sign in sign up
<<
Home , Backun Musical Services, Bernard Walton, Boehm system (clarinet), Bruno Bjelinski, Clarinet quintet, Clarinet sonata

Vol. 46 • No. 2 March 2019

Compositions for | Ivory Also in this issue... Interview with Benjamin Lulich | Croatian

D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD.

— JONATHAN GUNN

REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. The President’s EDITOR Rachel Yoder [email protected]

ASSOCIATE EDITOR Dear ICA Members, Jessica Harrie [email protected] hope that 2019 is a rewarding year for everyone in the worldwide clarinet community! The ICA starts off the year EDITORIAL BOARD with much to celebrate – a healthy financial outlook, striking Mitchell Estrin, Heike Fricke, Denise Gainey, new logo, and great excitement about ClarinetFest® 2019 in Jessica Harrie, Rachel Yoder Knoxville and ClarinetFest® 2020 in Reno/Lake Tahoe. I MUSIC REVIEWS EDITOR Speaking of Knoxville, ClarinetFest® 2019 is rapidly approaching! The Knoxville artistic team led by Vic Chavez is doing a fantastic job Gregory Barrett of preparing for the festival. They have engaged a spectacular roster [email protected] of headline artists, including Mariam Adam, William and Catherine AUDIO REVIEWS EDITOR Hudgins, Sylvie Hue, Bil Jackson, Kathy Jones, Ricardo Morales, Chris Nichols Mark Nuccio, Ken Peplowski, Milan Rericha, Anton Rist, Gabor [email protected] Mitchell Estrin Varga, and clarinet legend . We will welcome soloists from the United States military bands, and rising young artists Han GRAPHIC DESIGN Kim, winner of the 2016 International Clarinet Competition, and Pablo Tirado Karry Thomas Graphic Design Villaescusa, winner of the 2018 ICA Young Artist Competition. ICA Honorary Memberships will [email protected] be awarded to three clarinet luminaries: Ron Odrich, Alan Stanek and Eddy Vanoosthuyse. The evening performances will be accompanied by the Knoxville , United States INDEX MANAGER Air Force Band of Mid-America and Knoxville Orchestra. ClarinetFest® 2019 would not be Emily Kerski possible without the support of our generous sponsors: , D’Addario, Rovner, [email protected] RZ Woodwinds, Selmer , Vandoren and Yamaha. We are also indebted to the University of THE CLARINET ONLINE Tennessee and City of Knoxville for rolling out the red carpet for ClarinetFest®. Jessica Harrie As reported in this issue by Treasurer Tod Kerstetter, the ICA is in sound financial condition. [email protected] The board has continued to examine the bottom line to identify ways to conserve and increase assets while providing excellent benefits to the membership. The ICA Capital Campaign continues, with ABOUT THE COVER: a goal of insuring the long-term fiscal health of the association and providing more membership benefits. We are most grateful to the many donors for their amazing generosity! If you have not

Vol. 46 • No. 2 done so already, I ask you to consider making a donation (no amount is too small!) to the ICA March 2019 Capital Campaign. Currently, we are seeking donations to support prize money for the 2019 competitions, travel grants for younger members to perform and present in Knoxville, funding for the Harry Sparnaay Scholarship, and funding to continue our work with the Bill Cook Foundation to help children in the poorest regions of the world receive instruments and musical instruction. Please visit www.crowdrise.com/o/en/campaign/ica-capital-campaign to make your donation today and see updates on our initiatives. The Guido Six International Festival at ClarinetFest® 2019 will feature more than

Compositions for Frederick Thurston | Ivory Clarinets 30 clarinet choirs! The festival will culminate with an attempt to assemble the largest clarinet choir ever Also in this issue... Interview with Benjamin Lulich | Croatian Clarinet Concertos amassed. This event will be sanctioned by Guinness World Records. I am honored to have been invited Tennessee Theatre in downtown Knoxville; photo by the Knoxville artistic team to conduct this grand event and everyone is invited to participate! courtesy of Ackerland – VisitKnoxville.com The ICA is very pleased to welcome our new audio reviews editor, Kip Franklin, and associate audio reviews editor, Jeffrey O’Flynn. We also recognize Chris Nichols for his distinguished service The Clarinet (ISSN 0361-5553) is published 4 times as audio reviews editor for the past several years and are delighted that he is now serving as secretary a year by the International Clarinet Association on the executive board. International Clarinet Association As the deadlines approach, we ask you to encourage your students and friends to enter the 2019 829 Bethel Road, #216 ICA competitions. We gratefully thank Henri Selmer Paris for providing the instruments to be Columbus, OH 43214 awarded to the winners of the Young Artist Competition. [email protected] Thank you for your continued support of the ICA. I look forward to seeing you in Knoxville this +1 888-983-5441 summer! www.clarinet.org Musically yours, ICAclarinet facebook.com/icaclarinet

© Copyright 2019, International Clarinet Association. Views expressed by the writers and reviewers in The Mitchell Estrin Clarinet are not necessarily those of the staff of the President, International Clarinet Association journal or of the International Clarinet Association.

2 | THE CLARINET MARCH 2019 President: Mitchell Estrin – [email protected] ICA LEGENDS Past President: Caroline Hartig – [email protected] Daniel Bonade (1896-1976) President Elect: Denise Gainey – [email protected] (1880-1960) Secretary: Christopher Nichols – [email protected] Benny Goodman (1909-1986) Treasurer: Tod Kerstetter – [email protected] Chair of International Relations: Luca Saracca – [email protected] HONORARY MEMBERS Executive Director of Operations: Evan Lynch – [email protected] E-Newsletter and Social Media Coordinator: Jessica Harrie – [email protected] Ben Armato (1928–2015) Historian: Jean-Marie Paul – [email protected] (1938–2013) ICA Research Center: University of Maryland – www.lib.umd.edu/scpa/scores Betty Brockett (1936–2003) Clark Brody (1914–2012) Research Coordinator and Library Liaison: Joshua Gardner – [email protected] (1915–2003) Pedagogy Chair: Paula Corley – [email protected] , Evanston, Illinois Webmaster: Kevin and Sonya Morgan – www.morgansites.com , Santa Fe, New Mexico Buddy DeFranco (1923–2014) CONTINENT CHAIRS , , & Bobbio, , Paris, Europe: Friedrich Pfatschbacher (Austria) Africa: Danre Strydom (Republic of South Stanley Drucker, New York, New York and the Near East: Ilan Schul (Israel) Africa) F. Gerard Errante, Las Vegas, Nevada Asia: Zhen Sun (China) North America: Catherine Wood David Etheridge (1942–2010) Asia: Masaharu Yamamoto (Japan) South America: Marco Mazzini (Peru) Lee Gibson (1915–2013) Asia: Hyung-Jik Yoo (Korea) James Gillespie (Editor Emeritus), Denton, Texas Paul Harvey, Twickenham, Middlesex, U.K. NATIONAL CHAIRPERSONS Stanley Hasty (1920–2011) Ramon Kireilis, Denver, Colorado Argentina: Carlos Céspedes Hungary: Bence Szepesi Béla Kovács, , Hungary Armenia: Alexandr G. Manukyan Iceland: Kjartan Óskarsson Frank Kowalsky, Tallahassee, Florida Australia: Floyd Williams : Dr. Pandit Narasimhalu Vadavati Jacques Lancelot (1920–2009) Ireland: Austria: MSDir. Mag. Paul Roe , , Germany Israel: Dr. Friedrich Pfatschbacher Eva Wasserman-Margolis Mitchell Lurie (1922–2008) Italy: Luigi Magistrelli Belarus: Vladimir P. Skorokhodov John McCaw (1919-2015) Japan: Masaharu Yamamoto : Hedwig Swimberghe John Mohler, Chelsea, Michigan Luxembourg: Sébastien Duguet Brazil: Ricardo Dourado Freire , New York, New York Mexico: Luis Humberto Ramos Bulgaria: Bobo Yotzov Fred Ormand, Lawrence, Kansas Canada, National Chair: Moldava: Victor Tihoneac Netherlands: Bernard Portnoy (1915–2006) Dr. Catherine M. Wood Céleste Zewald New Zealand: Alfred Prinz (1930–2014) Canada, St. Lawrence Region: Marie Ross Norway: , Santiago, Chile Lorne Buick Christian Stene Panama: Alexis Fong Castillo Harry “Bud” Rubin (1928–2018) Canada, Great Lakes Region: People’s Republic of China: Yi He António Saiote, Porto, Portugal Barbara Hankins Peru: Marco Antonio Mazzini James Sauers (1921–1988) Canada, Central Region: Poland: Jan Jakub Bokun James Schoepflin, Spokane, Washington Margaret Wilson Portugal: António Saiote Selim Sesler (1957–2014) Canada, Pacific Region: Patricia Kostek Puerto Rico/Carribean: Kathleen Jones , Norwalk, Connecticut Chile: Luis Rossi Serbia: Andrija Blagojević William O. Smith, Seattle, Washington Columbia: Javier Asdrúbal Vinasco Slovakia: Július Klein Harry Sparnaay (1944-2017) Costa Rica: Lenin Izaguirre Cedeño Slovenia: Joze Kotar Hans-Rudolf Stalder (1930-2017) : Davor Reba South Africa: Danre Strydom Milenko Stefanović, Belgrade, Serbia Czech Republic: Stepán Koutník South Korea: Imsoo Lee , , Denmark: Anna Klett Spain: Carlos Jesús Casadó Tarín Ralph Strouf (1926–2002) : Juhani Valtasalmi Sweden: Stefan Harg Elsa Ludewig-Verdehr, East Lansing, Michigan France: Jean-Marie Paul Switzerland: Matthias Müller Bernard Van Doren, Paris, France Germany: Prof. Johannes M. Gmeinder Taiwan: Chien-Ming Himie Voxman (1912–2011) Great Britain: Thailand: Dr. Sarah Watts Cassandra Fox-Percival George Waln (1904–1999) Greece: Paula Smith Diamandis Uruguay: Martín Castillos David Weber (1913-2006) : Maria Wong Venezuela: Victor Salamanques Pamela Weston (1921–2009) Contact information for national chairpersons is available at www.clarinet.org , , California

For advertising rates and specifications or to join the International Clarinet Association, visit www.clarinet.org.

MARCH 2019 THE CLARINET | 3 Features Advertiser Index 30 Interview with AMB Clarinet ...... 25 Benjamin Lulich 54 Ann Arbor Clarinet Connection ...... 9 by Rachel Yoder Aria International Summer Academy . . . .21 34 The Inspiration Belgian Clarinet Academy ...... 29 Behind Compositions Buffet Crampon Summer Academy . . . . 65 for Clarinetist Buffet Group USA ...... IFC Frederick Thurston Northwest ...... 51 by Aileen Razey Chedeville ...... 39 40 Ivory Clarinets Clark W Fobes ...... 20 ca. 1740 to ca. 1880 ClarLit. – Bibliography ...... 76 by Albert R. Rice Classical Collection Inc...... 21 46 Croatian Clarinet Crystal Records ...... 21 Concertos: D’Addario Winds ...... 1 The Cultivation of Musical David McClune Mouthpieces ...... 69 Traditions after 1952 Freewing ...... 50 by Kristine Dizon James M. Pyne – Pyne Clarion ...... 63 52 Mario Castelnuovo- J.L. Smith & Co...... 8 Tedesco and his Keiser Southern Music ...... 49 Contribution to the Lomax Classic ...... 79 Clarinet Repertoire Muncy Winds ...... 27 by Eric Schultz Patricola Brothers ...... 13 56 Interview with Precision Products ...... 44 Larry Linkin ReedGeek, Inc...... 53 by Jessica Harrie RJ Music Group ...... 21 58 ClarinetFest® 2019 Rodriguez Musical Services ...... 55 Rovner Products ...... 29 Royal Musical Collection, Inc...... 5 Tenon Industrial Co., Ltd...... 33 Departments The Ohio State University School of Music ...... 55 The President’s Message Historically Speaking 2 26 US Army ...... 45 by Mitchell Estrin by Deborah Check Reeves Vandoren ...... IBC The Clarinet Enthusiast NEWS 28 Wichita Band Instrument Co...... 75 by Oliver Seely 6 Clarinotes of America . . . . .OBC 64 Statement of Credits and 14 International Spotlight Debits by Yuan Yuan with assistance by Tod Kerstetter from SunZhen, ICA Continent Chair for China REVIEWS Announcements Reviews PEDAGOGY 66 2020 Composition Competition ...... 25 77 Audio Notes 2019 Young Artist Competition ...... 54 18 Pedagogy Corner by Christopher Nichols by Paula Corley 2019 High School Solo Competition . . . .61 22 Master Class 80 Hysterically Speaking Call for Proposals – ClarinetFest® 2020 . . . 78 by Kip Franklin by Eric Hoeprich 2019 Orchestral Audition Competition . . .65

4 | THE CLARINET MARCH 2019

NEWS

THAILAND INTERNATIONAL CLARINET ACADEMY 2018 by Chaiphat Tripipitsiriwat and and Cassandra Fox-Percival (United Belgium ambassador of Thailand, and a Kristine Dizon States). A lecture and master class about clarinet choir concert. The final concert Silverstein ligatures was given by Dizon. featured Mazzini the clarinet The Thailand International Clarinet Workshops included a repair course choir featuring South American music Academy took place in Bangkok, Thailand, with Michel Klein (France), a course of with soloist Christhatai Paksamai, who October 1-6, 2018, at the Bandsomdej reed making by Dejwacharanon, and an performed Buys’ Adagio e Tarantella for Chaopraya Rajabhat University College extended technique course by Mazzini. the Peruvian Ambassador of Thailand. of Music. This project was managed by accompanists included Usa Napawan The Thailand International Clarinet Chaiphat Tripipitsiriwat. There were over (Thailand), Pimlapa Suklalordcheep Academy was sponsored by the Embassy 40 participants from Thailand, China, (Thailand) and Wang Jiaxin (China). of Belgium in Thailand, Buffet Crampon, and Brazil. Master classes were In addition, there were featured recitals Intermusic, Yongseng, Music Elements, taught by Eddy Vanoosthuyse (Belgium), by students and the clarinet faculty, Silverstein, Cecilia Music, Melody (France), Kristine Dizon including an international artist concert Solutions, F. Artur Uebel, D’Addario, (United States), Marco António Mazzini that featured Cuper, Dizon, Luo, Mazzini Threera Music, Vandoren, PUCP (Peru), Sun Zhen (China), Xiao Luo and Zhen, a concert held at the Belgium University, Sound and Art, Bangkok (China), Christhatai Paksamai (Thailand), Embassy that featured Vanoosthuyse Symphony Music School, 101 Piano and Akkarapon Dejwacharanon (Thailand) performing the Mozart for the String, and Bid Cola.

Thailand International Clarinet Academy 2018 participants and faculty

6 | THE CLARINET MARCH 2019 NEWS

2018 INTERNATIONAL CLARINET COMPETITION by Jean-Marie Paul

The Clarinet Competition of the 73rd Geneva International Music Competition took place November 3-14, 2018, in Geneva, Switzerland. The competition was open to all clarinetists born after November 8, 1988. The previous clarinet competition was held in Photo by Anne-Laure Lechat 2007, with taking second prize, and Uriel Vanchestein and Valentin Uryupin awarded third prize ex aequo. The jury for the 2018 competition included President (Israel) and members Jerry Chae (Korea), Michael Collins (Great Britain), Lorenzo Coppola (Italy), Romain Guyot (France), (Finland) and Richard Stoltzman (United States). For the first round, candidates were required to send a video recording featuring performances of the Debussy Première Rhapsodie and Donizetti Studio Primo. The pre-selection jury included Romain Guyot, Nicolas Baldeyrou, Lorenzo Coppola, Nuno Silva and Michel Westphal. A total of 42 candidates were preselected from a host of countries including Russia, Italy, France, Portugal, South Korea, Spain, Japan, Taiwan, Uruguay, Latvia, Sweden, Hungary, China and Switzerland. Six candidates were selected for the semifinal round: Kevin Spagnolo (Italy), Giovanni Punzi (Italy), Carlos Ferreira (Portugal), Vitor Fernandes (Portugal), Sergei Eletskiy (Russia), and Gervasio From left to right: Vitor Fernandes, Carlos Ferreira and Kevin Spagnolo Tarragona Valli (Uruguay). The program for this round included the Mozart Quintet, a choice between Bassi’s Fantasy on “Rigoletto” and Lovreglio’s Fantasy on “Traviata,” and one additional work selected from the Bernstein , Poulenc Sonata, Lutoslawski selected by each finalist. These concerti were performed with the Dance Preludes, Martinů and Arnold Sonatina. Geneva Chamber Orchestra conducted by Pierre Bleuse. Three finalists were selected and for the final round they each First prize was awarded to Kevin Spagnolo (Italy), second prize performed two concertos. The first was the newly written to Vitor Fernandes (Portugal) and third prize to Carlos Ferreira concerto by Jaehyuck Choi of South Korea, winner of the 2017 (Portugal). You can read more about the competition and see Geneva Composition Competition. The second concerto was videos from the competition at The Clarinet [Online].

BILL AT 92: CLARINET WORKS OF WILLIAM O. SMITH by Robert Spring for two clarinets and , with Each piece celebrated a different aspect William O. Smith and James Falzone, of Bill’s life, including his legendary On September 22, 2018, William O. clarinets and Rachel Yoder, bass clarinet; improvisational skills. The last piece, Smith turned 92 years old. In typical Bill Seattle Imp (structured improvisation), Microtonal Ritual, performed by Yoder, Smith style, this event was celebrated Willliam O. Smith, James Falzone and was filled with theater as well as musical with a concert of his music, including Rachel Yoder, clarinets; and Microtonal virtuosity. The stage was set with five three world premieres, and Bill himself Ritual, Rachel Yoder, clarinets. Also different parts of the clarinet, each with performing! The event was held at Gallery performed were Five Fragments for double its own mouthpiece and reed, and most of 1412 in Seattle, Washington, and was clarinet (1977), Jesse Canterbury, double the movements called for two parts to be attended by many Seattle clarinetists, as clarinet; Jazz Set for two bass clarinets played simultaneously. The double clarinet well as two past presidents of the ICA. The (2012), Jenny Ziefel and Beverly Setzer, sounds were astonishing to say the least. gallery was filled to capacity with friends bass clarinets; and Enchantment for It was a fitting celebration of the life of Bill Smith and fans of his music. clarinet and voices (2018), William O. of a man who has meant so much to the The world premieres included Trio Smith, clarinet. clarinet world.

MARCH 2019 THE CLARINET | 7 NEWS

POTSDAM SINGLE REED SUMMIT 2018 by Miles DeCastro

On September 15 and 16, the Crane School of Music single reed faculty (Julianne Kirk-Doyle and Raphael Sanders, clarinet, and Casey Grev, ) hosted the Potsdam Single Reed Summit in beautiful Northern New York. This biannual event gives participants access to a range of musical opportunities typically found at much larger festivals, but without the higher travel and registration costs typically associated with such events. The summit alternates between embracing all single reeds and focusing solely on clarinet. Single reeds were the Northern Symphonic Winds clarinet section with Kimball Sykes order of the day this year, and the program featured outstanding performances, master classes, and lectures by clarinet artists Kimball Sykes and Richard Nunemaker, Symphonic Winds and clarinet technician featured in recitals, master classes and the Viridian Saxophone Quartet, local Miles DeCastro. Current Crane School Q&A sessions. professional wind band the Northern of Music students and alumni were also In addition, summit participants had the opportunity to play in clarinet and saxophone choirs, and try some of the latest single reed gear in the exhibition room. The Potsdam Single Reed Summit provides an opportunity to work with world-class musicians without world-class costs. We look forward to the Potsdam Clarinet Summit in 2020! For more information, visit www.facebook.com/ Potsdamsinglereedsummit

Don’t miss an issue of The Clarinet! Renew your membership online at www.clarinet.org

8 | THE CLARINET MARCH 2019 NEWS

2018 FROST SINGLE REED DAY by Lee Seidner

The University of Miami’s Frost School of Music held its annual Frost Single Reed Day on November 10, 2018. There were over 60 participants from throughout Florida, including middle Donaghue Margaret by Photo school and high school students as well as community members. The one-day event was hosted by Margaret Donaghue Flavin, associate professor of clarinet, and Dale Underwood, professor of saxophone. The event was co-organized by teaching assistants Lee Seidner, Claire Grellier, Frank Capoferri and Joseph Speranzo. The day began with registration in the Director of Admissions, Karen Kerr, discusses majoring in music with undergraduate students Mick lobby of Gusman Concert Hall, followed Gibbons and Maydeleen Noel. by a welcome from Donaghue Flavin and Underwood. The participants then had large group warmups and music rehearsal led by teaching assistant Speranzo. After Grellier and Seidner, respectively. The concert included works by Vaclav the large group time, the clarinet and Once the master classes were Nelhybel, John Philip Sousa, Satoshi saxophone participants separated. From completed, all participants came back Yagisawa and an of Dua Lipa there, the clarinet students were split up together for another large group rehearsal. and Calvin Harris’ song, “One Kiss” by into three groups based on their years of The final concert included performances Gabriela Castro of Four Play Clarinet. experience. Each group received master by the Frost clarinet choir, Frost The next Frost Single Reed Day will classes on technique, tone production saxophone ensemble, and a side-by-side occur in November of 2019. For more and embouchure, and articulation led by performance of the participants with Frost information, contact Margaret Donaghue Donaghue Flavin and teaching assistants undergraduate and graduate students. Flavin at [email protected].

ICA RESOURCE LIBRARY RECEIVES NEW DONATIONS The ICA Resource Library is housed at the the Luyben family include programs, the remainder of the collection, please Michelle Smith Performing Arts Library flyers, obituaries, photos and other visit https://ica.wildapricot.org/ICA- at the University of Maryland. The library various documents from the early days Resource-Library and log in using your features a large collection of clarinet music of the ICA. ICA login information. A full list of and resource materials available exclusively For more information on how to view the new donations can be viewed at to ICA members. Members can visit these wonderful new donations as well as The Clarinet [Online]. the library or borrow materials from the collection by mail. The collection recently received substantial donations from the late Harry “Bud” Rubin, and the parents of Annette Luyben, Robert and Annette Luyben. Donated materials were organized by ICA’s past historian Alan Stanek and are now available to ICA members. The items donated by Bud Rubin include an immense collection of rare cassette tapes featuring performances from past ClarinetFests® by Mitchell Lurie, Sidney Forrest, Stanley Drucker, Guy Deplus, Karl Leister and more. Materials from

MARCH 2019 THE CLARINET | 9 NEWS Photo by Neal Postma

2018 American Single Reed Summit participants and faculty

THE AMERICAN SINGLE REED SUMMIT by Alanna Benoit and Karmin Mazzocchi helped to facilitate the event, including Bley, and the Capstone Quartet (with Jesse Krebs (clarinet) and Xin Gao clarinetist Osiris Molina), as well as a bass From October 25 to 28, 2018, Truman (saxophone), resulting in a seamless and clarinet choir tribute concert to Harry State University, located in Kirksville, engaging experience for all who attended. Sparnaay. The exhibit hall was booming Missouri, hosted approximately 300 Well over 100 events took place, with excitement from a variety of vendors, attendees for the inaugural American immersing each participant in the including Lomax Classic, ReedGeek, Single Reed Summit. It was a success, wonderful world of single reeds. Lectures Wiseman Cases, Buffet Crampon, Brian featuring master classes, performances, on a wide variety of subjects were given, Corbin Products, Legere Reeds, SaxQuest, lectures and workshops of all kinds. There ranging from “How to Perform with Vandoren, Silverstein Works, Lohff & were many featured international clarinet artists including Radovan Cavallin (Spain), Electronics” to “Humor in the E-flat Pfeiffer, Conn-Selmer, Rovner Products Antonio Saiote (Portugal), Dominique Clarinet’s Orchestral Repertoire” to and Yamaha. Vidal (France) and Sarah Watts (U.K.), “Extended Techniques for Contrabass The goal of the American Single who each gave unforgettable performances Clarinet.” Others included “Solo Clarinet Reed Summit is to help foster deeper and master classes. The summit was Works by Women ,” “Never connections between clarinetists and established by board members Larkin Have a Bad Reed Again,” and “Real- saxophonists on all levels while creating Sanders, Neal Postma, Kristine Dizon, time Ultrasound Articulation Imaging.” meaningful musical experiences, and to Stacy Christofakis, Sara Eastwood, Scotty Recitals of all types were performed this end it was a huge success. Participants Phillips and Kevin Vorabout. Numerous each day, including world-premiere left inspired and excited for the next Truman State professors and volunteers performances by The Room 9 Duo, Betty summit in 2020!

2018 COLORADO CLARINET DAY by Annaka Hogelin Toohey and Jessica Lindsey performed. in playing and having a story to tell. CU Director of Bands Don McKinney Lowenstern brought the house On September 16, 2018, the University led the clarinet choir, which included down as he performed some of his own of Colorado hosted the annual Colorado members from the Colorado Clarinet compositions and in an interactive Clarinet Day, with guests Choir started by the legendary and late session explained his approach to music and . The morning Donald Ambler. The choir played classics, and the use of technology in his live potpourri recital featured regional artist as well as transcriptions by clarinetist looping compositions. Yeh’s dazzling teachers Daniel Silver, Wesley Ferreira, Michael Drapkin. Yeh presented an evening recital included selections by Lauren Jacobson, Blake McGee, Jason insightful master class with students from James Stephenson, which he recently Shafer and Sergei Vassiliev. In addition, CU four Colorado universities, emphasizing the recorded. Yeh was joined by Silver for the alumni Tim Phillips, Lucas Munce, Kellan importance of a vocal approach, efficiency Poulenc Sonata for Two Clarinets. The

10 | THE CLARINET MARCH 2019 NEWS

recital concluded with Yeh, Lowenstern and Drapkin performing Drapkin’s arrangement of Vaughan-Williams’ Folk Song Suite and brilliant encore of Lassus Bass Clarinet (trans. Drapkin). The day was filled with an exceptional variety of music, a high standard of artistry, and a palpable sense of camaraderie. Thanks to our exhibitors: John Weir and Patti Goodwin from Taplin-Weir; Boomer Music from Fort Collins, Colorado; Chris Harmon from Buffet Crampon; and Michael Tran from Vandoren. We would also like to thank the President’s Fund for the Humanities at CU Boulder, the Roser Visiting Artists Program at CU Boulder and Robert Shay, From left to right: James Kellan Toohey, Blake McGee, Lauren Jacobson, Michael Drapkin, Sergei Dean of the College of Music. Vassiliev, Wesley Ferreria, Jessica Lindsey, John Yeh, Tim Phillips, Lucas Munce, Daniel Silver

IN MEMORIAM DAN HEARN (JULY 22, 1934 – JULY 1, 2018) The clarinet world became a little less Dan Hearn grew up in Texas City, The quintet held a very special place in bright on July 1, 2018, with the passing Texas, and after graduating from high his heart. of Dan Kent Hearn. He was a fine player school, attended Sam Houston State Since retiring in 2001, Dan performed and a wonderful teacher as well as a virtual College followed by two years in the U.S. in musicals locally and at the Cumberland encyclopedia of clarinet knowledge. He Army Band in Seattle, Washington. County Playhouse. Always a teacher, was professor of clarinet at Tennessee Tech He received his Bachelor of Music he taught private lessons in several area University from 1967-2001. and Master of Music degrees from the schools. He performed with the Big Band University of North Texas where he studied Sound until shortly before his death. with Lee Gibson. He completed additional Dan Hearn was an active member of studies with Jeffrey Lerner at the University the ICA from its early years, having served of Houston. In addition to his primary as ICA state chair for Tennessee. He also career focus of clarinet teaching and had articles and music reviews published performance, Dan Hearn also served as a in The Clarinet. band director at both the high school and college levels and taught every age group What follows are reflections on Dan Hearn from elementary school through university. from those who knew him: He joined the faculty of Tennessee Tech University in 1967 teaching clarinet, My dad passed away on July 1, 2018, saxophone and theory, and working with after a long illness. While I am glad he the band. He was principal clarinetist with is now at peace, I miss him very much. I the Bryan Symphony for his 34-year tenure think of him each time I play the clarinet, at Tennessee Tech. whether in rehearsal, or practicing at Dan was clarinetist with the Nashville home; I can still hear his lessons, and his Symphony (1969-1979) and played advice on playing. I always used to talk with the Knoxville and Chattanooga about our band rehearsals and music with . As clarinetist with the him. When trying mouthpieces recently, I Cumberland Quintet at Tennessee Tech, imagined what he might say; we had many he performed more than 400 concerts, mouthpiece sessions like that over the years. Dan Hearn including Carnegie Hall, recorded three If we measure a person’s life by the CDs, and went on a European tour. impact they have on others, then Dad

MARCH 2019 THE CLARINET | 11 NEWS

truly had a wonderful life. Over the years, his former students is that they used lessons and on the conducting podium. it seems no matter where I go, I meet what they had learned from Dan through He taught us, no matter how experienced someone who knew Dad, and whose life their entire careers. His emphasis on the we were, to conduct ourselves with dignity was affected by him. At the reception after concepts of good sound, good habits and and musical character. He never spoke his funeral, the church was full of people musical interpretation that was passed on disparagingly of students or colleagues – friends, colleagues, former students – all to his students was in turn passed on to in front of us. He was not arrogant talking and visiting. I remember thinking their students. One of my own students, because he respected the art of clarinet to myself how much Dad would have on learning of Dan’s death, stated that liked that. Dad cared so much about his he was actually her teacher too, since she performance, that we can make a mistake students, and I think that is what made learned the things that he had taught at any time! He remained humble and him a truly fine teacher. me and is now passing them on to her selfless – though I do not remember him making any performance mistakes… – Steve Hearn students. That legacy, to me, is the finest tribute to any teacher and human being. A bright light has gone out for all of us Dan Hearn was a wonderful storyteller. – Paula Smith Diamandis who had the honor of studying with Dan One of my favorites of his stories was Hearn. He leaves a living legacy through about one of the early ClarinetFests®. He Dan was the consummate gentleman us, his students. We reflect his teaching said that it was rather unusual for women and music professional. His skills on the skills, philosophy and character in our to perform there at that time. People were clarinet spoke for themselves…beauty own teaching. We pass on not only his caught off guard when a little girl named of tone, superb facility and nuanced high standards of musicality, but his high Elsa Verdehr walked out on the stage and musicality. His professional conduct was standards of being a remarkable human proceeded to give a performance that left above reproach. He treated his male and being. He is greatly missed. everyone in awe. Blew them away. female students the same. He always The comment that I heard most from showed the utmost respect in private – Jeanne Russell Newton

REMEMBERING MCDONALD “DON” PAYNE, JR. by John Cipolla Hospital in the Bronx to Panesa Ross graduated from the Manhattan School of Payne of Chester, South Carolina, and Music with a B.A. in theory and M.A. in Jazz clarinetist McDonald “Don” Payne, McDonald Adolphus Payne of Christ music. He later went on to earn an M. A. Jr. passed away on October 4, 2018. Don Church Parish, Barbados. Raised in in administration and supervision from was born July 24, 1932 in Morrisania Harlem, the youngest of three sons Brooklyn College. By then, known as Mr. – the Payne boys (Harry, Robert and Payne to many, he was the popular band McDonald) – he was known to many teacher at Intermediate School (I.S.) 218 as “Mac” or “Junior” and in later years, in Brooklyn, where he later became an “Don.” At a young age, Don’s love of assistant principal. music, particularly jazz, took root after Don played in numerous bands over being introduced to this great American the years, among them the U.S. Army art form by his brother Harry. When Band, the Brighter Moments Big Band, Harry left for the Army in 1944 and Jimmy Heath Big Band, Illinois Jacquet Big gave Don his saxophone, the love affair Band, Kenny McIntryre’s Contemporary deepened after their uncle Maurice Afro-American Music Orchestra, Queens Hubbard gave Don a clarinet. Don Symphonic Band, Brownstone Clarinets, eventually took lessons from his first and Phil Costa and the Something Special favorite music teacher, the late, great Cecil Big Band, Carol Sudhalter Astoria Big Scott, the co-leader of the swing band Band, Harbor Conservatory Latin Big Cecil Scott and His Bright Boys. Band, Ray Abrams Big Band, and Dance Don played the clarinet, saxophone Clarinets with JD Parran and Gershwin and flute, hung out at jazz halls and clubs Gala. He played as part of the pit band for and talked jive with his buddies. Among Broadway’s Black & Blue, Jazz Vespers at his friends was the great Sonny Rollins, St. Peter’s Church, Treemonisha by Scott whom he called his “homeboy from back Joplin at York College, and the World Bass in the day.” Graduating from Evander Clarinet Convention in Holland. He also McDonald “Don” Payne, Jr. Childs High School at age 16, Don later toured Germany and Switzerland with

12 | THE CLARINET MARCH 2019 NEWS

the great swing saxophonist and clarinetist many pilgrimages to the Saratoga Jazz Payne; his children, Brenda Payne Benny Waters. Upon retirement in 1987, Festival and often attended New Orleans Whiteman and McDonald Payne III; son- Don and his lovely wife, Rona, served as jazz festivals. Don also found time to serve in-law, Lee Whiteman; daughter-in-law, adjunct jazz instructors at the New School. as a consultant for the annual Queens Jazz Heather Payne; grandchildren, Belinda, Don and Rona traveled the world, Festival for the Parks Department and as Bethany, Gabrielle, Danielle, Morgan and visiting such countries as Norway, Japan, a volunteer at the Flushing Council and Miles; brother, Harry Payne Sr.; nephews, France, Switzerland and Italy for various Culture on the Arts. Harry Payne Jr. and Mark Payne; niece- jazz and classical festivals. Every other Don loved his family and friends in-law, Nyima Payne; grandnieces, year, they traveled near and far to clarinet with a fervor deeper than his passion for Mamanding and Fatou; grandnephews, conferences to enjoy , yet music. He leaves to cherish his wonderful Harry Momodou and Omar; great another passion. Don and Rona made memory: his loving wife, Rona Neufeld nephew, Yusha Lee; and countless friends.

