Beruflich Dokumente
Kultur Dokumente
Volume 36 * Number 3
June 2009
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INTERNATIONAL CLARINET ASSOCIATION
President: Gary Whitman. School of Music. Texas Christian University. P.O. Box 297500. Ed Landreth Hal!. Fort Worth. New Zealand: Andrew Uren. 26 Appleyard Crescent. Meadowbank. Auckland 5. New Zealand. 64 9 521 2663 (phone and fax).
TX 76129.817/257-6622 (office), 817/257-7640 (fax). E-mail: G.Whitman@tcu.edu Norway: Hakon Stodle. Fogd Dreyersgt. 21.9008 Tromso. Norway 47/77 68 63 76 (home phone),
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President Elect: Keith Koons. Department of Music. University of Central Florida. Orlando. FL 32816-1354.407/823-5116 People's Republic of China: Guang Ri Jin. Music Department. Central National University, No. 27 Bai Shi Qiao Road.
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E-mail: oane.nancv@casema.nl Views expressed by the writers and reviewers in Jits Clsmtm not necessarily ttiose of the staff of the journal or ol the International Clarinet Association
June 2009 3
REINVENTING
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the journal. Thus, I have been able to add
pieces to my repertory that have been well
received in performance. However, my lo¬
cal supplier of music, a rather large ser¬
LETTERS vice that caters to the northwest region, is
usually not successful in locating pieces
Bravo on the last issue of The Clari¬ reviews, plus an index for the year! Add to not in the standard clarinet literature.
net (Dec. 2008). Three famous all this the indexed ads and clear photos, Recently I have requested the follow¬
American players are discussed and this issue becomes a cornucopia for ing three pieces: Albumleafby Reger; Four
(Gallodoro, Montanaro and Voxman), plus anybody interested in the clarinet, and for German Songs by Spohr and 3 Legende
plenty of coverage about competitions for less than half the price of a box of reeds, by Pascal. I found these pieces in your CD
young players, articles about history, ped¬ per issue. I have written a few items about reviews. Recitals and Concerts, and Clari¬
agogy, news from the U.K. and France, the clarinet and know how time consum¬ net Symposiums. Initial attempts to find
ing it is, much less to publish quarterly in the publishers have not borne fruit and the
such a thorough and scholarly way. Keep comment I got was, "You always come up
it coming! with music we cannot easily extract from
The Sincerely, our regular sources." I was once directed to
-John R. Snyder contact the performer/author as the best way
Clarinet clarionb@netzero.net to get this information, but this approach is
PUBLICATION SCHEDULE not as simple as it sounds. May I suggest
that all contributors provide the main office
The magazine is usually mailed I have been a member of I.C.A. for
with their e-mail address so individuals can
during the last week of February, nine years and look forward to each
new issue of the journal. It provides get in contact with the sources. Better yet,
May, August and November. De¬ have all contributors provide their e-mail
livery time within North America a treasure trove of information, especially
Michael Webster's column, which is a address as part of the document.
is normally 10-14 days, while I appreciate any help you can provide.
virtual lesson. I also read each edition for
airmail delivery time outside of
information that may enhance my clarinet - Jules M. Elias
North America is 7-10 days.
life, as 1 see this as a primary function of verdi lovers @ comcast. net
www.ongaku-records.com Otiya&it
Jonathan Cohler
New Releases
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Quartet for the End of Time I know of no finer Jonathan Cohler &
Ongaku 024-119 recording of the
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Theme and Variations (violin & piano)
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Messiaen Abime des oiseaux; Saint-Saens Sonata • Messager Solo
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Perpetuo • PERSICHETTI Parable for anyone interested in Rondo • Chausson Andante et
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by Michael Webster nation stir up such intense arguments and so the first clarinetist must lower the C be¬
strong emotions? cause of its tendency to be high, whereas
I think the answer is that many musi¬ the D-G tunes fairly easily. The perfect
cians don't understand that tuning is not cut fourths need to be only two cents wider
and dried, that there are different ways to than equal temperament compared with
solve tuning problems, and that some prob¬ the 13.7 cent treatment the thirds receive.
lems are insolvable. Is there room for opin¬ For students who are tuning in this manner
ion about how to tune a given passage? Yes for the first time, it must be emphasized
or no, depending upon the circumstances. that subtlety is important and overdoing is
"Go Ahead. Lose Your Temper!" (The worse than doing nothing at all.
Clarinet, March 2009) explained the dif¬ In m. 12, the downward arrow indi¬
ference between just and equal tempera¬ cates that the player needs to lower the B
ment and gives important background to fairly dramatically to achieve the desired
this article, in which we turn our atten¬ 13.7-cent adjustment, because the natural
tion to intonational situations that affect intonation of the instrument doesn't help
the clarinet specifically. Tuning to the the way it does in mm. 9 and 11. Tuning
harmonic series is called just intonation. B is easy, however, because the pitch can
We'll start with a relatively easy example
be lowered by nestling the bell lovingly
from Beethoven's Second Symphony (Ex.
between the knees. The same is true of
1). Here the two A clarinets lead a choir in
the downbeat of m. 15 in the first clarinet.
concert A major. For simplicity we'll refer
Meanwhile, the octave Gs, the G-D per¬
to clarinet pitch: C major.
fect fifth and the G unison must all be per¬
In March, we discussed how the major
Michael Webster fect ratios with the harmonic series: 2-1,
third needs to be made 13.7 cents narrower
3-2, and 1-1.
and the minor third 13.7 cents wider than
equal temperament in order to conform The second phrase offers three new
When Should You Lose challenges, which are really one in the
with the harmonic series and create differ¬
Your Temper? ence tones that are in tune. Well-tuned dif¬ same. M. 26 and m. 28 have secondary
ference tones are crucial for good blending dominants earmarked by Dt and C#, the
(A sequel to Go Ahead. in string and wind instruments. Therefore, thirds respectively of major triads on B
in C major, the E of the tonic triad and the and A; the subdominant of C major finally
Lose Your Temper!)
B of the dominant triad need to be lowered appears in mm. 29 and 30, the F major
Forty-fifth in a series of articles using triad with A as the major third. In each of
by 13.7 cents.
excerpts from a teaching method in prog¬ these cases, a fair amount of work has to
I have good news and bad news! In Ex¬
ress by the Professor of Clarinet at Rice be done to make the major third narrower,
ample 1, the natural intonational tenden¬
University's Shepherd School of Music. cies of the clarinet make it easier to play especially F-A, as indicated by the arrows.
the first phrase of this passage with just Here the natural tendency of the clarinet is
There are many jokes about intona¬ for this major third to be wide, so the F
intonation. The E on the downbeat of m.
tion: "Tuned at the factory," "Don't needs to be raised and the A lowered.
9 in the second clarinet and the E on the
tune; play in tune," "It is better to downbeat of m. 11 in the first clarinet tend Here is a quick reference guide for ma¬
be sharp than out of tune," "If in doubt, to be low, thereby helping the two players jor keys, using C major as an example.
vibrate," and so on. It is good to keep jok¬ to widen the minor third and narrow the Since the I, IV, and V triads are so preva¬
ing, because friendships have been lost major third. lent, suspect that E, A, and B (the third,
arguing about intonation in an "I'm right; The perfect fourths on the second beat sixth, and seventh scale steps) may have to
you're wrong" fashion. Why should into¬ of those two bars indeed need to be perfect, be lowered. Of course it is not always true
6 The Clarinet
because these notes may be other members
of other chords. In an E minor triad, the G
may have to be raised rather than lowering
THE REED WIZARD
the E or the B. But a III chord in C major
is fairly rare. Most importantly, none of
this tuning is possible if the players can't PERFECTAREED
recognize what chord they are playing, so
good ear training is essential. Sharps (or
naturalization of flats) are often the thirds
of secondary dominants, so suspect that
they may have to be lowered. THE REED WIZARD, a sophisticated
Some may have heard the phrase, "raise high-tech device which quickly redesigns
the leading tone." I certainly had for years, commercially manufactured reeds.
and was confused because the statement THE REED WIZARD is fantastic!"
- Ricardo Morales, Prin. Philadelphia Orchestra
conflicted with my understanding that the
leading tone, as the third of the dominant
triad or seventh chord, needs to be lowered Price $225.00
by 13.7 cents. Finally, a few years ago, I add $9.00 S&H (USA only)
attended a class given by Paul Katz, a won¬
derful cellist and musician, most closely
PerfectaReed, an ingenious device
associated with the Cleveland Quartet dur¬ that takes the guesswork out of reed
ing its illustrious lifetime. String quartet adjustments. Designed to measure the
musicians have to make difficult tuning entire area of single reeds.
choices all the time and will confirm that
tuning is not always cut and dried. "PerfectaReed is great!"
- Andrew Simon, Prin. Hong Kong Phil.
String quartets and vocal choruses are
prime examples of just tuning improv¬
ing the beauty and blend of their musical
product. Paul explained that there is a dif¬
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tuning, and that the leading tone is raised add $9.00 S&H (USA only)
* * * * * *
for melodic passages and lowered for har¬ PERFECTAREED
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subject which we won't pursue further.
My opinion is that when wind instruments PERFECT A REED...and BEYOND 2nd Edition
are playing melodically, they don't have Price $20.00 A Comprehensive
time to make the subtle note-by-note ad¬ add $2.00 S&H (USA only) Method for
Reed Adjusting...
justments that string instruments are ca¬ and More
pable of, so the leading tone is not raised. BF.N ARMATO
But when the tempo is slow enough, the
leading tone can and should be lowered by the
the requisite 13.7 cents. Opera LLLLlL
Is the Beethoven excerpt slow enough (Clarinetist
for such adjustments? Certainly. Can dif¬ THE OPERA CLARINETIST
Excerpts
ference tones be used to help tune it? In from the From the original Metropolitan Opera parts and
Operatic should be in every clarinetist's repertoire.
the full orchestral context, no, because Literature
lower instruments are sounding the same Price $25.00
CumiiilcilaiiilKdlli'dln
pitch as the difference tone. But the two Ben Armato add $2.00 S&H (USA only)
i.r
clarinetists can and should practice tun¬ I tic \li'!n>|K>lil;in Oiht.i Hnusr
ing difference tones by themselves. After
much experience in playing duos with NY residents please include local tax.
just tuning, one develops an ear for just
(untempered) thirds and can make the THE REED WIZARD/PerfectaReed
requisite adjustments of fingering and em¬ P.O. BOX 594 • ARDSLEY, NY 10502
bouchure quickly and surely. But the best Phone/Fax 914-693-3336
adjustments are those that are anticipated e-mail reedwizard@optonline.net
in advance. After playing the passage once web site www.reed-wizard.woodwind.org/
and noting the underlying chords, one can
June 2009 7
Ex 2: cated and many difficult choices have to
Overture "Fingal's Cave"
be made. Three examples from the Mozart
F. Mendelssohn, Op. 36
(1809-1847) Piano Wind Quintet, KV 452 offer some
[■ T f pr r i rf r rr of the most difficult tuning challenges in
Clarinet in A 1
the repertoire. The horn and clarinet parts
pp tranquillo issai cresc.
have been transposed from the original E1,
Clarinet in A 2 horn and B^ clarinet into concert C for the
purpose of identifying chord structures.
Example 3 starts with a dense E^ ma¬
ACI. I jor triad in the piano. Forget difference
tones! The winds must match unisons
with the piano. Yes, there is an out-of-
A Cl. 2 tune difference tone rattling around one
octave below the lowest e'' in the piano,
but being out of tune with a unison is far
worse. Look at the last three eighth notes
of the bar, however. No piano here — so
just tuning must be accessed. I say must.
If equal temperament were used (as often
is the case with musicians who haven't
learned about just tuning), audience mem¬
anticipate necessary adjustments and ar¬ first clarinetist provided, and the first clar¬ bers wouldn't throw up their arms and run
rive at each interval in tune, rather than inetist must find a D that is placed in such shrieking to the exits. But an opportunity
adjusting after the fact. a way that the difference tone stays steady for a truly beautiful blend will have been
In the chordal texture of the Beethoven, on low G. In this case, the difference tone lost. In the first chord, the horn and clarinet
small intonational discrepancies may pass is audible with the very light accompani¬ raise their B'' two cents above the bassoon
unnoticed, but if the difference tones tune ment. The octave in m. 8 is difficult to find, E'7, which tunes perfectly with the piano.
exactly with the lower voices, then a won¬ a moment when previous practice and an¬ Then the oboe lowers the G by 13.7 cents.
derful blend and resonance occurs. Ironi¬ ticipation are crucial. Then the C#-E in Wow! What an incredibly rich resonance
cally, it doesn't improve the clarinet voices mm. 9, 10, 11, and 13 must be widened is achieved. Even if the group cannot at¬
nearly as much as it improves the sound against the natural tendency of the clari¬ tain the perfect precision that I have de¬
of the lower voices! To prove it, play the net. This excerpt should be mandatory for scribed, any movement toward just tuning
first, fifth and sixth partials of a harmonic will improve the blend.
any second clarinet audition, with the first
series on three wind instruments and ad¬
clarinetist right there, playing along. The clarinet B'' is the root of the next
just the minor third of the fifth and sixth
What if multiple winds play with pi¬ chord. Rule: The root tunes to the equally
partials from tempered to just. The instru¬
ano? Then the situation gets really compli¬ tempered scale and the other chord tones
ment playing the first partial goes through
a striking metamorphosis from sounding
bad to good without changing anything!
Let's move to an example which is both
more difficult and more exposed, Men¬
delssohn's Overture to the Hebrides (Fin-
gal 's Cave) in Ex. 2. Notice what the shift in
tonality from A major to E major achieves.
E major places the A clarinets in G major,
and in m. 6, we are confronted with a B that
is one of the highest notes on most clari¬
nets. Both first and second clarinets have to
work hard to narrow the major third, G-B.
Stanley Hasty taught his students how to
lower the B by shading the next hole with
the middle finger, a technique that his stu¬
dents have used successfully for half of a
century. That way the embouchure can
stay firm, the tone centered, and undertone
(grunt) more easily avoided.
The biggest challenge comes in the
second half of the bar because the second
clarinetist must find the same B that the
8 The Clarinet
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Built f rom the ground-up, every angle, and every detail has a purpose.
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* Efficient facing curve for responsive, reliable, and comfortable playing experience
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* Narrower exit bore and less conically shaped bore for better tuning ratios
* Beak angle made to fit with comfort and invite proper amount of mouthpiece insertion
* Facing angle geometry designed to make clarinet more comfortable in relation to player s body
June 2009 11
by William Nichols have appeared in the pages of this journal a style shift at that time in the composer's
over the last almost 20 years. career. A few points made in the inter¬
Since its founding in 1972, the Ver- Another more recently inaugurated view are effectively illustrated with short
dehr Trio has established itself as an project of the trio is The Making of a Me¬ inserts from the recorded performance of
internationally-known and highly dium Publishing Series. This is an effort Larsen's piece. In a follow-up interview
regarded chamber ensemble which has in cooperation with the Michigan State the composer discusses some thoughts
quite literally been responsible for the University Press to make available to the about the nature of art music. Slang is per¬
existence of its own repertoire. From ap¬ public performing editions of many (if formed with complete vitality and control
proximately 250 works for violin, clarinet not most or all) of the Verdehr Trio com¬ by the trio. It is an engaging piece full of
and piano in existence, astonishingly about missioned works which are not available rhythmic drive.
200 were composed for this trio. The Ver- through commercial publishers. This effort The second half of this disc presents
dehr Trio has been in residence at Michi¬ will certainly broaden the life of deserving the distinguished Joan Tower and a per¬
gan State University since its beginnings new music which too often doesn't have formance of her 1997 trio Rain Waves.
with violinist Walter Verdehr and clarinet¬ any life after a premiere and perhaps a few This piece presents the listener with sound
ist Elsa Ludewig-Verdehr. There have been other early performances. images of fluid wave forms. It progresses
two pianists with long-standing tenures The Verdehr Trio has also been actively through the dramatic angularity of the
with the ensemble, first Gary Kirkpatrick, producing video releases centered around opening to a somewhat mysterious lyri¬
and in recent years Silvia Roederer, who their repertoire and its composers. I have cism, and later from delicate droplets to
is the very fine pianist on the recordings recently received four DVD productions, sheets of sound. The virtuosity of these
discussed below (except where noted), and one from the Making of a Medium Video three players is demanded and convinc¬
who is on the faculty of Western Michigan Series and the remainder from the Com¬ ingly displayed in this performance. Clari¬
University. During the earliest existence posers' Series. The Making of a Me¬ netists are greatly indebted to Ms. Tower
of the trio the Verdehr's performed with dium Video Series is for the most part a for her significant contributions to the rep¬
celebrated pianist Ralph Votapek. Guest collection of half-hour programs which ertoire — this is yet another. In the inter¬
pianists Kathryn Brown and Kim Schmidt work successfully as musical and educa¬ view portions of this production, the com¬
have also appeared in a few pieces of the tional experiences. These releases were poser speaks about the piece at hand, and
trio's recorded repertoire. designed and produced for television, and later about the healthy diversity of styles
In addition to the trio's many concert I think aired by some Public Television of contemporary music, and the need for
appearances world wide, the Verdehrs are broadcasters and educational channels. musical organizations to vigorously add
engaged in three archival projects which The Making of a Medium Video Se¬ new music to their repertoire.
are directed at disseminating their reper¬ ries, Part I is hosted by the familiar Mar¬ The Tower and Larsen works were re¬
toire to a wide audience and potential per¬ tin Bookspan and includes six TV pro¬ corded in the Eastman School's Kilbourn
formers. One of those projects is familiar grams with works by Leslie Bassett, Alan Hall by Intramedia Technologies. The
to many of our readers, that being The Hovhaness, Karel Husa, Thea Musgrave, production is first-rate and exhibits well-
Making of a Medium CD series. This is a Ned Rorem and Gunther Schuller. The re¬ conceived visual elements. Videography is
long-standing and continuing audio record¬ lease at hand is Part II of the series, which always lively, imaginative, obviously di¬
ing project of the trio with Crystal Records is hosted by the inimitable Peter Schick- rected by a person who knows the "score."
and its president Peter Christ. The series ele, and contains on two discs, music and There is very effective use of camera an¬
(as of winter 2009) includes 18 volumes interviews of Libby Larsen, Joan Tower gles, fade-ins/outs, split images, etc. This
with #19 on the way, and more to come. and Gian Carlo Menotti. production is certainly not a static record¬
Included in this series currently are some One disc features the two significant ing of classical artists. The same can be
78 works, including a few transcriptions American composers and initially focuses said of other DVDs at hand, although the
and a few duo pieces (sonatas and double on Libby Larsen's 1989 piece. Slang. In¬ production teams of course vary with the
concertos). The vast majority of the series terviewed by Walter Verdehr, the composer wide-ranging locations represented on
are original works for the trio ensemble discusses the truncated American lan¬ these discs.
and come from 20th century and indeed 21st guage rhythmic style which is prominent The remaining disc in this release is de¬
century composers from around the world. in Slang. This piece exhibits distinct ele¬ voted to the Italian/American Gian Carlo
Reviews of many of these productions ments of blues and represents somewhat Menotti. It consists of two 30-minute pro-
12 The Clarinet
grams presenting in one program his 1996 piano of 1994 is a four-movement work sicians, world-wide, as the first violinist
Trio for violin, clarinet, and piano, and which was commissioned by the Library of of the Juilliard String Quartet. He was
discussion regarding the piece. Guest pia¬ Congress, and was premiered there by the the founding first violinist in 1946 and
nist Kathryn Brown of the Cleveland In¬ Verdehr Trio. The version recorded here remained in that position for an aston¬
stitute of Music faculty joins the Verdehrs. is from January 2002 in the Hart Recital ishing 51 years, performing more than
This trio and interviews were recorded in Hall of Michigan State University. This is 5,000 concerts and recording around 100
Menotti's expansive Yester House (more a large and difficult work, and by the com¬ works. In addition to recording solo lit¬
appropriately, castle) in Gifford, Scot¬ poser's admission, conceived for virtuoso erature, teaching and coaching violin
land. The beauty and resonant sound of performers. It displays a high degree of students and quartets, and in more recent
the music room are apparent. The three- craftsmanship, exciting contrapuntal writ¬ times orchestral conducting, Mr. Mann
movement trio is most appealing. In a ing, lyricism, and includes a light and very is a composer. He doesn't come to com¬
melodic style consistent with Menotti's nimble scherzo. The performance leaves posing late. He had formal compositional
other works, it is clearly Italian in its con¬ nothing on the table. The recording both training at Juilliard as a young man, and
trasting character, exhibiting lighthearted sonically and visually is first-rate. has composed more than 70 works in var¬
elements and beautiful lyricism. The core Interview portions are dispersed ied mediums, some of which have been
of this piece is found in its emotionally- throughout this disc, giving some insight performed by world-class orchestras and
longing second movement, "Romanza." It into Diamond's creative process. Ad¬ chamber ensembles.
is touchingly delivered by the ensemble. ditionally there is a tour of several areas In 2002 he completed a work for the
The piece in its entirety is impeccably of the composer's Rochester, NY home, Verdehr Trio entitled Katchi-Katchi. It is
played and very well recorded — a listen¬ viewing the astonishing art work, photos, inspired by a Japanese folk tale, somewhat
ing and viewing treat. letters, notes, and awards — a treasure of along the lines of Little Red Riding Hood.
The disc also presents an extended memorabilia from talented friends and Lucy Rowan, actress and wife of Robert
interview with the composer. In the in¬ personal influences, including the likes of Mann, reads the tale prior to the recording
terview portions Mr. Menotti comments Ravel, Schonberg, Stravinsky, Mitropou- of the piece. Mann conceives the clarinet
about various aspects of his career, and is los, Hermann Scherchen, Bernstein, et al. to be the narrative voice. Katchi-Katchi
coaxed by Walter Verdehr into relating an¬ This segment is a high point for this writer is a 10-minute work which is at times
ecdotal stories of Toscanini and other leg¬ of all the discs at hand. Pierrot-like in its whimsical changes. It
endary figures. Even though the 13-min- Robert Mann is a name familiar to le¬ is non-tonal, angular, and pointillistic in
ute trio contained on this 60-minute disc gions of chamber-music lovers and mu¬ pitch style. The pianist is kept busy in
is but a fraction of the whole, the disc is
one of the most appealing and important
of the video series. The interview portions
give the viewer an inkling of personal ac¬ CLARINET
quaintance with this eloquent gentleman,
and I am grateful to have this experience
and archival document in my library. Mr. CLASSICS
Menotti died in 2007 at age 95.
Three releases in the Composer's Se¬
ries present American composers David The specialist CD label
Diamond (1915-2005), Robert Mann,
James Niblock and Peter Schickele, and dedicated to the clarinet
Australian Peter Sculthorpe. A single DVD
(68 minutes) is devoted to Diamond and is • Handel to Birtwistle
paired with another disc devoted to Mann • Over 50 clarinet players in the catalogue
(75 minutes). Niblock and Schickele are • Chalumeau to multi-tracked clarinets
paired on a single disc (55 and 30 minutes • Historical to digital recordings
respectively), and the Sculthorpe material • Free with every order - Clarinet Classics ring tones - be unique!
is presented on one disc of ca. 82 minutes.
