Vol. 45 • No. 1 December 2017

Tao AChunxiao: Chinese Legend

Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet

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

— JONATHAN GUNN

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

ASSOCIATE EDITOR Jessica Harrie [email protected]

EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017. Emily Kerski – [email protected] It is the hope of the ICA board that the Capital Campaign will not only help to secure THE CLARINET ONLINE the future and continued success of our wonderful organization, but will help those in need in the clarinet world. We seek to assist, particularly those younger students, who Jason Alder and Jessica Harrie [email protected] cannot aford membership, equipment that is up-to-date or who might wish to apply to young artist competitions, or travel grants. ABOUT THE COVER: Tank you to those who submitted surveys for ClarinetFest® 2017 and for our youth committee initiative. Our younger members are our future, and we are making a

Vol. 45 • No. 1 concerted efort to get more of them involved in the ICA. Please encourage your students December 2017 to join. Tank you to Mitch Estrin for chairing this important committee, and thank you also to those on the committee for your innovative ideas and insight. Please encourage your students to enter the various competitions. We are excited for the composition competition which will feature a work for clarinet quartet (3 B-fat and B-fat ). Te deadline is December 20, 2017; the winner will receive a $1,000 prize and a performance of the work at ClarinetFest® 2018. Antonio Fraoli is Tao Chunxiao: coordinator. Please visit clarinet.org for details. A Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report Stay tuned for exciting updates on ClarinetFest®2018 in Ostend, hosted by The Genesis of Gustav Jenner’s Artistic Director, Eddy Vanoosthuyse, Chantal and Bert Six and the Ostend team. Visit www.clarinet.org/clarinetfest/clarinetfest-2018 and be sure to read the article in this issue of Chinese clarinet legend Tao Chunxiao the journal for important ClarinetFest® 2018 information. Te lineup of artists is amazing, with many exciting concerts and tourist attractions. Te Clarinet (ISSN 0361-5553) is published 4 times Te ICA is honored to announce the Guido Six International festival a year by the International Clarinet Association which will be part of ClarinetFest® 2018 in Ostend. Tis will be the inaugural Clarinet International Clarinet Association Choir Festival to honor the late Guido Six who did so much for the clarinet world- 829 Bethel Road, #216 wide. Te Guido Six International Clarinet Choir festival will take place at all future Columbus, OH 43214 ClarinetFest® conferences. [email protected] Tank you for your continued support of the International Clarinet Association. Stay +1 888-983-5441 tuned for many exciting events ahead, and in the meantime, please accept my best wishes to you and your families for Happy Holidays and a blessed 2018! www.clarinet.org ICAclarinet facebook.com/icaclarinet

Follow me on Twitter at © Copyright 2017, International Clarinet Association. @ICAPres for Views expressed by the writers and reviewers in Te Caroline A. Hartig @ICApres ClarinetFest® updates! Clarinet are not necessarily those of the staf of the President, International Clarinet Association journal or of the International Clarinet Association.

2 | THE CLARINET DECEMBER 2017 International Clarinet Association President: Caroline Hartig – ICA Research Center: [email protected]; @ICAPres University of Maryland – www.lib.umd.edu/scpa/scores President Elect: Mitchell Estrin – [email protected] Research Coordinator and Library Liaison: Secretary: Denise Gainey – [email protected] Jesse Krebs – [email protected] Pedagogy Chair: Treasurer: Tod Kerstetter – [email protected] Diane Barger – [email protected] Social Media Editor: Executive Director: Evan Lynch – [email protected] Timothy Phillips – [email protected] E-Newsletter Editor: Jessica Harrie – [email protected] Webmaster: Kevin and Sonya Morgan – www.morgansites.com Historian: Jean-Marie Paul – [email protected]

The ICA wishes to thank for four years of dedicated service as International Representative. We are currently working to redefne the international position and the new Chair of International Relations will be announced in the March 2018 journal along with details regarding this new position.

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

DECEMBER 2017 THE CLARINET | 3 Features Advertiser Index AMB Clarinet ...... 12 32 The Genesis of Gustav Ann Arbor Clarinet Connection...... 33 Jenner’s Clarinet Sonata Belgian Clarinet Academy ...... 61 by Elizabeth Aleksander Brannen Woodwinds ...... 28 Bufet Group USA ...... IFC, 51 36 An Interview with Chopsaver ...... 69 Tao Chunxiao – Clark W Fobes ...... 18 a Chinese Clarinet Legend Classical Collection Inc...... 73 by Shuang Zhu Claude T. Smith Publications, Inc...... 41 Crystal Records...... 57 42 Achieving Different Tone D’Addario Winds ...... 1 Colors Through David McClune Service...... 27 Variations in Air Speed 32 DePaul University School of Music...... 65 by Dennis Nygren Freewing...... 54 James M. Pyne-Clarion ...... 31 46 Interview with J.L. Smith & Co...... 45 Larry Maxey 46 Kirstin Bertrand’s Woodwind Shop...... 23 by Michael Walsh Kornel Wolak ...... 39 Lift Clarinet Academy ...... 41 48 ClarinetFest® 2017 Lisa’s Clarinet Shop ...... 29 Report Lomax Classic Mouthpieces ...... 19 by Jessica Harrie Luyben Music Co...... 7 Muncy Winds ...... 17 56 ClarinetFest® 2018 Oleg Products, Inc...... 61 by Eddy Vanoosthuyse Patricola Brothers ...... 59 ReedGeek, Inc...... 79 RJ Music Group ...... 78 Rodriguez Musical Services...... 67 Departments Roosevelt University...... 39 Rovner Products ...... 55 2 The President’s Message 26 The Clarinet Enthusiast Royal Musical Collection, Inc...... 5 by Caroline Hartig by S. Michael Plaut Royal Musical Instruments...... 21 The Clarinet Choir Sunderman Conservatory of Music at NEWS 28 Gettysburg College ...... 79 by Margaret Thornhill 6 Clarinotes Taplin-Weir...... 33 14 Letter from the UK 58 ICA General Business Vandoren ...... IBC by Paul Harris Meeting Wichita Band Instrument Co...... 53 by Denise Gainey 16 News from Latin America Yamaha Corporation of America...... OBC by Ricardo Dourado Freire REVIEWS PEDAGOGY 62 Reviews 20 Pedagogy Corner 76 Audio Notes by Diane Barger by Christopher Nichols Announcements 2018 Research Competition ...... 67 22 Historically Speaking 78 BuzzReed 2018 High School Solo Competition...... 69 by Kristine Nichols with by Deborah Check Reeves 2018 Orchestral Audition Competition .....75 Spencer Prewitt and Eric Salazar 24 Clarinet Cache 2018 Young Artist Competition...... 73 by Kellie Lignitz-Hahn and 80 Hysterically Speaking Call for Honorary Membership Bret Pimentel by Eric Hoeprich Nominees ...... 65

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NEWS

CYPRUS CLARINET FESTIVAL by George Georgiou and Kristine Dizon Cyprus Clarinet Festival faculty and attendees Te frst edition of the Cyprus Clarinet Festival was organized by George Georgiou and Radovan Cavallin. It took place from June 14-19, 2017. Te festival, which hosted nearly 25 participants, featured master classes taught by George Georgiou (Cyprus) and Angelos Angelides (Cyprus). International artists included Radovan Cavallin (Croatia/Spain), Nuno Pinto (Portugal) and Hedwig Swimberghe (Belgium). Te faculty performed a series of concerts, which included Pinto performing works for clarinet and electronics by João Pedro Oliveira and Nikola Resanovic. Georgiou performed works written by Cypriote composers for ensemble, directed by Kristine Dizon. In performed works for clarinet and delay contemporary clarinet. Cavallin performed addition, Swimberghe performed works step. Te fnal concert concluded with the Cyprus premiere of Oscar Navarro’s for solo clarinet and a duet for clarinet students performing in a clarinet ensemble Second with clarinet and bass clarinet with Pinto. Angelides directed by Swimberghe.