REMEMBERING RANDALL STEWART PAUL (1956-2018) by Rebecca Rischin and appeared frequently at the Ohio Music wife Michelle; and half-sister Donna Davis. Educators Convention as a performer In his memory, contributions can Dr. Randall Stewart Paul, “Randy,” passed and clinician. He wrote many articles for be made to the Randall S. Paul Music away on Sunday, August 19, 2018. Paul The Clarinet as well as a book, Successful Scholarship Fund, which will aid students was director of the School of Music at Strategies for Clarinet Reed Making: at the Wright State University School of Wright State University in Dayton, Ohio. Including a Step-by-Step Process (VDM Music. Donations can be made online He was an accomplished clarinetist, scholar, Verlag, 2010). He was an artist/clinician for (www.wright.edu/give/rpaul) or by check conductor, pedagogue and administrator. the Selmer Instrument Company and also (contact Sara Woodhull at the Wright Paul earned degrees from Jacksonville served as director and host of the Aeolian State Foundation for further information State University, Ithaca College, the Chamber Music Series at the Hayner at 937-775-4921). University of Cincinnati College- Cultural Center in Troy, Ohio. Conservatory of Music and the University Paul performed as a clarinet soloist and of Oklahoma. From 1983 to 1988, he was conductor at ClarinetFest®, the Oklahoma adjunct professor of clarinet at Wright State Clarinet Symposium, the International and was promoted in 1988 to professor Flute Association Convention and the of clarinet. In 2011, he was appointed World Saxophone Congress. Other director of the School of Music there. He performances included Carnegie Hall, served as the Ohio state chair for the ICA the High Museum of Art in Atlanta, the Tampa Bay Performing Arts Center, the Lincoln Center Bruno Walter Auditorium, and appearances in Canada, Asia and the Grenadilla Virgin Islands. As an orchestral clarinetist, & he performed with the Utica Philharmonic Bubinga wood (New York), Dayton Philharmonic, Springfield Symphony (Ohio), Dayton Eb Ballet Orchestra, Dayton Bb Orchestra, Oklahoma City Philharmonic, A and Richmond (Indiana) Symphony. His C conducting engagements included the Cincinnati Civic Orchestra, the Miami Artista Valley Junior Winds, and the Miami Valley Symphony Orchestra. Paul was an inspiring teacher and performer, a cherished colleague, and an outstanding administrator with an infectious sense of humor. He will be sorely missed. He is survived by his wife of 32 years, Nora; his father Brayton B. Paul and Handmade wife Jean; sister Joy Singletary and husband Made in Italy Randall Paul Joe; niece Megan Rimkus and husband www.patricola.com Ben; stepbrother Russell Montgomery and

MARCH 2019 THE CLARINET | 13 “International Spotlight” is a new addition to The Clarinet, showcasing perspectives from the global clarinet community. International

by Yuan Yuan with assistance from ENGLISH VERSION SunZhen, ICA Continent Chair for China CHINESE CLARINET DEVELOPMENT AND THE CCOM INTERNATIONAL CLARINET FESTIVAL, ear clarinet friends from all With the opening of China, people International Clarinet Festival. I believed over the world, I am very were paying more and more attention to CCOM, as the best music conservatory happy to share the story of art. Many of my classmates at CCOM in China with its great concert halls and Chinese clarinet development went to America and Europe to study, so practice rooms, would make the festival Dwith you. My name is Yuan Yuan, academic exchange was becoming more progress smoothly. clarinet professor at the China Central common. What made a big impression So far, the festival has been held Conservatory of Music, Beijing (CCOM). on me was the respected professor Guy three times (2013, 2016 and 2018) and Chinese clarinet development parallels Dangain’s master class at CCOM – his invited dozens of international clarinet our country’s development. When I was a teaching ideas and recital caused a virtuosos to perform, including Ronald student in the 1980s, not so many people sensation throughout Beijing. Then every Van Spaendonck, Philippe Berrod, Julien in China were learning the clarinet, and year there were prestigious European Chabod, Vincent Penot, Min Jo Kim, I didn’t know much about it. There was and American clarinetists, and educators Laura Ruiz Ferreres, , Corrado no internet, no good editions of scores, gave master classes at CCOM, but not Giuffredi, Milan Rericha, YaoGuang Zhai, and lots of music was hand-copied. People very often. I realized the gap between the Jorge Montilla, Florent Heau, Yuan Gao, would bring back scores from abroad and Chinese and international clarinet playing , Yue Ma, Weileng Chen, Hong Kong, and we would copy them; level by listening to these clarinetists’ Eddy Vanoosthuyse, Nicolas Baldeyrou, it was the only way to get the scores. Not recitals and master classes. But at the Laszlo Kuti, Mingzhe Wang, Benjamin many people knew about instruments and same time it made me love this marvelous Lulich, Juan Ferrer, Vitor Fernandes, accessories either. My first professional instrument more, and I began to have Masako Miyako and Cristiano Alves. mouthpiece was brought back from Hong an infinite vision of the future. I hoped I We have also invited many Chinese could be a clarinet teacher. Kong by a friend. I used it for a really long clarinetists, teachers and students to Eventually in 1997, I was admitted time, and couldn’t get myself to change it. perform. Each time, the festival gets to the Conservatorium van , In the early development of Chinese bigger and bigger. More and more people where I studied with professor Herman clarinetistry, there were some highly hope to come to Beijing to participate Braune. During my two-year study in respected Chinese clarinetists. They were in the festival to perform and listen to Holland, I listened to many concerts and the first overseas students appointed wonderful recitals. In the 2018 festival, gained new understanding of clarinet by our country to study in Eastern the number of participants reached 700. playing. When I went back to China, my Europe and the Soviet Union. My Of course, China is huge. With these years dream came true: luckily, I was appointed teacher, professor Tao Chunxiao, is a clarinet teacher at CCOM and started my of development, there are more people representative. They brought back many clarinet teaching career. I also played in who love to learn the clarinet. I believe clarinet teaching materials and their the China Philharmonic since 2005. the festival in the future will draw more learning experience, and built the Chinese attention and have more participants. clarinet teaching system. In the meantime, THE CCOM INTERNATIONAL The CCOM International Clarinet they promoted the development of CLARINET FESTIVAL, BEIJING Festival is also a platform for showcasing Chinese clarinet works that time; some of Eventually in 2013, with the support instrument brands. Each one has an these works are still very popular now. of CCOM, I founded the CCOM exhibition of clarinet instruments and Continued on Page 16

14 | THE CLARINET MARCH 2019 CHINESE VERSION 通过举办北京CCOM国际单簧管艺术节展望中国单簧管的发展

一 介绍中央音乐学院国际单簧管 相信中央音乐学院是中国的最高音乐 中国各地非常优秀的青年人和比赛获 艺术节 学府。有很好的音乐厅和琴房。将会 奖者登台表演。在中国互联网发达今 亲爱的全世界的单簧管同仁们， 使得艺术节顺利的进行。至今，艺术 天，的他们精彩演出通过网络直播， 很高兴在这里和你们一起分享中国单 节举办了三届。分别是2013、2016 使得他们成为了全中国单簧管热议的 簧管发展的故事。我是中国北京中央 、2018年 。 共邀请了几十位国际的 话题。每次的艺术节中都会有热烈的 音乐学院的单簧管教授袁源。中国的 单簧管演奏家来表演。有：Ronald 高潮，组委会安排了中国有名单簧管 单簧管发展其实和中国国家的发展 Van Spaendonck, Philippe Berrod, 教育家和演奏家为大家讲诉他们的成 是一样的。80年代当我还是学生的 Julien Chabod, Vincent Penot, 功经验。记得在第二届艺术节中，中 时候，中国没有太多人学习单簧管。 Min Jo Kim, Laura Ruiz Ferreres, 国老中青的单簧管演奏家们一起组成 也不知道太多关于单簧管的咨询。没 Paul Meyer, Corrado Giuffredi, 了单簧管乐团演奏了音乐会。陶纯孝 有网络，没有原版谱，很多作品都是 Milan Rericha, YaoGuang Zhai, 先生担任了首席。是中国单簧管发展 手抄的，那时候只是通过一些人从国 Jorge Montilla, Florent Heau, 的几十年里第一次有这样场景。那是 外和香港带回来的乐谱相互复印。也 Yuan Gao, Jonathan Cohler, 令所有人感动的音乐会。将艺术节推 不了解单簧管乐器及配件。我的第一 Yue Ma, Weileng Chen, Eddy 向了高潮。很显然这一场音乐会具有 个专业的笛头是托朋友从香港带回来 Vanoosthuyse, Nicolas Baldeyrou, 历史意义。在国际单簧管演奏家在中 的。随后用了很多年，一直不舍得 Laszlo Kuti, Minzhe Wang, 央音乐学院国际单簧管艺术节中的表 换。中国早期的单簧管发展中，有一 Benjamin Lulich, Juan Ferrer, 演，无疑一直都受到中国师生的欢 批受到尊敬的中国单簧管演奏家，他 Vitor Fernandes, Masako Miyako, 迎。世界的单簧管发展也在变化。我 们是由国家支持派到东欧和当时的苏 Cristiano Alves等。同时还邀请了很 除了让中国的观众了解不同演奏风 联去学习的最早一批留学生。我的老 多中国的单簧管演奏家，老师和学生 格，也让中国观众了解一些国际上新 师陶纯孝教授就是一个代表。他们带 参加表演。每次的规模都不断扩大， 的单簧管作品。随着中国经济的不断 回来单簧管教学的很多资料和她们学 有更多的人希望到北京能参加艺术 发展，中国家庭越来越支持孩子们学 习的经验。建立了中国单簧管的教学 节表演和观摩到更多更精彩的音乐 习音乐。单簧管当然就是一个缩影。 体系。同时也促进了一些那个年代中 会。2018年参加的人数就已经达到 中国很大，每个城市里的很多学校都 国本土的单簧管作品的发展。其中有 700人左右。当然，中国很大，随着 组成了交响乐团和管乐团，当然学习 很作品至今在中国还很受到欢迎。 这些年发展，已经有更多的人喜欢学 单簧管的孩子就有很多，我相信在中 随着中国的开放，人们而对艺术的 习单簧管。相信未来的艺术节将会有 国，单簧管是管乐中学习的人数最多 喜爱。早期和我一起在中央音乐学 更多的人关注和参与。 的乐器。艺术节通过网络的直播，让 院学习的同学很多也开始踏上去美 中央音乐学院国际单簧管艺术节 更多不能到现场观看的单簧管学生看 国和欧洲的学习之路。于是交流开 也是乐器品牌展示的平台。每次的艺 到艺术节每一场的精彩音乐会。音乐 始多起来。我印象深刻的是尊敬的 术节都会安排世界各地和中国乐器及 需要交流，中国单簧管演奏者迫切的 先生在中央音乐学院 配件相关的展览会。也欢迎更多，更 想知道世界单簧管发展的方向和动 举办了大师班，他的教学理念和音 专业的单簧管相关厂商参与到艺术节 态。这些年也因为单簧管在中国的普 乐会轰动了整个北京。随后每年都有 中。使得乐器的使用者和厂商近距离 及。专业人才也不断的增多，水平也 欧洲和美国著名的演奏家和教育家来 的接触，各取所需，规模每一届都在 不断进步。已经开始有很多年轻人在 中国讲学，但并不是很频繁。通过听 扩大。 国际比赛的舞台上获奖。当然还不是 这些演奏家们来中国的音乐会和大师 顶级赛场。但我相信，和三十年前相 课，使我逐渐认识了中国单簧管和世 二 中央音乐学院国际单簧管艺术 比如今的变化，有时候我都觉得太 界水品的差距。但同时也更热爱这件 节的影响力，对中国单簧管发展的作 快。正因为如此我坚信举办中央音乐 乐器，也开始对未来拥有无限的憧 用。 学院国际单簧管艺术节是一定会拉近 憬。希望将来可以当一位单簧管的老 北京中央音乐学院国际单簧管艺术 中国和世界单簧管演奏的距离。我相 师。终于在1997年我考入阿姆斯特丹 节是世界和中国单簧管交流的舞台。 信这个舞台属于每一个人热爱单簧管 音乐学院开始我的留学之路。·跟随 将世界各地的最优秀的单簧管演奏家 的人，让我们享受彼此的音乐而超越 Herman Braune教授学习。在荷兰 和国际比赛的获奖者介绍给中国的观 语言。 v 的这两年我看了很多音乐会。对演奏 众，也将中国优秀的年轻单簧管演奏 单簧管也有了新的认识。 回到中国 者在艺术节中宣传。让世界了解他 后，我的梦想成真，很幸运在中央音 们，了解中国的单簧管演奏水品。从 乐学院任教，开始我的单簧管教学职 创办的初期就确定这样初衷。同时也 业生涯。2005年同时也开始在中国 是让中国的单簧管使用者了解国际乐 爱乐乐团演奏。终于在2013年得到 器品牌， 国际了解中国的乐器的平 中央音乐学院的支持，我创办了北京 台。每一届的艺术节都会有青少年单 中央音乐学院国际单簧管艺术节。我 簧管学生的专场音乐会，组委会安排

MARCH 2019 THE CLARINET | 15 Continued from Page 14

Participants of the CCOM International Clarinet Festival hosted by Yuan Yuan 第三届中央音乐学院国际单簧管艺术节的全家福

accessories from throughout the world. We welcome more and more professional clarinet manufacturers to the festival, making closer contact between clarinetists and manufacturers. The scale of each festival is expanding.

INFLUENCE OF THE CCOM INTERNATIONAL CLARINET FESTIVAL ON CHINESE CLARINET DEVELOPMENT The CCOM International Clarinet Festival in Beijing is the stage of world and Chinese clarinet exchange. It brings the best clarinet virtuosos throughout the world and prize winners from international competitions to the Chinese audience, meanwhile showing excellent young Chinese clarinetists to the world, letting the world get to know them and the Chinese clarinet playing level. This was my original intention in founding this festival. In the meantime, it is also a platform to let Chinese clarinetists know about international instrument brands, and let the world know about Chinese brands. Each CCOM International Clarinet Festival has a special concert for youth

16 | THE CLARINET MARCH 2019 Gala concert of the CCOM International Clarinet Festival 第三届中央音乐学院闭幕式音乐会

clarinet students. The organizing changing, too. The Chinese audience is Just because of this, I firmly believe committee arranges to bring remarkably learning not only about different clarinet holding the CCOM International Clarinet talented young players and prize winners playing styles, but also about newly Festival will absolutely close the distance to the stage. With the developed composed clarinet works. between Chinese and world clarinet internet in China today, their impressive With the continuous development of playing. I believe this stage belongs to performance on live webcasts makes them China’s economy, Chinese families are everyone who loves the clarinet. Let us a hot topic in the Chinese clarinet world. increasingly supporting their children in move beyond language, enjoying each Each CCOM International their music studies. Clarinet is of course other’s music through our marvelous Clarinet Festival has a fervent climax. an epitome of this. China is huge, and instrument, the clarinet. v The organizing committee arranges many schools in every city have established prestigious Chinese clarinet educators and wind bands, so there are and virtuosos to tell the audience their many kids learning the clarinet. I am sure ABOUT THE WRITER successful experience. In the second in China the number of clarinet learners is Yuan Yuan is deputy principal clarinet with festival, a clarinet ensemble formed by the largest among the wind instruments. the China Philharmonic Orchestra and three generations of Chinese clarinetists Live webcasts let more people listen to associate professor of clarinet at the China – the older, middle-aged and younger – every fantastic recital in the festival. Central Conservatory of Music. Yuan earned together performed a concert. Professor Music needs exchange, and Chinese First Prize and Special­ Award for Chinese­ Tao Chunxiao served as the concert clarinetists are eager to know about the Work Per­for­mance at the First National­ master. In the decades of Chinese clarinet directions and news of international China Clarinet­ Compe­ ti­ tion­ and First Prize development, this was the first time clarinet development. With the popularity of the First China Woodwind­ Chamber­ Music such an event had happened. It was a of clarinet in China today, there is more Compe­ ti­ tion,­ and has been invited­ to per­form concert that moved everyone, and pushed professional talent, and the level is also at festi­ vals­ includ­ ing­ the Festi­ val­ of the Cen­ the festival to a climax. Apparently continuously improving. There are some tral Conser­ ­vatory­ of Music, the Mod­ern Festi­ ­ this concert had historical significance. young clarinetists who have won prizes val of the Central­ Conser­ ­vatory­ of Music, the International clarinet virtuosos’ recitals at international competitions. Although Xi An In­ter­na­tional Clar­inet Fes­ti­val, and in the festival have undoubtedly been they are not top competitions, compared the Shang­hai In­ter­na­tional Clar­inet Fes­ti­val. very popular with the Chinese audience. with 30 years before, today’s changes are His teachers include Yuan Fu Huang, Chun International clarinet development is happening so fast, sometimes even to me. Xiao Tao and Her­man Braune.

MARCH 2019 THE CLARINET | 17 PEDAGOGY

Corner by Paula Corley, ICA Pedagogy Chair

ALL IN GOOD TIME

Strategies for improving rhythm with Michelle Anderson, Betty Bley, Paula Corley, Larry Guy and Jenny Maclay

he study of rhythmic pulse in music research literature in their development. It allows the next beat to be felt is broad and ongoing. John Bipsham’s study suggests with clarity. As the student matures, there comes a time that rhythmic pulse is unique to humans and evolved when foot tapping is relinquished, but it can serve a useful specifically for music.1 The Phillips-Silver study found purpose to the young player. that only one participant from a large test group failed to find T Jenny Maclay agrees and suggests that players “become the “beat” when listening to music, but that same participant could synchronize with a metronome when no musical sound was physically involved with the rhythm. Tap your toe or use another present.2 A colleague who recently served on a panel for hiring a subtle gesture to internalize rhythm.” Michelle Anderson adds, new orchestral musician described the audition this way: “All of The more physical students are in pulse training, the the finalists had great tone and technique, but the winner had the more quickly and deeply they will learn this. My most best rhythm.” Despite the wealth of research and commentary effective pulse training exercises have students clapping on the topic, the question remains: How do we strengthen our and tapping rhythmic patterns on as many of their body sense of rhythmic pulse? This question was posed to a diverse parts as they are comfortable using. Tap a beat along with panel of clarinetists representing different ages, backgrounds and a metronome or recorded music… on forearms, knees, experiences. The following suggestions for improving rhythmic shoulders, head, thighs, and anywhere we can gently reach pulse were collected through a series of email correspondences. as we sit in playing position. There is something about Larry Guy writes: literally feeling a pulse on different parts of our body that A sense of rhythm involves imagining with great clarity activates our brain to notice this pulse more keenly and when the next beat will occur. Once one can anticipate learn it faster. For more advanced students, have one hand its arrival with accuracy, it is relatively easy to place the beating duple and the other triple. notes going into that beat, so long as one’s concentration is kept. This is a unique type of ongoing concentration and 2. UTILIZE THE METRONOME. can be developed in time, even with students who are not The panelists agree that the metronome is an important tool. particularly gifted rhythmically. Betty Bley states, “In my private studio, I insist on correct Michelle Anderson observes: counting from the beginning. Even my youngest clarinet students are required to use a metronome during daily practice sessions Many smart music students can figure out how a rhythm at home and during their lessons with me.” Larry Guy believes should go but they cannot keep a steady beat while trying “The metronome is not a dictator, but rather a collaborator. The to perform those rhythms. Other than the classic “speed up metronome will reinforce that sense of the next beat and aid in when it’s easy and slow down when it’s hard” it is common accuracy.” Jenny Maclay suggests using metronome games to to hear a student who plays the rhythm approximately right develop rhythmic skills and gives us an example: because there is no underlying pulse to support it. Guess the Tempo. As the name implies, the object of 1. EMPLOY MOVEMENT. this game is to guess the tempo of the metronome without There are many ways to incorporate movement into music looking. This will improve accuracy when performing a learning, including tapping and clapping. Larry Guy wide variety of speeds in music and is especially useful acknowledges that foot tapping is a controversial topic. He states: when sight-reading. Have your students not only guess the Many teachers forbid students to tap their feet. However, tempo but also assign it an Italian vocabulary word (allegro, I find it to be of great benefit to students at a certain level moderato, lento, etc.).

18 | THE CLARINET MARCH 2019 PEDAGOGY

3. SUBDIVIDE. 4. PAY ATTENTION TO SILENCE. Larry Guy outlines specific techniques for successful subdivision: The panelists agree that players often Subdivide all compound meters. By subdividing them into the lowest lose rhythmic pulse during rests. Jenny common denominator, it becomes possible to keep the tempo steady and to stay Maclay reminds us to “avoid ‘resting’ accurate between beats. But don’t just subdivide in the mind – lightly tongue the during the rests. Just because you’re resting subdivisions to give much more clarity. Always subdivide large groups of notes doesn’t mean you’re not accountable for into smaller groups and create as many different groups as possible. This will aid in good rhythm. Rests are also part of the achieving technical clarity as well as help the player direct the notes within a large music and thus part of the rhythm.” Larry group. This is especially helpful in cadenza-like passages. Guy suggests that we “always sustain a longer note into a rest that follows it. This allows the player to sustain the tempo and prevents a moment of uncertainty concerning the next beat.” Paula Corley advises us to remember that “The tempo is established with the first breath before playing any phrase. Everyone should recognize the tempo from the preparatory breath.” The legendary Miles Davis said “Silence is more important than sound. It’s not the notes you play, but the notes you don’t play.”

Example 1a and 1b 5. USE NATURAL RHYTHM. Example 1a (as written) and 1b (practice suggestion); used by permission from Rose 32 Studies, No. 21, edited by Larry Guy (Rivernote Press) In his article Rhythms of Learning Brewer writes, “Our bodies pulse with the rhythm of breath, heartbeat, cycles of energy and Another strategy from Larry Guy is to “subdivide long notes before shorter ones and attention, hunger, sleep cycles – every subdivide according to the note value of the shorter notes.” aspect of our existence flows with rhythm. While we may not be consciously aware… rhythms guide and direct our life.”3 Larry Guy uses walking as a strategy: Walk with the student across the studio, concentrating on seeing and feeling the moment of each next footfall. This is a method for developing the awareness of the oncoming beat. Once one feels the steadiness of the next beat, devise Example 2a and 2b some easy rhythms to sing or clap Example 2a (as written) and 2b (practice suggestion); used by permission from Rose 32 Studies, No. 3, edited by Larry Guy (Rivernote Press) into the next footfall. Jenny Maclay says, “When the clarinet Larry Guy emphasizes that “one must find the speed proportion between duple and is not in my hands, I play the ‘air clarinet’ triple and be able to shift from one to the other without changing tempo.” Paula Corley in time to my surroundings – ticking agrees, saying “the ability to maintain steady pulse in and out of changing subdivisions is clocks, the turn signal on my car, or to the an advanced skill that must be practiced. Teaching this skill away from the repertoire is a beat of a song on the radio.” Paula Corley good option.” allows students to find their natural tempo first. “Listen to prepared materials without an audible metronome first and determine ‘their’ tempo. Next, set the metronome at that tempo and have them play again. Assess, adjust, and develop a plan for Example 3; used by permission from Daily Workouts by Paula Corley gradually getting to the desired tempo.”

MARCH 2019 THE CLARINET | 19 PEDAGOGY

6. EXPAND YOUR RESOURCES. Meter Studies by Elliot Del Borgo (www. can be seen and appreciated in an Betty Bley suggests these tools for halleonard.com) as an “excellent tool for aesthetic way. improving rhythm: teaching complex subdivision in unusual meters. Etudes are reasonably short and ENDNOTES • TheI Read Rhythm app (Rolfs Apps) there is a companion duet book where 1 John Bipsham, “Rhythm in Music: What is it? is available for Apple and Android. Who has it? And why?” Music Perception, 24 (2), both players have equal roles.” “A drum head appears on the screen 125-134, 2006. 2 J. Phillips-Silver, P. Toiviainen, N. Gosselin, O. and participants are challenged to Good rhythmic pulse is a skill that Piché, S. Nozaradan, C. Palmer, & I. Peretz, tap notated rhythms with the app can be learned and maintained. Betty “Born to Dance but Beat Deaf: A New Form of metronome. Errors are indicated on the Bley believes “teaching correct rhythm Congenital Amusia,” Neuropsychologia, 961-969, 2011. screen for immediate feedback.” requires a lot of patience and persistence,” • “Smart Music Classic (www.smartmusic. 3 C. B. Brewer, “Rhythms of Learning,” and reminds us that “if you invest in retrieved November 16, 2018 from www. com) has 10 levels of sight-reading your students, everyone reaps the rewards rhythmsandlearning.com. exercises that provide instant feedback when they succeed.” Jenny Maclay adds, on rhythmic accuracy. At the end of “Developing rhythmic precision and each exercise students see errors and stability doesn’t happen overnight – it ABOUT THE WRITERS receive a score. Students can repeat the takes deliberate practice over time.” Larry Backun Clarinet Artist Michelle Anderson is exercise as many times as needed to Guy reminds us: from Vancouver and hosts a popular clarinet improve accuracy.” teaching site www.clarinetmentors.com, with Rhythm constantly evolves. • Winning Rhythms, a book by Edward excellent instructional videos and materials Evolution starts with the first note. Ayola (www.kjos.com), “guides students about playing clarinet. Every subsequent note relates Betty Bley is a successful teacher, through very simple to very complex to notes that have preceded it. rhythms in a systematic manner.” performer and Vandoren Regional Artist Phrases relate to each other as parts in northern Virginia. Find Betty at www. For more advanced students Paula of a building and if constructed theclarinetstudio.net. Corley suggests Contemporary Rhythm and correctly, the musical architecture Pedagogue and performer Larry Guy has served on some of the most prestigious music faculties in the U.S. and has several respected books and articles to his credit. Find Larry at [email protected]. Jenny Maclay is a Vandoren Regional Clarinet a n d Saxophone p r o d u c t s Artist and the author of the popular clarinet blog www.JennyClarinet.com. A graduate of the University of Florida and Versailles INTRODUCING THE NEW Conservatoire, she is currently pursuing her doctorate at the University of Montreal. Paula Corley is a Texas music 10K educator whose Computer machined from German rod rubber and passion is clarinet. hand finished, the 10K series represents craftsmanship She is the “mayor” of Clarinet City (www. and design expertise developed over 30 years from clarinetcity.com), making more than 10,000 professional mouthpieces. pedagogy chair for the International Clarinet Association and the clarinet instructor at Visit our website for premium Texas Lutheran University. clarinet accessories, including: • Custom barrels for all clarinets • Peter Leuthner reeds • Tuning rings, and more!

