinet, ClariNetwork, International Double Reed Society, Journal of Research in Music Education, NACWPI Journal, and Proceedings of the American Society of University Composers. Other positions/activities: Rep, Natl ASUC/SOC Exec Council (1981-95); Artist/Repertory Coordinator, Advance Recordings (1983-92); CEO, Millcreek Publications (1983-); Memb, CMS Advisory Committee for Perf (1986-89); active as an editor (incl, with James Keays, The Renaissance Band Book for Shawnee Press; numerous editions for Millcreek Publications incl First Solo Repertory for Clarinet and Piano, Study Materials for Clarinet, and Etudes for the Twenty-First Century Clarinetist). Memb: AFM, American Society of Composers, CMS, ICA, Music Library Assn, NACWPI, Phi Mu Alpha, Pi Kappa Lambda. Hon: recip of various undergrad/grad schols; Univ of MI Rackham Grad Fellowship (1966-69); recip of numerous Faculty Summer Research Grants, Univ of Redlands (1970-96); Performers Award for Contemporary Music from the Natl Assn of Composers-USA (1981); NEA Performers Grant (1982); Outstanding Research Award, Univ of Redlands (1988); listed in American Registry, Dictionary of International Biography, Who’s Who in America, Who’s Who in California, and Who’s Who in Music; numerous positive reviews of perfs/recordings appear in such publications as American Record Guide, The Clarinet, Contact, Fanfare, Richard Gilbert’s The Clarinetists’ Discography II, High Fidelity, The Instrumentalist, Los Angeles Times, Milwaukee Sentinel, Musical Times, and Redlands Daily Facts . Plays on: Leblanc Concerto clarinet; makes his own mouthpieces and reeds. Students include: Juliet Lai, Nestor Tomassini, MARTIN WALKER. Phillip Rehfeldt is widely known and respected for his command of contemporary literature for the clarinet. Not only is he a specialist in the performance of this repertoire, he has also promoted it through both the commissioning of numerous works and through his educational articles and books on techniques of new music performance. With composer Barney Childs and the help of research grants from the University of the Redlands, Rehfeldt has commissioned more than thirty works for unaccompanied clarinet and clarinet with various accompanying instruments or devices, many of which have been recorded. Rehfeldt and Childs call their series of commissions “Music for Clarinet and Friend” and have used the composing talents of Warren Benson, Marshall Bialosky, Michael Horvit, ERIC MANDAT, David Maslanka, John McCabe, Ron Pelligrino, WILLIAM O. SMITH, and many others for their collection. Bib: Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 110; “Phillip Rehfeldt.” The Clarinet 1 (October 1973): 15; Rehfeldt, Phillip. “Phillip Rehfeldt Résumé.” University of Redlands. http://newton.uor.edu/facultyfolder/rehfeldt/resume.htm (accessed March 14, 2011); Rehfeldt, Phillip, to Tracey L. Paddock, Tallahassee, FL, May 15, 1998; “Rehfeldt, Phillip.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 482.

Reinecke, Carl E. D. Former clarinetist: Cincinnati Symph (Principal: 1906, +/-); New York Phil Orch; Metropolitan Opera Orch. Was active as a private clarinet instructor. Played on: Albert-system clarinets. Author, Foundation to Clarinet Playing (Carl Fischer, 1918). Students include: Stanley Schneider. Bib: Schneider, Stanley D. “Carl E. Reinecke – My First Clarinet Teacher.” The Clarinet 29 (March 2002): 52-54.

Reist, Wesley J. Former clarinetist: Lincoln Symph. Former faculty member: Univ of Nebraska- Lincoln (1960s-80s, +/-). Active as a soloist (incl perfs with the Lincoln Municipal Band). Hon: Principal Clarinet Chair of the Lincoln Symph named “Wesley J. and Joan M. Reist Chair,” in his honor. Students include: Priscilla Balasa, Christy Banks, CECIL GOLD, Ed Love, ANTHONY PASQUALE, Frank Tirro. Bib: “Lincoln’s Symphony Orchestra.” Lincoln Symphony. http://www.lincolnsymphony.com/orchestra. asp (accessed January 13, 2011).

Renk, Frank. B. Liverpool, England. Husband of SHERYL RENK. Grad: San Francisco Conserv; San Francisco State Univ. Clarinet studies with DONALD CARROLL and ROSARIO

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MAZZEO. Clarinetist: Sacramento Phil (Principal: formerly); California Symph (Principal: formerly); San Diego Chamber Orch (Principal: 1990s-, +/-); San Diego Symph (Bass: current; also served as Second/Asst Principal); Sacramento Symph (Principal: current); California Symph (Principal: current); Classical Phil (Principal: current); has performed with the Classical Phil and Oakland Symph, and continues to perf with the San Francisco Symph/Opera/Ballet Orchs. Active as a soloist, chamber musician (incl perfs at the LaJolla SummerFest and Santa Fe Chamber Music Festivals), festival artist (incl participation at the Carmel Bach, Cascade, Mainly Mozart-San Diego, and Music From Bear Valley Music Festivals), and studio musician (appears on many commercial/motion picture soundtracks, incl work at Skywalker Ranch). Faculty member: California State Univ-Stanislaus (formerly); active as a private clarinet instructor and clinician (incl master class at Clarinet Summit ’98). Students include: Andrea Hawkes. Bib: “Frank Renk.” San Diego Symphony. http://www.sandiegosymphony.org/media/SymphonyMusicianBios/ RenkFrankWebBio2010b.pdf (accessed January 14, 2011).

Renk, Sheryl. Wife of FRANK RENK. Grad: San Francisco Conserv; San Francisco State Univ. Clarinet studies with DONALD CARROLL and ROSARIO MAZZEO. Clarinetist: Clarinetist: San Francisco Symph (formerly; 1980s, +/-); San Francisco Ballet Orch (Principal: formerly, for 10 years); San Diego Symph (Co-Principal: 1990s, +/; Principal: current). Active as a soloist (incl a perf of Mendelssohn’s Concertpiece No. 1 with RICHARD STOLTZMAN and the San Diego Symph in Aug. 1995), chamber musician (incl perfs with the Camarada Chamber Music Ensemble and Jupiter Trio, and at the LaJolla SummerFest and Santa Fe Chamber Music Festivals), festival artist (incl participation at the Bear Valley, Carmel Bach, Cascade, Durango, and Mainly Mozart Music Festivals), and studio musician (appears on many commercials/motion picture soundtracks incl work at Skywalker Ranch). Bib: “Sheryl Renk.” San Diego Symphony. http://www.sandiegosymphony.org/media/SymphonyMusicianBios/Renk SherylWebBio 2010. pdf (accessed January 14, 2011).

Resnick, Robert. Faculty member: Southern Illinois Univ-Carbondale (formerly, 1960s, +/-). Students include: JAMES GAI, C. ROBERT ROSE.

Rettew, James [Jimmy]. D. 1961. Grad: Curtis IOM (1942). Clarinet studies with DANIEL BONADE. Clarinetist: Natl Symph Orch (Principal: 1942-43); Cleveland Orch (Second/E-flat: 1944-59). Faculty member: Cleveland IOM (formerly). Has played on: Morré reeds. Students include: RUSSELL LANDGRABE, LOUIS PAUL, Vincent Sidoti. Bib: Nygren, Dennis. “Robert Marcellus, Yesterday and Today: An Interview.” The Clarinet 16 (November/December 1988): 33-42.

Reuben, Ronald. B. 1932 (Philadelphia, PA). Early clarinet studies with JOSEPH GIGLIOTTI. Dipl: Curtis IOM (1955) with ANTHONY GIGLIOTTI; additional studies at Temple Univ and Los Angeles City Coll. Additional clarinet studies with VANCE JENNINGS. Former clarinetist: Chicago Little Symph (Principal: 1960s); Pennsylvania Ballet (Principal: 1960s); Chamber Symph of Philadelphia (1960s); Philadelphia Orch (Clarinet/Bass: 1967-2000+); has also performed as a member of the Artemus Woodwind Quintet, Stan Kenton’s band (Tenor Sax, 1958), and various jazz/Dixieland ensembles. Active as a recitalist, soloist (incl perfs with the Philadelphia Orch at Saratoga Performing Arts Center), chamber musician (incl perfs on the Philadelphia Orch Chamber Music Concerts), saxophonist (incl perfs with the American Composers Orch), and jazz musician (incl perfs with Stan Kenton, various jazz bands, and with his own jazz quintet). Faculty member: Temple Univ (Lect of Clarinet/Sax: current); Univ of the Arts, Philadelphia (current); has also served on the faculties of the Settlement Music School and New School of Music; active as a private clarinet instructor. Other positions/activities: Buffet Crampon USA Perf Artist; active as a lecturer (incl presentations at ICA conferences). Extra-musical activities incl performing as a stand-up comic in Los Angeles and movie actor (both early in his career, 1950s-60s). Hon: favorable review of perf appeared in the New York Times; featured on the cover of the January/February 1998 issue of Saxophone Journal. Has played on: Buffet bass clarinet (c.1930s) with double register keys and low E-flat extension; Buffet Prestige bass clarinet; a variety of mouthpieces from his vast collection; Vandoren #5 reeds.

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Students include: David Chang, Scott Collins, Julie Beth Drey, Tony Gairo, Wesley Hall, Barbara Haney, WILLIAM HELMERS, Christopher Hill, Dae Kim, Joshua Kovach, TODD KUHNS, Andrew Lesser, Matthew Marsit, Jamie McGill, Mami Suetsugu, LARRY THOMPSON, Margaret Thornhill. Bib: Livingood, Marvin. “The 1977 International Clarinet Clinic.” The Clarinet 5 (Fall 1977): 12- 13; Mohler, John.” The Clarinet Section of the Philadelphia Orchestra.” The Clarinet 8 (Fall 1980): 57 “Ronald Reuben.” Buffet Crampon. http://www.buffet-crampon.com/en/artists.php?mode=artist Presentation&aid=522 (accessed March 14, 2011).

Rheude, Elizabeth. Grad: Indiana State Univ with JOHN SPICKNALL; Michigan State Univ with ELSA LUDEWIG-VERDEHR. Additional clarinet studies with LARRY COMBS, STANLEY HASTY, and DAVID SHIFRIN. Clarinetist: Grand Forks Symph (Principal: current). Active as a recitalist (incl perfs at the 1997 Univ of Oklahoma and 1999 Northern Plains Clarinet Symposia, at CMS, CBDNA, and MTNA conventions, and at Montana/Idaho Clarinet Festivals), new music specialist (premiere perfs/commissions incl J. Fry’s Kaleidoscope for Clarinet and Piano and Concerto for Clarinet and Wind Symph), and recording artist (incl Solos for Young Clarinetists; also appears on the Capstone Records label and Music from the I.C.A.’96). Faculty member: Univ of North Dakota (Clarinet/Sax: current). Other positions/activities: ICA State Chair, ND; Woodwind Repertoire Consultant, MTNA; has served as natl/regional coordinator for MTNA compts; active as an adjudicator and clinician. Hon: favorable review of recording appears in The Clarinet (see Bib below); Special Commendation, Vienna Modern Masters Intl Recording Compt (1996); North Dakota MEA Teacher of the Year (2000). Bib: Cawein, Diane. “The 1997 University of Oklahoma Clarinet Symposium.” The Clarinet 25 (February/ March 1998): 34; “Elizabeth Rheude.” University of North Dakota. http://www2.und.edu/undmusic/ faculty/elizabeth_rheude.html (accessed March 6, 2011); Nichols, William. “Audio Notes.” The Clarinet 25 (May/June 1998): 24; Nichols, William. “Audio Notes.” The Clarinet 27 (December 1999): 18-19.

Rhoades, Constance Annette [Connie Ann]. B. Feb. 7, 1963 (Covington, OH). Early clarinet studies with William Rhoades (her father) and James Jeffryes. BME: Oral Roberts Univ with Gene Eland; MM: Michigan State Univ with ELSA LUDEWIG-VERDEHR; DM: Univ of Oklahoma with DAVID ETHERIDGE. DM diss: An Annotated Bibliography of Original Compositions for Clarinet and One with an In-depth Look at Three Compositions for Clarinet, Horn, and Piano (1996). Clarinetist: Oklahoma Sinfonia/Tulsa Pops (Second: 1987-91); Tulsa Ballet Theatre Orch (Second: 1990-91); Madison Winds (1991-); Paragon Music Theatre Orch (Principal: current); has also performed with the Oklahoma City Symph and Lexington Phil. Active as a recitalist (incl perfs at the 1995 and 1996 Univ of Oklahoma Clarinet Symposia and the Michigan State Contemporary Clarinet Symposium), soloist (incl perfs with the Oklahoma Sinfonia/Tulsa Pops), and chamber musician (incl perfs with above groups and the Commonwealth Clarinet Quartet). Faculty member: Phillips Univ (Instructor of Woodwinds: 1989-91); Eastern Kentucky Univ (Asst Prof of Clarinet/Sax: 1991-); Stephen Collins Foster Music Camp (Clarinet Instructor: 1992-). Published in Bluegrass Music News. Other positions/activities: Selmer Artist. Extra- musical activities incl cooking, cross-stitching, sewing, and reading. Memb: AFM, ICA, North American Sax Alliance. Has played on: Selmer 10G and Privilege clarinets; Morgan mouthpiece; Rovner ligature; Vandoren reeds; Selmer Privilege bass clarinet. Students include: Amanda McCandless. On teaching, Connie Ann Rhoades commented, “One of the primary reasons for playing an instrument other than enjoyment is to make music. Therefore, I stress basics, so that over time one will gain the control necessary to make beautiful music.” (Rhoades/Paddock 1998) Bib: “Connie Rhoades.” Conn-Selmer, Inc. http://centerstage.conn-selmer.com/artists/artist.php? aid=1023 (accessed January 14, 2011); Rhoades, Connie, to Tracey L. Paddock, Tallahassee, FL, July 13, 1998.

Rice, Albert R. B. June 9, 1951 (Pasadena, CA). Early clarinet studies with Jo Lynn Schaudt and Frank Magliosco (both in Southern CA). BA: California State Univ-Fullerton with KALMAN BLOCH; MA/PhD: Claremont Grad School. Additional clarinet studies with MITCHELL LURIE (at Univ of Southern California), ROSARIO MAZZEO (1978-80, at his Carmel, CA home), and HAROLD WRIGHT (at Tanglewood). Clarinetist (Principal/Second/E-flat/Bass): various Southern CA orchs; has also performed on the five-keyed clarinet with the Los Angeles Baroque Orch and with various San Francisco groups. Active as a free lance clarinetist, chamber musician (incl world premiere perfs of works by W. Kraft and G. Huessenstamm given with the Almont Ensemble at the 1986 American Society of Univ

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Composers Conference, Western Region), and recording artist (incl 3 recordings of twentieth-century music with the Almont Ensemble). Faculty member: California State Univ-San Bernardino (Clarinet Instructor: 1982-89). Author, The Baroque Clarinet (Clarendon Press, 1992). More than 40 clarinet- related articles (most involving the history of the clarinet) published in The Clarinet, Galpin Society Journal, and other music journals. Memb: American Society, American Society of Appraisers, Musicians Union. Hon: Recip, NEH Travel Award for the study of “Classical” period clarinets in Belgium (1990). Plays on: Buffet R-13 clarinets; JOHNSTON mouthpiece; Vandoren V-12 #3-3 ½ reeds. Clarinetist and scholar Albert Rice believes that one should learn to understand and perform music with the composer’s intentions always in mind. He also believes that playing and understanding the music of the 18th and 19th centuries helps to better interpret and perform the music of later periods. Rice is well- known as an authority on the history of the clarinet. He describes his next academic project below:

My new book, The Classical Clarinet, will focus on the historical development in various countries, the contributions of makers, performance practice aspects of the 18th and 19th century instrument and a grand view of the literature with an emphasis upon the use of the clarinet in 18th century opera. (Rice/Paddock 1998)

Bib: ; Rice, Albert. “‘On the Clarionet’ from ‘The Harmonicon.’” The Clarinet 11 (Spring 1984): 34-35; Rice, Albert, to Tracey L. Paddock, Tallahassee, FL, June 5, 1998.

Rice, George. Clarinetist: Minneapolis Symph Orch (1944-68, +/-).

Richards, E. Michael. BM: New England Conserv; MM: Yale Univ with KEITH WILSON; PhD(Contemporary Music): Univ of California-San Diego. Additional clarinet studies with WILLIAM POWELL, MICHAEL SUSSMAN and FELIX VISCUGLIA. Clarinetist: Tanosaki-Richards Duo (1982-); Syracuse New Music Society (formerly, 1986-2000+); RUCKUS (contemporary chamber group; Founding Memb: current); New Music Ensemble of Towson Univ (current). Active as an intl recitalist/chamber musician (incl perfs at the Intl Musicological Society Symposium-Australia, the 1996 Intl Clarinet Festival- Paris, and numerous new music symposia), soloist (incl perfs with the Syracuse Symph), new music specialist (incl more than 125 premiere perfs), and recording artist (on the CRI, Mode, NEUMA, New World, Nine Winds Records, and Sony DADC Austria labels). Faculty member: Hamilton Coll (formerly, 1990s, +/-); Bowdoin Coll (formerly); Univ of Maryland-Baltimore County (Assoc Prof/Chmn of Music: current); has also taught at Univ of California-San Diego, Nazareth Coll, Smith Coll, and the Hochstein Music School. Author, The Clarinet of the Twenty-First Century; has written similar books for E-flat/bass clarinets. Other positions/activities: Memb, Syracuse New Mus Society Board of Dirs (formerly); active as a conductor (currently conducts the Univ of MD-Baltimore County Symph) and lecturer (incl lectures/ recitals given around the world on contemporary music perf techniques as part of the Tanosaki-Richards Duo). Hon: U.S./Japan Creative Artist Fellowship, NEA (1990); NEH Summer Fellowship (to study traditional Japanese music); Camargo Foundation Grant. Bib: “Bio.” University of Maryland-Baltimore County. http://userpages.umbc.edu/~emrich/richardsbio.html (accessed March 14, 2011); Gingras, Michéle. “Compact Disc Reviews.” The Clarinet 25 (November/December 1997): 89-90.

Richards, Melanie. Grad: Ohio State Univ with JAMES PYNE; MM: Northwestern Univ with RUSSELL DAGON; DM: Ohio State Univ; additional studies at Cleveland State Univ. Additional clarinet studies with DAVID BELL and THEODORE JOHNSON. Clarinetist: Lyric Wind Quintet; Columbus Camerata-OH (current); OperaColumbus (Principal: current); Welsh Hills Symph (Principal: current); also perfs with the Columbus Light Opera, the Ashland, Columbus, Ft. Wayne, and Mansfield Symphs, and at the Playhouse Square Theater in Cleveland. Active as a recitalist (incl perf at ClarinetFest 1998) and chamber musician (incl perfs with above groups). Former faculty member: Capital Univ (Adj Asst Prof: 1990s). Bib: “Melanie Richards.” Welsh Hills Symphony. www.dachtyl.com/WHSO/Program4.pdf (accessed March 14, 2011) .

Ricker, Ramon. Clarinet studies begun at age 10; sax and jazz studies added at age 16. BME: Univ of Denver with RALPH STROUF; MM(Woodwinds): Michigan State Univ with ELSA LUDEWIG-

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VERDEHR; DM(Mus Ed/Clarinet): Eastman SOM with STANLEY HASTY. Sax/improv studies with (1975). Former clarinetist: Rochester Phil (Clarinet/Bass/Sax: 1973-2000+, +/-). Active as a clarinetist, but more active as a saxophonist, in both classical and jazz perf. Active as a soloist (incl perfs with the Rochester Phil), chamber musician, recording artist (incl perfs/recordings with Buddy Rich, Chuck Mangione, et al), and studio artist (incl numerous television commercials and theme songs). Faculty member: Eastman SOM (Asst Prof of Sax and Jazz/Dir of Eastman Jazz Lab Band: 1972-; Chair, Dept of Winds/Brass/Percussion: 1989-98; Dir, Instit for Music Leadership: current; has also taught clarinet). Author: Pentatonic Scales for Jazz Improvisation; Technique Development in Fourths for Jazz Improvisation; New Concepts in Linear Improvisation. Articles published in The Instrumentalist, International Musician, The School Music News, and Woodwind World. Other positions/activities: Coordinator, Woodwind Doubler’s Instit; active as an arranger (incl commissions from the Rochester Phil and the American, Atlanta, Cincinnati, and North Carolina Symphs), coach (currently works with Saxology), composer (incl classical and jazz works, and duets for clarinet) and conductor (incl work with the Rochester Phil). Hon: NEA Jazz/Folk/Ethic Travel-Study Fellowship (1975); NEA Grant for jazz comp (1977); recip of numerous other grants for comp and/or arranging (from ASCAP, Meet the Composer, NY State Council on the Arts, et al). Has played on: Buffet clarinets; Sumner mouthpiece (refaced by Robert Scott); Selmer Low C bass clarinet; Penzel-Mueller mouthpiece blank with George Jenny facing. Students include: JOHN CIPOLLA, David Cross, Bruce Diehl. Bib: “Ramon Ricker.” Eastman School of Music. http://www.esm.rochester.edu/faculty/?id=120 (accessed March 14, 2011); “Ricker, Ramon.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 833; “The Clarinet Section of the Rochester Philharmonic.” The Clarinet 6 (Fall 1978): 24.

Ridenour, Thomas. Native of KY. BM(with honors): Murray State Univ; MM(with honors): Yale Univ with KEITH WILSON. Additional clarinet studies with SIGURD BOCKMAN and KALMEN OPPERMAN. Former clarinetist: Nashville Symph; New Haven Symph; Hartford Chamber Orch; Joffrey Ballet (Principal: Florida tours, 1986+); Moseyev Ballet (Principal: Florida tours, 1986+). Has been active as a soloist, chamber musician (incl perfs with the New England String Quartet), and recording artist; broadcast perfs given on New England radio stations. North American premiere perfs incl Muczynski’s Time Pieces (1984, SUNY-Buffalo). Former faculty member: Univ of Connecticut-Storrs (1970s, +/-); Wesleyan Univ (1970s, +/-); Hartt Coll. Author: The Annotated Book of Altissimo Clarinet Fingerings (1986); Clarinet Fingerings: A Comprehensive Guide for the Performer and Educator (G. Leblanc Corp., c. 1991); The Educator’s Guide to the Clarinet (published by author). Articles published in The Clarinet and Leblanc Bell. Other positions/activities: Mgr, Leblanc Corp.’s Woodwind Co. (1989-97); Selmer Artist (formerly); Clarinet Specialist, Brooks Mays Music and H & H Music in TX (formerly); currently owns/runs Ridenour Clarinet Products, Denton, TX; active as a lecturer (incl presentations given at ICA conferences and Oklahoma Clarinet Symposia, and at SOM’s throughout the U.S.), private clarinet instructor, and well-respected craftsman of clarinet equipment (most notably mouthpieces, barrels, and reeds). Bib: “Ridenour Book on Fingerings Now Published by Leblanc.” The Clarinet 18 (May/June 1991): 12; Ridenour, Thomas. “About Tom Ridenour.” T. Ridenour. http://www.ridenourclarinetproducts. com/bio.htm (accessed January 14, 2011); Ridenour, Thomas. “Alternate Fingerings on the Soprano Clarinet.” The Clarinet 5 (Fall 1977): 18; “Thomas Ridenour, G. Leblanc Corporation, Kenosha, Wisconsin.” The Clarinet 17 (November/December 1989): 67.

Riley, Edwin E. B. Oct. 11, 1942 (Baton Rouge, LA). BM/MS: Juilliard with JOSEPH ALLARD and BERNARD PORTNOY; DM: Univ of Iowa with HIMIE VOXMAN. Additional clarinet studies with GEORGE SILFIES. Clarinetist: USMA Band-West Point/Premier Woodwind Quintet (1966- 69); American Symph Orch (formerly, under Stokowski); Columbus Symph-GA (Principal: formerly, 1971-1998+); Cedar Rapids Symph (Principal: 1975-77); Southwind Quintet (current); Greensboro Symph (Asst Principal/Second: current); has also performed with the Atlanta Opera Orch and performs as Extra with the North Carolina Symph. Active as a recitalist (incl perfs at ClarinetFest 1998, and the 1998 Univ of Montevallo and 1999 Northern Plains Clarinet Symposia) and chamber musician. Faculty member: Columbus State Univ-GA (Prof: formerly, 1971-75; 1977-99, +/-); Coe Coll (Instructor of Clarinet/Sax:

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1975-77); Univ of North Carolina-Greensboro (current). Author: Clarinet Course Study; Clarinet Chamber Music (both published by MTNA). Articles published in The Clarinet. Other positions/activities: Pres, ClariNetwork Intl (formerly); design consultant for Selmer’s CL200 and CL300 line of clarinets; Moderator, Clarinet Corner Message Board (online resource; may be accessed via the Selmer web site listed in Bib below); active as a Selmer Artist/Clinician (incl presentations given at MENC, Midwest, MEA and other clinics/conventions throughout the U.S., 1979-). Memb: ICA, MENC. Plays on: Selmer Signature clarinets; Kaspar (Ann Arbor) mouthpiece; BG Super Revelation and Oleg ligatures. Students include: Robyn Ulman Geller, Marjorie Harrison, Mike Shaw. On his teaching philosophy, Edwin Riley commented:

Artistic playing is achieved by refining basic control concepts to higher and higher or more refined levels. My basic teaching focus is modeling: for sound concept, articulation, and tonal connections. Establish an excellent model in each area and strive to achieve the same quality result when playing music. (Riley/Paddock 1998)

Bib: “Clarinet Corner.” Conn-Selmer, Inc. http://www.selmer.com/content/moderators.php (accessed January 14, 2011); Riley, Edwin. “Featuring Himie Voxman: An Interview by Edwin Riley.” ClariNetwork 6 (Clar-Fest 1987): 4-9; Riley, Edwin. “Featuring Himie Voxman, Part 2.” ClariNetwork 6 (Fall 1987): 4-5, 14-17; Riley, Edwin E., to Tracey L. Paddock, Tallahassee, FL, August 10, 1998.

Rischin, Rebecca M. B. June 13, 1967 (San Francisco, CA). BA(cum laude)/MM: Yale Univ (1989/1990) with DAVID SHIFRIN; Dipl: Ecole Normale de Musique-Paris (1994) with Guy Deplus; DM: Florida State Univ (1997) with FRANK KOWALSKY; additional studies at the Aspen (1986), Kent/ Blossom (1989), Sarasota (1992), and Waterloo (1993) Music Festivals. Additional clarinet studies with DONALD CARROLL, JAMES KANTER, GREGORY SMITH, JOAQUIN VALDEPEÑAS, DAVID WEBER, and KEITH WILSON. DM treatise: “Music for Eternity: A New History of ’s Quartet for the End of Time.” Clarinetist: Ohio Valley Symph (Sub: 1995-); Columbus Symph (Sub: 1996-); ProMusica Chamber Orch of Columbus, OH (Sub: 1996-). Active as a recitalist (incl perfs at the 1995 Society of Composers Region V Conference, the 1997 Ohio Univ Women in Music Conference, ClarinetFest 1998, and at the Fondation des Etats-Unis), soloist (incl perfs with the Yale Symph, and at the 1985 San Francisco Mayor’s Command Perf, the 1994 FSU Contemporary Music Festival, the 2nd and 5th Intl Clarinet Festivals-Cracow, and the 1997 Clarinet and Sax Festival-Wright State Univ), and chamber musician (incl perfs with the Ohio Univ and the Lark Quartet, and at the 1993 Intl Horn Workshop, the Institut Hongrois-Paris, and the Grande Salle-Paris). Faculty member: Ohio Univ (Asst Prof: 1995-). Articles/reviews published in The Clarinet. Other positions/activities: active as a clinician and lecturer (incl presentations given at ClarinetFest 1996 and the 1998 Ohio MEA Convention). Memb: CMS, ICA, MTNA, Ohio MEA, Phi Kappa Phi, Pi Kappa Lambda. Hon: Finalist, San Francisco Young Musicians’ Awards (1985); La Follett Award for Excellence in Schol (1985); Winner, William Waite Concerto Compt, Yale Univ (1987); Jonathan Edwards Coll Arts Prize, Yale Univ (1989); Grad Teaching Assistantship FSU (1992-93); Finalist, Principal Clarinet auditions, BBC Symph Orch-London (1993); Harriet Hale Wooley Schol for Study in Paris (1993-94); 1st Place (2nd Prize), 1st Intl Clarinet Compt, Cracow, Poland (1994); FSU Dissertation Fellowship (1994-95); Sub List, Chamber Orch of Europe, , Conductor (May 1995); Finalist, Principal Clarinet auditions, Konzertvere-St. Gallen, Switzerland (1995); listed in Who’s Who of American Women (21st edition). Plays on: Buffet R-13 clarinets; Moennig barrels; KANTER Aº mouthpiece; BONADE inverted ligature; Vandoren V-12 #3 ½ and 4 reeds. Students include: Elizabeth Aleksander, Heather Jean. In addition to her musical activities, Rebecca Rischin also enjoys creative writing. She is fluent in both German and French, and gave a bilingual presentation on Messiaen’s Quartet for the End of Time (in French and English) at ClarinetFest ’96 in Paris, France. Having spent two years in Paris, Rischin strongly believes in the cultural enrichment that living abroad and traveling offer. She commented,

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I like to think of myself as a musician first, a clarinetist second. In my playing I strive for American ideals with European flair. I believe that travel and study around the world make one a more informed and open-minded musician. (Rischin/Paddock 1998) Expanding upon her performance philosophy, she added,

One transmits one’s interpretive voice to others by means of example; thus, one’s own daily quest for perfection becomes contagious, kindling a student’s desire to make a mere concept a reality. The myriad experiences of life can be transmitted to an audience in a single turn of phrase. (Ibid.)

Of her musical background, Rischin acknowledged,

I am extremely fortunate to have studied with a slew of master musicians and teachers. . . . These teachers shared their gifts and knowledge generously with me, and I in turn seek to share their insights with my own students as well as with audiences who have not had the supreme pleasure of working with this talented group. (Ibid.)

Bib: “Musical Chairs.” The Clarinet 23 (November/December 1995): 49; “Rebecca Rischin.” Ohio University. http://www.ohio.edu/clarinet/rischin.html (accessed January 14, 2011); Rischin, Rebecca. “Master Class: Wings by Joan Tower.” The Clarinet 26 (March 1999): 4-12; Rischin, Rebecca. “Poland’s ClarinetFest.” The Clarinet 22 (May/June 1995): 17; Rischin, Rebecca M., to Tracey L. Paddock, Tallahassee, FL, June 1, 1998.

Ritzke, A. Clarinetist: Philadelphia Orch (1900-01; Extra: 1915-16).

Rocereto, Louis V. Former clarinetist: Pittsburgh Symph Orch (Clarinet/Sax: 1942-44, +/-; continued to perform as Extra into the 1950s).

Roelofsma, Edmund. D. 1943. Clarinetist: Philadelphia Orch (Clarinet/Bass: 1902-20); New York Phil (Bass: 1921-43, +/-).

Rogelberger, _____. German-American. Clarinetist: Metropolitan Opera (Bass: 1940-43, +/-).

Rose, C. Robert. B. Nov. 1, 1942 (Shelbyville, IL). BME/MM: Southern Illinois Univ (1964/1966) with ROBERT RESNICK; DM: Indiana Univ (1979) with EARL BATES and HENRY GULICK; additional studies at Catholic Univ (1968) and Peabody Conserv. Additional clarinet studies with SIDNEY FORREST, DAVID GLAZER, and JEROME STOWELL. Clarinetist: U.S. Marine Band (1967-71). Active as a recitalist and chamber musician. Faculty member: Otterbein Coll (Instructor of Woodwinds and Mus Hist/Dir of Orch: 1974-75); Valparaiso Univ (Assoc Prof of Woodwinds and Conducting/Dir of Orch: 1975-81); Lebanon Valley Coll (Assoc Prof of Clarinet/Theory/Lit: 1981-85+). Memb: CMS, ICA, NACWPI, Phi Mu Alpha Sinfonia. Hon: Phi Eta Sigma Award, Natl Educators Society (1962); Presser Foundation Award (1962, 1963); Pi Kappa Lambda Award (1966). Bib: “Rose, C. Robert.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 499.

Rosen, Bernard [Barney]. B. 1917; d. 2006. Clarinetist: Detroit Symph Orch (Clarinet/E- flat/Bass/Sax: 1944-54, +/-); Little Symph of Detroit (Founder/Bass Clarinet: 1949-1951); also performed and taught in Los Angeles. Works written for/dedicated to Rosen incl those by George Heussenstamm. Other positions/activities: was active as a private clarinet instructor and social worker. Students include: George Heussenstamm. Bib: Barnett-Goldstein, Carolyn. “Changing Times: Bernard Rosen and the Little Symphony of Detroit.” Michigan Jewish History. http://webcache.googleusercontent.com/search?q=cache: eV1oCy_at7YJ:www.michjewishhistory.org/pdfs/vol46.pdf+bernard+rosen+clarinet&cd=1&hl=en&ct=cln k&gl=us&client=firefox-a (accessed January 15, 2011); Rose, Bernard. “The University of Oklahoma Clarinet Symposium.” The Clarinet 9 (Fall 1981): 25.

Rosenberg, Harry. B. NYC (1891). Former clarinetist: Chicago Phil Orch; Chicago Civic Orch (1920s); Chicago Board of Trade Legion Band. Faculty member: Sherwood Music School (formerly,

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1950s, +/-); has also been active as a private clarinet instructor. Hon: listed in Who is Who Among Musicians (1941); listed as a “Prominent Clarinet Teacher” in The Clarinet 19 (Summer 1955): 14. Bib: “Rosenberg, Harry.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 196.

Rosengren, Håkan. Native of Sweden. Grad: Royal Coll of Music, Stockholm; Royal Flemish Conserv, Belgium; Univ of California. Clarinet studies with Walter Boeykins, JAMES KANTER, Sölve Kingstedt, and MITCHELL LURIE. Active as an intl recitalist (incl perf at the 1998 Beijing Intl Clarinet Festival), soloist (incl 1985 solo debut with the Swedish Radio Symph, and perfs/recordings with the Slovakia and Swedish Radio Symphs, the Helsinki, Royal Stockholm, Prague, and North Czech Phil Orchs, the Amadeus, Israeli, Lausanne, Nordic, and Polish Chamber Orchs, and the Akron, Ashville, Odense, Savannah, and Taegu Symph Orchs), chamber musician (incl perfs at numerous chamber music festivals and with the Cavani, Chiara, Georgian, Lysell, Silesian, Tale, and Zetterquist Quartets), new music specialist (incl 50+ perfs of Messiaen’s Quartet for the End of Time, numerous premiere perfs, and perfs at the Krakow, Louisiana, and Taegu Contemporary Music Festivals), festival artist (incl participation at the La Jolla, Sandviken, Santa Fe, and Varberg Intl Chamber Music Festivals, the Pitea Music Festival, and the Rybna Castle Festival), and recording artist (on the Caprice, CD Accord, Musica Sveciae, Nytorp, Phono Sveciae, and Sony Classical labels). Faculty member: Univ of Akron (Assoc Prof of Clarinet: formerly, 1990s, +/-); Intl Fest-Instit at Round Top (1997-); California State Univ-Fullerton (Assoc Prof of Clarinet: 1999-). Other positions/activities: Rico Artist; Buffet Crampon USA Perf Artist; active as an adjudicator (incl judging for the Munich and Madeira Intl Clarinet Compts, the Trapani Intl Chamber Music Compt, and the Soloist Prize and Intl Duo Compt in Sweden) and clinician (incl master classes given at univs/ conservs throughout the Americas and Europe). Hon: 1st Prize, Concert Artists Guild Intl NY Compt; NEA Solo Recitalists Fellowship; 1st Prize, UNESCO Intl Performer Compt; 1st Prize, Los Angeles Arts Council Compt; Selectee, Nordic Soloists Biennial; recip of numerous awards/grants from the Fulbright Commission, the Swedish Royal Acad of Music, the Swedish Arts Council, and the Scandinavia America Foundation; favorable reviews of perfs/ recordings appear in Cleveland Plain Dealer, Fanfare, Hufvudstabladet (Helsinki), New York Times, Neue Zeit (Berlin), Politiken (Copenhagen), et al. Plays on: Buffet Tosca clarinets; JAMES KANTER mouthpiece; Rico Grand Concert Select Evolution reeds. Students include: Rommel Agatep, Andrius Bernotaitis, Joanne Britz, Robert Ek, Adam Feit, Virginia Figueiredo, Martin Fröst, Mario Gutierrez, Cynthia Krenzel-Doggett, Wendy Mazon, Jared Mundell, Daniel Sheridan, Nuno Silva, Adam Simonsen, Andreas Sunden, Alice Wang, Margaret Worsley. Bib: “Musical Chairs.” The Clarinet 26 (September 1999): 90; Rosengren, Håkan. “Håkan Rosengren.” H. Rosengren. http://www.hakanrosengren.com/biography.html (accessed March 14, 2011).

Rosenwasser, Martin. Faculty member: Ithaca Coll (1950s, +/-). Students include: ANDREW CRISANTI.

Ross, Robert W. Clarinetist: Sousa Band (1923-27); also performed with the Ringling Brothers Circus Band and the Elk Falls Band-KS. Former faculty member: U.S. Navy SOM (during WWII); Univ of Oklahoma (Prof of Clarinet: mid-20th century). Students include: VANCE JENNINGS.

Rossi, Achille L. Native of Providence, RI. BM(with honors and distinction): New England Conserv with GINO CIOFFI; additional clarinet studies as a fellow at Tanglewood. Clarinetist: 7th Army Symph (Principal: 1952-53); NY Opera Festival Orch (Principal: formerly); Indianapolis Symph (formerly, 1959-2000+); Jordan Woodwind Quintet (current); has also performed with the Falkner Players. Active as a chamber musician. Faculty member: Indianapolis Univ (formerly); Butler Univ (1974-); active as a private clarinet instructor. Has played on O’Brien mouthpieces. Extra-musical activities incl cooking, reading, travel, and following the NY Yankees. Hon: Patch Leadership Award. Students include: James Gentry, Laura Harrison, Susan Hungerford, Kara Post, Eric Seddon, Doug Witter, Richard York. Bib: “Achille Rossi.” Butler University. http://www.butler.edu/music/bios-faculty-staff/achille-rossi (accessed February 16, 2011); “Rossi, Achille.” 7th Army Symphony. http://7aso.org/htmldocs/asbiospq.html (accessed February 16, 2011).

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Rowe, George D. Clarinetist: Cleveland Orch (Second/E-flat/Bass: 1924-44); Philadelphia Orch (1944-57). Students include: Bruce Babcock, Walter Dunlap, Donald Grant.

Rowell, Chester. BM/MM/Perf Cert: Eastman SOM with STANLEY HASTY. Clarinetist: (Clarinet/Bass: current); has also performed with the Houston Symph/Grand Opera; active as a woodwind doubler, theater musician, and recording artist (on the Albany Music Distribution label). Faculty member: Univ of Houston (Affiliate Artist: current). Students include: Rachel Grasso. Bib: “Chester Rowell.” Moores School of Music. http://www.music.uh.edu/ people/rowell.html (accessed January 16, 2011).

Rudd, Charles. Clarinetist: San Francisco Symph Orch (Clarinet/E-flat: 1937-41, +/-).

Runk, Christopher. B. July 28, 1948 (Philipsburg, PA). BM: Oberlin Coll (1970); MM: Catholic Univ (1972). Clarinet studies with ROBERT MARCELLUS and ALFRED ZETZER (bass). Clarinetist: U.S. Army Band-Washington D.C. (1970-72); San Antonio Symph (Bass/Aux: 1973-75); Dallas Symph (Bass: 1976-). Active as a festival artist (incl participation at the Blossom and Grand Teton Music Festivals). Has played on: Buffet R-13 soprano clarinets; Kaspar mouthpiece (refaced by Mattson); BONADE ligature; Vandoren Black Master reeds; Selmer bass clarinet (with added double register key and extension; serial #145, made during World War II); Kaspar bass mouthpiece; Morré bass reeds (pre-1980s). Students include: EUGENE MONDIE. In addition to his musical activities, Christopher Runk is an accomplished photographer specializing in black and white photography. His work has been on display at the Afterimage Gallery in Dallas, TX. Bib: Baker, Marguerite. “The Clarinet Sections of the Dallas and Fort Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 30; Runk, Christopher, to Tracey L. Paddock, Tallahassee, FL, June 29, 1998.

Rusinek, Michael. B. Toronto, Ontario, CAN. Early clarinet studies at the Royal Conserv of Music-CAN with Avrahm Galper; Dipl: Curtis IOM (1992). Clarinetist: Natl Symph (Asst Principal: 1992- 98, +/-); Pittsburgh Symph (Principal: 1998-); Super World Orch (Principal: Summer 2000); has also performed as Principal Clarinetist of the Philadelphia Orch and Royal Concertgebouw Orch. Active as a recitalist (incl perfs throughout North America and in China and Israel), soloist (incl perfs with the Belgrade Phil, Royal Conserv Orch, and the Natl, Pittsburgh, and Toronto Symphs), chamber musician (incl perfs at the Portland and Santa Fe Chamber Music Festivals), festival artist (incl participation at the Festival of the Sound in Parry Sound, the Aspen, Grand Teton, and Marlboro Festivals, Napa Valley’s Music in the Vineyards, St. Barth’s Festival Musique, and Tanglewood), and recording artist (on the Sony label). Faculty member: Carnegie Mellon Univ (current); has also served on the faculties of the Canton Intl Summer Music Acad-China, and Instrumenta Verano-Mexico. Active as a clinician (incl master classes at Curtis IOM and Manhattan SOM, and for New World Symph). Hon: Winner, ICA Clarinet Compt (1985); Prizewinner, Belgrade Intl Clarinet Compt. Extra-musical activities incl golf and non-contact hockey. Students include: Heidi Aufdenkamp, Nicolay Blagov, David Chang, Sheldon Scott Kurtzweil, Elijah Osterloh, Kiera Thompson, Julieta Ugartemendia, Jorge Variego. Bib: “Michael Rusinek.” Pittsburgh Symphony. http://www.pittsburghsymphony.org/pghsymph.nsf/bios/Michael+Rusinek (accessed March 14, 2011).

Russell, James Reagan. B. Apr. 2, 1935 (Alameda, CA). BA: Univ of California-Berkeley (1959); MM: SUNY-Stony Brook (1973). Clarinetist: Golden Gate Park Band (Principal: 1963-71); San Francisco Opera (Basset Horn: 1979-80). Active as a recording artist (on the Bay Records label). Faculty member: Univ of California-Berkeley (Asst Conductor of Univ Symph: 1958-65; Lect of Clarinet: 1969- 85+). Memb: San Francisco Single Reed Society. Hon: Alfred Hertz Travelling Scholar, Univ of California (1965, 1966); listed in Who's Who in American Music, 1985 edition. Students include: Nora Adachi. Bib: “Russell, James Reagan.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 508.

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Russianoff, Leon. B. 1916 (Brooklyn, NY); d. Sept. 16, 1990 (NY). Early clarinet studies with DOMINIC TRAMONTANO. BS(English/Sociology): City Coll of NY (1938). Additional clarinet studies with SIMEON BELLISON, DANIEL BONADE, and NY Phil second bassoonist Simon Kovar. Former Clarinetist: Bellison Ensemble; Ballet Russe de Monte Carlo Orch (Principal: 1945-47, +/- ); various ballet, opera and theater orchs. Was active as a recitalist and chamber musician; broadcast perfs given on the CBS and NBC radio stations. Former faculty member: Manhattan SOM (1955+); Juilliard (1970-90, +/-); Brooklyn Coll-CUNY (Adj Prof); Queens Coll-CUNY (Adj Assoc Prof); Wesleyan Coll; Columbia Teachers Coll; SUNY- Purchase; 92nd St. YMCA Music School; Catholic Univ. Author, Clarinet Method (in 2 volumes; Schirmer Books, 1982). Other positions/activities: Vice Pres, ICA (1973-76); was active as a clinician (master classes given at numerous clarinet conferences). Hon: Winner, Phil Symph Society of NY Schol (for clarinet study with SIMEON BELLISON, then Principal Clarinetist of the NY Phil); featured on the WQXR-NY program Great Teachers (1981); listed in Who's Who in American Music, 1985 edition. Students include: DONALD AMBLER, LAURA ARDAN, MARGUERITE BAKER, ALAN BALTER, JOHN CRAIG BARKER, LOUIS BARTALONE, Stephen Bates, WILLIAM BLOUNT, ALAN BLUSTINE, MICHAEL BORSCHEL, DIANE LANG BRYAN, JEROME BUNKE, MICHAEL BURGIO, TAD CALCARA, ARTURO CIOMPI, FRANKLIN COHEN, Sue Collado, LARRY COMBS, NAOMI DRUCKER, STANLEY DRUCKER, JAMES EAST, Al Elafante, CHARLES ELLIS- MACLEOD, F. GERARD ERRANTE, PHILIP FATH, LAURA FLAX, Judith Kalin-Freeman, STEPHEN FREEMAN, JOHN FULLAM, NANCY GARLICK, PAUL GARRITSON, Michael Getzin, JIM GILMORE, STEPHEN GIRKO, PAUL GREEN, William Hagenah, FREDRIK HEDLING, BIL JACKSON, KATHLEEN JONES, MARK KARLIN, ALAN KAY, KEITH KOONS, JEAN KOPPERUD, FRANK KOWALSKY, DAVID KRAKAUER, JACK KREISELMAN, TODD KUHNS, TED LANE, Alan Lawson, CASSANDRA LEE, MARIAN LIEBOWITZ, ROBERT LISTOKIN, DANIEL LOCHRIE, Simeon Loring, RICHARD MACDOWELL, Susan Martula, Ann McCutchan, Ruth McDonald, WILBUR MORELAND, CHARLES NEIDICH, DAVID NIETHAMER, EDWARD PALANKER, TIMOTHY PERRY, Kyle Peterson-Pyne, RICHARD PICKAR, DEBORAH PITTMAN, PAMELA POULIN, Tom Puwalski, WILLIAM SCARLETT, WILLIAM SHADEL, Richard Shillea, Bonnie Isbey Sholl, PETER SIMENAUER, ANDREW SIMON, JAMES SMITH, DAVID STERN, CHARLES WEST, BOB WILBER, DENNIS ZEISLER, MICHELLE ZUKOVSKY, MARTIN ZWICK. Leon Russianoff was without a doubt one of the most unique and influential clarinet pedagogues of the twentieth century, with as great a reputation as those of his teachers DANIEL BONADE and SIMEON BELLISON. While he was a talented musician and performer, Russianoff preferred to leave the pressure of performing on command to others, devoting himself wholeheartedly to his true love, teaching. As one may deduce from the impressive and undoubtedly incomplete list of students above, Russianoff was responsible for the development and training of a substantial number of the leading clarinetists and teachers active today. Russianoff concerned himself not only with the training and development of each student as a musician but also with each student’s growth as a human being. In addition to the long list of successful clarinetists listed above, one biographical sketch of Russianoff pointed out that he also trained “fifty assorted ‘doctor’ clarinetists, twenty veterinarians, two movie stars and eight plumbers,” (ClariNetwork 1982, 7) which is also sure to be an incomplete list. Former Russianoff student and clarinetist/writer Ann McCutchan added, “Familiar names . . . are all members of the Russianoff family tree, as are not-so-famous clarinetists like me, who devotedly play in regional orchestras, teach in ordinary music schools, and perform chamber music in middle America. No matter where Russianoff’s students wind up, most bloom where they are planted.” (McCutchan 1988, 9) When Russianoff began teaching clarinet, he was influenced by the musical principles of Simeon Bellison, and even implemented Bellison’s rigid methodology. This was not really true to who Russianoff was, however, and his teaching style evolved to become more fluid and personal, geared to each individual student, helping each to recognize his/her strengths while also constructively addressing weaknesses, and exploring and bringing out the student’s unique musical personality. In marrying his second wife, noted psychologist Penelope Pearl, Russianoff brought more psychology into his teaching, nurturing students and helping them to quiet the mind and the critical inner voice. He urged students to use intuition over excessive thought and to relax in order to achieve their best performance.

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Russianoff emphasized the development of good intonation as well as technical and rhythmic dexterity, often creating custom-designed studies on the spot to address a specific problem; he also emphasized beauty of tone and an individual approach to the clarinet repertoire. Above all, Russianoff’s sense of compassion, encouragement, enthusiasm, and love for each student had the most profound impact on his students. Even reading about this great man, having never met him, one catches more than a glimpse of the excitement he sparked in so many. Former Russianoff student DAVID KRAKAUER offered the following commentary on his experience with Russianoff:

Working with him was a tremendous experience. From the moment we met I knew I was off on a great adventure. He was an incredible teacher, encouraging individuality and teaching students how to teach themselves. He worked hard on sound, presented brilliant basic techniques on how to play the instrument, but I think his ability to reach students was magical. (Goodman 1999, 52)

Describing both Russianoff’s methodology and personality, former student TIMOTHY PERRY added,

Leon Russianoff effectively remade my fingering action from flat to the ‘quiet curve’ which he later describes in his method, although there could be no substitute for his personal correction “Naaaawww!” (Perry/Paddock 1998)

Numerous articles (as well as a dissertation by STEPHEN CLARK) have been written about and by Leon Russianoff, all of which are excellent reading (see Bib below for a partial listing). These articles are highly recommended to the reader who desires a deeper understanding and appreciation of Russianoff than offered by the brief biography above. In addition to articles written during Russianoff’s lifetime, the tribute articles by Joan Waryha Porter are especially interesting as they reflect the views of many well- known clarinetists of today. It is both fortunate and unfortunate that the only personal interaction this author had with Russianoff was as an audience member at a master class at the 1988 ClarFest in Richmond, Virginia. Just prior to the master class, the author and a few of her fellow 10th-grade friends ran into Russianoff as he was mistakenly exiting the women’s restroom. Russianoff handled the mildly embarrassing incident (more embarrassing to the author and her friends than to himself) with what must have been his characteristic humor and charm, acting as if the ladies’ room was precisely where he should have been, and looking at the author and her cohorts askance with a mischievous glint in his eye. Shortly thereafter, he captivated his audience with a uniquely entertaining and illuminating master class. Bib: Clark, Stephen Lee. “Leon Russianoff: Clarinet Pedagogue.” DMA dissertation. University of Oklahoma, 1983; “Doctoral Dissertation Review by Dr. Stephen L. Clark (University of Oklahoma).” The Clarinet 12 (Fall 1984): 46; Gibson, Lee. “The Good Old Days.” The Clarinet 5 (Spring 1978): 8-9, 30; Goodman, Gerald. “Krakauer: Klassical to Klezmer.” The Clarinet 26 (September 1999): 52; Livingood, Marvin. “The 1977 International Clarinet Clinic.” The Clarinet 5 (Fall 1977): 12; McCutchan, Ann. “Leon Russianoff: 50 Years of Teaching.” The Instrumentalist (November 1988): 8-12; Perry, Timothy, to Tracey L. Paddock, Tallahassee, FL, August 27, 1998; Porter, Joan Waryha. “Leon Russianoff (1916-1990), Our Teacher of Music – Our Teacher of Life.” The Clarinet 18 (November/December 1990): 46-9; Porter, Joan Waryha. “Leon Russianoff (1916-1990), Part II, Our Teacher of Music – Our Teacher of Life.” The Clarinet 18 (February/March 1991): 42-4; Russianoff, Leon. “Confessions of a Clarinet Teacher.” The Clarinet 1 (August 1974): 6-8; “Russianoff, Leon.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 509; Sherman, Robert. “Freedom from ‘Over-Think.’” ClariNetwork 5 (Winter 1987): 4-5; 17; “The ClarFest ’82 Faculty.” ClariNetwork (April/May 1982): 7.

Russo, Charles. B. Pittsburgh, PA. Grad: Manhattan SOM with SIMEON BELLISON. Additional clarinet studies with DANIEL BONADE. Chamber music studies with Marcel Moyse and Rudolf Serkin. Clarinetist: Ballet Russe Orch (formerly); Symph of the Air (Principal: formerly); NBC Opera Orch (Principal: formerly); NYC Opera Orch (Principal: formerly); Waterloo Festival Orch (Principal: formerly); New Arts Wind Quintet (formerly); Musica Aeterna Wind Ensemble (formerly); LeMont Chamber Music Ensemble (current). Active as a soloist (incl perfs with the Esterhazy, Festival, and Music

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Aeterna Orchs, the NY Chamber Orch, the NYC Ballet, on Alexander Schneider’s New School Concerts, and a perf of Gould’s Derivations at the Aaron Copland Tribute Concert), chamber musician (incl perfs with the Bartok, Beaux Arts, Emerson, Guarneri, and Juilliard String Quartets, NY Chamber Soloists, and the New Arts Wind Quintet), festival artist (incl participation at the Casals, Marlboro, Minnesota, Mostly Mozart and Waterloo Festivals, and perfs on the Noon Chamber Music Concerts at Spoleto), and recording artist (appears on more than 100 recordings, incl a recording with the Musica Aeterna Wind Ensemble on Decca and solo recordings on the Premier label). Faculty member: Manhattan SOM (1963-); Bennington Composer’s Conference and Chamber Music Center (Artist-in-Res/Chamber Coach: 1980s, +/-); SUNY-Purchase (current); Hartt SOM (current); has also served on the faculties of New England Conserv, Vassar Coll, and Yale Univ. Hon: listed in Who's Who in American Music, 1985 edition; has appeared on several Grammy- nominated or Grammy-winning recordings. Students include: Chester Brezniak, Beverly Brown, TAD CALCARA, Al Elefante, Chris French, NANCY GARLICK, RICHARD GOLDSMITH, DEBRA KANTER, Dennis Lichtman, Karen Luttik, Aimee Menapace, Jerry Nowak, Philip O’Connor, ATTILIO POTO, Theodore Schoen, Richard Shillea, John Simon. Bib: Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 123; Russo, Charles. “Charles Russo.” C. Russo. http://www.charlesrusso.net/bio.asp (accessed March 14, 2011); “Russo, Charles.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 509; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 57.

Russo, John Peter. B. Jan. 16, 1943 (Trenton, NJ). BM: Curtis IOM (1967); MM: Temple Univ (1969) with ANTHONY GIGLIOTTI and Clifford Taylor (Comp); additional studies at Peabody Conserv (with IGNATIUS GENNUSA, 1961-63), Juilliard, and the Rome Festival Instit with Michael Incenzo. Active as a clarinet recitalist/soloist (incl perfs at SOM’s, conservs, and perf halls throughout North America, Europe, and Asia; and with the Baltimore, Manila, and Reading Symphs, Concerto Soloists of Philadelphia, Little Orch Society of Philadelphia, Peabody Instit Wind Ensemble, Rome Festival Orch, and Temple Univ Orch), chamber musician (incl perfs with the Philadelphia Arts Alliance and the Philadelphia Ethical Society, and throughout the U.S. and Asia), and recording artist (incl recordings of his own compositions; appears on the Capra Records, Contemporary Record Society, Crystal Records, and Orion labels). Faculty member: Widener Univ (Instructor of Woodwinds: 1969-73); Haverford Coll (1970s, +/-); Combs Coll of Music (1970s, +/-); Philadelphia Coll of Perf Arts (Instructor of Clarinet/Sax: 1976-79). Other positions/activities: Selmer Artist (formerly); Buffet Crampon USA Perf Artist (1997+); Yamaha Artist (current); Founder/Pres, Contemporary Record Society (current); Memb, Curtis Instit Alumni Assn Board of Dirs; Consultant, Rico Intl for design of Grand Concert Select reeds; active as a clinician (master classes given throughout North America and Europe), composer (with 90+ published compositions incl several for clarinet; works published by Charter Publications, Composers Autograph Publications, Henri Elkan Music, and Tenuto Publications), conductor (incl positions as Conductor/Artistic Dir of the Chamber Society Orch and Chamber Arts Soloists), and music editor (incl editions for Henri Elkan Music). Memb: AAUP, AFM, American Composers Alliance, American Music Center, ASCAP, CMS, Natl Assn for American Composers and Conductors, Peabody Conserv Alumni Assn, Phi Mu Alpha, Temple Univ Alumni Assn,. Hon: Selectee, Baltimore Symph’s Young People’s Concert Series (c.1962); full schols awarded by Curtis IOM, Temple Univ, and Juilliard; Finalist, NY Phil Young People’s Concerts; Winner, Rome Festival Orch Concerto Compt (late 1970s); listed in Who's Who in American Music (Classical), 1985 edition; favorable reviews of perfs/recordings/comps appear in The Clarinet, Manila Times, Wisconsin Spectator, et al; recip of numerous teaching and recording grants as well as composition commissions. Bib: “John Peter Russo, Clarinetist/Composer.” Contemporary Record Society. http://mysite. verizon.net/vzeeewvp/contemporaryrecordsociety/id27.html (accessed January 16, 2011); “John Russo.” Woodwind World-Brass and Percussion 15 (March 1976): 6; Lewis, David S. “Record Reviews.” The Clarinet 5 (Winter 1978): 30-31; Ludewig-Verdehr, Elsa. “Record Reviews.” The Clarinet 5 (Spring 1978): 30; “Russo, John.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 509.

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Ruta, Theodore (Ted). Clarinetist: Pittsburgh Symph Orch (Sub: 1940s-50s, +/-). Students include: JEROME ROSEN, Louis Sacchini.

Rutkowski, Joseph Richard. B. June 13, 1954 (NYC). BM: Mannes Coll of Music (1977); MA: Queens Coll (1982); Master of Educational Admin: Hunter Coll (1987). Clarinet studies with GINO CIOFFI, Heinrich Geuser, Alfred Longo, JOHN MARCO, Joseph Rich, ERIC SIMON, LAWRENCE SOBOL, and Pamela Weston. Chamber music studies with Claus Adam, Samuel Baron, DAVID GLAZER, William Kroll, and DAVID WEBER. Clarinetist: L’Arema Ensemble (1974-); Long Island Chamber Ensemble (1976-); Alaria Chamber Ensemble (1981-86); Norwegian Chamber Orch (1984); Chamber Music Society of Great Neck (1996-); Lexington Woodwind Quintet (current); has also performed as Principal Clarinet of the Park Avenue Chamber Orch. Active as a recitalist/soloist (incl perfs at Weill Recital Hall, Alice Tully Hall, Avery Fischer Hall, and Carnegie Hall), chamber musician (incl perfs with above ensembles and with , Mstislav Rostropovich, and Maurice Andre), Klezmer clarinetist, player, and recording artist (on the Ali Mar Records label); broadcast perfs given on WNYC’s “Around New York” live music program (August 1993). Has collaborated with composers Roger Ames, Elliott Finkel, Jack Gottlieb, Alan Hovhaness, Karel Husa, Nelson Kole, Leo Kraft, David Loeb, and Ursula Mamlock. Faculty member: Westchester Conserv (1976-85): Queens Coll (1981-82); Mannes Coll Extension Div (1981-); Musikhochschule-Bonn, GER (1982); Stuyvesant HS-NY (Dir of Symph Orch: 1983-91); Great Neck Public Schools-NY (Dir of Instrumental Mus: 1991-). Author, Examining the Practice Class in Instrumental Music (Natl Arts Ed Research Center of NYU, 1991). Articles published in Band Directors Guide, Music Educators Journal, and Teaching Music. Other positions/activities: active as an adjudicator (incl judging for the Nassau MEA and NY School Music Assn), clinician/lecturer (incl presentations given at the 1982/1988 NYSSMA All State Winter Conferences and the 1990 MENC conference), woodwind coach (incl work with Nassau MEA All County, 1992-), and conductor (incl positions with the All City HS Band of NY and at the Tilles Center for the Performing Arts). Memb: AFM, ICA, MENC, Nassau MEA, NYSMA. Hon: Peter Goldmark Chamber Music Award (1976); Lincoln Savings Bank 1st Prize Winner (1977); Presidential Scholars Teacher Recognition Award (two-time winner); listed in Who's Who in American Music, 1985 edition; favorable reviews of perfs/recordings appear in Aufbau Magazine, The Clarinet, RICHARD GILBERT’s The Clarinetists’ Discography III, New York Times, and Westchester Rockland Newspapers. Plays on: Buffet R-13 clarinets; Vandoren M-13 mouthpiece; Vandoren V-12 #5 reeds; plays with a double-lipped embouchure. Joseph Rutkowski believes that the foundation of clarinet playing is the mastery of the most basic technical elements: scales, thirds, arpeggios, and articulation styles and patterns (after H. Klosé). Layered on top of these essential technical components are the equally important development and control of a beautiful sound coupled with sensitivity and intelligence of phrasing, the latter of which his students develop through the Rose studies. With the musical foundation established, Rutkowski guides students through the study of works by J.S. Bach (as edited by HIMIE VOXMAN and ERIC SIMON), Mozart, Beethoven, Schubert, Weber, Brahms, Stravinsky, Nielsen, Copland, Hindemith, Piston, Husa, and Hovhaness. Of his own teachers, Rutkowski commented that his “most important teacher was LAWRENCE SOBOL – a student of HAROLD WRIGHT – who was and continues to be [a] most important influence.” (Rutkowski/Paddock 1998) Bib: Gilbert, Richard. “Recital Reviews.” The Clarinet 10 (Fall 1988): 48-9; Rutkowski, Joseph, to Tracey L. Paddock, Tallahassee, FL, July 20, 1998; “Rutkowski, Joseph Richard.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 509

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Sabin, Franklin. D. Nov. 1998 (Southern CA). Clarinet studies with KALMAN BLOCH, Henri DeBusscher (Los Angeles Phil oboist), and Kuhn. Former clarinetist: Pasadena Symph (Principal); also performed/recorded with the Boston Symph. Was active as a recitalist, chamber musician, and recording artist (recordings to be released by Jack Fanselow). Former faculty member: Occidental Coll. Other positions/activities: developer of his own ligature. Students include: Don Blasick, Chris French, Don Gross, Conrad Josias, Daryll Stevens. Conrad Josias’s article “Remembering Frank Sabin, A Secret Achiever,” is highly recommended reading for insight into this unique American musician. Josias describes Sabin as a clarinetist who had the ability, and a quite sufficient number of attractive offers, to have become a prominent orchestral clarinetist. In the course of his career, Sabin turned down Principal Clarinet positions in both the Boston and San Francisco Symphony Orchestras, preferring to maintain a lower profile as Principal Clarinetist of the Pasadena Symphony and to continue his activities as a recitalist and chamber musician. Bib: Josias, Conrad. “Born Thirty Years Too Soon!” The Clarinet 16 (February/March 1989): 57; Josias, Conrad. “Remembering Frank Sabin, A Secret Achiever.” The Clarinet 27 (December 1999): 70-72.

