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2018

Ira-Paul Schwarz. Impressions of a Cloud and Romantic Mementos: Duets with .

Paul Roe Technological University Dublin, [email protected]

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Recommended Citation Roe, P. (2015) Ira-Paul Schwarz. Impressions of a Cloud and Romantic Mementos: Duets with Piano in The , Vol.42 No 2, March 2015. doi:10.21427/mvva-gf26

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Volume 42, Number 2 March 2015 ABOUT THE COVER… FEATURES CLARINETFEST® 2015 – MADRID, / JULY 22–26, 2015 by Héctor Abella . . . . . 30 Antonio Romero (engraving from his Method, 2nd ed . Library of the Royal Superior MÁXIMO MUÑOZ PAVÓN: Conservatory in Madrid, signature 1/190); A BENCHMARK OF THE CLARINET IN SPAIN by Carlos Javier Fernández Cobo . . . . . 34 Romero System clarinet by Lefêvre, Paris, DON’T GIVE ME DAPHNIS: ca. 1867. Gift of William J. Maynard, AN INJURY RECOVERY GUIDE FOR CLARINETISTS Massapequa Park, New York, 1996. by Mary Alice Druhan, with Kristin Keesey, and Debbie Gillespie ...... 36 (Photo by Bill Willroth, Sr., courtesy of National Music HYSTERICALLY SPEAKING by Eric Hoeprich ...... 39 Museum, University of South Dakota, NMM 5924) A PERSPECTIVE ON ENRIQUE CALVIST (1851–1897) INDEX OF ADVERTISERS by Àngel Lluís Ferrando Morales ...... 40 SPANISH CLARINET MUSIC: AMB Clarinet ...... 46 THE PATH FROM ROMERO TO TODAY by Gregory Barrett ...... 44 Ann Arbor Clarinet Connection . . . . . 46 KLEZMER DANCES FOR CLARINET, Aria International Summer Academy . . . . 96 STRINGS, PERCUSSION AND by Eugene Kavadlo ...... 53 AW-Reeds GbR ...... 45 THE ROMERO-SYSTEM CLARINET: Belgian Clarinet Academy ...... 93 HISTORICAL NOTES AND OTHER INQUIRIES by Pedro Rubio ...... 54 Brannen Woodwinds ...... 25 AN INTERVIEW WITH JOSÉ ANTONIO TOMÁS PÉREZ by Carlos J. Casadó ...... 60 Brevard Music Center ...... 14 Brixton Publications ...... 84 MIGUEL YUSTE (1870–1947): THE SEARCH FOR HIS WORKS by Malena McLaren . . . 64 Buffet Group USA ...... IFC RESTORING ALEC WILDER’S ORIGINALS by Glenn Bowen ...... 67 California Clarinet Clinic ...... 50 PATRICE SCIORTINO AND HIS WORKS WITH CLARINET by Jean-Marie Paul . . . . . 68 Claremont Clarinet Festival ...... 27 REMEMBERING BUDDY DEFRANCO by Randy Salman ...... 71 Classical Collection Inc ...... 37 MOUTHPIECE MADNESS – PART VI: Crystal Records ...... 85 AN INTERVIEW WITH RAMON WODKOWSKI D’Addario Winds ...... 49 by Richard MacDowell and Larry Guy ...... 72 Freewing ...... 38 J .L . Smith & Co ...... 47 L . Rossi ...... 2 DEPARTMENTS Lift Academy ...... 17 TEACHING CLARINET by Michael Webster ...... 4 Lisa’s Clarinet Shop ...... 52 AUDIO NOTES by William Nichols ...... 8 Luyben Music Co ...... 7 CONFERENCES & WORKSHOPS ...... 12 Ohio State Clarinet Academy ...... 29 THE PEDAGOGY CORNER by Kimberly Cole Luevano ...... 16 Ongaku Records, Inc ...... 5 CLARINET CACHE by Kellie Lignitz-Hahn and Rachel Yoder ...... 20 Patricola Brothers ...... 13 HISTORICALLY SPEAKING by Deborah Check Reeves ...... 22 ReedGeek, Inc ...... 51 THE by Margaret Thornhill ...... 24 Reedual / Hawkeye Mfg ...... 51 CLARINETISTS IN UNIFORM a report by Cindy Wolverton ...... 28 RJ Music Group ...... 79 I.C.A. 2014 RESEARCH COMPETITION REPORT by Douglas Monroe ...... 76 Rodriguez Musical Services ...... 48 I.C.A. 2014 HIGH SCHOOL SOLO COMPETITION REPORT by Elizabeth Crawford . . . 77 Rovner Products ...... 23 I.C.A. 2014 YOUNG ARTIST COMPETITION REPORT by Maxine Ramey ...... 78 Sayre Woodwinds ...... 91 I.C.A. 2014 ORCHESTRAL COMPETITION REPORT by Jeremy Reynolds ...... 80 Taplin-Weir ...... 47 I.C.A. 2014 COMPOSITION COMPETITION REPORT by Michael Norsworthy ...... 81 Van Cott Information Services ...... 6 NEWS FROM LATIN AMERICA by Ricardo Dourado Freire ...... 82 Vandoren ...... IBC COMPETITIONS ...... 84 Wichita Band Instrument Co ...... 85 NEWS FROM FRANCE by Jean-Marie Paul ...... 86 Woodwind Web Design ...... 93 RECITALS & CONCERTS ...... 87 Woodwindiana, Inc ...... 84 REVIEWS ...... 88 Yamaha Corporation of America . . . . . OBC THE PRESIDENT’S MESSAGE by Maxine Ramey ...... 95

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March 2015 3 Teaching

by Michael Webster

ir ticulation and expressive demands beyond Mozart’s . The fortepiano in use during Beethoven’s A - , Beethoven’s symphonies nos . 4, 6, and 8 are early years had much less sustaining power Beethoven Style, Part 1 rightful staples of the orchestral audition than a modern Steinway, even if the soste- Sixty-eighth in a series of articles using ex- repertoire because of their extended range nuto pedal was being used, and the transi- cerpts from a teaching method in progress by and expressive content, and especially be- tional bows of the string section (halfway the Professor of Music at Rice University cause of the demands of air-ticulation . To between Baroque and modern) also had less investigate why I’ve coined that term for sustaining power . In order to achieve a uni- larinetists are grateful to Mozart this article, let’s look at the piano concerti fied concept of articulation, the clarinet, as for having put our instrument on in chronological order, starting with No . 1, it alternates with the piano, has to mimic the map by writing masterworks which is really No . 2 . the strike of hammer on string (tongue Cduring its infancy and extending its use in The slow movement dispenses with flute releasing the reed) followed by an imme- the . In our enthusiasm for Mo- and entirely, making the clarinet the diate taper (easing up on the air supply) . zart, we often forget to thank Beethoven lead voice in conversation with the solo Whereas modern instruments do sustain for the great role he played in the develop- piano . Example 1A shows the first clarinet much more, it is still necessary for wood- ment of the clarinet . He included clarinet “moment,” which includes a double-dotted wind players, after learning how to sustain in many early chamber works, most promi- rhythm in the unusual tempo of Largo alla air steadily, to modify the air stream for nently in the Trio, Op . 11 with and breve. Within the slow tempo, there must expressive purpose . Meanwhile, the entire piano; more importantly he solidified the be a feeling of two, rather than four beats half measure has to lead to the bar line in fledgling instrument’s role in the orchestra . per bar, a difficult assignment for both pia- alla breve, avoiding the feeling of quarter- Mozart included a pair of in only nist and orchestra . In order to achieve that, note beats . four of his 41 symphonies: No . 31 in D the clarinetist must absolutely use air mod- The clarinet leads a woodwind sextet of Major (Paris), No . 35 in D Major (Haff- ulation to supplement the tongue . The dou- two clarinets, two and two horns . ner), No . 39 in E-flat Major, and No . 40 in ble-dotted notes sound stilted and robotic (Listen to Beethoven’s Sextet, Op . 71, com- G Minor, and in three of his 27 piano con- unless they are given significant taper and posed in the same year .) The lyrically ex- certos . Beethoven, however, used a pair of a slight separation from the next 32nd note . pressive passage requires light tonguing to clarinets in every orchestral work except for his short romances with solo instruments and the second piano concerto . In fact, it is the piano concertos that I want to emphasize in this discussion of air- ticulation . Beethoven was not the prodigy that Mozart was, but his first piano con- certo (in B-flat Major) was begun in 1787 when he was 17 years old . It was not fin- ished until he rewrote the finale in 1795, Example 1A and was belatedly published as Op . 19, his more mature concerto in C Major (1797) having become op . 15 . Thus theConcerto No. 1 in C Major, Op . 15 began a string of orchestral works using two clarinets that lasted the rest of his life . Mozart introduced clarinets to the orchestra on equal footing with the other woodwinds; Beethoven gave them a permanent home . In addition, Beethoven added technical Example 1B

4 The Clarinet it practical to rely more upon the tongue and less on the air for tapering the repeated notes . This can be accomplished by bring- ing the tongue back to the reed more lightly than usual, creating a bit of bloom or glow at the end of each eighth note . In addition, Example 1C mm . 94 and 95 benefit from hairpins up and down to shape each phrase with a ca- dential feeling . The movement ends with the solo piano supplying the bass for a con- cert A-flat major triad in the same sextet of clarinets, bassoons, and horns (Example 1D) . No doubt the pianist will use some Example 1D sostenuto pedal for the three notes, so the winds must imitate the clarity of the piano’s clarify the beginning of each slur and ex- and joining the repeated hammers at the beginning of each tone, the pressive use of the air, including two subito notes of the second clarinet, the first clari- immediate taper characteristic of the piano, and a sforzando . The piano returns net slurs up by half steps . The implication is and the lack of complete silence between with pickups to m . 19, accompanied by the that Beethoven viewed the repeated notes’ the tones caused by the pedal . sextet playing light, staccato eighth notes legato-staccato as being nearly legato . There- I love the characteristic and quirky that must start clearly, taper quickly, and fore, it is not adequate simply to stop the rhythms of Beethoven’s piano concerto allow for a microscopic moment of silence repeated notes with the tongue . Compared finales . Each one gives a slightly different before the next note . The most effective with the staccato eighth notes in Example view of air-ticulation . In Example 2, the procedure is to taper the air, then bring the 1A, these are tapered, but with little or even first note of each 16th-note figure must be tongue back to the reed, resulting in sepa- no silence in between . accented with the breath, tonguing the ration without dryness . Speed affects the blend of air and tongue . first eighth note rather than slurring to it . Example 1B gives insight into Example 1C has the same articulation as The three eighth notes of mm . 21 and 22 Beethoven’s concept of legato-staccato. With Example 1B, but the increased speed makes must be very short, played with constant

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o CLAR Cohler on Clarinet Moonflowers, BaBy! COHLER n More Cohler on Clarinet Ongaku 024-101 crystal recOrds cd733 more Ongaku 024-102 BRAHMS Judith Gordon, piano Judith Gordon, in Eb Major Randall Hodgkinson, piano • POULENC Sonata Brahms Sonata in F Minor hindemith Sonata • hOnegger • IN Brahms Sonata in E-flat Major • SCHUMANN • WeBer Grand Duo • Francaix Theme and Fantasy Pieces POulenc Sonata • schumann • ärmann aughan illiams MILHAUD ET Concertant • B Variations • v W Sonatina Fantasy Pieces • milhaud Sonatine • Adagio • sargOn Deep Six Studies in English Folksong • STRAVINSKY • stravinsky Three Pieces Three Pieces Ellum Nights milhaud Duo Concertant • Caprice • BOzza Pulcinella • kuPFerman Moonflowers, Baby!

Clarinet Ad Half Page.indd 1 March 2015 1/8/09 7:13:18 PM5 Webster’s Web Your feedback and in- put to these articles are valuable to our reader- ship . Please send com- ments and questions to Webster’s Web at mwebster@rice .edu or Michael Webster, Shepherd School of Music, MS-532, P .O . Box 1892, Houston TX 77251-1892; fax Example 2 713-348-5317; website: www .michael websterclarinet .com air stream stopped abruptly by the tongue . lenging speed for most players . The best Marshall Erickson of Bozeman, Mon- The sforzando dotted quarters in mm . 28 way to reach one’s maximum speed is not tana, responded to my interview with and 30 get a good kick with the abdominal to try stopping each note with tongue as we Chester Rowell in the issue muscles followed by quick taper, allowing did for the staccato eighth notes . It is better (September 2014): them to be held full value without imping- only to start each note with the tongue . In I played bass clarinet in the Uni- ing upon the clarity of the staccato eighth this case, there are no staccato dots, but it note that follows . versity of Illinois concert band and would be a good strategy even if there were . In mm . 31 and 32, Beethoven adds the clarinet quartet in the music If one simply cannot get through all eight sforzandi on the first offbeat as if to say, school for four years . The band direc- “Enough accenting the downbeat; let’s mix notes without slowing down, it is better to tor had a windfall in my second year: it up!” Accents and sforzandi should always slur the fifth and sixth notes surreptitiously he got 32 B-flat Buffets, four Leblanc be achieved with an abdominal kick of the rather than the first and second where a bass clarinets, eight Bach , air, not by trying to tongue harder . Finally, slur is more easily heard . four baritones and six rotary . we have eight articulated 16th notes in m . “Air-ticulation, Beethoven Style, Part 2” He drilled holes in the bells of the Buffets (60 years ahead of the To- 37 . A typical tempo is quarter = 144, a chal- will continue in June . sca) . But in your article with Chester Rowell, I learned what we didn’t re- French Clarinet Music (Part 1) ally know about the instrument . My Van Cott Information Burlesko Cl & Pn (Ameller) ...... $15.25 first thought was: why not an instruc- Services, Inc. Capriccio Cl & Pn (Arrieu) ...... $18.95 tion book like Peter Hadcock’s two Chant Slave Cl & Pn (Barat) ...... $12.40 books on the E-flat and the Working See our full catalog of wood- Concerto Lyrique Cl & Pn (Bernaud) ...... $69.15 Clarinetist? Although I don’t play any wind books, music, and CDs at: El Casot Cl & Pn (Bimbi) ...... $16.95 more, I sure would enjoy a book on Bagatelle Cl & Pn (Bitsch) ...... $28.30 http://www.vcisinc.com Sonatine Cl & Pn (Blavet) ...... $15.95 this subject . I played for 64 years and Shipping (Media Mail-U.S.): $4.95 Denneriana Cl & Pn (Bloch) ...... $20.35 just had to stop before people said, for the first item, $.50 for each Deux Caprices Cl & Pn (Bonneau) ...... $40.30 “Boy, has he slipped ”. My daughter additional. Priority and International Aria Cl & Pn (Bozza) ...... $14.05 went to Eastman for three years, Air Mail also available. Ballade BsCl & Pn (Bozza) ...... $7.95 studied with Peter Hadcock, and said We accept purchase orders from Andante and Allegro BsCl & Pn (Desportes) ...... $7.95 Cantilène Cl & Pn (Cahuzac) ...... $15.95 he was the best teacher she ever had . US Universities. Andante and Allegro Cl & Pn (Chausson) ...... $19.95 She now plays in the Rhode Island email: [email protected] Mélodie et Scherzetto Op. 68 Cl & Pn (Coquard) $19.95 Philharmonic . I am sure you know P.O. Box 9569 Reliances Concerto E-flat Cl & Pn (de Crépy) ...... $33.95 the conductor [Larry Rachleff] . Las Vegas, NV 89191, USA Récit et Impromptu Cl & Pn (Dautremer) ...... $24.55 (702) 438-2102 Premiere Rhapsodie Cl & Pn (Debussy) …... $11.95-24.95 Fantaisie Italienne Op. 110 Cl & Pn (Delmas) ..... $14.95 Fax (801) 650-1719 First Sonata Cl & Pn (Devienne) ...... $14.95 Second Sonata Cl & Pn (Devienne) ...... $18.95 The Clarinet Fantaisie Orientale Cl & Pn (d'Ollone) ...... $29.25 PUBLICATION SCHEDULE Concertino Cl & Pn (Dondeyne) ...... $28.30 Sonatina Cl & Pn (Dondeyne) ...... $30.45 The magazine is usually mailed dur- Concerto Cl & Pn (Françaix) ...... $24.95 ing the last week of February, May, Books, Music and CDs. Tema Con Variazioni Cl & Pn (Françaix) ...... $34.95 August and November. Delivery 2,400+ for Clarinet and Sonatine Cl & Pn (Gabaye) ...... $37.00 Fantaisie Cl & Pn (Gaubert) ...... $28.30 time within North America is nor- 1,200+ for ! Concerto Cl & Pn (Ghidoni) ...... $48.25 mally 10–14 days, while airmail de- Concerto Cl & Pn (Gotkovsky) ...... $29.95 livery time outside of North America Lamento et Tarentelle Cl & Pn (Gotkovsky) ...... $23.50 is 7–10 days.

6 The Clarinet

scherzo is also not to be missed . To aban- don the violin for the viola in this quartet with clarinet and cello gives this music a by William Nichols dark warmth rarely experienced in piano quartet repertoire . Kaminski’s beautiful and masterfully written quartet hopefully Audio will take a place as a pillar of late Romantic clarinet chamber repertoire . Another piece of somewhat unusual scoring is the for clarinet, horn, violin, viola and cello from 1924, which was first performed in 1925 at the Donaue- schinger Day for New Music, and which welcome discovery has come my Sterling label presents three works: Quartet is dedicated to the aforementioned Werner way in the form of a recording of for piano, clarinet, viola and cello (1912); Reinhart . It is a three-movement work of clarinet by Ger- Quintet for clarinet, horn, violin, viola and 21-minute duration played without pause . Aman composer Heinrich Kaminski, who cello (1924); and Drei geistliche Lieder for In this quintet we hear music of more mod- until recently was unknown to this writer . soprano, violin and clarinet (1922/23) . ernist leanings, however program notes by Kaminski (1886–1946) was however quite Swiss clarinetist Stephan Siegenthaler is clarinetist Siegenthaler and violinist Less- well known in musical circles of Germany joined by eight distinguished colleagues in ing state that Kaminski’s music “was dif- and Switzerland in the 1920s and 1930s . total, to perform these rarely heard works . ferently modern than most other music Born in southwestern Germany near the Mr . Siegenthaler was trained at the con- that followed the mainstream of its time . Swiss border, most of his musically produc- servatories of Bern and Geneva, and the With his Quintet Kaminski displays a per- tive years were spent in Bavaria . His mu- Academy of Music in Detmold, Germany sonal sense for modernity by including a sic, as well as his burgeoning career, was with distinguished clarinetists, including wealth of rhythmical detail and complex- stifled by the political climate of the time . Thomas Friedli and Jost Michaels . While a ity that stands out as unusual for its time ”. In 1933, under pressure, he resigned his soloist and orchestral player, he is chiefly This piece often displays more rhythmical professorship appointment of three years heard as a chamber music player who has complexity and dense contrapuntal writ- earlier at the Prussian Academy of Arts in a significant number of recordings to his ing than the earlier Quartet, moving away Berlin, and, soon after, left his position credit, having premiered numerous new as music director and conductor of the works and made first recordings of forgot- from a strong key sense, but never aban- concerts in the west German ten music from the classical, Romantic and doning tonality . The rather vague metric city of Bielefeld . By 1937 performances modern eras . Stephan Siegenthaler is also feel in parts of this work seem to stem from of his music were essentially banned in an entrepreneur who co-founded, devel- the composer’s intent to avoid (in an oft- Germany, although certainly not in neigh- oped and sold a medical device company, used term) the “tyranny of the bar-line ”. boring Switzerland where throughout his and (as of 2011) is CEO and co-founder of The imaginatively-scored and expressively- career he found acceptance and help from an international medical device company . moving slow middle section of this quintet benefactors, including the successful Swiss The Quartet (in A minor) for piano, is based on a Breton sacred folksong, “en merchant and clarinetist, Werner Reinhart clarinet, viola and cello is a student work Angelus,” and is an exquisite experience . of Winterthur . (Many clarinetists are aware and indeed bears a 1b opus number . How- Drei geistliche Lieder (Three Sacred of Reinhart’s patronage of Stravinsky, The ever, regarding career choice and formal Songs), with texts also by Kaminski, was Soldier’s Tale, and that it was Reinhart for study Kaminski was something of a late first heard in 1924 in Salzburg . Stephan whom the Russian master composed his bloomer, and this full-blown and polished Siegenthaler is joined by soprano Anna solo clarinet pieces as a gift .) work was composed at age 26, and not Maria Pammer and violinist Kolja Less- The life of the talented Heinrich Ka- heard until three years later in 1915 . It is ing . The first song, “O Heart of Man!,” is minski was peppered with artistic suc- a four-movement, 24-minute piece look- an effective highly chromatic contrapuntal cesses, but was in great part overshadowed ing back to Romantic roots . It is some- trio which is clearly 20th-century music by the political atmosphere of the times, what Brahmsian in only a general sense, is but Medieval in character, and which is his family heritage and his association with well crafted and is strikingly original . The followed by a brief lullaby, “O My Child ”. some leading leftist artists, composers and contrasting movements are ordered in a The closing “O Light of Day” is a joyous writers . He attracted a loyal group of com- traditional manner and utilize common statement of nature reminiscent of a grand position students, including Carl Orff, and tonal structures . The generally slow second Baroque chorale . was guided by a spirituality which in part movement is a theme and variations based The music throughout this disc is real- aligned with Eastern philosophies . Tragi- on a Ruthenian folksong from the southern ized by clearly accomplished chamber music cally, during World War II he experienced slopes of the Carpathian Mountains in the players . The performances are very convinc- the death of a daughter, a son, and another western Ukraine . The melancholy, simple ing and beautifully recorded in Switzerland daughter in 1944, before his own death melody is seamlessly developed, creating a at studios in Grimisuat (Quartet) and Zu- just shy of his 60th birthday in 1946 . piece which is an expressive gem of cham- rich . This polished production is replete with The CD at hand on the Swedish-based ber music writing . The following brief excellent notes (German and English) and

8 The Clarinet photos of composer and performers . The beauty of this music and the purity of the Mann, bassoon . R . Maros: Serenata; A . disc is STERLING CDA-1681-2, www . sound of these instruments . There are ef- Tansman: Suite; A . Zaheri: Two Girls and sterlingcd .com – highly recommended . fective modern works here also, including a Boy; W . Lutosławski: Trio; P . Schickele: pieces from Dora Cojocaru (the CD title Diversions; R . Loucheur: Portraits; J . * * * * * piece), Jörg-Martin Willnauer (with its tip Chaudoir: Sept vignettes; E . Schulhoff: I have received three outstanding re- of the hat to E . T . A . Hoffmann by way of Divertissement . BLUE GRIFFIN RE- cordings from Austrian clarinetist Stefan Offenbach’s Barcarole), Austrian tenor and CORDING BGR347 . Total time 77:28 . Neubauer, one of which is titled Solitary composer Wilhelm Spuller and the most www .bluegriffin .com and iTunes Changes, and another featuring music of ear-stretching and performer-challenging Iwan Müller – Clarinet Concertos. Gerald Resch . Some basic details about work, Wettspiel, by Bulgarian composer, Friederike Roth, clarinet; Johannes these discs can be found in the “Audio pianist and conductor Wladimir Pantchev . Gmeinder, clarinet (in Duo); Philhar- Notes” column of the June 2014 issue of It is here where Ensemble Clarinettissimo monic Orchestra of the Cottbus State The Clarinet(page 10) . clearly demonstrates its ability to handle Theater conducted by Evan Christ . Iwan The third CD is by the trio Ensemble technical and interpretive challenges well Müller: Concertos for Clarinet and Or- Clarinettissimo . The ensemble consists of beyond traditional performance practice . chestra Nos. 3, 4, 5, 6; Duo Concertante . Stefan Neubauer, Thomas Obermüller and Several of the selections in this program MGD 901 1846-6 . Total time 65:54 . Michael Domanig who collectively play are transcriptions that work particularly well www .mdg .de here the most commonly-used soprano and with , including Scott Joplin’s Solo Non Solo. Sauro Berti, bass clarinet/ harmony instruments of the clarinet fam- The Easy Winners . The ensemble infuses clarinet/; assisted in seven ily . This 75½-minute disc is intriguingly subtle articulation, rhythmic and dynamic works by individual artists: D . Bernaro, titled Insects, Bugs and other Species . detail which makes this rag shine . Who pandeiro; M . Ciaccio, tenor saxophone; The trio members were once fellow knew it could be played to perfection by G . Nanni, drums; P . Rose, narrator; A . students in Vienna and have played, or Austrians? We would, however, expect per- Succi, bass clarinet; L . Velotti, clarinet . currently are playing, in various Austrian fection, and get it, in a nearly three-minute A . Succi: Ultraclarinet; C . Boccadoro: and chamber ensembles . The rep- track which presents six traditional yodels Walk; T . Briccetti: Sintesi; S . Nanni: ertoire of Ensemble Clarinettissimo includes from the Austrian Alps – a novel and charm- Peans Giga; J . Manduell: Prayers from original compositions and arrangements ing programming idea that works . Finally, the Ark; A . Gottschalk: Oh, More or Less; spanning from the Baroque to the present . kudos to the trio and the arrangement of S . Zalambani: Two Brazilian Pieces; B . There are indeed a whopping 17 pieces Mozart’s Figaro aria . Both arrangement and Baumgardner: Cosmic Turtles Sidekick; programmed on this disc: D . Cojocaru: performance combine to be a highlight of C . Boccadoro: Broken Mirror; L . Ve- Insects, Bugs and other Species; J . N . Hum- a disc replete with excellent music making . lotti: Blue Buk; M . Lowenstern: Spasm; mel: Trio in B-flat Minor: Allegro; J .-M . Ensemble Clarinettissimo is a trio B . Mintzer: Weirdo Funk; T . Procaccini: Willnauer: 3 Miniatures; R . Staar: from the which is imbued with a sense of musicality Adagio and Allegro, Op . 175; V . Buc- that seems never to be lost in spite of the First Swiss Divertimento (1983) for three chi: Concerto “Carte Fiorentine No. 2”. wide-ranging musical styles before them . clarinets: Menuett; W . A . Mozart: from RAVELLO RECORDS RR 7894 . To- The players’ high level of technical accom- the Divertimento No. 2, K .439b: Larghetto; tal time 77:00 . www .ravellorecords .com plishment seems transparent, never calling and “Non più andrai, farfallone amoroso” and Amazon attention to itself . We are greatly indebted from The Marriage of Figaro; W . Spuller: The Transfigured Nightingale. Jerome to Stefan Neubauer, Thomas Obermüller super mario’s world zwanzigelf; J . Bouffil: Summers, clarinet; Robert Kortgaard, and Michael Domanig for giving the clari- Allegretto; G . Druschetzky: Menuetto; J . piano . Brahms: Sonata in E-flat, Op . net community and listeners beyond, this S . Bach: Contrapunctus inversus a 3; G . 120, No . 2; Shostakovich (arr . A . Stark): outstanding recording . Resch: terzein; W . R . Kubizek: smooth mix Two Pieces (“Adagio” from Symphony The disc is from ORLANDO RE- fix; Traditional: Alpine Yodeler; Z . Wysocki: No. 12 and “Scherzo” from Symphony CORDS OR 0004 and is available from Etude No. 53, Op . 60/17; G . Lukeschitsch: No. 9); Michael Conway Baker: A Can- www .orlando-records .com, is also distrib- Recordare; S . Joplin: The Easy Winners; W . ticle for Ryan, Op . 127; Rachmaninoff: uted by Naxos, and is available as a down- Pantchev: Wettspiel . Sonata in G Minor, Op . 19 (cello sona- load . Recorded sound is quite natural, spa- When it comes to programming, this ta); Marek Norman: Just Think . BLUE cious, and well balanced throughout . CD is like no other to have come across GRIFFIN RECORDING BGR339 . Insects, Bugs and other Species re- my desk . Total time 79:08 . www .bluegriffin .com minds clarinetists why we are attracted to It is a lively collection of widely diverse Antonio Romero – Clarinet Duos. Luis the instrument – its sounds and its capa- Castelló Rizo, clarinet; Francisco J . music which exhibits Ensemble Clarinet- bilities . Highly recommended – To check it Fernández Vicedo, clarinet . 30 duos tissimo’s mastery of their craft, which is out, run to your nearest computer . indeed impressive and wide ranging . At- by Spanish clarinetist Antonio Romero tention to balance, intonation and sty- * * * * * (1815-1886) . IBS CLASSICAL 22014 . listic effectiveness in those transparently Total time 44:14 . ArkivMusic .com unforgiving works of Mozart, Druschet- Recent Arrivals Sugar Blues. Alex Belhaj’s Crescent City zky, Bouffil and Hummel yields stunning Dialogue. The Cavell Trio: Osiris J . Mo- Quartet: Ray Heitger, clarinet and results . One can easily bask in the simple lina, clarinet; Shelly Myers, oboe; Jenny voice; Dave Kosmyna, cornet and voice;

March 2015 9 Jordan Schug, bass; Alex Belhaj, guitar inet and harp; and clarinet, violin, harp American Tribute. Jonathan Cohler, clari- and voice . Twelve tracks of traditional and bodhran . HEDONE HCD 14002 . net; Rasa Vitkauskaite, piano . L . Bern- drawn in most part from tunes of Total time 98:21 (two discs) . www .leslie stein: Sonata; V . Babin: Hillandale Waltz- the first four decades of the 20th centu- craven co. .uk es; R . Muczynski: Time Pieces, Op . 43; S . ry . RAYMOND STREET RECORDS . Kummer – Chamber Music for Winds. Sargon: KlezMuzik; D . Wilson: Liquid Artist produced . Total time 69:38 . Italian Classical Consort: Luigi Mag- Ebony; Paquito D’Rivera: Invitación al www .alexbelhaj .com istrelli, clarinet and basset horn; Elena Danzón; Vals Venezolano; . Sea of Reeds – Works for Clarinet and Cecconi, flute; Danilo Zaffaroni, bas- ONGAKU RECORDS 024-125 . Total Chamber Ensemble. Vasko Dukovski, soon; Marina Degl’Innocenti, piano . time 69:06 . www .ongaku-records .com clarinet; Ismail Lumanovski, clarinet; Al- Caspar Kummer: Concertino in C, Op . Kubín/Françaix/Kabeláč. Karel Dohnal, exandra Joan, piano; Jennifer Choi, vio- 101 for flute, clarinet and piano; Von clarinet; Moravian Philharmonic Or- lin; Maria Lambros, viola . Music of Ger- Dir! die Sternlein, die sprachen die ganze chestra conducted by Ondřej Vrabec; ald Cohen: Variously Blue for clarinet, Nacht, Op . 127 for flute, clarinet and Prague Radio Symphony Orchestra violin and piano; Sea of Reeds five songs piano; Adagio and Variations, Op . 45 for conducted Marko Ivanović . R . Kubin: for clarinet duo and piano; Yedid Nefesh basset horn and piano; Duets, Op . 46, ; J . Françaix: Clarinet for clarinet, viola and piano; Grneta Nos . 1 & 2 for flute and clarinet;Trio , Concerto; M . Kabeláč: Symphony No. 6 Variations for clarinet duo and piano . Op . 32 for flute, clarinet and bassoon . in E (symphonia concertante for solo NAVONA RECORDS NV5979 . Total BRILLIANT CLASSICS 94472 . Total clarinet, orchestra, and two pianos), time 70:00 . www .navonarecords .com/ time 65:35 . www .brilliantclassics .com Op .44 . Artists produced . Total time seaofreeds, distributed by naxos .com Die Zauberharfe. Luigi Magistrelli, clari- 71:55 . email: dohnalka@hotmail .com Josef Holbrooke – Clarinet Chamber Mu- net; Claudia Bracco, piano; Margherita Opere Contemporanee per Clarinetto. sic. Robert Plane, clarinet; Lucy Gould, Tomasi, soprano; Elena Gorna, harp . Josè Daniel Cirigliano, clarinet . F . De violin; Mia Cooper, violin; Scott Dick- Clarinet chamber music by Franz Rossi Re: Cachucha for demi-clarinet; inson, viola; David Adams, viola; Alice Schubert: “Arpeggione” Sonata; Der Hirt and Ribes nero; A . Gottardo: Chant a Neary, cello; Sophia Rahman, piano . auf dem Felsen; Salve Regina; Offertori- danse pour Arlequin; S . Azarova: Out- Music of Josef Holbrooke: Clarinet Quin- um: Totus in corde lanqueo; “Romanze” voice, outstep and outwalk for bass clari- tet, Op . 27; Cyrene, Op . 88B for clarinet from Die Verschworenen; “Larghetto and net; F . Testi: Jubilus I; G .P . Luppi: Mani and piano; Phryne, Op . 98B for clarinet Andante” from Die Zauberharfe; Sona- No.1; P . Renosto: Cirocirò for E-flat and piano; Variations for clarinet and tina (after the violin Sonatina in D); clarinet; W . O . Smith: Ritual for double from Quintet, Op . 27,1; Schubert/D . Liverani: Serenade . URA- clarinet; L . Berio: Sequenza IX; G . Tirin- Nocturne: Fairyland, Op . 57 for viola, NIA RECORDS LDV 14016 . Total canti: Clarinettologia . TACTUS TC clarinet and piano; Eilean Shona, Op . 74 time 76:26 . www .uraniarecords .com 920002 . Total time 63:43 . www .tactus . it and www .cduniverse .com for clarinet and string quartet; Clarinet Pot Pourri Clarinet Recital. Luigi Mag- Los Angeles New Music Ensemble. Chris- Quintet (alternative finale) . CPO 777 istrelli, clarinet; Sumiko Hojo, piano; tina Giacona, clarinet/bass clarinet & 731-2 . Total time 76:27 . Amazon .com Marina Degl’Innocenti, piano; Laura director; Kelly Haley-Silber, flute; Parick Robin Milford – Chamber Music. Robert Magistrelli, clarinet; Noemi Guerriero, Conlon, violin; Rachel Coosaia, cello; Plane, clarinet; Lucy Gould, violin; Mia basset horn . N . Gade: Fantasy Pieces, Kiri Riddle, piano; Kelly Casell, voice; Cooper, violin; David Adams, viola; Op . 43; C . Debussy: Première Rhapso- Elizabeth Hance, flute; Zachary Reeves, Alice Neary, cello; Benjamin Frith, pi- die; I . Stravinsky: Three Pieces for clari- cello; Mike Deutsch, marimba; James ano . Music of Robin Milford: Phantasy net alone; G . Donizetti: Studio No. 1 for Miller, voice; Audrey Q . Snyder, cello; Quintet, Op . 33 for clarinet and string clarinet alone; G . Rossini: Introduction, Dan Formidoni, piano; Debra Trafi- quartet; Idyll: Under the Greenwood Theme and Variations; C . P . E . Bach: cante, percussion . L . Berio: O King; D . Tree, Op . 57 for violin and piano; Trio Duo for two clarinets; Poulenc: Sonata Drexler: forgotten at dawn...; P . Conlon: in F Major, Op . 87 for clarinet, cello for two clarinets; W . Hess: “Four Move- Mirror Sermon; M . Mellits: Gonzalo and piano; Lyrical Movement, Op . 89 ments” from Suite Pittoresque, Op . 115 Speaks; M . Lamb: Pablo/Saul; J . Eidson: Prelude for clarinet and piano; , Op . 92 for clarinet and basset horn; Poulenc: Miniboss . CENTAUR RECORDS CRC for violin, cello and piano; Sonata in D Sonata . GALLO CD-1450 . Total time 3364 . Total time 57:48 . www .centaur Major, Op . 77 violin and piano . TOC- 78:01 . www .vdegallo-music .com records .com CATA CLASSICS TOCC 0244 . Total Live Performances – Nuno Silva. Nuno time 69:31 . www .toccataclassics .com Silva, clarinet; Alexei Tolpygo and Elder Good listening! Inspirations. Leslie Craven, clarinet; Lana Nagiev, ; Joana Cipriano, viola; Trotovšek, violin; Yoko Misumi, piano; Jian Hong, cello; Lisbon Metropolitan Katherine Thomas, harp; Boris Bizjak, Orchestra conducted by Cesário Costa . Visit the flute; Patrick King, bodhran . Music Mozart: Quintet in A, K . 581; Copland: International Clarinet Association of Roma Cafolla: An array of thirteen Clarinet Concerto; Encore – Improvisa- on the World Wide Web: works for clarinet and piano; clarinet, tion . Artists produced . Total time 50:46 . violin and piano; clarinet, violin, harp www .CDBaby .com, Amazon .com, and WWW.CLARINET.ORG and piano; clarinet, flute and harp; clar- iTunes

10 The Clarinet 2015 YOUNG ARTIST COMPETITION Eligibility: The competition is open to all clarinetists who shall not have reached the age of 27 by January 1, 2016 (i.e., born on or after January 1, 1989) and are not currently under major artist management. Application: Deadline for the submission of application materials is Friday, April 3, 2015. Please submit the online application at http://clarinet.org/youngArtistComp.asp. Young Artist Competition Coordinator: Caroline Hartig – [email protected] CONTEST RULES I. Application Fee: $65 USD. All applicants must be members of the I.C.A. and submit the Competition Application. Non-members wishing to apply may join the I.C.A. by going to www.clarinet.org/Order_MembershipJoin.asp and becoming a member. The application fee is non-refundable. II. Recording Instructions: Please provide a high quality recording containing the following repertoire in the exact order listed. Repertoire must be recorded with accompaniment when appropriate. Any published edition is acceptable. Each selection/movement should be listed as a single track, and should not contain your name. Please be aware that the quality of the recording will influence the judges. Recordings should not be edited and only continuous performances of entire works or movements are allowed. 1. Antonio Romero y Andia, Fantasía Sobre Motivos De Lucrecia Borgia de Donizetti Para Clarinete de Piano (*Omit piano introduction and begin with solo clarinet concert B-flat eighth-note upbeat in measure 26) 2. Donald Martino, A Set for Clarinet (McGinnis & Marx) (Movements I, II, & III) 3. , Concerto No. 2, Opus 57, Mvt. I. With piano cuts as follows: (*play opening to m. 8, beat one concert G quarter note, piano cut to six measures before C. Between E and F, play the first two bars of E, omitting last three Blaser, or wind chords, in the right hand of the second bar after E and cut to two measures before F. End the movement on the last E-flat chord nine measures from the end after the final clarinet trill.) III. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age. IV. Both the private teacher, if any, and the contestant attest in a separate written and signed statement that the recording is the playing of the contestant and has not been edited. V. A summer mailing address, telephone number and email address should be provided. Email is the preferred means of communication. Please check your email regularly as this is how you will be contacted. JUDGING Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on your audio files. There should be no speaking on the recording such as announcing of compositions. Preliminary judging will be by recorded audition. Semi-finalists will be chosen by committee. Notification will be sent by Monday, May 4, 2015. Semi-final and final rounds will be held at the ClarinetFest® 2015, to be held in Madrid, Spain July 22–26, 2015. Semi-finalists will receive a waiver of registration fees for ClarinetFest® 2015. Travel and other expenses will be the responsibility of the contestant. Visa and travel arrangements are solely the responsibility of the contestant. Repertoire for the semi-final and final rounds of competition will consist of selections from the works listed above. A pianist will be provided for competitors in the semi-final and final rounds. Memorization is not required. All contestants will accept the decision of the judges as final. Past first-prize winners are not eligible to compete. All recordings will become the property of the I.C.A. PRIZES First prize – $4,000 U.S. and a professional clarinet provided by L. Rossi • Second prize – $2,000 U.S. • Third prize – $1,000 U.S. The Young Artist Competition is generously sponsored in part by The Buffet Group, Rico, L. Rossi Clarinets, Henri Selmer Paris, Vandoren, and Yamaha. The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

March 2015 11 Conferences &

aginaw alley tate Michigan University . The afternoon began participants . The festival clarinet choir S V S with a group warm-up session focused on opened the evening recital with Kip Frank- University Hosts Guest long tones, voicing, technique and articula- lin’s own arrangement of Three Chorales of tion, after which the SVSU clarinet choir J .S . Bach . Following that, Professor Jack- Artist Sandra Jackson performed a mini-recital with works by son performed Debussy’s Première Rhapso- Grundman and Elgar . Dr . Franklin hosted die and Horovitz’s Sonatina, and Franklin at Second Annual a clinic with the Midland High School performed Rózas’s Sonatina for Clarinet Clarinet Day clarinet choir, which performed a version Solo and Five Bagatelles by Gerald Finzi . of “Jupiter” from Holst’s The Planets tran- Garik Pedersen from Eastern Michigan A Report by Kip Franklin scribed by Midland senior Kyle Franson . University graciously provided the piano In Sandra Jackson’s master class, SVSU accompaniment . The polacca from Krom- he second annual Saginaw Valley students Courtney McGee, Klaryce Kark- mer’s Concerto for Two Clarinets, Op . 91, State University Clarinet Day was lin and Katie Mueller performed works by featuring the combined talents of Jackson, held October 11, 2014, on the Ernesto Cavallini, Willson Osborne and Franklin and Pedersen, served as the pro- Tcampus of Saginaw Valley State Univer- Cyrile Rose . Students then participated gram’s grand finale . sity in University Center, Michigan . Kip in a question and answer session with Dr . The third installment of the SVSU Clar- Franklin, adjunct professor of clarinet at Franklin and Professor Jackson . Through- inet Day will take place in the fall of 2015 . SVSU, welcomed 24 participants to cam- out the day, Eric Satterlee from Meridian For more information about the SVSU pus, including guest artist Sandra Jackson, Winds in Okemos, Michigan, provided Clarinet Studio, please contact Kip Frank- assistant professor of clarinet at Eastern expert repair service and merchandise to lin: kefrankl@svsu .edu .

Workshop participants

12 The Clarinet atagonia Tolcachir joined by featured guest Gustavo P 2014 III Kamerbeek . It culminated with Alexandre International Clarinet Ribeiro playing choro brasilenhos with the local group Roda de choro. Festival August 14-17, The morning of Friday was reserved euquén rgentina for addressing technical difficulties and 2014 N , A different aspects in the clarinet repertoire . These sessions were conducted by Gustavo he Patagonia 2014 International Made in Italy Kamerbeek . In addition, a master class on Festival of Clarinet was held on Brasilian music was given by Alexandre August 14–17, 2014, in Neuquén, Ribeiro and a master class on Colombian TArgentina . folk music was given by Mauricio Murcia . Virtuoso Founded and hosted by clarinetist Os- Future generation The Friday evening concert included: valdo Lichtenzveig, the festival included Amalia Del Giudice and Evjord Ngjeliu’s clarinet performances, master classes, pres- excellent duo from F . Lerman Primer duo entations and clarinet discussions in an in- de concierto; Gustavo Kamerbeek’s perfo- spiring and collegial atmosphere . mance of Hommage à Bach by Béla Kovács; The festival featured Amalia Del Giudice the Neuquén Ensemble played Suite Haen- (Argentina), Alexandre Ribeiro (Brasil), Grenadilla deliana by G . F . Haendel; Gustavo Kamer- & Gustavo Kamerbeek (Argentina), Carmelo beek and Micaela Haedo played a Crusell Rosewood Azzolina clarinet choir (Argentina), Mau- duo; Mauricio Murcia played his compo- ricio Murcia (Colombia), Evjord Ngjeliu sitions Estudio 1 and 2 and D2; Alexandre Eb (Albania) and Osvaldo Lichtenzveig (Ar- Ribeiro played beautiful free improvisa- Bb gentina) . Thirty clarinet students from all tions with electronic elements; Osvaldo Li- A over the country and other instrumentalists chtenzveig played with his group “Osvaldo C gathered for four days of intense study . Listen Quartet” his own compositions Dos On Thursday, the festival began with a + uno and Piazzolla about, mixing jazz, host recital by the Youth Academic Sym- Latin and hip-hop . The evening concert phonic orchestra from Escuela Superior de culminated with a first performance of the Música de Neuquén conducted by Andrés Ngjeliu ’s Suite Albanesa .