20 | THE CLARINET MARCH 2019 WOODWIND QUINTET CDS This is a small sample of woodwind quin- CLARINET SOLOS tets on Crystal. See web for complete list. with SONI VENTORUM (William FULL ORCHESTRAL ACCOMPANIMENT McColl, clarinet): CD251. Danzi, op 68, 2 & 3; change the tempo, record yourself with the accompaniment Taffanel, Quintet; Soni Ven- torum was active 1961-2001. “performers were the coun- Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini try’s best” Amer. Rcd. Guide ETLER Quintets 1 & 2, for more information, please visit our web site WELCHER Quintet 2 & The ClassicalCollectionInc.Com Moerae: CD790. Westwood Wind Quintet (William Helm- ers, clarinet). Some of the best works ever written for woodwind quintet. MORAN WOODWIND QUINTET (Diane Cawein Barger, clarinet): CD754. Murdock, Postcards from the Center; Higdon, Au- tumn Music; Lieuwen, Savan- nah; Heiden, Woodwind Quintet. “Well worth exploring. Playing is excellent. ” Gramophone WESTWOOD WIND QUINTET (William Helmers, clarinet): CD759. Kosins, Rainbow Sundae; Tchem- berdschi, Concertino; Berger & Hartley, Quartets; Piston, rjmusicgroup.com 3 Pieces (fl, cl, bn); Ripper, Trio (ob, cl, bn). “Westwood Wind Quintet offers yet ...catering to the discriminating another recorded tour de professional and amateur musician. force.” Intl. Rcd Review REICHA, 24 Wind Quintets CDs 261-272 Westwood Wind Quintet. 12 CD Set ($16.95 ea CD or $128 for all). Clarinet: Gene Zoro, Wm. Helmers, Richard Spece, 2019 Dileep Gangolli. “Sympho- nies in miniature...each one a masterpiece.” Audio- International Summer Academy phile Audition. “Westwood Wind Quintet has a stan- Mihai Tetel, director dard of ensemble playing that is nothing short of breathtaking.” International Rcd. Review Aria BARBER Summer Music, LIGETI Boot Camp Session ~ July 10-21, 2019 Six Bagatelles, MATHIAS Quin- tet: CD750. Westwood Wind Mount Holyoke College, South Hadley, MA Quintet (David Atkins, clarinet) “equally good in tone-quality, balance and clarity, can be de- faculty: scribed as superlative.” Gramophone NIELSEN Quintet; HINDEMITH, Deborah Chodacki Ron Samuels Kleine Kammermusik; SCHUL- louisiana state university pittsburgh symphony & HOFF, Divertissement: CD601. duquesne university Westwood Wind Quintet (Da- Jonathan Gunn vid Atkins, clarinet). “I cannot university of texas-austin Guy Yehuda imagine a better performance michigan state university than the one given here by the Eugene Mondie Westwood Wind Quintet” High Fidelity Magazine peabody institute & national symphony ALEC WILDER Woodwind Quintets 5, 7, 8, 10, & 12: CD758. Solaris Wind Quintet Intensive session on technique, intelligent practicing, (Kristina Belisle Jones, clari- musicianship, auditions, and career. net). “works leave the listener with a feeling of great happi- For more information please contact ness.” Audiophile Audition. Prof. Mihai Tetel at [email protected] CDs $16.95 each. FREE US shipping. ® or visit our website at CRYSTAL RECORDS C360-834-7022. Many more clarinet CDs on website. www.ariaacademy.com tel 765.212.0327 [email protected] • www.crystalrecords.com

MARCH 2019 THE CLARINET | 21 PEDAGOGY Master

by Kip Franklin

KAREL HUSA’S THREE STUDIES FOR SOLO CLARINET

ritten for the 60th Spring International It is worth noting that Husa employs both traditional trills Music Competition and dedicated to Professor and timbral trills throughout this work, posing the first major Jiří Hlaváč, Husa’s Three Studies for Solo Clarinet obstacle for performers. At first glance the markings look similar, (2007) is intended to convey three different so performers should closely examine which trills to use. Timbral Wstyles of playing: espressivo, legato and staccato. However, the trills are noted with a capital T combined with the traditional piece delivers much more than these contrasting styles. Each trill symbol, whereas normal trills use the traditional symbol only. movement contains elements of traditional playing coupled with For the timbral trills, I find that using the standard fingerings contemporary techniques, and incorporates subtle shifts in tone and wiggling the left or right hand E/B lever is a convenient color, melodic inflection and rhythmic integrity that demand the way to achieve the desired effect. Alternatively, performers can most of performers’ technical and artistic capacities. Published try wiggling the right-hand A-flat/E-flat key in order to vary the by Bäerenreiter-Praha, the work is an important addition to our sound. Finally, it is possible to leave the right-hand A-flat/E-flat repertoire from one of the world’s most significant composers. key off entirely for these trills and wiggle the left or right hand Although there are certainly many viable interpretations of this E/B lever, but some may find that produces too much variation piece, the following suggestions should help serve as a launching in the tone. The first two options are illustrated in Example 1 and point for study and performance of it. are good starting points when learning this work. These fingerings may be applied to the other movements as well. MOVEMENT I: MOUNTAIN BIRD Another difficult aspect of this movement deals with the fast, Much of this movement is fairly straightforward and full-voiced. technical runs that are concentrated on the second page. To make Nearly the entire first page is forte, so it is important that these runs clean and clear, I strongly recommend employing performers keep up the sound intensity. Accidentals should carry strategic note groupings in order to let each note of the run be through the bar throughout the entire piece in their initial register heard clearly and rhythmically. Many of these groupings are but do not carry through to octaves.1 intuitive (groups of eight notes divide into two groups of four

Example 1: Suggested timbral trill fingerings for “Mountain Bird”; red arrows indicate the key or finger to be trilled

22 | THE CLARINET MARCH 2019 PEDAGOGY

Example 2: Organization of asymmetrical runs in “Mountain Bird”

notes, groups of nine notes divide into three groups of three notes, etc.). However the asymmetrical groupings need a special approach. I would recommend breaking the asymmetrical runs apart into as many equal groups as possible, saving the remaining larger, unequal group for the end (see Example 2). Other combinations of groupings are certainly possible throughout this movement, but my preference is for Example 3: Organization of final/transitional run in “Mountain Bird” several smaller groups rather than a couple larger ones. This should help give the runs a bit of energy as they approach the next order to achieve downbeat and will ensure that all notes a smooth slide, have a proper rhythmic place. Organizing I recommend the runs in this manner will help make performers push them more even and secure rather than down the two sounding like a frenzy of notes. side keys used to The only exception to this note- play chromatic grouping strategy occurs during the F-sharp while final large flourish of the movement, simultaneously which serves as a transition into a more sliding the Example 4: F to G slide in “Poignant Song” dynamically reserved phrase. Here, I advise thumb off from placing the smaller group at the end of the thumb hole the run (see Example 3). In doing so, (see Example 4). the first bit of the run can be organized Once practiced, in two groups of six, with the second the resulting slide group being a repetition of the first at the should result in octave. Adding a small ritardando to the continuous sound final group of five notes will better set up with no bumps the ensuing accelerando, and aids in the or intermediate forthcoming character transition. pitches between MOVEMENT II: POIGNANT SONG the F and G. In contrast to the first movement’s The second boldness and raucousness, “Poignant challenge of this Song” demands control across the full movement is the timbral trills. I dynamic spectrum, particularly on the soft Example 5: Trill fingerings for “Poignant Song”; red arrows indicate the key/ end. Given the absence of a definite meter, recommend the finger to be trilled players should be free to take a good deal fingerings as shown of time on the dynamic swells. There are in Example 5. two technical challenges to address in this The final point to otherwise lyrical, sensitive movement. discuss with this movement deals with gliss indication “the notes do not need The first gesture calls for the performer Husa’s performance indications. According to be performed at pitch, just slurred, to slide from a thumb F to open G. In to Husa’s correspondence, for the quasi sliding.”2 Husa indicates to use “slow

MARCH 2019 THE CLARINET | 23 PEDAGOGY

Example 6: Opening run of “Relentless Machine”

vibrato” near the top of the second page, 6). Players must juggle traditional pitches Again in this movement, Husa but there is some discrepancy among with timbral trills and quarter tones in has peppered the music with certain performers as to exactly how long the rapid succession. performance indications that could cause period of vibrato should last. Husa does This run is crucial for establishing some questions for performers. Below is indicate that the final bars should be senza the opening character of the piece, and a list of those markings as well as a short vibrato, but it is unclear if that implies the fingering suggestions in Example 7 explanation of how I advise interpreting vibrato should be employed in the entire should aid in the technical execution of them: the opening passage and the B timbral trill movement, the latter half, or just in that • breath tone – Start the tone with the air, near the middle of the movement. isolated instance. Husa writes that “as the and keep the airstream moving slowly. Of all the movements, “Relentless music is to be played ‘with sensitivity,’ Similar to the hollow sound effect from Machine” is the only one to use a time some vibrato [is] needed, but not in the movement 2. 3 signature. With that in mind, it is very last three measures” . He also notes that • nat. – Play naturally important to give close attention to the hollow sound indication in the final bar • ritmico – rhythmic, but in this instance 4 the rhythmic placement of notes and should result in a “nearly lifeless sound.” I interpret it as “in time” or “a tempo” not compress rests. Those familiar with I execute this by slowing the airstream • reedy – Play with a brighter, somewhat Husa’s music will notice a striking parallel enough so that the resulting sound is spread tone; “raw”5 equal parts pitch and air. Doing so will between the five-note rhythmic ostinato cause the pitch to lose its core and thus of “Relentless Machine” and the final The last few lines of the piece can sound hollow. movement of Music for Prague, 1968. The be rather dicey in the high register, so tempo is marked at 116-120 to the dotted I recommend the following fingerings MOVEMENT III: RELENTLESS quarter, but I and many others play it a to help navigate the upper partials MACHINE good bit faster. I think that a tempo of successfully. For the high A’s, use an One of the most difficult portions of this 132 to the dotted quarter works well and overblown high E and press down the movement is the very first run (Example conveys the virtuosity for which Husa asks. right-hand F-sharp/C-sharp lever. For the

Example 7: Timbral trill and quarter tone fingerings for “Relentless Machine”; red arrows indicate the key/finger to be trilled

24 | THE CLARINET MARCH 2019 PEDAGOGY

Example 9: Final gesture of “Relentless Machine”

All fingering diagrams were constructed from Bret Pimentel’s Fingering Diagram Builder: https://fingering.bretpimentel.com

Example 8: High note fingerings for finale of “Relentless Machine” ERRATA6 native of Michigan, he has performed and 1 Movement 1, page 1, line 4, beat 2 lectured across the U.S. and Europe. In 2018, should contain a C natural Franklin released the album Crossroads: high F-sharps, use an overblown B-flat 2 Movement 3, page 11, line 3, last trill Twenty-First Century Music for Clarinet fingering (see Example 8). It is critical should be slurred into downbeat of featuring works by Biedenbender, Husa, when using this fingering that performers line 4 Maslanka and Opperman. His teachers keep the air moving fast and strong so that 3 Movement 3, page 12, line 6, add accel. include Caroline Hartig, Kennen White, this fingering stays in the fifth partial. to the descending 16th notes v Guy Yehuda and Theodore Oien. For more I have always found the final gesture information visit www.kipfranklin.com. (Example 9) rather comical and Messiaen- ENDNOTES esque, as if the machine that has been 1 Karel Husa, email message to Rachel Yoder, May revving up the entire movement suddenly 20, 2008. 2 Ibid. stalls out. The end is especially effective if 3 Ibid. performers can really pour on the speed 4 Ibid. and sound during the final three groups of 5 Ibid. ICA ANNOUNCEMENT th 16 notes, hold the final fermata until all 6 Ibid. sound has dissipated, and place the final 2020 Composition gesture at a soft but comfortable dynamic. Overall this is a wonderful piece in ABOUT THE WRITER Competition: our repertoire and its popularity is rapidly Kip Franklin is growing among players and teachers. I assistant professor Clarinet and Piano always enjoy programming this work of clarinet at the University of South and find that it is a very accessible The ICA seeks previously contemporary piece for audiences. I Alabama, and was hope that these suggestions aid in your recently appointed unperformed works for interpretation of this wonderful work! audio reviews editor (B-flat or A) Good luck and happy practicing! for The Clarinet. A and piano, 10-15 min. in length. The deadline is December 20, 2019; the winner will receive a $1000 prize and a performance of the work at ClarinetFest® 2020. For details, please visit www.clarinet.org or contact Scott McAllister, coordinator (ica.composition. [email protected]).

MARCH 2019 THE CLARINET | 25 Historically

by Deborah Check Reeves

“Historically Speaking” is a feature of The Clarinet offered in response to numerous inquiries received by the editorial staff about clarinets. Most of the information is based on sources available at the National Music Museum, located on the University of South Dakota campus in Vermillion (orgs.usd.edu/nmm). Please send your email inquiries to Deborah Check Reeves at [email protected].

larinets by American manufacturer specialized in making flutes and German-system Penzel and Müller had a fine clarinets.3 By 1923, Penzel and Mueller (note reputation. Established in 1899 post-World War I spelling) offered at least 11 as a partnership between Gustave different models of clarinet, including five LudwigC (Louis) Penzel and Edward Georg Boehm-system instruments, as well as alto and Müller, the company continued manufacturing bass clarinets, flutes and .4 musical instruments into the second half of A recent addition to the collections at the the 20th century.1 According to Ancestry.com, National Music Museum is a Penzel and Müller “Louis” Penzel departed from and clarinet dated around 1900. Unlike other Penzel arrived in New York City in 1888. Coming and Müller (or Mueller) clarinets in the NMM’s from an established business in Germany, collections,5 such as NMM 381 (Photo 1), the on the passenger lists he is noted as being an new Penzel and Müller clarinet NMM 15068 “Instrumentenhändler” (instrument dealer).2 (Photo 2) has an interesting feature. Instead of Setting up shop at first with his brother, Penzel bearing a “patent C-sharp” key which allows

Photos by Bill Willroth, Sr., and Byron Pillow, Pillow, Byron and Sr., Willroth, Bill by Photos Courtesy of National Music Museum, University of South Dakota.

Photo 1: NMM Photo 2: NMM Photo 3: NMM 15068 Photo 4: NMM 15068 Photo 5: NMM 2526 Photo 6: NMM 15068 381 Penzel & 15068 Penzel & Penzel & Müller back Penzel & Müller right-hand Baermann-Ottensteiner Penzel & Müller clarinet barrel Mueller clarinet Müller clarinet thumb key clarinet back

26 | THE CLARINET MARCH 2019 for ease of movement between E/B and 4 Penzel, Mueller and Company, Catalog of F-sharp/C-sharp, this instrument has a Woodwind Instruments and Accessories. Long right-hand thumb key for an alternate Island City, New York: 1923. 5 Deborah Check Reeves, “Historically Speaking,” F-sharp/C-sharp (Photo 3). This thumb The Clarinet Vol. 35, No. 4 (September 2008), key clearly interlocks with the F-sharp/C- 30 and Vol. 36, No. 2 (March 2009), 26-27. sharp rod (Photo 4). 6 Eric Hoeprich, The Clarinet (New Haven and The right-hand thumb key for : Press, 2008), 130. F-sharp/C-sharp was a common feature on 7 Ibid., 162. 8 Albert R. Rice, private communication. Baermann-Ottensteiner clarinets (Photo 5). 9 The Dominant, XXI, 3 (May 1913), 29. Eric Hoeprich has found examples that date 10 Gustave L. Penzel and Edward Mueller, U.S. even earlier than the 1870s Ottensteiner patent 623422A (April 18, 1899). clarinets. As early as 1839, Franz Thaddeaus Blatt illustrated a clarinet with the right- ABOUT THE WRITER hand thumb key.6 Joseph Farbach’s 1840 Dr. Deborah Check method illustrated a fingering for a 19-key Reeves is the Curator clarinet that included a right-hand thumb of Education and key for F-sharp/C-sharp.7 Woodwinds at the Albert R. Rice has made note of National Music many clarinets that have a right thumb F-sharp/C-sharp, including those made in Museum (NMM) Germany, France, Italy and more.8 Some in Vermillion, SD, of these clarinets date before 1815, and and professor at the some were made as late as the early 1900s. University of South He is quick to note, however, that NMM Dakota. She received 15068 is the first example by an American a doctorate in clarinet performance from the maker of which he is aware! University of Iowa. She plays with the Sioux Considering Penzel’s origins, certainly City Symphony Orchestra and directs Tatag, he knew of clarinets manufactured with the NMM’s Javanese gamelan performance the right thumb F-sharp/C-sharp key. It ensemble. She is a contributing editor to is possible that he offered this on his own The Clarinet, and serves as the ICA South make of clarinets, before his partnership Dakota State Chair. with Müller. Continuing to offer that option during the early years of the partnership is a possibility. NMM 15068, which bears Penzel and Müller’s typical signature stamp on all its sections (Photo The Clarinet seeks 6), could, perhaps, have been made prior articles from members! to the partnership and then later stamped See www.clarinet.org for with the new name. It appears, though, submission guidelines. that the right thumb key was quickly abandoned by this maker. Advertisements Feature Article from 1913 feature Boehm-system Review Deadlines: clarinets.9 Even their 1899 patent illustrates August 1 a clarinet with a “patent C-sharp” key.10 November 1 * * * * * February 1 May 1 Special thanks to Stan Davis; without his donation, this study would not have News, Event Reports and been possible. v Department Submissions: ENDNOTES September 1 (for Dec. issue) 1 William Waterhouse, The New Langwill Index: A December 1 (for March issue) Dictionary of Musical Wind-Instrument Makers and March 1 (for June issue) Inventors (London: Tony Bingham, 1993), 298. 2 www.ancestrylibrary.com. June 1 (for Sept. issue) 3 Waterhouse, 298.

MARCH 2019 THE CLARINET | 27 The Clarinet

by Oliver Seely

“The Clarinet Enthusiast” features a rotating cast of contributors; if you are interested in sharing your perspective, contact [email protected].

’m an amateur clarinetist (and exercises in various lesson books were a part me along the way. Louise Farrenc’s Nonet retired professor of chemistry) of his five serenades composed to be played was received so well that she demanded who has played an Artist model by his Masonic brothers, and that the and received equal pay with that of her Penzel-Mueller clarinet since 1951, exquisite lesson-book trios by Beethoven male colleagues at the Paris Conservatory. whenI my dad bought it from a local jazz were really movements of his Opus 87 for Iwan Müller was an early developer of the musician for $95. Growing up, I was of two and English horn. I discovered modern clarinet and the grandfather of the impression that the end-all of clarinet that Franz Krommer had composed 45 the guy who started the Penzel-Mueller literature was the Mozart and Weber partitas for winds but that only 13 had Clarinet Company in New York. clarinet concertos and Pee Wee Hunt’s survived. Surely, I thought, there are a few My search for the Double Concerto version of 12th Street Rag. Never mind that more in various obscure private archives for , Clarinet and Orchestra, Op. the solo part was for soprano saxophone. across Europe. This little window into 88, by led to the ’s One Saturday morning around 1995 genius that I had discovered had to be autograph in the University I slowly came to consciousness listening exploited, and fast, because I wasn’t getting Conservatory archives, a microfiche to the clock radio play a Scriabin prelude any younger and there was so much copy of which had to be sequenced which had been transcribed for clarinet beautiful clarinet music to be played. using a properly scaled staff transparency and piano and I wondered casually where At first I sequenced (put in music because over the 100 years since its I might find the sheet music for that notation format) everything as notes composition the staff lines had faded pretty piece. That marked the instant of only, simply because I was so anxious to into ghosts. Bruch’s ink thankfully had my musical awakening. I had recently play hitherto unknown (to me) music for lots of carbon black in it and was as discovered music notation software clarinet and accompanied by MIDI files, distinct as when he put it down. A copy and play-along MIDI files. The use of until one morning I was awakened again of Amilcare Ponchielli’s Il Convegno for email was becoming all the rage, and the by the clock radio playing Franz Danzi’s two clarinets and band turned up in an library card catalogs of the world were Sinfonia Concertante for flute, clarinet and archive in Rome, and Tomás Bretón’s just beginning to appear on the internet. orchestra, Op. 41. I found the orchestral Sextet for Winds and Piano was found by Moreover, as a professor I had the privilege accompaniment to be so beguiling that a Spanish email friend (a fellow clarinetist of requesting interlibrary loans and my from then on my sequenced offerings and chemist, would you believe?) in university campus had a 1951 copy of the included all the articulation and dynamics the Madrid Conservatory library as an Grove Dictionary of Music and Musicians. and I never again did a piano reduction unpublished (and never-performed) What an embarrassment of riches! So the of anything. work. My edition of an early 19th century project began, with a mission to notate I discovered composers whose names publication of Bouffil’s Duo for Harp and and create play-along versions of as many I had never heard, like Misha Elman, Clarinet, composed for and dedicated to clarinet pieces as I could find, making Antonio Rosetti, Carl Stamitz, Franz Mademoiselle Stéphanie, looked good them public for all to use. Tausch, Theodor von Schacht, Louise enough that the library where I found I discovered that Jacques Bouffil had Farrenc and Iwan Müller. I was enchanted it substituted my sequence for the rare composed six clarinet trios (not one as I by their compositions and life experiences holding. I discovered double and triple had always imagined), that the Mozart trio and my quest offered some adventures for concertos and even one quadruple

28 | THE CLARINET MARCH 2019 concerto for clarinets and orchestra (by Ludwig Schindelmeisser). I’ve never played some of these lovely pieces with live musicians, but I still have the little guys who live in my computer box. They’re available at all hours, they never complain, they play exactly as I tell them, and their price is right! There’s no substitute for live players, of course, what with the camaraderie and lovable carping I get from sight-reading-challenged friends about computer-generated notation, but it’s the music. The music must be played. The adventure continues! In the photo below I am playing Mozart’s Sinfonia Concertante K. 279b for , clarinet, horn, and orchestra at California State University Dominguez Hills in 2006, at a 250th anniversary celebration of Mozart’s birth. The other soloists and members of the orchestra are off to the side in my laptop computer. Live players are always welcomed with enthusiasm. Don’t forget your instruments! v

ABOUT THE WRITER Oliver Seely was How Long Has It Been born in Long Beach, Since You Bought Your California in 1939 and began to play the First Rovner Ligature?

Photo by Candice Groat clarinet at age 10 in the Long Beach Public Schools. He received a B.S. in chemistry from the California Institute of Technology Really??? in 1961 and an M.S. and Ph.D. in physical chemistry from the University of Illinois at Champaign-Urbana in 1963 and 1966, respectively. Following postdoctoral research Then Prepare To Be at the University of California, he joined the faculty of California State University ASTONISHED! Dominguez Hills where he taught for 40 Forty-four Years Of Experience In Patented Woodwind Innovation And Problem-Solving... Solutions For The Most Discerning Players...Educator Support...Sensible Pricing... years. Today, retired, he maintains Oliver’s And New Models With Jaw-Dropping, Heart-Stopping, No-Topping-It Performance. (mostly) Clarinet Music Page at http:// That’s Today’s Rovner Products! www5.csudh.edu/oliver/clarmusi/clarmusi. htm and plays regularly in community bands, orchestras and chamber groups.

Patent. See Website. www.rovnerproducts.com

MARCH 2019 THE CLARINET | 29 INTERVIEW Interview with by Rachel Yoder Benjamin Lulich riginally from the Pacific Northwest for the Cleveland Orchestra. He studied at the region of the United States, Ben Lulich Interlochen Arts Academy, Cleveland Institute of returned to the area in 2014 as principal Music, Yale School of Music, Pacific Music Festival clarinetist of the Seattle Symphony. and Music Academy of the West, and his teachers He is artist-in-residence at the University of include Richard Hawkins, Franklin Cohen, David Washington and also performs with the Seattle Shifrin, Fred Ormand and Laura DeLuca. Opera,O Sunriver Music Festival, and in a variety of appearances as a soloist and chamber musician. RACHEL YODER: How do you create a practice Lulich previously served as principal clarinetist of schedule that works with all of the playing you’re the Pacific Symphony in California where he also doing? performed with groups including the Los Angeles BEN LULICH: It’s nice because we get the full Philharmonic and Hollywood studio orchestras. season a year ahead of time so we can keep track Lulich also spent a year as acting principal clarinet of some difficult pieces that we have coming up, like this season we had Miraculous Mandarin and Dances of Galanta. Then there’s always the wild card of premieres and commissions. So at least a month ahead of time I like to take a look at it and see if it’s something that I’m going to really need to get into woodshedding, or it’s something that’s not too bad. And then, I just try to always

Photo by Larey McDaniel be ahead of the curve, because we go through new programs every week, and it’s a lot of music to learn.

RY: So you have to stay pretty organized. BL: [Laughs] Yes, I’d say that. I’m not a very organized person, but when it comes to keeping track of what I need to be practicing, I kind of need to be organized in that area!

RY: Does it compare to when you were taking auditions and your process for that? BL: It’s a little different. To me taking an audition is more of a gradual build to that one day or that one week when the audition takes place, and I’ve got systems of practicing certain excerpts that take a week or two to build up – to me it’s actually more methodical, the audition practicing. And it’s hard to do when you’re working and you have to fit it into your schedule. Maybe because it’s small pieces that you’re trying to perfect, rather than a whole symphony where you’re mainly looking at solos or the hard tutti passages, and not so worried about all the whole notes. It feels different to me.

30 | THE CLARINET MARCH 2019 INTERVIEW

RY: Better? start slow, I always have to build up to came open. It had been years since I’d BL: Well, it took me a long time to feel tempo, and try not to play it too fast – been back here, so when I went to the comfortable preparing an audition list. nice and steady and controlled. audition and saw some more of Seattle And getting a system that worked for again after so many years I was like, me. RY: I wanted to ask you about a potentially “Yeah, this would be great!” I love the controversial topic. It’s said that orchestral Northwest and I love coming back to RY: Would you be able to describe the system players are getting more and more visit Oregon and Washington, because that you used? technical because of this audition process I grew up mostly in Oregon and lived BL: I just tried to have every excerpt be and how competitive it is today – and in the Seattle area for a few years before possibly less musical in a way. Obviously my best excerpt. I feel like there’s so I went off to school. I love this region, I don’t hear that in your playing at all, much unknown as to which excerpts the weather, the great seafood… it’s a they’re going to ask on which rounds, but do you have any opinion on how the great area, it’s really vibrant, and I’m you just have to be completely prepared process may have changed in the past really enjoying being back. on every single one of them. So for decade or two, and what result that’s me it’s spending more time with the having on orchestral playing? RY: So you’re playing in the Seattle Symphony excerpts where I feel less comfortable, BL: Yes, I think there is a danger to section now with Laura DeLuca who was and letting that guide my practice. preparing an audition and also listening your teacher – was that in high school? Then the excerpts that come easier to to auditions. On both sides of the BL: Yes, I studied with her for about two me or feel easier, they don’t take as screen, there’s a danger to focus too and a half years in middle school and much on technique. Of course we want much time. But I have to spend a lot high school. more time on something like the last to play all the right notes, and when two pages of Daphnis, you know, just we’re listening to an audition we want to RY: So what were her thoughts when you to get that to feel really comfortable hear all the right notes, but I think really won the position? every single time. As to how I do that, good audition committees can look past BL: She was very pleased – it’s always it’s different for different excerpts. that sometimes. When I’m listening to great to have a student of yours do an audition, I never want to disqualify well, and I feel like we play really well RY: Is there one that was your least somebody because they miss a note, or comfortable, and could you describe how together, probably because I had her they flub a passage. If they’re doing well as my teacher for very formative years, you approached it? What’s your least on everything else and they’re interesting so I think we have a similar concept of favorite excerpt? to listen to, it’s not such a big deal. sound. She’s a terrific player and it’s a BL: Besides Ginastera? [Laughs] That’s a Sometimes when we’re hearing the same lot of fun to be able to play with my good question. The last two pages of excerpts over and over again, we want former teacher! Daphnis always feel kind of hard. On someone to come in and just be musical, the other hand for a long time I felt like natural, and just play music. We hear so RY: You’ve studied with so many great Pines of Rome was very difficult. Once many people who feel too safe, and it’s teachers – Richard Hawkins, David I started playing in orchestra as a full- not interesting enough, especially when Shifrin, Frank Cohen, Fred Ormand – time job and saw some of these pieces you’re hearing it over and over again. I’m sure it’s hard to get into too much come up a couple times, sometimes the So when we do hear somebody come in detail, but would you be able to describe excerpts felt easier, so that’s maybe part and play something really exciting, and one thing that really stuck with you from of why Pines of Rome feels easier now. play it really well, we really take notice. each of your teachers? But part of the issue for auditions is that RY: BL: For me, it was the perfect succession And playing it in context too, probably. musicality is subjective. If you go over BL: of teachers. First with Laurie [DeLuca], Yes, and Pines of Rome to me is one the top in too many ways, that can have when I was so young – she was of the few excerpts that feels almost an effect on the committee thinking a Marcellus student and got my the same playing it in the orchestra that you’re not going to fit in when you foundation really building, learning as it does playing it by yourself. It’s need to. So I think playing musically is all the standard scales and etudes and so much just you. With Pines it was great, but just keep it within reasonable everything. Going to Hawkins from getting more used to it, just doing it boundaries. Don’t go crazy. over and over again, and really trying that, he just kept that building, adding to gain confidence with it. That’s a big RY: As long as they’re not too polarizing. more technique and sound. He was a thing – just getting confidence with BL: Yes, it’s a fine line to play I think. great teacher who knew how to pinpoint the excerpts allows you to feel like what you were doing wrong and what to every one is your best excerpt. Having RY: So what’s it like to come back to Seattle say to get you to fix it. Going to Frank that confidence transfers to people being from this area? Was it always a goal Cohen from there, we certainly talked listening; they feel that confidence. of yours to come back here? about technique, and he badgered me With Daphnis, it’s just practicing it at BL: It wasn’t always a goal of mine. I never on articulation for about a year [laughs]. a lot of tempos, and that’s one that to really thought about it until Chris From him it was just getting consistency me always takes time. I always have to Sereque decided to retire and the spot and then getting the orchestral

MARCH 2019 THE CLARINET | 31 INTERVIEW

perspective as well as one of the big mouthpiece, the “R” model, with a session on Star Wars: Episode VII – The things he’s known for, musicality and Rovner Versa ligature. It used to be Force Awakens, which was the first time phrasing. Working with Shifrin after the old Eddie Daniels II, but they anyone had heard Rey’s theme. I don’t that was just refining finishing touches, renamed it. know if that version made it into the studying the standard recital repertoire – movie or not – that’s something else we Mozart Concerto, Debussy Rhapsodie, RY: With the plates that you can change out? never know. That being the first day of Brahms – he knows that stuff so BL: Yeah, I actually use a little cork insert sessions on that movie, I remember we well and really gave me a lot of insight that I’ve used for 15 or 20 years! And recorded one of the opening scenes and into that kind of music. I studied with then Vandoren V12 reeds, size 4 or 4.5. there was a unison trio for clarinet, bass Fred Ormand in the summers at Music flute and synthesizer, and when I went RY: Now, you did some studio work in Academy of the West, and he was to see the movie it was English horn! Hollywood, right? Do you have any good – kind of cut and dry teaching Stuff gets changed around, and you compared to what I was getting with favorite experiences? BL: Yeah, one score that was a lot of fun never know if what you’re playing makes Frank Cohen, but it was good to get it into the final cut or not. back to that more traditional approach. to work on was Monsters University, That was a good dichotomy, going back with Randy Newman. He has a great RY: So that was with John Williams? and forth between those two throughout ear, and he’s a super funny guy. I just BL: Yes, so that was kind of a dream: play the year. I had really wonderful teachers, remember whenever somebody would a Star Wars movie score with John each at the right time for what I needed find a mistake or he wanted to change Williams! in my development. something and we were just waiting there for a new part to get printed, RY: Any upcoming performances with the RY: Was there anything that you felt like you he’d start looking at his watch and say, Seattle Symphony you’re excited about? didn’t really learn until you got your first “400 dollars … 900 dollars … 1200 BL: We premiere a new orchestral position and started actually dollars…” because it adds up really in February 2019 with Kinan Azmeh. doing it? quickly! [Laughs] He was a hoot, really He’s writing it and performing it, so BL: Yes. Of course you prepare, but funny but really great music. One of I’m looking forward to hearing that. I it’s different when you actually start the other personal favorites for me was think we have a whole Nielsen cycle set doing it. My first full-time orchestra a movie called The Tourist with James up to be recorded with our new music job was in Kansas City. You know, in Newton Howard that had a lot of school you’re always rotating spots in director Thomas Dausgaard – he’s really nice clarinet stuff. The director Danish. the orchestra, so getting to play with of that movie, Florian Henckel von the same people in the same spots Donnersmarck, used to play clarinet, RY: So you’ll be recording the concerto? week after week was a good learning and he was really happy with all the BL: I hope so, I don’t know! We’re experience. Also, you always hear that clarinet parts. supposed to record all the symphonies, rhythm and pitch are so important in auditions, and playing with people including the fifth which has a great RY: Can you name some more films that you clarinet part. I’m always excited about all the time, you realize that those are worked on? You always hear clarinet in the two things that if one person isn’t the variety of repertoire that we do at movies and wonder who the player was, the symphony here. v right, everyone kind of sounds bad. but you don’t see it in the credits. And also, I was just getting consistency BL: Yeah, Green Lantern, Green Hornet, with things like entrances – something Snow White and the Huntsman… ABOUT THE WRITER I didn’t realize the importance of until I you know with a lot of them, it’s not Rachel Yoder currently got my first full-time job. You’re playing even the same people all the time, serves as editor of The with all these different instruments, and because some people aren’t available, so Clarinet and adjunct when the conductor gives the beat, you sometimes I’d fill in on other movies – professor of music all have to play together at the same it’s not like you always hear just one theory and clarinet at time, in tune, with the same kind of person. For Monsters University I think I the DigiPen Institute of attack, even though you’re coming from Technology (Redmond, a whole lot of different perspectives of played three different parts throughout, Washington). Based playing. Also, in college we would play and we probably spent two and half in the Seattle area, only one concert, so I had to get that weeks recording that. Sometimes I was consistency to play well two or three playing first, sometimes I was second, she performs in a concerts in a row and not lose variety in sometimes I was third, doubling on variety of solo, chamber and large ensemble terms of musicality. E-flat or bass or contra-alto. Water roles, including with the Seattle Modern for Elephants was another one. I did Orchestra, Odd Partials clarinet/electronics RY: What’s your setup? various sessions on The Life of Pi, Rio, duo, the Universal Language Project, Seattle BL: Backun MoBa cocobolo clarinet with The Hangover Part ,3 A Million Ways to Metropolitan Chamber Orchestra and gold-plated keys, Richard Hawkins Die in the West, and I did the very first Yakima Symphony Orchestra.

