Beruflich Dokumente
Kultur Dokumente
March 2006
Buffet
Crampons
180th
Anniversary
Concert
Volume 33, Number 2 March 2006
Features
ABOUT THE COVER BIOGRAPHIES OF CANDIDATES FOR I.C.A. OFFICERS ........................................................................28
Buffet Crampons 180th Anniversary
Concert, Paris, France, November 10, THE CLARINET TEACHING OF KEITH STEIN PART 14:
LEGATO PLAYING STYLE by David Pino ......................................................................................................30
2005. See related article on page 36.
A TRIBUTE TO JOSEF HORK by Henri Bok ................................................................................................34
(photo: Buffet Crampon)
IN MEMORIAM: A TRIBUTE TO DAVID WEBER by David Goodman ......................................................35
INDEX OF ADVERTISERS BUFFET CRAMPONS 180TH ANNIVERSARY CONCERT A Report by James Gillespie ...........................36
Alea Publishing & Recording....................................26 VANDOREN/BUFFET CLARINET CHOIR FESTIVAL IN ATLANTA CELEBRATES
Alexanders Wind Instrument Center........................28
MILESTONES AND MUSICIANSHIP by Christine A. Zimmerman ...................................................................38
Ben Armato .................................................................7
THE INTERNATIONAL CLARINET ASSOCIATION CLARINETFEST 2005
Backun Musical Services.................Inside Back Cover TAMA, TOKYO, JAPAN, JULY 1724, 2005: IN REVIEW, PART II by Kelly Johnson and Alan E. Stanek ...40
Departments
Bernard Portnoy.........................................................61
Quodlibet. Inc. .............................................................5
Rast Music ...............................................................100
RedwineJazz ......................................................41, 100 LETTERS...............................................................................................................................................................5
Reeds Australia..........................................................11
Roosevelt University .................................................93 TEACHING CLARINET by Michael Webster .......................................................................................................8
L. Rossi......................................................................49
Sayre Woodwinds......................................................42
AUDIO NOTES by William Nichols ......................................................................................................................14
Selmer Paris (Conn-Selmer) .........Outside Back Cover CONFERENCES & WORKSHOPS.................................................................................................................18
SHALL-u-mo Publications........................................15
Tap Music Sales ........................................................81 HISTORICALLY SPEAKING by Deborah Check Reeves...............................................................................20
U.S. Army....................................................................2
University of Denver Lamont School of Music ..........6
LETTER FROM THE U.K. by Paul Harris .......................................................................................................22
University of Oklahoma Clarinet Symposium ..........23 INDUSTRY PROFILES The New Word is Claripatch by Paul Globus .................................................24
University of Redlands ..............................................39
Van Cott Information Services ..................................64 REVIEWS ...........................................................................................................................................................84
Vandoren ...................................................................52
Wichita Band Instrument Co. ......................................9
RECITALS AND CONCERTS .........................................................................................................................96
Woodwindiana, Inc....................................................10 UPDATE FROM THE BOARD OF DIRECTORS ........................................................................................98
Working the Single Reed: A Tutorial........................50
Yamaha Corporation of America ..............................51 INTERNATIONAL CLARINET ASSOCIATION STATEMENT OF CREDITS
AND DEBITS Submitted by Diane Barger, I.C.A. Treasurer ...................................................................................100
MEMBERSHIP FEES
Great Britain: David Campbell, 83, Woodwarde Road, London SE22 8UL, England, 44 (0)20 8693 5696 (phone/fax),
E-mail: <david@dcampbell94.freeserve.co.uk>
Greece: Paula Smith Diamandis, S. Petroula 5, Thermi 57001, Thessaloniki, Greece, E-mail: <sdiamand@otenet.gr>
Hong Kong: Andrew Simon, 14B Ying Pont Building, 69-71A Peel Street, Hong Kong (011) 852 2987 9603 (phone), $25 (U.S. dollars) Student
E-mail <clarinetsolo@netvigator.com>, <www.AndrewSimon.net> $50 (U.S. dollars) Regular
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353 1 4023577 (fax), 353 1 4023599 (home phone), E-mail: <Timothy.Hanafin@dit.ie> The International Clarinet Association, So Rhee, P.O. Box 510650, Salt Lake City, UT
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Italy: Luigi Magistrelli, Via Buonarroti 6, 20010 S. Stefano Ticino (Mi), Italy, 39/(0) 2 97 27 01 45 (phone/fax), Copyright 2006, INTERNATIONAL CLARINET ASSOCIATION
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E-mail: <lumagist@tiscalinet.it> Published quarterly by the INTERNATIONAL CLARINET ASSOCIATION
Japan: Koichi Hamanaka, Room 403, 1-34-2 Komagome, Toshima-ku, Tokyo 170-0003 Japan, 81-3-5976-6057 (phone/fax), E- Designed and printed by BUCHANAN VISUAL COMMUNICATIONS - Dallas, Texas U.S.A.
mail: <jpncs1979@angel.ne.jp> Views expressed by the writers and reviewers in The Clarinet are not necessarily those of the staff of the journal or of the International Clarinet Association
I
ity and space.) phone embouchure. This resulted in pro-
ducing the warmer and significantly more
*****
mellow timbre on the saxophone, resem-
Dear Mr. Gillespie,
bling quite closely clarinet-like warmness.
t gives me a great pleasure to answer Bozidar Boki Milosevic, the composer
questions raised by Mr. Kavadlo in of most of the tunes on the CD recording,
his review of my CD, Pearls & Yarn, is, in fact, my father. Please note that this
Milan Milosevic Trio, Summit Records fact has been purposefully omitted in the
Inc. (The Clarinet, Vol. 32, No. 4, Sep- program notes since, in my opinion, that
tember 2005). fact is not crucial, and besides, the same
Mr. Kavadlo questioned the use of sax- last name can easily guide an audience to
ophone in the piece named My Aching draw their own conclusion, without point-
Heart, stating that sound of instruments ing out the obvious.
resemble more closely the use of two clar- Tonguing/trill technique is very unique
inets on that recording. In fact, I heard no and originally designed to extend and
saxophone anywhere on the CD. enhance the characteristics of performance
I am quite proud to confirm that alto throughout the Pearls & Yarn project. It is
saxophone was used to double clarinet the combination of double/triple tonguing
classified advertising
be perceived harshly in the countries
from where these music counterparts or-
iginate (on both sides of the same artistic
spectrum) considering the culture and
age-old customs that define aesthetics
and styles more rigidly, as opposed to
All ads submitted for The Clarinet should be: 1. Typewritten, double-spaced; 2. As concisely
North American openness, which open-
worded as possible; 3. Non-commercial in nature and limited to the sale and trade of personally
owned instruments, music, accessories, etc.; 4. Submitted to the Editor by the advertising dead-
heartedly welcomed my interest in ethnic
lines listed on page 3. Placed by members of the I.C.A. only. Each ad will run only one issue
roots of the Balkans.
unless the Editor is otherwise advised.
Thank you very much for your interest
and patience of the members of the In-
INSTRUMENTS FOR SALE: Buffet R-13, A and B, 19 keys/7 rings. Outstanding tone, intonation ternational Clarinet Association in read-
and condition. Used by now-retired professional symphony clarinetist and college teacher. Ac- ing my response. I am deeply honored by
cessories included: four extra barrels (two for each clarinet), customized double and triple cases with Mr. Kavadlos remarks and would like to
covers. Accessories also available: mouthpieces, reed tools, clarinet stands, etc.; and my library of
extend my deepest gratitude for his review.
several books, and much music, solos, ensembles, orchestral excerpts, some 1st clarinet parts, method
and etude books, in addition to four antique clarinets (approximately 100 years old). Also sax mouth- Best & warm regards,
pieces: altoSelmer metal C* (1960); and tenormetal Otto Link (1950+/), and flute, oboe and bas- Milan Milosevic
soon music. For full description and prices, please contact Armand Abramson <parmandpa@
aol.com> (verizon.net as of May?) or phone 609.947.4379. E-mail: <milan@milanmilosevictrio.
com>; <www.milanmilosevictrio.com>
SEVENTH HEAVEN
Thirty-second in a series of articles us-
ing excerpts from a clarinet method in pro-
I
gress by the Professor of Clarinet at Rice
Universitys Shepherd School of Music.
cannot be imagined. Clearly Three is ance is not afforded the clarinet in the mix,
trio play two of the works programmed on
clearly simptico. which seems too bright and thin at times.
this disc.
This recording is one result of an exten- The Trio of Austrian-Canadian com- (Having heard this ensemble live, I suspect
sive research project by the Fletchers to poser Gerhard Wuensch is an interesting this is a recording issue.)
collect 20th-century trios for clarinet, bas- three-movement work in a curious wander- Trios from the Twentieth Century is
soon and piano. The project had sabbatical ing tonal style. Its harmonic shifts and an attractively produced CD with informa-
and grant support from UWEau Claire, appealing melodic writing in the first tive notes (English only) and handsome
and has yielded an amazing c. 160 works, movement exudes a happy, almost humor- graphics. Thanks to the producers for
published and unpublished. Another result ous effect, even Viennese Gemtlichkeit. including sources for each of these works.
of this project will be the publication of an The lovely second movements tasty har- The disc is from TONHEIM RECORDS,
annotated bibliography of the 20th- (and mony is at times reminiscent of Poulenc, TRCD 105 and is available at: <www.
21st-) century works collected. (If readers perhaps the French masters own Piano cdbaby.com/cd/kfletcher>.
T
OCTOBER 10TH, 2005
he clarinet community in Sacra-
mento is alive and thriving and the
Clarinet Hive is in the middle of it
all! The Clarinet Hive is a student organi-
zation sponsored by California State Uni-
versitySacramento, working to support
and encourage clarinet education through-
out northern California. Their most recent
project included the appearance of Michael
Norsworthy and his pianist, Tyson Deaton.
It has been said that Michaels virtuosity,
versatility and musicianship have earned
him a unique place among rising young
Michael Norsworthy and Tyson Deaton with Professor Deborah Pittman and representa-
stars today. Those who saw him during his
tives of the CSUS Clarinet Studio.
visit to Sacramento certainly agree with
such a statement. The activities began at 4
Deborah Pittman. I was warmly received The featured guest artist was Eli Eban,
p.m. with a clarinet master class. The per-
and well taken care of. There were four professor of clarinet at the Indiana Uni-
formers and their repertoire were as fol-
master class performers who played ex- versity School of Music and former clar-
lows: Loraly Ocampo, Finzis Five Baga-
cellently. All were prepared, attentive, inetist with the Israel Philharmonic. Eban
telles, Op. 23; Sarah Crozier, Bernstein
eager to learn and quick to adapt and presented an outstanding master class and
Sonata for Clarinet and Piano; Ricki
change. From the playing I heard, the stu- a stellar recital with Richard Syracuse, pi-
Nelson, Nielsen Concerto, Op. 57; Jennifer
dents are in good hands with Deborah ano, featuring works by Mozart, Brahms,
Lewis, Rozsa Sonatina. Michael proved to
Pittman and bring credit to their city and Milhaud and Ben-Haim.
be a very entertaining teacher. His instruc-
tional comments were appropriate and he university. It was such a pleasure to be In addition to Ebans recital and master
offered several amusing anecdotes. He also there and I thank everyone for helping class, the day included a potpourri recital
demonstrated the need for clarinetists to be make the event a true success. featuring clarinetists from all over Ohio,
energetic and attentive soloists. For more information about the Michigan and West Virginia in works by
After the dinner break, Michael pre- Clarinet Hive, please contact President Harald Genzmer, Clara Schumann, Ger-
sented a concert in the Capistrano Music Sarah Crozier at 916-747-0479 or by e- maine Taillefere, Evan Chambers and
Recital Hall. He opened the concert with a mail at: <smcrozier@hotmail.com>. To Leon Stein: Ann Marie Bingham, assistant
beautiful rendition of the Finzi Five Baga- learn more about Michael Norsworthy, professor of clarinet at Marshall University
telles, Op. 23. The Poulenc Sonata for please visit his Web site at: <http://www. in Huntington, WV, Kimberly Cole Lue-
Clarinet and Piano followed. After inter- michaelnorsworthy.com/>. vano, associate professor of clarinet at
mission, Michael broke the introspective Eastern Michigan University in Ypsilanti,
mood with a hilarious interpretation of OHIO UNIVERSITY Anthony Costa, bass clarinetist with the
O
Bermels SchiZm. He continued by per-
forming Bernsteins Sonata for Clarinet professor of clarinet at Otterbein College,
CLARINET GALA
and Piano, and concluded with the Horo- Barbara Specht, assistant professor of clar-
vitz Sonatina for Clarinet and Piano. The inet at Heidelberg College (Ohio), An-
program was well received by the audi- n Sunday, April 17, 2005, Ohio thony Taylor, second clarinet in the Spo-
ence. After all, Michael exudes an ener- University hosted its fourth an- kane Symphony (WA), and current doctor-
getic persona on stage accompanied by a nual clarinet gala, a full day of al student at the University of Cincinnati
Stoltzman-like flair. clarinet events for all ages and interests. CollegeConservatory of Music.
Michael responded warmly when asked More than 60 teachers, students, band In addition, the day included a master
to comment on his experience in Sacra- directors, amateurs, and professionals at- class for high school students given by
mento. I was so pleased to be invited to tended. All events were free, and no prior Rebecca Rischin, host of the Clarinet Gala
CSUS by the Clarinet Hive and Professor registration was necessary. and associate professor of clarinet at Ohio
University, and a fascinating clinic on University students. All in all, the day was
extended techniques presented by Kim- a huge success. For information on future
berly Cole Luevano, associate professor of clarinet events at Ohio University, contact
clarinet at Eastern Michigan University. Rebecca Rischin at: <rischin@ohio.edu>
Participants also had the opportunity to or consult the clarinet Web site: <www.
play in a clarinet choir alongside Ohio ohiou.edu/clarinet>.