BUFFET CRAMPON USA CELEBRATES 10TH ANNIVERSARY OF SUMMER CLARINET ACADEMY by Matt Vance Philharmonic), André Moisan (Montreal and accessories during the week, including Symphony Orchestra) and Mark Nuccio barrels, bells, mouthpieces and ligatures Bufet Crampon USA recently celebrated (Houston Symphony Orchestra). Every from the ICON accessory line. the 10th anniversary of their Summer student received a one-on-one lesson At the conclusion of the academy, Clarinet Academy at the University of with each artist, in addition to daily awards were presented to students that North Florida in Jacksonville. Held master classes. Te students also studied showed excellent musical growth and July 10-15, the Academy hosted 20 instrument technology with BCUSA collegiality during the week. Olivia undergraduate and graduate students woodwind technician Bruce Marking, Galante, a student at the Eastman School from around North America for a week of learning basic care and maintenance. of Music, was selected to receive the clarinet education with Bufet Crampon Students were given the opportunity Stanley Drucker Award and was presented clarinet artists J. Lawrie Bloom ( to tour the Bufet Crampon USA with a new Bufet Crampon Tradition Symphony Orchestra), Victoria Luperi Headquarters during the academy to try B-fat clarinet hand-selected by the (Pittsburgh Symphony Orchestra), Bufet Crampon clarinets and accessories. artist faculty. A full tuition scholarship Pascual Martínez-Forteza (New York Several students purchased instruments for the 2018 Academy was presented to

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NEWS

Students pose with faculty and organizers

Northwestern University student Steven Zhang in recognition of his outstanding Students work with technician Bruce Marking during Instrument Technology Class progress at the academy, and Taylor Overholt of the University of Cincinnati College-Conservatory of Music received honorable mention. Te 2018 Summer Clarinet Academy will be held July 16-21 and will welcome (Paris National Opera Orchestra), Florent Héau (Paris CRR), Inn-Hyuck Cho (Metropolitan Opera Orchestra), Victoria Luperi (Pittsburgh Symphony Orchestra) and Alcides Rodriguez (Atlanta Symphony Orchestra) to the artist faculty. Audition and application information will be posted on the academy website (www. bcsummerclarinetacademy.com) and Facebook page soon!

22ND ANNUAL BELGIAN CLARINET ACADEMY by Kimberly Fullerton Each day started of with a group topics. Spring started of the week with warm-up led by Spring, which consisted a demonstration on how to make your nd Te 22 annual Belgian Clarinet Academy of technical exercises and the introduction own reeds. Te next day, Cuper gave took place from July 4-11, 2017, in of extended techniques such as double- a presentation on the history of the Ostend, Belgium. A total of 24 students tonguing and circular breathing. Students clarinet. On the third day, Vanoosthuyse then had the opportunity to attend and from various countries including Spain, discussed the audition process and how participate in a rotating schedule of group Belgium, France, Germany, Russia, Cuba lessons and ensemble coachings given best to prepare. Bish concluded the series and the USA, were in attendance. Faculty throughout the day by members of the of master classes with a presentation on for this year’s academy consisted of Robert faculty. practice techniques and clarinet repertoire. Spring, Deborah Bish, Eddy Vanoosthuyse In addition to lessons and rehearsals, Te fnal two days of the academy and Philippe Cuper. daily master classes were given on multiple were reserved for student performances.

8 | THE CLARINET DECEMBER 2017 NEWS

Students had the opportunity to perform their solo and chamber repertoire for their peers and host families. Te clarinet choir then gave the closing performance with Vanoosthuyse, Cuper and Bert Six as conductors. Featured soloists for the performance were Kristi Hanno (USA), Rebecca Ankenbrand (Germany) and Katherine Breeden (USA). Te BCA would like to give special thanks to Chantal Six-Vandekerckhove for her invaluable knowledge and expertise which help to make the academy a success year after year. Te BCA would also like to thank the host families, whose kindness 2017 Belgian Clarinet Academy and generosity helped to make the Participants and Faculty academy a home away from home.

MIDDLE TENNESSEE STATE UNIVERSITY 17TH ANNUAL HONORS HIGH SCHOOL CLARINET CHOIR by Todd Waldecker Cundari. Members of the MTSU Clarinet Five Hebrew Love Songs arranged Studio assisted throughout the day and led and conducted for clarinet choir and On March 18, 2017, the Middle Tennessee sectional rehearsals. Te day concluded percussion by MTSU music major State University School of Music hosted with a concert featuring the Honors High Katiana Nicholson. Te arrangement its 17th annual Honors High School School Clarinet Choir performing works was completed in partial fulfllment of Clarinet Choir, welcoming over 40 of by Holst, Gershwin, Te Beatles and Nicholson’s MTSU Honors College thesis. the most accomplished high school Frank Perkins. clarinetists from the region for a day of Te MTSU Clarinet Choir also For more information about the 2018 clarinet choir fun. Te event was hosted performed on the fnal concert and MTSU Honors High School Clarinet by Todd Waldecker, professor of clarinet presented works by Harvey, Ronkin and Choir, contact Todd Waldecker at at MTSU and graduate assistant Michaela the world premiere of Eric Whitacre’s [email protected].

2017 MTSU Honors High School Clarinet Choir conducted by Todd Waldecker

DECEMBER 2017 THE CLARINET | 9 NEWS

KEY CHANGES AND CLOSING CHORDS

Compiled by Jessica Harrie

KEY CHANGES Swiss clarinetist Hans-Rudolf Stalder (1930-2017) Amitai Vardi was recently passed away on July 28, 2017. A student of appointed assistant professor of in France, Stalder played solo clarinet in Zürich Tonhalle clarinet at the Kent State University orchestra and taught at the Basel High School of Music. He Hugh A. Glauser School of Music. is an honorary member of the ICA. A tribute will appear in Afendi Yusuf was recently an upcoming issue. appointed principal clarinet of the Bulgarian clarinetist Petko Radev (1933-2017) passed . away on September 23, 2017. Radev is an honorary member of the ICA. A tribute will appear in an upcoming issue. CLOSING CHORDS Retired National Symphony Orchestra clarinetist Loren George Townsend (1932-2017), Western Illinois University professor Amitai Vardi Kitt passed away on September 4, 2017. A tribute can be of clarinet emeritus, passed away on found in this issue. March 18, 2017. A tribute can be found in this issue. Harvey Hermann, longtime woodwind assistant to the Clarinetist and creator of the woodwind.org bulletin director of bands at the University of Illinois and creator board Ken Shaw (1943-2017) passed away on June 28, of the University of Illinois Clarinet Choir, passed away on 2017, at the age of 74. August 4, 2017.

Information in this column is gathered from the Clarinet Jobs Facebook Group and submissions to [email protected].

IUP CRIMSON SQUAWKFEST by Rosemary Engelstad Dibert also had the opportunity to work IUP student Anthony McDonnell. with Morrison in a performance class. Te Squawkfest concluded with a large Te Indiana University of Pennsylvania Te morning activities ended with a large ensemble performance directed by clarinet studio and Rosemary Engelstad group discussion that focused on strategies Rosemary Engelstad and IUP alumna, hosted their inaugural Crimson Squawkfest on March 4, 2017. Te for performance preparation. Marykate Kuhne. Te day was a success, featured artist for the one-day event was Te afternoon began with a potpourri packed full of fun and clarinet fellowship. Pittsburgh-based clarinetist, Amanda recital in Gorell Hall featuring performers Te IUP clarinet studio looks forward to Morrison. Te festival began with a large Amanda Morrison, Rosemary Engelstad, hosting the second Crimson Squawkfest clarinet ensemble rehearsal that brought David Martynuik, Evan Engelstad and on April 7, 2018. together 35 clarinetists from Western Pennsylvania and Maryland. Following the rehearsal, Morrison led an exciting discussion about preparing and performing Eric Mandat’s Double Life. IUP clarinetists Catherine 2017 IUP Crimson Squawkfest faculty and attendees Kasun and Jenn

10 | THE CLARINET DECEMBER 2017 NEWS

LIFT CLARINET ACADEMY 2017 by Lara Mitofsky Neuss Spring. Following this full circle experience, began with a passionate masterclass by Spring, Starling and Ferreira performed a Spring, focusing on musical details such Te Lift Clarinet Academy wrapped up handful of light-hearted trios by Jacques as rhythm, style and emotion. Te class its fourth successful summer in June at Boufl and Peter Schickele. concluded with a heartfelt talk between Colorado State University in Fort Collins, Te week then began in full force, Spring and the students where he shared Colorado. Created in 2014 by Wesley starting out with topic classes, lessons and his own musical path and ofered career Ferreira (Colorado State University) and quartet rehearsals. Te beginning half of suggestions. On Friday, Ferreira and Jana Starling (University of Western the week at the Lift Clarinet Academy Starling brought a perfect combination of Ontario), this invigorating festival is dedicated to technical and musical personal inspiration and clarinet pedagogy continues to bring in the country’s fnest training. Students were placed in topic to their joint master class. upcoming clarinetists. An established classes based on their pre-determined In addition to musical training, the pedagogue joins Ferreira and Starling each year, and the three work as a team to personalized goals and in quartets based Lift Clarinet Academy places a high value mentor and guide students both musically on their audition recordings. Classes and on personal connection to music, musical and personally. Robert Spring, esteemed quartet coachings facilitated by faculty were peers and life experience. Troughout the clarinetist, pedagogue and professor of inspiring and uplifting, covering topics week the students connected while enjoying clarinet at Arizona State University joined including articulation, tone production, a hike up to Horsetooth Reservoir, a festival the trio this year. Ferreira and Starling altissimo, extended techniques, intonation gathering in the park and an afternoon were both pupils of Spring which created and warm-up. A highlight of the week in Fort Collins’ Old Town. Te week an intimate and family-like atmosphere was Wednesday night’s roundtable on culminated in a fnal concert featuring four for the academy. performance anxiety, in which students student soloists, student clarinet quartets Upon arrival, students gathered for the were given the opportunity to speak via and the full Lift Clarinet Academy choir annual faculty performance held in the Skype with clarinetist Christine Carter, an performing Rikudim by Jan Van der Roost. Organ Recital Hall. Ferreira and Starling expert in the feld. Students and faculty then gathered for a opened the show performing Freebirds by Te personalized training during the beautifully catered reception to celebrate Scott McAllister, a work they often perform frst three days prepared students for the the week’s success. together, which was originally premiered by latter half of the week. Tursday morning See you next year!

