Vol. 45 • No. 4 September 2018

Sidney Bechet Works of Repertoire for Interview with Forgotten Pedagogical Also in this issue... Alexandre Rydin Voice, Clarinet and History of Multiple / Articulation for Clarinet

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

— JONATHAN GUNN

REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe

EDITOR Rachel Yoder [email protected]

ASSOCIATE EDITOR Dear Members and Jessica Harrie Friends of the International Clarinet Association: [email protected]

s I write this message just days after the conclusion of EDITORIAL BOARD ClarinetFest® 2018, I continue to marvel at the fantastic Mitchell Estrin, Heike Fricke, Jessica Harrie, festival held on the beautiful Belgian coast of Ostend. We Caroline Hartig, Rachel Yoder are grateful to our friends Eddy Vanoosthuyse, artistic directorA of ClarinetFest® 2018, and the Ostend team and family of MUSIC REVIEWS EDITOR the late Guido Six – Chantal Six Vandekerckhove, Bert Six and Gaby Gregory Barrett – [email protected] Six – who together organized a truly extraordinary and memorable festival featuring artists from over 55 countries. AUDIO REVIEWS EDITOR The first day alone contained an amazing array of concerts Chris Nichols – [email protected] including an homage to the legendary Guido Six by the Claribel , followed by the Honorary Member concert featuring Caroline Hartig GRAPHIC DESIGN , Luis Rossi, Antonio Saiote and the newest ICA honorary Karry Thomas Graphic Design member inductee, . Later that evening was the [email protected] world premiere of the Piovani with the Brussels Philharmonic, performed by Artistic Director Eddy Vanoosthuyse. Every day of the festival was filled INDEX MANAGER with world-class performances and master classes right up to the beautiful closing chords of the final Emily Kerski – [email protected] concert featuring the festival clarinet choir and fireworks as the sun set over beautiful Ostend. The ICA recognizes that without the generous support of our sponsors, exhibitors, vendors and THE CLARINET ONLINE industry professionals, ClarinetFest® would not be possible. We are tremendously grateful for the and Jessica Harrie sponsors of ClarinetFest® 2018, including Arpèges, Backun, , D’Addario, Duvel, [email protected] Luis Rossi, National Lottery, Ongaku Records, the City of Ostend, Rovner, Royal Global, RZ Woodwinds, Sabre, Henri Selmer , Vandoren and Yamaha. We wish to thank Backun Musical ABOUT THE COVER: Services for donating for the ICA Young Artist Competition winners and Vandoren and D’Addario for supplying mouthpieces for the orchestra competition as well as prizes for the evening drawings. Thank you to the many exhibitors who donated prizes for the drawings including Edizioni

Vol. 45 • No. 4 Eufonia, Silverstein, and Buffet who generously donated a Prodige clarinet. Many thanks go out to September 2018 Alan and Janette Stanek for funding the monetary awards for all of the ICA competitions through our Capital Campaign. Thank you to everyone who attended the ICA National Chairs meeting at ClarinetFest® 2018. It was one of the most well-attended and passionate meetings to date. Many great ideas were discussed, with one major initiative emerging: to affiliate ICA with other world clarinet organizations by creating a new fee structure to make membership in two associations affordable for everyone around the world. The board is working with our newly appointed Chair of International Relations, Luca Sarraca, our Sidney continent chairs and national chairs to accomplish this exciting initiative. Our primary objectives Bechet Clarinet Works of Repertoire for Interview with Forgotten Pedagogical Also in this issue... Alexandre Rydin Voice, Clarinet and Shirley Brill History of Multiple are to increase communication between all clarinet communities throughout the globe and to be all- Orchestra/Piano Articulation for Clarinet inclusive. If you would like to add to the discussion, please do not hesitate to reach out to us. in 1928 at the cabaret Chez Florence, Finally, it has been an honor to serve as president of our wonderful organization for the past Paris; photo courtesy of the Hogan Archive, three years. While leading an entity such as the International Clarinet Association is not without its Tulane University challenges, I am pleased at all we have been able to accomplish as a passionate board and staff. One of the greatest perks of serving as president for the past three years has been the opportunity to meet The Clarinet (ISSN 0361-5553) is published 4 times so many extraordinary people in our field. I am continually reminded that an organization is only as strong as its members. a year by the International Clarinet Association Recently I was reminded of the acronym TEAM, Together Everyone Achieves More. I wish to International Clarinet Association offer my sincere and heartfelt thanks to President-Elect Mitchell Estrin, Secretary Denise Gainey, 829 Bethel Road, #216 Treasurer Tod Kerstetter, Executive Director of Operations Evan Lynch, Editor Rachel Yoder, Columbus, OH 43214 Associate Editor Jessica Harrie – and the list goes on and on! It has been a privilege to work with [email protected] these amazing colleagues and friends and with the entire membership. I look forward to continuing +1 888-983-5441 to serve the ICA as past president and am delighted at the bright future of our beloved organization and the world clarinet community. www.clarinet.org Yours sincerely, ICAclarinet facebook.com/icaclarinet

© Copyright 2018, International Clarinet Association. Views expressed by the writers and reviewers in The Caroline A. Hartig Clarinet are not necessarily those of the staff of the President, International Clarinet Association journal or of the International Clarinet Association.

2 | THE CLARINET SEPTEMBER 2018 International Clarinet Association President: Mitchell Estrin – [email protected] E-Newsletter and Social Media Coordinator: Past President: Caroline Hartig – [email protected] Jessica Harrie – [email protected] Historian: President Elect: Denise Gainey – [email protected] Jean-Marie Paul – [email protected] ICA Research Center: Secretary: Christopher Nichols – [email protected] University of Maryland – www.lib.umd.edu/scpa/scores Research Coordinator and Library Liaison: Treasurer: Tod Kerstetter – [email protected] Joshua Gardner – [email protected] Chair of International Relations: Pedagogy Chair: Luca Saracca – [email protected] Diane Barger – [email protected] Executive Director of Operations: Social Media Editor: Evan Lynch – [email protected] Timothy Phillips – [email protected] Webmaster: Kevin and Sonya Morgan – www.morgansites.com

The ICA board of directors is pleased to announce the following continent chairs: HONORARY MEMBERS Europe: Friedrich Pfatschbacher () Ben Armato (1928–2015) and the Near East: Ilan Schul (Israel) (1938–2013) Asia: Zhen Sun (China) Betty Brockett (1936–2003) Asia: Masaharu Yamamoto (Japan) Clark Brody (1914–2012) Asia: Hyung-Jik Yoo (Korea) (1915–2003) Africa: Danre Strydom (Republic of South Africa) Larry Combs, Evanston, North America: Catherine Wood (Canada) , Santa Fe, New South America: Marco Mazzini (Peru) Buddy DeFranco (1923–2014) , Frankfurt, & Bobbio, Italy Guy Deplus, Paris, NATIONAL CHAIRPERSONS , , New York F. Gerard Errante, Las Vegas, Nevada Argentina: Carlos Céspedes : Bence Szepesi David Etheridge (1942–2010) Armenia: Alexandr G. Manukyan Iceland: Kjartan Óskarsson Lee Gibson (1915–2013) Australia: Floyd Williams : Dr. Pandit Narasimhalu Vadavati James Gillespie (Editor Emeritus), Denton, Texas Austria: MSDir. Mag. Ireland: Paul Roe Paul Harvey, Twickenham, Middlesex, U.K. Stanley Hasty (1920–2011) Dr. Friedrich Pfatschbacher Israel: Eva Wasserman-Margolis Ramon Kireilis, Denver, Colorado Italy: Luigi Magistrelli Belarus: Vladimir P. Skorokhodov Béla Kovács, , Hungary Japan: Belgium: Hedwig Swimberghe Masaharu Yamamoto Frank Kowalsky, Tallahassee, Florida Brazil: Ricardo Dourado Freire Luxembourg: Sébastien Duguet (1920–2009) Bulgaria: Bobo Yotzov Mexico: Luis Humberto Ramos Karl Leister, Berlin, Germany Canada, National Chair: Moldava: Victor Tihoneac Mitchell Lurie (1922–2008) : John McCaw (1919-2015) Dr. Catherine M. Wood Céleste Zewald New Zealand: Marie Ross John Mohler, Chelsea, Michigan Canada, St. Lawrence Region: Charles Neidich, New York, New York Norway: Christian Stene Lorne Buick Fred Ormand, Lawrence, Kansas Panama: Alexis Fong Castillo Canada, Great Lakes Region: Bernard Portnoy (1915–2006) People’s Republic of China: Yi He Barbara Hankins Alfred Prinz (1930–2014) Peru: Marco Antonio Mazzini Luis Rossi, Santiago, Chile Canada, Central Region: Poland: Jan Jakub Bokun Harry Rubin, York, Pennsylvania Margaret Wilson Portugal: António Saiote António Saiote, Porto, Portugal Canada, Pacific Region: Patricia Kostek Puerto Rico/Carribean: Kathleen Jones James Sauers (1921–1988) Chile: James Schoepflin, Spokane, Washington Luis Rossi : Andrija Blagojević Columbia: Javier Asdrúbal Vinasco Selim Sesler (1957–2014) Slovakia: Július Klein , Norwalk, Connecticut Costa Rica: Lenin Izaguirre Cedeño : Joze Kotar William O. Smith, Seattle, Washington Croatia: Davor Reba South Africa: Danre Strydom Harry Sparnaay (1944-2017) Czech Republic: Stepán Koutník South Korea: Imsoo Lee Hans-Rudolf Stalder (1930-2017) Denmark: Anna Klett Spain: Carlos Jesús Casadó Tarín Milenko Stefanović, , Serbia Finland: Juhani Valtasalmi Sweden: Stefan Harg , Boston, Massachusetts Ralph Strouf (1926–2002) France: Jean-Marie Paul : Matthias Müller Elsa Ludewig-Verdehr, East Lansing, Michigan Germany: Prof. Johannes M. Gmeinder Taiwan: Chien-Ming Bernard Van Doren, Paris, France Great Britain: Dr. Sarah Watts Thailand: Cassandra Fox-Percival Himie Voxman (1912–2011) Greece: Paula Smith Diamandis Uruguay: Martín Castillos George Waln (1904–1999) Hong Kong: Maria Wong Venezuela: Victor Salamanques David Weber (1913-2006) Pamela Weston (1921–2009) Contact information for national chairpersons is available at www.clarinet.org , , California

SEPTEMBER 2018 THE CLARINET | 3 Features Advertiser Index 26 Alexandre Rydin – Clarinet Works AMB Clarinet ...... 21 by Jean-Marie Paul Ann Arbor Clarinet Connection ...... 74 Arizona State University ...... 45 Sidney Bechet’s One-Man Band 30 Ball State University ...... 61 by Jesse Krebs Brannen Woodwinds ...... 55 36 ClarinetFest® 2019 Buffet Group USA ...... IFC by Victor Chávez, Jr. Chamber Music Northwest ...... 11 38 The Repertoire for Voice, Clarinet, Chopsaver ...... 61 and Orchestra or Piano, ca. 1780-1888 Clarinet Consultant ...... 43 by Albert R. Rice Clark W Fobes ...... 65 48 Interview with Shirley Brill Classical Collection Inc...... 34 by Michael Fine Crystal Records ...... 47 52 The Forgotten Pedagogical D’Addario Winds ...... 1 History of Multiple Articulation for 48 David McClune Mouthpiece Service . . . .75 Clarinet and by Eric Schultz Freewing ...... 20 Frost School of Music ...... 51 James M. Pyne-Clarion ...... 29 J.L. Smith & Co...... 15 Kornel Wolak ...... 51 Lomax Classic ...... 37 Luyben Music Co...... 25 Muncy Winds ...... 31 Patricola Brothers ...... 13 ReedGeek, Inc...... 61 Rice University – Shepherd School . . . . .63 RJ Music Group ...... 50 Rodriguez Musical Services ...... 24 Rovner Products ...... 63 30 Royal Musical Collection, Inc...... 35 Royal Musical Instruments ...... 47 Taplin-Weir ...... 53 Tenon Industrial Col, Ltd...... 5 US Army ...... 9 Departments Vandoren ...... IBC Wichita Band Instrument Co...... 65 2 The President’s Message 22 Clarinet Cache Yamaha Corporation of America . . . . .OBC by Caroline Hartig by Kellie Lignitz-Hahn and Bret Pimentel NEWS 6 Clarinotes REVIEWS Reviews Announcements 16 Letter from the U.K. 56 72 Audio Notes 2019 Young Artist Competition ...... 15 PEDAGOGY by Christopher Nichols 2019 Research Competition ...... 63 18 Pedagogy Corner 2019 Composition Competition ...... 63 by Diane Barger 74 The Clarinet Enthusiast 2019 Orchestral Audition Competition . . .65 by Jack Berry Call for Honorary Membership Nominees . 69 20 Historically Speaking 76 Hysterically Speaking Call for Proposals – ClarinetFest® 2019 . . . 69 by Deborah Check Reeves by Eric Hoeprich 2019 High School Solo Competition . . . .71

4 | THE CLARINET SEPTEMBER 2018

NEWS

GRAN CANARIA INTERNATIONAL CLARINET FESTIVAL 2018 by Kristine J. Dizon from Portugal, Poland, Sweden and invited as a featured guest artist for the Spain. Master classes were taught by next season. The Gran Canaria International Clarinet Radovan Cavallin (Croatia), Javier Llopis The university and professional level Festival took place March 24-27, 2018, in (Spain), Laura Sanchez (Spain) and winners were: Aguïmes, Gran Canaria, a Spanish island Nicholas Cox (U.K.). There was an annual First prize – Tiago Menino (Portugal) off the northwest coast of Africa. It was international competition that included Second prize – Dacil Guerra (Spain) hosted by the Orquesta Sinfónica de Las three categories: primary school, high Third prize – Samuel Matos (Portugal) Palmas at the Teatro Cruce de Culturas school and university. The winner at the and Jania Michal (Poland) Arinaga. There were over 40 participants university and professional level will be Fourth prize – Dawid Borowski (Poland) The high school winners were: First prize – Andrea Chico (Spain) Second prize – Jakub Kusior (Poland) Third prize – Claudia Alonso (Spain) The elementary level winners were: First prize – Bruno Quintana (Spain) Second prize – Sheila Rodriguez (Spain) In addition to the competition, there were featured recitals by the clarinet faculty, Polish Bassethorn Ensemble, Abdul-Aziz Hussein, Javier Santos, Clarinetes Ligature, Clarikids and the Canarian Clarinet Camerata. The final concert featured Kristine Dizon () conducting the clarinet choir with Polish clarinetist Roman Widaszek and Cavallin as soloists. The Gran Canaria International Clarinet Festival was sponsored by the Orquesta Sinfonica de Las Palmas, Ayuntamiento de Agüimes, Cabildo de Gran Canaria, Selmer, D’Addario, Bulgheroni L’Atelier Musicale, Buffet Crampon and Silverstein Works.

Gran Canaria International Clarinet Festival participants

6 | THE CLARINET SEPTEMBER 2018 NEWS

CLARINETWORKS 2018 by Aissa Maese

On April 14, 2018, the first ClariNetworks event took place at the

Weston Center for the Performing Arts on Riley Lauren by Photo the campus of Texas Lutheran University in Seguin, Texas, with 212 participants. Paula Corley (Texas Lutheran University) led this unique workshop which featured two exhilarating clarinetists, and Felix Peikli. The event was sponsored by Buffet Crampon and Vandoren. Conn-Selmer assisted in the sponsorship of Michael Lowenstern. ClariNetworks was designed to accommodate clarinetists of all ages, from student and adult beginners to experienced educators and professionals. The opening concert featured Peikli and the Texas Lutheran Wind Ensemble under the direction of Beth Bronk with Danette Conard of Blanco Independent School District, winner of a Buffet Crampon 1180 ClariNetworks guest artists Corley, Roman Cisneros, Katherine Cooke, Jennifer Daffinee, Mande Gragg, Andrea Harrell and Gina Scheer. The closing concert featured a Prodige was Bailey Filip of Shiner Participants were able to customize performance by Lowenstern, followed by Independent School District. D’Addario, their experience by selecting classes based the directors-only drawing for a Buffet Strait Music, High School Music Service on an ability rubric designed by Corley. Crampon 1180 bass clarinet – won by and Vandoren also provided gifts for Three ability levels were offered and Danette Conard of Blanco Independent the drawings. The ICA also graciously classes focused on tone and articulation School District. The students-only provided one free student membership in development. Participants were actively drawing winner for a Buffet Crampon the students-only drawing. engaged during the group classes, playing, asking questions and interacting with clarinetists of similar abilities. A traditional master class was presented by Students participate in a group class at ClariNetworks 2018 Lowenstern for an audience of educators and professionals. Four local high school

students performed solos and observers Riley Lauren by Photo were free to ask questions during the class. Lowenstern gave excellent feedback and insight into his pedagogical methods. Lunch was included with registration for all participants and volunteers. Vendors present included Buffet Crampon, D’Addario Woodwinds, Vandoren, High School Music Service, Strait Music and the International Clarinet Association. Participants tried instruments from Buffet Crampon, Selmer Paris, Backun and a variety of other brands through Strait Music and High School Music Service. Lots of free reeds and other samples were available to all.

SEPTEMBER 2018 THE CLARINET | 7 NEWS

2017 MASON SUMMER CLARINET ACADEMY by Catina Franklin Sweedy and Perkins, and Tomasi, and arrangements of Crampon, Lohff and Pfeiffer, and Foxes Kathleen Mulcahy works by Ives and Irving Berlin. Music Company. Lastly, several clarinet Additional clinics included Michele Von students performed on the Thursday From July 25 to 29, 2017, over 20 talented Haug’s presentation about the Daraja Music afternoon showcase recital. The week young clarinetists attended the second Initiative’s work in Tanzania, D’Addario culminated in a clarinet choir performance. annual Mason Summer Clarinet Academy Reserve Method Clinician Rucha Trivedi’s The 2017 George Mason University in Fairfax, Virginia, directed by Catina reed clinic, Backun Artist Kristen Sheridan’s Summer Clarinet Academy was generously Franklin Sweedy, George Mason University clinic on leadership and confidence, sponsored by Vandoren, Buffet Crampon, clarinet professor Kathleen Mulcahy and Mulcahy’s session on for musicians D’Addario Woodwinds, Backun Musical teaching assistant Sara Gebbia. The week and a panel discussion on how to excel at Services, Lohff and Pfeiffer, and Foxes was busy with informational, inspiring and auditions. Students had the opportunity Music Company. exciting events. to meet representatives and try products Please visit and “Like” our Facebook Vandoren and Buffet Artist Felix from Vandoren, Backun, D’Addario, Buffet page for more information. Peikli presented an energetic, inspiring master class about jazz clarinet, his career and basic improvisation. In less than an hour he had the students playing a riff along with him, and some young clarinetists even took turns improvising. That evening, Peikli was joined by Joseph Doubleday on vibraphone in a Photo by Gary Winder free public concert hosted by George Mason University and sponsored by Vandoren and Buffet Crampon. Clarinet Academy students accompanied Peikli in his arrangement of George Gershwin’s “Summertime” as the final number. United States Marine Band clarinetists Master Sergeant Paddock, Master Gunnery Sergeants Matera and Vare, and Staff Sergeant Kiewitt performed an Mason Summer Clarinet students pose with Felix Peikli following the performance of his arrangement excellent recital that included works by of “Summertime” by Gershwin

UNIVERSITY OF MARYLAND SIXTH CLARINET SYMPOSIUM by Natalie Groom

On April 8, 2018, the University of Maryland Clarinet Society hosted its sixth Clarinet Symposium under the direction Lill Patrick by Photo of Robert DiLutis, associate professor of clarinet. With over 100 participants, the Clarice Smith Performing Arts Center was packed with clarinetists of all ages. After a welcome message, Baltimore Symphony Orchestra clarinetists Lin Ma and Yao Guang Zhai graced the stage as soloists and as a duo, premiering a new work by Chinese composer Xinyan Li. Following the performance, four high Clarinet choir reading session, conducted by William Blayney

8 | THE CLARINET SEPTEMBER 2018 MAKE YOUR PASSION YOUR PROFESSION.

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For more info submit a request at: goarmy.com/band NEWS

school students performed in a master performed contemporary trios by Kevin Blayney served as the judges for this year’s class shared by the artists. Puts, Joan Tower and Paul Schoenfeld in competition. During lunch, the New Horizons the afternoon recital, followed by a master The UMD Clarinet Choir performed Clarinet Choir serenaded participants. class led by Bish and DiLutis. at the end of the symposium in a After lunch, over 50 student and For the first time, the Sidney Forrest concert featuring Blayney. During the community clarinetists joined together Clarinet Competition was hosted at performance, Buffet Crampon announced for a clarinet choir reading session under UMD. This competition honors the the winner of its E12F clarinet raffle, the direction of William Blayney, Seattle- life of U.S. Marine Band and National student attendee Adrian Paras. based Buffet artist, soloist and clinician. Symphony Orchestra clarinetist Sidney Find out about the University of Florida State University faculty Forrest. Forrest’s daughter, Paula, Maryland’s next Symposium by following Deborah Bish (clarinet), Shannon Thomas established the competition in his us on Facebook (@UMDClarinetStudio) (violin) and Stijn De Cock (piano) memory. Brian Jones, Pat Takahashi and or visiting www.umdclarinet.com.

