Volume 33 Number 2

March 2006

Buffet
Crampons
180th
Anniversary
Concert
Volume 33, Number 2 March 2006

Features
ABOUT THE COVER BIOGRAPHIES OF CANDIDATES FOR I.C.A. OFFICERS ........................................................................28
Buffet Crampons 180th Anniversary
Concert, Paris, France, November 10, THE CLARINET TEACHING OF KEITH STEIN PART 14:
LEGATO PLAYING STYLE by David Pino ......................................................................................................30
2005. See related article on page 36.
A TRIBUTE TO JOSEF HORK by Henri Bok ................................................................................................34
(photo: Buffet Crampon)
IN MEMORIAM: A TRIBUTE TO DAVID WEBER by David Goodman ......................................................35

INDEX OF ADVERTISERS BUFFET CRAMPONS 180TH ANNIVERSARY CONCERT A Report by James Gillespie ...........................36

Alea Publishing & Recording....................................26
Alexanders Wind Instrument Center........................28
Ben Armato .................................................................7
Backun Musical Services.................Inside Back Cover
VANDOREN/BUFFET CLARINET CHOIR FESTIVAL IN ATLANTA CELEBRATES
MILESTONES AND MUSICIANSHIP by Christine A. Zimmerman ...................................................................38
THE INTERNATIONAL CLARINET ASSOCIATION CLARINETFEST 2005
TAMA, TOKYO, JAPAN, JULY 1724, 2005: IN REVIEW, PART II by Kelly Johnson and Alan E. Stanek ...40

Charles Bay ...............................................................22

Behn Mouthpieces International................................17
Belgian Clarinet Academy.........................................32
Kristin Bertrand Woodwind Repair...........................10
Brannen Woodwinds .................................................96
THE UNIVERSITY OF OKLAHOMA HOSTS ITS 30TH ANNUAL CLARINET SYMPOSIUM
A Report by Amanda McCandless ...............................................................................................................................50
INTERNATIONAL CLARINET ASSOCIATION ATLANTA CLARINETFEST 2006:
AUGUST 913 .....................................................................................................................................................54

Buffet Crampon USA, Inc...............Inside Front Cover

Carmine Campione ....................................................68
CASS .........................................................................19
Classified Advertising .................................................6
Cleveland Institute of Music......................................21
Crystal Records .........................................................94
The Davie Cane Company.........................................29
Domaine Forget Academy.........................................48
Expert Woodwind Service, Inc..................................34
J. DAddario Rico Reeds ......................................99
Last Resort Music......................................................19
Leblanc (Conn-Selmer) ...............................................4
Lisas Clarinet Shop ....................................................7
Luyben Music Co. .....................................................33
Muncy Winds ............................................................13
Naylors Custom Wind Repair ..................................48
New York University.................................................27
Olivieri Reeds ............................................................61
Ongaku Records, Inc. ..................................................5
Orsi & Weir ...............................................................97
Patricola Fratelli SNS ................................................39
Pomarico....................................................................64
GOING DUTCH A REPORT ON THE FIRST WORLD BASS CLARINET CONVENTION
by Daniel Harris .......................................................................................................................................................58
GERVASE DE PEYER IN HIS 80TH YEAR, PART II by John Robert Brown ...............................................62
AUTUMN FANCIES by Bonnie Glass .................................................................................................................65
BERNSTEIN AND THE CLARINET: STANLEY REMEMBERS LENNY, PART II by Amy Shapiro .......66
EARLY CLARINET PEDAGOGY FOR MODERN PERFORMERS, PART II:
INTONATION AND FINGERING by Luc Jackman ..........................................................................................70
TONY SCOTT, PART I: THE STATESIDE YEARS by Thomas W. Jacobsen.................................................72
THE MOVIES OF BENNY GOODMAN A PICTORIAL RETROSPECTIVE, TAKE 2
by James Gillespie ....................................................................................................................................................74
THE MOZART PARTITA PROJECT: FIRST EDITIONS OF PARTHIEN (HARMONIEMUSIK)
ATTRIBUTED TO MOZART THE OCTETS OF K. ANHANG C ........................................................78
AN EARLY PERFORMANCE OF MESSIAENS QUARTET FOR THE END OF TIME
by Albert R. Rice .......................................................................................................................................................82
HES GONE AWAY by Nigel Hinson ..............................................................................................................83

Departments
Bernard Portnoy.........................................................61
Quodlibet. Inc. .............................................................5
Rast Music ...............................................................100
RedwineJazz ......................................................41, 100 LETTERS...............................................................................................................................................................5
Reeds Australia..........................................................11
Roosevelt University .................................................93 TEACHING CLARINET by Michael Webster .......................................................................................................8
L. Rossi......................................................................49
Sayre Woodwinds......................................................42
AUDIO NOTES by William Nichols ......................................................................................................................14
Selmer Paris (Conn-Selmer) .........Outside Back Cover CONFERENCES & WORKSHOPS.................................................................................................................18
SHALL-u-mo Publications........................................15
Tap Music Sales ........................................................81 HISTORICALLY SPEAKING by Deborah Check Reeves...............................................................................20
U.S. Army....................................................................2
University of Denver Lamont School of Music ..........6
LETTER FROM THE U.K. by Paul Harris .......................................................................................................22
University of Oklahoma Clarinet Symposium ..........23 INDUSTRY PROFILES The New Word is Claripatch by Paul Globus .................................................24
University of Redlands ..............................................39
Van Cott Information Services ..................................64 REVIEWS ...........................................................................................................................................................84
Vandoren ...................................................................52
Wichita Band Instrument Co. ......................................9
RECITALS AND CONCERTS .........................................................................................................................96
Woodwindiana, Inc....................................................10 UPDATE FROM THE BOARD OF DIRECTORS ........................................................................................98
Working the Single Reed: A Tutorial........................50
Yamaha Corporation of America ..............................51 INTERNATIONAL CLARINET ASSOCIATION STATEMENT OF CREDITS
AND DEBITS Submitted by Diane Barger, I.C.A. Treasurer ...................................................................................100

March 2006 Page 1

 INTERNATIONAL CLARINET ASSOCIATION
Acting President: Lee Livengood, 490 Northmont Way, Salt Lake City, UT 84103, E-mail: <president@clarinet.org> Korea: Im Soo Lee, Hanshin 2nd Apt., 108-302, Chamwondong Suhchoku, Seoul, Korea. (02) 533-6952 (phone),
Past President: Robert Walzel, School of Music, University of Utah, 204 David P. Gardner Hall, 1375 East Presidents (02) 3476-6952 (fax), E-mail: <ImsLee@chollian.net>
Circle, Salt Lake City, UT 84112-0030, 801/273-0805 (home), 801/581-6765 (office), 801/581-5683 (fax), E-mail: Luxembourg: Marcel Lallemang, 11 Rue Michelshof, L-6251 Scheidgen, Luxembourg, E-mail: <mlallema@pt.lu>
<Robert.Walzel@music.utah.edu> Mexico: Luis Humberto Ramos, Calz. Guadalupe I. Ramire No. 505-401 Col. San Bernadino, Xochimilco, Mexico D.F.,
Secretary: Kristina Belisle, School of Music, University of Akron, Akron, OH 44325-1002, 330/972-8404 (office), 16030. 6768709 (fax), E-mail: <luishumbertoramos@prodigy.net.mx>
330/972-6409 (fax), E-mail: <secretary@clarinet.org> Netherlands: Nancy Wierdsma-Braithwaite, Arie van de Heuvelstraat 10, 3981 CV, Bunnik, Netherlands, E-mail:
Treasurer: Diane Barger, School of Music, University of NebraskaLincoln, 120 Westbook Music Building, Lincoln, NE <oane.nancy@wolmail.nl>
68588-0100, 402/472-0582 (office), 402/472-8962 (fax), E-mail: <dbarger1@unl.edu> New Zealand: Andrew Uren, 26 Appleyard Crescent, Meadowbank, Auckland 5, New Zealand,
Executive Director: So Rhee, P.O. Box 510650, Salt Lake City, UT 84151, 801/867-4336 (phone), 212/457-6124 (fax), 64 9 521 2663 (phone and fax).
E-mail: <execdirector@clarinet.org> Norway: Hkon Stdle, Fogd Dreyersgt. 21, 9008 Troms, Norway 47/77 68 63 76 (home phone), 47/77 66 05 51 (phone,
Editor/Publisher: James Gillespie, College of Music, University of North Texas, P.O. Box 311367, Denton, TX 76203-1367, Troms College), 47/77 61 88 99 (fax, Troms College), E-mail: <hakon.stodle@hitos.no>
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Editorial Associates: Lee Gibson, 1226 Kendolph, Denton, TX 76205; Himie Voxman, 821 N. Linn, Iowa City, IA 52245 Haidian District, Beijing, Peoples Republic of China, 86/10-6893-3290 (phone)
Contributing Editor: Joan Porter, 400 West 43rd, Apt. 41L, New York, NY 10036 Peru: Ruben Valenzuela Alejo, Av. Alejandro Bertello 1092, Lima, Peru 01, 564-0350 or 564-0360 (phone),
Editorial Staff: Joseph Messenger (Editor of Reviews), Department of Music, Iowa State University, Ames, IA 50011, (51-1) 564-4123 (fax), E-mail: <cljrp@qnet.com.pe>
515/294-3143, E-mail: <jmesseng@iastate.edu>; William Nichols (Audio Review Editor), School of Music, Poland: Krzysztof Klima, os. Wysokie 10/28, 31-819 Krakow, Poland. 48 12 648 08 82 (phone), 48 12 648 08 82 (fax),
University of Louisiana at Monroe, Monroe, LA 71209-0250, 318/342-1576 (office), 318/342-1599 (fax), E-mail: <kklima@kompit.com.pl>
E-mail: <wnichols@ulm.edu>; Tsuneya Hirai, 11-9 Oidecho, Nishinomiya, 662-0036 Japan; Kalmen Opperman, Portugal: Antnio Saiote, Rua 66, N. 125, 2 Dto., 4500 Espinho, Portugal, 351-2-731 0389 (phone)
17 West 67th Street, #1 D/S, New York, NY 10023; Heston L. Wilson, M.D., 1155 Akron Street, San Diego, CA 92106, Slovenia: Jurij Jenko, C. Na Svetje 56 A, 61215 Medvode, Slovenia. Phone 386 61 612 477
E-mail: <hestonwilson@sbcglobal.net>; Michael Webster, Shepherd School of Music, Rice University, P.O. Box 1892, South Africa: Edouard L. Miasnikov, P.O. Box 249, Auckland Park, 2006, Johannesburg, South Africa,
Houston, TX 77251-1892, 713/838-0420 (home), 713/838-0078 (fax), E-mail: <mwebster@rice.edu>; Bruce Creditor, (011) 476-6652 (phone/fax)
11 Fisher Road, Sharon, MA 02067, E-mail: <bcreditor@bso.org>; Thomas W. Jacobsen, 3970 Laurel Street, Spain: vacant
New Orleans, LA 70115, E-mail: <twj@mailhost.tcs.tulane.edu>; Ronald Odrich, D.D.S., 4710 Livingston Avenue, Sweden: Kjell-Inge Stevensson, Erikssund, S-193 00 Sigtuna, Sweden
Bronx, NY 10471, 718/796-5080 (phone), E-mail: <parkaveperio@earthlink.net>; Deborah Check Reeves, Switzerland: Andreas Ramseier, Alter Markt 6, CH-3400 Burgdorf, Switzerland
Curator of Education, National Music Museum, University of South Dakota, 414 E. Clark St., Vermillion, SD 57069; Taiwan: Chien-Ming, 3F, 33, Lane 120, Hsin-Min Street, Tamsui, Taipei, Taiwan 25103
phone: 605/ 677-5306; fax: 605/677-6995; Museum Web site: <http://www.usd.edu/smm>; Personal Web site: Thailand: Peter Goldberg, 105/7 Soi Suparat, Paholyotin 14, Phyathai, Bangkok 10400 Thailand
<http://www.usd.edu/~dreeves>; Paul Harris, 15, Mallard Drive, Buckingham, Bucks. MK18 1GJ, U.K.;
662/616-8332 (phone) or 662/271-4256 (fax), E-mail: <pginter@loxinfo.co.th>
E-mail: <paulharris@dsl.pipex.com>; Diana Cassar-Uhl, 26 Rose Hill Park, Cornwall, NY 12518
Uruguay: Horst G. Prentki, Jos Mart 3292 / 701, Montevideo, Uruguay 11300, 00598-2-709 32 01 (phone)
I.C.A. Research Center: SCPA, Performing Arts Library, University of Maryland, 2511 Clarice Smith Performing
Venezuela: Victor Salamanques, Calle Bonpland, Res. Los Arboles, Torrec Apt. C-14D, Colinas de Bello Yonte Caracas
Arts Center, College Park, MD 20742-1630
Research Coordinator and Library Liaison: Keith Koons, Music Department, University of Central Florida, 1050, Venezuela, E-mail: <salamanques1@cantv.net>
P.O. Box 161354, Orlando, FL 32816-1354, 407/823-5116 (phone), E-mail: <kkoons@pegasus.cc.ucf.edu>
Webmaster: Kevin Jocius, Headed North, Inc. Web Design, 847/742-4730 (phone), <http://www.headednorth.com>
HONORARY MEMBERS
Historian: Alan Stanek, 1352 East Lewis Street, Pocatello, ID 83201-4865, 208/232-1338 (phone), 208/282-4884 (fax), Betty Brockett (19362003) Mitchell Lurie, Los Angeles, California
E-mail:<stanalan@isu.edu> Jack Brymer (19152003) Alfred Prinz, Bloomington, Indiana
Guy Deplus, Paris, France Harry Rubin, York, Pennsylvania
International Liaisons: Stanley Drucker, New York, New York James Sauers (19211988)
Australasia: Floyd Williams, 27 Airlie Rd, Pullenvale, Qld, Australia, (61)7 3374 2392 (phone), E-mail <f.williams@griffith. F. Gerard Errante, Norfolk, Virginia William O. Smith, Seattle, Washington
edu.au> Lee Gibson, Denton, Texas Ralph Strouf (19262002)
Europe/Mediterranean: Guido Six, Artanstraat 3, BE-8670 Oostduinkerke, Belgium, (32) 58 52 33 94 (home), (32) 59 70 70 James Gillespie, Denton, Texas Himie Voxman, Iowa City, Iowa
08 (office), (32) 58 51 02 94 (home fax), (32) 59 51 82 19 (office fax), E-mail: <guido.six@sixbros.com> Paul Harvey, Twickenham, Middlesex, U.K. George Waln (19041999)
North America: Luan Mueller, 275 Old Camp Church Road, Carrollton, GA 30117, 678/796-2414 (cell), E-mail: <luanclarinet Stanley Hasty, Rochester, New York David Weber (1914-2006)
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South America: Marino Calva, Ejido Xalpa # 30 Col. Culhuacan, Mexico D.F. 04420 Coyoacan, (55) 56 95 42 10 Karl Leister, Berlin, Germany

Commercial Advertising / General Advertising Rates

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THE INTERNATIONAL CLARINET ASSOCIATION

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mail: <jpncs1979@angel.ne.jp> Views expressed by the writers and reviewers in The Clarinet are not necessarily those of the staff of the journal or of the International Clarinet Association

March 2006 Page 3

 (Letters intended for publication in The
Clarinet should be addressed to James
Gillespie, Editor, Letters, The Clarinet,
College of Music, University of North
Texas, Denton, Texas 76203-1367 or via
e-mail: <jgillesp@music.cmm.unt.edu>.
Letters may be edited for purposes of clar-
I
ity and space.)
*****
Dear Mr. Gillespie,
t gives me a great pleasure to answer
questions raised by Mr. Kavadlo in
his review of my CD, Pearls & Yarn,
Milan Milosevic Trio, Summit Records
Inc. (The Clarinet, Vol. 32, No. 4, Sep-
tember 2005).
Mr. Kavadlo questioned the use of sax-
ophone in the piece named My Aching
Heart, stating that sound of instruments
resemble more closely the use of two clar-
inets on that recording. In fact, I heard no
saxophone anywhere on the CD.
I am quite proud to confirm that alto
saxophone was used to double clarinet
throughout the entire piece (Pearls &
Yarn, CD Summit Records Inc., title No.
1: My Aching Heart). On the other hand,
Mr. Kavadlos remarks are quite logical
considering the use of extended playing
technique that resembles more that of bass
clarinet performance than traditional saxo-
phone embouchure. This resulted in pro-
ducing the warmer and significantly more
mellow timbre on the saxophone, resem-
bling quite closely clarinet-like warmness.
Bozidar Boki Milosevic, the composer
of most of the tunes on the CD recording,
is, in fact, my father. Please note that this
fact has been purposefully omitted in the
program notes since, in my opinion, that
fact is not crucial, and besides, the same
last name can easily guide an audience to
draw their own conclusion, without point-
ing out the obvious.
Tonguing/trill technique is very unique
and originally designed to extend and
enhance the characteristics of performance
throughout the Pearls & Yarn project. It is
the combination of double/triple tonguing
March 2006 Page 5
used in a classical way, combined with
patched double trills and mordents used to
positively reinforce that effect. Also, there
is a third factor: super-charged trills used
throughout the entire range of the clarinet
that artificially enhances the sensation of
super-fast triple tonguing. This playing
technique is produced by slapping the
second and third right-hand upper keys
with a right-hand index finger in extremely
fast, yet gentle fashion, at the same time
avoiding faulty harmonics on any given
note where this particular technique has
been applied. When combined with the
aforementioned two techniques, it blends
into the whole recipe for the ethno-clas-
sical style of my performance. It is the
product of my long-time research, used
mostly in contemporary classical composi-
tions, some of which are dedicated to and
commissioned by me. This time, Ive tried
to diversify and expand this invention, thus
producing the eclectic presentation on the
edge of folk and boundary of classical aes-
thetical values.
These particular risks taken in effort
to create this ethno-classical genre would

classified advertising
be perceived harshly in the countries
from where these music counterparts or-
iginate (on both sides of the same artistic
spectrum) considering the culture and
age-old customs that define aesthetics
and styles more rigidly, as opposed to
All ads submitted for The Clarinet should be: 1. Typewritten, double-spaced; 2. As concisely
North American openness, which open-
worded as possible; 3. Non-commercial in nature and limited to the sale and trade of personally
owned instruments, music, accessories, etc.; 4. Submitted to the Editor by the advertising dead-
heartedly welcomed my interest in ethnic
lines listed on page 3. Placed by members of the I.C.A. only. Each ad will run only one issue
roots of the Balkans.
unless the Editor is otherwise advised.
Thank you very much for your interest
and patience of the members of the In-
INSTRUMENTS FOR SALE: Buffet R-13, A and B, 19 keys/7 rings. Outstanding tone, intonation ternational Clarinet Association in read-
and condition. Used by now-retired professional symphony clarinetist and college teacher. Ac- ing my response. I am deeply honored by
cessories included: four extra barrels (two for each clarinet), customized double and triple cases with Mr. Kavadlos remarks and would like to
covers. Accessories also available: mouthpieces, reed tools, clarinet stands, etc.; and my library of
extend my deepest gratitude for his review.
several books, and much music, solos, ensembles, orchestral excerpts, some 1st clarinet parts, method
and etude books, in addition to four antique clarinets (approximately 100 years old). Also sax mouth- Best & warm regards,
pieces: altoSelmer metal C* (1960); and tenormetal Otto Link (1950+/), and flute, oboe and bas- Milan Milosevic
soon music. For full description and prices, please contact Armand Abramson <parmandpa@
aol.com> (verizon.net as of May?) or phone 609.947.4379. E-mail: <milan@milanmilosevictrio.
com>; <www.milanmilosevictrio.com>

Page 6 THE CLARINET

March 2006 Page 7
 from the immense repertoire of the Ba-
roque, something I wasnt really consider-
ing at the age of 10. But now I rue the lack
of Baroque repertoire for clarinet, and in
particular the music of J.S. Bach.
It was around the time that the allure of
the clarinet enticed me that the Bach Ge-
sellschaft arrived at our home: 47 over-
sized, hardcover volumes taking up six feet
of shelf space in the customized book case
that came with it. The librarian in me took
great delight arranging the heavy volumes
in chronological order in their special case,
but the budding musician had no concept
of the astonishing legacy he held in his
by Michael Webster young hands. With a prolificacy rivaled
only by Mozart and Schubert, Bach left us
an oeuvre of such quality and quantity
that it boggles the mind.
That Bach didnt write for clarinet has
not dissuaded clarinetists from playing his
music for recreation or as etudes. Bach
was also a great teacher and his music is
unsurpassed for pedagogical use. So it
comes as no surprise that my search for
musical examples of obvious and effective
use of seventh chords led to Bach, Bach
and Bach. For this article, I have selected
only three of many possibilities, but first
we need to investigate the sound and func-
tion of various seventh chords.
In my article, Living in Harmony
(The Clarinet, Vol. 30, No. 2, March 2003),
triads were identified, defined, and prac-
ticed. If a triad is defined as three notes
stacked in thirds, then a seventh chord is
Michael Webster
four notes stacked in thirds and so named
because the fourth note is the interval of a
seventh above the root. Seventh chords are
further identified by the type of triad and
the type of seventh. A major triad plus a
major seventh (such as C-E-G-B) is called
a major seventh chord; a major triad plus a
minor seventh (such as C-E-G-B) is called
a major minor seventh chord; a minor triad
plus a minor seventh (such as C-E-G-B)
is called a minor seventh chord; a dimin-
ished triad plus a minor seventh (such as
C-E-G-B) is called a diminished minor
seventh chord; and a diminished triad plus
a diminished seventh (such as C -E-G-B)
is called a diminished seventh chord.
Each of the five varieties of seventh
chord has a distinctive sound that can be
identified by someone with a trained ear.
Aural identification is an important part of
teaching seventh chords to students. In so
doing, it is important to distinguish between
the sound of a chord and its function in a
tonality. For example, the word domi-
nant is defined as the fifth scale step of a
major or minor scale and the seventh chord
built on the fifth scale step is the domi-
nant seventh chord. Because it happens to
be a major minor seventh chord and is so
pervasive in our tonal language, many peo-
ple make the mistake of calling every ma-
jor minor seventh chord a dominant sev-
enth. Remember, major minor seventh is
the sound of the chord; dominant seventh
is the function of that chord on the fifth
scale step of major and minor keys.
In Example 1A, there are two major
minor seventh chords.

SEVENTH HEAVEN
Thirty-second in a series of articles us-
ing excerpts from a clarinet method in pro-

I
gress by the Professor of Clarinet at Rice
Universitys Shepherd School of Music.

have never regretted my decision to

play the clarinet. It wasnt a decision,
actually; I think the clarinet chose me
more than I chose it. Like Lorelei, the clar-
inet captivated me with intimate vibrations
that excited my eardrums from inside as
well as outside. At the age of 10 I was
hooked, and not even the awesome, prodi-
gious repertoire of the piano could lure me
in the direction of my other piano-playing
family members.
But every rose has a thorn. Playing clar-
inet excluded me not only from the im-
mense repertoire for the piano, but also
The passage is in C major. The second chord is a II7 with a raised fourth scale step (F )
resolving directly to a V7 and back to the tonic. Many theory systems use the term sec-
ondary dominant and describe this chord as the dominant of the dominant. But it is not a
true dominant because it is built on the second scale step, not the fifth. In order to be a domi-
nant seventh, it would have to be built on fifth scale step in G major, as in Example 1B.
I like one aspect of the Allen Irvine McHose theory system (taught when dinosaurs
roamed the halls of the Eastman School!): the grouping of chords in classifications depend-
ing upon how they are likely to resolve in normal chord progression. Chords that tend to
resolve directly to the tonic (e.g. V, V7, VII, VII7) are called first classification; those that
tend to resolve to first classification (e.g. II, II7, IV, IV7) are called second classification,

Page 8 THE CLARINET

and so on. This allows an easy analysis of
secondary dominants by naming the origi-
nal scale step and its chromatic alteration
(e.g. I77 or VI71). But this manner of nam-
ing secondary dominants has fallen out of
favor, and one is now likely to see the II7 4
described as V7 of V.
An early indoctrination in tonal think-
ing that I havent actually mentioned in a
previous article is contained in Example 2.
The three versions show how V, VII and
V7 sound very similar and all function as
first classification chords leading directly
to I (the tonic).
Example 3 reviews the transposition
procedure for all of the examples that fol-
low. Supply the following key signatures
to line 3A to achieve the first four varieties
of seventh chord: 4 sharps = EM7, 3 sharps
= EMm7, 1 sharp = Em7, 1 flat = Edm7.
Diminished seventh chords are addressed
in Example 14.

Transpose 3A up to achieve the same

four seventh chords with roots on F, F ,
and G. Use 3B for G, G , and A: Use 3C
for A, B and B: use 3D only for Adm7
because it has E. This requires high G for
the first time, and the best fingering to use
is LH index finger with RH fork and E
key. The fork is prepared the same as it
was for F , by curving the finger close to
the rod so that it doesnt hit the rings when
they rise upon leaving E . This is an
Do not neglect the VII chord! How often have you or your students mistakenly turned a overblown B, so voicing of the tongue
VII chord into a V7 because the fingers, with a mind of their own, automatically fell into the and throat is required but it is surprisingly
V7, which has been drilled to the detriment of the poor, neglected VII triad? The routine in easy because the feel is so similar to F#,
Example 2 will help prevent that problem, and should, of course, be done in all major and which the student has already mastered.
minor keys. Use Example 3E for CM7, CMm7, C , D,
The advanced intermediate student is now ready to learn all of the seventh chords in a D, and E (another high G required). Ex-
three-octave range. The following exercises use the same procedures described in Beyond ample 3F is for Cm7 and Cdm7 because
Baermann (The Clarinet, Vol. 32, No. 2, March 2005), Mining for Minors (June 2005),
they have E.
Promise Her Anything but Give Her Arpeggios (Sept. 2005), and Etuduets (Dec. 2005).
In order to cover a lot of ground in this article, I will keep explanations at a minimum and
ask you to consult the previous articles for details.

March 2006 Page 9

 Without exception, all of these arpeggio
exercises are in multiples of 12 notes, so
they can all be grouped in threes and fours,
an important characteristic that adds vari-
ety and helps equalize finger action. As
always, slur first and then add the varied
Page 10 THE CLARINET
rhythms and articulations given in Beyond
Baermann (March 2005). The remaining
examples give patterns only on E. Imagine
the same transposition procedure as in
Example 3 so that the four varieties of sev-
enth chord are practiced in all tonalities.
March 2006 Page 11

The diminished seventh chord gets spe-
cial treatment because it doesnt exist in
any diatonic key and therefore requires at
least one accidental. I have chosen to pre-
sent it in Example 14 in its most common
form, as a VII7 7 (with the 7th scale step
raised) in minor keys. In each of the 12
staves, the key signature is given and the
diminished seventh chord is spelled as it
would be for that minor key. Like the aug-
mented triad, the diminished seventh chord
is symmetrical: all of the intervals are the
same when spelled enharmonically.
Among the minor thirds there will always
be one augmented second, which can ap-
pear in four different locations. So if you
compare 14A, D, G and J the sound of the
chord is the same, but the function is dif-
ferent. 14A functions as a VII7 7 in F mi-
nor, 14D in G minor, 14G in B minor and
14J in D minor. It is important to become
fluent reading all four spellings of each di-
minished seventh chord.
Have the student sit at a piano keyboard
and plunk out the first four notes of 14A,
B, and C, noticing how they interlock to
form a complete chromatic scale. In sound,
there are only three diminished seventh
chords, but in function each one has four
possibilities, depending upon how it is
spelled. Composers love the diminished
seventh chord because its symmetry cre-
ates drama. Where will it take us? Like the
summer hiatus of Desperate Housewives,
there will be a three-month interval before
Page 12
this cliffhanger can be resolved! Seventh
Heaven will return in June.
WEBSTERS WEB
Daniel Bonade
The Source
Houston being the fourth largest city in
the U.S. gives the Shepherd School of
Music many opportunities to have guest
artists. In November and December, for
example, we were treated to presentations
by Todd Palmer, Laura Carmichael (a fine
American clarinetist who lives in the Ne-
therlands and specializes in contemporary
music for bass clarinet), and Larry Guy,
who is known for his excellent handbooks
on reed adjustment, embouchure. intona-
tion, and Daniel Bonade.
Since enjoying Larrys talk about Bon-
ade, Ive been perusing his Daniel Bonade
Workbook. It reminds me that pedagogy is
continuous, as concepts are digested, fil-
tered, and refined through generation after
generation. Many ideas that we think of as
being original are not, really. We bring our
own personalities to them, but the debt that
we owe our forebears is immense.
In compiling The Legacy of Daniel
Bonade, a wonderful compendium of ex-
cerpts of Bonades orchestral career (Bos-
ton Records #BR1048CD), Larry made the
wise choice of beginning with an excerpt
played by Bonades teacher, Henri Le-
THE CLARINET
febvre. Youll never hear smoother, more
perfect finger work! Recorded history
doesnt go back much further than that, but
Ill bet that if we had recordings of Mhl-
feld, Baermann and Stadler, we would
realize that excellence knows no bound-
aries in time, and that each generation has
benefited from, in fact required, the ac-
complishments of the previous generation.
Bonade was called The Source by his
students, and nobody deserved that acco-
lade more than he, but he had his own
sources, who had their sources reaching
back to the first time that J.C. Denner put a
register key on a chalumeau. The unique
contribution of Bonade was to be in the
United States at a time when local sources
were skimpy and to share his astounding
mastery of the clarinet and inventive peda-
gogical approaches with a thirsty but rela-
tively young musical culture.
Almost every clarinetist in the U.S. has
some debt to pay Daniel Bonade, and I
find in reading the workbook that some of
the refinements I have added to concepts
of my teachers are actually identical to
Bonades concepts. Whether I absorbed
them unconsciously from my teachers or
came upon them independently is impossi-
ble to say. But when each of us has a truly
original thought, meaning that we come to
it on our own, the chances are that some-
one else has already had that thought. I
once attended a lecture recital by a native
American flutist, who said that music is
everywhere, and that if you want to com-
pose an original song you had better take it
from the air around you before someone
else does. I believe that two people sepa-
rated in time and space can take the same
thought from the air and both be truly orig-
inal. And no one was better at it than
Daniel Bonade.
Postlude: Many of us attended a won-
derful talk given by Wayne Rapier at the
Maryland ClarinetFest on the teaching of
Marcel Tabuteau, Bonades Philadelphia
Orchestra colleague and The Source of
oboe teaching in the U.S. Wayne was
The Source of Boston Records, which re-
leased Larrys Legacy of Daniel Bonade,
as well as a wonderful CD of Tabuteaus
teaching, and numerous performances by
Harold Wright and many other distin-
guished clarinetists. Recently I received
the unfortunate news of Waynes death to
cancer on October 13, 2005. Larry Guy
told me how Wayne reacted to his Bon-
ade project by saying, Lets do it! with-
out a thought about sales or profits.
Wayne will be sorely missed by his Bos-
ton Symphony colleagues and the rest of
us who knew him well. The wonderful cat-
alog of Boston Records is Waynes legacy
to the clarinet world.
Your feedback and input are valuable to
our readership. Please send comments and
questions to: Websters Web at <mwebster
@rice.edu> or Michael Webster, Rice Uni-
versity, Shepherd School of Music, MS
532, P.O. Box 1892, Houston, TX, 77251-
1892; fax 713-348-5317; Web site: <www.
ruf.rice.edu/~mwebster>
March 2006 Page 13
O
by William Nichols
ne of the pleasures of serving as
Audio Review Editor of The
Clarinet is occasionally receiv-
ing independently produced discs by
master players, offering performances not
previously available on commercial labels.
Such is the case with two CDs from the
venerable Kalman Bloch. One very full
disc of over 74 minutes of music presents
standard recital and chamber music litera-
ture, with the exception of one selection.
Another disc of 39-minute duration is
entitled Kalman Bloch performs Hebraic
Music for Clarinet with Piano &
String Quartet. The discs are of unedited
performances, mostly presented at Pomona
College where Kalman Bloch served on
the faculty for more than 40 years. He is
most prominently known as the Los
Angeles Philharmonics principal clari-
netist from 19371981. However, his long
career of music making has extended well
over 60 years as a significant figure in the
musical life of southern California and
beyond, including the concert hall, the
recording studio, the movie studio, and
numerous chamber music and contempo-
rary music venues. In addition to his tenure
at Pomona College and private teaching,
he has taught at Biola University, Cali-
fornia State at Fullerton, and USC. His stu-
dents are numerous and distinguished. For
a profile of Kalman Bloch see Stephen
Rochfords tribute in the March 2004 issue
of The Clarinet.
Blochs recording career was active,
eventful, and most often anonymous as
an orchestral player and ensemble member
in the recording studio. Of course he is the
LA Phils principal clarinetist on countless
recordings from the orchestras early re-
cording history until 1981. In the late 1950s
and the 1960s Columbia Records had a
lock on three mammoth projects, recording
the works of Stravinsky, Schnberg, and a
large series of traditional orchestral reper-
toire conducted by Bruno Walter. All
three of these musical luminaries resided
Page 14
where else Los Angeles. For most of the
orchestral works in these projects, there
were two ensembles contracted, one on the
east coast and one on the west coast, and
they were the Columbia Symphony.
Kalman Bloch is heard as principal clar-
inetist in many recordings conducted by
Stravinsky and Bruno Walter. Columbia
accomplished some of its best recording
results during this period in Los Angeles
and many of these LPs are treasured audio
classics. He is the clarinetist on the record-
ing of the brief Epitaphium for flute, clar-
inet and harp of Stravinsky, in Columbias
series supervised by the composer (and one
of my favorite recordings from my youth).
In addition to Stravinsky and Walter, he
had an opportunity a few years after his ar-
rival in Los Angeles to work with Arnold
Schnberg. Another Columbia project was
to produce the first recording of Schn-
bergs 1912 masterpiece Pierrot lunaire,
with the composer conducting. In 1940 the
recording was made (after about 20 re-
hearsals!) and released on four 12-inch 78
rpm discs, and later transferred (c. 1950
51) to the long-playing format. Although
the sound of my 1975 Columbia Odyssey
copy is quite murky (with balance that does
narrator/vocalist Erika Stiedry-Wagner a
disservice), one can hear clearly, especially
in the more transparent sections, the as-
sured, committed playing of the talented
Kalman Bloch. I suspect the sonics of
the original 78s are superior to this later
LP version. This remains a landmark re-
cording in the history of 20th-century mu-
sic. It is interesting to note that daughter
Michele (Bloch) Zukovsky is one of the
clarinetists featured on Columbias Music
of Arnold Schnberg series, Vol. VI, in a
recording of the Suite (Septet), Op. 29 for
strings, clarinets and piano, another signifi-
cant work which [at the time] had been re-
corded on commercial release only once,
or perhaps twice. Many of our readers are
certainly aware that Michele Zukovsky
succeeded her father as principal clarinetist
of the LA Philharmonic. Richard Gilberts
Clarinetists Discography III lists a re-
THE CLARINET
cording by Kalman Bloch on the Handel
label of the Mozart Concerto. This release
is regrettably unknown to this writer.
There is also a notable commercially pro-
duced recording of a 20th-century cham-
ber piece which will be addressed in the
next paragraphs.
These new discs were made publicly
available in early 2004, but were not in my
hands until March of 2005. With apologies
to Mr. Bloch, they languished until late
November on an office shelf. The contents
of the recital disc of standard works are:
Debussy: Premire Rhapsodie; Berg: Four
Pieces; Honegger: Sonatine; Ives: Largo
for violin, clarinet and piano; Milhaud:
Sonatine and the Suite for violin, clarinet
and piano; Poulenc: Sonata; Stravinsky:
Three Pieces; and Adolph Weiss: Trio for
clarinet, viola, and cello. Bloch is joined by
the stellar John Steele Ritter in all the
works with piano except for the trios of
Ives and Milhaud, where his collaborators
are violinist Manuel Compinsky and pi-
anist Sara Compinsky.
The last work on the disc, the Weiss
Trio, is performed by violist Abraham
Weiss and cellist Kurt Reher. The Trio
(dating from c. 1948) as presented here is
actually only the first movement of the
work. This performance of the complete
work was released commercially on an
early CRI vinyl disc (No. 116). Adolph
Weiss studied composition with Schn-
berg in Berlin and the masters influences
are strongly felt. This movement is a well-
crafted set of variations utilizing serial
technique and containing striking effects.
The playing is first-rate from all. The
sound is attractive and naturally somewhat
dated. Balance is good. Blochs rich tone is
warmer on my tape version of the LP than
the digital release, as is also the case with
the string sound. This CD version of the
Weiss is a bit thin when compared to an
analogue source.
The performances presented here are all
very good, and, in a couple instances, as
good as I have heard. The clarinet sound is
beautiful, with more warmth and weight of
tone than we hear in many modern record-
ings. In the clarinet and piano repertoire,
the balance almost always favors the clar-
inet, too much so at times. The technical
traps of Debussy and Stravinsky are nego-
tiated cleanly, and throughout the disc, the
music is stylistically on the money. Es-
pecially notable is the Berg. Bloch has (as
does this writer) a strong personal connec-
tion to this piece, and it comes through.
The highlights of the disc are the two Mil-
haud works. The Sonatine is a too infre-
quently programmed piece. Often the thick
and difficult piano part overpowers the
clarinet, but not here. Bloch and John Rit-
ter deliver my new favorite recording of
this exciting piece, and with a second
movement which must be savored. Most
of the music on this disc was recorded in a
resonant venue at Pomona College. The
few works that were not display varying
sonic properties. The Milhaud Suite suf-
fers a bit from a rather dead sound, but the
performance could not be better. The
sound is close up and is reminiscent of the
most intimate of chamber music. Here
again is a new favorite recording. These
Milhaud performances are a delight, and
completely satisfying.
One caveat: There are moments, of what
seems to be electronically produced ex-
traneous sound, which pervade this record-
ing in places, and which are certainly dis-
tracting, at least on an initial hearing. The
noises are perhaps digital gremlins which
are hopefully in my copy only. Neverthe-
less, the music comes through very effec-
tively on this live recording, which is free
of audience noise and applause.
The other recent disc from Kalman
Bloch of Hebraic Music for Clarinet
consists of a group of short pieces from
Fitelberg, Weinberg and Levenson (no
other names indicated) and Srul Irving
Glicks Hebraic Suite, all for clarinet and
piano. The second part is the two Hebraic
Sketches by Alexander Krein, for clarinet
and string quartet. The quartet is the Ar-
madillo String Quartet of Los Angeles.
All of this music is indeed either a song
or a dance imbued with Hebrew color.
Some of the pieces rise above the very
simplest forms, and the Krein sketches
achieve some larger formal design than
the other pieces. The Glick and Krein
works have previously found their way
to recitals and commercial recordings.
This is not Klezmer music at all, but well

