REVIEWS

The explanations are succinct without CLARINET AND PIANO BOOKS sacrificing depth of understanding. The Brian Balmages. Dream Sonatina for Kornel Wolak. Articulation Types for pictures highlighting each muscle group are well presented and clear, and the clarinet and piano. Potenza Music, Clarinet. Music Mind Inc., 2017. 54 2015. Duration 10’30” $24.95 pp. PDF e-book $14.99, hard copy bibliography of materials for additional $19.99 study compliments his explanations nicely. American composer Brian Balmages I found this part of the book particularly (b. 1975) has written numerous works helpful. It directs the student to additional for wind and brass instruments. Dream exercises and methods that will help refine Sonatina was composed for clarinetist the technique in question. Articulation Marguerite Levin and premiered by Types for Clarinet is an excellent primer her in Weill Recital Hall, New York and first step in the understanding and City. Balmages fulfilled the specifics of application of the various available the commission by composing a work reflecting life in his 30s. For Balmages articulations. It was an enjoyable read, this centered on the birth of his two and I recommend it to anyone looking to children and three types of dreams they present articulation concepts to students experienced: daydreams, sweet dreams in a fresh and novel way. and bad dreams. The dreams are each Kornel Wolak’s book Articulation Types – Osiris Molina portrayed in a separate movement. for Clarinet is an extension of his work for The music is well-written, convincing Music Mind Inc. and his graduate research and of medium-hard difficulty, and it uses at the University of Toronto. This book, MUSIC a fluidly mixed language of classical and presented similarly to an owner’s manual pop music. There is good musical and for a car, is a 54-page text familiarizing BASS CLARINET emotional contrast between movements the reader with the myriad permutations and enough difficulty to be engaging for of articulations on the clarinet. It is Juan de Dios López-Maya. The Stick the performers. written as a quick-hit reference for and the Mask for unaccompanied bass – Gregory Barrett clarinet instructors and performers and clarinet. Cayambis, 2017. Duration briefly describes the physical processes by 5’30” $18.90 Ivan Boumans. Sea Episodes for B-flat which different types of articulations are Juan de Dios López-Maya (b. 1962) is clarinet and piano. Gérard Billaudot produced. For each type of articulation, a Venezuelan composer and musicologist. Éditeur, 2011. Duration: 5’ €7.54 a diagram of the inner workings of the His medium-difficulty four-movement Born in Madrid in 1983, Ivan mouth and tongue shows the exact areas work The Stick and the Mask can be played Boumans spent his childhood in Valverde of the body necessary to execute the on a bass clarinet without extended low del Jucar, Spain. He began his early specific articulation. Wolak includes range. The upper range is modest too, music study in 1993 at the Conservatory descriptions of other writings and/or only reaching to clarion A. The four short of Cuenca. A year later he entered the exercises to practice these articulations. movements portray in music the grisly Conservatory of Luxembourg where he Wolak, assistant professor at Queen’s plot of a novel by José Manuel Briceño studied piano, clarinet, composition, University in Ontario, Canada, presented Guerrero. Full of mixed meter and short conducting and a myriad of other music a lecture of this material at the 2017 subjects. He later enrolled in the Paris repeated motifs, the music is often dance- ClarinetFest® in Orlando, and it was Conservatory where he received a Master like and includes a few measures with slap one of the most talked-about sessions at Diploma in music composition in 2011. tongue, key clicks and flutter tongue. the conference. His book sold out after His catalog of works contains more than the presentation, and for good reason. – Gregory Barrett 100 pieces of various genres including

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chamber music works, film music and by Guy Dangain. Gérard Billaudot beloved song is set entirely in the B-flat symphonic pieces. He currently teaches at Éditeur, 2013. Duration: 4’ €6.75 clarinet’s chalumeau register. the Conservatory of Luxembourg where This most famous and delicate Fauré’s Sicilienne is familiar from his he combines composition and conducting nocturne by Chopin is presented by Guy orchestral suite Pelléas et Mélisande and with other projects. Dangain in the original key of E-flat from its many arrangements. This version,

Sea Episodes is a short, descriptive piece major – a friendly key for the clarinet. set in A minor for the clarinet, favors the which has four subtitles indicated by the The melody is unaltered but for several chalumeau register and rises above the composer. It begins with “The Sailor’s instances of octave transposition and a treble staff only once. Correct the first Farewell,” a lilting tune in 6/8 time in the slight shortening of the repeated trill-like note in measure 15 to B flat. key of C minor (concert pitch). The next measure at the end. In this medium- – Gregory Barrett section is “Mermaid’s Song” and it begins difficulty work, Dangain has specified with a brief section marked Liberamente. rhythmic groupings for several of the Jesús de Monasterio. Adiós a la Alhambra. The composer states that articulations and melismatic measures in Chopin’s original. Bassus Ediciones Musicales, 2015. tempo are to be chosen by the performer. $19.50 The piano part consists mostly of tremolos. – Gregory Barrett A new theme marked Andante continues Are you suffering withdrawal Claude Debussy. Valse Romantique. with the piano echoing the phrases of the symptoms from ClarinetFest® 2018 – Transcription for clarinet and piano by clarinet. This is followed by a much faster Ostend, Belgium? If so, in a roundabout Zoltán Kocsis. Editio Musica Budapest, section, “Storm.” Dotted rhythms provide way, this work by the Spanish composer 2016. Distributed in North America by intensity and loud, accented quarter notes and violinist Jesús de Monasterio (1836- Hal Leonard. $14.95 appear in both parts. The clarinet emulates 1903), may be the antidote. You see, de a strong wind with chromatic lines Hungarian pianist and conductor Monasterio studied at the conservatory in ascending and descending while the piano Zoltán Kocsis (1952-2016) recorded Brussels from 1852-1854 and was even supplies much of the energy underneath. Debussy’s Valse Romantique (1890) and offered a professorship there in 1870. None of this lasts very long – less than a shared his advocacy of this work for He wrote Adiós a la Alhambra (1855) minute – and the storm calms with the clarinetists with this transcription. The for violin and piano but we know from a onset of softer dynamics and flowing idiomatic medium-easy clarinet part is Madrid newspaper account that clarinet- triplets in the piano. The piece concludes scored for B-flat clarinet, playing in the phenom Antonio Romero performed the with “Return Home,” a rather brief ending sounding keys of F minor and F major. work on clarinet in 1873 at a concert where of five measures. Most of the piece is – Gregory Barrett de Monasterio also performed. In fact, they tonal, but there are dissonant chords in played the Beethoven Septet together. the piano part. Edward Elgar. Salut d’amour, Op. 12. For Bassus Ediciones Musicales, This piece is listed in the “Collection Transcription for A clarinet and piano clarinetist Pedro Rubio and pianist Ana Éric Perrier.” The composer indicates by Graham Bastable. International Benavides have given us an immensely that this is Opus 66. It is not difficult, Music Company, 2017. $9.50 enjoyable version for clarinet (in either and perhaps could be performed by an B-flat or A) and piano. This nostalgic, 6/8 This evergreen dedication of love from Andantino/Allegretto ABA-form single- intermediate student. Elgar to his future spouse Caroline Alice movement work with introduction and – Robert Chesebro Roberts has been transcribed for A clarinet and piano maintaining the original key of concluding cadenza is sweepingly tuneful. Frank Bridge. Serenade. Arranged E major. Medium-easy difficulty except for The melodies are embellished with for clarinet and piano by Russell the four measure pianissimo altissimo G in grace notes and trills and the harmony Denwood. Emerson Edition, 2011. the clarinet in the concluding phrase. This poignantly alternates between minor and Duration: 2’40” £6.00 could be altered for ease of performance. major. Highly recommended. Frank Bridge (1879-1941) – English – Gregory Barrett – Gregory Barrett composer, conductor, violist and teacher of composition prodigy Benjamin Britten – Gabriel Fauré. Après un rêve, Op. 7, No. José Manuel Fernandez Perez. Evocazione composed this lovely, clear-lined work for 1. International Music Company, Barocca for A-flat piccolo (or E-flat violin or cello and piano. The music is 2017. Transcription for clarinet and piccolo) clarinet and piano. Eufonia, technically very easy, the sentiment sincere piano by Graham Bastable. $8.95 2018. €14.50 and the harmony enchanting. The last The A-flat piccolo clarinet is quite an seven measures are an abrupt presto that _____. Sicilienne, Op. 78. International unusual and demanding small clarinet to brings our reverie back to reality. Music Company, 2017. Transcription handle due to its harsh, sharp and piercing for clarinet and piano by Graham – Gregory Barrett tone, just like the other very seldom-used Bastable. $12.25 piccolo clarinets in C, B-flat, F and G Frédéric Chopin. Nocturne No. 2, Op. 9. Dreaming of Fauré? This arrangement (for Schrammelmusik in the Viennese Transcription for clarinet and piano of Après un rêve will fulfill your desire. The tradition). Usually it is used in big military