32 | THE CLARINET MARCH 2019

The Inspiration Behind Compositions for Clarinetist Frederick Thurston by Aileen Razey

rederick John “Jack” Thurston (1901- THURSTON’S LIFE 1953) was a respected and renowned Born in Lichfield, , on September 21, 1901, British clarinetist and teacher, but due to Thurston began learning clarinet from his father the brevity of his life, world wars, limited at 7 years old. Sir Adrian Boult was so impressed recordings,F and publisher locations, his influence after hearing Thurston play in an amateur orchestra outside of the U.K. was limited. His firm tone, that he advised Thurston to audition at the Royal lack of vibrato, precision of rhythm, and appealing College of Music. Thurston obtained a scholarship musicality inspired 19 renowned composers to write to study with Charles Draper (1869-1952) in 22 solo and chamber works specifically for him, 1920. Draper inherited a pure, round tone from though he “… never commissioned a work, nor , and an acute attention to detail and did he ever need to.”1 Many of the compositions rhythm from Julian Egerton. Thurston’s playing written for Thurston include his name on the sheet also took on these qualities, and he began to be music and are widely recognized among clarinetists. recognized within the London musical scene. A Unfortunately, other works do not include performance of the Stanford Clarinet Concerto in Thurston’s name, and remain largely unexplored, 1922 launched Thurston’s career and earned him a underperformed, and unrecorded. glowing letter from the composer,2 and Thurston continued to perform this work throughout his life.3 Thurston’s name became familiar to radio listeners throughout England with the advent of radio broadcasting in the 1920s. He performed on London radio station 2LO4 and began a contract with the British Broadcasting Company in 1923.5 In 1924 he performed with the Wireless Symphony Orchestra,6 and in 1930 became principal clarinet of the BBC Symphony Orchestra under Sir Adrian Boult. With rising playing standards and demands in the BBCSO and from conductors, Thurston switched from Martel clarinets to the recently released 1010 Boosey and Hawkes “plain” Boehm clarinets. The new clarinets aided in “producing a beautiful firm sound which was capable in a pianissimo of filling the Albert Hall, so clear was it.”7 They were designed to match the volume and sound of wide-bored brass instruments, suiting the sound of a larger concert hall.8 The BBCSO’s concern with quantity of concerts over quality led to Thurston’s departure in 1946, allowing him to perform chamber music and new works written for him. He joined the new in 1948,9 and performed with the Royal Opera House Orchestra and the Frederick Thurston London Symphony Orchestra. Reproduced by kind permission of Clarinet Classics from the album Frederick Thurston Centenary Tribute (CD, 2001) Live radio broadcasts in Thurston’s day provided as much energy and excitement as a live performance

34 | THE CLARINET MARCH 2019 in the concert hall. While studio recording Known as “Jack” to his friends, broadcast; in 1948, Frederick Thurston, required a more conservative approach, Thurston’s “wry, sardonic humor, often Kyla Greenbaum, and the Blades brothers Thurston believed every performance to directed at himself, brought him many broadcasted it under ApIvor’s conducting.17 be a fresh event and did not wish for any friends who were by no means confined to of his performances to be preserved on musical circles. . .”13 Thurston was awarded ARNOLD, MALCOLM (1921-2006) a recording.10 However, Thurston was the Cobbett Gold Medal and CBE in Concerto No. 1 for Clarinet and Strings, satisfied with one recording: the Decca recognition for his contribution to chamber Op. 20 (1948). Transcription for piano release Testament, featuring Thurston and music. He was diagnosed with cancer later by composer; Beaconsfield: Alfred the ,11 which demonstrates in life due to chronic smoking, and died Lengnick and Co., 1952. Thurston’s exemplary artistry and clarinet on December 12, 1953. Lord Redcliffe- Arnold dedicated his Concerto to mastery. From the initial clarinet entrance Maud stated: “He was a musician first and Thurston, who premiered it in Edinburgh of the Bliss Quintet and the Brahms last, but he was also a personality of such at Usher Hall on August 29, 1949 as Quintet, Thurston’s full-bodied, singing exceptional simplicity and completeness part of the Edinburgh Festival with the tone creates a continuous phrase that melts so wise, affectionate and uninterested in Jacques Orchestra. While on tour with into the colors of the ensemble. Flawless himself – that his whole life had a quality this orchestra in 1950, the Hamburger ease of technical passages is evident in the to match the beauty of his playing.”14 Echo wrote of: “…Frederick Thurston, second movement of the Bliss Quintet. a clarinetist of international status, for With only a few recordings available, it is COMPOSITIONS WRITTEN FOR whose ability no praise is too high. In possible to understand Thurston’s sonic FREDERICK THURSTON works by Stamitz and the 29-year-old and technical world and the compelling Although in his time the clarinet was not he set an example which elements of his playing. Reviewers noted generally heard outside of the orchestra, left one full of admiration.”18 similar characteristics; Telegraf Berlin Thurston premiered several solo and Regarding the Andante con moto second wrote, “his richly shaded tonal range chamber works by living composers. movement, originally “Arnold had left the and sure grasp confirmed the reputation Bradbury wrote: clarinet silent for considerable stretches... that goes before him. Frederick Thurston In spite of the works of Brahms, in an early rehearsal, Thurston suggested is considered to be the most important Stanford and Debussy the clarinet that Arnold give the soloist something to 12 English master of his instrument.” was still not an accepted solo do in a few of those passages. Apparently, Known as a passionate and inspirational instrument in Britain, and, as in Arnold added some clarinet bits straight 19 teacher, Thurston was professor at the the days of Stadler, Baermann and into the full score overnight.” Royal College from 1930 until 1953 Mühlfeld, only the emergence of an ARNOLD, MALCOLM (1921- 2006) and was coach with the National Youth outstanding player could stimulate Scherzetto for Clarinet and Orchestra Orchestra. Also on faculty at the Royal native composers into writing for it. (1953). London: Novello and Co. College at this time were composers During the 1930s, Thurston became Ltd., 1953 (soloist and orchestra); and William Lloyd Webber. this player…15 Thurston’s students included , Buckingham: Queen’s Temple Bernard Walton, Avrahm Galper, John Thea King remembered Thurston Publications (QT43), 2001. Arranged McCaw, Pamela Weston, , saying that as a child, he found the by Christopher Palmer from the film Sir , Lady Mackerras and repertoire to be dull. Perhaps it was this You Know What Sailors Are. sentiment that led to his commitment to Sidney Fell. In his early film scores, Arnold often exploring new and stimulating repertoire. Thurston co-wrote The Clarinet: A wrote elaborate clarinet solos, as Thurston She stated that his playing was “. . . highly Comprehensive Method for the Boehm was frequently the clarinetist for them. charged rhythmically, almost impatient Clarinet with his student Alan Frank. This Created in 1953, You Know What Sailors at times, and attracted the attention of method discussed relaxed playing and Are was likely Thurston’s last performance composers. He refused to simplify any finger position, and provided exercises of Arnold’s scores. Palmer’s CD notes passage they wrote for him (except for for proper articulation and finger control. describe the Scherzetto, taken from the half a bar in the Bax Sonata) predicting Thurston used and advocated for single-lip movie: “It is ‘Mickey Mouse’ music – that that future clarinetists would find no embouchure, but also recognized double- is, music which follows and duplicates problems.”16 lip. He likely used these ideas to achieve every detail of the action: a mandatory the firm tone and natural musical phrasing APIVOR, DENIS (1916-2004) technique not only in comedies but also in for which he was recognized. Thurston 20 Concertante for Clarinet, Piano, and cartoons and animated films.” died during the final stages of writing Percussion, Clarinet Technique, and his wife Thea King Op. 7a (1944-1959). ARNOLD, MALCOLM and John Warrack prepared the book for U.S.A.: Dorn Publications, 1981. Sonatina for Clarinet and Piano, Op. 29 print. Thurston also wrote three volumes ApIvor orchestrated his Concertante in (1951). Beaconsfield: Alfred Lengnick of Passage Studies. 1959, and it was the first work of his to be & Co. Ltd, 1951.

MARCH 2019 THE CLARINET | 35 Arnold’s Sonatina was among not only the evidence of Thurston’s Pauline Juler premiered Finzi’s Five three that Arnold wrote well-meaning if sometimes cavalier Bagatelles in 1943 and Finzi “half- for distinguished players and friends, attitude to the composer’s text, but promised” to write her a concerto after her including Sonatina for Flute (1948) for also revisits Bax’s original manuscript performance. In September of 1943, the and Sonatina for Oboe markings and phrasing.24 Three Choirs Festival approached Finzi (1951) for Leon Goossens. Paul Jackson to ask if he would compose a new work described these works: BLISS, ARTHUR (1891-1975) for the 1944 festival in Hereford.29 Finzi Quintet for Clarinet and thought this an appropriate time to write All are miniature portraits in (1931). London: Novello & Company, a clarinet concerto for Juler, however, at which Arnold tries to capture 1933. that point she retired from performing. something of the character of the Conflicting information exists regarding dedicatee. The works are written Bliss was familiar with Thurston’s if Finzi’s Concerto was truly written for to show off the capabilities of the playing and was the first prominent Frederick Thurston or Juler, and only instrument, and although they are composer to have a work premiered by dedicated to Thurston upon completion. called little sonatas they are far from Thurston. Bliss wrote his Quintet for Thurston gave the world premiere on easy to play... To a later generation Thurston and dedicated it to composer Bernard van Dieren. Thurston and the September 9, 1949 as part of the Three of players they have served as an Choirs Festival. introduction to Arnold’s music, since Kutcher Quartet privately premiered it they have appeared on the syllabus on December 19, 1932, in the composer’s FISKE, ROGER (1910-1987) of the Associated Board exams.21 home, and publicly premiered it on Sonata for Clarinet and Piano (1941). February 17, 1933, at Wigmore Hall. Colin Davis, Thurston’s pupil, Berkshire, UK: Rosewood Publications, Bradbury quoted the Daily Telegraph: “A premiered the Sonatina, and John Davies 2000 (first edition), 2015 (second masterpiece had its first performance last gave the first broadcast performance. edition). night… The performance was splendid. Conflicting information exists whether the Fiske wrote his Sonata for Thurston, The Kutcher is one of the best quartets work was written for Thurston or Davies; and played piano with Thurston for the at present before the public, and Mr. in a meeting of Davies and Arnold, private premiere. According to Elizabeth Thurston is a master of his instrument.”25 Arnold discussed the work and its content Fiske, Roger’s wife, Thurston visited Fiske before actually writing it.22 BROWNE, PHILIP (?-1961) in Bedford to discuss the work, but never 30 A Truro Maggot (1944). London: Boosey gave a public performance. Two extant BAX, ARNOLD (1883-1953) & Hawkes, 1944. manuscript copies exist: Fiske’s score in Sonata for Clarinet and Piano in D Major the Bodleian Library in Oxford, and (1934). London: Murdoch, Murdoch Browne was living in Truro when Thurston’s copy left to the late Thea King. & Co., 1935. he dedicated this work to Thurston. Spencer Pitfield produced the first edition “The word maggot is used in the sense Thurston and Harriet Cohen based on Fiske’s copy. Nicholas Cox used of a fanciful idea.”26 Thurston can be premiered the Bax Sonata on June 17, both manuscripts to create the second heard performing A Truro Maggot with 1935, at Cowdray Hall as a concert of edition with Rosewood Publications, Myers Foggin in The Clarinet Historical the Contemporary Music Centre. “The which contains markings from both Fiske’s Recordings Volume II. and Thurston’s copies. composer had Thurston’s playing very much in mind when he wrote it, although CRUFT, ADRIAN (1921-1987) FRANK, ALAN (1910-1994) it was actually dedicated to a friend, Hugh Impromptu for Clarinet or Viola and Suite for Two Clarinets (1934). London: 23 Prew...” Piano, Op. 22 (1957). London: Joseph Oxford University Press, 1934; Nicholas Cox discussed the work’s Williams Ltd, Chappell & Co., 1957; Yorkshire: Emerson Edition, 1987. phrase markings and how they have been a London: Joan Press, 1982. fascination to clarinetists: Thurston student Alan Frank, Cruft studied with Thurston27 and originally intended for his Little Suite for At some stage before the Sonata originally wrote Impromptu to play for two clarinets to be played with a student, was engraved, Bax seems to have himself. However, after Thurston’s early but decided to dedicate it to Thurston and deferred to what were probably death, Cruft was compelled to “get the Ralph Clarke.31 Thurston’s ideas about phrasing piece out of my cupboard, revise it slightly Paul Harris wrote that the Suite “was the work, and an examination of and publish it in his memory.”28 somewhat of a landmark work. Aside from differences between the printed Poulenc, composers hadn’t taken up the clarinet part and Bax’s manuscript FINZI, GERALD (1901-1956) clarinet duet as a viable genre. The Suite suggests the need, long overdue, for a Concerto for Clarinet and String Orchestra, changed that, and the number of works new comparative edition of the work, Op. 31 (1949). London: Hawkes & for teaching, amateur and professional use one that takes into consideration Son Ltd (Boosey & Hawkes), 1951. thereafter is of course very significant.”32

36 | THE CLARINET MARCH 2019 Frederick Thurston and Ralph Clarke While initially printed for transposed Upon writing Air and Variations for recorded the suite in The Clarinet, B-flat clarinet, the edition now contains Thurston, Lloyd Webber dedicated it to Historical Recordings Volume I. Frank an A clarinet part.36 him and his pupils at the Royal College married Phyllis Tate, who also dedicated a of Music. work to Thurston. IRELAND, JOHN (1879-1962) Fantasy-Sonata (1943). London: Boosey & LUTYENS, ELISABETH (1906-1983) FRANKEL, BENJAMIN (1906-1973) Hawkes, 1943. Five Little Pieces for Clarinet and Piano, , Op. 28 (1956). London: Op. 14 No. 1 (1945). London: Schott With a high respect for Thurston’s L. & W. Chester, Ltd., 1956. & Co. Ltd., 1966. artistry, Ireland wrote his Fantasy-Sonata Frankel wrote his Quintet for Thea for Thurston and dedicated it to him. It Scant writings and recordings are King and to Thurston’s memory. Thurston soon became one of Ireland’s most famous available for Five Little Pieces. The score played in many of Frankel’s film scores, chamber works. Ireland’s correspondence states: “Commissioned by Cyril Clarke so Frankel was familiar with Thurston’s with Thurston regarding the sonata is for Frederick Thurston.” Andrew Smith 33 playing style. Christopher Palmer writes: documented in extant letters: quoted Lutyens: As us all, he (Cyril Clarke) No one, I imagine, whatever If you find you really like the their level of musical sophistication, was a great admirer of the great work, I shall be happy to dedicate it player Frederick (Jack) Thurston could be left unmoved by the finale to you, as it was your playing which of the Quintet, surely one of the and commissioned me to write led me to write for your instrument. something for him. However, Jack sublimest elegiac utterances in And I have heard some good English music of any period. For died before playing them and they clarinet playing – Mühlfeld in my were “discovered” some years later Thurston to have inspired this piece early days made a sensation here, after his death is as great a tribute amongst his effects by his widow and in his time Charlie Draper was 40 to his artistry as any of the music he Thea King. remarkable. So I am in a position to caused to be created in his lifetime.34 appreciate your playing and what it MACONCHY, ELIZABETH (1907-1994) 37 HAMILTON, IAIN (1922-2000) means to music. Concertino No. 1 for Clarinet and String Three Nocturnes for Clarinet and Piano, Thurston and Kendall Taylor publicly Orchestra (1945). London: Chester Op. 6 (1950). London: Scott Music premiered the Fantasy-Sonata as part of Music, 1945. Ltd., 1951. the Boosey and Hawkes contemporary Many of Maconchy’s works were One of Hamilton’s first compositions music series at Wigmore Hall in 1944. inspired by her close associations with 41 was the Three Nocturnes, which was virtuosic performers. She dedicated her JACOB, GORDON (1895-1984) awarded the Edwin Evans Prize in 1951. Concertino to Thurston who premiered Quintet for Clarinet and Strings Hamilton dedicated the work to Thurston (1938). it at the Festival of Contemporary Music who gave the premiere in 1951 with London: Novello & Co. Ltd., 1940. in Copenhagen in 1947. The Concertino Angus Morrison. However, conflicting Thea King wrote: “Gordon Jacob was was never published, and Maconchy 42 information exists in support of this work a fellow professor who loved to chat with withdrew it. Letters between Thurston being written for John Davies, a close Jack of a college lunch, always keen to and Maconchy described technical ideas 43 friend of Hamilton.35 extend his knowledge of instruments as he regarding the solo part. was the chief wind examiner.”38 HOWELLS, HERBERT (1892- 1983) RAWSTHORNE, ALAN (1905- 1971) Jacob wrote his Quintet for Thurston Concerto for Clarinet and Strings (1936). (1946). London: Boosey and the Griller Quartet in 1938, who London: Oxford University Press, & Hawkes, 1954. premiered it at Wigmore Hall in London 1972. Piano reduction by Gerard Howells’ last chamber work was his during World War II. Jacob stated that Schurmann. Sonata, written for Thurston. Thurston when composing for specific performers premiered it with pianist Eric Harrison, “who are first-rate executants, I don’t think Paul Harris described how “Thurston in a BBC broadcast on January 27, 1947. about their particular style of performance, particularly enjoyed the work and 44 Boosey & Hawkes was Howells’ publisher but just what will fit the instrument in the performed it many times.” A revised and was also mass-producing B-flat hands of competent players who can get and extended ending to the work exists in clarinets, determined to discontinue the ’round almost anything!”39 manuscript form at the Royal Northern A clarinet. This work was written for A College of Music. Thea King’s recording of clarinet, creating an obstacle for Boosey LLOYD WEBBER, WILLIAM the work reconstructs this more virtuosic & Hawkes. Despite Thurston’s promotion (1914-1982) ending based on a private recording by of the Sonata, it was not published until Air and Variations for Clarinet and Piano Frederick Thurston under Rawsthorne as a 1956, dedicated to Thurston’s memory. (1952). London: Stainer & Bell, 1952. conductor.45

MARCH 2019 THE CLARINET | 37 RAWSTHORNE, ALAN (1905-1971) 6 Kenton, 10. Performance Practice.” (Ph.D. diss., University of Quartet for Clarinet, , Viola, 7 Weston, Clarinet Virtuosi of the Past, 272. Sheffield, 2000), 107. 8 Andrew Smith, “Portraits. 4: Frederick 31 Smith, 20. (1948). London: Oxford University Thurston,” Clarinet and Saxophone 12, No. 1 32 Paul Harris, “Three for Two,” June 27, 2007, Press, 1950. (March 1987): 19. accessed March 31, 2018. www.paulharris Alan Rawsthorne wrote his Clarinet 9 Pamela Weston, “A Clarinet Dynasty,” 14. teaching.co.uk/blog/2016/7/7/three-for-two. 10 Bradbury, 19. 33 Smith, 20. Quartet for Thurston, who gave the first 11 “Thurston – the musician,” in Frederick Thurston 34 Christopher Palmer liner notes in Clarinet performance with Harry Blech (violin), 1901 – 1953: A Centenary Celebration, ed. Colin Quintets. Hyperion, 2003. Keith Cummings (viola), and Douglas Bradbury, Gervase de Peyer, Adrian Greenham, 35 Paul Harris, email message, October 25, 2018. Cameron (cello) in London in November , Thea King (London: Clarinet 36 Smith, 20. 1948.46 and Saxophone Society of Great Britain, 2001), 37 Bradbury, 21. 6. Frederick Thurston and the Griller Quartet, 38 Thea King, liner notes in King, Thea and The TATE, PHYLLIS (1911-1987) Brahms Clarinet Quintet, Clarinet Sonata No. 2, , Frederick Thurston 1901-1953: Bliss Clarinet Quintet. Testament, SBT 1366, Centenary Tribute, Clarinet Classics, CC0037, Sonata for Clarinet and Cello (1947). remastered 2005. CD. 2001, 23. London: Oxford University Press, 12 Bradbury, 21. 39 Smith, 20. 1949. 13 Morris, 25. 40 Smith, 20. 14 Weston, A Clarinet Dynasty, 15. 41 Hugo Cole and Jennifer Doctor, “Maconchy, Tate wrote the Sonata for Thurston 15 Bradbury, 18. Dame Elizabeth,” Grove Music Online, accessed and British cellist . With 16 Thea King, “Frederick Thurston – The Man,” March 31, 2018, https://doi.org/10.1093/ the Beethoven and Brahms trios in mind, in Frederick Thurston 1901 – 1953: A Centenary gmo/9781561592630.article.17374 Tate originally conceived the work with Celebration, ed. Colin Bradbury, Gervase de 42 Smith, 20. 43 Christopher Palmer, liner notes in Clarinet piano; however, her ideas best fit the Peyer, Adrian Greenham, Gareth Morris, Thea King (London: Clarinet and Saxophone Society Concertos, Thea King with the English Chamber instrumentation of a duo. “The Sonata of Great Britain, 2001), 37. Orchestra, Hyperion, CDH55060, 1992. CD. was not so much written with Thurston’s 17 Wright. 44 Paul Harris, “Alan Rawsthorne: A Most playing in mind as dedicated to him 18 Bradbury, 21. Distinctive Voice,” The Clarinet 45, no. 4 19 Chris Morrison, “Malcolm Arnold: Clarinet (September 2018): 16. ‘because he was then completely in a 45 For further information regarding revised ending class of his own – and a close personal Concerto No. 1, for Clarinet & Strings, Op. 20,” All Music, accessed February 11, 2018. please see: Linda Merrick, liner notes in “Alan 47 friend.’” The Sonata brought Tate to https://www.allmusic.com/composition/ Rawsthorne: A Portrait,” Linda Merrick and public attention after its performance at clarinet-concerto-no-1-for-clarinet-strings-op- the Manchester Sinfonia, Prima Facie Records, a London Contemporary Music Centre 20-mc0002357300. PFCD053, 2017 CD; John McCabe, “Alan 20 Christopher Palmer, liner notes in Clarinet Rawsthorne: Portrait of a Composer” (New York: concert, and it became one of her best- Oxford University Press, 1999), 39; Andrew known and most frequently performed Concertos, Thea King with the English Chamber Orchestra, Hyperion, CDH55060, 1992. CD. Mayes, “Alan Rawsthorne’s Concerto for Clarinet clarinet works. Tate was married to 21 Paul R.W. Jackson, The Life and Music of Sir and String Orchestra,” Prima Facie Blog, http:// Thurston student Alan Frank.v Malcolm Arnold: The Brilliant and the Dark primafacie.ascrecords.com/blog/2018/ 03/21/ (Aldershot, England: Ashgate Publishing, 2003), alan-rawsthornes-concerto-for-clarinet-and- ENDNOTES 31. string-orchestra/ 1 Colin Bradbury, “Frederick Thurston: The 22 Paul Harris, email message, October 25, 2018. 46 Smith, 20; and Paul Conway, liner notes in King, Thea and the Aeolian Quartet, Chamber Music, Musician Who Guided a Generation,” Clarinet 23 Smith, 20. Lyrita, SRCD256, 2008. & Saxophone 26, No. 2 (Summer 2001): 19. 24 Nicholas Cox, liner notes in Nicholas Cox and 47 Smith, 20. 2 In Pamela Weston’s, Clarinet Virtuosi of the Past Ian Buckle (piano). The Thurston Connection, (London, England: Robert Hale, 1971), 272, English Music for Clarinet and Piano. August 31 Weston wrote that Stanford was so impressed and September 1, 2011. The Friary, Liverpool, ABOUT THE WRITER with Thurston’s performance that he re-dedicated England. Naxos, 8.571357. CD. the work to him (having originally dedicated 25 Bradbury, 18. Aileen Razey most it to Mühlfeld). In Pamela Weston’s Yesterday’s 26 Michael Bryant, liner notes in The Clarinet, recently taught as a Clarinetists: A Sequel (Great Britain: Panda Historical Recordings Volume II. Clarinet Classics, sabbatical replacement Group, 2002), 170, Weston stated that the re- CC0010, 1994. at Ithaca College dedication to Thurston was incorrect. 27 David CF Wright, “Adrian Cruft,” accessed April 3 Pamela Weston, Yesterday’s Clarinetists: A Sequel 11, 2018, https://www.wrightmusic.net/pdfs/ (Fall 2018). She (Great Britain: Panda Group, 2002), 170. adrian-cruft.pdf. has performed at 4 Nicholas Kenyon, The BBC Symphony Orchestra: 28 Smith, 20. the Lucerne Festival The First Fifty Years, 1930-1980 (London: British 29 This exact date differs between sources. Diana Academy, Aspen Music Broadcasting Corporation, 1981), 2, and Colin McVeagh states: “at the 1948 Three Choirs Bradbury, “Frederick Thurston: 1901-1953,” Festival Gerald was informally asked to produce Festival and School, Clarinet & Saxophone 26, No. 2 (Summer 2001), a new work for the following year.” Diana and the International 17. McVeagh, Gerald Finzi: His Life and Music, Ensemble Modern Academy. She received 5 Nicholas Kenyon, “Appendix A: Personalia,” (2005; repr., Woodbridge, Suffolk: Boydell Press, her D.M.A. from the University of North in The BBC Symphony Orchestra: The First Fifty 2006), 178. Years, 1930-1980 (London: British Broadcasting 30 Spencer Simpson Pitfield, “British Music for Texas, M.M. from the University of Denver, Corporation, 1981), 446. Clarinet and Piano 1980-1945: Repertory and and B.M. from Ithaca College.

38 | THE CLARINET MARCH 2019 Life Without Limits

Our goal is simple; to make the greatest clarinet and saxophone mouthpieces from the finest material possible for classical musicians. The all new range of Chedeville mouthpieces will be available in January 2019. We invite you to become a part of a bright new chapter in the storied history of this famous company.

www.chedeville.com Ivory Clarinets ca. 1740 to ca. 1880 by Albert R. Rice

he purpose of this article is to list and Georg Heinrich Scherer (1703-1778) describe 20 ivory clarinets constructed from was the son of Johann Scherer (1664-1722), ca. 1740 to ca. 1880, and to provide a brief a turner, maker and artistic carver active in biography of each maker or manufacturer. Butzbach, Germany, from ca. 1691 to 1722. TIvory has been used in jewelry, decorative objects, and Only one boxwood two-key clarinet by Johann bowed or plucked stringed instruments for centuries. Scherer (ca. 1720, in the Carbonara Collection The earliest ivory clarinets were made in Germany near Milan) is extant. Although both Scherers ca. 1740. Examples include 18th and 19th century made recorders, flutes, oboes, clarinets and clarinets: six from Germany, four from Belgium, bassoons, Georg Scherer’s workshop produced three from France, two from Switzerland, two from primarily ivory instruments – recorders, flutes England, two from the United States, and one from and oboes – and was well-known for the high Austria. These instruments are in museums except for quality of his ivory flutes. three in private collections. There are relatively few 2 Georg Heinrich Scherer, Butzbach, in D, ca. 1750 extant examples and each is carefully and beautifully (London, , constructed. Three clarinets in the Leipzig Museum 101, Fig. 2). Two ring-mounted silver keys were lost during World War II, but two clear glass with square heads. Four sections: mouthpiece (grenadilla replacement), upper joint, lower negative images of two clarinets survive, reproduced joint, bell. Maker’s mark on the lower joint: here (Figs. 3 and 10). Other examples are likely in “SCHERER / (lion rampant)”. private and public collections and the author would 3 Jeremias Schlegel, Basel, in B-flat, ca. 1780 be grateful to hear of them at [email protected]. (Copenhagen, National Museum of Denmark, All these ivory clarinets are more than 100 1041). Five ring-mounted silver keys with square years old and thus are legally antiques, and can be heads. Six sections: mouthpiece (dark wood), sold without restriction in the United States with long barrel, upper joint, lower joint, stock, bell. documentation of their age. They were expensive (A few five-key 18th-century clarinets were made to produce, usually have silver- or gold-plated keys with a stock section for mounting three keys, rather than common brass keys, and are attractive. although this construction is more commonly Number 13 (Fig. 8) by Charles Sax was made for a found in 19th century clarinets.) Maker’s mark: royal patron; another ivory clarinet by Sax that is not “SCHLEGEL / A BALE”. extant was made for the Brussels 1830 Exhibition. Jeremias Schlegel (1730-1792) was active as a woodwind maker in Basel from 1752 to 1792. CHRONOLOGICAL LISTING OF In a 1759 newspaper announcement, he stated IVORY CLARINETS that he made all types of woodwinds including 1 Georg Heinrich Scherer, Butzbach, in D, chalumeaux and clarinets, and sold clarinets in ca. 1740 (Paris, Musée de la Musique, E.697, 1772 to the Court Orchestra and in Fig. 1). Two ring-mounted silver keys with 1773 to the Wallerstein Court Orchestra. square heads. Four sections: mouthpiece, upper 4 Jeremias Schlegel, Basel, in C, ca. 1780 joint, lower joint, bell. (Two-key clarinets were (Markneukirchen, Musikinstrumenten- constructed in four parts with a mouthpiece, Museum, Nr. 1040). Five block-mounted upper and lower joints with three finger holes silver keys with square heads. Six sections: each, and a long bell with one hole for the little mouthpiece (ivory 20th-century replacement), finger on the upper part.) Maker’s mark long barrel, upper joint, lower joint, stock, bell. on upper joint, bell: “1 / SCHERER / Maker’s mark on the barrel and stock joint: (lion rampant)”. “SCHLEGEL / A BALE / C”.

40 | THE CLARINET MARCH 2019 Photo by Albert R. Rice

Fig. 1. D clarinet. Fig. 2. D clarinet. Fig. 3. A clarinet. Fig. 4. C clarinet. Fig. 5. C clarinet. Fig. 6. B-flat clarinet. Georg Heinrich Georg Heinrich Isaac Keller, Anonymous, of Anonymous, of Anonymous, of Scherer, Butzbach, Scherer, Butzbach, Strasbourg, ca. 1800. English origin, ca. English origin, ca. German origin, ca. ca. 1740. Courtesy ca. 1750. Courtesy Courtesy of Dr. Birgit 1825. Courtesy of the 1825. Courtesy of 1830. Courtesy of of Musée de la of the Royal College Heise, curator of the Library of Congress, the Bate Collection, Boston Symphony Musique, E. 697. of Music Museum, Grassi Museum für Miller Collection, 443. University of Oxford, Orchestra, Casadesus No. 101. Musikinstrumente. 446. Collection, 89, and Darcy Kuronen.