Salander, Roger Mark. B. Aug. 13, 1943 (NY, NY); has resided in Vienna, Austria since 1970. Son of WILHELM SALANDER. Dipl: Juilliard (1964) with AUGUSTIN DUQUES. Additional clarinet studies with STANLEY DRUCKER (in NY) and Alfred Prinz (in Vienna). Clarinetist: Vienna State Opera (Regular Sub: 1970-79); Vienna Phil (Regular Sub: 1970-79); Ensemble Kontrapunkte-Vienna (Member/ Soloist: 1970-85+). Active as an intl recitalist/soloist (incl 1982 professional debut at Carnegie Hall, and perfs at ClarFest 1983, the 1998 Beijing Intl Clarinet Festival, and other clarinet conferences), chamber musician, and recording artist (on the Centaur, Duchesne, ORF labels). Faculty member: Institut de Haute Etudes Musicales (Prof of Clarinet/Chamber Mus: 1974-75); Univ of Southern California-Los Angeles (1976-77); Vienna Conserv (Prof of Clarinet: 1977-). Published in The Clarinet. Other positions/ activities: Artistic Dir, Catskill Instit for Advanced Musical Studies (1980s, +/-); Artistic Dir, Heiligenkreuzer Herbst (chamber music festival; current); active as a clinician. Hon: listed in Who's Who in American Music, 1985 edition; favorable reviews of perfs/recordings appear in The Clarinet, Los Angeles Times, New York Times, and numerous European publications. Plays on: Ottmar Hammerschmidt RS clarinets (model named after him). Students include: Fernando Dominguez, Xóchitl García, C. Anthony Oliveras, Daniel Paprocki, Jaroslaw Podsiadlik, Martin Scalona, Tara Scruggs, David Thomas. Although he received much of his musical training in the United States, Roger Salander has established a successful career as a performer and teacher in Austria, an unusual feat for an American clarinetist. Salander’s family roots are in Vienna: grandfather Berthold was section leader of the second violin section of the Vienna Philharmonic during the first half of the twentieth century, and Roger’s father, Wilhelm (William), completed clarinet performance studies at the Vienna Academy of Music. During the late 1930s and early 1940s, the years surrounding the German annexation of Austria, both Berthold and William fled to the United States, where they eventually settled in New York and continued their performance careers. While Roger Salander’s career has unfolded primarily in Austria, it is important that he be included in this document, not only because of his American birth and education, but also because he is one of relatively few American clarinetists to have established a music career in a European country. Numerous American clarinetists have been embraced as visiting soloists, recitalists, clinicians, and artists- in-residence in Europe, but few have gained a lasting foothold in European orchestras and/or conservatories. Other American clarinetists who have established successful careers based in Europe include LEE MORGAN, LARRY PASSIN, SUZANNE STEPHENS, MARINA STURM, and ALLEN WARE. Bib: “Berthold Salander.” Orpheus Trust. http://www.orpheustrust.at/musikereinzeln.php?l=e& muid=20000606155608 (accessed March 14, 2011); Page, Tim. “Concert: Roger Salander, Clarinetist.” NYTimes.com. http://www.nytimes.com/1983/10/06/arts/concert-roger-salander-clarinetist.html (accessed March 14, 2011); Salander, Roger. “The Hammerschmidt Boehm Clarinet.” The Clarinet 19 (May/June 1992): 25-27; “Salander, Roger.” Who's Who in American Music (Classical). 2nd Edition. New York, NY:

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R.R. Bowker Co., 1985: 511; Snavely, Jack. “Compact Disc Reviews.” The Clarinet 21 (February/March 1994): 52-53.

Salander, William [Wilhelm, Willy]. Born in Austria; fled to the U.S. in the late 1930s. Father of ROGER SALANDER. Dipl: Vienna Acad of Music. NYC clarinetist active during the early- to mid- 20th century (incl chamber perfs with ARTHUR H. CHRISTMANN at NYC’s Town Hall, Nov. 1939). Bib: “Berthold Salander.” Orpheus Trust. http://www.orpheustrust.at/musikereinzeln.php?l=e&muid= 20000606155608 (accessed March 14, 2011); Martz, Richard J. “Ellen Stone.” R.J. Martz. http://www. rjmartz.com/horns/Stone/ (accessed March 14, 2011);.

Salinger, Charles. B. Oct. 23, 1952. BM: Curtis IOM (1977) with ANTHONY GIGLIOTTI, and DONALD MONTANARO; additional studies at Temple Univ. Additional clarinet studies with KALMEN OPPERMAN. Clarinetist: Kirov Ballet (Principal: formerly, during the early 1980s when the Ballet was in residence in Philadelphia); Delaware Symph (Principal: current); Pennsylvania Ballet (Principal: current); Opera Delaware (Principal: current); NJ Opera Theater (Principal: current); Univ of Delaware Faculty Woodwind Quintet (current); also performs with the Philadelphia Orch, Philly Pops, Reading Symph, and Chamber Orch of Philadelphia, and has performed with the Houston Opera and Philadelphia Lyric Opera. Active as a soloist (incl perfs with the Delaware Symph, Musica 2000, and Pennsylvania Ballet), chamber musician (incl perfs with members of the Delaware Symph), and jazz/pop/Klezmer clarinetist and saxophonist. Faculty member: Univ of Delaware (Prof of Clarinet/Sax: current). Plays on: Buffet R-13 clarinets; Vandoren M-13 Lyre mouthpiece. Students include: Barbara Benedett, Harry Cherrin, Todd Hearn, Mat Levi, Sam Lorber, Andy Snitzer, Hayden Wright. Clarinetist Charles Salinger strives for a dark, round tone that rings, and is flexible enough to incorporate a colorful tonal spectrum. In addition to traditional clarinet performance, Salinger also enjoys playing jazz and Klezmer music, and encourages his students to explore other avenues of performance as well. In teaching, Salinger emphasizes rhythm and breathing, encouraging students to actively blow, not merely exhale. He believes that his strength as a teacher lies in “. . . teaching people who have problems and people of average ability. Anyone can teach someone with talent who works hard.” (Salinger/Paddock 1998) Bib: Salinger, Charles. “Charles Salinger.” C. Salinger. http://www.charlysalinger.com/ (accessed January 11, 2010); Salinger, Charles, to Tracey L. Paddock, Tallahassee, FL, July 26, 1998.

Samuels, Ronald. Mar. 29, 1960 (San Francisco, CA). BM: Univ of Southern California (1982) with MITCHELL LURIE. Clarinetist: San Diego Symph (Actg Principal: formerly, 1980s, +/-); Pasadena Symph (Principal: formerly, 1980s, +/-); Los Angeles Chamber Orch (Second: 1983-89); Toledo Symph (Principal: formerly, 1985-2000+); Minnesota Orch (Guest Principal: 1996-1997); Pittsburgh Symph (Second: current); Pittsburgh Reed Trio (Co-Founder: current); has also performed as Principal Clarinetist of the Santa Fe Opera. Active as a recitalist/soloist (incl perfs with the Eureka, Plymouth, San Diego, and Toledo Symphs, the Wisconsin Chamber Orch, and the Peninsula Music Festival Orch), chamber musician (incl perfs with the Pittsburgh Reed Trio, Olmos Ensemble, Ionian Chamber Players, et al), festival artist (incl participation at Music Acad of the West, Tanglewood, The Los Angeles Phil Instit, and the Casals, Colorado, Grand Teton, Ojai, and Peninsula Music Festivals), new music specialist (incl U.S. premiere of Ianaconne’s Concertante for Clarinet and Orch, and premieres/commissions of works by W. Albright, J. Harbison, D. Stock), studio musician (incl work for the Columbia, Universal, and Warner Bros. studios), and recording artist (on the Opus One, Hearts of Space, and Koch Intl Classic labels). Faculty member: Duquesne Univ (current); has served as Vstg Lect at Interlochen Arts Acad, Univ of MI, and Univ of Southern CA. Articles published in The Clarinet and de Klarinet. Memb: ICA. Other positions/activities: Buffet Crampon USA Perf Artist; Founder, Collaborative Arts Network (1991-); was a production asst on a D. SHIFRIN recording for Delos. Hon: favorable reviews of perfs/recording appears in American Record Guide, The Clarinet (see Bib below), Fanfare, and Los Angeles Times. Plays on: Buffet R-13 clarinets; Pyne “M” mouthpiece; Vandoren V-12 # 3 ½ reeds. Students include: Laura Armstrong, Jonathan Augustine, Nikolay Blagov, Kathleen Costello, Shannon Ford, Gretchen Roper, Julieta Ungartemendia. Clarinetist Ronald Samuels offered the following tenets of his teaching and performing philosophy [capitals mine]:

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1. I demand of myself and of my students a vocal approach to the clarinet. Because the clarinet is traditionally played without vibrato, singing on the instrument is among our greatest challenges. 2. I frequently borrow a wonderful adage from my teacher, MITCHELL LURIE: “Clarity is the illusion for speed.” (Samuels/Paddock 1998)

Bib: “Musical Chairs.” The Clarinet 13 (Fall 1985): 54; Samuels, Ron. “Ron Samuels.” R. Samuels. http://www.ronsamuelsclarinet.com/ (accessed January 17, 2011); Samuels, Ron, to Tracey L. Paddock, Tallahassee, FL, July 27, 1998; Wong, Bradley A. “Audio Notes.” The Clarinet 22 (May/June 1995): 12.

Sand, Albert. B. May 27, 1879 (Jaroslav, Russia). Advanced clarinet studies begun at age 13 at the Moscow Conserv with Jacob Sandler. Former clarinetist: Libau Military Band (Conductor/Soloist: 1901-06); Dresden Phil Orch-GER (1908, +/-); Blüthner Orch-Berlin (Principal/Soloist: 1910+); Charlottenberg Opera (Principal: 1912-14); Boston Symph (Principal: 1914-25); Longy Club (Principal); Detroit Symph (Principal: 1926-28). Was active as a soloist (incl perfs with above orchs and a perf of the Mozart Clarinet Concerto with the Boston Symph in March 1918) and chamber musician (incl perf at the Berkshire Festival of Chamber Music, 1918). Bib: Hale, Philip. Programs of the Boston Symphony Orchestra 37 (37th Season, March 29 and 20, 1918): 1158.

Sanders, Raphael P. Jr. B. Oct. 18, 1956 (Honolulu, HI). BME: Univ of Hawaii with HENRY MIYAMURA; MM(with highest honors): San Francisco Conserv (ca. 1990) with DAVID BREEDEN; DM: Univ of North Texas (1994) with LEE GIBSON, JAMES GILLESPIE, and JOHN SCOTT. Additional clarinet studies with LARRY COMBS, HENRY GULICK, ROBERT MARCELLUS and RICHARD STOLTZMAN. Clarinetist: U.S. Air Force Band-Travis AFB (Principal: 1982-90, +/-); Arlington Opera-TX (Principal: formerly, early 1990s, +/-); Abilene Phil (Principal: 1992-97); Orch of the Pines (Principal: 1997-); Stone Fort Quintet (1997-); Texas Clarinet Consort (1999-, +/-); has also performed with the East Texas, Monterey, Napa, Richardson, and Vallejo Symphs. Active as an intl recitalist (incl perfs at Weill Hall, various ICA conferences, the 1998 Oklahoma Clarinet Symposium, and the 1998 OK Bandmasters Assn Convention), soloist (incl perfs with USAF Band-Travis ensembles, the Abilene Phil, and with the Texas Tech Univ Clarinet Choir at ClarinetFest 1999), chamber musician (incl perfs with above groups, the Texas Clarinet Consort in Europe, North America, and Mexico, and USAF-Travis Ensembles), and recording artist (incl recordings with USAF Band-Travis ensembles); has also performed in ensembles and as a recitalist/soloist on bassoon, sax, trumpet, and tuba. Faculty member: Hardin-Simmons Univ (Asst Prof of Woodwinds: formerly, 1990s, +/-); Abilene Christian Univ (Adj Prof of Clarinet: formerly, 1990s, +/-); McMurry Univ (Adj Prof of Clarinet: formerly, 1990s, +/-); Howard Payne Univ (Adj Prof of Clarinet: formerly, 1990s, +/-); Stephen F. Austin State Univ (Prof of Clarinet: 1997-2000); Univ of Nevada-Las Vegas (formerly, 2000+); SUNY-Potsdam (Assoc Prof: current); active as a private clarinet instructor. Other positions/activities: Buffet Crampon USA Perf Artist (1996-); D’Addario Gold Perf Artist; Founder/Coordinator, ICA Orchestral Audition Compt (1997-); ICA State Chmn, NY; active as an adjudicator and clinician. Memb: ICA. Hon: Recip, Univ of Hawaii full schol; Teaching Fellowship, Univ of North Texas (1990). Has played on: Buffet Tosca (B-flat/A), R-13 (E-flat), and Prestige (bass) clarinets; Henry Chedeville mouthpieces; Kaspar and Bonade ligatures; CHADASH barrel; Rico Grand Concert Thick Blank and Vandoren reeds. Students include: Allyson Capurso, Alan Lawson. Raphael Sanders began his musical studies in Hawaii, learning to play the guitar and ukulele and singing Hawaiian songs with his father. Sanders’s musical abilities diversified as he added clarinet, saxophone, bassoon, trumpet, and tuba to his repertoire, giving solo performances on each while still an undergraduate. In clarinet playing, Sanders strives for a large, firmly supported sound to be used as an expressive tool to serve the music. He comments, “The music comes first. All technique serves the musical communication.” (Sanders/Paddock 1998) Bib: “Dr. Raphael P. Sanders Jr.” SUNY Potsdam. http://directory.potsdam.edu/?function= user=sanderrp (accessed January 17, 2011); “Musical Chairs.” The Clarinet 20 (November/December

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1992): 53; “Musical Chairs.” The Clarinet 25 (November/December 1997): 84; Sanders, Dr. Raphael P., Jr., to Tracey L. Paddock, Tallahassee, FL, August 17, 1998.

Satterwhite, Tommy. Native of Neptune, NJ. B. circa 1937; d. June 25, 2003 (Cocoa Beach, FL). Undergrad classical clarinet studies at Georgia State Univ. Clarinetist: Atlanta Symph (Clarinet/Bass: 1959-60); also performed with the Jacksonville and Savannah Symphs as well as many big bands and dance bands (incl those of Jimmy Dorsey, Benny Goodman, Henry Mancini, Glenn Miller, and Lawrence Welk). Was primarily active as a jazz band/big band clarinetist but performed classically as well. Bib: Kerr, Jessie-Lynne. “Versatile Clarinetist Satterwhite Dead at 66.” Florida Times-Union. http:// jacksonville.com/tu-online/stories/070703/met_12964520.shtml (accessed January 17, 2011).

Saucier, Gene Allen. B. Nov. 29, 1929 (Shreveport, LA). BM/MM: Cincinnati Conserv (1950/1951) with FREDERIC LUBRANI. Active as a clarinet and sax recitalist/soloist (incl perfs/ recordings of his own compositions) and recording artist (on the Columbia Records, Opus 2, and VPR labels); broadcast perfs given on WKNO Channel 10 (Memphis). Faculty member: Cincinnati Conserv (Jr Faculty: early 1950s, +/-); Univ of Mississippi (Prof of Woodwinds: 1960s-85+). Author, Woodwinds: Fundamental Performance Techniques (Schirmer Books, 1981); has also contributed to publications for intermediate/advanced clarinet students. Other positions/activities: active as a composer of woodwind music (published by G. Schirmer and Kendor) and woodwind clinician. Memb: MENC, Natl Federation of Musicians, Phi Mu Alpha Sinfonia. Hon: John Philip Sousa Award (1957); recip of various Univ of Mississippi research grants, (1968, 1969); Natl Award of Merit in Composition, Natl Federation of Women (1969); composition dedications accepted by Julius Baker, BENNY GOODMAN, Reginald Kell, ARTIE SHAW, and Eugene Rousseau. Bib: “Saucier, Gene Allen.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 515; Saucier, Gene, to Tracey L. Paddock, Tallahassee, FL, May 14, 1998.

Sawall, Carleton. Faculty member: Lawrence Univ (1959-61, +/-). Students include: K. THOMAS GAINACOPULOS.

Sawin, L.C. Los Angeles clarinetist active during the late-19th/early-20th centuries. Performed as clarinetist with the orchestra that became the Los Angeles Philharmonic in the early twentieth century.

Scarlett, William [Bill] P. B. Mar. 6, 1929 (Russellville, AR). Violin studies begun at age 9, followed by clarinet studies at age 10, and sax studies at age 13. BM/MM: Louisiana State Univ (1955/1966) with PAUL DIRKSMEYER. Additional clarinet studies with IGNATIUS GENNUSA, KALMEN OPPERMAN, LEON RUSSIANOFF, and HAROLD WRIGHT. Clarinetist: Knoxville Symph (Principal: 1957-81); Tennessee Woodwind Quintet (1957-81). Active as a chamber musician and jazz musician (clarinet/sax; incl perfs with the big bands of Woody Herman, , Ray McKinley, et al). Faculty member: Univ of Tennessee (Prof of Clarinet/Sax: 1957-94). Published in Jazz Saxophone. Memb: AFM, ICA, NAJE. Hon: Phi Beta Kappa Key, LSU; Alumnus of the Year, LSU Coll of Music (1997); nominated for induction into the Arkansas Jazz Hall of Fame (2000). Plays on: Buffet R-13 clarinets; Dirksmeyer (Zinner) mouthpieces; Moennig barrels (DAVID HITE); Vandoren reeds. Students include: J. DAVID HARRIS, CASSANDRA LEE, John Norton, Mark Turcker, Bennie Wallace. Although William Scarlett’s early musical training was based largely on traditional clarinet performance, he was always interested in jazz, and as the jazz degree program at the University of Tennessee developed and expanded during the 1980s, Scarlett found himself leaning increasingly in that direction. While he still performs with the Knoxville Symphony and on various chamber music concerts, his primary performance focus has become jazz. In teaching, Scarlett emphasizes the basics: embouchure development, rhythmic accuracy, reed refinement, the importance of good equipment, and a German concept of tone. He also encourages proper breathing and relaxation, concepts he came to appreciate through his experience with the Alexander Technique and the philosophy of JOSEPH ALLARD. Of his own teachers, Scarlett credits PAUL DIRKSMEYER with refining his tone and musicality, while KALMEN OPPERMAN emphasized facile technique and reed- making, and HAROLD WRIGHT instilled a sense of phrasing and “how to play soft!” (Scarlett/Paddock 1998)

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Bib: “AJHF: Artists: Hall of Famer: 2000: William P. Scarlett.” Arkansas Jazz Heritage Jazz Foundation. http://www.arjazz.org/artists/hof/2000/2000_scarlett.html (accessed March 14, 2011); Scarlett, William, to Tracey L. Paddock, Tallahassee, FL, May 11, 1998.

Schaller, Leonard. Deceased. Father/clarinet teacher of PAUL SCHALLER. Clarinetist: Chicago Symph (Clarinet/E-flat/Bass: 1928-31; Principal Bass Clarinet: 1931-45); New York Phil (Clarinet/Bass: 1945-66). Students include: MERRITT BUXBAUM, PAUL SCHALLER. Bib: Huffman, Larry. “Chicago Symphony Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Chicago_ Symphony_Musicians_List.htm (accessed January 17, 2011).

Schaller, Paul. B. May 22, 1924 (Chicago); d. Sept. 1, 2009. Son of LEONARD SCHALLER. Clarinet studies with LEONARD SCHALLER. Music studies at Juilliard and Tanglewood. Former clarinetist: New Orleans Symph; Pittsburgh Symph; Detroit Symph (Principal: 1957-88, +/-). Was active as a soloist (incl perfs with the Detroit Symph). Former faculty member: Wayne State Univ. Students include: Marianne Leitch Brenemen, Don Buckmaster, Ralph Katz, Norma Keil, LAURENCE LIBERSON, DANIEL LOCHRIE, Douglas Monroe, Mark Rocheleau, Lisa Ellen Rosenberg, ROBERT SPRING, TIMOTHY TOPOLEWSKI, BRADLEY WONG. Bib: “In Memory of Paul Schaller.” Harry J. Will Funeral Home. http://www.harryjwillfuneralhome.com/sitemaker/sites/HarryJ1/obit.cgi?user= 128807Schaller (accessed January 17, 2011).

Scheck, Emil. Clarinetist: New York Phil Orch (Principal: 1895-1908). Bib: Jones, Chris. “New York Philharmonic Principal Clarinetists.” Clarinet Now. http://www.clarinet-now.com/new-york- philharmonic-principal-clarinetists.html (accessed March 14, 2011).

Scheerer, Jeannette. B. Cedar Falls, IA (1905). Grad: American Conserv of Music; Hochschule fur Musik-Berlin. Clarinet studies with JOSEPH SCHREURS. Former clarinetist: Civic Orch of Chicago (Principal); Dasch’s Little Symph (Principal); NY Civic Symph (Principal); NY Woman’s Symph Orch (Principal: 1935+); NJ Symph (Principal); New Orleans Symph (Principal: 1941+). Was active as a chamber musician (incl perfs with the Musical Art Quartet and Durieux Chamber Ensemble). Other positions/activities: Founder/Conductor, Woman’s Chamber Orch of NY; was active as a conductor during the 1920s and 1930s. Hon: favorable review of perf appeared in Time; listed in Who is Who in Music (1941). Jeannette Scheerer, like her Chicago counterpart LILLIAN POENISCH, was a pioneer as a female clarinetist and conductor in America. When she assumed the position of Principal Clarinet with the New Orleans Symphony in 1941, she was the first woman to ever hold such a position in the history of the United States, opening the door of musical opportunity for generations of female musicians to come. Bib: Ferjutz, Kelly. “Women Who Speak Softly and Wield the Big Stick!” Suite101.com. http://www.suite101.com/article.cfm/classical_music/6138/2 (accessed January 17, 2011); “Scheerer, Jeannette.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 202.

Scheid, L. Don. B. Nov. 14, 1924 (Sandusky, OH); d. May 14, 2005 (Lawrence, KS). BM/MM: Michigan State Univ. Clarinet studies with JOSEPH SINISCALCHI and GEORGE SILFIES. Former clarinetist: Kansas Univ Faculty Woodwind Quintet; was active as a recitalist/soloist and chamber musician. Former faculty member: Kansas Univ (1955-90; served as Prof, Asst Dean, and Assoc Dean). Memb: Kansas MTA, MTNA, NACWPI (incl service as state chair). Other positions/activities: Voice of the Marching Jayhawks (1958-89); served a combined 35 years in the USAF Reserve. Hon: Sudler Award, for his work as the voice of the Marching Jayhawks; schol at Kansas Univ established in his name. Students include: GARY FOSTER, Steve Hedden. LYLE MERRIMAN. Bib: “L. Don Scheid.” Lawrence Journal-World. http://www2.ljworld.com/obits/2005/may/16/l_don_scheid/ (accessed March 15, 2011).

Schempf, Kevin. B. June 3, 1961 (West Point, NY). HS studies at Interlochen Arts Acad with FRANK KOWALSKY. BM/MM: Eastman SOM with PETER HADCOCK and STANLEY HASTY. Clarinetist: U.S. Coast Guard Band (E-flat: 1983-89); Syracuse Symph (Second/E-flat: 1989-98); Venti da Camera (1998-); has also performed with the Boston and Toledo Symphs. Active as an intl recitalist (incl perfs in the U.S., Europe, and Japan), soloist (incl perfs with the U.S. Coast Guard Band and Syracuse Symph), chamber musician (incl perfs with the New London Contemporary Ensemble, New World

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Consort, Wall Street Chamber Players, Venti da Camera, Chamber Music Plus, and Ying Quartet), new music specialist (incl perfs with the Pittsburgh New Music Ensemble and Brave New Works), festival artist (incl participation at the Chautauqua Instit and the Harkness and Skaneateles Festivals), and recording artist (with Syracuse’s Society for New Music); broadcast perfs given on NPR. Faculty member: Connecticut Coll (formerly); Wesleyan Univ (formerly); Bowling Green State Univ (Assoc Prof of Clarinet: 1998-); Interlochen Arts Camp (current). Published in The Clarinet. Plays on: Buffet R-13 (B-flat/A) and Prestige RC (E-flat) clarinets; JOHNSTON mouthpiece. Students include: Elizabeth Aleksander, Jonathan Augustine, Soo Goh. Bib: “Musical Chairs.” The Clarinet 26 (September 1999): 90; Schempf, Kevin. “Kevin Schempf.” K. Schempf. http://www.kevinschempf. com/live/ (accessed January 17, 2011); Schempf, Kevin. “The 24th Annual University of Oklahoma Clarinet Symposium – A Report.” The Clarinet 26 (September 1999): 80-83; Schempf, Kevin, to Tracey L. Paddock, Tallahassee, FL, July 16, 1998.

Schenk, Andrew. B. ca.1941 (Honolulu, HI); d. Undergrad degree from Harvard Univ; MM(Conducting): Indiana Univ. Former clarinetist: Milwaukee Symph (Asst Principal: late-1960s-70s, +/- ); was active primarily as a conductor for much of his career. Former faculty member: Univ of Wisconsin- Milwaukee (Conducting). Other positions/activities: Asst Conductor, Honolulu Symph (formerly). Hon: Fulbright Grant, to study conducting in Stuttgart and Berlin, Germany; 1st Prize, Intl Compt for Young Conductors-Besancon, France (1963). Bib: “Andrew C. Schenk Returns.” Honolulu Symphony Orchestra Program 1970-71 Season (December 20 and 22, 1970): 25-26.

Schmachtenberg, Emil Adolf. Deceased. Grad: Curtis IOM (1935). Clarinet studies with DANIEL BONADE and JOSEPH ELLIOTT. Former clarinetist: Cincinnati Symph (Clarinet/Bass: 1936- 39, +/-; Principal: 1939-67+). Former faculty member: Cincinnati Conserv. Other positions/activities: Selmer Artist. Students include: RONALD AUFMANN, Kathy Doane, Deborah Gers, Richard Glaze, Eugene Marquis, Cynthia Morelli. Bib: Stoddard, Hope. “Clarinets and Clarinetists in Our Orchestras.” International Musician 48 (September 1949): 23.

Schmidt, Harold A. [Harry]. B. July 23, 1919 (Altoona, PA); d. Feb. 1, 2011 (Kerrville, TX). Clarinet studies begun with his father, Charles Schmidt, at age 11. BM: Ohio State Univ (1948) with Clare Grundeman and DONALD MCGINNIS; MME: New England Conserv (1949) with ROSARIO MAZZEO; additional studies at Tanglewood (Summers, 1947-49). Additional clarinet studies with SIMEON BELLISON, ADOLPH FINKELSTEIN, VICTOR POLATCHEK, JEAN SHANIS, RUDOLPH SCHMITT, FRED WEAVER. Clarinetist: U.S. Army Band (formerly); Columbus Phil-OH (Principal: formerly, for 2 seasons); Miami Symph (formerly, for 2 seasons); Dallas Opera/Ballet (1980-83); Fine Arts Colony Opera Orch (Principal: Summers 1982, 1983); Victoria Symph-TX (Principal: 1984-); Lakeside Symph-OH (1997-); has also performed with the Corpus Christi Symph. Active as a recitalist (incl perfs at the 1966 Midwest Clinic, 1967 TMEA Convention, 1973 Intl Clarinet Clinic, 1976 Southeastern Clarinet Conference, 1978 Indiana Univ Clarinet Workshop, 1979 World Clarinet Congress-Belgium, and the 1st Southwestern Clarinet Clinic in 1980, and a perf of Stravinsky’s Three Pieces for the composer), soloist (incl perfs with the Luxemburg Symph, and with the Florida State Univ Band on the U.S. Dept of State tour of Damascus, Syria, and Amman, Jordan), chamber musician (incl a perf with the Paganini String Quartet), and festival artist (incl participation at the Brevard and Provo Music Festivals, the Victoria Bach Festival, and the Inspiration Point Fine Arts Colony). Faculty member: Florida State Univ (Prof of Clarinet: 1949-79); Victoria Christian School-TX (Woodwind Instructor: current); Schreiner Univ (PT: current); has taught at above festivals and at music camps held at Stephen F. Austin Univ and Texas Lutheran Coll, and in Cumberland Forest and Kerrville, TX; has served as Guest Faculty at Ohio State Univ, Brigham Young Univ, Polytechnic Univ, and Univ of the Pacific; active as a private clarinet instructor. Author: A Manual for Establishing a Tangible Teaching Technique for the Clarinet; College Class-Clarinet Method (to be published). Articles published in Florida Music Director, Leblanc Bandsmen, MENC Journal, School Musician Magazine, et al. Other positions/activities: Selmer Artist (formerly); G. Leblanc Corp. Artist/Clinician (formerly); active as an adjudicator, clinician (incl presentations given at various clarinet/mus ed conferences, and throughout the U.S., Europe, and the Middle and Far East), editor (incl: “Clarinet Clinical” column in School Musician Magazine (1964-73); Woodwind Journal (formerly); “Learning to Play the Clarinet,” a filmstrip produced by Imperial Educational Resources, Inc.), instrument repairman, and inventor (incl the

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“Clarinet Positioner” and other clarinet-modifying devices). Memb: AFM, ICA, Pi Kappa Lambda, Phi Mu Alpha. Hon: Participant, U.S. Dept of State Intl Educational Exchange Program, to teach woodwinds and perform with orchs in Taipei, Taiwan, and Djakarta, Indonesia (1960-61); Honorary Memb, Taiwan “Political Staff Coll” (1960-61); FSU Faculty Development Grant, for observing clarinet instruction/ performance throughout Europe (1970-71). Plays on: Selmer 10S and 10G clarinets; Vandoren B45 mouthpiece; Vandoren #3 ½ reeds. Students include: WILLIAM BIGHAM, George Corradino, John Daniels, ROBERT GREENLEAF, Sherrick Hiscock, Bill Holman, Tom Houston, David Irwin, Eric Maddox, Ann McCutchan, Mark Simon, Dallas Smith, George Swift, Mary Walker Swift, PETER TEMKO, Constance Whitfield. Harry Schmidt commented:

Clarinet teaching and playing in America is some of the finest in the World. I’d like to see more class teaching as it has so many advantages over private lessons. It should be a diagnostic-prescriptive type of teaching rather than the usual “put your [money] under the inkwell and take the next 6 pages.”

My pet peeve is the fact that methods written in the past have been only a collection of music “tidbits” into which each teacher integrates his very own teaching techniques. I would like to see real teaching methods which tells the pupil what to do, how to correct the problems which might arise and how to solve them. Here’s to better METHODS! (Schmidt/Paddock 1998)

In addition to his musical and educational activities, Harry Schmidt was also something of an inventor. One of his more famous inventions (among his own students, anyway), was known as “the Schmidt stick,” a clarinet-support device used by all of his students. The clarinet was supported by means of a stick or rod attached to the back of the clarinet, which rested on the clarinetist’s mid-torso. Among his other contributions to the clarinet community, Schmidt donated his personal library of clarinet materials to the University of the Pacific in 1997, known as the Harry Schmidt Collection of Clarinet Music. Bib: “Harry A. Schmidt Obituary.” Tallahassee.com. http://www.legacy.com/obituaries/ tallahassee/obituary.aspx?n=harry-a-schmidt&pid=148480193 (accessed April 3, 2011); Schmidt, Harry A., to Tracey L. Paddock, Tallahassee, FL, June 29, 1998.

Schmidt, Robert C. B. ca. 1941 (Cortland, NY); d. June 11, 1993. Grad: SUNY-Potsdam with HARRY PHILLIPS; Philadelphia Conserv. Clarinet studies with ANTHONY GIGLIOTTI, ROBERT MCGINNIS, and James Truscello. Studied clarinet repair with Hans Moennig. Was active as a clarinet recitalist, chamber musician, and recording artist (incl a perf on a recording with LARRY COMBS on the Mark Records label). Faculty member: Ithaca Coll (Prof of Clarinet: 1968-93, +/-). Author, A Clarinetist’s Notebook (in 4 volumes). Other positions/activities: Editorial Staff Memb, The Clarinet (1980s, +/-); was active as a well-respected clarinet repairman. Hon: favorable review of A Clarinetist’s Notebook appears in The Clarinet (see Bib below); Robert C. Schmidt Schol Fund established in his honor at Ithaca Coll. Students include: Diana Cassar-Uhl, Eric Drucker, JOHN FLAVER JR, DAVID MINELLI, Colleen O’Neil, Richard Shaughnessy, Mark Simon, Rick Vare, Karen Wells. For 25 years, Robert Schmidt nurtured and inspired clarinet students at Ithaca College both through his teaching and through his performances as a recitalist and chamber musician at the college. To the clarinet community at large, Schmidt contributed a treasure in his thorough and well-constructed, four- volume publication, A Clarinetist’s Notebook. This publication covers every aspect of clarinetistry, including care and repair of the clarinet, fundamentals, rhythm, and tone. In addition to his musical pursuits, Schmidt also enjoyed photography, tennis, and the richness of the . Bib: Gillespie, James. “Book Reviews.” The Clarinet 4 (Fall 1977): 35; “In Memoriam, Robert C. Schmidt.” The Clarinet 21 (November/December 1993): 41; Schmidt, Robert. A Clarinetist’s Notebook, Vol. 1-4. Ithaca, NY: The author, 1971.

Schmidt, Roy O. Native of MN; deceased. Clarinet studies with CLARENCE WARMELIN and . Former clarinetist: Sousa Band (Solo Clarinet: 1925-27); Conway Band (Principal); Minneapolis Symph

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(Second/Bass: 1922-28, +/-); Detroit Symph (Principal: late 1920s-30s, +/-). Active as a soloist (incl perfs with the Sousa Band and Detroit Symph) and recording artist (incl an excerpt from the Bassi Rigoletto Fantasy on the Columbia Records label, recorded on a silver clarinet); was reputed to have been an excellent pianist. Other positions/activities: Artist/Rep, Bettoney Silva-Bet clarinets (featured in 1926 ad in Woodwind News); was skilled in refacing mouthpieces. Played on: Bettoney Silva-Bet and other clarinets; crystal mouthpieces. Students include: DAVID WEBER. When clarinetist DAVID WEBER was young, he heard Roy O. Schmidt perform with the Detroit Symphony. He commented,

I loved his sound, so I went to study with him. He was one of the few teachers who actually played clarinet at the lessons. He was a young man, in his 20s, and he was an outstanding musician. . . . He made a tremendous impression on me, both personally and professionally. Schmidt was the one who inspired me to be a good player, who explained what you have to do. (Levy et al 2001, 49)

According to Weber, Schmidt was a strong advocate of long tones and scales (from Baermann), and used the Lebanchi etudes for the development of both technique and musical expression. He valued beauty of sound above all else. Unfortunately, Schmidt was burdened with both personal and physical issues which he was unable to overcome. David Weber related with great sadness how he showed up for what would be the last of his weekly lessons only to be told that Schmidt had committed suicide, thus cutting short the career of an outstanding artist/teacher and cherished human being. Weber commented,

Even today, I consider Schmidt to be my main influence. I still teach with his personality and gifts in mind. I always try to take my students seriously and give them everything I have to offer, just as he did for me. He was truly a wonderful man. (Ibid., 50)

Bib: Krebs, Jesse. “The Clarinet Soloists of the Sousa Band: 1892-1929.” ICA. http://www. clarinet.org/clarinetFestArchive.asp?archive=45 (accessed March 15, 2011); Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57; Stewart, Robert. “Conversations with David Weber.” The Clarinet 13 (Summer 1986): 18-23; “The New Bettoney Silver Clarinet.” Advertisement in Woodwind News 1 (Summer 1926); Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 229.

Schmitt, Rudolph. B. Feb. 12, 1900 (Germany); d. Aug. 30, 1993 (Long Beach, CA). Clarinet studies with ANTON QUITSON and Heinrich Sallmann. Former clarinetist: Chicago Civic Opera; Chicago Civic Orch; WGN Radio Orch; San Francisco Symph (Principal: 1933-54, +/-); San Francisco Woodwind Quintet. Was active as a chamber musician and Los Angeles studio musician (incl work for Paramount, NBC, and CBS studios). Former faculty member: Mills Coll. Students include: HARRY SCHMIDT, Bucky Steele. Bib: Huffman, Larry. “San Francisco Symphony Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_San_Francisco_ Symphony.htm (accessed March 15, 2011); “Rudolph Schmitt.” WorldLingo. http://www.worldlingo.com/ma/dewiki/en/Rudolph_ Schmitt (accessed January 12, 2011).

Schoepflin, H. James. Jan. 16, 1942 (Moscow, ID). BM/MM(Clarinet/Piano): Univ of Idaho with WARREN BELLIS and DAVID SEILER; DM: North Texas State Univ (1973) with LEE GIBSON. Clarinetist: Solstice Wind Quintet (1978-); Crown Chamber Players (1980-95); Spokane Symph (Second/ E-flat: formerly, 1988-2000+); Zephyr (1992-97). Active as a recitalist/soloist (incl perfs at the 1978, 1982, and 1984 Intl Clarinet Congresses, and at the 1986 and 1992 MENC Natl Conferences), chamber musician (incl perfs with above groups and the Mühlfeld Trio), recording artist (on the Laurel label), and pianist. Faculty member: Luther Coll (formerly); Idaho State Univ (Prof: 1973-76); Washington State Univ (Prof: formerly, 1976-2000+); Prof Emeritus: current). Other positions/activities: Founder/Publisher, The Clarinet (1973-85); Treas, ICA (1981-86); creator of “Getting Started on the Clarinet” video series for beginners (Getting Started Productions, 1996); active as a conductor (incl former positions with the Idaho State Civic and Idaho Falls Symph Orchs and the Spokane Youth Orch; currently serves as conductor of the

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Spokane Opera). Memb: AFM, CMS, ICA, MENC. Hon: Schoepflin’s 1984 recording of Muczynski’s Fantasy Trio (with the Mühlfeld Trio) was chosen to be played on the classical channel of United Airlines on national and international flights. Plays on: Buffet R-13 (B-flat/A/E-flat) and Yamaha 72 (B-flat/A) clarinets; MITCHELL LURIE Premium mouthpiece; Vandoren V-12 and Marca reeds; HITE E-flat mouthpiece; Leblanc C clarinet; Yamaha bass clarinet. Students include: BETTY BROCKETT, Levana Cohen, JACK HOWELL, GREGG MILLER, Joan Rubin, Anthony Taylor. H. James Schoepflin has enjoyed a multi-faceted musical career as a clarinetist, pianist, and conductor, and as Professor of Clarinet at Washington State University for almost 30 years. He has given much to the clarinet community through his work as founder and first publisher of The Clarinet, the internationally distributed journal of the International Clarinet Association. Schoepflin particularly enjoys performing chamber music with strings and performing with his wife, pianist and Attorney General of the State of Washington, Judith Schoepflin. He and Judith perform both as a piano duo and as the Schoepflin Duo (clarinet and piano). On his musical philosophy Schoepflin commented, “I strongly subscribe to the ‘bel canto’ school of clarinet playing, with emphasis upon the expressive, lyrical, natural qualities of our chosen instrument.” (Schoepflin/Paddock 1998). Bib: Schoepflin, H. James. “A Tribute to Betty Brockett.” The Clarinet 14 (Fall 1986): 37; Schoepflin, H. James. “A Tribute to Dr. Lee Gibson, Professor of Music, North Texas State University – 1945-1981.” The Clarinet 9 (Fall 1981): 14-16; Schoepflin, H. James. “Clarinetists and The Clarinet.” The Clarinet 7 (Fall 1979): 38; Schoepflin, H. James. “The Developing Clarinetist: Back to Basics.” The Clarinet 1 (February 1974): 6; Schoepflin, H. James, to Tracey L. Paddock, Tallahassee, FL, May 29, 1998.

Schoepp, Franz. B. Germany. Clarinetist/teacher active during the early 1900s. Clarinetist: Chicago Symph (formerly). First “classical” clarinet teacher of BENNY GOODMAN; also taught jazz clarinetists and Jimmy Noone. In teaching, Schoepp emphasized the Baermann etudes and scale studies. Bib: Duckham, Henry. “An Interview with Benny Goodman.” The Clarinet 9 (Summer 1982): 6-13; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 51.

Schott, Robert J. B. 1924; d. 2005. Grad: Univ of Tulsa; Cincinnati Conserv; additional studies in London, England with Jack Brymer and GERVASE DE PEYER. Former clarinetist: Band of the Air; Kansas City Phil (late 1940s, +/-). Former faculty member: Pittsburgh State Univ of Kansas (Prof of Clarinet: 1970s, +/-). Member: ICA. Other positions/activities: Secr/Treas, ICA (1973-75). Hon: Schott Scholarship established at PSU in Schott’s honor. Students include: KEITH LEMMONS, Bob Moon. Bib: “About Our Secretary/Treasurer.” The Clarinet 1 (August 1974): 8; Stoddard, Hope. “Clarinets and Clarinetists in Our Orchestras.” International Musician 8 (Spring 1934): 23.

Schreiber, ______. May be the same as OTTO SCHREIBER below. New York clarinetist active during the late-19th/early-20th centuries. Students include: EMIL RADA.

Schreiber, Otto. Clarinetist: Cleveland Orch (Clarinet/Bass: 1926-27).

Schreurs, Joseph. B. Apr. 21, 1863 (Brussels, Belgium); d. July 15, 1921. Immigrated to the U.S. in 1882. Clarinet and music studies begun with his father, and continued at the Brussels Conserv with Gustave Poncelet. Former Clarinetist: Grau Opera Co.; Liberati Band at Woodside Park, Philadelphia; Fred Innes NY Concert Band; Theodore Thomas Orch (1883-91); Chicago Orch/Chicago Symph Orch (Principal: 1891-1921); Chicago Symph Orch Woodwind Quintet; Opera in Ravinia Park. Was active as a soloist (incl perfs of Weber concerti, the Saint Säens Tarantelle, and other works with the Chicago Symph), chamber musician, freelance musician, pianist, and private clarinet instructor. Played on clarinets briefly during his orchestral career, but switched back to his native Albert system because of its “peculiar tonal quality and greater carrying power.” (Langenus, 5). Preferred a crystal mouthpiece over wood or rubber mouthpieces due to the tendency of the latter two materials to warp, and noted that the constant changing of mouthpieces “is a disease of the worst description. Get a good mouthpiece and stick to it.” (Ibid.)

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Students include: Robert Davidson, ERWIN HARDER, LILLIAN POENISCH, JEANNETTE SCHEERER, CLARENCE WARMELIN, ROCCO ZOTTARELLE. In researching Schreurs, one comes across discrepancies in the ages at which Schreurs made his initial and impressive foray into the music world. In spite of the inaccuracies, what comes across with perfect clarity is that Schreurs was no ordinary clarinetist from the very beginning. He began music studies with his father, and was then admitted at either age six, eight or eleven, depending on the source, as a scholarship student to the Brussels Conservatory to study with Gustave Poncelet. He may have been “discovered” by Belgian King Leopold and awarded this scholarship, or he may have been awarded First Prize by King Leopold later, or perhaps both versions have some accuracy. Regardless of the actual facts, Schreurs’s prodigious talent was recognized at an early age and “. . . by the time he was eighteen years old, his teacher [Poncelet] advised him that there was not enough room in Belgium for two fine clarinetists.” (Tenney, May 1952, 4) At the age of 18, Schreurs came to the United States where, after a few unfortunate work experiences and much freelancing, he was noticed by Theodore Thomas. At the time, Thomas was the conductor of the Theodore Thomas Orchestra which, through various permutations, would become the Chicago Symphony Orchestra. Schreurs performed as Principal Clarinetist of Thomas’s orchestra through its eventual evolution into the Chicago Orchestra (1891-1905). When the Chicago Symphony Orchestra, as it is now known, emerged from what was the Chicago Orchestra, Schreurs served as its Principal Clarinetist for sixteen years. In total, Schreurs served as Principal of the Chicago Symphony in all of its incarnations for more than thirty years, an impressive run for that time period. It is also notable that Schreurs served with that organization for more than half of his life, which was cut short at the age of 58. Of Schreurs’s stature in America, Wallace R. Tenney has written, “Conductors, composers and fellow instrumentalists unanimously conceded that his tone, technic and incomparable style of playing merited him the well deserved honor of the ‘World’s Greatest Clarinetist.’” (Ibid.). An unnamed Chicago Symphony colleague remarked,

I have not heard in all these years a tone so beautiful, so round and soft in quality, yet so outstanding in refinement that it is impossible to describe it. His staccato was so perfect and of such an even quality that it sounded like the soft gurgling of wooded streams. (Ibid.)

So respected was Schreurs, as a performer and as a person, that after his sudden death in 1921, his chair in the Chicago Symphony was left vacant for a one-year period with a wreath or flowers often layed upon it. As to how Schreurs died so suddenly and at such a young age, no written information can be found, although his sudden absence from the Chicago music world was keenly felt. It is fortunate for American clarinet historians that one of Schreurs’s clarinet students, R.G. Seybold, gave Gustave Langenus access to his lesson notebook for an article on Schreurs published in Woodwind News. Excerpts from the notebook provide some direct insight into Schreurs’s teaching and clarinet philosophy in general. For example, although Schreurs himself preferred the tonal character and familiarity of the Albert system clarinet, he recommended the Boehm system to his students, due to the easier technical facility offered by the system. In Seybold’s notebook extracts, Schreurs also offered advice on mouthpiece selection and materials, the pursuit of evenness in all registers, and on reed and mechanical issues. (Langenus 1926, 5) According to Wallace R. Tenney’s articles on Schreurs, Schreurs prescribed for his students many of the same study materials currently in use (including those by Baermann, Cavallini, Gambaro, Kroepsch, Rose, and Rode as well as lesser known studies by Lambele, Mueller, and Schradieck). He also made use of the Bona studies, Bach etudes, and violin sonatas both for musical study and transposition practice. For solo literature, Schreurs taught many standard concerti (Baermann, Mozart, Spohr, Weber, etc.), sonatas (Brahms, Reger, etc.), and fantasies (Bassi, Bergson, Sobeck, etc.), in addition to works by less familiar composers (Hausseus, Reitz, Verhey, etc.). Many younger clarinetists may have never heard of Joseph Schreurs, but will discover that he was the DANIEL BONADE or HAROLD WRIGHT or RICARDO MORALES of his time. Articles listed in the Bibliography below, while conflicting in date information, are well worth reading. Bib: Gee, Harry R. “French Clarinetists in America, Part I: Early Artists and Alexandre Selmer.” The Clarinet 8 (Spring 1981): 52-53; Huffman, Larry. “Chicago Symphony Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_ Musicians_Chicago_Symphony.htm

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(accessed March 15, 2011); Langenus, Gustave. “Joseph Schreurs.” Woodwind News 1 (Winter 1926): 3-5; Tenney, Wallace R. “The Greatest Clarinetist.” Woodwind Magazine 4 (May 1952): 4, 12-13; Tenney, Wallace R. “The Greatest Clarinetist, Part II.” Woodwind Magazine 4 (June 1952): 14; Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 232-33.

Schroeder, C. Clarinetist: Detroit Symph Orch (Clarinet/Bass: 1919-21, +/-).

Schroeder, Carl. Clarinetist: Sousa Band (Bass/Librarian: 1910-15). May be the same as C. SCHROEDER above. Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/sousa/roster.htm (accessed March 15, 2011).

Schroeder, Raymond Lee. B. Nov. 15, 1936 (Cincinnati, OH). BM: Cincinnati Conserv (1958); MM: Boston Univ (1959). Clarinetist: Cincinnati Symph (1959-60); Austin Symph (Principal: formerly, 1960-85+); Chautauqua Symph (formerly, 1964-85+); Austin Symphonic Band (current). Active as a recitalist and chamber musician. Faculty member: Cincinnati Conserv (Instructor: 1959-60); Univ of Texas-Austin (Asst Prof: 1960-68); Southwestern Univ (Asst Prof: 1968-85+). Memb: AFM. Students include: Sharron Howard, Tom Shine. Bib: “Schroeder, Raymond Lee.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 523.

Schubert, Christian. B. Burbank, CA. Early clarinet studies with KALMAN BLOCH. BM/MM: Northwestern Univ with ROBERT MARCELLUS and LARRY COMBS. Clarinetist: Houston Symph (Second: 1996-); has also performed with the Grant Park Symph, American Ballet Theater Orch, Lyric Opera of Chicago, and the Grand Teton, Ravinia, and Schlesswig Holstein Festival Orchs. Active as a soloist (incl perfs with the Scandinavian and Southfield Symphs, and at the Long Beach Mozart Festival), festival artist (at above festivals), and recording artist; broadcast perfs given on radio and television. Former faculty member: North Park Coll; Univ of Houston. Other positions/activities: Gonzalez Reeds Artist; Owner, Schubert Recording Serviced. Extra-musical activities include food/cooking. Bib: “Backstage Pass: Meet Christian Schubert, Clarinet.” Houston Symphony. http://houstonsymphonyblog. org/01/14/backstage-pass-meet-christian-schubert-clarinet/ (accessed February 15, 2011); “Christian Schubert.” Gonzalez Reeds. http://www.gonzalezreeds.com/english/artists/christian-schubert.html (accessed February 15, 2011).

Schubert, Gustave A. Clarinetist: Minneapolis Symph Orch (1907-10, +/-).

Schuett, Charles. May be the same as or related to FRED SCHUETT below. May have served on the faculty of the Cincinnati Conserv; was active as a clarinet teacher in the Cincinnati area. Students include: JOSPEH ELLIOTT. Bib: Elliott, Joseph E. (Jr.). “Letters.” The Clarinet 28 (September 2001): 4.

Schuett, Fred. Clarinetist: Cincinnati Symph Orch (Clarinetist/Bass: 1940-49+).

Schumacher, William. Clarinetist: Indianapolis Symph Orch (1942-43, +/-). Students include: DONALD AMBLER.

Schweickhardt, Brian. B. circa 1945 (Phoenix, AZ); d. Jan. 7, 2003 (Sacramento, CA). BA: Cleveland IOM (1966) with ROBERT MARCELLUS; MM/doctoral studies: Univ of Michigan; also earned a grad degree (with distinction) in education from Natl Univ. Former clarinetist: Detroit Symph (Asst Principal: 1969-80); Contemporary Chamber Ensemble of Detroit (Founder/Memb); Trio Con Brio (Founder/Memb); Sacramento Symph (Principal: 1984+); also performed with the Akron and Phoenix Symphs, Cleveland Sinfonietta, and Aspen Festival Orch. Was active as a recitalist (incl 1980 Carnegie Recital Hall debut, and perfs at ClarFest 1983 and East Carolina Univ), chamber musician (incl perfs with above groups, and the Detroit String Arts Trio and Woodwind Quintet, Mischakoff Quartet, and Village Chamber Players), festival artist (incl participation at the Aspen Music Festival), and recording artist (on the Coronet label). Premiere perfs incl works by D. LOCHRIE and C.M. Loy. Former faculty member: East Carolina Univ (Vstg Asst Prof: 1983); Bret Harte Elem School (Music Instructor: 1995-2000+). Hon: favorable review of perf appeared in the New York Times (Oct. 5, 1982). Students include: DANIEL

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LOCHRIE. Bib: Branson, Judy Wright. “Brian Schweickhardt.” Arizona Obituary Archive. http://obits. arizonagravestones.org/view.php?id=18606 (accessed January 18, 2011).

Scott, John Charles. B. Jan. 15, 1947 (Frostburg, MD). BS(Mus Ed): Frostburg State Coll with DAVID LEWIS; MM/DM (both in Woodwind Perf): Indiana Univ with HENRY GULICK. Additional clarinet studies with Huot Fisher and IGNATIUS GENNUSA. Woodwind studies with Harry Houdeshel (fl), Jerry Sirucek (ob), Leonard Sharrow (bssn), and Eugene Rousseau (sax). Clarinetist: Augusta Symph (Principal: 1972-81); Augusta Opera (formerly); Richardson Symph-TX (1987-); Chamber Music Intl (1989-); Texas Clarinet Consort (1999, +/-). Active as a recitalist (incl perfs at ICA conferences in the U.S., London, and Paris, and at the 1999 Oklahoma Clarinet Symposium), chamber musician, festival artist (incl participation at the NYU Contemporary Music Festival, and as clarinetist/oboist at the Victoria Bach Festival), recording artist (on the Klavier Records label), and oboist. Faculty member: Susquehanna Univ (1971-72); Augusta Coll (1971-82); Univ of North Texas (1982-); Tunghai Univ Summer Music Instit- Taiwan (Summers 1985, 1986, 1989). Articles published in The Journal of the Clarinet and Saxophone Society of Great Britain and The Clarinet. Other positions/activities: Chmn, Dept of Fine Arts, Augusta Coll (1979-81); Editor of Music Reviews, The Clarinet (1986-89); Advertising Mgr, The Clarinet (1989- 95); Chmn, UNT Coll of Music Div of Instrumental Studies (current); G. Leblanc Corp. Artist/Clinician (formerly); Buffet Crampon USA Perf Artist (current); Rico Artist. Memb: AFM, ICA. Hon: favorable review of perf (written by ANTHONY GIGLIOTTI) appears in The Clarinet (see Bib below). Has played on: Leblanc Concerto clarinets; Buffet Tosca clarinet (current); Rico Reserve Classic reeds. Students include: PATRICIA PIERCE CARD, RAPHAEL SANDERS. In reply to the question regarding “prominent” students on the author’s survey, John Scott was loathe to single out individual students, remarking that “they have all been a pleasure.” (Scott/Paddock 1998) Scott’s goal as a teacher is “… to develop the complete clarinetist – to take them from where they are to where they need to be.” (Ibid.) The students provided above are a sample from the author’s own research. Bib: Gigliotti, Anthony. “The Orchestral Clarinetist.” The Clarinet 27 (December 1999): 20; “John C. Scott.” The Clarinet 14 (Fall 1986): 6; Scott, John. “Denver 1982: A Report on the International Clarinet Congress.” The Clarinet 10 (Fall 1982): 25; Scott, John. “Master Class.” The Clarinet 27 (March 2000): 6-7; Scott, John C. “An Interview with George Waln.” The Clarinet 11 (Spring 1984): 12-19; Scott, John C., Bernard Portnoy, Robert Chesebro, and James Gillespie. “A Tribute to Henry Gulick.” The Clarinet 14 (Fall 1986): 36; Scott, John Charles, to Tracey L. Paddock, Tallahassee, FL, June 2, 1998.

Scott, Leslie. Former clarinetist: St. Louis Symph (Clarinetist/Bass: 1960s, +/-); Steve Reich Ensemble (Clarinet/Bass: late-1960s+). Has been active as a freelance woodwind doubler, chamber musician (incl perfs with the Bronx Arts Ensemble), recording artist (incl recordings with the Steve Reich Ensemble on the Nonesuch label), and studio musician (incl work for Sesame Street). Hon: favorable review of perf appeared in The New York Times (May 21, 1981). Bib: Iverson, Ethan. “Interview with Robert Dennis.” Do the Math. http://dothemath.typepad.com/dtm/interview-with-robert-dennis-composer- of-milk-sesame-street-1975.html (accessed January 18, 2011).

Sefsik, Stephen. B. 1930 (NYC); d. July 1, 1995. BM/MM: George Peabody Coll; additional clarinet studies at Juilliard with VINCENT JAMES ABATO. Former clarinetist: Nashville Symph (Principal for 30 years; memb for 36 years; mid- to late-20th century); Blair Woodwind Quintet (formerly). Was active as a chamber musician and studio/recording musician (on sax/clarinet; appeared on recordings with numerous commercial artists and as a member of the television show orch). Former faculty member: George Peabody Coll (Prof of Clarinet/Sax); Vanderbilt Univ-Blair SOM. Former memb: AFM, Bass Masters Club, ICA. Bib: Hearn, Dan. “Stephen Sefsik, 1930-1995.” The Clarinet 23 (November/December 1995): 18.

Seibert, Daniel D. Clarinetist: Baltimore Symph Orch (Bass: 1926-30s, +/-).

Seiler, David E. Native of LaCrosse, WI. BM(MusEd)/MM(Clarinet Perf): Univ of Wisconsin- Madison with GLENN BOWEN. Clarinetist: Univ of Idaho Faculty Woodwind Quintet (Founding Memb: formerly); Univ of New Hampshire Faculty Woodwind Quintet (Founding Memb: current). Active as a soloist, chamber musician, woodwind doubler, jazz musician, and recording artist. Faculty member:

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Millikin Univ (formerly); Lamar State Coll (formerly); Univ of Idaho (formerly, 1960s, +/-); Univ of New Hampshire (Dir of Jazz Studies/Prof of Clarinet: 1980s-, +/-). Other positions/activities: active as a conductor (incl positions as Dir of Bands at Univ of ID and Dir of the UNH Symph, UNH Summer Chamber Orch, and UNH Jazz Band); Co-Founder, Univ of ID-Lionel Hampton Jazz Festival; Co- Coordinator, UNH Traditional Jazz Series; Founder/Co-Coordinator, UNH-Clark Terry Jazz Festival; Coordinator, UNH Summer Youth Music School (formerly). Students include: Ashley Creighton, CECIL GOLD, Christine McIvor, H. JAMES SCHOEPFLIN. Bib: “David E. Seiler.” University of New Hampshire. http://www.unh.edu/music/Faculty/faculty_ft_seiler_dave.htm (accessed March 15, 2011).

Selmer, Alexandre. B. 1864 (France); d. 1953 (France). Early clarinet studies with his father, clarinetist Charles-Frederic Selmer. 1st Prize: Paris Conserv; studies with . Clarinetist: Monte Carlo Orch (1878, +/-; at age 14); Lamoureaux Orch (Principal: 1881, +/-; at age 17); Opéra Comique (Principal: 1881-96, +/-); Boston Symph (Principal: 1898-1901); Cincinnati Symph (Principal: 1901-06, +/- ; Selmer’s student JOSEPH ELLIOTT assumed this position when Selmer moved to NYC); New York Phil (Principal: 1906-11). Other positions/activities: Owner, Selmer retail store in NYC; respected private clarinet instructor. Students include: George Bundy, JOSEPH ELLIOTT, EDMUND WALL. After a brief but notable career as an American orchestral clarinetist, Alexandre Selmer returned to France in 1918 to continue work on the Selmer clarinet line in Paris with his brother Henri. The American division of Selmer instruments was entrusted to and later purchased by George Bundy, former student of Alexandre Selmer, and namesake of the popular, plastic, student model clarinet used in America. It should be noted that among the resources consulted, there were conflicts in many of the above dates, including the exact years during which Selmer performed with the Cincinnati Symphony and New York Philharmonic, but they are accurate to within a few years. Bib: Gee, Harry R. “French Clarinetists in America, Part I: Early Artists and Alexandre Selmer.” The Clarinet 8 (Spring 1981): 52-3; “Selmer History in Detail.” Conn-Selmer, Inc. http://www.selmer. com/ (accessed March 15, 2011); Weston, Pamela. More Clarinet Virtuosi of the Past. London: The author, 1977: 328.