SEPTEMBER 2018 THE CLARINET | 3 REVIEWS

DEBUSSY’S PREMIÈRE RHAPSODIE: THE 2017 BÄRENREITER URTEXT EDITION

by Dennis Nygren piano autograph clearly indicates the F-natural notation (see Example 4), as does the Durand first edition. In addition, the The long-awaited Bärenreiter Urtext edition of Debussy’s Première primary motive or cell of the work is a falling 4-note chromatic Rhapsodie – both for clarinet and piano and clarinet and orchestra scale followed by a minor or a major third. Notice, for example, – was published in 2017. Researched meticulously by Douglas that in the Scherzando theme, in measure 96 the rising third Woodfull-Harris, the beautifully printed edition contains is minor (C-natural/E-flat), while in measure 97, it ismajor scrupulous historical program notes, source information, critical (A-flat/C-natural). This organic alteration of an interval within commentary, and textual notes, in English, French and German. a motive is a primary procedure within Debussy’s compositional 1 Despite my own intense research leading to my dissertation techniques, and it recurs many times throughout the Rhapsodie 2 and a subsequent article in The Clarinet, this Bärenreiter edition as well as his other compositions. Finally, note the concert E-flat detailed some information of which I was unaware. For example, in the accompaniment – both piano and orchestra – on this not having access to the contract between Debussy and publisher same upbeat.4,5 Would Debussy have intended that dissonance, Jacques Durand, I had no idea that the work composed as a despite the shortness of the 32nd note? Conservatory solo de concours for clarinet and piano (1909- 1910) was from the onset intended for clarinet with orchestral accompaniment.3 My sources previously suggested that Debussy’s decision to orchestrate the work came later in 1911. Textual discrepancies usually fall into one of two categories: 1) those for which a wealth of evidence points to the appropriate text, and 2) those where one must choose the text based on logic and preference, but which remain debatable. I believe that the controversial notation in measure 201 falls Example 1: Debussy Rhapsodie, m. 201, clarinet/piano autograph into the former category. Both autograph manuscripts clearly manuscript indicate a beat 3 notation of D-sharp/E-natural/G, with the clarinet/piano autograph even reiterating the natural sign on E in beat 3 (see Examples 1 and 2). The first printed edition of the orchestral score also presents this notation. Finally, this same precise motive appears twice in measure 123, with one final enharmonic spelling in measure 203. In only the first printed clarinet/piano edition does the notation appear D-natural/E- flat/G. Douglas Woodfull-Harris prefers the strongly-evidenced D-sharp/E-natural note choice. It is my recommendation that Woodfull-Harris’s textual Example 2: Debussy Rhapsodie, m. 201, orchestral autograph manuscript indications be followed to the letter, with three exceptions. I would argue with his preference of F-flat in measure 6. His choice is based on a single, slightly blurred F-flat (see Example 3) in the clarinet/orchestra autograph and the subsequent first printed orchestral score. This notation, I believe, falls into the latter text category, one of a debatable choice. In the Peters Edition of 1976 (Reiner Zimmermann) the printed notation is F-flat, while in the more recent 2009 Henle Edition (Ernst-Gunter Heinemann), it is F-natural. Could it be that Example 3: Debussy Rhapsodie, m. 6, clarinet/orchestra autograph Debussy made an error in penning the single F-flat while orchestrating the work? My preference is for F-natural, for the following reasons: First, the clarinet/ Example 4: Debussy Rhapsodie, m. 6, clarinet/piano autograph

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The articulations in measures 34 and 35 would also be a ENDNOTES matter of choice. In my research I discovered three different 1 Dennis Nygren, “The Music for Accompanied Clarinet Solo of Claude articulations for these measures.6 Woodfull-Harris selected Debussy: An Historical and Analytical Study of the Première Rhapsodie and the articulation in the orchestral autograph, with the final two Petite Piece” (D.M. dissertation, Northwestern University, June 1982). 2 Dennis Nygren, “Debussy’s works for clarinet – Part 1,” The Clarinet 12, eighth notes of measure 35 articulated. My preference is for No. 1 (Fall, 1984): 40-42. the articulations in the clarinet/piano autograph and the first 3 The contract (12 January 1910) titles the work “PREMIÈRE RHAPSODIE/ Durand printed edition, where these two notes are slurred. This pour clarinette en si b/avec accompaniment d’orchestre/et réduction de choice is for a purely musical reason: having the final two notes piano.” Claude Debussy, Première Rhapsodie, Edited on the basis of sources of measure 35 slurred results in a smoother connection into the by Doulas Woodfull-Harris (Kassel: Barenreiter Urtext, 2017). trills in measures 36-37, in which beautiful parallel harmonies 4 Raymond Roy Park, “The Later Style of Claude Debussy” (Ph. D. occur in the accompaniment. dissertation, University of Michigan, 1967), p. 33. 5 Nygren, “The Music for Accompanied Clarinet Solo of Claude Debussy,” A further recommendation would be to connect all the end note 1, p. 13. pitches in measure 43 under a slur, as it appears in the clarinet/ 6 Within the two autographs and the 1976 Peters Edition (Reiner piano autograph (see Example 5). By doing so, all three Zimmermann), there are three different articulation varieties in measures 34 statements of these notations (in measures 14, 43, and 155) and 35. remain consistent. My final recommendation – one not in the Bärenreiter edition – concerns notation in Debussy’s own hand. In measure 202 the composer beamed the 32nd notes in two sets of seven, making the measure appear to be in 4/4 time (see Example 6). This could be rectified simply by connecting the beams of all 14 notes, clearly indicating a triple meter. Lastly, I concur wholeheartedly with Woodfull-Harris concerning the following textual choices: 1) the notes between the end of measure 44 and the beginning of measure 45 Example 5: Debussy Rhapsodie, m. 43, clarinet/piano autograph included under a slur, and 2) the final note of measure 113 manuscript being C-natural (not C-flat). If one seeks the “last word” in scholarship and detail concerning Claude Debussy’s Première Rhapsodie, I highly recommend the Bärenreiter clarinet/piano and clarinet/ orchestra editions, skillfully edited by Douglas Woodfull- Harris. Example 6: Debussy Rhapsodie, m. 202, clarinet/piano autograph manuscript

bands. It is practically nonexistent in solo who is one of the very few real specialists WORKS WITH THREE TO or chamber music repertoire. On the on this hard-to-play instrument. Di SIX PERFORMERS contrary, for the E-flat piccolo clarinet Lorenzo conceived a “Piccolo A-flat we have a number of interesting works: Clarinet Experience” project, including a Louis Moreau Gottschalk. Two Pieces, arrangements from famous Italian operas recording. Fernandez Perez composed for Volume One: La Jota Aragonesa and Souvenir de la Havane. Arranged by by Cappelli, Cavallini and Panizza; and him this new piece conceived as a small Michael Webster. International Music for D piccolo: Molter concertos, Pessina’s baroque suite including an “Ouverture” Company, 2016. Duration: 9’40” The Nightingales with piccolo flute and the or “Bourrée,” a “Sarabanda” and a small $26.50 Handel Trio with a second D clarinet and “Fandango” in the style of Antonio Soler a horn. E-flat piccolo and B-flat clarinet or Boccherini. It is a small but very _____. Two Pieces, Volume Two: Souvenir are used together in works by Bassi, pleasant and well-structured piece. It de Cuba and Grande Tarantelle. Pillevestre, Filippa, Ponchielli and others. comes with an optional part for E-flat Arranged by Michael Webster. The Spanish clarinetist and composer piccolo clarinet. Hoping that this can be a International Music Company, 2016. José Manuel Fernandez Perez wanted to starting point to build up a new repertoire Duration: 9’ $29.50 for this rare piccolo clarinet! offer this nice piece to the brave Italian Michael Webster’s contributions to clarinet player Giovanni di Lorenzo, – Luigi Magistrelli the repertoire for flute, clarinet and piano