March 2006 Page 15

conceived heartfelt pieces with Hebraic
spirit. Bloch draws an ethnic character
from his instrument, but does not move too
far from his classical roots and musical
voice. The blend of clarinet and strings in
this recording is indeed beautiful and se-
ductive. The 16 tracks of this disc go by in
a short enjoyable 39 minutes.
Both of these discs are presented as
plain and simple productions. There are
very brief notes about the music (in the
recital disc), and artist bios. The cover on
the Hebraic disc is attractive, and the other
disc displays a photo of a very young Kal-
man Bloch. This CD comes in a two-disc
box and indicates a bonus disc inside,
however there is none with my copy. An
attached note indicates the bonus CD may
have been the Mozart Quintet. These are
indeed rather homespun productions, but
dont let that discourage you from enjoy-
ing these recordings. There is excellent
music making here by major American
artists. There is no label or catalogue
number. We are indebted to Gary Van
Cott and Van Cott Information Services
for making these recordings available to
any interested listeners. The Web site is:
<www.vcisinc.com>, e-mail: <info@
vcisinc.com>.
*****
I have received a disc released in 2005
by the trio, Clearly Three, containing
pieces which will be of interest to many of
our readers. This ensemble consists of clar-
inetist Richard Fletcher, bassoonist Kris-
tine Klopfenstein Fletcher, and pianist
Barbara Wimunc-Pearson. The trio is a
faculty ensemble of the University of Wis-
consinEau Claire and has performed
together for more than 20 years, but ac-
quired the Clearly Three moniker only in
2002. Those who attended the 2005 Clari-
netFest in Japan may have been fortunate,
as was I, to have heard this accomplished
trio play two of the works programmed on
this disc.
This recording is one result of an exten-
sive research project by the Fletchers to
collect 20th-century trios for clarinet, bas-
soon and piano. The project had sabbatical
and grant support from UWEau Claire,
and has yielded an amazing c. 160 works,
published and unpublished. Another result
of this project will be the publication of an
annotated bibliography of the 20th- (and
21st-) century works collected. (If readers
Page 16
have knowledge of any new works of the
last few years, contact with Clearly Three
would be appreciated.)
There were five works selected by the
ensemble to be included on this 63-minute
disc: Ivana Loudov: Italsk Trio (Italian
Trio) (1988); Benjamin Gutirrez: Trio
(1987); Christopher Weait: Ten By Three
(1983); Gerhard Wuensch: Trio, Op. 1
(1948); and Otto Ketting: Theme en Vari-
aties (1958). Speculation is that few, if
any, of these pieces are known to but a few
of our readers certainly not to this wri-
ter. The five works vary in style, utilizing
both traditional tonality and more stylized
contemporary tonal languages. The Italian
Trio from Czech composer Ivana Loudov
is an attractive set of seven colorful des-
criptive pieces. The programmatic move-
ment titles, which denote locations, per-
haps imply a light Italian travelogue, how-
ever the music is often dramatic, atmos-
pheric, and the writing achieves some very
nice colors. Also a suite (of 10 short move-
ments) is Weaits Ten By Three. This is a
work of light character and is a setting of
folk songs and dances of Qubec. The
scoring is mixed, with only three of the
movements for full ensemble. There are
solo pieces for each of the instruments as
well as combinations of duets. With the
character of the work, the varied scoring,
and with movements bearing titles such as
Scrambled Eggs, Falling Down, The out the disc. The ensemble precision, tech-
Duckling, and Forward March, Ten By nical accuracy, and remarkably pure in-
Three seems an obvious program choice
for a childrens concert.
The Gutirrez Trio is a striking short
(4:16) piece and one of this writers favor-
ites heard here. It is a well structured and
masterfully scored slow-fast piece which
closes with a brief return of calm. It ex-
hibits pronounced rhythmic drive and an
exciting edge. Stylistically the newest
piece on this program, it is yet easily ac-
cessible listening. A better performance
cannot be imagined. Clearly Three is
clearly simptico.
The Trio of Austrian-Canadian com-
poser Gerhard Wuensch is an interesting
three-movement work in a curious wander-
ing tonal style. Its harmonic shifts and
appealing melodic writing in the first
movement exudes a happy, almost humor-
ous effect, even Viennese Gemtlichkeit.
The lovely second movements tasty har-
mony is at times reminiscent of Poulenc,
perhaps the French masters own Piano
THE CLARINET
Trio. At age 23, this piece is an impressive
Opus 1!
The set of nine variations by Otto Ket-
ting on a Dutch childrens song (which
seems an unlikely theme) results in a
showcase piece for this ensemble. It is
clever and appealing music from first hear-
ing. A lively variation for clarinet and
piano demonstrates Richard Fletchers
impressive finger technique and articula-
tion. Entitled Etude, it is indeed that
perhaps a recital encore piece? A variation
for bassoon and piano displays the abso-
lutely beautiful woody tone of Kristine
Fletchers instrument and her smooth con-
trolled playing, which is ever present
throughout this disc. For the sake of musi-
cal pacing and tension, each of these varia-
tions needs to flow more quickly into the
next than heard here. Per normal recording
practice, each variation is tracked, but
post-production attention to this detail
would have yielded a more effective result
regarding the whole. Ketting is an accom-
plished composer and teacher in his native
Netherlands. This piece, as with Wuensch,
written in his early 20s, shows plenty of
imagination. A youthful sense of humor is
present, including a couple brief and unex-
pected quotations known to all.
The performances delivered by Clearly
Three are excellent and uniform through-
tonation is very impressive indeed. All of
the players are accomplished performers.
Kudos to pianist Barbara Wimunc-Pearson
whose playing is constantly transparent
and clean. This is a studio recording with a
clear, close up presence, and the balance is
always good. The bassoon and piano are
well placed in the sound field and are pre-
sented with an attractive amount of warm
reverberation. However, this sonic ambi-
ance is not afforded the clarinet in the mix,
which seems too bright and thin at times.
(Having heard this ensemble live, I suspect
this is a recording issue.)
Trios from the Twentieth Century is
an attractively produced CD with informa-
tive notes (English only) and handsome
graphics. Thanks to the producers for
including sources for each of these works.
The disc is from TONHEIM RECORDS,
TRCD 105 and is available at: <www.
cdbaby.com/cd/kfletcher>.
March 2006 Page 17
MICHAEL NORSWORTHY
AT CALIFORNIA STATE
UNIVERSITYSACRAMENTO,

T
OCTOBER 10TH, 2005
he clarinet community in Sacra-
mento is alive and thriving and the
Clarinet Hive is in the middle of it
all! The Clarinet Hive is a student organi-
zation sponsored by California State Uni-
versitySacramento, working to support
and encourage clarinet education through-
out northern California. Their most recent
project included the appearance of Michael
Norsworthy and his pianist, Tyson Deaton.
It has been said that Michaels virtuosity,
versatility and musicianship have earned
him a unique place among rising young
Michael Norsworthy and Tyson Deaton with Professor Deborah Pittman and representa-
stars today. Those who saw him during his
tives of the CSUS Clarinet Studio.
visit to Sacramento certainly agree with
such a statement. The activities began at 4
Deborah Pittman. I was warmly received The featured guest artist was Eli Eban,
p.m. with a clarinet master class. The per-
and well taken care of. There were four professor of clarinet at the Indiana Uni-
formers and their repertoire were as fol-
master class performers who played ex- versity School of Music and former clar-
lows: Loraly Ocampo, Finzis Five Baga-
cellently. All were prepared, attentive, inetist with the Israel Philharmonic. Eban
telles, Op. 23; Sarah Crozier, Bernstein
eager to learn and quick to adapt and presented an outstanding master class and
Sonata for Clarinet and Piano; Ricki
change. From the playing I heard, the stu- a stellar recital with Richard Syracuse, pi-
Nelson, Nielsen Concerto, Op. 57; Jennifer
dents are in good hands with Deborah ano, featuring works by Mozart, Brahms,
Lewis, Rozsa Sonatina. Michael proved to
Pittman and bring credit to their city and Milhaud and Ben-Haim.
be a very entertaining teacher. His instruc-
tional comments were appropriate and he university. It was such a pleasure to be In addition to Ebans recital and master
offered several amusing anecdotes. He also there and I thank everyone for helping class, the day included a potpourri recital
demonstrated the need for clarinetists to be make the event a true success. featuring clarinetists from all over Ohio,
energetic and attentive soloists. For more information about the Michigan and West Virginia in works by
After the dinner break, Michael pre- Clarinet Hive, please contact President Harald Genzmer, Clara Schumann, Ger-
sented a concert in the Capistrano Music Sarah Crozier at 916-747-0479 or by e- maine Taillefere, Evan Chambers and
Recital Hall. He opened the concert with a mail at: <smcrozier@hotmail.com>. To Leon Stein: Ann Marie Bingham, assistant
beautiful rendition of the Finzi Five Baga- learn more about Michael Norsworthy, professor of clarinet at Marshall University
telles, Op. 23. The Poulenc Sonata for please visit his Web site at: <http://www. in Huntington, WV, Kimberly Cole Lue-
Clarinet and Piano followed. After inter- michaelnorsworthy.com/>. vano, associate professor of clarinet at
mission, Michael broke the introspective Eastern Michigan University in Ypsilanti,
mood with a hilarious interpretation of OHIO UNIVERSITY Anthony Costa, bass clarinetist with the

HOSTS FOURTH ANNUAL

Dayton Philharmonic (Ohio), and assistant

O
Bermels SchiZm. He continued by per-
forming Bernsteins Sonata for Clarinet professor of clarinet at Otterbein College,

and Piano, and concluded with the Horo-
vitz Sonatina for Clarinet and Piano. The
program was well received by the audi-
ence. After all, Michael exudes an ener-
getic persona on stage accompanied by a
Stoltzman-like flair.
Michael responded warmly when asked
to comment on his experience in Sacra-
mento. I was so pleased to be invited to
CSUS by the Clarinet Hive and Professor
CLARINET GALA
n Sunday, April 17, 2005, Ohio
University hosted its fourth an-
nual clarinet gala, a full day of
clarinet events for all ages and interests.
More than 60 teachers, students, band
directors, amateurs, and professionals at-
tended. All events were free, and no prior
registration was necessary.
Barbara Specht, assistant professor of clar-
inet at Heidelberg College (Ohio), An-
thony Taylor, second clarinet in the Spo-
kane Symphony (WA), and current doctor-
al student at the University of Cincinnati
CollegeConservatory of Music.
In addition, the day included a master
class for high school students given by
Rebecca Rischin, host of the Clarinet Gala
and associate professor of clarinet at Ohio

Page 18 THE CLARINET

(l to r) Kimberly Cole Luevano, Anthony Taylor, Rebecca Rischin, Eli Eban, Anthony
Costa, Barbara Specht and Ann Marie Bingham

University, and a fascinating clinic on
extended techniques presented by Kim-
berly Cole Luevano, associate professor of
clarinet at Eastern Michigan University.
Participants also had the opportunity to
play in a clarinet choir alongside Ohio
University students. All in all, the day was
a huge success. For information on future
clarinet events at Ohio University, contact
Rebecca Rischin at: <rischin@ohio.edu>
or consult the clarinet Web site: <www.
ohiou.edu/clarinet>.

March 2006 Page 19

 Historically Speaking is a feature of
The Clarinet offered in response to numer-
ous inquiries received by the editorial staff
about clarinets. Most of the information
will be based on sources available at the
National Music Museum located on The
University of South Dakota campus in Ver-
million. Please send your e-mail inquiries
T
to Deborah Check Reeves at <dreese@
usd.edu>.
he early clarinet in the U.S. perhaps
has developed a less than distin-
guished reputation. The December
2005 installment of Historically Speak-
ing pointed out a notable exception. It
examined a sophisticated 13-keyed E clar-
inet made by Graves and Company of
Winchester, New Hampshire. This install-
ment will examine another interesting
early American made clarinet and specu-
late for what it may have been used.
Clarinet in D by Wm. Whiteley
Page 20
by
Deborah
Check Reeves
William Whiteley made woodwind in-
struments in Utica, New York, from about
1810 to about 1854. Among numerous sur-
viving examples of fifes, flutes, clarinets,
and bassoons is a 10-keyed clarinet pitched
in D that can be found at the National
Music Museum on the University of South
Dakota campus in Vermillion (see photo).
This clarinet is made from a dark stained
boxwood with ivory ferrules. It is made in
four sections: barrel, top joint, bottom joint
and bell. From the top of the barrel to the
bottom of the bell it is 451 mm long. It
has 10 German silver keys with round, flat
flaps that are mounted in blocks that have
been carved out of the body of the instru-
ment. There is an integral thumb rest, also
carved from the body.
Although it does not introduce any in-
novations, this clarinet shows a high de-
gree of craftsmanship. The 10-keyed finger-
ing scheme is contemporary with many
European models. Even though it doesnt
possess the most advanced fingering sys-
tem in use at the time, it is certainly more
advanced than the many five- and six-key
models that were common. There are dif-
ferent sizes of tone holes. The first tone
hole for the right hand, for example, is
larger than the neighboring tone holes.
This shows how Whiteley adjusted the in-
tonation. Most of Whiteleys extant wood-
winds use brass keys. There are just a few
flutes that use German silver. The use of
German silver on this clarinet is notable
and perhaps indicates the intention of
heavy-duty use.
For what would an instrument of a
more advanced fingering and enduring
quality like this have been made? The
majority of extant early American clarinets
Whiteley being no exception appear
to be fairly simple in design and pitched in
THE CLARINET
C. These would have been instruments
used by the amateur player for use at home
for personal entertainment. Here the clar-
inetist could easily read the melodies from
piano and vocal scores. Very few clarinets
pitched in A survive, most likely because
few were made. There are no surviving
Whiteley examples, so it is impossible to
know if he made any. Orchestras, where A
clarinets commonly would have been used,
were slow to develop in the U.S. The New
York Philharmonic is the oldest American
professional orchestra, and it was estab-
lished in 1842. Most probably this clarinet
would have been used in a band. Bands,
whether civilian or military, played a very
important role in the everyday life of early
Americans. They were very popular musi-
cal institutions, and certainly the most
plentiful. Military bands appeared in the
colonies as early as 1756. The U.S. Marine
Corps band was founded in 1798. Moravi-
an communities in Salem, North Carolina,
and Bethlehem, Pennsylvania had wind
bands that offered secular music perfor-
mances in addition to the usual religious
music by 1785. The community band in
Allentown, Pennsylvania had its first docu-
mented performance in 1828. From their
inception, bands were as much social as
musical organizations. The roles of civilian
bands and military bands were often
blurred. Civilian bands played for military
groups, and army bands played for the
general public. Bands were versatile. They
could play at church, for community func-
tions, inside for public concerts, and out-
doors in parades and at rallies. Clarinets
like the Whiteley D clarinet would have
been made with great care using modern
techniques in keeping with the important
status that bands had attained.
The Mohawk River flows through the
city of Utica. The first portion of the Erie
canal, which runs through Utica, was
opened in 1820. This location stimulated
general industrial development of the city.
Whiteleys business, no doubt, was en-
hanced by the ease with which raw materi-
als were obtained and the relative ease
with which instruments could have been
distributed. Whiteleys reputation as a
knowledgeable and competent maker
probably was spread as The Instrumental
Preceptor: Comprising Instructions for the
Clarinet, Hautboy, Flute and Bassoon be-
came available. One of the earliest Ameri-
can tutors, Whiteley published this method
in 1816 in Utica.
March 2006 Page 21

I
by Paul Harris
recently gave a performance of the
Beethoven Trio for Clarinet, Cello
and Piano. A charming work. Its a
successful combination and therefore sur-
prising that so comparatively few com-
posers have seen the potential for the dark
brooding colors, passionate melodies and
the kind of energy that the three instru-
ments can conjure. There are one or two
British works worthy of study. Benjamin
Frankels Trio, (op. 10 and now sadly out
of print but available from libraries) for
example. His Quintet (written in 1956 for
Thea King) is a haunting work. Theas re-
cording of it in her collection of English
Page 22
Clarinet Quintets (on Hyperion) should be
in everyones library. There is an interest-
ing work (especially for American read-
ers!) by the lesser known Kenneth Leigh-
ton: Fantasy on an American Hymn Tune,
Opus 70 (written in 1974 for Gervase de
Peyer). Its a good work and published
by Novello.
But the reason Im taking you down
this particular avenue of the repertoire is
because a fascinating manuscript has just
come into my possession. It did receive a
first performance, but has been lost, hidden
away in a box in a cupboard for nearly 50
years. It is a Trio for Clarinet, Cello and
Piano by Malcolm Williamson. The late
Master of the Queens Music who died
in March 2003. Williamsons life was as
colorful as his near contemporary Malcolm
Arnold. He wrote symphonies, operas, bal-
lets and a considerable amount of other
music in just about every genre (including
the music for two Hammer Horror films!).
But his name is now virtually forgotten.
Clarinet players ought at least to know his
Pas de Deux for clarinet and piano. A
delicious movement taken from his Pas
The Clarinet
PUBLICATION SCHEDULE
The magazine is usually
mailed during the last week
of Feb ruary, May, August
and No vem ber. De livery
time within North America
is nor mally 1014 days,
while airmail delivery time
outside North America is
710 days.
THE CLARINET
de Quatre for Flute, Oboe, Clarinet, Bas-
soon and Piano and published as a stand-
alone solo. The work was written in 1967
for the Metropolitan Opera Ballet and
first performed at the Newport Festival,
Rhode Island.
The Trio was given (as far as I know)
just one performance at the Aldeburgh
Festival in 1958 before it disappeared. The
performers were Harrison Birtwistle (clar-
inet), John Dow (cello) and Cornelius Car-
dew (piano). Quite a line-up!
It is dedicated to Imogen Holst (Holsts
daughter) and is cast in one continuous
movement marked Poco Lento. Birtwistle
(who studied the clarinet at the Royal
Academy of Music with my teacher
John Davies) must have had some tech-
nique! So much of the part is in the highest
register (up to top Bs), often short tongued
notes marked down to ppp! Williamson
was, at that time, experimenting with ser-
ial music; this piece however looks to be
firmly rooted in F minor and explores the
sonorities of all instruments in a colorful
and imaginative way. It looks like a fasci-
nating piece and I shall see what can be
done to make it available. Certainly an im-
portant addition to the repertoire.
A slightly later work is the Concerto for
Wind Quintet and Two Pianos (1964 and
published by Weinberger). Its a sturdy
work, demanding technically and musical-
ly but very much worthy of performance.
Its the 75th anniversary of Malcolm Wil-
liamsons birth this year (he was born on
November 21st 1931), and there are going
to be quite a number of performances of
his music in the U.K. It would be good to
feel that clarinet players in the States are
looking at his music too.
On another note I received a very pleas-
ant package the other day. It was a record-
ing of a voice, clarinet and piano recital
given in Kenmore, Washington, by Am-
erican clarinetist David Frank. He had
included Malcolm Arnolds lovely song
Beauty Haunts the Woods and my own
Clerihew Songs as well as many other
works for the combination. And talking of
Malcolm Arnold its his 85th birthday
this year! Hes still going strong. (I spoke
with him on the phone not 10 minutes
ago!). I hope many of you will be featuring
his music to celebrate his birthday. Do let
me know if you are and I shall pass the
news on to him. Hes always absolutely
delighted to hear of performances.
March 2006 Page 23

by Paul Globus
THE NEW WORD
E
IS CLARIPATCH
arlier last year, I attended a cham-
ber music concert in Montreal giv-
en by one of my all-time favorite
musicians, the great Swiss oboist Heinz
Holliger. As expected he dazzled and I
eagerly went backstage at intermission to
offer congratulations. I was hoping he
might remember me as I had been one of
the people who had brought him to Mon-
treal for the first time in the 1970s.
Mr. Holliger did recognize me and we
began to chat about many things, includ-
ing the clarinet (his first instrument was
the clarinet; apparently he was quite ad-
vanced when after about nine months he
decided he preferred the sound of the oboe
and switched, something all clarinetists can
be thankful for.) He asked if I had heard
about Claripatch.
Claripatch? I had no idea what he was
talking about. He then began to enthusias-
tically describe an innovation from Swit-
zer land by a clarinetist named Pierre-
Andr Taillard. It was truly amazing, he
said. He went on to explain that Mr. Tail-
lard had invented thin plastic patches that
are placed between the reed and the mouth-
piece, ostensibly to improve the sound and
responsiveness of a reed.
The mere idea sounded ludicrous to
me. But this unsolicited endorsement
from a musician who is without a doubt
one of the greatest wind players in the
world was compelling, to say the least. I
had no choice but to take it seriously and
to investigate.
The next day I read about Claripatch
on the companys Web site (<www.
claripatch.com>). Although still skeptical,
I was now intrigued enough to contact
Pierre-Andr Taillard and his business
partner, Stephan Siegenthaler, who is also
a professional clarinetist.
Let me make a long story short. I have
since tried Claripatch and find it to be
Page 24
The Claripatch Pro Set includes 16 patch-
es, two each of eight profiles, a pinch-
patch ring, a screwdriver and a clari-
mute. It comes in a hard plastic case
that also holds six B clarinet reeds. The
Junior Set includes four patches and a
pinch-patch ring. Both come with de -
tailed instructions.
everything its inventor claims a tool for
effectively improving the sound, respon-
siveness and longevity of reeds. Its not a
panacea, of course, and all clarinetists
should decide for themselves if this unique
product is something they want at their dis-
posal. But in my opinion, anyone who re-
jects Claripatch out of hand because it does
not fit with conventional thinking about
reeds and mouthpieces is doing themselves
a disservice. As Ive discovered in my own
investigation, an open mind in this instance
can reap major rewards.
Listen to what Pierre-Andr Taillard had
to say in response to questions I put to him
about Claripatch:
Q: How did all this come about?
A: I teach historic clarinet at the Schola
Cantorum Basiliensis in Basel. In 2001,
we decided to organize a symposium on
the clarinet around the year 1800. We
invited about a dozen researchers and
clarinetists. I was going to present a
study on the interpretation of the clar-
inet works of Weber. I was supposed to
perform several pieces and even record
a CD with pianist Edoardo Torbianelli.
For this I needed a mouthpiece that
would permit me to play Weber on my
period clarinet in the manner I felt
would be most authentic. I made a
mouthpiece. It wasnt bad but the reeds
lost their support too quickly. One week
before the recording I was searching for
THE CLARINET
a way to modify the curvature of the
mouthpiece table. It was too risky to
modify the lay one more time so I hit
on the idea of inserting a wedge be-
tween the reed and mouthpiece. I know
it sounds strange but it worked. I actu-
ally recorded the CD using a rudimenta-
ry patch consisting of two steel blades
attached to the mouthpiece with cork
grease. Let me tell you, it didnt taste
too good and it left traces of rust on the
reed. But I knew after this experience
that I was on to something. So in the fol-
lowing months I began to look into it
seriously. I consulted engineers and
other specialists in an attempt to refine
the concept and develop it into a useable
system for myself and other clarinetists.
Q: Did success come quickly?
A: Not at all. In fact, every expert I con-
sulted, whether an engineer or a person
from industry told me it was impossible
to manufacture thin metal or plastic
patches for this purpose for a reason-
able cost. I forged ahead anyway be-
cause I knew the idea had potential.
And so did a dozen other clarinetists
who tested some of the first patches.
The advantages were undeniable.
Q: How did you come up with the form
and thickness of the patches, not to
mention a material thats both non-
toxic and durable?
A: Exhaustive research, which amounted
to a great deal of trial and error. I exper-
imented with certain prototypes, trying
dozens of models in an attempt to un-
derstand how a mouthpiece table func-
tions. But there was a lot more to it than
that. We also attacked the problem
mathematically, and
from the standpoint
of physics and acou-
stics. The models we
The patches are preci-
sion made, completely
tasteless and odorless,
and food compatible.
Blindfolded, you can-
not tell if you are play-
ing with Claripatch or
not. They are designed
to fit all mouthpieces
made to standard over-
all dimensions.
 finally developed temporarily modify
the curvature of the mouthpiece by 2 to
5 one-hundredths of a millimetre with a
degree of accuracy of plus or minus 2
microns. For the material, it was a real-
ly difficult challenge. I was stacking up
thin aluminum strips to arrive at the de-
sired thickness but then the problem
became finding non-toxic glue. Worse,
the patches were very fragile and had
to be replaced frequently. Finally, in
2003, an engineer named Serge Brin-
golf took up the problem on my behalf.
One of his suggestions was an extreme-
ly durable plastic used in aerospace
construction. Patches made of this ma-
terial are not only strong, stable and
very precise, but food compatible as
well. They also impart a superior musi-
cal quality to the sound. This turned
out to be our solution.
Q: What claims do you make for Clari-
patch?
A: Claripatch will enable you to get the
most of your reeds as well as noticeably
prolong their life expectancy, all with-
out having to modify your mouthpiece
in any way. Im not exaggerating when
I say that with Claripatch, you can ex-
pect every reed you choose to play its
best. During a concert you can have in-
creased confidence in your instrument
and your reed as Claripatch overcomes
the common problems encountered due
to weather conditions, changes in alti-
tude, and changing room/hall acoustics.
Simply by choosing the right patch, a
good reed remains a good reed, even in
the face of difficult conditions. Whats
more, Claripatch can help you personal-
ize your sound for each style of music.
For example, lets say you want to re-
create the sound of a period clarinet on
a modern instrument. Claripatch can
help you do that. The right patch or
combination of patches will enable you
to change the dimensions of your sound
in accordance with the room or hall
you are playing in: a strong and rich
sound for a large hall, a soft, sophisti-
cated, colorful sound for use in cham-
ber music. And you can do all this with-
out having to change your reed or your
way of playing.
Q: Are you saying that Claripatch will
make every reed you select play like a
good reed?
Pierre-Andr Taillard, developer of Claripatch, with his invention.
A: No, that would be impossible. The
quality of the cane plays a major role,
as you know. But a judicious choice of
patch shifts significantly the sound
quality of almost every reed. You get
more concert reeds and fewer unplay-
able ones. In the two years of research
that were necessary to bring the system
to fruition, we have come up with eight
profiles from among hundreds tested
that address problems commonly
encountered with reeds. The patches are
identified with letters, such as N, S,
R and W. There are patches that
improve the performance of a new or an
ageing reed, others for a reed thats too
hard or too soft, others for a reed that
sounds too bright or too dull, another
for a reed thats waterlogged, and still
another for a reed that has lost its sup-
port, particularly for detached playing
or for the production of very soft sounds.
We provide a chart that explains what
each patch is designed to do. Its a pretty
good guide. Some experimentation with
every reed is still necessary, though.
A simple technique to save time is to
write the patch recipe NSR on the
back of the reed for future reference.
With increased experience you need
only a few seconds to determine the
right patch.
Q: How many patches come in the Clari-
patch set?
A: In our pro set there are 16 patches, two
of each of the eight profiles. We also
March 2006
make a junior set that includes four
patches. I should mention too that the
pro set comes with what we call a clari-
mute. This simple device allows you to
blow into the instrument normally but
without making a sound. Its great for
practicing or warming up without dis-
turbing anyone. And its an effective
tool for explaining embouchure and
tonguing basics to beginners. After a
few minutes, the student can easily find
the optimal balance between lip and
blowing pressure to maximize the air-
flow entering the instrument.
Q: Do you recommend using more than
one patch at a time?
A: In our instruction booklet we say that
placing two identical or two different
patches on top of each other will signifi-
cantly augment the effect of each patch.
Thats true. It all depends on your reed,
the style of music and the venue.
Q: How many possible combinations are
there?
A: With two patches you have 45 possible
combinations. With three you have 157.
With all 16 patches you would have
theoretically 6,561 possible combina-
tions, but we dont recommend using
more than three patches together. If you
still have problems, it is better to recon-
sider the choice of reed or mouthpiece.
Q: How do you attach the patches to the
mouthpiece?
Page 25
A: Dont worry. You dont need cork
grease. We developed what we call a
pinch-patch ring that attaches to the
base of the mouthpiece. The butt end
of the patch fits into a slot in the ring.
An added benefit is that the slot is also
designed to hold the butt end of the
reed, which simplifies the placement
and alignment of your reed on the
mouthpiece.
Q: Why does Claripatch work?
A: No acoustician specializing in the clar-
inet has yet taken up the question. But
there are currently two researchers in
France looking into it. We expect it will
take them from one to two years to
arrive at a concrete answer. The com-
plexity of the acoustic science explains
these difficulties. For the musician, the
principle appears to be quite simple.
The patches optimize the reeds vibra-
tions by modifying not only the length
of the facing and the size of the opening
but the overall form of the curvature.
The modifications are very precise and
extremely subtle, but they do make a
difference. The patches also reduce
energy loss caused by the reed hitting
Page 26
the lay, which the player perceives as a
pleasant sensation of greater stability
and flexibility.
Q: How do you explain the increased
longevity that Claripatch imparts to
ones reeds?
A: Lets say you put on a new reed thats a
bit stiff. The patch L creates a longer
and straighter lay and a smaller open-
ing. This causes less stress in the reed
while rendering sound production sup-
ple and more comfortable. In other
words, at every stage of the reeds lifes-
pan, its vibration potential is optimized
with the right patch or patch combina-
tions. You avoid fatiguing the reed al-
ways in the same place. It bends in a
more symmetrical way. As it softens
over time, you can continue to play it
simply be using the right patch or pat-
ches. All of this taken together extends
the reeds playable life significantly.
Q: Can you estimate the amount of in-
creased longevity?
A: Well, for a very good reed I can play it
in a satisfactory way about three to five
THE CLARINET
times longer than before. During my
first year using Claripatch, my reed
consummation dropped dramatically.
And I could play about 90% of my
reeds. Now I play only the best reeds
but I still buy about two to three times
fewer boxes than in the old days. More
important for me, however, is the
increased musical pleasure I derive
from playing with Claripatch and the
absence of frustration when playing
new reeds.
Q: Is Claripatch better suited to one par-
ticular type of set up?
A: Generally speaking clarinetists who use
a mouthpiece with a small to moderate
tip opening and a fairly long facing, and
who take a healthy amount of mouth-
piece in the mouth while exercising
moderate pressure with the lips will
obtain the best results with Claripatch.
Q: Who is using Claripatch?
A: Orchestra players, chamber musicians,
soloists, students, teachers and serious
amateur players. Of course, clarinet
players are famously reticent to em-
brace new ideas. But quite a few are
open minded and willing to give Clari-
patch a try. More than a dozen well-
known international soloists play regu-
larly with Claripatch, including jazz
players, period instrument players and
specialists in contemporary music.
There are Claripatch adherents in the
Berlin Philharmonic, the Stuttgart Phil-
harmonic, the Stuttgart Radio Orches-
tra, LOrchestra dellAccademia Na-
zionale di Santa Cecilia in Rome, LOr-
chestre de lOpra National in Paris,
and most of the professional orchestras
in Switzerland. Some players are using
a version of Claripatch specially de-
signed for the German clarinet.
Q: What does Claripatch cost?
A: Were selling our pro set for 113 or
US $149 and our junior set for 42 or
US $55. That may seem like a lot of
money to some, but not when you con-
sider what a box of reeds costs these
days and how using Claripatch can dra-
matically reduce ones consumption of
reeds. Also, the patches dont wear out.
The material is very strong and durable.
How long the patches can be used be-
fore they need replacing is difficult to
 know, but the oldest ones are now 18
months old and still exhibit perfect
functionality, even after daily use. Set-
ting the price is in many ways similar to
setting the price for prescription drugs.
Like the companies that develop medi-
cines, we have to cover the cost of re-
search and development, obtaining and
maintaining patents and for the con-
struction of production tools. Above
and beyond these substantial up-front
costs, we have to cover the cost of ma-
terial and production. Im pleased to
report that all told, most people think
the price is fair.
Q: Is there any advice you would give to
players who read this article and decide
to purchase Claripatch?
A: Any player who decides to try Clar-
ipatch is stepping into a whole new
world of possibilities. However, during
the initial period, remember the ele-
ments of sound production in a clarinet
are extremely complex. Although Clari-
patch will help you to overcome certain
sound production issues related to
reeds, please do not expect a miracu-
lous resolution to all your problems.
Remain pragmatic and do not expect
immediate perfection. One must allow
it to evolve as a result of working with
and understanding the patch system.
Start off by exploring the color changes
that are possible with different patches
and a good reed. Take full advantage of
this new source of artistic inspiration
before attacking the more difficult prob-
lems of an unsatisfactory reed or exper-
imenting with prolonging the life of a
reed. Begin by using a small number of
patches and once you have mastered
their use, integrate the rest in, slowly
but surely.
*****
A FEW ADDITIONAL POINTS
As I mentioned, I have tried Clari -
patch. In my opinion, the system has
merit in that it provides clarinetists of all
skill levels with a unique set of tools for
dealing with common reed problems.
Here are a few other points you might
want to bear in mind when deciding if
Claripatch is for you:
March 2006
Claripatch will not make imbalanced
reeds play well. Side to side imbalances,
whether slight or severe, need to be cor-
rected by other means.
The patches are very thin and complete-
ly tasteless and odorless. You cannot
feel the patches in your mouth. Blind-
folded, you would not be able to tell if
you are playing with Claripatch or not.
The patches extend into the mouthpiece
window, which puzzles many players
because they assume this will block the
window and negatively affect the pro-
duction of sound. Fear not. The patches
do not block the window in actual play
and therefore do not negatively affect
the sound production in any way.
The pinch-patch ring is unobtrusive and
remains in place. Even with no patches,
its a great device for helping you to
quickly get a reed into proper alignment
on the mouthpiece. One wonders why
mouthpiece makers have never thought
of this.
The pro set of Claripatch comes in a
hard plastic case that also holds six reeds
and the clarimute.
Page 27
Biographies of Candidates for I.C.A. Officers
PRESIDENT
Marguerite Baker
Levin is assistant pro-
fessor of clarinet at
Towson University and
principal clari net ist
with the Baltimore
Opera Orchestra. An
active performer in the
Washington, D.C./Bal-
timore area, she plays
with the Wolf Trap Marguerite
Opera Orchestra, Post- Baker Levin
Classical Ensemble,
Alexandria Symphony, Annapolis Sym-
phony, the National Gallery Orchestra and
the Key West Symphony. She has substi-
tuted with the Kennedy Center Orchestra,
the Baltimore Symphony and the National
Symphony Orchestra. She is a former
member of the United States Navy Band in
Washington, D.C.
Levin was the Artistic Director for Clar-
inetFest 2004 and has performed at Clari-
netFest conferences in Lubbock, Salt Lake
City, College Park and Tokyo.
She has also served on the I.C.A.s
judging panels for the Young Artist Com-
petition, the High School Competition, and
the Research Presentation Competition.
At Towson University, Levin is Leader
of the instrumental applied division and
serves on the executive committee. She
performs with the faculty woodwind quin-
tet, Quintigre, and the Towson New Music
Ensemble. Levin is a former faculty mem-
ber of Howard University in Washington,
D.C. where she taught clarinet and music
theory for seven years.
Page 28
Levin received a B.M. in Music Edu-
cation from North Texas State University,
where she studied with James Gillespie,
and an M.M. from the Catholic University
of America as a student of Leon Russianoff.
She will complete her D.M.A. in May of
2006 from the University of Maryland
where she has studied with Loren Kitt. Ad-
ditional studies were with Stephen Girko,
Robert Genovese and Edward Palanker.
Gary Whitman is
professor of clarinet
and division chair of
Wind and Percussion
Studies at Texas Chris-
tian University in Fort
Worth, Texas. Active
as a recitalist, he has
performed at Clarinet-
Fest conferences in
Arizona, Oklahoma, Gary Whitman
Texas, Utah and Mary-
land. His international performances in-
clude Paris, France, Ostend, Belgium,
and Stockholm, Sweden. He has served
as guest lecturer in wind performance
and pedagogy at the National Conserva-
tory of Music in Mexico City, the Con-
servatory of Music Josafat Roel Pineda
in Lima, Peru, and the Stedelijk Conser-
vatory in Oostende, Belgium. His former
students hold positions as professional
performers and as music educators in the
public schools, university positions, and
private studios.
As an orchestral performer, Whitman is
the bass clarinetist of the Fort Worth Sym-
phony. As a member of the FWSO since
1990, he performs during the classical and
THE CLARINET
pops subscription series as well as ballet
and opera productions. His chamber music
affiliations include the Texas Clarinet Con-
sort, and Trio Con Brio, a TCU faculty trio
dedicated to performing and commission-
ing music for clarinet, viola and piano.
On March 1, 2005, the trio performed the
world premiere of Trio for Clarinet, Viola
and Piano by Eric Ewazen in Weill Recital
Hall at Carnegie Hall. He continues to
maintain a busy schedule as a versatile
woodwind performer. He is heard regular-
ly in venues varying from Broadway musi-
cals to jazz in the Dallas/Fort Worth area,
and with the top commercial performers in
the industry.
From 1995 to 2003 he served as adver-
tising manager for The Clarinet, the schol-
arly journal of the International Clarinet
Association, and was exhibits coordinator
for the I.C.A. ClarinetFest conferences.
He coordinated the exhibits for Clarinet-
Fest conferences at the University of Ok-
lahoma, the Hilton Riverside Hotel in New
Orleans, and the University of Utah in Salt
Lake City. He has also served on the judg-
ing panels for both the I.C.A. Young Artist
and Orchestral Audition Competitions.
Whitman holds the BME and MME de-
grees from the University of North Texas
and was awarded the certificate de stage
from the International Music Institute in
Nice, France. His major teachers and men-
tors have been Lee Gibson, James Smith,
Andrew Crisanti and Guy Deplus. He has
recently been selected for inclusion in the
eighth edition of Whos Who Among Am-
ericas Teachers, 2004. In 2004 TCU con-
ferred upon him the Deans Award for Re-
search or Creativity. Whitman is an artist-
clinician for Buffet Crampon USA, Inc.
TREASURER
Diane Barger is
associate professor of
clarinet at the Uni -
versity of Nebraska
School of Music and a
member of the Moran
Wood wind Quintet.
She currently serves as
principal clarinet with
the Lincoln Symphony
Orchestra and is the Diane Barger
Treas urer of the International Clarinet
Association. Barger served as Coordinator
of the I.C.A.s High School Solo Compe-
tition (20032005) and is Chair of the
Wind Area at the University of Nebraska
Lincoln. She received the Doctor of Music
(1999) and Bachelor of Music (1988) de-
grees from the Florida State University and
the Graduate Certificate in Performance
(1990) and Master of Music (1989) de-
grees from Northwestern University. An
active soloist and chamber musician, mas-
ter class clinician and adjudicator through-
out the United States, Barger has been a
featured artist at numerous I.C.A. Clari-
netFest and Oklahoma Clarinet Symposi-
ums. A specialist in the genre of operatic
fantasies for clarinet based on Vincenzo
Bellini operas, Barger can be heard as a
featured soloist on the I.C.A.s 1998 Re-
cording Project in a performance of Do-
menico Mircos La Sonnambula Fanta-
sia. With the Moran Woodwind Quintet,
Barger participated in two lec-
ture/performances at the October 2005
College Mu sic Society National
Conference in Quebec City, Canada and
the June 2005 CMS International
Conference in Alcala de Henares, Spain.
SECRETARY
Kristina Belisle is
the associate professor
of clarinet at the Uni-
versity of Akron, prin-
cipal clarinetist of the
Akron Symphony Or-
chestra and Blossom
Festival Band, and
clarinetist with the
Solaris Wind Quintet.
She currently serves as Kristina Belisle
Secretary of the Inter-
national Clarinet Association. As a soloist,
she has performed concertos with the
Houston Symphony, the Flint Symphony,
the Cleveland Chamber Symphony and
with orchestras/wind ensembles through-
out Arkansas and northeast Ohio. She has
won numerous awards for her performan-
ces including the 1993 William C. Byrd
National Young Artist Award for Winds
and Brass and the 1992 Ima Hogg National
Young Artist Award. As a chamber musi-
cian, she has performed with the Renaud
Chamber Music Series, the Fontana Fes-
tival of Music and Art, the Norfolk, Bow-
doin, and Garth Newel Chamber Music
March 2006
Festivals. She holds a Doctor of Musical
Arts degree from Michigan State Univer-
sity where she studied with Elsa Ludewig-
Verdehr. Internationally, Belisle has per-
formed at the 2005, 2003 and 2000 Inter-
national ClarinetFest conferences, the
2002 Xian (China) International Clarinet
and Saxophone Festival and has given
master classes in China and Taiwan. She
can be heard with Solaris on American
Quintets II, released by Capstone Records.
Back Issues
of The Clarinet
Back-issue order forms for The Clarinet
may now be downloaded from the I.C.A.
Web site: <www.clarinet.org>. Copies may
also be requested by contacting:
James Gillespie
College of Music
University of North Texas
P.O. Box 311367
Denton, TX 76203-1367
E-mail: <jgillesp@music.cmm.unt.edu>
Page 29
R
eaders of the previous issue of The
Clarinet know that this is the four-
teenth part of a series of articles
based on materials from which Keith Stein
(Professor of Clarinet at Michigan State
University from 1934 to 1975) planned to
create a how-to book for those who had no
access to a clarinet teacher. I have attempt-
ed to put those materials into prose form,
and a little fuller explanation of the cir-
cumstances surrounding that endeavor is
given in Part One in the Volume 29, No. 4
(September 2002) issue of the magazine.
This article deals with Steins materials
related to what he called legato playing
style, an approach to clarinet playing at
which he himself excelled. And in my own
approach to this article, I have had to face
a problem that of whether to include
all the many, many musical examples that
Stein wanted to include in his planned
chapter on the subject of legato playing. If
I included them, this article would be pro-
hibitively lengthy. And because these ex-
amples are all from well-known literature
for clarinet, I have decided not to include
them here. I must presume that readers of
this magazine have copies of these exam-
ples in their own clarinet library, whereas a
learner without a teacher, for whom Stein
planned to write his book, probably would
not have had access to this music right
there in his own home. So, minus the print-
ed musical examples, here we go.
*****
Legato fingering is an essential part of
good legato style playing. The plastic near-
glissando slur-lines of legato style depend
to a great extent upon a sympathetic me-
chanical response in the fingers without
which the bending vocal style cannot be
realized. The breath and its ally the em-
bouchure most certainly play significant
roles in legato style also. Some teachers
demonstrate the tremendous difference fin-
ger-action makes in playing by fingering
the clarinet while the student supplies the
blowing on a turned-around mouthpiece.
Unbelievable results are possible!
Legato finger movement differs signifi-
cantly from the light, deft typewriter snap
and the close finger action of tongued ar-
ticulation. Legato fingering also employs
light finger action but in addition it must
be controlled in a continuous up-and-down
action that never breaks its steady, stalking
Page 30
movement from one part of an interval to
the next. Legato style also permits the use
of otherwise forbidden high finger move-
ment both preceding and during progress
to and from keys and tone-holes. This is
sometimes permissible to establish a legato
mood in the fingers as well as to help
counteract popping and suddenness of
finger action.
The player must learn to approach from
within a very close range a key or tone-
hole under continuous movement, pause,
and then move in without popping or bang-
ing. This is particularly effective when a
finger covering requires simultaneous ar-
rangement of several fingers or when the
interval is particularly wide.
TRAINING LEGATO FINGERS
WITHOUT THE CLARINET
Legato finger-action can be approxi-
mated by placing the left hand, palm side
facing down, a few inches in front of one-
self with the index finger tip touching the
thumb tip. Raise the index finger off the
thumb tip in a continuous rise upward until
its highest limit is reached before all arch
straightens out in the joints. Ideal legato
fingers move both upward and downward
in a dreamy, continuous manner. On the
return make a preliminary upward, rounded
motion with the index finger, then reverse
the same action slowly, steadily and con-
tinuously all the way back to the thumb.
Permit nearby fingers freedom to react sym-
pathetically and similarly until the entire
hand is instilled with the legato feeling.
Continue this procedure with each of the
other fingers contacting the thumb. Extend
the routine to pairs of fingers operating
together, three fingers, and finally all four
moving to and from the thumb. Repeat the
whole procedure with the right hand.
THE CLARINET
NOW, WITH THE CLARINET
Practice playing intervals of your own
choosing, at random, with silent finger
movement on the clarinet before playing
them in sound. Repeat each exercise the
necessary number of times from slower to
faster tempo rates, both silently and then
in sound.
THE LEGATO PLAYING
STYLE ITSELF
Instrumental legato playing requires
plastic finger-binding across intervals to
approximate the near-glissando style com-
mon in vocal expression. The aim is to
play continuously across intervals without
the slightest stop or let-up, using tones as
guideposts to encircle rather than to bump
into, as though you were attempting to
personify a flowing stream with swiftly
running water. To continue the analogy, a
flowing stream of water may well be cov-
ered by rocks down below, but neverthe-
less the water flows smoothly and uninter-
ruptedly, allowing nothing at all to stop it.
Clarinetists often omit the great singers
invaluable use of smoothly flowing breath
up from lung source for playing purposes,
resorting instead to mere hard blowing on
the breath line.
AN APPROACH TO A
SINGING LEGATO STYLE
First establish the idea of singing on a
single tone, that first tone of two notes
comprising an interval. Any note, even the
shortest, has duration; therefore, become
aware of the first tones duration across its
dimensions with sensitivity for sustaining a
living, moving quality en route. One can-
not engage in legato style without being
concerned with tone quality. Make the first
note a pearl of the most beautifully cen-
tered tone possible, free of attack flaws,
and a sound that begins and holds to the
peak of tone quality across its duration. A
long tone is simply several short ones in
chained succession; a slurred group is sim-
ply one large, long tone comprised of sev-
eral shorter ones blended together.
Bend this first tone from its earliest be-
ginnings on in the direction of the new
tone ahead, spanning the interval without
loss of tone quality, without the slightest
break in the continuity of sound and with-
out any evidence of lunging the breath for-
ward or slamming the fingers into the sec-
ond tone of the interval. The actual cross-
ing is accomplished by continuously mov-
ing breath through a full-dimensioned
breath channel, the airflow adjusted to keep
the density equalized by means of the mid-
tongue which receives the air and redirects
it onto the reed with appropriate speed.
Equalizing breath density is one of the
essentials for successful playing of wide
intervals. Slow practice, while concentrat-
ing on sensing and maintaining an unbreak-
able plastic line, is the sure approach to
mastery of legato style. Forcing and leap-
ing with fingers and breath only destroys
the opportunity to gain permanent control.
Slowly played scales are excellent prac-
tice for legato style. Play slowly; half-
notes are even better than quarters for this
purpose. Listen critically so that the line is
continuous across each interval and that
tonal momentum continues across the dur-
ation of each tone after arrival. In descend-
ing scales, creep or stalk the fingers into
near-coverage, then complete the fingering
without banging the fingers down or grip-
ping the clarinet upon arrival. In ascending
scales practice lifting fingers deftly and
precisely without pre-pressing in or per-
mitting undue suddenness in the lift-off.
Also lift the tones across the interval spans
with the breath but without squeezing or
grunting each one by narrowing the throat
for each tone.
Another fine way to practice legato style
is to play scales in thirds and in fourths, if
you havent already done that in your ear-
lier interval practice.
CROSSING WIDE LEGATO
INTERVALS
It is common to hear wide intervals
crossed with a combination of increased
breath force, exaggerated embouchure
manipulation, and finger slamming. Cor-
rect crossings, either up or down, do re-
quire slight changes in lip pressure and
also slight adjustments of breath speed and
volume, but these are so minute that it is to
the players advantage to hold constant
with steady, normal breathing and lipping,
turning the responsibility over to his more
intuitive levels to draw exactly the amounts
needed from his stored energies to cross
the interval. Thinking in these terms, the
embouchure is maintained at normal activ-
ity, the breath steadily supported within an
open channel, while the fingers softly and
continuously change from position to po-
sition, quietly stalking each new tone.
Above all, neither shy off nor hold back
the breath on leaving the first note, nor
permit a last-minute surge accompanied by
a finger snap on nearing the second tone.
CLARINET LITERATURE
REQUIRING LEGATO STYLE
INTERPRETATION
Turn in Baermann, Part III, to No. 9,
Sixths. Look at the first two exercises,
the ones in C Major and A Minor. The rest
of the exercises, in the other keys, may be
used in the same way that these two are
used, of course.
Place no stress on speed. Practice each
key study in three tempi, the first allowing
a quarter-note value per tone, the second
an eighth-note value per tone, and in the
third, a sixteenth. But go to the sixteenth
values only after the first two playing pass
the test of truly unbroken legato lines
bending across from note to note with
whisper-soft landing of both fingers and
breath into each successive tone. Use the
breath to lift the tones plastically across the
intervals, circumscribing rather than bump-
ing into the tonal landings.
In No. 1 of the Forty Studies by Crylle
Rose, use a slow eighth-note beat, with the
metronome set at 76. As the slurred inter-
vals widen make a point to keep the throat
open with the air emanating from breath
source. In concentrating on the expanding
upper part of the interval, do not overlook
the continuous descending portion into a
soft landing on the lower tone.
Turn now to the slow movement (the
Larghetto) from Mozarts Clarinet Quin-
tet, K. 581, one of the most beautiful
March 2006
movements in all of clarinet literature. It
demands, of course, an extremely legato
playing style. Many lines are comprised
of half- and whole-steps. Insist that they
first meet your standards of pure legato,
then match the wider intervals to them.
Take the time to make a sostenuto on the
top tones of the octave crossings in ruba-
to fashion.
In the first Fantasy-Piece of the three
contained in Schumanns Opus 73 for
clarinet and piano, strive for what could
be called a velvety transference from tone
to tone.
A really choice, ultimate example of a
demanded legato playing style occurs in
the Andantino movement of the Brahms
Trio for Clarinet, Cello, and Piano, Opus
114. The passage in question occurs be-
tween Letters D and F in most editions.
The music is actually a Landler, almost
a waltz-style passage. In it the music de-
mands a continuation of sound across the
octaves with no dead-sound spots in leav-
ing the first tone of each octave interval,
and with no finger popping into the sec-
ond part of the octave. Take caution, as
well, to make the entrances without bump-
ing into them.
ARTICULATED WIDE
INTERVALS
Continuous breath flow accompanies
intervals bound together under slurred
lines (legato) whereas breath segmenta-
tion (breath releasing) together with the
action of the tongue touching back to the
reed delineates (separates) articulations. In
the interim between these separated tones
it is essential to maintain constant breath
support within an open throat even though
the breath itself is in a state of pause at
these points.
The breath channel must remain in
open readiness for breath availability
between each part of articulated wide inter-
vals with all playing factors, including sup-
port, remaining active. The breath is re-
leased off and held in forward suspension
as well as by breath control means in the
short interim between tonal members of
articulated wide intervals. This means that
breath must not be sucked inward to aid in
stopping tones, and that the support must
not be withdrawn momentarily between
the tones.
Page 31
 As with slurred wide intervals it is also
best to try executing articulated wide cros-
sings first by holding quietly with an es-
tablished abundance of playing energies in
the hope that our finer intuitive self will
draw from these stores exactly what is
needed to make the crossings. This means
that 1.) the embouchure is actively main-
tained, 2.) the breath is instantly available
and operating from breath source through
a continuously open throat channel, 3.) the
jaw and back tongue are both relaxed and
directing downward, and that 4.) the main-
tenance of light and free hands, wrists, and
fingers is essential. The mind oversees the
fingers continuance during wide interval
crossings while they merely change from
position to position.
It will be found helpful in playing a se-
quence of articulated wide intervals to es-
tablish a mean somewhere between the
outlying extremes of the intervals, remain-
ing there quietly in imagination while the
fingers move out to play the intervals on
either side. Little or no further energy is
offered by the lips or breath at either ex-
treme to play the tones.
Page 32
RANDOM, ISOLATED
THOUGHTS ON LEGATO
PLAYING STYLE
1.) The culprits, when legato playing is not
going well, are most likely to be the
fingers and the breath. The fingers tend
to snap to and from their positions to
force the tone to speak. The breath
tends to back off at critical times, caus-
ing a break in the line, or to overblow
in a bumping surge to ensure an inter-
val crossing. These faults must be
guarded against.
2.) If I were to describe legato playing
style, I would say that it is mainly a
smooth uninterruption of tone across
each interval, made without undue
breath surge, bumping or let-up, the
fingers moving precisely into place but
without snap.
3.) If we analyze what is happening with
the fingers during legato playing, we
may be reminded of a centipede, am-
bling along on its thousand legs, all co-
ordinated, but no single one of them
doing much actual work.
THE CLARINET
4.) I read an article once on legato playing,
written by Daniel Bonade. Mr. Bonade
made the point that before legato play-
ing can be mastered the player must
first master the playing on a well-bal-
anced reed. After that, he must be sure
that the breath keeps moving both dur-
ing and between consecutively played
legato tones, and that the fingers do not
slap onto the holes and keys. He says
there is nothing worse than hearing
more finger-action than real tone.
5.) I read another article once, this one
mainly about staccato playing, written
by Rosario Mazzeo. The very first and
most important point made by Mr.
Mazzeo was that before a person can
master staccato playing he must real-
ize that the ability to play a beautiful
legato style must not only come first,
but that it is actually the basis of a
good staccato style.
*****
In the next installment, we will deal
with Keith Steins materials having to do
with tone quality.
ABOUT THE WRITER
David Pino is professor of clarinet in
the School of Music at Texas State Uni-
versity in San Marcos. He studied clarinet
with Keith Stein for 15 years, and is the
author of the book The Clarinet and Clar-
inet Playing (Scribners, 1980, and Dover,
1998). He has performed and toured with
the David Pino Chamber Ensemble (clari-
net, strings, and piano), and is a former Se-
cretary of the International Clarinet Society.
The Clarinet
PUBLICATION SCHEDULE
The magazine is usually
mailed during the last
week of Feb ruary, May,
August and November. De-
livery time within North
America is normally 1014
days, while airmail deliv-
ery time outside North
America is 710 days.
March 2006 Page 33
 A TRIBUTE TO
T
Josef Hork and Emma Kovrnov
(photo by Alex Millier)
he bass clarinetist par excellence
Josef Hork died on November 23,
2005, in Germany at the age of 74.
In March 1955, Josef Hork gave the first
solo bass clarinet concert in musical his-
tory and from that moment on he gave his
time and energy to assure his beloved in-
strument the recognition it deserved.
Josef had a lot of energy, a strong will
and never stopped working apart from
relaxing after his concerts while enjoying
his favorite cognac!
In Emma Kovrnov he found his per-
fect partner he the dreamer, she with
both feet on the ground.When they made
their countless concert tours by car Emma
Page 34
Josef Hork
always drove because, as she said, dream- Ho rk answers, Because Hin demith
ers should not drive!
Their life as Due Boemi di Praga was
not very easy. Due to the political situation
in communist Eastern Europe they had
great difficulty in performing and getting
new works from composers in the West.
Josef loved to tell the anecdote about his
first meeting with Paul Hindemith. After an
orchestra rehearsal in a German radio stu-
dio Hork stayed a bit longer, because he
wanted to play and explore the bass clar-
inet. A man enters the studio, sits down and
starts listening. After a while he starts ask-
ing questions: Can you do this? Could you
play this phrase an octave higher?, etc. At
the end of this spontaneous session the man
asks, Why dont you play Hindemiths enjoyed seeing that his work for the instru-
Bassoon Sonata on the bass clarinet?
THE CLARINET
by Henri Bok
wouldnt agree! Upon which the man ap-
proached him and said, May I introduce
myself? My name is Paul Hindemith.
Hork has performed this Sonata ever
since. That also applies to many other
com positions which were dedicated to
him: Josef Hork has added hundreds of
new works to the bass clarinet repertoire.
Josef was a very generous person, not
only with time and knowledge, but he
would also give his CDs away to col-
leagues and students. Anybody looking for
scores could count on his help; soon a
package of music would arrive from him.
When giving master classes he always
encouraged the younger generation and
ment would be continued. His dream was
always to create a real brotherhood of bass
clarinetists and to enhance a spirit of coop-
eration rather than competition.
It was wonderful that, in spite of his
poor health, his sheer determination meant
that Josef could make it to the First World
Bass Clarinet Convention held in Rotter-
dam in October of this past year, to give a
concert, be a jury member and speak about
his musical life.
As Josef wrote in the program booklet:
My dream became reality! The never-
ending standing ovation given to him by
his peers was the crown on his work.
Josef Hork will live on in the musical
world where he will always be remem-
bered for his pioneering work as the am-
bassador of the bass clarinet.
Visit the I.C.A.
on the World Wide Web:
www.clarinet.org

