Guest Recital: Karl Leister, Clarinet
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Prominent Schools of Clarinet Sound (National Styles)
Prominent Schools of Clarinet Sound (National Styles) German School (Oehler system, up to 27 keys) Description: dark, compact, well in tune but difficult to play very softly Players: Karl Leister, Sabine Meyer French School (Boehm system, 16 or 17 keys) Description: clear, bright/too bright, large dynamic range Players: Anthony Gigliotti, Phillippe Cuper Italian School (Boehm system) Description: voice-like quality Opera tradition Players: Ernesto Cavallini, Alessandro Carbonare American School (Boehm system) Description: Strong French influence but more open and wide, more air and flexibility Connections to jazz and film music Players: Larry Combs, Richard Stolzman, Charles Neidich, Benny Goodman, Artie Shaw JDG 20200815 The Most-used Types of Clarinets Band Eb Clarinet Bb Clarinet***** Eb Alto Clarinet Bb Bass Clarinet Eb Contra Alto Clarinet Bb Contra Bass Clarinet Orchestra Eb Clarinet C Clarinet Bb Clarinet A Clarinet Bb Bass Clarinet Worth Mentioning Basset Horn (in F) Basset Clarinet (in A) When an instrument plays its C and that sound/pitch is the same as the piano’s C, we say the instrument is “in C” When an instrument plays its C and that sound/pitch is the same as the piano’s Bb, we say the instrument is “in Bb” When an instrument plays its C and that sound/pitch is the same as the piano’s Eb, we say the instrument is “in Eb” And so on. JDG 20200815 Equipment Clarinets Rubber/plastic/ebonite, wood, carbon composites • Buffet • Selmer • LeBlanc • Yamaha • Bundy Mouthpieces Rubber, glass (metal) • Vandoren • Selmer • Yamaha • LeBlanc Reeds Cane or synthetic • Vandoren • Rico • Alexander • Gonzalez Ligatures and mouthpiece caps • Vandoren • Bonade (inverted) • LeBlanc • Rovner • Unnamed Tips • I purchase new instruments and used instruments. -
A Chinese Clarinet Legend Also in This Issue
Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017. -
Edition 1 | 2018-2019
2 brevard philharmonic | www.brevardphilharmonic.org About the Maestro 4 Letter from the Maestro 5 History of the Brevard Philharmonic 6 Letter from the President 7 OCTOBER 7, 2018 11 ROMANTIC INTRODUCTIONS NOVEMBER 11, 2018 17 THE MAGIC OF MOZART DECEMBER 16, 2018 25 CHRISTMASTIME IN BREVARD MARCH 10, 2019 27 AN AMERICAN CELEBRATION mission statement MAY 12, 2019 29 The Mission of the Brevard BEETHOVEN’S PASTORALE SYMPHONY Philharmonic is to inspire, educate, Brevard Philharmonic Personnel 35 and enrich our audiences through 2018 Contributors 36 exceptional, professional musical Sponsorships 38 performances and community outreach. Board of Directors 44 C Notes 45 Meet Our Staff 48 ADVERTISING Onstage Publications Advertising Department 937-424-0529 | 866-503-1966 e-mail: [email protected] www.onstagepublications.com This program is published in association with Onstage Publications, 1612 Prosser Avenue, Dayton, Ohio 45409. This program may not be reproduced in whole or in part without written permission from the publisher. Onstage Publications is a division of Just Business, Inc. Contents ©2018-19. All rights reserved. Printed in the U.S.A. www.brevardphilharmonic.org | brevard philharmonic 3 about the maestro JAMES FELLENBAUM ames Fellenbaum enjoys an extraordinarily diverse career as a conductor, equally at J home with Symphonic music, Chamber Orchestra repertoire, Pops, Ballet, Opera, Choral-Orchestral, and Film with Live Orchestra. He is thrilled and honored to become the next Artistic Director of the Brevard Philharmonic and is excited to share his love and passion for classical music with the community of Brevard. James is the Resident Conductor of the Knoxville Symphony Orchestra (KSO) having completed his 12th season with the organization. -
The Clarinet Choir Music of Russell S