As with the above Menotti disc, the www.clarinetclassics.com
David Diamond material is a significant
document, adding to our understanding of
one of America's leading composers. He
was among that group of talented young
Americans, now household names in the
development of American classical music, Victoria Soames Samek - Artistic Director
who found their way to Paris in the 1920s Head office: 58 Crescent Road, London El 3 0LT. cc@clarinetclassics.com tel: + 44 (0) 20 8472 2057
USA distribution: Qualiton Imports Ltd. tel: (718) 937-8515 fax: (718) 729-3239
and 1930s, and who studied with Nadia Companion Label Saxophone Classics: www.saxophoneclassics.com
Boulanger. His Trio for violin, clarinet and
June 2009 13
I and out of the instrument. In addition to Peter Schickele is the perfect host for the
plucked and strummed strings, there is a show and his music, and the trio provides
recurring lightly-hammered ostinato used the perfect music. This poignant and often
very effectively. The piano effects bring zany music, and the wonderfully effective
this Western ensemble somewhat into the wealth of scenes of the people and places
sound world of Japanese traditional instru¬ of this heartland city are indeed touching
ments. The piece is quite successful. and entertaining. We see the Verdehr Trio
The conversations recorded here are as never before (or since). If the Peoria
engaging and lively, as might be expected Chamber of Commerce and city agen¬
from the gregarious Mann, who has moved cies haven't used this video for promo¬
among the top musical circles of New York tion, they've missed the proverbial boat.
for more than 60 years. He, of course, has The Verdehrs "played very well in Peoria,
lots of good stories. This recording was thank you." Like the finale of Schickele's
made in Robert Mann's and Lucy Row¬ piece, (in local vernacular), it's a hoot!
an's New York apartment, and is the only Peter Schulthorpe is generally regarded
venue among the DVDs examined here as Australia's preeminent living com¬
which is not a concert hall. The recorded poser. This disc in the Composers Series
sound is, however, well balanced, spa¬ is presented in two parts. First, interview
cious and quite natural, no doubt achieved material recorded at South Carolina Edu¬
through some very good digital process¬ cational Television, and a performance of
ing — Kudos to the engineer. The sound Dreamtracks (1992). This is not the per¬
here equals and betters some of the other formance recorded and released in the
discs in this series. mid-'90s by Crystal Records, but a con¬
James Niblock is a long-time col¬ siderably later one. The piece is a single
league of the Verdehrs at Michigan State movement spanning about 14 minutes
University where he served as chairman and is spiritual in nature. It has an ancient
of the (now) College of Music. An active mystical quality which seems to suspend
composer, educator, and violinist, he has time, slowly growing to an enormous and
composed some 10 or 11 works for the uplifting ending. The viewer of this DVD
Verdehrs. This Composers Series pro¬ is also treated to a preview of Schulthor-
duction presents two of his works from pe's Baltimore Songlines, which was com¬
a concert celebration of his 90th birthday: missioned in 2006 and is part of a recent
Medieval Suite and the Double Concerto recording project involving Australian
No. 2 for violin, clarinet and orchestra. composers, and may be available as this
These performances were recorded in article reaches our readers. The second
2007 at the Blue Lake Arts Camp, with part of this disc originates from the com¬
the resident orchestra, conducted by the poser's home in Sydney and includes vari¬
composer, joining the Verdehrs in the ous interview subjects with the Verdehrs
concerto. The Medieval Suite is a four- regarding Schulthorpe's past, musical in¬
movement trio which utilizes 13th" and fluences, relationship with Asian cultures,
15Ih-century material and techniques. It and it also includes some personal stories.
is a well-conceived and skillfully-written The Verdehr Trio video productions are
charming piece, beautifully performed. notable accomplishments artistically and
The Double Concerto was completed in technically. These DVDs are a valuable
2007, and I believe is premiered on this record of music making from ideas to real¬
live performance recording. ity, and an enduring resource of knowledge
The last half-hour of this disc presents and entertainment. Thanks are due these
the Verdehr Trio with RD.Q. Bach's alter- artists, featured composers, and array of
ego Peter Schickele, and a performance technical and production help assembled
(and much more) of Schickele's Serenade for this project, as well as organizations
for Three (1993). and institutions that have given of their
The pianist in this segment is Gary support. These DVD video productions
Kirkpatrick. This video program was mas¬ are available from the Instructional Media
terfully written, produced and directed Center at Michigan State University in co¬
for television by Bob Jacobs in 1995 in operation with the Michigan State Univer¬
Peoria, Illinois, at Bradley University and sity Press. Strongly recommended.
muncywinds. com virtually all over town. The editing of the
production is superb and rich in detail. Good Listening! (and Viewing)
14 The Clarinet
Look forwdrcl...
Oakland Clarinet
and Saxophone Day
A Report by Arthur Orme
an
afes and (Repairs ^ ^mportecf Cascs
s
I iscountccf ^Prices, §cfcctccf (\c\v Qarincts
^rc-owncd Qarincts when y^aifaOfc
§tuc(cnt tfirouflfi ^Projcssionaf instruments, cfarinet barrefs,
5) moutfipicces, ^andorcn rcctfs
5612 ^ifverside
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NOMINATION PROCEDURE
In accordance with the International Clarinet Association By-Laws (Article V, Section 6), a special category of Honorary Mem¬
bership has been created for persons of "unusual distinction.'The International Clarinet Association Board of Directors invites
the general membership to nominate individuals for Honorary Memberships from the areas of professional service, teaching,
performance, and/or lifetime achievements. Nominators should include a brief biographical sketch of the candidate along with
further information as specified below. There is a limit of one nomination per person. Nominations must be postmarked no later
than July 1,2009, and sent to:
oooaoooaooQaA
In this column, we decided to explore tenance. Woodwind.org's "Equipment" the right equipment in combination with
resources on the Internet dealing with section, accessible from the homepage, is the right playing techniques). His YouTube
clarinet equipment. With a seemingly a great starting point for advice about care channel features videos about clarinet lu¬
insurmountable number of Web sites sell¬ and maintenance, with information about brication, noise reduction, mouthpieces,
ing every type of mouthpiece, barrel, and cleaning clarinets, oiling the bore, and ba¬ and standards for testing clarinet equip¬
clarinet imaginable, it can be hard to find sic repair. The "How old is my..." section ment. Ridenour's quirky and informative
honest information that will help you contains lists from a variety of sources videos are especially relevant for anyone
to make an informed decision. We have that can help to determine the manufacture who does work on their own clarinet, or
compiled a list of sites that offer more than date and other information about a clarinet wants to learn repair basics.
just a selection of merchandise. Specific using the serial number (particularly use¬ This list of equipment resources is just
Web addresses can be found at the end of ful when buying used instruments). Click¬ a beginning. If you know of a site that
this column. ing on "Has anyone heard of..." takes you should be included in this list, please let
Finding the right mouthpiece to match to an extensive listing of trade names that us know at clarinetcache@gmail.com as
your setup can be quite challenging. The may be found on clarinets, matching them we will be continuing to add to this work
mouthpiece alone greatly affects sound with their parent companies. "What to in progress. Visit our blog at http://www.
quality and effort needed to produce opti¬ clarinetcache.com for easy access to all
buy a Beginner?" is a section devoted to
mal results. Some of us look for a mouth¬ the links below.
answering that very question, with input
piece that lends flexibility while retaining
from several professional clarinetists. Brad Behn
resonance, while another player searches
Several other sites provide informa¬ http://www.clarinetmouthpiece.com
for the one that will let the sound soar over
tion about older clarinets. Nophachai Nophachai Cholthitchanta's
the orchestra. Choosing the right mouth¬
piece is not a simple process, and several Cholthitchanta, professor of clarinet at Clarinet Collection
Web sites can help you understand which the University of Arkansas, is a collector http://www.uark.edu/ua/nc/
make and model best suit your needs. and researcher of 18th and 19th-century NCclarinetcollections.htm
Although we do not wish to endorse clarinets and has a Web site detailing the Clark Fobes Articles Page
any particular manufacturer, several ex¬ contents of his collection. There you will http://www.clarkwfobes.com/
pert craftsmen have gone above and be¬ also find links to replica period clarinet Articles.htm
yond by using their Web sites to share makers and major clarinet collection mu¬ Bill Fogle's Clarinet Pages
knowledge about mouthpiece acoustics seums. Sherman Friedland frequently an¬ http://www.williepee.com/clarinets.
and design. Brad Behn's site discusses swers questions on his blog from readers html
mouthpiece nomenclature and selection, looking for answers about a clarinet they Sherman Friedland's Clarinet Corner
the manufacturing process, and the spe¬ have found. And on the personal pages of http://clarinetcorner.wordpress.com
cific qualities which made Chedeville and Bill Fogle, you can find excellent photos Tom Ridenour Articles Page
Kaspar models so highly sought after. In¬ of vintage clarinet advertising artwork and http://www.ridenourclarinetproducts.
formation on Clark Fobes' site includes manufacturing marks. com/articleindex.html
articles on Frank Kaspar, intonation, and Repair technician Steve Sklar's Clari- Tom Ridenour YouTube Channel
mouthpiece nomenclature. For a com¬ netPerfection.com is a wide-ranging, de¬ http://www.youtube.com/user/
parison of Chedeville-style mouthpieces, tailed site that encompasses nearly every billyboy647
visit Terry Sterkel's personal site, and for subject related to clarinet equipment. The Steve Sklar
an extensive list of links to tip opening site has pages about serial number iden¬ http://clarinetperfection.com
charts, check out the "Keepers" thread at tification, mouthpiece specifications, care Terry Sterkel
Woodwind.org listed below. and maintenance, and much more. http: // sterke 1. org/c 1 ari ne t/
Several sites deal with the selection of a Tom Ridenour is another expert who chedeville_mouthpiece .htm
clarinet and its subsequent care and main- has contributed articles and videos about Woodwind.org Equipment Page
clarinet equipment. His articles include http://www.woodwind.org/clarinet/
"How to Select a New Clarinet" (a fantastic Equipment/
Visit the International article for first-time buyers), "The Grena- Woodwind.org Keepers Thread
Clarinet Association on dilla Myth" (about the advantages and on Tip Openings
the World Wide Web: disadvantages of various woods and hard http://www. woodwind.
WWW.CLARINET.ORG rubber clarinets), and "You Picked it. You org/clarinet/BBoard/read.
Play It" (about the importance of having html?f=20&i=838&t=838
22 The Clarinet
Call for Proposals:
ClarinetFest® 2010
July 21-25,2010
ClarinetFest® 2010 will take place on the campus of the University of Texas at Austin. Co-sponsored by the
Butler School of Music, the conference takes place in the heart of Austin, the live music capital of the world
and internationarfoodie" destination. Boasting beautiful state of the art facilities, the Butler School of Mu¬
sic provides an ideal location for this event.
If you are interested in sending in a presentation proposal, please download and complete the Call-for-
Proposals Application Form from www.clarinet.org and send to the address below. Recordings and written
requests will be accepted through September 15,2009, and will be reviewed by the committee.
;See you in
Oklahoma
and
Oporto!
iima
Jyes Xilema Available at
REDWjNE.
Reeds for the big league
June 2009 23
As you can probably imagine, Jan¬
uary 2009 was an extremely busy
and exciting time to be a military
musician in the Washington, D.C. area.
Preparations for the 56th Presidential In¬
auguration began months in advance and
music was an integral part of this historic
event. Several clarinetists were assigned
to an Armed Forces Joint Orchestra,
which played for the "We Are One" Open¬
ing Inaugural Celebration at the Lincoln by Musician First Class Cynthia Wolverton
Memorial. Considered the kickoff of the U.S. Navy Band, Washington, D.C.
official inaugural activities, this concert
was broadcast on the Internet, public ra¬ it was time to line up for the parade. After performed a recital as part of the Air Force
dio, and HBO. Although the U.S. Marine all the waiting around, and then a fairly Band's Chamber Players Series. His pro¬
Band was the only group to perform at the long march just to get to the parade start, gram included Rossini's Introduction,
Inauguration Ceremony itself, all of the we were definitely ready to perform. But, Theme and Variations, Solo de Contours
"special bands" took part in the Inaugu¬ you guessed it: more delays! Almost two by Messager, Three Preludes by Gershwin
ral Parade, including the U.S. Army Band, hours, in fact, of standing on Constitution and Cinco Bocetos by Roberto Sierra.
the U.S. Army Field Band, the U.S. Ma¬ Avenue waiting for the parade to start. The Air Force Band Clarinet Quartet
rine Band, the U.S. Navy Band, the U.S. It was a frigid day and despite the long has also recently performed on the Cham¬
Air Force Band and the U.S. Coast Guard underwear, hand warmers, bridgecoats, ber Players stage. This group is made up
Band. This parade is a massive undertak¬ scarves, gloves, earmuffs, and even bat¬ of Master Sergeant John Romano, Master
ing involving 13,000 participants. Several tery-powered heated socks, everyone was Sergeant Brian McCurdy, Technical Ser¬
weeks before the inauguration, early on a miserable. Eventually we started moving geant Darrin Thiriot, and Technical Ser¬
Sunday morning, the city shuts down all and before long were approaching the re¬ geant Brooke Emery. Interesting music for
the affected streets and conducts a parade viewing stand, where we were able to get clarinet quartet is sometimes hard to come
"rehearsal." Every aspect of the event's a peek at our new Commander-in-Chief, by, so their program contained arrange¬
complicated logistics must be simulated, who gave us an enthusiastic salute as we ments by Master Sergeant Romano and
including going through security. Military marched past. Although most band mem¬ Technical Sergeant Thiriot of works by
musicians, even those of us with White bers were done at the conclusion of the Dvorak, Strauss and Liszt. The quartet also
House security clearance, are not exempt parade, for others the day was not over performed a clinic for the Clarinet Reper¬
from this. yet. There were 10 Inaugural Balls that tory Class at Louisiana State University,
Everyone in the military knows the took place that evening, each requiring a and has done multiple clinics for a variety
phrase "Hurry up and wait," and January small ceremonial band to render honors of middle and high school students.
20, 2009, was certainly no exception. Due and play "Hail to the Chief when the new Technical Sergeant Darrin Thiriot has
to heightened security and traffic con¬ president arrived. been the Air Force Band's busiest recital
cerns, the District of Columbia closed just During the inaugural events, the Air clarinetist as of late. In addition to giving
about every bridge and road into the city Force Band was visited by several mem¬ recitals at the University of Southern Mis¬
the night before the Inauguration. Armed bers of the media. Chief Master Sergeant sissippi, Louisiana State University and the
with cots, air mattresses, and sleeping Elizabeth Schouten was featured in over University of Central Arkansas, he has also
bags, band members living in Maryland a dozen interviews by local and foreign visited many local high schools to perform
or Virginia had no choice but to spend television and radio stations because she a fully memorized program for the stu¬
the night at work! The next day began is the Air Force Band member with the dents. This program includes Concerto No.
early anyway. After all personnel were ac¬ most inaugural parades under her belt- 1 by Weber, Chromatic Fantasia by Bach,
counted for and uniforms were inspected, seven! Also interviewed was the youngest Sonata for Clarinet and Piano by Saint-
we boarded our busses and headed to the member of the Air Force Band participat¬ Saens and Solo de Concours by Messager.
security checkpoint. We waited on the bus ing in his first inaugural parade, clarinet¬ Senior Master Sergeant David Stump
for several hours, then it was our turn to go ist Technical Sergeant Benjamin Bowers. has finally returned to the Concert Band
through the metal detector, have our gig Although it was a long exhausting day, it clarinet section after spending 5 Vi years as
bags searched, pick up a box lunch, and really was exciting to have a front row seat a substitute tenor saxophonist with the Air
wait for the empty bus to be inspected. to such a historic event. Force jazz band, the Airmen of Note. They
Then it was off to our "holding area" Two clarinetists were featured on the are happy to have him back! He can be
on the Ellipse, which consisted of sev¬ Air Force Band's Fall 2008 concert tour- heard on the jazz band's recently released
eral large warming tents with tables and Master Sergeant Julianna Arnold and compact disc recording entitled Airmen
chairs, and several televisions on which Technical Sergeant Blake Arrington per¬ of Note Live! He is featured on Under the
we could watch some of the swearing-in formed the Mendelssohn Concertpiece Wire by Gordon Goodwin, a piece origi¬
ceremony. After a few hours in our tent, No. 2. Technical Sergeant Arrington also nally composed for Eddie Daniels. The
24 The Clarinet
On July 3rd and 4th, the West Point
Band had the unique opportunity to join
the New York Philharmonic at Avery Fisher
Hall in New York City. The Philharmonic
performed the world premiere of Bramwell
Tovey's Urban Runway and Four Dance
Episodes from Rodeo. The Academy Band
featured its Staff Arranger, Master Ser¬
geant Douglas Richard, performing his
composition Celebration for a New Era.
The concert also showcased The Official
West Point March and Donald Grantham's
Farewell to Gray, a piece commissioned
by the West Point Band in honor of the
U.S. Military Academy's bicentennial
celebration. The concert concluded with
both the Philharmonic and the West Point
Band performing Sousa's Liberty Bell and
Back row: Stephen Freeman, SGM David Hydock (former bass clarinetists, now retired), Stars and Stripes Forever as well as the
SSG Kristen Mather, Pascual Martinez Forteza, SGM Chris Jones, SSG(p) Jennifer Tibbs, service songs of the Armed Forces. After
SFC Diana Cassar-Uhl, SSG(p) Sam Kaestner. Front row: SSG Jeff Geller, SSG Erin Bub- the performance, both clarinet sections got
alo, MSG Rachel Grasso (former E-flat clarinetist, now retired), SFC Shawn Herndon, together to pose for a photo.
Stanley Dnicker, and SFC John Parrette. As always, I welcome any contribu¬
tions from my fellow clarinetists in uni¬
Air Force Band and Singing Sergeants Before joining the Army, he studied at form. My address is Musician First Class
traveled to San Antonio, Texas, in Febru¬ Northwestern University. Cynthia Wolverton, U.S. Navy Band, 617
ary to perform for the annual convention In other West Point news, Staff Ser¬ Warrington Ave, SE, Washington, D.C.
of the Texas Music Educators Associa¬ geant Kristen Mather presented a very 20374-5054. I can also be reached by e-
tion. On the program was Blue Shades by interesting recital featuring the Quintette mail at cynthia.wolverton@navy.mil.
Frank Ticheli, which contains an extended music of Raymond Scott. The program
and jazzy clarinet solo which was expertly also included a presentation by the Ray¬
performed by their concertmaster, Senior mond Scott Society's Historical Director,
Irwin Chusid, who briefly put Raymond SAYRE WOODWINDS
Master Sergeant Carl Long.
Chief Musician Laura Snavely per¬ Scott into historical context, screened a
Mouthpieces
formed the final movement of Weber's six-minute trailer for "On to Something," a
Concerto No. 1 in F Minor with the U.S. documentary-in-progress by Stan Warnow A
• Handcrafted
Navy Band and again with the Fayette (Raymond Scott's son), and showed a clip
fo CX ^
County High School Wind Ensemble as from the 1938 film Happy Landing which • Mass Produced
part of the Georgia Music Educators As¬ features the Raymond Scott Quintette per¬ TRADmON
sociation Convention. The Navy Band's forming War Dance for Wooden Indians. • Hard Rubber
Clarinet Quartet was featured at the Sec¬ Sergeant First Class Shawn Herndon pre¬ to*
• 14kt Gold Facing
ond Annual Maryland Clarinet Seminar sented a recital of the Prokofiev Sonata, OF
held at Towson University. Their recital the Reinecke Trio for clarinet, viola, and • Refacing
included Arrival of the Queen of Sheba piano, and Benny's Gig by Morton Gould. (N O 1
ARBO*, ' • Adjustment
by Handel, Paul Harvey's Quartet, Three Staff Sergeant Sam Kaestner performed
EXCELLENCE
Preludes by Gershwin, Sonate en Sol a concerto "suite" consisting of the first <.o1O6^"3?oN • Repair of Broken
Mineur by Albinoni, Dave Brubeck's Blue movement of the Mozart Clarinet Con¬ | UAXER* j
Mouthpieces
Rondo a la Turk, Six Audition Pieces by certo, movement II of the Spohr Concerto
Jean-Michel Defaye, Piazzolla's History No. 2 in E-flat (on bass clarinet), and the
of the Tango, A Klezmer Wedding by Mike first movement of the Weber Concerto No.
Accessories
Curtis, and an arrangement of Bernstein's 1. His recital also included SchiZm by
America. Members of the quartet are Se¬ Derek Beimel, Little Suite of Four Dances Clarinet Repair
nior Chief Musician Jim Logan, Chief by William Bolcom, and Preludio and
Merengue by Paquito D'Rivera. Sergeant 22 W. St. Charles Road
Musician Mike Shelbume, Chief Musi¬
Lombard, IL 60148
cian Laura Snavely and Musician First Major Chris Jones performed the Cop¬
Class Jeff Snavely. land Concerto with the Northern Dutchess
The clarinet section of the U.S. Mili¬ Symphony Orchestra, and Sergeant First
630-916-1525
tary Academy Band has a new member. Class John Parette also played the Copland
Specialist Timothy Sutfin from Chicago. Concerto with the Newburgh Symphony.
June 2009 25
Mr. Bloch married Frances Heifetz, a
cousin of the renowned violinist, Jascha
Heifetz, in 1942. She was the mother of
his daughter, Michele, and his son, Greg¬
ory, also a violinist. Mrs. Bloch intro¬
duced him to the worlds of visual art and
'Menmriam
progressive politics. He became an activ¬
ist and was called before the House UnA-
merican Activities Committee in the early
1950s. Senator Joseph McCarthy asked
Mr. Bloch whether he was or ever had
been a member of the Communist Party.
Mr. Bloch replied, "Senator, I have always
believed in humanity." He refused to name
names. He was not indicted and remained
Ar'-Cnf" / with the Philharmonic until his retirement
some 30 years later.
In his later years, Mr. Bloch continued
to teach and play with an informal clarinet
W3-2009 ensemble in Los Angeles. His son, Greg¬
ory, passed away in 1989, followed by his
by David Gilman wife, Frances, in 2000. He is survived by
his daughter, Michele, and his grandson,
Kalman Bloch, principal clarinet¬ nberg. Consequently, he performed in Stefano Bloch, as well as hundreds of
ist with the Los Angeles Phil¬ the American premiere of Schoenberg's friends, colleagues, and former students.
harmonic Orchestra from 1937 Pierrot Lunairt. He also played the west Mr. Bloch leaves a rich legacy of music
to 1981, passed away at his home in Los coast premiere of Aaron Copland's Con¬ and friendship to all who had the good for¬
Angeles on March 12 at the age of 95. certo for Clarinet in 1948. Mr. Bloch can tune to know him.
He was the last surviving contract player also be heard in many movie soundtracks, [See also Stephen M. Rochford's cover
from the time when Otto Klemperer was including For Whom the Bell Tolls, North article, "Kalman Bloch: A Tribute," in the
the music director, and he played under by Northwest, Sunset Boulevard, The March 2004 issue of The Clarinet. Ed.l
many of the world's greatest conductors, Wizard of Oz, and Gone
including Mr. Klemperer, Bruno Walter, with the Wind. After his
Leopold Stokowski, Sir John Barbirolli, tenure with the Philhar¬
Eduard van Beinum, Zubin Mehta, and monic, Mr. Bloch became
Carlo Maria Giulini. Of all the luminaries a founding member of the
he played under, Mr. Bloch said that Mr. Pacific Symphony Or¬
Klemperer was the greatest. chestra. Over the years,
Born in New York City in 1913, Mr. he taught hundreds of stu¬
Bloch studied science in preparation for dents, including Michele
dental school while playing clarinet in Zukovsky, Richard Lesser,
various orchestras. His teacher and men¬ Richard Waller, Joaqufn
tor, Simeon Bellison, solo clarinetist of Valdepenas, Tim Paradise
the New York Philharmonic from 1920 and Chris Schubert. Dr.
to 1948, encouraged him to pursue his art Stephen Rochford, Instru¬
over science. He played in Mr. Bellison's mental Music Instructor
clarinet ensemble while in high school and at Irvine Valley College,
in college at New York University and, wrote a doctoral disserta¬
with his mentor's encouragement, sent out tion on the life and career
resumes to orchestras around the coun¬ of Mr. Bloch.
try, asking whether they needed a first or In 1961 Mr. Bloch's
second clarinetist. He auditioned for Otto daughter, Michele Zuk¬
Klemperer and was hired as first clarinet¬ ovsky, was hired by the
ist in early 1937. Philharmonic. The two
In addition to his work in the Los Ange¬ played together for 20
les Philharmonic, Mr. Bloch recorded with years. Mrs. Zukovsky then
the Columbia Symphony Orchestra, often assumed the position of
under Igor Stravinsky and Bruno Walter. co-principal clarinetist,
While in the Philharmonic, he developed a which she currently holds
working relationship with Arnold Schoe- with distinction.
26 The Clarinet
INTERNATIONAL CLARINET ASSOCIATION
Eligibility: The competition is open to composers, clarinetists, and musicians who desire to further the repertoire of the clarinet
with an original composition.
Application: Send materials postmarked no later than October 15,2009 to:
CONTEST RULES
I. Application fee: $50 U.S. Make amount payable to the I.C.A. in U.S. currency by bank check, money order, or credit card
only. The application fee is non-refundable.
II. The 2010 Composition Competition call is a piece for clarinet and piano between 8 and 25 minutes in length.The submit¬
ted work must have no prior performances. A score and clarinet part must be provided. A MIDI realization of the work is
optional.
III. A permanent address, telephone number and e-mail address should be provided.
JUDGING
A committee having no knowledge of the contestant will conduct the judging of scores and parts. Do not include any identifi¬
cation on the scores and parts or the optional MIDI realization. E-mail or a letter of notification by January 15,2010 will announce
the winner. The winning composition will receive a world premiere performance during ClarinetFest® 2010, July 21-25, 2010 at
The University of Texas in Austin, Texas. Travel expenses will be the responsibility of the winner. Free registration at ClarinetFest
2010 will be provided. If the winner is a clarinetist, they must be a member of the I.C.A.