IN
Memoriam
A TRIBUTE TO DAVID WEBER
D
by David Goodman
avid Weber, a legendary clar-
inetist whose performing career
spanned six decades and who
taught several generations of students,
passed away on January 23, 2006. He was
92 years old. He was still teaching until
about six months before his death.
Dave was friendly with and studied
with the greatest clarinet players of the last
era, said Donald Montanaro, who retired
last year as associate principal clarinetist
in The Philadelphia Orchestra and still
teaches at the Curtis Institute of Music. A
longtime friend of Weber, Montanaro ob-
served, He was the last link to people like
Hamelin, Cahuzac, McLane, Bonade and
Bellison. In lessons that I and numerous
others had with Weber, he would frequently
offer tips or anecdotes passed on to him by
these masters. To study with David Weber
was to become part of the fabric that binds
generations of clarinetists.
Bernard Van Doren, head of the com-
pany that makes the reeds and mouthpieces
that Weber played throughout his life,
remarked, David Weber was a prestigious
teacher and soloist. His teaching influ-
David Weber
enced generations of clarinetists that now
hold important positions in orchestras
around the world. At Vandoren, it was a
pleasure to meet him, because he was not
only a kind man, but very professional.
Weber began his clarinet studies with
Roy Schmidt of the Detroit Symphony,
before moving to New York in the 1930s,
where he studied with Simeon Bellison and
Daniel Bonade. He became fast friends
and occasional rivals with another Bonade
student, Ralph McLane, who later became
principal clarinetist in The Philadelphia
Orchestra. In 1938, Weber auditioned for
Arturo Toscanini, who hired him on the
spot to play E clarinet in the NBC Sym-
phony. He went on to play assistant princi-
pal clarinet in the New York Philharmonic
in 19431944 alongside Bellison. He was
principal clarinetist in the CBS Symphony
Orchestra from 19461952, and then as-
sumed the same position in the Symphony
of the Air (the successor to the NBC Sym-
phony) under Leopold Stokowski. In 1964,
he became principal clarinetist in the New
York City Ballet Orchestra until his retire-
ment from performing in 1986. He was also
on the faculty of Juilliard and Columbia
Teachers College.
A well read man and a famously dap-
per dresser, Weber was proud and emo-
tional traits that periodically got him
into trouble with powerful conductors
such as Bruno Walter and Fritz Reiner.
His clashes with these maestros cost him
professionally, and led him to offer hum-
ble advice to his students: You have to be
like I wasnt. Youve gotta have big ears
and a small mouth.
Karl Leister, formerly principal clarinet
in the Berlin Philharmonic and a friend of
Weber, noted that what set David Weber
apart as a teacher was that he was also a
gifted performer. I always felt he was one
of the really professional musicians be-
cause he was always active and playing in
the New York City Ballet in the time when
he was teaching. Leister also appreciated
Webers personal style. For me, David
was in the style of European grand seor.
He acted in a style where everybody must
respect him. He was well dressed always,
March 2006
and he had a special feeling about whats
important in being together with another
human David was always for me young,
a young man, because he was so interested
in so many things, and he was so open.
Weber was an old school mentor. He
cared about his students clarinet playing,
but he also cared about our lives. Lessons,
which included plenty of shouting and
tough love from the master, typically took
two to three hours, followed by lunch at
Barney Greengrass, a Jewish diner on 86th
St. The affection he showed his students
was mutual, as a number of us gathered
with him to celebrate his 90th birthday in
2003, and a smaller group joined him
again last December for his 92nd birthday
in his Upper West Side apartment.
Webers enduring contribution is his
lifelong pursuit of beautiful tone. The most
important thing, he would implore his stu-
dents, is to have a beautiful sound. A
double-lip player, Weber would teach his
students to strive for a rich, liquid, bell-like
sound, a style exemplified by players such
as himself, McLane and Harold Wright.
As I grew to understand over the years, a
beautiful sound meant much more than
simply having good tone. It meant making
music: elegant phrasing, fluid technique,
and using the instrument to express your-
self. As he implored, The clarinet is your
voice. Sing!
That beautiful Weber sound can be
heard in the playing of his many students,
who now occupy seats in major orches-
tras including Cleveland, Milwaukee,
Dallas, Philadelphia, American Ballet
Theater, the Metropolitan Opera Orches-
tra and elsewhere.
I asked him not long ago what he felt
his legacy has been. He considered it,
then said contentedly, I gave a good les-
son. Indeed. We will miss him. But the
lessons he gave us in life and music will
outlive him. And every time a beautiful
sound passes the bell of a clarinet, the
legacy of David Weber and the masters
who taught him will be passed on to ano-
ther generation.
ABOUT THE WRITER
Vermont-based writer and clarinetist
David Goodman (<david@dgoodman.
net>) is co-principal clarinetist of the Mont-
pelier Chamber Orchestra and founder of
the Vermont Chamber Players.
Page 35
Buffet Crampons
180th Anniversary Concert
O
A Report by James Gillespie
n November 10, 2005, The City
of Love should have changed its
name for the day to The City that
Loves the Clarinet. Buffet Crampon cele-
brated its 180th anniversary at Paris Cit
de la Musique before a capacity audience
of 900 with a spectacle/concert that was
unique in the history of the instrument.
Under the supervision of Paul Baronnat,
president of Buffet Crampon, it featured
performances by some of Buffets most
distinguished artists from throughout the
world, works for various combinations, a
multimedia presentation on a large screen
(see cover) with interviews and testimon-
ials of clarinetists and many other short
features, all of which was overseen by an
actor-announcer in at times period
costumes, etc.
However, before the concert proper be-
gan, the audience waiting in the lobby was
treated to some brilliant clarinet quartet
playing by Les Anches Hantes (Elise
Marre, Nicolas Chtelain, Maxime Penard
and Romain Millaud) that appeared in var-
ious locales in the space, playing always
from memory with amazing energy and
polish. What a starter course for the musi-
cal meal that was to follow in the main
auditorium (see photo 1)!
The first performance featured Seiji Yo-
kokawa (Japan) and Jon Manasse (U.S.A.)
Jean-Louis Capezzali, oboe, Sandrine Cavalier-Pastor, clarinet, Claire Levacher, conduc-
tor, Andr Cazalet, horn, and Gilbert Audin, bassoon, taking bows after their performance
of the Mozart Sinfonie Concertante
Page 36
in Franz Krommers Concerto for Two
Clarinets and Orchestra, Op. 35, with the
Orchestre des Laurats du Conservatoire,
conducted by Claire Levacher, a profes-
sional orchestra of recent graduates from
the conservatories in Paris and Lyon. This
established a high standard of artistry that
never faltered for the reminder of the eve- 1
ning (see photo 2).
The Krommer duo concerto was fol- Les Anches Hantes clarinet quartet per-
lowed by Mozarts Symphonie Concertante forming in the lobby before the concert.
for oboe, clarinet, bassoon, horn and or-
chestra with a refined and elegant perfor-
mance by Sandrine Cavalier-Pastor, clar-
2
inet, Gilbert Audin, bassoon, Jean-Louis
Capezzali, oboe, and Andr Cazalet, horn.
Cavalier-Pastor presently serves as solo
clarinet in lOpra National de Lyon (see
photo 3).
The second half of the concert began
with a hommage to the late Jacques Mil-
lon, the highly esteemed bass clarinetist Seiji Yokokawa and Jon Manasse per-
and basset hornist of the lOrchestre de forming the Krommer Concerto for Two
lOpera de Paris from 1957 until 1990. Clarinets, Op. 35
Philippe Cuper, Jrme Julien-Laferrire,
Jean-Nol Crocq, Philippe-Olivier Devaux
and Bruno Martinez played Mozarts Ada- 4
gio for two clarinet and three basset horns,
followed by Claude Kesmaeckers arrange-
ment for seven bass clarinets of Villa Lo-
bos Bachianas Brasileiras played marvel-
lously by Jean-Nol Crocq, Philippe-Oli-
vier Devaux, Christian Douliez, Stphane
Kwiatek, Eric Leclerc, Bruno Martinez
and Alexandre Ringeval (see cover photo).
3 Paul Baronnat
(l to r) Bruno Martinez, Philippe-Olivier
Devaux, Jean-Nol Crocq, Jrme Julien-
Laferrire and Philippe Cuper performing
the Mozart Adagio
THE CLARINET
 7

One may never hear such refined playing Clarinet choir in the finale
by seven bass clarinetists ever again!!
8
Although Michel Arrignon was origi-
nally scheduled to play next, due to his ill-
ness, Pascal Moragus, his colleague on
the faculty of the Conservatoire National
Suprieur de Musique de Paris, substi-
tuted brilliantly in a performance of Cop-
lands Concerto for Clarinet and Orchestra
marked by high energy and enthusiasm.
The concert finale and dessert course
for the evenings clarinet feast featured the
world premiere of Bertrand Hainauts clev-
er and skillfully scored 180 ans dj for
clarinet choir with piano which was com-
missioned by Buffet Crampon for the event.
All the evenings artists took part augment-
ed by other performers for a total of about
30 players, conducted by the composer. It
featured excerpts and motives from famous
clarinet solos from the orchestral repertoire
(Gershwin, Weber, Rossini, Ravel, Rimsky-
Korsakov) and solos by Poulenc, Debussy, Marc Hollogne, announcer and moderator
to name a few, with Happy Birthday
capping off the clarinet potpourri. It was
made of, by and for clarinetists, and how 9
could it have been better?
It was a rare and historic evening in-
deed, and all those associated with the
planning and performance of it should take
great pride. The clarinet and Buffet Cram-
pon were extremely well served!
(All photos courtesy of Buffet Crampon)

Pascal Moragus Jon Manasse with the celebratory confetti

March 2006 Page 37

F
by Christine A. Zimmerman
or years, the combination of Buffet
Crampon and Vandoren has resulted
in musical excellence for clarinet-
ists. That tradition continued with a clarinet
choir festival sponsored by the two giants,
held October 1516, 2005, in Atlanta,
Georgia. The free event celebrating 100
years of Vandoren and 180 years of Buffet
Crampon was hosted by the Atlanta
Clarinet Association with the support and
direction of Florida State University.
On the 16th floor of the Atlanta Airport
Marriott hotel, students, instructors, pro-
fessional musicians, and hobbyists enjoyed
master classes, clarinet choir performances,
vendor displays, and lots of camaraderie.
The event opened with a master class pre-
sented by Festival Director Mitchell Estrin
who is the Associate Professor of Clarinet
at the University of Florida and Educational
& Creative Development Manager for Buf-
fet Crampon USA. Titled Three Steps to
a Great Warm-up, the class focused on
achieving the maximum warm-up results
in the minimum amount of time. Estrin
discussed how proper warm-up techniques
can also help build stronger clarinet funda-
mentals such as tonal quality, even timbre
throughout the range of the instrument, and
symmetry in articulation. Estrin, who was
instrumental in making the festival a reali-
ty, stressed the importance of events like
these to help clarinetists continue to grow
in their art. Due to a number of factors,
the clarinet choir has been relatively silent
since the 1970s, said Estrin. The Buffet
Crampon/Vandoren Clarinet Choir Festi-
val is a shining example of the resurgence
of the clarinet choir as an important musi-
cal medium and marks a commitment by
the presenters, performers, educators, and
attendees to the writing of a new chapter in
the history of the American clarinet choir.
Following the master class were perfor-
mances by clarinet choirs from Georgia
Southern University (Linda Cionitti, Direc-
tor) and the Atlanta Clarinet Association
(Robert Janssen, Director). Michael Skin-
ner, President of Dansr (U.S. importer for
Vandoren products), then spoke on the art
Page 38
(l to r) Franois Kloc, Michael Skinner, Mitchell Estrin, Harvey Hermann and Luan
Mueller
of reed making and fielded various ques-
tions including speaking on the subject of
working on reeds and consistency. Fran-
ois Kloc, Director of Marketing and Artist
Relations for Buffet Crampon, shared in-
formation on the companys rich history
and ongoing contributions to musicians.
Monsieur Kloc also performed on-the-spot
repairs, adjustments, and tune-ups for many
of the event participants.
In the afternoon, attendees enjoyed per-
formances by clarinetists from the Univer-
sity of West Georgia (Luan Mueller, Direc-
tor) and the University of Florida (Mitchell
Estrin, Director). Michael Drapkin, who
was a member of the Honolulu Symphony
Orchestra as associate principal and bass
clarinet and was principal clarinet with the
New York City Opera Touring Company,
presented a bass clarinet master class. The
day concluded with performances by a
clarinet quartet from Georgia State Uni-
versity (Ken Long, Director) and various
Georgia clarinet professors ensembles.
The second day featured performances
by Columbus State University (Lisa Ober-
lander, Director), the Chattanooga (Ten-
nessee) Clarinet Choir (Stuart Benkert,
Director), and the U.S. Army Ground For-
ces Band Clarinet Quartet (Terrina Ander-
son, NCOIC). The two-day event culmi-
nated in a performance by a high school
honors choir, directed by Luan Mueller,
THE CLARINET
and a rousing performance as nearly 100
clarinetists joined together for a festival
mass clarinet choir directed by Harvey
Hermann. Hermann, who served on the
University of Illinois Band Department
faculty for 32 years and created and con-
ducted the University of Illinois Band Clar-
inet Choir for many years, was also a for-
mer solo clarinetist of the U.S. Army Far
East Headquarters Band in Japan and
played principal clarinet with the Tokyo
ABC and Yokohama Symphony Orches-
tras. A full listing of performance pieces
from the festival, with sound clips, is avail-
able at <www.atlantaclarinet.org>.
Throughout the event, vendor displays
from festival sponsors gave attendees the
opportunity to peruse music, stock up on
supplies, and try out mouthpieces and clar-
inets. Carere Music, Opus Winds, and
Doctors Products, all charter sponsors of
the Atlanta Clarinet Association, received
much interest from event participants.
Appreciation for the contributions that
suppliers make to musical artistry was
noted. We musicians sometimes take for
granted the tools of our trade, but we
should stop and think for a minute about
the valuable contribution companies like
Buffet, Vandoren, and others have made
to our art, commented Harvey Hermann.
Where would we be without fine instru-
ments to play?
 As the festival came to a close, the pre-
vailing sentiment from participants and
sponsors about the event sparked talk of
making it an annual occurrence. This was
a rare treat to be immersed in fine clar-
inet instruction and performances for an
entire weekend, and then top it off with the
unique camaraderie that emerges when
playing great orchestral works with a hun-
dred newfound friends, said Mike Moore,
President of the Atlanta Clarinet Associ-
ation. Michael Skinner, President of Dansr,
added, We were thrilled to co-sponsor
this event. The Atlanta Clarinet Associa-
tion has long been known for a very active
group. We saw this as an opportunity to
continue the Vandoren mission of staying
close to the musician. It was a great event,
and yes, we were definitely able to stay
close to the musicians. Wed consider do-
ing it again!

ABOUT THE WRITER

Christine Zimmerman is a marketing
communications professional and a clar-
inetist in the Atlanta Wind Symphony, a
75-member volunteer symphonic band.

March 2006 Page 39


CLARINET ASSOCIATION
CLARINETFEST 2005
In TAMA, TOKYO, JAPAN
JULY 1724, 2005, PART II
Review
T
he Friday morning, July 22, re-
citals began with Ching-chun Lin,
clarinet (Taiwan) and Jen-Yi Wang
on piano playing the fun Horovitz Sona-
tina in an excellent performance. Hakon
Stodle, clarinet (Norway) and Tomoko
Kaihoko, piano, played a nationalistic
piece by Ketil Vea titled Suite for clarinet
and piano. It was well done. At mid-morn-
ing the Vintage Quartet from Portugal took
the stage. Young members Iva Barbosa,
Candida Oliveira, B clarinets, Jos Eduar-
do Gomes, basset horn and B clarinet, and
Ricardo Alves, bass clarinet played a fabu-
lous program featuring the quartet works
of Paul Harvey, Jean Franaix, and Portu-
guese music arranged by Victor de Faria.
Bravo to this group who played with lots
of style and passion. Their warm ovation
was treated with an encore written by Pa-
quito DRivera.
Charles Neidichs SRO master class,
Analysis, Expression and Technique
Three Sides of the Same Coin, featured
Young Artist Competition participants
Alexey Gorokholinsky (Russia), Sae-rom
Kim (Korea) and Naoko Danno (Japan).
His lovely wife, Ayako Oshima, ably as-
sisted him for translation. Neidich focused
his remarks on an analysis of the music
and the composers intentions using har-
monic and line analysis (e.g., using differ-
ent means of expression according to the
harmony). Performers were asked to keep
the intensity throughout the line or phrase
with subtle differences for contrasting
phrases. He encouraged wind players to
compare their use of air to what string
players do for attacks and swelling. He
also noted the importance of the accompa-
niment along with the soloist to complete
the emotional impact of the entire passage.
Page 40
THE INTERNATIONAL
by Kelly Johnson
and Alan E. Stanek
He asked students to consider the ques-
tions, Where does the melody go and
when it does, how could the composer
have done it differently that wouldnt have
been as dramatic or as beautiful? He
often remarked, Dont play long tones
like a door bell. Neidich encouraged
participants to be energetic, passionate,
aggressive and sensitive.
The I.C.A. Board of Directors Recital
began mid-morning. It is always fun to
hear the current leaders of our organiza-
tion play to realize that in addition to run-
ning the I.C.A, they are top-notch per-
formers as well. This year did not disap-
point. Michael Galvn, current president,
expertly played the exciting Lutoslawski
Dance Preludes with pianist Naoko Endo.
Lee Livengood, president-elect, followed
with pianist Melissa Livengood for a beau-
tiful rendition of the second and third
movements of the Horovitz Sonatina. Kris-
tina Belisle, secretary, did an excellent job
with the difficult Gra for clarinet alone by
Elliot Carter. Rose Sperrazza, executive
director, played the very unique Lee Thim-
mig Stanzas, Book XIV with great style.
Diane Barger, treasurer, wowed the audi-
ence with her fantastic technique and tone
on the E clarinet by playing Giacomo
Panizzas Ballabile con Variazioni aus
dem Ballett Ettore Fieramosca with pi-
anist Yuki Nakajima. Robert Walzel, past
president, ended this wonderful program
with a fast, fun, and energetic performance
of Simon Sargons Klez Muzik.
Editor of The Clarinet, James Gillespie,
was given The Awardee Recital and per-
formed with his former student and the
host of the I.C.A. ClarinetFest from last
summer, Marguerite Baker, clarinet, and
Yuki Nakajima, piano. The opening selec-
tion, a duet for two clarinets titled Views of
the Blues by Gordon Lewin, was a terrific
change of pace from the music heard at the
THE CLARINET
convention so far, and Gillespie and Baker
matched beautifully. Gillespie then played
a brand-new clarinet and piano version of
Viktors Theme from the film The Ter-
minal by John Williams. This piece, which
is fun and accessible for any audience, will
soon be available for purchase through Hal
Leonard. The final duet, Gary Schockers
Sonata for Two Clarinets, was a fun and
fitting end to the recital.
After the I.C.A. business meeting, the
hosts of the Atlanta, Georgia 2006 Clar-
inetFest took the stage. The Fountain
City Ensemble kicked off the program
with the exciting new piece titled Found
Objects by award-winning composer J.M.
David. Lisa Oberlander showed her daz-
zling technique on B and bass clarinets in
this four-movement piece. Jeffery Olson
ably performed Paul Richards Magic
Forest Scenes for solo clarinet (2000). Jo-
seph Eller presented Busonis obscure but
beautiful composition, Elegia, and Lau-
rence Sherrs Duo Concertante for Clari-
net and Piano. D. Ray McClellan pro-
grammed two wonderful works, Domen-
ico Scarlattis Andante e cantabile from
the Sonata in A Major, K. 209 and Ernest
Chaussons Andante and Allegro. Eller
and McClellan concluded the recital with
Mendelssohns Konzertstucke No. 1 in F
minor, Op. 11.
An early afternoon recital featured sev-
eral Japanese students of Jacques Lan-
celot. Ayako Oshima performed Joseph
Prinzers Duo Concertante from the Lan-
celot Collection, and Shigeru Ikushima
and Tadayoshi Takeda gave a fine reading
of Deviennes Sonate No. 2 for two clar-
inets and clavier. Kazuko Ninomiya ren-
dered Pierns Canzonetta. JCS President,
Koichi Hamanaka, played the ever-beauti-
ful Debussy Premire Rhapsodie, and a
clarinet sextet with Kenji Matsumoto,
Keiichi Atsuta, Yuji Furusawa, Ikuko
Nihio, Hisae Kori and Tomohio Owada
gave us the enjoyable En Famille of Ray-
mond Loucheur (see photo 1). Toru Hora
was the commentator with Naoko Ishi-
bashi at the piano and harpsichord.
Richard Fletcher, clarinet, Kristine
Fletcher, bassoon and Barbara Wimunc-
Pearson, piano, make up Clearly Three, a
trio from the U.S.A. Their recital treated
their audience to Benjamin Gutirrezs
Trio (1987) and Ivana Loudovs Italsk
(Italian) Trio (see photo 2).
No. 1: Clarinet sextet perforning Raymond Loucheurs En Famille. Kenji Matsumoto, E
clarinet, Keiichi Atsuta, Yuji Furusawa, Ikuko Nishio, B clarinets, Hisae Kori, alto clar-
inet, Tomohiko Owada, bass clarinet

Kenji Matsumoto joined Arrignon for a

beautiful performance of Poulencs Sonate
for two clarinets (see photo 3). Then a real
change of pace occurred. Remembering
his first appearance at the 1986 I.C.S.
Conference in Seattle and again at the
1996 Paris ClarinetFest , 76-year-old-jazz
clarinetist, Eiji Kitamura, continues to

inspire audiences with his big sound and

No. 2: Clearly Three Trio, Richard Flet-
cher, clarinet, Kristine Fletcher, bassoon,
Barbara Wimunc-Pearson, piano
At the Rico in Concert another stand-
ing room only audience warmly received
Michel Arrignon (France) in a speedy per-
formance of Camille Saint-Sans Sonate.
tasty riffs. His renditions of Memories of
You and Begin the Beguine brought the
house down, requiring two encores. His No. 4: Eiji Kitamura
inspiration came from a 1957 jazz session
with Benny Goodman when Goodman
came to Japan as a cultural ambassador.
Thanks, Eiji, for the memories (see
photo 4).
One of the newest great clarinetists on
the world scene is Jean-Daniel Bugaj, win-
ner of the 1st Prix du Conservatoire Paris.

No. 3: Michel Arrignon and Kenji Matsumoto in the Rico in Concert recital

March 2006 Page 41

A stunning performance of Bassis Rig-
oletto Fantasia di concerto (Verdi) con-
trasted with Debussys Petite pice (see
photo 5). His performance of the first
movement of Franco Donatonis Clair re-
called memories of the first time experi-
encing another great French clarinetist,
Philippe Cuper, and a young Ricardo Mo-
rales. BRAVO!
The Buffet Crampon 180th Anniversary
Recital showcased clarinet artists from
Hong Kong/U.S.A., Taiwan, The Nether-
lands, Belgium, Portugal and Japan. An-
drew Michael Simon, principal clarinetist
in the Hong Kong Philharmonic, demon-
strated a lovely way to start a recital with
Rachmaninoffs beautiful Adagio from
Symphony No. 2 in E Minor, Op. 27. Then
we were treated to the difficult and techni-
cally demanding composition, CARNYX,
written for Andrew Simon by Serban
Nichfior. He closed his portion with Peter
No. 5: Jean-Daniel Bugaj and Naoko Ishibashi
Margulies beautiful arrangement of Gersh-
wins Summer Time (see photo 6). Wei-
Leng (William) Chen, principal clarinetist
in the Taipei Symphony Orchestra, gave us
two movements of Roger Boutrys En Bleu
et Rouge and Eric Sammuts jazzy Zap-
ping Trio for clarinet, marimba and string
bass (see photo 7). Bass clarinetists Harry

No. 6: Andrew Michael Simon and Naoko Ishibashi

No. 7: Yuho Ishikawa, marimba, William Chen, clarinet, and Keita Tadokoro, coinrabass

Page 42 THE CLARINET


No. 8: Jan Guns
Sparnaay and Jan Guns were as different
as day and night in their approach to the
instrument and selections performed.
Sparnaay gave us lots of tongue slaps, etc.
in I. Szeghys unaccompanied Prelude e
Danza, while Guns played the accompa-
nied and introspective Thrushes in Forest
by Takao Shirakawa (see photo 8). An-
tonio Saiote, I.C.A.s National Chairperson
for Portugal, played the ever-popular Hun-
garian Dances of Bla Bartk. With tech-
nique to burn, Shigeru Ikushima on B and
Kenji Matsumoto on E gave us a great
performance of Luigi Bassis Gran Duo su
La Sonnambula di Bellini.
Friday evening our hosts scheduled
a Fest Special Jazz Concert in the Concert
No. 10: The British Clarinet Ensemble, with soloist Anna Hashimoto (Tartini/Jacob,
Concertino)
No. 9: Eiji Kitamura, Buddy DeFranco and Eddie Daniels during the Fest Special Jazz
Concert
Hall. A packed audience (ca. 2,000+) en-
joyed clarinetists Eiji Kitamura, Eiji Tani-
guchi, Eiji Hanaoka and Masahiro Taki-
kawa with a trio of piano, bass and drums.
Buddy DeFranco and Eddie Daniels held
forth with the Fest Special Jazz Orchestra
(2005). Much fun and a very enjoyable
evening in Tama (see photo 9)!
Saturday morning began with Javier
Vinasco (Mexico) performing M. Lavistrs
solo clarinet work, Madrigal, employing
some well-done multiphonics, and Berios
Sequenza IXa. Frank Sidorfsky on basset
horn delighted us with Casper Kummers
Adagio and Variationen, Op. 45, and the
unaccompanied Allemande, Courant and
Gigue from J. S. Bachs violoncello Suite
March 2006
No. 3. Jzsef Balogh, substituting for
Stephan Siegerthaler, delighted the audi-
ence with solo improvisations on Hun-
garian gypsy melodies, Brahms Hun-
garian Dance No. 6 and Romanian Dances
encouraged by audience participation.
Again, Andrew Simon displayed beautiful
contrasts in Bellinis Fantasy on Themes
from I Puritani followed with Nikola
Resanovics ALT.MUSIC.BALLISTIX for
B  Clarinet and Digital Audio Tape.
Stephen Fox (Canada) expertly played a
very nice piece, the Sonate by Paul Juon,
and Clifford Crawleys Tenapenny Pieces.
A Clarinet Choir Banquet in the Con-
cert Hall featured clarinet choirs from dif-
ferent areas of Japan and Great Britain (see
photo 10). Giving many clarinetists an op-
portunity to perform with others, these
large clarinet ensembles performed mostly
standard arrangements of orchestral works.
Back in the Recital Hall, Korean Im-So
Lee impressed us with a beautiful tone and
musical feeling offering Rossinis Una
voce poco fa from The Barber of Seville.
Antonio Saiotes accomplished pianist,
Michiko Tsuda, in a marvellous collabora-
tion, accompanied him in three works from
their latest CD. First we heard three pieces
from Fernando Lapas nem tudo ou nada.
This was followed by a beautiful perfor-
mance of Arthur Benjamins Le Tombeau
de Ravel, Valse-Caprices and an interest-
ing and lovely work by Takashi Yoshi-
matsu titled 4 Pieces in Bird Shape. The
Page 43
Lapa and Yoshimatsu works are especially
recommended (see photo 11).
At the same time Shuhei Isobe gave a
research presentation in the Conference
Room titled Hidden Message in the Pieces
of Brahms and Schumann.
The American Composer Series 2
recital began with Leanne Manning Chan
(Australia) playing Robert Muczynskis
Time Pieces. Nathan Williams (U.S.A.)
gave the world premiere of Zachery Bern-
steins Untitled New Work (2005) followed
by Leslie Bassets Arias (1992). Williams
is a wonderful player giving an exciting
performance of two contemporary pieces
quite similar in content. Thomas Piercy No. 11: Antnio Saiote and pianist Michiko Tsuda
performs on Rossi Rosewood clarinets
with an English bore. Producing a different
but quite interesting tone quality, he skill-
fully played the lovely and dance-like Ton-
ada y Cueca by Carlos Guastavino, Kal-
men Oppermans haunting Un Seul, and
Ned Rorems Four Colors, Red-White-
Blue-Orange, written for him in 2003.
Robert Spring began his portion of the
recital exploring the heights and depths of
Thomas Wells Aus Tiefer Not, a work for
unaccompanied clarinet based on a chorale
of J.S. Bach. Accompanied by gifted pian-
ist, Gail Novak, Spring gave the world pre-
miere of Texas composer Mark Schultzs
rock & roll-based Of shadow and fire.
Spring is an intense and showy performer
always creating an interesting interaction
with his audiences. He brought the recital to
a close with a dazzling rendition of Jules De- No. 12: Naoko Kotaniguchi and Claude Faucomprez
merssemans Moreau de Concert, Op. 31.
The Yamaha Corporation sponsored a
well-attended recital Vent de Normandie
featuring Claude Faucomprez of France
and Naoko Kotaniguchi of Japan. They
played Carl Baermanns Duo Concertante,
Op. 33 for two clarinets and piano (see
photo 12). Quintet No. 3 in E, Op. 23 by
Heinrich Baermann and Quintet in B, Op.
34 by C. M. von Weber were given excel-
lent readings ably assisted by a wonder-
ful string quartet. Jonathan Cohler (U.S.A.)
was warmly welcomed for his performan-
ces of Louis Cahuzacs Cantilne, Luciano
Berios Sequenza IXa, and Simon Sargons
Klez Musik. Jonathan has obviously been a
frequent guest in Japan and he spoke flu-
ently to this mostly Japanese audience.
Between the previous recital and the
early evening recital we experienced the
effects of a 6.2 magnitude earthquake cen-
tered somewhere near Tokyo. The Trio No. 13: Koichi Hamanaka and Atsuki Tsutsumi (ceramic clarinet)