2017 Lift Clarinet Academy Participants and Faculty

DECEMBER 2017 THE CLARINET | 11 NEWS

FIRST ANNUAL SUMMER CLARINET ACADEMY AND COMPETITION Photo by Stéphane Gentil

First annual Henri Selmer Paris Summer Academy attendees and faculty

by Amy Humberd James Campbell (Indiana University recitals. In addition, each guest artist was Jacobs School of Music), Michael Rusinek featured in one of three electrifying night Te inaugural Henri Selmer Paris Summer (Pittsburgh Symphony, Curtis Institute of concerts scheduled throughout the week Clarinet Academy and Competition was Music and Carnegie Mellon University), with repertoire ranging from Carl Maria held on the beautiful campus of Michigan Robert Spring (Arizona State University), von Weber and Luigi Bassi to William O. State University from May 31 - June 4, Tasha Warren (Michigan State University) Smith and . 2017. Academy Artistic Director Guy and Stephen Williamson (Chicago Te festival also aforded an intensive two-part competition of solo Yehuda (Michigan State University, Symphony Orchestra, DePaul University). unaccompanied works by Stravinsky, Lansing Symphony Orchestra) hosted the Te fve-day festival ofered energetic, Husa and Carter, with three winners being festival, which boasted an all-star faculty engaging master classes with six of the selected from the fve competitors in the of guest artists including Philippe Berrod faculty as well as individual and group fnal round. Tird prize winner, Steven (Paris Conservatory, Orcheste de Paris), lessons, and two student Gooden (), received a Selmer Concept mouthpiece, second prize winner, Chia-Yun Yeh (Michigan State University), received $1,000 USD and frst prize winner, Aileen Razey (University of North Texas), received a new Selmer Presence clarinet. Te festival ended with a farewell reception and presentation given by representatives from Henri Selmer Paris and Conn-Selmer in the Hart Recital Hall. For more information about the festival, a tentative schedule, faculty information or announcements regarding the 2018 academy visit www.henriselmeracademy.com.

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REMEMBERING LOREN KITT by Lora Ferguson Loren Kitt On September 4, 2017, the clarinet world sufered a huge loss with the death of Loren Kitt (1941-2017). Kitt died in Glens Fall, New York only a little more than a year after his retirement as principal clarinetist with the National Symphony Orchestra Photo by Kennedy Center in 2016 Kitt was revered by his colleagues for his artistry and musical leadership. After receiving word of his passing, NSO acting assistant principal clarinetist Paul Cigan, remarked, “He was one of the great musical leaders of the orchestra. We’ve lost an incredible musical voice.” Kitt’s solo work on numerous recordings with the orchestra and with chamber groups is highly regarded by musicians throughout the world. As a teacher at Oberlin Conservatory, Peabody Conservatory, Catholic University and the University of Maryland, he infuenced countless students, many of whom went on to important positions in orchestras and colleges. A native of the state of Washington, Kitt studied with Ronald Phillips of the Seattle Symphony. In 1959, he enrolled at the Curtis Institute as a student of , receiving the artist’s diploma in 1963. After graduating from Curtis, Kitt played with the Bufalo Philharmonic for one year and the Milwaukee Symphony for three seasons as principal clarinet. Antal Doráti appointed Kitt as principal clarinet with the NSO in 1970. Kitt was a founding member of the Smithsonian’s Twentieth Society of Lincoln Center and the Festival of Two Worlds in Century Consort, the American Chamber Players and the Spoleto, Italy. National Symphony Chamber Players. He performed with other Survivors include his wife Catherine Kitt of Camden, Maine, chamber ensembles nationally and internationally, including the daughters Sandra and Karen, stepchildren Cindy and Chris, a Emerson String Quartet, the Beaux Arts Trio, the Chamber Music brother, a sister and three grandchildren.

REMEMBERING GEORGE TOWNSEND (1932-2017) by Kathy Karr (Townsend’s daughter; 1966 as the frst ensemble in residence at principal fute of the Louisville Orchestra; George WIU. Te quintet gained international Townsend fute professor at the University of Louisville) fame with their series of recordings Music Minus One. During Townsend’s tenure the George Townsend was professor of toured extensively throughout the and chairman of the wind and percussion , Mexico and Yugoslavia. Te area at Western Illinois University. He quintet made its Carnegie Hall debut in began teaching at WIU in 1964 and 1983, receiving rave reviews in the New became professor emeritus when he retired. Townsend also served as a faculty York Times. member at the Interlochen Arts Camp Townsend served as principal clarinet from 1973-2003, teaching clarinet and with the Knox-Galesburg Symphony chamber music. He was highly regarded and bass clarinet with the Quad City as an adjudicator of international Symphony and the Traverse City clarinet competitions and was a frequent Symphony. He began his career as a performer at clarinet conventions. clarinetist in the President’s Own Marine As a performer, Townsend was a Band in Washington D.C. He received his founding member of the Camerata bachelor’s, master’s and doctoral degrees Woodwind Quintet which was formed in from the University of Illinois.

DECEMBER 2017 THE CLARINET | 13 NEWS

Letter by Paul Harris from the

TWO OF A KIND Paul Harris explores the history of UK clarinet duets

don’t know about you, but I the second volume there are the 24 Easy nothing of particular signifcance, so I’ll always play duets with pupils at Duets on Operatic and Standard Melodies, restrict myself to various one-of duets some point in a lesson… and as a intended, as Lazarus charmingly puts it, to written by important composers. Te frst particular pupil and I were playing “form the style of the pupil.” Tese are all is the Suite for Two Clarinets by Alan Frank Ia really exhilarating duet by Henry arrangements and among them are some (of the famous Turston and Frank Clarinet Lazarus the other day, it gave me the idea really efective concert items – Lazarus’s Method), published in 1934 and written for for this particular letter. I thought I’d look, version of Mozart’s Non Piu Andrai being Turston and Ralph Clarke, who together in general terms, at the history of U.K. especially good. It’s the third volume, constituted the clarinet section of the BBC clarinet duets, for there is quite a rich though, where you will fnd the real Symphony Orchestra for many years. Alan and impressive catalogue of works to treasure. On opening the very frst page we was senior editor at Oxford University be discovered. are plunged into what Lazarus ambitiously Press, the publisher of this Suite. Te It would seem that the frst-ever entitles Tree Grand Artistic Duets. In duet is comprised of four short, witty and duets date back to 1803 with the Four fact, these are three monumental works, imaginative movements. A recording exists Concertante Duetts to be found in the each made up of multiple movements and played by the two dedicatees on Volume Oxford-born, Irish clarinetist John Mahon’s certainly worthy of performance as well 1 of Te Clarinet: Historical Recordings on New and Compleat Preceptor for the Clarinet. as technical and musical study. Lazarus Clarinet Classics. It’s a real treat to have this Mahon had a brother, William, who was takes great pains to ensure that both parts performance available! also a clarinet player, and maybe this was have equal status and engagement. Tey Next is the frst of two works by the reason he was inspired to produce some really are rather special. And that’s not all. Gordon Lewin, a delightful man whom music for two clarinets together. Tough Later in the volume we fnd Tree Operatic I met a number of times towards the end concertos for two clarinets were written Duets, similarly large-scale and written of his life. Two of a Kind was published around this time, these may be the frst ever to get the best out of the instrument. in 1953 and is made up of fve short duets for unaccompanied clarinets. Tey Te fnal of these operatic duets (and my movements. Similar to the Frank suite, they are quite substantial, too – number four personal favourite), Robert Le Diable, is a are lighthearted and very playable. Gordon lasting nearly 20 minutes! real winner with audiences. Very bold and was always proud of being a member of the Tere seem to be no more duets written dramatic and not too lengthy, it makes for orchestra that had recorded the incidental by English composers until the great a very colorful concert item. music to two iconic television programs – produced his magnifcent Lazarus was my teacher’s teacher’s “Dr. Who” and “Tunderbirds!” three-volume New and Modern Method teacher – John Davies/George Anderson/ Te Short Sonata for Two Clarinets in 1881. Inside this mighty tome you Henry Lazarus – all of them living to great was written in 1956 for my teacher, John will fnd a considerable number of such ages, which is why I can trace my clarinet Davies, by Antony Elton and published by works. In the frst volume, we have the lineage so far back in so few connections. J.W. Chester. Born in 1935, Elton was a 20 Easy and Progressive Duets, suitable for So I have a rather special place for these composer, conductor and lecturer in music players of really quite elementary level, wonderful works. Do explore them if you at Durham University before moving to and full of inventive music. Among them haven’t already. Australia. It’s certainly worthy of study. are many duets infuenced by any number As the 20th century moved forward, Te work is in a more contemporary of European dance styles: polonaise, various new tutors and methods emerged style and concludes with a fast-moving tyrolienne, redowa, mazurka, polka. In complete with occasional duets – but and exciting fnale. Nearly 10 years later,