Handmade

www.patricola.com Festival performers and participants

March 2015 13 On Saturday morning, we visited the The program included a beautiful Krom- of outstanding high school and college stu- Cipolletti youth orchestra conducted by mer concerto and symphonic repertoire . dents from throughout the region . Osvaldo Lichtenzveig . This orchestra is one This was a wonderful ending to a com- The day will include a master class and from the national orchestra program in Ar- pletely enjoyable event and left everyone recital featuring Prof . Luevano; a master gentina that works in poor socio-economic involved looking forward to the IV Patago- class and performance by the host, Rebecca backgrounds . nia International Festival of Clarinet 2016 . Rischin, professor of clarinet at Ohio Uni- After that we visited the “Bodegas For more information: http://clarinet- versity; and rehearsals for and a Grand Fi- NQN” testing Patagonia’s wines and hav- festival .wix .com/patagonia2014; Facebook: nale Concert featuring the Honors Clarinet ing a relaxing lunch . Festivalpatagonia clarinet . Choir with Ohio University student soloists . In the afternon Amalia Del Giudice All events will take place in Robert Glidden gave a master class on clarinet repertoire Ohio University to Host Hall (the School of Music), on the campus and Evjord Ngjeliu presented a class about of Ohio University in Athens . Registration Balkaniques rhythms . Twelfth Annual Clarinet is $20 and begins at 8:15 a .m . in Glidden The Saturday evening concert began Gala With Honors Hall main lobby . No prior registration for with the Carmelo Azzolina clarinet quartet those not in the clarinet choir is necessary . from Bahía Blanca, Argentina, and Mauri- Clarinet Choir For more information, log onto: cio Murcia performed Schindler’s List music www.ohio.edu/clarinet/galahcc.html with the Youth Concert Band from Provin- n Saturday, March 21, 2015, You may also contact Rebecca Rischin, cia de Neuquén, conducted by Pablo So- Ohio University will host its 12th professor of clarinet at Ohio University: brino . The concert ended with the ESMN annual Clarinet Gala, a full day (740)707-7061 [email protected] Big Band conducted by Osvaldo Lichten- ofO events for clarinetists of all ages and in- zveig joined by featured guests Mauricio terests, featuring guest artist Kimberly Cole Murcia and Alexandre Ribeiro . Luevano, associate professor of clarinet at Visit the International The Patagonia 2014 Festival ended with the University of North Texas in Denton . Clarinet Association on the the evening gala recital with the festival clar- Students, teachers, band directors, ama- World Wide Web: inet choir and the Rio Negro Philharmonic teurs and professionals are welcome . Orchesta conducted by Martín Fraile joined In its third successful year will be the WWW.CLARINET.ORG by Amalia Del Giudice and Evjord Ngjeliu . Honors Clarinet Choir, to be comprised

14 The Clarinet 2015 ORCHESTRAL AUDITION COMPETITION Eligibility: The competition is open to clarinetists of all ages who are not employed full-time as salaried members of a professional symphony orchestra. Application: Deadline for the submission of application materials is: Wednesday, April 1, 2015. Please submit the online application at http://clarinet.org/orchestracomp.asp. Orchestra Audition Competition Coordinator: Robyn Jones – [email protected]

CONTEST RULES I. Application Fee: $65 USD. All applicants must be members of the I.C.A. and submit the Competition Application. Non-members wishing to apply may join the I.C.A. by going to www.clarinet.org/Order_MembershipJoin.asp to become a member. The application fee is non-refundable. II. Recording Instructions: Please provide a high quality recording containing the following excerpts, in the exact order. Each selection/movement should be listed as a single track and should not contain your name. Please be aware that the quality of the recording will influence the judges. Recordings should not be edited and only continuous performances of entire works or movements are allowed. 1. Mozart: Concerto, K. 622, Movement I, exposition only 1st Clarinet: 2. Beethoven: Symphony No. 8, 3rd movement, mm. 48–78 3. Mendelssohn: Scherzo from Midsummer Night’s Dream, mm. 1–48 4. Rachmaninoff:Symphony No. 2, mvt. III, beginning to one measure before reh. #47 5. Stravinsky: Firebird Suite, (1919 version, ed. Clark McAlister), Variation de l’oiseau de feu – complete (reh. 9 – five mm. after reh. 18) E-flat Clarinet: 6. Ravel: , solo between rehearsal 3 and 4 7. Berlioz: Symphony Fantastique, mvt. V – reh. 63–65 8. Stauss: Till Eulenspeigels lustige Streiche, reh. 30–32 and reh. 38-epilogue 9. Shostakovich: Symphony No. 5, mvt. II, reh. 49–54 The following supplemental materials will be uploaded on the online application: • A separate written and signed statement, attesting the recording is the playing of the contestant and has not been edited. • A permanent address, telephone number and email address should be provided.

JUDGING Judging of recordings will be conducted with no knowledge of the contestants. Do not include any identification (your name) on your audio files. There should be no speaking on the recording, such as announcing of compositions. Preliminary judging will be held by recorded audition. Semifinalists will be chosen by committee. Email of notification will be sent by Friday, May 15, 2015. Semifinal and final rounds will be at ClarinetFest® 2015, to be held in Madrid, Spain, July 22–26, 2015. Repertoire for the semifinal and final rounds will consist of the excerpts listed above. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. All semifinalists will receive free registration at ClarinetFest® 2015. Travel expenses will be the responsibility of the contestant. All recordings will become the property of the I.C.A. and will not be returned.

PRIZES First Prize: $1000.00 and Gregory Smith model clarinet mouthpiece Second Prize: $500.00 and Gregory Smith model clarinet mouthpiece The Orchestral Audition Competition is generously sponsored in part by Gregory Smith. The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

March 2015 15 Lurie’s Approach to The Sight Reading In his 1978 interview, George Waln asked Lurie how he helped students develop sight-reading abilities . G.W.: In your professional playing, you have proven to be a phenomenal, flexible sight- Pedagogy reader. Can you help others with any sug- gestions on improving sight-reading? Well, I have always looked for materials to sharpen myself on sight- reading . One of the best things to do is to get hold of the Mozart violin by Kimberly Cole Luevano . Or, get any beautiful piece of music that is totally unknown to his “Pedagogy Corner” concludes not recorded elsewhere, including Dahl’s you, and give yourself this laboratory . an overview of Mitchell Lurie’s Five Duets, Muczynski’s Six Duos, Lese- Make the opportunity to read more pedagogical approach . Thank you mann’s Sonata for Clarinet and Percussion, and more things that are not neces- Tto Lurie’s former students who graciously Halsey Steven’s Concerto, Ernst Toch’s Ada- sarily technical or clarinet problems, took time to speak with me about their gio Elegiaco and Max Laurischkus’ Three but are just fine music . varied experiences: James Campbell, James Pieces, among others . Lurie urged students to seek a state of Gillespie, Gary Gray, David Howard, Jerry James Gillespie recalled that Lurie was “relaxed concentration” when playing . Kirkbride, Keith Koons, Lee Livengood and always amenable to small changes in what The term is “relaxed concentra- Alan Stanek . As always, I regret the impos- composers wrote to make the part sound tion” because as soon as you get tense sibility of interviewing or contacting every- better or easier, such as changing an articu- about reading something at sight, one who had the privilege of studying with lation or displacing a passage up or down your optic nerve does not get the Mr . Lurie, but I welcome recollections and an octave . Gillespie remembered working blood supply, and you actually do comments for inclusion in future issues . on William O . Smith’s Suite for clarinet and not see as well . This has been proven violin when Lurie recommended leaving by medical research, and if you can Lurie’s Approach to notes out to make a difficult passage more just keep as relaxed and loose as pos- Repertoire manageable 4. “…(Lurie) seemed to always sible, keeping your concentration, find the best way to negotiate all the techni- the reading will go better 7. Lurie assigned standard works like De- cal problems with a better musical result ”. 5 bussy, Rossini and Copland, but former Of course, Lurie also guided students in students also remember Lurie encouraging Lurie’s Approach to preparation of orchestral excerpts . Students creative programming and embracing new Equipment recalled Lurie’s encouragement that they or lesser-known works . Of course, Lurie Lurie seemed to have taken a “hands-off” know the big picture much better, compre- commissioned Muczynski’s Time Pieces . approach regarding students’ equipment hending exactly what was happening in the Lurie’s recording of Dahl’s Concerto à Tre choices . According to Lee Livengood, “It orchestra at any given moment . He urged remains noteworthy today, and Gary Gray was ‘if it’s working, it’s working’ and he students to make their ideas much more fondly recalled Lurie’s Conversations with wouldn’t mess with it…he didn’t refer stu- pronounced for effective communication, the Guitar, recorded in collaboration with dents to his reeds or mouthpieces . I did play both in auditions and to do what needed guitarist Laurindo Almeida 1. Alan Stanek his ligature but because I liked it, not be- to be done for the ideas to be obvious in 3 recalled Lurie’s suggestion of program- cause he made me switch ”. However, while the context of the orchestra .3 It comes as no ming the Poulenc Oboe Sonata that Lurie Lurie was flexible in students’ equipment surprise that Lurie was a strong advocate of himself transcribed for clarinet instead of choices, this by no means implies that he chamber music in a student’s development . the Poulenc , and Lurie’s didn’t pay attention to equipment . On the Lurie stated: suggestion of programming Schumann’s contrary, equipment was an essential con- Three Romances instead of the more com- There is nothing like chamber sideration for him, and he advocated trying monly performed Fantasy Pieces 2. Lurie also music . It is like the kindergarten, available products on the market in addi- arranged Poulenc’s Trio for oboe, bassoon and the orchestra is first grade . In tion to developing his own product line and piano for clarinet and later recorded it kindergarten you learn to share, re- designed particularly for younger students . on a disc entitled Gems for Bassoon that spect the rights and needs of others, Bonade was the first person who also featured a Lurie arrangement of Mas- and chamber music is sharing…for made me aware that the ligature can senet’s Under the Linden Trees . Lurie mod- me chamber music is everything; it make a great difference . . it’s a mat- eled exploration of new repertoire for stu- started me on every right path to be- ter of letting the reed have a chance dents; his discography features repertoire coming a professional musician 6. to resonate along its whole length

16 The Clarinet without being clamped down by a sat right beside him when he performed, mance career, for Mitchell Lurie, teaching metal device . I suggest that whenever it sounded…breathy . But out front the became “the most important thing in my somebody comes out with a new liga- sound was full of warmth and darkness ”. 4 career ”. 8 ture, we give it a try, keeping an open The gratification from working mind and open ears 7. Lurie’s Thoughts with young people is a never-ending In a 1992 interview with Harvey Phil- Regarding Vibrato series of highlights; I cannot even lips for The Instrumentalist, Lurie’s response Lurie was open minded to incorporating vi- start to pick one . There were a few is a testament to the significance of reed se- brato into one’s interpretation, evidenced by low points, but on the whole I would lection in tonal production: his reply in the Harvey Phillips interview: rather teach than play the Mozart Reeds and how you use them are concerto, and that says a lot because Traditionally in this country, clarinet vi- the basis for tone; whether you play it is one of the greatest things in the brato in classical works was frowned upon one right out of the box, touch it up, world for a clarinetist 6. …I think vibrato should be used when ap- or make it yourself . Clarinet players propriate but not all the time . I respect a Students universally recall Lurie’s even always talk about a dark tone, but to performer who plays the Debussy Rhapsody temperament and generous spirit . “A more get a darker, richer, fuller tone, the with what I call perfume, a real, lovely vi- lovely gentleman, there has never been . reed you play is less responsive . For a brato . Harold Wright uses a nice vibrato; And he made you feel special . He was sup- darker tone, you use the thicker part his teacher Ralph McLane was a master . He of the reed, and thickness reduces re- portive to everybody, loving and gentle, would throw in a little vibrato at times and sponsiveness . It is not an equal ratio and he wanted the best for all his students . or proportion, but they oppose each it was exquisite . does not use He was so fatherly and loving, he made you 9 other . Every clarinetist decides how vibrato in Brahms, but if he plays the De- feel like you were in the best club ever ”. to compromise to achieve the desired bussy Rhapsody, it adds to the piece . Don’t Lurie’s own words echo student senti- sound 6. ask me if I’ll use vibrato in Debussy; today ment: I may say yes and tomorrow no . 6 James Gillespie confirmed Lurie’s state- Another credo of mine is: “every- ments, recalling that Lurie encouraged him Lurie’s Approach to one is someone ”. The importance of to consider adjusting and choosing reeds each person you are attending to as a for the listeners’ environment in a venue Teaching teacher or a mentor is as important rather than the playing environment: “If I Despite an exceptionally successful perfor- as anyone else 5.

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March 2015 17 Likely in response to some of his own ished on technical perfection that tet. Available for download on Amazon more intense experiences as a student, Lu- musical expression and values take and iTunes . rie was not a taskmaster but was very secure second place . Technical aspects are EcoClassics Reger Quintet and Hindemith in a more easy-going way . “He was a man important, but they are the starting Quartet for Clarinet, Violin, Cello, who quietly knew who he was and what he point . I tell students that in an audi- Piano with the Muir String Quartet . stood for . He was selfless – he didn’t think tion there could be 200 candidates Available for download on Amazon . he alone had the answers . He wanted me to for the position, and they are ex- Gems for Bassoon: Kathleen Reynolds, take from others ”. 9 Jerry Kirkbride recalled, pected to be note perfect . In earlier Mitchell Lurie, Michele Levin and “If Lurie couldn’t solve something at a les- days there were not as many competi- Friends . Available for download on Am- son, I think he literally lost sleep ”. Howard tors, but with 200 players the judges azon and iTunes . Klug wrote: “I remember Lurie’s easy pro- select technically difficult music to re- Mitchell Lurie: An American Master fessionalism, sort of laid back, non-threat- duce the numbers and then listen for ( Records BR1076CD): Mo- ening and a fun person to play for . His musical expression . The pity is that zart, Divertimenti; Dahl, Concerto a approach to teaching might have seemed somebody who stumbled on a few Tre; Schumann, Romances; Lutoslawski, more casual than other teachers, but he had notes may be the best musician . You Dance Preludes; Laurischkus, Three Pieces; a way of passing on so much information have to play perfectly to get to the Massenet, Under the Linden Trees; Toch, and life’s experiences, in a very subtle way ”. next rung . Technical attention seems Adagio Elegiaco; Reger, Album Leaf . Students also recalled that Lurie’s approach to take first place and music later, but 6 was “no-nonsense ”. “He was a wonderful sometimes it doesn’t come at all . Endnotes person but didn’t suffer fools gladly,” Gary What is the future for serious clarinet 1 Gray, Gary . Telephone interview . (February 11, Gray stated . Lurie himself confirmed: students? 2014) . 2 Stanek, Alan . Telephone interview . (February 20, Dedication to my students I I have always maintained that if 2014) . always felt was a two-way street . you have that burning flame and do 3 Livengood, Lee . Personal Interview . (March 1, They’re dedicated to me; I’m dedi- your best, there is a place for you . I 2014) . cated to them . We do it together . If always thought there was a place for 4 Gillespie, James . Personal Interview . (March 6, 2014) . a student comes in and tries to do me because I was determined to be 5 Samuels, Ron . “Mitchell Lurie-‘The Ideal Clarinet- a snow job, not having prepared a the best I could without any thoughts ist ’”. The Clarinet 29:1 (December 2001): 48-58 . lesson, I never raised the roof, you of being a dilettante . Students will 6 Phillips, Harvey . “A Lifetime of Musical Oppor- know that . Never did . But I certainly not succeed if they feel they can move tunities: An Interview with Mitchell Lurie ”. The Instrumentalist 46 (July 1992): 10 . wanted to leave with you a sadness on to something else if this does not 7 Waln, George . “Relaxed Concentration: An Inter- that you didn’t do what you should’ve work out: the flame has to burn view with Mitchell Lurie ”. The Instrumentalist 32 done, and you didn’t do what you brightly . I tell my best students, “It (January 1978): 55 . could’ve done . You certainly didn’t cannot be a matter of it you will get 8 Samuels, Ron . “In Memoriam-Mitchell Lurie” . do your best . That is the basis for the the job, just when ”. 6 The Clarinet 36:2 (March 2009): 56-57 . 5 9 Howard, David . Telephone interview . (February success I’ve had as a teacher . Indeed, Ron Samuels noted that “if 23, 2014) . any of us complained about the stress of 10 Dees, Peggy . “University Snapshots: A Sneak Peek Lurie Regarding Essential at the Studio of , Indiana Univer- performing in front of our peers, (Lurie) sity ” . Retrieved from howardklug .com/?page_ Qualities of a Student would throw it back upon us, asking who id=26 . November 30, 2014 . Again, Lurie’s own words given in past inter- made the decision for us to play the clari- 11 Kirkbride, Jerry . Telephone interview . (February 10, 2014) . views best articulate his perspective regard- net? Letter ‘O’ philosophy…we can view our performances as either ordeals or op- ing qualities inherent in successful students . 5 What qualities must a player have to be portunities ”. able to work into freelance playing, whether CLARINET it’s in the film studios or somewhere else? Lurie’s Discography: As a continuing tribute to Mitchell Lu- CORNER The qualifications are the same rie, many of his recordings remain readily as you would expect in any phase of larinet Corner is a weekly available today: the musical work scene, including program on Troy Univer- symphony orchestras . Two words Mitchell Lurie, Clarinet and his Com- Csity Public Radio. It can be are paramount . they. are quickness poser Colleagues (Halsey Stevens; heard live online worldwide and and flexibility . Quickness to react if Frederick Lesemann; Robert Muczyn- on terrestrial radio in central and a change is asked for, a cut or a revi- ski) Crystal Records CD737 . Available southeast Alabama, southwest sion of a phrase…And you must be on iTunes . Georgia and the Florida Panhandle. extremely flexible in style, in tone, in Brahms Two Sonatas for Clarinet and If you would like your CD to be con- everything you do 7. Piano (Originally Crystal LPS301, one sidered for broadcast, please send of Crystal’s best selling LPs .) Available a copy to Timothy Phillips,114 Long What is missing in the playing of clari- on iTunes . Hall, University Avenue, Troy Uni- net students today? EcoClassics Brahms and Mozart Clarinet versity, Troy, Alabama 36082. I think so much attention is lav- with the Muir String Quar-

18 The Clarinet DONATE TODAY TO THE 2015 I.C.A./ VERDEHR TRIO COMPOSITION COMPETITION PRIZE The International Clarinet Association (I.C.A.) is launching the 2015 Verdehr Trio Composition Competition to identify and promote important new repertoire for the clarinet, violin and piano trio and add to the 250-plus works already in existence as a result of the 40- year project by the Elsa and Walter Verdehr and the Verdehr Trio, The Making of a Medium. The winning composer will receive a $5,000 cash prize and his or her work will be premiered at ClarinetFest® 2015, July 25-29 in Madrid, Spain. Your tax deductible donation distinguishes you as a friend and patron of this exciting competition as well as your commitment to the legacy of Elsa and Walter Verdehr and the Verdehr Trio.

Patron Donor $25-$99 one year after the premiere at ClarinetFest® 2015 in · Recognized in program as commissioner Madrid, Spain Silver Level Donor $100-$249 · Autographed copy of the winning score · Autographed copy of the winning score by the · Recognized in program as commissioner Verdehr Trio · Exclusive rights to program the work at any time for · Verdehr Trio’s most recent CD release and a DVD from one year after the premiere at ClarinetFest® 2015 in the Making of a Medium series Madrid, Spain · One-year membership in the International Clarinet · Autographed copy of the winning score Association Gold Level Donor $250-499 Legacy Donor $1,000 and over · Recognized in program as commissioner · Recognized in program as commissioner · Exclusive rights to program the work at any time for · Exclusive rights to program the work at any time for one year after the premiere at ClarinetFest® 2015 in one year after the premiere at ClarinetFest® 2015 in Madrid, Spain Madrid, Spain · Autographed copy of the winning score · Autographed copy of the winning score · Autographed copy of the winning score by the · Autographed copy of the winning score by the Verdehr Verdehr Trio Trio · Verdehr Trio’s most recent CD release. · 20 CD boxed set of the Verdehr Trio’s Making of a Medium Platinum Level Donor $500-999 Collection or 6 DVD set Making of a Medium Series · Recognized in program as commissioner · Two-year membership in the International Clarinet · Exclusive rights to program the work at any time for Association

Name ______Address ______City ______State or Province ______Postal Code ______Country______Telephone ( ____ ) ______Email ______

DONATION $______(Your gift to the International Clarinet Association’s educational mission is tax deductible as allowed by law.) PAYMENT INFORMATION: Send to I.C.A., Verdehr Trio Composition Competition 14070 Proton Rd. #100 LB 9, Dallas, TX 75244 fax 972/490-4219, [email protected] Or donate online at: www.clarinet.org/2015CompositionComp.asp

q Check/Money order payable to the I.C.A. in U.S. funds q Visa/MC/AmEx Credit Card # ______Exp ______(Print) Name on Card ______

March 2015 19 future columns to clarinetcache@gmail . com .

About the Writers… Kellie Lignitz-Hahn Clarinetby Kellie Lignitz-Hahn is assistant professor and Rachel Yoder of clarinet at Texas A&M University- Kingsville where she teaches applied les- sons and directs the TAMUK Clarinet Choir . She received ebsite atch professors can consult the wealth of peda- W W gogy articles for help with the challenges of both her D .M .A . and M .M . degrees in James Gillespie Online teaching clarinet – or they could even make clarinet performance from the University Research Library Project the library a required course text, introduc- of North Texas and her B .M . from Wash- www .clarinet .org/Journal/library .asp ing their students to the I .C .A . and the ben- burn University . Her primary teachers efits of membership . Scholars will want to include James Gillespie and Kirt Saville . s was announced in the December consult the numerous articles on historical Kellie holds the principal clarinet position 2014 issue, the I .C .A . has launched clarinets and clarinetists of the past . With- in the Laredo Philharmonic Orchestra and its James Gillespie Online Research out a doubt, clarinetists around the world plays with the Victoria Symphony, Cor- Library,A named in honor of our illustrious pus Christi Symphony Orchestra and the will be inspired to join the I .C .A . in order to editor! The library is a searchable archive gain access to the incredible resource of the Corpus Christi Ballet Orchestra . This past of every issue of The Clarinet, from 1973 James Gillespie Online Research Library . summer Kellie was selected as a finalist in to the present . That’s 164 issues to date – the I .C .A . Research Competition, and her more than 40 years of master class articles, Wesley Ferreira’s Website clarinet choir was invited to perform at clarinetist profiles, equipment discussions, www .wesleyferreira .com ClarinetFest® 2014 . music reviews and much, much more . Rachel Yoder is a The treasures available in the archive If you, like many musicians, dutifully cre- clarinetist and teacher are numerous . Clarinet historian Albert ated a personal website sometime in the based in the Seattle R . Rice contributed a number of excellent early 2000s and then let it languish with area . She is adjunct articles to the journal over the years, begin- sporadic updates ever since, you might professor of music at ning back in volume 4 . Michael Webster want to look to WesleyFerreira .com as in- the DigiPen Institute has written 64 articles in his “Teaching spiration for an update . Ferreira has gone of Technology (Red- Clarinet” series, a fantastically thorough above and beyond the typical bio/calendar/ mond, WA) and has resource for teachers . Did you know that audio artist website, creating a clean, con- taught at Southeastern Paul Harvey’s first article for The Clarinet, temporary online space that serves not just Oklahoma State University and as a teach- “The Clarinet Music of Gordon Jacob,” ap- as a digital business card, but also as a plat- ing fellow at the University of North Texas . peared in volume 2? And don’t forget James form for interacting with his audience . She earned a D .M .A . in clarinet perfor- Ferreira’s site first caught our attention Gillespie’s own contributions dating back mance from UNT, and also holds degrees with his “Clarinet in the Digital Age” proj- to the very first volume of the journal (as from Michigan State University and Ball ect . In the fall of 2014, he encouraged fans Editor of Reviews), including his multi- State University . Rachel performs regu- part features “I Wonder Who the Clarinet to vote on repertoire for an upcoming re- larly with the Madera and Player Was? The Hollywood Clarinetists” cital . Visitors to the “Vote” page had the frequently collaborates with composers to and “The Movies of – A opportunity to choose between two musi- perform new works for clarinet . Pictorial Retrospective ”. cal selections in six different genres, with She currently works as assistant editor The Online Research Library also serves audio clips to help make their decision . of The Clarinet . as a valuable record of original writings by Ferreira has committed to performing the esteemed clarinetists who are no longer most popular selections on his “Clarinet in with us . These include pedagogical articles the Digital Age” recital on March 9, 2015, by Keith Stein, historical articles by Pamela at Colorado State University, where he is on the faculty . Bringing the project full-circle, The Clarinet Weston, equipment investigations by Lee PUBLICATION SCHEDULE Gibson, and Rosario Mazzeo’s “Mazzeo the concert will be live-streamed online so The magazine is usually mailed during Musings” series, which ran from 1986 to that fans from around the world can listen . the last week of February, May, August 1994 . and November. Delivery time within The applications for use of this library are * * * * * North America is normally 10–14 days, many . Performers can do a search for the title As always, don’t forget to check out the while airmail delivery time outside of of a work they’re preparing to find historical electronic version of this column at www . North America is 7–10 days. information or master class articles . Clarinet clarinetcache .com, and send your ideas for

20 The Clarinet 2015 HIGH SCHOOL SOLO COMPETITION

Eligibility: Competition participants must be 18 years old or younger as of June 30, 2015. Application: Deadline for the submission of application materials is: Wednesday, April 1, 2015. Please apply online at http://clarinet.org/highschoolcomp.asp. High School Solo Competition Coordinator: John Warren – jwarre35@ kennesaw.edu

CONTEST RULES

I. Application Fee: $65 USD. All applicants must be members of the I.C.A. and submit the Competition Application. Non-members wishing to apply may join the I.C.A. by going to www.clarinet.org/Order_ MembershipJoin.asp and becoming a member. The application fee is non-refundable. II. Recording Instructions: Please provide a high quality recording containing the following repertoire in the exact order listed. Repertoire must be recorded with accompaniment when appropriate. Each selection/movement should be listed as a single track, and should not contain your name. Please be aware that the quality of the recording will influence the judges. Recordings should not be edited and only continuous performances of entire works or movements are allowed.

1. Cavallini, Adagio e Tarantella (Ricordi edition) 2. , Arlequin

III. A photocopy of the contestant’s driver’s license, passport or birth certificate as proof of age. IV. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement that the recording is the playing of the contestant and has not been edited. V. A summer address, telephone number and email address (all if possible) should be provided. Email is the preferred means of communication. Please check your email regularly as this is how you will be contacted.

JUDGING

Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on your audio files. There should be no speaking on the recording, such as announcing of compositions. Preliminary judging will be by taped audition. Finalists will be chosen by committee. Notification will be sent by Friday, May 8, 2015. The final round will be held at the ClarinetFest® 2015 in Madrid, Spain, July 22-26, 2015. Repertoire will consist of the works listed above. Memorization for the final round of competition is not required. Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A. will provide a pianist for all finalists. All finalists will receive free registration at ClarinetFest® 2015. Travel and other expenses will be the responsibility of the contestant. All recordings will become the property of the I.C.A. and will not be returned.

PRIZES

First prize – $1,000 U.S. • Second prize – $750 U.S. • Third prize – $500 U.S.

The International Clarinet Association assumes no tax liability that competition winners may incur through receiving prize money. Individuals are responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

March 2015 21 Historically by Deborah Check Reeves

“Historically Speaking” is a feature of The Clarinet offered in response to numer- ous inquiries received by the editorial staff about clarinets. Most of the information will be 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].

he mid-1800s was a period prolific in the invention and improvement of musical instruments . This was Tthe period when Hyacinthe Klosé was col- laborating with Louis Auguste Buffet to ap- ply Theobald Boehm’s principles and system of ring keys, originally made for the flute, to the clarinet . The resulting “Boehm” System clarinet, like its predecessor the flute, was a bit slow to be adopted by most professionals and conservatories . Resistance to the new Photo 2: Photo 3: Photo 4: NMM fingering resulted in several improvements NMM 5924 Romero NMM 5924 Romero 5924 Romero clarinet to the 13-key Simple System clarinet, in- clarinet top toneholes clarinet bottom toneholes left-hand side keys cluding those of Eugène Albert . The Boehm clarinet seemed even slower to gain acceptance in Spain . In spite of An- tonio Romero y Andia’s use of the Boehm clarinet as a teacher at the Royal Conserva- tory of Music in Madrid, there were per- ceived shortcomings of the new system . It was during the early 1850s to early 1860s that Romero set about to improve the Boehm clarinet and fix the shortcomings . Romero’s improvements were carried out by Paul Bié of Lefêvre of Paris (Photo 1) . French patents were issued to Romero and Bié in 1862 and 1867 . As already discussed in several previous issues of The Clarinet, Photo 1: NMM Photo 5: Photo 6: NMM 5924 Photo 7: NMM 5924 throat-tone B-flat on a conventional Boehm 5924 Romero NMM 5924 Romero Romero clarinet top Romero clarinet left- clarinet had a compromised tone quality System clarinet clarinet signature open toneholes hand little finger keys and intonation since the left-hand thumb hole had to be drilled in a compromised po- required to manipulate the player’s fingers To solve these problems, Romero placed sition to function as a speaker hole as well for the throat tones and over the break – as a new set of three toneholes on the upper as a B-flat hole . Additionally, the technique we all know – has never been easy . front of the clarinet body (Photo 2) that

22 The Clarinet Peanut Butter & Jelly Isn’t The Only Perfect Combo. Here’s Another.

PATENT PENDING!

Photo 9: Photo 10: NMM NMM 5924 Romero clarinet center 5924 Romero clarinet Photo 8: NMM 5924 articulated G-sharp key adjustment screws Romero clarinet right- (All photos by Deborah Check Reeves, hand little finger keys courtesy of National Music Museum, University of South Dakota.) were open and closed by the ring keys of 5) . It is hard to specifically date this clarinet The Rovner™ the right hand (Photo 3) . These toneholes since this example possesses several charac- were drilled in acoustically correct posi- teristics from both patents . Among the im- Rectangular Bore tions, just below the first two toneholes on provements that Romero introduced in his Clarinet Barrel the top, so that intonation of the throat 1867 patent were open keys for the throat tones was corrected . Throat B-flat was tones . NMM 5924 has open throat tone And The now the open note . To play A-natural, the keys (Photo 6) . Notice the graceful shaping Van Gogh Ligature. player depressed the right-hand first ring of the left-hand little finger keys (Photo 7) . which pushed down the third from top Note that there is an extra touchpiece for a With a simple rotation tonehole cover . A-flat was played by the left-hand A-flat/E-flat . The right-hand little you can personalize right-hand second, or first and second, ring finger keys are equally graceful with the key your playing experience, key which closed the third and fourth from for the F-sharp/C-sharp winding its way un- top toneholes . G-natural was played by the der the E/B key and attaching to the rod be- improve intonation, right-hand third, or first, second and third, low the E/B (Photo 8) . The one-piece body enjoy greater ease of play tonehole which closed the third, fourth construction of the Romero clarinet allows and access your full and fifth from top tonehole covers . for a properly placed C-sharp/G-sharp hole dynamic range. Romero made possible several trills with and the addition of mechanism to produce And that’s before you add the addition of two left-hand side keys an articulated G-sharp (Photo 9) . (Photo 4) . Trilling open B-flat with the top In 1866 the new Romero System clari- the Van Gogh, left-hand side key produced C . With the net was adopted by the Royal Conservatory a BIG ligature with first right-hand ring closed, the trill became in Madrid where Romero taught . With his great response and a A to B-natural . With the left-hand thumb retirement in 1876, the Romero System BIG, beautiful sound. closed, fingering F-natural, trilling the was retired, too . bottom left-hand side key yielded F to G . Although the Romero System really did Mmm-hmm. Fingering the side key (chromatic) F-sharp present a satisfactory solution to the prob- We can almost hear you and then adding the bottom left-hand side lem of throat tone facility and intonation, licking your lips. key made F-sharp to G . By playing throat the manufacture of the clarinet must have G by closing all three right-hand ring keys been difficult and expensive . Even after a and adding the bottom right-hand side key, player mastered the new fingering, the 1974 2014 a quick G to G-sharp trill was created . mechanism of the clarinet must have been The workmanship of the National Music difficult to keep regulated . There are no less Museum’s Romero clarinet, NMM 5924, is than 27 adjustment screws on the National Rovner™ Products Are Covered By One Or More U.S. Patents. Additional Patents Applied For. See Website For Details. an excellent example of the exquisite qual- Music Museum’s example . Screws can be www.rovnerproducts.com ity of the Romero-Bié instruments (Photo found on keys and rods alike (Photo 10) .

March 2015 23 and Klezmer Wedding, are also well-known in other versions . His compositional pro- The cess often leads him to re-set his quartets for larger forces . (His quartet Global Tour has been equally successful in its clarinet choir version .) After sending me samples of a quartet arrangement of some movements Clarinet of his recent solo studies, Fantasias Mexi- by Margaret Thornhill canas, Mike announced a plan to expand this intensely expressive and rhythmically complex work for larger forces . My choir offered a modest honorarium and got the chance to premiere this terrific new work, Mexican Fantasies, in fall of 2014 . uilding the larinet conductor of Claribel (June 2014; Volume B C 41, No . 3), continues this tradition . To gain further perspectives on the Choir Repertoire: Other choirs might collaborate with a commissioning process, I’ve queried two composer or arranger known to the ensem- friends who are artistic directors of two Composer Collaborations ble as a performing member or friend . En- prominent American clarinet choirs, the sembles with deeper pockets can approach University of Florida Clarinet Ensem- “Where do you find favored composers with the possibility of ble and the Chicago Clarinet Ensemble, a full commission or honorarium . Distin- which have had close collaborations with repertoire?” guished composers for wind band have often composers resulting in valuable new addi- ince 2007, when I started writing this been very open to writing for ensembles of tions to the clarinet choir repertoire . column, the most common question clarinets . In these pages, we have noted these I’ve received from readers is a basic trends with the British Clarinet Ensemble Faculty Colleagues one:S how do you find new repertoire? For a (June 2013; Volume 40, No . 3), the Finn- Mitchell Estrin is professor of clarinet young group seeking to build a library my ish Clarinet Ensemble (September 2008; at the University of Florida (Gainesville) answer is simple: an Internet search on Volume 35, No . 4), the New York Licorice whose excellent large University of Florida the term “clarinet choir” can be revelato- Ensemble (December 2013; Volume 40, Clarinet Ensemble is the product of his ry . Websites of established clarinet choirs, No . 1), and, with the current golden era talented clarinet studio . As music direc- playlists of their recordings, music pub- of contemporary Japanese wind music in- tor and conductor of this ensemble, Estrin lisher listings, specialty wind music dealer cluding much music for clarinet choirs, the has performed and recorded many classic inventories, composer websites, YouTube work of two generations of talented Japanese orchestral arrangements for clarinet choir performances and back-issues of The Clari- composers commissioned by hundreds of (such as those of Dan Freeman, mentioned net containing this column all can contain school, association, and community groups above), as well as new original music, in- titles that might be perfect for your group . to write concert and competition pieces cluding the brilliant and technically chal- But there’s a second answer for expe- (March 2012; Volume 39, No . 2) . lenging One Step at a Time and A Butterfly rienced clarinet choirs: leave a legacy! Get Lack the funds for a commission? Coughs in Africa by Paul Richards. something written for your group . Make Friendship with a composer might even In a recent email exchange, Mitch Es- friends with a composer . Invite your com- result in an outright gift of a new work in trin talked of his experience in collaborat- poser friend to hear your amazing ensemble . exchange for the promise of performance ing with composers on new works: Find a way to add to the development of this opportunities plus an offer to cover some The original works that come to unique medium by generating new music . expenses, or perhaps a collaboration on a mind first are the ones written by my grant proposal to fund work time or copy- esteemed faculty colleagues at the Composers Close to Home ing costs . Composers need money, but they University of Florida, Paul Basler In past columns I’ve already profiled many also need performances and recognition for and Paul Richards . Each of them clarinet choirs that have added significantly their work . has a distinctive composition style to the repertoire . Historically, famous and they know me and my ensemble large 20th-century choirs, such as that of Re-setting Existing Works very well, so their pieces are special in pre-WW II New York Sometimes a composer writes with mul- to my group . Student composers at (The Clarinet: March 2010; Volume 37, No tiple orchestrations in mind from the out- the University of Florida have also 2) and Harvey Hermann at the University set . A recent collaboration by my 16-mem- written excellent music for us . This of Illinois (March 2009; Volume 36, No . ber Los Angeles Clarinet Choir with west- list includes many of my own stu- 2 ) programmed new symphonic arrange- coast woodwind doubler and composer dents, most notably Kyle Rowan, ments made by the conductors themselves Mike Curtis is a case in point . Mike com- Martin Gold, Russell Brown and (or in Hermann’s case, his students, such poses in diverse ethnic styles from klezmer Christina Cruder . as the excellent Daniel Freeman .) Among to huapango for varied combinations of I have an ongoing relationship contemporary clarinet choirs, Guido Six, clarinets (and other winds .) Many of his with several arrangers, most notably the prolific Belgian composer/arranger/ clarinet quartets, such as Bulgarian Bat Bite Matt Johnston [editor’s note: now

24 The Clarinet with Alry Music] . Matt is immensely gifted and he understands the clari- HOT TIPS: net ensemble sound and writes for the choir as well as anyone I’ve ever WORKS MENTIONED IN THIS ARTICLE known . We are in constant contact Los Angeles Clarinet Choir: brainstorming about what his next Avshalomov, David. Three Outside. 2008. Clarinet choir. arrangement(s) should be . http://davidavshalomov.com Estrin believes that new music has a Cansino, Edward. The Great Clarinet Circus. 2006. Clarinet choir and “huge role” in the future of clarinet choirs: percussion. [email protected] Playing new music is critically Curtis, Mike. Mexican Fantasies. 2014, Clarinet choir. important to the success of a clari- http://mikecurtismusic.com net ensemble . Generating new music Gurol, Erol. Night Rhapsody. 2011. Clarinet choir. Manuscript. that is written expressly with your [email protected] group in mind is exciting for your players and the audience . . Chicago Clarinet Ensemble: Fundraising for commissions is Kowalkowski, Jeffrey. ruth, rubric-rational: realisms-relationals 2011. For 13 a very difficult road, especially for clarinets and synthesizer. [email protected] a clarinet ensemble . The sound of Mandat, Eric. Pursuits of Happiness. For clarinet sextet: E-flat, B-flat (3), bass the clarinet choir is very unique and clarinet, basset horn. www.justforwinds.com once a composer or arranger has Montilla, Jorge. Venezuelan Dances. E-flat clarinet and clarinet choir. heard the sound, this will often be Manuscript. [email protected] a great motivator for them to create Schwartz, Leo. Tres Canciones. 2011. Clarinet choir and countertenor. music for the ensemble . http://leoschwartz.com/music University of Florida Clarinet Ensemble: Friends, Colleagues and Basler, Paul. Jambo. 1994. Dr. Boda’s Magical Spinning Machine. 2014. Clarinet Acquaintances choir. Alry Publications. www.alrypublications.com The Chicago Clarinet Ensemble was Harvey, Paul. The Young Person’s Guide to the Clarinet Choir. Clarinet choir. founded by its Artistic Director, Rose Reynard Music. http://reynard.dpwww.co.uk/reynardmusicpublications.html Sperrazza in 2007 . Richards, Paul. One Step at a Time. 2008. A Butterfly Coughs in Africa. 2003. In residence at Northern Illinois Univer- Clarinet choir. Jeanne, Inc. www.jeanne-inc.com sity, where Sperrazza is professor of clarinet, the group also draws on professional play- For works arranged by Daniel Freeman: www.dfapam.com/clarinetchoir/ ers from the greater Chicago community For works arranged by Matt Johnston: www.alrypublications.com and has featured numerous well-known artists as guest soloists in its performances . It is a group of flexible size, from two to 35 CCE . Sometimes I approach them generosity of our composers . players, and has been previously profiled in and sometimes they approach me . Tres Canciones was composed The Clarinet by Jorge Montilla in 2012 . All of them are unique works, not by our resident composer, Leo I asked Rose Sperrazza to comment re-arranged from another medium . Schwartz . It’s very unique both in on the CCE’s resident composer, Leo As with many classical performing sound and concept . Leo set the po- Schwartz, and some of the works they have ensembles, commissions and hono- etry of Amado Nervo and Alfonsina premiered: rariums are based on a combination Storni to a three-movement work The Chicago Clarinet Ensemble of fundraising, sponsorship, and the that features a countertenor . The is fortunate to have a composer in residence . Leo Schwartz has com- posed many works for us and is very skilled at overcoming the challenge of writing for a large group of like instruments . Both Leo and I, and many of our ensemble members, live in the same or nearby communities, so a collaboration made even more sense . Many of us live very close to Northeastern Illinois University, our home base . The talented individuals that com- pose for us are friends, colleagues, and acquaintances who are familiar with