Seltzer, George. B. June 3, 1924 (Passaic, NJ); d. Nov. 11, 2009. BM and PerfCert/MM/DM: Eastman SOM (1948/1949/1956); additional studies at the CMS Instit, Univ of Colorado (1983). Clarinet studies with GUSTAVE LANGENUS (1939-41) and ROBERT MCGINNIS (1943-45). DM diss: “A Study of Technical Problems for the Clarinet Family in Standard Orchestral Literature and Twentieth- Century Band Music.” Former clarinetist: U.S. Army Air Corps Band/Orch (during WWII); Rochester Opera 1941, 1946, 1947); Rochester Civic Orch (1943); Rochester Phil (1949); Richmond Symph (1968); Dayton Opera (1968-85+); Dayton Phil (Principal: 1969-85+; also served as Personnel Mgr). Was active as a studio musician (incl work with WHAM-Rochester, 1948-49). Former faculty member: Miami Univ of Ohio (Prof: 1949-56; 1967-83; Prof Emeritus: 1983+; also served as Asst and Assoc Dean of the School of Fine Arts and Conductor of Symph Orch). Author of Making Music, The Professional Symphony Orchestra in the United States (Scarecrow Press, 1975), and Music Matters: The Performer and the American Federation of Musicians, et al. Articles published in American Music Teacher, Orchestra News, and The Instrumentalist. Other positions/activities: scholar on the history of the AFM. Memb: AFM, CMS, ICA. Hon: listed in Who’s Who in American Music, 1985 edition. Bib: “Music Professor Emeritus George Seltzer Dies.” Miami University of Ohio. http://arts.muohio.edu/music/news-events/news-archive- july-2009-/george-seltzer-dies (accessed January 18, 2011); “Seltzer, George.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 530.

Sereque, Christopher. Clarinetist: Ft. Wayne Phil (formerly); Natl Symph of Peru (formerly); North Carolina Symph (formerly); Seattle Symph/Opera (Principal: 1979-). Active as a recitalist, soloist (incl perfs with the Bremerton and Seattle Symphs, and as a baroque oboe soloist with the Portland Baroque Orch), chamber musician (incl perfs with the Seattle Chamber Players, Chamber Music Northwest, members of the Seattle Symph, and as a duo with his wife, violist Ruth Sereque), festival artist (incl participation at the Santa Fe and Seattle Chamber Music Festival and the Cascade Head Festival), and recording artist (on the Delos label). Other positions/activities: active as lecturer/clinician (incl participation at the West Coast Clarinet Congress), and refacer of clarinet mouthpieces; extra-musical activities incl hiking, jogging, reading, and making bread. Hon: favorable reviews of perfs appear in the

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Seattle Times. Students include: Maryanne Lacaille, Todd Nicholls. Bib: “Christopher Sereque.” Seattle Symphony. http://www.ssopo.org/musicians_profiles.html?ni=31 (accessed January 18, 2011).

Serpentini, Jules J. Clarinetist: Philadelphia Orch (1920-62). Active as a recitalist (incl perf at the 1991 Univ of Oklahoma Clarinet Symposium). Faculty member: Catholic Girls HS-Philadelphia (1950s, +/-); Germantown Acad-Philadelphia (1950s, +/-); St. Joseph’s Prep School; has been active as a private clarinet instructor. Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet No. 16 (Fall 1954): 18. Has played on: Chedeville mouthpiece. Students include: Robert Fitzpatrick, IGNATIUS GENNUSA, WILLIAM HUDGINS, Richard Lawn, DONALD MONTANARO, GEORGE TOWNSEND, JACK SNAVELY. Unfortunately, very little written information was found on Jules Serpentini, whose forty-two years with the Philadelphia Orchestra and list of prominent students speaks volumes of the clarinetist and teacher he must have been. Bib: “Prominent Clarinet Teachers.” The Clarinet 16 (Fall 1954): 18.

Shadel, William. Grad(with honors): Montclair State Univ; MM: Manhattan SOM. Clarinet studies with LEON RUSSIANOFF. Clarinetist: New York Phil (Assoc Memb: formerly, early 1970s, +/-; incl perfs/recordings); NJ Symph (formerly, 1974, +/-); Garden State Arts Center (Lead Woodwind: formerly); currently serves as Principal Clarinetist of the Westfield and Colonial Symphs, the NJ State Opera, Teatro Grattacielo, and the Opera at Florham; has also performed/recorded with the Metropolitan Opera. Active as a NYC freelance musician, recitalist (incl critically acclaimed recital at NYC’s Town Hall), chamber musician, Broadway woodwind musician (incl perfs in Dancin’, Gypsy, Merlin, and Zorba), commercial/jazz/rock musician, and recording artist (has appeared on recordings with Tony Bennett, Glen Campbell, , Natalie Cole, , , and Johnny Mathis). Former faculty member: Montclair State Univ; William Paterson Univ. Hon: favorable review of perf appeared in the New York Times. Students include: Jeff Bittner, Larry Garges, Art Martin. Bib: “Temple B’nai Abraham Spring Mid-day Musicales.” The Alternative Press. http://thealternativepress.com/article.asp? news=2457 (accessed March 15, 2011).

Shaeffer, Walter E. Former clarinetist: U.S. Marine Band (Principal/Soloist: under Sousa); Sousa Band; Arthur Pryor Band (Solo Clarinet/Asst Conductor). Former faculty member: Univ of Miami (founded the Univ of Miami Band, 1933). Students include: MAXIMILLIAN MEHLMANN. Bib: “Oral History Interview of Mr. Harold J. Hall, Mr. Robert C. Jones, & Mr. Joseph Skrzynski.” International Tuba and Euphonium Association. http://www.iteaonline.org/2008/members/history/hist_index.php?page=hjk (accessed March 15, 2011.

Shanis, Jean Charles. B. Dec. 26, 1875 (Belgium); d. Dec. 8, 1949 (Alameda, CA). Immigrated to the U.S. in 1904. Clarinet studies with Gustave Poncelet. Former clarinetist: Pittsburgh Symph (Principal: 1904-11, +/-); San Francisco Symph (Clarinet: 1911; Bass: 1917-18; 1921-23, +/-; 1930-31; may have served as Principal during his various stints with this orch). Was active as a studio musician (incl work for various West Coast radio stations) and conductor (incl position with a San Francisco Bay area orch). Students include: HARRY SCHMIDT. Bib: Huffman, Larry. “San Francisco Symphony Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_San_Francisco_Symphony. htm (accessed January 17, 2011).

Shanley, Richard A. BA(Mus Ed): New Mexico State Univ; MM/DM: North Texas State Univ with LEE GIBSON. Additional clarinet studies with LARRY COMBS, William Gower, ROBERT MARCELLUS, and RONALD PHILLIPS. Clarinetist: Musica Eolica (1994); has performed as Principal Clarinetist of the El Paso, Ft. Worth, and Waco Symphs. Active as a recitalist (incl perfs in China and at ICA conferences in the U.S., Toronto, and London) and saxophonist (incl perf at the 6th World Sax Congress). Faculty member: El Paso Public Schools; Baylor Univ (Prof of Clarinet/Woodwind Coordinator: current). Other positions/activities: Selmer Artist; active as an arranger, clarinet scholar, clinician (master classes given in the U.S. and China), and lecturer (incl lecture recitals given at ICA conferences). Hon: Outstanding Prof, Baylor Univ (1993). Students include: LAROY BORCHERT, WAGNER CAMPOS, Elizandro Garcia-Montoya, Ken Hatch, JOHN MANRY, Erica Manzo, Donna Nossett, Jun Qian, TAMARA RAATZ, Alcides Rodriguez, LARRY THOMPSON, Emmanuel Toledo.

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Bib: Bowen, Glenn. “1978 International Clarinet Congress Clinic.” The Clarinet 6 (Fall 1978): 12; “Dr. Richard A. Shanley.” http://www.baylor.edu/music/woodwinds/index.php?id=46869 (accessed March 15, 2011).

Shapiro, Wallace [“Wally”]. Clarinet studies with AUGUSTIN DUQUES. Former clarinetist: Buffalo Phil (Principal: 1945-46, +/-); NBC Symph; also performed/recorded with the Casals Festival Orch. Has been active as a soloist (incl U.S. premiere of Stamitz’s Concerto in B-flat major for Clarinet and Orch with the Little Orch Society, 1951), chamber musician, and recording artist (on the Coronet and EMS labels). Active as a clarinet instructor in NYC (1980s, +/-). Bib: “BPO Musicians.” Buffalo Philharmonic Archive. http://www.music.buffalo.edu/bpo/px-4546.htm (accessed January 20, 2010); “Concerto in B-Flat Major for Clarinet by Stamitz.” Library Thing. http://www.librarything.com/work/ 8006775 (accessed January 18, 2011); Gee, Harry. “French Clarinetists in America, Part III.” The Clarinet. 9 (Fall 1981): 29.

Shaw, Artie [born Arthur Jacob Arshawsky]. B. May 23, 1910 (NY); d. Dec. 30, 2004. Began playing sax at age 14; learned clarinet shortly thereafter only after a job he was seeking required it. Left home (New Haven, CT) at the age of 15, to perform with jazz bands throughout the U.S. Although Shaw took some clarinet lessons with ERIC SIMON, he was largely self-taught, learning by listening and, as he has noted, learning from every musician with whom he performed. Former clarinetist/saxophonist: CBS staff band; CBS Symph Orch; was a prominent lead-alto saxophonist/clarinetist in NY radio/recording studios during 1930s. Was a legendary jazz musician, having performed in and/or led many dance and jazz bands (incl the bands/orchs of A. Wylie, I. Aaronson, as well as his own groups, the Artie Shaw Orch, the “Gramercy Five” groups, and other combos) during the 1930s and 1940s. Classic Shaw recordings incl: “Begin the Beguine,” “Frenesi,” “Little Jazz,” “Moonglow,” “Stardust,” his own Clarinet Concerto, and others (refer to discography listed in Bib below). Was also active as a classical soloist (incl perfs with the Dayton and Denver Symphs, Little Orch of NY, the Natl Symph and Natl Youth Orchs, the NY and Rochester Phil Orchs, and others), chamber musician, and recording artist (refer to discography listed in Bib below). Other positions/activities: active as a lecturer on many subjects (incl music, art, and literature) at colls/univs around the U.S, and as a composer (incl his Concerto) and arranger. Published in Woodwind Magazine and other music journals. Hon: military band that Shaw organized during his service in the Navy (WWII) won the natl Esquire poll; recip of honorary doctorates from California Lutheran Univ and Univ of Arizona; subject of biographical movie, Artie Shaw: Time is All You’ve Got; elected to Down Beat Hall of Fame (1996); named an NEA Jazz Master (2005). Played on: Selmer clarinets. Artie Shaw was not only a musician who happened to express himself through the clarinet, but was also a writer (with two published books as well as a quantity of as yet unpublished short stories and other materials), and an “educator, farmer, film composer and distributor, fly fisherman and precision rifleman with world class ranking in a national competition.” (Duckham 1985, 10-17) He evolved constantly as a musician and person, believing strongly in the means over the end in all things. Consequently, when he was twenty-three and at the end of what he felt was positive musical productivity for that moment in time, he gave up music, bought a farm, chopped wood to make ends meet, and worked on developing his non-musical writing skills for a year. At that point in his career, Shaw felt that he could not move forward with his evolving musical style and still make a living; for Shaw, creative stagnation was not an option. Upon his return to the music world, a few years later, Shaw achieved huge success with the Artie Shaw Orchestra’s release of “Begin the Beguine,” with other hits followed soon. Shaw would become disenchanted with the music business and then return to it again on several occasions (including a stint on a dairy farm he bought in Duchess County, NY) throughout his career, with his final performances as an instrumentalist in 1954. Shaw was an ongoing person of interest in the media because of his eight marriages, several of whom were to high profile public figures (actresses, novelists, etc.) Throughout his career, Shaw was an innovator in many senses. In hiring as a full- time vocalist for one of his groups, he was early in crossing the black/white racial barrier. Also progressive were his usage of large string and wind sections in his groups of the late 1930s, his nontraditional programming, and his musical language as a composer, arranger, and performer.

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In the late 1940s, Shaw explored the classical literature of the clarinet for a time, with apparent bewilderment to his audience. He very much admired the works of Bartok, Debussy, Milhaud, Poulenc, Ravel, and Stravinsky, et al., as well as American composers and Cole Porter. Of this portion of his artistic evolution, Shaw wrote,

I’m not giving up anything. I am not going into long music, for the simple reason that I don’t know what that is. I am going to continue playing the clarinet as long as anyone is willing to come and listen. The music I intend to play will be the very best music that I can get my hands on, written by any composer, from any field of music whatsoever, who happens to have something to say musically which can be played on the clarinet. (Shaw 1949, 1) Among the results of this phase of Shaw’s career were the addition of the Dello Joio Concertante and clarinet works by Lukas Foss and Morton Gould (all commissioned by Shaw) to the clarinet repertoire, as well as Shaw’s own concerto. While Shaw never studied the clarinet formally, he did have tremendous respect for DANIEL BONADE, “’. . . my idea of the consummate clarinet player. . . . a Frenchman, a big burly guy and he plays beautifully; fluent technique, beautiful tone, tongue like a snake and he can do anything. His playing is lovely, truly.’” (Duckham 1985, 10-17) Other musical influences include such jazz musicians as Louis Armstrong, , and Frank Trumbauer and the music of Bartok, Debussy, Ravel, Schoenberg, Stravinsky, and others. In his article on Shaw, Henry Duckham described him as having a “crystalline tone, tasteful and unobtrusive vibrato and a vitality and drive that clarinetists more traditionally focused could learn from.” (Ibid.) Duckham’s article is worthwhile for its insight into Artie Shaw as a whole person and is highly recommended. Perhaps the most thorough and definitive Shaw resource is Artie Shaw, A Musical Biography and Discography written by Vladimir Simosko. Bib: Duckham, Henry. “A Masterclass with Artie Shaw.” The Clarinet 13 (Spring 1985): 10-17; Jacobsen, Thomas W. “The Jazz Scene.” The Clarinet 27 (September 2000): 28-29; Shaw, Artie. “No Categories, Please!” Woodwind Magazine 1 (March 1949): 1, 4; “Shaw to Play Serious Music: Performs Mozart Concerto.” Woodwind Magazine 1 (February 1949): 9; Simosko, Vladimir. Artie Shaw, A Musical Biography and Discography. Lanham, MD: The Scarecrow Press, 2000; “Today’s Soloist.” National Symphony Orchestra Magazine 3 (November 22, 26 and 29, 1950): 25.

Shea, David. BM: Oberlin Conserv with LAWRENCE MCDONALD; MM: Univ of Illinois with HOWARD KLUG; DM: Indiana Univ (c.1990s) with JAMES CAMPBELL, ELI EBAN, and HOWARD KLUG. Additional clarinet studies with RONALD PHILLIPS. Clarinetist: Abilene Phil (Principal: current); Lubbock Symph (Principal: current); Trio Montecino (current); has also performed with the Champaign-Urbana, Ft. Wayne, and Indianapolis Symphs, the Columbus Phil, and Sinfonia de Camera. Active as an intl recitalist/soloist (incl perfs at numerous ClarFests, the Univ of Montevallo Clarinet Symposium, and Klarinetstage-Belgium), chamber musician (incl perfs in Belgium, Germany, and the U.S. with Trio Montecino), festival artist (incl participation at the Colorado Springs Summer Music Festival), and recording artist (with Trio Montecino on Eroica Classical Recordings, and on the Crystal, Delos, Hal Leonard Productions, Indiana Univ Recordings, Naxos, and Opus One labels). Faculty member: McMurry Univ (formerly); Texas Tech Univ (Assoc Prof of Clarinet: current); has also served as Vstg Faculty at Indiana Univ. Published in The Clarinet. Other positions/activities: Buffet Crampon USA Perf Artist; ICA State Chair, TX; active as a clinician (master classes given throughout North and South America). Hon: Winner, Oberlin Conserv Concerto Compt; Winner, Colorado Springs Summer Music Festival Compt; Creative and Performing Arts Fellowship, Univ of Illinois; Academic Fellowship, Indiana Univ; Finalist, Boosey & Hawkes North American Clarinet Compt; Co-Recip (with DAN SILVER), Big Twelve Fellowship. Students include: Amanda Cox, Jessica Flanagan, Rahni Kennedy, Michael Scheuerman. Bib: “David Shea.” Texas Tech University. http://www.depts.ttu.edu/music/Faculty/DavidShea.asp (accessed March 15, 2011); “Musical Chairs.” The Clarinet 27 (September 2000): 82.

Shifrin, David. B. Jan. 2, 1950 (NYC). Early clarinet studies with JAMES COLLIS, DAVID GLAZER and HERBERT BLAYMAN, and at the School of Performing Arts-NY and Interlochen Arts Camp; HS studies at Interlochen Arts Acad with FRED ORMAND. Dipl: Curtis IOM (1971) with

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ANTHONY GIGLIOTTI; additional studies at the Blossom Music Festival with ROBERT MARCELLUS. Additional clarinet studies with MITCHELL LURIE. Clarinetist: American Symph Orch (Principal: 1970-71); Juilliard Ensemble (formerly); Honolulu Symph (Principal: 1971-73); Dallas Symph (Principal: 1973); Cleveland Orch (Principal: 1973-76): Los Angeles Chamber Orch (Principal: 1978-, +/-); NY Chamber Symph (Principal: 1985-, +/-); Chamber Music Society of Lincoln Center (Artist Memb: 1989-). Active as an intl recitalist (incl perfs at numerous clarinet conferences, at Carnegie Hall, the Kennedy Center, the Library of Congress, and major concert halls around the world), soloist (incl perfs with the Minnesota and Philadelphia Orchs, the Calgary Phil, the Bavarian and Berlin Radio Orchs, the Dallas, Denver, Detroit, Edmonton, Houston, Kansas City, Milwaukee, New Mexico, Pasadena, Pittsburgh, Seattle, and Toledo Symphs, and l’Orchestre Suisse Romande; has given 100+ perfs of the Mozart Clarinet Concerto on a basset clarinet made for him by Leonard Gullotta), chamber musician (incl perfs with Emmanuel Ax, Winton Marcellus, and André Watts; the Curtis, Emerson, Guarneri, New World, Philadelphia, Sequoia, and Tokyo String Quartets; and the Chamber Music Society of Lincoln Center), festival artist (incl participation at the Bach Oregon Festival, the Blossom, Casals, and Kapalua Festivals, the Colorado and La Jolla Music Festivals, Chamber Music Northwest, Music from Angel Fire, and the Lincoln Center’s Mostly Mozart Festival), and recording artist (on recordings with above orchs and on solo/chamber recordings on the Advent Records, Aleph, Angel, Chamber Music Northwest Collector’s Series, Columbia, Delos, Deutsche Grammophon, Liberty Music, London, Nonesuch, Univ of Michigan Records, and Vanguard labels); broadcast perfs given on natl television and PBS’s Live from Lincoln Center. Works commissioned by Shifrin incl Corigliano’s Soliloquy for Clarinet and String Quartet and works by John Adams, Bruce Adolphe, David Schiff, Bright Sheng, Joan Tower, Ellen Taaffe Zwilich, et al; premiere perfs incl works by above composers and Stephen Albert and Ezra Laderman, among others. Faculty member: Univ of Hawaii (1971-73); Southern Methodist Univ (1973); Cleveland IOM/ Blossom Festival School (1974-76); Univ of Michigan (1976-82); Univ of Southern California (1982-87); Juilliard (1987+); Yale Univ (Adj Prof: 1987-). Other positions/activities: Artistic Dir, Chamber Music Northwest (1981-); Artistic Dir, Chamber Music Society of Lincoln Center (1992+); Pres, Chamber Music Society of Lincoln Center; active as an adjudicator (incl judging at the 1986 Munich Intl Compt). Extra-musical activities have includes tennis and traveling, but Shifrin most enjoys spending time with his young son. Hon: Winner, Interlochen Arts Acad and Curtis IOM concerto compts, as well as compts sponsored by the Natl Assn of Music Clubs, the Philadelphia Orch and the San Francisco Symph; Winner, Intl Compt-Geneva (c.1976); Winner, Intl Compt-Munich (1977); NEA Solo Recitalist Fellowship (1983); Stereo Magazine Record of the Year Award for recording of Mozart Clarinet Concerto (1986); Avery Fisher Career Grant (1987); Grammy nomination (1989); numerous highly favorable reviews of perfs/recordings appear in The Clarinet, Los Angeles Times, New York Times, Washington Post, and other publications. Has played on: Buffet, Selmer 10G, and Yamaha clarinets. Students include: MICHAEL ANDERSON, Chad Burrow, Lynn Fryer, ROGER GARRETT, Walter Grabner, KIMBERLY ASELTINE ISACKSON, Emil Khudyev, FAN LEI, Justin O’Dell, Clarence Padilla, REBECCA RISCHIN, Richard Shillea, Ashley William Smith, ROBERT SPRING, Justin Stanley, TODD WALDECKER, Jason Weinberger, William Wellwood, BRADLEY WONG, GARRICK ZOETER. David Shifrin was interested in music as a child, but was drawn to the clarinet specifically after seeing the film The Benny Goodman Story. His decision to pursue music professionally was strengthened while a student at the Interlochen Arts Academy, his first real exposure to the possibility of playing music as a full-time occupation. Shifrin won several competitions as a student at both Interlochen and the Curtis Institute, which set the stage for wins at several prestigious international competitions during his twenties. In the midst of his competition successes, Shifrin also held several Principal Clarinet positions with major orchestras including the Honolulu and Dallas Symphonies, the Cleveland Orchestra, and others (see above). After a number of years as an orchestral clarinetist, Shifrin turned his full attention to a career as a soloist and chamber musician, and has been in high demand in both capacities since that time. With his stature as a soloist and chamber musician, Shifrin has both inspired and commissioned a number of important works for clarinet including pieces by Stephen Albert, William Albright, Paul Chihara, Deborah Drattell, John Harbison, William Kraft, Ezra Laderman, and film composer/cousin Lalo Shifrin. In recent years, Shifrin has become active as an artistic director, serving in this position for both The Chamber Music Society of Lincoln Center and Chamber Music Northwest. He has served on the

300 faculty of several universities, schools of music, conservatories, and festivals, including University of Michigan, University of Southern California, and Juilliard. He has been an Adjunct Professor at Yale University since 1987. Of the articles in the Bibliography below, the Weston and Meyer sources offer the greatest insight into the artistry and philosophy of David Shifrin as a performer and teacher. Bib: “Clarinetist David Shifrin.” CM Artists New York. http://www.cmartists.com/artists/david- shifrin.htm (accessed January 19, 2011); “David Shifrin, Basset Clarinetist.” Encore 9 (May/June 1991): 48; “David Shifrin Named Artistic Director of the Chamber Music Society of Lincoln Center.” The Clarinet 20 (November/December): 8; Gibson, Lee. “A New and Important Clarinet Concerto.” The Clarinet 22 (May/June 1995): 68; Gibson, Lee. “Current and Germane.” The Clarinet 1 (February 1974): 3; Meyer, Constance. “David Shifrin: Profile of a Soloist.” The Clarinet 14 (Spring 1987): 44-7; “Shifrin, David.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 537; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 253-58.

Shirley, Virginia. Former clarinetist: Portland Symph (1949, +/-). It is not known whether Portland refers to ME or OR. Bib: Stoddard, Hope. “Clarinets and Clarinetists in Our Orchestras.” International Musician 48 (September 1949): 23.

Shrauger, Erika. B. Oct. 25, 1967 (Buffalo, NY). BM: Curtis IOM (1989) with DONALD MONTANARO. Additional clarinet studies with JAMES PYNE. Clarinetist: New World Symph (Co- Principal/E-flat: 1989-91); Florida Orch (Asst Principal/Second/E-flat: 1991-); Colorado Symph (Second/ E-flat: 1994-95); Santa Fe Opera (Second/E-flat: 1997-). Active as a soloist (incl perfs with the Buffalo Phil, Colorado Symph, and Philadelphia Orch), chamber musician, recording artist (appears on Florida Orch recordings on Aziza Records), and private clarinet instructor in the Tampa Bay, FL area. Memb: AFM. Plays on: Buffet Festival clarinets. Clarinetist Erika Shrauger commented, “The clarinet is only a means to an end, not an end in itself.” (Shrauger/Paddock 1998) In addition to her musical activities, Shrauger enjoys “. . . other aspects of life aside from ‘the clarinet’: hiking, fishing, watersports, interior design.” (Ibid.) Bib: Helmers, William. “Opera in the Mountains.” The Clarinet 28 (March 2001): 84; Shrauger, Erika, to Tracey L. Paddock, Tallahassee, FL, August 10, 1998.

Sidorfsky, Frank M. B. July 15, 1930. BME: Emporia State Univ (1952) with LEOPOLD LIEGL; MM/DM: Eastman SOM (1958/1973) with STANLEY HASTY. Additional clarinet studies with ANTHONY GIGLIOTTI (1953) and ROBERT MARCELLUS (1953; 1959-60). DM diss: “A Critical Study of Books on the Clarinet.” Clarinetist: U.S. Navy Band (1952-56); Pensacola Symph (1955-56); Rochester Phil (Extra: 1956- 57); Flint Symph (1957-60); Topeka Symph (Bass: 1993-); has also performed with the Manhattan Municipal Band-KS and the Heart of America Band for many years. Active as a recitalist (incl perf at the 1990 Univ of Oklahoma Clarinet Symposium), soloist (incl a perf of the Copland Clarinet Concerto conducted by Copland, and a perf as basset horn soloist at ClarinetFest 1997), chamber musician (incl a perf of the Beethoven Septet conducted by Pierre Monteux), festival artist (incl participation at the New Hampshire Music Festival, 1960-65), basset horn specialist (incl perfs given in 13 states and in Victoria, British Columbia), and saxophonist. Faculty member: Flint Public Schools (Woodwind Specialist: 1957-60); James Madison Univ (Asst Prof of Woodwinds: 1960-65); Kansas State Univ (1965-99; Prof Emeritus: current); Blue Lakes Fine Arts Camp (1988-). Author of 2 texts for the woodwind methods/fundamentals of music class at KSU. Articles published in The Clarinet and Journal of the West. Other positions/activities: active as an arranger (incl a version of Lefebvre’s Fantaisie-Caprice for band, Thompson Edition, 1996) and refacer of clarinet/sax mouthpieces. Memb: ICA, Kansas MTA, Midwest Clarinet Assn, Pi Kappa Lambda. Hon: Grad Fellowship, Eastman SOM (1962-63); sabbatical granted (1977-78) for sax study with Sigmund Rascher; KSU Research Award (1986). Plays on: Buffet clarinets (B-flat/E-flat/Bass); GIGLIOTTI and Zinner B-flat mouthpieces (refaced by Sidorfsky); Kaspar (Ann Arbor) bass mouthpiece; Carl Fischer stencil C clarinet (made in France); Selmer basset horn; MARCELLUS basset horn mouthpiece; Vandoren V-12 and traditional reeds, as well as Zonda, Glotin, and Grand Concert reeds.

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Students include: Christopher Burnett, Christopher Gibson, Deborah Marshall-Correa, Jerry Rife. Clarinetist Frank Sidorfsky commented:

I tend to lean towards the classics in my playing and teaching, though I don’t ignore the 20th century. I feel students should work seriously on fundamentals, including scales, arpeggios, 3rds, as well as etudes and solos. I work in detail rather than generalities. I play annual recitals to encourage students. (Sidorfsky/Paddock 1998)

Bib: Mellott, George. “The 1990 University of Oklahoma Clarinet Symposium.” The Clarinet 18 (November/December 1990): 16; Sidorfsky, Frank, to Tracey L. Paddock, Tallahassee, FL, July 9, 1998.

Sigel, Allen. Clarinetist: Buffalo Phil (Principal: formerly, for 12 years). Active as a recitalist (incl perfs at various clarinet conferences), chamber musician, and recording artist (incl recording with LARRY COMBS and PAUL DRUSHLER on the Shall-u-mo and/or Mark Records labels). Faculty member: SUNY-Fredonia (1960s, +/-); SUNY-Buffalo (Prof: 1960-92; Prof Emeritus: current). Author of Twentieth Century Clarinetist, Clarinet Masterclass, Clarinet Articulation, and others. Articles published in The Clarinet and ClariNetwork. Other positions/activities: active as a composer (incl Flapper Era Dances, premiered by the Amherst Sax Quartet). Students include: Carl Cedar, DEBORAH CHODACKI, PAUL DRUSHLER, Harry Fackelman, RICHARD NUNEMAKER, James Perone, Richard York. The Audrey Hackman interview with Allen Sigel, listed in Bib below, provides excellent insight into Sigel’s teaching methodology, and by extension, his own approach to music. Bib: Hackman, Audrey L. “The Search for Musical Expression: An Interview with Allen Sigel.” ClariNetwork (February/March 1982): 7-8, 19; Sigel, Allen. “Studies in Contemporary Music for the Pre- professional Clarinetist.” The Clarinet 6 (Spring 1979): 14.

Sigismondi, Albert. Clarinetist: Baltimore Symph Orch (Clarinet/E-flat: 1947-49).

Silfies, George K. B. June 23, 1928 (Allentown, PA). Dipl: Curtis IOM (1948). Clarinet studies with JOSEPH GIGLIOTTI, RALPH MCLANE, BERNARD PORTNOY, and Bernard Walton; also cited Marcel Tabuteau as a major musical influence. Clarinetist: Baltimore Symph (Principal: 1948-51); Cleveland Orch (Asst Principal/Pianist: 1956- 63); Santa Fe Opera (Principal: 1958-62); NYC Opera (Principal: 1964-70); St. Louis Symph (Principal: formerly, 1970-2000+). Active as a recitalist (incl perfs at various clarinet conferences), soloist (incl perfs with the St. Louis Symph), chamber musician, recording artist (appears on recordings with the St. Louis Symph, and on the Vox Records label), pianist/accompanist (often plays with his students in lessons), and conductor/teacher. Former faculty member: Peabody Conserv; Cleveland IOM; Michigan State Univ (late 1950s, +/- ); St. Louis Conserv (1970s+); Washington Univ (Vstg Asst Prof of Clarinet: 1972-76; also served as conductor of the Washington Univ Symph/Chamber Orchs); Music Acad of the West (1980s, +/-). Plays on: Buffet R-13 clarinets; Selmer and O’Brien crystal mouthpieces; Zonda reeds. Students include: Karen Beacham, JAMES CAMPBELL, Jihoon Chang, RICHARD FLETCHER, Lynn Fryer, CAROLINE HARTIG, JAMES HEFFERNAN, Robert Howard (conducting), BIL JACKSON, Donald Jacobs, David Arthur Johnson, MONICA KAENZIG, Seunghee Lee, Ed Love, Mary Beth Malek, LARRY MAXEY, GEORGE MELLOTT, MARK NUCCIO, Bill Olsen, DAVID PINO, Jerry Rife, EDWIN RILEY, Mary Schani, L. DON SCHEID, DALLAS TIDWELL, Charles Willett, JEANINE YORK-GARESCHÉ. George Silfies began music studies on piano at the age of five, adding clarinet studies in his pre- high school years. He continued to play both instruments, but eventually shifted his focus to the clarinet. In addition to his career as a successful orchestral clarinetist, Silfies has also performed as a pianist with the Cleveland Orchestra and in chamber music settings with many well-known musicians. He also relishes the ability to play piano parts with students in their lessons, a real advantage for any student. In both teaching and playing, Silfies places a strong emphasis on relaxation, and has commented, “Tension is our own worst enemy.” (Silfies/Paddock 1998) The MELLOTT interview with Silfies, listed in Bib below, is highly recommended for more insight into Silfies as a performer and teacher. Bib: Mellott, George. “An Interview with George Silfies.” The Clarinet 7 (Spring 1980): 10-11; Silfies, George, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998; “Silfies, George.” Who's Who in

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American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 541; Mellott, George. “The Clarinet Section of the Saint Louis Symphony Orchestra.” The Clarinet 7 (Spring 1980): 16.

Silva, Linda Gall. B. Apr. 24, 1960 (Washington D.C.). BM: Oberlin Conserv (1981) with LAWRENCE MCDONALD; MM: Rice Univ (1984) with RICHARD PICKAR; additional studies at the New College Music Festival, Festival-Instit at Round Top, and Chautauqua Instit. Clarinetist: Cimarron Wind Quintet (1980s-90s, +/-); Texas Chamber Orch (Sub: 1985-87); New Music Forum of Houston (1987); Riverside County Phil (1987-); Inland Empire Symph (Sub: 1987-); Los Angeles Opera Assn (Sub: 1988); Redlands Summer Bowl Orch (1988-94); Redlands Symph (Sub: 1988-). Active as a chamber musician and recording artist. Faculty member: Houston Community Coll (Artist-in-Res: 1985-87); Houston HS for the Visual and Perf Arts (Clarinet: 1985-87); California State Univ-San Bernardino (Clarinet: 1988-91); California State Polytechnic Univ (Clarinet Instructor/Lect: 1988-); California Baptist Coll (Clarinet: 1989-90); California State Univ-Riverside (Clarinet: 1991-96). Webb School (current). Other positions/activities: active as a clinician/lecturer (incl Riverside Arts Foundation sponsored “musical informances” throughout Riverside County, CA, 1988-) and conductor (incl Webb School ensembles). Memb: AFM. Hon: recip (with Cimarron Wind Quintet) of numerous educational/perf grants (1983-90s+); 1st Place (with Cimarron Wind Quintet), Chamber Music Society of the Monterey Peninsula compt (1983); Honorable Mention (with Cimarron Wind Quintet), Young Recording Artists Compt (1987). Plays on: Buffet R-13 clarinets (B-flat/A/E-flat); Morgan (B-flat) and Vandoren B45 and 2RV (E-flat) mouthpieces; Morré and Vandoren V-12 # 3 ½ reeds (B-flat); Selmer bass clarinet; Selmer C* bass mouthpiece; Vandoren bass reeds. Students include: Adrienne Geffen, Jeff Lewis. Bib: Silva, Linda Gall, to Tracey L. Paddock, Tallahassee, FL, June 20, 1998.

Silver, Daniel S. B. Nov. 3, 1947 (Cleveland, OH). BM: Northwestern Univ with ROBERT MARCELLUS; MM: Univ of Michigan with DEBORAH CHODACKI. Additional clarinet studies with LARRY COMBS, THOMAS PETERSON, and RICHARD WALLER. Clarinetist: Hong Kong Phil (Principal: 1980-87); Baltimore Opera Orch (Principal: formerly, 1988-99, +/-); Washington Chamber Symph (Principal: formerly, 1990s, +/-); Natl Gallery Orch (Principal: formerly); Contemporary Music Forum-Washington, D.C. (1988-2000); has also performed with the Baltimore and Pittsburgh Symphs. Active as an intl recitalist, soloist (incl perfs with the Roanoke Symph, Washington Chamber Symph, Natl Chamber Orch, and Hong Kong Phil), chamber musician, festival artist (incl participation at the Aspen and Tanglewood festivals), and recording artist (incl 1997 recording of the Margaret Brouwer clarinet concerto, Prelude and Vivace, with the Cleveland IOM New Music Ensemble on the CRI label; also appears on the Marco Polo label). Faculty member: Chinese Univ of Hong Kong (formerly); Hong Kong Acad for the Perf Arts (formerly); Baltimore School for the Arts (formerly, 1988-99, +/-); Towson Univ (formerly, 1991-99, +/-); Interlochen Arts Camp (1991-); Univ of Colorado (Assoc Prof: 1999-, +/-). Other positions/ activities: active as an adjudicator and clinician. Memb: AFM. Hon: favorable review of perf appeared in The Washington Post; Co-Recip (with DAVID SHEA), Big Twelve Fellowship grant. Plays on: Buffet R- 13 clarinets (B-flat/A); Yamaha E-flat clarinet; Selmer bass clarinet. Students include: Julianna Evans Arnold, Ian Buckspan, Joseph Eller, Jerome Fleg, Joshua Mietz, Harry Ong. Dan Silver balances his career as a performer between solo, chamber, and orchestral playing, with a special interest in contemporary music. He has long held an interest in teaching and pedagogy, having done research in those areas while pursuing his master’s degree. On his own teaching style, Silver commented, “My teaching approach includes emphasis on craftual aspects and musical concerns, as well as a belief in stimulating a student’s own sense of discovery – helping to uncover ways in which they can ‘teach themselves.’” (Silver/Paddock 1998) Bib: “Daniel Silver.” CU-Boulder. http://music.colorado.edu/faculty/daniel-silver/ (accessed March 15, 2011); Silver, Daniel, to Tracey L. Paddock, Tallahassee, FL, July 16, 1998.

Simenauer, Peter W. B. Dec. 11, 1931 (Berlin, Germany). Early music studies with his father. 1st Prize: Mozarteum (Austria, 1952); additional studies in China (1947-49). Clarinet studies with LEON RUSSIANOFF and Andre Vacellier. Former clarinetist: Israel Phil (1951, +/-); New York Phil (Assoc Principal/E-flat: 1960-2000+); NY Phil Woodwind Quintet (Founding Memb); NY Phil Chamber Music Ensemble. Active as a recitalist (incl perfs at the Hidden Valley Music Seminars, Carmel, CA), soloist (incl 1952 European tour as the Mozarteum’s 1st Prize Winner); chamber musician (incl perfs with above NY Phil ensembles, the Chamber Music Society of Lincoln Center, and the Pascal String Quartet, et al),

303 and recording artist (on the Monitor and NY Philomusica Records labels). Former faculty member: Manhattan SOM (1972-85+); Mannes Coll of Music (1970s, +/- ); Montclair State Coll (Prof: 1980, +/-); Hidden Valley Music Seminars (Lect: 1982). Hon: favorable review of Simenauer’s recording of the Mozart Quintet appears in Richard Gilbert’s The Clarinetists’ Repertoire: A Discography (see Bib below); favorable review of chamber perf appeared in the New York Times (Feb. 1993). Has played on: Buffet R- 13 clarinets; Selmer “Table S” E-flat mouthpiece; Vandoren #4 (E-flat) and #5 (B-flat) reeds. Students include: Ira Berman, STEPHEN CLARK, Mark Cooper, Jennifer Dashnaw, Kerriann Dibari, David Evans, JOHN FULLAM, Nick Hecker, Ilian Iliev, Phil O’Connor, DEBORAH PITTMAN, Mark Sowlakis, Mark Thompson, DENNIS ZEISLER. Bib: Gilbert, Richard. The Clarinetists’ Repertoire: A Discography. New York: The Grenadilla Society, 1972: 95; Sichel, John. “The Clarinetists of the New York Philharmonic.” The Clarinet 19 (July/August 1992): 43; “Simenauer, Peter W.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 543; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 57.

Simmons, Harwood. b. circa 1902; d. Nov. 14, 1994 (Syracuse, NY). Grad: Columbia Univ. Was active as a clarinet recitalist/chamber musician (incl perfs with the Budapest Quartet) and conductor. Former faculty member: Columbia Univ (Prof of Music/Dir of Band: 1930s, +/-); Juilliard; Syracuse Univ (Prof of Music/Dir of Bands: l940s-late 1960s, +/-; Prof Emeritus, 1990s, +/-). Published in The Clarinet. Other positions/activities: Coordinator of band music, 1939 NY World’s Fair; was active as a conductor (incl above faculty positions and work with the 101st Calvary and 98th Infantry Bands, and the NYC Symphonic Band). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet Vol. 17 (Winter 1954- 55): 9; Donald Martino’s Sonata is dedicated to Simmons. Students include: Donald Martino. Bib: “Harwood Simmons; Musician, 92.” NYTimes.com. http://www.nytimes.com/1994/11/24/obituaries/ harwood-simmons-music-professor-92.html (accessed March 15, 2011); Sturm, George. “Encounters by George Sturm: Donald Martino.” Music Associates of America. http://www.musicassociatesofamerica. com/madamina/encounters/martino.html (accessed March 15, 2011).

Simon, Andrew Michael. Grad: Juilliard. Clarinet studies with CHARLES NEIDICH and LEON RUSSIANOFF. Clarinetist: New World Symph (formerly); Hong Kong Phil (Principal: late 1980s-, +/-); has served as Guest Principal Clarinetist of the Mainly Mozart Orch, New Zealand Symph, and Scottish Chamber Orch. Active as an intl recitalist (incl 1988 Carnegie Hall debut, and perfs at ClarinetFest 1995 and the 1998 Beijing Intl Clarinet Festival), soloist (incl 5 tours of Japan under the sponsorship of Buffet-Crampon, 1989-95, perfs with the Guangzhou Symph, Hong Kong Phil, and The Mainly Mozart Orch, and perfs throughout North America, Asia, and Australia), new music specialist, and recording artist (appears on the ClarinetFest ’95 CD and on the GMN and Musicians’ Showcase labels); broadcast television/radio perfs given in Asia, Europe, and North America. Faculty member: Hong Kong Acad for Perf Arts (current); Chinese Univ of Hong Kong (current); Baptist Univ (current). Other positions/activities: Artist/ Rep for BG Ligatures, Buffet Crampon USA, and Rico; Hong Kong Natl Chmn, ICA; active as a clinician (incl master classes given throughout the North America, Europe, Asia, Australia, and New Zealand). Memb: ICA. Published in The Clarinet. Hon: Ludlam Schol, Juilliard; Winner, Artists Intl Young Musicians Clarinet Award (1988); Winner, Intl Clarinet Society Compt; Winner, Natl Arts Club Compt; first American instrumentalist to perform in North Korea (1992) after the Korean War; favorable reviews of recordings/perfs appear in American Record Guide, Auditorium, The Clarinet, Fanfare, New York Times, The West Australian. Students include: Nophachai Cholthitchanta, Natalie Jen Hoe, Fong Hiu- kai Johnny. Bib: Kostek, Patricia. “Compact Disc Reviews.” The Clarinet 26 (June 1999): 70-71; Simon, Andrew. “Andrew Michael Simon.” A. Simon. http://www.amsimon.com/home.php?page=bio (accessed March 15, 2011).

Simon, Eric. B. 1907 (Vienna, Austria); d. Oct. 6, 1994 (New Milford, CT). Piano studies begun at age 8; clarinet studies begun at age 14; conducting studies begun during his 20s. Music studies at the State Acad of Vienna; also received a law degree in Vienna. Clarinet studies with VICTOR POLATCHEK and Leopold Wlach in Vienna. Former clarinetist: Moscow Phil (1935, +/-); Vienna State Opera Orch; NYC Symph (under the direction of Bernstein and Stokowski). Was active as a recitalist (incl American debut at the Coolidge Festival), soloist (incl perfs with the Vienna Phil and the New Friends of Music Orch), chamber musician (incl perfs throughout Europe with the Kolisch Quartet), festival artist (incl participation at France’s Prades Festival under the direction of Casals), and recording artist (incl recording

304 with clarinetists JACK KREISELMAN and S. JAMES KURTZ on the Epic Records label); broadcast perfs given in Berlin, Germany (1932) and on American radio stations CBS, WNYC, and WQXR (1930s-40s, +/- ). Former faculty member: Mannes Coll of Music (1950s, +/-); New School; was also active as a private clarinet instructor. Editor/Compiler: First Solos for the Clarinet Player; First Classics for the Clarinet; Master Songs (all are collections of transcriptions). Other activities/positions: Editorial Staff, Anbruch (1931); founder, Vienna Concert Orch (1932); was also active as an arranger (incl transcriptions for clarinet), editor (incl Masterworks for Clarinet and Piano published by Schirmer, and Weber and Mozart concerti published by Boosey & Hawkes), composer, and conductor (incl work with the New Friends of Music Orch, 1940s, +/-); was fluent in 8 languages. Students include: HERBERT BLAYMAN, BENNY GOODMAN, EDWARD PALANKER, JOSEPH RUTKOWSKI, ARTIE SHAW. While the Viennese school of clarinet playing is certainly a contributing component to the melting pot that is the American school of clarinet playing, the influence of this and other national styles seems somewhat secondary to the influence of the French school of playing that came to the forefront through the teaching and playing of DANIEL BONADE. With this in mind, it is especially surprising to see the studies of Rose and Jeanjean decried as they are by Eric Simon in his interview with himself (see Bib below). The revered Rose studies are staples of the Bonade curriculum, and yet Simon finds them (along with the Italian Cavallini and Gambaro studies) to be “harmful,” (Simon 1983, 36) and examples of musical mediocrity amidst the clarinet study repertoire. In addition, Simon considered the beginning and intermediate clarinet music then available to be subpar, and so transcribed many classic works by Germanic and Eastern European composers into the volumes listed above to fill this void. One could suppose that such a disagreement between schools of teaching amongst prominent teachers might be a divisive force, but such differences have only served to enrich the depth of what has become, and continues to become, the American school of clarinet playing, if there still is such a thing as a national school at all. Simon’s self-interview is worth reading as it illuminates further his strong views concerning clarinet playing and teaching, as well as more of his philosophical differences from the traditional French methodology. Bib: Simon, Eric. “Eric Simon Interviews Himself.” The Clarinet 10 (Spring 1983): 36-7; “Simon, Eric.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 202; “The Eric Simon Papers.” Yale University Library. http://drs.library.yale.edu:8083/saxon/SaxonServlet?style=http://drs.library.yale.edu: 8083/saxon/EAD/yul.ead2002.xhtml.xsl&source=http://drs.library.yale.edu:8083/fedora/get/music:mss.008 4/EAD (accessed January 21, 2011).

Simonelli, Aldo. D. 1990. Clarinet studies at Juilliard with ARTHUR CHRISTMANN; additional clarinet studies with JACK HICKEY. Former clarinetist: NYC Opera Orch; New Arts Woodwind Quintet. Was active as a chamber musician and recording artist (incl recordings with the New Arts Woodwind Quintet on the Music Minus One label, and with the NYC Opera Orch on Sony Masterworks). Bib: “Arthur Christmann.” Woodwind Magazine 5 (October 1952): 6.

Singer, David. B. Apr. 7, 1949 (Los Angeles, CA). Dipl: Curtis IOM (1971); Artist Dipl: Hochschule für Musik-Vienna, Austria (1972) with Rudolf Jettel. Clarinetist: Orpheus Chamber Orch (Co- Principal/ Principal: 1977-). Active as a recitalist, soloist (incl critically acclaimed perfs of the Aldridge Concerto for Clarinet with the Los Angeles and Orpheus Chamber Orchs, perfs/recordings with the NY Chamber Orch, and tours of Europe, India, Israel, and the U.S. as soloist with the Orpheus Chamber Orch), chamber musician (incl perfs with Yo-Yo Ma, Yehudi Menuhin, Rudolf Serkin, the Chamber Music Society of the Lincoln Center, and the Cleveland, Emerson, and Shanghai String Quartets), recording artist (on the Delos and Deutsche Grammophon labels), and festival artist (incl participation at the 1972 Salzburg Festival, various Marlboro Festivals during the 1970s, and various Spoleto Festivals during the late 1970s- 80s); broadcast perfs given on BBC. Works written for Singer incl Robert Aldridge’s Concerto for Clarinet and Chamber Orch. Faculty member: Montclair State Univ (Prof of Clarinet/Chamber Music: current). Hon: Martha Baird Rockefeller Music Grant (1980); Winner, Naumberg Award; Winner, Coleman Award; listed in Who's Who in American Music (Classical), 1985 edition; favorable reviews of perfs appear in the Los Angeles Times, New York Times, and Star Ledger (NJ). Students include: Dave Goss. Bib: “David Singer.” Montclair State University. http://www.montclair.edu/Arts/music/faculty/woodwinds.html (accessed March 15, 2011); “David Singer.” Orpheus Chamber Orchestra. http://www.orpheusnyc.com/ musicians.html# (accessed January 21, 2011); “Singer, David.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 544.

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Siniscalchi, Joseph (Giuseppe). B. Mar. 12, 1882 (Quindici, Italy); d. Sept. 1, 1950 (Chicago, IL). Immigrated to the U.S. in 1902. Clarinet studies with Gaetano Labanchi at the Naples S. Pietro Conserv. Former clarinetist: Chicago Grand Opera (1910s, +/-; Principal: 1930s, +/-); Chicago Symph (1921-23; Principal: 1922-23). Was active as a clarinet instructor. Students include: WILLIAM DOMINIK, L. DON SCHEID, KEITH STEIN. Bib: Huffman, Larry. “Chicago Symphony Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Chicago_Symphony. htm (accessed March 15, 2011).

Sloane, Ethan. BM: New England Conserv; MM/MMA/DM: Yale Univ with KEITH WILSON. Clarinetist: Symph of the United Nations (Principal: formerly); Festival Orch of NY (Principal: formerly); New Haven Symph (formerly); Pacific Wind Quintet (formerly); Empire Trio (1973-). Active as an intl recitalist/soloist (incl perfs at the California Music Center, Merkin Hall, Natl Gallery of Art, Queen Elizabeth Playhouse, Washington and Jefferson Coll, on the Kenyon Coll Young Artists Series, and throughout North America, Asia, and Europe), chamber musician (incl perfs with above ensembles and the Manhattan String Quartet), festival artist (incl participation at the Hampden-Sydney, Marlboro and Shawnigan Music Festivals ), and recording artist (on the Crystal and Musique Internationale labels). Faculty member: Mannes Music Div (Instructor: 1973-75); Univ of Northern Iowa (Asst Prof: 1976-77); Univ of Victoria (Asst Prof: 1977-79); West Virginia Univ (Assoc Prof: 1979-82); California Music Center (Artist-Faculty: 1981-82); Boston Univ (Prof: 1984-); Boston Univ Tanglewood Instit Clarinet Workshop (Founder/Dir: 1987-). Published in The Clarinet. Other positions/activities: Dir, Empire Trio of NY (1973-); Regional Chmn, ICA (1980); Founder/Artistic Dir, Hampden-Sydney Music Festival (1980-); G. Leblanc Corp. Artist/Clinician (1981); Dir, Laureate Wind Quintet (formerly); active as an administrator (incl positions as Exec Asst to the Dir at Peabody Instit and Dir of Boston Univ’s Music Div), clinician (incl participation at the Choate Chamber Music Workshop and Tanglewood’s Clarinet Seminar), lecturer, and music editor (incl works by Brahms and Mozart). Hon: Affiliate Artists, Inc. Fellow (1975); 1st Prize, Ars Vivus Chamber Music Compt (1976); Honorary Fellow, Hampden-Sydney Coll (1977-79, 1981); Martha Baird Rockefeller Grant (1981); favorable review of perf appeared in New York Times (June 9, 1982); NY State Arts Council Grant; Doctor of Humane Letters, honoris causa, Hampden-Sydney Coll (1991). Students include: Hilary Brown, Ashley Creighton, Virginia Johnston, Patrick Locklin, Tracey Paddock, Tang Xiao Ping, Song Tu, Thomas Weston, Ryan Yuré. Bib: “Ethan Sloane.” . http://www.bu.edu/cfa/music/faculty/sloane (accessed March 15, 2011); “Sloane Named Director at Boston University.” The Clarinet 12 (Summer 1985): 19.

Small, Terence. BM: Univ of Michigan; MA: Western Reserve Univ. Former faculty member: Western Reserve Univ; Univ of Florida (Prof of Clarinet: 1960s-90s, +/-). Published in Instrumentalist. Students include: Steven McKeithen, Jim Williams. Bib: “Small, Terence.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 834.

Smith, Carolee. Married to GREGORY SMITH. Advanced music studies at Northwestern Univ. Clarinet studies with ALAN BALTER, CLARK BRODY, DONALD CARROLL, LARRY COMBS, and ROBERT MARCELLUS. Clarinetist: Sacramento Symph (early 1980s, +/-); has also performed as Clarinet/E-flat/Bass with the Atlanta, Chicago and San Francisco Symphs. Active as a recitalist and chamber musician; broadcast perfs given on radio with husband GREGORY SMITH. Faculty member: Chicago Coll of Perf Arts (current); has also taught at DePaul Univ. Other positions/activities: Co-Founder (with husband Gregory), Gregory Smith Clarinet Products, Inc (1995); extra-musical interests incl antiquing, fishing, hiking, photography, record-collecting, and travel. Students include: Ozzy Gonzalez. Bib: Jacobs, Laura, Editor-in-Chief. “Gregory Smith.” CSO Stagebill 101st season (January 9, 10, 11, 14, 1992): 40.

Smith, Douglas. Clarinetist: Atlanta Symph (Clarinet/Bass: formerly, 1989, +/-). Active as a festival artist (incl participation at the Eastern Music Festival) and recording artist (appears as bass clarinetist on a song by pop/alternative band Matchbox 20). Bib: “Matchbox 20.” Angelfire. http://www. angelfire.com/mi/wojtkiewicz/matchbox20.html (accessed January 21, 2011).

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Smith, Gregory. B. circa 1949 (Chico, CA). Married to CAROLEE SMITH. BM: Northwestern Univ (1980) with ROBERT MARCELLUS; additional studies at the Aspen Music Festival, and at Music Acad of the West with MITCHELL LURIE. Additional clarinet studies with CLARK BRODY and LARRY COMBS. Clarinetist: Sacramento Symph (Principal: 1980, +/-); San Francisco Symph (Assoc Principal/E- flat: 1981-83, +/-); Chicago Symph (Second: 1983-); Chicago Symph Winds (current); Chamber Soloists of Chicago (Founding Memb: current). Active as a recitalist/soloist (incl perfs at ClarinetFest 1997 and the 1998 Oklahoma Clarinet Symposium), chamber musician (incl perfs with above ensembles and members of the Vermeer Quartet), festival artist (incl participation at the Ravinia and Scotia Festivals, the AFFINIS Music Festival, and the Mill Valley Chamber Music Festival), recording artist (incl Grammy-nominated recording with Chicago Symph Winds on the CBS label); broadcast perfs given on WFMT-Chicago and CBC Radio. Faculty member: Northwestern Univ (Vstg Prof: formerly); Univ of Michigan (Vstg Prof: formerly); Chicago Coll of Perf Arts (1980s-, +/-). Published in The Clarinet. Other positions/activities: Co-Founder (with wife Carolee), Gregory Smith Clarinet Products, Inc (1995); Buffet Crampon USA Perf Artist; active as a respected mouthpiece craftsman; extra-musical interests include antiquing, fishing, hiking, photography, record-collecting, and travel. (Jacobs 1992) Hon: Grammy nomination (as memb of Chicago Symph Winds) in the Best Chamber Music Perf category; favorable review of perf appears in The Clarinet. Students include: DIANE CAWEIN BARGER, Ozzy Gonzalez, REBECCA RISCHIN, Charlie Suriyakham, Natalie Szabo. Bib: Jacobs, Laura, Editor-in-Chief. “Gregory Smith.” CSO Stagebill 101st season (January 9, 10, 11, 14, 1992): 40; “Musical Chairs, Part II.” The Clarinet 11 (Winter 1984): 36; Smith, Gregory. “Biography.” G. Smith. http://www.gregory-smith.com/Biography.html (accessed January 21, 2011); Smith, Gregory. “Master Class (Première Rhapsodie by Debussy).” The Clarinet 25 (May/June 1998): 9.

Smith, James R. Grad: Southern Methodist Univ; Cleveland IOM with ROBERT MARCELLUS. Additional clarinet studies with Jack Brymer (in London), LEE GIBSON, and LEON RUSSIANOFF. Clarinetist: Dallas Symph (formerly); Miami Symph (Co-Principal: 1979, +/-). Has been active as a soloist (incl Lincoln Center perf of the Copland Clarinet Concerto with the Empire Sinfonietta conducted by Copland). Faculty member: SUNY-Fredonia (Clarinet/Conducting: formerly); Univ of Wisconsin-Madison (Prof of Conducting: current). Published in The Clarinet. Other positions/activities: currently active mainly as a conductor (incl Univ of WI ensembles and the Wisconsin YSO) and guest conductor (appearing with bands/orchs throughout the U.S., and at IDRS and other conferences); has been Guest Lecturer (conducting) at Interlochen Arts Camp and Central Connecticut State Univ. Hon: Fulbright Grant for clarinet study in London, England. Students include: Daniel Paprocki, GARY WHITMAN. Bib: “James Smith.” University of Wisconsin-Madison. http://www.music.wisc.edu/faculty/bio?faculty_id=50 (accessed January 21, 2011); Smith, James R. “Staccato Quality.” The Clarinet 1 (May 1979): 5.

Smith, Jerry Neil. BM/MM/Perf Cert: Univ of Texas-Austin; PhD: Eastman SOM. Sax studies with Sigurd Rascher. Comp studies with Herbert Elwell, Kent Kennan, and Clifton Williams. Clarinetist: Austin Symph (formerly); Oklahoma City Phil (Principal: formerly, for 9 years; still performs with the orch as needed); Enid Symph-OK (Principal: current). Active as a recitalist (incl perf at the 1981 Univ of Oklahoma Clarinet Symposium), chamber musician, jazz musician, and saxophonist. Faculty member: Austin, TX Public Schools (formerly); Southwestern Louisiana Instit (Woodwind Instructor: formerly); Univ of Oklahoma (Prof of Clarinet: 1975-97; Prof Emeritus: current); Oklahoma Summer Arts Instit at Quartz Mountain (current); has also taught at Univ of Florida, Univ of Colorado, Eastman SOM, and the Shanghai Conserv. Other positions/activities: Buffet Crampon USA Perf Artist; Founding Conductor, Norman Chamber Orch (1980-); Coordinator of Music, OK Summer Arts Instit (formerly); active as an administrator (incl positions at Univ of Northern Iowa, Univ of OK, and California State Univ-Long Beach), arranger (incl numerous transcriptions for clarinet choir; has also arranged for the OK City Phil), and composer (incl works commissioned by the OK City Phil). Memb: ASCAP. Hon: Composition Fellow, MacDowell Colony-NH; Governor’s Arts Award, OK (1991). Plays on: Buffet Vintage B-flat clarinet. Students include: STEPHEN CLARK, DAVID ETHERIDGE, John Gibson, Michael Whitmore, ALAN WOY.

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Bib: “Jerry Neil Smith.” Buffet Crampon. http://buffet-crampon.com/en/artists.php?mode= artistPresentation& aid=285 (accessed March 15, 2011); Rose, Bernard. “The University of Oklahoma Clarinet Symposium.” The Clarinet 9 (Fall 1981): 25; “Smith, Jerry Neil.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 834; “University of Oklahoma Clarinet Symposium 1982.” The Clarinet 9 (Spring 1982): 38.