THE INAUGURAL OREGON CLARINET SYMPOSIUM by Marisa Finlayson welcoming speech and showcase recital. After lunch, Raden held a master class A reading for the mass clarinet choir for participants. On April 7, 2018, the University of followed. Attendees ranging from a first- In the afternoon, the final concert began Oregon hosted its inaugural Oregon year middle school student to a 70-year- with members of the Platypus Choir under Clarinet Symposium, sponsored by Buffet old clarinetist came together to sight-read the direction of Mike Curtis, followed by Crampon and Vandoren. The event was through the mass clarinet choir music. the award ceremony. After the ensemble led and coordinated by Assistant Professor The Distinguished Artist Recital, concluded, members of the mass clarinet of Clarinet Wonkak Kim, along with the help of members of the UO clarinet which featured Raden accompanied by choir took the stage to close the show. studio. The artist roster included: Kim, Choi, followed the student clinic. The The Oregon Clarinet Symposium Gregory Raden (principal clarinetist, program was comprised of Cantilene by brought out over 70 participants, from Dallas Symphony), Michael Anderson ; Rumänische Volkstänze all over the West Coast. We would like (principal clarinetist, Eugene Symphony by Béla Bartók, arranged by Z. Székely; to thank everyone that came out and Orchestra), UO faculty pianist Eun-Hye Fantasiestücke, Op. 73, by Robert participated in our event. With the success Grace Choi and the Platypus Clarinet Schumann; and Konzertstück No. 1 of the symposium, we would like to extend Orchestra directed by Mike Curtis. für 2 Klarinetten, Op. 113, by Felix an early invitation to anyone interested in The symposium opened with a Mendelssohn, which also featured Kim. joining us next year, April 12-13, 2019.

Oregon Clarinet Symposium Mass Clarinet Choir Photo by Marisa Finlayson Marisa by Photo

10 | THE CLARINET SEPTEMBER 2018 INTERNATIONAL Clarinet Celebration and COMPETITION June 25-30, 2019 | Portland, Oregon

Chamber Music Northwest’s Clarinet Celebration combines a full week of mainstage concerts, workshops, masterclasses, and ensemble performance opportunities, with a Young Artist Competition. Competition prizes total more than $20,000!

Jurors and Faculty include: • Ricardo Morales • James Shields Young Artist Competition • David Shifrin • Corrado Giuffredi information & details • Seunghee Lee • Michelle Anderson at CMNW.org. • Richard Hawkins • Jose Franch-Ballester Application Deadline: • Ken Peplowski • Romie de Guise-Langlois December 7, 2018 • Barbara Heilmair • and many, many more

Clarinet Celebration, hosted by Chamber Music Northwest in beautiful Portland, Oregon, takes place during the first week of our 49th annual Summer Festival. For everyone from amateur to professional clarinetists! Apply online at CMNW.org!

Lee to Right: Corrado Giuffredi, Seunghee Lee, Jose Franch-Ballester, Romie de Guise-Langlois, David Shifrin, Michelle Anderson

Presented in partnership with Portland State University. Supported by major grants from: , Ronni Lacroute, Paul L. King, and many more. NEWS

2018 Delaware Clarinet Day Festival Choir

FIFTH ANNUAL DELAWARE CLARINET DAY by Christopher Nichols and Smetana, which was followed by a The last clinic of the day was presented session titled “Yoga for Clarinetists” by by Kate Young, winner of the 2015 The fifth annual Delaware Clarinet Day Michelle Kiec from Kutztown University. International Clarinet Association took place on Saturday, April 21, 2018. Wesley Rice of Rice Clarinet Works Research Competition. Young’s research This daylong event, hosted by Christopher finished the morning with a clinic on centers around the influence of thumb rest Nichols and the University of Delaware essential clarinet maintenance topics. position on clarinet performance. Clarinet Studio, included clinics, master This year’s featured artist clinician Throughout the day, attendees – classes, recitals and a festival clarinet was Jeremy Reynolds from University ranging in age from fifth grade to retired – choir for all participants. B&B Music and of Denver’s Lamont School of Music. participated in festival choir rehearsals, Sound, D’Addario Woodwinds and Rice Reynolds, joined by collaborative pianist which culminated in a closing concert of Clarinet Works were present with displays Julie Nishimura from the University of works by Vaughan Williams, Schubert, of accessories, giveaways and instruments Delaware, collaborated for a stunning Mendelssohn and Villa-Lobos. Delaware for participants to try. recital of works by Devienne, Szalowski, Clarinet Day 2018 acknowledges Buffet The University of Delaware Clarinet Persichetti and Poulenc. A master class Crampon USA and the UD Community Ensemble started the day with a with University of Delaware students Music School for their generous support. performance of transcriptions by Elgar immediately followed.

2018 TROY UNIVERSITY CLARINET DAY by Katrina R. Phillips Clarinet Timothy Phillips hosted Troy South African clarinetist Maria du Toit, University Clarinet Day. Master classes along with appearances by Phillip O. On Saturday, March 24, 2018, Troy and performances were presented by Paglialonga (University of North Texas), University’s Associate Professor of bass clarinetist Michael Lowenstern, Wojtek Komsta (High Quality Clarinet

2018 Troy University Clarinet Day Final Concert

12 | THE CLARINET SEPTEMBER 2018 NEWS

Repair), Katrina Phillips (Alabama Paglialonga and pianist Park. Paglialonga Hands which included anecdotes about State University), Jennifer Fraley (Troy and Komsta did a talk on the benefits its inspiration and involved an on-the- University) and pianist Eun-Hee Park of periodic visits to a woodwind repair spot audience recorded clap track. In (University of Montevallo in Alabama). specialist. Both Lowenstern and du Toit the afternoon recital, du Toit performed The opening recital featured taught informative clarinet master classes. with Park featuring works by Stravinsky, performances by clarinetists Timothy Lowenstern’s recital featured his Chausson and Peter Klatzow. Phillips, Fraley, Katrina Phillips, original works. A highlight was Ariel’s A highlight of the final concert was Alexis Ciesla’s Concerto for Clarinets. Fraley performed the E-flat clarinet on “Tarentella,” Lowenstern played bass clarinet on “Habanera” and Paglialonga KEY CHANGES AND CLOSING CHORDS played B-flat clarinet on “Fantasia” while the Troy University clarinet choir Compiled by Jessica Harrie accompanied them under the direction of KEY CHANGES Timothy Phillips. The mass clarinet choir David Cook was appointed assistant professor of clarinet at the Millikin performance featured a transcription of University School of Music and principal clarinet of the Millikin-Decatur Eric Whitacre’s October. Symphony Orchestra. Special thanks to the Troy University Mark J. Cramer was appointed assistant professor of clarinet at the John M. Long School of Music as well as Tennessee Tech University School of Music. sponsors Buffet Crampon USA, Vandoren Dominic Desautels was appointed as the principal clarinetist of the USA, BG France, D’Addario, Backun Canadian Opera Company. Musical Services, Silverstein Works and Andrew Hudson will join the faculty of UNC Greensboro in the fall as Yamaha, for making this event possible. lecturer of clarinet. Bryn Huntington won the audition for a one-year bass clarinet position with the Boise Philharmonic. The Saint Paul Chamber Orchestra has appointed Sang Yoon Kim as their new principal clarinetist. Sarah Manasreh was appointed lecturer of clarinet and music theory at the University of Wisconsin – Stevens Point. Chris Pell won the audition for principal clarinet of the Cincinnati Symphony Orchestra. Lisa Perry will join the faculty of East Tennessee State University this fall as lecturer of clarinet. Slavko Popovic won the audition for principal clarinet of the Calgary Grenadilla Philharmonic Orchestra. & CLOSING CHORDS Bubinga wood Clarinetist and pedagogue Giovanni Cavallin passed away on May 9, 2018, at the age of 86. A tribute can be found in this issue. Eb Michael L. Mark, clarinetist and retired Towson Bb University graduate school dean, passed away on May A 10, 2018. He was 81. C Clarinet repairman, mouthpiece craftsman and ligature maker Robert “Bob” Scott passed away on Artista June 7, 2018 at the age of 93. Robert Warren Sladky passed away on March 12, 2018 at age 95. Sladky had an active career, performing as principal clarinetist with the Dubuque Symphony Orchestra and serving as associate professor of music at the University of Dubuque, a position from which he retired in 1984. Robert Warren Sladky Handmade Information in this column is gathered from the Clarinet Jobs Made in Italy Facebook Group and submissions to [email protected]. www.patricola.com

SEPTEMBER 2018 THE CLARINET | 13 NEWS

REMEMBERING SERBIAN FOLK CLARINETIST BOŽIDAR “BOKI” MILOŠEVIC´ by Andrija Blagojević and Milan Milosevic his future career, as he developed his own style of playing and unique clarinet Božidar “Boki” Milošević (1931-2018) ornamentations related to folk music. With began his extraordinary musical career as his classical clarinet training and orchestral a young newcomer to the capital city of performances, numerous clarinet folk Belgrade, Serbia (then ), and compositions, recordings and worldwide very soon after became a trend-setting performances, Milošević established a clarinet player and one of the most strong reputation as one of the leading influential Serbian folk clarinetists of all performers in the former Yugoslavia and time. His first professional career steps the Balkans. His frequent appearances on were in the national Radio Television of various popular TV shows and thousands Belgrade Grand Folk Orchestra. Milošević of vinyl record sales immensely popularized graduated in 1960 and later earned his the clarinet among young people and master’s degree in 1963 from the Music increased the popularity of the instrument Academy in Belgrade as a member of the beyond the borders of Serbia. class of Professor Bruno Brun. Milošević is survived by his four As he was fostering his profound children: Milan Milosevic, music director affinity for the folk music genre, Milošević at Vancouver College, Canada, and former also went on to teach clarinet at the Josip clarinetist of the Belgrade Philharmonic Slavenski School of Music and soon became Orchestra; and three daughters: Gordana, a clarinetist in the Belgrade Philharmonic a paralegal in New York, and Tijana and Orchestra. These multifaceted and Ksenija, principal violinists of the Belgrade Božidar “Boki” Milošević explorative years were instrumental to Philharmonic Orchestra.

REMEMBERING CROATIAN CLARINET PEDAGOGUE GIOVANNI CAVALLIN by Kristine Dizon and Radovan Cavallin member of the contemporary ensemble ACEZANTEZ for 10 years. Clarinetist and pedagogue Giovanni Cavallin dedicated his life to teaching. Cavallin passed away on May 9, 2018, at He taught at the Muzičkoj školi Pavla the age of 86. Cavallin was born in 1932, Markovca from 1958-2008. In addition, in Sarajevo, Bosnia, where he finished his he wrote a valuable method book for music education at Banja Luka. In 1957, young clarinetists called 50 dnevnih Cavallin was the first student at the Music vežbi za klarinet (50 Daily Exercises for Academy in Zagreb, where he studied with Clarinet). Cavallin also was a winner Josip Nochta. As a winner of the French government scholarship, Cavallin studied of the Croatian Artists Association and at the Conservatoire National Supérieur winner of four gold coins for his successes de Musique with Ulysse Delécluse and in music education. In 2002, he was Jacque Lancelot. awarded the Lifetime Achievement Award An active performer, Cavallin by the Croatian Association of Music performed with the RTZ Orchestra, and Dance. Currently, Cavallin’s former Zagreb Chamber Orchestra, Sarajevo students hold principal positions in many Philharmonic Orchestra, Dubrovnik Croatian and perform actively Orchestra and HGZ Orchestra and as international soloists. was E-flat clarinetist with the Zagreb Davor Reba, principal clarinetist Giovanni Cavallin Philharmonic Orchestra, RTZ of the Zagreb Philharmonic, studied Orchestra and Zagreb Opera. He was a with Cavallin for many years and

14 | THE CLARINET SEPTEMBER 2018 NEWS

ICA ANNOUNCEMENT described him as an icon for the Croatian instrument and where he was hiding 2019 Young Artist clarinet school: the key of his working cabinet! Competition I opened it and started playing His brilliant talent for teaching Coordinator: with all the parts, trying to put it was admired without exception. Mr. Denise Gainey – together. My mother rang Giovanni Cavallin’s success lay in his ability [email protected] and said, “Sorry to interrupt you at to convince the students of their work but I think your son is playing Application Deadline: remarkable talents. Thanks to our with your clarinet.” In a panic, my Sunday, April 1, 2019. unconditional trust in him, he made father rushed home and instead the unimaginable happen. He paved Repertoire: of screaming at me, he said with the way to new playing techniques • William Alwyn, Sonata for Clarinet and a calm voice, “That’s good, would and widened the scope of clarinet Piano (Boosey and Hawkes) you like to try it?” It proved how literature in Croatia. We shall keep • Scott McAllister, Four Preludes on much of a great pedagogue he was Cavallin in our hearts and thoughts Playthings of the Wind (Lyd Music) throughout all his life. I could surely as a good spirit of our profession. • Jean Françaix, Concerto, movement I say he was not only my father, but (Editions Musicales Transatlantiques) Clarinetist and composer Mihael Paar, the father of all Croatian clarinetists. a former student of Cavallin, described He was one of the few people who Prizes: him as: brought the tradition of the French First prize – $2500 USD and a professional …a man beyond comparison clarinet school to Croatia and clarinet to be announced among the clarinet teachers in generously shared his knowledge Second prize – $1000 USD Croatia. His knowledge and and experiences with his students. Third prize – $500 USD approach to teaching were Giovanni is survived by his wife, Visit www.clarinet.org for full unrivaled, and while being the Marzurana; his two sons, Radovan and competition rules and application details. authority, he was still so warm and Lucijan Cavallin; and his grandson, compassionate. I remember him Thomas Cavallin. giving us all the support we needed, and in my case, he was the one encouraging me to compose music as well. He leaves a giant legacy as a prominent artist, champion of contemporary music and one of the most important figures in the Croatian school of clarinet. International soloist Marija Pavlovic remembered Cavallin: A great musician, he loved music and clarinet playing. He was a great teacher and his inspiration was huge. During the time I was his student, he was my second father. He was a warm and emotional person. I was the only girl in the class, and he helped me to just be myself and to search for my own way in my clarinet playing. He had a great intuition for teaching and that made him special. Thanks for everything and rest in peace our dear Gioco. Cavallin’s son Radovan Cavallin said, I admire him greatly, and I owe him everything for who I am today. While my father was at work, I knew where my father kept his

SEPTEMBER 2018 THE CLARINET | 15 NEWS Letter from

the by Paul Harris

ALAN RAWSTHORNE: A MOST DISTINCTIVE VOICE t’s quite exciting to find a relatively to some extent, the audience), it is well unknown corpus of extremely worth the effort. The clarinet writing is admirable clarinet works worthy idiomatic and satisfying. At just over 15 of study. I have to admit that most minutes it would make an interesting Iof the works I’m writing about this time concert work or maybe something a are relatively new to me, and I suspect little different in a performance exam that the name of British composer Alan program. Thurston particularly enjoyed Rawsthorne (1905-1971) may be new the work and performed it many times. to many readers as well. Like Wilfred There is a fine recording by Josephs, Rawsthorne trained to be a on the Hyperion Label and the music is

dentist (his parents’ idea – they were Photo reprinted by permission of the Rawsthorne Trust published by Oxford University Press. strongly opposed to a musical career), The Clarinet Quartet for clarinet, but happily music won through and violin, viola and cello came next in 1948. Rawsthorne was later to write, “I gave It is a first-rate, ingenious and powerful dentistry up, thank God, before getting work, also written for, dedicated to and near anyone’s mouth.” A friend recently The young Alan Rawsthorne first performed by Thurston, in London lent me a fascinating book on Rawsthorne in November 1948. Its first broadcast by John McCabe which has much performance was also in November. The whetted my appetite. I’ve known the considered “one of the leading British three movements take a little getting to Concerto for some time but was delighted composers of the 20th century.” Alan know, but once grasped they afford much to find further significant works by this Rawsthorne is now enjoying something of to both performer and audience. Given th fascinating composer. a revival. the relatively small number of 20 -century In addition to a large body of orchestral The first clarinet work emerged in chamber works for clarinet and strings, and instrumental works (which includes 1936, his Clarinet Concerto for clarinet this work deserves pride of place. It three masterful symphonies), Rawsthorne and string orchestra, written for and first explores a wide variety of moods (even a also wrote for the cinema in the 1940s and performed by on little jazz), has a very strong and engaging ’50s with perhaps his most notable score February 22 of the following year and first rhythmic drive and uses both the material being the 1953 British war film The Cruel broadcast on the BBC in December. It was and the forces in a highly imaginative Sea. Rawsthorne developed a neoclassical in fact the BBC that brought Rawsthorne manner. There are two recordings, again tonal and melodic style more akin to and Thurston together: Thurston was one by Thea King with members of the the forward looking, mid-20th-century principal clarinet in the BBC Symphony Aeolian Quartet on the Lyrita Label, continental composers (Hindemith and Orchestra and Rawsthorne’s wife a and a second by Nicholas Cox on the Bartók for example) rather than following member of the first violins. They remained Redcliffe label. It is published, as are all the “English” school of Vaughan Williams, friends for life. The Concerto’s four the Rawsthorne works, by OUP. Howells and others. His music is also inventive but rather austere movements There was quite a gap before highly contrapuntal. By the 1930s he had are titled “Preludio,” “Capriccio,” “Aria” Rawsthorne produced another major become very highly regarded and indeed, and “Invention.” While it is quite work involving the clarinet. In 1963 in the words of John McCabe, may be challenging (both for the performer, and, he composed his Quintet for piano and

16 | THE CLARINET SEPTEMBER 2018 NEWS

winds which was commissioned by the BBC and first performed as a broadcast with an invited audience on April 4. This time the clarinetist was Jack Brymer, who wrote in his book The Clarinet: “A good work by this first-class composer. Too rarely performed.” In the intervening years Rawsthorne had extended his style at both ends of the tonal spectrum; there was both more diatonic writing and more bitonality, together with occasional use Photo reprinted by permission of the Rawsthorne Trust of a fairly mild form of serialism. In fact, two movements in this Quintet are written using serial technique – not that they sound especially dissonant or unlike most other Rawsthorne works. Like Malcolm Arnold, Rawsthorne clearly enjoyed exploring contemporary compositional techniques. The work is challenging – though not as much as, for example, the Messiaen Quartet for the End of Time – and, with its overt lyricism, wit and Bartókian rhythmic drive, would appeal to audiences. John McCabe, in his book on Rawsthorne, compares it to “the best of French wind writing.” It would make a fascinating companion to performances of Mozart’s Quintet for piano and Alan Rawsthorne in 1946 winds, K.452. There is a recording by The Fibonacci Sequence with clarinetist Richard Sidnner on the ASV label which also includes Rawsthorne’s fourth and final horn, violin, cello and piano. It is an challenges are very accessible, and audiences work to include a major clarinet role. unusual combination; only Thomas would find his voice approachable and Commissioned by the Music Group Dunhill and the Czech composer Fibich certainly most distinctive. v of London (clarinetist Keith Puddy), that have written similar quintets. It was Quintet fourth work is the for clarinet, composed in 1970 and first performed ABOUT THE WRITER at the Queen Elizabeth Hall on the Paul Harris is one South Bank in February 1971 and was of the U.K.’s most Rawsthorne’s final completed work. influential music It plays for less than 10 minutes. The educators. He studied composer’s health had deteriorated the clarinet at the significantly by this time, and though the Royal Academy of music has something of an introverted Music, where he won and dark character there are still passages the August Manns of cheerful and energetic writing. It’s Prize for outstanding cast in an interesting one-movement performance and where he now teaches. form (slow-fast-slow-fast-slow), with the He is in great demand as a teacher, writing sparse and contrapuntal yet still composer and writer (he has written over idiomatically written for each instrument. 600 music books and compositions), and So, we have four fascinating works his master classes and workshops continue from the pen of Alan Rawsthorne. For any to inspire thousands of young musicians clarinetist who is interested in exploring and teachers all over the world in both Alan Rawsthorne recording by The Fibonacci lesser-known repertoire there is much to the principles and practice of musical Sequence on ASV Records be relished here. The music is first rate, the performance and education.