T
to Deborah Check Reeves at <dreese@ know if he made any. Orchestras, where A
usd.edu>. by clarinets commonly would have been used,
Deborah were slow to develop in the U.S. The New
he early clarinet in the U.S. perhaps Check Reeves York Philharmonic is the oldest American
has developed a less than distin- professional orchestra, and it was estab-
guished reputation. The December lished in 1842. Most probably this clarinet
2005 installment of Historically Speak- would have been used in a band. Bands,
ing pointed out a notable exception. It whether civilian or military, played a very
examined a sophisticated 13-keyed E clar- William Whiteley made woodwind in- important role in the everyday life of early
inet made by Graves and Company of struments in Utica, New York, from about Americans. They were very popular musi-
Winchester, New Hampshire. This install- 1810 to about 1854. Among numerous sur- cal institutions, and certainly the most
ment will examine another interesting viving examples of fifes, flutes, clarinets, plentiful. Military bands appeared in the
early American made clarinet and specu- and bassoons is a 10-keyed clarinet pitched colonies as early as 1756. The U.S. Marine
late for what it may have been used. in D that can be found at the National Corps band was founded in 1798. Moravi-
Music Museum on the University of South an communities in Salem, North Carolina,
Dakota campus in Vermillion (see photo). and Bethlehem, Pennsylvania had wind
This clarinet is made from a dark stained bands that offered secular music perfor-
boxwood with ivory ferrules. It is made in mances in addition to the usual religious
four sections: barrel, top joint, bottom joint music by 1785. The community band in
and bell. From the top of the barrel to the Allentown, Pennsylvania had its first docu-
bottom of the bell it is 451 mm long. It mented performance in 1828. From their
has 10 German silver keys with round, flat inception, bands were as much social as
flaps that are mounted in blocks that have musical organizations. The roles of civilian
been carved out of the body of the instru- bands and military bands were often
ment. There is an integral thumb rest, also blurred. Civilian bands played for military
carved from the body. groups, and army bands played for the
Although it does not introduce any in- general public. Bands were versatile. They
novations, this clarinet shows a high de- could play at church, for community func-
gree of craftsmanship. The 10-keyed finger- tions, inside for public concerts, and out-
ing scheme is contemporary with many doors in parades and at rallies. Clarinets
European models. Even though it doesnt like the Whiteley D clarinet would have
possess the most advanced fingering sys- been made with great care using modern
tem in use at the time, it is certainly more techniques in keeping with the important
advanced than the many five- and six-key status that bands had attained.
models that were common. There are dif- The Mohawk River flows through the
ferent sizes of tone holes. The first tone city of Utica. The first portion of the Erie
hole for the right hand, for example, is canal, which runs through Utica, was
larger than the neighboring tone holes. opened in 1820. This location stimulated
This shows how Whiteley adjusted the in- general industrial development of the city.
tonation. Most of Whiteleys extant wood- Whiteleys business, no doubt, was en-
winds use brass keys. There are just a few hanced by the ease with which raw materi-
flutes that use German silver. The use of als were obtained and the relative ease
German silver on this clarinet is notable with which instruments could have been
and perhaps indicates the intention of distributed. Whiteleys reputation as a
heavy-duty use. knowledgeable and competent maker
For what would an instrument of a probably was spread as The Instrumental
more advanced fingering and enduring Preceptor: Comprising Instructions for the
quality like this have been made? The Clarinet, Hautboy, Flute and Bassoon be-
majority of extant early American clarinets came available. One of the earliest Ameri-
Whiteley being no exception appear can tutors, Whiteley published this method
Clarinet in D by Wm. Whiteley to be fairly simple in design and pitched in in 1816 in Utica.
I
dew (piano). Quite a line-up!
by Paul Harris Clarinet Quintets (on Hyperion) should be It is dedicated to Imogen Holst (Holsts
in everyones library. There is an interest- daughter) and is cast in one continuous
recently gave a performance of the ing work (especially for American read- movement marked Poco Lento. Birtwistle
Beethoven Trio for Clarinet, Cello ers!) by the lesser known Kenneth Leigh- (who studied the clarinet at the Royal
and Piano. A charming work. Its a ton: Fantasy on an American Hymn Tune, Academy of Music with my teacher
successful combination and therefore sur- Opus 70 (written in 1974 for Gervase de John Davies) must have had some tech-
prising that so comparatively few com- Peyer). Its a good work and published nique! So much of the part is in the highest
posers have seen the potential for the dark by Novello. register (up to top Bs), often short tongued
brooding colors, passionate melodies and But the reason Im taking you down notes marked down to ppp! Williamson
the kind of energy that the three instru- this particular avenue of the repertoire is was, at that time, experimenting with ser-
ments can conjure. There are one or two because a fascinating manuscript has just ial music; this piece however looks to be
British works worthy of study. Benjamin come into my possession. It did receive a firmly rooted in F minor and explores the
Frankels Trio, (op. 10 and now sadly out first performance, but has been lost, hidden sonorities of all instruments in a colorful
of print but available from libraries) for away in a box in a cupboard for nearly 50 and imaginative way. It looks like a fasci-
example. His Quintet (written in 1956 for years. It is a Trio for Clarinet, Cello and nating piece and I shall see what can be
Thea King) is a haunting work. Theas re- Piano by Malcolm Williamson. The late done to make it available. Certainly an im-
cording of it in her collection of English Master of the Queens Music who died portant addition to the repertoire.
in March 2003. Williamsons life was as A slightly later work is the Concerto for
colorful as his near contemporary Malcolm Wind Quintet and Two Pianos (1964 and
Arnold. He wrote symphonies, operas, bal- published by Weinberger). Its a sturdy
lets and a considerable amount of other work, demanding technically and musical-
music in just about every genre (including ly but very much worthy of performance.
the music for two Hammer Horror films!). Its the 75th anniversary of Malcolm Wil-
But his name is now virtually forgotten. liamsons birth this year (he was born on
Clarinet players ought at least to know his November 21st 1931), and there are going
Pas de Deux for clarinet and piano. A to be quite a number of performances of
delicious movement taken from his Pas his music in the U.K. It would be good to
feel that clarinet players in the States are
looking at his music too.
On another note I received a very pleas-
The Clarinet ant package the other day. It was a record-
ing of a voice, clarinet and piano recital
PUBLICATION SCHEDULE given in Kenmore, Washington, by Am-
erican clarinetist David Frank. He had
The magazine is usually included Malcolm Arnolds lovely song
mailed during the last week Beauty Haunts the Woods and my own
Clerihew Songs as well as many other
works for the combination. And talking of
of Feb ruary, May, August
and No vem ber. De livery Malcolm Arnold its his 85th birthday
time within North America this year! Hes still going strong. (I spoke
is nor mally 1014 days, with him on the phone not 10 minutes
ago!). I hope many of you will be featuring
his music to celebrate his birthday. Do let
while airmail delivery time
outside North America is me know if you are and I shall pass the
710 days. news on to him. Hes always absolutely
delighted to hear of performances.
E
grease. Let me tell you, it didnt taste
too good and it left traces of rust on the
IS CLARIPATCH reed. But I knew after this experience
that I was on to something. So in the fol-
arlier last year, I attended a cham- lowing months I began to look into it
ber music concert in Montreal giv- seriously. I consulted engineers and
The Claripatch Pro Set includes 16 patch-
en by one of my all-time favorite other specialists in an attempt to refine
es, two each of eight profiles, a pinch-
musicians, the great Swiss oboist Heinz the concept and develop it into a useable
patch ring, a screwdriver and a clari-
Holliger. As expected he dazzled and I system for myself and other clarinetists.
mute. It comes in a hard plastic case
eagerly went backstage at intermission to
that also holds six B clarinet reeds. The
offer congratulations. I was hoping he Q: Did success come quickly?
Junior Set includes four patches and a
might remember me as I had been one of A: Not at all. In fact, every expert I con-
pinch-patch ring. Both come with de -
the people who had brought him to Mon- sulted, whether an engineer or a person
tailed instructions.
treal for the first time in the 1970s. from industry told me it was impossible
Mr. Holliger did recognize me and we to manufacture thin metal or plastic
everything its inventor claims a tool for
began to chat about many things, includ- patches for this purpose for a reason-
effectively improving the sound, respon-
ing the clarinet (his first instrument was able cost. I forged ahead anyway be-
siveness and longevity of reeds. Its not a
the clarinet; apparently he was quite ad- cause I knew the idea had potential.
panacea, of course, and all clarinetists
vanced when after about nine months he And so did a dozen other clarinetists
should decide for themselves if this unique
decided he preferred the sound of the oboe who tested some of the first patches.
product is something they want at their dis-
and switched, something all clarinetists can The advantages were undeniable.
posal. But in my opinion, anyone who re-
be thankful for.) He asked if I had heard jects Claripatch out of hand because it does
about Claripatch. Q: How did you come up with the form
not fit with conventional thinking about
Claripatch? I had no idea what he was and thickness of the patches, not to
reeds and mouthpieces is doing themselves
talking about. He then began to enthusias- mention a material thats both non-
a disservice. As Ive discovered in my own
tically describe an innovation from Swit- toxic and durable?
investigation, an open mind in this instance
zer land by a clarinetist named Pierre- A: Exhaustive research, which amounted
can reap major rewards.
Andr Taillard. It was truly amazing, he to a great deal of trial and error. I exper-
Listen to what Pierre-Andr Taillard had imented with certain prototypes, trying
said. He went on to explain that Mr. Tail- to say in response to questions I put to him
lard had invented thin plastic patches that dozens of models in an attempt to un-
about Claripatch: derstand how a mouthpiece table func-
are placed between the reed and the mouth-
tions. But there was a lot more to it than
piece, ostensibly to improve the sound and Q: How did all this come about? that. We also attacked the problem
responsiveness of a reed. A: I teach historic clarinet at the Schola mathematically, and
The mere idea sounded ludicrous to Cantorum Basiliensis in Basel. In 2001, from the standpoint
me. But this unsolicited endorsement we decided to organize a symposium on of physics and acou-
from a musician who is without a doubt the clarinet around the year 1800. We stics. The models we
one of the greatest wind players in the invited about a dozen researchers and
world was compelling, to say the least. I clarinetists. I was going to present a
had no choice but to take it seriously and study on the interpretation of the clar- The patches are preci-
to investigate. inet works of Weber. I was supposed to sion made, completely
The next day I read about Claripatch perform several pieces and even record tasteless and odorless,
on the companys Web site (<www. a CD with pianist Edoardo Torbianelli. and food compatible.
claripatch.com>). Although still skeptical, For this I needed a mouthpiece that Blindfolded, you can-
I was now intrigued enough to contact would permit me to play Weber on my not tell if you are play-
Pierre-Andr Taillard and his business period clarinet in the manner I felt ing with Claripatch or
partner, Stephan Siegenthaler, who is also would be most authentic. I made a not. They are designed
a professional clarinetist. mouthpiece. It wasnt bad but the reeds to fit all mouthpieces
Let me make a long story short. I have lost their support too quickly. One week made to standard over-
since tried Claripatch and find it to be before the recording I was searching for all dimensions.
Q: What claims do you make for Clari- A: No, that would be impossible. The make a junior set that includes four
patch? quality of the cane plays a major role, patches. I should mention too that the
A: Claripatch will enable you to get the as you know. But a judicious choice of pro set comes with what we call a clari-
most of your reeds as well as noticeably patch shifts significantly the sound mute. This simple device allows you to
prolong their life expectancy, all with- quality of almost every reed. You get blow into the instrument normally but
out having to modify your mouthpiece more concert reeds and fewer unplay- without making a sound. Its great for
in any way. Im not exaggerating when able ones. In the two years of research practicing or warming up without dis-
I say that with Claripatch, you can ex- that were necessary to bring the system turbing anyone. And its an effective
pect every reed you choose to play its to fruition, we have come up with eight tool for explaining embouchure and
best. During a concert you can have in- profiles from among hundreds tested tonguing basics to beginners. After a
creased confidence in your instrument that address problems commonly few minutes, the student can easily find
and your reed as Claripatch overcomes encountered with reeds. The patches are the optimal balance between lip and
the common problems encountered due identified with letters, such as N, S, blowing pressure to maximize the air-
to weather conditions, changes in alti- R and W. There are patches that flow entering the instrument.
tude, and changing room/hall acoustics. improve the performance of a new or an
Simply by choosing the right patch, a ageing reed, others for a reed thats too Q: Do you recommend using more than
good reed remains a good reed, even in hard or too soft, others for a reed that one patch at a time?
the face of difficult conditions. Whats sounds too bright or too dull, another A: In our instruction booklet we say that
more, Claripatch can help you personal- for a reed thats waterlogged, and still placing two identical or two different
ize your sound for each style of music. another for a reed that has lost its sup- patches on top of each other will signifi-
For example, lets say you want to re- port, particularly for detached playing cantly augment the effect of each patch.
create the sound of a period clarinet on or for the production of very soft sounds. Thats true. It all depends on your reed,
a modern instrument. Claripatch can We provide a chart that explains what the style of music and the venue.
help you do that. The right patch or each patch is designed to do. Its a pretty
combination of patches will enable you good guide. Some experimentation with Q: How many possible combinations are
to change the dimensions of your sound every reed is still necessary, though. there?
in accordance with the room or hall A simple technique to save time is to A: With two patches you have 45 possible
you are playing in: a strong and rich write the patch recipe NSR on the combinations. With three you have 157.
sound for a large hall, a soft, sophisti- back of the reed for future reference. With all 16 patches you would have
cated, colorful sound for use in cham- With increased experience you need theoretically 6,561 possible combina-
ber music. And you can do all this with- only a few seconds to determine the tions, but we dont recommend using
out having to change your reed or your right patch. more than three patches together. If you
way of playing. still have problems, it is better to recon-
Q: How many patches come in the Clari- sider the choice of reed or mouthpiece.