14 | THE CLARINET DECEMBER 2017 NEWS

Views of the Blues, also by Gordon Lewin, was published by Boosey and Hawkes in 1986. Tis very versatile composer has served up three jazzy and fun movements in this collection – not too complicated and certainly a winner with audiences. My fnal duet is the 1988 Divertimento by Malcolm Arnold (published by Queen’s Temple Publications), a fascinating work and one of his last. Tere are six enigmatic movements with much of the material derived from his Ninth Symphony. I came to know Malcolm well some years after he had written this piece, but he would never reveal why he’d written these duets. Tey seem to be from another world – long and deeply contemplative melodies contrasted with short, witty episodes. Audiences fnd these intriguing, but they do need some words of introduction for best efect. So, there are lots to choose from, whether you just like to play duets with pupils or friends or are looking for some interesting and unusual concert repertoire. Hope you enjoyed your fall and can fnd some occasions for more duet playing this winter! v

ABOUT THE WRITER Paul Harris is one of the U.K.’s most infuential music educators. He studied the clarinet at the John McCabe wrote his Bagatelles – eight Weddings and a Funeral and many others) Royal Academy of short (and quite complex) pieces full of but his concert music is very fne. Tese Music, where he won polyrhythmic writing. Perhaps not for the duets can be played by more intermediate the August Manns faint-hearted, but as with all of McCabe’s students and are very attractive indeed. Prize for outstanding music, it is top quality. Tey have been Two years later, Richard wrote his superb performance and where he now teaches. recorded by the Chicago (or Crosstalk. Tis really is a terrifc work for He is in great demand as a teacher, at least by two members thereof!). the medium. Richard and Tea King were composer and writer (he has written over Te same year saw the publication deep in conversation one evening at the 600 music books and compositions), and of the frst of two duets by Richard Dartington Summer School talking about his master classes and workshops continue Rodney Bennett. Conversations has fve repertoire. Te next morning Tea woke to inspire thousands of young musicians movements in a very accessible style. up to fnd Crosstalk on her foor by the and teachers all over the world in both Richard is perhaps best known for his flm door, Richard having written it overnight! the principles and practice of musical work (Murder on the Orient Express, Four It’s a must if you don’t know it! performance and education.

DECEMBER 2017 THE CLARINET | 15 NEWS

News from

by Ricardo Dourado Freire

bout 10 years ago, a group of Costa Rica, Equator, France, Guatemala, RF: As an ensemble, how have you developed Colombian clarinet players Portugal, Venezuela and Uruguay. original repertoire and which experiences were studying in Caracas as helped the group to fnd a musical part of the Latin American RICARDO DOURADO FREIRE: When identity? AClarinet Academy organized by Waldemar was the Columbian Clarinet Quartet HG: At frst, we looked at the standard Rodriguez. Tey were young and willing formed and what was the initial idea for international repertoire for clarinet the group? to develop new projects such as starting a quartet. Very soon after, we began HERNÁN DARIO GUTIERREZ: Te clarinet quartet. Hernán Dario Gutierrez, to write our own arrangements of Columbian Clarinet Quartet was Guillermo Marín, Fredy Pinzón and Juan Latin American music. Tese frst formed in February of 2007, in arrangements were well-received by Alejandro Candamil (Bass clarinet) started Caracas, Venezuela. All members the public and our professors. At our the adventure of creating a clarinet quartet were fellow students at Simón Bolívar exams, the jury of the examination that could represent their country and University studying for the Masters of proposed that we continue with this culture. Today, the Cuarteto Colombiano Music with emphasis on instrumental project in the following semesters. Tus, de Clarinetes (Colombian Clarinet execution. Te group initially formed we wrote and organized many more Quartet) displays the culture of Colombia to fulfll the requirements for a arrangements of Latin American pieces to audiences around the world. Te chamber music course. We all had and over time, the standard repertoire ensemble is recognized by the Colombian previous experience playing in clarinet was displaced. Te quartet started to Ministry of Foreign Afairs for their quartets, but we had never played gain prestige and performed several performances in Belgium, Bolivia, Brazil, together as a group before. recitals in Venezuela. In 2008, we received support from Simón Bolívar University to attend the European Festival for Clarinet Ensembles held in Ghent, Belgium. Tis was our frst international performance, and all works presented were Latin pieces.

RF: How did you have the idea for the veggie clarinets and to compose a piece for organic instruments? HG: By 2009, the Colombian Clarinet Quartet had already joined the national concert series promoted by the Banco da Republica from Colombia. Tis series is considered one of the strongest cultural institutions in the country, featuring programs for music, visual arts, theater and literature in many theaters throughout the country. In 2012, the quartet was The Columbian Clarinet Quartet in 2007 programmed for a series of eight

16 | THE CLARINET DECEMBER 2017 NEWS

Clariveggies

children’s concerts at the most clarinets and bass clarinet. Tere is prestigious hall in Bogota, the Luis a small part where the Claricarrot, Ángel Arango Teater. We needed Claricassava and banananet play with to think about doing something the bass clarinet simultaneously. Te entertaining for children, and we piece ends with a Cumbia where we started looking for alternatives. We added two hoses tuned in F-sharp came across some musical games and and C-sharp to play the bass line. found a video on the internet of Linsey Because organic instruments don’t Pollac showing how to construct a last for more than three days, we need clarinet with a carrot. Using his idea, to build and tune new instruments we made a Claricarrot and explored for each concert. Tere is a trick, other vegetable products. After some however, in the construction of the research, we built similar instruments instruments. mouthpieces with a green banana, creating the are used to make the instruments more Banananet and with the cassava, comfortable to play. creating the Jucaphone. Diferent Tis piece that was meant to be just vegetables had specifc timbres and something entertaining for children, we had to work on tuning to allow but it reached a wider audience, and has become a requested piece in our the instruments to be played in an concert programs. We have been ensemble and simultaneously with able to present the work regularly in the clarinets. Once this was done, we Uruguay, Brazil, Ecuador, Portugal had to think about what we could and Colombia, and in many other do musically. From there, we had to international clarinet festivals. write a piece so that we could show diferent phases of the sound that are RF: What are the major contributions from strange and shocking for the audience; the Columbian Clarinet Quartet to because they do not believe the sound Latin American clarinet players? is possible alone, let alone together. HG: I think our most important Te piece presents a small contribution is providing an example improvisation for the Claricarrot alone. for other ensembles by keeping the Te tune is then accompanied by two group together and successfully

DECEMBER 2017 THE CLARINET | 17 NEWS

Quartet has been given the status of National Artist afliated with the Ministry of Foreign Afairs of Colombia. We take part in the plan to promote Colombian culture around the world. Our immediate plan is to take part in scheduled concerts at Colombian Embassies around Latin America and Europe. We are also composing, arranging and commissioning original compositions that will be in our frst CD, due to be recorded in 2018. Te quartet has a ffth member, Oscar Gutierrez, who contributes by playing percussion, , cuatro (a four-string small guitar, similar Cuarteto Colombiano de Clarinetes in Uruguay to a baritone ukulele) and writing arrangements. Te presence of percussion and harmonic instruments promoting the group nationally and Young groups use the repertoire for allows the clarinets to play with internationally, since most groups concerts and in some cases for chamber freedom and ofers a variety of timbers disappear after a short period of time. music competitions in Colombia. that enrich the musical possibilities for Another way we have contributed is the clarinet quartet. that we have shared a good amount RF: What are the plans for the next 10 years? It is a challenge to start a chamber of repertoire with beginning quartets. HG: Since 2013, the Columbian Clarinet group, but it is even harder when all members play the same instrument, because you are never going to all have jobs in the same city. After a few years, it is very difcult to keep the interest and to maintain the same goals as a group. Te Columbian Clarinet Clarinet and Saxophone products Quartet has shown that they have the strength to look forward for 10 more years. We will continue to compose, INTRODUCING THE NEW arrange and play concerts with the same youthful enthusiasm and love for 10K playing the clarinet. v Computer machined from German rod rubber and ABOUT THE WRITER hand fnished, the 10K series represents craftsmanship Ricardo Dourado Freire is professor and design expertise developed over 30 years from of clarinet at making more than 10,000 professional mouthpieces. Universidade de Brasília (UnB) in Brazil. He studied Visit our website for premium at UnB with Luiz clarinet accessories, including: Gonzaga Carneiro, • Custom barrels for all clarinets and at Michigan State • Peter Leuthner reeds University with Elsa • Tuning rings, and more! Ludewig-Verdehr. Freire is an enthusiast of Latin American music, both classical and popular, and has participated in clarinet events in Brazil, Colombia, Italy, Peru, Portugal, USA and Venezuela.