Page 44 THE CLARINET


No. 14: F. Gerard Errante accepting the I.C.A. Lifetime Achievement Award (I.C.A.
board members at left and President Michael Galvn seated)
No. 15: Wenzel Fuchs, clarinet, and Masayuki Okamoto, bassoon, soloists with the
Japan Chamber Orchestra in Strauss Duet-Concertino
Sonor (U.S.A.) of clarinetist John Mas-
serini, bassoonist Albie Micklich and pian-
ist Naoko Endo were unshaken as they gave
an excellent performance of the intriguing
arrangements of Max Bruchs Three Pie-
ces for Clarinet, Bassoon and Piano, Op.
83 and Astor Piazzollas Two Argentin-
ean Dances. These arrangements are well
done by Trio Sonor and are welcome ad-
ditions to the ensemble repertoire. After
four days of non-stop, mostly solo recital
performances, the unique sounds of such
colorful combinations were appreciated.
ClarinetFest selection committees
please take note!
The reviewers did not attend an inter-
esting program sponsored by the Musica
Ceramica Foundation of Japan. Atsuki
Tsutsumi on a ceramic clarinet and Koichi
Hamanaka on a normal B clarinet com-
pared the normal wooden clarinet with a
ceramic clarinet in performances of Akira
Miyoshis Perspective en Spirale and
Mendelssohns Konzertstcke No. 1, Op.
113 (see photo 13). It was reported that the
other non-commercial items intended for
ceramic clarinet was beautifully crafted but
was quite heavy in weight. An acoustical
review awaits reporting in The Clarinet.
Where is Lee Gibson when we need him?
Following the I.C.A. Awards Presen-
tation to winners of competitions, Honor-
ary Membership/Lifetime Achievement
Awards, etc. (see photo 14), a very large
crowd was on hand to hear a wonderful
evening of music played by the Japan
Chamber Orchestra accompanying clar-
inetist Masaharu Yamamoto and flutist
Yumiko Sakuma for Franz Danzis Con-
certante for Flute, Clarinet and Orchestra,
Op. 41. The professionalism and musician-
ship of these artists was outstanding. Next
we heard Richard Strauss Duet-Concertino
for Clarinet, Bassoon and String Orches-
tra with Harp performed by clarinetist
Wenzel Fuchs (principal clarinetist in the
Berlin Philharmonic Orchestra) and bas-
soonist Masayuki Okamoto (Japan) (see
photo 15). The appreciative audience
demanded an encore and the artists obliged
with Poulencs Duet for Clarinet and
March 2006
Contacts for
The Clarinet:
Send all articles, recital programs, orders
for back issues, announcements and any
publication in The Clarinet to:
James Gillespie,
Editor/Publisher
College of Music,
University of North Texas
P.O. Box 311367
Denton, Texas 76203-1367
E-mail:<jgillesp@music.cmm.unt.edu>
Send all printed materials
(music, books, etc.) intended for
review in The Clarinet to:
Joseph Messenger,
Editor of Reviews
Department of Music,
Iowa State University
Ames, Iowa 50011
E-mail: <jmesseng@iastate.edu>
Send all recordings intended for review
in The Clarinet to:
William Nichols,
Audio Review Editor
School of Music,
University of Louisiana at Monroe
Monroe, Louisiana 71209-0250
E-mail: <wnichols@ulm.edu>
Send all inquiries about advertising,
notices of change of address,
inquiries about I.C.A. membership,
missing issues, etc., to:
So Rhee,
Executive Director
P.O. Box 510650
Salt Lake City, Utah 84151
E-mail: <execdirector@clarinet.org>
Page 45
 formance by Anna Hashimoto, solo clar-
inet (see photo 18). The entire program
was fantastic.
Over the noon hour, the first part of the
clarinet and electronics program began.
Under the direction of technical director
Takayuki Rai, the MAMI Trio (Japan/
France) played a varied program. Mem-
No 16: Super Wind Orchestra, Michiyoshi Inoue, conductor bers Mami Nakamura, B and bass clar-
inet, Ren Michel, accordion, and Noel
Bassoon. The final presentation of this
wonderful evening was Aaron Coplands
Concerto for Clarinet and Orchestra per-
formed by Charles Neidich. Again an en-
core was demanded and Neidich gave us a
dizzying rendition of Perpetual Motion.
The orchestral musicians were excellent
and the ensemble performed without a
conductor although one could sense the
concertmaster and the principal cellist
were quasi co-directors. Kudos to all for a
fine evening of wonderful music making!
Sunday began with a morning recital
that featured a wide array of players. Good
performances were given by the University
of North Carolina at Greensboro quartet
Una Voce (Shawn Copeland, Lauren Win-
kens, B clarinets, Nathan Olawsky, alto
clarinet, and David Allen, bass clarinet), No. 17: Close-up of the Super Wind Orchestra clarinet section
Mexican clarinetist Pedoro Cervantes-
Ojeda, the Spanish duo Picornell-Jagla
(Toms Picornell Roig, clarinet and Ire-
neusz Jagla, piano), Japans Ensemble So-
norit (H. Aoyama, A. Sunaba, T. Murani-
shi, B clarinets and A. Aoyama, bass clari-
net) and Taiwans Ching-Chun Lin.
The afternoon recitals continued with a
recital for clarinet and bass clarinet. Ste-
phan Vermeersch (Belgium) and the The-
lema Trio (Peru) followed with another
showing of low sounds with members Mar-
co Antonio Mazzini, clarinet and contra-
bass clarinet, Peter Verdonck, baritone sax-
ophone and Ward de Vleeschhouwer. Next,
Japanese clarinetist Seiki Shinohe and the
Dahlet String Quartet performed the lovely
Mozart Quintet. The Japanese group Intri-
cate Clarinetists (Akira Sakata, Yoshiaki
Suzuki, and Takeshi Nozaki) followed.
At the same time as these performances No. 18: Soloist Anna Hashimoto with the Super Wind Orchestra (Michael Daughertys
were taking place in the Schubert Hall, the Brooklyn Bridge)
Super Wind Orchestra performed with Mi-
chiyoshi Inoue, conductor in the Concert some of the leading Japanese clarinetists Kay Kapoudjian, dodook (flute Armen-
Hall (see photo 16). Among the members (see photo 17). They performed an excit- ian) were followed by Australias Brigid
of this special orchestra were Wenzel ing program of many of the bands stan- Burke who played two of her own compo-
Fuchs, Charles Neidich, Philippe Cuper, dard works, plus Michael Daughertys sitions. Harry Sparnaay (The Netherlands)
Julie DeRoche and Larry Combs as well as Brooklyn Bridge featuring a dazzling per- opened the second part of the clarinet and

Page 46 THE CLARINET

 No. 19: Roslyn Dunlop No. 20: D. Gause Snelson and F. Gerard Errante

electronics program and shared the stage

with Masashi Togame (Japan) and Roslyn
Dunlop (Australia) (see photo 19). Of
course, no clarinet and electronic recital
would be complete without the presence of
F. Gerard Errante, and the program titled
I.C.A. Awardee Recital Clarion Synthe-
sis honored this clarinetist. Errante, past
president of the I.C.A., performed with
clarinetist, pianist, and new music support-
er D. Gause-Snelson. Of particular interest
was a world premiere of Gause-Snelsons
Desert Dawning (clarinets prerecorded
electronics and color video). A resident of
Las Vegas, she took the pictures herself
from practically her own backyard (see
photo 20). No. 21: Masaharu Yamamoto and Seiki Shinohe during the Festival Finale Concert
The festivals final concert was spon-
sored by Buffet Crampon in honor of its
180th anniversary, and it was a special
event. Mozarts Divertimento Nr. 3 was
the first work on this concert performed by
the young and promising Japanese trio
Hirotaka Ito, Kenji Matsumoto and Yo-
shinobu Kamei. The performance was
lovely. Ronald van Spaendonck (Belgium)
next performed Horovitzs Sonatina. Ma-
saharu Yamamoto and Seiki Shinohe (Ja-
pan) followed with Studien fr den Pedal-
Flgel by Schumann (see photo 21), and
Guy Deplus performed the fun Weber
(Kffner?) Introduction, Themes et Vari-
ation (see photo 22). Mendelssohns Con-
certpiece No. 1 performed by Tadayoshi No. 22: Guy Deplus during the Festival Finale Concert
Takeda (Japan) and Ronald van Spaen-
donck followed. At the end of the first part, panese contemporary composer. After the In addition to all of the wonderful
Koichi Hamanaka, president of the Japan intermission, Michel Arrignon (France) events that took place during the conven-
Clarinet Society and a leading Japanese played Jean-Michel Ferrans Apsaras. This tion, it is also necessary to thank the
clarinetist, played Perspective en Spirale brought the ClarinetFest 2005, the first exhibitors for their support. Without their
by Akira Miyoshi, the representative Ja- ever held in Asia, to an end (see photo 23). attendance, the conference would not be

March 2006 Page 47

 Asia, but it was a huge success thanks to
the work of Tatsuo Shimosawa and his
team. Thank you!

ABOUT THE WRITERS

Kelly Johnson is principal clarinet
with the Arkansas Symphony Orchestra
and clarinet professor at Arkansas Tech
University.
No. 23: ClarinetFest 2005 concludes Alan Stanek is Emeritus Professor of
Music at Idaho State University and I.C.A.

what it is. Also, the reviewers would like was much speculation about how the Historian.
to thank our hosts and organizers. There ClarinetFest would do its first time in
[With special appreciation to Profes-

sor Akira Tsunoda, Chairperson for the

Japan Clarinet Society, for providing the
photos. Ed.]

Visit the
I NTERNATIONAL
C LARINET A SSOCIATION
on the World Wide Web:
www.clarinet.org

Page 48 THE CLARINET


The University of Oklahoma Hosts
Its 30th Annual Clarinet Symposium
T
A report by
Amanda McCandless
he University of Oklahoma hosted
its 30th annual Clarinet Sympos-
ium on June 1618, 2005, at the
Catlett Music Center in Norman, Okla-
homa. The first recital of the symposium
was given by David Etheridge, symposium
coordinator and University of Oklahoma
professor, and Keith Lemmons, professor
of clarinet at the University of New Mex-
ico. They began with a performance of the
Krommer Concerto for Two Clarinets, Op.
35 accompanied by the OU Clarinet Choir.
Lemmons finished the recital with Pierre
Gabayes Sonatina and the Horovitz Sona-
tina. He dedicated his performance to his
late teacher Robert Schott, and Lemmons
performance was a wonderful tribute.
Page 50
Duo Rubio-Benavides (Pedro Rubio,
clarinet and Ana Benavides, piano) then
performed Spanish works for clarinet and
piano. The first work performed was Fan-
tasia sobre motivos de Lucrecia Borgia by
Antonio Romero. The duo then performed
an arrangement of Three Pieces by Joaqun
Rodrigo that was breathtakingly tender and
delicate. Next, the audience heard two
romantic works; Introduccion, Andante y
Danza by Julian Menndez and Estudio
Melodico, Op. 33 by Miguel Yuste. The
final work of the recital, Sonata, Op. 46 by
Salvador Brotons, is a substantial work
that was well performed by the duo.
Ben Redwine, E clarinetist with the
United States Naval Academy Band, and
Joseph Eller, clarinet professor at the Uni-
versity of South Carolina, performed next.
Joseph Eller performed selections from the
Early Character Pieces for Clarinet and
THE CLARINET
Piano by Ferruccio Busoni that displayed
his dark, attractive sound, as well as the
premiere of Duo Concertante by Laurence
Sherr and the first and last movements of
Scott McAllisters X Concerto. Redwine
performed John Stephens Quintet for
E/A/B Clarinet and String Quartet with
Quartet Oklahoma, Morton Goulds Ben-
nys Gig with bassist John Willams, and
the world premiere of Downtown Brahms,
Weber Hits the City by Anthony Wake-
field, joined by Ricardo Morales and Quar-
tet Oklahoma.
The first evening concert began with a
performance by the Verdehr Trio (Elsa
Ludewig-Verdehr, clarinet, Walter Ver-
dehr, violin, and Sylvia Roederer, piano).
The first work, Dash by Jennifer Higdon,
was a brilliant and virtuosic opening piece.
Joan Towers Rain Waves is a musical ka-
leidoscope of colors and emotions that
showed the trios versatility, from the
hauntingly beautiful violin passages to the
bold, dramatic statements for which Joan
Towers music is famous. They continued
with Dream Tracks by Australian com-
poser Peter Sculthorpe and William David
Brohns I Got Variations, a set of varia-
tions based on George Gershwins I Got
Rhythm. The final work of the recital, Ti-
betan Dance by Bright Sheng, was an ex-
citing end to this well-programmed and
artistically conceived recital.
The final recital of the evening was
given by Jon Manasse, clarinet soloist and
professor of clarinet at the Eastman School
of Music. He was joined by Quartet Okla-
homa to perform Adagio from Quintet
for Clarinet and Strings by Heinrich Baer-
mann, displaying Manasses amazing con-
trol and pure, shimmering tone. This was
followed by an elegant and seemingly ef-
fortless performance of the Weber Quintet.
Friday, June 17 began with a recital
shared by Andrea Cheeseman, professor of
woodwinds at Delta State University, and
Eric Mandat, composer and professor of
clarinet at Southern Illinois University.
Cheesemans performance consisted of
Time Pieces by Robert Muczynski and
Liquid Ebony by Dana Wilson. Her perfor-
mance made a definitive artistic statement
and she is a musician capable of great
depth, presenting both superb expressive
and technical skills. Eric Mandat per-
formed several of his own compositions,
including the world premiere of Rrowzer
for solo clarinet. Like many of his other
works, Rrowzer is vibrant and innovative.
Page 51
Mandat was joined by clarinetist Ani Ber-
berian for two duos: Ritual and Black
Swirls. Mandat then presented some selec-
tions from his etude book Finger Food.
The final work on the recital was the duo
So What Elsas New.
The next recital was given by Robert
Spring, professor of clarinet at Arizona
State University. Spring is a lively and en-
gaging performer, as his performance of
Solar Flair for Two Clarinets by Theresa
Martin displayed. Jorge Montilla, profes-
sor of clarinet at Arizona State University,
joined Spring on this work. Spring then
performed the world premiere of Mark
Schultzs Of Shadow and Fire, assisted by
pianist Gail Novak, followed by Dry Heat
for Solo Clarinet by Whitney Prince. Spring
and Montilla then performed Venezuelan
Burlesque for Two Clarinets by Jorge
Montilla. The final work of the recital was
Scott McAllisters innovative concerto
Black Dog.
Kevin Schempf, professor of clarinet
at Bowling Green State University, per-
formed a diverse recital beginning with
Jig from Sean Osborns Sonata for E
Clarinet and Piano. He then performed
Dante Dances by Dan Welcher. Assisted
by flutist Christina Jennings, Schempf and
pianist Robert Satterlee performed Barn
Dances by Libby Larsen. Mike Lowen-
sterns A Simple Memoriam for My Father
was dedicated to Schempfs father and
involved Schempf on bass clarinet, video
footage, tape and live narration. Schempf
and Satterlee were joined by cellist Greg-
ory Sauer for the final work on the recital:
Allegro ma non troppo from Trio by Al-
exander Zemlinsky, displaying Schempfs
skills as a sensitive chamber musician.
The evening performance was given by
Ricardo Morales. Morales, principal clar-
inetist of The Philadelphia Orchestra, be-
gan the recital with Muczynskis Time Pie-
ces, approaching the work with the grace
and control of a true master artist. He con-
Performing artists at the 30th annual University of Oklahoma Clarinet Symposium
tinued with a charming work by Arne Run-
ning called Dailys Arc. Morales was then
joined by Jessica Phillips, second and E
clarinetist of the Metropolitan Opera Or-
chestra, and Quartet Oklahoma for a per-
formance of Il Convegno by Amilcare
Ponchielli. The final work on the recital
was the Brahms Quintet. When one hears
Morales play this work, one would imag-
ine this is precisely what Brahms had in
mind when he wrote it. Morales expressed
the breath-taking power of this work in a
way that few other artists could.
Saturday, June 18 began with a shared
recital given by the Prestige Clarinet Quar-
tet and Kim Cole Luevano. The Prestige
Clarinet Quartet, whose members include
John Kurokawa, Janice Minor, Sarah Now-
lin and Anthony Costa, began their recital
began with Three Sketches fr Vier Klari-
netten, opus 44/2 by Augustin Kubizek,
which displayed the quartets fine ensem-
ble skills. It was followed by Ian Hollo-
ways Die Kunst Der Klarinette Variations
on Colonel Bogey. Kim Cole Luevano,
professor of clarinet at Eastern Michigan
University, began her portion of the recital
with Libby Larsens Licorice Stick fol-
lowed by a captivating performance of
Deep Flowers by Evan Chambers. Cole
Luevano ended the recital with Franaixs
Tema con Variazioni, into which Cole Lue-
vano breathed new life by creating interest-
ing contrasts between the variations.
The first recital of the afternoon was
shared by New Zealand clarinetist and
composer Donald Nicholls and the La
Fourza Clarinet Quartet. Donald Nicholls
performed three contemporary works by
composers from New Zealand: Concertino
for Clarinet in A by John Ritchie, Anthony
Youngs Tairawhiti for E clarinet and
Nicholls alone now again. In this work,
Nicholls proved himself a skilled com-
poser with fine musical ideas as well as a
talented clarinetist. La Fourza Clarinet
March 2006
Quartet (Cathy Ogram, Jean-Franois
Bescond, Edna Huang and Tom Puwalski)
performed next. They were joined by per-
cussionist Greg Herron for a diverse recital
of both classical and popular works includ-
ing Early Hungarian Dances by Farkas,
Isaac Albenizs Sevilla and an arrangement
of Dave Brubecks Blue Rondo a La Turk.
The quartet then gave a very sensitive per-
formance of an arrangement of Music from
West Side Story by Bernstein and ended
with a jovial performance of Indiana by
James Hanley.
The final concert of the afternoon was
given by Richard MacDowell, professor of
clarinet at the University of Texas at Aus-
tin. His program began with Bergs Vier
Stcke, opus 5. MacDowell and pianist
Gail Novak gave a convincing perfor-
mance of this piece, performing it with the
subtlety the work demands. MacDowell
and Novak then performed Dante Dances
by Dan Welcher followed by Dana Wil-
sons Liquid Ebony.
The first evening recital was given by
Larry Combs, principal clarinetist of the
Chicago Symphony Orchestra. Larry
Combs was the first major symphony
artist to perform at a University of Okla-
homa Clarinet Symposium so it was fit-
ting that he gave one of the final perfor-
mances of the events 30th anniversary.
He gave an impeccably refined perfor-
mance of Mozarts Quintet for Basset
Clarinet and Strings, assisted by Quartet
Oklahoma. Combs was then joined by
Eddie Daniels to perform the virtuosic Il
Convegno by Ponchielli.
Well-known jazz artist Eddie Daniels
gave the final performance of the sympo-
sium. Daniels and his combo performed
both jazz standards as well as new jazz
works, some written by Daniels himself.
The 30th-annual University of Oklahoma
Clarinet Symposium proved to be an as-
sembly of many of the finest clarinetists in
the world. One is amazed at David Ether-
idges ability to organize such high-quali-
ty events year after year, and the wonder-
ful opportunity Dr. Etheridge gives to the
clarinet community is greatly appreciated.
ABOUT THE WRITER
Amanda McCandless is currently as-
sistant professor of clarinet at Bemidji
State University.
Page 53

T
he University of Georgia and the
University of South Carolina, in
cooperation with the International
Clarinet Association, are proud to sponsor
ClarinetFest 2006. Clarinet professors
Joseph Eller (USC) and D. Ray McClellan
(UGA) are honored to be the hosts and
artistic directors of this years
convention which will be held in Atlanta,
Georgia, USA for the first time August 913.
ClarinetFest 2006 will be housed at the
world-class Omni Hotel in downtown
Atlanta which is connected to the CNN
news world headquarters. The luxurious
AAA four diamond hotel is located in the
heart of downtown Atlanta and features
sophistication and elegant style within its
1,067 spacious guest rooms and suites.
Each handsomely appointed guestroom
offers magnificent views of the downtown
skyline, the lively CNN Center Atrium
or Centennial Olympic Park. The Omni
includes a complimentary full-service
health club, three superb restaurants, off-
site golf 1545 minutes away, and all
of the amenities you expect in a luxury
hotel. Within walking distance are
Underground Atlanta (shopping, dining,
and entertainment), the World of Coca-
Cola Museum, the brand new Georgia
Aquarium (one of the worlds largest
aquariums), the Childrens Museum of
Atlanta and the one and only famous
Peachtree Street with exquisite shopping,
world-class dining and nightclubs. Some
other attractions just a short distance from
the Omni are The Woodruff Arts Center,
home of the Atlanta Symphony Orchestra,
and the High Museum of Art, Atlanta Bo-
Page 54
tanical Garden, Zoo Atlanta and Turner
Field, home of the Atlanta Braves. All
of these locations can be reached by
convenient transportation provided
throughout the city, including the MARTA
train system, of which there is a station at
the CNN Center and the worlds busiest
airport, Hartfield-Jackson Atlanta
International Airport. Additional informa-
tion about Atlanta activities, attractions
and more can be found at the Atlanta
Visitors and Convention Bureau Web site
at <www.atlanta.net/index.html>.
The artist roster will feature performers
from all corners of the world and festivities
will include an evening with the Atlanta
Symphony Orchestra and tribute concerts
featuring students of legendary teachers
David Weber, Mitchell Lurie, Stanley
Hasty and Guy Deplus. ClarinetFest 2006
will also feature concerts which include
the United States Army Field Band and a
string quartet in residence.
Preliminary Artist Roster
(as of Febuary 25, 2006):
David Weber Tribute Concert
Kenny Davern, jazz soloist, NY
Robert DiLutis, assistant principal,
Rochester Philharmonic Orchestra
Dan Gilbert, Cleveland Symphony Orchestra
David Gould, freelance clarinet, NYC
Jon Manasse, Eastman School of Music
D. Ray McClellan, University of Georgia
Guy Deplus Tribute Concert
Philippe Cuper, principal, Paris Opera
Orchestra
THE CLARINET
Sylie Hue, principal, Garde Rpublicaine
Orchestra
Yasuaki Itakura, Tokyo National University
of Fine Arts and Music
Bruno Martinez, bass clarinet, Paris Opera
Orchestra
Patrick Messina, principal, Orchestra
Milko Pravdic, Academy of Music, Croatia
National de France
Guy Deplus, The Paris Conservatory
(retired)
Mitchell Lurie Tribute Concert
Tie Bai, Los Angeles, CA
Kathleen Jones, principal, Puerto Rico
Symphony Orchestra
Im-Soo Lee, principal, Seoul Philharmonic
Orchestra
Hakan Rosengren, Sweden, California State
UniversityFullerton
David Shifrin, Yale University
Mitchell Lurie, University of Southern
California (retired)
Stanley Hasty Tribute Concert
Larry Combs, principal, Chicago Symphony
Orchestra
Ken Grant, principal, Rochester
Philharmonic Orchestra, Eastman School
of Music
Ted Gurch, assistant principal, Atlanta
Symphony Orchestra
Elsa Ludewig-Verdehr, Michigan State
University
Tom Martin, assistant principal, Boston
Symphony Orchestra
Stanley Hasty, principal, Rochester
Philharmonic Orchestra, Eastman School
of Music (retired)
Atlanta Symphony Orchestra
Laura Ardan, principal, concerto soloist
United States Army Field Band
Ken Grant, principal, Rochester
Philharmonic Orchestra, Eastman School
of Music
Elsa Ludewig-Verdehr, Michigan State
University
Fred Ormand, University of Michigan
North American artists:
Marguerite Baker Levin, Towson
University
Diane Barger, University of Nebraska
Kristina Belisle, University of Akron
David A. Bellman, principal, Indianapolis
Symphony Orchestra
 Jon Manasse Alessandro Carbonare Laura Ardan David Shifrin

Jane Carl, University of Missouri John Warren, Atlanta, GA Orchestra of Belgium

Kansas City
Linda Cionitti, Georgia Southern University
Steve Cohen, Northwestern University
Buddy DeFranco, Jazz soloist, Florida
Joseph Eller, University of South Carolina
David Harris, University of Illinois
Kenneth Long, Georgia State University
Lee Livengood, Utah Symphony Orchestra
Louisiana Philharmonic Clarinetists:
John Reeks, Robyn Jones,
Nathan Williams, Interlochen Academy
Steve Williamson, principal, Metropolitan
Opera Orchestra
Alan Woy, State University of New York
Potsdam (retired)
Peter Wright, principal, Jacksonville
Symphony Orchestra
Joaquin Valdepeas, principal, Toronto
Symphony Orchestra
Vancouver Hosts ClarinetFest (2007)
Ching-Chun Lin, Taiwan
Jorge Montilla, Venezuela, Arizona State
University
Donald Nicholls, New Zealand
Michael Riessler, Germany, jazz soloist
Pedro Rubio, Spain
Paolo Sergio Santos, Brazil, latin/jazz
soloist
Andy Simon, principal, Hong Kong
Philharmonic Orchestra

International Artists:
Stephanie Thompson Sandrine Vasseur, Paris Conservatory prize
Ana Victoria Luperi, principal, Winnipeg winner
Symphony Orchestra Dmitri Ashkenazy, Germany Roger Vigulf, Norway

Mark Nuccio, associate principal,
New York Philharmonic Orchestra
Lisa Oberlander, Columbus State University
Ron Odrich, jazz soloist, NY
Fred Ormand, University of Michigan
Sean Osborne, Seattle, WA
Ken Peplowski, jazz soloist, NY
Ben Redwine, U.S. Naval Academy Band
Dan Silver, University of Colorado
Gary Spearl, University of Tennessee
Robert Spring, Arizona State University
Robert Walzel, University of Utah
Jzsef Balogh, Hungary
Henri Bok, bass clarinet, Rotterdam
Conservatory of Music
Sergio Bosi, Italy
Marino Calva, Mexico
Alessandro Carbonare, principal, Orchestra
Nazionale di S.Cecilia, Rome
Andy Firth, Australia, jazz soloist
Wenzel Fuchs, principal, Berlin
Philharmonic Orchestra
Deborah de Graff, Australia
Roeland Hendrikx, principal, National
Potpourri Concerts:
Deborah Andrus, Bethlehem, Moravian
College
Chris Ayer, Stephen F. Austin State
University
Ani Berberian, Air Force Academy Band, CO
Deborah Bish, Florida State University
John Cipolla, Western Kentucky University
Mary Alice Druhan, Texas A&M
UniversityCommerce
Jane Ellsworth, Kenyon College

Henri Bok Mark Nuccio Ricardo Morales Joaquin Valdepeas

March 2006 Page 55

Dileep Gangolli, Evanston, IL
Barbara Haney, Fort Washington, MD
Todd Kerstetter, Kansas State University
Julianne Kirk, Ball State University
Patricia Martin, principal, Baton Rouge
Symphony Orchestra
Gregory Oakes, University of Southern
Mississippi
Jeffrey Olson, Valdosta State University
Hild Peersen, Columbus, OH
Rebecca Rischin, Ohio University
David Shea, Texas Tech University
George Stoffan, Southern Utah University
Cumberland Woodwind Quintet
Harbor Winds Clarinet Quartet, USA
Prestige Clarinet Quartet, USA
Verdehr Clarinet Quartet
Additional Ensembles:
Caracas Clarinet Quartet, Venezuela
Nota bene Clarinet Quintet, Luxemburg
Demos Greek Band, USA
Lisbon Clarinet Quartet, Portugal
Madeira de Vento, Brazil
New Mexico Trio, USA
Senzoku Gakeun Clarinet Orchestra, Japan
Prague Clarinet Quartet, Czech Republic
Seigenthaler Trio, Switzerland
Silvier Trio, Brazil
Transcontinental Clarinet Quartet, USA
University of Florida Clarinet Ensemble
University of North CarolinaGreensboro
Clarinet Ensemble
University of Oklahoma Clarinet Ensemble
Presentations/master classes:
William Blayney, Seattle, WA
Kelly Burke, University of North
CarolinaGreensboro
Carmen Campione, Cincinnati Conservatory
of Music
Alessandro Carbonare, principal, Orchestra
Nazionale di S.Cecilia, Rome
Russ Dagon, principal, Milwaukee
Symphony, Northwestern University
(retired)
Tom Ridenour, leading authority on clarinet
acoustics, mouthpieces and reeds
Jean-Franois Rico, Cane-growing and
reed-making session
Jean-Marie Paul, Director of Sheet Music,
Vandoren
Guy Deplus tribute session
Stanley Hasty tribute session
Mitchell Lurie tribute session
David Weber tribute session
Chat with the Legends: Brody, Deplus,
Hasty, Lurie, McCaw
Clarinet Choir clinicians
and conductors:
College Choir: Julie DeRoche, DePaul
University
Festival Choir: David Etheridge, University
of Oklahoma
*****
As always, the traditional events will
take place, such as the Young Artist Com-
petition, the Orchestra Audition
Competition and the High School
Competition.
Please visit the I.C.A. Web site, <www.
clarinet.org>, for updated information re-
garding artist lineup, registration, lodging/
transportation issues, and Atlanta area at-
tractions and activities. Save time and reg-
ister online, or use the registration form in
the centerfold of this issue of The Clarinet.
Southern hospitality and charm await
you in Atlanta!

ClarinetFest
VANCOUVER, BRITISH COLUMBIA, CANADA
2007 ELECTRONIC PHOTO
SUBMISSIONS FOR
THE CLARINET
When scanning photos or setting

C
JULY 48, 2007
your digital camera to create elec-
tronic images for use in the maga-
zine, resolution is a very important
consideration. For high-resolution
larinetFest 2007 will take place on the campus of the University of British printing, each photo must include
Columbia. Co-sponsored by the UBC School of Music, the conference will

at least 300 pixels per inch (ppi)

be presented in the world-renowned Chan Center for the Performing Arts. at the approximate dimensions an-
The spectacular UBC campus is a must-see for any visitor to Vancouver, where ticipated for use. To clarify, photos
snow-capped mountains meet the ocean and breathtaking vistas greet you around intended for reproduction at the
every corner. More information will follow in subsequent issues of The Clarinet one-column width should be at
and on the I.C.A. Web site: <www.clarinet.org>. least 2.25" wide and include at
Send all presentation proposals and nominations to the address below. Record- least 300 ppi, while photos intend-
ings and written requests will be accepted through September 1, 2006, and will be ed for reproduction at the two-col-
reviewed by committee. Please include exact program information, including tim- umn width should be at least 5"
ings and biographical material for performer(s). wide and include at least 300 ppi.
Photos with inappropriate resolu-
Wes Foster, Artistic Director tion settings may have to be re-
Cris Inguanti, Co-Artistic Director jected because they will repro-
ClarinetFest 2007 duce too poorly to use, or they
UBC School of Music, 6361 Memorial Road

may have to be used at a size

Vancouver, B.C. V6T 1Z2 Canada smaller than anticipated in order
<jwfoster@hotmail.com> to maintain their quality.

Page 56 THE CLARINET

INTERNATIONAL CLARINET ASSOCIATION
2006 HIGH SCHOOL SOLO COMPETITION
Eligibility: Competition participants must be 18 years old or younger as of June 30, 2006.
Application: Send materials postmarked no later than Monday, April 21, 2006 to:

2005 I.C.A. High School Solo Competition

Kathy Pope, Coordinator
University of Utah School of Music
1375 E. Presidents Circle 204 DGH
Salt Lake City, UT 84112-0030
Phone: (801) 587-9417 Fax: (801) 581-5683
e-mail: <hsc@clarinet.org>

CONTEST RULES
I. Application fee: $50 U.S. All applicants must be members of the I.C.A. and must provide proof of membership. Non-
members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest application
fee. Make amount payable to the I.C.A. in U.S. currency. This fee is non-refundable.
II. Recording Instructions: Please provide a high-quality recording on compact disc (CD-R) containing the following reper-
toire in the exact order listed. Each selection/movement should be ID coded as tracks. Audio cassettes will not be accepted.
Please be aware that the quality of the recording will influence the judges. Recordings should not be edited, and only con-
tinuous performances of entire works or movements should be submitted.

1. Francis Poulenc, Sonata for Clarinet and Piano (Play mvts. II & III only), published by Chester
2. Bl Kovcs, Hommage J.S. Bach for Clarinet Solo (from the collection Hommages ), published by Edition Darok
(may be played on either A or B clarinet)

III. A photocopy of the contestants drivers license, passport or birth certificate as proof of age.
IV. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is
the playing of the contestant and has not been edited.
V. A summer address, telephone number and e-mail address (all if possible) should be provided.
Please note that no application form is required.

JUDGING
Judging of recordings will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R,
cassette, or box. There should be no speaking on the recording, such as announcing of compositions.
Preliminary judging will be by taped audition. Finalists will be chosen by committee. Notification will be sent by Monday,
May 22, 2006. Final round will take place at ClarinetFest 2006, to be held in Atlanta, Georgia, USA, August 2006. Repertoire
will consist of the works listed above. Memorization for the final round of competition is not required.

Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A.
will provide a pianist for all finalists. All finalists will receive free registration at ClarinetFest 2006. Travel and other expenses
will be the responsibility of the contestant.

All recordings will become the property of the I.C.A. and will not be returned.

PRIZES
First prize $1,000 U.S. Second prize $750 U.S. Third prize $500 U.S.
The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are
responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

March 2006 Page 57

 The following is a brief report on my
trip to Rotterdam to perform at the first
World Bass Clarinet Convention, October
2123, 2005. In addition to being a report
of the proceedings, it might serve as a
I
guide for young performers on the travails
of a traveling working musician.
knew I was in trouble when I boarded
the Delta flight to Amsterdam and two
thirds of the passengers were cough-
ing and sneezing. That Delta is in bank-
ruptcy proceedings no doubt contributed to
the in-cabin environment being stuffy and
less than pristine. This only compounded
the chances of inheriting exotic microbes
from my fellow passengers. We arrived at
Amsterdams Schiphol airport thanks more
to a 120kt jet stream boost than any fuel
the miserly Delta execs allowed our intre-
pid pilots to burn, which was helpful to me
as I had to be in Rotterdam by 10 a.m. and
it was 8 a.m. when we landed.
After a scare that the railway ticket ma-
chine had eaten my ATM card, I managed
to hop the next express to Rotterdam and
arrived at De Doelen concert
hall/convention center in Rotterdam to reg-
ister and hear the opening remarks, sup-
pressing sneezes and coughs all the while.
As is typical of these single instrument
confabs, there were too many performers
and too many venues to hear all the con-
certs, demonstrations and master classes. I
did attend a significant number, however.
Additionally, Buffet, Selmer and Leblanc
all had a full range of harmony clarinets
on display for trial at their booth or in a
practice room; Pomarico, Vandoren,
Marca, Yamaha, Gonzalez and a few oth-
(l to r) Anthony Jennings, Josef Hork, Ian Mitchell, Dennis Smylie, Henri Bok (Judges),
Philippe Leconte (Buffet Crampon), Sachiko Ueyama (Third-prize winner), Jiri Porubiak
(accompanist of second-prize winner), Joaquin Meijide Failde (First-prize winner),
Jerome Selmer (Henri Selmer), George Wiegel (President, World Bass Clarinet Feder-
ation)
Page 58
Going
Dutch
A Report on the First
World Bass Clarinet Convention
by Daniel Harris
ers I cant recall also had booths. It was the
first time in my career that I have been
able to compare professional-grade instru-
ments from different manufacturers side
by side. I am happy to report that the new
bass clarinets have very good scales and
nice uniform resistance and sound. This
represents a big improvement over the
instruments of even 15 years ago.
I tried some Pomarico crystal mouth-
pieces. When they measured my mouth-
piece (Vandoren B46) it measured a
2.20mm tip opening, about 0.4 more than
anything Pomarico normally produces,
though they have a new jazz model with
larger tip openings. During chit-chat with
the featured performers, I learned that most
of them used mouthpieces with 2.0mm or
greater tip openings. This being the case, I
wondered why most of the students in my
experience played on much smaller open-
Steffan Schorn and Caludio Puntin Duo
ing mouthpieces. When one considers that
(photo by Dan Harris)
most soprano clarinetists use mouthpieces
in the 11.2mm range, and the bass clar-
inet is twice the size of the soprano clar- The only vendor who was advertised as
inet, it would seem that a tip opening of being there, but was not there, a man whom
around 2.0mm would be the place to start. I very much wanted to meet, was Howard
Wiseman of Wiseman cases. My 10-year-
old Selmer case was not doing its job and I
had to spend a couple of hours tweaking
my horn after the bumpy ride from New
York. I did end up purchasing a Wiseman
case for my bass clarinet when I returned
home. It was the case of choice among the
professionals at the convention and anyone
who traveled frequently. After all these
years, Ive learned to travel lean and mean.
My luggage for the trip consisted of my
bass clarinet case and one small backpack,
all of which went into the overhead bin
(also in the overhead rack on the TGV).
Unfortunately in this terrorist-paranoid
world, that means you cant take a reed
knife or jewelers screwdriver with you;
(photo by Dan Harris) that is, unless you want to put them in your
THE CLARINET

luggage and check it with all the attendant
hassles. Normally, if I need a jewelers
screwdriver, I buy one when I arrive. FYI:
U.S. law prohibits airlines from preventing
you from taking your musical instrument
aboard as carry-on luggage (<http://www.
tsa.gov/public/interapp/editorial/editorial_
1235.xml>). I have yet to find a plane,
even puddle-jumpers, that could not ac-
commodate my low-c Selmer bass in the
overhead compartments. I have had trouble
in other parts of the world taking my bass
clarinet aboard as carry-on luggage, so
always travel with a strong, secure water-
proof case. I once retrieved my instrument
at Nices Cte DAzur airport after an
EasyJet flight from London and it was
covered with hydraulic fluid.
THE CONFERENCE
There were three main daytime venues:
The Lecture Room (about 100 seats) for
master classes; the Willem Burger Zaal (an
approximately 800 seat concert hall); and
the Eric Dolphy Room (about 100 seats).
There were more than 150 registered bass
clarinetists at the convention. They came
from all over the world. A large number of
them had studied with Dutch bass clar-
inetists Harry Sparnaay or Henri Bok at
some time in their careers, including a
number of the Americans on the roster.
The music ran the full gamut of styles and
periods, though 20th-century and newer
works predominated for obvious reasons.
Generally, the playing of transcriptions
was frowned upon and only Dennis Smy-
lie (U.S.A., New York) played a move-
ment from one of the Bach cello suites to
demonstrate his instrument which had
belonged to Rosario Mazzeo and was ex-
tended by Verne Powell to play a low con-
cert A. Dennis Smylie also performed
Don Martinos Strata, which has become
Denniss signature piece. The only other
transcription I heard was played as an en-
core by Evan Ziporyn (U.S.A., Boston) as
a spoof on Dennis (it was the same con-
cert) who performed a movement from a
Bach cello suite all pizzicato (i.e., slap-
tongue). Of the concerts I attended, the fol-
lowing players gave outstanding and
unique performances: Evan Ziporyn on the
first evening concert; Josef Hork with his
wife Emma Kovrnov played a portion of
the first all-bass clarinet recital they gave
50 years ago with nearly his last breath
(sadly, he died in a hospital in Berlin on
November 23, 2005); Michael Lowenstern
and his electro-bass clarinet pieces; Henri
Bok and Bennie Maupin performing in the
Laurenskerk with organist Willem Tanke;
Harry Sparnaays slot on the same concert;
David Jean-Baptistes duos with guitar;
Duo Vibrones Desert Musique (Dan Har-
ris and Alex Grillo, vibes); Giora Feidman
(who played with such a winning convic-
tion that he had the audience in the palm
of his hand); Luis Afonso Montanha (Bra-
zil) and Carlos Tarcha (Brazil) percus-
sion, who played some of the most de-
manding music of the convention with
complete ease; the Steffen Schorn/Clau-
dio Puntin Duo, (Schorns contrabass clar- Bass Clarinet Prize first-place award to
inet and contrabass saxophone playing
were beyond belief and Claudio was burn-
ing up the keys in his usual style). Finally,
Henri Boks duo playing of jazz standards
with Rob van Bavel was beautiful.
Additionally, there was the world-
record-breaking bass clarinet choir which
Jrme Selmer and Bennie Maupin (photographer unknown)
March 2006
performed a commissioned piece by Paul
Harvey, Eulogy for Horatio Nelson. The
sound of 148 bass clarinets is not to be
believed and might have been described as
De Rumble in De Dolen. This was pre-
ceded by a performance by the Capriccio
Clarinet Orchestra, which gave a very good
reading of a transcription of the Finale of
the Dvork New World Symphony and Jos-
zef Baloghs Rondo in Klezmer Style. It
was nice to hear an A sopranino as coun-
terpoint to all the weekends basso.
Prior to the convention, there was a
composition contest for a new work for
bass clarinet. The winner of the World Bass
Clarinet Convention 2005 Composition
Competition was Marc (Kenneth) Yeats
(Scotland) for his composition Child of the
Black Faced Night. The winning composi-
tion would be required literature in the sec-
ond round of the First Henri Selmer Bass
Clarinet competition which was held dur-
ing the convention. Additionally, the win-
ning composer received a check for 1.500.
A performance contest for student art-
ists under 35 was held concurrently with
the convention. Jrme Selmer of Selmer
Paris presented the First Henri Selmer
Joaquin Meijide Failde of Spain. The prize
was a Selmer Privilege Bass Clarinet (ap-
proximate value 9.500). The second-prize
was won by Jiri Porubiak from the Czech
Republic and included a Wiseman case.
The third-place prize was won by Sachiko
Ueyama from Japan, which included a
Page 59