Q: Are you saying that Claripatch will patch set?
make every reed you select play like a A: In our pro set there are 16 patches, two Q: How do you attach the patches to the
good reed? of each of the eight profiles. We also mouthpiece?
Washington, D.C. Texas, Utah and Mary- Fest conferences at the University of Ok-
Levin was the Artistic Director for Clar- lahoma, the Hilton Riverside Hotel in New
TREASURER
Diane Barger is
associate professor of
clarinet at the Uni -
versity of Nebraska
School of Music and a
member of the Moran
Wood wind Quintet.
She currently serves as
principal clarinet with
the Lincoln Symphony
Orchestra and is the Diane Barger
grees from the Florida State University and Akron Symphony Or- and Saxophone Festival and has given
the Graduate Certificate in Performance chestra and Blossom master classes in China and Taiwan. She
(1990) and Master of Music (1989) de- Festival Band, and can be heard with Solaris on American
grees from Northwestern University. An clarinetist with the Quintets II, released by Capstone Records.
active soloist and chamber musician, mas- Solaris Wind Quintet.
ter class clinician and adjudicator through- She currently serves as Kristina Belisle
out the United States, Barger has been a Secretary of the Inter-
featured artist at numerous I.C.A. Clari-
netFest and Oklahoma Clarinet Symposi-
national Clarinet Association. As a soloist,
she has performed concertos with the
Back Issues
ums. A specialist in the genre of operatic Houston Symphony, the Flint Symphony, of The Clarinet
fantasies for clarinet based on Vincenzo the Cleveland Chamber Symphony and
Back-issue order forms for The Clarinet
Bellini operas, Barger can be heard as a with orchestras/wind ensembles through-
may now be downloaded from the I.C.A.
out Arkansas and northeast Ohio. She has
featured soloist on the I.C.A.s 1998 Re- Web site: <www.clarinet.org>. Copies may
cording Project in a performance of Do- won numerous awards for her performan- also be requested by contacting:
menico Mircos La Sonnambula Fanta- ces including the 1993 William C. Byrd
sia. With the Moran Woodwind Quintet, National Young Artist Award for Winds James Gillespie
Barger participated in two lec- and Brass and the 1992 Ima Hogg National College of Music
ture/performances at the October 2005 Young Artist Award. As a chamber musi- University of North Texas
College Mu sic Society National cian, she has performed with the Renaud P.O. Box 311367
Conference in Quebec City, Canada and Chamber Music Series, the Fontana Fes- Denton, TX 76203-1367
the June 2005 CMS International tival of Music and Art, the Norfolk, Bow- E-mail: <jgillesp@music.cmm.unt.edu>
Conference in Alcala de Henares, Spain. doin, and Garth Newel Chamber Music
CLARINET LITERATURE
a waltz-style passage. In it the music de-
Equalizing breath density is one of the mands a continuation of sound across the
ARTICULATED WIDE
Slowly played scales are excellent prac- of the exercises, in the other keys, may be
tice for legato style. Play slowly; half- used in the same way that these two are
notes are even better than quarters for this
purpose. Listen critically so that the line is
used, of course.
Place no stress on speed. Practice each
INTERVALS
continuous across each interval and that key study in three tempi, the first allowing Continuous breath flow accompanies
tonal momentum continues across the dur- a quarter-note value per tone, the second intervals bound together under slurred
ation of each tone after arrival. In descend- an eighth-note value per tone, and in the lines (legato) whereas breath segmenta-
ing scales, creep or stalk the fingers into third, a sixteenth. But go to the sixteenth tion (breath releasing) together with the
near-coverage, then complete the fingering values only after the first two playing pass action of the tongue touching back to the
without banging the fingers down or grip- the test of truly unbroken legato lines reed delineates (separates) articulations. In
ping the clarinet upon arrival. In ascending bending across from note to note with the interim between these separated tones
scales practice lifting fingers deftly and whisper-soft landing of both fingers and it is essential to maintain constant breath
precisely without pre-pressing in or per- breath into each successive tone. Use the support within an open throat even though
mitting undue suddenness in the lift-off. breath to lift the tones plastically across the the breath itself is in a state of pause at
Also lift the tones across the interval spans intervals, circumscribing rather than bump- these points.
with the breath but without squeezing or ing into the tonal landings. The breath channel must remain in
grunting each one by narrowing the throat In No. 1 of the Forty Studies by Crylle open readiness for breath availability
for each tone. Rose, use a slow eighth-note beat, with the between each part of articulated wide inter-
Another fine way to practice legato style metronome set at 76. As the slurred inter- vals with all playing factors, including sup-
is to play scales in thirds and in fourths, if vals widen make a point to keep the throat port, remaining active. The breath is re-
you havent already done that in your ear- open with the air emanating from breath leased off and held in forward suspension
lier interval practice. source. In concentrating on the expanding as well as by breath control means in the
INTERVALS soft landing on the lower tone. breath must not be sucked inward to aid in
Turn now to the slow movement (the stopping tones, and that the support must
It is common to hear wide intervals Larghetto) from Mozarts Clarinet Quin- not be withdrawn momentarily between
crossed with a combination of increased tet, K. 581, one of the most beautiful the tones.
THOUGHTS ON LEGATO
best to try executing articulated wide cros- written by Daniel Bonade. Mr. Bonade
sings first by holding quietly with an es- made the point that before legato play-
tablished abundance of playing energies in
the hope that our finer intuitive self will
PLAYING STYLE ing can be mastered the player must
first master the playing on a well-bal-
draw from these stores exactly what is 1.) The culprits, when legato playing is not anced reed. After that, he must be sure
going well, are most likely to be the that the breath keeps moving both dur-
needed to make the crossings. This means
fingers and the breath. The fingers tend ing and between consecutively played
that 1.) the embouchure is actively main-
to snap to and from their positions to legato tones, and that the fingers do not
tained, 2.) the breath is instantly available
force the tone to speak. The breath slap onto the holes and keys. He says
and operating from breath source through there is nothing worse than hearing
tends to back off at critical times, caus-
a continuously open throat channel, 3.) the more finger-action than real tone.
ing a break in the line, or to overblow
jaw and back tongue are both relaxed and 5.) I read another article once, this one
in a bumping surge to ensure an inter-
directing downward, and that 4.) the main- mainly about staccato playing, written
val crossing. These faults must be
tenance of light and free hands, wrists, and by Rosario Mazzeo. The very first and
guarded against.
fingers is essential. The mind oversees the 2.) If I were to describe legato playing most important point made by Mr.
fingers continuance during wide interval Mazzeo was that before a person can
style, I would say that it is mainly a
crossings while they merely change from master staccato playing he must real-
smooth uninterruption of tone across
position to position. ize that the ability to play a beautiful
each interval, made without undue
It will be found helpful in playing a se- legato style must not only come first,
breath surge, bumping or let-up, the
quence of articulated wide intervals to es- but that it is actually the basis of a
fingers moving precisely into place but
good staccato style.
tablish a mean somewhere between the without snap.
outlying extremes of the intervals, remain- 3.) If we analyze what is happening with *****
ing there quietly in imagination while the the fingers during legato playing, we
fingers move out to play the intervals on may be reminded of a centipede, am- In the next installment, we will deal
either side. Little or no further energy is with Keith Steins materials having to do
bling along on its thousand legs, all co-
with tone quality.
offered by the lips or breath at either ex- ordinated, but no single one of them
The Clarinet
PUBLICATION SCHEDULE
The magazine is usually
mailed during the last
week of Feb ruary, May,
August and November. De-
livery time within North
America is normally 1014
days, while airmail deliv-
ery time outside North
America is 710 days.
T
Josef Hork and Emma Kovrnov always drove because, as she said, dream- Ho rk answers, Because Hin demith
(photo by Alex Millier) ers should not drive! wouldnt agree! Upon which the man ap-
Their life as Due Boemi di Praga was proached him and said, May I introduce
he bass clarinetist par excellence not very easy. Due to the political situation myself? My name is Paul Hindemith.
Josef Hork died on November 23, in communist Eastern Europe they had Hork has performed this Sonata ever
2005, in Germany at the age of 74. great difficulty in performing and getting since. That also applies to many other
In March 1955, Josef Hork gave the first new works from composers in the West. com positions which were dedicated to
solo bass clarinet concert in musical his- Josef loved to tell the anecdote about his him: Josef Hork has added hundreds of
tory and from that moment on he gave his first meeting with Paul Hindemith. After an new works to the bass clarinet repertoire.
time and energy to assure his beloved in- orchestra rehearsal in a German radio stu- Josef was a very generous person, not
strument the recognition it deserved. dio Hork stayed a bit longer, because he only with time and knowledge, but he
Josef had a lot of energy, a strong will wanted to play and explore the bass clar- would also give his CDs away to col-
and never stopped working apart from inet. A man enters the studio, sits down and leagues and students. Anybody looking for
relaxing after his concerts while enjoying starts listening. After a while he starts ask- scores could count on his help; soon a
his favorite cognac! ing questions: Can you do this? Could you package of music would arrive from him.
In Emma Kovrnov he found his per- play this phrase an octave higher?, etc. At When giving master classes he always
fect partner he the dreamer, she with the end of this spontaneous session the man encouraged the younger generation and
both feet on the ground.When they made asks, Why dont you play Hindemiths enjoyed seeing that his work for the instru-
their countless concert tours by car Emma Bassoon Sonata on the bass clarinet? ment would be continued. His dream was
always to create a real brotherhood of bass
clarinetists and to enhance a spirit of coop-
eration rather than competition.
It was wonderful that, in spite of his
poor health, his sheer determination meant
that Josef could make it to the First World
Bass Clarinet Convention held in Rotter-
dam in October of this past year, to give a
concert, be a jury member and speak about
his musical life.
As Josef wrote in the program booklet:
My dream became reality! The never-
ending standing ovation given to him by
his peers was the crown on his work.
Josef Hork will live on in the musical
world where he will always be remem-
bered for his pioneering work as the am-
bassador of the bass clarinet.
IN
Memoriam important in being together with another
human David was always for me young,
a young man, because he was so interested
in so many things, and he was so open.
Weber was an old school mentor. He
D
but he also cared about our lives. Lessons,
hold important positions in orchestras which included plenty of shouting and
by David Goodman around the world. At Vandoren, it was a
pleasure to meet him, because he was not
tough love from the master, typically took
two to three hours, followed by lunch at
avid Weber, a legendary clar- only a kind man, but very professional. Barney Greengrass, a Jewish diner on 86th
inetist whose performing career Weber began his clarinet studies with St. The affection he showed his students
spanned six decades and who Roy Schmidt of the Detroit Symphony,
was mutual, as a number of us gathered
taught several generations of students, before moving to New York in the 1930s,
with him to celebrate his 90th birthday in
passed away on January 23, 2006. He was where he studied with Simeon Bellison and
2003, and a smaller group joined him
92 years old. He was still teaching until Daniel Bonade. He became fast friends
again last December for his 92nd birthday
about six months before his death. and occasional rivals with another Bonade
in his Upper West Side apartment.
Dave was friendly with and studied student, Ralph McLane, who later became
Webers enduring contribution is his
with the greatest clarinet players of the last principal clarinetist in The Philadelphia
lifelong pursuit of beautiful tone. The most
era, said Donald Montanaro, who retired Orchestra. In 1938, Weber auditioned for
important thing, he would implore his stu-
last year as associate principal clarinetist Arturo Toscanini, who hired him on the
dents, is to have a beautiful sound. A
in The Philadelphia Orchestra and still spot to play E clarinet in the NBC Sym-
double-lip player, Weber would teach his
teaches at the Curtis Institute of Music. A phony. He went on to play assistant princi-
students to strive for a rich, liquid, bell-like
longtime friend of Weber, Montanaro ob- pal clarinet in the New York Philharmonic
sound, a style exemplified by players such
served, He was the last link to people like in 19431944 alongside Bellison. He was
principal clarinetist in the CBS Symphony as himself, McLane and Harold Wright.
Hamelin, Cahuzac, McLane, Bonade and As I grew to understand over the years, a
Bellison. In lessons that I and numerous Orchestra from 19461952, and then as-
sumed the same position in the Symphony beautiful sound meant much more than
others had with Weber, he would frequently simply having good tone. It meant making
offer tips or anecdotes passed on to him by of the Air (the successor to the NBC Sym-
phony) under Leopold Stokowski. In 1964, music: elegant phrasing, fluid technique,
these masters. To study with David Weber and using the instrument to express your-
was to become part of the fabric that binds he became principal clarinetist in the New
York City Ballet Orchestra until his retire- self. As he implored, The clarinet is your
generations of clarinetists. voice. Sing!
Bernard Van Doren, head of the com- ment from performing in 1986. He was also
on the faculty of Juilliard and Columbia That beautiful Weber sound can be
pany that makes the reeds and mouthpieces heard in the playing of his many students,
that Weber played throughout his life, Teachers College.
A well read man and a famously dap- who now occupy seats in major orches-
remarked, David Weber was a prestigious
per dresser, Weber was proud and emo- tras including Cleveland, Milwaukee,
teacher and soloist. His teaching influ-
tional traits that periodically got him Dallas, Philadelphia, American Ballet
into trouble with powerful conductors Theater, the Metropolitan Opera Orches-
such as Bruno Walter and Fritz Reiner. tra and elsewhere.