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 the performers for the premiere performance.
All scores and parts will become the property of the I.C.A. Research Center at the University of Maryland Performing Arts
Library and will not be returned.
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.
June 2009 27
lflfllN€Tf€Sr OPCFTC.PCfiTllGfU
:
Jane Carl
Associate Professor of Clarinet
EXCEPTIONAL TALENT,
EXTRAORDINARY EXPERIENCE
Conservatory Admissions
University of Missouri-Kansas City
816-235-2900
cadmissions@umkc.edu
Relay Missouri: 1-800-735-2966 (TT)
UMKC is an equal opportunity/affirmative action institution
(tyudad de *Do&
A Retrospective
by James Gillespie
The Seville, Spain, suburb of Dos ducted by Juan Rodriguez Romero (Pe- write the music that was to make him a
Hermanas has hosted a clarinet dido HCCC 2008 003). It was published household name in Spain: more than 100
competition annually from 1991 in 2008 in a piano reduction by Wolfgang film scores (covering a range of genres, in¬
until 2002 and then in alternate years G. Haas-Musikverlag Koln. cluding comedy and horror) and incidental
2004-2008. music for television, stage and radio. His
The competition was organized in 1991 Solo para Clarinete, soundtrack for one of Spain's most popu¬
to commemorate the centenary of Mo¬ Carmelo Alonso Bernaola lar TV series of the 1980s, Verano Azul, is
zart's death, and the clarinet was chosen Carmelo Bernaola (1929-2002) was con¬ a tune that almost any Spaniard over the
both because of his famous Concerto and sidered one of the leading Spanish com¬ age of 30 will whistle without hesitation.
because of the popularity of the clarinet posers of his generation. He was also an He wouldn't have been able to produce the
in Spain, especially in the many bands outstanding clarinetist and a member of sheer quantity of music required without
throughout the country. The organizing the Banda Municipal de Madrid for many the craftsmanship he had learned the hard
committee consisted of the Belgian clari¬ years and served on the jury for the com¬ way. And, if that weren't enough to prove
netist Marcel Ancion and two local Span¬ petition in 1994, 1998 and 2000. "It was that, despite his modernist enthusiasms,
ish musicians, Pepe Gonzalez and Juan in 1964 that Bernaola - while continuing he was no ivory-tower abstractionist, his
Rodrfguez Romero. to experiment in his concert works, with Polivalentes (1978) would have done so:
The following overview will review the collage, block scoring, aleatory - began to it united his own mature orchestral style
works composed for the competition and
a summary of each year's jury and prize
winners. An attempt has been made to fol¬
low up on the careers of some of the win¬
ners where the information was available
— a sort of "where are they now?"
INterlocheN
Arts Academy
Prior to returning to teach at Interlochen, Deborah Chodacki, Interlochen Arts Academy is a fine arts
instructor of clarinet at Interlochen Arts Academy, was a boarding high school that engages students
professor of clarinet at the University of Michigan for fifteen
artistically and academically. A balance of
years. She has taught and performed at festivals, music
academies and schools on four continents, including the rehearsal, performance and college-preparatory
Montreux Festival in Switzerland, the Spoleto Festival of Two academics foster cross-disciplinary thinking,
Worlds in Italy, the Banff Center for the Arts, the Skaneateles preparing students for any professional endeavor.
Chamber Music Festival and the Royal Conservatory of Music. Academy clarinet students have gone on to the finest
Orchestras she has performed with include: the Colorado Phil¬
conservatories and schools of music and have
harmonic, North Carolina Symphony, Grand Rapids Symphony,
the Toledo Symphony, and the Alabama Symphony, among earned positions in such organizations as the Boston
Deborah Chodacki others. Deborah earned a bachelor of music in performance Symphony, Philadelphia Orchestra, San Francisco
Instructor of Clarinet with distinction from the Eastman School of Music, study¬ Symphony, Metropolitan Opera Orchestra and more.
Interlochen Arts Academy ing with Stanley Hasty and a master of music in performance
from Northwestern University School of Music, studying with
Robert Marcellus.
www.interlochen.org
June 2009 35
Anton Stapler's Music Plan:
In the fall of 1799, Count Georg Fes- netist in the Royal and Imperial Orches¬ of the natural warm spring of the Heviz
tetics (1754-1819) sent Mozart's tra in Vienna, that Mozart composed his brook. The Count offered the Parliament
clarinetist Anton Stadler (1753-1812) Clarinet Concerto and Quintet. Stadler of 1802 40,000 florins for the erection of
a letter consisting of 16 questions regard¬ was the preeminent clarinetist of his time a military academy in Hungary. In 1803,
ing the establishment of a music school on and shows his knowledge of fine musical he founded a cloister in Pesth and in 1814,
his estate in Kesthely at the foot of Lake training in the document appearing below. an institute for vaccination of sheep-pox
Balaton (Plattensee). Stadler answered In 1791, he embarked on a tour of north¬ in Keszthely."d
these questions in a document he entitled ern Europe showcasing Mozart's concerto The music school was set up in the
the Musick Plan, dated 10 July 1800, us¬ that took him to such cities at Prague, Ber¬ former Franciscan cloister and opened in
ing a different order for the questions. lin, Warsaw, Riga and as far away as St. November 1800. Stadler hoped for the po¬
The manuscript today is preserved at the Petersburg, returning in 1796.a sition of head of the new school, but it was
National-Bibliothek Zechenyi in Budapest Georg Festetics, a relative of the Es- given to another, Peter Stark, who taught
(Fol. Germ. 1434). Although the Count's terhazy family, was a humanist of the en¬ voice and piano at the school, creating
original letter is today lost, it is possible lightenment who believed in improving compositions from 1800-1810 for special
to deduce the original 16 questions which the lives of those living on his estate and functions of the school. For example, a
are as follows: in the surrounding community and fol¬ cantata, Freudenschall, was performed by
lowing the reform ideas of Joseph II, who the pupils for a visit by Archduke Joseph
• Into how many classes, rooms, masters and subsequently published by Chr. Gottl.
abolished serfdom and torture and guar¬
is the school to be divided?
anteed religious freedom. The Empress Taubel in Vienna with the following dedi¬
• For how many years and in which steps cation: "To his royal majesty the Arch¬
Maria Theresa had bestowed an earldom
shall the instruction be given?
on his father, Paul Festetic, for his out¬ duke Joseph Palatin of Hungary, as the
• What text books are advised for lec¬
standing services in the improvement of All Highest, himself with most gracious
tures?
fruit tree cultivation and silkworm breed¬ condescension viewed the music school
• Of what does musical aesthetics con¬
ing. In 1790, Georg, after leaving military at Keszthely on the 23rd of August 1801,
sist?
service as a lieutenant colonel of the Hus¬ set to music by Peter Stark, teacher at the
• What is the main style and what are the
sars, took over the management of the ex¬ music school of Kesthely."e Additional
names of the greatest masters in church
tensive estates inherited from his father.b compositions by Stark (and male and fe¬
music?
He established a professional agricultural male members of the Festetics family) are
• What are the names of the greatest
school called the "Georgikon" that is still preserved at the Festetics palace.
masters in theater and chamber music?
in operation.0 The school is rarely mentioned from
• How might one make as good musi¬
According to Constantin von Wurz- 1817 on, but mention is made in 1833 in
cians as the pupils of the school in Vi¬
bach, Biographisches Lex ikon des Kaiser- Thiele's Dad Konigreich Ungarn: "A clois¬
enna, which one might use at the same
thnms Osterreich, "In 1802, he [Georg] ter school for nobility, music and drawing
time on the estate for other occupations
joined with this institution ['Georgikon'] school founded by Count Festetics."
such as in the office, etc.?
a three-year Franciscan cloister, a Latin A translation of Stadler's Musick Plan
• How should chamber music be set up
school and the subsequent five-class appears below.
and how much personnel is needed for
church music? secondary school, with which he then Sfc ^ 5jC
• With what kind of music must one connected a religious training school
begin the students in order to prepare for nobility, which he moved in 1809 to "Since in these stormy times for suffer¬
them for good music and make them Odenburg; also an elementary school, a ing music Your Most Gracious Highness
capable of performing it? school for middle-class citizens, a draw¬ finds it worthwhile to offer such a rare and
• How is a small music library to be set ing and music school, a seminary for vil¬ noble plan for founding a music school on
up? lage school masters, a hospital for free our hereditary lands with all its require¬
care of indigent sick people and a spa, ments, posterity must by rights one day be
It was for Anton Stadler, first clari¬ which got its water from the tributary grateful to you. For in this useful institution
36 The Clarinet
not only will young artists be educated, but intervals of the figured bass. Herewith the tested in theoretical knowledge, have pro¬
worthwhile human beings will also be de¬ fifteenth question, "By what kind of music gressed so far as to study and to undertake
veloped. In music, more than any other art, must one begin the students in order to pre¬ such works, themselves finding pleasure
it is necessary that the aspiring students be pare them for good music and make them in them. For, one must already be quite
guided with wisdom in their studies, for capable of performing it?" is answered. advanced if one plays the works of Bach,
as the oldest philosophers say: Assentior Thirdly [sic: secondly], how many which break head and fingers and which
Platoni nihil tam facile in animos teneros, "rooms" are required in which to teach even the unforgettable Mozart always
atque molles influere quam varios canendi music depends on the nature and space of played over. The student should also mas¬
sonos, quorum dici vix potest quanta sit the building but most of all on the gener¬ ter Handel's, Mozart's, van Beethoven's,
vis in utramque partem. Namque et incitat osity of the Exalted Patron and what shall Woelfl's and other composers' works.
languentes, et languefacit excitatos et turn be expended on it. To be sure, it would be It would also be recommended that the
remitcit animos et turn contrahit. Cicero best if the singers, the pianists, the organ¬ pianists tune their instrument themselves
de legibus L. IIdof. The students must be ists (because they need a Positiv for the and be taught as well to string them and to
guided with wisdom, for the general goal holding of the tones), the violinists and the understand stringing according to number.
wind instrumentalists each had their own The organ players as well should be able to
is to attain well-trained minds through ed¬
room. This also would be useful because adjust some pipes, which, more frequently
ucation. Therefore, I am so bold (although
of the space (taken up) and the arrange¬ by chance or coldness, are out of tune. It is
I am only a simple instrumentalist, neither
ment of many instruments themselves. particularly necessary to be able to do this
Kapellmeister nor Doctor of Music) to re¬
A further gain would arise, that all the in the country for two reasons: for one's
veal my thoughts to Your Most Gracious
students would have the convenience to own pleasure, as well as by necessity. This
Highness concerning this matter so far as I
is useful, pleasant, and necessary because
am able according to my insight and expe¬ practice [have lessons, rehearsals] in the
often an out-of-tune instrument is the rea¬
rience. I have the honor to answer the six¬ same hours, because the literary instruc¬
son that prevents many from pleasure in
teen questions which Your Gracious High¬ tion perhaps would be at the same hour for
entertaining or in studying, since one of¬
ness wrote to me, and indeed the sixth, all. However, if the building should not be
ten has to perform necessary chamber and
seventh and eighth, into basically how large enough, then teaching would have to
church music on out-of-tune instruments,
many classes, rooms, and masters a music be done alternately in a large hall. All this
or even postpone the performance. It is a
school should be divided and arranged. depends on the inner arrangement of the
slight effort to learn to do this oneself (i.e.,
Firstly, a proper music school and one institute, on the time which the students
tuning) and takes very little practice. See
which conforms to its true purpose can, in have to use for other subjects, as well as
on that point: Instruction on tuning [me¬
my opinion, be divided into five classes. on the distribution of the teachers and
chanically] pianos, clavecins and organs in
The first would be for singing and the sec¬ their other duties. It would always be pos¬
all twelve tones so that all are equally pure,
ond, for piano. The third class, for those sible in actual practice to make changes so all such, major as well as minor, can
who have had at least a year of instruction according to discretion. be played resonantly. In addition, see the
in piano together with voice, would be in Thirdly, in my opinion there should be appended instruction on how one should
an organ school. The fourth would be for five teachers. Firstly, a good expert "sing¬ treat pianos properly and maintain them
violin and the fifth, a school for wind in¬ ing master" who can instruct the children well, by Berthold Frizen, piano instrument
struments, so that before continuing on to in ut, od, do, re, mi, fa, as well as in letters maker in Braunschweig, Vienna, 1799.
whatever instrument, whether their voices and the correct text. In addition to Latin, Thirdly, a violin master is needed who
be good or bad, each of these individuals the teacher should also at least read and also understands the theory of his instru¬
must have sung at least one year. The art write the Italian language and at the same ment, is capable of performing it, able to
of singing teaches secure intonation and time have style in delivery. He should also conduct music and is able to teach an al¬
correct tempi. Through the endless giv¬ be able to teach the so-called master orna¬ ready rather well-schooled pupil of violin
ing of the beat, the division of the tempos ments, "Fioretti da maestro di majiiera," the rudiments of the violoncello. He should
becomes habit. Singing stimulates feeling to those students who already can sing a also be able to teach the clef of the altviola
and expression as well and leads to true solo, a motet or an aria. He should also with which, to be sure, every singer and
melody. Keyboard playing teaches both be able to call the pupil's attention to the piano player, together with the bass clef,
melody and harmony which agrees with sense and sensitive expression of the words becomes acquainted anyhow. Moreover,
the melody already produced. Thus, gradu¬ in addition to clear and pure diction. If one the alh'iola has everything in common
ally, through repeated hearing and practic¬ does not understand the words of a singer, with the violin school and the school in
ing, keyboard playing gives guidance and then one can not judge either the worth of this way also attains the aim of saving a
charm to one's own easy and customary the composition or the correct feeling in master (i.e., one needs one less teacher).
harmony. Then comes the so-called thor¬ expression and delivery of the singer. As text, however, the New, Complete
ough-bass or organ playing, which teaches Secondly, a piano teacher who plays Theoretical and Practical Violin School,
recognition of every quality of musical in¬ well and plays a great deal is needed. for teachers and students, published by
terval together with the harmony pertain¬ One who has studied with the best teach¬ Leopold Mozart, father, J. Pierlinger, is
ing thereto according to nature and makes ers and has performed the best works of appropriate. First part/ with engravings
the student capable of finding and setting these masters for his students as his favor¬ and many note examples. Vienna/ by
the usual or altered chord for each of these ite pieces, when such pupils, after being Christian Gottlob Taubel.
June 2009 37
Fourthly, a master on wind instruments playing. After these two years the student The hours in all events could be ar¬
is needed. He would have to be a good must be able to sight read most of the mu¬ ranged thusly: Every morning a theoretical
oboist or clarinetist, who should also un¬ sic, consequently he is already quite solid, discussion for beginners in general would
derstand the bassoon, the English horn and which is the main thing. have to be introduced with question and
the basset horn. There would remain the The third year is devoted to another answers. Considering that we receive all
trumpet and French horn, which a master instrument, besides figured bass [thor¬ our knowledge through the outer senses,
can teach easily and on which a skilled ough-bass]. The instrument, chosen by the certain symbols are necessary, which with
singer, once he has learned the so-called student himself, can be violin or a wind in¬ the help of our eyesight determine our will
tongue attack, can easily find his way. strument. Attention must be paid to the fact to produce certain tones according to the
Of the woodwind instruments, one must that he pursues his studies with active ap¬ difference of the signs.
also add that the masters should know how plication and that he is able to because he The first symbols of music are the old
to make the very necessary and customary has already had theory and tempo. Many, and the new musical letters and notes, as
reeds themselves and as soon as possible however, should begin the second year [on all the musical theorists call them, the now
should instruct their pupils to make good another instrument] and the younger and customary lines and music keys, the tem¬
reeds, because a performer will seldom smaller ones, the third year, because in pos, the duration and value of the notes,
progress very far on his instrument if he church music as well as chamber music, rests, dots and other musical signs and
cannot make reeds himself. He should be it is necessary to augment the violins and technical terms of which a teacher himself
able to repair his instrument with his own chorus, so that there would soon be space would have to prepare a compendium for a
hand, that is "leather" and also "feather," enough in both places for accompanists. lecture. These would be delivered in stages
for which the necessary tools such as good In this way, all learners would always have
that are relatively suited to the progress of
carving knives, small knives, files, screw¬ practice and none would be idle in a larger
the students. Then the tone types, with
drivers, grind stone, small tongs, sealing work to be performed. Further, more prac¬
their various designations, as #, |>, ^ in major
wax, leather, string and the like are nec¬ tical violin playing is also necessary for
and minor song, with their accidentals 1, |>,
essary. The woodwind instruments should musical composition. This is necessary so
ii, as also the customary modulations, the
also be cleaned frequently and well oiled that the student, when he composes mu¬
customary transition into the Dominante
because they respond more easily, es¬ sic himself, should not write ineptly and
and the so-called Note sensible at the tran¬
impractically for the violin. This is often
pecially in the summer and, at the same sition. For, no pupil shall begin to sing or
the case with great masters, who perhaps
time, must be guarded against early dete¬ play a piece before he has been quizzed
in their youth did not have the instruction
rioration. Because, if a wind instrument about the tempos, the division of the time
and opportunity to learn the violin. I know
is not always in proper condition, so that and the key, as well as the marking, be¬
in Vienna a great conductor and also a fa¬
all parts (pins, pegs) are well wrapped, all cause he can only, in this way, have his
mous composer, who not until their thir¬
key covers secure and the reed responding attention drawn to everything. The certain
tieth year learned to play violin in order
correctly, then the player can not feel sure. theoretical knowledge would make him
to avoid the eternal questioning for each
His tone is uncertain, the bass whistles banish all doubts during the performance
work that they delivered. They learned to
and the high notes scream. Even if the art¬ and make him able to perform correctly
play the violin as well as possible in order
ist has a great deal of talent, taste and good and without shyness. This guards the per¬
to be able to compose for the instrument
delivery, his tone will nevertheless be bad forming artist from any mistakes, because
works that were performable and to make
to the ear of the attentive music lover. To he can concentrate his whole effort on the
the execution easier for the performer.
the connoisseur it will be just as disagree¬ The fourth year would be practi¬ musical signatures before him and then is
able as an attractive and artistically styl¬ cal practice of the figured bass for vocal able to think easily of taste and delivery.
ized, learned and entirely orthographi- pieces at the piano or organ playing. For After the theoretical instruction, a
cally written composition which has been those who do not wish to be organists, practical hour should be held during the
scrawled with poor ink on coarse paper however, there would be practice on their same forenoon. The student could begin
and a miserable pen is to the reader ac¬ chosen instrument. During these two years his lesson after he has given the time, has
customed to calligraphy. each one can learn, first of all, thorough¬ divided the first tempos, determined the
"For how many years and in what bass in depth and also have made progress key with its symbols, has tuned his instru¬
stages should instruction be given?" on his chosen instrument. ment properly and taken the proper posi¬
It is difficult to determine for how There would also be those who, when tion himself.
many years music instruction should be they enter the institute, were already musi¬ During this practical hour each teacher
given, because it depends as much on the cal and nevertheless had attended theoreti¬ must patiently and diligently remind the
kind of comprehensible delivery of the cal and practical instruction in this order, as pupil of the above noted theoretical rules,
teacher as on the desire and talent of the well as on the organ, as also on every other demonstrate them to him during the per¬
learner. Still, I believe that one can assume instrument. During this time they would formance and so unite theory and practice.
approximately six years, which is indeed have developed so far that they not only At the same time, he should hold strictly
not much for the learning of the theoreti¬ could perform every musical service to the to the expounded precepts and neither
cal and for, the time being, practical mu¬ general satisfaction, but also could already overlook nor yield any point, be attentive
sic, together with musical composition. function as correpitor [sic] and assistant for to correct intonation and allow no care¬
I figure two years for singing and piano the new group of developing beginners. lessness or bungling to become a habit.
38 The Clarinet
For the afternoon, there would be another if a certain type of music has not been es¬ who has not studied the theater humors. He
such practical hour. pecially ordered, he himself can choose, can not know that for this lady, for exam¬
Then, every week a general rehearsal what and how he wishes, for whatever ple, the cards were unfavorable yesterday.
at least once of the assigned pieces. This instruments and can set them together as The young gentleman has been jilted by his
general hour of rehearsal could take place he pleases. Thus, he is justified to set be¬ sweetheart. The official has been passed
on days when there was little or nothing to fore his public, under any name, serious over in advancement. The probationer has
do in the schools. or frivolous pieces such as quartet, quin¬ not yet received his pay. The author has re¬
Presuming that the pupils were already tet, sextet, septet, octet, Parthie, serenade, ceived no advance subscription. The usurer
so advanced that they had actually stud¬ trio, duo, solo, etc. has won only 99 percent interest and the
ied a piece to be performed, it would be The theater style is in every respect cadet who has served only twenty-four
my opinion that, first of all, each one learn the most difficult undertaking in regard to hours is not already F.Z.M [a higher rank].
his part correctly by himself and rehearse aesthetics as well as to artistry and taste. In such a mood, in large part, the public
it with his teacher. Then, let one take, if It is the touchstone of fame or the way to
condemns the author, composer, actor, per¬
it were, for example, a four-voiced mass: banishment out of the musical Parnassus,
forming artists and his final judgment is
all four parts together and repeat it with which is viewed as instantaneous, musical
spoken. And the result of such a reception
the pupils as long as until the tempo and martial law. Because the composer who
of an artist can easily be understood.
the correct intonation are attained. Fi¬ writes for the theater is generally judged
adversely forever at the first performance Moreover, each theater has its own
nally, teach each to perceive where he has clique, its Benjamins, its sweethearts, who
the dominant part or where he is simply and seldom after the public's first verdict
does a recall take place. Still less, after de¬ seek favors and often one can not or may
ripienist and determine for him the rules not refuse for many reasons, according
cided pronouncement of judgment, is an
for his performance, the so-called piano, to whether they are in good repute with
appeal to be thought of to the implacable
forte, crescendo, decrescendo, rallentardo, various families or well-received by them.
listener who is rarely without prejudice or
etc. Finally, if the opportunity permits, Also, there often are at a first performance
who listens with distracted attention. To be
lead him first to simple well-sounding of an opera paid claques for and against,
sure, the gracious higher, middle and gen¬
ornamentations for whose harmony and who make use of everything: either clap
eral public also has its peculiar moods with
prompt arrangement one has likewise to all kinds of attributes, pretensions and af¬ their leathery hands until they are sore for
give him comprehension and insight. All fectations and who [these segments of so¬ the good reception of the performance, or,
this applies also to a symphony, quartet or ciety] must present the strongest contrast to for the opposite side, to yell numberless
quintet, etc., as also to many-voiced pieces the often unprejudiced unfamiliar listener, boo's and whistle themselves hoarse.
and wind instrument compositions.
In a short time, a chorus, trained uni¬
formly and thoroughly will have made
good progress, because the young people
grow together in a certain intimacy and
friendship and with the music. The inner
harmony along with habit adds a great
deal towards a good performance. Lis¬
ten to an orchestra of average dilettantes
trained together in a friendly circle and
another one of so-called virtuosi hurriedly
gathered together.
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40 The Clarinet
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the "new," the "unexpected," the "extraor¬ use the so-called poetic license. So, all this
dinary," the "great," the "wondrous": the appears, therefore, in accordance with the
really essential powers. However, these whole, melodic and harmonic, powerful
can only be of three kinds and arise out of and striking, causes no boredom, always
TapWWei ir "perfection," "beauty," and "goodness" or surprises, increases the expectation and
CANADA out of attributes contrary to these. tension and forces the voluntary attention
Professional Quality Clarinets of the listener, and also fills him with de¬
About Aesthetics sire for what is to follow.
Musical aesthetic is naturally that which is In this manner the plan of a work is
Nam in every other art and science, namely the well-considered, correctly introduced and
"unique," "true," "beautiful," "good" and appropriately performed, be it church, the¬
"perfect." Making it applicable to music atre or chamber style. The accompanying
can only mean musical composition, where musician need only to follow exactly the
the beautiful, taste, as well as the sense of prescribed annotations and markings of
offers the expertise to keep the writer, the purpose of the whole, as also the composition in order to present the
your professional clarinets the costume of the time, the custom and work perfectly, to fulfill the duty which
manners of the various peoples stand out. the performer owes, to pay attention to
playing to their full capacity.