SEPTEMBER 2018 THE CLARINET | 17 PEDAGOGY

Corner by Diane Barger, ICA Pedagogy Chair The ICA thanks Diane Barger for her service as pedagogy chair for the 2016-2018 term. We welcome Paula Corley as our new pedagogy chair beginning with the next issue. GO FiSH!®

n considering my topic for this air to shape the phrase in that masterwork situation as a first-year doctoral student, issue’s “Pedagogy Corner,” I kept is a wonderful thing to explore. I fortunately found the experience to thinking of the word “pedagogy.” Write out a step-by-step procedure be invigorating and delightful as I felt Pedagogy is defined as “the for how you would teach a particular quite comfortable teaching in front of principles, practice, or profession of area of pedagogy to a student. This can the group of students in the master class. I 1 teaching.” Great; now, how do we do it?! be a very eye-opening exercise, as you Upon returning from the interview to my Outside of modeling our own teachers, might be surprised at how you will need doctoral program, I asked my professor how do we really develop our own to incorporate another area of pedagogy if he could give the graduate students an teaching style and learn how to teach? into that description. For example, when opportunity to perform master classes in The Roman philosopher Lucius speaking about articulation, one needs to front of him so he could offer critiques Annaeus Seneca (also known as Seneca the also address embouchure, air, and tongue and grant us the experience of presenting Younger) declared, docendo discimus – by position and its movement. How explicit a master class before were required to do teaching, we learn.2 I find myself regularly can you be in your written direction it for the first time at a job interview. This telling my students that once they become without going into extraneous detail? And, is something I offer my graduate students a teacher, they will exponentially grow do you have various analogies you might on a regular basis at my university and an and have more “aha!” moments as they use to discuss this particular aspect of exercise I highly recommend if you do not take what they learned in lessons, guest clarinet playing? currently arrange that for your students. master classes and the like and truly be Find opportunities to teach someone For some excellent insights into the able to internalize it and then disseminate else, no matter what your age level. Know organization and teaching of a master class, it. To this day, I often think back on a your limitations so you do not attempt I highly recommend a few articles from particular phrase or gem of wisdom one to teach someone beyond your level of back issues of The Clarinet by Kelly Burke4 of my teachers bestowed upon me and say expertise, of course, but get out there and and Leigh Lafosse,5 as well as Lafosse’s to myself, “Oh, that is what he meant!” begin using your words and knowledge doctoral document on the subject.6 and then aim to develop that pedagogical to teach. You can simply pair up with a Outside of learning how to teach, I concept into my own way of teaching it to buddy in your same studio once a week also often think about how we can make my students. Being able to teach a concept and offer each other pedagogical praise the learning environment a safe and helps you build a better understanding of and critiques in between lessons with your nurturing place for our students. After all, the subject material, increases your own primary teacher, start building your own offering critiques is a part of what we do observation and interpersonal skills as you private studio or visit a local band program on a consistent basis, and the praise we work with another human being, and aids and offer your services as an instructor. The offer might fall on deaf ears as students in the ability to understand other learning truth is, the best way to teach is to learn often focus on the negative rather than styles of those you teach.3 along with our students. Most certainly, the positive. Which brings me to my final Whether you are a student or already I am indebted to the numerous students thoughts… how might we create the best teaching in some capacity, observing others who have taught me to be a better teacher environment for teaching? teach is a wonderful way to enhance your along the way (and, I am still learning)! A few years ago, I discovered the FiSH!® own skills as an educator. For example, I Additionally, teaching a one-on-one philosophy and its many books on the learn so much from watching my quintet private lesson is different than teaching subject.7 This phenomenon began years colleagues give a master class while on a a master class for a room full of eager ago when documentary film maker John tour, or while listening to a master string students, all of whom you wish to engage Christensen was shopping in Seattle where player coach a student. Using the concept throughout the experience. So often our he heard a crowd of people cheering of how a violist might bow a passage in a first encounter in teaching a master class at the world-famous Pike Place Fish Brahms sonata and transferring that to how is at a job interview for a college teaching Market. There he watched a fishmonger a clarinetist might use their articulation and position. When I found myself in that toss a huge salmon to a coworker who

18 | THE CLARINET SEPTEMBER 2018 PEDAGOGY

For more information about the FiSH!® philosophy, I encourage you to read some of the books listed in the endnotes and visit their website. I hope you find it as enlightening as I do, and I challenge you ® v Photo by Shiana Montanari Shiana by Photo to Go FiSH! ENDNOTES 1 www.dictionary.com/browse/pedagogy 2 Crispo, Victoria, “How Teaching Can Help You Learn,” Idealist Careers, https://idealistcareers.org/ teach-to-learn/, September 2015. 3 Ibid. 4 Burke, Kelly, “The Art and Science of a Successful Master Class,” The Clarinet, Volume 36, No. 2, March 2009, pp. 40-45. 5 Lafosse, Leigh, “Mastering the Master Class: Preparing Students to Teach,” The Clarinet, Volume 42, No. 4, September 2015, pp. 42-44. Inspirational fish hang in Dr. Diane Barger’s 6 _____. “Learning to Teach a Master Class, with studio at the University of -Lincoln a Consideration of its Pedagogical Value and Examples from the Clarinet World,” doctoral dissertation, Indiana University, Bloomington, 2014. 7 Stephen C. Lundin, Ph.D., Harry Paul and John Christensen. FiSH!® A Remarkable Way to caught it with one hand in a grand mark that have a profound impact on teaching. Boost Morale and Improve Results. New York: of showmanship. The crowd roared and Play: Strive for the fun aspect of ChartHouse International Learning, 2000. soon the fishmonger invited a customer learning. Yes, many times it is challenging, _____. FiSH! TALES®. Real-Life Stories to Help to catch a fish. Christensen watched as but there can always be joy found in You Transform Your Workplace and Your Life. large numbers of fish were being sold and ChartHouse International Learning, 2002. the smallest of challenges met, or in the ® customers were being greeted cheerfully by _____. FiSH! STICKS . A Remarkable Way to Adapt tiniest of improvements made. Helping employees and enjoying the entertainment to Changing Times and Keep Your Work Fresh. our students find the enjoyment of ChartHouse International Learning, 2003. surrounding them. The next few days, ® learning, even when they feel like they’ve _____. FiSH! FOR LIFE . A Remarkable Christensen filmed the employees working hit a plateau, is one of the secrets of their Way to Achieve Your Dreams. ChartHouse the crowds at the fish market and later International Learning, 2004. continued success. analyzed the footage noting actions used Philip Strand, John Christensen and Andy Make Their Day: Give the sincerest Halper. SCHOOLS OF FiSH! Welcome Back in their business that could be applied compliment you can to a student rather to the Reason You Became and Educator. to anyone wishing to be successful. He than offer empty praise, and make them ChartHouse International Learning, 2006. noted that the Pike Place Fish Market 8 www.fishphilosophy.com/fish-philosophy-story/ feel like they are the most important owners and employees worked to engage people and create a positive workplace person in the room during their lesson. atmosphere using these four principles:8 Send your student an email a few days ABOUT THE WRITER after the lesson to check up on them and Diane Barger is 1. Play. Have fun doing what you do. give them some encouraging words. Tell Professor of Clarinet 2. Make Their Day. Go the extra mile; them you are proud of them. and member give a compliment; smile; do random Be There: Actively listen to them of the Moran acts of kindness; remember to say throughout the lesson and forget about Woodwind Quintet “thanks,” etc. the to-do list on your desk. Completely at the University of 3. Be There. Be an active listener and absorb yourself in the moment and be an Nebraska–Lincoln participant in the conversation; active participant in the lesson. This also where she was the put away the distraction of your extends beyond the lesson in answering recipient of the 2013 cellphone; listen; make eye contact; emails in a timely manner or being Annis Chaikin avoid distractions. enthusiastic when asked to write a letter of Sorensen Award for Excellence in Teaching. 4. Choose Your Attitude. Take responsibility recommendation for a student, etc. She is principal clarinet of Lincoln’s Symphony for how you respond to what is Choose Your Attitude: No matter Orchestra, ICA pedagogy chair (2016-2018) happening in your life. what may be happening in your own life, and Nebraska state chair (2010-present), Christensen then formalized this act your way into a new way of thinking and previously served as artistic director philosophy in 1998, which spawned and choose how you interact with your of ClarinetFest® 2012 and ICA treasurer books, videotapes and workshops all student. Your attitude goes a long way (2000-2010). She is a Buffet Crampon Artist, around the world. towards influencing your student’s attitude D’Addario Woodwinds Artist/Clinician and a I find these to be wonderful principles throughout the lesson and beyond. Silverstein Works PRO-Team Artist.

SEPTEMBER 2018 THE CLARINET | 19 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].

oday nearly all clarinet players among and saxophone fingerings can in the United States use the be found. Eventually certain improvements of fingering. were added on some models that eased This fingering system is so some of the awkwardness, including ring prevalentT that many players do not realize keys, rollers on the little-finger keys, and that any other systems existed. Yet, 100 a device known as the “patent C-sharp.” years ago the Boehm system was still This improved system came to be known something unfamiliar and there was in the U.S. as the (for more reluctance to switch to this system. information consult “Albert and the Albert If not using Boehm clarinets, then, what System” in The Clarinet, Vol. 27, No. 2, kind of fingering was used? The system March 2000). was based on a 13-key model that was C.G. Conn of Elkhart, Indiana, developed in the first decade of the 1800s. marketed instruments for everyone’s That model, in turn, evolved from the fingering preferences and pocketbooks. In classical clarinet of five keys. This “simple the September 1910 edition of C.G. Conn’s system” had some important differences in Truth, clarinets are offered that use the the fingering from what we use today. The Albert “or Ordinary System,” the Boehm fingering of B-natural/F-sharp on the 13- system, and the “Improved System Wonder” key clarinet utilized the first finger of the and “Perfected Wonder System.” The latter right hand – a fingering that on the Boehm two are based on the Albert system. Prices produces B-flat/F-natural. Today’s duplicate ranged from $34 for the Albert system little finger keys did not exist. Playing E/B, model, $44 for the Improved Wonder, $55 for example, necessitated pressing both the for the Perfected Wonder, and $65 for the F/C as well as the E/B key. Resemblances most expensive Boehm.

Photo 1: NMM 552 Photo 2: NMM 734 Conn clarinet Conn clarinet

“Wonder” “Improved Wonder” Photos by Dara Lohnes-Davies, courtesy of National Music Museum, University Dakota. South of

20 | THE CLARINET SEPTEMBER 2018 NMM 552 (see Photo 1) is an be used to produce C-sharp/G-sharp. All of June 2005 and Vol. 29, No. 3, June 2002.) example of an Albert-system clarinet in the touches are connected with two small The Truth declares: the collections at the National Music levers that are located beneath the touches For those Clarinetists who, by Museum. This example incorporates (see Photo 3). Third-line B up to G-sharp education have acquired an innate several improvements such as ring keys requires no movement from the left hand love for the Albert System Clarinet, and little-finger rollers. With this clarinet little finger! the Improved and Perfected model two fingers are required to play E/B, and The “Perfected Wonder System” instruments come nearer their ideal going from F/C to A-flat/E-flat requires clarinet is exemplified by NMM 3813 than any other Clarinets made. These sliding, just as would be expected on any (see Photo 4). This system combines the instruments combine all the facilities other Albert-system clarinet. The Improved Pupeschi C-sharp/G-sharp improvements for fingering that are employed in the System Wonder Clarinet, NMM 734 (see along with “other modern devices.” Some Boehm System Clarinet, but the user Photo 2), makes clarinet playing “easy.” “It of those devices include an alternate way is not required to go to the trouble of combines all the advantages of the Boehm to finger A-flat/E-flat taking advantage of learning a new system… and Albert Systems without necessitating a two-part plateau key for the first finger A 1909 edition of the Truth goes even the use of new on the bottom joint (see Photo 5). (More further by stating “In the opinion of many fingering,” touts information can be found in “Historically Speaking” in The Clarinet, Vol. 32, No. 3, they even have the Boehm System beat.” the 1910 Truth. For those wanting the best of both worlds, This is important – Conn offered the Pupeschi C-sharp/G- the basic Albert sharp on Boehm-system clarinets as an system of fingering extra-charge option. v is still used with improvements designed by ABOUT THE WRITER Pupeschi. This Dr. Deborah Check Italian inventor’s Reeves is the Curator U.S. patent was of Education and issued in 1894 (US Woodwinds at the 512,449). Here National Music there is no separate Museum (NMM) in touch for C-sharp/ Vermillion, SD, and G-sharp. Instead, associate professor any of the left-hand at the University of little-finger keys can South Dakota. She received a doctorate in clarinet performance from the University of Iowa. She plays with the Sioux City Symphony Orchestra and directs Tatag, the NMM’s Javanese gamelan performance ensemble. She is a contributing editor to The Clarinet, and serves as the ICA South Dakota State Chair and the Secretary Photo 5: NMM 3813 Conn clarinet bottom joint of the American Society.

Photo 3: NMM 734 Photo 4: NMM Conn clarinet 3813 Conn clarinet Pupeschi key back “Perfected Wonder”

SEPTEMBER 2018 THE CLARINET | 21 Clarinet by Kellie Lignitz-Hahn and Bret Pimentel

WEBSITE WATCH CLARINET JOBS orchestra.” Zimmermann has produced Zimmermann maintains an active www.clarinetjobs.com videos on works including Mendelssohn’s profile on the web and has other interesting Symphony No. 3, Rachmaninoff’s Piano and informative videos on YouTube worth Earlier this year James Zimmermann, Concerto No. 2 and Ginastera’s Variaciones investigating, including his video on the principal clarinetist of the Nashville Concertantes. In these half-hour-long making of Frank Ticheli’s Clarinet Concerto. Symphony and creator of the Facebook videos, Zimmermann walks viewers Readers might remember Clarinet Cache’s group “Clarinet Jobs,” branched out from through his process of preparing and interview with him in our second column the social media platform and created practicing the music, uses a GoPro in September 2008, just a year after he a new and interesting website under camera for up-close video footage during began the Facebook group “Clarinet Jobs.” the same name. As a purveyor of job rehearsals, and concludes with post- Almost a decade later we are pleased to see openings, Zimmermann has created a performance reflections and self-critiques. Zimmermann continuing to enrich the space where the clarinet community can Not only are these videos an inside peek clarinet community through social media quickly find job advertisements and see at how an orchestral musician might and his new website. who recently won positions. approach and prepare for a concert, but One of the best features on his website they are also humorous and showcase GOPRO is access to his Excerpt Education Series Zimmermann’s expertise at editing video. As mentioned above, James Zimmermann’s videos which, in his words, try “to help For those interested in the recording and use of the GoPro camera during rehearsals people learn how things really are in an technical side of his videos, Zimmermann offers a unique and close-up perspective, notes what type and brand of equipment akin to sitting right in front of someone he used for each recording. as they play. This camera is not new to Unlike other orchestral excerpt the market and a few clarinetists have videos out on the web, Zimmermann posted YouTube videos of performances goes the extra mile with his analytical and rehearsals captured with a GoPro details and demonstrations of practice camera. What made this compact camera techniques in his Excerpt Education so popular is its capability of taking Series videos. Readers are sure to gain a wide-angle, high-quality photos and new level of awareness of intonation and video in extreme conditions or sports, pitch accuracy in the slow movement like mountain biking or skydiving … or of Rachmaninoff’s Piano Concerto No. 2 playing the clarinet! with his detailed charts, individual pitch Clarinetist Corrado Guiffredi’s 2014 analyses and use of software programs. YouTube video taken with a GoPro Not only does he provide a breakdown camera of his live performance of Michele of intonation tendencies note by note Mangani’s Verdiana captures his flying throughout the well-known clarinet solo, fingers with a frontal, up-close camera but he also analyzes and critiques his own angle positioned right on Guiffredi intonation issues during his practice and standing before the orchestra. To rehearsals leading up to the performances. experience a different performance angle, His meticulous attention and illustration check out Garrick Zoeter playing Romanza of how a clarinetist must continuously for Clarinet and Piano by Mangani. This James Zimmermann adjust during the solo is like a master class YouTube video is taken with the camera on the excerpt in and of itself. strapped to Zoeter’s head and positioned

22 | THE CLARINET SEPTEMBER 2018 downward. This particular perspective induces a feeling that viewers could be be playing the piece themselves and looking down at the instrument as Zoeter and his clarinet sway with the music. Dean Newcomb’s two videos taken with GoPro camera are also worth watching. His 2016 video of the Adelaide Symphony Orchestra clarinet section rehearsing the Presto movement of Shostakovich’s Ninth Symphony offers a exciting, though brief, excerpt within the music. His unaccompanied performance of Béla Kovács’ Hommage à Manuel de Falla has the camera positioned just below the music, giving a grounding view of Newcombe and his instrument. There are countless YouTube videos of performers Eric Seddon using different angles and equipment to record themselves. THE E-FLAT CLARINET PROJECT dating back to 2011, Seddon writes about is on the brief side, but contains a link https://eflatclarinetproject.wixsite.com/ equipment and interviews, and reviews to the Smithsonian’s website where you eflat recordings. His lengthy posts are well- can search Artie Shaw’s name and get written and full of tidbits of historical full access to the 100-page transcript of Managed by Jennifer Fraley, the E-flat information. This site is a great starting the museum’s Jazz Oral History Program Clarinet Project is a website dedicated to point for clarinetists wanting to know more interview. In his candid answers and the repertoire and educational materials of about jazz players and equipment, and it is anecdotes, Shaw first begins the interview this auxiliary instrument. Educators and also a great read for seasoned players. with his take on what qualifies a player as performers can use the repertoire database One post that caught our eye was a “jazz musician.” He also talks about his to search over 70 solo and chamber about an interview with Artie Shaw. (then) current book he was writing and music titles from beginning to advanced Seddons’s post about Shaw’s 1992 speaks at length about past experiences, levels. As it is a work in progress, readers interview for the Smithsonian Museum gigs and recordings with fellow musicians, are encouraged to submit works and recordings not found on the site. In the blog section of the project, articles range from reed guides to tips for orchestral players, reaching players ADDENDUM: with various interests. In one post Fraley discusses how to choose the best E-flat A Comprehensive List of French Concertos fingerings and supplies a helpful chart for Clarinet Since 1950 of her preferred fingerings, including a blank fingering chart viewers can print out by Jean-Marie Paul and use to record their own fingerings. Although the video section of the site The Clarinet Vol. 45, No. 2 (March 2018) published my paper about French currently has only three videos, hopefully concertos since 1950. There are two titles to complete this list: with time more selections will make their way onto the website. Donnot, Eric (b. 1959) – Concerto pour clarinette; premiered in 1990 in the region of Lyon by Gilles Swierc (clarinet) and the Orchestre Symphonique Lyonnais THE JAZZ CLARINET conducted by Philippe Fournier; recorded on CD (private CD for SERF http://thejazzclarinet.blogspot.com/ enterprise) in 1993 by Jacques Di Donato, clarinet, with the same orchestra. Chebrou, Michel (b. 1954) – Concerto pour clarinette et orchestre symphonique; Created by writer and jazz clarinetist Eric premiered on June 2, 2018, in by Julien Desgranges, clarinet, with Seddon, The Jazz Clarinet blog is sure to the Orchestre Symphonique Opus 76 conducted by Tristan Benveniste; to be be of interest to any clarinet enthusiast. recorded on a forthcoming CD. v Containing a prolific number of posts

SEPTEMBER 2018 THE CLARINET | 23 and later in the interview divulges why he her way through the melody with her North Texas. She received both her DMA and left America and moved to Spain. improvisation skills. Seddons’s blog post not MM degrees in clarinet performance from the A more current 2018 post by Seddon only presents this video to his readers, but University of North Texas and her BM from highlights ’s famed jazz he also draws personal connections shared Washburn University. Her primary teachers clarinetist Doreen Ketchens’ impressive between him and Ketchens from years past. include James Gillespie and Kirt Saville. performance with the Louisiana Kellie is a Regional Artist for Vandoren. * * * * * Philharmonic Orchestra. This YouTube Bret Pimentel is an video of her rendition of the traditional As always, email us at clarinetcache@ associate professor tune Just a Closer Walk with Thee in the St. gmail.com to let us know what we missed, of music at Delta Louis Cathedral has her altissimo notes or to provide ideas for future columns! v State University soaring as high as the cathedral ceiling. (Mississippi), where Video footage of the performance captures ABOUT THE WRITERS he teaches clarinet, the audience and orchestra members’ oboe, , and delight as Ketchens effortlessly weaves Kellie Lignitz-Hahn saxophone and directs is an active clinician, the Jazz Ensemble. performer and teacher, He received DMA and has played in and MM degrees in multiple woodwinds Don’t miss an issue the Corpus Christi performance from the University of Georgia Symphony Orchestra, and Indiana University respectively, and a of The Clarinet! Victoria Symphony BM in saxophone performance from Brigham Renew your Orchestra and Young University. His clarinet teachers have Laredo Philharmonic included D. Ray McClellan, Guy Yehuda, membership online at Orchestra. She formerly taught at Texas Daron Bradford, and Heather Rodriguez. He www.clarinet.org A&M University–Kingsville and held a is an active performer in a variety of musical teaching fellow position at the University of settings. He blogs at bretpimentel.com.

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24 | THE CLARINET SEPTEMBER 2018

Alexandre Clarinet Rydin Works by Jean-Marie Paul

lexandre Rydin, born on September 22, instruments. From 1984 to 2000, he taught music 1939, in Lisbon, Portugal, is a composer theory at the Conservatoire de Lausanne. and professor of clarinet and music As a composer, he remains committed to respect theory. He is the son of a Finnish mother for tone quality and the neoclassical tradition. For and a Swedish father. He moved to Switzerland in him the sense of colors is essential, hence his interest A1949, where he has lived in Lausanne since 1962. in figurative painting. He wrote in 2005: He became a Swiss citizen in 1994. I love the lyricism of composers like Rydin studied music at the Conservatoire de Dutilleux, Lutoslawski or Berg; they are a Musique in . In 1963 he earned his clarinet part of my inner universe. I do not subscribe diploma with Robert Gugolz in Geneva, and in to electroacoustic music nor to music which 1965 he earned his Virtuosity Diploma at the is fundamentally atonal, because it is not Conservatoire de Lausanne with Robert Kemblinsky. based on a freedom where the creativity of the He also studied piano, cello, percussion, organ and composer can fully express itself. orchestration, and studied conducting with Lovro Rydin gave all of his handwritten and published von Matačić and George Szell. works to the Cantonal and University Library of From 1963 to 1994, Rydin taught clarinet at the Lausanne in 2005 (www.bcu-lausanne.ch). This Conservatoire de La Chaux-de-Fonds. In 1962, he article will focus on the works for clarinet, with founded the Musica Viva Institute in Lausanne, a comments from the composer, but of course Rydin music school of around 200 pupils playing various has composed more than 80 pieces including instrumental and choral works, operettas, and symphony movements. Several of Rydin’s works were premiered at ClarinetFest® 2018 in Ostend, Belgium. Alexandre Rydin RYDIN – CLARINET WORKS Unless otherwise specified, the works are unpublished, the manuscripts are located at the Cantonal and University Library of Lausanne, and they are for clarinet in B-flat.

1960-1961. Antigone, stage music for instrumental ensemble: fl, ob, cl, vn, pno, perc. 1963. Quatre Poèmes for mezzo-soprano, cl and pno on a text of Gabriel Mireval. Recital Publications, 2005. Four movements: “Pas de patrie sans espoir,” in which clarinet replies to voice in a quiet and transparent mood; “Chaleur,” a brief piece in quintuple meter; “Parode et parade,” a surrealist poem for which the composer has written a fast piece (Allegro feroce) with strong alternating colors, accents and abrupt stops; and “Tout ce qu’aimer ne veut pas dire,” a quasi-tonal piece with a long melody played by the clarinet and then taken up by the voice; the movement is shrouded in a warm mood.