A portion of the record-breaking bass clarinet choir (photographer unknown)
weekend in Paris courtesy of Buffet Cram-
pon. Mr. Failde gave a sensitive perfor-
mance of Child of the Black Faced Night
after collecting his award.
What did I come away
with after three intense
days of bass clarinet?
Well, one thing is certain: the bass clar-
inet and bass clarinetists are not second
class clarinetists anymore. Every one of
the featured performers at the convention
played a four and a half octave range with
ease (nearly all played low C basses), all
could play repeatable improvised and nota-
ted multi-phonics, timbre effects, alternate
tuning scales, all manner of tonguing. Ev-
ery performer I heard had finger speed and
facility to burn. I queried a good number of
the performers and all the ones I spoke to
had played compositions for bass clarinet
and tape and/or electronics, including real
time computer interactions. It was a very
skilled and versatile group of performers.
Some of the orchestral players had
wooden bells (cocobolo-Backun or grena-
dilla-Rossi) and gold-plated necks. Since I
didnt hear these same performers playing
with metal bells, it is difficult to ascertain
the difference those bells made in the
sound or tuning. Henri Boks Selmer Privi-
lege had been modified with an extension
so the low C had a proper vent hole and
didnt vent from the bell mouth. It was
very noticeable and pleasing to hear an in-
tune low C. Perhaps it will become a stan-
dard item on some future generation of
instruments (see photo below).
Page 60
I use a stock off-the-shelf Vandoren
B46 and a #3.54.0 Vandoren reed. (Ex-
cept when I have a huge head cold like I
did there, then I opted for a slightly lighter
reed.) I was hoping that some cane suppli-
ers would be there so I could buy some
suitable tube cane or bass clarinet blanks. I
would really like to try making a thicker
German style reed to have a little more
wood in the shoulder and stock for the top
octave and a half and to hold the pedal
tones together or at least test a theory that a
thicker shoulder and stock make focusing
those tones easier, especially when playing
very loudly. It did seem that the perform-
ers who improvised or played the most
new music tended to have freer blowing
set-ups. The performers in the orchestras
tended to have a more constrained sound,
though it certainly didnt affect their per-
Henri Boks Selmer Privilege. Notice
extension to vent Low C correctly and
Rossi Grenadilla bell. (photo by Dan Harris)
THE CLARINET
formance or ability to make weird sounds
when required. The commonality was that
all featured performers made the bass clar-
inet sound like a clarinet, not some clar-
inet-saxophone-tarogato hybrid, unless
asked to do so.
What was there to hear?
How about: BCl & piano, BCl & organ,
BCl & vibes, BCl & guitar, BCL & Sitar,
tabla & bass, BCl & tape, BCl & comput-
er, BCl & electronics, BCl & trombone,
BCl & basset horn, BCl & viola, BCl &
cello, BCl octet, BCl duos, BCl & chamber
orchestra, and finally BCl & wine glass
with wine. There were a fair number of
bass clarinetists who were also composers
and performed their own works: Evan
Zyporyn (U.S.A.), Michael Lowenstern
(U.S.A.), Dan Harris (U.S.A.), Thomas
Savy (France), Jeff Reilly (Canada), Todd
Marcus (U.S.A.), Akos Laki (Hungary),
Stanislav Mitrovic (Yugoslavia), Henri
Bok (The Netherlands), and probably
some others I missed. One American
composer with one work in the repertory
of most of the performers was Larry
Austins Threnos, In Memory of the Vic-
tims of September 11, 2001 for Bass Clar-
inet and Tape. Generally though, most
artists performed works from their home
countries. Im pleased to report great
pieces from Brazil, Scotland, Canada (east
and west coasts), Spain, Holland, and Great
Britain. The U.S.A. was well represented
compositionally. There were no doubt
other works I missed that were worthy of
mention. There were pieces that were
rather straightforward and others where
the bass clarinet became a living breath-
ing monster synthesizer of otherworldly
sounds. All manner of performance styles
were enthusiastically received.
WRAP-UP
There are a slew of new compositions
worthy of study and performance to be
pursued. I befriended many new bass
clarinetists. There are numerous amazing
young bass clarinetists who are playing at
a level few performers of any age played
at 30 years ago. I would have to credit Jo-
sef Hork, Harry Sparnaay and Henri Bok
for their inspiration as performers and
teachers for raising not only the awareness
of the bass clarinet as a solo instrument,
but also the current very high performance
standards. One should also mention that
these three also are responsible for a signif-
icant portion of the bass clarinet repertory
created in the last 30 years. I would be re-
miss if I did not include the name of Eric
Dolphy in the list of performers who have
inspired many bass clarinetists. Many per-
formers credited Eric Dolphy with the rea-
son for their taking up the bass clarinet.
To perform at the highest level, funda-
mental musicianship is absolutely para-
mount and it was evident in all the featured
performers. And I might mention to young
players that learning how to handle jet lag,
illness, fatigue, camera flashes, intrusive
video cameramen, and travel snags while
traveling and performing are as much a
part of a traveling musicians kit-bag as the
musical preparation.
As Bennie Maupin said to me at the end
of the convention, Pretty extraordinary
playing. Amen.
ACKNOWLEDGEMENTS
No convention is a success without the
vision and efforts of a few dedicated peo-
ple. A tip of the hat and a special thanks to
Henri Bok, Artistic Director; Beerend Lens-
tra, Executive Producer; George Wiegel,
President of the World Bass Clarinet Fed-
eration; Ann Evans, Program Coordinator;
Selmer, Buffet, Leblanc and the other cor-
porate sponsors; and the City of Rotterdam
for hosting a terrific and informative con-
vention. The Dutch are terrific hosts and
their beer is among the best. Great playing,
great people and great beer, a real Dutch
treat, you cant ask for more. Bass clar-
inetists if you are not a member of the
World Bass Clarinet Federation you should
become one and plan on attending the next
World Bass Clarinet convention.
Monday morning early I was on the
TGV and off to Paris and more musical
adventures.
Relentless caper for all those who step
the legend of their youth into the noon.
Hart Crane
ABOUT THE WRITER
Dan Harris was born and raised in
Chicago, Illinois. He graduated from The
Eastman School of Music, Yale University
and the University of WisconsinMadison.
His principal clarinet teachers have been
Jerome Stowell, Stanley Hasty, Keith Wil-
son and Glenn Bowen. His composition
teachers include Richmond Brown, Mel
Powell, Hall Overton, Burt Levy and Steve
March 2006
Reich. Mr. Harris has spent more than 30
years as an orchestral clarinetist and free-
lance woodwind performer. For 10 years
he was the Director of the Electronic Mu-
sic Center at the University of Wisconsin
Madison and Lecturer in the areas of Com-
position and New Music performance.
Since 1994 Mr. Harris has focused his per-
formance activities exclusively on the bass
clarinet and the bass clarinet with electron-
ic and media extensions. He performs fre-
quently in Europe with Studio Instrumen-
tal, Duo Vibrone, Trio Rare, and The New
Tango Band. He gives master classes in
improvisation at Cit de Musique in Paris.
He most recently performed at the First
World Bass Clarinet Convention in Rotter-
dam with Duo Vibrone and with Trio Rare
in Paris. He resides in Brooklyn, NY with
his wife, Dr. Maureen E. Mulvihill, author
and scholar, and their pastel tiger, Kid
Stretch. Readers may contact Dan Harris at
<benclarone@mac.com>.
Page 61

Gervase de Peyer
(photo: Aldo Tuttini)
In part one of this article, published in
the December edition of this magazine,
Gervase de Peyers early life was des-
cribed. In the concluding part of his story,
de Peyers musical activities during the
early 1950s are detailed, including the
I
events that led him to live and work in the
U.S.A. from the early 1970s onwards.
became quite busy in the free-
lance world, what with my intro-
ductions through John Amis, the
Royal Philharmonic, and all that. Id met a
number of musicians by then people
like Emanuel Hurwitz, Terence Weill and
Cecil Aronowitz, all of whom I got on very
well with. We did a concert which was for
the Arts Council in a hall in a club-style
building behind Piccadilly, near the Park,
quite a nice concert hall. We had the op-
portunity of getting together a group to
play there. This ensemble had the structure
of the Melos ensemble, although it wasnt
called Melos then. In fact we tried three or
four titles, as well as a number of different
players, until finally it gelled as the Melos
Ensemble. It included five wind players, a
string quintet (with double bass), a harpist
(Osian Ellis), a pianist (Lamar Crowson,
who made records with us early on), who
was a very fine musician from California,
and a teacher at the Royal Academy. He
had been a student of Arthur Benjamin on
the West Coast of America.
Page 62
Gervase de Peyer
in his 80th Year, Part II
by John Robert Brown
The Melos Ensemble of London be-
came an outstanding concert group offer-
ing historic recorded programs, which
were planned by de Peyer. These are still
available on CDs from EMI and other
recording companies.
I had a personal connection with Ar-
thur Benjamin: he knew my aunt Ethel
Bartlett. He wrote a two-piano version of
his Jamaican Rumba for my aunt and
uncle, Bartlett and Robertson, which they
played at the Wigmore Hall. Indeed, soon
after that, Arthur Benjamin had completed
a brilliant work for piano and clarinet, Tom-
beau de Ravel, and personally contacted
me. I was immediately most interested by
his call, as he asked me to try it through
with him. I felt that certain passages were a
bit awkward. Most graciously, he said:
Alright, Gervase, look, you write some-
thing out and show it to me, and well see
what we think.
So I did. I made some slight alterations
to it. I went back to him when Id done this
and we played it through. This was one of
the occasions when the composer, very
graciously, changed something with plea-
sure. I still play that piece. Its quite a
tough piece to do well. I gave the first per-
formance of Tombeau de Ravel at the Wig-
more Hall, and also recorded it.
The clarinet player who preceded me
as the principal clarinet of the London Sym-
phony Orchestra (of which I had no thought
at the time), was also in an orchestra exclu-
sively recording music for films. Muir Mat-
theson was the conductor. Somehow or
other the LSO inner circle had got a hold
on these recordings, which were better
paid than doing extra rehearsals and con-
certs, for instance. I was phoned up to take
Sidney Fells place in the Wigmore Ensem-
ble, I think it was called.
This situation ultimately created a crisis
for the orchestra which led to an extensive
rebuilding, with a new generation of players
taking over many of the most important
positions. Much of this occurred during
THE CLARINET
Joseph Krips tenure as principal conductor,
and the following period with Pierre Mon-
teux. So, in 1956 Joseph Krips asked me to
join the LSO as principal clarinetist.
Gervase de Peyer held this appointment
for 17 years, until 1973. As a soloist he
acquired a formidable reputation through-
out Britain and Europe. During that time
de Peyer also played with The Philharmo-
nia Orchestra under Herbert von Karajan,
Guido Cantelli, Otto Klemperer, Furtwang-
ler and other distinguished conductors.
Also, he undertook engagements as princi-
pal clarinetist with chamber orchestras
such as the English Chamber Orchestra
(ECO), the London Chamber Orchestra,
the London Mozart Players and many oth-
ers, keeping him busy performing concer-
tos by Finzi, Busoni, Neilsen, Seiber, We-
ber and Mozart. Many concertos were ded-
icated to him. Amongst his many record-
ings with Decca and EMI, his concerto
recordings have won The Grand Prix du
Disque, Acadmie Charles Gros, and The
Plaque of Honor of the Academy of Arts
and Sciences of America.
The big change in Gervase de Peyers
life came when he moved to New York, in
the early 1970s. How did that come about?
There was the new hall built at the
Lincoln Center. The director of the concert
series was looking for players to make a
completely new ensemble, which was go-
ing to be the resident ensemble there. I had
come to America with the LSO several
times. The first one was either in 1961 or
1962 with the Melos Ensemble, and also
with the LSO on a world tour. The Melos
ensemble was playing quite a lot of con-
certs, and started making recordings.
Charles Wadsworth, who had been ap-
pointed director for the ensemble in the
new hall at the Lincoln Center, heard one
of the recordings and liked my playing. So,
when the LSO came, he took the oppor-
tunity to hear me. We did three tours, one
with George Solti. I played Webers E 
Clarinet Concerto in the first concert of
the tour. That was quite a thrill for me.
 In 1967 Charles Wadsworth asked me
if I would be interested in coming to New
York to play as solo clarinet player with
this group. I said, Yes, when will it be?
Im rather busy. Ultimately, I was ap-
pointed in 1969. I came over specially for
a few weeks, did a few concerts, and came
back to London. I was still with the Melos
Ensemble, still with the London Sym-
phony Orchestra, and so on. This was in
1969. It wasnt until 1973 that I gave up
the job with the LSO. In America, the
number of concerts had gone up, and I just
couldnt do it all.
It was quite a hectic period for me, and
it was thrilling, too. The hall at the Lincoln
Center was beautiful, a lovely chamber
music hall, the Alice Tully Hall, about
1,000 seats, beautiful. Alice Tully was
always at the concerts, sitting in a box. I
met many fine American performers, which
was very exciting for me, people like Janos
Starker used to come and play a cello son-
ata. Richard Goode, the pianist, was the re-
sident classical pianist for us. As one of the
founding members of the Chamber Music
Society (CMS) I stayed with them for 20
years. I played the entire classic repertoire
and a considerable body of works newly
commissioned from composers like Wil-
liam Schuman, Gunther Schuller and Ned
Rorem. On the 10th anniversary of CMS,
regular favorites included the Mozart and
Brahms clarinet quintets. We did a lot of
wind ensembles, including the music of
Jean Franaix and the works of Francis
Poulenc for solo groups and wind instru-
ment, such as Duet Sonata for Clarinet, for
bassoon, etc.
We recorded many works under the
label of Music Heritage. The Poulenc re-
cording for wind instruments and piano
received a prize. The CMS came to Ald-
borough early in the 1970s, also to the
Spoleto Festival in Italy. In the last 10
years of my tenure I went on a tour every
year with the CMS throughout the U.S.A.,
also giving master classes. We also per-
formed regularly at the Kennedy Center,
Washington, D.C. In 1992, I created the
Washington Melos Sinfonia as a not-for-
profit organization. With them we played
at the Kennedy Center, the World Bank
and in the Washington area.
De Peyer was involved in three CMS
TV programs Live from Lincoln Center.
He taught at Mannes College, and every
year was either in residence at Banff Sum-
mer School and Music Festival, or Vic-
toria, British Columbia or later on in As-
sisi, Italy, for their Music Festival, Festa
Musica Pro. In the 1990s, he created a
label, Radiant Mastery, with which he re-
corded all the works for clarinet and piano.
I had done Aaron Coplands Clarinet
Concerto here with the London Symphony
Orchestra. Ultimately, during the next few
years, I played it about 13 times, conduct-
ed by Copland. One of these was during
seven concerts in a row in Mexico City.
We were there for a week, and every night
Monday to Sunday we had a con-
cert. The last one was in the small hall in
the University. There was an electricity
cut. Id played Coplands Concerto every
day for a week. That night Id finished
playing, the second half had started when
suddenly in the middle of a Mendels-
sohn symphony, which Copland was con-
ducting all the lights in the building
went out!
We were all in pitch darkness. People
began to light candles and a few little lights
appeared. I put my clarinet together and
crept in from the side. I said to Aaron, who
was sitting there, Would you like me to
play something?
I said that I thought we needed some-
thing quiet, and its a bit of a travesty real-
ly, but I could play the slow movement of
Mozarts Clarinet Concerto. So I did it,
unaccompanied, in pitch darkness, with a
few candles burning here and there. That
went down quite well. Copland and I were
very good friends, right to the end of his
life. He was a very charming man, and I
felt very privileged to have been asked to
do that.
Paul Hindemith was coming to con-
duct the London Symphony Orchestra in
three or four performances, and I played
the Clarinet Concerto, with him conduct-
ing, about three or four times. He was
absolutely charming, delightful, easy, had
no problems, no fuss. He enjoyed himself,
I think, and so did I. He spoke English
enough but he didnt speak English
enough to be nasty!
I met Francis Poulenc because An-
thony Bernard1 used to run the London
Chamber Orchestra. He used to run impor-
tant concerts with important people and
very interesting programs. I did one or two
concertos with him, including Gerald Fin-
zis Concerto and the Debussy Rhapsodie.
This was around 1960.
March 2006
On the subject of the Debussy piece, de
Peyer offers an interesting anecdote con-
cerning the time he played the work in
Paris with Bernard. When I first rehearsed
the piece with him he said: Monsieur de
Peyer. I must show you something about
the Rhapsodie: Premire Rhapsodie for
Orchestra avec Clarinet Principale en
Sib. So I didnt think anything of it, par-
ticularly. Then the rehearsing started. So
he said. All play. And Monsieur de Pey-
er, you will remember we looked at the
music. And the music, it says not Premire
Rhapsodie for Clarinette et Orchestre.
Non. It is Premire Rhapsodie for Orches-
tre avec Clarinette Principale. And the
point was made.
Poulenc was hired to play with An-
thony Barnard and the orchestra. Bernard
did a LOT of French music. He received a
Legion dHonneur because of his services
to French Music. Hed hired Poulenc, and
Poulenc came to play his Piano Concerto.
I was playing in the orchestra, and was
intrigued as many people were to
see Poulenc coming into the BBC studio
wearing his bedroom slippers! So he sat
down at the piano, and proceeded to play
his concerto, and it was very nice, very
fine. He had a very pleasant personality.
The next day was the concert in the big
studio at Maida Vale. To my astonishment
in comes Poulenc, in front of an invited
audience, still in his bedroom slippers. I
thought, This is an opportunity I cant
miss. Ill go around and make a little teas-
ing remark after the concert. I went into
the artists room. The two of them were
there. We chatted a little bit. I said: Mon-
sieur Poulenc, Jai un question pour vous.
Pourquoi portez-vous des pantoufles? Ce
nest pas habituel?
He said: Monsieur, you know, I do not
play so many concerts. I am usually at
home, and I have to practice at home be-
cause I do not play so much. I have to
practice very hard, and Im in my own
home, Im always wearing slippers. So
when I come to sit for the concert, it is SO
different without my slippers. So I decide:
I will still play in my slippers.2
As he approaches his 80th birthday cel-
ebrations, Gervase de Peyer still exhibits
seemingly tireless energy, traveling be-
tween his homes in France and London,
giving concerts, workshops and master
classes across the globe, choosing reper-
toire for yet another CD recording, and
Page 63
practicing. One special forthcoming master
class is to take place in Vidin, Bulgaria,
July 24July 30, 2006. Vidin is a lovely
town on the bank of the Danube, very
close to the border with Romania, a stop-
ping harbor for boat trips up the Danube
and the Black Sea.
At the time of writing, Gervase is work-
ing towards a celebratory birthday concert,
to be given in Londons Wigmore Hall on
April 4, 2006, the very same hall where, as
a child, he played the piano in one of Ma-
bel Floyds annual piano concerts all those
years ago.
Page 64
And, even if the ghost of Francis Pou-
lenc may be watching the great clarinetist
that evening, Ill bet that the ever-immac-
ulate Gervase de Peyer wont be wearing
slippers!
REFERENCES
1
Anthony Bernard (18911963) wrote much inciden-
tal music for BBC productions. His scores included
Iphigenia in Aulis (1951, later re-used with additions
of his own by Rae Jenkins, himself sometime con-
ductor of the BBC Welsh and BBC Variety Orches-
tras), The Tempest (1951), A Midsummer Nights
Dream and the Ion and Bacchae of Euripides. In
THE CLARINET
1956 Bernard made a version for the BBC of The
Beggars Opera, scoring it for flute, oboe, bassoon,
harpsichord and strings. He is best remembered for
his conductorship of the London Chamber Orches-
tra, which for upwards of 30 years explored unfamil-
iar repertoire. He also directed the BNOC (192425)
and at Stratford-on-Avon (193242). He studied
composition with Bantock and Ireland and was an
organist and a piano accompanist. His earlier works
include an organ prelude, Rorate Coeli (1916),
Variations on a Hill Tune, for piano (1920) and
songs like The Cherry Tree Song.
Poulencs Clarinet Sonata was found after Poulencs
2
unexpected death. It is a very late work (1963). Soon
after the discovery, Poulenc died. Says de Peyer:
He had sent it off to somebody; this was a piece that
hadnt been heard. So concerts were arranged, the
first one in France. But no one knew where the mu-
sic was. So there was a search, and finally the manu-
script showed up at the bottom of a cupboard. I did
the British premiere, in an Arts Council production.
It was an all-Poulenc program. The other artists were
Benjamin Britten, Peter Pears, and I also played in a
performance of the Trio for Oboe, Bassoon and Pi-
ano. The bassoonist was Roger Bernstein.
ABOUT THE WRITER
John Robert Brown is International
Recruitment Consultant for Birmingham
Conservatoire, at the University of Cen-
tral England. In this role he travels world-
wide to recruit and audition music stu-
dents. His books A Concise History of
Jazz and A Concise Guide to Musical
Terms are published by Mel Bay Inc, and
his articles appear regularly in the U.K.s
Classical Music Magazine, CASS Maga-
zine, and elsewhere.
At present, John is the Chairman of the
Clarinet and Saxophone Society of Great
Britain. Formerly he was Postgraduate
Course Leader at Leeds College of Music
(LCM), where he worked from 1975, com-
bining academic duties with the post of
Head of External Relations. He was the
founder and organizer of Leeds Interna-
tional Jazz Education Conference, from
1994, and in recent years he was External
Relations Consultant for LCM.
As a reed player he made many broad-
casts with his own band, John Browns
Bodies on BBC Radio, played occasion-
ally with the Hall Orchestra, and for sev-
eral years presented jazz programs on BBC
local radio. He has also presented a BBC
TV series on music. His arrangement of
The Arrival of the Queen of Sheba was
performed by the Fairer Sax in the John
Schlesinger film Madame Sousatzka.
Recently, John was delighted to accept
an invitation to serve on the IAJE Re-
source Team. <http://www.john-robert-
brown.com/>

Autumn
A
by Bonnie Glass
utumn always brings a sense of
the greatest change of season:
The montage of colours, cool
evenings and butterflies seeking Mexico.
The Great Hibernation never includes the
autumnal bloom in my postal box cat-
alogues for the music teacher. For the
watchful, the catalogues bring enlighten-
ment and amusement. Ever like the Mon-
archs, they give a variety of colour.
High amongst the neuroses of clarinet-
tists has to be the mouthpiece. Given the
great numbers, styles, prices and claims
of superiority, it is no wonder many play-
ers join the endless quest for the perfect
mouthpiece. In a recent catalogue, I count-
ed 73 listings for mouthpieces whose cryp-
tic facings include the 10M, J5, Ruby B, 4
[star] , RE-5, RM28, BP02, Model GE,
and so on. How to choose?
One of these catalogues has a B 
Clarinet Mouthpiece Chart with metric tip
openings across the top and various
mouthpieces listed under each tip opening.
I was interested to see that the tip opening
I play (1.06mm) was listed as H, 8, 1, Pr,
2, M08, HR and B44. Wouldnt it be nice
if the manufacturers just simply labeled
them 1.06mm?
Sticker shock can be a problem if you
are shopping for a new mouthpiece. List
prices run from $120 to a whopping $325.
Many of the mouthpieces are handcrafted
from a soft semi-finished blank supplied
by Babbitt of Elkhart, Indiana. Others are
completely finished there. My thought is
this: If I spend $325 for a mouthpiece it
should be jewel-encrusted and have a 10-
year, 10 million note warranty.
With every new catalogue I am happy
to see that no mouthpiece manufacturer
has tried the duckbill-elongated-torpedo
Fancies
design of our saxophone cousins. There
were, however, hints about the character or
potential of a mouthpiece with wonderful
model names such as Goldentone, Protone,
Artist, Symphonic, Chicago and (my fa-
vorite) the StratoBuzz (just kidding).
On a more serious note, it is pleasing to
see a decline in the number of mouthpieces
offered with differing side rails. They often
require more reed work since any reed
applied would be immediately unbalanced
and lacking in efficiency.
Of the few players who used such a
mouthpiece (with undeniably beautiful
results), Harold Wright and his teacher
Ralph McLane would be the foremost
examples. Their mouthpiece tip opening
of 1.01mm may have helped offset some
of the problems inherent in the unbal-
anced facing.
One of the catalogues features a sepa-
rate section devoted to brands of jazz
mouthpieces. This was a bit of a surprise,
since I have known some crossover
players who used exactly the same equip-
ment for both styles. Their only change
for playing jazz was perhaps a shorter bar-
rel to compensate for a lower tongue posi-
tion, louder playing and the resulting
lower pitch.
It is most unfortunate that there are very
few mouthpiece choices for my beloved
alto clarinet that glorious instrument
with which I began clarinet study. Luckily,
I have a reserve supply of my favorite: the
Alto-matic Ripper 5 [star, will be drawn
on hard copy] .
One of the frustrating things about the
clarinet is that every single piece of equip-
ment can make a difference. Mouthpiece,
ligature, barrel, reed, bell and the main
bore of the instrument can all contribute to
pain or pleasure. One catalogue shows 29
different brands of ligatures, some with
March 2006
enticing names such as Super Revelation,
Leggerio, Light, Ultimate, Optimum and,
my hands-down favorite, the Equa-Tone.
One manufacturer will definitely corner
the market by offering separate ligatures
for A and B clarinets.
The cost of ligatures runs from about $3
up to about $60. Gold plate, of course, is
more but worth it to match any body-pierc-
ing hardware.
The ads for barrels are a great disap-
pointment this year. Still, there is a fun
variety of materials other than the tradi-
tional granadilla. Plastic, African black-
wood, aluminium heat-sink and, my ab-
solute favorites, from The Doctors Pow-
er Barrel. The good doctor has some
great stuff: Power Barrel Aristocrat and,
best of all, Power Barrel Stealth, where
one sneaks up on a note and plays it
before anyone is aware.
It would seem that most barrel makers
have settled in on some variant of Hans
Moennigs taper. Most of the barrels with
his taper can shorten the 12ths in the left
hand and bring the left-hand low register
into focus on R-13s made between 1948
and 1980.
Before Moennig died, he had an option
with Buffet to pass or fail the barrels carry-
ing his name. Mr. Moennig no longer
oversees this. If one has a gauge, one can
determine whether the spread between
upper and lower openings comes within
about .009", as in .081" and .090".
My experience with the aluminium
heat-sink barrel was that it cooled off fast
on breezy stages and had to warm up at the
bar during the interval.
The rest of my catalogues go into such
essentials as ornate super straps, instru-
ment pegs, stands, cases, covers, reed
cases, repair tools, metronomes, tuners, gig
bags and much more. Maybe I can tell you
about these some other time.
Meanwhile, the very best of luck to
you in sorting this out.
ABOUT THE WRITER
Bonnie Glass was three years old when
she decided to escape her parents parlour
piano and concentrate on collecting frogs.
Her hobby ultimately led her to the alto
clarinet, offering a similar sound. After
winning first prize at the 1st International
Alto Clarinet Cotillion, she came to the
United States. She is available for clinics
and the sharing of home beer recipes.
Page 65
Bernstein and the Clarinet:
Stanley Remembers Lenny
Im glad that people are trying to en- with a good teacher who can point out

T
Part II large it by orchestrating it and so forth. things to be aware of. As you work
by Amy Shapiro
I dont know if it improves the piece but things out, you work out the technical
it probably widens its audience. aspects and rhythmic aspects, dynam-
his is the conclusion of an inter- AS: What are your impressions of Yo-Yo ics (which are very important to bring
view consisting of excerpts from Mas transcription of the Sonata for forth the variety of sounds and colors)
my 2002 undergraduate honors cello and piano [Sony Classical, 1993]? and then, after youve got all of that in
project at Hofstra University, An Oral and SD: Oh, I think its excellent. It really is. It hand, you can proceed to form some
Aural History of Leonard Bernstein and works very well and I was unsure how kind of a performance where you have
it would sound on cello, but I think its something that you want to make it feel
his Clarinet Sonata featuring an annotated
great. And his playing of it is first-rate. like, sound like.
interview with Stanley Drucker.
I felt that the collaboration between the AS: Were you at or did you watch the
***** piano and the cello was really excellent. 1955 premiere of Bernsteins Prelude,
Amy Shapiro (AS): Did Leonard Bern- AS: Did you ever play the Sonata with Fugue and Riffs [for Solo Clarinet and
stein ever discuss with you or do Leonard Bernstein? Jazz Ensemble] on Omnibus?
you have any idea why he chose to SD: No, I didnt, but I did play it with Lu- SD: I didnt, but I heard the piece over the
compose a piece [sonata] for the clar- kas Foss (who was a very good friend years and never played it up to a certain
inet as his first published work? of Leonard Bernsteins) several times. point, but its fun. You need a great
Stanley Drucker (SD): Well, from what I In fact, I played it with Lukas at a big band for that piece. You have to have
heard he was fascinated with the clar- reception for Lenny at the Pierre [Ho- really outstanding people that play that
inet. He even went out and spent his tel] when he was being honored by style. There isnt much for the clarinet
last four dollars buying one in a pawn- Young Audiences [in 1983] and to do a little bit. You have to stand
shop once, if the story is true (and a lot played it with Foss subsequently a lot there and look good, but its fun to be
of things become legends). But I think of times. part of, to be in the middle of a thing
he probably was fascinated with the AS: When you learned the Bernstein Son- like that.
instrument: its sound, its flexibility, and ata you were very young, so how AS: When did you hear Benny Goodmans
the fact that he had a friend who played would you recommend that a young recording of Prelude, Fugue and Riffs
it. I think it was something that was per- person today go about working on it? and what did you think of it?
haps in his background, maybe a folk SD: Well, I would say, like they would SD: It was on a compilation LP with other
instrument in a Judaic sense where clar- study any other piece that they hadnt pieces. I think the Copland Concerto
inet is very important in the music of seen before. You start slowly and work might have been on that LP too, but Im
that genre, like it is in some other ethnic
situations. (Greek music, for instance
clarinet is practically a national in-
strument.) So I think that might have
been some underlying reason.
AS: Did Bernstein ever talk to you about
what he thought of your performances
of his piece?
SD: He was always very nice to me. He
was always like an older brother figure
to me (I wouldnt say father figure). He
was, I would say, a very warm and bril-
liant kind of a person to be around.
Things happened when he was around.
He had that kind of a chemistry.
AS: Have you ever heard the version of
the Bernstein Sonata orchestrated by
Sid Ramin [RCA Victor, 1993]?
SD: I havent heard it but I know its been
performed. The piece will always be Leonard Bernstein and Stanley Drucker after a Freedom Concert in Berlin in December
played. Its an ongoing situation and 1989. Bernstein is imitating Drucker playing.

Page 66 THE CLARINET

 not sure. I thought it was very typical
Benny Goodman. There was a lot of
energy, a lot of spirit. I thought that he
exuded the right kind of feeling for it,
which he would, certainly, in that kind
of genre.
AS: What were your original impressions
of Prelude, Fugue and Riffs the first
time you heard it?
SD: Well, it swung. I mean it was really
hot stuff. I thought it was very current
sounding. It still sounds very current.
AS: Do you have any thoughts on the form
of the work?
SD: Its typical Bernstein, with the rhy-
thms, 5/8, 7/8, off-kilter stuff, and ac-
cents in the wrong places. Its definitely
something that will always sound fresh.
AS: Did you ever play Prelude, Fugue and
Riffs with Leonard Bernstein conduct-
ing or discuss the piece with him?
SD: No, no I didnt. Not this piece.
AS: What is the seating arrangement for
Prelude, Fugue and Riffs?
SD: Its the normal dance band and clar-
inet standing on one side, in front of it.
AS: The score of Prelude, Fugue and Riffs
suggests that the clarinet be discreetly
amplified. Were you [when you played
it with the New York Philharmonic in
1988 and 1993]?
SD: Well, it depends on where its done. I
dont think they normally use amplifi-
cation at Avery Fisher Hall, maybe for
a harpsichord or something like that
sometimes, but there was no special
amplification. There are always mikes
hanging from the ceiling but theyre for
the archival recordings.
AS: Do you know why Bernstein never
wrote another work for clarinet, consid-
ering that Prelude, Fugue and Riffs
isnt solely a clarinet work?
SD: Right. Well, I imagine he had to use
all of his energies for writing the big-
ger works, for the Broadway shows,
the symphonies and some of the large-
scale pieces and I think, perhaps, it was
priorities and time. Even small works
take time.
AS: Did the idea of Bernstein composing
a piece for you ever come up in con-
versation?
SD: I suggested it once and it was actually
when the Corigliano Concerto got writ-
ten [1977]. I suggested Lenny as a com-
poser of a commissioned work for clar-
inet and orchestra, and he responded to
the people that were asking him that it
was a question of time. He couldnt have
it ready for the season but he wanted to
conduct the piece and he recommended
John Corigliano to write the work. I
think it was a very good choice.
AS: Overall, what do you think of Leonard
Bernsteins writing for the clarinet?
SD: His writing for the clarinet is very,
very good and knowledgeable. Let me
give you an example of the opening of
his Symphony [No. 2], The Age of
Anxiety, which is this lengthy duet for
clarinets thats played in this echo tone
style: three, four pianos, very, very pure,
clear, soft writing. It sets an incredible
mood and that certainly takes an under-
standing of the instrument just because
its not just wild, loud notes. Its very
long phrases, very sustained, very dis-
tant and it really creates a mood.
AS: What other Bernstein works have you
played that have big clarinet parts?
SD: Ive played all of them. Theres al-
ways something rhythmic in a lot of the
works. Some of the ballet music has
tricky little spots. He always throws in
little rhythmic bear traps that have to be
looked at.
AS: What do you think Bernstein thought
of the clarinet in general?
SD: Well, he said he liked the instrument.
He was drawn to it. Of course, David
Oppenheim was a close friend in his
early circle of friends and he was a clar-
inetist so, I mean, it probably intrigued
him. Its hard to know exactly, inas-
much as he was a pianist, not a wind
player, but he felt an attachment to it.
Obviously he wrote well for it and I
think he liked the clarinet. I really do. I
like to think of it that way.
AS: At least from what Ive seen, Bern-
stein seemed fond of the E clarinet.
SD: Oh sure, and I think thats the Cop-
landesque influence. Copland, of course,
wrote magnificently for the piccolo clar-
inet, when I think of Music for the Thea-
tre as a prime example and El Saln
Mxico and the Third Symphony. I feel
that he liked those extreme high notes
but, both men being pianists, I think
they probably liked the piano the best.
AS: In what order of importance do you
think Bernstein would have ranked him-
self as pianist, conductor and composer?
SD: Well, I guess he wanted to have been
recognized as a composer, and he cer-
March 2006
tainly made a very significant mark. Of
course, his main occupation was as con-
ductor over those many years, probably
piano third. He did take time off occa-
sionally to compose various works and
they managed to get written. Maybe he
didnt get everything down that he
wanted to get down, but I think the
body of work is interesting. I think its
very recognizable as being his music
and probably under-appreciated, like
most people are in their time. I cant
think of anybody who was over-appre-
ciated in their time, but it makes inter-
esting reading when you criticize, more
than when you praise.
AS: When Robert McGinnis retired in
1960, Bernstein appointed you principal
clarinet. You made your solo debut
with the Philharmonic in October 1961,
performing Debussys Premire Rhap-
sodie with Bernstein conducting. What
was that experience like?
SD: Oh, that was exciting. That was Car-
negie Hall. We did it five times over, I
guess it was a week and a half, and then
we recorded it in that second week. The
recording was done where we made
most of the records then at the Man-
hattan Center, in one of the ballrooms
up on the seventh floor, a Columbia re-
cording [now on a 1992 Sony Classical
CD]. I remember that very well.
AS: What was it like working with Bern-
stein as a soloist?
SD: Well, it was a three-ring circus. It was
heavy stuff; it was probing; it was chal-
lenging. It was, I would say, very thor-
ough and one could really get worn out
after many rehearsals because of the
energy you put out, the kind of involve-
ment that you had to have.
AS: What do you remember about the
Nielsen Concerto [now on a 1993 Sony
Classical CD]?
SD: Lenny was doing a Nielsen retrospec-
tive, doing all the symphonies and the
small pieces, and one year he did the
Flute Concerto and then the year after
[1967] he did the Clarinet Concerto
and we recorded it. It was an exciting
recording. I think it was just about a
one-taker because, after all, the record
companies werent wasting time with
the wind concertos.
AS: You performed the Copland Concerto
numerous times with Bernstein as
Page 67
 conductor, from 1970 up to 1989 when
you were also Bernsteins last concerto
recording soloist [Deutsche Grammo-
phon, 1991]. What are your memories
of these performances?
SD: Well, certainly, always, no matter
what tempo he picked, it seemed right.
It convinced. He had the right mood for
that piece and you could really sink into
it and make something happen.
AS: How did Bernsteins view of the Con-
certo change over the years?
SD: It got slower [laughs]. The first part
got slower.
AS: What did you think about that?
SD: Well, I wasnt sure, but when I heard
the playbacks I felt it was okay. It was
very Mahler-like, the first part.
AS: How would you describe your rela-
tionship with Leonard Bernstein over
all the years?
SD: I think it was a very friendly relation-
ship. He was a Renaissance man. He
could do anything: he could lecture,
play the piano very well, conduct, write,
and probably talk on a lot of different
subjects. He embodied, I would say, the
New York spirit in a way that was very
unique. He spoke many, many langua-
Page 68
ges, I think, and also spoke New York
very well.
AS: In 1990, Bernstein visited Wagners
house in Bayreuth and, after playing on
Wagners piano, remarked: It really
sounds like a clarinet. You could create
the sound of an entire orchestra on this
piano. Do you think that says a lot
about what he thought of the clarinet?
SD: Well, it certainly does and if thats
what he meant, Im all for it [laughs].
ABOUT THE WRITER
Amy Shapiro graduated from Hofstra
University summa cum laude with high
honors from the music department. She
holds a masters degree in clarinet perfor-
mance from New York University and is
currently pursuing a Ph.D. in musicology
at Stony Brook University. A student of
Stanley and Naomi Drucker, Amy began
her clarinet studies with Louis Panacciulli.
She can be heard on the 2005 Elysium
recording The American Chamber
Ensemble Plays Peter Schickele in Stanley Drucker with the author follow-
Monochrome III for Nine Clarinets, which ing his performance of Bernsteins Pre-
she has also performed at Weill Recital lude, Fugue and Riffs with the New York
Hall at Carnegie Hall. Philharmonic on July 2, 2005.
THE CLARINET
INTERNATIONAL CLARINET ASSOCIATION
2006 YOUNG ARTIST COMPETITION
Eligibility: The competition is open to all clarinetists who shall not have reached the age of 27 by January 1, 2007, and are not
currently under major artist management.
Application: Send all materials to:
Lee Livengood, 490 Northmont Way, Salt Lake City, UT 84103 <president@clarinet.org>.

CONTEST RULES
1. Application fee: $50 U.S. All applicants must be members of the I.C.A., and must provide proof of membership. Non-
members wishing to apply may join the I.C.A. by including the appropriate membership fee with their contest appli-
cation fee. Make amount payable to the I.C.A. in U.S. currency by bank check, money order, or by credit card only. Other
forms of payment may be made only with prior arrangement and consent of the Executive Director. Please direct questions
about payment to the Executive Director prior to sending your materials. This fee is non-refundable.
2. Recording instructions: Please provide a high-quality recording on compact disc (CD-R) containing the following repertoire
in the exact order listed. Each selection/movement should be ID coded as tracks. Audio cassettes will not be accepted. Please
be aware that the quality of the recording will influence the judges. Recordings should not be edited, and only continuous
performances of entire works or movements should be submitted.

Joseph Horovitz, Sonatina for Clarinet and Piano, movements II and III only
Mikls Rzsa, Sonatina, Op. 27, movement I only
C. M. von Weber, Concerto No. 2, Op. 74, movement II recitative to end (mm. 6387) and movement III (complete)

3. A photocopy of the contestants drivers license, passport or birth certificate as proof of age.
4. Both the private teacher, if any, and the contestant attest, in a separate written and signed statement, that the recording is
the playing of the contestant and has been not been edited.
5. A summer address, telephone number, and e-mail address (all if possible) should be provided. Please provide all information
in typwritten form.
Please note that no application form is required.

JUDGING
Judging of tapes will be conducted with no knowledge of the contestant. Do not include any identification on the CD-R, cas-
sette or box. There should be no speaking on the recording, such as announcing of compositions.
Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be e-
mailed by June 1, 2006. Semifinal and final rounds will be held at the ClarinetFest 2006, to be held in Atlanta, Georgia, August

2006. Repertoire will consist of the works listed above.

Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. The I.C.A.
will provide a pianist for all semifinalists and finalists. All semifinalists will receive free registration at ClarinetFest 2006.

Travel expenses will be the responsibility of the contestant.

All recordings will become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is pro-
vided. (Use U.S. postage or International Postal Coupon.)

PRIZES
First Prize A new clarinet and $2,000 U.S.
Second Prize $1,500 U.S.
Third Prize $1,000 U.S.