March 2015 25 blending of the poetry, music and creative process . As an example, Eric Mandat wrote Pursuits of unusually pure timbre of the coun- when my ensemble recorded The Happiness with three couples in tertenor creates an exotic sound wor- Young Person’s Guide to the Clarinet mind: Stanley and Naomi Drucker, thy of further exploration . . Choir by Paul Harvey, I suggested and Teresa Reilly, Another new work by a Chicago adding variations for the A-flat clari- and myself (Rose Sperrazza) and composer is “ruth, rubric-rational: re- net and basset horn and Paul was David Tuttle . Each movement was alisms – relationals” by Jeffrey Kow- happy to oblige . He asked how high composed with a couple in mind . alkowski . This work is a tone poem he could write for the A-flat player The first movement, Romp, was for scored for 13 clarinets and synthe- and I said go for it . He ended the Stanley and Naomi and features a sizer . Jeff is a master of sound and variation on a high E above the staff! long, beautiful, technical clarinet effects and the work really highlights On occasion, I have asked Matt cadenza (for Stanley); the second is that ability . Both Leo and Jeff have Johnston to add timpani and/or a beautiful movement called Honesty won significant awards for their ar- percussion, and string bass to his ar- that highlights the E-flat clarinet (for tistic work . Leo Schwartz won the rangements . I review scores prior to John) and the basset horn (for Te- resa); the final movement, Stomp, is prestigious “Jeff” award in two cat- the first reading and have found com- an exciting and rhythmic movement egories for a musical that he wrote posers and arrangers very receptive to for David Tuttle and myself . Since in 2013 . Jeff Kowalkowski was the my suggestions . Sometimes after the Eric Mandat is a fine clarinetist as 2011 honoree of The Helen Coburn first reading, I will take suggestions well as a composer, he completely Meier and Tim Meier Arts Achieve- back to the composer or arranger understands how to compose for from members of my ensemble . I re- ment Award . It’s great to have two clarinets . The piece was definitely active and vibrant composers right member one instance where a com- composed with instrumentation as in our back yard! poser had written some very difficult well as people in mind . technical passages for the B-flat clari- Interaction in the nets crossing back and forth from Looking Forward Creative Process the clarion to the altissimo register, and he willingly re-wrote them to be If the future of the clarinet choir depends on My personal experience with new music more playable . On occasion, I have our championing the music of the present, written for the Los Angeles Clarinet Choir asked a composer to use A clarinets to Mitch Estrin expresses these thoughts best: showed me that dialogue with composers make certain passages more playable . Music must progress forward and during the creative process is a great learning There is always a bit of poetic license, the clarinet ensemble cannot simply experience for both composer and ensemble . especially for a first performance . live as a museum piece . The six octave Even very experienced composers love being range and unique tonal spectrum of Rose Sperrazza writes of the CCE’S col- able to ask questions and try out special ef- the clarinet choir offer composers laboration with composer/E-flat clarinet fects with clarinets of different sizes to deter- and arrangers an infinite landscape Jorge Montilla mine what is technically possible and under- soloist : for their creativity . I look forward to stand what the limitations might be . Access Our quest for new repertoire was hearing what may come next! to readings of early drafts of their work can a natural extension of the ensemble For further ideas about how to find, ap- lead them to even more successful (and itself . It’s very exciting for both the proach, or commission a composer, you more performable) results . The Los Ange- audience and the ensemble to be might enjoy reading suggestions by the les Clarinet Choir has been privileged to go the first ones to experience some- American Composers Forum, a service or- through this process with three outstanding thing fresh and unique! Also, having ganization for composers, on their website: (non-clarinetist) composers, Edward Can- the ability to work, and sometimes http://composersforum .org/program/com sino (The Great Clarinet Circus, 2006), Da- perform, with the composer allows missioning-individuals vid Avshalomov (Three Outside,2008) and for so much customization . For in- Erol Gurol (Night Rhapsody, 2011), as well stance, when Jorge Montilla com- as more recently with our clarinetist/com- posed Venezuelan Dances for us, he About the Writer… poser friend Mike Curtis whose music for also performed the premiere with us . Margaret Thornhill, clarinet choir is entirely idiomatic . We are We all know what an E-flat virtuoso D .M A. ., is a per- also lucky to have two very skilled arrangers, he is and so the part reflects his abil- former and private Christin Hablewitz and David Sucik, as ity and love for that little clarinet! It’s teacher in Los Ange- performing members of our group . a great piece and one that keeps the les who conducts the I asked if Mitch and Rose had similar ensemble on our toes . Los Angeles Clarinet experiences with composers and arrangers Choir and is founder/ In a unique example of customization, director of the Clare- during the process of composition, either a work by clarinetist/composer Eric Man- mont Clarinet Festi- giving specific advice or making recom- dat was written to feature the skills of in- val . She is adjunct professor of clarinet at mendations or requests . dividual players in the CCE in performing Concordia University, Irvine . Send clarinet Mitch Estrin offered these observations: on specific clarinets, as well as referencing choir news, up-dates or comments about I will often be in contact with a their personal relationships! Rose Sperrazza this article to her at clarinetstudio@ca .rr . composer or arranger during their provides more background on the work: com

26 The Clarinet

Clarinetistsin a report by Cindy Wolverton

avy and Band . He emphasized body awareness and Band Sergeant First Class Samuel Kaestner . U.S. N B discussed ways to get rid of the unnecessary All three ensembles sounded fantastic, and Clarinet Day tension that can hinder one’s performance . the inter-service recital continues to be a Next on the schedule was a military highlight of Navy Band Clarinet Day . ore than 150 clarinet enthu- band clarinet quartet recital . The Navy Our guest artist recital began with Mark siasts visited the Washington Band Harbor Winds (Senior Chief Musi- Gallagher, who treated us to the first move- Navy Yard on Saturday Novem- cian Laura Grantier and Musicians First ment of Reger’s Sonata in A-flat Major, Op . Mber 8, 2014, for the U .S . Navy Band’s 3rd Class Dan Frazelle, Will Kelly and Jeff 49, No . 1 and a beautiful arrangement of annual Clarinet Day . Attendees included Snavely) opened the program with the pro- Barber’s Canzonetta, originally for oboe high school and college students, as well as grammatic Birdwatching by Michael Henry and strings . We were also honored to have amateurs and professionals of all ages . After and the classic Paul Harvey Quartet . They Eugene Mondie and Paul Cigan of the opening remarks by our commanding offi- were followed by members of the U .S . Ma- National Symphony Orchestra with us to cer, Captain Brian Walden, all participants rine Band . Master Gunnery Sergeant Jay perform two classics of the duo repertoire, were invited onto the stage for a clarinet Niepoetter and Staff Sergeants Meaghan Poulenc’s Sonata for Two Clarinets and Men- choir reading session . This ensemble was Kawaller, Shannon Kiewett and Rachel Sie- delssohn’s Concertpiece No.1 . Mitchell Estrin conducted by Professor Mitchell Estrin gel performed the first and last movements followed with an informative master class . from the University of Florida, a widely of Dvorák’s String Quartet No. 12, “Ameri- He worked with two college students, em- acclaimed conductor and enthusiastic pro- ponent of clarinet choir . We all enjoyed can,” skillfully arranged by Jay Niepoetter . phasizing fundamental clarinet technique . reading arrangements of well-known band Next was a spirited arrangement of Piaz- Regarding stage presence, Estrin suggested works like Holst’s First Suite and Fillmore’s zolla’s Four for , complete with clap- that, “No matter how nervous you are, you Rolling Thunder, and the students really ap- ping and stomping, played by Sergeant have to be an actor/actress and put your au- preciated the opportunity to play alongside First Class Cheryl Ani, and Staff Sergeants dience at ease ”. Good advice for all of us! members of the Navy Band clarinet sec- Leigh Lafosse, Timothy Sutfin and Aaron The master class was followed by a panel tion . The morning continued with an Al- Scott of the U .S . Army Band . They closed discussion . After a brief overview of the exander Technique clinic led by Mark Gal- the program with the second movement of Navy Band audition process, our principal lagher, clarinet professor at Frostburg State Bartok’s String Quartet No. 2, arranged by clarinetist Master Chief Musician Mike Mc- University and former member of the Navy their clarinetist colleague in the West Point Donald shared his perspective on success-

Military band clarinet quartet recital participants

28 The Clarinet ful audition preparation . Our most senior member, McDonald has sat on every clari- net audition panel since 1996! He stressed CALL FOR PROPOSALS FOR that taking auditions is a skill, and you only get better by doing it over and over . CLARINETFEST® 2016 New to this year’s Clarinet Day was the opportunity to have a private lesson with a Wednesday, August 3rd through Sunday, August 7th, 2016 member of the Navy Band clarinet section . ClarinetFest® 2016 will take place in Lawrence, Kansas, USA, August 3–7. The Thirty-minute time slots were scheduled Artist Leadership Team for the festival includes Stephanie Zelnick, Lynn Fryer throughout the day and about 25 students and Robert Walzel. The conference will be presented in partnership with the participated . The instructors were Musi- University of Kansas School of Music. cians First Class Shana Catandella, Dave ClarinetFest® 2016 will be held on the beautiful campus of the University of Aspinwall, Jeff Snavely and Giancarlo Ba- Kansas. There are several housing options, including The Oread Hotel, which is zzano . For vendors we had representatives located immediately adjacent to campus. Murphy Hall, home of the KU School from Vandoren and D’Addario as well as of Music, will be the center for conference activities and exhibits. Lawrence, two local music stores . We were also for- located less than an hour’s drive from Kansas City, has an abundance of ac- tunate to have clarinet specialist Wesley claimed restaurants, as well as interesting shops and late night establishments. Rice offering free minor repairs . The grand I.C.A. members desiring to submit performance/presentation proposals for finale of Clarinet Day was a recital by the ClarinetFest® 2016 should complete and submit the Application Form with Navy Band clarinet choir, conducted by requisite supporting materials. The Call-for-Proposals Application Form can be Chief Musician Lera League . Our ensem- downloaded from the I.C.A. website: www.clarinet.org/clarinetFest2016.asp ble consisted of two E-flats, 10 B-flats, two altos, two basses and one contra-alto . The APPLICATION DEADLINE – September 30, 2015 program consisted of Mozart’s Marriage of Figaro Overture, arranged by Lucien Cail- liet, Piazzolla’s Fuga y misterio from Maria Lucioles . This was actually the first time Stay tuned to our website (www .navyband . de Beunos Aires, arranged by our own Mu- the whole section performed together as navy .mil) for information on next year’s sician First Class Jeremy Eig, and Bozza’s a choir, and hopefully it won’t be the last! Navy Band Clarinet Day .

March 2015 29 ClarinetFest® 2015 Madrid, Spain | July 22–26, 2015 by Héctor Abella

he Spanish Clarinet Association and concerts . During the festival, we will (ADEC) warmly welcomes you to also have the opportunity to listen to two attend ClarinetFest® 2015, which of the best Spanish symphonic ensembles Twill be held July 22–26 in Madrid, the capital at the gala concerts: the National Youth city of Spain . Thanks to the collaboration of Orchestra of Spain (JONDE) – created the City Council of Madrid, all conference in 1983 and one of the highest-level events will be held in the Conde Duque youth orchestras in the world – and the Cultural Center, a monumental 18th-century Banda Sinfónica Municipal of Madrid building which is located in the heart of one (BSMM) – a symphonic band with 105 of the most cosmopolitan and lively cities in years of history through whose ranks . After a complete renovation of its have passed many of the best composers, facilities, inaugurated in 2011, the Conde and freedom of movement throughout the city resulting from excellent connections conductors and Spanish clarinetists, such Duque building has become an essential as Miguel Yuste and Julián Menéndez . part of Madrid’s artistic life, and it is proud between the airport, subway, bus and train networks . All these conditions, together Last, but not least, there will always be to be one of the city’s largest metropolitan exciting opportunities to visit one of the cultural centers . During refurbishment, with all the drive of a dynamic and open society – as well as being high-spirited largest gatherings of clarinet exhibitors Conde Duque’s exhibition area was in the world, including accessories and significantly enlarged . It is situated around and friendly – have made this metropolis sheet music dealers, instrument makers, the south terrace (lower floor and basement) one of the great capitals of the world . For reed companies and mouthpiece artisans . and boasts 5,929 square meters . In addition, arts and culture lovers it’s impossible to We would like to thank Backun Musical the exhibition space can be opened out onto condense the enormous offer of the city in Instruments, Vandoren®, D’Addario & the south terrace to further expand it . The a few lines: the Royal Palace, Plaza Mayor Company, , Selmer Paris building also houses a versatile and modern and Puerta del Sol squares, the Gran Vía and all the other sponsors . Without their auditorium, a theater with a capacity for avenue and El Prado, Thyssen-Bornemisza generous contributions ClarinetFest® 2015 250 people, a music library, a big Central and Reina Sofía art museums are just some would not have the outstanding roster of Patio with a seating capacity of more than examples of the huge list of Madrid’s must- artists making this festival an unforgettable 1,000 – ideal for evening gala concerts – sees . Detailed tourist information about experience . and other large rooms and halls equipped Madrid and its neighborhood is available For the latest information, please visit for meetings, workshops, rehearsals and at www .turismomadrid .es/en/ . the ClarinetFest® 2015 website www . conferences . As we have previously announced, adec-clarinete .com and www .clarinet .org/ All who come to visit us will share the this year’s ClarinetFest® will be devoted clarinetFest2015 .asp . vitality and the fascinating atmosphere to prominent clarinetist Antonio Romero of Madrid . The city combines the most ¡Hasta pronto! (1815–1886) whose bicentennial is being modern infrastructures and the status as celebrated in Spain . He was not only the an economic, financial, administrative most famous Spanish clarinetist of the 19th ClarinetFest® 2015 Artists and service center, with a large cultural century, but also a distinguished composer, (As of December 15, 2014, and artistic legacy of centuries of exciting subject to change) history . Strategically located in the musical editor and Spain’s first clarinet tutor geographical center of Spain, Madrid has author . Furthermore, he made important one of the most important historic areas of contributions to the development of the Clarinetists all the great European cities . This heritage clarinet by designing his own system, which António Saiote merges seamlessly with the city’s modern was in competition with Muller’s and Robert DiLutis and convenient infrastructures and a Klosé’s . Although the theme of the festival J . Lawrie Bloom wide-ranging offer of accommodation is “Antonio Romero and His Times,” it will Phillip O . Paglialonga and services . The high quality of Madrid’s be open to all aspects of our instrument, Michele Von Haugg airport, train stations and its all-embracing such as the latest improvements, new Katherine Palmer public transportation system places it clarinet repertoire, interesting lectures, Gary Sperl among the best in the world, due to the ease musical tributes and a wide range of recitals Henri Bok

30 The Clarinet Wesley Ferreira Maureen Hurd Jacques Merrer Julia Heinen Maiko Sasaki Richard Faria Andrew Michael Simon Richard Shaw Pedro Rubio Elizabeth Crawford Megan Scougall Justo Sanz Robert Riseling Ruby Johnson Víctor Fernández Maxine Ramey Michael Thrum Héctor Abella Matthias Müller Ana Catalina Ramírez Marí Stacey McColley Piero Vicenti Maria José Sanmartín Peter Wright Gabor Varga Vicente Llorens Sauro Berti Anthony J . Costa Carlos Fernández Antonio Fraioli Oguz Buyukberber Álvaro Herrera Vinibaldo Baccari Tobias Klein Rafael Herrero Sergio Brusca Laura Carmichael William E . Powell Rocco Parisi Fie Schouten Arthur Campbell Wonkak Kim Karel Dohnal Kliment Kryslovskiy Jasone Etxebeste Boja Kragulj Celeste Zewald Marixi Sesma Candida Oliveira Stephan Vermeersch Carlos Casadó Francisco Iván Fuentes González Ruth Aguirre Mikel Emezabal Gaudencio Juárez Águila Alejandro Acierto Marie Picard Anel Anas Rodríguez Santiago Ben Redwine Cosmin Harsian Christian Verónica Escareño Vitar Luis San Sebastián Christian Ilie Jonathan Russell Yehuda Gilad Alina Barbulov Maurita Murphy Marx Joseph Eller Alexandru Moise Eddy Vanoosthuyse David E . Feller Roger Cole Éric Gooubert José Luis Estellés Rebecca Rischin Florian Valloo David Glenn Jeremy Reynolds Enrique Pérez Peter Geisler Igor Urruchi Ricardo Alves Eric Ramer Jean François Bescond Iva Barbosa Elsa Verdehr Timothy Bonenfant Joao Moreira Josep Fuster Martínez Gregory Barrett Jose Gomes Guy Yehuda Javier Trigos Yvonne Fisher Hedwig Swinberghe Dennis Dougherty Osiris J . Molina César Martín David Bandieri Keith Koons Graham Hair Lauren Jacobson Alfonso Giacaterina Ingrid Pearson Hugo Queirós Antonio Troiano Ros Dunlop Ángel Molinos Renzo Sulpizio Alex South Reinhard Weiser Claide di Silvestro Katrina Nimmo Jason Alder Dmitry Perevertailenko Anniti Tsiouti Sarah Watts Simone Weber Javier Asdrúbal Vinasco Guzmán Paolo Turino John Corbett Laura Payome Edgardo Barlassina Stephen Fox José Antonio García Carlo Giosuè Jochen Seggelke Jhoser Salazar

Auditorio Conde Duque

March 2015 31 Alfonso Javier Alfonso González Miguel Martínez Julio Fresneda Carmen Lorenzo Oskar Espina Ruiz Jaume Sancho Sansaloni Miguel Civera Julio Sanz Francisco José Gil Clarinet Ensembles Istanbul Clarinet Choir Austrian Clarinet Choir Clarinet Choir of Texas A&M University- Commerce and Faculty Rohrblatt Ensemble Conde Duque Exhibits The Ebonites CM Ensemble Coro de clarinetes de México Javier Llopis Marcelo Vieira Pan American Clarinet Choir Jeremiah G . Rittel Anthony Taylor Orange County Clarinet Consort Jeff Anderle Shan Copeland British Clarinet Ensemble József Balogh Lynn Musco Boehm Clarinet Ensemble Joze Kotar Jessica Speak Emporia State University Clarinet Choir Nuno Silva Dominique Vidal Ensemble de clarinetes de Aveiro Joaquin Ribeiro Wesley Warnhoff Ensemble de clarinetes Príncipe de Asturias Rui Martins Paolo de Gaspari Ensemble de clarinetes de la provincia de Luis Gomes Antonella Cancaroso León Luis Cascao Maurizo Manfredini Capriccio Clarinet Orchestra Luis Humberto Ramos Paolo Croti Sexteto de clarinetes de la Academia Salvador Salvador Gary Whitman Filarmónica de Medellín Josep Arnau Victoria Luperi Michigan State University Clarinet Choir Pablo Fernández Ivan Petruzziello Ensemble Universidade do Minho Marcel Chirilov Daryl Coad Chulalongkorn University Clarinet Marcos Represas Dusan Sodja Ensemble Manuel Martínez Malena McLaren Orpheus Clarinet Choir Javier Vilaplana Sergio Bosi Grupo de clarinetes del Conservatorio de Martí Guastevi Juan Antonio Fenollar Alcorcón Alejandro Castillo Michael Dean Osvaldo Lichtenzveig John Cipolla Alejandro Castillo Vega Rianne Wilschut Paul Kopetz Francisco Sanz Estellés Robert Spring Raphael Sanders Santiago Llopis Scott Locke Sean Osborn Jhoser Salazar Wilmar Trujillo Natacha Correa Daniel Bermúdez Sasha Sánchez Pablo Aguirre Weslley Guedes Conde Duque Lecture Room Vitor Macedo Santos

32 The Clarinet Conductors Conde Duque Friedrich Pfatschbacher Heike Fricke António Saiote Mary Alice Druhan Jody Webb Mario Calva Lorne W . O’Neil Abi Barnett Kristine Nichols Agustín Guillen Domene Dimitris Argyros Wantana Tancharoenpol Victor Hugo Matos Tasha Warren Yehuda Jhose Salazar John de Beer John McKenzie Urval Ensemble Kevin Chance Alfonso J . Alfonso González Stark Quartet Sara Derman Sergio Neves Helen Marlais José V . Castillo Martínez Lecturers Riko Higuma Dawn M . McConkie Madelyn Moore Lynn Kompass Diane Barger Isabel Hernández Other Groups Angel Lluis Ferrando Brieley Cutting Harmonie-XXI Carlos J . Fernández María Capilla Jean Pascal Meyer Duo Claripiano Francisco J . Fernández Edisher Savitski Fort Worth Clarinet Quartet Friedrich Pfatschbacher Tatjana Kaucic Emiliano Clarinet Quartet Heike Fricke Trio Clarioca Jochen Seggelke La Stravaganza Clarinet Quartet Lohff & Pfeiffer Other Musicians Artico Ensemble Oscar Navarro Anna C . Nimczik, violoncello Trio Pal Cezanne Robert DiLutis Beatriz Silván, soprano Llevant Quartet Stephen Fox Bruno Costa, percussion Clarinet Players Jean-Marie Paul David Stambler, saxophone Lisbon Contemporary Music Group Alex South Diana Moisejenkaite, violin International Clarinet Players Quartet Victor Chavez Eli Cagri, bass Duo Gotkovsky Malena McLaren Erman Turkili, violin Queensland Conservatorium Clarinet David E . Feller Faruk Tandogan, Kanur Quartet Elsa and Walter Verdehr Rhonda Abouhana, viola Quatuor International Clarinetissimo George Weremchuk, saxophone Mad4clarinets Pianists Helena Garreta-Suárez, harp Cavell Trio Jenny Mann, bassoon Quartetto di clarinetti Jubilus Ana Benavides John Falcone, bassoon Klarinet .Eus Dmtry Rachmanov Katalin Szanyi, flute Torun Trio Warren Lee Laurence Perkins, bassoon Duo Imaginaire Eunhye Grace Choi Liza Kerob, violin Sqwonk Bass Clarinet Duo Denise Pepin Margaret Baldridge, violin Lisbon Clarinet Quartet Patricia Tilden Miguel Cabana, percussion Cuarteto de clarinetes de Medellín Heidi Brende Leathwood Nora L . Garcia, flute Ensemble Tri-Rhena Sebastián Mariné Olga Dusheina Dougherty, violin Trio Nuovo Rocío Vílchez Pedro Díaz, oboe Zodiac Trio Diana Hughes Robyn D . Costa, oboe-English horn Shadanga Duo Paige Short Thompson Sheli Hulcombe, soprano Dek Duo Alessandra Gentile Shelly Myers, oboe Clap Duo Futaba Niekawa Simone Seiler, harp Quinteto Vintage Makiko Hirata Tibor Botos, guitar Sapphire Trio Graciela Arguedas Orazio Vicari, soprano Divagôö Marsida Koni Vanessa Mollard, violin Trio Impromptu of New York Jody Graves Walter Verdehr, violin

March 2015 33 a Benchmark of the Clarinet in Spain

by Carlos Javier Fernández Cobo

he distinguished clarinetist Máximo Muñoz Pavón left us Music in Spain in the first half of the 20th century was influ- on April 24, 2014 . He represents the continuation of a list enced by two wars, the Spanish Civil War (1936–1939) and World of great clarinet performers in Spain starting with Anto- War II (1939–1945), but was able to survive thanks to the Tnio Romero y Andía, and continuing with Miguel Yuste and Julián (a type of with dialogue), musical societies and mu- Menéndez . He was witness to the fast evolution of how the clarinet nicipal bands . was played in Spain during the 20th century . This included materi- In Madrid, where he developed his musical career, the Madrid als (he played with mouthpieces 5RV, B40 and Menéndez Soloist, Symphonic Band was established on June 2, 1909, at the Teatro Vandoren models), systems (Boehm and Müller) and embouchures Español . The purpose of the band was entertainment, cultural and (he changed over time from double-lip to single-lip embouchure) . social in order to bring music to audiences outside of concert halls . The , Count of Peñalver, traveled to Valencia and Máximo Muñozattended a concert by thePavón Municipal Band . Then, he proposed the creation of a symphonic ensemble for Madrid with a popu- lar character which was established in 1909, conducted by Ricardo Villa . The best Spanish clarinetists, such as Miguel Yuste and Julián Menéndez, played there and began in the Municipal Band and later worked in the best orchestras in the country . The prestige of this group is now international and is considered one of the best bands in the world . They have performed composi- tions and arrangements, such as ’s Rite of Spring, arranged by one of the most outstanding clarinet teachers, Julián Menéndez . Stravinsky confessed to the audience listening to this version, that he considered it more difficult to transcribe as Menén- dez had done than to compose it, due to the difficulty of the instru- mentation and performance by a band . The Madrid Symphony Orchestra was created in 1904, con- ducted by Enrique Fernández Arbós, with Miguel Yuste as clarinet- ist (who was also a composer of virtuoso works for the instrument) . Later in 1915 the Madrid Philharmonic Orchestra was conducted by Bartolomé Pérez Casas, a composer of several works for clarinet . In 1940 the Spanish National Orchestra and in 1965 the Spanish Radio Television Orchestra were established, following models al- ready established in Europe . During this period of a continuous creation of symphony or- chestras, Máximo Muñoz Pavón was born in Magán de la Sagra (Toledo) in 1921, a town close to Madrid . He belonged to a family with a long musical tradition and started playing a Müller 13-key system with his father . A relative who worked as a Madrid Sym- phonic Band musician provided him with a Boehm-system clari- net, and he studied with the band soloist assistant, Luis Villarejo . As a teenager, he travelled once a week taking a train to Madrid having to walk four kilometers from his village to the station . He remembered how he worked to develop a good embouchure with him during a month in front of a mirror . It was during this pe- riod that Spanish clarinetists gradually changed to single–lip em- bouchure, and that Muñoz studied with Antonio Romero’s Método Máximo Muñoz Pavón Completo para Clarinete.

34 The Clarinet After passing the exam as a musician in the aviation band in the Spanish army and after a short period of time, he returned to Madrid where he completed his musical studies at the Royal Conservatory of Music with Aurelio Fernández obtaining the best qualifications . There they followed Miguel Yuste’s education program, which always adviced maintaining patience and persever- ance in the study . It was during this period that Muñoz began his most active life as a clarinetist . He was promoted to the Civil Guard in 1943, playing Yuste’s Capricho Pintoresco. Later, he secured a position with the Madrid Symphonic Band when he was 27 years old playing Spohr´s Concerto No. 3 and sharing the music stand with Julián Menéndez, the great clarinetist and arranger of The Rite of Spring (mentioned above), Mahler’s Sym- phony No. 1 and Richard Strauss’ Alpine Symphony. He also toured in South Africa and was invited by the National Chamber Music Association there . As a soloist he played with the best or- chestras and bands in Spain, including the Madrid Symphonic Orchestra, Tenerife Symphonic Orchestra, Leon Chamber Or- chestra, Sevilla Philharmonic, Valladolid Philharmonic, Málaga Orchestra, Bilbao Symphonic Orchestra, City of Valencia and Spanish Radio Television Symphonic Orchestra . He worked with conductors such as Igor Markevitch, Sergiu Celi- Máximo Muñoz playing Mozart´s bidache, Lorin Maazel, Jesús López Cobos, Clarinet Concerto conducted by Rafael Frühbeck de , Odón Alonso, Igor Markevitch with the OSRTVE. Alfred Walter, etc . At the same time, he was a founding member of several orchestras created in the city where he worked, such as “Martín Códax” and Jamilena where he Máximo Muñoz Pavón was an example was a founder and clarinet teacher . as the Madrid Philharmonic Orchestra . of a life devoted to the clarinet and a master He was a contemporary of eminent (This orchestra was active before and after of great performers and teachers who will Spanish clarinetists like Julián Menéndez, the Civil War, but no longer exists .) be forever grateful for his advice and hu- Luis Francisco Villarejo, Luis Talens, Au- As a chamber musician he played with manity . relio Fernández, Leocadio Parras, Carmelo the Madrid Wind Quintet, Spanish Radio Bernaola, Jesús Villa-Rojo and Vicente Pe- Bibliography Television Orchestra Wind Quintet and the ñarrocha . Madrid Royal Conservatory Wind Quintet . Gómez , José Carlos: Máximo Muñoz Pavón, una ép- It is worth recalling an anecdote about oca del clarinete en España . Trabajo fin de Grado . His teaching activities were developed Máximo Muñoz, where, at the age of 89, he Madrid, Real Conservatorio Superior de Música de at the Madrid Royal Conservatory where was in the audience listening to a Zarzuela . Madrid, 2005 . he maintained Yuste’s patient philosophy He was next to the first clarinetist in the pit, Rubio, Pedro: “¿Una escuela española de Clarinete?” and was known for making very long ex- an old student of his, and indicated, in real in Viento, Irún, nº 2, December 2004, pp . 38–40 . ams . When a student failed a passage in Rubio, Pedro; López, Ignacio; Sanz, Justo: “Entrevista time, all the entries of the instruments and a Máximo Muñoz Pavón” in ADEC, Irún, nº 9, an exam, he stopped and told him, “You singers, saying, “The flute is playing louder November 2011, pp . 5–10 . played better than that . . let´s see .” . He than you and your solo is going unnoticed.” used to stand up and work with the pu- His continuing interest in the clarinet un- pil slowly until the passage was played til the end was evident in his attendance at About the Writer… correctly, and then continued his exam . all the Clarinet National Congress events Carlos Javier Fernández Cobo teaches at What level of involvement! He also taught organized by ADEC, in which he was re- the Universidad Autónoma de Madrid and in many international music courses, such spected and admired by their assistants . the Conservatory Victoria de los Angeles .

March 2015 35 Don’t Give Me Daphnis: An Injury Recovery Guide for Clarinetists by Mary Alice Druhan, with Kristin Keesey, and Debbie Gillespie

Armed with a comprehensive evaluation to healing musculoskeletal injuries . time with more frequent and shorter ses- (Part I) the injured musician is equipped to sions and warns against prolonged periods design a treatment plan with the medical Treatment Basics of absolute rest, especially if splinting is also team. Although the body has an inborn abil- Treatment is ideally suited to the patient ac- used . (Sataloff, 213) Nighttime splinting ity to heal itself (Jameson, 171) the injured cording to the body’s health, anatomy and devices protect from incurring injury during musician’s full recovery is dependent upon function, the technique of music making, sleep, and daytime splinting is prescribed to recognizing, addressing, and eliminating the the modification of the instrument, and protect during stressful activities; but pro- cause(s) of injury because recurrence of injury change in behavior . The treatment options longed inactivity from splinting can lead to is practically inevitable if a patient returns to should be discussed openly between the loss of joint mobility, stiffness and muscle the same habits. patient, the doctor and the therapy team . atrophy which will delay recovery, affect “The treatment of acutely and chronically performance, and, possibly, increase the likelihood of future injury . (Sataloff, 213) Part Two – inflamed musicians’ limbs is an art form in itself that must balance nonsurgical rem- Studies have shown that activity Treatment of the Injury edies, surgical remedies, appreciation of strengthens muscles and tendons while muscle technique, and appreciation of the inactivity weakens them, likely because inactivity decreases the blood supply, the Body Mechanics evolution and present design of musical in- struments ”. (Markison, 82) collagen synthesis, the tensile stress and omatic education sessions offer a The Textbook of Performing Arts Medi- the removal of metabolic enzymes . (Teitz, method of releasing muscular tension cine (TPAM) provides a Table of General 17)However, severe injury of Grade 4 or 5 and ways of making muscular move- Principles of Treatment for Musculoskel- (Fry, 5) may require a period of absolute rest Sment more efficient . (Jameson, 181) Popu- (weeks to months) with a very gradual re- etal Injury (11-5) which provides basic turn to the instrument . This may consist, at lar types of body mechanics training for per- information about rest, technique, medi- first, of only one or two five-minute sessions formance technique, for injury prevention, cation, therapy, performance/instrument per day, increasing slowly and cautiously . and during injury recovery include Alexan- modification, relaxation/body awareness, Treatment of Myofascial Trigger Points der Technique, Feldenkrais Method, Heller- injection/surgery,and emotional support . (MTrPs) utilizes a different approach from work, Trager, Eutony and motion analysis . (Sataloff, eBook) Musicians have the op- the common sprain, strain or overuse inju- Biofeedback is a resource targeted at tion of providing this to aid consultation ries, and research warns that many practi- training the patient to alter the body’s vital with their medical team . tioners are not aware that there is a separate functions through the connection of mind Common treatment protocol at the on- MTrPs protocol based strictly on science and body . Since many musculoskeletal set of musculoskeletal injury is the RICE and put through extensive clinical testing . problems involve habitual tension of mus- regimen (rest, ice, compression, elevation) (Turchaninov, Part I) cle groups, techniques are utilized to make but in serious overuse cases, this alone may the patient more aware of abnormal muscle not suffice . Forebodingly, complete rest stress patterns . A monitoring device is used may lead to muscle stiffness, limited range Medications to measure heart rate, muscular tension, of motion, slowed recovery, emotional dis- Acetaminophen may be prescribed for re- breathing rate, etc . with the goal of help- tress and muscle atrophy . Sprain injury re- lief of chronic musculoskeletal problems, ing the patient learn to, “change muscle search shows that combination treatments especially for chronic osteoarthritis . Topi- tension, reduce muscle activity, and even (which include cold, exercise and mechani- cal salicylate cream is often prescribed for strengthen weak muscle groups ”. (Jame- cal massage) can reduce the amount of time acute or chronic localized pain . Patients son, 189) Because of its ability to detect lost from physical activity when compared with acute musculoskeletal pain and in- skin temperature, biofeedback is effective to normal RICE . (Starkey, 141) flammation may be prescribed NSAIDs in teaching the patient to increase blood For mild injury, TPAM suggests relative but usually for no longer than two weeks . flow to the extremities which is important rest in the form of decreased total playing [While taking NSAIDs pain may be masked which can increase the likelihood of further injury; therefore, patients are Biofeedback is a resource targeted at training typically advised to institute relative or absolute rest while on NSAIDs .] Tricylic the patient to alter the body’s vital functions antidepressants, muscle relaxants and adju- vants may be added to narcotic and non- through the connection of mind and body. narcotic analgesics to manage pain . 36 The Clarinet Physical Agent Modalities When the patient has sore, inflexible muscles (PAMs) PAMs are generally understood to be mo- the pattern of hidden muscles spams must be dalities that produce a response in soft tissue through the use of light, water, temperature, broken with intensive, deep massage. sound or electricity . Options for PAMs in- clude hot packs, cold packs, paraffin baths, (NMES or electrical shock unit) involves (Jameson, 159) and there are many types contrast baths, shortwave diathermy, infra- the use of a device which transmits an including Reiki, Rolfing, Swedish mas- red, light therapy, fluidotherapy, whirlpool, electrical impulse to the skin over selected sage, trigger point therapy and myofascial therapeutic ultrasound, electrical stimula- muscle groups by way of electrodes causing release . “Sports massage” is defined as a col- tion units, phonophoresis, high-voltage muscles to contract as a form of exercise . lection of massage techniques performed galvanic stimulation (ESTR), high-voltage Ultrasound is commonly used for the on active individuals for the purpose of aid- pulsed current (HVPC), direct current management of various soft tissue dysfunc- ing recovery or treating pathology . It may (DC), iontophoresis, vasoneumatic devices tions, including joint contracture, scar tissue, include effleurage, petrissage and/or deep and continuous passive motion (CPM) . tendinitis, bursitis, skeletal muscle spasms transverse friction massage . (Brummit, 8) Cold is an effective analgesic because it and pain . (Michlovitz, 180) It has the ability MTrPs must be eliminated and some re- produces a vasoconstriction, delays micro- to warm the tissues below the skin’s surface, searchers suggest that this is accomplished scopic hemorrhage and neutralizes the ef- increase cellular respiration and blood flow by vigorous, localized massage (Damany & fect of histamine . It also has an anesthetic and initiate chemical changes that promote Bellis, 110) but Turchaninov and Prilutsky or numbing effect while additionally reliev- healing of the body’s tissues . (Jameson, 164) warn, “Excessive application of pressure to ing muscle spasm and inhibiting swelling . An additional benefit is that ultrasound the part of the skeletal muscle which carries The indications for therapeutic use of cold, increases the permeability of cellular mem- a trigger point produces excessive damage or low-intensity laser are separated into cat- branes which allows the disbursement of flu- to the myofibrils . Application of such un- egories of tissue healing and pain manage- ids . It has proven helpful as a “noninvasive necessarily strong pressure over and over again in the same area triggers the deposit ment . (Michlovitz, 264) Within the first technique to enhance percutaneous absorp- of glycosaminoglycans between damaged 72 hours of injury and during periods of tion of topical medications (phonophore- microfibrils, and this represents the begin- inflammation patients receive ice therapy sis) ”. (Michlovitz, 180) ning of formation of the core of myogelo- in any of its many forms (ice pack, vapo- Shortwave diathermy is used to reduce sis ”. (Turchaninov and Prilutsky, 2) Still, coolant spray, ice massage, or cold laser) . pain, edema and joint stiffness . It is an ef- myofascial release is often used as one of the Compression of the injury controls fective treatment for muscle spasm, chronic treatments for MTrPs and MPS and deep edema in the early stages of treatment and inflammatory conditions, limited range of tissue massage, friction massage, and Rolf- between periods of exercise and ice therapy . motion and poor circulation . ing have been used to inactivate MTrPs . It can be used past initial treatment when a patient recognizes benefits . Massage * * * * * Once inflammation subsides, heat ther- The overall goals of massage are to promote Treatment Options will be continued in apy should be used for the duration of treat- relaxation of the muscles, increase blood Part 3 ment and before stretching or activity to and lymph flow and possibly regulate blood soothe irritated muscles, relax irritated nerve pressure . When the patient has sore, inflex- Works Cited endings and promote circulation to an in- ible muscles the pattern of hidden muscles Damany, Suparna and Jack Bellis . It’s Not Carpal Tun- jured area . (Jameson, 166) Contrast baths spams must be broken with intensive, deep nel Syndrome! Philadelphia: Simax, 2000 . are an alternation of heat and cold forms of massage . (Damany & Bellis, 110) Fry, Hunter J .H . “Patterns of Overuse Seen in 658 therapy and are effective in reducing swell- Massage is one of the mandatory forms Affected Instrumental Musicians,” International ing and bringing fresh blood flow to an area of healing for repetitive motion injuries Journal of Music Education 11 (1988): 3-16 . to promote healing . (Jameson, 166) To assist with pain management, there are many forms of electrical muscle stimu- lation, including microcurrent stimulation CLARINET SOLOS (found to initiate healing within the cel- with lular tissue), galvanic stimulation, interfer- FULL ORCHESTRAL ACCOMPANIMENT ential stimulation (both of which allow for nerve stimulation and muscle contraction), change the tempo, record yourself with the accompaniment TENS or transcutaneous electrical nerve stimulation (for use in pain management), Mozart, Weber, Spohr, Crusell, Stamitz, Krommer, Tartini and FES or functional electrical stimula- tion (used for strengthening) . The use of for more information, please visit our web site chemicals in conjunction with electrical ClassicalCollectionInc.Com muscle stimulation is called iontophore- sis . Neuromuscular Electrical Stimulation

March 2015 37 Jameson, Timothy J . Repetitive Strain Injuries: Alter- recovery for a serious playing-related injury have regarding a medical condition. Never rely on in- native Treatment & Prevention . New Canaan, CT: which inspired her research into musician formation contained in this article in place of seeking Keats Publishing, Inc ., 1998 . professional medical advice. Never disregard professional Markison, Robert E . “Tendinitis and Related Inflam- injury, prevention, and recovery . Her work medical advice or delay in seeking it because of something matory Conditions Seen in Musicians ”. Journal of in this area has been featured in The Clari- you have read in this article. You should also ask your Hand Therapy 5 .2 (1992): 80–83 . Print . net and she is active doing lectures around physician or other healthcare provider to assist you in in- Michlovitz, Susan L . Thermal Agents in Rehabilitation, the country . terpreting any information in this article, or in applying the information to your individual case. 3d ed . Philadelphia: F .A . Davis Co ., 1996 . Kristin M. Keesey received her degree Sataloff, Robert T ., Alice G . Brandfonbrener, and If you think you may have a medical emergency, call Richard J . Lederman . Performing Arts Medicine . from Texas Woman’s University School your doctor, go to the emergency department, or call 911 3d ed . Narberth, PA: Science and Medicine, Inc ., of Occupational Therapy in 1995 . She is immediately. If you believe you have any other health 2010 . eBook . a Certified Hand Therapist and a gradu- problem, or if you have any questions regarding your Starkey, J . “Treatment of Ankle Sprains by Simul- health or a medical condition, you should promptly con- ate of the Dr . Vodder School of Manual sult your physician or other healthcare provider. taneous Use of Intermittent Compression and Lymphatic Drainage . For 8 years she was Ice Packs,” American Journal of Sports Medicine, Medical information changes constantly. Therefore 4 .4(1976): 141-4 . an instructor of orthopedic continuing the information in this article should not be considered current, complete or exhaustive, nor should you rely on Sucher, BM . “Myofascial Release of Carpal Tunnel education to fellow therapists in the Dallas such information to recommend a course of treatment for Syndrome,” JAOA 93 (1993): 92-100 . and Houston, Texas areas . At present she you or any other individual. Reliance on any informa- Teitz, CC . Scientific Foundations of Sports Medicine . is working at Covenant Hand Therapy in tion provided in this article is solely at your own risk. Philadelphia: B .C . Decker, 1989 . Turchaninov, Ross and Boris Prilutsky . “Science of Plano, Texas . The clinic is a privately owned Medical Massage: Science of Trigger Point Ther- orthopedic/lymphatic center helping pa- apy, Part I ”. Journal of Massage Science . 9 Septem- tients find techniques to keep safe, com- ber 2012 . www .scienceofmassage .com/dnn/som/ fortable and productive while they perform Contacts for journal/0903/medical .aspx tasks at work, home and hobbies . www .op .nysed .gov/prof/ot/otpam .htm Debbie Gillespie graduated from Texas Massage Institute in 2004 . She has worked The Clarinet About the Writers… as a full time massage therapist for 10 years, Send all articles, recital programs, orders Mary Alice Druhan is serving as Associate and in that time period she has been the ex- for back issues, announcements and any Professor of Clarinet at Texas A&M Uni- clusive massage therapist for Cirque Du So- other non-commercial items intended for versity – Commerce . The university has leil “Kooza” show in Dallas in 2012 . In the publication in The Clarinet to: recognized Dr . Druhan with the University fall of 2012, she opened Massage Rockwall James Gillespie, Editor/Publisher Faculty Research Award and the “James in Rockwall, TX . Debbie is proficient in 405 Santiago Place, Denton, Texas 76205 ‘Jim’ Vornberg Award for Teaching ”. She many modalities including sports massage, Email: [email protected]; has enjoyed performance opportunities trigger point, deep tissue, hot stones, TMJ [email protected] across the U .S ., Europe, and Asia, and also Release, and Lymphatic Drainage . Debbie Send all printed materials currently performs with the Dallas Wind can be reached at www .massagerockwall . (music, books, etc.) intended for Symphony, Triforia Winds, and the Color com review in The Clarinet to: of Sound chamber series . Before moving to Texas, she was the solo Eb clarinetist with Medical Disclaimer Gregory Barrett, Editor of Reviews This article is for informational and educational purposes School of Music, Northern Illinois University the U .S . Army Band, “Pershing’s Own,” only, and is not intended to be a substitute for professional and served as a member of several orches- medical advice, diagnosis, or treatment. The information DeKalb, IL 60115, 815/753-8004 tras . Mary is a Buffet-Group USA Perform- provided in this article is not a substitute for medical or Email: [email protected] ing Artist and her teachers include Diana professional care, and you should not use the information in place of a visit, call consultation or the advice of your Send all recordings intended for Haskell, Timothy Wright, Steve Cohen, physician or other healthcare provider. review­ in The Clarinet to: and Ronald de Kant . Always seek the advice of your physician or other Dr . Druhan has suffered from and is in qualified health provider with any questions you may William Nichols, Audio Review Editor 1033 Fawn Hollow Bossier City, Louisiana 71111 Email: [email protected]

Send all inquiries about advertising, I.C.A. membership, missing issues, notices of change of address, etc., to: Madeleine Crouch, Executive Director International Clarinet Association Madeleine Crouch & Co., Inc. 14070 Proton Rd. Suite 100, LB 9 Dallas, TX 75244-3601, Email: [email protected] or Email: [email protected]

38 The Clarinet and somewhat nasal sound made by French clarinetists at the time . The “Air” appeared in a play entitled Cricri et ses mitrons (Cricri and his baker Hysterically boys): a “petite parodie en vers” by Pierre-Fré- déric-Adolphe Carmouche, Armand-Fran- çois Jouslin de La Salle et Dupeuty Quoy first performed at the Théatre de Variétés, 17 March, 1829 . Basically a parody of Alexan- by Eric Hoeprich dre Dumas’ political play based on the life of “Henri III” of the same year, the charac- ter Cricri is a master baker whose livelihood [We are pleased to welcome a unique and trouble . Thus the appellation “nazillard,” a is threatened by mechanization . “Cricri” is amusing new series by one of the world’s best (deliberate?) variant spelling of the French also the squeaky sound made by crickets, known historical clarinet performers, authors for “nasal,” nasillard 2. possibly a reference to a squeak on the clari- and teachers. Ed.] The text of the “Air” can be translated net . Both plays are concerned with the vi- as follows: cissitudes of politics and power . Musiciens de la Chapelle Air: Oh! c’cadet-la quel pif qu’il a ! n .b . Honoré Daumier’s caricature of the Air: Oh! This cadet – what a big r d rgot premier Comte d’Argout (see inset) spells the name – M ’A , nose he has! “Mr D’ARGO ”. 3 nazillard du Roi... oh! c’cadet-la quel pif ! Oh! This cadet – what a big nose! his amusing and somewhat bizarre Endnotes caricature of a “clarinetist” appeared Among the Count’s more remarkable 1 Two other images in the series depict characters in a series of nine satirical litho- features is indeed his large nose . “Pif,” slang playing instruments: an M. Sou, premier tambour Tgraphs created by “CJT,” a .k .a . Charles Jo- for “nose,” can also mean “in the nose,” as and M. Lebeau, premier du Roi, each seph Traviès de Villers (1804–59), printed seen with the clarinet in the caricature . with its own “Air ”. 2 It may be worth noting that in an “updated” ver- by Bénard and published in 1832 by Aubert The expression “au pif” means following sion of Jean Racine’s satirical play The Litigants in La Charivari, a Parisian satirical journal .1 one’s nose or letting instinct provide guid- (published in 1669) from 1819 (also produced at “Mr d’Argot” refers to Antoine Maurice ance, i .e . Comte d’Argout was perceived the Théatre de Variétés), the character, “a Judge,” is Apollinaire, Comte d’Argout (1782–1858), to make decisions instinctively in order to renamed “Mr Nazillard ”. 3 It seems unlikely Daumier would have misspelled who became a peer of France in 1819 . survive the vagaries of French political life . the name intentionally . The “Argo” was the name During the “July Revolution” of 1830, he It might also be a reference to the brilliant of the ship Jason used in his search for the golden tried to persuade Charles X fleece, from the Greek myth, Argonautica . The to withdraw the so-called ship was protected by special powers, a likely refer- “July Ordinances ”. which had ence to d’Argout’s extensive political connections . sparked widespread protest . A royalist and supporter of the Bourbon Restoration, the Comte d’Argout nonetheless adroitly adapted to the sub- sequent “July Monarchy” and the reign of Louis-Philippe I . He was made a minister in the government formed by Jacques Laffitte in 1830, and, after several other ministerial positions, was made governor of the Bank of France in 1834 . He remained there until 1857 in spite of tumultuous events such as the 1848 revolutions which led to the creation of the Second Republic, as well as the 1851 coup of Prince Louis-Napoléon Bonaparte – testimony to his political acumen; one might even say he had “a nose” for avoiding

March 2015 39 A Perspective on Enrique1 Calvist (1851–1897)by Àngel Lluís Ferrando Morales

nrique Calvist y Serrano was a stu- Saldoni, Lacal de Bracho et al ., or in any have an important impact in the future . We dent at the National School of Mu- other later references of a more encompass- cannot, and we should not, conceive of a sic and Reciting, as well as a former ing, general or encyclopaedic nature . history of Spanish music without the pres- Eteacher and conductor of the Real Cuerpo Pedrell’s reference was published in the ence of the wind bands and their environ- de Alabarderos (Royal Halberdier Corps) . same year as the death of our protagonist, ment . Important attention should be paid He wrote several compositions, and among who was by then retired from the Real to the activity of these musical bodies . They them are the following which were pub- Banda de Alabarderos and was working as a played a vital role as cultural, educational lished by D . Benito Zozaya (Madrid): Mer- conductor of the Banda de Ingenieros (Engi- and social centers . They had a very specific cedes, a mazurka; La paloma azul, a polka neering Military Band) . In this musicologi- repertoire, and their capacity for the diffu- waltz; and Magdalena, a mazurka 2. With cal reference we are reminded of some other sion of music among the local population this brief description, the eminent Spanish cases where the local nature of the work of was extraordinary . In addition, they played musicologist Felipe Pedrell (1841–1922) the artist and the context in which he finds a crucial role in the study and the evolu- makes a reference to Enrique Calvist y Ser- himself somehow determines his position tion of wind instruments . A detailed study rano, a composer who was still alive when in the bibliography in an extraordinary way . of their important role is of great relevance his famous Diccionario biográfico y bibliográ- The way we understand this phenomenon if we wish to establish a general overview of fico de músicos (1897) was published, add- is a frequent occurrence in Spanish musi- what was, during more than a century, the ing two letters to his name: A .C . (“artist” or cology and, to a certain extent, a kind of de- natural home for excellence in wind instru- “contemporary enthusiast”) . We know very ficiency in the archives of the wind bands . ments and most especially for clarinetists . little more than this about our protagonist . The research work being done in this area, One cannot understand a general history of In fact, the name Calvist does not appear that is to say, current research on the mu- the clarinet in Spain without understand- in any of the accepted references related to sic of the second half of the 19th century ing at the same time the documented his- the 19th-century Spanish musicology works and the first half of the 20th century which tory of the wind bands as a primary source . such as those by Soriano Fuertes, Parada, is so fundamental to Spanish music, will The 19th-century wind bands are the enti-

Figure 1: Alabarderos Royal Band, 1889. Calvist is likely the clarinetist to the right of the conductor.