26 | THE CLARINET SEPTEMBER 2018 1966. Grand récit for cl and organ. 1979. Nocturne for fl, 2 cl and bsn. moods: Andante, Subito meno mosso 1967, rev. 2009. Sonate for cl and 1981. Suite for fl and cl. Published by and a quasi-Allegretto that ends the pno. Recital Publications. The first the BCU in 1999. Three movements: work with panache. movement is a nervous and passionate “Introductione,” “Elevatione” and 2005. Oskan for clarinet alone. 6/8; the second contains a recitative, a “Inventione.” Commission of Emilie Duss for his cadenza and a serious and thoughtful 1986. Andante for B-flat clarinet quartet. Bachelor of Arts Diploma.1 Premiered aria, and the third an Allegro agitato. A simple piece of medium difficulty, in public on July 10 by Emilie’s 1971. Bucolique for B-flat clarinet quartet. published by Andel. professor Frédéric Rapin. Oskan means 6 min. Billaudot, 1981. The piece is 1987. Prélude à l’Automne. Clarinet quartet “thunderstorm” in Swedish (do not intended as a musical divertissement, (3 B-flats and bass). A pedagogical forget that Rydin’s father was Swedish), built around several French-style piece, premiered by students. but here it is more the expression of melodies and harmonic meetings with 1988. Fantaisie for two four-hands , a soul’s tension, of feelings of revolt a joyful character. Alternating binary fl, ob, cl, vc. indeed. This pressure relies on major and ternary rhythms and the dialogue 1989. Quatre pièces lyriques for clarinet sevenths, rhythmic contractions and between the instruments give this alone in B-flat or A. Dedicated to his chromatic motives. Rydin explains: piece a feeling of freedom and joy of teacher Robert Kemblinsky. Billaudot, The piece had to be brilliant, life. Recorded in 2001 by the Arundo 1991. 1. “Adagio lirico,” a free melody. lyrical, deep, with various tempi Donax quartet. 2. “Capriccio,” humorous touch, and dynamics but without 1973. Le Vaisseau dément (La galère). Trio with gracious and light passages. breaking the movement. The for soprano, clarinet in A and organ 3. “Suspensus,” originally for , beginning is slow, hard, dark, on a poem of M. de Bellomayre. A here transposed to a lower key that with progressive intense arpeggios tortured and dark poem which tells the gives a dark and disturbing mood. 4. that lead on an Allegro that is story of a shipwreck. “Impetuoso,” animated tempo with fury constant until the end. With 1974, rev. 1990. Toccata for B-flat clarinet and determination until the last note. short motives and rhythms it is quartet. Published by the BCU in 2005 1991. Travelling II for 8 instruments and finally a fight between chaos and (grouped with the Fantasia of 1993). A string orchestra (fl, ob, cl, bsn, hn in F, order. Polytonal style, sometimes piece which is built on a motive of two tpt in C, ten tbn, 4 timpani and strings). atonal, always with contrasts. But notes, repeated indefinitely, based on 1993. Fantasia (Petit quatuor) for B-flat at the end, tonality wins. a halting rhythm – trying to catch the clarinet quartet. Published by the BCU feverish spirit of the toccatas for organ in 2005 (grouped with the Toccata of 2005. Romantica for cl and pno. 4’30”. of the 18th century, which had a fast 1974). There is also a Fantasia for cl Published by Delatour, 2006. and whirling rhythm that relaxed only and pno, 2007. Schumann-style. For the average at the end. 2000. Lycanthropie for alto voice, cl, hn, student. A melody in C major 1975. Concerto (No. 1) for clarinet and gtr, vib, bass. Text of Luis Manuel. This accompanied by arpeggios at the piano. string orchestra with timpani. Three music underlines the lyrics of this song. The central part is more lively and movements: a vigorous Allegro, a The spirit of the text is to describe the suggests a peasant’s dance; this leads mysterious and mind-blowing Adagio decline of the world, the abdication of to a short cadenza for clarinet alone. ma non troppo and a darkly humorous man and that “love is deeper on the The piano introduces the Allegretto Molto allegro. Premiered by Philippe other side of the mirror.” and the clarinet takes again the initial Cuper at ClarinetFest® in Lawrence, 2001. Microcosmos for clarinet quartet theme, but this time the melody goes USA in 2016 with the ClarinetFest® (3 B-flats and bass). Dedicated to the passionately to the high notes before Chamber Ensemble conducted by Swiss Clarinet Players. going to the end in the low register. David Neely. Video is available on 2003. Aubade for cl and pno. A pastoral 2006. Max et Moritz for narrator and VandorenTV or YouTube. Manuscript piece for students from beginning to clarinet quartet. This work was score. medium difficulty level. Published by withdrawn and replaced by Jatékok. 1976. Arabesque for fl and cl, or 2 cl (or fl Combre. 2006. Jatékok for clarinet quartet (revised and vn). 2004. Légende nordique for cl and pno. version of Max et Moritz without 1977. Travelling I, hommage à Charlie 4’50”. Dedicated to René Twerenbold, narrator). Premiered by the Swiss Chaplin for B-flat clarinet quartet. clarinetist, saxophonist and composer Clarinet Players, Kirchberg (near Bern), 6’40”. Billaudot, 1996. This piece for band and big band. Billaudot, 2011. Paris: Editions Billaudot, 2008. evokes both the comic attitude and the 2005. Born in the imagination of the 2007. Fantasia for cl and pno. Published by inner anxiousness of the great Chaplin – composer, a land full of fairies and Combre, 2009. Also Schumann-style. a mixture of emotion and laughter. trolls in the deepness of Scandinavian For a 3rd or 4th year student. (There is 1978. Chansons en ballade for male choir, forests. The piece begins slowly with a also a Fantasia for cl quartet, 1993) fl, cl, pno and B-flat clarinet quartet. long clarinet solo that opens onto an 2009. Opus for clarinet alone. Dedicated Arr. of songs of Charles Trénet, Gilbert Allegretto with bouncy rhythms. The to Emilie Duss. Recital Publications. Bécaud and Jean-Villar Gilles. following episodes are with various After a slow and dark beginning, the

SEPTEMBER 2018 THE CLARINET | 27 melodic structures, becoming more Published by IMD in 2016. Premiered (and dedicated to him) tight and insisting, stop at a pause. in Lugano, July 29, 2015 by Philippe for the Choeur de clarinettes de Versailles, This is followed by an Allegro spiritoso, Cuper, cl; Gabor Meszaros, bsn; premiered at the ClarinetFest® in Ostend, punctuated by short motives that Andrea Dindo, pno. First live recording Belgium on July 7, 2018. v are continuously moving forward. at ClarinetFest® 2016 in Lawrence, Asymmetrical rhythms and repeated Kansas (world premiere of bass clarinet * * * * * notes are the driving force of the version). Philippe Cuper, cl; David Alexandre Rydin can be contacted at movement until its end. A parenthesis Gould, bass cl; Gail Novak, pno. Video [email protected]. follows with a few very slow measures; on VandorenTV or YouTube. then an energetic Allegro with the 2015. Concerto N°2. Version for clarinet PUBLISHER WEBSITES: clarinet reaching very high notes, an and strings, premiered by Philippe Andel: www.andelmusic.be obstinate quest towards the light. The Cuper in 2016. BCU-Lausanne: www.bcu-lausanne.ch work ends on a brilliant fortissimo. 2017. Concerto N°2. Version for clarinet Delatour: www.editions-delatour.com/en 2010. Métamorphoses for clarinet alone. and orchestra, premiered by Philippe IMD: www.arpeges.fr/fr/page/editions-imd Recital Publications. Alternating theme Cuper at ClarinetFest® 2018 in Ostend, Recital Publications: and motives until the last page where Belgium. Modified clarinet part. www.recitalpublications.com the theme appears as a bare and long 2018. Traveling III for clarinet and Woodbrass Switzerland: www.woodbrass-music.com contemplation. Full of melancholy and piano. Premiered in Kraków, Billaudot and Combre do not sell directly appeasement. Poland, Florianka Concert Hall and are generally well distributed. 2011. Duetto specchio (two clarinets). (in collaboration with the Kraków Academy of Music) on May 25, 2018 Premiered in 2011 by Frédéric Rapin ENDNOTES by Philippe Cuper, clarinet, and and Emilie Duss for the 2013 CD by F. 1 Emilie Duss, Les pièces suisses pour clarinette seule, Wioletta Fluda, piano. Rapin (see below). au travers d’Alexandre Rydin (Lausanne: Haute 2018. Traveling IV for bass clarinet and 2012. Les Baladins, fl, cl and pno or 2 Ecole de Musique, 2010). Avalable at: http:// piano. Premiered by David Gould, cl and pno. Delatour. Pedagogical docplayer.fr/17922962-Les-pieces-suisses-pour- bass clarinet, at ClarinetFest® 2018 in piece, jazzy style, medium difficulty. clarinette-seule-au-travers-d-alexandre-rydin.html Published by Andel. Ostend, Belgium. 2012. I tre silenzi for clarinet alone. 10’45”. 2018. Spotlights for clarinet choir. ABOUT THE WRITER Dedicated to Philippe Cuper and Commissioned by Philippe Cuper premiered by him in Herzberg, Aarau, and Vandoren, and premiered by the Jean-Marie Paul Switzerland on Aug. 15, 2013, with a Choeur de clarinettes de Versailles (b. 1954), was conducted by Philippe Cuper awarded a First Prize French premiere in Versailles on Dec. (dedicated to him) at ClarinetFest® in clarinet from a 10, 2013 (video on YouTube). Published 2018 in Ostend, Belgium. French Conservatory in 2012 by Woodbrass Switzerland. but never planned 2013. Incantation for bass clarinet alone. ADDITIONAL INFORMATION to be a professional, Homage to Dutilleux. A version for Clarinetist Frédéric Rapin recorded the Photo by James Korn, cop. Vandoren playing with various clarinet in B-flat exists, both published CD Alexandre Rydin, musique de chambre concert bands for 20 by Andel. pour clarinette (Doron, 2013), including years and focusing 2014. Les Préludes for cl and pno. Premiere the works Jatékok, Travelling, Sonate, 4 mainly on researching repertoire, writing in Lugano, Switzerland, July 29, 2015 Poèmes, Légende nordique, Suite, Duetto papers and giving lectures at conservatories by Philippe Cuper, cl; Andréa Dindo, Specchio, Oskan, Opus and Métamorphoses. and ClarinetFest® conferences. Due to a jaw pno. Published by IMD. This is a As noted above, there are several videos surgery which prevented him from continuing sectional piece. The main sections are of Rydin’s works performed by Philippe to play, Paul founded the French Clarinette Allegro, Molto moderato, Largo con Cuper including Concerto, Préludes and magazine (1984 -1996) which gave him espressione, Allegro gioviale, Andante L’Irlandaise, available at VandorenTV or the opportunity to be in contact with many elegiaco, and Impetuoso. This piece uses YouTube. world-renowned players and composers. the full range of the clarinet to altissimo Rydin has also recently adapted some After university studies, Paul was A with bit more at the bottom of the pieces from other composers at Editions a university librarian from 1978 to range than is often seen. Advanced IMD in the Philippe Cuper collection: 1993. Since 1993, he has worked as a college level with a duration of about Mozart’s Trio des Quilles (“Kegelstatt” Trio) communications manager for Vandoren. 10:15. There is a live video of the U.S. adapted for 2 cl and pno; and Pleyel’s Trio, Paul has served also served as a National premiere at ClarinetFest® 2014 in Baton Op. 20, for 2 cl and bsn or bass cl. He Chairperson (France) of the ICA since 2012, Rouge, Louisiana with Dianne Frazer, also adapted a Sonate of Johan Helmich and is also the current ICA historian. He has pno, on VandorenTV or YouTube. Roman for cl and pno, ed. Billaudot. Je written articles for The Clarinet since 1980, 2014. L’Irlandaise, trio for cl, bsn (or bass cherche après Titine of Léo Daniderff was focusing on repertoire or composers and also cl) and pno. Based on a popular song. orchestrated by Rydin at the request of has a regular column “News from France.”

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n April 19, 1941, celebrated jazz number of factors that made him uniquely suited clarinetist and soprano saxophonist for success in this novel endeavor: his understanding Sidney Bechet (1897-1959) stepped of the musical roles for each instrument in New into the RCA Victor recording studio Orleans early jazz ensembles, his experience with the to make a historic multi-track recording of the recording process from years of prolific recording, OTin Pan Alley hit “The Sheik of Araby” by playing his mastery of melodic counterpoint and his interest all six instruments: clarinet, soprano saxophone, in learning new instruments throughout his career. tenor saxophone, piano, bass and drums. Because Most often remembered as a jazz prodigy who of Bechet’s many important contributions to the played virtuosic improvisations with a deep, woody development of jazz, this intriguing early experiment clarinet tone and passionate vibrato, Bechet was with overdubbing (often referred to as his One-Man a constant innovator, pioneering the soprano Band recording) is often overlooked. There are a saxophone in jazz and redefining how jazz music itself was performed. Lewis Porter pointed out: In the early twenties Bechet played with a rhythmic drive and technical skill then unparalleled, and he improvised more freely than most other jazz musicians… jazz players tended to think of the solo as a set piece, an original composition to be worked on and polished in private, and to be played in roughly the same way at each performance. Bechet and [Louis] Armstrong, however, improvised their solos to the fullest extent, and influenced others to follow their direction in what turned out to be the way of the future.1 called Bechet “one of the truly great originals”2 and realized that when needing to replace him after a short stay with the band, two different musicians would have to be hired to cover his part in the arrangements: (alto saxophone) and (clarinet).3 Bigard wrote, Photo Courtesy of Institute of Jazz Studies Photograph Collection, Rutgers University Libraries I’ll tell you about one of the greatest instrumentalists that I ever heard in my life. This guy didn’t have any knowledge about reading music but he became one of the most famous players in jazz. That’s Sidney Bechet. The one and only – and I mean one and only – Sidney Bechet.4 Bechet’s original style had a substantial influence on other jazz musicians, most notably Johnny 5 Sidney Bechet in 1941 Hodges, who learned all of Bechet’s licks; , who took some lessons with Bechet before

30 | THE CLARINET SEPTEMBER 2018 eventually filling in for him in Freddie his lessons with the Tios were short-lived, Keppard’s band;6 Johnny Dodds7 and even especially since their studio teaching John Coltrane.8 methods rigorously focused on music- reading skills and exercises in published BACKGROUND method books.13 In fact, his music Born into the Creole musical tradition illiteracy may have been a reason that Jim of New Orleans, Bechet began playing Europe decided not to hire Bechet for clarinet when he was only 6 years old his orchestra in Chicago (and because his and eventually performed with the most clarinet was “on the brink of falling apart, respected jazz groups in New Orleans, save the tape and rubber bands”).14 including those led by , Bunk Even at this early stage of his Johnson, and Clarence development, Bechet had the confidence Williams.9 These bands provided Bechet and ability to make any equipment work with a solid understanding of the role that – no matter if the instrument was in each instrument typically played in early disrepair or had been recently borrowed jazz: the cornetist playing the melody, the from a pawn-shop.15 Violinist Peter clarinetist playing virtuosic obbligatos and Bocage remembered, the trombonist playing complementary Bechet was there. Just full of countermelodies (although Bechet talent, and never had two weeks sometimes challenged these traditional good schooling in his life. But man roles by taking the lead himself, including could he play that clarinet. We was times when trumpeter playing on Basin Street…And one became too intoxicated).10 Bertin Salnave night he came there, he was nothing recalled an occasion in 1922 when an but a kid, and he didn’t have no unfamiliar tune was called: reed. He took a piece of cigar box Picking up his saxophone he and shaped a reed and played all 16 [Bechet] spoke to the trombonist, night with that thing. “You have to play your part like During one performance, some of the this,” then turning to me he said, keys on his instrument stopped working: “You Salnave, you do it like this. Undeterred, Bechet went on You, piano man, you’ve got the piano stage as though nothing was amiss. 11 part? Good! Now we can play it.” Lyttelton’s reed player could hardly Bechet first studied with Creole believe his ears at the marvelous clarinetists and Louis “Big music that Bechet produced, despite Eye” Nelson DeLisle, and then took a few being unable to use half of the lessons with Louis “Papa” Tio and Lorenzo instrument’s keys: “It was almost Tio, Jr. Charles Kinzer states, like an act of Zen. Bechet willed himself to create notes that weren’t A staunch individualist from really there on the instrument.”17 the beginning, Bechet by his own admission never grew accustomed Bechet also worked up a stage trick of to directed study. In about 1907, slowly disassembling his clarinet during Bechet acted upon the suggestion the course of a tune so that by the end he 18 of that he undertake was only playing the mouthpiece. study with Tio’s older brother, His inability to read music did not deter him from composing his own Louis: Years later, Sidney, his eyes tunes – a skill that called “the twinkling, used to recall Papa Tio’s least recognized aspect of his genius.”19 roar of disapproval, “No! No! No! Bechet wrote “Polka Dot Rag” with James We do not bark like a dog or meow Toliver and several ballads, including “I like a cat!”12 Want You Tonight” with vocalist Billy Throughout his career Bechet always Maxey, and “Petite Fleur,” which became resisted learning to read music, and a huge hit after his recording in 1951. instead relied on his incredible ear and “Les oignons” also became popular and musical memory. This is most likely why he composed the themes for two ballets:

SEPTEMBER 2018 THE CLARINET | 31 Photo Courtesy of the Hogan Jazz Archive, Tulane University

Sidney Bechet with Rex Steward and Earl Hines; Victor Studio recording session on September 6, 1940, Chicago

“La Nui test une sorcière” and “La Colline as if they underwent the editorial length. They are admirable equally du delta.”20 Bechet would typically play scrutiny of a written composition… His for their richness of invention, their or sing his melodies into a tape recorder countermelodies are models of harmonic force of accent, and their daring for a transcriber to notate; ideas that came clarity and inventiveness.”22 This ability novelty and unexpected turns. These to him at all times – even while using the allowed Bechet to effortlessly create and solos already show the germ of a bathroom. Drummer Moustache Galepides interweave the three contrapuntal horn new style….I wish to set down the remembered Bechet yelling from the toilet parts in the One-Man Band recording. name of this artist of genius; as for for his wife to bring him his saxophone In 1919, Will Marion Cook engaged myself, I shall never forget it – it and “soon the magic sounds of a new opus Bechet as a soloist with his orchestra, is Sidney Bechet….he follows his drifted out from the tiny, secluded room. which led to Bechet’s successful European “own way” – and then one considers Bechet emerged triumphant, explaining debut and the famous words of praise that perhaps his “own way” is the that the melody had entered his head at a from Swiss composer highway along which the whole 24 most unlikely moment.”21 who just the year before had conducted world will swing tomorrow. Bechet’s capacity for creating the world premiere of Stravinsky’s 23 It was while he was in London that sophisticated melodies in the moment, L’Histoire du Soldat: Bechet purchased a soprano saxophone often while in counterpoint with other There is in the Southern and began to incorporate it into his instruments, was described by clarinetist Syncopated Orchestra an concerts, performing throughout France, John Cipolla: “The high degree to extraordinary clarinet virtuoso who Germany and Russia.25 which the structural notes consistently is, so it seems, the first of his race Thus, by the time Bechet made his create an inherent architecture is quite to have composed perfectly formed experimental One-Man Band recording in remarkable. [Bechet’s] countermelodies are blues on the clarinet. I’ve heard two 1941, he had gained valuable experience constructed with an innate organization, of them which he elaborated at great performing with the top New Orleans

32 | THE CLARINET SEPTEMBER 2018 musical organizations, toured around sustained notes. Once, when asked about the world, and extensively recorded – his vibrato, Bechet responded, including under his own name for 26 I play every number the way Victor and Blue Note in the 1930s. I feel it. Do you know how I get Furthermore, he had always been the best effect out of a piece? I willing to learn to play new instruments look at the lyrics and try to get throughout his career. Early on, he played the same sort of effect through my the E-flat clarinet, which was common 27 instrument that the words of the in New Orleans brass bands, and one song express. The vibrato is just a musician remembered that Bechet had 28 form of that expression and I’d do it experimented on the oboe and bassoon. on any instrument I might play.34 In addition to the soprano saxophone, Bechet played concerts with His prominent broad vibrato most on the bass saxophone and even the likely was inspired from hearing early E-flat contrabass saxophone. He was also recordings of opera singers while growing an accomplished pianist, as Bob Wilber up – in fact, the virtuosic style of New Orleans jazz clarinet has been likened to accounted: “Sidney’s piano playing was Next, Bechet used a similar process to the coloratura soprano in Italian opera.35 highly effective. He was good at keyboard record Blues for Bechet, but only managed Many early jazz musicians from New voicings and at resolving harmonies – they to record four of the parts before running Orleans, including , might have sounded odd but he had a way out of studio time (piano, tenor saxophone, were influenced by opera; both from the of making progressions flow easily. He’d clarinet and soprano saxophone). After 29 contact with Italian immigrants living in happily sit down at the piano for hours.” its release, the album received national And in 1924 Bechet made the only known attention and Bechet recalled, “Oh, it was the French Quarter and Storyville, and jazz recording of a sarrusophone with a great story for the newspaper men, and because opera was a central component Clarence Williams.30 they raised so much hell that the union of popular culture during the early 36 made the company pay me for seven men, 1900s. The recordings of the famed ONE-MAN BAND and it was forbidden to do it again!”32 tenor Enrico Caruso (1873-1921), who at After learning in 1940 that it was possible In The Sheik of Araby, Bechet begins times employed a broad vibrato, made the 37 to overlay clarinet and soprano saxophone with several solo breaks on the tenor biggest impact on Bechet’s playing. parts onto a previously recorded piano saxophone, which he then uses to play the Although guitarist and inventor track, Bechet resolved to record an album lead for the first chorus while playing a Les Paul had begun experimenting on his own by playing six different harmony part on soprano saxophone and with acetate overdubs as early as 1930, instruments. He then spent months an improvised obbligato line on clarinet. Bechet’s One-Man Band recording is learning to play the bass and drums, Although the rhythm section instruments significant as the first example of one and figured out the harmony parts that are difficult to hear on this track, the three musician playing every instrument on a he would play on each instrument. He frontline instruments are remarkably multitrack recording. Yet his recording started the session by recording one of balanced – especially when one considers was generally regarded as a novelty by the parts to The Sheik of Araby as the basic that the recording quality decreased with record companies because the “sound track, and then overdubbed each new part the addition of each new part. The final on sound” process meant that with each while listening to what he had previously 32 bars includes Bechet’s famous chorus overdub, one generation of sound quality recorded through headphones. Since it for this tune that at one point he taught was lost.38 (Paul would go on to perfect his 33 was before the practice of tape recording, to Johnny Hodges of Ellington’s band. overdubbing technique; eventually finding each take had to be captured on successive Blues of Bechet begins with Bechet playing a solution by using a specially crafted acetate discs (78 rpm wax originals). a piano introduction, followed by two phonograph disc lathe cutter.39) Perhaps it Chilton states, choruses that demonstrate his ability to was because of the inferior sound quality create satisfying melodic counterpoint: first that the One-Man Band recording sold Bechet later said that he was using the tenor saxophone and clarinet, and in a “cold sweat” throughout his poorly during the early 1940s, even with then the tenor and soprano . the extra efforts to publicize it.40 laborious and exacting task. There Listeners have the unique opportunity On the other hand, many appreciated were three major hold-ups: on two to hear Bechet play rhythm section the inventiveness of the recording, occasions Bechet hit “clinkers” instruments on these recordings, and including stride pianist Fats Waller. In an whilst recording the clarinet part, it’s particularly striking to hear how interview, Bechet recalled: and once the earphones slipped off his signature vibrato on the frontline in mid-performance, causing him to instruments perfectly lines up with Oh yeah, you mean about the stop in confusion.31 identical speed and width during the one-man-band? Oh boy. Yeah it’s a