Smith, William Overton [William O. or Bill]. B. 1926 (Sacramento, CA). Clarinet studies begun at age 10. BA/MM(both in Composition): Univ of California-Berkeley (1950/1952) with composer Roger Sessions. Additional comp studies at Mills Coll with (1946), at the Paris Conserv (1952-53), and at the American Acad in Rome (1957-58); additional music studies at Juilliard (1957-58). Clarinetist: Oakland Symph (formerly); Octet (Founding Memb); American Jazz Ensemble. Active as a recitalist/soloist (incl perfs at the 1998 Beijing Intl Clarinet Fest and numerous other clarinet conferences), bass clarinetist/saxophonist, jazz musician, jazz/contemporary chamber musician (incl perfs with the Amati String Quartet, Dave Brubeck Quartet and Octet, and Bill Smith Quintet), and recording artist (incl his own works; appears on the Arcophon, Cireco, Columbia, Contemporary, CRI, CRS, EDI- PAN, Epic, Fantasy, Impulse, Musical Heritage, and RCA-Victor labels). Faculty member: Univ of California-Berkeley (formerly); San Francisco Conserv (formerly); Univ of Southern California (formerly); Univ of Washington-Seattle (Dir, Contemporary Group: 1966-80s+; Prof Emeritus: current). Author, Jazz Clarinet (Universal Editions, Vienna and Parkside Publications, Seattle). Published in The Clarinet. Other positions/activities: active as a well-known and respected composer of numerous significant works for the clarinet and other instruments (more than 200 works published by Edi-Pan, MJQ Music, Oxford Univ Press, Ravenna Editions, and Universal). Hon: Fromm Players Fellowship; Guggenheim Award (two-time recipient); Natl Acad of Arts and Letters grants; NEA grants; Phelan Award; BMI Jazz Pioneer Award; Prix de Paris; Prix de Rome; favorable review of perf appeared in the New York Herald Tribune (Mar. 14, 1964). Students include: Francois Houle, DAVID KEBERLE, Karlin Love,. As one may surmise from the title of Kathryn Hallgrimson Suther’s interview (listed in Bib below), “Two Sides of William O. ‘Bill’ Smith,” William O. Smith is a musician of multiple talents. Smith has performed as a clarinetist with great dexterity in the traditional, contemporary/experimental, and jazz idioms, and is equally talented as a composer. He has performed on most members of the clarinet and saxophone families, and in addition has come up with unique configurations of the clarinet (e.g. playing two clarinets simultaneously, blowing across a clarinet joint as if playing a flute, attaching mouthpiece to lower joint, etc.) to extend the clarinet family even further and to exploit all of its possible uses. As a composer, Smith has been innovative in merging aspects of jazz and classical music (what came to be known as “” music) in his compositions, and has also experimented with electronic music. In his compositions he has explored novel ways of using traditional instruments and often employs creative means of performance (e.g. incorporating a visual component into performance, the use of unique notation, creative use of performance space, etc.). Smith has been a pioneer in extended clarinet technique, which has influenced numerous composers in the inclusion of these effects in their compositions, and also influenced clarinetists for whom the technical bar has been raised. Smith has performed and recorded his own works as well as contemporary works of other composers. He has had a long-standing affiliation with Dave Brubeck with whom he still records, performs, and tours. Of his significance in the clarinet’s role in the history of jazz, Douglas Carleton has written:

The clarinet has not played a significant role in jazz at all since the early 1960’s, when William O. Smith took the clarinet into the more celebrated atmosphere of the avant- garde. With his American Jazz Ensemble, he explored unusual time signatures and rhythms, and experimented with tape, sometimes improvising over a previous recording, played back at varying speeds. (Carleton 1976, 11)

For an excellent discography, list of compositions, and further information, refer to the Rehfeldt article and website listed in Bibliography below. Suther’s interviews with Smith (also below) update the earlier articles by Rehfeldt and Linda Pierce, and provide helpful information on obtaining Smith’s compositions and recordings; Smith discusses several of his works in this article. Bib: Carleton, Douglas J. “The Role of the Clarinet in the Development of Jazz.” The Clarinet 4 (Fall 1976): 11; Gibson, Chris. “Unlocking the Secrets of William O. Smith’s Five Pieces for Clarinet

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Alone: Analyzing 12-tone Music.” ICA. http://www.clarinet.org/clarinetFestArchive.asp?archive= 32 (accessed January 23, 2011); Pierce, Linda. “William O. Smith - The I.C.S. 1987 Commission.” The Clarinet 14 (Summer 1987): 26-28; Rehfeldt, Phillip. “William O. Smith.” The Clarinet 7 (Spring 1980): 42-44; Rehfeldt, Phillip and . “William O. Smith/Bill Smith.” University of Washington. http://faculty.washington.edu/bills/ (accessed January 23, 2011); Suther, Kathryn Hallgrimson. “Two Sides of William O. ‘Bill’ Smith, Part I.” The Clarinet 24 (July/August 1997): 40-44; Suther, Kathryn Hallgrimson. “Two Sides of William O. ‘Bill’ Smith, Part II.” 25 (November/December 1997): 42-48.

Smylie, Dennis. BM/MM: Juilliard with JOSEPH ALLARD. Additional clarinet studies with STEPHEN FREEMAN, KALMEN OPPERMAN, Bill Street, and ALFRED ZETZER. Clarinetist: Westchester Phil (Clarinet/Bass: current); American Symph (current); Brooklyn Phil (current); has also performed with the Buffalo and New York Phil Orchs, the St. Louis and Montreal Symphs, the NYC and Metropolitan Opera Orchs, the NYC Ballet, Orpheus Chamber Orch, and Speculum Musicae. Active as a recitalist (incl perfs/lecture recitals at the Cleveland Museum of Art and Weill Recital Hall, at Aspen, Juilliard, and the Oberlin Conserv, and at Princeton, Yale, Kent State, and Florida State Univs), soloist (incl premiere perf/recording as bass clarinet soloist of Donald Martino’s Triple Concerto), chamber musician (incl perfs with above ensembles, the Chamber Music Society of Lincoln Center, and at ClarinetFest 1998), and recording artist (appears on a recording with NAOMI and STANLEY DRUCKER on the Elysium label; also appears on the CRI, Deutsche Grammophon, New World Records, Nonesuch, RCI, and Virgin Classics labels). Faculty member: Aspen Music Festival (1990-, +/-); NY Univ (current); Montclair State Univ (current). Students include: Jeff Anderle, Kristin Bungert, Suzanne Gekker, Jesse Gilday, Nobuko Igarashi, Aage Nielsen, Sunshine Simmons, James Touzel, Kariann Voights, Michael Walsh, Michele Wright, Ryan Yuré. According to Pamela Weston, Dennis Smylie is the owner of ROSARIO MAZZEO’s original extended bass clarinet. Smylie, a respected bass clarinet virtuoso, premiered Donald Martino’s Triple Concerto (for clarinet, bass clarinet, and contrabass clarinet with chamber ensemble) in 1978. Bib: “Dennis Smylie.” Westchester Philharmonic. http://www.westchesterphil.org/aboutsmylie. asp (accessed March 15, 2011); Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 203.

Snavely, Jack. B. Mar. 11, 1929 (Harrisburg, PA). BS(Mus Ed): Lebanon Valley Coll (1950) with FRANK STACHOW; MM(Clarinet Perf): Univ of Michigan (1955) with WILLIAM STUBBINS; DM(1991): Univ of Arizona; additional studies at Northwestern Univ and Peabody Conserv. DM diss: “Benny Goodman’s Commissioning of New Works and their Significance for Twentieth-Century Clarinetists.” Additional clarinet studies with JOSEPH ALLARD (1953+) and JULES SERPENTINI. Jazz improv studies with Jerry Coker. Clarinetist: U.S. Army Band (1951-53); Milwaukee Symph (formerly); Waukesha Symph (formerly); Chamber Orch (formerly); Woodwind Arts Quintet (Founding Memb); has also performed with the Naples Klezmer Revival Band. Active as a recitalist (incl perfs at numerous clarinet conferences), soloist, chamber musician (incl perfs with above groups, the Leblanc Fine Arts Sax Quartet, and guest perfs with the Chicago Symph Quartet, Fine Arts Quartet, and NY Woodwind Quintet), jazz musician (incl perfs as saxophonist with the 1st Army Dance Band and the Bill Potts Septet, and with such artists as Nat Adderly, Tony Bennett, Glen Campbell, Vic Damone, Sammy Davis Jr., Lou Rawls, and Claude Thornhill), and recording artist (on the Golden Crest and Orion labels); numerous broadcast perfs given on radio/television (incl a 30-part, hour-long series on WFMR-Milwaukee entitled “The Clarinet and its Literature”). Faculty member: Univ of Wisconsin-Milwaukee (Prof of Clarinet/Sax: 1955-94; Prof Emeritus: current; also taught jazz improv and served as Dir of Symphonic Band). Numerous articles/reviews published in The Clarinet, The Instrumentalist, International Musician, Selmer Bandwagon, Woodwind World, and other music journals. Other positions/activities: active as an adjudicator, arranger/editor (works published by Heritage, Kendor, LPI, and Shawnee Press), clinician, and conductor (incl position as Dir of the Univ of Wisconsin- Milwaukee Symphonic Band). Memb: AFM, ICS, MENC, NAJE, Phi Kappa Phi, Pi Kappa Lambda, World Sax Congress.

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Hon: Distinguished Alumnus Award, Lebanon Valley Coll; 1st Prize as Conductor of the Univ of WI-Milwaukee Symphonic Band at the Intl Festival-Dijon, France; listed as a “Prominent Clarinet Teacher” in The Clarinet Vol. 22 (Spring 1956): 18; listed in International Who’s Who in Music. Plays on: Buffet R-13 clarinets; HITE, Livingood, and PYNE mouthpieces; Scott ligature; Morré and Vandoren reeds. Students include: Mary Jirovec, RONALD PETER MONSEN, DENNIS NYGREN, Jeff Snavely, Greg Tardy, James Wierzbicki, Gail Lehto Zugger. Clarinetist Jack Snavely was greatly influenced by his studies with JOSEPH ALLARD. He has commented that his entire way of playing changed after just one lesson with Allard. On his own musical philosophy, Snavely comments:

The purpose of performing on a clarinet, or any instrument, is to create music, beauty, expressiveness – to be creative and to have something to say with the instrument. In order to do this we must solve the physical problems of the instrument including the development of a beautiful tone and technique. We must also develop the ability to choose equipment, remake our reeds so that they play, learn the literature, and how to perform with other players. The goal of all of this is to play beautifully.

The focus of my teaching has always been to develop the clarinet sound – to maximize each student’s tone, both in fullness of sound and beauty of quality. Then I concentrate on musicality, first through correct technical interpretation of the printed score, and then into the realm of expression and beauty of phrasing. Concentration on these two basic elements – tone and interpretation – can result in amazing maturity of musicianship, even in young students. (Snavely/Paddock 1998)

Bib: Livingood, Marvin. “The 1977 International Clarinet Clinic.” The Clarinet 5 (Fall 1977): 13; “Prominent Clarinet Teachers.” The Clarinet 22 (Spring 1956): 18; Snavely, Jack. “An Interview with Harold Wright.” The Clarinet 7 (Fall 1979): 12-15; Snavely, Jack, to Tracey L. Paddock, Tallahassee, FL, May 20, 1998; “Snavely, Jack.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 554.

Sobel, Joseph. Clarinetist: Natl Symph Orch (Clarinet/Sax: 1943-45).

Sobol, Lawrence. Grad: Manhattan SOM. Clarinet studies with HERBERT BLAYMAN, IGNATIUS GENNUSA, Rudolf Jettel, DAVID WEBER, and HAROLD WRIGHT. Clarinetist: Long Island Chamber Ensemble (1970s+). Has been active as an intl recitalist (incl perfs at various clarinet conferences), soloist (incl perfs/recordings with the Rome Symph-Italy), chamber musician (incl perfs at Carnegie Hall), contemporary music specialist (incl collaborations with composers Michael Colgrass, Roy Harris, Alan Hovhaness, Karel Husa, Ezra Laderman, Ned Rorem, William Schuman, Virgil Thompson, et al), and recording artist (on the Citadel, Crystal, Desto, Grenadilla, Kem West, Klavier, New World Records, Orion, Peters Intl, Poseidon, and Sine Qua Non labels). Premiere perfs incl Alan Hovhaness’s song cycle, Saturn (1971), written for Sobol. Other positions/activities: published in The Clarinet; Artistic Dir, Long Island Chamber Ensemble; active as a clinician, conductor, and music dir/concert producer. Hon: favorable reviews of perfs/recordings appear in The New Records, New York Times, and in 2 volumes of RICHARD GILBERT’s clarinet discography series (see Bib below). Students include: Catherine Brown, Leslie Duquette, JOSEPH RUTKOWSKI, Daniel Vesey. Of the little printed information found on clarinetist Lawrence Sobol, what was found was highly complimentary of Sobol’s performances and recordings. His expressive playing, exquisite tone, and technical agility have been praised by New York Times critics Peter Davis, Donald Henehan, Howard Klein, and Theodore Strongin, clarinet recording critic Richard Gilbert, and composer Alan Hovhaness. Gilbert was especially complimentary of Sobol’s recordings of works by Hovanhess and Nathan Ives Kaplan, as well as some less familiar works of Malcolm Arnold and . Sobol had a fruitful working relationship with Hovanhess, and Sobol’s recordings of Hovanhess’s works demonstrate the mutual understanding and admiration between composer and clarinetist. The recordings of Kaplan’s works, Eighteen Concert Etudes for Unaccompanied Clarinet, were the result of a collaboration between

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Kaplan and Sobol on a collection of works to introduce clarinet students to the challenges of performing twentieth-century works. Bib: Gilbert, Richard and Lawrence Sobol. “Alan Hovhaness, 1911-2000: ‘The 20th Century Musical Avatar.’” The Clarinet 28 (March 2001): 66-69; Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 111, 119; Gilbert, Richard. The Clarinetists’ Repertoire – A Discography. New York: The Grenadilla Society, 1972: 95; Sobol, Lawrence. “Record Entrepreneur- Clarinetist Has Auspicious Debut.” The Clarinet 12 (Fall 1984): 46.

Sparks, Dan Coakely. BM: Cincinnati Conserv; MM: Eastman SOM; additional studies with Gervase de Peyer (in London) and at the Classical Music Seminar (in Eisenstadt, Austria). Clarinetist: Fox Valley Symph (Principal: formerly). Active as a recitalist (incl perfs on Lawrence Univ’s “Clarinet and Friends” series) and chamber musician (incl perfs with Trio Laurentiano). Faculty member: Lawrence Univ (Assoc Prof: 1963-93; Assoc Prof Emeritus: current). Other positions/activities: Vice Pres, ICA (1980-82). Students include: Julie Asuma Levene, Noelle Little, David Wetzel. Bib: “Honorary Degrees of Retiring Faculty.” Lawrence University. http://lawrence.edu/library/archives/Facultycitations/1993/ RFHD_DSparks1993.shtml (accessed January 23, 2011).

Sperl, Gary Robert. B. June 22, 1950 (Waukesha, WI). BME: Univ of Wisconsin-River Falls (1972) with Robert Samarotto; MM(Woodwinds): Indiana Univ (1977) with BERNARD PORTNOY. Additional clarinet studies with FRANKLIN COHEN and RUSSELL DAGON. Clarinetist: Duluth Symph-MN (Bass: 1972-75); Knoxville Symph (Clarinet: 1977-80; Principal: 1980-); Spoleto Festival Orchs, Charleston, SC and Spoleto, Italy (Clarinet/Bass Clarinet/Sax: 1980-97); Savannah Symph (Bass: 1982-85); Bear Valley Music Festival (Principal: 1986-); Wild Basin Winds (current); has also performed as Sub/Extra with the Buffalo Phil and the Charleston, Columbus-OH, and Milwaukee Symphs. Active as a recitalist/soloist (incl perfs with the Knoxville Chamber and Symph Orchs), chamber musician (incl perfs with Wild Basin Winds), festival artist (incl participation at the Assisi and Bear Valley Music Festivals), and recording artist. Faculty member: Univ of Tennessee (Assoc Prof: 1977-). Memb: AFM, ICA. Plays on: Buffet R-13 clarinets; PYNE PK mouthpiece; JOHNSTON E-flat mouthpiece; Buffet Prestige bass clarinet; Vandoren B-44 bass mouthpiece. Students include: Karen Pearce, Jay Romines, Ysabel Sarte. Gary Sperl gained musical insight from all of his teachers but was especially influenced by his University of Wisconsin-River Falls clarinet professor Robert Samarotto who, as Sperl said, “did the most for my playing and had the greatest influence on my career.” (Sperl/Paddock 1998) Sperl strives to play with a full, round clarinet sound, using a broad spectrum of tone color and a vocally-influenced sense of phrasing. He urges students to “play as you would sing” and teaches that “practicing for results [means] getting beyond notes.” (Ibid.) Among Sperl’s greatest musical challenges thus far have been mastering and performing the Corigliano Clarinet Concerto (in 1992) and John Adams’s Gnarly Buttons (in 1998). In addition to these musical challenges, Sperl is an endurance athlete who has completed 17 marathons (including the Boston Marathon) and three Ironman Triathlons. He believes that the disciplines of swimming, biking, and running help his clarinet playing through the breathing common to both types of activities. (Ibid.) Bib: “Gary Sperl.” Knoxville Symphony. http://www.knoxvillesymphony.com/kso.asp?id=192& m=100231 (accessed January 23, 2011); Sperl, Gary, to Tracey L. Paddock, Tallahassee, FL, July 9, 1998; “Sperl, Gary Robert.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 560.

Sperzel, Peter. Clarinetist: Minneapolis Symph Orch (Clarinet/Bass: 1919-24; Principal: 1922).

Spicknall, John Payne. B. Mar. 30, 1941 (Beltsville, MD). BM/MM: Peabody Conserv (1963/1965) with SIDNEY FORREST, IGNATIUS GENNUSA, and HAROLD WRIGHT; DM: Univ of Maryland (1974) with NORMAN HEIM. DM thesis: “The Solo Clarinet Works of Bernard Henrik Crusell (1775–1838).” Clarinetist: Terre Haute Symph (Co-Principal: 1971-); Indiana State Univ Faculty Wind Quintet (1972-). Active as a recitalist (incl perf at the 1999 Northern Plains Clarinet Symposium), chamber musician, and is currently more active as a jazz pianist. Faculty member: Indiana State Univ (Prof: 1969-; has served as Prof of Clarinet and Dir of Jazz Ensemble; currently serves as Prof of Jazz Piano); DePauw Univ (PT Prof of Jazz Piano: current). Hon: listed in Who's Who in American Music (Classical), 1985 edition. Plays on: Buffet R-13 Prestige (B-flat) and R-13 (A) clarinets; BAY m-m and Kaspar (Cicero)

311 mouthpieces. Students include: Jane Dobson Poio, ELIZABETH RHEUDE. Bib: Spicknall, John, to Tracey L. Paddock, Tallahassee, FL, June 4, 1998; “Spicknall, John P.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 560.

Splittberger-Rosen, Andrea. B. Nov. 2, 1953 (Hartford, CT). Pre-college clarinet studies with ELIZABETH FOGLE and Rebecca Fowler. BM(with high honors)/PhD: Michigan State Univ (1975/1989) with FRANK ELL, ELSA LUDEWIG-VERDEHR, and KEITH STEIN; MM: Eastman SOM (1976) with STANLEY HASTY. Postdoctoral sabbatical studies with ERIC MANDAT and DONALD OEHLER; additional studies with John McCaw. Clarinetist: American Wind Symph (Summer 1973); Lansing Symph (1973-75; 1982-84); Uwharrie Clarinet-Percussion Duo (1975-); Greensboro Symph (1976-78); Santa Fe Opera Orch (Summer 1983); Central Wisconsin Symph (Principal: 1984-); has also performed with the Grand Rapids, Greece- NY, Jackson-MI, LaCrosse-WI, Milwaukee, Salisbury-NC, and Western Piedmont-NC Symphs, and the Northwood Orch-MI. Active as a recitalist/soloist (incl perfs on alumni recitals for the Triennial Conferences of the Delta Omicron Intl Music Fraternity) and chamber musician (incl perfs with the Wisconsin Wind Quintet; perfs with the Uwharrie Clarinet-Percussion Duo incl 1980 Carnegie Hall debut, and perfs at the 1985 and 1995 ICA conferences, the 1990 Southwest Contemporary Music Festival/ Conference, the 1992 MTNA Conference, 1993 and 1997 Conferences of the Society of Composers, Inc., and the 1997 Michigan Clarinet Contemporary Music Conference); broadcast perfs given on WKAR-TV and Wisconsin Public Radio. Faculty member: Elon Coll (Adj Instructor of Clarinet: 1980-82); Alma Coll (Adj Instructor of Clarinet/Sax/Woodwind Tech: 1983-84); Univ of Wisconsin-Stevens Point (Artist/Teacher of Clarinet/Mus Theory: 1984-). Published in The Clarinet. Other positions/activities: Artist-in-Res (with Uwharrie Clarinet-Percussion Duo) at Rowan Tech Coll (1976-77), Randolph Tech Coll (1977-78), and Caldwell Community Coll and Tech Instit (1978-80), all as part of the NC Vstg Artist Program; active as a lecturer (presentations given at CMS and ICA conferences). Memb: , American Music Center, CMA, CMS, Delta Omicron, ICA, MTNA, NACWPI, Pi Kappa Lambda. Hon: MSU Schols (1971-75, 1982-83); Yamaha Schol (1974); Pi Kappa Lambda Outstanding Senior Award (1975); Winner, MSU Concerto Compt (1975); Delta Omicron Foundation Schol, Eastman SOM (1975-76); Grad Assistantship/Fellowship, Eastman SOM (1975-76); NEA New Music Perf Grants (1980-83); Winner, MSU Honors Recital (1983); Grad Office Fellowship, MSU (1983-84). Plays on: Buffet R-13 clarinets (E-flat/B-flat/A); DAN JOHNSTON mouthpieces; BAY ligatures; Buffet Prestige basset horn with Vandoren B44 mouthpiece; Selmer Low-C bass clarinet; Vandoren B45 bass mouthpiece; Selmer Rosewood E-flat contra-alto clarinet; Selmer C* contra-alto mouthpiece; Brancher, Vandoren, Vintage, and Zonda reeds. Students include: Lonette Anderson, Dawn Anthes, Terri Demos Catania, Cynthia Krenzel Doggett, Sarah Dvorachek, Kristin Schreiber Haas, Janet Hoyt-Boyens, Karen Kriege, Aaron Moe, Jenni Nicewander, Rachel Potratz, Nathan Putnam, Karla Rezutek, Beth Sandholm, Keven Smith, Allen Sterwalt, Joan VanDessel, Matthew Wifler. Andrea Splittberger-Rosen and her husband, percussionist Robert Rosen, founded the Uwharrie Clarinet-Percussion Duo in 1975. Named for the Uwharrie Mountains of central North Carolina, the duo have devoted themselves to the performance of contemporary music for clarinet and percussion instruments and have been responsible not only for the commissioning and premiering of much new music for this combination, but also for successfully presenting new music to audiences throughout the United States. Splittberger-Rosen comments, “My early presentations with the Uwharrie Clarinet-Percussion Duo taught me that you can present new music to the general population. This has been one of the cores of my performing/teaching career.” (Splittberger-Rosen/Paddock 1998) Beginning with their four-year participation in the North Carolina Visiting Artist Program, the duo have received many grants supporting their mission of presenting new music to audiences throughout the country. Splittberger-Rosen offered the following commentary on her career as a performer/teacher:

I am considered to be a new music specialist but also play the breadth of the clarinet repertoire. I think that performing new pieces and performing them well is important. It is also important for our students to work on a mixture of the standard repertoire and the

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new repertoire. . . . I have found that learning to double within the clarinet family as well as learning to master “new music” techniques has made my performances of the standard repertoire even better. . . . I have evolved into a collector of clarinets (historic and present day) and a doubler on these different instruments. I encourage my students to learn to double as well.

I feel that one of my strengths as a teacher is my ability to teach and motivate a broad range of clarinetists, from the advanced “conservatory”-type, to the “diamond-in-the- rough” college prospect, to youngsters. . . . I try to instill a love of music in my students of all ages and ability levels. This ultimately leads to inspired performances, will sustain the students through difficult times in the practice room, and will give them a life-long passion for music. I also try to encourage scholarship in my students and the establishment of respectful relationships. These ideas, hopefully, carry over to future teachers who are my students, as well as those who take other career paths. (Ibid.)

In addition to her musical activities, Splittberger-Rosen enjoys bicycling, golfing, organic gardening, reading, sailing, and “entertaining” her four cats. (Ibid.) Bib: McCutchan, Ann. “Recital Review.” The Clarinet 8 (Spring 1981): 60; “Musical Chairs.” The Clarinet 12 (Spring 1985): 27; Splittberger-Rosen, Andrea, to Tracey L. Paddock, Tallahassee, FL, August 9, 1998.

Spring, Robert S. B. June 20, 1955 (Jackson, MI). BME/MM/DM: Univ of Michigan with JOHN MOHLER, PAUL SCHALLER, and DAVID SHIFRIN. Sax studies with Donald Sinta. Clarinetist: Sioux City Symph (formerly); South Dakota Symph (formerly); Amarillo Symph (1985, +/-); West Texas State Univ Woodwind Quintet (1985, +/-); ProMusic Chamber Orch-OH (Principal: current). Active as an intl recitalist/soloist (perfs given at numerous clarinet conferences, incl the 1998 Beijing Intl Clarinet Festival and ClarinetFest 1999, and in concert halls throughout the world), chamber musician, contemporary music specialist, festival artist, and recording artist (appears on the ClarinetFest ’95 CD and on the Summit label); broadcast perfs given on NPR’s “Performance Today.” Works dedicated to Spring incl ERIC MANDAT’s SubstrainS ‘O StrataSfearS. Faculty member: Jackson Public Schools-MI (formerly); Albion Coll-MI (formerly); Morningside Coll (Instructor of Clarinet and Sax/Dir of Bands: formerly); West Texas State Univ (Asst Prof: 1985, +/-); Arizona State Univ (Prof: 1988-). Articles published on the Online Clarinet Resource and in The Clarinet. Other positions/activities: Host, ClarinetFest 1995; Pres, ICA (1998-2000); Buffet Crampon USA Perf Artist; Pyne/Clarion Artist; active as an adjudicator and clinician (incl participation at the 1999 and 2000 Le Domaine Forget Music and Dance Acad Clarinet Workshops and as a faculty memb at the 1999 and 2000 sessions of the Belgian Clarinet Acad). Hon: numerous favorable reviews of perfs/recordings appear in American Record Guide, The Clarinet, Fanfare, The Instrumentalist, and other publications. Plays on: Buffet R-13 Green Line clarinets; PYNE Pk mouthpiece and #4+ barrel; Kaspar (Ann Arbor) ligature; hand-made reeds. Students include: ANI BERBERIAN, Joshua Gardner, RICHARD HAWKINS, KELLY JOHNSON, Alan LaFave, LISA OBERLANDER, Natalie Pascale, Shanti Raval, Jana Starling, Scott Wright. Robert Spring’s clarinet playing combines stunning virtuosity with creative musical thought. A specialist in the performance of new music, he has stretched the limits of clarinet playing to include not only the routine use of circular breathing but also double- and triple- tonguing and facile use of the highest end of the altissimo register. He executes these skills effortlessly (as demonstrated on his recording Dragon’s Tongue) and also includes them in the curriculum for his students at Arizona State University. Some of these topics as well as Spring’s thorough warm-up procedure are discussed . Spring is one of a small number of twentieth-century clarinetists responsible for widening the boundaries of the clarinet’s capabilities. His complete mastery of the instrument has changed the way composers have been able to write for the clarinet, thus expanding the breadth of skills needed by current and future generations of clarinetists.

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In addition to his performance and teaching activities, Spring has contributed to the international clarinet community through his service as President of the International Clarinet Association, a position he held for two years. When not teaching or performing, Spring enjoys off-roading in the Arizona desert. Bib: “Musical Chairs.” The Clarinet 13 (Fall 1985): 55; “Musical Chairs.” The Clarinet 16 (November/December 1988): 64; “Robert Spring.” Arizona State University. http://music.asu.edu/ directory/selectone.php?ID=66 (accessed March 15, 2011); “Robert Spring.” Buffet Crampon. http://www. buffet-crampon.com/en/artists.php?mode=artistPresentation&aid=202 (accessed March 15, 2011); “Robert Spring.” Pyne/Clarion. http://www.pyne-clarion.com/Artist_Profiles.html (accessed January 23, 2011); Spring, Robert S. “Clarinet Warmup.” Woodwind.org. http://www.woodwind.org/OCR/Spring/spring1. html (accessed March 15, 2011); Spring, Robert S. “How Can I Learn Circular Breathing?” Woodwind. org. http://www.woodwind.org/clarinet/Study/CircularBreathing.html (accessed March 15, 2011); Spring, Robert, to Tracey L. Paddock, Tallahassee, FL, July 15, 1998.

Squire, Alan P. D. early-2000s. Clarinet studies with DANIEL BONADE. Former Principal Clarinetist: Baldwin-Wallace Faculty Woodwind Quintet; Ohio Chamber Orch; Blossom Festival Band; Lakewood Hometown Band; also subbed with the Cleveland Orch. Former faculty member: Baldwin- Wallace Coll (Prof of Clarinet: 1950-93; also conducted Concert Band and Clarinet Choir). Students include: David Adamson, Ronda Adkins, Herbert Dregalla, Mary Ann Grof-Neiman, Wendy Harvey, Walter Johnston, Bruce Langguth, Victoria Marra, Jon Noworyta, Stephen Senderoff.

Staats, C.L. Grad: Paris Conserv (one of the first American clarinetists to study in Paris) with Cyrille Rose, Henri Paradis, and Albert Brettoneau (bass). Former Principal/Solo Clarinetist: Band of Jardin d’Acclimation-Paris; Grand Opera House-London; Royal Italian Opera; Sousa Band (1892, +/-); Bostonia Sextette Club (Founder/Dir/Clarinet: 1898+). Former bass clarinetist: Boston Symph (1896-1902, +/-). Editor: The Otto Langey Tutor; The New Imperial Method for Clarinet; Celebrated Method for Clarinet (Klose). Hon: favorable reviews of perfs as soloist with the Bostonia Sextette Club appeared in the Chattanooga Times and Sacramento Bee. Bib: Gee, Harry. “Early American Clarinet Music.” Woodwind World 2 (November 1958): 9; Jennings, Vance S. “America’s Clarinetists and the Development of American Symphonic Clarinet Playing, Part I.” Woodwind World 11 (February 1972): 6-8; Krebs, Jesse. “The Clarinet Soloists of the Sousa Band: 1892-1929.” http://www.clarinet.org/clarinetFestArchive.asp? archive=45 (accessed March 15, 2011).

Stachow, Frank E. B. 1914; d. Mar. 30, 1982. Dipl: Juilliard (1941) with ARTHUR CHRISTMANN; BS/MA: Columbia Teachers Coll (1943/late 1940s); additional studies at Eastman SOM, Indiana Univ, and Univ of Michigan. Additional clarinet studies with JACK HICKEY, GUSTAVE LANGENUS, WILLIAM STUBBINS, and JAN WILLIAMS. Also studied sax/other woodwinds. Faculty member: Lebanon Valley Coll (Assoc Prof of Woodwinds/Mus Theory: 1946-81; Prof Emeritus: 1981-82). Other positions/activities: Dir of Summer Workshops, Lebanon Valley Coll (1963-79); Recording Studio Mgr, Lebanon Valley Coll (1974-79); active as an administrator (incl positions as Northeast Regional Chmn, State Chmn, Chmn of Nominating Committee, and Chmn of State Archives for ICA, and various leadership positions with NACWPI). Memb: Audio Engineering Society, ICA, MENC, NACWPI, Pennsylvania MEA. Hon: listed as a “Prominent Clarinet Teacher,” in The Clarinet No. 19 (Summer 1955). Students include: Christy Banks, Beverly Butts, WILLIAM HULLFISH, Walt Levinsky, DAVID NIETHAMER, Karen Poorman, JACK SNAVELY, Suzanne Lemon Souder (bassoon), Tom Strohman. Frank Stachow was actively involved in the clarinet community throughout his career, having served on various ICA committees, and having done a substantial portion of the recording work for the National Clarinet Clinics and ICA conferences. In addition, he was very influential in the collegiate clarinet choir movement in America, having formed one of the country’s first college clarinet choirs at Lebanon Valley College. His choir, which began with only four clarinetists in 1948, grew to include every member of the clarinet family, even employing the use of the very small A-flat clarinet by 1958. His involvement with the clarinet choir resulted in the addition of numerous works to the repertoire. Stachow’s energy, constant activity, and devotion to and support of his students were legendary. JERRY PIERCE illustrated these traits with an anecdotal sentence about a particular student: “He one time taught a fellow, who drove a cab in New York City, weekly at 2 a.m. as that was the only hour both of them had free.” (Pierce 1982, 8)

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Bib: “Frank Stachow Receives Recognition.” The Clarinet 9 (Fall 1981): 53; Pierce, Jerry. “Frank Stachow – 1914-1982.” The Clarinet 9 (Spring 1982): 8-9; “Prominent Clarinet Teachers.” The Clarinet 19 (Summer 1955): 14.

Stanek, Alan Edward. B. July 3, 1939 (Longmont, CO). HS clarinet studies with Dick Culver, Jack Murphy, and “Mr. Schultz.” BME: Univ of Colorado (1961) with VALENTINE HENRICH; MM: Eastman SOM (1965) with WILLIAM OSSECK; DM: Univ of Michigan (1974) with JOHN MOHLER. Additional clarinet studies with MITCHELL LURIE and ROSARIO MAZZEO. Clarinetist: Pocatello Municipal Band (Principal: 1977-90s, +/-); Idaho State-Civic Symph (Principal: formerly; 1980-2000+); Idaho State Univ Faculty Chamber Ensemble. Active as an intl recitalist (incl perfs at several Montana/Idaho Clarinet Festivals and ClarinetFest 1998), soloist (incl perfs with the Elkhorn Music Festival Orch, Idaho Orch, and the Hastings, Idaho Falls, and Magic Valley Symphs), and chamber musician (incl perf at ClarinetFest 1999). Faculty member: NE Public Schools (1965-67); Hastings Coll (Prof of Mus/Conductor of Hastings Civic Symph: 1967-76); Idaho State Univ (Prof of Mus/Chmn of Mus Dept: formerly, 1976- 2000+; Prof Emeritus: current). Numerous articles/reviews published in The Clarinet, Idaho Music Notes, and The Nebraska Music Educator. Other positions/activities: Secr (1978-84), Vice Pres (1986-88), Pres (1996-98), Historian (present), ICA; Pres, Idaho MEA (1988-90); Host, 1998 Idaho/Montana Clarinet Festival; active as an adjudicator, author, clinician, and conductor (incl positions with the Hastings Symph and the Idaho State- Civic Orch). Memb: AFM, CMS, ICA, Idaho MEA, NACWPI. Hon: Univ of Michigan Teaching Fellowship (1973-74); Finalist, Natl Adult Conducting Compt; ISU Distinguished Service Award; Governor’s Award for Support of Arts Ed (1998); listed in International Who’s Who in Music, Outstanding Educators of America, Outstanding Young Men of America, and Who's Who in American Music (Classical). Plays on: Buffet R-16 B-flat clarinet; Yamaha YAC 85 A clarinet; Buffet Moennig barrel; Pomarico 1.10 crystal mouthpiece; Pomarico ligature; Rico Grand Concert #3 ½ reeds. Students include: Adam Ballif, BETTY BROCKETT. Alan Stanek has been actively involved in the clarinet community through his leadership of the ICA, having served as its Secretary, Vice President, and President. In teaching and performance, Stanek places emphasis on “tone, intonation, rhythm, technique, musicianship.” (Stanek/Paddock 1998) Bib: “Candidates for I.C.A. Officers.” The Clarinet 21 (February/ March 1994): 34; “New I.C.S. Secretary, Alan Stanek.” The Clarinet 6 (Fall 1978): 41; “New Vice President, I.C.S. 1986.” The Clarinet 14 (Fall 1986): 42; Stanek, Alan E., to Tracey L. Paddock, Tallahassee, FL, May 3, 1998; “Stanek, Alan Edward.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 563.

Stanford, Thomas Stanley [Stan]. B. June 16, 1943 (Walla Walla, WA). BM/MM/DM: Univ of Oregon (1965/1967/1983) with WAYNE BENNETT and ROBERT VAGNER; additional studies at the Northwest German Music Acad (as part of Master’s degree) with Jost Michaels, at Univ of Washington, and at Worcestor Coll-Oxford, England. Additional clarinet studies with HERBERT BLAYMAN. DM topic: Analytical Techniques for Lower Division College Music Majors: Short Range Growth (1984). Clarinetist: Ensemble Viento (current); Trio Spektrum (1994-). Active as a chamber musician, festival artist (incl participation at Oregon’s Britt and Bloch festivals), and recording artist (appears on recording with ROGER GARRETT on Novitas Records, and on the NPS label). Faculty member: Warner Pacific Coll (Assoc Prof: 1973-80); Portland State Univ (Prof of Clarinet: formerly, 1981-98+; Prof Emeritus: current). Articles published in The Clarinet and NACWPI Journal. Other positions/activities: active as a recording producer (works incl The Acoustic Era: Clarinet Recordings 1898-1918, an important recorded collection of historical perfs of early clarinetists). Memb: ICA, MENC, NACWPI. Hon: listed in Who's Who in American Music, 1985 edition. Students include: ROGER GARRETT; John Hanna, Richard Spece, Scott Wright. Bib: Stanford, Stan. “Schumann's Fantasy Pieces: A Character Analysis” The Clarinet 15 (November/December 1987): 52; Stanford, Stan, to Tracey L. Paddock, Tallahassee, FL, May 5, 1998; “Stanford, Thomas Stanley.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 563.

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Stange, Gilbert W. D. 1946. Clarinetist: Baltimore Symph Orch (1916-30s, +/-; 1942-43; 1945- 46; served as Principal in 1926); Natl Symph Orch (Clarinet/Sax: 1932-40). Faculty member: Peabody Conserv (formerly). Students include: VINCENT ABATO, Paul Stouffer.

Stange, William. May be the same as or related to GILBERT W. STANGE above. Clarinetist: Baltimore Symph Orch (Principal: 1916, +/-).

Stein, (Roy) Keith. B. July 10, 1908; d. Sept. 22, 1980. Early clarinet studies with GUSTAV CORTI at the Kansas City Conserv. Additional clarinet studies with ROBERT LINDEMANN, JOSEPH SINISCALCHI, and RUFUS MONT AREY; also studied piano. Former clarinetist: JOSEPH MADDY’s first Natl HS Orch (1926); Civic Orch of Chicago (1929-33); Chicago Symph (1932-34); Richards Quintet (while at Michigan State Univ). Was active as a recitalist and chamber musician. Faculty member: Michigan State Univ (Prof: 1934-75; also served as Chmn of Woodwind Dept); Interlochen Arts Camp (1941+); Northern Arizona Univ (late 1970s, +/-). Author: The Art of Clarinet Playing; Self Tutor for Clarinet. Articles published in The Clarinet. Other positions/activities: Co-Founder (with RALPH STROUF), Natl Clarinet Clinic; Chmn, ICA; Editorial Assoc, ICA; was active as a clinician, conductor (incl positions with the Battle Creek Symph and Lansing Civic Orch), and lecturer (incl presentations given at numerous clarinet conferences). Students include: Emil Acitelli, JOHN ALLEMAN, MARCIA HILDEN ANDERSON, CHARLES AURAND, LINDA BARTLEY, William Berz, WILLIAM DOMINIK, HENRY DUCKHAM, JOSEPH EDWARDS, JAMES GHOLSON, GARY GRAY, LARRY MAXEY, DENNIS NYGREN, FRED ORMAND, DAVID PINO, GOMER POUND, MAXINE RAMEY, DAVID RANDALL, ANDREA SPLITTBERGER-ROSEN, RALPH STROUF, MARINA STURM, GEORGE TOWNSEND, Frank Wangler. A former unnamed student summarized Keith Stein’s contributions in a tribute in The Clarinet:

Keith Stein became a role model for two generations of clarinetists who passed through his studio. His playing was truly noble in the years before arthritis cruelly cut short his performing career. As a faculty member he was an example of professional ethics carried to its highest degree of refinement. As a teacher he combined the mind of a diagnostician with the soul of a poet, and with a poet’s gift of imagery. . . . The legacy of this man . . . has been implanted within each one of his students, colleagues, and associates, and it will live on in their approaches to teaching, to playing, and to life itself. (The Clarinet 1980, 6)

Bib: “Cover Story – Keith Stein.” The Clarinet 3 (May 1976): 21; “Keith Stein, July 10, 1908 - September 22, 1980, Tributes.” The Clarinet 8 (Fall 1980): 6-7; “Keith Stein Named Editorial Associate of The Clarinet.” The Clarinet 6 (Fall 1978): 33; Pino, David. “A Personal Tribute to Keith Stein.” The Clarinet 8 (Winter 1981): 50; Pino, David. “The First Keith Stein Memorial Clarinet Clinic.” The Clarinet 11(Fall 1983): 20.

Stephens, Suzanne. B. Jul. 28, 1946 (Waterloo, IA). Clarinet studies begun at age 9; early clarinet studies with SIDNEY FORREST. BME/MM: Northwestern Univ with JEROME STOWELL; Dipl: State Conserv for Music and Theatre-Hannover, Germany with Hans Deinzer; additional studies at the Paris Conserv with Ulysse Delecluse and at the Weikersheim Castle Summer Music Festival. Additional clarinet studies with Marcel Jean (in France) and Philipp Dreisbach. Clarinetist: Stuttgart Radio Orch (Principal: 1973-75). Active as a recitalist/soloist (incl perfs at the 1984 Intl Clarinet Congress, and at the opera houses of Covent Garden, Teatro alla Scala, Leipzig, and Munich), chamber musician (incl perfs throughout Germany), performance artist (incl perfs of the works of Karl-Heinz Stockhausen, for which she is famous), recording artist (featured on the Complete Stockhausen Edition CD series), clinician (incl the co-presentation of master classes on the perf of Stockhausen’s music around the world with Stockhausen); and editor/collaborator (incl works/recordings of Stockhausen’s clarinet-related music). Hon: Fulbright Schol for study in Germany (1969-70); Kranichsteiner Musikpreis, Darmstadt (1972); Silver Medal, Geneva Intl Clarinet Compt (1972); Podium Junge Solisten, Deutsche Auswahl (1974-75). Has played on: Buffet clarinets (B-flat/A/Low C bass); Wells B-2 mouthpiece; Vandoren #5 reeds; Vandoren B-45 bass mouthpiece; Vandoren #3 ½ bass reeds; Leblanc basset horn; Leblanc L2 basset horn mouthpiece; Vandoren #4 basset reeds.

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Suzanne Stephens has had a unique career as an American-born clarinetist in that much of her success has occurred in Europe. In addition to music studies in Germany, France, and Sweden, Stephens garnered a number of European competition wins and honors, and won the position of Principal Clarinetist of the Stuttgart Radio Orchestra in 1973. The orchestral position was a particularly rare achievement as Stephens played not only on the “wrong” clarinet system (Boehm), but was also a woman. In addition, for stylistic or other reasons, American clarinetists have rarely been embraced by European orchestras, German orchestras in particular. Other American clarinetists who have held positions in European orchestras include LEE MORGAN, LARRY PASSIN, ROGER SALANDER, MARINA STURM, and ALLAN WARE. While studying at Darmstadt, Stephens became acquainted with avant garde composer Karl-Heinz Stockhausen who admired her playing. A fruitful composer-performer relationship soon blossomed between the two after Stephens filled in for the intended female performer in the premiere of Stockhausen’s theatrical Herbstmusik. This collaboration has continued over several decades, resulting in more than 40 Stockhausen works composed for or including Stephens (on clarinet, basset horn, and bass clarinet). Probably the best known of these works written for Stephens is the theatrical and physically demanding work Harlekin, the piece for which Stephens has become most famous as a performer/ clarinetist. In addition to performing this work around the world, Stephens has also trained other clarinetists in the performance of Harlekin (and other Stockhausen works), a process which she finds intriguing in part because of the diversity of personalities and body types who seek to learn the role of . Pamela Weston’s biographical sketch (listed in Bib below) on Suzanne Stephens is highly recommended for further information on Stephens’s career and her rapport with Stockhausen, including a list of works on which the two have collaborated. Bib: “Suzanne Stephens.” Stockhausen.org. http://www.stockhausen.org/stephens.html (accessed March 15, 2011); Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 277-83.

Stern, David. Clarinet studies with LEON RUSSIANOFF. Clarinetist: American Symph (1970s, +/-); Mexico City Phil (Principal: formerly, 1970s). Has been active as a recitalist (incl critically acclaimed 1973 Carnegie Recital Hall perf). Hon: Winner, 1971 Concert Artists Guild Compt; 2nd Prize (DAVID SHIFRIN won 3rd that year), 1971 Koussevitsky Young Artist Award, Woodwinds/Brass Div; favorable review of perf appeared in New York Magazine (Feb. 1973). Bib: Alan, Rich. “A Week Like Most Others.” New York Magazine 6 (February 26, 1973): 72.

Stevens, Andrew. Clarinet studies begun at age 7 with his father, Jack Stevens. BM: Eastman SOM with STANLEY HASTY and WILLIAM OSSECK (bass). Additional clarinet studies with DONALD AMBLER, RICHARD JOINER, and Jack Stevens. Clarinetist: Denver Chamber Orch (formerly); Colorado Ballet Orch (formerly); Central City Opera (Principal: formerly, for 20 years); Colorado Symph (Clarinet/Bass: 1992-); has also performed with the Philadelphia Orch, Rochester Phil, and Pittsburgh Symph. Active as a soloist (incl perfs with the Denver and Rocky Mountain Symphs, Denver Concert and Municipal Bands, and Colorado Wind Ensemble), chamber musician (incl perfs with the Colorado Chamber Players), festival artist (incl participation at the Bravo! Vail Valley and Colorado Festivals, and the Spoleto Festivals in SC and Italy), and recording artist (on recordings with the Colorado Symph and Central City Opera). Faculty member: has taught at Univ of Denver, Metropolitan State Coll, Colorado Univ-Denver, Loretto Heights Coll, Colorado Acad, and Denver School of the Arts. Other positions/activities: active as a refacer/restorer of woodwind mouthpieces; extra-musical activities incl amateur astronomy, camping, fly fishing, hiking, and exploring Colorado’s abandoned railroads. Hon: Runner-Up/1st Place, Intl Clarinet Compt (2 consecutive yrs); 1st Place, Spencer-Penrose Compt. Students include: Jerome Fleg. Bib: “Andrew Stevens.” Colorado Symphony. http://www.coloradosymphony.org/ meet-the-orchestra/musicians/andrew-stevens/ (accessed January 23, 2011).

Stevens, Noel Scott. B. 1926. Early clarinet studies with Ted Bachelder; sax studies with JOE ALLARD. Artists Dipl: NY Coll of Music (1951) with ALEX WILLIAMS and DAVID WEBER; Perf Cert(1957)/BM(Mus Theory)/MM(Mus Hist)/DM(Perf/Comp): Eastman SOM (all completed during late 1950s) with STANLEY HASTY and WILLIAM OSSECK. Former clarinetist: Band (1945); Rochester Phil; Tampa Phil (1963-68); St. Petersburg Symph (1964-68); Florida Orch (1970-75); Ars Nova Wind Quintet (1973-89). Active as a chamber musician, jazz musician, and recording artist (with the Ars Nova Wind Quintet on the Musical Heritage label). Faculty member: SUNY-Potsdam (1959-60); Bemidji

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Univ (1960-62); Lincoln Univ (1962-64); Univ of Tampa (1964-70); Univ of South Florida (1970-89); has taught clarinet, comp/orchestration and music history/theory. Other positions/activities: active as a composer (incl a clarinet concerto and works for woodwind quintet, published by Ars Nova Music). Students include: J. BRIAN MOORHEAD. In his response to the author’s survey, Noel Stevens was hesitant to write extensively about his career, saying that he would rather send recordings, and commenting that “my playing and not my words will represent me.” (Stevens/Paddock 1998) Stevens did provide the following commentary about his interest in the evolution of the American clarinet sound:

What would interest me greatly is the development of the “American” sound after WWII. I lived through it, and it was an exciting time. I’d like to hear other players’ stories of that revolution. Also it would be fun to hear them describe the components of that sound, like the famous buzz, and the equipment used. I remember the dash to NYC to get the Chedeville blank with the G8 facing. (Ibid.)

Bib: “Composer Biography: Noel Scott Stevens.” ArsNovaMusic.com. http://www.arsnovamusic. com/stevens.html (accessed March 15, 2011); Stevens, Noel S., to Tracey L. Paddock, Tallahassee, FL, May 15, 1998.

Stier, Charles. B. May 13, 1956 (Charleston, SC). BA: Coll of Charleston-SC (1972); MM/DM: Univ of Maryland (1978/1982) with NORMAN HEIM. Additional clarinet studies with ALAN BALTER, Gordon Bobbett, ROBERT MARCELLUS, George Pieterson (in Amsterdam), and Randall Thompson. Active as an intl recitalist/soloist (incl recital tour with perfs in Belgium, Czechoslovakia, Germany, Portugal, Spain, and the former U.S.S.R., and perfs at Carnegie Recital Hall, the Library of Congress, and the Kennedy Center), chamber musician (incl perfs with the Cleveland, Helios, Leningrad, Leontovitch, Shanghai, Sibelius Acad, St. Petersburg, St. Lawrence, and Takacs String Quartets, and the Chamber Music Society of Lincoln Center), festival artist (incl participation at the Helsinki, Korsholm, Newport, Piccolo Spoleto, and Music at La Gesse Festivals, and at the Chautauqua Instit), and recording artist (on the Halcyon label). Other positions/activities: Author: Clarinet Reeds; On Performance; What Happens After Graduation? (all published by Halcyon Productions); articles published in The Clarinet and The Instrumentalist. Other positions/activities: Artistic Dir/Exec Producer, Halcyon Productions; North American Artist Rep, Wurlitzer Clarinets; Artistic/Cultural Ambassador, U.S. Information Service (incl recital tours of North and South America and Europe); active as a composer and private clarinet instructor. Hon: favorable reviews of recordings/perfs appear in Fanfare, The Clarinet, NACWPI Journal, and The Washington Post. Plays on: Herbert Wurlitzer Reform-Boehm clarinets; Hans Zinner “George Pieterson Model” mouthpiece; string ligature; Vandoren White Master reeds. Students include: Susan Jacobs Churchill. Charles Stier retired from performing as a professional clarinetist in 1998 after a very successful career, having performed internationally as a soloist, recitalist, and chamber musician, and with several critically acclaimed recordings to his credit. Stier is currently pursuing his interests as a composer and has already published numerous works for piano, voice, winds, strings, and chamber ensembles, and an opera. Bib: “Charles Stier.” Cherry Valley Music. http://www.cherryvalleymusic.com/charles/bio.htm (accessed March 15, 2011); Stier, Charles. “The Wurlitzer Reform-Boehm Clarinet in America.” The Clarinet 18 (July/August 1991): 20; Stier, Charles, to Tracey L. Paddock, Tallahassee, FL, May 15, 1998; “Stier, Charles.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 834.

Stiévenard, Émile. Clarinetist: Boston Symph Orch (Bass: 1918-19). Author, Practical Studies of the Scales; also transcribed several works for clarinet.

Stokes, Franklyn. B. 1909 (Wichita, KS); d. Clarinet studies with ______Berto, Desire Gilson, ANTONIO RAIMONDI, and Antonio Sarli. Former clarinetist: Los Angeles Phil (Clarinet/ Bass: 1953-76; also performed on alto/tenor sax); La Jolla Orch; Hollywood Bowl Orch. Was active as a recitalist/soloist (incl perfs on the Monday Evening Concerts in Los Angeles), chamber musician (incl perfs on numerous chamber series in Laguna, LaJolla, Long Beach, and San Diego, CA), studio musician (incl radio, motion picture, and television work), and festival artist (incl participation at the Ojai and Carmel

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Festivals). Former faculty member: Univ of Southern California; California Acad of Music; Valley Conserv of Music. Other positions/activities: Orch Mgr, Hollywood Bowl Orch (served in this capacity for many years under Stokowski); extra-musical activities included camping, horseback riding, sailing, and swimming. Played on: Buffet clarinets; Selmer crystal mouthpiece; MITCHELL LURIE and Vandoren reeds; Selmer bass clarinet; Gigi crystal bass mouthpiece; BONADE bass ligature; Vandoren bass reeds. Students include: Phil Baldino, . Bib: King, L. Charles. “The Clarinetists of the Los Angeles Philharmonic Orchestra.” The Clarinet 3 (November 1975): 19.

Stoltzman, Richard Leslie. B. July 12, 1942 (Omaha, NE). Early clarinet studies with HOWARD THOMPSON (in San Francisco), WILLIAM GASPARRO and JIMMY WILBER (jazz clarinetist). BM(Mus/Math): Ohio State Univ (1964) with DONALD MCGINNIS and ROBERT TITUS; MM: Yale Univ (1967) with KEITH WILSON; doctoral studies begun at Columbia Univ (1970) with KALMEN OPPERMAN. Additional clarinet studies with ROBERT MARCELLUS (Summer 1963). Clarinetist: Tashi Chamber Music Group (Founding Memb: 1973-). Active as an intl recitalist (incl 1973 professional debut at the Metropolitan Museum of Art-NY, and perfs at Alice Tully Hall, the Bayreuth Opera House, Carnegie Hall, the 92nd Street “Y,” the Hollywood Bowl, and major concert halls around the world), soloist (incl solo debut with the New York Phil, and perfs with over 100 orchs incl the Berlin Radio, Boston, London, and San Diego Symphs, the English and Scottish Chamber Orchs, and the Cleveland and La Scala Orchs), chamber musician (incl perfs with Tashi, the Beaux Arts Trio, the Amadeus, Chilingirian, Cleveland, Emerson, Guarneri, Muir, Tokyo, and Vermeer String Quartets, and with artists Emmanuel Ax, Richard Goode, Peter Serkin, and Yo-Yo Ma, among others), jazz musician (incl 2 tour seasons with Woody Herman’s Thundering Herd, and perfs with artists , Chick Corea, Eddie Gomez, Keith Jarrett, George Shearing, Wayne Shorter, Mel Torme, and Jerry Wall, among others), new age musician (incl a recording with singer Judy Collins), festival artist (incl participation at the Marlboro Music Festival, 1966-75, and the Mostly Mozart Festival), and recording artist (on the BMG Classics, Desmar, Orion, RCA, and Red Seal labels); numerous broadcast perfs given on radio/television (incl the British television series, Concerto, and American television programs “Good Morning America,” “Live from Wolf Trap,” “Sesame Street,” “The Tonight Show,” and others). Faculty member: California Instit of the Arts (1970-75); New England Conserv (late 1990s-); has taught on a limited and sporadic basis due to hectic perf schedule. Other positions/activities: active as a clinician/lecturer (incl co-hosting the “Clarinet Summit” with KALMEN OPPERMAN, 1998+) and editor (Co-Editor, The Classical Clarinetist and The Romantic Clarinetist, both in 1982 for Chappell). Hon: Avery Fisher Award (1977, 1986; first wind player to win this award); Grammy Awards (1983, 1996); featured clarinet soloist for Copland’s 75th birthday concert, performing the Copland Clarinet Concerto for the composer at Carnegie Hall; Emmy Award for Best Perf Arts Video (Copland Concerto performance with Dudley Moore and Michael Tilson Thomas). Has played on: Buffet clarinets (modified by KALMEN OPPERMAN); Opperman mouthpieces and barrels; Selmer E-flat clarinet (modified by Kalmen Opperman); plays with a double-lipped embouchure. Students include: MICHAEL BORSCHEL, Gene Collerd, MICHAEL NORSWORTHY, RAPHAEL SANDERS. Richard Stoltzman is a unique figure in the history of American clarinetistry, and is, perhaps, the most famous American clarinetist of the late-twentieth century, with far-reaching name recognition. Stoltzman is equally well-known as a soloist, chamber musician (with Tashi and other ensembles) and recording artist, and for the fact that he is comfortable in nearly every imaginable setting in which one could find a clarinet. His recordings (see Bouchard article in Bib below for partial discography) include much of the standard clarinet literature but he has also recorded a version of the Mozart Bassoon Concerto performed on clarinet as well as a new-age album with singer Judy Collins. His programs often include works from several musical genres and incorporate visual and improvisational elements. Few woodwind players have achieved his fame or are as comfortable in as many musical settings. Through his work with Tashi, a chamber group originally co-founded by Stoltzman and Peter Serkin to study Messiaen’s Quartet for the End of Time, Stoltzman has added to the clarinet chamber repertoire through the commissioning of works by such composers as Lukas Foss, Charles Wuorinen, and others. Solo clarinet works written for Stoltzman include those by Bruce Adolphe, Bill Douglas, Donald Erb, Clare Fischer, Lukas Foss (Concerto), MEYER KUPFERMAN (Moonflowers, Baby!), William

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Thomas McKinley, Steve Reich (New York Counterpoint), David Stock, Toru Takemitsu, and Charles Wuorinen among others. As versatile, unique, and successful as he is, Stoltzman does have critics (see Gilbert’s commentary in The Clarinetists’ Discography II listed in Bib below), but what cannot be denied, even by his critics, is that Stoltzman has broadened the avenues of performance available to clarinetists, and has generated a resurgence of popularity for the clarinet and its repertoire, much as BENNY GOODMAN did through his jazz performances earlier in the century. In addition to his musical activities, Stoltzman is an accomplished pastry chef, having studied pastry-making at London’s Cordon Bleu Cookery School. Bib: Bouchard, Fred. “Richard Stoltzman: Clarinet Crossover.” Downbeat (October 1986): 20-22, 61; Gilbert, Richard. The Clarinetists’ Discography II. New York: The Grenadilla Society, 1975: 95-6; McCutchan, Ann. “An Interview with Richard Stoltzman.” The Clarinet 9 (Spring 1982): 12-14; “Musician of the Month: Richard Stoltzman.” Hi-Fidelity/Musical America 28 (June 1978): 6-7, 27; “Richard Stoltzman.” New England Conservatory. http://necmusic.edu/faculty/richard-stoltzman?lid=2&sid=3 (accessed March 15, 2011); Stoltzman, Richard. “Richard Stoltzman.” R. Stoltzman. http://www.richard stoltzman.com/ (accessed January 23, 2011); “Stoltzman, Richard Leslie.” Who's Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 572; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 290-97.

Storey, Douglas R. BME: Univ of Missouri-Kansas City (1979) with CHARLES DOHERTY and RAY LUEDEKE; MM(Woodwinds): Univ of Michigan (1983) with JOHN MOHLER; additional studies at the Univ of Oklahoma. Clarinetist: Kansas City Phil (Sub Clarinet/Sax: formerly); Corpus Christi Symph (formerly); Amarillo Symph (Principal: 1988-); West Texas State Univ Faculty Woodwind Quintet (1989-); Texas Clarinet Consort (1990s-, +/-); Polk St. Jazz (Tenor Sax/Clarinet: current); has also performed with the Flint and Toledo Symphs and the Laredo Phil-TX. Active as an intl soloist/recitalist (incl perfs at ClarinetFest 1997 and 1999), chamber musician, woodwind doubler, and theatre, studio, and jazz musician. Faculty member: Texas A & I Univ (Instructor of Woodwinds and Theory/Asst Dir of Marching Bands: 1983-89); West Texas A&M Univ (Asst Prof: 1989-). Other positions/activities: active as an adjudicator (incl 20+ years of judging for the Texas MEA All-State auditions) and clinician. Students include: Fong Chau, Yasmin Flores, Anne Watson, Amy Whitaker. Bib: “Douglas Storey.” West Texas A&M University. http://www.wtamu.edu/academics/douglas-storey-bio.aspx (accessed January 23, 2011); “Musical Chairs.” The Clarinet 16 (February/March 1989): 65; “Musical Chairs, Part II.” The Clarinet 11 (Winter 1984): 36.

Stowell, Jerome Walter [Jerry]. Native of Green Bay, WI. B. ca. 1913; d. May 5, 1973. Early clarinet studies with M.J. Heynen. Grad: Univ of Chicago. Former clarinetist: Civic Orch of Chicago (1935-36); Chicago Symph (Asst Principal/E-flat: 1936-73); Grant Park Symph (Principal); Chicago Symph Woodwind Quintet (Charter Memb: 1938+). Was active as a chamber musician. Former faculty member: American Conserv of Music (1950s, +/-); DePaul Univ (Prof of Clarinet/Chmn of Wind Dept: 1940s-50s, +/-); Northwestern Univ (1940s-70s, +/-); was active as a private clarinet instructor. Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet No. 14 (Spring 1954). Students include: Bobby Baker, David Bloom, LAWRENCE BOCANER, LOWELL BOROUGHS, ALAN BRADLEY, RUSSELL DAGON, Sue Devito, Adolph Erst, MITCHELL ESTRIN, William Foss, STANLEY GAULKE, Howard Green, TERRY GUIDETTI, Daniel Harris, THEODORE JOHNSON, ROLF LEGBANDT, JOSEPH LONGO, LAWRENCE MCDONALD, Theldon Myers, RONALD PETER MONSEN, LINNEA NEREIM, CRAIG NORDSTROM, RICHARD NUNEMAKER, DENNIS NYGREN, Molly Paccione, STEPHEN PASZTOR, JERRY PIERCE, Kathryne Pirtle, C. ROBERT ROSE, SUZANNE STEPHENS, THOMAS THOMPSON, DALLAS TIDWELL, Michael Wayne, John Williamson, CHARLENE ZIMMERMAN. Former student RUSSELL DAGON offered the following insight into an important element of Jerome Stowell’s teaching style:

If I do anything similar to JEROME STOWELL, STANLEY HASTY or CLOYDE WILLIAMS (I teach many technical and musical things that I learned from them), it is in the area of establishing an atmosphere where my students not only learn from me, but also from their colleagues (peers) who, I insist, they respect as colleagues and human

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beings. Yes, they are competitors but the competition must be collegial, respectful and encouraging to one another. (Dagon/Paddock 1998)

Bib: Dagon, Russell, to Tracey L. Paddock, Tallahassee, FL, July 26, 1998; “Jerome Stowell, 60, Chicago Symphony Clarinet, Dies.” Chicago Symphony Orchestra Program 82nd season (May 24, 25, and 26, 1973): 65; “Prominent Clarinet Teachers.” The Clarinet 14 (Spring 1954): 24.