SEPTEMBER 2018 THE CLARINET | 5 REVIEWS

are invaluable. Under his leadership with David Bennett. Prelude and Scherzo, of the East; P. Sánchez: Free Translations flutist Leone Buyse, the Flute/Clarinet quartet for clarinets in B-flat. Carl of Li-Ch’ig-Chao: Three Musical Duos Consortium has commissioned Fischer, 1939; Copyright Renewed. Settings; J. Qian & J.B. Hu: New York original works from composers including Duration: 5’ 30” $16.99 Improvisatory Dialogue II; S. Steele: Libby Larsen, Derek Bermel and Pierre No longer out of print, this early quartet Su Counterpoint. Albany Records Jalbert. Webster’s arrangements of works (1937) – like Bennett’s contemporary work TROY1681. Total time 72:56. Amazon by Debussy, Bizet, Dvořák, Brahms and Deepwood for bass clarinet and piano – and iTunes others showcase his insight of the music reflects Bennett’s (1892-1990) career in in its original form and also his deft popular music during the big band days understanding of tone color and timbre in Chicago. Medium-easy in difficulty, the of each instrument making for effective work is charming and old-fashioned. It is adaptations to the flute, clarinet and piano written in a range of tempos from Lento to medium. His first volume of arrangements Presto, and, though for four clarinets, the of works by Louis Moreau Gottschalk fourth part could be played by an agile contains La Jota Aragonesa and Souvenir de bass clarinetist. la Havane. The former work is a sprightly dance juxtaposed with boisterous, colorful – Gregory Barrett interjections and flourishes, while the Johann Melchior Molter. 5 Märsche für latter contains a habanera followed by 2 Oboen, Klarinette, 2 Hörner und another perky dance. Both works showcase Fagott. Musikverlag Bruno Uetz, 2016. the coloristic and stylistic capabilities of €16.00 the ensemble, exhibit a perfect balance of melodic material between the parts Prolific German composer Johann Jun Qian’s recent album West Meets and are enjoyable for both performers Melchior Molter (1696-1765) is known East explores the nature of cross-cultural and audience. Webster incorporates to clarinetists primarily for his enchanting influences in music. Qian currently serves relevant biographical and programmatic concertos for piccolo D clarinet. Molter on the faculty of Baylor University in information regarding Gottschalk and used the same instrument in these five Texas and is principal clarinetist of the these pieces in the preface. An essential brief marches all in the key of D major. Waco Symphony. Among many other companion to these arrangements is the The clarinet, though sometimes playing a previous appointments, he also taught Webster Trio’s CD World Wide Webster, high descant line or doubling oboe 1, is at St. Olaf College and performed as which contains this arrangement and functionally grouped with the two horns principal clarinetist of the Shanghai many others. in providing harmonic and rhythmic Philharmonic Orchestra. The title of Michael Webster’s second volume of support for the two oboes. The two oboes the album stems from the two previous arrangements from the works of Louis have almost all the melodic lines, replete albums in this series, East Meets West Moreau Gottschalk includes Souvenir with trills and alternating duple and triple Volumes 1 and 2. While East Meets West de Cuba and Grande Tarantelle. Souvenir division of the beat. Because of the simple explores the intersection of Chinese and de Cuba divides melancholic melodies nature of the D clarinet part it would not American culture through well-known between the three instruments in a be difficult to play it a half step lower on Chinese composers working in the United manner that is equally flirtatious and a piccolo E-flat clarinet except for several States – featuring Bright Sheng, Chen resulting awkward trills of D flat to E flat imitative. The arrangement of Grande Yi, and Zhou Long among others – West and A flat to B flat – all in the clarion Tarantelle is so effective that one might Meets East is Qian’s reversal of this theme, register. think Gottschalk had originally written bringing together American and European it for this combination of instruments! – Gregory Barrett colleagues to reflect and explore Chinese Its charm and wit are readily apparent. influences from a Western perspective. The piece requires utmost dexterity and RECORDINGS Monkey King for B-flat clarinet and musicianship from each performer and fixed media (2016) by Justin Merritt, would easily bring an audience to its feet West Meets East. Jun Qian, clarinet; composition professor at St. Olaf College, when performed. As with Volume One, Ben Quarles, bass clarinet; Todd features highly programmatic, energetic the pieces are cleanly laid out, may be Meehan, percussion; Paul Sánchez, clarinet writing that shows off Qian’s performed together as a set or separately piano; Kayleen Sánchez, soprano; Scott technical flair. He is able to traverse wide as single concert pieces and are recorded Steele, percussion; Jing Zhou, guzheng; ranges and furious 16th-note passages on the Webster Trio’s album World Jianbing Hu, sheng. J. Merritt: Monkey with ease and a warm color palette that Wide Webster. King; M. Mueller: Arabesque; P. Lenz: contrasts the backing tape track. The work – Kip Franklin Funk Shui; E.J.F. Taylor: Azure Dragon itself is based off of the tale of the Monkey