SEPTEMBER 2018 THE CLARINET | 33 story alright. Every time I’m about to ENDNOTES 26 Ibid., 44. listen to that record or talk about it, 1 Lewis Porter and Michael Ullman, “Sidney 27 Bruce Boyd Raeburn, “King Oliver, , and Sidney Bechet: Ménage à Trois, I always think about that joke I had Bechet and His Long Song,” The Black Perspective in Music 16 (Autumn 1988): 135. New Orleans Style,” in The Oxford Companion telling Fats Waller about it. When he 2 Duke Ellington, Music Is My Mistress (New York: to Jazz, Ed. by Bill Kirchner (Oxford: Oxford told me about how much he liked Da Capo Press, 1973), 47. University Press, 2000), 89. the record, you know? So I said, well 3 , Sidney Bechet: The Wizard of Jazz 28 Bigard, With Louis, 72. 29 Chilton, Sidney Bechet, 80 & 194. it would have been a good record if (New York: Da Capo Press, 1987), 70. 4 Barney Bigard, With Louis and the Duke (New 30 Ibid., 66. the fellas would have had a rehearsal. York: Oxford University Press, 1986), 70-71. 31 Ibid., 141. So he thought he’d die when he 5 Ibid., 54. 32 Sidney Bechet, Treat It Gentle (New York: Da 6 William Howland Kenney, “Jimmie Noone: Capo Press, 1975), 180. heard me say that! Because, as a Sidney Bechet Chicago’s Classic Jazz Clarinetist,” American 33 Chilton, , 91. matter of fact, I was speaking about 34 Ibid., 144. Music 4 (Summer 1986): 146. 35 Walser, Ed., Keeping Time, 147. the engineers, you know? I meant if 7 Martin Williams, The Jazz Tradition (Oxford: 36 Berret, Joshua, Ed., The Louis Armstrong we would have had a little rehearsal Oxford University Press, 1983), 11. Companion: Eight Decades of Commentary (New 8 Whitney Balliett, Jelly Roll, Jabbo, and Fats (New before, it would have come out much York: Schirmer Books, 1999), 26, 29. York: Oxford University Press, 1983), 36. better. So he thought that was very 37 John Cipolla, “Linear Aspects of Harmony in the 9 Gunther Schuller, Early Jazz: Its Roots and Countermelodies of New Orleans Jazz Musician, funny, you know, because it is hard Musical Development (New York: Oxford Sidney Bechet” (D.M.A. diss., the University of to get musicians to rehearse, see? And University Press, 1968), 195. North Carolina at Greensboro, 2002), 24. 41 10 Chilton, Sidney Bechet, 168. the fact was that it was me myself. 38 Virgil Moorefield, The Producer as Composer: 11 Ibid., 53. Shaping the Sounds of Popular Music (Cambridge: Bechet’s multitrack record was later 12 Charles Kinzer, “The Tio Family: Four The MIT Press, 2005), 4. Generations of New Orleans Musicians, recognized by Robert Palmer in his listing 39 Brian Kane, “Relays: Audiotape, Material of the top eight pioneers who made an 1814-1933” (Ph.D. diss., the Louisiana State Affordances, and Cultural Practice,” Twentieth- University, 1993), 303-304. Century Music 14 (2017): 71. impact on the development of rock and 13 Charles Kinzer, “The Tios of New Orleans and 42 40 Chilton, Sidney Bechet, 148. roll. Their Pedagogical Influence on the Early Jazz 41 Transcribed by the author, “Bechet Talks About It has been said that throughout his Clarinet Style,” Black Music Research Journal 16 One Man Band Sheik Araby With Wynne Paris,” career Bechet struggled to balance his (Autumn 1996): 280. Sidney Bechet 1940-1945, Vol. 1 (Remastered, 14 Larry Ross, African-American Jazz Musicians in competitive nature and confrontational 2012). the Diaspora (Lewiston: The Edwin Mellen Press, 42 Robert Palmer, “The Pop Life,” The New York personality with his lifelong desire to 2003), 26. Times (3 February 1982): Section C, 19. organize an authentic, collectively swinging 15 Chilton, Sidney Bechet, 14. 43 Porter and Ullman, “Sidney Bechet,” 148. New Orleans ensemble.43 His One-Man 16 Ibid., 20. 44 Chilton, Sidney Bechet, 190. 17 Ibid., 275. Band recording might have come as close 18 Ibid., 21. to achieving that goal as possible. Bechet 19 Bob Wilber, “Sidney Bechet: Artist of Genius,” ABOUT THE WRITER once correctly forecasted, “I’m going to be The Clarinet 10 (Fall 1982): 14. Jesse Krebs is professor playing until I die, and people are going to 20 Porter and Ullman, “Sidney Bechet,” 146. Sidney Bechet of clarinet at Truman 44 21 Chilton, , 251. appreciate me.” He was truly a seminal 22 John Cipolla, “Sidney Bechet’s Linear Harmony,” State University figure in the development of early jazz as The Clarinet 31 (June 2004): 69. (Kirksville, Missouri), a naturally talented melodist who was not 23 Schuller, Early Jazz, 195. where he instructs the afraid to be an original, and his countless 24 Robert Walser, Ed., Keeping Time: Readings in Jazz History (New York: Oxford University Press, clarinet studio, teaches contributions to music will continue to be 1999), 11. jazz history, and recognized for generations to come. v 25 Ross, African-American Jazz Musicians, 43. directs the Truman Clarinet Choir. He received a D.M. from the Florida State University, an M.M. from the University CLARINET SOLOS of North Texas, and a B.M. from the with University of North Carolina at Greensboro. FULL ORCHESTRAL ACCOMPANIMENT Dr. Krebs has performed guest recitals in Costa Rica, England, Thailand, Ireland, change the tempo, record yourself with the accompaniment and throughout the United States, and he frequently performs as a substitute with the Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini Kansas City Symphony. His articles have been published in The Clarinet journal, for more information, please visit our web site The Instrumentalist magazine, and the ClassicalCollectionInc.Com NACWPI journal, and he is currently serving as the ICA Research Coordinator. Contact him at [email protected].

34 | THE CLARINET SEPTEMBER 2018 by Victor Chávez, Jr.

larinetFest® 2019 will take place in of the West. Additionally, the Knoxville Recital Hall in the Natalie L. Haslam Knoxville, Tennessee, USA, July Symphony Orchestra concert will be Music Center. 24-28, 2019. Artistic Director presented at the historic Tennessee Theatre The city of Knoxville, Tennessee, located Victor Chávez, Jr. and the Artistic in downtown Knoxville and will feature a at the foothills of the beautiful Smoky C Mountains, is within one day’s drive of Leadership Team of Gary Sperl, Jessica world-premiere double concerto by Dan Harrie, Vanguel Tangarov and Robert Crozier, performed by Bill and Cathy approximately 49.4% of the United States. Walzel will host the 2019 conference with Hudgins. The USAF Band of the West The city offers a large variety of shopping, a theme of “Embracing the World.” concert will feature clarinetists from all entertainment and dining options for ClarinetFest® 2019 will be held on the branches of the armed services. attendees. Three hotels, situated near campus of the University of Tennessee – All conference attendees are invited to the 1982 World’s Fair Park and within Knoxville in the newly constructed perform in a mass clarinet choir that will walking distance of the venues, will serve and state-of-the-art Student Union venture to set the world record for largest as the conference host hotels. Shuttle bus Building, Alumni Memorial Building clarinet choir ever assembled. There will service will also be available throughout the and the Natalie L. Haslam Music also be an exhibition of period clarinets conference. Downtown Knoxville hosts 75 restaurants, many remaining open very late, Center. Headlining concerts will feature on display. Competition participants will within one square mile and approximately the Knoxville Symphony Orchestra, have the chance to compete in the recently one mile from the Student Union Building Knoxville Jazz Orchestra and USAF Band constructed, world-class Sandra G. Powell and Alumni Memorial Building. The wider Knoxville region is known for the scenic Smoky Mountains National Park, Gatlinburg, Sevierville and Pigeon Forge, a tourist destination featuring musical theater, restaurants, shopping and the popular theme park Dollywood. East Tennessee is known for its barbecue and southern culinary delights, as well as bluegrass and country music. International Clarinet Association

Photo by Gary Sperl / Logo by Andy Kim members are invited to submit performance and presentation proposals for ClarinetFest® 2019 (see the call for proposals in this issue). The Artistic Leadership Team seeks to have a diverse selection of performances and presentations with primary focus on the conference theme “Embracing the World.” For more information about ClarinetFest® 2019, please log on to the ICA website (www.clarinet.org) as well as the ClarinetFest® 2019 Facebook page. v

36 | THE CLARINET SEPTEMBER 2018

The Repertoire for Voice, Clarinet, and Orchestra or Piano, ca. 1780-1888 by Albert R. Rice

PART 1 xtensive obbligato clarinet solos are a feature of six important clarinetists (John Mahon, Joseph of numerous vocal works written during Friedlowsky, Thomas Willman, Joseph Williams, the late 18th and 19th centuries, including Bernhard Henrik Crusell and ); it was E operatic arias, concert songs, sacred works played 179 times from 1810 to 1873. Other 19th- and cantatas. Many are significant parts of the century works often share themes of the shepherd, clarinet’s repertoire and a pleasure to perform with bird calls,2 and yearning for home. These works a skilled singer and orchestra, or a sensitive pianist. are musically well-written including Meyerbeer’s The purpose of this article is to list and describe Hirtenlied (Shepherd’s Song), Lachner’s three songs, 28 significant works written between ca. 1780 and and Kreutzer’s Der Mühlwad (The Mill Wheel).3 1888, and to provide their title and date, modern The most important and enduring aria with published copies, and when known, the clarinetist obbligato clarinet is Mozart’s “Parto, parto ma tu who performed the work, and date ben mio” from Act 2 of La Clemenza di Tito (1791). of performance.1 It was performed 113 times by , Josef From about 1780 to 1830, works for solo voice, Beer, Johann Hermstedt, Crusell, Willman, Williams obbligato clarinet and orchestra were written by and Lazarus, and is often heard today in the version several major and minor composers including Pietro for soprano, clarinet and piano. Originally, Mozart Alessandro Guglielmi, Pierre Gaveaux, Ferdinando wrote this aria with Anton Stadler’s Paer, Franz Schubert, Johann Nepomuk Poissl, in mind since the clarinet part includes low D and Giacomo Meyerbeer, Bernhard Henrik Crusell and C written in the bass clef, an octave lower than Luigi Cherubini. From 1828 to 1888, works were sounding – a notation frequently used in 18th- written for voice, obbligato clarinet and piano by century music.4 Stadler’s 15 opera and Schubert, Franz Paul Lachner, Auguste-Mathieu chamber performances from 1791 to 1810 in Prague, Panseron, , Andreas Späth, Giacomo Riga, , Hanover and popularized Meyerbeer, Mariano Obiols, Heinrich Proch, this aria. In fact, there are four extant 19th-century Conradin Kreutzer, Peter Joseph von Lindpaintner, B-flat basset clarinets, suggesting that some players Johann Wenzel Kalliwoda, George Alexander commissioned instruments made for playing Mozart’s Macfarren and Henry Lazarus, who arranged a aria.5 However, the majority of later clarinetists did Thomas Arne song. not purchase a basset clarinet, but played “Parto, The first work for this combination is Franz parto” edited for the range of a conventional B-flat Schubert’s outstanding Der Hirt auf dem Felsen (The clarinet with E as the lowest note. Shepherd on the Rock), written in 1828. It remains the most popular in the repertoire. Another well- SELECTED WORKS FOR SOPRANO, known, musically attractive work is Louis Spohr’s CLARINET OBBLIGATO AND ORCHESTRA 1837 Sechs Deutsche Lieder (Six German Songs). The OR PIANO earliest work is a brilliant sacred aria by Guglielmi, 1. Guglielmi, Pietro Alessandro (1728-1804). “Gratias agimus tibi” (ca. 1780). During the 19th “Gratias agimus tibi” for soprano, obbligato B-flat century it was the most popular and most frequently clarinet and orchestra, ca. 1780. This virtuoso played. This study identifies performances of “Gratias display piece uses a Latin text based on the Gloria agimus tibi” mentioned in newspapers and journals from section two of the Ordinary of the Catholic

38 | THE CLARINET SEPTEMBER 2018 Mass,6 and was probably taken from an unidentified Mass.7 Several other clarinetists during the 19th century performed this work, as documented in newspaper reports.8 The last two pages of an early manuscript (ca. 1810) in the Berlin Staatsbibliothek (Fig. 1a-1b) display a clarinet and soprano cadenza just before the end, not included in the later manuscripts and the modern edition.

Modern edition: Guglielmi, Pietro Mus.Ms. Berlin, 8818/10. Staatsbibliothek, of Courtesy Alessandro. “Gratias agimus tibi,” Aria for Soprano, obbligato clarinet and orchestra, reduction for soprano, clarinet and piano, Massa, Italy: Nico Bertelli Edizioni, 2003. Performers and dates: John Mahon, 1810-1822; Joseph Friedlovsky, 1818; Thomas Willman, 1819-1840; Joseph Williams, 1820-1860; Bernhard Crusell, 1827; Henry Lazarus, 1840-1873.

2. Mozart, Wolfgang Amadeus (1756- 1791). “Parto, parto ma tu ben mio” for soprano, obbligato clarinet (or basset clarinet) and orchestra in La Clemenza di Tito K. 621, Act I, No. 9. The opera was completed in Vienna on September 5, 1791.9 The solo clarinet writing includes a slow lyrical melody, various arpeggios, and chromatic passages. It is skillfully incorporated in a scene where Vitellia asks Sesto why he does not leave, and he answers with the aria, “Parto, parto ma tu, ben mio.” Emotions in the text are reflected in music, as Sesto’s voice is sensitively combined with a beautiful clarinet melody. The tempo change to Allegro indicates Sesto’s excitement and anxiety while the clarinet plays triplets.10 The aria reaches an exciting ending. During Stadler’s concert tour on November 29, 1794, at the Schauspielhaus in Hamburg, he performed “Parto, parto” with the soprano Therese Beschort and an orchestra, as advertised in a program announcement (Fig. 2).11 Modern editions: . “Parto, parto (Vengeance! Vengeance!”) Aria from the opera La clemenza di Tito, for soprano voice, clarinet in B-flat and pianoforte, arranged by Walter Bergmann, London: Schott, 1950. “Parto! Ma tu Figure 1a-1b. Pietro Alessandro Guglielmi, “Motteto, Gratias agimus,” manuscript score, ca. 1810, 6-7.

SEPTEMBER 2018 THE CLARINET | 39 Courtesy of Library of Congress, T7. M1500.G28

Figure 2. Program announcement of Stadler’s concert including Mozart’s “Parto, parto ma tu ben mio” from La Clemenza di Tito on November 29, 1794 at Hamburg’s Schauspielhaus. Reproduced in Harald Strebel, Anton Stadler: Wirken und Lebensumfeld des “Mozart- Klarinettisten.” Fakten, Daten und Hypothesen zu seiner Biographie, Vienna: Hollitzer, 2016, Band 2, No. 64, 129. The author thanks Harald Strebel for permission to reproduce this program.

Figure 3. Pierre Gaveaux, “Polacca Rondeau No. 6, Il à peut-être connu lui même le pourvoir le l’Amour,” ben mio;” aria for soprano, with clarinet in Le Trompeur Trompé, Opera comique en un acte et en prose, Paris: Fréres Gaveaux (1800), 72. obligato, New York: International Music Co., 1952. “Parto, ma tu ben mio,” (“Wohl den, doch dann, Geliebt: Thomas Willman 1817-1839; Joseph Modern edition: Aria (polacca) uit de wohl den, wohl den!”) Arie, mit Williams, 1827-1862; Henry Lazarus, opera Le trompeur trompé: voor sopraan, Klarinette in B und Klavier, Leipzig: 1854-1869. clarinet en orkest, voor sopraan, clarinet VEB Breitkopf & Härtel, 1957. “Parto, en piano, ed. H. Flothius, : parto:” Sesto’s aria from the opera “La 3. Gaveaux, Pierre (1760-1825). “Il Broekmans en Van Poppel, 1952. Clemenza di Tito”: voice, clarinet & à peut-être connu lui même le pourvoir piano, ed. Chris Allen, Ampleforth, le l’Amour,” in Le Trompeur Trompé, 4. Paer, Ferdinando (1771-1839). England: Emerson Edition, 2003. 1800. This well-written aria for soprano, “Una voce al cor mi parla” for soprano, Clarinetists and dates: Anton Stadler obbligato B-flat clarinet and orchestra obbligato B-flat clarinet and orchestra in (basset clarinet), 1791-1810, Johann has a florid clarinet solo that blends well Sargino, ossia l’allievo dell’amore (1803), Stadler (basset clarinet), 1795, Josef with the soprano melody. The first page of Act 2, No. 16. The aria starts with an Beer, 1802, Johann Hermstedt, 1816- the score shows part of the introduction orchestral Adagio introduction (No. 14), 1819; Bernhard Crusell, 1816-1830; played by the clarinet (Fig. 3). including two C clarinets, followed by a

40 | THE CLARINET SEPTEMBER 2018 recitative (No. 15) that segues to “Una and 8 featuring virtuosic passages for both voce al cor mi parla.” It begins as a Largo soprano and clarinet. Only the alternating ma non troppo with two orchestral B-flat concertante passages of the soprano are clarinets written in tenor clef notation.12 loosely connected to the plot. The text An allegro section starts this bravura of this cantata deals with the unrequited clarinet solo with two eighth-note solo love of the shepherdess, Teolinda, for the clarinet pickups to share the melody with shepherd, Armidore (the clarinet part). the soprano. After a short Maestoso, Paer The soprano voice and clarinet tone returns to the first tempo, followed by a join, complimenting each other, and ritardando, and a brilliant ending. In the occasionally culminating in thirds.17 London press during the 1840s, this aria Modern editions: Meyerbeer, Giacomo. was sometime called “Gran Dio,” from the “Gli amori di Teolinda” cantata scenica first words of the text. An early London o concertante, Edizione critica, eds. performance of “Una voce al cor mi parla” Gaetano Rossi, Markus Engelhardt was played by Thomas Willman and sung and Peter Kaiser, München: G. Ricordi by Miss Goodall on June 8, 1820, at a Bühnen- und Musikverlag, 2000, benefit concert for the composer Louis score, parts, and piano/vocal score, 13 Spohr (Fig. 4). Willman also played in rental; “Gli amori di Teolinda” Opera Spohr’s Nonet and Sextet. buffa in einem Akt, Adliswil: Albert J. Clarinetists and dates: Anton Stadler Kunzelmann, n.d., score, parts, and (basset clarinet), 1805-1806; Bernhard piano/vocal score rental. Crusell, 1810-1816; Heinrich Clarinetist and dates: , 1814-1818; Johann Baermann, 1816-1817. Hermstedt, 1819; Thomas Willman, 1820-1825; Joseph Williams, 1841- 8. Poissl, Johann Nepomuk Baron 1845. von (1783-1865). “Ihr weintet meinem Schmerz,” Aria for soprano, obbligato 5. Schubert, Franz (1797-1828). “Salve Figure 4. Program announcement of Louis clarinet, and orchestra, third act of Der Regina” for soprano solo, obbligato C Spohr’s benefit concert in London including Wettkampf zu Olimpia oder Die Freunde, clarinet, and orchestra, 1812. This is an Paer’s “Una voce, al cor mi parla” from Sargino on June 8, 1820. Reproduced in Herfried Homburg, 1818. early work using a Latin text, probably Louis Spohr: Bilder und Dokumente seiner zeit, Modern edition: Poissl, Johann Nepomuk written for a student orchestra at the Royal : Röth Verlag, 1968, 102. Baron von. “Ihr weintet meinem Seminary in Vienna.14 The clarinet part is Schmerz,” Aria for soprano, obbligato primarily placed in the clarion register and clarinet and orchestra, arranged for nicely compliments the soprano solo part. (Violine) und Klavier. Klavierauszug von soprano, clarinet and piano, Massa, Modern editions: “Salve Regina” für Wolfgang Gabriel, Wien: Doblinger, Italy: Nico Bertelli Edizioni Musicali, Orchester und Orgel, ed. Franz Kosch, 1978. “Totus in corde langueo:” D 136; 2014. Wien: Schubert-Erstdrucke IV (1928); Offertorium in C; per soprano solo ed 9. Schubert, Franz. “Romance” for “Salve Regina” for soprano (alternative orchestra (2 flauti, clarinetto, 2 corni, soprano, obbligato C clarinet, and clarinet II), piano and obbligato clarinet 2 violini, violoncello (contrabasso), ed. orchestra from Die Verschworenen, oder in B flat, transcribed for B-flat clarinet, Werner Bodendorff, Klavierauszug Der häusliche Krieg, D. 787, 1823. A ed. Pamela Weston, London: Nova (piano score), ed. Paul Horn, (full 15 melancholy aria in F minor of great depth Music, 1984. score), Stuttgart: Carus-Verlag, 1997. and beauty. The clarinet part consists of 6. Schubert, Franz. 18 Offertorium. 7. Meyerbeer, Giacomo (1791-1864). short but sensitive responses to the voice. “Totus in corde langueo” for soprano, “Gli amori di Teolinda” (Thecelindens Modern editions: Schubert, Franz. obbligato C clarinet, and orchestra, 1815. Liebschaften), cantata for soprano solo, “Romanze” (No. 2) von Die This C-major work uses a Latin text obbligato B-flat clarinet, chorus and Verschworenen, Cavatina, arr. Fritz with an energetic soprano line featuring orchestra, 1816. This outstanding work Spiegl, with B-flat clarinet obbligato. melismatic runs, supported by a similar was written for the accomplished soprano 16 “Romance” from Die Verschworenen, clarinet solo line. Helene Harlas and clarinetist Heinrich London: Oxford University Press, Modern editions: Schubert, Franz. “Totus Baermann. It is written in eight parts with 1957, score and parts. Schubert, Franz. in corde langueo:” Offertorium (Op. 46): an introduction, two recitatives, chorus of Die Verschworenen: Romanze “Ich Ausgbe für Sopran (Tenor), Klarinette shepherds (male voices), with sections 4, 7 Schleiche bang’ und still herum,” soprano,

