“Wait, Where’s the Klezmer!?” Jackson Waner’s capstone recital Friday, March 9, 2021 Program 40 studies, no. 1 Cyrille Rose (1830-1902) Sonata for Clarinet and Piano Carlos Guastavino I. Allegro Deciso Carol Biel, Piano (1912-2000) II. Andante III. Allegro Spiritoso 3 pieces for Clarinet Igor Stravinsky (1882-1971) Intermission 40 Studies, no. 12 Cyrille Rose (1830-1902) Clarinet Concerto Aaron Copland I. Slowly and Expressively Carol Biel, Piano (1900-1990) II. Rather Fast Cyrille Rose 40 Etudes, nos. 1, 12 Cyrille Rose (1830-1902) is one of the most important people in the history of the clarinet. With his teacher, Hyacinth Klosé, he sits at the beginning of a clarinet dynasty that would produce figures like Henri Lefèbvre(not to be confused with the marxist philosopher), who taught Daniel Bonade, who more or less created the modern American Orchestral clarinet sound as well as taught some of the most important American clarinetists. Among clarinetists, Rose is well known for his two books of clarinet studies, which are notable for both their pedagogical value and worth as concert material. The two selections I am performing are from part one of the second book of studies. Igor Stravinsky Three Pieces for Solo Clarinet (1919) Igor Stravinsky (1882-1971) is a composer famous for his ballets, who also wrote in a great variety of styles and mediums. His work for solo clarinet, although written on a much smaller scale, has several stylistic elements that recall his more famous pieces, such as the Le Sacre du Printemps (1913), or L’histoire du Soldat (1918). It was written for a patron of his, Werner Reinhart, who played the clarinet. Reinhart also supported the composing of L’histoire du Soldat, so these two pieces are connected strongly.. Although this piece was not written later than other pieces on my program, it is the most modern sounding. Because of that, a great deal of care is required to play it musically, and Stravinsky ensured that the performer would take this care by specifically instructing them in the score to follow all breath marks, accents, and rhythms without deviation. The first piece is a meandering, ametric exploration of the clarinet’s lowest register. The second is a wild caprice that pelts listeners with notes coming from all registers of the clarinet with seemingly no rhyme or reason until a slower and deeper section breaks it up. The third is a syncopated, groovy tune that is stylistically very similar to the ragtime and the devil’s dance from L’histoire du Soldat. Carlos Guastavino Sonata for Clarinet and Piano (1970) Carlos Guastavino(1912-2000) was a prominent Argentinian composer who incorporated the folk melodies of his country into his compositions, like other nationalist composers. He studied under Esperanza Lothringer and Dominga Iaffei in his home province of Santa Fe, and Athos Palma in Buenos Aires. His compositional style is often called “neo-romantic”, as it is closer in sound to 19th century European Romanticism than to much of the music of his peers and contemporaries. His Clarinet Sonata, written in 1970, is a beautiful example of that style. It is written in three movements: A robust allegro, a lyrical andante, and a spirited rondo; this is a very traditional way of writing a sonata. In the first movement, the clarinet’s dramatic melodies are accompanied by a rolling and thickly textured accompaniment in the piano. Although not written strictly in the Classical sonata form, it adheres to the spirit as the clarinet and piano take turns exploring different moods and colors before they return to material used in the beginning. The piece picks up energy, and ends in a dazzling frenzy of notes showing off the great range of the clarinet, and completely transforming the tone of the piece from how it began. The second movement, Andante, begins with a contemplative character, like a recitative from an opera. Simplistic accompaniment from the piano outlines the rich harmonies used by Guastavino. Then, the piano takes over as it introduces the second section, a mournful, singing lament. However the mood switches again as the piece turns major, and the melody heard just before is recontextualized, sounding triumphant and proud this time before the piece ends in the same recitative style it began in. The final movement, Rondo, is a rousing and energetic piece that practically begs listeners to get up and start dancing. It is in this piece that Guastavino’s harmonic style takes a slight turn away from the more classical preceding movements, and his inspiration from folk music becomes apparent. After a humorous and virtuosic first idea, when the clarinet stops playing for a second, I invite you to listen to what happens a few bars later. This is some of my favorite contrapuntal writing out of all the music I’ve listened to; a quirky but intimate exchange between the pianist and clarinetist. After the four measure long opening statement is repeated twice more, this movement displays a lyrical, but more serious side. After the melodrama, which recalls the first movement, the fun begins again, and it doesn’t stop until the piece reaches its gallivanting conclusion. Aaron Copland Clarinet Concerto(1947-1949) Aaron Copland(1900-1990) was a composer of uniquely “American” music during the 20th century. He was born in Brooklyn to Jewish parents, and studied under various composers in France and the U.S.A., the most important of which undoubtedly being Nadia Boulanger. Renowned even then as a pedagogue, Boulanger imparted unto Copland many compositional ideas and techniques he would continue to use throughout his career. Best known for ballets like Rodeo (1942) and Appalachian Spring (1944), Aaron Copland was a composer who styled his music as vernacular, and as such took inspiration from many popular styles. With its big-band swing and latin jazz influences, Copland’s clarinet concerto is no exception. Famously commissioned by Benny Goodman, this piece has become one of the most important in the clarinet repertoire. This Concerto has two distinct sections, which could also be called movements: The first is a slow, lyrical ballroom dance in three, making excellent use of the elegance of the harp as the clarinet plays long phrases that gradually build in intensity. The second movement is rambunctious and rather sharp; here, Copland’s jazz inspirations shine through in his boisterous, syncopated rhythms and neat riffs. Keep an ear out for the jazzy glissando at the end! The two movements are connected by a Cadenza that serves both to bookend the first movement by restating its principal theme and introduce the exciting character of the second. Each part of the piece makes full use of the abilities of the clarinet as an instrument and the clarinetist as a performer. The entire (really, the entire) range of the clarinet is demonstrated, as well as its ability to evoke many different moods and characters. Nothing is wasted, which is why this piece is one of the greatest works ever written for clarinet. This piece, however, has more than just aesthetic meaning for me. It represents something that the world of classical music needs a great deal: Collaboration and open-mindedness. The piece itself is a collaboration between Copland, an openly gay Jew who had socialist and communist beliefs, and Benny Goodman, who spearheaded America’s first racially integrated jazz band. It’s true that these two dead white men, the Western classical music world at large, and myself fall short in many ways in taking down the barriers that obstruct anyone who isn’t white, cisheterosexual, and reasonably affluent from participating in this musical tradition. However, this piece, among others, serves as a reminder to me that music is meant for everyone to play and hear. Biography Jackson Waner grew up in San Rafael, California. There, he studied under Arthur Austin and played in the Marin Symphony Youth Orchestra. In 2017, he came to Lewis and Clark college to study with Dunja Marcum. He has played in the two major instrumental ensembles at Lewis and Clark every semester as well as multiple chamber groups. Last year, he was one of three finalists selected from the Lewis and Clark concerto competition to perform at the concerto concert in the Spring. He has recently been accepted into University of Wisconsin and Michigan State University to pursue a Master’s degree in Clarinet Performance. Acknowledgements Many thanks to… My roommates (for putting up with me practicing day in and day out in our little apartment) Brett Paschal, Dunja Marcum, and Lance Inouye One more thank you to Dunja Marcum for her guidance over the years (I’ll miss you when I’m outta here Dunja) Susan Nunes (for putting this whole thing together!) Carol Biel (it’s been a real pleasure, Carol) My Family (for supporting and believing in me) Randy Porter (for letting us record in his wonderful studio) Each and every one of you who came to my recital (and especially you guys who are reading this!).