This fully accords with the true expres¬ the proper shadow and light. So when the
sion, provided that it be likewise the poetic. required expression is strictly observed
Years of experience, an
And this art appears thus to have the most everywhere, the work has been performed
extremelu well equipped similarity with the poetic, art and painting, with aesthetic correctness, it will certainly
facility, ana exceptional skills where also now by a nuance or energy the fulfill its purpose and be received with ap¬
especially outstanding buoyancy gener¬ proval. But much insight, patience and
and techniques combine in ally strikes forth like lightning. Therefore, time is necessary in order to perform a mu¬
the maintenance
4 4 of
J b/your Rousseau says in his Dictionary of Music, sical piece so that connoisseurs and music
"Musicians read little, give their many lovers as well as performers themselves
ideas and points to emotions," which is find pleasure in it. And here much depends
very natural, for how can a composer, for on the direction of the conductor or music
Voicing is a specialty
example, set a moral, critical, juristic, etc. director, his manner and on his bearing to¬
ind artist level set-up, treatise to music? He needs strong ideas wards the accompanying artist, whom he
are our standard. and passions, which he, when he is so led, should treat with courtesy, who is not to be
through his knowledge attained through shouted at when he makes a mistake, nor
other scholarship, will be able to judge even less made ridiculous, nor be treated
Its safe to sau your
easily and cultivate. This I will explain as I with irony. Otherwise, the artist loses his
clarinets could, not he deal further with his education. composure, his attentiveness is lost even
Jaced in letter hands For it would be very unsuitable, if more, because a heart put to shame or an
he set before a noisy Moslem a German embittered spirit is no longer capable of a
shepherd melody, for the serious jealous gentle and cooperative feeling, if once the
Spaniard, a French trifling chansonette, presence of mind has been upset.
for the tender lover, an intoxicating aria, Finally, there remains the art of setting
and for the languishing beauty, a throaty music or musical composition. Every ex¬
piece with noisy passages, etc. All would pert of the art is convinced that it can be
be striking errors of taste, of the necessary taught to the musical apprentice only after
power of judgment and, in general, errors he has fully mastered the practical as well
Professional quality against aesthetics. Therefore, every com¬ as the theoretical art of singing, together
poser whatever his style of writing should with piano playing, the figured bass with
Taplin*Weir Clarinets diligently search through the scores of the all its rules, as also the knowledge of all
most famous masters of this branch and the remaining customary instruments to¬
an expansive offering of study them, take the text book into ac¬ gether with the periphery of their tones
count and with all deliberation investigate [range] and manner of execution. He must
the true causes: why and for what kind of also in addition have well and diligently
Barrels an J Bells,
reasons it was written thus and not other¬ studied the mathematical proportions and
and our unique wise, how the author introduces his plans ratios, without these making him a circle
and in what manner he continues his work [compass] harmonist. To be sure many
and how he step by step follows the poet, believe that they, simply by knowing dry,
Selection Stuaio. where he deviates from him, that is, finds geometric relationships, can compose mu¬
the material too dry or too unimportant, sic. The rules of composition alone, to be
www.taplinweir.com or in what kind of a situation he seeks to sure, everyone can understand, the way he
42 The Clarinet
can learn the rules of arithmetic, the rules he find during his apprentice time another make the developing artist more closely
of poetry or the grammar of a language. branch of study which suits him better, so acquainted with his vocation and the pur¬
However, if he is to be a true composer, let him go into it. The main thing is that pose of his calling and to urge him par¬
he should express every kind of poetry ac¬ he only becomes more useful, because his ticularly to morality.
cording to the sense of the poet, as much patronage and the state thereby gain a use¬ Because if he is in the church, he works
as the nature of the art allows, to make it ful member unexpectedly, since calling for the honor of God, consequently his be¬
comprehensible to the text-reading listener and inclination have been chosen of them¬ havior must be honorable, his gestures,
and to express the words appropriately, at selves. Would that such fortunate errors modes and his performance sensitive and
least according to the accepted musical and changes happened frequently so cer¬ uplifting.
declamation system. Insofar as he has not tainly, so that at times a capable student If he is in the theatre, his bearing should
invented something newer through skill without so-called calling, by various side be calm, his behavior proper and his atten¬
and much studying of scores, he must also paths would come to be preferred to the tion should be directed towards the con¬
study the whole tone and time order, ev¬ chosen ones. ductor as well as the music director, as
ery rhythm, every modulation, the musi¬ We still have living examples of musi¬ well as towards the performing singers on
cal prosody and the entire knowledge of cians, who have been brought up in certain the stage and to the instrumentalists play¬
harmony, understand double counterpoint, institutions, who accompany many great ing soli in the orchestra. He should not
etc., and in addition also possess talent and eminent state officials. Never, how¬ cover the soloists too much, neither out of
similar to that of a great poet and painter ever, has an official become a conductor. ignorance nor malice, neither hold back
"quia poeta nascitur rethor [sic] fit" [For as [This is still a great remark!] alone in tempo nor press on, but always
poet one is born, as speaker one is trained]. Education, therefore, and literature are adjust to the conductor's or the music di¬
All this is necessary because music is necessary for the true musician if he wants rector's signal without willfulness. The
one of the greatest arts, for which much to become great. If he is entirely without
conductor or music director have them¬
is demanded when one wants to learn it all other knowledge, he becomes only a
selves already determined and indicated
thoroughly. By the following demonstra¬ half-thing, and so he, unfortunately, one
their action to the singer and soloist. So
tions and annotations I have, at the same of the messed-up musician souls whom
also will they help him out with patience
time, the honor to answer Your Gracious daily experience proves are either arrogant,
should he make a mistake and bring him
Highness's 12th question: "How one could proud, pushy, quarrelsome, unbending, un¬
back in line. For otherwise often the pub¬
make as good musicians as the pupils of bearable, or, indeed, stupid asses. For this
lic, who pay well, or the invited guest, is
the school in Vienna, which one could use reason, in addition, he is distrustful of those
deceived and is distracted in his attention
at the same time on the estate for other oc¬ who disregard him as someone who is lack¬
by the stupid caprice of such a restless
cupations such as in the office, etc.?" ing in the other sciences, even if he also has
spirit and his pleasure destroyed. From
the best character and the noblest heart.
singers and actors of this kind of egotist,
1. Cicero in the Tusculanic questions in Daily experience unfortunately shows
the First Book writes, "The Greeks us the way of native and foreign anus vir¬ we can see almost daily edifying tricks of
were of the opinion that the greatest tuosi who because of their conceit over which I, if it were suitable here, could re¬
erudition is contained in music." all, in whatever kind of land customs and cite a whole litany.
2. A scholar, Aristophanis, maintains: habits they brought with them, awkwardly For chamber music all of the above
"Under the name of music scholar, a stumble along. They permit themselves rules are valid in regard to behavior and
man was meant who was capable of all unlimited liberties to denigrate their art musical accompaniment. As in the the¬
learning." by baseness and make their memory hated atre, the artist, in addition, must, in the
3. Plato says music is great world wis¬ everywhere. presence of his employer who gives him
dom. This is affirmed also by: Unfortunately, I have had to see such bread, and in the company of aristocratic
4. The famous Herr Richey in Hamburg types myself on my trips and still possess, gentlemen and guests, never be unwilling,
when he writes in a letter to be found in saved as proof, silhouettes of two such quarrelsome or flare up in anger, but al¬
Matheson's Crit. Mus. Part II: "Music uncouth fellows. A noble, upright, emi¬ ways comport himself well and modestly.
is an active world wisdom." Whoever nent Northlander tore these silhouettes out He should never censure another's chance
wants to understand music must know of his souvenir book with a kind of rage, mistake publicly, nor make him ridiculous,
the whole world wisdom and mathe¬ while he handed them to me with these for his own turn might come directly af¬
matics, poetry, elocution, art and many words: "Friend! Should you see these two terward. In this way, his employer for his
languages. In order therefore to spend again, when fate some time should bring many expenses gains honor, the company,
one's lifetime with music, one must you safely over the stormy waves of the true pleasure; the artist himself, however,
test oneself first, whether nature has Baltic Sea to the south, so show these earns and deserves genuine approval in
endowed one with the necessary quali¬ rogues their silhouettes together with their every respect. And so an exact manner
fications and gifts for it. own stupid, mispellt, affected signatures of performance following the rules of art
and tell them how unworthy they were be¬ as well as in knowledge, in morality, in a
The above cited examples illuminate cause of a number of mean deeds to every¬ choir trained in proper behavior must, if
clearly that a pupil who possesses this one's friendship and particularly to mine." the above shown are strictly adhered to,
preparatory knowledge could very easily And so because of the above given rea¬ in time provoke general admiration. The
be used in every other occupation. Should sons I have considered it not unsuitable to artist gains, for the exalted philanthropic
June 2009 43
founder, boundless fame and honor, gives Compositions and Preis der Berliner Academic erhielt.
true pleasure to every connoisseur and Thorough-bass Books 16. Kirnberger's Kunst des reinen Satzes
music lover and provides the young art¬ 1. Gradus ad Parnassum, sive manduc- in der Musik.
ists, who were educated in such a benevo¬ tio ad compositionem Musicae regu- 17. Allgavotti Saggio sopra 1'Opera.
lent institution, a sufficient livelihood and larum pp. 18. Hugenii Cosmotheoreas L: 1. open
ever enduring approval. Only it would be Elaborata variat: T III.
desirable that either a capable conductor Joanne Fux s.c. ac regiae Cathol. 19. Murchhauser hohe Schule der
or understanding musician could be em¬ Maj. Caroli VI. Romanorum Impera- musikal. Composition.
ployed for guidance and training of these toris Supremo Chori Pra[e]fecto. Vi- 20. Heiniglchlen's Anweisung zum Gen¬
pupils, so that this work begun with so enne 1725. In German with Mitzler's eralbass
much cost and effort could be continued Annotations. 21. Galilaei, Dialoge della Mus. antica e
in strict order and honor and never come 2. Das K.K. Hoforganisten Composi¬ moderna.
to a standstill. tions Buch. 22. L'Abbe le Boef. Traite historique et
Therefore, Gracious Sir! As Serius 3. Manfredini's Regole. practique sur le chant ecclesiastique,
once said to the Romans, which the Greeks 4. Matheson's Stern melodischer Wis- Paris.
would have deserved (ad Aeneid: L: VI): senschaften, Hamburg. 23. Krause, von der musikalischen Po-
"Nullam maiores nostri artem esse voluer- 5. Handbuch bei den Generalbass und esie.
ant, quae non aliquid reipublicae commo- Composition, mit 2, 3, 4, 5, 6, 7, 8 24. Riedel's Werke.
daret." ["Our forefathers wished that there und mehr Stimmen fiir Anfanger und 25. Sulzer's Theorie der schonen Kunste.
be no art which does not in some way ben¬ Geiibtere. Franz Wilhelm Marpurg, 26. Bibliothek der schonen Kunste und
efit the state."] Not only for these benefits Berlin. Wissenschaften, Berlin.
but for every important improvement of 6. Rieppel's Anfangsgriinde zur musika- 27. [C,P.E. Bach] Uber die wahre Art das
yours which benefits men and state can lischen Serzkunst pp Regensburg und Clavier zu spielen.
men call out with delight that they pos¬ Wien. 28. Exposition de la Theorie, et de la
sess a great benefactor, who devotes his 7. Georg Fr. Lingkens Churfiirstl. Ber- practique, de la Musique, par Mr. de
wealth to unfortunate humanity, to learn¬ graths kurze Musiklehre, Leipzig, Bethizy Ch: XVII art. 3
ing, to fine arts and science and to the Breitkopf, 1779. 29. Matheson'svolkommenerCapellmeis-
improvement of every branch of endeavor 8. Padre Martini Storia della Musica. ter.
and thereby principally to the education of Ro[u]seau Dictionaire de Musique. Bach's Generalbass.
youth who otherwise would be left to their 9. Rameau V: Generation harmonique. Albrechtsberger's Generalbass.
fate, to offer all this to them solely out of Ex. XXX pp Gagl d"
the desire to do good. 10. Uber den Ausdruck in der Musik ha- Marpurg's Singkunst.
ben besondere Werke geschrieben Tosi's Anleitung zur Singkunst
May heaven give your great nation suc¬
Chr. Avison Essay on Musical nach Agricola Ubersetzung.
cessors who think so nobly; and soon, this
Expression, London, 1779. L'Art de toucher le Clav. Par Mr.
already so famous nation, whose land has
11. Hr. Engel iiber die musikalische Couperin, a Paris, 1717.
been so richly blessed with abundance,
Mahlerey, Berlin, 1780. 8. Quan[t]z Flotten Schule, Berlin.
would soar up to a degree of perfection
12. Von den musikalischen Ausdruck For oboe, the practical method
which would earn the envy and admiration
der verschiedenen Klangfiisse, und written by Peozzi.
of the world.
den Arten desselben wird im 60ten Violin Schule as above.
Most gracious Count, if you accept the
und f: br. Der krit[i]sch. Briefe iiber Clarinette Schule [written] by
attempt of my obedience and good will
die Tonkunst Berlin, 1759 u. s. f. 8. myself coming soon.g
graciously and with indulgence, I will
- und von dem Ausdrucke in der Vo¬ Of the remaining instruments
eternally count myself fortunate that you
cal Musik, und was dieses hier ist und that up to now are not known to me, I
have permitted me to present my small
heisst in der Schrift iiber das Recitativ. will in a short time have the honor to
knowledge, which I, as a simple composer
Bilblio. der schonen Wissenschaften, give more precise information.
have presented here to Your Highness's
Berlin, 12, Seite 219 u. f: gehandelt. As well as about all the old and
wise judgment on approval.
13. Uber den Ausdruck des Ausrufs in der newer masters famous in Italy, for
I recommend myself to your indulgence
Musik ist die Abhandlung iiber das which my correspondent has not yet
and grace, remain in deepest respect Recitativ in der Biblio. der schonen sent me the promised list, and in the
Your Grace's most obedient servant Kiinste und Wissenschaften: Berlin 2, meantime I will give here a few of the
Anton Stalder mpia. Seite 223 nachzulesen. best-known and most famous in each
14. Euleri Tentamen novae Theorae Mus. style.
Anton Stadler Musician of the Royal C. 1. 13. Church Music
& Imperial National Court Theatre 15. For the aesthetic art of tone, see Selt¬ Pergolesi, whose famous Sta-
Vienna, July 10, 1800" zer's Theories der schoner Kiinste bat Mater is a masterwork. Hasse,
and Herder's Untrusting uber den Seitelmann, Telemann, Reuter, Mo¬
Bibliography Urspring der Sprachen, welche den zart, Kraus, Thuma, Gassmann, Fux,
44 The Clarinet
Hofmann, Bonno, Wanhal, Joseph best service. Karl Kempa. "A keszthelyi Festectics-fele ze-
Hayden [sic], Michel Hayden [sic], neiskola," Dundntiili Helikon, 1. Jg, Nr. 2^,
Gyor, 1938, p. 171.
Foster, Cartel[l]ieri, Naumann, Al- End Notes
I agree with Plato that nothing flows so easily
brechtsberger, Eibler, Schuster, a Pamela L. Poulin, "A View of Eighteenth-Cen¬ into tender and sensitive minds as music. One
Graun, Handel, Pleiel [Pleyel]. pp. tury Musical Life and Training: Anton Stadler's can scarcely say how great its influence is for two
Musick Plan," Music and Letters 71/2 (May reasons: it stimulates the sluggish and calms the
Opera Composers
1990): 215-224; Ibid.. "Discoveries in Riga: excited, now it relaxes the mind and then it tenses
Gluck, Hasse, Gulielmi, Paisello, What Stadler's Basset Clarinet Looked Like and it again.
Cimarosa, Sarti, Picini [sic], Grettry the First Documented Performance of Mozart's The promised method does not appear to have
[sic], Salieri, Mozart, J. Hayden [sic]. Clarinet Concerto," Journal of the American been published.
Beer, Weigel, Righini, Himmel, Sale- Musical Instrument Society (1996); Ibid., "An
Updated Report on New Information Regarding
sandri, Naumann, Schuster, Seitel- Stadler's Concert Tour of Europe," The Clarinet
mann Reichard, Martin, Siissmayr, 22/2 (1995): 24-28; Ibid., "A Report on New
Miiller, Wranitzky, Schenck, v. Dit- Information Regarding Stadler's Concert Tour
tersdorf, Cartel[l]ieri, Hofmeister, of Europe," Mozart Jahrbuch (1992):946-955; The
Kraus. Ibid., "A Little-Known Letter of Anton Stadler,"
Music and Letters 69/2 (January 1988): 49-56;
Chamber Music and Ibid., "The Bassett Clarinet of Anton Sta¬ Clarinet
Handel, Hayden [sic], Mozart, dler," College Music Symposium 22/2 (Fall
Pleyel, Graun, Gromer, van Be[e] 1982): 67-82. PUBLICATION SCHEDULE
thoven, Woelfl, Wranitzky Paul, b See Ernst Hess, Mozart Jahrbuch (1962-3): 37- The magazine is usually
Wranitzky Anton, Hayden [sic] Mi¬ 54, in which the citations which follow below are
found. T. Koppany, P. Peczely and k. Sagi, Kesz- mailed during the last week
chael, Cartellieri, Hofmeister, Wan¬ thely (Budapest, 1962), p. 56. of February, May, August
hal, Freystiidter, Eibler, Forster, Fux, c In 1987, the present writer visited the Festetics
Boessinger, Hofmann, Kraus, Righini palace, estate and site of the music school. The and November. Delivery
pp. estate and palace had been in the Festetics family time within North America
until 1938 and the palace, open to view by the is normally 10-14 days,
In order to obtain detailed informa¬ public, in pristine condition and the site of music
concerts today, has its original furnishings, while airmail delivery time
tion of all the best known classes of music d Constantin von Wurzbach, Biographisches outside of North America is
pieces and their masters more easily, the Lexikon des Kaiserthums Osterreich (Wien,
7-10 days.
printed catalogs of music dealers offer the 1868) Bd. IV, pp. 209-10.
June 2009 45
a device called the Head and Transducer
UltZ/iboruogiziphic, tfiweAtigatuon, Support (HATS) system that addresses
such issues by immobilizing the head and
the transducer. For this study, one subject
oft ClabUut fy/ultipU, -flttiadatwn was locked into the HATS system and im¬
aged playing seven exercises on the clari¬
by Josh Gardner net and speaking eight speech exercises.
The transducer is positioned under the
Introduction1 multiple articulation and the speech sylla¬ chin (submentally), allowing the emanated
bles normally used to teach the technique. sound waves to pass between the jawbone
Articulation and voicing, both in¬
and the hyoid bone. Ultrasound images a
volving highly refined tongue
Ultrasound "slice" that is approximately 2 millimeters
motion, are the primary intraoral
Ultrasound has proven to be a safe and thick within a given plane.8 For this study,
mechanics that teachers must address with
valuable imaging technique for measur¬ we imaged the midsagittal plane (the mid-
students of all ages and abilities. Articula¬
ing tongue motion.2 The Vocal Tract Vi¬ line of the tongue, back to front). Once the
tion presents the most evident tongue mo¬
sualization Laboratory (VTV Lab) at the transducer had been positioned satisfacto¬
tion during clarinet performance. During
University of Maryland Dental School is rily, the subject performed the selected ex¬
single articulation, the tongue moves from
a resting position to touch the reed and then dedicated to tongue research using various ercises. All data was collected in the same
returns to the resting position, continuing means of observation, including magnetic session to ensure consistent placement of
in a cycle defined by the articulation pat¬ the transducer and head.
resonance imaging and ultrasound. The
tern of the music being played. Multiple All digital video and audio was re¬
director of the lab, Maureen Stone, has
articulation adds a posterior articulation, corded on a Macintosh G5 using Final Cut
helped pioneer the use of ultrasound as a
with the tongue moving in a compound cy¬ Pro and an analog backup of the entire
reliable means of quantifiably analyzing
session was recorded to VHS. The digital
cle: touching the reed, followed by a pos¬ tongue motion using ultrasound.3 With her
terior tongue segment touching the hard video and audio were recorded as uncom¬
cooperation, we successfully adapted the
palate. Voicing is more obscure because pressed AVI files, thus not compromising
VTV Lab's ultrasound imaging protocol
the tongue moves only slightly between image or audio quality. With a scan rate of
to observe and measure tongue motion
adjacent notes. When teaching, clarinet¬ 28 Hz, even short exercises have an im¬
during clarinet performance. A detailed
ists typically use spoken vowel sounds to mense amount of data. The videos were
explanation of the necessary protocol ad¬
approximate the appropriate tongue posi¬ then saved as image sequences, extracted
aptations and limitations will be available
tions for specific registers or notes; how¬ at 29.97 fps, and the audio tracks were
in the author's dissertation under the same
ever, these phonetic syllables may not be saved as separate files. The images were
title, to be published May 2009. saved in the JPEG compressed format,
entirely accurate. Syllables are also used
to teach articulation; however, the conso¬ which reduce file size without compro¬
Procedure mising image quality.9 Although the audio
nant context of the syllable (such as III in
"tee") moves the tongue in the general lo¬ Exercise: files contain valuable data, they were not
cation with correct motion to complete the Seven articulation exercises were per¬ used for this study.
articulation (to either the tip of the reed or formed, each consisting of six to eight
the hard palate), while the vowel compo¬ beats of sixteenth-notes on El, E2, B2, E3, Contour Extraction
nent shapes the rest of the tongue during B3, E4, and B4 at 40 bpm.4 Eight speech The images were imported into an edge
the articulation and between articulations. exercises were imaged as well, using syl¬ detection application, from which two-di¬
This shape may or may not be correct. lables commonly used to teach multiple mensional tongue contours were extracted.
Ultrasonographic imaging allows re¬ articulation. These include ti/ki, di/gi, tu/ The software application used for edge de¬
searchers to qualitatively observe tongue ku, du/gu, teh/keh, deh/geh, ta/ka, and da/ tection and extraction is named EdgeTrak,
motion and measure this motion for further ga.5 They were spoken to the same rhythm designed by the VTV Lab.10 EdgeTrak is
quantitative analysis. The dimensionality and tempo as the performance exercises. a semi-automatic edge detection applica¬
of the data is reduced by limiting obser¬ These combinations were chosen based on tion that assists in identifying tongue con¬
vation to tongue contours within a single syllable suggestions from selected peda¬ tours. The user inputs several points along
plane. Comparing tongue motion of per¬ gogical materials for single and double an initial tongue contour and the program
formance and the pedagogical tools used to reed instruments.6 A slow tempo was nec¬ interpolates a user-definable number of
manipulate the tongue may help clarinetists essary due to the temporal resolution of points along that contour. Additionally, the
improve the way they teach various aspects the ultrasound machine (28 Hz). At faster program uses that initial contour to auto¬
of clarinet performance, primarily articula¬ articulation rates, data is lost because of matically track contours for the following
tion and voicing. The purposes of this pa¬ motion between samples. frames in the sequence. In most cases, how¬
per are to introduce ultrasound as a means ever, it was necessary to adjust the automat¬
of observing the tongue during clarinet Data acquisition ically extracted contours manually. The se¬
performance and to offer suggestions for According to Stone, et al, "the slightest quence of contours, represented by a series
implementing the protocol as an effective movement of the head will cause rotation of x-y coordinates, is saved as a CON file,
diagnostic tool. The context of the study or translation of the transducer, resulting in which can be opened in Excel or CAVITE,
involves comparing tongue motion during an off-plane image."7 The VTV Lab utilizes another program designed by the Lab.