40 The Clarinet ties which give us an exact approach to the pedagogical activities . He was married to lished by Antonio Romero y Andía with kaleidoscopic profile and outline of our María Beill, and they had three children, the suggestive title Salón-Romero (1885) protagonist . Ramona, Enrique and Ernesto, the last provides us with other curious academic Based on the information we have up to two still underage when their father died details about Calvist . In the almanac date, we can locate our protagonist’s activi- in 1897 . The arrival of the Calvist-Serrano Calvist appears listed as a voice teacher ties in Madrid and close to the Halberdier family can be dated back to the early 1860s, with the Philharmonic Institute of Madrid, Band and Engineering Military Band . Orig- for which reason the education, instruction along with a notable list of well-known inally, Calvist limited himself to his role as and formation of our protagonist has to be musical professionals . Located at number a clarinet soloist, but later on he combined effected, mainly in Madrid, the capital city 3, Esparteros Street, this institution was this activity with his work as a teacher, mu- of Spain . inaugurated on January 15, 1884, and it sical arranger, composer and conductor . His One of the most detailed descriptions had as its objective the “dissemination of training as a clarinetist, which took place in of our musician can be found in the his- musical instruction to all social classes ”. 5 Madrid according to the few researchers torical press . It makes a reference to a Further authenticated documentation who reference him in their works, also places prize awarded to the Engineering Military shows both Calvist, as well as his brother, him in and around the National School of Band in a competition held in the city of as private music teachers in the Anuario del Music with its Concert Society and its mili- Cordoba . It refers to the trajectory of the comercio, de la industria, de la magistratura tary bands . However, we have not yet been band and describes several of its conduc- y de la administración (1894) 6. As we can able to find any reference relative to him in tors and makes a fine illustrative reference see in this very same book, published a few the archives of this school .3 In a similar way, to Calvist . years later (1896), they both share a profes- there are a couple of tangential references Since its reorganization during this sional abode in the district of of the to him in publications dated late in the 19th last decade of the century the band has city of Madrid . century and early in the 20th century which been directed by musicians such as Juar- There are also some authors who claim shed some light on his little-known profile . ranz, who later went to the Halberdiers Calvist wrote a clarinet method, although The digitization of a good part of the his- […] then Calvist succeeded him and I this publication has not been identified up torical press is the most powerful tool that saw him direct the Band on more than to now and so, for the time being, we will can assist us in the research of authors from one occasion in the way that only he associate it, as Rubio has already proposed, the second half of the 19th century . These knew. Calvist was a valued conductor, with a method for the study of this instru- composers were not normally included in mulatto and a first class instrumental- ment that was published in Madrid in 1894 any reference bibliographies . There is no ist. He left various written works but by an unknown author .7 There is also an in- doubt that digitization is an essential tool his finest work was as a teacher, in the teresting mention of him as the composer but it should always be used with a certain preparation of pieces of music that the of some of the exercises played by students reserve . Nonetheless, more than 120 years postulants had to execute in order to in their auditions for the National School of after the publication of Pedrell’s work, it is pass into the Halberdiers.4 Music and Poetry . The president of this in- in fact our primary source of information stitution was Mr . Arrieta, and his secretary As we already know from our previous relative to the figure of Enrique Calvist y was Mr . Fontanilla; these auditions con- information, we are dealing with a grand Serrano . sisted of dramatic lyrical exercises and took performer . However, we were surprised by place in the auditorium of the institution 8. the use of the term “mulatto ”. In a certain Calvist, the Man way, this description and his condition as In the first place, we can surmise a minimal a temporary conductor of the musical en- Calvist, the Musician family context for him according to the tity have been of great assistance in order The first reference to Enrique Calvist which information we have gathered . According to supposedly place our protagonist in- appears in the historical press as a first clari- to the different information that we have side a picture of the Halberdiers Band in net soloist, dates back to 1875 . In the sub- been able to gather and contrast so far in which he appears to be situated next to the sequent years we can find a great number of recent years, Enrique Calvist y Serrano was conductor of the band (See Figure no . 1) . contributions with the main musical bod- born in Valladolid (Spain) on September Although we cannot ascertain anything ies and organizations in Madrid . His pres- 24, 1851, into a family closely related to concrete, this detail would be a truly in- ence, quite often in chamber orchestras, is both the military and musical spheres . He teresting piece of data much like the infor- outstanding and worth mentioning, and as was the first-born of a family made up by mation that reveals how his work on the a composer we do find some pieces of news Santiago Calvist and Ramona Serrano, a preparation for the level exams for entry just a few years later . They date from June married couple (1849) with at least two into the military bands was so highly val- 1879 and refer to the publication of two professional male musicians . His brother ued . This is something that we now see has versions of his mazurka: Mercedes (which Ernesto, who was born in the city of Zafra more importance than it was once thought, at that time was always written with the (in the province of Badajoz) in 1858, kept and it may also explain why some of his formula “mazurka”) . One version was for in touch with Enrique because of some works for private use exist in the archives of a military band and the other one was a concrete labor reasons, both as a trombon- the non-professional civil bands and how version for piano edited by Jiménez 9. Af- ist of the Halberdier Band as well as his they might well have been used for the en- ter this period, many more works would teaching educational activities in a family trance exams . appear, and, without going into many de- establishment of their own, among other An interesting musical almanac pub- tails, we can now talk of an impressive ar-

March 2015 41 Figure 2: E. Calvist, Dos piezas concertantes, Fantasía y Capricho . Bassus Ediciones, Madrid. tistic production that was both varied and describes how he became conductor in May the footsteps of Juarranz 15. Paradoxically, functional . His works were fundamentally 1894 after having been acting director for these steps also led him to his death . No composed for bands but he did not exclude almost two and-a-half years since 1892 12. more than four months after the death of other forms . Among his symphonic music A short time after receiving this title, En- Eduardo López Juarranz, Enrique Calvist we find evidence of two compositions with rique Calvist took the exams for the post died in Madrid on April 27 at 7:00 o’clock a concert characteristic: Fantasía and Ca- of Músico Mayor (then musical conductor) in the afternoon 16. He was buried in the 10 pricho (See Figure No . 2 .) . We can also for the Engineering Regiment Band, and he San Justo cemetery in Madrid . The detailed mention transcriptions of works and of was awarded the position in February 1896 . chronicle entitled La Correspondencia de two period fantasias: Fantasía sobre motivos The news appeared in various places in the España indicates that he had directed the 13 de I Puritani by Bellini, and a ballet piece, press on March 2, 1896, and shows his Halberdiers Band for a total of four years, Coppélia by Léo Delibes . For the clarinet he strength compared to the other 20 aspirants . information that increases three-fold the wrote two books of studies: 24 estudios rec- The death of Juarranz finally brings us information given to us by Pedrell men- reativos and 30 estudios característicos (See a little more information about Calvist tioned above 17. Figure No . 3 .) . and his environs . Maestro Juarranz died in Many of these compositions which were Madrid at 8:00 o’clock in the morning on Summing up directed by Calvist himself made up the rep- Saturday, January 16, 1897 14. At his huge ertory of the Halberdiers Band and the En- funeral, his casket was carried by musicians The artistic profile of Enrique Calvist is gineering Military Band . He was the con- from the Engineering Military Band, and clearly defined as an exemplary case within th ductor of both these bands, and this was his his funeral carriage was adorned with flow- the history of clarinet playing in 19 -cen- principal activity during the last five years of ers from his family and from the two bands tury Spain . His personal figure of a proven his life . Once again we find this detail about that he conducted: the Halberdiers Band professional artist who combined his in- him in the historical press in a commentary that he was directing at the time of his strumental practice with private teaching, about him in the work of Fernández de death and the Engineering Military Band the specific composition applied for his Latorre, who was one of the few intellectu- that he had directed a few years earlier . The instrument and, finally, his skill and savoir als who paid attention to him 11. Reviewing two bands were precisely the same ones as faire by several musical bands, his activities with the Halberdiers, Latorre Calvist had directed, following closely in both amateur and professional ones, must

42 The Clarinet 3 In the introduction to his 30 estudios característicos (30 Characteristic Studies) by Calvist, Pedro Rubio pointed out this fact, verified by him . Although he notes there is a possibility that he may have studied as a free student at the Madrid Institution . Cfr . Enrique Calvist y Serrano (?–1897): 30 estu- dios característicos. Published, edited and revised by Pedro Rubio, Madrid, Bassus Ediciones Musi- cales, 2009 . The same musician has recorded 15 of Calvist’s studies in the CD El clarinete román- tico español (The Spanish Romantic Clarinet), Vol . II . 4 El Defensor de Córdoba, June 8, 1900 . 5 Salón-Romero, Almanaque musical para 1885, p . 55 . 6 Anuario del comercio, de la industria, de la magis- tratura y de la administración (1894), 1, p . 113 . 7 In the introduction to his volume 30 estudios car- acterísticos (30 Characteristic Studies), Pedro Ru- bio points out this possibility, although without documented confirmation for the moment . Cfr . Enrique Calvist y Serrano (?–1897): 30 estudios característicos. Published, edited and revised by Pedro Rubio, Madrid, Bassus Ediciones Musicales, 2009 . 8 La Correspondencia de España, December 25, 1893, and January 28, 1894 . 9 La Correspondencia de España, June 17, 1879 . 10 Published a clarinet and piano version by Pedro Rubio (Bassus Ediciones Musicales, 2013) . Record- ed both pieces by Pedro Rubio and Ana Benavides in the CD El clarinete romántico español (The Spanish Romantic Clarinet), vol . III 11 Fernández de Latorre Moreno, Ricardo: Historia de la música militar de España, Ministerio de De- fensa, 2000, p . 354 . 12 La Correspondencia de España, March 25, 1894 . 13 El Correo militar, March 2,1896 . 14 “Eduardo López Juarranz” in La Correspondencia de España, January 16,1897 . 15 “Entierro de Juarranz” in La Correspondencia de España, January 18, 1897 . 16 El Correo militar, April 28, 1897 . 17 La Correspondencia de España, April 29, 1897 .

About the Writer… Angel Lluis Ferrando Morales is a mu- sicologist and the conductor of the Cor- E. Calvist, 30 estudios característicos . Bassus Ediciones, Madrid. poración Musical Primitiva of Alcoi and the Societat Musical La Pau de Beneixama have been fundamental in 19th-century into the process of preparation and further (Spain) . In the archives of these wind bands Madrid . We have been gradually find- selection of the candidates who were bound we can find some manuscript copies by En- ing out with the musicological studies the to take up the vacant posts of the very best rique Calvist and other composers of the new amount of information which is be- musical wind bands of that time with such Halberdiers Band scene (Madrid) . For sev- eral years he has collaborated with Pedro ing unveiled . His career is, no doubt, an a high level which, according to the official Rubio (Bassus Editions) in the research of interesting trajectory which enables us to document on record, still greatly surprises Calvist and the restoration and retrieval of get to know in full detail the work carried us nowadays . out by these brilliant and versatile musi- Spanish clarinet and wind band music of cians . Moreover, his production as a com- the 19th century . Much of this research will be presented soon in an unusual recording . poser conveys a more trustworthy vision Endnotes of management, cultural practice, trends 1 This prespective is part of a wider research work carried out by the same author . However, the and fashion, as well as the facet of music main lines of work and conclusions reached so far consumption in the society of the period are shown in this introduction . in question . Through this exceptional and 2 All the translations are by the author of this ar- WWW.CLARINET.ORG unique profile, we can likewise get deep ticle .

March 2015 43 Spanish Clarinet Music the Path from Romero to Today by Gregory Barrett

etting ready for ClarinetFest® 2015 the Théâtre-Italien in Paris . Primer aire vari- de Miguel Yuste . Several of the recorded by reading travel guidebooks? Let’s ando on an original theme for clarinet and selections are also on YouTube . get ready in the Spanish clarinet piano was his Op . 7 . Ramón Carnicer y Yuste’s most famous pupil was Julián Grepertoire and composer department, too . Batlle (1789–1855) was a composer, con- Menéndez (1895–1975) . According to The host, the Spanish Clarinet Association, ductor and Rossini specialist . In addition Oskar Espina Ruiz, Menéndez was the out- has planned a festival anchored on one end to several operas he composed a Fantasy for standing Spanish clarinetist of his era, serv- by the founder of the Spanish clarinet tra- clarinet and piano or orchestra . ing as principal clarinet of both the Madrid dition, Antonio Romero y Andia, and on Romero also excelled in clarinet design Symphony Orchestra and the Madrid Sym- the other by the new works of today . and no doubt his efforts to improve the phonic Band . His renown was so great that How did Antonio Romero inspire the mechanism of the clarinet made works by Leopold Stokowski invited Menéndez to theme of ClarinetFest® 2015 and how did succeeding composers feasible . As a youth, join the as principal he set in motion the composition of Span- he began on a five-key clarinet . When Mül- clarinet in 1933 . Within the context of re- ish works for the clarinet, past and present? ler’s 13-key clarinet made its way to Spain introducing Menéndez’s virtuosic clarinet It turns out, in several ways . In his prime, he adopted it . For his own satisfaction and works to the greater clarinet community, Romero (1815–1886) was the pre-eminent for the benefit of his students, he com- Oskar Espina Ruiz explains Menéndez’s Spanish clarinetist . After gaining renown as pletely familiarized himself with the Klosé/ place in the pantheon of historic Spanish a performer, he served from 1849 to 1876 Buffet innovations . Then over more than clarinetists in his online I .C .A . Research as the clarinet teacher at the Conservatory 10 years, he developed his own Romero- Presentation abstract . of Music and Declamation Maria Cristina system clarinet to overcome what he saw The above-mentioned Enrique Pérez Pi- in Madrid . were the shortcomings of existing options . quer studied clarinet with three of Menén- Before his teaching career began in Enrique Pérez Piquer, clarinet soloist in the dez’s pupils, Josep Talens Sebastiá, José Vi- earnest, he had already written, in 1845, Orchestra Nacional de España, detailed An- cente Peñarrocha and Lucas Conejero . This the first edition of his Complete Clarinet tonio Romero’s life in the September 1999, lineage is preserved in his recording of all Method . In 1854 he established an instru- Vol . 26, No . 4 issue of The Clarinet. 25 Menéndez clarinet works on two CDs ment selling business and two years later Along with Romero, the two other lead- Clar I Net, available at www .gaudisc .com . began to publish music – with eventually ing historic Spanish clarinet personalities What has followed from this forma- thousands of titles for sale . He composed were Miguel Yuste and Julián Menéndez . tive history? Which notable contemporary tutors for various instruments in addition Like Romero, Miguel Yuste (1870–1947) Spanish composers, often influenced by the to the clarinet, and wrote several clarinet was a long-serving and influential teacher . internationalization of concert music, have and piano works, such as Fantasía sobre mo- Malena McLaren outlined his life and ca- composed works with clarinet? To answer tivos de Lucrecia Borgia (1839), that reflect reer mileposts in her 2007 I .C .A . research these questions I was aided by many Span- his love of lyric melody allied with dramatic presentation, “Miguel Yuste: His Works for ish members of the I .C .A ., especially Car- and idiomatic technical display . Through Clarinet and His Influence on the Spanish los Jesús Casadó Tarín, Vicente López and succession and mergers, his publishing Clarinet School of Playing in the Twentieth Enrique Pérez Piquer . Let’s take a journey house eventually became part of Unión Century ”. An abstract of her presentation is visiting these composers and their works, Musical Española and ultimately part of the found in the online archive of ClarinetFest® from the mid-20th century up to today . huge London-based Music Sales Group, presentations . The works Yuste composed Julián Bautista (1901–1961) was an which today represents among other im- for his students demanded an increase in important Spanish composer who first prints G . Schirmer, Chester Music, Unión the players’ technical abilities . This was studied in Madrid with Don Conrado del Musical Ediciones, Bosworth Music GmbH important to accomplish in light of the Campo and then later, when a member and K .K . Music Sales . Seems there is still a increasingly difficult repertoire penned of the “Group of Eight,” with Manuel de trace of Romero heritage all over the world . by leading international composers . The Falla . After the Spanish Civil War (1936– During the years of Romero’s activities, one-movement, three-section, concerto- 1939) he was forced into exile in Argen- two other composers from Spain wrote like piece Vibraciones del Alma, Op . 45 is tina where his musical work continued to noteworthy works for clarinet . Pedro Soler a notable example . Enrique Pérez Piquer garner praise . As its title suggests, his 1945 y Soler (1810–1850) was the oboe soloist has recorded that work and others on his Fantasia Española, Op . 17 for clarinet and in the orchestra of the Opéra-Comique and 1995 CD La obra para Clarinete y Piano orchestra sounds of Spain with its folk-

44 The Clarinet like melodic contours and use of . before concentrating on clarinet perfor- compositions, including dozens of works This engaging work can be heard with En- mance/teaching and composition . As befit- for solo clarinet or clarinet in a chamber rique Pérez Piquer at www .youtube .com/ ting a member of “Generación del 51,” he ensemble . Recent collaborations have been watch?v=7DSCUFE-oUg . had international contact through summer with clarinetist Joan Enric Lluna in his Of the same generation and also belong- and other courses with modernist compos- 2004 Concierto para clarinete y orquesta and ing to the “Group of Eight” is Jesús Bal y ers Jolivet, Tansman, Petrassi, Maderna and in 2010 with Harry Sparnaay in his 2009 Gay (1905–1993) . He was a professor at Messiaen . For clarinetists his compositions work Tres Secuencias para clarinete bajo . Cambridge University from 1935 to 1938, of note are ¡Imita! Imita que algo queda for Another award-winning composer born and then, unable to return to Spain follow- clarinet and orchestra (1995), Trío-Sonatina the same year as Joan Guinjoan is Juan ing the Civil War, worked in Mexico until (1954–55) for oboe, clarinet and bassoon; Pérez Ribes . Pérez Ribes likewise received finally returning to Spain in 1965 . Enjoy Capricho (1955) for clarinet and piano and his training both in Spain and Paris, includ- a recording of his 1947 Sonata for clarinet Solo for clarinet written for the Concurso In- ing work with . His main and piano in the “Clamor Digital Collection ternacional de Dos Hermanas (Sevilla) . instrument was the clarinet and he has had of Spanish Music” section of the informa- A second member of “Generación del a long history of first performing in, and tive website of The Fundación Juan March, 51” was Manuel Castillo (1930–2005) . then composing for and conducting sym- http://digital .march .es/clamor/en . It con- He was a famed pianist and composer who phonic bands . Enrique Pérez Piquer was tains information on 200 Spanish compos- first studied in Spain and then in Paris with the dedicatee and premiere performer for ers . The Sonate is in many ways similar to Nadia Boulanger . His 1991 “Orippo” rec- Ribes’ 2003 Concerto for Clarinet and Sym- the Poulenc Sonata and should be much itativo y Allegro for clarinet and orchestra phonic Band. You can find his performance more prominent in recitals . was the required work in the 1991 Con- with the Carcaixent Symphony Society on “Generación del 51” is a group of Spanish curso Internacional de Dos Hermanas . There YouTube . Pérez Ribes has also composed a composers born between 1924 and 1938 . is also a version for clarinet and piano . dozen chamber works with clarinet such as Many composers in this group were first Also a member of “Generación del 51” his 2005 Subliminal Images for two clari- influenced by serialism and then in their and educated in Spain and in Paris is Joan nets and piano which is available on the CD later careers embraced tonal writing . One Guinjoan’s (b . 1931) . His early career fo- Homenatge a Josep Taléns Sebastià with prominent member of “Generación del 51” cused on piano performance before branch- clarinetists Enrique Pérez Piquer and Josep was Carmelo Bernaola (1929–2002) . As ing out to presenting modernist contempo- Fuster . In 2010 Pérez Ribes composed the a boy he had a varied musical background rary music and concentrating on his own solo clarinet work Fantasía de Colores.

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March 2015 45 José Vicente Peñarrocha (1933–2007) Jesús Villa-Rojo (b . 1940) is another The next group of composers with prom- was born into a musical family and studied composer who had his musical beginnings inent clarinet works were born in the 1950s . clarinet with Menéndez . He was a member as a clarinet performer . Maturing during Jesús Rodríguez Picó (b . 1953) was trained of the Orchestra Nacional de España from the modernist-dominated decade of the as a clarinetist in Spain and France and from 1964 to 2004, and, like Romero, was a 1960s, Villa-Rojo has enjoyed an interna- 1976 also focused on composition . His clar- clarinet instructor at the Real Conservatorio tional career, with especially close ties to inet performing career, through 1990, in- Superior de Música, Madrid (1973–2003) Italy, and has participated in numerous cluded concerts and recordings of contem- training two generations of Spanish clari- major contemporary music festivals . His porary music . Rodríguez Picó has composed netists . You can hear his earnest and search- award list is lengthy (International Ros- two concertos for clarinet and orchestra, and ing 1963 Sonata for clarinet and piano in trum of Composers, International Society a Concertino for Clarinet and Strings (2006). the Clamor Digital Collection on the Fun- for Contemporary Music, etc .) and reflects Rodríguez Picó has been happy to relinquish dación Juan March website . not only his compositions but also his work performing his own works now that Josep Like several older members of “Gener- with new techniques for the clarinet which Fuster is doing so . Fuster can be heard play- ación del 51,” Amando Blanquer Ponsoda he described in his 1972 book The Clarinet ing Rodríguez Picó on the Columna Música (1935–2005) had studied with Messiaen . and Its Possibilities . His detailed website in- CD Concerts per a clarinet I Orquestra . Upon winning the Premio Roma of the Min- cludes sound examples from many of his The expressive and varied Concertino is also istry for Foreign affairs in 1962, he studied varied chamber works with clarinet, includ- found on YouTube . Rodríguez Picó’s nu- with Petrassi . Blanquer Ponsoda was a horn ing Recordando a Bartók (1986) for violin, merous chamber works with clarinet are player as a boy and throughout his career clarinet and piano and the 2009 Adornos available through Clivis Publications, on contributed to wind music for symphonic for flute, oboe, clarinet and bassoon . One linesheetmusic .com and Brotons & Mer- bands and chamber ensembles . Most nota- of Villa-Rojos’ long-term and most impor- cadal Edicions Musicals . Works of interest ble for clarinetists is his 10-minute Dédalo tant projects is directing, since 1975, LIM, are Caprici Boreal and Preludi i dansa, both (Daedalus) for clarinet and piano . This the Laboratory for Interpreting Music . He for clarinet alone, as well as his works for rhapsodic atonal work may bring to mind has directed performances of more than clarinet and piano: Sonata a Colombina, the clarinet cadenzas in Bartók’s The Mi- one thousand new works and has taught at C’était magnifique and Quatre Poemes . Benet Casablancas Domingo raculous Mandarin, especially in the version The Royal Conservatory of Music in Ma- (b . 1956), predominantly a serial composer, has been with orchestra . Hear and see Alberto Ferrer, drid and as a guest around the world . His recognized at the highest level by winning clarinet, perform the work on YouTube . works are each uniquely engaging . the 2013 Spanish National Music Prize from the Spanish Ministry of Culture . His body of works leading to this accolade are modernist, reinforced no doubt by his study in Vienna with Friedrich Cerha . In his 19-minute 2010 work commissioned by the Royal Liverpool Philharmonic for clarinetist Nicolas Cox, Dove of Peace: Homage to Pi- casso (Chamber Concert No.1 for clarinet and ensemble) the soloist plays clarinet and bass clarinet while traversing five sections evoca- tive of war leading to resolution . Casablan- cas Domingo’s other chamber works from 1975 to 2000 include Two Pieces for clari- net and piano and several works for clarinet with different combinations of flute, strings, piano and percussion . Enrique Sanz-Burguete (b . 1957) cur- rently teaches classes in contemporary mu- sic at the Conservatorio Superior de Música, Joaquín Rodrigo, Valencia, a school that he also attended . His works range in style from the atonal 2001 La puerta del beso for clari- net and piano, through the charming and joyous wind quintet Colmna sin fin (1996) to the lush, tonal and delicious 1986 Trio for clarinet, cello and piano . Another composer with numerous cham- ber works for clarinet is Emilio Calandín . Calandín (b . 1958) is from an artistic fam-

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www.jlsmithco.com www.valentinopads.com 800.659.6073 ily and studied composition and guitar . He at Portland State University . His compos- For me one of the delights of searching benefitted from his 1997–1998 year in resi- ing and conducting activities have contin- for recent Spanish clarinet works has been dency at the Academy of Spain in Rome by ued at the School of Music of reconnecting with a classmate of mine composing Il filo imbrogliato for woodwind (ESMUC) and as chief conductor of the from 30 years ago . Óscar Muñoz (b . 1960) quartet . Also from 1998 is his duo for flute Symphonic Orchestra of Balears Ciutat was a fellow M .F .A . student at SUNY- (with piccolo and alto flute) and clarinet de Palma . His 14-minute, 1988 Sonata for Buffalo where I studied clarinet with James (with E-flat and bass clarinet) called Tulkus. A clarinet and piano shares with the well- Pyne, and Óscar studied composition He has composed several works for solo clar- known Muczynski Time Pieces oodles of with Lejaren Hiller (co-composer of the inet, including Mirabilia II (1991); the brief energy and variety . The sheet music is easy first computer-generated musical work) split-personality work Tempo mosso, tempo to find on the Internet as are several com- and another giant of 20th-century music, fermato (2003) and Micropiezas (originally mercial and YouTube recordings . Brotons’ Morton Feldman . Óscar and I were united for saxophone, 2012–13) . Micropiezas uses 2011 work for solo clarinet, Clar I net was through a small new music ensemble led by the clarinet in an expressionistic style, near a compulsory work at the Clarinet Compe- the indefatigable pianist Yvar Mikhashoff . serialism, though bound to the earth by dis- tition of Dénia, Spain, which was won by Reflecting Muñoz’s diversity, including two tinct pitch centers . Microtones, glissandi, Gumersindo Berna . Slap tongue and flutter Ph .D .s, he writes that he has been “trying flutter tongue and repetitiously tongued tongue are used in the central section . to put together all the different areas of hu- notes are some of the elements used to con- César Cano (b . 1960) is a serialist com- man experience in an encompassing repre- vey the drama . Other notable works are his poser who finds connections between the sentation, in my Mythopoetics, a proposal 2012 Frammenti Quattro B for clarinet and visual arts, mathematics and literature with for the understanding of the symbolical string trio composed for clarinetist Joan En- music . He has had a diverse career as com- constructions of human identity ”. ric Lluna and the 1st-prize winning work for poser, teacher and performer in several cities His 2014 Feldmanesque Solo al Aire baritone, clarinet, violin, cello and piano De including for a time in London . His 2011, (Solo to the Air) for clarinet, bass clarinet amores y sueños. 21-minute, four-movement Clarinet Quin- and piano can be heard in my premiere Salvador Brotons (b . 1959) has en- tet for clarinet and strings was recorded by performance on YouTube . The title, ac- joyed a triple career as flutist, composer Joan Enric Lluna . Other works include Vi- cording to Muñoz, has a double meaning . and conductor . He earned a doctorate in vir en la luz (2005) for clarinet, piano and He wrote, “It plays with the idea of a mu- composition at Florida State University electro acoustics; a Wind Quintet from 2004 sical solo played for the air (and through the air of the clarinet) and the idea of being and then for 10 years was on the faculty and for solo clarinet the 1989 Sueño oscuro . alone with the air ”. Jesús Torres (b . 1965) has produced a large body of works that have gained wide- reaching fame at leading international venues of contemporary music . Composers such as Torres mark the full internationalization of Spanish music . There are no longer features, as in the case of Romero, Yuste or Menéndez that in any way identify his creative works as being Spanish . His 1997 Fantasia for clarinet and piano is in a virtuosic contem- porary style though no extended techniques are used . Handfuls of sweeping arpeggios, as in the second of Stravinsky’s Three Pieces, Excellence in are peppered throughout the work . Many of clarinet hand his chamber works include the clarinet . The clarinet is most conspicuous in the 2007 selection service Poética (I and II) for clarinet, violin, cello and piano, and in his 2009 Clarinet Quintet. In Poética I the clarinet uses varied fingerings for microtonal inflection . A large range of expression and emotions are conveyed in the piece . Poética II begins with delicate sounds from the quartet and then progresses to rip- www.rodriguezmusical.com 470-545-9803 pling oscillating passages brimming with the sensation of movement . Now offering clarinet overhauls. Contact us for more information. Ferrer Ferran (b . 1966) teaches at the Conservatorio Superior de Música de Valen- cia . In addition to being a composer he also has a background in piano and per-

48 The Clarinet cussion . His 2013 work, The Castle of Dr. Rocco Parisi and an ensemble of clarinets, for clarinet, viola and piano; and hekkan Bassclar – Concerto for bass clarinet and to Kradim (2010), for clarinet with either i (2008) for wind quintet . Other works piano, mixes a scattering of contemporary- violin or guitar, which includes modern featuring the clarinet are the 2005 solo sounding glissandi with tonal lyricism and sounds, including multiphonics and inter- clarinet piece Inscriptio and the work for descriptive tone-painting such that you can esting interactions between the two instru- clarinet and orchestra, Elogio del horizonte imagine the music being the soundtrack for ments . I had the pleasure of premiering his (2006/07) . Joan-Enric Lluna was the solo- a film à la Nino Rota . Ferran’s 1995 Sonate 2014 Sonata para Clarinete y Piano that ist in the premiere of Elogio del horizonte . for Clarinete y Piano is a charming three- contains two movements, the first “De- A third work important to clarinetists, and movement, tonal work, with whole-tone bussyana” recalls the Première Rhapsodie, of which Sánchez-Verdú is very fond, is inflections in the first movement, a lovely and the second “Poulenquiana” charms the Schattentheater (2002) (Shadow theater) for song-like slow movement and sprightly listener . Other works by Cuevas include clarinet and piano . Sánchez-Verdú wrote finale . Ferran’s website contains a record- Five Pieces for clarinet, vibraphone and me that it is like Japanese shadow theater ing of the Sonate performed by clarinetist piano, as well as a brief woodwind quintet . and is played very quietly with the piano Alberto Ferrer and music ordering infor- If your composing calendar is booked closed and with air in the clarinet sound . mation . Short music download samples through 2016 with the premiere of a large Sánchez-Verdú’s works are published by include his 1996 Variaciones Sobre un Tema orchestral work for conductor Michael Breitkopf & Härtel . de Blanquer for two clarinets (or soprano Sanderling and the Dresden Philharmonic Ramón Lazkano (b . 1968) has also ) and piano . From the sound of Orchestra you are in the big leagues . Such gained international prominence . He stud- Ferran’s music, he would be great company is the case with José M. Sánchez-Verdú ied music in San Sebastian, Paris and Mon- at a party on a happy occasion . (b . 1968) . He studied composition, con- treal earning a First Prize and Ph .D . equiva- Diego David Cuevas (b . 1966) began ducting and musicology in Madrid and lent at the Conservatoire National Supérieur th his musical life while still a young boy play- Frankfurt with additional composition de Musique, Paris in 20 -Century Music ing the clarinet under his father’s direction study guided by Franco Donatoni . Sán- and Musicology . Reflecting his Basque ori- in the Municipal Band of Villarrobledo . chez-Verdú’s chamber works with clarinet gin, his 2006 work for clarinet and orches- He went on to study both clarinet and are numerous and include Ofrenda lírica tra Ortzi Isilak (Silent Skies) was premiered composition . His works are in a wide range (1991) for voice, clarinet, cello and piano; by Enrique Pérez Piquer with the National Orchestra of Spain . Swiss clarinetist Er- of styles from the funky, quasi-minimalist Im Rauschen des Augenblicks (1997) for nesto Molinari has recorded this special Homenaxe written for bass clarinet soloist flute, clarinet and piano; Qasid 3 (2000/01) 14-minute work on a KAIROS CD record- ing . The harmonic setting is informed by Lazkano’s work with computers at IRCAM . This stylistically diverse piece includes a section with brushes on a drum bringing to mind cool West Coast jazz . Seagull-like cries and slap tongue mark the end . aliornia larinet linic Gustavo Díaz-Jerez (b . 1970), com- Eplore te connection beteenC perorance success and your ind body in C C poser and pianist, has created several beau- beautiul os Aneles! tiful pieces working in close collaboration

Shawn Copeland with clarinetist Cristo Barrios . These works Gary Gray combine a spectralist emphasis on timbre Burt Hara Julia Heinen with mathematical processes that are usually C William Powell the domain of electro-acoustic composers . Alcides Rodriguez Heather Rodriguez Díaz-Jerez translates to acoustic instruments Stephan Vermeersch the sound worlds he conjures with the aid Peter Wright of a computer . His works all possess organic solidity and move forward in a slowly un- unday, une - aturday, une , folding logic . Look on the sites of his pub- uition - . lishers, Fractal Music Press (www .fractalmu- e re eo C or reoe re f er e sicpress .net) and Periferia (www .tuttomusik . eer ee eo o e for re eo o o com), his website www .gustavodiazjerez . er for erfor o e com and YouTube for scores, recordings and pecial clinic on instrument repair with evi racy videos of his works Three Pieces for clari- net in B-flat and piano; Exedrae for violin, pecial clinic on mouthpiece making trial with ames anter clarinet and piano; and the new 25-minute concerto for clarinet and orchestra, Ayssura- caliorniaclarinetclinic.co Applications due April gan . Díaz-Jerez is currently a researcher at heck out our website for more information C the Universidad de Málaga in the Melomics project which was cited by Discover Maga-

50 The Clarinet zine in 2012 for its Iamus music composing postela and immigrated to the computer as one of the top 100 scientific in 1996 attending the Peabody Conserva- contributions of the year . tory and the University of Maryland . Works Adolfo Villalonga (b . 1970) is a profes- by Dr . Vázquez with clarinet include: Trio sor of composition at Conservatorio profe- for Violin, Clarinet and Piano (2012); Bal- sional de Eivissa on the Balearic Island of kanika for flute, oboe, clarinet, violin, cello . He writes in a variety of genres in- and piano (2011); Yortog for clarinet and cluding film music and is active as a band piano (2008) and the 1994 Trio for Clarinet, ® and orchestra conductor . Contact him Cello and Piano. through his website for two attractive inter- Andrés Valero- (b . 1973) has mediate-level works . Variaciones emociona- since 2004 been a professor of composition les (2001), a 6’ 30” work for solo clarinet, at J . Rodrigo Conservatoire of Valencia . His begins “Andante con sentimento” with a major work with clarinet is the 2012 Con- simple register melody and clear certo Valencià with evocatively titled move- phrase structure . Through the subsequent ments “Cant Mediterrani,” “Somni d’estiu” variations the melody and its structure are (Summer Dream) and “Cròniques de la Po- stretched bit by bit, but never to the break- bla” (Chronicles of Puebla) and is available ing point . In the final variation, before the in versions with concert band, orchestra or once again simple conclusion, Villalonga piano . José Franch-Ballester was the soloist writes with a sprinkling of quarter tones, in the premiere . The middle movement is vibrato, glissandi and “minimo suono possi- delicately scored with prominent solos from ble ”. Equally attractive, but in a totally dif- the accompanying ensemble and contains ferent vein, is his brief 63-measure klezmer much colorful percussion . It is a sonic treat . style piece in the Freygish mode, Clarinet- So too is Valero-Castells’ Romance which is zagorbianyán for clarinet and piano . The al- available in versions for clarinet (and several ternating sections of melodic and rhythmic other instruments) with piano or string ac- focus, and the standard klezmer practice of companiment . Recently this has been one of variation suggest to me that the form of the my favorite works to perform because of its piece could be expanded by the performers . sentimental nature . For a composer so rela- If like Gustav Mahler you want your mu- tively young, Valero-Castells has composed sic to embrace the multiplicity of the world, a large number of works and has effectively look no further for a contemporary vision arranged for their publication . Also see his than in Octavio Vázquez’s Sonata for Clari- four-movement 2009 Quartet Nr. 2 for net and Piano. Written in 2009 for clarinet- Clarinets (two B-flats, alto or basset horn, ist Enrique Perez Piquer, this 24-minute, bass clarinet) . three-movement work makes frequent style Swinging away from the vernacular changes, and as the website of his publisher, works of Vázquez and Valero-Castells we Conwell Publishing Groups, states “…it in- come to the modernist works of our first terweaves diverse popular, classical and folk- composer born in the 1980s, Fernando loric elements into a unique musical fabric ”. Buide (b . 1980) . He earned his doctorate His works are in great demand by festivals at the Yale School of Music (2013) and and performers including the Verdehr Trio . also studied at Carnegie Mellon Univer- Vázquez (b . 1972) is from Santiago de Com- sity . His works have been performed by the

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Made In USA

March 2015 51 Pittsburgh Symphony Orchestra, the Min- children’s chorus and orchestra completed tra) . Navarro’s II (Second) Concerto from nesota Orchestra, the Royal Philharmonic immediately before Cantiga, is to him of 2012 was written for soloist José Franch- Orchestra of Galicia and at numerous mu- much the same world . It can be found on Ballester and has versions with orches- sic festivals . He was recently the composer YouTube . The most recent work for clari- tra or symphonic band accompaniment in residence at the Royal Academy of Spain netists by Buide is Two Fragments for Bass and additionally in reduction with piano . in Rome and is currently a professor of Clarinet, Cello and Piano premiered at Co- Franklin Cohen chose the II Concerto for composition and music theory at the Con- lumbia and Rutgers Universities in April a performance with the Cleveland Orches- servatorio Superior de Música da Coruña . 2014 by clarinetist Mingzhe Wang . Predat- tra in July 2013 . Look for several versions Confirmation of his rapid ascendency is ing Two Fragments is the larger chamber on YouTube . Other works include Jumper his award of the composition prize by the work Aparición (2009) for violin, cello, Clarinet for clarinet solo and symphonic Spanish Association of Symphony Or- clarinet, piano and percussion premiered band, the 1999 Continental Quartet for chestras and the BBVA Foundation for his by ensemble s21 (Ensemble 21st Century) . clarinets and Creation for clarinet, violin, work Fragmentos del Satiricón . It is being Óscar Navarro (b . 1981) was an as- cello and piano . Eduardo performed by numerous Spanish orchestras piring clarinetist participating in groups The final composer we visit is Soutullo (b . 1981) . Much of his music during the 2014–15 and 2015–16 seasons . such as the Spanish Youth Orchestra be- reflects one of the leading strains of mod- Buide’s work that caught my attention is fore whole-heartedly immersing himself in ernist music, spectralism, where there is a his Cantiga (2012) for clarinet and piano, composition . He attended the Thornton frequency-based conception of timbre and composed for clarinetist Juan Ferrer . Be- School of Music at U .S .C . and developed harmony . Pieces composed in this style ginning unísono, in rocking groups of twos a mature composition style blending the sound extremely resonant and connect to and threes, the music increases in urgency expressive and technical ideas of classical listeners in a primal way, an ur-music . Look through tempo modulations, increasing and film music . His two clarinet concertos on YouTube for an excerpt from Soutullo’s subdivision, added harmonic complexity are everything that the best film music is: Clarinet Concerto “The Other Face of the and disjunct melodic contour . The middle mood-setting, entertaining and memora- Wind” performed by clarinetist Jose Luis section reminds me of sections in Stravin- ble . They combine his expert handling of Estellés . Due to the grant system in Spain, sky’s “Variation of the Firebird ”. After Can- orchestration in general with the insider’s Soutullo writes mostly for orchestra . How- tiga’s most fevered section, the calm mood knowledge of the clarinet . Eddy Vanoost- ever, he has composed a chamber work of the beginning is recalled . Buide wrote huyse premiered his 2006 Concerto for with clarinet, his 2011 Duet for clarinet to me that his work Lingua de Escuma, for Clarinet and Symphonic Band (or orches- and piano . Also in the realm of chamber music, the aforementioned ensemble s21 premiered Soutullo’s work, in memoriam Toru Takemitsu, called From East to West. The Agell Quartet, at the Vigo Conserva- toire of Music, will premiere a new work for two B-flat and two bass clarinets in spring 2015 . I look forward to that new piece and will again contact Eduardo when it is done . Why don’t you do the same?