Vol. 47 • No. 2 March 2020 — 2020 ICA HONORARY MEMBERS — Ani Berberian Henri Bok Deborah Chodacki Paula Corley Philippe Cuper Stanley Drucker Larry Guy Francois Houle Seunghee Lee Andrea Levine Robert Spring Charles West Michael Lowenstern Anthony McGill Ricardo Morales Clarissa Osborn Felix Peikli Milan Rericha Jonathan Russell Andrew Simon Greg Tardy Annelien Van Wauwe Michele VonHaugg Steve Williamson Yuan Yuan YaoGuang Zhai Interview with Robert Spring | Rediscovering Ferdinand Rebay Part 3 A Tribute to the Hans Zinner Company | The Clarinet Choir Music of Russell S. Howland Life Without Limits Our superb new series of Chedeville Clarinet mouthpieces are made in the USA to exacting standards from the finest material available. We are excited to now introduce the new ‘Chedeville Umbra’ and ‘Kaspar CB1’ Clarinet Barrels, the first products in our new line of high quality Clarinet Accessories. Chedeville.com President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Dear ICA Members, Jessica Harrie [email protected] t is once again time for the membership to vote in the EDITORIAL BOARD biennial ICA election of officers. You will find complete Mitchell Estrin, Heike Fricke, Denise Gainey, information about the slate of candidates and voting Jessica Harrie, Rachel Yoder instructions in this issue. As you may know, the ICA MUSIC REVIEWS EDITOR bylaws were amended last summer to add the new position Gregory Barrett I [email protected] of International Vice President to the Executive Board. This position was added in recognition of the ICA initiative to AUDIO REVIEWS EDITOR engage and cultivate more international membership and Kip Franklin [email protected] participation. -
Karl Leister Urodził Się W Wilhelmshaven W Niemczech
Karl Leister urodził się w Wilhelmshaven w Niemczech. Pierwsze lekcje klarnetu pobierał od swojego ojca, który był klarnecistą RIAS-Symphony Orchestra Berlin. W latach 1953-1956, studiował w berlińskiej Hochschule für Musik. W 1957 roku, w wieku 19 lat objął stanowisko pierwszego klarnecisty w „Komische Oper Berlin”, która pracowałą w tym czasie pod dyrekcją Vaclava Neumanna i Waltera Felsensteina. W 1959 roku Karl Leister rozpocząał pracę jako klarnecista - solista w Orkiestrze Filharmoników Berlińskich pod batutą Herberta von Karajana. 30 lat współpracy z Karajanem było najważniejszym i charakterystycznym momentem dla Karla Leistera. W tym samym czasie rozpoczął swoją międzynarodową karierę jako solista i kameralista. Jego partnerami w kameralistyce byli ponadto: Amadeus Quartet, Vogler Quartet, Pierre Fournier, Gidon Kremer, Rita Streich, Kathleen Battle, pianiści: James Levine, Riccardo Muti, Wilhelm Kempf, Gerhard Oppitz, Christoph Eschenbach, Bruno Canino, Elena Bashkirova , Elżbieta Leonskaja, Paul Gulda, Stefan Vladar i Ferenc Bognar. Jako solista występował pod batutą mistrzów dyrygentury jak np.: Herbert von Karajan, Karl Böhm, Seiji Ozawa, Eugen Jochuma, Aaron Coplanda, Rafael Kubelik, Sir Neville Marriner, Paavo Berglund, Raphael Frübeck de Burgos i Kent Nagano. Karl Leister jest jednym z założycieli zespołów „Blaser der Berliner Philharmoniker”, „Berliner Solisten” jak również „Ensemble Wien-Berlin”. Karl Leister od czasu założenia Akademii Herberta von Karajana w Berlin Philharmonic Orchestra, kształci kolejne pokolenia klarnecistów. Dziś wielu jego byłych studentów zajmuje ważne pozycje w znaczących orkiestrach niemieckich oraz na całym świecie. Karl Leister jest zapraszany na międzynarodowe festiwale, koncerty i lekcje mistrzowskie. Zdobył liczne nagrody i wyróżnienia na krajowych i międzynarodowych konkursach muzycznych. Poza tym nagrał najważniejsze kompozycje literaturze klarnetowej dla wytwórni takich jak: Deutsche Grammophon, EMI, Philips, Teldec / Warner, Orfeo, BIS, Nimbus, Sony, Camerata Tokyo. -
Karl Leister, Clarinet
KARL LEISTER, CLARINET Karl Leister was born in Wilhelmshaven, Germany. His first lessons were with his father, who was a clarinetist with the RIAS-Symphony Orchestra Berlin. Between 1953-1956 he studied at the 'Hochschule für Musik' in Berlin and in 1957, by the age of 19, he was already solo clarinetist at the Komische Oper Berlin under Vaclav Neumann and Walter Felsenstein. In 1959, Karl Leister began his work as solo clarinetist with the Berlin Philharmonic Orchestra under Herbert von Karajan. The 30 years of working together with Karajan was the most important and characterizing time for Karl Leister. At the same time his international career as a soloist and chamber musician began. His chamber music partners were moreover the Amadeus Quartet, Vogler Quartet, Pierre Fournier, Gidon Kremer, Rita Streich, Kathleen Battle, as well as the pianists James Levine, Riccardo Muti, Wilhelm Kempf, Gerhard Oppitz, Christoph Eschenbach, Bruno Canino, Elena Bashkirova, Elisabeth Leonskaja, Paul Gulda, Stefan Vladar and Ferenc Bognar. Furthermore, he played as soloist under the direction of Herbert von Karajan, Karl Böhm, Seiji Ozawa, Eugen Jochum, Raphael Kubelik, Aaron Copland, Sir Neville Marriner, Paavo Berglund and Raphael Frühbeck de Burgos. Karl Leister is one of the founders of the ensembles Bläser der Berliner Philharmoniker, Berliner Solisten as well as the Ensemble Wien-Berlin. Since the foundation of the Herbert von Karajan Academy of the Berlin Philharmonic Orchestra, Karl Leister has been teaching the young generation. Today many of his former students hold important positions with German or international orchestras. Simultaneously Karl Leister is requested at international festivals, concerts and master classes. -