His clashes with these maestros cost him I asked him not long ago what he felt
professionally, and led him to offer hum- his legacy has been. He considered it,
ble advice to his students: You have to be then said contentedly, I gave a good les-
like I wasnt. Youve gotta have big ears son. Indeed. We will miss him. But the
and a small mouth. lessons he gave us in life and music will
Karl Leister, formerly principal clarinet outlive him. And every time a beautiful
in the Berlin Philharmonic and a friend of sound passes the bell of a clarinet, the
Weber, noted that what set David Weber legacy of David Weber and the masters
apart as a teacher was that he was also a who taught him will be passed on to ano-
gifted performer. I always felt he was one ther generation.
of the really professional musicians be-
cause he was always active and playing in
the New York City Ballet in the time when
ABOUT THE WRITER
he was teaching. Leister also appreciated Vermont-based writer and clarinetist
Webers personal style. For me, David David Goodman (<david@dgoodman.
was in the style of European grand seor. net>) is co-principal clarinetist of the Mont-
He acted in a style where everybody must pelier Chamber Orchestra and founder of
David Weber respect him. He was well dressed always, the Vermont Chamber Players.
3 Paul Baronnat
One may never hear such refined playing Clarinet choir in the finale
by seven bass clarinetists ever again!!
8
Although Michel Arrignon was origi-
nally scheduled to play next, due to his ill-
ness, Pascal Moragus, his colleague on
the faculty of the Conservatoire National
Suprieur de Musique de Paris, substi-
tuted brilliantly in a performance of Cop-
lands Concerto for Clarinet and Orchestra
marked by high energy and enthusiasm.
The concert finale and dessert course
for the evenings clarinet feast featured the
world premiere of Bertrand Hainauts clev-
er and skillfully scored 180 ans dj for
clarinet choir with piano which was com-
missioned by Buffet Crampon for the event.
All the evenings artists took part augment-
ed by other performers for a total of about
30 players, conducted by the composer. It
featured excerpts and motives from famous
clarinet solos from the orchestral repertoire
(Gershwin, Weber, Rossini, Ravel, Rimsky-
Korsakov) and solos by Poulenc, Debussy, Marc Hollogne, announcer and moderator
to name a few, with Happy Birthday
capping off the clarinet potpourri. It was
made of, by and for clarinetists, and how 9
could it have been better?
It was a rare and historic evening in-
deed, and all those associated with the
planning and performance of it should take
great pride. The clarinet and Buffet Cram-
pon were extremely well served!
(All photos courtesy of Buffet Crampon)
T
inetFest took the stage. The Fountain
He asked students to consider the ques- City Ensemble kicked off the program
tions, Where does the melody go and with the exciting new piece titled Found
when it does, how could the composer Objects by award-winning composer J.M.
he Friday morning, July 22, re- have done it differently that wouldnt have David. Lisa Oberlander showed her daz-
citals began with Ching-chun Lin, been as dramatic or as beautiful? He zling technique on B and bass clarinets in
clarinet (Taiwan) and Jen-Yi Wang often remarked, Dont play long tones this four-movement piece. Jeffery Olson
on piano playing the fun Horovitz Sona- like a door bell. Neidich encouraged ably performed Paul Richards Magic
tina in an excellent performance. Hakon participants to be energetic, passionate, Forest Scenes for solo clarinet (2000). Jo-
Stodle, clarinet (Norway) and Tomoko aggressive and sensitive. seph Eller presented Busonis obscure but
Kaihoko, piano, played a nationalistic The I.C.A. Board of Directors Recital beautiful composition, Elegia, and Lau-
piece by Ketil Vea titled Suite for clarinet began mid-morning. It is always fun to rence Sherrs Duo Concertante for Clari-
and piano. It was well done. At mid-morn- hear the current leaders of our organiza- net and Piano. D. Ray McClellan pro-
ing the Vintage Quartet from Portugal took tion play to realize that in addition to run- grammed two wonderful works, Domen-
the stage. Young members Iva Barbosa, ning the I.C.A, they are top-notch per-
ico Scarlattis Andante e cantabile from
Candida Oliveira, B clarinets, Jos Eduar- formers as well. This year did not disap-
do Gomes, basset horn and B clarinet, and the Sonata in A Major, K. 209 and Ernest
point. Michael Galvn, current president,
Ricardo Alves, bass clarinet played a fabu- Chaussons Andante and Allegro. Eller
expertly played the exciting Lutoslawski
lous program featuring the quartet works and McClellan concluded the recital with
Dance Preludes with pianist Naoko Endo.
of Paul Harvey, Jean Franaix, and Portu- Mendelssohns Konzertstucke No. 1 in F
Lee Livengood, president-elect, followed
guese music arranged by Victor de Faria. minor, Op. 11.
with pianist Melissa Livengood for a beau-
Bravo to this group who played with lots An early afternoon recital featured sev-
tiful rendition of the second and third
of style and passion. Their warm ovation eral Japanese students of Jacques Lan-
movements of the Horovitz Sonatina. Kris-
was treated with an encore written by Pa- celot. Ayako Oshima performed Joseph
tina Belisle, secretary, did an excellent job
quito DRivera. Prinzers Duo Concertante from the Lan-
with the difficult Gra for clarinet alone by
Charles Neidichs SRO master class, Elliot Carter. Rose Sperrazza, executive celot Collection, and Shigeru Ikushima
Analysis, Expression and Technique director, played the very unique Lee Thim- and Tadayoshi Takeda gave a fine reading
Three Sides of the Same Coin, featured mig Stanzas, Book XIV with great style. of Deviennes Sonate No. 2 for two clar-
Young Artist Competition participants Diane Barger, treasurer, wowed the audi- inets and clavier. Kazuko Ninomiya ren-
Alexey Gorokholinsky (Russia), Sae-rom ence with her fantastic technique and tone dered Pierns Canzonetta. JCS President,
Kim (Korea) and Naoko Danno (Japan). on the E clarinet by playing Giacomo Koichi Hamanaka, played the ever-beauti-
His lovely wife, Ayako Oshima, ably as- Panizzas Ballabile con Variazioni aus ful Debussy Premire Rhapsodie, and a
sisted him for translation. Neidich focused dem Ballett Ettore Fieramosca with pi- clarinet sextet with Kenji Matsumoto,
his remarks on an analysis of the music anist Yuki Nakajima. Robert Walzel, past Keiichi Atsuta, Yuji Furusawa, Ikuko
and the composers intentions using har- president, ended this wonderful program Nihio, Hisae Kori and Tomohio Owada
monic and line analysis (e.g., using differ- with a fast, fun, and energetic performance gave us the enjoyable En Famille of Ray-
ent means of expression according to the of Simon Sargons Klez Muzik. mond Loucheur (see photo 1). Toru Hora
harmony). Performers were asked to keep Editor of The Clarinet, James Gillespie, was the commentator with Naoko Ishi-
the intensity throughout the line or phrase was given The Awardee Recital and per- bashi at the piano and harpsichord.
with subtle differences for contrasting formed with his former student and the Richard Fletcher, clarinet, Kristine
phrases. He encouraged wind players to host of the I.C.A. ClarinetFest from last Fletcher, bassoon and Barbara Wimunc-
compare their use of air to what string summer, Marguerite Baker, clarinet, and Pearson, piano, make up Clearly Three, a
players do for attacks and swelling. He Yuki Nakajima, piano. The opening selec- trio from the U.S.A. Their recital treated
also noted the importance of the accompa- tion, a duet for two clarinets titled Views of their audience to Benjamin Gutirrezs
niment along with the soloist to complete the Blues by Gordon Lewin, was a terrific Trio (1987) and Ivana Loudovs Italsk
the emotional impact of the entire passage. change of pace from the music heard at the (Italian) Trio (see photo 2).
No. 3: Michel Arrignon and Kenji Matsumoto in the Rico in Concert recital
No. 7: Yuho Ishikawa, marimba, William Chen, clarinet, and Keita Tadokoro, coinrabass
Sparnaay and Jan Guns were as different Hall. A packed audience (ca. 2,000+) en- No. 3. Jzsef Balogh, substituting for
as day and night in their approach to the joyed clarinetists Eiji Kitamura, Eiji Tani- Stephan Siegerthaler, delighted the audi-
instrument and selections performed. guchi, Eiji Hanaoka and Masahiro Taki- ence with solo improvisations on Hun-
Sparnaay gave us lots of tongue slaps, etc. kawa with a trio of piano, bass and drums. garian gypsy melodies, Brahms Hun-
in I. Szeghys unaccompanied Prelude e Buddy DeFranco and Eddie Daniels held garian Dance No. 6 and Romanian Dances
Danza, while Guns played the accompa- forth with the Fest Special Jazz Orchestra encouraged by audience participation.
nied and introspective Thrushes in Forest (2005). Much fun and a very enjoyable Again, Andrew Simon displayed beautiful
by Takao Shirakawa (see photo 8). An- evening in Tama (see photo 9)! contrasts in Bellinis Fantasy on Themes
tonio Saiote, I.C.A.s National Chairperson Saturday morning began with Javier from I Puritani followed with Nikola
Resanovics ALT.MUSIC.BALLISTIX for
for Portugal, played the ever-popular Hun- Vinasco (Mexico) performing M. Lavistrs
B Clarinet and Digital Audio Tape.
garian Dances of Bla Bartk. With tech- solo clarinet work, Madrigal, employing
Stephen Fox (Canada) expertly played a
nique to burn, Shigeru Ikushima on B and some well-done multiphonics, and Berios
very nice piece, the Sonate by Paul Juon,
Kenji Matsumoto on E gave us a great Sequenza IXa. Frank Sidorfsky on basset
and Clifford Crawleys Tenapenny Pieces.
performance of Luigi Bassis Gran Duo su horn delighted us with Casper Kummers
A Clarinet Choir Banquet in the Con-
La Sonnambula di Bellini. Adagio and Variationen, Op. 45, and the cert Hall featured clarinet choirs from dif-
Friday evening our hosts scheduled unaccompanied Allemande, Courant and ferent areas of Japan and Great Britain (see
a Fest Special Jazz Concert in the Concert Gigue from J. S. Bachs violoncello Suite photo 10). Giving many clarinetists an op-
portunity to perform with others, these
large clarinet ensembles performed mostly
standard arrangements of orchestral works.
Back in the Recital Hall, Korean Im-So
Lee impressed us with a beautiful tone and
musical feeling offering Rossinis Una
voce poco fa from The Barber of Seville.
Antonio Saiotes accomplished pianist,
Michiko Tsuda, in a marvellous collabora-
tion, accompanied him in three works from
their latest CD. First we heard three pieces
from Fernando Lapas nem tudo ou nada.
This was followed by a beautiful perfor-
mance of Arthur Benjamins Le Tombeau
de Ravel, Valse-Caprices and an interest-
No. 10: The British Clarinet Ensemble, with soloist Anna Hashimoto (Tartini/Jacob, ing and lovely work by Takashi Yoshi-
Concertino) matsu titled 4 Pieces in Bird Shape. The
what it is. Also, the reviewers would like was much speculation about how the Historian.
to thank our hosts and organizers. There ClarinetFest would do its first time in
[With special appreciation to Profes-
Visit the
I NTERNATIONAL
C LARINET A SSOCIATION
on the World Wide Web:
www.clarinet.org
Its 30th Annual Clarinet Symposium performed John Stephens Quintet for
E/A/B Clarinet and String Quartet with
Quartet Oklahoma, Morton Goulds Ben-
T
A report by Duo Rubio-Benavides (Pedro Rubio, nys Gig with bassist John Willams, and
Amanda McCandless clarinet and Ana Benavides, piano) then
performed Spanish works for clarinet and
the world premiere of Downtown Brahms,
Weber Hits the City by Anthony Wake-
he University of Oklahoma hosted piano. The first work performed was Fan- field, joined by Ricardo Morales and Quar-
its 30th annual Clarinet Sympos- tasia sobre motivos de Lucrecia Borgia by tet Oklahoma.
ium on June 1618, 2005, at the Antonio Romero. The duo then performed The first evening concert began with a
an arrangement of Three Pieces by Joaqun performance by the Verdehr Trio (Elsa
Catlett Music Center in Norman, Okla-
Rodrigo that was breathtakingly tender and Ludewig-Verdehr, clarinet, Walter Ver-
homa. The first recital of the symposium
delicate. Next, the audience heard two dehr, violin, and Sylvia Roederer, piano).
was given by David Etheridge, symposium
romantic works; Introduccion, Andante y The first work, Dash by Jennifer Higdon,
coordinator and University of Oklahoma was a brilliant and virtuosic opening piece.
Danza by Julian Menndez and Estudio
professor, and Keith Lemmons, professor Joan Towers Rain Waves is a musical ka-
Melodico, Op. 33 by Miguel Yuste. The
of clarinet at the University of New Mex- final work of the recital, Sonata, Op. 46 by leidoscope of colors and emotions that
ico. They began with a performance of the Salvador Brotons, is a substantial work showed the trios versatility, from the
Krommer Concerto for Two Clarinets, Op. that was well performed by the duo. hauntingly beautiful violin passages to the
35 accompanied by the OU Clarinet Choir. Ben Redwine, E clarinetist with the bold, dramatic statements for which Joan
Lemmons finished the recital with Pierre United States Naval Academy Band, and Towers music is famous. They continued
Gabayes Sonatina and the Horovitz Sona- Joseph Eller, clarinet professor at the Uni- with Dream Tracks by Australian com-
tina. He dedicated his performance to his versity of South Carolina, performed next. poser Peter Sculthorpe and William David
late teacher Robert Schott, and Lemmons Brohns I Got Variations, a set of varia-
Joseph Eller performed selections from the
tions based on George Gershwins I Got
performance was a wonderful tribute. Early Character Pieces for Clarinet and
Rhythm. The final work of the recital, Ti-
betan Dance by Bright Sheng, was an ex-
citing end to this well-programmed and
artistically conceived recital.