5 Isaac Keller, Strasbourg, in A, ca. classical clarinets, some of which (ivory), barrel, upper joint, lower joint, 1800 (Leipzig, Grassi Museum für show additional keys added on pillars. stock, bell. The ivory mouthpiece Musikinstrumente, 1478, Fig. 3, glass 6 Anonymous, in B-flat, of German table was extended for a longer reed, negative). Five ring-mounted silver origin, ca. 1820 (The Hague, and the outside of the mouthpiece has keys with square heads. Five sections: Gemeentemuseum, Ea 297-1933). grooves for a cord ligature. mouthpiece (ivory), long barrel, upper Five ring-mounted silver keys with 8 Deloose, Ghent, in C, ca. 1825 joint, lower joint, long bell; with B-flat square heads, incised decorative black (Zurich, Bellerive Museum, KGS- corps de rechange of upper and lower lines on ferrules and bell. Six sections: 1963-0060_130). Five ring- and mouthpiece (ivory), long barrel, block-mounted brass keys with round joints. (Eighteenth century five-key upper joint, lower joint, stock, bell. heads. Six sections: mouthpiece clarinets were often made with a long 7 Anonymous, in C, of English (ivory), long barrel, upper joint, lower bell for mounting the three keys.) origin, ca. 1825 (Washington, joint, stock, bell. Maker’s mark faintly Maker’s mark: “(angel trumpeter) / D.C., Library of Congress, Miller visible on the bell: “DELOOSE”.1 KELLER / STRASBOURG / A”. Lost Collection, 443, Fig. 4). Five block- Deloose was a woodwind maker during World War II. mounted silver keys with oval-shaped active in Ghent, Belgium, during the Isaac Keller (1740-1802) heads. Ivory body with an integral first quarter of the 19th century. was a maker and turner active in thumbrest; engraved with floral 9 Anonymous, in C, of English Strasbourg, France, from ca. 1785 motives on the touches, levers and key origin, ca. 1825 (Oxford, Bate to ca. 1791 and 1794-1802. His heads with gold ovals and floral swirls Collection, University of Oxford, workshop produced several five-key in the center. Six sections: mouthpiece 446, Fig. 5). Eight ring- and block-

MARCH 2019 THE CLARINET | 41 mounted silver-plated keys with on the end of the bell, two rollers for instruments at exhibitions in square heads. Six sections: mouthpiece each for R4 (A-flat/E-flat and F/C) Philadelphia from 1842 to 1854. (ivory), barrel, upper joint, lower and L4 (F-sharp/C-sharp and E/B) 16 Georg Jacob Berthold, Speyer, joint, stock, bell. The mouthpiece is with leaf engraving on the touches, in B-flat, ca. 1875, owned by the damaged inside the beak. and a gold-plated ligature. Five clarinetist Heinrich Gräff (Leipzig, 10 Anonymous, in B-flat, of German sections: mouthpiece (ivory), barrel, Grassi Museum für Musikinstrumente, origin, ca. 1830 (Boston, Boston upper joint, lower joint, bell. Maker’s 1504, Fig. 10, glass negative). Half Symphony Orchestra, Casadesus marks: barrel, “C. Sax / Facteur du Boehm-system pillar-mounted brass Collection, 89, Fig. 6). Five ring- Roi / à Bruxelles”; upper joint, “C. keys and ferrules, a plate for R3, a and block-mounted silver keys Sax / B”; lower joint: “C. Sax / 1830”; straight lever or hebel on the C-sharp/ with square heads that are curved bell “(coat of arms of the Kingdom of G-sharp key for trilling, two ebonite to the body of the instrument, and The Netherlands in a laurel wreath) / rollers for R4 (A-flat/E-flat and F/C), doubled holes for L3 and R1. Six C. Sax / Facteur du Roi / à Bruxelles”. and a low E-flat key for R4. Five sections: mouthpiece (wooden, a later Charles Joseph Sax (1790-1865), sections: mouthpiece (ebonite), barrel, replacement), very long barrel, upper the father of , established upper joint, lower joint, bell. Maker’s joint, lower joint, stock, bell.2 a woodwind-making shop in 1815 in mark on barrel and bell: “B / GEORG 11 Louis Lefêvre, Paris, in C, ca. Brussels, Belgium. In 1818, Sax was BERTHOLD / SPEYER”. Lost during 1825 (Vermillion, South Dakota, appointed court maker; in 1819 he World War II. the National Music Museum, 5931, was a supplier to the Belgian army; Georg Jacob Berthold (1824- Fig. 7). Ten ring- and block-mounted and in 1822 he began to make brass 1904) apprenticed with Johann gold-plated keys and ferrules. Six instruments. By 1829, Sax employed Simon Stengel in Bayreuth, later sections: mouthpiece (ivory), barrel, 80 individuals, and at the 1835 working in Paris, Munich, and upper joint, lower joint, stock, bell. Brussels Exhibition was described before establishing his own Good-playing instrument, well as the foremost woodwind maker firm in Speyer, active from 1849 to in tune. Maker’s mark on barrel, in Europe. 1894. In 1882, Berthold employed upper joint, lower joint, stock, bell: 14 Charles Sax, Brussels, in B-flat, eight workers, making many types “LEFÊVRE / A PARIS”. ca. 1850.3 Thirteen pillar-mounted of woodwind instruments and a few François Lefèvre (d. 1856) silver keys, ring keys for R2 and R3, brass instruments. Berthold’s two established a woodwind workshop two rollers each for R4 (A-flat/E- flat sons continued from 1883 to 1937 as in Paris in 1812. He was formerly and F/C) and L4 (F-sharp/C-sharp Berthold & Söhne. a clarinetist in royal service and and E/B), with floral engraved 17 Georg Jacob Berthold, Speyer, in specialized in making clarinets. He pillar-mounted key heads, and floral A, ca. 1875, owned by the clarinetist was one of the first French makers ornamentation on bell rim. Four Heinrich Gräff (Leipzig, Grassi to construct a 13-key Müller-system sections: mouthpiece (missing), upper Museum für Musikinstrumente, clarinet, without thumb keys. His joint (cracked), lower joint, bell. 1505). Half Boehm-system pillar- earliest 13-key clarinets are stamped Maker’s mark: lower joint: “(star) / mounted silver keys and ferrules, a from 1824 to 1829. SAX / A BRUXELLES / (star)”. plate for L3, a straight lever or hebel 12 Augustin Rorarius, Vienna, in C, 15 John Pfaff, Philadelphia, in on the C-sharp/G-sharp key, two ca. 1830 (Berlin, Staatliches Institut B-flat, ca. 1865 (Newton Center, ebonite rollers for R4 (A-flat/E-flat für Musikforschung, 577). Twelve Massachusetts, Sigal Collection, and F/C), and a low E-flat key for R4. silver keys. Maker’s mark: “(crown) / 2002.32, Fig. 9). Fourteen pillar- Five sections: mouthpiece (ebonite), RORARIUS / WIEN / (star)”. mounted silver keys and ferrules, two barrel, upper joint, lower joint, bell. Augustin Rorarius (1788-1848) rings for R2 and R3, and a register Maker’s mark on left and right hand was a woodwind maker initially active key positioned at front covering a sections and bell: “B / GEORG in Heiligeniech, Austria and in 1813 protrusion or chimney. Four sections: BERTHOLD / SPEYER”. Lost during moved to Vienna. In 1817 he was mouthpiece (with silver tip and lay World War II.4 Gräff in an 1881 granted the right to train apprentices, and grooves for a cord ligature), upper article “Clarinet Construction with a and was awarded citizen’s and master’s joint, lower joint, bell. Maker’s mark Consideration of Different Systems” rights in 1820. His active shop made on upper joint: “J PFAFF / PHILA”. in the Zeitschrift für Instrumentenbau all types of woodwinds. John Pfaff (1816-1887) (Vol. 2, 1881-82, 132) mentions that 13 Charles Sax, Brussels, in B-flat, emigrated from Germany to the he plays the Berthold ivory clarinets dated 1830 on bell (New York, United States in ca. 1831, and with an ebonite mouthpiece, but the Metropolitan Museum of Art, was active as a woodwind maker price of the clarinets is so high that few 53.223, Fig. 8). It has 13 pillar- in Baltimore from 1842 to 1843, can afford to buy them. mounted gold-plated keys and moving to Philadelphia in 1843. He 18 Gautrot-Marquet, Paris, in B-flat, ferrules, lion heads engraved on the is primarily known for flutes and ca. 1875 (Bochum, Städisches key heads, ornamentation engraved clarinets, and was awarded prizes Musikinstrumenten Sammlung,

42 | THE CLARINET MARCH 2019 Photo by Marlowe Sigal Photo by Gunther Joppig Photo by William Maynard William by Photo

Fig. 7. C clarinet. Fig. 8. B-flat clarinet. Fig. 9. B-flat Fig. 10. B-flat Fig. 11. E-flat clarinet. Fig. 12. B-flat clarinet. Louis Lefèvre, Paris, Charles Sax, Brussels, clarinet. John Pfaff, clarinet. Georg Jacob Theodore Berteling, J. B. Noel, Namur, ca. 1825. Courtesy of 1830. Courtesy of Philadelphia, ca. Berthold, Speyer, New York, ca. Belgium, ca. 1880. the National Music the Metropolitan 1865. Courtesy of ca. 1875. Courtesy 1880. Courtesy of Courtesy of Gunther Museum, Vermillion, Museum of Art, New the Sigal Collection, of Dr. Birgit Heise, the Metropolitan Joppig. South Dakota. York, 53.223. 2002.32. curator of the Museum of Art, Grassi Museum für 1982.18. Musikinstrumente.

Schloss Kemnade, 19). Boehm-system and later added all types of woodwind R3, register keys positioned at front, pillar-mounted 17 brass keys and instruments. Gautrot established alternate A-flat/E-flat (L4), two nickel seven rings. Ivory body constructed commercial links abroad through silver rollers for R4 (A-flat/E-flat and over a brass tube. Five sections: annual visits to various European F/C) and L4 (F-sharp/C-sharp and mouthpiece (ivory), long barrel, capitals, modernized working E/B). Five sections: ebony mouthpiece upper joint, lower joint, bell. It practices by introducing the division with nickel silver tip, barrel, upper reflects two French patents by Pierre of labor, and discarded many joint, lower joint, bell. Maker’s mark Louis Gautrot, aîné, concerning handcraft techniques previously used. on an oval-shaped silver plaque, upper clarinets and flutes in metal (1856, In 1846, Gautrot claimed to have the joint: “BERTELING / NEW YORK”. No. 29431) and clarinets in metal most important factory of its kind Theodore Berteling (1821/22- (1857, 30562). Maker’s mark on bell: in Europe, with a workforce of over 1890) emigrated from Germany to “G (anchor) A (in an oval) / Gautrot 200. In 1875, the firm registered the Boston in 1848, where he worked Marquet (cursive) / BREVETÉ S. G. trade name of Gautrot-Marquet as for E. G. Wright, Graves & Co., and D. G. / à Paris (cursive)”; left hand designating models of superior quality. J. L. Allen. In 1855, he established a joint: “G (anchor) A (in an oval)”. 19 Theodore Berteling, New York, woodwind-making firm and in 1859 Pierre Louis Gautrot (1812- in E-flat, ca. 1880 (New York, moved to New York, expanding the 1882) worked for the Guichard the Metropolitan Museum of Art, type of woodwinds that he offered. firm in Paris, and succeeded him, 1982.18, Fig. 11). Fifteen pillar- He is the only clarinet maker to offer, establishing his own factory in 1845. mounted nickel silver keys and initially in 1884 catalog drawings, He specialized in brass instruments ferrules, four rings for L1, L2, R2, and a German-system, 15-key, five-ring

MARCH 2019 THE CLARINET | 43 clarinet, with low E-flat and D keys, of the Instruments, Oxford: The Musikinstrumente: Kunstgewerbemuseum as his most expensive model at $140 Bate Collection Faculty of Music, Zürich: Juni-Festwochen 1962: or $150 in ebonite. University of Oxford, 1976. 6. Mai bis 1. Juli 1962, Zürich: 20 J. B. Noel, Namur, Belgium, ca. Carl Claudius’ samling af gamle Kunstgewerbemuseum, 1962. 1880 (Fig. 12). Seen by Gunther musikinstrumenter, København, Levin Rice, Albert R. Four Centuries of Musical Joppig at Tony Bingham’s London & Munksgaard, 1931. Instruments: the Marlowe A. Sigal shop. Boehm-system, 17 pillar- Gilliam, Laura E. and William E. Collection, Atglen, Pennsylvania: mounted nickel-silver keys on posts, Lichtenwanger, The Dayton C. Miller Schiffer Publications, 2015. and six rings. Four sections: ivory Flute Collection: A Checklist of the Ridley, E. A. K. European Wind mouthpiece, upper joint, lower joint, Instruments, Washington: Library of Instruments, The Royal College of Music bell. Noel was a clarinet maker in Congress, 1961. Museum of Instruments Catalogue Part I Namur from ca. 1850. Koeppe, Douglas. Woodwinds in Early , London: The Royal College of America, Wimberley, Texas: Brother Music, 1982. SELECTED BIBLIOGRAPHY Francis Publications, 2015. Rousselet, William and Denis Watel. Le Beethoven and Berlioz, Paris & Vienna: Moore, J. Kenneth. Musical Instruments: Livre d’Or de la Clarinette Française, Index des facteurs et des marques Musical Treasures from the Age of Highlights of The Metropolitan Museum . 2nd ed., rev., Paris: Association des Revolution & Romance 1789-1848, of Art, New York: The Metropolitan Collectionneurs d’Instruments de Vermillion, South Dakota: National Museum of New York, 2015. Musique à Vent, 2013. Music Museum, The University of Musée de la musique: Cité de la musique, Sachs, Curt. Sammlung alter South Dakota, 2003. Paris: Cité de la musique, 2009. Musikinstrumente bei der Staatlichen “BSO Collection Reinstalled,” Newsletter Musikinstrumentensammlung Hans und Hochschule für Musik zu Berlin, of the American Hede Grumbt. 2. Klarinetten und Beschreibender Katalog, Berlin: Julius Society 20, No. 1 (February 1991), Saxophone, eds. C. Ahrens and Bard, 1922. 1, 6. G. Klinke, Bochum: Ruhr-Univ. Waterhouse, William. The New Langwill [Baines, Anthony], The Bate Collection of Bochum, Musikwissenschaftl. Inst., Index of Musical Wind-Instrument Historical Wind Instruments: Catalogue 1997. Makers. London: Tony Bingham, 1992. Wit, Paul de. Katalog des Musikhistorischen Museums von Paul de Wit, Leipzig. Leipzig: Paul de Wit, 1903. v ENDNOTES 1 The author thanks Alessia Contin, Registrar of Collections, Bellerive Museum, for sending photos. 2 The author thanks Darcy Kuronen for photographs and information. 3 Sold on www.leboncoin.fr on March 6, 2018, according to Denis Watel. 4 The author thanks Dr. Birgit Heise, curator, Leipzig Museum, for information on the Keller and Berthold clarinets, and permission to reproduce the glass negative photos.

ABOUT THE WRITER MAKE YOUR Albert R. Rice is a clarinetist active in PASSION band, orchestra and chamber music in the YOUR Los Angeles area. He PROFESSION. is also a professional appraiser of musical instruments. Rice’s latest book is Notes Seeking experienced professionals for careers in Army for Clarinetists: A Guide to the Repertoire, Music. Competitive salary plus medical, dental, 30 days paid vacation, and other military benefits. Select published in 2017 as part of the Oxford instruments may be eligible for $65,000 Student Loan University Press “Notes for Performers” series. Repayment or enlistment bonus.

44 | THE CLARINET MARCH 2019 For more info submit a request at: goarmy.com/band MAKE YOUR PASSION YOUR PROFESSION.

Seeking experienced professionals for careers in Army Music. Competitive salary plus medical, dental, 30 days paid vacation, and other military benefits. Select instruments may be eligible for $65,000 Student Loan Repayment or enlistment bonus.

For more info submit a request at: goarmy.com/band Croatian Clarinet Concertos The Cultivation of Musical Traditions after 1952 by Kristine Dizon

roatia’s musical tradition is a reflection of an examination of Croatia’s history, a discussion of its turbulent cultural and political history. these three concertos will illustrate the connection These factors influenced how composers between Croatia’s cultural and musical history and Cthought about and wrote music, and how musical traditions were cultivated and realized can explain why the first clarinet concerto was not from the former Yugoslavia. composed until the middle of the 20th century. A majority of the information discussed in this There are few clarinet concertos in existence article is derived from interviews with the following composed by Croatian composers, all written after clarinetists: Giovanni Cavallin, Radovan Cavallin, 1952, and there are no existing scholarly materials Davorin Brozic, Milko Pravdić, Abdul-Aziz Hussein and few existing recordings pertaining to Croatian and Andrija Blagojevic. This article is dedicated to the clarinet concertos. recent passing of Giovanni Cavallin, for if it was not The works chosen for this study are Bruno for him this research would not have been possible. Bjelinski’s Koncert za klarinet i gudacki orkestar (Clarinet Concerto with String Orchestra) of 1952, CROATIA’S HISTORICAL NARRATIVE Emil Cossetto’s Koncert za clarinet (Concerto for Croatia’s political and cultural history played an Clarinet) of 1972 and Stjepan Šulek’s Koncert za important role in its musical development. Its klarinet i komorni orkestar (Concerto for Clarinet history spans over several centuries: Kingdom of and Chamber Orchestra), written in 1967. These Croatia (925-1102), Hungarian Union (1102- composers and works were assessed according 1527), Habsburg Monarchy (1527-1918), Kingdom to the quality of compositional writing for the of Yugoslavia (1918-1941), Independent State of instrument, how often the works were performed, Croatia (1941-1945), Socialist Yugoslavia (1945- and their historical significance in Croatia. After 1991), War of Independence (1991-1995) and

Bruno Bjelinski Stjepan Šulek Emil Cossetto

46 | THE CLARINET MARCH 2019 century, the period in which a national orientation in Croatian art music was dominant, most of the composers worked, some more than others, on the base of material.”4 Folk music was considered a popular musical genre in Croatia, and composers often incorporated it into their own works, playing an important role in shaping Croatia’s musical identity. The Independent State of Croatia and World War II hindered Croatia’s musical development. It was only after Croatia recovered from World War II and formed an alliance with the former Yugoslavia that they were able to invest in the country’s culture, which explains why a prominent tradition of did not emerge until the middle of the 20th century. Croatia’s first music school Giovanni Cavallin (Tonschule des Agramer Musikvereins) can Davorin Brozic be traced back to 1829 during the Austrian Empire. In 1921, it was later renamed the Kraljevska Muzička Akademija after Independent Croatia (1995-present). THE CROATIAN CLARINET the Austrian Empire dissolved and the Croatia’s history is unique because besides CONCERTO Kingdom of Yugoslavia was established. the country’s independence from 1941 to It was not until 1923 that the teachers Politics and war played a role in the delayed 1945 and again from 1995 to the present, development of the clarinet concerto in it has been a part of Hungary, Venice in the music schools were recognized as professors. After World War II, music Croatia. Even though Bjelinski and Šulek and the former Yugoslavia. According to wrote their clarinet concertos after World Miroslav Mavra and Lori McNeil, “The schools were divided into primary and secondary levels, which are referred to as War II, Croatia still needed to recover – of which Croatia is a significant from the physical and economical damage constituent – having been a part of the Vatroslav Lisinski, and the schools officially recognized at the university level were later caused by the war, and financial resources Greek, Roman, Byzantine, Ottoman and were limited for musicians to perform Habsburg empires, has been devastated, renamed the Muzicka Akademija and record these works. The recovery rebuilt and continuously influenced by (Zagreb Music Academy). period after World War II and the War the confluence of divergent imperial forces Even though the development of of Independence (which ended in 1995) and opposing tenets.”1 Throughout this Croatian music schools showed growth, could have played a role in why these period of history, Croatia struggled to music education was poor. Giovanni form a national identity separate from Cavallin – renowned Croatian clarinet compositions were overlooked, forgotten, these influences. pedagogue and the first clarinet student and performed not in Croatia but in other Croatia’s musical culture began to at the Muzicka Akademija Zagreb countries instead. In an interview, Davorin take shape in the 19th century with the after World War II – stated that it was Brozic, principal clarinetist of the Croatian nationalism that arose during the Illyrian difficult to cultivate a musical tradition National Opera, stated: Movement from 1830 to 1850. This because there were no qualified teachers, Šulek’s concerti were written and movement promoted cultural awareness musicians, or students aspiring to become first performed in Belgrade, Serbia. and encouraged the development of the classical musicians in Croatia. The existing For Šulek, for about 35 years, you musical traditions at the time included independent state of Croatia. Gorana know … they had this Serbian military band and popular gypsy music. Doliner considered this to be a “new recording. No one really took care 2 In addition, Cavallin mentioned that after national orientation created in music.” [to record these works]. Even with World War II, the country was politically According to Mavra and McNeil, “Music, Bjelinski and Cossetto. So, from media, literature and education were unstable and it took a great deal of time to 1967 [when Šulek’s concerto was used and manipulated to result in ethnic rebuild the damage caused from the war. written] you don’t receive the first socialization – the development of actions, He stated that “in general, instrumental printed edition until 2007. attitudes, values and perceptions of concerto repertoire in Croatia was sparse different ethnic groups.”3 According to because of lack of resources and the The recovery period after these two Doliner, “During the first half of the 20th aftermath of the Second World War.”5 wars played a significant role in Croatia’s

MARCH 2019 THE CLARINET | 47 Ernest Ačkun Milenko Stefanovic Josip Nochta

musical development, which can explain felt that my music was akin to his why these compositions may have been Bruno Bjelinski (1919-1992) was born without my having known him.6 performed and premiered in Serbia. in , Italy. When he was an infant, Bjelinski’s compositions are also Currently, there are few recordings of his mother died, and he was left with his influenced by his experiences in Europe, Croatian clarinet concertos. It was not grandmother. As a child, Bjelinski studied the Mediterranean and Brazil. His music until 1974, nearly 22 years after it was piano with Alfons Gutschy. While he was follows neoclassical traditions, which are composed, that Josip Nochta made a pursuing his doctorate in law, Bjelinski evidenced in the architecture and harmonic recording of Bjelinski’s clarinet concerto also studied composition at the Muzicka language he uses in his compositions. with Tonko Ninic conducting the Akademija Zagreb with Bruno Bjelinski’s Koncert za klarinet i Komorni Studio Zagrebacke Filharmonie and . He was influenced by gudacki orkestar is Croatia’s first clarinet “Arti Musices.” The second performance European music at the beginning of the concerto. He began composing this was done by Zeljko Milic as part of his 20th century, particularly in the structural work while he was in Teresopolis, Brazil, Briljantne Varijacije recording with the elements of his compositions. During in 1952. This work is written in four Split Chamber Orchestra with Pavle World War II, Bjelinski was placed in movements: Allegro vivace, Allegretto Despalj conducting – nearly 30 years an internment camp. In 1943, he joined grazioso, Andante and Allegro molto. In an after Nochta’s recording. A possible the Partisans on the Croatian island of interview, Radovan Cavallin stated that the explanation for this long gap is due to Korčula until the war ended. After the Allegro molto was composed on the boat, the War for Independence in Croatia war, Bjelinski returned to Croatia to work while Bjelinski was traveling to Brazil. at the Muzicka Akademija Zagreb. from 1991 to 1995. The only recordings STJEPAN ŠULEK of Šulek’s clarinet concerto that exist are Bjelinski’s early works share similarities Stjepan Šulek (1914-1986) was a composer, radio performances by Davorin Brozic with those of . Bjelinski stated, conductor, violinist and music teacher with Mladen Tarbuk and the Croatian born in Zagreb. He received his early music RTV Orchestra in 2007, Branko It is strange that in many education from the Muzicka Akademija Ovčarić with Pavle Dešpalj and the same elements my early music was like Zagreb, where he studied violin with Vaclav orchestra in 1989, and Ernest Ackun that of Prokofiev, whose scores we Humi and composition with Blagoje Bersa. with Zivojin Zdravkovic and the Belgrade did not have at the time and who He was an active performer as a soloist and Philharmonic in 1984. There was a radio was a long time not known among chamber musician. He performed with recording of Cossetto’s clarinet concerto us. And then, when somewhere in the Zagreb String Quartet from 1936- performed by Milenko Stefanovic with the 1920s in the Balkan Cinema I 38 and the Macek-Šulek-Janigro Trio Krešimir Šipuš and the Croatian Radio heard Prokofiev’s Classical Symphony from 1939-45. As a professor, he taught Symphony Orchestra. for the first time, I was stunned. I violin, composition and orchestration at

48 | THE CLARINET MARCH 2019 the Muzicka Akademija Zagreb. Later “music carries a human element and that In an interview, Brozic stated that Šulek on, Šulek launched a successful career as its deepest meaning is derived from the was influenced by Russian composers, a conductor. He served as the principal sense of calm it creates for the listener, whose style is reflected in his harmonic conductor of the Zagreb Philharmonic awakening an aspiration for beauty, language and how he constructed the and the Zagreb Chamber Orchestra and making one a better and happier person.”7 melodies in this concerto. Normally, was a regular guest conductor in Serbia Šulek’s Koncert za klarinet i komorni concerto works were written in three and Slovenia. According to Brozic, Šulek orkestar was written for Ernest Ačkun, who movements. Despite Šulek composing spent a lot of time in Serbia, which could premiered it on December 20, 1968, with this work in just two movements labeled also be the reason why he had Belgrade the Belgrade Philharmonic and conductor as “I” and “II – Tema con variazoni,” it Philharmonic principal clarinetist Ernest Charles Bruck. The piece was actually follows traditional classical forms. Šulek Ačkun performing his works. Šulek’s deep written in 1967 and was the only work loosely uses classical structures in his two- involvement in Serbia and relationship Šulek composed that year. Ačkun recorded with Ačkun can explain why his clarinet movement clarinet concerto, but expands this work in 1984 with the same orchestra concerto was performed and premiered his harmonic language through his use with conductor Zivojin Zdravkovic. On in Serbia. of chromaticism and extended chords, Šulek was considered one of the most several occasions, Šulek served as a guest similar to the compositional techniques versatile artists in the history of Croatian conductor for the Belgrade Philharmonic. developed in the late Romantic period. music. His compositions first appeared Šulek’s guest appearances with the orchestra EMIL COSSETTO after World War II. Šulek’s catalog and Ačkun’s success as the prizewinner of includes an extensive list of symphonies, the International Munich Competition in Emil Cossetto (1918-2006) was born concertos, sonatas, chamber music, , 1954 inspired Šulek to write and dedicate in Trieste, which was part of Croatia at ballets, , choir works and song the concerto to him. In 2007, Brozic was the time. He was a Croatian composer, cycles. His compositional style is described the first Croatian clarinetist to perform conductor, choirmaster and music teacher. as neoclassical, a synthesized combination this work, with Mladen Tarbuk and the In 1947, he graduated with a conducting of Baroque polyphony and classical and Croatian Radio Symphony Orchestra. He diploma from the Muzicka Akademija romantic forms. Šulek composed with was also responsible for revising the current Zagreb. Cossetto was considered “the the audience in mind. He believed that printed edition. founder of the Joza Vlahovic and the Mose

Keiser Southern Music Presents MOZART CONCERTO in A MAJOR BACH SONATA No. 2 in D MAJOR KV. 622 for Basset and Clarinet in A and Piano for Viola da gamba and keyboard Edited by Charles Neidich Edited for Clarinet in A by Richard Stoltzman THE ONLY EDITION BASED ON MOZART’S CONCERTO FRAGMENT, KV. 621B FIRST PUBLICATION FOR CLARINET OF THIS MASTERPIECE

Charles Neidich is among the world's foremost Bach’s Sonata for Viola da gamba and authorities on Mozart's masterful Concerto in A Harpsichord, BWV 1028, would later be for , KV. 622. This publication incorporated into one of the composer’s greatest presents Neidich's full reconstruction of the masterpieces, the St. Matthew’s Passion. This original basset clarinet part, as well as a carefully new transcription by Richard Stoltzman for revised solo part for the standard clarinet in A, Clarinet in A was inspired by collaborations with based on Mozart’s autograph fragment and two legendary pianists - Keith Jarrett and Yehudi important early editions. This publication has Wyner. This publication’s clarinet part contains been researched extensively, resulting in the Stoltzman’s performance suggestions and world’s most authoritative edition of the concerto. interpretive markings, set off in a light grey as to HL00172779 - $24.95 not alter the original. HL000262903 - $10.95

ALSO AVAILABLE ALSO AVAILABLE CAVALLINI 30 Caprices for Clarinet “the only edition with audio”*...... 42367 BACH Chromatic Fantasia and Fugue for Clarinet and Bass Clarinet Duo* ...... 42681 GERSHWIN Three Preludes for Clarinet and Piano ...... 144422 BRAHMS Intermezzo, Op. 118 No. 2 for Clarinet and Piano*...... 42682 JEANJEAN 18 Etudes for Clarinet*...... 42385 FOSS Elegy for Clarinet and Piano...... 144421 ROSSINI Introduction, Theme and Variations...... 111949 HARTKE Concerto for Clarinet: Landscape with Blues (solo/piano reduction) ...... 127805 WEBER Concertino for Clarinet and Piano ...... 111948 SCHUBERT Sonatines 1 & 2, Op. 137 for Clarinet and Piano...... 42593 *includes audio *includes audio

ORDER TODAY from any retailer or at HALLEONARD.COM Visit our website: KEISERSOUTHERNMUSIC.COM

MARCH 2019 THE CLARINET | 49 Pijade Jewish Choirs in Zagreb and was a use any of the traditional folk instruments, * * * * * leading force in Croatian choral singing.”8 he incorporated folk elements in his clarinet [An earlier version of this article was In addition, he directed the Zagreb Radio concerto. Folk music characteristics used in published by the Clarinet and Saxophone Mixed Choir and the Lado Ensemble this concerto include repetitive melodies, Society of Great Britain in Clarinet & for Folk Dances and Songs. For a short isometric meter changes, the use of the Saxophone, Vol. 43, No.1 (Spring 2018). time, he also conducted the Symphony pentatonic scale and simple harmonies. Orchestra of the former Yugoslav National This version includes several updates and Army in Belgrade.9 CONCLUSION corrections. Ed.] Cossetto was responsible for furthering The repertoire chosen for this study ENDNOTES the development of amateur choir music. illustrates how Croatian composers wrote 1 Miroslav Mavra and Lori McNeill, “Identity For- As a composer, he was more known for for the clarinet in the middle of the 20th mation and Music – A Case Study of Croatian incorporating native folk elements into his century. Bjelinski wrote the first Croatian Experience,” Human Architecture: Journal of the music, in particular, Croatian and Jewish clarinet concerto while he was travelling Sociology of Self-Knowledge: Vol. 5, Issue 2, 2. melodies. He composed many pieces for to Brazil, with each movement following 2 Gorana Donliner, “The Folk Idiom in Croatian th choir, the best known of which are found traditional classical structures. Cossetto also Music of the 20 Century,” Institute for Musico- in the international folk dance community, logical Research, 18 (1987), 56. used traditional classical structures, but also 3 John M. O’Connell and Salwa El-Shawan such as “Ladarke,” “Moja Diri Dika,” incorporated folk melodies into his clarinet Castelo-Branco, Music and Conflict (Champaign- “Posavski Drmes (Kisa Pada),” “Dobri concerto, illustrating how he related to his Urbana, 2010). 6. Denek” and many other works from own musical identity. The prevalence of 4 Doliner, 51. 10 Croatia and the former Yugoslavia. He these traditional forms plays an important 5 Interview with Giovanni Cavallin, 11 January was considered a musician for the people. role in understanding how Croatian 2017. 6 Bruno Bjelinski, Koncert za klarinet i gudacki He believed that folk music and poetry musical identities were constructed and celebrate life and nature, and composed orkestar (Zagreb, Croatia: Croatian Music Infor- how the clarinet concerto developed in the mation Centre, 2009), XI. music that would be understood and middle of the 20th century. 7 Ivan Supicic, “Stjepan Šulek: 1914-1986,” Razred accepted by the audience. For Cossetto, za glabenu umjetnost i muzikologija (Zagreb, his folk-influenced compositions were CROATIAN CLARINET CONCERTOS 1987). representative of humanity in the beauty Bruno Bjelinski – Clarinet Concerto with 8 “Composer Emil Cossetto Dies in Zagreb,” of its melodies and harmonies. Cossetto’s String Orchestra (1952) World Music Central News Department. July 14, compositions were filled with a spectrum 2006, http://worldmusiccentral.org/2006/07/14/ – Concerto for Clarinet composer-emil-cossetto-dies-in-zagreb/ (accessed of emotions that served as a testament to and Orchestra (1960) May 14, 2017). 11 his spirituality. Stjepan Šulek – Concerto for Clarinet and 9 “Ladarke,” California Multicultural Arts Insti- Even though Cossetto was mostly Chamber Orchestra (1967) tute, 2013, www.mendocinofolklorecamp.com/ known as a choir composer, he also wrote Rudolf Brucci – Concerto for Clarinet and ladarke.html (accessed May 14, 2017). for instruments, including his clarinet Strings 10 “Composer Emil Cossetto Dies in Zagreb.” (1970) 11 “Mjesoviti pjevacki zbor: Emil Cossetto,” concerto written in 1970. The concerto Emil Cossetto – Concerto for Clarinet www.mpz-ecossetto.hr/cossetto.htm (accessed is in three movements: “Fanfare – Quasi (1972) May 14, 2017). Scherzo,” “Intermezzo” and “Finale.” It was Miroslav Miletic – Concerto for Clarinet first performed by the Simfonijski orkestar and Orchestra (1978) RT Zagreb (Zagreb Radio Television Emil Cossetto – Concerto for Clarinet ABOUT THE WRITER Symphony Orchestra) with conductor “Rustico” (1989) An international artist Kresimir Sipus with Milenko Stefanovic as Olja Jelaska Na Suncanoj Strani – Concerto and teacher, Kristine the soloist. Even though Cossetto did not for Clarinet and Orchestra (2010) v Dizon has performed in Europe, Asia and South America. Kristine is assistant artistic director of the Gran Canaria International Clarinet Festival and the Cyprus Clarinet Festival, and international artist relations coordinator for the American Single Reed Summit. Currently pursuing a Ph.D, at the Catholic University of Portugal in Lisbon as a recipient of the Fundação para Ciência de Tecnologia Award, Dizon was previously awarded the Fulbright Scholarship. She is a Barkley Brazil Mouthpieces and Silverstein Works Artist.