SEPTEMBER 2018 THE CLARINET | 41 Figure 5. Program announcement of Ferdinand Schubert’s concert in Vienna including Der Hirt auf dem Felsen on March 21, 1830. Reproduced in Franz Schubert, Dokumente 1817-1830, Erste Figure 6. Autograph score of the beginning of Franz Schubert’s Der Hirt auf dem Felsen, 1828. Courtesy Band-Texte, eds. T. E. Waidelich, R. Hilmar-Voit, A. of Gesellschaft der Musikfreunde, Vienna, A237. Reproduced in Eric Simon, “Schubert’s last work,” Mayer, Tutzing: H. Schneider, 1993, 573, dok. 768. Selmer Bandwagon No. 88 (1977), 22.

clarinet and piano, ed. Robert Osborne, Clarinetist and date: Bernhard Crusell, 1836; Joseph Williams, 1852; Henry Fayetteville, AR: Classical Vocal 1824. Lazarus, 1863, 1865. Reprints, 2002, score and parts. 11. Schubert, Franz. Der Hirt auf dem 12. Cherubini, Luigi (1760-1842). 10. Crusell, Bernhard Henrik (1775- Felsen for soprano, obbligato clarinet and Offertorium: “Ave Maria, gratia plena,” for 1838). “Frän Ganges Sköna Stränder” piano, 1828. Written in October 1828 for soprano, clarinet obbligato, and orchestra, (“From Ganges’ Beauteous Strands”) Anna Milder-Hautpmann and published ca. 1830. This Latin text sacred aria was 20 for soprano, obbligato A clarinet, and posthumously. In the performances by popular in England and heard at 15 orchestra is incidental music in Den Willman and Lazarus, this work is called concerts by three clarinetists. Lilla slavannan (The Little Slave Girl). “The Swiss peasant on the rock” or “Le The Swedish text was written during Berger.” An early performance in Vienna First edition: Cherubini, Luigi (1760- the 1820s. The aria is in three parts: a occurred on March 10, 1830 with Anton 1842). Offertorium (“Ave Maria, short orchestral introduction with three Friedlowsky, clarinet; Caroline Achten, gratia plena”) Solo für Soprano und recitatives, a Larghetto with a flamboyant soprano; and Albin Pfahler, pianist, as the Clarinett, mit Begleitung von 2 Violinen, and technical clarinet introduction to the sixth number on the program (Fig. 5). A Viola, Violoncell, und Contrabass in voice, and an Allegro non troppo that portion of the autograph is reproduced as Ecclesiasticon, eine Sammlung classischer states a simple clarinet theme elaborated Fig. 6. Kirchenmusik in Partitur, No. 27, with 16th notes, answered by the soprano, Modern editions: Schubert, Franz. Der Vienna: A. Diabelli, (1830), British elaborated by and joined with the clarinet. Hirt auf dem Felsen: für Singstimme, Library, Hirsch III.689.19 Modern edition: Crusell, Bernhard Klarinette und Klavier D965 (The Clarinetists and dates: Thomas Willman Shepherd on the Rock D965 for voice, Hendrik. “From Ganges’ Beauteous 1835-1840; Joseph Williams, 1836- clarinet and piano), ed. Annette Strands,” voice, clarinet & piano, 1855; Henry Lazarus, 1856-1875. edited, transcribed, and translated by Oppermann. München: Henle, 2011. Pamela Weston, Ampleforth, England: Clarinetists and dates: Anton 13. Lachner, Franz Paul (1803-1890). Emerson Edition, 1980. Friedlowsky, 1830; Thomas Willman, “Seit ich ihn gesehen,” voice, clarinet,

42 | THE CLARINET SEPTEMBER 2018 and piano, Op. 82, 1831. From 1822, Modern editions: Spohr, Louis. Sechs or cello. Bentleigh, East, Victoria, Lachner was the organist at the Lutheran deutsche Lieder für eine Singstimme, Australia: Kroma Editions, 2015. church in Vienna, and was acquainted Klarinette und Klavier, Op. 103, ed. Clarinetist and date: Johann Hermstedt, with Beethoven and Schubert. The song is Friedrich Leinert, Kassel: Bärenreiter, 1840. stylistically romantic, beautifully written, 1971. Sechs deutsche Lieder für eine with an engaging clarinet obbligato part. Singstimme, Klarinette und Klavier, 18. Lachner, Franz Paul. “Auf Flügeln op. 103, ed. Friedrich Leinert, Kassel: Modern editions: Lachner, Franz des Gesanges” for soprano, clarinet Bärenreiter, 1997. Sechs deutsche Lieder Lied von Chamisso: (Seit ich and piano, published as “Lyrisches Paul. op. 103: für eine Singstimme, Klarinette Intermezzo,” 1840. The song is romantic ihn gesehen): in Musik gesetzt für 1 und Klavier, eds. Susan Owen and in style and beautifully written with a Singstimme mit Begl. d. Pianoforte u. Michael Leinert, Köln: Dohr, 2010. obl. Clarinette oder Violoncello; Op. 82, flowing clarinet obbligato part. Mainz: Schott, 1926. Two German Clarinetists and dates: Johann Hermstedt, 1840-1841; Joseph Williams, 1842, Modern editions: Lachner, Franz Paul. songs: for voice and piano with obbligato “Frauenliebe und Leben,” for soprano, clarinet in B-flat Zwei deutsche Lieder: 1849; Henry Lazarus, 1840-1884 ( clarinet & piano, Op. 82 & “Lyrisches für Gesang und Klavier mit obligater (Often only one of the six songs was Intermezzo,” for soprano, clarinet & Klarinette in B, “Seit ich ihn gesehen” performed, No. 2, “Zweigesang” or piano, ed. H. Dechant, Monteux: and “Auf Flügeln des Gesanges”) ed. “The Bird and the Maiden.”) Musica Rara, 1981. Two German Timothy Roberts, London: European 17. Proch, Heinrich (1809-1878). songs: for voice and piano with obbligato Music Archive, 2009. “Schweitzerts Heimweh” (“Longing for clarinet in B flat (Zwei deutsche Lieder: 14. Lachner, Franz Paul. “Er, der Switzerland”) for soprano, alto, tenor, or für Gesang und Klavier mit obligater Herrlichste von allen” (“He, the Noblest baritone with clarinet, Op. 38, ca. 1838. Klarinette in B), “Seit ich ihn gesehen” of All”) for soprano, clarinet, and piano, Modern edition: Proch, Heinrich. and “Auf Flügeln des Gesanges” ed. 1847. Originally published for voice, “Schweitzers Heimweh” (“Longing for Timothy Roberts, London: European horn, and piano. Switzerland”) for piano, voice, clarinet Archive, 2009. Modern editions: Lachner, Franz Paul. “Er, der Herrlichste von allen” for piano, voice and clarinet in B-flat or Violin or cello, or clarinet in A, Fayetteville, Arkansas: Classical Vocal Reprints, 2015; “Er, der Herrlichste von allen” (“He, the Noblest of All”), soprano, clarinet (A or B-flat) or cello or violin, and piano, Victoria, Australia: Kroma Editions, 2015.

15. Panseron, Auguste-Mathieu (1795-1859). “Tyrol qui m’as vu naître” for and piano, 1834. Modern edition: Panseron, Auguste- Mathieu. “Tyrol qui m’as vu naître”: for soprano, clarinet and piano, ed. James Gillespie, Monteux: Musica Rara, 1981. Clarinetists and dates: Thomas Willman, 1834-1835; Henry Lazarus, 1857, 1866.

16. Spohr, Louis (1784-1859). Sechs deutsche Lieder for soprano, clarinet, and piano, Op. 103, 1837. Next to Schubert’s Der Hirt auf dem Felsen, this is the most popular work in this genre. From 1840 to 1884, three clarinetists performed from one to three of these songs at documented concerts.

SEPTEMBER 2018 THE CLARINET | 43 19. Spaeth, Andreas (1790-1876). Modern edition: Kalliwoda, Johann text with English version by Humphrey Alpenlied for voice, clarinet and piano, Wenzel. Heimathlied: für Soprano, Procter-Gregg, New York: International ca. 1840. Klarinette und Klavier (Homesong: for Music Co., 1976. Hirtenlied: high voice and piano with B-flat clarinet Modern edition: Späth, Andreas. soprano, clarinet and piano), ed. James obligato, New York: McGinnis & Alpenlied: Op. 167 No. 7: voice, clarinet Gillespie, Wiesbaden: Breitkopf & Marx, 1976; Hirtenlied: (für Soprano and piano, eds. Colin Bradbury and Härtel, 2000. [Tenor] Klarinette und Klavier), Berlin: Anthony Legge, London: Lazarus 21. Meyerbeer, Giacomo. Hirtenlied for Lienau, 1995; Hirtenlied: for voice, Edition, 2004. Fig. 7 is the first page of voice, obbligato clarinet, and piano, 1842. clarinet and piano, ed. Howard K. Wolf, this charming work. A simple but effective work. Boca Raton, Florida: Masters Music 20. Kalliwoda, Johann Wenzel (1801- Modern editions: Meyerbeer, Giacomo. Publications, 2008. 1866). Heimathlied (Home song) for soprano, Shepherd’s song (Hirtenlied): for voice and Clarinetist and date: Henry Lazarus, clarinet and piano, Op. 117, ca. 1841. piano (with clarinet obligato), German 1860.

22. Obiols, Mariano (1809-1888). I Laj: romanza, 1845. Modern edition: Obiols, Mariano. I lai (A Lover’s Lament): voice, clarinet, and piano, ed. Colin Bradbury, London: Lazarus Edition, (2012).

23. Proch, Heinrich. Die gefangene Nachtigall (The Captive Nightingale), Op. 11, ca. 1850. Originally the obbligato part was written in ca. 1837 for horn, cello or viola. Modern edition: Proch, Heinrich. Die gefangene Nachtigall (The Captive Nightingale), for piano, high or medium voice, clarinet or violin or cello, Bentleigh, East, Victoria, Australia: Kroma Editions, 2015.

24. Kreutzer, Conradin (1780- 1849). Das Mühlrad (The Mill-Wheel) for soprano, clarinet and piano, 1857. Kreutzer originally wrote this charming

Courtesy of Landesbibliothek Coburg, TB Lie 72#3 and Bibliotheks Verbund Bayern, http:/digital.bib-bvb.de. Bayern, Verbund Bibliotheks and 72#3 Lie TB Coburg, Landesbibliothek of Courtesy work for voice with an obbligato part for horn or cello in 1838. The clarinet obbligato part was first published by 1857. Modern edition: Das Mühlrad – In yonder valley – In jenem Tale dort unten: for soprano, clarinet and piano, ed. James Gillespie, Monteux: Musica Rara, 1982.

25. Lindpaintner, Peter Joseph von (1791-1856). Der Hirte und das Meerweib (The Shepherd and the Mermaid), for voice, clarinet and piano, Op. 156, 1857. Versions of this work were published for voice, violin and piano in 1845; voice, clarinet and piano in 1857; and for alto, basset horn and harp in 1851.21 Modern edition: Lindpaintner, Peter Figure 7. Andreas Spaeth, Alpenlied, Op. 167, Mainz: Schott (ca. 1840), 2. Joseph von. Der Hirt und das

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Copyright © Arizona Board of Regents. All rights reserved. 0618 Meerweib: The shepherd and the Modern edition: “When Daisies Pied,” for 16 John Noel Sumrall, “The literature for clarinet mermaid: soprano, clarinet (B-flat) or voice, clarinet and piano, ed. Pamela and voice and its historical antecedents,” violin, piano, Bentleigh, East, Victoria, University of Illinois at Urbana-Champaign, Weston, clarinet obbligato by Henry Doctor of Musical Arts thesis, 1974, 52-54. Australia: Kroma Editions, 2015. Lazarus, Ampleforth: Emerson: 1980. v 17 Robert Ignatius Letellier, An Introduction to the Dramatic Works of Giacomo Meyerbeer: Operas, 26. Kalliwoda, Johann Wenzel. ENDNOTES Ballets, Cantatas, Plays, Aldershot, England: Der Sennin Heimweh (The Homesick 1 For specific information on the city, venue Ashgate, 2008, 16-19; Heinz Becker, Giacomo Shepherdess), Op. 236, for voice, clarinet and dates of performance, and sources of Meyerbeer, Gli Amori di Teolinda, CD notes, and piano, 1862. advertisements of several of the works listed, see 1983; Sumrall, “The Literature for Clarinet and Part 2 of this study on the ICA website at www. Voice,” 173. Modern editions: Kalliwoda, Johann clarinet.org/tco. 18 Sumrall, “The Literature for Clarinet and Voice,” Wenzel. Der Sennin heimweh (The 2 James Gillespie, “Music for Voice and Clarinet, 52-53. Part I,” The Instrumentalist31, no. 5 (December Homesick Shepherdess: voice, clarinet and 19 Christian Ahrens, “Schuberts Der Hirt auf dem 1976), 63-65. Felsen D 965 – Lied, Arie oder ‘Duett’?” in De piano), ed. Colin Bradbury; English 3 Additional works are listed by Gillespie in edition musices: Festschrift Gerhard Croll zum 65. “Music for Voice and Clarinet Part II,” The version by Cynthia Morey, London: Geburtstag, Laaber: Laaber Verlag, 1992, 163- Instrumentalist 31, no. 6 (January 1977), Lazarus Edition, 2010. 164. 47-50; Nico Bertelli Edizioni Musicali, www. 20 The author thanks Ingrid Pearson for a Clarinetist and dates: Joseph Williams, nicobertelliedizionimusicali.it. photocopy of the title page and information. 1846; Henry Lazarus, 1849-1857. 4 Colin Lawson, Mozart Clarinet Concerto, Cambridge: Cambridge University Press, 1996, 21 Thomas Grass and Dietrich Demus, Das 27. Macfarren, George Alexander 41; Albert R. Rice, The Clarinet in the Classical Bassetthorn, Seine Entwicklung und seine Musik, 2nd ed., Norderstedt: Books on Demand, 2004, (1813-1887). “A Widow Bird” for voice, Period, New York: Oxford University Press, 2003, 145. 159. clarinet, and piano, 1867. 5 See Albert R. Rice, “The Basset Clarinet: 22 See also Thiago Ancelmo, “Henry Lazarus: Modern edition: Macfarren, George Instruments, Makers, and Patents,” in The Life and Repertoire of a Leading English Instrumental Odyssey: A Tribute to Herbert Clarinetist of the 19th Century,” The Clarinet Alexander. Two songs with clarinet Heyde, ed. Laurence Libin, Hillsdale, New York: 45/2 (March 2018), 46-49. obbligato, “A widow bird”; “Pack clouds Pendragon Press, 2016, 161-170. away,” ed. Colin Bradbury, London: 6 Nico Bertelli, introduction to Gratias agimus tibi, Lazarus Edition, 1997. Aria for Soprano, obbligato Clarinet and Orchestra, ABOUT THE WRITER Massa, Italy: Nico Bertelli, 2013. Albert R. Rice studied Clarinetist and date: Henry Lazarus, 7 Suggested by Pippa Drummond in The Provincial clarinet with Kalman 1867. Music Festival in England, 1784-1914, London: Routledge, 2011, 47. Bloch, Mitchell Lurie 28. Arne, Thomas (1710-1778). “When 8 For reproductions of the advertisements, and Rosario Mazzeo, daisies pied” (from The songs in the comedy search The British Newspaper Archive, www. and performs in local britishnewspaperarchive.co.uk and Newspapers southern California called As you like it, London: W. Smith, Publisher Extra, www.newspapers.com. 1741), arranged by Henry Lazarus, 9 Ludwig Köchel Ritter von, Chronologisch- chamber groups and 1888. Lazarus was an important British thematisches Verzeichnis samtlicher Tonwerke orchestras. He has clarinetist, active as an orchestral player, Wolfgang Amade Mozarts, 6th ed., eds. F. written four books in chamber music, and as an obbligato Giegling, A. Weinmann, G. Sievers, Wiesbaden: on the clarinet, all published by Oxford Breitkopf & Härtel, 1964, 621-622. clarinetist. He also composed and 10 John A. Rice, W. A. Mozart, La clemenza di University Press: Notes for Clarinetists: arranged works, including this song by Tito, Cambridge Opera Handbooks, Cambridge: A Guide to the Repertoire (2017); From Thomas Arne.22 Cambridge University Press, 1991, 80-81. the Clarinet d’Amour to the Contrabass: 11 Reproduced by Harald Strebel, Anton Stadler, A History of Large Size Clarinets, Wirken und Lebensumfeld des ‘Mozart- Klarinettisten’: Fakten, Daten und Hypothesen zu 1740-1860 (2009); The Clarinet in the seiner Biographie, Vienna: Hollitzer, 2016, Vol. 2, Classical Period (2003); The Baroque No. 64, 129. The author thanks Harald Strebel Clarinet (1992, a second edition is for permission to reproduce this program. scheduled for 2019); and a catalog titled 12 This clef was used frequently by many Italian composers during the early 19th century to Four Centuries of Musical Instruments: indicate the B-flat clarinet; see Rice, The Clarinet The Marlowe A Sigal Collection (Atglen, in the Classical Period, 98-106. Pennsylvania: Schiffer, 2015). He is a retired 13 Reproduced in Herfried Homburg, Louis Spohr: Part 2 of “The Repertoire for librarian and musical instrument museum Bilder und Dokumente seiner zeit, Kassel: Röth curator. In 2011 he received the American Voice, Clarinet, and Orchestra or Verlag, 1968, 102. Piano, ca. 1780-1888” 14 Pamela Weston, “Preface,” Franz Peter Schubert, Musical Instrument Society’s Nicholas discusses performances and Salve Regina for soprano, (alternative clarinet II), Bessaraboff Prize for the most distinguished recordings of these works, and piano and obbligato clarinet in B flat, London: book-length publication written in English Nova, 1984. in 2009; and the AMIS’s 2011 Curt is available at The Clarinet Online 15 Ulrich Schreiber, “Die Bühnenwerker,” in (www.clarinet.org/tco). Schubert Handbuch, eds. W. Dürr and A. Krause, Sachs Prize honoring lifetime devotion to Kassel: Bärenreiter, 1997, 355. scholarship related to musical instruments.