Strahlendorf, P. Clarinetist: Philadelphia Orch (Clarinet/Bass Clarinet/Vln: 1901-02, +/-).

Strasser, Eustach. B. Sept. 1847 (Munich, Germany). Immigrated to the U.S. in 1868. Clarinet/ sax studies begun in . Clarinetist: Boston Symph (Principal: 1881-88). Was active as a soloist (incl perf of the Weber Concertino with the Boston Symph, Jan. 1884), chamber musician, saxophonist (incl perfs with the Mendelssohn Quintet and a European concert tour with saxophonist Patrick Gilmore), and freelance musician in Boston, MA (1880s-1925+). Former faculty member: New England Conserv; was active as a private clarinet/sax instructor in Boston (late 1800s to early 1900s). Other positions/activities: worked for a short time with George Haynes as a manufacturer of musical instruments in Boston (c. 1880s). Students include: Chester Bronson. Bib: Huffman, Larry. “Boston Symphony Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Boston_Symphony.htm (accessed March 15, 2011).

Strouf, Ralph Ernest. B. June 7, 1925 (Niagara, WI); d. Mar. 2002. BM/MM: Michigan State Univ with KEITH STEIN. Former clarinetist: West Shore Symph-MI (Principal: 1951-56); Denver Municipal Band (Principal: 1964-65); New World Wind Quintet (1980-90). Was active as an intl recitalist (incl perfs at numerous clarinet conferences in the U.S. and abroad, and at Interlochen), soloist (incl perfs with the West Shore Symph, Mississippi Honor Band, and Univ of Wyoming Wind Ensemble), chamber musician (incl perfs with the New World Wind Quintet), and festival musician (incl participation at the Western Arts Festival, 1980-89). Former faculty member: MI High Schools (1949-57); Univ of Denver (Dir of Wind Ensemble/Symph Band: 1957-67); Metropolitan State Coll (Dir of Bands: 1967-73); Univ of Wyoming (Prof of Clarinet: 1973-90; Prof Emeritus: 1990-2000+); Interlochen Arts Camp (1975-80); Manatee Community Coll (Adj Prof of Clarinet: 1990-99). Articles published in The Clarinet. Other positions/activities: Pres, West Shore Symph Board of Dirs (1956); Founder/Host, Natl Clarinet Clinic, Univ of Denver (1964-67); was active as an editor (incl an edition of Vaclav Nelhybel’s Suite Quadripartite completed at the request of the composer) and conductor (incl work in MI public high schools, with the Denver Concert Band and WY Centennial Band, and with the Honor/All-State Bands of AL, Denver, Pueblo, NE, and WY). Memb: ICA. Hon: Honorary Lifetime Memb, ICA (1998). Played on: Buffet R-13 clarinet (B-flat); Yamaha custom clarinet (A); PYNE mouthpiece; Moennig barrel. Students include: RAMON RICKER, Jeffrey Strouf, John Varineau. Ralph Strouf contributed greatly to the clarinet community in the United States and around the world not only through his playing and teaching, but also through his role as founder of the National Clarinet Clinic at the University of Denver in 1964. This Clinic, founded by Strouf and chaired by Strouf’s former teacher KEITH STEIN, was the impetus for the organization that would become the International Clarinet Society (now known as the International Clarinet Association), an organization which serves clarinetists worldwide. The ICA brings clarinetists from around the world together at annual conferences and provides a useful exchange of information and ideas through its journal, The Clarinet, and its web-site. In July 1998, Strouf was awarded an ICA Honorary Lifetime Membership, the association’s highest honor, for his contributions to the association and to the international clarinet community. As a musician, Strouf was highly influenced by his former teacher Keith Stein, with whom he studied for four years at Michigan State University. Strouf commented,

There are some people who make you a better person than you are. To say that I was strongly influenced by my teacher would be a gross understatement. Most of my psychological, philosophical and artistic clarinet ideas came from my teacher, Keith Stein. Keith was truly a great teacher. (R. Strouf/Paddock 1998)

Strouf’s son, Jeffrey, is also an accomplished clarinetist. On one occasion, Ralph Strouf, very proud of his son’s musical accomplishments, wrote:

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It’s impossible for me to describe my feelings at ClarinetFest 1998. Can you imagine my wife, Lydia, my daughter, Heidi, and grandson, Collin, listening to my son, Jeff, performing with the Marine Band Clarinet Quartet at the ClarinetFest in 1998? I can remember Jeff, as a toddler, sitting on ELSA LUDEWIG-VERDEHR’s lap at the very first Clarinet Clinic. (Ibid.)

Jeff, in turn, has spoken of his father’s understanding of “. . . the importance of listening to various styles of performance . . .” a concept he passed on to his students. (J. Strouf/Paddock 2001) Bib: Strouf, Jeff, to Tracey L. Paddock, Alexandria, VA, August 8, 2001; Strouf, Ralph. “A Good Idea.” The Clarinet 26 (December 1998): 69; Strouf, Ralph, to Tracey L. Paddock, Alexandria, VA, February 20, 1999.

Stubbins, William H. B. Mar. 22, 1911 (Tucumcari, NM); d. 1975. BA: Univ of Chicago (1936); MA: Univ of Michigan (1943); Honorary Doctorate: Lebanon Valley Coll (1964). Clarinet studies with CLARENCE WARMELIN. Former clarinetist: Civic Orch of Chicago (Principal); Chicago Symph (Principal); WGN Radio Orch; Grant Park Symph. Was active as a soloist, chamber musician (incl perfs with the Paganini and Stanley String Quartets), and recording artist (incl numerous educational recordings). Faculty member: Univ of Michigan (Prof: 1938-75); Interlochen Arts Camp. Author/Compiler: Applied Basic Theory for the Clarinet; Essentials of Technical Dexterity for the Clarinet; Recital Literature for the Clarinet (five volumes); and The Study of the Clarinet. Articles published in The Clarinet, Etude, Instrumentalist, School Musician, and Symphony. Other positions/activities: Founder/1st Natl Chair, NACWPI; Founder/Music Dir, Ann Arbor Recorder Society; was active as an acoustician, adjudicator, administrator (incl committee positions for Univ of MI’s doctoral music studies and School of Ed), lecturer, scholar, and clarinet mouthpiece/reed craftsman/consultant (designed a register vent known as the SK mechanism). Hon: research grant awarded for acoustical research, Rackham Grad School (1952). Former memb: American Acad of the Arts and Sciences, Acoustical Society of America, Kappa Kappa Psi, Natl Assn of Physicists. Students include: ALAN BRADLEY, Arthur Chodoroff, F. GERARD ERRANTE, PETER HADCOCK, TED HEGVIK, RAMON KIREILIS, DANIEL KYSER, DAVID LEWIS, LAURENCE LIBERSON, JAMES LOOMIS, Thomas Lyle, JOHN MOHLER, PHILLIP REHFELDT, JACK SNAVELY, FRANK STACHOW, ROBERT VAGNER, DENNIS ZEISLER. Described as “a true scholar” by former student JOHN MOHLER, William Stubbins was not only well-studied in music, the clarinet, and acoustics, but was also a scholar in the fields of astronomy, mathematics, physics, and psychology. In the field of acoustics, Stubbins was involved in design modifications for the clarinet and also set up and directed an acoustics laboratory and research program at the Rackham Graduate School. During his tenure at the University of Michigan, Stubbins taught recorder classes for the school’s extension program which led to his founding of the Ann Arbor Recorder Society and a series of lecture recitals and educational films featuring this ensemble. Stubbins also founded the National Association of College Wind and Percussion Instructors, a very important part of the American wind band community. In addition to his service to the American music community through his scholarship, teaching, and clarinet performance, Stubbins also served America as a decorated officer in the U.S. Navy during World War II. During his service he was awarded two Bronze Stars and a Silver Star for combat in Okinawa. Bib: Mohler, John. “Reviews.” Journal of Research in Music Education. University of Michigan website. http://deepblue.lib.umich.edu/bitstream/2027.42/68726/2/10.2307_3344259.pdf (accessed January 23, 2011).

Stumpf, Karl. B. 1884 (Blankenberg, Germany); d. Dec. 13, 1918 (NYC). Clarinetist: Boston Symph Orch (Bass: 1907-18). After the U.S. became involved in World War I, Karl Stumpf, along with the conductor and 16 other German members of the Boston Symphony, were dismissed from the orchestra in 1918, amidst widespread anti-German sentiment in the U.S. Faced with no means of income and a growing family, Stumpf grew depressed and became isolated. Just two months before the birth of his second child, Paul, Stumpf committed suicide. Sadly, on the day following his death, Stumpf’s wife received a letter from Walter Damrosch, then conductor of the New York Symphony, offering Stumpf a position as bass clarinetist with that orchestra.

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Bib: Conn, Eric E. “Paul Karl Stumpf.” National Academy of Sciences. http://www.nasonline. org/site/PageServer?pagename=MEMOIRS_S (accessed January 23, 2011).

Sturm, Marina. Music studies at the Wisconsin Conserv, the Instit for Advanced Musical Studies-Montreux, Switzerland, Victoria Univ-New Zealand, and SUNY-Stony Brook. Clarinet studies with CLARK BRODY, RUSSELL DAGON, CHARLES NEIDICH, and KEITH STEIN. Clarinetist: Civic Orch of Chicago (formerly); Phoenix Symph (Second: formerly, from age 18); Hong Kong Phil (formerly); Frankfurt Radio Orch-Germany (Co-Principal: formerly); Washington Opera/Kennedy Center Orch (formerly); San Francisco Symph (Second: 1983-86; Assoc Principal: formerly, 1986+); New Zealand Symph (Principal: formerly, 1997, +/-); American Symph Orch (current); has also performed with the Milwaukee Symph and performs with various NYC orchs. Active as a recitalist/soloist (incl perfs with the New Zealand Symph/Chamber Orchs and the Henderson Symph), chamber musician, festival artist (incl participation at the Bard, Caramoor, and Grand Teton music festivals, and with the City of Barcelona Symph and Santa Fe Opera), and recording artist (on the Morrison Music Trust label); broadcast perf given on PBS. Faculty member: Hong Kong Conserv (formerly); Lawrence Univ Acad (formerly); Univ of Nevada-Las Vegas (current). Hon: 1st Prize, Natl Clarinet Compt (1973); Semi-finalist, Intl Clarinet Compt-Geneva, Switzerland (1976); Guest Artist, 1997 Australasian Clarinet and Sax Conference. Students include: Tom Kmiecik. Marina Sturm is among the relatively few American clarinetists to have held an orchestral position for any length of time in Europe. Other American clarinetists who have held positions in European orchestras include LEE MORGAN, LARRY PASSIN, ROGER SALANDER, SUZANNE STEPHENS, and ALLAN WARE. Bib: “Marina Sturm.” UNLV Music Department. http://music.unlv.edu/directory/bios/msturm. html (accessed March 15, 2011); “Musical Chairs.” The Clarinet 13 (Spring 1986): 38.

Sullivan, Michael Sean. B. Aug. 24, 1963 (Manhasset, NY); d. June 27, 2007 (Orlando, FL). BME/DM(Perf): Florida State Univ with FRED ORMAND and FRANK KOWALSKY; MM(Perf): Univ of Michigan (1991) with FRED ORMAND; additional studies at the Hochschule für Musik-Munich (with Gerd Stark, 1986-87) and at the Mozarteum-Salzburg, Austria (Summer 1993). DM diss: Dance Patterns in Selected Clarinet Works of . Former clarinetist: Brevard Symph (Principal: 1987-89); Adrian Symph-MI (Bass: 1990-91); Avant Woodwind Quintet (1991-93); Tallahassee Symph (Third/Bass: 1992-94); Columbus Symph-GA (Second: 1994); Flagstaff Symph (Third/Bass: 1994-96); Kokopelli Woodwind Quintet (1994-2000+); Northern Arizona Univ Clarinet Quartet (1994-2000+); also subbed with the Albany, Flint, Florida, and Toledo Symphs. Active as a recitalist (incl perfs at all major Arizona univs), soloist (incl perfs with FSU and NAU ensembles, Pro-Mozart Chamber Orch, the U.S. Army Field Band, and the Okaloosa Symph), chamber musician (incl perfs with above groups, the Michigan Chamber Players and Coconino Chamber Ensemble), festival musician (incl participation at the Ernst Bloch, Salzburg, and Sarasota Music Festivals, Sedona Chamber Music Festival, Flagstaff Festival of the Arts, Phoenix Mainly Mozart Festival, and Music Acad of the West), saxophonist, and piano accompanist (for the NAU Suzuki program and NAU student recitals). Former faculty member: Brevard Community Coll (1987-89); McAuliffe Elem School (Mus Instructor: 1988); Seminole Community Coll (1989); FSU Music Camp (1989, 1994); Univ of MI at Interlochen (1991, 1992); Pittsburg State Univ-KS (Lect of Woodwinds: 1993); Northern Arizona Univ (Assoc Prof: 1994-2000+). Memb: Arizona MEA, ICA, NACWPI, Omicron Delta Kappa, Phi Mu Alpha Sinfonia, Pi Kappa Lambda, Who’s Who Among American Coll and Univ Students. Hon: Tuition Schol, FSU (1981-85); Continental Resources Co. Schol for Acad Excellence (1982- 83); Croft Schol for Outstanding Mus Ed Major (1984); FSU Student Govt Schol for Leadership and Academics (1985); Tallahassee Music Guild Schol (1986); Mautz Schol for Outstanding Sr Recital (1986); German Acad Exchange Schol (1986-87); Fulbright Schol to study in Germany; Full Tuition Schol, Univ of MI (1989-91); Teaching Assistantship, FSU (1991-93); 1st Prize, Pro-Mozart Society of Atlanta Concerto Compt (1993); NAU School of Perf Arts Travel Grant for study of clarinet reed-making in Seattle (1998). Played on: Buffet R-13 Prestige (B-flat) and Buffet R-13 (A) clarinets; PYNE M~ mouthpiece; Vandoren V-12 #3 ½ reeds.

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Students include: Elizabeth Aleksander, Paul Balch, Siobhan Jenkins, Piper Laird, Richard Viglucci, Scott Watkins, Steve White. In teaching, Michael Sullivan relied on “critical listening skills, the ability to self-evaluate, [and] the ability to make the learning process fun and creative.” (Sullivan/Paddock 1998) He helped his students cultivate “a sensitivity to just intonation in their playing and the flexibility it requires. . . .” and a sense of “rhythmic integrity, the ability to faithfully reproduce the rhythm on the page with as much accuracy as possible.” (Ibid.) Regarding clarinet sound, Sullivan strove to “find a balance between beauty and power.” (Ibid.) Sadly, Michael Sullivan’s career was cut short by cancer, which ended his life at the young age of 43. A scholarship was established on his honor at Northern Arizona State University. Bib: “Michael Sullivan, Clarinet Professor, Dies at 43.” Northern Arizona University. http:// www4.nau.edu/insidenau/bumps/2007/7_3_07/sullivan.htm (accessed March 15, 2011); Sullivan, Michael, to Tracey L. Paddock, Tallahassee, FL, October 5, 1998.

Sussman, Michael. Clarinetist: Springfield Symph-MA (Principal: current); New Hampshire Symph (Principal: current); Avanti Wind Quintet (current); has also performed as Principal Clarinetist of the Goldman Band, the West Australian Symph, the Brooklyn Phil, the Orpheus Chamber Orch, the Australian, Bolshoi, Royal, and Stuttgart Ballets, the Australian and D’Oyley Carte Operas, and the Radio City Music Hall Orch. Active as an intl recitalist/soloist (perfs given in 32 countries, on 4 continents), chamber musician (incl perfs with Speculum Musicae, Ethos, NY Chamber Soloists, and with the Australian, Ciompi, Lark, Lydian, New Zealand, and St. Petersburg String Quartets), festival artist (incl participation at the Casals, Grand Teton and Monadnock music festivals), and recording artist (appears on 16 labels incl Deutsche Grammophon, Gasparo, Koch, and Naxos). Faculty member: Univ of Massachusetts-Amherst (Prof of Clarinet: 1984-); has also taught at Smith Coll. Other positions/activities: ICA State Chmn, MA. Memb: ICA. Students include: William Bernier, Ana Catalina Ramírez Castrillo, Jason Fettig, Julia Frothingham, Jean Johnson, Rebecca Jones, MARIAN LIEBOWITZ, Douglas Metcalf, MICHAEL RICHARDS, Allan Rosenfeld, Christopher Salvo. Bib: “Michael Sussman.” UMass Amherst. http://www.umass.edu/ music/faculty_sussman.php (accessed March 15, 2011).

Swanson, Robert. Clarinetist: Natl Symph Orch (Clarinet/E-flat: 1950-61).

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Talley, Elena Lence. BME/MM(Perf; summa cum laude): Univ of North Texas with JAMES GILLESPIE. Additional clarinet studies with ANDREW CRISANTI, GEORGE SILFIES, and CHARLENE ZIMMERMAN. Clarinetist: Kansas City Symph (Sub/Extra/Librarian: 1992-); Mariah Wind Trio (current); Lyric Arts Trio (Founding Memb; 1990-, +/-); has also performed with the Lyric Opera of Kansas City, Missouri Symph, Kansas City Chamber Ensemble, and Kansas City Camerata. Active as a recitalist (incl perfs at ClarFest, the Univ of Oklahoma Clarinet Symposium, and the IDRS conference), chamber musician (incl perfs with above groups, and 20+ years of perfs with the Lyric Arts Trio throughout the Midwest). Former faculty member: Mid-America Nazarene Coll; Emporia State Univ. Articles published in The Clarinet. Other positions/activities: Librarian, Lyric Opera of Kansas City; active as a music journalist; holds committee position on the Major Orch Librarians’ Assn. Memb: ICA (incl 10 years of service as Memb Coordinator). Hon: recip (with the Lyric Arts Trio) of several awards from the American Composers Forum for perfs of contemporary music; Lyric Arts Trio selected to represent the KS Arts Commission Touring Program and Heartland Arts Fund of the Mid-America Arts Alliance. Bib: “Elena Lence Talley.” Kansas City Symphony. http://www.kcsymphony.org/AboutUs/Bios/bio_Talley.jsp (accessed January 25, 2011).

Teal, Laurence [Larry]. B. Mar. 26, 1905 (Midland, MI); d. July 11, 1984. Undergrad studies begun at Univ of Michigan as a pre-dentistry major; DM: Detroit Instit of Musical Arts (1943). Former clarinetist: Detroit Symph (Clarinet/Bass/Flute/Sax: 1920s-40s, +/-, for 20 years). Former saxophonist/ clarinetist: Glenn Gray’s Casa Loma Orch; WJR Studio Orch-Detroit (1931-43). Was primarily active as a saxophonist, but also performed as a clarinetist, and doubled on flute/other winds; was active as a soloist (incl sax perfs with the Detroit Symph) and jazz musician; broadcast perfs given on numerous radio programs incl the Ford Sunday Evening Hour. Works written for Teal incl a sax sonata by Bernard Heiden. Former faculty member: Wayne State Univ (1950s, +/-); Univ of Michigan (Prof of Sax: 1953-74; was first sax prof appointed at an American univ). Author, The Art of Saxophone Playing and other saxophone- related publications. Other positions/activities: Former Owner/Mgr, Teal Music Studio; craftsman of sax mouthpieces. Hon: Honorary Memb, North American Sax Alliance. Students include: TED HEGVIK, JAMES LOOMIS. While Larry Teal is best known as a saxophonist and was primarily active as a saxophone performer and teacher, he has also been active as an American orchestral clarinetist and clarinet teacher. He began his musical studies on flute, adding saxophone and clarinet shortly thereafter. In time, Teal was able to play almost every wind instrument in the orchestra and gave private instruction on several instruments. Teal became the first Professor of Saxophone appointed at an American university when he assumed that position at the University of Michigan in 1953. During his tenure at University of Michigan, he also created the first doctoral saxophone program in the U.S. In the following commentary on his former teacher BERNARD PORTNOY, clarinetist HARRY GEE also offers some insight into Teal’s personality and teaching style [caps mine]:

Like many great teachers, such as GASTON HAMELIN, SIMEON BELLISON, Marcel Mule, and the late LARRY TEAL, Portnoy has shown an almost parental feeling in his sincerity and personal interest toward all of his pupils. This very special quality is, unfortunately, not always given by many busy performer-teachers. (Pierce, 11)

Bib: “Laurence (Larry) Teal.” North American Saxophone Alliance. http://www.saxalliance.org/ honorary (accessed March 15, 2011); Pierce, Jerry. “Bernard Portnoy.” The Clarinet 12 (Summer 1985): 6- 12.

Temko, Peter M. B. Dec. 25, 1942 (Greensboro, NC). BM/MM (both in Mus Theory): Manhattan SOM; PhD(Mus Theory): Florida State Univ with HAROLD SCHMIDT. Clarinetist: Chattanooga Symph (Clarinet/E-flat/Bass: formerly, 1974-99, +/-); Licorice Schtick (current). Active as a recitalist, soloist and chamber musician. Former faculty member: Florida A&M Univ; Univ of Tennessee- Chattanooga (Clarinet/Comp/Theory: 1974-99, +/-); has also taught at Florida State Univ. Co-Author (with

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Peter Spencer), A Practical Approach to the Study of Form in Music (Waveland Press). Other positions/ activities: active as a composer (incl Sonatina for Clarinet and Piano, Shawnee Press). Plays on: Buffet R- 13 clarinets; Borbeck 11, MARCELLUS, and Kaspar mouthpieces; Rovner and BG ligatures; Vandoren V- 12 #3 ½ or 4 reeds. Students include: Christopher Kirkpatrick. Peter Temko believes that clarinetists spend far too much time working on reeds, and suggests, with humor, that “for most of us, the most efficient reed-working tool is a credit card.” (Temko/Paddock 1998) He further notes that the music term semplice “is the most valuable performance instruction.” (Ibid.) Temko comments,

I’ve been fortunate to find a rewarding outlet for playing. I’d like to encourage good players who find themselves frustrated by the fierce competitiveness of the “play for a living” world to seek challenging teaching careers at good universities like this one. There are worse things than nurturing good students and making good music with colleagues similarly inclined. (Ibid.)

Bib: Temko, Peter, to Tracey L. Paddock, Tallahassee, FL, May 3, 1998.

Tenney, Wallace R. Clarinet studies with ADOLPH FINKELSTEIN and Jacob Keinzelman. Former clarinetist: Oakland Municipal Band (Principal: 1949, +/-); Golden Gate Park Band (Principal: 1949, +/-); San Francisco Symph; Pacific Coast Opera Co. Was also active as a theatre/studio musician (incl positions with theatres/radio stations in the San Francisco Bay area). Former faculty member: San Francisco Conserv (1949, +/-); Coll of the Holy Name (1949, +/-). Articles published in Woodwind Magazine (incl an excellent 2-part article on JOSEPH SCHREURS listed in Bib below). Other positions/ activities: Assoc Ed, Woodwind Magazine (1953, +/-); active as an editor (incl editions of studies and works by Baermann, Klosé, Mozart, and Weidemann). Bib: “Contributors This Issue.” Woodwind Magazine 1 (February 1949): 8; Tenney, Wallace R. “The Greatest Clarinetist.” Woodwind Magazine 4 (May 1952): 4, 12-13; Tenney, Wallace R. “The Greatest Clarinetist, Part II.” Woodwind Magazine 4 (June 1952): 14; “Wallace R. Tenney.” Woodwind Magazine 5 (January 1953): 5.

Thalin, Walter R. Clarinet studies with GEORGES GRISEZ. Clarinetist: Minneapolis Symph (Principal: 1922-23; 1937-56); Cleveland Orch (Principal: 1925-26). Was active as a soloist (incl perfs with the Minneapolis Symph). Former faculty member: Univ of Minnesota. Played on: Selmer clarinets. Students include: Carlo Minnetti, George Ramsey, CLOYDE WILLIAMS. ROBERT MARCELLUS commented, “One of the . . . clarinetists whom I greatly admired early on was Walter Thalin of the Minneapolis Symphony; playing on his old Selmer clarinets, he possessed a beautiful sound.” (Nygren, 33-42) Bib: Nygren, Dennis. “Robert Marcellus, Yesterday and Today: An Interview.” The Clarinet 16 (November/December 1988): 33-42.

Thetford, Charles C. Native of Newark, NJ; deceased. Clarinet studies with William Tuson. Former clarinetist: Sousa Band (1908, 1915-16); Arthur Pryor Band (Principal; in section with GUSTAVE LANGENUS); NY Capitol Orch (Principal: 1919 to late 1920s). Was active as a soloist (incl perfs with the Arthur Pryor Band) and private clarinet instructor (had a large studio in South Orange, NJ, 1940s, +/-). Other positions/activities: Conductor, Arthur Pryor Band (formerly); was active as an Orch Mgr (incl positions with the Arthur Pryor Band, and the Capitol and Roxy theater orchs). Hon: listed as a “Prominent Clarinet Teacher” and “outstanding performer” in The Clarinet No. 18 (Spring 1955): 19. Students include: GEORGE TOENES. Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http:// www.dws.org/sousa/roster.htm (accessed March 15, 2011); Langenus, Gustave, ed. “Charles Thetford.” Woodwind News 1 (Summer 1926): 22; Toenes, George. “Letters.” The Clarinet 26 (December 1998): 7.

Thies, Fred. Clarinetist: Minneapolis Symph Orch (1919; 1922; 1924-25; 1927-28; 1935-38).

Thomas, David H. BM: Northwestern Univ (1982) with CLARK BRODY, LARRY COMBS, and ROBERT MARCELLUS; additional studies at Peabody Instit (1978-80) with SIDNEY FORREST. Additional clarinet studies with Walter Boeykins and LOREN KITT. Clarinetist: Kennedy Center Orch (Principal: 1983-89); Columbus Symph-OH (Principal: 1989-, +/-). Active as a recitalist (incl perf at

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ClarinetFest 1998), soloist (incl perfs with the Baltimore, Columbus, and Natl Symphs, and the Natl Chamber Orch), chamber musician, recording artist (featured soloist on the Columbus Symph’s Showcase CD), festival artist (incl participation at the AIMS Festival-Austria), and private clarinet instructor. Other positions/activities: Légère Reeds Artist. Hon: 1st Prize, ICA Compt; 1st Prize, MTNA Compt; favorable reviews of perfs appear in the Columbus Dispatch. Bib: Thomas, David. “David H. Thomas Solo Clarinetist.” D. Thomas. http://www.davidhthomas.net/clarinet.html (accessed March 15, 2011).

Thomas, Earl M. Early clarinet studies with Victor Allessandro, Sr.; advanced studies at Juilliard (c. 1946-50; studies as a schol student at Juilliard delayed to serve in the U.S. Army for 3 yrs during WWII) with AUGUSTIN DUQUES. BM/MM(both in Perf): Univ of Oklahoma(1966/1969). Additional clarinet studies with JOSEPH ALLARD; jazz improv studies with Lennie Tristano. Clarinetist: NY Woodwind Quintet (1948-53); Dallas Symph (Principal: 1950-52); Houston Summer Symph (Principal: 1951); Oklahoma City Symph (Principal: 1952-69); Lexington Phil (Principal: 1969-91). Active as a recitalist/soloist (incl 21 perfs on the Oklahoma City Symph Intl Radio Series), chamber musician, sax soloist (incl radio premiere perf of Ward’s Rhapsody for alto sax/orch) and recording artist (on the Columbia Masterworks, CRI, Delta, Dial, and Esoteric labels); broadcast perfs given on Armed Forces Radio, BBC, CBC, Mutual Broadcasting System, Radio Free Europe, and Voice of America (incl radio premiere perfs of the Siegmeister and Tuthill clarinet concerti) and on OK and TX television stations. Works dedicated to Thomas incl those by composers T.J. Anderson, Jr, Leonard Klein, Spencer Norton, and Albert Schmutz. Former faculty member: Oklahoma City Univ (Adj: 1957-62); Univ of Oklahoma (Adj: 1962-69); Oklahoma Coll of Liberal Arts (Adj: 1966-68); Eastern Kentucky Univ (Prof: 1969-91); Interlochen Arts Camp (1971-72); Malaspina Univ (1996+); Univ of Victoria (1997-98); has been active as a private clarinet/sax instructor throughout career, currently teaching in Nanaimo, British Columbia. Articles published in The Clarinet, The School Musician, The Selmer Bandwagon and other journals. Other positions/activities: Pres, OK City Chamber Music Society (formerly); active as an adjudicator, clinician, composer (incl several chamber works composed for perf on WNYC in 1950 for the American League of Composers), conductor (incl 3yr position as Asst Conductor of the OK City Symph and work with above univ ensembles); radio produced/commentator (helped establish first classical music FM station in OK City and produced/commentated for it); reviewer (reviews appeared in the Oklahoma City Advertiser). Memb: AFM, MTNA, Pi Kappa Lambda. Students include: Richard Black, Deborah Gers, Liam Hockley. Bib: “Anatomical Essentials in Clarinet Hand Position.” The Clarinet 20 (May/June 1993): 21; Thomas, Earl. “Earl M. Thomas.” E. Thomas. http://members.shaw.ca/earlthomas/biography.htm (accessed March 15, 2011).

Thomkins or Tompkins, George B. Clarinetist: Sousa Band (1927-31). Students include: HAROLD WRIGHT. Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/sousa/roster.htm (accessed March 15, 2011).

Thompson, Howard. San Francisco clarinetist active during the 20th century. First clarinet teacher of RICHARD STOLTZMAN.

Thompson, Larry K. B. May 14, 1947 (Roswell, NM). BME: Univ of Texas-El Paso (1969); MM: Baylor Univ (1975) with RICHARD SHANLEY. Additional clarinet studies with LAWRENCE BOCANER, Walter Geyer, and RONALD REUBEN. Clarinetist: El Paso Symph (1962-68); U.S. Army Field Band (1969-72); Waco Symph (1972-76); Ft Worth Symph/Opera/Ballet (1976-91); Dallas Ballet (1988-91); Philadelphia Opera (1996-98); has also performed with the Delaware Symph and as Bass Sub with the Philadelphia Orch. Active as a festival artist (incl participation at the Cas Mañana Festival) and recording artist (on the Capstone Records label). Faculty member: Texas Christian Univ (1989-90); has also taught at the Settlement Music School-Philadelphia. Published in The Clarinet. Memb: Alpha Chi, ICA, Pi Kappa Lambda. Hon: John Phillip Sousa Award. Plays on: Buffet clarinets; Selmer Low C bass clarinet. Students include: KENNEN WHITE. Bib: Thompson, Larry. “Comprehensive List of Chamber Works Employing Bass Clarinet.” The Clarinet 16 (February/March 1989): 51-55; Thompson, Larry, to Tracey L. Paddock, Tallahassee, FL, May 11, 1998.

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Thompson, Shannon. BM: Univ of Oregon with WAYNE BENNETT; MM: Boston Univ with MICHAEL WEBSTER; DM: Univ of Texas-Austin (1998) with RICHARD MACDOWELL. DM diss: “A History and Analysis of the Philadelphia School of Clarinet Playing.” Clarinetist: Hendersonville Symph (Principal: current); Asheville Symph (Bass: current). Active as a recitalist/soloist (incl perfs at ICA and MENC conferences and on the Spivey Concert Hall Recital Series in Atlanta) and chamber musician. Faculty member: Western Carolina Univ (Assoc Prof: 1997-); has also taught in Boston, MA and Austin, TX. Bib: “Musical Chairs.” The Clarinet 25 (May/June 1998): 76; “Shannon Thompson.” West Carolina University. http://www.wcu.edu/6595.asp (accessed March 15, 2011); Thompson, Shannon. “A History and Analysis of the Philadelphia School of Clarinet Playing.” DMA treatise, University of Texas-Austin, 1998.

Thompson, Thomas D. B. 1939 (Greenville, MS). Clarinet studies begun at age 8. BME: American Conserv of Music; MM: Northwestern Univ. Clarinet studies with CLARK BRODY, ROBERT MARCELLUS, JEROME STOWELL, and Vic Zajek. Clarinetist: Chicago Opera Ballet Orch (Principal: formerly); Boston Pops (Second: formerly, on tour); Grant Park Symph (Second: 1962-68); Pittsburgh Symph (Asst Principal/Actg Principal/Co-Principal: 1966-; Co-Principal: current; has also played sax); New Pittsburgh Quintet (Founder; current). Active as an intl soloist (incl perfs with the Pittsburgh Symph), chamber musician (incl perfs with the New Pittsburgh Quintet in the U.S. and Japan, and on PBS), festival artist (incl perfs at the Osaka Intl Festival with the New Pittsburgh Quintet), and recording artist (on Pittsburgh Symph recordings). Faculty member: Lamar State Coll (formerly); Duquesne Univ (1981-84); Indiana Univ of PA (formerly); Carnegie Mellon Univ (Assoc Prof: current). Other positions/activities: Dir, Duquesne Univ Orch (1981-84); active as a conductor (incl the Pittsburgh Opera Theater’s production of Carmen) and lecturer. Hon: Pi Kappa Lambda. Plays on: Buffet R-13 clarinets; Morgan RM-10 mouthpiece; Vandoren Black master reeds; Buffet E-flat clarinet; Kaspar E-flat mouthpiece; Vandoren E- flat reeds; Selmer saxes; Selmer S-80 sax mouthpieces; Selmer sax reeds. Students include: David Allen, Charles Baker, Kira Bokalders, Jeff Carwile, Robert Daisy, ROBERT FITZER, Jan Halloran, Marshall McDonald, Angela Occhionero, Christopher Raifsnider, Sunshine Simmons, Julieta Ugartemendia. Bib: “The Clarinet Section of the Pittsburgh Symphony Orchestra.” The Clarinet 10 (Spring 1983): 20-21; “Thomas Thompson.” Carnegie Mellon School of Music. http://www.music.cmu.edu/people.php? sub_page=faculty (accessed March 15, 2011); “Thomas Thompson.” Pittsburgh Symphony. http://www. pittsburghsymphony.org/pghsymph.nsf/bios/Thomas+Thompson (accessed March 15, 2011).

Tichman, Herbert. B. Feb. 23, 1922 (Philadelphia, PA); d. Oct. 31, 2010 (Walnut Creek, CA). BS: Juilliard (1951) with ARTHUR CHRISTMANN; MA(Comp): Queens Coll-CUNY (1966); also studied flute at Juilliard. Former clarinetist: Tichman Duo (with his wife, pianist Ruth Tichman, 1950s+); Berkshire Chamber Players (1968). Was active as an intl recitalist/soloist (incl premiere of the Milhaud Clarinet Concerto), chamber musician (incl perfs with above groups throughout North and South America, Europe, and Asia), theatre musician (incl perfs of many long-running NYC productions), and recording artist (incl works by Bartók, Brahms, and Reger on Mark Records). Former faculty member: Juilliard (1966-72); Manhattan SOM (1972+). Hon: Fulbright Fellowship (1956); listed in Who’s Who in American Music (Classical), 1985 edition. Students include: Victoria Murray Brand. Bib: “Herbert Tichman Obituary.” SFGate. http://www.legacy.com/obituaries/sfgate/obituary.aspx?n=herbert-tichman&pid= 146668495 (accessed January 25, 2011); “Tichman, Herbert.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker, 1985: 595.

Tichnor, Leslie. Clarinetist: Natl Symph Orch (1946-47).

Tidwell, Dallas W. BM/MM: Univ of Louisville with JAMES LIVINGSTON. Additional clarinet studies with LARRY COMBS, RICHARD NUNEMAKER, GEORGE SILFIES, and JEROME STOWELL. Clarinetist: Louisville Orch (Assoc Principal/Second: formerly; 1970-97, +/-); Kentucky Chamber Players (Founding memb; current); has also performed as Principal Clarinet of the Kentucky and Lake George Opera Orchs and the Louisville Bach Society. Active as an intl soloist (incl perfs with the Louisville Orch) and chamber musician/festival artist (incl perfs with the Louisville String Quartet in Japan, and participation at the Gerhard, Lake George, Santa Fe, and Univ of Hirosaki Chamber Music Festivals). Faculty member: Univ of Louisville (Assoc Prof: current). Active as a recording artist (appears on recording with RICHARD NUNEMANKER on the AU Recordings label). Students include: Monica

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Crowder, Calvin Falwell, Heike Gazetti, Lera Reed, Adam Thomas. Bib: “Dallas Tidwell.” Univ. of Louisville. http://louisville.edu/music/faculty-staff/bios/dallas-tidwell.html (accessed March 15, 2011).

Tietze, Larry. Clarinetist: USMA Band-West Point (Principal: formerly); Goldovsky Opera (Principal: formerly); Virginia Opera (Principal: formerly); Lake George Opera (Principal: formerly); Virtuosi Wind Quintet (Founding Memb; 1980s, +/-); 20th Century Unlimited Contemporary Music Ensemble (Principal: current); Hudson Valley Phil (current); Atlantic Sinfonietta (Clarinet/Gen Mgr: current); NY Gilbert & Sullivan Players (Principal/Orch Mgr: current); Poné Ensemble (current); also perfs with the Brooklyn Phil, Joffrey Ballet, NY Philomusica, and St. Cecilia Orch. Active as a chamber musician and recording artist (on the Capstone Records, Koch Intl Classics, and Musical Heritage labels). Other positions/activities: Woodwind Music Reviewer, Music Librarian Assn; Info Mgmt Officer, West Point Library. Memb: CMA. Hon: High Fidelity/Musical America’s Young Artists of 1986 (with Virtuosi Wind Quintet); favorable review of perf with Virtuosi Wind Quintet at Carnegie Recital Hall appeared in the New York Times (Feb. 28, 1985). Bib: “Poné Ensemble Biographies.” Poné Ensemble. http://www. poneensemble.org/biographies.htm (accessed February 17, 2010); Rockwell, John. “Music: The Virtuosi and Baltimore Wind Quintet.” NYTimes.com. http://www.nytimes.com/1985/02/28/arts/music-the- virtuosi-and-baltimore-wind-quintet.html (accessed March 15, 2011).

Tietze, William B. Former clarinetist: U.S. Navy Bands (during WWII). Faculty member: Univ of Wisconsin (1950s, +/-). Other positions/activities: was active as a conductor (incl positions with various univ/coll bands). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet 16 (Fall 1954): 18.

Titus, Robert Austin. B. Marion, IA. d. Apr. 13, 2000. Undergrad studies begun at Iowa State Univ; BM/PhD: Univ of Iowa (1962) with HIMIE VOXMAN. PhD diss: “The Solo Music for the Clarinet in the 18th Century.” Clarinetist: Columbus Little Symph-OH (now Columbus Symph; Founding Memb/ Principal: 1951-62); Ohio State Univ Faculty Woodwind Quintet (1950s-60s, +/-). Was been active as a recording artist (with the OSU Faculty Woodwind Quintet on the Coronet label). Former faculty member: Ohio State Univ (1947-81; Assoc Prof Emeritus: 1981-2000). Other positions/activities: extra-musical activities included archeology, bicycling, gardening, swimming, and outdoor activities in general; served as an Army Air Force B-17 navigator during WWII. Memb: Phi Beta Kappa. Students include: Christopher Di Santo, CAROLINE HARTIG, W. JAMES JONES, HOWARD KLUG, LAWRENCE MALLETT, Frederick Schmidt, RICHARD STOLTZMAN, J. Randall Wheaton. Bib: “Robert A. Titus.” From Ohio State University Board of Trustees Meeting Notice (July 7, 2000). Posted on The Clarinet BBoard. http://test.woodwind.org/oboe/BBoard/read.html?f=1&i=328979&t=328524 (accessed January 25, 2011).

Toenes, George. Clarinet studies with CHARLES THETFORD and DANIEL BONADE. Former clarinetist: New Jersey Symph. Clarinet-related articles published in The Clarinet and Grove’s Dictionary (incl an article on Richard Mühlfeld). Bib: Gillespie, James. “Letters.” The Clarinet 26 (December 1998): 7; Toenes, George. “Letters.” The Clarinet 26 (December 1998): 7.

Tognozzi, Olando [“Toggy”]. B. Mar. 13, 1927 (Monessen, PA). BM/DM: Cincinnati Conserv (1951/1976); MM: Manhattan SOM (1953). Clarinet studies with KALMEN OPPERMAN. DM diss: “Ac Comparative Study of the Vocal Principles Which Apply to the Clarinet.” Former clarinetist: New Orleans Phil (Asst Principal/Bass: 1954-59); New Orleans Opera Assn (Second: 1954-59); New Orleans Pops (Principal: 1954-59). Active as a recitalist (incl perf at K. OPPERMAN’s 90th birthday recital), soloist, and recording artist. Former faculty member: Xavier Univ (Instructor of Clarinet/Mus Theory: 1954-59); Shasta Coll (Instructor of Woodwinds/Mus Theory: 1960s, +/-; Prof Emeritus: current). Other positions/ activities: active as a chamber coach, composer, conductor, and opera singer. Hon: Paul Harris Fellowship, Rotary Club (1983). Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Students include: Alvin Batiste. Bib: “Tognozzi, Olando.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker, 1985: 598.

Topolewski, Timothy. B. Dec. 12, 1946 (Detroit, MI). BME: Michigan State Univ (1970) with ELSA LUDEWIG-VERDEHR; MM: Catholic Univ (1974) with LOREN KITT; DM: Univ of Illinois (1980). Additional clarinet studies with ROBERT MARCELLUS and PAUL SCHALLER. Conducting studies with Harry Begian. Clarinetist: U.S. Army Band (Soloist/Conductor: 1970-73); Dubuque Symph

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(Principal: 1975-79); Cedar Rapids Symph (Principal: 1979-87). Active as a soloist (incl perfs at the White House and throughout the Midwest) and recording artist (incl recordings with the U.S. Army Chamber Orch). Faculty member: Univ of Wisconsin-Platteville (Clarinet Instructor/Dir of Orch and Symph Band: 1975-79); Coe Coll (Clarinet Instructor/Dir of Bands: 1979-87); SUNY-Potsdam (Conductor of Wind Ensemble/Opera Orch: 1987-2000+; Prof Emeritus: current); Blue Lake Intl Fine Arts Camp (1998-). Author, Errata Studies for the Wind Band Conductor. Published in the Journal of Research in Music Education. Other positions/activities: active as an editor (incl edition of Grainger’s , co- edited with Fred Fennell, for Ludwig Music) and very active as a conductor (incl positions at above univs, and perfs around the world). Hon: Winner, Musical Youth Intl Compt (1965); full DM schol, Univ of IL; selected premiere Jerry Owen’s Concerto for Clarinet and Wind Ensemble at the IA Composers Concert; MENC’s Outstanding Teacher in the Field of Music Ed; recip, SUNY-Potsdam’s Presidents Awards for Excellence in Acad Service and for Excellence in Research and Creative Endeavors. Plays on: Buffet R-13 clarinets (with cork/other modifications); Kaspar (Cicero) mouthpieces (109-11mm tips; plays mostly on the 109 mm tip); BONADE inverted ligature (modified in the manner of ROBERT MARCELLUS); Vandoren reeds. Bib: “Timothy Topolewski.” http://www2.potsdam.edu/topolet/biography.html (accessed March 15, 2011); Topolewski, Timothy, to Tracey L. Paddock, Tallahassee, FL, May 20, 1998.

Torode, Charles. Clarinetist: Louisville Phil Orch (formerly, 1940s, +/-).

Toulson, Smith C. Grad: Univ of Illinois; Yale Univ. Clarinetist: Pennsylvania Quintet (formerly); New Haven Symph (Principal: formerly); Pennsylvania Centre Orch (Principal: current); Altoona Symph (Principal: current); Nittany Valley Symph (Principal: current); York Symph (Bass: current); Flute/Clarinet Consortium (Memb: current); has also performed with the Pittsburgh Symph. Active as a recitalist (incl perfs at Weill Recital Hall and the National Gallery-DC, and at the Smithsonian Instit’s Debussy and Poulenc seminars), chamber musician (incl perfs/recordings with above groups, at IDRS and Natl Flute Assn conferences, and with the Easterly Chamber Players on a tour of CA and Zurich, Switzerland), festival artist (incl participation at the Music at Penn’s Woods and Waterloo Festivals and the New School and Sedona Chamber Music Festivals), and recording artist (with the Pennsylvania Quintet on the Centaur label; also appears on the Crystal and Orion labels). Premiere perfs incl chamber works by Libby Larsen and Trygve Madsen Faculty member: Pennsylvania State Univ (Prof Emeritus: current). Students include: Emil Greer, Barbara Reeves Neumuller, James Villani. Bib: Creditor, Bruce M. “Quintessence: The Wind Quintet Informant, No. 18.” The Clarinet 24 (February/March 1997): 16; “Smith Toulson, Clarinet.” Altoona Symphony. http://www.altoonasymphony.org/smithtoulson.asp (accessed March 15, 2011).

Townsend, George David. B. Aug. 31, 1932 (Champaign, IL). BME/MME/EdD: Univ of Illinois (1954/1959/1967). Clarinet studies with AUSTIN MCDOWELL, JULES SERPENTINI, KEITH STEIN, and HAROLD WRIGHT. Clarinetist: U.S. Marine Band (1954-57); Knox-Galesburg Symph (1965-96); Camerata Woodwind Quintet (1966-96); Quad City Symph (1985-). Active as a recitalist (incl perfs at Interlochen Arts Camp), chamber musician (incl tours of Mexico, Japan, Hong Kong, China, Yugoslavia, Poland, Germany and Holland with the Camerata Woodwind Quintet), and recording artist (with the Camerata Woodwind Quintet on the Music Minus One, Coronet and Opus labels). Faculty member: Western Illinois Univ (1962-96); Interlochen Arts Camp (1972-); Northwestern Michigan Coll (1996-). Articles published in the NACWPI Journal, The Clarinet, The Illinois Music Educator, Missouri School Music, Woodwind World-Brass and Percussion. Memb: ICA. Hon: WIU Faculty Excellence Awards (1990-93); Phi Kappa Phi Schol at WIU named after Townsend in his honor. Plays on: Buffet R- 13 clarinets; DEG-Moennig bore (B-flat) and Springer (A) barrels; Robert Scott mouthpiece; Vandoren V- 12 #4 reeds. Students include: DIANA HASKELL, MONICA KAENZIG, Janet Lane, Ismail Lumanovski, Myron Mikita Jr., Stephen Richter, Roger Sebby, David Stewart. George Townsend commented [capitals mine],

My ideal clarinetist was my teacher HAROLD WRIGHT, who was principal in the National Symphony Orchestra when I was in the Marine Band. His superior musicality embodied the approach I attempt to take in my playing and teaching. Musicality first, beauty of tone are what I emphasize. Of course, one must always have the technique to express these things. (Townsend/Paddock 1998)

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Bib: Townsend, George, to Tracey Paddock, Tallahassee, FL, July 1, 1998.

Tramontano, Dominic. Vaudeville clarinetist active during the early 20th century. Clarinet teacher of LEON RUSSIANOFF.

Tremblay, Laurence. Clarinetist: Miami Symph (Principal: formerly); may have also performed as a member of the Detroit Symph (prior to the Miami Symph). Faculty member: Univ of Miami (formerly, 1950s-60s, +/-). Has been active as a composer/arranger (incl many works/studies for clarinet). Students include: WILLIAM BIGHAM, JERRY KIRKBRIDE.

Triebel, August. Deceased. Clarinetist: Minneapolis Symph (Bass: 1907-24, +/-; may also have played viola); San Francisco Symph (Bass: 1920-21; 1928-29).

Tunnicliff, Theresa [Terri]. B. Davenport, IA. Grad: Univ of California-San Diego; California Instit of the Arts. Clarinet studies with DAVID SHIFRIN and MICHELLE ZUKOVSKY. Clarinetist: Buffalo Phil (Actg Principal: formerly); Musicus Concentus-Italy (Principal: formerly); San Diego Opera/ Chamber Orchs (Principal: formerly); Arioso Wind Quintet/Octet (formerly); Santa Clarita Chamber Players (formerly); San Diego Symph (current); has also performed with the Los Angeles Phil/Opera/ Chamber Orchs. Active as an intl recitalist (incl perf at the 1998 San Diego Clarinet Summit and perfs throughout Italy), soloist (incl perfs with the Buffalo Phil, Arena di Verona, and Ars Nova Orchs, and the Angelicum Chamber Orch), chamber musician (incl perfs with above groups, Salvatore Accardo, Trio di Milano, and on six Music from Marlboro tours), new music specialist (incl collaboration with Luciano Berio), festival artist (incl participation at the Holland, Jerusalem, Mainly Mozart, Sardinia, and Tucson Festivals, and festivals in throughout Europe), recording artist (on the Crystal, New Albion, Nonesuch, Nuova Era, Sony Classical labels), and studio musician (incl work for the Paramount and Universal studios). Former faculty member: SUNY; San Diego State Univ. Hon: 1st Prize, Major Landers Concerto Compt; 1st Prize, Cal Arts Concerto Compt. Bib: “Theresa Tunnicliff.” San Diego Symphony. http://www. sandiegosymphony.org/musiciansconductors/orchestramembers.aspx (accessed January 25, 2011); Wilson, Heston L., M.D. “Clarinet Summit ’98.” The Clarinet 25 (May/June 1998): 12-14

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Umiker, Robert. Grad: Eastman SOM with STANLEY HASTY. Sax studies with Sigurd Rascher. Clarinetist: North Arkansas Symph (Principal: formerly); Lyrique Quintette (formerly). Active as a recitalist/soloist (incl perfs at Montana/Idaho Clarinet Festivals and the IDRS conference), chamber musician, saxophonist, and recording artist (incl recording of the music of William Grant Still on the Cambria Records label and a recording with the Lyrique Quintette). Former faculty member: Univ of Arkansas (1990s, +/-; Prof Emeritus: current). Students include: Nicole Cotton, William Kirkley, Noelle Little, Stan Morris, Rozetta Strother. Bib: “UA Emeritus Music Professor to Perform Concert on Oct. 27.” University of Arkansas. http://newswire.uark.edu/article.aspx?id=11945 (accessed January 26, 2011).

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Vagner, Robert Stuart. B. Feb, 1, 1913 (Laramie, WY); d. 1989. BA/MA: Colorado State Univ (1936/1938); MM: Univ of Michigan (1942) with RUSSELL HOWLAND and WILLIAM STUBBINS; additional grad studies at the Univs of Southern California and Denver, and in Mexico City and Darmstadt, Germany. Additional clarinet/woodwind studies with Fred Baker, VALENTINE HENRICH, PIERRE PERRIER, Lare Wardrop, and JAN WILLIAMS. Conducting studies with Pierre Monteux, William Revelli, et al; comp/theory studies with LUCIEN CAILLIET, et al. Former clarinetist: Pro Arte Quartet; Denver Civic Symph. Was active as a soloist and chamber musician. Former faculty member: Colorado Northern Univ (1936-38); Grinnell Coll (1938-41); Univ of Wyoming (Assoc Prof: 1943-50); Univ of Oregon (Prof of Conducting: 1950-80; Prof of Clarinet/Wind Ensemble: 1950-late 1980s); also served as Vstg Prof/Lect at 20+ colls/univs. Author, Single Reed Guide for the Clarinet and Saxophone Player. Articles published in The School Musician Director and Teacher, Etude, Music Educators Journal, Research Journal, The Instrumentalist, Leblanc Bandsman, Selmer Bandwagon, et al. Other positions/activities: Pres, CBDNA (1977-78); G. Leblanc Corp. Artist/Clinician; Founder, Eugene Wind Ensemble; was active as an adjudicator, administrator (organized numerous clinics/ conferences/camps incl the Wyoming State Music Clinic, the first Univ of WY Band Camp, the first Univ of OR Mus Ed Conference, and the Univ of OR Symposium on Contemporary Band and Wind Music), clinician, and conductor throughout North America. Memb: ABA, CBDNA, MENC, NACWPI, Pi Kappa Lambda, Phi Mu Alpha, Phi Delta Kappa, Kappa Kappa Psi. Hon: School Musician’s Music Teacher of the Year (1963); named one of the top ten most outstanding music dirs in North America by The School Musician Director and Teacher (1975); listed in Who’s Who in American Music (Classical), 1985 edition. Played on: Leblanc clarinets. Students include: MICHAEL ANDERSON, Daniel Geeting, Marten King, Carol Robe, STAN STANFORD, John Weddle. Bib: Denman, John. “Denmania: A Talk with Robert Vagner.” 6 (Spring 1979): 10; “They Are Making America Musical.” The School Musician Director and Teacher (January 1975): 44; Vagner, Helen, to Tracey L. Paddock, Tallahassee, FL, May 18, 1998.

Valerio, Manuel [“Manny”]. B. New Bedford, MA. Clarinet studies with AUGUSTO VANNINI. Former clarinetist: Boston Symph (Second: 1933-48, 1950-65, +/-; Principal: 1948-50); Boston Pops (Principal). Was active as a chamber musician and recording artist (incl recordings with membs of the Boston Symph now available on the BMG label). Students include: Jane Bailey, . Played on Selmer clarinets and mouthpieces. Sherman Friedland, moderator of “Sherman Friedland’s Clarinet Corner,” an excellent online clarinet resource, shared the following about Manuel Valerio:

There was a wonderful clarinetist who played with the Boston Symphony in the 30’s through 60’s. He played 2nd clarinet in the BSO and first in the Pops. He can be heard on many of the Boston Pops with Fiedler conducting if you ever come across one of them, or more. I imagine that all have been reissued on CDs.

His name was Manual Valerio. He was Portuguese and he was very short. The clarinet used to seem like another person or at least another leg when he came out on stage.

But it was the sound that absolutely was the most beautiful you have ever heard. Just perfect, and always that way. As a high school kid I remember going to hear all of those concerts, for the clarinet playing was always inspirational.

Well, he played the hardest Vandorens that he could find, I’m told, then he would clip them even more and play them on a Selmer A* mouthpiece… (Friedland 2010)

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Bib: Brush, Gerome. Boston Symphony Orchestra: Character Drawings of Its Members with Biographical Stretches. Boston, MA: Merrymount Press, 1936: 194-5; Friedland, Sherman. “Resistant Mouthpieces.” Clarinet Corner. http://clarinetcorner.wordpress.com/2004/05/22/resistant-mouthpieces/ (accessed March 15, 2011).

Valdepeñas, Joaquin. B. circa 1955 (Torreón, Mexico). BM: California State Univ-Fullerton with KALMAN BLOCH; grad studies at Yale Univ with KEITH WILSON; additional studies in clarinet/conducting at the Aspen Music Festival. Additional clarinet studies with MICHELLE ZUKOVSKY. Clarinetist: Toronto Symph (Principal: 1979-, +/-); Amici Chamber Ensemble (Founder/Clarinet: 1979-, +/-). Active as an intl soloist (incl American premiere of M. Colgrass’s Arias for Clarinet and Orch with the Buffalo Phil, and perfs with the BBC-Welsh and Toronto Symphs, and the English Chamber Orch), chamber musician (incl perfs with Kathleen Battle, , Glenn Gould, Yo-Yo Ma, and Pinchas Zuckerman, et al., with the American, Calder, Emerson, Muir, Orford, Orion, St. Lawrence, and Ying String Quartets, and with the Amici Chamber Ensemble, Chamber Music Society of Lincoln Center, and Intl Sejong Soloists), festival artist (incl participation at the Aspen, Banff, Casals, Curitiba Brazil, Edinburgh, Evian, Marlboro, Mostly Mozart-NY, Nagano, Norfolk, and Vancouver Music Festivals), and recording artist (on the CBC, Centrediscs, Naxos, Sony, and Summit labels). Broadcast perfs given on BBC Television; was featured as a promising clarinetist/composer on a 1979 PBS documentary about the Aspen Music Festival. Faculty member: Royal Conserv of Music’s Glenn Gould School-Toronto (1980s-, +/-); Aspen Music Festival (current; has served on faculty for many years). Other positions/activities: Yamaha Artist (collaborated on development of the CSG Yamaha clarinet); active as a clinician and conductor (incl current position with the Toronto Youth Symph, and perfs with the Toronto Symph and Aspen Music Festival and Glenn Gould School ensembles). Hon: favorable reviews of perfs/ recordings appear in the New York Times, Toronto Star, and The Globe and Mail; Winner, Juno Award; nominated for several Juno and Grammy Awards. Students include: Shalom Bard, Max Christie, RICHARD FARIA, Jean Johnson, Douglas Monroe, Connor O’Meara, James Ormston, REBECCA RISCHIN, Robert Spady, Krista Weiss, GREGORY WILLIAMS, Kornel Wolak. Bib: Hoffman, Stewart. “Here to Stay.” Performance Magazine (Spring 2005) at http://www. stewarthoffmanmusic.com/articles.php?id=15 (accessed April 3, 2011); “Joaquin Valdepeñas.” J. Valdepeñas. http://www.joaquinvaldepenas.com/content/index.php?option=com_content&view=article& id=45&Itemid=2 (accessed April 3, 2011).

Van Amburgh, Fred W. Clarinetist: Philadelphia Orch (1913); Barrère Ensemble of Wind Instruments (formerly). Was active as a recitalist/chamber musician (incl perf at Princeton Univ) and festival artist (incl perfs at the Berkshire Festival of Chamber Music, 1921, 1938). Bib: “Berkshire Festival of Chamber Music (1918-38).” Arts & Humanities Research Council. http://www.concertprogrammes.org. uk/html/search/verb/GetRecord/4287 (accessed March 15, 2011).

Vannini, Augusto. B. 1869 (Italy); d. Apr. 30, 1932 (Boston, MA). Immigrated to the U.S. in 1896. Clarinetist: Boston Symph (1903-26; Principal: 1903-04; Third: 1904-05, 1907-19, 1921-25; Second: 1905-07, 1920-21; Bass: 1919-20; E-flat: 1925-26). Was active as a chamber musician (incl perf at the Berkshire Festival of Chamber Music, 1918), and conductor (incl perfs with the Boston Symph Ensemble during the 1920s). Students include: RALPH MCLANE, ATTILIO POTO, MANUEL VALERIO. Bib: Huffman, Larry. “Boston Symphony Orchestra Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_Boston_Symphony.htm (accessed March 15, 2011).

Vaverka, Julie Anne. B. Sept. 6, 1953 (Enid, OK); d. Oct. 5, 2007 (Manchester, NH). Early clarinet studies with Max Tromblee. HS studies at Interlochen Arts Acad; undergrad studies begun at Oklahoma Univ with STEPHEN GIRKO. BM: Eastman SOM with STANLEY HASTY. Additional clarinet studies with HAROLD WRIGHT. Former clarinetist: Oklahoma City Symph (from age 19; youngest member of that orch); New Boston Wind Quintet; Pro Arte Chamber Orch (Co-Founder/ Principal: 1978-2000+); Boston Symph (Actg Second: 1991-95, +/-); Boston Wind Octet (Founding Memb); New Hampshire Symph; performed regularly with the Boston Pops/Ballet Orchs, Rhode Island

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Phil, and Springfield Symph-MA. Was active as a recitalist (incl perfs at the 1996 and 1997 Univ of Oklahoma Clarinet Symposia), soloist (incl perfs with the Pro Arte Chamber Orch), chamber musician (incl perfs with above groups and the BSO Chamber Players), freelance musician, festival artist (incl participation at the Monadnock and Tanglewood Festivals), and recording artist (incl recordings with the Boston Symph; performed as Principal Clarinetist on the BSO recording of the motion picture soundtrack for Schindler’s List). Former faculty member: Phillips Exeter Acad; New England Conserv; Boston Conserv; Boston Univ; Univ of Connecticut; Dartmouth Coll. Other positions/activities: Personnel Mgr, Monadnock Festival Orch and Springfield Symph; extra-musical activities included gardening and gourmet cooking. Students include: Tom Blodgett, Edna Huang, James Johnson, Pamela Jordan, Jennifer Karakitsos. Bib: Hershman-Tcherepnin, Sue-Ellen and Andrew Wilson. “Julie Anne Vaverka – In Memoriam.” World Clarinet Alliance. http://www.wka-clarinet.org/in_memoriam09.htm (accessed January 26, 2011).

Verrastro, Ralph E. BS: Mansfield State Coll (1958); MM: Ithaca Coll; EdD: Pennsylvania State Coll. Faculty member: East Carolina State Univ.