The final recital of the evening was
given by Jon Manasse, clarinet soloist and
professor of clarinet at the Eastman School
of Music. He was joined by Quartet Okla-
homa to perform Adagio from Quintet
for Clarinet and Strings by Heinrich Baer-
mann, displaying Manasses amazing con-
trol and pure, shimmering tone. This was
followed by an elegant and seemingly ef-
fortless performance of the Weber Quintet.
Friday, June 17 began with a recital
shared by Andrea Cheeseman, professor of
woodwinds at Delta State University, and
Eric Mandat, composer and professor of
clarinet at Southern Illinois University.
Cheesemans performance consisted of
Time Pieces by Robert Muczynski and
Liquid Ebony by Dana Wilson. Her perfor-
mance made a definitive artistic statement
and she is a musician capable of great
depth, presenting both superb expressive
and technical skills. Eric Mandat per-
formed several of his own compositions,
including the world premiere of Rrowzer
for solo clarinet. Like many of his other
works, Rrowzer is vibrant and innovative.
T
Orchestra
Hakan Rosengren, Sweden, California State
UniversityFullerton
he University of Georgia and the tanical Garden, Zoo Atlanta and Turner David Shifrin, Yale University
University of South Carolina, in Field, home of the Atlanta Braves. All Mitchell Lurie, University of Southern
cooperation with the International of these locations can be reached by California (retired)
Clarinet Association, are proud to sponsor convenient transportation provided
ClarinetFest 2006. Clarinet professors throughout the city, including the MARTA Stanley Hasty Tribute Concert
Joseph Eller (USC) and D. Ray McClellan train system, of which there is a station at
Symphony Orchestra
Atlanta which is connected to the CNN at <www.atlanta.net/index.html>. Elsa Ludewig-Verdehr, Michigan State
news world headquarters. The luxurious The artist roster will feature performers University
AAA four diamond hotel is located in the from all corners of the world and festivities Tom Martin, assistant principal, Boston
heart of downtown Atlanta and features will include an evening with the Atlanta Symphony Orchestra
sophistication and elegant style within its Symphony Orchestra and tribute concerts Stanley Hasty, principal, Rochester
1,067 spacious guest rooms and suites. featuring students of legendary teachers Philharmonic Orchestra, Eastman School
Each handsomely appointed guestroom David Weber, Mitchell Lurie, Stanley of Music (retired)
offers magnificent views of the downtown Hasty and Guy Deplus. ClarinetFest 2006
skyline, the lively CNN Center Atrium will also feature concerts which include
International Artists:
Stephanie Thompson Sandrine Vasseur, Paris Conservatory prize
Ana Victoria Luperi, principal, Winnipeg winner
Symphony Orchestra Dmitri Ashkenazy, Germany Roger Vigulf, Norway
Potpourri Concerts:
Mark Nuccio, associate principal, Jzsef Balogh, Hungary
New York Philharmonic Orchestra Henri Bok, bass clarinet, Rotterdam
Lisa Oberlander, Columbus State University Conservatory of Music Deborah Andrus, Bethlehem, Moravian
Ron Odrich, jazz soloist, NY Sergio Bosi, Italy College
Fred Ormand, University of Michigan Marino Calva, Mexico Chris Ayer, Stephen F. Austin State
Sean Osborne, Seattle, WA Alessandro Carbonare, principal, Orchestra University
Ken Peplowski, jazz soloist, NY Nazionale di S.Cecilia, Rome Ani Berberian, Air Force Academy Band, CO
Ben Redwine, U.S. Naval Academy Band Andy Firth, Australia, jazz soloist Deborah Bish, Florida State University
Dan Silver, University of Colorado Wenzel Fuchs, principal, Berlin John Cipolla, Western Kentucky University
Gary Spearl, University of Tennessee Philharmonic Orchestra Mary Alice Druhan, Texas A&M
Robert Spring, Arizona State University Deborah de Graff, Australia UniversityCommerce
Robert Walzel, University of Utah Roeland Hendrikx, principal, National Jane Ellsworth, Kenyon College
ClarinetFest
VANCOUVER, BRITISH COLUMBIA, CANADA
2007 ELECTRONIC PHOTO
SUBMISSIONS FOR
THE CLARINET
When scanning photos or setting
C
JULY 48, 2007
your digital camera to create elec-
tronic images for use in the maga-
zine, resolution is a very important
consideration. For high-resolution
larinetFest 2007 will take place on the campus of the University of British printing, each photo must include
Columbia. Co-sponsored by the UBC School of Music, the conference will
CONTEST RULES
I. Application fee: $50 U.S. All applicants must be members of the I.C.A. and must provide proof of membership. Non-
members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest application
fee. Make amount payable to the I.C.A. in U.S. currency. This fee is non-refundable.
II. Recording Instructions: Please provide a high-quality recording on compact disc (CD-R) containing the following reper-
toire in the exact order listed. Each selection/movement should be ID coded as tracks. Audio cassettes will not be accepted.
Please be aware that the quality of the recording will influence the judges. Recordings should not be edited, and only con-
tinuous performances of entire works or movements should be submitted.
1. Francis Poulenc, Sonata for Clarinet and Piano (Play mvts. II & III only), published by Chester
2. Bl Kovcs, Hommage J.S. Bach for Clarinet Solo (from the collection Hommages ), published by Edition Darok
(may be played on either A or B clarinet)
III. A photocopy of the contestants drivers license, passport or birth certificate as proof of age.
IV. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is
the playing of the contestant and has not been edited.
V. A summer address, telephone number and e-mail address (all if possible) should be provided.
Please note that no application form is required.
JUDGING
Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R,
cassette, or box. There should be no speaking on the recording, such as announcing of compositions.
Preliminary judging will be by taped audition. Finalists will be chosen by committee. Notification will be sent by Monday,
May 22, 2006. Final round will take place at ClarinetFest 2006, to be held in Atlanta, Georgia, USA, August 2006. Repertoire
will consist of the works listed above. Memorization for the final round of competition is not required.
Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A.
will provide a pianist for all finalists. All finalists will receive free registration at ClarinetFest 2006. Travel and other expenses
will be the responsibility of the contestant.
All recordings will become the property of the I.C.A. and will not be returned.
PRIZES
First prize $1,000 U.S. Second prize $750 U.S. Third prize $500 U.S.
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are
responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.
I
guide for young performers on the travails
of a traveling working musician.
Dutch
knew I was in trouble when I boarded
A Report on the First
the Delta flight to Amsterdam and two
thirds of the passengers were cough- World Bass Clarinet Convention
ing and sneezing. That Delta is in bank-
ruptcy proceedings no doubt contributed to by Daniel Harris
the in-cabin environment being stuffy and
ers I cant recall also had booths. It was the
less than pristine. This only compounded
first time in my career that I have been
the chances of inheriting exotic microbes
able to compare professional-grade instru-
from my fellow passengers. We arrived at ments from different manufacturers side
Amsterdams Schiphol airport thanks more by side. I am happy to report that the new
to a 120kt jet stream boost than any fuel bass clarinets have very good scales and
the miserly Delta execs allowed our intre- nice uniform resistance and sound. This
pid pilots to burn, which was helpful to me represents a big improvement over the
as I had to be in Rotterdam by 10 a.m. and instruments of even 15 years ago.
it was 8 a.m. when we landed. I tried some Pomarico crystal mouth-
After a scare that the railway ticket ma- pieces. When they measured my mouth-
chine had eaten my ATM card, I managed piece (Vandoren B46) it measured a
to hop the next express to Rotterdam and 2.20mm tip opening, about 0.4 more than
arrived at De Doelen concert anything Pomarico normally produces,
hall/convention center in Rotterdam to reg- though they have a new jazz model with
ister and hear the opening remarks, sup- larger tip openings. During chit-chat with
pressing sneezes and coughs all the while. the featured performers, I learned that most
As is typical of these single instrument of them used mouthpieces with 2.0mm or
confabs, there were too many performers greater tip openings. This being the case, I
and too many venues to hear all the con- wondered why most of the students in my
certs, demonstrations and master classes. I experience played on much smaller open-
did attend a significant number, however. Steffan Schorn and Caludio Puntin Duo
ing mouthpieces. When one considers that
(photo by Dan Harris)
Additionally, Buffet, Selmer and Leblanc most soprano clarinetists use mouthpieces
all had a full range of harmony clarinets in the 11.2mm range, and the bass clar-
on display for trial at their booth or in a inet is twice the size of the soprano clar- The only vendor who was advertised as
practice room; Pomarico, Vandoren, inet, it would seem that a tip opening of being there, but was not there, a man whom
Marca, Yamaha, Gonzalez and a few oth- around 2.0mm would be the place to start. I very much wanted to meet, was Howard
Wiseman of Wiseman cases. My 10-year-
old Selmer case was not doing its job and I
had to spend a couple of hours tweaking
my horn after the bumpy ride from New
York. I did end up purchasing a Wiseman
case for my bass clarinet when I returned
home. It was the case of choice among the
professionals at the convention and anyone
who traveled frequently. After all these
years, Ive learned to travel lean and mean.
My luggage for the trip consisted of my
bass clarinet case and one small backpack,
all of which went into the overhead bin
(l to r) Anthony Jennings, Josef Hork, Ian Mitchell, Dennis Smylie, Henri Bok (Judges), (also in the overhead rack on the TGV).
Philippe Leconte (Buffet Crampon), Sachiko Ueyama (Third-prize winner), Jiri Porubiak Unfortunately in this terrorist-paranoid
(accompanist of second-prize winner), Joaquin Meijide Failde (First-prize winner), world, that means you cant take a reed
Jerome Selmer (Henri Selmer), George Wiegel (President, World Bass Clarinet Feder- knife or jewelers screwdriver with you;
ation) (photo by Dan Harris) that is, unless you want to put them in your
WRAP-UP
skilled and versatile group of performers.
Some of the orchestral players had
wooden bells (cocobolo-Backun or grena- There are a slew of new compositions
dilla-Rossi) and gold-plated necks. Since I worthy of study and performance to be
didnt hear these same performers playing pursued. I befriended many new bass
with metal bells, it is difficult to ascertain clarinetists. There are numerous amazing
the difference those bells made in the young bass clarinetists who are playing at
sound or tuning. Henri Boks Selmer Privi- a level few performers of any age played
lege had been modified with an extension at 30 years ago. I would have to credit Jo-
so the low C had a proper vent hole and sef Hork, Harry Sparnaay and Henri Bok
didnt vent from the bell mouth. It was for their inspiration as performers and
very noticeable and pleasing to hear an in- teachers for raising not only the awareness
tune low C. Perhaps it will become a stan- Henri Boks Selmer Privilege. Notice of the bass clarinet as a solo instrument,
dard item on some future generation of extension to vent Low C correctly and but also the current very high performance
instruments (see photo below). Rossi Grenadilla bell. (photo by Dan Harris) standards. One should also mention that
ACKNOWLEDGEMENTS
Powell, Hall Overton, Burt Levy and Steve <benclarone@mac.com>.
I
icated to him. Amongst his many record-
events that led him to live and work in the thing out and show it to me, and well see
ings with Decca and EMI, his concerto
U.S.A. from the early 1970s onwards. what we think.
recordings have won The Grand Prix du
So I did. I made some slight alterations
Disque, Acadmie Charles Gros, and The
became quite busy in the free- to it. I went back to him when Id done this
Plaque of Honor of the Academy of Arts
lance world, what with my intro- and we played it through. This was one of
and Sciences of America.
ductions through John Amis, the the occasions when the composer, very
The big change in Gervase de Peyers
Royal Philharmonic, and all that. Id met a graciously, changed something with plea- life came when he moved to New York, in
number of musicians by then people sure. I still play that piece. Its quite a the early 1970s. How did that come about?
like Emanuel Hurwitz, Terence Weill and tough piece to do well. I gave the first per- There was the new hall built at the
Cecil Aronowitz, all of whom I got on very formance of Tombeau de Ravel at the Wig- Lincoln Center. The director of the concert
well with. We did a concert which was for more Hall, and also recorded it. series was looking for players to make a
the Arts Council in a hall in a club-style The clarinet player who preceded me completely new ensemble, which was go-
building behind Piccadilly, near the Park, as the principal clarinet of the London Sym- ing to be the resident ensemble there. I had
quite a nice concert hall. We had the op- phony Orchestra (of which I had no thought come to America with the LSO several
portunity of getting together a group to at the time), was also in an orchestra exclu- times. The first one was either in 1961 or
play there. This ensemble had the structure sively recording music for films. Muir Mat- 1962 with the Melos Ensemble, and also
of the Melos ensemble, although it wasnt theson was the conductor. Somehow or with the LSO on a world tour. The Melos
called Melos then. In fact we tried three or other the LSO inner circle had got a hold ensemble was playing quite a lot of con-
four titles, as well as a number of different on these recordings, which were better certs, and started making recordings.
players, until finally it gelled as the Melos paid than doing extra rehearsals and con- Charles Wadsworth, who had been ap-
Ensemble. It included five wind players, a certs, for instance. I was phoned up to take pointed director for the ensemble in the
string quintet (with double bass), a harpist Sidney Fells place in the Wigmore Ensem- new hall at the Lincoln Center, heard one
(Osian Ellis), a pianist (Lamar Crowson, ble, I think it was called. of the recordings and liked my playing. So,
who made records with us early on), who This situation ultimately created a crisis when the LSO came, he took the oppor-
was a very fine musician from California, for the orchestra which led to an extensive tunity to hear me. We did three tours, one
and a teacher at the Royal Academy. He rebuilding, with a new generation of players with George Solti. I played Webers E
had been a student of Arthur Benjamin on taking over many of the most important Clarinet Concerto in the first concert of
the West Coast of America. positions. Much of this occurred during the tour. That was quite a thrill for me.
REFERENCES
composition with Bantock and Ireland and was an
and the Black Sea. organist and a piano accompanist. His earlier works
At the time of writing, Gervase is work- include an organ prelude, Rorate Coeli (1916),
ing towards a celebratory birthday concert, 1
Anthony Bernard (18911963) wrote much inciden- Variations on a Hill Tune, for piano (1920) and
to be given in Londons Wigmore Hall on tal music for BBC productions. His scores included songs like The Cherry Tree Song.