46 | THE CLARINET SEPTEMBER 2018 WOODWIND QUINTET CDS WESTWOOD “AUG- ALEC WILDER Woodwind Quin- MENTED” (William Helmers, clar- tets 5, 7, 8, 10, & 12: CD758. So- This is a small sample of woodwind quin- inet; Carol Robe, bs. clar) CD791. laris Wind Quintet (Kristina Belisle tets on Crystal. See web for complete list. Hindemith, (wwq, trumpet, Jones, clarinet). Wilder was one bs clar.); Janacek, Mladi (wwq, of the most popular composers of SONI VENTORUM (William McColl, bs clar.); Stark, Quintet; Mathias, late 1900s. “The works leave the clarinet): CD251. Danzi, Quintets op Concertino. “Outstanding musicality.” Fanfare listener with a feeling of great happiness.” Audiophile 68, 2 & 3; Taffanel, Quintet in g mi- REICHA, 24 Clarinet: Gene Zoro, Audition. “Solaris members play expertly.” Fanfare nor. Soni Ventorum was active 1961- Wind Quintets Wm. Helmers, Rich- MORAN WOODWIND QUINTET 2001. “the performers were the CDs 261-272 ard Spece, Dileep (Diane Cawein Barger, clarinet): country’s best” Amer. Rcd. Guide Westwood Gangolli. “Sym- CD754. Murdock, Postcards from Wind Quintet phonies in min- the Center; Higdon, Autumn Mu- FATE & FIRE: CD790 12 CD Set iature...each one sic; Lieuwen, Savannah; Heiden, Westwood Wind Quintet (William ($16.95 ea CD a masterpiece.” or $128 for all) Audiophile Audition Woodwind Quintet. “Well worth Helmers, clarinet). Welcher, The exploring. Playing is excellent. ” Gramophone Moerae & Quintet No. 2; Etler, Quin- “Westwood Wind Quintet has a standard of ensemble playing tets 1 & 2. Some of the best works that is nothing short of breathtaking.” International Rcd. Review THEODOR BLUMER Woodwind Chamber Music, BARBER Summer Music, Ligeti performed by the Moran Woodwind Quintet. (clari- ever written for ww quintet. ”a most net: Eric Ginsberg, Diane Cawein Barger.) 3 CDs: stimulating release” Fanfare Six Bagatelles, Mathias Quintet: CD750. Westwood Wind Quintet CD753: Quintett, op.57; Sextett, op. 45 (with Shirley CAMERATA WOODWIND QUIN- (David Atkins, clarinet) “recording Irek, piano); Tanz-Suite, op. 53. “refreshing and en- TET (Eric Ginsberg, clarinet): which, equally good in tone-quality, lightening” American Record Guide. CD756. Quintets by Hétu, Stein- balance and clarity, can also be de- metz, and Iannaccone. “This is CD755: Schweizer Quintett; Kinderspielung; Sextett, scribed as superlative.” Gramophone really a top-notch ensemble, op. 92 (with Paul Barnes, piano). “Blumer was an ex- and they have chosen great NIELSEN Quintet; Hindemith, Kleine ceptional craftsman [and] the performances over- pieces.” American Record Guide Kammermusik; Schulhoff, Divertisse- flow with purposeful expressivity.” Gramophone ment: CD601. Westwood Wind Quin- CD757: Serenade & Theme and Variations, op. 34; plus WESTWOOD WIND QUINTET (William Helmers, clarinet): tet (David Atkins, clarinet). “I cannot flute & piano works played by John Bailey & Mark Clinton. CD759. Kosins, Rainbow Sundae (for ww quintet); Tchem- imagine a better performance than berdschi, Concertino; Berger, Quar- the one given here by the Westwood Visit www.crystalrecords.com for many more solo tet; Hartley, Quartet; Piston, Three Wind Quintet” High Fidelity Magazine & ensemble Clarinet CDs, & hear sound samples. Pieces (fl, cl, bn); Ripper, Wind Trio. “The Westwood Wind Quintet of- CDs $16.95 each. FREE US shipping. $14 foreign shipping (mention this ad) ® fers yet another recorded tour de CRYSTAL RECORDS [email protected] force.” International Record Review 28818 NE Hancock, Camas, WA 98607 • 360-834-7022 • www.crystalrecords.com

SEPTEMBER 2018 THE CLARINET | 47 Interview with by Michael Fine Shirley Brill

fter listening to Shirley Brill’s persuasive, International Music Competition in 2007. Shirley expressive playing of the Brahms is Israeli-born, from the Tel Aviv suburb of Petach clarinet sonatas and her own convincing Tikvah (the hometown of Gal Gadot). Her name is transcription of the Janáček Violin Sonata properly “Shir-li” – appropriately, Hebrew for “sing onA a recent recording with her husband of 20 years, to me.” Her parents came from Romania. pianist Jonathan Aner, it was easy to recognize the charming and delightful person behind the MICHAEL FINE: Tell me about your musical music when we spoke via Skype in February 2018. background. How did you come to play the clarinet? She is a shining part of the clarinet renaissance, SHIRLEY BRILL: Although my parents were a stellar group of gifted, passionate advocates for not musicians – my father never played the instrument who also happen to be superb an instrument – my sister and I both had musicians. Shirley lives in Berlin where she is on the lessons as children at the Petach Tikvah Music faculty of the Barenboim-Said Akademie. (She was Conservatory. I studied piano, while my sister previously a professor at the Hanns Eisler Academy learned . I was disappointed that in Berlin.) She is an international soloist – having there were limited opportunities for chamber performed with the Israel Philharmonic, Deutches music and ensemble playing. I’m a person who Symphonie Orchester (Berlin) and many others – loves to be with and around people. Playing and notably won second prize at the Geneva piano was a rather solitary experience. I was a little lonely and missed the fun, experiences and excitement my sister talked about, playing with other students, in ensembles, in the school’s Shirley Brill orchestra, traveling on tours at home and abroad. It was then that I told the head of the conservatory that I wanted to learn another Photo by Bill Broede instrument, oboe perhaps, as there were so few other students playing it. He suggested clarinet, particularly as a very fine teacher, also of Romanian descent, would be joining the faculty for the next academic year. So I began my studies with Itzhak Katzap who became a lifelong mentor, and third grandfather.

MF: Did you take to clarinet immediately? SB: [Laughing] For me, the clarinet was love at first sight. I was fascinated, captivated by the instrument but also by the musical insights of Mr. Katzap. He was the first of three very important teachers who played significant mentoring roles in my musical life.

MF: Now that you were committed to the clarinet, had found your musical voice, so to speak, what happened after graduation from the conservatory?

48 | THE CLARINET SEPTEMBER 2018 Photo by Bill Broede

SB: I moved to the north German bringing some of the aesthetic and clarinet, they do require an extra Hanseatic town of Lübeck in Schleswig- mechanical attributes of the German measure of tender loving care, Holstein to study with the incredible system to the French clarinet, in including a long and gentle warmup . Lübeck led me to essence a unique instrument. Schwenk until the instrument is ready for the another important connection: I needed and Seggelke make their clarinets from extraordinary amount of air which we a place for the occasional repair and a variety of woods, including African clarinetists must push through the bore. tune-up of my Buffet clarinet. An Israeli blackwood (grenadilla) and Mopani. friend studying in Germany suggested Unusually, they also make modern MF: After Lübeck, you left for the New that I visit the Bamberg atelier of instruments from boxwood, a wood England Conservatory of Music in Boston Schwenk and Seggelke. They make more familiar from period instruments. and your third great teacher, Richard handcrafted clarinets from a variety of I play a boxwood instrument in Stoltzman, who was the impetus for your woods. It was my first time in a clarinet addition to a standard black clarinet. superb transcription of the Janáček Violin maker’s workshop, and I was so excited The boxwood instrument has the Sonata composed in 1914. to be at the birthplace of instruments, physical attributes and colors of a SB: Stoltzman suggested and encouraged where wood can become a vehicle period instrument with all the keys of me to transcribe pieces for the clarinet for music. Not only that, I took an the modern clarinet. as a way of exploring the instrument immediate like to the shop’s atmosphere and creating new literature at the same and vibe. Plus I felt very comfortable MF: You can hear its warm character in time. By chance, I heard the Janáček with Jochen Seggelke, the owner of the the Brahms recording for which, in at a faculty concert. It not only caught establishment; he’s a magician. your hands, this special instrument is a my attention immediately but I became MF: When did you decide to start playing perfect match. fascinated, even obsessed with this the Schwenk & Seggelke clarinet? SB: The boxwood instrument’s sound is piece. In the most direct way, it touched SB: After several visits for repairs, I began warmer, richer and sometimes lighter, my heart. I decided to take on the to experiment with Seggelke’s own making for easier articulation. For daunting task of transcribing a violin custom barrel and bells. This began a the Janáček, I play the grenadilla sonata with double stops, pizzicato and discovery process which led me to two instrument. It’s wittier, with more other techniques not possible to play as wonderful clarinets created specially for grit, but also has a beautiful warm written on the clarinet. Stoltzman gave me by Jochen Seggelke. The Seggelke sound. But I have to add, if you are me tips and ideas as I worked to create clarinet is a hybrid of their own design considering acquiring a boxwood new from old.

SEPTEMBER 2018 THE CLARINET | 49 I was quite shy about this and even very open to new works and it opens preconceptions, with people I now felt nervous about letting others hear or my horizons. genuinely close to, Israeli and Arab. play my version. I had to overcome I have to say, for me, it was an eye- this and began to play and share the MF: Speaking of repertoire, as your primary opening and enriching experience. transcription. I was so happy that it not career focus is as a soloist and chamber only worked for me and clarinetists but musician, do you miss the gems of the MF: Today, several of your young students was also very enjoyable for listeners! literature available to the orchestral come from the Near East, including Syria clarinetist? and Iran. MF: Your work on this was rewarded with SB: I am so fortunate to have orchestra SB: I have a young Syrian student. It took a publishing deal with Bärenreiter. After experiences, having performed as time for him to open up but once he the success of the Janáček, do you have principal clarinet in the London did, we took time in some lessons to plans for other transcriptions? Philharmonic Orchestra, The West- speak about the realities of his situation, SB: Ideas are stirring but I had to give Eastern Divan Orchestra, Mahler his family and homeland. It was up on a pet project to recreate Ravel’s Chamber Orchestra and Royal intensely personal but he was sincere Tzigane for clarinet! Unfortunately, there Concertgebouw Orchestra. and it reminded me that the role of is no way! This is really a violin piece. a music teacher – very much like my MF: You played in the Apple Hill Festival in MF: Can you tell me about clarinetists you own teacher in Israel – was more than New Jersey in 1998-99 as a very young instilling technique and musical culture. admire? musician, a venue for bringing Israelis, SB: Stoltzman, of course, along with Americans and Arabs together to play MF: And it’s not just students that remind us Sabine Meyer. I am in awe of Martin chamber music. As a member of the West- of the power of music… Fröst, especially in new music. He’s Eastern Divan Orchestra and a teacher SB: When I was pregnant with my first really phenomenal, the things he can in the Barenboim-Said Akademie, do do, especially in modern pieces – he child, my daughter Romy, I played the you believe that music can build bridges F minor Weber concerto quite a bit. I can really dance, play with the lightest and create opportunities for dialogue touch. I’m looking for someone where remember just after she was born, I was between people sharing music as a the music speaks to the audience practicing. Romy was with the nanny, common language? through the instrument. Martin Fröst crying, tired, hungry. The frustrated SB: [The Apple Hill Festival] helped me is certainly that kind of clarinetist. nanny wasn’t sure what to do. As she to prepare for the more intense and Clarinetists like Fröst, to name only opened the door to my practice room, mature experience which came in one musician, have extended not only Romy heard the Weber. The crying the Divan Orchestra. There, we had the techniques, but with them the stopped. Romy had “heard” that dramatic and expressive capabilities of to make real, personal connections piece in the womb many times and the clarinet. before politics were able to be it represented the secure presence of discussed. But young musicians of her mother. I heard that these things MF: You’ve said that the constant extension similar age performing and living happened but I didn’t believe it until of what the clarinet is capable of is “an together, laughing together was this moment. infinite pathway.” You mentioned a work an important first – if small – step by a German composer, Sven-Ingo Koch, towards building real understanding. * * * * * Once real friendships had been based on microtonal scales. Since then, Shirley and Jonathan have SB: It was very beautiful, expressive, but it established, honest discussions could had a second daughter, Amelie, but I felt like learning a new instrument. I’m be had without preconditions and didn’t ask which music she heard from before her birth! You can hear Shirley’s performance of the Janáček Violin Sonata on YouTube, a live performance from Rostock, Germany. v

ABOUT THE WRITER Michael Fine is a Grammy-winning record producer, rjmusicgroup.com a clarinetist and a composer.

...catering to the discriminating Diederik by Grootkerk Photo professional and amateur musician.

50 | THE CLARINET SEPTEMBER 2018 SEPTEMBER 2018 THE CLARINET | 51 The Forgotten Pedagogical History of Multiple Articulation for Clarinet and Saxophone by Eric Schultz

tongue, lightly brushing the soft palate (or velum) with the back of the tongue. This can be practiced away from the clarinet by pronouncing the syllable “guh” or “kuh,” with vowel variations possible. By solving the movement-to-articulation ratio issue, this method effectively doubles the maximum articulation speed of the single-tonguing clarinetist he clarinet is known for its glowing, in addition to infinitely increasing the endurance, singing tone quality and liquid which clarinetists will find useful for pieces like the legato. Things that are difficult on overture to Smetana’s The Bartered Bride. many other instruments, like large intervalsT and dynamics from piano all the way to niente, are more easily achieved on our beautiful instrument. Articulation, however, is something that does not usually come quite as easily. There may be several reasons why the clarinet struggles to match the natural articulation capabilities of other instruments. Double tonguing works without too many issues Consider the string instruments – even with on the flute as compared to the clarinet. Many high just a glance at an orchestral score, a wide variety school flutists and some talented middle school of articulations beyond staccato are evident. More students approach the technique with success. precise terms like détaché, spiccato, jeté, pizzicato, There are several reasons for this. Many resources collé, martelé, and col legno have different sounds, today, especially online, explain that the technique and different methods of production that can is difficult for clarinetists because of the reed in the be observed visually because the mechanisms of mouth. Personally, I haven’t found this to be the articulation are not hidden inside the mouth. case. In fact, any clarinetist who can successfully The visual nature of the bowed strings is an asset single tongue has already mastered the first half of in teaching and learning articulation that is not this technique and can presumably already navigate afforded to wind players. the mouthpiece and reed successfully. As if this wasn’t enough of an advantage, the What these resources usually fail to mention is bow also allows for one articulated note per motion. the critical importance of voicing on the clarinet. With each stroke (upbow or downbow), the string Voicing refers to the non-articulatory function of musician can have a distinctly separate note. For the the tongue, especially as it relates to intonation and clarinetist, the ratio is half as favorable; the tongue tone quality. For the clarinetist, the tongue position must move in two directions (onto the reed, and is comparatively much higher in the mouth (usually rebound) for each articulated note. described as an “e” or Germanic “ü” vowel). It is worth mentioning that the saxophonist’s tongue Multiple articulation, also called double position is also higher than the flutist’s, though tonguing, effectively solves this issue. the air is usually described as “warmer” than the Tonguing on the clarinet is commonly described clarinet. For the flutist, the tongue is generally with the syllable “ta.” Double tonguing allows for low, relaxed, and soft. This low tongue position is another articulation during the rebound of the maintained throughout the entire register of the

52 | THE CLARINET SEPTEMBER 2018 flute, resulting in double tonguing just as became pop stars. Many saxophonists and articulation, which is evidenced by several facile in the upper register as it is in any woodwind doublers achieved celebrity recordings, including a particularly other range. status during this time, several of whom exemplary 1934 single by the Dorsey As the clarinet leaves the clarion range utilized multiple articulation technique. Brothers Orchestra titled Tailspin, which into the altissimo, the tongue position Some saxophonists, like Al Gallodoro, at the time of this writing is available becomes higher, and the pitch much more did not publish significantly in written on YouTube. Dorsey included a very flexible. For this reason, the clarinet is form, but left behind a wealth of audio concise, matter-of-fact section on multiple capable of large pitch bends in the upper and video recordings that are sure to articulation in his method book, the register. The flute is capable of pitch inspire musicians curious about multiple Saxophone Method: A School bending not through voicing, but by use articulation to this day. Luckily, however, of Modern Rhythmic Saxophone Playing, of other methods such as covering more it was common for jazz musicians during which was released almost 80 years ago. of the embouchure hole or rolling of this time to publish for their fans, and Dorsey was also a clarinetist, though like the headjoint. many of them released method books. many jazz players at the time, he played This pitch flexibility on the clarinet Because it seems that saxophonists were the Albert system. is relevant to double tonguing because publishing more, and because it is possible Rudy Wiedoeft is another early 20th- the back of the tongue is important for clarinetists and saxophonists to share century example of musician as celebrity. in maintaining pitch, and multiple many resources and adapt them, it is worth Long forgotten, scholars are only now articulation necessitates movement in this examining the saxophone and woodwind recalling his importance. He played the region of the tongue. Even the smallest doubler method books from this period. “C melody” saxophone, similar to a tenor movement of the tongue can drastically It is hard for today’s jazz and classical saxophone, but in concert pitch. Because affect the pitch in the altissimo register. musicians to imagine the level of celebrity of several film shorts and recordings This explains why the technique is enjoyed by our predecessors almost a demonstrating Wiedoeft’s extraordinary noticeably easier on the bass clarinet than century ago. One such name is Jimmy articulation capabilities (also currently the E-flat (and helps to further refute the Dorsey, who even appeared in Hollywood available on YouTube), many scholars now popular “navigation of the mouthpiece” movies. He was a master of multiple assume that he was a master of multiple claim of difficulty). This is not to say the technique is virtuosic, or even all that difficult. It just requires a little bit of practice and experimentation. Recently, it seems that multiple articulation has been getting more attention from clarinetists. In fact, this issue of The Clarinet includes a review of Kornel Wolak’s excellent new text on Play Selected articulation types, which includes several different types of multiple articulation. I Buffet Clarinets was also fortunate to attend his lecture on Taplin-Weir Barrels & Bells articulation at ClarinetFest® in Belgium this past July. I think it is important to (647) 351-8181 SELECTION remember, however, that double tonguing [email protected] STUDIO – is by no means new. It does have a history An extensive onhand on the clarinet, and it’s worth mentioning selection of Buffet Clarinets that saxophonists, in particular, have been REPAIRS – Artist level writing about the technique for at least a repairs, custom work century now. and voicing of all professional clarinets A REVIEW OF PEDAGOGICAL MATERIALS LIGATURES – Gold plated Bonade and finely crafted Ishimori ligatures There is a particularly large volume of forgotten material about multiple GAUGE – The unique Taplin-Weir articulation from the first half of the 20th clarinet bore gauge century. This was the era of American John Weir and Patti Goodwin Hassle Free Shipping to and from the US! jazz: , big band, and swing music. Jazz groups were topping the www.taplinweir.com Billboard charts and jazz musicians

SEPTEMBER 2018 THE CLARINET | 53 articulation. There is no real support for during his doctoral studies, and proceeded actually slowing the tongue down and this, however. In fact, Wiedoeft’s Secret of to collaborate with clarinetist Eric Hansen controlling the motion. Though it may be Staccato method book, though an excellent to write the book Extreme Clarinet, difficult at first, this method theoretically resource, makes no mention of multiple featuring very detailed descriptions of eliminates the voicing issues associated with articulation. It is possible he mastered the clarinet articulation technique including off-the-reed multiple articulation, as it does technique and kept it secret to make his single and double tonguing. not necessitate movement of the back of abilities seem more impressive. Quite a In the included bibliography, notice the tongue. Therefore, it should be possible personality, he states in his method: that there are more early saxophone in any range. resources than early clarinet resources. Unable to find more information on I am writing this book in the This is especially interesting when one this interesting technique, I reached out hope that my system will help you considers how much longer the clarinet to Juilliard professor Charles Neidich. He to single tongue sixteenth notes as has been around in comparison to the mentioned that this on-the-reed style of fast as the metronome will go, 208. saxophone. Of course, a compiled list of multiple articulation, and another style in I would suggest your reading every multiple articulation resources for the which the tongue moves left to right over word carefully. In fact, it might flute would be considerably longer than the reed, has a long history with Romani not be a bad idea to memorize it… both combined. Because of the lack of clarinetists, though it is admittedly not After discovering this new system, I resources for clarinetists, the technique is well documented. Neidich proceeded to slowly increased my speed from 156 often deemed “virtuosic.” This couldn’t advocate for a wider articulation palette to 304 per metronome marking. be further from the truth. In fact, one in general, including all forms of double There is one last saxophonist worth thing all of these method books share in tonguing. He pointed to Johann Georg mentioning in this context. Kenneth common is idea of approachability; no text Heinrich Backofen’s 1802 clarinet treatise, Douse was a violinist, though as a member states that this technique is only for the which mentions a variety of possibilities of “The President’s Own” U.S. Marine exceptionally gifted. Anyone can learn it. for articulation using the tongue, lips Band at the time, he was required to or even the throat. During Backofen’s OTHER POSSIBLE TECHNIQUES play both a string and . time, Neidich added, clarinetists were With that being said, there may be In short order, he became a saxophone split between playing with the reed limitations to the application of this form soloist with the group. He developed facing down on the mouthpiece as we of multiple articulation, especially on the a multiple articulation technique by do today, or flipped with the reed facing clarinet. As mentioned, when the tongue listening to the trumpeters in the band, up. Backofen asserts in his treatise that position becomes higher in the altissimo, and his method book is devoted entirely he heard competent players using both the technique becomes exponentially more to multiple articulation. How to Double methods, though Neidich mentioned that difficult, though still possible. and Triple Staccato: A Revolutionary System there was a difference in tone. Although Luckily, there may be a solution. of Rapid Double & Triple Tongueing is today’s reed-down method produces more Largely unexplored, Keith Stein briefly control in the tone, the reed-up method truly one of the best on the subject to this mentions a sort of “paintbrush” form of day, though regrettably out of print. In may have allowed for a more brilliant multiple articulation in his 1958 book, articulation. Many Italian clarinetists the introduction, he compares learning The Art of Clarinet Playing. Forty years multiple articulation to a single-legged man continued performing with the reed facing later, this was much elaborated upon by up well into the 20th century. finally discovering he had a second after his student, David Pino, in his book The all. “The President’s Own” 1948 recording Clarinet and Clarinet Playing. LOOKING TOWARD THE of Joseph De Luca’s Beautiful Colorado In 15 thorough pages, Pino outlines FUTURE shows impressive mastery of the technique his grievances with the “off-the-reed” style For clarinetists, opening up this dialogue throughout the full range of the horn. of multiple articulation (as previously is critical to our performance practice. The history of multiple articulation described, with the back of the tongue String musicians have many options when has not been quite as well-recorded articulating on the soft palate) and shares it comes to articulation. Brass players by clarinetists, though several living his experience in discovering “on-the- and flutists also have several options, clarinetists utilize the technique. Martin reed” multiple articulation. In this style of including a certain tempo range where Fröst comes to mind for his virtuosic multiple articulation, the tongue lightly they may choose to either single or double recordings featuring the technique. Robert brushes the reed tip, moving above and tongue, or alternate between the two. Spring is famous for his superhuman below the reed. To approximate the motion, Clarinetists are often so limited by their tonguing abilities, and published a great Pino suggests pronouncing “tuttle.” This single-tonguing that they choose to add essay examining multiple articulation in is another way to effectively solve the slurs to certain excerpts in the repertoire. The Clarinet almost 20 years ago. Since aforementioned movement-to-articulation In certain passages where slurring is then, his student Joshua Gardner did ratio issue, as the tongue produces a note not a viable option, the ability of the excellent work in mapping the motion of with each movement, both up and down. clarinetist could even dictate the tempo the tongue using ultrasound technology Pino asserts that the main challenge is of an entire orchestra, such as the Scherzo