46 The Clarinet
tegrity of the final average. Contours were
The Data
extracted using EdgeTrak for the middle
Figure 1 is a raw ultrasound image ex¬ 10 or 14 cycles. Following extraction, the
tracted from the digital video with labels cycles need to be normalized in order to
added for reference. Because much of be averaged, meaning they all need to be
the space on an ultrasound image is not the same length in frames. Because the av¬
needed for analysis, several items have erage length of each cycle is 22 frames,
been added, including a video of the lower all cycles were normalized to 22 frames.
right side of the subject's head, including Cycles longer than 22 frames were cut in
the jaw, the transducer, and the clarinet Excel, deleting either the first or last frame
mouthpiece, a video timer, which allows or both. Cycles shorter than 22 frames
precise identification of each image, and were lengthened by duplicating either
exercise information at the top of the im¬ the first or the last frame. Cycles deviat¬
age that was typed into the ultrasound ma¬ Figure 2. Screenshot from EdgeTrak. The ing more than one frame from the average
chine during the recording session. red dots represent the tongue surface con¬ were excluded from averages. Once each
The lower edge of the bright white line tour. The green box designates the area of cycle has been normalized, contours can
in the middle of the image represents the interest. Green "X" marks are placed on be imported into another program for pre¬
surface of the tongue.11 This particular processing and analysis.
the ultrasound scaling marks on the left of
image was recorded during a chromatic the image, allowing the program to con¬
scale exercise and displays the midsagittal Pre-processing of data
vert pixel measurements to millimeters.
tongue contour at altissimo C. The image CAVITE (Contour Analysis and Visual¬
includes much more information than we ization TEchnique)13 is a Matlab applica¬
els per centimeter. When the contours are tion that allows the researcher to load a
need, so EdgeTrak is used to export only exported from the program as a CON file, sequence of contours (CON or TXT file)
the x-y coordinates of the tongue contour. all measurements are converted to milli¬ which can be displayed as a spatiotempo-
Figure 2 is a screenshot from EdgeT¬ meters using a scaling factor based on the ral image, meaning the two-dimensional
rak. The green box identifies the area con¬ ratio of pixels to one centimeter. contours are displayed over time, showing
taining motion in which we are interested.
how the contours change from one frame to
The red dots outline the tongue surface Managing the data the next, all on a single grid. The program
contour, measured in pixels from the top Fifteen exercises were used for this study: displays each contour on a single spatial
of the image. The user can define the num¬ eight spoken exercises, and seven per¬ grid, with a single x for each y coordinate.
ber of points per contour. For this study, formed exercises. Each exercise is ap¬ The application extrapolates points to
100 points were extrapolated from each proximately 30 seconds in length with in¬ lengthen each contour to a uniform length
contour. The two green "X" marks on the dividual images extracted at 29.97 frames using an extrapolation method called krig-
left are scaling marks, which are placed per second, thus comprising an immense ing, which is necessary for statistical com¬
manually on the ultrasound scaling marks, amount of raw data. In order to process parison and averaging. Without this pre¬
allowing the program to convert the pixel this data efficiently, the images need to processing of data, quantitative analysis
measurements to millimeters. This par¬ be organized in a logical manner. In addi¬ such as averaging and comparison would
ticular recording session yielded 32 pix- tion, EdgeTrak cannot easily handle large be impossible.14 Such quantitative analy¬
frame sequences.12 sis is possible within CAVITE, allowing
SHi»E^-E3-swez»ei«B*- The naturally cyclic, or periodic, motion multiple exercise repetitions to be aver¬
of the tongue during continuous articulation aged and compared.
patterns was used to partition the image se¬ This first step in the analysis process is
kofTcnguc lioroof Icvik quences. During multiple articulation, the to average ten normalized cycles for each
tongue moves in a periodic compound mo¬ exercise. During this process, each con¬
tion, first touching the reed for the anterior tour is lengthened or shortened to a speci¬
articulation followed by the middle rising fied length. To avoid omitting real data,
to touch the palate for the posterior articu¬ the maximum and minimum x value for
lation. The exercises were divided into in¬ all contours was used to define the final
"a—:c- dd:3E:H5:B5 70,
dividual articulation cycles, initiated by the length of all contours. The minimum and
Figure 1. Ultrasound image with features release of the anterior articulation (when maximum x values used were 59 and 157,
labeled. This single window contains a the tongue retracts from the reed) and ter¬ respectively. Real data is not eliminated;
significant amount of important informa¬ minated by the frame prior to this release however, to lengthen some contours to the
tion in addition to the actual image of the in the next cycle. The average number of specified length, a significant amount of
tongue. This information helps identify frames per cycle for each repetition in each extrapolation is needed. Therefore, data
specific frames within the sequence, ul¬ exercise is 22 frames. at the front and back of the contours may
trasound machine settings, and possible Each exercise is comprised of 12 to have additional error. The extrapolation
movement of the subject or the transducer. 16 cycles. The first and last cycles were method, kriging, has been validated for
Note that the viewable area of the tongue eliminated from further analysis because use with tongue contours; however, as the
is limited by the shadows of the hyoid bone the tongue may move differently during length of kriging increases, the potential
and the jaw bone. these cycles, thus compromising the in¬ for error increases.15
June 2009 47
Averaged Tongue Spatiotemporal Surface: AJtissimo B dian difference values were calculated for each comparison to see if
the results would be different. Only minor differences were noted.
Front of Mouth The vowel context of each syllable seems to be the primary fac¬
tor affecting difference. The difference between consonant contexts
is minimal. These values represent global differences between sur¬
faces. Local differences were not considered in this analysis. The
Spatiotemporal Surfaces
Looking at each frame individually does not indicate much about
tongue movement over time. CAVITE allows us to view a sequence
of frames as a spatiotemporal surface such as Figure 3. Each con¬
tour of the segment is displayed as an jt-v line graph with the z-axis
displaying time. Figure 3 shows the averaged spatiotemporal sur¬ Figure 4.a Overlay
face for a multiple articulation cycle on altissimo B with feature
labels for reference.
This graph allows us to see how the midsagittal plane of the
tongue changes during one multiple articulation cycle on altissimo
B. Note that because EdgeTrak measures tongue contour height
from the top of the image, the vertical axis shows decreasing values
for higher tongue positions. iiiiimiiimiiu
iiuiira::!!'
IIIIIIINIItllMIIHIIII
Analysis iimmiiMiiiiiimii!
Both qualitative and quantitative analyses are possible using ultra¬ m B11111111111111111
lillllllllllll
iiiiHiiiimii
sound coupled with edge detection (EdgeTrak) and pre-processing iwiuiiiimiiiiiu
iiiiiiiiiiiiiiimiiii
illilllllilllllllUJilJ
software (CAVITE). As discussed earlier, EdgeTrak was used to
extract two-dimensional tongue surface contours from the highly
dimensional raw ultrasound images, which were then imported into Figure 4.b Comparison Image
CAVITE, a pre-processing application that extends each contour to
a uniform length using an extrapolation technique called kriging First Surface
Second :JTQ_HATS_ti_Averag*.txt
Surface:JTd_HATS_E3_Average.txt
and displays the contours on a single spatial grid. By making each Average Error: 10.14 r
contour the same length and placing them on a single grid, mul¬
tiple repetitions can be averaged and compared numerically.
Using the averaged surfaces, comparisons between each per¬
formed and spoken exercise were made using CAVITE. The pro¬
gram outputs an overlay surface, a difference image, and the RMS
difference for each frame.16 The overlay provides a means for qual¬
itative analysis, showing how the two surfaces compare. From the
overlay, we can see how contour differences change in time. The
difference image shows local differences between the two surfaces.
The RMS difference chart provides global differences between the
two surfaces at each frame.
Figure 4.c RMS Difference
The primary goal of this study is to determine the differences
and/or similarities between the speech syllables we use to teach Figure 4. CAVITE outputs three graphic comparison representa¬
multiple articulation and the actual tongue motion during perfor¬ tions describing the difference between two surfaces: (a) an over¬
mance. Therefore, the averages from each note were compared to lay of two spatiotemporal surfaces. The solid surface represents
the averages for each syllable, resulting in 56 comparisons. For ease midsagittal tongue motion during the ti/ki speech exercise and the
of interpretation, the mean RMS difference was used to describe the mesh surface represents tongue motion during the B3 performed
global difference between two surfaces. Figure 5 shows the results, exercise, (b) A difference image representing local differences be¬
plotting the mean RMS difference between each note and each syl¬ tween the two surfaces. Dark colors represent similarity and light
lable. A problem with mean values is that a few extreme values can colors represent difference, (c) RMS difference for each frame.
skew the result, thus failing to represent the central tendency of the A mean line has been added to show average global difference
data set. To determine if this error occurred with this data set, me¬ across both surfaces.
48 The Clarinet
difference includes extrapolated data as spatiotemporal surface. Multiple repeti¬ mance. Other syllables will be compared
well as real data. tions of each exercise were averaged and to performance in an effort to find a closer
pairs of surfaces were compared numeri¬ spoken representation of tongue motion
Conclusion cally. The mean RMS difference for each during multiple articulation. Non-English
The purpose of this research was to find comparison was used to represent global syllables should be explored as well. This
a way to help diagnose and solve tongue differences between two surfaces. Each particular study only involved one sub¬
problems in multiple articulation. Addi¬ syllable pair is ranked in Table 1 by as¬ ject. In order to determine more accurate
cending RMS difference. tongue motion generalities, multiple sub¬
tionally, the insight gained from this study
jects should be studied.
will allow us to research other aspects of Table 1. Ranked results. For questions or comments, please e-
clarinet playing with the aim to improve The syllable pair showing the least dif¬ mail me at jtgardner244@yahoo.com.
performance and pedagogy. ference is teh/keh, which is consistent for Select videos from the study can be down¬
In this study, ultrasound has been each pitch. The syllable pair showing the loaded from the VTV Lab's Web site (http://
proven a valuable tool to measure tongue greatest difference is di/gi, which is con¬ speech.umaryland.edu/funmovies.html).
motion during clarinet performance. Us¬ sistent for each pitch.
ing the imaging protocol designed by the Tongue surfaces are highly dimen¬
VTV Lab, we have successfully captured End Notes
sional; therefore, the single RMS differ¬
midsagittal tongue contours during clari¬ ' This study was funded in part by a Northern
ence quantity does not represent complex Trust/Virginia Piper Enhancement Award.
net performance. Several minor protocol differences between two surfaces. Differ¬ 2
Maureen Stone, "A guide to analyzing tongue
modifications were made to facilitate the ence between different notes is consider¬ motion from ultrasound images. Clinical Lin¬
clarinet. The protocol involves recording ably less than between speech exercises guistics and Phonetics 19, nos. 6/7 (2005): 456.
3
(digital and analog) the video signal from and performed exercises. Although teh/ For more information on ultrasound and its use
an ultrasound machine as well as the audio keh provided the lowest mean RMS dif¬ as an imaging tool for tongue motion, see ibid.
from an external microphone. An image The detailed article covers ultrasound basics as
ference compared to the other speech ex¬ well as an explanation of the VTV Lab's imaging
sequence is extracted from the video at ercises, the difference is still high. The protocol.
29.97 fps. Each exercise was divided into 4
overlay image demonstrates significant Octaves refer to the respective octave on the
cycles averaging 22 frames each. Each differences in certain regions, including clarinet, meaning El is low E, the first E that
cycle was imported into a semi-automatic the posterior portion. During teh/keh, the can be played on the instrument. The Acoustical
edge detection application, EdgeTrak, Society of America octave designations for the
tongue arch is, on average, higher over the used pitches are E3, E4, B4, E5, B5, E6, and B6,
which exports a corresponding sequence duration of the exercise. respectively.
5
of two-dimensional contours. The con¬ In future research, surface difference Vowel examples: "ti" as in beet; "tu" as in shoe;
tours were imported to a pre-processing will be examined across different seg¬ "teh" as in bed; "ta" as in father.
6
application, CAVITE, which normalizes ments of the tongue to provide a more Joshua T. Gardner, "In Single-Reed Performance:
contour length by extrapolating points us¬ detailed description of tongue surface Review of Research with Emphasis on the Peda¬
gogy of Clarinet Multiple Articulation," Lecture
ing kriging and displays the contours as a comparisons between speech and perfor¬ at the College Music Society Southern Pacific
Regional Conference at Arizona State University,
March 2007.
7
Mean RMS Summary Maureen Stone and Edward P. Davis, "A head
and transducer support system for making ultra¬
12.000 sound images of tongue/jaw movement," Journal
of the Acoustical Society of America 98, no. 6
(1995): 3107.
8
Stone and Davis, 3107.
9
Stone, 482.
Min Li, Chandra Kambhamettu, and Maureen
Stone, "Automatic contour tracking in ultrasound
images," Clinical Linguistics and Phonetics 19,
no. 6-7 (2005): 545-554.
11
Li, et al., 547.
12
Maureen Stone, Personal communication with
author, 24 July 2007.
13
Vijay Parthasarathy, Maureen Stone, Jerry L.
Prince, Min Li, and Chandra Kambhamettu,
CAVITE - Contour Analysis Visualization Tech¬
nique Ver. 3.0, Johns Hopkins University, Uni¬
versity of Maryland, and University of Delaware,
2004.
14
ti/ki di/gi tu/ku du/gu teh/keh deh/geh ta/ka da/ga Ibid., 530-531.
15
Syllable Parthasarathy, et al., 539-541.
16
RMS (root-mean-square) refers to the square
root of the average squared values.
Figure 5. This chart indicates central tendency of difference between each syllable/note
comparison. The x-axis groups each of the eight speech exercises. Lower difference values [Josh Gardner was the first-prize winner
signify greater global similarity between the two surfaces. Conversely, higher difference in the 2008 I.C.A. Research Presentation
values signify greater global difference between two surfaces. Competition. Ed.]
June 2009 49
from the Carnegie studios, and then out of
his home in Tenefly, New Jersey. He had
an apartment in New York, but many of
his students would come to his home in
New Jersey, and usually were invited for
a meal because many were "starving" col¬
lege students.
One of the unique things about Joe, was
that he brought his professional perform¬
ing experience into his teaching, and he
influenced an extensive number of clari¬
netists and saxophonists who, themselves,
because prominent performers as well as
teachers. Although his performing expe¬
riences were not unique to the working
musician of the 1930s and 1940s, Allard
took the common-place experiences and
he found a way to make them intriguing,
enlightening and give them purpose. And
he used all of his own experiences as ped¬
agogical material as well.
Allard's first serious study of the clari¬
net began at age 16, when he studied with
Gaston Hamlin, the principal clarinetist of
the Boston Symphony Orchestra. Allard
recalls that Hamlin conducted those les¬
sons in French, so there was just as much
language instruction as there was clarinet
instruction. Allard studied very little, for¬
mally, after Hamlin returned to France in
the early 1930s. His learning from that
time on came from experimenting and
what he called, investigation. His teacher
A Panel Discussion - was any resource that he could glean from.
He was a voracious reader—science, es¬
i.C.A. ClarinetFest® 2008, Kansas City pecially anatomy, physiology, acoustics,
as well as philosophy and religion—
Transcribed and edited by John Cipolla anything was fair game for him to make
connections to the art of music. He also
Michael Dean (Associate Pro¬ five years, then another three years, while observed and questioned other musicians,
fessor of Music at Southeast stationed in the Army Band at West Point. though rarely were they clarinetists or
Missouri State University) or¬ This article presents an edited transcript of saxophonists. He preferred to glean ideas
ganized a panel discussion about the Peda¬ the panel discussion at ClarinetFest® 2008 from vocalists and especially from double
gogy of Master Clarinet and Saxophone in Kansas City on July 3, 2008. reed players. He thought that they had a
Teacher, Joe Allard. The panel consisted better understanding of the breath, sound
of Deborah McKim, Associate Professor McKim: Allard was very much a recog¬ projection, and of resonance, which be¬
of Music at Hastings College, who wrote a nized performer in the New York musical came very important concepts in Allard's
dissertation on Joe Allard, (McKim, Debra scene in the 1930s, 1940s and 1950s. His arsenal. He would analyze their physical
Jean. "Joseph Allard: His Contributions to musical activities during the first 35 years and musical approach to playing, and then
Saxophone Pedagogy and Performance," of his career were essentially as both a try it out for himself. His descriptions of
Published Doctor of Arts Dissertation, Uni¬ freelance performer and teacher. He didn't these concepts were based on this inves¬
versity of Colorado, 2000); John Cipolla, perform as a soloist or solo recording art¬ tigation, experimentation, along with the
Associate Professor of Music at Western ist. Then from the mid-1960s, he curtailed interpretations and writings that he would
Kentucky University, who studied with his performing to focus the last 25 years of come across.
Allard at The Juilliard School; and James his career on teaching. Joe taught at Juil¬ Some of his concepts were tongue po¬
Meyer, bass clarinetist, clarinetist, and liard, Manhattan School of Music, New sition, throat position, laryngeal flexibility
saxophonist with the St. Louis Orchestra, England Conservatory, and privately, first through the use of overtones and voicing,
who also studied with Allard at Juilliard for across from Radio City Music Hall, then lip and teeth pressure in the formation
50 The Clarinet
of the embouchure, and reed working. out him stopping to comment with a story Joe once told me a story about Jasha
Though he was known as a reed wizard, about someone he worked with in his pro¬ Heifetz. Once, when playing with Tosca-
he basically fixed reeds for the immediacy fessional playing career, and seamlessly nini's NBC Orchestra, and Heiftz was the
of the moment. tied the story into what I was doing and soloist. Joe was sitting in the orchestra and
Some considered him a reed expert, how to make it better. I remember many not playing on that piece. He listened to
some an embouchure expert, others put his of those stories all these years later and it Heiftz and noticed that he heard quite a bit
concept of line and phrasing at the top of is no exaggeration that those lessons im¬ of extraneous scratching in Heiftz's sound.
the list because Joe had a solution for any pacted my own playing and teaching ca¬ So Joe went out to the audience to sit and
problem, or so it seemed, when talking to reer more than any other teacher I had. listen from there. When he went out, he
his students. When you ask a former Al- On his actual teaching concepts, I can noticed that the sound became pure, beau¬
lard student what Joe's legacy is, they will summarize them into categories of reeds, tiful, and projected wonderfully. This little
mention the concepts and pedagogy, but it overtones, the embouchure, our inner story meant more to me in how to learn to
always comes down to this—they will talk hearing, breathing, the throat and larynx, project my tone, then anything that any¬
about the fact that he was an empath—that and phrasing and musicianship. These one else has told me.
he felt what they felt and that he taught were the things that we worked on in our For the embouchure, we did an exer¬
them how to teach themselves as well as lessons. It took a lot of on-the-job trial cise where you take the top teeth off the
others. That he inspired them to be life¬ and error to put his concepts into practice. top of the mouthpiece. This seemed to
long learners. Things like playing with only enough em¬ make me much more aware of my lower
bouchure pressure to not let the air leak lip and jaw pressure against the reed. He
Cipolla: Joe played both clarinet and
and to allow the reed maximum vibration; also used to talk about developing a chew¬
saxophone. This stems from his profes¬
using lots of air and using it efficiently to ing motion so as to "feel" the reed with
sional/practical experience, which neces¬
produce a big vibrant and flexible sound; the lower teeth, through the lower lip. This
sitated knowing more than one instrument.
using overtones to learn to naturally feel was not to bite, but rather to simply feel
His career was in a different era—not so
how much pressure to use with our lower and be aware. He also made me aware of
specialized as things are today. There was
"and" upper lip and also how to place or the sound possibilities by having me flex
a variety of musical playing work available
in many styles and ensembles. Musicians voice each note; learning how to really let my upper lip while playing.
honed their skills on-the-job, adjusting our ears be the primary guide to what our He didn't believe in the drawstring em¬
to the needs of a particular musical situ¬ embouchure and body does to produce bouchure, where the entire embouchure
ation. Joe played in symphonies but also the sound; learning to not let the sound draws together like a bag with a draw¬
in dance bands. I think the focus was dif¬ get constricted by the throat or larynx, but string. He believed in keeping a flat lower
ferent then than it is today. He was simply rather to let these be an extension of the lip like a shelf that the reed can rest on so
a musician. With Joe, it was more of an instrument; to learn phrasing by listening there is a maximum portion of the lip for
emphasis on the actual process of learning to other types of instruments, like cellos, the reed to vibrate and have even pressure
to play your instrument and music well. great singers, and violinists; and to learn all across the reed. To keep the lower lip
That process lasted over the course of phrasing by singing out loud. flat, he put toothpicks in the sides of the
one's lifetime. In Joe's playing career the
emphasis didn't seem to be so much on
getting the "big" job, but rather to simply
learn to be as good a musician as possible.
There was also a very practical side to him
as well. He had to work to provide for his
family. Therefore, he did what he had to
do to work as a musician.
His associations with historically out¬
standing musicians, such as violinist Jasha
Heifetz and saxophonist John Coltrane,
helped him form his concepts of sound
production and general musicianship.
These experiences were the basis for his
teaching. His rapport with his students
was very relaxed, positive and encourag¬
ing. His lessons were not vocation prepa¬
ration. They were musicianship prepara¬
tion. They were more like apprenticeship/
mentoring sessions. There were no books
assigned and no syllabus. We just sat and
talked for an hour and experimented. I
never played more than a few lines with¬ Joe Allard playing near his summer home in Windham, New Hampshire.
June 2009 51
mouth to keep the corners down and not when we play. The throat opens every memory learns exactly how much ten¬
curled up. He emphasized playing with time you put a finger down and when you sion it takes to close the key.
very little top teeth and top lip pressure lift your fingers, the throat narrows. The
on the mouthpiece. This is because he had throat can't be involved in controlling air Audience question: The speaker spoke at
dentures due to a childhood accident. And speed. A simple exercise to learn this is to a David Liebman Video, "Developing
thus, he learned to play with very little em¬ tie a piece of string around your ribs just a Personal Sound on the Saxophone."
bouchure pressure and superb air control. about the middle of shirt pocket level. The speaker explained an exercise
Make it snug, not tight. Now when you in the book where you play the upper
Jim Meyer: I am going to offer ideas take a big breath and expand your chest,
that are intended for players to take home register of the saxophone without the
the string tightens. So the only other way octave key, and then the lower register
and try for themselves. This point of view you can breathe through the interaction of
is from a professional musician's perspec¬ with the octave key. This teaches the
the abdominal muscles. You may not be
tive, including many of the demands that player to be flexible. And the speaker
able to do it at first, because the two mus¬
come with being a professional player. Joe noted that the essence of the video is to
cle groups are used to working together.
did indeed teach embouchure not from the develop flexibility.
All of these concepts really work. I've
point of view of the saxophone, clarinet,
tried and used them for 42 years in the St. McKim: The flexibility is the key to Joe's
or bass clarinet, all of which I studied
Louis Symphony. tonal concepts.
with him, but his techniques applied to
Joe talked about overtones. This is a
the single reed. His idea was that the lip Meyer: There is another similar exercise.
control exercise. Start on the saxophone on
should function passively, as a pad. The Playing a high b'' with the side finger¬
a low C. If you put a little more mouthpiece
lip should not be an active body, where as ing, we had to learn to warp down the
in your mouth, you get the octave above.
the teeth should be an active body. This note in half-steps: to A, B1, to a'', B1,
Then if you pull the mouthpiece out a bit,
is a little difficult for us humans to un¬
it drops back down to the fundamental to G, etc., down the chromatic scale.
derstand because the lip looks like an up¬
because the saxophone is unstable in the Cipolla demonstrates this exercise on
per and lower, but it's not. It is one round
low register. Then you can continue this by the clarinet. This teaches flexibility and
muscle and we instinctively use it like we
overblowing, with the low C fingering, a G control.
do when we drink from a straw. That is not
on top of the staff and then a C above the
a good idea for a single reed player for a Meyer: Joe taught the French "eh,"
staff. Then try writing out a little melody
couple of reasons. One is that putting pres¬ through the word, roulette. When I say
that is above the staff. Then get those notes
sure on the sides of the reed is like putting the word roulette, something does hap¬
on the hand break on your road bike. It with the overtone fingerings. The idea is
to blow through this melody with these pen to my upper lip. The high tongue
creates resistance. And you are creating a
overtone fingerings. That is a tremendous position is very important because of
resistance that you are struggling against.
Also the sides of the reed is the part that control exercise for the throat. the channeling of the air, the air speed,
produces the low frequencies of the reed. and pulling the tongue out of the base
Audience comments/ of the throat. I guess any way that you
So wrapping the lip aound the reed, inhib¬
its vibration, and it locks up the response questions: can get these things to work is okay. If
of the low frequencies. Audience question: Did Joe Allard ever you can find a way to get these ideas
Joe really liked word formations that talk about the tension of the keys of the across, I think Mr. Allard would have
you could remember easily. The tongue instrument, such as the spring tension. approved of that.
should be high, wide, and stationary. Joe
spoke French and there is a syllable to use Meyer: Yes, Joe did talk about that. He
Conclusion
for that position. It is ou [u]. We don't have felt that the spring tension should be
even on all the keys. And a good way As the panel discussion ended, the audi¬
that sound in English. This syllable keeps
to learn this was to open and close the ence members mingled with the speakers
the tongue in a high position. As you move
the tongue higher, you have a given vol¬ keys in slow motion so that you get a and among themselves. They talked about
ume of air going through a smaller open¬ glissando. Joe learned that from Ralph Joe Allard's concepts and traded stories
ing at a higher speed. That's where you McLane. McLane was maybe one of about Allard and his teaching. There was
get air speed. It also pulls the base of the the best clarinet players to ever play a relaxed mood that had a comfortably
tongue out of the throat, freeing the throat. on the concert stage in this country. blurred line between the speakers and the
So the ideas on tongue position are that He was the principal clarinetist with audience. Joe's lessons were conducted in
the tongue is high, wide and stationary. the Philadelphia Orchestra, and many this manner—with Joe being as inquisitive
There are two basic ways to breath. of the things I've told you were the as the student he was teaching. Thanks to
You can breath with your ribs, that is chest practical implementation of McLane's
Mike Dean, who organized this event, and
breathing, and you can breath abdominally techniques. Joe told me that this was
or diaphragmatically. The chest shouldn't something he learned from McLane. to the organizers of the ClarinetFest (b) 2008
move when we breathe. Also, we don't First, even spring tension on all the in Kansas City, the pedagogical ideas of
want to get the throat involved in control¬ keys, and second, opening and clos¬ Joe Allard were given center stage at this
ling the air stream because it has to change ing the keys so slowly that the muscle major international conference.