Iphigenia in Aulis (1951, later re-used with additions Poulencs Clarinet Sonata was found after Poulencs
April 4, 2006, the very same hall where, as
2
of his own by Rae Jenkins, himself sometime con- unexpected death. It is a very late work (1963). Soon
a child, he played the piano in one of Ma- ductor of the BBC Welsh and BBC Variety Orches- after the discovery, Poulenc died. Says de Peyer:
bel Floyds annual piano concerts all those tras), The Tempest (1951), A Midsummer Nights He had sent it off to somebody; this was a piece that
years ago. Dream and the Ion and Bacchae of Euripides. In hadnt been heard. So concerts were arranged, the
first one in France. But no one knew where the mu-
sic was. So there was a search, and finally the manu-
script showed up at the bottom of a cupboard. I did
the British premiere, in an Arts Council production.
It was an all-Poulenc program. The other artists were
Benjamin Britten, Peter Pears, and I also played in a
performance of the Trio for Oboe, Bassoon and Pi-
ano. The bassoonist was Roger Bernstein.
A
variety of materials other than the tradi-
tional granadilla. Plastic, African black-
by Bonnie Glass design of our saxophone cousins. There wood, aluminium heat-sink and, my ab-
were, however, hints about the character or solute favorites, from The Doctors Pow-
utumn always brings a sense of potential of a mouthpiece with wonderful er Barrel. The good doctor has some
the greatest change of season: model names such as Goldentone, Protone, great stuff: Power Barrel Aristocrat and,
The montage of colours, cool Artist, Symphonic, Chicago and (my fa- best of all, Power Barrel Stealth, where
evenings and butterflies seeking Mexico. vorite) the StratoBuzz (just kidding). one sneaks up on a note and plays it
The Great Hibernation never includes the On a more serious note, it is pleasing to before anyone is aware.
autumnal bloom in my postal box cat- see a decline in the number of mouthpieces It would seem that most barrel makers
alogues for the music teacher. For the offered with differing side rails. They often have settled in on some variant of Hans
watchful, the catalogues bring enlighten- require more reed work since any reed Moennigs taper. Most of the barrels with
ment and amusement. Ever like the Mon- applied would be immediately unbalanced his taper can shorten the 12ths in the left
archs, they give a variety of colour. and lacking in efficiency. hand and bring the left-hand low register
High amongst the neuroses of clarinet- Of the few players who used such a into focus on R-13s made between 1948
tists has to be the mouthpiece. Given the mouthpiece (with undeniably beautiful and 1980.
great numbers, styles, prices and claims results), Harold Wright and his teacher Before Moennig died, he had an option
of superiority, it is no wonder many play- Ralph McLane would be the foremost with Buffet to pass or fail the barrels carry-
ers join the endless quest for the perfect examples. Their mouthpiece tip opening ing his name. Mr. Moennig no longer
mouthpiece. In a recent catalogue, I count- of 1.01mm may have helped offset some oversees this. If one has a gauge, one can
ed 73 listings for mouthpieces whose cryp- of the problems inherent in the unbal- determine whether the spread between
tic facings include the 10M, J5, Ruby B, 4 anced facing. upper and lower openings comes within
[star] , RE-5, RM28, BP02, Model GE, about .009", as in .081" and .090".
One of the catalogues features a sepa-
and so on. How to choose? My experience with the aluminium
rate section devoted to brands of jazz
One of these catalogues has a B heat-sink barrel was that it cooled off fast
mouthpieces. This was a bit of a surprise,
on breezy stages and had to warm up at the
Clarinet Mouthpiece Chart with metric tip since I have known some crossover
bar during the interval.
openings across the top and various players who used exactly the same equip-
The rest of my catalogues go into such
mouthpieces listed under each tip opening. ment for both styles. Their only change
essentials as ornate super straps, instru-
I was interested to see that the tip opening for playing jazz was perhaps a shorter bar-
ment pegs, stands, cases, covers, reed
I play (1.06mm) was listed as H, 8, 1, Pr, rel to compensate for a lower tongue posi- cases, repair tools, metronomes, tuners, gig
2, M08, HR and B44. Wouldnt it be nice tion, louder playing and the resulting bags and much more. Maybe I can tell you
if the manufacturers just simply labeled lower pitch. about these some other time.
them 1.06mm? It is most unfortunate that there are very Meanwhile, the very best of luck to
Sticker shock can be a problem if you few mouthpiece choices for my beloved you in sorting this out.
are shopping for a new mouthpiece. List alto clarinet that glorious instrument
T
Part II large it by orchestrating it and so forth. things to be aware of. As you work
by Amy Shapiro
I dont know if it improves the piece but things out, you work out the technical
it probably widens its audience. aspects and rhythmic aspects, dynam-
his is the conclusion of an inter- AS: What are your impressions of Yo-Yo ics (which are very important to bring
view consisting of excerpts from Mas transcription of the Sonata for forth the variety of sounds and colors)
my 2002 undergraduate honors cello and piano [Sony Classical, 1993]? and then, after youve got all of that in
project at Hofstra University, An Oral and SD: Oh, I think its excellent. It really is. It hand, you can proceed to form some
Aural History of Leonard Bernstein and works very well and I was unsure how kind of a performance where you have
it would sound on cello, but I think its something that you want to make it feel
his Clarinet Sonata featuring an annotated
great. And his playing of it is first-rate. like, sound like.
interview with Stanley Drucker.
I felt that the collaboration between the AS: Were you at or did you watch the
***** piano and the cello was really excellent. 1955 premiere of Bernsteins Prelude,
Amy Shapiro (AS): Did Leonard Bern- AS: Did you ever play the Sonata with Fugue and Riffs [for Solo Clarinet and
stein ever discuss with you or do Leonard Bernstein? Jazz Ensemble] on Omnibus?
you have any idea why he chose to SD: No, I didnt, but I did play it with Lu- SD: I didnt, but I heard the piece over the
compose a piece [sonata] for the clar- kas Foss (who was a very good friend years and never played it up to a certain
inet as his first published work? of Leonard Bernsteins) several times. point, but its fun. You need a great
Stanley Drucker (SD): Well, from what I In fact, I played it with Lukas at a big band for that piece. You have to have
heard he was fascinated with the clar- reception for Lenny at the Pierre [Ho- really outstanding people that play that
inet. He even went out and spent his tel] when he was being honored by style. There isnt much for the clarinet
last four dollars buying one in a pawn- Young Audiences [in 1983] and to do a little bit. You have to stand
shop once, if the story is true (and a lot played it with Foss subsequently a lot there and look good, but its fun to be
of things become legends). But I think of times. part of, to be in the middle of a thing
he probably was fascinated with the AS: When you learned the Bernstein Son- like that.
instrument: its sound, its flexibility, and ata you were very young, so how AS: When did you hear Benny Goodmans
the fact that he had a friend who played would you recommend that a young recording of Prelude, Fugue and Riffs
it. I think it was something that was per- person today go about working on it? and what did you think of it?
haps in his background, maybe a folk SD: Well, I would say, like they would SD: It was on a compilation LP with other
instrument in a Judaic sense where clar- study any other piece that they hadnt pieces. I think the Copland Concerto
inet is very important in the music of seen before. You start slowly and work might have been on that LP too, but Im
that genre, like it is in some other ethnic
situations. (Greek music, for instance
clarinet is practically a national in-
strument.) So I think that might have
been some underlying reason.
AS: Did Bernstein ever talk to you about
what he thought of your performances
of his piece?
SD: He was always very nice to me. He
was always like an older brother figure
to me (I wouldnt say father figure). He
was, I would say, a very warm and bril-
liant kind of a person to be around.
Things happened when he was around.
He had that kind of a chemistry.
AS: Have you ever heard the version of
the Bernstein Sonata orchestrated by
Sid Ramin [RCA Victor, 1993]?
SD: I havent heard it but I know its been
performed. The piece will always be Leonard Bernstein and Stanley Drucker after a Freedom Concert in Berlin in December
played. Its an ongoing situation and 1989. Bernstein is imitating Drucker playing.
CONTEST RULES
1. Application fee: $50 U.S. All applicants must be members of the I.C.A., and must provide proof of membership. Non-
members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest appli-
cation fee. Make amount payable to the I.C.A. in U.S. currency by bank check, money order, or by credit card only. Other
forms of payment may be made only with prior arrangement and consent of the Executive Director. Please direct questions
about payment to the Executive Director prior to sending your materials. This fee is non-refundable.
2. Recording instructions: Please provide a high-quality recording on compact disc (CD-R) containing the following repertoire
in the exact order listed. Each selection/movement should be ID coded as tracks. Audio cassettes will not be accepted. Please
be aware that the quality of the recording will influence the judges. Recordings should not be edited, and only continuous
performances of entire works or movements should be submitted.
Joseph Horovitz, Sonatina for Clarinet and Piano, movements II and III only
Mikls Rzsa, Sonatina, Op. 27, movement I only
C. M. von Weber, Concerto No. 2, Op. 74, movement II recitative to end (mm. 6387) and movement III (complete)
3. A photocopy of the contestants drivers license, passport or birth certificate as proof of age.
4. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is
the playing of the contestant and has been not been edited.
5. A summer address, telephone number, and e-mail address (all if possible) should be provided. Please provide all information
in typwritten form.
Please note that no application form is required.
JUDGING
Judging of tapes will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R, cas-
sette or box. There should be no speaking on the recording, such as announcing of compositions.
Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be e-
mailed by June 1, 2006. Semifinal and final rounds will be held at the ClarinetFest 2006, to be held in Atlanta, Georgia, August
PRIZES
First Prize A new clarinet and $2,000 U.S.
Second Prize $1,500 U.S.
Third Prize $1,000 U.S.
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are
responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.
P
ected repertoire with reference to perfor- As mentioned in Part I (December 2005 compilation of fingering charts for the five-
mance practice of the early 19th century. issue), approaching the early clarinet with key clarinet can be found in Eugne Rous-
modern bias is counterproductive: The seaus dissertation.4 Basic fingerings are
erformers interested in historical main difficulties of intonation on early common to all fingering charts, but each
instruments such as the chalumeau clarinet are created when playing reeds instrument has its idiosyncrasies depending
or classical clarinet are usually ad- that are too hard and trying to make the on the year, model, and country of manu-
vanced players on the modern clarinet instrument sound like its modern coun- facturing. Therefore, there are no generally
wishing to acquire performance practice terpart. Aspiring to a perfectly even scale applicable rules of fingering. Each player
information and historical perspective. takes away some of the early clarinets must become thoroughly acquainted with
With respect to intonation and tonal re- expressive qualities: Composers used the the peculiarities of his or her instrument,
sponse, some believe that early instru- covered notes to their musical advantage. and develop fingerings accordingly.
ments are difficult and inaccurate. Early We must ignore our modern predilection
In addition to selecting an appropriate
pedagogues such as Lefvre, Blasius, and for evenness of projection and response,
basic fingering, intonation can further be
Backofen would agree that their instru- and cherish the covered notes. As advocat-
improved by means of the fingers using
ments were less than perfect: ed by Charles Neidich: Have the instru-
shading, half-holing, and buttress fingers/
ments lead you in the direction which
Pure intonation, the most impor- resonating fingerings. Shading is per-
makes them [the notes] speak most easily
tant feature of every wind instru- formed by reducing the finger-tone hole
and best in tune.2 The resulting tone will
ment, cannot be found in the com- distance, thus flattening the pitch. It is
not necessarily match a modern players
monplace clarinet. At least I have most effective when a finger is lowered
conception of sound, especially if he/she
not had any success in finding it. over the first open tone hole. In the clarion
has not heard early clarinet performances
Whether these faults arise unavoid- register, shading can also be performed
by accomplished players. Keep an open
ably from the inherent design of the with the register key: The subtle control of
mind, experiment, and discover!
instrument, or are due to the care- the height of the register key is critical for
Hard reeds offer a familiar sense of re-
lessness of the instrument maker, I playing early clarinet, and will affect notes
sistance, but encourage too much jaw pres-
do not want to say.1 to different degrees, depending on their
sure, reducing flexibility of embouchure
The Boehm system, resulting in part (especially when playing double-lip), and respective distance to the register vent.
from efforts to improve the clarinets into- making intonation difficult. The key is to The fewer number of tone holes 13
nation and tonal response, requires cus- select reeds that counterbalance the resis- as opposed to 23 on the Boehm limits
tomized fingerings, manipulation of the tance created by the narrow bore, small the five-key clarinets chromatic possibili-
embouchure, and subtle adjustments of the tone holes and use of cross fingerings, al- ties. The player must therefore be imagina-
tongue position in order to play in tune. lowing control of the clarinets full range tive if a needed note does not have an
Instrument design comprise acoustical with relative ease and good intonation. assigned tone hole. The chalumeau c is
compromises that have negative effects on With soft reeds, most of the intonation one example. Some instrument makers
intonation, thus assigning the performer issues can be corrected by means of fin- remedied the situation by providing the
with a responsibility to compensate by gers (fingerings, shading, buttress fingers, left-hand ring finger with a double tone
means of embouchure, airflow, and fin- and resonating fingers), or embouchure hole. If this is not the case on your instru-
gers. Notes are not designed to play in tune (voicing, and tightening or loosening of ment, you will need to perform a technique
automatically. The accomplished player the lips). called half holing. An integral part of the
help discover new fingerings. terials From 1732 to ca. 1825. Ph.D. diss., State
Once a focused sound and overall at Livingstone College in Salisbury, NC, University of Iowa, 1962. Rousseau compiled and
awareness has been cultivated, the next and can be reached at <lucjackman@ compared the charts by Antolini, Backofen, Blasius,
step is to fine-tune the scale with respect to hotmail.com>. Bland & Weller, Dmar, Frhlich, Gehot, Holyoke,
Lane, Lefvre, Leroy, Longman & Broderip, Michel,
intonation. Playing intervals against a (Part III: Articulation: Technique and Reynvaan, S. A. & P. Thompson, Vanderhagen
drone pitch will help the player develop a Performance Practice) (1785, 1797, and 1803), and Wheatstone.