50 | THE CLARINET MARCH 2019

Mario Castelnuovo-Tedesco and his Contribution to the Clarinet Repertoire

by Eric Schultz

ario Castelnuovo-Tedesco is a name Today, Castelnuovo-Tedesco is mostly perhaps not many are likely to know remembered for his guitar music, although he today. Though he humbly considered was also one of the contributing composers for Mhimself a “ghost-writer,” his output Nathaniel Shilkret’s collaborative project the Genesis was substantial. Castelnuovo-Tedesco (1895–1968) Suite, for narrator, orchestra and chorus. Seven contributed to hundreds of films for MGM and composers who had left Europe for the United other studios including Columbia, Universal, States – , Nathaniel Shilkret, th Warner Brothers, 20 Century Fox and CBS, but Alexandre Tansman, , Ernst Toch, was seldom credited. He fully scored at least 14 Mario Castelnuovo-Tedesco and – films, including And Then There Were None (1945) each wrote one movement. Shilkret was a colleague and The Loves of Carmen (1948). When credited, he at MGM studios, and a talented clarinetist, having often appears listed as a “contributing composer,” played in both the and making it difficult to know what music is actually Metropolitan Opera Orchestra before moving to his in many films. Castelnuovo-Tedesco’s skills were Hollywood to focus on composing. Of course, the valued in Hollywood because of his excellent ears. work is also significant for bringing two conflicting He could compose very quickly and did not need contemporaries, Schoenberg and Stravinsky, to be at the piano. Despite his lack of recognition, together in the context of one piece. he was one of the most coveted teachers of film and television music composition, with students EUROPEAN ANTISEMITISM AND including Jerry Goldsmith, Henry Mancini, André MARGINALIZATION Previn, Nelson Riddle and John Williams. Castelnuovo-Tedesco’s family history was shaped by centuries of systemic European anti-Semitism. Following the Spanish Inquisition, the Alhambra Decree of 1492 forced his father’s family line out of Spain because they were Jewish.1 From Spain they moved to Tuscany. A few hundred years later, Castelnuovo-Tedesco was one of the very few Jewish composers who actively wrote during the fascist Italian regime. In 1938, a sort of unofficial curtailment of music by Jewish composers took effect. Castelnuovo- Tedesco’s music was banned from Italian radio. at the Library of Congress, Washington, D.C. Live performances of his music were limited; for example, in January of 1938 a performance of his Second Violin Concerto “I profeti” was canceled.2 The Photo courtesy of the Mario Castelnuovo-Tedesco Collection work, commissioned by Jascha Heifetz in 1931, has three movements subtitled “Isaiah,” “Jeremiah” and “Elijah,” after the ancient Hebrew prophets, and utilizes traditional Hebrew melodies. The composer called this concerto “the most significant among my works of Jewish inspiration.”3 Over the course of 1938, Jewish people in Mario Castelnuovo-Tedesco in Florence, 1932 Italy lost their citizenship and jobs, and were prohibited from studying and publishing. Despite

52 | THE CLARINET MARCH 2019 his marginalization, it was not until among the first Italians in some time family and finally published the music in Castelnuovo-Tedesco’s young children whose primary contributions were not in 2017. Unfortunately, it is still difficult to were banned from attending school in opera. Pizzetti supported Castelnuovo- find. The music is not currently available the fall of 1938 that the Italian racial laws Tedesco’s study of impressionism and through university interlibrary loan had finally become untenable, convincing trained him considerably in counterpoint, and at this time can only be found at him that he needed to leave his home which proved valuable. A defining feature www.musicshopeurope.com (for €39). country. He traveled to Switzerland, of Castelnuovo-Tedesco’s work is the where he could communicate with his brilliant way in which he weaves different THE GRAUDAN ENSEMBLE friends Arturo Toscanini, Jascha Heifetz melodies together, and the Clarinet Sonata A dedication to the Graudan Ensemble and Albert Spalding without fear of is a great example of this. appears on the manuscript of the Pastorale interception by the Italian government. and Rondo, and previous researchers They supported his move. Although it was CLARINET WORKS have been unable to definitively identify very difficult for Jewish people at the time Castelnuovo-Tedesco’s Clarinet Sonata, the members of this group. It was to leave Italy legally, it was important to Op. 128 was written in 1944-45, but completely impossible to find information Castelnuovo-Tedesco to do so. Heifetz, not published until 1977. Because of about this group until I ran a search by then an American citizen, sponsored this delay, it was not often performed in one particular online newspaper his move to the U.S., and provided an because the music was not available. database, www.newspapers.com, which affidavit promising him work. With no As the work has now been consistently has hundreds of millions of pages of plans to return, Castelnuovo-Tedesco published for more than 40 years, it is newspapers, completely searchable for time to reconsider this piece for more bought a round-trip ticket and finally text. No other database contained relevant regular performance. It is a stunning left in 1939, right before World War II. materials. However, this database turned work, especially in its romantic melodies. After a short time in New York, he left for up hundreds of old newspaper articles Outside of this romanticism, however, Beverly Hills. including recital announcements and it is classical in structure and spans four One year after he arrived in America, reviews for the group, which consisted he learned of his mother’s passing. She movements, with used in the of world-renowned musicians: cellist had kept her suffering a secret from him, first movement and an energetic rondo for as she knew he would want to visit her in the fourth. Interspersed with occasional Italy and that it would be dangerous to extended harmonies (perhaps influenced come back. On the day that he received by jazz), and aesthetically impressionistic, the telegram, he also received a phone glimmering piano passages, the work has call from Heifetz offering him a job a lot to offer, and frankly, should be in the ® with MGM studios as a film composer. standard repertoire today. Castelnuovo-Tedesco accepted, and saw it There is no information regarding any as the final gift from his mother. kind of commission or dedication for the After the war, Castelnuovo-Tedesco Sonata, although Castelnuovo-Tedesco received an offer from the Italian must have been aware of the popularity government to serve as the director of of the clarinet in the United States in the conservatory of his choice (Naples or the 1940s, due to Benny Goodman’s Rome). He was pleased by the offer as a commissioning of Copland, Milhaud, symbol of reconciliation, but ultimately Hindemith and Bartók. He also had a decided to stay in America, and eventually, special respect for the clarinet because of to become an American citizen. the music of Mozart and Brahms, and as As a composer, he is difficult to place. a pianist, had performed Brahms’ clarinet Attributed with many labels, including sonatas himself. “I never leave impressionist, neo-classicist, and Even less known is another chamber home without my melodically neo-romantic, he personally piece Castelnuovo-Tedesco wrote for ReedGeek!” disliked categorization. As a student of the clarinet, the Pastorale and Rondo for - composition, he wanted to study the clarinet, violin, cello and piano, Op. music of Debussy, but his first teacher 185. Written in 1958, the autograph would not allow it. He eventually switched manuscript exists in special collections composition teachers and began studies at UCLA but is difficult (and expensive) with Ildebrando Pizzetti, a member of the to access. Nicholas del Grazia discussed “Generation of 1880” along with Ottorino this in his September 2005 article in The Serious Reed Performance 4 Respighi, Gian Francesco Malipiero and Clarinet. Fortunately, Ricordi bought www.ReedGeek.com Alfredo Casella. These composers were the rights from the Castelnuovo-Tedesco MADE IN USA

MARCH 2019 THE CLARINET | 53 Nikolai Graudan; his wife, pianist Joanna California, from April 21, 1959, applauds Ewen, David. The New Book of Modern Graudan; violinist Eudice Shapiro; and Lurie and congratulates Castelnuovo- Composers. New York: Knopf, 1961. clarinetist Mitchell Lurie. Perhaps these Tedesco for fully realizing the capabilities Grazia, Nicolas Del. “Italian Music for musicians met Castelnuovo-Tedesco in of the ensemble. In fact, I did not find a Clarinet 1918-1958: Four Outsiders to a Hollywood studio while recording for negative review of the piece or ensemble. La Generazione del’Ottanta.” D.M.A. movies. Of course, Lurie recorded for Unfortunately, there is no recording dissertation, Indiana University, 2003. many films, including Mary Poppins, and of the piece, and it seems most likely Sachs, Harvey. Music in Fascist Italy. has an impressive IMDB page including that no one has performed this work London: Weidenfeld and Nicolson, several uncredited movie appearances. since the Graudan Ensemble. Until 1987. According to newspapers that discuss now, scholarly writing also indicated Saleski, Gdal. Famous Musicians of Jewish the program, it seems most concerts that this previously unidentified group Origin. New York: Bloch, 1949. performed by the Graudan Ensemble was probably looking for a companion Westby, James. “Castelnuovo-Tedesco, included the Pastorale and Rondo, which piece to Messiaen’s Quatuor pour la fin Mario.” Oxford Music Online, 2001. featured the group in its entirety, and some du temps or Hindemith’s Quartet using ENDNOTES reviews indicate that the group would the same instrumentation. Although no newspaper reviews or announcements 1 Gdal Saleski, Famous Musicians of Jewish Origin often repeat the energetic Rondo as their (New York: Bloch Pub., 1949), 31. encore! One review in the seem to support this, it would not be a 2 Harvey Sachs, Music in Fascist Italy (London: from April 2, 1959, notes, “It is attractive, bad idea for a recital program. Of course, Weidenfeld and Nicolson, 1987), 184. melodious music, scored with orchestral this instrumentation does not have a large 3 Saleski, Famous Musicians of Jewish Origin. 4 Del Grazia, Nicholas. “Rediscovering Mario richness that gives each player grateful repertoire, so we should also encourage our composer friends to consider this Castelnuovo-Tedesco’s Pastorale and Rondo, Op. duties and capitalizes on individual and 185.” The Clarinet Vol. 32, No. 4 (2005): 44-47. collective possibilities of varied color. The configuration when commissioning performance was brilliant and ingratiating.” new works. * * * * * Speaking of the future, there seems Another particularly thorough review Special thank you to Diana to finally be a renewed interest in the life in The Press Democrat of Santa Rosa, Castelnuovo-Tedesco, granddaughter and work of Mario Castelnuovo-Tedesco. of Mario Castelnuovo-Tedesco, for In fact, a film titled The Maestro follows facilitating the research process and film composer Jerry Herst, who moved ICA ANNOUNCEMENT providing photo permissions. to Hollywood to study with the master 2019 Young Artist teacher after World War II. After making film festival rounds to great acclaim, the ABOUT THE WRITER Competition biopic received its theatrical release in Eric Schultz currently Coordinator: February 2019. Additionally, Castelnuovo- serves on the music Denise Gainey – Tedesco’s 853-page autobiography, Una faculty at Iona College, [email protected] Vita Di Musica, is being translated to and as a teacher for English by James Westby, the editor of the the Harmony Program Application Deadline: in New York City. He Sunday, April 1, 2019. original Italian. Since 2015, the Archives of Mario Castelnuovo-Tedesco has been is an award-winning Repertoire: working with Edizioni Curci, Milano, clarinetist, including the prestigious Rislov • William Alwyn, Sonata for Clarinet and to publish the Castelnuovo-Tedesco Foundation grant Piano (Boosey and Hawkes) Collection of previously unpublished • Scott McAllister, Four Preludes on for excellence in classical music, and is the works. As for his two clarinet pieces, founding clarinetist of the Victory Players Playthings of the Wind (Lyd Music) standard repertoire or not, it is time to contemporary chamber ensemble of the • Jean Françaix, Concerto, movement I advocate for them to be remembered, Massachusetts International Festival of the (Editions Musicales Transatlantiques) studied, and at minimum, performed more Arts. Eric completed his Doctor of Musical Prizes: often. At a time when society is beginning Arts degree in clarinet performance at Stony First prize – $2500 USD and a professional to come to terms with the contributions Brook University. His principal teachers clarinet to be announced and plights of its most marginalized include Alan Kay, Alexander Fiterstein and Second prize – $1000 USD citizens, it is appropriate to reconsider the Melissa Koprowski.

Third prize – $500 USD place of Castelnuovo-Tedesco’s works in the clarinet repertoire. v Visit www.clarinet.org for full competition rules and application details. BIBLIOGRAPHY Castelnuovo-Tedesco, Mario. Una Vita Di Musica. Fiesole: Cadmo, 2005.

54 | THE CLARINET MARCH 2019 CLARINET JUNE 9-13 ACADEMY 2019 Program Director: Professor Caroline Hartig

The Ohio State Clarinet Academy is a five-day resident experience where high school musicians focus on enhancing musical and performance skills. Participants engage with Professor Caroline Hartig and Ohio State students in private lessons, master classes, chamber ensemble experiences and more!

Eligibility: For students entering grades 9-12 in the 2019-2020 school year, as well as 2019 high school graduates.

Program Fee: $495, includes room and board

Deadline to Register: May 15, 2019

Registration and details at music.osu.edu

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]

MARCH 2019 THE CLARINET | 55 Interview with by Jessica Harrie Larry here are few organizations with the same LinkinJH: Can you tell us about an important memory you level of recognition in the music industry have from performing? as the National Association of Music LL: I have many, but one that I will always Merchants, more commonly referred to as remember is when I was in the NORAD Band. NAMM. Established in 1901, NAMM and its iconic We performed at Chapultepec Park in Mexico annual trade show boasts attendance of over 115,000 City for 250,000 people. I played E-flat clarinet people. Those in attendance are typically musical and was featured on Effer’s Holiday. Afterward instrument dealers, distributors and manufacturers the gentleman that played E-flat clarinet in the from around the world. One of the key individuals Mexico City Band came up and introduced responsible for the growth and success of NAMM himself. I gave him a box of Vandoren E-flat and its trade show is Larry Linkin. During his 30-year clarinet reeds and we became friends forever! tenure with NAMM, the organization’s membership grew from 1,000 to over 8,000, and attendance at JH: NORAD (North American Air Defense the annual trade show grew from 18,000 to nearly Command) is an ensemble that many aren’t aware 100,000. Linkin had a remarkable career in the music of, as the band retired in 1979, with its USAF industry but is a clarinetist as well. He took a few component becoming the 504th Air Force Band of minutes to tell us about his life in the music industry the Golden Gate. What was it like performing with and his love of the clarinet. NORAD? Any fond memories you’d like to share? LL: That was one of the best three years and nine JESSICA HARRIE: Tell us about how you came to months of my life. NORAD involved Canada play the clarinet. and the United States. Therefore, we were the LARRY LINKIN: I started the clarinet at age 10 in only international military band in existence! We the New London, Iowa, school music program. played Carnegie Hall every year on Armed Forces When I was 12, the local YMCA took some of us Day, recorded at Capitol Records at Hollywood young boys to Chicago. One of the options was to see and hear the Chicago Symphony. I jumped and Vine eight or nine times a year for the Mutual at the chance. One of the numbers they played Broadcasting System radio show, and traveled that afternoon was George Enescu’s Romanian from Halifax to Victoria in Canada twice a year. Rhapsody. Clark Brody was the principal Our conductor was Lt. Colonel Mark Azzolina. clarinetist in those days. Once I heard him play He was a fantastic showman and knew how to the beginning, I knew I wanted to go home and work the system better than anyone in existence! practice to be just like him! JH: What led to your decision to pursue music business JH: Were you part of a musical family? as a career? LL: No. No one in my family played any musical LL: I decided that my wife did not deserve the life as instrument. My grandmother had an upright a spouse of a professional musician, so I decided piano but did not play. It was for guests to play. to pursue the business of musical instruments.

JH: Who were your early musical influences? Teachers? JH: What was your first job in music business and how LL: My earliest influence was my junior high and did you come by it? high school band director, Maurice Wright in LL: While in the NORAD Band, I met Mr. Vito Burlington, Iowa. He was fabulous! Then, from Pascucci, president of G. Leblanc Corporation. my junior year in high school through college, He offered me a job as a road salesman or a my clarinet instructor, Thomas A. Ayres at the “Harold Hill the Music Man” out of Pittsburgh. University of Iowa, was extremely important in My territory was Western Pennsylvania, Eastern developing my sound, technique and musicality. Ohio and West Virginia.

56 | THE CLARINET MARCH 2019 JH: NAMM is quite the massive in a while. Other than that, I perform organization, and you of course led the in the Phoenix and Chicago areas. organization to its current position as the I also made four CDs arranged and largest music trade show in the world. Can produced by Don Vincent, musical you tell us about your time with NAMM? director for Wayne Newton for over LL: I first started at NAMM in 1970 as vice 30 years. I practice six days per week, president of trade shows. It was a terrific mostly the daily scale studies Tom experience meeting all the exhibitors Ayres gave me many years ago! and learning the business as well. I left NAMM in 1979 to become president JH: What’s your favorite piece for clarinet? of Slingerland Drum Company. That LL: Fortunately, there are so many fine was a wonderful time working with pieces for clarinet these days … but, knowledgeable people. The business I’m kind of old-fashioned, so I would increased at a very high rate and so pick the Mozart Concerto and his did the profits. My boss at NAMM, Quintet. Bill Gard, was retiring, and they made me the offer to take Bill’s position as JH: Do you have a favorite clarinetist? president/CEO. I accepted and stayed LL: It is quite difficult to pick one, but, until my retirement in 2001. It was a in alphabetical order, I really like: most gratifying experience to work with , who I saw so many talented, hardworking people at the ClarinetFest® in Oklahoma in these years. I was lucky to have that City, Corrado Giuffredi and Ricardo opportunity. Things continue to go well Morales. These gentlemen represent the at NAMM, and I am honored to attend best of the best, in my opinion. the NAMM show and board meetings. JH: Any parting thoughts? JH: You must have learned so many helpful LL: I do have kind of a funny, but things about how to become successful in true story. I got my clarinet two your field. Would you be willing to share and a half months before my first your advice with young musicians who lesson when I was 10 years old. When are hoping to make a living doing what I went to my first lesson, I told the they love, be it in industry, teaching, band director that I could play a song performing, etc.? for him if he would like. So, I played LL: Seems to me that determination “Twinkle, Twinkle Little Star.” When and a clear direction for your career I finished, he said that he had seen a is paramount. Hard work overcomes many things, so work harder than first … someone playing a song on the anyone else and success will come your clarinet with the reed on top! When I way. I have a plaque in my office (I also turned the mouthpiece around with gave one to my daughter and son) that the reed correctly on the bottom, I reads: “Everything comes to him (her) couldn’t get a sound! A great way to who hustles while they wait!” start my lessons! v

JH: Now that you have retired from ABOUT THE WRITER NAMM, what kinds of things are you up to these days? Jessica Harrie is LL: When I retired from NAMM, I was active as a freelance lucky to be offered an opportunity clarinetist and teacher to become a “featured entertainer” in the Columbus, with Holland America Cruise Lines. I Ohio, area. She serves developed a 55-minute show playing as the associate editor everything from a country medley to of The Clarinet, as Bach’s Minuet in G to the “12th Street well as a member of Rag” with the band accompanying me. the editorial board I would do two shows on one evening, for submissions and my obligation was complete. I and assistant to the executive director of worked for them until my wife died in operations. For more information, please 2015. Now, I do accept an offer once visit www.jessicaharrie.com. Larry Linkin

MARCH 2019 THE CLARINET | 57 Photo courtesy of VisitKnoxville.com

WELCOME TO GOOD OLE ROCKY TOP! by Victor Chavez, Jr. and Gary Sperl generous contributions to the International Clarinet Association. he Knoxville artistic team is honored to The conference begins with the opening recital present the 2019 ClarinetFest®, “Embracing featuring legendary ICA honorary members Stanley the World”! This year’s theme inspired many Drucker (ret. New York Philharmonic); 2019 Tunique proposals covering a diverse range of honorary membership inductees Eddy Vanoosthuyse topics and wonderful new repertoire to be premiered. (ret. Brussels Philharmonic Orchestra) and We can’t wait to share these presentations with the international jazz soloist Ron Odrich; and the membership, and we hope that each attendee leaves 2018 ICA Young Artist Competition winner, Pablo Knoxville feeling uplifted and inspired. Tirado Villaescusa from Spain. Thank you to our 2019 sponsors: Buffet Wednesday night’s headlining chamber music Crampon, D’Addario, Rovner, RZ Woodwinds, recital with the Knoxville Symphony Orchestra Selmer Paris, Vandoren and Yamaha for their Principal String Quartet includes Mariam Photo courtesy of BarberMcMurry architects of courtesy Photo

Cox Auditorium

58 | THE CLARINET MARCH 2019 CLARINETFEST®

Adam (formerly of Imani Winds), Stanley Drucker, Bil Jackson (Vanderbilt University) and international soloist Milan Rericha. The Thursday evening concert features clarinet soloists performing with the Air Force Band of Mid-America. Featured artists include Sauro Berti (Teatro dell’Opera di Roma), Parker Gaims, Laura Grantier, Sylvie Hue of the French Garde Républicaine and Ricardo Morales (Philadelphia Orchestra). Friday night’s Knoxville Symphony Orchestra concert under the direction of Photo courtesy of Daraja Music Initiative – Clarinets for Conservation James Fellenbaum will take place at the historic Tennessee Theatre in downtown Knoxville. Headliners include William and Cathy Hudgins (Boston Symphony Orchestra), Kathy Jones (Puerto Rico Conservatory), Korean prodigy Han Tanzanian primary students planting Mpingo trees as part of the Daraja Music Initiative and Clarinets Kim, Anton Rist (The Metropolitan for Conservation Opera), Eddy Vanoosthuyse (ret. Brussels Philharmonic Orchestra) and Gabor Varga (Hungarian Radio Symphony). Fair Park. All three host hotels are There will be artists new to ClarinetFest® The Saturday night concert features the conveniently located within a short walk alongside favorite returning performers. Knoxville Jazz Orchestra with soloists Mark to the ClarinetFest® venues. However, We will explore the fascinating work that Nuccio (Houston Symphony Orchestra), there are free trolleys that pass directly Clarinets for Conservation and the Daraja Ron Odrich and Ken Peplowski. by the Sheraton Four Points hotel and Music Initiative offer to young students Other exciting events planned for the Holiday Inn and make stops at the in Tanzania (this is the non-government ClarinetFest® 2019 include the second ClarinetFest® venues. The Hilton Garden organization that inspired the theme annual Guido Six Clarinet Choir Inn is also a short walk to the venues but “Embracing the World” for ClarinetFest® Festival. There will be several clarinet has a free shuttle service for their guests. 2019). There will be countless interesting choirs performing throughout the five- Visit the ClarinetFest® 2019 page at www. lectures and recitals throughout the day ClarinetFest® with a very special five-day event, and there is much, much performance by the Venner Clarinet clarinet.org for details on travel, lodging more planned for this exciting time. Choir. Franklin Cohen (ret. Cleveland and more. We are anticipating a record turnout for Orchestra) will debut a new clarinet choir Knoxville is located in East Tennessee ClarinetFest® 2019. We hope to see anyone arrangement of the Mozart Concerto for and is one of the most beautiful and and everyone who has an interest in clarinet Clarinet, K. 622. visited areas in the United States. There in Knoxville, Tennessee from July 24 to 28, Master classes will be presented are many family-oriented destinations 2019. You will become truly inspired! by Sauro Berti, Franklin Cohen, Julie in the area and also activities for the DeRoche (DePaul University), Ken adventurers among us. Gatlinburg, Pigeon Peplowski and Jerome Simas (San Forge (home of Dollywood!) and the PRESENTERS/PERFORMERS Francisco Symphony Orchestra). Martin Great Smoky Mountains National Park Mariam Adam Vaysse will present a recital as the premier are all within an hour’s drive of Knoxville. Jon Agazzi prix winner from France. The ICA will To discover additional opportunities Anthony Aguayo recognize its new honorary membership for recreation in the Knoxville and Jason Alder inductees, Ron Odrich, Alan Stanek and East Tennessee area, refer to www. Liz Aleksander Eddy Vanoosthuyse. AND … many, visitknoxville.com. Diana Alvarez many more interesting and inspiring ClarinetFest® 2019 in Knoxville, Jeffrey Anderle presentations and performances. Tennessee is going to be an extraordinary Nancy Angerstein The convenient and comfortable host event! We invite all conference attendees to Lori Ardovino hotels for ClarinetFest® 2019 include the participate in the Guinness World Records Kelly Austermann Hilton Garden Inn, the Sheraton Four attempt to break the current record for Taiki Azuma Points and the Holiday Inn, World’s the largest clarinet choir ever assembled. Kris Bachmann

MARCH 2019 THE CLARINET | 59 CLARINETFEST®

Karen Craig The Tennessee Theatre in Mark Cramer downtown Knoxville Elizabeth Crawford Cheyenne Cruz Vanessa Davis Andrew DeBoer Renzo Decarlo Julie DeRoche Lara Diaz Pamela Diaz Zachary Dierickx Vincent Dominguez Margaret Donaghue Flavin

Photo by Zach Hawkins Photography, courtesy of VisitKnoxville.com Michael Drapkin Stanley Drucker Mary Druhan Shawn Earle Luke Ellard Jane Ellsworth Rosemary Engelstad Patrick Englert Suzu Enns Oskar Espina-Ruiz Mitchell Estrin Wesley Ferreira Yvonne Fisher Yasmin Flores Jennifer Fraley Kip Franklin Catina Franklin Sweedy Daniel Frazelle Christa Frye Parker Gaimes Denise Gainey Joshua Gardner Peter Geldrich George Georgiou Michael Gersten Lucas Gianini Santiago Baena Florez Jacob Campos Jesse Gilday Gabrielle Baffoni Thomas Carroll Lacey Golaszewski Christy Banks Sylvain Carton Stanislav Golovin Diane Barger Martin Castillos Laura Grantier Michael Bartnik Victor Chávez, Jr. Andrew Grenci Daniel Becker Andrea Cheeseman Dickson Grimes Dave Bennett Nophachai Cholthitchanta Gail Grimes Sauro Berti Anastasia Christofakis Debbie Grohman Joanna Birchfield John Cipolla Timothy Haas Timothy Bonenfant David Ciucevich Barbara Haney Laura Bouffard Katrina Clements Jessica Harrie Richard Boukas Frank Cohen Janette Harriott Erin Bray Jarom Coleman Gregory Harrison Jeffrey Brooks David Cook Caroline Hartig Nicola Bulfone Shawn Copeland William Hayter Craig Buying Brian Corbin Julia Heinen

60 | THE CLARINET MARCH 2019 CLARINETFEST®

Jaren Hinckley Joshua Mietz Sunshine Simmons Annaka Hogelin Audrey Miller Timothy Skinner Jonathan Holden Janice Minor Amelia Smith Tina Holmes-Davis Lara Mitofsky Neuss Gary Sperl Sylvie Hue Osiris Molina Robert Spring Bill Hudgins Shiana Montanari Andrew Sprung Cathy Hudgins Madelyn Moore Jana Starling Andy Hudson Ricardo Morales Vanguel Tangarov Taneea Hull Paulo Cesar Morocho Greg Tardy Scot Humes Amanda Morrison Shannon Thompson Albert Hunt Matthias Mueller Margaret Thornhill Bil Jackson Kathleen Mulcahy Pablo Tirado Villaescusa Sarunas Jankauskas Jared Mundell Suzanne Tirk Csaba Jevtic-Somlai Lauren Murphy Mark Tucker Kathleen Jones Matthew Nelson Ian Tyson Robyn Jones Christopher Nichols Tiffany Valvo Cecilia Kang Keith Northover Adrianna van Leeuwen Cassie Keogh Mark Nuccio Eddy Vanoosthuyse Tod Kerstetter Pat O’Keefe Gabor Varga Luis Enrique Vargas Guevara Hyon Suk Kim Bill O’Neil Jorge Variego Wonkak Kim Gregory Oakes Martin Vaysse Melissa Kindy David Odom Cecilio Vilar Alpuente Julianne Kirk-Doyle Ron Odrich Brian Viliunas Christopher Kirkpatrick Cathy A Ogram Javier Vinasco Rick Kissinger Phillip Paglialonga Wallis Vore Thomas Kmiecik Katherine Palmer Karl Kolbeck Sheila Patterson Keith Koons Ken Peplowski ICA ANNOUNCEMENT Boja Kragulj Dmitry Perevertailenko Maryanne Lacaille Yamileth Perez 2019 High School Jean Lake Carla Perrotta Charlotte Layec Lisa Perry Solo Competition Jack Liang Katherine Peters Coordinator: Elizabeth Gunlogson Julie Linder-Gaulin Bret Pimentel ([email protected]) Jessica Lindsey Trevor Pittman Abby Lloyd Alyssa Powell Eligibility: Competition participants Dylan Lloyd Spencer Prewitt must be 18 years old or younger as Wolfgang Lohff Thomas Puwalski of June 30, 2019. Kenneth Long Jun Qian Deadline: April 1, 2019. Julia Lougheed Juan Andres Quilaguy Repertoire: Evan Lynch Carrie RavenStem 1 Concerto in F minor No. 1, Op. 73, Corey Mackey Aileen Razey by : Allegro Jenny Maclay Anton Rist (movement 1) only Eugene Marquis John Reeks 2 Capriccio for Solo Clarinet by Demian Martinez Milan Rericha Heinrich Sutermeister (will accept Amanda McCandless Rebecca Rischin applications on B-flat or A clarinet) Amy McCann Michael Rowlett David McClune Luca Saracca Prizes: Dawn McConkie Michael Scheuerman First prize – $1,000 USD Shannon McDonald Samuel Schreiber Second prize – $750 USD Jacqueline McIlwain Lee Seidner Third prize – $500 USD Emily McIvor Jeff Sherwood Visit www.clarinet.org for full competition Olivia Meadows Megan Shumate Beaumont rules and application details. Jacques Merrer Severine Sierens Erin Miesner Carlos Silva

MARCH 2019 THE CLARINET | 61 CLARINETFEST®

Andrea Vos-Rochefort UNC Charlotte Clarinet Choir University of Louisville Alumni Clarinet Todd Waldecker UNF Clarinet Choir Duo Michael Walsh UTKlarinetten Chor Vientos Dulces Robert Walzel UTRGV Clarinet Symphony Violetta Duo Wesley Warnhoff Venner Clarinet Choir Wilton-McIvor Duo Tasha Warren WoodWired Sarah Watts ENSEMBLES Michael Webster A/Tonal Ensemble PANELS Michael Westmoreland AdZel Duo Military Band Clarinet Panel moderated Jeremy Wohletz Ambassador Trio by Gary Sperl Catherine Wood Amicitia Duo Team Teaching Panel with Robert Spring Alan Woy Aria Reed Trio and John Cipolla moderated by Joshua Atlanta Clarinets Meghan Yankowskas Gardner C3-Cross Continental Clarinets Guy Yehuda Capstone Trio MASTER CLASSES Rachel Yoder Clarinet Meets Guitar Jonatas Zacarias de Oliveira Sauro Berti Click Stephanie Zelnick Franklin Cohen Cypress Winds Jennifer Zimmerer Julie DeRoche Diálogos Duo James Zimmermann Ken Peplowski Domino Ensemble Michele Zukovsky Duo Esplanade LECTURES/LECTURE RECITALS CLARINET CHOIRS Égide Duo Nicola Bulfone 775 Peruvian Clarinet Ensemble Ensemble Sori Thomas Carroll Atlanta Clarinets Four Beats Clarinet Quartet Anastasia Christofakis Frost Duo Austin Peay State University Clarinet Choir Brian Corbin Gemini Winds Baylor Clarinet Choir Mark Cramer GreensDuo Coro de Clarinetes del CMPR Lacey Golaszewski Grenazilla Clarinet Quartet Emporia State University Clarinet Choir Janette Harriott Greyline Duo Los Angeles Clarinet Choir Gregory Harrison Harbinger Duo Madison Clarinet Ensemble Caroline Hartig International Counterpoint MTSU Clarinet Choir Annaka Hogelin Ironwood Trio Murray State University Racer Clarinet Tina Holmes-Davis Kairos Trio Melissa Kindy Choir Lake Effect Clarinet Quartet Nicholls State University Bass Clarinet Thomas Kmiecik LCD Woodwind Trio Julie Linder-Gaulin Choir Mackey-Leinert Duo Wolfgang Lohff North Mississippi Clarinet All-Stars MiamiClarinet Eugene Marquis Orquestra Pernambucana de Clarinetes Novacane Quartet Mark Nuccio Prickly Pear Clarinet Ensemble Phoenix Down RPG Katherine Palmer San Francisco Conservatory of Music Quinteto AMICI Yamileth Perez Clarinet Ensemble Sirocco Reed Quintet Tara Winds Community Band Clarinet Sopros de PE Carla Perrotta Ensemble Spatial Forces Duo Katherine Peters Tennessee Clarinet Choir The AMKE Clarinet Duo Bret Pimentel Tennessee Tech Clarinet Choir The Clarinet Project Alyssa Powell Texas A&M University-Commerce The Dayton Double Thomas Puwalski Clarinet Ensemble The Devil Sticks Aileen Razey The Crimson Squawk Ensemble The Holden-Olin Duo John Reeks The Eastman-Rochester New Horizons The Küffner Gals Luca Saracca Clarinet Choir The Lebaron Trio Samuel Schreiber The Furman Clarinet Ensemble The Lyrique Quintette Tiffany Valvo The Houston Symphonic Band Clarinets The Prestige Clarinet Quartet Cecilio Vilar Alpuente The LCO - The Licorice Sticks Clarinet The Quattratonic Quartet Andrea Vos-Rochefort Orchestra The Telos Trio Michael Westmoreland The Windermere High School Clarinet The Webster Trio Meghan Yankowskas Choir Trio Capitolino Jennifer Zimmerer Tullahoma Clarinet Choir United States Navy Band Clarinet Quartet James Zimmermann v

62 | THE CLARINET MARCH 2019 Stephen R. Williamson

Signature Clarinet Mouthpieces

KUDOS FROM STEVE: “The new Williamson model is the ideal combination of depth of tonal color and clarity of response. It allows me to push the orchestral envelope by achieving richness of tone in every register, unparalleled resonance and technical virtuosity.” Chicago Symphony Orchestra ~ principal clarinet

See our website for information and more products, including a new Bass Clarinet Mouthpiece, the full line of Signature Models and the ever popular PolyCrystal.

STUDIO SESSIONS WITH JAMES PYNE ARE AVAILABLE BY APPOINTMENT.