Villatico, Virgilio. Clarinetist: Natl Symph Orch (Clarinet/Sax: 1930-32).

Viscuglia, Felix Alfred [Phil]. B. Jan. 13, 1927 (Niagara Falls, NY); d. Apr. 11, 2009 (NE). BM(with honors): New England Conserv (1953). Former clarinetist: Boston Pops (1953-78); Boston Symph (1965-78); Utah Symph (1985-87); Sierra Winds (1982-2000, +/-); Nevada Symph (Principal: 1997, +/-); also performed with the Philadelphia Orch. Was active as a clarinet/sax soloist (incl perfs with the Boston Symph and MIT Concert Band), chamber musician (incl perfs with Sierra Winds), jazz musician, and recording artist (incl recordings with Sierra Winds on the Cambria label, and a recording of the Debussy Sax Rhapsody with the Boston Symph). Works commissioned by Sierra Winds incl those by Allbright, Barney Childs and Mel Powell; concerti dedicated to Viscuglia incl those of Caiazza and Bavicchi. Former faculty member: New England Conserv (1953-78); Massachusetts Instit of Tech (Asst Dir of Woodwinds/Asst Dir of Orch: 1965-76); Tanglewood; Univ of Utah; Univ of Nevada-Las Vegas (1978-2000). Other positions/activities: Interim Exec Dir, Nevada Symph (1996); was active as a clinician. Hon: listed in Who’s Who in American Music (Classical), 1985 edition; listed in International Who’s Who in Music and Grove’s Dictionary (as teacher of composer John Adams); favorable reviews of perfs appeared in The New Yorker and Las Vegas Review-Journal. Students include: John Adams (composer), Eric Daniel, Paul Epstein, Robert Fritz, D. Gause-Snelson, Jess Gross, Leon Janikian, MARK KARLIN, Marten King, MICHAEL RICHARDS. Felix Viscuglia commented,

Philosophically, one has to maintain an approach to the repertoire of the Clarinet as an ongoing development of demands and interpretation of technique while at the same time, nurturing the Classical and Romantic repertoire, focusing on excellence in performance. (Viscuglia/Paddock 1998)

Clarinetist and online columnist Sherman Friedland has written that as a clarinetist, Viscuglia

…was truly without peer….he could play anything there was to play on the clarinet. He could double and triple-tongue with ease, which he would demonstrate anytime he was asked. He simply knew everything there was to know about playing the clarinet. He did it easily and with great aplomb. (Friedland 2010)

Bib: Friedland, Sherman. “Felix Viscuglia on the Weekend.” Sherman Friedland’s Clarinet Corner. http://clarinetcorner.wordpress.com/?s=felix+viscuglia (accessed March 15, 2011); Viscuglia, Felix, to Tracey Paddock, Tallahassee, FL, June 22, 1998; “Viscuglia, Felix Alfred.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker, 1985: 614.

Vivier, Felix. Clarinetist: Minneapolis Symph (Principal: 1921-22). Was active as a recording artist (included on The Acoustic Era – Clarinet Recordings 1898-1918, Vol. 1, a recently released

335 collection of early clarinet recordings, produced by STAN STANFORD). Students include: ANGELO DE CAPRIO.

Volpe, Gennaro. B. Oct. 24, 1880 (Naples, Italy); d. Feb. 14, 1957 (NYC). Clarinet studies at the Naples Conserv. Former clarinetist: Aqua Viva Delli Fondi Band; Creatore’s Band (Solo Clarinet: 1906+); San Carlo Opera Co. Author, The High School of Clarinet Playing – Virtuoso Studies. Other positions/activities: was especially well-known for his knowledge and craftsmanship of mouthpieces. Bib: Collis, James, ed. “Gennaro Volpe.” The Clarinet 25 (Winter 1956-57): 14.

Votapek, Paul. B. Oct. 12, 1964 (NYC). HS clarinet studies with FRED ORMAND. BM/MM: Northwestern Univ with CLARK BRODY and ROBERT MARCELLUS; DM(ABD): Florida State Univ with FRANK KOWALSKY. Clarinetist: Naples Phil (Co-Principal: 1988-96; Principal: 1996-); Boston Pops Esplanade Orch (Principal: 1997 Asian tour); Utah Symph (Actg Principal: 1998-99). Active as a recitalist/soloist (incl perfs with the Naples Phil), chamber musician (incl perfs with the Kairos String Quartet and the Votapek Trio, comprised of himself, his father and sister), festival artist (incl participation at the High Point, Kairos, and Marrowstone Music Festivals), and recording artist (incl recording of the well-known Concert and Contest Collection, a compilation of clarinet solo works, with his father, pianist Ralph Votapek). Faculty member: Florida Gulf Coast Univ (Adj: current). Extra-musical activities incl cycling (has cycled across the country), running, chess, and routing for the Chicago Cubs. Plays on: Buffet Prestige R-13 clarinets; PYNE JK mouthpiece; Vandoren V-12 #3 ½ reeds. Bib: “Paul Votapek.” Naples Philharmonic. http://www.thephil.org/orchestra/orchestra_conductors_musicians/PaulVotapek-on.html (accessed March 15, 2011); Votapek, Paul. “Paul Votapek.” P. Votapek. http://www.paulvotapek.com/bio. html (accessed January 27, 2011); Votapek, Paul, to Tracey Paddock, Tallahassee, FL, September 5, 1998.

Voxman, Himie. B. Sept. 17, 1912 (Centerville, IA). Clarinet studies with William Gower Sr., GUSTAVE LANGENUS, and CLARENCE WARMELIN. BS(Chemical Engineering, with High Distinction)/MA(Psychology of Music, with Carl Seashore): Univ of Iowa (1933/1934). Clarinetist: Quad-City Symph Orch (Principal: 1932-49); Iowa City Concert Band (First: current). Faculty member: Univ of Iowa (Woodwinds: 1936-80; Dir of SOM: 1954-80; Prof Emeritus: current). Publications incl Woodwind Solo and Study Material Guide and Woodwind Ensemble Music Guide (both co-authored by Lyle Merriman and published by The Instrumentalist), as well as method books (incl some of the well-known Rubank series, co-published with William Gower, Sr.), editions, and compilations of solo/chamber works for winds. Other positions/activities: G. Leblanc Corp. Artist/Clinician; Légère Reeds Artist; Editorial Assoc, The Clarinet (formerly); Memb, U.S. Dept of State Acad Panel (for cultural exchange projects); Dept of Health, Ed and Welfare Consultant (field reader for music projects); has served in various elected and/or committee positions of music orgs incl NACWPI, MENC, MTNA, the Bruckner-Mahler Society of America, and the NASM Commission on Grad Studies; has been active as an administrator, intl adjudicator (incl the woodwind finals of the 1984 Canadian Natl Competitive Festival of Music). Memb: AMS, MLA, Galpin Society, Sinfonia. Hon: recip of various citations/awards from Phi Mu Epsilon, Kappa Kappa Psi, Pi Kappa Lambda, Phi Lambda Upsilon, Sigma Chi, Tau Beta Pi, Sigma Alpha Iota, and ABA; Honorary Life Memb, IA Bandmaster’s Assn; IA Music Educator Distinguished Service Award; Bell System Silver Baton Award; Edwin Franko Goldman Memorial Citation; Honorary DM, Coe Coll; Dr. of Humane Letters, DePaul Univ; 1st Place Award of Merit (1990-91), Natl Federation of State HS Music Assns; Medal of Honor, Midwest Intl Band and Orch Clinic; Univ of IA’s new SOM building designated the Voxman Music Building (1995); Distinguished Service Award, Missouri HS Activities Assn (1997). Has played on: Selmer silver clarinets; Leblanc instruments; currently plays on Leblanc Concerto clarinet and Légère and other cane reeds. In response to the author’s survey, renowned woodwind pedagogue Himie Voxman declined to list “prominent” students, noting that he has many students “who are successful in various ways – not necessarily as clarinetists.” (Voxman/Paddock 1998) In the interest of the historical nature of this document, the author seeks to respect Voxman’s sentiment while at the same time providing her own independently researched list of former Voxman students compiled through the biographies of others appearing in this dictionary and the internet. These clarinetists include, but are not limited to: THOMAS AYRES, LOREN BARTLETT, GARY BEHM, KARL BEVINS, ALAN BRADLEY, RUSSELL

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COLEMAN, Alex Fields, RICHARD FLETCHER, MILES ISHIGAKI, W. JAMES JONES, S. JAMES KURTZ, LAWRENCE MALLETT, DONALD MCGINNIS, LYLE MERRIMAN, JOSEPH MESSENGER, WILLIAM NICHOLS, DAVID RANDALL, EDWIN RILEY, David Ross, Louis Sacchini, David Samour, ROBERT TITUS, CHARLES WEST, DAVID WRIGHT. Himie Voxman has been one of the most prominent figures in music education, music administration, and woodwind scholarship of the twentieth century. His affiliation with the University of Iowa as woodwind instructor and later Director of the School of Music spanned more than 40 years, and in that time Voxman guided numerous music administrators and woodwind performers to their current positions. He has edited many important collections of clarinet music and clarinet method books and has authored a plethora of valuable woodwind resources. Voxman, now in his nineties, continues to be active as a clarinetist and teacher, and has been honored by the University of Iowa through the designation of its new music building as the Voxman Music Building. Former Voxman student WILLIAM NICHOLS commented that Voxman was “a knowledgeable and pragmatic person with whom I always learned something new at each lesson, even if it wasn’t always about the clarinet.” (Nichols/Paddock 1998) This statement portrays Voxman as a teacher not only of music, but also of life, and illuminates Voxman’s own above comment about what might define a successful former student. Voxman did train many successful musicians, but more importantly, he also trained successful people in general. More detailed information on Voxman and his career can be found in interviews and tributes published in The Clarinet and ClariNetwork, and in Michele Ann Bowen Hustedt’s dissertation, available online (all listed in Bib below). Bib: Bowen Hustedt, Michele Ann. "The Life and Career of Himie Voxman." PhD diss., University of Iowa, 2010 at http://ir.uiowa.edu/etd/465 (accessed January 27, 2011); Messenger, Joseph and Charles West. “Paying Tribute to a Unique Master-Teacher.” ClariNetwork 6 (Holiday 1987): 4, 12; Nichols, William, to Tracey L. Paddock, Tallahassee, FL, May 26, 1998; Riley, Edwin. “Featuring Himie Voxman: An Interview by Edwin Riley.” ClariNetwork 6 (Clar-Fest 1987): 4-9; Riley, Edwin. “Featuring Himie Voxman, Part 2.” ClariNetwork 6 (Fall 1987): 4-5; Voxman, Himie, to Tracey Paddock, Tallahassee, June 16, 1998; West, Charles. “An Interview with Himie Voxman.” The Clarinet 27 (September 2000): 62-65.

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W

Waggoner, Robert. Clarinetist: Atlanta Symph (Clarinet/Bass/Sax: 1952-56 +/-; Sax: 1956+).

Wagner, Lawrence. BS: Temple Univ; MM: Catholic Univ; additional studies at Curtis IOM (1959). Clarinet studies with ANTHONY GIGLIOTTI. Former clarinetist: Philadelphia Orch (1966-67); Philharmonia Orch (Principal); Philadelphia Lyric Opera (Principal); Pennsylvania Opera Theater (Principal); currently performs as a sub with the Philadelphia Orch. Active as a chamber musician (incl perfs with the Conwell Woodwind Quintet). Faculty member: Temple Univ (Prof Emeritus of Clarinet: current). Other positions/activities: active as a conductor (conducted the orch at Temple Univ for 30+ years). Students include: Mark Belczyk, Scott Collins, Enrique Lasansky, Richard Schwartz. Bib: “Lawrence Wagner.” Temple University. http://www.temple.edu/boyer/appdev/port.asp?portID=434 (accessed March 15, 2011).

Wakefield, Leigh Graham. B. July 9, 1958 (Minneapolis, MN). BA(Political Science)/BA (Mus)/DM(1995): Univ of Minnesota (1981/1983/1995) with JOHN ANDERSON; MM: New England Conserv (1985) with PETER HADCOCK. Clarinetist: New Bedford Symph-MA (Principal: 1984-88); Nashua Symph-NH (Principal: 1985-88); Whirlwinds (1986-88); Fargo-Moorhead Symph/Civic Opera (Principal: 1988-); Fargo-Moorhead Symph Woodwind Quintet (1988-). Active as a soloist (incl perfs throughout New England and the Midwestern U.S.) and chamber musician (incl perfs with above groups). Faculty member: Concordia Coll (Asst Prof: 1988-; Dir of Concordia’s Cobber Band and Jazz Ensemble: current). Other positions/activities: ICA State Chair, MN; active as a conductor, clinician, and lecturer (incl presentation at the 1995 Minnesota MEA State Convention). Memb: CBDNA, Minnesota MEA; MENC, MN Band Dirs Assn, ICA, Pi Kappa Lambda. Hon: Pi Kappa Lambda Schol; Young Audience of America sponsorship for two-year tour with Whirlwinds (woodwind trio, 1986-88). Plays on: Buffet R-13 clarinets; Moennig barrel; Harrison (gold) ligature; Vandoren B45 mouthpiece; Vandoren V-12 #3 ½ reeds. Students include: Erica Beard, Myroslava Hawryluk. Leigh Wakefield was greatly influenced by his teacher, the late PETER HADCOCK, and described him as

A passionate, dedicated, articulate and compassionate teacher. His life was infused with an energy that carried into his music. Pete was a marvelous human being and is missed greatly. (Wakefield/Paddock 1998)

On musicianship and clarinetistry, Wakefield commented:

Interpretation and analysis drive technique. Tone, phrase shape, nuances of air speed – and all other facets of musical understanding are at the core of performance. Learning is the process of understanding the demands of the instrument, the wishes of the composer and the historical context during which the piece was composed. (Ibid.)

Wakefield thoroughly enjoys his occupation, noting:

I am enjoying a second life as a conductor! . . . I love my job! I am fortunate to have a diverse studio, plenty of performance opportunities and a career which keeps me growing, both as a clarinetist and as a person. (Ibid.)

Bib: Wakefield, Leigh Graham, to Tracey Paddock, Tallahassee, FL, July 15, 1998.

Waldecker, Todd. B. Aug. 3, 1967 (Columbia, MO). BME: Univ of Missouri (1990) with PAUL GARRITSON; MM: Yale Univ (1992) with DAVID SHIFRIN; DM: Indiana Univ with JAMES CAMPBELL, ELI EBAN, HOWARD KLUG, and Alfred Prinz. DM diss: “Alfred Prinz: His Contribution to the Modern Viennese Clarinet Tradition Through His Compositions for Clarinet.” Clarinetist: Stones River Chamber Players (1998-); Orch Nashville (Principal: 1999-); perfs regularly with the Nashville

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Symph and has performed with various orchs/chamber groups throughout Tennessee and the Midwest U.S. Active as an intl recitalist (incl perf at ClarinetFest 1998), soloist (incl televised perf with the Middle Tennessee State Univ Wind Ensemble in Korea), chamber musician (incl perfs with the Stones River Chamber Players throughout the U.S. and Europe), and recording artist (incl recordings with the Nashville Symph for NPR and on the Decca and Naxos labels). Faculty member: Univ of Wisconsin-Oshkosh (Vstg Lect: 1992-94); Univ of Northern Iowa (Vstg Lect: Spring 1998); Middle Tennessee State Univ (Asst Prof: 1998-); TN Governor’s School for the Arts (current); has also taught at Purdue Univ. Other positions/ activities: active as a lecturer (incl presentation of “Alfred Prinz: His Life and His Music” as Guest Lect at the 1998 ICA conference). Memb: ICA, Pi Kappa Lambda. Hon: Grad Fellowships, Yale and Indiana Univs; “Teaching Excellence Recognition Award,” Indiana Univ. Plays on: Buffet clarinets; PYNE and SMITH mouthpieces; Vandoren reeds. Students include: Rosemary Brumbelow, David Freeman. Bib: “Musical Chairs.” The Clarinet 26 (June 1999): 64; “Todd Waldecker.” MTSU School of Music. http:// www.mtsu.edu/music/faculty/waldecker.shtml (accessed March 15, 2011); Waldecker, Todd, to Tracey Paddock, Tallahassee, FL, July 24, 1998.

Waldo, Harold. B. Chicago (1912). Chicago clarinetist of the 1940s; listed in Who is Who Among Musicians (1941). Bib: “Waldo, Harold.” Who is Who in Music. Chicago: Lee Stern Press, 1941: 234.

Waldow, C.F. Clarinetist of the orch which eventually became the Los Angeles Phil (late 1800s/ early 1900s).

Walker, Martin [Marty]. Grad: California Instit of the Arts; BM/MM: Univ of Redlands with PHILIP REHFELDT; DM: Michigan State Univ with ELSA LUDEWIG VERDEHR; additional studies at the Acad of Music and Dramatic Arts-Vienna, Austria. Additional clarinet studies with Rudolf Jettel, Thea King, John McCaw, Florian Popa, Gabor Reeves, and Peter Rieckhoff. Clarinetist: Improvisors’ Orch; Some Over History; Ghost Duo; Gong Farmers; California E.A.R. (Artists-in-Res, Los Angeles County Museum of Arts). Active as a clarinet and bass clarinet recitalist/soloist (incl perf with the Antelope Valley Symph, and perfs on the Monday Evening Concerts, New Music Mondays, the Los Angeles Contemporary Exhibitions concert series, in Mexico, and throughout the U.S.), chamber musician (incl frequent perfs as half of the Walker/Hartt Duo), new music specialist (incl perfs with above ensembles, eXindigo, Viklarbo, and the Robin Cox Ensemble), and festival artist (incl perfs at the New Music America and New Music Intl Festivals and the Intl Festival of New Music), and recording artist (on the Advance, Brewster, Cold Blue, CRI, Grenadilla, Raptoria Caam, Rastascan, Tzadic, and Zanja Records labels); broadcast perfs given on NPR and for Pacifica. Faculty member: Northern Michigan Univ (1983+). Other positions/activities: active as a composer; has also been active as a L.A.-area realtor and as a software specialist. Hon: favorable reviews of perfs appear in The Clarinet, Fanfare, The Los Angeles Times, and Option Magazine. Students include: Scott Vance, Loren Weisbrod. Marty Walker is active as a specialist in the performance of contemporary music, and is well- known for his unique style of improvisation on both clarinet and bass clarinet. He has premiered more than 80 works composed specifically for him. Bib: “Marty Walker.” Cold Blue Music. http://www.coldbluemusic.com/pages/CB0016.html (accessed March 15, 2011); “Musical Chairs.” The Clarinet 11 (Fall 1983): 38.

Wall, Edmund Alfred. B. circa 1863; deceased. Father and teacher of EDMUND WALL. Clarinet studies in the U.S. and Germany. Former clarinetist: Savoy Theater-London; Sousa Band. Was active as a clarinetist and orch leader between 1885-1916. Played on: Buffet clarinet and mouthpiece; “Megaphone” reeds, a product of France, which are said to have been the Vandoren reeds of that era. Edmund A. Wall began his music career as a member of several Boston Irish dance bands. He then studied briefly in Germany and performed in London before returning to the U.S. to lead various New York City hotel orchestras and to perform as a member of the Sousa Band. During the course of his career, Wall performed in a number of ensembles (including the Sousa Band) with his sons, clarinetists Charles and EDMUND WALL. A sign of the time during which he lived, Wall was compelled to change from the Oehler system to the Boehm system clarinet as many of the better players of the time were doing. Bib: Acitelli, Emil. “An Interview with Edmund Wall.” The Clarinet 10 (Fall 1982): 8-12.

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Wall, Edmund C. B. 1896; d. Jan. 24, 1985. Clarinet studies begun at age 6 with his father, EDMUND A. WALL, and continued with ALEXANDRE SELMER. Former clarinetist: Pat Conway Band; Sousa Band (Solo Clarinet: 1926-31; performed in this band with his father and brother, also clarinetists); Arthur Pryor Band (Principal); Goldman Band (Principal); NYC Ballet Orch (Principal: for 24 years); also performed with the Metropolitan Opera Orch. Was active as a soloist (incl first public perf at age 9, numerous perfs with the Sousa Band throughout the U.S., a perf of the Copland Clarinet Concerto, with the NYC Ballet Orch, attended by Copland and BENNY GOODMAN, and 160+ perfs of the same work throughout Europe, Japan, and Australia); broadcast perfs given on radio in NYC. Former faculty member: Horace Mann School. Favorable review of perf appeared in The Oregon Daily Journal. Other positions/activities: Secr/Treas, Sousa Band Fraternal Society; Ed., Sousa Band Fraternal Society Newsletter (1976+); was active as an arranger (incl band arrangement of Jeanjean’s Caprice Brilliant). Played on: Selmer clarinets (incl the Model 10); Vandoren B45 and Selmer mouthpieces; Vandoren reeds. Jesse Krebs’s online article (listed in Bib below) on the solo clarinetists of the Sousa Band is well worth reading for a vivid account of Edmund Wall as a clarinetist and person. It also describes the elevated status of band solo clarinetists during the late-nineteenth and early-twentieth centuries. Bib: Acitelli, Emil. “An Interview with Edmund Wall.” The Clarinet 10 (Fall 1982): 8-13; “In Memoriam: Edmund C. Wall.” The Clarinet 12 (Summer 1985): 13; Krebs, Jesse. “The Clarinet Soloists of the Sousa Band: 1892-1929.” ICA. http://www.clarinet.org/clarinetFestArchive.asp?archive=45 (accessed March 15, 2011).

Waller, Richard George [Dick]. B. Nov. 26, 1929 (Philadelphia). Early clarinet studies with Hoyt Mosher, Fred Ohlendorf, and Ralph Sarber. BA(Mus): Occidental Coll (1954); additional studies at Juilliard with DANIEL BONADE. Addition clarinet studies with KALMAN BLOCH. Former clarinetist: American Ballet Theater (Principal: 1949-50); U.S. Marine Band-Washington D.C.; Cincinnati Symph (Principal: 1960-94, +/-). Former faculty member: Cincinnati Conserv (1970s, +/-); Aspen Music Festival (1970-80s, +/-). Has been active as a recitalist, soloist (incl perfs with the Cincinnati Symph), and chamber musician; plays with a double-lipped embouchure. Former faculty member: Aspen Music Festival. Other positions/activities: Founder/Artistic Dir, Linton Chamber Music Series (formerly, 1978-2000+); has been active as a visual artist since 1974 (some of his works, which he describes stylistically as “free association,” can be viewed at his online gallery, listed in Bib below). Students include: Karen Beacham, Rob Chavez, ARTIE CLIFTON, DOUGLAS CORNELSEN, JULIE DEROCHE, JOSEPH EDWARDS, Norman Foster, DANIEL GILBERT, Diane Hargreaves, Barbara Hume, WILLIAM HUDGINS, TOD KERSTETTER, TODD KUHNS, Eugene Marquis, Don Mokrynski, LISA OBERLANDER, THEODORE OIEN, ANTHONY PASQUALE, DANIEL SILVER, ROBERT WALZEL, Floyd Williams, JOHN WARREN, James Wierzbicki. Former Richard Waller student ARTIE CLIFTON commented:

When I studied with Richard Waller at the Univ. of Cincinnati, 1975-77, he taught only double lip method. I switched to double lip embouchure (for two years only). Though I didn’t switch because of single lip embouchure problems, when I switched back to single lip after studying with him, I found it helped my embouchure and sound (more flexibility & tone color). I don’t teach or promote double lip embouchure, but the experience was positive for me. (Clifton/Paddock 1998)

Bib: Books LLC, Ed. Excerpt from American Classical Clarinetists: Richard Waller, Robert Marcellus, Stanley Drucker, Todd Levy, James Campbell, Eli Eban, Larry Combs. Amazon.com. http://www.amazon.com/American-Classical-Clarinetists-Marcellus-Campbell/dp/1155885805 (accessed January 27, 2011); Clifton, Artie, to Tracey L. Paddock, Tallahassee, FL, 1 September 1998; “Dick Waller – Gallery.” http://www.dickwaller.com/sitepages/Gallery.html (accessed March 15, 2011).

Waln, George Elbridge. B. Jan. 4, 1904 (Clarion, IA); d. Jan. 31, 1999 (Lake Forest, CA). BM/MM: Northwestern Univ with DOMENICO DE CAPRIO and ROBERT LINDEMANN; also earned an accounting degree from Univ of Iowa. Additional clarinet studies with GUSTAVE LANGENUS. Former clarinetist: Oberlin Faculty Quintet (1929-69, +/-). Was active as an orch clarinetist, recitalist, soloist, chamber musician, and woodwind specialist. Former faculty member: Univ of Illinois (1927-28, +/-); Oberlin Conserv (Prof of Woodwinds: 1929-69); Univ of Southern California; Chapman Coll; served

340 as Vstg Faculty at SOM’s across the U.S. Numerous articles published in The Instrumentalist and other music journals. Other positions/activities: Woodwind Editor, The Instrumentalist (1946-86, +/-); Pres, NACWPI (1953-55); Kiwanis Fellow (1998); was active as an adjudicator, administrator (incl elected and/or committee positions with the Natl School Band and Orch Assn, Ohio MEA, MENC, and ICA), and music arranger/editor (incl method books and works for clarinet, chamber ensembles, and clarinet choir). Hon: OH Distinguished Service Award (1959); Edwin Franko Goldman Memorial Citation (1986); honorary lifetime memb, MENC and NACWPI; George F. Hixon Medal and Plaque, Kiwanis Intl (1998). Students include: Carl Anderson, ALAN BALTER, LOREN BARTLETT, Bruce Breslauer, CARMINE CAMPIONE, JAMES EAST, LORA FERGUSON, Alex Fields, FREDRIK HEDLING, Mark Hollingsworth, MILES ISHIGAKI, THEODORE JAHN, ALBERT KLINGLER, DANIEL KYSER, ELSA LUDEWIG-VERDEHR, DANIEL MAGNUSSON, David Maslanka, WILLIAM MCCOLL, LAREY MCDANIEL, DONALD MCGINNIS, KONRAD OWENS, David Ross, Carolyn Smith, CHRISTINE WARD, Richard York. George Waln was one of the great American clarinet (and woodwind) teachers of the twentieth century and was a lifelong advocate of music education in public schools, particularly at the secondary school level. Waln strove to turn out musicians who, like himself, were not only fine players, but who also sought to add to the music community at large through teaching. Much insight into Waln’s philosophy on clarinet performance as well as a bibliography of his published works can be found in John Scott’s interview with Waln (see Bib below). In a tribute to Waln at the end of this interview, Frank Borkowski, a colleague of Waln’s, offered the following commentary:

George Waln is a premier clarinet teacher. He is patient, demanding, and fair. Capitalizing on the strengths of each student, he tailors a course of study that not only addresses effectively a student’s individual weaknesses, but at the same time exposes the student to the principal clarinet literature. Mr. Waln seems to know just how best to get at a problem. He is never locked into one way of doing something but gives to each student latitude to experiment and to seek ways of solving both the simple and complex problems that are singular to each student-performer.

Mr. Waln is the complete professional: teacher, performer, composer, arranger, author. He loves what he does. He loves every minute of it. Whether it is in performance as a soloist with a junior high school band, coaching a talented student in a complex contemporary work, practicing in his Air Stream trailer for a community band concert, arranging a hitherto unknown piece for clarinet choir, or scraping reeds and shaving mouthpieces, George Waln loves his work and through his work loves his life. (Scott 1984, 19)

Bib: “George Waln Student Reunion.” The Clarinet 13 (Summer 1986): 41; “In Memoriam: George E. Waln, 1904-1999.” The Clarinet 26 (June 1999): 60; Moore, Kenneth. “Memorial Minutes of February 23, 1999.” Oberlin Online. http://www.oberlin.edu/news-info/99feb/memmins_02241999.html (accessed March 15, 2011); Scott, John C. “An Interview with George Waln.” The Clarinet 11 (Spring 1984): 12-19; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 58; Waln, George. “Relaxed Concentration: An Interview with Mitchell Lurie.” The Instrumentalist 32 (January 1978): 55-61.

Walzel, Robert. B. Mar. 13, 1959 (Freeport, TX). BME(magna cum laude)/MM: Univ of Houston (1982/1985) with JEFFREY LERNER; DM: Univ of North Texas (1997) with JAMES GILLESPIE; additional studies at the Aspen Music Festival (1984). Additional clarinet studies with DAVID PECK, ROBERT MARCELLUS, and RICHARD WALLER. DM diss: “Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet.” Clarinetist: Mariah Woodwind Quintet (1988-); Lubbock Symph (Principal: 1988-99); Con Fuoco Duo (1989-); Texas Clarinet Consort (1994-); has also performed with the Natal Phil-South Africa, and the Houston and San Antonio Symphs. Active as an intl recitalist (incl perfs at ClarinetFest 1997, 1998, 1999), soloist (incl perfs in North and Central America, Asia, Europe, and Africa), chamber musician (incl perfs with above groups, the Clear Lake Chamber Music Society, Houston’s Society for Performing Arts, the Dallas String Quartet, the Ensemble of Santa Fe, and Intermezzo), festival artist (incl participation at the

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Aspen Music Festival), jazz/popular musician (incl perfs with Sammy Davis, Jr., Robert Goulet, Andy Williams, and Steve Lawrence and Edie Gorme), saxophonist, and recording artist (on the Con Fuoco Digital label). Faculty member: Sam Houston State Univ (Instructor of Clarinet: 1987-88; Dept of Music Chmn: formerly, 1999-2000+, +/-); Texas Tech Univ (Prof of Clarinet: 1988-99); Univ of Utah (Dir of SOM: current). Co-author (with Michael Boone), The Concept-Based Clarinet Method Book: A Practical Guide to the Formation of Good Playing Habits (Cimarron Music & Productions, 1986). Articles published in The Clarinet. Other positions/activities: Creator, The Single Reed Video, a video presentation on preparing/ adjusting commercially manufactured single reeds (Mark Shelton Productions, 1990); Pres, HJP Musical Enterprises; Festival Coordinator, ICA ClarinetFest 1997; Artistic Ambassador for the U.S. Information Agency (1997); ICA State Co-Chmn, TX (formerly); Treas, ICA (1998-2000); Digital Editing/Mastering Engineer, Music from the ICA; active as an intl adjudicator (incl judging in Belgium and for the Intl Clarinet Compt of Dos Hermanas-Spain) and clinician. Memb: ICA. Hon: prize winner in several regional and natl compts. Plays on: Buffet R-13 (B-flat/A/E-flat) clarinets; Kaspar (Chicago) 14, Kaspar (Chicago) 16 (refaced by RICHARD HAWKINS), and Kantor D mouthpieces; Vandoren V-12 #4 ½ reeds; GREGORY SMITH E-flat mouthpiece with Vandoren V-12 #4-4 ½ B-flat reeds; Buffet RC Prestige C clarinet; Selmer Series 9 bass clarinet; Vandoren #3 bass reeds. Students include: Michael Dean, Bryan Guidry, Patrick Johnson, James Logan, Mike Medley, Ronald Scott, Michael Shelburne, Sheryl Slater, Jill Stewart, Xin Yang Zhou. Robert Walzel commented,

As teachers, we should direct our students in the task of developing and refining the fundamentals of the technical aspects of playing. At the same time, we should encourage them to develop their own individual musical voice; one which is not cloned or modeled particularly to another individual, but rather an extension of their own spirit and personality. This should be done through the study and performance of music from all styles and genre including jazz and other socially and/or ethnically influenced works. (Walzel/Paddock 1998)

Bib: Walzel, Robert, to Tracey Paddock, Tallahassee, FL, May 6, 1998.

Ward, Christine [Tina]. B. Hillside, NJ. BM/BME: Oberlin Conserv (1968) with GEORGE WALN; MA(Mus Hist): Case Western Reserve Univ (1970) with ROBERT MARCELLUS. Additional clarinet studies with ANTHONY GIGLIOTTI. Clarinetist: St. Louis Symph (Second: 1970-; has also served as Actg Asst Principal/E-flat); Santa Fe Opera Orch (Principal: 1972-84, 1991). Active as a soloist (incl perfs with the St. Louis Symph) and chamber musician (incl perfs as part of the St. Louis Symph’s education/community outreach program). Former faculty member: Univ of Missouri-St. Louis (1980s+); Webster Univ; Washington Univ; currently active as a private clarinet instructor and clarinet instructor at Webster Univ’s Community Music School. Other positions/activities: active as an adjudicator and woodwind coach (incl participation with the St. Louis Symph Youth Orch and Webster Univ’s Community Music School Ensembles). Has played on: Buffet clarinets; Kaspar (Cicero) mouthpiece; handmade reeds. Students include: Dana Hotle, Donna Nossett, Bill Olsen, Rachel Siegal, JEANINE YORK-GARESCHÉ. Bib: Mellott, George. “The Clarinet Section of the Saint Louis Symphony Orchestra.” The Clarinet 7 (Spring 1980): 12; “Tina Ward.” Saint Louis Symphony. http://www.slso.org/musicians/bios/bio-tina- ward.htm (accessed March 15, 2011).

Ware, Allan. B. Raleigh, NC. Early clarinet studies with CURTIS CRAVER. BA(Religion): Davidson Coll; BA(Mus): Peabody Conserv with IGNATIUS GENNUSA; MM: Univ of North Carolina- Chapel Hill with DONALD OEHLER; additional studies in Detmold, West Germany with Jost Michaels. Additional clarinet studies with ROBERT LISTOKIN. Clarinetist: McKenzie-Ware Duo. Active as a recitalist/soloist (incl perfs with the Salzburger Soloists, Cologne Chamber Orch, and Turkey’s Izmir State Symph), chamber musician (incl perfs with the Saint-Clair Trio, Bremen Clarinet Quartet, and the Ciompi, Faust, and Laurentian String Quartets), festival artist (incl participation at the Monadnock Music Festival), and recording artist (with the Bremen Clarinet Quartet on CNS Records). Faculty member: City Conserv

342 of Osnabrück, West Germany (Assoc Prof of Clarinet/Sax/Pedagogy/Chamber Mus: 1985-). Articles published in The Clarinet. Other positions/activities: ICA Rep, Germany; Artistic Dir, “Sonntagskonzerte auf dem Gertrudenberg,” Osnabrück; active as a clinician (incl numerous master classes given with the McKenzie-Ware Duo). Memb: ICA. Hon: Fulbright Grant for study in West Germany; Prize Winner, Carnegie Hall Concert Artist’s Guild Compt (1982); Prize Winner, Intl Brahms Chamber Music Compt- Hamburg, Germany (1983); McKenzie-Ware Duo selected to participate in the NEA’s “Arts America” program (1983; perfs, master classes, and radio/television broadcasts given in 30+ countries); “Grand Prix” Winner, 4th Annual Intl Chamber Music Compt-Paris (1987); favorable review (by ARMAND FERLAND) of recording (with Bremen Clarinet Quartet) appears in The Clarinet (see Bib below); favorable reviews of perfs appear in numerous German newspapers. Students include: DANIEL MCKELWAY. Allan Ware, Professor of Clarinet at the City Conservatory of Osnabrück, West Germany, is one of relatively few Americans to have achieved success as a professional clarinetist and clarinet teacher in Europe. A Fulbright Grant to study in West Germany laid the foundation for his career, followed by National Endowment for the Arts sponsorship to present concerts and masterclasses as part of the McKenzie-Ware Duo. The duo, comprised of Ware and his wife, pianist Barbara McKenzie, performed as “Arts America” ambassadors in more than thirty countries in Europe, Asia, and Africa. Although he still resides, performs, and teachers in Germany, Ware also performs throughout Europe and frequently returns to the U.S. to perform and give master classes/clinics. Other American clarinetists who hold or have held positions in European orchestras include LEE MORGAN, LARRY PASSIN, ROGER SALANDER, SUZANNE STEPHENS, and MARINA STURM. Bib: Ferland, Armand. “Compact Disc Reviews.” The Clarinet 25 (July/August 1998): 64; Ware, Allan. “A Chat with Professor Milenko Stefanovic.” The Clarinet 15 (May/June 1988): 33; Ware, Allan. “Allan Ware, Clarinet.” A. Ware. http://www.allanware.com/ (accessed March 15, 2011); Ware, Allan. “An Introduction to a German Institution: Das Städtische Konservatorium in Osnabrück.” The Clarinet 25 (February/March 1998): 68.

Warmelin, Clarence G. Clarinet studies with JOSEPH SCHREURS. Former clarinetist: Minneapolis Symph (Principal); Warmelin Clarinet Quartet (1930s). Was active as a Chicago freelance clarinetist during the 1930s (+/-). Students include: KARL BEVINS, John Cerminaro, Bob Draznik, LEOPOLD LIEGL, ROY SCHMIDT, WILLIAM STUBBINS, HIMIE VOXMAN. Clarence Warmelin was an early advocate of the clarinet choir, having formed a well-known Chicago clarinet choir in the 1930s comprised of both student and professional clarinetists. He later directed a clarinet choir in Minneapolis and contributed numerous arrangements to the clarinet choir repertoire. Warmelin also founded and performed with the Warmelin Clarinet Quartet. As a teacher, Warmelin was known for his emphasis on technique. He helped establish a strong clarinet playing tradition in the American Midwest. Bib: Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57; Morgan, John. “The History of the Clarinet Choir.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 127-8.

Warner, Melvin. B. Apr. 4, 1937 (Oakland, CA). BM/MM: Univ of Southern California (1959/1962) with Anthony Disiderio, Bert Gassman (oboe), Clement Hutchinson, and MITCHELL LURIE. Additional clarinet studies with DOMINICK FERA, Karl-Heinz Hahn, Karl Leister, and Hans Rudolph Stalder. Clarinetist: St. Louis Symph (Assoc Principal: 1968-70); Illinois Chamber Symph (Principal: 1988-); Chicago Sinfonietta (Principal: 1988-); Illinois Chamber Symph Midsummer’s Music; has also performed, recorded, and toured with the Chicago Symph. Active as a recitalist, soloist, chamber musician, and recording artist (on the Centaur and Crystal Records label). Faculty member: Northern Illinois Univ (Prof of Clarinet/Chamber Mus: 1974-2000+; Prof Emeritus: current). Other positions/activities: active as a music editor (incl an edition of the Rose 32 Etudes with piano accompaniment). Memb: AFM. Hon: favorable reviews of recordings appear in Audio Magazine, The Clarinet (see Bib below), and Fanfare Magazine. Plays on: Buffet clarinets (B-flat/A/C); Chadash barrel; GREG SMITH mouthpiece; R.G. ligature; Rico Grand Concert select thick blank reeds. Students include: Kelly Coyle, Phil Dennis, John Friedrichs, Shandra Helman, Kathryn Nevin, Jay Niepoetter, Robert Ramsey. Bib: Nichols, William. “Audio Notes.” The Clarinet 27 (March 2000); “Record Reviews.” The Clarinet 5 (Winter 1978): 30;

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Warner, Melvin, to Tracey Paddock, Tallahassee, FL, July 24, 1998; Wong, Bradley. “Audio Notes.” The Clarinet 22 (May/June 1995): 13; Wong, Bradley. “Record Reviews.” The Clarinet 13 (Winter 1986): 54.

Warren, John. Native of Shreveport, LA. BM(cum laude): Cincinnati Conserv with THOMAS LEGRAND; Dipl: Curtis IOM (1986) with DONALD MONTANARO; additional studies as a Fellow at the Aspen Music Festival with RICHARD WALLER. Clarinetist: Omaha Symph (Principal: formerly); Savannah Symph (Principal: formerly, for 16 years); Lake George Opera (Principal); Atlanta Opera Orch (current); IRIS Chamber Orch (current); Greenville Symph (current); perfs regularly with the Alabama, Atlanta, and Charleston Symphs. Active as a recitalist/soloist (incl perfs with the Curtis and Philadelphia Orchs, and the Beaufort, Hilton Head, Omaha, and Savannah Symphs), and chamber musician. Faculty member: Univ of Nebraska-Omaha (formerly); Armstrong Atlantic State Univ (formerly); Kennesaw State Univ (Artist-in-Res: current). Hon: Winner, Philadelphia Orch Young Artists Compt. Bib: “John Warren.” Kennesaw State University. http://www.kennesaw.edu/music/faculty_bios/JohnWarren.shtml (accessed March 15, 2011); “Musical Chairs.” The Clarinet 16 (May/June 1989): 47.

Warren, Tasha. Grad: NC School of the Arts with ROBERT LISTOKIN; BM/MM/DM: Indiana Univ with JAMES CAMPBELL, ELI EBAN, HOWARD KLUG, and Alfred Prinz. Additional clarinet studies with WESLEY FOSTER. Clarinetist: Charlottesville Symph (Principal: current); Univ (of VA) Symph Orch (Principal: current); has also performed as Principal Clarinetist of the Columbus Phil-IN, JSOM New Music Ensemble, and Midwest Contemporary Consort. Active as a recitalist/soloist (incl ICA conference perf, and solo recording with the Slovak Radio Orch), chamber musician (incl perfs with Mirabai and MOSAIC), festival artist (incl participation at the Banff Center, June in Buffalo, and Scotia Festival), new music specialist (incl work with above ensembles and collaborations with composers/ conductors C. Colnot, O. Knussen, S. Ran, and A.R. Thomas), and recording artist (on the Alba, Crystal Records, Innova, and SCI Records labels and for Hal Leonard Productions); broadcast perfs given on CBC Radio and PBC Korea television. Premiere perfs incl work by Yoomi Paick. Faculty member: Louisiana Stat Univ (formerly); Univ of Virginia (current). Other positions/activities: Selmer-Paris Concert Artist; active as a clinician; has had a very active role in establishing Bloomington, IN’s Musical Arts Youth Orch and the IU Jacobs SOM Wind and Brass Mentorship/Artist-of-the-Month Programs. Hon: Winner, IU Woodwind Concerto Compt. Bib: “Tasha Warren.” University of Virginia. http://artsandsciences.virginia. edu/music/people/faculty/performance/Warren.html (accessed March 13, 2011).

Weaver, Frederick M. [“Buck”]. B. Circleville, OH; d. 1948. Advanced music studies at Boston Conserv, Ohio State Univ, and the Chautauqua Instit. Former clarinetist: Arcadia Sextet; Sousa Band (1927); Ringling Brothers, Barnum & Bailey Circus. May have taught at Ohio State Univ; was active as a private clarinet/woodwind instructor in Columbus, OH. Other positions/activities: was active as a conductor (served as Dir of the Army’s 7th Regimental Band during WWI, and Dir of the Hartman Theatre, WHKC Radio Band, and various Florida orchs/bands). Students include: DAVID HITE, Frank Kinnan, HARRY SCHMIDT. Bib: “Frederick M. Weaver.” http://seniormusicians.homestead.com/2009. html (accessed March 15, 2011); Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/sousa/roster.htm (accessed March 15, 2011).

Weber, David. B. Dec. 18, 1913 (Vilna, Russia); d. Jan. 23, 2006 (Manhattan, NY); Immigrated to the U.S. in 1921. Clarinet studies with ROY SCHMIDT, ALBERT LUCONI, SIMEON BELLISON, DANIEL BONADE, and GASTON HAMELIN. Former clarinetist: Natl Orch Assn (1933); NBC Symph (1938-39; 1952-53); Metropolitan Opera Orch (Principal: 1940-43); New York Phil (Assoc Principal: 1943-44); CBS Symph (1946-52); Symph of the Air (Principal: 1954-57+); NYC Ballet (Asst Principal: 1960-64; Principal: 1964-86); also performed with the NY Chamber Symph and Alexander Schneider Chamber Orch. Was active as an intl recitalist, soloist (incl perfs with the CBS Symph and NYC Ballet Orch), chamber musician (incl perfs with the Beaux Arts, Claremont, Hungarian, Paganini, and WZXR String Quartets, the New Music Quartet, the Carnegie Sextet, and New Friends of Music), and recording artist (incl much of the standard clarinet solo/chamber repertoire on the Cambridge, Columbia Masterworks, Decca, Grenadilla Society, Lyricord, and Stradivari labels); was among the first American clarinetists to appear as a broadcast recitalist (on WQXR-NY, c.1950). Premiere perfs incl Ben-Haim’s Pastorale Variée (for clarinet, harp, and strings) with the Columbia Broadcasting Symph, and the quintets of and Douglas Moore.

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Former faculty member: SUNY-Purchase; CUNY-Queens Coll; Columbia Univ Teachers Coll (1945-66); Princeton Univ (1973-75); Juilliard (1975-89, +/-); was active as a private clarinet instructor. Co-Editor (with ROBERT DILUTIS), Lebanchi Vol. 1. Articles published in Woodwind Magazine, Woodwind Trade Magazine, and other music journals. Other positions/activities: was active as an intl clinician/lecturer. Hon: NY Phil Schol, for study with SIMEON BELLISON (1933); TIME Magazine Annual Recorded Music Award for Chamber Music Single (Prokofiev’s Overture on Hebrew Themes with the Carnegie Sextet on the Grenadilla label, 1946); honored by Boosey & Hawkes/Buffet Crampon (1993). Played on: Buffet clarinets; Chedeville and crystal mouthpieces; played with a double-lipped embouchure. Students include: ALAN BALTER, Barbara Benedett, WILLIAM BLAYNEY, Katie Combest, Kenny Davern, ROBERT DILUTIS, Theresa Dolak, Christine Fell, RENA FELLER FRIEDMAN, Jeffrey Geller, DANIEL GILBERT, BENNY GOODMAN, David Gould, BRIAN HYSONG, April Johannesen, Barry Kolman, Wallace Kramer, S. JAMES KURTZ, TODD LEVY, ROBERT LISTOKIN, Campbell MacDonald, JON MANASSE, D. RAY MCCLELLAN, JOHN MCMANUS, JESSICA PHILLIPS, Linda Poland, GREGORY RADEN, REBECCA RISCHIN, JOSEPH RUTKOWSKI, Alia Sabur, Benjamin Seltzer, Bonnie Isbey Sholl, LAWRENCE SOBOL, NOEL STEVENS, John Van Bockern, Stanley Walden, CHRISTOPHER WOLFE, Michele Wright. David Weber was successful not only as an orchestral clarinetist, having held several Principal positions, but also as a chamber musician, soloist, recording artist, teacher, and writer. His career spanned much of the twentieth century, and he was an invaluable font of information on the American clarinet tradition. Both the Stewart and Levy interviews with Weber (listed in Bib below) should be read by all American clarinetists. In both, Weber provides, seemingly off the top of his head, an astoundingly thorough and interesting history of the development of the American school of clarinet playing, peppered with first hand accounts of his relationships with legendary pioneers of American clarinetistry (BELLISON, BONADE, MCLANE, et al) and with the current generation of clarinet luminaries. Also highly recommended and fascinating are Weber’s own “Reminiscences,” found on the liner notes for Ralph McLane’s recording of the Brahms (see Bib below for online access to these notes). As a teacher, Weber combined aspects of his former teachers’ philosophies with his own. ROY SCHMIDT and Simeon Bellison set personal examples for Weber through their kindness, gentility, supportiveness, and devotion to their students. Both Schmidt and Ralph McLane, Weber’s friend and mentor, were very tone-oriented, McLane almost to the point of obsession, which resulted in Weber’s own emphasis on long tones in teaching. Schmidt and Bellison also instilled in Weber an appreciation for beauty of phrasing. Weber was drawn to study with Schmidt after hearing him in performance. Weber wrote,

He made a tremendous impression on me, both personally and professionally. Schmidt was the one who inspired me to be a good player, who explained what you have to do . . . Even today, I consider Schmidt to be my main influence. I still teach with his personality and gifts in mind. I always try to take my students seriously and give them everything I have to offer, just as he did for me. He was truly a wonderful man. (Levy 2001, 50)

Weber believed that students could benefit from a variety of teaching styles, as he himself did. His former students have also embraced this idea, extracting wisdom from their assorted teachers. Former Weber student BRIAN HYSONG wrote:

RICHARD PAGE gave me the kick in the rear I needed, VINCENT (JIMMY) ABATO gave me the confidence, and David Weber gave me the opportunity. I am very grateful to all three of these wonderful friends and colleagues. . . . (Hysong/Paddock 1998)

In the same vein, former student ROBERT LISTOKIN commented that Daniel Bonade instilled in him concepts of legato playing and ease of playing, while David Weber set an example through his beautiful tone, and LEON RUSSIANOFF inspired Listokin with his “many effective ideas about teaching.” (Listokin/Paddock 1998)

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Bib: “Boosey & Hawkes/Buffet Crampon Honors David Weber.” The Clarinet 20 (May/June 1993): 11; Gilbert, Richard. The Clarinetists’ Repertoire: A Discography. New York: The Grenadilla Society, 1972: 96; Hysong, Brian to Tracey Paddock, Tallahassee, FL, July, 27, 1998; Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57; Listokin, Robert, to Tracey L. Paddock, Tallahassee, FL, 1998; McClellan, D. Ray. “David Weber.” D.R. McClellan. http://mccleldr.myweb.uga.edu/davidweber page.html (accessed January 29, 2011); Stewart, Robert. “Conversations with David Weber.” The Clarinet 13 (Summer 1986): 18-23; Wakin, Daniel J. “David Weber, 92, Clarinetist Known for Beauty of Tone, Dies.” NYTimes. com. http://query.nytimes. com/gst/fullpage.html?res=9B0CEFD8103FF935A15752C0A9609C8B63 (accessed March 17, 2010); The Chamber Music Artistry of David Weber. Liner notes. (Grenadilla GS-1004). New York: Grenadilla Society, 1946; Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 59; Weber, David and Ignatius Gennusa. “Reminiscences.” Liner Notes. Brahms, Johannes, 1833- 1997. Trio in A Minor for Clarinet, Violoncello and Piano, Op. 114 Perf. Ralph McLane, Sterling Hunkins, Milton Kaye. LP. Grenadilla Society, originally released 1939; available at http://www.grenadillamusic. com/mclane_liner_notes.pdf (accessed March 21, 2011); “Weber, David.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 627.

Weber, George. B. circa 1918 (Chicago); d. Feb. 17, 1977. Grad: DePaul Univ. Clarinet studies with ROBERT LINDEMANN. Former clarinetist: Civic Orch of Chicago; U.S. Navy Great Lakes Band; Chicago Symph Orch (Clarinet/Bass/Basset Horn: 1946-77). Was active as a chamber musician. Played on a Wurlitzer bass clarinet. Students include: Ross Anderson, LAWRENCE BOCANER, LINNEA NEREIM, Dave Tuttle, Charles Yassky. Bib: Chicago Symphony Orchestra Program. 86th Season. (February 24 & 26, 1977): 75.

Webster, Michael. B. Dec. 11, 1944 (NY, NY). BM(with distinction)/PerfCert/MM/DM: Eastman SOM (1966/1966/1967/1975) with STANLEY HASTY. Additional clarinet studies with EARL BATES, HAROLD FREEMAN, and BERNARD PORTNOY. Composition studies with Norman Lloyd and Darius Milhaud; conducting studies with Simon Asen, Laszlo Halasz, Walter Susskind, and Paul White. Clarinetist: Rochester Phil (Second: 1966-68; Principal: 1968-88); San Francisco Symph (Principal: 1980-81); Webster Trio (current). Active as an intl recitalist (incl 1968 professional debut with his father, pianist Beveridge Webster, at Town Hall-NY and perfs at Alice Tully Hall, Carnegie Recital Hall, and other well-known halls in North and South America, Japan, and New Zealand, and at the 1999 Puerto Rico Clarinet Festival), soloist (incl perfs with the Boston Pops, Clarion Society, and Philadelphia Orch, the Annapolis, Cape Cod, Duluth, Victoria and Westchester Symphs, and the Boise, Erie, and Rochester Phil Orchs), chamber musician (incl perfs with the Chamber Music Society of Lincoln Center, the Webster Trio, and the Cleveland, Leontóvych, Muir, Tokyo, and Ying String Quartets), festival artist (incl participation at the Aspen, Northwest, Chamber Music West, Marlboro, Santa Fe, Stratford-Ontario, and Victoria Intl Music Festivals), and recording artist (on the Arabesque, Bridges, CRI, Crystal, and Live Notes-Japan labels); broadcast perfs given on radio and television. Faculty member: San Francisco Conserv (1981); Eastman SOM (Vstg Assoc Prof: 1982; Clarinet Instructor: 1985-89); Boston Univ (1983-93); Tanglewood (1986); New England Conserv (1988-93); Univ of Michigan (Adj Prof of Conducting: 1993-97); Rice Univ (Assoc Prof of Clarinet/Ensembles: 1997-); may have taught at SUNY-Potsdam during the early 1980s. Articles published in The Clarinet. Other positions/activities: Buffet Crampon USA Perf Artist; Editorial Staff, The Clarinet (current); active as an arranger/composer (incl works published by G. Schirmer, Intl Music Co., and Schott), clinician (incl master classes given at the 1999 Puerto Rico Clarinet Festival), conductor (incl positions with the Asian Youth Orch, Michigan Youth Symph, and Wellesley Symph), and music/artistic dir (incl positions with Chamber Music Ann Arbor and the Houston Youth Symph and Ballet, and 11 years of leadership with the Society for Chamber Music-Rochester, NY). Hon: Winner, Young Concert Artists Intl Compt (1968); invited by Copland to perform his Clarinet Concerto with the Philadelphia Orch at Univ of Michigan’s May Festival; favorable review of recording (by WILLIAM NICHOLS) appeared in The Clarinet (see Bib below); favorable review of perf appeared in The Boston Globe. Has played on: Buffet R-13 clarinets; DANIEL JOHNSTON mouthpieces; handmade reeds. Students include: LINDA CIONITTI, Carlos Cordeiro, Elizandro Garcia-Montoya, April

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Johannesen, ALAN KAY, Mark Miller, Cindy Sedlacek, Jennifer Stevenson, SHANNON THOMPSON, Song Tu, STEPHEN WILLIAMSON, Melanie Yamada. Bib: “Musical Chairs.” The Clarinet 25 (May/June 1998): 76; Nichols, William. “Audio Notes.” The Clarinet 25 (February/March 1998): 19; “The Clarinet Section of the Rochester Philharmonic.” The Clarinet 6 (Fall 1978): 24; Webster, Michael. “Michael Webster.” Rice University. http://www.ruf.rice. edu/~mwebster/resume.html (accessed March 15, 2011); Webster, Michael. “Teaching Beginners.” The Clarinet 25 (May/June 1998): 10-11; Webster, Michael. “The Hasty Festival.” The Clarinet 7 (Summer 1980): 25-29; “Webster, Michael.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 627; Weston, Pamela. “Record Reviews.” The Clarinet 5 (Winter 1978): 33.

Webster, Richard Mahon [Dick]. B. Dec. 6, 1931 (Minot, ND); d. Sept. 2009 (West Toledo, OH). Assoc in Arts (Pre-Astronomy): Everett Jr. Coll-WA (1951); undergrad studies begun in Astronomy at Univ of California-Berkeley (1951-52). BA(Ed): Univ of Washington (1954) with RONALD PHILLIPS; MM/Perf Cert/DM: Eastman SOM (1959/1959/ABD) with STANLEY HASTY. Former clarinetist: Toledo Symph (Principal: 1959-67); Toledo Opera (Principal: 1960-89); Univ of Toledo Faculty Woodwind Quintet (1965-1998+). Was active as a recitalist/chamber musician. Former faculty member: Bowling Green State Univ (Asst Prof: 1959-61); Univ of Toledo (Prof: 1962-2000; Prof Emeritus: 2000+; Asst Chmn, Music Dept: 1976-93). Memb: AFM, ICA, MENC, MTNA, NACWPI, Phi Delta Kappa, Phi Mu Alpha. Hon: Tuition Schol, Everett Jr. Coll (1949-51); Evergreen Award, Everett Jr. Coll (1951, for high GPA among men); Commencement Marshal, Eastman SOM (1957). Played on: Buffet R-13 B-flat clarinet; Thibouville A clarinet; Woodwind G-8 mouthpiece; Harrison Gold or Rovner ligature; MITCHELL LURIE #4 ½ reeds. Extra-musical activities incl collecting newspaper comic strips. Students include: Walter Grabner, David Hattner, Philip Miller, David Mruzek, James Riggs, Kimberly Roof. Richard Webster gave high praise to his two former clarinet teachers, RONALD PHILLIPS and STANLEY HASTY, both of whom Webster esteemed not only as artists and teachers, but also as great human beings. Webster also cited conductor Frederick Fennell as having profoundly impacted his musical development. Richard Webster’s clarinet “idol” was RALPH MCLANE whom he admired for his “beauty of tone, expressiveness, technical command.” (Webster/Paddock 1998) Webster was reminded somewhat of McLane’s artistry by the playing of current clarinetists STEPHEN BARTA, FRANKLIN COHEN, and RICARDO MORALES. Webster offered the following tenets of his musical philosophy:

Practice carefully, patiently.

When performing, try to focus on the idea that you are sharing a composer’s beautiful music with your audience. While playing, listen to it as if you were one of the audience, while also “speaking” to them.

When teaching, try to convey your love of the music with enthusiasm and a sense of sharing, not as one dictating information. What does the music say? Let the student speak. (Ibid.)

Bib: Webster, Richard Mahon, to Tracey Paddock, Tallahassee, FL, July 17, 1998.

Weigand, John. BM: Oberlin Conserv; MM: Northwestern Univ; DM: Florida State Univ. Clarinet studies with ROBERT MARCELLUS, LAWRENCE MCDONALD, and FRED ORMAND. Clarinetist: Greensboro Symph (Principal: formerly); Tallahassee Symph (Principal: formerly); Laureate Wind Quintet (1983-); West Virginia Symph (current); Seneca Chamber Orch (current); also perfs with the Baltimore Symph. Active as a chamber musician (incl perfs at the Blossom Music Festival and NYC’s Town Hall) and recording artist (incl works by Bruch and Schumann on the Musical Heritage Society label). Faculty member: Univ of North Carolina-Greensboro (formerly); Florida State Univ (formerly); West Virginia Univ (Prof: 1983-). Other positions/activities: former ICA State Chmn, WV; active as a mouthpiece designer. Students include: Heidi Aufdenkamp, JANET AVERETT, Jeffrey Boehmer, I-Fei Chen, Crystal Hearne Reinoso. Bib: “John Weigand.” West Virginia University. http://music.wvu.edu/ faculty_staff/john_weigand (accessed March 14, 2011); “Musical Chairs.” The Clarinet 11 (Fall 1983): 36.

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Weinstein, Stanley. Grad: Eastman SOM; Curtis IOM (1966). Clarinetist: New Orleans Symph (Principal: formerly); Santa Fe Symph (current); Canticum Novum (current). Active as a lecturer (incl participation at ICA events) and has been primarily active as fund-raiser for various music organizations in the second half of his career. Students include: B.J. Perez III, JOHN REEKS. Bib: “Curtis Alumni Since 1924.” Curtis Institute of Music. http://216.158.58.59/about-curtis/history/full-alumni-listing/view-by- instrument.html (accessed March 15, 2011).

Weissenborn, Henry J. B. 1876 (CA). Clarinetist: Philadelphia Orch (Principal: 1900-01, orch’s first season; Clarinet: 1903-04). Bib: Huffman, Larry. “Philadelphia Orchestra Musicians.” Stokowski.org. http://www.stokowski.org/Philadelphia_Orchestra_Musicians.htm (accessed March 15, 2011).