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King, as depicted in the 16th-century “Old Age.” Soprano Kayleen Sánchez O’Neil; Traditional: The Lark in the Chinese classical novel Journey to the West, uses a pure tone with little vibrato that Clear Air (arr. M. McHale). Cedille with both movements following different evokes the text perfectly. Repetitive Records CDR 90000 172. Total time narrative arcs of battles. Each has many piano figurations ebb and flow across 66:17. Amazon and iTunes exciting points that evoke a film score each movement, expressing each stage aesthetic, though I wish the tape track of life eloquently. “Old Age” creates a had made more transformative use of particularly effective emotional shift with electronics as a medium. dark and openly voiced piano chords. Matthias Mueller’s Arabesque for New York Improvisatory Dialogue II solo clarinet (2016) uses lilting lines for clarinet and sheng (2016) developed and Debussy-like passages to explore out of Qian’s visit to New York’s Morgan the warmth of the clarinet. As professor Library to research copies of the original of clarinet at the Zurich University of Brahms sonata manuscripts. He and the Arts, Mueller writes in a way that Jianbing Hu approach the improvisational epitomizes the clarinet’s sound and ability dialogues with influence taken from both to sing through phrases, which Qian the Brahms clarinet sonatas and Chinese effectively captures in his performance. dance music, but never so overtly as to The composition sounds idiomatic and detract from the gorgeous colors achieved should interest professionals, pedagogues by blending the unique sound of the and students alike. sheng with the warm chalumeau register Portraits is a new compact disc by Patrick Lenz’s take on the project’s of the clarinet. the McGill/McHale Trio. The recording theme, Funk Shui for B-flat clarinet and Scott Steele’s Su Counterpoint for is full of interesting world premieres bass clarinet duet (2016), depicts what he clarinet, percussion, and zheng (2014) and arrangements for the trio and was sees as internal and external categories of is the least tonal work on the album and recorded at the Reva and David Logan Chinese martial arts against long melodic the most timbrally varied. Steele’s work Center for the Arts at the University of passages and funk-inspired pitch bends is a dichotomy of stasis and placidity Chicago in 2017. and harmonies. Ben Quarles anchors the against moments of dense texture and First up on the recording is Chris work with a solid, recurring bass clarinet motion. Qian sounds rich in the blend Rogerson’s A Fish Will Rise. In this ostinato, which Qian weaves through with percussion and zheng, and the opening work the ensemble establishes melodically. treatment of the material was a refreshing a well-balanced sound that is present Edward J.F. Taylor’s Azure Dragon of variation from the harmonic palette of the throughout the recording. Rogerson’s work the East for B-flat clarinet and percussion preceding works. is immediately recognizable and pleasing (2016) explores stargazing with the Azure Qian’s latest recording brings together to the listener. His style is reminiscent Dragon of the East, which is “the astral many talented composers and performers of Copland and he is able to create the representation of the stars visible along in this ambitious project. It offers many the ecliptic during the spring months,” spacious and open feeling that you might interesting moments, showcases his superb according to the liner notes. The work experience in the great plains of the is by far the longest on the album at 24 ability as a musician, and disseminates American heartland. The ensemble delivers minutes, with a sound that is similar to many accessible new works to explore. a good performance of this work; however, that of Taylor’s former teacher Charles Although I desired more timbral variety it felt somewhat heavy at times and I may Wuorinen. The composition makes use and ventures out of the overtly melodic have preferred a slightly lighter sound. of the richness of tone available with the realm, the positive attributes of this Intonation of the trio is impeccable and combination of marimba, woodblocks and recording overshadow those thoughts. West interplay between voices is well-balanced clarinet. Percussionist Todd Meehan and Meets East definitely deserves to be heard. and clear. In the soft passages the group lost Qian work well together, with the unison – Ford Fourqurean some of the resonance it achieved in the and imitative passages showing their forte sections, but overall the performance rhythmic precision and ability to shape Portraits. Anthony McGill, clarinet; has great conviction and charm. phrases together. Demarre McGill, flute; Michael Next up is the world premiere Free Translations of Li-Ch’ing-Chao: McHale, piano; Mahershala Ali, recording of Portraits of Langston. This Three Musical Settings for clarinet, soprano narrator. C. Rogerson: A Fish Will innovative and refreshing work, by the and piano (2016) by Paul Sánchez sets Rise; V. Coleman: Portraits of Langston; award-winning African-American flutist three poems by 12th-century female poet G. Connesson: Techno-Parade; S. and composer Valerie Coleman, is a Li Ch’ing Chao, translated by Luke Rachmaninov: Vocalise (arr. M. six-movement suite interspersed with Taylor, capturing the spirit of three stages McHale); P. Schoenfield: Sonatina; P. readings of poems of Langston Hughes of life, titled “Youth,” “Middle Age” and Hammond: The Lamentation of Owen by Mahershala Ali, the American actor

SEPTEMBER 2018 THE CLARINET | 7 REVIEWS

revered for his roles in House of Cards A lonesome traveler is wandering and The Hunger Games. Like the writing alongside a plowed field. Behind the distant of Hughes, this work is diverse and full hills the sun slowly begins to rise, coloring of African folk culture influences. The the cloudy grey sky in warm shades of pink trio delivers a well-balanced and clean and orange. This scenery depicted on the performance, though at times, I found cover of the recording, a painting from it difficult to connect the poetry to the 1830 by Caspar David Friedrich, perfectly music. Ali’s voice seemed acoustically captures the mood of the opening chords drier and emotionally out-of-sync of the recording; bright and refreshing with the group. Coleman evokes a as the first rays of the morning sun, the wonderful American sound that is music rises and unfolds itself in the most present throughout much of this compact vibrant colors. Due to the historically disc. She has skillfully and successfully informed rendering on period instruments, encompassed many styles in her writing. the music is presented as it might have I found the piece extremely interesting been heard 200 years ago, opalescent yet and moving, but wished for a few more heritage. They are both characteristically translucent. Even 10-year-old Mikhail memorable melodic statements. Valerie folk-like and contain a pensive and loving Glinka, who according to a letter witnessed Coleman is clearly one of our great feeling. The Lark in the Clear Air could a performance of one of the quartets, raved emerging American artists and composers. have been more convincing if the group about the “unbelievable, novel impression” The highlight of the recording for me had created a more semplice and sostenuto the music left on him. was the Connesson Techno – Parade. This feel in the melodic lines, but still has a The author of this memorable music is high-energy work is played flamboyantly heartfelt quality. no one less than the “chamber musician by the group and seemed a perfect fit. The With this recording comes a booklet and clarinetist to the King of Sweden,” virtuoso piano playing of McHale was with well-written program notes by Elinor Bernhard Henrik Crusell. Crusell, who lived from 1775-1838, is mostly impressive and the technical ensemble Olin from the Northern Illinois University remembered today as a clarinet virtuoso work of the McGills was tight and flawless. School of Music. This is a fine recording who wrote three fabulous clarinet concerti Rachmaninov’s famous Vocalise was the with wonderful new additions for the and the variations on a Swedish theme. least satisfying work for me. Unlike the chamber music trio repertoire. However, Crusell also composed three other works on this recording, McGill’s – Robert DiLutis equally beautiful quartets for clarinet, clarinet tone seemed airy and did not draw violin, viola and violoncello. Since no me in to the beauty of this piece. Though Bernhard Crusell: Three Quartets for autograph has been found, the recording is I must confess, I found myself whistling Clarinet and Strings. Eric Hoeprich, based on the first editions of the quartets, the tune all day after hearing it just once. clarinet; members of the London published in the years 1812, 1816 and The arrangement clearly showcases the Haydn Quartet: Catherine Manson, 1823. They are presented in reverse greatness of Rachmaninov and his ability violin; John Crockatt, viola; Jonathan chronological order on the disc, starting to write an incredible melody. Manson, cello. B. Crusell: Quartet in D with Op. 7 in D major, then Op. 4 in C Paul Schoenfield’s Sonatina captures Major, Op. 7, Quartet in C Minor, Op. minor and ending with Op. 2 in E-flat three different dance feels in this 4 and Quartet in E-flat Major, Op. 2. major. recording: “Charleston,” “Hunter Rag” Glossa Music GCD 920609. Amazon As a common structure they each and a “Jig.” This release mislabels this as and iTunes have four movements, and with the a world premiere recording, as recordings exception of the Quartet Op. 4 in C by the Scott/Garrison Duo and Webster Minor, where the Menuetto precedes Trio precede it. That said, the group is the slow movement, they roughly follow in strong form for this work and their the compositional structure of their playful style is evident throughout. The time. While the framing Allegro and composition captures each dance with Rondo movements are of a lively brilliant great ease and the virtuosity of the playing character and require great virtuosity of is again evident throughout the group. the instrumentalists, the menuetti are of a Schoenfield is able to create a good light-footed and elegant tone. Especially balance between old and new traditions by imaginative and appealing are Crusell’s using the rhythmical influences of these slow movements, titled “Romance” or traditional dance styles and blending them “Pastorale,” where lovely arioso themes are with his modern style of composition. bestowed on the clarinet, expressing the The recording wraps up nicely with sort of “northern melancholy” inherent to two short works of Irish and Celtic Crusell’s compositions.