About the Writer… Gregory Barrett is professor of clarinet at Northern Illinois University, Editor of Reviews for The Clarinet, a member of the Ars Viva Symphony Orchestra and a Buffet Group U .S .A . Artist . The Clarinet PUBLICATION SCHEDULE The magazine is usually mailed dur- ing the last week of February, May, August and November. Delivery time within North America is nor- mally 10–14 days, while airmail de- livery time outside of North America is 7–10 days.

52 The Clarinet Klezmer Dances for Clarinet, Strings, Percussion and Tuba by Eugene Kavadlo

s I approached my 40th season as between the first and second notes, and the Nigun, Kolomeyke and Bulgar . Addition- principal clarinetist with the Char- fifth and sixth notes) . What if I could have ally, I felt it would be nice to begin the suite lotte Symphony, North Carolina, it several of the Kogan pieces arranged for with an unaccompanied clarinet Doina, a Aoccurred to me that I should do something clarinet with orchestra, and perform them rhapsodic fantasy with an improvisational special to mark what many would consider during my 40th season? That would give me character, but this Doina would have the- a milestone year . I suppose I could streak a chance to make a klezmer splash with the matic hints of the Freylekh to follow . The across the stage during a concert, but that’s orchestra and our audience, as well as add first, second and third movements of the already been done by players more promi- an exciting showpiece to the klezmer clari- suite would likewise be connected with a nent than myself; and, besides, at my age, net with orchestra genre . I had to convince clarinet Doina, and the connection between who’d be interested? For many years, I’ve my conductor, Christopher Warren Green, the third and fourth movement would be a had an avid interest in klezmer music . Per- that this project was worth pursuing . double cadenza between the clarinet and haps there would be a way to celebrate the Fortunately, he was on board with solo violin . I wrote the doinas and double occasion by combining my love for playing showcasing me during my 40th season . cadenza, but I definitely encourage impro- in the orchestra with my love for klezmer? The klezmer idea appealed to him as well, visation . The title of the piece is based on Whenever I attend the annual Clari- especially since it was something different, the instrumentation: Klezmer Dances for netFest®, I enjoy rummaging through the and it would attract an audience that he Clarinet, Strings, Percussion, and Tuba with music bins in search of new klezmer mu- wanted to make a connection with – Char- a performance time of about 15 minutes . sic . On one such occasion, I discovered a lotte’s Jewish community . The project was We will perform a chamber version of collection called Hassidic Tunes for Clarinet green-lighted; I contacted Alan Kaufman, the work, with nine musicians, on March and Piano,by Lev Kogan, a composer born a talented Charlotte musician who knows 8th . The orchestral version will be per- in the USSR . the klezmer style and could do a good job formed in Charlotte on April 17 and 18, He studied with Aram Khachaturian and with the orchestration . 2015, and I hope it will become a piece emigrated to Israel in 1973 where he became I selected five of the Kogan pieces that I that other clarinetists will enjoy playing one of Israel’s prominent composers . The felt would work nicely to form a suite . Ko- with orchestra . TheKlezmer Dances will be music looked interesting, so I purchased the gan had not named the individual pieces, so part of a program entitled “A Night in New collection . As I read through the 10 tunes, I I gave them names based on the dance style York,” which will include Rhapsody in Blue . felt that they had an authentic klezmer qual- that each represents: Freylekh, Khosid’l, All in all, a good night for clarinet . ity to them – some of them freylekhs (joyous dance melodies), some nigunim (wordless melodies) . All were very engaging . I won- dered, in fact, if they were authentic Has- sidic melodies arranged by the composer, or if Lev Kogan had composed the melodies himself . I wrote to him and asked him that very question . He was kind enough to write back and assured me that he had composed all the music in the collection . That made it all the more interesting . I made arrangements of a few of the pieces for my quartet, VIVA KLEZMER! (www . vivaklezmer .com), and they have always been a big hit with audiences . I had considered doing a klezmer piece with the orchestra during my 40th season, but, although there are a few pieces in that genre, I didn’t feel that there was anything out there that has a truly “freygish” feel (the mode common to much klezmer music . Think of a D major scale with a half step Eugene Kavadlo

March 2015 53 The Romero-System Clarinet Historical Notes and Other Inquiries By Pedro Rubio

he stages experienced by Antonio Romero himself tells us when and why it to the conservatory that we just mentioned Romero y Andía (1815–1886) dur- changed the Boehm-System . he tells about it as such: “When I went to Paris in 1851, clarinets were made for me ing his years of musical training When I had the honor of being Tare a reflection of the rapid changes in the with two new keys that facilitated the ful- appointed by Her Majesty in the year th fillment of some passages ”. Although we clarinet during the first decades of the 19 1849 under public competition, as century . The wind instrument makers, en- are not sure what these improvements con- clarinet professor of this Royal Con- sisted of, we do know that the maker who couraged by the needs of the new Romantic servatory and knowing that some ten music, were seeking solutions in response was consulted was Auguste Buffet . From his years earlier in France they had begun to the changes demanded by society that visit Romero gives us some information in using a new clarinet system, called the emerged with the turn of the century . Thus, an article published a few years later . , I purchased one at the the most important workshops in Europe In 1851, when I went to Paris the time, and since their study shows me competed by creating models and improve- first time with the purpose of upgrad- that it had some advantages over the ments that satisfied this dynamic market . ing the clarinet, this Mr. Buffet made thirteen keys, I adopted it for my use These are the years in which France (and use of me with the plateau of the third and for that of my students who wished Paris in particular) would become the world modification [similar to the half hole to take advantage of them.1 leader in the manufacture of wind instru- key that the bass clarinets have]; but after some testing I left it undone.2 ments with makers of the highest order like The First Modifications and Simiot, Baumann, Lefêvre, Sax, Noblet, In this interesting article Romero also Gentellet, Guerre, Triébert, the Buffets, the Trips to Paris tells us that Buffet made various custom- Martins, the Thibouvilles and many others . made modifications, including improving Auguste Buffet the tuning and sound of the throat B-flat by The Clarinets of Romero Shortly after acquiring his clarinet, Romero placing an additional opening on the throat Like many clarinetists of his generation, wanted to improve it and planned a trip to A key . This change is particularly important because it was one of the improvements Romero was adopting new clarinet mod- Paris to make his modifications effective . on which the Romero-System was based . els that seemed to be progressing in their He made the trip in 1851, and in the report Back in Madrid, Romero continued profession . He started in 1826 with a his research . In 1853 the innovations five-key clarinet . Shortly after receiv- were so important that the idea began ing a six-key model, and along with to take the shape of giving his name it, he secured his first job succeeding to the changes that he applied to the in the formation of a solid reputation Boehm-System . These improvements as a virtuoso clarinetist . In 1833 he he conveyed to the maker Auguste Buf- adopted the 13-key model developed fet, owner of the Boehm patent applied a few years earlier by Iwan Müller . to the clarinet . According to Romero, With his 13-key clarinet he would Buffet enthusiastically welcomed these manage to make a name for himself changes and offered to produce a pro- with major musical posts in Madrid . totype for him, but, after some testing, In March 1844 he entered as a Royal these promises were not fulfilled . It is Chapel clarinetist, and in June of that possible that Buffet considered the sug- year he obtained a clarinetist seat in gested modifications out of the market the Alabarderos Royal Band . With the and impractical . Also considering that prestige earned as first clarinet in the at that time the Boehm-System con- orchestras of the capital and now as ceived by Klosé was in the process of author during those years of the highly being improved, Buffet simply was not esteemed Método completo para clari- disposed to the idea that his clarinet nete (1845-46), in April 1849 he was needed to be fixed . appointed as clarinet professor at the Madrid Conservatory . It is then when Triébert he acquired a clarinet with movable After Buffet’s refusal, Romero took a rings (Boehm) and finally abandoned break from his research . During those the 13-key clarinet . In a report sub- years of expectation, Romero opened mitted to the Conservatory in 1864, Romero portrait c.1886. Clarinet Method, 3rd Ed. his musical instrument shop (1854)

54 The Clarinet and established his music publishing house instrument for teaching the clarinet in the introduced him to the advantages of the (1856) . Four years after the first trip to Paris, Madrid institution . It concerned an exten- clarinet from the same system developed in 1857, Romero was able to return to his sive and detailed report where all of the fea- by Buffet/Klosé . “When I obtained the invention . He traveled back to the French tures of the new instrument and its advan- position of Clarinet Professor at the Royal capital in order to find a manufacturer who tages were detailed compared to the 13-key Music Conservatory in 1849 [ . . ], I perma- could make his ideas a reality . This time the clarinet and the Boehm-System clarinet . Af- nently adopted this system [Boehm] since I choice was Triébert, who accepts the proj- ter the appropriate formalities, the director had adopted it prior to the oboe ”. 5 Romero ect . However, the years passed and Romero asked the authorities that the instrument be became a renowned oboist and English had to move to France due to the lack of adopted as the official instrument for teach- horn musician and oboe professor at the results . Upon his arrival, he noticed little ing the clarinet at the center . As a result a Madrid Conservatory for some years . As progress from the manufacturer . “In 1857 I Royal Decree was announced on February we will see later, the fact that Romero was shared my project with Mr . Triébert, skilled 23, 1865, through which the Romero-Sys- an oboist would be of great importance to mechanic from the same capital [Paris], and tem clarinet was officially adopted . explain one of the objectives of his clarinet . he did not convey anything satisfactory to 3 me within the next five years ”. The Parisian The Universal Exhibition System Objectives maker was not able to shape his ideas, and after many efforts Romero returned for a of 1867 The technical aspects of the Romero-Sys- second time to Spain without seeing his cre- Encouraged by the favorable impressions tem can be found in other articles in this ation materialized . his invention made and feeling supported issue, so we will not dwell on them in de- by the authorities and the Madrid Conser- tail . It suffices to mention two of its main Lefêvre-Bié vatory, Antonio Romero decided to present objectives . 1: correct tuning and sound In 1862 Antonio Romero was appointed to his clarinet at the Paris Universal Exhibition problems of the throat notes, and 2: solve the Spanish committee responsible for as- in 1867 . The experience of having attended the technical problems that arise when sessing the London Universal Exhibition for the one in London in 1862 and the fact playing these notes . To improve the tuning that year . He embarked on the trip deter- that this time it is in Paris, the city to which and the sound emission, the tube is pierced mined to find a maker for his clarinet pass- he had traveled numerous times, no doubt in the acoustically correct site and, instead ing through Paris on the way to the Brit- influenced his determination to participate . of being controlled by the fingers of the ish capital . There he contacted the Paul Bié As in London, Romero was appointed a left hand, the three notes are handled with workshop, successor of the famous maker member of the commission responsible for the right-hand rings driven by the index, Lefêvre and by then owner of the brand . assessing the novelties presented at the ex- middle and ring fingers . The fact that the hibition . The Romero-System clarinet was throat notes are controlled with the right Eager to see my project accom- finally awarded the Silver Medal . His stay hand brings us to the solution of the sec- plished, and being increasingly per- in Paris encouraged Romero to visit the Bié ond objective: to avoid sudden movements suaded of his goodness, I marched back workshop and make some improvements to of the left hand when playing the keys of to Paris in 1862 and entrusted it to his clarinet . These improvements would be the three notes mentioned . As Romero Mr. Paul Bié [ . . ] who was commis- reflected in the second patent that was reg- himself tells us in the third edition of his sioned to implement whatever I stated istered that same year . to my satisfaction, as long as I pay for clarinet method, 4 all of the expenses that are incurred. Romero and the Oboe The advantages of the Romero Sys- Romero went daily to the workshop for tem Clarinet are as follows: [ . . ] 3rd. In the early 1840s Romero found himself Give equal force and timbre to all of three consecutive months . Upon the return performing in Spain with a traveling opera from London two prototypes of the new the sounds for the general length of the company . It is possible that, due to a short- clarinet, facilitating the sound - clarinet were waiting for him . After some age of oboists and the problems that these adjustments the Romero-System clarinet is sion, and avoid violent movements of companies had finding good musicians for the fingers.6 a reality and was registered in the Paris pat- that instrument, Romero started on the ent office . Over the next two years Romero oboe as self-taught . In 1844 Pedro Soler, Due to its acoustic characteristics, the worked on streamlining his instrument, the most prominent Spanish oboist of the clarinet is the only wind instrument that, but from Madrid he could not ensure that 19th century and by then the principal oboe after raising all of the fingers to play the first the modifications would be implemented for the Paris Italian Theatre Orchestra, ar- register, it is necessary to continue open- as he wished . His presence was essential in rived in Madrid . Soler was also the oboist ing keys to reach the second register . This Paris, so in 1864 he traveled to the French with whom Auguste Buffet had developed causes the fingers of the left hand to leave capital again . After 17 days of persevering the Boehm-System oboe, whose patent their position in search of more keys . All work, Romero was satisfied and retured to had been registered in Paris that same year clarinetists have invested countless hours to Madrid with his perfected invention . along with that of the clarinet . Romero at be able to play those notes respectably . For the time was an oboist in the Orquesta del someone like Romero who played the oboe The Madrid Conservatory Teatro del Circo in Madrid and went to meet professionally and who knew the technical In October 1864, Romero presented a re- him and to ask for his advice . Romero was principles of the other woodwind instru- port to the Madrid Conservatory request- convinced of the need to adopt the Boehm- ments, this “disadvantage” was something ing that his clarinet be adopted as an official System oboe, and it is likely that Soler also that had to be remedied .

March 2015 55 The Patents and developed a mechanism to activate Second Patent, 1867 them . Romero gave us the option to retain On June 3, 1867, Romero and Bié pat- First Patent, 1862 the traditional fingering or handle them ented the Romero-System clarinet again 8. with the right-hand rings . Following the On October 2, 1862, the Romero-System In this patent the advantages of placing ideas of full venting from T . Boehm, these the throat notes in the acoustically correct clarinet was registered in the Paris patent keys are open so the open fingering is the office . The innovations are applied to both place are emphasized activating them with B-flat rather than G . It also describes the the index, middle and ring fingers of the the 13-key clarinet as well as that with possibility to make a closed-keys model movable rings (Boehm) 7. As we have dis- right hand . Now it is clearly distinguished with G as an open fingering . Curiously, in between two models: the Romero-System cussed previously, among other interesting the drawing we can see reproduced in de- with open keys (open fingering B-flat) and improvements (as one of the first descrip- tail the metal mouthpiece that Triébert pat- the Romero-System with closed keys (open tions of the articulated G-sharp mecha- ented in 1847 (Bec-pompe avec table mobile fingering G) . In the picture we can see the nism), the most important modification et presse-anches), no doubt a connection be- two models (closed keys on the left, open described was that of placing the throat tween Romero and the maker with whom keys on the right) viewed from the front, notes in their acoustically correct location he had worked previously . side and back . Preserved Examples Currently, only 10 Romero-System clari- nets have been found in museums and private collections worldwide 9 . The country that has the most in its collections is the United Kingdom (photo: M. Favareille) with four, followed by the U . S . with two and Belgium, France, Italy and Spain with one each . It has not been possible to inspect them all personally, but judg- ing by the pictures and the direct study of four of them, nine belong to the open-keys type and only one to the closed- keys type . Romero’s Ideas in Patents and Later Systems As seen in the visit that Romero made to Au- guste Buffet in 1851, the clarinet makers al- ready tried at least since the mid-19th century to improve the tuning and sound emission of the throat notes (specially the throat B-flat) . The research that the makers

Romero-System clarinet, closed-keys model, 1867. © Musée des arts et métiers-Cnam, Romero-System patent 1862. Paris

56 The Clarinet pursued from those years to almost the pres- sario Mazzeo innovations 10. The proposals T . Boehm had applied to the flute 11. In ent day can be grouped into two main cat- of the second group begin with Romero’s the 1880s it was Rudall, Carte & Co . in egories . The first category aims to improve patents and extend to the ’60s of the 20th London who would do it and in 1897 P . the tuning and sound emission of these century . Many of them did not continue J . Devault in the United States . In the 20th notes maintaining the traditional fingering . after being drawn in a patent, but some century the examples are relatively numer- The second addresses the problem from a came to be manufactured and marketed . ous, but we will name three of them: G . radically different perspective by placing At the Universal Exhibition of 1867 two H . Child in 1924, L . Leblanc in 1960 and the throat notes on the tube according to clarinet systems presented shared in some T . F . McIntyre in 1962 . Of the three, the the laws of acoustics, bypassing traditional way the Romero ideas . The Belgian manu- only one that came to be marketed was that keys for A and G-sharp and then design- facturer Mahillon exhibited a clarinet with from McIntyre made in France by Thibou- ing mechanisms to operate them . From the some innovations very similar to Romero’s ville Fréres . This system shared point by first group the mechanisms are numerous, model but applied to the 13-key clarinet, point the objectives of the Romero System, and among them we could name, for ex- and Thomas Mollenhauer from Germany although in this case the throat notes were ample, the Smith-Kolbe System, the Stub- presented a clarinet system with very much activated with the rings for the right hand bins S-K mechanism and several of the Ro- in common with the modifications that instead of those for the left . Why was Romero not successful? As we have seen previ- ously, Romero decided to present his instru- ment as perfectly as possible constructed in a rational manner, ac- cording to the laws of acoustics and without engaging in the con- formity of the instru- mentalists . However, they are and were a key link in the music world chain . The new model offered significant im- provements, but at the expense of a change in fingering 12. Besides, the need for a complex and delicate mechanism which, in addition to being potentially diffi- cult to maintain, signifi- cantly raised the price of 13

the instrument . De- of South Dakota) University Museum, Music courtesy of National Sr., Willroth, Bill by (Photo spite this, we should not banish Romero’s perse- verance, as his attitude was a reflection of the time, a period of pur- suit inciting changes, research and invention . In addition, firmly con- vinced of the benefits of his system, Romero knew perfectly well that something similar

Romero-System clarinet, open-keys model, Romero-System patent 1867. c.1868.

March 2015 57 Romero-System fingering chart. RomeroClarinet Method, 3rd ed., 1886. had occurred previously in the flute with Romero clarinet method, but they were purchased upon special request . This means Boehm’s innovations, and a few years before counting on the Spanish clarinestists who that it was not a model that makers had in with the Buffet/Klosé movable rings clari- had changed to the Boehm System . stock, which could explain the scarcity of net . Years later he would complain bitterly Neither my good wishes, nor the preserved instruments . However, thanks of the conformism for most clarinetists . public example that I gave [ . . ] were to Romero’s words and the activity of the In spite of many triumphs obtained sufficient to ensure that the Boehm maker Thibouville-Creutzer, the last maker fairly, and the benefits that no one has System Clarinet became widespread known so far who had that system offered denied my system, in Spain there are in Spain, which was only adopted by in his trade catalog, we know that the clari- very few teachers who have adopted four of the many students whom I had net was in the market from 1864 to at least it, occurring now what happened be- under my direction while I was a pro- 1911 . As a result, we can expect that more fore with the Boehm system, that some fessor at the Conservatory.15 Romero-System clarinets may appear in the future in museums and private collections . use as an excuse that its price is very With the fingering changes and the high and others who do not have time price of the instrument it must be added to make the brief studies that those that, despite the initial enthusiasm of the Acknowledgments served by the 13-key clarinet require, Spanish authorities, the support of the To Elena Magallanes, Eva Jiménez and all being the truth that what is lacking the Romero-System clarinet did not go beyond the staff of the Library of the Royal Conser- most is the solid willpower that gives recommending its use in the Conservatory vatory of Madrid for their help and advice the love of the Art; since the cost of the and in the Spanish army music bands . On in finding documents and references . To Al- new clarinet is much lower than that of the contrary, Klosé obtained from the au- bert R . Rice, François Camboulive, Ignace the three that are needed by the former De Keyser, Deborah C . Reeves, Arnold 14 thorities in France that his movable rings to play in an orchestra. clarinet was declared mandatory at the Myers, Marck Charette, Respadiza family, In fact, not only was the Romero clari- Conservatory and in the military . More- Paris Musée des Arts et Métiers, NMM Uni- net a rarity in Spain in 1886, the year of over, the Romero-System clarinet almost versity of South Dakota, MIM Brussels and the publication of the third edition of the certainly was an instrument which was the University of Edinburgh .

58 The Clarinet Endnotes 1 Biblioteca del Real Conservatorio Superior de Música de Madrid . Archivo General . Actas claus- tro . Libro 174 (1830-1868) . 2 Romero, Antonio . “Clarinete Sistema Romero” in Revista y Gaceta Musical, Año II, Núm . 15, Ma- drid, April-13-1868, p .66 . 3 Romero, Antonio . Método completo de clarinete . 3rd Edition, Madrid, Ed . A . Romero, 1886, p . 7 . 4 Ibíd . p . 7 . 5 Ibíd . p . 5 . 6 Ibíd . p . 9 . 7 Patent n . 55768 . 8 Patent n . 76636 . 9 Thank to François Camboulive and especially to Albet R . Rice for their invaluable help in locating the preserved examples . 10 See: Deborah C . Reeves . “A Prescription for the Clarinet’s Sore Throat: Throat Bb Mechanisms as Illustrated Using Clarinets from The Sir Nicholas Shackleton Collection”, Proceedings of The Clari- net and Woodwind Colloquium 2007, A . Myers editor, Edinburgh University Collection of His- toric Musical Instruments, Edinburgh, 2012, pp . 159–172 . 11 Edwards, Bruce . “The Thomas Mollenhauer Sys- tem Clarinet,” in The Clari- net, USA, Vol . 27/1, Dec . 1999, pp . 46–51 . Accord- ing to Oskar Kroll, the Mol- lenhauer clarinet received a

special acknowledgement Collection) Rubio (P. from the Spanish govern- ment at the suggestion of Antonio Romero . 12 The clarinet maker Jochen Seggelke and I were in Edinburgh analyzing the Romero clarinets preserved at the University . The first impression was that the Romero-System was de- signed in a very logical manner, and becoming fa- miliar with the new finger- ings would need its time, but it would not be a big problem . After trying them, Thibouville-Creutzer trade catalog, 1903, p. 9. we found that the throat B- flat completely lacked that Note Rice, Albert R . The Clarinet in the Classical Period . throat sound, and so did New York, Oxford University Press, 2003 . the A, A-flat, G, F-sharp and F inside of the staff . All The image of Antonio Romero on the cover Romero, Antonio . Método completo de clarinete . 3rd had the same color and they of the magazine belongs to the copy of the Edition, Madrid, Ed . A . Romero, 1886 . were very stable in response, second edition (signature 1/190) preserved Veintimilla, Alberto . El clarinetista Antonio Romero y sound and intonation . Andía . Thesis . Universidad de Oviedo, 2002 . in the Library of the Royal Conservatory of 13 In the 1903 trade catalog Music in Madrid . of the maker Thibouville- About the Writer… Creutzer, the simplest Bibliography Boehm system has the price Pedro Rubio is professor at the Real Con- of 200 francs, while the Birsak, Kurt . The Clarinet, A Cultural History .Bu- Romero System is marked chloe, Druck und Verlag Obermayer, 1994 . servatorio Superior de Musica of Madrid . at 450 francs . Hoeprich, Eric . The Clarinet . London, Yale University In 2007 he founded the publishing house 14 Romero, Método, 3rd Edi- Press, 2008 . Bassus Ediciones whose principal objective tion, p . 10 . Kroll, Oskar . Die Klarinette, 6th Edition, Kassel, is the restoration and retrieval of the Span- 15 Ibid . p . 5 . Bärenreiter, 2001 . Rendall, Geoffrey F . The Clarinet . 3rd Edition, Lon- ish clarinet repertoire of the 19th century don, Ernest Benn Ltd ., 1971 . and beginning of the 20th . McIntyre clarinet, c.1960.

March 2015 59 An Interview with José Antonio Tomás Pérez by Carlos J. Casadó

he next ClarinetFest® 2015 will be ally looking forward to the extra time at cil and the quotas of its members . Since held in Madrid, so I think it is a my disposal . For example, I want to go chilhood I had the opportunity to hear good opportunity for our readers to an art academy to refine my fondness live music, and very soon I entered the Tto learn more about clarinet players in this for drawing; I also have a penchant for wind band academy . At the age of 7 I city along with its history . In this conversa- trains, because I receive monthly infor- had my first clarinet, with my brother tion with José Antonio Tomás Pérez, prin- mation about them, and I would like (b . Valencia, 1936), also a clarinetist, cipal clarinet of the National Orchestra of to build a large model at home, and, of and the wind band’s conductor, being Spain (ONE) for 30 years and Spain Chair- course, take walks with my dog Shira . my first teachers . At the age of 10 I gave person for I .C .A . (1981–2006), we will get my first recital, after which I was pre- to know an honest and impeccable profes- CC: Back to your chilhood and youth, it sented with a diploma that I still keep . sional personality . would be interesting to know what key And, yes, I remember the first time I circumstances led you to opt for playing heard an orchestra; it was a rehearsal of CC: You have been principal clarinet in the in an orchestra. For example, do you the Valencia Municipal Orchestra . ONE (Orquesta Nacional de España) remember the first time you heard a for 30 years.1 Given this, one wonders if symphony orchestra live? CC: What did you think of the sound of you are now tired of conductors, rehearsals, JA: I was born in 1945 in a town in the an orchestra in an environment where concerts, etc. Do you want to retire? province of Valencia called Casinos, the most immediate sound was that of a JA: Well, until about a year ago I had not with about 2,800 inhabitants . This vil- wind band? thought about the subject . Now that I lage, like most of them in Valencia, has JA: I liked the sound of the orchestra, al- see it is something inevitable, and hav- a musical society that is maintained though I felt it very strange, given that, ing pending future projects, I am actu- thanks to a grant from the city coun- it is true, I was accustomed to hearing

Carlos J. Casadó and José Antonio Tomás Pérez

60 The Clarinet the much more powerful sound of a wind band . At the age of 10 I gave my first recital,

CC: Did you think even for a moment that after which I was presented with a your employment would be performing in an orchestra? diploma that I still keep. JA: At that time I did not . Firstly, I had to train to be a clarinetist, and afterwards es, took advantage during this period to CC: In auditions, everything leaves you, I would see . But my thoughts always receive lessons and tips from that excel- except your preparation.” This maxim revolved around the world of the band . lent clarinetist . of Professor Yehuda Gilad (University The orchestra was something that was of Southern California) highlights the CC: In class, did he speak with you about far away for me – those serious gentle- importance of preparing precisely the his work in the orchestra? men dressed in black tails and bow ties . contents of such auditions in order to JA: He said nothing of his work . Classes Uf! . . It had nothing to do with me . Ha! have confidence in performing them. But were limited to technical training as a it also includes another reality – the fact CC: You were a student of the famous Spanish clarinetist exclusively, based on studies, that your self control can disappear and clarinetist Lucas Conejero, principal of works and especially exercises in sight be replaced by insecurity and negative the Valencia Symphony Orchestra and reading and transposition, because in thoughts. Proof of this fact is the number professor at the conservatory of that city. Spain at that time we did not have ac- of books and studies dedicated to help cess to an A clarinet! Around the year In Valencia and its surroundings in musicians involved in this dynamic. How 1973 my colleague in the orchestra, Vi- the 1960s there were fantastic bands, did you handle all this? cente Peñarrocha (Liria, 1933 – Madrid especially the Municipal Band of Valencia JA: I fully agree with Yehuda Gilad . In the 2007) and I, taking advantage of our (BMV). That emblematic ensemble had auditions that I have done, I have tried positions in the Quincena Musical Don- great clarinetists. Do you remember any to prepare to the utmost, and, although ostiarra, each bought an A clarinet (a of them? nerves may appear, I could control them Buffet full system!) in the famous shop, JA: There were and still are excellent bands thanks to good preparation . in Valencia . I myself was a member for Erviti’s House in San Sebastián . CC: What do you remember about your several years in the Banda Primitiva of CC: Pedagogically, the study of orchestral audition for the ONE? Liria, a town with two very important repertoire is, especially in American JA symphonic bands . It was in this envi- universities, a real speciality. You can : I auditioned for the ONE in 1971 . There ronment where I began to have con- count on expert teachers as well as were three candidates, and we had to tact with symphonic repertoire, since ensembles and orchestras for practice. perform Mozart’s Clarinet Concerto, De- we played works superbly transcribed In this sense, you had an active teacher bussy’s Rhapsody and orchestral excerpts for band, such as The Planets, Galánta in the symphonic world. Did he teach for clarinet and bass clarinet because the Dances, Háry János Suite or Daphnis et these excerpts in lessons? Did you have vacancy was for both these instruments . Chloé . I even acted as a principal clarinet the opportunity to practice them in some The conductor Rafael Frühbeck de Bur- on occasion . And, of course, I remember symphonic ensembles? gos chose me for the job . every clarinetist of the BMV, since my JA: Unfortunately, we didn’t have any train- CC: Did you have some orchestral experience brother was also a member of that band ing in this regard . Based on our current prior to joining the ONE? and I would go with him to rehearsals . conception of education and musical JA: To answer this question I have to go training this may be unthinkable, but in CC: Why did you choose Lucas Conejero as back to the year 1967 during which I those days it was something normal; no a teacher? Was there any other professor auditioned for the Banda Municipal of one thought about these issues . during those years? Mallorca and got the job . In this city JA: When my family thought that it was CC: Auditions to get a job in an orchestra I had my first experience as a member time that I devote fully to the study of require a deep knowledge of the orchestral of an orchestra, collaborating with the the clarinet, they decided that Lucas repertoire. Given the baggage that you Orchestra of Mallorca, which at that Conejero was the right teacher, since have after years of having played in the time was very small . The following year, he was the principal of the Valencia orchestra, could you point out some key 1968, I auditioned for the BMM and Symphony and professor at the con- aspects in the study of this matter? again won the position, staying on until servatory . But also a circumstance that JA: The most essential thing is to listen to the 1971 . Now in Madrid I had the oppor- made him special was that during the excerpts that you need to work on, but in tunity to work with the newly created Spanish Civil War, the Municipal Band my student days, the material we had to Orquesta de Radio Televisión Española of Madrid (BMM) was moved to Valen- do use was very limited . Now there are (ORTVE) and the Madrid Symphony cia, given that Madrid was in the line of books that include the most important Orchestra, where I met Antonio Mené- fire . And as a twist of fate, the principal orchestral excerpts, and, in addition, we ndez, also a clarinetist and brother of clarinet of this group, the famous Julián have access to recordings of every piece . Julián Menéndez . But my first concert Menéndez, lived in the house of Lucas But at that time we were in a dictator- with the ONE was before I actually Conejero, who, under the circumstanc- ship, and culture was rather underrated . joined it . I remember playing doubling

March 2015 61 it was an extraordinary event in Madrid I think that the principal must be in 1979 . However, my experience in the BMM was very unpleasant, since the a leader of the section, and he or she whole relationship with the conductor was broken, with daily discussions in must deal with its good operation and every rehearsal .

discipline during rehearsal. CC: You are happily married to Marta, and together you have raised two sons. the E-flat clarinet in Stravinsky’s Fire- week there was a different program . Especially nowadays, the desire to reconcile bird ballet music . The conductor was Also in the BMM, where I came from, work and family life is often discussed, Erich Leinsdorf (b . Vienna 1912–Zu- the work environment was difficult, so could you tell us how you managed rich 1993) . with the musicians always in a very bad to maintain your level of preparation mood . After that, entering this orches- without neglecting your responsabilities CC: When you joined the orchestra, did you tra was like a balm . In addition, I moved as husband and father? Could you share play second clarinet or move directly to from the last clarinet of the BMM to the with us some thoughts in which you may principal? principal of the ONE . be vulnerable in this regard? JA: When I joined the orchestra a first JA: Actually, in this profession it is difficult clarinet was also needed . The conduc- CC: Did you ever have to play the entire to reconcile work and family life . There tor, Frühbeck de Burgos, told me I was family of clarinets? are moments of great stress, but with to occupy that chair . My first concert in JA: Just in the last years when my col- goodwill many of these episodes are that capacity was playing El Amor Brujo leagues asked me, and I’ve played the overcome . In my case, there has been by Manuel de Falla at the International bass clarinet, E-flat, also the basset horn, a lot of sympathy from my wife Marta . Festival of Granada. an instrument that I used in the Manuel She works in the field of healthcare and de Falla Clarinet Quartet, in which I also has a complex profession . We both CC: What qualities and values can you was a founding member . have understood each other very well . point out to us that the principal and the Indeed, not everything has been easy. second clarinet should possess? CC: After more than 40 years of experience, JA: Of course, both must have, first of all, you have seen many ways to play CC: It is well-known among professionals a good sound, good pitch and good the clarinet: vibrato, the variety of in an orchestra that much of the stress technique . You must show good taste instruments, mouthpieces, reeds, etc. that generated comes more from the work and some orchestral experience . I think have appeared on the market and which environment than from that of the that the principal must be a leader of the affect the sound, and also the historical public. Could you tell us if you ever section, and he or she must deal with tendencies with their criteria when it perceived it this way? its good operation and discipline during comes to performing. Did you adapt to JA: Possibly, but I have not given it too rehearsal . The leader should also be at- trends or have you managed to find your much thought. tentive when someone new is incorpo- own voice? rated into the section, so that the person JA: Yes, I have had to adapt to different CC: As in other professions, musicians is integrated as soon as possible . But all tendencies that come and go, but I al- not always carry out their work with this must be done with humility; work ways try to be true to my beliefs . I have the same frame of mind. Sometimes in an orchestra is teamwork coordinated been teaching for 25 years in a summer you are busy with different issues and by the conductor . As for the qualities of course in Valencia, and I have seen ev- your concentration can be affected. a second clarinetist, the player must be erything . I think that changes must be Necessarily, the professional should very flexible, listen a lot to the orchestra adopted with some control . You must “distance himself” emotionally from the and be very aware of the first clarinet in be careful not to lose your bearings . score for the sake of controlling it and for terms of pitch, rhythm, dynamics, ar- the benefit of the public, for whom that ticulation and phrasing . CC: What could you tell us about the emotion is intended. This is fairly clear to relationship of the musician with the professionals but not so well-known to the CC: How did you initially adapt to work conductor? What has been your dynamic general public. But how could you keep in the ONE? How did you relate to your with them? away from your daily problems and sit colleagues? Did you feel well received by JA: I believe that conductors have a clear playing in the orchestra every week? them? Did you have much to learn? idea about what they want to achieve, JA: Frequently everyday problems are very JA: It was easy . I was greeted by my col- so my intention in the orchestra has al- present before a concert; it is a fact . But leagues with great joy . The principal was ways been to cooperate with them . I was it is very important to set them aside Vicente Peñarrocha and the second was lucky enough to work with Z . Mehta, and focus on what you are going to play .

Leocadio Parras, my professor at the R . Muti, Mario Rossi and especially S . Although during the concert disruptive Real Conservatorio Superior de Músia of Celebidache, who was closely linked thoughts may manifest themselves, it Madrid (RCSMM) . At the beginning to the ONE and left an indelible mark is controllable . As I said before, if you I had to adjust slightly to the schedule on many of us . I remember playing have done good work preparing, you of work of the orchestra, because every Beethoven’s 7th with C .M . Giulini, and will be safe when playing .

62 The Clarinet CC: The musician is not a machine, and, in spite of the large number of concerts The relationship I have had with performed in the season, perhaps you can have some unfortunate mishaps. Has this my clarinetist colleagues is something happened to you? JA: Sometimes things do not go as we would that will occupy my heart always because like, and you can be sure that I have had moments where I have not given my it has been special and also with other best, but I remember none in particular . colleagues of the orchestra, of course. CC: Each musician who experiences this reacts in a very personal way. But almost a reason to relax professionally, and I CC: Lastly, what is the best memory, the everyone agrees is that, for as much as have tried to always be honest with my- most valued, during your tenure with the your colleagues offer support, you, yourself self and with the orchestra, since it was orchestra? must overcome this event, and it is hard my second family . JA: It is difficult to be brief on this because to sleep that night; one needs to recover there are so many good things . The rela- his or her self confidence at the next CC: At any point did you consider leaving tionship I have had with my clarinetist opportunity, and what happens is when the orchestra to devote yourself to colleagues is something that will occupy that occasion arrives, all kinds of doubts other areas of music, such as teaching, my heart always because it has been spe- surface…colleagues “on the look out,” the conducting or composition? cial and also with other colleagues of passage approaches, pulse increases and JA: A few years ago there was a vacancy for the orchestra, of course . But, above all, there you are again “alone against the face clarinet professor at the RCSMM, and I will take the memory of having made of danger.” How have you reacted to one I thought that I could combine that music for so many years . of these unfortunate moments – if you job with the ONE . I sent my applica- have had one, of course? Did your fellow tion . Also my colleagues Enrique Pérez Epilogue players help? Did you feel terrible? and Máximo Muñoz, principal in the JA: When that happened to me I could not ORTVE, sent one, but there was to be José Antonio Tomás Pérez has always played avoid feeling bad, of course . But I am no audition; they just made their choice Buffet RC clarinets, a Vandoren B-40 also sure to have received the support of based on the curriculum only, whereup- mouthpiece, an old Buffet ligature and my colleagues . But effectively, until you on, Max, the most senior and therefore handmade reeds . Very fond of animals, he do not have another intervention, this with a longer career, was chosen . always has had a dog; the last one is a female time properly done, you do not forget Yorkshire which he has cherished for years the former . CC: In conclusión, I remember the movie by because it joyously waits for him after every Gerardo Vera, A Woman in the Rain . concert . Another of his hobbies is doing a CC: Especially in the U.S. many professional The film tells us about a lady during an little farming in his village when he goes on musicians who work in an orchestra autumn afternoon in Madrid where two vacation, being an expert in the prepara- consider auditions for other orchestras. strangers offer their cars to take her home. tion of capers . He is a person of recognized They sometimes seek a change in their She decides to accept the courtesy of one merit, with King Don Juan Carlos I having personal life, trying to join a higher of them, and the film continues with the granted him the title of Knight of the Or- quality orchestra or simply wanting to consequences of that decision. But at a der of Civil Merit, and the city council of play somewhere else. Throughout all certain moment, the action stops and the his hometown, Casinos, awarding him with these years in ONE, did you have ideas film director brings us back to that rainy the Medal of Cultural Merit and dedicated a about this? afternoon in which she, on this occasion, street to him, the very street where he resides JA: When Barenboim was conductor at the decides to accept the kindness of the other every time he returns there . But beyond Paris Orchestra, clarinet auditions were gentleman. The film director with this that, he and his village are linked forever called for . I was interested and wrote to game offers us the chance to see what has which he never turned his back on, and, in learn something about it . In a few days I happened to her in real life and fantasizes return, also has given him deserved compen- received information, which I still have . about how it might have been with a But my children were small and I de- sation, and, above all, as he stated on one different decision. Did something like this cided not to go . occasion, the satisfaction and comfort of be- ever happen to you, i.e. have you been ing accepted unconditionally by his fellow CC: Now it seems that the solution to the curious to know what would have become citizens . Nothing more, nothing less . ills of Spain are neo-liberal recipes, do of your life in another profession? you think the stability of your tenure JA: I come from a rural village, and my ndnote contract in your job could have at some father asked me once if I wanted to de- E 1 See “The Clarinetists of the National Orchestra of vote myself to agriculture or music . In point influenced a lesser professional Spain,” The Clarinet, Vol . 32, No . 4 (September performance? my family there were several musicians, 2005) JA: It gave me security, therefore I had the and I opted for music . Whenever I go to necessary peace of mind to carry out my the village and talk to my friends I think (With thanks to Carl Lewis Barriga for job . In my case, the tenure has not been that I made the right decision . his assistance with translation)

March 2015 63 Miguel Yuste (1870–1947) The Search for his Works by Malena McLaren

Brief Biography year Yuste sat principal chair at the Buen 1904, but Miguel Yuste was given the es- iguel Yuste Moreno was born in Gardens . In 1889, he completed his teemed position of clarinetist for the Royal Alcala del Valle in Cadiz, Spain, clarinet studies at the conservatory and Chapel the same year . Also in 1904, he in June 1870 . His musical stud- became the solo clarinetist in the Concert helped to form the Symphony Orchestra Mies began with José Chacon at the San Society Orchestra and the orchestra at the of Madrid . In 1909, Yuste succeeded his Bernardino Orphanage in Madrid where Teatro Real . He began as the third clarinet teacher, Manuel González, at the Madrid he was taken at the age of 8 . The San Ber- in the Teatro Real, but was moved to first Royal Conservatory . In his 30-year ten- nardino Orphanage fostered the children’s chair by the conductor, Luigi Mancinelli, ure, Yuste made significant reforms in the artistic education by organizing a wind in the middle of a rehearsal . He remained clarinet course of study at the conserva- band in which they played and learned as principal clarinetist from then on . Al- tory and became a significant influence on an instrument . In 1883, at the age of 13, though Mancinelli later made several of- Spanish clarinetists . That same year, Yuste Yuste began studying clarinet with Manuel fers for Yuste to teach and perform in Italy, became a founding member of the Madrid González, whom he would later succeed at Yuste stayed in Madrid 1. Municipal Band (principal clarinet and as- the Real Conservatorio Superior de Música In 1890, Miguel Yuste was a member sistant conductor) . He worked with con- de Madrid (Madrid Royal Conservatory). of both the National Orchestra (as it ex- ductor, and close friend, Ricardo Villa to In 1885, Yuste won the first chair position isted at that time) and the Chamber Mu- transcribe and arrange many works for the with the Royal Corps of Halberdiers . Two sic Society . He gained public and critical band . Many of these works became the ba- years later, he won first prize at the Madrid recognition with performances of Brahms’ sis of the Municipal Band’s repertoire and Royal Conservatory and quickly became and Mozart’s quintets . Unfortunately, the are still held in its archives today . Yuste’s a regulary employed clarinetist . This same Chamber Music Society disbanded in work with Ricardo Villa and the Municipal Band of Madrid pro- moted a high level of music education and musical culture in the city of Madrid . Many modern- day Spanish clari- netists agree that, along with Antonio Romero, Miguel Yuste is one of the ‘“fathers” of Span- ish clarinet playing . Miguel Yuste’s works were the beginning of an “educational process” from which many renowned Spanish clarinetists came 2. Perhaps most notably, Julián Mené- ndez (1896–1975) and his brother An- thony, both found- ing members of the Clarinetists of the National Orchestra of Spain with Malena McLaren: Carlos Casadó Tarín, José Tomás Pérez and Spanish National Or- Enrique Pérez Piquer (October 2011) chestra (1937), were