The I.C.A. assumes no tax liability that competition winners may incur through receiving prize money. Individuals are
responsible for investigating applicable tax laws and reporting prize winnings to requisite government agencies.

March 2006 Page 69

PART II: INTONATION
AND FINGERINGS
The author has surveyed early clarinet
specialists from around the world while
writing the D.M.A. dissertation Early
Clarinet Performance as Described by
Modern Specialists, with a Performance
Edition of Mathieu Frdric Blasiuss IIe
Concerto de clarinette, under the super-
vision of Kelly Burke at the University of
North Carolina at Greensboro. This is the
first attempt in compiling and codifying the
modern performance practice of the early
clarinet. Second in a series, this article will
examine the intonation parameters on the
early clarinet. Subsequent articles will dis-
cuss articulation, reeds, instrument selec-
tion (originals, modern replicas), and sel-
P
ected repertoire with reference to perfor-
mance practice of the early 19th century.
erformers interested in historical
instruments such as the chalumeau
or classical clarinet are usually ad-
vanced players on the modern clarinet
wishing to acquire performance practice
information and historical perspective.
With respect to intonation and tonal re-
sponse, some believe that early instru-
ments are difficult and inaccurate. Early
pedagogues such as Lefvre, Blasius, and
Backofen would agree that their instru-
ments were less than perfect:
Pure intonation, the most impor-
tant feature of every wind instru-
ment, cannot be found in the com-
monplace clarinet. At least I have
not had any success in finding it.
Whether these faults arise unavoid-
ably from the inherent design of the
instrument, or are due to the care-
lessness of the instrument maker, I
do not want to say.1
The Boehm system, resulting in part
from efforts to improve the clarinets into-
nation and tonal response, requires cus-
tomized fingerings, manipulation of the
embouchure, and subtle adjustments of the
tongue position in order to play in tune.
Instrument design comprise acoustical
compromises that have negative effects on
intonation, thus assigning the performer
with a responsibility to compensate by
means of embouchure, airflow, and fin-
gers. Notes are not designed to play in tune
automatically. The accomplished player
Page 70
Early Clarinet Pedagogy
for Modern Performers by Luc Jackman
will select fingerings suited to the equip-
ment, musical context, and playing condi-
tions. One might even choose slightly dif-
ferent fingerings for the A and B instru-
ments of the same make and model. Each
note or fingering has a distinct resistance,
tone color, and intonation idiosyncrasies.
Furthermore, adjustments must constantly
be made with respect to the notes role
within the musical context. This was no
different 200 years ago.
As mentioned in Part I (December 2005
issue), approaching the early clarinet with
modern bias is counterproductive: The
main difficulties of intonation on early
clarinet are created when playing reeds
that are too hard and trying to make the
instrument sound like its modern coun-
terpart. Aspiring to a perfectly even scale
takes away some of the early clarinets
expressive qualities: Composers used the
covered notes to their musical advantage.
We must ignore our modern predilection
for evenness of projection and response,
and cherish the covered notes. As advocat-
ed by Charles Neidich: Have the instru-
ments lead you in the direction which
makes them [the notes] speak most easily
and best in tune.2 The resulting tone will
not necessarily match a modern players
conception of sound, especially if he/she
has not heard early clarinet performances
by accomplished players. Keep an open
mind, experiment, and discover!
Hard reeds offer a familiar sense of re-
sistance, but encourage too much jaw pres-
sure, reducing flexibility of embouchure
(especially when playing double-lip), and
making intonation difficult. The key is to
select reeds that counterbalance the resis-
tance created by the narrow bore, small
tone holes and use of cross fingerings, al-
lowing control of the clarinets full range
with relative ease and good intonation.
With soft reeds, most of the intonation
issues can be corrected by means of fin-
gers (fingerings, shading, buttress fingers,
and resonating fingers), or embouchure
(voicing, and tightening or loosening of
the lips).
THE CLARINET
Early clarinet design differed consider-
ably between countries and makers, mak-
ing it impossible to compile a standard fin-
gering chart. In his examination of 42 fin-
gering charts from 17321816, Albert Rice
remarks: Throughout the eighteenth and
nineteenth centuries, clarinets were stan-
dardized neither in their construction nor in
their fingerings.3 Rices article permits
access to an exhaustive number of finger-
ing charts in one source. Another useful
compilation of fingering charts for the five-
key clarinet can be found in Eugne Rous-
seaus dissertation.4 Basic fingerings are
common to all fingering charts, but each
instrument has its idiosyncrasies depending
on the year, model, and country of manu-
facturing. Therefore, there are no generally
applicable rules of fingering. Each player
must become thoroughly acquainted with
the peculiarities of his or her instrument,
and develop fingerings accordingly.
In addition to selecting an appropriate
basic fingering, intonation can further be
improved by means of the fingers using
shading, half-holing, and buttress fingers/
resonating fingerings. Shading is per-
formed by reducing the finger-tone hole
distance, thus flattening the pitch. It is
most effective when a finger is lowered
over the first open tone hole. In the clarion
register, shading can also be performed
with the register key: The subtle control of
the height of the register key is critical for
playing early clarinet, and will affect notes
to different degrees, depending on their
respective distance to the register vent.
The fewer number of tone holes 13
as opposed to 23 on the Boehm limits
the five-key clarinets chromatic possibili-
ties. The player must therefore be imagina-
tive if a needed note does not have an
assigned tone hole. The chalumeau c is
one example. Some instrument makers
remedied the situation by providing the
left-hand ring finger with a double tone
hole. If this is not the case on your instru-
ment, you will need to perform a technique
called half holing. An integral part of the
bassoonists technique, half holing is the
partial covering of a tone hole (30%60%).
This technique, creating further resistance
in the instrument, must be combined with
appropriate voicing of the airflow.
In addition to providing additional sup-
port, the Stutzfinger or support finger
technique assists with intonation and reso-
nance. The inclusion of right-hand fingers
in open fingerings is a rudimentary form of
our resonating fingerings for throat tones.
Given that acceptable fingerings are
used, the most important control parame-
ter remains the embouchure. Flexibility is
crucial, since each note has its own em-
bouchure. However, the adjustments
should be subtle; if too much work is re-
quired from the embouchure, one should
reconsider the reed/mouthpiece set-up.
On my Lotz replica, it is possible to find a
tonal center to each note by adjusting the
tongue position and placement/pressure
of the lips around the mouthpiece. Each
note responds differently, and when voiced
accordingly, sounds a resonant, focused
tone with agreeable intonation. It was
interesting to observe that the fingerings
for b, b1, and b3 found in early charts are
quite sharp on my Lotz. Examining the
extant repertoire written for the five-key
clarinet, one finds that works are usually
in the keys of F, C, and B. Consequently
the note b acts primarily as the leading
tone in C, which is raised when playing
with non-tempered instruments.
As per modern clarinet, conscious long
tone exercises are the essence of getting
acquainted with the instruments idiosyn-
crasies, developing a focused sound, and
an ideal means for experimenting with the
above-mentioned finger techniques. Relax
the embouchure, blow gently, and try to
get the most sound with a minimum of air.
Find a tonal center to each note by adjust-
ing the airflow, tongue position, and place-
ment/pressure of the lips around the mouth-
piece. When playing long tones on notes
requiring cross fingerings, one should be
open minded to different sound colors.
Practicing partials or bugle calls expands
awareness of the embouchure and might
help discover new fingerings.
Once a focused sound and overall
awareness has been cultivated, the next
step is to fine-tune the scale with respect to
intonation. Playing intervals against a
drone pitch will help the player develop a
flexible embouchure, select appropriate
fingerings, and develop a critical ear.
Make sure to acquire a tuner that will
accommodate the pitch level of your
instrument. Start with the natural scale (F-
major), experimenting with crescendos
and decrescendos, becoming aware of the
needed adjustments, and taking note of the
notes that are well in-tune for reference.
Finally, it is of utmost necessity to play
with other musicians so that intonation can
develop artistically. Find another lonely
early clarinet player to sightread duets
from the early methods, or a pianist that
has access to a fortepiano. If this is not
possible, the Smart Music software may be
programmed to play at any pitch level,
including A = 430hz and A = 415hz.
Further intonation adjustments can be
performed by inserting wax into the tone
holes thus modifying their sizes
using tuning rings, and experimenting with
barrels of different sizes. The attentive
player will discover the particularities of
his/her instrument, choose fingerings ac-
cordingly, cultivate a flexible embouchure,
and adjust to the musical context of each
note. The process takes time: Approach the
early clarinet as a new discovery. This is
especially difficult for advanced players
who expect to produce satisfying results
after a short period of time. The flexibility
cultivated through diligent practice will
improve your overall playing on the early
clarinet, and will transfer to your modern
clarinet technique.
ABOUT THE WRITER
Luc Jackman is a freelance musician
in Montreal and Winston-Salem. He re-
ceived a masters in chamber music per-
formance from McGill University and a
Doctorate of Musical Arts from the Uni-
versity of North Carolina at Greensboro
where he studied with Dr. Kelly Burke.
Main teachers include Andr Moisan,
Charles Neidich and Robert Crowley. Luc
has performed with the Greensboro Sym-
phony Orchestra, the Winston-Salem Sym-
phony, the Piedmont Opera Company and
the Carolina Pops. Luc teaches woodwinds
at Livingstone College in Salisbury, NC,
and can be reached at <lucjackman@
hotmail.com>.
(Part III: Articulation: Technique and
Performance Practice)
March 2006
END NOTES
Backofen, Johann Georg Heinrich. Answeig zur
1
Klarinette, nebst einer Kurzen Abhandlung ber das
Basset-Hrner. Leipzig: Breitkopf und Hrtel, [ca.
1803]. Reprint, Celle: Moeck Verlag, 1986. Trans-
lated by Susan Carol Kohler in J. G. H. Backofens
Answeisung zur Klarinette nebst einer kurzen
Abhandlung ber das Basset-Horn, Translation and
Commentary, D.M.A. diss., University of Wash-
ington, 1997, 8.
2
Charles Neidich, dissertation survey response.
Rice, Albert. Clarinet Fingering Charts, 1732
3
1816. The Galpin Society Journal 37 (March 1984):
1641. Forty-two fingering charts dating from 1732
to 1816 were examined for this study. Many of
them, as may be imagined, merely duplicate finger-
ings which had already appeared in earlier charts.
The following is a table limited to charts at least
some of whose fingerings appear there for the first
time. The twenty-eight fingering charts selected and
compiled include (in chronological order): J. F. B. C.
Majer Museum musicum (Schwbisch Hall, 1732),
J. P. Eisel Musicus (Erfurt, 1738), V. Roeser Gamme
de la clarinette, avec Six Duo pour cet instrument
(Paris, 1769), M. Corrette Mthode de la Flute
Traversire: Nouvelle edition, revue, corige et aug-
mente de la Gamme du Haut-bois et de la
Clarinette (Lyon and Rouen, 1773), Principes de
Clarinette Avec Tablature des Meilleurs Matres
pour cet Instrument et plusieurs Duos pour cet
instrument (Paris, ca. 1775), F. D. Castillon fils
(Amsterdam, 1776), The Clarinet Instructor (Lon-
don, ca. 1780), L. N. Berg Den frste Prve for Be-
gyndere udi Instrumental-Kunsten (Christiansand,
1782), A. Vanderhagen Mthode Nouvelle et Rai-
sonne pour la Clarinette and Nouvelle Mthode de
Clarinette divise en deux parties (Paris, ca. 1785
and ca. 1799), J. V. Reynvaan Muzijkaal Kunst-
Woordenboek (two published charts, Amsterdam,
1795), F. Blasius Nouvelle Mthode de Clarinette
(Paris, ca. 1796), J. W. Callcott (London, 1797
1802), V. Michel Mthode de clarinette (Paris, ca.
1801), The Clarinet Preceptor (London, ca. 1801), J.
G. H. Backofen Anweisung zur Klarinette, nebst
kurzen Abhandlung ber das Basset-Horn (Leipzig,
ca. 1802), J. X. Lefvre Mthode de Clarinette
(Paris, 1802), The Clarinet Preceptor (London,
1803), O. Shaw For the Gentlemen (Dedham, 1807),
S. Demar Nouvelle Mthode pour la clarinette
(Paris, ca. 1808), C. Bocha Pre Mthode Instructive
pour la Clarinette (Paris, ca. 1809), Gamut for the
Clarionet (Dublin, ca. 1810), J. Frhlich Vollstn-
dige Theoretisch-pracktische Musikschule (Bonn,
18101811), J. Mahon A new and Complete Precep-
tor for the Clarinet (London, ca. 18111816), F.
Antolini La retta maniera di scrivere per il clarinet-
to ed altri istromenti da fiato (Milano, 1813), W.
Whitely The Instrumental Preceptor (Utica, 1816), J.
F. Simiot Tableau explicatif des innovations et
changements faits la Clarinette (Lyon, 1808).
Rousseau, Eugne E. Clarinet Instructional Ma-
4
terials From 1732 to ca. 1825. Ph.D. diss., State
University of Iowa, 1962. Rousseau compiled and
compared the charts by Antolini, Backofen, Blasius,
Bland & Weller, Dmar, Frhlich, Gehot, Holyoke,
Lane, Lefvre, Leroy, Longman & Broderip, Michel,
Reynvaan, S. A. & P. Thompson, Vanderhagen
(1785, 1797, and 1803), and Wheatstone.
Page 71
 ford on drums, Don Eliott on vibes, and I While Scott could still reveal his debt to
cant remember the bass player. Whoa, Goodman in 1950, he had long since come

TONY now that was something! Excellent. A

memorable night. Beyond words. That
was before he got in his modern style of
playing. He was playing in the Benny
under the spell of another giant: Charlie
Parker. He first met Parker in 1943. I was
sent to the Spotlite Club by Ben Webster
[Tonys chief mentor on 52nd Street] who

SCOTT
Part I:
Goodman style.
Not one to mince words, Scott can be
quite outspoken. When asked by jazz
writer Burt Korall in the late 70s what the
name Benny Goodman evokes in him, he
replied, The name calls to mind several
had told me about Bird, he says. I was
supposed to blow after him. I felt miser-
able what the hell could I play after this
musical madman? I walked up on the stage
to be near him and played in the style of
Goodman, but from that day on I wanted
things: ballads, virtuosity, great swing and

T
The Stateside Years to play like Bird.
style, the personality of a dead fish. Ive
Always adventurous, Scott left the
by Thomas W. Jacobsen never forgiven him for taking much of the
money allotted for jazz clarinetists. Artie swing style behind and turned to the hot
Shaw got the rest. There was nothing left new thing: bebop. He was one of a hand-
he name of clarinetist Tony Scott
by the time Buddy DeFranco and I came ful of clarinet players to give it a go, and
may be nearly forgotten by an
along. He then went on, Artie and Benny one of the first. (DeFranco is two years
older generation of American jazz
were two of the biggest whores in music. his junior.)
fans and, at the same time, be virtually
unknown to a younger generation. That is When they were at the top, they performed Scott first gained national attention
because Scotts glory years the years nine schlock tunes for every good jazz with his 10" LP on Brunswick, Music Af-
when he was a frequent winner in the polls composition. I must say, though, that when ter Midnight, in 1953. Joined by Dick
and was considered one of the top jazz Artie or Benny produced, it was fantastic, Katz, piano; Milt Hinton, bass; and Philly
clarinetists in the country are now a half on a very high level. Joe Jones on drums, they recorded at
century in the past, and he has been living
Tony Scott at the French
abroad for most of the intervening time.
Lick Jazz Festival, French
He first left the country in 1959 and, with a
Lick Springs Hotel,
few brief exceptions, he has not returned to
August (?), 1959
the States. He now lives in Rome, where he
(Photo courtesy of
has resided for the last 30 years or more. Duncan Schiedt)
Anthony J. Sciacca he changed his
last name in the 1940s at the suggestion of
his friend and one-time roommate, Bill
Simon1 was born in Morristown, N.J.
June 17, 1921. After studying at Juilliard
from 1939 to 1942, Scott was drafted into
the army. He served for three years, play-
ing in army bands and since he was sta-
tioned in the New York City area sitting
in regularly on legendary 52nd Street with
some of the best jazzmen of the era. Those
two experiences, Juilliard and The Street,
shaped his musical thinking for the years
under consideration here as well as much
of his later career.
Scotts early influence on clarinet was
Clarence Hutchenrider of the Glen Gray
Casa Loma band, but Benny Goodman
soon became his idol. Jack Maheu, a fine
clarinetist who worked in New York for
many years and now lives and plays in
New Orleans, recalled hearing Scott when
the latter was still in his formative years.
When I was going to school in Brooklyn
in 1950, he says, we had our spring frat
dance. We hired Tony Scotts group. He
had Teddy Wilson on piano, Jimmy Craw-

Page 72
Mintons in Harlem, often considered the
birthplace of bop.
That recording drew critical acclaim
and led to his being named New Star of
1953 on clarinet by Downbeats annual
critics poll.
Later in the same year he cut a second
successful 10" LP for Brunswick (this time
recorded in the studio), which was not
released until the following year. Writing
in Downbeat (1953), jazz critic Nat Hen-
toff opined, To this ear, Tony Scott has
become our finest contemporary jazz clar-
inetist No other modern clarinetist has
the fire, the drive, and the beat Tony gener-
ates. DeFranco may have more fluent tech-
nique but Scott too gives the impression
of being able to execute almost any idea
that comes to mind. And so many do.
The comparisons with DeFranco were
inevitable. Clearly, they were the two top
jazz clarinetists of the decade. DeFranco
had owned the clarinet chair in Downbeat
polls from 19451955, but Scott won for
the first time in 1956 and dominated the
critics and readers polls for the rest of
the decade.
DeFranco tells this story about him-
self, Scott and producer George Wein.2
[Wein] called me one time after I had
moved to California and said: Buddy,
Ive been looking for Tony Scott but I
cant find him. Will you come out in-
stead? Of course, he really wanted Tony
and not me, see? So I said: George, you
just said the wrong thing. He also made
me a pretty weak offer, adding: Oh, I
didnt mean it that way. All he was try-
ing to do back then was to let me know
that Buddy wasnt in right then.
Scott made countless other recordings,
both as a leader and as a sideman (with
such stars as his close friend Billie Holi-
day), during the 1950s. He introduced a
number of young artists who were later to
become stars, not the least of whom was
the gifted pianist Bill Evans. He experi-
mented with group sizes, from his standard
quartets to a septet and even a big band.
RCA Victor offered him a huge contract to
form a big band, promising to make his
name household words. All I could think
of was Ivory soap 99 and 99/100% pure,
he says. I was going to have to play white
music, with white musicians for white au-
diences, so I said, No thanks. My friends
all said I was nuts, but I wanted to live
like a Black jazz musician. Anyway, you
cant be a nun during the day and a whore
at night.
He also performed and recorded on
other instruments besides the clarinet.
Hed always been very comfortable with
the tenor saxophone and flute, and he
studied piano at Juilliard. On his 1957 re-
cording, The Modern Art of Jazz, he de-
buted on the baritone saxophone. In the
following year, Downbeat named him not
only the number one clarinetist but the
new star on baritone!
Despite all the acclaim maybe, in
part, because of it Scott began to weary
of the music business by the end of the
decade. He had already taken three months
at Charlie Parkers home in Bucks County,
Pennsylvania, to regroup in 1956. (You
will recall that Artie Shaw also retired to
his Bucks County farm for a time before
resuming his career.) Shaw had had similar
feelings when he finally dropped out of the
business in 1954, and Buddy DeFranco
retreated to California in the following
year. The clarinet was hardly the instru-
ment du jour in the jazz world. In fact, as
Tony put it, The clarinet is dead, and I
hate funerals.
Beyond that, sadness had come along
with all the success. He lost many close
friends in the last half of the decade:
Charlie Parker, my prophet and greatest
friend (55), Art Tatum (56), Big Sid Cat-
lett (57), Lester Young (58), Billie Holi-
day (59), and for me the creativity in jazz
died with them, he said. Im looking for
new sounds, new feeling and a change
of thought.
Inspired perhaps by a successful tour of
Europe and South Africa in 1957, he de-
cided to acquire a further taste of the music
scene abroad. So, on November 3, 1959,
Scott set out for the Orient.
To Be Continued
SELECTED SOURCES
James Isaacs, liner notes for Golden Mo-
ments (1982)
Burt Korall, liner notes for Sung Heroes
(1986)
Burt Korall, First Take: Tony Scott, Jazz
(1978)
Cinzia Scott, The Musical Universe of
Tony Scott. The official Web site of
Tony Scott, <www.tonyscott.it>.
Bill Simon, Tony Scott: Some Reminis-
cences of a Best Friend, IARJC Jour-
nal (1998)
March 2006
John S. Wilson, liner notes for Both Sides
of Tony Scott (1956)
Lord, Tom, The JAZZ Discography (CD-
ROM Version 6.0, 2005)
A SELECTION OF
RECORDINGS BY TONY
SCOTT AS LEADER, 1950S3
Music After Midnight, Tony Scott Quar-
tet, Brunswick BL 58040. Recorded
live at Mintons Playhouse, NYC, Feb-
ruary 5, 1953.
Tony Scott Quartet, Brunswick BL
58056. Recorded NYC, December 22
and 27, 1953.
Tony Scott Septet, RCA Victor EPA 596.
Recorded NYC, December 28, 1954.
Both Sides of Tony Scott, Tony Scott
Quartet, RCA Victor LPM 1268. Re-
corded NYC, January 25-26, 1956.
The Complete Tony Scott, Tony Scott and
His Orchestra, RCA Victor LPM 1452.
Recorded NYC, December 11, 1956.
In Concert, Tony Scott and the Horst
Jankowski Trio, Jazz Life 2673812
(Holland). Recorded live in Ljubljana,
Slovenia, May 10, 1957. (Released on
CD, 1990.)
My Kind of Jazz, Tony Scott Quintet,
Perfect PS 14010. Recorded NYC, No-
vember 16, 1957.
The Modern Art of Jazz, Tony Scott
Quintet, CELP (SEECO) 425. Record-
ed NYC, November 16, 1957.
Tony Scott Plays Gypsy, Tony Scott and
His Buddies (Quartet), Signature SM
6001. Recorded NYC, 1959.
Golden Moments, Tony Scott Quartet,
Muse MR 5230. Recorded live at The
Showplace, NYC, August 1 and 9, 1959.
(Released 1982.)
Sung Heroes, Tony Scott Quartet, Sunny-
side SSC 1015 (France). Recorded
NYC, October 2829, 1959. (Released
1986.)
END NOTES
The phone calls came in all hours of the day and
1
night, sometimes for Tony Scotcha, sometimes for
Skeeacka. Finally, I suggested he make it easier on
everyone and call himself Tony Scott (Simon,
1998).
2
A Life in the Golden Age of Jazz, 2002, p. 258.
These recordings are in the authors personal collec-
3
tion and represent but a fraction of Scotts total out-
put. For recordings made before 1953, see Simon
(1998) and Lord (2005), and since 1959, see part
two of this article.
Page 73
T
he first installment in this series in
the December issue considered two
pre-war films, The Big Broadcast
of 1937 and Hollywood Hotel.

FOR AULD LANG SYNE,

1938, WARNER BROS. INC.
This 10-minute fund raising film for the
Will Rogers Memorial has James Cagney
introducing himself and later identifying
all the attending guests as they arrive for The Movies of
the benefit. Among the many movie stars
were Humphrey Bogart, John Barrymore,
Bette Davis, Basil Rathbone, Errol Flynn
and singer/actor Dick Powell. The musi- Benny Goodman
cal highlights of the movie evolve around
the Benny Goodman Orchestra, which in-
cluded Gene Krupa and Lionel Hampton, A Pictorial Retrospective
who play extracts from the movie Holly-
wood Hotel. Unfortunately, the writers re-
search turned up no images, printed mater- by James
ial or a video of the movie. Take 2 Gillespie

THE POWERS GIRL (U.S.),

HELLO! BEAUTIFUL (U.K.),
HOLA, PRECIOSA
(ARGENTINA), 1942,
York (among its graduates: Grace Kelly,
Lee Remick and Jennifer Jones) and a mod-

UNITED ARTISTS els rise to fame and shows actresses Anne

Shirley and Carole Landis at their best.
This extravagant musical is based on The Benny Goodman Orchestra is fea-
the real Powers Modeling Agency in New tured prominently throughout in such num-

Original still (l to r): George Murphy,

BG and Dennis Day during a rehearsal

bers as Lets Dance, The Lady Who

Didnt Believe in Love (with vocalist
Miss Peggy Lee), One OClock Jump,
Roll em, and I Know That You Know
(the Benny Goodman Quintet). Other vo-
cal numbers with Dennis Day were with a
studio orchestra. The band included: Jim-
my Maxwell, Lawrence Stearns, Tony Faso
(trumpets); Lou McGarity, Charles Cas-
taldo (trombones); Hymie Schertzer, Clint
Neagley (alto saxophones); Jon Walton, Al
Klink (tenor saxophones); Bob Poland (bar-
itone saxophone); Jimmy Rowles (piano);
Dave Barbour (guitar); Cliff Hill (bass);
Original lobby title card and Hud Davies (drums).1

Page 74 THE CLARINET

 Sheet music Three Dreams from The
Original lobby card. Scene shows Dennis Day, BG and George Murphy at a fair where Powers Girl published in New York in
the BG band had just played for a rain-soaked group of frenzied jitterbuggers 1942.

Ad from U.K. magazine Kinematograph Weekley, May 20, 1943.

Magazine ad from 1942 Note British title Hello Beautiful.

March 2006 Page 75

Sheet music Out of This World from
Hello Beautiful (U.K.) published in the
U.K. in 1943
Danish program pamphlet sold at the films showing in Denmark. The sale of such pam-
phlets, which provided a summary of the plot, a list of the actors and a few photos from
the film, have been common in European theaters for many years, but the practice has
never been adopted in the United States.

Original
window
card poster.
These were
placed in
shop win-
dows with
the dates
and name of
the theater
added in the
blank space
at the top.

Spanish language poster from Argentina

SYNCOPATION, 1942,
RKO RADIO PICTURES INC.
This musical attempts to chronicle the
history of jazz with a story that centers on
a trumpet player (recorded by Bunny Ber-
igan for the soundtrack) who falls in love
with a young woman with a passion for
music. Unfortunately, the girl is still griev-
ing for her true-love that she lost during

Page 76
The two images at left are from a publicity
pamphlet for Syncopation

the war. The actors include Adolph Men-

jou, Jackie Cooper and Bonita Granville.
Benny Goodman fans have to wait until
the very end of the movie to hear him as a
member of The Saturday Evening Post
All-American Jazz Band that plays an unti-
tled Blues. The band was comprised of
Harry James, trumpet; Jack Jenney, trom-
bone; Charlie Barnet, tenor saxophone;
Joe Venuti, violin; Howard Smith, piano;
Alvino Rey, guitar; and Gene Krupa,
drums, and was selected by the readers of
the then-popular magazine. The sequence
serves as a sort of epilogue for the film
and was recorded at the Fox-Movietone
studios in New York City. However, Ben-
ny Goodman recorded his own solo with
his own rhythm section separately, and it
was dubbed into the pictures soundtrack.
Because he was late for the film sequence,
an actor named Paul Rickey, with his back
to the cameras, masqueraded as Goodman
on screen.2

BIBLIOGRAPHY
Benny Goodman, The Centennial Col-
lection, Bluebird 82876-60088-2; In-
cludes a CD with 21 standards and a
DVD with excerpts from the following
movies: The Powers Girl, The Gangs
All Here and Stage Door Canteen
Connor, D. Russell and Warren W. Hicks.
BG On the Record, A Bio-discogra-
phy of Benny Goodman, Arlington
House, 1973
Firestone, Ross. Swing, Swing, Swing, The
Life and Times of Benny Goodman, W.
W. Norton & Co., New York, 1993
Maltin, Leonard. The Disney Films, Crown
Publishers, Inc., New York, 1984
Meeker, David. Jazz in the Movies, Talis-
man Books Ltd, London, 1981
Paul, Jean-Marie, Benny Goodman, roi
du swing: 19091986, Clarinette Mag-
azine, Numro 9-2me Trimestre 1986,
pp. 411
Yanow, Scott. Jazz on Film, Backbeat
Books, San Francisco, 2004

END NOTES
1
Meeker, David. Jazz in the Movies, entry no. 2561
2
Connor, D. Russell and Warren W. Hicks. BG On
the Record, A Bio-discography of Benny Goodman,
p. 323

Page 77
The Mozart Partita Project
First Editions of Parthien (Harmoniemusik) Attributed
F
to Mozart the Octets of K. Anhang C
by David Bourque
rom about 1782 through about 1825,
the term Harmonie ensemble de-
fined a specific instrumentation.
The traditional Harmonie consisted of pairs
of oboes, clarinets, horns, and bassoons
with or without a part for double bass.
Flutes were almost always excluded. The
term Harmoniemusik differentiated wind
music written for Harmonie from that writ-
ten for wind band or wind ensemble.
During this period, thousands of origi-
nal works were written for Harmonie.
There were also many arrangements or
transcriptions of other works including
popular symphonies and operas of the day.
Composers such as Beethoven and C. M.
von Weber approved of and even super-
vised some of the arrangements of their
works for Harmonie.
The Mozart Partita Project undertook to
publish four works contained in Kchel
Anhang C (Anh.), three of which had
never been published. It was a joint initia-
tive of Northdale Music Press, a small
publisher in Toronto specializing in wind
band music, and myself as editor. We felt
it important to find the earliest known
materials and use these as our basis for the
editions. In this way, we were not dealing
with contamination due to copying errors
and/or a performers markings in a set of
parts. The editions by Northdale Interna-
tional represent the collaboration of several
experts in assembling the very first fully
edited and critical performance edition of
these works. K. Anh. C 17.03 was first
published in 1801 by Breitkopf & Hrtel
as part of a collection but it has not been
available in a viable performing edition for
many years. K. Anh. C 17.04, K. Anh. C
17.05 and K. Anh. C 17.07 have never
before been published.
The great works for Harmonie, the Ser-
enades K. 375 (E) and K. 388 (c minor)
and the Serenade K. 361 Gran Partita (a
Harmonie ensemble with two added horns
and two basset horns) are well known to
wind players and scholars. It has always
Page 78
seemed a bit odd to me that Mozart would
not have written more for Harmonie. My
search for more Mozart Harmoniemusik
led me to seek out the unpublished and
unavailable works of K. Anhang C.
What the heck is an Anhang? The works
of Mozart are indexed in a thematic cata-
log, the Kchel Verzeichnis (abbreviated
K. or K. V.). In the Sixth Edition of this
Kchel catalog (K6) there is a series of
Anhang, or appendices. These appendices
contain works whose authenticity is deemed
to be of a spurious nature (possibly coun-
terfeit) or works thought to be by Mozart,
but unable to be confirmed as such. The
works that are the subject of this article are
listed in the Kchel catalog in Anhang C
(i.e., Appendix C), along with other spur-
ious works. (For example, a popular work
attributed to Mozart that is considered spu-
rious is the Sinfonia Concertante for oboe,
clarinet, bassoon, horn and orchestra, K.
Anh. C. 14.01.)
As with all of the works cataloged in
Kchel Anhang C, the Parthien are also
of questionable authenticity. There are ar-
guments both for and against them
being authentic.
Authentic?
The works have a close affiliation to
Mozart through his wife, Constanze,
and Johann Traeg, a favorite copyist
of Mozart and family friend. Constanze
wrote in her correspondence about a
number of works for harmonie, some
incomplete.i
Constanze was protective of Mozarts
unfinished works and it would be un-
likely that she allowed anyone to finish
them.ii
Leeson and David Whitwell believe that
the four Parthien in Prague are identical
with those advertised in August of 1792
by Johann Traeg.iii
Mozart had a fondness and great skill
writing for Harmonie. The demand for
Harmoniemusik in the 1780s and 1790s
and the apparent lack of it by Mozart
THE CLARINET
has astonished scholars.iv One might
postulate that Mozart would have been
motivated to write more Harmonie-
musik for the commission fees if noth-
ing else.
There was a sizeable debt owed to Mo-
zart by Anton Stadler, the clarinetist for
whom Mozart wrote the Concerto, K.
622 and the Quintet, K. 581. This debt
was more than half of Mozarts yearly
court stipend v could this be the fees
for a number of commissions including
the Parthien? After Mozarts death,
Constanze directed Traeg to contact
Stadler regarding a number of manu-
scripts in Stadlers possession.vi
Not Authentic?
There is no autograph manuscript (i.e.,
a score in Mozarts hand).
The works were not mentioned in Mo-
zarts correspondence in which he often
discussed his works.
The works were released with a large
volume of works attributed to Mozart.
Why were these works not made avail-
able during Mozarts lifetime, especi-
ally when he needed the income?
There are some stylistic concerns.
SOURCE MATERIALS
Dr. Neal Zaslaw of Columbia Univer-
sity and Daniel N. Leeson were appointed
co-editors of the Harmoniemusik of
Mozart for the Brenreiter Neue Mozart-
Ausgabe Edition of Mozarts complete
works. These two scholars are among the
worlds leading authorities on the Harmo-
niemusik of Mozart.
During his travels in the late 1960s and
early 1970s, Leeson had come across man-
uscripts in the Klementinum University
Library in Prague. In the early 1970s there
were no photocopy machines in Commun-
ist Prague, so Leeson hired (at great per-
sonal expense!) a photographer to take
photographs of each page of his discover-
ies. When I approached him about a per-
formance part source for the octets, Leeson
provided me with the photographs he had
taken in Prague. They were the works K.
Anh. C 17.04, 17.05 and 17.07. Two are
full-length partitas (five movements in
17.04 and four movements in 17.05)
17.07 is a single movement work. Through
Themes of the four movements of K. Anh. C. 17.05 from Kchel Verzeichnis 6th Edition
(K6). Note Abschr. Fuchs (copy Fuchs)
PROVENANCE
The Prague materials were crucial to
the Mozart Partita Project. Leeson had
determined that these are the earliest
known surviving copies of the works K.
Anh. C 17.04, 17.05 and 17.07. vii On
August 11, 1792, there appeared in the
Weiner Zeitung an advertisement:
From Johann Trag [sic] the
following works by Mozart are to
be had:
6 Masses by W.A. Mozart
2 Pianoforte concertos`a
2 Clavicemb.
2 Concerti Corno Princ.
1 Concerto Violino Princ.
15 Sinfon.
1 Cassatio 2 Viol. 2 Cor. Viola
Basso.
4 Parthien 2 Obe 2 Clarinetti 2
Cor. 2 Fag. [bold added]
1 Quintetto Corno 2 Viol. Viola
Basso
2 Duetti Violino Viola
Entry from K6 states the location of the earliest known copy of K. Anh. C 17.05 and that the
score is in the hand of Alois Fuchs. Notice Ausgabe: keine (publication [or edition]: none).
the generous donation of Daniel Leeson,
the Prague photographs of the Four Par-
thien now reside in the library at the Uni-
versity of Toronto, Faculty of Music. It is
believed that this is the only reproduction
of the Prague materials.
items intended for publication in The Clarinet to:
24 Contredanses with all parts
7 _____ with an Overture
1 Sonata in D `a 2 Clavicemb.
3 Sonates per il Clav.
Various Arias with Italian text in
Partitura
3 Sinfon. Arranged as Quintets for
2 Viol. 2 Viole Basso
1 Quintetto in G min. arranged for
Clav. Viol.Viola Basso
In addition to the above, various
further Quart. And Trios
arranged for violin and Flute
These works were put up for sale with
the blessing of Constanze, Mozarts wi-
dow. What a remarkable volume of works
to be released at one time! In this release
were the Four Parthien (shown in bold
above), the very works that Leeson had
discovered in Prague.
Along with the Prague materials, I had
a photocopy of manuscript parts originally
copied by Alois Fuchs. It has been ascer-
tained that the Fuchs parts originate from
about 1837.
March 2006
Leeson and Whitwell state that the
Fuchs materials of the Anhang C Harmo-
niemusik were copied from a score, and
they believe that this is the same score that
is in Prague.viii It is also believed that the
Prague score was copied from a set of
parts, not from another earlier score.ix As
the Prague materials can be traced to 1792,
they pre-date the Fuchs copies by 45
years. Until the discovery of the Prague
scores in 1972, the Fuchs parts were
thought to be the earliest source material
for these works.
Contacts for
The Clarinet:
Send all articles, recital programs, orders for back
issues, announcements and any other non-commercial
James Gillespie, Editor/Publisher
College of Music, University of North Texas
P.O. Box 311367
Denton, Texas 76203-1367
E-mail:<jgillesp@music.cmm.unt.edu>
Send all printed materials (music, books, etc.)
intended for review in The Clarinet to:
Joseph Messenger, Editor of Reviews
Department of Music, Iowa State University
Ames, Iowa 50011
E-mail: <jmesseng@iastate.edu>
Send all recordings intended for review
in The Clarinet to:
William Nichols, Audio Review Editor
School of Music, University of Louisiana at Monroe
Monroe, Louisiana 71209-0250
E-mail: <wnichols@ulm.edu>
Send all inquiries about advertising, notices of change
of address, inquiries about I.C.A. membership,
missing issues, etc., to:
So Rhee, Executive Director
P.O. Box 510650
Salt Lake City, Utah 84151
E-mail: <execdirector@clarinet.org>
Page 79

Entry from K6 states location of the earliest known copy of 17.07 (paired with 17.05 in
Parthia I)
K. Anh. C 17.03 has different prove-
nance than does K. Anh. 17.04, 17.05 and
1707. As mentioned earlier, K. Anh. C
17.03 was first released in 1801 in a col-
lection published by Breitkopf & Hrtel.
Also in this collection was K. Anh. C
17.01 (in E, a.k.a. Divertimento in E , K.
App. 226), K. Anh. C 17.02 (in B , a.k.a.
Divertimento in B , K. App. 227), works
known to modern wind players. The set
also contained an arrangement for eight
players of some movements from the Gran
Partita, K. 361 (K. 370a). K. Anh. C 17.01
and 17.02 have been previously published
in modern edition and have been available
for many years in several editions, includ-
ing one by Mozarts biographer, Alfred
Einstein. Einstein was the editor of K3 and
it was his opinion K. Anh C 17.01 and
17.02 (cataloged by him as K. App. 226
and 227) were authentic Mozart. I obtained
a photocopy of the 1801 B&H perfor-
mance parts (there is no score published
the only score is in the hand of Alois Fuchs
dating from about 1837) and used this to
produce the critical edition for Northdale.
Sadly, the plates for that original 1801
B&H publication, along with many other
historical editions, were destroyed in Leip-
zig as a result of the Allied bombing cam-
paign during the Second World War. It is
our intent to edit and publish a Northdale
International edition of K. Anh. C 17.01
and 17.02 in the future.
added an optional bass part there was
no bass part in the Prague materials.
The edition is prefaced with perfor-
mance notes. Among the suggestions are
decorating a cadence with a solo voice
under a fermata (an Eingang) and the em-
bellishment/ improvisation on returning
material, as in the reprise of A in an A-
B-A form.
There has been much debate about the
significance of the specificity of Mozarts
own markings of articulation and dynamic
markings. The problem was somewhat
compounded in the Anhang C octets as
there is no score in the hand of Mozart and
there are dot and stroke articulation mark-
ings (Striche or Keil) in the source materi-
als. In preparing the Brenreiter Neue
Mozart-Ausgabe Edition, the editors con-
sulted five music history theorists. Four of
these scholars, including Hermann Keller,
determined that there is often a meaningful
difference between a dot and wedge stac-
cato, and some differences are determined
by context between wedges themselves. It
is predominately the results of Kellers
researchX that is reflected in the perfor-
mance notes that I included with this edi-
tion. I have also indicated places where
players might choose to play Eingangen.