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The rendering discussed here has demands and impressions of the recorded been recorded in 2016 by clarinetist Eric performances are more or less the same. Hoeprich and members of the London Both pieces feature complex interactions Haydn Quartet. Hoeprich, a well-known between Vinasco and the individual expert on original instruments, performs members of the quartet. The ensemble on a 10-keyed boxwood clarinet modeled is tight and impressive as the performers after Crusell’s original instrument, which effortlessly shift between sustained florid was made by Heinrich Grenser, Dresden musical lines and complex motivic and is in possession of the Musikmuseet gestures. The quality and beauty of Stockholm. The quartets Op. 2 and 4 Vinasco’s playing is remarkably consistent are written for a clarinet in B-flat; Op. 7, as he shifts from one texture to the next, however, requires a clarinet in A, which and collectively the ensemble plays with in the 19th century was obtained through the refinement and excitement of a truly a corps de rechange, a longer middle joint great chamber ensemble. that could transform a clarinet pitched Helix by the Colombian composer in B-flat into an A clarinet. Hoeprich’s produced a virtuosic, engaging and well- Andrés Posada was commissioned playing displays great virtuosity, supple engineered recording. Vinasco plays with specifically for this project. Unlike articulation and a singing tone quality, a beautiful sound and great expression the previous works, this piece is more with a luminous and bright sound in which is matched by the nuanced and atmospheric and relies less on a rhythmic the altissimo and a warm voice in the compelling performances of the members pulse to drive the music. Glissandi, lower register. The string players also of the Q-Arte Quartet. Each piece microtones and complex textures use period instruments with gut strings presents a diversity of content, colors, establish the tonal environment for the and lighter bows, giving the ensemble a textures and technical demands that are piece. The clarinet part requires the use homogenously brilliant yet warm sonority, performed at the highest level of artistry of multiphonics, microtones, timbre complementing that of the clarinet. The and refinement. trills and harmonics, as well as frequent ensemble’s rendering of the quartets is Pacific Serenade, Op. 58, by the glissandi. Vinasco executes these extended an expressive indulgence, the musicians Uruguayan composer Miguel Del techniques effectively and is able to blend breathe together and the music feels as Águila is the first piece. Written in three them perfectly into the textures and string if coming out of one heart and soul. movements, this work evokes moods sounds that evolve around him. This Besides a few moments where the strings and sonorities that reminds one of music performance is compelling and the writing slightly overpower the clarinet in loud one might hear “after hours” in a South is extraordinary. sections and a lack of edge in the clarinet’s American night club. Vinasco performs The final piece is Jardín do Otoño articulation possibilities compared to the the simple song-like melodies with a by Mexican composer Javier Álvarez. string section, there is really no desire left smooth and sensuous tone and natural This is a large-scale work consisting of unfulfilled by this disc. Five golden reeds flowing phrases appropriate to the style. four movements. The first and third from my side! His melodic lines are supported by rich movements focus on long sustained string textures and colors which function pitches and shifting colors with an almost – Simone Weber not only to accompany the melody, but to kaleidoscopic effect. Each player shows create atmosphere and establish style. The great skill in their control of sonority 4+1. Javier Asdrúbal Vinasco, clarinet; balance of instruments in the recording is and creation of beautiful and expressive Cuarteto Q-Arte: Juan Carlos Higuita perfect and spacious. This piece is ideal for lines. The second and fourth movements Estrada, violin; Liz Ángela García the stage, but also to listen to on a stereo are more driving and angular, with the Castro, violin; Sandra L. Arango and relax at the end of a long day. performers developing and exchanging Calderón, viola; Diego Garcia Castro, The remaining four works are more motivic gestures with great precision and cello. M. del Águila: Pacific Serenade; modern, much more of what one energy. Throughout this recording, the B.E. Atehortúa: Quintet, Op. 247; might expect on a recording project ensemble does a truly outstanding job A. Posada: Helix; C. Garrido-Lecca: of new music. Quinteto para cuerdas bringing this piece to life by delivering an Amaru Jardín de otoño ; J. Álvarez: . by Colombian composer Blas Emilio engaged and dramatic performance. Artist produced. Total time 65:01. Aterhortúa and Amaru by the Peruvian – David Shea Amazon and CDBaby composer Celso Garrido-Lecca are 4+1 is a CD of modern works for both engaging works that are based on Clarinete Solo Brasileiro. Jairo Wilkens, clarinet and string quartet featuring music recognizable melodic lines, but utilize a clarinet. C. Santoro: Fantasis Sul by Latin American composers. Clarinetist modern harmonic and rhythmic language. América and Três Estudos; G. Bauer: Três Javier Asdrúbal Vinasco performs with the Although both works do sound different Peças; E. Frigatti: IGUAÇU – da nascente Q-Arte String Quartet, and together they in their content, the challenging virtuosic à Garganta do Diabo; A. Ficagna:

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Inquietações; H. Crowl: Introspecção; upper register. Três Estudos is a good study The second movement is a lullaby that R. Miranda: Lúdica; L. Pitombeira: for refining tonal consistency and smooth recalls motives from the first, while the Suite for Clarinet, Op. 65; O. Lacerda: legato between wide intervals. The second third is “a fast type of march danced Melodia; M. Santos: Pequena Peça is especially memorable with its dance-like frenetically at the carnival” with rhythmic Brasileira; A.G.M. de Carvalho: Três rhythms and rapid technical patterns that energy and percussive gestures. Wilkens Movimentos; J. do Bandolim: O Vôo da recall bird songs. accentuates the strong rhythmic drive of Mosca. Tratore ETU 196. Total time Santoro’s student, Guilherme Bauer, the outer movements and plays with the 63:32. Amazon and iTunes composed Três Peças beginning in 2008. requisite character. According to the liner notes, the first Osvaldo Lacerda’s brief Melodia is movement references Caravaggio’s use of lyrical but less memorable than the others. chiaroscuro in his paintings. Fortissimo Murillo Santos’ Pequena Peça Brasileira is interruptions abound in the lyrical second notable for its catchy introduction movement. The third movement opens and melodic lines that bounce up and with a distinctive oscillating ascending down the instrument. Wilkens achieves motive and includes playful passagework. a beautiful and even tone across the I especially enjoy the dialogue Wilkens registers and imparts great clarity to the creates between the lines as well as the articulated passages. bubbly articulated gestures. Antonio Gilberto Machado de IGUAÇU and Inquietações were Carvalho’s Três Movimentos is rhythmic written in 2016 and dedicated to Wilkens. and exciting. I especially like the first Eduardo Frigatti’s IGUAÇU was named movement’s driving accelerando and fast after a river and attempts to “find the ONE articulations as well as the bold opening of that exists in contrasting events.” It features the third movement. varied techniques, including glissandi, Wilkens concludes the album with a Brazilian clarinetist Jairo Wilkens’ first multiphonics, flutter tonguing, pitch- stunning rendition of Jacob Do Bandolim’s album, Clarinet Solo Brasileiro, showcases bending, vibrato, tremolos and microtones. O Vôo da Mosca. The piece, originally the solo clarinet writing of Brazilian The rapid outbursts are memorable as are written for mandolin, is a virtuosic showstopper in the vein of Rimsky- composers between 1942 and 2016. There the upbeat melodic sections. Wilkens plays Korsakov’s Flight of the Bumblebee – is a wealth of solo repertoire written by with a clear sense of direction and allows perfect for an encore. Bravo to Wilkens, Brazilian composers, and it is interesting to the disparate technical elements to flow who brilliantly plays the continuous hear the varied styles on this recording. seamlessly into one another. Alexandre articulated runs at a lightning-fast tempo! Wilkens studied at the School of Music Ficagna’s Inquietações also includes extended This is an incredible performance, and I and Fine Arts of Paraná, as well as Indiana techniques, rapid outbursts and dramatic cannot think of a better way to complete University and the University of Missouri– dynamic contrasts and was written in this enjoyable journey through Brazilian Columbia. He serves as clarinet professor memory of the composer’s uncle. solo clarinet literature. at University of the State of Paraná School One of my favorites is Ronaldo of Music and Fine Arts, performs with Miranda’s lively Lúdica I. It is full of – Justin Stanley the Municipal Symphony Orchestra of energy and character and was also Campinas, and regularly plays in the Duo composed for the same competition as the Full Circle. Seunghee Lee, clarinet; Palheta ao Piano with pianist Clenice Fantasia Sul América. Wilkens plays with Katrine Gislinge, piano. R. Schumann: Ortigara. In addition, he was a featured a beautiful and rich tone and skillfully Fantasiestücke, Op. 73; M. Ravel: Pièce guest artist at ClarinetFest® in 2008, 2010 navigates the technical challenges. en Forme de Habanera; M. Mangani: and 2014. Also written in 1983, Harry Crowl’s Executive; P. Reade: Suite from the The album includes two pieces by Introspecção features moments of Victorian Kitchen Garden; O. Messiaen: the prolific Brazilian composer Claudio unmeasured elements, including flutter Vocalise-Etude; N. Gade: Fantasy Pieces, Santoro: Fantasia Sul América and Três tonguing, out of which virtuosic melodic Op. 43; B. Sørensen: Romance; L. Estudos. Santoro wrote South American figures rise. Extended techniques, Foss: Three American Pieces; A. Gross: fantasies for many orchestral instruments including the use of microtones, add color Coming Home. Musical Solis. Total for the 1983 Young Interpreters of to the texture. Wilkens gives a committed time 64:00. Amazon and iTunes Brazilian Music Contest. The clarinet performance, although I found a few Full Circle by Seunghee Lee and fantasy is vibrant and brimming with fortissimo sections to be slightly forced. Katrine Gislinge is a series of lyrical and character. Santoro showcases the expansive Liduino Pitombeira wrote his Suite for expressive works for clarinet and piano. range and expressive potential of the Clarinet in three attractive movements. It contains some repertoire standards, instrument. Wilkens expertly executes the The playful first movement opens with a some transcriptions, and some original varied articulations and technical demands memorable major seventh motive and is works from the 20th and 21st centuries, and demonstrates incredible control in the based on the interval of a minor second. all of which focus on melodic playing.