18 | THE CLARINET DECEMBER 2017

PEDAGOGY

by Diane Barger, ICA Pedagogy Chair Corner “PLAY PRETTY”

or as long as I can remember, mesmerized by my other teacher, Frank with your most ideal, unique tone quality. my mother has always told me Kowalsky, whose tone quality was like As for equipment, again, the best tools to “play pretty” before every liquid velvet (or, “like buttah” for those of will simply allow you to reach your full performance. If she was not able you who watched the “Cofee Talk” sketch potential and help you better achieve your Fto attend, she made sure to call me and tell with Mike Myers as Linda Richman on concept of sound, but they will not make me those words, and when I would hear Saturday Night Live in the 90’s). His tone you sound like Player X. them I would immediately feel a sense was smooth and colorful, touched with a In helping students fnd their tonal of calm wash over me. Even now as she hint of vibrato at times to further color his concept, besides encouraging them to sufers from Alzheimer’s, she remembers to musical voice. (Note: I once asked Frank listen to many clarinet players and styles impart those special words to me when I about his use of vibrato at times to color of playing, many teachers play frequently call to tell her I have a performance. Tese a note. His response, “Oh, I use vibrato?” in lessons for their students or with their two simple words have become my elixir It was so instinctual and natural in his students, as one of the best ways we learn is over the last forty-plus years of playing the playing; it was purely a part of his voice with our ears. Other teachers do not play as clarinet, and I say them to each and every and concept of sound.) frequently in lessons, allowing students to one of my students before they walk on So, what are the qualities that one fnd their own voice or shape to the phrase, stage to perform. searches for along this journey? As Charles often guided by the teacher’s words or hand “Play pretty” also reminds me of how West so succinctly wrote in his 2001 gestures (conducting) while playing. I fall hard I have worked to fnd my sound Midwest Clinic handout, a beautiful into the latter category, as my teachers did over the years, as well as my continuous clarinet sound consists of: “depth, stability, not perform often for me in lessons, only focus, clarity and an appropriate balance when they knew I needed to hear them quest to improve upon that tonal concept. of ‘ring’ and ‘darkness’ that could be called play, which almost always resulted in an In a recent interview, I was asked if my color.”1 Tose qualities are controlled “aha” moment. Hearing Frank Kowalsky concept of sound has changed over the by our breath support, embouchure, taper the end of a note in a phrase while years since my foundational work with oral cavity and tongue position, and maintaining the purity and center of the Frank Kowalsky and as our equipment. As we develop the sound or listening to Robert Marcellus a college student. Most defnitely it has, basic fundamentals on our instrument, voice beautifully articulated altissimo notes due to the number of musicians with our journey towards developing our in an orchestral excerpt during a lesson whom I have been fortunate enough to tonal concept begins. Building a strong had a profound infuence in my playing. collaborate and who have infuenced my foundation is the key to discovering your Tis was particularly true when working playing throughout the years. As many sound. While this article cannot possibly on musicality and phrasing. Some of my musicians may note, that is one element venture into the numerous roads taken best playing occurred when my teachers of your playing that is constantly evolving on that tonal journey, I would like to would simply conduct me while playing, – fnding your signature sound and highlight the fact that no matter what your as their musical gestures with their hands embracing its evolution. tonal concept is, you will always sound like demonstrated what I needed to be doing When frst developing my sound/voice, you, no matter how hard you try to sound with my airstream to create more shape I was greatly infuenced by my teachers. like your clarinet idol. Learning to “play in my phrasing. (So much so that I would My ideal was the Marcellus sound, having pretty” with great breath support and a often ask, “Could you sit in the front row listened to endless recordings of this fast, cool airstream focused through your during my recital and do that?!”) master teacher and artist during my early unique oral cavity with the ideal tongue In addition to playing with my best development. Tat school of playing placement, along with an embouchure that sound at all times and shaping the (Daniel Bonade) was identifed as rich, provides the proper foundation for the phrases with an intentional airstream, pure and full of sparkling color. I was also best response, will allow you to play the phrase “play pretty” reminds me to

20 | THE CLARINET DECEMBER 2017 PEDAGOGY

enjoy the performance. To this day, I artist “makes a mistake” because they have 2 For full access to the audio archives of the have a very old, weathered piece of scrap wowed us with their personal artistry and Robert Marcellus Master Classes (1977-1990) paper (laminated several years ago to help do not grimace or show the audience that visit this link: . me before I left to perform at the Robert and continue to perform with confdence. Marcellus annual summer clarinet master And that word – confdence – brings class at Northwestern University during me to my fnal thought on the phrase ABOUT THE WRITER the summer of 1985. 2 On it he wrote: “play pretty.” When I ofer those words to Diane Barger is “Di: Good luck! Remember: if you allow my students before they take the stage to Hixson-Lied Professor yourself to be fallible you will perform perform, I hope it instills in them a sense of of Clarinet and more successfully and enjoy it more!” I encouragement and a positive outlook for member of the Moran keep that laminated piece of paper of 32 their performance that they have been so Woodwind Quintet diligently working towards. It’s my way of years in my clarinet case and carry it with at the University of saying, “you’ve got this; you have put in the me wherever I go so I am always mindful –Lincoln, time and efort, and now it is time to have of that gentle wisdom from my beloved where she was the teacher. While consistent and persistent fun and enjoy the moment.” Tat super recipient of the 2013 practice can certainly make a performance power called self-confdence is what helps Annis Chaikin Sorensen Award for Excellence successful, the attitude with which one make the magic happen on stage. Tat, and walks on stage makes a signifcant impact, a lot of tireless efort and determination. in Teaching. She is principal clarinet of as well. Te idea of allowing oneself to be “Play pretty,” my friends. v Lincoln’s Symphony Orchestra, ICA pedagogy fallible – to risk making a mistake – ofers chair (2016-2018) and Nebraska state chair ENDNOTES a sense of freedom to a performance and (2010-present), and previously served as 1 Charles West, “Exorcising the clarinet’s most helps keep the inner judges at bay. Again, artistic director of ClarinetFest® 2012 and persistent demons: an organized approach to ICA treasurer (2000-2010). She is a Bufet we practice not so we get it right, but so tonguing, tone, and tuning,” Te Midwest Clinic, we do not get it wrong in performance. International Band and Orchestra Conference, Crampon Artist, D’Addario Woodwinds And yet, things happen, even to the best of 2001 . PRO-Team Artist.

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DECEMBER 2017 THE CLARINET | 21 Historically

by Deborah Check Reeves

“Historically Speaking” is a feature of Te Clarinet ofered in response to numerous inquiries received by the editorial staf about clarinets. Most of the information is based on sources available at the National Music , 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].

n 1905, Harry Pedler immigrated Gronert (who had also worked for Conn) to the United States and started to establish the American Manufacturing working for C.G. Conn and Company. Te Elkhart Truth announced Company in Elkhart, Indiana. In in late 1919 that, with the death of 1916I (although some advertising materials Gronert, the company was now known as say 1914), he partnered with William Harry Pedler and Company. Photo 3: NMM 1105 Pedler bell.

Photo 4: NMM 1105 Pedler alto clarinet bridge key alignment guide.

Photo 1: Photo 2: NMM 1105 Pedler alto NMM 1105 Pedler alto clarinet left side. clarinet right side. Photo 5: NMM 1105 Pedler alto clarinet B-fat and register vents.