West, Charles Wayne [Chuck]. B. Sept. 19, 1949 (Fort Collins, CO). BA/BM: Univ of Northern Colorado (1971) with LOREN BARTLETT; MFA/DM: Univ of Iowa (1973/1975) with HIMIE VOXMAN and ROBERT MARCELLUS. Additional clarinet studies with LEON RUSSIANOFF. Clarinetist: Univ of Iowa Center for New Music (Principal: formerly); El Paso Symph (Principal: 1974-84); Natl Symph of Peru (1980); Arizona Opera (Principal: 1984-87); Flagstaff Festival Orch (Principal: 1984-97). Active as an intl recitalist/soloist (incl perfs at ClarinetFest 1999 and other clarinet conferences, at conferences of the American Society of Univ Composers, MENC, and MTNA, and throughout the Americas and Asia), chamber musician, woodwind doubler, and recording artist (on the Centaur, CRI, Crystal, Klavier, Telarc, U.S. Air Force Dept of Defense, and Wilson Audiophile labels). Faculty member: Grinell Coll (formerly); New Mexico State Univ (Assoc Prof: 1974-84); Natl Conserv of Peru (Prof: 1980); Univ of Arizona (Assoc Prof: 1984-87); Virginia Commonwealth Univ (Prof of Clarinet/Dir of Orchs: 1987-); has also served as Guest Prof at Soochow Univ-Taiwan and at conservs in Beijing and Shanghai, China. Articles published in Australian Clarinet & Saxophone, The Instrumentalist, NACWPI Journal, The Clarinet, Woodwind World-Brass and Percussion, and other music journals. Other positions/activities: Founder/Coordinator, Arizona Clarinet Symposium; Conductor, Richmond Symph Youth (current); Host, 1988 ICS/ClariNetwork Intl Convention; Treas, ICA (1986-88): Pres, ICA (1988-90); Buffet Crampon USA Perf Artist; Pyne/Clarion Artist; active as an administrator (incl elected/appointed positions with MTNA and NACWPI), clinician, composer (works published by Studio PR), and lecturer. Hon: selected as a Senior Fulbright Scholar to teach and perform in Peru (1980); favorable reviews of recordings appear in The Clarinet (see Ayers, Bullock, and Nichols in Bib below). Plays on: Buffet R-13 (A), Festival (B-flat), and Greenline Tosca clarinets, and Prestige bass clarinet; PYNE M and Bn mouthpieces and 66mm 1+ barrel; BONADE ligature; handmade reeds; Buffet Prestige bass clarinet. Students include: Tim Anderson, Allison Baugh, Lynn Cholka, Mike Duva, Mario Estrada, Julianna Evans, Bonnie Fresen, Victor Goines, Sandra Haton, Dawn Henry, Doug Monroe, Susan Stump. Bib: Ayer, Christopher. “Reviews.” The Clarinet 26 (March 1999): 95-96; Bullock, Bruce. “Reviews.” The Clarinet 25 (November/December 1997): 88; “Charles West.” http:// www.buffet- crampon.com/en/artists.php?mode=artistPresentation&aid=286 (accessed March 15, 2011); Messenger, Joseph and Charles West. “Paying Tribute to a Unique Master-Teacher.” ClariNetwork 6 (Holiday 1987): 4, 12; “Musical Chairs.” The Clarinet 15 (November/December 1987): 63; “New Treasurer, ICS 1986.” The Clarinet 14 (Fall 1986): 42; Nichols, William. “Audio Notes.” The Clarinet 24 (November/December 1996): 78; West, Charles. “Master Class: Time Pieces for Clarinet and Piano, Op. 34 by Robert Muczynski.” The Clarinet 26 (September 1999): 6-8; West, Charles, to Tracey L. Paddock, Tallahassee, FL, May 1, 1998; “West, Charles Wayne.” Who’s Who in American Music(Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 632.

West, Stanley. Undergrad studies: Bucknell Univ; grad studies: Rutgers Univ. Has been active as a recitalist/chamber musician (incl Carnegie Hall debut on April 8, 1978, as part of the West Duo with his wife, pianist Susan West). Hon: favorable review of debut appeared in the New York Times. Bib: Davis, Peter. “Music: Debuts in Review.” New York Times. Sunday, April 16, 1978: 61.

West, Walter W. Clarinetist: Minneapolis Symph Orch (1915-16).

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White, Kennen Douglas. B. Mar. 19, 1962 (Naples, TX). BM: Northwestern Univ (1984) with CLARK BRODY and ROBERT MARCELLUS; MM/DM(1989): Univ of Michigan with FRED ORMAND; additional studies at Tanglewood. Additional clarinet studies with ANDREW CRISANTI, STEPHEN GIRKO, and LARRY THOMPSON. Clarinetist: Toledo Symph (Bass: 1987-94); Santa Fe Opera (1989-93); Grand Rapids Symph (Bass: 1994-96); Saginaw Bay Orch (Principal: 1996-); Powers Woodwind Quintet (current); has also performed with the Detroit, Flint and Traverse Symphs, the Minnesota Orch, and the Michigan Opera Theater. Active as a recitalist (incl perfs at CBDNA, ICA, IDRS, MENC, and Natl Flute Assn conferences), soloist (incl perfs with the Saginaw Bay Orch), chamber musician, festival artist (incl participation at the Blossom and Spoleto-SC Festivals), and recording artist (appears on the Centaur label and on Grand Rapids Symph recordings). Faculty member: Alma Coll (formerly); Central Michigan State Univ (Asst Prof: 1994-). Memb: ICA, NACWPI. Plays on: Buffet R- 13 clarinets (B-flat/A/E-flat) with RICHARD HAWKINS Zinner mouthpieces; Leblanc basset horn; Selmer bass clarinet; Selmer C* bass mouthpiece (refaced by RICHARD HAWKINS). Students include: Katie Curran, Dael Haggard. Bib: “Musical Chairs.” The Clarinet 24 (November/December 1996): 74; White, Kennen Douglas to Tracey Paddock, Tallahassee, FL, June 16, 1998.

Whitman, Gary. B. Dec. 17, 1952 (Stephenville. TX). BME/MME: Univ of North Texas (1976/1978) with LEE GIBSON; Cert de Stage: Intl Summer Music Instit-Nice, France (1993) with Guy Deplus. Additional clarinet studies with Tim Bell, ANDREW CRISANTI, and JAMES SMITH. Clarinetist: Ft. Worth Symph (Bass/Sax: 1990-); Texas Clarinet Consort (1999-, +/-); has also performed with the Ft. Worth Ballet, Dallas Symph Pops, and Apollo Clarinet Consort. Active as an intl recitalist/soloist (incl perfs at Carnegie Hall and throughout the U.S., and at the 1997, 1999, and other ClarinetFests, and the 1998 1st Intl Clarinet and Sax Festival-Peru), chamber musician (incl perfs with Trio Con Brio), jazz musician, theatre musician (incl various Broadway musicals), and commercial artist. Faculty member: Texas Christian Univ (Assoc Prof of Clarinet/Sax: 1989-; Wind/Percussion Area Coordinator, late 1990s-); Natl Conserv of Music-Mexico City (Guest Lect of Wind Perf/Pedagogy: 1994); Conserv of Music “Josafat Roel Pineda,” Lima, Peru (Guest Artist/Lect: 1998). Published in The Clarinet. Other positions/activities: Buffet Crampon USA Perf Artist; Advertising Mgr, The Clarinet (1995- ); Exhibits Coordinator, ICA (1999-); active as an adjudicator (incl judging for the ICA Young Artist and Orch Audition compts), lecturer/clinician (presentations given in the U.S. and Mexico). Extra-musical activities incl gardening. Memb: ICA, North American Sax Alliance, Texas MEA. Plays on: Buffet R-13 clarinets; Jean Cartier/Lelandais blank mouthpiece with Everett Matson facing; BG gold ligature; Zonda #4M reeds; Selmer Low-C bass clarinet; Selmer C* bass mouthpiece (Matson facing); BG bass ligature; Vandoren #4 bass reeds. Students include: Jeanene Johnson, Madelyn Moore, Rachel Yoder, and many prominent teachers in the Ft. Worth metropolitan area. Bib: Baker, Marguerite. “The Clarinet Sections of the Dallas and Fort Worth Symphony Orchestras.” The Clarinet 25 (February/March 1998): 31; Masse, Thomas and Gary Whitman. “Primer Festival Internacional de Clarinete y Saxofon.” The Clarinet 26 (March 1999): 72-73; “Musical Chairs.” The Clarinet 17 (November/December 1989): 67; Whitman, Gary to Tracey Paddock, Tallahassee, FL, August 10, 1998.

Widder, David Roland. B. Apr. 22, 1947 (Evanston, IL). BM: Univ of Arkansas (1970); MM/DM: North Texas State Univ (1972/1983) with O. LEE GIBSON. Additional clarinet studies with Roger Widder (his father), David Pittman, and Hans Rudolf Stalder (historical clarinets). Clarinetist: Roanoke Symph (Principal: 1977+); Virginia Woodwind Quintet (1980+). Active as a recitalist (incl perfs at ICA, IDRS, and Midwest conferences/clinics), soloist (incl perfs with the Manchester and Roanoke Symphs), chamber musician (incl perfs with the Audubon String Quartet and Virginia Woodwind Quintet), and recording artist (incl recordings with the Audubon String Quartet, 1979, and the Roanoke Symph, 1982); also performs on historical clarinets. Faculty member: Virginia Tech (Prof of Clarinet/Conductor of Wind Ensemble: 1973-, +/-). Memb: CBDNA, ICA, MENC, Phi Mu Alpha. Other positions/activities: active as an adjudicator, clinician, and conductor. Hon: Teaching Fellowship, NTSU (1971-73); listed in Who’s Who in American Music (Classical), 1985 edition. Bib: “David Widder.” Virginia Tech. http:// www.music.vt.edu/faculty/widder/ (accessed March 15, 2011); “Widder, David Roland.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 637.

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Wiener, . B. June 5, 1943 (Presque Isle, ME). Advanced music studies at Indiana Univ and Chicago Music Coll. Clarinet studies with JOSEPH ALLARD, CLARK BRODY, ROBERT MCGINNIS, WALTER WOLLWAGE, and HAROLD WRIGHT. Clarinetist: U.S. Marine Band (1966- 70); Kansas City Phil (Principal: formerly, 1984-2000+); has also performed as Principal Clarinetist of the Boca Raton and Palm Beach Symphs, the Florida Festival Orch and Ft. Lauderdale Orch, and the Greater Miami Opera Orch (all during the 1970s-80s). Active as a recitalist/soloist (incl perf at the 1999 Univ of Oklahoma Clarinet Symposium) and recording artist (incl recording of the Mozart Clarinet Concerto with the Missouri Chamber Orch on the Moss label). Faculty member: Broward Community Coll (Adj Instructor: 1972-81); Florida Atlantic Univ (1973-81); Miami-Dade Community Coll (1981-83). Memb: ICA, Midwest Clarinet Society. Hon: Oliver Ditson Schol, Chicago Musical Coll; Emerson Buckley Award, Ft. Lauderdale Symph. Plays on: Buffet Vintage (B-flat) and R-13 Prestige (A) clarinets; PYNE BN mouthpiece; Olivieri #4 reeds. Students include: STEVE HANUSOFSKI, LESLIE GRIMM. John Wiener offer the following advice to clarinetists:

Find your own sound. Be 100% accurate with musical principles (rhythm, articulation, etc.). Treat each and every piece you play like a newly-discovered Beethoven masterpiece -- find the best in the music and then discover how to express it. (Wiener/ Paddock 1998)

Bib: Wiener, John L. to Tracey Paddock, Tallahassee, FL, June 1, 1998; “Wiener, John Lewis.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 638.

Wilber, Bob. B. Mar. 15, 1928 (NYC). Advanced studies begun at Eastman SOM. Clarinet/jazz studies with Sidney Bechet, Lenny Tristano, and LEON RUSSIANOFF. Clarinetist/Saxophonist: The Wildcats; Bechet Legacy; Soprano Summit (Co-Leader, with Kenny Davern); World’s Greatest Jazz Band (Founding Memb). Active primarily as a jazz clarinetist but has also performed as a classical clarinetist/ saxophonist (incl several recordings and a perf at Carnegie Hall); active as a soloist and recording artist (on the Commodore and other labels). Faculty member: has taught at the New School-NYC, Oberlin Conserv, and Wilkes-Barre Coll. Other positions/activities: Founder/Memb, Bechet Legacy; Dir, Smithsonian Jazz Repertory Ensemble; active as a composer (with 200+ compositions). Hon: recip of numerous awards (incl those presented by Downbeat and Journal International); Grammy nomination for recording of the music of Hoagie Carmichael; Grammy Award for his score for the film The Cotton Club (1986). Wilber briefly pursued advanced studies in classical performance at the Eastman School of Music before deciding to focus on jazz studies with clarinetist Sidney Bechet, Wilber’s primary clarinet and theory teacher. While growing up in New York City, Wilber had received an informal but significant music education through attending performances of great jazz artists in New York City clubs and was especially influenced by the playing of Benny Goodman and . Throughout his career, Wilber has been interested in the early jazz tradition and has worked to keep the music of this period alive through both performance and teaching. To this end, Wilber formed the Bechet Legacy, a group whose performances highlight the works of Bechet and his contemporaries. Although Wilber has specialized in the performance of early jazz, he performs other types of jazz as well. He has also performed as both a classical clarinetist and saxophonist to great acclaim, including a well-received Carnegie Hall performance. Bib: “Bob Wilber.” The Clarinet 10 (Winter 1983): 2; Duckham, Henry. “An Introduction to Our Jazz Clarinet Heritage.” The Clarinet 9 (Spring 1982): 16-19.

Wilber, James [Jimmy]. Clarinet studies with JOSEPH ELLIOTT, SR. Clarinetist: Cincinnati Symph (1942-49+); James Wilber Chamber Music Players (Clarinet/Sax: 1960s; E. SCHMACTENBERG played bass clarinet in this group). Active as a chamber musician (incl perfs on Cincinnati’s Taft Museum Chamber Music Series, 1960s), jazz clarinetist/saxophonist, and arranger/composer. Students include: Joseph Elliott, Jr., RICHARD STOLTZMAN. Bib: Elliott, Joseph E. “Letters.” The Clarinet 28 (September 2001): 4; “James Wilber Performs Sun. at Taft Aud.” University of Cincinnati News Record 48 (March 21, 1963): 14, at University of Cincinnati Digital Projects. http://digitalprojects.libraries.uc.edu/ newsrecord/1963/1963_03_21.pdf (accessed January 21, 2011).

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Wiles, Loris E. Former clarinetist: Oklahoma Symph (Principal: 1945-55+). Hon: listed as a “Prominent Clarinet Teacher” in The Clarinet (Summer 1955): 14. Students include: STEPHEN CLARK, Will Reavis, Benjamin Redwine (Wiles’s grandson).

Willaman, Robert G. B. late 1800s; deceased. Former Principal Clarinetist: Sousa Band (1923- 24); Ringling Brothers Circus; Pershing G.H.Q. Band; W.O.R. Concert Orch; Woodstock Quartet; NY World’s Fair Band; various Broadway orchs. Author, The Clarinet and Clarinet Playing, a well-known and respected book on the history/use of the clarinet. Published in The Instrumentalist and Woodwind Magazine. Was also active as a composer (incl solo/chamber works for clarinet). Students include: Donald DeWitt. Bib: Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/ sousa/roster.htm (accessed March 15, 2011); “Contributors This Issue.” Woodwind Magazine 1 (April 1949): 8; Jennings, Vance S. “America’s Clarinetists and the Development of American Symphonic Playing, Part 1.” Woodwind World 11 (February 1972): 6-8; “Willaman, Robert.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 835.

Willett, William C. BM/MA: Univ of Wisconsin-Madison; DM: Eastern SOM; additional studies at Colorado Coll, Pasadena City Coll, and the Chautauqua Instit. Clarinetist: Indiana Univ of Pennsylvania Woodwind Quintet. Active as a recitalist/soloist, chamber musician (incl perfs with the Pro Arte, Beaux Arts, and Allard String Quartets), recording artist (on the Mark Educational Records label), saxophonist, and bassoonist (incl former position with the Erie Phil). Faculty member: SUNY-Fredonia (Prof of Clarinet/Sax; Chmn of Music/Mus Ed: formerly, 1960s); Indiana Univ of PA (Chmn of Music: formerly, 1960s); Hartt SOM (Prof of Woodwinds/Conducting: 1969-, +/-; also served as Chmn of Music Ed Dept; Prof Emeritus: current); Hartt School Community Div (Clarinet/Sax/Recorder: current). Other positions/activities: active as an arranger and conductor. Former memb: American String Teachers Assn, Colorado MEA, MENC, NACWPI. Hon: appears in Who’s Who in American Music (Classical); 1985 edition. Students include: Dennis Anderson, RONALD CARAVAN, PAUL DRUSHLER, James Houlik, RICHARD NUNEMAKER. Bib: “Bill Willett.” Hartt Community Division. http://hcd.hartford.edu/ faculty/Willett.htm (accessed March 15, 2011); Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969: 59; “Willett, William C.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co.,1985: 640; Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 835.

Williams, Alexander. B. 1906 (NYC); d. June 13, 2003. Early clarinet studies with JAN WILLIAMS (no relation); advanced music studies (incl piano/comp/theory) at Juilliard. Former clarinetist: Arthur Pryor Band (1923); Russian Symph Orch; Capitol Theatre Orch; NY Symph (E-flat: 1927-28); Hour; Sousa Band; New York Phil (Asst Principal/E-flat/Third: 1932-48); NBC Symph (Principal: 1948-54); also performed with the Symph of the Air and NY Opera Co., and for the Cadillac Hour. Was active as a chamber musician, festival artist (incl participation at the Casals Festival and Chautauqua Instit summer program), and recording artist (appeared on recording with the NY Trio on the Perspective label, a recording conducted by REGINALD KELL on Deutsche Grammophone, and recordings with above ensembles). Former faculty member: Mannes Coll (Head of Wind Dept); Dalcroze School; NY Univ; was active as a private clarinet instructor. Former memb: AFM Local 802. Played on: Buffet clarinets; O’Brien crystal, Vandoren, and Meyer mouthpieces; Vandoren and handmade reeds; switched to a double-lipped embouchure in the midst of his tenure with the NY Phil (while serving in the Navy). Students include: Peter Anderson, SIDNEY FORREST, Lewis Hilton, NOEL STEVENS. Clarinetist Alexander Williams had a diverse and wonderful career as an orchestral clarinetist, having performed for and with such musical giants as Barbirolli, Beecham, Bernstein, Heifitz, Koussevitsky, Leinsdorf, Maazel, Menuhin, Ormandy, Rachmaninoff, Reiner, Stokowski, and of course, Toscanini. Williams had the greatest respect for Toscanini in spite of Toscanini’s sometimes gruff and always intense manner. To his praises of Toscanini, Williams added the following amusing anecdote:

On one occasion, Toscanini was conducting the Semiramide Overture with the N.B.C. Symphony . . . he was in a particularly dour mood – nothing seemed to please him and he was jumping on a lot of people. He never cared whether you were the concertmaster, the

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first oboe or whoever; if he didn’t like the way you were playing, he’d let you know it in no uncertain terms and in several languages. He didn’t like the way I played Semiramide at this rehearsal. “Eh,” he said, “Basticcio. Many years ago I had a third clarinet player play it much better than you play it.” When I thought about it, I realized it was I who had played it for him in the Philharmonic. I didn’t laugh about it then but I’ve laughed many times since. (Averett/Brandenburg 1992, 38)

The Averett/Brandenburg interview listed below is highly recommended not only for firsthand insight into Williams himself, but also into the state of music during the early to mid-twentieth century. Bib: Averett, Janet and Mark Brandenburg. “Toscanini’s Clarinetist: An Interview with Alexander Williams.” The Clarinet 19 (February/March 1992): 34-39.

Williams, Gregory T. BM: Univ of Missouri (1999) with PAUL GARRITSON; MM: Univ of Toronto with JOAQUIN VALEDEPEÑAS; doctoral studies at Cincinnati Conserv with RICHARD HAWLEY; additional studies at Aspen. Clarinetist: Kansas City Symph (Principal: formerly); Minnesota Orch (Assoc Principal/E-flat: current); has also performed with the Cincinnati Symph. Active as a soloist (incl perf with the Minnesota Orch), chamber musician (incl perfs on the Chamber Music at MacPhail series), and festival artist (incl participation at the Colorado Music Festival). Faculty member: has taught at Univ of Missouri-Kansas City and Washburn Univ. Extra-musical activities incl road-biking. Bib: “Gregory T. Williams.” Minnesota Orchestra. http://www.minnesotaorchestra.org/music/artist_detail. cfm?id_artist=21832708 (accessed February 25, 2011).

Williams, J. Cloyde. Advanced music studies begun at Univ of Minnesota with WALTER THALIN; continued studies at Juilliard with AUGUSTIN DUQUES after serving in the Army for three years. BS/MA: Columbia Univ Teachers Coll. Additional clarinet studies with ROSARIO MAZZEO. Former Principal Clarinetist: Boston Pops Tour Orch; Sadler’s Well Ballet; Martha Graham Modern Dance Co.; Radio City Music Hall Orch (1950s +/-); Minnesota Orch (1957-87). Has been active as a soloist (incl perfs with the Minnesota Orch). Former faculty member: Univ of Minnesota (1950s-80s, +/-, for 31 years); Macalester Coll; Coll of St. Catherine; Thor Johnson’s Chamber Music Festival; has also been active as a private clarinet/sax instructor. Other positions/activities: Music Dir, First Presbyterian Church of Demopolis (1990-). Has played on: Selmer Mazzeo 21M clarinets; Vandoren 3UD mouthpiece; Sumner gold ligature; Vandoren #5 reeds. Students include: Laurel Bennett, RUSSELL DAGON, Doug Haining, JULIA HEINEN, William O’Neil, Lon Roach. At the core of J. Cloyde Williams’s teaching regimen have been the studies of Jeanjean, Jettel, Klosé, Rose, and Uhl. The solo and chamber works of Brahms, Hindemith, Mozart, and Poulenc (among others) have figured prominently in clarinet repertoire study for Williams’ students, as well as works from the Bonade 16 Grand Solos collection. Former Williams student RUSSELL DAGON offered the following insight into another important element of Williams’ teaching style:

If I do anything similar to JEROME STOWELL, STANLEY HASTY or CLOYDE WILLIAMS (I teach many technical and musical things that I learned from them), it is in the area of establishing an atmosphere where my students not only learn from me, but also from their colleagues (peers) who, I insist, they respect as colleagues and human beings. Yes, they are competitors but the competition must be collegial, respectful and encouraging to one another. (Dagon/Paddock 1998)

Bib: “Cloyde Williams – Clarinet.” Minnesota Symph Orch Program. 57th season. (December 11, 1959): 1; “Cloyde Williams Retires from the Minnesota Orchestra.” The Clarinet 15 (November/December 1987): 20; Dagon, Russell, to Tracey L. Paddock, Tallahassee, FL, July 26, 1998; Plasko, George. “An Interview with Cloyde Williams.” The Clarinet 6 (Spring 1979): 16; Plasko, George. “The Clarinet Section of the Minnesota Orchestra.” The Clarinet 6 (Spring 1979): 17.

Williams, Jan. Former clarinetist: Sousa Band (1910-11); NY Symph (1920s, +/-); Metropolitan Opera Orch (early-20th century). Former faculty member: Juilliard (1930s, +/-). Students include: VINCENT JAMES ABATO, HARRY KELLER, Eddy Manson, Rafael Masella, FRANK STACHOW,

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ROBERT VAGNER, ALEXANDER WILLIAMS, Russell Whidden. Was active as an editor (incl the 1940 edition of Klose’s Celebrated Method for Clarinet). Although scant printed information was found on Jan Williams, it is clear that he was a fine clarinetist and teacher based on his playing credentials and prominent students listed above. In an interview in The Clarinet (see Bib below), former student ALEXANDER WILLIAMS provided insight into Jan Williams’ teaching, noting that Jan Williams included in his teaching repertoire the studies of Klosé and Baermann, as well as orchestral and band excerpts. Bib: Averett, Janet and Mark Brandenburg. “Toscanini’s Clarinetist: An Interview with Alexander Williams.” The Clarinet Vol. 19 No. 2 (February/March 1992): 34-39; Berger, Kenneth. “Members of Sousa’s Band.” Dallas Wind Symphony. http://www.dws.org/sousa/roster.htm (accessed March 15, 2011).

Williams, Nathan L. Native of NC. Artist Dipl(with highest honors): Acad of Music and Fine Arts-Vienna, Austria (1983) with Horst Hajek; MM: Eastman SOM (1985) with STANLEY HASTY; DM: Juilliard (1992); additional studies at Tanglewood (1987, 1988). Additional clarinet studies with ROBERT LISTOKIN and Alfred Prinz. Clarinetist: Continuum (1987-92); Chamber Orch of Connecticut (Principal: 1988-90); New Carolina Sinfonia (Principal: 1990-93); NC Symph (Sub Principal/Second: formerly, 1990-2000+); New Southwest Orch (Summer 1993); Mallarmé Chamber Players (1995-); Winston-Salem Symph (Principal: formerly, 1997-2000+); Strata (1999-); West End Chamber Ensemble (current). Active as an intl recitalist (incl perf at ClarinetFest 1995, perfs at Alice Tully Hall, the Kennedy Center, and the 92nd St. Y, and throughout North America, Europe, and Asia), soloist (incl 1988 solo debut perf of Richard Dünser’s Sinfonia Concertante at Merkin Concert Hall-NYC), chamber musician (incl perfs with above groups and the Chamber Music Society of Wilmington), and recording artist (on the Albany Records, Arizona Univ Recordings, Composers Recordings, Inc., Naxos, and New Dynamic labels; also appears on Music from the I.C.A.’96); broadcast perfs given on U.S. (NPR), Canadian (CBC), Austrian, and Dutch radio networks. Premiere perfs of solo/chamber works given at/for: Guild of Composers-NY; Austrian Composers Foundation (1981-83); Eastman Composers Symposium (1983-85); NC Composers Alliance (1985-87); Juilliard Composers Forum (1987-90). Has commissioned and premiered numerous solo and chamber works incl those by Edward Jacobs, Robert Maggio, Scott McAllister, and Adam Silverman. Faculty member: Coastal Carolina Community Coll (Vstg Artist: 1985-86); NC Arts Council (Vstg Artist: 1985-87); Surry Community Coll (Artist-in-Res: 1986-87); East Carolina Univ (Assoc Prof: formerly, 1990-2000+); Banff Centre (Res Artist: 1994); Interlochen Arts Acad (formerly); Univ of Texas- Austin (current). Other positions/activities: Buffet Crampon USA Perf Artist; D’Addario and Co. Artist/Rep. Hon: Prize Winner, Intl Clarinet Compt (1982); Semi-finalist, Walter W. Naumburg Clarinet Compt (1985); Prize Winner, William C. Byrd/St. Cecilia Society Young Artists Compt (1985); Winner, Eastman Wind Ensemble Concerto Compt (1985); C.D. Jackson Award for Outstanding Achievement, Tanglewood (1988); Summer Creative Activity Grant, ECU (1994, 1997); 3rd Prize, Gaudeamus Intl Interpreters Compt, Rotterdam, The Netherlands (1995); Faculty Senate Research/Creative Activity Grant to record Spontaneous Lines: Twentieth Century American Music for Clarinet and Piano (1996); favorable reviews of perfs appear in the New York Times and Winston-Salem Journal. Students include: Katie Brown, Nikola Djurica, Mark Dover, Stanislav Golovin, Emil Khudyev, Candice Kiser, Ismail Lumanovski, Sterling Wilson. Bib: “Musical Chairs.” The Clarinet 24 (July/August 1997): 50; “Nathan Williams.” Butler School of Music. http://www.music.utexas.edu/directory/details. aspx?id=269 (accessed March 15, 2011); Williams, Nathan, to Tracey Paddock, Alexandria, VA, January 8, 1999.

Williams, Ralph. B. Dec. 15, 1954 (Van Nuys, CA). BM: California State Univ-Northridge with DOMINICK FERA. Additional clarinet studies with KALMAN BLOCH and Robert Thomas. Clarinetist: Pasadena Symph (Bass: 1980-); Whirling Winds Trio (1985-); Pageant of Masters Orch (Principal: 1987- 90); Los Angeles Opera Orch (1990-94); Pasadena Pops Orch (Principal: 1990-); Opera Pacific Orch (Principal: 1994-); Pacific Symph (Sub Principal: 1994-); Hollywood Bowl Orch (Bass: 1996-). Active as a chamber musician, studio musician (appears on 500+ motion picture soundtracks, incl Titanic, Back to the Future II, Home Alone, and the first 3 Lethal Weapon movies, and on television’s Jag), and recording artist (has appeared on recordings with the Pacific and Pasadena Symphs, the Hollywood Bowl Orch, the Los Angeles Reed Machine, and with Natalie Cole, , and Barbra Streisand; also appears on

353 the Arizona Univ Recordings and MMC Recordings labels). Other positions/activities: active as a composer (incl works for the L.A. Reed Machine). Memb: AFM, CMA, ICA, RMA. Plays on: Peter Eaton wide-bore clarinets (B-flat/A); Buffet E-flat clarinet; an “old, manual, two octave key Buffet with added low C” bass clarinet (Williams/Paddock 1998); Bundy E-flat contra alto clarinet; Leblanc B-flat contra bass clarinet (with low C); also uses an old Leblanc “auto” clarinet with extension to D. Ralph Williams commented:

My favorite clarinet player is GERVASE DE PEYER. I am drawn more to the older British clarinet players, such as Kell, Brymer. My philosophy is to try and get better, as a player and as a person. There is far more to learn than one person can manage in a lifetime. (Ibid.)

Bib: Williams, Ralph, to Tracey Paddock, Tallahassee, FL, July 17, 1998.

Williamson, Stephen Reese. BM/Perf Cert: Eastman SOM (1991); MM: Juilliard (1995); additional studies at the Hochschule der Künste-Berlin (1991-92). Clarinet studies with , KENNETH GRANT, Karl Leister, CHARLES NEIDICH, Peter Rieckhoff, and MICHAEL WEBSTER. Clarinetist: Meliora Winds (formerly); Metropolitan Opera Orch (Co-Principal: current); has also performed with the American, Riverside, and Stamford Symphs, the New York and Northeastern Pennsylvania Phil Orchs, the NY Soloisti and Orpheus Chamber Orchs, the Caramoor and Sarasota Operas, the Orch of St. Luke’s, the American Ballet Theater, the Absolute Ensemble, and Music Mobile. Active as an intl soloist/recitalist, chamber musician (incl perfs with the Aspen, NY, and Sylvan Woodwind Quintets, with Emanuel Ax, Pamela Frank, Gilbert Kalish, Kerstin Meyer, Anthony Newman, Thomas Nyfenger, and Akiko Suwanai, and at the Kammermusiksal der Phil-Berlin), theater musician (incl Broadway perfs of The King and I ), festival artist (incl participation at the American Festival for the Arts, the Schleswig-Holstein Music Festival, and the European Mozart Foundation), and recording artist (on the BMG, CRI, Decca, Sony Classics, and Telarc labels); broadcast perfs given on radio/television with Maurice Bourgue, de L’Ensemble Intercontemporain, Alexander Longuich, and membs of Orchestre Natl de Paris. Faculty member: American Festival for the Arts (1999, +/-); Mannes Coll of Music (current). Other positions/activities: Buffet Crampon USA Perf Artist (formerly, 1995-99+); Pyne/Clarion Artist (current); Selmer Artist (current). Hon: Winner, Coleman Intl Chamber Music Compt (1990); Fulbright Grant, for study in Berlin (1991-92); Winner, Hochschule der Künste Kammermusik Wettbewerb (1992); Grand Prize Winner, Boosey & Hawkes/Buffet Crampon 1st Annual North American Clarinet Compt (1994); Winner (with Meliora Winds), Concert Artists Guild Compt (1997). Plays on: Pyne mouthpiece. Students include: Alexey Gorokholinsky, Mara Plotkin. Bib: “Stephen Williamson.” Mannes College of Music. http://www.newschool.edu/mannes/ facultyCollege.aspx?mid=5034 (accessed March 15, 2011); “Stephen Williamson.” Pyne/Clarion. http:// www.pyne-clarion.com/Artist_Profiles.html (accessed January 31, 2011).

Wilson, Elwood. Clarinetist: Natl Symph Orch (1930-31, +/-).

Wilson, Keith Leroy. B. Aug. 15, 1916 (Garden City, KS). HS clarinet studies in Denver, CO with VALENTINE HENRICH. BSME/BM/MM: Univ of Illinois (1938/1939/1942); additional studies at Interlochen Arts Camp with GUSTAVE LANGENUS. Clarinetist: Denver Municipal Band (Principal: Summer 1938); New Haven Symph (Principal: 1946-66). Active as a recitalist, soloist (incl perfs with the Yale Concert Band), chamber musician (incl perfs at the Norfolk Chamber Music Festival), and recording artist (incl Music for Clarinet on Crest Records, and a recording of woodwind quartet music). Faculty member: Univ of Illinois (1938-43; 1945-46); Interlochen Arts Camp (1940-42); Yale Univ (Prof of Clarinet: 1946-87; Prof Emeritus: current; also served as Dir of Bands for many years); New Coll Music Festival (1969-85); active as a chamber music coach. Other positions/activities: Dir, Yale Summer SOM (1960-81); Pres, CBDNA (1962-64); has been active as an administrator (incl positions as Assoc Dean of the Yale Univ SOM and Dir of the Norfolk Summer SOM; currently serves on various Yale Univ committees), arranger/editor (incl a frequently-

354 performed band transcription of the Hindemith Symphonic Metamorphoses on Themes of , transcribed at Hindemith’s request), and conductor (incl position as Asst Conductor of the New Haven Symph, 1946-66). Memb: ABA, ICA, CBDNA. Hon: Yale Arts Award (1985); listed in Who’s Who in American Music (Classical), 1985 edition; Gustav Stoeckel Award, Yale Univ (1999); Samuel Simmons Sanford Medal, Yale Univ (1999); honored by Yale Concert Band/Yale SOM in 1999. Plays on: Buffet clarinets; RIDENOUR mouthpieces. Students include: Derek Bermel, MICHAEL BORSCHEL, Max Christie, J. Roger Cole, Gene Collerd, Malcolm Dickinson, Alan Francis, PAUL GARRITSON, Gary Ginstling, PAUL GREEN, Nyomi Guberman-Pfeffer, Andrew Grenci, Daniel Harris, Walter Hekster, Francois Houle, David Irwin, DEBRA KANTER, Enrique Lasansky, Mitch Leigh, Steven Lipsitt, ERIC MANDAT, James McElwaine, Vincent Oneppo, TIMOTHY PARADISE, Adam Pease, TIMOTHY PERRY, MICHAEL RICHARDS, THOMAS RIDENOUR, REBECCA RISCHIN, Shannon Scott, ETHAN SLOANE, RICHARD STOLTZMAN, Smith Toulson, JOAQUIN VALDEPEÑAS, Bienvenido Yangco, EVAN ZIPORYN. Keith Wilson is highly respected for his artistry as a clarinetist and conductor, and for his wisdom and insight as a pedagogue, having mentored many clarinetists of note including RICHARD STOLTZMAN. Another of Wilson’s successful former students, TIMOTHY PERRY, paid tribute to Wilson, commenting:

Keith Wilson has never received his due as a consummate musician who looked beyond the instrument, or rather through it, to the musical essence which must emanate from the other side of our efforts. (Perry/Paddock 1998)

As with Perry’s other teachers, Wilson “. . . stressed fundamentals, and the importance of being able to step backwards, analyze, break down, and re-assemble the way in which we play as a prerequisite to progress on the instrument.” (Ibid.) Bib: “Keith Wilson Earns High Honors for His Musical Contributions.” Yale Bulletin and Calendar 28 (December 6-13, 1999) at http://www.yale.edu/opa/arc-ybc/v28.n15/story12.html (accessed February 1, 2011); “Keith Wilson Honored.” The Clarinet 27 (June 2000): 13-14; Perry, Timothy, to Tracey L. Paddock, Tallahassee, FL, August 27, 1998; “Wilson, Keith Leroy.” Who’s Who in American Music. 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 643; Wilson, Keith to Tracey Paddock, Tallahassee, FL, June 8, 1998.

Wingert, Robert V. BM(with honors): Cleveland IOM with ROBERT MARCELLUS; MM(with distinction)/Perf Cert: Indiana Univ with EARL BATES; additional studies at the Acad of Music-Vienna with Alfred Prinz. Additional clarinet studies with ANTHONY GIGLIOTTI and STANLEY HASTY; chamber music studies with Janos Starker. Clarinetist: Atlanta Symph (Second: 1967-75); Sinfonie- Orchester des Suedwestfunks (Sub Principal: 1977-78); Santa Fe Symph (Principal: 1984-99); Opera Southwest (Principal: 1985-89; 1995-99); American Sinfonietta (Second: 2000+); has also performed with the Seattle Symph/Opera/Pro Musica, New Mexico Symph, Federal Way Phil, and Santa Fe and Vienna State Operas. Active as a soloist (incl American premiere of William Mathias’s Clarinet Concerto, perfs with the Los Alamos and Mansfield Symphs, and with the Santa Fe and Taos Community Orchs), chamber musician, and studio musician. Other positions/activities: Co-Founder/former conductor, Santa Fe Community Orch; active as a clarinet instructor (incl sabbatical replacement positions at Univ of Mexico and Cleveland State Univ, and private teaching) and conductor (incl positions with the Santa Fe Youth Symph, Los Alamos Symph, Bremerton Symph Assn, et al). Hon: Natl Defense Education Act Title IV Fellowship, Indiana Univ; Anne Gannett Award for Veterans, Natl Federation of Music Clubs; Mayor’s Award for “outstanding contribution to the development and enrichment of the arts in Santa Fe.” Bib: “Bob Wingert.” American Sinfonietta. http://www.americansinfonietta.org/bob_wingate.htm (accessed February 1, 2011).

Wolfe, Christopher. B. Philadelphia, PA. Early clarinet studies with SIDNEY FORREST. BSME/grad studies (Conducting): Peabody Conserv; additional studies at Towson State Univ and as a Fellow at Tanglewood (for 3 summers). Clarinet studies with IGNATIUS GENNUSA, ANTHONY GIGLIOTTI, and DAVID WEBER; clarinet influences incl BENNY GOODMAN. Conducting studies with L. Barzin and L. Halasz. Clarinetist: Baltimore Symph (Asst Principal/E-flat: 1963-); has also

355 performed with the Philadelphia Composers Forum and Musica Viva Chamber Ensemble. Faculty member: Essex Community Coll (Dir of Music: formerly); has also taught at Morgan State Univ and Peabody Conserv. Other positions/activities: Asst Conductor, Baltimore Symph (1984-87); Artistic Dir/ Founder, Greater Baltimore Youth Orch (formerly); Music Dir, Baltimore Symphonic Band (current); active as a clinician (incl participation in the Baltimore Symph’s Master Class and Concert Program). Hon: Full Clarinet Schol, Peabody Conserv; C.D. Jackson Outstanding Musician Award, Tanglewood; Albert Spaulding Outstanding Musician Award, Tanglewood; 2nd Prize, Natl Conducting Compt (1982). Has played on: Buffet clarinets; HITE mouthpieces; Rovner “Dark” ligature; Vandoren reeds. Students include: DANNENE DRUMMOND, Alan Lawson, Ben Redwine. Bib: “Christopher Wolfe.” Baltimore Symphony. http://www.bsomusic.org/main.taf?p=4,4,1,1&id=ChristopherWolfe (accessed March 15, 2011); Palanker, Edward S. “The Clarinet Section of the Baltimore Symphony Orchestra.” The Clarinet 6 (Summer 1979): 18; Zheutlin, Carol P. and Mark Volpe. “Christopher Wolfe.” Overture, The Magazine of the Baltimore Symphony Orchestra 69 (January 11-March 2, 1985): 13, 28.

Wolf, Emily. Chicago clarinetist/bass clarinetist of the early- to mid-20th century. Clarinetist: Chicago Lyric Opera (Bass: formerly). Wolf was a pioneer among female clarinetists, being among the first to gain a position in a professional American orchestra. A Russian conductor called her “the premiere bass clarinet in the world.” (Goode 2007, 3) Bib: Goode, Michael. “An Interview with Bette Eilers: A Trumpet Pioneer.” International Women’s Brass Conference Newsletter 13 (Winter 2007): 4-8 at http://www. trumpetworkspress.com/pdf_documents/iwbc_np.pdf (accessed February 1, 2011).

Wolff, Phillip. Clarinetist: Detroit Symph Orch (1921-22).

Wollwage, Walter Edward. B. circa 1920; d. June 1997 (Chicago). Advanced studies at Lane Tech and DePaul Univ. Clarinet studies with ROBERT LINDEMANN. Former clarinetist: Civic Orch of Chicago; U.S. 5th Army Band (c. 1942-45); Chicago Symph (Second: 1945-83). Faculty member: Chicago Musical Coll (1948-82). Extra-musical activities incl photography, swimming, and travel. Played on: Buffet clarinets; Kaspar mouthpiece; Vandoren reeds. Students include: Robert Artinian, WILLIAM BLOUNT, BRENT COPPENBARGER, Gordon Earl, Michael Edwards, MITCHELL ESTRIN, Howard Green, Gail Kalver, Karen Klages, WILLIAM RAPPAPORT, JOHN WIENER, Donald Wilson. Bib: “Clarinetists of the Chicago Symphony.” The Clarinet 5 (Summer 1978): 5; Heise, Kenan. “Walter Edward Wollwage, Clarinetist.” ChicagoTribune.com. http://articles.chicagotribune.com/1997-07-25/news/ 9707250217_1_clarinetist-chicago-symphony-orchestra-memorial-service (accessed February 1, 2011).

Wong, Bradley A. B. Aug. 18, 1954 (Detroit, MI). Grad: Interlochen Arts Acad (1972) with FRED ORMAND; BM(Winds)/MM(Clarinet Perf): Univ of Michigan (1976/1977) with JOHN MOHLER and DAVID SHIFRIN. Additional clarinet studies with SIDNEY FORREST and PAUL SCHALLER. Clarinetist: Pastiche Wind Quintet (1978-82); Fontana Ensemble (1985-); Southwest Michigan Symph (Principal: 1992-); Western Wind Quintet (current); has also performed with the American and San Francisco Ballets, the Detroit and Grand Rapids Symphs, and the . Active as an intl soloist (incl perfs with the Southwest Michigan Symph), recitalist/chamber musician (incl perfs at ClarFest 1986, Clarinet-Fest 1997, and several Oklahoma Clarinet Symposia, at Avery Fisher and Carnegie Halls and the Kennedy Center, and in Europe, China, and throughout North and South America), and festival artist (incl participation at the Canary Islands Intl Opera Festival, Fontana Summer Music Festival, Chamber Music Festival of Saugatuck, and the Festival of Music-Pals, Spain). Premiere perfs incl Dan Welcher’s Dante Dances (commissioned by Wong). Faculty member: Western Michigan Univ (Prof/Chmn of Woodwind Dept: 1983-); Cultural Center of Santiago-Dominican Republic (Artist-in-Res/Clarinet Instructor: formerly). Articles/reviews published in The Clarinet (incl “Audio Notes” column), Windplayer, and the NACWPI Journal (incl series of woodwind chamber music reviews, 1985-87). Other positions/activities: Audio Review Ed., The Clarinet (1988-96); Yamaha Artist; active as an adjudicator (incl the Fischoff Chamber Music and W.C. Byrd Young Artists Compts), clinician (incl presentations given for SmartMusic), and very active with the ICA (incl service on the Recording Project Committee; has served as coordinator of master classes and the student clarinet compt at ICA conferences). Memb: AFM, AAUP, ICA, MTNA, Phi Mu Alpha Sinfonia, Pi Kappa Lambda, Sigma Alpha Iota.

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Hon: Recip, WMU Administrative Merit Award for Excellence in Teaching (1992, 1994, 1997) and Coll of Fine Arts Service Award; favorable reviews of perfs appear in The Clarinet, New York Times, and Washington Post. Plays on: Rossi French bore blackwood clarinets; RICHARD HAWKINS mouthpiece; EDDIE DANIELS II Rovner ligature; Vandoren V-12 #3 ½ reeds. Students include: Sheldon Scott Kurtzweill, Justin O’Dell, London-Silas Shavers. On clarinet performance, Bradley Wong commented:

Because of the clarinet’s acoustic properties, it is an extremely difficult instrument to play at an artistic level. To be a successful performer, it is not good enough to become technically proficient on the clarinet; one must also master the tonal nuances that the clarinet is capable of producing. It is also important to develop a diversity of styles, and to know the stylistic differences of the compositions being performed. Each generation of clarinetists sets higher performance standards than the previous generation, and it is no longer unusual to have a clarinetist win a competition involving mixed instruments. (Wong/Paddock 1998)

On teaching, he added:

To be successful as a teacher, you must be passionate about playing the clarinet, and passionate about sharing that skill with others. It is also important to remember that you are teaching the student to play the clarinet, and not just teaching the clarinet to a student. That is, each student will learn differently – you must find the right questions to ask so that they will find the answers themselves. (Ibid.)

On his own contributions to the clarinet community, Wong wrote:

My most significant contribution to the clarinet world is my commissioning of Dante Dances, a work for clarinet and piano by Dan Welcher. Dan’s music is always engaging, and this particular piece is based on characters from Dante’s Inferno, and includes a tango, the Charleston, a gymnopedie, and other dance forms. I premiered the work at the Festival of Music in Pals, Spain in 1996, and later played the piece at the University of Oklahoma Clarinet Symposium and ClarinetFest 1997 at Texas Tech University. The Clarinet described the piece as a “rhythmically exciting composition (that) utilized a wide range of expression and technical challenges.” I hope that the piece will become a standard work in our repertoire. (Ibid.)

On the author’s survey, under the “prominent students” heading, Wong commented, “The primary focus of Western Michigan University is undergraduate music education. I feel all of my students are prominent, perhaps not as performing clarinetists, but in whatever they are doing professionally!” (Ibid.) This comment underscores Wong’s dedication as a teacher and his appreciation of each student as important and unique. While honoring Wong’s sentiment, the author has included a brief list of students independently gathered from this document and the internet, for historical interest. Bib: “Bradley A. Wong.” Western Michigan University. http://www.wmich.edu/music/faculty/ faculty_pages/som_fac_wongbradley.html (accessed March 15, 2011); “Candidates for I.C.A. Officers.” The Clarinet 25 (February/March 1998): 24; “Musical Chairs.” The Clarinet 11 (Fall 1983): 37; Wong, Bradley, to Tracey Paddock, Tallahassee, FL, July 14, 1998.

Woy, Alan. B. July 29, 1945 (Chicago, IL). BM: Illinois Wesleyan Univ (1967) with JOHN MCGROSSO; MM/DM: Univ of Colorado (1969/1979) with PHILIP AAHOLM and JERRY NEIL SMITH. Clarinetist: Potsdam Woodwind Quintet (formerly, 1971-2000+); NUMA (current); Potsdam Clarinet Quartet (Founding Memb: current); Orch of Northern NY (Principal: current); Northern Symphonic Winds (Principal: current). Active as a recitalist, soloist, chamber musician, new music specialist, festival artist, and recording artist (incl a recording of the clarinet music of Paul Steinberg). Faculty member: SUNY-Potsdam/Crane SOM (Prof of Clarinet: formerly, 1971-2000+; Prof Emeritus: current; also taught conducting and served as Dir of the Crane Wind Ensemble); Eastman Community

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School (current). Other positions/activities: active as an adjudicator (incl work for the NY State School Music Assn), clinician/lecturer (incl presentations given at CMS conferences and at various U.S. music schools) and conductor. Hon: MENC Faculty Recognition Award (1997). Memb: ICA, MENC, NY State School Music Assn. Plays on: Buffet R-13 clarinets; DAN JOHNSTON mouthpiece; Vandoren Optimum ligature; owns an extensive collection of barrels and ligatures. Students include: Deborah Andrus, Christine Barron, Gale Bendik Bayen, LINDA CIONITTI, Grant Lawson, Alicia Perrone, Michelle Shoemaker, and numerous public school music teachers. A passionate advocate of new music, Alan Woy has participated at contemporary music festivals and conferences around the world, and has collaborated with his Crane School of Music colleague, composer Paul Steinberg, to generate numerous new works for clarinet. On teaching, Woy has commented:

College teaching has brought me into contact with a wide variety of students from many developmental levels. I have tried to motivate my students by putting a high premium on the daily practice of basics, the importance of hard work and preparation, and the musical responsibility each performer must bring to his/her art. I focus my teaching on good, solid basics: tone, technique, tonguing, sight-reading, and style. Practice concentrates on developing the clarinetist, not just on learning repertoire. I provide the example for my students. Being associated with a large and dynamic music school has enabled me to pursue an enormous variety of performing opportunities: orchestra, woodwind quintet, big band, and contemporary music . . . Additionally I present an annual faculty recital, frequently perform chamber music, assist on colleagues’ recitals, and solo with orchestras, bands, and wind ensembles across New York State. After 28 years I am still learning, teaching and performing in New York State. (Woy/Paddock 1998)

Interestingly, Woy’s father attended Chicago’s Austin High School where he was a member of the same clarinet section as BENNY GOODMAN. Woy’s father was a freshman during Goodman’s senior year, so the two were not close, but Woy had a great deal of respect for Goodman’s clarinet playing. (DeRoche 2010) Bib: “Alan Woy.” Eastman Community Music School. http://www.esm.rochester.edu/community/ faculty/?id=225 (accessed March 15, 2011); DeRoche, Julie. “Timely Reflections on the Career of Dr. Alan Woy.” Conn-Selmer Keynotes. http://www.keynotesmagazine.com/article/?uid=93 (accessed March 15, 2011); “Woy, Alan, to Tracey Paddock, Tallahassee, FL, July 14, 1998.

Wright, David. DMA: Univ of Iowa with THOMAS AYRES and HIMIE VOXMAN. Additional clarinet studies with ROBERT MARCELLUS. Clarinetist: Owensboro Symph (Principal: formerly); Evansville Phil (Principal: formerly); Las Cruces Symph (current); El Paso Opera Orch (current). Active as a recitalist/chamber musician (incl perfs at ICA conferences and the Montana/Idaho Clarinet Festival), soloist (incl perfs in North and South America and Great Britain, and perfs with the Dallas Wind Symph, Univ of Evansville Symph, Evansville Phil, and U.S. Army Band), and recording artist (on the Centaur label). Faculty member: East Carolina Univ (formerly); Concordia Coll (formerly); Univ of Evansville (Prof: formerly 1973-2000+; Prof Emeritus: current). Articles published in The Instrumentalist, BD Guide, and NACWPI Journal. Other positions/activities: Yamaha Artist; ICA State Chmn, IN; Dir of Development/Educational Outreach, Las Cruces Symph. Memb: ICA. Has played on: Yamaha YCL-72CX clarinets. Bib: “Meet the Musicians.” Las Cruces Symphony. http://www.lascruces symphony.com/meet_the_musicians.php (accessed March 15, 2011); “Wright, David.” Woodwind Anthology: A Compendium of Woodwind Articles from The Instrumentalist. Vol. 2. Northfield, IL: Instrumentalist Co., 1992: 835.

Wright, Harold [“Buddy”]. B. Dec. 4, 1926 or 1927 (Wayne, PA); d. Aug. 11, 1993 (Marlboro, VT). Clarinet studies begun at age 11 with Paul Thiel (Wayne, PA) and GEORGE THOMKINS; HS clarinet studies with RALPH MCLANE. Grad: Curtis IOM (1951) with RALPH MCLANE and Marcel Tabuteau (chamber music studies). Former clarinetist: U.S. Army Band (also served as drum major and played sax in the jazz band); Houston Symph; Dallas Symph; Natl Symph (Principal: 1954-70); Boston Symph (Principal: 1970-93); Boston Symph Chamber Players. Was active as a recitalist (incl perfs at the Univ of Oklahoma Clarinet

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Symposium), soloist (incl numerous perfs/recordings with the Boston Symph), chamber musician (incl perfs/recordings with the Budapest, Guarneri, Hawthorne, Juilliard, and Vermeer String Quartets, the Boston Symph Chamber Players, and with Harris Goldsmith, Peter Serkin, and numerous other renowned musicians), festival artist (incl participation at the Casals Festival for 7 years and at the Marlboro Festival, 1952-70, 1974, 1990), and recording artist (appears on recordings with above ensembles on the Boston Records, Crossroads/MHS, Koch Intl, Music Minus One, and Philips labels). Former faculty member: Catholic Univ; Boston Univ; New England Conserv (1982-93); Tanglewood (1970s-93). Played on: Buffet clarinets; Chedeville mouthpieces (one of which belonged to RALPH MCLANE and was used until it warped; mouthpiece work done by Everett Matson); BONADE ligatures; 67mm barrel; Vandoren #5 reeds (stored in well-sealed reed cases containing sponges); played with a double-lipped embouchure; often performed solos/recitals sitting down (partially due to double-lipped embouchure usage). Students include: PHILIP AAHOLM, SCOTT ANDREWS, STEVEN BARTA, LINDA BARTLEY, Phillip Bashor, Stephen Bates, Karen Beacham, DAVID BREEDEN, Chester Brezniak, MIKE CAVIN, ARTURO CIOMPI, JONATHAN COHLER, ANDREW CRISANTI, PATRICIA DILUTIS, David Dow, MICHAEL DRAPKIN, David Duree, CHARLES ELLIS-MACLEOD, STEPHEN FREEMAN, JOHN FULLAM, NANCY GARLICK, STANLEY GAULKE, CECIL GOLD, TERRY GUIDETTI, John Graulty, William Hagenah, Richard Hancock, RUSSELL HARLOW, CAROLINE HARTIG, THOMAS HILL, WILLIAM HUDGINS, Norman Katz, FRANK KOWALSKY, Maryanne Lacaille, Lylburn Layer, Debbie Levine, LEE CARROLL LEVINE, DANIEL MCKELWAY, R. Muraida, Oscar Ramspek, ALBERT RICE, David Samour, WILLIAM SCARLETT, JOHN SPICKNALL, LAWRENCE SOBOL, GEORGE TOWNSEND, John Van Bockern, JULIE VAVERKA, JOHN WIENER, PETER WRIGHT III, JOHN BRUCE YEH. Harold Wright was one of the most influential American clarinetists of the twentieth century, having performed in several major American orchestras in the course of his career, which spanned nearly half a century. More than two decades of Wright’s career were spent as Principal Clarinetist of the Boston Symphony, and while a member of this orchestra, Wright was prolific as a soloist, recitalist, chamber musician, and recording artist. Both his and ROBERT MARCELLUS’s recordings of the Mozart Clarinet Concerto are still considered to be the gold standard. Wright’s sound and musicality were legendary, following in the tradition of his renowned teacher RALPH MCLANE. For a deeper understanding of Wright’s influence, not only on the clarinet world but on the entire musical community, the articles listed below are highly recommended. Boston Globe music critic Richard Dyer, whose article honoring Wright was quoted in The Clarinet, recalled that one never needed to scan the woodwind section of the Boston Symphony to know when Harold Wright was playing; one knew instantly from the exquisite, liquid quality of the clarinet sound, the subtle phrasing, and intimate sense of expressivity, emanating from the orchestra. Wright was deeply admired by the members of the Boston Symphony and exerted a great deal of leadership by example from his chair. Wright played with a double-lipped embouchure continuing in the tradition of his teacher RALPH MCLANE and McLane’s teacher GASTON HAMELIN. In addition to refined musicality, another common theme frequently mentioned in regard to both McLane and Wright was the beauty and flexibility of their tone. Several similarities existed between the two in regard to sound production, including the double-lipped embouchure and the Chedeville mouthpiece which Wright inherited from McLane, and which McLane inherited from GUY D’ISERE. In her biographical sketch of HAROLD WRIGHT in Clarinet Virtuosi of Today, Pamela Weston described McLane’s influence on Wright:

McLane was a stickler for tone and had such a fine conception of it that it stuck with you. His influence on Harold was profound and Harold attributes his tone completely to him. Lessons were almost entirely an exercise first of all in experiencing the effect of different materials on tone quality, then sifting out the good from the bad and applying the results to better and better sound. The pupil was made to play on different reeds, mouthpieces, etc. He then had to listen long and hard to McLane doing the same, and finally was sent into another room to listen still further. (Weston 1989, 298)

In addition, Wright used a 67-millimeter barrel for which he altered the tone holes of his clarinet; he preferred the feel of a longer barrel and the depth of sound it offered.

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Harold Wright was the role model for many clarinetists, including double-lipped clarinetist ELSA LUDEWIG-VERDEHR who, although she never studied formally with Wright, learned much from Wright through chamber music performances with him at the Marlboro Festival. Clarinetist WILLIAM SCARLETT attributes his own sense of musical phrasing and appreciation for the art of playing very softly to Wright. Wright’s influence will endure for years to come through his numerous Boston Symphony and chamber music recordings, and through his many students who are and have been shaping future generations of clarinetists. Bib: Creditor, Bruce. “In Memoriam: Harold Wright (December 4, 1927-August 11, 1993).” The Clarinet 21 (November/December 1993): 38-40; Gilbert, Richard. The Clarinetists’ Repertoire - A Discography. New York: The Grenadilla Society, 1972: 97-8; Gilbert, Richard. The Clarinetists’ Discography, Part II: 112; Nichols, William. “Audio Notes: Harold Wright – A Recorded Legacy.” The Clarinet 26 (September 1999): 22-23; Snavely, Jack. “An Interview with Harold Wright.” The Clarinet 7 (Fall 1979): 12-15; Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989: 298-302.

Wright, Peter B. III. B. Mar. 22, 1955 (Bartow, FL). Piano studies begun at age 8; clarinet studies begun at age 10. BME: Jacksonville Univ (1976) with EUGENE KAVADLO; MM: Eastman SOM (1982) with STANLEY HASTY; doctoral studies begun at Florida State Univ with FRED ORMAND. Additional clarinet studies with ROBERT MARCELLUS, JAMES PYNE, and HAROLD WRIGHT. Clarinetist: Jacksonville Symph (Principal: 1974-); JSO Woodwind Quintet (current); has also performed as Bass/Extra Clarinet with the Savannah Symph (1979, +/-). Active as a recitalist (incl perfs at ClarinetFests and throughout North America), soloist (perfs with the Jacksonville Symph incl one as basset horn soloist with Frederica von Stade at Carnegie Hall, 1997), chamber musician (incl perfs with the JSO Woodwind Quintet), and recording artist (on the Spears Intl Records label, 1982). Faculty member: Jacksonville Univ (1975-92, +/-); Univ of North Florida (1990s-, +/-); Florida Community Coll (current); active as a private clarinet instructor. Other positions/activities: Personnel Mgr, Jacksonville Symph (1978-90); Yamaha Artist (formerly); Buffet Crampon USA Perf Artist (current). Memb: American Coaster Enthusiasts, European and FL Coaster Clubs. Hon: Presser Foundation Scholar (1974); Regional Winner, MTNA Collegiate Artists Compt (1974). Plays on: Buffet R-13 (A/E-flat) and Tosca (B-flat) clarinets; RICHARD HAWKINS mouthpiece; Vandoren Optimum ligature; Vandoren V-12 #3 ½ reeds. Bib: “Peter Wright.” Buffet Crampon. http://www.buffet-crampon.com/en/artists.php?mode=artist Products&aid=573 (accessed March 15, 2011); Wright, Peter B. to Tracey Paddock, Tallahassee, FL, August 15, 1998; “Wright, Peter B. III.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 653.

Wright, William R. B. Nov. 19, 1930 (Camden, NJ). Dipl: Curtis IOM (1951); MM/DM(1974): Catholic Univ. Clarinet studies with IGNATIUS GENNUSA and RALPH MCLANE; additional studies (sax/clarinet) with MICHAEL GUERRA. Conducting studies with Richard Lert at the Eastern Instit of Orch Studies. Clarinetist: U.S. Navy Band (formerly); New Orleans Phil (Second/E-flat: 1957-60); Natl Symph (Asst Principal/E-flat: formerly, 1960-2000, +/-); Contemporary Music Forum (Clarinet/Conductor: 1985-); currently perfs with the Natl Symph for pops/other perfs. Active as a recitalist/soloist (incl perfs at the Kennedy Center), festival artist, recording artist (on the CRI Records label), and saxophonist. Former faculty member: George Washington Univ (Prof of Clarinet/ Sax: 1983-96; also conducted univ ensembles and taught conducting); Catholic Univ; active as a private clarinet instructor. Other positions/activities: Music Dir/Conductor, Potomac Valley Youth Orch (current). Plays on: Buffet Elite clarinets; GENNUSA GE* mouthpiece; Buffet E-flat clarinet; HITE E-flat mouthpiece; Selmer saxes; Bilger and John Thomas sax mouthpieces (for classical and jazz playing, respectively). Students include: RONALD AUFMANN, Betty Bley, Marcia Diehl, D. Gause-Snelson, Edward Knakal, Richard Reiter, GARRICK ZOETER. Bib: Kitt, Loren. “The Clarinet Section of the National Symphony Orchestra.” The Clarinet 7 (Winter 1980): 29; Wright, William to Tracey Paddock, Tallahassee, FL, July 15, 1998.