52 The Clarinet
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This is what you will find in
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June 2009 57
The repertory included on the CD:
Marek Placek: The Wasteland; Juraj Dru-
zecky: Divertimento; Bosko Milakovic:
The Inner Singers', Daniel Matej: 3m fur
Johann Josef Rosier: Partita;
Martin Burlas: Plavba Proti Noci; Mar¬
ian Lejava: Aria (for Lotz Trio); Label:
SF00562131; Contacts: www.lotztrio.com;
www.hf.sk;www.musicaslovaka.sk
0 Magnum Mysterium
This arrangement of Tomas Luis de Victo¬
ria's motet O Magnum Mysterium came to
me via e-mail from Andrew Lesser (Music
by Jorge Montilla Director of Lindenwold High School, Lin-
denwold and a performing clarinetist and
Dear clarinet community! Welcome lava). It came all the way from Slovakia composer).
to another article dedicated to the and has become one of my favorite CDs. The arrangement, in the original key,
wonderful world of trios, quartets It features music for three basset horns by was made for three B-flats + bass, and its
and quintets for clarinets. Slovak composers and composers bound level of difficulty is level 3. (Levels go
In this installment I will acquaint you to Slovakia by their work and artistic ac¬ from 1 to 5 in concert band setting accord¬
with some materials sent to me by our tivities. Some of the composers were Mo¬ ing to both the arranger and the publisher.)
readers, and I will also introduce you to zart contemporaries while others are still The arrangement is currently published
my second featured ensemble. alive and composed their pieces especially by Grand Mesa Music (www.grandmesa-
Since I was invited to write this column for the artistry of the Trio Lotz. music.com) and is available online under
about clarinet trios, quartets and quintets I Trio Lotz's members are the two broth¬ catalogue #SE139. I highly recommend
thought that writing it would be an excit¬ ers Robert and Ronald Sebesta plus An¬ this arrangement to students aiming to
ing activity in my life, and, indeed, it has dreas Fink, which reminds me that the first improve their intonation (especially in the
become just that and much more. "historically relevant" basset horn trio was throat notes), their ability to sustain long
Providing you with standard reper¬ formed, in Mozart's time, by the Stadler phrases and their voice independence. The
tory for different ensembles of all differ¬ brothers (Anton and Johann) plus Ray- length (almost five minutes if played too
ent levels, pointing out what I consider are mund Griessbacher. slowly) could be an issue for some young
exemplary recordings for the milieus and Trio Lotz members perform on replicas groups, but it is worth trying.
offering my expertise, both musical and lo¬ of period basset horns made by Theodor
Lotz for whom they are named. CarolinaClarinet Quartet
gistical acquired after being a member of
I have to say that presenting the reper¬ 1 received, via e-mail, an invitation from
several successful clarinet ensembles for
tory of Slovak composers who wrote for Brent Smith on behalf of the Carolina-
many years, were the logical items that I
three basset horns at the time of Mozart Clarinet Quartet to visit their Web site
have used as a basis for this column. Al¬
would have been enough for a CD. How¬ www.CarolinaClarinet.org.
though I will not stop covering these items,
ever, Trio Lotz did not seem satisfied with Current members of this North Carolina-
it has always been my intention to make
that proposal and had the brilliant idea of based group are Tara Glaspey, Jim Williams,
these columns more interactive with the associating their instruments with current Janice Lipson and Brent Smith. Others who
readers and with those who are currently compositions. The result is not only a new have played with CarolinaClarinet include
performing, composing, arranging and and vibrant repertory but also the resur¬ Shirley Violand-Jones, Kristin Martin and
recording the music for small clarinet en¬ rection of an ensemble that we all thought Merida Negrette. Their common interest?
sembles being considered in this series. For was relagated to the repertory of the clas¬ Music for Clarinet Quartet!
this reason I will dedicate a big portion of sical style. What is impressive about this very or¬
this column to sharing with you the materi¬ In this CD, the listener will hear mu¬ ganized group of clarinet lovers is the fact
als sent to me by those working to make sic that goes from beautiful melodies and that they own a library with more than
this an even more wonderful world of trios, consonant harmonies to quarter-tones, 175 clarinet quartets. Once on their Web
quartets and quintets for clarinets. breath sounds, glissandi and sounds sung site you will see the pieces, the compos¬
through the instruments. The intonation is ers, the arrangers, the instrumentation, the
Trio Lotz: Slovak Period and flawless, the articulation is neat, and the performing time, a small comment and in
Contemporary Basset Horn Treasures CD was recorded, from top to bottom, many cases you will be able to hear an ex¬
This CD was sent to me by Slovak Clari¬ with exquisite taste, total technical control cerpt of the pieces performed by this group.
netist Ronald Sebesta (principal clarinet and perfect characterization of the differ¬ The recordings are live performances by
of the Radio Symphony Orchestra in Brat¬ ent styles. The booklet's presentation is this group in various venues. I consider this
islava and the Chamber Orchestra Cap- very nice, and the information, presented whole Web site to be a useful reference for
pel la Istropolitana and professor at the in Slovak, English and German, is very young groups and music educators for se¬
Academy of Music and Drama in Bratis- extensive, informative and clear. lecting music suitable for their needs.
58 The Clarinet
Featured Ensemble Discography clips, videos, ringtones, etc.
Bozza Nova; Performers: Yuri Zyuryaev Do you have a CD of your ensemble that
Mariinsky Clarinet Club
(bass clarinet and clarinet), Vadim Bond¬ you want me to review? Or maybe a new
The five members of the Mariinsky Clari¬
net Club, the first Russian clarinet ensem¬ arenko (clarinet), Evgeny Kultygin (clari¬ piece? I look forward to receiving those.
ble, are engaged in the Mariinsky Theater net), Vitaly Papyrin (clarinet, basset horn For my contact information go to www.
Orchestra. This clarinet ensemble started and bass clarinet) and Dmitry Kharitonov. jorgemontilla.com.
in August of 2007, and the members' main (piccolo clarinet, clarinet and saxophone);
^ JjC 5{C
goal was to perform works of various Repertory: Eugene Bozza: Sonatine; Be¬
genres with both a classical and innova¬ atriz Lockhart: Estampas Criollas', Jean
Frangaix: Petit Quatuor; Vadim Bond¬ About the Writer...
tive approach. The members of the ensem¬
ble are: Yuri Zyuryaev (bass clarinet and arenko: Blues-Duo; Michael Kibbe: Eb¬ Jorge Montilla is principal clarinetist
clarinet), Vadim Bondarenko (clarinet), ony Suite and Shtetl Tanzen with the Simon Bolivar Orchestra of Ven¬
Evgeny Kultygin (clarinet), Vitaly Papy- For more information about this ensem¬ ezuela, professor of clarinet at the Latin
rin (clarinet, basset horn and bass clarinet) ble you can write to mail@mariinskyclari American Clarinet Academy in Venezu¬
and Dmitry Kharitonov (piccolo clarinet, netclub.com or visit their Web site: www. ela, former artistic director of the Caracas
clarinet and saxophone). They all studied mariinskyclarinetclub.com where you will Clarinet Quartet and current member of
at the Rimsky-Korsakov Music College find a complete biography, pictures, audio Trio "Zephir."
and/or in the St. Petersburg Conservatory.
They claim to have named themselves a
"Clarinet Club" because they play concerts
with repertory chosen to please the listener, Back Issues of The Clarinet
but I also think that their name honors their
multiplicity of instrumentations (from a Back-issue order forms for The Clarinet may now be downloaded from the
duet to clarinet quintet), as well as their in¬ I.C.A. Web site: www.clarinet.org. Copies may also be requested by contacting:
clusion of a wide range of musical styles. James Gillespie
University of North Texas, College of Music
Highlights of Their Repertory 1155 Union Circle #311367, Denton, Texas 76203-5017
For B-flat and Bass: E-mail: jgillesp@music.unt.edu
Alfred Prinz: Meeting
George Shearing: Get off my Bach
(arr. anon.)
For Two B-flats and Bass: Reed Machine »RPM 68« and »RPM 82«
Anonymous: Rucaneao RPM 68: Eb-Clarinet, Bb-Clarinet, Soprano Sax
(arr. Jorge Montilla) RPM 82: Bass Clarinet, Alto Sax, Tenor Sax
Daniel Levin: The Phoenix
Zefir Brezeanu: Bachanale
For E-flat, B-flat and Bass:
Michael Kibbe: Shtetl Tanzen and
Ebony Suite
For Four B-flats:
Yvonne Desportes: French Suite
Pierre Max Dubois: Petite Concert
Devient Grand
Arthur Frackenpohl: Licorice Licks
Gordon Jacob: Scherzetto
Fred Hasdorfer: Suite voor vier
Klarinetten
• Direct copy (reed to reed)
Michael Kibbe: China Journal
Optional guides available
Rolf Rudin: Divertimento
• Fine adjustment for reed thickness
For Three B-flats and Bass: High precision ball-bearing guides
Beatriz Lockhart: Estampas Criollas Carbide metal cutters with two knife-edges
(arr. Jorge Montilla)
For Two B-flats, Basset Horn and Bass:
Jean Frangaix: Petit Quatuor Kreisstr. 10 • 89428 Syrgenstein • Germany
Tel.: +49 90777088 40 • Fax: +49 90777088 39
For E-flat, Two B-flats and Bass: info@uhl-technik.de • www.uhl-technik.de
Eugene Bozza: Sonatine
Jorge Montilla: Four for Four
June 2009 59
acoustics. Our best crowd-pleaser that day
was Lassus Trombone, especially when
that section stood during playing. I will
never forget what that piece's exhilaration
(Th& (ftmateWL and verve in a community musical group
can mean to musicians and audiences.
Not long ago I took a semester off
from taking clarinet lessons. Fortunately,
"Qtatineiibt I have now returned, and it is grand to be
back! I have studied with the same music
teacher for the last five-i- years. We work
by Susan Steele
on discipline, making my sound stronger,
clearer, more accurate, more beautiful and
In the community band where I play 3rd the music's dynamic markings—pp and / on playing all of the 16th notes in a piece
clarinet, a fellow clarinetist is Adam, a didn't sound different from each other when — one half-hour at a time. Thank you, Mr.
fine 10th grader who has been listen¬ I played them. What I think of as "correct Larry Walker.
ing to Glen Miller, Gershwin and other Big juggling" (seeing everything on my score) Currently, I have been using a IVi
Band sounds recently. The adult members has taken time and is never ending. strength reeds, but I am having great
of my community band do all they can There is a recent newcomer in our com¬ trouble sounding high E (and forget about
to mentor and encourage our school-age munity band who has been playing with us above that), so I am going to try using pro¬
members. In turn, the young members en¬ for six months. When I first greeted her, gressively harder reeds.
courage us by having a good, quick sound she looked astounded at what playing mu¬ When we begin to make music,
and by valuing the band and our group sic with 50 diverse musicians entails. After whether we are very young or even much
experiences. Their young resilience is a rehearsal, I encouraged her to come back older — our journeys seem so quixotic as
good balance for the rest of the band, even and not to give up! I am so glad she has to a choice of instrument. How often is
keeping us extra lively. continued to attend band and now looks the choice, "What is that old attic instru¬
I have recently enjoyed playing in an very much at home. One of her secrets to ment?" If we persist in our playing, instru¬
ensemble class with clarinet, violin, cello, progress is her little tape recorder with ment upgrades hopefully come forth.
and soprano, alto and tenor recorders. Our which she tapes our rehearsals and then, as For all that we enjoy playing with oth¬
teacher and mentor is encouraging, yet she is able, plays along at home, improv¬ ers, the basis of any of our playing prog¬
has high standards. Our repertoire has in¬ ing as she goes. I know it has taken me so ress must begin with our solo sound. To¬
cluded some great early music like Airs by long to learn to focus on my part without ward this, I usually practice for 45 minutes
Purcell and Bach, the Shaker Simple Gifts, distraction, while still being aware of the most days, long enough to get some water
and then such favorites as Greensleeves. other players and our whole sound. on the floor and swollen lips.
I recently played/practiced with a fine Our band recently played at the dedi¬ I recently bought two books on jazz
pianist friend. The morning we spent play¬ cation of a new youth building. It was technique which this magazine recom¬
ing together made all my hours practicing wonderful to be a part of live music at this mended; I am enjoying them. When I see
alone take on such a greater dimension. event. The room where we played had fine an interesting music book I always hope it
Although I brought lots of music (just in
case), we just played and dissected the
Pachelbel Canon. How lovely is the piano
part. I tried to keep up my end with clarity,
beauty and correct tempo and counting. I
appreciated when the pianist said she re¬
ally felt the clarinet added depth to the
piece. The arrangement we used was by
Danief Dorff.
This pianist friend and I have played
together on occasion for about the last five
years. She is the first person who encour¬
aged me to really analyze a work of music,
to learn about the composer and to become
part of the composition's heart.
Looking back, I know that my counting
has been my greatest flaw to overcome, es¬
pecially in playing with others. As long as
the music is written, it is no good to esti¬
mate beat lengths. (Then I wonder — what
about jazz, blues, improvisation?) Also, Clarinetists with the Lakeland (Florida) Concert Band.
earlier on, I didn't pay enough attention to Dr. Chet Dissinger is second from right.
60 The Clarinet
will contain a few secrets to great playing play, I have appreciation for the many fine semble. She had played when younger
— are you the same way? Then I laugh at music arrangers who make this possible. and began playing clarinet again to en¬
myself when 1, of course, remember that After seeing Clair W. Johnson's name for hance and aid breathing and to strengthen
the greatest secret is well known to us all so long, I recently looked up about Dr. her diaphragm muscles. She mentions that
— effective and faithful practice. Johnson. I was glad to see his musical with some independent study, the finger¬
Do any readers have a pet that seems to archive in existence at Weber State Uni¬ ings, embouchure and scales came back in
show a special relationship with your mu¬ versity in Ogden, Utah where a large part no time. Michael P. is a psychologist liv¬
sic making? I practice in the same sunny of his music teaching occurred. What an ing in eastern North Carolina after retir¬
room where my calico cat, Margaret, usu¬ amazingly prolific life and now what a ing from a career at a school of medicine
ally naps. I take it as a compliment that fine legacy resource this archive is. in Maryland. He has been a member of
during my practice time, she stays at the A book that has greatly influenced me "Petite Arpeggio" which includes strings,
window, pretending to still be asleep. is Never Too Late by John Holt. Mr. Holt flutes and clarinet, as well as a New Ho¬
On the other hand, a few years ago, I was mainly known for his zeal as a noted rizons Band program. He has been work¬
took in my aunt's two cats when she went educator, learning reformer and speaker. ing on the Brahms Clarinet Sonata No. 2.
into assisted living. For the longest time, Never Too Late is about his experiences Brent S. from North Carolina is a member
one of the cats, Irma, was very skittish in beginning to play music as an adult — the of the "Carolina Clarinet Quartet" and is
her new surroundings. She had only three flute and then the cello. Mr. Holt is dis¬ part of a music and sound exchange pro¬
legs; long story — a years' before encoun¬ arming and candid in telling about his ex¬ gram (www.CarolinaClarinet.org). Dr.
Chet D. is from Lakeland, Florida and is
ter with a fox. Anyway, she had been used periences to improve his playing, to find
active in the Lakeland Concert Band and
to beautiful music from years of National people to make music with, and how to
the Foxhall Winds and has had his "Trios
Public Radio at my aunt's house. So, I have persistence and even practice in a
for Winds" performed. (See photo.) What
was dismayed after I opened my clarinet modest apartment with not much room
fine musical contributions these readers/
case for the first time after her arrival and and with neighbors who can't abide noise.
clarinetists make.
began playing...to have her quickly leave My edition is a 1978 hardback and I was
Until next time, may our sounds be mu¬
the room! Ever after, she would run like so gratified to see a newer paperback copy sical.
lightning whenever I sat in my practice being used in a college course.
chair and opened the clarinet case. And Thank you for the e-mails or letters Susan Steele
yet I persist. from readers: Annette B. from Maryland P. O. Box 351, Selbyville, DE 19975
When I reflect on the clarinet music I is a 1st clarinet-2nd chair with a wind en¬ USA; ssteelel213@hotmaU.com
We KNOW Clarinets!
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June 2009 61
Martinez it is his 15th student to enter the
Paris Conservatory. Floriane studied at the
Regional Conservatory in Lyon with Di-
dier Reymond, then at Rueil-malmaison
with Florent Heau where she earned a 1st
Prize. She also won clarinet competitions
in France (Langres and Picardie).
The Board of Directors is soliciting the assistance of the general membership in identifying potential sites for future Clarinet-
Fests® to be held in 2012 and 2013. Being sought are locations with the following attributes:
• Performance Space - Superior acoustical space with multi-media capabilities conducive for the presentation of concerts,
recitals, lectures, and master classes. Having two or more performance venues in the same location is considered optimal.
Minimum capacity of the large hall should be 1100-1300 seats.
• Exhibition Space - Approximately 15,000 sq. ft. exhibition/ballroom space located in or near the same facility as where pro¬
gram presentations will take place.
• Housing - Convenient housing (hotel/dorm) with a variety of price options able to accommodate budgets ranging from
students to corporate executives. Capability to house a minimum of 800 individuals.
• Travel - Access to major transportation centers (i.e. - airports, train stations, etc.)
• Excursions - Interesting tourist activities in, or within the vicinity of, the city/area of venue.
• Other - Incorporation of area musical resources (i.e. - professional symphony orchestras, jazz ensembles, chamber musicians,
military ensembles, etc.) adds greatly to the local experience for those attending ClarinetFests®.
• Program Director -Nominations are encouraged to identify individuals to serve in leadership roles with regard to artistic and
facility coordination.
Proposals are encouraged for international sites as well as in the United States.
Send electronic site nominations/recommendations addressing desired attributes listed above by July 15,2009 to:
Gary Whitman, President
ICApresident@clarinet.org
64 The Clarinet
ing markings on and less prone to getting
Music Reviews
worn with use. The publisher also does a
by Will Cicola nice job of spacing the notes and staves for
Reviews easy-to-read notation. Articulations and
Jean-Marc Volta. The Bass Clarinet: dynamics are well-marked. This is an ex¬
Method. International Music Diffusion tremely well-done collection for most any
1996, $49.95. www.vcisinc.com clarinetist seeking an introduction to play¬
ing the blues on the clarinet, but especially
The bass clarinet has long been viewed for the young clarinetist wanting to have
as an auxiliary instrument and its study some fun learning to play the blues!
has traditionally followed from this phi¬
losophy. Few if any conservatories allow Mike Curtis. Eight Original Jazz Duos
students to specialize on the bass clarinet. for 2 Clarinets. Advance Music, 1996,
Because of this, the bulk of instructional $10.95. www.advancemusic.com
material for the instrument is either geared This collection of eight original easy
toward orchestral musicians or public pieces for clarinet and piano is very effec¬ This collection of eight duos for clari¬
tive for learning characteristic blues styles net is a refreshing addition of stylisti¬
school students. Jean-Marc Volta, princi¬
on the clarinet. The accompaniments offer cally varied pieces that will work well
pal bass clarinetist of the French National
excellent support to the soloist in learn¬ for teaching or recital material for the
Orchestra, has put his expertise and expe¬
ing to play correct inflections with a good advanced high school student or a college
rience to use in filling this gap with The
student. Byard's Bounce is a quick swing
Bass Clarinet. rhythmic feel. Included are a variety of
piece with written out turns (a common
The purpose of The Bass Clarinet is to blues-styled tunes such as a slow blues,
embellishment in the jazz style) in which
create a fully bass clarinet-oriented peda¬ medium-tempo blues, a shuffle, a bossa
Curtis makes creative use of various trip¬
gogical method (although it is clearly in¬ nova, and even a tune with a steady rock
let rhythms. Wistful is a slow-tempo tune
tended for those with prior clarinet train¬ blues-feel. The piano part includes chord
that emphasizes the eight-note triplet
ing). To this aim, Volta begins with sound symbols so the pianist can embellish the
rhythm, along with some double-time
production — embouchure, breathing, and written accompaniments. The preface of
feel, 16th-note passages. Contuberance
long tones — before moving into finger the book offers a basic description of how is an up-tempo swing piece with char¬
technique and articulation. As the book to interpret eighth notes in the jazz and acteristic syncopations and a solid swing
progresses, the specific challenges of the blues style by playing with a triplet-feel. feel in the key of A major. That Dang
bass clarinet, such as voicing the upper The titles in this set are: Blue Monday, Thang is an up-tempo swing piece written
register and the uneven response of the in¬ Three Blue Mice, Walkin' the Walk, Late in cut time with some tricky syncopated
strument, are covered in great detail. Each Freight, Hangin' Loose, Takin' Care of rhythms. Huntington Park and The Fool¬
section focuses on a specific aspect of Business, Blue Waltz and Snug Fit. Except ish Fool change meters frequently and are
technique, with both instructional text and for the last piece in the book, the clarinet a fun challenge. Birdseed is a "Debussy-
musical exercises. Volta also includes il¬ range of these pieces spans from low E esque" piece with a flowing melody over
lustrative passages from the orchestral lit¬ to throat B^. This, along with simplified a mostly 9/8 meter vamp. And Spring
erature whenever possible. The fingering syncopated jazz rhythms, provides a very Chicken Fever is a straight-ahead swing
chart is valuable, with several suggestions nice platform from which a young student piece with some fun, quirky syncopations.
for alternate fingerings that would not nec¬ can gain an introduction into playing the Articulations are marked in this collection
essarily work on the soprano clarinet. blues on the clarinet. There are separate at times very carefully, and at other times
The book is fully bilingual, with all text clarinet and piano parts, which are printed left out completely. For instance, a less-
appearing in both French and English on on thick-grade paper — excellent for mak¬ experienced player might interpret a series
every page. At times, this can be somewhat
visually confusing, but it does prevent the
need to publish separate French and English
editions. The cost-conscious may be fright¬ BRANNEN WOODWINDS
ened by the nearly $50 price tag, but The
Bass Clarinet is a unique and indispensable Expert Repairing Our Specialty
resource for any bass clarinetist interested Over 45 Years Experience
in true mastery of the instrument.
8:30-4:30 Tuesday, Thursday & Friday
by John Cipolla
908 Hinman Avenue
James Rae. Easy Blue Clarinet for clari¬ Evanston, IL 60202
net and piano. Universal Edition Ltd., (847) 866-7576
London, 2005, $17.90/£8.95. www.
musicroom.com
June 2009 65
of unarticulated eighth notes all tongued, by Alice Meyer each piece gives the track numbers spe¬
when they might be more convincingly cific to the piece and the number of clicks
played with a tie on every other eighth Jean-Francois Verdier. Cartes Postales, that occur before the piano begins in the
note-second note tied to the third, fourth 32 petites pieces originals et faciles, accompaniment track. This icon is located
tied to the first, etc. Playing these duos for Clarinet in B1, and Piano. Gerard in both the clarinet and piano parts.
with a more experienced player though, Cartes Postales would make a won¬
Billaudot (U.S. Agent, Theodore Press-
will alleviate many of these ambiguities. er), 2002, $35.95. derful supplement to a beginning method
A number of the duos have well-designed book. It gives the student the opportunity
fold-out pages to accommodate page turns Cartes Postales, or Post Cards, is a to play "solos" with the piano at the onset
in a performance. These duos are fun to book of 32 short pieces written for the be¬ of study. The opportunity for beginning
play and offer an excellent opportunity for ginning level clarinet student with piano students to learn ensemble and solo play¬
a more experienced player to demonstrate accompaniment. The pieces, which range ing right away is invaluable. The piano
jazz styles and rhythms by playing along from 1/3 to Vi page, are for a student who part can be played with minimal practice
with the student. has studied for several months. This book by someone who has had only intermedi¬
progresses and increases in difficulty in a ate study on the piano. The clarinet teacher
Mike Curtis. Eight More Original Jazz
manner similar to a method book. Each could accompany her or his own students
Duos for Clarinet and Bassoon. Man¬
piece in the book has a name, for ex¬ on a lesson to lesson basis, which is an ad¬
aged System Solutions, 220 Dartmouth
ample: Chewing Gum, Chicago, Tango, vantage. The pieces can be used for per¬
Fort Collins, CO 80525, USA, 1994,
Broadway and Buenos Aires. The titles of formance or study within the lesson.