22 | THE CLARINET DECEMBER 2017 In 1927, Pedler announced in the Music joint and bell. Te neck and mouthpiece Pedler alto clarinets in the collections of Trade Review that they had added a silver are missing. At the top of the bottom which another fve are metal. Among the clarinet to their production of woodwinds. joint, a metal hook can be found. Tis fve Pedler bass clarinets, three are metal. v A catalog from 1927 confrms that two lines up with a post on the top joint. (4: models of silver had been NMM 1105 Pedler alto clarinet bridge key ABOUT THE WRITER added to their line of clarinets that were alignment guide.) When properly aligned, Dr. Deborah Check made from grenadilla and ebonite. the bridge key is in perfect position. Reeves is the Curator Although that catalog clearly shows On the top joint side of NMM 1105, soprano clarinets of metal, alto and bass of Education and an automatic throat B-fat and register Woodwinds at the clarinets remained out of “rosewood” and vent mechanism can be seen. Tird line ebonite. It makes a Pedler alto clarinet National Music B-fat is produced the conventional way from metal all the more curious. Just such Museum (NMM) in by depressing the A and left-hand thumb an alto clarinet is at the National Music Vermillion, SD, and keys. Tis activates a separate B-fat vent Museum in Vermillion, South Dakota. (1 associate professor at located lower on the instrument in the & 2: NMM 1105 Pedler alto clarinet left the University of South and right sides.) NMM 1105 is stamped proper acoustic position. When the A key Dakota. She received a doctorate in clarinet on top and bottom joints, inside an is released, as if continuing up the scale performance from the University of Iowa. oval: [lyre] / HARRY PEDLER / & Co / to B-natural and above, the B-fat vent She plays with the Sioux City Symphony ELKHART, / IND. Tis indicates that the closes, and the higher, correctly positioned Orchestra and directs Tatag, the NMM’s instrument must have been made before register vent opens. (5: NMM 1105 Pedler Javanese gamelan performance ensemble. She 1936 when the company became known alto clarinet B-fat and register vents.) is a contributing editor to Te Clarinet, and as “Te Pedler Company.” Te bell of this As curious as it is, NMM 1105 is not serves as the ICA South Dakota State Chair clarinet is engraved and surrounded by the only Pedler alto clarinet at the National and the Secretary of the American Musical a geometric Art Deco design: PEDLER Music Museum. Tere are seven other Instrument Society. / Custom built (script) / ELKHART – IND. (3: NMM 1105 Pedler alto clarinet bell.) It is important to realize that Pedler was using “Custom built” as a model name. Te instruments are not one-of-a- kind custom examples. Several metal bass ‘ clarinets carry the same bell design, but are stamped on the other joints, inside an oval: [lyre] / THE PEDLER / CO. / ELKHART, / IND. NMM 1105 has a low E-fat key and is made in three sections: top joint, bottom FLUSHING NEW YORK

est.2004 The Clarinet seeks articles from members! See www.clarinet.org Expert overhauls, crack repair, tuning, and adjustment. for submission Kristin Bertrand is the Northeast’s leading clarinet specialist. guidelines. Now offering audition-ready New clarinets with our expert setup, superb selection and DEADLINES: full service warranty! December – Sept. 1 March – Dec. 1 WOODWINDWORKSHOP.COM June – March 1 646.670.6565 September – June 1

DECEMBER 2017 THE CLARINET | 23 Clarinet

by Kellie Lignitz-Hahn and Bret Pimentel

AN INTERVIEW WITH WESLEY FERREIRA

n this issue we present an interview with clarinetist and Of course, students now have access to many audio and teacher Wesley Ferreira about his online presence and video examples of great clarinet playing. Tey also have access interaction with the clarinet community on social media. to examples of poor playing. I feel that it is important for the Wesley Ferreira has an active and varied career teacher to direct students towards which examples demonstrate performingI worldwide as a solo, orchestral and chamber musician. the type of qualities that they should be striving for. Born in Canada to parents of Portuguese heritage, he received CC: In the past you broadcasted an interactive streaming recital his musical training at the University of Western Ontario (B.M.) program. Can you tell us more about this program and the and Arizona State University (M.M. and D.M.A.) studying with inspiration behind it? Robert Riseling and Robert Spring, respectively. In 2011, he joined the faculty at Colorado State University where he maintains a thriving clarinet studio as associate professor. Ferreira also has a personal website at www.wesleyferreira.com and has developed a breath support training program called Air Revelation which Wesley Ferreira includes video lessons that can be streamed or downloaded.

CLARINET CACHE: As a collegiate teacher, in what ways do you incorporate technology into your studio? WESLEY FERREIRA: Our students have grown up in a time of incredible technological advances. Tey are the frst generation to have been raised with personal computers and smartphones. Everything is now available quickly and often at your fngertips. Unfortunately, this can sometimes be at odds with an art form where development can’t be rushed. As a collegiate teacher, we have a greater responsibility now more than ever to help guide our students through the noise. We can use technology to our advantage in the studio. I have my students submit videos of their practice sessions via YouTube each month. Tis gives me an opportunity to comment directly on their practice habits and techniques. I have also had my students on occasion view each other’s practice videos and ofer comments both positive and constructive on practice habits and techniques. Tis allows students to learn from one another. I have also had my students use time-tracking software on their smartphones, tablets or laptops to analyze their practice sessions. I am able to review their practice logs each week and discuss with them any trends or issues that I can see.

24 | THE CLARINET DECEMBER 2017 WF: Te interactive streaming recital One of the benefts of performing Twitter, Instagram and Snapchat. Each occurred in the early days of web new music is that it gives composers social media platform has a unique way streaming before Facebook Live or other new music performers a of connecting with people and each has or Periscope made this common. I sense of confdence that you will be a diferent set of users. encouraged the public to select my receptive to them if they approach you recital repertoire by voting online. with an idea for a new composition * * * * * Te works mainly consisted of the or commissioning project. I fnd As always, don’t forget to check out the masterworks of our clarinet repertoire. that composers are generally very electronic version of this column posted I left it completely up to them up enthusiastic when you contact them to on Te Clarinet [Online] at www.clarinet. until the concert date. Additionally, I begin a dialogue on a new project. org/tco, and send your ideas for future encouraged audience viewers present columns to [email protected]. v in the concert hall and those watching CC: Do you have any new projects lined up? all over the world to communicate and WF: Te most immediate project that ABOUT THE WRITERS connect via Facebook and Twitter using I’m working on is a new recording a common hashtag. I projected these which advances my doctoral research Kellie Lignitz-Hahn moderated comments live onstage while project. I’ve commissioned prominent is assistant professor of performing. I titled the recital “Clarinet Portuguese composers to create works clarinet at Texas A&M in the Digital Age.” I knew that I was that feature the clarinet and which University-Kingsville taking a chance in some regards, but exhibit Portuguese folk elements. where she teaches I was very interested (and still am) in applied lessons and how the current technology of our day CC: You have a strong presence on the web directs the TAMUK can be used to bring people together; to within the clarinet community. What Clarinet Choir. appreciate music in new ways. platforms or techniques do you apply to She received both reach out to people? her D.M.A. and M.M. degrees in clarinet CC: Your interest in new music has led WF: I feel that social media is an extension performance from the University of North to commissions of new works. What of one’s everyday life. It’s a way to Texas and her BM from Washburn University. compositions have you been involved with, Her primary teachers include James Gillespie and how did you forge those connections? build, maintain and foster a sense of and Kirt Saville. Kellie is an active clinician WF: My interest in new music comes from community across wide distances and and chamber musician, and frequently plays a desire to be a part of a living process. with people you would normally not in the Laredo Philharmonic Orchestra, the Performing contemporary music is get to see in person. I consider postings Corpus Christi Symphony Orchestra and the about being an active participant on social media to be the telling of Victoria Symphony Orchestra. She is also a in the evolution and sometimes a story. Whether intentional or not, Regional Artist for Vandoren. revolution of classical or Western art the collection of any person’s posts music. I have been involved in the sole describes who they are, what they feel is Bret Pimentel is an commissioning of and consortium important, their general attitudes about associate professor projects for some really fantastic new life and work, their sense of humor, etc. of music at Delta works for the clarinet. I’m also interested Much has been discussed and written State University in performing newer works that I feel on the negative aspects of social media, (Mississippi), where deserve exposure or which have been but I aim to use social media for the he teaches clarinet, lost in time. My frst solo recording, forces of good. I hope that my postings , and Madison Avenue, was an example of all always refect this. I use Facebook, saxophone and directs this. It included works such as James the Ensemble. He M. David’s Auto ’66 clarinet concerto is an active performer in a variety of musical with wind band, Without Further Ado settings. Bret is the author of Woodwind for two clarinets and by Alasdair Basics: Core concepts for playing and MacLean, and Nikola Resanovic’s teaching fute, oboe, clarinet, bassoon, and Clarinet Sonata. Other works that saxophone. He received D.M.A. and M.M. I’ve been involved in commissioning degrees in multiple woodwinds performance recently include Clarimba for clarinet from the University of Georgia and Indiana and marimba by Jorge Montilla, University respectively, and a B.M. in Calcipher for E-fat clarinet and piano Read the full interview and saxophone performance from Brigham by Teresa Martin, Quelques Fleurs for see a performance by Ferreira Young University. His clarinet teachers have Clarinet, and Piano by Karim at The Clarinet Online included D. Ray McClellan, Guy Yehuda, Al-Zand, and the Clarinet Concerto with (www.clarinet.org). Daron Bradford and Heather Rodriguez. wind band by David Maslanka. Bret blogs at bretpimentel.com.