FIRST RECORDING
The Northdale International edition of
the Harmoniemusik of K. Anh. C was
recorded in December 2003 at the Glenn
Gould Studio in Toronto. This is the pre-
miere recording of the historical first edi-
tions of K. Anh. C 17.04, 17.05 and
17.07. While K. Anh. C 17.01, 17.02 and
17.03 have all been previously recorded,
to my knowledge this recording is the
Themes from the five movements of K. Anh C. 17.03 from Kchel 6th Edition. The first first one that is faithful to the earliest
movement starts with an Adagio (not shown). The Breitkopf & Hrtel edition of 1801 is known source material, the Breitkopf &
the earliest known source for this work. Hrtel publication of 1801. This is a re-
cording by The Festival Winds, an all-
star ensemble that includes clarinetist
THE EDITING PROCESS James Campbell and horn player James
Sommerville of the Boston Symphony.
The works were edited as critical editions. The Northdale International editions are The recording is available on CBC Re-
intended both for scholarly use and as the basis for practical or performance editions. Efforts cords: <www.records.cbc.ca>.
were taken to preserve all of the original markings (or alternatively, footnote in detail
changes of these originals) found in the Prague photographs.
ARE THESE WORKS
BY MOZART?
There were hundreds of ambiguous and conflicting dynamic and articulation markings in
this material. In all, thousands of changes needed to be made from the source material in
order to produce a viable performance edition. Each change is footnoted with reference The Octets of K. Anh C are a curiosity
given to the source material. It is possible to reconstruct the source material by backtracking in many ways. There are some parts of
the footnoted changes. In support of a regular performance practice in Mozarts time, I the works that are technically brilliant,

Page 80 THE CLARINET

inspired, and stylistically polished. Then
there are other sections that are arguably
iv
Georges de St. Foix, Mozart et les instruments viii
Leeson and Whitwell, op. cit.
vent, Bulletin de la Societ Union Musicolo- Leeson and Whitwell, op. cit.
ix

gique, v (1925) Hermann Keller, Phrasing and Articulation: A

somewhat weak. What if Mozart designed
x

Leeson and Whitwell, op. cit. contribution to a rhetoric of musis, with 152 mu-
these works as an exercise for his students?
v

vi
Letter from Constanze to J. Andr, 21 February, sical examples, W.W. Norton (1973)
Perhaps the master wrote part of a move- 1800 xi
Otto Erich Deutsch, Mozart: A Documentary Bio-
ment and the student finished the composi- vii
Leeson and Whitwell, op. cit. graphy (London, 1965)
tion of the movement. Is it possible Mozart
gave this exercise to one of his students
like Karl Andreas Gpfert (who, in another
exercise, was asked by Mozart to arrange a
stack of Mozarts operas for Harmoniexi)?
Does each of the Parthien contain the
work of multiple students?
These questions will inevitably lead us
to the ultimate question: Are these works
by Mozart? There is no conclusive proof
that the works are composed by Mozart,
nor is their conclusive proof that they are
not by Mozart. Dan Leeson put it best in
his introduction to the Northdale Editions
when he said, The statements too good
to be by anyone else other than Mozart or
not good enough to be by Mozart are CLARINETFEST 2006 ONLINE REGISTRATION
without substance. They are emotional

Registration for ClarinetFest 2006 in Atlanta is available online. Consult the I.C.A.
statements and are intellectually bank- Web site <www.clarinet.org> for details and information.

rupt. While academics should not opine

that the works are by Mozart, we may say
that they are a welcome addition to the
Harmoniemusik repertoire. They deserve
to be played and to be heard.
In Upcoming Issues
ABOUT THE WRITER of The Clarinet
David Bourque is the editor of the
Northdale International editions of K-
chel Anhang. C 17.03, 17.04, 17.05 and Industry Profiles, Rovner Ligatures
17.07. He has been the bass clarinetist in
the Toronto Symphony Orchestra since
1983. A regular guest instructor at Indi- The Eclectic Trio: Recommended
ana University School of Music, David
currently teaches clarinet and bass clari- Trios and Duos for Flute, Clarinet
net at the University of Toronto, Faculty
of Music. He is the author of the newly
released DVD tutorial. Working the Sin-
and Saxophone
gle Reed. Davids current projects in-
clude writing The Working Bass Clarinet-
tist: an annotated symphonic excerpt book The Clarinetists of the Orchestra
for bass clarinet.
He can be reached through: <www. dellAccademia Nazionale di Santa
davidbourque.ca>.

END NOTES
Cecilia-Rome
i
Letter from Constanze to Breitkopf & Hrtel,
27 Oct. 1798 and to J. Andr, 1 May 1800 The Movies of Benny Goodman
ii
Daniel N. Leeson and David Whitwell, Mozarts
Spurious Wind Octets, Music and Letters, Vol.
53, No. 4 (Oct. 1972), pp. 377399 (continued)
iii
Leeson and Whitwell, op. cit.

March 2006 Page 81

An Early Performance of Messiaens
Quartet for the End of Time

T
by Albert R. Rice
he following observations relate to
the very interesting article on clar-
inetist Henri Akoka that appeared
in The Clarinet, Vol. 32, No. 1 (December
2004, 5964) by Rebecca Rischin.
A few years ago, Katie Clare Mazzeo
gave me a copy of a photograph of the im-
portant composer Olivier Messiaen (1908
1992) standing with four young music stu-
dents and their coach, Rosario Mazzeo.
Having attended the Berkshire Music Cen-
ter at Tanglewood, summer home of the
Boston Symphony Orchestra, in 1979, I
immediately recognized part of the Shed
near the Chamber Music Hall. In 1949,
Messiaen was Tanglewoods composer-in-
residence, which gave him the opportunity
to have some of his works performed in-
cluding the Quatuor pour la fin de temps,
premiered earlier at Stalag VIIIA in Gr-
litz, Silesia on January 15, 1941.1 The pho-
tograph (see Figure 1) is signed by Mes-
siaen and dedicated to Rosario Mazzeo Figure 1 (above):
with some unreadable (by me) French text Edward Bisha, Edmund
and a date of 24 July 1949. Chassman, Rosario
After contacting the archives of the Mazzeo, Olivier Mes-
Boston Symphony Orchestra, I was pleased siaen, Eloise Matthies
to receive the original program with the and Paul Chalfant
help of archivist Bridgit Carr. The concert Figure 2 (right):
(see Figure 2) featured the Messiaen Quar- Program of performance
tet in the Tanglewood Chamber Music
Hall, followed by Schumanns String Quar- Edmund Chassman or
tet in A minor, Op. 41, no. 1. A typed pro- any other performers on
gram provided an English translation of this 1949 Tanglewood
the French text2 and identified the perform- program.
ers: Violin, Paul Chalfant; Clarinet, Ed-
mund Chassman; Violoncello, Edward
Bisha; and Piano, Eloise Matthies. This END NOTES
See Rebecca Rischin, Henri
performance of Messiaens Quartet must
1

Akoka: The Clarinetist Who

have been one of the earliest, if not the
earliest, in the United States. Rischin
reports that Durand in Paris published the
score or piano part and parts in May 1942
in a print run limited to only 100 copies
because of paper shortages during World
War II.3 It is not clear when Durand re-
printed the Quartet but it may have oc-
curred during the 1950s when the world
2
Premiered Messiaens Quaret
for the End of Time, The
Clarinet, Vol. 32, No. 1 (Dec.
2004): 59; and Rischin, For
the End of Time: The Story of
the Messiaen Quartet (Ithaca,
New York: Cornell Univer-
sity Press, 2003), 6170 and
Figure 1.
Compare the translation in

Rischin, For the End of Time,

economy had improved. 129131.
It would be interesting for readers to 3
Rischin, For the End of Time,
send in their recollections of clarinetist 83

Page 82 THE CLARINET

 Hes
Gone
Away
(My continuing report on the life of
T
Artie Shaw)
by Nigel Hinson
he 1950s marked a new chapter in
Artie Shaws life. From 1949 Artie
had been living at Picardy Farm,
a 240-acre dairy farm near New York and
there is evidence to suggest that at this
time he was very happy enjoying the coun-
try lifestyle. It was there that he penned his
novel, The Trouble With Cinderella, which
was eventually published in 1952 by Far-
rar, Straus and Young.
This idyllic life was rudely interrupted
in May 1953 when he was called to appear
before the House Un-American Activities
Committee in New York, suspected of hav-
ing Communist sympathies. Artie was not
the only one in the entertainment business
to be interrogated. Despite this hanging
over him, Artie still managed to record two
sessions in July 1953 with his orchestra
in New York. These sessions included:
These Foolish Things, In The Still of
The Night, That Old Black Magic,
They Cant Take That Away From Me
and September Song.
The last three sessions were with his
Grammercy 5 in December 1953, Febru-
Front of house
Driveway to house View from terrace
Tower and driveway Artie with contractor
aryMarch 1954 and June 1954. These last with Evelyn Keyes, although she doesnt
recordings represent to me some of his feature in these shots.
finest playing, and to this day display a Eventually, despite his anger at having
contemporary feel. Included were the been labeled a controversial figure by
much beloved Besame Mucho, Ten- the American authorities which had ini-
derly, Stop and Go Mambo, Sunny tially inspired his move to Spain, he sim-
Side Up and Dont Take Your Love ply missed the pace of life back home
From Me. and returned for good with Evelyn in
With his marriage to Doris Dowling not 1960. These slides must have been devel-
working out and a rather large tax bill, oped on his return as they are all dated
Artie was forced to sell his beloved farm in October 1960.
1955 and decided to leave America. He These slides taken by Artie show us a
moved to Bagur, a small village in Spain,
snippet of time that is little known or re-
and it is here that he had a house built on a
corded and, although this period was musi-
mountain with breathtaking views. Artie
cally unproductive, Artie was indulging his
put all his energy into designing this dream
personal passions for fishing, writing and
home himself.
pursuing his newly developed interest in
Recently I have acquired a number of
slides Artie took of his house in Spain and astronomy, trying to escape a life that had
the views around it. One of the slides (the hounded him.
one with Artie in it) must be the earliest In the end, maybe Artie discovered that
shot because the house was obviously not as an American out in Europe he felt, All
finished. The slides are entitled From En- Dressed Up And Nowhere To Go which
trance And Around with individual hand- stirred a strong desire to go back to The
writing on each. It is here he spent time Old Stamping Ground.
March 2006 Page 83
MUSIC REVIEWS
by Himie Voxman
Christian Rummel. Andante Vari Theme
and Variations-Polonaise, edited by
Georgina Dobre, for basset horn and
piano. Emerson Edition (U.S. agent
Theodore Presser), 2004.
John P. Newhills The Basset-Horn
and Its Music (1983) reports that the first
edition of the Rummel was published by
Schott in 18181819 and that it included
parts for a string trio. Christian Rummel, a
German composer and conductor, was
born in Brichsenstadt, November 27,
1787, and died in Wiesbaden, February
13, 1849. He was a performer on the pi-
ano, violin and clarinet and was the muni-
cipal conductor in Wiesbaden from 1815
until 1841. Among his numerous compo-
sitions were a clarinet concerto and pieces
for military band.
The solo consists of a Theme Soste-
nuto (no tempo indication) followed by
five variations. In the last one the basset
horn is tacet and the solo piano part is vir-
tuosic. The work concludes with a Polo-
naise for both instruments. The solo part is
of only medium difficulty. There is only
one high F, and, of course, a number of
low Cs, which might create some difficulty
for B
clarinet players.
I can recall that not too many years ago
the scarcity of basset horns (the spelling
varies) in the professional world of music
obliged some symphony performers to
borrow from one another when, e.g., ob-
liged to perform the Mozart Serenade, K.
361, the Requiem, and his two Adagios, all
of which require the instrument. I have no
information regarding the volume of the
basset horn sales, but there has been a
sizeable increase in available music for it.
In addition to the Rummel, Emerson pub-
lishes Gaspard Kummers Adagio and
Variations, Op. 45, Mendelssohns Four
Songs Without Words (clarinet or basset
horn and piano) and his Concertstcke,
Op. 13 (score and parts for orchestra), all
edited by Georgina Dobre.
by Joseph Messenger
New Publications 2005
Included in this section is a listing of
new books and music received for review
Page 84
in The Clarinet during the past year.
Reviews of some of the material have al-
ready appeared in print and more will ap-
pear in forthcoming issues. We are grate-
ful to the publishers for providing the
music for our consideration, and to the
I.C.A. members who have written re-
views for the journal.
All of the books listed are interesting
and useful. For those who teach the clar-
inet, volumes by Anthony Marks and
Michle Gingras will be invaluable as ped-
agogical aids. Albert Rices second book
on the historical development of the clar-
inet and its music is scholarly (as his works
always are) yet easily readable, and along
with Gingras book, should be in every
clarinetists library.
G. Henle has published additional Ur-
text editions of the clarinet music of Mo-
zart, Schumann and Debussy, and the edi-
tion of the Premire Rhapsody includes
commentary regarding the confusion
about some of the notational differences
between the piano and orchestral versions.
(International also has a new edition of
the Rhapsody edited by Stanley Drucker.)
Other significant solo publications include
the Rochberg Concerto, handsome new
editions of the Devienne Sonatas (includ-
ing a CD), and the Ghidoni Concerto.
Also to be found are excellent new ar-
rangements of Ibert Histoires, Malcolm
Arnold English Dances, Brahms Intermez-
zo, Op. 118, no. 2, and yet another version
of the ever-popular Histoire du Tango by
Astor Piazzolla. For the bass clarinetist,
there is Simon Proctors challenging Lyri-
cal Concerto.
There are a number of substantial
chamber works, both original and new
transcriptions. Major original compositions
include Tempest Fantasy by Paul Moravec
(winner of the 2004 Pulitzer Prize), Quin-
tet by Anthony Iannoccone, Samuel Ba-
THE CLARINET
rons Rhapsody on a Chassidic Tune, and
two new pieces from Libby Larson. There
are new Urtext editions of the Mozart
Quintet and Serenade, K. 388 from Henle
and an excellent new edition of the Parto,
Parto aria from La Clemenza di Tito from
Emerson Edition (which has also brought
back updated editions of several out-of-
print works). In addition to his original
composition, Samuel Baron has tran-
scribed the Brahms Quartet No. 1, Op. 25
for piano and wind quintet. Clarinet choir
enthusiasts will find Leonard Salzedos
Canzona (with percussion) intriguing, and
Paul Harveys delightful The Young Per-
sons Guide to the Clarinet Choir will en-
tertain audiences and players alike.
The extensive series of graded ensem-
ble pieces and the Jazz Program series
from the Associated Board of the Royal
School of Music are worthy of examina-
tion of everyone who teaches the clarinet,
for both beginning and advanced students.
Jean-Marc Allermes Jazz Attitude books
are also useful and include accompaniment
CDs. Younger students will benefit from
Melodic Etudes by Ted Hegvik and the Ich
spiele Klarinette books by Jorg Fehr, al-
though in German (an English edition is in
the works), are well thought-out beginning
methods. More advanced students will find
Ruben Greenbergs Melodic Finger Twist-
ers intriguing. JB Linear Music has taken a
somewhat different approach to etude
material with John Gibsons Advanced
Clarinet Technique, a book of studies
based on orchestral literature.
This music is available from the pub-
lisher or from the dealers who advertise in
The Clarinet.
Books
Beeching, Angela Myles, Beyond Talent,
Oxford University Press, 2005.
Gushee, Lawrence, Pioneers of Jazz, Ox-
ford University Press, 2005.
Gingras, Michle, Clarinet Secrets, Scare-
crow Press, 2004.
Marks, Anthony, ed., All Together! Teach-
ing music in groups, The Associated
Board of The Royal Schools of Music,
2004.
Pinksterboer, Hugo, Tipbook Clarinet, The
Tipbook Co., 2001, $9.95.
Rice, Albert R. The Clarinet in the Classi-
cal Period, Oxford University Press
2003.
Music
Advance Music
Curtis, Mike, 5 Huapangos (2 cl), 2005.
_____, 5 Huapangos (cl, bcl), 2005.
_____, Suite Nayarit (2 cl), 2005.
Alry Publications
Brahms, Johannes, Serenade, op.11,
mvmt IV, arr. Mark Popkin
(fl, ob, 2 cl, 2 bssn), 2001, $15.00.
McMichael, Catherine, Eclectic Trio
(fl, cl, asax), 2004, $19.00.
Robertson, Donna, arr. Three American
Folk Hymns (fl, ob, cl), 2005, $11.50.
Schwarz, Ira-Paul, Rondo Caprice
(fl, cl, bcl), 2002, $12.00.
Wheeler, John, arr. Legend of the Birds
(picc, 3 fl, afl, bfl, 3 cl, bcl), 2004,
$18.50.
Associated Board of the Royal School
of Music (U.S. agent C.F. Peters)
Clarinet Exam Pieces 20042007 Grade 8
CD (cl, pf/pf without cl), 2004, $42.00.
Caprioglio, Gene, coordinator, Jazz Pro-
gram, Jazz Clarinet Syllabus, text, 2004.
_____, Jazz Program, Jazz Clarinet Scales
Grade 1-5 (cl), 2003.
_____, Jazz Program, Jazz Clarinet Tunes
Grade 1 (cl, pf, CD), 2003, $19.95.
_____, Jazz Program, Jazz Clarinet Tunes
Grade 2 (cl, pf, CD), 2003, $24.95.
_____, Jazz Program, Jazz Clarinet Tunes
Grade 3 (cl, pf, CD) 2003, $24.95.
_____, Jazz Program, Jazz Clarinet Tunes
Grade 4 (CD), 2003, $14.95.
Scaife, Nigel, ed. Clarinet Ensemble Pie-
ces: Copper (24 cl), 2004.
_____, Clarinet Ensemble Pieces: Bronze
(24 cl), 2004.
_____, Clarinet Ensemble Pieces: Silver
(24 cl), 2004.
_____, Clarinet Ensemble Pieces: Gold
(24 cl), 2004.
_____, Clarinet Ensemble Pieces: Plati-
num (24 cl), 2004.
Breitkopf & Hrtel
Schmitz, Manfred, Pop Collection, Two
volumes (13 cl, pf), 2005, Vol. 1,
$14.50, Vol. 2, $18.50.
BRS Music
Debussy, Claude, Jimbos Lullaby, arr.
Bruce Smith (cl choir), 2005, $20.00.
Marcello, Bendetto, Sonata, op. 1, no. 6,
arr. Bruce Smith (bcl, pf), 2005, $5.00.
C.F. Peters
Klassik Highlights (cl, CD), 2004, $19.95.
Ross, William, arr. Danny Boy (cl, pf) 2003.
Camden Music
(U.S. agent Theodore Presser)
Wilson, Jeffery, Colour Studies (cl), 2002,
$11.95.
Doblinger
Klaschka, Martin, Fortunes (4 winds),
2003.
Wolfgang, Wernot, Reflections (vn, cl, pf),
2002.
Edition Kunzelmann
(U.S. agent C.F. Peters)
Blatt, Franz Thaddeus, 3 Duos Concertant,
ed. Fritz-George Hly (2 cl), 1996.
Brahms, Johannes, Intermezzo, Op. 118
Nr. 2, arr. Nicolai Popov (cl in A, pf),
2004.
Hyl, Fritz-Georg, ed. Zugaben und Stcke
fr Klarinette und Orgel (cl, organ),
2002.
_____, arr. Festliche Weihnachtsmusik
(cl, pf or organ), 2004, $29.00.
Editions Combre
(U.S. agent Theodore Presser)
Colles, Jean-Bernard, Le Bohneur des
Oiseaux (cl), 2002, $20.95.
Gartenlaub, Odette, Pour rver et Pour
rire (cl, pf), 2002, $17.95.
_____, Trois Estampes (cl, pf), 2002,
$17.95.
Pascal, Claude, Bleu (cl, pf), 2002, $19.95.
Petit, Jean-Louis, Souffle III (cl, pf), 2002,
$21.95.
Emerson Edition
(U.S. agent Theodore Presser)
Greaves, Terence, A Garden of Weeds
(sop, cl, pf), 2003.
Jacob, Gordon, Music for a Wedding
(fl, cl, va, vc), 2004.
Mozart, W.A. Parto, Parto, ed. Chris
Allen (cl, pf, voice), 2003.
Reinecke, Carl. Fantasiestcke, Op. 22,
ed. Georgina Dobree (cl in A, pf), 2004.
Ridout, Alan, Octet (cl, bssn, horn, 2 vn,
va, vc, db), 1988.
Rummel, Christian, Andante Vari, ed.
Georgina Dobre (basset horn, pf), 2004.
Salzedo, Leonard, Canzona, Op. 106
(cl choir, perc), 2004.
et cetera publications
Hegvik, Ted, Melodic Etudes (cl), 2004.
March 2006
G. Henle
Mozart, W.A. Concerto, K. 622, ed. Hen-
rik Wiese (cl/basset cl, pf), 2003, $34.95
Mozart, W.A. Klarinnetenquintett K. 581,
Quintettfragment K. Anh. 91, ed.
Henrik Wiese (cl, 2 vn, va, vc) 2005,
$13.95 score, $25.95 parts.
Mozart, W.A. Serenade K. 388, ed. Henrik
Wiese (2 ob, 2 cl, 2 hn, 2 bssn), 2005,
$21.95 score, $40.95 parts.
Schumann, Robert, Fantasiestcke, op. 73,
ed. Ernst Herttrich (cl, pf), 2005, $19.95
Debussy, Claude, Premire Rhapsodie and
Petite Piece, ed. Ernst-Gunter Heine-
mann (cl, pf), 2004, $29.95.
Grard Billaudot
(U.S. agent Theodore Presser)
Dais, J. B. Petite Fantaisie sur Le Carna-
val de Venise (cl, pf), 2003, $14.95
Gold Branch Music
Pinkston, Dan, Arise and Dance (cl, pf),
2005.
Steinke, Greg, Memories of Chief Joseph
(cl, marimba), 2004.
_____, Memories of Chief Joseph (cl, pf),
2004.
Heldegard Publishing
(U.S. agent Theodore Presser)
Potes, Alba, Tres Miniaturas para las
Mariposas Ausentes (cl, bssn, pf), 2004,
$8.95.
Henry Lemoine
(U.S. agent Theodore Presser)
Allerme, Jean-Marc, Jazz Attitude Book 1,
Book 2 (cl, CD), 2002, $46.95 each
book.
Devienne, Franois, Premire Sonate
(cl, pf, CD), 2002, $55.00 including CD
of all three sonatas.
_____, Deuxime Sonate (cl, pf), 2002,
$31.95.
_____, Troisime Sonate (cl, pf), 2002,
$31.95.
Didier, Yves, Regard (cl), 2002, $37.95.
Piazzolla, Astor, Histoire du Tango, arr.
Dmitriy Varelas (cl, pf), 2005, $45.95.
Hunt Edition
(U.S. agent Theodore Presser)
Greenburg, Ruben, Melodic Finger Twist-
ers for Clarinet (cl), 2004.
Taggart, Hilary, Rock n Pop Scales
(cl, CD), 2003, $32.95.
Page 85
Innovative Music
Fehr, Jorg, Ich spiele Klarinette!
2 volumes (cl), 2000.
International Music
Debussy, Claude, Premire Rhapsody, ed.
Stanley Drucker (cl, pf), 2003, $18.00.
Schumann, Robert, Fantasy Pieces, op. 73
(B
clarinet part). 2004, $7.00.
JB Linear Music
Gibson, John, Advanced Clarinet Tech-
nique (cl), 2003, $12.00.
Lazarus Edition
Spaeth, Andreas, Alpenlied, Op. 167, No. 7
(voice, cl, pf), 2004.
Leduc (U.S. agent Theodore Presser)
Coiteux, Francis, Chant des Clarines
(cl, pf), 2004, $15.95.
Ghidoni, Armando, Concerto (cl, pf),
2003, $47.95.
_____, Nocturne & Sicilienne (cl, pf or
harp), 2003, $21.95.
Ibert, Jacques, Histoires, arr. Guy Deplus
(cl, pf), 2004, $39.95.
Lengnick (dist. Faber Music)
Arnold, Malcolm, English Dances,
arr. Paul Harris (cl, pf), 2004.
Malcolm Music (dist. Shawnee Press)
Beethoven, Ludwig van, Allegretto from
Sonata No. 9, arr. Harry Gee (3 cl, bcl),
2005, $15.00.
Media Press
Henry, Otto, Three Serial Duets (fl, cl),
2004
Karlins, M. William. Just a Line From
Chameleon (2 cl), 2004.
Merion Music
(U.S. agent Theodore Presser)
Hodkinson, Sidney, Three Little Pieces
(cl, pf), 2003, $10.95.
Noetzel Edition (U.S. agent C.F. Peters)
Heger, Ziwe. Strassenmusik 3 (3 cl),
2004.
Oxford University Press
Baron, Samuel, Rhapsody on a Chassidic
Tune (fl, ob, cl, hn, bssn), 2005, $37.50.
Brahms, Johannes, Quartet No. 1, Op. 25,
arr. Samuel Baron (fl, ob, cl, hn, bssn,
pf), 2003, $120.00.
Page 86
Larsen, Libby, Black Birds, Red Hills
(cl, va, pf), 2005.
_____, Yellow Jersey (2 cl), 2005, $23.95.
Long, Zhou, Dhyana (fl, cl, vn, vc, pf),
2005, $49.95
Peer Music (U.S. agent Theodore Presser)
Bermel, Derek, SchiZm (cl, pf), 2003,
$23.95.
Kitzke, Jerome, She Left In The Crow-
Black Night (cl), 2004, $7.95.
Reynard Music
Harvey, Paul, The Young Persons Guide
to the Clarinet Choir (clarinet choir),
2004.
Robert Martin
(U.S. agent Theodore Presser)
Stucky, Steven, Meditation and Dance
(cl, pf), 2004, $12.95.
Southern Music
Proctor, Simon, Lyrical Concerto (bcl, pf),
2004, $17.50.
Subito Music
Moravec, Paul, Tempest Fantasy (cl, vn,
vc, pf), 2003, $60.00 score and CD,
$65.00 parts.
Tenuto Publications
(U.S. agent Theodore Presser)
Iannaccone, Anthony, Quintet (cl, 2vn,
va, vc) 2003, $65.00.
Skolnick, Walter, Sonatina (cl, pf), 2004,
$13.95.
Theodore Presser
Beethoven, Ludwig von. Ode to Joy,
arr. Daniel Dorff (cl, pf), 2004.
Hailstork, Adolphus, Three Smiles for
Tracey (cl), 2003, $7.95.
Rochberg, George, Concerto (cl, pf), 1996,
$22.50.
Tritone Press
(U.S. agent Theodore Presser)
Karlins, M. William, Improvisations (bcl),
2004, $8.95.
Universal Edition
(U.S. agent Theodore Presser)
Rae, James, Easy Blue Clarinet (cl, pf),
2005, 15.95.
_____, Introducing Clarinet Duets (2 cl),
2005, $11.95.
_____, Introducing Clarinet Trios (3 cl),
2005, $15.95.
THE CLARINET
_____, Introducing Clarinet Quartets
(4 cl), 2005, $19.95.
_____, Style Workout (cl), 2005, $19.95.
_____, arr. Claude Debussy Clarinet
Album (cl, pf), 2005, 24.95.
Wehrs Music House
Cooman, Carson P. Four Sunsets, Op. 567
(cl), 2004.
Ehle, Robert. Clarinet Quartet No. 2 (4 cl),
2005, $7.00.
Hilfiger, John Jay, arr. Christmas Carol
Suite (cl, pf), 2004, $7.50.
Miserendino, Joe, The Brook, The Bear &
The Bird (cl, bssn, harp), 2005, $11.50.
COMPACT DISC REVIEWS
by Michle Gingras
The American Chamber Ensemble
Plays Peter Schickele. The American
Chamber Ensemble: Naomi Drucker,
clarinet and co-director; Blanche Ab-
ram, piano and co-director; Marilyn
Sherman Lehman, piano; Eriko Sato,
violin; Deborah Wong, violin; Lois
Martin, viola; Chris Finckel, cello; Kurt
Muroki, bass; Braden Toan, bassoon;
and Eva Conti, horn. Clarinet band:
Stanley Drucker, Mindy Dragovich,
Mitchell Estrin, Jess Gross, Amy Sha-
piro, Lawrence Sobol, Peter Weinberg,
and Robert Yamis. Peter Schickele:
Serenade for Three for clarinet, violin
and piano; Quartet for clarinet, violin,
cello and piano; Monochrome III for
nine clarinets; Octet for clarinet, bas-
soon, horn, string quartet and bass.
ELYSIUM RECORDINGS GRK 725.
Total time 59:40. (Available from Mid
America Productions, Web site: <www.
midamerica-music.com> and from Qual-
iton Imports, Web site: <qualiton.com>)
 To mark their 40th anniversary, The
American Chamber Ensemble released a
remarkable recording featuring clarinet
chamber music composed by Peter Schic-
kele. Better known as P.D.Q. Bach,
Schickele was born in 1935 in Ames,
Iowa. He became a household name by us-
ing satire to make classical music more
accessible to general audiences. He is rec-
ognized as a serious conductor and educa-
tor, and has his own syndicated Public Ra-
dio International music program called
Schickele Mix, where his music is per-
formed by leading symphony orchestras in
the country.
Peter Schickeles list of achievements is
enormous, including a handful of Grammy
Awards, numerous commissions from or-
ganizations such as Walt Disney Pictures,
the Verdehr Trio, the Chamber Music So-
ciety of Lincoln Center, the Boston Pops,
and the Canadian Brass. Schickeles music
is rich in sound, uncluttered in texture, gor-
geous, graceful, fun and tasteful.
The American Chamber Ensemble is a
long established New York organization.
Three of the compositions feature its clar-
inetist and co-director Naomi Drucker. Her
playing is full of fire, and she is surround-
ed by an array of superb musicians. Naomi
Drucker is a well-known clarinetist with a
busy career as a soloist, chamber and or-
chestral musician, and educator. She per-
formed for many I.C.A. conferences and as
a member of the New York Philharmonic.
She and her husband, Stanley Drucker
have released three other recordings: New
York Legends, Naomi Drucker and
Stanley Drucker Play Meyer Kupfer-
man and Music for Doubles.
Written in 1993, Serenade for Three is
a relatively short piece for clarinet, violin,
and piano, one of Schickeles favorite in-
strumental combinations. The work is per-
fect for the concert hall with exciting rhy-
thms, whirling unisons, minimalist and
mysterious interludes, folk flavors, and
fantastic country fiddling fun.
Quartet for clarinet, violin, cello and
piano (1982) is as masterful as a work can
be. Naomi Drucker and her colleagues
give a virtuoso rendition of this intricate
and technically challenging four-move-
ment piece.
Stanley Drucker leads a clarinet nonet
ensemble in Monochrome III (1974), with
his sparkling musicianship and trademark
vibrato. The first part of the work con-
tains a little bit of jazz influence, and the
second part revolves around a simple
waltz melody.
Schickele wrote a series of pieces for
groups of a single instrument. Even though
it is labeled third in the series, this is the
first recording of any piece from the collec-
tion. While a few isolated parts are a little
out of center tonally, the entire ensemble is
extremely tight, precise and electrifying.
The Octet for clarinet, bassoon, horn,
and strings is yet another of Schickeles
masterpieces. It is scored for the same
eight instruments that Schubert used in his
own famous Octet, and it has an interesting
birth story. Schickele wrote the octet in
honor of his mothers birthday when she
turned 80 on 8/8/88. The work contains
elements reminiscent of all kinds of music
ranging from Ravels Bolero to a Mozart
divertimento, to Dionysian dance music.
Of particular note is Eva Contis micro-
scopic precision of staccato on the horn.
The composer was present during the
recording sessions, although it is said that
he had to drive through a huge snowstorm
to attend a rehearsal for the recording.
The sound engineering is excellent, and
the CD liner notes include interesting per-
sonal notes from the composer, as well as
a wealth of information about the works
and performers.
I wholeheartedly recommend the acqui-
sition of this recording. It deserves multi-
ple spins, so I give it my very top four-reed
rating for amazing repertoire and virtuosity
from Naomi Drucker and The American
Chamber Ensemble, plus one horn mouth-
piece for the whiz precision of hornist Eva
Conti in the Octet.
by David Shea
Walter Boeykens Clarinet Master
Class, Vol. 1. Walter Boeykens, clar-
inet; Jan Gruithuyzen, piano. Henri
Rabaud: Solo de concours, Op. 10;
Niels Gade: Fantasy Pieces, Op. 43;
Malcolm Arnold: Sonatina; Leonard
Bernstein: Sonata; Robert Schumann:
Fantasy Pieces, Op. 73; Gabriel Piern:
Canzonetta, Op. 19; Francis Poulenc:
Sonata. ETCETERA KTC 1282. Total
time 66:48. (Available from Amazon:
<www.amazon.com>)
Over decades, the Belgian clarinetist
Walter Boeykens has established himself
as one of the great clarinetists and teachers
March 2006
of our time. After leaving the BRTN Phil-
harmonic Orchestra in 1984, he has en-
joyed a career as a soloist and has played
all over the world with many of the leading
orchestras and conductors. He has an
extensive list of recordings that includes
most of the masterworks for the instru-
ment. Currently, Boeykens teaches at the
Royal Flemish Music Conservatoire in
Antwerp as well as other music acade-
mies in Rotterdam, Nice, Paris and Turin.
In 1995, he was appointed Cultural Am-
bassador of Flanders and was knighted by
Belgian King Albert II in July of 1997.
The opening selection on this CD is
Rabauds Solo de concours. Right away,
one experiences the best of Boeykens
artistry. The beautiful sound, virtuosity,
artistry and and musical expression instantly
grab ones attention. Furthermore, the
recording quality of the CD is one of the
best I have heard involving solo clarinet
and piano. The recording is very clear, and
the wonderful blend between piano and
clarinet is very engaging. One looks for-
ward to hearing the rest of the CD from the
first moment.
Niels Gades Fantasy Pieces is a good
contrast in musical style to the opening
solo. Boeykens does a beautiful job pre-
senting these pieces in a simple and ex-
pressive style. Every phrase is clearly artic-
ulated and there isnt a moment of flat ex-
pression. He successfully presents these
pieces as the charming and wonderful
miniatures that have made them so popular
in recital.
The Sonatina of Malcolm Arnold is the
next work on the CD. Usually performan-
ces of this piece take the tempi to the brink,
resulting in an exhilarating but sometimes
unsatisfying musical experience. It is a
delight to hear tempi on the performance
that made musical sense. The first and last
Page 87
movements have great drive and are very
exciting. Yet, Boeykens also manages to
squeeze a bit more music out of the score
while keeping the fast paced virtuosity one
comes to expect from this piece.
The performance of the Bernstein Son-
ata is the best I have ever heard of this
work. The interpretation is not eccentric or
out of the mainstream, but it is the subtle
details of the performance that give the
piece a fresh and wonderful life. The con-
nection between the contrasting sections
and the way in which the music is deliv-
ered flows effortlessly. There is almost a
narrative quality to the work. All of the
pieces on the CD are like this. However,
this particular performance, compared to
other fine performances of this work by
other artists, seems to stand out as some-
thing special.
The Fantasy Pieces of Robert Schu-
mann showcases the talents of pianist Jan
Gruithuyzen and the chamber talents of
both artists. All three movements are pure
music from beginning to end. The phrasing
and ensemble is clear and concise. One
hears this performance and concludes that
this performance really works and is truly
successful in capturing the style of Schu-
manns chamber works.
The final two works on the CD feature
the music of French composers Gabriel Pi-
ern and Francis Poulenc. Pierns Can-
zonetta is a short one-movement work
which is light and very tuneful. The music
is simple, the character charming, and
Boeykens does a wonderful job capturing
the essence of the piece. This French set is
balanced with the Sonata of Poulenc,
which is played with great flair and virtu-
osity. Boeykens uses the corrected edition
of the work, so those who are familiar only
with the other edition will enjoy the cor-
rections. The opening movement is per-
formed with the energy and contrast that
define its form. The middle movement is
played with great expression and captures
the introspective and sad nature of its con-
tent. Con fuoco is the title of the final
movement, and the performance doesnt
disappoint. Both Boeykens and Gruithuy-
zen perform it with great style and flair,
and it is the perfect closer for this CD.
This CD is truly a wonderful produc-
tion and should be a staple in the CD col-
lection of any serious clarinetist. The title
of Master Class is very appropriate, as
the repertoire selected includes many of
Page 88
the standards that conservatory and univer-
sity students study. There is a good mix-
ture of standards that have been recorded,
and standards that are performed frequently
but recorded less frequently, and are diffi-
cult to find. This title also reflects the qual-
ity of the performances, in that any listener
can hear how these pieces come to life
when beautiful clarinet playing is com-
bined with an experienced artists mind. I
truly look forward to this series being con-
tinued and will be one of the first to place
an order as future titles are made available.
by Ani Berberian
The Clarinet Trio Ballads and Re-
lated Objects. Gebhard Ullmann, bass
clarinet; Jrgen Kupke, clarinet; Mi-
chael Thieke, alto clarinet and clarinet.
Gebhard Ullmann: Dj Vu (Varia-
tion); Seven 98; Almost Twenty-Eight;
Variations On a Theme by Claude
Debussy; 29 Shoes; Verschiedene An-
nherungen an den Ton Ges; Dj Vu
(Theme); Desert Bleue East; Dj
Vu (Variation 2); Kupke-Thieke-Ull-
mann: Collective No. 9 (Part 14);
Collective 10 (Lines); Collective No. 11
(Hohe Objekte); and Collective No. 12
(Ballad). LEO RECORDS CD LR 415.
Total time 52:26. (Leo Records Web
this album is a working band and contin-
site: <www.leorecords.com> , or e-mail:
<info@bkmusicpr.com> )
Recorded in August of 2003 and re-
leased by Leo Records, Ballads and Re-
lated Objects is the third compact disc
recording by The Clarinet Trio. This versa-
tile and innovative, improvisational trio
from Berlin is comprised of Jrgen Kupke,
Michael Thieke and Gebhard Ullmann.
Described as one of the most prolific com-
bles name, The Clarinet Trio, is a free-
very clear and provides the listener with
THE CLARINET
posers and performers in experimental
jazz, Ullmann composed and produced all
of the works on this recording exclusively,
with Kupke and Thieke collaborating with
Ullmann on four collective pieces. An im-
pressive feat, this is Gebhard Ullmanns
30th CD recording, which marks the 20th
anniversary of his debut album, Playful,
catapulting him to the top of European jazz
circles. All of his compositions are per-
formed as one long suite which takes the
listener on a journey through various musi-
cal styles, including references to such jazz
concepts as swing, the blues and the bal-
lad. This suite showcases his purposeful
yet daring and free-spirited compositional
style. His compositions keep the listener
engaged by unpredictable compositional
directions and ever-changing textures. The
calculated placement of these works on the
recording also maintains the interest of the
listener by vacillating between contempo-
rary and jazz styles mentioned above. The
use of various colors and contemporary
techniques, such as multiphonics, flutter
tonguing, guttural noises and growls, in-
tentional squeaks, key clicks, reed and lip
smacks, and the use of the extreme altissi-
mo register, contributes to the unpredicta-
bility of these journeys.
Ullmann comments on the contents and
relevance of this recording: The group on
ues my exploration of woodwind music. I
used some of the aesthetics of composed
chamber music from the 20th century. I
like to think of my albums as musical paint-
ings that may create different associations
for everybody like short movies to lis-
ten to. Generally speaking, the term bal-
lad may be defined as a narrative poem or
popular song of a romantic or sentimental
nature, often of folk origin, consisting of
simple stanzas and usually having a re-
frain. However, the term ballad, as indicat-
ed in the recordings title, has different
meanings for the trio and should not be
taken in the literal sense. Even the ensem-
form title and can imply many things.
This is extreme clarinet in every sense of
the word!
What I first noticed about the recording
was the sound quality. One word can
describe this quality: organic. With little or
no reverb present, the recording quality is
a pure concept of sound, exposing every
idiosyncrasy of each instruments tone
quality. This is something which I find
very refreshing pertaining to European
recordings in general. Excessive editing
and added reverb can take away from a
spontaneous performance, making it in
some way, sterile, and also not a true rep-
resentation of sound. Of course, every
recording contains some edits and this is
no exception. There are some audible ed-
its, especially in the work, Almost Twenty-
Eight. However, these edits almost become
part of the compositions themselves by
ceasing or shifting the direction of a work
through the creation of black noise, or a
total void of sound.
The tone quality of each instrument
within the ensemble is not homogenous,
which lends each instrument its own indi-
vidualistic, independent voice. Further-
more, the organic recording quality clearly
accentuates variances in tone color pro-
duced by the contemporary techniques,
which hold equal importance with actual
pitches in Ullmanns compositions. As
heard in the Dj Vu and Theme and Vari-
ations (which interestingly enough begins
with Variation 1 and not the Theme),
the Trio experiments with other variances
in sound, such as fuzzy or airy sound qual-
ity and differing speeds of vibrato. These
techniques provide a sentimental feel, per-
haps correlating with the concepts of Dj
vu or Ballad. They are not afraid to pro-
duce an imperfect sound, which is ano-
ther example of their courageous and inno-
vative spirit, which I admire very much.
There is a discrepancy on the CD liner
notes regarding the location of where the
CD was recorded. In the notes, Ullmann
states that the CD was recorded in the
beautiful old chamber music hall of the
RBB Radio in Berlin. However the back of
the liner notes indicates the location to be
the SFB Studios in Berlin. Could it be the
same place?
Throughout this recording, each of the
performers displays technical virtuosity,
tremendous flexibility between varying
styles and registers, and an insightful un-
derstanding of the compositions them-
selves. Furthermore, each of the perform-
ers is featured equally on improvisational
solos, which gives each of them the oppor-
tunity to display his technical prowess.
Ullmanns improvised bass clarinet solo in
29 Shoes is especially impressive, depict-
ing the swirling of energy surrounding the
29 shoe stores found in Berlins central If you are interested in learning more about
district. All multiphonics and other con- Gebhard Ullmanns compositions and
temporary techniques are executed by recordings, please visit his Web site at:
every performer with such masterful con- <www.gebhard-ullmann.com>.
trol and grace, especially at the softer
dynamic levels. It is clear that these tech- by Gregory Barrett
niques are a natural part of who they are as
musicians, just as if executing a C major fangar. Sigurdur Ingvi Snorrason, clar-
scale (as one would hope)! This recording inet; Sigrn Edvaldsdttir, violin; Bryn-
provides the music student with an extraor- dis Halla Gylfadttir, cello; Anna Gud-
dinary example of how these techniques ny Gudmundsdttir, piano. Leifur Pra-
should sound when performed. rinsson: fangar Stages; Jn Nordal:
The Clarinet Trio is an extremely well- Ristur Carvings; Pll Pampichler
honed ensemble. At any given moment, Plsson: Tre Notturni; skell Msson:
each of the performers is aware of what Snatna; Atli Heimir Sveinsson: Plutt
role he plays, whether as a soloist, an equal blanche quazure Rather white than
voice, or as a supporting role for the solo- azure. SMEKKLEYSA SMK 43. Total
ist. The supporting roles allow the impro- time 76:41. (Available from the label
visational soloist the freedom to explore Web site: <www.smekkleysa.net> or
unique directions and sounds. This is espe- the Icelandic Music Information Centre)
cially true in the composition Seven 9-8,
where the alto clarinet, played by Michael Clarinetist Sigurdur Ingvi Snorrason
Thieke, emulates the colors of the trumpet, has lovingly assembled a recording of five
the saxophone and the rock guitar, which poetic chamber works with three of his
for me was reminiscent of Scott Mac- longtime musician friends by their com-
Allisters work for clarinet, Black Dog. A poser acquaintances. According to Sigur-
reference to the Big Band era in this work dur (d pronounced th as in English
can be found in the repetitive bass clarinet the), all the composers represented in
riff which provides rhythmic support to the this impressive recording are well known
improvisational solo above it. The opening not only as composers but also as teachers,
bass clarinet solo in Desert Bleue, per- performers, conductors, and leaders in
formed during their U.S. West Coast tour, Icelandic musical circles.
is a reference to both the blues and jazz Sigurdur Ingvi earned his diploma from
ballad concepts. Some of the works follow
the Hochschule fr Musik in Vienna under
(very loosely, I might add!) some sem-
Rudolf Jettel in 1971. Since 1973 he has
blance of form: an introduction, followed
been a clarinetist in the Icelandic Sym-
by an improvisational solo section, then in
phony Orchestra and an active chamber
some way, returning to beginning material.
music performer. Four of the works on this
In Collective No. 11, subtitled High Ob-
CD were written for him. They date from
jects, the use of extreme altissimo notes
1979 to 1999. There are sections of great
perhaps emulates the frequencies of plan-
beauty, fresh combinations of sounds, and
ets, stars and other signs of life. It reminds
musical surprises.
me of taking a listening test! In Variations
Inspired by travelers in the paintings of
on a Theme by Claude Debussy, featuring
Kristjn Davidsson, Leifur Porainssons
Thieke and Jrgen Kupke on clarinet, the
improvisational solos and multiphonics
performed most resemble the flute in tone
color, or the Syrinx, on which this work is
based. The performers versatility and ex-
perience on other wind instruments aid in
producing these imaginative soundscapes.
In summary, Ullmann and the The Clar-
inet Trio strive to push themselves to the
outer limits of experimental music, and as
Ullmann states: I was searching for new
ways to express myself as a soloist and
composer and I am continuing to search on
these albums. I will always be searching.
We will be searching for your next album!
March 2006 Page 89
(P pronounced like th in thing) fan-
gar (Stages) for clarinet, violin and piano
covers a lot of ground as it agreeably moves
from one idea to another in unanticipated
ways. During its 14 minutes many images
formed in my mind. The delicate opening
writing reminds me of slowly falling snow-
flakes. The following section was faster,
often dissonant, but with alternating epi-
sodes of simple triads. All of the perform-
ers are strong communicators in both the
slow expressive music and in the dance-
like rhythmic sections. Several times Lei-
furs music comes to a brief halt before it
resumes. Pianist Anna Gudny creates clus-
ters of sound that are brilliant and radiantly
beautiful. Clarinetist Sigurdur Ingvi plays
very smoothly. Full of contrasts, Leifurs
music includes a percussive slap on the pi-
ano followed by a mouthpiece squawk from
the clarinet and then a Bach-like solo vio-
lin passage. The music turns into a thought-
ful late night conversation before a quiet
ending where it dissolves into silence. This
is an outstanding pluralist work that I high-
ly recommend.
Pll Pampichlers writing is more con-
servative and neo-classical. The first of the
Tre Notturni is without clarinet. This is
easy going, agreeable music. The second
Nocturne includes the entire quartet of
clarinet, violin, cello and piano. An ac-
companiment thread of running 16ths
sounds mock-classical la Milhauds
Scaramouche opening. A touch of jazz
inflection is heard in this very witty and
enjoyable movement. The third Nocturne,
for clarinet, violin and piano, begins with
solo clarinet. Pampichlers music for this
trio of instruments is sonically beautiful.
Thematically based on an old melody
from the north of Iceland, skell Mssons
Snatna for clarinet and piano has many
effective and attractive qualities. More
than 13 minutes long, the three movements
are played without pause. Sigurdur Ingvis
playing is widely expressive, ranging from
sensitively legato to wild and rough. The
somber, dark opening is ominous, even ter-
rifying. Timbral trills and flutter tongue are
used in the clarinet. The third movement is
notable for the stasis from which it begins
and the timelessness with which it ends.
Sigurdur Ingvi sustains one note for 45 se-
conds at the beginning as the piano chords
change around his constancy. Sigurdur
Ingvi plays two more long timeless notes
at the end of the Snatna.
Page 90
In addition to fangar the other remark-
able work on this CD is Atli Heimir Sveins-
sons 24-minute Plutt blanche quazure
Rather white than azure for clarinet,
cello and piano. Written on a summer holi-
day at Danish composer Per Nrgards
summer house, It describes a long, bright,
warm, and sunny summer day on a small
faraway island from sunrise to sunset. In
this trio, Atli Heimir has given form to an
entire day through a wide range of textures
and moods. Imitative dialogue is written
for clarinet and cello. Shimmering effects
are created by tremolos in the piano
long sustained harmonies are played. To- they both studied with Johann Hindler;
ward midday the music becomes more out- later they also both studied bass clarinet
ward looking, searching and expressive, with Ernesto Molinari. Each has been an
growing louder with sustained notes in active proponent of new music, and they
the clarinet and cello while the piano con- have performed at many festivals in Eu-
tinues its tremolos. Overtly tonal, the tri- rope as soloists and chamber musicians.
adic harmony simplifies further, suggest- This double CD features many of the
ing the end of the day. A few snippets of works written for the duo. The first CD,
romantic sounding phrases are played as
ClarElectriC, features all new works for
the music slips away. A performance of
clarinet or bass clarinet duo with various
Plutt blanche quazure would be a nice
types of electronic sounds; the second CD,
way to end an evening concert.
unplugged, includes two new bass clar-
This CD is highly recommended for
inet duo works and two solo works from
excellent performances of original and
the 1980s.
effective repertoire.
Several of the new works on the Clar-
ElectriC disc owe a certain sonic alle-
by Eric Mandat giance to the moment form tradition as
espoused by Stockhausen, although the
born to be off-road. Duo Stump-Lin-
generative sources and ultimate structures
shalm: Petra Stump and Heinz-Peter
of the works themselves are diverse. In
Linshalm, clarinets. CD I ClarElectriC
Judit Vargas Strictly Ballroom III for two
Bernhard Gander: Mr. Vertigo
clarinets and prerecorded sounds, close
(2003); Judit Varga: Strictly Ballroom
micro tones are the starting point from
III (2004); Gerald Futscher: Hufeisen-
which the clarinetists gradually explore,
nasen (2004); Christoph Herndler: im
venturing out from the sustained center
Schnitt, der Punkt (2003); Jorge Sn-
chez-Chiong: trpico trnsito (2004); with short staccato and slap tongue ges-
CD II unplugged Beat Furrer: tures. A second section introduces more
APOKLISIS (2004); Salvatore Sciar- space with interludes of vocal sounds
rino: Let me die before I wake (1982); through the instruments or of minimalistic
Claudio Ambrosini: CAPRICCIO, melodic fragments. Together with the pre-
detto: lErmafrodita (1983); Bertl recorded clarinet sounds, a quartet is effec-
Mtter: nushu (2005). EIN_ KLANG tively created which floats, drifts, and
RECORDS 015/016. Total time CD I eventually fades.
label Web site: <www.einklangrecords. Gerald Futschers Hufeisennasen
com>) (Horseshoe Noises) begins with bubbly
synthesized sounds, coupled with a scurry-
The Austrian clarinet duo of Petra ing motive which runs back and forth
Stump and Heinz-Peter Linshalm has com- between channels. Understated comments
mitted itself to working closely with com- from the two clarinets give way to more
posers to generate new works for various bravado flourishes in quasi-canon; eventu-
combinations of clarinets with or without ally a plaintive solo sets up a long winding
electronics. Both artists studied at the Uni- ascension to the final climax. The sampled
versity of Performing Arts in Vienna, where musique concrete-like sounds give a
THE CLARINET
classic old school flavor to this nearly 20-
minute long work.
im Schnitt, der Punkt (On average, the
point) by Christoph Herndler, is based on a
graphic score, printed in the liner notes,
consisting of nine crossed lines, with dif-
ferent arrays of blackened and open circles
at the termini of the lines. The realization
is of slowly pulsing undulations and trem-
olos in all parts; the circular breathing by
the clarinetists contributes to the concept
of a piece without beginning or end. Later,
an eerie disembodied voice appears and
the CD part finishes with high sparkles.
trpico trnsito by Venezuelan-born
Jorge Snchez-Chiong features industrial/
train station-like sounds combined with
turntable needles working away on vinyl.
Theres a certain sense of nostalgia hearing
the pops and hiss of a record: its like sit-
ting in front of the fireplace on a quiet win-
ter evening. Eventually a low buzzing en-
ters; at first it sounds like bad interference
on Grandpas old short-wave radio, but
soon becomes apparent its a bass clarinet
playing low C. The second bass clarinet
soon joins and before long their distorted
low fundamental sounds produce a Honey,
I think weve angered the killer bees
sound world. The work grows into an ever-
more intense fervor which abruptly ends.
The second CD, unplugged, begins
with Beat Furrers APOKLISIS for two
bass clarinets, in which the two performers
trade short high-note gestures in a sparse,
austere environment. There are also some
extremely delicate fifth partial multiphonics
for both players. The CD concludes with
Bertl Mtters nushu for two bass clarinets.
The two instruments remain closely con-
nected gesturally throughout the five move-
ments, from long quiet held notes to deli-
cate lines, to short declamatory outbursts.
The two solo works sandwiched be-
tween are from the 1980s and highlight the
individual artists solo skills. Both Sal-
vatore Sciarrinos Let me die before I wake
for solo B
clarinet (performed by Lin-
shalm), and Claudio Ambrosinis CA-
PRICCIO, detto: lErmafrodita, inter-
estingly sound like variations on homage
to the tremolo. In the hands of lesser com-
posers or lesser performers, such a concept
could get tedious after relatively few undu-
lations, but the subtlety of speed variations,
dynamic and breath control of both artists,
and the strength of the compositions make
these engaging contemplations on shim-
mering pulses. It is unfortunate that Sciar-
rinos work requires an instrument with the
low e
key, and because of the constant
multiphonics throughout cannot be merely
transposed to the A clarinet, nor can ossia
passages la the Berio Sequenza IXa be
substituted at the appropriate moments
without seriously damaging the music.
The Duo Stump-Linshalm is very much
at home in this complex and steely sonic
environment. They are completely sympa-
thetic to each other and to the demands of
the works, and their complete dedication to
their art is constantly on display through-
out. Dont buy this CD looking for hum-
mable tunes, neo-tonality pap or peppy
dance beats. Do buy this CD if youre look-
ing for serious, intellectually challenging
music performed intelligently and seri-
ously by this excellent duo.
by Justin ODell
Antnio Saiote and Michiko Tsuda A
Portrait. Antnio Saiote, clarinet;
Michiko Tsuda, piano. Bla Bartk:
Romanian Folk Dances; Zbigniew
Lampart: Fragment H; C.-M. Widor:
Introduction et Rondo, Op. 72; Fer-
nando Lapa: Nem tudo ou nada; Arthur
Benjamin: Le Tombeau de Ravel;
Takashi Yoshimatsu: 4 Pieces in bird
shape. PAN CLASSICS 10 186. Total
time 50:43. (Distributed by Qualiton
Imports: <www.qualiton.com>)
A Portrait, the new release by Portu-
guese clarinetist Antnio Saiote and pianist
Michiko Tsuda, contains an appealing well-
played program of music by several com-
posers. The selections on this 50-minute
recording are not bound by a common styl-
istic period or other cohesive elements.
Rather, the collection of pieces serves as
a recital program, one that successfully
March 2006
showcases the range of Saiotes abilities as
a performing artist. Most of his choices,
however, are not regularly found in clar-
inet recitals. Indeed, one of the attractive
features of this new recording is the origi-
nality Saiote shows in his selections.
Saiote delivers a terrific disc. His play-
ing is confident, assured, and virtuosic.
Basic elements, intonation and technique,
for example, are extremely solid, but Saiote
accomplishes more than good fundamen-
tals in his recording. His sound favors a
pleasing, high-end ring, which he employs
skillfully for expressive effect. Even better
is Saiotes devotion to phrasing; he always
attends to the character of individual phras-
es, building upon these to create a cohesive
whole. Pianist Michiko Tsuda, no mere ac-
companist, deftly supports Saiote by defin-
ing the character of the music while at the
same time playing like a soloist herself.
The duos tight ensemble bespeaks an ease
borne of years of concertizing together. In
the recording, sound engineer Koichiro
Hattori preserves a welcome live presence
on each track, achieving a good mixture of
closeness and concert hall resonance. He
succeeds in balancing the two instruments
so they retain their distinction.
Saiote commands attention right from
the beginning of the disc with a bold per-
formance of the Romanian Folk Dances, a
set of piano pieces by Bartk (widely
known in their guise as a violin transcrip-
tion by Zoltan Szkely, upon which this
clarinet version is based). Already in the
first dance, Saiote conjures up a strong
spirit. Tsuda steps in on the second and
plays convincingly with her rubato.
Saiotes clarinet rings with beautiful clar-
ity in the third, easily evoking the har-
monies in the violin version, and his color
changes are impressive. Their expressive
phrasing particularly shines in the fourth
piece. Even in the high-energy moments
of the sixth piece, Saiote manages to keep
up his sound.
Fragment H by Lampart is a some-
what unusual piece in that it is largely a
piano piece with clarinet accompaniment.
Tsuda weaves an attractive, melancholy
effect, but on the whole the piece is not
entirely successful. Its rather unattractive
beginning leads the piece awkwardly into a
dissimilar section, and the work ends with-
out a unifying event.
The Introduction and Rondo by Widor,
the most standard and substantial work on
Page 91
the program, is not to be missed. Here the
duo provides one of the most satisfying
recent recordings to date. Saiote plays sen-
sitively and brilliantly, and the style is
more virtuosic and stylish than purely ele-
gant. An occasional peckiness in articula-
tion tarnishes some of the staccato pas-
sages, but it does not detract from this
excellent performance. Tsudas work real-
ly shines in this piece. Her sensitivity and
support are first-rate. When there is oppor-
tunity to come to the fore, she seems to rel-
ish the chance to show her pianism.
The three pieces by Portuguese com-
poser Fernando Lapa are worth a listen, as
they represent an attractive recital option
for clarinetists. At almost 10 minutes in
total length, the work utilizes its material
economically, and at the same time the
composers ideas provide enough basis to
support a substantial length. The first of
the set, quase tudo (almost everything),
forms the counterpart to the second piece,
quase nada (almost nothing). Despite the
polarity that the titles suggest, these first
two pieces, nearly equal in length, evoke
similar moods. Together they make lively
and attractive movements conveying a sin-
gularity of effect. Only in the third do we
get variation in texture and mood. Starting
with clarinet alone, the composer suggests
a cadenza, but he introduces the piano,
and it becomes more recitative in nature.
A cadenza does eventually emerge, form-
ing a bridge to faster music, and the piece
winds down to an end, recalling the move-
ments beginning.
Saiote provides relief to the gravity of
his program with the popular set of waltzes
by Australian-British composer Arthur
Benjamin. Saiote infuses Le Tombeau de
Ravel with a lighthearted character, a play-
fulness made all the more impressive by
his dexterity in each of the variations.
The 4 Pieces in bird shape, by Japanese
composer Takashi Yoshimatsu, nicely
rounds out the program. It is full of color-
ful effects, resonance trills, frullatto, multi-
phonics, and bird-like rhythmical articula-
tions. The performers do a good job of giv-
ing the piece life and are clearly devoted to
it. The most striking movement of the set
is the fourth, Divertimento, containing
birdcalls over ostinato in the left hand.
Saiote and Tsudas A Portrait, with its
representation of some new music, pro-
vides inspiration to those seeking to diver-
sify their standard clarinet recitals. The
Page 92
disc is also notable for its excellent perfor-
mance of the Widor, a work that deserves
more attention from clarinetists. Finally,
this release would enrich the library of
anyone interested in hearing well-per-
formed new pieces.
by Jane Ellsworth
French Recital Favorites for Clarinet
and Piano. James Jones, clarinet;
Karen Bauman Schlabaugh, piano.
Eugene Bozza: Fantaisie italienne;
Gabriel Grovlez: Lamento et Taran-
telle; Andr Bloch: Denneriana; Ga-
briel Grovlez: Concertino; Philippe
Gaubert: Fantaisie; Marc Delmas:
Fantaisie italienne; Pierre Gabaye:
Sonatine; Louis Cahuzac: Variations
sur un Air du Pays dOc; Jules Ma-
zellier: Fantaisie-Ballet. CENTAUR
RECORDS CRC 2738. Total time
65:37. (Available at retail outlets and
from the label Web site: <www.centaur
records.com>)
James Jones is well known to many
I.C.A. members. He is the principal clar-
inetist of the Wichita Symphony and
Professor Emeritus of clarinet at Wichita
State University. Jones has recently re-
leased a CD of clarinet music by French
composers who were all associated (either
as students or as professors) with the Paris
Conservatory in the early to mid-20th cen-
tury. The recording was made over a peri-
od of about two years, between 2002 and
2004. It should be noted that the title given
above is that originally intended for the
CD, but due to a mistake in the publication
process, it has actually been released as
Recital Favorites for Clarinet and
Piano. Those looking for the CD should
search under the latter title.
THE CLARINET
The repertory on this disc includes
works that will be familiar to most clar-
inetists, at least by title. But it strikes me
that some of these works are (unjustly)
falling out of fashion as teaching and
recital pieces, and many of them have
earned little if any space in the commercial
clarinet discography. In making this CD
Jones has done a real service in preserving
and promoting an important collection of
music. Themed recordings those that
contain works of a single genre or nation-
ality, for example can sometimes be too
mono-stylistic to retain the listeners inter-
est; but this is not the case here. The music
chosen is diverse in style and makes for a
varied listening experience. I found the
Bloch Denneriana and the Gabaye Sona-
tine to be particularly enjoyable.
Some of the works included on the re-
cording (those by Bloch, Gaubert, Delmas,
and Mazellier, as well as the Grovlez La-
mento et Tarantelle) were used as solos de
concours, that is, contest pieces used to
test the clarinet students at the Paris Con-
servatory. All of the works are virtuosic,
and require real technical mastery as well
as musical sensitivity on the part of the
clarinetist. Jones invariably plays with
great musical expression, with fine atten-
tion to dynamics and phrasing and, at ap-
propriate moments, a lovely vibrato. He is
always faithful to the style and spirit of
the music.
Listeners might experience some dis-
comfort, however, with the technical
aspect of Jones playing. Much of the time
he copes with the formidable difficulties of
this music well, but in spots his finger
work loses clarity and smoothness. Articu-
lation is not always consistently clear, and
note entrances are unpredictable in quality.
His basic sound is pleasant, but tends to
spread at dynamics above mezzo-forte.
Intonation is in general good, with the ex-
ception of the altissimo register and occa-
sional flatness in the throat tones. These
flaws are present to a greater or lesser de-
gree throughout the recording. It should be
said that they are balanced by passages of
playing that are clear, clean and beautiful.
One example among many is the famous
opening of the Cahuzac, the big warhorse
on the program, which Jones executes with
great facility. Jones is ably accompanied
by pianist Karen Bauman Schlabaugh, and
their partnership produces many wonder-
ful moments.
 As I listened to this CD I was struck by
how much we, as listeners, have come to
expect an extremely high level of technical
perfection in recorded music. We antici-
pate that every facet of the performance
and the recording will sound pristine, with
absolutely no rough edges. I am not sure
that this is a good thing, since it all too
often results in recordings that are techni-
cally brilliant but have no heart; it is, nev-
ertheless, the way of the world. This CD
sounds much more like a live recital than a
commercial recording, and I believe that
listeners will have a more satisfactory ex-
perience if they approach it with this in
mind. It presents a repertory of music that
is not only significant but enjoyable; and
the performances are well worth listening
to for their many good features.
by David Niethamer
Swing Low Sweet Clarinet: Reginald
Kell & His Quiet Music. Reginald
Kell, clarinet; with various orchestras.
W. Mourant: Swing Low Sweet Clari-
net; Blue Haze; The Pied Piper; Ec-
stasy; R.C. Raybould: The Wistful
Shepherd; F. Kreisler: Liebesleid; Stars
in My Eyes; Schn Rosmarin; Liebes-
freud; Caprice Viennois; C. Debussy:
Le Petit Berger; La Fill aux Cheveux de
Lin; Rverie; La Plus que Lente; Arr.
Kell: The Gentle Maiden; S. C. Foster:
Some Folks Do; Gentle Annie; J. Robin-
son: The Snowy Breasted Pearl; Tra-
ditional: Has Sorrow Thy Young Days
Faded?; S. Yradier: La Paloma; A.F.
Harrison: In the Gloaming; M.W. Bal-
fe: Killarney; R. Porter-Brown: Dance
of the Three Old Maids; G. H. Clutsam:
Ma Curly Headed Babby. CLARINET
CLASSICS CCOO49. Total time
73:59. (Distributed by Qualiton and
also available from Clarinet Classics
Web site: <www.clarinetclassics.com>).
war. When World War II did begin, this
orchestra was sent to a secret location
where they broadcast light music for the
next three years. Much of this music was
arranged by their director, Leslie Bridge-
water, and other pieces were composed
especially for the ensemble. Many featured
Kell as soloist.
Two of these works are presented on
this recording, transferred from BBC ace-
tate recordings of 1942 Rayboulds The
Wistful Shepherd and G. H. Clutsams Ma
Curly Headed Babby (not a typo!), a plan-
tation song originally published in the
U.S.A. during the 1890s. While these
transfers are noisier than the other tracks
on this recording, it is a minor annoyance,
and the quality of the playing comes
through nicely.
The subtitle of this CD comes from a
series of recordings made between January
and June of 1948 by the Chalumeau En-
semble, which consisted of Kell, a string
quartet, guitar and celeste. The Chalumeau
Ensemble (renamed Reginald Kell & His
Quiet Music for these recordings) was one
of several names under which Kell had
broadcast and recorded during the war.
These commercial recordings preserve
some of the music from that earlier time.
The recordings consist of popular and folk
songs, mainly from the 19th century, given
new and somewhat more sophisticated har-
monies and solo parts by various ar-
rangers, including Reginald Kells father,
Frederick Kell. Examples of the songs
found here are Gentle Annie and Some
Folks Do by Stephen Foster, La Paloma,
Killarney and In the Gloaming. The trans-
fers from the original 78 RPM recordings
are very quiet. In spite of a variety of ar-
rangers, the sound of the arrangements
retains a certain unity of style.