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Schumann and Fantasy Pieces, Op. 43, by Niels Gade, are well known to clarinetists. These works typically elicit thoughts of the dark richness of the Germanic clarinet sound and the plethora of colors a skilled performer can produce, demonstrating many moods and characters. In both recordings, the performer’s lighter and brighter sound is a departure from what is often expected. Lee does not adjust the quality of her sound for the works she is approaching, which is an interesting yet viable choice. It may or may not be pleasing to every listener, depending on his or her expectations. The level of contrast in the The works are short or consist of short performances are more than appropriate produced. Total time 45:00. karipekka. movements that are overwhelmingly and one feels the different moods the [email protected] pleasing and largely tonal. composers had in mind, yet the voice one The Claros Clarinet Quartet was The recording of Paul Reade’s Suite from hears is a departure from tradition. established in 1999 by four Finnish the Victorian Kitchen Garden is a highlight Three American Pieces by Lukas Foss clarinetists and educators who have of this project. The sweet innocence of the was originally transcribed for clarinet and concertized in Finland, Hungary, Slovenia work is matched by Lee’s light, shimmering piano by Richard Stoltzman, but with the and Italy. In 2017 they recorded their sound. She perfectly encapsulates the breezy composer’s supervision, Lee edited the compact disc Movimenti, with support quality of the music and her interpretation transcription to make it more idiomatic to from the Finnish Clarinet Society. The should be emulated by any performer the clarinet. The work is in three energetic attractive booklet includes a photo gallery, approaching this work. movements, with a short songlike passage group biography and liner notes about Another charming work in this series in the second movement. The double the composers in Finnish with English is Executive by Italian composer Michele tonguing in the third movement sounded translations. Individual biographies Mangani. The work is cinematic in nature heavy and difficult at the tempo Lee and would be a satisfying addition to a was taking. I am not convinced that would have enhanced it, especially for recital, perhaps as a way to lighten the those unfamiliar with the group. The st this movement works well for clarinet, mood. The other two original 21 -century though Lee makes a valiant effort. One instrumentation varies for each piece works, Romance by Bent Sørensen and could consider playing the movements on as noted in this review. The blend Coming Home by Augusta Gross, are their own, as they could stand alone as of the group is nice, with occasional more melancholy. The lyricism and independent works. discrepancies in balance between inner sadness of both works makes them easily This recording is a series of beautiful parts and the E-flat clarinet, but the comparable, yet Sørenson makes use of works in which the star recordings are overall playing features lovely tone quality. the clarinet’s ability to negotiate large not the standards of the repertoire, but The excellent repertoire on this leaps within lyrical lines while the Gross the more modern original works that are recording includes works by Paul Harvey, is more traditionally lyrical with smaller Ferenc Farkas, Michael Henry and Jacques intervallic content. Both would be sure to be a delight to clarinetists looking Bondon. My favorite work was the opener good works to perform on a concert if for something new to perform. Lee’s by Michael Henry, a Jamaican-born looking for a gentle foil to a larger, more approach to the clarinet is unique and Londoner, called Birdwatching (A Fancier’s aggressive work. uncompromising, and her love of lyricism The transcription of Messiaen’s Vocalise- and romanticism is clear. Handbook) for four B-flat clarinets in Etude is another way for clarinetists to – Amanda McCandless six movements. The work features fine experience Messiaen in a chamber setting playing by the quartet that depicts beyond his quartet. Though an early work, Movimenti. Claros Clarinet Quartet: the whimsical, descriptive movements it has the color palette associated with Karipekka Eskelinen, E-flat and B-flat perfectly. “Swallows Fleeing,” “Sparrows Messiaen’s works which is brought to life clarinet; Marjo Aho, B-flat clarinet; Bickering,” “Vultures Looming,” by Lee’s interpretation. The Pièce en Forme Eija Särkimäki, B-flat clarinet; Ilkka “Capercailles Courting,” “Roadrunner de Habanera by Ravel also works well Teerijoki, B-flat and bass clarinet. Racing” and “Phoenix Rising” are all for clarinet, despite the fact that it was M. Henry: Birdwatching (A Fancier’s played with accuracy, energy, drive and originally written for bass voice. Handbook); P. Harvey: Quartetto tonal consistency. The legato connection The two standard 19th-century Quarantoli; F. Farkas: Scenes from and imitative passages handed off from works, Fantasiestücke, Op. 73, by Robert Hungary; J. Bondon: Movimenti. Artist instrument to instrument were smooth