DECEMBER 2017 THE CLARINET | 25 ClarinetThe

by S. Michael Plaut

“Te Clarinet Enthusiast” features a rotating cast of contributors; if you are interested in sharing your perspective, contact [email protected]. RETURNING TO THE CLARINET IN LATER LIFE

ne of the most rewarding move into Oak Hammock, a retirement Soon after arriving in Gainesville in aspects of my retirement community afliated with the University 2013, I joined the Gainesville Community years has been playing the of Florida in Gainesville, I contacted Band, conducted by Gerald Poe and now clarinet again and playing Mitch Estrin, clarinet professor at UF, who by R. Gary Langford, retired director of Omusic with others. Like many, I had recommended a source in Wilmington, bands at UF. Our retirement community learned to play in elementary school, Delaware for purchase of a professional did not have an instrumental group, so continued through high school and then level clarinet. I now play a Bufet R-13 I put the word out about my interest in stopped when I went of to college. I had Greenline, and have since added Rovner forming such a group. After four years, always used borrowed school instruments, ligature, Vandoren M-15 mouthpiece and the Oak Hammock Chamber Players both clarinet and oboe, but had never Backun studio barrel and bell. now numbers 20 musicians, and we have taken private lessons. When my wife and I attended our frst been fortunate to have had Gary Langford My interest in music was life long, concert of the Wilmington Symphony conducting us almost since the beginning. and some musical activities continued Orchestra in North Carolina in the fall of We are also members of New Horizons. throughout my adulthood, whether 2008, I was chatting with the usher before Even though Gary does not work with us attending concerts or forming jug and the doors opened and mentioned that I was during the summer, the enthusiasm is high bottle bands in places where I worked. My looking for a group to play with. She asked enough that most of us continue to meet niece gave me her Vito student clarinet me where I was sitting. At intermission, each week and play through most of the when she went of to medical school. A year a woman came over and said she was the before my expected retirement, I had the oboist with the New Horizons Band at the summer. When I asked one of our futists if instrument refurbished, bought a method University of North Carolina Wilmington. she planned to be with us this past summer, book and started taking lessons with Cory I soon learned that New Horizons she wrote, “I am happy I found your group. Kasprzyk, a saxophone student at Peabody. was an international support network for It has been a blessing in my life.” One of the early problems I had was adult musicians that had been started in Mitch Estrin has continued to be not being able to easily reach the right 1991 by an Eastman music education helpful in referring me to excellent local hand E/B key. A physical therapist friend professor named Roy Ernst, which was teachers, frst two FSU clarinet grads, recommended doing hand stretches active in a number of countries. Ernst Danielle Levine Porter and then Amy with a rubber band, and I did that for had two basic rules – no competition, no McConn Freeman, both of whom had to a few months, eventually eliminating intimidation. Tese groups had provided discontinue due to other life priorities (like that problem. welcoming places to grow musically at moving away and having babies). For the After Cory decided that it was time any stage of adult life and to meet others last two years, I have been working with for me to work with a clarinet specialist, in similar situations.1,2,3 Our conductors UF master’s student Elizabeth Druesedow, I approached Eddie Palanker, then bass in Wilmington were Chris Ackerman and who has now embarked on a doctoral clarinetist with the Baltimore Symphony, later John LaCognata, successive band program with Robert Spring and Joshua who was willing to work with me as directors at UNCW. Jazzmone Sutton, Gardner in Arizona. As of this writing, we long as I was serious. When I retired, the student mentor for the clarinet are continuing to work together via Skype. and planned to move to our beach house section, was very helpful and supportive. in North Carolina, Eddie’s last bit of I also joined a small chamber group that TAKE-HOME MESSAGES advice was “fnd a group to play with.” rehearsed at UNCW, and took lessons Tere are a few things that are worth Knowing that we were eventually going to with WSO bass clarinetist Pam Merritt. emphasizing based on my journey to get

26 | THE CLARINET DECEMBER 2017 back into music and to clarinet playing. has contributed to my learning in a ENDNOTES Some of these would not be diferent for diferent way. 1 New Horizons International Music Association, any musician. Others, however, may be accessed June 11, 2017, www.newhorizonsmusic. More General Learning org. more pertinent for older musicians or for 2 “Music for Life: Te Story of New Horizons,” me personally. Much of my learning has been of a more WXXI Public Broadcasting, 2014, accessed general nature. I try to learn more about June 11, 2017, www youtube.com/ Mastering the Instrument theory, certain composers, conducting watch?v=iQtL8iXjGPk. As with any developing instrumentalist, technique, various musical topics (e.g., 3 New Horizons Clarinet Choir, accessed June one must learn the characteristics of the flm music) and music and aging.5,6,7 I also 11, 2017, www.esm.rochester.edu/community/ course/new-horizons-clarinet-choir/. instrument, practice fundamentals, and fnd that my playing leads me to listen to 4 Roy Ernst. A Bicycle for the Brain. New Horizons 8 become familiar with such things as reeds, music with a diferent ear. News, (Fall 2014): 6. ligatures, and alternative fngerings. Tere 5 Ada P. Kahn, Keeping the Beat: Healthy Aging is also the self-discipline of practicing and Social Factors through Chamber Music Playing (Evanston: building confdence to perform. Retired One of the most valuable advantages of Wordscope Associates), 1999. my playing has been the social aspects.9 6 Association of Chamber Music Players, accessed people are likely to have the time to June 11, 2017, https://acmp.net/. practice and though we do it only because Meeting and playing with others provides 7 Lisa J. Lehmberg and C. Victor Fung, “Benefts we want to, it is still helpful to schedule support, sharing of both difculty and of Music Participation for Senior Citizens: A times for practice as we may do for enjoyment, new friendships, and the Review of Te Literature.” Music Education opportunity to organize musical groups Research International, 4 (2010): 19. physical exercise or other things that we 8 , What to Listen for in Music do on a regular basis. or events. (New York: McGraw-Hill, 1957). 9 “Music for Life: Te Story of New Horizons.” Accepting limitations is important. Personal Support I need to accept that I will never be able None of what I have done musically over to play as fast as I might like to, and I the last decade would have worked so well ABOUT THE WRITER often have to make pencil notes in my if I had not had the support of my wife, Michael Plaut earned music to remind myself of accidentals or Judy, whether it involved expenses for his Ph.D. in psychology alternate fngerings. equipment, music and lessons, putting from the University Musical Expression up with practice sessions, especially the of Rochester in 1969 All of us work to master the notes, early ones, working around rehearsal and and spent most of his dynamics, intonation, phrasing, voicing concert schedules in our planning of trips career on the faculty and, ultimately, to play musically. Ernst and other events, attending concerts, and of the University of Maryland School of observed that older musicians tend to even helping me decide which of six new Medicine in Baltimore. exhibit an expression of feeling based on bells produced the best tone. Anticipating their life experience: “We chronologically CLOSING THOUGHT retirement, he resumed playing clarinet in gifted adults have some special strengths Musical activity has many benefts in later 2007 after a 48-year lapse. He now plays in a that we bring to performing music. We life, whether physical, psychological or number of settings, including the Gainesville have a lifetime of music in our memories social. For me, music making has been (FL) Community Band, which he now that infuence our expressive choices. Our challenging, stimulating, rewarding, serves as president, and the Oak Hammock life experiences such as struggle, joy, birth sometimes frustrating, but mostly fun Chamber Players, which he founded in and death, lead to very expressive music.”4 and very fulflling, both individually 2013. He played in his frst clarinet choir at Balance of Work and Enjoyment and socially. v ClarinetFest® 2017. As important as it is to master the fundamentals and to play challenging pieces, we ultimately play music for enjoyment, relaxation and even escape. So…What’s On Your Barr Otherwise, why do it at all? a un outh Role Models I have always been grateful for teachers Sr Professional through beginner and conductors willing to work with older models Exciting new custom blank and people. I have also found other resources valuable in my learning, including books, model this Spring! articles (many from Te Clarinet), other Custom refacing available clarinetists and online resources such as Michelle Anderson’s Clarinet Mentors mcclunemouthpiece.com, [email protected] program. Each teacher and each experience,