EXPERIENCE THE THE NEW PYNE SONATA - “ULTRA” BARREL COMBO FOR SONATA A FABULOUS SOUND,

AN OUTSTANDING HARD SUPERB RESPONSE RUBBER MOUTHPIECE AND ACCURATE AFFORDABLE TO ALL! INTONATION! OUR HAND FINISHED SONATA FILLS THE CONCERT HALL FOR PROFESSIONAL LEVEL CLARINETISTS AND ENCOURAGES EXCELLENT CONTACT DEVELOPMENT IN YOUNG PLAYERS. THE MEDIUM FACING IS INFORMATION: WELL PROVEN BY TOP 800-JPYNE-440 PERFORMERS AND EDUCATORS. www.pyne-clarion.com $139.00 [email protected] International Clarinet Association Statement of Credits and Debits Submitted by Tod Kerstetter, ICA Treasurer

REVENUES Journal Postage/Shipping ...... 28,391.01 Membership Dues ...... $149,602.50 Journal Copyright ...... 425.00 Back Issue Sales ...... 106.78 Wild Apricot ...... 3,640.00 Advertising Revenue ...... 59,504.55 Other Website Services ...... 1,034.02 Contributions ...... 14,091.34 Insurance ...... 1,782.10 Credit Card Cash Back ...... 1,199.21 ClarinetFest® Expense Interest Income ...... 3.04 Exhibit Expense (from ClarinetFest® 2017) . . . . 7,592.90 ClarinetFest® Revenue Awards/Competition Prizes ...... 9,603.07 Registration* (from previous year) ...... 30.00 ClarinetFest® Travel Grants ...... 1,600.00 Competition Fees ...... 3,632.30 Misc. Revenue (from previous year) ...... 60.00 Artist Support Merchandise Sales (from previous year) ...... 25.00 Honoraria, Clarinetist ...... 2,524.61 Honoraria, Non-Clarinetist ...... 1,000.00 TOTAL 2017-18 REVENUES ...... $228,254 .72 Travel/Hotel ...... 716.04 EXPENSES Food and Beverage ...... 1,300.19 Management ...... $66,560.08 Foreign Transaction Fees ...... 326.92 CPA/Financial Services ...... 2,496.45 Registration Supplies ...... 612.46 Management Services ...... 889.00 Board Travel ...... 18,403.06 Attorney Fees ...... 2,001.00 Staff Travel ...... 2,839.48 Bank/Credit Card Fees ...... 6,539.61 Future ClarinetFest® Expense ...... 283.77 Postage/Shipping Expense ...... 1,114.05 Miscellaneous Expense ...... 270.47 Office Expense ...... 997.08 Payroll Taxes ...... 11,745.15 Board Expense ...... 612.42 Membership Expense ...... 150.00 Uncategorized Expenditure ...... 248.78 Miscellaneous Expense ...... 999.33 TOTAL 2017-18 EXPENSES ...... $219,677 .02 Copying/Printing (Non-ClarinetFest®) ...... 297.27 Subscriptions (DropBox Pro, etc.) ...... 1,351.70 TOTAL BANK BALANCE, AUGUST 31, 2018 . . . $115,792 .87 Journal Editor ...... 10,800.00 TOTAL BANK BALANCE, AUGUST 31, 2017 . . . $114,576 .33 Journal Layout/Printing ...... 30,530.00 TOTAL BANK BALANCE, AUGUST 31, 2016 . . . $84,030 .19

NOTES: times than in QuickBooks, the difference in our assets in our • Our financial year runs from September 1 to August 31. Chase bank accounts is not the same number. • When ClarinetFest® is held overseas, most revenues go to the • ICA now uses a rewards credit card, which generated host and conversely, most expenses are the responsibility of $1,199.21 in cash back during 2017-18. the host. Therefore, these numbers are zero or close to zero CONCLUSION: for 2017-18, as ClarinetFest® 2018 was held in Belgium. The In previous years, we suffered extremely large drops in assets when exhibit fees displayed were expenses from ClarinetFest® 2017 ClarinetFest® was held overseas and we did not receive registration in Orlando. revenues for the festival. The fact that our yearly balance remained • Bank balances from the end of our financial years in 2016, virtually unchanged between financial years 2016-17 and 2017-18 2017 and 2018 are shown to give an idea of where our shows that the organization has stabilized its finances. Although assets stand and how the numbers are trending. According we certainly want each year’s festival to finish “in the black,” we to QuickBooks, our revenues actually exceeded expenses by feel that it is more fiscally responsible for our yearly finances not $8,577.70 for the financial year 2017-18. However, because to require a large amount of revenue from ClarinetFest® in order expenses and revenues are posted by Chase Bank at different to balance.

64 | THE CLARINET MARCH 2019 ICA ANNOUNCEMENT 2019 Orchestral Audition Competition Coordinator: Todd Waldecker – [email protected] Eligibility: The competition is open to clarinetists of all ages who are not employed full-time as salaried members of a professional symphony orchestra. Deadline: Saturday, March 31, 2019

Repertoire (visit www.clarinet.org for specific audition requirements): Solo: Mozart: Concerto, K. 622, Movement I, exposition only – unaccompanied First Clarinet Excerpts: a Bartok: The Miraculous Mandarin Suite – [13]-[16], and 1m after e. Respighi: Pines of Rome – Mvmt. III; 1m before [13] until [15] [22] until 1m after [25] f. Sibelius: Symphony No. 1 – Mvmt. I; opening to m.32 b. Borodin: Polevetsian Dances – No. 17; Allegro after [B] until 6m g. Stravinsky: Firebird Suite (1919 version) – Variation de l’oiseau de after [D] feu, entire variation c. Mendelssohn: Midsummer Night’s Dream – Scherzo; beginning h. Tchaikovsky: Symphony No. 5 – Mvmt. I; m.41 to m.50, to [B] and Mvmt. III, [F] until [H] (m.98 to m.118) d. Puccini: Tosca – Act III; rehearsal [11] to [12]

Prizes: First Prize – $1000 USD and a professional level mouthpiece to be announced Second Prize – $500 USD and a professional level mouthpiece to be announced Visit www.clarinet.org for full competition rules and application details.

MARCH 2019 THE CLARINET | 65 REVIEWS

especially details like voicing, hand and explanation of her successful practice BOOKS position and air speed. Pimentel makes method. I concur with her comment that “I Bret Pimentel . Woodwind Basics. Meaty the connections, cutting through excessive can guarantee that if you have the patience Fresh Press, 2017. 152 pp. PDF explanations to get to the heart of the to follow this [her suggested approach] E-book $12.99, hard copy $19.99 matter. His target audience for the book exactly, you will improve dramatically in includes teachers of college woodwind a short time.” DeRoche’s introduction Bret Pimentel is methods courses (the price is affordable is a master class in how to approach associate professor for college students), private teachers, technical and all-around improvement. By of music at Delta school band directors and woodwind reading it you will have a detailed plan for State University, doublers looking for secrets to improve on awareness and progress. Her own playing where he teaches the more unfamiliar instruments. accomplishments are strong motivation to applied oboe, Woodwind Basics is a clean, efficient follow her suggestions. DeRoche uses the clarinet, bassoon little volume of information that is graduated tempo method with her DePaul and saxophone. incredibly useful for musicians of wide- University students. He has extensive ranging ability levels. This book should The exercises in the new edition experience be on the shelf of beginning school contain the same notes as in the older. teaching band directors and college instrumental Each page is still devoted to exercises in a woodwind methods instructors. methods, and this volume, the succinctly single key, but the new format emphasizes titled Woodwind Basics, is a small but – Osiris Molina legato and the ethos of the long tone thorough excursion into the fundamentals study – here accompanied with moving of woodwind playing. fingers. Rhythmic values are subtly altered The book is separated into 15 short MUSIC – 16th-note sextuplets replace eighth-note chapters including embouchure, finger triplets. A further modernization is the technique, articulation, tuning, and STUDIES inclusion of not only the original G-flat posture and playing position, among major and E-flat minor exercises but also J . B . Albert . 24 Varied Scales and Exercises others. Each chapter concludes with their repetition printed as F-sharp major for the Clarinet in All Major and Minor review questions that are useful for and D-sharp minor. With these two new Keys. Edited by Julie DeRoche. Carl reinforcement for the casual reader, or keys, there are in actuality 26 varied scales Fischer, 2018. $12.99 preparation for an instrumental methods and exercises that will nicely fit into two class quiz. The illustrations are simple J. B. Albert’s 24 uses, if following DeRoche’s method, in a black-and-white line drawings, but Varied Scales and 52-week year. concise and informative. Most chapters Exercises, revised – Gregory Barrett include tables that diagnose specific topics, by Paul de Ville, separated into “Issues,” “Causes” and has been published “Solutions.” These quick-hit graphs are by Carl Fischer SOLO CLARINET terrific for the non-wind player trying to since 1905 and has . City Lights for B-flat rectify wind player difficulties. been a staple for clarinet or alto saxophone. Gérard There is always much more in the many advancing Billaudot Éditeur, 2018. Duration: 8’ performance of woodwind instruments clarinetists due €15.00 than we realize. The wonderful thing to its proven about a volume like this is that it effectiveness. French composer and organist Thierry highlights the similarities and challenges Julie DeRoche’s edition has revitalized Escaich (b. 1965) has reached the top that exist in woodwind instruments, the exercises with a detailed introduction echelon of musicians with performances

66 | THE CLARINET MARCH 2019 REVIEWS

of his works How has a 39-year span altered Ran’s This is England, by the Berlin style and idiomatic use of the clarinet? The Intouchables Philharmonic and For an Actor is one of our most dramatic and I’m Still the Philadelphia and contrast-filled standard repertoire Here. His music Orchestra. His pieces. The juxtaposed elements found is considered large output in For an Actor are retained in Spirit. The ambient, – over 100 dynamic in measure three is ff and the meditative works – includes next p. There are 80 dynamic markings in and often several featuring Spirit’s seven-minute duration. Likewise introspective, the clarinet. there is great temporal variety ranging drawing on Appropriately, he from quarter note = 46 to passages where minimalism, was commissioned the pulse is 138 beats per minute. Ran world music and by the Toulouse Single Reed Competition writes additional interpretive guidance contemporary pop music. for a required work in the final round, with descriptive labels: Resolute, Graceful, This collection presents eight pieces which was held in January of 2019. That Insistent, Gently Whispering, Emphatic originally for solo piano, transcribed work, City Lights, is playable on either and Slow-Ethereal all recalling to me for clarinet and piano: Discovery at B-flat clarinet or alto saxophone. The similar directions in For an Actor. Night, Divenire, Elegy for the Arctic, Four sounding pitches are the same in both What are the stylistic differences Dimensions, Night, Nuovale Blacnche, versions and both versions are included between her two solo clarinet Primavera and Una Mattina. In addition, as a set from Billaudot. Looking at the works? Though still modernistic and this book includes a range of supporting score, printed on three large, landscape- expressionistic, Spirit is less dramatic in digital features such as Soundcheck, an orientation pages, the propulsive dynamic terms of large leaps and extremely loud assessment and feedback software that and rhythmic growth of the work is passages. Spirit begins with a tritone allows you to use your phone, tablet or visceral. Fast tempos, highly syncopated (though functionally a perfect fourth computer to help you practice. There is an rhythm, exciting dynamic indications, with an upper half-step acciaccatura) and e-book edition that allows performers to engaging use of slap and flutter tongue, is generally atonal but the concluding read the music on any device, along with key clicks and a brief passage with quarter of the work is marked with a full demonstration audio recording of expressive quarter tones add up to a increasing triadic prominence and a sense each piece plus accompaniment-only and piece that is fun to play and that dazzles of skirting around the edges of tonality. solo-only backing tracks. an audience. This is an advanced work Motives are transformed and recalled Einaudi’s compositions are beautiful to due to rhythmic complexity, the above giving Spirit unity and relatability. In listen to because of their simplicity. These mentioned techniques, rapid tonguing general the music is more legato and less works are not technically challenging and several passages of finger twisters. City complex. There is no flutter tongue or for the clarinet, and would be perfect Lights sparkles. multiphonics but there are two measures repertoire for intermediate level and of key clicks and slap tongue. Probably – Gregory Barrett above. In comparison to the originals, by coincidence, Spirit and For an Actor the clarinet adds a pleasant palette of both end on long, very soft concert E-flat Shulamit Ran . Spirit for solo B-flat colors matching the character of each fermatas. Spirit is emotionally rewarding clarinet. Theodore Presser, 2018. $9.99 piece. The digital features are very useful to play and highly recommended. for clarinetists to use for independent Shulamit Ran’s – Gregory Barrett practice. Overall, I highly recommend this landmark work clarinet collection! for solo clarinet, For an Actor: CLARINET AND PIANO – Kristine Dizon Monologue for Clarinet, is just as Ludovico Einaudi . The Clarinet Rudolf Mauz . Romantic Clarinet vibrant today as it Collection. Chester Music, 2017. Anthology Vol. 1: 25 Pieces for B-flat was in 1978 at its $22.99 Clarinet and Piano. Schott, 2015. $19.99 premiere with Da Ludovico Einaudi is an Italian Capo Chamber pianist and composer. He was trained Rudolf Mauz studied clarinet Players clarinetist at the Verdi Conservatory in Milan. with Professor Waldemar Wandel at Laura Flax. Afterward, Einaudi studied orchestration the Staatliche Hochschule für Musik After the passing of Flax in 2017, Ran with and was awarded a in Trossingen, where he received celebrated their friendship and musical scholarship to the Tanglewood Music diplomas in music education and association with this new work, Spirit, also Festival. Einaudi composed scores for a orchestral performance. His orchestral for solo clarinet. number of films and trailers that include activities included the Junge Deutsche

MARCH 2019 THE CLARINET | 67 REVIEWS

Philharmonie, teaching notes operas and songs. Composed in 1892, Württembergische by Rudolf Mauz. Fêtes Galantes is the 11th song in the set Philharmonie Schott Student 20 Songs, Book One, and has become one in Reutlingen, Edition, 2018. of the most popular encore works on song the Mannheim $13.95 recitals. Its jaunty but not overly difficult National Theatre Composer, piano part paired with a pleasantly and the Radio music critic melodic vocal part that only spans an Symphony and lawyer octave makes it a logical choice for an Orchestra of Arthur Coquard arrangement for clarinet. Stuttgart. In (1846-1910) Joshua Mietz, an instructor of music addition, Mauz composed Mélodie at Casper College in Casper, Wyoming, has performed et Scherzetto accomplished his stated goal with this numerous world premieres and recordings in 1904 as a contest piece for the Paris arrangement: “This piece … will work of chamber music, klezmer and jazz. Conservatory, dedicating the work to well for students needing a shorter Mauz’s Romantic Clarinet Anthology French clarinetist Charles Turban. The composition for contest, professionals Vol. 1: 25 Pieces for B-flat Clarinet work itself presents two contrasting desiring a charming encore piece, or for and Piano is one of four volumes of sections bearing the Romantic influence of a recital shared with vocalists.” The song for clarinet and piano. Coquard’s teacher, César Franck. Coquard remains in its original key of G major and Mauz stated, “This creative collection of weaves a dramatic tapestry in the piece’s six the piano part is identical to the original. easy pieces is intended to open up the minutes, providing moments of passionate As is customary with Potenza’s music wealth of Romantic music to clarinetists lyricism, technical flourishes and a printing, the typeset is clear and the page in the early stages of their development.” delightfully effervescent Scherzetto theme. turns are logically arranged to allow the Notable works by Schumann, Schubert, Editor Rudolph Mauz presents a clean pianist to turn the page on a written rest Offenbach, Dvořák, Brahms, Elgar, and lucid copy in the Schott Student without the aid of a page-turner. The Mendelssohn, Grieg and Brahms – among Edition, buttressed by his clear and clarinet part is one page in length, A major other well-known composers from the thorough teaching notes. Mauz gives for B-flat clarinet on one side and a B-flat Romantic era – were selected and arranged measure-by-measure advice regarding major arrangement for A clarinet on the for clarinet and piano. According to breathing, phrasing, articulation, note opposite side. Mauz, “they are suitable for studying in grouping and technique, though he does Fêtes Galantes is a fine choice for a lessons, as well as repertoire for recitals not mention that the recurring Scherzetto short piece with a narrow melodic range and concerts.” The anthology includes a theme will require a rapid slide on Boehm that is a crowd pleaser. CD with accompaniment tracks. system clarinets lacking a left-hand A-flat/ – Osiris Molina Mauz’s Anthology is geared towards E-flat lever. Schott’s Student Edition scale beginner students or adult amateurs. grades this piece a level 4 out of 5. . Transcribed by Wagner It is apparent Mauz put a great deal of – Matthew Nelson Campos and Roderick Ferguson. Four thought into the arrangements of these Songs. Opus Music Publishers, 2001. masterpieces concerning range and Reynaldo Hahn . arr. Joshua R. Mietz. $14.95 register for the clarinet. The presentation Fêtes Galantes. Potenza, 2016. $13.95 The songs of is straightforward; the music is labeled The name Debussy offer a with track numbers, so that students can Reynaldo Hahn fertile repository practice with the accompaniment CD. (1847-1947) of beautiful Mauz did a fantastic job cultivating and should be familiar music that can arranging all of these works in a musical, to clarinetists: be arranged in a effective way so that beginner students his Sarabande et host of interesting develop their technique and artistry. It Théme Variè for ways. They is not an easy task to find repertoire for clarinet and piano are adaptable beginner clarinetists that is both enjoyable was composed in because the music and educational. These arrangements are a 1903 for the Paris is undeniably great way to introduce students to music Conservatory excellent, from the Romantic period. examinations with innovative harmonic colors and – Kristine Dizon and is a popular recital piece. Hahn was enthralling melodic contours. The a prominent member of the Parisian choice of songs by Wagner Campos Arthur Coquard . Mélodie et Scherzetto, music scene, and the bulk of his catalog (DePaul University) and longtime piano Op. 68. Edited, with preface and tilts toward vocal music, with numerous collaborator Roderick Ferguson (Chicago

68 | THE CLARINET MARCH 2019 REVIEWS

Academy of the Arts) spans Debussy’s Neuss and Sqwonk’s Jon Russell and author, teacher, catalog – a fascinating collection for Jeff Anderle. I saw a man pursuing the administrator and those wishing to incorporate some of his horizon is titled after Stephen Crane’s wind instrument wonderful songs in performance. short poem. Hovatter’s musical setting performer. Written Beau Soir (1890-1891) is one of depicts the physical motion of Crane’s for three B-flat Debussy’s most frequently performed line: “Round and round they sped” with clarinets and bass songs arranged for other instruments. Its a fast tempo and energetic rhythmically- clarinet (to low plaintive melody, soaring climax and short locked back and forth motion between E-flat) Oceans of duration make it a perfect recital piece the bass clarinets. This chase begins with Life is a charming or encore. The second song in the set is a two-note syncopated leap to lowest intermediate C’est L’extase from the 1887 song cycle D from the D an octave above. This level work in Ariettes Oubliees. Chanson Espagnol is an same interlocking octave material is four movements: 1883 song for two voices and piano. This repeated midway through the work and “Creatures on the Edges of Tides,” arrangement captures the Spanish flavor in modified, elongated form closes the “Dolphins,” “Whales” and “Teeming that was en vogue during the end of the duo. Hovatter’s piece stubbornly sticks in Shoals.” Each clarinet part is interesting th 19 century. The final setting is a daring (printed) D natural minor – there is little to play and rhythmically independent. one: the Recitative et Air de Lia from harmonic variety except for a dozen G The textures are mostly contrapuntal and the lyric scene L’Enfant prodigue (1884), sharps. Perhaps these are the attempts, as imitative. Parallel thirds and an occasional orchestrated in 1907. Crane wrote: “ ‘It is futile,’ I said, ‘You can modal inflection may bring the music The printed piano music is clear, with never – ’ ”? of Vaughan Williams to mind. Tempos wide measures for improved clarity. Two The two bass clarinet parts are equal and technical demands are moderate and clarinet parts come with the published and require accomplished dexterity to the evocative titles and expressive lines music, one in B-flat and one in A. rapidly cross the B-flat to C register break. make the whole appealing. I might use Campos recommends the A clarinet This is a minimalist-oriented piece that the music on a festival day with multiple be used in performance, allowing for drones in a very present state of mind players on each part. Forton Music offers friendlier key signatures. (D minor) and is doubly intense due to an alternate version for woodwind quintet. Campos and Ferguson’s transcriptions the prominent low D’s…beyond that, it are artfully chosen and executed, allowing mimics Crane’s observation and is “futile” – Gregory Barrett the clarinet to display its palette and to express more. versatility. Considering its popularity J . S . Bach . Brandenburg Concerto No. 3 – Gregory Barrett among non-singers, a sensitive Beau arranged for clarinet by Melanie Soir transcription is long overdue. The Thorne. Sempre Music, 2017. $35.00 recitative and aria would be a bold choice CLARINET ENSMBLES Of Bach’s six Brandenburg Concertos, for performance with orchestra. This the third, composed for the homogenous collection is excellent and certainly more Liz Sharma . Oceans of Life for clarinet instrumentation of three , three than the sum of its parts. quartet. Forton Music, 2018. , three with contrabass Duration: approximately 10’ £10.50 – Osiris Molina and harpsichord most readily suggests digital; £14.00 print arrangement for a clarinet ensemble. Liz Sharma (b. 1951) is an Melanie Thorne uses an ensemble of E-flat BASS CLARINET DUO accomplished English composer, clarinet (or B-flat clarinet substitute), four Kyle Hovatter . I saw a man pursuing the horizon for two bass clarinets (with extended range). Forton Music, 2018. Duration: 5’ £7.50 digital; £10.00 print So…What’s On Your Barrel? Kyle Hovatter David McClune Mouthpiece (b. 1986) is a composer, organist Service Professional through beginner and pianist based models Exciting new custom blank and in San Francisco whose works have model this Spring! been performed Custom refacing available by bass clarinetists including mcclunemouthpiece.com, [email protected] Lara Mitofsky

MARCH 2019 THE CLARINET | 69 REVIEWS

B-flat clarinets, Clarinet4 is a Finnish clarinet quartet simpler lines and much-needed resolution (or made up of clarinetists Anni Tolvanen, end a commentary on the world today on B-flat clarinet Anni Björk and Sirke Tynska with bass an optimistic note. alternate) and clarinetist Esko Lång. The group was The variety in character is appreciated two bass clarinets initially formed in 2008 in Kuopio, as the two longer, more serious works are – with low F as Finland. This is their debut album, balanced with levity in the three shorter lowest note. Bach’s bearing the name of their ensemble, and pieces. El Vaivén, the final work, by original key of it is a charming introduction to the Austrian clarinetist and composer Helmut concert G major is chamber group. Hödl, was originally commissioned by raised a half step The first track, Charanga di Xiomara the Spanish clarinet quartet Barcelona so that in the new Reyes by Belgian composer Patrick Clarinet Players. Paired with the style of key of A-flat major Hiketick, is a jaunty and delightful the opening piece by Hiketick, it is an the B-flat clarinets play in notated B-flat beginning to the album. The addition of appropriate closing track to the album. major and the E-flat clarinet in F major. percussion to the original version was not Clarinet4 has crafted a great Occasionally Thorne expands Bach’s violin something I noticed immediately, but introduction with this album, highlighting writing an octave higher in the E-flat this, along with an enthusiastic mid-piece their technical proficiency and warm clarinet. Each of the eight discrete parts surprise, will make you smile. blend with a wonderfully varied selection is medium to hard in difficulty requiring Well-known Dutch wind composer of repertoire. I look forward to hearing excellent articulation skill to perform the Jan Van Der Roost’s Arghulesques starts more from the group in the future. running 16th notes for several measures mysteriously with “Quasi Barcarolle,” – Cody Grabbe at a time with only a few slurs – of course, which segues to brighter moments that explore a wide range of timbres. The third additional slurs could be added. All in Trio Claviola . Vytautas Giedraitis, movement, “Allegro,” highlights some all, this is a realistic arrangement that clarinet; Jurgis Juozapaits, viola; Ugné solid ensemble playing. This work provides will delight clarinetists with the music’s Antanavičiūté, piano. J. Juozapaitis: a more traditional sampling amidst Latin- buoyant optimism. Claviola; W.A. Mozart: Trio in E-flat inspired and modern works. Major, K. 498; R. Mačiliūnaité: Kōan; – Gregory Barrett Finnish composer Juha Pisto’s AD V. Germanavičius: Trupantys žodžiai; J. 2017 is the group’s first commissioned Trio RECORDINGS work, supported by a grant from the Françaix: . Artist produced. Total Finnish Cultural Foundation. The three time 58:12. www.discogs.com Clarinet4 . Clarinet4: Anni Tolvanen, movements refer to world events in 2017. clarinet; Anni Björk, clarinet; Sirke The first movement “Syrian Cry” evokes Tynskä, clarinet; Esko Lång, bass an Orthodox chant over the ruins of the clarinet. P. Hiketick: Charanga di city of Mosul. The use of quarter tones Xiomara Reyes and Dansa Latino di and other extended techniques amplify the Maria del Real; J. Van der Roost: unsettling character of the movement with Arghulesques; J. Pisto: AD 2017 – Three descending suspensions giving the feeling Pictures of the Time; H. Hödl: el vaivén. of a slow fall. The final chant call seems Artist produced CL4001. Total time calm in nature, in contrast to the opening. 36:48. Amazon and CDBaby I found myself checking the album for additional players or instruments to identify some of the sounds, only to discover it was some exceptional use of extended techniques by the composer. The performers execute these unusual technical challenges with aplomb. The second This 2013 release by the chamber movement, “Fake News,” alternates music group Trio Claviola will provide between a pseudo-sarcastic swing and interesting listening for clarinetists dissonant cacophony. The repetition mainly because of three newer works by and lack of resolution are particularly Lithuanian composers that most will effective parallels to the relentless pace of likely hear for the first time. The recording media today. “Home,” the third and final also included the trios by Mozart and movement of Pisto’s AD 2017, has a far Françaix, which are wonderful standards more sentimental and nostalgic character for this instrumentation. Trio Claviola than the preceding movements. The is made up of three young Lithuanian

70 | THE CLARINET MARCH 2019 REVIEWS

musicians, Vytautas Giedraitis, clarinet; for the Trio Claviola. The composition Protea, In Venice; C. Boots: Dream of Jugis Juozapaitis, viola; and Ugné combines repetition of different motives, Wheat; J. Batzner: Word of the Day; Antanavičiūté, piano. All three are and as tension builds, it gives way to D. Biedenbender: Staying the Night; prizewinners individually, and the group another melodic fragment. Germanavičius L. Trimble: Four Fragments from has been awarded chamber music prizes in writes, “the discussion of this trio begins The Canterbury Tales; I. Stravinsky: Lithuanian and European competitions. with even and unaccented rhythms. Three Songs from William Shakespeare. The first work on the album, Claviola The tension rises in the fast virtuoso Centaur CRC3568. Total time 72:07. (2008), was written and named for the episode and subsides by the end, Amazon and iTunes group by Jurgis Juozapaitis (b. 1942), with crumbling phrases, segments a professor at the Lithuanian Academy of sounds, remnant accents and new of Music and Theatre. The piece is instrumental colours.” about seven and a half minutes and is The album places these innovative new divided into slow and fast sections. A works by Lithuanian composers alongside contemplative slow movement is followed the Mozart and Françaix trios. The playing by a fast movement with a tremendous by the musicians is excellent throughout. amount of rhythmic vitality that will The performance of the Françaix trio is have instant appeal for both players and spirited and they handle the technical audiences alike. demands of this trio and the occasional Rita Mačiliūnaité (b. 1985) graduated extended demands of the new Lithuanian from the Lithuanian Academy of works with equal aplomb. Giedraitis’ Music and Theatre and boasts an clarinet playing is excellent with a eclectic compositional output including wonderful legato and precise intonation. electroacoustic works, operas, music for At times, the piano seems far away in the theatre, and dance and film music. She recorded mix relative to the very present As a collection of works for a chamber says about Kōan: and clear sounds of the clarinet and viola. medium that is sorely in need of quality The only complaint from this reviewer is Kōans have a long history in repertoire, Poet as Muse: Music for Flute, that after hearing three excellent works by Zen Buddhism and its traditional Clarinet, and Voice provides us with some Lithuanian composers, one wishes that the lore. They came to be understood as excellent choices. Especially interesting disc contained more of this new music. contradictory questions, stories or are the works that use spoken poetry as an Indeed, despite fine and attentive playing statements that provoke the “great introduction to the music, abandoning the from the trio, the Mozart seems rather doubt” and continuous pondering use of traditional singing throughout the out of place alongside the other works in Zen students until their minds piece. This is a fine way to demonstrate the in this collection. would experience the break-through versatility of the medium, without relying The cardboard packaging is clever and from the dependence of reason and solely on operatic singing that must engage a nice change from the plastic jewel case. reach insight into a higher level of with the music at all times. The accompanying informative booklet is consciousness. The structure and As it Fell Upon a Day is a wonderful in Lithuanian and English and includes idea of my piece is influenced by many campy photos of the performers in work to begin the disc. Excellent ensemble Eastern philosophy. It is an attempt their concert black attire holding various and blend is demonstrated between flutist to write a musical kōan. To convey construction tools in what appears to Joanna White and clarinetist Kennen such state of mind I place a single be an unused factory building. This is a White, with soprano Elissa Johnston motif in different settings by using wonderful album and worth it for the new exhibiting clear diction throughout. diverse techniques and manners Lithuanian pieces alone, but listeners will Provincetown, August was a standout on of articulation, yet retaining its also appreciate the inclusion of the Mozart this recording for its poignant mood, blend primordial nature. and Françaix trios. and timbre-matching between the clarinet This meditative aspect comes through and flute, especially in the final section. – Christopher Ayer in the music with a great deal of sustained Dream of Wheat is a five-movement tones and unisons, along with interesting Poet as Muse: Music for Flute, Clarinet cycle and a good work overall. There are juxtapositions between sound and and Voice . Joanna White, flute; moments that draw the listener in, and silence. An extremely compelling work, Kennen White, clarinet; Tracy Watson, good variety among the movements. The it requires the clarinetist to occasionally mezzo-soprano; Elissa Johnston, piece itself could plunge a bit deeper into utilize flutter-tonguing, slap-tongue and soprano; Mary Jo Cox, piano and the subtler aspects of the words, as the pitch bending. harpsichord; Takeshi Abo, viola. rhythms and use of bass clarinet range Crumbling Words by Vytautas A. Copland: As It Fell Upon a Day; do not always speak to the aesthetic Germanavičius (b. 1969) was also written M. Biery: Provincetown, August and established by the poetry.