Press Release
FOR IMMEDIATE RELEASE For More Information: https://ongaku-records.com/PR20200807.pdf Web https://ongaku-records.com/ Email [email protected] “COHLER plays and conducts MOZART” CD features Clarinetist, Conductor Jonathan Cohler with the Anima Musicae Chamber Orchestra Boston, MA — Ongaku Records, Inc. released Cohler plays and conducts Mozart (024-128) fea- turing virtuoso clarinetist and conductor Jonathan Cohler with the Anima Musicae Chamber Or- chestra in the second of the “Cohler plays and conducts” series including a selection of the greatest works by Mozart from his last 10 years: Clarinet Concerto, KV 622 played on basset clarinet in original style; Symphony No. 35 in D Major, KV 385 “Haffner”; and the overtures to Don Gio- vanni, KV 527 and The Magic Flute, KV 620. All are performed from brand new editions edited by Cohler. The new edition of the Clarinet Concerto is the first major new edition since the 1977 Bärenreiter, and it makes numerous enhancements, revisions, and corrections to the score based on the latest historical source and performance practice information. Cohler performs on the new Royal Global basset clarinet that he helped to design, and this is the debut recording of that new instrument. In tour de force performances, virtuoso clarinetist and conductor Jonathan Cohler and Anima Musicae have raised the bar for Mozart performance. Fanfare Magazine reviewer Bertil van Boer writes, “Cohler’s playing is immaculate. The soft, pensive, and languid second movement is suitably fluid without sentimentality, the clarinet line appearing as a primus inter pares with the orchestra rather than overt soloist. The finale is performed as a light and airy dance, just the way Mozart probably would have loved it.. -
Downloads/Newsletters/July August 2004.Pdf#Search= 'William%20Gasbarro%20Clarinet (Accessed February 25, 2011)
Florida State University Libraries 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 FLORIDA 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 L. 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. ii 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. iii 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 Howard Klug, thank you for your invaluable guidance at the onset of this journey. -
An Exploration of the Pedagogy of Robert Marcellus
THROUGH HIS OWN WORDS: AN EXPLORATION OF THE PEDAGOGY OF ROBERT MARCELLUS Karen Andreas Bronson, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS August 2019 APPROVED: Phillip O. Paglialonga, Major Professor Eugene Migliaro Corporon, Committee Member Kimberly Cole Luevano, Committee Member John Holt, Chair of the Division of Instrumental Studies Felix Olschofka, Interim Director of Graduate Studies in the College of Music John Richmond, Dean of the College of Music Victor Prybutok, Dean of the Toulouse Graduate School Bronson, Karen Andreas. Through His Own Words: An Exploration of the Pedagogy of Robert Marcellus. Doctor of Musical Arts (Performance), August 2019, 119 pp., 3 figures, 4 exercises, 39 musical examples, 5 appendices, bibliography, 36 titles. This dissertation presents the clarinet pedagogy of Robert Marcellus through reorganizing, documenting, and consolidating the archival recordings of summer master classes held at Northwestern University from 1977-1990. Pedagogical discussions and exercises are examined on topics such as wind, articulation, hand and finger position, and phrasing. Marcellus' interpretation and comments are discussed, along with musical examples from Cyrille Rose's 40 Studies for Clarinet, numbers 13, 21 and 32. This dissertation contains Marcellus' repertoire list and a sequence of study. Through this examination and consolidation of Marcellus' own words, this dissertation serves as a unique resource for those clarinetists interested in learning about this distinguished pedagogue. Copyright 2019 by Karen Andreas Bronson ii ACKNOWLEDGEMENTS There are many to whom I am grateful. Thank you first of all to my committee: Dr. Phillip O. Paglialonga, Dr. Kimberly Cole Luevano, and Professor Eugene Migliaro Corporon for your commitment to advising me on this project. -