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and silky, and I enjoyed the well-thought- Conversations Between Friends. Diane the opening of this recording, precedes out interpretations and execution. Barger, clarinet; Jeffrey McCray, Hurlstone’s formal training, completed at English clarinetist Paul Harvey, bassoon; Mark Clinton, piano. W. age 17. Hurlstone’s experimentation in his professor at The Royal Academy of Music, Hurlstone: Variations in G Minor and use of the three timbres throughout the is well-known for his various articles and Trio in G Minor; B. Douglas: Trio No. variations and counterpoint is mature for musical publications. His Quartetto di 2. Potenza Music PM1052. Total time his age. His variation in 5/8 is particularly Quarantoli for three B-flat clarinets and 49:50. www.justforwinds.com and remarkable. The trio’s youthful approach bass clarinet is a work in four movements: www.potenzamusic.com is spirited and assured. Barger’s tone is “Rhapsody,” “Scherzo,” “Marcia Funebre” cored and crystal clear. Balance is fine and “Galoppo.” Claros’s well-connected throughout, note lengths are well-matched legato lines, sensitive blending and excellent and precision is with synchronicity. soft dynamic balance and color variation Hurlstone’s Trio in G minor was are on display in this work. Their deft completed only two years later and reflects handling of the delightful and technical his formal training. It is a full-length, “Galoppo” is an especially fun listen. The last two works by Farkas and substantial 25-minute work in four- Bondon are scored for E-flat clarinet, two movement symphonic structure, with B-flat clarinets and bass clarinet, which first and last movements in sonata form. results in a less homogeneous and more Based upon research of Richard Moore, versatile color spectrum and sound. Ferenc early editions of this work are seriously Farkas’s Scenes from Hungary is technically flawed. He found, when examining the easier than the other three works, but autograph, that the third movement, isn’t played quite as well. Group attacks Scherzo, had been omitted, the first and are somewhat flawed and there are minor last movements were interchanged and tuning issues throughout. The E-flat many other alterations made. Moore’s clarinet tends to overpower the texture This recording by Trio 402 is an fascinating research can be found and balance at times in “Play,” “Shepherd” offering of lesser-known or more recently online at MusicWeb International. An and “Round.” While some nice musical available works by William Hurlstone updated edition in 2006 includes the lines are executed, the group sounds and Bill Douglas for clarinet, bassoon Scherzo and correct movement order. brighter and thinner than the other works. and piano. Clarinetist Diane Barger is Trio 402 is up to the emotive, dramatic, Jacques Bondon’s Movimenti is a currently professor of clarinet at University and substantive qualities of this music. substantial 15-minute work and the first of Nebraska–Lincoln, is principal clarinet Here, very expressive playing is noted movement is a knockout. In this well- of Lincoln’s Symphony Orchestra and from all three. Blend is admirable, and written movement the playing is controlled actively serves in the International Clarinet balance, particularly at points of dynamic with impressively executed technique and Association. Barger recently recorded Bling alteration, is effectively achieved. excellent blend. The second movement Bling, her solo album of music by Scott Composer, pianist and bassoonist is slow and somewhat repetitive, making McAllister and others on the Potenza Bill Douglas performed for decades it difficult to sustain musical creativity. Music label. Her primary teachers were The last movement, “Allegro deciso,” has with clarinetist Richard Stoltzman. His Frank Kowalsky and Robert Marcellus. some unevenness between the imitative Trio No. 2 was a result of a commission The other artists in Trio 402 are Barger’s lines, overdone articulations, and attacks by a consortium of 123 clarinetists and that are not in sync. In addition, I felt this colleagues at the University of Nebraska– bassoonists in 2010. Douglas’ distinct jazz- movement could have used better musical Lincoln. Jeffrey McCray is professor of influenced style and harmonies are present shape. However, the work did have more bassoon, principal bassoon of Lincoln’s here. The trio achieves great dialogue, or reverberation in the recorded quality which Symphony Orchestra, and a member of “conversation” as in the album title. Their added warmth to the group’s tone color. the Colorado Springs Philharmonic. Mark approach to the work really shines in the While this recording has some slight Clinton is professor of piano, head of the third movement, “Rondo Antico,” which flaws, the selection of compositions could keyboard area and a Steinway Artist. has a nifty lilt and a charming, more not be better. All the quartets could British composer William Yeates intimate and laid-back feel. serve as fine recital selections for good Hurlstone (1876-1906) devoted much The recording features touching, amateur and professional players and of his short life of 30 years to composing heartfelt liner notes authored by be fun and challenging to work up and chamber music, some thankfully including bassoonist Jeffrey McCray. Informative, perform. The variety of style of the works clarinet. One can’t help but wonder “what yes, but McCray also offers a personalized was well-served by the Claros Clarinet might have been” – as McCray writes in commentary about friendship, as the Quartet and their recording is an excellent the liner notes – for this talented composer album title touts. Collaboration of representation of the music. who studied with Sir Charles Stanford at collegiality and companionship for more – Karen Dannessa the Royal College of Music. His Variations, than ten years by Trio 402 is evident

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through their performance of these works. for clarinet and saxophone. In addition This is an excellent recording that provides to the conventional repertoire, each disc exposure to these works through great includes one of Caravan’s compositions chamber music playing captured by a well- and one piece for the soprano saxophone. done production. Furthermore, at least one composition – Gail Lehto Zugger on each disc utilizes unconventional sound techniques such as quarter-tone Single Reed Expressions (8 volumes). intervals, timbre variation, multiphonics, Ronald L. Caravan, clarinet, soprano uncommon tremolos and trills. The sheer and alto saxophones; Sar-Shalom variety of compositions is staggering, Strong, piano. C.M. von Weber: Grand and the set presents ample opportunities Duo Concertante; W. Hartley: Sonatina for performers and aficionados to relish Romantica, Metamorphoses, Diversions, hearing familiar repertoire while engaging Duo, Sonorities IX and Petite Suite; with new and interesting compositions. R. Caravan: Excursions, Quiet Time, Caravan’s adept engagement with the Sketch, Sonata, Recitation, Fantasy Piece, Sonatina; E. Bozza: Aria. Mark Records repertoire for clarinet and saxophone is Monologue, Improvisation (Romani), 51601-51608 MCD. Total time evident in every piece. Throughout, his Soliloquy & Celebration “A tribute to the 05:29:00. Amazon.com and iTunes. execution of the score is flawless and the classic jazz saxophonist Paul Desmond” American single reed virtuoso Ronald interactions with the collaborative pianist and Echoes of a Crimson Twilight; F. L. Caravan presents meticulously crafted are dynamic and harmonious. Impeccable Tull: Sarabande & Gigue; J.D. Lamb: interpretations of quality repertoire for intonation permeates the full register of Three Antique Dances; K. Husa: Postcard solo single reeds in the eight-volume every instrument, and it is paired with from Home and Elegie & Rondeau; J. set Single Reed Expressions. This set a robust, but not overpowering, tone. Demersseman: Fantaisie-Pastorale; represents the culmination of Caravan’s Musicality stands at the forefront of each L. Lunde: Sonata “The Alpine”; R. 40-plus year career as a performer, interpretation; a thoughtful combination Schumann: Fantasy Pieces, Op. 73; W. teacher, composer, arranger, author and of solidly developed phrasing and Osborne: Rhapsody; S. Rachmaninoff: mouthpiece designer. Most notably, attention to large-scale musical form Vocalise, Op. 34; W. Benson, Aeolian Caravan served on the faculty of shapes every nuance, from the single Song; P. Creston: Sonata; J. Brahms: Syracuse University from 1980 to 2015, note to the entire work. Meticulous Sonatas in F Minor and E-flat Major, teaching applied clarinet and saxophone attention is paid to executing every Op. 120, Nos. 1 & 2; C. Debussy: and directing the Syracuse University gesture with grace, finding ease even when Première Rhapsodie; E. Dressel: Partita; Saxophone Ensemble. During this time, he performing extreme registers and difficult J. Corigliano: Clarinet Caprice and performed an annual faculty recital which extended techniques. Serenade & Rondo; J. Massenet: placed equal emphasis on showcasing Perhaps most striking, however, is “Meditation” from Thais; O. Mácha: works for clarinet and saxophone. Caravan’s ability to record this sheer Pláč Saxofonu; E. von Koch: Sonata, His recital programming ranged from volume of repertoire at this high level Monolog No. 3 & 4, Dance No. 2; F. established classics to progressive new of performance for not just one, but Poulenc: Sonata; I. Stravinsky: Three works, including his own compositions. three instruments (clarinet, soprano and Pieces; R. Muczynski: Time Pieces and This set follows Caravan’s recital alto saxophones). Each composition is Sonata; J. Rueff: Chanson et Passepied: model, with an equal division of works presented convincingly, and without bias P. Maurice: Tableaux de Provence; D. Bédard: Fantaisie; P. Hindemith: Sonata; B. Martinů: Sonatina; E. Krenek: Suite, Op. 48; K. Reiner: Dvě Skladby; B. Heiden: Solo, Sonata and Sonatina; E. Gates: Incantation & Ritual; L. Bernstein: Sonata; S. Adler: Canto XIV, A Klezmer Fantasy and Canto IV; R. Starer: Dialogues; J. Worley: Sonata; E. Siegmeister: Around New York; E. de Coriolis: Tarentelle; R.R. Bennett: Sonatina; A. Berg: Vier Stücke; R. Sierra: Cinco Bocetos; K. Penderecki: Three Miniatures; O. Bull: Saeterjentens Søndag; L. van Delden:

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to genre or the performance medium. saxophone, a testament to Caravan’s many for the university pedagogue to engage Caravan is unequivocally convincing as years as a practitioner and pedagogue of a students with standard and contemporary a master performer of both the clarinet substantive single reed studio at a quality repertoire, while also serving as a solid and saxophone, leaving the listener with university music program. base for teachers of a single reed studio to no hint of which instrument he would These masterful recordings showcase enhance their own knowledge base. This consider as “primary.” Furthermore, the the immense variety of recital repertoire eight-volume set is an invaluable addition ordering of pieces illuminates substantive available to advanced performers of to any university library or single reed programming opportunities for a solo the clarinet or saxophone. Overall, it studio resource collection. recital that includes both the clarinet and provides an abundance of opportunities – Michelle Kiec

AUDIO NOTES by Christopher Nichols appearances across the country and left me desiring to hear more! Information Europe at notable institutions and venues about AdZel with links to purchase this NEW MUSIC FOR such as Yale School of Music, Eastman new disc and detailed program notes are CLARINET DUO School of Music and Carnegie Hall. accessible at www.adzelduo.com. AdZel, the ensemble’s debut release, Founded in 2007, Tosca Duo’s Duets have been a significant aspect of includes commissioned works by Jason members are Lynn A. Musco, professor of pedagogy throughout the development of Barabba, Mohammed Fairouz and Anne clarinet at Stetson University, and Shawn the clarinet, with notable contributions Guzzo, as well as selections by Bernhard L. Copeland, assistant professor of clarinet found in the methods of Jean-Xavier Henrik Crusell. at the University of Idaho. The group Lefèvre, Hyacinthe Klosé and Aurelio Catawampus by Jason Barabba opens maintains an active performance schedule Magnani, to name only a few. However, this recording with an unpredictable at clarinet festivals and conferences in recent years the clarinet duo has found journey featuring “dissonant tritone(s) throughout the country and is the a place on the concert stage with an ever- and slightly offbeat rhythms,” according ensemble-in-residence for the annual expanding and diverse repertoire that to the program notes. Dialogue between Stetson Clarinet Clinic held each summer exploits the capabilities of the instrument contrasting personalities is evident in DeLand, Florida. to extremes. Recent releases from three throughout this work, but with a Tosca Duo, the group’s self-titled ensembles, AdZel Duo, Tosca Duo and compelling unity of sound and excellent debut release, includes premiere recordings Das Klarinettenduo, epitomize this trend ensemble. Excerpts from Crusell’s Clarinet of four substantial and contrasting works, with world-premiere recordings of a Duos follow with an inspired and sensitive two of which were commissioned and variety of commissioned works. account of this charming core repertoire. premiered by the group. One of these Adzel Duo is comprised of Mariam Next, Mohammed Fairouz’s AdZel, commissions, Marcus Karl Maroney’s Adam, former clarinetist with Imani structured in four contrasting movements, Paean, begins this recording. According Winds, and Stephanie Zelnick, associate explores the diverse backgrounds of Adam to the liner notes, Maroney found professor of clarinet at the University of and Zelnick with inspirations from Middle inspiration for this work in the etymology Kansas School of Music. The duo has Eastern cultures, including timbral trills, of its title, both in antiquity (lyric poem performed together since 2009 with microtones and elements of klezmer expressing triumph or thanksgiving) technique. The recording closes with two works by Wyoming composer Anne Guzzo, Antelope Pavane and The Color of Honey. The former conveys the image of antelope on the high plains, either motionless or running, in slow and fast sections. The latter cites as inspiration the landscape of the Middle East and the challenging historical circumstances of the region. Throughout this recording, AdZel delivers polished, committed performances of stunning new works that clearly demonstrate close collaborations between the artists and composers. Although this release is on the short side at 35 minutes, it

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and modern usage (praise or exultation). Smeyers states that this is “generally This composition explores the unique considered an ‘impossibility.’” However, capabilities of the clarinet, such as ease due to the inherent acoustical differences, of shifting at the interval of the 12th and the multiphonic palette varies on these wide-ranging dynamic palette, especially systems. After experimentation, Das notable at soft dynamics. Klarinettenduo provided Brass with Michael Kibbe’s Serenade, Op. 131, a number of sonorities only possible follows – by no means new literature, with the pairing of different systems. but previously without a commercial Truly innovative discovery in clarinet recording. This charming suite of seven performance has become increasingly contrasting movements, “Prelude,” challenging, with so many fantastic “March,” “Blues,” “Tango,” “Tarantella,” clarinetists around the world engaged in “Elegy” and “Hora,” is light, attractive creative activity and research. However, and idiomatic. It is easy listening in this composer/performer relationship comparison to the rest of the program, has resulted in something truly unique, intonation and an instinctive sense but truly enjoyable as the Tosca Duo however subtle it may seem. of musical line as an ensemble. Their effectively captures the requisite style for As alluded to by Smeyers, the pairing of performances are exceptional throughout each of these movements. these systems typically presents challenges this disc of significant premiere recordings Next, Akira Miyoshi’s Rêve colorié of diverse literature. For complete of intonation and blend – Smeyers and evokes five distinct images with descriptive information about the ensemble, visit Zelinsky make it sound effortless, as they movement titles: “Crimson/Scarlet,” www.toscaduo.com. draw us into a sound world created in “Young Monster,” “Canal,” “Red Cherry” Das Klarinettenduo, consisting of collaboration with Brass. For complete and “Tumble through Space.” This work Beate Zelinsky and David Smeyers, has information about Das Klarinettenduo, synthesizes French impressionism with performed together since 1980 with visit www.das-klarinettenduo.de. traditional Japanese music and intonation a number of commissions, premieres Each of these remarkable ensembles of the composer’s native tongue. The and recordings. The ensemble’s recent has contributed to the discography and disc closes with another commissioned release by Neos Music contrasts with repertoire of the clarinet duo in a special work, Carlos Velez’s Wood and Wind. the previously discussed discs, as the way through their activities. I hope you Although I enjoyed the entire recording, group is featured in a chamber settings explore each disc and consider these new this two-movement work is my favorite. with strings, in addition to two solos works for future programming! v The first movement, “Willow’s Litany,” and a duo. This recording features the fully exploits the unique blend and works of acclaimed German composer diverse palette of color available in this Nikolaus Brass, with whom the duo has genre, while “Maelstrom” contrasts with collaborated extensively. energetic rhythms accents to bring this Nikolaus Brass: Works for Clarinet The Clarinet seeks program to a lively finish. and Strings, NEOS 11704, is a composer- articles from members! As Tosca Duo, Musco and Copland centric disc recorded in collaboration with See www.clarinet.org for share unified sonorities, excellent the Minguet Quartet. Despite its title, the submission guidelines. first and last works are for unaccompanied clarinet, titled Salut and Adieu. These Feature Article two works originated as pieces for solo Review Deadlines: flute and were later adapted for clarinet August 1 solo as the composer’s first effort at November 1 Don’t miss an issue creating a solo clarinet work. Brass and February 1 Das Klarinettenduo forged an ongoing May 1 of The Clarinet! relationship that resulted in the other four works: SPUR for two clarinets and News, Event Reports and Renew your string trio, Dialoghi d’amore VI for two Department Submissions: clarinets, Strophen for viola and two membership online at September 1 (for Dec. issue) clarinets, and String Quartet No. 5 with December 1 (for March issue) www.clarinet.org Two Obbligato Clarinets. It is unique that Smeyers performs on March 1 (for June issue) Boehm system and Zelinsky performs June 1 (for Sept. issue) on German system. In the liner notes,

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