$15.00.
the pieces are fitting for the music. The A table of contents is included in both
There are very few published jazz du¬ dance pieces and pieces named for coun¬ the clarinet and piano parts. The piano has
ets for clarinet and bassoon, and especially tries or cultures have the style of music page turns that may be problematic, and
ones that challenge the players with char¬ appropriate for the type of dance or mu¬ a page turner may be needed for perfor¬
acteristically idiomatic swing rhythms, as sic of the country —just what one would mance. The paper is of good quality and
this collection does so nicely. That's what expect. The first piece ranges from low the cover of the piano part is laminated.
makes this collection an excellent edition register A to throat tone B1', and includes The clarinet part is not laminated which
to have in a teaching studio or to be used throat tone G^ also notated as a''. Notes are may be a problem for a young student to
in advanced high school or college student both tongued and slurred, and accents and keep the music in decent condition.
performances. As with Curtis' Eight Orig¬ dynamics are included. Throughout the The one troubling thing about this book
inal Jazz Duos for 2 Clarinets (also re¬ book, major, minor, and modal pieces are is that it is in French. There are no trans¬
viewed in this issue), this collection marks offered in many different keys, along with lations, which is impractical for people
the articulations sporadically, which makes various time signatures and tempi. Both who do not read French. There are some
playing these duos in a characteristic jazz staccato and lyric pieces are included. The instructions in #29 for a note that has an
style a challenge for the student. But, as rhythmic level of difficulty progresses "x" through it. The composer has musical
with Curtis' Eight Original Jazz Duos for quickly; the advanced counting skill of intention for this note, but a student would
2 Clarinets collection, playing these with triplets and duplets seen next to each other not know what to do without a translation.
an experienced teacher will help the stu¬ occurs in #7, and syncopation in #19. The I realize that one is available simply on the
dent develop a good conception of the jazz upper register is not used until #24, where Internet, but the reality for a young stu¬
style. The titles of the compositions in this it is offered as an option. By the time the dent translating the language is not prob¬
book are: Try a Little Tenderloin, Corvalla, student reaches the end of the book, the able. All in all, this is a book that would
Coatzacoalcos, Uninsured, Salamander range from low register E through high be useful on many different levels, and I
Strut, Blues for Stella, Shoe Tree Shuffle register B1, has been used, and the student recommend it.
and Anacueya (for A.Q). These duos are has encountered many different rhythms
Jean-Pierre Labaste. 32 Etudes in Duet
nicely varied in rhythmic style — rang¬ progressing from simple to complex;
Form, for $ Clarinet. Gerard Billaudot
ing from a slow bluesy number, numerous chromatic pieces, crossing the break, and
(U.S. Agent, Theodore Presser), 2002,
medium to up-tempo swing numbers and melodies in major, minor, modal, and pen-
$22.95.
even includes a Latin number. At times, tatonic harmony have been played, and
the bassoon part plays the traditional role world music has been explored through 32 Etudes in Duet Form is a duet book
of the walking quarter note bass line. Gen¬ pieces that are appropriate to the country written for two clarinets. The one and two-
erally though, both parts play an equal of origin. For example: Danse hongroise page duets start at a beginning student level
role melodically, and have a good blend (Hungarian Dance) is in harmonic minor, and progressively get more difficult. Duet
between playing in rhythmic unison and and Berceuse de Chine (Lullaby of China) #1 begins with a five-note range, middle
playing off each other in a rhythmically loosely follows the pentatonic scale. C-G. There are quarter and half notes, and
complimentary fashion. This collection Included with this book is a CD. Track notes are both slurred and tongued. Dy¬
offers an opportunity for some less com¬ 1 is a tuning note. Beginning with track namics are included. The duets progres¬
mon recital programming —jazz bassoon 2, each piece is on the CD, first appearing sively get more difficult, adding different
and clarinet. Advanced players will have with clarinet and piano, then piano accom¬ time signatures, more rhythms, and more
lots of fun with this collection. paniment alone. A picture of a CD before musical vocabulary. By duet #10, the stu-
66 The Clarinet
dent is using more than a full octave on pressed to find works for this trio combi¬ much more user friendly. The A clarinet
the clarinet, more complex rhythms, more nation. The internationally acclaimed Ver- part is less practical, with up to six flats. I
varied dynamics, and the two parts are dehr Trio has championed the cause of ex¬ prefer the B' part, which makes the work
more independent from one another. Vo¬ panding this repertoire by commissioning relatively easy to play and much more idi¬
cabulary terms regarding tempo include both audience friendly music and experi¬ omatic because of the lighter tone colors
Lento, Andantino and Allegro. By duet mental pieces to our repertoire, including usually inherent to folk music.
#20, the student is using alternate finger¬ the third of these trios by Rick Sowash. Trio #2 for violin, A clarinet & piano:
ings, parallel major and minor keys, time Sowash, 59, describes his work as being American Variations on a Belo-Russian
signature changes within the duet, repeats, outside of the mainstream, shunning pub¬ Folksong: The Sun Already Shines, in one
and D.C. a I fine. As the student progresses lishers, bookstores and academia, refusing movement. Completed in 2005. Duration
to the end of the book, they have the op¬ even to name his alma mater, preferring 16 minutes. The work is intended as a
portunity to study going over the break not to "give any credit where credit's not metaphor for the two cultures (American
and have used the range of the instru¬ due." He earned a living in a number of and Russian), joining together after a for¬
ment from low register E to high register eclectic ways, such as storyteller, teacher, merly hostile relationship during the Cold
C. The musical vocabulary increases with arts administrator, radio broadcaster, War. The short and delicious little Russian
each duet, as does the dynamic vocabulary theater manager, county commissioner, tune gradually shifts into an American
and symbols, including a coda. The time innkeeper, writer, publisher, and church sound, climaxing in an all-out and fun rag¬
signatures include both simple and com¬ musician. He composed more than 200 time variation. At the last minute though,
pound meters. musical works, and he is gaining an en¬ Sowash returns to a multi-meter Russian
This duet book is not a method book. viable reputation in the U.S. and abroad, short statement as if to end the piece with
It does not introduce or explain the con¬ most particularly for his chamber music, a peace-making truce. The variations in¬
cepts as a method book would. However, some of which won acclaim at the Cannes clude Ballad, Tango, Sentimental Song,
it would compliment a beginning method Film Festival in 2003. Copland-like Nationalistic expression and
book very well. The duets range from be¬
Trio #] for violin, A clarinet and piano: a Ragtime finale.
ginner to intermediate level. Both the top
Sunny Days in four movements, composed Trio #3 for violin, B^ clarinet & piano:
and bottom parts are equally composed,
in 1994, rev. 1996; duration 20 minutes. Memories of Corsica, in three movements,
thus a student would be able to play both
This is Rick Sowash's best-selling piece composed in 2007 for the Verdehr Trio. So¬
parts. The teacher would begin this book
including clarinet, and for good reason. wash's visit to Corsica had a tremendous
when the student was comfortable with
Packed with toe-tapping exquisite themes impact on him, as he musically depicts the
C-G. The original language of this book
and rhythms throughout, it is a sure bet for country's harsh landscape, the blue Medi¬
is French; however, English translations
a successful concert program. Based on terranean and its pristine beaches, the lo¬
are included. The paper is of good quality
Belarusian folksongs (Republic of Belarus cal culture, and intense cuisine. The move¬
and the cover is laminated. There are no
sits between Lithuania and Ukraine), the ments are entitled Arid Heat, Aromatic
page turn issues.
Duets are an integral part of any instru¬ overall effect still sounds distinctly Amer¬ Breezes, and Ardent Souls. The Verdehr
ment study. They allow the student to hear ican, or as he puts it "somewhere between Trio premiered the work in November,
and imitate the teacher's sound, learn into¬ Gershwin and Copland." There is also 2008, at the Phillips Collection Concert
nation and ensemble. To have the use of a an available B'' clarinet part, which I find Series in Washington, D.C. The Wash-
duet book from the beginning of study is
an invaluable resource. When the student
is finished with this book, they would be at
an intermediate level sufficient to play the
Rubank Selected Duets. I like this book, and Send all articles, recital programs, orders for Send all recordings intended for review
back issues, announcements and any in The Clarinet to:
will be incorporating it into my teaching.
other non-commercial items intended for
publication in The Clarinet to: William Nichols, Audio Review Editor
by Michele Gingras
James Gillespie, Editor/Publisher 1033 Fawn Hollow
University of North Texas, College of Music Bossier City, Louisiana 71111
Rick Sowash. Three trios for violin, clari¬
1155 Union Circle #311367 E-mail: wrnichols@bellsouth.net
net and piano. No. 1: Sunny Days (Suite)
Denton, Texas 76203-5017
(1996); No. 2: American Variations on E-mail: editor@clarinet.org or
a Belorussian Folksong: "The Sun Al¬ jgillesp@music.unt.edu Send all inquiries about advertising, notices
ready Shines" (2005); No. 3; Memories of change of address, inquiries about I.C.A.
of Corsica (2007). www.sowash.com Send all printed materials (music, books, etc.) membership, missing issues, etc., to:
intended for review in The Clarinet to:
Here are three delightful trios for violin, So Rhee, Executive Director
clarinet and piano by a prolific Cincinnati Gregory Barrett, Editor of Reviews
School of Music, Northern Illinois University P.O. Box 1310
composer who, luckily for us has had a long
DeKalb, IL 60115, 815/753-8004 Lyons, Colorado 80540
and ongoing love affair with the clarinet.
E-mail: gregbarrett@niu.edu E-mail: execdirector@clarinet.org
A few decades ago, musicians were hard
June 2009 67
ington Post described the work as "...an tion despite Brahms' pleas for more time what survives. Luckily it includes the
engaging, colorful tone poem in the time- for proofreading. Grassi has examined all entire exposition of the first movement.
honored genre of musical travelogue.. .full the sources and used her expert knowledge Originally written for a basset clarinet
of exuberance and laughter." The Verdehr of Brahms' idiosyncratic hand-written no¬ in B'', the present edition for standard b''
Trio has exclusive performing rights to the tation to create a score and set of parts that clarinet includes a suggested version of 10
piece through the end of 2009. are as near to Brahms' final conception as measures that made extensive use of the
All three trios are relatively easy to possible. In addition to correcting a few basset notes. The original is given in small
play. My order of preference is #1, #2, #3 long-standing note errors and other errors type above the main staff.
(#1 being the most audience accessible made by Kupfer in preparing the first score The page layout in the parts was done
in style), however this order could easily from autograph, Grassi has taken special thoughtfully. Violin I's first movement in¬
be reversed depending on programming care for the correct placement of crescendo cludes a foldout page to ensure continuity.
needs and preferences. Either way, I am and diminuendo hairpins. What results is Preface and notes are in German, English
getting to work learning these pieces as the latest critical thinking by a Brahms and French.
soon as I send off this review. specialist in one of our greatest repertoire
pieces. Readability and page layout is done Giacomo Puccini. Chrysanthemums. Ar¬
by Gregory Barrett in a highly pleasing manner. ranged for woodwind quintet by Geof¬
frey Emerson. Emerson Edition, 2001,
Johannes Brahms. Clarinet Quintet in B Wolfgang Amadeus Mozart. Clarinet £8.50.
minor. Op. 115. G. Henle Verlag, 2000. Quintet in A major K.581 and Clarinet
Quintet Fragment in B' major K. Anh. Geoffrey Emerson's arrangement for
Study score and set of parts.
91(516c). G. Henle Verlag, 2005. Study woodwind quintet of Puccini's string quar¬
Brahms' indoctrination to chamber score $13.95, set of parts $25.95. tet allows clarinetists to partake in Puc¬
music with winds began in 1843 when cini's late romantic melody and harmony
as a 10-year-old pianist he joined col¬ This is a carefully prepared edition for outside of the opera pit. This five-and-a-
leagues of his father in a performance of the clarinetist using standard clarinets, not half minute piece was composed by Puc¬
Beethoven's Quintet for Piano and Winds. basset clarinets. Henrik Weise, the Henle cini in a single night following the sudden
Fast-forward to 1890. Brahms was enjoy¬ editor explains in his detailed preface that death of an Italian noble. The title refers to
ing his prominent artistic popularity and the autograph manuscript for the Clari¬ the traditional Italian flowers of mourning.
had declared his String Quintet in G ma¬ net Quintet in A major K.581 is lost. He The arrangement works well with the first
jor, Op. Ill to be his crowning and final therefore based this edition on the earli¬ violinist's melody shared among the up¬
composition. The next year Brahms heard est surviving commercial editions. They per woodwind voices. Excellent dynamic
clarinetist Richard Miihlfeld performing at date from 1802 and are by Artaria of Vi¬ control to balance the low register of the
the court in Meiningen. Miihlfeld's lovely enna and Andre of Offenbach. Whereas it flute and the middle register of the horn is
playing inspired Brahms to immediately is known that Mozart's composition was needed for a good performance.
begin simultaneous work on his Trio for for Anton Stadler's basset clarinet capable
Piano, Clarinet, and Cello in A minor, Op. of playing to low C, the Artaria and Andre by Larry Guy
114 and the Clarinet Quintet in B minor. editions were made for standard clarinet.
Op. 115 here at hand. Composition of both Obvious errors are corrected in the Wolfgang Amadeus Mozart. Serenade
works was completed quickly and private score and parts without comment. Weise for 13 Winds KV 361 (370a) "Gran
first performances were given in Meinin¬ explains the conflicting rationale for sev¬ PartitaG. Henle Edition
gen on November 24, 1891. Hand-written eral chromatically altered notes in the
parts were used, as they were also for the string parts in the first movement. He also This is a beautiful edition of one of
first public performances of the Quintet suggests a solution for the clarinet in m. the greatest masterpieces of chamber
in Berlin on December 12, 1891, and on 43 of the Trio II, replacing the Artaria and music in the history of Western civili¬
January 5, 1892, in Vienna. Andre non-original triplet with eighth zation. G. Henle, with headquarters in
Andrea Massimo Grassi, editor of notes low E and F. The final decision about Munich, is a publisher noted for rigor¬
this edition, has used as its basis several these details rests with the performers. ous research and excellent print qual¬
sources: the autograph score housed with Much slurred articulation found in other ity. One does not encounter errors or ty¬
the Gesellschaft der Musikfreunde in Vi¬ editions is here stripped away. pos in Henle editions, and the quality of
enna, the first copyist's (William Kupfer) As familiar as the Clarinet Quintet in paper is always high.
manuscript of the score, the first published A major K. 581 is, the Clarinet Quintet The editors were faced with a choice
edition (Simrock) and the first two editions Fragment in B>' major K. Anh. 91(516c) is as to which source material to use: the
of the separate parts (Simrock). Brahms' unknown. Mozart's autograph survives in autograph score or the first edition, pub¬
autograph is not considered his final ver¬ Paris, and from its paper type its date of lished 12 years after Mozart's death.
sion. During the period of the first perfor¬ composition is known to be close to that Since the first edition frequently con¬
mances he made numerous adjustments of K. 581. Only the first bifolium of the flicts with the autograph score in mat¬
to his music. Likewise, the first published manuscript is extant, though there is some ters of articulation and phrasing, and
edition is not considered definitive as Sim¬ speculation that the work was completed. since it is impossible to ascertain which
rock was hurrying the Quintet to publica¬ Henle has published all 93 measures of discrepancies might have originated with
68 The Clarinet
Mozart, Henle has chosen to base this D minor. The opening legato theme is his master's degree from Southern Illinois
Urtext Edition entirely on Mozart's auto¬ melancholy, reminding one a little of the University. His teachers include Stanley
graph score, with editorial additions en¬ bassoon solo at the beginning of Tchaik¬ Hasty, Frank Kowalski and Eric Mandat.
closed in parentheses. The Preface, writ¬ ovsky's Symphony No. 6. A middle section In this CD Mr. Osborn performs Mo¬
ten by editor Henrik Wiese, sheds light on contains more articulation and intensity, zart's Quintet for clarinet and strings in A
the probable date of composition, details and culminates with a cadenza marked major, K. 581 and the Quartet for clarinet
of the first performance, and the origin of rapido, ending on a high A fermata. Af¬ and strings #3 in F major, K. 496 (Op. 79).
the term "Gran Partita." ter a short pause the opening material is Mr. Osborn, an intelligent clarinetist and a
Of special interest to the performer is restated in the final 12 bars, with some natural Mozartean, plays with warm tone,
the use of articulation marks taken directly ornamentation. Mr. Opperman is quite flawless technique, and felicitous phrasing
from the autograph score. This edition specific with his dynamic markings and throughout the disc. The Ballard Quartet
incorporates Mozart's own distinctions requests for tempo rubato at various mo¬ is made up of string players who perform
between dots and strokes to indicate sep¬ ments. This solo can be played by a mod¬ with a number of organizations in the Se¬
arated notes. Mozart's articulation mark¬ erately advanced student, but has enough attle area, including the Seattle Symphony.
ings were inconsistent (probably due to musical interest to engage a professional This very fine, beautifully-matched group
having been written in haste), especially player. It is delightful to play and has a offers Mr. Osborn admirable support in
in the second trio from the first minuet striking personal character, affording the both pieces. Tempos are traditional for the
(movement II) and variation VI from the performer many opportunities for expres¬ most part, but wonderfully flexible.
sixth movement. The "strokes" or elon¬ sion. It would be especially effective as an The quartet is an arrangement of Mo¬
gated staccato marks (commonly known encore piece. zart's Trio for violin, cello, and piano in
as "carrots") may connote a bit of accent G major, K. 496. This arrangement was
with the separation, whereas the more CD Reviews first published by Johann Anton Andre in
commonly-encountered dots over notes 1799 as Op. 77, but no autograph exists.
do not. Although somewhat ambiguous at by Larry Guy
Currently, two editions are available: one,
times, certainly all performers will wel¬ published in 1985 by Edition Kunzelmann
come Mozart's own articulation.A perusal Sean Osborn Plays Mozart. Sean Os-
as the third of Three Quartets for Clarinet
of the parts reveals another welcome Henle born, clarinet; Ballard Quartet (Simon
and Strings, is edited by the German clari¬
feature: the organization of music so as to James and Michael Miropolsky, vio¬
netist Dieter Klocker; the other edition,
allow consistently easy page-turning. lins; Scott Ligocki, viola; Walter Gray,
from 1986 by Musica Rara, is edited by
This Henle version is the "must-have" cello. Mozart: Clarinet Quintet and
Himie Voxman.
edition for every serious performance of Clarinet Quartet No. 3. ALBANY RE¬
Herr Klocker, who reports in his fore¬
this great work. Although expensive, it is CORDS TROY 1033. Total time 55:18.
word that he discovered the three quartets
well worth the price, as it may be consid¬ www.albanyrecords.com
"in the estate of the late clarinetist Kurt
ered definitive. Rauschenbach of the State Theatre of
S f; AN O iU > t- V ' • ( ■ / \R i Braunschweig," thinks they were probably
Kalmen Opperman. Un Seul. Carl Fischer Quintvl tora.mncr ..nJ String itj A M.h.t k SM
Ou.««i un CKmiH-t FMuj.t.K 4*>aY- arranged by Mozart himself. Himie Voxman
Kalmen Opperman, who celebrated his on the other hand, states that this is "ex¬
89th birthday last December, is one of the tremely unlikely," noting that it would have
most respected teachers in the U.S. One been in Andre's best interest to publicize
of the few living players who studied with them as Mozart's arrangements of his own
the legendary Ralph McLane, Mr. Opper¬ works, but did not. Mr. Voxman also men¬
man is dedicated to passing on the invalu¬ tions a significantly altered (and uncharac¬
able French fundamentals to succeeding teristic) dynamic scheme from Mozart's
generations. original. Mr. Osborn, citing uncharacteris¬
Most players are familiar with his tic doublings in the strings, unconvincing
technique books: the four volumes of use of inner voices, and inconsistencies
Velocity Studies, the Modern Studies, in articulation, agrees with Mr. Voxman's
Books I and II, and his Handbook for assessment, as do many others who have
Making and Adjusting Single Reeds. Sean Osborn is a clarinetist who played performed the three quartets. Nevertheless,
Un Seul (French: alone) is written for un¬ for 11 years with the Metropolitan Opera the arrangements can make for delightful
accompanied b'' or bass clarinet and takes Orchestra. Since leaving the Met in 2000, listening, as does the third quartet in this
approximately five minutes to play. It is Mr. Osborne has relocated to Seattle, performance, which is distinguished by an
dedicated to Richard Stoltzman, one of where he has kept busy playing chamber excellent dynamic balance between instru¬
the outstanding soloists in the world, who music, teaching clarinet and chamber mu¬ ments and charming phrasing.
was a student of Mr. Opperman's. The sic at the University of Washington, giv¬ In the quintet, Mr. Osborn offers some
prevailing tempo is a free Adagio at about ing master classes, and composing. He is interpretative surprises to listeners famil¬
60 to the quarter note. It is very accessible a graduate of the Interlochen Arts Acad¬ iar with this great work: he states in the
melodically, with a perceived tonality of emy and the Curtis Institute, and received CD booklet that the musicians ornamented
June 2009 69
"where we saw fit." So in the "Larghetto," impressive recording, which was released Note should also be taken of the fine
at the end of the middle section, before in 2007, represents his debut as a leader. playing throughout of pianist/keyboard¬
the return of the main theme, he inserts Trained at the conservatories of both ist Origlio. An excellent soloist, he shows
a seven-note dominant-seventh arpeggio, Nice and Paris, Chausse is at home on bass himself to be a wonderful complement to
(a sort of "quasi-cadenza") followed by a clarinet, flute and alto saxophone as well the clarinetist.
four-second caesura. This pause sets off as the standard b'' instrument. He is heard In sum, I am pleased to be able to rec¬
the return, played pianissimo, effectively. on all of them on this CD, and his playing ommend this recording with considerable
Players who wish to embellish Mozart's reveals a technical mastery of each. enthusiasm. Stephane Chausse is clearly a
music but are uncertain as to how to do The musical program here is not the young man with a most promising future.
so can use this performance as a veritable standard jazz repertory. Rather, it consists Indeed, he surely must be ranked among
compendium from which to choose all of original material composed almost en¬ the jazz world's top young clarinetists. Yet,
sorts of changes, as Mr. Osborn lavishes tirely by the clarinetist himself. (The one as a talented multi-instrumentalist, he may
the printed part with passing tones, runs, exception is track #7 [Serenade...] by pia¬ eventually have to make a choice among
grupetti, and trills at numerous opportu¬ nist Alfio Origlio.) "When I'm composing his favorite instruments. If so, I hope he
nities (usually during the repeats of ma¬ I do everything on the piano," he says, opts for the clarinet.
terial), especially in the third and fourth "and I sing the music so that it always I look forward to his next recording.
movements. Nor are the embellishments stays melodic." Much of this music has an
confined to the clarinet; the first violinist international or ethnic spirit, a phenom¬ by Simone Weber
also initiates them at various points. enon that seems to be not uncommon in
This beautiful disc is highly recom¬ European jazz today. Clarimonia — en Suite (Evolution of the
mended to all clarinetists. Chausse grew up in Menton on the Clarinet and its Music). Clarimonia:
French Mediterranean coast, so it is not Bernhard Kosling, Ekkehard Sauer,
by Thomas Jacobsen surprising to hear echoes of coastal Medi¬ Jochen Seggelke, clarinets and basset
terranean music from Italy to the Balkans horn; and guest Joaqim Palet, hunt¬
Rue Longue. Stephane Chausse, clarinet/ and the Orient. As he says about walking ing horn. G. F. Handel: Overture in D;
demi-clarinet/bass clarinet/recorder/ down the main street of his hometown (re¬ Joseph Pranzer: Trio in C Major, Kon-
flutes/alto saxophone; Alfio Origlio, flected by his lovely title track), "you can radin Kreutzer: Trio-, Giuseppe di Blu-
breathe all the Italian and Oriental influ¬ menthal: Trio on Themes from Operas
piano/keyboard; Jerome Regard, bass;
ences that make up the history and identity of Abbe Vogler, Robert Stark: Trio in G
Stephane Huchard, drums; Joel Chausse,
of this Mediterranean town." His "Italian Minor, Op. 49. CAVALLI RECORDS
cornet (one track); Denis Benarrosh, per¬
Spirit" is a tarantella, while he weaves CCD 287. Total time 71:11. www.cav-
cussion (one track). S. Chausse: 5 temps
both Oriental and Celtic threads together alli-records.de or www.schwenk-und-
pour 3 coeurs, Italian Spirit, Running-
in the rather more exotic "Ethnocity." His seggelke.de
man, Rue longue, Ethnocity, Souvenir
d'Igor, A. Origlio: Serenade a Louloir, arrangement of the Origlio original brings
a feeling of the tango to the piece. Not sur¬ (iarimonia -
S. Chausse: Casse-tete, Ivresse, Auto- EVOLUTION D€R KLARNETTE UNDIHRER MUSK
root, Reminiscences. Total time 53:16. prisingly, then, unusual meters are often EVOLUTION OF THE CLARINET AND ITS MUSIC
NOCTURNE JAZZ NTCD432. www. encountered here as well.
nocturne.fr Chausse's technique is impressive, es¬
pecially on up-tempo pieces like "Casse-
tete," in which he is heard on bass clarinet
and alto saxophone as well as clarinet.