Elements of Late Style in Johannes Brahms's Sonata in F Minor for Clarinet and Piano, Op
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2018 Elements of Late Style in Johannes Brahms's Sonata in F minor for Clarinet and Piano, Op. 120, No. 1 Kimberly Cassisa University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the Music Commons Recommended Citation Cassisa, Kimberly, "Elements of Late Style in Johannes Brahms's Sonata in F minor for Clarinet and Piano, Op. 120, No. 1" (2018). Honors Theses. 551. https://egrove.olemiss.edu/hon_thesis/551 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. ELEMENTS OF LATE STYLE IN JOHANNES BRAHMS’S SONATA IN F MINOR FOR CLARINET AND PIANO, OP. 120, NO. 1 by Kim Cassisa A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2018 Approved by ___________________________________ Advisor: Professor Michael Rowlett ___________________________________ Reader: Professor Michael Gardiner ___________________________________ Reader: Virginia Rougon Chavis © 2018 Kim Cassisa ALL RIGHTS RESERVED ii ABSTRACT KIM CASSISA: Elements of Late Style in Johannes Brahms’s F Minor Sonata for Clarinet and Piano Op. 120, no. 1 (Under the direction of Dr. Michael Rowlett) This paper presents various historical, analytical, and performance perspectives of Johannes Brahms’s Sonata for Clarinet and Piano in F Minor, Op. -
A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister
University of South Carolina Scholar Commons Theses and Dissertations Summer 2020 A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister Peter M. Geldrich Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Geldrich, P. M.(2020). A Legacy Preserved: A Comparison of the Careers and Recordings of Stanley Drucker and Karl Leister. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/ 5990 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. A LEGACY PRESERVED: A COMPARISON OF THE CAREERS AND RECORDINGS OF STANLEY DRUCKER AND KARL LEISTER by PETER M GELDRICH Bachelor of Music University of Maryland, 2003 Master of Music University of Florida, 2006 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Music Performance School of Music University of South Carolina 2020 Accepted by: Joseph Eller, Major Professor Rebecca Nagel, Committee Member Clifford Leaman, Committee Member Sarah Williams, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Peter M Geldrich, 2020 All Rights Reserved. ii Dedication To my father, Peter James Geldrich, who placed me on my musical path…and to my wife, Shannon Lowe, who has held my hand on the journey. iii Acknowledgements This document is a result of the inspiration and guidance that many people have provided me, and to whom I owe an enormous debt of gratitude. -
FLOWERS WITHOUT BORDERS July 9-11, 16-18, 23-25, 30-31 Enter to Win a Vocalise Mouthpiece Scan the Code and Complete Your Entry
FLOWERS WITHOUT BORDERS July 9-11, 16-18, 23-25, 30-31 Enter to Win a Vocalise Mouthpiece Scan the code and complete your entry. backunmusical.com gives a soul to theMusic universe, wings to the mind, flight to the imagination, and charm and gaiety to life and to everything. ~Plato Now, more than ever, E DWIN • HUD RE EIGAN SO • • W D N H R • T • C E R D I D IP i V Y I L E N P U S S IT T I A S play on! • S N I L R A E Meet Some I K W B • I A K S T • E L Players D A L G A E N R O R D We Love! O c a B M • B • U E L S N F O I V A D A • Z M H E Patents. See website. www.rovnerproducts.com Established 2013 Heather Rodriguez Alcides Rodriguez RMS offers a premium selection of Hand selected Buffet clarinets clarinets for the demanding artist, and accessories educator and student. Artist level set ups, upgrades, repair work and overhauls www.rodriguezmusical.com 470-545-9803 [email protected] A NEW SPECIES OF REED VENN signals the dawn of a new era in woodwinds innovation: combining the stability and longevity of a synthetic reed with the sound and feel of natural cane. To mimic the organic structure of cane, we reverse-engineered cane itself, layering di erent strengths of polymer fi bers with resin and organic reed elements to make up the reed blank.