MARCH 2019 THE CLARINET | 71 REVIEWS

Word of the Day is a particularly notable the United States. In fact, this album work, with gorgeous blend and a tragically includes 15 musicians, recorded at various dark mood established by the entire times spread out over several years, from ensemble: a beautiful, cohesive approach. both before and after the time when The bass clarinet is not overbearing and Martinez immigrated to the United States. uses a lovely singing quality throughout. Martinez does not improvise, but his Staying the Night was the best use of playing is fluid and spontaneous, implying poetry in the entire recording. The mood highly skilled improvisation. Martinez established by the clarinet and flute in the reports that his playing on this album was section that begins about four minutes completely composed, as his training did into the work is especially engaging. not include any study of improvisation. Four Fragments from the Canterbury However, he was keenly interested in Tales is a nice concept, especially with the exploring the forms, rhythms, and use of harpsichord. These are lovely works improvisatory history of his native lands. that would provide an excellent addition My only complaint about this album as part of a curated, medieval-themed A product of Venezuela’s “El Sistema,” is its presentation. The record jacket does Del event that incorporates literature, art and clarinetist Demian Martinez offers include beautiful artwork, a list of all Hecho al Trecho, a recording featuring theater. Overall excellent balance and style performers, and recording production varied Venezuelan popular music forms is demonstrated by all the performers. The personnel. However, it has been released and rhythms. Martinez serves as principal standout performer in Four Fragments is in a simple “sleeve” format, without any clarinetist with the Miami Symphony soprano Elissa Johnston, who fills out the liner notes or website links to inform the Orchestra (Florida), a position he has ensemble, making it a lush, cohesive unit listener of the biographies of performers held since 2016. In 2016, Martinez left within her beautiful tone. and history of the music. The presentation Venezuela for the United States because of Poet as Muse: Music for Flute, gives the appearance of a high-end demo his country’s political upheaval, resulting Clarinet, and Voice is a wonderfully recording, instead of a professional in reduced opportunities for musicians curated collection of quality chamber package which this album deserves, taking to work. repertoire, with standout moments from into account the highly professional This album includes ten tracks including all the performers. It would be excellent performance and recording quality. A little the merengue title track. The merengue is a to see these works performed more often, more expense in upgrading the packaging form found throughout South America, but and this medium’s repertoire expanded. would go a long way toward making this the Venezuelan form is distinctly different album a complete work of art. – John Masserini than the more popular merengue from If you like South American music the Dominican Republic, where the form Del hecho al trecho . Demian Martinez, and if you like hearing a gorgeous originated. Martinez includes other dance clarinet sound, played with impeccable clarinet; Aquiles Báez, guitar; Héctor styles from Venezuela such as the merengue Molina, cuatro; Rodner Padilla, bass technique, you owe it to yourself to oriental, the zumba, danza zuliana, joropo, purchase this album. guitar; Samuel Fuentes, percussion; sangueo and Tambora Gaita. All songs Carlos Romero, percussion; Aguiles were written specifically for this recording, – Ben Redwine Hernández, violin and mandolin; including five songs written by performers Idylls for Oboe, Clarinet and Piano . Gustavo Márquez, bass guitar; Manuel on this album. Martinez surprises us with Sara Fraker, oboe; Jerry Kirkbride, Rangel, maracas; Carlos Pineda his seventh track, “Maquinita,” performing clarinet; Rex Woods, piano. J. Avila, cuatro and acoustic bass; José expertly on soprano saxophone. Bingham: Ave Maris Stella; R. Faith: David Lunar, cuatro; Freddy Adrián, South American musicians maintain Idylls for Oboe, Clarinet and Piano; electroacoustic double bass; Jorge a distinction between “popular” and M. Bauer: Duo for Oboe and Clarinet, Torres, mandolin; Alberto Estrada, “pop” music. “Popular” music is derived Op. 25; R. Davidson: The Center of the clarinet; Carlos Alexis Escalona, bass from local traditional influences, whereas Known World; G. Marie: Feuilles au clarinet. G. Figarella: Del hecho al “pop” music is the music of today, with Vent. Summit Records DCD719. Total trecho, Zumba que Zumba, and Costa international musical influences. It is time 53:35. Amazon and iTunes Carabobo; A. Hernández: La estancia, always heartening to hear “popular” Gaita de tambura, and Polo Pilarense; music performed with a wonderful Idylls for Oboe, Clarinet and Piano V. Márquez: Los Meaitos; H. Molina: typical clarinet sound and with excellent features significant and lesser-known Sinvergüensuranzas; J. D. Lunar: intonation, which Martinez accomplishes works composed for this somewhat Maquinta; P. Marín: Tábara. Artist superbly. His fellow musicians are equally uncommon instrumentation. Jerry produced. Total time 37:12. Amazon, virtuosic, and, interestingly, include Kirkbride, former clarinetist of the Dorian iTunes and CDBaby musicians from both Venezuela and from Wind Quintet and professor emeritus

72 | THE CLARINET MARCH 2019 REVIEWS

significantly from the previous work. The composer’s skill for counterpoint is evident, along with passages that are improvisatory in style. Kirkbride and Fraker perform with great attention to detail and line, bringing out many subtleties and playful nuances within this work. The Center of the Known World is by American composer Randall Davidson. The work draws inspiration from Tuva, the Central Asia region that features distinct musical traditions such as throat singing. Angular music is contrasted with lush, lyrical melodies, complex at the University of Arizona, is joined lines, and the use of overtones produced Our Aspen Grove; G. Simon: Two by fellow faculty members Sara Fraker when multiple high, loud pitches are Orchids. MSR Classics MS1656. Total and Rex Woods on this collection that performed simultaneously. Once again, time: 54:43. Amazon and iTunes. includes two world-premiere recordings the skillful musicianship of the trio is Clarinetist Kellan Toohey enjoys a and other works highlighting this chamber fully displayed in a work that takes the varied career as a chamber and orchestral ensemble. The album features music listener on an aural journey through the musician as well as soloist and teacher. inspired by tales of seafaring travelers, region. Ensemble is especially noteworthy He is the principal clarinetist of the biblical and literary texts, distant lands, with regard to the demands placed on the Boulder Chamber Orchestra and performs and pastoral scenes. performers by this work. frequently with other orchestras in the The opening track, Ave Maris Stella Feuilles Au Vent by French composer Colorado region. Pianist Suyeon Kim, by English composer Judith Bingham, is Gabriel Marie is the final work. The experienced and sought-after as both a one of the world-premiere recordings. The three individual movements vary in style, vocal and instrumental accompanist, is work is evocative of the sea, and the title is and the lighter, jovial nature of the last currently a lecturer in collaborative piano based on a medieval plainchant hymn. It movement serves as the perfect conclusion begins with a somewhat sparse texture, with at the University of Colorado at Boulder. to the album. All members of the trio dialogue presented by oboe and clarinet, The disc opens with a set of three interrupted by dramatic piano motives. exhibit beautiful playing and this work contrasting vignettes titled Three Poems Even the most dissonant passages are lends itself especially well to the rich tone by Emily Rutherford. The elegant Poem executed with a strong sense of musicality of the clarinet and oboe. No. 1 is in the romanza style with its and purpose. A broad spectrum of tonal Idylls for Oboe, Clarinet and Piano melodic and florid clarinet lines soaring color extended by the performers effectively is a wonderful collection of works for above a harmonically rich, intricate piano adds to the overall atmosphere of the work. this chamber ensemble. The disc features underpinning. While the clarinet and The second and title work for the many contrasting styles, yet all of the piano frequently interweave throughout disc, Idylls for Oboe, Clarinet and Piano individual compositions function well the movement, almost in opposition to by American composer Richard Faith, is together to lend to an overall concept one another, the two finally converge also a world-premiere recording. The four for the album. Liner notes provide in a beautiful, concluding cadence. In movements are arrangements of songs useful information about composers the beautiful second poem, plaintive and are dedicated to members of the trio. and included works. Performances by melodies reminiscent of Elgar or Finzi Original song texts for each movement are individuals and the ensemble as a whole begin and end the movement, separated included in the liner notes and provide the are first-rate. This would be a welcome by a yearning, soulful clarinet cadenza. listener with valuable context. Kirkbride addition to the collection of clarinetists The joyous third movement is a delightful and Fraker perform with a great sense of and chamber music aficionados alike. dance that concludes the piece. The lyricism and sensitivity that befits the song Highly recommended. ensemble playing by both Toohey and forms and blends seamlessly with elegant – Karl Kolbeck Kim is impeccable throughout this work. piano lines executed by Woods. The Most notable here is Toohey’s excellent synergy of the trio is well represented in Scenes from Home . Kellan Toohey, intonation, consistently beautiful tone and this musically satisfying performance. clarinet; Suyeon Kim, piano. E. fluid handling of the technique. Duo for Oboe and Clarinet, Op. 25 Rutherford: Three Poems; C.A. Brown: Conor Abbott Brown’s Early Winter by American composer Marion Bauer Early Winter Spires; D. Mullikin: Suite Spires definitely evokes the expansiveness is a four-movement suite that contrasts Antique; A. Halladay: Five Scenes from and majestic beauty of the American West.

MARCH 2019 THE CLARINET | 73 REVIEWS

One hears birds and other wildlife vis-à-vis much opportunity for expressiveness, The first selection on this all-Piazzolla trills in the clarinet and rumblings in the which Toohey delivers. While intonation recording is the lovely Ausencias. Duo piano. According to Brown, this work was has been notably excellent throughout Aeternica’s performance brought out all inspired by klezmer, and a performance by this disc, it suffers a bit in this work. of the color and emotion in this dramatic clarinetist David Krakauer in particular. Nonetheless, both Toohey and Kim give a and haunting work. Kjell Fagéus’ playing Toohey does an expert job with the convincing reading of this beautiful work. is stylistically accurate with the right fluidity of the lines, especially in the high Toohey and Kim are to be commended amount of vibrato and jazz inflections register. However, since klezmer style for an excellent disc of new and deservedly at just the appropriate time. Likewise playing was the inspiration for this work, recorded music by burgeoning Colorado with Duo I, Fagéus captures the essence more could have been done by Toohey to composers. with skillful phrasing and sensitivity. further infuse said style into his playing. The most well-known and performed – Kenneth A. Long That said, the playing by both Toohey and of Piazzolla’s works is Libertango. Fiery Kim is beautiful. Astor Piazzolla – Absence . Duo rhythms and a guileful melody have kept David Mullikin’s Suite Antique is a “neo- Aeternica: Kjell Fagéus, clarinet; this one at the vanguard of the modern baroque” work consisting of traditional Love Derwinger, piano. A. Piazzolla: tango. The duo does not disappoint, movements: “Sinfonia,” “Air,” “Gigue,” Ausencias, Duo 1, Libertango, Vuelvo al demonstrating brilliant technique and “Lament” and “Finale.” The “Sinfonia,” Sur, Milonga Picaresque, Mumuki, Sin verve. Vuelvo al Sur features the piano in in the spirit of Respighi’s Ancient Airs the opening section with a solo of sinuous Rumbo, Street Tango, Tanti Anni Prima and Dances and Stravinsky’s Pulcinella, appeal, quickly joined by the rhythmic (Ave Maria), Tango-Étude No. 4 and is absolutely exquisite, in a performance vitality introduced by the clarinet. The Histoire du Tango. Robert Holmin Ljud with wonderful lightness and style. In the brief Milonga Piearesque sets the familiar & Bild RHLB16. Total time 52:10. “Air,” an homage to a Bach aria, Toohey’s traditional tango rhythm in the piano Amazon and iTunes handling of trills and ornamentation while the clarinet freely executes this (whether written in the music or not) quasi-improvisational work. Derwinger is executed with extremely good taste. and Fagéus expertly execute a subtle and Similarly, the “Gigue” is performed emotionally penetrating melody in a simply and elegantly by both Toohey and profound performance of Mumuki. Sin Kim. The “Lament” amply demonstrates Rumbo, similar in style, is performed in an Toohey’s vocal playing with beautiful equally reflective manner. shaping and superb control. The “Finale,” The duo’s performance of The Street along with the other movements, showcases Tango maintains the tango rhythmic pulse not only Toohey’s tonal and stylistic and displays wide feelings of tenderness, excellence, but also his impressive palette of but also exhibits savagery and seduction to articulations fitting every style in this suite. a theatrical finish. Tanti Anni Prima (Ave On Five Scenes from Our Aspen Grove, Maria) is the most touching and heartfelt composer Andrew Halladay writes: “The work on this recording. This melancholic piece is based on a five-note melody; work is both lyrical and charming. Fagéus’ each one of these five notes becomes the tone blends beautifully with the piano, harmonic basis for the five main sections Kjell Fagéus and Love Derwinger have which enhances the lovely phrasing and of the piece. Hearing familiar melodic performed as Duo Aeternica for 25 years sensitivity. The unaccompanied “Tango- fragments and motifs through different in concerts and seminars. Fagéus is the Étude No. 4” is a work that is performed modes evokes the various scenes in the former principal clarinetist of the Royal often from Piazzolla’s Tango Etudes. There grove.” This tranquil and sometimes Swedish Opera Orchestra in , are six movements in the Tango Etudes, each tumultuous work is delivered passionately and has appeared as a soloist and in containing wonderful varieties of the tango. and beautifully by both Toohey and Kim. chamber ensembles with Sweden’s leading This reflective work was followed with The soaring melodies in the clarinet are musicians. He is the author of the book the excitingly dramatic and poetically thoughtfully shaped with superb legato Musikaliskt flöde (Musical Flow), a book charming Histoire du Tango. Originally and tone. Toohey’s intonation and colors on artistic mental training. Derwinger written for flute and guitar (the earliest are especially notable in this work. has given recitals throughout Europe, the tango instrumentation), the four The disc concludes with Greg Simon’s U.S., Canada, Japan, the Middle East movements of Histoire du Tango retrace Two Orchids, a work that aptly evokes and South America, and has appeared the history of Argentine tango throughout the peaks and valleys of an alpine as a soloist with many major orchestras. the 20th century. The first movement, wilderness. Through its lush harmonies Derwinger is an active writer and is the titled “Bordel 1900,” is written in the fast and beautiful, melodic clarinet writing, author of Goodnight and The Lecture – An and lively style of the first tangos played Simon’s Two Orchids affords the clarinetist Anachronistic Interview with Bach. and danced in the bordellos of Buenos

74 | THE CLARINET MARCH 2019 REVIEWS

Aires starting around 1882. In the next movement “Café 1930,” the tango has evolved to become slower and more introspective. It is a dynamic, pensive classic that alternates tense, anxious passages with slower, grieving segments. In “Nightclub 1960,” the tango has been enriched by the influence of bossa nova from Brazil. This is the passionate, rambunctious style of the tango that made Piazzolla world-famous. This movement exemplifies Piazzolla’s mature tangos with its striking changes of tempo and aggressive rhythms. Finally, in “Concert d’aujourd’hui,” the tango has arrived in the concert hall. This movement showcases Spiegel von Arkadien” for two clarinets me wishes that the liner notes had also Aria Piazzolla’s unique compositional style; and cello (arr. by L. Magistrelli); indicated the makers, key systems and from “Der Retter im Gefar” for clarinet pitch levels of the recorded instruments. it is easy to hear the influence of Bartók and piano; Rondo Aria No. 16 from One senses the faithfulness to the style and Stravinsky in this quirky and “Der Wildfang” for soprano, basset of the period through the piano tone, idiosyncratic movement. horn and piano; Quintet in C Major absence of vibrato in the strings and the Concluding with the dynamic Histoire for guitar, clarinet, violin, viola and occasional cross-fingering transparency du Tango gives the listener a dramatic and cello; Solo Clarinet Part from “Phasma,” in the clarinet. That said, the disc has emotional tableau of memorable playing “Soliman der Zweite,”and “Die Edle an engaging sonic freshness, with ideal by Duo Aeternica. My only criticism of Rachle.” Da Vinci Classics C00039. these last four gems is that the fast sections Total time 78:53. Amazon and iTunes in each of the movements, but most discernibly in “Café 1930” and “Night Italian Serenades for Clarinet and Club 1960,” are too fast for my taste. Guitar . Luigi Magistrelli, clarinet; Some of the beautiful tone quality is lost Bruno Giuffredi, guitar. F. Gragnani: and the technique is not as clean at the Duo; N. Paganini/A. Amore: Serenade; chosen tempos. R. Cuboni: Theme and Variations; This is an entertaining recording A. Nava: Duo No. 3; M. Giuliani: and I thoroughly enjoyed listening it. Serenade, Op. 127; M. Barbi: Five Duo Aeternica is to be commended Little Notturni; F. Carulli: Notturno; for their fine performances. Highly G. Rossini/A. Amore: Tarantella. Gallo recommended as a nice addition to any CD-1525. Total time 64:28. Amazon music library. and iTunes – Lori Ardovino Luigi Magistrelli was a busy clarinetist this past year, turning out two recordings Franz Xaver Süssmayr: Chamber Music of interesting and little-known repertoire. and Clarinet Solos . Luigi Magistrelli, Franz Xaver Süssmayr: Chamber clarinet; Margherita Tomasi, soprano; Music and Clarinet Solos presents Italian Classical Consort: Cristina a variety of solo and chamber music Romano, clarinet; Helmut Nill, voice; pieces from this 18th-century Viennese Alberto Malazzi, piano; Sergio Del composer who is famously known for Mastro, piano; Elena Cecconi, flute; finishing Mozart’s Requiem. While perhaps Francesco Biraghi, guitar; Giacomo Süssmayr’s works are not in the lofty Orlandi, violin; Gian Battista company of the iconic Mozart (whose Pianezzola, viola; Eliszabetta Soresina, are?), they are nonetheless attractive in cello. F. Süssmayr: Concerto in D Major character with the shorter pieces excelling for clarinet; Quintet in D Major for in their tunefulness. flute, clarinet, violin, viola and cello; According to Magistrelli’s own liner Trio Serenata for flute, and notes, he is the proud owner of over 260 viola; Three Arias from the Opera “Der clarinets of all sizes. The clarinet nerd in

MARCH 2019 THE CLARINET | 75 REVIEWS

balances and the attractive feeling of work often sounds thin, making one feel Süssmayr rarities and for playing in such a “going for it.” All performers come across as if there’s another instrument needed to continuously high and engaging manner. as confidently playing to the room. flesh it all out. A highly recommended disc. Süssmayr’s Concerto from 1791-92 Three arias from the opera Der Italian Serenades for Clarinet and comes on the heels of the Mozart Concerto Spiegel von Arkadien (originally for three Guitar features music for clarinet and and is apparently a work that Mozart basset horns) are here arranged for two guitar by eight composers of the early encouraged him to write for Stadler and clarinets and cello, which works nicely. and mid-19th century. As was common his basset clarinet. Unfortunately, only two The similarity of timbre works to fine in that period, clarinet was perhaps different, unfinished versions of the first effect and one has an impressive view of not the composer’s first choice of movement have survived. This disc features Süssmayr’s attractive operatic writing. instrument (more often violin or flute), the version finished by Michael Freyhan, The “Aria” from Der Retter im Gefar but it nonetheless makes a worthy and a faculty member of the Royal Academy frames a long clarinet obbligato that musical substitute. Luigi Magistrelli of Music in London. Displaying a textural alternates between lyrical and challenging and his guitarist Bruno Giuffredi make and stylistic variety wholly consistent with technical passages, but the clarinet mostly a marvelous duo – always on the same its classical roots, the Allegro movement plays a decorative role throughout. page musically with impeccable tuning presents technical and range challenges Süssmayr’s Rondo “Aria No. 16” from and balance. The room seems highly (altissimo C!) at a level even above that of Der Wildfang receives a heartfelt delivery simpatico for these two instruments, and I our beloved Mozart. Magistrelli dispatches by soprano Margherita Tomasi with the doubt that hearing them live would be as all with great panache; for me this is the sensitive support of her duet partner, the attractive as this perfect recording. Both highlight of the disc. One wishes for the basset horn. Not merely accompanying, the intimacy of these instruments and other two movements! the basset horn part has some real the nature of so much of the recorded Quintet in D Major for flute, C virtuosic material to navigate. material – unabashed tunefulness – create clarinet, violin, viola and cello was Quintet in C Major for guitar, C an ambience of serenade-like comfort. originally written for an oboe in place clarinet, violin, viola and cello is a four- One might think that a plucked string of the clarinet. Given the 18th century’s movement work of some length (c. 14-15 instrument and a sustaining woodwind tradition of oboists frequently doubling minutes). The use of the guitar seems would not make a matched duo, but on clarinet, however, Magistrelli makes the rather unusual and in the tutti sections Magistrelli has an impressive lightness to valid case for this instrument substitution. it mostly disappears, playing an almost his staccato (even in the third register on a Although the C clarinet does get frequent harpsichord-like continuo role. This C clarinet) that fits nicely with the guitar. turns at the top musical line, mostly it is quintet is a piece of gentle sensibilities Magistrelli has a magician’s ability subservient to the violin and flute. The and reflective emotions. to make all of his instruments (German light and humorous style makes for a This Süssmayr recording showcases system, by the way) seem to be cut from serenade-like character and easy listening. a worthy and varied repertoire mostly the same tonal cloth, regardless of whether Trio Serenata for flute, basset horn and unknown to clarinetists these days. he’s playing instruments in C, B-flat or viola originally employed a natural horn Magistrelli has invested a considerable A. Notably the B-flat and A instruments, in place of the basset horn. Magistrelli’s amount of time and energy getting these apparently inherited from Dieter Klöcker, share that German master’s engagingly use of the basset horn seems less successful arrangements accomplished, borrowing centered and vibrant tone in Magistrelli’s in my view, bringing with it some low music from libraries and engaging the hands. register pitch issues not present anywhere performers to produce this fine disc. With titles like Duo, Serenade, Theme else on the disc. Süssmayr’s writing in this He is commended for showing us these and Variations, Notturni and Tarantella, there is a kind of stylistic sameness to the various pieces on this disc, perhaps driven ClarLit - Clarinet Bibliography by the intimate nature of the clarinet 60,000 datasets in Excel on CD-Rom and guitar duo, but also reflective of the character that these two instruments • from solo piece to ensemble would inspire. That said, seven of the • fast search with special lists eight works are labeled “world-premiere • detailed work information recording,” and if one were looking for a • all compositions, reviews and analysis in change of repertoire diet, or a nice encore, “The Clarinet” are recorded (from the first issue to 2017) this is a fine place to start. We need to • regular updates thank Magistrelli for making us aware of this beautiful music. Now if we could only For sale at www.klarinetten-bibliographie.de play clarinet as well as Luigi! –

76 | THE CLARINET MARCH 2019 REVIEWS

AUDIO NOTES by Christopher Nichols

NEW MUSIC, THE NEW AUDIO REVIEWS TEAM AND A FOND FAREWELL

As I review submitted recordings each 1958), for voice, bass clarinet and piano, Upon initial listening, I noticed two quarter, there are always a few standout performed by speaker Elizabeth Hilliard, quotations from familiar and contrasting recordings that deserve attention despite bass clarinetist Paul Roe and pianist clarinet repertoire: the the fact that only a few works on the David Bremner; eyam v (woven) by Ann obbligato from Antonio Vivaldi’s oratorio album feature the clarinet. Two recent Cleare (b. 1983), a double concerto for Juditha Triumphans found in the mezzo albums fit this description, with notable contrabass flute, and soprano aria “Veni, veni me sequere fida” new repertoire and exceptional artistry: orchestra performed by contrabass flutist and ’s Clarinet Concerto. new music::new Ireland three from The Richard Craig and contrabass clarinetist Although such quotations in new music Contemporary Music Centre and Jeremy Carol McGonnell with the RTE National have the potential to sound contrived, Gill: Before the Wresting Tides, BMOP/ Symphony Orchestra conducted by Gill’s treatment creates a fresh, unique, Sound 1055. Gavin Maloney; and Maria Minguella’s special and convincing 22-minute The Contemporary Music Centre Elgnairt for clarinet, and concertpiece for clarinet and large presents promotional recordings of percussion, performed by clarinetist Paul orchestra. Grymes deserves commendation new compositions by emerging and Roe, accordionist Dermot Dunne, and for his performance, which is delivered established Irish composers. The liner percussionist Richard O’Donnell. with a beautiful sound, dazzling technical notes describe these composers as “with I invite you to explore these fantastic facility and the utmost lyricism. Also a clear voice of their own, a freshness of new works from composers previously notable is the BMOP clarinet section of spirit and invention.” As I listened to new unknown to me. For information about Michael Norsworthy, Amy Advocat and music::new Ireland three, I immediately The Contemporary Music Centre and to Jan Halloran, who must perform one noticed that each work was quite different, listen to the complete streaming album, of the most challenging passages from not only in instrumentation, which visit the organization’s website: www.cmc. Carl Nielsen’s Clarinet Concerto (found ranges from solo instrument to concertos ie/projects/nmni/nmni3. at the top of page 2) in unison at 15:20, with orchestra, but in approach to the Jeremy Gill: Before the Wresting followed by variants of this motive by materials of composition. The engineering Tides presents three compositions the soloist and orchestra. To learn more is excellent throughout, with clear, natural featuring solo instrument and orchestra about BMOP sound’s offerings, visit www.bmopsound.org. sound. The performances are at the on the Boston Modern Orchestra Project’s highest level. house label BMOP/sound. Of principal NEW AUDIO REVIEWS TEAM Of special interest are works for clarinet: interest is Notturno Concertante (2014), As this is my final column, I feel Cantaireacht by Ryan Molloy (b. 1983) which features New York City-based compelled to say that it has been an honor for clarinet and fixed media in a live clarinetist and sound engineer Chris to serve as Audio Reviews Editor for The performance by Carol McGonnell; requiem Grymes with BMOP under the direction Clarinet since September 2015. After my by Kerry Hagan (b. 1974) for clarinet of Gil Rose. This work was commissioned election to the board of the International and computer performed by clarinetist by the Lois Lehrman Grass Foundation for Clarinet Association as secretary this Deirdre O’Leary and the composer at the Grymes to premiere with the Harrisburg past spring, I felt it would be in the computer; Aves by Kevin O’Connell (b. Symphony in 2014. organization’s best interests to look for new talent for this position. After reviewing an exceptional pool of applications, the ICA invited Kip Franklin and Jeffrey O’Flynn to serve as Audio Reviews Editor and Associate Audio Reviews Editor, respectively, beginning in January 2019. I thought the readership would enjoy learning more about each of them, so I have shared their biographies below. Kip Franklin currently serves as assistant professor of clarinet at the University of South Alabama where he teaches clarinet and music theory, and conducts the USA Clarinet Ensemble. Franklin has performed as a soloist, chamber musician

MARCH 2019 THE CLARINET | 77 REVIEWS

and orchestral new pieces in the clarinet canon. His Symphony, and the Wichita Symphony, player throughout debut solo CD, Crossroads: Twenty-First among other ensembles. As a chamber the United States Century Music for Clarinet, was released collaborator, O’Flynn performs with his and abroad. As a in 2018 (reviewed in The Clarinet Online UVU colleagues in the Alpine Chamber member of the USA in January 2019). Franklin earned his Ensembles. In spring 2018, he co- Faculty Wind Trio, D.M.A. and M.M. from Michigan State founded the C3 . His recent he released the album University and his B.M. from Central recital and clinic engagements include Perpetuum Mobile Michigan University. the Universidad Nacional Autónoma de in 2016 (reviewed in Jeffrey O’Flynn México (Mexico City), Las Vegas Clarinet these pages in March 2018). An advocate joined the faculty Day, the University of Arizona, Adams of new music, Franklin was a part of the of Utah Valley State University, the University of Texas consortium for David Maslanka’s Eternal University in Orem, at Arlington and the American Single Garden: Four Songs for Clarinet and Piano UT as assistant Reed Summit. Beyond his performing (2009) and his Concerto for Clarinet and professor of clarinet credentials, O’Flynn served as manager for Wind Ensemble (2014), and has co- and woodwind Cincinnati’s concert:nova ensemble. His commissioned significant works from other coordinator in 2015. scholarly interests include arts nonprofit composers including David Biedenbender, He is thrilled to serve administration and interactive concert Roger Zare and Philip Wharton. He the international programming. O’Flynn holds degrees was a featured performer at ClarinetFest® clarinet community as Associate Audio from Wichita State University (B.M.), conventions in Ostend, Belgium; Orlando, Reviews Editor. O’Flynn maintains Florida State University (M.M.), and Florida; and Baton Rouge, Louisiana, an active performance and teaching the University of Cincinnati College- and has presented at the Alabama Music schedule. He performed as principal Conservatory of Music (D.M.A.). His Educators Association and the Midwest clarinet with the Queen City Opera and main instructors were Suzanne Tirk, Clinic. Franklin’s research interests are has appeared with the Utah Symphony, Frank Kowalsky, Ronald Aufmann and centered on commissioning and recording the Cincinnati Opera, the Richmond Ixi Chen. v

ICA ANNOUNCEMENT Call for Proposals – ClarinetFest® 2020

ClarinetFest® 2020 will take place in Reno/Lake Tahoe Nevada, USA, June 24-28. The Artistic Leadership Team – Leslie Moreau, Joshua Anderson, Karl Busch, Shawn Copeland, F. Gerard Errante, and D. Gause – looks forward to presenting a memorable and exciting conference in the Western region of the United States. ClarinetFest® 2020 will be held at the Peppermill Resort in Reno, a Four Diamond AAA property. A free round-trip shuttle service will be available to take conference attendees directly from the Reno International Airport to the Peppermill Resort. For those traveling by car, the Peppermill has provided free parking (valet or self-park) with your hotel room reservation. The conference will feature performances by the Reno Philharmonic Orchestra as well as emerging and established artists in solo and ensemble settings. The conference site will provide ample space for events and exhibits all in one convenient central location. The Peppermill is offering ClarinetFest® attendees several different price points for onsite lodging ranging from $109-$179 per night; there are nearby hotels to choose from as well. Additionally, the conference site has 16 restaurants on the property, some open 24/7. The city of Reno offers world-class entertainment and dining options within the city, and is just a 30-minute drive to the beautiful Lake Tahoe resort area. International Clarinet Association members are invited to submit performance and presentation proposals for ClarinetFest® 2020. The committee seeks to have a wide selection of diverse performances and presentations, and in particular would like to encourage participation from members in China, Japan, Taiwan, Korea, Australia and Asia. The maximum time allotted for any performance or presentation is 25 minutes. Please do not request more than 25 minutes or your proposal will not be considered. Performing in an evening concert is by invitation only. Evening concert performers are invited by the ICA and often in consultation with ClarinetFest® sponsors. Please submit proposals through the Acceptd portal found at www.clarinet.org under the ClarinetFest® 2020 page. The deadline for applications is September 15, 2019. Please note there is a $20 application fee to submit a proposal. General questions can be sent to [email protected].

78 | THE CLARINET MARCH 2019 ThermalPro Woodwind Warmers By Lomax Classic Made in the USA

“Switching to a cold clarinet on stage is a thing of the past!”

Richie Hawley Professor of Clarinet The Shepherd School of Music At Rice University Principal Clarinet The Cincinnati Symphony Orchestra, 1994-2011

ThermalPro keeps your instrument at ideal playing

temperature on stage,

in the pit, at home, or in your studio. It also eliminates most

tone hole and octave key moisture issues! A rechargeable battery pack lasts up to four hours on stage, or the optional wall adaptor allows for continuous use.

SEE OUR WOODWIND WARMERS & HUMIDIPRO CASES AT: WWW.LOMAXCLASSIC.COM AVAILABLE FOR: CLARINET, OBOE, ENGLISH HORN, FLUTE, AND PICCOLO. Email: [email protected] THERMAL PRO AND HUMIDPRO ARE PATENT PENDING Hysterically

by Eric Hoeprich

onductors! Can’t live with them, can’t live without the rousing Marche d’Austerlitz or ever-hopeful La Victoire Est à them – but there’s a limit! This apparently ludicrous Nous. Appearing on the eve of the catastrophic Russia campaign “rehearsal” comes from a series of watercolors in fact of 1812, we see the infantry of La Grande Armée at a sartorial created to show different types of uniforms of the zenith. In addition to the traditional style and colors of the shirt, variousC branches of Napoleon’s Grande Armée. The sergeant stripes coat and trousers (note the buttons emblazoned with an “N” in on the conductor’s sleeve show he outranks the poor clarinetist, the caption, which also appear on the uniforms), the infantry who seems to be staying after school. The thick score presumably wore a so-called shako (derived from the Hungarian csákó of the contains a compilation of popular Napoleonic marches, perhaps Hussars), a tall hat (more than 10 inches) made of heavy black felt and leather which apparently provided no protection to the head whatsoever. A talented and highly successful artist, Carle Vernet (1768- 1826) survived a turbulent period in France – from the Revolution, through the Reign of Terror (his sister was executed by guillotine) and both reigns of Napoleon. He is best known for his dramatic depictions of battle scenes, and was appointed to the Légion d’Honneur by the Emperor himself in 1808.1 The clarinet appears to be a typical boxwood instrument with five keys, a slightly obsolete type that kept Parisian builders such as Jean-Jacques Baumann well occupied.2 The inclusion here of both a horn and serpent points to the French military wind ensemble with serpent in place of bassoon. Such was its popularity in this period that the serpent class at the Paris Conservatoire outnumbered the bassoons. v

ENDNOTES 1 Note the official stamp from the Ministère des Armées on the upper righthand corner. 2 1812 is also the year Iwan Müller presented his 13-key “clarinette omnitonique” to the Conservatoire; we observe that the improved model was not adopted immediately.

* * * * *

Thanks to Albert Rice for kindly providing information about Carle Vernet.

[Due to an ongoing restructuring of journal departments, this will be the final “Hysterically Speaking” column. We thank Eric Hoeprich for his always informative and entertaining contributions. Eds.]

Musiciens D’Infanterie, by Carle Vernet, 1812 (private collection)

80 | THE CLARINET MARCH 2019 THE NATURAL CHOICE.

Demand Performance. www.vandoren.com Prepared by Todd Allen Design, Inc. by Todd Prepared 574.295.8866 The Clarinet

Artist: Anthony McGill 818 W. Evergreen, W. www.dansr.com Chicago, IL 60642,818 888.707.4455, © 2019 Vandoren SAS. www.vandoren.com© 2019 Imported to the by DANSR, U.S. The Natural Choice full page with bleed 4/C WIND7904 CSVR Clarinet CLA5.qxp_Layout 1 12/17/18 3:22 PM Page 1

Demand a Higher Standard Introducing the NEW CSVR The Yamaha Custom CSVR clarinets are the result of years of development dedicated to a clearly focused concept: crafting a Custom clarinet that has a beautiful sound, consistent quality, and an affordable price. Both student and professional clarinetists require a rich sound and comfortable playability. These qualities were combined with the high level of consistency that only Yamaha can provide, allowing clarinetists to demand a higher standard than ever before.

• Redesigned keys offer comfortable, ergonomic hand placement. In addition, the new keys have thicker silver-plating for a dark and resonant sound quality.

• Durable leather pads ensure a precise seal between pad and tone hole for ease of response throughout the entire range of the clarinet.

• A new Custom barrel design provides the CSVR with a well-balanced response and rich, warm tonal colors that will elevate the progressing clarinetist’s playing.

Learn more now at www.4wrd.it/csvr