DECEMBER 2017 THE CLARINET | 27 ClarinetThe by Margaret Tornhill

CARLOS JAVIER FERNÁNDEZ COBO AND MADRID’S VICTORIA DE LOS ÁNGELES CLARINET ENSEMBLE

he Victoria de los Ángeles Clarinet Ensemble of Madrid, Spain, is a clarinet choir with an unusually activeT performance history and an ambitious schedule of pedagogic concerts and collaborative projects, including performances with live dance. In 2017, the group is celebrating its 10th anniversary. Founded in 2007 by its conductor and professor Carlos Javier Fernández Cobo, the group is in residence at Madrid’s Conservatorio Professional “Victoria de los Ángeles,” the professional conservatory 2017 Members of the Victoria de los Ángeles Clarinet Ensemble with conductor Carlos Javier Fernández of music named for the famous Spanish Cobo (far right) and guest performers operatic soprano. Members include current clarinet students and some older clarinet graduates of the conservatory, now working events such as the second European of Uclés (Cuenca). Te ensemble has also as music teachers or in various professions, Clarinet Congress (Madrid), Úbeda’s recently recorded for Spanish National as well as two of Fernández Cobo’s former International Music Festival (Jaén) and the Television (TVE), playing Bartók’s students from his prior teaching position at fourth ADEC National Clarinet Congress, Romanian Dances. the University of Córdoba. and at locations such as the Universidad To celebrate their 10th anniversary, the During its history, the group has Autónoma de Madrid, the Euskalduna group traveled outside of Spain for the performed throughout Spain, including Auditorium in Bilbao and the Monastery frst time, performing at the Basilica of San Giuseppe al Trionfale in Rome, Italy, in a program of Spanish and Italian music featuring works by Michelle Mangani and Vence Biscontin. Fernández Cobo, who holds a Ph.D. in music from the Universidad Autónoma de Madrid, has performed with the Orchestra of Córdoba, the Ciudad de Madrid Orchestra, the Banda Sinfonica Municipal, the Pro-United Nations Orchestra and many other groups. He has taught and presented at courses and conferences in Mexico and Portugal and written articles and books about clarinet

28 | THE CLARINET DECEMBER 2017 The Victoria de los Ángeles Clarinet Ensemble with dancers at the Monastery of Uclés, Spain, 2014

pedagogy and history, including his new CFC: Our conservatory shares the it for Spanish television. During the book about Antonio Romero: Enseñanza, building with the Carmen Amaya years, we have played choreographed téchnica y desarrollo del clarinete en la Dance Conservatory. Ten years ago, compositions like John Williams’s Europa de Antonio Romero (Universidad a small group of teachers designed a Schindler’s List, Strauss’s Tritsch-Tratsch, Rey Juan Carlos, 2015). In addition to performance where music and dance Isaac Albéniz’s Polka, Sevilla, Córdoba, his position at the Conservatorio Victoria were mixed, titled Amalgama (“mix, and Tango, Manuel de Falla’s Danza de los Ángeles, he is also professor at the combination”), and the following del Fuego Fatuo and Gustav Holst’s St. Universidad Autónoma de Madrid. In a year, a select group of pupils recorded Paul’s Suite (Ostinato), most of them recent email interview, I asked him about his work with the ensemble and his goals for the future. MARGARET THORNHILL: Ten years is a fne accomplishment for any group, even one based at a conservatory. Tell me about the history of your ensemble. CARLOS JAVIER FERNÁNDEZ COBO: I founded this group one year after I arrived at this conservatory in 2006. Our history has been based on four elements: conception of the ensemble as a string chamber orchestra, pedagogical concerts, live music and dance and the performance of concerts outside of Madrid through exchanges with other musical institutions or clarinet ensembles. We have organized several interchanges with other ensembles, music schools and conservatories, playing in auditoriums and monasteries all over Spain in locations such as Córdoba, Adamuz, Santa Ollalla, Úbeda and Uclés, with selected and distinct programs depending on the place and the event.

MT: I was excited to learn about your concerts with dancers, especially famenco. How did that come about? What music are you playing for the dancers?

DECEMBER 2017 THE CLARINET | 29 arranged by myself to be played by a CFC: In our pedagogical aspect, we have 18) will be to organize a concert with clarinet ensemble or clarinet quartet played for more than 5,000 people over Spanish contemporary composers who with dancers. Te Albéniz Tango was the years, promoting music-making have composed for clarinet ensembles, also played at ClarinetFest® 2015 by among students. In addition, we played inviting them to assist at the rehearsals the ADEC ensemble (where I play) in several under the program and work with us, ofering a concert with my beloved dance pupils from “New Music, New Public” organized with their compositions in our Carmen Amaya. by the Madrid education government. auditorium and recording it in audio Tree dance styles are taught in the Tese performances have been ofered and video. Tere are some works that I Carmen Amaya Conservatory: classic, to people with cerebral palsy, autism, will arrange for the ensemble, too. Some Spanish (famenco is included in this Asperger’s syndrome ... they are our composers who have confrmed their style) and contemporary. One day, I favorite and very grateful public. compositions are Vicent Alamá, David listened to beautiful guitar music with Pedagogical concerts, lovingly named Bellas, Arturo Medina, Paulino Martí, a famenco singer and saw a rehearsal “Clarigama” (Clarinet-Amalgama), are Alejandro Moreno, Enrique Muñoz and of famenco dance pupils. I asked very important for us. On one hand, we José Susi. In addition, I asked for two Estefania Palacio Vera, the teacher in promote our conservatory and music- more works from Maria José Berenguer the conservatory and choreographer making. On the other hand, through and Rebeca Valverde. It will be very of the dance, who composed it. She the money earned at these concerts, we special for us and it will be a challenge! explained to me that it was Carlos are able to organize trips to ofer our I invite composers to compose for us or Pucherete, our famenco guitar teacher. concerts, buy musical scores and pay to send us their compositions! I told them that I wanted to compose for other activities for the ensemble. a clarinet ensemble part and they We combine music, dance and images/ MT: Is there anything else you would like to encouraged me to do it! Several years pictures. Te conservatory has an share about your work? ago, I played a composition titled auditorium with 300 seats and technical CFC: I always have tried to learn and equipment which allows us to prepare Poeta for orchestra, guitar, cantaor, and remember the most important phrases performances as shows that are very percussion with narrator at Granada’s or concepts of my teachers: love for attractive to the public. International Flamenco Festival with the clarinet (Vicente Lloréns, my I coordinate the concerts with music the Córdoba Symphonic Orchestra, frst teacher), dark sound (Jean Louis teachers depending on the student which inspired me to compose the Sajot), “music always has to sound level or age. All of them are the result clarinet ensemble part. It was very fresh” (Rafael Herrero), “the clarinet of several years of collaboration with difcult because famenco’s language, has to sound like a singer” (Manuel schools and teachers. Two years ago, harmony and rhythms are very specifc. Rodríguez), orchestral sonority we were able to ofer a pedagogical and embouchure (Ramón Barona), I had to study and prepare a lot in order concert in the Universidad Autómona to compose it emphasizing the famenco thoroughness of execution (Justo de Madrid’s Education Faculty. We Sanz), clarity of passages due to a style without my own prejudice. received a lot of congratulations for it. Tis year, we recorded the music good technique (Silvie Hue), phrasing using technologies such as a drone or MT: Some of your published arrangements (Florián Popa), “the sound is in your GoPro® camera on the stage. We are or compositions for clarinet quartet are brain” (Hedwig Swimberghe), “nothing editing it at this time. You can fnd listed on your personal website. Have you has to be repeated twice the same way” these videos on my YouTube channel arranged for larger ensembles as well? (Carlos Riera), clarity of concepts and several links on our blog, http:// CFC: I have published some arrangements when they have been explained (Javier grupodeclarinetesvictoriadelosangeles. for small clarinet ensembles or clarinet Balaguer), naturalness and spontaneity blogspot.com. quartet, and I have more than 30 (Walter Boeykens). Tanks to all. v expecting to be published. It is difcult MT: Some of your photos show collaborations to get a publishing house interested in ABOUT THE WRITER with singers. What have you performed doing it. I have not arranged for bigger Margaret Tornhill, with voice? ones because most mid-level ensembles D.M.A., is a CFC: We have played my arrangements in Spain play in B-fat and bass performer and private for clarinet ensemble and singers instrumentation. Tis year, we started teacher in Los Angeles or vocal choirs of diferent original to play with E-fat, B-fat, basset who conducts the Los compositions. Te most important of and bass clarinet, and I am thinking Angeles Clarinet Choir these past 10 years is Gabriel Fauré’s about adapting some and making new Requiem, Op. 48, sometimes complete – ones for large ensemble. and is founder/director on other occasions, the “Pie Jesu” part. of the Claremont MT: What are your goals for the future with Clarinet Festival. Send MT: Tell me more about your pedagogical this group? her clarinet choir news or comments at her concerts. CFC: One project next season (2017- website: www.margaretthornhill.com

30 | THE CLARINET DECEMBER 2017

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