Wrzesien, William. BME/MM/Artist Dipl: New England Conserv with ROSARIO MAZZEO; additional studies at Tanglewood. Clarinetist: Boston Pops Esplanade Orch (Principal: formerly, 1990s, +/- ); Boston Musica Viva (Founding Memb; formerly, 1990s, +/-); Boston Ballet (Principal: current); Boston Lyric Opera (Principal: current); has also performed as Principal Clarinetist of the Handel and Haydn Society, Opera Co. of Boston, and Boston Classical Orch. Active as an intl soloist/recitalist (incl perfs at the Kennedy and Lincoln Centers and the Library of Congress), chamber musician (incl perfs with above

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groups, the Lydian String Quartet, Emmanuel Wind Quintet, Boston Symph Chamber Players, and Collage New Music Ensemble, and throughout North America and Europe), festival artist (incl perfs at the Edinburgh, Harvard, Holland, Marlboro, Monadnock, and Tanglewood music festivals), and recording artist (on the CRI, Delos, Deutsche, Grammophon, Musical Heritage Society, Neuma, Nonesuch, and Northeastern labels). Former faculty member: Univ of Massachusetts-Lowell; Boston Conserv; Longy SOM; New England Conserv (Prof of Clarinet/Chamber Mus; 1966-2000+; also served as Woodwind Chair of NEC and NEC Prep Div, 1970s-80s). Other positions/activities: active as a clinician. Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Students include: Karen Beacham, Curt Blood, Rebecca Doggett, Michelle Doyle, Eran Egozy, Brian Farias, Melissa Grieco, Cindy Irvine, Nan Lopata, Chip Phillips, Linda Poland, Cindy Renander, David Samour, Shinobu Scott, Michelle Shoemaker, Kiera Thompson. Bib: “William Wrzesien.” New England Conservatory. http://184.106.39.164/faculty/ william-wrzesien?lid=6&sid=4 (accessed March 15, 2011); “Wrzesien, William.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 654.

Wyman, Barry. Clarinetist: NYC Opera (formerly). Students include: STEPHEN JOHNSTON.

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Yadzinski, Edward. B. 1940. BS(cum laude): Wilkes Coll (1962) with WILLIAM GASBARRO; MM(Perf/Ed): Eastman SOM (1963) with STANLEY HASTY. Musical influences incl VINCENT ABATO, Jacob Brownowski, John Detroy, Lukas Foss, Ferdinand Liva, Marcel Mule, Sigurd Rascher, and Laila Storch. Clarinetist: Buffalo Phil (Clarinet/Bass/Sax: 1963-91). Active as an intl soloist (incl perfs with the Buffalo Phil), recitalist/chamber musician (incl perfs at Boston’s Symph Hall, San Francisco’s Davies Hall, Carnegie Recital Hall, the Kennedy and Lincoln Centers, and in Europe), new music specialist, and recording artist (on the CBS-SONY, Columbia, Desto, Heliodore, Mercury, Nonesuch, Turnabout, Vox-Allegretto, Vox-Candide, and Wergo labels). Former faculty member: SUNY- Buffalo (1964-2000+); Univ of California-San Diego (Vstg Prof: 1978-79). Author, Saxophone Geraniums (Plume d’Esprit, 1994). Other positions/activities: Board Memb, Amherst Sax Quartet; Buffalo Phil Historian/Annotator (1986-); active as a composer/arranger (incl many original works for clarinet/sax/ chamber ensembles published by Alphonse Leduc and Plume d-Esprit) and lecturer (incl presentations given at Univ of CA-San Diego, the American/Japanese Acoustical Society Conference, and the American Instit of Physics); extra-musical interests incl “ham” radio (has earned the FCC’s 1st Class Radio and Television Broadcasting Engineer License), computers, French literature, and photography. Memb: Acoustical Society of America, AFM, American Instit of Physics, American Radio Relay League, ASOL, CMA, ICSOM, United Univ Professors. Students include: SALVATORE ANDOLINA, GREGORY BARRETT, Harry Fackelman, Jack Prybylski, Stephen Rosenthal, Mark Scott. Bib: “Liner Notes.” Northbranch Records. http://www.northbranchrecords.com/LinerNotes.htm (accessed February 3, 2011).

Yeh, John Bruce. B. 1958 (Washington, D.C.); grew up in Los Angeles, CA. Piano studies begun at age 5; clarinet studies begun at age 6. Early clarinet studies with Gordon Herritt. Pre-medical studies begun at Univ of California-Los Angeles before transferring to Juilliard (1975); additional studies at the Aspen Festival (1973, 1974), Marlboro Festival, and Tanglewood (with HAROLD WRIGHT). Additional clarinet studies with JOSEPH ALLARD, GARY GRAY, ROBERT MARCELLUS, and MICHELE ZUKOVSKY. Other musical influences incl Mehlie Mehta, Marcel Moyse, and Ray Still. Clarinetist: Chicago Symph (Bass: 1977-79; Asst Principal/E-flat: 1979-); Chicago Pro Musica (Founder/Memb: 1979-; also serves as Dir); Chicago Symph Winds (Founding Memb; current); Double Dialogue (with composer/computer artist Howard Sandroff; current); Chicago Clarinet Trio (with LARRY COMBS and JULIE DEROCHE; current). Active as an intl soloist (incl a perf of a movement of the Mozart Clarinet Concerto at age 10, and numerous perfs with the Chicago Symph and other orchs throughout the U.S., Asia, and Europe), chamber musician (incl perfs with the Avalon, Colorado, Guarneri, Pacifica, and Ying String Quartets, the Chicago Symph Chamber Ensemble, Music from Marlboro, The Chamber Music Society of Lincoln Center, and Alexander Schneider & Friends), festival artist, and recording artist (on the CBS Masterworks, Cedille Records, Centaur, Koch Intl Classics, Naim Audio, Nautilus, Newport Classic, Novitas, and Reference Recordings labels; has recorded much of the standard clarinet repertoire as well as works for clarinet and computer, jazz-influenced works, works for basset horn and basset clarinet, and several works written for him). Premiere perfs incl the U.S. premiere of Elliott Carter’s Clarinet Concerto (1998) with the Chicago Symph. Faculty member: DePaul Univ (formerly, 1970s-90s, +/-; for 26 years); Chicago Coll for the Perf Arts (current); New Music School (Clarinet Faculty Chair: current). Other positions/activities: Yamaha Artist; elected memb, Chicago Chapter of NARAS Board of Dirs (1987); Memb, IL Arts Council’s Symph/Ensemble Advisory Panel (1988); active as a clinician (incl master classes given throughout the U.S. and Europe). Hon: Frank Sinatra Musical Perf Award, UCLA; Fromm Fellow, Tanglewood (1976); Benjamin H. Delson Memorial Award as Outstanding Instrumentalist, Tanglewood (1976); Prize Winner, 1982 Munich Intl Music Compt; Prize Winner, 1985 Naumberg Clarinet Compt; Grammy nomination (1986) for recording Mozart Music for Basset Horns (CBS Masterworks); Grammy Award (1986) with Chicago Pro Musica for “Best New Classical Artist.” Plays on: Yamaha YCL-SEV and YCL-SEVA clarinets; has also played on Buffet clarinets; Selmer bass clarinet; Vandoren reeds.

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Students include: Alejandro Acierto, WAGNER CAMPOS, PAUL DEMERS, Andrea DiOrio, NORMAN FOSTER, ROGER GARRETT, Arnel Ignacio, Bojana Kragulj, MICHAEL LOWENSTERN, Janice Minor, NICHOLAS MORRISON, LESLIE NICHOLAS, GREGORY OAKES, Emily Robinson, Anne Marie Rozsa, KT Somero, Song Tu, TIMOTHY ZAVADIL, CHRISTOPHER ZELLO, AMY ZOLOTO. John Bruce Yeh, one of relatively few clarinetists to attain a major orchestral playing position while still in his teens, was appointed by Sir Georg Solti to the position of bass clarinetist of the Chicago Symphony at the age of 19. Two years later, Yeh assumed the position of Assistant Principal/E-flat Clarinet, a position he still holds three decades later. He has performed as a soloist with the Chicago Symphony on many occasions including performances of the Nielsen Clarinet Concerto (included on the CSO’s “Soloists of the Orchestra” collection of recordings) and the U.S. premiere of Elliott Carter’s Clarinet Concerto. Yeh is very active as an internationally successful soloist, chamber musician, recording artist, and teacher. Bib: “Clarinetists of the Chicago Symphony.” The Clarinet 5 (Summer 1978): 5; “Clarinotes.” The Clarinet 18 (November/December 1990): 10-11; “Clarinotes.” The Clarinet 19 (November/December 1991): 10; “Clarinotes.” The Clarinet 22 (November/December 1994): 8; “Compact Disc Review.” The Clarinet 23 (May/June 1995): 95; Jacobs, Laura, Editor-in-Chief. “Meet the Musicians: John Bruce Yeh.” CSO Stagebill 1992-93 Season: 10; “John Bruce Yeh.” New Music School. http://www.newmusicschool. com/advisory-board/john-bruce-yeh/ (accessed February 4, 2011); “John Bruce Yeh.” . http://www.yamaha.com/artists/johnbruceyeh.html (accessed March 15, 2011); Whaley, Dawn Ellen. “Reviews.” The Clarinet 18 (February/March 1991): 50; “Yeh Named to Chicago Symphony Clarinet Posts.” CSO Program 86th Season (October 6, 7, and 8, 1977): 73.

Yehuda, Guy. BM/Artist Dipl: Royal Conserv of Music-Toronto; MA/Perf Cert/DM: Indiana Univ with JAMES CAMPBELL, ELI EBAN, and HOWARD KLUG. Additional clarinet studies with LARRY COMBS, Avrahm Galper, Yitzhak Katzap, CHARLES NEIDICH, and Alfred Prinz. Musical influences incl Louis Cahuzac, Yona Ettlinger, Avrahm Galper, and Reginald Kell. Clarinetist: Trio di Colore (Founding Memb; current); has performed as Principal Clarinet with the Israel Phil, Haifa Symph, Civic Orch of Chicago, and Cincinnati Chamber Orch; has performed as guest clarinetist with the Chicago and Jacksonville Symphs. Active as a recitalist (incl perfs at ICA conferences and Oklahoma Clarinet Symposia, at Carnegie Hall and Chicago Symph Hall, and on the Dame Myra Hess Chamber Series and Fountain Arts Concert Series), soloist (incl North American debut with the Royal Conserv Orch), chamber musician (incl perfs with the Beaux Arts Trio, the Cypress String Quartet, and Trio di Colore), festival artist (incl participation at the Domain Forget, Lucerne, Parry Sound, Spoleto-US, and Verbier Festivals, and the Israeli and Ottawa Chamber Music Festivals), and recording artist (on the Canadien, CBC, and Hal Leonard labels); broadcast perfs given on U.S., Canadian, Israeli, Portuguese, and Swiss radio stations and on television. Faculty member: Orford Festival (Artist-Teacher: current); Univ of North Florida (current); has also taught at Indiana Univ. Other positions/ activities: Selmer Artist; active as an adjudicator, clinician (incl master classes given throughout North America and Europe, and in Israel), award-winning composer, conductor (incl work as Conductor-in-Res of the Royal Conserv Orch, Toronto). Hon: Winner, Israeli Sharet Composition Award. Bib: Yehuda, Guy. “About Guy.” G. Yehuda. http://guyyehuda.com/ html/about_guy.html (accessed March 15, 2011).

York-Garesché, Jeanine. BM: Univ of Nebraska-Lincoln; MM: St. Louis Conserv; additional music studies at the Johanneson Intl School of the Arts (Canada). Clarinet studies with ROBERT COLEMAN, GEORGE SILFIES, and TINA WARD. Clarinetist: St. Louis Symph (formerly, late-1990s; remains active as a sub); St. Louis Ballet (current); Union Ave. Opera (current); Webster Winds (current); Webster Univ Symph Orch (current); has also performed with the St. Louis Opera, Ft. Wayne Phil, Illinois Symph, Equinox Chamber Players, and Synchronia. Active as a chamber musician (incl perfs with above groups), festival artist (incl participation at the Kneisel Hall and Tidewater Music Festivals); recording artist (incl recordings with the St. Louis Symph); broadcast perf given on PBS. Faculty member: Univ of Missouri-St. Louis (2000-); St. Louis Symph Community Music School (current); Webster Univ (current); St. Louis Univ (current). Memb: ACME (Artists, Composers, Musicologists, Educators), ICA, . Bib: “Jeanine York-Garesche.” Webster University. http://www.webster.edu/cms/faculty/index. shtml#ward (accessed January 19, 2011).

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Young, Anne Lloyd. B. Sept. 9, 1936 (Chicago, IL). BME/BM: Oberlin Conserv (1958/1959); MM: California State Univ (1964). Clarinetist: Virtuoso Sinfonietta (Principal: 1959-60); Jaania Trio (1959-63); Rio Hondo Symph (Principal: 1965-). Active as an intl soloist and chamber musician and Los Angeles area freelance musician. Faculty member: Southern CA Early Music Workshop (formerly); Santa Monica Coll (1965-); Whittier Coll (Artist-in-Res: 1972-). Other positions/activities: specialist in early music perf (incl perfs with L’Antica Musica Consort and positions as Dir of the Orange County Early Music Society, Recorder Players West, and Southern CA Recorder Society). Memb: AFM, American Recorder Society, Orange County Recorder Society, Southern CA Recorder Society. Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Bib: “Young, Anne Lloyd.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 658.

Young, Dow H., Jr. B. circa 1921 (Salt Lake City, UT). Early clarinet/sax studies with Clarence J. Hawkins. BM/Teaching Cert/grad studies: Univ of Utah with HERBERT BLAYMAN and NAPOLEON CERMINARA. Additional clarinet studies with SIMEON BELLISON and MARTIN ZWICK. Former clarinetist: 587th U.S. Army Air Force Band; Utah Symph (Second: 1950s, +/-); also performed in several dance bands and military-style bands. Has been active as a chamber musician and woodwind doubler. Former faculty member: Brigham Young Univ (1950s, +/-); East HS (Dir of Band/Orch/Jazz Band/ Chamber Ensembles); has been active as a private clarinet/sax instructor. Bib: “Inner Views.” Utah Symphony Orchestra Program 13th Season (December 10, 1952): 30; “Player Profile.” Utah Symphony Orchestra Program 17th Season (December 8, 1956): 40.

Young, Gregory. BM: Univ of Western Ontario; MM/DM: Univ of Michigan with JOHN MOHLER. Additional clarinet studies with LINDA BARTLEY, HERBERT BLAYMAN, STANLEY HASTY, and Jerome Summers. Clarinetist: Newfoundland Symph (Principal: formerly); Prince Edward Island Symph (Principal: formerly); Bozeman Symph (Principal: 1988-, +/-); Gallatin Woodwind Quintet (1995-, +/-); Montana Ballet (Principal: 1998-, +/-); Intermountain Opera Orch (Principal: 1998-, +/-);. Active as an intl recitalist (incl perfs at the 1988 ICA conference, Montana/Idaho Clarinet Festivals, and the Canadian Univ Music Conference), soloist (incl perfs with the Strings of St. John’s, Northwest Civic Orch, and Montana State Univ Cello Ensemble, and at the G-8 Summit Festival of Arts in Japan), and chamber musician (incl a tour of Japan with the Gallatin Woodwind Quintet, 1995, a tour of Brazil with the Kreutzer Trio, 2000, and perfs in Morocco with the Camerata Trio); frequent broadcast perfs given on CBC radio. Faculty member: Univ of Prince Edward Island (formerly); Memorial Univ of Newfoundland (formerly); Univ of Western Ontario (formerly); Montana State Univ (1988-; has served as Asst Dean of the Coll of Arts/Architecture, Head of Music Dept, and Vice Provost for Undergrad Ed). Other positions/activities: Co-Founder, Montana/Idaho Clarinet Festival (1992); Founder, Bozeman Symph Orch Outreach Program; active as a lecturer (incl presentations given at Montana/Idaho Clarinet Festivals and in Italy). Hon: invited to lecture on music and architecture in Italy (late 1990s). Students include: Patricia Larios. Bib: “Candidates for I.C.A. Officers.” The Clarinet 25 (February/March 1998): 25; “Gregory Young.” Strings of St. John’s. http://www.stringsofstjohns.ca/young00.html (accessed March 15, 2011); “Musical Chairs.” The Clarinet 16 (November/December 1988): 64.

Zampino, Gerald. Grad: Ithaca Coll. Former clarinetist: USMA Band-West Point; Syracuse Symph (Memb: 1961-62; Principal: 1962-98); Syracuse Symph Woodwind Quintet (1963+). Active as a soloist (incl perfs with the Syracuse Symph), chamber musician (incl perfs with the Krasner Chamber Ensemble and Syracuse Friends of Chamber Music), festival artist (incl participation at the Skaneateles Festival), and clinician. Former faculty member: Syracuse Univ; Ononadaga Community Coll. Students include: Jeffrey Geller, Edward O’Rourke. Bib: “Clarinetist Gerald Zampino Featured in Syr. Symphony Here.” Oswego Valley News (January 15, 1975) at http://www.fultonhistory.com/Process%20small/ Newspapers/Valley%20News/Oswego%20Valley%20News%201975%20pdf/Newspaper%20Oswego%20 Valley%20News%201975%20-%200063.pdf (accessed February 4, 2011).

Zannini, Nicola. B. Feb. 24, 1883 (Italy); d. Mar. 11, 1960 (San Francisco). Immigrated to the U.S. in 1912. Former clarinetist: California Theater-San Francisco (1912); Oakland Park Municipal Band (Principal: 1913); San Francisco Symph (1918-30s, +/-). Bib: Huffman, Larry. “San Francisco Symphony Principal Musicians.” Stokowski.org. http://www.stokowski.org/Principal_Musicians_San_Francisco_ Symphony.htm (accessed February 4, 2011).

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Zavadil, Timothy F. B. July 27, 1971 (St. Louis, MO). BM: DePaul Univ (1993) with LARRY COMBS and JOHN BRUCE YEH; MM: Northwestern Univ (1994) with J. LAWRIE BLOOM and RUSSELL DAGON. Clarinetist: Civic Orch of Chicago (1992-94); Solti Orchestral Project (1994); Toledo Symph (Asst Principal/Bass/E-flat: 1994-98); Grant Park Symph (Bass: 1996); Louisville Orch (Second/E- flat: formerly, 1998-2000+); Minnesota Orch (Clarinet/Bass: current); has also performed with the Chicago, Detroit, Milwaukee, Pittsburgh, and St. Louis Symphs and the Natl Repertory Orch. Active as a chamber musician and festival artist (incl participation at the Peninsula Music Festival and Spoleto Festival-Italy). Faculty member: Univ of Louisville (formerly). Plays on: Buffet R-13 clarinets (B-flat/A/ E-flat); PYNE JX mouthpiece; Vandoren V-12 #4 reeds; RICHARD HAWKINS E-flat mouthpiece; Vandoren #3 ½ E-flat reeds; Buffet Prestige bass clarinet; Selmer C* bass mouthpiece; Vandoren #4 bass reeds. Bib: “Timothy Zavadil.” Minnesota Orchestra. http://www.minnesotaorchestra.org/music/artist_ detail.cfm?id_artist=56365863 (accessed March 15, 2011); Zavadil, Timothy F., to Tracey Paddock, Tallahassee, FL, July 10, 1998.

Zeigler, John Robert. B. Aug. 9, 1952 (Gettysburg, PA); deceased. BME/Perf Cert/MM: Eastman SOM (1974/1974/1975). Clarinetist: Omaha Symph (Principal: 1976-85+); Nebraska Sinfonia (Principal: 1976-85+); San Francisco Symph (Second: 1982-83). Faculty member: Univ Nebraska-Omaha (Adj Instructor of Clarinet/Chamber Mus/Collegium: 1977-82); Stanford Univ (Lect of Clarinet/Chamber Mus: 1982-83). Hon: listed in Who’s Who in American Music (Classical), 1985 edition. Students include: Steve Thornburg. Bib: “Zeigler, John Robert.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 661.

Zeisler, Dennis Joel. B. Jan. 25, 1947 (Columbus, GA). Clarinet studies begun at age 6. BM/BME/MM: Univ of Michigan (1970/1970/1971) with JOHN MOHLER and WILLIAM STUBBINS; PhD(ABD): NY Univ; additional studies at the Mozarteum with Rudolf Jettel. Additional clarinet studies with JACK KREISELMAN, ALEXANDER PREPADCHEF, LEON RUSSIANOFF, and PETER SIMENAUER. Clarinetist: Detroit Concert Band (Solo: formerly); USMA Band-West Point (Solo: 1971- 74); Hudson Valley Phil (Principal: 1975-76); Augusta Symph (Principal: 1976-77); Virginia Symph (1979-); Virginia Beach Pops (Principal: 1984+). Active as a recitalist (incl 1974 professional debut at Carnegie Hall and perfs at ICA conferences), soloist (incl perfs with the USMA Band), and recording artist (incl perf as Solo Clarinetist of the Univ of Michigan Symph Band on The Revelli Years Recordings); broadcast perf given on NY’s WQXR (1972). Faculty member: Augusta Coll (Asst Prof of Woodwinds/ Band: 1976-77); Fort Lewis Coll (Asst Prof of Woodwinds/Band: 1977-79); Old Dominion Univ (Assoc Prof of Band/Clarinet/Sax: 1979-; has also served as Chmn of Music Dept); Blue Lake Fine Arts Camp (1982-). Other positions/activities: ICA State Chmn, VA (1980s, +/-); Founder/Conductor, Virginia Wind Symph (current). Memb: ABA, CBDNA, ICA, NASA, NBA. Hon: Clarinet Teaching Fellow, Univ of MI (1969-71); listed in Who’s Who in American Music (Classical), 1985 edition; Orpheus Award, Phi Mu Alpha (1999); Virginia Music Educator of the Year, Virginia MEA (1999). Plays on: Buffet R-13 clarinets (B-flat/A/E-flat); Vandoren B-45 Profile 88 mouthpiece; Kaspar (Ann Arbor) ligature; Vandoren Hand Select #3 ½ reeds. Students include: Peter Brewer, David Kreiselman, Paul Skinner, Wayne Tice. Clarinetist Dennis Zeisler espouses a methodical teaching style with a focus on conceptual learning. Areas of concentration for his students include long tones, scales, articulation, etudes, and solos. Bib: Zeisler, Dennis, to Tracey Paddock, Tallahassee, FL, July 15, 1998; “Zeisler, Dennis Joel.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 661.

Zelickman, Robert. B. Detroit; grew up in Los Angeles. Clarinet studies begun at age 10. BA: Univ of California-Los Angeles; MFA: California Instit of the Arts with MICHELLE ZUKOVSKY. Clarinetist: Vera Cruz Symph (formerly); Mexico City Phil (formerly); San Diego Chamber Orch (current); CA Ballet (1998, +/-); SONOR (contemporary music ensemble; current); also perfs with the San Diego Opera and Comic Opera Orchs and the San Diego Symph. Active as an intl recitalist (incl perf at Clarinet Summit ’98), chamber musician (incl perfs with Camarada and SONOR), Klezmer musician (1986-), and festival artist (incl participation at La Jolla’s SummerFest). Faculty member: Univ of California-San Diego (Lect: 1983-). Other positions/activities: Co-Dir, Second Avenue Klezmer Ensemble; active as a conductor (conducts the UCSD Wind Ensemble) and lecturer (special interest in the area of The Symphony and Jewish Music). Bib: “Robert Zelickman.” Second Avenue Klezmer Ensemble. http://www.secondavenue klezmer.com/site/pp.asp?c=juIWLdMTJrE&b=1320173 (accessed February 4, 2011).

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Zetzer, Alfred. B. July 3, 1916 (Cleveland, OH); d. Aug. 3, 1990. BM: Cleveland IOM (1940) with DANIEL BONADE. Bass clarinet studies with CARL KUHLMAN. Clarinetist: Ballet Russe De Monte Carlo (Principal: 1939-40); Kansas City Symph (Principal: 1940-41); Pittsburgh Symph (Principal: 1942-43); San Antonio Symph (Principal: 1946-48); Cleveland Orch (Bass: 1949-84). Was active as a recording artist (with above orchs). Former faculty member: Kent State Univ; Cleveland IOM (Instructor of Clarinet/Bass: 1949+). Other positions/activities: Organizer/Conductor, Cleveland Children’s Symph Orch; Musical Dir, Park Temple; helped to found the Cleveland Phil Orch (1935). Hon: first student to graduate from Cleveland IOM with a Perf degree; listed as a “Prominent Clarinet Teacher” in The Clarinet No. 14 (Spring 1954): 24; listed in Who’s Who in American Music (Classical), 1985 edition. Played on: Buffet clarinets; Selmer bass clarinet with extension made by Hans Moennig; Kaspar mouthpiece (B-flat) and custom-made mouthpieces (B-flat/Bass) by Elmer Aiello of Leblanc; BONADE ligature; Morré and Vandoren reeds. Students include: Charles Baker, Claire Eichhorn, Mark Gallagher, Walter Grabner, David McClune, JAMES OGNIBENE, CHRISTOPHER RUNK, DENNIS SMYLIE. Alfred Zetzer was considered to be one of the great bass clarinet masters and teachers of the twentieth century, whom some have referred to as the “grandfather” of the American bass clarinet tradition. (Gallagher 2011) After performing as Principal Clarinet of several orchestras during the 1940s, Zetzer found his true home as bass clarinetist of the Cleveland Orchestra, a position he held for 35 years. He considered the bass clarinet to be the superior clarinet, referring to the B-flat as “the little clarinet.” (Ibid.) Bib: “Alfred Zetzer, 1916-1990.” The Clarinet 19 (November/December 1991): 10; Gallagher, Mark. “About My Teachers.” M. Gallagher. http://www.markgallagher.net/favorite.htm# About%20my% 20teachers (accessed February 4, 2011); Johnston, Barbara. “Alfred Zetzer: A Tribute.” The Clarinet 13 (Spring 1986): 18-23; Zetzer, Alfred. “ Reading for Bass Clarinet.” The Clarinet 15 (July/August 1988): 35; “Zetzer, Alfred.” Who’s Who in American Music (Classical). 2nd Edition. New York, NY: R.R. Bowker Co., 1985: 662.

Ziegler, John. Clarinetist: Baltimore Symph Orch (1928-29+).

Zimmerman, Charlene. B. Oct. 6, 1950 (Elmhurst, IL). BME/grad studies: Northwestern Univ (1972) with JEROME STOWELL. Additional clarinet studies with CLARK BRODY, LARRY COMBS, RUSSELL DAGON, Karl Leister, and ROBERT MARCELLUS. Clarinetist: Grant Park Symph (Second/ E-flat: 1978-88; Principal: 1988-); Lyric Opera of Chicago (Principal: 1990-). Active as a soloist (incl perfs with the Elmhurst and Grant Park Symphs, Concertante di Chicago, and Symphony II), recording artist (appears on recordings with the Chicago, Grant Park, and Milwaukee Symphs, the Chicago Opera Theatre Orch, and the Lyric Opera of Chicago; has also recorded Embrace the Wind, a New Age/ Environmental album), and studio artist (incl hundreds of “spots” for companies such as 7UP, American and United Airlines, McDonald’s, Sears, Proctor and Gamble, Kellogg’s, State Farm, Allstate, Illinois Bell Telephone, Pennsylvania Bell, Commonwealth Edison, Fischer-Price, Florida and Illinois Lottery, Ameritech, Minute Maid, and HBO); broadcast perfs given on television (Wisconsin Public Television, WTTW, WFLD, etc.) and radio. Faculty member: Northwestern Univ (1993-). Plays on: Buffet R-13 clarinets (B-flat/A/E-flat); Frank Wells mouthpiece; BONADE inverted ligature; Vandoren #3 reeds; Bob Mario E-flat mouthpiece; Selmer Low E-flat bass clarinet; Selmer C* bass mouthpiece; Vandoren #3 bass reeds. Students include: Andrea DiOrio, Barbara Drapcho, Ann Lavin, Anna Najoom, Timothy Sutfin, ELENA LENCE TALLEY, Daniel Williams, Andrew Zimmerman (her son). Charlene Zimmerman commented:

I am a no nonsense person who feels that all facets of the technique should be developed and used. My focus, of course, is opera music, but I play symphonic and chamber music as well, so all areas, including extended techniques, are fair game. (Zimmerman/Paddock 1998)

Bib: Zimmerman, Charlene, to Tracey Paddock, Tallahassee, FL, May 4, 1998.

Ziporyn, Evan. B. 1959. Piano studies begun at age 3 (after an unenthusiastic trial with violin); clarinet studies begun in 4th grade; began composing at age 13. Advanced studies in composition at Eastman SOM (with J. Schwantner); advanced studies in composition (with D. Lewin and M. Bresnick), clarinet (with KEITH WILSON), and piano (with Christopher Oldfeather) at Yale Univ; also studied

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Gamelan extensively (incl 1981 and 1987 grants to study in Bali). MA/PhD(both in composition): Univ of California-Berkeley with G. Grisey and A. Imbrie. Clarinetist: Steve Reich Ensemble (current); Bang on a Can; Bang on a Can All-Stars (Founding Memb; 1992-). Active as a clarinetist/bass clarinetist specializing in new music and cross-cultural music, soloist (incl perfs with the American Composers Orch, Boston Modern Orch Project, and MIT Wind Ensemble), festival artist (incl perfs at the 1985 Bali Arts Festival and the Bang on a Can Marathons), and recording artist (appears on the Cantaloupe, CRI, Innova, Koch, New Albion, New World, Nonesuch Records, and Sony Classical labels; incl This Is Not A Clarinet and the definitive recording of Steve Reich’s New York Counterpoint). Collaborations and/or recordings incl those with , Don Byron, Ornette Coleman, Brian Eno, Philip Glass, Wu Man, Terry Riley, and Paul Simon, et al. Faculty member: Massachusetts Instit of Tech (Prof: 1990-). Other positions/activities: Music Dir, Sekar Jaya (gamelan;1989-); Founder/Artistic Dir, Gamelan Galak Tika (perfs new music for Balinese gamelan); active as a composer (incl cross-cultural works using gamelan, electronic instruments, and various African, Chinese and Western instruments; his compositions have been heard on film soundtracks and at the Sydney Olympics, and have been commissioned by the American Composers Orch, American Repertory Theater, Boston Modern Orch Project, and Kronos Quartet), and scholar on the subject of Balinese gamelan. Hon: Yale Murray Fellowship (1981) and Fulbright Grant (1987), both to study Balinese gamelan in Bali; Grammy Award (1998), with the Steve Reich Ensemble for Music for 18 Musicians. It is no surprise that composer/clarinetist Evan Ziporyn’s musical output came to involve elements of different cultures and unique instrumental combinations, as he described his childhood home as a commingling of the sounds of “his father's violin, his grandmother's Yiddish Socialist chorus, his mother's extensive folk & jazz collection, and the sounds of top 40 & Motown on AM radio.” (Ziporyn 2011) Although Ziporyn engaged in mainstream studies in composition and clarinet at such schools as Eastman, Yale, and the University of California-Berkeley, he was also active in the performance of , and became enthralled with the gamelan, which in itself includes some level of improvisation and a sense of the music growing and evolving with each performance. Ziporyn brings elements of Eastern music to his original works, and brings elements of Western music to his gamelan works. As a clarinetist, Ziporyn himself continues to evolve, developing new techniques as well as new music for clarinet and bass clarinet. Bib: Ziporyn, Evan. “Evan Ziporyn.” E. Ziporyn. http://www.ziporyn.com/bio.html (accessed February 1, 2011).

Zoeter, Garrick. Native of Alexandria, VA. Early clarinet studies with Kenneth Lee and WILLIAM WRIGHT. BM: Juilliard with CHARLES NEIDICH; MM: Yale Univ with DAVID SHIFRIN. Additional clarinet studies with JEAN KOPPERUD. Clarinetist: Elm City Ensemble (formerly); Antares (Founding memb; current); also perfs with The Ensemble for the Romantic Century and Paragon Ragtime Orch. Active as an intl soloist (incl debut with the Natl Symph at the Kennedy Center and perfs with Shenandoah Conserv’s Symph Orch), chamber musician (incl perfs with above ensembles, with Trio Soloisti and Van Buren Wind Quintet, and with his wife, soprano Mariana Mihai-Zoeter), festival artist (incl chamber music perfs at the Aspen Music Festival, the Great Lakes and Norfolk Chamber Music Festivals, the Intl Festival of Arts and Ideas, and the Norfolk Contemporary Music Session, and with the Cincinnati and La Jolla Chamber Music Societies), and recording artist (on the Bridge, CRI, Elm City Innova CD, and Newport Classics labels). Faculty memb: Festival Eleazar de Carvalho-Brazil (formerly, 1997-2000+); Wesleyan Univ (formerly); Shenandoah Conserv (current). Hon: Winner, ICA Intl Clarinet Compt (1991); Grand Prize (with Elm City Ensemble), 1997 Fischoff Natl Chamber Music Compt; 1st Prize (with Elm City Ensemble), 1997 Chamber Music Yellow Springs Chamber Music Compt; Coleman- Barstow Award (with Elm City Ensemble), 1997 Coleman Chamber Music Compt; AT&T Pro-Am Youth Award (with Elm City Ensemble), 1997 Carmel Chamber Music Compt; favorable reviews of perfs/ recordings appear in The Boston Globe, Chicago Tribune, The Clarinet, Los Angeles Times, South Bend Tribune, and Washington Post. Bib: “Garrick Zoeter.” http://www.su.edu/cf/faculty/_faculty_profiles1. cfm?uid=gzoeter (accessed March 15, 2011); Nichols, William. “Audio Notes.” The Clarinet 27 (June 2000): 18.

Zoloto, Amy. B. Aug. 23, 1971 (Chicago, IL). BM(summa cum laude): DePaul Univ with LARRY COMBS and JOHN BRUCE YEH; grad studies begun at Florida State Univ with FRANK KOWALSKY. Clarinetist: Civic Orch of Chicago (formerly); South Bend Symph (1994-95); Jacksonville

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Symph (formerly, 1997-2000+); Sylvan Winds (current); has also performed with the Chicago Symph, Metropolitan Opera Orch, New York Phil, NYC Opera Orch, and Philadelphia Orch. Active as a NYC freelance clarinetist, chamber musician (incl perfs with Sylvan Winds and the St. Luke’s Chamber Players), festival artist (incl participation at the Bard, Colorado, and Pacific Music Festivals) and recording artist (incl the premiere perf/recording of Stella Sung’s Night Bloom and recordings with Sylvan Winds); broadcast perf given on WXQR-NY. Faculty member: Univ of Florida (Adj Prof: 1998). Other positions/ activities: Buffet Crampon USA Perf Artist. Hon: Farwell Award; Semi-Finalist, Fischoff and Coleman Chamber Music Compts; Downbeat Magazine Award for Outstanding Chamber Ensemble; Winner, FSU Concerto Compt. Plays on: Buffet R-13 Prestige clarinets; RICHARD HAWKINS mouthpiece; Vandoren V-12 reeds. Bib: “Sylvan Winds.” Sylvan Winds. http://www.sylvanwinds.com/about.html (accessed March 15, 2011); Zoloto, Amy to Tracey Paddock, Tallahassee, FL, September 1, 1998.

Zonn, Paul Martin. B. 1938 (Boston, MA); d. 2000. BM: Univ of Miami (1958); MA/MFA (Comp): Univ of Iowa (1995/1996). Was active as a multi-faceted clarinet recitalist/soloist (incl perfs with country singer Vince Gill, with the Miami Phil, the Nashville Jug Band, and the New Orleans Eagle Band, and at Carnegie Hall), chamber musician (incl perfs with the Lennox String Quartet), specialist in contemporary music/extended clarinet perf, festival artist (incl participation at Ravinia and Tanglewood), recording artist, saxophonist (incl perfs/recordings as an avant garde and traditional jazz musician), and player (incl perfs at the Lincoln Center and the Library of Congress). Former faculty member: SUNY-Buffalo (Fellow: 1966-67); Grinnell Coll (Composer-in-Res/Conductor of Symph: 1967-70); Univ of Illinois (Prof of Comp: 1970s-95, +/-). Author, Some Sound Ideas for the Clarinet. Other positions/ activities: was very active as a composer (incl several works for clarinet amongst his 120+ compositions), and active as a conductor and gourmet chef. Hon: Tennessee MTA’s Composer of the Year (1992); Univ of Miami Distinguished Alumnus (1998); Fromm Fellow; Rockefeller Fellow; recip of additional fellowships from the Ford Foundation and the Berkshire Music Center; recip of awards from the NEA, the Univ of IL Research Board, and an ACA/CRI recording award; favorable reviews of perfs/compositions appear in The Chicago Tribune, The Clarinet, Colorado Journal, Las Vegas Sun, Musical America, The New Record, and Woodwind-Brass-Percussion World. Students include: NORMAN FOSTER. Although Paul Zonn’s university appointments focused on composition, he was always active as a performing clarinetist, tackling adventurous new works (some of which he composed), and pushing boundaries. As a musician – composer, clarinetist, saxophonist, conductor, or mandolin player – Zonn did not confine himself to any one style or genre, and was enthusiastic about any musical direction in which life pointed him. Bib: “Paul Martin Zonn Music and Papers.” University of Illinois. http://www.library.illinois.edu/ archives/archon/?p=collections/controlcard&id=3479 (accessed February 4, 2011); Zonn, Paul. “Paul Martin Zonn.” P. Zonn. http://www.paulmartinzonn.com/index.htm (accessed April 28, 2010).

Zottarelle, Rocco [Mike]. Clarinet studies with JOSEPH SCHREURS. Former clarinetist: St. Louis Symph Orch (Principal: 1921-25, +/-; 1927-49). Former faculty member: St. Louis Instit of Music (1950s). Played on Buffet clarinets. Students include: ALFRED MAZZOCCHIO. Bib: Kopecki, Wilma Jean, Ed. “Zottarelle, Rocco M.” Coda. Yearbook of St. Louis Institute of Music. (1957): 12 at http://www. slimites.org/images/4_Coda/1957/1957-coda.pdf (accessed February 4, 2011).

Zukovsky, Michelle. B. Dec. 2, 1942 (Los Angeles, CA). Primary clarinet studies with her father, KALMAN BLOCH; additional clarinet studies with MITCHELL LURIE and LEON RUSSIANOFF. Undergrad studies: Univ of Southern California. Clarinetist: Los Angeles Phil (Asst Principal: 1961-70; Assoc Principal: 1970-80; Principal: 1980-); Casals Festival (Principal: formerly). Active as an intl recitalist (incl perfs at ICA conferences), soloist (incl numerous perfs with the Los Angeles Phil, a perf with the Boston Pops, and perfs with orchs from around the world), chamber musician (incl perfs with Gidon Kremer and Pinchas Zukerman, and with the Angeles and St. Petersburg String Quartets, the LA Phil and Lincoln Center Chamber Music Societies, the LA Phil New Music Group, and the Bohemian Ensemble of Los Angeles), festival artist (incl participation at the Casals Festival), and recording artist (on the Avant Records, London/Decca, Nonesuch, Philips, and Summit labels). Premiere perfs incl John Williams’ Clarinet Concerto (written for Zukovsky). Faculty member: Univ of Southern California (1993-); Los Angeles Phil Orch Training Program. Other positions/activities: active as a clinician/lecturer (incl appearances at ICA conferences). Extra-musical activities incl gardening, hiking,

368 and ping-pong. Memb: ICA. Hon: favorable reviews of recordings appear in The Clarinet (see Bib below). Plays on: Wurlitzer (German system) clarinets; string ligature; hand-made reeds. Students include: Rob Chavez, Bradley Cohen, Donald Foster, Helen Goode-Castro, CAROLINE HARTIG, ANDREW LAMY, Im Soo Lee, Keith Lipson, David Ocker, JOAQUIN VALDEPEÑAS, Enriqez Peres, Robert Ramsey, Jeremy Reynolds, Levi Tracy, JOHN BRUCE YEH, ROBERT ZELICKMAN. Currently Principal Clarinetist of the Los Angeles Philharmonic Orchestra, MICHELE ZUKOVSKY is the daughter of the late Kalman Bloch, former Principal Clarinetist of the same orchestra for several decades. Bloch began Zukovsky’s clarinet instruction on the E-flat clarinet at age seven. Zukovsky is unique in her playing for many reasons, one of which is her use of the German- system Wurlitzer clarinets, used in conjunction with a string ligature and hand-made reeds. Zukovsky explains that although her father preferred the French system clarinets, she followed instead in the path of her father’s teacher Simeon Bellison, who played on the German (Oehler) system. Zukovsky considers herself to be a link in the Russian-American school of clarinet playing. In teaching, Zukovsky tries to pass on the sense of musicality instilled in her by her father, who believed in using music (repertoire) rather than technical studies as learning material. Her focus, as in the tradition of Bloch and Bellison, is on the music: phrasing, tone, style, nuance, subtlety. (Averett, 23) Janet Averett’s interview with Zukovsky, listed in Bib below, is highly recommended. Bib: Averett, Janet. “Clarinet Style and Nuance, An Interview with Michelle Zukovsky.” The Instrumentalist 46 (September 1991): 23; Gilbert, Richard. A Clarinetists’ Discography II. Grenadilla Society: 21; “International Clarinet Clinic 1976.” The Clarinet 4 (Fall 1976): 31; King, L. Charles. “The Clarinetists of the Los Angeles Philharmonic Orchestra.” The Clarinet 13 (November 1975): 18-19; “Michelle Zukovsky.” Los Angeles Philharmonic. http://www.laphil.com/philpedia/artist-detail.cfm?id= 345 (accessed March 15, 2011); Nichols, William. “Audio Notes.” The Clarinet 25 (July/August 1998): 20; Nichols, William. “Audio Notes.” The Clarinet 27 (March 2000): 18; “The Clar-Fest 1982 Faculty.” ClariNetwork (April/May 1982): 6; Zukovsky, Michelle, to Tracey Paddock, Tallahassee, FL, June 11, 1998.

Zukovsky, Peter. D. 1970. Clarinet studies with ROBERT LINDEMANN. Clarinetist: Chicago Symph Orch (Clarinet/Bass/Sax: 1945-46); also performed on sax. Students include: Neal Sulmeyer. Peter Zukovsky was MICHELLE ZUKOVSKY’s father-in-law. Bib: “Neal Sulmeyer.” MusicPeeps. http://www.musicpeeps.com/nealsulmeyer/overview/full/ (accessed March 15, 2011).

Zwick, Martin. B. Nov. 22, 1920 (Brooklyn, NY); d. 2005. BFA: Univ of Utah; Grad: Manhattan SOM with LEON RUSSIANOFF and SIMEON BELLISON; additional studies at the Ecole Normale de Musique-Paris with Andre Vacellier. Additional clarinet studies with DANIEL BONADE. Former clarinetist: All-American Youth Orch (2 seasons, under Stokowski); Hollywood Bowl Orch (2 seasons); Army Signal Corps Band (Solo Clarinet: for 5 years during WWII); Utah Symph (Principal: 1949-77); also performed with the Los Angeles Phil. Was active as a festival artist (incl 4 seasons at the Ojai Music Festival), studio musician (incl work on several motion picture soundtracks), recording artist (appears on recordings with the Utah Symph). Author, The French Concept of Tone (Leblanc Corp). Articles published in The Clarinet. Former faculty member: Univ of Utah; Westminster Coll (late 1990s+); Granite and Murray School Districts, UT. Other positions/activities: was active as a composer (incl Adventures in the Low Register for clarinet/piano, published by Belwin), and mandolin player (incl recording on the LMS label). Extra-musical activities included photography, world travel, and enjoying good food. Played on: Buffet R-13 clarinets; Vandoren 5RV mouthpiece with slightly modified tip opening; hand-made and Vandoren V-12 #4 ½ reeds. Students include: Susan Fo, Martin Gardner, SCOTT HARRIS, Burke Sorenson, M. Eugene Williams, DOW YOUNG JR. Clarinetist Martin Zwick noted that he was one of LEON RUSSIANOFF’s first students, having been assigned to Russianoff when he auditioned for SIMEON BELLISON for a place in his famous Clarinet Ensemble. Zwick went on to say that Bellison never played for students during lessons, while Russianoff and BONADE both played during lessons, but very little. In contrast, Andre Vacellier (former Principal Clarinetist of the Paris Opera Comique), with whom Zwick studied at the Ecole Normale de Musique, “illustrated everything with his playing.” (Zwick/Paddock 1998) Zwick’s national sound of preference was the Belgian sound, which he considered to be the perfect and beautiful blend of the best of the French and German sounds. This sound, as best exemplified

369 by GUSTAVE LANGENUS, he described as “a dark bright sound with a penetrating resonance that maintained its core throughout the total dynamic range.” (Ibid.) Bib: “Member Spotlight: Martin Zwick.” Humanists of Utah. http://www.humanistsofutah.org/ spotlight/martin_ zwick.html (accessed March 15, 2011); Zwick, Martin to Tracey Paddock, Tallahassee, FL, May 15, 1998.

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CONCLUSION

One might argue that a document such as this will already be outdated by the time it is released, an argument which has some truth at first glance; in fact, a fair amount of information changed during the process of writing this document. It must be remembered, however, that the true intent of the dictionary was to capture the twentieth century as a snapshot in time. There may be further volumes, or perhaps an on-line database to update the information in the future, but in one hundred years, when someone wants to know about American clarinetists of the twentieth century, they will be able to turn to this resource at least as a jumping off point for further research. Music students desiring to know more about the clarinet teachers at the institutions they are researching for their next degree may also find it useful, not only to learn about their future teacher, but also to discover from which branch() of the family tree of American clarinetists the teacher has descended. In the researching and writing of this dictionary, several recurring themes presented themselves which deserve further research. As an example, it would be interesting to learn more about the many foreign-born clarinetists, considered to be American, who were “imported” from Europe by such conductors as Toscanini, Stokowski, and Damrosch (e.g. Luigi Cancellieri, Simeon Bellison, Gustave Langenus, et al.), or other foreign-born clarinetists who were “adopted” by American clarinetists as one of their own (e.g. Gervase De Peyer, John Denman, James Campbell, Reginald Kell, et al.). Further to this topic, the effects of various wars upon foreign-born American clarinetists could be explored. For example, after the United States entered World War I, anti-German sentiment was widespread, and many German- born musicians, and even some born in America but with German-sounding names, were dismissed from American orchestras (refer to Karl Stumpf’s entry for a particularly tragic story). Even for American-born clarinetists, war has played a role in the careers of many. Consider some of our finest orchestral clarinetists and pedagogues whose careers seem to have been interrupted by service in the military, most serving as members of military bands (e.g. Rufus Arey, Earl Bates, Ignatius Gennusa, Anthony Gigliotti, David Glazer, David Hite, Robert Luyben, Robert Marcellus, Robert McGinnis, Ronald Phillips, Walter Wollwage, Martin Zwick, et al.). As noted in the introduction, thousands of outstanding American clarinetists have served and continue to serve in the premiere American military bands. A whole volume could be devoted to these fine, talented clarinetists, which might be placed nicely on the library shelf next to Jesse Krebs’s fascinating treatise, “The Clarinetists of the John Philip Sousa Band: 1892-1931,” which discusses the clarinetists of the famous band Sousa founded and directed after leaving “The President’s Own” United States Marine Band. Many fine American clarinetists were members of the Sousa Band and/or American military bands before embarking on orchestral and/or teaching careers, including the professor supervising this treatise, Dr. Frank Kowalsky, who was a member of the Marine Band from 1969-73. A survey of clarinetists, like Dr. Kowalsky, who have served in military bands and then gone on to other performance or teaching opportunities, would be an interesting read. Another recurring theme worthy of exploration is the question of why American clarinetists, for the most part, have not had success in obtaining employment in Europe. Perhaps, there simply is not enough reason to leave the United States, with all of its musical outlets during good economic times, to pursue employment in Europe. Scattered throughout the dictionary are perhaps a dozen American clarinetists (e.g. Lee Morgan, Roger Salander, Suzanne Stephens, Marina Sturm, Allan Ware) who have attained orchestral and/or teaching positions in Europe. It would be interesting to interview them and determine what qualities they have which were found to be desirable by Europeans. While research exists on the history and role of women musicians in America, it would be interesting to learn more about the earliest female orchestral clarinetists and teachers, such as Lillian Poenisch, Emily Wolf, and Jeannette Scheerer, and how the role of female clarinetists evolved in America. It will surely be found that clarinetists such as Elsa Ludewig-Verdehr, Michelle Zukovsky, Suzanne Stephens, and British clarinetist Thea King played a major role in demonstrating that women are more than able to master the art of clarinetistry. Another topic of interest would be a discussion of whether national schools of clarinet playing still exist. In recent decades, it certainly seems that this sense of national delineation has become less distinct, but surely there are still traits present in each nation’s performance practice, even if they are only echoes.

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Similarly, if it is decided that national schools of playing do still exist, have there been and are there still American regional schools of playing (i.e., East Coast vs. Midwest vs. West Coast)? Finally, it is hoped that, even though this document is a snapshot of the last century, readers will delve into the lists of students at the end of the entries to look toward the future of the American clarinet tradition. It is a bright future.

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APPENDIX A

HUMAN SUBJECTS APPROVAL MEMORANDUM

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APPENDIX B

EXAMPLE OF SURVEY SENT TO SELECTED ENTRANTS

January 1998

Dear Fellow Clarinetist,

Greetings. I am currently researching my treatise topic for the Doctor of Music degree in clarinet performance at Florida State University, under the supervision of Dr. Frank Kowalsky, and could use your assistance.

My treatise will be “A Biographical Dictionary of Twentieth-Century Clarinetists,” and in addition to research I have done through various periodicals and Pamela Weston’s Virtuosi books, I would appreciate some information from you, as your name has been suggested to appear as an entry in this treatise. The information you provide will be very useful to me and to others, and I thought you might care to personally provide the information you would like to have highlighted in your entry. This will also guarantee the accuracy of each entry and give future generations a more firsthand and personal account of the lives of prominent clarinetists in twentieth-century America.

The treatise will begin with a brief history of the clarinet in America, which will be followed by the biographical entries, appendices, an extensive bibliography, and possibly a rough “family tree” of the American clarinet “family.” I hope that it will clarify the history of the clarinet in the United States and that it will be a useful starting point for research. Although the entries will be brief, the bibliography will provide ample resources for further, more in-depth study.

I have enclosed a form for you to complete, or you may write in list, outline, or biographical form on separate paper. Please include your birth date and location as these are seldom included in bio’s or periodical articles. It would be most helpful if you could return the survey as soon as possible, but preferably no later than the beginning of March. A stamped, addressed envelope is enclosed for your convenience.

My sincere thanks,

Tracey Paddock

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Biographical Information Survey for “A Biographical Dictionary of Twentieth-Century American Clarinetists” Tracey Paddock

Name:

1. Birth date and location:

2. Education/Degrees/Teachers:

3. Professional positions held (performing and/or teaching) and dates of employment:

4. Awards/Honors/Etc.:

5. Recordings/Articles/Books/Etc.:

6. Clarinet Ideals/Principles/Philosophies/Focuses:

7. Equipment used:

8. Professional affiliations or group memberships:

9. And other information you would like to add about yourself:

10. Any information you would like to add on your major clarinet teachers and/or predecessors:

11. Comments:

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SELECTED BIBLIOGRAPHY

In light of the Bibliographies appearing at the end of most entries, the below reference list does not contain every resource used in the author’s research. The below resources were found to be especially useful, not only in researching biographical information, but also for their discussions of the American clarinet tradition. They are highly recommended as supplements to the information contained within the dictionary and for more in-depth research on the American clarinet tradition.

In addition, all volumes of ClariNetwork and The Clarinet (both the early Symphony quarterly version and the current ICA version, through the year 2000), and orchestral programs for numerous major U.S. orchestras were studied extensively for the biographical information within. Also surveyed for eligible entrants were the College Music Society’s Directory of Music Faculties in College and Universities, United States and Canada, Musical America’s International Directory of the Performing Arts, and Who’s Who in American Music (Classical) 1985 edition.

Blumburg, David. “Professional Orchestral Clarinet Sections Worldwide.” Mytempo.com. http://www.mytempo.com/orchestra.htm (accessed February 18, 2011).

Bowen Hustedt, Michele Ann. “The Life and Career of Himie Voxman.” PhD diss., University of Iowa, 2010.

Christmann, Arthur Henry. “Clarinet Talk.” The Clarinet 9 (Fall 1981): 13.

Cipolla, John. “Historical Perspectives of Excellence for the Clarinetist.” The Woodwind Pages. http://www1.woodwind.org/the-online-clarinet-resource/john-cipolla/historical-perspectives-of- excellence.html (accessed February 18, 2011).

Clark, Stephen L. “Leon Russianoff Clarinet Pedagogue.” DMA diss., University of Oklahoma, 1983.

Craig, Karen Lynn. Larry Combs: Interpretation of the Clarinet Symphonic Audition Repertoire. DMA diss., University of Oklahoma, 1993

Dees, Margaret Iris. “A Review of Eight University Clarinet Studios: An Investigation of Pedagogical Style, Content and Philosophy Through Observations and Interviews.” DM treatise, Florida State University, 2005. de Lancie, John. “Schools of Playing and Other Observations.” ClariNetwork (November/December 1982): 10-11.

Di Santo, Christopher Alan. “Improvisatory Affect in Selected Unaccompanied Clarinet Works of Meyer Kupferman.” DMA diss., Temple University, 1996

Drushler, Paul. The Clarinet: Its Evolution, Literature, and Artists. Rochester, NY: SHALL-u-mo Publications, 1979.

Gee, Harry. “French Clarinetists in America, Part I: Early Artists and Alexandre Selmer.” The Clarinet 8 (Spring 1981 ): 52-54.

______. “French Clarinetists in America, Part II: Grisez, LeRoy, Cailliet.” The Clarinet 8 (Summer 1981): 21-22.

______. “French Clarinetists in America, Part III.” The Clarinet 9 (Fall 1981): 17-19;

Gholson, James. “Landmark Personalities in Clarinet Teaching.” ClariNetwork 7 (Winter 1988): 4-5.

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______. The Seasoned Clarinetist. Memphis, Tennessee: James Gholson, 1996.

Gibson, Lee. “Claranalysis: A Clarinetist’s History of the 20th Century.” The Clarinet 24 (July/August 1997): 12.

Gigliotti, Anthony. “The American Clarinet Sound.” The Instrumentalist 22 (March 1968): 43-44.

______. “The Emerging American School of the Clarinet.” Selmer Bandwagon 16 (October 1967): 6-7.

______. “The Orchestral Clarinetist.” The Clarinet 26 (March 1999): 24-25.

______. “The Orchestral Clarinetist.” The Clarinet 27 (December 1999): 20-21.

Gillespie, James. “An Interview with Pamela Weston.” The Clarinet 6 (Spring 1979): 6-8.

______. “Clarinetists You Should Know.” The Instrumentalist 38 (May 1984): 26-29.

Gold, Cecil V., Compiler/Editor. Clarinet Performance Practices and Teaching in the United States and Canada. Moscow, ID: University of Idaho, 1973.

Gunlogson, Elizabeth M. “Stanley Hasty: His Life and Teaching.” DM treatise, Florida State University, 2006.

Huffman, Larry. “Stokowski.org.” Stokowski.org. http://www.stokowski.org/ (accessed February 18, 2011).

Jacobs, Arthur. The Penguin Dictionary of Musical Performers: A Biographical Guide to Significant Interpreters of Classical Music, Singers, Solo Instrumentalists, Conductors, Orchestras, and String Quartets Ranging from the Seventeenth Century to the Present Day. New York, N.Y: Penguin Books, 1991.

Jennings, Vance S. “The Development of American Symphonic Clarinet Playing, Part 1.” Woodwind World 11 (February 1972): 6-8.

______. “The Development of American Symphonic Clarinet Playing, Part 2.” Woodwind World 11 (April 1972): 6-7.

Jones, Marquis. “A Challenge to the Student Clarinetist.” School Musician 34 (October 1962): 48-49.

Klug, Howard. “Clarinet Pedagogy: An Interview with Leon Lester, Performer, Teacher, and Composer/Editor.” The Clarinet 17 (November/December 1989): 12-15.

Knepper, Noah A. “An Interview With Lee Gibson.” The Clarinet 6 (Fall 1978): 31-32.

Kycia, Carol Anne. Daniel Bonade: A Founder of the American Style of Clarinet Playing. Captiva, Florida: Captiva Publishing, 1999.

Langenus, Gustave. “Musical Education on Belgium and in the United States.” Woodwind News 1 (Summer 1926): 7.

Levy, Todd, Ricardo Morales, and Jessica Phillips. “An Interview with David Weber.” The Clarinet 28 (March 2001): 48-57.

Messenger, Joseph. “Book Review.” The Clarinet 27 (September 2000): 84-85.

Palanker, Edward. “Does One Mouthpiece Fit All? Does Measure Up?” The Clarinet 27 (September

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2000): 76-77.

Phillips, Harvey. “A Lifetime of Musical Opportunities: An Interview with Mitchell Lurie.” The Instrumentalist 46 (September 1991): 10-13.

Pierce, Jerry. “The Bonade Legacy, Part I.” The Clarinet 4 (Fall 1976): 8-9.

______. “The Bonade Legacy, Part II.” The Clarinet 4 (Winter 1977): 14-15.

______. “The Bonade Legacy, Part III.” The Clarinet 4 (Fall 1977): 11-13.

______. “The Bonade Legacy, Part IV.” The Clarinet 6 (Summer 1979): 6-9.

Schmidt, Denise. “Kalmen Opperman’s Contributions to Clarinet Pedagogy in the Teaching of Clarinet Technique.” DM diss., University of Kentucky, 2001.

Sichel, John. “The Clarinetists of the New York Philharmonic.” The Clarinet 19 (July/August 1992): 36- 44.

Simon, Eric. “Eric Simon Interviews Himself.” The Clarinet 10 (Spring 1983): 36-7.

Snavely, Jack. “Benny Goodman’s Commissioning of New Works and their Significance for Twentieth- Century Clarinetists.” DMA diss., University of Arizona, 1991

Thompson, Shannon. “A History and Analysis of the Philadelphia School of Clarinet Playing.” DMA treatise, University of Texas-Austin, 1998.

Walker, Bonnie Hicks. Recordings for the Clarinet and the Recording Artists. Augusta, GA: 1969.

Waln, George. “Fifty Years of Clarinet Playing.” The Instrumentalist 22 (March 1968): 45-46.

______. “Trends in Clarinet Playing.” Music Educators Journal (November/December 1950): 28-29.

Weber, David. “Clarinet Tone.” Woodwind Magazine 2 (January 1950): 4-7.

______. “Clarinetists of Paris.” The Clarinet 16 (Fall 1954): 4-5.

Webster, Michael. “The Hasty Festival.” The Clarinet 7 (Summer 1980): 28

Weigand, John F. “Robert Marcellus’ Fundamentals of Clarinet Playing and Teaching.” DM diss., Florida State University, 1989.

Weston, Pamela. Clarinet Virtuosi of Today. Baldock, England: Egon, 1989

Weston, Pamela. Clarinet Virtuosi of the Past. London: Hale, 1971

Weston, Pamela. More Clarinet Virtuosi of the Past. London: by the author, 1977

Who is Who in Music. Chicago: Lee Stern Press, 1941.

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BIOGRAPHICAL SKETCH

Born in Silver Spring, Maryland, Tracey Paddock grew up primarily in Alexandria, Virginia, where she began clarinet studies at the age of 8 with United States Air Force Band clarinetist and soloist Wayne Titerence. She received a B.M. in Music Performance as a recipient of the Herriman Clarinet Scholarship at Indiana University, where she studied with James Campbell. While at Indiana University, she also had lessons with Howard Klug and Avrahm Galper, and performed in a master class given by Eli Eban. Ms. Paddock received the M.M. (Clarinet Performance) and L.R.A.M. teaching certificate from the Royal Academy of Music in London as a Fulbright Scholar. Her primary teachers in London were Angela Malsbury, Keith Puddy, and Richard Addison. While in London, she also had lessons with Thea King and , and performed in master classes given by Gervase de Peyer and Karl Leister. Ms. Paddock received the D.M. in Clarinet Performance from Florida State University where she studied with Frank Kowalsky. While at Florida State University, Ms. Paddock was a University Fellow and a recipient of a Dissertation Research Grant. Ms. Paddock has also studied with Sidney Forrest and Loren Kitt.

Ms. Paddock is currently a member of “The President’s Own” United States Marine Band, where she has served since 1998, performing frequently as a soloist and chamber musician, and participating in numerous educational and community outreach programs. She has also performed with the Albany (Georgia) and Tallahassee Symphonies.

Ms. Paddock has taught at Florida State University, and has served as a private clarinet instructor in Leon County, Florida and Thomas County, Georgia public schools. Currently, Ms. Paddock is active as a private clarinet instructor, adjudicator, and clinician in the Northern Virginia area.

The information presented in this publication has been prepared solely by the author and neither “The President’s Own” United States Marine Band, the U.S. Marine Corps nor any other component of the Department of Defense or the U.S. Government has endorsed this material.

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