Given his multi-instrumental talents, this
piece also exemplifies the frequent use
of overdubbing (sometimes quite clever)
in the album — in this case, bass clarinet
over saxophone. It also reveals the clari¬
netist's taste for free improvisation, which
is heard on more than one track.
Chausse plays only clarinet on four en Suite is a recording for those who
tracks (2, 4, 6 and 9), and these are among sometimes wonder how music might have
my favorites from the album — not least, sounded centuries ago. Audio encyclope¬
his sensitive playing on the title track dia and delightful recording in one, it lets
and the introspective Ivresse. The for¬ the listener experience clarinet history in
mer brought to mind the recorded syn¬ a new way.
French clarinetist Stephane Chausse, 32, ergies of Frank Glover and keyboardist en Suite opens with a festive Baroque
appeared at ClarinetFest® 2008 and, while Claude Sifferlen. Elsewhere it is clear that overture by none other than Georg Friedrich
I missed it. all reports from those who Chausse has listened to a good bit of Ed¬ Handel, composed in 1744 for the then
heard him were extremely favorable. This die Daniels. popular combination of two clarinets and
70 The Clarinet
a como da caccia. The rather brilliant and gelke, Bernhard Kosling and Ekkehard
sonorous sound of the two-keyed Baroque Sauer, are joined by hornist Joaqim Palet
clarinets in D (after Jakob Denner) per¬ for this recording. It almost goes without
fectly matches the hunting horn and gives saying that the clarinets featured on this
this little overture a unique color. As hand- recording were made by Schwenk & Seg¬
stopping — a technique used to correct the gelke.
tuning of natural tones on the valveless As the title en Suite already suggests,
horn — was not yet developed at the time, this album is a successor to their debut re¬
this piece might sound very unusual to ears cording Divertissement released in 2007.
accustomed to equal temperament. It features works for three basset horns by
The earliest trio for two clarinets and Mozart, Stadler and contemporaries, per¬
basset horn represented on this recording formed on period instruments.
was written by little-known composer Jo¬ The booklet deserves a special men¬
seph Pranzer. His Trio No. 2 in C Major is tion, as it immediately impresses with
performed on Buhner & Keller clarinets in its appealing design and neat layout. The
C from around 1800 and a basset horn in F back depicts and describes each instru¬ Triofus was formed 13 years ago com¬
after Hammig Jr. from the same time. ment featured on this CD, and inside liner prised of clarinetist Robert Riseling, bas¬
Konradin Kreutzer, who had an affin¬ notes in German, English and Japanese soonist David Hayward and pianist Mark
ity for unusual ensemble combinations, are accompanied by illustrations of the Payne, and they are joined on this album
originally composed the trio included here various instrumental ensembles featured by flutist Anne Thompson. The repertoire
for two clarinets and viola. Replacing the on this recording. they present is a delightful mix of new
viola with a basset horn nevertheless pre¬ en Suite offers far more than the simple works for winds and piano by composers
serves its unique character. Written at a pleasure of listening to intriguing cham¬ Paul Carr, Madeleine Dring, Alan Torok,
later date than Pranzer's trio, Clarimonia ber music and good clarinet playing — it Ronald Royer and John Burge.
this time employs clarinets in B-flat after invites the listener on a journey through Divertimento by English composer Paul
Heinrich Grenser from around 1810. time to rediscover the roots of the clarinet Carr, who has written quite extensively for
Abbe Vogler's opera Herrmann von and delve into sounds of past centuries. As winds, opens the album. The outer move¬
Unna, in which a basset horn trio is used time machines are not available yet, this ments of this work are filled with an in¬
soloistically, inspired Giuseppe di Blu- recording is the closest we can get. tensely rhythmic and jazz influenced char¬
menthal to compose a trio for two clari¬ acter, and the middle movement exhibits
nets and basset horn. These charming little by Julianne Kirk beautiful lyrical passages for the clarinet
character pieces are based on themes from and bassoon. The work is delivered by
different Vogler operas. Morofus. Triofus: Robert Riseling, clari¬ Triofus with great energy and intensity. Of
Last on this recording comes Robert net; David Hayward, bassoon; Mark special note is the sensitivity to the lyrical
Stark's Trio in G Minor. Even though Stark Payne, piano; with guest Anne Thomp¬ lines in the second movement by Robert
is well-known as a pedagogue today, his son, flute. Paul Carr: Divertimento; Riseling and David Hayward while pianist
compositions rarely find the same respect Madeleine Dring: Trio\ Alan Torok: Mark Payne provides a wonderful palate
and enthusiasm as his clarinet methods. Four Panels from My Pasf, Ronald of support.
Clarimonia demonstrates that this late- Royer: In Memoriam Fryderyk Chopiir, In Trio by Madeleine Dring, the influ¬
Romantic piece has far more to offer than John Burge: Trio Breve No. I . TRIO¬ ence of her mentors Gordon Jacob and
credited, and constitutes an interesting FUS (no catalog number). Total time Ralph Vaughan Williams is clearly audible.
addition to the clarinet trio repertoire. On 64:18. www.triofus.com (also available The first movement shows hints of Poulenc
en Suite, Clarimonia performs this trio on as a download) in its rhythmic intricacies, multiple meter
B'' clarinets after Georg Ottensteiner (ca.
1870) and a modern basset horn by Sch-
wenk & Seggelke.
~where my craft meets your ari:~
Since its formation, Clarimonia is ded¬
icated to performing on original instru¬ Larry Naylor, NAPBIRT Master Clinician
ments and has given many workshops on in suburban Denver, CO USA — toll-free 877.761.4759
period clarinet playing throughout Europe.
On en Suite, the ensemble demonstrates a
thorough understanding of the music and Quality repairs and immersion restorations
repertoire and excellent mastery of period for the discriminating clarinetist
clarinets. The artists captivate with clear
phrasing and articulation, and success¬
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boxwood clarinets.
Clarimonia's members, Jochen Seg¬
June 2009 71
changes as well as harmonic colors. Titled masterfully performed works for piano in his life, that he has enjoyed performing
Dialogues, the second movement is a con¬ and winds. on many occasions, and he describes how
versation by clarinet and bassoon with the he came to know each of the works. It is
piano, each with flowing melodies in a by Steve Cohen a lovely personal touch that helps the lis¬
medieval style. The final movement is full tener to be drawn in before even beginning
of brilliant energy and character, referenc¬ Arlequin. Robert DiLutis, clarinet; Yin to listen to the CD.
ing the dialogues of the second movement Zheng, piano; Juliana Athayde, vio¬ Gerald Finzi's Five Bagatelles are fa¬
and the meter changes of the first. Triofus lin; Liana Koteva, violin; Marc Ander¬ miliar territory for most of us, and Mr. Di¬
performs this work with great excitement, son, viola; Kathleen Murphy Kemp, Lutis presents a charming and extremely
sparkling technical passages and sensitiv¬ cello. Gerald Finzi: Five Bagatelles; sensitive interpretation of these wonder¬
ity to the lyrical lines. Louis Cahuzac: Arlequin; Germaine fully characteristic English pieces. Musi¬
Four Panels from My Past by Alan Tailleferre: Arabesque; Angel Kotev: cally it is a beautiful performance in every
Torok for flute, clarinet and piano is an Piece for Clarinef, Andre Messager: way. Since it is often used as a piece for
autobiographical composition with each Morceau de Concours; Heinrich Suter- students, it can haplessly be relegated to
of the four movements signifying a dif¬ meister: Capriccio for Solo Clarinet, an unfortunate position in our repertoire.
ferent phase in the composer's youth. My Robert Schumann: Fantasy Pieces, Mr. DiLutis shows us the best of them and
Springtime evokes a joyful allegro char¬ Op. 73; Igor Stravinsky: Three Pieces it is extremely moving and a joy to hear.
acter. My Silly Prime is a charming and for Clarinet; Sergei Prokofiev: Over¬ Arlequin, one of the works of the great
spirited movement referred to by the com¬ ture on Hebrew Themes, Op. 34. THE Louis Cahuzac, is another familiar stan¬
poser as a "satire that pricks some of my REED MACHINE JJD002. Total time dard piece. Here we see another side of the
youthful pretentions." At Last... is given 60:47. www.CDBaby.com (search Di¬ personality of Mr. DiLutis as he presents a
the subtitle "Much ado about...nothing" Lutis) and www.thereedmachine.com rich and varied interpretation of this quix¬
and depicts conflict and resolution. Child¬ otic work. It is an energetic, exciting and
hood Forever opens with a familiar nurs¬ ARLEQUIN completely appropriate performance.
ery tune and depicts a youthful energy and Germaine Tailleferre's Arabesque may
optimism. Anne Thompson and Robert not be as familiar as the previous works on
Riseling display a beautiful blend of col¬ this CD. It is a delightful little piece with a
ors and sense of line throughout this work, hauntingly beautiful melody. Very simple
and again Mark Payne joins them with a and yet very engaging. Here, we see yet
brilliant canvas of characters and color. more evidence of the beauty of Mr. DiLu¬
In Memoriam Fryderyk Chopin by Ca¬ tis' great musicianship. Wonderful legato,
nadian composer Ronald Royer is based on lovely lines, beautiful sound all contribute
the Chopin piano Nocturne in e minor. Op. to making one want to go out and learn
72. This work is a reflection of the life, work this lovely work.
and death of Chopin and is a magnificently The Piece for Clarinet by Angel Kotev
passionate work. The work was originally ROBERT DLimS CLARINET is a new work written for Mr. DiLutis.
written for clarinet, cello and string orches¬ Mr. Kotev, the father of colleague. Liana
tra and was arranged for Triofus by Chris This new CD from Robert DiLutis is Koteva, wrote this piece for Mr. DiLutis
Meyer. It opens with a very free piano in¬ a collection of some of his favorite works in 2005. It is another relatively short work
troduction and cadenzas in both the clarinet as well as a new work written for him in written in a seemingly idiomatic style for
and bassoon, delivered with control, pas¬ the fall of 2005. Mr. DiLutis has been the the instrument and is very accessible. I
sion and sensitivity by Riseling and Hay- assistant principal and clarinetist with found it very enjoyable, and Mr. DiLutis
ward. The work builds and travels through the Rochester Philharmonic since 1996 shows the same musical commitment to it
many different moods but then returns to and teaches at the Eastman School of as he does to all the other varied works on
the character of the opening. Music. In the program notes for the CD, the disc.
Trio Breve No. 1 by John Burge is the Mr. DiLutis pays tribute to his musical Messager's Morceau de Concours (also
final work on the album and was com¬ inspirations with a touching collection of known as Solo de Concours) is another one
posed for Triofus in 2008. It is a theme photographs of various family members as of those wonderfully idiomatic French
and variations based on an organ fanfare. well as his teachers, William Blayney and contest pieces. Mr. DiLutis points out in
Throughout each variation, a hint of the David Weber. his program notes that this is one of his
following variation's motive is given. For me it is an interesting and eclectic favorite opening works for a recital. I have
Triofus executes this piece with fantastic program of some familiar, some less fa¬ a feeling this is a widely held belief, and
virtuosic playing in all parts. miliar and some new music. Mr. DiLutis all the excitement and lyricism that is note¬
Morofus is a brilliant collection of new tells us that the recording was made as the worthy about this piece is evident in ample
works for winds and piano performed by culmination of the 2007 Eastman Sum¬ amounts. It is an exciting performance.
four superbly talented musicians. This mer Session and the pieces were played Sutermeister's Capriccio for solo clari¬
album is a great addition to CD libraries in recital just afterwards. It is a represen¬ net in A is another charmer, but in a dif¬
of all who enjoy new well-conceived, and tation of works that have been important ferent style than the other solo pieces on
72 The Clarinet
the CD. The variety of articulation, the Lucien Barbarin, trombones; Tom Fis¬ Build A Dream On;" Anne Caldwell
dynamic contrast, the sensitive and highly cher, tenor sax; Tom McDermott, piano; & Vincent Youmans: "I Know That
lyrical sections all are brought into high Matt Perrine, bass and sousaphone; Hal You Know;" Dorothy Fields & Jimmy
relief by Mr. DiLutis. Smith, drums; with guests John Eubanks, McHugh: "I Must Have That Man;"
Schumann's Fantasy Pieces is yet an¬ rhythm guitar and Frankie Lynne, banjo. Tom Delaney: "Jazz Me Blues." MU¬
other example of the standard repertoire Original Dixieland Jazz Band: "Fidgety SIC MINUS ONE MMO 3252. Total
included on this CD. This interpretation Feet;" New Orleans Rhythm Kings: time 43:45 (disc A) and 68:37 (disc B).
is full of the lyricism and soulfulness nec¬ "Tin Roof Blues;"Clarence & Spencer www.musicminusone.com
essary to show why all clarinetists must Williams: "Royal Garden Blues;" Tim
know these pieces. Mr. DiLutis shows Laughlin: "Blue Orleans" and "Dumaine
great command of all the legato aspects Street Breakdown;" Edward 'Kid' Ory:
of playing and brings to these sensitive "Savoy Blues;" Tim Laughlin: "March
and meaningful works all the best of what of the Uncle Bubbys;" Eddie DeLang
makes them such masterpieces. & Louis Alter: "Do You Know What It
Probably the most familiar work on the Means to Miss New Orleans?;" Louis
CD, the Three Pieces by Stravinsky, in spite Armstrong: "Someday You'll Be Sorry;"
of its familiarity, present many challenges Sidney Bechet: "Quincy Street Romp."
to even the best players. Mr. DiLutis shows MUSIC MINUS ONE MMO 3254. To¬
great command of them in every sense. tal time 76:27 (disc A) and 78:10 (disc
From the quiet calm of the first movement B). www.musicminusone.com
to the wild and free second movement and
The Isle of Orleans. The New Orleans
through the final energetic third, there is
All-Stars: Tim Laughlin, clarinet; Con¬
never a misstep. It is a first-rate rendition of
nie Jones, cornet; Rick Trolsen and
this staple of the clarinet repertoire.
Lucien Barbarin, trombones; Tom Mc¬
Prokofiev's Overture on Hebrew
Dermott and John Royen, pianos; John
Themes, a wonderful and stylized work
Eubanks, rhythm guitar; Frankie Lynne
written for the Simeon Bellison group
and Neil Unterseher, banjos; Matt Per¬
Zimro, is one of our more "fun" pieces to
rine, bass and sousaphone; Hal Smith,
play. Not challenging in some of the more
drums; with guests Neil Unterseher
traditional ways, it is a piece that utilizes
and Phillip Manuel, vocals, and Jason
the ideas of Jewish folk songs in a way that
Marsalis, vibraphone. Tim Laughlin:
does challenge us to evoke those folk ele¬
"Magnolia Dance," "Restless Heart,"
ments as we play with some willing par¬
"Blues for Faz," "Suburban St. Pa¬
ticipants. Mr. DiLutis, it should be noted
rade," "It's My Love Song To You,"
here as well as everywhere on the CD,
"Gentilly Strut," "I Know I'll See You
has some very willing and able colleagues
Again," "Crescent City Moon," "The
helping him throughout. The string play¬
Isle of Orleans," "Monkey Hill." MU¬
ing is terrific and the piano collaborations
SIC MINUS ONE MMO 3253. Total
of Yin Zheng are memorable. Ms. Zheng's These three Music Minus One clari¬
time 74:46 (disc A) and 76:34 (disc B).
piano playing throughout is of the highest net editions are similar in many respects:
www.musicminusone.com
order and adds hugely to everything done they include a compact disc containing the
by Mr. DiLutis. It must be very gratifying The Condon Gang — The Chicago & complete performance of the pieces and
to have such wonderful colleagues with New York Jazz Scene. Hal Smith's a second disc containing a "play-along"
whom to share this music. Rhythmakers: Bobby Gordon, clari¬ version minus the clarinet. The music has
This CD is a welcome addition to the net; Chris Tyle, trumpet; Clint Baker, been transcribed clearly and accurately
list of CDs for clarinet. It is a combination trombone; Anita Thomas, tenor sax; for easy reading. The second CD also in¬
of well-known and unknown works with Ray Skjelbred, piano; Marty Eggers, cludes slower-tempo practice versions for
a personal touch and a personal story be¬ bass; Katie Cavera, guitar; Hal Smith, some of the more up-tempo pieces. This
hind each. This "family" affair is certainly drums. Earl Hines: "Monday Date;" provides a beneficial learning tool.
worthy of a good listen and shows all the Isham Jones & Gus Kahn: "The One New Orleans Classics and The Isle of
varied emotions and expressive elements I Love Belongs To Somebody Else;" Orleans feature clarinetist Tim Laughlin.
in great clarinet playing. Henry Creamer & Turner Lay ton: Tim was born and raised in New Orleans.
"Strut Miss Lizzie;" Spencer Williams: He has been strongly influenced by Pete
by Randy Salman "Georgia Grind;" Edwin B. Edwards, Fountain, but his style and sound are quite
D. James LaRocca, Henry Ragas, An¬ personal. Laughlin has been an impor¬
New Orleans Classics. The New Orleans thony Sbarbaro & Larry Shields: "Skel¬ tant part of the New Orleans jazz scene,
All-Stars: Tim Laughlin, clarinet; Con¬ eton Jangle;" Bert Kalmar, Harry Ruby including eight years with the Dukes of
nie Jones, cornet; Rick Trolsen and & Oscar Hammerstein II: "A Kiss To Dixieland. He is also active as a Yamaha
June 2009 73
performing artist, occasionally giving prefer working on tunes that are likely to able novice improvisers to participate
clinics at a variety of schools. The ensem¬ be played on the bandstand, I can appreci¬ more fully in the play-along version. I find
ble and solo playing on both recordings is ate Laughlin's desire to write new reper¬ it helpful that original melodies are often
first rate. The play-along CD provides the toire in this style. included for many of the improvised en¬
opportunity to participate as both soloist The Condon Gang features clarinetist semble passages. In addition to the fully
and ensemble musician. A concern for me Bobby Gordon, who studied with the great transposed and notated parts in B1', there
is that the clarinetist must listen to many jazz clarinetist Joe Marsala. (Gordon and are lead sheet sketches written in concert
solos on other instruments. Perhaps this is Marsala have been described as the great¬ key. This is very useful as professionals
due to alternate volumes that are designed est chalumeau clarinet players of their are often required to create arrangements
for trumpet, trombone, tenor sax, piano, time.) Joe's influence is clear, along with on the spot from concert key lead sheets.
bass and drums. That being said, it does acknowledged favorites Pee Wee Rus¬ I enjoyed listening to the original re¬
feel like you are a vital part of an authen¬ sell, Jimmie Noone, Frank Teschmacher cordings very much, but more importantly,
tic performance. The written ensemble and Benny Goodman. Important to note I found the play-along versions to be fun
passages are excellent; however, there are is the fact that Mr.Gordon has performed and challenging. I recommend these prod¬
many instances when solos and ensembles with legendary guitarist Eddie Condon ucts to those who enjoy listening to New
include chord symbols only. This works and a host of other well-known perform¬ Orleans music, as well as aspiring im¬
well for experienced improvisers, but it ers. Gordon currently lives in San Diego provisers and students who would like to
would have been nice to include written where he leads his own quartet and plays learn more about this important style.
chords and related scales for less experi¬ with various swing era veterans.
enced players. To some extent, Tim ad¬ From the 1920s to the 1950s, the great by Thomas Josenhans
dresses this problem in his original com¬ Eddie Condon and his band created a truly
positions by including the original melody individual style of traditional jazz. They Rhapsodic Fran^aise. Jonathan Cohler,
along with the chord symbols. began playing in Chicago before settling clarinet; Rasa Vitkauskaite, piano.
New Orleans Classics features many in New York. The music is similar to the
Camille Saint-Saens: Sonata in E-flat
of New Orleans' finest players performing New Orleans style, but contains a wider Major, Op. 167; Andre Messager: Solo
classic compositions by Louis Armstrong, variety of dynamics and several unique
de Concours; Charles-Marie Widor:
"Kid" Ory, Sidney Bechet, Clarence and rhythmic devices which are utilized on
Introduction et Rondo, Op. 72; Ernest
Spencer Williams, as well as groups: New this recording. Many of the compositions
Chausson: Andante et Allegro; Henri
Orleans Rhythm Kings and Original Dix¬ ("Skeleton Jangle," "Georgia Grind," "I
Rabaud: Solo de Concours, Op. 10;
ieland Jazz Band. Also included are two Must Have That Man" and "Strut Miss
Claude Debussy: Premiere Rhapso-
interesting originals by Tim Laughlin Lizzie") were recorded by Condon be¬
die; Eugene Bozza: Bucolique\ Louis
written in the classic New Orleans style. tween 1939 and 1944. Others ("Jazz Me
Cahuzac: Cantilene. ONGAKU RE¬
There is also a Dixieland standard, "Do Blues" and "I Know That You Know") ap¬
CORDS 024-121. Total time: 64:02.
You Know What It Means to Miss New peared on broadcasts in 1943 and 1944.
www.ongaku-records.com
Orleans?," which was written for the 1947 Pianist Earl Hines first recorded "Monday
film New Orleans. Date" in 1928. "The One I Love Belongs
The Isle of Orleans consists of 10 To Somebody Else" was an early hit while
originals by Laughlin. These composi¬ "A Kiss To build A Dream On" took much
tions show him to be an excellent com¬ longer to achieve popularity. Again, the
poser in the traditional New Orleans style. solo and ensemble playing is excellent.
(This recording was awarded first prize as As mentioned earlier, I would like to see
the Best Jazz Album created in Louisiana chords and related scales written out rather
in 2003 by Offbeat Magazine.) Although I than using symbols only. This would en¬
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Students...
Diane Pasch, clarinet, M.M. Recital, Pastorale Cevenole, Cahuzac; Dancing
Andrea Harrell, clarinet, M.M. Recital, University of North Texas, March 4, 2009. Solo, Larsen; Intrigues, Makris; Trio in A
University of North Texas, February 29, Sonata No. 2 in C Major, Wanhal; Five minor. Op. 114, Brahms
2009. Andante et Allegro, Chausson; Pieces for Clarinet Solo, Smith; Sonata Jessica Smith, clarinet, M.M. Recital,
Three Studies on Flight, Riepe; Sonata for for Clarinet and Piano, Guastavino; Fan¬ University of North Texas, February 28,
Clarinet and Piano, Bernstein; Overture tasy Trio, Op. 27, Muczynski 2009. Hillandale Waltzes, Babin; Cinco
on Hebrew Themes for Clarinet, Piano, Sam Ross, clarinet, M.M. Recital, Uni- Bocetos, Sierra; Sonatina for Clarinet and
Piano, Martin
SEAN OSBORN PLAYS MOZART
QUINTET K. 581 - QUARTET K. 496 Faculty and
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Mark Hollingsworth, clarinet. East Cen¬
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Rumanian Whirling Dance, Sclater; Time
Pieces, Muczynski; Trois Variations sur la
Romance Russe, Cavallini
***ALL SORTS*** Madeline LeBaron Johnson, clarinet,
of RARE and vintage winds, BALLARD QUARTET Snow College, February 23, 2009. Fan¬
Stnon jmes, noLn Scott L^ucki, vii>b
especially saxes, clarinets Michad MirofvMtT, violin Wahrr Gf*% 'celk>
tasy-Sonata, Ireland; Carnival of Venice,
& flutes.
New from Sean Osborn Jeanjean; Meditacio, Ruera; Sonata, Op.
New or fully restored in 128, Castelnuovo-Tedesco.
"...a supreme pleasure" Timothy Phillips, clarinet, Troy Univer¬
our own workshop. American Record Guide
sity, November 16, 2008. Dance Preludes,
Wichita Band Instrument Co. "Clarinet Magic" Lutoslawski; Two Nursery Rhymes, Bliss;
2525 East Douglas, Wichita, KS 67211 Gramophone Magazine A Touch of Tango, Vollrath; Four Portraits,
orders (800)835-3006 also available Musgrave; Sonata No. 2 in F-flat Major,
Info (316)684-0291 Rose 32 Etudes American Spirit Op. 120, Brahms; University of Alabama,
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E-Mail: wbic@wichitaband.com
Preludes, Lutoslawski; A Touch of Tango,
visit our web site: Vollrath; Concert Piece No. 2, Op. 114,
www.wichitaband.com Mendelssohn; Sonata No. 2 in F-flat Ma¬
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