SCOTT
Part I:
Goodman style.
Not one to mince words, Scott can be
quite outspoken. When asked by jazz
writer Burt Korall in the late 70s what the
name Benny Goodman evokes in him, he
replied, The name calls to mind several
had told me about Bird, he says. I was
supposed to blow after him. I felt miser-
able what the hell could I play after this
musical madman? I walked up on the stage
to be near him and played in the style of
Goodman, but from that day on I wanted
things: ballads, virtuosity, great swing and
T
The Stateside Years to play like Bird.
style, the personality of a dead fish. Ive
Always adventurous, Scott left the
by Thomas W. Jacobsen never forgiven him for taking much of the
money allotted for jazz clarinetists. Artie swing style behind and turned to the hot
Shaw got the rest. There was nothing left new thing: bebop. He was one of a hand-
he name of clarinetist Tony Scott
by the time Buddy DeFranco and I came ful of clarinet players to give it a go, and
may be nearly forgotten by an
along. He then went on, Artie and Benny one of the first. (DeFranco is two years
older generation of American jazz
were two of the biggest whores in music. his junior.)
fans and, at the same time, be virtually
unknown to a younger generation. That is When they were at the top, they performed Scott first gained national attention
because Scotts glory years the years nine schlock tunes for every good jazz with his 10" LP on Brunswick, Music Af-
when he was a frequent winner in the polls composition. I must say, though, that when ter Midnight, in 1953. Joined by Dick
and was considered one of the top jazz Artie or Benny produced, it was fantastic, Katz, piano; Milt Hinton, bass; and Philly
clarinetists in the country are now a half on a very high level. Joe Jones on drums, they recorded at
century in the past, and he has been living
Tony Scott at the French
abroad for most of the intervening time.
Lick Jazz Festival, French
He first left the country in 1959 and, with a
Lick Springs Hotel,
few brief exceptions, he has not returned to
August (?), 1959
the States. He now lives in Rome, where he
(Photo courtesy of
has resided for the last 30 years or more. Duncan Schiedt)
Anthony J. Sciacca he changed his
last name in the 1940s at the suggestion of
his friend and one-time roommate, Bill
Simon1 was born in Morristown, N.J.
June 17, 1921. After studying at Juilliard
from 1939 to 1942, Scott was drafted into
the army. He served for three years, play-
ing in army bands and since he was sta-
tioned in the New York City area sitting
in regularly on legendary 52nd Street with
some of the best jazzmen of the era. Those
two experiences, Juilliard and The Street,
shaped his musical thinking for the years
under consideration here as well as much
of his later career.
Scotts early influence on clarinet was
Clarence Hutchenrider of the Glen Gray
Casa Loma band, but Benny Goodman
soon became his idol. Jack Maheu, a fine
clarinetist who worked in New York for
many years and now lives and plays in
New Orleans, recalled hearing Scott when
the latter was still in his formative years.
When I was going to school in Brooklyn
in 1950, he says, we had our spring frat
dance. We hired Tony Scotts group. He
had Teddy Wilson on piano, Jimmy Craw-
Page 72
Mintons in Harlem, often considered the cant be a nun during the day and a whore John S. Wilson, liner notes for Both Sides
birthplace of bop. at night. of Tony Scott (1956)
That recording drew critical acclaim He also performed and recorded on Lord, Tom, The JAZZ Discography (CD-
and led to his being named New Star of other instruments besides the clarinet. ROM Version 6.0, 2005)
1953 on clarinet by Downbeats annual Hed always been very comfortable with
critics poll. the tenor saxophone and flute, and he
A SELECTION OF
RECORDINGS BY TONY
Later in the same year he cut a second studied piano at Juilliard. On his 1957 re-
successful 10" LP for Brunswick (this time cording, The Modern Art of Jazz, he de-
recorded in the studio), which was not
released until the following year. Writing
buted on the baritone saxophone. In the
following year, Downbeat named him not SCOTT AS LEADER, 1950S3
in Downbeat (1953), jazz critic Nat Hen- only the number one clarinetist but the Music After Midnight, Tony Scott Quar-
toff opined, To this ear, Tony Scott has new star on baritone! tet, Brunswick BL 58040. Recorded
become our finest contemporary jazz clar- Despite all the acclaim maybe, in live at Mintons Playhouse, NYC, Feb-
inetist No other modern clarinetist has part, because of it Scott began to weary ruary 5, 1953.
the fire, the drive, and the beat Tony gener- of the music business by the end of the Tony Scott Quartet, Brunswick BL
ates. DeFranco may have more fluent tech- decade. He had already taken three months 58056. Recorded NYC, December 22
nique but Scott too gives the impression at Charlie Parkers home in Bucks County, and 27, 1953.
of being able to execute almost any idea Pennsylvania, to regroup in 1956. (You Tony Scott Septet, RCA Victor EPA 596.
that comes to mind. And so many do. will recall that Artie Shaw also retired to Recorded NYC, December 28, 1954.
his Bucks County farm for a time before Both Sides of Tony Scott, Tony Scott
The comparisons with DeFranco were
resuming his career.) Shaw had had similar Quartet, RCA Victor LPM 1268. Re-
inevitable. Clearly, they were the two top
feelings when he finally dropped out of the corded NYC, January 25-26, 1956.
jazz clarinetists of the decade. DeFranco
business in 1954, and Buddy DeFranco The Complete Tony Scott, Tony Scott and
had owned the clarinet chair in Downbeat
retreated to California in the following His Orchestra, RCA Victor LPM 1452.
polls from 19451955, but Scott won for
year. The clarinet was hardly the instru- Recorded NYC, December 11, 1956.
the first time in 1956 and dominated the
ment du jour in the jazz world. In fact, as In Concert, Tony Scott and the Horst
critics and readers polls for the rest of
Tony put it, The clarinet is dead, and I Jankowski Trio, Jazz Life 2673812
the decade.
hate funerals. (Holland). Recorded live in Ljubljana,
DeFranco tells this story about him- Beyond that, sadness had come along Slovenia, May 10, 1957. (Released on
self, Scott and producer George Wein.2 with all the success. He lost many close CD, 1990.)
[Wein] called me one time after I had friends in the last half of the decade: My Kind of Jazz, Tony Scott Quintet,
moved to California and said: Buddy, Charlie Parker, my prophet and greatest Perfect PS 14010. Recorded NYC, No-
Ive been looking for Tony Scott but I friend (55), Art Tatum (56), Big Sid Cat- vember 16, 1957.
cant find him. Will you come out in- lett (57), Lester Young (58), Billie Holi- The Modern Art of Jazz, Tony Scott
stead? Of course, he really wanted Tony day (59), and for me the creativity in jazz Quintet, CELP (SEECO) 425. Record-
and not me, see? So I said: George, you died with them, he said. Im looking for ed NYC, November 16, 1957.
just said the wrong thing. He also made new sounds, new feeling and a change Tony Scott Plays Gypsy, Tony Scott and
me a pretty weak offer, adding: Oh, I of thought. His Buddies (Quartet), Signature SM
didnt mean it that way. All he was try- Inspired perhaps by a successful tour of 6001. Recorded NYC, 1959.
ing to do back then was to let me know Europe and South Africa in 1957, he de- Golden Moments, Tony Scott Quartet,
that Buddy wasnt in right then. cided to acquire a further taste of the music Muse MR 5230. Recorded live at The
Scott made countless other recordings, scene abroad. So, on November 3, 1959, Showplace, NYC, August 1 and 9, 1959.
both as a leader and as a sideman (with Scott set out for the Orient. (Released 1982.)
such stars as his close friend Billie Holi- Sung Heroes, Tony Scott Quartet, Sunny-
To Be Continued
day), during the 1950s. He introduced a side SSC 1015 (France). Recorded
SELECTED SOURCES
number of young artists who were later to NYC, October 2829, 1959. (Released
become stars, not the least of whom was 1986.)
the gifted pianist Bill Evans. He experi- James Isaacs, liner notes for Golden Mo-
END NOTES
mented with group sizes, from his standard ments (1982)
quartets to a septet and even a big band. Burt Korall, liner notes for Sung Heroes
RCA Victor offered him a huge contract to (1986) The phone calls came in all hours of the day and
1
Original
window
card poster.
These were
placed in
shop win-
dows with
the dates
and name of
the theater
added in the
blank space
at the top.
SYNCOPATION, 1942,
RKO RADIO PICTURES INC.
This musical attempts to chronicle the
history of jazz with a story that centers on
a trumpet player (recorded by Bunny Ber-
igan for the soundtrack) who falls in love
with a young woman with a passion for
music. Unfortunately, the girl is still griev-
ing for her true-love that she lost during
Page 76
The two images at left are from a publicity
pamphlet for Syncopation
BIBLIOGRAPHY
Benny Goodman, The Centennial Col-
lection, Bluebird 82876-60088-2; In-
cludes a CD with 21 standards and a
DVD with excerpts from the following
movies: The Powers Girl, The Gangs
All Here and Stage Door Canteen
Connor, D. Russell and Warren W. Hicks.
BG On the Record, A Bio-discogra-
phy of Benny Goodman, Arlington
House, 1973
Firestone, Ross. Swing, Swing, Swing, The
Life and Times of Benny Goodman, W.
W. Norton & Co., New York, 1993
Maltin, Leonard. The Disney Films, Crown
Publishers, Inc., New York, 1984
Meeker, David. Jazz in the Movies, Talis-
man Books Ltd, London, 1981
Paul, Jean-Marie, Benny Goodman, roi
du swing: 19091986, Clarinette Mag-
azine, Numro 9-2me Trimestre 1986,
pp. 411
Yanow, Scott. Jazz on Film, Backbeat
Books, San Francisco, 2004
END NOTES
1
Meeker, David. Jazz in the Movies, entry no. 2561
2
Connor, D. Russell and Warren W. Hicks. BG On
the Record, A Bio-discography of Benny Goodman,
p. 323
Page 77
The Mozart Partita Project
First Editions of Parthien (Harmoniemusik) Attributed
F
to Mozart the Octets of K. Anhang C
by David Bourque seemed a bit odd to me that Mozart would has astonished scholars.iv One might
not have written more for Harmonie. My postulate that Mozart would have been
rom about 1782 through about 1825, search for more Mozart Harmoniemusik motivated to write more Harmonie-
the term Harmonie ensemble de- led me to seek out the unpublished and musik for the commission fees if noth-
fined a specific instrumentation. unavailable works of K. Anhang C. ing else.
The traditional Harmonie consisted of pairs What the heck is an Anhang? The works There was a sizeable debt owed to Mo-
of oboes, clarinets, horns, and bassoons of Mozart are indexed in a thematic cata- zart by Anton Stadler, the clarinetist for
with or without a part for double bass. log, the Kchel Verzeichnis (abbreviated whom Mozart wrote the Concerto, K.
Flutes were almost always excluded. The K. or K. V.). In the Sixth Edition of this 622 and the Quintet, K. 581. This debt
term Harmoniemusik differentiated wind Kchel catalog (K6) there is a series of was more than half of Mozarts yearly
music written for Harmonie from that writ- Anhang, or appendices. These appendices court stipend v could this be the fees
ten for wind band or wind ensemble. contain works whose authenticity is deemed for a number of commissions including
During this period, thousands of origi- to be of a spurious nature (possibly coun- the Parthien? After Mozarts death,
nal works were written for Harmonie. terfeit) or works thought to be by Mozart, Constanze directed Traeg to contact
There were also many arrangements or but unable to be confirmed as such. The Stadler regarding a number of manu-
transcriptions of other works including works that are the subject of this article are scripts in Stadlers possession.vi
popular symphonies and operas of the day. listed in the Kchel catalog in Anhang C
Composers such as Beethoven and C. M. (i.e., Appendix C), along with other spur- Not Authentic?
von Weber approved of and even super- ious works. (For example, a popular work There is no autograph manuscript (i.e.,
vised some of the arrangements of their attributed to Mozart that is considered spu- a score in Mozarts hand).
works for Harmonie. rious is the Sinfonia Concertante for oboe, The works were not mentioned in Mo-
The Mozart Partita Project undertook to clarinet, bassoon, horn and orchestra, K. zarts correspondence in which he often
publish four works contained in Kchel discussed his works.
Anh. C. 14.01.)
Anhang C (Anh.), three of which had The works were released with a large
As with all of the works cataloged in
never been published. It was a joint initia- volume of works attributed to Mozart.
