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UniversiV MicraFilms Internationcd 300 N. Zeeb Road Ann Arbor, Ml 48106 8324875 Clark, Stephen Lee LEON RUSSIANOFF: CLARINET PEDAGOGUE The University of Oklahoma D.M.A. 1983 University Microfilms I nternsti one! 300 N. zeeb Road, Ann Arbor, Ml 48106 Copyright 1983 by Clark, Stephen Lee All Rights Reserved THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE LEON RUSSIANOFF: CLARINET PEDAGOGUE A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS BY STEPHEN LEE CLARK Norman, Ok1ahoma 1983 LEON RUSSIANOFF: CLARINET PEDAGOGUE APPROVED BY Dr. David Etherl'flge, Chairman Dr. E Ptofessor Ronald Hass Dr. ilrerryiNeil Smith Dr. Irvin Wagner DOCUMENT COMMITTEE DEDICATION This work is dedicated to my wife and daughter, Janet and Julie. Ill ACKNOWLEDGMENTS The author would like to express his sincere apprecia­ tion to Leon Russianoff. Without his willingness to donate his valuable time, this study would have been virtually im­ possible. The author would also like to express gratitude to Penelope Russianoff, Sylvia Russianoff, Alan Balter, Louis Bartolone, Frank Cohen, Larry Combs, Naomi Drucker, Stanley Drucker, F. Gerard Errante, Michael Getzin, Stephen Girko, Charles Neidich, and Michele Zukovsky for donating their time to be interviewed. The author is indebted to the chairman of his docu­ ment committee. Dr. David Etheridge. His guidance, encourage­ ment, and many hours of planning and editing significantly contributed to the success of this study. Gratitude is expressed to the other members of the committee, Dr. Eugene Enrico, Professor Michael Hennagin, Professor Ronald Hess, Dr. Jerry Neil Smith, Dr. Dale Vliet, and Dr. Irvin Wagner for their guidance and suggestions during the course of this study. The author would also like to thank Dr. Melvin Platt, Coordinator of Graduate Studies in Music, for the guidance IV and encouragement he provided. Acknowledgment is made to the Graduate College for their generous research grant, allowing the author the opportunity to travel during the interviewing process. Acknowledgment is also made to Schirmer Books (A Division of Macmillan Publishing Co. , Inc. , Nev; York) , the publisher of Leon Russianoff's Clarinet Method, for permitting reproduction of copyrighted material. Finally, the author would like to thank his wife, Janet, for all the tedious hours she spent at the type­ writer. Her patience, faith, support, and encouragement were extremely valuable to the author. V TABLE OF CONTENTS Page ACKNOWLEDGMENTS ........................................... iv CHAPTER I. INTRODUCTION ...................................... 1 Procedures .................................. 3 II. THE BIOGRAPHY OF LEON RUSSIANOFF ................ 6 His Early Years ................................ 6 Family Background ........................... ® Childhood and Youth ......................... 8 The 1930's ....................................... 9 Early Musical Training .................... 9 Study with Simon Bellison .................. 12 College Years ................................ 14 Early Clarinet Teaching Career ........... 15 The 1940's ....................................... 17 First Marriage ............................. 17 Broadway Shows ............................. 19 The 1950's ....................................... 21 Decision to End His Playing Career .... 21 Study with Daniel B o n a d e .................. 22 Influence of Simon Kovar .................. 26 The 1960 ' s ...................... 27 Second Marriage ............................. 28 The 1970' ....................................... 34 The 1 9 8 0 ' s ....................................... 37 VI III. TEACHING PHILOSOPHY AND RELATED METHODOLOGY . 39 General Philosophy ......................... 39 A Guide To Rational Living ................ 41 Marxist Influence ........................... 43 Erich Fromm .................................. 44 The Student-Teacher Relationship ........... 4 6 "The Inner Game" (Intellectual vs. In­ stinctual ........... 51 Specifically Related Methodology ............. 53 Individuality ............................... 53 Instinct or Sensory— "Imprinting" ......... 55 "Imprinting" Learning Techniques ............. 57 Count Aloud .................................. 57 "Sing 'Da'" .................................. 59 "Look At Your Fingers" .................... 61 "Tongue C u e " ............................... 63 "Blowing Without Playing" .................. 64 "Forget Everything You've Just Learned. Just Play. " .................................. 67 Other Miscellaneous Techniques and Exercises . 69 The Backswing ............................... 69 "Beat-To-Beat" ............................... 7 0 The Pyramid Study ........................... 71 "Add-A-Note" ............................... 73 Handling Wide Skips ......................... 74 Picture Patterns of Scales and Chords . 76 IV. SUÎ-1MARY AND C O N C L U S I O N S ............................. 7 8 BIBLIOGRAPHY ............................................. 88 APPENDIX A. Interview Questions Notable Former Russianoff Students ......... 94 B. Selected Interviews Larry Combs ..................................... 100 Naomi Drucker ................................... 114 Stanley Drucker ................................. 125 Michele Zukovsky ............................... 142 C. A List of Literature That Has Influenced Leon Russianoff's Philosophy ........................ 153 vii LEON RUSSIANOFF: CLARINET PEDAGOGUE CHAPTER 1 INTRODUCTION One of the best indicators of a teacher's effective­ ness is the degree of professional success attained by his students. Using this criterion, Leon Russianoff has to be considered one of the most effective and successful clarinet teachers in the world. Some of his notable former students include the following: the entire clarinet section of the New York Philharmonic— Stanley Drucker, Peter Simenauer, Michael Burgio, and Steve Freeman; Larry Combs, principal clarinetist of the Chicago Symphony; Frank Cohen, principal clarinetist of the Cleveland Orchestra; Michele Zukovsky, principal clarinetist of the Los Angeles Philharmonic ; Stephen Girko, principal clarinetist of the Dallas Symphony; Richard Pickar, principal clarinetist of the Houston Sym­ phony; Alan Balter, former principal clarinetist of the Atlanta Symphony, and now associate conductor of the Balti­ more Symphony; Phil Fath, former principal clarinetist of the San Francisco Symphony; Martin Zwick, former principal clarinetist of the Utah Symphony; James Smith, former 1 principal clarinetist of the Miami Symphony; Naomi Drucker, former principal clarinetist of the North Carolina Symphony; Edward Palanker, bass clarinetist of the Baltimore Symphony ; Fred Hedling, bass clarinetist of the Minneapolis Symphony; Michael Borschel, bass clarinetist of the Vancouver Sym­ phony; Charles Neidich, former Fullbright scholar at the Moscow State Conservatory in Russia and second prize winner of the 1982 Munich Clarinet Competition; Michael Getzin, clarinetist in the United States Army Band at Fort Meyer, Virginia and founder of Klar-Fest '81 at Catholic Univer­ sity in Washington, D.C.; Bob Wilber, famous jazz clarinet­ ist; Jerome Bunke, producer, musical and educational director of Music Minus One; F. Gerard Errante, renowned avant-garde clarinetist; and Louis Bartolone, former principal clarinet­ ist of the Milwaukee Symphony and solo clarinetist of the United States Military Academy Band at West Point, New York. Russianoff's phenomenal success as a clarinet teacher warrants this detailed