54 | THE CLARINET SEPTEMBER 2018 from Mendelssohn’s A Midsummer Night’s Revolutionary System of Rapid Tonguing. Wolak, Kornel. Articulation Types: Clarinet. Dream. Even in certain passages where New York: M. Baron, 1948. Toronto: Music Mind Inc, 2018. v slurring may be acceptable, there is no Teal, Larry. The Art of Saxophone Playing. reason to limit options in articulation, a U.S.: Summy-Birchard, 1963. ABOUT THE WRITER fundamental of musical performance. In Compeán, Joe. Yes! Saxophonists Can Eric Schultz currently fact, Michele Gingras notes in her book Double Tongue. The Bandmasters serves on the music Clarinet Secrets that double tonguing Review, December 2007, 15-17. on the clarinet matches well with other faculty at Iona College, instruments that use the technique. RESOURCES BY CLARINETISTS and as a teacher for Whether or not you plan to perform violin Backofen, Johann Georg Heinrich. the Harmony Program showpieces, fun as it may be, plenty of Anweisung zur Klarinette nebst einer in . He excerpts from the standard solo, chamber, kurzer Abhandlung über das Bassett- is an award-winning and orchestral repertoire push beyond the Horn. Leipzig: Breitkopf & Härtel, clarinetist, including limits of a well-trained single tongue. 1803. Reprint, Celle: Moeck, 1986. the prestigious Rislov In reviewing these materials and their Translation and Commentary by Susan Foundation grant for excellence in classical authors, I hope I can renew interest Carol Kohler, 1997. music, and is the founding clarinetist of in and access to these techniques and Christman, Arthur. Rebound Staccato. the Victory Players contemporary chamber their respective histories, and help push Woodwind Anthology (1952): 74-77. ensemble of the Massachusetts International clarinetists into a much-needed articulation Stein, Keith. The Art of Clarinet Playing. Festival of the Arts. Eric completed his renaissance. Sadly, many of the early Princeton, NJ: Summy-Birchard Doctor of Musical Arts degree in clarinet materials mentioned are now out of print. Music, 1958. performance at . Some are very difficult to find even through Rehfeldt, Phillip. New Directions for His principal teachers include Alan Kay, university interlibrary loan. As these old Clarinet. Berkeley: University of Alexander Fiterstein, and Melissa Koprowski. sources become frail, fewer libraries are California Press, 1977. Eric will be giving a presentation regarding inclined to circulate them. The time is now Spring, Robert. “Multiple Articulation multiple articulation, including a short to memorialize these great materials, to for the Clarinet.” The Clarinet (1989): performance, on October 12 at the College learn from them, and to build upon them. 44-49. Music Society National Conference in And most of all, have fun with it! Pino, David. The Clarinet and Clarinet Vancouver, British Columbia. A COMPILATION OF Playing. Mineola, NY: Dover PUBLISHED RESOURCES Publications, Inc., 1998. REGARDING MULTIPLE Gardner, Joshua Thomas. Ultrasonographic ARTICULATION Investigation of Clarinet Multiple (in chronological order) Articulation. Research paper, D.M.A.; Don’t miss an issue Arizona State University, 2010. of The Clarinet! RESOURCES BY SAXOPHONISTS Gardner, Joshua, and Eric Hansen. Eby, Walter M. Scientific Method for Extreme Clarinet. Louisville, KY: Renew your Saxophone: Saxophone Score. Boston: Potenza Music, 2012. Walter Jacobs, 1922. Gingras, Michele. Clarinet Secrets: 100 membership online at Cragun, J. Beach. The Business Saxophonist: Performance Strategies for the Advanced www.clarinet.org A Course of Twenty Practical Lessons for Musician. Rowman & Littlefield, 2017. the Business Player. Chicago: Rubank, 1923. Weber, Henri. Sax Acrobatix: The Book of Saxophone Stunts & Tricks, Jazz Breaks, Jazz Endings and Altissimo Notes. New York: Belwin, 1926. Wiedoeft, Rudy. Rudy Wiedoeft’s Secret of Staccato for the Saxophone. New York: Robbins Music, 1938. Dorsey, Jimmy, and Jay Arnold. Saxophone Method: A School of Rhythmic Saxophone Playing. New York: Robbins Music Corp., 1940. Douse, Kenneth. How to Double and Triple Staccato for Saxophone and Clarinet: A

SEPTEMBER 2018 THE CLARINET | 55 REVIEWS

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

56 | THE CLARINET SEPTEMBER 2018 REVIEWS

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

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

SEPTEMBER 2018 THE CLARINET | 57 REVIEWS

DEBUSSY’S PREMIÈRE RHAPSODIE: THE 2017 BÄRENREITER URTEXT EDITION

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

58 | THE CLARINET SEPTEMBER 2018 REVIEWS

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

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

SEPTEMBER 2018 THE CLARINET | 59 REVIEWS

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

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SEPTEMBER 2018 THE CLARINET | 61 REVIEWS

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

62 | THE CLARINET SEPTEMBER 2018 ICA ANNOUNCEMENT With a dedicated faculty, extraordinary performance 2019 Research opportunities, beautiful facilities and an unparalleled education at Competition one of America’s premier universities, The Shepherd School of Music CALL FOR PAPERS AND Richie Hawley, provides an environment for the Professor of Clarinet PRESENTATIONS musical and intellectual growth that ClarinetFest® 2019 is essential to professional success. Knoxville, Tennessee, USA Dean, The Shepherd School of Music Coordinator: Joshua Gardner Robert Yekovich ([email protected]) Deadline: January 15, 2019 Woodwind Faculty Flute Clarinet The ICA solicits proposals for research Leone Buyse Richie Hawley presentations (such as papers or Oboe Bassoon Robert Atherholt Benjamin Kamins

lecture-recitals) on any topic related Music of School The Shepherd to the clarinet. Prizes: First place – $1000 USD and publication in The Clarinet journal Second place – $500 USD Visit www.clarinet.org for full competition rules and application details. The Shepherd School of Music, Rice University, Houston, TX, music.rice.edu

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SEPTEMBER 2018 THE CLARINET | 63 REVIEWS

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

64 | THE CLARINET SEPTEMBER 2018 Clarinet a n d Saxophone p r o d u c t s

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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 – 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: – 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.

SEPTEMBER 2018 THE CLARINET | 65 REVIEWS

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

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

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

68 | THE CLARINET SEPTEMBER 2018 ICA ANNOUNCEMENT Call for Honorary Membership Nominees

In accordance with the International Clarinet Association by-laws (Article V, Section 6), a special category of Honorary Membership has been created for persons of “unusual distinction.” The International Clarinet Association board of directors invites the general membership to nominate living individuals for Honorary Memberships from the areas of professional service, teaching, performance and/or lifetime achievements. Nominators should include a brief biographical sketch of the candidate along with further information as specified below. There is a limit of one nomination per person. Nominations must be postmarked no later than December 31, 2018, and sent to:

Christopher Nichols Secretary, International Clarinet Association 368 Lake Dr. Smyrna, DE 19977 [email protected]

Nominations for Honorary Memberships should include: 1. Printed name of the nominator 4. Nominee’s address, phone and email address 2. Nominator’s address, phone and email address 5. Biographical sketch of nominee 3. Name of nominee 6. Supporting documentation of nominee’s qualifications

ICA ANNOUNCEMENT Call for Proposals – ClarinetFest® 2019

ClarinetFest® 2019 will take place in Knoxville, Tennessee, USA, July 24-28. Artistic Director Victor Chavez Jr. and the Artistic Leadership Team – Gary Sperl, Robert Walzel, Vanguel Tangarov and Jessica Harrie – will present a conference titled “Embracing the World.” The conference will be presented in partnership with the University of Tennessee. ClarinetFest® 2019 will be held in the Natalie L. Haslam Music Center, Student Union Building, and Alumni Memorial Building on the campus of the University of Tennessee. The conference will feature performances by the Knoxville Symphony Orchestra and the Knoxville Jazz Orchestra among others. The facilities will provide ample conference space for events and exhibits. Three host hotels as well as dorm housing will be available for the duration of the conference. Additionally plenty of hotels are situated within walking distance of the conference venues. The city of Knoxville is located at the foothills of the beautiful Smoky Mountains and has a lot to offer in terms of shopping, entertainment and dining. The wider region is also known for tourist attractions such as Dollywood, Pigeon Forge, Gatlinburg and the Smoky Mountains National Park. International Clarinet Association members are invited to submit performance and presentation proposals for ClarinetFest® 2019. The committee seeks to have a wide selection of diverse performances and presentations. Please submit proposals through the Acceptd portal found at www.clarinet.org under the ClarinetFest® 2019 page. General questions can be sent to [email protected]. APPLICATION DEADLINE – September 30, 2018

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

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through their performance of these works. Caravan’s adept engagement with the This is an excellent recording that provides repertoire for clarinet and saxophone is exposure to these works through great evident in every piece. Throughout, his chamber music playing captured by a well- execution of the score is flawless and the done production. interactions with the collaborative pianist are dynamic and harmonious. Impeccable – Gail Lehto Zugger intonation permeates the full register of Single Reed Expressions (8 volumes). every instrument, and it is paired with Ronald L. Caravan, clarinet, soprano a robust, but not overpowering, tone. and alto saxophones; Sar-Shalom Musicality stands at the forefront of each Strong, piano. C.M. von Weber: Grand interpretation; a thoughtful combination Duo Concertante; W. Hartley: Sonatina of solidly developed phrasing and Romantica, Metamorphoses, Diversions, attention to large-scale musical form Duo, Sonorities IX and Petite Suite; shapes every nuance, from the single R. Caravan: Excursions, Quiet Time, note to the entire work. Meticulous attention is paid to executing every Sketch, Sonata, Recitation, Fantasy Piece, Sonatina; E. Bozza: Aria. Mark Records gesture with grace, finding ease even when Monologue, Improvisation (Romani), 51601-51608 MCD. Total time performing extreme registers and difficult Soliloquy & Celebration “A tribute to the 05:29:00. Amazon.com and iTunes. extended techniques. classic jazz saxophonist Paul Desmond” American single reed virtuoso Ronald Perhaps most striking, however, is and Echoes of a Crimson Twilight; F. L. Caravan presents meticulously crafted Caravan’s ability to record this sheer Tull: Sarabande & Gigue; J.D. Lamb: interpretations of quality repertoire for volume of repertoire at this high level Three Antique Dances; K. Husa: Postcard solo single reeds in the eight-volume of performance for not just one, but from Home Elegie & Rondeau and ; J. set Single Reed Expressions. This set three instruments (clarinet, soprano and Demersseman: Fantaisie-Pastorale; represents the culmination of Caravan’s alto saxophones). Each composition is L. Lunde: Sonata “The Alpine”; R. 40-plus year career as a performer, presented convincingly, and without bias Schumann: Fantasy Pieces, Op. 73; W. teacher, composer, arranger, author and Osborne: Rhapsody; S. Rachmaninoff: mouthpiece designer. Most notably, Vocalise, Op. 34; W. Benson, Aeolian Caravan served on the faculty of Song; P. Creston: Sonata; J. Brahms: Syracuse University from 1980 to 2015, ICA ANNOUNCEMENT Sonatas in F Minor and E-flat Major, teaching applied clarinet and saxophone Op. 120, Nos. 1 & 2; C. Debussy: and directing the Syracuse University Première Rhapsodie; E. Dressel: Partita; 2019 High School Saxophone Ensemble. During this time, he J. Corigliano: Clarinet Caprice and performed an annual faculty recital which Solo Competition Serenade & Rondo; J. Massenet: placed equal emphasis on showcasing “Meditation” from Thais; O. Mácha: works for clarinet and saxophone. Coordinator: Elizabeth Gunlogson Pláč Saxofonu; E. von Koch: Sonata, ([email protected]) Monolog No. 3 & 4, Dance No. 2; F. His recital programming ranged from Poulenc: Sonata; I. Stravinsky: Three established classics to progressive new Eligibility: Competition participants Pieces; R. Muczynski: Time Pieces and works, including his own compositions. must be 18 years old or younger as Sonata; J. Rueff: Chanson et Passepied: This set follows Caravan’s recital of June 30, 2019. model, with an equal division of works P. Maurice: Tableaux de Provence; Deadline: April 1, 2019. D. Bédard: Fantaisie; P. Hindemith: for clarinet and saxophone. In addition Sonata; B. Martinů: Sonatina; E. to the conventional repertoire, each disc Prizes: Krenek: Suite, Op. 48; K. Reiner: includes one of Caravan’s compositions First prize – $1,000 USD Dvě Skladby; B. Heiden: Solo, Sonata and one piece for the soprano saxophone. Second prize – $750 USD and Sonatina; E. Gates: Incantation Furthermore, at least one composition Third prize – $500 USD & Ritual; L. Bernstein: Sonata; S. on each disc utilizes unconventional Adler: Canto XIV, A Klezmer Fantasy sound techniques such as quarter-tone Visit www.clarinet.org and Canto IV; R. Starer: Dialogues; J. intervals, timbre variation, multiphonics, for full competition rules and Worley: Sonata; E. Siegmeister: Around uncommon tremolos and trills. The sheer application details. New York; E. de Coriolis: Tarentelle; variety of compositions is staggering, R.R. Bennett: Sonatina; A. Berg: Vier and the set presents ample opportunities Stücke; R. Sierra: Cinco Bocetos; K. for performers and aficionados to relish Penderecki: Three Miniatures; O. Bull: hearing familiar repertoire while engaging Saeterjentens Søndag; L. van Delden: with new and interesting compositions.

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

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

72 | THE CLARINET SEPTEMBER 2018 REVIEWS

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

SEPTEMBER 2018 THE CLARINET | 73 The Clarinet

by Jack Berry

“The Clarinet Enthusiast” features a rotating cast of contributors; if you are interested in sharing your perspective, contact [email protected]. BETTER LATE THAN NEVER hose of us who play in My brother was the disc spinner at the elementary school I attended didn’t have a community bands and local skating rink. He was always bringing music program so I had to content myself orchestras know many home discarded albums that were being with just listening. I sometimes fantasized musicians who played in replaced by newer 33 ⅓ records. Some playing by putting the end of a pencil or highT school or college and then put their were classical; some were jazz; some were ruler in my mouth and fingering in time instruments down, not to pick them up pop. What a strange collection! Can you with Benny or Artie. My high school had again for some years later. In fact, there was imagine skating to Firebird! But among a wonderful music program but since an excellent article in a previous edition of this incongruous collection I found a my only background was piano and a The Clarinet that referenced this very thing. few that caught my ear – namely Benny few guitar lessons, I was left out of band However, my experience is exactly opposite Goodman and Artie Shaw. I had never and orchestra. So for four years I made a and, I think, fairly unique. heard of either of them before. They were point of going to every band or orchestra I didn’t start playing the clarinet until of my older brother’s generation, but I was performance given by our school. I was in my 40s, some 25 years ago. But hooked when I heard them play. My musical experience in college was even though I began playing later in life, I began replacing those old scratchy 78s much the same. I majored in English but my love affair with the clarinet started as with the newer 33 ⅓ albums that were just I found out that several of my classes were a 12-year-old audiophile who was at first coming out. My after-school afternoons in the same building as the concert hall more interested in the sound coming out were spent listening to Goodman and where the band and orchestra rehearsed. of his hi-fi stereo than what was actually Shaw over and over. Suffice it to say that If one of my free periods coincided with being played. I was fortunate in that I had in the age of Elvis, my friends thought that either rehearsal you could find me sitting an almost unlimited source of old 78s. I was a little bit weird. Unfortunately, the in the back taking in the sounds, wishing that I was up on the stage playing instead of just listening. Fast forward about 15 years and you’ll find my daughter entering middle school. Guess who insisted that she play the clarinet and who drove her to lessons every Saturday? To my dismay, she eventually switched to flute, but her knowledge of the clarinet would play a major role in my life about 10 years later, when I came across her old Boosey and Hawkes clarinet in a closet. I looked at it and thought to myself, “I’ve put this off long enough. Now’s the time.” I called my daughter and said, “Jennifer, show me how to do this!”

74 | THE CLARINET SEPTEMBER 2018 Fortunately there was a time-worn reed of 50 when my company made a buyout and play again, but it’s also never too late to still in the case. And so we began: open G offer to employees with 25 or more years start even if you’ve never played a lick. v – thumb F – thumb-and-index-finger E. experience. I took the offer and decided I’m playing! I’m playing! My next step was to go back to college as a 50-year-old ABOUT THE WRITER to visit the local music store to buy some music major. For a college student of the reeds and a method book. On one visit I ’60s, going back to school in the ’90s was Jack Berry received noticed the card of a local teacher who was a revelation. But I now was doing what I his undergraduate looking for students. Dr. Bill Tietze – or had wanted to do almost all my life! degree in English from “Doc,” as we called him – became my first One other important source of Rowan University in teacher and mentor. I couldn’t have asked education for me was the Band Camp For Glassboro, New Jersey, for a better one. Adult Musicians at Allegheny College in and studied music at Living alone at this point, I found that Meadville, Pennsylvania, which I first went Southwestern Florida the clarinet had become my best friend to in 1994 and still attend. The master College in Ft. Myers, and companion during a trying period in classes run by Anthony Costa, professor of Florida. Since his my life. When l got home from working clarinet at Penn State University, have been retirement from business in 1995, he has as a pharmaceutical sales rep I would pick a tremendous source of clarinet knowledge worked as a private teacher, executive director up my clarinet and play for three or four and technique for me over the years. I’m of two private music academies, personnel hours every night. On weekends I would sure all those who’ve attended his classes director of a regional orchestra, and middle play even more. I’d even take my clarinet can attest to the same. school band director. Currently residing in with me to sales meetings and play when My musical experiences have blossomed The Villages, Florida, with his French hornist I got back to my hotel room. Again, my as an amateur and sometimes professional wife, Mary, he plays clarinet and bass clarinet friends thought I was a little weird. I’d player, private teacher, music academy in two bands and a wind ensemble and play anything I could get my hands on, administrator, personnel manager for a volunteers with the band program of the local but my favorites were transcriptions of regional orchestra, and culminating as a middle and high school. operatic arias like “E lucevan le stelle” and middle school band director. Looking back “Che gelida manina.” Pavarotti, I thought, at all I’ve done since that day my daughter eat your heart out! gave me my first lesson, I can’t imagine I think that I was trying to make up for how I survived the first half of my life lost time but, whatever the reason, I just without having been involved some way in couldn’t put the clarinet down. Doc Tietze music. My only regret is the years I missed told me that he had never had a beginning studying and playing the clarinet and how Don’t miss an issue student progress so rapidly. Eight months far I might have progressed had I started after beginning lessons with Doc, he when I was young. On the positive side, of The Clarinet! told me that there was an opening in the however, I think the long delay and years of Naples (Florida) and that I longing to play the clarinet have made me Renew your should take the audition. I thought that he appreciate music and playing the clarinet was crazy but I reluctantly agreed. I passed more. I think of this and how grateful I am membership online at the audition and eventually became the every time I take my seat on stage before www.clarinet.org principal bass clarinetist and section leader each concert. So I guess that my point is of the low reed section which included that it’s never too late. It’s never too late to the . get your old instrument out of mothballs About six months later Doc suggested that I start giving lessons to beginners. Again, I thought he was crazy. But he said that he had two new students coming in So…What’s On Your Barrel? that he couldn’t fit into his schedule and David McClune Mouthpiece Service that I’d be right in the next room at the same time he was giving lessons, so if I Professional through beginner models had any questions he’d be right there to New FMK model, CNC made, German rod rubber, 8 years in help. He told me that I’d learn as much development. Effortless response and beautiful sweet sound. or more giving lessons as taking them. He was right. Custom refacing available I started getting more students, and mcclunemouthpiece.com, [email protected] felt more and more comfortable in that role except for my lack of knowledge of 731-499-3756 theory. My big chance came at the age

SEPTEMBER 2018 THE CLARINET | 75

Hysterically

by Eric Hoeprich

he popular Mexican folk art figures known as alebrijes usually embody fantastically scary reptiles with wings, freakish mammals with large fangs, smirking skeletons and other bizarreT and macabre beings. First developed in the 1930s in the workshop of decorative artist Pedro Linares Lopez (1906-1992), the craft has subsequently become pervasive and extremely popular.1 Today these figures are found throughout the country, with regional and personal variations in style and form. The state of Oaxaca could be said to have taken the lead, with the highest concentration of artisans creating alebrijes, sold in local markets and galleries. Much of their appeal comes from each figure being unique. The unbridled imagination, skill and creative force behind these artists’ efforts is astonishing. They exist in a kind of twilight zone between reality and some sort of strange parallel universe – scary but exuberant. Clarinet players do not typically appear in the genre, and this one is also unusual in that it might considered quite friendly and not at all threatening. The figures are sculpted either from papier mâché or, as in this case, from wood.2 Their bright, polychrome exterior punctuated with dots is characteristic of the style, the body also usually assembled from parts, rather than constructed in one piece. Despite being decked out in a very tony polka-dot bikini, our clarinetista is actually a young chicken – she appears to be a chick masquerading as a chick – very happy to be stepping out, and emanating loads of energy and verve. It’s easy to imagine our pollita as an enthusiastic member of the local banda, belting out “La Bamba” or “La Cucaracha” long into the night after a blissful day en la playa.3 v

ENDNOTES 1 Linares was much appreciated by artists Diego Rivera and Frida Kahlo, who helped promote his work; he received Mexico’s National Arts and Sciences Award in 1990. Members of his family continue the business to this day. 2 The usual wood is copal, alleged to have magical properties. Alas, the success of this cottage industry has resulted in a severe reduction of copal trees available for carving, a situation local authorities are struggling to remedy. Clarinetista from Oaxaca, Mexico; 20th century 3 It is of course also possible that she is playing “Dios Nunca Muere” – (Courtesy of the Shulman collection in Sonoma, California) a sad waltz by Macedonio Alcalá (1868) today considered a sort of anthem of Oaxaca – but one somehow doubts it.

76 | THE CLARINET SEPTEMBER 2018 V21 WHAT COLOR IS YOUR SOUND? #myvandorencolor Prepared by Todd Allen Design, Inc. by Todd Prepared 574.295.8866 The Clarinet

Todd Levy

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