Kchel Anhang C, the Parthien are also
tive of Northdale Music Press, a small Why were these works not made avail-
of questionable authenticity. There are ar-
publisher in Toronto specializing in wind able during Mozarts lifetime, especi-
guments both for and against them
band music, and myself as editor. We felt ally when he needed the income?
being authentic.
it important to find the earliest known There are some stylistic concerns.
materials and use these as our basis for the
Authentic?
editions. In this way, we were not dealing
with contamination due to copying errors The works have a close affiliation to SOURCE MATERIALS
and/or a performers markings in a set of Mozart through his wife, Constanze, Dr. Neal Zaslaw of Columbia Univer-
parts. The editions by Northdale Interna- and Johann Traeg, a favorite copyist sity and Daniel N. Leeson were appointed
tional represent the collaboration of several of Mozart and family friend. Constanze co-editors of the Harmoniemusik of
experts in assembling the very first fully wrote in her correspondence about a Mozart for the Brenreiter Neue Mozart-
edited and critical performance edition of number of works for harmonie, some Ausgabe Edition of Mozarts complete
these works. K. Anh. C 17.03 was first incomplete.i works. These two scholars are among the
published in 1801 by Breitkopf & Hrtel Constanze was protective of Mozarts worlds leading authorities on the Harmo-
as part of a collection but it has not been unfinished works and it would be un- niemusik of Mozart.
available in a viable performing edition for likely that she allowed anyone to finish During his travels in the late 1960s and
many years. K. Anh. C 17.04, K. Anh. C them.ii early 1970s, Leeson had come across man-
17.05 and K. Anh. C 17.07 have never Leeson and David Whitwell believe that uscripts in the Klementinum University
before been published. the four Parthien in Prague are identical Library in Prague. In the early 1970s there
The great works for Harmonie, the Ser- with those advertised in August of 1792 were no photocopy machines in Commun-
enades K. 375 (E) and K. 388 (c minor) by Johann Traeg.iii ist Prague, so Leeson hired (at great per-
and the Serenade K. 361 Gran Partita (a Mozart had a fondness and great skill sonal expense!) a photographer to take
Harmonie ensemble with two added horns writing for Harmonie. The demand for photographs of each page of his discover-
and two basset horns) are well known to Harmoniemusik in the 1780s and 1790s ies. When I approached him about a per-
wind players and scholars. It has always and the apparent lack of it by Mozart formance part source for the octets, Leeson
Contacts for
The Clarinet:
Send all articles, recital programs, orders for back
Themes of the four movements of K. Anh. C. 17.05 from Kchel Verzeichnis 6th Edition
issues, announcements and any other non-commercial
(K6). Note Abschr. Fuchs (copy Fuchs) items intended for publication in The Clarinet to:
PROVENANCE
James Gillespie, Editor/Publisher
24 Contredanses with all parts College of Music, University of North Texas
7 _____ with an Overture
The Prague materials were crucial to 1 Sonata in D `a 2 Clavicemb.
P.O. Box 311367
the Mozart Partita Project. Leeson had 3 Sonates per il Clav.
Denton, Texas 76203-1367
determined that these are the earliest Various Arias with Italian text in E-mail:<jgillesp@music.cmm.unt.edu>
known surviving copies of the works K. Partitura
Anh. C 17.04, 17.05 and 17.07. vii On 3 Sinfon. Arranged as Quintets for
Send all printed materials (music, books, etc.)
August 11, 1792, there appeared in the 2 Viol. 2 Viole Basso intended for review in The Clarinet to:
Weiner Zeitung an advertisement: 1 Quintetto in G min. arranged for
Clav. Viol.Viola Basso
Joseph Messenger, Editor of Reviews
From Johann Trag [sic] the In addition to the above, various Department of Music, Iowa State University
following works by Mozart are to further Quart. And Trios
be had:
Ames, Iowa 50011
arranged for violin and Flute E-mail: <jmesseng@iastate.edu>
6 Masses by W.A. Mozart
2 Pianoforte concertos`a These works were put up for sale with Send all recordings intended for review
2 Clavicemb. the blessing of Constanze, Mozarts wi-
dow. What a remarkable volume of works
in The Clarinet to:
2 Concerti Corno Princ.
1 Concerto Violino Princ. to be released at one time! In this release William Nichols, Audio Review Editor
15 Sinfon. were the Four Parthien (shown in bold
above), the very works that Leeson had
School of Music, University of Louisiana at Monroe
1 Cassatio 2 Viol. 2 Cor. Viola
Basso. discovered in Prague.
Monroe, Louisiana 71209-0250
4 Parthien 2 Obe 2 Clarinetti 2 Along with the Prague materials, I had E-mail: <wnichols@ulm.edu>
Cor. 2 Fag. [bold added] a photocopy of manuscript parts originally
1 Quintetto Corno 2 Viol. Viola copied by Alois Fuchs. It has been ascer-
Send all inquiries about advertising, notices of change
Basso tained that the Fuchs parts originate from of address, inquiries about I.C.A. membership,
2 Duetti Violino Viola about 1837. missing issues, etc., to:
So Rhee, Executive Director
P.O. Box 510650
Salt Lake City, Utah 84151
Entry from K6 states the location of the earliest known copy of K. Anh. C 17.05 and that the E-mail: <execdirector@clarinet.org>
score is in the hand of Alois Fuchs. Notice Ausgabe: keine (publication [or edition]: none).
FIRST RECORDING
The Northdale International edition of
the Harmoniemusik of K. Anh. C was
recorded in December 2003 at the Glenn
Gould Studio in Toronto. This is the pre-
miere recording of the historical first edi-
tions of K. Anh. C 17.04, 17.05 and
17.07. While K. Anh. C 17.01, 17.02 and
17.03 have all been previously recorded,
to my knowledge this recording is the
Themes from the five movements of K. Anh C. 17.03 from Kchel 6th Edition. The first first one that is faithful to the earliest
movement starts with an Adagio (not shown). The Breitkopf & Hrtel edition of 1801 is known source material, the Breitkopf &
the earliest known source for this work. Hrtel publication of 1801. This is a re-
cording by The Festival Winds, an all-
star ensemble that includes clarinetist
THE EDITING PROCESS James Campbell and horn player James
Sommerville of the Boston Symphony.
The works were edited as critical editions. The Northdale International editions are The recording is available on CBC Re-
intended both for scholarly use and as the basis for practical or performance editions. Efforts cords: <www.records.cbc.ca>.
were taken to preserve all of the original markings (or alternatively, footnote in detail
changes of these originals) found in the Prague photographs.
ARE THESE WORKS
BY MOZART?
There were hundreds of ambiguous and conflicting dynamic and articulation markings in
this material. In all, thousands of changes needed to be made from the source material in
order to produce a viable performance edition. Each change is footnoted with reference The Octets of K. Anh C are a curiosity
given to the source material. It is possible to reconstruct the source material by backtracking in many ways. There are some parts of
the footnoted changes. In support of a regular performance practice in Mozarts time, I the works that are technically brilliant,
Leeson and Whitwell, op. cit. contribution to a rhetoric of musis, with 152 mu-
these works as an exercise for his students?
v
vi
Letter from Constanze to J. Andr, 21 February, sical examples, W.W. Norton (1973)
Perhaps the master wrote part of a move- 1800 xi
Otto Erich Deutsch, Mozart: A Documentary Bio-
ment and the student finished the composi- vii
Leeson and Whitwell, op. cit. graphy (London, 1965)
tion of the movement. Is it possible Mozart
gave this exercise to one of his students
like Karl Andreas Gpfert (who, in another
exercise, was asked by Mozart to arrange a
stack of Mozarts operas for Harmoniexi)?
Does each of the Parthien contain the
work of multiple students?
These questions will inevitably lead us
to the ultimate question: Are these works
by Mozart? There is no conclusive proof
that the works are composed by Mozart,
nor is their conclusive proof that they are
not by Mozart. Dan Leeson put it best in
his introduction to the Northdale Editions
when he said, The statements too good
to be by anyone else other than Mozart or
not good enough to be by Mozart are CLARINETFEST 2006 ONLINE REGISTRATION
without substance. They are emotional
Registration for ClarinetFest 2006 in Atlanta is available online. Consult the I.C.A.
statements and are intellectually bank- Web site <www.clarinet.org> for details and information.
END NOTES
Cecilia-Rome
i
Letter from Constanze to Breitkopf & Hrtel,
27 Oct. 1798 and to J. Andr, 1 May 1800 The Movies of Benny Goodman
ii
Daniel N. Leeson and David Whitwell, Mozarts
Spurious Wind Octets, Music and Letters, Vol.
53, No. 4 (Oct. 1972), pp. 377399 (continued)
iii
Leeson and Whitwell, op. cit.
T
by Albert R. Rice
he following observations relate to
the very interesting article on clar-
inetist Henri Akoka that appeared
in The Clarinet, Vol. 32, No. 1 (December
2004, 5964) by Rebecca Rischin.
A few years ago, Katie Clare Mazzeo
gave me a copy of a photograph of the im-
portant composer Olivier Messiaen (1908
1992) standing with four young music stu-
dents and their coach, Rosario Mazzeo.
Having attended the Berkshire Music Cen-
ter at Tanglewood, summer home of the
Boston Symphony Orchestra, in 1979, I
immediately recognized part of the Shed
near the Chamber Music Hall. In 1949,
Messiaen was Tanglewoods composer-in-
residence, which gave him the opportunity
to have some of his works performed in-
cluding the Quatuor pour la fin de temps,
premiered earlier at Stalag VIIIA in Gr-
litz, Silesia on January 15, 1941.1 The pho-
tograph (see Figure 1) is signed by Mes-
siaen and dedicated to Rosario Mazzeo Figure 1 (above):
with some unreadable (by me) French text Edward Bisha, Edmund
and a date of 24 July 1949. Chassman, Rosario
After contacting the archives of the Mazzeo, Olivier Mes-
Boston Symphony Orchestra, I was pleased siaen, Eloise Matthies
to receive the original program with the and Paul Chalfant
help of archivist Bridgit Carr. The concert Figure 2 (right):
(see Figure 2) featured the Messiaen Quar- Program of performance
tet in the Tanglewood Chamber Music
Hall, followed by Schumanns String Quar- Edmund Chassman or
tet in A minor, Op. 41, no. 1. A typed pro- any other performers on
gram provided an English translation of this 1949 Tanglewood
the French text2 and identified the perform- program.
ers: Violin, Paul Chalfant; Clarinet, Ed-
mund Chassman; Violoncello, Edward
Bisha; and Piano, Eloise Matthies. This END NOTES
See Rebecca Rischin, Henri
performance of Messiaens Quartet must
1
T
Artie Shaw)
Contest Rules
III. Application fee: $50.00 U.S. All applicants must be members of the I.C.A., and must provide proof of membership. Non-
members wishing to compete may join the I.C.A. by including the appropriate membership fee with their contest application
fee. Make amount payable to the I.C.A. in U.S. currency. This fee is non-refundable.
III. Please provide a good quality recording (CD-R format preferred, cassette acceptable) containing the following excerpts in this
exact order:
1. Mozart: Concerto, Movement I, exposition only
First clarinet excerpts:
2. Beethoven: Symphony #8, Mvt. III: Trio of Minuet, complete
3. Tchaikovsky: Suite #4 Mozartiana, Mvt. IV: Cadenza
4. Sibelius: Symphony #1, Mvt. I: Opening solo; Mvt. III: AB (count rests accurately); Mvt. III: 6 after E to 6 after G
(Do not count rests between E and F)
5. Rachmaninoff: Symphony #2, Mvt. III: opening solo through 47
6. Kodly: Dances of Galanta, Opening solo through 65
7. Ravel: Daphnis and Chloe Suite #2, 155158; 163167; 212end
III. A separate written and signed statement, attesting that the recording is the playing of the contestant and has not been edited.
IV. A permanent address, telephone number, and E-mail address should be provided. Please note that no application form is required.
Judging
Judging of recordings will be conducted with no knowledge of the contestants. Do not include any identification on the CD-R
(or cassette) or case/box. There should be no speaking on the recording, such as announcing of compositions.
Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be mailed
by Monday, May 22, 2006. Semifinal and final rounds will be held at ClarinetFest 2006 in Atlanta, GA, August 2006. Repertoire
will consist of the excerpts listed above.
Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. All semifinalists
will receive free registration at ClarinetFest 2006. Travel expenses will be the responsibility of the contestant.
All recordings will become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is provid-
ed. (Use U.S. postage or International Postal Coupon.)
Prizes
First Place: $1,000 U.S.; Gregory Smith Custom Mouthpiece; The Reed Wizard by Ben Armato
Second Place: Gregory Smith Custom Mouthpiece; PerfectaReed by Ben Armato
The I.C.A. is grateful to Gregory Smith and Ben Armato for their sponsorship of the Orchestral Audition Competition.
T
Board of Directors the I.C.A. Adopt a Member Program. For
more in formation contact So Rhee at:
<execdirector@clarinet.org>.
ClarinetFest 2007 will be held in Van-
his brief update of I.C.A. informa- es to thank Nominating Committee mem-
couver, British Columbia, on the Univer-
man and professional clarinetist. The as- today. More information can be found in
this issue in the article about the confer- the entire support staff realized a clarinet
sociation is fortunate to have such a con- event that will not soon be forgotten. Also,
s cientious professional overseeing our ence. Because rooms are somewhat limit-
ed in the Omni Hotel, site of CF 2006, all the I.C.A. is indebted to the Yamaha Cor-
business operations. So Rhee re places poration, who presented a new clarinet to
members and exhibitors are urged to
Rose Sperrazza. the winner of the Young Artist Competi-
make reservations early. Help spread the
Included in this issue are informational tion, as well as the other cooperating in-
word to other clarinet enthusiasts that the
materials and the mail-in ballot for I.C.A. strument makers (Buffet, Leblanc, Selmer,
place to be August 913 is in Atlanta for
officer elections. Members may return and Rossi) who made financial contribu-
the greatest clarinet event in the world
their ballot by mail or cast their ballot in tions for prize money for the winners. It is
this year.
person at the meeting of the General Mem- through the ongoing commitment and sup-
Along with publication of this journal,
bership in Atlanta at ClarinetFest 2006 in port of these clarinet manufacturers that
the ClarinetFest festivals are our associa-
August. Members may only vote once,
tions most important events, and your op- the I.C.A. is able to offer this wonderful
Expense
Magazine
PRINTING ............................................................................................... 88,386.32
MAILING................................................................................................. 14,781.61
PROOFREADING SERVICE ................................................................. 928.78
COPYRIGHT EXPENSE......................................................................... 120.00
MAGAZINE EXPENSE .......................................................................... 399.00
Total Magazine..............................................................................................104,615.71