64 The Clarinet educated by Miguel Yuste . José Taléns Se- the intent of cataloguing the works of such lowed to view and catalog all of Miguel bastiá, solo clarinetist in the now disbanded an important figure, I began my search by Yuste’s surviving manuscripts in the archives . Filharmonic Orchestra of Madrid and the focusing on any existing works for clarinet . Along with 15 original works for the band, Madrid Municipal Band, is another ex- The first step was to see what was lo- there exist in the archives 16 arrangements ample . Similarly, Leocadio Parras, soloist cated in the Madrid Royal Conservatory. or transcriptions of works for the band . In with the Spanish National Orchestra until This search was short-lived, however, when addition to his original works for clarinet his death in 1973, is a notable example of I learned that only a few works for clarinet and piano (with the exception of Estudio Miguel Yuste’s influence on the music edu- by Miguel Yuste were in the catalog . As I Melodico, op. 33, these are not housed in the cation of Spanish clarinetists in the 20th began corresponding with Spanish clari- Madrid Municipal Band Archives), I have century . Enrique Pérez Piquer comments netists Pedro Rubio, José Tomás Pérez (Ma- catalogued to date a total of 38 works by that, “Yuste’s contribution to the clarinet drid Municipal Band 1968–71, National Miguel Yuste . Although I have not yet had literature, although not prolific, is a chal- Orchestra 1971–present), Carlos Casadó the opportunity to examine them in person, lenge capable of compromising the most Tarín and Enrique Pérez Piquer in 2002, I am also aware of one additional work for virtuosic player…[additionally], Miguel they confirmed that the Madrid Royal bassoon (Solo de Concurso para fagot; adapto Yuste exerted a major influence on the mu- Conservatory library did not have many of para Saxofon tenor o Bombardino) and two sical education of all the clarinetists who Miguel Yuste’s works . books of exercises (Añoranzas memorias, have occupied principal positions in all the The next step was to look to the surviv- Ejercicio de Oposción para trompeta, op. 96 musical groups of Madrid ”. 3 ing family members for any works that may and Solfeos concertante). have remained in their care . Over several Works by Miguel Yuste: years, through the continued research ef- Original Works The Search forts and personal knowledge of these same (For the Madrid Municipal Band): clarinetists, and in the course of recent dis- (Dates provided are indicated on the When I began to research the works for cussion with them, it is my understanding manuscripts .) clarinet by Miguel Yuste, only two pub- that the family most likely does not have lished sources in English briefly discussed Ensueño, op. 27 any of Yuste’s music in its possession . How- his contributions to clarinet pedagogy and Ofertoria, añoranza, saltarello ever, through the generosity of these re- repertoire . In her books, More Clarinet Vir- Marcha Funebre (no. 1), op. 28 nowned Spanish clarinetists in sharing the tuosi of the Past and Yesterday’s Clarinettists: (1903/1913) works of which they were aware, we know A Sequel, Pamela Weston states that Yuste María Cristina (Dec . 1909) of a total of eight works originally for clari- “composed over a hundred clarinet pieces ”. La Jura del Rey (#1) (1910) net by Miguel Yuste . As I began searching for these works, Pe- Guardia real (no. 2) dro Rubio, clarinet professor at the Turina Ingenuidad, op. 8/59 Estudio Melódico, op. 33: “El Lamento” Conservatory in Madrid and bass clarinet Estudio Melodico, op. 33 (1915) theme on L. Bassi (1915, premiere Feb . professor at the Madrid Royal Conserva- Solo de Concurso, op. 39 9, 1915) tory, offered invaluable help . He found that Capricho Pintoresco, op. 41 Marcha Funebre no. 2, op. 42 (1917) in the 1927 book Galería de Músicos an- Vibraciones del alma, op. 45 Impresión amorosa, op. 43 daluces contemporaneous, author F . Cuenca Leyenda, danza y lamento, op. 72 Marcha Funebre no. 3 (“Ayes de pena”), op. states that Miguel Yuste composed “over Entremés, op. 73 52 one hundred” works . Cuenca does not Estudio de Concierto, op. 148 Marcha processional, op. 55 (1930) specify that these works are for the clari- Gratitud (Marcha lenta) The first piece of the puzzle seemed to Loa a la hidalguía net . However, in the 1958 book by Marian be somewhat solved . However, a larger Sanz de Pedre titled La banda municipal de Marcha solemne, op. 104 piece remained unsolved . Where were the Hispano Americano, Mosaico aires Madrid, it is citied that Yuste wrote “over rest of the “over one hundred” works? one hundred works for clarinet ”. Pedro Ru- nacionales bio suggests that this is likely the source in Works by Miguel Yuste: which Pamela Weston found her informa- Arrangements and Transcriptions tion to include in More Clarinet Virtuosi The Story (For the Madrid Municipal Band): of the Past. As late as 2002, this same sen- In October 2011 I had the opportunity to (Dates given are indicated on the tence was repeated in the Diccionario de la travel to Madrid to continue the search for manuscripts .) Música Española e Iberoamecana Vol X. If any existing repertoire . Through the kind- Coral Variation (Cantanta 140, J.S. Bach) we take the first statement from 1927 into ness and generosity of several clarinetists, (January 1912) consideration, it is possible to draw the librarians and archivists in Madrid, I found 7th Symphony (Beethoven), op. 92, 2nd conclusion that the later statements could more information than I dreamed possible . movement (July 1912) be incorrect, and that Yuste, in fact, wrote It was my hope to visit the archives of the Polaca de Concierto (Ruperto Chapi) (27 more than 100 works total (for the Munici- Madrid Municipal Band, and I was able to July 1913) pal Band and for individual instruments) . do this with the help of Carlos Casadó Tarín Lohengrín, Prelude, 1st act (Wagner) (22 The common denominator remains that who arranged the visit . Along with Jesús July 1914) more than 100 works are attributed to Osca Ruiz, the archivist for the Municipal La Cassation (Andante – W.A. Mozart) (3 Miguel Yuste in all of these sources . With Band, two of my colleagues and I were al- December, 1914)

March 2015 65 El Carnaval in París (Episodio) (J.S. sound) and the history surrounding the to thank Jesús Osca Ruiz, archivist for the Svendnsen) (25 August, 1915) Madrid Municipal Band’s beginnings and Madrid Municipal Band, and the staff at Minuetto para instrumentos de arco (C. survival through the Civil War . Toward the the archives for their time and assistance in Bolzoni) (April 1916) end of our conversation, I asked if anyone combing through the archives . I also owe Guernikako Arbola (Composer: knew about the existence of these “over one a debt of gratitude to James Gillespie for Iparraguirre) (20 August, 1916) hundred” works . Most importantly, where introducing me to the works of Miguel Tres Danzas del baile heróico (Composer: might they be located? As told by Enrique Yuste . Lastly, thank you to Northwestern Grety) (November 1916) Pérez Piquer and Maximo Muñoz Pavón, State University and the Joanna Magale Rosamunda, op. 26 (Overture) (Schubert) this story from Ascensión Yuste emerged . Endowed Professorship for funding my (2 September, 1917) Later in his life, Miguel Yuste lived on travel to Spain . Historia de una madre, poema sinfonico (V. Calle Buen Suceso in Madrid . Where there Arregui) (25 January, 1918) are now apartments, houses then existed . Bibliography Danzas Slavas (Nos. 1, 2, 3, & 4), op. 46 At the end of this street, there is a bluff that Weston, Pamela . More Clarinet Virtuosi of and op. 72 (Dvořak) (11 July, 1921) drops down and overlooks the city . This the Past. Great Britain: Halstan and Co . Los Pastores: Canto de la Sierra de Cameros is now a park with a walking path . When Ltd ., 1977 . (Soria, Castilla la) (May 1923) Republican soldiers occupied these houses Yuste, Miguel . La Obra Para Clarinete y Larghetto del quintet, op. 108 (W.A. to defend the area from Franco’s Army, the Piano de Miguel Yuste. Enrique Perez Mozart) (20 November, 1923) residents of these homes, which included Piquer, clarinet, with Anibal Bañados Biarritz, op. 6 (Henri de Peñalver) (no date Miguel Yuste, were ordered to leave their Lira, piano . Logomusic Records, LCD on manuscript) homes . Yuste was ill at this time, so he 1001, 1995 . El Caserío (prelude y 2nd act) (Jesús Guridi) walked from his home to a hospital . After (no date on manuscript) several days, he returned to check on his house . As he approached, he saw that the Endnotes The mystery remained, however . Where soldiers were using his manuscripts as kin- 1 Enrique Perez Piquer, Compact Disc Liner Notes were the rest of the over 100 works? With dling for their campfire in the street . for La Obra Para Clarinete y Piano de Miguel Yuste, more generous help and a meeting of a life- Enrique Perez Piquer, (Logomusic Records, LCD As I heard this story, I thought of several time, another possible answer arose . 1001, 1995) . notes I observed while looking at some of It began with an invitation by the clari- 2 Ibid . Yuste’s manuscripts in the archives of the 3 Ibid . net section of the National Orchestra of Madrid Municipal Band indicating that he 4 Pamela Weston, More Clarinet Virtuosi of the Past, Spain to listen to a rehearsal and attend a had taken a score home with him . There (Great Britain: Halstan and Co . Ltd ., 1977), 278 . concert during our visit to Madrid . At the is no way to know how many works were close of the rehearsal, Carlos brought me in his home on Calle Buen Suceso, but it is and my colleagues backstage to meet the About the Writer… possible to draw a sad conclusion with this members of the clarinet section, and he had Malena McLaren, Coordinator of the Di- disheartening revelation . Perhaps many of a surprise guest, as well . As we shook hands vision of Music and Associate Professor of the “over one hundred works by Miguel with everyone, we were introduced to Max- Clarinet at Northwestern State University Yuste” were lost in the Civil War . imo Muñoz Pavón – clarinet professor at of Louisiana, received her Bachelor and the Madrid Royal Conservatory, 1980–88 Master of Music degrees at the University – soloist with the Orchestra Sinfónica de Ra- Conclusion of New Mexico with Keith Lemmons and dio Television Española (1965–1994), and a The list of works included in this article are the Doctor of Musical Arts degree from member of the Madrid Municipal Band those that I have been able to assemble thus the University of North Texas with James (1947–1964) with Julián Menéndez, Luís far . It is certainly not definitive, as there may Gillespie . As a member of Trio de Llano, Francisco Villarejo and José Cifuentes – all be other works of which I am not yet aware . Malena has performed throughout the students of Miguel Yuste! Sr . Muñoz Pavón It is my intent to continue the search, as this U .S ., Slovakia, the Czech Republic, Eng- learned all of Yuste’s clarinet works (all in has been an incredibly rewarding journey . land and Spain . She also plays frequently manuscript at the time) from Villarejo . He It is my hope that, with the knowledge of with the Rapides and Texarkana Symphony was also personal friends with Ascensión Miguel Yuste and his works, his immense Orchestras . In July 2007 she received the Yuste, Miguel Yuste’s daughter from his contributions to the pedagogy, repertoire second-place prize in the I .C .A . Research second marriage – a fact that I would soon and legacy of Spanish clarinet playing will Competition at the ClarinetFest® in Van- discover was of great importance . be remembered and honored . couver, Canada . Malena has performed in Through the course of a wonderful solo recitals at the 2008, 2010, 2012 and conversation between myself and these liv- Acknowledgments 2014 International ClarinetFest® confer- ing legends (Maximo Muñoz Pavón, José I wish to thank, with heartfelt gratitude, ences and as a member of Trio de Llano Tomás Pérez, Enrique Pérez Piquer and the Spanish clarinetists who have gener- at the 2009 National Flute Association Carlos Casadó Tarín), I gathered invaluable ously given their time, knowledge and Conference in and the information . Sr . Muñoz Pavón was able to hospitality in my search for information: 2011 ClarinetFest® . Additionally, she was tell me about, among many things, Miguel Pedro Rubio, José Tomás Pérez, Enrique awarded the Magale Endowed Professor- Yuste’s teaching style (patient and kind), the Pérez Piquer, Carlos Casadó Tarín and ship both in 2011 to perform and continue tone quality of his students (very clean, pure Maximo Muñoz Pavón . I would also like research in Madrid, Spain .

66 The Clarinet Restoring Alec Wilder’s Originals by Glenn Bowen

lec Wilder (1907–1980) wrote John Barrows, Tait Sanford (later Barrrows) M . 23, horn, last eighth note: change to often and well for the clarinet, in- and I held a reading session of available E-flat . cluding a sonata, a concerto, 13 trios for clarinet, horn and piano . Luckily, M . 24, piano, last eighth note: change to woodwindA quintets and a number of other E-flat . Alec Wilder was in Madison to visit long- chamber works . time friend Barrows and came to our read- M . 25, piano, last eighth note: change to The recent CD by clarinetist Jared ing . He later commented that he had not E-flat (LH) . Hinckley of the Sonata (written for me) recently thought about the combination, reminded me anew of some distasteful liked the sound and would write a piece for Second movement: editing in the Margun edition . The edi- us . The Suite for Clarinet, Horn and Piano Change tempo to 84 . tor actually changed a number of Wilder’s was the happy result . We were delighted M . 18, piano: third eighth note is C-flat . notes which is not the way of a skilled and and played the piece a number of times . M . 100, piano: third eighth note is F-sharp . conscientious editor . I was asked to edit the A new Albany CD of the Suite has ap- M . 106, clarinet, second beat: change to clarinet part for the 1968 publication by peared, due to the great efforts of hornist E-natural . Wilder Music Incorporated . I did so – not Charles Tibbetts, with clarinetist Maurita changing any notes . Murphy Marx and pianist Vincent Fuh . Third movement: I called the Margun editor early on and Again, the editor at Margun has made Tempo was 94; slower works better (c . 72) . he claimed that his changes “made for a numerous changes to Wilder’s original nota- M . 24, piano, second to last eighth note: better melody,” a strange statement from tions, including pitches, tempi, rhythm and RH is E-sharp, B-sharp . him, since he is the same person who wrote horn mutings . A great number of expression M . 33, horn should read A . New Grove Dictionary in the of Wilder’s suggestions (cresc ., dim ., etc .) clutter the Mm . 34–35: clarinet and horn should sus- “unique melodic gift ”. Changing a compos- pages . Sensitive players will find their own tain . er’s notes is some spurious editing indeed . way, ignoring the “wallpaper,” as did the ex- M . 79: tutti, rit . starts on third beat . The following is a list of corrections to be cellent performers on the Albany disc . made, restoring Wilder’s original notes: Hornist Tibbetts has compared Wild- Fourth movement: Piano, first movement: er’s score with the Margun score, and the Tempo is 126 . required changes to be made to the Mar- M . 22, piano, second 16th note: change to M . 13, 2nd beat: change to E-flat . gun version are listed below which restore A-flat . M . 27, 2nd beat: change to B-flat . Wilder’s intentions: M . 35, piano, fourth eighth note: add F- M . 29, 2nd beat: change to B-flat (RH) sharp RH . M . 69, 3rd beat: change to G-flat . First movement: M . 39, horn: first note is E-flat . M . 39, clarinet: last note is F-sharp . Clarinet, first movement: Change to Allegro, quarter note = 116 . M . 2, clarinet, second beat: change to half- M . 93, horn: delete “con sord ”. M . 42, 4th beat: change to B-flat . note M . 94, horn: add “stopped ”. As faculty members at the University M . 22, clarinet, last eighth note: change to M . 95, horn: add “open ”. of Wisconsin–Madison in the early 1960s, F natural . Best wishes . Enjoy a great piece!

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March 2015 67 Patrice Sciortino and His Works with Clarinet by Jean-Marie Paul

met recently Patrice Sciortino at Van- along with a CD; , clarinet; a book about Clarinet in France that will doren to check with him about the list Caroline Esposito, piano), of course in the include not only composers and works, but I gathered of his clarinet works . He style of the time . Patrice Sciortino’s style is, also players, makers and publishers . Music thinksI he might be the French composer of course, more modern . His musical lan- is a whole and progresses with the contribu- who has composed the most for ALL the guage is with an absolute freedom of style, tion of all its components . The friendship clarinets, from A-flat to contrabass . Aged but obeys a rigorous syntax . His music is of- between composers and players is a major 91, he still has a bright brain, and he just ten virtuosic and elegant, like many French element, as seen in the whole history of composed, at the request of Philippe Cu- composers, but not necessarily known (or music; in Sciortino’s music, you will often per, a piano part for the Rose 32 Studies and published!), and he does not have a per- see the name of clarinetist Jean-Marc Volta . Klosé 14 Studies (both clarinet parts come sonal website . That’s why I plan to publish Sciortino composed hundreds of works, including works for wind band, but listed here are only pieces with clarinet . For those who want more complementary informa- tion on some works, they can contact me by email . (photo: J. M. Paul) Biography Born in Paris on July 26, 1922, he is the son of the composer Edouard Sciortino (1893– 1979), a pupil of d’Indy, who was professor of Gregorian chant and composition at the Schola Cantorum, a famous private music school in Paris founded notably by d’Indy . Patrice Sciortino began studying music at the age of 6 with his parents (his mother, a poet, was also an amateur pianist) . In 1936 he prepared for entrance both to the Ecole des Beaux-Arts in drawing, and to the Schola Cantorum where he went on to study piano with Jules Gentil, harmony and counter- point with Achylle Philippe and composi- tion with his father (1936–1940) . After a period as a cathedral organist and music professor in Alès (1942–1946), he returned to Paris where he pursued several occupations, including organist, accompa- nist, choral director, orchestrator, poet and dramaturge, in addition to composing for the theatre, cinema, radio and television . He also taught composition at the Conser- vatoire Européen de Paris, the Conservatoire du 13e Arrondissement (1979–1992) and the Schola Cantorum (from 1995) . At the beginning of the 1960s he studied electro- Patrice Sciortino acoustic techniques of musique concrète at

68 The Clarinet the Groupe de Recherches Musicales and re- 1978 1988 searched non-European music . Exultrance for six clarinets (E-flat, two Clef, study for , “A He is well-known as the author of B-flat, alto, bass, cb) nine mins ., piece with specific colors; can serve also L’inventeur d’imaginaire (Paris: I .M .D ., Premiere: October 22, 1978, Sextuor for bass cl.,” Dedicated to J .M . Volta . 1991), a book on analysis . Leblanc . Deshayes, Boet, Dugardin, Premiered by Sebastian Borsch, five Tillous, Devaux, Lauret . Paris, mins ., Billaudot, 1991 Works with Clarinet Lucernaire Forum I .M .D ., 1992 Opus-tri for clarinet, piano and accordion The phrases in quotation marks below are 13 mins ., Premiere: May 26,1989, comments the composer provided . Most 1981 Ensemble Vibrations . Paris, Musica of the pieces are published by I .M .D . (In- La herse for flute, clarinet, piano, violin Viva I .M .D ., but not available and cello, eight mins ., Premiere: April ternational Music Diffusion), Billaudot, 1989 Choudens, Fuzeau, Transatlantiques, Carla 5, 1984, Ensemble Denojours Gravure, concert trio for horn, piano and Music, Robert Martin . Premieres were in Meloctie, octet for cl ., bassoon, horn, violin, 10 mins ., Premiere: May 28, France, except for Luisances and Sif-Sof. stg quartet, cb ., 10 mins ., Premiere at Brunoy near Paris, May 8, 1981, 1989 . Paris (also version for clarinet, 1959 Symphony Land, 1998 horn and piano) Dixtuor, Étude for double wind quintet, 1991 12 mins ., Premiere: 1979 . Bordeaux . 1982 Non solo sed etiam for two B-flat Manuscript Quintette for un ballet for wind quintet, clarinets, “Expressive duet,” Dedicated 12 mins ., Manuscript 1962 to and Premiered by J . M . Volta, five Ouragan for clarinet quintet (four or 1983 mins . I .M .D ., 1992 five clarinets),“Virtuosic, difficult for Roseaux for basset horn, bass cl . and Sore for cl . in B-flat and bass cl . seven blowing;” three mins . Public premiere contrabass cl ., “Concert trio, very mins ., Premiere: 2001 . Jérôme by Quatuor Edison (Pascal Beauvineau, characteristic of the three instruments,” Verhaeghe, cl ., Douai, North of France, Laurent Boulanger, J .M . Fessard, seven mins . I .M .D ., 1992 Jérôme Hilaire), 1999 and recorded 1984 1992 same year, CD Corelia CC898836, Sels for bass cl . and saxophone quartet, Recorded by Leblanc Original Quartet Paraxyle for bass cl . and marimba, “A colorful duet,” seven mins ., Premiere: Premiere: Jan . 1, 1994, Laurent (Barras-Fournier-Wartelle-Boulanger), Boulanger, cl .; Quatuor Ledieu . Journée 45 rpm Teppaz 45 .595S 1986, Ville d’Avray Sillons, Trois études (for clarinet, bass cl .), , Paris, Salle Berlioz, Pinocchio for five clarinets and rhythm I .M .D ., 2015 sections, three mins ., Recorded by “These are concert studies.”nine mins . Leblanc Quartet, ref . above Dedicated to J .M . Volta . Billaudot, 1993 1991 Ire for flute, oboe, clarinet, bassoon 1969 1985 and piano . Premiere: June 17, Flammes for reed quartet (oboe, cl ., bsn, Ensemble Clavivent from Montréal: Luisances for soprano, vibraphone, sax), 12 mins ., Premiere: Nov . 19, Paris, Conservatoire Hector Berlioz, marimba, clarinet and accordion, 1988 . France, Voisins-le-Bretonneux auditorium, concert de la Société “Concert fantasy, very experimental,” 10 near Paris nationale de musique, Manuscript mins ., Premiere: 1987 . , 1970 Netherlands . I .M .D ., 2015 1994 Sigle for trombone, clarinet and percussion, Cœur d’aigues, trio for clarinet, cello and two mins ., Premiere: March 16, 1970 . 1986 piano, 15 mins . CNRS, France, Manuscript Boiserie for one, two and three clarinets, Le semainier de la clarinette basse, seven Boiserie I – Boiserie II – Boiserie, six études for bass cl, incl . one with piano 1977 mins ., Fuzeau, 1987 15 mins ., I .M .D ., 1994 3 signatures, three pieces for three B-flat clarinets . “Three expressive movements 1987 1995 for concert, difficult,” 10 mins ., Calamus, concerto for bass cl . and As-If, concerto for bass cl . and concert Premiere (version for oboe, clarinet ensemble, 23 mins ., Premiere: June band, “Inspired fom jazz,” eight mins ., and saxophone): June 4, 1977, Trio 5, 1989, Eric Lamberger, bass cl .; Premiere: Dec . 9, 2000, Laurent de Montmartre . France, Collégiale de Ensemble Erwartung, cond . by Boulanger, bass cl .; Orchestre d’harmonie Gracay Premiere (version for three Bernard Desgraupes . Paris, Salle Cortot de la Police nationale, Dijon (also clarinets): June 2, 1989, Raymond (recorded by the same players: CD versions for bass cl . & piano), I .M .D ., Simoncini, Jean-Marc Volta, Gilbert REM 311163 XCD, out of print); w/ 1992; bass cl ., marimba, vibraphone . Monier . Saint-Germain-en-Laye near piano: Pascal Beauvineau, bass cl ., I .M .D ., 1998, Premiered by J .M . Volta, Paris . Recorded on CD REM 311163 1991, Montluçon, (reduction for bass Musicora 1991, Paris; version with XCD, out of print . Billaudot, 1987 cl . and piano): Billaudot, 1990 marimba-vibra in Montluçon

March 2015 69 église Saint-Just I .M .D ., not available Transe for violin, clarinet and piano, 10 mins ., Premiere: Feb . 26, 2002, Trio Fusion, Mâcon, Théâtre Sym, duet for B-flat cl . and bass cl ., seven mins ., Premiere: 2000 . Paris, Jean-Marc Volta 2002 Never More for sextet for cl ., piano, stg quartet, 10 mins ., Premiere: Aug . 18, 2002, Ensemble Galitzine, église du Bizot, Festival du Haut Doubs 2003 Procession infernale for female narrator, string trio, clarinet and piano, 27 mins ., Text: Morgane Geffroy: “Il n’y a pas de sot métier,” Premiere: May 14, 2004, Ensemble Musique Oblique, Rémi Lerner, cl ., Semaines Musicales de Quimper 2006 Vibrations, version for 12 clarinets (E-flat, B-flat, alto, bass, cb), Published in 2006 by I .M .D . in the 12 saxophone version and premiered in 2008 in this version . Piano Parts – for Rose 32 Etudes . I .M .D . 2014 – for Klosé 14 Etudes Op . 18 . I .M .D . 2014 Other Works (no date) Fonipoli, for bass cl . (“A study with multiphonics”) Coeur d’Aigues, concert trio for cl ., cello, piano, 15 mins . Ralc for clarinet quartet (B-flat, A, basset Como se, tango for flute, bass cl . and harp, Fusion fantasque for two cls . and horn, bass), Concert Piece, seven mins . 10 mins ., Premiere: Nov . 24, 1997, piano, “,” 10 mins ., Not I .M .D ., 2015 Luc Urbain, Jean-Marc Volta (bass cl .), premiered Ghislaine Petit . Paris, Cirque d’hiver, Semblances (ob, cl, bsn, stg trio), 10 mins . 1996 Concert Buffet Crampon, I .M .D . 2015 Et commencèrent à trembler, wind Fusion fantasque for clarinet, bass cl . and Haclaba for oboe, clarinet and basoon quintet, 12 mins ., Société nationale, piano, 10 mins . (“Means ha = hautbois, cla = Clarinet, ba Quintette Nielsen, Dec . 12, 1983, Octett lyrique for strings, winds and harp, = bassoon”), 10 mins ., Premiere: March Symphony Land 10 mins ., Premiere: Oct . 26, 1996, Il y a de l’odyssée dans l’air, opera Orchestre de chambre de Jean-Louis Petit . 30, 1999, Thierry Gaiffe, Patrick Toffin (cl .), Kaori Yokoyama . Saint-Maur-des- for children plus cl ., cello, piano, Lyon, église Saint-Paul, Manuscript percussion, 60 mins ., Commissioned by Sif-sof, Fossés, Conservatoire, Combre, 2000 for clarinet and accordion, the Petits chanteurs des Hauts de Seine, nine mins ., Premiered in Budapest, 1999 Manuscript at the composer’s home Hungary, I .M .D ., 1996 Picaresco for three basset horns (or 1997 three bass cls) “Concert trio for basset Transcriptions La cervine, musical tale for mezzo-soprano, horns,” 10 mins ., Premiere: April 21, Bach, J . S ., Prélude en ut mineur, transcr . clarinet quartet and percussion 30 2001, Philippe Berrod, Jérôme Julien for 12 clarinets, Manuscript at the mins ., I .M .D . Laferrière, Jean-Marc Volta; Lyon, composer’s home

70 The Clarinet Remembering Buddyby Randy Salman DeFranco

hen Buddy DeFranco died on Tatum, Oscar Peterson, George Shearing, Chicago Jazz Orchestra in 2007 when we December 24, the world lost Art Blakey, Billie Holiday and practically presented the live premiere of the complete one of the most musically ac- everyone else of his era . The list goes on Cross-Country Suite for Clarinet and Studio Wcomplished and innovative clarinetists in and on: Tal Farlow, Nat King Cole, Charlie Orchestra, originally composed by Nelson the history of jazz . He was 91 years old . Parker, Dizzy Gillespie, Stan Getz, Lennie Riddle in 1958 . Buddy, at 83 years of age, DeFranco, more than anyone, is credited Tristano, Nelson Riddle, Billy Eckstine, performed flawlessly, with all the facility with forging the path for jazz clarinetists Frank Sinatra, Tony Bennett, Mel Torme, and imagination I had heard on his earlier to move forward from the era of swing Barney Kessel, Herb Ellis, Louis Bellson, recordings . He was extremely personable to the new sound of bebop, a harmoni- Terry Gibbs . He appeared on numerous and supportive to all . It is important to real- cally advanced, lightning-fast style of jazz television shows, including Steve Allen and ize that all of Buddy’s formidable technique Johnny Carson . He was the featured solo- pioneered by Charlie Parker and Dizzy Gil- and precision was consciously developed to ist on the Stars of Jazz TV Show, and had lespie . Originally inspired by the driving serve a distinctly musical purpose . Buddy his own TV show, The Buddy DeFranco Jazz style and arpeggiated approach of Benny DeFranco remains one of the few truly great Forum for PBS . DeFranco and Terry Gibbs Goodman, DeFranco became increasingly masters of the jazz clarinet . He was quoted also shared the spotlight on a segment of influenced by Artie Shaw’s more linear style in a 2007 NEA interview, saying, “I did in and advanced harmonic language . It was, the PBS series “Club Date ”. my own way do something different on the however, Charlie Parker’s challenging new A brilliant jazz improviser, Buddy con- instrument and that’s the way I’d like to be sounds that had the most impact on him . tinued to progress with time, inspiring remembered ”. Thanks for the memories, Performing at venues all over the world, younger clarinetists with his effortless tech- Buddy . You will be missed greatly . DeFranco had an active career that spanned nique, precision, warm tone and ceaseless [See also “A Conversation with Buddy more than 70 years . During his career he creativity . He set the example for technical DeFranco,” by Henry Duckham, in the recorded more than 150 albums (dozens as excellence and was noted for his relent- Spring 1983, Vol . 10, No . 3, of The Clari- a leader) and is the most recorded modern less daily practice regimen . I had the op- net, with a cover photo of DeFranco . Ed .] jazz clarinetist since the swing portunity to perform with Buddy and the era . Buddy, a member of the American Jazz Hall of Fame, Buddy DeFranco has the unprecedented distinc- tion of winning 20 Downbeat Magazine Awards, nine Met- ronome Magazine Awards and 16 Playboy All-Stars Awards as the number one jazz clari- netist in the world . In 2006 DeFranco won the country’s most prestigious jazz honor, the National Endowment for the Arts Jazz Masters Fellow- ship, and later was named a Living Jazz Legend in a Ken- nedy Center ceremony . DeFranco’s extensive per- formance and recording expe- rience began during the 1930s when he performed with the big swing bands of Gene Krupa, Charlie Barnet and Tommy Dorsey . Then in the late 1940s on he worked with many of the top singers and musicians of his era . These included Count Basie, Art

March 2015 71 Mouthpiece Madness – Part VI An Interview with

Ramonby Richard MacDowell Wodkowski and Larry Guy

uring the past few years, Ramon past four years he has accumulated expe- few years, and I have restored many of Wodkowski’s meticulous work rience and a client list rivaled by few . He his mouthpieces, which are wonderful . as a mouthpiece craftsman, re- makes a special study of all mouthpiece de- At the time of our introduction, I had Ddesigner and maker has won him a wide signs and playing concepts and works with begun to explore various avenues to cre- following among many fine players in this most every type of mouthpiece imaginable . ate a new professional mouthpiece via country and abroad . A native of the De- Restoring and refurbishing vintage and CNC and high-end technology, and felt troit area, Mr . Wodkowski’s first influence contemporary mouthpieces has resulted in that this particular design was the ideal was his father, a clarinetist who studied the accumulation of knowledge concern- first project to attempt . Vintage French with Paul Schaller, principal of the De- ing how best to revitalize a mouthpiece, mouthpieces can be very complicated to troit Symphony . His early years were spent whether refurbishing a vintage piece or work with, especially pieces such as the studying with his father, Emil Moro (local enhancing a modern commercial design . Henri Chedeville, so I thought to tackle Detroit area teacher), and Ted Oien, princi- Recently he has been working closely with it head on . I like a challenge! pal of the Detroit Symphony . During high Donald Montanaro in creating a new “su- school he attended the Interlochen Arts per” mouthpiece, inspired in part by some RM: Do you think playing in a different Academy as a student of Richard Hawkins . of his vintage Chedeville mouthpieces . Mr . style gives you a certain objectivity to His undergraduate years were spent at the Wodkowski’s Chedeville style project puts the American sound that an American Cleveland Institute of Music where he him in good company as many makers manufacturer might not have? RW studied with Frank Cohen . While at CIM have copied Chedeville mouthpieces over : Yes, in part . Everyone has their own he also studied with Linnea Nereim, who the years – we were curious to learn how way of playing, and most mouthpiece taught him about vintage mouthpieces Mr . Wodkowski’s approach might differ makers create mouthpieces in their per- and introduced him to Everett Matson, from other makers . sonal style . It’s natural and makes sense . with whom he worked closely for a time . I grew up in the American tradition, He received his Master of Music degree at * * * * * however have changed my playing voice the Yale University School of Music as a many times during my life and currently Richard MacDowell: Given your dual student of David Shifrin who encouraged employ a very British setup (Peter Eaton background of American and European his mouthpiece interest, gave him a set of clarinets) . I’m one of those unusual peo- playing, what drew you to re-create, refacing tools and introduced him to James ple who can play any sort of setup and Kanter in Los Angeles, another important through the development of a new change my sound completely if needed . influence . After Yale, he attended the Royal mouthpiece, the American style of sound? I have always had that flexibility and Ramon Wodkowski: College of Music in London where he was Due to my back- understanding of voicing . So I see the a student of Richard Hosford, principal ground of having studied with a wide American school of playing from both clarinetist of the BBC Symphony Orches- spectrum of players, my own concept the inside and outside you might say . tra and Chamber Orchestra of Europe . At has become extremely flexible, especial- the Royal College he earned the Artist Di- ly since working with so many clients Larry Guy: How would you describe ploma, won the Prize all over the world – their concepts have the difficulties of restoring a Henri and was subsequently named the David gotten into my ears and greatly aided Chedeville? Bowerman Junior Fellow for 2005–2006 . and added to my own playing as well . RW: Most of the Henri Chedeville mouth- During this time as a student he began My goal with mouthpiece crafting has pieces were custom-made . The blanks freelancing with the major orchestras in the always been to master and understand varied, and they were made for a dif- U .K ., and thus began his career as a pro- different concepts of playing . This flex- ferent time (different bore clarinets fessional player, one of less than a handful ibility allows me to work with most any and reeds from today, etc .) . Also they of American clarinetists who have built a setup and player . I have always been were hand finished and often times not playing career in London . Despite his hec- attracted to the beauty of the Phila- completely symmetrical internally . The tic schedule as a mouthpiece craftsman, he delphia/Henri Chedeville concept and style and requirements of playing in the continues to lead a busy playing life . admire its purity of tone, flexibility and 1920s and before was a bit different from Mr . Wodkowski’s career as a mouthpiece color palette . Donald Montanaro and I the way we play now . To make them play craftsman has risen in quite a flurry . In the have formed a relationship over the past to modern standards, but still adhere

72 The Clarinet to their original intended qualities can be quite a challenge . Players in modern halls and orchestras need a great range of dynamics, a sensitivity to gradations of color, flexibility and control of intona- tion which wasn’t necessarily standard- ized or evolved 100 years ago . One has to to be very creative to respect the inherent qualities of the mouthpiece, but make it playable in today’s environment .

RM: Let’s say for argument’s sake that all the good qualities were there 100 years ago, but since the mouthpieces you see have been worked on so many times, how are you able to imagine what they were like in the first place? RW: That’s a good question . Some mouth- pieces have been worked many times, and very poorly at that, but I find most things can be brought back to life with study and effort . You cannot aim to restore something exactly as it was, as that is impossible unless you knew the mouthpiece first hand on the day it was Richard MacDowell, Ramon Wodkowski and Larry Guy made . Also the rubber has most likely changed and deteriorated, so it’s im- effort to understand why that was . For mouthpieces, especially vintage pieces – possible to know exactly how it played my new mouthpieces, I have chosen a finding the soul inside, underneath . To when new . However, you can make design which has qualities many of my do that, I often have to test the mouth- them play well in the appropriate style . clients value, but also which I feel are es- piece myself, but when working with cli- I have a template in my head of the pecially beautiful . So the amalgam is my ents, I prefer to test with their reeds and playing feel, baffle shape and chamber personal choice, but also based on what clarinet, and, most importantly, listen to configurations of the finest Henri and players prefer, from my experience . them play to understand their concept . Charles Chedevilles, LeRoys, Roberts, That usually tells me what I have to do . I etc ., as preferred by many of my major LG: What are the most important parts of a don’t test the mouthpiece with my clari- clients . Most of the time they can be good mouthpiece? net, because then it’s “me,” and I don’t brought back to life, even those which RW: Aside from studying the facing of the want to put “me” into it . When working have been tampered with too much in mouthpiece in great detail, I also study via the post, I generally ask many ques- the chamber or the window shape . In the chamber of each style of mouth- tions to understand how the client plays the end it will never be as it was, but piece . For example, Henri Chedeville and what needs doing . can play very well, often times even bet- did certain things to the chamber of ter than it did originally . From the mo- his mouthpieces, as did other makers . LG: Can you tell us about the detail with ment a mouthpiece is born, it wears and If you look closely enough it is evident . which you measure the facing and how changes with playing so it never will be I try to keep my work within what the you put on a new facing? exactly the same, even in the hands of maker would have intended, but at the RW: The system I came up with is very the very finest craftsman . same time make things comfortable for elaborate and works for my needs and modern players, especially the owner personality . I originally began with the RM: How has your experience with so many of the piece, who is the ultimate judge . standard four-point system, which I vintage mouthpieces influenced the design They have the final decision . learned from Everett Matson [the Er- of your new model? ick Brand system, which measures four RW: I don’t think I would have been able LG: So one change in the mouthpiece’s points of the facing, from near the tip to create this new mouthpiece without dimensions affects other aspects of the to the point where the facing closes into the experience of working with such a mouthpiece. the table . This system was described in dense succession of high-level clients RW: It’s a balancing act . I study the facing Part V of our series while interviewing who engaged me to refurbish their vin- under the microscope, but you can’t just Michael Lomax in The Clarinet, Vol . 41, tage mouthpieces . I saw and worked on, put a perfect facing on a mouthpiece and No . 1: December, 2013] . James Kanter, within a year or two, hundreds of them expect it to play well; there’s always some- with whom I worked while a graduate first-hand, and along the way I made a thing else to be done to add that extra bit student at Yale, had a more elaborate note of what attracted various clients to of life and playability to the mouthpiece . system which showed me ways one can a particular mouthpiece and made an That’s what I love about working with precisely manipulate the facing to in-

March 2015 73 crease one’s accuracy . Gradually that led LG: Do the depth measurements you make had a bore too large for their setup . The me to develop my own method which to the baffle compare in number to the sound is wonderful, but they struggled allows me to see the arc of the facing in measurments you make to the facing? with tuning . a way which works well for my needs . RW: No . For me there are crucial points in- When working with major players in side, but I am less controlling about the LG: So the bore of your mouthpiece is a little my early days of business, I studied the internals of the mouthpiece and like it smaller than some of the old Chedevilles? various facing curves they preferred and to be how it was born, rather than carv- RW: In part . I am engineering my new noticed certain inherent similarities . ing and carving to make it something mouthpieces to tune reliably with mod- Over time and study I observed which else . I usually find the facing first and ern clarinets, but still possess the voic- changes in the facing and chamber al- then make adjustments inside . I stay ing of the old Chedeville design . I could tered response, etc ., and this led to my with templates and shapes of facings make a mouthpiece that has a large bore system of work – not just the numbers that work with certain chambers, and with a Henri Chedeville contour, but alone . Since I work on so many different then make adjustments from there, UN- I can guarantee it will not tune for ev- kinds of mouthpieces, I like this system LESS the mouthpiece has a very unusual eryone . I will offer that option though . because it allows me to see things very chamber . There are some craftsmen who Because expectations and standards for clearly so I can work with most any- will customize a facing for a particular tuning are so very high these days, we thing – French, German, classical clari- reed on a particular day, generally ma- have to make a mouthpiece that will net mouthpieces, bass and saxophone . nipulating the facing greatly to work tune reliably, while keeping the wonder- However, I know other refacers who with that reed . This may work; however, ful sound and flexibility – the “soul” of have great success with the four-point when the client goes home to their en- the old mouthpieces . That’s what I am system and other means . In the end, the vironment, it might not be so success- working on . Regarding the quest to to- maker has to find a system that works ful when that reed dies or the weather tally replicate the old Ched, I do not be- for them and their concepts . Both Jim changes and reeds play differently . I lieve it is a realistic one . I’ve never seen an Kanter and Everett Matson told me to don’t experiment very much in that way, original facing piece from that era which find my own way, and I believe in that as for me it generally leads to a dead end . was 100% comfortable to play on, past very much . This is a very personal craft I aim for a certain template, based on a minute or two . Although it may be a and trying to copy other makers’ sys- my experience of studying hundreds of wonderful sound, once you play it for tems generally leads nowhere . So much lays, and almost 100% of the time my a little while, you soon feel its limita- of this craft is heavily reliant on our ears system works, even when reeds and tions . In their original state they can feel and understanding of concept, far more weather are not ideal . When creating an small-scale as the facings were generally than numbers and dimensions . unusual custom facing, I always am cer- very short and close, and with some the tain that it functions, first and foremost, chambers were very tight in feel . Al- RM: How do you approach the baffle ensuring the contour is balanced . though it may be authentic, I guarantee shape of the mouthpiece, as opposed to if one is playing in a major modern-day what others do, or what the commercial RM: Is the difference between a Kaspar and orchestra, you would put it down before mouthpiece makers do? a Chedeville impacted by the difference too long . They need to be adapted slight- RW: For me, the baffle reflects the fac- of the bore size – the large-bore clarinets ly to work for our standards . ing, and they have to compliment one that the Chedeville was made for versus another, also with the chamber to cre- the smaller-bore Buffets that the Kaspar LG: When you talk about the dimensions ate the personality of the mouthpiece . was made for? of the body of the mouthpiece, are you I study the shape, depth and size of RW: For me, not so much . The major char- also including external dimensions? How various baffle and chamber designs and acter difference between the Chedeville important are they compared to material? how they create their unique voicings . and Kaspar spectrum, as wide as it is, RW: I believe the dimensions of the mouth- For example, with a Henri Chedeville, is more to do with the chamber con- piece, chamber, baffle, bore – including in my opinion, a certain baffle contour figuration . I focus on the facing and the external dimensions such as the shape spectrum is needed; whereas with an tone chamber . Kaspar and Chedeville of the beak and the overall circumfer- open facing Riffault design, a different mouthpieces are a fairly broad area, but ence, the thickness of the walls of the baffle contour is generally necessary . for me the bore is more of a secondary body – to be much more crucial than Another example, many Kaspar Chica- issue . Generally speaking, the older the the material used . The current trend of go mouthpieces have a slightly different mouthpiece, the larger the bore can be . attempting to replicate old rubber is a baffle shape than Kaspar Ciceros . This is The early Chedeville and Kaspar pieces redundant exercise in my mind . This is- what contributes to their qualities . The had larger bores, but over time Kaspar sue for me is about craftsmanship, and old mouthpieces: Roberts, Charles and made their’s smaller . The problem with I focus on the physical dimensions in Henri Chedevilles, LeRoys, all had dif- the bore one can encounter with vintage great detail, which in my opinion are ferent baffle contrours from one other, mouthpieces is tuning . With modern what makes the tone chamber play the within certain parameters of course, clarinets some vintage pieces will not way it does . For me there is no reason given the time period they were made . tune properly, and it can be a problem . I why we cannot use a modern material There are ways of measuring the baffle, have met many students and profession- and make a very fine resonating mouth- but for me, I picture it in my mind . It is als along the way who have attempted piece – dare I say even better than the very creative work, much like sculpting . to play a vintage mouthpiece which old designs . The ebonite we are using

74 The Clarinet for my new project is very high quality, of equipment which offers a beauti- old mouthpieces and moderized them, durable, and, most importantly, reso- ful palette of colors, I am intrigued by adapted them for Mr . Montanaro and nates very well . The ultimate test is the how they achieve that and why those others, and that’s as far back in time feedback . No one who has tried my new players appreciate that vehicle . I believe as we can look to study the science of mouthpiece has questioned the qual- that when a mouthpiece maker dies or crafting, realistically . I am after the same ity of the material . People simply don’t retires and the equipment is no longer kind of “playability” achieved by these think of it if the piece works for them . available, a school will change . As time craftsmen while in their prime, but push If the piece does not play to their liking, passes, people retire and move on, etc ., forward and try to better my work and players sadly have a tendency to blame and students begin playing other equip- the evolution of the craft with constant the material, which is usually complete- ment, orchestra requirements change, refinement and improvements .The ly the wrong reason for why the mouth- etc . But like every other instrument, Chedeville project is my first, but I am a piece does not work for them . we need to have a variety of equipment scientist of all mouthpieces . I would like available, and that is something which to do a Kaspar-style mouthpiece, a Ger- RM: Do you hand-finish the mouthpiece concerns me . In my opinion, we need man mouthpiece, a more open mouth- when it comes from the machine, and, if more variety of mouthpieces available piece, etc . I make a point of playing so, in what way? today, otherwise clarinet playing will these different styles myself profession- RW: The blanks that come from the ma- homogenize, as it already has done in ally, to expand my flexibility, because I chine are not playable to my standards, my lifetime to a great degree . My goal is think it’s the best way to learn how the and I don’t think current technology is to make mouthpieces of very high qual- different style mouthpieces function . I sophisticated enough to do the entire ity which will hopefully help widen the am fortunate enough to have a playing job, so I finish them by hand . I prefer it spectrum of playing and allow for more career and environment which is flexible that way as I have complete control of the room for individuality and various scho- enough to allow this, and it has been the body production and finishing touches . lols of playing to find their voice . I chose perfect laboratory to test my ideas . This new Chedeville style project is my this Chedeville style project because this first super high-end product where I mouthpiece is at the core of the Ameri- LG: Tell us about your current services and have 100% control of the production can sound and tradition, not just Amer- offerings. and design . I am, however, a scientist of ica, but Europe as well to a degree . I hear RW: I offer my refurbishing services for all mouthpieces and plan on creating a that sound everywhere in this country . any clarinet mouthpiece – B-flat, E-flat, Kaspar-style mouthpiece, a more open It’s deeply rooted (also in my own play- bass, contra, etc . – all makes, whether model, a spectrum of German designs, ing), and when people play my proto- vintage, commercial, custom, etc . One bass, etc . I make a point of playing differ- types, everyone responds to them . of my specialities is sourcing and deal- ent styles myself to expand my flexibility . ing vintage mouthpieces . I have a large I am fortunate enough to have a playing LG: This kind of sound seems so idiosyncratic revolving stock . I also work with saxo- career and environment which is flexible to the instrument, with its resonance, phone mouthpieces, as I do play profes- enough to allow this, and it has been the depth, etc. sionally in London, and will be expand- perfect laboratory to test my ideas . RW: And also the vocal quality: that’s what ing into that world in the coming few I am after with this model . The greatest years . However, for the moment I am LG: Do the blanks purposefully have extra Henri Chedeville mouthpieces, while concentrating on clarinet mouthpieces . rubber in them, so you can do specific having a beautiful sound and resonance, Apart from that I have an entire range finishing? have an extra dimension to them which of new mouthpieces which are made RW: Yes . I leave enough room inside to attracts me . They want to play music . If from a variety of blanks – far wider in customize them in various directions, so the mouthpiece won’t allow the player to selection and diversity than most mak- they are not just one flavor . I can make play a phrase, while possessing a beau- ers . These are made on a custom order slightly different facings and chambers tiful sound, dynamic range and taper, basis, and I am only now beginning to to suit the varying needs of my clients . then I personally don’t consider it to be plan their advertisement and sales via a great mouthpiece . For me it has to be the web . Until now I have simply not RM: I think there are schools of playing that more than just “clarinetistic,” or “effi- had the stock or time for their web pres- are based on one generation or one player, cient” – I loathe that word – it has to be ence . Demand has been too high . My and other schools that are based on many musical, too .That’s what this is all about . schedule and life has been very hectic generations. I think what you are saying over the past four years . Now that the is that there needs to be a connection to RM: So I think what you’re saying is new designs are nearly ready, I will cre- many generations to bring important that you are not trying to re-create an ate a new website and put all of my of- concepts to the next generation. original old mouthpiece, but rather create ferings on the web very soon . The new RW: Yes . A number of years ago I told something that has the qualities of the mouthpiece (which I have nicknamed myself that I would not allow my per- old mouthpiece but will play well in a Napoleon) and its sibling will be avail- sonal opinions of clarinet playing to modern setting. able this summer hopefully . Informa- enter into my work . I like to cater to RW: Right, and I think that’s what my tion and updates will be posted on my people and help them achieve their in- predecessors, Everett Matson, Don Jin website and online . The waiting list is dividual needs . But, at the same time, Kim and Kaspar in Ann Arbor did in already very long, so it’s going to be a when I hear a school of playing or a style the 1960s and 1970s . They took these very busy time ahead!