In the summer of 1939, Reginald Kell

played principal clarinet at the Inter-
national Festival of Music in Lucerne,
Switzerland, under the baton of Arturo
Toscanini. Toscanini invited Kell to move
to New York to become the principal clar-
inet of the NBC Symphony, an offer that
Kell declined. During the previous year,
the BBC had contracted with a number of
outstanding British players, Kell among
them, to begin playing as the BBC Salon
Orchestra in the event of the outbreak of

March 2006 Page 93

 Also heard on this CD are 13 record-
ings from three LPs issued between 1953
and 1955, mostly on the American Decca
label. The music consists of original works
by Walter Mourant and Reginald Porter-
Brown, and transcriptions of famous violin
works by Fritz Kreisler as well as short
piano preludes by Debussy. All of these
works are also found on the Deutsche
Grammophon release Reginald Kell: The
Back Issues
of The Clarinet
Back-issue order forms for The Clarinet
may now be downloaded from the I.C.A.
Web site: <www.clarinet.org>. Copies
may also be requested by contacting:
James Gillespie
College of Music
University of North Texas
P.O. Box 311367
Denton, TX 76203-1367
E-mail: <jgillesp@music.cmm.unt.edu>
Page 94
Complete American Decca Recordings
reviewed by William Nichols in the previ-
ous issue of The Clarinet. These perfor-
mances are from recordings Kell made
with Salvatore Tutti Camarata.
After World War II, many musicians
made their living playing for radio, the-
ater, studio and dance recordings, and Kell
was no exception. He was often heard on
late-night broadcasts like those he had
played during the war. Kell even had his
own program, And So To Bed. The first
track of this CD, Swing Low Sweet Clari-
net (1947), was made with the Ambrose
Orchestra. It was through this sort of play-
ing that Kell met Salvatore Camarata, with
whom he made the Mourant, Debussy and
Kreisler recordings.
In comparing the dates of these record-
ings with the Deutsche Grammophon list-
ings, there is a discrepancy in the dates,
though the LP recording numbers are the
same. Perhaps this is due to a difference of
release dates in the U.S. and the U.K.?
Because of his use of vibrato, Kell was
a controversial player, especially in the
U.S. But heard in this context, his vibrato
is entirely appropriate to the material, and
is, to my ears, completely unobjectionable.
THE CLARINET
Its amazing to contemplate that Kell only
saw the Mourant compositions when he
got to the studio for the recordings. Kell
also synchronized second clarinet parts
for two of the Kreisler tunes six months
after the original recordings, and reported
that he was amazed at how hard it was to
synchronize with himself after that pas-
sage of time!
Clarinet Classics has provided us with
compilations of the notable recordings
from the beginning of the phonograph era
that help us to understand the evolution of
clarinet playing, and give helpful insights
into how pieces were played in that era.
Even if you have already purchased the
Deutsche Grammophon set, this CD from
Clarinet Classics is worth having for the
additional material. The sound of the two
recordings is similar, at least on my admit-
tedly non-audiophile equipment. This re-
cording fills a gap in the recording history
of Reginald Kell that helps us to understand
his later approach to playing the clarinet
the approach that we hear in the DG set of
his later classical recordings. From another
point of view, it is also a very beautiful and
soothing recording that is very pleasant to
hear. I highly recommend it.
 INTERNATIONAL CLARINET ASSOCIATION
2006 ORCHESTRAL AUDITION COMPETITION
Eligibility: The competition is open to clarinetists of all ages who are not employed full-time as salaried members of a profes-
sional symphony orchestra.
Application: Send materials postmarked no later than Monday, April 17, 2006 to:

2006 I.C.A. Orchestral Audition Competition Michael Webster, coordinator

Rice University, Shepherd School of Music MS 532, P.O. Box 1892, Houston, TX 77251-1892 USA,
Phone: 713-348-3602, Fax: 713-348-5317, e-mail: <mwebster@rice.edu>

Contest Rules
III. Application fee: $50.00 U.S. All applicants must be members of the I.C.A., and must provide proof of membership. Non-
members wishing to compete may join the I.C.A. by including the appropriate membership fee with their contest application
fee. Make amount payable to the I.C.A. in U.S. currency. This fee is non-refundable.
III. Please provide a good quality recording (CD-R format preferred, cassette acceptable) containing the following excerpts in this
exact order:
1. Mozart: Concerto, Movement I, exposition only
First clarinet excerpts:
2. Beethoven: Symphony #8, Mvt. III: Trio of Minuet, complete
3. Tchaikovsky: Suite #4 Mozartiana, Mvt. IV: Cadenza
4. Sibelius: Symphony #1, Mvt. I: Opening solo; Mvt. III: AB (count rests accurately); Mvt. III: 6 after E to 6 after G
(Do not count rests between E and F)
5. Rachmaninoff: Symphony #2, Mvt. III: opening solo through 47
6. Kodly: Dances of Galanta, Opening solo through 65
7. Ravel: Daphnis and Chloe Suite #2, 155158; 163167; 212end
III. A separate written and signed statement, attesting that the recording is the playing of the contestant and has not been edited.
IV. A permanent address, telephone number, and E-mail address should be provided. Please note that no application form is required.

Judging
Judging of recordings will be conducted with no knowledge of the contestants. Do not include any identification on the CD-R
(or cassette) or case/box. There should be no speaking on the recording, such as announcing of compositions.
Preliminary judging will be by taped audition. Semifinalists will be chosen by committee. Letters of notification will be mailed
by Monday, May 22, 2006. Semifinal and final rounds will be held at ClarinetFest 2006 in Atlanta, GA, August 2006. Repertoire
will consist of the excerpts listed above.
Past first-prize winners are not eligible to compete. All contestants will accept the decision of the judges as final. All semifinalists
will receive free registration at ClarinetFest 2006. Travel expenses will be the responsibility of the contestant.
All recordings will become the property of the I.C.A. and will not be returned unless a stamped, addressed envelope is provid-
ed. (Use U.S. postage or International Postal Coupon.)

Prizes
First Place: $1,000 U.S.; Gregory Smith Custom Mouthpiece; The Reed Wizard by Ben Armato
Second Place: Gregory Smith Custom Mouthpiece; PerfectaReed by Ben Armato

The I.C.A. is grateful to Gregory Smith and Ben Armato for their sponsorship of the Orchestral Audition Competition.

March 2006 Page 95

STUDENT
Alejandro Lozada, clarinet, D.M.A. Re-
cital, University of NebraskaLincoln, No-
vember 22, 2005. Concerto for Clarinet,
K. 622, Mozart; Der Hirt auf dem Felsen,
Schubert; Sonata for Clarinet and Piano,
Op. 120, No. 1, Brahms
Carol Maciel, clarinet, D.M.A. Recital,
University of North Texas, November 14,
2005. Introduction and Variations on a
Swedish Air, Crusell; A tour danches, Op.
97, Schmitt; Moonflowers, Baby!, Kupfer-
man; Etude, Op. 28, No. 2, Goedicke
Angela Rose Maske, clarinet and bass
clarinet, Senior Recital, University of Ne-
braskaLincoln, November 20, 2005. Den-
neriana, Bloch; Sonata in E
Major, Op.
120, No. 2, Brahms; Sonata for Bass Clar-
inet and Piano, Op. 40a, Kibbe; Trio in E

No. 5, Op. 20, Vanhal
Dmitry Perevertailenko, clarinet, assist-
ed by Anthony Allgeier, clarinet, D.M.A.
Recital, University of North Texas, No-
vember 7, 2005. Concerto, Copland; Fan-
tasy Pieces, Op. 43, Gade; Sonata for Un-
accompanied Clarinet, Denisov; Sonata
for Two Clarinets, Poulenc
Jeanette Rehberg, clarinet, Senior Re-
cital, University of Mary, October 2, 2005.
Grand Duo Concertant, Weber; Duo Con-
certo, Bach; Vier Stcke, Berg; Four Char-
acteristic Pieces, Hurlstone
FACULTY AND PROFESSIONAL
Diane Barger, B
and E
clarinets, Uni-
versity of NebraskaLincoln,Shall We
Dance? faculty recital with UNL dancers,
Page 96
October 2, 2005. Dante Dances (Danzi
dInferno) for clarinet and piano, Welcher;
Dance Music (Mr. Mouse Dances and
Dies), Dorff; Ballabile con Variazione aus
dem Ballett, Panizza; Arlequin for clarinet
solo, Cahuzac; Duet-Concertino for clar-
inet, bassoon and piano, Strauss
Diane Barger, clarinet, with the Moran
Woodwind Quintet, University of Nebras-
kaLincoln, November 13, 2005. Tanz-
Suite, Op. 53, Blumer; Wind Quintet No.
4, Perle; Mississippi Five for Wind Quin-
tet, Parker
Marianne Breneman, clarinet, The
College of Mount Saint Joseph, October
21, 2005. Grand Duo Concertant, Op. 48,
Weber; Sanctuary at 3AM, Sowash; Time
Pieces, Op. 43, Muczynski; Sonata in f
minor, Op. 120, No. 1, Brahms
F. Gerard Errante, clarinet, Electri -
Clarinet, Iowa State University, October
14, 2005. Gerrymander, Pinkston; Grito
del Corazn, Shatin; a light went out,
Errante; Chant/Song, May; Gerry Rigged,
Nelson; Swing Bridge, Weidenaar; Echoes
of the Invisible, Terry; Sha, Lowenstern
Mitchell Estrin, clarinet, University of
Florida, September 24, 2005. Concertino,
Tartini/Jacob; The Generation of Hope,
Wasserman-Margolis; Pastorale, Op. 46,
Busser; Sonata in E
Major, Op. 120, No.
2, Brahms
Barbara Hankins, clarinet, St. Andrews
Presbyterian Church, Kitchener, Ontario,
November 16, 2005. Allegretto grazioso,
from Trio, Op. 114, Brahms; Trio, Op. 11,
Beethoven; Andante and Presto from Di-
vertimento, Mozart (arr. Rothwell)
THE CLARINET
Michelle Kiec, clarinet, University of
Mary, September 25, 2005. Capricho
Pintoresco, Yuste; Moonflowers, Baby!,
Kupferman; Meditati, Ruera; King Fri-
day, Lowenstern
The Licorice Allsorts Clarinet Quartet,
Gary Kidd, Lynne Milnes, Elaine Swee-
ney, clarinets, Barbara Hankins, clarinet
and bass clarinet, First United Church,
Waterloo, Ontario, October 18, 2005. Rou-
lade, Whitney; Quatuor, Vivaldi (arr. Lan-
celot); Minuet and Rondo alla Turca, Mo-
zart (arr. Renard); Two Cuban Dances,
Cervantes (arr. Wood)
James Perone, clarinet, Mount Union
College, November 16, 2005. Deuxime
Sonata, Devienne; Sonatina, Heiden; 3
Miniatures, Penderecki; Sonatine, Mil-
haud; Romance, Glire; Fantasiestcke,
Schumann
Joseph Rutkowski, clarinet, Mannes
College of Music, October 9, 2005. Sona-
tina in D, Op. 137, No. 1, Schubert/Si-
mon; Sonata in F minor, Op. 120, No. 1,
Brahms; Romanze (Die Verschworenen)
for soprano, clarinet and piano, Schubert/
Spiegel; Der Hirt auf dem Felsen, D. 965,
Schubert; West Side Story Paraphrase,
Bernstein/Finkel; Downtown Blues for Up-
town Halls for soprano, clarinet and piano,
Gottlieb; Sonata, Bernstein
*****
Programs intended for publication in
The Clarinet should be sent to James
Gillespie, P. O. Box 311367, College of
Music, University of North Texas, Denton,
TX 76203-1367. To ensure accurate pro-
gram information, please send a printed
program and a summary of pertinent data
(names of performers and composers, site,
date and titles of works, etc.) in the format
above. For student recitals, only solo de-
gree recital programs (junior, senior, mas-
ters, doctoral) will be listed.
Visit the I.C.A.
on the World Wide Web:
www.clarinet.org
UPDATE

from the

T
Board of Directors
his brief update of I.C.A. informa-
tion is appearing in lieu of the
Presidents Message.
The I.C.A. is pleased that So Rhee has
joined the associations professional staff
as Executive Director beginning this past
fall. Although a clarinetist by training, So
has an extensive background in business
operations, conference management and
customer service. So is married to Brad
Behn, a well-known mouthpiece crafts-
man and professional clarinetist. The as-
sociation is fortunate to have such a con-
s cientious professional overseeing our
business operations. So Rhee re places
Rose Sperrazza.
Included in this issue are informational
materials and the mail-in ballot for I.C.A.
officer elections. Members may return
their ballot by mail or cast their ballot in
person at the meeting of the General Mem-
bership in Atlanta at ClarinetFest 2006 in
August. Members may only vote once,
and election results will be announced at
the conference.
The Nominating Committee has put
forward two names for President-Elect,
Marguerite Baker Levin and Gary Whit-
man. In considering nominees for the of-
fices of Secretary and Treasurer, and also
taking into account suggestions from some
former board members that the learning
curve for new officers is such that concur-
rent terms for these offices can be advan-
tageous to our organization, the Nomina-
ting Committee endorses the single nomi-
nation for each office of incumbent offi-
cers Diane Barger (Treasurer) and Kristina
Belisle (Secretary). Members may write
in the name of another candidate for each
office if they so choose. The I.C.A. wish-
Page 98
es to thank Nominating Committee mem-
bers Caroline Hartig, Annette Luyben, D.
Ray McClellan, Alan Stanek, Chuck West
and Bob Walzel for their conscientious
work on behalf of the membership.
ClarinetFest 2006 is shaping up to be
another fantastic summer conference for
the I.C.A. Conference co-artistic hosts Joe
Eller and D. Ray McClellan have brought
together an exciting line-up of some of the
most wonderful clarinetists performing
today. More information can be found in
this issue in the article about the confer-
ence. Because rooms are somewhat limit-
ed in the Omni Hotel, site of CF 2006, all
members and exhibitors are urged to
make reservations early. Help spread the
word to other clarinet enthusiasts that the
place to be August 913 is in Atlanta for
the greatest clarinet event in the world
this year.
Along with publication of this journal,
the ClarinetFest festivals are our associa-
tions most important events, and your op-
portunity to experience the finest in clar-
inet playing and opportunities for clarinet
players anywhere. Being honored in At-
lanta will be three individuals who have
earned I.C.A. Honorary Membership be-
cause of their significant lifetime achieve-
ments as clarinetists and pedagogues.
Clark Brody (retired principal clarinet of
the Chicago Symphony and long-time fac-
ulty member at Northwestern University),
Jacques Lancelot (renowned soloist and
teacher from France), and John McCaw
(retired principal clarinetist of the Philhar-
monia and New Philharmonia orchestras
in London) will be bestowed with the high-
est honor given by the I.C.A.
In making several transitions in mem-
bership data management in the past year,
THE CLARINET
several members have not received mem-
bership renewal information. Membership
renewal is now fully automated on the
I.C.A. Web site at <www.clarinet.org>.
If you know anyone who has not re -
ceived membership renewal information
and/or has not received their copies of
The Clarinet, encourage them to contact
So Rhee immediately.
A quick reminder that opportunities
for supporting clarinetists of limited
financial resources are available through
the I.C.A. Adopt a Member Program. For
more in formation contact So Rhee at:
<execdirector@clarinet.org>.
ClarinetFest 2007 will be held in Van-
couver, British Columbia, on the Univer-
sity of British Columbia campus. Confer-
ence dates will be July 48, 2007. More
information about CF 2007 and future
conferences will be forthcoming.
The I.C.A. once again would like to
extend hearty congratulations and sincere
thanks to the Japan Clarinet Society for
their efforts in hosting and presenting
ClarinetFest 2005 in Tokyo Tama City
this past summer. Koichi Hamanaka and
the entire support staff realized a clarinet
event that will not soon be forgotten. Also,
the I.C.A. is indebted to the Yamaha Cor-
poration, who presented a new clarinet to
the winner of the Young Artist Competi-
tion, as well as the other cooperating in-
strument makers (Buffet, Leblanc, Selmer,
and Rossi) who made financial contribu-
tions for prize money for the winners. It is
through the ongoing commitment and sup-
port of these clarinet manufacturers that
the I.C.A. is able to offer this wonderful
opportunity to future generations of aspir-
ing clarinetists. One of the most successful
aspects of the conference in Japan was
that there were a very large number of stu-
dents attending and participating. As the
Atlanta conference approaches, students
of all ages and levels are encouraged to
attend and be inspired by what is shaping
up to be a great event.
The Board of Directors sadly must an-
nounce that current I.C.A. president Mi-
chael Galvn has resigned for personal
rea sons. The board members wish to
gratefully acknowledge his past contribu-
tions. According to association by-laws,
President-Elect Lee Livengood will as-
sume responsibilities of the presidency
for the remainder of this term.
 INTERNATIONAL CLARINET ASSOCIATION
STATEMENT OF CREDITS AND DEBITS
SEPTEMBER 1, 2004AUGUST 31, 2005
Submitted by Diane Barger, I.C.A. Treasurer
Revenue
MEMBERSHIP DUES .................................................................................117,613.24
BACK ISSUE SALES .................................................................................. 1,991.58
COMPETITION FEES ................................................................................. 3,250.00
INVESTMENT INCOME............................................................................. 1,441.77
ADVERTISING REVENUE ........................................................................ 55,726.40
MISCELLANEOUS INCOME..................................................................... 0.14
Total Revenue ..............................................................................................180,023.13

Expense
Magazine
PRINTING ............................................................................................... 88,386.32
MAILING................................................................................................. 14,781.61
PROOFREADING SERVICE ................................................................. 928.78
COPYRIGHT EXPENSE......................................................................... 120.00
MAGAZINE EXPENSE .......................................................................... 399.00
Total Magazine..............................................................................................104,615.71

COMPETITION PRIZES ............................................................................. 6,750.00

PROFESSIONAL SERVICES...................................................................... 5,400.00
WEB SITE EXPENSE .................................................................................. 5,491.36
OFFICE EXPENSE....................................................................................... 2,954.76
POSTAGE..................................................................................................... 2,814.72
COPY AND PRINTING EXPENSE ............................................................ 89.21
TELEPHONE................................................................................................ 1,359.95
TRAVEL ....................................................................................................... 13,678.80
LODGING..................................................................................................... 6,805.67
MEALS ......................................................................................................... 4,285.89
CREDIT CARD FEES .................................................................................. 3,342.36
BANK FEES ................................................................................................. 122.61
MISCELLANEOUS EXPENSE ................................................................... 86.40
GRANTS/CLARINETFEST 2005...............................................................
5,000.00
CLARINETFEST 2004 EXPENSE .............................................................
30,115.09
CLARINETFEST 2006 EXPENSE .............................................................
65.00
COMMISSION EXPENSE........................................................................... 7,500.00
TAXES AND LICENSES............................................................................. 254.00
SALARIES.................................................................................................... 40,920.00
PAYROLL TAX EXPENSE......................................................................... 3,015.63
Total Expense ...................................................................................................244,667.16
Net Income ........................................................................................................64,644.03
Fund Balance August 31, 2003......................................................................$136,698.13
Fund Balance August 31, 2004......................................................................$164,086.53
Fund Balance August 31, 2005......................................................................$ 99,442.50

Page 100 THE CLARINET