March 2015 75 I.C.A. 2014 Research Competition

by Douglas Monroe, Coordinator

he 2014 I .C .A . Research Competi- tion finals took place on July 30 in the choir rehearsal room at Louisi- Tana State University . The seven finalist pre- sentations, all given by U .S . citizens, were excellent and presented judges Wesley Fer- reira (Colorado State University), Margaret Donaghue Flavin (University of Miami) and Peggy Dees (Cornish College of the Arts) with difficult choices: The contestantas included: Dawn Marie Lindblade, “A Study As- sessing Required Solo Lists for Clarinet from High School Solo and Ensemble Contests in the United States of America and their Potential Use as a Vehicle for Ex- posing Students to New Music” Andrea Harrell, “The 1896 Wiener Tonkünstlerv- erein Competition: Three Award-Winning Works and the Seven Anonymous Submis- finalists, l to r: Erica Low, Jeremy Wohletz, Kristine Dizon, Andrea Harrell, Dawn Marie Lind- sions for Clarinet;” Kellie Lignitz-Hahn, blade, Elisabeth Stimpert, (Kellie Lignitz-Hahn, not pictured) “A Survey of Four Original Works for Clarinet and Guitar and their Effect on Compositional Outputs for the Reper- toire;” Kristine Dizon, “The Chronologi- cal Clarinet: Musical Identities of Widor, Milhaud, Smith, and Mandat;” Erica Low, “Examination of Embouchure Force Dur- ing Clarinet Performance;” Elisabeth St- impert, “Collaboration and the Creation of New Music for Bass Clarinet;” Jeremy Wohletz, “East Meets West: Transcribing Balinese Gamelan for Clarinet Choir ”. The first-place winner was Erica Low . She won a cash prize of $1,000 .00 and the opportunity to publish her findings in The Clarinet. The second-place winner was Jeremy Wohletz . He won a cash prize of $500 .00 . The preliminary-round judges also in- cluded Cecilia Kang (North Dakota State University) and Jane Ellsworth (Eastern Washington University) . Special thanks go to the all the judges for their hard work . The judges, l to r: Margaret Donaghue Flavin (University of Miami), Peggy Dees (Cornish Thanks to all who submitted papers for College of the Arts), Wesley Ferreira (Colorado State University) and the Research Coordinator consideration for this year’s competition . Douglas Monroe (East Carolina University)

76 The Clarinet I.C.A. 2014 High School by Elizabeth Crawford, Solo Competition Coordinator hirty-nine students from 12 coun- pus of Louisiana State University . Judges The Clarinetand at clarinet .org/clarinetFest tries entered the 2014 Interna- for this round were Deborah Bish, Florida 2015 . tional Clarinet Association High State University, Cecilia Kang, North Da- TSchool Solo Competition . Applicants were kota State University and John Warren, required to play movements 1, 2 and 5 of Kennesaw State University . Witold Lutoslawski’s Dance Preludes and After a difffcult deliberation, the results The Clarinet the Solo de Concours by André Messager . were: first place and the winner of $1000: PUBLICATION SCHEDULE The preliminary judges were Lynn Alec Manasse; second place and the winner Musco, Stetson University; Christopher of $750: Paul Park; and third place and the The magazine is usually mailed dur- Nichols, the University of Delaware; and winner of $500: Julia Choi . Congratula- ing the last week of February, May, Stefanie Gardner, Northern Arizona Univer- tions to all of the winners and many thanks August and November. Delivery time sity and Glendale Community College . The to our fine panel of judges . A special thank within North America is normally six finalists were Taylor Horn, Julia Choi, you also goes to the competition sponsor, Alex Dergal, Kristen Eiffert, Alec Manasse Anderson Insurance . 10–14 days, while airmail delivery and Paul Park, all from the United States . The 2015 competition will be held in time outside of North America is The final round in Baton Rouge was Madrid, Spain (July 22–July 26) . Compe- 7–10 days. held in the Black Box Theater on the cam- tition details can be found in this issue of

(l to r): Cecilia Kang, Kristin Eiffert, Taylor Horn, Alec Manasse, Paul Park, Julia Choi, Deborah Bish, John Warren

March 2015 77 I.C.A. 2014 Young Artist Competition by Maxine Ramey, Coordinator

he 2014 I .C .A . Young Artist Com- A new feature of this year’s ClarinetFest® tone . Jose Pinto played with quick- petition, a premiere event for an- 2014 was the addition of real-time reports silver agility in the cadenza section, nual ClarinetFests®, attracted 38 in the form of blog posts for most of the while Jose Viana brought rhythmic Toutstanding competitors from 11 coun- events at Louisiana State University, avail- vitality and a wide palette of tone col- tries . The competition was divided into able at clarinetfest .wordpress .com . Michael ors to the dance-like final section . The three rounds . The preliminary round was Rowlett, clarinet professor at the University musical selections were well chosen to held for the first time electronically by on- of Mississippi, provided an excellent post demonstrate different aspects of each line submissions . Preliminary judges in- recognizing the high level of musicianship performer’s musical style, and it was cluded Daniel Cotter, Jane Ellsworth and by each of the finalists . He reported, fascinating for the audience to hear James Schoepflin . The semi-final round The competitors performed three each clarinetist establish their own was held during ClarinetFest® 2014 on July works . The first was the slow move- musical personality, rendering the 31 at Louisiana State University . Semi-final ment of the Sonata by Charles Stan- selections unique, in six individual round judges were Malena McLaren, Osiris ford, which Jose Pinto of Portugal ways . Every performer demonstrated Molina, Jana Starling and Cathy Wood . performed with refined elegance and whole-hearted commitment, and The pianist for the competition was Henry impressive control . Diana Sampaio, there was much to enjoy and admire Jones, who performed with great sensitiv- also from Portugal, presented a lyri- in every one of these impassioned, ity to each performer’s individual artistic imaginative performances ”. presentation . The semifinalists were Sara cal interpretation that emphasized Eastwood (USA), Patrick Englert (USA), the work’s soaring melodies . Rucha Third-prize winner Hila Zamir was Kristi Hanno (USA), Roy Park (USA), Jose Trivedi of the USA played the forte born in Israel in 1990 . She began her clari- Pinto (Portugal), Caitlin Poupard (USA), passages with full-throated intensity net studies at the age of 10 at the Rishon Diana Sampaio (Portugal), Dana Sloter and brought great drama to the dif- Le-Zion Conservatory, Israel . She studied (USA), Kristen Thompson (USA), Rucha ferent characters represented in the with Michael Isakov, Eva Wasserman Mar- Trivedi (USA), Jose Viana (Portugal) and movement . Jose Viana of Portugal golis and Yevgeny Yehudin . She is currently Hila Zamir (Israel) . played with balance and an excel- working towards her M .M . degree at the The final round was held August 2 . The lent sense of the movement’s overall Manhattan School of Music in the class final round competitors were Jose Pinto design, while Kristen Thompson of of Mark Nuccio . She received a special (Portugal), Diana Sampaio (Portugal), the USA brought the contrasts of the prize at the European Clarinet Association Kristen Thompson (USA), Rucha Trivedi work to life with remarkable intensity . competition and second prize at the Ruth (USA), Jose Viana (Portugal) and Hila Za- The second work performed was Eric Lewis International Clarinet Competi- mir (Israel), and the judges were Deborah Mandat’s Étude for Barney . Hila Za- tion . She played as a soloist with the Israeli Bish, Antonio Fraioli, Jonathan Holden, mir of Israel played this selection with Philharmonic Orchestra under the baton Pedro Rubio and Radavan Cavalin Zerjal . great energy, bringing out its play- of and with the Buchman- The first-place winner was Jose Pinto fulness and impish qualities, while Mehta School of Music Orchestra in per- from Portugal . Jose was awarded $4000 Rucha Trivedi suggested a funkier formances in Switzerland, Germany, Brazil and a professional clarinet from Henri reading, emphasizing its rhythmic and at Carnegie Hall . Since 2007, she has Selmer Paris . The second-place winner was grooves . Kristen Thompson’s dy- been a recipient of America-Israel Cultural Jose Viana from Portugal . Jose was awarded namic interpretation found excite- Foundation scholarships . She has partici- a $2000 prize . The third-place winner was ment in the piece’s scurrying lines and pate in master classes with , Hila Zamir from Israel . Hila was awarded a offhand comments, finishing with a David Shifrin, Corrado Giuffredi, Philip $1000 prize . The Young Artist Competition nearly-inaudible final note . The final Copper, Matthias Müller, Celeste Zewald, is sponsored in part by Buffet Crampon, selection was the Copland Concerto, Luigi Magistrelli, Eli Eban, David Griffiths, D’Addario Woodwinds, L . Rossi Clarinets, performed in its entirety . Hila Za- Joseph Balogh and Ilan Schul . Hila has Henri Selmer Paris, Vandoren and Yamaha . mir stretched the long melodic lines been a clarinet teacher at the Yavne com- The I .C .A . would like to thank these spon- of the opening with remarkable pa- munity center, Israel (2009-2013), and the sors, as the competition could not be held tience, and Diana Sampaio executed “Sulamot”-Music for Social Change, Israel without their generous support . the athletic skips with a rich, liquid Philharmonic Orchestra (2010–2013) .

78 The Clarinet L to R: Jonathan Holden, Jose Viana, Deborah Bish, Radovan Cavallin, Hila Zamir, Antonio Fraioli, Jose Pinto and Pedro Rubio

Second-prize winner Jose Viana was has participated in several master classes especially chamber music and orchestral born in 1992 in Vila Real, Portugal . When with clarinetists Michel Arrignon, An- works . This literature pushes me to grow as he was 9 years old he began his musical tónio Saiote, António Fraioli, José Ricardo, a musician . I would like to play in a great studies at the Conservatory of Music in Stephan Vermeersch, Tiago , Mat- orchestra one day, performing as a soloist Vila Real in the class of Professor Luís Fil- thias Müller, Rafael Albert, Iva Barbosa, Eti- and performing chamber music recitals . ipe Santos . With the encouragement of his enne Lamaison, Nuno Silva, Piero Vincenti I am very grateful to my parents because family, he began to consider the clarinet as a and Nuno Pinto . He performs with wind they always supported me in all decisions, career choice and attended the ESMAE (Es- bands and symphonic orchestras, includ- for giving me the conditions to study and cola Superior de Artes e Espetáculo do Porto) ing the Gulbenkian Orchestra with con- to do my job the best I can, but especially under the tutelage of professor Nuno Pinto, where he is currently finishing a master’s ductors Joana Carneiro, Paul McCreesh, for the education and principles . I’m grate- degree . Jose states, “Today I can say that Christoph Konig, Ernst Schelle and others . ful to my teacher, Nuno Pinto . I owe the I have no regrets making this choice . My Jose writes, “I started to play clarinet at 9 Young Artist Competition success to him actual goal is that one day I can join a sym- years old because my cousin played clarinet and it is a pleasure to study with a such a phony orchestra . Throughout my career, I in a band . I enjoy performing a great deal, great musician and person!” really have to thank the great work of all the teachers who followed me on my journey, especially professor Luís Filipe Santos and professor Nuno Pinto who always helped me to grow as a musician and as a person, and to my parents, because without them none of this was possible, and to all my friends, who were always present in my fail- ures and my successes ”. First-prize winner Jose Pinto completed the clarinet course at the Regional Conser- rjmusicgroup.com vatory of Music in Vila Real in the class of professor Luis Filipe Santos, and is currently ...catering to the discriminating in the Master in Performance program at professional and amateur musician. ESMAE with professor Nuno Pinto . Jose

March 2015 79 I.C.A. 2014 Orchestral Competition by Jeremy Reynolds

efore I give the report about this year’s orchestral competition, I first wanted to start off by thanking the BI .C .A . board for all its assistance with help- ing me over the past three years to make this a nicely run competition . I also would like to thank Peter Wright for initially in- volving me in the competition and then recommending that I coordinate . This year’s competition had 25 com- petitors from the United States, Canada and Japan . Anastasia Christofakis, Jenna Abdelhadi, Tim Skinner, Shih-Wen Fan, Deanna Brizgyis, Jackie Glazier, Benjamin Cummins, Evan Lynch, Erin Miesner and Jake Hale were invited to the final round . The required repertoire for both rounds was the exposition of the Mozart Concerto and seven standard orchestral excerpts . Our judges for the preliminary round were Louis DeMartino, professor of clarinet at the University of Oregon; Patrick Graham, principal clarinet of the Orlando Philhar- monic and Jason Shafer, principal clarinet of the Colorado Symphony . At Clarinet- Fest®, on the campus of Louisiana State front row: Shin-Wen Fan and Jackie Glazier; back row: Michael Rusinek, Greg Raden and Ben University, our finalists performed for Ben Lulich Lulich, newly appointed principal clarinet of the Seattle Symphony; Michael Rusinek, this competition . Thank you for all who tion material for 2015 competitions will be principal clarinet of the Pittsburgh Sym- have participated in the past three years! posted very soon on the I .C .A website . See phony and Greg Raden, principal clarinet Robyn Jones, ClarinetFest® 2014 Artis- you in Madrid! of the Dallas Symphony . tic Staff member and professor of clarinet The first-place winner was Jackie Gla- at the University of Memphis, Rudi E . zier, and second place went to Shih-Wen Scheidt School of Music, will take over as Fan . Jackie is currently studying with Deb- coordinator of the Orchestral Competi- Back Issues of bie Bish, and Shi-Wen studies with Nathan tion as my three-year term has come to a Williams . We appreciate all the time and close . If you have any questions regarding The Clarinet effort that our judges spent listening to next summer’s competition, please contact Back-issue order forms for The these fine candidates . After the final round her directly . The I .C .A . will continue its Clar­inet may now be downloaded was complete, all of our applicants received rotation of orchestral auxiliary instruments from the I.C.A. website: valuable comments from our three judges . by focusing on the E-flat clarinet in 2015 . www.clarinet.org. Copies may Both winners received a mouthpiece gener- The next auxiliary competition will be in also be re­­quested by con­tacting: ously donated by Gregory Smith . Manhas- 2018 with the bass clarinet . For all of these James Gillespie set Specialty Company sponsored the first- competitions, as with any standard orches- 405 Santiago Place place prize while MTNA sponsored the tral auditions, there are standard orchestral Denton, Texas 76205 second-place prize . excerpts required on both soprano and the Email: james .gillespie@unt .edu It has been a real pleasure coordinating auxiliary instruments . The complete audi-

80 The Clarinet I.C.A. 2014 Composition

Competition by Michael Norsworthy he 2014 I .C .A . Composition Competition called for a work for solo bass clarinet and drew a total of 26 entries from the U .S .A ., Puerto Rico, Korea, France, Czech Republic, TAustralia and Japan . The winner chosen was Lim Hyeong Sub (b . 1992) from Korea for his piece After The Pear Blossoms Dwindled... for solo bass clarinet . The prize awarded for this competition was $1,000 and a premiere performance at ClarinetFest®, which took place at the 2014 conference in Baton Rouge . by bass clarinetist Sauro Berti . Lim Hyeong-Sub’s piece is written with the advanced bass clari- netist in mind and includes multiple extended techniques, includ- ing glissandi, flutter tonguing, key clicks (with and without breath), multiphonics, vibrato, singing and playing, playing on mouthpiece alone, singing and screaming and an added percussive part per- formed with the player’s feet . It requires an instrument with a low C, and the player should be ready for quite a ride . The work is ap- proximately 11 minutes long and explores a wide range of emotions . The judges for this competition were coordinator and profes- sor of clarinet at The Boston Conservatory, Michael Norsworthy; Andy Vores, chair of composition and theory at The Boston Con- servatory; and Dalit Warshaw, composition faculty at The Boston Conservatory and The Juilliard School . Thank you to the judges for their participation and input . Next year’s competition is a special one named for The Ver- dehr Trio . It calls for a piece for violin, clarinet and piano, and the premiere will be presented in Madrid, Spain, at the 2015 Clari- netFest® . We are looking forward to the creation of more exciting repertoire for our instrument and can’t wait to see what comes next! Composer Biography: Lim Hyeong-Sub

Lim Hyeong-Sub (B. 1992) prize in composition, and my work was played . After my freshman I was born in Daejeon in South Korea, on December 21, 1992 . year, I won the prize at the Association of Korea piano duo com- Although my parents had no interest in , I was to- petition for my work Glorious Blood for 2 pianos . It was played in tally fascinated by classical piano on TV concert broadcasts at age 2012 in a special concert at the Seoul Art Centre and was my debut 7 . From 8 years old in music academy, I studied the piano formally on stage as a composer . and was affected by the music of Chopin and Beethoven . At age 19, I recognized my limitations as a professional pianist and, after a long deliberation, I changed my major from piano to classical com- position . After age 21 (2012), I studied at the Joong-ang University Visit the International Clarinet Association majoring in composition and continued to study piano . I won three first prizes in piano competitions from age 10 and on the World Wide Web: debuted as a piano player at age 16 in the two-piano concert held by the Daejeon Culture and Art Centre . WWW.CLARINET.ORG At age 20, in the 22nd musical journal concours, I won the first

March 2015 81 News from

by Ricardo Dourado Freire

wo clarinet events organized in Rio ing Emergencies (Sávio Novaes); Clarinet de Janeiro and São Paulo, the larg- and Chamber Music (Paulo Sérgio Santos) . est cities in Brazil, offered a variety The last day offered a series of research Tof performances, workshops and concerts lectures presented by Anderson Alves (Ex- for clarinetists during the last months of pertise on Clarinet), Aynara Silva (Perfor- 2014 . The second edition of the Inter- mance Aspects of the Sonatina for Clarinet national Clarinet Festival brought guests and Piano by José Siqueira) and Vinicius from Portugal, Spain and Argentina to de Souza Fraga (Clarinet Recordings: Per- Rio, and the first edition of the University formance Freedom of the Mozart Quintet of São Paulo Clarinet Symposium invited During the 20th and 21st Centuries) . The Henri Bok as an international guest and final event was a tribute to Paulo Sérgio more than 50 players during an intense Santos who was recognized with an award weekend of clarinet activities . from the Rio de Janeiro Clarinet Associa- tion . Paulo Sérgio worked for 18 years in II Festival de Clarinetistas the Orquestra Sinfônica do Teatro Municipal da UFRJ – FICRJ do RJ (Rio Opera Orchestra), played for 40 years in the Quinteto Villa-Lobos and devel- The Second International Clarinet Festival oped a successful career as a soloist in both held at the Universidade Federal do Rio de Cristiano Alves and José Botelho classical and popular music . Paulo Sergio Janeiro (UFRJ) was organized by Cristiano is regarded as one of the most influential Alves and realized in Rio de Janeiro dur- netas da UFRJ and Quinteto Villa-Lobos . clarinet players of all time, and this award ing September 16–23, 2014 . The aim was Cristiano Alves had support from José recognized his value to the Brazilian clari- to promote the clarinet and to foster the Batista Junior and César Bonan in organiz- net community . exchange among professionals and students ing an entire week full of events for clari- from Brazil and Latin America . The FICRJ net players at many different venues . The was held in partnership with many institu- purpose was to offer students the oppor- Universidade Federal do Es- tions, including tunity to have lessons with many different tado do Rio de Janeiro – UNIRIO, Academia teachers every morning . The afternoon was Brasileira de Música (Brazilian Academy the time for workshops and lectures about of Music), Associação de Canto Coral (Rio clarinet topics that included: Psychoacous- Choir Association) and the III Semana In- tics and Intonation (Ricardo Dourado ternacional de Música de Câmara do Rio de Freire); Alexander Technique for Clarinet Janeiro (III Chamber Music Week) with Players (Ovanir Buosi); Improvisation on concerts at Cidade das Artes. the Clarinet (Dirceu Leite); Developing a The list of guest performers included Personal Choro Style (Alexandre Ribeiro); international players Juan Ferrer (Spain), How to Prepare for an Audition (Mariano Mariano Rey (Argentina) and Nuno Pinto Rey); The Orchestral Clarinet Player (Juan (Portugal) . Brazilian guests included José Ferrer); Historical Aspects of the Clarinet Botelho, José Freitas, Paulo Sérgio Santos, in Portugal and Brazil (Fernando Silveira); Dirceu Leite and Fernando Silveira from How to Deal with the E-flat Clarinet (Sér- Rio de Janeiro; Sérgio Burgani, Ovanir gio Burgani); Clarinet with Electronics Buosi and Alexandre Ribeiro from São (Nuno Pinto); Clarinet Pedagogy and How Paulo; Joel Barbosa from Salvador; Ricardo to Start the Clarinet with Very Young Play- Dourado Freire and Rosa Barros from ers (Rosa Barros); Playing in a School Band Brasilia . Clarinet groups included Trio Cla- and Developing Improvisational Skills (Joel rioca, Quarteto Ômega, Ensemble de Clari- Barbosa); How to Fix Your Clarinet Dur- Paulo Sergio Santos

82 The Clarinet pal clarinet at the Orquestra Estadual de São Paulo and Sujeito a Guincho to follow a life without playing . One day, after eight years, he tried the clarinet again and it worked . The finger that use to trouble him was re- sponding and he came back to play in small orchestras and to teach privately . Mauricio Loureio talked about his problem of his lack of control of his right ring finger which he had lost control of due to overworking the movements during short periods of intense practice . He mentioned that he designed a padded ring for that finger that allowed him to play again . It was a touching mo- ment to see colleagues who worked so hard Bass Clarinet Quartet, Diogo Maia, Henri Bok, to achieve a high level of performance, and Luis Afonso Montanha and Daniel Oliveira then had to lose the ability to play and over- come the problems to learn to play again . The audience was moved by their tenacity I Simpósio Para Lucas and Luciano Pereira; New Possibili- and dedication to the clarinet – a true ex- Clarinetistas da USP ties for Clarinet Construction by Sergio ample of the love of music . Burgani and Daniel Oliveira; Acoustical There was a round table discussion on The University of São Paulo (USP) is Analysis of Musical Expression by Mauri- the topic of the role of teaching clarinet considered one of the most important in cio Loureiro and Luis Antonio Montanha; performance at Brazilian universities . The Latin America according to QS University Altissimo Register in the Bass Clarinet by guests were Joel Barbosa (Universidade Fed- Rankings . The clarinet community cheered Henri Bok and Luis Afonso Montanha; eral da Bahia), Mauricio Loureiro (Univer- when clarinet professor Luis Afonso Mon- sidade Federal de Minas Gerais), Guilherme Working Together: Collaborative Practice tanha announced the First Symposium for Garbosa (Universidade Federal de Santa with Two Clarinets by Joel Barbosa and Clarinetists at USP on November 15 and Maria), Herson Amorim (Universidade 16, 2014 . Ricardo Dourado Freire; Musical Expertise Federal do Pará), Ricardo Dourado Freire The symposium included only clarinet and Musical Anxiety by Gustavo Barbosa (Universidade de Brasília) and Luis Antonio groups and clarinet combinations with and Meryelle Maciente . Montanha (Universidade de São Paulo) . The no intruders! The performances were by A very special moment was the lecture presenters discussed the problems and solu- professional, amateur and student groups “Overcoming Injuries” by Edmílson Nery tions to balance music research and music and included: Klarinettemaschine Quintet, and Mauricio Loureiro . It was an emotional practice in the actual context of Brazilian Torcendo o dedo (Finger twist), Na trilha do moment because Edmílson developed focal universities . Chôro (Choro Way) Quartet, Clarinetetc . . dystonia and believed he could not play the The final concert united Alexandre Ri- Quartet, Madeira de vento (Wood Wind) clarinet anymore . He left his job as princi- beiro, Nailor Proveta and Sujeito a Guincho . Quinteto, Pernambuco Clarinet Quartet, Nó na Madeira (Wood Knots) Quartet, Quarto Elemento (Fourth Element) Quartet and Ensemble Jayoleno Santos . The tradition in the São Paulo state is to perform clarinet quintets with three clarinets and two bass clarinets, and most group names present a play on words . The original quintet ensemble and humorous name came from Quinteto Sujeito a Guin- cho organized in 1993, which presented the 3+2 formation whose name could mean “Danger of Squeaks” or “Tow-away Zone ”. The symposium had a new plan to bring two people together to discuss a single topic . It was a creative way to promote a debate and to allow different points of view . It was an excellent way to display a wide range of opinions in a short period of time . The symposium really worked as a place for discussion on the following Edmílson Nery, Luis Afonso Montanha, Luca Raele, Nailor Proveta, Sergio Burgani, Diogo themes: Historical Clarinets by Monica Maia, Alexandre Ribeiro and Nivaldo Orsi

March 2015 83 First, Alexandre presented a series of solos, playing Choros in a free improvisatory way and interacting with digital devices . Nailor Proveta is the leader of Banda Mantiqueira and was nominated for a Latin Grammy for Best Instrumental Group and is considered one of the main improvisers in Brazilian he first annual Chicago Clarinet ed groups from the United States as well as music . He took the stage to join Alexandre, Ensemble Competition was held at an ensemble from Columbia, South Amer- and they played a non-stop, 10-minute duo Northeastern Illinois University on ica . The Omega Clarinet Ensemble from based on Pixinguinha’s Cochichnado and TOctober 18, 2015 . The competition is par- Brazil adjudicated the competition . The Um a Zero . Sujeito a Guincho, with Sergio tially sponsored by Vandoren, Inc and the Novacane Clarinet Quartet (pictured below Burgani, Luca Raele, Luis Antonio Mon- Department of Music at Northeastern . Al- with the Omega Clarinet Quartet), won the tanha, Nivaldo Orsi and Diogo Maia, took though the competition was open to clari- competition and received a cash prize of the stage and invited Edmílson Nery to play net ensembles from three to six members, $1,000 . The competition will be held annu- again with them . Nailor Proveta and Alex- this year’s competition attracted all clarinet ally . Please contact Rose Sperrazza for more andre Ribeiro came back to play a clarinet quartets . The competing ensembles includ- information (r-sperrazza@neiu .edu) . extravaganza concert for an unforgettable night of wonderful clarinet playing . Clarinet events are changing in Brazil and Latin America, and new proposals are being developed to offer opportunity for professionals and students to share their ex- periences . The collaborations between uni- versity professors and orchestral players can offer a rich field for research and also musi- cal development . There is not a model to be followed but a variety of possibilities to in- spire the younger and the older generations .

Woodwindiana A resource for great clarinet music and CDs

Home of The Clarinet Doctor The Novacane Clarinet Quartet and the Omega Clarinet Quartet (jury) book and a place to purchase unique clarinet duets, trios & quartets from around the world. Visit the International Clarinet Association on the World Wide Web: Visit our website for full catalog WWW.CLARINET.ORG and ordering information: www.woodwindiana.com

For interesting and informative Brixton Publications Established 1985 articles on a variety of Concert Music for Students, Amateurs, and Professionals pedagogical topics, visit the Forum section at: Outstanding Clarinet Solos, Duos, www.howardklug.com Choirs & Chamber Music Woodwindiana, Inc. Visit our online graded catalog for a description of P.O. Box 344 each work and listen to sound samples for many. Bloomington, IN 47402-0344 (812) 824-6161 www.brixtonpublications.com/clarinet-2.html

84 The Clarinet ELECTRONIC PHOTO SUBMISSIONS FOR THE CLARINET

When scanning photos or setting your digital camera to create electronic images for use in the magazine, resolution is a very important consider- ation. For high-resolution printing, each photo must include at least 300 pixels per inch (ppi) at the approximate dimensions anticipated­ for use. To clarify, photos intended for reproduction at the one-column width should be at least 2.25” wide and include at least 300 ppi, while photos intended for reproduction at the two- column width should be at least 5” wide and include at least 300 ppi. Photos with inappropriate resolu- tion settings may have to be rejected­ because they will reproduce too poorly to use, or they may have to be used at a size smaller than an­ticipated in order to main- tain their quality.

Clarinet Compact Discs MITCHELL LURIE • RICHARD LESSER: CD301: TRIO INDIANA: James Campbell, Eli Brahms Clarinet Sonatas with Mitchell & Leona Eban, Howard Klug, Clarinets (clarinet faculty Lurie, plus Kessner, Dances for Clarinet & Guitar Indiana University). CD734: Music by Defaye, with Rchard Lesser & Jordan Charnofsky. Lurie, Schickele, Kulesha (with David Shea, clari- formerly princ. Chicago & Pittsburgh Symphonies; net, guest), Kibbe, and Fox. CD736: (with teacher U.S.C. over 50 years; Lesser was princi- Alfred Prinz, Mitchell Lurie, & Min-Ho Yeh, pal Israel Philharmonic for 35 years. guests). Music by Prinz, Heiden, Uhl, and CD739. Tasha Warren, CD737: Mitchell Lurie plays Halsey Stevens, Concerto for Clarinet & Unaccompanied Clarinet: Weill. “A marvelous group. Skillful musicians...a lovely ensemble String Orch; Lesemann, Sonata; and Muczynski, Time Pieces.”One of Rozsa, Tower, Ran, Dzu- of ravishing sounds.” American Record Guide. “Expert and highly the world’s most famous clarinetists” Fanfare Magazine bay, Yehuda, & Larsen. musical...enjoyable & satisfying hour.” Fanfare Magazine. : CD731. Principal THE WEBSTER TRIO Michael THE VERDEHR TRIO. (Elsa Clarinet 30 years, Chicago Symphony. Webster, clarinet, Leone Buyse, Flute; Ludewig-Verdehr, Clarinet).Newly-com- Rosza, Sonata & Sonatina for Clarinet Solo; Robert Moeling, Piano. CD357: Delightful missioned works for Violin, Clarinet, Piano, Rochberg & Schuller Trios for Clarinet, transcriptions of the Slavonic & Hungar- 20 CDs (see web for complete list.). A Horn, & Piano. “a showcase for Larry ian Dances by Dvorak & Brahms; plus sample: CD742: Rorem; Musgrave; Combs...impressive virtuosity” Fanfare. Debussy Petite Suite & Gottschalk. CD356: David; Vanhal; Liszt. CD743: Schuller; JONATHAN COHLER: CD733. Hindemith, So- Music by Debussy, Saint-Saëns, Bizet, Averitt; Currier. CD744: Dickinson, Husa, Freund, nata; Honegger, Sonatina; Francaix, Th. & Var.; Vaughan and Faure. “Delightful; exquisitely played.” Fanfare Niblock. CD745: Arutiunian, David, Sculthorpe, Schick- Williams, 6 Studies English Folksong; plus Milhaud, Bozza, ele. CD746: Diamond; Sculthorpe; Corigliano. CD748: and Kupferman “playing of real distinction” BBC Music MELVIN WARNER: CD332. Weber, Fantasia & Triple Concertos, Ott & Wallace. CD941: Menotti, Bruch; Rondo, Grand Duo Concertante; Stravinsky, 3 Songs Constantinides; Deak. CD942: Chihara, Diamond, Sat- MICHAEL EDWARDS: CD735. Clarinet Sonatas from Shakespeare; Penderecki, 3 Miniature; Martino, Set terwhite, Kramer, Biggs, Erb. CD943: Currier, Tower, by Saint-Saëns, Ladmirault, & Bjelinski. Martinu Son- for Clarinet; Spohr, Six German Songs; Wm. O. Smith, Gershwin/Brohn, Welcher, Biggs, Hoag. CD944: David, atina; Rabaud Solo de Concours . “Clarinet fanciers Five Pieces. “One of the finest clarinet recordings I Einum. CD945: Constantinides, Niblock, Wallace. CD946: will find a treat here.” Fanfare Magazine. have yet to hear.” Audio Magazine. Higdon, Sheng, Wolfgang, Chatman, Rihm. CD947: Lip- ENSEMBLE ISOLA (principals Gran Canaria LAWRENCE SOBOL: CD808. Hovhaness, Saturn, tak, Black/Bolcom, Mann, Ruggiero, Hartway. CD948: Philharmonic). Radovan Cavallin, clarinet. CD771: Trios: for Clarinet, Soprano, & Piano. Also Hovhaness Magnificat Sculthorpe, Conyngham, Knehans, Mills, Marshall. Brahms, Reinecke, Duvernoy. CD772: Czerny; Jenner; for Chorus, & Orch. “Saturn is a beguiling hymnal... CD949: Lorenz, Puts, Read Thomas, Hoiby, Freund. Duvernoy. “Delightful release...virtuosic.” Gramophone. freshness and vitality.” Classic CD Magazine. CD970: Brouwer, Sierra, Wolfgang, Wallace. CDs $16.95. Add $2.00 per order US shipping; $7 Canada; $10 other foreign (mention this ad). FREE CD with each purchase of three CRYSTAL® RECORDS, 28818 NE Hancock, Camas, WA 98607 USA, phone 360-834-7022, fax 360-834-9680 email: [email protected] • www.crystalrecords.com • Many more woodwind recordings; send for free catalog.

March 2015 85 News from

by Jean-Marie Paul

Anniversaries of Makers laï (currently one of the soloists of the Garde Republicaine) . The Orchestre Na- 015 is a year for the clarinet here . tional des Pays de Loire is located in the Buffet-Crampon was founded in cities of Angers and Nantes . The other 1825, so the company is 190 years soloist is Jean-Daniel Bugaj since 2006 . old;2 Selmer (1885, 130 years) and Van- Benjamin Christ doren (1905, 110 years) . Patrick Selmer retired in July 2013, Professors National Superior and Brigitte Dupont-Selmer is now Gen- Jerome Comte (Ensemble Intercontempo- Conservatories (CNSM) eral Manager . The new president of Buffet rain) has been named assistant professor at A reminder that Premier Prix has been re- Group since August 2014 is Jerome Perrod, the Paris Conservatory to replace Jean-Fran- çois Verdier . (The two current professors are placed by Mention très bien (Very Good), replacing Antoine Beaussant . and Second Prix by Mention bien (Good) . If you want to receive a history and still Philippe Berrod and Pascal Moraguès; chronology of these firms, send me an email Arnaud Leroy, assistant . All three are also CNSM Paris, June 19. Master: Floriane at jmpaul@vandoren .fr . You also can check clarinetists in the Orchestre de Paris.) Tardy, Mention très bien (unanimity of their websites during the year to be aware of Jean-Max Dussert (Boulogne Con- the jury with honors); Licence: Masako the events they organize (www .buffet-cram servatory near Paris) retired in November Miyako, Giovanni Punzi and Arthur pon .com, www .selmer .fr, www .vandoren .fr) and was replaced by Vincent Penot (bass Bolorinos, Mention très bien; Sarah clarinet, ) and Jerome Voisin Lefèvre, Mention bien (unanimity of the New Chairs (Orchestre Philharmonique de Radio France) jury); Renaud Guy-Rousseau, Mention who both share the position . bien . June 24: Master, Bass clarinet: October 13, Toulouse Capitole Orches- Julien Desgranges (Caen Conservatory Ghislain Roffat, Mention très bien (He tra, soloist: Floriane Tardy, currently and Orchestra) and Etienne Lamaison played at the 2014 ClarinetFest® .) co-principal of the Opera . She have been chosen at the Rennes Conserva- CNSM Lyon. Master: Benjamin Christ: replaces Francis Tropini who retired . tory this fall . Mention très bien (unanimity of the jury); Floriane won a brilliant 1st Prize last Lilian Harismendy, Mention très bien . June in Paris (see below) . October 24, Garde Republicaine Band, N .B . As in past years’ conferences, the clarinetist: Vincent Zamboni, pres- laureate(s) of the preceding year are spon- ently a student at the Paris Regional sored by Vandoren to play at the 2015 Conservatory (CRR, classes of Florent ClarinetFest® in Madrid, and it will be Flo- Héau and Franck Amet) riane Tardy and Benjamin Christ . In November there was a vacancy for solo bass clarinet to replace Rémi Lerner who Obituary retired, but nobody was chosen . This November 28: Jean Calmel, born in 1926 . was also the case in the Toulon Opera 1st Prize at the Paris Conservatory in Orchestra . 1950 . He had been a soloist in the Paris November 3, Marseille Opera: Co-prin- Air Force Band, then clarinetist at the cipal: Valentin Favre, currently profes- Orchestre National d’Ile de France until sor in the Conservatory of Paris, 12th 1991 . He is famous for having written arrondissement . Since 1997 the soloist is pedagogical tools: a method, Le Clarinet- still Alain Geng, who also officially suc- tiste, in 1966 (I used this method along- ceeded Claude Crousier (retired) this side the Klosé), studies and pieces for year at the Marseille Conservatory . clarinet and piano (Combre publishers) . November 8, Orchestre National des Pays November 11: Louis Maurric, b . 1921 . 1st de Loire, co-principal: Sabrina Mou- Floriane Tardy Prize at the Paris Conservatory, 1949 .

86 The Clarinet Recitals &

Student… Daniel Becker, clarinet, Doctoral Ensemble Recital, University of Arizona, October 16, 2014 . Six German Songs, Spohr; The Mysterious Transformation of Johann B.(2008), Cohen; Trio in B-flat, Op . 29, for Clarinet, Cello and Piano, d’Indy Clayton Dunaway, clarinet, D .M .A . Recital, Ball State University, November 9, 2014 . Paul Lamaze Peregi Verbunk, Op . 40, Weiner; Sonata for Clarinet and Piano in E-flat Major, Op . 120, No . 2, Brahms; Coconut Candy for Solo B-flat Clarinet, Mandat; Introduction, Theme, and Clarinetist, Paris Police Band (Gardiens Variations for Clarinet and Orchestra from La Donna del Lago, Rossini de la Paix) and professor of clarinet in Natalie Groom, clarinet, Master’s Recital, University of Arizona, October 30, 2014 . Nimes until 1982 . Sonata for Clarinet and Piano, Poulenc; Sonata in E-flat Major, Op . 120, No . 2, Brahms; May 7: Paul Lamaze, b . in 1953 . He was Abîme des oiseaux (Quatuor pour la fin du temps),Messiaen; Concerto for Clarinet and String solo clarinet of the Basel Symphony Orchestra, Copland Orchestra, Switzerland . He earned a 1st Prize at the Paris Conservatory in 1974 Faculty and Professional… nd and won a 2 Prize at the Geneva Inter- Gregory Barrett, clarinet, with Gene Collerd, bass clarinet; Northern Illinois University, national Competition in1979 . September 16, 2014 . “Clarinet Music from Spain ”. Andalusian Cadence, Barrett; Sonata April: Marcel Defrance. He had been a for Clarinet and Piano “Madrid,” Boccherini/arr . Barrett; Cantiga for clarinet and piano, clarinetist for a long time in the Garde Buide; Solo al Aire (Solo to the Air) para clarinete, clarinet bajo y piano, Muñoz; Sonata para Republicaine (and bass clarinet of the Clarinete y Piano, Sánchez; Romance for clarinet and piano, Velero-Castells Clarinet Quartet with Marcel Naulais, Andrija Blagojević, clarinet, The Milić of Mačva Legacy, Kruševac, Serbia, July 4, 2014 . Robert Truillard, Marcel Bedel); and as- Lecture Recital, Zov (world premiere, dedicated to A . Blagojević), Nikolić; Skylands Idyll sistant professor of the Versailles Con- (Serbian premiere), Cohen; A Chinese Serenade (Serbian premiere), Lim; Boatman Over servatory along with Henri Dionet, An- The River Yang-Tze (Serbian premiere), Lim; Lonely Chinese Fisherman (Serbian premiere), dré Boutard and Philippe Cuper . Lim; Caprice No. 1, Stadler; Caprice No. 2 (Serbian premiere), Stadler; Caprice No. 3 (Ser- bian premiere), Stadler; Capriccio No. 1, Grgin; Ode to Odessa, Wasserman-Margolis; Gigue (from Cello Suite No. 3), Bach (arr . Voxman) The Licorice Allsorts Clarinet Quartet, Cathy Pickett-Erskine, Carla Perrotta, Elaine Sweeney, clarinet, Barbara Hankins, clarinet and bass clarinet; First United Church, Wa- Back Issues of terloo, Ontario, September 23, 2014 . “Nola,” Arndt (arr . McLeod); Viktor’s Tale, Williams (arr . Wagler); Suite Hébraique, Glick (trans . Hankins); “Oh,Lady Be Good,” Gershwin (arr . The Clarinet Marshall); Solace, Joplin (arr . Kenny); Tango, Hiketick; Wave, Jobim (arr . Labadorf) Back-issue order forms for Gary Whitman, clarinet/bass clarinet, Victoria Luperi, clarinet; Joint Faculty Clarinet The Clar­inet may now be Recital, Texas Christian University, January 22, 2015 . Greetings from the Balkan for two downloaded from the I.C.A. clarinets and piano, Kovács; Duo de Concert for clarinet, bass clarinet and piano, Jeanjean; Konzertstuck No. 2 in d minor, Op . 114 for clarinet, bass clarinet and piano, Mendelssohn; website: www.clarinet.org. Fantaisie Italienne, Delmas; Introduction and Allegro Appassionato, Op . 256, Reinecke; Copies may also be re­­quested Three Pieces for solo clarinet, Hedges; Hommage à Manuel de Falla, Kovács . by con­tacting: * * * * * James Gillespie Programs intended for publication in The Clarinet should be sent to James Gillespie, 405 Santiago Place 405 Santiago Place, Denton, TX 76205, (Email: James .Gillespie@unt .edu; editor@clari- Denton, Texas 76205 net .org) . To ensure accurate program information, please send a printed program and a summary of pertinent data (names of performers and composers, site, date and titles of Email: james .gillespie@unt .edu works, etc .) in either an email or hard copy version in the format above . For student recit- als, only solo degree recital programs (junior, senior, master’s and doctoral) will be listed .

March 2015 87 The piece begins with a melodic An- dante section . The melody is simple and legato, requiring good breath control and sensitivity to the ensemble . A Vivace sec- tion follows with driving syncopated rhythm from the piano . The clarinetist will need to have a solid sense of rhythm in or- der to count and play through this section . The piece contains primarily quarter usic eviews to write for a pair of instruments in order and eighth notes, both staccato and slurred M R to get the most out of them tonally, har- notes, and employs double grace notes . The by Michele Gingras monically and rhythmically . Double Take range is just under two octaves, chalumeau definitely warrants a lot of practicing but A to clarion G, with a considerable amount Theresa Martin . Double Take for two clari- unquestionably has what it “takes” to result of crossing the break . Dynamics are used nets and piano (originally for two clari- in a cheering audience at the end . sparingly, although there are dynamic in- nets and concert band) . Potenza Music Double Take is a powerful work and ex- dications (cresc., decresc.) . A student will Publishing, 2014 . Duration: approx . cellent addition to our repertoire by one of find this solo both challenging and enjoy- 11’ . $29 .95 the clarinet world’s favorite contemporary able . The melody in the Vivace is lively and catchy, and there is enough variety in the Theresa Martin (b . 1979) is fast becom- composers . One can only marvel at what ing one of the most prolific composers of will come out of her pen next . entire solo to keep interest – both with the high-quality clarinet works with at least 20 contrast between slow and fast, and with all Jean-Marc Morisot (arranger); Noël… works published by Potenza Music alone . of the technical elements required to play pour quatuor de clarinettes Incidentally, kudos to Potenza Music for (Christmas the piece successfully . The piano accompa- making so many great works from living for clarinet quartet) . Score and parts . niment is easily sightread by an advanced composers available and for their stellar Gérard Billaudot Éditeur, Paris, 2013 . player . website . Distributed in the United States by The The quality of paper is excellent and Clarinetist virtuoso Robert Spring has Theodore Presser Company . Duration: the printing clear . Measure numbers are championed Martin’s works for years be- approx . 4’12” . $33 .95 included in both parts . The piano part is fore and after she completed her master’s housed in a laminated cover . Jean-Marc Morisot teaches clarinet in clarinet studies with him at Arizona State Compiègne in northern France . He ar- Eve Barsham. Meditation & Frolic University, where she also studied compo- , for B- sition with Randall Shinn, James DeMars, ranged a large number of works for small flat clarinet and piano . Emerson Edi- Rodney Rogers and Jody Rockmaker . She clarinet ensembles, including Noël… pour tion, 2007 . £5 .50 quatuor de clarinettes. The work is a short, earned her D .M .A . in composition and British composer Eve Barsham stud- clarinet performance at the University of moderately easy, and fun Christmas med- ied at the Royal Academy of Music and at Michigan where she studied composition ley . It includes Jingle Bells, We Wish You a Lady Margaret Hall, Oxford . She teaches with Michael Daugherty, William Bolcom Merry Christmas, Silent Night, O Tannen- in Oxford and is an examiner for the As- and Evan Chambers, and clarinet with baum, and ends with the French Christ- sociated Board . Her other compositions in- Deborah Chodacki . mas Carol, Il est né le divin enfant (He is clude songs, choral music and piano pieces . Her music is known to be energetic, born the Divine Child). The Adagio grand Meditation & Frolic is a 3 1/2-minute piece melodious and rhythmically driven and has opening segues into the various Christmas Meditation been performed throughout the U .S . and in songs, along with jazzy variation sections, in two movements: which is Canada, Belgium, Great Britain, Italy, Lux- rousing scale passages and a broad finale . marked Andante, and Frolic, an Allegro in embourg, Sweden, Tanzania, China and The score and parts will also be available cut time . The clarinet enters in measure 3 Taiwan . Her music has been recognized by electronically in the U .S . through Weezic after a short introduction . The melodies in a large number of composers’ conferences, Augmented Sheet Music® at https://store . Meditation are slow and expressive with a forums, symposiums, competitions, as well weezic .com/ . wide range of dynamics . There are plenty as by many top performers’ festivals . of rests to catch one’s breath, and the so- Double Take is a solid and substantial by Alice Meyer loist must be careful to count for accurate work dedicated to Robert Spring . It was entrances . The tempo of Frolic is brisk and premiered on March 14, 2014, by Spring Norman Warren. Easter Sunrise, for B-flat uses the full range of the instrument in and Martin with the University of Wiscon- clarinet and piano . Emerson Edition, runs and arpeggios . sin Fox Valley Concert Band who made the 2008 . £5 .00 This piece is a winner for an interme- commission . The subsequent piano reduc- diate player . Barsham uses the two-and-a tion is very well done . Easter Sunrise is a three-minute, inter- half octave range (chalumeau E – clarion Like some of her other works, the music mediate-level solo for clarinet and piano . G-sharp) effectively . The clarinet part is contains extremely lively and virtuoso pas- Written by British composer Norman War- enjoyable and engaging with both slow ex- sages, gorgeous minimalist sections and siz- ren, it is charming, and students, teachers pressive playing and fast, lively treatment zling technical fireworks . She knows how and audiences will enjoy it . of melodies . With a range of dynamics,

88 The Clarinet both staccato and slurred articulations, and duration of the piece is 4’30” . MacMillan is the pre-eminent Scottish a variety of note values, this piece offers a These pieces are for medium-advanced composer of his generation, producing ex- challenging treat to the student, and a solo level performers . The parts are written in citing new music which combines strong free from boredom! The piano part can be C, however, the music includes transposed rhythm, raw emotional power and spiritual played by a pianist with intermediate skills . parts for B-flat clarinet . They are scored for meditation . His music shows a strong con- As in the Norman Warren work above, two flutes, or two , or two clarinets nection with religious and social themes . the physical presentation is a plus . with piano . They may also be played with He first attracted major attention at the interchangeable woodwind combinations, 1990 BBC Proms in the U .K ., with the by Janice L. Minor such as flute-clarinet-piano, oboe-clari- première of The Confession of Isobel Gowdie . net-piano, flute-oboe-piano, etc . As such, His most widely-known work to date, how- Ira-Paul Schwarz. Impressions of a Cloud they would be suitable as short works to ever, is his percussion concerto Veni, Veni, and Romantic Memento: Duets with Pia- complement a recital program, as well as Emmanuel (1992), which has received over no . Jeanne Music Publications . $10 each . repertoire for advanced student solo and 350 performances!” ensemble contests . The work calls for a solo clarinet pitched Ira-Paul Schwarz (1922–2006) was pro- in A accompanied by a full orchestra con- fessor and composer emeritus at State Uni- by Paul Roe sisting of woodwinds (3-3-3-3) brass (4-3- versity of New York, Brockport . He was a 3-1), harp and strings, plus a plethora of professional clarinetist and saxophonist, an .Dance Music for Mr. Mouse percussion instruments . The work is dedi- arranger with the U .S . Navy Band and con- – A Cartoon Ballet for E-flat Clarinet and cated to John Cushing, clarinetist with the ductor of amateur and professional instru- Piano . Theodore Presser Company Royal Scottish National Orchestra . There mental and vocal ensembles . He composed are three movements titled The reiver and music for virtually all musical genres . He Daniel Dorff has written a most attrac- the bull; The Dream of Pectgils; and A served as a music and arts administrator tive work for the often-neglected E-flat mystical vision of the Christ-child . and has written four books and numerous clarinet – at least when it comes to solo rep- MacMillan adds further insight into his articles on music and aesthetics . Following ertoire . As someone who held an orches- work . his retirement in 1998, Dr . Schwarz moved tral position on E-flat clarinet some years Composed in 1996, this work to England where he was active as a com- ago it was great to be provoked into taking was premiered in 1997 as part of poser and teacher until his death in 2006 . the piccolo clarinet out again after years of the celebrations of the year of Nin- The two pieces being reviewed, Roman- neglect . It really was fun to play through ian, one of the founding fathers of tic Memento and Impressions of a Cloud, this piece . It’s not particularly difficult for Christianity in Scotland . St . Ninian, are part of the series “Continuum: A Set of a professional player and would certainly the first bishop of Whithorn, was be- Six Duos for Woodwinds and Piano.” The add variety and color to a recital program . lieved to have arrived in Galloway in six pieces in the continuum exemplify ba- It does go up to altissimo A towards the the south-west of the county in 397 roque, classical, romantic, impressionist, end, so for non-E-flat players it will take AD, nearly two centuries before St . modal-folk and 12-tone styles . Schwarz a little while to get your chops in shape to Columba landed in Iona . I grew up comments in the score: “Each piece of the play it . However, it certainly is worth the in the southwest of Scotland, where set utilizes techniques and devices of a par- effort . The publisher describes it thus: “… ticular musical period or style of Western over the centuries people have had a using rock-infused themes and the squeal- special devotion to Ninian, continu- music . These settings, however, employ ing glory of the E-flat clarinet…this dance contemporary musical practices, a musical ing to the present day . The concerto suite, which is at once entertaining, and has links geographically and musi- perspective not unlike recalling an experi- also a striking recital work…setting the tale ence of long ago ”. cally with the congregational Gal- of an exuberant mouse dancing himself to loway Mass I wrote in 1996 for one Romantic Memento depicts music from an early demise ”. the Romantic Era exhibiting both the emo- of Ninian’s successors, the Rt . Rev Maurice Taylor, Bishop of Gallo- tional qualities of Beethoven and lyricism by Robert Chesebro of Schubert . The piece is in two sections: way . The three movements are based on three of the so-called Miracles of The Adagio presents passionate melodies James MacMillan. Ninian, A concerto for Ninian, strange and evocative tales with complex rhythms and harmony while clarinet and orchestra . Piano Reduction about the saint and his followers, the Allegro, though often rhythmically uni- by Simon Smith . Boosey & Hawkes, documented in a Latin poem writ- son, still maintains harmonic interest . The 2005 . Approximately $36 duration of the piece is 3’30” . ten a few centuries after his death . Impressions of a Cloud represents the Im- James MacMillan was born in Scotland As well as being a concerto, the work pressionistic Era, reminiscent of Debussy in 1959 . He studied at Edinburgh Uni- is therefore also a collection of tone- and Ravel . Implementing the whole-tone versity and with John Casken at Durham paintings which give an impression scale and Largo tempo, the piece gives all (England) . He was a lecturer at Manchester of these ancient tales . parts the opportunity to be exotic and at- and returned to Scotland in 1988 living in There is an excellent recording (BIS la- mospheric . The wind parts are often paired Glasgow where he composes and teaches . bel) of this concerto with clarinetist John up melodically and rhythmically respond- The publisher gives a very accurate descrip- Cushing performing . The first two move- ing to the nebulous lines in the piano . The tion of MacMillan’s compositions: “James ments are approximately nine minutes each

March 2015 89 and the last movement runs close to 17 Hattori whose studies include time at the composer) marked by jazzy piano grooves minutes . It is truly an exciting work, a real Tokyo National University of Fine Arts and and passages of rhythmic and melodic uni- tour-de-force for the clarinetist and orches- Music and the Mozarteum in Salzburg . A son reminiscent of the writing of Messiaen tra, and the word powerful quickly comes frequent chamber music collaborator, she is and Charlie Parker . Performance of this to mind . At times it is bombastic, even ca- also a recipient of prizes in the Geneva In- work is convincing, with excellent ensem- cophonous, with copious use of the brass ternational Music Competition and Inter- ble and intonation through the difficult and percussion sections . This is contrasted national Telekom Beethoven Competition . rhythmic passages . Ladstätter is also quite with softer, poignant sections . With three The anchors of this recording are the adept at playing the demanding slower sec- difficult cadenzas and electrifying articula- iconic Opus 120 clarinet sonatas of Jo- tions with ease and subtlety of tone . tion speed required, it is a piece that would hannes Brahms which are the opening and With the exception of somewhat clumsy challenge any clarinetist . final selections on the disc . Ladstätter and English translations of program notes, Hattori’s readings of these two chamber Open Spaces is a well-conceived and ex- eviews music masterpieces are compelling and set ecuted project . Strong performances, com- CD R the bar for the quality performances one can plementary and imaginative repertoire and by Thomas Josenhans expect from their collaboration . Ladstätter’s an attractive CD jacket/insert make this a tone is warm and focused, and has a sweet- disc that will be immediately appealing and Open Spaces . Alex Ladstätter, clarinet; ness which is immediately appealing . His accessible to any listener . I look forward to Keiko Hattori, piano . : technique is clear and effortless, and he is future collaborations of this exciting duo . Sonatas, Op . 120, Nos . 1 & 2; Alban well matched by Hattori’s similarly skilled Berg: Four Pieces, Op . 5; Herbert Willi: performance . The duo’s readings of both by Osiris J. Molina Piece for clarinet solo; Gernot Wolfgang: works are optimistic, with flowing tempi Open Spaces. VMS MUSICAL TREA- and energy that does not over-indulge in Duo Palheta ao Piano – Brazilian Works SURES VMS 229 . Total time: 67:23 . the weight or nostalgia that sometimes per- for Clarinet and Piano. Jairo Wilkens, www .zappelmusic .com vade interpretations of late Brahms . clarinet; Clenice Ortigara, piano . Osval- The space between the bookend Brahms do Lacerda: Quatro Peças; Marlos Nobre: sonatas on this album is filled by three Desafio XI, Op . 31, no . 11a; Lindem- works: Berg’s Four Pieces, a 20th-century bergue Cardoso: Monódica I, Op . 106; mainstay of the clarinet repertoire, and Liduíno Pitombeira: The Magic Square, single-movement works by composers Op . 34; Harry Crowl: 25 Esboços . AL- Herbert Willi and Gernot Wolfgang . All VAROCOLLAÇO PRODUÇŌES AC three works use a stylistically similar musi- 002-13 . Total time 43:49 . contacts: al- cal vocabulary which, though far removed varo .cp@url .com .br or jairo .wilkens@ from the lush harmonies and melancholic gmail .com melodies of Brahms, is equally convincing . Willi’s unaccompanied Piece for Clari- net Solo was premiered in 1985 by Alois Brandhofer, a professor at the Mozarteum . The work has a slow-paced improvisational atmosphere in which silence and pitch are Vast geographical expanses/ Large inter- equally important . Willi’s aesthetic state- vals between neighboring pitches/ Stillness ment, “In stillness and intentionlessness between thoughts or sounds/ Differences to permit sounds to be is among the most between contrasting compositional aesthet- beautiful things that I can imagine,” is em- ics – all are concepts that might be apt in de- bodied in this introspective and haunting scribing an “open space,” and all play some work . role in Austrian clarinetist Alex Ladstätter’s Wolfgang’s Open Spaces, the name- recent CD release entitled Open Spaces . sake of this album, is the highlight of the Ladstätter’s career includes a diverse ar- disc . This fresh new work, commissioned ray of experiences: performances as solo by Ladstätter in 2013, explores percep- Brazilian Works for Clarinet and clarinetist with the Mozarteum Orchestra, tions that music can create space and land- Piano is the recent offering by the Duo Deutsches-Symphonie Orchester (Berlin), the scape, attempting to call to mind the vast Palheta ao Piano, a clarinet and piano duo Vienna Symphony and Vienna Philhar- expanses of the American West . The work featuring clarinetist Jairo Wilkens and pia- monic; chamber music at the Wiener Fes- is built upon the juxtaposition of contrast- nist Clenice Ortigara . Jairo Wilkens, clari- twoche and Musiktage Mondsee; and tours ing sections . Some, including the opening net soloist with the Municipal Symphony in Asia and Europe . He is also committed passages, are characterized by large inter- Orchestra of Campinas, has put together to new music and has a number of works vals, extremes in register and slower tempi . an album of works that incorporate tra- dedicated to him . His collaborator for per- These passages alternate with energetic ditional Brazilian musical mottos and the formances on this album is pianist Keiko sections (dubbed “traveling” music by the diverse contemporary stylings of the Bra-

90 The Clarinet zilian avant-garde . At 44 minutes, the al- guage . 25 Esboços is a well-crafted contri- ous CDs . In two cases (the Schumann and bum offers substantive works ranging from bution to the contemporary repertoire, and Prokofiev sonatas) the transcriptions are five to 14 minutes, and it is the premiere worth further investigation . Cohler’s own . recording of all five works presented here . As has been my experience, albums that Most clarinetists will already be familiar This has something for everybody . are recorded outside the United States, par- with Schumann’s Romances, originally for Osvaldo Lacerdas’ Quatro Peças (Four ticularly in Latin American/South Ameri- oboe and piano but published with addi- Pieces) are four short movements highlight- can recording studios, lack a certain spa- tional parts for violin or clarinet . These are ing the diverse ranges of the clarinet and ciousness and sonic depth . For some works given a lovely, lyrical reading on this disc, musical forms . The first two, “Chalumeau” this is ideal . However, some reverberation where Cohler’s ability to circular breathe and “Clarino,” are lighthearted, appropri- would have further enhanced the presen- (always subtly) certainly helps with the ate homages . The third, “Improviso,” is a tation here, particularly in the Crowl 25 long phrases . mysterious call and response conversation . Esboços . The piano sound is somewhat thin Schumann’s Op . 105 will The final movement, “Toccatina,” with its and the clarinet microphone placement probably be less familiar . This is not the spiky syncopations, is reminiscent of East- seems a bit close . It gives the clarinet line first recording of a clarinet version of this ern European folk music . an opportunity for great dynamic contrast, work, nor is Cohler’s transcription the only Marlos Nobre’s open-ended cycle of but also picks up the smallest imperfections one (there is a published transcription from Desafios (Challenges), of which there are in the reed . This is by no means a criticism Musikverlag Zimmerman in Frankfurt) . more than 50 pieces, are among the most of Wilkens and Ortigara . In fact, their per- Nevertheless, this work is not much played often performed Brazilian classical works formances and interpretations are substan- by clarinetists – and that’s a shame, because worldwide . The opening clarinet cadenza tive and compelling, and they have accom- it works beautifully on the instrument . As lives up to the title, and it is played with plished a great service to Brazilian music . Cohler points out in his liner notes, many great panache . The piano playing is vigor- of the sonata’s “problems” disappear in the ous and intense, and even the moments of by Jane Ellsworth clarinet version, and it works perhaps even repose have that crackling energy . Nobre’s better on clarinet than on violin . Given the Romanza – transcriptions for clarinet and work is six minutes of shifting characters relative dearth of Romantic clarinet sona- piano. Jonathan Cohler, clarinet; Rasa and moods . tas, this one is well worth adopting . Vitkauskaite, piano . : One of the mostly overtly virtuosic Prokofiev’s has been played works on this album is the Lindembergue Sonata No. 1 in A Minor, Op . 105; Three by clarinetists for some time now, ever Cardoso Monódica I . It requires a facile Romances, Op . 94; : So- articulation and a finely tuned ear . Mr . nata in D Major, Op . 94; Carlos Guasta- Wilkins does an admirable job of nego- vino: Tonada y Cueca; Las Presencias No. tiating these passages . The large leaps in 7 . ONGAKU RECORDS 024-123 . unison with the piano are difficult for any Total time 73:33 . www .ongaku-records . ensemble, and Duo Palheta has some ex- com, Amazon and CD Baby cellent moments here . The Magic Square by Liduíno Pitombeira is an all too rare example of how a strictly mathematical compositional process can yield a work with melodic interest . The square in ques- tion is a nine-box matrix influenced by the Fibonacci sequence, where each line’s inte- gers add up to 15 . This Sudoku-patterned structure yields set-theory cells that bind the work . It makes extensive use of the fall- ing glissando, but the work has many re- deeming aspects and it is a showpiece for both players . Harry Crowl, a Brazilian-American composer educated at Juilliard and Dar- tington, composed the 14-minute 25 Es- It is always a pleasure to review a clari- boços (25 Sketches) for Duo Palheta, to net CD where you can forget about the whom it is dedicated . This work incorpo- clarinet and just enjoy the music . Jonathan rates many of the most challenging con- Cohler’s new recording, Romanza, is such temporary techniques for the clarinet, and a CD . Here Cohler, a much-recorded artist, Wilkens seems quite at home with this lit- presents transcriptions of works for clarinet erature . It is obvious the duo thoroughly and piano in collaboration with the very enjoys this work, with its sudden mood fine pianist Rasa Vitkauskaite, with whom shifts and hyper-aggressive harmonic lan- he has already recorded a couple of previ-

March 2015 91 since its transcription by Kent Kennan in Tien . Louis Spohr: Concerto No. 1 in in various townships around Cape Town . 1984 . Several other clarinet transcriptions C Minor, Op . 26; Concerto No. 2 in E- Spohr composed his concertos for his also exist . Cohler has made his own ar- flat Major, Op . 57; Concerto No. 3 in F dear friend Johann Simon Hermstedt who rangement; he explains that he generally Minor (1821); Concerto No 4 in E Mi- played a huge role in the improvement retained the high register of the flute part nor (1828) . BRILLIANT CLASSICS and evolution of the clarinet . Spohr was in most places, and in some spots “took 94837 . Total time 98:48 (two discs) . a violinist and had little knowledge of the advantage of the additional low range of www .brilliantclassics .com clarinet and did not take its technical dif- the clarinet (that the flute does not have) to ficulties or range into consideration . He extend some multi-octave passages over an composed these works as if he were writing additional octave ”. a violin concerto leaving the clarinet soloist The Guastavino pieces on this CD have little room to breathe . Instead of rejecting also gained currency among clarinetists the works, Hermstedt decided to modify in recent years . Tonada y Cueca combines the clarinet, extending the number of keys movements originally written for solo on the clarinet from five to 13 . piano and voice accompanied by piano, There are few artists who have recorded respectively . The composer arranged it for all four of the Spohr clarinet concertos, and clarinet and piano in 1966 for the clarinet- this album is a tremendous addition to our ist Luis Rossi . Rosita Iglesias was originally list of excellent clarinet recordings . Each for violin and piano, but the violin part concerto is superbly performed by Maria was arranged for clarinet by Rossi (with the du Toit and the Cape Philharmonic . Con- composer’s agreement) . sidering the extraordinary technical and Cohler’s playing on this CD is mar- musical demands these works place on the velous . His tone is light and flexible, and South African clarinetist Maria du Toit performer, Maria du Toit rises to the occa- the intonation is impeccable throughout . has earned the reputation for being one sion with effortless technique and elegant The ease of the high register passages in of her country’s foremost instrumentalists lyricism . Maria du Toit, Arjan Tien and the Prokofiev sonata is particularly im- and enjoys a prolific solo career as well as the Cape Philharmonic seamlessly perform pressive . Some listeners may not like the being the principal clarinetist of the Cape each concerto with technical mastery and vibrato; personally I’m all for vibrato in Philharmonic Orchestra . She has been fea- musical sensitivity . Particularly impressive clarinet playing, although here I find its is du Toit’s absolute mastery of these works . tured with every major orchestra in South use a bit too constant . Cohler’s technique Living up to the label’s Brilliant Classics Africa as well as in the International Clari- and articulation are solid as a rock, mak- moniker, this recording is expertly mas- net Competition Jeunesses Musicales held ing it possible for the listener to focus solely tered, brilliantly performed and is a mag- in Bucharest, Romania . Du Toit studied on the wonderful music-making that is at nificent experience for the listener from in Stellenbosch in South Africa, the Man- the heart of the recording . The Schumann start to finish . hattan School of Music in New York, the works are played with perfect rhythmic Utrecht Conservatory in the Netherlands, flexibility, and the devilishly difficult pas- the Sofia Music Academy in Bulgaria, and by Michelle Kiec sages in the Prokofiev seem to pose no she is now on the faculty of the Univer- problems whatsoever . In fact, the Prokofiev Hidden Treasures. Seunghee Lee, clari- sity of Stellenbosch . She has released two performance here is the most convincing net; Evan Solomon, piano . Brahms: solo albums and one of these, Luminous and satisfying I have heard . “Poco Allegretto” (Symphony No. 3); Shade, has been nominated for a South I would be remiss if I did not praise Gounod: “Je veux vivre” (Romeo et Ju- the first-rate playing of pianist Rasa Vit- African Music Award . Her musical artistry liette); Tchaikovsky: None But the Lonely kauskaite, whose refined musicianship and has inspired two of South Africa’s leading Heart; Mozart: Queen of the Night (The collaborative skill are more than amply composers, David Earl and the late Roelof Magic Flute); Verdi: “Mercè, dilette” (I demonstrated on this CD . The recording Temmingh, to dedicate their newly com- Vespri Siciliani); Puccini: “E lucevan quality itself is excellent: very smooth, well posed clarinet concerti to her . le stelle” (Tosca); Gounod: “L’air des balanced and faithful to the sounds of both The Cape Philharmonic Orchestra, bijoux” (Faust); Donizetti: “Una fur- clarinet and piano . Also worth mentioning under the direction of Arjan Tien, is the tiva lagrima” (L’Elisir d’Amore); Rimsky- is the extensive booklet (English only, and most versatile and active orchestra on the Korsakov: Flight of the Bumble Bee; Mo- 35 pages!) written by the performers, which continent of Africa . Founded in 1914 as zart: “Voi che sapete” (The Marriage of is thoroughly researched and provides not the Cape Town Municipal Orchestra, the Figaro); H . Baermann: “Adagio” (Quin- just program notes, but new, insightful in- CPO is financially and culturally sustain- tet, Op . 23); Puccini: “O mio babbino formation about some of the works . able, attracting many of today’s leading in- caro” (Gianni Schicchi); Chopin: Etude, strumental artists . CPO presents up to 140 Op . 10, No . 2, “Chromatic”; Bizet: Se- by Julianne Kirk Doyle performances a year between their regular guidilla (Carmen); Bach: Arioso; Ros- symphony season, ballet and opera . The sini: La Danza (Tarantella Napoletana); Spohr – Complete Clarinet Concertos. CPO also runs a vast outreach and com- Puccini: “Nessun dorma!” (Turandot); Maria du Toit, clarinet; Cape Philhar- munity program that includes two youth Gluck: “Che farò senza Euridice” (Or- monic Orchestra conducted by Arjan orchestras and grassroots training projects feo ed Euridice); Michael Balfe: I Dreamt

92 The Clarinet That I Dwelt in Marble Halls; Michele Lee’s reinterpretation of perennial favor- the listener in a lush sound reminiscent of Mangani: Intermezzo and The Dancing ites for clarinet and piano are commend- the original orchestral setting . Doll . Artist produced . Total time 60:48 . able . Her depth of emotion combines with However, not all music is so well suited www .seunghee .com and Amazon an effortless ability to place intervals in the for adaptation . Je Veux Vivre lacks lightness altissimo, evidenced by an exquisite Queen and simplicity, while Rossini’s La Danza of the Night . Bach’s Arioso presents taste- appears to require extreme concentration ful ornamentation, inviting the listener to in order to mimic the nimble articulations challenge their conception of simplicity in of the original . Finally, the Tchaikovsky is phrasing . Brahms’ Third capitalizes on Lee’s an odd inclusion on this CD . While played depth of emotion and warmth of tone, par- well, it seems more suited for background ticularly in the chalumeau register . The in- music than a recital . terplay between the instruments, combined Finally, Lee has included two new works with clever pianistic voicings, embodies the by Italian composer Michele Mangani . romanticism of Brahms’ music, washing Written in the post-Romantic idiom, Lee

Korean-American clarinetist Seunghee Lee creatively re-imagines classical favorites in elegant transcriptions for clarinet and piano . Educated at the Eastman School of Music and Yale School of Music, Lee stud- ied with , Eli Eban and David Shifrin . Her performance credits in- clude appearances at the Chicago Cultural Center with the Dame Recital Series and Powell Symphony Hall in Saint Louis . As a soloist, Lee has performed with the Saint Louis Symphony, Yale Philhar- monia, Bucheon Philharmonic Orchestra of Korea and Jupiter Symphony of New Belgian Clarinet Academy York . Her two previous albums, Brava (2000) and Embrace (2011), received crit- Study clarinet with three of the world’s respected pedagogues in ically acclaimed success . The latter album beautiful Ostend, Belgium occupied the number four position on the HMV Classical Music Charts in Korea, while the present album, Hidden Trea- sures, soared to the number two spot on Hong Kong Records’ Top 10 Classical and Jazz Music Chart . Throughout this album, Lee plays with elegance and grace, enveloping the listener with a welcoming and inviting depth of Robert Spring Guido Six Eddy VanOosthuyse Professor of Clarinet Director Principal Clarinet tone . Interpreting each work with absolute Arizona State Conservatory by Sea, Ostend Brussels Philharmonic Conductor University Clarinet Professor clarity and precision, Lee imparts the careful Claribel Clarinet Choir Royal Conservatory Gent study of a perfectionist in this album . Each phrase speaks volumes, with clear intention- Daily study includes private lessons, master classes, recital performances, classes on warming up, reed making and adjusting, orchestral performing, and audition ality evident throughout . Lee deftly navi- success. Housing will be with guest families. gates the range of human emotion, aptly changing tone colors and intensity in order to draw in the listener . Her deft command Wednesday, July 8 - Tuesday, July 14, 2015 of technique is evident, as even the most intense passages provide no evident chal- Application due May 1, 2015 lengers . Overall, Lee performs the selections Tuition - 475 Euros beautifully, with just a hint of inconsistency http://www.belgianclarinetacademy.com in rapidly-articulated passages, particularly Robert Spring or Guido Six through the upper chalumeau register .

March 2015 93 beautifully interprets these pieces, display- album which contains a delightful collection somber character compared to the Sobeck, ing emotion without an excess of inflec- of several lesser-known gems . The only im- amidst the overlapping of musical material tion . Either piece, Intermezzo or The Danc- mediately familiar composer for me is Julius that allows the listener to enjoy the timbre ing Doll, would be a welcome contrast on a Fučík . The ensemble has come across a rich of the group . TheTrio , Op . 54 by Irish- recital of serious music . variety of repertoire of which few are likely American Swan Hennessy sounds Celtic in Lee’s gorgeous tone, nimble leaps, and to be aware . The group writes, “With this character, and the sense of dancing in the emotional prowess speak eloquently of her recording, Trio Pleyel aims to document a last movement is almost impossible to ig- training and self-proclaimed perfection- small part of the repertoire for two clarinets nore . The levity in the players’ “Vivace con ism . The breadth of selections and exqui- and one bassoon and bring it to the public, spirito” gives it a bouncy and airy charac- site transcriptions provide recitalists with a repertoire that is waiting to be rediscov- ter amidst several pauses that seem almost ered ”. The works they have selected come tongue-in-cheek . The Perpetuum mobile additional material that speaks to a wide from across the European continent . The by Julius Fučík is a cheery, bouncy romp, audience base . Reaching beyond the famil- brevity of most of the movements provides sure to bring a smile, and has some small iar, this disc would be a welcome addition a great deal of variety on one album . This reminders of his famous march Entry of the to any clarinetist’s library . album is of benefit to both the professional Gladiators . The Trio by Italian composer and the amateur looking to find new works Benedetto Carulli has some similar opti- by Cody Grabbe to perform or to simply enjoy hearing . The mism to the Hennessy and is a sunny end to timbre of the group is warm and the natural the CD and may remind some of Cavallini . Trio Pleyel . Johannes Gmeinder and Mat- interplay among the players comes across For players looking for accessible reper- thias Höfer, clarinets; Richard Morschel, clearly in any track on the album . toire for an easily assembled ensemble, this bassoon . Johann Sobeck: Trio in F Major, Trio, Op . 20 by Johann Sobeck, a stu- is a terrific starting point for new chamber Op . 20; Richard H . Walthew: Prelude dent of Carl Baermann, has an easygoing music opportunities . This album could be and Fugue; Swan Hennessy: Trio, Op . and charming nature amidst several run- the tip of the iceberg for other works wait- 54; Julius Fučík: Perpetuum mobile, Op . ning passages within the work . In the Pre- ing to simply be rediscovered, and I look 28; Johann Rummler: Trio B-flat Major, lude and Fugue by English composer Rich- forward to hearing the next album from Op . 7; Benedetto Carulli: Trio in B-flat ard Walthew we find a more reflective and this ensemble . Major, Op . 1 . BREMEN RADIOHALL RECORDS CD1305 . Total time 67:41 . www .bremenradiohallrecords .com and www .eClassical .com Contacts for The Clarinet Send all articles, recital programs, orders for back issues, announcements and any other non-commercial items intended for publication in The Clarinet to: James Gillespie, Editor/Publisher 405 Santiago Place | Denton, TX 76205 Email: [email protected]; [email protected] Send all recordings intended for re­view in The Clarinet to: William Nichols, Audio Review Editor 1033 Fawn Hollow | Bossier City, LA 71111 Email: [email protected] Send all printed materials (music, books, etc.) intended for review in The Clarinet to:

Trio Pleyel, formed in 2005, is an en- Gregory Barrett, Editor of Reviews semble made up of clarinetists Johannes School of Music, Northern Illinois University Gmeinder and Matthias Höfer with bas- DeKalb, IL 60115 soonist Richard Morschel . The players are 815/753-8004 | Email: [email protected] colleagues in the Frankfurter Opern- und Museumsorchester . Their trio’s namesake, Send all inquiries about advertising, I.C.A. membership, missing issues, notices of Austrian composer Ignaz Joseph Pleyel, change of address, etc., to: wrote a series of trios for this instrumenta- Madeleine Crouch, Executive Director tion and was a student of Haydn and Van- International Clarinet Association hal . An upcoming recording of six Pleyel Madeleine Crouch & Co., Inc. trios they found in their research will be 14070 Proton Rd. Suite 100, LB 9 released soon . Dallas, TX 75244-3601 “Waiting to be rediscovered” is written Email: [email protected] or Email: [email protected] on the website for this current Trio Pleyel’s

94 The Clarinet The as he will be retiring from the editorship on July 1, 2015 . We hope to have an interna- tional ClarinetFest® ceremony in Madrid, Spain and a U .S . ClarinetFest® ceremony in Kansas, so that all of Jim’s extended family President’s in the I .C .A ., and his family, friends and former students from the University of North Texas will have the opportunity to congratulate him, and thank him in person for his amazing contributions and welcome him as our Emeritus Editor .

by Maxine Ramey New Horizons for the I.C.A. By the time you read this article, you will reetings I .C .A . members! As I have received, and hopefully responded write this President’s Message, I to, a survey regarding some new directions am hoping that everyone had a the I .C .A . will be taking over the next few Ghealthy and productive 2014! months in relation to how we as an associa- tion communicates information, new ideas, We are so pleased to have in place the research, news, innovations, history and I .C .A ./James Gillespie Online Resource Li- scholarly information, and how we might brary Project as of December 2014! The In- use social media, online formats, apps, etc ., ternational Clarinet Association has moved in tandem with and connecting to our tra- forward to fulfill a long-held dream to digi- ditional print journal and website . tize four decades of The Clarinetjournal and It is very exciting to live in this age of make this information available in a search- Facebook, Skype, iPhone pictures and able format on its website to members video, Twitter, blogs and other forms of around the world . In honor of his impor- social media . Connection with clarinet col- tant legacy of education and excellence, the leagues throughout the world is literally at I .C .A . has named the library, the I .C .A ./ our fingertips! People from all walks of life, James Gillespie Online Resource Library . As be it students, professionals, teachers and editor of The Clarinetfor almost 40 years, amateurs, are communicating with each James Gillespie has guided and shaped the other in a real-time fashion that has never I .C .A’s . international outreach and mem- Maxine Ramey been seen before in the history of the world . ber communications . This year will be a For me, it is very meaningful to be Facebook very special one for the membership of the We will use the June issue and ClarinetFest® friends with some of our Young Artist Com- I .C .A . and for our editor, James Gillespie . 2015 and ClarinetFest® 2016 to honor Jim petition students, following their work back

Ben Armato, Ardsley, New York Paul Harvey, Twickenham, Middlesex, U.K. António Saiote, Porto, Portugal (1938–2013) Stanley Hasty (1920–2011) James Sauers (1921–1988) Betty Brockett (1936–2003) Ramon Kireilis, Denver, Colorado James H. Schoepflin, Spokane, Washington Clark Brody (1914–2012) Béla Kovács, Budapest, Hungary David Shifrin, Norwalk, Connecticut (1915–2003) Frank Kowalsky, Tallahassee, Florida William O. Smith, Seattle, Washington Larry Combs, Evanston, Illinois (1920–2009) Hans-Rudolf Stalder, Switzerland Buddy DeFranco (1923–2014) , Berlin, Germany Milenko Stefanović, Belgrade, Serbia , Frankfurt, Germany & Bobbio, Italy Mitchell Lurie (1922–2008) Ralph Strouf (1926–2002) , Paris, France John McCaw, London, England Elsa Ludewig-Verdehr, East Lansing, Michigan , New York, New York John Mohler, Chelsea, Michigan Himie Voxman (1912-2011) F. Gerard Errante, Las Vegas, Nevada Fred Ormand, Lawrence, Kansas George Waln (1904–1999) David Etheridge (1942–2010) Bernard Portnoy (1915–2006) David Weber (1914–2006) Lee Gibson (1915–2013) Alfred Prinz (1930–2014) Pamela Weston (1921–2009) James Gillespie, Denton, Texas Harry Rubin, York, Pennsylvania Michele Zukovsky, Los Angeles, California

March 2015 95 home in their country or receiving notices other and building relationships . It should ters the composition, publication, re- and pictures from clarinet festivals around be engaging, useful and relevant . It should cording, and distribution of music for the world . For many of us, we have become help members advocate for the clarinet and the clarinet; encourages the research friends even before we meet in person . help sustain a loyal membership who values and manufacture of a more definitive We function now in an information- the I .C .A . for the next 40 years . The I .C .A . clarinet; avoids commercialism in any rich society, and, because of social media, board strongly feels that the association form while encouraging communica- we know more about the clarinet than we must engage with members in this new way . tion and cooperation among clari- would have otherwise, whether it be a new Over the next several months, the I .C .A . netists and the music industry; and product or hearing a new work on You- board of directors will be developing a stra- encourages and promotes the perfor- Tube . We discover that we have more in tegic plan that will encourage members to mance and teaching of a wide variety RAISE YOUR PLAYING common than are our differences . We don’t connect and actively participate . While we of repertoire for the clarinet . TO A NEW LEVEL. need to wait for the next ClarinetFest®, to will still continue our print journal and To these ends, the association is hear the latest and greatest . For the friend- website, we hope to use social media in a dedicated to fostering communica- INTRODUCING THE V21 purposeful way in order to meet the needs ships we cultivate and networking we do tion and fellowship of clarinetists REED FOR CLARINET. at ClarinetFest®, we can continue the of our current and future members . The on a worldwide basis through pub- collaborations through social media . And goal is to build community and goodwill lishing a quarterly scholarly jour- more importantly, our colleagues in the in the clarinet world . nal, The Clarinet, producing an an- farthest reaches of the globe, who cannot The I .C .A . board of directors constantly nual clarinet festival, ClarinetFest®, access the journal, afford a membership or returns to the Mission Statement for guid- supporting a research library with would have no hope of ever traveling to ance in all issues . materials available to all members, a ClarinetFest®, can be brought into our and promoting a variety of other community to develop strong and mean- Mission Statement endeavors related to the clarinet and ingful relationships by using social media . The International Clarinet Associa- clarinet playing . Social media refers to the means of in- tion is a community of clarinetists What I am always reminded of are the teractions among people in which they and clarinet enthusiasts that supports words “community, communication, fel- create, share and/or exchange informa- projects that will benefit clarinet per- lowship” and the concepts of providing tion and ideas in virtual communities and formance; provides opportunities for opportunities for exchange of ideas and networks . Social media is about conversa- the exchange of ideas, materials and information . The second paragraph of tions, community, connecting with each information among its members; fos- the mission statement details three long- standing efforts in this regard: publishing a quarterly scholarly journal, The Clarinet, InternatIonal producing an annual clarinet festival, Clar- Summer inetFest® and supporting a research library . It makes good sense now to put efforts a cademy st 2015 into providing 21 -century opportunities ARIA2015 Boot Camp sessions at Mount Holyoke College, South Hadley, MA for members to formally and informally Mihai Tetel - Director communicate and exchange ideas using the cutting-edge tools available to us, by adding July 15-26 Faculty: a fourth category, that of digital communi- Deborah bish Florida State University cation . What might unfold for the I .C .A . is Ken Grant Eastman School a new way of looking at an editorial staff/   social media staff that would use all means ron samuels Pittsburgh Symphony &2012 Duquesne University available to meet the needs of members . . .. Guy yehuDa - Michigan State University I look forward to working with the membership throughout the coming year and seeing everyone at ClarinetFest® 2015 July 28-August 8 Faculty: Demand performance. in Madrid, Spain! Deborah ChoDaCKi Louisiana State University www.vandoren.com Paul CiGan University of Maryland & National Symphonyr steve Cohen Northwestern University The Clarinet Jonathan Gunn Cincinnati College-Conservatory & Cincinnati Symphony PUBLICATION SCHEDULE i The magazine is usually mailed during the last week of February, May, August Intensive sessions on technique, intelligent practicing, musicianship, auditions, and career. and November. Delivery time within

For more information please contact Prof. Mihai Tetel at [email protected] or North America is normally 10–14 days, visit our website at www.ariaacademy.com while airmail delivery time outside of Telephone • 765.212.0327 North America is 7–10 days.

96 The Clarinet AA © 2014 Vandoren SAS. www.vandoren.com Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60642, 888.707.4455, www.dansr.com RAISE YOUR PLAYING TO A NEW LEVEL.

INTRODUCING THE V21 REED FOR CLARINET.

  . ..

Demand performance. www.vandoren.com

© 2014 Vandoren SAS. www.vandoren.com Imported to the U.S. by DANSR, 818 W. Evergreen, Chicago, IL 60642, 888.707.4455, www.dansr.com WIND7904 CSVR Clarinet ICA2.qxp_Layout 1 2/18/15 10:05 AM Page 1

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